


MODULE 44
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Addition by Subtraction
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Mi(maj7) Chords with Echo Game in Four Directions
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by musictech | Aug 6, 2021 | PRACTICE STRATEGIES
You are unauthorized to view this page.by musictech | Jul 5, 2021 | GREG'S THOUGHTS ON...
You are unauthorized to view this page.by musictech | Jul 5, 2021 | CHORD STUDIES, Mi(maj7) Chords
You are unauthorized to view this page.by musictech | Jul 5, 2021 | BLUES CHANGES, TUNES
You are unauthorized to view this page.LESSON 1: Six Essential Items for Daily Practice
In this video lesson, I discuss the importance of practicing each item on my practice planner. I developed this approach in my 20’s when I was practicing many hours each day. I experimented with many different approaches to practicing and found that these six items yielded the best results.
Many people get stuck practicing only scales or chords and never seem to get to other items like vocabulary, transcriptions, etudes, and tunes.
Includes PDF practice planner.
LESSON 2: Secret Applications for the Bebop Scale
In this video lesson, I share what I call the “secret” applications for the bebop scale. These are not the types of applications that you learn in school. In both my undergrad and graduate studies, there was no mention of these applications of the scale.
And yet, when I transcribed the masters, I found that they routinely applied the scale in this way when they wanted to get more harmonic flavor from the scale.
If you’ve ever been at a loss for how to use the bebop scale over a minor ii / V situation, this video will show you how to apply the scale like a seasoned professional.
Includes detailed PDF practice notes for Bb, Eb and C instruments.
LESSON 3: Creative Scale Practice
In this video lesson, I share a story about one of my Skype students who was very bored with his scale practice. He was in a rut, always playing his scales like a technical exercise, rather than finding the music hidden within the scales.
I showed him these creative practice strategies that I use in my own practice and he was instantly playing with more energy and creativity while also improving his musical memory and his instrumental technique.
Includes detailed PDF practice notes for Bb, Eb and C instruments.
LESSON 4: C.E.S.H. – What it is and How to Use it.
In this video lesson, I explore and explain C.E.S.H. The term was coined by one of my former teachers, the great Jerry Coker. It stands for “Contrapuntal Elaboration of Static Harmony.” Basically, it means that you apply voice leading to a chord within itself by moving the sevenths (and sometimes the fifths).
This is a common harmonic device used by all pro players. You’ll recognize it as soon as you hear it. I explain the device and break it down in a way that makes it easy for all levels of players to immediately use this in their solos. Includes detailed PDF practice notes for Bb, Eb and C instruments.
LESSON 4: Thumb Position for the Octave Key
In this video lesson, I discuss and demonstrate the importance of good thumb position on the saxophone. This topic is often overlooked. Over the years, I’ve taught many students who needed to correct bad habits with their thumb position. In some cases, students were experiencing pain from using the wrong position or from using too much pressure.
The left hand cannot operate with efficiency without an excellent thumb position, combined with a light touch. If you’ve ever had issues with left-hand technique problems or pain in your left hand or arm due to the octave key, this video will address all of those issues and provide a clear strategy to fix the problem.
LESSON 1: The Donkey
In this video lesson, I share my system to develop a strong, consistent tone when changing from the upper register to the lower register. The video lesson focuses, especially on slurred descending octaves.
I explain a common problem of aspiring saxophonists dropping their jaw to get to the low register, which causes a pitch drop to the upper note, as well as a weak sounding lower register. I call this problem, “the donkey” because the sound reminds me of a braying donkey.
This is an essential lesson for tone development. Key elements in this lesson include a discussion of jaw positioning, throat tension, and air support. ESSENTIAL FOR ALL LEVELS.
LESSON 2: TUNES
In this video lesson, I share with you the basic bebop style blues changes that my famous Chicago teacher, Joe Daley showed be when I was studying with him in the 1980s. These are what I consider to be essential blues changes for bebop era blues heads, like Billie’s Bounce, Tenor Madness, Now’s the Time, etc.
There are many advanced options for the blues, but this video will provide you with the essentials to get started. I play the progression slowly, with the chords in all four directions. I also take you through singing the roots of the chords while playing the changes on the keyboard. Includes PDF with these changes for C, Bb, and Eb instruments. Intermediate level.
Includes detailed PDF practice notes for C, Bb, and Eb instruments.
LESSON 3: Mi(maj7) Chords with Echo Game in Four Directions
In this video lesson, I explain how to play minor(maj7) chords. This is one of my favorites. it has a kind of “film-noir” quality to the sound of the chord, with a dark minor third, a neutral perfect fifth, and a very bright major seventh. I often refer to this chord as the “Vertigo” chord because this sound was featured so prominently in Alfred Hitchcock’s classic film “Vertigo,” starring Jimmy Stewart.
This chord is also featured in songs such as: Harlem Nocturne, Nica’s Dream, Chelsea Bridge, Solar, and many more. I take you through the “echo game” in all four directions, with Direction 1 at 2:16, Direction 2 at 4:00, Direction 3 at 5:36, and Direction 4 at 7:10. Starting at 8:08 I have a high-speed echo game for advanced players. At 10:48 I give suggestions for practicing with this chord.
Includes PDF for C, Bb, and Eb instruments.
LESSON 4: Addition by Subtraction
In this video lesson, I share my thoughts on transforming your playing not by adding more and more layers to what you’re doing, but by subtracting things that are holding you back. This is a very powerful concept. Who would have thought you could sound so much better by simply subtracting a few things from your playing?