LESSON 1: Moving 5ths

In this video lesson, I share a concept that I call “Moving 5ths.” This is a great way to add some voice-leading to a static chord.

For example. with a tune like “I’ll Remember April,” a soloist has four measures of a major seventh chord, followed four measures of a minor seventh chord. With the “Moving 5ths” strategy, it’s very easy to create a melodic change of color by highlighting the moving 5ths in the chords.

Includes detailed PDF practice notes for Bb, Eb and C instruments.

LESSON 2: Joe Henderson High D and Eb False Fingerings

Back in the late 1980’s and early 1990’s, I was so fortunate to have studied with Joe Henderson. I’ve always been a fan of his music and his approach. I used to hear him play every time he’d visit Chicago.

In this video lesson, I share two fingerings that I learned from intensive listening and study. While much of Joe’s technique is technically challenging, these two fingerings are very manageable, and they provide a very cool change of texture for these two palm key notes. Be sure to have your horn out to follow along with me in this lesson!

LESSON 3: Exploring Hip Lick #51

In this video lesson, I’ll explore Hip Lick #51 from my book, “Hip Licks for Saxophone, Volume 1.”

This is a Bbmi7 lick (tenor key) that is primarily based an an arpeggio that utilizes what I call “Direction 3,” which is a descending arpeggio followed by an ascending arpeggio. The lick highlights one of my favorite harmonic choices for a minor chord — the 11th.

Includes the “Echo Game” (by ear) for the lick in 12 keys, as well as twelve new endings for the lick — a new ending for the lick in each new key.

LESSON 4: 3D Dynamics – Decoupling Finger Pressure from Dynamics

In this video lesson, I share a technique that I developed to improve my technique by decoupling finger pressure from the dynamics being played on the horn. In my 20’s, I was playing a quiet background gig and I noticed that I had nice, smooth technique on that gig. Lots of effortless facility on the horn.

The next night, I had a very different type of gig. Jazz gig in a noisy club with a loud drummer and no microphone. I found that my technical facility on the horn seemed to have dropped overnight! I was struggling with technical passages that were easy the night before.

There was tension in my hands and arms. After the gig, I thought about it and made a startling realization. When I was playing softly, I was relaxed, pressing the keys lightly. On the loud gig, I was tense and pounding the keys down very hard as I was struggling to hear myself.

I realized that I needed to be able to separate my finger pressure from my dynamics. For the benefit of a visual reminder — this is the 3D part — I hold my mouthpiece cap close and far away from the camera as I demonstrate the concept.

This lesson will improve both your technique and your attention to dynamics!

LESSON 1: Whole Tone Trick on Bridge of Rhythm Changes Category: Elements of Style / Chords (Dominant 7#5)

I’ve always loved the sound of whole tone. When I was a kid, playing augmented chords felt to me, musically, like I was walking up a staircase, taking two stairs with each step! In this video lesson, I share a harmonic trick that lets you easily access this whole tone sound over the bridge of rhythm changes.

If you’ve been missing out the cool sound of both the whole tone scale and the augmented triads derived from that scale, this video lesson will get you sounding like a seasoned pro with the material.

Always a fun and very distinctive harmonic effect.

Includes PDF practice notes for Bb, Eb and C instruments.

LESSON 2: Trading Choruses and Fours on a Bb Blues with Greg

Old school. When I grew up in Chicago, I learned so much by sitting in at clubs and trading choruses and fours with the more seasoned players in town. I would try and pick up on the older player’s “vibe” and sometimes continue his idea. I

t was like we were having a musical conversation. I wanted to share some of that old-school approach with you in this video lesson. I’m accompanied by wolrd-class pianist Judy Roberts. We play a nice medium tempo Bb blues and you can trade choruses and 4’s with me.

This is a really fun one! Don’t look at any chords. Watch me and listen and trade with me when it’s your turn. Try to really stay in the moment with me and Judy as we play the blues.

LESSON 3: Diminished Whole Tone Hack for V7alt Chords

In this video lesson, I share a technique shortcut, often called a “hack,” that will help you easily access and hear all of the cool-sounding altered notes of the diminished whole-tone scale over an altered dominant chord.

The process is very simple, but this will have a very powerful harmonic effect on the way that you play and the way that you hear altered notes over a dominant chord.

PDF practice notes for Bb, C and Eb instruments

LESSON 4: 1235 Pattern – Part 1 of 2

In this video lesson, I show you how to practice and use the very popular 1235 pattern In this video lesson, I share a technique shortcut, often called a “hack,” that will help you easily access and hear all of the cool sounding altered notes of the diminished whole-tone scale over an altered dominant chord.

The process is very simple, but this will have a very powerful harmonic effect on the way that you play and the way that you hear altered notes over a dominant chord.

in multiple harmonic contexts. Part 1 of the lesson focuses mainly on the pattern itself and various ways to practice the pattern to gain technical fluency in all keys.

LESSON 5: 1235 Pattern – Part 2 of 2

Part 2 of this lesson shows you different places you can use the 1235 pattern over various harmonic situations. I also share some examples of the way that the pattern is used in the melodies of some famous standard tunes.

LESSON 1: How to Hear Melodies in Harmonic Context

One of the biggest challenges facing the aspiring saxophonist is learning how to hear a melody as it relates to the underlying chord progression. In particular, the relationship of the melody notes to the underlying root movement (bass notes) is essential for successfully hearing whether a melody note is a 3rd, 5th, 7th, etc.

For example, if the melody is playing a “B” natural, and no chord is heard underneath the note, that “B” is undefined, harmonically speaking. However, if you hear an E in the bass, that “B” now has a clear identity as the 5th of the chord.

In this video lesson, I share a technique for adding the bass notes to the melody and combining these two elements to help players hear this important relationship. I also share some additional strategies for memorizing chord progressions, though singing the bass notes while singing the chord names.

Includes PDF practice notes for Bb, Eb and C instruments.

LESSON 2: Coltrane & Stitt Highlight Major 2nds over V7b9 Chords Category: Elements of Style / Interval Studies

In this video lesson, I explore the way that both Coltrane and Stitt highlight major second intervals in the diminished scale when playing over a V7b9 chord.

In addition to Coltrane and Stitt, many of the old-school jazz players preferred to highlight this particular interval when playing over a V7b9 chord, because this interval is pleasing to the ear, highlighting a sort of musical “sweet and sour sauce,” with the following note combinations: 13 & 5 / #11 & 3 / #9 & b9 / and Root & b7. This approach will help you to dial in very specific color combinations as you solo over the V7b9 chord.

Includes PDF practice notes for Bb, Eb and C instruments.

LESSON 3: Exploring Hip Lick #59

In this video lesson, I’ll explore Hip Lick #59 from my book, “Hip Licks for Saxophone, Volume 1.” This is a Dmi7 lick (tenor key) that combines three common elements to form the two-measure phrase. I break the lick down into each of these component parts and conclude the video lesson with the “Echo Game” (by ear) in 12 keys.

LESSON 4: The Car Analogy – Sounds vs Theory 

In this video lesson, I share a new analogy that has been resonating with many of my Skype students. Although I’ve so often mentioned the importance of playing by ear and not just relying on music theory, this analogy, describing theory as license plates and sounds as cars will really help you to get the big picture on the differences between the ear approach and the theoretical approach to music.