Tritone Substitution w/Alt Chord Lead-ins 12-11

[features_box_yellow width=”75%” + border=”2px”]Level: Advanced

After you have mastered the Tritone Substitution w/Alt Chords Inversions, begin practicing all of the Tritone Substitution w/Alt Chord Lead-ins.[/features_box_yellow]

It’s time now to apply the prior study of II V Lead-in to the Alt Chord. Very simply . . . just play a II V before any Alt Chord.

[membership_download_item_pdf link=”http://jsfp.s3.amazonaws.com/TTSubAltLIa.pdf” + target=”_self”]Tritone Substitution w/Alt Chord Lead-ins – Page 1[/membership_download_item_pdf]

[membership_download_item_pdf link=”http://jsfp.s3.amazonaws.com/TTSubAltLIb.pdf” + target=”_self”]Tritone Substitution w/Alt Chord Lead-ins – Page 2[/membership_download_item_pdf]

[membership_download_item_pdf link=”http://jsfp.s3.amazonaws.com/TTSubAltLIc.pdf” + target=”_self”]Tritone Substitution w/Alt Chord Lead-ins – Page 3[/membership_download_item_pdf]

[features_box_blue width=”75%” + border=”2px”]Personal Evaluation

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I have practiced all the Tritone Substitution w/Alt Chord with II V Lead-ins in all substitutions and in all keys.

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Motion Exercises

[features_box_yellow width=”75%” + border=”2px”]Level: Intermediate

It is recommended that you first study the Theory Exercises, at least through Section Three: Triad Study before you begin the Motion Exercises. These exercise are studied if you have never improvised.[/features_box_yellow]

Motion Exercises

Motion Exercises are designed to help you feel comfortable while improvising. It’s important that you know theory so that you have a basis to improvise. But, then it is important to use that theory as a language. Once you have accomplished this . . . then, I recommend beginning actual Jazz Study. Jazz theory, jazz tunes, and jazz rhythm are much more complicated. You should find your “freedom to improvise”, first here.

Of course, if you are already comfortable with general improvisation, move on to the Jazz Sections in this course.

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Minor Triad Open Voicings Part 3 3-9

[features_box_yellow width=”75%” + border=”2px”]Level: Intermediate

Study the Make-Up-Your-Own-Progression Minor Open Voicings Exercise after you have mastered the Make-Up-Your-Own-Progression Major Open Voicings Exercise.

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Once you have mastered playing the Major “Make Up Your Own Progression Exercise”. Apply the same techniques to the Minor “Make Up Your Own Progression Exercise”.

[membership_download_item_pdf link=”http://jsfp.s3.amazonaws.com/OVMUYOPMi.pdf” + target=”_self”]Make-Up-Your-Own-Progression Exercise in Minor[/membership_download_item_pdf]

[features_box_blue width=”75%” + border=”2px”]Personal Evaluation

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I can quickly and easily play the Minor Make-Up-Your-Own-Progression Exercise using the Im IVm Im progression.
I can quickly and easily play the Minor Make-Up-Your-Own-Progression Exerciseusing the Im V Im progression.
I can quickly and easily play the Minor Make-Up-Your-Own-Progression Exercise using the Im IVm Im V Im progression.
I can quickly and easily play the Minor Make-Up-Your-Own-Progression Exercise using the Im IVm V Im progression.
I have been improvising songs and hymns using the Minor Make-Up-Your-Own-Progression Exercise.

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Major Triad Open Voicings Part 2 3-8

[features_box_yellow width=”75%” + border=”2px”]Level: Intermediate

Study the Make-Up-Your-Own-Progression Open Voicings Exercise after you have mastered the Open Voicings Inversions and Open Voicing Bouncing Exercises. Then learn it in Minor.

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Once you can play the exercise above, then start developing “Make-Up-Your-Own-Progression Exercise”. To do this, start with any four-part voicing as a I chord. Once you’ve established the I chord, then start seeking out a IV chord using smooth voice leading. In other words, avoid large jumps. Also, make sure that you also avoid doubling the third. Find as many good voice leadings as you can to the IV chord.

Then do the same exercise using the V chord.

Once this is done, you can find all the possible combinations of the above using I, IV, I V, I and I, IV, V, I progressions.

This is a very valuable exercise because it starts you, as a pianist, thinking as an orchestrator. For instance, when you think in four-part harmony, you can easily compose music for choir, strings, horns, etc.

Once this is done start working on the minor version of Make-Up-Your-Own-Progression Exercise”.

[membership_download_item_pdf link=”http://jsfp.s3.amazonaws.com/OVMUYOP.pdf” + target=”_self”]Make-Up-Your-Own-Progression Exercise in Major[/membership_download_item_pdf]

[membership_download_item_pdf link=”http://jsfp.s3.amazonaws.com/OVMUYOPMi.pdf” + target=”_self”]Make-Up-Your-Own-Progression Exercise in Minor[/membership_download_item_pdf]

[features_box_blue width=”75%” + border=”2px”]Personal Evaluation

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I can quickly and easily play the Make-Up-Your-Own-Progression Exercise using the I IV I progression.
I can quickly and easily play the Make-Up-Your-Own-Progression Exercise using the I V I progression.
I can quickly and easily play the Make-Up-Your-Own-Progression Exercise using the I IV I V I progression.
I can quickly and easily play the Make-Up-Your-Own-Progression Exercise using the I IV V I progression.
I have been improvising songs and hymns using the Make-Up-Your-Own-Progression Exercise.
I can quickly and easily play the Minor “Make-Up-Your-Own-Progression Exercise” in all the versions of the Major.

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Modal Structures Exercise 9-6

[features_box_yellow width=”75%” + border=”2px”]Level: Intermediate

Study the Modal Structures Exercise after familiarizing yourself with the Modal Transposition Exercise.[/features_box_yellow]

Start playing each of the modes of the Modal Improv Exercise using Chord Structures.

Two-note Structures
Three-note Structures
Four-note Structures
Five-note Structures
Random Chord Structures

Think of the top-note of the structure as a melody note. Play melodies using structures. Completely be comfortable with all the modes of the Modal Improv Exercise. Play in all Keys.

[membership_download_item_pdf link=”http://jsfp.s3.amazonaws.com/ModalChordStructuresTwo.pdf” + target=”_self”]Modal Structures – Two[/membership_download_item_pdf]

[membership_download_item_pdf link=”http://jsfp.s3.amazonaws.com/ModalChordStructures3.pdf” + target=”_self”]Modal Structures – Three[/membership_download_item_pdf]

[membership_download_item_pdf link=”http://jsfp.s3.amazonaws.com/ModalChordStructuresRandom.pdf” + target=”_self”]Modal Structures – Random[/membership_download_item_pdf]

[features_box_blue width=”75%” + border=”2px”]Personal Evaluation

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I can easily play all the various structures of the Modal Structures Exercise.
I can play melodies with various chord structures.
I can do the above in all keys.

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Modal Exercise – Part 1 9-1

[features_box_yellow width=”75%” + border=”2px”]Level: Intermediate

Study the Modal Improv Exercise. [/features_box_yellow]

The Modal Improv Exercise is a series of chords (which may remind you of another tune). At this point – just learn the left hand accompaniment until it is totally automatic. Use a metronome. Know the chords.

[membership_download_item_pdf link=”http://jsfp.s3.amazonaws.com/ModalExA.pdf” + target=”_self”]Modal Exercise – Part 1[/membership_download_item_pdf]

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[green_tick_2_list width=”100%”]Personal Evaluation

I have studied each Modal Exercise automatically. I know the four chords.

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Section 9: Modes and Chord Structure Exercise

Introduction to the Modes:

[features_box_yellow width=”75%” + border=”2px”]Level: Intermediate

Study the Modes and Chord Structure Exercise after studying the Pachelbel Canon Project.[/features_box_yellow]

In addition to learning scales for the technical benefit, scales can also be learned to develop a harmonic repetoire in your subconscious. The traditional method of analyzing modes is to take a scale, for instance a major scale, then create modes by starting the scale on different degress of the scale.

Here are the modes of the major scale:
Ionian Mode (1-1) (Major Scale)
Dorian Mode (2-2)
Phrygian Mode (3-3)
Lydian Mode (4-4)
Mixolydian Mode (5-5)
Aeolian Mode (6-6) (Natural Minor Scale) (Relative Minor)
Locrian Mode (7-7)

However, when deciphering modes from an improviser’s perspective, it is much better to describe the modes from root note of each mode. In that case, we tend to hear the mode as a derivative of the original major scale. The reason that we do this is that as improvisers, we usually create a scale or mode from chords. For instance, if we see a minor chord in music, we often choose to improvise on the Dorian Mode from the bottom note of the chord. In this case, it is easier to hear a Major Scale with a flat 3 and flat 7.

Take each Major Scale Mode and play it in all keys. Listen carefully to the sound of each Mode. We will be discussing the Modes in depth in the Advanced Jazz Study section of this course. The exercises in this chapter is designed to start you thinking in Modes.

[membership_download_item_pdf link=”http://jsfp.s3.amazonaws.com/Modes from each note.pdf” + target=”_self”]The Major Scale Modes starting from each note in the scale.[/membership_download_item_pdf]

[membership_download_item_pdf link=”http://jsfp.s3.amazonaws.com/Modes from bottom note.pdf” + target=”_self”]The Major Scale Modes starting from each note in the scale.[/membership_download_item_pdf]

[features_box_blue width=”75%” + border=”2px”]Personal Evaluation

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I have studied each Major Scale Mode in all keys and can hear the subtle differences in each Mode..

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Pachelbel Exercise Melody and Single Bass Note 8-1

Pachelbel Exercise Melody & Single Bass Note 8-1

[features_box_yellow width=”75%” + border=”2px”]Level: Intermediate

Study the Pachelbel Exercise Melody & Single Bass Note after studying the Pachelbel Introduction.[/features_box_yellow]

Let’s take the chords of Pachelbel and use them to make melody. Remember – the chords are C-G-Am-Em-F-C-F-G. Start with C – going to G. When you make melody from one chord to another – think in “pick-ups”. Decide when in the measure you are going to start your pick-up. For instance, if you start on the and of three – you will have a four-note pick-up to the G triad. So, start on a chord-tone in C (C-E-G) and end on a chord-tone in G (G-B-D). Ask yourself: “How many ways can I move from C to G?” Once you have done this move from G to Am . . . and do this from chord to chord through the tune.

Once this is accomplished – play a five-note lead-in (starting on beat 3). Then, play a six-note lead-in (starting on the and of 2). Then, a seven-note lead-in (starting on beat 2). Finally – play spontaneously through the Pachelbel Canon. Play in all keys.

[membership_download_item_pdf link=”http://jsfp.s3.amazonaws.com/PachMel1a.pdf” + target=”_self”]Pachelbel Exercise Melody & Single Bass Note Page 1[/membership_download_item_pdf]

[membership_download_item_pdf link=”http://jsfp.s3.amazonaws.com/PachMel1b.pdf” + target=”_self”]Pachelbel Exercise Melody & Single Bass Note Page 2[/membership_download_item_pdf]

[features_box_blue width=”75%” + border=”2px”]Personal Evaluation

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I have played many ways of creating melody with a four-note pick-up from C to G.
Then a five-note pick-up, six-note pick-up and seven-note pick-up.
Play from chord to chord.
Play spontaneously through the Pachelbel Canon.
Play in all keys.

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Pachelbel Exercise Open Voicings w/Melody 8-5

[features_box_yellow width=”75%” + border=”2px”]Level: Intermediate

Study the Pachelbel Exercise Open Voicings with Melody after studying the Pachelbel Exercise Random Melody Exercise.[/features_box_yellow]

Now . . . let’s take one open voicing and move to another open voicing . . . for the purpose of creating a pick-up melody. For instance, take a voicing in C and play a melody which ends on G open voicing. Ask yourself: “How many ways can I create different open voicings and different melodic paths from C to G. Of course, start your pick-ups on different beats.

Then put on a metronome and choose one rhythmic patter to play through the entire Pachelbel Canon. Then, play many different open voicings and melodic rhythmic patterns through the Pachelbel Canon. Count out loud. Do this in all keys.

[membership_download_item_pdf link=”http://jsfp.s3.amazonaws.com/PachOVwMel.pdf” + target=”_self”]Pachelbel Exercise Open Voicings w/Melody[/membership_download_item_pdf]

[features_box_blue width=”75%” + border=”2px”]Personal Evaluation

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I can play from C to G using different open voicings and different melodic pick-ups. Then, I can continue this through the Pachelbel Canon.
I can play with a metronome through the Pachelbel Canon using different open voicings and different melodic rhythms.
I can do the above in all keys.

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Category Archives: Exercise

Tritone Substitution w/Alt Chord Lead-ins 12-11