This next etude I'm really excited about,
because it's called
Blues Around The Board, and
it's bebop vocabulary over an F blues.
And because it gets to the heart of
why we practice all these scales and
arpeggios, so we can get the freedom
to play music like this.
And the bebop vocabulary is full of
vitality, rhythmically it's very
expressive, it's harmonically interesting,
I've done it in a slow tempo at first, so
you can get your hands around these these
melodies and lines and articulations.
Notice not everything is picked.
There's some slides and
slurs, and ghosting.
So I'm really intent that you
get that slow tempo right.
Because that really exposes it,
the slow tempo, whether we're catching
the triplet feeling in the swing.
And I encourage to deal with the abakua
teaching part of the curriculum,
where I show you how to tap the six eight
rhythm, and walk in the six eight rhythm.
And get the feeling of
the triplet inside your body,
because the six eight is equal
to the triplet in four four.
And how that all creates that
feeling that makes jazz so special.
Then I did a faster version of it as well,
of this a A tune, for
you to check out, and
to see how when the tempo speeds up,
the lines change color,
the articulations change.
The swing is maybe not as pronounced,
you naturally have to make it a little
straighter sounding, but it's in between,
and it's not always the same.
That's a common misconception with Swing,
and the feeling that we use for it.
It's not an identical feeling of
the triplet every time you play,
even though it's in Swing and B-bop.
Check it out, and I challenge you,
because I think if you really work hard
on this you'll be able to do both tempos.
But I really want that first tempo,
swinging and feeling good.
That's the most important thing to me.
And then if you're willing to work for
that faster tempo, and
make it feel great.That
would make me really happy.
And I think it would make you very happy,
So I'm challenging.
The gauntlet is thrown down.
I want you to go for it, okay?