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Jazz Piano Lessons: Putting it All Together Using “Tune Up”

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[MUSIC]
Let's tie a bunch of things
together at this point, cuz we have
quite an array of ways to go on tune up.
We have our natural bop scales which we're
gonna keep on the minors and the majors.
We now have the addition of an altered
sound on our dominant chord,
on our five chords.
We have the approach patterns going,
we have pentatonics going on this,
and we have chord melody stuff we can do,
we have our arpeggiated triads.
[MUSIC]
So what I'm gonna do here is start kind of
at the beginning with the things
that we started to acquire,
the tools that we started to
acquire on each of these things.
Play a little representative
chorus maybe with each one.
And then I'm gonna tie it together, and
you can hear that we really have
enough going on this song at this
point to make some really cool
music that's unique to us.
I gonna put up the track,
tune up at 110 beats per minute.
Gonna start with.
[MUSIC]
With some stuff in the natural world,
as far as our seventh chords go.
And mix in some approach patterns there,
and we'll just see where we go.
Let's start with just our simple,
straight up bop scales with
the natural tensions and
extensions rather than the altered
[MUSIC]
simple E minor to A seven bop scale with
a little approach pattern hinge in it
[MUSIC].
There's a little variation
on a approach pattern.
[MUSIC]
There's our
13th voicing right there.
[MUSIC]
Two different approach
patterns right there, one and two.
[MUSIC]
Double chromatic from
below to note from above.
[MUSIC]
There was our third
approach pattern.
[MUSIC]
Approach pattern one.
[MUSIC]
Bop scale with
approach patterns.
Nothing more than that in there.
[MUSIC]
Let's
start using our
altered seventh
scales in here.
[MUSIC]
There was the altered scale with a nice
little approach pattern turn around on it.
[MUSIC]
Little fragment of our G altered seventh
scale.
[MUSIC]
Down and back up with our F altered bop
scale, and then a nice little
turnaround using an approach pattern.
[MUSIC]
Again
the altered
[MUSIC]
two approach
patterns right in
a row right there.
[MUSIC]
Little shave of a F altered bop scale
there, and then the approach pattern
takes us right to the third of the chord.
That's always nice.
Let's get our left hand going now on
these altered scales
[MUSIC]
D minor nine, our altered voicing.
[MUSIC]
One of my favorite Freddie Hubbard
licks right there.
C minor nine.
[MUSIC]
A little
Victorian approach
pattern in there.
[MUSIC]
Altered
voicing.
[MUSIC]
That one right there makes its
own little approach pattern,
cuz you're coming down on a double
chromatic from above in any case.
13th voicing.
E minor 9.
[MUSIC]
We gonna go with that little
half step thing there.
[MUSIC]
There was an approach pattern kind of
broken up into quarter notes.
[MUSIC]
Two approach patterns right in
a row there that hook us really nice and
naturally right into the next
[MUSIC]
A chord tone of the next chord.
We're gonna continue on.
I'm gonna start this up and
we're gonna go with more of the resources
that we had developed on tune up so far.
[MUSIC]
[MUSIC]
There's a few more things that I wanted to
illustrate on tune up before we move on.
My track pooped out on me
before I could get to them.
But, they're some of my favorite
things because One of them especially,
which is our arpeggiated triads idea,
really opens up the keyboard.
It kinda just let's you
expand your universe,
let's you get from one side to the other.
[MUSIC]
And it gets up there, and
at the same time that it's doing that,
giving you more sweep, and so
forth, it also adds a nice harmonic
color to what we're doing.
Let's quickly review what
those would be on tune up,
and on the A7 altered,
we would have a G flat triad or
an F triad And you can even go
[MUSIC]
up with the G flat down with the F On
the G7 altered chord they
would be similarly an E triad,
which has the really
nice feature of giving
you an altered tension and
a natural tension.
That's part of what gives that
one that unique, suspended sound.
It's also a straight shot.
Everything is a chromatic
resolution downward.
So that one has a particularly
powerful leverage for me.
And then the nice dark one.
[MUSIC]
Sometimes you'll be watching a movie or
something and you'll hear just
that chord go by, it's so nice.
That's the E flat triad
over the the G seven.
We're gonna work on these as our two
handed voicing lesson, coming up next
when we get to the two handed
harmony on the F altered.
Seventh chord.
Those same two chords.
It's always degrees six major triad and
degree flat six major triad.
So that would give us the D triad and
the D Flat triad.
[MUSIC]
And then we resolve to B Flat.
We also haven't quite yet hit our,
[MUSIC].
These things are kind of gospel
triad ideas, and then I'm just
going to comp quickly with my right hand,
[MUSIC],
the same voicings that we've already
learned which is a really nice way to go,
it doesn't really always need to be
[MUSIC].
Often it's a beautiful thing to just be
down in there feeding little ideas to
the soloist, feeding harmony to
the soloist, if you're patient.
And by way of that,
I encourage you to get a record called
Miles Davis at the Plugged Nickel.
It's actually a six CD box set.
And it's the most amazing document
of the most amazing band.
What Herbie does in there, and he didn't
always do this through all the eras in
which he played in Miles' band, but almost
to a fault, when Miles is blowing and
when Wayne Shorter is blowing,
Herbie isn't playing anything.
He's often sitting there waiting,
they'll finish their phrase,
Herbie will play a little
something that's a combination of
a response to what they played and
a little pointer.
How about this.
But he's always in the hold,
which is a really interesting thing.
The most spacious jazz record
I think I've ever heard.
But for now,
we're gonna sit low with our voicings.
We're gonna make these
things down in here.
I'm gonna basically play what we've
been discussing about by way of three
note voicings with my right hand.
I often kind of punctuate
briefly with my left.
More as an anchor than as something
that I mean for the audience to hear.
Again, the bass player's gonna come
after you if you're too busy down there.
Let's start this up.
I'm gonna play a little bit and then I'm
gonna get into our arpeggiated triads,
and I'll talk about it as I go.
[MUSIC]
One, two, three, four.
[MUSIC]
There's our little altered sound.
[MUSIC]
I played a little natural
two altered thing there.
[MUSIC]
Let's
go with our
arpeggiated triads.
[MUSIC]
That was the G flat over A.
[MUSIC]
Couldn't be simpler.
Just the notes in the triad and
away you go.
[MUSIC]
There they are as kind of a triplet.
[MUSIC]
There's a really
nice way to play the F
triad on top of our
A 7 altered
[MUSIC],
just arpeggiating
a C triad coming down
[MUSIC].
There I put the F triad on top of our B
flat major seven chord as we discussed.
[MUSIC]
started
with the F triad.
Went to the G flat triad.
[MUSIC]
Ran a big piece of E flat triad,
then ended up on my G altered bop scale.
[MUSIC]
Now I'm starting to get
into the McCoy Tyner thing.
[MUSIC]
The fifths on the bottom is
a classic McCoy move.
[MUSIC]
Bit of A altered bop scale.
[MUSIC]
Straight up E triad over our G7 chord.
[MUSIC]
Let's comp
a little bit here.
[MUSIC]
Here
we have those
triads.
[MUSIC]
Simple triadic
harmony moving diatonically.
[MUSIC]
So altered there.
[MUSIC]
Again
simple triadic
movement.
[MUSIC]
Chromatic alteration.
[MUSIC]
[INAUDIBLE] Just up and down.
[MUSIC]
Theres our 13 voicing.
Put in a little there on our F7.
[MUSIC]
13 voicing.
[MUSIC]
And there's a couple lessons
worth of putting this stuff together.
Sitting on these tracks is really,
it's such a fun way to practice,
because you really,
you get to work it against a groove,
rather than just against a metronome,
although that has a lot of value too.
Next up, some ear training.
I'll see you for that.
[MUSIC]