I still haven't seen this one myself. I know one of the resonator demonstrations I wanted to include didn't record well so it was edited out. I'll get a better one next time.
It's so funny how Tony and I work on the same things 3000 miles apart without talking about it. I was inspired by our LONG, somewhat heated discussion about swinging using double-or alternate sticking. I ALSO love to practice solo playing, concentrating on the time and SWINGING! I ALSO do many takes, waiting for something decent that I can identify with to some extent. These are bebop-like changes from a piece written by a Norwegian guitar I play with occasionally. He LOVES bebop and playing fast tempos. But I listened to Tony and tried to play a "grown up" tempo.
Sea Journey by Chick Corea - I remember hearing this great song way back when I was a student at Berklee. It was on Chick's solo album titled Piano Improvisations released in the 70s by ECM. It had a major impact. I was playing the album today and it still sounds fresh. The track is listed as Song For Sally on the album. I also vividly recall Gary Burton playing this with his band in the 70s. Seeing Gary play this also had a major impact. I remember sitting front row (every night he was there) about 5 feet away from the vibes with my Superscope cassette player under the seat. Ha!Ha!
Sunday night practice session with ascending Minor triads starting with Bb minor. Thinking about using various stickings including alternate and combination strokes as well as using all four mallets for the lines.
"Samba e Amor" - a beautiful song by Brazilian composer Chico Buarque. Here's a simple version of the song played with an AAB form. Here's the lead sheet:https://drive.google.com/file/d/1okuOrqEVQlzHTDoxafJjD9V_K71rP8ag/view?…
Song for My Father is a Great tune to study mainly because it has a couple dom 9 chords. Not altered, not diminished, just a 9 chords. We can get rid of the root and the fifth and add the 9th and the 13th. I do this in this etude.
Most of this tune can and should be played with rootless voicings ESPECIALLY with a bass player. Here I add the root but it's never with the chord. This is to make sure you can hear the voicings in context.
We have to be careful with rootless voicings. They can sometimes sounds like a different chord then they are supposed to be.