intermediate

HELLO! IN THE WORKSHOP IN HOLLAND TONY TALKED ABOUT IMPROVISATION BASED ON SURROUNDINGS NOTES. IT WAS A VERY INTERESTED LESSON ON APPROACH (DIATONIC OR CHROMATIC) THE BASIC NOTES OF A CHORD WHICH IS 1, 3, 5, 7. THIS IS MY ETUDE. I DID THIS IN 12 KEYS MAJOR AND MINOR. YOU DON'T HAVE TO LISTEN TO ALL. ALSO I WILL UPLOAD PLAY0ALONGS OF 12 KEYS IN MAJOR AND MINOR. THESE ARE USEFULL TO PLAY THIS ETUDE OR TO STUDY LINES ON BLUES ON 12 KEYS OR WHATEVER. I TOOK FRIEDMAN'S ADVICE AND FROM NOW ON I CREATE MY OWN PLAY-ALONGS. I SAW A TREMENDOUS DIFFERENCE ON MY PLAYING DOING THAT.

THANKS!

I've always admired of how well piano players can play changes with walking bass lines. It's not so easy to accomplish on vibes. The way I attempt this requires some mallet dampening to keep everything sounding full and clean.

To get started you might try writing out a walking line to practice with, but ultimately you want to be able to create your voicings and "walking bass" spontaneously.

Check out the lines!

i watched tony's video on left handed technique and started playing in C dorian like the video with those ideas

This is a good example of a basic solo arrangement for vibes. Mallet dampening should be used on the first 16 bars of the melody to keep the notes from running together. You won’t be able to use the pedal because it will be down to allow the chord voicings to ring.

Print the head arrangement HERE

This lesson will be more valuable after you learn the tune! - Tony Miceli