In this lesson we identify and target individual alterations over dominant chords to tastefully fill in the space when the melody is static.

In this lesson we introduce the other primary chord tones by connecting the 3rds and 7ths with the basic arpeggios of each chord.

We introduce altered tensions into our improvisation by targeting single alterations and using full upper structure triad based lines.

In this lesson we are going to intentionally play the wrong notes or the notes that are deemed to be a bad fit with the harmony.

There are some important considerations when choosing which blue scale to use such as to analyse where the harmony is moving.

Similar to our course on cocktail piano improvisation, we start this module with chord tone drills and exercises targeting 3rds and 7ths.

Beegie Adair’s playing is one of my main inspirations for ballad. Her fills are tasteful and beautiful, but also very simple at the same time.

We focus on the #5 tension and the variety of ways that this can be applied such as a passing chords, inner voices, and improvised fills.

We explore arpeggio runs and fills to tastefully fill in the space when the melody rests and to connect the melody played in different octaves.

We explore an interesting reharmonisation for the 4th bar of the A section and a common tritone subs for the repeating 3625 progressions.