Hi Guys today we talk about a Mc Coy Tyner lick based on quartal voicings.
Enjoy
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I think this is probably his most famous tune, and it's great so that makes sense. This might be one of my more elaborate arrangements of a head I've done. I really tried to make the head itself have an interesting arc where every A section is different. During the bridge, I used George Shearing voicings a lot. In traditional Shearing voicings, the pianist plays a 4-part closed block chord with the right hand and doubles the melody an octave below the top voice with the left hand. This means there are often 2nds in between the bottom two voices, and that's what makes the voicing crunchy.
No matter what your stance is on guns, I think this is pretty cool!
What do you Europeans think? Very American right?
Here's the website: https://www.12gaugemicrophones.com/
Clip from a practice session playing the classic Joe Henderson song. Playing with a "stream of consciousness" approach. Seeing what develops and working with motives, varied sounds (articulation, dynamics, accents, ghost notes, deadstrokes) and techniques as they come into play. This is one of the ways that I practice. I always enjoy playing songs this way and seeing where the music leads me along with taking some chances. For me, it's not about perfection but more about the process that's important.
As some of you know, for the past few months I've been studying a lot of Bud Powell on piano, and by the transitive property, also vibraphone. I've done a number of transcriptions and analyses, and I've learned almost every tune he ever wrote. So, for some closure before I go to Oscar Peterson, I'll be posting three solo vibraphone versions of his tunes.
Big fun to do this duets.
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Before Tony and Leigh developed the awesome Late Night Mallet, there was the Deschler 114. There was a lesson in the studio downstairs, so I was playing with soft mallets up in the living room. Nothing fancy here, just a Zoom recorder and me.
the other day, Chien Chien and I were talking about Crystal Silence. I think it is one of the nicest tunes ever written specifically for the vibes. I like to explore this side of the instrument.
