Just realised that since I have discovered broken 10th patterns, I’ve been focusing heavily on ascending motion, almost completely ignoring the descending part. Here’s a workout that I’ve recently come up with to make up for that.
Left hand plays descending 10-5-1 pattern and then also continues with descending pattern of diatonic intervals alternating with the root. Doing it around the cycle of 4ths, as always!
Then, of course, there’s the Fear Of Overlapping™ that has to be addressed — also in the context of descending motion. So here’s another exercise that does the job for me:
Here I’m doing the same trick with alternating voicings (3-7-9 to 7-3-5) and forcing the left hand to play the same key as the right within one measure. I wrote about this here a little bit more in-depth.
- Lydian DNA in 7th arpeggios
- LH only
- LH + alternating shells in RH (gave up pretty quickly, need to approach it slowly)
- Harmonising Lydian scale in chord pairs around the cycle in growing gaps (Imaj7 — II7, Imaj7 — iii, Imaj7 — #IV, etc. — e. g. C — D, F — A-, Bb — Eø, etc.) — extra cool exercise!
Arpeggios + combined LH & RH melodic studies
This badass workout achieves three goals:
- Improve LH technique by drilling the 2-octave arpeggios along with harmonic intervals
- Think in chord tones and improve key fluency
- Enjoy the non-boring exercise that actually sounds nice even though you’re still just playing a diatonic pattern around the cycle of goddam fourths
- Major blues scale improv in all keys (recap)
- LH: harmonic 5ths & 6ths
- Broken 10ths + blocks
Just for the hell of it
- All Lydian scales (similar & contrary motion)