Descending motion is important, too!

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!

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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:

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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.

Piano day (1h 40m)

Modal studies

  • 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

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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)