About building the skill of approach notes:
I do exercises for MAJOR and DOMINANT chords playing from
-below chromatically
-above diatonically
-above-below & vice versa
-above-below-below-above & vice versa

I wonder, if in the variant of minor chords in Jazz we tend to use rather the aeolian or dorian scale. I guess dorian, but aeolian is easier to hear in the first place.

Thanks for any remarks & comments,

Norbert

Here's another exercise for the bridge of rhythm changes.

Hello everyone, for anyone in Spain, I'll be there during May. Here are the dates where I'll be. Madrid (11-14), Valencia (15-16) and Barcelona (17-19). It's primarily a vacation for my wife and I, but if there is an interest in getting together for a lesson, contact me via email. Not sure of the specific details yet, but I'll be giving a clinic at the Berklee campus in Valencia on the 16th. Ed

Here's a clip of Jobim's Chega De Saudade. I don't think Lance played this before, so a few loose spots here and there. A little information about the guys in the band. Lance is very active here in town playing with a lot of players. David is on the faculty at Berklee. Jun was visiting from Tokyo. He and I went to Berklee around the same time. We had Joe Hunt down for the gig, but he wasn't feeling well and Jun gladly said he would fill in.

I'm building a graduated bar F3 to F6 vibe from scratch using 60.60.T5 aluminium here in Queensland Australia.I have finished all the bars (going up 2 cents every octave on advice from the pianist in my jazz group who is a piano tuner by trade). I've been able to tune the 1st overtone up to Bflat 4. I used 10mm thick bar.

How do I find the best spacing between under the bars and the top of the resonators for best balance of volume and sustain? I am not using fans, so there are no cutouts at the resonator mouths but will use electronics to get some amplified vibrato/tremelo.

Hi All,
March will be here very soon, and so will another edition of Good Vibes, the vibraphone zone. The show airs on Sunday, March 4 at 8-10p eastern time. Don't forget the rebroadcast on Wednesday, March 7 at 4-6p eastern.

March 8 is International Women's Day. I'm celebrating that little-known holiday with all tunes named for women. So you'll hear Maria, Naima, Sweet Lorraine, Ruby, Emily and many more, all by our favorite vibes players.

Here's the details:

streaming online at www.jazzon2.org
Good Vibes airs on the first Sunday of the month, 8-10 pm eastern time

I made this for a student and thought I'd share it. We did it on the fly.

Practice page one in all the keys. Also page two.

Use the closed and open positions and then go through all the open and closed voicings. Remember the rules are the same as you move to the SAME notes to other voicings. If a note moved in one voicing it WILL move to the same place in all the other voicings.

Page three just analyze.

Remember: you don't need the roots. It's not Emin7 It's Cmaj. UNLESS you see an F# then it will sound more like Emin 9 than Cmaj7.

Hey guys! Another tune that me and my quartet played a couple of months ago. Our tribute to one of the most importants jazz musician ever, Freddie Hubbard!
Best regards for everyone!

Javier

Here is the full etude. The etude (as written) is monophonic with just lines written out. I added 4 mallet stuff to work on getting it into my vocabulary. It's always funny how long it takes for this stuff to really sink in. I think that's what is interesting about what we do compared to what classical musicians do, having been on both sides of the fence. If I were to learn this as just a classical piece, I would be done with it. I learned it and played it with minimal errors. But as a jazz musician, I am just scratching the surface of getting 4 mallet stuff into my improvising.

After David's lesson Dim had a try and he sounded great.

John