Great camera shot of gary playing.
Check out how locked in the time he is and how clean all his phrases are.
Let's tackle the melodic minor scale.
------------------------------------------------------------------------------------------------------------
今天我們要介紹，旋律小音階Melodic minor。
看起來就是major大調音階，降3音。
（如果你還沒有了解調式音階，先去看了解調式音階的練習方式，影片：Ways to study Modes）
還記得我們在講調式音階時說到，練習modes時，重點在七個調式要建立在同一個根音上。
所以C Ionian就是C大調音階，C Dorian就是C大調音階降3降7，同時也可以想成，C是二級，往下推大二度，
得到Bb，也可以看成是Bb大調音階。
在這邊的練習方是也是一樣。演奏C melodic minor scale, 然後換不同的調式音階，都還是保持大調降3音的規則（melodic minor），可以得到不同的Melodic minor scale。
The concept of lazy voicings can help you find NEW voicings. When you play lazy voicings you move voicings to the next chords closest notes. This can even help you get away from the root which is a voicing suprisingly you can usually omit, ESPECIALLY with a bass player.
Hey guys here is part 3 where I discuss one Upper structure triad option you can use for a V7 chord moving to a Minor i chord.
If you are in the key of C- the triad over the G7 would be Ebmaj. so a maj triad built off of the b6 scale degree.
Try it out!
Also check out part 1 and 2 of the series:
TRADUCCIÓN AL ESPAÑOL PARA ESTUDIANTES
Joe Locke showed me a cool scale that Olivier Messiaen used to write with. I found out later that it's a MOLT (Modes of Limited Transposition), which is pretty interesting. A major scale transposes into 7 variations and a diminished scale 2 (if I understand this correctly).
In Part 2 of my Upper Structure series I use a Maj Triad built off of the 7th scale degree of a Major 7 chord.
So if we are playing a Cmaj the upper structure would be a Bmaj triad.
I use this mainly to suspend the Maj7th chord. So instead of directly playing C maj I play a Bmaj Triad and then play the C maj chord.
Check out the video and if you have any questions please post them!
TRADUCCIÓN AL ESPAÑOL PARA ESTUDIANTES
This part I focus on using one upper structure triad and mixing it with the 4 notes of the dominant 7 chord to create a melodic fragment.
I will use the key of C as an example in parenthesis.
In summary, we are using a Maj Triad built off of the 6th scale degree of a V7 chord that leads to I. This could be the V7 of a ii-V7-I. (D-7 G7 Cmaj)
The idea to make the melodic fragment is to use the 4 notes of the V7.
I III V VII (G, B, D, F) and mix them with the notes of a Maj triad built off of the 6th scale degree of the V7(G7). So an Emaj triad. E, G#, B.
This is for Barry! Here's a slow mo' of 4 in 1 with a really nice stick drop at the end. (Inside joke for long time, vibesworkshop members).
Maybe this will be of some help with the etude.
I left the sticks after the throw up there for all to examine. You see I can tell the future by how the sticks fall onto the vibes. And I see a lot of good vibe playing in the future for everyone based on that throw.
Jimmie White did an internship with vibesworkshop.com and part of that internship was to do some lessons for vibesworkshop.com. Here's one and it's a cool one!
A beautiful original piece by Behn Gillece.