all-levels

Here are some linear musings on the great bebop classic, OLEO.

This is a rough take of an arrangement I have been working on. I was inspired by some of the things David Friedman was doing in his Cmi version going to major in bar 7.

-Tristan

Some personal little extras.

I was talking with Becky a few days ago and our conversation turned to practice technique.   I have talked about my 37 and 38 note practice routine, but never really documented it, so I thought this would be a good opportunity, just in case anyone was interested.

Hello all,

Just a quick lesson on ending ballads (or any tune, really). I demonstrate a few different options for the final chords on a ballad so you don't always have to end on 1 or the b2. Let me know if there are any questions!

Hello all! Here's my version of Etude 5 from the Dampening and Pedaling Book!

Hello all,

The vibraphone is one of the only instruments we play where you have to work extra hard to control the ending of a note. It requires two separate strokes to play and end any given note with dampening, whereas on, say, the saxophone, you can end a note by simply stopping your air. Thus, it's important to figure out how all this relates to playing the instrument in any context, including in lines, so that you're able to play what you're hearing.

I'm working out a solo version of "I'll Be Seeing You." Loosely based on the attached lead sheet.

The solo piece played by Henry Wilson is called Papirosn. It is an old Yiddish Theater song about a little boy trying to get by in the ghetto selling cigarettes and other things. Henry changed the harmony and melody quite bit for this arrangement, which he calls a work in progress.

It's great to hear such a diverse collection of solo repertoire on the VW site, and Henry continues to make excellent progress with his journey into all styles and possibilities.