intermediate

🎯 Harmony Without Chords – Pt. 6: ii–V Outlining Variants

In Part 6 of Harmony Without Chords, we expand on previous ii–V concepts by focusing on clear chord outlining and upper extensions over dominant chords, all while continuing the descending whole-step motion. Rather than relying on chord voicings, these exercises show how strong line construction alone can clearly imply harmony, even as the harmonic density increases.

🎵 Harmony Without Chords – Pt. 5

Resolving ii–V’s in Descending Whole Steps

In Part 5, we take the ii–V ideas from the previous lessons and fully resolve each ii–V to its I chord, moving through the exercise in descending whole steps. This type of harmonic motion shows up frequently in jazz standards—How High The Moon being a great example—and it’s an important sound to internalize.

🚨 Harmony Without Chords – Pt. 4: Adding the ii Chord

In Part 4, we expand the harmonic framework by introducing the ii chord before each dominant, turning the previous dominant-focused ideas into full ii–V motion. This adds harmonic depth and forward momentum while keeping the emphasis on linear voice leading rather than vertical chord shapes.

🚨 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.

🚨 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.

🚨 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. 5: Tune Study – “Up Jumped Spring”

In Part 5, we apply the rhythmic and melodic ideas from earlier lessons to Freddie Hubbard’s “Up Jumped Spring.” This study focuses on melodic lines that outline the harmony of the A section while maintaining a smooth and lyrical 3/4 feel. The goal is to connect phrases naturally through the changes, letting the rhythm flow without sounding overly metrical.

🚨 Playing in 3/4 – Pt. 4: Expanding the Line

In Part 4, we continue developing melodic phrasing in 3/4 by working with longer lines and wider interval movement. These examples stretch across barlines, helping you feel how phrases can flow beyond the measure while keeping a consistent pulse. The challenge here is to maintain clarity, evenness, and direction through the longer gestures.

In this lesson you’ll:

🚨 Playing in 3/4 – Pt. 3: Melodic Shapes and Flow

In Part 3, we move from comping to linear phrasing, focusing on short melodic shapes that naturally fit the 3/4 feel. These lines are designed to help you internalize how melody flows within triple meter—each phrase should feel like a complete, three-beat gesture rather than a sequence of notes.