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The Vibraphone Project
United States
Приєднався 16 лис 2020
Studying Vibraphone in College - Expectations & Education
Members of the Pedagogy and Education Committee here at VPI discuss what you can expect and hope to gain from studying the vibraphone in a university setting.
Panelists include: Jay Hoggard, Matthew Geiger, and Jerry Tachoir
Panelists include: Jay Hoggard, Matthew Geiger, and Jerry Tachoir
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Відео
Interview With Jay Hoggard
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Jerry Tachoir interviews Jay Hoggard about his experiences playing the vibraphone! Discussion topics include: 1) A glance at the history of keyboard percussion 2) Differences in approach to playing with two and four mallets.
14 Things to Know About the Vibraphone Before Going to College
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Dr. Brian Graiser (Sam Houston State University) shares the 14 things he wishes all percussion students- and their teachers- knew about the vibraphone before studying music in college.
Virtual Clinic - "How To Listen" with Jon Metzger
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Join us to hear Jon Metzger talk about listening; listening to recordings, listening to how others play, and most importantly how to listen to ourselves and how we can improve our sound!
Bowed Vibraphone Techniques w/ Stephen Solook
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In this clinic Stephen covers bowing techniques, for one to four bows, and will briefly go over one bow in each hand before delving into holding two bows in one hand. He will also cover the different types of bows, bowing technique, the technique of holding two bow in one hand, exercises, and some of the possibilities and limitations.
A Conversation with Terry Gibbs and Jerry Tachoir
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Please enjoy this discussion with vibraphone legend, Terry Gibbs and The Vibraphone Project Pedagogy and Education Committee Chair, Jerry Tachoir. Recorded March 2021 Terry Gibbs began his career at the age of 12 after winning the Major Bowes Amateur Hour Contest and subsequently began touring professionally. He spent many years as a drummer and percussionist playing gigs until his affinity for...
Vibraphone Basics with Jerry Tachoir
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Vibraphone Basics with Jerry Tachoir
The Vibraphone Project - Introducing the Pedagogy and Education Committee
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Meet the members of the Vibraphone Project Pedagogy and Education Committee
Thank you very much for providing so many good directions!
Extrodinary!
Amazing. Thank you so much! Played Vibraphone about 10 years ago and just started again. This is the perfect summary :) Everything comes back to my mind so fast. Thank you 🙏
Dampening techniques 1. 6:15 Slide dampening. Melodic-type scale passages notes that are fairly close together. When moving right, right hand hits and left stick damps. When moving left, left hand hits and right stick damps. 2. 7:35 Touch tone. Use the same stick to damp when jumping around notes. 3. 9:00 Adjacent note. Moving a stick over after hitting the next note to dampen an adjacent previous note. 4. 10:45 Hand dampening. Predominantly right-handed. When hitting a black note, use the side of the hand to dampen an adjacent white note simultaneously. Pedalling techniques 1. 11:30 Clearing the harmony. 2. 12:45 Flutter pedalling. Using pedal during phrases to sound more legato. Try to keep the pedal at the exact spot where the notes border between ringing and don't. 16:00 Summary of techniques.
Thank you Mr. Tachoir. As a long-time percussionist finally making the leap to vibraphone, this is a great video for me.
100 years! Awesome. I've only played it 25 of those. Lol. Still nobody recognizes it when I'm out gigging on it. Lol. Saw you at Penn State like a decade ago. Very thoughtful playing.
"Its a strong statement if you wanna use it" is the best way i´ve heard anyone refer to the minor 9th
Im a guitar player and a composer, and i watched all of this. This guy says a lot of amazing stuff about music generally
So helpful. Thank you 😊
Ah yes, finally someone who understands that 4 mallets is the most basic percussion technique!
Thank you so much!! 🙏🏽 For the first time I meet a person who would still love scales ☺️
Hello, dear Jerry! Please tell me, do you think this is not too fast for a vibraphone? I played it on a midi keyboard like a pianist. And now there are doubts. ua-cam.com/video/HmP9R8dQDsk/v-deo.html
Great information. Thank you!
Thank you!!
Great!
PЯӨMӨƧM
Beautiful 🤩
Thank you for this beautifully organized and insightful demonstration.
Wonderful!
Thank you mr. Tachoir and mr. Metzger! Great educators, players and story tellers. Listening to records, extracting ideas, recording yourself and keep on listening while you are playing with others to interact. These are very usefull advices. Thank you for sharing yor knowledge!!!!
Nice
Congratulations Mr. Tachoir! Very good job, and thank you for share this great content. I would like to ask you a question. Once you know modes and scales you want to use, which exercises do you practice to connect one chord with the next one? Do you think vertically everytime mode by mode or do you think in specific voice leading to connect chords? Once again thank you for your time.
Hi Iker! We'll pass this question along, and post Jerry's response when we get it.
@@thevibraphoneproject1393 Sorry for the delay in getting back with you, been out of town. Regarding the submitted question. Once you learn all your scales and modes, then through analysis, you should understand which mode goes with the analysis of the chord. Example, a II-7 chord gets a dorian scale, a V7 chord generally gets a mixolodian scale. After years of analyzing music, you get very good at seeing what scale goes with what chord. Then, it is a matter of utilizing these scale notes (which are basically the correct notes for this chord) and between your knowledge and ears, creating improvised melodies blending one chord into another emphasizing the primary notes that change from chord to chord. These primary notes are usually the guide tone - the 3rd and 7th of the chord. These 2 notes when played alone give the essence of the chord and are key in outlining how chords resolve and move from one to another. You can refer to my book - “A Contemporary Mallet Method - An approach to the vibraphone and marimba” from my website at www.tachoir.com and click on the education tab. Hope this helps. Best, Jerry Tachoir
@@Tachoir Already I have your brilliant Contemporary method for mallets. So, when you say guide tones are so important, is the resolution that seven goes to third in the II-V-I progressions?Or you look for as target note seventh or third indistinctly?
@@ikeruriarte8669 that is correct. D-7, G7, Cmaj7. C to B on D-7 to G7. And F to E on G7 to Cmaj7. Hope that helps.
@@Tachoir Thank you! Very helpfull! Keep on teaching and playing so brilliantly!
Bravo on the 440 vs 442 Jerry! In addition to the nightmare of mismatched 440/442 instruments trying to play together, the resonators are also not at their best for A442 instruments. When Musser tunes their bars to 442, they don't tweak the resonators to follow. There is no adjustment made to the resonators from A440 to A442. That doesn't mean that the notes will sound out of tune or that a clashing will occur between the resonator and bar but the resonators under a set of 442 bars will not be as full or rich sounding as when it is under an A440 set of bars. It will be thin and less strong and less warm. The fan position is also affected.
That's an excellent interview Jerry and Terry! Very interesting. Thank you.