(Note from Tony) - my students have to do lessons each semester and submit them on the site. Sangwon speaks much better Korean than English so he's doing his lesson in Korean.
(Note from Tony) - my students have to do lessons each semester and submit them on the site. Sangwon speaks much better Korean than English so he's doing his lesson in Korean.
I recently acquired a marimba, and started messing around with some stuff!
Forgive the mistakes at the end of the video. I don't talk about phrasing much near the end, and I meant to... All of these neighbor tones can lead to "1". But, they can also be placed anywhere to disguise the arpeggio by not having the start of the arpeggio (C in the example) start on the downbeat, or a strong beat. The latter being which is how I hear them used more often.
One side of technique seems to be about faster harder and louder. On most gigs I do there's at least one tunes per set, usually that require fast loud and hard. People talk about these tempos and volumes as being unmusical, but I don't think they are. Especially when incorporated in a set of music, they seem to fit well. It's when the whole set becomes fast loud and hard that things get to be a drag. If my wife is in the audience, when I get through the set she usually says to me, that was a lot of testosterone being thrown around that stage.
Here's an exercise I used to do. Play it fast, hard and loud. That's the key. Sounds a little like a Steve Reich piece. Build up speed, play each pattern longer, etc. etc. etc. Stamina.
Gary Burton and Chick Corea played here in Philly last night with the Brooklyn String Quartet. Of course it was incredible. They opened up with Chick's tune Love Castle, which was very beautiful. They also played the arrangement of Chega off the new album and when it got to Gary's solo, Chick dropped out. Gary played Chega solo vibes, and you could hear the audience freak out a little bit. They also played Hot House, Eleanor Rigby, and a few others off the new album.