Just listened to an inspiring interview with Sonny Rollins. They asked him how he practices. He said he just picks up the horn and starts playing. They asked, “What do you play?” Sonny responded: “I guess they would be what you might call ‘cliches’. You just play those until something meaningful begins to surface.” If Sonny is not afraid to play “cliches,” then it’s probably OK. So i picked up the tenor and just started blowing over some basic slow F blues changes. After 10 minutes, this lick started to emerge from the clay. To you, it may sound like just one more cliche, but for me – as i worked through it in all 12 keys at a moderate tempo – it proved an opportunity to address some fingering and range challenges i might otherwise have missed. It’s relaxing and fun to play a lilting, swinging lick, knowing your chops are improving as you play. Kind of reminds me of working through Hanon on the piano (though i’m only on number 8!).
Here is a recording of that lick in all 12 keys @ dotted-quarter = 100. I quadruple-tracked the tenor to give it a fuller sound.
Is your first thought when you wake up, “Where’s my horn?…I can’t wait to practice!”
Commuting home from work, are you reaching for the recliner and the remote,…or do you make a beeline for the practice room?
Far too many students tell me, “Practice is drudgery!”
Redesign your practice routine, so it’s not routine.
What do you think about quotes from other tunes in the middle of an improvised solo? Some masters often quote (Desmond and Stitt are prime examples) while others almost never do (Coltrane comes to mind). Do quotes provide a valuable resource, or are they a distraction? Love to hear your opinion! Please leave a post below. Continue reading “To Quote or Not to Quote?”
I miss him too, Charlie Brown. Dig the amazing melody below, just one of a thousand Sonny Stitt churned out daily like butter.
It’s tough choosing a tonality when chords move by half step. Here is a method that gives good results.
The San Francisco based group “Jews for Jesus” is currently offering “Renewed Hope” for sale on its web site. “Renewed Hope” is Craig’s seventh CD — his third worship CD — featuring words from The Bible, original music by Craig Buhler, the vocals of Rich Tatum, and the music of HONK. Produced by Grammy winner Steve Wood.
“Great tunes! Some truly satisfying compositions played really well. It’s been awhile since I have heard a recording that would be labeled ‘Jazz’ that wasn’t overly preoccupied with trying to show off the participants’ musical muscle. This CD is more about songs and songs played really well. Don’t get me wrong, the playing is masterful, but no one seems bent on ‘going to the hot dog stand.’ I love it.”
—– From the Review of “Capistrano Sessions” by “Chicago” drummer Tris Imboden
Any improvisation teacher will tell you that knowing your scales is essential to becoming an effective improviser. But here’s the rub: For many musicians, mindless repetition of scales numbs the imagination, limits your lyricism, and eliminates the joy from your performance.
Here is a solution. I have developed hundreds of phrases such as the one shown below which develop incredible technical facility on your horn while keeping your heart, mind, and imagination fully engaged.
Practice this phrase in all 12 keys, progressing around the circle of fifths as indicated on the example, while listening to the attached mp3 file. Use the contact form below to request a free chart, if you can’t figure out the lick in all 12 keys. Better yet, download “New Ears Resolution” for just $9.99 to totally revolutionize your playing.
The highly acclaimed Second Edition of “New Ears Resolution” is now available instantly & economically as a download via the trusted FastSpring Network!
The cost for the entire package is now only $9.99USD, and you can begin your exciting exploration into the fascinating world of improvisation immediately.
Would you like to train your ear, improve your “hand/ear co-ordination,” and enhance the content of your improvisation?
Try mastering this wonderful phrase (you can use it over a V-I chord change in a minor key) from Sonny Rollins’ solo on “Airegin”!
Play it slowly enough, so that you can play it effortlessly and smoothly. Gradually increase the tempo, but retain the smooth & effortless approach.
Once you are able to play it effortlessly in C minor, try mastering the phrase in all 12 keys.
Sarah Shea’s debut CD is a delight to the ear and the soul
filled with classic melodies sung by a master.
Craig’s clarinet sparkles in the elegant, understated ensemble.
- I’ve Got You Under My Skin
- Cheek to Cheek
- These Foolish Things
- I Got It Bad and That Ain’t Good
- East of the Sun and West of the Moon
- Cry Me a River
- Corcovado(Quiet Nights of Quiet
- My Rommance
- The Nearness of You
featuring Al Harris (piano), Craig Buhler (clarinet, sax, flute), Jon Hamar (bass), Mark Ivester (drums), Ed Donohue (flugelhorn)
Arranged and Produced by Al Harris
The II-V-I progression is perhaps the most widely used of any swing or be-bop chord sequence (besides the 12-bar blues.) Here it is in all 12 major keys. Try to master the arpeggios without having to look at the paper if possible. Play along with an audio track of this progression by clicking on this arrow:
The Dorian minor blues offers up a palette which some consider to be richer and more emotionally expressive than the major blues. Below is a simple step-by-step method for mastering this fun to play genre.
Welcome to my site!
If you want to learn how to play by ear and improvise jazz solos OR get started playing clarinet, saxophone, or flute OR hear the latest from the HONK Band OR discuss issues faced by Christian worship leaders OR schedule a Jazz for Youth workshop in your school, then we have something to talk about! It would be my pleasure to get to know you.