Working these scales out on
the metronome and on the play-along track,
I'm just gonna play them.
I'm gonna put the metronome on two and
It's worth also remembering as you do
this that we do strive to be able to,
if we want to, to play with a nice
forceful very consistent approach.
Something more like the way that
a classical pianist might practice for
Anthony Jackson, the great base player,
spent years practicing his bass
with it attached to a VU meter so
that he could check and make sure
that from beat to beat he was 100%
consistent with the force at which
he's playing each note on the bass.
Which is classic Anthony,
if you know Anthony.
But, it's worthwhile
being able to do that.
So maybe you do wanna do a pass.
You're swinging away, and
then you want to do a pass.
Something like that.
Try every possible articulation.
Being mindful of where you
are in relation to the time.
So just quickly looking at these last
three scales with the metronome.
[SOUND] One, two, one, two, three, four.
maybe from degree three, and
we're swinging it.
One, two, three, four.
And there, for just no good reason,
I decided to accent on
the beat every time,
which is something that
you might wanna throw into
your line just to change
your rhythm up a little bit.
Variety is the spice of jazz.
On the way down.
every third note.
And now we're onto our G minor 7,
And we're going to play
it up from the fifth, and
we're gonna play it very quietly.
And on the way
down let's play it
swinging very quietly.
Trying always to find as much
control as we can have while keeping
the time as consistent as possible.
You'll notice that when
Cannonball Adderley plays the saxophone,
when Freddie Hubbard plays trumpet,
when Herbie Hancock plays piano,
they can shade the line
a million different ways and
the swing stays really, really consistent.
That's the goal of practicing
when you're playing jazz.
And that's the reason that
when we do these exercises,
we do them kind of in a jazz way.
It lets us isolate the time and
the articulation aspect from figuring
out what notes we're gonna play.
Last scales would be C7, and
let's just see what happens.
[SOUND] One, [SOUND] two,
[SOUND] one, two, three, four.
So what I did in that last one,
I tried to really lay back,
almost maybe a triplet's worth,
on all the notes.
So that's how we practice these.
The next thing we're gonna do is take
a quick look at integrating our approach
patterns into these scales.
The principle is the same.
Play a bit of the scale,
throw in your approach pattern.
And then we're gonna put these chords
together and play over our blues.
And with these tools, you have what
you need to construct a really nice solo.
And we are gonna take a quick look
at some motivic playing also.
And as long as you're playing with
a really great feel, you're in business.