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https://www.youtube.com/watch?v=IcM6byBJCyo (Ab key)
https://www.youtube.com/watch?v=JITAHFlySE4 (C key)

quarter note solo + regular solo

Continue to work on Donna lee:

Quarter notes -> then adding 8th notes
considering a logical approach
practicing in different keys
Chords -> in quarter notes
Chordal solo
One voicing for each chord (4 note voicing)
W/o root on dom chord
Consider the use of root notes
Voice leading
Traditional language

Assignment:

one chorus of quarter notes (logical approach)
second chorus of Simple solo

---------------------------------(Chinese translation)----------------

延續上次的Donna Lee

Hello all,

This is my second lesson in the "How to Play Vibes Like" series. Among pianists, Red Garland is known for two things -- his left hand comping rhythm and his revolutionary block chord style, which, shortly thereafter, everyone from Oscar Peterson to Chick Corea copied. This lesson focuses on these huge block chords of his, and how to translate them to the vibes.

Suggested listening:

I'm always wondering how to play a busy bebop tune and add chords.

I also don't think we have to play a lot of chords with a busy melody as busy melodies usually have a lot of information in them.

So I tried here to simply add only notes for the function of making sure the harmony was clear. I personally like this sound a lot.

Try to play it and see what you think.

Very simple but gets you improvising in minutes. And it's kind of fun!

This is an arrangement of Have You Met Miss Jones? I have been working on for the upcoming Pop Up Class. I'm hoping to play it a little faster and work it through the keys of F, Db, and A. Feedback welcome!

"All The Things You Are" with comping/solo playing: working with a student yesterday on comping/solo playing. We were working on various voicing techniques and concepts including closed, open voicings, voicings in 4rths, pentatonic voicings, 4-7 note voicings with upper structure triads, clusters, textural voicings and symmetrical diminished voicings. We also focused on how connecting the voicings with inner voices or an upper melodic line, breaking up the voicings and interspersing melodic fragments can lead to solo playing. That's how Gary developed many of his solo arrangements.