George shows how to put everything together. First, he isolates the different techniques, scales, arpeggios, and motifs, and then demonstrates how to integrate these techniques so that your playing becomes rich and interesting. The idea here is to use everything you’ve learned to develop your own style, voice, and ability to solo over the 2-5-1.
- Let's put a bunch of this stuff together…now on our extended two-five.…What I'm going to do is I'm going to…play our G--, two-five C-Major.…(keys played)…D-Minor Seven to G-Seven to C.…And I'm going to try to use everything…that we've talked about so far.…First, isolated, so we can hear what it is,…and then I'm going to go ahead and start mixing it up.…The tools that we have available at this time,…let's remember to think melodically as we play.…
We're not just here to--…(keys played)…We might do a little bit of that.…See if you can make some phrases out of this stuff.…Make little hooks.…(keys played)…And follow up on them like that.…Some of our motivic playing which applies…no matter what technique we're putting on the chord.…We're going to play the Bop Scales alone a little bit.…We're going to play the Approach Patterns…alone for a pass of this.…We're going to play the pentatonics alone.…
We have our arpeggiated triads, again on the G-seven.…That would be a E-triad, and an E-Flat Triad.…We're going to play some motivic figures,…
Note: This course was recorded and produced by ArtistWorks. We're pleased to host this training in our library.
- Adding extensions to guide tones
- Integrating 9th chords
- The 2-5-1 progression
- Practicing essential jazz scales
- The E minor bop scale
- The D major 7 bop scale
- Arpeggiated triads as a melodic device