Music Theory

🚨 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.

🚨 Playing in 3/4 – Pt. 2: Syncopated Comping and Forward Motion

Part 2 builds on the foundation from Part 1 by introducing syncopated rhythms and offbeat chord placements. These variations are designed to create a natural sense of forward motion while keeping the 3/4 pulse grounded. The goal is to develop balance—maintaining a steady groove while adding rhythmic interest and contrast.

In this lesson you’ll:

I talked how 1 diminished chord relative to 4 dominant chords (4 major chords) in this videos, and also showed the foundation of voice leading.

I shared the pdf of how one diminished chord(dominant b9 chord) resolve to the I major. please check it and let me know how do you think about practicing voice leading over diminished to I major chord! 

I'll share more my ideas over this soon! stay tuned! 

DM for the private lessons: rupertlo777@gmail.com

🚨 Feeling in 3 – Pt. 1: Comping in 3/4 🚨

We’re kicking off this new series by exploring comping rhythms in 3/4, one of the most versatile and expressive time feels in jazz. This lesson focuses on short ii–V progressions that develop your sense of pulse, articulation, and balance between hands.

In 3/4, it’s easy to think in strict “1–2–3,” but the best players treat each measure as a flowing three-beat phrase. By practicing these patterns slowly and evenly, you’ll build a natural, swinging pulse that feels relaxed and centered.

I talked about the relationship between the diminished chords and dominant chords, then I'll make a series videos of barry harris and diminished chord, please let me know if you have any thoughts or questions!

rupertlo777@gmail.com

🚨 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.