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🎹 Lesson 7: Rhythmic Patterns & Odd Note-Groupings in Pentatonic Lines
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Today, we’re breaking free from the standard 4/4 feel by using odd note-groupings in pentatonic lines. This technique adds rhythmic displacement and a polyrhythmic feel to your improvisation!

📌 Step 1: Internalizing the Chord Progression
✔ Practice voicings in the left hand first.
✔ Test in different keys to build flexibility.
✔ Use a backing track (call-and-response) while playing just the left hand.

📌 Step 2: Right-Hand Patterns with Odd Note-Counts
🎶 We’ll play patterns from the pentatonic scale, but with odd note-groupings that don’t align evenly with 4/4 time:
✅ First Pattern: A 3-beat phrase, shifting accents across the measure.
✅ Second Pattern: Starts on b7 of the pentatonic scale, adding an extra note to extend the grouping.

📌 Understanding the Hemiola Effect
🔥 In the Am7b5 → Ab7 progression, the pattern is played twice, creating a hemiola:
✅ Accents shift in each measure, generating a polyrhythmic feel.
✅ This makes phrases land on unexpected beats, adding forward momentum and syncopation.

📌 Practice Tips
🎯 Master each pattern separately before combining them.
🎯 Use slurs & accents to reinforce the rhythmic groupings.
🎯 Analyze where phrases land within the measure.
🎯 Experiment by applying these rhythmic ideas to different progressions.

🎶 By mastering odd note-groupings, you’ll unlock greater rhythmic freedom and create more compelling, unpredictable lines!

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Lesson 7
Chapters
0:00 Pentatonic Lines Exercise 7
2:26 How To Practice Pentatonic Lines
3:06 Call & Response Pentatonic Line No.7

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