Subscribers

Hey Vibeworkshop
Since last spring I have been thinking a lot about the melodic contour in improvisation. Today I wanted to share some thoughts and systems on how to understand the ways phrases can be built using Cell Shapes (ideas that are created using small contour segments, c-segs for short).

This is the first bridge of Green Dolphin Street or the B1 I guess you'd call it.

Put the chords in, then play or listen to the tune, then memorize this 'shortude'. Put it through some keys!

The file is attached.

This is being translated for Chinese Students

歡迎來到www.vibesworkshop.com，我們正在討論我們的每月一曲Green Dolphin Street還有 You Don't Know What Love Is. 我現在來研究Green Dolphin Street，我們要來做的事是很好應用在Green Dolphin Street中的，也就是學習如何在旋律上配和聲，以下是我以前都是這麼練，第一我要先聽熟這首曲子（～Music～），你聽到這首曲子了嗎？好！所以接下來我要做的事是我第一拍先打和弦（～Music～）一、二、三、四... （～Music～）這樣我就有很多時間去思考拍子、和弦配置（the voice），這是一首很好做這個練習的曲子（～Music～），我就是每拍都打和弦還有和弦音，這是個很簡單的練習，但是非常非常有用！如果你練起來了，而且加快速度打，可以訓練自己立刻打出一些非常有趣有好聽的和弦配置，所以如果我這樣（～Music～）。一開始要放慢速度，所以你可以在這其中找到一些和弦與和弦間的循環（～Music～），就是這樣！好！這是個非常簡單的一課。

https://soundcloud.com/delphicmaxims/star-wars

Hey Everybody
In honor of the release of Star Wars Episode VII my friend Paul Sottnik and I recorded a Jazz arrangement of the Star Wars Theme.

Enjoy
Delphic Maxim is a Duet Project with
Paul Sottnik on Piano
Frank Valente on Vibes

Star Wars Theme Credits....
Themes and Melody by John Williams
Arranged by Valente and Paul Sottnik

This is being translated for Chinese students.

歡迎來到vibesworshop.com，這是“每月一曲”時間，這個月我們要學 Green Dolphin Street和You Don't Know What Love Is。此時，我們已經練習這兩首曲子很久了，甚至已經超過一個月，我要問的是，你知道這兩首曲子的弦律嗎？最近我告訴我很多學生，如果你可以走到樂器前面然後就（演奏出 Green Dolphin Street美妙旋律）如果你沒辦法演奏這個曲子的旋律，你就是不懂這首曲子。對我來說這是第一步：你能夠演奏出旋律嗎？所以考慮到這點，當你每次在練習“每月一曲”時，你要確定，你能夠演奏出曲子的旋律。然後，我說過這件事五百次，你在演奏旋律的同時，要把旋律處理得非常乾淨並且在拍子上，這樣也能順便增進你的技巧。不要覺得你學習這個旋律沒有用，你要想的是，你有沒有把這個東西（弦律）處理好？如果你把旋律處理好，等於你學到了很大部分的東西。

I was messing around with dampening yesterday and discovered a cool trick to make a "bending" sort of sound.

Basically, (1) play any note at a low volume, then (2) play the note a half step or a whole step above at a higher volume and immediately dampen it after with the same mallet you hit it with. The effect is that you hear the sequence E-F-E (e.g.) as three distinct but smoothly connected notes, even though you've only attacked two.

Here's part 3 of lessons where the focus is the process of learning a tune. I'm using Coltrane's "countdown" as the example.