[Parts 10a & 10b] It’s a good idea to view your practice as ‘activation sessions’, meaning that you’re looking to find the various sounds that you are already familiar with from listening to music when you pick up your instrument. This way at least half of the work, internalising the sound, has already been done. With this in mind, go and listen to the pianist Herbie Hancock play for at least an hour. What you will have heard him do at some point in the last hour is play a phrase that goes from within the tonality and general harmony of the piece, moves ‘outside’ for a short period of time, and then resolves neatly by weaving back into the harmonic fabric of the music by returning to our original 'inside' notes There are various ways of achieving this consonance and dissonance balancing act, but one of the most immediate is known in the trade as sidestepping, literally shifting a phrase up (or down) by a semitone. now there are crude ways and subtle ways, and I’m going to show you the subtle way (for the crude way, literally just play the same exact thing three times, once in key, then a semitone higher and finally back down again). The best way to do this, and the way you’ll have heard Herbie do it, is to keep the line flowing through the transition, as if you’ve modulated mid-phrase to a new key and then resolved back again. This is infinitely more ‘believable’ than the crude version and alludes to a much higher level of harmonic and melodic sophistication.