This is an attempt at the time exercise that David Friedman has been demonstrating on the site. After the head, the vibes solos for two choruses, then guitar for two, and out.
Hi I'm new to this wonderful community. I've been playing vibes for about one year. I recorded practicing blues, Billie's Bounce with my good friend bass player. I know there is so much to work on, outlining chord changes, language... and way more... but I'd like to hear from all of you way more experienced players than me on what I should focus more. There is so much material out there on the recordings that I'm listening to, should I transcribe first?
Just a follow up on my (pan) video from last week where I copy banjo finger rolls to accompany myself.
My student and I were working on “Darn That Dream” today in a private lesson. We were talking about playing voicings under the melody and discussing ways of adding color to the harmony while playing the melody. A lot of the voicings and voicing techniques I’m using in this clip (clusters, shapes, voicings in the texture, symmetrical diminished shapes, reharm, six note voicings, voicings with upper structure triads, linear movement,…) are discussed and shown via examples in my book “Voicings Concepts for the Jazz Vibist”.
"Blackbird" by Paul McCartney. One of my favorite songs recorded today at home while we have a blizzard outside. Hope you like it.
This video might be a little similar to Tony's "marking the tune" video, in that it is another way to outline the changes, and make the "pretty notes" flow together. Anyway, it was inspired by a banjo player: Danny Barnes who I first heard of from this sight a long time ago when Tony posted a link from his blog.
I love playing ballads!
Here's a version of "My Foolish Heart" that I was happy with from a recent trio gig with the great Drew Gress on bass and drummer Johnathan Blake.
Questions, ask away...
Thanks for listening.
-Tyler