Hi everyone! Here is an etude that I wrote inspired by part one of the Keith Jarrett Koln Concert. I've been using this as a fun way to work on coordination and dynamics between the 4 mallets. Hope you enjoy and let me know what you all think!
Adapting 3+3+2 to the Balafon
Watching the video is the easiest way to grasp ideas and variations. Below are added resources to go deeper into the material.
Harmonic Time:
Sometimes we need to step away from our primary instrument to rebuild our awareness from the ground up. I incorporate my Harmonic Time method for all the material I have learned and teach. Here is a general description of the method:
A work in progress. With a little break from teaching today at Berklee I was working on using mallets 4 and 2 for playing lines over the standard "Like Someone In Love". I feel that in my playing, mallet 4 is underutilized and I'm trying to work on that deficiency. It still needs a lot of work but I see the potential in using it more not only for solo playing for also for playing lines as well.
#thecompleteguidetoimprovisation
#voicingconceptsforthejazzvibist
#vicfirthm39edsaindonsignaturemallet
For several weeks, I have been using ballads while practicing as a vehicle for working on dynamics, time, and just trying to play decent music. Here are two recent efforts, both long time favorites of mine: Nature Boy and My Foolish Heart. I've occasionally performed these with my group, The Brooklyn Jazz Collective, when the horn players need to rest their embouchure muscles. They are both still works in progress.
Here is a couple of ways you can fill the space in between bars.
Those ideas could be use as harmonic or melodic device.
1. You can approach any chord with a dominant 7th chord built a half step up or down your target chord:
e.g. C can be approach with a Db7 or B7
I use this turnaround: C-Am-Dm-G7 and at the end I precede each chord with a dDom7 B7-C-Bb7-Am-Eb7-Dm-Ab7-G7.
2. Harmonize any given major or minor scale using a dim chord (G7b9) as a passing chord:
C6 - Ddim7 - C6/E - Fdim7 - C6/G - Abdim7 - C6/A -Bdim7.
Here is a couple of ways you can fill the space in between bars.
Those ideas could be use as harmonic or melodic device.
1. You can approach any chord with a dominant 7th chord built a half step up or down your target chord:
e.g. C can be approach with a Db7 or B7
I use this turnaround: C-Am-Dm-G7 and at the end I precede each chord with a dDom7 B7-C-Bb7-Am-Eb7-Dm-Ab7-G7.
2. Harmonize any given major or minor scale using a dim chord (G7b9) as a passing chord:
C6 - Ddim7 - C6/E - Fdim7 - C6/G - Abdim7 - C6/A -Bdim7.