Scales and pitch sets
Put one scale, mode, pentatonic, hexatonic, triad pair, or interval set on each line. In Edit, set Bars to one or two. Play the set up and down, or the pair, for those bars.
You see one example. Play keeps time. Next brings the next set. Each example comes up once, then the order changes. Finish the list in one key before you edit the lines into the next key.
Open Scales for a named scale. Open All Intervals when the work is the space between two notes. Type the set you are practicing. The book stays the book.
Jerry Bergonzi, Inside Improvisation Vol. 2: Pentatonics
Type one pentatonic color per line. Play it for the bars you set. When every color on the list has come up, move the list to the next key.
Jerry Bergonzi, Inside Improvisation Vol. 7: Hexatonics
Type one six-note set per line. The metronome keeps the tempo while you learn the sound of that set. Each set comes up once.
David Liebman, A Chromatic Approach to Jazz Harmony and Melody
Type one chromatic path per line, the motion you are hearing into a chord tone. Set Bars long enough to play the path once. Next brings a different path.
David Liebman and Matt Vashlishan, How to Approach Standards Chromatically
Type one section of the tune per line, with the chromatic motion you are practicing written in your own notes. Each section comes up once before you play the tune straight through.
Mark Levine, The Jazz Theory Book
Type one scale or mode from the chapter you are in. Progressions from the same book belong on chord changes. Here, one pitch set per line, with the metronome.
Ramon Ricker, Pentatonic Scales for Jazz Improvisation
Type one pentatonic pattern per line, in one key. Play it in time. Each pattern comes up once, then the order changes.
Gary Campbell, Triad Pairs for Jazz
Type one triad pair per line. Play both triads inside the bars you set. Next brings the next pair, so you do not stay on the pair you already know.
Walt Weiskopf, Around the Horn
Type one pattern per line in the key you are on. Finish the list, then edit those lines into the next key and run it again.
Walt Weiskopf, Intervallic Improvisation
Type one interval pattern per line. Open All Intervals if you want the interval named on screen. The metronome keeps the pattern the same length each time.
Walt Weiskopf and Ed Rosenman, Beyond the Horn
Type one pattern per line. Give every pattern a turn in this key. Save as new when you are ready for the next key, and keep this list as it was.
Tim Murphy, Triad Pairs: The First Step
Type one pair per line, the shapes you are learning first. Play both triads with the click. Each pair comes up once.
Ramon Ricker, Technique Development in Fourths for Jazz Improvisation
Type one fourths pattern per line. Set Bars to the length of the pattern. The click does not move on until those bars are done.
George Russell, The Lydian Chromatic Concept of Tonal Organization
Type one scale color you are learning to hear, per line. Play it for the bars you set. The concept stays in the book. The list is the sounds you chose for today.