Tuomo shows us 3 different altered dominant 251 lines and then shows how we can create our own melodies over altered dominant chords.
You will immediately notice that this tune does not follow the standard 12 bar blues form that we have covered earlier in this course.
“Spann’s Stomp” follows the 12 bar form which we explored in the earlier lessons. We are going to play the tune in the key of C.
We use this final practice slot to drill around all 12 minor 251 voicings with the b9#11 and the #5#9 upper structure triads.
In this lesson we explore the b9/#11 and #5#9 upper structures. We apply to major 251s and in context of 2 well-known jazz standards.
Learn to play the F Jazz Blues using the Hammond Organ. We explore the B3’s anatomy & controls, walking bass lines, comping, turnarounds, & improvisation.
We will cover with some useful drawbar registrations that are commonly used in jazz organ for right-hand soloing and improvisation.
In this lesson we will explore right hand comping voicings and technique to accompany our own solos or a solo of someone else.
For jazz organists, walking bass is played primarily with the left hand on the lower manual, with some elements supported by the pedals.
Walking bass is the most common type of bass that you will hear in jazz and jazz blues on the organ. In this lesson we explore the theory.
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