Homework — Workshop 12

A. Internalize 3/4

Count and tap:

1-2-3

then feel one large beat per bar.

Alternate without losing tempo.

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B. Five accompaniment patterns

On Cmaj7, play five different 3/4 accompaniment patterns.

No melody.

Make each feel distinct.

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C. ii–V–I

Practice:

Dm7 | G7 | Cmaj7

with:

• basic waltz
• sparse comping
• beat-3 anticipation
• one-pulse-per-bar feel

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D. Bass line

Write and play an 8-bar bass line using:

root

chord tone

approach note

for the three beats.

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E. Secondary dominant pickup

Practice:

C beats 1–2

A7 beat 3

Dm next bar.

Hear:

C♯→D.

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F. Diminished pickup

Practice:

C beats 1–2

C♯°7 beat 3

Dm next bar.

Hear the chromatic bass.

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G. Hemiola

Over two bars of 3/4:

RH accents 2+2+2.

LH maintains 3+3.

Do this on one chord first.

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H. Improvisation

One chorus with:

• no phrase starting on beat 1
• at least one two-bar motif
• one hemiola
• clear chord-tone landings

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I. Arrangement

Create:

1. traditional waltz version
2. medium jazz-waltz version
3. slow expressive version

Record all three.

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J. Final version

Choose the strongest elements and make one edited arrangement containing:

• clear 3/4 identity
• sparse jazz comping
• one harmonic anticipation
• one bass approach line
• one hemiola
• one climax
• deliberate ending