Відео

I used the following PLAN: Chorus 1 A1 - Cottontail melody with rhythmic variation Chorus 1 A2 - Half note line with CLN/DLN/CUN/DUN Chorus 1 Bridge - Descending mixolydian scale to CLN-3-5-7-9 Chorus 1 A3 - Quarter note line with CLN/DLN/CUN/DUN

In this video, I used the following patterns: Chorus 1: Mixolydian scale ascending, 3rds descending Chorus 2: Chord tones - Ascending CLN-1-3-5-CLN-3-5-7-9 Chorus 3: Mixolydian returning scale pattern starting on the 5th descending Chorus 4: Chord tones - CLN-DUN-CLN-5-3-1-7

1. Perform your half note chord tone line for the first chorus. Add rhythmic variation! 2. Perform your half note chord tone line with CLN/DLN/CUN/DUN for the second chorus. Add rhythmic variation! 3. Perform your quarter note chord tone line for the third chorus. Add rhythmic variation! 4. Perform your quarter note chord tone line with CLN/DLN/CUN/DUN for the fourth chorus. Be sure to include ...

In my Rhythm Changes melody mashup, I perform 5 melodies in the following manner: A1 - Cotton Tail A2 - Lester Leaps In A1 - Anthropology A2 - Anthropology A1 - Cotton Tail A2 - Lester Leaps In A1 - Oleo A2 - Oleo

Linus and Lucy by Guaraldi Etude in A minor by Heller

Holden Fein piano recital 5/11/24 - First performance ever!

I used the following PLAN: Chorus 1 - 1st half: Scales Chorus 1 - 2nd half: Woody Shaw Lick Chorus 2 - 1st half: CLN-5-3-1-7 Chorus 2 - 2nd half: Mix of the elements

Perform CLN-5-3-1-7 descending with the playalong recording for the first half of the chorus (m.1-16). Perform 7-1-3-5 (or CLN-1-3-5) ascending with the playalong recording for the second half of the chorus (m.17-32). Use rhythmic variations to keep it interesting!

This lick is played over a minor ii-V moving to Cmin. Instead of considering the D-7b5, Shaw seems to focus on the G7 chord playing by starting on the 3rd in the first measure of the lick. He makes extensive use of the #9/b9 to resolve to the 5th of C-7. Over C-7, Shaw plays 5-3-2-1-4-3-2-3-1. This lick be be applied to major OR minor ii-V progressions without making changes b/c the #9/b9 sound...

m.1-16: Eb major - C harm min - Ab major - Ab dorian - Eb major - F lyd dom - Eb major m.17-32: Eb major - C harm min - Ab major - Ab dorian - Eb major - G harm min - Eb major

I used the following PLAN: Chorus 1 - 1st half: Scales Chorus 1 - 2nd half: Parker Lick Chorus 2 - 1st half: CLN-3-5-7-9 & 9-7-5-3 Chorus 2 - 2nd half: Mix of the elements

Lick: Solo m. 21-23 (A2 of Parker’s solo in the Fmaj to Fmin measures). In this lick, Parker arpeggiates the major chord starting and ending on the 7th. When he arrives at the 7th, he descends chromatically to the 5th and plays 5-3-4-5-4-3. He finishes the major portion of the lick with a major pentatonic idea 3-1-6-5. He lands in minor by jumping up the octave on the 5th and playing 9-b3 to em...

Perform CLN-3-5-7-9 ascending with the playalong recording for the first half of the chorus (m.1-16). Perform 9-7-5-3 descending with the playalong recording for the second half of the chorus (m.17-32). Use rhythmic variations to keep it interesting!

I'm making use of the following scales in How High the Moon: G major - G dorian /F major - F dorian / Eb major - G harmonic minor - G major

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Take the A Train - Surround Tones to 3rd (part 2)

Take the A Train - Surround Tones to 3rd (part 1)

Take the A Train - Scales in Context

Take the A Train - Oscar Peterson Lick

Blue Bossa - Improv Example

Blue Bossa - Altered Pentatonic Example

Blue Bossa - Scales Example

Blue Bossa - Lick Example

Sidewinder - Improv Example

Sidewinder - Scales CLN to 3rd - Example Video