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Hey everyone,

This is part 2 of my lesson on the four basic dampening techniques.

Assignments Due

• Open Closed with minor 2 5 1 iib5 V7b13b9 I-maj7
• Play the melody to Donna Lee, rootless voicings for one chorus, chord tone solo for one chorus, melody one chorus
• Post all of Friedman #10
• Joe Locke - Sticks and Strings
  • When did Joe Locke die?
  • Who is on this cd?
  • Do you like this cd?
  • Can you think of how this CD is a little different from the rest?

Where to go from here

• Talk about transcribing

Assignment

• Trans

I've made other lessons here with the same theme. Make it sound like the song. 

It's our job in a way. Sure the heavy weights do this or that. But a true heavy weight can make it sound like the song. Once you have mastered that then you can take liberties. Listen to some of the solo Chick Corea CDs. He takes liberties but he's a monster! 

I slow down my solo so you can see how I use 4 mallets and comp and play. I say in the video that the most important thing to me are the lines, more important than the comping. IMHO

Check out the attached PDF!

Check out the attached PDF!

Check out the attached PDF!

🚨 Play a Great Blues in 3 Months – Week 8

Over the past few weeks, we’ve been building lines using real jazz vocabulary—starting with guide tones, then expanding into phrases drawn from players like Milt Jackson.

This week, we focus on one of the most important elements of that language:

👉 Chromaticism

These lines are built using phrases from Milt Jackson transcriptions and other bebop sources, but the main idea is how chromatic notes connect and shape the line.

You’ll hear:

Creating Your Own Etudes Pt.1 by Behn Gillece

Check out the attached PDF!