A quick lesson here on getting more for
our money out of our approach patterns.
We've been playing them typically going
into the target note on beat one or
beat three which gives
you a sound like this.
one, two, three, four, one, two, three,
four, one, two, three, four, one.
And that's kind of a characteristic sound.
The other side we can do it on, though,
is to approach our target
note on beats two or
four, and that's kind of a different head.
The approach pattern falls in
a different place in the bar.
And what I'd like to do
is just kinda introduce
the concept of offsetting
those in a way or instead of
stitching things together with our
playing five notes of the scale and
then the approach pattern.
Let's try putting a couple
approach patterns together and
see how that kind of offsets our line.
You can hear that, right away,
we've broken up what's
a very regular pattern and
created a line that's got
a lot more contour to it,
that's going more different directions.
This kind of thing.
So I'm gonna put up our,
let's use the 2, 5, 1 track to D.
And we're gonna play it
at 110 beats per minute.
And I'm just gonna illustrate this concept
a little bit as we play some fluid lines,
some longer lines.
You can hear
the approach pattern
happening at different
places in the bar there.
Let's play back so
we're doing it on target note,
beat one and three again, just so
we can remember what that sounded like.
gonna do it
to beats two and
back up now.
The idea with that is that
we can create a very different feel
just by displacing the approach
patterns by just one beat and
approaching the note on two and
four rather than approaching
the target note on one and three.
So, we'll continue on,
we're gonna study the bop scales
in our two five to C major next.