Piano day (1h 30m)

Left hand + moving shells

  • Combining moving shells with LH patterns
    • Minor to Dominant (skill 37c from Jazz Piano Voicing Skills) + LH: [1-5][1-7][1-1’][1-4-5]i — 1-5-10-1’-5’-6’IV7
    • Dominant to Major (skill 38a from Jazz Piano Voicing Skills) + LH: 1-5-10-6 to 1‘-1I7 + desc arpeggio + 6IV

Scale studies

  • Concurrent Ion + Lyd 1-octave scales (in 2 forms)

Soloing + comping

  • All Love is Fair Focus on 3-7-9 shells in LH and major / minor scales in RH


Try constructing 3-7-9 voicing in LH from 9 down!

Piano day (1h 40m)

Jazz voicings + Left hand

  • Combining cycling shells with left hand patterns
    • Minor to Dominant (Dan Haerle, Jazz Piano Voicing Skills, Skill 37c) + LH: [1-5][1-7][1-1’][1-4-5]i — 1-5-10-1’-5’-6’IV7

Scale studies + Left hand + Shells

  • Combining blues scale improv with moving extension shells
    • RH: minor blues scale, LH: 1 — [3’-7’-9’]
  • All Aeolian scales
  • All Locrian scales

Piano day (2h)

Chord tones / Left hand / Comping

  • All inversions of 7th chords over standard: All Of Me in G, C
  • 1-5-10-7-1-3-5 LH + Shells over All Of Me in C

Scale studies

  • All Lydian scales


  • Elvis — Can’t Help Falling In Love (1-5-10 + extensions, inversions, voice leading)


Always build the interpretation up from simple block chords!

Piano day (1h 30m)

  • Technical
    • A Dozen A Day
      • “Stretching” — in C, F and Bb
      • “Flinging Arms” in all keys
    • Hanon
      • No. 26 (full)
  • Modal studies + left hand
    • 2-octave Mixo 7th arpeggios in LH, voice leading with shells in RH, e. g. (KILLER EXERCISE!!!)
      • I7 arpeggio going to ii arpeggio with I7 chord in 7-3-5 (A) voicing going to ii chord in 7-3-5 voicing (A)
      • I7 arpeggio going to IV△7 arpeggio with I7 chord in 7-3-5 (A) voicing going to IV△ chord in 3-7-9 voicing (B)
      • Repeat with all movements (I7 — ii7, I7 — iii⌀, etc.)
    • Harmonising Dorian mode with 7-3-5 shells (in all keys)


Just as Rick Beato says — any practice should be musical, never boring. Yes, you do need to spend some time just playing arpeggios, but after you’re somewhat familiar with them, you should immediately start introducing musical context, otherwise you’ll either be stuck or just eventually grow tired of perfecting your 2-octave runs and forget about them. Combining 2-octave arpeggios with voice leading and A-B voicings did the trick for me! The moment I felt the thought “Oh, those boring Mixolydian arpeggios—” creeping in, I knew I needed to change something. So I did, and it was a success, I literally couldn’t stop playing these combinations (although they sounded like crap at first). So yeah — whenever you can, add context. Even if your academic self tell you “it’s too early”. Sum hooligan advice here! :D

Piano day (2h)

  • Improvisation + modes
    • I — II, I — III, I — IV, etc. transitions with shell voicings / voice leading
      • Ion, Aeol, Dor, Phryg in F
      • Lyd, Mixo in A
  • Jazz voicings
    • Fourthy modal voicings (D Dorian to Bb Dorian) — another killer exercise from Dan Haerle!
  • Left hand focus
    • Stride bass patterns: basic stride, tenths
  • Comping
    • Stride bass + Mixo scale over dominant progression (+ “Just One of Those Things” opening)


I literally can’t help but skip a couple of bass sessions in favour of piano as I’m onto some extremely interesting topics (left hand + modal studies) and I just don’t want to lose focus!