I changed it up today by working on ragtime and classical techniques from the books below. Then I went through 12 keys of major rootless voicings to a backing track at a moderate tempo. So far, so good. However, the rootless ii V i progressions are slow to stick in my old head. But, I'm not giving up. 

I finished by jamming with Wes Montgomery's version of Summertime. It has some groovy chords. ​

Holiday weekend and I took 2 days off. 

The challenge with a malletkat is playing it expressively. (This is note an easy task.) When I listen back to my practice recordings I can hear my expressive flatness, especially when playing unaccompanied. So, this week my quest is to play more expressively. 

Step 1: I set the minimum volume on the vibes to 6. This gives me more control at the lower dynamic level. 
Step 2: I spent some time playing the broken 60 jazz chords with a crescendo going up and a diminuendo going down. I did the same with scales. 
Step 3: I pulled out some easy classical piano pieces and focused on playing them expressively. I become more aware of the feel of the mallets at the softer dynamic. Did I succeed in playing more expressively? Sometimes. Tomorrow I will experiment with different mallets. 
Step 4: I jammed on Blue Moon

1. All melodic minor scales, 2 octaves
2. All major scales in 3rds, 2 octaves
3. 60, 2nd inversion broken jazz chords
4. Rootless voicings to tunes below. 
5. 2 octave arpeggios on C major7, C7, Cm7, Db major 7, Db7.
6. Ear training. I learned Afro Blue from the original recording. Corrected the key and the fake book melody. 

1. Major scales in 4ths, 2 octaves
2. 60 jazz chords, close position, blocked
​3. 60 jazz chords, open position, blocked
4. Spent some time practicing close position diminished 7th chords. G and C diminished 7ths are awkward in root position with 4 mallets. 

I enjoyed listening to these 2 videos on my early morning walk. The conclusion? Learn the mechanics of your instrument and then transcribe like crazy. The second conclusion? You don't need another book, you need to practice more of what you've got. 

I was listening to the rehearshal recordings for a second time. I have room for improvement. 

On the good side my musical instincts are good. 
On the rough side my phrasing and time needs urgent work. As you know, I teach piano. All day long I implore my students to phrase beautifully and listen carefully to the pulse and their relationship to it. My needs work on this instrument.

Here is what I heard listening to Blue Bossa. 

• The introduction was interesting.
• The head was ok, but it was a little flat emotionally because the dynamic range was too compressed, especially at the ends of the phrases. I'll work on that tomorrow at practice. 
• The time in the solo was a little loose. Therefore, I will spend more time recording with the metronome.

Today's technical regime. 

• Etudes from the Morris Goldenberg book.
• Scales in alternating patterns
• Broken 60 Jazz chords in 3rd inversion
• 48 7th chord, 2 octave arpeggios
• Worked on stickings in a classical piece. 

Repertoire
​Desmond is in G minor
​

The recordings came in and the truth is revealed. 

The band sound lovely! Speaking only for my own part, here is what I heard. 

1. The vibes sound nice when I'm playing melodies and solos etc. Nothing too fancy, but the playing is expressive.
2. However, comping on the vibes can easily sound like clangourous bells! Next rehearshal I will bring a volume pedal to bring it down in the mix. And I will try comping on the marimba behind the soloists as well. 

Today, I'm going to warmup with the usual technical regime followed by playing the heads on the following tunes from my memorised list. 

1. Summertime
2. Satin Doll
3. Autumn Leaves
4. Blue Bossa
5. I got Rhythm
6. St. Thomas
7. Blue Monk
8. All the things you are
9. It don't mean a thing
​10. Body and Soul

Today I will rest my body to avoid injury. I'm practicing drum kit, playing events, and practicing Mallet Kat many hours a week. I'm at my limit. Back in 2019 I wrote about the poor golfer who believed that if he practiced 10,000 hours he'd be a contender. His body had other ideas. You can revisit his plight below.  

David Story Teaching Blog - David Story, Online Piano Lessons from Toronto

See you tomorrow. 

We met today for the 1st time in a long time. I can report that my dignity is intact. I knew all the tunes by heart except for, I think, two. And the leader will let me choose the tunes for the gig. Therefore, I will be able to play without music. This is a big deal because, to an audience, it demonstrates my commitment to their event. They won't care if the music is simple, they just want to enjoy it. I'm with Duke Ellington who said something to the effect that a wise musician plays within their means. 

So, did the practice regime pay off?

You betcha!

• The broken chord inversions were the backbone of my solos. I found that I could easily use them as upper structures as well. 
• Knowing the fills and intros of the tunes, from teaching them all day, elevated the presentation. 
• The rootless voicings worked well, however in some styles I played the 7th chords with roots. Comping all the chords in "rhythm changes" is a work in process. 
• Practicing my technical regime musically and methodically saved the day. Why? Because it made my simple playing sound musical. 

Today's video.
This video outlines tactics to succeed as a jazz musician. 
​
1. Listen to the greats!
2. Imitate them, because one should get good before one seeks originality." Originality without skill is an artistic tragedy. 
​
Quincy's  ideas transcend the drum kit. Try substituting piano or bass every time he mentions the drums. 

Cheers, 

David

1. 12 harmonic minor scales with phrasing
2. 1st inversion broken 7th chords, 12 keys. 
3. Practiced, by ear, the melody of "the days of wine and roses" with Wes Montgomery. 
4. Worked on minor key studies in the Morris Goldenberg book. 
5. Comped the rootless voicings along with Wes Montgomery. 
6. Compiled a list of 50 jazz standards to review. I knew 40+ already. Now to fill in the blanks over the next month. 
7. I still have a ways to go before I can comp quickly through "Rhythm changes."

Eric Alexander, "play the changes!"

As a jazz teacher I implore my students to: 
a. learn to play their instrument because too many students want to technically play way over their heads.
b. practice the 60 jazz chords, starting in root position and then inversions.
c. engage with the original recordings.
d. drill, drill, and drill, the broken chords over the changes in real time. 
e. understand that jazz is all about touch, phrasing, and rhythm 1st, broken chords and harmony 2nd. 
f. realise that jazz is a contact sport. It is easier to learn with your friends.

By 7 AM, I had fumbled through all these tunes by ear. I played the rootless voicings, the melodies, the changes, and then I restated the melody. I thought I sounded pretty good.

​Now I'm getting ready for a service today 10 AM. Load the drums and leave early because getting across town through the Toronto marathon will be an adventure.