The Jazz Masters Method Action Plan

The Jazz Masters Method Action Plan Here is the additional action plan. Please print this out! This plan will help you take the concepts from this DVD and add them to your own playing. This guide highlights a # of the main musical concepts from each chapter. If you truly take the time to follow the steps in this guide and watch the DVD closely your playing will improve immensely! By no means do you have to limit what you practice to just the concepts mentioned here. That being said, this will give you a focused place to start though. Additionally, it will help you take action right from the beginning. Use the licks and chords of the masters from the video as your guide for creating your own vocabulary. Enjoy!

Bud Powell Lick #1 ● ● ● ● ● ●

Learn Bud’s shell chord voicings from the lick in all 12 keys. Minor is (Root and 7th), Dominant is (Root and 3rd) and Major 7th (Root and 7th). Apply the shell chords to any of your favorite jazz standards (Ex: All The Things You Are, Autumn Leaves, etc.) Create at least 2 original licks that uses Bud’s enclosure pattern of diatonic note above, chromatic note below and then target note. Create at least 2 original licks that feature minor 9 arpeggios over a minor chord. Practice applying and creating your own licks using the whole tone scale over a dominant chord. Create at least 2 original licks that feature major 7 arpeggios over a I major chord.

Bud Powell Lick #2 ● ● ● ●

Learn the locrian mode in all 12 keys. create least 2 original licks using the locrian mode over a minor 7(b5) chord. create at least 2 original licks using V chord arpeggio notes over a iimin7(b5) chord. create at least 2 original licks that use Bud’s enclosure pattern. This enclosure pattern is diatonic above, chromatic below, and then resolution to target note.

Barry Harris Lick ● ● ● ●

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create at least 2 licks that feature 4 chromatic notes resolving down into a target chord tone. create at least 2 licks that feature Barry’s triplet ornamentation. practice using #11 in your licks over dominant chords and then smoothly resolving from the #11 back into the 5th. Experiment with substituting a dominant II chord instead of a minor II chord. You can throw this in almost everywhere as long as the dominant II chord does not clash with the melody of a tune. Always use your ears and your taste for when this is most appropriate. Experiment with using the tritone substitution (bII7) instead of the regular V chord in your tunes. This will also work great with your improvisation.

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Create at least 2 original licks that use Barry’s enclosure pattern of a 5th on a major chord. This enclosure pattern is chromatic note above, chromatic below, and then resolution to target note (5th).

Red Garland Block Chords ● ●

Take your favorite jazz standard and build an arrangement applying Red Garland’s block chords. (If you don’t know of a tune to choose then use “Out of Nowhere”). Tip: melodies that use mostly stepwise motion are often easier to start using this technique.

Bill Evans Lick ● ●

Create at least 2 licks that feature Bill’s minor ninth arpeggio being used over a dominant chord that’s a fifth lower. Create at least 2 licks that feature Bill’s 4 descending chromatic notes that target the major seventh of a major seventh chord.

Oscar Peterson Lick ● ● ●

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Create at least 2 licks that feature a combination of blues scale and major pentatonic scale. Practice playing your favorite blues licks over a II-V-I chord progression. Create at least 2 licks that feature Oscar’s enclosure pattern of 2 chromatic notes above, 2 chromatic notes below, and then the chord tone target note. Practice applying to all your chord tones (1,3,57). Create at least 5 different licks that end rhythmically on 2 eighth notes. Beats 1 and the “& of 1”.

Ray Charles Lick ● ● ● ● ● ●

Learn Ray’s rootless dominant seventh voicing in all 12 keys (b7, 9, 3, 5) Learn Ray’s rootless augmented 7th dominant chord in all 12 keys (b7,3 #5) Learn Ray’s rootless dominant chord in all 12 keys (3, 13, b7, 9) Create at least 2 licks that use Ray’s pivot of the IV chord resolving ot I. Create at least 2 licks that use augmented arpeggios over a dominant chord that resolves up a 4th... like in a V-I situation. Create at least 2 licks that use blues scale or blues licks over a II-V-I chord progression.

Diana Krall Lick ● ● ● ● ● ●

Learn Diana’s rootless altered dominant chord in all 12 keys (b7, 3, b13) Learn Diana’s minor comp chord voicing (L.H: 3, 6, 9 RH; 5, Root, 11th) in all 12 keys. Learn Diana’s dominant 7 #9 chord voicing (3, b7, #9) in all 12 keys. Create at least 2 licks that feature major blues scale or a II-V-I chord progression Create at least 2 licks that use Diana’s altered scale ornamentation and resolution Practice shifting the placement of these ornamentations. First put them on beat 1 and then also try putting them starting on beat 3.

Chick Corea Lick ● ● ● ● ● ● ● ●

Learn Chick’s cluster minor 7(b5) voicing in all 12 keys. Learn Chick’s rootless altered dominant chord in all 12 keys (b7, #9, 3, b13). Learn Chick’s rootless minor 6th voicing in all 12 keys (b3, 6, 9). Learn altered scale in all 12 keys. Create at least 2 licks that uses altered scale over a iimin7(b5) - V - i in a minor key. Create at least 2 sequential ideas using the altered scale as source material. Create at least 2 licks that target the 11th of a minor chord with 2 chromatics down. Create at least 2 licks that target the b3rd of a minor chord with 2 chromatics down.

Herbie Hancock Lick ● ● ●

Create at least 2 licks that use major triad arpeggios a whole step down over a minor7(b5) chord. Create at least 2 licks that over a dominant chord that uses upper structure triads (b5 major chord and b6 major chord). Learn the Herbie’s 2 upper structure triad two handed chord voicings in all 12 keys. L.H. : b7 3rd R. H. : b5 major triad or b6 major triad.