Lesson

🚨 New Series Alert – Play a Great Blues in 3 Months

Back in January at the World Vibes Congress, I shared materials from my Working on Time series — focusing on pulse, clarity, and guide tone awareness on the vibraphone 

A lot of that material centered around one idea:

If your time and your guide tones are clear, the music makes sense.

This new 15-week track builds directly on that foundation — but now we apply it to something practical:

🎵 Playing a great blues.

Great stuff here! 

This is some old great stuff! 

🎵 Harmony Without Chords – Pt. 10: Putting It All Together

In Part 10, we bring together the core concepts from Parts 1–9 into a single, musical chorus over Minority by Gigi Gryce. This etude is designed not to feel like a technical study, but like a complete improvised statement — one that clearly implies harmony through line construction alone.

Throughout the chorus, you’ll hear:

Dampening and Technique

🎵 Harmony Without Chords – Pt. 9: Adding Enclosures and Chromaticism

In Part 9, we take harmonic implication a step further by incorporating enclosures and chromatic passing tones into our line construction. Applied here to the chord progression of Minority by Gigi Gryce, this exercise demonstrates how carefully placed chromatic notes can add tension, sophistication, and forward motion while still clearly outlining the harmony.

Dampening and Technique

🎵 Harmony Without Chords – Pt. 8: Applying Scale & Chord Outlining to Tunes – “Minority”

In Part 8, we take the scale and chord outlining concepts from the previous lessons and apply them directly to a jazz standard: Minority by Gigi Gryce. This exercise demonstrates how a thoughtful balance of linear scale motion and targeted chord tones can clearly express harmony within the context of a real tune — without relying on block chords or dense voicings.

🎵 Harmony Without Chords – Pt. 7: Scale & Chord Outlining Combinations

In Part 7, we combine two essential approaches to line construction: scale-based motion and chord outlining. These exercises move through ii–V progressions in descending whole steps, blending linear scale passages with clear chord-tone targets to create lines that sound both melodic and harmonically grounded.