No Vibes, but I have never heard anything like this before...
/.
Hi there,
I'm practicing the Blues Etude (link below) but I have a problem to analyze bar 35. The chord on beat 4 is a bII9, a substitute dominant, right? But what function is a f d bflat a c on beat 1 - 3 in measure 35? Any help, please? Is it kind of a V13? Any help?
Thanxalot,
Wuestentrommler
http://www.vibesworkshop.com/book/good-vibes/-blues/blues-etude/tonymic…
Here's a really quick and simple 4 mallet version of invitation.
I talk about coming up with a quick version of the tune that fits with the melody, just something to get you going. Here's a version of that. Just really simple.
I would use this if you're having trouble coming up with your own version.
Hi Tony!
I've been messing around with Lou Reed's song Perfect Day and tried to do a jazz interpretation of the harmonic progressions but I got in trouble with the Fmaj and Dm bar.
Am/D7/Gmaj/Cmaj would be a II/V/I/VI progression in Gmaj.
I tried to use a Fmaj scale for soloing over the next two bars F(maj)/Dm as this would be a I/VI progression in Fmaj but this does not sound good.
So maybe you can give me a tip which scale to use on the three bars F(maj)/Dm/E7?
12 kEYS!!!!!!!
Hey Guys,
I thought I'd start a little discussion/lesson on how to transcribe changes to tunes. As a drummer(or a drumming vibist..haha) I have been(and still am) always struggling with learning and transcribing changes and I thought I'd start out here with some tips on how to break it down. As Tony's shrink would say: if you have a big problem, brake it down into smaller problems and the big problem will go away.
I don't post much but now that I'm studying with Tony, he said that I have to share this on the site. I sent a dvd of me playing to PAS last year to apply for the Terry Gibbs scholarship and I got an email yesterday saying that they have selected me as the winner. I'm pretty excited about it and thought I should share this on vibes workshop. They also said that they're going to put me on the site which would be pretty cool.
I'm at school right now and I had a few minutes with the camera on. So I thought I'd play a very rough and quick version of Donna Lee, the etude I have posted here.
I think if anything the etude will lead to you thinking about using double stops in your lines to get the chords happening.
I also have a version over Bud Powell's Celia that I'll post soon.
I do spend a lot of time playing solos 'in slow motion' and seeing where I can add things in. That's what is fun about this instrument, it can be sort of like a puzzle.
I've been working on some bebop heads and just using them to work on my left hand. My thought is, if that gets comfortable with smackin' down double stops, that that will help my four mallet playing and enable me to do some fun things over lines.
It's not a big deal, but it's something I think about and have fun with. It's as if you're playing a line that is primarily a single line and with your left hand you're slipping in double stops. I thought it would make me more fluid.