Lesson 1 introduces simple chords and harmonies using the root and shells of three easy chords. I introduce the concept of the bass moving in 4ths and set some scale practice. The scales are designed to go with the G7, C7 and F7 chords and we start thinking about intervals, especially the 7-8 tone interval in the dominant 7th scale.
In this lesson I add two more chords to your
repertoire and we work on voicings that include the root and 7th
in the left hand and the bass rising a 4th.
The root and 7th in the LH underpin the exercises
and the progression V-I is introduced.
The cycle of 4ths now extends from D7 to Bb7.
The mixolydian mode is named now and the scales are used as
the basis of melodies and improvisation over 2 chords.
Riffs, sequences, question and answer and clapping in the
drum breaks all get you thinking about building right-hand solos.
Lesson 3 starts with some basics on jazz beats
– straight 8s and swing.
Rootless voicings are introduced for the first time and
backing tracks are provided with bass lines.
Building on shells, the C blues using shells. The minor 7th
scale is introduced.
Having learnt the patterns we move the C blues to the key of F.
Comping patterns and an assignment to provide the piano in a
trio complete the lesson.
Lesson 4 adds dominant 9th and 13th and starts using minor scales.
Building on our blues we add some harmony
substitutions and start looking at the right-hand solo.
The C blues is enhanced with a VI-II-V substitution and the
left hand uses 9ths and 13ths.
In the right-hand you learn how to outline the harmony by
learning the shells and scales for each chord.
We extend our chord repertoire to include E7 and Eb7 and have
a go at taking the cycle of 4ths round the loop.
Having made up riffs and melodies on the 12-bar you take the
whole exercise to F for the assignment.
Lesson 6 builds on our harmony by adding
‘fourthy’ right hand and the classic two handed voicings for 9ths
and dominant 13ths. The
blues scale and simple chords allow the trio to finish with a simple
F blues for which the pupil supplies rootless ‘fourthy’ voicings
Lesson is all about the II-V-I sequence and
provides a backing track that exercises the keys we know so far.
The right hand is encouraged to enhance the changes with some
solo ideas and the concepts of building shape into solos is
introduced. The
assignment provides a II-V-I foundation for building on guide tones
and solo ideas.
In lesson 8 we introduce minor II-V-I
progressions and learn the jazz standard ‘Autumn Leaves’ as an
example of II-V-I in a real tune.
Minor 6ths chords as used in the Miles Davis version are
offered as an alternative to Minor 7.
In lesson 9 there is no new chords to learn or scales – just ideas for solos. Techniques used to add interest are discussed but the player is encouraged to find his/her own way. Modal pieces are introduced – bass rising a minor third and other variations.
Exotic chords such as b9, #9, b5,#5, and other decorations of the dominant 7th. Poly chords are introduced as a quick way to find interesting chords. The final assignment is to improvise an intro, comp and do a solo over the changes for Gershwin’s ‘I’ve Got Rhythm’ using #9, b9 and other altered chords.
On successful completion you will be mailed a certificate and a bonus CD containing backing tracks for a ‘standard’ repertoire. If you have any favourites they will be included if at all possible.