We have the tools we need
to play a really nice solo
on our two fives now to D.
And the E minor 7, A7 to D.
It's important to remember
as we work on these.
This is kind of some old school knowledge.
It's not something that is on
the radio that much anymore,
this kind of progression.
But we are gonna take
the principals of this and
we're gonna use it to create some
really cool, very sophisticated lines,
so mastery of the two fives
is really an important skill.
What we're gonna do by way of
starting to get these things
integrated into that progression is,
we're gonna play something
that we've got under our
fingers like the Bop scale.
We're gonna try to create a little
bit of a phrase out of it and
then, when we get to the next chord
we're going to hinge it together
by playing one of our approach patterns
to a chord tone of the next chord.
This is gonna
be the expanded two fives.
These are two bars of E minor 7,
two bars of A7, four bars of D.
One thing that I have to say
about these approach patterns,
is that sometimes you can get so deep
into what you're doing that you're kind
of writing a check that
you can't cash at the end,
you can always bail out with
an approach pattern to a cord tone.
It doesn't matter how, it's
you're always back on a chord tone, and
ready to play in sync from there.
As long as you land on a chord
tone with those things, and
all the approach patterns are designed
to approach a chord tone,
you're positioned to do
whatever you want to do.
And having that knowledge
that the process of
putting your playing in sync
is now a habit of yours.
Boy is that a liberating thing.
Now, you're really just,
you're the director.
You're like the commodore
of your improvisation.
Rather than the guy in the bilge,
bail in the water and
making the thing go and so forth.
So, let's play a little bit
on the two five to one track.
This again is the two, two, four track.
To D major 7 and
we're gonna play a scale fragment.
That kind of thing,
we're gonna play some
little melodies out of it.
And, for the time being, let's hinge
it together with our approach patterns.
There's something I've been
meaning to mention as well.
probably right around John Coltrane.
There came into the jazz
vocabulary a little thing of
[SOUND] except you don't
really hear that third note.
I'm actually playing it very,
very quietly, you'll hear that go by
a lot in my playing, it's a nice little
way to put just the tiniest bit of
breath in your line so it's not.
you can hear that it gives
a little lilt to it.
Little bit of a break to it.
And that's a very good use of that
first approach pattern we learned,
the double chromatic from above
to the chromatic from below.
Gonna put up this two five track, and
check out the way that
I'm hinging it together.
I'm gonna use at this point only the Bop
scales because that's where we're at and
let's start the track.
really hinge into
the next chord
with the approach
You heard that at the end of each chord,
at the end of its two bars or
its four bars,
I'm using an approach pattern
to get to the next chord.
Again, anytime that you feel like you
need more space to get where your
going either slow the track down.
This one is the one at 140 bpm.
You could just as easily be
doing this on the one at 80 bpm.
I'm gonna play a little
bit of that in a second.
Or, as I've mentioned,
we've got two bars to work with here.
Three, four, one, two,
three, four, one, two.
You've got plenty of time to figure out
what you're doing and where you're going.
So, go ahead and space it out.
Let's go down to the ADBPM track now, and
see what this sounds like if
we're really taking our time.
[SOUND] Two [SOUND] One, [SOUND] two,
[SOUND] three, [SOUND] four.
us a lot
So, that's how I would get these going.
We're gonna take a look at the next few
bop scales we need to play tune up, we
already know a number of them now because
of the blues that we've been playing.
Then, we're going to take a quick
look at our pentatonics on these and
some different ways to use those and
we'll be playing the tune.