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Jazz Piano Lessons: Putting it All Together Playing on the I-VI-II-V

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[MUSIC]
Lets just take a quick listen
through to the chords we're working with.
On our one, six, two, five in B flat.
Here's the major.
[SOUND] That's the one chord.
[SOUND] Here's our six chord,
G seven altered.
[SOUND] C minor seven, [SOUND] F13.
[MUSIC]
Let's start by
getting our bop scales
going a fragment at a time.
I'm gonna start on the five of the B flat.
[MUSIC]
Then I played nothing but
bop scales in there.
[MUSIC]
And
I'm just gonna
go ahead
[MUSIC].
All I did there,
I started with the B flat.
As I went down, and figured out
that now I'm on the next chord,
I just went right with the scale.
Let's look at that again.
If I can do it again.
[MUSIC]
And here
[MUSIC].
That's an interesting way to do it.
Let's see if we can do
that from a third higher.
[MUSIC]
I kinda ran into trouble there cuz I,
the scale was gonna need to take a little
jump to get us on to the C minor seven, so
I just played a little approach
pattern to get myself reoriented.
Now let's work in some pentatonics and
sprinkle some approach
patterns in there as well.
[MUSIC]
You can see that I skipped a note and
just went ahead and went with a approach
pattern to put myself on target.
Let's do a more extreme version of that.
[MUSIC]
Go right up there,
just bail yourself out.
[MUSIC]
Pentatonics coming down
maybe, let's take a look.
[MUSIC]
Again, I didn't wanna end on
an E flat, didn't want that.
And I could see it
coming kind of,
so
[MUSIC].
Nothing but approach patterns in there.
[MUSIC]
Nothing but
approach patterns in there, either.
Lets arpeggiate some triads in here.
[MUSIC]
What I did there,
there's our B flat,
I used the E flat.
[MUSIC]
And
there we have a little interesting thing.
What I did there,
I used the D upper structure triad, and
since it works both on a C seven chord and
an F seven chord, check it out.
[MUSIC]
I go.
[MUSIC]
Let's do use the upper structure triads
arpeggiated to give our
line a real big sweep here.
[MUSIC]
There we have
an interesting thing.
Take a look at the upper structure
triads I used in that one.
It's a real simple idea.
F over a B flat, E over our G altered,
D flat over our C minor and
D over our F seven, and all I'm doing,
it's just a variant on an exercise that
you may have done when you were seven.
You arpeggiate the triads.
[MUSIC]
And boy, do you sound hip for
next to nothing because
[SOUND] just by breaking them up.
If you want, practice those like this.
[MUSIC]
Just triads is all that is but
it puts really cool
notes above your chord,
makes people wonder what
the heck is going on there.
And as I've mentioned before I love the
fact that when you play these triads they
kind of rotate around
between what's on the beat.
Look at this one for example.
There's our D triad over F seven.
When I play it,
[MUSIC].
Okay there is a tension on the beat,
there's a tension on the beat,
there's a chord tone on the beat.
And since it's kind of rotating
around between putting a tension or
a chord tone on the beat, it refreshes
itself in a way that's kind of cool.
[MUSIC]
That's our G flat triad over A7.
So, we've got it going on now
on these one, six, two, fives.
There's a PDF available of everything
I just played if you want to kind of
follow along and see the logic in there.
I'll see you for the next lesson.
[MUSIC]