Most Popular Lessons

Here's what you do. Don't look at the files that say 'dont-look' download the other ones first. Take the sheet music and add your voicings to stella. Learn and and play and hopefully post it here. 

After that and ONLY after that, download the don't look files and see what voicings I used. Check out what's similar and what's different. Let me know how you do and what you think. 

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

I sometimes cop Balafon patterns to work on. I love listening to Balafon players and checking out their independence. 

Check out this video: 

In the beginning somewhere he plays this pattern. I don't take them down stricktly, because they vary them. 

Check out the attached PDF!

Check out the attached PDF!

🎵 Harmony Without Chords – Pt. 7: Scale & Chord Outlining Combinations

In Part 7, we combine two essential approaches to line construction: scale-based motion and chord outlining. These exercises move through ii–V progressions in descending whole steps, blending linear scale passages with clear chord-tone targets to create lines that sound both melodic and harmonically grounded.

🎵 Play A Great Rhythm Changes In 3 Months – Week 8

Over the past three weeks, we've gradually expanded our melodic vocabulary.

We started with:

• 3rds and 7ths
• Embellished guide-tone lines
• Chromatic and flat 9 dominant vocabulary

This week, we continue that progression by introducing two of the most recognizable sounds in bebop improvisation:

👉 The diminished scale
👉 The bebop scale

Lesson: Inverse Diminished Lines Over the Bridge of Rhythm Changes (Part 2)

In this second part of the lesson, we’re continuing to explore the bridge of rhythm changes with a new twist on the diminished pattern from the previous exercise. In this version, the diminished line is inverted, offering a fresh approach to navigating ii-V lines over the bridge.

🎵 Harmony Without Chords – Pt. 9: Adding Enclosures and Chromaticism

In Part 9, we take harmonic implication a step further by incorporating enclosures and chromatic passing tones into our line construction. Applied here to the chord progression of Minority by Gigi Gryce, this exercise demonstrates how carefully placed chromatic notes can add tension, sophistication, and forward motion while still clearly outlining the harmony.

Rhythm Changes Harmonic Vocabulary - Part 4

In this fourth installment of our rhythm changes harmonic vocabulary series, we continue to develop both rhythmic and harmonic fluency over the first A section. While the rhythmic pattern remains consistent with Part 3 in the first four measures, this lesson introduces new voicings and inversions that shift the color and register of the progression.