Now we are at
And at this point you are probably
getting to the point you have right
at your disposal a whole bunch of
things that are ready to roll.
Stuff that as I've put it, it's kind
of like a macro when you play it.
We don't have to think note-to-note
about what's going on.
We can just lay in a thing and direct the
action with our, is it our right brain?
Whatever the creative brain is.
Things are getting ever more interesting
now that we get to this level.
We start to get to some pretty
sophisticated jazz stuff.
And really the thrust of it is
that we're getting to where,
rather than just surfing the wave
as it's given straight down,
we're gonna start really taking
advantage of the contours of it.
And we're gonna create more tension
which equals a more satisfying release.
Maybe we're surfing sideways on the thing,
we get in the tube, we squirt out of
the tube, and we go the other way.
This is the dynamic of jazz that
makes it so fun to play and and so
fun to listen to.
We're gonna continue to
evolve our technique.
What we've been doing so
far is kind of based on up and
down the scale although we're throwing
a lot of new shapes in there too.
But we're gonna take our technique and
evolve it into something
where we start to see a whole array
of different kinds of shapes.
And we're using the scales but
we're breaking them up in
really interesting ways.
Which is also really good for
helping develop your fingering and
your ability to think on the fly
about getting your fingers in position
to do whatever it is that you can hear.
You'll notice that as we've been
evolving with these lessons,
more and more our exercises
are improvised exercises.
I've tried designing right
since the very first lesson, so
that you can play them on our play-along
tracks and they sound like music.
It's a musical experience,
not just grinding through the exercises.
The exercises at this point involve
a fair amount of improvising.
If you want, you, for example,
will choose a new approach pattern every
time we come to that spot in the exercise.
The way that we're practicing
our pentatonics too,
is something that sounds really like jazz.
It's almost like the exercises can be
directly imported into your lines,
which is what we're after.
We're really sounding like a pro with our
soloing and our two handed comping now.
Our time continues to evolve,
our ear keeps getting better and better.
We're starting to introduce the five and
six note voicings that we
recognize as jazz chords for
lack of a better way to put it.
And we're going to discuss
what the logic is behind them.
Why would we put that there?
Why does it sound cool?
And so forth, so
you're going to get a really solid
theoretical underpinning about why.
And what is it about that thing
that makes everybody love that?
And they've loved it since Billy Strayhorn
first put it, you know, on Satin Doll.
We're gonna get,
in this level, to the one, six,
two five progression which is
the master code of playing jazz tunes.
If you can play on that in any key you're
pretty much good on any standard, and
we're gonna start working out on that.
It covers all of the major chord types,
so we're really hitting the gas here,
and I'm eager to show you these
things because this is really like
when you get on the big roller
coaster with the double loops.
It's really the fun part.
And I'll see you there.