We took a look at our first approach
pattern going to these different
notes of our bop scales [SOUND],
which is double chromatic from
above to chromatic from below.
Let's do the next one now, the second
approach pattern we learned was double
chromatic from below [SOUND]
to scale tone from above.
[SOUND] And on our A seven,
let's go like that since our scale now
includes this instead of this.
[SOUND] Let's go ahead and
it would be like that.
So, the full exercise then
with this approach pattern.
like that down
to D major.
Going to C major.
Again, those are the altered notes.
And then our last one
would be to B flat major.
let's go to the third this time.
And our last approach pattern,
let's just do this one on the B flat.
Was scale [SOUND] tone from above,
to double chromatic from below.
So, on C minor
going to the tonic
F seven, but altered.
And again, that's the scale tone there.
And that's working all
three of our approach patterns.
When you get them all working,
try mixing them up.
Going E minor to A seven again,
here let's say.
There was our first pattern on the bottom.
Our second approach pattern on the top.
mix them up in there, and
we're improvising our exercises again.
This is a little bit different than
strictly practicing your technique,
because again, I think there's a lot
of value to practicing our technique
without worrying about
the notes we're going to play.
And in this situation,
we're definitely spending a good part of
our brain power figuring out what notes
we're going to play and
what fingerings we're gonna use on these.
So let's move on.
Let's work on an approach to
getting these things where we can
work with them, where they fall
naturally under our fingers.
We want to get our approach
patterns built in there.
Part of what I like about practicing in
the way that we're going to do these,
it's a variation, it's actually
kind of what we've been doing.
If you just
run the scale.
Or if you just do the approach patterns.
That's something that you can kinda put on
autopilot and you're thinking about
what's for dinner and so forth.
If we mix these up in this way,
it activates a lot more of the part of our
brain that goes to work when we play jazz.
So, let's put the two five one track up,
two five one to D major.
The two, two, four.
So we're getting two bars of each
of these and four bars of that.
And I'm gonna show you a couple different
ways that I would practice these.
Just gonna play the scale up a little bit
here to get us going a bar at a time.
Go to this
third degree there of each chord.
Now we're gonna
start from the fifth, B minor.
Fifth on A altered seven.
Now, we're gonna add in an approach
pattern at the beginning and
the end of a five note fragment.
There we are going
to the tonics of each
of these things.
Now to the thirds.
going to the fifths now.
that's how we'll
You could also do our standard issue
approach tone thing to these scales, but
it's not really gonna be different
from the ones that we've done.
So, I think it's best if we kind of
mix in the approach patterns that way.
Play it on as slow a backing
track as you need to play it on.
Or put the metronome on two and four.
And that's how we're gonna use these.
We're gonna use them in place in
of the A seven, the G seven, and
the C seven, on these extended two fives.
And then we're gonna cut it down to where
we're working on the regular two, fives,
the ones that have one bar of E minor,
one bar of A seven, and
one bar of D major seven.
And after we're done with that,
we're gonna be ready to play tune-up.
So, let's get ready, work on these,
and I'll see you for the next lesson.