Submissions from 2026
Video Example 277. Reggae-inspired guitar 'skank' as a violin comping texture for Walking on the Moon, Judith A. Iddison
Video Example 278. Gregorio teaches an aggressive 'rock chop' for Back in Black, Judith A. Iddison
Video Example 279. Gregorio briefly discusses subconscious and conscious approaches to improvising, Judith A. Iddison
Video Example 27. Hesitations and taking risks in Autumn Ballad improvisation, Judith A. Iddison
Video Example 280. Gregorio discusses the importance of practising creatively for developing an improvisatory practice, Judith A. Iddison
Video Example 281. Gregorio champions for accurate intonation and articulation when playing dissonant notes, Judith A. Iddison
Video Example 282. Gregorio further discusses swing bowing and demonstrates a warm-up exercise on Minor Swing, Judith A. Iddison
Video Example 283. Gregorio champions for keeping solos simple but intonationally and rhythmically accurate, Judith A. Iddison
Video Example 284. Gregorio champions for keeping solos simple but intonationally and rhythmically accurate, Judith A. Iddison
Video Example 285. Gregorio reinforces the exit strategy of shifting a semitone to find ‘golden’ notes, Judith A. Iddison
Video Example 286. Sign of Four performance 1, Judith A. Iddison
Video Example 287. Sign of Four performance 2, Judith A. Iddison
Video Example 288. Autumn Ballad improvisation of inner string lines, Judith A. Iddison
Video Example 289. Gregorio explores a bassline for Double Parked, Judith A. Iddison
Video Example 28. Gregorio sings phrases featuring notes from half-whole diminished scale in Autumn Ballad improvisational exploration, Judith A. Iddison
Video Example 290. Footprints improvisational ideas, Judith A. Iddison
Video Example 291. Gregorio teaches a palette of ‘flute-like’ effects for Double Parked improvisation, Judith A. Iddison
Video Example 292. Gregorio discusses subtleties of interaction in jazz improvisation, Judith A. Iddison
Video Example 293. Gratitude tremolo introduction, Judith A. Iddison
Video Example 294. Extended techniques for Sea Funk’s introduction, Judith A. Iddison
Video Example 295. Transience improvisational experimentation with effects, Judith A. Iddison
Video Example 296. Gregorio explores harmonics, bow-percussion and flautando effects in Transience improvisation, Judith A. Iddison
Video Example 297. Full Moon Swing single and double-time comping, Judith A. Iddison
Video Example 298. Bariolage over Spain's chord changes while Gregorio improvises, Judith A. Iddison
Video Example 29. Gregorio plays a 1920s or 1930s-style Autumn Ballad solo including a favourite character phrase, Judith A. Iddison
Video Example 2. Gregorio teaches and demonstrates ghosting on chromatic-based phrases and transferable swung patterns, Judith A. Iddison
Video Example 30. Excerpt from Tri Swingin’ duo in which Gregorio features notes from the jazz minor scale and I comp, Judith A. Iddison
Video Example 31. Gregorio sings diminished-based phrases featuring the leading note and 6th on Tri Swingin' improvisation, Judith A. Iddison
Video Example 32. Exercise in crafting melodic patterns from half-whole diminished scale over A7-Dm in All of Me, Judith A. Iddison
Video Example 33. Colouring dominant chords on All of Me, Judith A. Iddison
Video Example 34. Gregorio introduces the Romanian scale and suggests minor 6 ideas for improvising on Douce Ambiance, Judith A. Iddison
Video Example 35. Colourful phrases containing sharp 9 and whole-tone scale applied to dominant chords on Swing 42, Judith A. Iddison
Video Example 36. An introduction to sliding-chromaticism, Judith A. Iddison
Video Example 37. Further sliding-chromaticism experimentation and 'discovery' of sharp 9 and tritone, Judith A. Iddison
Video Example 38. Gregorio demonstrates sliding-chromaticism and 'discovers' colourful phrases, Judith A. Iddison
Video Example 39. Call and response octave brass stabs in Sea Funk, Judith A. Iddison
Video Example 3. Gregorio demonstrates anticipated triplets, jazz vibrato and ghosted transitional first-finger idea, Judith A. Iddison
Video Example 40. Gregorio teaches seven funk-inspired pentatonic ideas with call and response, Judith A. Iddison
Video Example 41. Colourful funk-based minor pentatonic ideas and employing the strategy of delaying the tonic and beat one, Judith A. Iddison
Video Example 42. Gregorio instructs on different styles of Indian rāga ornamentation through call and response, Judith A. Iddison
Video Example 43. Gregorio teaches Afro-Cuban-style percussive effects on violin over an excerpt of Caravan’s changes, Judith A. Iddison
Video Example 44. Gregorio contrasts Caravan's rhythmic and melodically-embellished A section and blues-based B section, Judith A. Iddison
Video Example 45. Two contrasting flute-like effects over Caravan, Judith A. Iddison
Video Example 46. Employing metric modulation over an Afro-Cuban style groove with broken thirds and tonal shift over C minor, Judith A. Iddison
Video Example 47. Combined extended techniques excerpts from Stage One tuition, Judith A. Iddison
Video Example 48. Combined amplified effects excerpts from Stage One tuition, Judith A. Iddison
Video Example 49. Combined chopping excerpts from Stage One tuition, Judith A. Iddison
Video Example 4. 'Go Park the Car' rhythm using pulsed long bows, Judith A. Iddison
Video Example 50. Combined comping excerpts from Stage One tuition, Judith A. Iddison
Video Example 51. Creating a looped ambient soundscape, Judith A. Iddison
Video Example 52. Gregorio explores and loops percussive effects on the violin, Judith A. Iddison
Video Example 53. Octaves leaps and demonstration of descending one-finger shifts with quality, non-vibrated jazz tone, Judith A. Iddison
Video Example 54. Trading artificial-harmonics solos on Minor Swing, Judith A. Iddison
Video Example 55. Character idea played over Swing 42, 'discovery' of sharp 9 and bringing intention through syncopation, Judith A. Iddison
Video Example 56. Application of E and E-based patterns as pivot note within Swing 42 improvisation, Judith A. Iddison
Video Example 57. Embellishing Nuages’ melody, Judith A. Iddison
Video Example 58. Trading one-string solos with Gregorio on Minor Swing, Judith A. Iddison
Video Example 59. Gregorio demonstrates singing while playing on Minor Swing, Judith A. Iddison
Video Example 5. Gregorio demonstrates nuances of bowing fro creating a 'jazz trumpet' tone, Judith A. Iddison
Video Example 60. Improvisation featuring an emotive character phrase within Swing 42, Judith A. Iddison
Video Example 61. Juxtaposing sound worlds within Caravan improvisation, Judith A. Iddison
Video Example 62. Gregorio outlines Hungaria's chord changes highlighting colourful notes, Judith A. Iddison
Video Example 63. Gregorio plays Hungaria's chord changes in tempo and suggests colourful improvisational ideas, Judith A. Iddison
Video Example 64. Gregorio demonstrates violin-friendly, arpeggio-based ideas over Hungaria’s dominant 7 chords, Judith A. Iddison
Video Example 65. Gregorio outlines and embellishes Sign of Four's arpeggiated chord changes, Judith A. Iddison
Video Example 66. Gregorio outlines Sign of Four changes using scalic approach and broken thirds, Judith A. Iddison
Video Example 67. Gregorio demonstrates Lydian scale over dominant 7, major and minor chords in Hungaria, Judith A. Iddison
Video Example 68. Exploration of modal jazz using short, syncopated, Lydian-based ideas for Hungaria improvisation, Judith A. Iddison
Video Example 69. Gregorio demonstrates Lydian-based ideas on Hungaria, Judith A. Iddison
Video Example 6. Gregorio imitates a brass section on Minor Swing through confident swing rhythm, syncopation, articulation and dynamics, Judith A. Iddison
Video Example 70. Gregorio teaches A flat whole-tone ideas, Judith A. Iddison
Video Example 71. Contrasting chromaticism and clearly outlined chords and incorporating whole-tone flavour in Hungaria improvisation, Judith A. Iddison
Video Example 72. Gregorio demonstrates G blues-based ideas for Swing 39, Judith A. Iddison
Video Example 73. Gregorio and I explore the 'crushed' blues grace-note idea through call and response, Judith A. Iddison
Video Example 74. Reversing roles in crushed grace-note call and response, Judith A. Iddison
Video Example 75. Pentatonic sequences as improvisational foundational for Swing 39, Judith A. Iddison
Video Example 76. Experimenting confidently holding randomly selected notes across Nuages' chord changes, Judith A. Iddison
Video Example 77. Gregorio sings a two-note, Lydian-based idea featuring sharp 4 and variations over Nuages’ changes, Judith A. Iddison
Video Example 78. Adding confident resolutions to phrases containing notes held across changes in Nuages, Judith A. Iddison
Video Example 79. Holding dissonant notes across changes in Nuages and resolving to 6th and 9th, Judith A. Iddison
Video Example 7. Gregorio further instructs on horn-like rhythms and trumpet-inspired drop-offs on Minor Swing, Judith A. Iddison
Video Example 80. Gregorio demonstrates a range of colourful improvisational options for Swing 39, Judith A. Iddison
Video Example 81. Gregorio demonstrates sliding-chromaticism (or chromatic 'noodling') as a transition device, Judith A. Iddison
Video Example 82. Alternating bars of Hungaria’s chords with sliding-chromaticism and ‘chromatic-waffle’ explanation, Judith A. Iddison
Video Example 83. Slurred and syncopated chromatic phrases in colourful Hungaria improvisation, Judith A. Iddison
Video Example 84. Alternating sliding-chromaticism and outlined chords, using slurs and beginning on the G string, Judith A. Iddison
Video Example 85. Gregorio teaches a sul ponticello-infused jazz vibrato, Judith A. Iddison
Video Example 86. Gregorio teaches subtleties of vibrato, articulation and sliding on a colourful Hungaria improvisation, Judith A. Iddison
Video Example 87. Compiled comping excerpts from Stage Two tuition, Judith A. Iddison
Video Example 88. Comping with pizzicato rhythm and montuno and pizzicato solo trading on Chan Chan, Judith A. Iddison
Video Example 89. Chan Chan 'vocal-like' improvisation, Judith A. Iddison
Video Example 8. Minor Swing improvisation with a focus on including triplets, syncopation and repetition, Judith A. Iddison
Video Example 90. Gregorio encourages connecting simple musical ideas to craft a well-shaped solo on Nuages, Judith A. Iddison
Video Example 91. Contrasting long notes and swung chromaticism in Hungaria improvisation with anticipated swing ending, Judith A. Iddison
Video Example 92. Gregorio and I trade solos on Swing 39, Judith A. Iddison
Video Example 93. Sign of Four rehearse Selepak’s composition Sign of Four, Judith A. Iddison
Video Example 94. Ten excerpts from Sign of Four's premiere performance, Judith A. Iddison
Video Example 95. Gregorio demonstrates creative warm-up exercises using foundational pentatonic patterns, Judith A. Iddison
Video Example 96. Gregorio discusses and demonstrates the application of chromatic patterns within improvisations, Judith A. Iddison
Video Example 97. Gregorio demonstrates jazz surround technique and discusses its similarity to the classical turn, Judith A. Iddison