LESSON 1: Randomized Minor 3rds Echo Game with the Vibes
In this video lesson, we’ll play the echo game with minor 3rds in the four directions, but also, they’re randomized.
This was one of my main ear-training strategies in my early 20s as I was developing my teaching method. It’s challenging but fun, and it will yield great results.
Why the vibes? The vibes provide a clear, bell-like tone that rings for a long time. I have found this to be excellent for helping players internalize the sounds of the pitches….The notes will still be ringing while you try to match the pitch.
This will allow your ear to compare the ringing pitch of the vibes with the sounds coming out of your horn, and you’ll learn to adjust to match the vibes very quickly.
LESSON 2: Cannonball Adderley: ii mi7- V7 – Melodic Genius Phrase
In this video lesson, I explore the opening phrase of Cannonball Adderley’s classic solo on Autumn Leaves. It’s a iimi7 – V7 phrase – Ami7 to D7 in alto key.
This is a masterpiece of melodic efficiency and beauty. Follow the video by ear and play along with me to learn this essential phrase of classic jazz vocabulary from Cannonball.
Includes PDF Practice notes for Bb, Eb and C instruments.
LESSON 3: Escaping the Conscious Mind of Theory
In this video, I share my thoughts about escaping the conscious mind of theory and playing at the speed of sound. Many aspiring players seem to only play as fast as they can mentally calculate the correct notes for a scale, chord, or phrase.
I’ve even encountered pro players who have come to me for help, telling me that they just can’t stop thinking about theory as they play. I used to play that way, but it was very limiting and musically frustrating.
However, I discovered that if I played very fast, my conscious mind couldn’t keep up and didn’t even try. This freed me up to focus on the sound I was hearing, as opposed to the theory I had been thinking.
Once I felt what it was like to play by ear, with my fingers responding to the sound, it felt like I had an aural awareness of the chords as I played (at any tempo), without having to think mechanically through the spellings and theory.
This is not to say that you don’t need to know music theory. You do need to know your scales and chord spellings but think about this in terms of spoken language…You’re not spelling out words in your mind and diagramming sentences while you have a fast conversation with a close friend.
The music should be the same way…you need to break free of those chord and scale spellings and play by sound (ear). Since this involves high-speed playing, I also discuss some of my concepts of hand and finger relaxation so that you can learn to play at high speeds without injuring your hands, wrists, and arms.
LESSON 4: Major 6/9 Chord Voicing with 4ths
I’ve had many questions from students about major 6/9 chords, versus C maj7 chords. In this video, I discuss the differences between the two chords, as well as the similarities.
This chord voicing utilizing 1-3-6-9 is a piano voicing that I like. It has a fresh, open sound when played on the saxophone, and it’s a nice contrast to hearing the more common chord voicings in thirds used by most saxophonists. Includes two echo games — one with maj7 and major 6/9 chords for your ear to compare the two sounds, followed by an echo game with just the new voicing.
LESSON 1: Mirrored Intervals
In this video lesson, I share a concept that I call “mirrored intervals.” By this terminology, I’m referring to the sound of playing, let’s say, an E up to a G, and then playing the same E again, but dropping to the G below. The result is that you’ll go up a minor third and the “mirrored” interval produced when you drop down to the G below E will be a major sixth. One of my favorite players, Gene Ammons uses this device quite a bit in his solos. In this lesson, I’ll demonstrate several ways to practice this concept and get it into your playing. Intermediate & Advanced level. Includes detailed PDF practice notes for Bb, Eb and C instruments.
LESSON 2: Fixing the Break: How to play smoothly from C to D
One problem for many aspiring saxophonists is “the break,” which is the part of the horn that switches from the lower register, without the octave key, to the upper register, with the octave key. The break can be especially challenging when going from middle “C” to middle “D.” The thing that many aspiring players don’t realize is that while there’s just one key to press on the horn, there are actually two octave keys. One is located on the neck, and the other is located on the body of the horn. In this video lesson, I demonstrate both the problem and the solution. Includes close-up camera shots of my hands as I play the horn. If you’ve ever wanted to smooth out your transitions from the low register to the middle register of the horn, this video will immediately put you on the right path.
CLICK HERE to download PDF lesson materials
LESSON 3: The Harmonic Minor Scale
In this video lesson, I demonstrate the harmonic minor scale, first comparing it to the major scale, and then showing how to use it strategically over a minor ii / V / I. I also demonstrate the scale in 3rds in the four directions, followed by an improvisation on the scale. Includes detailed PDF practice notes for Bb, Eb & C instruments. INTERMEDIATE LEVEL.
LESSON 4: Greg’s Philosophy of Music: It’s Bigger than You and Me
In this video lesson, I discuss my thoughts about a student who came to me feeling down about his playing. He is a good student. He practices a lot. He always shows up prepared for the lessons. I’m proud of his progress. And yet, he had such negative feelings about his playing that he was considering quitting.
I shared my personal philosophy about music with him and told him about my own experience with feelings of frustration and self-doubt as a younger player. After I shared these thoughts with him, we proceeded to have a fantastic lesson and by the end of the lesson, he was feeling much better about things. I hope that you enjoy the video.
LESSON 5: Listening Recommendation: Cannonball Adderley – Somethin’ Else
An all-time classic 1958 Blue Note album. Miles Davis rarely appeared as a sideman after his time with Charlie Parker, but he made a rare exception and appeared on this Cannonball album. There’s great chemistry between all of the players on this album.
The vibe, the grooves…this is one of those albums that just sets a great mood and when it’s finished playing, you want to play it all over again. My favorite track, “One for Daddy-O” features one of my all-time favorite alto solo breaks. Also includes classic renditions of “Autumn Leaves” and “Love for Sale.” A must for all jazz collections.
I have played all of the chords on the piano, placing the interval in the upper voice of the right hand. Focus on the way that the sound of the interval changes with each new chord. Important: In order to use the PDF play-along and read it without having to transpose, be sure to select and play the video that corresponds to the key of your instrument (C, Bb or Eb). Intermediate & Advanced level. Includes PDF of Intervals in Action page 69, which corresponds to the video.