This is just to give you an idea of a concept and way of playing.
It eventually will let you play lines with two mallets while using your outside left mallet to comp.
Check out the pdf below.
You should know the tune. Write in the names of all the chords. Play all the voicings in time. Once you have it down, add rhythms.
Hey everyone,
I was just thinking/talking about phrasing and how many notes one can fit into a phrase.
I always remember teachers and mentors telling me to play fewer notes when I was in school, however I would listen to them play and there would be 4 million notes in a single measure. What i've learned since that time is that they should have told me to concentrate on phrasing. To Me, phrasing is the difference between an enjoyable and engaging solo/composition and an un-enjoyable one.
Here is take two of Autumn Leaves with some thoughts on improv. A simple technique is to play a motive and move it around the scale. The strength of the motive allows it to be played out of the scale of the underlying chord or used over a reharmonized chord. I'm doing this at the beginning of my solo. The motive is a simple three note scalar motive that I'm moving around. When it sounds out, I'm playing A, B, C# during the measure of the A-7b5. The dissonance creates the interest. If everything is always perfect and played in the scale with a minimum of tension, it can get pretty boring.
Here's a clip of Billy and I playing the classic Autumn Leaves. We did two takes. This was first tune of the day that we played. The topic of comping has been popular on the site with Behn doing some nice lessons. This clip shows some various comping possibilities.
Some of the techniques include double stops, single note walking type bass lines, pedal point (on the bridge), reharmonization, use of guide tone lines, stacking voicings, open versus closed voicings, chord arpeggiation, counterpoint with the soloist, etc.
This is a clip of Billy and I playing a nice ballad, Hoagy Carmichael's Skylark.
Guys, here's another version of Basin Street Blues for comparison. There are some different left hand comping techniques in this clip versus take one.
Some of the techniques include single note guide tone lines. For example, on the second last bar of the tune (Bb Bb7 Eb Eb-), I'm bringing out the line of Bb, Ab, G, Gb to F going into the last bar of Bb. Using the guide tone lines, we can play fairly sparse while still sounding the changes.
I did this quickly for a student and figured I'd post it here in case any of you guys want to try it.
It's in the key of Eb. It's Fmin7 Bb7 Ebmaj7 C7 progression.
Look at each voicing and name the chord.
Remember these are vibes voicings. For many of them there will be no roots so keep the progression going in your mind.
Get it?
I see some enharmonic mistakes. Like Fb which is E of course.
Anyway check it out. If you fill it out and post it, I'll look it over.