Submissions from 2026
Video Example 187. Gregorio discusses being a creative musician, Judith A. Iddison
Video Example 188. Gregorio demonstrates three finger-dexterity exercises on Minor Swing changes, Judith A. Iddison
Video Example 189. Pattern of ascending 4th and a descending 2nd over E7 from Minor Swing improvisation, Judith A. Iddison
Video Example 18. Gregorio teaches application of diminished chord on tonic minor, semitone below and tone above, unlocking the whole-half pattern, Judith A. Iddison
Video Example 190. Trading solos on Minor Swing with a focus on 6th, Judith A. Iddison
Video Example 191. Gregorio sings a phrase featuring sharp 9 over E7 in Autumn Ballad improvisation, Judith A. Iddison
Video Example 192. Excerpt from Gregorio's colourful solo on first eight bars of Autumn Ballad changes, Judith A. Iddison
Video Example 193. Phrases based on diminished arpeggios within Douce Ambiance exploration, Judith A. Iddison
Video Example 194. Phrase featuring a highlighted leading tone (B) over a C minor chord in Douce Ambiance, Judith A. Iddison
Video Example 195. Gregorio advises that 'all notes will work' during my hesitant Nuages improvisation, Judith A. Iddison
Video Example 196. Gregorio suggests an elegant, colourful phrase to end my Nuages solo, Judith A. Iddison
Video Example 197. Gregorio advises on my chromatically-infused Nuages improvisation, Judith A. Iddison
Video Example 198. Gregorio advises on my chromatically-infused Nuages improvisation, Judith A. Iddison
Video Example 199. Gregorio adds colour and reshapes arpeggios in Bossa Dorado improvisation, Judith A. Iddison
Video Example 19. Exercise in applying whole-tone scale over dominant chords in All of Me improvisation, Judith A. Iddison
Video Example 1. Gregorio teaches and demonstrates a right-hand swing feel, Judith A. Iddison
Video Example 200. Shaping and colouring arpeggios into musical phrases in Bossa Dorado solo, Judith A. Iddison
Video Example 201. Gregorio demonstrates delaying the resolution of note by creating a colourful phrase ending, Judith A. Iddison
Video Example 202. Gregorio includes a favourite descending D jazz minor broken-third pattern in Bossa Dorado solo, Judith A. Iddison
Video Example 203. Gregorio plays E7 over Am and a broken-third pattern from A jazz minor scale in Black Orpheus, Judith A. Iddison
Video Example 204. Ten colourful phrases 'discovered' on a Black Orpheus practice exercise, Judith A. Iddison
Video Example 205. Importance of accurate intonation when employing sliding-chromaticism, Judith A. Iddison
Video Example 206. Gregorio talks about funk, Judith A. Iddison
Video Example 207. Gregorio discusses and demonstrates the use of slides in funk, Judith A. Iddison
Video Example 208. Gregorio demonstrates juxtaposing rhythms with iTablaPro app, Judith A. Iddison
Video Example 209. Gregorio explains and demonstrates subtleties of sliding in Indian rāga, Judith A. Iddison
Video Example 20. Gregorio demonstrates a vibrato that imitates a trumpet ‘lip-trill’, Judith A. Iddison
Video Example 210. Indian rāga call and response over drone focusing on nuances of slides and shifts, Judith A. Iddison
Video Example 211. Indian-rāga call and response lesson focusing on vibrato and whole-hand, one-finger shifts, Judith A. Iddison
Video Example 212. Gregorio teaches Indian rāga finger substitution in call and response, Judith A. Iddison
Video Example 213. Gregorio creates an 'instant' Afro-Cuban-style percussion band on octave viola and loop pedal, Judith A. Iddison
Video Example 214. Looping an Afro-Cuban-style rhythmic ostinato, bassline and montuno on five-string violin, Judith A. Iddison
Video Example 215. Gregorio loops an Afro-Cuban-inspired percussion groove as a foundation for Caravan, Judith A. Iddison
Video Example 216. Gregorio elasticises and embellishes Caravan’s melody, creating 'slinky’, ‘snake charmer'-like sound worlds, Judith A. Iddison
Video Example 217. Applying F harmonic minor and G diminished arpeggio over the A section of Caravan, Judith A. Iddison
Video Example 218. Gregorio plays C half-whole diminished scale featuring sharp 9 and flat 9 over C7 of Caravan, Judith A. Iddison
Video Example 219. Gregorio highlights the flat 9 of C and the 9th of F while soloing on Caravan’s A section, Judith A. Iddison
Video Example 21. Cross-rhythmic triplet pattern outlining Bossa Dorado's chord changes, Judith A. Iddison
Video Example 220. Caravan improvisation using F jazz minor scale, Judith A. Iddison
Video Example 221. Highlighting harmonic extensions by tonally shifting arpeggios on B section of Caravan, Judith A. Iddison
Video Example 222. Improvisation on Afro-Cuban groove and call and response with phrases featuring minor 6th, Judith A. Iddison
Video Example 223. Gregorio discusses assuming different characters to assist in embodying musical styles, Judith A. Iddison
Video Example 224. Gregorio discusses cross pollination between different musical styles, Judith A. Iddison
Video Example 225. Gregorio creates a 'conga' percussion band on the violin and plays a brief blues solo, Judith A. Iddison
Video Example 226. Gregorio demonstrates 'washing' effect with bow on amplified octave viola, Judith A. Iddison
Video Example 227. Soundscape with 'washing' effect on octave viola transferred up an octave, Judith A. Iddison
Video Example 228. Octave-viola soundscape with behind-the-bridge effects, harmonics and percussive pizzicato, Judith A. Iddison
Video Example 229. Gregorio creates a loop using harmonics and plays a Gregorian chant-like solo on octave viola, Judith A. Iddison
Video Example 22. A half-whole diminished scale on the turnaround in Tri Swingin’, Judith A. Iddison
Video Example 230. Gregorio creates an 'African kora'-effect by employing classical guitar technique on octave viola, Judith A. Iddison
Video Example 231. Gregorio demonstrates guitar-style pizzicato effects on octave viola, Judith A. Iddison
Video Example 232. Gregorio demonstrates rhumba-style guitar techniques on octave viola with percussive effects, Judith A. Iddison
Video Example 233. Percussive effects on octave viola including imitations of tom drum, Middle-Eastern frame drum and oud, Judith A. Iddison
Video Example 234. Gregorio creates a humorous ‘David Attenborough-style’ soundscape on octave viola, Judith A. Iddison
Video Example 235. Gregorio loops a col legno 'alien-insect' effect on amplified violin and transfers it up an octave, Judith A. Iddison
Video Example 236. Gregorio creates a natural distortion on the violin by playing sul ponticello, Judith A. Iddison
Video Example 237. Gregorio demonstrates Afro-Cuban-style percussive effects on violin, Judith A. Iddison
Video Example 238. Gregorio creates three flute-like effects on octave viola, Judith A. Iddison
Video Example 239. Gregorio demonstrates col legno effects on octave viola, Judith A. Iddison
Video Example 23. Highlighting the diminished signalling chord in Belleville, Judith A. Iddison
Video Example 240. Transferring looped percussive effects up and down an octave, Judith A. Iddison
Video Example 241. Gregorio describes distortion inspiring his cross-genre practice, Judith A. Iddison
Video Example 242. Gregorio instructs and demonstrates distortion effects on amplified five-string violin, Judith A. Iddison
Video Example 243. Gregorio demonstrates contrasting wah effects on amplified five-string violin, Judith A. Iddison
Video Example 244. Gregorio teaches and demonstrates a chopping style with left-hand muting, Judith A. Iddison
Video Example 245. Gregorio teaches chopping variations with melodic intervals and left-hand muting, Judith A. Iddison
Video Example 246. Gregorio recommends non-classical technical adjustments to create a powerful chop, Judith A. Iddison
Video Example 247. Gregorio teaches cross-rhythmic and lower-half ricochet chopping styles, Judith A. Iddison
Video Example 248. Triplet chop duo, Judith A. Iddison
Video Example 249. Rock chop tuition and comping under Gregorio's Summertime violin improvisation, Judith A. Iddison
Video Example 24. Gregorio teaches two phrases for Minor Swing improvisation that highlight the pull of the tritone, Judith A. Iddison
Video Example 250. Gregorio demonstrates a range of funk-based chopping styles and techniques, Judith A. Iddison
Video Example 251. Chopping duo demonstration while Gregorio rhythmically experiments, Judith A. Iddison
Video Example 252. Five-feel chopping duo, Judith A. Iddison
Video Example 253. Funk-inspired improvised chopping duo, Judith A. Iddison
Video Example 254. Comping with chop under Gregorio's Nuages guitar improvisation, Judith A. Iddison
Video Example 255. Gregorio demonstrates a pizzicato comping style on Nuages, Judith A. Iddison
Video Example 256. Bossa nova comping styles incorporating chop and melodic notes on Bossa Dorado, Judith A. Iddison
Video Example 257. Comping under Gregorio's colourful Bossa Dorado improvisation, Judith A. Iddison
Video Example 258. Comping using straight and syncopated patterns with sautille over Summertime rock feel, Judith A. Iddison
Video Example 259. Comping with bow-percussion under Gregorio's guitar solo on a rock-style version of Summertime, Judith A. Iddison
Video Example 25. Gregorio draws from E flat whole-half diminished scale and a varied chromatic pattern over E7 and A minor in Minor Swing improvisation, Judith A. Iddison
Video Example 260. Comping with chop under Gregorio's Douce Ambiance violin improvisation, Judith A. Iddison
Video Example 261. Comping with a guitar-like pizzicato on A section of Caravan under Gregorio's guitar improvisation, Judith A. Iddison
Video Example 262. Gregorio briefly comments on the benefits and disadvantages of looping, Judith A. Iddison
Video Example 263. Gregorio creates a rhythmic ambient loop and improvises with rhythmic freedom, Judith A. Iddison
Video Example 264. Gregorio addresses confidence and fear in relation to improvisation, Judith A. Iddison
Video Example 265. Gregorio talks of the excitement of risk taking and importance of confident body language, Judith A. Iddison
Video Example 266. One-string trading on Minor Swing and the importance of right-hand articulation in a jazz solo, Judith A. Iddison
Video Example 267. Taking risks with sliding-chromaticism experimentation, Judith A. Iddison
Video Example 268. Gregorio discusses and demonstrates confidence-building 'exit' strategies, Judith A. Iddison
Video Example 269. Rhythmic and melodic embellishment of Caravan's melody, Judith A. Iddison
Video Example 26. Trading solos in Minor Swing ending in Gregorio's pattern of an ascending 4th and descending 2nd, Judith A. Iddison
Video Example 270. Gregorio demonstrates soloing on one string, Judith A. Iddison
Video Example 271. Gregorio solos with a variety of expressions and emotions on Autumn Ballad, Judith A. Iddison
Video Example 272. Gregorio improvises a colourful five-chorus Hungaria solo while I comp using pizzicato, Judith A. Iddison
Video Example 273. Gregorio describes implicitly drawing on cemented finger patterns, Judith A. Iddison
Video Example 274. Gregorio discusses immersing in live performance to fast track the process of learning jazz, Judith A. Iddison
Video Example 275. Exploration of comping textures using the 'Charleston' rhythm on Swing 39, Judith A. Iddison
Video Example 276. Gregorio comps with brass-inspired ideas and subtle melodic 'fills' on Swing 39, Judith A. Iddison