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.
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🚨 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.
🚨 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.
I talked how 1 diminished chord relative to 4 dominant chords (4 major chords) in this videos, and also showed the foundation of voice leading.
I shared the pdf of how one diminished chord(dominant b9 chord) resolve to the I major. please check it and let me know how do you think about practicing voice leading over diminished to I major chord!
I'll share more my ideas over this soon! stay tuned!
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🚨 Tune Deep Dive: “Wave” – Pt. 8: Putting It All Together 🚨
In our final lesson, we bring everything from the series together into a full chorus etude over Wave. This written solo combines guide tones, arpeggios, scale fragments, motifs, and tension–resolution lines to show how each concept can flow seamlessly in a musical context.
🚨 Tune Deep Dive: “Wave” – Pt. 7: Harmonic Tension & Resolution 🚨
In Part 7, we shift focus to tension notes and their resolutions. By weaving in altered tones (♯11, â™9, and other upper extensions), you’ll hear how dissonance naturally pulls toward resolution. This creates expressive solo lines that sound deeply connected to the harmony instead of just running scales.
In this lesson we’ll: