Category: TENOR SAXOPHONE

Dig Jimmy Heath!

heath-frontJimmy Heath is another master with whom I hope to become more familiar.

Driving into a glorious autumn dawn on the way to church Sunday, I was listening to “Picture of Heath” and was particularly struck by the third chorus of Jimmy’s soprano solo on “All Members.”

I don’t usually go to the trouble of formally transcribing solos, since there are so many fine transcriptions available on-line.  But Jimmy’s third chorus really knocked me out, and i felt compelled to examine the strategy, structure, and logic of this amazing 12-bar chorus.  Continue reading “Dig Jimmy Heath!”

RIPPING RIFFS OR MEMORABLE MELODIES?

sax life logoCraig wrote this article for the February, 2016 issue of Saxophone Life Magazine.  It appears here courtesy of SLM.

It’s definitely impressive to hear jazz musicians improvise at incredibly fast tempos. What is, however, far more inspiring is hearing how the great masters are able to create beautifully crafted, swinging melodic lines, regardless of tempo. Continue reading “RIPPING RIFFS OR MEMORABLE MELODIES?”

Darn That Dexter!

ONE FLIGHT UP LP COVERDexter Gordon is universally revered by saxophonists for his muscular sound.  He is equally effective on ballads, blues, and fast tempos.

His Blue Note LP One Flight Up includes a fine reading of the Jimmy Van Heusen ballad “Darn That Dream” on which he dexterously employs a device favored by Charlie Parker.  This maneuver involves momentarily raising the key a half-step and inferring a ii-V progression in that key.

Here are two instances in which Dexter deftly employs that ploy.  As anyone who has ever tried to transcribe his solos knows, one of the hallmarks of Dexter’s style is his unique approach to rhythm.  While his languid phrasing is pure joy to hear, it’s a nightmare to transcribe.  I have greatly simplified the rhythm in these two examples, focusing instead on the pitches Dexter chose for the brief modulation. Continue reading “Darn That Dexter!”

“Remember” Hank Mobley’s “Soul Station”?

HANK MOBLEY SOUL STATIONThe road to dynamic, expressive improvisation is paved with practice and listening.  Hank Mobley’s near perfect solo on Irving Berlin’s “Remember” from his classic LP “Soul Station” is filled with profound lessons on phrasing, rhythm, tone, melody, pacing, and development.  Here is just one of the great ideas you will encounter when studying this wonderful recording.

HANK MOBLEY REMEMBER BARS 15 AND 16As always, we recommend learning the phrase in all 12 keys.  Practice with the audio file found below. Continue reading ““Remember” Hank Mobley’s “Soul Station”?”

Jazz Articulation, Accents, and Proper Tonguing

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. Continue reading “Jazz Articulation, Accents, and Proper Tonguing”

Dominant Seven Flat 9 Chords V7(b9)

One of the features that makes a minor key sound so rich is its V7(b9) chord illustrated below as a V-I in the key of A minor.       E7b9 TO Am

The exercise shown below will greatly increase your familiarity and confidence in improvising over this lovely chord.  Continue reading “Dominant Seven Flat 9 Chords V7(b9)”

Thematic Development Galvanizes Your Solos

STORYTELLERDo your solos brim with vitality, gliding across a colorful landscape, as you explore ever deeper into the ocean of sound?  Or do you flounder among waves of notes, swimming through a maze of chord changes?

STORYTELLER 3Thematic development will transform your playing, as you weave your exciting, personal story.

The following clips illustrate three powerful tools to stimulate your creative potential and enthuse your audience.

1.  RHYTHMIC SHIFT – Example 1 presents a 7-beat phrase that starts on the “and” of beat 3.  The phrase is then repeated, but this time, it begins on the “and” of beat 2.  Repeating the phrase gives your thought unity, while the rhythmic offset offers variety and surprise.  Try playing along with this recording in all 12 keys.

MIXOLYDIAN LICK 1

2.  DIMINUTION – In example 2, the 7-beat phrase is the same, but a triplet compresses the second statement of the theme.  Your motif is still easily recognized, but you have added variety.

MIXOLYDIAN LICK 2

3.  TONAL SHIFT – In Example 3, the second statement of the theme modulates up a minor third.  Tonal shift was a favorite device of John Coltrane.  The listener still recognizes your theme, but her ear delights in this fresh new element you have added to the mix.

MIXOLYDIAN LICK 3

As you become more comfortable with creating and developing thematic material, your unique personality defines your individual style.  You improvise dynamically and coherently.

STORYTELLER 2

To master these 3 techniques, play along with the 3 audio files offered here.  Contact me, if you need a chart.  Or, if you want to learn to play by ear in all 12 keys (as I did while recording these clips), download “New Ears Resolution” and liberate your musical imagination!

Do You Enjoy Practicing Scales?

How often do we teachers hear students complain about having to practice long tones and scales?  Every teacher knows that long tones greatly enhance tonal quality and intonation and that scales are the raw material from which improvised solos are crafted.  The problem is that any musician who practices being bored will bore the audience.  What you practice is what you perform.  Practice joy, imagination, and  freshness, and your show will be fresh.  Practice dry technique, and your gig will be a desert.

Below is a 4-bar phrase containing a descending major scale (Ionian mode) and an ascending Mixolydian mode.  I worked on this exercise until the rhythm and note sequence started to feel interesting to me.

Try playing along with the background track provided below and see if this approach adds a bit of zest to your practice time.  Develop your own variations on this idea.  Email me for a FREE copy of this exercise in all 12 keys, if you have trouble figuring it out.  Better yet, download “New Ears Resolution” and learn how to play any melody in any key by ear.

1 1 15 scale lick

Happy New Year, Sonny Rollins!

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.

Improvising Using Skips

Are your improvisations based more on the chord changes (Coleman Hawkins approach) or on the melody (Lester Young approach)?  Many players look at the chord progressions and derive either arpeggios or scale patterns based on the indicated changes.  Here is an exercise that will develop your ability to integrate larger leaps into your melodic flow.

12 9 14 LICK cropped

To derive the maximum benefit, practice this pattern in all 12 keys around the circle of fifths using the background track provided below.  If you have difficulty figuring out the pattern in the other keys, contact me for a FREE chart (no cost or obligation).  Better yet, download “New Ears Resolution” to learn how to play any melody in any key BY EAR!

Check Out This Great Saxophone Web Site

Jeff Rzepiela is a talented reed player and arranger.  His web site contains many transcriptions of solos by the masters of jazz.   Check out his latest newsletter Scooby-sax_Newsletter_Oct_2014(1) which features an insightful analysis of an improvised solo by Arnie Krakowsky over the tune “I’ve Never Been in Love Before.”  Jeff skillfully singles out several key phrases in the solo, shows how they relate to each other, and makes them available for those of us who benefit from “wood-shedding” over great “licks.”

Kenny Barron’s “Voyage”

Kenny Barron’s wonderful composition Voyage is a particularly apt vehicle for Stan Getz.  The phrase in bar 4 especially caught my ear (example A.)

KENNY BARRON EX A

It would be fascinating to ask Mr. Barron whether he conceived of Voyage rapidly or – as often happens – the piece evolved over a period of time.
Focusing on bar 4, you see that the melody outlines the F7(b9) chord as shown in example A above.  It’s tempting to speculate that the appoggiatura was originally part of the F7(b9) arpeggio. The Eb then takes its place as the 7th in the F7(b9) chord, as shown in Example B.  Of course, Voyage as we now know it is far hipper than it would have been if bar 4 looked like Example B!

KENNY BARRON EXAMPLE B

Speculation aside, one way you will definitely improve your instrumental technique is by playing figures such as this one in all 12 keys around the Circle of Fifths, starting with a slow metronome setting and gradually increasing the tempo.
While I practiced this particular lick, I experimented with various rhythmic combinations.  If you do that, you will keep your imagination engaged, so that your practice time does not degenerate into a dry, lifeless exercise. You will also develop your own stylistic preferences, so that choosing the hippest rhythm for an improvised passage will not slow down your reflexes during performance.  Some of the iterations I tried are shown in Example C.

KENNY BARRON EXAMPLE C

The first iteration emphasizes the third of the chord – the “sweet note.”   The rest of the sketches experiment with various rhythmic syncopations.  Perhaps you also will benefit from playing along with the final lick in all 12 keys using this background track:

If you need a chart, fill out the request form below.  Your information will not be used for any other purpose, nor will it be saved.  Better yet, download New Ears Resolution and learn how to transpose by ear on the fly!

A Jazz Lick From Bach? Yes Indeed!

A recent biography of jazz tenor sax giant John Coltrane verified that he had indeed studied the wonderful Bach Cello Suites.  The suites, though quite challenging, are a joy to play, and they provide numerous opportunities to build your tone, technique, and conception.  As it turns out, they also contain some amazing phrases which can be adapted as jazz improv “licks.”  What do you think of this one?   It’s from Bach Cello Suite Number 2, “Allemande,” bar 21.    Play it through in all 12 keys (see chart below) and let us know whether Bach gives you ideas for your jazz improvisation.

BACH CELLO SUITE II, ALLEMANDE bar 21

Want Larger, More Enthusiastic Audiences?

What you practice is what you will perform.  A joyful practice session produces a joyful performance.  If you “practice joy” instead of merely “practicing scales,” the joy in your performances will be contagious, and your audiences will grow larger and more enthusiastic.
Now here’s the rub: Any teacher of improvisation will tell you, “You have to master scales to be a great improviser.”  But you hate practicing scales!  Your mind grows numb.  You can’t wait for your practice time to be finished.
The challenge is to keep your imagination joyfully engaged AND, at the same time, increase your technical mastery of your axe.  Can you do both?
Over the years, I have assembled a book of 300 licks that both challenge my technical ability and — AT THE SAME TIME — keep my heart and my imagination fully engaged.  Most of them evolve as I work them out in all 12 keys;  others are borrowed from the solo transcriptions of the masters.  Below is a recording and a chart for 1 such scalar lick which I just finished practicing.  Try it!  Can you play it in all 12 keys? If not, contact me using the contact form below for a free chart.  Better yet, download New Ears Resolution to learn how to play any melody by ear in any key.

8-15-13 LICK