all-levels

Hola a todos, comparto esta grabación de esta pieza original para Vibrafono y ensamble de percusión compuesta por Lucas Guinot (Argentina) e interpretada en este caso por mí en el Vibráfono junto al Ensamble de Percusión del Conservatorio de Música de Tres Arroyos (Argentina) durante mi concierto de graduación a fines del 2016.
La obra tiene aire a Chacarera (especie folclorica de Argentina).

PD.Recomiendo ampliamente que investiguen el trabajo de Lucas Guinot, hay composiciones para todo tipo de formaciones en intrumentos.

Hey everyone,

Part 3 in the series on how to solo over diminished chords melodically. The diminished IV chord (Bbo7 in the key of F) comes up a decent bit in standards -- like "The Nearness of You" and "I Remember You," among others -- and it's important to be able to meaningfully solo over! Full disclosure, I'll often treat it as an A7b9 chord, or a C7b9 chord! But watch the video if you'd like to know why.

Also, make sure to watch parts 1 and 2 if you haven't already, as there might be some some things in this video that won't make sense if not.

Hey everyone,

A little beauty...

Here is another low cost idea turned into reality by applying the new possibilities of 3D printing. My next frame will be equipped with these bar posts.

My collected ideas around the vibraphone can be found here:
http://wyndorps.de/E_index.htm

Hey everyone,

Another lesson on comping on ballads! We're looking at rhythmic density and ways to create an overall sense of arc with your comping, or while you're playing solo. Let me know if you have any thoughts!

Hey everyone,

The next couple comping lessons will be focused on ballads. In this one, I share how I think of the range of the instrument -- like an orchestra, with a low range for bass movement, a middle range for melody and/or chords, and an upper register useful for subtle effects, upper structure triads subtle, and counter-lines. I think this is especially important when playing ballads!

Hey everyone,

Here's the third and final part of my series on comping over a medium swing F blues, and how to give it that rhythmic drive a full rhythm section has. This is an interesting lesson, because I, myself, am still figuring it out! We're talking about sliding -- like a glissando, and how to use it the way guitarists and pianists do.

Let me know if you guys have thoughts on this! I obviously don't think it's applicable in all situations, but I think it certainly has some use in swing and rhythm music.

Hola a todos.

Comparto el audio de la transcripción que estuve realizando sobre un solo de Chet Baker (las primeras dos vueltas) y un solo de Tony que está en la ultima vuelta.
La tonalidad es Sol menor, pero cada coro tiene 6 compáses más (de G-6) al fina. Esto se debe a que en la grabación de Chet Baker hicieron esa variación en la forma.

Gracias.
Tomás, desde Argentina

Hey everyone,

Another lesson on comping. This time I'm looking at octave displacement (a lot less crazy than it sounds in this context) and rolls -- two things vibes players could do more, I think!