Hey everyone,
Here's part two in the little diminished lesson series. In this lesson, I'll show you how to better think of flat 3 diminished chords to give you more melodic material.
Hey everyone,
Today we talk about further application of the pedal point using non-functional harmony based on trias superimposed to a bass note.
We can build pedal point on the root or the fifth of the tonal area in which the tune is composed and on top of that build triads that moves:
1. chromatically
2. by whole tones
3. by major/minor thirds
Today we talk about an harmonic device that I stole from bass players!
We can build pedal point on the root or the fifth of the tonal area in which the tune is composed.
I'll use the harmony of On green dolphin street to show it. Make sure to learn the melody and the changes before this lesson.
Today we talk about an harmonic device that I stole from bass players!
We can build pedal point on the root or the fifth of the tonal area in which the tune is composed.
I'll use the harmony of On green dolphin street to show it. Make sure to learn the melody and the changes before this lesson.
Hey everyone,
Another lesson on comping on ballads! We're looking at rhythmic density and ways to create an overall sense of arc with your comping, or while you're playing solo. Let me know if you have any thoughts!
Hey everyone,
The next couple comping lessons will be focused on ballads. In this one, I share how I think of the range of the instrument -- like an orchestra, with a low range for bass movement, a middle range for melody and/or chords, and an upper register useful for subtle effects, upper structure triads subtle, and counter-lines. I think this is especially important when playing ballads!
Hey everyone,
Here's the third and final part of my series on comping over a medium swing F blues, and how to give it that rhythmic drive a full rhythm section has. This is an interesting lesson, because I, myself, am still figuring it out! We're talking about sliding -- like a glissando, and how to use it the way guitarists and pianists do.
Let me know if you guys have thoughts on this! I obviously don't think it's applicable in all situations, but I think it certainly has some use in swing and rhythm music.
Hola a todos.
Comparto el audio de la transcripción que estuve realizando sobre un solo de Chet Baker (las primeras dos vueltas) y un solo de Tony que está en la ultima vuelta.
La tonalidad es Sol menor, pero cada coro tiene 6 compáses más (de G-6) al fina. Esto se debe a que en la grabación de Chet Baker hicieron esa variación en la forma.
Gracias.
Tomás, desde Argentina
Hey everyone,
Another lesson on comping. This time I'm looking at octave displacement (a lot less crazy than it sounds in this context) and rolls -- two things vibes players could do more, I think!