Let's put a bunch of this
stuff together now on
our extended two fives.
What I'm gonna do is,
I'm going to play our G mi,
our two five to C major,
D minor seven to G seven to C.
And I'm going to try to use everything
that we've talked about so far.
First, isolated, so
that we can hear what it is.
And then I'm going to go ahead and
start mixing it up.
The tools that we have
available at this time.
Let's remember to think
melodically as we play.
We're not just here to.
We might do a little bit of that.
See if you can make some
phrases out of this stuff.
Make little hooks.
And follow up on them like that.
Some of our motivic playing,
which applies no matter what
technique we're putting on the chord.
We're gonna play the bop
scales alone a little bit,
we're gonna play the approach
patterns alone for a pass of this.
We're gonna play the pentatonics alone.
We have our arpeggiated triads.
Again, on the G seventh that would
be an E triad and an E flat triad.
We're gonna play some motivic figures.
That maybe aren't directly
derived from one of our scales.
Then we're going to start to play our bop
scales with the approach pattern hinges,
same thing with the pentatonic scales.
And we have a really,
a wealth of resources to draw from here.
So I'm going to show each
of ' in isolation, and
then I'm going to start mixing
them up into just a solo.
What we're gonna do, the track is
D minor seven to G seven to C.
And I'm using the two, two,
four, so that we're getting two
bars of each of these first chords,
four bars of the last chord.
That gives us plenty of time to
get our feet under us with
each of these techniques.
Let's fire it up and see where we go.
There's very little other
information in there.
Let's start working with just
our approach patterns now.
And I'm gonna space them out to start, and
then I'm gonna kind of glue them
a little bit more together as we go.
You can hear
up a little
That kind of thing on the pentatonic.
It's all the same notes, I'm just
kinda reordering them a little bit.
of a arpeggiated triad.
Let's continue here,
I'm gonna go with the arpeggiated triads,
mix those up with a little bit of
approach patterns to stitch it together.
Two, one, two, three, four.
That's the E triad there
that I was playing.
out with a little
approach pattern there
to get out of that one.
pattern go by.
Now let's go ahead and
go with a little bit of
a look at a lot
of the stuff
all along put
I was just getting ready to go
nuts on it and mix everything up.
You'll find that as these tools get under
your fingers, It's really more a matter of
directing, as I've said,
than trying to bring something in and
trying to think of what goes next and
how you would finger it.
It's more of an open thing
where you hear a shape.
You kinda know how you're gonna get at it,
and away you go.
If you can sing with what you're playing,
as I've said, especially at these very
slow tempos, it's a really great exercise
to sing along with what you're playing.
It works on your ear.
It gets you to phrase more
naturally because as you need to
take a breath in your singing you
also take a breath with your playing.
So have fun with this.
That was our extended two fives.
Go ahead, and when you're ready
cut that down to be the one bar,
one bar, two bar, two fives.
And do those E minor seven to A seven
to D, D minor seven, G seven, C.
And C minor seven, F seven, B flat.
Cuz that prepares you to burn out
on tune up when the time comes.
I'll see you for the next lesson.