Hearing Your Way Down a 7th Chord
Applying Lower and Upper Neighbouring tones to a mi7 Chord
Applying Lower and Upper Neighbouring tones to a mi7 Chord
Transforming Diatonic 7ths into a Swingin’ Phrase
Transforming Diatonic 7ths into a Swingin’ Phrase
Diatonic Triads
Diatonic Triads
The Coltrane Triplets
The Coltrane Triplets
Cake, Frosting & Sprinkles – Part 3 of 3
Cake, Frosting & Sprinkles – Part 3 of 3
Cake, Frosting & Sprinkles – Part 2 of 3
Cake, Frosting & Sprinkles – Part 2 of 3
Cake, Frosting & Sprinkles – Part 1 of 3
Cake, Frosting & Sprinkles – Part 1 of 3
The JS Bach Effect
The JS Bach Effect
Basic Voice leading for a ii – V – I – PART 2 of 2
Voice leading for a ii – V – I – PART 2 of 2
Basic Voice leading for a ii – V – I – PART 1 of 2
Voice leading for a ii – V – I – PART 1 of 2
How to Mix a Minor Triad with a Diminished 7th Chord
How to Mix a Minor Triad with a Diminished 7th Chord
Hearing Your Way Down a 7th Chord
Hearing Your Way Down a 7th Chord
Applying Lower and Upper Neighbouring tones to a mi7 Chord
Applying Lower and Upper Neighbouring tones to a mi7 Chord
Transforming Diatonic 7ths into a Swingin’ Phrase
Transforming Diatonic 7ths into a Swingin’ Phrase
Diatonic Triads
Diatonic Triads
The Coltrane Triplets
The Coltrane Triplets
Cake, Frosting & Sprinkles – Part 3 of 3
Cake, Frosting & Sprinkles – Part 3 of 3
Cake, Frosting & Sprinkles – Part 2 of 3
Cake, Frosting & Sprinkles – Part 2 of 3
Cake, Frosting & Sprinkles – Part 1 of 3
Cake, Frosting & Sprinkles – Part 1 of 3
The JS Bach Effect
The JS Bach Effect
Basic Voice leading for a ii – V – I – PART 2 of 2
Voice leading for a ii – V – I – PART 2 of 2
Basic Voice leading for a ii – V – I – PART 1 of 2
Voice leading for a ii – V – I – PART 1 of 2
How to Mix a Minor Triad with a Diminished 7th Chord
How to Mix a Minor Triad with a Diminished 7th Chord
Module 16
This video lesson will help you to improve your ability to play descending chords (7-5-3-1). Many aspiring players have no problem playing ascending chords (1-3-5-7), but playing that same chord backwards (descending) presents a real challenge. In this video, I explain why the descending chords can be more difficult for some players, and I share my unique approach to help you hear your way down the chords. Includes PDF lesson notes. INTERMEDIATE & ADVANCED LEVEL
In this video lesson, I’ll show you how to highlight the third of each chord in a ii / V / I progression to create lines with four different contours. These contours have a powerful effect on the type of melodic line you’ll create. This lesson also shares tips for creating rhythmic and melodic variations in your phrases. If you ever feel like you play good notes in your solos, but your phrases are lacking in clarity of direction, this lesson is exactly what you need to take things to the next level. Includes detailed PDF lesson notes. INTERMEDIATE LEVEL
In this video lesson, I’ll show you how to work with Hip Lick #7 from my book, Hip Licks for Saxophone, Volume 1. This is a ii mi7 – V7 lick. It’s a one-measure lick with a nice seven-to-three voiceleading move included. Very easy to play, and it nails the changes. Includes tips on hearing the roots of the chords while playing the lick, working the lick in 12 keys and creating a nice variation on the lick. PDF lesson notes included. INTERMEDIATE LEVEL.
In this video, I demonstrate the four note tape measure scales. This is the first four notes of each major scale, played in the cycle. I play the four notes in four directions: 1. Up 2. Down 3. Up/Down 4. Down/Up. I also discuss and demonstrate some different phrasing techniques for the four note scales, as well as playing each grouping twice for a technical workout. Includes PDF Lesson notes. INTERMEDIATE & ADVANCED LEVEL.
Greg shows how to keep your mind focused and sharp even when you’re away from the horn. This music theory game involves thinking of the note “D” as different degrees of major scales.
Module 18
In this video lesson, Greg shares his method for applying lower and upper neighboring tones to a minor seventh chord. This approach provides a simple way to melodically enhance the chord. If you’ve been bored with the same old way of practicing your chord arpeggios, this video lesson will bring new life and energy to your practice sessions. INTERMEDIATE & ADVANCED LEVEL. With detailed PDF lesson notes for C, Bb, and Eb instruments.
In this video, we explore a great Coltrane device for transforming a common scale pattern in thirds to a very hip jazz phrase by adding lower neighboring tones to the lower notes in the groups of thirds. Very easy to play, and a very high cool factor! INTERMEDIATE LEVEL. Includes PDF lesson notes for C, Bb, Eb Instruments.
In this video lesson, Greg shares his unique system for teaching the Cycle (also known as “the Circle of 4ths” or “the Circle of 5ths”). Understanding the Cycle is essential for the development of all aspiring musicians. Includes Hip Lick #1 played in the Cycle in 12 keys, plus detailed PDF lesson notes for C, Bb, and Eb instruments. INTERMEDIATE / ADVANCED LEVEL.
In this video, Greg plays the six note tape measure® scales in all four directions (up, down, up/down, and down/up). He also discusses and demonstrates some of his own practice strategies, such as playing them high-speed and also playing them very slowly. Includes PDF for C, Bb, and Eb instruments. INTERMEDIATE & ADVANCED LEVEL.
Greg shows how to keep your mind focused and sharp even when you’re away from the horn. This music theory game involves thinking of the note “G” as different degrees of major scales.
Module 19
This is part one of a four-part video series in which I call my “Mind Transcription” series. In this series, I share my ideas and strategies for soloing over the chords of popular standards and jazz tunes.For this lesson, I’ve chosen the changes for Blue Bossa.In part one of this four-part lesson, I comp the chords at the piano, discuss the importance of hearing the chords at the piano, explore and explain voice-leading strategies from both the 7th and the 5th, and start the analysis of my original solo over the changes. I also discuss my thoughts about playing the roots of the chords over your solos.PDF practice materials to be used with all four parts of this lesson are attached to this video lesson. Materials include:
2. The solo I created on the changes of Blue Bossa
3. MP3 play-along tracks (short demo version and long rhythm-section only version)Includes PDFs for C, Bb, and Eb instruments.
Part 2 of 4 continues with an in-depth analysis of the solo, advanced voice-leading moves. This portion of the lesson ends at the half-way point in the solo (includes letters A through B).
In part three of this lesson, the theoretical analysis continues from letter C of the solo. I discuss “high mileage” from using major second intervals in multiple harmonic settings.This portion of the lesson also includes a brief discussion of the diminished scale and diminished whole-tone scale.
PDF practice materials, including three voice-leading example sheets, the solo, and mp3 play-along tracks, are attached to Part 1 of this lesson. Includes music for C, Bb and Eb instruments.
In this fourth and final part of this video lesson on the chords of Blue Bossa, I discuss the harmonic minor scale as used in the solo and give some voice-leading practice assignments and suggestions.
PDF practice materials, including three voice-leading example sheets, the solo, and mp3 play-along tracks, are attached to part 1 of this lesson. Includes music for C, Bb, and Eb instruments.
In this video lesson, I show you what I call the “double enclosure.” I add lower and upper neighboring tones to add heightened chromaticism to the enclosure. This creates a sort of musical “zig-zag” effect which is really fun for the ear.
Includes PDF lesson notes for C, Bb and Eb instruments. INTERMEDIATE & ADVANCED LEVEL.
In this video, I’ll show you how to take a common chord exercise of diatonic 7th chords, transforming them into a swingin’ phrase full of rhythmic drive with stylized elements of dynamics, articulation, and vibrato.
This is a fun, simple exercise that can really improve your time feel. Includes detailed PDF lesson notes in C, Bb and Eb. INTERMEDIATE LEVEL.
Module 22
In this video, I share what I consider to be the six essential elements needed to sound like a professional player. I demonstrate the elements through an original blues tune, titled “The Six of Diamonds.”
In this video lesson, I share my approach to breathing. If you’ve ever felt short of breath while playing or felt that your tone was a bit thin, this lesson is a must. In addition to the technique of breathing, I also discuss jaw position on the mouthpiece while breathing, as well as my thoughts on long tones. ALL LEVELS. Includes PDF text notes with bullet-point lesson summary.
In this video, I share my approach for getting more impact from short notes. There is a big distinction in the way that a pro player approaches short notes in the middle of a phrase.
The issue is whether the short note is slurred into or tongued as it is played. I demonstrate the two approaches and provide examples to help train your ear to clearly hear the difference between a “low impact” and “high impact” short note. If you want pro-like short notes in your lines, this lesson is essential, and a total game-changer. ALL LEVELS. Includes PDF lesson notes.
In this video, I share my system for learning and practicing diatonic triads. These triadic chord structures often get overlooked, but they’re essential for all players.
In this video lesson, I share some of my thoughts about the innovative way in which Stan Getz introduced the new Bossa Nova style to the world. Also includes a short demo of Getz playing diatonic triads.
Module 25
In this video lesson, I’ll show you how to work with Hip Lick #8 from my book, Hip Licks for Saxophone, Volume 1.
In this video lesson, I demonstrate how I like to use the 4th of the scale or chord to create tension and then resolve the note to the 3rd or 5th. Many aspiring players have been told that the 4th is an “avoid note.” This is very bad advice because all players need to know how to deal with this note when it comes up. You can’t just ignore it or avoid it.
Many group members have written to me, asking for a video lesson teaching them how to get a big, powerful sound on their palm keys. In this video, I share my unique approach to getting a full, big tone on the palm keys.
If you’ve ever had trouble getting a nice sound on your palm keys, this video will be transformative. Includes PDF lesson notes. INTERMEDIATE LEVEL
In this video lesson, I share what I call the “Coltrane Triplets.” This is a way of practicing your chord arpeggios with triplets.
CLICK HERE to download PDF lesson materials
In this video, I discuss one of my all-time favorite albums, Dave Brubeck’s monumental 1959 recording, “Time Out,” featuring the great Paul Desmond on alto.
Module 31
In this video lesson, I demonstrate the concept of melodic embellishment, using my composition “Ogden Avenue” from “Jazz Phrasing for Saxophone, Volume 1.”
This is part one of a three part in-depth lesson on the usage of lower and upper neighboring tones.
This is part two of a three part in-depth lesson on the usage of lower and upper neighboring tones. I use the fun analogy of cake, frosting, and sprinkles to show you how to apply lower and upper neighboring tones on major and minor chords.
This is part three of a three part in-depth lesson on the usage of lower and upper neighboring tones. I use the fun analogy of cake, frosting, and sprinkles to show you how to apply lower and upper neighboring tones on major and minor chords.
One of my all-time favorite Count Basie albums, E=MC2. Neal Hefti arrangements. The band is just smokin’ on this one. I love the close miking, as well. Feels like we’re in the same room with the band. The Basie band conveys such power, but it’s never forced. Beautiful buoyancy to the feel. Great solos. A great addition to any serious jazz collection.
Module 30
In this video lesson, I demonstrate the concept of melodic embellishment, using my composition “Milwaukee Avenue” from “Jazz Phrasing for Saxophone, Volume 1.”
In this video lesson, I show you what I call the “Dexter Bb Shake.” I named it for Dexter Gordon because I first noticed the way that he used the effect.
In this video, I demonstrate an intense style of articulation that I learned from listening to one of my favorite players, the great Sonny Rollins. Sonny has an incredible amount of energy and power in his playing, and he’s developed an incredibly percussive style of articulation which introduces short notes in the middle of fast-moving eighth-note lines.
In this video, I discuss one of my favorite Sonny Rollins albums, “Sonny Rollins Plus 4.” This is on the Prestige record label, recorded in 1956.
Module 29
In this video lesson, I share some essential voice-leading strategies which will transform your chord arpeggios, making them sound smooth and professional.
In this video lesson, I share some essential voice-leading strategies which will transform your chord arpeggios, making them sound smooth and professional.
Hip Lick #49 is based on Cmi7. It’s a two-measure lick that outlines the primary notes of the chord (7-5-3-1) while also including some popular bebop elements, such as the opening triplet rhythm on the first beat.
Many students come to me with the same issue…they want to have a smooth sound when playing eighth-note lines, but no matter how slowly they practice, they still have a “choppy” sound. This is a tricky problem to correct because it has several causes.
In this video, I discuss one of my all-time favorite albums, Marcos Valle’s “Samba ’68.” It’s deceptive because it sounds so light and fluffy and simple. Actually, it’s incredibly deep, sophisticated writing with some of the catchiest melodies I’ve ever heard.
Module 28
In this video lesson, I share some of my techniques for getting the sounds in your head to come out on your horn.
In this video lesson, we’ll explore one of my favorite harmonic settings a minor second interval, acting as the 3rd / 9th / 3rd of a minor seventh chord. This has a very Getzian kind of sound…smooth and melodic. Includes page 22 from “Intervals in Action,” plus detailed PDF practice guide for C, Bb and Eb instruments. INTERMEDIATE LEVEL
In this video lesson, I explore what I call the “Phil Woods” turnaround lick. It uses two voice-leading notes to create a beautifully balanced, melodic line of eighth-notes.
Part of the bebop tradition involves the usage of both upper extensions and implied harmony. The mixing of the minor triad with a diminished seventh chord adds a strong harmonic boost to any minor passage.
In this video, I discuss one of my all-time favorite albums, Charlie Parker’s masterpiece album, “Charlie Parker with Strings.” The album features popular standards from the Great American Songbook, arranged for the strings-plus-rhythm section. Parker at his most eloquent. One of my all-time favorites.