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
 ≡ 
+Music
 ≡ 
Video Exchange Archive
 ≡ 
«Prev of Next»

Jazz Piano Lessons: Practicing All the New Scales on a 1-1-2 II-V-I

Video Exchanges () Submit a Video Lesson Resources () This lesson calls for a video submission
Study Materials Music Theory Quizzes
Lesson Specific Downloads
Play Along Tracks
Tools for All Lessons +
Metronome
Collaborations for
Submit a video for   

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

Join Now

Information
 ≡ 
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.
X
Log In
X
[MUSIC]
Last stop before we're ready
to play on the entire tune tune up.
We've been playing our 2 5
1's with 2 bars of C minor,
2 bars of the 2 minor,
2 bars of the 5 and 4 bars of the 1.
The actual song Tune Up just has
one bar each of the minor chord,
the dominant chord, and
then 2 bars of the major 7.
So at this point,
we're gonna get into that.
We're gonna use a different
play along track.
We're gonna use 2, 5, to B flat, 1,
1, 2, which means a bar each of the first
2 chords and 2 bars of the second.
And I'm gonna play it at a 110 BPM.
It takes a little bit more navigating to
do this cuz you can't surf along on one
chord for two bars and
then hit the next one.
But you'll see how it kind of
is glued together as I play.
One, two, three, four.
[MUSIC]
There's
our C minor.
There's our F7.
There's our B flat.
[MUSIC]
Hear how I'm using the approach
patterns to hinge this together?
[MUSIC]
You can always connect your dots,
connect the chords by
playing an approach pattern,
to a chord tone, right on the downbeat
when you make the change.
[MUSIC]
Right
there I
did a little
[MUSIC]
If we
listen to
what I
did right
there.
[MUSIC]
A nice wide skip.
The approach pattern
has its own integrity.
It doesn't really matter where
you're coming from when you hit it.
It shapes you right up and
puts you right on the note.
That line could just as easily have been
[MUSIC]
or
[MUSIC].
Any of those, you can really skip around a
lot like that, as we've experimented with,
the approach patterns just in themselves
can make for a lot of interesting shapes.
[MUSIC]
Almost entirely
the two approach patterns
we've learned there.
Play this, have fun with it,
work on it also on the 2, 5,
to D and the 2, 5, to C and
we're ready to play Tune Up.
[MUSIC]