Lesson

Playing beautiful 3 and 4 mallet chordal rolls is a goal all vibes and marimba players should work toward. Yes, vibes players mostly use the pedal to sustain notes, but sometimes using a roll is better. Here is a simple, easy to learn method you can use to play really nice rolls for 3 and 4 part chords. The trick is to have each mallet strike the bar at a different time, creating smooth legato sound.

Interesting because we've been talking about playing solo.

Denny is also a psychiatrist and a great pianist. He wrote the tune in the Real Book 'Quiet Now'.

Terry emailed me and ask me to post this comment he has:

Hi Tony,
Once again I got a thought and don't know how to post it so I will do it through you. I was looking at the video of the subject "Using bebop Dominant over suspended chords"

Here's a great video from a new site we'll be launching very soon. It's over at www.worlddrum.studymusiconline.com. Todd Isler is the instructor, he's a great percussionist and drummer.

He has a book out in our store called 'You Can Ta Ka Di Mi This'. The book is here: www.store.studymusiconline.com/you-can-ta-ka-di-mi-improve-and-expand-y…

Here's a great video on the book by Todd.

This piece, a sarabande from Sonata IV in D minor, is a slow thoughtful piece and a good 4 mallet exercise. Use the 4 mallets for melody lines as well the block chords. For instance, in bar 6 you’ll find it handy to use 4 to play the wide intervals in the line. The same approach should be used in bar 23 where the melody line jumps around a lot.

Great camera shot of gary playing.

Check out how locked in the time he is and how clean all his phrases are.

Let's tackle the melodic minor scale.
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今天我們要介紹，旋律小音階Melodic minor。
看起來就是major大調音階，降3音。
（如果你還沒有了解調式音階，先去看了解調式音階的練習方式，影片：Ways to study Modes）

還記得我們在講調式音階時說到，練習modes時，重點在七個調式要建立在同一個根音上。
所以C Ionian就是C大調音階，C Dorian就是C大調音階降3降7，同時也可以想成，C是二級，往下推大二度，
得到Bb，也可以看成是Bb大調音階。

在這邊的練習方是也是一樣。演奏C melodic minor scale, 然後換不同的調式音階，都還是保持大調降3音的規則（melodic minor），可以得到不同的Melodic minor scale。