Practice session: permutations and more Gershwin studies

Scale studies

  • All Lydian scales
  • All Ionian scales
  • Scale dissection: Ab Lydian over Ab∆7 moving arpeggios in groups of two
  • Scale dissection: F# Dorian over F#m7 moving arpeggios in groups of three
  • Scale dissection #2: F# Dorian in groups of three over F#m7 regrouped arpeggios
  • Scale dissection #3: F# Dorian in groups of three over all F#m7 inversions in 1-3-5-7 permutations (several slow passes, but couldn’t really play it fluently)

Left hand

  • Gershwin reversed stride bass (#14 from Jazz Piano: The Left Hand)
    • Original chord progression (dominant descent over the cycle of 4ths from F#, in fact 🤓)
    • Minor variation
      • Only reversed stride in 3-7 → R | 7-10 → R pattern
      • Reversed stride + broken 10ths + block triads up the octave (sounds super dope 🔥)
  • Descending 10ths in a free jam: focus on 10-5 movement

Improvisation

  • Major blues scale around the cycle (quick recap)

Session timing: 2h 30m

Observations

Variations are great! It definitely is much more inspiring an empowering than simply learning the piece from sheet music and finally reading it without any errors. Understanding the logic behind the particular composition and the techniques that are used in it — and then being able to freely play your variation of it in which one can still recognise the original — this is extremely satisfying.

Gershwin’s reversed stride bass and best practice moments

Scale studies

  • All Lydian scales
  • All Ionian scales in contrary motion
  • Lydian scales dissection over moving arpeggiated inversions (C, F, Bb)

Left hand

  • Gershwin’s reversed stride bass — study + applying (from Jazz Piano: The Left Hand by Riccardo Scivales
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Yes, the notes I make in my textbooks look exactly as they look here 😆

Observations

I was studying a fragment from the Gershwin piece today where he uses a particular bass pattern, and it felt so satisfying to finally get it: ah, that’s what he’s doing here! After half an hour of meandering it just clicked. Probably the best moment in piano practice: when you’re slowly digging your way through the piece, dreaded by all the sheet music, and it feels so weird and complicated, and then — bam! — the logic kicks in and you realise what exactly is happening here. And then you can just play it without even looking at the sheet music.

Session timing: 1h 45m

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

Improv

  • 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)