Bass day (1h)

Walking bass

  • Passing tones workout (walking over Worth the Wait while connecting chords over closest chromatic note)
  • Descending 7th chord arpeggio runs in different fingerings over Worth the Wait in D & E

Sight reading

  • John Patitucci — etude in Bb Major

Piano day (1h 50m)

  • Improv + scale studies
    • 2-octave Lydian scales in all keys
      • Both hands
      • In harmonic thirds + 1-5 shells in LH
    • C scale in all modes (grand form) — do it in all keys now!
  • Left hand + jazz voicings
    • Intervallic patterns
      • 1-5-10 — (5) — 1-5-10 descent around the cycle of 4ths
        • Special focus on Gb — B — E part where 10th jumps get harder
  • Comping
    • Walking bass (chord tones + passing tones) & shells and inversions over All Of Me in G

Bass day (1h 45m)

  • Scale studies
    • Scale dissection
      • Minor blues: R, b3-4-#4, 5, 7 (recap)
      • Major bebop
        • R-5, b6-6, 7-R
        • 7-R (below), 4-5, b6-6 (above or below), 7-R (all chromatics) — COOL!
  • Walking bass / chord tones
    • Voice leading / connecting inversions with passing tones (Phil Mann exercise) over All of Me in G
  • Reading
    • Afro Blue
    • Afternoon in Paris
    • Airegin


Just found another very effective way of internalising a new scale. Instead of going up and down the neck, you can first figure out all chromatic intervals in it and them play only them, memorising their position relative to the root. Semitones are normally the simplest to memorise and visualise on fretboard (like, major 7 below — root), therefore there’s a big chance that you will get familiar with them really quickly, and afterwards it will be much easier to learn the rest of the scale. In the case of major bebop, the chromatics are: 7 below — root, M3 — 4, b6 —6 and 7 — R (above). I played them around the cycle of 4ths in all keys, sometimes playing b6-6 run below — because it is quicker to find — and must say that I’m definitely feeling much more confident with this scale!

Bass day (2h)

  • Scales study
    • Linking shapes / Mike Walker exercise (learned from Scott, obviously)
      • All major keys in I position
      • All major keys without restricting position
      • All minor keys in V position
  • Reading
    • Real book in bass clef (reading melodies)
      • A Foggy Day
      • All My Tomorrows
      • All Of Me
    • Contrabass etudes
      • Hrabe #2 & #3
  • Walking bass
    • 1st & 2nd inversions (no particular permutation) over Worth the Wait

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