- Chord tones (Phil Mann) — 40m
- Major triads in all inversions without stopping around the cycle, saying all notes out loud (44bpm eighth triplets), silently (70bpm eighth triplets)
- Minor triads in all inversions — same, slightly slower
- Walking bass lines (Scott Devine) — 50m
- Ghost notes (above, below, open string upright style)
- Break
- Major & minor ii — V — I patterns recap: all major and all minor shapes over Autumn Leaves in G-
- Trying out ghost notes in context
Observations
For the first time in a long while I had the same degree of engagement while practicing as I have when I’m producing music or playing bass or piano in a band. When the timer went off, I was like, NO, DUDE, I want more! I haven’t yet played Autumn Leaves in D-! You know what I mean? For the most part, my bass routine (piano is the different story) was like that: play the scales, walk over jazz standard, do some modal exercises, okay, time’s up, done. It was good, but not as engaging as creative processes are when you get in the state of flow and forget about time completely. This is what happened to me today although I was doing something that I would normally consider “boring” (arpeggios / shapes). So, I guess, I have to thank Mr. Devine for helping me focus and find fun in practice (a. k. a. get in the shed)! Apart from that, I also found that I particularly like the upright-style plucking around 18th fret (not above the pickup.
Evening piano session (30m)
- Inversions & 7-3-5 shell voicings over pop song in iReal Pro
- Studying chord chart (“Perhaps, Perhaps, Perhaps” in E-) and applying 7-3-5, 3-7-9, 3-6-9 and other voicings from Haerle book to find the minimum movement fingering — successfully played the whole thing after 3 slow passes
Black Hole Piano 