A little beauty...

Here is a dampening master in the works!

Here is another low cost idea turned into reality by applying the new possibilities of 3D printing. My next frame will be equipped with these bar posts.

My collected ideas around the vibraphone can be found here:
http://wyndorps.de/E_index.htm

Hey everyone,

Another lesson on comping on ballads! We're looking at rhythmic density and ways to create an overall sense of arc with your comping, or while you're playing solo. Let me know if you have any thoughts!

Hey everyone,

The next couple comping lessons will be focused on ballads. In this one, I share how I think of the range of the instrument -- like an orchestra, with a low range for bass movement, a middle range for melody and/or chords, and an upper register useful for subtle effects, upper structure triads subtle, and counter-lines. I think this is especially important when playing ballads!

Hola a todos!

Comparto acá mi humilde versión del estudio n°11 de "Dampening and Pedaling".
Traté de utilizar varias técnicas de dampenig para desarrollar la interpretación del estudio y de paso practicar y profundizar un poco más en el manejo de las mismas. Usé Pivot dampening, slide dampenig, hand dampening y, además, alternatig dampening y same mallet dampening.

Gracias por el espacio , espero que les guste!

Tomás

Hey everyone,

Here's the third and final part of my series on comping over a medium swing F blues, and how to give it that rhythmic drive a full rhythm section has. This is an interesting lesson, because I, myself, am still figuring it out! We're talking about sliding -- like a glissando, and how to use it the way guitarists and pianists do.

Let me know if you guys have thoughts on this! I obviously don't think it's applicable in all situations, but I think it certainly has some use in swing and rhythm music.

Hola a todos.

Comparto el audio de la transcripción que estuve realizando sobre un solo de Chet Baker (las primeras dos vueltas) y un solo de Tony que está en la ultima vuelta.
La tonalidad es Sol menor, pero cada coro tiene 6 compáses más (de G-6) al fina. Esto se debe a que en la grabación de Chet Baker hicieron esa variación en la forma.

Gracias.
Tomás, desde Argentina