First move to work on these pentatonics
similar to what we've been doing.
I would recommend putting
a metronome on 2 and 4.
Playing them like that, throwing
an approach pattern in there to mix it up.
I kinda mix the approach patterns up,
as you could hear somewhere.
When you get it under [SOUND] your fingers
[SOUND] and it's kinda working for you.
Start putting on the play along tracks.
Maybe start with the 80 or the 110 BPM,
E minor, modal track because that
gives you just 4.5 minutes with nothing to
worry about but sitting on the E minor.
I'm gonna put it [SOUND]
on that funk track, and
just have a little bit of fun with it.
I'm gonna cut it up a little bit,
so that if I need it,
I have some time to think
about what I'm doing next.
And I'm gonna work a little bit
on phrasing melodically on it.
A little approach pattern
right there at the end.
You notice what I was doing there,
I'm just going.
Just moving up the scale and
playing down it, note by note.
Here the approach pattern is
going by in the middle there.
And I'm not just playing the scale up and
I'm trying to use this collection
of notes to make some shapes.
Everything is legal,
you can't really make a mistake.
Matter of fact,
the easiest way to do these,
is when [SOUND] we get
to the E flat minor.
Now you really can't
make a mistake [SOUND].
You just play on the black notes and
you're good to go.
[SOUND] Cuz that's this
the black notes are a perfect E
flat minor pentatonic scale.
That's how I would practice these,
you might want to start slower,
as I say and give yourself a chance.
Right there what I'm doing,
I'm playing up.
[SOUND] Whatever note I end up on.
I'm playing an approach pattern to it,
let's use the other approach pattern.
That's another way to go.
Put those up, have fun with them,
articulate them as many different
ways as you can think of.
If we're playing on a swing track.
There's our little
voicings that we had.
All of that is
the simplest possible
Point out again that
when I got up to here,
[SOUND] I'm actually playing
the approach pattern, but
I'm so much [SOUND] dropping
that chromatic from below.
It's almost just a ghost note,
puts a little breath in your line.
And practice, let's play ugly for
a minute, just for the heck of it.
Let's accent heavily on the down
beats as our articulation.
Now it's hard for me to even do.
Then break it up at the last minute.
That again is accenting
on every third note.
Keep yourself off balance like that,
and you'll find some really
great ways to phrase.
Part of the vibe of jazz is
what notes we're playing and
of course, a lot of it is the attitude
with which we're playing.
The way that we're kinda making
the line dance with various accents,
dynamics, connecting the dots or
not, that kind of thing.
Work all that sorta thing out while
you're playing these exercises.
At this point, our exercises [SOUND]
can really be very improvisational.
There's merit to just going up [SOUND] and
down the scales like this.
As I've said before,
that gives you an opportunity to think
about everything else about your playing,
other than the actual creation of
the line, lets us focus on our posture.
The way we're holding our hands,
our technique and so forth and so on.
Maybe our fingering but
it's worthwhile to practice in such a way,
that the exercises are at
least somewhat improvised.
Maybe you're just making a choice between
which of the two approach patterns to use.
Right there, I'm mixing them up in there
and that is great for us in so many ways.
It gets that muscle memory going,
it gets us fingering on the fly,
it activates that part of the brain,
that's gonna have to make a lot of
decisions on the fly as we play Jazz.
I'll see you for the next lesson.