Let's do the third and
the seventh now.
And the fingering on this one,
there's a different one for
the third and the seventh.
For the third we're going to go.
Four, three, two, one.
And you may notice here that,
rather than doing
strictly double chromatic
from above, which would be B,
B flat to A flat to A.
I'm going ahead and using the C.
that's just a personal preference of mine.
You can do it either way.
Why don't we use the C for this exercise.
four, three, two, one.
four, three, one, two.
four, three, two one.
Four, three, one, two.
Four, three, two, one.
Like that and
let's play that up with the click.
One, two, one, two, three.
On the way down,
we are going to do a little
crossover move to finger these notes,
again we're approaching
the E flat and the A.
And to get to the E flat we're
gonna go one two one three.
And then to the A one three two three.
Little unusual fingering, but again,
we need to prepare our,
the next approach pattern as we go.
So we need to end up on something toward
the the higher count in our fingers
Now, the nice thing about
these approach patterns,
if you want,
they actually make kind of a nice
little bebop line just by themselves
So they're that strong
of a melodic device.
We're going to learn
three more of them but
right now we're just focusing on this one.
Let's put up our metronome and
play this on the way down.
[SOUND] One [SOUND] two [SOUND].
One, two, three.
put these on
our slow play
Again, this is the F dominant modal
track at 80 beats per minute.
I would start with the metronome
on two and four, if you can do it,
and play it at a tempo where you can
find these and gradually speed it up.
If you need to go really slow, which
is something that I completely advise,
maybe put the metronome on one,
two, three and four to start, and
as you get the tempo up you
can put it on two and four.
Again, if we put in on two and
four then we have to keep our own time for
twice as long.
We don't have the metronome
really keeping us locked in and
that's a good exercise in keeping
our time happening while we relax.
You might notice that as I'm
playing I'm laying back.
I like to experiment with
my feel as I practice and
especially when you get to the down beat.
You kind of hang that one back
off the back of the beat,
you're behind the beat, later in the beat.
And sometimes when I practice I like
to do really extreme like that.
Let's put the slow-backing track on again,
and I'll show you what I'm talking about.
[NOISE] One, two, three.
And it doesn't have
to be perfect every time but
learning to find yourself
against the time that way is
a really essential jazz skill,
cuz we don't play metronomically.
If I were to quantize
this in the sequencer,
which means put it rigidly
on every subdivision, so
that it was mathematically accurate,
it wouldn't swing at all.
You'll also notice that I'm shading my
lines with the accents that I put on.
there I didn't even sound the note.
Cuz I'm trying to really drop
the notes that are on the beat.
Experiment with different articulations
And again, what we're trying to get
at is keeping the time consistent,
no matter what we're accenting.
And that amounts to real control
when you play jazz piano.
So that's some exercises to
put these under your fingers.
In our next lesson, we're gonna start
tying these in with our bop scale and,
like I say, I think you'll be
surprised by the quality of
the jazz lines you're able to
make with these two simple tools.