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just a quick application comment...

this line is quartal vocabulary (or fourthy vocabulary hahaha).

it's a quartal chord just in an inversion. If you made C# the bottom note voiced... C#, F#, B, E you would have stacked 4ths.

where to play this? Well it could be...

Emaj giving you scale degrees 13-9-5-1
Amaj (3-13-9-5)
Dmaj (7-3-13-9)
C#minor (1, 11, 7, 3)
F#minor (5-1-11-7)
Bminor (9-5-1-11)
E7 (13-9-5-1)
Bb7alt (#9-b13-b9-#11)

I'm sure I left a few out. But do you guys see how it fits into all of those chords?

Here's a clip on improvising with Pentatonic scales for the standard Green Dolphin Street. There is a post on the All Things Improvisation blog that includes this videoclip as well as a page listing the pentatonic scales being applied. Vibist Volker Heuken from Nuremberg, Germany did an excellent job transcribing the solo.

Here's the link to the All Things Improvisation blog: http://allthingsimprovisation.blogspot.com/2015/03/pentatonics-on-on-gr…

I had a lesson online with John Daly last night. We talked about Stella and I told him I'd make a quick and dirty chord melody for him. Here it is.

If you guys find any mistakes let me know. Remember quick and dirty!

Translation for Chinese students
中文翻譯:

關於練習Ballads，
我們在之前的影片中提過保持速度感(Time)，
如果在家自己練習時，我們可以保持很穩定的速度感和完整度，
在跟樂團一起演奏的時候，就可以更專注在和其他樂手的互動上了。

Tony覺得有很多事情可以思考，
1. 在演奏前奏的時候，調性就可以被確立-(示範：0:54-)
保持空間感，我們的耳朵可以聽到更多的東西。
有時候甚至只演奏一個音，和弦的進行其實就已經很明確了。
這樣我們可以專心在演奏旋律上面。

2. 把旋律清楚的演奏出來（示範：2:05-)-
可以試試把旋律音和其他和弦音之間的距離拉開（3:14很明顯的示範）
這邊Tony提到很多細節：像是演奏過的音、和弦都會留在耳朵裡面，所以留白、空間很重要。

3. 能將旋律清楚演奏出來後，可以想想用另外一個附屬的線條，甚至單音，當作伴奏。
（示範：6:05，中間有變成double time的感覺，在7:07藉由演奏豐富的和聲，回到慢速的氛圍）

當我們在演奏敘事曲（Ballad）時，練習主弦律都要使用到外棒（右手外側）。

因為其他棒子都要伴奏。


如果不是Ballad的曲子，不要只用外側棒，因為會容易失去節奏感(rhythmic feel)。