Exploring Hip Lick #59
Cannonball Adderley: ii mi7- V7 – Melodic Genius Phrase
Cannonball Adderley: ii mi7- V7 – Melodic Genius Phrase
Steak & Parsley aka: Evolution of a Lick
Steak & Parsley aka: Evolution of a Lick
The Blues Scale – Part 2 of 2
The Blues Scale – Part 2 of 2
The Blues Scale – Part 1 of 2
The Blues Scale – Part 1 of 2
Cry Me A River Lick (Rosetta Stone of Licks) – Piano Version
Cry Me A River Lick (Rosetta Stone of Licks) – Piano Version
Cry Me A River Lick (Rosetta Stone of Licks) Sax Version
Cry Me A River Lick
Exploring Hip Lick #3
Exploring Hip Lick #3
Exploring Hip Lick #4
Exploring Hip Lick #4
Exploring Hip Lick #7
Exploring Hip Lick #7
Exploring Hip Lick #8
Exploring Hip Lick #8
Exploring Hip Lick #37
Exploring Hip Lick #37
Exploring Hip Lick #59
Exploring Hip Lick #59
Cannonball Adderley: ii mi7- V7 – Melodic Genius Phrase
Cannonball Adderley: ii mi7- V7 – Melodic Genius Phrase
Steak & Parsley aka: Evolution of a Lick
Steak & Parsley aka: Evolution of a Lick
The Blues Scale – Part 2 of 2
The Blues Scale – Part 2 of 2
The Blues Scale – Part 1 of 2
The Blues Scale – Part 1 of 2
Cry Me A River Lick (Rosetta Stone of Licks) – Piano Version
Cry Me A River Lick (Rosetta Stone of Licks) – Piano Version
Cry Me A River Lick (Rosetta Stone of Licks) Sax Version
Cry Me A River Lick
Exploring Hip Lick #3
Exploring Hip Lick #3
Exploring Hip Lick #4
Exploring Hip Lick #4
Exploring Hip Lick #7
Exploring Hip Lick #7
Exploring Hip Lick #8
Exploring Hip Lick #8
Exploring Hip Lick #37
Exploring Hip Lick #37
Module 56
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.
Module 51
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.
Module 48
LESSON 1: Steak & Parsley aka: Evolution of a Lick
In this video lesson, I show you a concept that I call “The Steak and the Parsley.” I explain the difference between the main notes of a lick (the steak) and the ornamental notes of the lick (the parsley). I
present the lick in a step-by-step manner that shows the evolution of the phrase.
Includes detailed PDF practice notes for Bb, Eb, and C instruments.
LESSON 2: Hearing Like a Piano Player – Cycle with 7-3
In this video lesson, I share my strategy for hearing like a piano player.
A jazz pianist is always at a harmonic advantage over a horn player because they can use their left hand to play the bass notes (or full chords) to provide harmonic context for anything they play in their right hand.
I developed my own way to approximate this pianistic approach to hearing in context by playing a bass note in the low register of the horn and then jumping into the high register of the horn with the voice-leading notes.
This is a fun way to train your ear and also gain incredible flexibility on the horn with large register skips.
Includes PDF practice notes for Bb, Eb and C instruments.
LESSON 3: The Cat Water Fountain – Ear Training Echo Game
In this video lesson, I use one of my teaching analogies that I call the “cat water fountain.”
Think about a d versus a cat. A dog is happy with water that has been sitting in the same bowl all day.
A cat wants freshwater, which lead to the popularity of cat water fountains which recirculate the water, making the water mo appealing to the cat.
The ear is like the cat. It can get tired of hearing the chords played in the same way t many times.
This lesson shows you how I keep things fresh for my ear with some unusual variations to my usual chord practice routine.
LESSON 4: The Rabbit Hole of Misinformation
In this video, I share my thoughts about what I call the “rabbit hole of misinformation.”
When I started teaching in the 1980’s, people studied with a teacher and took their advice about what to practice and how to practice. There was no internet and no YouTube.
In a way, this was a good thing, because the students would stay on-track with a good teacher’s guidance. However, in today’s society, there’s YouTube, and anyone can create their own channel with their own teaching videos.
Some of the videos are excellent, made by fine teachers and players, but many are made by unqualified people who are simply sharing their uninformed opinions.
The trick is to be able to tell the difference between the useful videos and the videos that will lead you down the rabbit hole of misinformation.
Module 47
LESSON 1: Idiomatic Front F Lick
During a Skype lesson, one of my students was having trouble using his front F key on the saxophone. He couldn’t get comfortable with it. I created this lick to show him how I often access the key.
I refer to this as an “idiomatic” lick because it lays so well on the horn. This is not the only way to use the key, but it’s a good introduction to get comfortable with the unique hand position required for front F.
Includes PDF practice notes.
LESSON 2: Major Seventh Chord Inversions
In this video lesson, I play the major seventh chords in all inversions with what I call the “top margin” of my “C” on tenor, with all notes descending: C B G E (Cmaj7), C Ab G Eb (Abmaj7), C A F E (Fmaj7), and C Ab F Db (Dbmaj7).
Playing the inversions in this manner really highlights the interval structures of the chords and improves the accuracy of the ear. This is a great practice approach for ear training and improved control of your major seventh chords.
Advanced level. Includes PDF practice notes for Bb, Eb and C instruments.
LESSON 3: Getz Double Note Articulation Effect
In this video lesson, I demonstrate a specialized type of articulation that I call the “Getz Double Note Articulation Effect.”
This is a device that I first heard on an album called “Stan Getz Plays.” It gives the illusion of double-tonguing, but it’s single tonguing with very strategically placed slurs.
Learning to use this effect has really improved my control and speed for articulation. This is a great tool to have in your “special effects” bag of tricks to add something unique to your solos.
Includes PDF practice notes for Bb, Eb and C instruments.
LESSON 4: The Blues Scale – Part 1 of 2
In this video lesson, I explore the blues scale. This part one video teaches scale construction and application of the blues scale over a dominant and a minor chord.
I share my thoughts on using the scale over the full range of the horn and demonstrate some popular techniques used by the masters with this scale, including sequencing and repetition.
Includes PDF practice notes for Bb, Eb and C instruments.
LESSON 5: The Blues Scale – Part 2 of 2
This video lesson continues where part one ended, exploring options for adding extra chromatic notes to the scale.
Includes many examples in which I play some of my favorite phrases using the scale with the extra notes.
I also share my thoughts on the overuse of this scale by beginning players and explain why I look at this scale as a sort of musical spice, used to enhance the flavor of a chord progression.
Includes PDF practice notes for Bb, Eb and C instruments.
Module 09
In this video lesson, I teach eight applications of the famous CMAR lick (Based on the first few notes of “Cry Me A River”). I call this the “Rosetta Stone” of licks, because it can fit in 96 different places. I apply the lick to: mi7, altered dominant, mi7b5, maj7#11, straight dominant, mi13, maj7 and sus7b9 chords. Be sure to also watch the companion video in which I demonstrate this same material at the piano. In that video, I have additional commentary about the changing “mood” of the lick as it is applied to the various settings. INTERMEDIATE & ADVANCED LEVEL.
In this video, I demonstrate eight different harmonic settings for the “Cry Me A River” (CMAR) lick. I call this the “Rosetta Stone” of licks, because it works over so many different types of chords. This video is different than the saxophone version–In this video. Toward the end of the lesson, I mention my interpretation of the “moods” implied by each of the different harmonic settings. Also, this version lets you hear the lick against a chord voicing,, with all of the notes sounding together, while the sax version features a chord arpeggio, followed by the lick. Both videos are fun and packed with essential materials. INTERMEDIATE & ADVANCED LEVEL.
In this video lesson, I play the piano to accompany your practicing the dominant 7th chords in all four directions: 1. UP 2. DOWN 3. UP/DOWN ALTERNATING and 4. DOWN/UP ALTERNATING. Play your saxophone along with this piano accompaniment and match the pitch and time of the piano. This is excellent training for the chords, and it will drastically improve your tone, pitch and time. Everything is played at a comfortable eighty-eight beats per quarter note, so it will not present a technical challenge. I have included full notation of the entire exercise for Concert, Eb Alto and Bb Tenor. To ensure your success as an improvising musician, it is absolutely essential that you learn these chords by memory and practice them daily. INTERMEDIATE LEVEL.
In this video lesson, I play the piano to accompany your practicing the major 7th chords in all four directions: 1. UP 2. DOWN 3. UP/DOWN ALTERNATING and 4. DOWN/UP ALTERNATING. Play your saxophone along with this piano accompaniment and match the pitch and time of the piano. This is excellent training for the chords, and it will drastically improve your tone, pitch and time. Everything is played at a comfortable eighty-eight beats per quarter note, so it will not present a technical challenge. I have included full notation of the entire exercise for Concert, Eb Alto and Bb Tenor. To ensure your success as an improvising musician, it is absolutely essential that you learn these chords by memory and practice them daily. INTERMEDIATE LEVEL.
In this video lesson, I play the piano to accompany your practicing the minor 7th chords in all four directions: 1. UP 2. DOWN 3. UP/DOWN ALTERNATING and 4. DOWN/UP ALTERNATING. Play your saxophone along with this piano accompaniment and match the pitch and time of the piano. This is excellent training for the chords, and it will drastically improve your tone, pitch and time. Everything is played at a comfortable eighty-eight beats per quarter note, so it will not present a technical challenge. I have included full notation of the entire exercise for Concert, Eb Alto and Bb Tenor. To ensure your success as an improvising musician, it is absolutely essential that you learn these chords by memory and practice them daily. INTERMEDIATE 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 “Ab” as different degrees of major scales.
Module 49
LESSON 1: Creating a melody from Three Voice Leading Lines
In this video lesson, I demonstrate how to construct a melody from three voice leading lines. This is a great way to make your playing sound both melodic and harmonically accurate.
Harmonically, this approach covers you because you’re using voice leading from three locations in each chord, leading to three new locations in the upcoming chord. Melodically, you’re covered because this approach has built-in sequencing when you switch between the three voices.
Includes PDF practice notes for Eb, Bb and C instruments.
LESSON 2: Exploring Hip Lick #3
In this video lesson, I explore Hip Lick #3 from Hip Licks for Saxophone, Volume 1. The lick highlights a iimi7 V7 chord progression, starting on the 9th of the iimi7 chord.
The video explores strategies for hearing the root movement, 7-3 voice leading and hearing how to easily locate the first note of the lick, which is the 9th of the iimi7 chord. For advanced players, I demonstrate some ways of extending the lick into a two measure
phrase. Includes PDF practice notes for Bb, Eb and C instruments.
LESSON 3: The High Tide Approach to Scale Practice
In this video lesson, I share my concept called “High Tide” for scale practice. This approach will improve your technical facility on the saxophone while also improving your musical memory.
This approach adds one new note each time you ascend the scale from the root. If you’ve been playing your scales the same-old-way for many years, this new approach will add extra freshness for your ears and your fingers.
LESSON 4: The Surfer Analogy & Thinking in Reverse
In This video lesson I share two key concepts that will help to give you smooth technique through efficiency of motion, minimizing any wasted finger movement while
playing the saxophone. In the surfer analogy, your fingers are the surfers, the keys are the surfboards and the keys moving up and down on the horn are the waves of water.
The “thinking in reverse” concept is something that i developed in my 30’s when exploring ways to improve my technical accuracy on the horn. I found that instead of thinking about the finger pressing the note being played, my technique improved if I focused on the keys not being pressed. Implementing these two concepts will greatly improve your technique on the saxophone.
LESSON 5: Road Tips – Location of Notes within Dominant 7th Chords
In this lesson, I show you how to think of one note in four different locations within a Dominant 7th chord. For example, C = Root of C7, but C = the 3rd of Ab7, C = the 5th of F7, and C = the 7th of D7. The importance of enharmonic notes is also discussed in the video. The first part of the video is at an easy pace.
At the end of the video I do a “speed round” for advanced players. This is a fun way to review and sharpen up your chord spelling skills.
Module 05
Hip Lick #4 (from Hip Licks for Saxophone Volume 1) is analyzed from a melodic and harmonic standpoint. Includes exercises to improve your ear through the addition of chord arpeggios added to the lick. Also features a section on using the lick to improve your high-speed chops with a technique called the “Speed Bag.” Greg also demonstrates various ways of playing the lick in different keys, as well as placing the lick in songs. INTERMEDIATE & ADVANCED LEVEL.
One of the ways that the master players customize their sound is to use alternate fingerings, adding or subtracting weight to certain notes. This approach adds incredible detail to your lines. In this video, Greg demonstrates the three fingerings for middle D and also explains the musical reasons for choosing one fingering over another. PDF notes for this lesson include fingerings and written examples of the lines played in the video. INTERMEDIATE & ADVANCED LEVEL.
Greg gives a detailed analysis of “State Street” from Jazz Saxophone Etudes Volume 1. Includes tips on high speed playing, note groupings, chord substitution and moving sevenths. ADVANCED LEVEL.
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 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 34
LESSON 1: Four Directions – Thinking Locally and Globally
I often mention practicing in four directions for gaining mastery over your scales, chords and intervals. In this video lesson, I explore and explain the four directions. I describe the difference between thinking “locally” and “globally” when playing a sequential pattern.
LESSON 2: Finding the hidden Diminished and Augmented Chords in the Chromatic Scale
In this video lesson, I show you how to use the chromatic scale to diminished chords and augmented chords. Although I demonstrate these same chords in different video lessons (playing all of them on piano), this is an alternative approach, designed to help players that find it a real challenge learning the traditional way.
LESSON 3: Exploring Hip Lick #37
In this video lesson, I work with lick #37 from the book “Hip Licks for Saxophone Volume 1.” This is a two-measure C7 lick that uses part of the bebop scale, contrary motion, sequence and a diatonic enclosure.
In this video lesson, I share my technique for this popular special effect tonguing used by Getz, Bird, Pres and many of the top players from the Swing/Bop era. This one is intentionally an “all-ear” lesson, so there are no practice notes on this one.
LESSON 5: Listening Recommendation: Clifford Brown • Max Roach
This amazing 1958 album has so many classics…Daahoud, Joy Spring, Jordu, Parisian Thoroughfare…all on the same album. The beauty and symmetry of Clifford’s playing throughout this album is breathtaking.