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Here's the PDF to go along with Dana's Lesson 'Easy Giant Steps Patterns Part 2'.

Chinese translation for Chinese students.

Tony把這首曲子分成三個部分，這裡我們會學到第一部分。
（先不要去看Leadsheet，直接練練看以下的和聲進行）
以下是這首曲子和聲進行：
Cminor9 - Dminor9 - G13b9 (F Ab B E)
常常見到的和聲進行是
Cminor9 - Dminor9b5 - G13b9
但是這首曲子比較特別，是接到2級minor9，而不是minor9b5 。

*放到不同調裡面練習
*5級和弦用到的是rootless 13 和弦，沒有根音(root)沒有五音(5th)。
*學會這個和聲進行你就已經掌握百分之30的曲子了。


Let's tackle the melodic minor scale.
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今天我們要介紹，旋律小音階Melodic minor。
看起來就是major大調音階，降3音。
（如果你還沒有了解調式音階，先去看了解調式音階的練習方式，影片：Ways to study Modes）

還記得我們在講調式音階時說到，練習modes時，重點在七個調式要建立在同一個根音上。
所以C Ionian就是C大調音階，C Dorian就是C大調音階降3降7，同時也可以想成，C是二級，往下推大二度，
得到Bb，也可以看成是Bb大調音階。

在這邊的練習方是也是一樣。演奏C melodic minor scale, 然後換不同的調式音階，都還是保持大調降3音的規則（melodic minor），可以得到不同的Melodic minor scale。

This is a basic arrangement for vibes or marimba of the popular jazz standard "Afternoon in Paris". It demonstrates a couple different ways to accompany a melody - using a counter line or a block chord. It also employs a simple pedal point for the left hand during the bridge.

A PDF of the arrangement can be downloaded HERE. So print down a copy and try it out!

Ted...

One side of technique seems to be about faster harder and louder. On most gigs I do there's at least one tunes per set, usually that require fast loud and hard. People talk about these tempos and volumes as being unmusical, but I don't think they are. Especially when incorporated in a set of music, they seem to fit well. It's when the whole set becomes fast loud and hard that things get to be a drag. If my wife is in the audience, when I get through the set she usually says to me, that was a lot of testosterone being thrown around that stage.

取出rhythm changes 的一小段，1- 6- 2- 5的和弦進行。
目標就是要把這個和弦進行練好。
先慢慢找到和弦後，重複不斷演奏，
熟悉和弦後，用四分音符來演奏，從慢速到快速。
接著你可以留一些空拍不打，再來你可以試試在兩個四分音符中加入別的音。
就用這幾種方法不斷反覆的練習1- 6- 2- 5的和弦進行。
一開始可能會很慢，不過慢慢找到對的音很重要，聽起來要像是在和弦進行中。
PDF中有Tony寫好的solo，你可以背起來，
或著你可以研究這些音，看看這些音都是在對應的和弦中的哪一個音。
從這樣的練習中，你可以學到很多。

Hey guys,

This is a GREAT exercise for writing, improvising, and tune learning. The idea is to write a new melody over the chord changes to an old standard tune. You can alter the harmony a little bit here and there to fit your new melody but the idea is that you could call a standard tune everyone knows, but it will sound completely different.