SO, I threatened to bring my gongs to the last vibe hang, but unfortunately I couldn't make the date because I was out of town. I will certainly make the next one if I am around.

However, since that time, I have spent a few more hours over at Steve Weiss's place and located another half octave (well, actually, I also found a low D that is super pretty sounding so I went back and got that as well). I am still waiting for the parts for the racks to arrive, but as you will see in the attached photo, some cymbal stands, mic stands and a timbale stand add up to new notes!

Just gott his wild Idea.. Imagine a worldwide collective of vibraphonists sharing their frames, and only bringing their own resonators and bars on trips! -Saving money on owerweight, not needing to compromize on the sound, stay in touch and gather inspiration from colleagues all over the world (Thanks again, Tony!!!), saving our backs on carrying….

Just like the car-sharing-concept… Just spare us the time and energy on finding light weight sollution and only focus on sound...

In this post, I´d love to hear your sollutions for traveling. Do you use cases/bags? Do you preferr car/bus/train/plane? Do you borrow from colleagues and don´t bring anything at all? Do you use a trolley?? If you fly, how do you split up the vibe into affordable (overweight) cases/bags? Do you check in the frame, and taket he bars in your hand luggage? Hope to hear from as many as possible!

Best,

Karl Ivar

Thought I'd post this for Tony, this is Jack and he is just getting started, you will notice he is reading and playing sections a piece of music,its not the black page but its a start. I particularly like the gentle stick drop at the end

John

since david posted the sheet of the black page by frank zappa i thought you will also enjoy this more simplified arrangement of the tune. it´s based on the "make a jazz noise" cd-version, which i like a lot.i played this tune way back for my classic examen (2001) i found also a poor recording i did with my friend on marimba and me on vibes. i would play it different today but who cares...

Here's the lead sheet. Check out the groups of five an six. Just try going through the piece playing only the rhythms. I think Terry Bozzio played this as a drum solo.

This is probably one of the most singurlarly challenging pieces of music on the planet. It's also a great piece. Ruth Underwood was the mallet player with Zappa and she played the shit out it. I thought it might be interesting for all of us to check this piece out, see it written and listen to the music. It's great the way Zappa creates a sense of constant flow without conveying a sense of meter or tempo. Enjoy.

(the lead sheet is below)

Chick Corea and Gary Burton's duet of "Monks Dream" recorded at the Blue Note, NYC.
I Found this on YouTube,..not sure if it has been posted on this site before.....
Nice rendition. :)
Carla Jenkins

Check out one of the late greats

Chinese translation for Chinese students

C為起音的第四級Melodic scale, (C Lydian dominant scale)
如果把C這個音當作是一個Melodic scale 的第四個音，那往下推（完全四度），可以得到G。
所以你可以把C Lydian dominant音階想成Ｇ melodic scale, 但是從C音開始打。
這個音階為，C,D,E,F#,G,A,Bb,C (跟大調音階相比，降七音，升四音)
這是一個很常被用到的音階。
這個音階的音，會經過C7 （C,E,G,Bb）和弦,
但是dominant 和弦最常用的mixolydian音階其實沒有完全符合，因為Lydian dominant 音階還有升四音。
所以C7#4才是正確的和弦記號。
看到C7#4 和弦時, 可以用C Lydian dominant音階。