Hi everyone, I'm attaching a pdf hand out I used recently for a clinic. In it I go through an example of how one might use a combination of Cells and Upper Structure Triads to create tension and release for playing melodic lines and phrases through your improvisations!
If there are any questions please do not hesitate to ask!
Enjoy!
So I was thinking of making some sort of chord etude and I thought, why don't I just comp through a tune. Then if you're working on comping you could learn this etude and analyze it.
So I took the changes to 'I Loves You Porgy' and comped simply through it. I played mostly quarter notes to keep things moving.
I'm curious is this is helpful to any of you.
Great lesson for beginning vibe players as well!
i found a cool and fun thing to do which is a good lesson i think. on this video at about 4 minutes chick plays some blues licks which gary instantly repeats together with the audience singing. the blues is in Bb flat and he uses mostly the Bb blues scale on his licks. can you play all the phrases like gary on the fly just by hearing the once you heard them?
i tried and it was not easy and i failed on most of them when i tried the first time. to me it prooves i still can´t play what i can sing. singing like the audience is no problem for every of us i think :)
This article will delve into the family of mallet instruments made of tuned wooden bars, and will take a look at three locations where these instruments are prevalent - North America (jazz and classical), Africa (Shona music), and Central America (Guatamalan folk music). This is not meant to be an exaustive list, but will serve to highlight the vastly different music that has evolved in these places, and the fascinating variety of instruments that have been designed to play the music.
Are you guys familiar with Lenny Tristano? He's the head of this whole subculture in music. A really interesting bop player. A monster! His lines were incredible.
He's a guy worth checking out although there's not a ton out by him.
A few guys were in that 'school' of thought and one was Warne Marsh. Here's a Warne Marsh excercise.
Here David talks about solo playing and makes the point about syncopation. Why play the same rhythm with both hands? Play another rhythm with the left hand.