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"Farmer's Trust" - one of my favorite compositions from guitarist Pat Metheny. A great song to use as a vehicle for dampening including the one hand dampening techniques - slide, hand and pivot dampening. All of these dampening techniques will be covered in depth via exercises, etudes and pieces in my upcoming book on pedaling and dampening.

"The Nearness Of You" - Solo vibraphone on this classic with a focus on various dampening techniques including slide, hand and pivot dampening.

Accompanying my lessons about solo playing here a version of this standard ballad.

2'nd of my private 'Corona-Works' is a Vibraphone-Solo Arrangement of 'Somewhere over the Rainbow'.

Clip of "Autumn Leaves" exclusively improvising with Four Note Groupings recorded for my Berklee improv classes this summer. The concept is in Volume Two of The Complete Guide To Improvisation. I uploaded the lead sheet listing the 4NGs that I am using in the clip as well as excerpts about the concept from volume two of the guide. The book excerpts include a page about the concept, what 4NGs are available according to chord types and the table of contents of the concept. It's a concept that I love to play and work on for myself and with students.

During the Part of the Corona-Crisis, where almost everything seemed to stand still, i decided to work on Solo-Arrangements of 2 Jazz-Standards for Vibraphone. The first one is 'It could happen to you' as a medium Swing Piece and the second is 'Somewhere over the Rainbow', which i'll upoad soon after this. It was a great challenge to find 'Solo-Arranging' Ideas, especially when it comes to developing a reliable left hand, while the right hand or both hands go out for ideas or even just the melody.

"Misty" - a little quick video that I recorded for an online private vibe student I was working with. We were working on solo playing using voicings as the basis of the solo interspersed with runs. The voicings are comprised of open and closed voicings usually connected by a melodic line in the top voice. It makes for a full sound and nice groove.

Alright folks-- I make some egregious note errors here, but I comment on them and resolve some important choices that have been performed wrong in the past. So through error, a contribution.

I'm mainly talking about measure 50-- because an E natural is marked once, that leads me to believe that the residual Eb on third beat, third partial should be respected and played literally. NOT as an E nat.

Similar situation at 76 and 77, I respect the literal printing because of the included courtesy accidentals at the end of each measure.