Stella by starlight (head and solo): https://youtu.be/fFQU0ZfcMp8
Billie's Bounce head: https://youtu.be/oyB4JJxfqcI
Etude No. 33 from my book "Vibraphone Virtuosity Series - Intermediate Progressive Etude, Multi-stylistic
2&4 Mallet studies for Solo Vibes". The most comprehensive vibraphone jazz book, ever written; exclusively
distributed by School for Musical Performance Publications. Order your copy today at -
Just a reminder. If you're looking for etudes to work on your technique, try the Parker Omnibook or the Coltrane Omnibook.
They are great and saxophone doesn't seem to me to lay out easily on the vibes so the music is challenging. I have always thought that trumpet lays out really well on the vibes. Don't know why but it does. Maybe it's harder for trumpet players to jump around on the instrument? What do you think.
And if you use transcription books, you are working on improvising, even though the best way to do that is to transcribe it yourself.
This goes along with this etude I posted:
https://www.vibesworkshop.com/audio-player/i-could-write-book/tonymicel…
I mentioned I would post my version of the tune. I work hard on playing tunes solo. As many of you know, I think great players and play by themselves. They can play solo.
How do you work on this? Record ourself playing melodies for starters, then tap along with them and check the time.
Friedman #16: https://youtu.be/5R5HBNNbJCc
Sandu: https://youtu.be/iwfY5g0h-Us
I enjoy practicing single lines, focussing on phrasing and time. In this example I used as a kind of "theme", playing over llm7b5-V7, moving around tonalities.
I wrote this tune after seeing the majestic, mysterious tomb of the Romantic French poet, François-René de Chateaubriand.
Under a large cross, it is the only tomb on a petite isle just off the beach at St. Malo, France.
A striking vista unfolds around it.
This samba was done with our University of Colorado Boulder Jazz Faculty in Grusin Aud. on campus.
I. Adagio
II. Allegro
III. Adagio ma non tanto
IV. Allegro This recording is uploaded in honor of the brilliant hearing of Bob McCormick, Tampa, FLA.
The sonata, originally for violin and clavier, offers so many possibilities for expressive rubato it's a cornucopia of interpretive riches.
Mutsumi Moteki, piano
Recorded at the University of Colorado Boulder
Blues Etude #21 Improv Vibraphone Solo
From my book "Vibraphone Virtuosity: Intermediate Progressive Etudes" by David Kovins
