Day 3: The two main tweaks in this lesson are in the C7 measures. In M2, there's an Ab in the line, giving it a darker color than just having the A natural. In M6, the C augmented triad is outlined. Many bebop masters use augmented triads all the time, especially Milt Jackson!
In Day 2, you will start to notice the use of a few chromatic notes and approach tones. The line is similar and still pretty diatonic. Take notice of the surround tones in M4. You will see lines like this all the time in bebop where there's half step approaches to notes.
Turnaround lines are very important in jazz because we see progressions all the time like 2-5-3-6, 1-6-2-5 etc. The more vocabulary you learn over turnarounds, the better! Turnarounds aren't just at the ends of forms, but can be anywhere within a tune. Start off this week with this simple line I came up with. It's very diatonic, and it's supposed to be a lesson in how you can still make the changes without too much altering of chord tones.
Day 5; In this final lesson, we're sticking with closed voicings. The top note changes with each chord. I particularly like the 2nd F7 voicing which is A,D,Eb,F from bottom up. It's very crunchy and fun to groove on.
In day 4, we're reverting back to the original rhythm. The difference here is closed voicings. Notice the nice crunch in the closed voicings. As with the other lessons, keep the articulation nice and short on the eighth note.
In day 3, the rhythm changes slightly. Make the articulation of the two quartet notes fat, but keep the eighth note short.
Day 2: The same rhythm is being used here, but the top note is being moved around. While moving the top around changes the harmony, it also gives the illusion of something different happening rhythmically.
This is about diminished lines.