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 Interesting Open Voicings Pt. 1 by Behn Gillece

I love listening to guitar players play solo. I can usually imagine playing like that on the vibes. Their approach really lends itself to the vibraphone. 

Watch and study this video and try playing like this on the vibes. There's a line then a chord. If the line is quarter notes, you can play chords through it, but if you're going to play a busy line then no chord, it's too difficult. Get it??? 

Workshop Recap - 3rds and 7ths Pt. 1 by Behn Gillece

🚨 Tune Deep Dive: “Wave” – Pt. 2: Guide Tone Movement in the Intro 🚨

In Part 2, we dig into the intro vamp of Wave (Dm7–G7) and explore guide tone movement. This exercise builds from a single voice to two, three, and finally four voices, showing how harmonic richness can grow naturally out of simple lines. By working through these patterns, you’ll train your ear and hands to connect chords smoothly while keeping the groove intact.

In this lesson we’ll:

What do you guys think? This is what I think and how i approach all this for better or worse!!!! 

I mention the Gary Burton Coffee Hang in this lesson. Here's the link to it. 

https://www.vibesworkshop.com/video-embed/gary-burton-june-coffee-hang/tonymiceli/060125

Here's my version of Waltz New - a contrafact of Someday My Prince Will Come

I talk about There Will Never Be Another You and include an 'Epic Etude'. 5 Choruses of chord study with some easy soloing. 

One of my students has been working on "Footprints" and wanted to explore playing in 3/4 time. To help, I put together a simple etude focused on adapting familiar patterns to fit 3/4. What I like about this approach is that it lets you apply a straightforward line throughout the tune, and it flows well in 3/4. There are a few places where I adjusted the line slightly to better match the chords. Also, keep in mind that these changes are a bit simpler than the original ones, but they’re still widely used by many players—dating back to an old real book version!

Please note that I've made a reference to "flat 4" in the pentatonic scale for this video. I'm not sure why, haha! But here is a basic summary of the scale tones for Fmin pentatonic over an F7 chord.

If you think of the main scale tones of F7 being mixolydian, you would have F-G-A-B-C-D-Eb. Fmin Pentatonic would be F,Ab,Bb,C and Eb. So basically leave out scale tone 2 from the mixolydian, flat the 3rd, leave 4 alone unlike what I said in the video, haha! Then just leave out scale tone 6 and you have Fmin pentatonic.

Hope that makes sense :)

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