I recently discovered a pattern in the jazz/ blue changes. Take the simple change of Bflat major 7 to e flat major 7 and back to b flat 7. Then you would go to f major 7 and down to eflat 7 and bflat 7, right? Thats just a simple thing. but theres a pattern. E flat is the 4th note of the bflat scale. f is the fifth.
heres my question
can you take any scale and make a "jazzy" progression just by using the 4ts and the fifth's scales? Does it work for every scale.
im pretty sure it doesn't work in minor. it may not work for some keys either.

Mario over at alternate mode has developed a MIDI drum head. Pretty cool huh? I'll get him to tell us more about it ASAP. He's really working up some pretty cool things.

The common tone lesson sequel (the lesson that will drive Tony Miceli to the point of insanity, haha)

Behn

John Mark Piper started an interesting discussion about "Playing with you eyes." I thought I would complicate things by posting this diagram. This a diagram showing the various areas involved with hearing, sound memory, sound production, association, imagination and other things. It's humbling to look at this and realize that just to play a simple line nearly the entire brain is involved. Considering the complexity and possible individual differences it makes sense that some are better at making music than others.

Dear all,

This is very sad news. Last Monday 10th, Croatian vibist Boško Petrović died at 75. Not only was he an example of "eastern swing", a great band leader, composer, arranger, but he was also a great teacher, and a true mentor for our young Slovenian friend Vid Jamnik (bellow a nice photo of both).

All our sympathy and support goes to Vid, whom at 17 will be our youngest member at the winter European workshop. We'll be much happy to welcome him in person in the team.

We've talked a lot about sitting and playing. I've done it before. Last night I sat for the whole gig. I was using my old M-55 which is my lowest instrument. This bar stool was a little high but ok. I felt great playing like that. It was very comfortable. No problems at all playing. I just sat because the stool was right behind me. It wasn't planned.

Just thought I'd mention it.

Hey everybody.

First post of 2011, so happy new year!

Just before Christmas, I had a letter to say I'd been offered a place to study Jazz Vibes at the Royal Academy of Music, London, from September 2011. Needless to say I replied accepting the place in seconds!

This is a rough recording I have done on Bluesette, it has taken me ages to get to this point, chords melody solo and chords with melody again to finish but trying to be more rhythmic at the outro using left hand to comp with melody, Rip me up, I have to move on at this point to get some more stuff ready for Holland aaaaaagh....., anyway all comments good and bad welcome

John

Here's a new lesson on using common tones.

I've always liked this piece. The harmonic movement in one section sounds very modern to me. It was probably written originally for a keyboard, but I guess could also have been for an ensemble.

There's not too much to worry about dampening wise. Just keep it sounding as clean and resonant as possible. The manuscript is attached.