intermediate

🚨 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.

🚨 Playing in 3/4 – Pt. 2: Syncopated Comping and Forward Motion

Part 2 builds on the foundation from Part 1 by introducing syncopated rhythms and offbeat chord placements. These variations are designed to create a natural sense of forward motion while keeping the 3/4 pulse grounded. The goal is to develop balance—maintaining a steady groove while adding rhythmic interest and contrast.

In this lesson you’ll:

🚨 Feeling in 3 – Pt. 1: Comping in 3/4 🚨

We’re kicking off this new series by exploring comping rhythms in 3/4, one of the most versatile and expressive time feels in jazz. This lesson focuses on short ii–V progressions that develop your sense of pulse, articulation, and balance between hands.

In 3/4, it’s easy to think in strict “1–2–3,” but the best players treat each measure as a flowing three-beat phrase. By practicing these patterns slowly and evenly, you’ll build a natural, swinging pulse that feels relaxed and centered.

There is no such thing as a great musician without GREAT time.

I talk a bit about studying chords and voicings. We all have to do it, how are you going to do it? 

So here is the second of three chord melodies. 

I have the pdf and I have the MalletKat version. You can hear basically what's happening with the sheet music. 

I think you can get a lot out of this. You have to know the chords and inversions really well. I think when I just play the lines it makes sense and you here the harmony. That's the goal right. I will post my own version of stella asap. 

Here is a lesson with an etude. I use the tune Green Dolphin Street and I play a chordal solo. There's very little that monophonic here. I tried to hit always with 2,3 or 4 mallets. 

I played a few choruses of Green Dolphin Street and transcibed it. 

I also talk about little bit about this series. I will continue it by doing a video for each of the technical ways I am doing this. 

Check out the transcription below.