Skip to main content

ADDED ZOOM LINK - Pop Up Class - I Remember April

This class is for paid subscribers. If you've been thinking about joining vibesworkshop, here is a good opportunity. You get 3 workshops by 3 great vibes players for roughly 20 dollars.

Workshops will be by: Tony Miceli (Feb 15), Behn Gillece (March 1st - 7pm) and Oliver Mayman (March 14, 3pm).

So the next pop up class will be on I Remember April. You have to pass a test to get in the class. First class is February 15th 7pm EST

Play a Great Blues in 3 Months - Week 5 by Behn Gillece

🚨 Play a Great Blues in 3 Months – Week 5

So far in this series, we’ve focused on building a strong comping foundation:

• Guide tones in the left hand
• Smooth voicing movement
• Consistent time and rhythm

This week, we shift the focus toward line development.

👉 Using 3rds and 7ths, we begin outlining the blues with single-note lines, helping you connect harmony in a clear and musical way.

Play a Great Blues in 3 Months - Week 4 by Behn Gillece

🚨 Play a Great Blues in 3 Months – Week 4

Up to this point, we’ve stayed in F and focused on building a strong foundation:

• Clear guide tone movement
• Controlled upper voice motion
• Consistent Charleston rhythm

This week, we take a big step forward.

👉 We move to the key of B♭, one of the most common blues keys.

Play a Great Blues in 3 Months - Week 3 by Behn Gillece

🚨 Play a Great Blues in 3 Months – Week 3

Over the first two weeks, we focused on building a solid foundation:

• Clear guide tone movement in the left hand
• A stable and controlled upper voice
• Consistent Charleston rhythm

This week, we start introducing more functional harmonic movement into the blues.

You’ll notice a few important additions:

Play a Great Blues in 3 Months - Week 2 by Behn Gillece

🚨 Play a Great Blues in 3 Months – Week 2

Last week we built the foundation of our blues comping using guide tones and the Charleston rhythm. The goal was simple: clear harmony and solid time.

This week we’ll start adding a little more movement to the voicings.

Instead of keeping the upper voice mostly static, we’ll move the top note of the chord to create two different sounds for the same harmony. Even a small change in the top note can dramatically change how the voicing feels.

Gloria Krolak

/* Scope everything to this ID to prevent "blowing up" the site */ #jazz-list-container { font-family: 'Segoe UI', Tahoma, Geneva, Verdana, sans-serif; line-height: 1.6; color: #333; max-width: 100%; /* Changed from fixed px to 100% for Drupal responsiveness */ margin: 20px auto; background-color: #f4f4f9; padding: 20px; border-radius: 10px; } #jazz-list-container h2 { text-align: center; color: #2c3e50; border-bottom: 2px solid #2c3e50; padding-bottom: 10px;