Author: Jan

Je suis cool.

Piano day (1h 30m)

Modal studies + intervallic left hand patterns

  • Harmonic minor mode 1 (C, F)
    • Progression: i#7 — III+ — iv — V7
    • LH pattern: 1-5-10-#7-5i#7 | 1-#5-10-7-1’III+ | 1-5-10iv | 1-5-10V7

Shells + intervallic left hand patterns

  • Moving shells (same chord in 7-3-5 and then in 3-7-9 octave higher) + standard broken 10ths (1-5-10) with occasional 6ths ← another KILLER exercise!

Piano day (1h 30m)

Left hand + moving shells

  • Combining moving shells with LH patterns
    • Minor to Dominant (skill 37c from Jazz Piano Voicing Skills) + LH: [1-5][1-7][1-1’][1-4-5]i — 1-5-10-1’-5’-6’IV7
    • Dominant to Major (skill 38a from Jazz Piano Voicing Skills) + LH: 1-5-10-6 to 1‘-1I7 + desc arpeggio + 6IV

Scale studies

  • Concurrent Ion + Lyd 1-octave scales (in 2 forms)

Soloing + comping

  • All Love is Fair Focus on 3-7-9 shells in LH and major / minor scales in RH

Observations

Try constructing 3-7-9 voicing in LH from 9 down!

Piano day (1h 40m)

Jazz voicings + Left hand

  • Combining cycling shells with left hand patterns
    • Minor to Dominant (Dan Haerle, Jazz Piano Voicing Skills, Skill 37c) + LH: [1-5][1-7][1-1’][1-4-5]i — 1-5-10-1’-5’-6’IV7

Scale studies + Left hand + Shells

  • Combining blues scale improv with moving extension shells
    • RH: minor blues scale, LH: 1 — [3’-7’-9’]
  • All Aeolian scales
  • All Locrian scales

Theory day (2h)

Organising my left hand patterns and exercises. Got a nice table done.

LH

RH

Example

Comments

Cycling broken tenths

1-5-10 — (5/IV) — 1-5-10

Shells

C-G-E-C’-F-C’-A’’-F’—

Cycling 10ths & 6ths (m)

1-5-b10-1’-b3’-5’-b6’

Shells

C-G-Eb-C’-Eb’-G’-Ab’

Cross fingers on 5’-6’

1-5-10-1-5-6

Cycling 9ths, 6ths, 4ths & 10ths

1-5-9-10-1’-5’-6’-4

Shells

C-G-D-E-C’-G’-A’-F’

Move the whole hand back down to lower octave after figure is finished

Cycling 6ths & 10ths (m)

1-5-9-b10-1’-b3’-b6’-5’

Shells

C-G-D-Eb-C’-Eb’-Ab’-G’

Broken tenths over ii — V7 — I

1-5-10-(5)-1-5-10

ii — V — I – IV + iiø — V7b9

Move left hand octave below as soon as there’s an overlap

Inversions & arpeggios over ii — V7 — I

Block / 7th arpeggio / root + 1st inversion / doubled roots

ii — V — I – IV + iiø — V7b9

Cycling 5ths & 6ths (m / M)

1-5-3-6

Shells

C-G-E-A

Triad-based

1-5-1-3-5

1-5-1’-3’-5’-7’-1’

4ths

1-4-5

1st or 2nd inversions

C-F-G-C

Connecting ii — V with passing tone

1-5-10ii — 5/V — 1-5-10V — 1I — chromatically down to parallel minor

ii — V — I – IV + iiø — V7b9

D-(A-F’)x3-D’-G-(D’-B’)x3-C-B — A-E-C—

Phrygian descent in 10ths

5-1-5-10-1’-3’-5’I — desc. arp.II

i — II — III7 — iv

C#-F#-A-F#’-A’-C#’-D’-B’-G-F#’-D-B-G

Combined 10ths and inverted 3rds

5-1-5-10-1’-3’-5’II — 3-5-3V — 1st invI — 3bbI

Shells

G-C-Eb-C’-Eb’-G’-Ab’-F’-Ab’-[Bbmaj]-Db

Blues scale accompaniment

Block — 1-3-48va — 7b-1-2-38vb

Minor blues scale

Combined 10ths and 6ths

1-5-10ii — (5/V) — 1-5-6V — 1-5-10I—

ii — V — I – IV + iiø — V7b9