- Dissecting Lydian pentatonic
- Restricting to 3 & 4 strings
- Linking shapes in Lydian (positions I & IX, all keys, w/ click)
- John Patitucci — F Major etude
- Hrabe #6
New exercise! I try to test different approaches to scale fluency, and this time I decided to take the scales that I’m currently actively working on on piano and focus on particular degrees, playing them above as well as below the root. In my opinion, it should really help to achieve fluency in any given scale regardless of the position on the fretboard where you happen to be when you need to apply it. It is especially cool with pentatonics, because their nature kind of encourages you to use pattens and it’s very easy to get caught in the box shapes slavery. I’m using Phil Mann’s permutation approach to twist the scale like a want and also Todd Johnson’s “above / below” trick. Also trying to sync my bass and piano routines to make practice overall more productive. How am I doing, Mr. Devine? Am I organised enough?
Moving towards 3-hour sessions on weekend. Taking breaks after each hour is essential! Also, 3 hours really feel awesome in terms of stuff you can cram into this time without rushing and messing up. Musical observations: I finally go to Locrian mode! I have been avoiding it for such a long time. Professors in music school only mentioned it briefly saying it is not that useful, we weren’t asked to compose in it, so I totally ignored it. Until lately. And man it’s beautiful!!! Don’t believe anyone who tells you that Locrian is “ugly” or “scary”. It’s sad, tragic, dramatic, incredibly touching, anything but ugly. Also I discovered a whole family of modal pentatonic scales that can be derived from normal heptatoic modal scales by applying major or minor pentatonic patterns to them. For example, you can take 1-3-4-5-7 and apply it to Lydian mode, which will give you 1-3-#4-5-7, which is BEAUTIFUL! Fun fact: most people on the internets tend to use major pentatonic pattern to derive modal pentatonics (1-2-3-5-6), but it’s definitely worth looking at minor as well.
Another cool practice routine I came up with is adapting pop songs to piano using patterns that I already learn (or am learning). That is, taking chords and breaking them down to shell voicings and intervallic patterns for the left hand. Makes any song sound immediately like a “piano version”.