Hip Lick #73
1 Lick in 12 Keys vs. 12 Licks in 1 Key
1 Lick in 12 Keys vs. 12 Licks in 1 Key
Embracing the 4th of the chord
Embracing the 4th of the chord
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
Phil Woods Turnaround Lick
Phil Woods Turnaround Lick
Sonny Stitt Triplets
Sonny Stitt Triplets
The Chromatic Triplet Trick
Chromatic Triplet Trick
The “Dooden” Tongue
The “Dooden” Tongue
Hip Lick #73
Hip Lick #73
1 Lick in 12 Keys vs. 12 Licks in 1 Key
1 Lick in 12 Keys vs. 12 Licks in 1 Key
Embracing the 4th of the chord
Embracing the 4th of the chord
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
Phil Woods Turnaround Lick
Phil Woods Turnaround Lick
Sonny Stitt Triplets
Sonny Stitt Triplets
The Chromatic Triplet Trick
Chromatic Triplet Trick
The “Dooden” Tongue
The “Dooden” Tongue
Module 46
LESSON 1: Introduction to Major Seventh Chord Inversions
In this video lesson, I share my technique for hearing all inversions of a major seventh chord.
I explain why this unique approach helps the ear to hear the differences between the intervallic structures of root position, first inversion, second inversion and third inversions of the major seventh chord.
Includes PDF practice notes for Bb, Eb and C instruments.
LESSON 2: Major Seventh Chord Inversions Echo Game
In this video lesson, I play the major seventh chords in all inversions with what I call the “bottom margin” of my “C” on tenor: C-E-G-B (Cmaj7), C Eb G Ab (Abmaj7), C E F A (Fmaj7), and C Db F Ab (Dbmaj7), followed by the remaining eleven notes in the cycle acting as the “bottom margin notes.”
Playing the inversions in this manner really highlights the interval structure 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.
LESSON 3: Hip Lick #73
In this video lesson, I explore Hip Lick #73 and demonstrate how I adapt the lick to change it from a Bossa Nova style lick into a Swing style lick, with extra notes and less syncopation.
Hip Lick #73 is based on a popular chord progression known as “Parallel Major to Minor.” This means that the chord changes from Cmaj7 to Cmi7. Many of the old standard songs, including Green Dolphin Street, I’ll Remember April, How High The Moon, I’m Glad there Is You, etc., use this chord progression.
The video concludes with and ECHO GAME of the lick in all twelve keys, played in the cycle. Includes PDF practice notes for Bb, Eb and C instruments. Intermediate Level.
LESSON 4: Echo Game with Random Chord Types
I’ve had many member requests for a video in which I play the “big five” chords in the cycle, but randomize the chord types instead of just playing them in a preset order.
In this video lesson, the first half is designed for intermediate players and I reveal each chord type after I leave space for you to echo the chord arpeggio that I have played. The second part of the video is slightly more challenging.
I randomize the chords again through the cycle, but this time I don’t reveal the type played. The final part of this echo game is for more advanced players, with the randomized chords descending from the seventh.
This is an excellent way to improve your ear and your ability to focus on the unique sound of the “big five” chord types: maj7, dominant 7, minor 7, half-diminished and diminished chords. Intermediate & Advanced level.
Module 12
Two Great Approaches to Fluency in All Keys – In this video lesson, I’ll share a practice concept which has been great for the development of my playing fluently in all twelve keys. Many are familiar with what I call the “1 in 12 approach.” With this approach to practicing in twelve keys, you take one lick, pattern or song, and play it in 12 keys. However, the “12 in 1 approach” is the reverse…You take twelve different licks and put them all into just one key. This gives you a LOT of material under your fingers in one particular key, and it really improves your hearing in a particular key center. Both approaches are vital, but this 12 in 1 approach is new for most players. Give it a try! I’ve included PDF’s with the 12 in 1 approach for all keys for the first 12 licks of Hip Licks. However, do try them by ear for the best results! INTERMEDIATE & ADVANCED LEVEL.
In this video lesson, I’ll show you how to apply the diminished scale over the V7 chord in a ii-7/V7/Imaj7. This is a great video to watch if you’ve always wondered just how to implement the diminished scale in a moving phrase. First, I’ll play the idea diatonically, using just the notes of the major key. Next, I’ll explain and demonstrate, how to use the notes of the diminished scale in the phrase. In this video, I teach the lesson while playing the examples on the VIBRAPHONE. The vibraphone is great for this type of training, because it’s visual, making it easy to see what I’m doing as I give harmonic analysis. The vibes are also great for working on your saxophone intonation. When you play along with the vibes in the video, you can easily hear if you’re out of tune, because the sound of the vibes is such a pure tone. In addition, the vibes, allow you to hear multiple notes at once, which is great for hearing in harmonic context. PDF NOTES include transposed examples for all C, Bb and Eb instruments. INTERMEDIATE & ADVANCED LEVEL.
In this video lesson, I explore four different fingerings for middle Eb on the saxophone. The old-school players like Dexter, Stitt, Getz, Coltrane, Etc., liked to customize the timbre of their notes. Developing the ability to customize the weight and timbre of your notes will add a pro-level touch of detail to everything you play. If you’re not taking advantage of these four middle Eb options every time you play your horn, you’ve been missing out. Join in the fun with these cool sounds! INTERMEDIATE LEVEL.
In this video lesson, I’ll show you how to apply the major 7th interval to one of my favorite harmonic settings, using the notes of the interval as the 3rd and #9th on a dominant seventh chord. While this is not technically difficult to play, harmonically speaking, for some players, it will take the ear a little bit of time to get used to the sound. In the video, I demonstrate the sound several different ways, so that it’s easy for your ear to hear the interval in this new setting. I first heard Sonny Stitt use this sound when I was learning to play, and have used it ever since. This sound will add a very nice harmonic edge to your playing. 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 “B” 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 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.
Module 27
In this video lesson, you’ll observe me working with my Skype student Ritchie Graham (in Scotland). Over the years, many students have struggled with this double-time passage that I composed for my etude “Ravenswood Avenue.”
LESSON 2: Confirmation Changes / Hyde Park Blvd w/Aebersold
In this video lesson, I’ll show you how to nail the changes on Confirmation through good voice-leading, demonstrated in my contrafact for Confirmation, titled “Hyde Park Boulevard.”
In this video, I read the first chapter of my book, “The Lobster Theory.” This chapter is called “Lifting Weights,” and it’s about the importance of practicing each day.
In this video lesson, I’ll show you a very cool Sonny Stitt triplet pattern that works great over a ii mi7 / V7 progression.
In this video, I discuss one of my all-time favorite albums, guitarist Wes Montgomery’s 1966 Verve album, “Tequila.”
Module 26
In this four-part lesson, I’ll show you my process for transcribing solos. This lesson is really dense and packed with tips and techniques for transcribing. For the demonstration of how to transcribe, I’ve selected the first chorus of a Sonny Stitt blues called “Down With It.”
In the old days, none of this technology existed, and I would transcribe from a cassette player, and then directly from a CD player (which still actually works pretty well). The main thing to remember is to be very patient while transcribing and to have lots of patience with yourself and with the process.
In this video lesson, I’ll show you a very cool and useful pattern based on a triplet rhythm, using the chromatic scale. This pattern works incredibly well to nail the changes of a minor ii / V / i chord progression.
In this video, I discuss one of my all-time favorite albums, the Kenny Burrell & John Coltrane album on the Prestige label. The album features lots of catchy bebop-oriented tunes plus one ballad with Coltrane duet with Kenny Burrell on guitar. Great album!
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.