I talked about the relationship between the diminished chords and dominant chords, then I'll make a series videos of barry harris and diminished chord, please let me know if you have any thoughts or questions!
One of my students has been working on "Footprints" and wanted to explore playing in 3/4 time. To help, I put together a simple etude focused on adapting familiar patterns to fit 3/4. What I like about this approach is that it lets you apply a straightforward line throughout the tune, and it flows well in 3/4. There are a few places where I adjusted the line slightly to better match the chords. Also, keep in mind that these changes are a bit simpler than the original ones, but they’re still widely used by many players—dating back to an old real book version!
Check out the attached PDF!
Check out the attached PDF!
Retired a while back and now have the time to get more serious about the vibes. Thought the 15 week thing would be a good place to begin. So here is my lesson 1 stuff.
My four root notes are F, Ab, B, and D. I think of the vibes as an F-centric instrument, so F. Going up or down a major or minor third takes it in more of a sharp key or flat key direction, so Ab and D. And B is a tritone away, which takes you as far from the original key as possible.
Here we go!
From F - all modes, muting and open/close, improvisation all modes
🎵 Play A Great Standard In One Month – Body & Soul – Week 3
Over the past two weeks, we've been developing our approach to "Body and Soul" by exploring different four-mallet voicings throughout the entire form.
Week 1 focused on voicings that loosely followed the melody, while Week 2 introduced another set of options emphasizing closed voicings and practical comping underneath a soloist.
This week, we're taking those ideas and putting them together into something a little more involved:
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.
Hello all!
In this lesson, I discuss the four basic dampening techniques, which can be thought of as different stickings to dampen with. Mastery of these is critical to good dampening application in real musical contexts!
Check out the attached PDF!