Here is the answer: Find the shape you like and come up with different sticking, then go through different scale!!! 

If you don't know what is the rootless voicing, no worries! we'll talk more later!!

come up with your own sticking ideas and some interesting shapes!! BTW, check out Tony's video:https://www.vibesworkshop.com/video-embed/chords/tonymiceli/070225 

I transcribed a chorus of Milt Jackson on "On Green Dolphin Street" from his album with the Oscar Peterson Trio, Very Tall. I think this recording is so beautiful. I've been digging Milt way more recently than I ever have, and really wanted to transcribe him. I also found out he had perfect pitch the other day. This was a super challenging and fun chorus to learn/play.  

Please let me know what you think!! 

Hey guys, I shared how I normally practice appregio as my warm up exercise, and this way really helps me to familiar my instrument. Find your own sticking and ways to go through all the possibilities! 

-practicing every chords from roots (2 octaves)

-practicing every chords from the roots then go all the chord tones you can find in the instrument. 

-practicing every chords(inversions) 2 octaves 

🚨 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:

Red Norvo: Mr. Swing and the Architect of Chamber Jazz

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! 

DM for the private lessons: rupertlo777@gmail.com

🚨 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.

I talked about the relationship between the diminished chords and dominant chords, then I'll make a series videos of barry harris and diminished chord, please let me know if you have any thoughts or questions!

rupertlo777@gmail.com

Red Norvo: The Architect of Chamber Jazz