quick video here, but think about and practice this a little bit.
check this out. Practice this way. Not that you will use it all the time, but you might use it a lot!
this is my stuff. Those of you who have been on the site for a long time, have heard some of this before.
It has to sound like the song when you solo. That means you know the changes or have AMAZING ears.
My mantra is 'Does it Sound LIKE THE SONG". If you remember that you have to make it sound like the song first and foremost then all your practicing is with that in mind.
David is stellar vibraphonist that resides in Paris, France. He's really a special player. He did a few lessons for us!
This lesson talks about a unique way to pedal a bossa and play a solo. It's cool! And short. You will get it right away.
🚨 Play a Great Blues in 3 Months – Week 12
Over the past few weeks, we’ve been working with blues melodies and combining them with chord voicings—moving toward a more complete, chord melody approach.
This week, we introduce a new tune:
👉 “Sonnymoon for Two”
This melody has a slightly different character than Bag’s Groove—it’s more rhythmically active and sits differently against the harmony.
In this version, you’ll notice:
🚨 Play a Great Blues in 3 Months – Week 11
Last week, we started working with a real tune—“Bag’s Groove”—combining the melody with chord voicings in the spaces.
This week, we take that idea a step further.
👉 We move toward a more chord melody approach.
In this version, you’ll notice:
• Some melody notes are now harmonized with chords
• Additional voicings fill out the texture
• Certain harmonies are slightly modified for a fuller sound
• The line and harmony are more integrated
🚨 Play a Great Blues in 3 Months – Week 10
Up to this point, we’ve been building a blues vocabulary through:
• Guide tones
• Chromaticism
• Augmented, diminished, and whole tone sounds
• Full chorus line studies
This week, we shift into something more practical:
👉 Applying these ideas to a real tune
We’re using the melody to “Bag’s Groove” as our starting point, and combining it with chord voicings in the spaces.
This is an important step.
Instead of thinking separately about:
Transcribing, Hearing Form, and Ear Training.
Working on Pemutations, Technique, and Pedaling.