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Jazz Piano Lessons: Practicing Pentatonics Using Approach Patterns

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[MUSIC]
Let's take a look at integrating
our approach patterns
into the pentatonics.
It's a very simple thing,
falls right under your fingers.
Again, it requires you to finger
on the fly a little bit, but
our good old fingering of four,
three, one, two.
Four, three, one, two.
Four, three, one, two, one,
I guess I would use on that.
But, you're gonna need to
kind of find these as you go.
Because now, we're trying to
address five different notes,
coming from other different notes.
I mean, you can even,
you can make a line
[MUSIC].
Something like that.
I'm just approaching two
notes in our pentatonic.
[MUSIC]
Another way to do it.
And so far I think we're just
working with that approach pattern.
Let's play up the scale and
insert our approach pattern after
five notes of the pentatonic as
we were doing with our bop scale.
And that would sound like this.
[SOUND] One, two.
One, two, three, four.
[MUSIC]
Now to
the minor six,
and let's start
from a different degree.
Let's start from the four.
[MUSIC]
Three
four,
[MUSIC].
Pretty simple stuff there.
Again, it sure sounds
like a jazz line to me.
And as we accumulate more approach
patterns, it's gonna start to get more and
more variety in it.
It's a way of practicing that you can
put a bunch of stuff under your fingers
that doesn't require your A brain
just to execute the mechanics of it.
And this freeze up our
A brain to think melodically,
to think about where we
want the line to go.
And so [SOUND] again, it's not a thing
of getting rote playing under there,
rather, having the feel of these things
under there, so that they come to
you as you're improvising as like a macro,
as a sequence of notes rather than
something where you have to [SOUND]
from note to note, you're calculating.
You're never gonna play like that.
So that's why we're burning these in,
in this way.
Have fun with that.
Articulate it in a bunch
of different ways.
Maybe when you first
start out your practice,
you're playing,
[MUSIC],
you're getting the muscles going by
playing nice and strong and
consistent like that.
As we practice again,
we're trying to keep the time consistent,
even if we're accenting some and
basically dropping others.
So that's how we're gonna
practice the pentatonics.
Next step is to put these
things on the blues.
[MUSIC]