Harmony

🚨 Soloing Through the Changes Pt. 5 – Scale-Based Soloing: Bebop Dominant & Diminished Scales

In Part 5, we shift our focus from arpeggios to scale-based soloing, using the bebop dominant scale as a framework for outlining harmony with a smoother, more linear flow. This scale includes a chromatic passing tone (usually the natural 7th in a dominant scale), allowing you to maintain a strong rhythmic flow while still landing chord tones on downbeats.

🚨 Soloing Through the Changes Pt. 4 – 7th Chord Outlinings with 9ths & Alterations

In Part 4, we take the 7th chord outlines from the previous lesson and extend them into 9ths, while also adding alterations and inversions on dominant chords. The result is a more melodic, colorful, and expressive soloing vocabulary—still grounded in chord structure, but reaching toward the sound of bebop and beyond.

🚨 Soloing Through the Changes Pt. 3 – Diatonic 7th Chord Outlinings on “Minority”

In Part 3, we take our soloing a step further by outlining each chord using full 7th chord arpeggios, adding more shape and melodic possibility to our lines. Still working with Minority, this lesson is about expanding from guide tones to complete harmonic outlines—while keeping strong voice leading in mind.

🚨 Soloing Through the Changes Pt. 2 – Guide Tones in a Standard: “Minority”

In Part 2 of the series, we move beyond the blues and apply our guide tone approach to a jazz standard. This time, we’re using Gigi Gryce’s Minority—a minor-key tune with rich harmonic movement and ii–V progressions that challenge your voice leading.

Barry Harris is so amazing as a player and a teacher. 

Here he talks about All The Things You and progressions. This is so amazing!!!!!! 

New Lesson Series Alert: Soloing Through the Changes 

Starting today, we’re launching an 8-part lesson series focused on helping you build clear, confident solos that outline harmony and stay rooted in the form. 

Pt. 1 – Guide Tones Over the Blues

In this first lesson, we zero in on guide tones—the essential 3rds and 7ths that define each chord’s identity. Using a 12-bar blues in F, we’ll build strong, simple melodic lines that move smoothly through the changes. No flashy licks—just solid, musical fundamentals.

? Working on Time Pt. 8 – Full Form Flow and Bridge Contrast

In Pt. 8, you’ll play through the entire form of Antônio Carlos Jobim’s Wave, applying developed comping ideas across all sections. The lesson focuses on maintaining time, dynamic control, and feel throughout the tune—especially as the bridge opens up and invites a more legato approach.

? Working on Time Pt. 7 – Syncopation and Motion in Bossa Comping

This lesson introduces a new variation, a more syncopated approach to bossa nova comping over the A section of Wave. Designed to deepen rhythmic phrasing and hand independence, this variation more closely simulates the natural, flowing feel of authentic bossa guitar patterns—adapted for vibraphone.

? Working on Time Pt. 6 – Wave A Section Voicings with Rhythmic Variation #4

In this lesson, we expand on the rhythmic comping vocabulary introduced in Pt. 5 by applying Variation #4 to the entire A section of Jobim’s “Wave.” This segment combines voice leading and rhythmic consistency, helping develop both harmonic awareness and a deeper connection to groove within the bossa nova style.

Working on Time Pt. 5 – Bossa Voicings on “Wave” (Intro)
In this episode, we explore voicings and time feel for the iconic bossa nova intro of Antônio Carlos Jobim’s “Wave,” which vamps between Dm7 and G7—two beats each.

We’ll start with foundational voicings and gradually apply a series of rhythmic variations to build your comping vocabulary and groove awareness. The included PDF features four rhythmic variations that progressively increase in syncopation and complexity, helping you develop both feel and control.

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