Piano day (1h 40m)

  • Improvisation
    • Chromatic progressions
      • Mixolydian over dominant, 3-7-9 shells, all keys
      • Dorian over minor, same
  • Modal studies
    • Harmonising Lydian mode
      • All keys, using 7-3-5 shells in RH and 1-5, 1-6 pattern in LH
  • Exotic stuff
    • Just trying different polychods from “The Jazz Language”
  • Comping + soloing
    • Airegin in A-
      • 2 runs of solo
      • 3 runs of comping with 1-5-1-6 pattern in LH
    • Baubles, Bangles and Beads in G
      • Comping + broken 10ths in LH

Piano day (2h)

  • Modal studies
    • Harmonising Mixolydian mode with shells (3-7-9) — C, F, Bb, Eb, Ab, Db
    • Harmonising Dorian mode with shells (3-7-9) — C, F, Bb, Eb
  • Improvisation
    • Lydian pentatonic in all keys over major chords in 7-3-6 shells
    • Recap minor blues scale
    • Harmonising Mixolydian mode with block chords & 7-3-5 shells in LH & runs starting on each new scale degree in RH (C-D-E-F…, D-E-F-G…, F-G-A-Bb…, etc.)
    • Same for Dorian
  • Comping
    • Free comping over “Worth the Wait” in Eb (just chords & focus on voice leading)
    • “Worth the Wait” in C — block chords in LH, chord scales in RH

Piano day (1h 30m)

  • Technical
    • Hanon
      • Book 1: 5, 6, 7
      • Book 2: 26
  • Modal studies + left hand
    • 2-octave arpeggios + voice leading in F Mixo
  • Comping
    • Worth The Wait using A—B voicings in RH and walking bass based on 7th chord arpeggios in LH
  • Aeolian scales in all keys over minor shells around the cycle of 4ths

Next time: recap some jazz voicings, repeat harmonisation and review harmonic minor modes

Piano day (2h)

  • Jazz voicings
    • Dominant to major (2 versions)
    • Dominant to minor (2 versions)
    • II — V — I — IV’s in all major and parallel minor keys
  • Comping
    • All By Myself (Irving Berlin)
      • Voice leading / minimum movement
      • Some improv in passing chord scales (when I was able to find it quick enough)
  • Improvisation
    • Cool stuff: nine tone scales in C & F (WOW that was huge)
    • Minor blues scale in C through Ab (comping with minor and dominant shell voicings in LH)
    • Combining nine tone and C + F minor blues over I — IV progression. Crazy


Synthetic scales are absolutely awesome. They may sound harsh at first (especially if you play them over a wrong chord type, e. g. nine tone over minor, whereas it apparently works better over augmented), but they are such a great material that helps you enrich your vocabulary and break out of the stuff you’ve been using for ages! Just like Todd Johnson says in his masterclasses, scales and patterns are the “templates of digesting the new harmonies”. Exactly that.  The more ways to alter your scales you’re comfortable with, the less time you spend lost in the dark when improvising.