[new_video_with_placeholder video_url=”http://jsfp.s3.amazonaws.com/BasslinesForPianoTPL.mp4″ + width=”720″ + height=”420″ + video_id=”video1″ + video_image=”http://jsfp.s3.amazonaws.com/BassLinesForPiano.png” + autoplay=”true”] [/new_video_with_placeholder]
This is an excellent exercise to help musicians develop bass lines for piano. It uses the Cycle of Fourths with comping and soloing. It’s not easy, but try it out!
[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]
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[features_box_yellow width=”75%” + border=”2px”]Level: Beginning
This extends the Five Finger Exercise to minor, diminished and augmented. Practice this after learning the major five finger exercise. Learn this completely.[/features_box_yellow]
Now play the five finger position in minor (b3), augmented (#5) and diminished (b3 & b5). Then play the triad inversions in each. FYI: we usually we don’t play inversions in diminished triads. Later – you will play the inversions in diminished sevenths.
[membership_download_item_pdf link=”http://jsfp.s3.amazonaws.com/5 Finger Position1.pdf” + target=”_self”]Five Finger Positions[/membership_download_item_pdf]
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[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]
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[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]
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[features_box_yellow width=”75%” + border=”2px”]Level: Intermediate
Study the Pachelbel Exercise Open Voicings with Melody Continued after studying the Pachelbel Exercise Random Melody Exercise.[/features_box_yellow]
Once you can play open voicings with melodies in the top soprano voice . . . then, practice playing melodies also in the alto, tenor and bass voices. You can also play in thirds, sixths and tenths.
Play the Pachelbel Canon over and over until you sound relaxed, spontaneous and musical.
[membership_download_item_pdf link=”http://jsfp.s3.amazonaws.com/PachOVwMelCont.pdf” + target=”_self”]Pachelbel Exercise Open Voicings w/Melody Continued [/membership_download_item_pdf]
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[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]
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[features_box_yellow width=”75%” + border=”2px”]Level: Intermediate
Study the Pachelbel Exercise Open Voicings after studying the Pachelbel Exercise Random Melody Exercise.[/features_box_yellow]
Create a four-part “Open Voicing” by taking a three-note triad and duplicating one of the notes. The only note that we don’t want to double is the third. Doubling the third sounds a little “heavy”. So . . . take each chord in Pachelbel and slowly play lots and lots of four-note voicings for that chord. Remember, play the right-hand first (with two notes) and do NOT double the third when playing two notes in the left-hand. Once you have mastered playing the C Major Triad . . . move to G . . . and through the Pachelbel Canon.
Then play with a metronome. First play two quarter-note voicings for each chord. Then play four quarter-note voicings for each chord.
Then play in all keys.
[membership_download_item_pdf link=”http://jsfp.s3.amazonaws.com/PachRandomBouncing2.pdf” + target=”_self”]Pachelbel Random Bouncing Open Voicings[/membership_download_item_pdf]
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[features_box_yellow width=”75%” + border=”2px”]Level: Intermediate
Study the Pachelbel Exercise Random Melody after studying the Pachelbel Exercise Continuous Melody & Single Bass.[/features_box_yellow]
Play through the Pachelbel Canon using random starting points and random note time values. Remember, you can use Quarter Notes, Eighth Notes, Quarter-note Triplets and Eighth-note Triplets (also sixteenths). Put on a metronome (try Quarter-note to 70). Count out loud – so that you know precisely when you are starting the pick-up lick. Make sure that you end on the first beat of the next measure. You can also land on “suspensions” (more on that later).
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[features_box_yellow width=”75%” + border=”2px”]Level: Intermediate
Study the Pachelbel Exercise Continuous Melody & Single Bass after studying the Pachelbel Exercise Melody & Single Bass Note.[/features_box_yellow]
Here again is the “Continuous Melody Exercise” . . . this time, playing through the chord changes of the Pachelbel Canon. In this exercise you play continuously . . . first using Quarter Notes . . . then Eighth Notes . . . then Quarter-note Triplets . . . and Eighth-note Triplets. To do this – start (at least mentally) on the second note and end your thinking on the first note of the next measure. This forces a forward, continuous movement through the changes. Of course, it is recommended that you use a metronome . . . first, slowly and then pick up the tempo. Play in all keys.
[membership_download_item_pdf link=”http://jsfp.s3.amazonaws.com/PachMel-ContMelA.pdf” + target=”_self”]Pachelbel Exercise Continuous Melody & Single Bass Note Page 1[/membership_download_item_pdf]
[membership_download_item_pdf link=”http://jsfp.s3.amazonaws.com/PachMel-ContMelB.pdf” + target=”_self”]Pachelbel Exercise Continuous Melody & Single Bass Note Page 2[/membership_download_item_pdf]
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