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)

Joe Locke's solo - On A Misty Night

Here is a transcription of Joe Locke's vibes solo on Tadd Dameron's tune, "On A Misty Night". This gorgeous duo session with the great Kenny Barron on piano features many great songs, and took place in August 1991. That's just short of 25 years ago. Joe's playing has never stopped evolving, but the musicianship documented on this album is of a stunningly high level. Yet, this solo, as well as the previously posted solo on "You Don't Know What Love Is" from Joe's 1994 trio album "Very Early", are great insights into the roots of Joe's much praised and admired musical vocabulary.  

Joe Locke's Solo Transcription - "On A Misty Night"

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)

Tension Resolution Improv on "Time After Time"

Tension Resolution (TR) on "Time After Time": One of the improvisational concepts that my students and I were working on this week in my improv classes at Berklee was that of TR. We chose specific tensions for each chord change on the beautiful standard "Time After Time" and improvised based upon the sounding of those tensions along with their resolution to the nearest chord tone. The constant tension and release creates forward motion in the improvised line and can be the basis of rich, melodic phrases. I think it's an important and fundamental improv concept that can also be effectively employed along with chord tone soloing. In the improv classes, we also focused on a number of other issues in the application of TR including: simple, melodic phrases; a relaxed, swinging time feel; motives; varied articulation; connecting the line from chord to chord; dynamic shaping of the phrases and rhythmic syncopation.

The concept of Tension Resolution (TR) is addressed in my book The Complete Guide to Improvisation. In the chapter, a three step process of TR is explained and demonstrated on the standard "All The Things You Are". Also included in the chapter are written out TR solos on "All The Things You Are", "Stella By Starlight" and "All Of Me".

A lead sheet of "Time After Time" including the listed tensions used in the TR application can be viewed and downloaded here:

Tension Resolution - Time After Time (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)

Spicing Up A Standard

Article from 1985 addressing harmonic concepts as applied to Stella By Starlight. Hard to imagine that I wrote this 30 years ago. The great thing about music is that I'm still working on these concepts. It never ends.

Spicing Up A Standard (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

Joe Locke on "But Not For Me"

Here is a transcription of a solo by Joe Locke on the tune "But Not For Me" (Gershwin) with the reharmonized "Coltrane Chord Changes", which Coltrane originally recorded on the classic album "My Favorite Things".  The project and record date of "Five For John" was put together by renown italian pianist Dado Moroni, who assembled a great band to pay tribute to John Coltrane, with Joe Locke on vibraphone, Marco Panascia on bass, Alvin Queen on drums and guest Max Ionata on sax.  This is without a doubt Joe's territory and he is rightly backed up by a superb rhythm section, really embodying the spirit of Coltrane, McCoy Tyner, Elvin Jones & Steve Davis.  Joe's playing on the whole record is truly stunning.  It's great to follow the transcription along with the audio and analyze the lines.  I may attach my own analysis in the future.

The album is available through iTunes, Amazon & Google Play as mp3 downloads.  It was produced and released by the italian label "Via Veneto Jazz", in case you'd like to do some research. Gustavo.

But Not For Me (transcription)

The Language of Joe Locke

This is an article recently written for PAS. It addresses a transcribed solo on the standard "It Could Happen To You" performed by Joe Locke on vibes and Ed Saindon on piano. 

The playing took place during a long weekend that Joe Locke, Ed Saindon and I spent together at Ed's house in December 2009.  Joe and Ed picked each other's brains, shared improvisational concepts and played hours worth of improvised music.  This was one of the many instances Joe got carried away while demonstrating an improvisational idea to us.  

The article (transcription & analysis) was published in two parts.  Here is a PDF containing Part One & Part Two, as well as my original transcription (reads better).  Hope you find this as inspiring as I do.  Gustavo

Click the link below to visualize/download the PDF:

It Could Happen To You

Dave Samuels & Lyle Mays

Nice clip of a full concert from 1992 with Dave Samuels on vibes, Lyle Mays on piano, Steve Rodby on bass & Will Kennedy on drums (and guitarrist Michael Sagmeister on some tunes).