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🚨 Harmony Without Chords – Pt. 3: Chromatic Approaches with Dominant Alterations

In Part 3, we continue working with chromatic approaches to the 3rds and 7ths of dominant chords, but with an important addition: altered tones introduced in the second bar of each dominant. These alterations create stronger harmonic tension and help pull the line more clearly toward the next chord change.

🚨 Harmony Without Chords – Pt. 2: Chromatic Approaches to 3rds and 7ths

Part 2 expands on the guide-tone focus from Part 1 by introducing chromatic approach notes to the 3rds and 7ths of dominant chords. While the targets remain the same, the addition of chromatic motion adds tension, direction, and forward momentum to the line—allowing the harmony to feel more alive without relying on full chord voicings or altered scales.

🚨 Harmony Without Chords – Pt. 1: Diatonic Approaches to 3rds and 7ths

This lesson kicks off the Harmony Without Chords series by focusing on one of the most essential ideas in line construction: clearly outlining harmony using guide tones. In this first exercise, we work with diatonic approaches to the 3rd and 7th of dominant chords, avoiding chromatic notes, alterations, or upper extensions.

🚨 Playing in 3/4 – Pt. 10: Tune Study – “Little B’s Poem” (Advanced Comping)

Part 10 builds on the previous comping chorus by introducing more syncopated rhythms, tighter voice-leading, and additional chord-tone alterations throughout the form. This chorus is designed to feel more conversational and interactive, giving you tools to comp with texture, color, and forward motion while staying grounded in the 3/4 feel of “Little B’s Poem.”

🚨 Playing in 3/4 – Pt. 9: Tune Study – “Little B’s Poem” (Comping Chorus)

Part 9 shifts from melodic ideas to full-chorus comping, applying everything from earlier lessons to the harmonic and rhythmic language of “Little B’s Poem.” This etude explores how to support the tune’s flowing 3/4 feel using clear voicings, smooth voice-leading, and rhythmic patterns that create a relaxed yet forward-moving pulse.

Hey guys, in this lesson I introduced a new thing - chromatic approach note from above

So whenever you practice intervals, triads, 7th chords, you can add the approach notes either above the target or below the target. 

DM me for private lessons!

This video I introduced a new concept - approach note.

First, we practice the third sequence, then we add a chromatic approach note below the target note.

Email me if you have any questions! - rupertlo777@gmail.com

🚨 Playing in 3/4 – Pt. 8: Tune Study – “Little B’s Poem” (Motivic Development)

In Part 8, we continue exploring “Little B’s Poem” with a focus on developing short melodic motifs over a full chorus. Rather than relying on long lines, this lesson uses small melodic and rhythmic cells that repeat, evolve, and shift as the harmony moves.

🚨 Playing in 3/4 – Pt. 7: Tune Study – “Little B’s Poem”

In Part 7, we shift into the modern 3/4 / 6/8 hybrid feel of “Little B’s Poem,” exploring a full chorus of melodic ideas that highlight the tune’s contrasting sections. The opening modal passages are approached with pentatonic-based shapes that sit naturally in the flowing 3-beat feel, creating open, spacious lines that fit the harmony without sounding overly dense.

🚨 Playing in 3/4 – Pt. 6: Tune Study – “Up Jumped Spring” (Bridge)

Part 6 continues our work with “Up Jumped Spring” by focusing on the bridge section, where the harmony and melodic flow shift to create contrast with the A sections. This lesson presents two different versions of the bridge—each offering a unique melodic approach to the same chord progression.