Here's a play along I made for a student.

We are working on moving 2 5's through the keys. So the Progression is:

C | C | Gmin7 | C7 | Fmaj7 | Fmaj7 | Cmin7 | F7 | Bbmaj7 etc. get it?

i wrote out voicings and i played a solo where I just play the chord tones to make the solo.

So check it out.

I don't put the chords in, you have to write them him. the are chords WITH roots, so you should be able to figure them out.

找適當的音階對應和弦 Putting the Scales in the Chords

你可以用這個方式想想：和弦音、和弦音以外的音，這兩種因素組成了音階。
＊以下譜例：和弦音（圖一）、和弦音以外的音（圖二）、把這兩個放在一起得到Dorian音階。

So last summer I posted a lesson entitled "Incorporating Brubeck Ideas into your Solo Vibe Practice and Performance" where I discussed different solo vibraphone techniques I learned from practicing a reduction of Dave Brubeck's performance of Strange Meadow Lark. For those interested in the article the link is below:

https://www.vibesworkshop.com/blog-entry/incorporating-brubeck-ideas-yo…

OK.. this may be getting silly. You know the drill if you checked out the first two. MP3 file is AABA starting with one mic, then switching to the other with each section. It is my hope that you can hear which is which because, this time, I have placed two VERY VERY different mics against each other.

Putting the Scales in the Chords

This is an old lesson, but I think it's good. The audio is down at the bottom of the text.

So think of the scales this way. The chord tones and the notes between the chord tones are the scales. For example:

So, in the first episode, I used two mics I considered substantially different. Tony and I discussed it a bit and we agree... as different as they are, there are a lot more similarities than differences and the differences are not in quality but rather character. Of course, assisting the musicians have exactly the correct character to their sound is what defines great recording engineers like the late Rudy Van Gelder.