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Improvising on Green Dolphin Street using the improv concept of Four Note Groupings which is a chapter in the just released The Complete Guide To Improvisation - Volume Two. The technique uses triads with a passing note as a means of generating lines. For major triads we can use 1,2,3 and 5. For minor triads we can use 1,2,b3 and 5 or 1,b3,4 and 5. In the clip, I'm playing the last 8 bars of the tune to set up the tune. The first chorus is a written out solo based on the Four Note Grouping concept.

This for my student, but it's for all. it's a VERY QUICK and dirty chord version of Fly Me To The Moon. Done in about 15 minutes. Good enough for what Frank needs, but you're welcome to check it out.

(ENGLISH)
GMV (Galician Music for Vibes) is a collection of lessons to practice many topics on vibraphone through traditional galician music.

GMV-Chapter 2 (part 2) "Alborada"
"Alborada” is a traditional galician rhythym in 2/4, which was born in the ancient celtic culture during sacred sun rituals. In the recenlty tradition it is known because it used to be played by bagpipes players at the door of every house at the beginning of the morning.

(ENGLISH)
GMV (Galician Music for Vibes) is a collection of lessons to practice many topics on vibraphone through traditional galician music.

GMV-Chapter 2 (part 1) "Alborada"
"Alborada” is a traditional galician rhythym in 2/4, which was born in the ancient celtic culture during sacred sun rituals. In the recenlty tradition it is known because it used to be played by bagpipes players at the door of every house at the beginning of the morning.

Etude over Giant Steps with some voicing ideas.
-Tyler

Chord Tone Soloing on Coltrane's Giant Steps. Some practice techniques and concepts include focusing on motives, soloing with chord tones while limiting the range to an octave and chord tone connection in which we go up and down the entire range of the instrument with 8th notes and go to the closest note in the new chord.

A few things to also think about: start a phrase in different places of the measure, avoid hitting beat 1 too much, use syncopated figures, connect from chord to chord (especially during a key change) with stepwise motion, use of motives.