Bass day (1h 40m)

Scale studies

  • Cycling Dorian alternating with Phrygian: focus on accidentals in each key

Chord tones

  • Extensions
    • 9ths over minor chords in all keys
    • Major 11ths in all keys (over major 7th chords)
    • Same with harmonic 10ths
    • Mixing harmonic 10ths with 11ths and 9ths (over minor chords)


  • Hrabe contrabass etude #5
  • John Patitucci, Melodic Etudes For Acoustic And Electric Bass — C Major

Bass day (1h 20m)

  • Extensions
    • Recap m/M 6ths in all keys
  • Modal studies
    • Dorian runs in all keys
      • Focus on b3 & b7
      • Focus on M6
      • Combine + add P5 & P4
    • Mixo runs in all keys
      • Focus on ♮3 & b7
      • Focus on M6
      • Combine + add P5 & P4
  • Chord tones / walking bass
    • All inversions over standard (Worth the Wait) ascending, descending, octave above & below, add 6ths & 4ths occasionally

Bass day (1h 30m)

  • Extensions
    • Recap m6 / m9 / m7 / 5 / 4 pattern (all keys, over m7 chords)
    • Recap M6 / M9 / 5 / 4 pattern (all keys)
    • Minor and major 6ths in all positions (8vb and 8va), sting above + below + slide down on the same string, returning to root over 5, in all keys
  • Applying extensions / transposition fluency
    • 6ths-based lick over American Boy by Kanye West in E, C & F

Pano day (2h)

  • 13th chords in all keys (exercise from the “Jazz Language” book by Dan Haerle)
    • Minor, major, dominant in full form (7th + triad polychords)
  • Modes of harmonic minor
    • 1st mode scales in all keys with both hands
    • Harmonising C, F, Bb harm. minor scales
    • Improvisation over diatonic chords with the key scale


V7 — VImaj7 transition in the harmonic minor sounds absolutely amazing! Feels like it’s about to push my long-time favourite Dorian i — IV7

Bass day (1h 30m)

  • Chord tones (Phil Mann) — 40m
    • All triads in all inversions around the cycle (70bpm)
    • All 7th chords in all inversions around the cycle (60bpm)
  • Break
  • Functional harmony excercises (derived from Phil Mann course of the same name)
    • Superimposing G & E pentatonic scales (minor and major) over static Cmaj7 chord to explore extensions (9ths, 11ths, 13ths)
    • 6ths excercise over 12-bar blues progression:
      • play a root
      • try to play 6th above in tempo
      • if can’t, play below (it’s easier because of the pattern that looks like 5th shape but mirrored bottom to top)
      • figure out the note and immediately play it above (all in time)
    • Same with 9th


Invented a new excercise for familiarising with extensions — I always felt like I was not fluent enough in that area (like, naming m6 / M6, 11 / #11 on cue) and therefore kept avoiding using them in improvisation and — especially — walking bass lines. Though there’s a cool hack: major or minor 6th above is tricky, but below — it’s an easy pattern that looks just like 5th (or tritone) above, but sort of “mirrored”. So, although notes first shapes second, I can actually benefit from patternistic approach here and used it as a fallback when I can’t quckly recall the note name is some less-than-common key. Like, I’m playing over Eb, and I want major 6th, it’s— er— quickly playing pattern “6th below”, figuring out it’s C and nicely sliding to the high C. Boom! Same approach works for 9ths. 9th above is weird fingering, but 9th 8vb — well, it’s a second. So, just in case you were a little slow with extensions like me, here’s the helpful exercise.