1.

Scales play really slow (quarter note at 45 bpm) focus on relaxing your body, steady
sound and memorizing notes. (using both notes name and interval numbers).
Key can change every week.
Any other exercise can be used with the same purpose, like: arpeggios or 1 fragment of a
melody or transcription.

2. My approach on rhythm start with comping. Follow different steps and each week go a
little more deeper. All those exercises are played around the cycle of 4th to familiarize
with the bass movement on cadence like II-V-I and each point is explained during 1
lesson time,
a) learn basic (137) and (173) voicing in all the key. (m7,m6, 7, maj7, maj6, m7b5, dim7)
and play them on downbeat of 1. Chords need to be practiced with and without root
b) learn basic voice leading using 137 and 173 to play on downbeat of 1
c) focus on the basic jazz anticipation of upbeat of 4
d) inside a 4 bars loop (II V I I6) keeping the 4 upbeat as reference each 2 bars ,learn
how to displace 1 accent on all the downbeat and upbeat. To be more specific try in
sequence : 1down, 1up, 2down, 2 up, 3down, 3up, 4down.
This also help to familiarize with the idea or rhythmic tension-resolution
e) play more accents and chords in a bars, focusing on a rhythmic phrase that resolve.
f) voice leading on II-V-I using (1379) and (1735) and some chords derived from it with
different top note: 13, 11, b9. #9, b13 and chords with the root as top notes. All need to be
practiced with and without root.

Play scales (or any other other working material) with swing feel focusing on
accentuating the upbeats.

3. Scales. Berklee 5 postions.

a) (60 bpm) play 1/4, 1/8, 1/8 triplet, 1/16, 1/16triplet, 1/32
b) play on third, forth, fifth, sixth, seventh
c) diatonic arpeggios inside the scale. Both triads and 7th chord arpeggios with different
ascending /descending combinations.
Segovia's 2 and 3 octave scales for advance students.
2 octaves 7th chord arpeggios : m7,m6, 7, maj7, maj6, m7b5, dim7, mmaj7. Within 1
long exercise around the cycle of the 4th.
Triads permutation over the neck

4. Connect chord tones on II-V-I major and minor.

Apply different rhythms to the chord tones.
Improvise with the arpeggios around the chord tones.
Work on descending lines aiming to chord tones
scales over the tune base on Barry Harris's approach
5-4-3-2 melodies of Barry Harris
Transcription and analysis of solo. Learn how to use and develop transcribed phrases in
 the tune and on other tunes

5. Major or minor easy standard. (play comping, melody and basic improvisation using
ideas from point 4. The song need to have 1 basic idea to focus. For example secondary
dominants, modulations, mIV and backdoor cadences, modal chords, pedal point etc..
Bebop tune. Also a good way to improve technique and swing feel.
Blues. Different melodies (traditional blues, swing, bebop, Parker's) and learn a basic
approach for improvisation using triad and blues scale.

6. Encourage students to make a little research every time they need to choose new songs to
learn, and do a set-list of the music they like, to easily access to it.
looking for different versions of the same song to understand differences and approaches
to get inspiration for melody, chords, rhythm, improvisation intro and outro.
Encourage student to go to the source of the music they like and listen and get inspiration
from the masters of the styles.