University of Iowa
Iowa Research Online
Theses and Dissertations
Spring 2016
Developing a curriculum for the study of jazz
vibraphone available through the online
community, the vibesworkshop.com
Andrew Gregory Veit
University of Iowa
Copyright 2016 Andrew Gregory Veit
This dissertation is available at Iowa Research Online: http://ir.uiowa.edu/etd/3208
Recommended Citation
Veit, Andrew Gregory. "Developing a curriculum for the study of jazz vibraphone available through the online community, the
vibesworkshop.com." DMA (Doctor of Musical Arts) thesis, University of Iowa, 2016.
http://ir.uiowa.edu/etd/3208.
Follow this and additional works at: http://ir.uiowa.edu/etd
Part of the Music Commons
DEVELOPING A CURRICULUM FOR THE STUDY OF JAZZ VIBRAPHONE
AVAILABLE THROUGH THE ONLINE COMMUNITY,
THE VIBESWORKSHOP.COM
by
Andrew Gregory Veit
An Essay submitted in partial fulfillment
of the requirements for the Doctor of Musical Arts degree
in the Graduate College of
The University of Iowa
May 2016
Essay Supervisor: Professor Daniel Moore
Copyright by
ANDREW GREGORY VEIT
2016
All Rights Reserved
Graduate College
The University of Iowa
Iowa City, Iowa
CERTIFICATE OF APPROVAL
_______________________
DMA ESSAY
_______________
This is to certify that the DMA Essay of
Andrew Gregory Veit
has been approved by the Examining Committee
for the essay requirement for the Doctor of Musical Arts
degree at the May 2016 graduation.
Essay Committee: ___________________________________
Daniel Moore, Essay Supervisor
___________________________________
Trevor Harvey
___________________________________
Richard Mark Heidel
___________________________________
William Jones
___________________________________
Kevin Kastens
To my fiancée, Brooke Deimling. While I wrote this document, she operated like a single
mother, and I was her child.
ii
ACKNOWLEDGMENTS
I would like to thank all those who have helped and guided me along my musical
journey. I would also like to thank those on my committee for their support, time, and
insight during this process and in life. I have grown tremendously from my experiences
at the University of Iowa. I would like to especially thank Dr. Dan Moore for his
wisdom in guiding me over the past four years. During that time, I have had countless
opportunities that I am truly grateful for.
I have to thank my parents (Richard and Stacie) for their unchecked, unending,
and unbridled love and support. They have endured the entirety of my career. From
fifth-grade lessons to video recordings of my graduate recitals, and countless nights of
terrible garage band sessions in between, they have watched me with pride.
I have also had the pleasure of learning from some the most creative and
compassionate mentors. I wish to thank Harvey Price, Jim Ancona, Orlando Cotto, and
Tom Palmer from the University of Delaware. Their guidance helped launch my career.
Dr. Brian Zator has taught me to be the best version of myself. His organization and
desire will forever motivate me to be a good person.
iii
This document would not be possible without the expressed written consent and
support of Tony Miceli. I thank him for allowing me access to his website, the
vibesworkshop.com.
iv
PUBLIC ABSTRACT
The vibraphone has been associated with improvisation since the beginning of
the twentieth century. There have been many documents designed to guide students in
both technical studies on the vibraphone and improvisational skills. This document
includes three instructional courses dedicated to the teaching of those skills. It uses only
materials found on the website vibesworkshop.com, which is curated by Philadelphiabased vibist Tony Miceli. These courses are designed for undergraduate college students
through advanced amateurs or professionals.
Many college curricula include insufficient vibraphone studies or do not include
them at all. Currently, most college percussion studio professors specialize in areas
other than vibraphone. Because of their lack of experience, professors supplement their
teaching methods with materials that approach vibraphone in a subpar manner. Such
materials instruct students to internalize and regurgitate bland materials instead of
creating and developing their own ideas.
The vibesworkshop.com courses aim to assist those professors and students by
replacing older instructional materials with a system that cultivates students’ affinity
with the vibraphone, allowing them to continue contributing to the online vibes
community after participation in these courses.
v
TABLE OF CONTENTS
LIST OF FIGURES ............................................................................................................ix
CHAPTER
I. BACKGROUND INFORMATION.................................................................................1
Background Information..........................................................................................1
Statement of Purpose ...............................................................................................8
Review of Literature ..............................................................................................12
Curriculum Basics .....................................................................................13
Vibes Method Books .................................................................................15
Jazz Curricula ............................................................................................16
Student/Teacher Relationship via the Online Landscape ..........................18
Methodology..........................................................................................................21
II. VIBESWORKSHOP.COM:
A COMMUNITY DEDICATED TO COLLECTIVE INTELLIGENCE........................25
Miceli’s Teaching Philosophy ...............................................................................31
The Vibesworkshop.com Curriculum Evaluation .....................................33
III. BEGINNER’S COURSE.............................................................................................35
Introduction............................................................................................................35
Week 1 ...................................................................................................................38
Week 2 ...................................................................................................................45
Week 3 ...................................................................................................................53
Week 4 ...................................................................................................................62
Week 5 ...................................................................................................................67
Week 6 ...................................................................................................................72
Week 7 ...................................................................................................................76
Week 8 ...................................................................................................................82
Week 9 ...................................................................................................................86
Week 10 .................................................................................................................93
vi
Week 11 .................................................................................................................98
Week 12 ...............................................................................................................101
Conclusion ...........................................................................................................105
IV. INTERMEDIATE COURSE.....................................................................................107
Introduction..........................................................................................................107
Week 1 .................................................................................................................109
Week 2 .................................................................................................................117
Week 3 .................................................................................................................122
Week 4 .................................................................................................................127
Week 5 .................................................................................................................133
Week 6 .................................................................................................................138
Week 7 .................................................................................................................145
Week 8 .................................................................................................................150
Week 9 .................................................................................................................154
Week 10 ...............................................................................................................159
Week 11 ...............................................................................................................164
Week 12 ...............................................................................................................168
Conclusion ...........................................................................................................172
V. ADVANCED COURSE .............................................................................................173
Introduction..........................................................................................................173
Week 1 .................................................................................................................175
Week 2 .................................................................................................................181
Week 3 .................................................................................................................186
Week 4 .................................................................................................................191
Week 5 .................................................................................................................195
Week 6 .................................................................................................................201
Week 7 .................................................................................................................206
Week 8 .................................................................................................................210
Week 9 .................................................................................................................213
Week 10 ...............................................................................................................218
Week 11 ...............................................................................................................223
Week 12 ...............................................................................................................226
Conclusion ...........................................................................................................229
vii
VI. CONCLUSION .........................................................................................................231
APPENDIX A: PERMISSION OF USE .........................................................................234
APPENDIX B: RECOMMENDATIONS .......................................................................235
BIBLIOGRAPHY............................................................................................................240
viii
LIST OF FIGURES
FIGURE
3.1: Three-Note Voicing 1.....................................................................................61
3.2: Three-Note Voicing 2.....................................................................................61
3.3: Dominant & Minor Workout Part 1 ...............................................................89
3.4: Dominant & Minor Workout Part 2 ...............................................................90
3.5: Dominant & Minor Workout Part 3 ...............................................................94
3.6: Dominant & Minor Workout Part 4 .............................................................103
4.1: Brazilian Comping Patterns Part 1 ...............................................................116
4.2: Brazilian Comping Patterns Part 2 ...............................................................116
4.3: Brazilian Comping Patterns Part 3 ...............................................................117
4.4: Common Tone Exercise ...............................................................................132
4.4: Blues Bass Line ............................................................................................143
ix
1
CHAPTER I
BACKGROUND INFORMATION
Originally marketed by the Indianapolis-based Leedy Manufacturing Company
in 1921 as a novelty vaudeville instrument, the vibraphone has had several trade names,
such as the vibraharp, vibrabells, vibracelesta, and harpaphone. Today, scholars,
students, and fans refer to it simply as the vibes.
In 1930 and 1931, two major events solidified the vibes’ association with the
jazz idiom. First, the bandleader and saxophonist Adrian Rollini added a Deagan Model
145 vibraphone to his bandstand at a 42nd Street speakeasy in New York City.1 The
second was Louis Armstrong witnessing the young drummer for the Les Hite Band,
Lionel Hampton, improvise on the vibes.2 Hampton went on to be the first person to
record jazz vibraphone in 1931 with Armstrong’s Sebastian New Cotton Club
Orchestra.3
1
Hal Trommer, “The Vibraphone, Vibraharp, and Vibes,” in Encyclopedia of Percussion, ed.
John Beck, 2nd ed (New York: Routledge Press, 2007) 401.
2
“The Vibe Tribe,” Newsweek 69, no 2, May 15, 1967, 105.
3
From the Lionel Hampton discography compiled in 1985 by Bob Davis, a Chicago jazz
authority, collector, and discographer.
2
Since the 1930s, professionals such as Milt Jackson, Red Norvo, Lem
Winchester, and Terry Gibbs elevated the vibraphone’s status as a legitimate virtuosic
instrument. Its popularity continued to grow until the 1960s, when three new jazz
ensembles from Hawaii (the Martin Denny Group, the Arthur Lyman Group, and the
Gene Rains Group) became best-selling artists; each group featured the vibraphone in
their instrumentation. According to Hal Trommer, Arthur Lyman’s biggest hits, “Yellow
Bird” and “Hawaiian Sunset” from the album Taboo, featured vibraphone arrangements
and reached the largest audience.4 Because of its popularity in the mainstream culture
and its already established value in jazz ensembles, the vibes rapidly became part of the
high school and college percussion curriculum. Today, the vibraphone is considered a
standard instrument in the percussion section.5
Despite this early rise in the prominence of the vibraphone, its importance in
percussion studies started to decline after the 1960s due to two major factors. One
reason was the concert marimba’s rise in popularity during the mid-1970s. Leigh
Howard Stevens’ marimba recordings, concerts, and codification of marimba pedagogy
attracted many young percussionists to pursue marimba studies and abandon the vibes.
4
Trommer, 401.
5
Trommer, 402.
3
The other factor in the decline of the popularity of the vibraphone was fewer performing
opportunities for vibists. Since the public’s interest in jazz music has waned over the
past few decades, so have employment opportunities for vibists, as many clubs no
longer employ jazz musicians or have gone out of business entirely. Because of these
reasons, vibes instruction at all levels has diminished, causing college percussion studios
to either reserve jazz vibes instruction as a supplement to mallet education or eliminate
it from their curriculum completely.
Evidence of the decline in vibes instruction at the collegiate level can be seen in
the lack of required materials on Steveweissmusic.com’s webpage, “Find My School”.6
This webpage allows percussion directors to post all required material for every level of
their curriculums so students may purchase them at a discounted price. Only five
participating studios require method books dedicated to jazz vibes studies: Morehead
State University, Temple University, University of Central Florida, University of North
Alabama, and West Chester University.
While the vibraphone may have lost favor in percussion studies over the past
half-century, several pedagogues have continued to write educational resources to assist
6
“Find My School,“ Steve Weiss Music, http://www.steveweissmusic.com/category/schools
(accessed November 2, 2015).
4
students in developing techniques on the vibes. Vibraphone artists have published
several method books, such as Jerry Tachior’s Contemporary Mallet Method, Terry
Gunderson’s Guide to Solo Vibraphone, and Arthur Lipner’s Jazz Mallets: In Session
and Vibes Real Book. These method books introduce both techniques native to the vibes
and broader concepts to improve improvisation skills. Like all method books, they have
strengths and weaknesses. A downfall in printed method books is the limited space
available, which causes authors to spread information between several sources. Before
2008, no central location or larger collection of vibraphone (in jazz or non-jazz genres)
data existed. That is until Philadelphia based vibist Tony Miceli, launched the website
Vibesworkshop.com.
Vibesworkshop.com is a subscription website that aims to connect vibists
worldwide in order share ideas and spread vibraphone awareness to a wider audience by
functioning as a teaching tool and a forum. For educational resources, professional
vibists post multiple types of vibes lessons, and as a forum, the site provides several
avenues for users to communicate both online or in person. The two functions work
together to create an online network where students can ask questions, post videos of
themselves attempting concepts on the vibraphone, and then receive feedback from
artists or fellow users in a setting outside a traditional classroom environment.
5
On the Vibesworkshop.com’s home page, internationally known vibist David
Friedman welcomes users to the website:
I want to talk about Tony Miceli’s wonderful creation… the
Vibesworkshop.com. It’s the only site on the net [sic] dedicated to the
vibraphone, vibes players, vibes music, and anything that has to do with
this instrument. It’s great for students; they can submit audio files,
videos, and get almost instantaneous feedback from some of the greatest
vibes players in the world like Joe Locke, Ed Saindon, Gary Burton, and
Tony Miceli.7
Friedman’s plaudit celebrates Miceli’s work by claiming that it’s the only site
where students can interact with professionals who are some of the most well known
performing artists and pedagogues in the vibraphone world. Other professionals who
contribute to the website include Ted Wolff, Anthony Smith, Behn Gillece, Mike
Mainieri, Stefon Harris, and Percussive Arts Society Hall of Fame Member Dave
Samuels.8 Professionals have contributed over seven hundred lessons to the vibes
community regarding topics such as chord voicings, comping patterns, lines, licks, and
grooves.9 As Friedman mentions above, professionals can communicate with students
7
David Friedman, “David Friedman Talks About Vibesworkshop.com,” the Vibes Workshop,
https://www.youtube.com/watch?time_continue=19&v=1WCnKHB3Z-U (accessed November 5, 2015).
8
Tony Miceli, “Contributors,” the Vibes Workshop, http://www.vibesworkshop.com/pro-corner
(accessed March 14, 2016).
9
Comping is a phrase used by jazz musicians that describes the action of accompanying a soloist
by playing elements of the chord progression in the style of the tune’s genre. Lines and licks are also
6
through these lessons. If a student has a question regarding the material presented in a
lesson, they may ask it in the lesson’s comment section. Professionals can then answer
the student’s question directly.
Not only do students benefit from the comments they receive from professionals
on the site, but from fellow users as well. The Vibesworkshop.com allows users to
communicate through comment sections, forums, and a feature called the Shout Box,
which can be viewed on the home page of the website. If a user has a specific question
about a lesson, they may ask it in the comment section available on the same web page
below the media file. The home page will notify other users when and where someone
has commented, assuring that the user’s question is noticed. The forum page is another
available communication device, containing many discussions dedicated to the vibes. It
also includes topics such as microphones, notation software, and other areas not directly
related to the instrument.10 These are several ways for user interaction online. However,
users and professionals also have the opportunity to work together in a live setting.
terms widely known to jazz musicians, and refer to improvised gestures. Finally, a groove is a persistently
repetitive pattern that establishes the style of a piece of music.
10
Tony Miceli, “Forums,” the Vibes Workshop, http://www.vibesworkshop.com/forum
(accessed March 14, 2016).
7
Miceli also organizes two annual summits for vibists of all ages and ability.
These gatherings are called “Vibes Workshops.”11 The workshops focus intensely on
building students’ technical ability, knowledge, and appreciation for the vibraphone
through a series of master classes. The workshops conclude with student performances,
which Miceli streams and uploads to the website. He calls these performances “vibes
hangs” and holds similar ones every month of the year to create a waypoint for students
to view professional jazz musicians.12 Performers at these vibes hangs consist of local
professionals that play an array of instruments, and sometimes they are simply Miceli
soloing by himself in his home studio.
Over the course of the twentieth century, the vibraphone has experienced a rise
and fall in its popularity. Since the 1960s, a strong (yet smaller) collective of vibists
made up of professionals, amateurs, students, and enthusiasts have continued to gather
and distribute new information concerning the vibraphone. Today the
Vibesworkshop.com features a plethora of information regarding the instrument, and,
11
Tony Miceli, “Home,” the Vibes Workshop, http://www.vibesworkshop.com/ (accessed
November 15, 2015).
12
Ibid.
8
through the power of the Internet, allows students to communicate with professional
vibists in a way that has never before been possible.
STATEMENT OF PURPOSE
My purpose for this document is to reorganize all lessons available on
Vibesworkshop.com into a curriculum consisting of three courses designed for
beginning, intermediate, and advanced vibes students. I not only wish for students to
participate in the curriculum, but also contribute to the collective intelligence of the
online vibraphone community (the total amount of vibes data available on the Internet)
by posting their assignments and communicating with other members of
Vibesworkshop.com
The Vibesworkshop.com serves as an online source of vibes instruction, and
includes several facets that tie vibists together into an online community. It is the largest
archive of vibraphone information on the Internet, as no other vibes-related website can
claim the same type, or amount, of material as that found on Tony Miceli’s site. It holds
lessons in several formats, and more are added every day. The website also acts as a hub
that connects all members and all websites belonging to the online vibes community.
9
Ed Saindon is a subscribing member of Vibesworkshop.com who hosts several
social media web pages regarding jazz vibes via Facebook.com.13 Saindon posts several
instructional videos and performances weekly and invites fellow community members
to post as well. Saindon’s resources are outside of the Vibesworkshop.com archive, but
are still considered part of the online vibes community. There are several other social
media web pages that are also not part of Miceli’s website, such as the “Vibes Summit,”
which is a group dedicated to an annual meeting of vibists at the Remo facility in North
Hollywood.14 Another webpage is devoted to the World Vibes Congress, which
functions similarly to the “Vibes Summit,” but is centered on an annual meeting at the
Malletech Inc. warehouse in Asbury Park, NJ.15 No matter how many more vibes
13
Ed Saindon, “Ed Saindon Vibraphone,” https://www.facebook.com/Ed-Saindon-Vibraphone-
124909137523451/?fref=ts (accessed November 6, 2015); Ed Saindon, “Ed Saindon Piano,”
https://www.facebook.com/edsaindonpiano/?fref=ts (accessed November 6, 2015); Ed Saindon, “Ed
Saindon Marimba.” https://www.facebook.com/Ed-Saindon-Marimba-241036669285113/?fref=ts
(accessed November 6, 2015).
14
Mal Sands, “Vibes Summit,” https://www.facebook.com/groups/185206586699/?fref=nf
(accessed on November 5, 2015).
15
Leigh Howard Stevens, “Home,” the World Vibes Congress,
http://www.worldvibescongress.com/ (accessed November 5, 2015).
10
websites exist, they all connect vibists online in an attempt to share information, goals,
and educational materials.
For the purpose of this study, I will refer to the wealth of information spread
through the vast online vibes community, or the total amount of information on any
vibes related site, as the collective intelligence. The term has been used to describe the
combined methods, ideas, and documentations of multiple fields of study. The
Massachusetts Institute of Technology Center for Collective Intelligence has this to say
about the term:
While people have talked about collective intelligence for decades, new
communication technologies—especially the Internet—now allow huge
numbers of people all over the planet to work together in new ways. The
successes of systems like Google and Wikipedia suggest that the time is
now ripe for many more such systems.16
The total amount of information available on the Vibesworkshop.com
contributes to, but is certainly not the entire, online vibes community’s collective
intelligence. As a document attempting to categorize the entire collective intelligence
would undoubtedly be too long and cumbersome, I aim to reorganize only the
educational materials available on Vibesworkshop.com into a curriculum.
16
Gilbert Design, “Home,” MIT Center for Collective Intelligence, 2014, http://cci.mit.edu/
(accessed April 26, 2016).
11
The current organization of lessons available on the Vibesworkshop.com is in
disarray. Although Miceli categorized the lessons early in the site’s timeline, the large
amount of information collected since 2008 has made it nearly impossible to neatly
categorize lessons in a coherent manner. Currently, professionals can post new lessons
to either the home page, the “Contributors” page, or the “Vibraphone Lessons and
Technique” page.17 The lessons found under “Lessons and Techniques” are divided
according to technique and are ordered according to the dates they were posted. For the
advanced vibists, seeing a new lesson at any of the possible locations may be an exciting
way to discover a new technique. For less experienced students, that process may be
troublesome. Beginner and intermediate users may find the new lessons posted on the
home page beyond their playing ability, and then become discouraged from participating
further in the website’s activities. By developing a curriculum, Vibesworkshop.com can
reorganize its lessons in a clear manner, which will present students of all ability levels
with organized learning courses.
17
Tony Miceli, “Vibraphone Lessons and Technique,” the Vibes Workshop,
http://www.vibesworkshop.com/book/lessons-book/tonymiceli/010608 (accessed March 19, 2016); Tony
Miceli, “Contributors,” the Vibes Workshop, http://www.vibesworkshop.com/pro-corner (accessed March
14, 2016).
12
REVIEW OF LITERATURE
In the review of the related literature, I have found that no other curricula,
whether dedicated to vibraphone or jazz music, offer the opportunity to contribute to the
collective intelligence and interact with an online community. When students sign on to
the Vibesworkshop.com, the website connects them with over four thousand subscribing
members who possibly become a part of students’ learning experiences.18 At this time,
no scholarly studies exist regarding the Vibesworkshop.com or its membership, but
there are a few resources that describe characteristics of relationships formed between
online community members. These characteristics are similar to how students and
professionals interact while participating in the Vibesworkshop.com curriculum.
By analyzing more contemporary trends in curricula, I have found a place for the
Vibesworkshop.com curriculum as an independent means of jazz education outside of
schools. The government-funded educational policy No Child Left Behind (now
discontinued) has weakened arts education in public schools over the past decade.19
Today, STEM, another government-funded education policy, continues to diminish the
18
Tony Miceli, e-mail message to the author, November 17, 2015.
19
“No Child Left Behind: Elementary and Secondary Education Act (ESEA),” U.S. Department
of Education, http://www2.ed.gov/nclb/landing.jhtml (accessed April 30, 2016).
13
importance of music education through promotion of more tangible subjects such as
mathematics, engineering, and science.20 These trends exclude arts education from
American public school and thus present the Vibesworkshop.com with the opportunity
to offer jazz education outside of government-funded policies.
I have found that, primarily, vibes curricula exist in permanent forms such as
method books, and thus authors are unable to update their work after its publication.
These method books convey tested approaches for several technical issues, but lack the
organic approach historically associated with jazz education that has been taught in a
traditional aural/oral manner for almost a century. Similarly, several existing jazz
curricula employ the aural/oral educational method, but they are also in written form,
making them vulnerable to becoming obsolete after publication.
Curriculum Basics
In preparation for developing a curriculum consisting of the lessons available on
the Vibesworkshop.com, I have researched several resources to learn the appropriate
basics to curriculum-building. In Curriculum Building for Adult Learning, John Verduin
identifies any person involved with development and implementation of a curriculum as
20
3, 2015).
“Home,” the Stem Education Coalition, http://www.stemedcoalition.org/ (accessed November
14
a curriculum worker.21 Similarly, I will refer to any person involved with the planning
of the Vibesworkshop.com’s curriculum as such.
When it comes to building a curriculum, there are several views on how to best
organize activities, but most sources share six elements.22 Verduin’s research identifies
those qualities as “rationale, outside political forces, goals, instructional activities and
organization, and evaluation.” These six elements are fundamental to my approach in
creating the Vibesworkshop.com curriculum, as I crafted each lesson plan to include
them. Since the curriculum exists outside a school system, there are no outside political
forces. I have decided to use Tony Miceli’s teaching philosophy in its place and rename
it the inside political force that augments the curriculum.
21
Ibid.
22
Studies dedicated to developing curriculums include Marshall and Donahue (2014), Halverson,
et al. (1963), National League for Nursing, (1991), Nirantar (1997), Norton (1936), Puckett (1940),
Tomlinson (2002). Studies regarding teacher-student relationships in curriculums include Borgo (2007),
Brophy & Good (1978), Gehlbach, et al. (2013), Gallagher (2013), Hurt, et al. (1978), McHugh, et al.
(2013), Rogers (1972), Shellard, et al. (2005), and Solomon (1981).
15
Vibes Method Books
There are dozens of published vibraphone method books available for purchase
that attempt to educate students in a variety of techniques.23 David Friedman’s widely
used method book, Vibraphone Technique: Dampening and Pedaling, is dedicated to
teaching dampening techniques on the vibraphone.24 Gary Burton’s Introduction to Jazz
Vibes and Four Mallet Studies are collections of technical exercises designed for twomallet and four-mallet (respectively) vibraphone technique. Jacques Delécluse’s
Méthode Compléte pour Vibraphone Vol. 1 & 2 are two of the small collection of
method books dedicated to vibraphone education in the classical genre.25 Each of these
method books detail specific techniques, but none include the same amount of data as a
curriculum.
23
Method books dedicated to jazz vibraphone include Burton (1965), Burton (1968), Davis
(1999), Delecluse (1963), Friedman (1973), Gunderson (1993), Lipner (1995), Piper (2000), Richards
(2009), Saindon (2007), Sisto (2005), and Tachoir (2000).
24
David Friedman, “Vibraphone Technique: Dampening and Pedaling,” revised ed., (Berklee,
MA: Berklee Press, 1973).
25
(2002).
Other examples of classical vibraphone studies include Delecluse (1963) and Goldenberg
16
In his printed method book, The Art and Language of Jazz Vibes, Jon Metzger
displays Verduin’s curriculum requirements, and they can be found in the forward to his
book.26 There, Metzger states:
This book offers an organized approach to getting started on jazz vibes. It
comes at the request of students of mine who ask ‘How do you do that’
and in response to clinic participants and college percussion instructors
who have asked me to spell out my approach in book form.27
Although it is considered a method book, Metzger includes several lesson plans
that act as pathways through the material, which make it a jazz vibes curriculum.
However, it is a printed source and has not been updated since its publication in 2008.28
Jazz Curricula
Although jazz is originally an oral/aural tradition, schools now offer jazz
education through means of the Western tradition, meaning they approach it as a teachand-receive experience.29 In Curriculum Essential: A Resource for Educators, Jon Wiles
26
John Metzger, The Art and Language of Jazz Vibes, rev. edition, (Roaring Gap, NC: EPM
Publications, 2008) viii.
27
Ibid.
28
Ibid. 7-11.
29
There are several American Universities that offer degree programs in jazz at the
undergraduate and graduate level: University of Iowa (2015), University of Northern Colorado (2015),
Indiana University (2015), and University of Michigan (2015). European Universities that offer degree
17
describes two contrasting styles of teaching: “perennialism” and “experimentalism.”30
Universities use reason and logic to prepare each student for life as a performing jazz
musician. One can see the perennialistic characteristics by viewing the required courses
in jazz studies: private lessons, music theory, repertoire ensembles, non-musical classes
such as history, math, and science, and even education classes. Opposite to perennialists,
experimentalists “accept only change” and “seek to learn new ways to expand
understanding instead of dogmatic constants.”31 Experimentalistic teachings present
open-ended lessons where there is no single answer or way of educating. Conversely,
perennialsts strive for a permanent strategy to education where teacher and student share
the same abilities and views.
The Vibesworkshop.com curriculum displays characteristics of experimentalism.
All lessons encourage students to experiment with each concept and not repeat material
verbatim, as this is an aspect of Tony Miceli’s teaching philosophy. Some jazz educators
plans in jazz studies include the Konservatorium Wien: City of Vienna University (2015), the Jazz
Institute of Berlin (2015), and the Accademia Euorpea Di Firenze (2015).
30
Wiles, 27-28.
31
Ibid.
18
also dismiss perennialistic education.32 Neil Davis Wetzel’s study, “Developing a New
Jazz Method: Learning Jazz Language, A Curriculum for Beginning Improvisers”
presents a jazz curriculum combined into band, orchestra, and choir methods for middle
school students.33 The study includes lesson plans that feature no written music.
Students learn and play basic folk songs (presumably, those already learned in
childhood) through aural and oral techniques, which mimic how jazz musicians
communicate in nightclubs and bars, settings that are not appropriate for young students.
Wetzel’s document appears online and allows students to communicate with the author
via the Internet. However, it does not give students the opportunity to contribute to a
collective intelligence, nor does it offer a student-teacher relationship in a virtual setting.
Student/Teacher Relationship via the Online Landscape
Characteristics of student and teacher relations while participating in the
Vibesworkshop.com curriculum parallel those between members of the online
community. With the emergence of better Internet connections, many people are now
32
Examples of jazz curricula include Aebersold (2000), Baker (1998), and Sorenson (1998),
Steinel (2000). Studies of experimentalist curricula include Alirangues (2002), Generals (2000), Wraga
(1999), and Ediger (2000).
33
Neil Davis Wetzel, “Developing a New Jazz Method: Learning Jazz Language, A Curriculum
for Beginning Improvisers,” (PhD dissertation, Teachers College at Columbia University, 2007).
19
able to participate in interest groups that function as communities via an online space.34
The League of American Bicyclists is but one online community who’s website hosts a
wealth of information pertinent to all aspects of its users’ lives, and acts as a hub
(similar to Vibesworkshop.com) to allow its membership to communicate with ease.
According to two studies, social interactions are not cheapened by technology.
Rene Lysloff’s ethnographic research discusses the issue of “presence” and the lack of
human contact between mod musicians via virtual spaces.35 Mod musicians refer to
electronic music composers who create, collect, and share music programming codes.
Ultimately, Lysloff concludes that mod musicians created a community that fulfills even
the nineteenth-century sociological definitions: the exchange of ideas, creativity, and
culture. Trevor Harvey also proves that the societal definition applies to online
communities. In his ethnography, “Virtual Garage Band: Collaborative
Cybercommunities of Internet Musicians,” Harvey discusses how users of the website
34
Many online communities exist devoted to a multitude of interests. Several examples of those
communities include iCompositions (a site devoted to peer to peer music compositions created using the
Apple product, Garageband) (icompositions.com), The League of American Bicyclists (bikeleague.org,
and Concert Window (concertwindow.com).
35
Rene T. A. Lysloff, “Music and Technoculture,” ed. Rene T. A. Lysloff and Leslie Gay.
(Middletown, CT: Wesleyan University Press, 2003).
20
iCompositions.com exchange information and interests pertinent to their lives outside
the primary subject of the website.36
By redefining the definition of communities via web spaces, relationships
between students and teachers online achieve the same level of interaction as those in a
traditional learning environment. The Vibesworkshop.com is a collection of vibists
online that display similar characteristics, but does not possess the proximity typically
associated with a real-world community. The membership shares data regarding both the
primary subject of the website and any other outside interest desired. The forum section
of Vibesworkshop.com holds several non-educational aspects of the online vibe
community’s collective intelligence. This will be detailed more in Chapter II.
36
Trevor Harvey, “Virtual Garage Band: Collaborative Cybercommunities of Internet
Musicians,” PhD diss., the Florida State University DigiNole Commons, 2009,
file:///Users/AndrewVeit/Downloads/Virtual%20Garage%20Bands%20Collaborative%20Cybercommunities%20of%20Internet.pdf (accessed November 5, 2015).
21
METHODOLOGY
I have constructed the Vibesworkshop.com’s curriculum to include three courses
divided by level of ability: Beginner’s Course, Intermediate Course, and Advanced
Course. Each course tasks students to learn three tunes and includes lesson plans that
introduce elements of each tune in a specific order: melody, improvised gestures, chord
voicings, accompaniment skills, and patterns appropriate in the style of tune’s genre.
In constructing this curriculum, I analyzed all the lessons found on the “Vibes
Lessons and Technique” page in the “V-books” section of the Vibesworkshop.com.37 I
documented several characteristics of the lessons into a spreadsheet. First, I recorded
basic information, such as the title of the lesson, the length of the attached file (if it
appeared as a video or audio file), the description attached to the lesson, the date it was
posted, who posted the lesson, and the format of the lesson. Vibesworkshop.com
features several lesson types, including video, audio file, PDF, and other text formats.
Next, on a scale from one to ten, I recorded each lesson’s level of difficulty. The
information made it possible to associate a lesson with one of the three most appropriate
courses. Next, using a scale of one to five, I rated the lesson’s effectiveness in
communicating the subject manner. I assigned a rating of a five to lessons that included
37
Miceli, “Vibes Lessons and Technique.”
22
clear instructions and achievable methods for practicing the skill. Lessons that included
no instructions and poor presentation of the core concept received a one. The
information made it clear which lessons deserved inclusion in the curriculum and which
were to be left out.
After documenting each lesson, I selected three tunes for each course of the
curriculum that were once Tunes of the Month.38 Miceli begins every month by
selecting a jazz standard that will be the focus of a month-long lesson series. Each Tune
(or Tunes) of the Month (TOTM) series is open for anyone (professional or not) to post
lessons or questions regarding the tune’s melody, harmony, style, or techniques used to
improvise over its chord progressions. Miceli repeats the process each month by
selecting a jazz standard, or revisiting one previously studied. Jazz standards are tunes in
the jazz genre that have been performed or recorded by several artists over the course of
the twentieth century. All TOTM lesson series may be found on their own dedicated
web page located in the V-books section, a section of Vibesworkshop.com that features
links to most of the information available on the website.39 I decided to dedicate four
38
Tony Miceli, “Tune of the Month (TOTM),” the Vibes Workshop,
http://www.vibesworkshop.com/book/Lessons%20Book%20%28new%29/tune-monthstudies/tonymiceli/081410 (accessed March 19, 2016).
39
Ibid.
23
weeks to the development of techniques found in those tunes in order to mimic the
month-long TOTM series on Vibesworkshop.com.
For the Beginner’s Course, I selected the tunes “So What,” “Bags’ Groove,” and
“Blue Bossa.” I included the tunes “Recorda Me,” “Days of Wine and Roses,” and
“Bluesette” in the Intermediate Course. Finally, the Advanced Course features the tunes
“If I Were a Bell,” “Darn That Dream,” and “Donna Lee.” I have included reasoning for
choosing these tunes in their respected course within the introductions to each chapter
below.
After I established each course’s tunes, I selected lessons that best presented the
concepts of each tune. I then arranged the lessons for each tune into four-week (or onemonth) groupings to assist students in mastering the elements stated above (melody,
improvised gestures, chord voicings, and accompaniment skills) in the appropriate
order.
I presented each lesson of the curriculum as a lesson plan that includes all basic
information of each lesson, an annotation that briefly describes the lesson’s concept,
goals for the students to achieve, an assignment, and occasionally a personal
recommendation. The basic information includes the lesson’s title, format, length,
24
posting artist, date posted, hyperlink, and description. I created each lesson’s assignment
to assist students in synthesizing the information they should have obtained from the
lesson. Throughout the curriculum, I encouraged students to post their assignment to the
site, thus contributing to the collective intelligence. At the end of each month, students
are required to complete assessments, which are bigger and longer versions of lesson
assignments. Each assessment tasks students with creating a recording project that both
showcases skills they have learned over the month and requires them to post onto
Vibesworkshop.com, also contributing to the collective intelligence.
I included several recommendations for Tony Miceli in Appendix B. The
information available there identifies any broken links, missing lesson information, and
possible ideas to enhance a lesson, suggest a new TOTM, or generally improve the
users’ experience in any way.
Each day users post more lessons, which creates an interesting challenge if a new
lesson fits into the curriculum more so than one previously included. To avoid this issue,
I have included only lessons posted before January 1, 2016 in the Vibesworkshop.com
curriculum. Possibilities for further research beyond this document would be to analyze
and record the newly created lessons in an attempt to create new courses of various
length and scope. Regardless of when new research is established, I consider videos
25
posted to the Vibesworkshop.com in 2016 and beyond as part of the online vibes
community’s collective intelligence, and hence worthy of study.
CHAPTER II
VIBESWORKSHOP.COM:
A COMMUNITY DEDICATED TO COLLECTIVE INTELLIGENCE
Since its inception in 2008, Vibesworkshop.com has grown tremendously,
accomplishing Miceli’s goal of expanding the online vibraphone community. The site is
a central hub for vibists to connect with one another. All the information available on
the website, regardless of purpose, contributes not only to the collective intelligence, but
allows users to operate as a community. The buttons on the site’s main page serve as
tools for users to navigate the hub to any aspect of the collective intelligence available
on Vibesworkshop.com. These buttons can transport users to the following areas: Home,
Contributors (formerly labeled pro-corner), Shop!, V-Books, Forums, Search, Recent
Activity, and Log In/Out features.
The Home button will navigate users back to the front page, and also features a
drop-down menu leading to the “Getting Around the Site,” and “Site Terms of Use”
pages.40 The Contributors button is the new path to the page formerly labeled as the pro-
40
Miceli, “Home,” (accessed March 13, 2016).
26
corner. Here, users can find links to blogs, lessons, and lectures organized according to
which of the website’s contributing professionals posted the material. The “Shop!”
button sends users to Tony Miceli’s online store, located on his professional page.41 The
Recent Activity, Search, and Log In/Out buttons serve their obvious purposes. The
buttons that access the most data at Vibesworkshop.com are “V-Books” and
“Forums.”42
Within the V-Books section, users find multiple links to all forum threads,
annotated listings of vibes books, a recording library, and the “Vibes Lessons and
Techniques” which holds the extensive listing of all available lessons organized
according to technique.43 A few links are dead ends. For example, the Online Courses
link leads to three sub-categories with only a few eclectic lessons. The “Advanced
41
Tony Miceli, “Shop!,” the Vibes Workshop, http://www.tonymiceli.com/store (accessed
March 13, 2016).
42
Tony Miceli, “V-Books,” the Vibes Workshop, http://www.vibesworkshop.com/book
(accessed March 13,2016); Tony Miceli, “Forums,” the Vibes Workshop,
http://www.vibesworkshop.com/forum (accessed March 13, 2016).
43
Tony Miceli, “Vibraphone Lessons and Technique,” the Vibes Workshop,
http://www.vibesworkshop.com/book/lessons-book/tonymiceli/010608 (accessed March 19, 2016).
27
Group Only” page includes a mere five lessons dedicated to the tune “Ceora.”44
Another, the “Beginner’s Course,” Miceli designed to include only basic technical
information such as dampening and pedaling. It does not include lessons on the study of
tunes, improvisation, or solo playing.45 The Beginner’s Course currently available on
the site may not be completely empty, but it does not possess the same scope or quality
as the Beginner’s Course included in this document.
The forum page features discussion not categorized as educational material. Here
users ask questions about the site, share videos, report on concerts in their area, and
share materials outside the realm of the vibraphone. For example, users have shared
YouTube videos of Bobby McFerrin singing “Prelude” from Johan Sebastian Bach’s
First Cello Suite because they simply thought it was beautiful.46 Another member, Karl
44
Dimirtis, “Advanced Group,” the Vibes Workshop,
http://www.vibesworkshop.com/book/online-courses/advanced-group/ceora/dimitris/053014 (accessed
March 13, 2016).
45
Tony Miceli, “Beginners Course,” the Vibes Workshop
http://www.vibesworkshop.com/book/online-courses/beginners-course/tonymiceli/090812 (accessed
January 29, 2016).
46
Tony Miceli, “All I Can Say is Incredible!,” the Vibes Workshop,
http://www.vibesworkshop.com/story/all-i-can-say-incredible/tonymiceli/080309 (accessed March 13,
2016);
28
Ivar, asked for assistance in building his own instrument frame so he could bring just the
keys of his vibraphone to Istanbul for a performance.47
Once users become comfortable with how to use the website’s tools to
communicate with others, they may take full advantage of the website. One such tool is
the Shout Box, which is found on the Vibesworkshop.com’s home page. The Shout Box
is a text chatting system that members use to exchange greetings between users.
Members have used the Shout Box in the past to share excitement for an upcoming
concert, or make quick personal updates. It features a character limit similar to that of
social media platforms such as Twitter. At the beginning of December 2015, a few
members took to the Shout Box to inquire what tunes Miceli planned to name as TOTM
for 2016. Miceli appeased them by announcing a few ideas, and it was obvious that he
was proud of users’ excitement towards the next year’s tunes.48 On January 21, 2016,
47
Karl Ivar, “Musser M48/M55-frame Needed in Istanbul Next Weekend! 25.04/26.04,” the
Vibes Workshop, http://www.vibesworkshop.com/forum/musser-m48m55-frame-needed-istanbul-nextweekend-25042604/karl-ivar/041715 (accessed March 13, 2016).
48
Tony Miceli, “Shout Box,” the Vibes Workshop,
http://www.vibesworkshop.com/shoutbox?page=1 (accessed January 29, 2016); Be it known that the
shout box records do not hold for more than a few weeks. The post has since been deleted.
29
user Marie-Noëlle posted very human and somber news of the passing of fellow
Vibesworkshop.com member Bruce Wells to the Shout Box:
Guys, it's with great sadness that I have to announce another passing of
one of our members … Bruce Wells left us yesterday from a heart attack
… He would have turned 80 on February 11 … I have no words.49
Marie-Noëlle’s post prompted several other responses in the Shout Box. It also
motivated Miceli to post about Bruce’s passing in his blog, which is also available on
Vibesworkshop.com. The post encouraged many users to come forward and say a few
words about Bruce, who it turns out was one of the first subscribing members of the
community. Marie-Noëlle comments further in the blog that Wells was member of a site
called TheVibe.net, the site that Miceli reorganized into the Vibesworkshop.com before
2008.50 Many other users echo the sentiment that Bruce was a kind person who only
posted positive messages.
After research into the entire site, I could not find a single negative comment.
Unlike many other social media platforms where users take advantage of their
anonymity to chastise others, members of the online vibes community are constantly
49
Miceli, “Home,” (accessed January 28, 2016).
50
Tony Miceli, “Long Time VW Member Bruce Wells Died,” the Vibes Workshop,
http://www.vibesworkshop.com/node/17736 (accessed January 28, 2016).
30
positive and supportive and will honestly inform fellow members how to improve their
playing ability.
Vibesworkshop.com contains many blogs, corners, and forums dedicated to
specific topics that simultaneously tie the community together by contributing to the
online vibe community’s collective intelligence. The users who are truly dedicated to
the site share so often that they have developed personal (cyber)relationships. The
Vibesworkshop.com curriculum allows for students to contribute to the collective
intelligence and ostensibly grow the contributing population in the online vibes
community.
31
MICELI’S TEACHING PHILOSOPHY
The Vibesworkshop.com curriculum uses Tony Miceli’s teaching philosophy to
justify the goals established for every lesson. The curriculum’s rationale is influenced by
the inside political forces, which then reevaluate a lessons goals.
When watching Miceli’s educational video, it may appear that he supports an
unorganized learning process. However, his method is detailed and rooted in
experimentalism. Tony Miceli prefers to teach in an aural/oral manner instead of having
students read music. He feels that learning and memorizing tunes by ear forces students
to internalize tunes, which allows students to perform in a unique and personal manner.
Miceli believes that each person hears and feels the same tune in different ways. He
states the following on the subject:
I could write this out for you, but I feel it’s better for you to hear it, and
learn it that way. This way you really internalize it. Even if you just get
close, you create your own version of this lesson.51
Miceli uses the melody as the foundation of a tune, as it allows him to hear and
practice the harmony. In his lesson “Assembling a Tune Part 1,” Miceli clearly defines
his process for learning tunes:
51
Tony Miceli, “Cop This Groove – June 2010 - #1,” the Vibes Workshop,
http://www.vibesworkshop.com/audio/cop-groove-june-2010-1-tony-miceli/tonymiceli/062110 (accessed
March 13, 2016).
32
Without a foundation with a tune, it’s going to be hard to tame it…
Playing the melody, playing the holes in the melody, making the
harmony work, in the simplest way, I think you really gain an insight
later on when you get into playing four mallets, when you play solo, or
when you play with a group.52
Once both melody and harmony are mastered, students can either accompany
another soloist or formulate their own solo ideas by combining the new information with
lessons previously studied.
Since Miceli’s teaching philosophy encourages students learn tunes using their
ears, the courses promote and exercise ear-training skills by introducing concepts to
master hearing intervals and chords. By improving recognition of scales and intervals,
students prepare themselves to transcribe at a higher level. Transcription is an integral
part of any jazz musician’s training. By listening and copying how professionals
perform, a student can develop a deeper understanding of concepts while performing.
Students then combine previously learned skill with their transcriptions to create new
lines and licks. Each course includes weekly transcription assignments in order to
support ear-training skills, which in turn support Tony Miceli’s teaching philosophy.
52
Tony Miceli “Assembling a Tune Part 1,” the Vibes Workshop,
http://www.vibesworkshop.com/audio/assembling-tune-part-1-tony-miceli/tonymiceli/040510 (accessed
February 1, 2016).
33
Tony Miceli’s teaching philosophy permeates and influences the entire
Vibesworkshop.com, including its curriculum. He has crafted the philosophy over
several years of performing and teaching. After the creation of the TOTM, many
dedicated subscribers have adopted his process of learning melodies, chords, comping,
and then soloing. Since the curriculum is established with information solely found on
the website he has managed since 2008, it will be formed to reflect Miceli’s views.
The Vibesworkshop.com Curriculum Evaluations
The Vibesworkshop.com’s curricula, assignments, and assessments come in
several forms, but all require students to post to the site for critique from professional
vibists or other students. Unfortunately, curriculum workers cannot force others to check
students’ progress at this time.
I have contacted Miceli several times about the future of my research. He wishes
to establish a new section of Vibesworkshop.com, exclusively for its curriculum. There,
professionals can make comments on posted assignments in order to keep students
engaged and improving. Until Miceli can establish a page to collect the students’
assignments, students will have to rely on fellow members of the vibes community to
make constructive comments to their posts.
34
The Vibesworkshop.com community is a special place with an almost
overwhelming amount of information that can be used in endless ways to connect the
online vibes community. The curriculum I have included in the next three chapters will
allow students to grow musically and the collective intelligence of vibraphone
information to expand. With Tony Miceli’s teaching philosophy influencing every
lesson below, students will become better vibists while they develop their aural skills.
35
CHAPTER III – BEGINNER’S COURSE
Tune of the Month
(Weeks 1-4) – “So What” by Miles Davis
(Weeks 5-8) – “Bags’ Groove” by Milt Jackson
(Weeks 9-12) – “Blue Bossa” by Kenny Dorham
The Vibesworkshop.com’s Beginner’s Course introduces students, who should
possess basic music theory knowledge, to the world of jazz vibraphone. They should be
familiar with all twelve major and minor scales, and be able to construct all types of
triads and seventh chords. Students of the Beginner’s course should also be proficient in
both two-mallet and four-mallet techniques. The grip they choose to hold four-mallets is
irrelevant, but the lessons will require students to perform four note chords. During this
course, students will focus on three tunes, which are listed above. Students must
memorize the melody and chord progressions of the tunes as quickly as possible as they
will be using the tunes as a vehicle to work on other techniques described below. Most
lessons should be practiced in all twelve keys, however certain lessons task students to
practice in fewer keys. The entire course is designed to give the students ample time to
learn and internalize all concepts needed for the three TOTM.
There are three facts regarding each course in the Vibesworkshop.com’s
curriculum that I did not write into the lesson plans. Throughout the course students will
36
complete at least two transcriptions into their notebooks per week. They may transcribe
lines, voicings, comping patterns, or anything that will helps them complete their final
assessment after week fourteen. Although there are only fourteen weeks of lessons,
students will have another two to make up any assignments. They will have sixteen
weeks to complete and post all lessons, assignments, monthly recording assessments
based on the tunes, and twenty-four transcriptions. Finally, students will require the
following materials to complete the courses assignments and assessments: vibraphone,
personal audio device, a metronome, a notebook to notate transcriptions, a recording
device, and sound editing software such as Audacity, a free recording software.
During the first month, students will work on the tune “So What” by Miles
Davis. It is a modal tune, and does not adhere to standard harmonic functions. It is a
great tune for less experienced vibists to begin developing their improvisatory skills,
while improving their aural and theoretical skills. Students will participate in Miceli’s
“Intro to the Modes Series,” which discusses each mode in detail. The lesson series will
prepare students to improvise in both tonal centers in “So What.” Students will also
begin their aural skills by participating in John Mark Piper’s lesson series on ear
training. Other lessons will develop students’ comping patterns, voicings, and lines.
37
The second tune, “Bags’ Groove,” was written by one of the most famous
vibists, Milt Jackson, in a classic twelve bar blues form, and features a simple melody.
The tune will allow students to focus on developing improvisatory lines over traditional
harmonic progressions as opposed to the modal harmonies in “So What.” Students will
also study several lines over ii-V7-I major progressions as “Bags’ Groove” features the
concept several times. Students will also learn several versions of the blues scale, which
traditionally fits over the entire form of the tune.
The third month features “Blue Bossa” by Kenny Dorham; a classic example of
the bossa nova style, which originates from Brazilian folk music. Students will continue
to study ii-V7-I patterns, but in the minor mode to fit the iio-V7- I progression in “Blue
Bossa.” Throughout the entire course students have developed their aural skills, by
almost exclusively using Piper’s lesson series. Students will begin applying Piper’s
concepts to target specific notes of chords, and use their enhanced ear-training skills to
target the notes explained in the lessons.
It is recommended that students not skip lessons as each builds onto the
previous. Even if students feel they have the concept of the first lesson mastered, Week
1 is a good place to start.
38
WEEK 1:
Tune of the Month – “So What” by Miles Davis
Lesson 1:
1) “Intro to the Modes Series ‘Modes In Detail’”53
Type: Video Lesson
Length: 2:22
Posting Artist: Tony Miceli
Date Posted: 12/16/2009
Link: http://www.vibesworkshop.com/video/intro-modes-series-modesdetail/tonymiceli/121609
Description: “This is the first part of a multi-part series on modes. When I've posted
everything you'll find it in the link above here.”54
Annotation: Tony Miceli demonstrates basic modes based on the C scale. He shows how
each mode is derived from the major scale. For example, the Dorian mode is related to
the major scale by lowering the third and seventh notes.
2) “The Modes In Detail – Ionian”55
Type: Video Lesson
Length: 1:47
Posting Artist: Tony Miceli
Date Posted: 10/21/2008
53
Tony Miceli, “Intro to the Modes,” the Vibes Workshop,
http://www.vibesworkshop.com/video/intro-modes-series-modes-detail/tonymiceli/121609 (accessed
February 21, 2016).
54
Ibid.
55
Tony Miceli, “The Modes In Detail – Ionian,” the Vibes Workshop,
http://www.vibesworkshop.com/video/modes-detail-ionian-mode/tonymiceli/102108 (accessed February
21, 2016).
39
Link: http://www.vibesworkshop.com/video/modes-detail-ionianmode/tonymiceli/102108
Description: “The major scale is the Ionian mode.”56
Annotation: Tony Miceli explains and demonstrates the sound of the major scale. He
demonstrates both a Latin and a swing style that uses the Ionian sound. Miceli then
demonstrates how to practice the mode from the root of the scale up to the 9th degree
back down starting on both the right and left hands.
3) “The Modes In Detail – Dorian”57
Type: Video Lesson
Length: 2:14
Posting Artist: Tony Miceli
Date Posted: 10/21/2008
Link: http://www.vibesworkshop.com/video/modes-detail-dorian/tonymiceli/102108
Description: “Dorian is the mode that starts on the second scale degree of the major
scale. So in the key of C play D to D.”58
Annotation: Tony Miceli explains the sound of the Dorian mode by comparing it to the
major scale. He also explains that it is the most commonly used scale over a minor
chord in jazz. Miceli also demonstrates a few tunes that are written in the Dorian mode
such as “So What” and “Recorda-Me.”
Goals: Students are to watch the video lessons, and learn the sounds of the Ionian and
Dorian modes. Students will experiment with sounds native to each scale as Tony
introduces a few ways to practice them.
56
Ibid.
57
Tony Miceli, “The Modes In Detail – Dorian,” the Vibes Workshop,
http://www.vibesworkshop.com/video/modes-detail-dorian/tonymiceli/102108 (accessed February 21,
2016).
58
Ibid.
40
Assignment: Students will view to the lessons and take notes. Students will practice
each mode by experimenting with the notes native to those scales. Next, students will
record themselves experimenting with the Ionian mode to internalize the mode’s sound
quality. Finally, students will record the same exercise using the Dorian mode.
For further study, please view: “Putting the Modes in Context,”59
Lesson 2:
1) “Ear Training Introduction”60
Type: Audio File
Length: 6:26
Posting Artist: John Mark Piper
Date Posted: 10/1/2008
Link: http://www.vibesworkshop.com/audio/1-ear-training-introduction/john-markpiper/100108
Description: N.A.
Annotation: John Mark Piper explains and demonstrates how each step of the diatonic
scale leads back to Do. He finishes the lesson with a 5-minute exercise that challenges
students to navigate pathways from given pitches back to Do. Students may also
perform on the vibes while listening to the track.
2) “Ear Training CD With Pathways”61
59
Tony Miceli, “Putting the Modes in Context,” the Vibes Workshop,
http://www.vibesworkshop.com/audio/putting-modes-context-tony-miceli/tonymiceli/042010 (accessed
March 4, 2016).
60
John Mark Piper, “Ear Training Introduction,” the Vibes Workshop,
http://www.vibesworkshop.com/audio/1-ear-training-introduction/john-mark-piper/100108 (accessed
February 21, 2016).
61
John Mark Piper, “ Ear Training CD With Pathways,” the Vibes Workshop,
http://www.vibesworkshop.com/audio/2-ear-training-cd-pathways/john-mark-piper/100108 (accessed
February 21, 2016).
41
Type: Audio File
Length: 6:45
Posting Artist: John Mark Piper
Date Posted: 10/1/2008
Link: http://www.vibesworkshop.com/audio/2-ear-training-cd-pathways/john-markpiper/100108
Description: N.A.
Annotation: John Mark Piper creates a five-minute exercise that identifies each note of a
diatonic scale back to tonic, C. Students may use the track to assess their current aural
skills, or as a vehicle to improve them.
3) “Diatonic Pathways Two-Note Melodies”62
Type: Audio File
Length: 4:34
Posting Artist: John Mark Piper
Date Posted: 10/1/2008
Link: http://www.vibesworkshop.com/audio/3-diatonic-pathways-two-notemelodies/john-mark-piper/100108
Description: N.A.
Annotation: John Mark Piper creates a two-note exercise that is five-minutes in length
and similar to the previous lesson. In this lesson, Piper features two separate notes as
melodies, rather than as diads.
Goals: Students will establish and begin improving their aural skills by memorizing how
each note of a major scale leads back to the root or Do.
Assignment: Students will listen to the recordings, and then download the third lesson
onto your personal audio device, in order to practice it three times a day.
For further study, please view: “Stefon Harris Clinic”63
62
John Mark Piper, “ Diatonic Pathways Two-Note Pathways,” the Vibes Workshop,
http://www.vibesworkshop.com/audio/3-diatonic-pathways-two-note-melodies/john-mark-piper/100108
(accessed February 21, 2016).
42
Lesson 3:
1) “2-Mallet Technique”64
Type: Video File
Length: 2:40
Posting Artist: Tony Miceli
Date Posted: 9/6/2008
Link: http://www.vibesworkshop.com/video/2-mallet-technique/tonymiceli/090608
Description: “Ok, I'm definitely not ‘Johnny 2-mallet man,’ but I do teach students how
to play with 2-mallets. Especially when they're beginning.”65
Annotation: Tony Miceli gives a brief description on how to hold two mallets while
playing the vibes. He gives a few visual demonstrations, and states that players should
hold the mallets while the palms of the hands are facing towards that ground. He also
explains to students that a number of famous jazz vibists were successful playing with
only two mallets.
2) “Using Time and a Metronome to Help Improvise66
Type: Audio File
Length: 7:59
Posting Artist: Tony Miceli
Date Posted: 4/2/2009
63
James, “Stefon Harris Clinic,” the Vibes Workshop,
http://www.vibesworkshop.com/video/stefon-harris-clinic/james/042009 (accessed March 4, 2016).
64
Tony Miceli, “2-Mallet Technique,” the Vibes Workshop,
http://www.vibesworkshop.com/video/2-mallet-technique/tonymiceli/090608 (accessed February 21,
2016).
65
Ibid.
66
Tony Miceli, “Using Time and a Metronome to Help Improvise” the Vibes Workshop,
http://www.vibesworkshop.com/audio/using-time-and-metronome-help-improvise-tonymiceli/tonymiceli/040209 (accessed February 21, 2016).
43
Link: http://www.vibesworkshop.com/audio/using-time-and-metronome-helpimprovise-tony-miceli/tonymiceli/040209
Description: “Some late night thoughts about practicing, and time and not time.”67
Annotation: Tony Miceli talks about how practicing with a metronome can help a
student hear chord changes, especially in a blues, which he demonstrates in the audio
file. He doesn’t draw attention to the fact that he turns the metronome on beats 2 and 4
instead of every quarter note in the measure. Putting the metronome on 2 and 4 is
common for jazz musicians, as it imitates a drummer’s high hat. Miceli also
demonstrates playing a blues out of time without a metronome. He tries to demonstrate
how playing sparse helps keep the chord changes in time, and practicing out of time
helps the student concentrate on the line for each chord without worrying about the
tempo or meter. Eventually the student will apply their enhanced lines to playing with a
metronome.
Goals: Students will learn basic 2-mallet technique and exercises to build dexterity and
speed. The second lesson exposes students to Miceli’s philosophy on when, and when
not, to use a metronome.
Assignment: Students will listen to the lessons and write down the scale exercise Miceli
uses in the first video (Try to use your ears instead of your eyes). They will use the
exercises to practice all the major and minor scales. After listening to the second lesson,
students will use the metronome on beats 2 and 4 while practicing.
For further study in two-mallet technique, please review: “Beginner Series 2 –Part 1 –
Simple Scale Exercises.”68
Lesson 4:
1) “Chords and Harmony - Jamming With Chords”69
67
Ibid.
68
Behn Gillece, “Beginner Series 2 – Part 1 – Simple Scale Exercise,” the Vibes Workshop,
http://www.vibesworkshop.com/video/beginner-series-2-part-1-simple-scale-exercise/behng/091513
(accessed March 5, 2016).
44
Type: Video File
Length: 6:00
Posting Artist: Tony Miceli
Date Posted: 10/12/2011
Link: http://www.vibesworkshop.com/video/chords-harmony-jamming-chords-tonymiceli-video/tonymiceli/101711
Description: N.A.
Annotation: Tony Miceli demonstrates how isolating a single idea and creating a groove
over it can be beneficial to students. Miceli isolates an Fm7 chord, creates a groove over
the chord, and then experiments with soloing over notes found in the F minor scale. The
notes can be single pitches or chords of up to four notes. The lesson provides an
excellent method for practicing a multitude of concepts. It allows students a nonthreatening environment to acclimate themselves with new sounds and create new chord
voicings.
Goals: Students will develop the habit of experimenting with chords. The method allows
them the freedom to discover their own voicings, and to internalize chords’ sound
qualities.
Assignment: Students will isolate each individual chord from the tune “So What.” While
using a metronome at a comfortably slow tempo, students should record themselves
grooving over each chord, as Miceli demonstrates. Next, they will listen to their
recordings and pick two preferable voicings for each chord. Finally, students will
document those two voicings in their notebook.
For further study, please review: “General or Abstract Ways to Study Chords”70
69
Tony Miceli, “Chords and Harmony – Jamming With Chords,” the Vibes Workshop,
http://www.vibesworkshop.com/video/chords-harmony-jamming-chords-tony-micelivideo/tonymiceli/101711 (accessed February 21, 2016).
70
Tony Miceli, “General or Abstract Ways to Study Chords,” the Vibes Workshop,
http://www.vibesworkshop.com/video/chords-harmony-general-or-abstract-ways-study-chords-tonymiceli-vid/tonymiceli/101211 (accessed March 5, 2016).
45
Link: http://www.vibesworkshop.com/video/chords-harmony-general-or-abstract-waysstudy-chords-tony-miceli-vid/tonymiceli/101211
WEEK 2:
Lesson 1:
1) “The Modes In Detail – Phrygian”71
Type: Video Lesson
Length: 2:22
Posting Artist: Tony Miceli
Date Posted 10/27/2008
Link: http://www.vibesworkshop.com/video/modes-detail-phrygian/tonymiceli/102708
Description: “The Phrygian scale is pretty cool because it has a minor 2nd between the
root and the second scale degree. That gives it a very exotic sound!”72
Annotation: Miceli continues his series of lessons describing the modes, and how they
compare to the C major scale. In this video, Miceli describes the Phrygian mode. He
begins by calling it the “third mode of the scale,” meaning the notes of the C major scale
create the Phrygian mode if started and finished on the third step, the E.73 Miceli also
builds the mode by playing the C major scale and then lowering the 2nd, 3rd, 6th, and 7th
steps.
2) “The Modes In Detail – Lydian”74
71
Tony Miceli, “The Modes in Detail – Phrygian,” the Vibes Workshop,
http://www.vibesworkshop.com/video/modes-detail-phrygian/tonymiceli/102708 (accessed February 22,
2016).
72
Ibid.
73
Ibid.
74
Tony Miceli, “The Modes In Detail – Lydian,” the Vibes Workshop,
http://www.vibesworkshop.com/video/modes-detail-lydian/tonymiceli/110208 (accessed February 22,
2016).
46
Type: Video File
Length: 2:15
Posting Artist: Tony Miceli
Date Posted: 11/08/2008
Link: http://www.vibesworkshop.com/video/modes-detail-lydian/tonymiceli/110208
Description: “Sharp the 4!”75
Annotation: Miceli continues his series detailing the modes with the fourth mode based
on the C major scale, Lydian. He explains it by taking the C major scale and raising the
4th note by a half step. Lydian will be the only mode discussed in this series that features
a raised note as all other modes lower notes by a half step. Miceli then demonstrates
when it is appropriate to use the Lydian mode. He starts by establishing a groove over a
G major triad as the tonic. Then, he moves to a C major triad and plays the C Lydian
mode, which shares the exact same notes as the G major scale
3) “The Modes In Detail – Mixolydian”76
Type: Video File
Length: 2:05
Posting Artist: Tony Miceli
Date Posted: 11/04/2008
Link: http://www.vibesworkshop.com/video/modes-detailmixolydian/tonymiceli/110408
Description: “The Mixolydian scale is the major scale with a flat 7. It's a very distinct
sound; you've heard it all over the place.”77
Annotation: Tony Miceli continues to explain the modes with the Mixolydian sound.
First, he demonstrates the sound quality, and then he performs several styles that feature
75
Ibid.
76
Tony Miceli, “The Modes In Detail – Mixolydian,” the Vibes Workshop,
http://www.vibesworkshop.com/video/modes-detail-mixolydian/tonymiceli/110408 (accessed February
22, 2016).
77
Ibid.
47
the Mixolydian mode such as Latin montunos, the Miles Davis tune “All Blues,” and
any ii-V-I pattern as the Mixolydian modes works over the V7 chord.
4) “First Chromatic ET: Fi-Sol-F-Mi-Re-Do”78
Type: Audio File
Length: 4:42
Posting Artist: John Mark Piper
Date Posted: 10/01/2008
Link: http://www.vibesworkshop.com/audio/4-first-chromatic-et-fi-sol-fa-mi-redo/john-mark-piper/100108
Description: N.A.
Annotation: John Mark Piper continues his pathways series on aural skills training by
introducing the first chromatic pitch, F#. Piper names the pitch Fi, which is its name in
the movable Do solfege language since it appears between the 4th and 5th notes in the
major scale, Fa and Sol. He instructs the students to hear the augmented 4th up to the 5th,
and then back down to do. After the introduction, Piper includes about five minutes of
pathways demonstration that includes all the pathways from previous lessons. Piper
continues to demonstrate the pathways in the key of C, however he clearly wants
students to work on the pathways in all twelve major keys on their own time.
5) “Ra: Flat 2 of the Major Scale”79
Type: Audio File
Length: 6:11
Posting Artist: John Mark Piper
Date Posted: 10/04/2008
Link: http://www.vibesworkshop.com/audio/5-ra-b2-major-scale/john-markpiper/100408
78
John Mark Piper, “First Chromatic ET: Fi-Sol-F-Mi-Re-Do,” the Vibes Workshop,
http://www.vibesworkshop.com/audio/4-first-chromatic-et-fi-sol-fa-mi-re-do/john-mark-piper/100108
(accessed February 22, 2016).
79
John Mark Piper, “Ra: Flat 2 of the Major Scale,” the Vibes Workshop,
http://www.vibesworkshop.com/audio/5-ra-b2-major-scale/john-mark-piper/100408 (accessed February
22, 2016).
48
Description: N.A.
Annotation: John Mark Piper continues his pathways series on aural skills training by
introducing the second chromatic pitch, C#. Piper names the pitch Ra, which is its name
in the movable Do solfege language since it appears between the 1st and 2nd notes in the
major scale, Do and Re. He instructs the students to hear Ra down to Do. After the
introduction, Piper includes about five minutes of pathways demonstration that includes
all the pathways from previous lessons. The first time he performs Ra he stops to point
out the chromatic note, but does not later in the lesson. The approach is an effective
method since most students have not developed their aural skills to hear chromatic
pathways.
6) “Te-Ti-Do: Flat 7”80
Type: Audio File
Length: 5:39
Posting Artist: John Mark Piper
Date Posted: 10/07/2008
Link: http://www.vibesworkshop.com/audio/6-te-ti-do-flat-7/john-mark-piper/100708
Description: N.A.
Annotation: John Mark Piper continues his pathways series on aural skills training by
introducing the third chromatic pitch, Bb. Piper names the pitch Te, which is the
lowered 7th. He instructs the students to hear Te up to Ti, and then up to Do. After the
introduction, Piper includes about five minutes of pathways demonstration that includes
all the pathways from previous lessons. The first time he performs Te he stops to point
out the chromatic note similar to how he did in previous lesson.
Goals: Students are to watch the video lesson, and learn about the sound of the
Phrygian, Lydian and Mixolydian modes. Students should experiment with sounds
native to each scale as Tony introduces a few ways to practice the modes. Students will
also improve their aural skills to include chromatic pathways. Memorizing how each
note of a major scale leads back to the root or Do.
80
John Mark Piper, “Te-Ti-Do: Flat 7,” the Vibes Workshop,
http://www.vibesworkshop.com/audio/6-te-ti-do-flat-7/john-mark-piper/100708 (accessed February 22,
2016).
49
Assignment: Students will listen to the lessons, take notes, and practice each mode by
experimenting with each scale’s sound. Students will record themselves experimenting
with each mode to internalize each one’s sound quality. Students should record all three
modes covered in this lesson. For further practice, students may download the lessons
onto their personal audio device.
For further study, please view: “Stefon Harris - Makes Soooo Much Sense!!!”81
Lesson 2:
1) “Do You Know the Scale for That Chord??”82
Type: Video File
Length: 3:55
Posting Artist: Tony Miceli
Date Posted: 3/19/2010
Link: http://www.vibesworkshop.com/video/do-you-know-scalechord/tonymiceli/031910
Description: N.A.
Annotation: Tony Miceli demonstrates an exercise for working on scales to play over
each chord in a tune. Miceli choose the tune “Blue Bossa” and plays the first five notes
of scale most appropriate for each chord of the tune. For example the first chord is C
minor, and Miceli plays the first five notes of a C Aeolian mode. Later he performs the
first five notes of a D Locrian scale for a Dm7 chord. Miceli also demonstrates playing
the entire scale over the chords. Any number of variations can be played over the scales,
and the student should experiment with different scale patterns to truly master each
chord.
81
Toddc, Stefon Harris, “Stefon Harris – Makes Soooo Much Sense!!!,” the Vibes Workshop,
http://www.vibesworkshop.com/node/4525 (accessed March 5, 2016).
82
Tony Miceli, “Do You Know the Scale for That Chord??,” the Vibes Workshop,
http://www.vibesworkshop.com/video/do-you-know-scale-chord/tonymiceli/031910 (accessed February
22, 2016).
50
Goals: Students will develop a new system for applying scales and modes to the
appropriate chord of a tune.
Assignment: Students should first write out the scales to use over each chord in “So
What,” and then practice playing the first five notes of each scale in tempo with a
metronome. Next, they will play the same exercise but starting on the root and going
down to the fourth.
For further study, please view: “Hal Galper Lesson on Vocabulary and Licks83
Lesson 3:
1) “Finding Voicings”84
Type: Video File
Length: 5:48
Posting Artist: Behn Gillece
Date Posted: 4/5/2012
Link: http://www.vibesworkshop.com/video/finding-voicings-behngillece/behng/040512-0
Description: “Some tips on creating voicings.”85
Annotation: Behn Gillece discussed how he finds new voicings for chords. He bases his
final choices on the context in which he is playing. He explains using a modal tune that
vamps between Dm7 and Bb7. He demonstrates the Dm7 voicing by playing F, C, E, and
G. The voicing is appropriate for a Dm7 chord functioning as a ii chord, but it doesn’t fit
for a modal vamp. Behn takes out the E leaving an open perfect 5th between the
83
Tjaco, Hal Galper, “Hal Galper Lesson on Vocabulary and Licks,” the Vibes Workshop,
http://www.vibesworkshop.com/video/hal-galper-lesson-vocabulary-and-licks/tjaco/060710 (accessed
March 7, 2016).
84
Behn Gillece, “Finding Voicings,” the Vibes Workshop,
http://www.vibesworkshop.com/video/finding-voicings-behn-gillece/behng/040512-0, (accessed February
22, 2016).
85
Ibid.
51
remaining notes. He then demonstrates the Bb7 by playing an Ab, C, D, and leaving the
G on top, left over from the previous chord. He then replaces the D by putting another G
below the Ab creating a “crunchy” sound that greatly differs from the open sound
quality of the Dm7.86 The planning Gillece puts into just two chords creates a valuable
lesson for students. In the future, Gillece should consider recording a similar lesson
using simpler chords and a wider variety of sound qualities through voicings. Also, he
could clarify his teaching by explaining how each note relates to the chord (i.e. which
partial he chooses).
Goals: The lesson introduces how to manipulate voicings to get different sound
qualities. Students should become aware of different types of voicings, and choose
voicings that capture specific emotions. If students are unaware of upper extensions,
they will be introduced to the concept in this lesson.
Assignment: Students will create three new voicings for each chord in “So What.” The
new voicings can be either open or closed. Students should document the voicings in
their notebooks, and then perform them in three different minor keys.
For further study, please view: “Chords and Harmony - Thinking of Harmony and
Keys”87
Lesson 4:
1) “Comping – Part 1”88
Type: Video File
Length: 6:47
86
Ibid.
87
Tony Miceli, “Chords and Harmony - Thinking of Harmony and Keys,” the Vibes Workshop,
http://www.vibesworkshop.com/audio/chords-harmony-thinking-harmony-and-keys-tonymiceli/tonymiceli/102411 (accessed March 7, 2016).
88
Gary Burton, “Comping – Part 1,” the Vibes Workshop
http://www.vibesworkshop.com/video/comping-part-1-gary-burton/gary-burton/101810 (accessed
February 22, 2016).
52
Posting Artist: Gary Burton
Date Posted: 10/18/2010
Link: http://www.vibesworkshop.com/video/comping-part-1-gary-burton/garyburton/101810
Description: “Another great lesson from Gary Burton! This is Part 1, so more is on the
way!”89
Annotation: Gary Burton gives a beginner friendly introduction to the concept of
comping. He compares the process to a discussion panel. He describes how the main
speaker gives their take of the subject. The other members of the panel say things like,
“That’s good,” “keep going,” and “that’s a great point!”90 All those comping must focus
all attention to the soloist and support them. Burton gives students the task of imagining
they are playing both the solo part and comping. The process forces players to comp less
because they are focusing and listening to the solos, which is appropriate. Burton has
such a kind and reassuring approach to teaching and explaining the subject. He supports
his philosophy of comping with decades of experience.
Goals: Students will listen to the lesson and hear what Gary thinks about comping.
Students should take away from the lesson the idea that the soloist should always be
their focus when comping.
Assignment: Students will turn on the metronome and record themselves playing “So
What.” Students should play the melody twice through, then solo through the tune
twice, and finish with playing the melody through twice more. After capturing a quality
recording, students should play back the track and practice comping over the melodies
and their solo.
For further study, please view: “Check Out Gary’s Comping”91
89
Ibid.
90
Ibid.
91
Behn Gillece, Gary Burton, “Check Out Gary’s Comping,” the Vibes Workshop,
http://www.vibesworkshop.com/video/check-out-garys-comping/behng/110611 (accessed March 7,
2016).
53
Etude:
Assignment: Students will practice comping over the track recorded in the previous
lesson (lesson 4), and then record themselves comping over the same track. Use a
sound-editing program to merge the two tracks. Once you are happy with the final track,
post the new track, and the previous two, to the site.
WEEK 3:
Lesson 1:
1) “The Modes In Detail – Aeolian”92
Type: Video Lesson
Length: 2:59
Posting Artist: Tony Miceli
Date Posted 11/10/2008
Link: http://www.vibesworkshop.com/video/modes-detail-aeolianmode/tonymiceli/111008
Description: “Aeolian the 6th scale degree of the major scale.”93
Annotation: Tony Miceli discusses the Aeolian mode by displaying the major scale and
then lowering the 3rd, 6th, and 7th notes by a half step. Miceli states that the Aeolian
mode is heard in jazz more than the Phrygian mode, but less than the Dorian mode. He
then plays the tune “Blue Bossa” as an example. The Aeolian mode works well on the
tune because it starts in minor, and features a lowered 13th partial. The 13th is an
important note in the bossa nova style.
2) “The Modes In Detail – Locrian”94
92
Tony Miceli, “The Modes In Detail – Aeolian,” the Vibes Workshop,
http://www.vibesworkshop.com/video/modes-detail-aeolian-mode/tonymiceli/111008 (accessed February
23, 2016).
93
Ibid.
54
Type: Video File
Length: 2:33
Posting Artist: Tony Miceli
Date Posted: 11/10/2008
Link: http://www.vibesworkshop.com/video/modes-detail-locrian/tonymiceli/111008
Description: “Locrian, the crazy scale! The 7th scale degree of the major scale.”95
Annotation: Miceli discuses the final installment in his video series, the Locrian mode.
He compares the mode to a major scale that lowers the 2nd, 3rd, 5th, 6th, and 7th notes by a
half step. He goes on to demonstrate the Locrian mode over a dominant 7 chord
specifically in a ii-V7-I context that leads back to the tonic chord of a key center. In a
rare appearance, the demonstration at the end of the video is confusing. Miceli shows
students how to groove over the A Dorian and Aeolian modes (time mark 1:40), which
doesn’t help students understand the Locrian mode. The video fades out, but then
returns with Miceli saying, “The Locrian mode is a little tougher to get a handle on,”
(time mark 2:15).
3) “Me-Mi-Re-Do”96
Type: Audio File
Length: 4:56
Posting Artist: John Mark Piper
Date Posted: 10/10/2008
Link: http://www.vibesworkshop.com/audio/me-mi-re-do/john-piper/101008
Description: “Flat three.”97
94
Tony Miceli, “The Modes In Detail – Locrian,” the Vibes Workshop,
http://www.vibesworkshop.com/video/modes-detail-locrian/tonymiceli/111008 (accessed February 23,
2016).
95
Ibid.
96
John Mark Piper, “Me-Mi-Re-Do,” the Vibes Workshop,
http://www.vibesworkshop.com/audio/me-mi-re-do/john-piper/101008 (accessed February 23, 2016).
97
Ibid.
55
Annotation: John Mark Piper continues his pathways series on aural skills training by
introducing the next chromatic pitch, Eb. Piper names the pitch Me, which is its name in
the solfege language since it appears between the 2nd and 3rd notes of the major scale, Re
and Mi. He instructs the students to hear Me up to Mi, and then down to Do. After the
introduction, Piper includes about five minutes of pathways demonstration that includes
all the pathways from previous lessons. The first time he performs Me he again stops to
point out the chromatic note similar to the previous lessons.
4) “Le-Sol-La-Ti-Do”98
Type: Audio File
Length: 4:16
Posting Artist: John Mark Piper
Date Posted: 10/14/2008
Link: http://www.vibesworkshop.com/audio/8-le-sol-la-ti-do/john-mark-piper/101408
Description: N.A.
Annotation: John Mark Piper continues his pathways series on aural skills training by
introducing the next chromatic pitch, Ab. Piper names the pitch Le, which is its name in
the solfege language since it appears between the 5th and 6th notes of the major scale, sol
and la. He instructs students to hear Le down to Sol, and then up to Do. After the
introduction, Piper includes about five minutes of pathways demonstration that includes
all the pathways from previous lessons. The first time he performs Le he again stops to
point out the chromatic note similar to the previous lessons.
5) “Modulations and Intervals with Pathways”99
Type: Audio File
Length: 5:12
98
John Mark Piper, “Le-Sol-La-Ti-Do,” the Vibes Workshop,
http://www.vibesworkshop.com/audio/8-le-sol-la-ti-do/john-mark-piper/101408 (accessed February 23,
2016).
99
John Mark Piper, “Modulations and Intervals with Pathways,” the Vibes Workshop,
http://www.vibesworkshop.com/audio/modulations-and-intervals-pathways/john-mark-piper/102608
(accessed March 7, 2016).
56
Posting Artist: John Mark Piper
Date Posted: 10/26/2008
Link: http://www.vibesworkshop.com/audio/modulations-and-intervals-pathways/johnmark-piper/102608
Description: N.A.
Annotation: John Mark Piper continues his ear training pathways lessons by showing
students how to practice modulating between multiple key centers. He begins by singing
and playing a major scale, and then modulates and sings the entire scale up a half step.
He continues through the entire scale of twelve major keys. Next, he repeats the process
but modulates up a whole step, and cycles through the six major scales. Students will
have to restart the cycle a half step higher to sing the other six keys. Piper even practices
the scale in the cycle of major 3rds and perfect 4ths. He then starts the cycles over, but
sings just one interval, a major second. He then continues through all the cycles before
changing the interval to a major 3rd, then perfect 4th, and so on. The exercise can be used
to practice singing any number of intervals in any pattern while modulating to any other
key.
6) “Random Intervals With Pathways (Practice)”100
Type: Audio File
Length: 7:54
Posting Artist: John Mark Piper
Date Posted: 10/26/2008
Link: http://www.vibesworkshop.com/audio/10-random-intervals-pathwayspractice/john-mark-piper/102608
Description: N.A.
Annotation: John Mark Piper concludes the Pathways Series for ear training with an
eight-minute audio recording of random intervals. The audio includes all diatonic and
chromatic notes covered throughout the series. Piper states that the practice track will
“strengthen your knowledge of intervals, and strengthen you knowledge of pathways.”
100
John Mark Piper, “Random Intervals With Pathways (Practice),” the Vibes Workshop.
http://www.vibesworkshop.com/audio/10-random-intervals-pathways-practice/john-mark-piper/102608
(accessed March 7, 2016).
57
Goals: Students are to watch the video lessons, and internalize the sounds qualities of
the Aeolian and Locrian modes. Students will also improve their aural skills to include
several chromatic pathways, and how to modulate between key centers.
Assignment: Students will listen to the lessons, take notes, and practice each mode by
experimenting with the possible sounds. Students will then record themselves
experimenting with all three modes covered in the lessons. Student may also download
the pathways lessons onto their personal audio device for further practice.
For further study, please view: “Listen When You Play”101
Lesson 2:
1) “Simple Lines”102
Type: Audio File
Length: 5:20
Posting Artist: Tony Miceli
Date Posted: 7/25/2009
Link: http://www.vibesworkshop.com/audio/simple-lines-tonymiceli/tonymiceli/072509
Description: “Work towards lines that make sense. Simple lines.”103
Annotation: Miceli teaches students how to work on simple lines. He states that students
should start soloing simply before playing more complex solos. The reason for
simplicity in lines is to learn where the line wants to go, much like the Piper pathways
101
Tony Miceli, “Listen When You Play,” the Vibes Workshop,
http://www.vibesworkshop.com/video/listen-when-you-play/tonymiceli/032410 (accessed March 7,
2016).
102
Tony Miceli, “Simple Lines,” the Vibes Workshop,
http://www.vibesworkshop.com/audio/simple-lines-tony-miceli/tonymiceli/072509 (accessed February
23, 2016).
103
Ibid.
58
concept. He demonstrates by soloing over a simple FM7 groove and playing Ti. He asks,
“where does that note want to go? Chances are we both will take it here…” and plays
Do, the F natural.104 It could be helpful for Miceli to have demonstrated the concept
over a tune or at least part of one. It would directly apply the concept, and help students
to take the lesson further.
Goals: Students will develop lines that function harmonically similar to the chords.
Students will also begin to learn how to accompany themselves by breaking up their
lines with a steady groove.
Assignment: Students will begin by turning their metronomes to a medium slow tempo
in order to establish a groove on the first chord in “So What.” Then, they will leave the
groove and practice improvising modal lines. Once students have completed their idea
they will return to the groove. Next, students will write down three new lines in their
notebook: one that lasts for two beats, one for four beats, and another for eight beats.
They will repeat the assignment for each chord found in “So What.” Remember,
students should use simple ideas only.
For further study, please view: “Working Lines Into Tunes”105
Lesson 3:
1) “Three Note Voicings Part 1 & 2”106
104
Ibid.
105
Behn Gillece, “Working Lines Into Tunes,” the Vibes Workshop,
http://www.vibesworkshop.com/audio/working-lines-tunes-behn-gillece/behng/052314 (accessed March
7, 2016).
106
Giovanni Perin, “Three Note Voicings Part 1,” the Vibes Workshop,
http://www.vibesworkshop.com/video/totm-three-note-voicings-giovanni-perin/giovanniperin/092014-0,
(accessed February 23, 2016); Giovanni Perin, “Three Note Voicings Part 2,” the Vibes Workshop,
http://www.vibesworkshop.com/video/three-note-voicings-2nd-part-giovanniperin/giovanniperin/100114, (accessed February 23, 2016).
59
Type: Video Files
Length: 7:24, 4:37
Posting Artist: Giovanni Perin
Date Posted: 9/20/2014, 10/1/2014
Link: http://www.vibesworkshop.com/video/totm-three-note-voicings-giovanniperin/giovanniperin/092014-0, http://www.vibesworkshop.com/video/three-notevoicings-2nd-part-giovanni-perin/giovanniperin/100114
Description: “Hi guys. Here's the 2nd part of my lesson about three-note voicing: guide
tone plus another chordal option (5th, 9th, 11th, and 13th). Let me know what do you think
about it!!!”107
Annotation: Giovanni Perin breaks down how notes in a chord function. He shows
students that the 3rd and 7th are the most important notes, and must be included as two of
the three voices. Players may choose a number of notes to fill the remaining voice. In
Part 1, he slowly demonstrates how voices lead from chord to chord in a smooth
efficient manner over the tune “All the Things You Are.” Perin includes a JPG that
illustrates the first eight bars of the tune (see figure 3.1). Perin writes the root as the
third voice (besides the 3rd and 7th), but students may replace it with any chord or nonchord tone. In Part 2 Perin demonstrates new three-note voicings on the same chords.
He includes the guide tones (3rds and 7ths) and several other pitches in the third voice. He
also includes a JPG so students may view the changes as well as hear them on the video.
Perin doesn’t go into detail about every decision he made, but his choices serve as a
more advanced example of the concept described in Part 1.
107
Ibid.
60
Figure 3.1: Three-Note Voicing 1.108 Used with permission from Tony Miceli.
Figure 3.2: Three-Note Voicing 2.109 Used with permission from Tony Miceli.
Goals: Students will learn what guide tones are: the notes of a chord that are the most
important. Guides tones are the 3rd and 7th of the chord. Next, students will add a color
tone in the third voice, which can be almost any other note.
Assignment: Students will learn and memorize the dampening exercise attached to
Giovanni’s lesson Part 1. Then students should replace the root of each chord with the
5th. Next, students will replace with the 9th, 11th, and finally 13th. Students may continue
to practice the exercise in several different keys.
For further study, please view: “Working On Shell Voicings Part 1”110
108
Perin, “Three Note Voicing Part 1.”
109
Perin, “Three Note Voicing Part 2.”
61
Lesson 4:
1) “Comping On Modal Tunes”111
Type: Video File
Length: 18:27
Posting Artist: Tony Miceli
Date Posted: 7/16/2010
Link: http://www.vibesworkshop.com/video/comping-modal-tunes/tonymiceli/071610
Description: N.A.
Annotation: Tony Miceli demonstrates how to keep audiences, and yourself, interested
during modal tunes. Miceli suggests using passing chords in parallel motion. Basically
he means to move each voice up to the next note in the scale (he demonstrates in D
minor) and then return. He also suggests playing a simple melody in the top voice to
create more interest. Next, Miceli demonstrates moving in parallel motion using a wide
variety of intervals including perfect 4ths and 5ths. He also references the University of
the Arts’ YouTube page that features a lesson on triad pairs. The lesson will help
students understand moving chords sideways within the same scale. Finally, Miceli’s pet
cat interrupts the beginning of the video by chasing her tail.
Goals: Students will learn how to appropriately comp over a modal tune by using
voicings that encompass the entire scale appropriate to a chord. Students will also learn
how to comp using chromatics passing tones and intervals such as 4ths, 3rds, and 2nds.
Assignment: Students will practice the chords in “So What” and groove over them
separately. Students should record themselves. Next, they will listen back to the
recording and write down four of their favorite ideas. Also, students may transcribe any
110
Behn Gillece, “Working On Shell Voicings Part 1,” the Vibes Workshop,
http://www.vibesworkshop.com/audio/working-shell-voicings-pt-1-behn-gillece/behng/082014 (accessed
March 7, 2016).
111
Tony Miceli, “Comping On Modal Tunes,” the Vibes Workshop,
http://www.vibesworkshop.com/video/comping-modal-tunes/tonymiceli/071610 (accessed on February
23, 2016).
62
of Tony’s ideas and use them for your own purposes. Students should make use of triad
pairs, 2nds, chromatic passing tones, octaves, and any idea from the video.
For further study, please view: “C Major, D Minor lesson - Triad Pairs”112
WEEK 4:
Lesson 1:
1) “Using Lines Over Multiple Systems Part 1 & 2”113
Type: Video Files
Length: 4:54, 6:15
Posting Artist: Behn Gillece
Date Posted: 7/11/2012, 7/14/2012
Link: http://www.vibesworkshop.com/video/using-lines-over-multiple-systems-pt-1behn-gillece/behng/071112, http://www.vibesworkshop.com/video/using-lines-overmultiple-systems-pt-2-behn-gillece/behng/071412
Description: N.A.
Annotation: Behn Gillece demonstrates lines that work over two different chords. He
gives the examples of playing a line based on the C melodic minor scale, but plays the
line over both a C and F root. Next he performs over a prerecorded vamp based on a C
minor and an F7 chord. He mainly improvises over the two chords, but uses the lines
from the beginning of the lesson several times. In Part 2 Gillece uses a second
prerecorded vamp using the same line but over a C minor and an A half diminished
chord. Finally, he uses a third vamp to demonstrate how a C melodic minor scale would
112
Tony Miceli, “C Major, D Minor lesson - Triad Pairs,” the Vibes Workshop,
http://www.vibesworkshop.com/audio/c-maj-d-min-lesson-tony-miceli-triad-pairs/tonymiceli/062509
(accessed March 7, 2016).
113
Behn Gillece, “Using Lines Over Multiple Systems Part 1,” the Vibes Workshop,
http://www.vibesworkshop.com/video/using-lines-over-multiple-systems-pt-1-behngillece/behng/071112, (accessed February 23, 2016); Behn Gillece, “Using Lines Over Multiple Systems
Part 3,” the Vibes Workshop, http://www.vibesworkshop.com/video/using-lines-over-multiple-systemspt-2-behn-gillece/behng/071412, (accessed February 23, 2016).
63
sound over a B natural altered chord. The two chords are related because the B altered
scale shares all the notes of the C melodic minor.
Goals: Students will discover how lines can be played over two or more chords.
Students also learn how to alter a minimum amount of notes in a line to fit into two
chords.
Assignment: Students will use two lines from their notebooks that work over either of
the two chord pairs in “So What:” Em11 / Dm11, and Fm11 / Ebm11. If none fit, students will
alter the lick that matches the closest.
For further study, please view: “Make Sure You Recycle”114
Lesson 2:
1) “Chord & Harmony – Clusters”115
Type: Video Files
Length: 4:43
Posting Artist: Tony Miceli
Date Posted: 10/24/2011
Link: http://www.vibesworkshop.com/video/2011-chord-and-harmony-festclusters/tonymiceli/102411
Description: N.A.
Annotation: Tony Miceli talks bout how he views chords. He sees them as “wrapping
around,” once the thirds are stacked beyond the 7th of the chord.116 He demonstrates how
114
Behn Gillece, “Make Sure You Recycle,” the Vibes Workshop,
http://www.vibesworkshop.com/audio/make-sure-you-recycle-behn-gillece/behng/022814 (accessed
March 7, 2016).
115
Tony Miceli, “Chords & Harmony – Clusters,” the Vibes Workshop,
http://www.vibesworkshop.com/video/2011-chord-and-harmony-fest-clusters/tonymiceli/102411,
(accessed February 23, 2016).
116
Ibid.
64
the 9th, 11th, and 13th partial of chords can be lowered an octave. Once he raises the 11th
by a half step, he has created the C Lydian scale. Miceli doesn’t explain why he alters
the 11th other than stating, “you’re supposed to on a major chord.”117 Miceli then
demonstrates that any note from the Lydian mode can be played over a C major groove,
especially if the notes are adjacent. He gives the example of the pianist Bill Evans’ intro
to the Miles Davis tune “All Blues.” Evans performs a cluster of notes at the beginning
of the tune. The voicings sound pleasant even though the four notes are right next to
each other.
Goals: Students learn how to stack 3rds on top of each other to create the upper
extensions of a major chord. Then, they will displace the notes by an octave so they
appear as a Lydian scale. From there, students can create many interesting cluster
voicings to use for comping over “So What.”
Assignment: Since students already know the scales to play on each chord in “So
What,” they will mimic Miceli’s process of stacking the thirds and then creating the
scale. Students will then experiment with clustered sounds, and then write down three of
their favorite ideas. Students may use the clusters while comping over “So What,” or
create an introduction for your final recording assignment.
Reminder: that the 11th (4th) of a minor chord is not augmented as it is over a major
chord.
For further study, please view: “Cool Minor Voicing of the Day”118
Lesson 3:
1) “Let’s Comp – All Hands On Deck”119
117
Ibid
118
Tony Miceli, “Cool Minor Voicing of the Day,” the Vibes Workshop,
http://www.vibesworkshop.com/video/voicing-day-vod-cool-minor-voicing/tonymiceli/052914 (accessed
March 7, 2016).
65
Type: Video File
Length: 5:52
Posting Artist: Tony Miceli
Date Posted: 11/21/11
Link: http://www.vibesworkshop.com/video/2011-chord-and-harmony-fest-all-handsdeck/tonymiceli/112111
Description: N.A.
Annotation: Tony Miceli demonstrates how a vibist can solo in the right hand and comp
for themselves with their left hand. He begins by stating the lesson does not detail the
style of separating the hand, but instead both hands move together in unison rhythm.
Miceli explains his left hand note choices by references to the previous lesson where
players can choose any note form the scale associated with the chord. He even goes so
far to say, “not to worry about hitting the guide tones right away because you’ll get them
eventually.”120 Actually by not always playing the guide tones, Miceli creates several
interesting sound qualities by performing other notes of the scale than the 3rd and 7th.
Goals: Students will be introduced to chord melody technique. This is where the solo
player plays the chords and melody. Students learn to think of melody, or solo lines, and
chords at the same time.
Assignment: Students will solo over the changes in “So What” with both hands in
unison. Their right hands will improvise or play a line from their notebook, and the left
will comp by playing any note found in the scale. Students should try to hit one of the
guide tones in the left hand at first, and then experiment with moving the notes around
to create new sounds.
119
Tony Miceli, “Let’s Comp – All Hands On Deck,” the Vibes Workshop,
http://www.vibesworkshop.com/video/2011-chord-and-harmony-fest-all-hands-deck/tonymiceli/112111
(accessed February 23, 2016).
120
Ibid.
66
For further study, please view: “Let's Comp- Comping Using Grips”121
Lesson 4:
Assessment: Using a metronome, students will record two tracks of “So What” in the
original key. The first should include a solo introduction, the melody once, comp for
two choruses, solo over two choruses, and finish by comping over the form once. Next,
through earphones, use the first track in place of the metronome. Record a second track
playing the opposite of the first: comping for two choruses, solo for two choruses, comp
for two choruses, and finally finishing by playing the melody over the form once.
Students should use ideas from their notebooks on the recordings. Once satisfied with
the two tracks, they will post them onto the site.
121
Behn Gillece, “Let's Comp- Comping Using Grips,” the Vibes Workshop,
http://www.vibesworkshop.com/video/comping-using-grips-behn-gillece/behng/110111 (accessed March
7, 2016).
67
WEEK 5:
New Tune of the Month – “Bags’ Groove” by Milt Jackson
Lesson 1:
1) “Chords & Harmony Festival – Open & Closed Refresher – Part 1 & 2”122
Type: Video Files
Length: 3:54, 6:42
Posting Artist: Tony Miceli
Date Posted: 10/13/2011
Link: http://www.vibesworkshop.com/video/open-and-closedrefresher/tonymiceli/101311, http://www.vibesworkshop.com/video/open-and-closedrefresher-part-2/tonymiceli/101311
Description: N.A.
Annotation: Tony Miceli gives students a refresher in studying open and closed
voicings. Closed voicings refer to when the span between the lowest and highest note in
a chord is less than an octave. Open means the span is greater than an octave. Miceli
demonstrates the different sounds on an F major chord. Next, he demonstrates the open
and closed voicings of a b9 dominant chord, which gives many dissonant sounds. The
exercise Miceli uses starts with a closed voicing, and then moves the second lowest note
up the octave to create an open voicing. In Part 2 Miceli discusses how open and closed
voicings sound different over a ii-V-I pattern in C major. He uses several inversions that
include upper extensions. Using the same process of bringing the second lowest note of
a closed voicing up an octave, he experiments with several different turnarounds on
several chords.
Goals: Students should be able to identify open and closed voicings. Open means the
lowest and highest note are more than an octave apart, and closed means the two notes
122
Tony Miceli, “Chords & Harmony Festival – Open & Closed Refresher – Part 1,” the Vibes
Workshop, http://www.vibesworkshop.com/video/open-and-closed-refresher/tonymiceli/101311
(accessed February 24, 2016); Tony Miceli, “Chords & Harmony Festival – Open & Closed Refresher –
Part 2,” the Vibes Workshop, http://www.vibesworkshop.com/video/open-and-closed-refresher-part2/tonymiceli/101311 (accessed February 24, 2016).
68
are less than an octave apart. By viewing the supplemental lesson below, students will
learn to switch between the two voicings on any chord by taking the second lowest note
and raising it up an octave.
Assignment: Students should begin by writing down the ii-V7-I chord progression Tony
plays in the videos. It is in the key of C. Next, they will practice the progression at a
slow to moderate tempo every day, and in four different major keys this week. Students
should practice closed and open voicings separately, and then switch between the two.
Students will then write down three of their favorite sounds. They may also recall an
older voicing lesson from their notebooks to use in this exercise.
For further study, please view: “Open & Closed Voicings - Audio” and “Open Closed
Voicings - Video.”123
Lesson 2:
1) “ii-V-I Patterns”124
Type: Video File
Length: 5:02
Posting Artist: Dana Sudborough
Date Posted: 1/29/2010
Link: http://www.vibesworkshop.com/video/ii-v-i-patterns/danasud/012910
Description: “Hey VW's if you like these, let me know and I will do more like this.”125
123
Tony Miceli, “Open & Closed Voicings – Audio,” the Vibes Workshop,
http://www.vibesworkshop.com/audio/open-and-closed-voicings-tony-miceli/tonymiceli/031409
(accessed March 15, 2016); Tony Miceli, “Open & Closed Voicings – Video,” the Vibes Workshop,
http://www.vibesworkshop.com/video/open-and-closed-voicings-video/tonymiceli/080708(accessed
March 15, 2016).
124
Dana Sudborough, “ii-V-I Patterns,” the Vibes Workshop,
http://www.vibesworkshop.com/video/ii-v-i-patterns/danasud/012910, (accessed February 24, 2016).
125
Ibid.
69
Annotation: Dana Sudborough demonstrates a few ii-V-I patterns that target certain
pitches of each chords on the strong beats of the measure. In the beginning, the lessons
specifies the targeted notes will be guide tones, however Sudborough targets the root,
5th, and 3rd of each chord; not the 7th. In the first line he arpeggiates up a D minor chord
(F, A, C, E), climbs down the G Mixolydian scale and replaces the A natural with an Ab
(B, Ab, G, F), and finally resolves to the 3rd (E natural) of the CM7 chord. The next few
lines Sudborough demonstrates appear on the video. The lines are a combination of
short arpeggiated figures and descending scales. He does alter lines to include a few
chromatic pitches, but does not explain why he includes them. The chromatic notes
create a true bebop sound. By not explaining the choice to include the notes,
Sudborough misses the opportunity to make the lesson more than it is. He goes on to
extend the patterns to fit over two and four bar ii-V-I patterns.
Goals: Students will begin to hear the standard ii-V-I chord progression that will help
learning the turnaround to the tune “Bags’ Groove.”
Assignment: Students will first listen to the lesson and try to hear the line that Dana
plays instead of reading the notes. Here’s a hint: he used what is called the flat 9, sharp
9 pitches (Ab, and Bb) over the V chord. After listening to each line a few times,
students should write down three variations. The first arrives on the root of the I chord,
the second on the 3rd, and the final on the 5th. Next, students should practice variations in
four different keys.
For further study, please view: “Targeting Notes.”126
Lesson 3:
1) “How to Make a Blues Scale”127
126
Tony Miceli, “Targeting Notes,” the Vibes Workshop,
http://www.vibesworkshop.com/audio/targeting-notes-tony-miceli/tonymiceli/122708 (accessed March
15, 2016).
127
Tony Miceli, “How to Make a Blues Scale,” the Vibes Workshop,
http://www.vibesworkshop.com/book/tony-miceli-vibe-book/-blues/how-make-bluesscale/tonymiceli/011909 (accessed February 24, 2016).
70
Type: Video File
Length: 3:02
Posting Artist: Tony Miceli
Date Posted: 1/20/2009
Link: http://www.vibesworkshop.com/book/tony-miceli-vibe-book/-blues/how-makeblues-scale/tonymiceli/011909
Description: N.A.
Annotation: Tony Miceli describes several ways to create a basic blues scale. He begins
in the key of F, and builds the scale by naming the individual notes. Next, he describes
the scale as an Fm7 chord that has two additional notes, a Bb and a B natural. He then
recommends practicing building the scale in all twelve keys. Miceli then discusses how
he practices the blues scale. He recommends not playing the notes in a ascending and
descending linear fashion. Instead, he sets up a vamp in the bass, and then practice
playing licks using the blues scale. If the student cannot think of anything, then return to
the vamp.
Goals: Students will learn how to build and play a blues scale. Tony will also
demonstrate a few sound possibilities created by using the scale.
Assignment: Students will practice creating blues lines over a one-chord vamp similar to
the end of Miceli’s lesson. Record your practicing, and then transcribe four of your
favorite lines into your notebook.
For further study, please view: “The Different Blues Scales.”128
Lesson 4:
1) “Using the Blues to Find Voicings”129
128
Tony Miceli, “The Different Blues Scales,” the Vibes Workshop,
http://www.vibesworkshop.com/book/lessons-book-new/blues/different-blues-scales/tonymiceli/020510
(accessed March 15, 2016).
71
Type: Audio File
Length: 6:54, focus on 0:00-1:40 and 3:25-6:54
Posting Artist: Behn Gillece
Date Posted: 1/30/2015
Link: http://www.vibesworkshop.com/audio/using-blues-find-voicings-behngillece/behng/013015
Description: N.A.
Annotation: Behn Gillece discusses how to keep a common tone in all the chords of a
blues. He begins by directing the students to an attached PDF file. There are no
attachments to the lesson, so students will use their ears in order to figure out what
chords Gillece uses. He talks about keeping the 5th of the tonic chord, C natural, in the
top voice through all the chords. Gillece goes on to discuss more complex chord
changes that are not necessary for students studying “Bags’ Groove.” He finishes the
lesson by comping through several choruses using the concept.
Goals: Students will learn to comp through a blues while keeping a common tone in the
upper voice through all chords.
Assignment: Students should memorize the chords to “Bags’ Groove.” They will use the
tune’s chords for the assignment instead of the blues Gillece demonstrates in the lesson.
Students should practice putting different notes of the tonic chord in the upper voice
while comping through the changes (root, 3rd, 5th, and 7th). After practicing the changes,
students should analyze how the static tone changes the chord. Next, students should
practice the blues in two separate keys, and write down five new voicings in their
notebooks.
For further study, please view: “Common Tone Exercise – Part 1.”130
129
Behn Gillece, “Using the Blues to Find Voicings,” the Vibes Workshop,
http://www.vibesworkshop.com/audio/using-blues-find-voicings-behn-gillece/behng/013015 (accessed
February 24, 2016).
130
Behn Gillece, “Common Tone Exercise – Part 1,” the Vibes Workshop,
http://www.vibesworkshop.com/audio/common-tone-exercise-part-1/behng/011411 (accessed March 15,
2016).
72
WEEK 6:
Lesson 1:
1) “Chords & Harmony Festival – Open & Closed Refresher – Part 1 & 2”131
Link: http://www.vibesworkshop.com/video/open-and-closedrefresher/tonymiceli/101311, http://www.vibesworkshop.com/video/open-and-closedrefresher-part-2/tonymiceli/101311
Assignment: Continue to work on the exercise from last week, but add at least twenty
clicks to the metronome. Transpose the exercise to include four new major keys this
week.
2) “ii-V-I Patterns”132
Link: http://www.vibesworkshop.com/video/ii-v-i-patterns/danasud/012910
Assignment: Continue to speed up the variations by adding at least twenty clicks to the
metronome this week. Also, transpose the exercise to include four new major keys.
Lesson 2:
1) “Surrounding Notes”133
Type: Audio File
Length: 9:25
Posting Artist: Tony Miceli
Date Posted: 11/9/2009
131
Miceli, “Chords & Harmony Festival – Open & Closed Refresher – Part 1”; Miceli, “Chords
& Harmony Festival – Open & Closed Refresher – Part 2.”
132
Sudborough, “ii-V-I Patterns.”
133
Tony Miceli, “Surrounding Notes,” the Vibes Workshop,
http://www.vibesworkshop.com/audio/surrounding-notes-tony-miceli/tonymiceli/110909 (accessed
February 24, 2016).
73
Link: http://www.vibesworkshop.com/audio/surrounding-notes-tonymiceli/tonymiceli/110909
Description: “A quick lesson to get you thinking about surrounding notes!”134
Annotation: Tony Miceli discusses several ways to implement surrounding chords tones
into students playing. He displays two variations: surrounding a chord tone a whole step
about and a half step below, and using half steps to surround a chord tone both above
and below. Students should aim to the play the next diatonic note above the desired note
when executing the first variation. Miceli talks about the implications of playing a half
step above a chord tone, and how that changes the implied scale. It is a sound that Bud
Powell is famous for using.
Goals: Students will learn to play and hear lines in the bebop style by surrounding chord
tones.
Assignment: As Tony states in the lesson, students should start a groove over any chord
and practice surrounding the notes to the chord. Students may use the chords in “Bags’
Groove” or any ii-V-I exercise. Students should start by playing the chord tones only,
and then fill in surround tones in time while arriving to the chord tone on a strong beat
of the measure. Students should record their practice session, and transcribe at least two
ideas.
For further study, please review: “Major Surround Tones.”135
Lesson 3:
1) “Lazy Voicings”136
134
Ibid.
135
Behn Gillece, “Major Surround Tones,” the Vibes Workshop,
http://www.vibesworkshop.com/video/major-surround-tones-behn-gillece/behng/080511 (accessed March
15, 2016).
136
Tony Miceli, “Lazy Voicings,” the Vibes Workshop,
http://www.vibesworkshop.com/video/lazy-voicings/tonymiceli/041310 (accessed February 24, 2016).
74
Type: Video File
Length: 4:43
Posting Artist: Tony Miceli
Date Posted: 4/13/2010
Link: http://www.vibesworkshop.com/video/lazy-voicings/tonymiceli/041310
Description: “The concept of lazy voicings can help you find NEW voicings. When you
play lazy voicings you move voicings to the next chords’ closest notes. This can even
help you get away from the root, which is a voicing surprisingly you can usually omit,
ESPECIALLY with a bass player.”137
Annotation: Tony Miceli discusses what he calls “Lazy Voicings.”138 Miceli really
means is for students to practice uses smooth voice-leading by keeping common tones
while moving from chord to chord. He uses the tune “Someday My Prince Will Come”
to demonstrate in both open and closed positions. He begins by demonstrating each
chord in root position, which creates a disjunct sound that Miceli says, “is great in the
beginning… to help you learn the tune… but at some point you want to practice lazy in
open or closed position.”139 Miceli closes the lesson by demonstrating smooth lazy
voice-leading ascending and then descending over the tune. The overall effect is a
complete coherent phrase.
Goals: Students will learn how to play chords with good voice-leading by moving the
least and keeping common tones from chord to chord.
Assignment: Students will play through the tune “Bags’ Groove” using the concept
Tony displays in the lesson. Next, students will practice the entire tune and only move
voices when necessary. Students should then practice starting on a different inversion
after they feel comfortable with the first. They will practice four different inversions of
the chords in three different keys both ascending and descending. Students may also
practice the concept over any ii-V-I progression in their notebooks.
137
Ibid.
138
Ibid.
139
Ibid.
75
For further study, please review: “Connect Chords Using Common Tones.”140
Lesson 4
1) “Essay On Comping”141
Type: Text File
Length: N.A.
Posting Artist: Tony Miceli
Date Posted: 9/16/2012
Link: http://www.vibesworkshop.com/blog/essay-comping/tonymiceli/091612
Description: N.A.
Annotation: Tony Miceli offers insight into how he thinks about comping. He defines
each hand’s role while playing solo, how often to comp at certain tempos, and even how
much preparation he puts into choosing voicings.
Goals: Students should begin to comprehend how comping functions in a jazz setting,
and many options as to how good comping should sound.
Assignment: Students will read through Tony’s essay and the comment below. Then,
students will practice any ii-V-I exercise in their notebooks and apply the concepts Tony
discusses.
For further study, please review: “Great Comping”142
140
Giovanni Perin, “Connecting Chords Using Common Tones,” the Vibe Workshop,
http://www.vibesworkshop.com/video/connect-chords-using-common-tones/giovanniperin/040815
(accessed February 24, 2016).
141
Tony Miceli, “Essay on Comping,” the Vibes Workshop,
http://www.vibesworkshop.com/blog/essay-comping/tonymiceli/091612 (accessed February 24, 2016).
142
Tony Miceli, “Great Comping,” the Vibes Workshop,
http://www.vibesworkshop.com/video/great-comping/tonymiceli/103011 (accessed February 24, 2016).
76
WEEK 7
Lesson 1:
1) “Chords & Harmony Festival – Open & Closed Refresher – Part 1 & 2”143
Link: http://www.vibesworkshop.com/video/open-and-closedrefresher/tonymiceli/101311, http://www.vibesworkshop.com/video/open-and-closedrefresher-part-2/tonymiceli/101311
Assignment: Students will continue to work on the exercise from last week, but add at
least twenty clicks to the metronome. They should practice with the metronome
occurring only on a single beat of the measure. For example, if students are practicing at
160 bpm put the metronome on 40 bpm. The new metronome alignment will test
students’ ability to subdivide through longer spaces. Students should also transpose the
exercise to include four new major keys this week.
2) “ii-V-I Patterns”144
Link: http://www.vibesworkshop.com/video/ii-v-i-patterns/danasud/012910
Assignment: Students will continue to speed up the variations by adding at least twenty
clicks to the metronome this week. They should transpose the exercise to include four
new major keys.
3) “Modulations and Intervals with Pathways”145
Link: http://www.vibesworkshop.com/audio/modulations-and-intervals-pathways/johnmark-piper/102608
143
Miceli, “Chords & Harmony Festival – Open & Closed Refresher – Part 1”; Miceli, “Chords
& Harmony Festival – Open & Closed Refresher – Part 2.”
144
Sudborough, “ii-V-I Patterns.”
145
Piper, “Modulations and Intervals with Pathways.”
77
Assignment: Students should review all previous pathway lessons, to test their improved
aural skills. If the MP3 is no long on their personal audio device, student should redownload the track and practice on their own time at least twice a day.
Lesson 2:
1) “Minor Surround Tones”146
Type: Video File
Length: 5:02
Posting Artist: Behn Gillece
Date Posted: 3/6/2010
Link: http://www.vibesworkshop.com/video/minor-surround-tones/behng/030610
Description: “The PDFs for this lesson are under the 'Check This Out Section.’”147
Annotation: Behn Gillece demonstrates a minor lick he transcribed from McCoy
Tyner’s “Speak Low,” found on his album ”Inception.” Gillece plays the line a few
times, and then slowly breaks it down. The line is based on a G minor chord, but it
begins on a B natural (the natural third. It quickly moves to C, E, D, C, B natural, and
finally falls to the Bb. The line continues on, but Gillece focuses the lesson on how
Tyner surrounds the minor tone of a chord. So far, students have only heard and
practiced surrounding major chord tones in simple one or two note patterns. Gillece’s
lesson not only exposes students to minor chord tones, but longer and more ornate ways
of surround any chord tone. Students should have no problem transcribing and
practicing the rest of Tyner’s lick.
Goals: After a week of working on major surround tones, students should begin to
practice and hear minor surround tone patterns.
Assignment: Students should watch Behn’s lesson, and write down the line/exercise he
demonstrates. Then, students can practice the line slowly over G minor. Next, they
146
Behn Gillece, “Minor Surround Tones,” the Vibes Workshop,
http://www.vibesworkshop.com/audio/neighbor-tones-dimitri-and-norbert-tony-miceli/tonymiceli/072513
(accessed February 24. 2016).
147
Ibid.
78
should take the chords found in “Bags’ Groove” and turn them into minor (F7 becomes
Fm7, Bb7 becomes Bbm7, etc.) Then, students will practice Behn’s line over the minor
version of “Bags’ Groove.” Students should record themselves to internalize the sound
quality of minor lines, and to check if any notes were learned incorrectly
For further study, please review: “Neighbor Tones – For Dimitri and Norbert.”148
Lesson 3:
1) “Using Chromaticism Part 1& 2”149
Type: Audio File
Length: 3:38, 5:48
Posting Artist: Behn Gillece
Date Posted: 6/28/2012, 7/1/2012
Link: http://www.vibesworkshop.com/audio/using-chromaticism-pt-1-behngillece/behng/062812, http://www.vibesworkshop.com/audio/using-chromaticism-pt-2behn-gillece/behng/070112
Description: N.A.
Annotation: In Part 1, Behn Gillece gives students a series of simple technical exercises
using the chromatic scale. He begins by using the interval of an octave, and then moves
them up and down the instrument. Gillece continues the exercise by employing many
intervals including major 2nds, perfect 5ths, and perfect 4ths. In Part 2, Gillece discusses
how to include chromaticism into tunes. He uses similar patterns found in Part 1, but
over a simple chord progression. Gillece does a fine job describing the first three ideas
of the lesson, and demonstrates them slowly enough so that students may transcribe the
148
Tony Miceli, “Neighbor Tones – For Dimitri and Norbert,” the Vibes Workshop,
http://www.vibesworkshop.com/audio/neighbor-tones-dimitri-and-norbert-tony-miceli/tonymiceli/072513
(accessed February 14, 2016).
149
Behn Gillece, “Using Chromaticism Part 1,” the Vibes Workshop,
http://www.vibesworkshop.com/audio/using-chromaticism-pt-1-behn-gillece/behng/062812, (accessed
February 14, 2016); Behn Gillece, “Using Chromaticism Part 2,” the Vibes Workshop,
http://www.vibesworkshop.com/audio/using-chromaticism-pt-2-behn-gillece/behng/070112, (accessed
February 14, 2016).
79
lines. At the 4:40 mark, Gillece informs students to use chromaticism sparingly because
it does not belong to any one tonal center.150 Any improvised solo has freedom to
explore, but it must sound as if it fits over the chord changes.
3) “Milt Jackson Lick”151
Type: Audio File
Length: 2:08
Posting Artist: Tjaco Oostdijk
Date Posted: 11/22/2008
Link: http://www.vibesworkshop.com/audio/milt-jackson-lick-tjacooostdijk/tjaco/112208
Description: “Here is a great Milt Jackson lick for you to take through all twelve
keys.”152
Annotation: Tjaco Oostdijk demonstrates a lick played by Milt Jackson over a I-vi-ii-V
chord progression. He beings the lesson by stating he is, “not going to tell you what it
is,” and that students should, “transcribe it by themselves.” Oostdijk performs the lick
nicely, and them slowly breaks it down with out spelling out the notes. He performs in
an extremely clear manner that any beginning student should be able to transcribe the
lick accurately.
Goals: By listening to Behn’s lessons, students will revisit the chromatic scale, and learn
how to use chromatic notes in their solos.
Assignment: Students will first listen to Behn’s lesson on chromaticism to review the
chromatic scale. Then, they will transcribe the Milt Jackson lick Tjaco performs. The
lick can be performed over a vi-ii-V7-I progression. In context, the lick can be played
over the turnaround in “Bags’ Groove.” Students should record themselves soloing over
150
Gillece, “Using Chromaticism Part 2.”
151
Behn Gillece, “Milt Jackson Lick,” the Vibes Workshop,
http://www.vibesworkshop.com/audio/milt-jackson-lick-tjaco-oostdijk/tjaco/112208 (accessed February
24, 2016).
152
Ibid.
80
the tune and performing the lick at the turnaround. Once comfortable, students should
repeat the assignment in two different keys. The assignment for Tjaco’s lesson will
count as one of the two weekly transcriptions.
For further study, please review: “Bebop Over Blues.”153
Lesson 4:
1) “Comping-Simple Comp Rhythms”154
Type: Video File
Length: 7:27
Posting Artist: Behn Gillece
Date Posted: 2/25/2012
Link: http://www.vibesworkshop.com/video/comping-simple-comp-rhythms-behngillece/behng/022512
Description: “Here's a logical practice approach to comping.”155
Annotation: Behn Gillece talks about how he works on comping when he has no one to
comp for. He discusses simple exercises for strengthening time and rhythm, and offers
valuable goals that will be useful when students find themselves in an ensemble setting.
Gillece first demonstrates, and then explains his voicings. He moves a single note on
each chord to add interest. The changing note also helps highlight the rhythm, so
students receive another tool for strengthening their sense of time. Gillece spends the
last third of the lesson demonstrating the exercise at different tempos. He could have
organized the tempos in a more progressive manner. As it is, Gillece seems to choose
the tempos at random.
153
John Mark Piper, “Bebop Over Blues,” the Vibes Workshop,
http://www.vibesworkshop.com/story/bebop-over-blues/john-mark-piper/100108 (accessed February 24,
2016).
154
Behn Gillece, “Comping-Simple Comp Rhythms,” the Vibes Workshop,
http://www.vibesworkshop.com/video/comping-simple-comp-rhythms-behn-gillece/behng/022512
(accessed February 24, 2016).
155
Ibid.
81
Goals: Behn demonstrates a basic comping rhythm, and students will strengthen their
tempo maintenance and rhythmic accuracy by experiments using only one rhythm.
Assignment: Students should first watch Gillece’s lesson on a simple comping rhythm.
Then, they will comp through the changes in “Bags’ Groove” using only the rhythm
from the lesson. Students should experiment with open and closed voicings, and moving
a single voice as demonstrated in the lesson. Finally, students will record themselves
performing three choruses using different voicings, but still just the static rhythm from
the lesson.
For further study, please review: “Let’s Comp - Comping Questions.”156
156
Tony Miceli, “Let’s Comp - Comping Questions,” the Vibes Workshop,
http://www.vibesworkshop.com/blog/comping-questions/tonymiceli/103011 (accessed February 24,
2016).
82
WEEK 8
Lesson 1:
1) “Chords & Harmony Festival – Open & Closed Refresher – Part 1 & 2”157
Link: http://www.vibesworkshop.com/video/open-and-closedrefresher/tonymiceli/101311, http://www.vibesworkshop.com/video/open-and-closedrefresher-part-2/tonymiceli/101311
Assignment: Students will continue to work on the exercise from last week using the
metronome in multiple ways. Practice the exercise in all twelve major keys.
2) “ii-V-I Patterns”158
Link: http://www.vibesworkshop.com/video/ii-v-i-patterns/danasud/012910
Assignment: Students will practice the patterns in all twelve major keys.
3) “10. Random Intervals With Pathways (Practice)”159
Link: http://www.vibesworkshop.com/audio/10-random-intervals-pathwayspractice/john-mark-piper/102608
Assignment: Students should review all previous pathway lessons, to test their improved
aural skills. If the MP3 is no long on their personal audio device, student should redownload the track and practice on their own time at least twice a day.
Lesson 2:
1) “QDV (Quick Dirty Video) on Tritone Subs”160
157
Miceli, ““Chords & Harmony Festival – Open & Closed Refresher – Part 1”; Miceli, “Chords
& Harmony Festival – Open & Closed Refresher – Part 2.”
158
Sudborough, “ii-V-I Pattern.”
159
Piper, “10. Random Intervals With Pathways (Practice).”
83
Type: Video File
Length: 6:28
Posting Artist: Tony Miceli
Date Posted: 4/23/2011
Link: http://www.vibesworkshop.com/video/qdv-quick-and-dirty-video-tritonesubs/tonymiceli/042311
Description: N.A.
Annotation: Tony Miceli breaks from his usual aural learning first philosophy, and uses
a splendid visual aid combined with sound. He breaks down how tritones resolve one of
two ways by using the mallets in almost a still-life manner. The students can then
clearly see and hear how the tritone resolves to the root and third of the I chord.
Goals: Students will learn the sound of a tritone and how it resolves. A single tritone can
resolve to the tonic of two keys.
Assignment: Students will watch Tony’s lesson, and listen to both ways a tritone
resolves. Next, students should set their metronomes to a medium tempo, and practice
their ii-V-I exercise, but using tritone substitutions. For bonus materials, students may
transcribe lines Tony performs in the video.
For further study, please review: “Tritone Substitution.”161
Lesson 3:
1) “Turnarounds Part 1 & 2”162
160
Tony Miceli, “QDV (Quick Dirty Video) on Tritone Subs,” the Vibes Workshop,
http://www.vibesworkshop.com/video/qdv-quick-and-dirty-video-tritone-subs/tonymiceli/042311
(accessed February 24, 2016).
161
Giovanni Perin, “Tritone Substitution,” the Vibes Workshop,
http://www.vibesworkshop.com/video/triton-substitution/giovanniperin/012614 (accessed February 24,
2016).
84
Type: Video File
Length: 4:35. 4:30 (concentrate on 0:00-1:19 and 2:00-4:30)
Posting Artist: Behn Gillece
Date Posted: 3/15/2012, 3/19/2012, 3/22/2012
Link: http://www.vibesworkshop.com/video/turnarounds-pt-1-behngillece/behng/031512, http://www.vibesworkshop.com/video/turnarounds-pt-2-behngillece/behng/031912,
Description: N.A.
Annotation: In Part 1, Behn Gillece, explains clearly and quickly the four variations he
will demonstrate over a practice loop. There are many lessons on the site about creating
practice tracks, but Gillece could have challenged students to create their own before
studying his turnaround variations. He does a nice job of making his lines fit the chord
progressions, but he could have used less chromatics at first, or at least explained he was
going to include them. In Part 2, Gillece replaces the ii-V chords of the second variation
with their tritone substitutions. He assumes students understand how tritone
substitutions function, which they will, if they have completed the previous lesson.
Goals: Students will learn new chord variations for turnarounds to play over tunes and
insert into “Bags’ Groove.” The variations are: I-vi-ii-V7, I-VI7-ii-V7, iii-VI7-ii-V7, and
iii-VI7-II7-V7. Part 2 includes a variation with a tritone substitution: I-VI7-bvi-bII7.
Assignment: Students will first watch Behn’s lesson and memorize the variations in C
major. Students should also practice the variations in F major so they may on “Bags’
Groove.” Students should next record themselves practicing a chord tone solo over the
turnaround variations. Then, students will listen to the recordings and write down three
of their favorite lines over each variation. Repeat the assignment for the fifth variation
over a tritone substitution.
162
Behn Gillece, “Turnarounds Part 1,” the Vibes Workshop,
http://www.vibesworkshop.com/video/turnarounds-pt-1-behn-gillece/behng/031512 (accessed February
24, 2016); Behn Gillece, “Turnarounds Part 2,” the Vibes Workshop,
http://www.vibesworkshop.com/video/turnarounds-pt-2-behn-gillece/behng/031912, (accessed February
24, 2016).
85
For further study, please review: “Turnarounds Part 3.”163
Lesson 4:
Assessment: Students will record two tracks of “Bags’ Grove” in the original key, and
both should include a metronome click track. The first should include: the melody
played twice, comping for two choruses, soloing over two choruses, and finish with
comping over the form twice. Next, through earphones, use the first track in place of the
metronome. Record a second track playing the opposite of the first: comping for two
choruses, solo for two choruses, comp for two choruses, and finally finishing by playing
the melody over the form twice. Make sure to use ideas from your notebook on the
recordings. Include at least two turnaround variations. Mark down when and which
variations will occur before you record the first track. Once satisfied with the two tracks,
post them to the site.
163
Behn Gillece, “Turnarounds Part 3,” the Vibes Workshop,
http://www.vibesworkshop.com/video/turnarounds-pt-3-behn-gillece/behng/032212 (accessed February
24, 2016).
86
WEEK 9
New Tune of the Month – “Blue Bossa” by Kenny Durham
Lesson 1:
1) “Making Exercises Into Other Exercises”164
Type: Audio File
Length: 6:11
Posting Artist: Behn Gillece
Date Posted: 8/31/2012
Link: http://www.vibesworkshop.com/audio/making-exercises-other-exercises-behngillece/behng/083112
Description: “Ideas for getting the most out of one idea.”165
Annotation: Behn Gillece begins the lesson by playing what he calls the “cheese cake
exercise.” Students will not need to know the line, but instead learn the way in which he
practices it. The lick repeats itself a minor 3rd above where it started previously. Gillece
performs the cycle as high as his instrument will let him, then he can start over a half
step higher. The new different starting point allows him to practice four new minor
keys. Students should be aware that any exercise could be practiced in the same way.
Also, any interval cycle could be used to practice a line. For example instead of jumping
up a minor 3rd, Gillece could have moved up a perfect fourth before repeating the line.
Another option would have been to descend the line. Obviously, Gillece would have to
alter a few notes at the end of the line to facilitate the new interval.
Goals: Students will learn how to make the most of any line or voicing they have
transcribed in their notebooks. Students will begin to think creatively on how to make
their stolen lines their own by manipulating the lines over several different chord
164
Behn Gillece, “Making Exercises Into Other Exercise,” the Vibes Workshop,
http://www.vibesworkshop.com/audio/making-exercises-other-exercises-behn-gillece/behng/083112
(accessed February 24, 2016).
165
Ibid.
87
progression and keys.
Assignment: Students will choose any line they have written in their notebook, and
practice the line in different key cycles. The process can make use of any interval cycle
(minor 2nds, major 7ths, and perfect 4ths and 5ths being the most obvious). Students should
also be creative and challenge themselves to alter tones or change the chords the line
originally was associated. Students should also document any favorable variation next to
the original line in their notebooks.
Lesson 2:
1) “Dominant & Minor Part 1 “The Pickups”166
Type: Video File
Length: 2:50
Posting Artist: Behn Gillece
Date Posted: 12/16/2013
Link: http://www.vibesworkshop.com/video/dominant-minor-workout-pt-1-pickupsbehn-gillece/behng/121613
Description: N.A.
2) “Dominant & Minor Part 2 “Full Exercise”167
Type: Video File
Length: 2:04
Posting Artist: Behn Gillece
Date Posted: 12/20/2013
Link: http://www.vibesworkshop.com/video/dominant-minor-workout-pt-2-fullexercise-behn-gillece/behng/122013
Description: N.A.
166
Behn Gillece, “Dominant & Minor Part 1 ‘The Pickups’.” the Vibes Workshop,
http://www.vibesworkshop.com/video/dominant-minor-workout-pt-1-pickups-behn-gillece/behng/121613
(accessed February 24, 2016).
167
Behn Gillece, “Dominant & Minor Part 2 ‘Full Exercise’,” the Vibes Workshop,
http://www.vibesworkshop.com/video/dominant-minor-workout-pt-2-full-exercise-behngillece/behng/122013 (accessed February 24, 2016).
88
Annotation: Behn Gillece discusses chromatic pickups into dominant chords and minor
chords a 5th higher (i.e. the first example works on F7 and Cm7). The PDF attached
includes all the lines Gillece demonstrates, and longer lines he discusses in the
following videos in the series. He performs all the variations without a metronome at
multiple tempos. When playing the longer lines, he slows down to allow students to hear
the notes easier. Gillece purposefully allows students to not only see the chord, but
practice using aural skills by hearing the notes as well. In Part 2 Gillece wastes no time
demonstrating the full exercise, which feels like a large step up from Part 1. He does not
perform the line slow, so students with developing aural skills or little patience will have
difficulty transcribing the line. To rectify the issue, Gillece attaches a transcription PDF
to the lesson.
Figure 3.3: Dominant & Minor Workout Part 1.168 Used with permission from Tony
Miceli.
168
Gillece, “Dominant & Minor Part 1 ‘The Pickups’.”
89
Figure 3.4: Dominant & Minor Workout Part 2.169 Used with permission from Tony
Miceli.
Goals: Students will continue to mature their lines by improving their knowledge of
ornaments and chord tones landing on strong beats in a measure.
Assignment: Students will listen to both of Behn’s videos, and using examples 3.3 and
3.4, students will practice the written exercises on all twelve dominant and minor
chords. Students should aim to add ten clicks to their metronomes by the end of the
week. Clicks refers to the tempo given by a metronome, and is expressed by the number
of beats per minute.
For further study, please review: “The Line is Number One”170
Lesson 3:
1) “Target Notes Part 2”171
169
Gillece, “Dominant & Minor Part 2 ‘Full Exercise’,”
170
Tony Miceli, “The Line is Number One,” the Vibes Workshop,
http://www.vibesworkshop.com/audio/line-number-one-tony-miceli/tonymiceli/122609 (accessed
February 24, 2016).
90
Type: Audio File
Length: 12:22
Posting Artist: Tony Miceli
Date Posted: 12/30/2008
Link: http://www.vibesworkshop.com/audio/target-notes-part-2-tonymiceli/tonymiceli/123008
Description: “Here are some more thoughts on targeting notes.”172
Annotation: Tony Miceli sets up the lesson by describing a simple minor blues in F. He
spends close to three minutes describing the changes and the sounds. The information
Miceli gives during the time is useful for the lesson and vibes playing in general,
however, finally, at the 3:00 minute mark he announces what notes players should target
when playing the F minor chord (F, Ab, or C). He then describes the “most important
notes of the G7 and C7 chords,” while playing the notes so students can audiate the
pitches.173 The primary idea of targeting chord tones shares context with a previous
supplemental lesson. Stefon Harris’ lecture on singing and ear training teaches students
to target notes in a scale aurally.174 In Miceli’s lesson, he is teaching students to sing or
hear a chord tone, ornament the line, and finally settle on the targeted note
Goals: Students will learn to use their aural skills while improvising a soloing.
Assignment: First, students will listen to Tony’s lesson while standing behind their
instrument (either vibes or a piano). Sing along with Tony as he highlights the tones he
aims for. Practice the progression he demonstrates by singing one note per chord, and
then playing that note. Students should start out of time and using rubato. Next, put the
exercise to a metronome. Then, students should add in a single note before the target
171
Tony Miceli, “Target Notes Part 2,” the Vibes Workshop,
http://www.vibesworkshop.com/audio/target-notes-part-2-tony-miceli/tonymiceli/123008 (accessed
February 24, 2016).
172
Ibid.
173
Ibid.
174
Toddc, “Stefon Harris – Makes Soooo Much Sense,” (accessed February 26, 2016).
91
note. Gradually, students should add several notes and land on the target note they are
singing. Students should spend a half hour each day working on hearing their target
notes before playing them. Students can exercise the skill over any chord progression
including the chords in “Blue Bossa” or any tune previously studied.
For further study, please review: “Listen When You Play.”175
Lesson 4:
1) “Minor Progressions”176
Type: Audio File
Length: 8:41 (focus on 0:00-4:15)
Posting Artist: Behn Gillece
Date Posted: 10/20/2011
Link: http://www.vibesworkshop.com/audio/chords-harmony-minor-progressions-behngillece/behng/102011
Description: “Here's a lesson on some chord progressions in Cm. PDF attached. Also,
look at the Check This Out. It's one of Dana's lessons on harmonizing the Cm bebop
scale, and some of those concepts corresponding to this lesson. Behn.”177
Annotation: Behn Gillece discusses advanced minor and diminished scales. He
originally attached a PDF to the lesson, but it does not appear on the lesson at this time.
The lesson becomes a test of the students’ aural skills. Gillece demonstrates several
variations of minor ii-V-I progressions with out the PDF to serve as a visual aid.
Goals: Students will begin to hear and transcribe minor chords.
175
Miceli, “Listen When You Play.” (accessed February 24, 2016).
176
Behn Gillece, “Minor Progressions,” the Vibes Workshop,
http://www.vibesworkshop.com/audio/chords-harmony-minor-progressions-behn-gillece/behng/102011
(accessed February 24, 2016).
177
Ibid.
92
Assignment: Students will download the MP3 track onto their personal audio device.
While focusing on the first example (starting at 2:05), students will listen and transcribe
the exercise Behn demonstrates. Finally, students will label the chord names including
all extension and passing tones. The assignment will count as one of the students’
transcriptions for the week.
For further study, please review: “Using Tensions.”178
178
Ted Wolff, “Using Tensions,” the Vibes Workshop,
http://www.vibesworkshop.com/story/chords-harmony-using-tensions-ted-wolff/tedwolff/101111
(February 24, 2016).
93
WEEK 10
Lesson 1:
1) “Dominant & Minor Part 3 ‘Variation Pickups’”179
Type: Video File
Length: 2:58
Posting Artist: Behn Gillece
Date Posted: 12/23/2013
Link: http://www.vibesworkshop.com/video/dominant-minor-workout-pt-3-variationpickups-behn-gillece/behng/122313
Description:
Annotation: Behn Gillece continues his series of dominant and minor chord pickups.
Part three is similar to the first two installments in the series. Gillece includes a PDF that
shows the lines he demonstrates in the video.
Figure 3.5: Dominant & Minor Workout Part 3.180 Used with permission from Tony
Miceli.
179
Behn Gillece, “Dominant & Minor Part 3 “Variation Pickups,” the Vibes Workshop,
http://www.vibesworkshop.com/video/dominant-minor-workout-pt-4-full-variation-behngillece/behng/122713 (accessed February 25, 2016).
180
Ibid.
94
Goals: Students will continue to mature their lines by improving their knowledge of
ornaments and chord tones landing on strong beats in a measure.
Assignment: First, students will listen to both of Behn’s videos. Using examples 3.3 and
3.4, students will practice the written exercises on all twelve dominant and minor
chords. Students should aim to add ten clicks to their metronomes by the end of the
week.
For further study, please review: “Diminished Pickup Exercise Part 1.”181
Lesson 2:
1) “What to Play Over a ii min7 b5”182
Type: Audio File
Length: 4:05
Posting Artist: Tony Miceli
Date Posted: 9/26/2008
Link: http://www.vibesworkshop.com/audio/what-do-i-play-over-min7-b5-tonymiceli/tonymiceli/092608
Description: “Here's a lesson I made for a student explaining a ii min7 b5 - V - i
progression.”183
Annotation: Tony Miceli describes the modes he uses over a minor ii-V-I progression in
C minor. He begins by describing the D locrian mode as the seventh step of Eb major.
The description is in contrast to how he describes the modes in his early lesson series,
The Modes In Detail. He goes on to describe more variations using the melodic minor
181
Behn Gillece “Diminished Pickup Exercise Part 1,” the Vibes Workshop,
http://www.vibesworkshop.com/audio/diminished-pickup-exercise-pt-1-behn-gillece/behng/040315
(accessed February 25, 2016).
182
Tony Miceli, “What to Play Over a ii min7 b5,” the Vibes Workshop,
http://www.vibesworkshop.com/audio/what-do-i-play-over-min7-b5-tony-miceli/tonymiceli/092608,
(accessed February 25, 2016).
183
Ibid.
95
scale based on the i chord. For example, he uses the C melodic minor scale starting on
the 5th step for the V7. By describing the scale starting on a pitch other than the root, the
first explanation of a D Locrian mode fits the lesson appropriately.
Goals: Students will learn the how to use the Locrian scale, and harmonic minor scale
over a minor ii-V-I progression.
Assignment: Students will first listen to Tony’s lesson while standing behind their vibes.
As Tony is performing the scales, students should hear and pick out the notes he’s
playing. The process will begin to introduce locrian and harmonic minor sound into the
students’ aural vocabulary. Next, students will practice the lessons minor iib5-V7-I
exercise in all twelve keys. Since Kenny Dorham wrote “Blue Bossa” in the key of C
minor, students should start in that key. Miceli demonstrates the locrian scale over the
Dm7 chord. Then he performs a C harmonic minor scale starting on the G over a G7
chord. Students should first practice all twelve locrian and harmonic minor scales
separately, and then practice them in succession. Students should experiment and write
in their notebook at least three new minor lines.
For further study, please review: “Dominant Chord Scales.”184
Lesson 3:
1) “‘Blue Bossa’ Lick”185
Type: Audio File
Length: 3:33
Posting Artist: Gilbranimo
Date Posted: 5/24/2010
Link: http://www.vibesworkshop.com/audio/blue-bossa-lick/gilbranimo/052410
184
Tony Miceli, “Dominant Chord Scales,” the Vibes Workshop,
http://www.vibesworkshop.com/audio/dominant-chord-scales-tony-miceli/tonymiceli/022509 (February
24, 2016).
185
Gilbranimo, “‘Blue Bossa’ Lick,” the Vibes Workshop,
http://www.vibesworkshop.com/audio/blue-bossa-lick/gilbranimo/052410 (accessed February 25, 2016).
96
Description: “Here is a lick Tony showed me at our last lesson. We were talking about
minor blues and connecting chords with scales. Learning this lick in all keys is a cool
way to get a feel for putting different scales together in a cohesive line. This lick uses
Aeolian, Dorian, Locrian, and altered scale. Thanks, G.”186
Annotation: The user Gilbranimo shares a lick he learned from Tony Miceli that fits
over a chorus of “Blue Bossa.” Gilbranimo does a nice job first demonstrating the line,
and then breaking each section down. He first plays the notes so students may transcribe
them first. Then, he describes what he played in a slow and clear manner.
Goals: Students will learn and transcribe the lick to be played over the first chorus of
“Blue Bossa.”
Assignment: Students will transcribe and practice the lick Gilbranimo describes in his
lesson. Students should practice playing through the chords of “Blue Bossa,” and fit the
lick into their playing. Also, students should practice the lick in as many keys as
possible.
For further study, please review: “Dominant Chord Scales.”187
Lesson 4:
1) “Chord Melody for Beginners”188
Type: Audio File
Length: 8:38
Posting Artist: Tony Miceli
Date Posted: 9/27/2009
Link: http://www.vibesworkshop.com/audio/chord-melody-beginners-tonymiceli/tonymiceli/092709
186
Ibid.
187
Tony Miceli, “Dominant Chord Scales,” (February 24, 2016).
188
Tony Miceli, “Chord Melody for Beginners,” the Vibes Workshop,
http://www.vibesworkshop.com/audio/blue-bossa-lick/gilbranimo/052410 (accessed February 25, 2016).
97
Description: “Here's some thoughts on chord-melodies. I was talking about these in a
lesson and thought I'd pass them on to you. The challenge is for any person who's new
to chord-melodies to record and post one. I'll also post some writing examples
below.”189
Annotation: Tony Miceli describes how to students developing chord melody skills. He
offers the imagery of a beginner’s guitar book. The method books have a student play a
simple melody and them attach block chords to the melody’s rhythm. Students in the
Vibesworkshop.com curriculum should be familiar with the concept because beginner
piano books are set up similarly. An important point Miceli makes is that students must
think of the chord from the melody down, which will be discussed in the next lesson.
Goals: Students will learn the concept of chord melody, and how to voice a chord form
the top down.
Assignment: Students will first listen to Miceli’s lesson on chord melody. Then,
students will play the melody of “Blue Bossa” in the right hand only, slow and rubato.
In the left hand, students play only one note of each chord on the downbeat. Once the
student is comfortable with a single note, they will add a second, and then a third. At
that point students should be playing with all four mallets. Once students are
comfortable enough, they will perform “Blue Bossa” in a chord melody style with the
metronome at a slow to medium tempo. Be sure to include open and closed voicings.
Tony reviews the sound of open and closed voicings on the audio track. Students may
continue to learn the chord melody in any number of keys, and post their recordings
onto the website.
For further study, please review: “Using Wide Voicings for Chord Melodies.”190
189
Ibid.
190
Behn Gillece, “Using Wide Voicings for Chord Melody,” the Vibes Workshop,
http://www.vibesworkshop.com/audio/using-wide-voicings-chord-melodies-behn-gillece/behng/041514
(accessed February 25, 2016).
98
WEEK 11
Lesson 1:
1) “Voice From the Top Down”191
Type: Video File
Length: 6:32
Posting Artist: Tony Miceli
Date Posted: 1/23/2012
Link: http://www.vibesworkshop.com/video/voice-top-down/tonymiceli/012310
Description: “Most of us voice from the bottom up, right? CM7, we hit the C and build
up from there. Try voicing from the top down. See the B or the D and then fill in the rest
of the chord. It's not easy to switch, but it will REALLY help your playing.”192
Annotation: Tony Miceli discusses how to voice a chord from the top down. When he
demonstrates the process he often leaves the root of the chord out. A large portion of the
lesson (2:20 – 4:00) Miceli merely grooves over the root and 5th, and experiments with
different voicings of a Bb minor chord. Then, he focuses direction to the top voice, and
displays how to voice keeping the note in his ear on the top.
Goals: Students will continue to work on chord melody technique by working on
building chords from the top down.
Assignment: Students will first listen to Miceli’s lesson describing how to build chords
from the top down. Next, students will create a groove on the first chord of “Blue
Bossa,” a Cm7. Then, they will choose a chord tone to voice down from, as Miceli
demonstrates in his video. For example, students will groove over the Cm7, and then
voice the chord down from a Bb, the seventh. Once that becomes comfortable students
will repeat the process on the next chord. Once all the chords in “Blue Bossa” have been
practiced, students should go back to the first chord and then voice down from a D, the
9th. They will repeat the exercise until they have practices all upper partials.
191
Tony Miceli, “Voice From the Top Down,” the Vibes Workshop,
http://www.vibesworkshop.com/video/voice-top-down/tonymiceli/012310 (accessed February 25, 2016).
192
Ibid.
99
For further study, please review: “Bringing All the Mallets Into Play.”193
Lesson 2:
1) “Let's Comp – Bossas”194
Type: Audio File
Length: 6:32
Posting Artist: Behn Gillece
Date Posted: 11/06/2011
Link: http://www.vibesworkshop.com/audio/lets-comp-bossas-behngillece/behng/110611
Description: “Here's a lesson on comping for bossas. Refer to the "Check this out" for
some voicing ideas.”195
Annotation: Behn Gillece discusses several influences for bossa nova comping patterns.
He compares his rhythmic style to classical nylon string guitar players. Gillece doesn’t
demonstrate a typical bossa rhythm until the 2:00 mark. He demonstrates over the
classic bossa nova tune “The Girl From Ipanema” using what he calls “Donald Fagan
voicings,” which he discusses in another lesson found on the website. Through out the
lesson Gillece tries to convey the feel appropriate for bossas instead of recommending
exact rhythms to play.
Goals: Students will learn the appropriate rhythms for comping over a Bossa
193
Tony Miceli, “Bringing All the Mallets Into Play,” the Vibes Workshop,
http://www.vibesworkshop.com/audio/bringing-all-mallets-play-tony-miceli/tonymiceli/111208 (February
25, 2016).
194
Behn Gillece, “ Let’s Comp – Bossas,” the Vibes Workshop,
http://www.vibesworkshop.com/audio/lets-comp-bossas-behn-gillece/behng/110611 (accessed February
25, 2016).
195
Ibid.
100
Assignment: Students should first listen to Behn’s lesson, and transcribe the rhythm he
demonstrates comping over “The Girl From Impanena.” Next, comp through “Blue
Bossa,” and apply the comping rhythm; the voicing can be the student’s choice.
Students should find and listen to any bossa nova recordings, and transcribe at least two
more comping rhythms.
For further study, please review more recording by bossa nova artists.
Lesson 3:
1) “Simple Etude for Minor ii-V-I’s”196
Type: Audio File
Length: :28
Posting Artist: Behn Gillece
Date Posted: 05/02/2014
Link: http://www.vibesworkshop.com/audio/simple-etude-minor-ii-v-behngillece/behng/050214
Description: “This etude is built on the changes to ‘Blue Bossa’. Notice the treatment of
the Dm7b5 measures. The ideas over them resemble Fm7 lines, so the tip in this etude is
to think a minor 3rd away for half diminished chords; it helps! Enjoy the etude!”197
Annotation: The lesson is simply Behn Gillece performing a line over the changes of
“Blue Bossa.” It will be a difficult challenge for students to transcribe the lines, however
they should already be familiar with the changes of the tune, which will assist in
learning the lick.
Goals: Students will continue to exercise their aural skills while expanding their
vocabulary of lines to play over “Blue Bossa.”
Assignment: Students will first listen to Behn’s lesson with the “Blue Bossa” chords in
front of them. Then, they will transcribe the entire lesson, and practice the lines Behn
196
Behn Gillece, “Simple Etude for Minor ii-V-I’s,” the Vibes Workshop,
http://www.vibesworkshop.com/audio/simple-etude-minor-ii-v-behn-gillece/behng/050214 (accessed
February 25, 2016).
197
Ibid.
101
wrote. Once students feel comfortable with their transcriptions, they will record their
versions of the etude and post it to the comment section of the lesson’s page.198
WEEK 12
Lesson 1:
1) “Dominant & Minor Part 4 “Full Variations’”199
Type: Video File
Length: 3:07
Posting Artist: Behn Gillece
Date Posted: 12/27/2013
Link: http://www.vibesworkshop.com/video/dominant-minor-workout-pt-4-fullvariation-behn-gillece/behng/122713
Description: N.A.
Annotation: Behn Gillece concludes his series on dominant and minor chord pickup
lines. Similar to the previous three lessons, Gillece includes a PDF of the line he
demonstrates. He also discusses how the theory works behind the chord.
198
Ibid.
199
Behn Gillece, “Dominant & Minor Part 4 “Full Variations,” the Vibes Workshop,
http://www.vibesworkshop.com/video/dominant-minor-workout-pt-4-full-variation-behngillece/behng/122713 (accessed February 25, 2016).
102
Figure 3.6: Dominant & Minor Workout Part 4.200 Used with permission from Tony
Miceli.
Goals: Students will continue to mature their lines while soloing by improving their
abilities to ornament chord tones that also land on strong beats in the measure.
Assignment: Students will listen to Behn’s video and print out the attached PDFs.
Students will practice the written exercise on all chord tones of all twelve dominant
chords. Students should combine the new variations to those studied previously, and
inject the line variations into their soloing over “Blue Bossa.”
For further study, please review: “Diminished Pickup Exercise Part 2”201
2) “Cool Minor- Altered Line”202
Type: Audio File
Length: 4:02
Posting Artist: Behn Gillece
200
201
Ibid.
Behn Gillece, “Diminished Pickup Exercise Part 2,” the Vibe Workshop,
http://www.vibesworkshop.com/audio/diminished-pickup-exercise-pt-2-behn-gillece/behng/040615
(accessed February 25, 2016).
202
Behn Gillece, “Cool Minor – Altered Line,” the Vibes Workshop,
http://www.vibesworkshop.com/audio/cool-minor-altered-line-behn-gillece/behng/112112 (accessed
February 25, 2016).
103
Date Posted: 11/21/2012
Link: http://www.vibesworkshop.com/audio/cool-minor-altered-line-behngillece/behng/112112
Description: N.A.
Annotation: Behn Gillece begins by playing the four variations included on the PDF he
attached. Unfortunately, the attachment is no longer available. Gillece does an adequate
job describing the lines of each variation. Students should not have trouble transcribing
the lines by ear.
Goals: Students will begin to apply the altered scale to their minor ii-V-I exercises.
Assignment: Students will first listen to Behn’s lesson, and then transcribe the four lines
he demonstrates. The lines make use of the altered scale, which is best understood as 1,
b2, b3, b4, b5, b6, and b7. Another way to think of the altered scale is to play the
melodic minor scale starting on the seventh step (i.e. C7 alt looks like a Db melodic
minor scale starting and stopping on C). Once the line has been transcribed, students
should practice using it over the minor ii-V-I in “Blue Bossa.” The lesson may count
towards the students’ two weekly transcription assignments.
For further study, please review: “Melodic Minor Scale Part 7 - Altered Scale”203
Lesson 3:
1) “Turn Around Bossa”204
Type: Audio File
Length: 1:10
203
Tony Miceli, “Melodic Minor Scale Part 7 - Altered Scale,” the Vibes Workshop,
http://www.vibesworkshop.com/audio/melodic-minor-scale-pt-7-altered-scale-tonymiceli/tonymiceli/050510 (accessed February 25, 2016).
204
Tony Miceli, “Turn Around Bossa,” the Vibes Workshop,
http://www.vibesworkshop.com/audio/turn-around-bossa-tony-miceli/tonymiceli/062409 (accessed
February 25, 2016).
104
Posting Artist: Tony Miceli
Date Posted: 6/24/2009
Link: http://www.vibesworkshop.com/audio/turn-around-bossa-tonymiceli/tonymiceli/062409
Description: “Here's a short etude that will help you work on your voicings. It's just a
turnaround where you can check out 13ths and b and #9. It's definitely an etude that you
should at least put parts of it through all the keys. I've included a drum only track below.
I left out the bass so you can hear the sounds from only the vibes.”205
Annotation: Tony Miceli demonstrates his comping patterns over a turnaround in the
bossa nova style. Students should read the lesson’s description before practicing.
Goals: Students will practice major turnarounds in the bossa style using 9ths and 13ths.
Assignment: Students should download the comping track to their audio devices. They
will use any turnaround lines or chords they have transcribed. The student can practice
any material over the comping and percussion track in the key of the track. The student
should then alter any material to land on or voice 9ths and 13ths; for now the students
should just play natural 9ths and 13ths.
For further study, please review: “Melodic Minor Scale Part 7 - Altered Scale.”206
Lesson 4:
Assessment: Using a metronome, students will record two tracks of “Blue Bossa” in the
original key. The first should include the melody played twice, comping for two
choruses, soloing over two choruses, and finish with comping over the form twice. Next,
through their earphones, students will use the first track in place of the metronome to
record a second track playing the opposite of the first: comping for two choruses,
soloing for two choruses, comp for two choruses, and finally finishing by playing the
melody over the form twice. Students should use ideas from your notebook on the
recordings. They must also include at least two turnaround variations. Once satisfied,
students will post the tracks to the site not later than end of the fourteenth week.
205
Ibid.
206
Tony Miceli, “Melodic Minor Scale Part 7 - Altered Scale,” (accessed February 25, 2016).
105
Conclusion
At the end of week fourteen students should feel proud they have completed
their work. The Beginner’s Course is not easy for those just starting their journey into
the world of jazz vibraphone. Improvisation can be a terrifying concept for some, but
students of the course have compiled many notes and transcriptions to help them in the
future.
During the past fourteen weeks students have studied three standard jazz tunes in
great detail. As part of the lesson to those tunes, students have developed several
necessary skills that all vibists require moving forward. Tempo maintenance, rhythmic
accuracy, groove and style, playing lines, choosing interesting voicings, and comping
appropriately are all skills cultivated throughout out the course. While students were
most likely studying and practicing alone, comping skills may have proved difficult to
develop since they require a soloist to accompany. The recording projects that appear at
the end of weeks four, eight, and twelve aim to simulate an ensemble or combo
environment.
The first month students simply record themselves grooving over single chords,
and then listen back to transcribe their own ideas. By hearing themselves, students
heighten their listening skills. The second month requires students to record two tracks
106
complementing each other. The assessment challenges students to listen to themselves
and comp with the added insight of knowing what the soloist is already going to play. In
the final month, students repeat the assignment from the second month, but over “Blue
Bossa” instead.
The Beginner’s Course is designed for students with basic classical music theory
knowledge. This means students may not have studied modes or extensions of basic
triads and seventh chords. The sizable amount of lessons dedicated to studying jazz
music theory permeates the entire course. Students should continue to use the theory
lessons to further develop their understanding of jazz music.
Students should think of their transcriptions as a map. Whatever tune they are
preparing, a TOTM or not, students must listen to professional vibists perform the same
tune, or at least the same progressions. Hearing and working out lines, voicings, and
rhythms on their own will help students find their way through the multitude of choices
that is improvisation.
107
CHAPTER IV – INTERMEDIATE COURSE
Tune of the Month
(Weeks 1-4) – “Recorda-Me” by Joe Henderson
(Weeks 5-8) – “The Days of Wine and Roses” by Henry Mancini
(Weeks 9-12) – “Bluesette” by Toots Thielemans
The Vibesworkshop.com’s Intermediate Course allows students to continue their
study of jazz vibraphone in an intensive environment. Students will focus on three tunes,
memorize the melody and chords in all twelve keys, undertake two transcriptions a
week, and practice most lessons in all twelve keys. The course also last sixteen weeks,
but only supplies students with fourteen weeks of lessons. The remaining two will be for
students to either catch up on assignments, or continue further down a lesson’s path.
Students will require the following materials to complete the course’s assignments and
assessments: vibraphone, personal audio device, a metronome, a notebook to notate
transcriptions, a recording device, and sound editing software such as Audacity, a free
recording software.
In the first month, students will work on the tune “Recorda-Me” by Joe
Henderson. It is another bossa nova style tune similar to “Blue Bossa.” Students will
work on sequencing lines over ii-V-I patterns in a whole tone cycle. The concept is
studied because it appears in the tune. Also, practicing in whole tone cycles is an
108
excellent exercise beneficial for practice many concepts, and students will certainly find
use for it in the future. The second tune, “The Days of Wine and Roses,” will allow
students to continue developing their voicings and comping styles. They will also
develop simple bass lines, which will become part of their final assessment. The third
month features “Bluesette” by Toot Thielemans. This will be the first jazz waltz
students encounter in the curriculum.
Students will work alone during most of the process, and so they may feel more
comfortable working in a different order than listed below. It is recommended to start at
Week 1. By the end of this course students should be able to function on their own. This
means they will have all the tools necessary to continue learning new tunes,
transcribing, and developing new concepts on their own without the help of the
curriculum. They may also consider recording their own lessons, and contributing them
to Vibesworkshop.com.
109
WEEK 1:
Tune of the Month – “Recorda-Me” by Joe Henderson
Lesson 1:
1) “Ear Training Introduction”207
Type: Audio File
Length: 6:26
Posting Artist: John Mark Piper
Date Posted: 10/1/2008
Link: http://www.vibesworkshop.com/audio/1-ear-training-introduction/john-markpiper/100108
Description: N.A.
2) “Ear Training CD With Pathways”208
Type: Audio File
Length: 6:45
Posting Artist: John Mark Piper
Date Posted: 10/1/2008
Link: http://www.vibesworkshop.com/audio/2-ear-training-cd-pathways/john-markpiper/100108
Description: N.A.
3) “Diatonic Pathways Two-Note Melodies”209
Type: Audio File
Length: 4:34
Posting Artist: John Mark Piper
Date Posted: 10/1/2008
207
Piper, “Ear Training Introduction.”
208
Piper, “ Ear Training CD With Pathways.”
209
Piper, “ Diatonic Pathways Two-Note Pathways.”
110
Link: http://www.vibesworkshop.com/audio/3-diatonic-pathways-two-notemelodies/john-mark-piper/100108
Description: N.A.
4) “First Chromatic ET: Fi-Sol-F-Mi-Re-Do”210
Type: Audio File
Length: 4:42
Posting Artist: John Mark Piper
Date Posted: 10/01/2008
Link: http://www.vibesworkshop.com/audio/4-first-chromatic-et-fi-sol-fa-mi-redo/john-mark-piper/100108
Description: N.A.
5) “Ra: Flat 2 of the Major Scale”211
Type: Audio File
Length: 6:11
Posting Artist: John Mark Piper
Date Posted: 10/04/2008
Link: http://www.vibesworkshop.com/audio/5-ra-b2-major-scale/john-markpiper/100408
Description: N.A.
6) “Te-Ti-Do: Flat 7”212
Type: Audio File
Length: 5:39
Posting Artist: John Mark Piper
Date Posted: 10/07/2008
Link: http://www.vibesworkshop.com/audio/6-te-ti-do-flat-7/john-mark-piper/100708
Description: N.A.
210
Piper, “First Chromatic ET: Fi-Sol-F-Mi-Re-Do.”
211
Piper, “Ra: Flat 2 of the Major Scale.”
212
Piper, “Te-Ti-Do: Flat 7.”
111
7) “Me-Mi-Re-Do”213
Type: Audio File
Length: 4:56
Posting Artist: John Mark Piper
Date Posted: 10/10/2008
Link: http://www.vibesworkshop.com/audio/me-mi-re-do/john-piper/101008
Description: “Flat three.”214
8) “Le-Sol-La-Ti-Do”215
Type: Audio File
Length: 4:16
Posting Artist: John Mark Piper
Date Posted: 10/14/2008
Link: http://www.vibesworkshop.com/audio/8-le-sol-la-ti-do/john-mark-piper/101408
Description: N.A.
9) “Modulations and Intervals with Pathways”216
Type: Audio File
Length: 5:12
Posting Artist: John Mark Piper
Date Posted: 10/26/2008
Link: http://www.vibesworkshop.com/audio/modulations-and-intervals-pathways/johnmark-piper/102608
Description: N.A.
10) “Random Intervals With Pathways (Practice)”217
213
Piper, “Me-Mi-Re-Do.”
214
Ibid.
215
Piper, “Le-Sol-La-Ti-Do.”
216
Piper, “Modulations and Intervals with Pathways.”
217
Piper, “Random Intervals With Pathways (Practice).”
112
Type: Audio File
Length: 7:54
Posting Artist: John Mark Piper
Date Posted: 10/26/2008
Link: http://www.vibesworkshop.com/audio/10-random-intervals-pathwayspractice/john-mark-piper/102608
Description: N.A.
Goals: Students will establish and begin improving their aural skills by memorizing how
each note of a major scale leads back to the root or Do.
Assignment: Students will listen to the lesson recordings, and then download the third
lesson onto their personal audio device to practice the exercises three times a day.
Students may recognize these lesson from the Vibesworkshop.com’s Beginner’s Course.
The lessons are still valuable for those engaging in the current Intermediate Course.
Students should continue to work through the lessons until the end of Week 12, or
beyond until the concept is mastered.
For further study, please view: “Listen When You Play”218
Lesson 2:
1) “Chords & Harmony - My Evolution of the II V”219
Type: Audio File
Length: 8:50
Posting Artist: Tony Miceli
Date Posted: 10/24/2011
Link: http://www.vibesworkshop.com/audio/chords-harmony-my-evolution-ii-v-tonymiceli/tonymiceli/102411
Description: N.A.
218
Tony Miceli, “Listen When you Play.”
219
Behn Gillece, “Simple Etude for Minor ii-V-I’s,” (accessed March 7, 2016).
113
Annotation: Tony Miceli gives an in depth description of the functions of the two most
basic chord progression: V-I and IV-V-I. He starts by demonstrating the sounds of each
progression, and gives historical implications of both. He then guides the students
through the relationship of other progression to the IV-V-I, such as the i-V-I
progression. He challenges students to spend their practice time cadencing to any
random key to familiarize themselves with multiple paths to tonicize a key center.
Goals: Students will practice several pathways of modulation to any given key center.
Assignment: Students will practice progressing to any random key during their warm up
time. It is important, Miceli states, for students to spend time discovering new pathways,
key centers, and substitution chords. By recording their discovery sessions, students
may also notate any voicings or lines they enjoyed creating. Students will practice this
exercise for ten minutes every day until the end of Week 12.
For further study, please view: “Practicing ii V’s” [sic]220
Lesson 3:
1) “Even More on Open Closed”221
Type: Audio File
Length: 4:54
Posting Artist: Tony Miceli
Date Posted: 2/4/2012
Link: http://www.vibesworkshop.com/audio/even-more-open-closed-tonymiceli/tonymiceli/020412
Description: N.A.
220
Tony Miceli, “Practicing II V’s,” the Vibe Workshop,
http://www.vibesworkshop.com/audio/chords-harmony-practicing-ii-vs-tony-miceli/tonymiceli/102411
(accessed March 7, 2016).
221
Miceli, “2-Mallet Technique,” (accessed February 21, 2016).
114
Annotation: Tony Miceli describes multiple practice methods for open closed voicings
over a F7 chord. The exercise can be used on any chord and any quality. He stresses that
every player should practice flipping the second and third notes of a chord up the octave
to familiarize themselves with the structures and sounds of the chords. One fun aspect to
the lesson is that students don’t even have to choose a standard voicing. At the 1:05
mark, Miceli chooses four pitches at random and then uses the techniques to manipulate
the voicings open and closed.222
Goals: Students will discover new ways to practice and construct open and closed
voicings.
Assignment: Students will first listen to Miceli masterfully navigate open and closed
voicings using several concepts. They will notate each exercise or concept, not
necessarily the chords or notes Miceli plays. The purpose of the lesson is to equip
students so they can discover their own voicings. Another student benefit to the lesson is
the experience they will gain by navigating the changes themselves. At first, students
should choose a random cluster in closed position, and then practice switching open and
closed positions on those pitches. Once comfortable with the multitude of operations to
use over voicings, students will repeat the exercises using the chords of “Recorda-Me”
individually.
For further study, please review: “Finding Voicings.”223
Lesson 4:
1) “Brazilian Comping”224
Type: Text File
Length: N.A.
Posting Artist: Tony Miceli
Date Posted: 1/22/2008
222
Ibid.
223
Behn Gillece, “Finding Voicings,” (accessed March 7, 2016).
224
Miceli, “Chords and Harmony – Jamming With Chords.”
115
Link: http://www.vibesworkshop.com/book/good-vibes/grooves/brazilianinfluenced/brazilian-comping/tonymiceli/012208
Description: N.A.
Annotation: Tony Miceli wrote a brief essay on the rhythmic qualities of Brazilian
guitar comping. The lesson is a short read, and is easily understandable. It demonstrates
three basic guitar patterns over the chord progression to “The Girl Form Ipanema.”
Figure 4.1: Brazilian Comping Patterns Part 1.225 Used with permission from Tony
Miceli.
Figures 4.2: Brazilian Comping Patterns Part 2.226 Used with permission from Tony
Miceli.
225
Ibid.
226
Ibid.
116
Figure 4.3: Brazilian Comping Patterns Part 3.227 Used with permission from Tony
Miceli.
Goals: Students will develop appropriate comping patterns for the Brazilian style of
bossa nova.
Assignment: Students should first read and play through the examples included in the
lesson. After comprehending the patterns, students should apply the patterns to the
chords in “Recorda-Me.” They should be sure to include open and closed voicings they
have discovered in the previous lesson. Once the assignment is mastered, students
should write down their three favorite voicing and rhythmic combinations in the bossa
nova style in their notebooks. At the end of the week, students should record two tracks
(with a metronome) comping through open and closed voicings in the Brazilian guitar
patterns, and post the tracks to the site. Students may view other students’ posts before
recording to gain familiarity with the end assignment. The two tracks should consist of
contrasting ides.
For further study, please review: “Cop This Brazilian Groove September 2010”228
227
Ibid.
228
Tony Miceli, “Cop This Brazilian Groove September 2010,” the Vibes Workshop,
http://www.vibesworkshop.com/audio/cop-brazilian-groove-sept-2010-tony-miceli/tonymiceli/092810
(accessed March 7, 2016).
117
WEEK 2:
Lesson 1:
1) “Turn Around Bossa”229
Type: Audio File
Length: 1:10
Posting Artist: Tony Miceli
Date Posted: 6/24/2009
Link: http://www.vibesworkshop.com/audio/turn-around-bossa-tonymiceli/tonymiceli/062409
Description: “Here's a short etude that will help you work on your voicings. It's just a
turnaround where you can check out 13ths and b and # 9ths [sic]. It's definitely an etude
that you should at least put parts of it through all the keys. I've included a drum only
track below. I left out the bass so you can hear the sounds from only the vibes.”230
Goals: Students will practice major turnarounds in the bossa style using 9ths and 13ths.
Assignment: Students will download the drum track to their personal audio devices.
Using the patterns they can practice any turnaround pattern in any key. By performing to
the Brazilian comping pattern, students will be able to internalize the style, which will
help them create a better final assignment. Even though the tune “Recorda-Me” does not
feature a standard turnaround, the assignment will help students practice mm 10-14
where the key center changes quickly. Students will not post this assignment, but should
practice it every day until the beginning of Week 5.
For further study, please review: “13th Chords.”231
229
Miceli, “Turn Around Bossa.”
230
Ibid.
231
Tony Miceli, “13th Chords,” the Vibes Workshop,
http://www.vibesworkshop.com/audio/13th-chords-tony-miceli/tonymiceli/120808 (accessed March 8,
2016).
118
Lesson 2:
1) “Connecting the Dots Part 1 – Creating Lines Part 1”232
Type: Audio File
Length: 8:32
Posting Artist: Tony Miceli
Date Posted: 11/4/2009
Link: http://www.vibesworkshop.com/audio/connecting-dots-part-1-tony-micelicreating-lines-part-1/tonymiceli/110409
Description: “Here's a series I'd like to run on connecting the dots, that is making lines
with chord tones and scales. I think this could be very useful for some of you guys and
this would get more complex as time went on. Let me know what you think. Try doing
the exercise and posting it.”233
Annotation: Tony Miceli discusses how to create lines for beginners. He wants them to
think and hear chord tones only, and then connect two or more chord tones with tones
either a whole step above or half step below. The lesson is to be practiced in strict time,
so students will need their metronomes. At the 2:40 mark he informs students to save
playing the 4th of a scale to only lead to the 3rd.234 The idea is echoed in John Piper’s
pathway lessons.
Goals: Students will discover that not all the notes in a line have to be heard in their ear.
Instead they should focus on simple chord tones that they can accurately sing, and then
ornament those tones with other pitches in the scale they are using.
Assignment: Students should listen to Miceli’s lesson a few times to truly understand
the concept he is expounding. Students should then realize that they do not need to hear
every note they play, but just the important chord tones. From there, they are simply
232
Tony Miceli, “Connecting the Dots Part 1 – Creating Lines Part 1,” the Vibes Workshop,
http://www.vibesworkshop.com/audio/connecting-dots-part-1-tony-miceli-creating-lines-part1/tonymiceli/110409 (accessed March 8, 2016).
233
Ibid.
234
Ibid.
119
ornamenting the melody in their heads. Students should play a chord and improvise
singing a simple melody using only chord tones. Next, they will experiment playing
different notes of the scale leading into the sung notes. Students should practice one key
per the length of the track, then start the track over but in a key center one whole step
away from the previous. Repeat until the student has played all six keys in the cycle.
They should also remember to follow Miceli’s voice-leading concerns from the lesson.
Next, students will record themselves playing lines based on the simple melody they
sing. They will do this for three minutes, and listen back to their recording. They should
be sure to transcribe any lines they enjoy. Although Miceli only demonstrates the
concept on a single chord, students may practice over a progression, or even the entire
tune, “Recorda-Me.” Students will not be posting to the site, but should practice this
exercise until the end of Week 12.
For further study, please review: “From Here to There.”235
Lesson 3:
1) “Ideas for Stagnant Chords”236
Type: Video File
Length: 5:45
Posting Artist: Behn Gillece
Date Posted: 3/29/2012
Link: http://www.vibesworkshop.com/video/ideas-stagnant-chords-behngillece/behng/032912
Description: “Simple ideas that will help keep the harmony moving.”237
235
Tony Miceli, “From Here to There,” the Vibes Workshop,
http://www.vibesworkshop.com/video/here-there/tonymiceli/030209(accessedMarch 8, 2016).
236
Behn Gillece, “Ideas for Stagnant Chords,” the Vibes Workshop,
http://www.vibesworkshop.com/video/ideas-stagnant-chords-behn-gillece/behng/032912 (accessed March
3, 2016).
237
Ibid,
120
Annotation: Behn Gillece demonstrates how to add chords to move stagnant harmonies
that sit on a single chord for multiple measures. He basically adds in simple turnaround
patterns that land back on the original key. It is a simple but effective device for moving
the harmonic motion forward.
Goals: Students will learn to insert chords to quicken the harmonic rhythm.
Assignment: Students will transcribe the three variations Gillece describes in the lesson.
Students should alter the variations to fit into the key of “Recorda-Me.” There are seven
and a half measures (mm1-8) where the harmonic motion is stagnant between two
chords. Students will use the variations from Gillece’s lesson to propel the harmony
through those measures. They will record two choruses of “Recorda-Me” comping using
the concept from the lesson. Then, students will use the track as a metronome, and solo
over their own comping. They will notice that certain note choices won’t sound
appropriate in the later choruses. Students should use their ears to recognize the chordal
changes, and find options to make their lines for the sound.
For further study, please review: “Move it Sideways.”238
Lesson 4:
1) “Cop This Brazilian Groove September 2010”239
Type: Audio File
Length: 5:58
Posting Artist: Tony Miceli
Date Posted: 9/28/2010
Link: http://www.vibesworkshop.com/audio/cop-brazilian-groove-sept-2010-tonymiceli/tonymiceli/092810
Description: N.A.
238
Tony Miceli, “Move it Sideways,” the Vibes Workshop,
http://www.vibesworkshop.com/audio/move-it-sideways-tony-miceli/tonymiceli/072909 (accessed March
8, 2016).
239
Tony Miceli, “Cop This Brazilian Groove September 2010,” (accessed March 8, 2016).
121
Annotation: Tony Miceli shares a simple, but challenging, Brazilian comping pattern.
The rhythm is simply upbeats at a medium tempo, however the harmony changes before
the next measure begins. In Miceli’s words, “it anticipates the downbeat.”240 Later,
Miceli adds a vocal part. In the past, he has sung or asked students to sing while playing,
but only pitches. In the lesson Miceli sings the surdo part, an integral instrument in the
Brazilian style.
Goals: Students will play and sing in the Brazilian style using a simple guitar comping
pattern.
Assignment: Students will memorize the chords to “Recorda-Me” if they have not
already. After listening to Miceli’s lesson, students should practice the pattern on an
isolated random chord. Once comfortable with the pattern, students will record
themselves comping “Recorda-Me” using the pattern and singing the surdo part.
Students should listen to their tracks a few times before rerecording, and finally posting
the assignment to the site.
240
Ibid.
122
WEEK 3:
Lesson 1:
1) “A Very Quick and Dirty Video On Getting Your Groove On”241
Type: Video File
Length: 7:25
Posting Artist: Tony Miceli
Date Posted: 4/10/2009
Link: http://www.vibesworkshop.com/video/very-quick-and-dirty-video-getting-yourgroove/tonymiceli/041009
Description: “Just a very very [sic] Quick (and Dirty) video about Getting Your Groove
On. In other words setting up a groove and soling over it.”242
Annotation: Tony Miceli challenges students to practice a simple groove over two
chords, Fm7 and Bbm7. He demonstrates simple voicings when comping the chords. He
sets up the groove with good time, but then stops playing the groove in order to
improvise lines. Occasionally he goes back to the groove just so the sound remains in
his ear. The exercise can be used to work on almost any technique.
Goals: Students will develop ideas over a simple ii-V7 groove. They will then move the
key center to outline the chords in “Recorda-Me.”
Assignment: Students will groove over a simple ii-V7 progression to develop ideas to
play over mm 9-15 of “Recorda-Me.” Instead of Fm7 – Bb7, students will start on Cm7 –
F7 in order to practice landing on BbM7 in measure 9. Students will groove on the pattern
until they feel comfortable moving to a different key center. They will then modulate a
whole step down to the key of Ab Major. In other words, the progression they will
groove on will change to Bbm7 – Eb7. Students may also think of moving to the next two
chords in the circle of 5ths. Students will continue the pattern until they have looped
241
Tony Miceli, “A Very Quick and Dirty Video On Getting Your Groove On,” the Vibes
Workshop, http://www.vibesworkshop.com/video/very-quick-and-dirty-video-getting-yourgroove/tonymiceli/041009 (accessed March 8, 2016).
242
Ibid.
123
around to the original progression. For extra study, students can start a half step higher
to practice grooving on the other six major key centers. Student should record
themselves grooving to hear how they sound, transcribe any interesting lines, and finally
post the track to the website.
For further study, please review: “C-G7 Revisited.”243
Lesson 2:
1) “Connecting the Dots”244
Type: Audio File
Length: 4:18
Posting Artist: Tony Miceli
Date Posted: 3/27/2010
Link: http://www.vibesworkshop.com/audio/connecting-dots-tonymiceli/tonymiceli/032710
Description: “Practicing connecting the dots between chords of a tune.”245
Annotation: Tony Miceli expands on a concept he discusses in another lesson. Instead of
grooving on a single chord, he demonstrates using the melody and chords of “All the
Things You Are,” however the concept is easily applied to any tune. He takes the first
melodic pitch of each measure, and requires students to not only play it, but hear it too.
From there students may improvise in the spaces between the required pitches. The
concept allows students to practice tempo, style, chords, and melodies while
improvising.
243
Tony Miceli, “C-G7 Revisited,” the Vibes Workshop,
http://www.vibesworkshop.com/audio/c-g7-revisited-tony-miceli/tonymiceli/010411(accessed
March 8, 2016).
244
Tony Miceli, “Connecting the Dots,” the Vibes Workshop,
http://www.vibesworkshop.com/audio/connecting-dots-tony-miceli/tonymiceli/032710 (accessed March
8, 2016).
245
Ibid.
124
Goals: Students will apply last weeks lesson on hearing and then ornamenting a pitch to
practicing the melody of a tune.
Assignment: After listening to Miceli’s second installment on hearing pitches and
improvising, students will apply the concept to the tune “Recorda-Me.” By now students
should have both the chords and melody memorized. They will record themselves
performing a chorus of the first melody note in each measure with the chords. In the
second chorus they will add simple quarter notes between the melody notes. The third
and final time students will be free to improvise in any manner between the melodic
notes. Students should transcribe at least three lines they create. The assignment will test
students’ mastery of the tune in its original key, which is why they will be required to
repeat the assignment in a different key. Students must continue to practice both
exercises and tunes in all twelve keys.
Lesson 3:
1) “Chords as Lines”246
Type: Video File
Length: 3:58
Posting Artist: Behn Gillece
Date Posted: 4/10/2012
Link: http://www.vibesworkshop.com/video/chords-lines-behn-gillece/behng/041012
Description: “Here's my last lesson before I start a bunch of lessons on rhythm changes.
Sorry, my loop skipped once or twice during this, but I was only like a second, so I kept
it.”247
Annotation: Behn Gillece talks about how he discovers new sounds that work as both
voicings and lines. He discusses different starting and arrival points in his lines to make
sure they fit over the measure symmetrically. He recommends practicing over a single
root but switching the chord qualities of the root. For example: CM7, Cm7, Cm7b5, etc.
246
Behn Gillece, “Chords as Lines,” the Vibes Workshop,
http://www.vibesworkshop.com/video/chords-lines-behn-gillece/behng/041012 (accessed March 8, 2016).
247
Ibid.
125
Goals: Students will transfer their voicing vocabularies into lines.
Assignment: Over the past weeks students have been recording their new discoveries in
their notebooks. Now they will transfer them into lines. Student will practice for ten
minutes every day this week creating at least six new lines from their documented
voicings. Students should create two lines that span two beats, two lines that last an
entire measure, and two lines that last for two measures (in 4/4 time).
For further study, please review: “Adding to Behn's Lessons Making Lines out of
Voicings”248
Lesson 4:
1) “Chord Vocabulary”249
Type: Video File
Length: 5:17
Posting Artist: Tony Miceli, Steve Giordano
Date Posted: 12/26/2009
Link: http://www.vibesworkshop.com/video/chord-vocabulary/tonymiceli/122609
Description: “Did I ever post this??? [sic] This is a great lesson by my mentor.”250
Annotation: Tony Miceli’s former guitar teacher, Steve Giordano, discuss upper
extensions in an interesting way. He takes a C major triad and sings it over several other
chords and chord qualities. Next, he compares the C major triad to the other chord by
naming the pitches as upper partials. For instance, the pitches in a C major triad (C, E
and G) over a Bb7 chord are the 9th, #11th, and 13th. The exercise is a great way for
intermediate players to discover upper extensions and how they sound compared to the
standard voicings.
248
Ibid.
249
Tony Miceli, Steve Giordano, “Chord Vocabulary,” the Vibes Workshop,
http://www.vibesworkshop.com/video/chord-vocabulary/tonymiceli/122609 (accessed March 8, 2016).
250
Ibid.
126
Goals: Students will discover upper extensions by hearing how they sound over other
chord structures.
Assignment: Students will record several tracks. One for every chord found in
“Recorda-Me.” Students will practice singing a C major triad over each track in order to
hear and discover upper extensions over the same chords of each chord. The C major
triad may not be an upper extension. For example, the first chord in “Recorda-Me,” Cm7,
shares the C and G, but the E natural is the 10th over the C root. It is not an essential
partial for improvisers to know, but the exercise still forces students to hear different
chord tones over another chord.
For further study, please review: “Cmaj, Dmin [sic] lesson - Triad Pairs”251
251
Tony Miceli, “Cmaj, Dmin lesson - Triad Pairs ,” the Vibes Workshop,
http://www.vibesworkshop.com/audio/c-maj-d-min-lesson-tony-miceli-triad-pairs/tonymiceli/062509
(accessed March 8, 2016).
127
WEEK 4:
Lesson 1:
1) “Sequential Exercises in Tunes – Part 1”252
Type: Audio File
Length: 6:20
Posting Artist: Behn Gillece
Date Posted: 9/27/2012
Link: http://www.vibesworkshop.com/audio/sequential-exercises-tunes-pt-1-behngillece/behng/092712
Description: N.A.
Annotation: Behn Gillece explains how to take a line and use it as a sequence that works
over several different chord qualities. He demonstrates the line in its original form first,
and then he discusses the alterations he makes to accommodate each chord. He bases
each change on the scale appropriate for each chord. The lesson will not only teach
students how to sequence lines, but also some advanced music theory.
Goals: Students will use their transcribed lines in a sequential manner over “RecordaMe.”
Assignment: Students will choose three lines from their notebooks. The lines may be
from previous lessons, new ideas, or transcription assignments. Students will tailor the
line to last exactly one measure. Students may add to, or eliminate, material from the
lines. Next students will practice sequencing the line in a two bar ii-V7-I whole tone
cycle starting on Bb. The exercises will allow students to practice sequencing lines over
mm 9-15 of “Recorda-Me,” which will be a requirement for the week’s final project.
Students will record themselves to study their sound and find any tones that clash
against the changing harmonies. The notes may be altered further. For a further
challenge, students may practice sequencing lines starting on B natural, which will cover
the other six major keys.
252
Behn Gillece, “Sequential Exercises in Tunes – Part 1” the Vibes Workshop,
http://www.vibesworkshop.com/audio/sequential-exercises-tunes-pt-1-behn-gillece/behng/092712
(accessed March 9, 2016).
128
For further study, please review: “Sequential Exercises in Tunes – Part 2”253
Lesson 2:
1) “Chord Voicing Tips”254
Type: Video File
Length: 6:58
Posting Artist: Tony Miceli
Date Posted: 9/16/2012
Link: http://www.vibesworkshop.com/video/chordal-playing-etude/tonymiceli/091612
Description: “Just some quick tips I was thinking about with chord voicings. You know
the goal is to be quick with all the voicings. So you have to practice moving around the
instrument and getting familiar with the voicings. That takes a lot of work and time, but
once mastered comping gets a lot more fun!”255
Annotation: Tony Miceli expands on a previous lesson, “Even More on Open Closed,”
by introducing upper partials into the concept.256 The lesson switches voicings between
inversions and open/closed positions that include 9ths, 11ths, and 13ths. Miceli explains
how he, “takes a chord a day, focuses on the upper partials, … and practices the open
closed voicings.”257 The lesson subtly acknowledges that four note voicings using upper
partials eliminate basic chord tones such as the root and 5th.
253
Behn Gillece, “Sequential Exercises in Tunes – Part 2,” the Vibes Workshop,
http://www.vibesworkshop.com/audio/sequential-exercises-tunes-pt-2-behn-gillece/behng/093012
(accessed March 9, 2016).
254
Tony Miceli, “Chord Voicing Tips,” the Vibes Workshop,
http://www.vibesworkshop.com/video/chordal-playing-etude/tonymiceli/091612 (accessed March 9,
2016).
255
Ibid.
256
Miceli, “Even More on Open Close.”
257
Miceli, “Chord Voicing Tips.”
129
Goals: Students will begin to introduce upper partials into their open and closed voicing
training.
Assignment: Students will begin to experiment with eliminating chord tones and
replacing them with upper partials in their voicings. By using the individual chord tracks
from Week 3 lesson 4, the student will be able discover new voicings using any upper
extension. For example, students will use the first track that vamps the first chord in
“Recorda-Me,” Am7. They will perform open and closed voicings in all octaves of the
instrument, but replace the root with the 9th, (B natural). Next, they will do the same for
the 11th, and then the 13th. Next, students should replace the root and the 5th with two
upper partials. Students may also practice replacing the 3rd or 7th with a third upper
partial. Students should repeat the process over every chord in the tune along with their
respective tracks. Students should also write down at least one favorable voicing for
each chord, so they may use it for their final “Recorda-Me” assignment.
For further study, please review: “Simple Exercise for Upper Structure Triads.”258
Lesson 3:
1) “Connect Chords Using Common Tones”259
Type: Video File
Length: 9:58
Posting Artist: Giovanni Perin
Date Posted: 4/8/2015
Link: http://www.vibesworkshop.com/video/connect-chords-using-commontones/giovanniperin/040815
258
Michael Pinto, “Simple Exercise for Upper Structure Triads,” the Vibes Workshop,
http://www.vibesworkshop.com/blog/chords-harmony-simple-exercise-upper-structuretriads/mikepinto/102311 (accessed March 9, 2016).
259
Giovanni Perin, “Connect Chords Using Common Tones,” the Vibes Workshop,
http://www.vibesworkshop.com/video/connect-chords-using-common-tones/giovanniperin/040815
(accessed March 9, 2016).
130
Description: “Hi guys here's my new lesson that will help you understand better how to
[sic] connect chords using common tones: basic knowledge of root position and
inversion of chords is required. I wrote this exercise thinking about Bach chorales and
his way of expressing the melody through melodies: it is important to pay attention to
the movement of each note of the chord, considering the harmony not only horizontally
but also vertically, as if each of our mallets were a distinct melody line of a four voice
choir or a string quartet. It is, therefore, essential to be able to control the dynamics and
the movements of all four mallets separately. Hope you enjoy the lesson and please
leave a comment if you like it (even if you don't!!!) with suggestion about what would
you like me to show you. Have Fun, Giovanni.”260
Annotation: Giovanni Perin gives a detailed description of how to use economic voiceleading through a simple I-vi-ii-V7 chord progression in F major. He also writes out the
concept in all inversions of F major triads. There are many lessons like Perin’s, but the
curriculum includes his because he takes time to describe every detail, and why each
note moves the way it does. Also, he makes great points when comparing the voiceleading concept to the sound and style of Bach chorales and string quartets. Students
also receive interesting historical information with Perin’s lesson.
260
Ibid.
131
Figure 4.4: Common Tone Exercise.261 Used with permission from Tony Miceli.
Goals: Students will learn to use good economical voice-leading concepts with their
open/closed skills and upper partial voicings.
Assignment: Students will take the voicings created in the previous lesson and connect
the chords of “Recorda-Me” in the manner that Giovanni Perin describes in his lesson.
Unfortunately, weaving an entire tune’s chords with Perin’s concept may be perceived
as boring. Students will combat the notion by readjusting their voicings in the follow
261
Ibid.
132
measures: 1, 8, 10, 12, and 14. During the measures between each readjustment,
students must weave chords together by keeping common tones. When readjusting,
students may choose open or closed voicings. They may also choose to add upper
partials that do not appear in the written chord. Students should record themselves
performing only one chorus in the manner described. Then, they should listen back to
the track. Students may repeat the process until they have found the desired sounds for
each phrase.
For further study, please review: “Lazy Voicings.”262
Lesson 4:
Assessment: Using a metronome, students will record two tracks of “Recorda-Me” in
the original key. The first should include the melody played twice, comping for two
choruses, soloing over two choruses, and finish with comping over the form twice. Next,
through earphones, students should use the first track in place of the metronome.
Students will then record a second track playing the opposite of the first: comping for
two choruses, soloing for two choruses, comp for two choruses, and finally finish by
playing the melody over the form twice. Students should use ideas from their notebooks
on the recordings, and include at least two turnaround variations. They should mark
where and which variations will occur before they record the first track. Once satisfied
with the two tracks, students will post them to the site.
262
Tony Miceli, “Lazy Voicings.”
133
WEEK 5:
New Tune of the Month – “The Days of Wine and Roses” by Henry Mancini
Lesson 1:
1) “New Age Exercise”263
Type: Audio File
Length: 9:45
Posting Artist: Tony Miceli
Date Posted: 3/31/2011
Link: http://www.vibesworkshop.com/audio/new-age-exercise-tonymiceli/tonymiceli/033111
Description: N.A.
Annotation: Tony Miceli demonstrates a simple two-note progression that can be used
as a catchall exercise. Literally any technique, line, voicing, melody, chord melody, or
bass line exercise can be applied to the lesson. The simple progression is C minor and
Ab major triads. Students can use it for any lesson in any course available on the
Vibesworkshop.com. At the end of the lesson Miceli touches on an important sub topic
that spans any technique or style played on the vibes. At the 9:35 mark he reminds
players to avoid letting the notes all ring together and keep their ideas clear.264
Goals: Students will discover a new age sounding progression for two reasons. The first
is that it will serve as a workspace where students can practice any concept, and the
second is that the progression is pleasing.
Assignment: Students should simply practice grooving on the progression. At the
beginning of the month, students should simply get the sound in their ears. They have
complete freedom to explore new ideas, or work older ones into their practice. Any
voicing or line learned from the previous month maybe exercised through this lesson, as
263
Tony Miceli, “New Age Exercise,” the Vibes Workshop,
http://www.vibesworkshop.com/audio/new-age-exercise-tony-miceli/tonymiceli/033111 (accessed March
9, 2016).
264
Ibid.
134
will lessons in the upcoming weeks. For now, students should simply enjoy and have
fun.
For further study, please review: “A Very Quick and Dirty Video On Getting Your
Groove On.”265
Lesson 2:
1) “Chords & Harmony – Leaving Notes Out”266
Type: Video File
Length: 7:25
Posting Artist: Behn Gillece
Date Posted: 4/10/2009
Link: http://www.vibesworkshop.com/video/leaving-notes-out-chords-part1/behng/081110
Description: “Oops I think I posted Part 2 without Part 1, so here it is! - Tony.”267
Annotation: Behn Gillece expands on a concept from Week 4 of the
Vibesworkshop.com’s Intermediate course where students must eliminate a basic chord
tone in order to play an upper extension (9th, 11th, or 13th). At the 3:35 mark, Gillece
expands on the idea of only playing three note chords.268 The concept doesn’t include
replacing a root with an upper partial of a chord. It instead aligns itself with the title of
the lesson by simply eliminating a note from a chord.
265
Tony Miceli, “A Very Quick and Dirty Video On Getting Your Groove On,” (accessed March
266
Behn Gillece, ““Chords & Harmony – Leaving Notes Out,” the Vibes Workshop,
9, 2016).
http://www.vibesworkshop.com/video/very-quick-and-dirty-video-getting-yourgroove/tonymiceli/041009 (accessed March 9, 2016).
267
Ibid.
268
Ibid.
135
Goals: Students will continue to develop their skills of including upper partials into their
voicings.
Assignment: As students begin to learn and memorize the chord progression to “The
Days of Wine and Roses” it is important to develop good voicings, and envision
themselves executing professionally artistic sounds. Students will begin by performing
the chords of the tune out of time. The first few attempts should include only three-note
voicings. The simple voicings will allow students to internalize the primary chord tones
by focusing on playing the roots, 3rds, and 7ths. Next students will repeat the assignment,
but include the 9th of each chord. Students should not worry about open or closed
voicings just yet. They should instead focus on including the upper partials as Gillece
demonstrate in his lesson. Students should experiment with including 11ths, and then
13ths. Students should continue to practice the exercise for at least fifteen minutes each.
At the end of the week, students should record themselves performing the exercise.
Then, notate at least five of the most interesting voicings. They should be sure to
document the chords the voicings are based on.
For further study, please review: “Leaving Notes Out of Chords.”269
Lesson 3:
1) “Applying Sequential Ideas to Tunes.”270
Type: Audio File
Length: 10:18
Posting Artist: Behn Gillece
Date Posted: 10/7/2012
269
Behn Gillece, “Leaving Notes Out of Chords,” the Vibes Workshop,
http://www.vibesworkshop.com/video/leaving-notes-out-chords-part-1/behng/081110 (accessed March 9,
2016).
270
Behn Gillece, “Applying Sequential Ideas to Tunes,” the Vibes Workshop,
http://www.vibesworkshop.com/audio/applying-sequential-ideas-tunes-behn-gillece/behng/100712
(accessed March 9, 2016).
136
Link: http://www.vibesworkshop.com/audio/applying-sequential-ideas-tunes-behngillece/behng/100712
Description: N.A.
Annotation: Behn Gillece finishes his series of lesson on sequential lines. Students have
studied another lesson in the series during the first month of the Vibesworkshop.com’s
Intermediate Course. The lesson starts with Gillece demonstrating how to work a simple
line into the chords of the tune “Wave.” It is extremely similar to the previous lesson
students studied. Its focus is not on sequencing lines, but instead how Gillece changes
the line to fit different chord qualities. The line Gillece uses is from his lesson on what
he calls the “Cheesecake Exercise.”271 Starting at the 4:00 mark of the lesson, Gillece
discusses how he alters the line to fit each chord change.272
Goals: Students will apply a line they transcribed the previous month to the chords of
the tune “The Days of Wine and Roses.”
Assignment: Students will begin the assignment by choosing a four-beat line from their
notebooks. Next, they will transcribe the line to the original key of the tune “The Days
of Wine and Roses.” They will then play the line over the chord progression of the tune.
However, the assignment will change the harmonic rhythm to one chord per four beats.
Students will practice altering the line to fit the chords similar to how Gillece changes
his “cheesecake line” to fit the progression of the tune “Wave.”273
For further study, please review: “Cheesecake Exercise.”274
Lesson 4:
271
Behn Gillece, “Cheesecake Exercise,” the Vibes Workshop,
http://www.vibesworkshop.com/audio/cheesecake-exercise-behn-gillece/behng/082912 (accessed March
9, 2016).
272
Behn Gillece, “Applying Sequential Ideas to Tunes.”
273
Ibid.
274
Behn Gillece, “Cheesecake Exercise.”
137
1) “Common Tone Exercise - Part 1”275
Type: Audio File
Length: 6:38
Posting Artist: Behn Gillece
Date Posted: 1/14/2011
Link: http://www.vibesworkshop.com/audio/common-tone-exercise-part1/behng/011411
Description: “Here's a new lesson on using common tones.”276
Annotation: Behn Gillece simply demonstrates playing descending dominant chords
while keeping the tone F in the melody. The exercise forces students to discover new
and interesting voicings, to eliminate doubled notes, and to alter the melody note if
required.
Goals: Students will begin to think of melody first, and then voice a chord down beneath
it. Also, the melody in the exercises does not always belong to the chord.
Assignment: The lesson’s possibilities are endless. Students will practice a stagnant
melody over several chord progressions featuring multiple qualities. They should first
pick a random key and melody, and then use the “New Age” exercise from the first
lesson of the month.277 As written, the exercise will have students play the melody over
minor and major triads. Students should change the progression to include 7ths in both
chords. They may then change the qualities to major 7ths, minor 7ths, half diminished, or
include other upper extensions, which will require the elimination of the root or 5th.
Students should remember to practice in all twelve keys. Before the week’s end,
students will record themselves performing the exercise, but not over the same
progression. They will use the metronome to help them perform the chords to “The
Days of Wine and Roses,” one chord per measure, ignoring the harmonic rhythm.
275
Behn Gillece, “Common Tone Exercise – Part 1,” (accessed March 9, 2016).
276
Ibid.
277
Miceli, “New Age Exercise.”
138
For further study, please review: “Common Tone Exercise – Part 2.”278
WEEK 6:
Lesson 1:
1) “Etude of the Month Applied (May Take More Than a Minute…)”279
Type: Text File
Length: N.A.
Posting Artist: Drew Johnson
Date Posted: 7/17/2012
Link: http://www.vibesworkshop.com/blog/etude-month-applied-may-take-moreminute/drew-johnson/071712
Description: “just a quick application comment... this line is quartal vocabulary (or
fourthy [sic] vocabulary hahaha). It's a quartal chord just in an inversion. If you made
C# the bottom note voiced... C#, F#, B, E you would have stacked 4ths. Where to play
this? Well, it could be:
E major giving you scale degrees 13-9-5-1
A major (3-13-9-5)
D major (7-3-13-9)
C# minor (1, 11, 7, 3)
F# minor (5-1-11-7)
B minor (9-5-1-11)
E7 (13-9-5-1)
Bb7alt (#9-b13-b9-#11)
I'm sure I left a few out. But do you guys see how it fits into all of those chords? Quartal
stuff is super hip. It also might be important to note that since these are 4 note
278
Behn Gillece, “Common Tone Exercise – Part 2,” the Vibes Workshop,
http://www.vibesworkshop.com/audio/common-tone-exercise-part-1/behng/011411 (accessed March 10,
2016).
279
Drew Johnson, “Etude of the Month Applied (May Take More Than a Minute…),” the Vibes
Workshop, http://www.vibesworkshop.com/blog/etude-month-applied-may-take-more-minute/drewjohnson/071712 (accessed March 10, 2016).
139
groupings, all of these lines can be turned into voicings. Check out Witch Hunt and
Speak No Evil off of Wayne Shorter's album "Speak No Evil" to hear some great quartal
playing, ESPECIALLY [sic] Herbie's stuff.”280
Annotation: Drew Johnson is not a site professional, meaning he’s not listed on the
“Contributor’s” web page.281 He is simply a member of the community that posted a
valuable idea for all to share. The lesson discusses quartal voicings that may be seen as
stacked fourths, or odd voicings including altered upper partials.
Goals: Students will use Drew Johnson’s quartal voicings to label upper partials to the
chords in “The Days of Wine and Roses.”
Assignment: Students will first read Drew Johnson’s text lesson, and then write down
his quartal voicings (C#, F#, B, and E). Students will then apply the voicing to each
chord in “The Days of Wine and Roses.” They will start by playing the notes that apply
to the written chord, and then play the quartal harmony over top. Students will listen to
and internalize the sound. They may perform any inversion of the quartal voicings they
desire. After analyzing the quartal sound, they will label the notes as upper partials in
their notebooks. For example, the first chord is FM7: C# = #5th (b6th, F# = b9th, B = #11th,
E = 7th.
For further study, please review: “The Art of the Seconds.”282
Lesson 2:
1) “Bud Powell Voicing”283
280
Ibid.
281
Miceli, “Contributors.”
282
Tony Miceli, “The Art of the Seconds,” the Vibes Workshop,
http://www.vibesworkshop.com/video/art-2nds/tonymiceli/020213 (accessed March 10, 2016).
283
Giovanni Perin, “Bud Powell Voicing,” the Vibes Workshop,
http://www.vibesworkshop.com/video/bud-powell-voicing/tonymiceli/112413 (accessed March 10, 2016).
140
Type: Video File
Length: 5:18
Posting Artist: Giovanni Perin
Date Posted: 11/29/2013
Link: http://www.vibesworkshop.com/video/bud-powell-voicing/tonymiceli/112413
Description: N.A.
Annotation: Giovanni Perin discusses a simple comping concept that he calls “Bud
Powell” voicings.284 He demonstrates over ii-V-I patterns and the tune “Autumn
Leaves.” The style is not more than playing two notes in the left hand. Perin
demonstrates using both hand, but students should focus on performing the concept with
good voice-leading in the left hand only.
Goals: Students will learn to separate the guide tones and color tones into two different
hands.
Assignment: Students should bring back the “New Age” exercise to practice Perin’s
concept of “Bud Powel” voicings.285 They will practice playing only the 3rd and 7th of
each chord in the left hand. Once that becomes comfortable students will add any
combination of color tones in the right hand. As a reminder, color tones may include the
root, the 5th, or any upper extension of a chord. Students should make sure to practice
several voicings in both open and closed positions. Students should record themselves
experimenting. They will transcribe at least four new voicings that will be applied to the
final form of the assignment to comp through the tune “The Days of Wine and Roses.”
Using the same concept, guide tones in the left hand and color tones in the right,
students will record themselves playing the exercises. Once satisfied with the final
results, students will post the track to the site.
284
Ibid.
285
Miceli, “New Age Exercise.” Perin, “Bud Powell Voicing.”
141
For further study, please review: “Basic Voicings.”286
Lesson 3:
1) “A Blues Bass Line”287
Type: Text File
Length: N.A.
Posting Artist: Tony Miceli
Date Posted: 2/22/2010
Link: http://www.vibesworkshop.com/book/lessons-book-new/blues/blues-bassline/tonymiceli/022210
Description: “The best thing about a jazz swing bass line is it does 2 things. The first is
it is supposed to outline the chord changes very clearly. The second is in its main
function it insists on being played on each beat. A great way to study chords and
improvisation is to play bass lines. This doesn't have to be strict for our purposes. By
this I mean you don't have to stick to the low end of your instrument. If you're not a bass
player just play quarter notes and outline the chords. Below is an example of a simple
blues bass line. The exercise is also simple (in theory!). Memorize the bass line and play
it in all 12 keys. Why? To develop your ears in hearing the blues, hearing your way
through soloing and forcing you to play a note on each beat. When you've played this
blues bass line in all keys and have studied it thoroughly, work on your own blues bass
lines. Write some out and most importantly improvise some... in all keys. Things to
notice in the blues bass line are how everything works by circling around the chord
tones, using scale passing tones and neighbor passing tones.”288
286
Dana Sudborough, “Basic Voicings,” the Vibes Workshop,
http://www.vibesworkshop.com/book/good-vibes/chords/basic-chord-voicing/tjaco/012208 (accessed
March 10, 2016).
287
Tony Miceli, “A Blues Bass Line,” the Vibes Workshop,
http://www.vibesworkshop.com/book/lessons-book-new/blues/blues-bass-line/tonymiceli/022210
(accessed March 10, 2016).
288
Ibid.
142
Annotation: Tony Miceli documents his thoughts on developing bass lines. The
technique is important for students to learn to understand how a bassist creates their
lines. It is also a fantastic improvisation tool. By playing bass lines, and student can
weave chromatics into chord tones, and stress important notes on important beast. The
other beautiful thing about practicing bass lines in a blue is the style. The rhythm rarely
every leaves quarter notes, thus creating a simpler task for students to hear and think
about the next notes.
143
Figure 4.5: Blues Bass Line.289 Used with permission from Tony Miceli.
Goals: Students will learn how to create a bass line, which will help develop their
improvisation skills.
Assignment: Students will practice the written assignment from Miceli’s lesson. After a
few times through the part, students should improvise their own bass line over the same
progression. If students have studied another blues progression they are more than
welcome to practice in the key of their preferred progression. Students should remember
to always practice this and any other assignment in all twelve keys. After three days of
practicing bass lines over a blues, students should continue the concept over the changes
to “The Days of Wine and Roses.”
For further study, please review: “After Concert Online Mini Workshop”290
Lesson 4:
1) “Cop This Groove - June 2010 - #1”291
Type: Audio File
Length: 12:49
Posting Artist: Tony Miceli
Date Posted: 6/21/2010
Link: http://www.vibesworkshop.com/audio/cop-groove-june-2010-1-tonymiceli/tonymiceli/062110
Description: “Cop This Groove! Go ahead cop it. I dare you!”292
289
Ibid.
290
Tony Miceli, “After Concert Online Mini Workshop,” the Vibes Workshop,
http://www.vibesworkshop.com/video/after-concert-online-mini-workshop/tonymiceli/052609 (accessed
March 10, 2016).
291
Tony Miceli, “Cop This Groove - June 2010 - #1,” (accessed March 10, 2016).
292
Ibid.
144
Annotation: Tony Miceli talks students through a simple groove. He doesn’t include a
PDF or any images. Students must use their ears to get the groove. It’s a perfect
intermediate assessment of students’ aural skills. At the :15 mark he references Todd
Isler’s website Worlddrumworkshop.com, a sister site to Vibesworkshop.com.293 Isler
originally came up with the lesson concept of “coping” grooves.294
Goals: Students will test their aural skills by “coping” a cool simple groove.295
Assignment: Students will download the track to their personal audio devices. After
analyzing and confirming the notes Miceli plays, students will begin to solo over the
groove. They will write the groove into their notebooks, and record themselves
performing the groove and solo for at least three minutes. Once students are satisfied
with their tracks, they will post it to the site for assessment.
293
Ibid.
294
Ibid.
295
Ibid.
145
WEEK 7:
Lesson 1:
1) “Triad Exercise”296
Type: Text File
Length: N.A.
Posting Artist: Michael Pinto
Date Posted: 1/26/2009
Link: http://www.vibesworkshop.com/blog/triad-exercise/mikepinto/012609
Description: “Here is a simple exercise for brushing up on triads and also good for
technique!
Step 1. Play any triad (ex. F)
Step 2. Take the 3rd of that triad and begin a new triad based off of that note!
Example: First triad is F then second triad is an A triad.
Step 3. Take the 3rd of the 2nd triad and build a triad off of that note.
Example: Second triad is A then 3rd triad is C#(Db).
Step 4. The next triad in the series would be the same as the first triad so you are back to
the beginning! (ex. F) So just continue for another octave and then start a new triad!
Example: F A C -- A C# E -- C# F G# --- F A C
(I think I got this from Mark turner from a clinic I saw him give at Berklee about six
years ago).”297
Annotation: Michael Pinto challenges students to work on their triad recognition speed.
The exercise bases a new triad off of the third of the previous, and so on. The triads are
cycling by major 3rds. Pinto’s explanation of the exercise is clear and succinct.
Goals: Students will improve their speed when thinking of new chords.
Assignment: The exercise does not relate to the tune of the month directly, but instead
offers an opportunity for students to improve their speed and dexterity. They will
296
Michael Pinto, “Triad Exercise,” the Vibes Workshop,
http://www.vibesworkshop.com/blog/triad-exercise/mikepinto/012609 (accessed March 10, 2016).
297
Ibid.
146
practice Pinto’s exercise starting on four different triads: F major, G major, Bb major,
and C major. By practicing the cycles on those chords, students will cover all twelve
triads. At the beginning of the week, students will use the metronome to find their
failure point (the fastest they can play the exercise accurately). By the end of the week,
students should add at least fifteen clicks to their failure point.
For further study, please review: “Breaking the Octave Into 3 Parts.”298
Lesson 2:
1) “Dominant Chord Scales.”299
Type: Audio File
Length: 12:30
Posting Artist: Tony Miceli
Date Posted: 2/25/2009
Link: http://www.vibesworkshop.com/audio/dominant-chord-scales-tonymiceli/tonymiceli/022509
Description: ‘Here's a little talk about dominants and scales that go along with them.”300
Annotation: Tony Miceli discusses several scales that a soloist may use over a dominant
7 chord. The options include several upper partial variations including b9, #9, 11ths, and
more.
Goals: Students will discover several options for improvising over dominant chords.
Assignment: Students will document the multiple options Miceli gives for improvising
over a dominant chord. They will choose at least four variations from the lesson. They
will record two choruses improvising over the chords to “The Days of Wine and Roses.”
298
Tony Miceli, “Breaking the Octave Into 3 Parts,” the Vibes Workshop,
http://www.vibesworkshop.com/video/breaking-octave-3-parts/tonymiceli/100909 (accessed March 10,
2016).
299
Tony Miceli, “Dominant Chord Scales,” (accessed March 10, 2016).
300
Ibid.
147
Students should use all four of their transcribed variations over dominant chords in the
tune, which has a number to choose from.
For further study, please review: “All About Dominant Chords.”301
Lesson 3:
1) “Sequential Major Exercise No. 1”302
Type: Audio File
Length: 6:34
Posting Artist: Behn Gillece
Date Posted: 9/18/2012
Link: http://www.vibesworkshop.com/audio/sequential-major-exercise-no-1-behngillece/behng/091812
Description: N.A.
Annotation: Behn Gillece demonstrates how to make sequences using simple major
scales. He does not include altered extension such as a b9th or #11ths. At the 2:20 mark,
Gillece slowly demonstrates the lick he will sequence throughout the lesson.303 Students
should start by practicing the line in all twelve keys.
Goals: Students will develop ideas for lines over the four major and dominant chords in
the first four measures in “The Days of Wine and Roses.”
Assignment: Students should first listen to Gillece’s lesson, and internalize the line he
demonstrates. Next, they will practice the line in all twelve keys. Continuing with the
301
Tony Miceli, “All About Dominant Chords,” the Vibes Workshop,
http://www.vibesworkshop.com/story/all-about-dominant-chords/tonymiceli/111208 (accessed March 10,
2016).
302
Behn Gillece, “Sequential Major Exercise No. 1,” the Vibes Workshop,
http://www.vibesworkshop.com/audio/sequential-major-exercise-no-1-behn-gillece/behng/091812
(accessed March 10, 2016).
303
Ibid.
148
lesson, Gillece challenges students to extend the line over several octaves to practice the
concept. Students will struggle the most with applying the line over the first four
measures of “The Days of Wine and Roses.” They should treat the line extending over a
second measure, and then climbing down using bebop licks, as Gillece demonstrates at
the 5:28 mark, or by using the same line in reverse.304 Students will have to slowly
navigate the line to alter the correct notes in order to align the chord changes with the
correct scales. Students should practice the sequence in all twelve keys, and document
their final product in their notebooks.
For further study, please review: “Sequential Major Exercise No. 2.”305
Lesson 4:
1) “Basic Turnaround Lines”306
Type: Audio File
Length: 5:11
Posting Artist: Tyler Blanton
Date Posted: 4/12/2011
Link: http://www.vibesworkshop.com/audio/basic-turnaround-lines/tylerblanton/041211
Description: “Here is a lesson geared to the beginning/intermediate player on navigating
turnarounds. The audio file goes along with the PDF, so I recommend looking at it while
you listen or beforehand. I plan to add some more to this in a future lesson. Let me
know if you find this helpful. – Tyler.”307
304
Ibid.
305
Behn Gillece, “Sequential Major Exercise No. 2,” the Vibes Workshop,
http://www.vibesworkshop.com/audio/sequential-major-exercise-no-2-behn-gillece/behng/092412
(accessed March 11, 2016).
306
Tyler Blanton, “Basic Turnaround Lines,” the Vibes Workshop,
http://www.vibesworkshop.com/audio/basic-turnaround-lines/tylerblanton/041211 (accessed March 11,
2016).
307
Ibid.
149
Annotation: Tyler Blanton demonstrates four turn around lines that use both diatonic
scale tones and chromatics. He relies heavily on a PDF when describing the lines.
Unfortunately, the PDF no long appears on the lesson’s page.
Goals: Students will learn four simple lines to play over turnarounds. The lines will help
inspire original lines to be played over “The Days of Wine and Roses.”
Assignment: Student should listen to and transcribe the four lines Tyler Blanton
demonstrates into their notebooks. Next, students should practice the lines in all twelve
keys throughout the week. On the final day of the week, students will create two original
lines using the information they studied during the week. Students should then post the
lines onto the website in the comment section to Blanton’s lesson.308
For further study, please review: “Turnaround Chord Study.”309
308
Ibid.
309
Tony Miceli, “Turnaround Chord Study,” the Vibes Workshop,
http://www.vibesworkshop.com/audio/turn-around-chord-study-tony-miceli/tonymiceli/031011 (accessed
March 11, 2016).
150
WEEK 8:
Lesson 1:
1) “Minor Progressions”310
Type: Audio File
Length: 8:41
Posting Artist: Behn Gillece
Date Posted: 10/20/2011
Link: http://www.vibesworkshop.com/audio/chords-harmony-minor-progressions-behngillece/behng/102011
Description: “Here's a lesson on some chord progressions in Cm. PDF attached. Also,
look at the Check This Out. It's one of Dana's lessons on harmonizing the Cm bebop
scale, and some of those concepts correspond to this lesson.”311
Annotation: Behn Gillece Talks through several minor ii-V-I progressions that include
mallet dampening, and a few upper extensions. The lesson does not include the PDF
Gillece originally attached. Instead students will test their aural skills in transcribing
chords instead of single note lines.
Goals: Students will test their aural skills, and learn three new voicings for minor ii-V-I
progressions.
Assignment: Instead of reading the PDF and performing written music, students will
transcribe the three minor ii-V-I progression voicings Gillece demonstrates in the
lesson. The voicings include upper extensions with mallet dampening. The colors create
a nice variety from simple block chords. After students have successfully written the
progressions in their notebooks, they will practice them in all twelve keys. When
students study the progression of “The Days of Wine and Roses” they will then have
three new options for comping mm 13-14. Students are welcome to alter the voicings in
order to make them work over any other minor progression in the tune.
310
Behn Gillece, “Minor Progressions,” (accessed March 11, 2016).
311
Ibid.
151
For further study, please review: “Voicings – Part 2.”312
Lesson 2:
1) “Building Lines With Triads.”313
Type: Video File
Length: 4:51
Posting Artist: Behn Gillece
Date Posted: 9/11/2012
Link: http://www.vibesworkshop.com/video/building-lines-triads-behngillece/behng/091112
Description: N.A.
Annotation: Behn Gillece discusses how playing triads based on chord tones and upper
extensions can work over turnarounds. He briefly discusses how thinking of triad
shortcut can create certain sounds. The lesson is mostly Gillece experimenting and then
discussing what he plays. At the 3:30 mark, he demonstrates over a prerecorded track
featuring several turnaround options.314
Goals: Students will develop multiple shortcuts for thinking of color tones by using the
triad pair concept.
Assignment: Students will simply experiment with the concept Gillece describes in his
lesson. They should practice the triad structures in time, and record their practice
sessions. Students will simply practice and experiment creating lines of many lengths.
312
Behn Gillece, “ Voicings – Part 2,” the Vibes Workshop,
http://www.vibesworkshop.com/video/voicings-part-2-behn-gillece/behng/080910 (accessed March 11,
2016).
313
Behn Gillece, “Building Lines With Triads,” the Vibes Workshop,
http://www.vibesworkshop.com/video/building-lines-triads-behn-gillece/behng/091112 (accessed March
11, 2016).
314
Ibid.
152
They should make sure to listen back to their recordings, notating any preferred sounds,
and disregarding less successful ones. At the end of the week, before recording their
final assignment, students will write down four of their favorite triad line variations in
their notebooks. The assignment will be used in their final monthly recording.
For further study, please review: “Lines Festival – Finding Triads In Lines.”315
Lesson 3:
1) “Turnarounds and Intros – b9 #9 Dominants”316
Type: Audio File
Length: 5:50
Posting Artist: Behn Gillece
Date Posted: 1/2/2015
Link: http://www.vibesworkshop.com/audio/turnarounds-and-intros-flat-9-and-sharp-9dominants-behn-gillece/behng/010215
Description: N.A.
Annotation: Behn Gillece talks students through two harmonically complex
introductions. The first demonstrates several flat 9th voicings, and the second sharp 9ths.
Once again, the PDF no longer appears on the lessons page, but Gillece describes and
demonstrates the concepts clearly enough for students to exercise their aural skills.
Goals: Students will learn two options that will set up and introduce the tune “The Days
of Wine and Roses.”
Assignment: Students will transcribe the two introductions Gillece demonstrates to the
tune “The Days of Wine and Roses.” Students should again practice the progressions in
315
Tony Miceli, “Lines Festival – Finding Triads In Lines,” the Vibes Workshop,
http://www.vibesworkshop.com/audio/finding-triads-lines-tony-miceli/tonymiceli/121511 (accessed
March 11, 2016).
316
Behn Gillece, “Turnarounds and Intros – b9 #9 Dominants,” the Vibes Workshop,
http://www.vibesworkshop.com/audio/turnarounds-and-intros-flat-9-and-sharp-9-dominants-behngillece/behng/010215 (accessed March 11, 2016).
153
all twelve keys. After writing the two introductions into their notebook, students should
practice implementing them into their melody practice over the tune.
For further study, please review: “Intros and Endings Part 2.”317
Lesson 4:
Assessment: Students will close the month by recording and posting two tracks of
themselves playing “Days of Wine and Roses.” The first track should feature one of the
introductions from the previous lesson, a chorus of the melody, two choruses of
improvisation, two choruses of comping, and a final chorus of melody. As stated above,
Students should include as many ideas studied over the past four weeks as possible.
They have worked on lines, voicings, turnarounds, and introductions that are all
accessible in their notebooks. Students have also studied a different concept, which will
be featured on their second track. They will record bass lines to accompany the previous
track’s introduction, and six choruses of the tune. The bass lines should remain in the
swing style as studied in the above lesson. Students should stick to straight quarter notes
that encircle and weave chord tones together. Occasionally, they may add syncopation,
especially during the introduction. A choice of recording the melodic or bass track first
is up to the student. They should post both tracks to the website for review.
317
Tony Miceli, “Intros and Endings Part 2,” the Vibes Workshop,
http://www.vibesworkshop.com/video/intros-and-endings-part-2/tonymiceli/100709 (accessed March 11,
2016).
154
WEEK 9:
New Tune of the Month – “Bluesette” by Toots Thielemans
Lesson 1:
1) “Tritone Substitution.”318
Type: Video File
Length: 8:09
Posting Artist: Giovanni Perin
Date Posted: 1/26/2014
Link: http://www.vibesworkshop.com/video/triton-substitution/giovanniperin/012614
Description: “Giovanni talks about how to play over tritone substitutions, which scale
you can use, some tricks to reharmonize it etc...”319
Annotation: Giovanni Perin slowly demonstrates how a tritone substitution works. He
discusses how the 3rd and 7th of a dominant chord can be substituted with its tritone to
create a chromatically descending chord progression from the minor ii chord going to
the I. At the 3:45 mark he discusses a few options that will work over the ii-bII-I
progression.320 One option includes the altered scale. He begins by connecting the
altered scale to melodic minor scale theory, but labels each pitch according to the root in
case students do not understand melodic minor theory. Perin’s lessons have been
consistent with attaching a PDF visual aid when he states there will be one. The lesson
continues the trend, and offers a clear and organized worksheet.
Goals: Students will begin to develop their ability of crafting and using tritone
substitution chords.
318
Perin, “Tritone Substitution.” (accessed March 12, 2016).
319
Ibid.
320
Ibid.
155
Assignment: Student will use the “New Age” exercise to practice voicing tritone
substitutions quickly and accurately.321 Instead of performing just two chords, students
should fill in the chords’ tritone substitutions before moving to the next. For example,
both original chords will need to change to dominant: C7-F#7-Ab7-D7. The new TOTM,
“Bluesette,” features fifteen dominant chords. Students should focus on creating good
voicings in the keys of those fifteen, but to continue learning the concept on all twelve
dominant chords.
For further study, please review: “Melodic Minor Scale Part 7 - Altered Scale.”322
Lesson 2:
1) “John Swana Talks About Tritone Subs Part 1”323
Type: Video File
Length: 1:25
Posting Artist: Tony Miceli, John Swana
Date Posted: 10/24/2011
Link: http://www.vibesworkshop.com/video/john-swana-talks-about-tritone-subs-part1/tonymiceli/102411
Description: “John’s not a vibe [sic] player, but this is great stuff!”324
Annotation: John Swana is a resident artist of the Trumpetworkshop.com, a related site
to Vibesworkshop.com dedicated to the online trumpet community. Swana demonstrates
how he crafts a line over a progression that features a tritone substitution. He uses a
sequential pattern similar to the minor ii chord right before the tritone sub in order to
make one cohesive idea.
321
Tony Miceli, “New Age Exercise.” (accessed March 12, 2016).
322
Tony Miceli, “Melodic Minor Scale Part 7 - Altered Scale,” (accessed March 12, 2016).
323
Tony Miceli, John Swana, “John Swana Talks About Tritone Subs Part 1,” the Vibes
Workshop, http://www.vibesworkshop.com/video/john-swana-talks-about-tritone-subs-part1/tonymiceli/102411 (accessed March 12, 2016).
324
Ibid.
156
Goals: Students will learn a sequential concept for incorporating tritone substitutions
into their lines.
Assignment: Students will focus on the 1:05 mark where Swana slowly plays the line he
demonstrates the concept with.325 Students will transcribe the line, and practice it in all
twelve keys. As they continue to practice the chords to “Bluesette” over the next month,
students should implement the sequential tritone substitution line into their playing. The
tune features several opportunities to implement the concept.
For further study, please review: “John Swana Talks About Tritone Subs Part 2.”326
Lesson 3:
1) “Sequences - Mixing and Mashing”327
Type: Audio File
Length: 5:59
Posting Artist: Behn Gillece
Date Posted: 10/3/2012
Link: http://www.vibesworkshop.com/audio/sequences-mixing-and-mashing-behngillece/behng/100312
Description: N.A.
Annotation: For the first half of the lesson (until the 2:22 mark),328 Gillece demonstrates
and explains the sequential line he will use over the chords to the tune “Green Dolphin
325
Ibid.
326
Tony Miceli, “John Swana Talks About Tritone Subs Part 2,” the Vibes Workshop,
http://www.vibesworkshop.com/video/john-swana-talks-about-tritone-subs-part-2/tonymiceli/102411
(accessed March 12, 2016).
327
Behn Gillece, “Sequences - Mixing and Mashing,” the Vibes Workshop,
http://www.vibesworkshop.com/audio/sequences-mixing-and-mashing-behn-gillece/behng/100312
(accessed March 12, 2016).
157
Street.” The lesson works well for connecting two measures that are over the same
chord, but one is major and the other is minor. The lesson is easily transcribed, and the
concept can be extended to include any line. Gillece chooses to use the line he
introduced in the “Cheesecake Exercise” lesson.329
Goals: Students will learn to use their sequential lines skill over chords of different
qualities.
Assignment: Students will begin by transcribing the line Gillece uses in the first half of
the lesson. Next, they will practice the line as Gillece demonstrated in every key.
Students are also welcome to practice the concept using any line they have transcribed
or have available in their notebook. Last month, students studied a few sequential
lessons that will work well. Students will locate at least three places in the tune
“Bluesette” to apply the sequential concept. Students should choose two chords with
separate qualities over the same root. They should record their practice over the week to
ensure the sounds they create are what they want.
For further study, please review: “Cheesecake Exercise.”330
Lesson 4:
1) “Let’s Comp – All Hands On Deck”331
Type: Video File
Length: 6:00
Posting Artist: Tony Miceli
Date Posted: 11/21/2011
Link: http://www.vibesworkshop.com/video/2011-chord-and-harmony-fest-all-handsdeck/tonymiceli/112111
328
Ibid.
329
Gillece, “Cheesecake Exercise.” (accessed March 12, 2016).
330
Ibid.
331
Miceli, “Let’s Comp – All Hands On Deck.” (accessed March 12, 2016).
158
Description: N.A.
Annotation: Tony Miceli demonstrates an advanced concept in a simple way. Students
should eventually learn to separate the hands’ functions: The right hand plays the line,
and the left comps. To simplify things, Miceli instructs to have both hands play at the
same time. The lesson was used previously during Week 4 of the Beginner’s Course.
Goals: Students will begin to develop chord melody skills.
Assignment: Students will practice improvising over the tune “Bluesette” using the
concept Miceli discusses in the video. At first, students should target the guide tones in
the left hand, and keep them stationary on every chord. Soon after, students may begin
to move the left hand around to create a second line underneath the right hand. Students
should keep the improvisatory line simple, and target strong chord tones on downbeats.
The lesson is to develop each hand’s function. Improving lines is only a secondary
benefit of his lesson.
For further study, please review: “Let’s Comp – Accompany Yourself.”332
332
Behn Gillece, “Let’s Comp – Accompany Yourself,” the Vibes Workshop,
http://www.vibesworkshop.com/audio/lets-comp-accompany-yourself-behn-gillece/behng/111811
(accessed March 12, 2016).
159
WEEK 10:
Lesson 1:
1) “More Pianistic Pattern.”333
Type: Video File
Length: 2:31
Posting Artist: Anthony Smith
Date Posted: 10/3/2014
Link: http://www.vibesworkshop.com/video/more-pianistic-patterns-anthonysmith/tonymiceli/100314
Description: N.A.
Annotation: Anthony Smith demonstrates two pianistic concepts vibes players should
master to grow their voicing and comping vocabulary. Since Smith is originally a pianist
he contributes several hybrid concepts to the site that work well on both instruments.
The lesson is in the form of an exercise that students may use to enhance several
concepts, as it works on separating the hands. The left hand can outline any chordal
intervals, or play in unison with the right hand, which arpeggiates up several chords.
Goals: Students will continue to work on separating their hands into two functions.
Assignment: Student should simply listen to Smith’s lesson to assimilate the concept.
Next, they will practice both exercises over the chords to “Bluesette.” Students will
change the pattern to fit into a waltz. Student will continue to alter the concept further to
include several versions in the right hand. Students should play the right hand in unison
with the left, but in many intervals above. Next, students should begin experimenting
with improvising the left hand as the right hand continues. As usual, students should
record themselves playing to a metronome. They will listen back to their practice
sessions every day, and by the end of the week, they will write down at least four ideas
using the concept to use toward their final assessment.
333
Anthony Smith, “More Pianistic Pattern,” the Vibe Workshop,
http://www.vibesworkshop.com/video/more-pianistic-patterns-anthony-smith/tonymiceli/100314
(accessed March 12, 2016).
160
For further study, please review: “Bringing All the Mallets Into Play.”334
Lesson 2:
1) “Working On Shell Voicings Part 1”335
Type: Audio File
Length: 8:57
Posting Artist: Behn Gillece
Date Posted: 8/20/2014
Link: http://www.vibesworkshop.com/audio/working-shell-voicings-pt-1-behngillece/behng/082014
Description: N.A.
Annotation: Behn Gillece discusses a favorite topic of his, piano shell voicings. The
concept uses the only three notes for comping: the root, the 3rd, and the 7th. It’s
extremely useful for comping for a soloist that you are unfamiliar with. That person may
choose to stay in the diatonic scale, or use as many chromatics as possible. Using shell
voicings, the sounds will not clash.
Goals: Students will develop a basic comping voicing that works well for most
ensemble and solo playing.
Assignment: Students will listen to the lesson although they may already be familiar
with the concept from other Vibesworkshop.com lessons. Students will practice the
concept over their “New Age“ exercise from a previous lesson.336 They should practice
the concept in all twelve keys. The last time they used this exercise, they were including
tritone substitutions. Students are welcome to shell voice the substitutions as well. At
the end of the week, students will record and post a track of themselves comping
334
Tony Miceli, “Bringing All the Mallets Into Play,” (accessed March 12, 2016).
335
Behn Gillece, “Working On Shell Voicings Part 1,” (accessed March 12, 2016).
336
Miceli, “New Age Exercise,” (accessed March 12, 2016).
161
through a single chorus “Bluesette” using just shell voicings. They should post the
tracks to the comment section of the lesson.337
For further study, please review: “Working on Shell Voicings Part 2.”338
Lesson 3:
1) “Simple ii-V-I Exercise w/ Piano Shell Voicings”339
Type: Audio File
Length: 5:01
Posting Artist: Behn Gillece
Date Posted: 1/23/2015
Link: http://www.vibesworkshop.com/audio/simple-ii-v-i-exercise-w-piano-shellvoicings-behn-gillece/behng/012315
Description: N.A.
Annotation: Behn Gillece uses shell voicings to work sequentially over a ii-V-I whole
tone cycle. The exercise is pretty simple until the 3:40 mark.340 He challenges the
students to insert the piano shell voicing underneath the line allowing students to begin
comping for themselves while they improvise.
Goals: Students will use their sequencing skills to practice piano shell voicings as a
chord melody.
337
Gillece, Working on Shell Voicings Part 1,” (accessed March 12, 2016).
338
Ben Gillece, “Working On Shell Voicings Part 2,” the Vibes Workshop,
http://www.vibesworkshop.com/audio/working-shell-voicings-pt-2-behn-gillece/behng/082214 (accessed
March 12, 2016).
339
Behn Gillece, “Simple ii-V-I Exercise w/ Piano Shell Voicings,” the Vibes Workshop,
http://www.vibesworkshop.com/audio/simple-ii-v-i-exercise-w-piano-shell-voicings-behngillece/behng/012315 (accessed March 12, 2016).
340
Ibid.
162
Assignment: Students will first transcribe the sequential line Gillece uses in the lesson.
Then they will practice it in all twelve keys. Next, they will insert the piano shell
voicings as they practice in all twelve keys. Student should not worry about playing in
tempo yet. They should remain patient and play rubato until they truly master the
concept. Next, student should review the lines they transcribed from the previous
week’s sequential lessons. They may apply any line from those lessons, or any other
lesson. As long as students are practicing shell voicings under a line in a whole tone
style they are accomplishing self-comping, which is a technique known as chord
melody.
For further study, please review: “Shell Chords.”341
Lesson 4:
1) “John Swana's ‘Bluesette’ Etude.”342
Type: Video File
Length: 2:39
Posting Artist: Tony Miceli, John Swana
Date Posted: 10/4/2011
Link: http://www.vibesworkshop.com/video/john-swanas-bluesetteetude/tonymiceli/100411
Description: “John Swana is a phenomenal musician! He played trumpet but had to stop
because of lip problems. But he's an amazing musician nonetheless, and now he plays
the EVI. This is a great lesson!”343
Annotation: John Swana speeds through his demonstration of the lesson. He is such a
great musician its hard for students of the instrument to keep up with him, but it is
341
Babu, “Shell Chords,” the Vibes Workshop, http://www.vibesworkshop.com/audio/shell-
chords-babu/babu/022813 (accessed March 12, 2016).
342
Tony Miceli, John Swana, “John Swana's ‘Bluesette’ Etude,” the Vibes Workshop,
http://www.vibesworkshop.com/video/john-swanas-bluesette-etude/tonymiceli/100411 (accessed March
12, 2016).
343
Ibid.
163
possible. He teaches a basic pentatonic line that can be sequenced over any chord
progression. He discusses how to align the rhythm and the meter, but spends most of the
lesson demonstrating how to alter tones to fit different chord types.
Goals: Students will test their sequential line skills over the tune “Bluesette.”
Assignment: Students will first transcribe Swana’s line used in the lesson, and then
record themselves sequencing it over an entire chorus of “Bluesette.” Since the tune
features many different chord qualities, students should spend most of the week practice
the line switching between dominants, to minors, to major 7ths, etc. They may spend
their time practicing rubato, but eventually they should turn the metronome to beats 2
and 4. Once comfortable playing in time, they will record themselves sequencing the
line over the entire tune, and then post the track to the comment section of Swana’s
lesson.344
344
Ibid.
164
WEEK 11:
Lesson 1:
1) “Independence – ETOM”345
Type: Video File
Length: 5:00
Posting Artist: David Friedman
Date Posted: 9/14/2011
Link: http://www.vibesworkshop.com/video/independence-eotm-exercise-month/davidfriedman/091411
Description: N.A.
Annotation: David Friedman offer as fun groove for students to learn quickly. The
concept is based on a syncopated left hand in 2nds. The right hand then becomes free to
work on anything from lines, to comping, syncopation, or rhythm
Goals: Students will enjoy a new groove based exercise where they can work on any
new or old technique. Most importantly, students will continue to develop left and right
hand independence.
Assignment: Students will transcribe Friedman’s lesson and immediately begin to
groove. The exercise will be used to practice several concepts introduced in the next two
weeks, but, most importantly, they will improvise with the right hand as the left hand
simply grooves on the osstinato. In previous lessons, students have begun to develop
independence between their hands. The lesson will help students develop more accuracy
and ideas while comping themselves with their left hands.
For further study, please review: “Cop This Groove - June 2010 - #2.”346
345
David Friedman, “Independence – EOTM,” the Vibes Workshop,
http://www.vibesworkshop.com/video/independence-eotm-exercise-month/david-friedman/091411
(accessed March 12, 2016).
165
Lesson 2:
1) “Major Lines”347
Type: Audio File
Length: 4:01
Posting Artist: Tyler Blanton
Date Posted: 6/25/2013
Link: http://www.vibesworkshop.com/audio/major-lines-tylerblanton/tylerblanton/062513
Description: N.A.
Annotation: Tyler Blanton offer a few “major lines” to bolster students’ vocabulary over
what he calls, “the easy stuff.”348 He goes on to explain how players often over look the
simple chords, and stock pile tons of lines for the hardest chord alterations. The lesson
will also give students a chance to transcribe multiple licks. Blanton’s lessons usually
feature clear instruction and multiple demonstrations of the same material.
Goals: Students will learn a few more lines to work over major chords.
Assignment: Students will transcribe Blanton’s lines as they add to the major chord line
vocabulary. The lesson will allow students to test their aural skills, and practice several
major lines to use over the tune “Bluesette.” Obviously, students will have to alter the
lines to fit in a 3/4 meter, as Blanton demonstrates in 4/4. Students should transcribe at
least four lines from the lesson, and practice them in all keys over the course of the
346
Tony Miceli, “Cop This Groove- June 2010 - #2,” the Vibes Workshop,
http://www.vibesworkshop.com/audio/cop-groove-june-2010-2-tony-miceli/tonymiceli/062410 (accessed
March 12, 2016).
347
Tyler Blanton, “Major Lines,” the Vibes Workshop,
http://www.vibesworkshop.com/audio/major-lines-tyler-blanton/tylerblanton/062513 accessed March 12,
2016).
348
Ibid.
166
week. On the final day of the week, students will alter them to 3/4 meter. This way, they
have major lines that can be played in both a 4/4 swing, and 3/4 waltz style.
For further study, please review: “Versatile Major Lines.”349
Lesson 3:
1) “Comping - Separating the Hands”350
Type: Video File
Length: 4:31
Posting Artist: Behn Gillece
Date Posted: 2/29/2012
Link: http://www.vibesworkshop.com/video/comping-separating-hands-behngillece/behng/022912
Description: “A simple trick on separating the hands while comping to add variety.”351
Annotation: Behn Gillece demonstrates a simple comping concept over a minor blues in
Bb. The concept takes voicings and divides the patterns into right and left hands. The
concept is simple, but the effect is great. It adds a tiny accent pattern to the comping, as
well as a sense of multiple voices. When combines with block chords, it creates a
smooth sound.
Goals: Students add a small agogic accent to the comping pattern to create a sense of
multiple voices. Students will combine the pattern with block chords to create a smooth
sound.
349
Behn Gillece, “Versatile Major Lines,” the Vibes Workshop,
http://www.vibesworkshop.com/audio/short-break-totm-versatile-major-line-behn-gillece/behng/011013
(accessed March 12, 2016).
350
Behn Gillece, “Comping - Separating the Hands,” the Vibes Workshop,
http://www.vibesworkshop.com/video/comping-separating-hands-behn-gillece/behng/022912 (accessed
March 12, 2016).
351
Ibid.
167
Assignment: Students will practice dividing comping between the hands on “Bluesette.”
The lesson will serve as another variation to implement previous comping patterns.
Students may also separate the hands while using shell voicings, and may practice any
previous comping ideas in conjunction. There is no recording assignment or notation for
this lesson.
For further study, please review: “Ideas for Comping Part 1- Double Stops with the Left
Hand.”352
Lesson 4:
1) “Minor Chords in 5ths”353
Type: Audio File
Length: 9:36
Posting Artist: Tony Miceli
Date Posted: 10/20/2009
Link: http://www.vibesworkshop.com/audio/minor-chords-5ths-tonymiceli/tonymiceli/103009
Description: N.A.
Annotation: Tony Miceli offers a cyclical line that also tests student’s theory skills. The
line is based on cascading minor 7th chords that cycle by 5ths. Students may practice the
line as slow as needed, but can challenge their hands and their minds by performing at
faster tempos.
Goals: Students will test their minds and hands and learn a new cascading minor line.
352
Tony Miceli, “Ideas for Comping Part 1- Double Stops with the Left Hand,” the Vibes
Workshop, http://www.vibesworkshop.com/audio/ideas-comping-pt-1-double-stops-left-hand-tonymiceli/tonymiceli/041310 (accessed March 12, 2016).
353
Tony Miceli, “Minor Chords in 5ths,” the Vibes Workshop,
http://www.vibesworkshop.com/audio/minor-chords-5ths-tony-miceli/tonymiceli/103009 (accessed
March 12, 2016).
168
Assignment: Students will begin by learning and transcribing the line and practicing it
through all twelve keys without a metronome. Because of range limitations on the
vibraphone, students will have to quickly jump octaves to alter the inversion of the line.
Once comfortable, students should use the metronome to practice the line. Students will
notice a significant different between using, and not using, the metronome. They should
strive to add at least twenty clicks to their practice before the end of the week.
WEEK 12:
Lesson 1:
1) “Begging, Borrowing, and Stealing354
Type: Video File
Length: 6:12
Posting Artist: Tony Miceli
Date Posted: 12/11/2009
Link: http://www.vibesworkshop.com/video/begging-borrowing-andstealing/tonymiceli/121109
Description: “Begging, Borrowing and Stealing. Things vibe [sic] players must do to
play the instrument!”355
Annotation: Tony Miceli attempts to describe an extremely abstract musical concept. He
expands on concepts form many lessons on the site where students will establish a
groove and then practice soloing over it. Students will have to leave the groove in order
to execute the solo lines, and that is the concept Miceli attempts to explain. The lesson
stands separate from other groove instructions because Miceli goes into great detail to
expresses how he thinks about the concepts. It’s a true pleasure to hear a master’s
unfiltered thoughts.
354
Tony Miceli, Begging, “Borrowing, and Stealing,” the Vibes Workshop,
http://www.vibesworkshop.com/video/begging-borrowing-and-stealing/tonymiceli/121109 (accessed
March 12, 2016).
355
Ibid.
169
Goals: Students should listen to the lesson, and try to absorb Miceli’s thoughts of the
subject.
Assignment: Students should simply view and take notes on Miceli’s lesson.
Lesson 2:
1) “Major Surround Tones”356
Type: Video File
Length: 5:53
Posting Artist: Behn Gillece
Date Posted: 8/5/2011
Link: http://www.vibesworkshop.com/video/major-surround-tones-behngillece/behng/080511
Description: “A few years ago, I did a lesson where I talked about minor surround tones.
I feel like surround tones are often discussed over dominant and minor, but not major as
often. So I decided to talk a little about how to surround chord tones on major chords,
enjoy! Behn.”357
Annotation: Behn Gillece demonstrates several major surround tone lines using a major
bebop scale. The lines are accessible for several chord lengths. Gillece builds the lines
so they build and sequence themselves. In theory, a single line could last anywhere from
two beats to four measures.
Goals: Students will quickly adapt surround tones to the major lines.
Assignment: Students should listen to Gillece’s lesson, and then transcribe at least three
lines from the lesson. Students will not be required to record themselves playing the
lines. They will be required to include them in their final assessment at the end of the
week. So, students should quickly transcribe, and practice the lines in all twelve major
keys with a metronome.
356
Behn Gillece, “Major Surround Tones,” (accessed March 12, 2016).
357
Ibid.
170
For further study, please review: “Modal Minor Exercise #3.”358
Lesson 3:
1) “Find the Thread”359
Type: Audio File
Length: 9:36
Posting Artist: Tony Miceli
Date Posted: 1/6/2010
Link: http://www.vibesworkshop.com/audio/find-thread-tony-miceli/tonymiceli/010610
Description: “A quick lesson on finding threads through tunes and building lines around
them.”360
Annotation: Tony Miceli takes his time to demonstrate how to weave threads between
chords. “Threads” is a name Miceli attaches to the concept. Some may think of it as
creating lines between chords using chromatic voice-leading.361 He discusses several
ways in accomplishing the task. He starts by making the thread into a bass line between
chords. Then, he moves the chromatic line to inner voices. Finally, he demonstrates how
to perform a solo line between the threads using the “Begging, Borrowing, and Stealing”
lesson concept.362
358
Behn Gillece, “Modal Minor Exercise #3,” the Vibes Workshop,
http://www.vibesworkshop.com/audio/modal-minor-exercise-no-3-behn-gillece/behng/052014 (accessed
March 12, 2016).
359
Tony Miceli, “Find the Thread,” the Vibes Workshop,
http://www.vibesworkshop.com/audio/find-thread-tony-miceli/tonymiceli/010610 (accessed March 12,
2016).
360
Ibid.
361
Ibid.
362
Miceli, “Begging, Borrowing, and Stealing.” (accessed March 12, 2016).
171
Goals: Students will work on threading lines between chords to the tune “Bluesette.”
Assignment: Students will practice three concepts Miceli discusses with a metronome
no matter the tempo. Students will add chromatic passing tones between the bass notes
of each chord. It will sound better if students continue a thread for only a few bars
before resetting the voicings, and then continuing the process. Next, students will
practice a similar process but with an inner voice of the chords. Finally, students will
perform both a thread, and a solo line above the chords using Miceli’s first lesson of the
week.
For further study, please review: “Behn Hears Inner Voices.”363
Lesson 4:
Assessment: So far students have recorded multiple tracks as their final monthly
assessment. For “Bluesette,” students will only record one. The track will feature six
choruses of the tune: the first will be both the chords and the melody, then four choruses
of an improvised solo, and the last the same as the first. During the first and last chorus,
students must make the melody the important voice, but they learn several comping
skills to play under the melody, and several voicings they can also use during their solo
choruses. Over the last few weeks students have transcribed and listened to several ideas
for accompanying themselves while soloing. Students may use their notebooks for
several options including, shell voicings, pianistic patterns, hand separation, setting up a
groove and then leaving it, connecting chords with threads, and so much more. Students
are welcome to experiment with new ideas, but in order to pass the
Vibesworkshop.com’s Intermediate Course they must display at least six concepts
discussed during the previous four weeks.
363
Behn Gillece, “Behn Hears Inner Voices.” the Vibe Workshop,
http://www.vibesworkshop.com/node/4831 (accessed March 12, 2016).
172
Conclusion
The Intermediate course’s focus is to prepare students for their next step in the
vibes world. When they have completed the course, students should be able to function
well in an ensemble or solo setting. The curriculum encourages students to continue
learning different TOTM, or any tune they desire. Students shouldn’t be working on
tunes solely because the community has offered them a chance, or their teacher
recommended it.
Between the Beginner’s and Intermediate Courses, students may have compiled
up to twenty-four transcriptions. The notations will serve students well as they can alter
the lines or voicings to fit any new tune they choose to study. Alongside those
transcriptions, students may have two dozens of lesson notes in their possession to help
facilitate their learning of new tunes.
While studying new tunes students should experiment and create new ideas to
post to the website. No matter the post’s format, I encourage students to consider
contributing to the online vibes community’s central intelligence since it has already
given Vibesworkshop.com so much.
173
CHAPTER V – ADVANCED COURSE
Tunes of the Month
(Weeks 1-4) – “If I Were A Bell” by Frank Loesser
(Weeks 5-8) – “Darn That Dream” by Jimmy Van Heusen
(Weeks 9-12) – “Donna Lee” by Charlie Parker
The Vibesworkshop.com’s Advanced Course is for students seeking a challenge.
Once again, students will focus on three tunes, memorize the melody and chords in all
twelve keys, undertake two transcriptions a week, and practice the lessons in all twelve
keys. This course also last sixteen weeks, but only supplies students with twelve weeks
of lessons. The remaining two will be for students to either catch up on assignments, or
continue studying a lessons concept. The primary difference between this and the other
courses is the final monthly assessments, which requires students to record several
difficult solo assignments in multiple keys.
Once again, students will require the following materials to complete the courses
assignments and assessments: vibraphone, personal audio device, a metronome, a
notebook to notate transcriptions, a recording device, and sound editing software such as
Audacity, the free recording software.
During the first month, students will work on the tune “If I Were A Bell” by
Frank Loesser. It is a classic standard, but students will use it as a vehicle to develop
174
stride vibes technique, which is a concept used primarily by pianist to give the illusion
of two lines played by the same player. The second tune, “Darn That Dream,” is the first
ballad of the Vibesworkshop.com curriculum. It is a challenging tune that features a
greater amount of harmonic progressions unlike any other in the Vibesworkshop.com
curriculum. The third month features “Donna Lee” by Charlie Parker as the tune is
quintessential to the bebop style. The course’s final assessment requires students to
create a solo recording featuring the tune’s chords, melody, and improvised lines, in two
keys.
175
WEEK 1
Tune of the Month – “If I Were a Bell” by Frank Loesser
Lesson 1:
1) “Turn Around for Tunes on II”364
Type: Audio File
Length: 6:50
Posting Artist: Behn Gillece
Date Posted: 5/5/2014
Link: http://www.vibesworkshop.com/audio/turnarounds-tunes-start-ii-behngillece/behng/050514
Description: N.A.
Annotation: Behn Gillece offers a few variations specifically designed for the turn
around of “If I Were A Bell.” The tune begins on a II7 chord instead of the traditional I
chord. Gillece’s PDF is no longer attached to the lesson. In it he explained the three
variations in detail. The advanced students should be able to understand his description
without the PDF. Each variation alters the chords originally written by Loesser.
Goals: Students will learn how to alter a written chord progression, and augment the
original function of a turnaround ending on a II7 chord.
Assignment: As students are memorizing the melody and chords to “If I Were a Bell”
they should practice implementing the three variations Behn Gillece offers in his lesson.
Students will listen to the lesson, and transcribe all three turnarounds. Gillece describes
the chords of each, and also demonstrates each variation starting at 4:50.365
364
Behn Gillece, “Turn Around for Tunes on ii,” the Vibes Workshop,
http://www.vibesworkshop.com/audio/turnarounds-tunes-start-ii-behn-gillece/behng/050514 (accessed
February 25, 2016).
365
Ibid.
176
For further study, please review: “TOTM – ‘If I Were a Bell’ – Solo – Second Half –
Just the Solo.”366
Lesson 2:
1) “Stride Vibes Part 1 – Introduction”367
Type: Video File
Length: 1:00
Posting Artist: Tony Miceli
Date Posted: 8/31/2008
Link: http://www.vibesworkshop.com/video/stride-vibes-intro/tonymiceli/083108
Description: N.A.
Annotation: Tony Miceli briefly describes the upcoming series on stride vibes. He takes
the opportunity to invite anyone to add information regarding the upcoming
information.
2) “Stride Vibes Part 2 – Movement and Independence”368
Type: Video File
Length: 2:10
Posting Artist: Tony Miceli
Date Posted: 8/31/2008
Link: http://www.vibesworkshop.com/video/stride-vibes-movement-and-independencept-2/tonymiceli/083108,
Description: N.A.
366
Tony Miceli, “TOTM – ‘If I Were a Bell’ – Solo – Second Half – Just the Solo.” the Vibes
Workshop, http://www.vibesworkshop.com/audio/totm-if-i-were-bell-solo-second-half-just-solo-tonymiceli/tonymiceli/032812 (accessed February 25, 2016).
367
Tony Miceli, “Stride Vibes Part 1,” the Vibes Workshop,
http://www.vibesworkshop.com/video/stride-vibes-intro/tonymiceli/083108 (accessed February 25, 2016).
368
Tony Miceli, “Stride Vibes Part 2,” the Vibes Workshop,
http://www.vibesworkshop.com/video/stride-vibes-movement-and-independence-pt-2/tonymiceli/083108,
(accessed February 25, 2016).
177
Annotation: Miceli continues his explanation on stride vibes technique. He compares the
technique to the independence piano players have between their two hands. He states
that vibists must cheat in order to replicate the moving between the two hands (see time
mark :40).369 The lesson depends heavily on the concept of creating two single lines. At
1:40, Miceli demonstrates the concept of playing a bass line and then leaving it to solo
an octave and a half higher, and eventually returning to the bass motion.370
3) “Stride Vibes Part 3 – Practicing Progression”371
Type: Video File
Length: 2:48
Posting Artist: Tony Miceli
Date Posted: 8/31/2008
Link: http://www.vibesworkshop.com/video/stride-vibes-practicing-progressions-pt3/tonymiceli/083108
Description: N.A.
Annotation: Miceli practices the chords to the tune “Summer Time” in the stride vibes
style. The lesson simply demonstrates the importance of playing the guide tones in the
left hand. The right hand may perform the melody of any tune or improvise. Miceli
doesn’t offer much information on the rhythms he chooses.
Goals: Students will begin to study practice the stride vibes style.
Assignment: Students should first listen to the three Miceli lessons. Students will
practice the chord progression to “If I Were a Bell” in the style Miceli demonstrates. He
performs the changes with the left hand only highlighting the guide tones in mostly a
369
Ibid.
370
Ibid.
371
Tony Miceli, “Stride Vibes Part 3,” the Vibes Workshop,
http://www.vibesworkshop.com/video/stride-vibes-practicing-progressions-pt-3/tonymiceli/083108
(accessed February 25, 2016).
178
quarter note rhythm. Students will then add the melody to the right hand. If students
struggle, isolate just the first four bars. Once the coordination becomes comfortable,
students should work on the next four bars. Students will continue until the entire tune is
playable in the original key.
For further study, please review: “Stride Tips 2011 – Part 1- Introduction,” and “Stride
Tips 2011 – Part 2 – Simple Exercise.”372
Lesson 3:
1) “Playing Melodies to Tunes”373
Type: Video File
Length: 9:20
Posting Artist: Tony Miceli
Date Posted: 12/3/2009
Link: http://www.vibesworkshop.com/video/playing-melodies-tunes/behng/120309
Description: “Behn came over today to pick up some mallets, and we started talking
about melodies and playing lines. So I asked Behn to play a tune with only melodies and
lines, no chords and then talk about it. Here's what came out.”374
Annotation: Ben Gillece demonstrates playing melodies and lines over the tune “If Ever
I Would Leave You.” The video features Gillece playing until the 5:25 mark. Then he
begins to share what ideas he had while soloing. Gillece compares paying melodies on
the vibes to a singer. Vibists should think about articulations and colors the same way as
372
Tony Miceli, “Stride Tips 2011 – Part 1- Introduction,” the Vibes Workshop,
http://www.vibesworkshop.com/audio/stride-tips-2011-part-1-introduction-tonymiceli/tonymiceli/110811 (accessed February 25, 2016); Tony Miceli, “Stride Tips 2011 – Part 2 –
Simple Exercise.” the Vibes Workshop, http://www.vibesworkshop.com/audio/stride-tips-2011-part-2simple-exercise-tony-miceli/tonymiceli/110811 (accessed February 25, 2016).
373
Tony Miceli, “Playing Melodies to Tunes,” the Vibes Workshop,
http://www.vibesworkshop.com/video/playing-melodies-tunes/behng/120309 (accessed February 27,
2016).
374
Ibid.
179
saxophonists and vocalists. He posits that the vibes cannot directly mimic vocal or horn
techniques, and instead vibist must use what the vibes does have to be musical. Mallet
dampening and pedal dampening are just two examples Gillece gives for playing
musically on the vibes.
Goals: Students will be exposed to new ideas regarding phrasing and articulation. They
should become aware that listening to musicians that are not vibists is beneficial.
Assignment: Students will listen to Gillece’s lesson. As they are learning the melody to
“If I Were a Bell,” students should listen to at least five different versions of the tune.
Then, they should write down who plays the melody on those five versions, and
something unique about each one.
For further study, please review: “TOTM – ‘If I Were A Bell.’”375
Lesson 4:
1) “TOTM – ‘If I Were a Bell’ – Comping Ideas”376
Type: Video File
Length: 5:27
Posting Artist: Behn Gillece
Date Posted: 2/20/2012
Link: http://www.vibesworkshop.com/video/totm-if-i-were-bell-comping-ideas-behngillece/behng/022012
Description: “Here's some minor idea adjustments for our TOTM, ‘If I Were A
Bell.’”377
375
Tony Miceli, “TOTM – ‘If I Were a Bell,’” the Vibes Workshop,
http://www.vibesworkshop.com/audio/totm-if-i-were-bell-solo-first-half-tony-miceli/tonymiceli/031912
(accessed February 27, 2016).
376
Behn Gillece, “TOTM – ‘If I Were a Bell’ – Comping Ideas,” the Vibes Workshop,
http://www.vibesworkshop.com/video/totm-if-i-were-bell-comping-ideas-behn-gillece/behng/022012
(accessed February 25, 2016).
377
Ibid.
180
Annotation: Behn Gillece leads students through the chords of “If I Were a Bell” and
describes the voicings he uses while comping on the tune. He immediately begins
explaining and playing at the same time. While informative, the approach can be hard to
follow at times. Students should have a copy of the tune with them. At the 3:40 mark,
Gillece states that he likes to change the chord progression in mm 27-28 of the melody
to descending dominants.378
Goals: Students will learn a few voicing choices from Behn Gillece. They will also
discover opportunities to reharmonize the tune.
Assignment: Students will first watch Gillece’s lesson standing behind their vibes or a
piano. They should pause the video when needed to write down the voicings Gillece
offers. Once finished, students should attempt comping a chorus of the tune and include
the new voicings Gillece demonstrated in the video. Students will then record
themselves comping over a single chorus and post the tracks in the comment section on
the lessons page.
For further study, please review: “TOTM – ‘If I Were a Bell’ – All the Chords.”379
378
Ibid.
379
Tony Miceli, “TOTM – ‘If I Were a Bell’ – All the Chords,” the Vibes Workshop,
http://www.vibesworkshop.com/audio/totm-if-i-were-bell-all-chords-tony-miceli/tonymiceli/012112
(accessed February 27, 2016).
181
WEEK 2
Lesson 1:
1) “Stride Vibes – Part 4 – Listening to the Masters”380
Type: Video File
Length: 1:04
Posting Artist: Tony Miceli
Date Posted: 8/31/2008
Link: http://www.vibesworkshop.com/video/stride-vibes-listen-masters-pt4/tonymiceli/083108
Description:
Annotation: Tony Miceli describes the benefits of listening to stride vibes players to
copy their style and sound. The practice is certainly beneficial even if stride playing is
not the focus. At the :45 mark Miceli states possibly the most important difference
between the vibes and the piano. He says, “The piano is the whole orchestra. The vibes
are kind of the mids and the uppers of the orchestra, but the piano is… the bass, it’s the
cellos, its… the whole thing.”381
2) “Stride Vibes – Part 5 – ‘Summertime’ and Syncopation”382
Type: Video File
Length: 4:36
Posting Artist: Tony Miceli
Date Posted: 8/31/2008
380
Tony Miceli, “Stride Vibes – Part 4 – Listening to the Masters,” the Vibes Workshop,
http://www.vibesworkshop.com/video/stride-vibes-listen-masters-pt-4/tonymiceli/083108 (accessed
February 27, 2016).
381
Ibid.
382
Tony Miceli, “Stride Vibes – Part 5 – ‘Summertime’ and Syncopation,” the Vibes Workshop,
http://www.vibesworkshop.com/video/stride-vibes-summertime-and-syncopation-pt-5/tonymiceli/083108
(accessed February 27, 2016).
182
Link: http://www.vibesworkshop.com/video/stride-vibes-summertime-and-syncopationpt-5/tonymiceli/083108
Description: N.A.
Annotation: Tony Miceli begins by performing a stride vibes version of the tune
“Summer Time.” At the :25 mark he points out an interesting syncopation and voicing
combination.383 He uses the example to delve into a quick description on how to practice
syncopation. He goes on to describe the process of “getting into the world you’re trying
to work in.”384 Often when students practice advanced concepts it will take an extended
periods of time to hear the sound concept correctly. The advice is applicable to almost
any other concept.
Goals: Students will learn to hear and comprehend the rhythmic style and sound
possibilities of stride vibes. Also, students will learn what vibists and pianists have are
masters of the style.
Assignment: Students will watch both Miceli’s video. They will write down the
musicians’ names Miceli mentions in the first video, and then find at least five
recordings of their playing. Students may use those recordings as transcription material.
Secondly, students should simply listen to Miceli’s second video and absorb the
possibilities of the stride vibes style.
For further study, please review: “Stride Tips 2011 - Part 3 - Bass Lines.”385
Lesson 2:
1) “Versatile Major Line”386
383
Ibid.
384
Ibid.
385
Tony Miceli, “Stride Tips 2011 - Part 3 - Bass Lines,” the Vibes Workshop,
http://www.vibesworkshop.com/audio/stride-tips-2011-part-3-bass-lines-tony-miceli/tonymiceli/110811
(accessed February 27, 2016).
183
Type: Video File
Length: 4:50
Posting Artist: Behn Gillece
Date Posted: 1/10/2013
Link: http://www.vibesworkshop.com/audio/short-break-totm-versatile-major-linebehn-gillece/behng/011013
Description: “Here's a little something to get away from our TOTM for a minute!”387
Annotation: Behn Gillece describes a simple but versatile line that works well over
major chords. He describes the target notes (root and 5th) in the key of C, but does not
spell the line out note for note. His educational approach fits perfectly for the advanced
course. Students should have enough aural skills to transcribe the line for themselves. If
students do struggle, then it will force them to build their skills, which will be beneficial
to continued study.
Goals: Students will test their aural skills, and learn a new line.
Assignment: Students will begin by listening to Gillece’s lesson. Students should hear
the line he plays and imagine the notes in their minds. Once the lesson concludes,
students should play the line on their instrument to test their aural skills and correct any
mistakes. Once perfected, students will write the line down in their notebook. The line
will count towards their weekly transcription assignment.
For further study, please review: “Comprehensive Major Exercise.”388
Lesson 3:
1) “TOTM – ‘If I Were a Bell’ – Voicings”389
386
Behn Gillece, “Versatile Major Line,” (accessed February 27, 2016).
387
Ibid.
388
Behn Gillece, “Comprehensive Major Exercise,” the Vibes Workshop,
http://www.vibesworkshop.com/audio/comprehensive-major-exercise-behn-gillece/behng/060613
(accessed February 27, 2016).
184
Type: Video File
Length: 10:37
Posting Artist: David Friedman
Date Posted: 3/4/2012
Link: http://www.vibesworkshop.com/video/if-i-were-bell-friedmanvoicings/tonymiceli/030412
Description: N.A.
Annotation: David Friedman demonstrates his voicing choices for the tune “If I Were a
Bell.” He includes voice-leading motion in the inner mallets. The lesson moves fast, but
the pace should be appropriate for advanced students. He offers a quick background on
Freddie Green and the style he almost always used to comp. Friedman demonstrates the
entire tune in the Freddie Green style by using simple quarter notes and the dampening
pedal. He plays one chord short and the next longer strictly in succession.
Goals: Students will discover how David Friedman voices the chords to “If I Were a
Bell.”
Assignment: Students will watch Friedman’s video and transcribe the voicings he
chooses for each chord. Once students are comfortable with the voicings, they will
record themselves playing them over on chorus of the tune. Students will them post the
track to the lesson’s page in the comments.
Lesson 4:
1) “Left Hand Techniques”390
Type: Video File
389
David Friedman, “TOTM – ‘If I Were a Bell’ – Voicings,” the Vibes Workshop,
http://www.vibesworkshop.com/video/if-i-were-bell-friedman-voicings/tonymiceli/030412 (accessed
February 27, 2016).
390
Tony Miceli, “Left Hand Techniques,” the Vibes Workshop,
http://www.vibesworkshop.com/video/left-hand-technique/tonymiceli/121410 (accessed February 27,
2016).
185
Length: 7:27
Posting Artist: Tony Miceli
Date Posted: 12/14/2010
Link: http://www.vibesworkshop.com/video/left-hand-technique/tonymiceli/121410
Description: “I was messing around with settings on my camera and trying to find some
quicker ways to shoot video and I made a lesson up. Simple but you guys might dig it.
Wasn't easier and had some trouble with the cam, but consider it a QDV (Quick and
Dirty Video).”
Annotation: Tony Miceli opens the lesson by restating his educational philosophy
regarding learning by ear instead of reading music. He states that he was going to show
an exercise to students, but simply demonstrates the concept of playing left hand double
stops while playing lines. He explains the concept in several ways with clarity, but tasks
the student to create their own exercise or etude.
Goals: Vibraphone, Notebook, and Metronome.
Assignment: Students will first watch Miceli’s lesson, and then groove over all twelve
Dorian modes to practice the concept. Students will choose three lines from their
notebooks, and practice inserting the left hand double stop into them. Students should
target essential chord tones in the left hand.
For further study, please review: “Separate the Hands.”391
391
Tony Miceli, “Separate the Hands,” the Vibes Workshop,
http://www.vibesworkshop.com/node/4829 (accessed February 27, 2016).
186
WEEK 3
Lesson 1:
1) “Stride Vibes – Part 6 – More Exercises and Recap”392
Type: Video File
Length: 6:02
Posting Artist: Tony Miceli
Date Posted: 8/31/2008
Link: http://www.vibesworkshop.com/video/stride-vibes-more-exercises-and-recap-pt6/tonymiceli/083108
Description: N.A.
Annotation: Miceli concludes the series on stride vibes. He demonstrates on a simple
chord progression that students should use. Students can imitate the exact chords, or
build their own, simple to intermediate, progressions in order to practice the style. At the
3:40 mark Miceli states students should use the concept on ii-Vs, something you’ll find
in tunes, or a blues since they sound the most appropriate in the style.393
Goals: Students will learn to apply the stride vibes style to isolated chord progression.
Assignment: Students will view the final lesson in the series. Next, students will isolate
any section in “If I Were a Bell” that are troublesome. Then, they should use Miceli’s
practice techniques to work up the sections. Once students are comfortable, they should
record a chorus of “If I Were a Bell” in the stride style and post it to the site.
392
Tony Miceli, “Stride Vibes – Part 6 – More Exercises and Recap,” the Vibes Workshop,
http://www.vibesworkshop.com/video/stride-vibes-more-exercises-and-recap-pt-6/tonymiceli/083108
(accessed February 27, 2016).
393
Ibid.
187
For further study, please review: “The First Video I Ever Did – Stride Vibes.”394
Lesson 2:
1) “Motivic Improvisation”395
Type: Audio File
Length: 7:57
Posting Artist: Stefan Bauer
Date Posted: 2/22/2015
Link: http://www.vibesworkshop.com/audio/motivic-improvisation-stefan-bauer/stefanbauer/022215
Description: “Some thoughts and demonstrations on how to start a solo, and on motivic
improvisation that stays true to the tune.”396
Annotation: Stefan Bauer clearly describes a number of ways to use motives in a solo.
He takes many motives from the melody, but players should also listen for patterns other
members of the ensemble may have played.
Goals: Students will learn to create coherent solos based on motives.
Assignment: Students will create a practice track comping over four choruses of “If I
Were a Bell,” and then use the track as a metronome to practice performing the melody,
two improvised solos, and finish with the melody again. As students improvise, they
should use Bauer’s ideas of borrowing motivic cells from the melody. They should craft
both solos based on similar motives.
394
Tony Miceli, “The First Video I Ever Did – Stride Vibes,” the Vibes Workshop,
http://www.vibesworkshop.com/video/first-video-i-ever-did-stride-vibes/tonymiceli/070409 (accessed
February 27, 2016).
395
Stefan Bauer, “Motivic Improvisation,” the Vibes Workshop,
http://www.vibesworkshop.com/audio/motivic-improvisation-stefan-bauer/stefan-bauer/022215 (accessed
February 27, 2016).
396
Ibid.
188
For further study, please review: “Make Sure You Recycle.”397
Lesson 3:
1) “TOTM – ‘If I Were A Bell’ – Comping and Voicing Ideas”398
Type: Video File
Length: 12:54
Posting Artist: Tony Miceli
Date Posted: 2/23/2012
Link: http://www.vibesworkshop.com/video/totm-if-i-were-bell-comping-and-voicingideas/tonymiceli/021312
Description: N.A.
Annotation: Tony Miceli talks about his comping philosophy and gives practice tips
using the tune “If I Were a Bell.” He uses multiple technological advantages to keep the
students attention. The video boasts multiple camera angles including an overhead shot
to show what Miceli is playing. Also, at the 2:58 mark Miceli superimposes a message
describing his reasoning for switching between three and four mallets.399 His main
message for the lesson is to keep a simple melody in the top voice as some one comps.
By doing this, Miceli is performing in the stride vibes style as can be seen at the 11:05
mark.400
Goals: Students will learn several advanced ideas for comping over “If I Were a Bell.”
Assignment: Students will listen to Miceli’s lesson. The video includes a demonstration
of the tune in the stride vibes style. Students should recreate the assignment from lesson,
397
Behn Gillece, “Make Sure You Recycle,” (accessed February 27, 2016).
398
Tony Miceli, “TOTM – ‘If I Were a Bell’ – Comping and Voicing Ideas,” the Vibes
Workshop, http://www.vibesworkshop.com/video/totm-if-i-were-bell-comping-and-voicingideas/tonymiceli/021312 (accessed February 27, 2016).
399
Ibid.
400
Ibid.
189
and then record themselves soloing over four choruses. Then, students will use the solo
track as a metronome to practice comping a soloist. Students should transcribe at least
three comping ideas Miceli demonstrated in the lesson and practice them over the solo
recording.
For further study, please review: “Mulgrew Talks About Comping.”401
Lesson 4:
1) “Solo Playing Tips – Part 1”402
Type: Video File
Length: 9:45
Posting Artist: Gary Burton
Date Posted: 10/2/2010
Link: http://www.vibesworkshop.com/node/4614
Description: “Gary sent me this lesson to post on the site. It's a great lesson on solo
playing. (I think part 2 is on the way). I think it's really incredible that he is taking the
time to do this for us! - Tony Miceli.”403
Annotation: Gary Burton demonstrates a wonderful solo vibes version of the ballad “But
Beautiful.” At the 2:50 mark he describes the two functions of a vibist as a singer
performing the melody and the piano accompanying the singer.404 Burton’s energy and
analogies during the lesson are astounding. He keeps the students attention with a
balance of playing and explanation. A great nugget that Burton adds at the 6:50 mark is
401
Tony Miceli, “Mulgrew Talks About Comping,” the Vibes Workshop,
http://www.vibesworkshop.com/video/mulgrew-talks-about-comping/tonymiceli/021010 (accessed
February 27, 2016).
402
Gary Burton, Tony Miceli, “Solo Playing Tips – Part 1,” the Vibes Workshop,
http://www.vibesworkshop.com/node/4614 (accessed February 27, 2016).
403
Ibid.
404
Ibid.
190
to, “make something interesting happen in every voicing.”405 He gives several
recommendations to creating more color that students can “steal.”406
Goals: Students will try to sound like Gary Burton. Good Luck.
Assignment: Students will practice playing the melody of “If I Were a Bell.” Instead of
performing in the stride vibes style, students should strive to sound as Burton does in his
lesson. He uses a great mixture of block chords and linear voicings. Students are
welcome to transcribe a few ideas Burton displays in his video. They should also
remember to record themselves to hear how they really sound.
For further study, please review: “Solo Playing Tips – Part 2.”407
405
Ibid
406
Ibid.
407
Gary Burton, “Solo Playing Tips – Part 2,” the Vibes Workshop,
http://www.vibesworkshop.com/node/4615 (accessed February 27, 2016).
191
WEEK 4
Lesson 1:
1) “Two Lines”408
Type: Video File
Length: 7:03
Posting Artist: Tony Miceli
Date Posted: 3/5/2010
Link: http://www.vibesworkshop.com/video/two-lines/tonymiceli/030510
Description: N.A.
Annotation: Tony Miceli describes how one player can practice creating two lines.
Miceli creates an improvised melody line over an F blues scale. He interrupts the upper
line with the left hand by playing a bass line that simply outlines harmonies found in the
blues scale. At the 3:30 mark he describes the process. He demonstrates superb voiceleading in the bass mallet.409 Students should strive to weave the harmonies in a similar
fashion.
Goals: Students will attempt to create multiple lines by exploring more interesting bass
lines.
Assignment: Students should already be playing multiple lines through the previous
stride vibes assignments. Students should focus their time recreating the blues groove
Miceli demonstrates in the lesson in every key. Students should practice the bass line
isolated to create a simple and efficient, then practice inserting the line between an
improvised melody. They should record themselves, and listen back to make sure two
lines are audible. Students should also write down any bass line ideas that stand out to
them.
408
Tony Miceli, “Two Lines,” the Vibes Workshop, http://www.vibesworkshop.com/video/two-
lines/tonymiceli/030510 (accessed February 27, 2016).
409
Ibid.
192
For further study, please review: “Using Bebop Tunes to Practice Playing Solo.”410
Lesson 2:
1) “Working With Singers – The Melody”411
Type: Video File
Length: 6:24
Posting Artist: Tony Miceli
Date Posted: 5/23/2012
Link: http://www.vibesworkshop.com/video/working-singersmelody/tonymiceli/052312
Description: N.A.
Annotation: Tony Miceli describes how to work with a singer. The lesson focuses on
choosing proper voicings that both add interest and do not interfere with the melody. He
describes how the melody alters the chord. Sometimes composers write a simple
dominant chord while the melody serves as the 13th of the chord. The lesson displays
supreme ensemble work between the three musicians that students should strive to
imitate.
Goals: Students will learn to critique and adjust their voicings to fit a melody.
Assignment: Students should set a metronome set to a medium swing tempo, and then
record the melody over two choruses of “If I Were a Bell.” Students should then practice
their voicing choices over the recorded melody. They should focus on hearing if the
notes conflict with each other or sound pleasant. If the notes clash, then students should
alter their voicings.
410
Tony Miceli, “Using Bebop Tunes to Practice Playing Solo,” the Vibes Workshop,
http://www.vibesworkshop.com/video/using-bebop-tunes-practice-playing-solo/tonymiceli/080809
(accessed February 27, 2016).
411
Tony Miceli, “Working With Singers – The Melody,” the Vibes Workshop,
http://www.vibesworkshop.com/video/working-singers-melody/tonymiceli/052312 (accessed February
27, 2016).
193
For further study, please review: “Working With Singers – Intros,” “Working With
Singers – Endings.”412
Lesson 3:
1) “Don’t Forget the E”413
Type: Audio File
Length: 10:27
Posting Artist: Tony Miceli
Date Posted: 12/29/2010
Link: http://www.vibesworkshop.com/audio/dont-forget-e-tonymiceli/tonymiceli/122910
Description: “Don’t Forget the E.”414
Annotation: Tony Miceli explains how to achieve deeper level of harmonic
relationships. He discusses a few techniques to reharmonize and substitute chords in
tunes. In order to replace a chord, it must share at least one common tone with the new
chords. Miceli recommends making the melody note the common tone between the two
chords.
Goals: Students will learn to reharmonize tune to create their own personal sound.
412
Tony Miceli, “Working With Singers – Intros,” the Vibes Workshop,
http://www.vibesworkshop.com/video/working-singers-intros/tonymiceli/030712 (accessed February 27,
2016); Tony Miceli, “Working With Singers – Endings,” the Vibes Workshop,
http://www.vibesworkshop.com/video/working-singers-endings/tonymiceli/031912 (accessed February
27, 2016).
413
Tony Miceli, “Don’t Forget the E,” the Vibes Workshop,
http://www.vibesworkshop.com/audio/dont-forget-e-tony-miceli/tonymiceli/122910 (accessed February
27, 2016).
414
Ibid.
194
Assignment: Students will choose at least two chords to alter in “If I Were a Bell.” They
should keep the melody note as the common tone. Students should practice their stride
vibes arrangement of the tune, and fit in the reharmonized chords.
Lesson 4:
Assessment: Students will create, record, and post a solo vibes arrangement of the tune
“If I Were a Bell.” The previous lesson will support the skills required to complete the
assignment. Students will record themselves playing at least three choruses of the tune
in a stride vibes style. The first and last chorus must contain the melody in the upper
part, but the middle choruses may be improvised solos. Students must alter at least one
chord in each chorus. They will also look to use simple bass mallet voice-leading while
keeping the line interesting. Another option for students is to include one chorus in a
pianistic style as demonstrate by Gary Burton in the lesson “Solo Playing Tips – Part
1”415 It is recommended students attempt at least three takes before considering posting
their final assignment to the “If I Were a Bell” TOTM page.416
415
Burton, Miceli, “Solo Playing Tips – Part 1.”
416
Marie-Noëlle, “If I Were a Bell,” the Vibes Workshop,
http://www.vibesworkshop.com/book/vibes-lessons-technique/tune-month-studies/if-i-were-bell/marieno%C3%ABlle/021312 (accessed February 29, 2016).
195
WEEK 5
Tune of the Month – “Darn That Dream” by Jimmy Van Heusen
Lesson 1:
1) “TOTM - ‘Darn That Dream’ - Introductory Lesson”417
Type: Audio File
Length: 11:24
Posting Artist: Tony Miceli
Date Posted: 4/10/2013
Link: http://www.vibesworkshop.com/audio/totm-darn-dream-introductory-lesson-tonymiceli/tonymiceli/041013
Description: N.A.
Annotation: Tony Miceli describes the harmony and melody of the tune “Darn That
Dream.” The lesson accurately lives up to its title of introduction. Miceli briefly
describes several facets of the tune including possible exercises and methods to soloing
over the changes.
Goals: Students will learn the many sound possibilities in the tune “Darn That Dream.”
Assignment: Students should simply listen to the lesson as Miceli demonstrates the
beauty of the tune.
For further study, please review: “Prepare to Melt… ‘Darn That Dream’ by the Best
Ballad Player Ever!”418
417
Tony Miceli, “TOTM - ‘Darn That Dream’ - Introductory Lesson,” the Vibes Workshop,
http://www.vibesworkshop.com/audio/totm-darn-dream-introductory-lesson-tonymiceli/tonymiceli/041013 (accessed February 29, 2016).
418
Tony Miceli, “Prepare to Melt… ‘Darn That Dream’ by the Best Ballad Player Ever!,” the
Vibes Workshop, http://www.vibesworkshop.com/video/prepare-melt-darn-dream-best-ballad-playerever/tonymiceli/040713 (accessed February 28, 2016).
196
Lesson 2:
1) “TOTM - ‘Darn That Dream’ - 3-6-2-5 Dominants Exercise”419
Type: Audio File
Length: 5:19
Posting Artist: Behn Gillece
Date Posted: 4/8/2013
Link: http://www.vibesworkshop.com/audio/totm-darn-dream-3-6-2-5-dominantsexercise/behng/040813
Description: N.A.
Annotation: Behn Gillece describes a comping idea that requires mallet dampening to
create color in the middle of the voicings. Behn compares the idea to a big band horn
section where the tenor saxophone may play a chromatic line. The concept is a good
replacement from block chords. The PDF Gillece claims is attached to the lesson does
not exist. Instead, the user Tifoo has transcribed the exercise and posted a PDF in the
comments.420
Goals: Students will begin to hear and create more advanced voicings outside of block
chords.
Assignment: Students will first practice Gillece’s exercise in all twelve keys. The
assignment will prepare students to hear the chromatic lines, which will be an integral
part of the tune “Darn The Dream.” Students should then find two older ii-V-I exercises
from their notebooks and create their own chromatic line exercises. They should add a
vi chord before the ii, and experiment with changing the qualities of each chord in the
progression from minor to dominant. They may also use tritone substitutions over the II
419
Behn Gillece, “TOTM - ‘Darn That Dream’ - 3-6-2-5 Dominants Exercise,” the Vibes
Workshop http://www.vibesworkshop.com/audio/totm-darn-dream-3-6-2-5-dominantsexercise/behng/040813 (accessed February 29, 2016).
420
Ibid.
197
and V chords. Finally, students should post each of their new exercises as a PDF and
audio file to the TOTM “Darn That Dream” page.421
For further study, please review: “Behn Hears Inner Voices.”422
Lesson 3:
1) “TOTM - ‘Darn That Dream’ - Harmony Part 1”423
Type: Audio File
Length: 1:36
Posting Artist: Tony Miceli
Date Posted: 4/30/2013
Link: http://www.vibesworkshop.com/audio/totm-darn-dream-harmony-part-1-tonymiceli/tonymiceli/043013
Description: N.A.
Annotation: Tony Miceli breaks down the first four chords to the tune “Darn That
Dream.” He challenges students to imagine the first two measures worth of chords in all
keys. By eliminating the physical challenge students can focus purely on the mental
approach to learning the notes in all twelve keys. The assignment is helpful for those
who are away from a keyboard for extended periods of time.
2) “TOTM - ‘Darn That Dream’ - Harmony Part 2”424
421
Marie-Noëlle, “Darn That Dream,” the Vibes Workshop,
http://www.vibesworkshop.com/book/vibes-lessons-technique/tune-month-totm/darn-dream/marieno%C3%ABlle/040813 (accessed February 29, 2016).
422
Gillece, “Behn Hears Inner Voices.” (accessed March 12, 2016).
423
Tony Miceli, “TOTM - ‘Darn That Dream’ - Harmony Part 1,” the Vibes Workshop,
http://www.vibesworkshop.com/audio/totm-darn-dream-harmony-part-1-tony-miceli/tonymiceli/043013
(accessed February 29, 2016).
198
Type: Audio File
Length: 1:36
Posting Artist: Tony Miceli
Date Posted: 4/30/2013
Link: http://www.vibesworkshop.com/audio/totm-darn-dream-harmony-part-2-tonymiceli/tonymiceli/043013
Description: N.A.
Annotation: Tony Miceli continues to the previous lesson by adding one chord and the
melody. Once again, Miceli challenges students to practice away from the vibes.
3) “TOTM - ‘Darn That Dream’ - Harmony Part 3”425
Type: Audio File
Length: 1:56
Posting Artist: Tony Miceli
Date Posted: 4/30/2013
Link: http://www.vibesworkshop.com/audio/totm-darn-dream-harmony-part-3-tonymiceli/tonymiceli/043013
Description: N.A.
Annotation: Miceli begins the lesson by giving students what he calls an etude. Similar
to those found on the “Etude” page under V-books, the information is more accurately
labeled an exercise. His explanation at the end of the lesson is unclear. He leads students
through the first lesson of chords and then tacks on the new etude.
Goals: Students will develop new techniques for learning the chords to a tune.
424
Tony Miceli, “TOTM - ‘Darn That Dream’ - Harmony Part 2,” the Vibes Workshop,
http://www.vibesworkshop.com/audio/totm-darn-dream-harmony-part-2-tony-miceli/tonymiceli/043013
(accessed February 29, 2016).
425
Tony Miceli, “TOTM - ‘Darn That Dream’ - Harmony Part 3,” the Vibes Workshop,
http://www.vibesworkshop.com/audio/totm-darn-dream-harmony-part-3-tony-miceli/tonymiceli/043013
(accessed February 29, 2016).
199
Assignment: Students should listen to all three of Miceli’s lessons before attempting to
learn the chords to “Darn That Dream.” Miceli’s instructs students to practice the
exercise mentally first. Students should attempt to memorize the tune by listening to the
lesson, and without an instrument. Once students have a grasp on the changes, they will
write them in their notebooks, and then check for any errors.
For further study, please review: “TOTM – ‘If I Were A Bell’ - Practice Chops on the
Tune.”426
Lesson 4:
1) “Chord Tool”427
Type: Audio File
Length: 4:11
Posting Artist: Tony Miceli
Date Posted: 10/18/2011
Link: http://www.vibesworkshop.com/audio/chord-fest-2011-chord-tool-tonymiceli/tonymiceli/101811
Description: N.A.
Annotation: Tony Miceli uses the tune “Green Dolphin Street” to display comping
possibilities. He experiments with the scales used over each chord to play passing
chords instead of the typical root, 3rd, 5th, and 7th voicings. The concept is usable over
many chord progressions and tunes.
Goals: Students will use Miceli’s chord tool to practice the changes of “Darn That
Dream.”
426
Tony Miceli, “TOTM – ‘If I Were a Bell’ - Practice Chops on the Tune,” the Vibes
Workshop, http://www.vibesworkshop.com/audio/totm-if-i-were-bell-practice-chops-tune-tonymiceli/tonymiceli/012112 (accessed February 29, 2016).
427
Tony Miceli, “Chord Tool,” the Vibes Workshop,
http://www.vibesworkshop.com/audio/chord-fest-2011-chord-tool-tony-miceli/tonymiceli/101811
(accessed February 29, 2016).
200
Assignment: Students will use the chord progressions they learned and notated in Week
5’s lesson 3. Next, students will isolate a single chord and groove on it. Using Miceli’s
chord tool, students will discover and experiment with new sounds for each chord in
“Darn That Dream.” The assignment will also allow students to choose multiple scales
to perform over the changes.
For further study, please review: “What the Chord Looks Like.”428
428
Tony Miceli, “What the Chord Looks Like,” the Vibes Workshop,
http://www.vibesworkshop.com/audio/what-chord-looks-tony-miceli/tonymiceli/070310 (accessed
February 29, 2016).
201
WEEK 6
Lesson 1:
1) “TOTM – ‘Darn That Dream’ – Harmony – Part 4”429
Type: Audio File
Length: 7:06
Posting Artist: Tony Miceli
Date Posted: 4/30/2013
Link: http://www.vibesworkshop.com/audio/totm-darn-dream-harmony-part-4-tonymiceli/tonymiceli/043013
Description: N.A.
Annotation: Tony Miceli reminds students that, “When you study one tune, you study
all the tunes.”430 He is referring to practicing the chords progression of “Darn That
Dream” in all keys. The process will assist students in learning tunes in the future.
Miceli focuses the lesson on the first half of the A section, and performs the progression
in multiple keys.
2) “TOTM – ‘Darn That Dream’ – Harmony – Part 5”431
Type: Audio File
Length: 5:31
Posting Artist: Tony Miceli
Date Posted: 4/30/2013
Link: http://www.vibesworkshop.com/audio/totm-darn-dream-harmony-part-5-tonymiceli/tonymiceli/043013
429
Tony Miceli, “TOTM – ‘Darn That Dream’ – Harmony – Part 4,” the Vibes Workshop,
http://www.vibesworkshop.com/audio/totm-darn-dream-harmony-part-4-tony-miceli/tonymiceli/043013
(accessed March 1, 2016).
430
Ibid.
431
Tony Miceli, “TOTM – ‘Darn That Dream’ – Harmony – Part 5,” the Vibes Workshop,
http://www.vibesworkshop.com/audio/totm-darn-dream-harmony-part-5-tony-miceli/tonymiceli/043013
(accessed March 1, 2016).
202
Description: N.A.
Annotation: Miceli continues to describe the A section to the tune “Darn That Dream.”
He demonstrates both chords in several keys. The lesson is similar to the previous file.
Miceli demonstrates a few voicing options and offers encouragement to students for
learning the tune in several keys.
3) “TOTM – ‘Darn That Dream’ – Harmony – Part 6”432
Type: Audio File
Length: 8:34
Posting Artist: Tony Miceli
Date Posted: 4/30/2013
Link: http://www.vibesworkshop.com/audio/totm-darn-dream-harmony-part-6-tonymiceli/tonymiceli/043013
Description: N.A.
Annotation: Tony Miceli simply demonstrates a chord melody version of the A section
to “Darn That Dream.” He restates that learning tunes in all keys will help players learn
tunes in the future.
4) “TOTM – ‘Darn That Dream’ – Harmony – Part 7”433
Type: Audio File
Length: 11:24
Posting Artist: Tony Miceli
Date Posted: 4/30/2013
Link: http://www.vibesworkshop.com/audio/totm-darn-dream-harmony-part-7-tonymiceli/tonymiceli/043013
Description: N.A.
432
Tony Miceli, “TOTM – ‘Darn That Dream’ – Harmony – Part 6,” the Vibes Workshop,
http://www.vibesworkshop.com/audio/totm-darn-dream-harmony-part-6-tony-miceli/tonymiceli/043013
(accessed March 1, 2016).
433
Tony Miceli, “TOTM – ‘Darn That Dream’ – Harmony – Part 7,” the Vibes Workshop,
http://www.vibesworkshop.com/audio/totm-darn-dream-harmony-part-7-tonymiceli/tonymiceli/043013(accessed March 1, 2016).
203
Annotation: Tony Miceli breaks down the middle section of the tune “Darn That
Dream.” He describes the B section as the bridge to the tune. At the 1:18 mark Miceli
challenges students to focus on the key change into the section. The key is a major 3rd
below the original key, the A section. Miceli creates a quick etude where he plays a CM7
chord and then performs a ii-V7 progression landing on an AbM7 chord. The new key
center is a major 3rd below the original key. The etude is useful for modulating to any
key center. Tony Miceli cycles through the etude in several keys.
Goals: Students will learn the chord progression to the second half of “Darn That
Dream.” They will also adopt quick modulation progressions into their warm-up routine.
Assignment: Students should first download the four lessons to their personal audio
devices. Next, they should play along with Miceli as he demonstrates the progressions to
“Darn That Dream.” Once finished with the lessons, students should practice the etude
Miceli created in the fourth lesson. They should practice the cycle starting in all keys.
The etude will help students think of modulating quickly. Students may even manipulate
the cycle to land on a new key center a minor 3rd away from the original. Any key cycle
is possible.
For further study, please review: “Making Exercises Into Other Exercises.”434
Lesson 2:
1) “TOTM – ‘Darn That Dream’ – Phrasing the Melody”435
Type: Video File
Length:
Posting Artist: Behn Gillece
434
Behn Gillece, “Making Exercises Into Other Exercises,” the Vibes Workshop,
http://www.vibesworkshop.com/audio/making-exercises-other-exercises-behn-gillece/behng/083112
(accessed March 1, 2016).
435
Behn Gillece, “TOTM – ‘Darn That Dream’ – Phrasing the Melody,” the Vibes Workshop,
http://www.vibesworkshop.com/video/totm-darn-dream-phrasing-melody-behn-gillece/behng/041713
(accessed Mach 1, 2016).
204
Date Posted: 4/17/2013
Link: http://www.vibesworkshop.com/video/totm-darn-dream-phrasing-melody-behngillece/behng/041713
Description: N.A.
Annotation: Behn Gillece demonstrates how he plays the melody of “Darn That
Dream.” He first approaches the melody as it is written on a lead sheet, but then
challenges the students’ ears. Gillece performs the melody twice more but alters the
rhythm and heavily ornaments the melody. The lesson displays to students just a few
options for expressing the melody on ballads. Gillece demonstrates his alterations well,
but he doesn’t explain how or why he chose the changes. Perhaps he simply improvised.
Either way, the lesson invites students of the tune to make the melody their own.
Goals: Behn Gillece will invites students to experiment with changing several aspects of
the melody to “Darn That Dream.”
Assignment: After listening to Gillece’s lesson, students should experiment by playing
the melody and distorting rhythms and ornamentations. There are unlimited variations to
discover. Students should practice manipulating the melody for ten minutes every day.
At the end of the week, students will notate three of their favorite new versions of the
melody.
For further study, please review: “Ballad Playing Part 1.”436
Lesson 3:
1) “TOTM – ‘Darn That Dream’ – My Quick & Dirty Version”437
Type: Audio File
Length: 4:47
Posting Artist: Tony Miceli
436
Tony Miceli, “Ballad Playing Part 1,” the Vibe Workshop,
http://www.vibesworkshop.com/video/ballad-playing-part-1/tonymiceli/112409 (accessed March 1,
2016).
437
Ibid.
205
Date Posted: 4/10/2013
Link: http://www.vibesworkshop.com/audio/darn-dream-my-quick-and-dirty-versiontony-miceli/tonymiceli/041013
Description: “Here is a quick and dirty version of “Darn That Dream.” The recording is
just one of my practice recordings. On these recordings I was trying to leave lots of
space and keep the sound clean. Not sure if I succeeded but this is one of the attempts I
liked. ALSO ATTACHED is a PDF of a solo version I wrote out. YOU FILL IN THE
CHORDS. I'LL HELP you but use the sheet music if you want and figure out what I'm
doing.”438
Annotation: Tony Miceli records a wonderful rendition of “Darn That Dream.” Unlike
most of his lessons, Miceli does not speak. He didn’t design the lesson to be
instructional. Instead, Miceli attempted to inspire users to practice and create their own
solo version of the tune.
Goals: Students will transcribe a Miceli’s solo version of “Darn That Dream” to test
their aural skills, and research sounds to use in their own version.
Assignment: Students will listen to Miceli’s recording and follow along with the lead
sheet. After, listening through the recording, students will transcribe the improvised
sections of Miceli’s track, which start at the 2:18 and 3:55 mark. Students will transcribe
both the melody and the comping. Once the assignment is complete, they will post it as
a PDF on the TOTM – “Darn That Dream” page.439 The project will take the place of
both transcription assignments for Week 6.
438
Ibid.
439
Marie-Noëlle, “Darn That Dream,” (accessed March 1, 2016).
206
WEEK 7
Lesson 1:
1) “Intros Part 1”440
Type: Video File
Length: 4:36
Posting Artist: Joe Locke
Date Posted: 10/10/2008
Link: http://www.vibesworkshop.com/video/intros-part-1/joe-locke/101008
Description: “Joe talks about an intro to play over tunes.”441
Annotation: Joe Locke visits Tony Miceli’s basement to record a video lesson on
playing intros to tunes. The lesson is advanced harmonically, and takes advantage of the
dampening technique used in the previous lesson. Locke demonstrates in the key of F to
play a medium swing tune “The Days of Wine are Roses.” The intro can be transposed
into any key, especially the original key of “Darn That Dream,” G major.
2) “Intros Part 2”442
Type: Video File
Length: 4:36
Posting Artist: Joe Locke
Date Posted: 10/10/2008
Link: http://www.vibesworkshop.com/video/intros-part-2-joe-locke/joe-locke/102108
Description: “Here’s another great lesson from Joe Locke! This is great! I’m stealing it
as you read this!!! – Tony”443
440
Joe Locke, “Intros Part 1,” the Vibes Workshop,
http://www.vibesworkshop.com/video/intros-part-1/joe-locke/101008 (accessed March 1, 2016).
441
Ibid.
442
Joe Locke, “Intros Part 2,” the Vibes Workshop,
http://www.vibesworkshop.com/video/intros-part-2-joe-locke/joe-locke/102108 (accessed March, 1,
2016).
207
Annotation: Joe Locke continues his series on intros. He demonstrates a bizarre
cascading ii-V7 progression and his “planeing” idea at the 2:50 mark.444 The concept
takes all four pitches in a voicing and moves them in unison. Locke decides to move the
notes up a half step, back down, down a half step, and back to the original notes. The
cascading opening fits in with the chromatic sliding quality of “Darn That Dream.” The
planeing idea mixes in a Phrygian sound that seems foreign to the tune. Students may
experiment with planeing at different intervals for a multitude of sound possibilities.
Goals: Students will adopt Joe Locke’s advanced harmonic language into introductions
to “Darn That Dream.”
Assignment: Students will watch both of Joe Locke’s lessons. His knowledge of chord
extensions and advanced progressions is worth anyone’s time. Students should
transcribe the two intros he demonstrates and transpose them to the key of “Darn That
Dream,” G major. Students should not forget to write the chord symbols above the
measures. They should take advantage of the advanced video editing Miceli has put into
these lessons. Students will practice these two intros every day of the week. Also,
experimenting with the intervals of planeing will be paramount. Students should choose
intervals that sound appropriate to the tune.
For further study, please review: “Intros Part 3”445
Lesson 2:
1) “Comping Motif Lesson Part 1”446
443
Ibid.
444
Ibid.
445
Joe Locke, “Intros Part 3,” the Vibes Workshop,
http://www.vibesworkshop.com/video/intros-part-3-strange-progression/joe-locke/102808 (accessed
March 1, 2016).
208
Type: Audio File
Length: 5:02
Posting Artist: Behn Gillece
Date Posted: 6/14/13
Link: http://www.vibesworkshop.com/audio/comping-motif-lesson-pt-1-behngillece/behng/061413
Description: N.A.
Annotation: Behn Gillece creates a short melody, or motif. He comps over a simple iiV-I whole tone cycle while keeping the motif on top of all the voicings. The lesson’s
purpose is to introduce students to moving a single voice, or two for advanced students,
while comping. The exercise has multiple facets including moving a voice that is not on
the top. Students may also choose to insert their own melodic cell to play over the
changes.
Goals: Students will begin to create a melody or single voice line while comping.
Assignment: Students will transcribe the simple motif Gillece uses in the lesson, and
then practice ii-V-I progressions keeping the melody in the upper voice. Once students
are comfortable with the melody on top, they will move it to each voicing individually.
Students will then create their own motif and record themselves performing the exercise
in all twelve major keys.
For further study, please review: “Comping Motif Lesson Part 2,” “Comping Motif
Lesson Part 3.”447
446
Behn Gillece, “Comping Motif Lesson Part 1,” the Vibe Workshop,
http://www.vibesworkshop.com/audio/comping-motif-lesson-pt-1-behn-gillece/behng/061413 (accessed
March 1, 2016).
447
Tony Miceli, “Comping Motif Lesson Part 2,” the Vibes Workshop,
http://www.vibesworkshop.com/audio/comping-motif-lesson-pt-2-behn-gillece/behng/061813 (accessed
March 1, 2016); Tony Miceli, “Comping Motif Lesson Part 3,” the Vibes Workshop,
http://www.vibesworkshop.com/audio/comping-motif-lesson-pt-3-behn-gillece/behng/062113 (accessed
March 1, 2016).
209
Lesson 3:
1) “TOTM – “Darn That Dream’ - Harmony”448
Type: Video File
Length: 4:02
Posting Artist: Behn Gillece
Date Posted: 4/21/13
Link: http://www.vibesworkshop.com/video/totm-darn-dream-harmony-behngillece/behng/042113
Description: N.A.
Annotation: Behn Gillece describes how to implement mallet dampening to accomplish
a legato style while comping over “Darn That Dream.” If students are comfortable with
the level of difficulty of the advanced course, they should have mastered malletdampening technique. Gillece demonstrates how, at times, a single note dampened down
a half step can push the harmonic rhythm forward. Primarily, he demonstrates this going
from a ii to a V7 chord. Later in the lesson, Gillece uses the legato dampening style to
design interesting voice-leading. He weaves chromatic lines between chords with the
inner and bottom voices. The skill fits perfectly with the tune.
Goals: Students will learn to weave chromatic lines between their voicings.
Assignment: Students will adopt Gillece’s legato style into their comping of “Darn That
Dream.” Several options exist for students to implement mallet dampening into their
voice-leading. The simplest connection exists between the ii and V7 chord, but students
should strive to connect other chords using any note. Students should practice small
sections rubato, and experiment connecting each voicing of a chord to the next. The next
step will be to move two voices at a time. After a week of experimenting and recording
themselves, students should write down five of their favorite legato voicings.
For further study, please review: “TOTM – ‘Darn That Dream’ - Wrap Up.”449
448
Behn Gillece, “TOTM – ‘Darn That Dream’ – Harmony,” the Vibes Workshop,
http://www.vibesworkshop.com/video/totm-darn-dream-harmony-behn-gillece/behng/042113 (accessed
March 1, 2016).
210
WEEK 8
Lesson 1:
1) “Db7 D7 - Just Thinking Out Loud”450
Type: Audio File
Length: 10:05
Posting Artist: Tony Miceli
Date Posted: 1/14/2012
Link: http://www.vibesworkshop.com/audio/db7-d7-just-thinking-out-loud-tonymiceli/tonymiceli/011412
Description: N.A.
Annotation: Tony Miceli offers solutions for playing lines over chords that move by a
half step quickly. The lesson is directly applicable to the sixth bar of “Darn That
Dream.” The two chords share few notes and the scales students could play over them
share little as well. By reharmonizing the second chord to a tritone substitution makes
the scalular switch simpler. Miceli also creates a synthetic scale that fits over the two
chords. After the 6:00 mark, Miceli starts to go off topic.451 He begins the time by
practicing the Db7-D7 progression in a cycle of major thirds, and immediately talks
about John Coltrane’s “Giant Steps” that uses the same progression cycle.
Goals: Students will learn a simple exercise that will help them create interesting lines
over the sixth measure of “Darn That Dream.”
449
Behn Gillece, “TOTM – ‘Darn That Dream’ - Wrap Up,” the Vibes Workshop,
http://www.vibesworkshop.com/video/totm-darn-dream-wrap-lesson-behn-gillece/behng/050413
(accessed March 1, 2016).
450
Tony Miceli, “Db7 D7 - Just Thinking Out Loud,” the Vibe Workshop,
http://www.vibesworkshop.com/audio/db7-d7-just-thinking-out-loud-tony-miceli/tonymiceli/011412
(accessed March 1, 2016).
451
Ibid.
211
Assignment: Students will listen to Miceli’s lesson, and practice each idea he proposes
in all twelve minor keys. Students will experiment with each variation at a slow tempo.
“Darn That Dream” is a ballad, and so students will have more time to create ideas
before the next chord begins. After a week of practicing the exercise, students will
notate four of their favorite ideas into their notebooks.
Lesson 2:
1) “Using 2nd Position Triads for Voicings”452
Type:
Length:
Posting Artist: Behn Gillece
Date Posted:
Link: http://www.vibesworkshop.com/audio/using-2nd-position-triads-voicings-behngillece/behng/020615
Description: N.A.
Annotation: Behn Gillece demonstrates three different voicing structures based on
second position triads to create dissonant sounds. The lesson is a simple exercise written
in a PDF, but the file no longer appears on the page. The students in the track will not
have trouble transcribing the exercise by ear. The lesson will allow students to
experiment with advanced dissonant sounds that can then be used in “Darn That
Dream.”
Goals: Students will experiment with three new dissonant voicing options based in
second position triads.
Assignment: Students will transcribe and practice the three versions of the exercise
Gillece demonstrates in the lesson. Even without the PDF, students should be able to
hear and master the concept quickly. Next, students will choose one of the three sound
options from the exercise and adapt it into their voicings to “Darn That Dream.”
452
Behn Gillece, “Using 2nd position Triads for Voicings,” the Vibes Workshop,
http://www.vibesworkshop.com/audio/using-2nd-position-triads-voicings-behn-gillece/behng/020615
(accessed March 1, 2016).
212
For further study, please review: “Voicings With Crunches and Large Intervals Part
2.”453
Lesson 3:
Assessment: Students will record their own solo version of “Darn That Dream,” and
post it to the TOTM page.454 Over the past month, students have accumulated several
techniques that can be included in the recording. The form of the project may be as long
as the student desire. It must also include an introduction (like Joe Locke’s lesson), the
melody on the first and last chorus, at least two choruses of comping that includes a
motif, and at least two choruses of improvised solo. When students are finished
recording, they will write out exactly what they played into a music writing software
program. Then, they should save it as a PDF and post it to the same page as their audio
tracks. Student should notate chord symbols above the correct measures. Also, the
assignment requires students to label each voicing, line, and idea that was generated
from previous lessons. They will label the ideas with the correct weeks and lesson
numbers. The practice is beneficial for the grading process, but also to see how other
users have grown through the same lessons. Students will be able to see all the choices
of those who posted and listen to their unique arrangements of the tune.
453
Behn Gillece, “Voicings With Crunches and Large Intervals Part 2,” the Vibes Workshop,
http://www.vibesworkshop.com/audio/voicings-crunches-and-large-intervals-pt-2-behngillece/behng/082413 (accessed March 2, 2016).
454
Marie-Noëlle, “Darn That Dream.”
213
WEEK 9
Tune of the Month – “Donna Lee” by Charlie Parker
Lesson 1:
1) “Lines Festival – Yet Another Analysis of ‘Donna Lee’”455
Type: Audio File
Length: 18:15
Posting Artist: Tony Miceli
Date Posted: 11/19/2011
Link: http://www.vibesworkshop.com/audio/lines-festival-yet-another-analysis-donnalee-tony-miceli/tonymiceli/122911
Description: N.A.
Annotation: Tony Miceli spends over twenty minutes explain the melody and harmony
that Charlie Parker wrote into the tune “Donna Lee.” Miceli calls the tune a “goldmine”
for studying lines especially in the bebop style.456 Students should come to the lesson
with a copy of the lead sheet and a pencil to write in Miceli’s analysis of the lines.
Goals: Students will learn the theory behind every line in the melody of “Donna Lee.”
Assignment: Students should have a copy of the lead sheet for “Donna Lee” and a pencil
to begin the lesson They should listen to the audio file, and mark every line, chord, bass
note, or anything Miceli talks about during his lesson. By documenting Miceli’s ideas
students will be able to the melody in their solos and other tunes.
455
Tony Miceli, “Lines Festival – Yet Another Analysis of ‘Donna Lee.’” the Vibes Workshop,
http://www.vibesworkshop.com/audio/lines-festival-yet-another-analysis-donna-lee-tonymiceli/tonymiceli/122911 (accessed March 2, 2016).
456
Ibid.
214
For further study, please review: “Donna Lee.”457
Lesson 2:
1) “Lines Festival - Jazz Calisthenics”458
Type: Video File
Length: 2:03
Posting Artist: Tony Miceli, Vince Lardear
Date Posted: 12/1/2011
Link: http://www.vibesworkshop.com/video/jazz-calisthenics/tonymiceli/120111
Description: “This is great stuff to study. And we're taking it slow, so practice in all the
keys. I think these lessons will help many of you guys!”459
Annotation: Tony Miceli posts a video of his friend Vince Lardear demonstrating a
series of short exercise that he names Jazz Calisthenics. Vince doesn’t give a PDF or
state exactly what pitches he’s playing. Instead he navigates the bebop scale by arriving
at goals such as the root of the scale or the 5th.
Goals: Students will improve their stamina and accuracy while improvising in the bebop
style.
Assignment: Students will first notate each version of the exercise Vince Lardear
demonstrates. After getting the sound of those scales into their ears, students will
practice the exercises in all twelve dominant bebop scales. Although Lardear
demonstrates starting and ending on the root and 5th of the scales, students should also
practice beginning on the 3rd, and 7th of the dominant bebop scale. The point of the
exercise is for student to improve their stamina and accuracy while improvising in the
457
Tony Miceli, “Donna Lee,” the Vibes Workshop,
http://www.vibesworkshop.com/audio/donnalee-tony-miceli-archives/tonymiceli/091608 (accessed March
2, 2016).
458
Tony Miceli, Vince Lardear, “Lines Festival – Jazz Calisthenics,” the Vibes Workshop,
http://www.vibesworkshop.com/video/jazz-calisthenics/tonymiceli/120111 (accessed March 2, 2016).
459
Ibid.
215
bebop style. Whether in the style or not, improvised solos never start exclusively on the
roots and 5ths. Students should practice the exercises until the end of Week 12.
For further study, please review: “Lines Festival - Intro to the Bebop 7th Scale.”460
Lesson 3:
1) “Lines Festival - Encircling Chord Tones on the Bebop 7th Scale”461
Type: Video File
Length: 6:00
Posting Artist: Tony Miceli, Vince Lardear
Date Posted: 12/9/2011
Link: http://www.vibesworkshop.com/video/lines-festival-encircling-chord-tonesbebop-7th-scale-vince-lardear/tonymiceli/120911
Description: N.A.
Annotation: Vince Lardear continues his series of lessons discussing bebop lines. The
lesson covers multiple techniques and lines that encircle chord tones. Larder explains
encircling as, ”playing a half step above and below a chord tone, and then you land on
that chord tone.”462 He displays extreme mastery of encircling every note of the F7 chord
followed by the dominant bebop scale in any direction. Several times Lardear mentions
he will, “put the ending on it.”463 He is referring to a previous lesson, which he describes
two typical bebop endings to lines. That lesson will be the supplement below.
460
Tony Miceli, “Lines Festival - Intro to the Bebop 7th Scale,” the Vibes Workshop,
http://www.vibesworkshop.com/video/intro-bebop-7th-scale/tonymiceli/112711 (accessed March 2,
2016).
461
Tony Miceli, Vince Lardear, “Lines Festival - Encircling Chord Tones on the Bebop 7th
Scale,” the Vibes Workshop, http://www.vibesworkshop.com/video/lines-festival-encircling-chord-tonesbebop-7th-scale-vince-lardear/tonymiceli/120911 (accessed March 2, 2016).
462
Ibid.
463
Ibid.
216
Goals: Students will learn to encircle every chord tone, and implement the sound into
their bebop lines.
Assignment: Students will attempt to keep up with Lardear’s fast paced lesson. They
will first transcribe five variations Lardear demonstrates in the lesson. Next, students
will practice those five starting on each chord tone (root, 3rd, 5th, 7th,) in all twelve keys.
At the end of their week, students will write out two lines of their own creation that
include the concepts Lardear talks about in the lesson. Students will post their two lines
to the site. Finally, students should spend some time exploring other students’ posted
lines.
For further study, please review: “Lines Festival - Phrase Endings for the Bebop 7th
Scale.”464
Lesson 4:
1) “AND”465
Type: Audio File
Length: :55
Posting Artist: Tony Miceli
Date Posted: 6/18/2012
Link: http://www.vibesworkshop.com/audio/and-tony-miceli/tonymiceli/061812
Description: “Here's an exercise I did recently. I just played a tune and played the
offbeats. It's pretty hard. Add the MalletKat in the mix and working with the pedal
(which you have to really think a little differently with when playing lines) and this is a
very hard etude. AND....... metronome on 2 and 4 Try it on the vibes and try to keep the
notes smooth and legato and swing the off beats.”466
464
Tony Miceli, Vince Lardear, “Lines Festival - Phrase Endings for the Bebop 7th Scale,” the
Vibes Workshop, http://www.vibesworkshop.com/video/lines-festival-phrase-endings-bebop-7th-scalevince-lardear/tonymiceli/120911 (accessed March 2, 2016).
465
Tony Miceli, “AND,” the Vibes Workshop, http://www.vibesworkshop.com/audio/and-tony-
miceli/tonymiceli/061812 (accessed March 1, 2016).
466
Ibid.
217
Annotation: The lesson file that appears on the web site is merely an improvised solo by
Tony Miceli. He describes what he is playing in the description of the lesson. Basically,
he challenges students to take a solo over any number of choruses to any tune, but use
only the upbeat. The exercise will increase students’ sense of time, and allow them to
locate the important note for each chord change.
Goals: Students will use Miceli’s lesson to enhance their time and feel in the bebop style
while mastering the chord progression of “Donna Lee.”
Assignment: Students will practice the chord changes of “Donna Lee,” but only using
the upbeats. Students should focus on connecting harmonies in simple and predictable
ways at first. Once they are comfortable with the progression, they may introduce upper
extensions and chromaticism. The lesson recommends they set the metronome to beats 2
and 4, but they may use it any way they desire.
For further study, please review: “Phrasing and Swinging.”467
467
Tony Miceli, “Phrasing and Swinging,” the Vibes Workshop,
http://www.vibesworkshop.com/audio/phrasing-and-swinging-tony-miceli-tifoos-letter/tonymiceli/123008
(accessed March 2, 2016).
218
WEEK 10
Lesson 1:
1) “Lines Festival - Extending the Bebop Seventh Scale”468
Type: Video File
Length: 1:17
Posting Artist: Tony Miceli, Vince Lardear
Date Posted: 12/08/2011
Link: http://www.vibesworkshop.com/video/lines-festival-extending-bebop-seventhscale-vince-lardear/tonymiceli/120811
Description: “Another great lesson. Make sure you know it really well!”469
Annotation: Vince Lardear demonstrates how to extend lines using the F dominant
bebop scale. The lesson is simply Lardear climbing up and back down the scale, but at
the :35 mark, he states the thing students need to remember the most. “All the chord
tones will still fall on the strong beats of the measure.”470
Goals: Students will adopt Lardear’s method for extending bebop lines.
Assignment: Students will choose either their own two original encircling line
assignments, or another user’s lines available on the site. The assignments are from
Week 9 lesson 3. It is recommended that students choose another user’s work. Once
decided, students will practice extending the two lines.
468
Tony Miceli, Vince Lardear, “Lines Festival – Extending the Bebop Seventh Scale,” the
Vibes Workshop, http://www.vibesworkshop.com/video/lines-festival-extending-bebop-seventh-scalevince-lardear/tonymiceli/120811 (accessed March 2, 2016).
469
Ibid.
470
Ibid.
219
For further study, please review: “Lines Festival - Finding Triads in Lines.”471
Lesson 2:
1) “Lines Festival – Adding Chromaticism to the Bebop 7th Scale”472
Type: Video File
Length: 3:56
Posting Artist: Tony Miceli, Vince Lardear
Date Posted: 12/13/2011
Link: http://www.vibesworkshop.com/video/lines-festival-adding-chromaticism-bebop7th-scale/tonymiceli/121311
Description: N.A.
Annotation: Vince Lardear continues his series on extending bebop lines. The lesson
introduces chromatic passing tones. Lardear starts lines on non-chord tones and uses the
passing tones to align the chord tones back onto the strong beat of the measure. The
concept is extremely useful as most transcriptions students have finished will show
artists starting lines on non-chord tones or even chromatic tones.
Goals: Students will introduce chromaticism into their bebop lines.
Assignment: Students will continue to work on the extended lines from the previous
lesson. Instead of extending the lines in the dominant bebop scale, students will now use
chromatics. Students should create interesting lines that alternate landing on chord and
non-chord tones.
For further study, please review: “Lines Festival - Additional Thoughts.”473
471
Tony Miceli, “Lines Festival - Finding Triads in Lines,” the Vibes Workshop,
http://www.vibesworkshop.com/audio/finding-triads-lines-tony-miceli/tonymiceli/121511 (accessed
March 2, 2016).
472
Tony Miceli, Vince Lardear, “Lines Festival – Adding Chromaticism to the Bebop 7th Scale,
“ the Vibes Workshop, http://www.vibesworkshop.com/video/lines-festival-adding-chromaticism-bebop7th-scale/tonymiceli/121311 (accessed March 2, 2016).
220
Lesson 3:
1) “Lines Festival - Rely On the Past - Part 1”474
Type: Audio File
Length: 8:34
Posting Artist: Tony Miceli
Date Posted: 12/29/2011
Link: http://www.vibesworkshop.com/audio/lines-festival-rely-past-part-1-tonymiceli/tonymiceli/122911
Description: “Hope this concept makes sense to some of you. It's a little on the fringe I
think.”475
Annotation: Tony Miceli’s lesson describes how to he uses sounds he previously played
to set up a new idea or phrase. He demonstrates by playing a chord, and then
improvising a line using the appropriate scale. The system works because students can
still hear the chord in which the line belongs.
2) “Lines Festival - Rely On the Past - Part 2”476
Type: Audio File
Length: 10:15
Posting Artist: Tony Miceli
473
Behn Gillece, “Lines Festival - Additional Thoughts,” the Vibes Workshop,
http://www.vibesworkshop.com/video/lines-festival-additional-thoughts-behn-gillece/behng/010312
(accessed March 2, 2016).
474
Tony Miceli, “Lines Festival - Rely On the Past - Part 1,” the Vibes Workshop,
http://www.vibesworkshop.com/audio/lines-festival-rely-past-part-1-tony-miceli/tonymiceli/122911
(accessed March 2, 2016).
475
Ibid.
476
Tony Miceli, “Lines Festival - Rely On the Past - Part 2,” the Vibes Workshop,
http://www.vibesworkshop.com/audio/lines-festival-rely-past-part-2-tony-miceli/tonymiceli/010312
(accessed March 2, 2016).
221
Date Posted: 1/3/2012
Link: http://www.vibesworkshop.com/audio/lines-festival-rely-past-part-2-tonymiceli/tonymiceli/010312
Description: “Hope this concept makes sense to some of you. It's a little on the fringe I
think.”477
Annotation: Tony Miceli’s uses the previous lesson to introduce how he hears upper
partials. In previous lessons, Miceli describes upper partials as a shape. What looks like
a Gm11, can have the same notes as a C9 chord. Guitarists think this way. The technique
is helpful for tunes at a faster tempo. It creates a shortcut, which allows players to think
faster.
Goals: Students will begin to use sounds to hear upper partials over a basic chord. The
concept will also allow students to think of short cuts while soloing over “Donna Lee” at
fast tempos.
Assignment: Students will listen to both of Tony Miceli’s lessons. After grasping the
concept, students should create a quick track of themselves grooving over a single chord
in “Donna Lee.” Then, they will practice creating quick lines using the upper structure
triads Miceli describes in the second lesson. Before moving to the next chord, students
will turn off the track, and then play the chord, and let the sound fall into the ”past” to
practice seeing (and hearing) upper partials.478 Students should repeat the assignment for
all chords in the tune. Another option would be to group two or three chords together at
faster tempos, and practice the assignment over those chords.
For further study, please review: “Upper Structures in Minor.”479
Lesson 4:
477
Ibid.
478
Ibid.
479
Tyler Blanton, “Upper Structures in Minor.” the Vibes Workshop,
http://www.vibesworkshop.com/audio/upper-structure-minor/tylerblanton/102214 (accessed March 2,
2016).
222
1) “Quick ‘Donna Lee’ Etude”480
Type: Video File
Length: :46
Posting Artist: Tony Miceli
Date Posted: 9/16/2009
Link: http://www.vibesworkshop.com/video/quick-donna-lee-etudevideo/tonymiceli/091609
Description: “I'm at school right now and I had a few minutes with the camera on. So I
thought I'd play a very rough and quick version of “Donna Lee,” the etude I have posted
here. I think if anything the etude will lead to you thinking about using double stops in
your lines to get the chords happening. I also have a version over Bud Powell's Celia
that I'll post soon. I do spend a lot of time playing solos 'in slow motion' and seeing
where I can add things in. That's what is fun about this instrument; it can be sort of like
a puzzle.”481
Annotation: Tony Miceli superbly plays a solo version of the “Donna Lee” melody. He
plays with the left hand double stop technique, which he describes in a number of
lessons available on the site. The technique simply adds a harmony note in the outer
mallet as the inner contributes to the line, with the right hand.
Goals: Students will combine “Donna Lee” with the left hand double stop technique.
Assignment: Students will create their own version of Miceli’s Etude. They will perform
jus the melody of “Donna Lee” and will combine any harmony note in the left hand as a
double stop. Students should choose a variety of chord tones, but mainly target the 3rds
and 7ths. After a week of practicing their versions, students will record and post their
tracks to the website.
480
Tony Miceli, “Quick ‘Donna Lee’ Etude Video,” the Vibes Workshop,
http://www.vibesworkshop.com/video/quick-donna-lee-etude-video/tonymiceli/091609 (accessed March
2, 2016).
481
Ibid.
223
WEEK 11
Lesson 1:
1) “Lines Festival – Using Half Diminished Licks from the Bebop 7th Scale”482
Type: Video File
Length: 2:44
Posting Artist: Tony Miceli, Vince Lardear
Date Posted: 12/9/2011
Link: http://www.vibesworkshop.com/video/lines-festival-using-half-diminished-licksbebop-7th-scale/tonymiceli/120911
Description: N.A.
Annotation: Vince Lardear continues his series on constructing bebop lines using the
dominant bebop scale. In the lesson Lardear chooses to demonstrate in the key of Bb. It
describes how to take advantage of the half diminished 7 chord that appears in the scale.
Once again Lardear demonstrates, at a quick pace, how to combine all the variations
from previous lessons to create several stylistic lines.
Goals: Students will learn to manipulate the half diminished 7 chord found in the
dominant bebop scale.
Assignment: Students will listen and notate the half diminished line Lardear
demonstrates. After practicing the line in all twelve keys, students will inject the pattern
into their previous bebop line exercises; Once again, they will practice in all twelve
keys. At the end of the week students will notate and post three of their favorite bebop
lines that include the half diminished variation.
For further study, please review: “Listen to His Lines.”483
482
Tony Miceli, Vince Lardear, “Lines Festival – Using Half Diminished Licks from the Bebop
7th Scale,” the Vibes Workshop, http://www.vibesworkshop.com/video/lines-festival-using-halfdiminished-licks-bebop-7th-scale/tonymiceli/120911 (accessed March 3, 2016).
483
Tony Miceli, “Listen to His Lines,” the Vibes Workshop,
http://www.vibesworkshop.com/video/listen-his-lines/tonymiceli/100511 (accessed March 4, 2016).
224
Lesson 2:
1) “Christos Inspired Me Part 3”484
Type: Audio File
Length: 4:33
Posting Artist: Tony Miceli
Date Posted: 7/10/2014
Link: http://www.vibesworkshop.com/audio/christos-inspired-me-pt-3-tony-miceli-andchristos-rafalides/tonymiceli/071014
Description: N.A.
Annotation: Tony Miceli shares his experience with fellow vibist Christos Rafalides,
who showed him a familiar technique. Miceli has posted several lessons discussing how
soloists comp for themselves by inserting a single harmony note between a melody and
a line. During the lesson he mentions using the technique over the tune “Donna Lee.”
Goals: Student will learn a second self-comping technique to play over the melody of
“Donna Lee.”
Assignment: Students will listen to Miceli’s lesson, and practice the melody of “Donna
Lee” in the style he describes. Students should note that in the lesson Miceli wants a
single harmony note inserted between melody notes. The technique is different from
Week 10’s final assignment where student used harmony notes in unison with the line
by way of the double stop technique. Students should first identify spaces in the melody,
and then experiment with several different chord tones to place in the “cracks” of the
melody.485
484
Tony Miceli, “Chirstos Inspired Me Part 3,” the Vibes Workshop,
http://www.vibesworkshop.com/audio/christos-inspired-me-pt-3-tony-miceli-and-christosrafalides/tonymiceli/071014 (accessed March 4, 2016)
485
Ibid.
225
For further study, please review: “Christos Inspired Me Part 4.”486
Lesson 3:
1) “Ideas for Stagnant Chords”487
Type: Video File
Length: 5:45
Posting Artist: Behn Gillece
Date Posted: 3/29/2012
Link: http://www.vibesworkshop.com/video/ideas-stagnant-chords-behngillece/behng/032912
Description: “Simple ideas that will help keep the harmony moving.”488
Annotation: Behn Gillece demonstrates how to add chords to move stagnant harmonies
that sit on a single chord for multiple measures. Although “Donna Lee” is a fast uptempo bebop tune, there are three instances where a single chord sounds on two
measures. From mm 23-24 Parker wrote the chords F- to C7#9, which is basically a
passing chord. Students do not need to play the C7#9. The progression is another
opportunity to reharmonize and keep the momentum going.
Goals: Students will learn to insert chords to quicken the harmonic rhythm.
Assignment: Students will transcribe the three variations Gillece describes in the lesson.
Students should alter the variations to fit into the key of “Donna Lee,” and also fit over
the four instances where the chords become stagnant. Another instance exists at the turn
around. Students may use Gillece’s variations as a turn around substitute.
For further study, please review: “Descending Dominants.”489
486
Tony Miceli, “Christos Inspired Me Part 4,” the Vibes Workshop,
http://www.vibesworkshop.com/audio/christos-inspired-me-pt-4-tony-miceli-and-christosrafalides/tonymiceli/071014 (accessed March 4, 2016).
487
Behn Gillece, “Ideas for Stagnant Chords.”
488
Ibid.
226
WEEK 12
Lesson 1:
1) “Pivot Chord Video”490
Type: Video File
Length: 4:59
Posting Artist: Tony Miceli
Date Posted: 6/15/2008
Link: http://www.vibesworkshop.com/video/pivot-chords-video/tonymiceli/061408
Description: N.A.
Annotation: Tony Miceli discusses the concept of pivot chords, which are shared chords
that link two key centers. He demonstrates with the tune “Blue Bossa” where the
turnaround in C minor shifts from Dm7b5 to Bm7b5. Then Miceli resolves to a minor. He
is then free to perform the tune in A minor. The exercise is a great and fun way to test
students’ ability of how to play a tune in multiple keys.
Goals: Students will exercise their knowledge of “Donna Lee” in several keys.
Assignment: Students will follow Miceli’s lead and practice modulating tunes for
practice. For the assignment students will work on just the melody of “Donna Lee.”
During the turn around students should replace the minor ii chord (Bbm7) with a Gm7
chord. From there students will ii-V7-I to the Key of F major. Once there they will play
the tune in F major. When they arrive at the turnaround, students will repeat the process,
but modulate to the key of D major, then B major, and finally back to Ab major.
Students should take all week to practice the exercise before recording it and posting
their tracks to the web site. As for comping, students may choose the left hand double
stops or single harmony note techniques discussed in previous lessons.
489
Behn Gillece, “Descending Dominants,” http://www.vibesworkshop.com/video/behn-gillece-
descending-dominants/behng/031410 (accessed March 4, 2016).
490
Tony Miceli, “Pivot Chord Video,” the Vibe Workshop,
http://www.vibesworkshop.com/video/pivot-chords-video/tonymiceli/061408 (accessed March 3, 2016).
227
For further study, please review: “Making Exercises Into Other Exercises.”491
Lesson 2:
1) “‘Donna Lee’ Both Parts”492
Type: Audio File
Length: 1:54
Posting Artist: Tony Miceli
Date Posted: 1/21/2008
Link: http://www.vibesworkshop.com/audio/donna-lee-both-parts-tonymiceli/tonymiceli/012108
Description: N.A.
Annotation: Although the lesson is titled “‘Donna Lee’ Both Parts,” Tony Miceli
records a single track of him performing a solo rendition of “Donna Lee.”493 He
demonstrates the form by playing the Melody once, soloing over a single chorus,
comping for a chorus, and finally playing the melody. The audio file is strictly for
students’ consumption in that they have a virtual partner to perform with.
Goals: Students will record a track using all the skills they have compiled over the past
month.
Assignment: Students will use Miceli’s track as a metronome and record along side him
digitally. They will start by comping Miceli’s two choruses where he performs the
melody of “Donna Lee” and then solos. Students will take a turn soloing as Miceli
comps for them. Since it is a recording and not a live performer, students should listen
to the third chorus of the track several times to learn how Miceli comps. Students will
finish with another chorus of comping. Once complete and edited, students will post the
491
Gillece, “Making Exercises Into Other Exercises.”
492
Tony Miceli, “‘Donna Lee’ Both Parts,” the Vibes Workshop,
http://www.vibesworkshop.com/audio/donna-lee-both-parts-tony-miceli/tonymiceli/012108 (accessed
March 5, 2016).
493
Ibid.
228
their track to the website. Over the past month, students have compiled several voicings,
lines, and comping ideas. They should display what they have learned on their
recordings.
Lesson 3:
1) “‘Donna Lee’ in D”494
Type: Audio File
Length: 2:58
Posting Artist: Tony Miceli
Date Posted: 9/26/2008
Link: http://www.vibesworkshop.com/audio/donna-lee-d-tony-miceliduet/tonymiceli/092608
Description: “Here's a duet I made for a student a while back. It's “Donna Lee” and it's
in the key of D. So if you're working on the tune, transpose it and play. I play the head
in and take a chorus. Then I comp for you and then you take the head out. It's not fast. I
just threw it together for a student.”495
Annotation: Tony Miceli performs a similar rendition of “Donna Lee” except in the key
of D. Instead of repeating the previous lesson’s assignment, but in the key of D, students
should take the opportunity to use their accumulated voicings, comping techniques, and
bebop lines in the key of D.
Goals: Students will record a final project of “Donna Lee” in the key of D.
Assignment: Students will not repeat the lesson from last week in the key of D. Instead
they will use a metronome to record a track that features a chorus of the melody of
“Donna Lee,” a chorus of comping, a chorus on an improvise solo, and a final chorus of
comping. Students have compiled many lines and voicings over the past months, and
they should express their hard work on the track. Once they are satisfied with the result,
494
Tony Miceli, “‘Donna Lee’ in D,” the Vibes Workshop,
http://www.vibesworkshop.com/audio/donna-lee-d-tony-miceli-duet/tonymiceli/092608 (accessed March
3, 2016).
495
Ibid.
229
they will use the first track as a metronome to record another, but on opposite functions.
The first chorus will be comping, the second as an improvised solo, the third comping
again, and the last the melody. After the final tracks have been edited, students will post
them to the website.
Conclusion
At the end of week fourteen students should feel proud and accomplished. The
Advanced Course is difficult, and if students needed extra days or weeks to complete the
assignments, they should not feel as failures. Now, students must spread the knowledge
they obtained by posting to Vibesworkshop.com in ways other than the assessments they
completed.
The first assessment required students to record a solo version of the tune “If I
Were a Bell.” So far in the Vibesworkshop.com curriculum there is only a single
assignment where students create a solo version of a tune. All other assessments and
assignment have been to prepare students to play in an ensemble. A solo arrangement of
any tune is significantly more difficult because students must balance playing the
comping rhythms with appropriate voicings, performing the melody accurately, and
improvised solo lines that sound appropriate in the tune. In addition to performing all
these tasks by themselves, students will be required to perform in the stride vibes style.
230
The second monthly assessment required another solo arrangement from
students. That month’s lessons prepared students to approach inner lines similar to a big
band arrangement. Students filled the space in the melody of “Darn That Dream” with
chromatic lines of their own creation, which allowed them to achieve a solo
performance of the professional level.
The third and final assessment required students to create multiple tracks of the
tune “Donna Lee.” The tune is long, up-tempo, has quick chord changes, and requires
knowledge of both major and dominant bebop scales. Learning it in the original key is a
challenge, however students recorded it twice, including a version a tritone away from
its original key. As stated in the introductions of each chapter, students must practice
each tune in every key, and this assessment tests their commitment.
The Vibesworkshop.com’s Advanced Course is a true challenge for the most
devoted vibists. It is time consuming, but it truly pays off once students have completed
the tasks. They should be ready to succeed in any type of ensemble or solo performance.
231
CHAPTER 6: CONCLUSION
With the creation of a curriculum made of material exclusively found on
Vibesworkshop.com, this document presents students with an opportunity to develop
vibraphone techniques and improvisation skills. What separates the curriculum from
other instructional documents, such as method books, is the emphasis placed on
students’ continuing to create and discover beyond the completion of the three courses.
Amateurs, professionals, and even aficionados of any trade seek tips to better their
skills. To do so, they often turn to a community of like-minded people. The curriculum
connects students with other vibists so that they may share assignments and possibly
cultivate future collaborations between members of the online vibes community.
Although Vibesworkshop.com consists of vibists of all ages, I have designed the
curriculum specifically for students at a college undergraduate level. Younger and older
vibists are welcome to participate, but there are necessary skills that students must
possess in order to successfully complete each course. I have listed those skills at the
beginning of each course’s respective chapter. Students must know the basics of music
theory in order to comprehend the information. Coincidently, the Vibesworkshop.com
does offer various lessons in music theory, but it is an area lacking in sufficient material.
Most music theory lessons on the site do not focus on basic skills such as learning major
232
scales or constructing triads. Instead, they depict advanced topics that are required by
several Tunes of the Month.
Another significant difference between the Vibesworkshop.com curriculum and
other instructional method books is its focus on only three tunes during each course.
David Friedman and Jon Metzger give suggested listening and practice lists in their
books, but both focus on concepts to play over abstract chord progressions. The
Vibesworkshop.com curriculum features lessons with similar tasks, but each concept
prepares students for the TOTM. By studying tunes, the students learn how to
internalize the melody and use it to shape their lines and voicings. Without it, mastering
a chord progression becomes a sterile exercise with no purpose other than to develop
technique. Students of the Vibesworkshop.com curriculum thus become invested in the
instrument and music beyond its technical capabilities.
A crucial part of the courses are the weekly transcriptions, which are
opportunities for students to develop their affinity with the vibraphone by studying and
mimicking other vibists. Students will not only discover new sounds and develop their
aural skills by transcribing, but by post each assignment to the website. This action
allows other users to critique their skills.
233
The Vibesworkshop.com curriculum offers a unique experience for students of
the vibraphone. Each course centralizes all the information students need to develop
their skills, but it can support so much more. If a student wants to improve just a single
technique, or practice improvising over a specific tune, then the Vibesworkshop.com
can facilitate such tasks. Since Miceli presents two new TOTM each month, more
general courses may be constructed in the future. Another example for future study of
the Vibesworkshop.com is the “Lines” page, which could be broken into several courses
as it features over two hundred working lessons.496 The possibilities are compounded as
each day users continue to post new lessons to the website. The future of
Vibesworkshop.com suggests that it will continue to expand. My hope is that this
document will help to facilitate that expansion and an increased membership of the
online vibes community.
496
Miceli, “Lines.”
234
APPENDIX A – PERMISSION OF USE
On March 9, 2016, I received written permission from Tony Miceli to use and
publish any material found on the Vibesworkshop.com. I received the letter below via
an e-mail conversation with Mr. Miceli.
235
APPENDIX B – RECOMMENDATIONS
Included in this appendix are my recommendations for the improvement of
certain lessons on the Vibesworkshop.com. I do not intend for this section to affect
students’ progression while attempting any of the three courses above. Instead, these
recommendations are for Tony Miceli, and the other professionals on
Vibesworkshop.com to use in attempts to augment the Vibesworkshop.com’s user
experience.
BEGINNER’S COURSE:
Week 2, Lesson 1:
1) “The Modes in Detail – Phrygian”
Link: http://www.vibesworkshop.com/video/modes-detail-phrygian/tonymiceli/102708
Recommendation: Students can clearly hear the sounds Miceli creates with the mode,
but the video lacks a visual representation of the mode. In other videos Miceli includes
several camera angles, including an overhead angle, so students may view a scale or
chord in conjunction with hearing the sound quality. By adding a clear visual of the
Phrygian mode, Miceli can augment the video lesson and the students’ experience.
Week 2, Lesson 1:
3) “The Modes in Detail – Mixolydian”
236
Link: http://www.vibesworkshop.com/video/modes-detailmixolydian/tonymiceli/110408
Recommendation: Even though Miceli explains how to construct the Mixolydian mode
in his description of the lesson, he never demonstrates the process in the video. A visual
representation of the Mixolydian mode would be more beneficial to students who have
not yet developed their aural skills.
Week 3, Lesson 1:
2) “The Modes in Detail – Locrian”
Link: http://www.vibesworkshop.com/video/modes-detail-locrian/tonymiceli/111008
Recommendation: The rough edit seems like a possible exercise for practicing multiple
modes over the same key center. If that is so, it may be beneficial for the
Vibesworkshop.com to create another lesson dedicated to the modal groove exercise.
Week 3, Lesson 1:
6) “Random Intervals with Pathways (Practice)”
Link: http://www.vibesworkshop.com/audio/10-random-intervals-pathwayspractice/john-mark-piper/102608
Recommendation: The lesson does not include modulation practice, which leaves only
one lesson dedicated to the subject. This is an area that requires more attention from the
site’s contributors.
Week 3, Lesson 4:
237
1) “Comping on Modal Tunes”
Link: http://www.vibesworkshop.com/video/comping-modal-tunes/tonymiceli/071610
Recommendation: Perhaps in the future the Vibesworkshop.com should remove all
animals from the recording session to prevent any harm to them.
Week 4, Lesson 2”
1) “Chord & Harmony – Clusters”
Link: http://www.vibesworkshop.com/video/2011-chord-and-harmony-festclusters/tonymiceli/102411
Recommendation: It would have been beneficial for him to explain that the unaltered
11th would clash with the 3rd of the chord.
Week 7, Lesson 2:
1) “Minor Surround Tones”
Link: http://www.vibesworkshop.com/video/minor-surround-tones/behng/030610
Recommendation: The description above states there is a PDF attached to the lesson, but
it does not appear on the site. The curriculum should find and include the PDF.
INTERMEDIAT COURSE:
Week 5, Lesson 4:
1) “Common Tone Exercise - Part 1”
Link: http://www.vibesworkshop.com/audio/common-tone-exercise-part1/behng/011411
238
Recommendation: The purpose of the lesson is to keep the melody note consistent.
However, if the exercise encounters a half diminished 7 chord, and the melody note is
the natural 7th, the melody would clash, and have to be altered. Gillece does not
encounter the dilemma in the lesson because he is demonstrating only dominant chords.
He does mention that the lesson can be practiced using any chord quality, which invites
several more issues for the student to solve.
Week 7, Lesson 4:
1) “Basic Turnaround Lines”
Link: http://www.vibesworkshop.com/audio/basic-turnaround-lines/tylerblanton/041211
Recommendation: Students at the intermediate level should have no issue transcribing
and using the lines without the attachment. Because the lesson will not include the PDF,
students will not need to listen past the 2:40 mark of the lesson.
Week 9, Lesson 2:
1) “John Swana Talks About Tritone Subs Part 1”
Link: http://www.vibesworkshop.com/video/john-swana-talks-about-tritone-subs-part1/tonymiceli/102411
Recommendation: The lesson doesn’t describe how the substitution chord works
theoretically. Perhaps a quick music theory reminder should be included.
239
ADVANCED COURSE:
Week 1, Lesson 4:
1) “TOTM – ‘If I Were a Bell’ – Comping Ideas”
Link: http://www.vibesworkshop.com/video/totm-if-i-were-bell-comping-ideas-behngillece/behng/022012
Recommendation: The alteration is slight and the process is common among jazz
musicians, but Gillece could have made the change an educational moment for students
by describing the process in more detail.
Week 5, Lesson 3:
3) “TOTM - ‘Darn That Dream’ - Harmony Part 3”
Link: http://www.vibesworkshop.com/audio/totm-darn-dream-harmony-part-3-tonymiceli/tonymiceli/043013
Recommendation: Sometimes Miceli doesn’t name the chords he is playing, which may
confuse students. Perhaps the lesson should be redone, or a chord sheet be created to
accompany the lesson.
240
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http://www.vibesworkshop.com/audio/cop-brazilian-groove-sept-2010-tonymiceli/tonymiceli/092810 (accessed March 8, 2016).
Miceli, Tony. “Cop This Groove - June 2010 - #1.” the Vibe Workshop.
http://www.vibesworkshop.com/audio/cop-groove-june-2010-1-tonymiceli/tonymiceli/062110 (accessed March 10, 2016).
Miceli, Tony. “Cop This Groove- June 2010 - #2.” the Vibes Workshop.
http://www.vibesworkshop.com/audio/cop-groove-june-2010-2-tonymiceli/tonymiceli/062410 (accessed March 12, 2016).
Miceli, Tony. “Db7 D7 - Just Thinking Out Loud.” the Vibe Workshop.
http://www.vibesworkshop.com/audio/db7-d7-just-thinking-out-loud-tonymiceli/tonymiceli/011412 (accessed March 1, 2016).
259
Miceli, Tony. “Do You Know the Scale for That Chord??.” the Vibes Workshop.
http://www.vibesworkshop.com/video/do-you-know-scalechord/tonymiceli/031910 (accessed February 22, 2016).
Miceli, Tony. “Dominant Chord Scales.” the Vibes Workshop.
http://www.vibesworkshop.com/audio/dominant-chord-scales-tonymiceli/tonymiceli/022509 (February 24, 2016).
Miceli, Tony. “Dominant Chord Scales.” the Vibes Workshop.
http://www.vibesworkshop.com/audio/dominant-chord-scales-tonymiceli/tonymiceli/022509 (February 24, 2016).
Miceli, Tony. “Dominant Chord Scales.” the Vibes Workshop.
http://www.vibesworkshop.com/audio/dominant-chord-scales-tonymiceli/tonymiceli/022509 (accessed March 10, 2016).
Miceli, Tony. “Don’t Forget the E.” the Vibes Workshop.
http://www.vibesworkshop.com/audio/dont-forget-e-tonymiceli/tonymiceli/122910 (accessed February 27, 2016).
Miceli, Tony. “Donna Lee.” the Vibes Workshop.
http://www.vibesworkshop.com/audio/donnalee-tony-miceliarchives/tonymiceli/091608 (accessed March 2, 2016).
Miceli, Tony. “Essay on Comping.” the Vibes Workshop.
http://www.vibesworkshop.com/blog/essay-comping/tonymiceli/091612
(accessed February 24, 2016).
Miceli, Tony. “Etudes.” the Vibes Workshop.
http://www.vibesworkshop.com/book/good-vibes/etudes/tonymiceli/012108
(accessed February 24, 2016).
Miceli, Tony. “Find the Thread.” the Vibes Workshop.
http://www.vibesworkshop.com/audio/find-thread-tonymiceli/tonymiceli/010610 (accessed March 12, 2016).
260
Miceli, Tony. “Forums.” the Vibes Workshop. http://www.vibesworkshop.com/forum
(accessed March 14, 2016).
Miceli, Tony. “Forums.” the Vibes Workshop. http://www.vibesworkshop.com/forum
(accessed March 13, 2016).
Miceli, Tony. “From Here to There.” the Vibes Workshop.
http://www.vibesworkshop.com/video/here-there/tonymiceli/030209 (accessed
March 8, 2016).
Miceli, Tony. “General or Abstract Ways to Study Chords.” the Vibes Workshop.
http://www.vibesworkshop.com/video/chords-harmony-general-or-abstractways-study-chords-tony-miceli-vid/tonymiceli/101211 (accessed March 5,
2016).
Miceli, Tony. “Great Comping.” the Vibes Workshop.
http://www.vibesworkshop.com/video/great-comping/tonymiceli/103011
(accessed February 24, 2016).
Miceli, Tony. “How to Make a Blues Scale.” the Vibes Workshop.
http://www.vibesworkshop.com/book/tony-miceli-vibe-book/-blues/how-makeblues-scale/tonymiceli/011909 (accessed February 24, 2016).
Miceli, Tony. “Ideas for Comping Part 1- Double Stops with the Left Hand.” the Vibes
Workshop. http://www.vibesworkshop.com/audio/ideas-comping-pt-1-doublestops-left-hand-tony-miceli/tonymiceli/041310 (accessed March 12, 2016).
Miceli, Tony. “Intro to the Modes.” the Vibes Workshop.
http://www.vibesworkshop.com/video/intro-modes-series-modesdetail/tonymiceli/121609 (accessed February 21, 2016).
Miceli, Tony. “INTRODUCTION – Learning Tunes.” the Vibes Workshop.
http://www.vibesworkshop.com/node/4478 (accessed March 13, 2016).
261
Miceli, Tony. “Intros and Endings Part 2.” the Vibes Workshop.
http://www.vibesworkshop.com/video/intros-and-endings-part2/tonymiceli/100709 (accessed March 11, 2016).
Miceli, Tony. “John Swana Talks About Tritone Subs Part 2.” the Vibes Workshop.
http://www.vibesworkshop.com/video/john-swana-talks-about-tritone-subs-part2/tonymiceli/102411 (accessed March 12, 2016).
Miceli, Tony. “Lazy Voicings.” the Vibes Workshop.
http://www.vibesworkshop.com/video/lazy-voicings/tonymiceli/041310
(accessed February 24, 2016).
Miceli, Tony. “Left Hand Techniques.” the Vibes Workshop.
http://www.vibesworkshop.com/video/left-hand-technique/tonymiceli/121410
(accessed February 27, 2016).
Miceli, Tony. “Let’s Comp - Comping Questions.” the Vibes Workshop.
http://www.vibesworkshop.com/blog/comping-questions/tonymiceli/103011
(accessed February 24, 2016).
Miceli, Tony. “Let’s Comp – All Hands On Deck.” the Vibes Workshop.
http://www.vibesworkshop.com/video/2011-chord-and-harmony-fest-all-handsdeck/tonymiceli/112111 (accessed February 23, 2016).
Miceli, Tony. “Lines Festival - Finding Triads in Lines.” the Vibes Workshop.
http://www.vibesworkshop.com/audio/finding-triads-lines-tonymiceli/tonymiceli/121511 (accessed March 2, 2016).
Miceli, Tony. “Lines Festival - Intro to the Bebop 7th Scale.” the Vibes Workshop.
http://www.vibesworkshop.com/video/intro-bebop-7th-scale/tonymiceli/112711
(accessed March 2, 2016).
Miceli, Tony. “Lines Festival - Rely On the Past - Part 1.” the Vibes Workshop.
http://www.vibesworkshop.com/audio/lines-festival-rely-past-part-1-tonymiceli/tonymiceli/122911 (accessed March 2, 2016).
262
Miceli, Tony. “Lines Festival - Rely On the Past - Part 2.” the Vibes Workshop.
http://www.vibesworkshop.com/audio/lines-festival-rely-past-part-2-tonymiceli/tonymiceli/010312 (accessed March 2, 2016).
Miceli, Tony. “Lines Festival – Finding Triads In Lines.” the Vibes Workshop.
http://www.vibesworkshop.com/audio/finding-triads-lines-tonymiceli/tonymiceli/121511 (accessed March 11, 2016).
Miceli, Tony. “Lines Festival – Yet Another Analysis of ‘Donna Lee.’” the Vibes
Workshop. http://www.vibesworkshop.com/audio/lines-festival-yet-anotheranalysis-donna-lee-tony-miceli/tonymiceli/122911 (accessed March 2, 2016).
Miceli, Tony. “Lines.” the Vibes Workshop.
http://www.vibesworkshop.com/book/good-vibes/lines/tonymiceli/010608
(accessed January 30, 2016).
Miceli, Tony. “Listen to His Lines.” the Vibes Workshop.
http://www.vibesworkshop.com/video/listen-his-lines/tonymiceli/100511
(accessed March 4, 2016).
Miceli, Tony. “Listen When You Play.” the Vibes Workshop.
http://www.vibesworkshop.com/video/listen-when-you-play/tonymiceli/032410
(accessed March 7, 2016).
Miceli, Tony. “Long Time VW Member Bruce Wells Died.” the Vibes Workshop.
http://www.vibesworkshop.com/node/17736 (accessed January 28, 2016).
Miceli, Tony. “Melodic Minor Scale Part 7 - Altered Scale.” the Vibes Workshop.
http://www.vibesworkshop.com/audio/melodic-minor-scale-pt-7-altered-scaletony-miceli/tonymiceli/050510 (accessed February 25, 2016).
Miceli, Tony. “Melodic Minor Scale Part 7 - Altered Scale.” the Vibes Workshop.
http://www.vibesworkshop.com/audio/melodic-minor-scale-pt-7-altered-scaletony-miceli/tonymiceli/050510 (accessed February 25, 2016).
263
Miceli, Tony. “Melodic Minor Scale Part 7 - Altered Scale.” the Vibes Workshop.
http://www.vibesworkshop.com/video/john-swana-talks-about-tritone-subs-part1/tonymiceli/102411 (accessed March 12, 2016).
Miceli, Tony. “Minor Chords in 5ths.” the Vibes Workshop.
http://www.vibesworkshop.com/audio/minor-chords-5ths-tonymiceli/tonymiceli/103009 (accessed March 12, 2016).
Miceli, Tony. “Move it Sideways.” the Vibes Workshop.
http://www.vibesworkshop.com/audio/move-it-sideways-tonymiceli/tonymiceli/072909 (accessed March 8, 2016).
Miceli, Tony. “Mulgrew Talks About Comping.” the Vibes Workshop.
http://www.vibesworkshop.com/video/mulgrew-talks-aboutcomping/tonymiceli/021010 (accessed February 27, 2016).
Miceli, Tony. “Neighbor Tones – For Dimitri and Norbert.” the Vibes Workshop.
http://www.vibesworkshop.com/audio/neighbor-tones-dimitri-and-norbert-tonymiceli/tonymiceli/072513 (accessed February 14, 2016).
Miceli, Tony. “New Age Exercise.” the Vibes Workshop.
http://www.vibesworkshop.com/audio/new-age-exercise-tonymiceli/tonymiceli/033111 (accessed March 9, 2016).
Miceli, Tony. “Open & Closed Voicings – Audio.” the Vibes Workshop.
http://www.vibesworkshop.com/audio/open-and-closed-voicings-tonymiceli/tonymiceli/031409 (accessed March 15, 2016).
Miceli, Tony. “Open & Closed Voicings – Video.” the Vibes Workshop.
http://www.vibesworkshop.com/video/open-and-closed-voicingsvideo/tonymiceli/080708(accessed March 15, 2016).
Miceli, Tony. “Phrasing and Swinging.” the Vibes Workshop.
http://www.vibesworkshop.com/audio/phrasing-and-swinging-tony-micelitifoos-letter/tonymiceli/123008 (accessed March 2, 2016).
264
Miceli, Tony. “Pivot Chord Video.” the Vibe Workshop.
http://www.vibesworkshop.com/video/pivot-chords-video/tonymiceli/061408
(accessed March 3, 2016).
Miceli, Tony. “Playing Melodies to Tunes.” the Vibes Workshop.
http://www.vibesworkshop.com/video/playing-melodies-tunes/behng/120309
(accessed February 27, 2016).
Miceli, Tony. “Practicing II V’s.” the Vibe Workshop.
http://www.vibesworkshop.com/audio/chords-harmony-practicing-ii-vs-tonymiceli/tonymiceli/102411 (accessed March 7, 2016).
Miceli, Tony. “Prepare to Melt… ‘Darn That Dream’ by the Best Ballad Player Ever!.”
the Vibes Workshop. http://www.vibesworkshop.com/video/prepare-melt-darndream-best-ballad-player-ever/tonymiceli/040713 (accessed February 28, 2016).
Miceli, Tony. “Putting the Modes in Context.” the Vibes Workshop.
http://www.vibesworkshop.com/audio/putting-modes-context-tonymiceli/tonymiceli/042010 (accessed March 4, 2016).
Miceli, Tony. “QDV (Quick Dirty Video) on Tritone Subs.” the Vibes Workshop.
http://www.vibesworkshop.com/video/qdv-quick-and-dirty-video-tritonesubs/tonymiceli/042311 (accessed February 24, 2016).
Miceli, Tony. “Quick ‘Donna Lee’ Etude Video.” the Vibes Workshop.
http://www.vibesworkshop.com/video/quick-donna-lee-etudevideo/tonymiceli/091609 (accessed March 2, 2016).
Miceli, Tony. “Separate the Hands.” the Vibes Workshop.
http://www.vibesworkshop.com/node/4829 (accessed February 27, 2016).
Miceli, Tony. “Shop!.” the Vibes Workshop. http://www.tonymiceli.com/store
(accessed March 13, 2016).
Miceli, Tony. “Shout Box.” the Vibes Workshop.
http://www.vibesworkshop.com/shoutbox?page=1 (accessed January 29, 2016).
265
Miceli, Tony. “Simple Lines.” the Vibes Workshop.
http://www.vibesworkshop.com/audio/simple-lines-tonymiceli/tonymiceli/072509 (accessed February 23, 2016).
Miceli, Tony. “Stride Tips 2011 - Part 3 - Bass Lines.” the Vibes Workshop.
http://www.vibesworkshop.com/audio/stride-tips-2011-part-3-bass-lines-tonymiceli/tonymiceli/110811 (accessed February 27, 2016).
Miceli, Tony. “Stride Tips 2011 – Part 1- Introduction.” the Vibes Workshop.
http://www.vibesworkshop.com/audio/stride-tips-2011-part-1-introduction-tonymiceli/tonymiceli/110811 (accessed February 25, 2016).
Miceli, Tony. “Stride Tips 2011 – Part 2 – Simple Exercise.” the Vibes Workshop.
http://www.vibesworkshop.com/audio/stride-tips-2011-part-2-simple-exercisetony-miceli/tonymiceli/110811 (accessed February 25, 2016).
Miceli, Tony. “Stride Vibes – Part 4 – Listening to the Masters.” the Vibes Workshop.
http://www.vibesworkshop.com/video/stride-vibes-listen-masters-pt4/tonymiceli/083108 (accessed February 27, 2016).
Miceli, Tony. “Stride Vibes – Part 5 – ‘Summertime’ and Syncopation.” the Vibes
Workshop. http://www.vibesworkshop.com/video/stride-vibes-summertime-andsyncopation-pt-5/tonymiceli/083108 (accessed February 27, 2016).
Miceli, Tony. “Stride Vibes – Part 6 – More Exercises and Recap.” the Vibes
Workshop. http://www.vibesworkshop.com/video/stride-vibes-more-exercisesand-recap-pt-6/tonymiceli/083108 (accessed February 27, 2016).
Miceli, Tony. “Stride Vibes Part 1.” the Vibes Workshop.
http://www.vibesworkshop.com/video/stride-vibes-intro/tonymiceli/083108
(accessed February 25, 2016).
Miceli, Tony. “Stride Vibes Part 2.” the Vibes Workshop.
http://www.vibesworkshop.com/video/stride-vibes-movement-andindependence-pt-2/tonymiceli/083108, (accessed February 25, 2016).
266
Miceli, Tony. “Stride Vibes Part 3.” the Vibes Workshop.
http://www.vibesworkshop.com/video/stride-vibes-practicing-progressions-pt3/tonymiceli/083108 (accessed February 25, 2016).
Miceli, Tony. “Surrounding Notes.” the Vibes Workshop.
http://www.vibesworkshop.com/audio/surrounding-notes-tonymiceli/tonymiceli/110909 (accessed February 24, 2016).
Miceli, Tony. “Target Notes Part 2.” the Vibes Workshop.
http://www.vibesworkshop.com/audio/target-notes-part-2-tonymiceli/tonymiceli/123008 (accessed February 24, 2016).
Miceli, Tony. “Targeting Notes.” the Vibes Workshop.
http://www.vibesworkshop.com/audio/targeting-notes-tonymiceli/tonymiceli/122708 (accessed March 15, 2016).
Miceli, Tony. “The Art of the Seconds.” the Vibes Workshop.
http://www.vibesworkshop.com/video/art-2nds/tonymiceli/020213 (accessed
March 10, 2016).
Miceli, Tony. “The Different Blues Scales.” the Vibes Workshop.
http://www.vibesworkshop.com/book/lessons-book-new/blues/different-bluesscales/tonymiceli/020510 (accessed March 15, 2016).
Miceli, Tony. “The First Lesson I Ever Did – Stride Vibes.” the Vibes Workshop.
http://www.vibesworkshop.com/video/first-video-i-ever-did-stridevibes/tonymiceli/070409 (accessed March 13, 2016).
Miceli, Tony. “The First Video I Ever Did – Stride Vibes.” the Vibes Workshop.
http://www.vibesworkshop.com/video/first-video-i-ever-did-stridevibes/tonymiceli/070409 (accessed February 27, 2016).
Miceli, Tony. “The Line is Number One.” the Vibes Workshop.
http://www.vibesworkshop.com/audio/line-number-one-tonymiceli/tonymiceli/122609 (accessed February 24, 2016).
267
Miceli, Tony. “The Modes In Detail – Aeolian.” the Vibes Workshop.
http://www.vibesworkshop.com/video/modes-detail-aeolianmode/tonymiceli/111008 (accessed February 23, 2016).
Miceli, Tony. “The Modes In Detail – Dorian.” the Vibes Workshop.
http://www.vibesworkshop.com/video/modes-detail-dorian/tonymiceli/102108
(accessed February 21, 2016).
Miceli, Tony. “The Modes In Detail – Ionian.” the Vibes Workshop.
http://www.vibesworkshop.com/video/modes-detail-ionianmode/tonymiceli/102108 (accessed February 21, 2016).
Miceli, Tony. “The Modes In Detail – Locrian.” the Vibes Workshop.
http://www.vibesworkshop.com/video/modes-detail-locrian/tonymiceli/111008
(accessed February 23, 2016).
Miceli, Tony. “The Modes In Detail – Lydian.” the Vibes Workshop.
http://www.vibesworkshop.com/video/modes-detail-lydian/tonymiceli/110208
(accessed February 22, 2016).
Miceli, Tony. “The Modes In Detail – Mixolydian.” the Vibes Workshop.
http://www.vibesworkshop.com/video/modes-detailmixolydian/tonymiceli/110408 (accessed February 22, 2016).
Miceli, Tony. “The Modes in Detail – Phrygian.” the Vibes Workshop.
http://www.vibesworkshop.com/video/modes-detail-phrygian/tonymiceli/102708
(accessed February 22, 2016).
Miceli, Tony. “TOTM - ‘Darn That Dream’ - Harmony Part 1.” the Vibes Workshop.
http://www.vibesworkshop.com/audio/totm-darn-dream-harmony-part-1-tonymiceli/tonymiceli/043013 (accessed February 29, 2016).
Miceli, Tony. “TOTM - ‘Darn That Dream’ - Harmony Part 2.” the Vibes Workshop.
http://www.vibesworkshop.com/audio/totm-darn-dream-harmony-part-2-tonymiceli/tonymiceli/043013 (accessed February 29, 2016).
268
Miceli, Tony. “TOTM - ‘Darn That Dream’ - Harmony Part 3.” the Vibes Workshop.
http://www.vibesworkshop.com/audio/totm-darn-dream-harmony-part-3-tonymiceli/tonymiceli/043013 (accessed February 29, 2016).
Miceli, Tony. “TOTM - ‘Darn That Dream’ - Introductory Lesson.” the Vibes
Workshop. http://www.vibesworkshop.com/audio/totm-darn-dreamintroductory-lesson-tony-miceli/tonymiceli/041013 (accessed February 29,
2016).
Miceli, Tony. “TOTM – ‘Darn That Dream’ – Harmony – Part 4.” the Vibes Workshop.
http://www.vibesworkshop.com/audio/totm-darn-dream-harmony-part-4-tonymiceli/tonymiceli/043013 (accessed March 1, 2016).
Miceli, Tony. “TOTM – ‘Darn That Dream’ – Harmony – Part 5.” the Vibes Workshop.
http://www.vibesworkshop.com/audio/totm-darn-dream-harmony-part-5-tonymiceli/tonymiceli/043013 (accessed March 1, 2016).
Miceli, Tony. “TOTM – ‘Darn That Dream’ – Harmony – Part 6.” the Vibes Workshop.
http://www.vibesworkshop.com/audio/totm-darn-dream-harmony-part-6-tonymiceli/tonymiceli/043013 (accessed March 1, 2016).
Miceli, Tony. “TOTM – ‘Darn That Dream’ – Harmony – Part 7.” the Vibes Workshop.
http://www.vibesworkshop.com/audio/totm-darn-dream-harmony-part-7-tonymiceli/tonymiceli/043013(accessed March 1, 2016).
Miceli, Tony. “TOTM – ‘If I Were a Bell,’” the Vibes Workshop.
http://www.vibesworkshop.com/audio/totm-if-i-were-bell-solo-first-half-tonymiceli/tonymiceli/031912 (accessed February 27, 2016).
Miceli, Tony. “TOTM – ‘If I Were a Bell’ - Practice Chops on the Tune.” the Vibes
Workshop. http://www.vibesworkshop.com/audio/totm-if-i-were-bell-practicechops-tune-tony-miceli/tonymiceli/012112 (accessed February 29, 2016).
269
Miceli, Tony. “TOTM – ‘If I Were a Bell’ – All the Chords.” the Vibes Workshop.
http://www.vibesworkshop.com/audio/totm-if-i-were-bell-all-chords-tonymiceli/tonymiceli/012112 (accessed February 27, 2016).
Miceli, Tony. “TOTM – ‘If I Were a Bell’ – Comping and Voicing Ideas.” the Vibes
Workshop. http://www.vibesworkshop.com/video/totm-if-i-were-bell-compingand-voicing-ideas/tonymiceli/021312 (accessed February 27, 2016).
Miceli, Tony. “TOTM – ‘If I Were a Bell’ – Solo – Second Half – Just the Solo.” the
Vibes Workshop. http://www.vibesworkshop.com/audio/totm-if-i-were-bellsolo-second-half-just-solo-tony-miceli/tonymiceli/032812 (accessed February
25, 2016).
Miceli, Tony. “Tune of the Month (TOTM).” the Vibes Workshop.
http://www.vibesworkshop.com/book/Lessons%20Book%20%28new%29/tunemonth-studies/tonymiceli/081410 (accessed March 19, 2016).
Miceli, Tony. “Turn Around Bossa.” the Vibes Workshop.
http://www.vibesworkshop.com/audio/turn-around-bossa-tonymiceli/tonymiceli/062409 (accessed February 25, 2016).
Miceli, Tony. “Turnaround Chord Study.” the Vibes Workshop.
http://www.vibesworkshop.com/audio/turn-around-chord-study-tonymiceli/tonymiceli/031011 (accessed March 11, 2016).
Miceli, Tony. “Two Lines.” the Vibes Workshop.
http://www.vibesworkshop.com/video/two-lines/tonymiceli/030510 (accessed
February 27, 2016).
Miceli, Tony. “Using Bebop Tunes to Practice Playing Solo.” the Vibes Workshop.
http://www.vibesworkshop.com/video/using-bebop-tunes-practice-playingsolo/tonymiceli/080809 (accessed February 27, 2016).
Miceli, Tony. “Using Time and a Metronome to Help Improvise” the Vibes Workshop.
http://www.vibesworkshop.com/audio/using-time-and-metronome-helpimprovise-tony-miceli/tonymiceli/040209 (accessed February 21, 2016).
270
Miceli, Tony. “V-Books.” the Vibes Workshop. http://www.vibesworkshop.com/book
(accessed March 13, 2016).
Miceli, Tony. “Vibraphone Lessons and Technique.” the Vibes Workshop.
http://www.vibesworkshop.com/book/lessons-book/tonymiceli/010608 (accessed
March 19, 2016).
Miceli, Tony. “Voice From the Top Down.” the Vibes Workshop.
http://www.vibesworkshop.com/video/voice-top-down/tonymiceli/012310
(accessed February 25, 2016).
Miceli, Tony. “What the Chord Looks Like.” the Vibes Workshop.
http://www.vibesworkshop.com/audio/what-chord-looks-tonymiceli/tonymiceli/070310 (accessed February 29, 2016).
Miceli, Tony. “What to Play Over a ii min7 b5.” the Vibes Workshop.
http://www.vibesworkshop.com/audio/what-do-i-play-over-min7-b5-tonymiceli/tonymiceli/092608, (accessed February 25, 2016).
Miceli, Tony. “Working With Singers – Endings.” the Vibes Workshop.
http://www.vibesworkshop.com/video/working-singersendings/tonymiceli/031912 (accessed February 27, 2016).
Miceli, Tony. “Working With Singers – Intros.” the Vibes Workshop.
http://www.vibesworkshop.com/video/working-singersintros/tonymiceli/030712 (accessed February 27, 2016).
Miceli, Tony. “Working With Singers – The Melody.” the Vibes Workshop.
http://www.vibesworkshop.com/video/working-singersmelody/tonymiceli/052312 (accessed February 27, 2016).
Miceli, Tony. e-mail message to the author. November 17, 2015.
Miceli, Tony. John Swana, “John Swana Talks About Tritone Subs Part 1.” the Vibes
Workshop. http://www.vibesworkshop.com/video/john-swana-talks-abouttritone-subs-part-1/tonymiceli/102411 (accessed March 12, 2016).
271
Miceli, Tony. John Swana, “John Swana's ‘Bluesette’ Etude.” the Vibes Workshop.
http://www.vibesworkshop.com/video/john-swanas-bluesetteetude/tonymiceli/100411 (accessed March 12, 2016).
Miceli, Tony. Steve Giordano, “Chord Vocabulary.” the Vibes Workshop.
http://www.vibesworkshop.com/video/chord-vocabulary/tonymiceli/122609
(accessed March 8, 2016).
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