Check out all the edits in this video! Just the idea of thinking about playing accurately messes me up! But target notes are important. Classical mallet players use them all the time.
Check out the attached PDF!
🎵 Play A Great Rhythm Changes In 3 Months – Week 7
Over the past two weeks, we've been developing melodic lines from the inside out.
We started by connecting the 3rds and 7ths, then expanded those guide-tone lines with more melodic movement and common harmonic variations.
This week, we take another major step toward authentic bebop language.
👉 Flat 9 dominant vocabulary.
Great lesson to break into playing tunes solo.
Here are links to all the other vids:
Here is an etude I did for a student based on Maiden Voyage. I always laugh when I call something like this an etude, but I guess it sort of is.
I just get on the Malletkat with some ideas I want to pass along to the student and I just play. Then I quantize for notation purposes and then I dump it into Musescore or Sibelius do a final clean up and print a pdf!
My student was playing this tune and was playing minor thirds over the suspended chord. A suspended 7th chord goes with a mixolydian scale.
You know what, to be very frank and mildly funny, the big boys and girls can play good 2 5 1 voicings.
Well rounded players can do all this stuff. You can tell how well rounded a player is by listening to them play a standard and comp. For whatever that is worth. I imagine if you are a blue grass vibe player and that's all you care about then you're not worrie about this etude. But if you want to be a decent jazz player this stuff I think is important.
In previous lessons, we analyzed the bridge of rhythm changes and explored how to apply those ideas to other tunes. However, the A sections are just as important, as they follow common harmonic movements found in many standards. By practicing rhythm changes, you're effectively preparing yourself for countless other tunes.
Tip for voicing Maj7#11 by Behn Gillece
Working On A Cool Tune Pt. 1 - Careful (Jim Hall) by Behn Gillece
In this lesson, we expand on the rhythmic comping vocabulary introduced in Pt. 5 by applying Variation #4 to the entire A section of Jobim’s “Wave.” This segment combines voice leading and rhythmic consistency, helping develop both harmonic awareness and a deeper connection to groove within the bossa nova style.