- Chord tones (Phil Mann) — 50m
- Major triads in all inversions around the cycle of 4ths, note names out loud (40bpm), silently (60bpm)
- Minor triads in all inversions around the cycle of 4ths, same. Playing enharmonic sharp keys instead of Ab-, Db- and Gb-
- Break
- Walking bass lines (Scott Devine) — 30m
- Static dominant chord lines (two octave major scales with b7, ascending on one chord and descending on the next one), around the cycle of 4ths
- Major & minor ii — V — I patterns in G- recap
- Autumn Leaves in D- — adapting ii — V — I patterns from G-
Observations
Because Phil in his lessons always emphasises the importance of “not viewing chord tones as shapes”, I was having hard time accepting Scott’s patternistic approach to ii — V — I patterns that are transposed very easily if you remember the shape & fingering. I had to somehow reconcile these two approaches (i. e. viewing arpeggio as a stack of intervals and viewing a walking line pattern as a shape), but at the end I think I’ve found the balance: when taking the ii — V — I shape to another key, first think about how it is constructed in terms of scale degrees / chords tones, and then apply the usual fingering. Also using open strings helps to get of out comfort zone (i. e. G- major ii — V — I pattern in D-).
Black Hole Piano 