Hey guys, in this lesson I introduced a new thing - chromatic approach note from above
So whenever you practice intervals, triads, 7th chords, you can add the approach notes either above the target or below the target.
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This video I introduced a new concept - approach note.
First, we practice the third sequence, then we add a chromatic approach note below the target note.
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🚨 Playing in 3/4 – Pt. 8: Tune Study – “Little B’s Poem” (Motivic Development)
In Part 8, we continue exploring “Little B’s Poem” with a focus on developing short melodic motifs over a full chorus. Rather than relying on long lines, this lesson uses small melodic and rhythmic cells that repeat, evolve, and shift as the harmony moves.
🚨 Playing in 3/4 – Pt. 7: Tune Study – “Little B’s Poem”
In Part 7, we shift into the modern 3/4 / 6/8 hybrid feel of “Little B’s Poem,” exploring a full chorus of melodic ideas that highlight the tune’s contrasting sections. The opening modal passages are approached with pentatonic-based shapes that sit naturally in the flowing 3-beat feel, creating open, spacious lines that fit the harmony without sounding overly dense.
🚨 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.
🚨 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. 4: Expanding the Line
In Part 4, we continue developing melodic phrasing in 3/4 by working with longer lines and wider interval movement. These examples stretch across barlines, helping you feel how phrases can flow beyond the measure while keeping a consistent pulse. The challenge here is to maintain clarity, evenness, and direction through the longer gestures.
In this lesson you’ll:
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
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.