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Jazz Piano Lessons: Approach Pattern 1: Using the 3 New Scales

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[MUSIC]
Let's get approach pattern number
one integrated into
these three new scales,
the B flat seven,
the G minor seven, and the C seven.
And we're going to take a little bit more
of an improvisational approach to this,
and what I'm going to try
to do is space it out in
such a way that you can
figure out your fingering
before you hit it, so rather than
[MUSIC]
like that.
We're gonna kind of play it like this.
[MUSIC]
One, two three.
[MUSIC]
One, you're looking at your fingers
[MUSIC]
like this because it isn't a practical
thing to write out fingerings for
all the approach patterns in every
permutation, coming from above,
coming from below, skipping
a sixth to get there and so forth.
So, let's put up the play along track.
I'm gonna do this on the B flat 7 dominant
play along track at 140 BPM,
140 beats per minute.
Because you'll find that
while it takes a little more
time to get your fingering together, it's
easier to swing at a comfortable tempo
like that than it has been at our 80 beats
per minutes or 110 beats per minute.
But it's important to remember with
these to also practice these scales and
approach patterns.
The way we've been doing them,
so B flat 7.
[MUSIC]
Again, the notes here are B flat, D,
F and A flat.
Practice approaching the root and the 5th.
[MUSIC]
And it's funny to me how often that's
the right fingering, four, three,
one, two, four, three, two, one.
[SOUND] Seems to be kind
of a [SOUND] theme here.
Approach the third and
the seventh and space it out.
Let's put the metronome on and
approach the third and
seventh, and let's put a space in there so
that we have time to collect ourselves.
Two, one, two, three.
[MUSIC]
Two, three.
[MUSIC]
And then
let's continue,
let's play the our
little bit of
a scale fragment.
By way of starting to make this more of a
improvisational exercise, check this out.
I'm gonna play the scale fragment.
Then, I'm gonna play two approach patterns
in a row to the next two scale degrees.
This is something that
you could do if you want.
If you want to just keep it,
[MUSIC]
Go for that.
If you want to try this.
[MUSIC]
If you hear what I'm doing there,
rather than consistently
playing five notes
of the scale,
[MUSIC],
then the approach pattern
[MUSIC]
Then five notes of the scale
[MUSIC]
then the approach pattern
[MUSIC]
then five notes of the scale
[MUSIC].
I'm going like this,
I'm playing five notes of the scale
[MUSIC]
then I'm playing
an approach pattern
[MUSIC]
then I'm playing another approach pattern.
[MUSIC]
And maybe I play another one.
[MUSIC]
So those are some ideas for
how to get this stuff under your fingers.
Put the track up or put the metronome
up and just take your time.
If you need to go like this.
[SOUND] One.
[SOUND] Two, one, two, three.
[MUSIC]
And then here, we're cogitating.
[MUSIC]
Play it as slow and
spaced out as you need to, but
get these shapes under your fingers.
Maybe experiment with some different
fingerings for it, cuz believe me,
when you're on the gig,
you're gonna be experimenting
with different fingerings for it.
Let's have a little fun with
this on our G minor chord.
One, two,
three
[MUSIC]
Those lines
were entirely
created out
of the tools
that we have
now on a B
flat seven
chord.
And you can hear that just by
kinda chopping it up a little bit,
it actually turns out to be a great
device for playing motivically.
Which means taking
a little simple idea and
changing just a little bit of it
to create a sort of a storyline.
The blues traditionally
has always been like that.
More so than any other form of music.
The lyrics used to be [SOUND]
something about you know,
woman left you, and ain't that so
sad, or whatever it is.
And then you get here,
it's the same thing, you repeat it.
My woman left me and that's so sad.
And then, when you get here, you know?
She gave me a bad disease,
and that's really awful bad.
Something like that, it's always
in a storytelling form and when we
solo on it,
it's nice to keep that in mind.
When we get to our ear training exercises,
we're gonna transcribe some choruses
from one of the great blues
performances of all time,
which is a tune called
Freddy the Freeloader.
Which is on Kind of Blue by Miles Davis.
And we have some swinging
Wynton Kelly on that thing and
we have Miles playing perfect,
simple jazz.
Let's go to our G minor 7 chord and
kind of continue this idea.
Space it out as much as you need,
the track will handle you.
If you want to stop and
think about which approach pattern,
which note you want to approach,
or something like that, go for it.
And either play a scale fragment or don't.
Put two approach patterns together.
Let me show you what I mean.
[SOUND]
Two,
one, two,
three
[MUSIC]
And there
you have
it with
a couple
little
exceptions
there,
that is all
the stuff
that we
have just
learned.
You can hear me taking
little bits of the scale
[MUSIC].
[MUSIC]
All of that stuff
is what we just learned.
Have fun with that.
We've got great swinging play
along tracks for you here.
And that is the essence of improvisation.
We're coming quick to a lesson
on playing motivically which is
really the study of how to
develop your melody and
this is something you know
Bach was a master of this.
It's something that's been going on,
you know I think
the monks back in the day didn't do a lot
of it, but we will have fun with it.
So that's this lesson.
Next thing we're go to do is take all of
this stuff and stitch it together and
play the blues.
[MUSIC]