So here is the second of three chord melodies. 

I have the pdf and I have the MalletKat version. You can hear basically what's happening with the sheet music. 

I think you can get a lot out of this. You have to know the chords and inversions really well. I think when I just play the lines it makes sense and you here the harmony. That's the goal right. I will post my own version of stella asap. 

In this section, we continue with the F#7–B7–E7–A7–D7–G7–C7–F7 progression in measures 1-4, but with a simplified rhythmic approach. Rather than relying on continuous eighth-note lines, this version demonstrates how to outline the changes effectively with more space and varied rhythmic phrasing.

Here is a chord melody to Just Friends. I put up a quick audio version which is similar to the pdf, but I just wanted to do my thing, which is partly on the pdf! Right? It changes each time I play it, in little ways. 

I left the pedaling off, you know what to do with the pedaling, make it sound good. You don't want notes running together. 

So..... 

Someone (not me) submitted this recording of David and I playing at PASIC in 2018 as a favorite cd (but it's not a CD). While it's not a traditional CD, it's a full-length performance, and I'm featured on it. I initially felt a bit awkward highlighting my own work, but I believe there's a valuable learning opportunity here.

Expanding Vocabulary Over the A Section

Continuing our exploration of rhythm changes, this lesson focuses on another set of substitute chord changes for the A section. While the general framework remains the same, this version features a different set of passing dominant chords, adding more forward motion to the progression. The focus here is the first A section, which you can tell by the turnaround in the last two measures.

I would see David performing this when we would play duo concerts. 

It's a cool improv that is also a great study.

I am always working with students on their hands. Quite a few have problems and bad habits. Well for that matter we all at some level usually have a problem or two and a bad habit or two! 

You HAVE to get your hands together and working well if you're going to play more interesting and complex music. 

i.e. Donna Lee is much more complex technically then Blue Boss or One Note Samba. 

Just some stuff to think about with double sticking as well as a way to practice double sticking. 

i do feel that we want to do as much alternate sticking as we can. I know some disagree including David Friedman. So take it for what it's worth to you. But I give you some ways to work on double sticking.

Expanding Vocabulary Over the Second A Section

In previous lessons, we explored the bridge of rhythm changes and how to apply those concepts to other tunes. We also examined one possible approach to the first A section, demonstrating how its harmonic movement reflects countless other standards. Now, let’s build on that by focusing on the second A section, incorporating some different harmonic choices and melodic vocabulary.

Our latest recording.  This is my first one with the new array mbira and Marianne’s first with the Irish flute and whistle.

So what do you all think of vibes in the context of traditional Irish music?  Definitely NOT traditional.  :)