Countdown - Improv with Chord Tones, Scales and Four Note Groupings by Ed Saindon

Originally posted on "All Things Vibraphone" & "All Things Improvisation" on November 2016. This was one of many things by Ed that I've had in the back burner for a long time. There are so many great things about this clip. To me it is just stunning. Definitely "my ideal". 

On the one hand the improv techniques are just so clearly executed, and with so much ease over this challenging chord progression. On the other hand, this is particularly a great lesson for vibes players. I remember that during the time Ed made this clip, he was focusing on incorporating all four mallets in linear playing, as well as working on particular nuances of the "Fulcrum Grip"; such as switching between fulcrums and having more control over certain fulcrums. All of that is clearly evident in this clip. 

Additionally this is a study in phrasing, time, time feel, touch and "dynamics". Yes, the dynamic range and level of nuance within a line is just insane. That is the reason I find Ed so difficult to transcribe. There are always notes in a line that no matter how hard you try to listen they are almost inaudible, as if they were "implied". 

Of course, this clip by no means represents Ed's playing in its entirety. It is a fast tempo, so there is little to no opportunity for dampening, instead, it is a great chance to focus on "pedaling". So I decided to edit Ed's original clip, which he recorded off the cuff with the phone, and zoom into the "hands and feet". Ed probably won't be thrilled that I chopped off his head from the original clip, but I think this is a good way to observe how relaxed his upper body is, and how loose, fluid and both delicate and powerful the grip is in spite of stemming from such minimal motion. Economy of movement at its best. 

The other important aspect to notice is how evenly Ed is standing on both feet; controlling the pedal with just the toes. The pedal is not swiveling from side to side, or "fluttering" (what's that?), or being bashed against the floor, or used to keep time. It is simply being applied when it is musically needed. In fact, you will notice that it barely moves, and when it so "minimally" does, it is just to target specific desired notes, or groups of notes. 

Here is the link to the transcription:

Countdown Transcription

Chord Melody on "I'll Wait & Pray"

Here is a chord melody on "I'll Wait And Pray" (George Treadwell, Jerry Valentine) utilizing a variety of voicings, as well as mallet & hand dampening in order to keep the clarity of the melodic line and counterpoint. I created this chord melody for a great student of mine at Berklee, James. He is a drummer, but is studying vibes with me this semester. James transcribed both the melody & chord changes from the beautiful John Coltrane version (Coltrane Jazz - 1959). We compared it to Sarah Vaughan's 1944 version and took elements from both. The goal was to keep it simple, honor the melody and maintain clarity, while using different type voicings. I included pedal markings in the written music to help make clear what needs to be dampened by the mallets/hands. Types of dampening utilized here are alternate and same mallet dampening, slide dampening and hand dampening. If you have any question, feel free to ask. #AllThingsVibraphone #BerkleeMalletsNetwork

Written music can be downloaded here:

I'll Wait And Pray (Chord Melody)

Chord Melody on "Beautiful Love"

Here is a simpler chord melody chorus on the 1929 standard "Beautiful Love" by Victor Young. Like we mentioned in the previous chord melody blog on "How Insensitive", this is a good way to systematically work on solo vibraphone possibilities. The combination of pedaling with various mallet & hand dampening techniques can help create counterpoint in voicings, melodic & harmonic embellishment, reharm, etc., while maintaining the clarity and adding nuance to the music. Writing the music down in the form of an etude can help to better understand and assimilate the information, or even generate more ideas. 

In the video clip I am reading the music literally, but be aware that rhythm embellishment can be added. It can be played with a swing feel, or even changing the meter to 3/4. Any of these modifications may pose different challenges in the execution of the dampening techniques.  

If you have any question, please feel free to contact me. Gustavo #AllThingsVibraphone #BerkleeMalletsNetwork

Here is the link to the written music: 

"Beautiful Love" Chord Melody (PDF)

Chord Melody on "How Insensitive"

Here is a chorus of chord melody on Jobim's composition "How Insensitive". This is a good way to systematically work on solo vibraphone possibilities in terms of voicings, texture, melodic & harmonic embellishment, reharm, etc., in combination with sound production and other technical aspects of the instrument. I would normally just show students at Berklee different ideas on a tune, but sometimes slowing down the process by writing things down can help to better understand and assimilate information, or even generate more ideas. 

Important considerations: If you follow the written music along with the video you will notice I am not playing the written music "literally".  For the most part, I am playing the written notes, but altering the rhythm. The application of rhythmic embellishment is crucial in order to make the music come alive. The goal should not be to play this the same way I play it. It can be a reference to get started, but strive to always change it up. My priority is "sound", so attention to "tone quality", articulation & dynamic nuances is very important.  To that extent, dampening techniques are essential. 

If you have any question, please feel free to contact me. Gustavo #AllThingsVibraphone #BerkleeMalletsNetwork

Here is the link to the written music: 

"How Insensitive" Chord Melody (PDF)

Ed Saindon's Fulcrum Grip

Past article & videoclips on the Fulcrum Grip.

"This grip really changed my playing since I started to implement and develop it years ago. There are some clips from past clinics posted on my YT channel that deal with the grip. I'm hoping to create a new videoclip that will illustrate and discuss details of the grip".

The Fulcrum Grip (Article)

Expanding Sound Posibilities

Practicing today on sound possibilities in executing a line over C-7 F7 Bb Maj7. Focusing on variations with pedaling, dampening, deadstrokes, ghost notes, accents and stickings. The first example is fairly dry with no pedal. There are a lot of possibilities in executing a simple line like this. Here is the line that I'm playing: 

II-7 V7 Imaj7 Line

Ed Saindon

Ran across this edited videoclip from an April 1st, 2004 Berklee concert for Gary Burton's retirement from the college. Talk about pressure - playing Gary's tunes in front of Gary. This is Metheny's Waltz. It's interesting how my playing has changed since I started incorporating the Fulcrum Grip in my playing. It has affected many things like sound, four mallet conception, ease of playing, etc. I can't imagine going back to the old way of playing. Ed