Lines

🚨 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:

🚨 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.

🚨 Tune Deep Dive: “Wave” – Pt. 8: Putting It All Together 🚨

In our final lesson, we bring everything from the series together into a full chorus etude over Wave. This written solo combines guide tones, arpeggios, scale fragments, motifs, and tension–resolution lines to show how each concept can flow seamlessly in a musical context.

🚨 Tune Deep Dive: “Wave” – Pt. 7: Harmonic Tension & Resolution 🚨

In Part 7, we shift focus to tension notes and their resolutions. By weaving in altered tones (♯11, ♭9, and other upper extensions), you’ll hear how dissonance naturally pulls toward resolution. This creates expressive solo lines that sound deeply connected to the harmony instead of just running scales.

In this lesson we’ll:

🚨 Tune Deep Dive: “Wave” – Pt. 6: Soloing with Motifs 🚨

In Part 6, we focus on building solos using motifs—short melodic ideas that you can develop, repeat, and vary throughout the form. This exercise takes one simple motif and applies it across all the chords of the A section, showing how a small, clear idea can be adapted to fit shifting harmony.

🚨 Tune Deep Dive: “Wave” – Pt. 5: Scale and Arpeggio Options 🚨

In Part 5, we focus on outlining Wave with scale and arpeggio shapes. Each chord in the A section is approached with either a diatonic arpeggio, a scale fragment, or a tension tone (like ♭9 or ♯11) to bring out its unique color.

See if you can grasp this. It's a simple way to work on progressions. 

🚨 Tune Deep Dive: “Wave” – Pt. 2: Guide Tone Movement in the Intro 🚨

In Part 2, we dig into the intro vamp of Wave (Dm7–G7) and explore guide tone movement. This exercise builds from a single voice to two, three, and finally four voices, showing how harmonic richness can grow naturally out of simple lines. By working through these patterns, you’ll train your ear and hands to connect chords smoothly while keeping the groove intact.

In this lesson we’ll:

🚨 New Tune Deep Dive Series! 🚨
Pt. 1: “Wave” – Establishing Form & Groove

We’re kicking off a brand-new Tune Deep Dive with Antônio Carlos Jobim’s Wave—a bossa nova classic that’s as groovy as it is deceptively tricky. This tune has a 44-bar form (A – A – B – A, with 12-bar A sections and an 8-bar bridge), so memorizing the structure is step one.

🚨 Soloing Through the Changes Pt. 8 – Soloing with the Altered Scale

In Part 8, we explore the altered scale (seventh mode of melodic minor) as a way to create tension over dominant chords before resolving back to the tonic or next chord. This scale contains altered chord tones—♭9, ♯9, ♯11, and ♭13—which provide a wide palette of colors for jazz soloing.