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

Piano day (1h 30m)

(Back to practice after a 3-day travel.)

  • Improvisation
    • Minor blues scale in all keys (over m7 chords in 7-3-5 shells)
    • Major blue scale in all keys over dominant chords in shells
    • Alternating between major and minor blues (sounded like crap)
    • Major Bebop scale in all keys around the cycle of 4ths (tried over major and dominant)
  • Left hand
    • 2-octave stride patterns
      • Progression from “Just One of Those Things” (without right hand)
      • Harmonising C minor with 2-octave jumps (root → 1st inversion with added m6, i. e. 3-6-1)

Next time: harmonise a tune from the Real Book, play to the walking bass & drums track, do some voicings, search for & add technical exercises

Piano day (2h)

  • Modal studies
    • Modes of Melodic minor (all modes in C, without click, just getting familiar)
    • Harmonisation
      • Melodic minor (1st mode)
      • Dorian b2 (2nd mode)
    • Mixing / borrowing
      • Mixing Dorian with Dorian b2 (in the parent key of C)
        • i7 — IV7 / i7 — IV7 — bIImaj7+5
  • Imporvisation
    • Minor Bebop scale over Dorian progression with b2 (IVmaj7 — i7)
    • Exotic scale study
      • Lydian pentatonic (in C)
      • Mela Vagadhisvari (Minor Bebop without passing tone, in fact — it’s just the name that makes it sound fancy 😆)


Next time, I need to equally geek out on bass 🤓

Piano day (2h)

  • Improvisation
    • Studies in D Dorian
      • ii — v — i in shells in LH
      • Improvisation with “blanket scale” (D Dorian)
      • Try all chord scales for each degree (Aeolian, Dorian, Phrygian and Hm4 for minor), i. e. E Aeol, E Dor, E Phryg and E Hm4 for E-,  A Aeol, A Dor, A Phryg and A Hm4 for A-, etc.
      • Try keeping same modal color over the whole progression (only Aeol / only Phryg / only Dor)
      • Try mixing with blanket scale (sounded weird but definitely playable)
      • Mix Hm4 with minor blues (only a few notes’ difference)
  • Jazz voicings
    • m7 → 7
    • 7 → maj7
    • 7 → m7
    • Fourthy modal voicings (D Dorian, G Dorian)


Mixing chord scales with key scale is definitely a wonderful framework for improvisation. I learned it from Rich Brown, as he was combining Aeolian and Phrygian over a minor chord to produce cool chromaticisms. It’s not always guaranteed to get great results, but it definitely helps a lot in terms of expanding your vocabulary. For example, I would’ve never thought of combing minor and harmonic minor mode 4 over a minor chord unless I forced myself to try it (which I did), and it actually sounded AWESOME! So yeah, Hm4 over Dorian ii chord — try it, folks.

Piano day (1h 30m)

Blues day!

  • Improvisation (Dan Haerle — Jazz Improvisation for Keyboard Players)
    • Lesson 11: Blues progressions
      • C blues scale over:
        • I — IV — V in 3-7-9 — 7-3-6 voicings
        • 12-bar major blues (in 3-7-9 — 7-3-6)
        • 12-bar minor blues (in 3-5-7-9 — 7-9-3-5 — 7-1-3-b5 — 7-b5-7-9 — 7-b9-3-5 — etc.)
      • Mixo, Dorian and Harmonic minor scales over:
        • I —  IV — V
        • 12-bar major blues
        • 12-bar minor blues
      • Mixing up C blues scale with corresponding Mixo / Dorian / Harmonic minor scales over the same progressions


Finally, I’m progressing at jazz pian improvisation ! Mr. Haerle, sir, you’re the best! 😃