Time for our third approach pattern.
We've got four of these coming,
we have two of them,
the two that I started with [SOUND],
are to me kind of the most interesting
ones because they put a little,
they put some tension on the beat and
then resolved it on the following
beat which is kind of a cool thing.
This third one that we're going to look
at in a lot ways, is the easiest one.
We've done so far [SOUND] double chromatic
from above to chromatic from below,
and we've done the opposite of that,
double chromatic [SOUND] from
below to scale tone from above.
This one is
note from above.
You can also do chromatic
I kinda tend to go with the scale
tone from above [SOUND],
to double chromatic from below.
Classic Bebop world.
That kind of thing, you hear it all
the time at the end of Bbop lines.
If you check out Dizzy Gillespie,
you definitely listen to Clifford Brown.
If you aren't hip to Clifford Brown,
he's like a walking compendium of
what we're talking about here.
You find the bop scales all over in
there and the cleanness of the lines and
the clarity and just the beautiful time.
Everything about what he does, it's
really kind of flawless Bebop playing.
So let's kinda work with
this little approach
pattern, now, we'll work into it,
let's approach the root in the fifth of,
let's say C minor seven.
And then the third and the seventh
two three, one two three.
Same ideas we've been doing,
the reason that I'm approaching the third,
the root and the fifth, and then the third
and the seventh, is it's a little bit
easier to visualize these [SOUND] if
you're just playing straight up the chord.
We have to think just a little bit more,
if we're skipping a chord degree,
also it gives us a little bit more
space in which to execute the thing.
We can also practice these,
though, like this.
Approaching every single scale degree,
when we start to practice this,
get it under your fingers.
It's a well known [SOUND] turnaround
mechanism, especially to the third.
We hear that kind of thing all the time
and once, we have this worked in,
when we're practicing, for
example our pentatonic scales,
when we come to anything
in which we're inserting
an approach pattern into it,
like our Bebop scale.
Go ahead and mix this in.
Do a Bebop scale with just this
approach pattern and work on,
[SOUND] we've actually got
quite a catalog of chords now.
That we've worked on, we have the in
sync sound under our fingers,
[SOUND] go ahead and
do a pass working the exercise like that.
You may notice that I don't
think I fingered that twice,
the same way at all but
I have enough options and
enough experience getting at these
things so that I can play it fluidly.
Something that we're working
on as we work on this stuff.
So, play it like that then start mixing
them up, we might have a line that goes.
That, you know,
there's a lot of Bebop
information in there.
It's kind of repetitive in that
we're doing five and three.
Five and three, five and three,
but the shapes are different.
Let's mix it up a little bit now and
instead of having our approach pattern
stick on one, the target note on one,
let's have it on beat three instead.
And the way I'm gonna do that is I'm
gonna play [SOUND], then I'm gonna go,
[SOUND] approach pattern.
And then I'm gonna do another approach
pattern, right of the bat and
that'll offset us.
Have fun with it, with things like that
you can make really nice convoluted lines.
Nobody is gonna have any idea what
you're doing, but it sounds right.
Play that on every one of the scales
[SOUND] we've worked on [SOUND],
including the pentatonics.
Because, a lot of the most interesting
shapes come from getting that nice sweep
that the pentatonic affords,
the additional terrain that you cover.
And then, closing the gap playing
this nice little turn around and
then your back on your bicycle.
That kind of thing,
you might have noticed a real awkward
little skip in there in the middle.
We get to it with the fingers we've got.
I'll see you for the next lesson.