Walking bass / chord tones
- All Of Me in C free run
- 1st inversion + 2nd inversion over All Of Me (descending) — C, F
- John Patitucci Etude in C Major
- Hrabe #5 in Bb
When descending down the 2nd inversion from the 3rd (e. g. A7: C# — A—), if you can’t quickly figure out where to go next, it is safe to fall back to the 1st inversion and simply descend from the root (A in this case): A — G — E — C#.
- Scale studies
- Scale dissection
- Minor blues: R, b3-4-#4, 5, 7 (recap)
- Major bebop
- R-5, b6-6, 7-R
- 7-R (below), 4-5, b6-6 (above or below), 7-R (all chromatics) — COOL!
- Walking bass / chord tones
- Voice leading / connecting inversions with passing tones (Phil Mann exercise) over All of Me in G
- Afro Blue
- Afternoon in Paris
Just found another very effective way of internalising a new scale. Instead of going up and down the neck, you can first figure out all chromatic intervals in it and them play only them, memorising their position relative to the root. Semitones are normally the simplest to memorise and visualise on fretboard (like, major 7 below — root), therefore there’s a big chance that you will get familiar with them really quickly, and afterwards it will be much easier to learn the rest of the scale. In the case of major bebop, the chromatics are: 7 below — root, M3 — 4, b6 —6 and 7 — R (above). I played them around the cycle of 4ths in all keys, sometimes playing b6-6 run below — because it is quicker to find — and must say that I’m definitely feeling much more confident with this scale!
- Scales studies
- Linking shapes (Scott exercise)
- All Aeolian scales in V position
- All Ionian scales in I position (recap)
- Minor blues scale permutations
- Scale dissection
- Minor blues: R, b7 (above & below), b3, 4
- Major blues: R, 2, 6 (above & below), 5
- Lydian pentatonic: R, #4
- Applying scale tones over I — VI7 — ii — V7 in all keys
- Reading melodies
- Afro Blue (from Real Book in bass clef)
- Hrabe etude #4 (in Bb)
New exercise! I try to test different approaches to scale fluency, and this time I decided to take the scales that I’m currently actively working on on piano and focus on particular degrees, playing them above as well as below the root. In my opinion, it should really help to achieve fluency in any given scale regardless of the position on the fretboard where you happen to be when you need to apply it. It is especially cool with pentatonics, because their nature kind of encourages you to use pattens and it’s very easy to get caught in the box shapes slavery. I’m using Phil Mann’s permutation approach to twist the scale like a want and also Todd Johnson’s “above / below” trick. Also trying to sync my bass and piano routines to make practice overall more productive. How am I doing, Mr. Devine? Am I organised enough?