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
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 #1
Exploring Hip Lick #1
Exploring Hip Lick #2
Exploring Hip Lick #2
Exploring Hip Lick #3
Exploring Hip Lick #3
Exploring Hip Lick #4
Exploring Hip Lick #4
Exploring Hip Lick #5
Exploring Hip Lick #5
Exploring Hip Lick #7
Exploring Hip Lick #7
Exploring Hip Lick #11
Exploring Hip Lick #11
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
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 #1
Exploring Hip Lick #1
Exploring Hip Lick #2
Exploring Hip Lick #2
Exploring Hip Lick #3
Exploring Hip Lick #3
Exploring Hip Lick #4
Exploring Hip Lick #4
Exploring Hip Lick #5
Exploring Hip Lick #5
Exploring Hip Lick #7
Exploring Hip Lick #7
Exploring Hip Lick #11
Exploring Hip Lick #11
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 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 10
In this video, we’ll explore a simple technique for creating variations on Hip Lick #1. This is part of a concept that I call “High Mileage.” High Mileage means that you have the ability to create many variations on any lick or pattern. This is a very important skill for any improvisor, and one of the major differences between the aspiring player and the professional…the pro can easily create variations on a theme, while the aspiring player just keeps repeating the same exact lick. INTERMEDIATE & ADVANCED LEVEL.
In this video, I demonstrate a technique with I developed in my own practice sessions. I call it the “Speed Bag,” named for the small punching bag that boxers use to train for speed. I found that a continuous motion of notes gave me improved fluency of technique and increased speed ability. In this video, I use Hip Lick #1 to demonstrate the concept, but you can use this technique with any lick, prase or pattern. Watch this video to see one of the ways that I work on my high-speed chops. ADVANCED LEVEL.
In this video lesson, I play the piano to accompany your practicing the minor 7b5 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 diminished 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 “Db” as different degrees of major scales. This note is a bit of a challenge, because it will sometimes be necessary to respell the scale to fit the note. For example, The key of Bb has “D” for the third note. So, that means that Bbb would have a “Db” for the third note. The problem is, that’s a “hypothetical” scale…it doesn’t really exist, because we can’t have double flats in the major scale system. So, it becomes necessary to respell the “Db” as a “C#,” which would give you that pitch acting as the third note in an A major scale. This can be confusing at first, but if you familiarize yourself with enharmonic spellings, it will get easier and easier for you to hear and place the Db (C#) as any degree of a major scale.
Module 23
This video lesson starts with a demonstration of the lick played in several keys, followed by a step-by-step approach showing you how to create the lick.
In this video lesson, I explore the traditional way the modes are taught and then demonstrate my system of playing all of the modes “sandwiched” between a low and high C.
In this video lesson, I share an approach to working with the metronome in which the metronome is an active, rhythmic part of the solo. I have the metronome clicking on 2 & 4, and I make up a solo based on the chords of “Take the A Train.”
In this video lesson, I show you my technique for hearing the metronome on beats two and four.
In this video lesson, I discuss one of my favorite Dexter Gordon albums.
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 21
In this video lesson, I share my unique system for learning the cycle by combining two whole-tone scales. While I’ve shared this concept of using these scales in a previous video, I’ve had many requests to demonstrate my “shuffled cards” analogy on camera.
Speedbag with Major 2nds
In this video lesson, I work with page 23 from my book, “Intervals in Action,” to show you how I use the “speedbag” technique with Major 2nd intervals to increase and improve the speed, accuracy and control of my technique on the saxophone. INTERMEDIATE & ADVANCED LEVEL. Includes a PDF of the page from the book that was used in the video.
In this video lesson, I demonstrate many different practice strategies for working with Section 1 of the book “Intervals in Action.” Topics covered include: Creating new rhythms, playing the intervals in a 5/4 time, playing in retrograde (backwards), playing in tritone pairs, and more! Includes a PDF of the full page used in the video lesson. INTERMEDIATE & ADVANCED.
In this video lesson, I’ll show you how to work with Hip Lick #5 from my book, Hip Licks for Saxophone, Volume 1.
In this video lesson, I discuss some of my favorite elements of these two amazing player’s styles.
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 24
In this video lesson, we work with Hip Lick #11. This is an extremely useful lick. It’s just six notes, and it fits a Dmi7 chord, a G7 chord, or both chords, with the first four notes of the lick over the Dmi7 and the final two notes over the G7 chord.
In this video lesson, I take you through the seven note tape measure® scales in all four directions, played in the cycle. There are some very interesting note groupings on this one, with some shifting accents as you change keys.
In this video lesson, we’ll explore 34 different harmonizations of a perfect 5th interval.
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.
In this video, I play the chord arpeggios, followed by the perfect fifth interval of C to G on the tenor. A transcription of this performance is included as a PDF with this lesson.
This is the piano accompaniment video for all Bb Instruments. The piano will play all of the chords from page 69 of “Intervals in Action.” Play the notes C to G and notice the unique sound of the interval over each of the thirty-four chords.
This is the piano accompaniment video for all Eb Instruments. The piano will play all of the chords from page 69 of “Intervals in Action.” Play the notes C to G and notice the unique sound of the interval over each of the thirty-four chords.
This is the piano accompaniment video for all Concert C Instruments. The piano will play all of the chords from page 69 of “Intervals in Action.” Play the notes C to G and notice the unique sound of the interval over each of the thirty-four chords.
In this video, I discuss one of my all-time favorite Sonny Stitt albums, Personal Appearance, recorded in 1957.