I hope you're working on Just In Time.

No matter what level you are at, it's worth it to work along with us.
Even just learning the melody and the chords is something.

If you're knew at this, read through one of the etudes or solos. Think about the chords and what's happening. Maybe you will have questions.

That brings us to the pop up class for subscribers. Here's a chance for us to come together and talk about stuff, around this tune (Just In Time).

Here is one chorus of Just In Time, unaccompanied.

It's best if you transcribe it, then use my pdf to check it.

Regardless of how you learn the solo, you should memorize it. Then play it for a few days and then start moving it around the keys.

This is really the stuff where you can learn.
Start working on your ears and transcribe. Spend time with the solo and think about the chords in each key. You have to see the notes in the context they are in. 9s, b5s, 13s, etc. And then build up vocabulary through your ears.

Hey All,
Put December 5th on your calendar for the December edition of Good Vibes. 8pm eastern,
jazzon2. And Dec 8 at 4pm.
There's a sprinkling of holiday/winter tunes, a dash of standards, a dollop of rock and pop remakes on Where Jazz Goes and my always interesting patter. Learn why the theme song from Frasier, played by Gary Burton and Friends, is named "Tossed Salad and Scrambled Eggs."
Shows are also posted after they air on JazzOn2 on mixcloud.com. Search Good Vibes with Gloria Krolak.

Did this for a student. I have gotten really good at going from start to finish with these solos in about 10 minutes or less. That is recording them and turning them into sheet music! It's a good skill!

You should be able to play this and hear the harmony.

If you are going to use the sheet music, mark it up. What's happening in this solo? What are the upper extensions.

I just bought a used A=440 Yamaha YV-3710. Love the sound, and the motor is absolutely silent. I am playing along with iReal Pro live in the room from my computer speakers picked up by my AMT 404 mics -> Mackie 802-VLZ3 mixer -> Focusrite Scarlet 2i2 -> Audacity. Mike Balter 23BB mallets.

Enjoy,
Barry

Hey All,
I'm just holding myself accountable here by following through with posting assignments Tony has given me on my zoom lesson with him from Sept. Tony has been great in helping me stay focused with my practice time as I continue to try and learn the vibes.

1. In my last post I shared a bebop etude. This is the duet that goes with it that I overdubbed over the original. Same rules apply here. I have to look at the page and not the instrument while playing.

2. Here are links to David Friedman's dampening etudes 5 and 6:

Hey everyone,

Here's part two in this mini-series. In this one, I focus on dominant 13 (#11) chords, explain where to play them, why they exist, and how to solo over them. And, most importantly, why you have to treat every dominant chord you encounter differently, depending on context.

Let me know if you have any questions!

Hello all,

This is a topic I've been wanting to cover for awhile, and I finally made a video on. I think this is something that jazz education (at least in my experience) hasn't covered enough. It's how, in the key of C, you need to play differently on an E7, compared to a Bb7, compared to a G7, compared to an F7. They all have different scales and extensions that accompany them.

It's not all hard science, but a lot of it is! I heard someone say once that 99% of music is teachable, mathematical facts, and 1% is magic. So learn the 99%!