We're on to our
last approach pattern.
And we've got three good ones.
We've got the first one we
learned which is chromatic from,
double chromatic from above
to chromatic from below.
We've got the second one we learned
double chromatic from below to note from
And we have the next one which we
learned which was note from above to
Those are the three right back to back.
And the last one as you might imagine is
to double chromatic from above.
depending on where I am in the scale, for
example, if I'm
approaching the A on our C minor.
and you can do it either way, but
I often reach for
the next available scale tone up there.
So that's it, that completes our little
circle of four approach patterns.
There they are approaching the C and
the G, the root and
fifth of whatever chord we're at.
See there I made a choice to instead of
which is actually kind of a nice sound
because it gives you two half step
resolutions down into your target.
That sounds kind of more exotic than it
Let's say we're on a C minor 7 chord.
You hear it all the time and
you might even be playing it without
thinking about it, but, there it is.
So what I would do is take any
tune you're working on and
as a way of getting this in there,
there's our tune up.
Approach the root
in the fifth and then
like that to the third and seventh.
Although since this is a minor six chord,
we wanna be approaching the C sharp.
And then hit the A7,
the next chord in your tune.
as I've said,
That sounds less strange to me than that,
on the other hand,
strange isn't a bad thing in jazz.
And then here's our D major seven chord.
Let's, yeah let's approach it that way.
I'm using the scale tone again,
going to the A
And we want this as part
of our vocabulary too.
You can really make such a great
bebop line, just skipping around
between the approach pattern as I've
illustrated many times in the past.
Work that in.
Get that going with your pentatonic
scales, as we've been doing.
Get it going with your bop scales, and
I'll see you for the next lesson.