Chega De Saudade - A Study in Solo Vibraphone Playing
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- Опубліковано 18 лис 2024
- Gary Burton set the bar with his recording "Alone At Last" which was released in 1972. His rendition of this composition by Antonio Carlos Jobim was and still is unbelievable. I was very fortunate to study with Gary at Berklee while I was a student there from '72-'76. We spent quite a few lessons on this song. Gary talked about and showed various steps and techniques in approaching this song as a solo piece. This clip illustrates some steps, techniques and concepts as applied to Chega.
1: Right Hand Playing Melody (0.03): It can be helpful to work on playing the melody with the right hand only and add slight embellishments whenever possible. The embellishments or fills can be chord tones, arpeggios, scale passages or double stops (usually 3rd/6ths) underneath the melody. A good approach for a short contrapuntal phrase is to play two notes with a tension resolving to a chord tone. Another option for a three note phrase is two consecutive chord tones with a passing note in between. All of these techniques help to sound the harmony.
2: Left Hand Comping (1.12): An active left hand is very important in solo playing. It's good to work only the left hand comping and try to keep the rhythmic flow and sound the harmony. I'm using a variety of techniques in this clip from double stops to arpeggios. We can also use passing notes and approach notes. It's good to connect from chord to chord with stepwise motion. To determine the specific approaches that I'm using in the clip, try looking at the clip along with the lead sheet and see what I'm doing in relationship to the each chord.
3: Both Hands Playing Melody (2.27): Slower version of the melody with the right hand playing the melody fairly straight without any embellishments. The left hand is filling in using only chord tones. This was one of the techniques that Gary advised me to do. Play the melody and fill in the 8th notes with the left hand accompaniment. Another technique in here is where both hands work together to execute a fragment of the melody or fill in the holes with some scale runs or arpeggios.
4: Both Hands Playing Melody (3.41): Faster version using left hand techniques as discussed. This clip starts with the melody and then shifts to moments of improv as the tune progresses. It can be a good way to practice by switching from playing the melody to improv and then back to the melody. This can help you stay more grounded and focused on the tune.
5: Two Choruses of Improvisation (4.53): Improv with lines that sound the harmony and keep the flow going. The opening chorus begins with mostly chord tones which is a fundamental and good approach to take when first working on this tune or any tune for that matter. Notice the stepwise connection when progressing from chord to chord.
There are more techniques for sure that this clip hasn't addressed but it's probably a good start. It would be good to work on other tunes by Jobim and focus on these techniques and concepts. Try playing the tunes at various tempos which will open up other possibilities for techniques. The key is to get these things in the playing so they are natural and automatic. For me it's not about working up a specific arrangement but more focusing on the techniques and concepts and be open to the many possibilities. It's certainly a challenge for me to be able to do this and be consistent but that's what keeps me practicing.
Thanks! It is a great help for the students. Now everything is clear!
I wish I knew how to play I love the sound...Great job
Fantastic. Really wonderful.
Thanks a lot Ney.
Chega debunked ! At last 😉 ! I saw so many students over the 30 last years playing the sheet music of Gary's rendition without having an idea of the chord progression ! Parrot music. Thanks Ed to show the right way to work it out. This is the way to increase your technique guys, your ear, your time feel, and make at last a PERSONAL rendition. Even if it won't be as breathtaking as Gary's, and sure it won't, it will be YOURS !
Thank you Patrice! For me that's what playing jazz and improvising is all about. Creating and doing are own thing. It may not be perfect but that's OK. We should certainly learn from and study the masters, but in the end it's about the process and what we create ourselves in the moment.
Like your video,杨过。
Thanks Ed. I learn something every single time I listen to you play. This was particularly enlightening. I'm well into your improv book 1 and knocking out the lessons one by one. It's a slow process...
You're welcome Al. Having fun with this stuff and feel good about passing along what I learned along the way. Glad your enjoying the improv book.
I appreciate the beautifully artistic music, and your thoughtful conversations on how to approach this virtuosic vibraphone playing!
Thanks Tommy. My pleasure. Great job on the the clip of you playing Keith Jarrett's "Memories of Tomorrow" on marimba.
Wow, thanks a ton! That really means alot coming from you! I'm practicing to get my jazz chops up, and hopefully we can play together one day!
me encanta!!
Thanks a lot Anny
Thanks ED ,to all the information from the tracks !!!! you are unique and humble in explaining !!!!! as always the number ONE !!!!!!!!!P.S. New chopsticks you've tested are on sale? thanks Nicola
Thank you Nicola. I'm using the new mallets which I really like. I'm hoping that Vic Firth will make them available in a few months. Best, Ed
Thanks Ed, great job. Where can I get those mallets??
Thanks Doug. If you go to the Vic Firth website and the M39 model mallet page, you can get a listing of online percussion stores where you can order the mallet.