Jazz Articulation, Accents, and Proper Tonguing

June 9, 2015

Some saxophone & clarinet students have difficulty with jazz articulation, because they have not learned to tongue properly.  They begin each note with a constriction in the throat, which sounds as if the student were humming into the mouthpiece.  The beginning of the note is fuzzy and indistinct. Read the rest of this entry »


HOW I LEARNED TO PLAY BY EAR

January 25, 2015

THE DOWNBEATS

Even many accomplished musicians never learn the fine art of playing by ear.  A strong ear is a “must” for those of us musicians with visual disabilities.  I owe my ear to a uniquely inspired teacher.  The story begins in 1963. Read the rest of this entry »


Happy New Year, Sonny Rollins!

January 1, 2015

ROLLINS

What a great way to ring in 2015!  We watched “Labor Day” on Netflix, and then I revisited Sonny Rollins’ 1998 CD “Global Warming.”  Sonny has a wonderful ability to compose simple melodies that swing.  And, of course, the unique way he develops motivic material during his solos is legendary.   Solos brimming over with life and joy.  I just had to pick up my horn and play along.  Here is the lick that emerged, Adolph Sax’s new year’s gift.

NEW YEARS EVE LICK 2014 2015Try playing along with this melodic minor phrase in all 12 keys using this background track.  If you have trouble transposing it, email me for a free chart.  Or download “New Ears Resolution” and learn how to play any melody in any key by ear.


Sonny Rollins’ Solo on “Blues for Philly Joe”

April 3, 2012

Sonny Rollins is renowned for his unique approach to thematic development, which is somewhat similar to the way Beethoven worked in a piece such as his famous Fifth Symphony.  His solo on his original tune “Blues for Philly Joe” (named for drummer Philly Joe Jones) is a perfect example of this type of development.  Parts of the solo are so rhythmically driven, one can imagine that Rollins was consciously emulating the way a jazz drummer would approach a solo.  Here is a great blues lick that works well over the IV chord (bars 62-63).  Doesn’t it sound like something Cannonball (a great blues master) might have played?  Try playing it in all 12 keys. If you can’t figure out how to transpose it, leave a comment below or email me for a free copy of the figure in all 12 keys.

 


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