Skip to main content

Playing in 3/4 - Melodic Shapes Pt. 3 by Behn Gillece

🚨 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. 5 - Tune Study - Up Jumped Spring

🚨 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. 6 - Tune Study - Up Jumped Spring

🚨 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.

TOTM - Here's How You Study This - Stella By Starlight

  1. See attached file
  2. You learn it. Better if you memorize it. Know each chord you are playing. I.E. if in the 3rd bar of the tune you see Eb G Bb and D, that is NOT and Ebmaj7 chord. It's a Cmin9 chord. Get it? Look at the changes if you need to.
  3. You play it on the piano, using your left hand to play the bass notes for each chord. If the chords are in an open position and you can't play them with your right hand, then try taking the bottom note up an octave and if that doesn't work, try taking the top note down an octave. 
  4. Write in all the chords.
⇡