Technique

Hey guys,

I’m Rupert Lo, and I’m really happy to be part of the faculty here. I’m a vibraphonist, percussionist, and composer based in New York City. I’ll be sharing some of the things I’ve learned along the way—practice concepts, creative approaches, and hopefully some inspiration for your own playing. I also keep a few private lesson spots open each month for students of all ages and levels. My email is below, so don’t hesitate to reach out if you’d like to connect!

Hey guys,

I’m Rupert Lo, and I’m really happy to be part of the faculty here. I’m a vibraphonist, percussionist, and composer based in New York City. I’ll be sharing some of the things I’ve learned along the way—practice concepts, creative approaches, and hopefully some inspiration for your own playing. I also keep a few private lesson spots open each month for students of all ages and levels. My email is below, so don’t hesitate to reach out if you’d like to connect!

Older players have to really think about there hands. Esp if you're coming back to the instrument in retirement.

I would see David performing this when we would play duo concerts. 

It's a cool improv that is also a great study.

I am always working with students on their hands. Quite a few have problems and bad habits. Well for that matter we all at some level usually have a problem or two and a bad habit or two! 

You HAVE to get your hands together and working well if you're going to play more interesting and complex music. 

i.e. Donna Lee is much more complex technically then Blue Boss or One Note Samba. 

Just some stuff to think about with double sticking as well as a way to practice double sticking. 

i do feel that we want to do as much alternate sticking as we can. I know some disagree including David Friedman. So take it for what it's worth to you. But I give you some ways to work on double sticking.

Here's another sort of technique. I just call this Bill Evans Style. I'm sure all pianists do it but I noticed it listening to him. 

Bebop heads can really help with your technique. Play them very very slow and speed them up.

In the final blues dampening etude, we explore the minor blues form. Please note that there are some common substitutions in this one that are used often in minor blues. 

This is another version of the etude that goes through the same chord changes as Blues for Alice. There's a few different approach notes in this version. Remember that when playing this etude with the additional ii-V-I's, figure out all the other tunes you can use these lines on and try it in different keys!