This is a public version of the members-only Jazz Piano With George Whitty, at ArtistWorks. Functionality is limited, but CLICK HERE for full access if you’re ready to take your playing to the next level.

These lessons are available only to members of Jazz Piano With George Whitty.
Join Now

Quickstart Guide to Jazz Piano
Level 1
Level 2
Level 3
Level 4
Level 5
30 Day Challenge
Electric Piano & Keyboard Concepts
«Prev of Next»

Jazz Piano Lessons: Approach Pattern 2

Lesson Video Exchanges () submit video Submit a Video Lesson Study Materials () This lesson calls for a video submission
Study Materials Quizzes
information below Close
information below
Lesson Specific Downloads
Play Along Tracks
Backing Tracks +
Written Materials +

+Level 1

+Level 2

+Level 3

+Level 4

+Level 5

Additional Materials +
resource information below Close
Collaborations for
resource information below Close
Submit a video for   
Jazz Piano

This video lesson is available only to members of
Jazz Piano With George Whitty.

Join Now

information below Close
Course Description

This page contains a transcription of a video lesson from Jazz Piano With George Whitty. This is only a preview of what you get when you take Jazz Piano Lessons at ArtistWorks. The transcription is only one of the valuable tools we provide our online members. Sign up today for unlimited access to all lessons, plus submit videos to your teacher for personal feedback on your playing.

CLICK HERE for full access.
We've gotten a lot of mileage out
of our first approach pattern.
Again, there are four of these.
Let's move on now and
add in a second approach pattern,
which will really add a lot
of variety to our lines.
The idea is very similar.
We have a target note that's a chord tone,
we're going to approach it with three
notes, and then hit the target note.
The new one is double chromatic from
below, to scale tone from above.
So, let's go to our F7 chord
approaching the tonic here, the F,
it would be double chromatic from below.
Which means E flat, E, and
then to the scale tone from above,
which is G.
Going to the A it would be, G,
G sharp to the scale tone,
which is the B flat, and then
and on up like that.
Let's look at it just
on a different chord.
Let's take it on A7.
Again double chromatic from below.
To the scale tone from above.
And then.
And that's
a look at our next
approach pattern.
Once you start mixing these up, if you
just take these two approach patterns.
Lets maybe go on a C minor 7 now.
And I'm just gonna play with
these things for a second,
just to illustrate the potentials
that there are for
lines without any additional information,
just the two approach patterns.
Something like that.
Yeah, that already sounds like
a pretty sophisticated line, and
it's nothing more than these two approach
patterns stuck together like that.
So our philosophy when we practice these.
We now have 6 dominant chords,
we have the F7,
B flat 7, C7, A, E7, A7 and B7.
Let's do the same thing
that we've been doing.
We had been working our approach
pattern to the root and fifth.
That was our first approach pattern.
Let's do it now with our
second approach pattern.
And again,
I'm fingering
this stuff on the fly.
What I chose to do there on the way down,
is a little more difficult
than on the way up.
I'm basically taking one,
two, four, three.
One, two, four, three.
One, two, four, three.
One, two, four, three.
And, going to the third, and
seventh of our E7th chord.
I'm gonna do something like that.
Two, one, four, two, and
then I can cross under here with my thumb.
One, two, four, one.
Once again,
we would have our metronome going.
[NOISE] Two, three.
There, you might
notice that I was accenting.
What I'm actually doing is
accenting every third note.
If I accent every second note,
it sounds like this.
But by accenting every third note,
I'm finding that I'm working my ability
to accent wherever I want it and
I'm also kind of forcing myself to accent
with different fingers every bar.
That kind
of thing.
So this is how we're going to practice
burning in these approach patterns.
Add this to your daily practice schedule
and take the chords that we've done,
which at this point as I've mentioned
are those six dominant chords.
And we have a couple of minor chords,
F sharp minor and G minor,
that we've been working on as well.
And just approach all
the notes in those chords.
on G minor 7.
Approach those.
You're gonna need to kind of figure
out the fingering as you go.
Something that works for you.
It's almost never starts
with the thumb for me.
you can see that I'm doing
kind of an awkward thing here.
Two, three,
one, four, one.
Two, one, four, two.
Three, one, four, one.
Getting fluid at this,
really prepares you to be able to finger
whatever you're gonna need
to finger on the fly.
Practice the approach pattern
in there like that and
then, let's go back to our F7 chord.
And let's do our exercise where we
play five notes of the bop scale, and
then we integrate the new
approach pattern.
And then,
when you've done that,
on approaching the root and
fifth is the first one.
And then the third and seventh.
When you're done with that, the more you
can do that on all of
the chords we've worked on,
the more facility you're gonna have and
the less you're gonna
have to think about it.
After that, let's put them onto
the pentatonic scales as we've been doing.
You can hear
the approach pattern
going by as we go
through those.
So, this is kinda where some
of the hard work begins.
But this thing really gives you
a 50% more hinge material to work.
And some of the stuff that I've
been playing as I've been working
through these, it starts to
sound a little bit similar and
a lot of that is because [SOUND]
we're hearing [SOUND] as opposed to
That line just has a lot
more contour to it.
So adding the second of our approach
patterns here expands our vocabulary, and
makes things a lot less similar sounding
from bar to bar than they have been.
Burn those in and
I will see you for the next lesson.