Well, I will have to give some sort of short workshop at the WVC (World Vibes Congress) this year. I was going to take notes and keep a diary on my computer and thought I would do it here. So I'll blog here and you guys can give me your two cents.
On Saturday we will link to all the videos for the second portion of the Day of Percussion on this page. Some players are playing live from 12-2. Others are submitting video which i will link to here.
David Friedman |
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Questions? Thoughts? What did you think? Let's talk about his book, here.
I have some things to say but I'll wait. How about some of you start. Gary will check in to answer questions and comment (I'm pretty sure).
In Part 6 of Harmony Without Chords, we expand on previous ii–V concepts by focusing on clear chord outlining and upper extensions over dominant chords, all while continuing the descending whole-step motion. Rather than relying on chord voicings, these exercises show how strong line construction alone can clearly imply harmony, even as the harmonic density increases.
This is another recording of an etude that I got a few months ago that I haven’t gotten around to posting. In this one I have a slight rush that I think was causing some issues when I got to the later sections of this piece, on top of a few mistakes here and there. However, I think that doesn’t detract to much from the piece itself. What are your thoughts? Feel free to respond with any feedback or questions you might have. I am/have posted some of the most recent etudes that I’ve done as well if you are interested in checking those out as well.
Here’s a recording I got of Friedman #9 I got back in October that I haven’t gotten around to posting until now. Looking back on this recording I thought it came out really well, though the biggest thing I would change now is just giving less time on that fermata. If there’s any thoughts or feedback on this I would love to hear, and any questions are fully welcome!
Resolving ii–V’s in Descending Whole Steps
In Part 5, we take the ii–V ideas from the previous lessons and fully resolve each ii–V to its I chord, moving through the exercise in descending whole steps. This type of harmonic motion shows up frequently in jazz standards—How High The Moon being a great example—and it’s an important sound to internalize.
🚨 Harmony Without Chords – Pt. 4: Adding the ii Chord
In Part 4, we expand the harmonic framework by introducing the ii chord before each dominant, turning the previous dominant-focused ideas into full ii–V motion. This adds harmonic depth and forward momentum while keeping the emphasis on linear voice leading rather than vertical chord shapes.
A quick video of how I make the clips I demonstrated at the World Vibes Congress