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Practicing today on sound possibilities in executing a line over C-7 F7 Bb Maj7. Focusing on variations with pedaling, dampening, deadstrokes, ghost notes, accents and stickings. The first example is fairly dry with no pedal. There are a lot of possibilities in executing a simple line like this. I'll sometimes take even a smaller phrase and work with it trying to get as many nuances and phrasing possibilities out of it. Note selection is important for sure, but sound is also very important and needs to be constantly looked at.

Hi Everyone,

I have an article in the current issue of Percussive Notes. It's a transcription/analysis of one of David Friedman's performances/lessons from the site (found here: http://www.vibesworkshop.com/node/4457). David was also kind enough to do a short interview about some of the concepts involved. Thanks to Ed Saindon for facilitating this. I attach the article here. I'd appreciate any feedback you might have.

-Tristan

Had a little time today before a class at Berklee. Practicing some improvisation with the concept of Tension Resolution on Autumn Leaves. With this concept I'm focusing on using one tension and chord tones for each chord change and making to sure to resolve the tension to the nearest chord tone. It is a simple but effective improv technique that sounds the changes with a melodic flow. I'm playing 8 measures out front to establish the context of the song.

Hi guys this month instead of technical or harmonic skill I'd like to share with you an arrangment of the great tune Oblivion.
There's a lot learn (also for me) in term of hands independence and phrasing.

Play the melody louder than the comping!! And try to be expressive cause tango is a really passionate music!... make sure to listen to a couple of original version of the tune in order to get the right mood.

have fun

giovanni