I sometimes cop Balafon patterns to work on. I love listening to Balafon players and checking out their independence.
Check out this video:
In the beginning somewhere he plays this pattern. I don't take them down stricktly, because they vary them.
Getting your time together can be an enormous amount of work. Well, at least for me it is and I'm still working on it.
With this etude, you have to play it with your right foot OFF the pedal and tapping on 2 and 4. Not your left foot but your right foot.
I don't write the chords in because I want you guys to print this stuff out and really study it. I feel like I'm handing it to you if I write the chords in. I believe you need to do the active work and try very hard to see how all this is connect.
Hi vibes lovers,
today I'll show how to use the diminished octophonic and symmetrical scale.
it can be played over:
Dim7: WT-HT
Dom7: HT WT
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Keep in mind, since making these videos, I now play the Dmaj 7 in the 7th bar. I got schooled by David Friedman for doing it the Bill Evans way and now I love the Dmaj7 and know the history of the tune!
Keep in mind, since making these videos, I now play the Dmaj 7 in the 7th bar. I got schooled by David Friedman for doing it the Bill Evans way and now I love the Dmaj7 and know the history of the tune!
When we learn I think it's best to break things down into small chunks. Learn a piece move on, put a couple pieces together. That's the way I do it. So let's take this simple beginning of the tune and work on it.
Do you know and can you see that this is basically a 12 bar blues?
A crazy mental exercise in improvisation! This will help your dampening skills as well as your ears and your overall understanding of the instrument.
In this video I'll cover different strategies and approaches for creating lines using simple triads. The idea is pretty easy and comes from the triadic harmonization of both major and minor scales.
Hope you can get something helpful out of this lesson.
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Hey everyone,
Here's another lesson on dampening. This is a subtle topic that relates to how you actually physically press the mallet into the bar when you dampen. You can use varying dampening speed to create clean-sounding dampening, legato-sounding dampening, and everything in between!
Let me know if there are any questions!
-Oliver
Let your ears tell you what is happening. Train them to give you information.