1. Explore extended chords (e.g., maj9, min11, ______) and how they add richness. 13ths
a) 13ths (13ten)
b) 7ths (7ten)
c) 5ths (5ten)

2. Practice substitutions, such as replacing a V chord with a ______ progression. ii-V
a) ii-V (ii-V)
b) I-IV (I-IV)
c) iii-vi (iii-vi)

3. Use diminished chords as ______ chords between major or minor chords. passing
a) passing (Durchgangs-)
b) root (Grund-)
c) extended (erweiterte)

4. Learn secondary dominants and how they create ______ and release. tension
a) tension (Spannung)
b) harmony (Harmonie)
c) rhythm (Rhythmus)

5. Add chromatic approaches to your ______ changes. chord
a) chord (Akkord-)
b) melody (Melodie-)
c) rhythm (Rhythmus-)

6. Experiment with open voicings to create a more ______ sound. spacious
a) spacious (weiter)
b) dense (dichter)
c) bright (heller)

7. Practice "drop 2" voicings for ______ chords. jazzier
a) jazzier (jazziger)
b) simpler (einfacher)
c) classical (klassische)

8. Use the left hand for rootless voicings while letting the right hand add ______. color
a) color (Farbe)
b) rhythm (Rhythmus)
c) melody (Melodie)

9. Apply counter-melody lines in the right hand over your ______. chords
a) chords (Akkorde)
b) scales (Skalen)
c) rhythms (Rhythmen)

10. Combine block chords with broken chord patterns for ______. variation
a) variation (Variation)
b) simplicity (Einfachheit)
c) speed (Geschwindigkeit)

11. Play the melody with different articulations, such as staccato, legato, or ______. accents
a) accents (Akzente)
b) dynamics (Dynamik)
c) rhythms (Rhythmen)

12. Use thirds, sixths, or octaves to ______ the melody. harmonize
a) harmonize (harmonisieren)
b) simplify (vereinfachen)
c) complicate (komplizieren)

13. Play melody notes within the chord voicing instead of ______. on top
a) on top (oben)
b) below (unten)
c) outside (außerhalb)

14. Apply reharmonization techniques by changing the ______ under the melody. chords
a) chords (Akkorde)
b) rhythm (Rhythmus)
c) dynamics (Dynamik)

15. Add embellishments like trills or slides to your ______. melody
a) melody (Melodie)
b) chords (Akkorde)
c) rhythm (Rhythmus)

16. Play the melody with the left hand occasionally to free up the ______. right hand
a) right hand (rechte Hand)
b) left hand (linke Hand)
c) foot (Fuß)

17. Use "call and response" between melody phrases and ______. chord fills
a) chord fills (Akkordfüllungen)
b) basslines (Basslinien)
c) rhythms (Rhythmen)

18. Practice creating variations of the melody while maintaining its ______. structure
a) structure (Struktur)
b) rhythm (Rhythmus)
c) dynamics (Dynamik)

19. Use dynamics to emphasize specific melody ______. phrases
a) phrases (Phrasen)
b) chords (Akkorde)
c) rhythms (Rhythmen)

20. Experiment with different registers for the melody to change the ______. mood
a) mood (Stimmung)
b) tempo (Tempo)
c) key (Tonart)

21. Master the modes (e.g., Dorian, Mixolydian) for improvising ______. melodies
a) melodies (Melodien)
b) chords (Akkorde)
c) rhythms (Rhythmen)

22. Improvise with guide tones (3rds and 7ths) to outline the ______ changes. chord
a) chord (Akkord-)
b) melody (Melodie-)
c) rhythm (Rhythmus-)

23. Add blues scales or jazz scales for a soulful or ______ feel. swing
a) swing (Swing)
b) classical (klassisch)
c) pop (Pop)

24. Play chord fragments or "clusters" in the right hand for a ______ sound. modern
a) modern (modern)
b) traditional (traditionell)
c) classical (klassisch)

25. Use rhythmic displacement to create interest in improvised ______. phrases
a) phrases (Phrasen)
b) chords (Akkorde)
c) rhythms (Rhythmen)

26. Experiment with tension and release by adding dissonance and ______ it. resolving
a) resolving (auflösen)
b) repeating (wiederholen)
c) ignoring (ignorieren)

27. Improvise chord solos by playing chords in a rhythmic ______. melody
a) melody (Melodie)
b) rhythm (Rhythmus)
c) harmony (Harmonie)

28. Incorporate "runs" (fast note sequences) into your ______. improvisation
a) improvisation (Improvisation)
b) composition (Komposition)
c) practice (Übung)

29. Play arpeggios in a rolling or syncopated rhythm during ______. improvisation
a) improvisation (Improvisation)
b) composition (Komposition)
c) practice (Übung)

30. Practice connecting improvised lines seamlessly over ______ changes. chord
a) chord (Akkord-)
b) melody (Melodie-)
c) rhythm (Rhythmus-)

31. Master slash chords (e.g., C/G, D/F#) and their ______. applications
a) applications (Anwendungen)
b) inversions (Umkehrungen)
c) extensions (Erweiterungen)

32. Learn to analyze chord progressions quickly by recognizing ______. patterns
a) patterns (Muster)
b) rhythms (Rhythmen)
c) melodies (Melodien)

33. Practice reading lead sheets with complex time signatures (e.g., ______). 6/8 or 5/4
a) 6/8 or 5/4 (6/8 oder 5/4)
b) 4/4 or 3/4 (4/4 oder 3/4)
c) 2/4 or 7/8 (2/4 oder 7/8)

34. Play multiple interpretations of the same lead sheet to experiment with ______. style
a) style (Stil)
b) tempo (Tempo)
c) key (Tonart)

35. Use chord inversions to simplify transitions between ______ chords. complex
a) complex (komplexe)
b) simple (einfache)
c) extended (erweiterte)

36. Look for opportunities to substitute or enhance chords (e.g., add ______). 7ths
a) 7ths (7ten)
b) 9ths (9ten)
c) 11ths (11ten)

37. Practice reading two lead sheets simultaneously to switch between ______. keys
a) keys (Tonarten)
b) rhythms (Rhythmen)
c) styles (Stile)

38. Memorize common jazz and pop standards to understand frequent ______. structures
a) structures (Strukturen)
b) rhythms (Rhythmen)
c) melodies (Melodien)

39. Develop speed by practicing ______ lead sheets. sight-reading
a) sight-reading (Vom-Blatt-Spielen)
b) memorizing (Auswendiglernen)
c) improvising (Improvisieren)

40. Focus on left-hand bassline independence while following lead sheet ______. chords
a) chords (Akkorde)
b) melodies (Melodien)
c) rhythms (Rhythmen)

41. Explore Latin rhythms (e.g., bossa nova, samba) for chord ______. accompaniment
a) accompaniment (Begleitung)
b) melody (Melodie)
c) improvisation (Improvisation)

42. Add syncopation in the left hand for a ______-based feel. groove
a) groove (Groove)
b) swing (Swing)
c) waltz (Walzer)

43. Use polyrhythms to add complexity (e.g., ______). 3 over 2
a) 3 over 2 (3 über 2)
b) 4 over 3 (4 über 3)
c) 5 over 4 (5 über 4)

44. Incorporate "comping" techniques for ______-inspired rhythms. jazz
a) jazz (Jazz)
b) classical (klassisch)
c) pop (Pop)

45. Experiment with time feel, such as swinging straight rhythms or ______. vice versa
a) vice versa (umgekehrt)
b) doubling (verdoppeln)
c) halving (halbieren)

46. Play ghost notes in rhythmic patterns for subtle ______. emphasis
a) emphasis (Betonung)
b) speed (Geschwindigkeit)
c) volume (Lautstärke)

47. Switch between different rhythmic patterns within the same ______. song
a) song (Lied)
b) chord (Akkord)
c) scale (Skala)

48. Add accents to unexpected beats for dynamic ______. energy
a) energy (Energie)
b) rhythm (Rhythmus)
c) harmony (Harmonie)

49. Play ostinatos in the left hand while varying the right-hand ______. rhythm
a) rhythm (Rhythmus)
b) melody (Melodie)
c) harmony (Harmonie)

50. Record yourself playing rhythmically complex patterns to analyze and ______ them. refine
a) refine (verfeinern)
b) repeat (wiederholen)
c) ignore (ignorieren)