Hey all, I'm starting a new lesson series with the goal of transferring some pianist language over to the vibes. I am a pianist and a vibraphonist, so a lot of my practicing has been doing just this.
The first is on Oscar Peterson, who is actually, I think, one of the best-suited pianists to adapt to the vibes, and I play with this stuff all the time.
Transcription of solo using Upper Structure Triads on "What Is This Thing Called Love". (Thanks to Nico Chara for the transcription) The improv concept explanation and the first chorus analysis is included in The Complete Guide To Improvisation Volume Two.
For more on the topic, including the specific USTs being used, here are page excerpts from the book:
https://drive.google.com/file/d/0B6z3NzPm4yYpckJlWjlwdm9DTXM/view?fbcli…
Jamey is one of the greatest innovators in jazz education. Back in the 1970's he started producing high quality playalong albums of jazz classics as practice aids for emerging young players. At the time, very few colleges had formal jazz programs, so many young players like myself, had only limited opportunities to actually play. These recordings were treasured and provided a great service to us.
Here you have it: one of the most challenging licks for vibraphone taken directly from the master.
it's also a great technical exercise based on the double lateral stroke.
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“Lucky Southern” by Keith Jarrett. It’s been sort of a Berklee standard through the years. A fun song to play with an AABA form.
I’ve been thinking about this a lot since this afternoon’s discussion. Truth in advertising: I’m definitely in the “competition is destructive “ camp in spite of my long association with jazz and its deep tradition of cutting sessions. I’m a real fan of those when they are old-school and about having a lively conversation with everyone speaking their piece. In recent decades I have felt a shift in the energy that is more like something I hated as a youngster.
“Who Can I Turn To” - inspired by pianist Bill Evans’ version of this classic song. Focusing on some concepts from my upcoming book Solo Vibraphone Playing. The book will include many concepts from my studies with Gary Burton as well as many others gleaned from the many great jazz pianists. It may take awhile to get it out but stay tuned.
This is the second part of my lessons on my original composition - Solitude. I am talking about how to work on independence and finding balance between the four mallets.
If you are interested in downloading the sheet music for Solitude, it is available at:
https://www.tonymiceli.com/sheetmusic/solitude-by-morgan-walbridge
Full audio for Solitude is also available at:
http://morganwalbridge.bandcamp.com/track/solitude
This is the first part of my lessons on my original composition - Solitude. I am talking about how to practice playing and moving around open fifths. I use them throughout my piece as accompaniment and think they are a great tool to have for solo vibraphone.
If you are interested in downloading the sheet music for Solitude, it is available at:
https://www.tonymiceli.com/sheetmusic/solitude-by-morgan-walbridge