Diminished Licks by Dimitri
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Definitely worthy of the chops festival. This is a very hard etude I wrote and worked on. I couldn't play it now, but here's the video where I once upon a time played it.
This clip shows some simple examples to get a pseudo-salsa piano comping sound on the vibes. I've included a basic idea and a few variations. The last example is more of an exercise or short etude, and a transcript pdf file of that one is attached.
giovanni presents some concepts for reharmonizing the turnaround...
A quick note.
I love how something can start a train of thought. That's why to me communities are so important. And I love this vibe community.
Sounds like with Joe's exercise that there's a serious study in moving intervals in a parallel way. Next moving different intervals in parallel ways. Next moving things in parallel scale ways. Next moving things in approximate parallel ways making concessions for harmony.
Here's my review of the many things we discussed with the blues.
This is a little lesson I just came up with on approaching chord melodies. I starting with a simple melody and devloped three variations. The lesson is a PDF and I've included a little MP3 of me demonstrating the examples so you can get an idea of what they might sound like. My intention was to give some ideas about how to put some of the voicings demonstrated in other lesson here on this site into practice, in addition to some other options. I hope some of you find it helpful.
-Tyler
We got a who is. Why not a 'Why Is It....' Series.
Things that are difficult and unexplainable... sort of.
At least from the perspective of the person posting.
My first 'Why Is It...' is:
Why is it so hard to play four mallets on a swing tune where the melody is in the upper octave.
I've been playing 'Long Ago and Far Away' for a while now. I'm in G and trying to voice nice chords underneath the melody which I'm playing in the upper octave.
ALSO the frickin melody starts on the root. That makes it ever tougher to voice.
There's the first why is!!!