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Just some ideas to get some of you going with pentatonics.

Memorize it.
Play it on the piano with bass notes in your left hand.
Play it on the vibes in all the keys.

Line Building Blocks Exercise

Hey everyone,

Here's part two in the little diminished lesson series. In this lesson, I'll show you how to better think of flat 3 diminished chords to give you more melodic material.

Hey everyone,

Today we talk about further application of the pedal point using non-functional harmony based on trias superimposed to a bass note.
We can build pedal point on the root or the fifth of the tonal area in which the tune is composed and on top of that build triads that moves:
1. chromatically
2. by whole tones
3. by major/minor thirds

www.giovanniperin.com

Today we talk about an harmonic device that I stole from bass players!
We can build pedal point on the root or the fifth of the tonal area in which the tune is composed.
I'll use the harmony of On green dolphin street to show it. Make sure to learn the melody and the changes before this lesson.

www.giovanniperin.com

Today we talk about an harmonic device that I stole from bass players!
We can build pedal point on the root or the fifth of the tonal area in which the tune is composed.
I'll use the harmony of On green dolphin street to show it. Make sure to learn the melody and the changes before this lesson.

www.giovanniperin.com

Hey everyone,

Another lesson on comping on ballads! We're looking at rhythmic density and ways to create an overall sense of arc with your comping, or while you're playing solo. Let me know if you have any thoughts!

Hey everyone,

The next couple comping lessons will be focused on ballads. In this one, I share how I think of the range of the instrument -- like an orchestra, with a low range for bass movement, a middle range for melody and/or chords, and an upper register useful for subtle effects, upper structure triads subtle, and counter-lines. I think this is especially important when playing ballads!