Some of the lessons and course modules featured at Greg Fishman Jazz Studios

LESSON 1: Rollins & Coltrane Ornaments

In this video lesson, I demonstrate two of my favorite approaches to bebop ornamentation, based on my observations of Rollins and Coltrane and the way that they dress up their lines with ornaments. Intermediate & Advanced level. Includes detailed PDF practice notes for Bb, Eb and C instruments.

LESSON 2: The Jackpot 7-7-7 – Hearing a major scale over a II V I

In this video lesson, I show my technique for harmonically aligning a major scale over a ii V I. This strategic approach provides great clarity and voice leading, giving you all 3’s, 5’s, 7’s or 9’s over a ii V I while simply playing a diatonic scale.

A key factor is setting up your ear to hear the roots of the chords in relation to the starting note of the line. I demonstrate the process throughout the video lesson. Intermediate & Advanced level. Includes detailed PDF practice notes for Bb, Eb, and C instruments.

LESSON 3: Speed Bag – Cool Minor Lick

In this video lesson, I share one of my favorite minor patterns that I used for working up my technique.

This is a short but very effective lick for improving your precision on the keys, as well as improving alignment between your articulation and fingers. ALL LEVELS. Includes detailed PDF practice notes for Bb, Eb and C instruments.

LESSON 4: Greg’s Philosophy of Music: Playing by Theory vs Playing by Ear

In this video lesson, I discuss the difference between playing by theory and playing by ear. I share many examples from my years as a student and later observations from the perspective of a pro player and teacher.

If you’ve been trying to figure out music theory to make up for the possibility that your ear isn’t all that developed, this video will really shed some light on the reason that the theory (as much as I enjoy it) is no substitute for a highly trained ear. I’m not saying that theory isn’t important, but when it comes to playing jazz and improvising, the ear must be first, not the intellect.

LESSON 5: Listening Recommendation: Frank Sinatra: Point of No Return

For me, Frank Sinatra was the greatest singer, ever. He had it all…perfect intonation, diction, dynamics…the way he could tell the story of the lyrics in a way that felt like he was speaking directly to the listener. And, his phrasing…the breath control…astounding.

This album isn’t one of the most popular, like Live at the Sands, or Come Fly With Me (both equally good, but different). This is a mellow, introspective Sinatra, not the ring-a-ding Sinatra. Axel Stordahl’s arrangements are great examples of beautiful, clear, uncluttered orchestration. Like all of Sinatra’s Capital album’s, the engineering is top notch, sounding like it was recorded today.

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.

LESSON 1: Exploring Hip Lick #9

In this video lesson, I explore Hip Lick #9, extending the lick with the same ii / V chords, as well as making the lick resolve to a I maj7 chord. I also demonstrate the effect of starting the lick in four different locations; beats 1,2,3 & 4. In addition, I also demonstrate the lick in 12 keys. Includes detailed PDF practice notes for Bb, Eb & C instruments. INTERMEDIATE LEVEL.

LESSON 2: Major II V I vs. minor II V I – Apples to Apples Comparison

In this video lesson, I’ll give you an “apples-to-apples” comparison of a line played over a major ii / V / I and then that same line, harmonically adapted to fit a minor ii / V / i. If you’ve ever felt unsure about the sound of the minor ii / V / I, this video will put things clearly into focus. Includes detailed PDF practice notes for Bb, Eb and C instruments. INTERMEDIATE LEVEL.

LESSON 3: Bebop line over the bridge of “I Got Rhythm” from Two Voice-leading Lines

In this video lesson, I show you how I constructed a Bebop eighth-note line over the bridge of “I Got Rhythm,” using two voice-leading lines to nail the changes. Next time you’re playing “Oleo,” play this line on the bridge, and you’ll hear how clearly this approach outlines the changes. In the lesson, first I’ll play the eight-measure line for you and then I’ll deconstruct it, going step-by-step through the process I used to construct the line. Some very good and practical information about using the Bebop scale in this lesson, as well. Includes detailed PDF practice notes for Bb, Eb and C instruments. INTERMEDIATE LEVEL.

LESSON 4: Palm Key Hand Position Exercise

In this video lesson, I share my system for fixing years of poor palm key finger positioning. Most intermediate players, or even advanced players with poor left-hand palm key technique, tend to play with flat, straight fingers when it comes to playing the palm keys.

This causes a lack of fluency when switching between the palm keys and the lower range of the horn. In order to achieve fluency of technique, you will need to keep the fingers as curved as possible while pressing the palm keys. This lesson presents a three-step approach to gaining control over the palm keys.

There are no PDF notes with this lesson, as it’s best that you watch the video and imitate the moves on your horn. INTERMEDIATE & ADVANCED LEVEL.

LESSON 5: Listening Recommendation: Stan Getz – Focus

This Stan Getz masterpiece from 1961 is simply like no other record. This was Stan’s own favorite album of all of his many wonderful recordings. It’s a suite of seven pieces with a string orchestra, composed and arranged by the great Eddie Sauter.

Stan’s part is completely improvised, and the freshness and searching quality of his improvisations make this a truly unique classic. It’s not “straight-ahead,” though. Sort of a hybrid between jazz and classical. Highly recommended.

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.

This is a major concept that will help you improve your ear and your ability to memorize songs and musical vocabulary. INTERMEDIATE & ADVANCED LEVEL. Includes PDF practice notes for Bb, Eb and C instruments.

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.

INTERMEDIATE LEVEL. Includes PDF practice notes.

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.

The lesson explores the lick from many different angles, taking the first half of the lick as a stand-alone lick. I also demonstrate how to create lots of rhythmic variations on the lick, as well as how to transpose the lick not only to twelve keys but how to make the first half of the lick in one key, while transposing only the second part of the lick. Whether you’re just starting out, and intermediate player, or a seasoned pro, there’s something in this lesson for all levels.

INTERMEDIATE/ADVANCED LEVEL. Includes detailed PDF practice notes for Bb, Eb and C instruments.

LESSON 4: The “Dooden” Tongue

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.

Be sure and play along with me where indicated in the portion of the lesson where we’ll trade back and forth with the rhythm on the concert G while using the dooden tonguing effect. INTERMEDIATE & ADVANCED LEVEL.

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.

Also, check out the interaction between Max Roach and Clifford. Harold Land also is in great form on this album. One of my favorites.

LESSON 1: Voice Leading 101 – Part 1 of 2
In this two-part video lesson, I take you through the essentials of voice leading, introducing you to the concept from the keyboard, making it very easy for your ear to follow along.

I cover four essential voice-leading moves over a ii / V / I. Incorporating these moves into your playing will make your playing sound smooth and connected. Every pro player uses these moves. I use a special vocal sound patch on the keyboard, which really makes it easy to hear the voice leading lines in the demonstration.

I break the lesson down to that even non-pianists will be able to get the essence of the concept and put it on their horns. Includes PDF practice notes for Bb, Eb and C instruments. Intermediate Level.

LESSON 2: Voice Leading 101 – Part 2 of 2
This video lesson continues where part 1 left off, showing you how to take the individual voice leading lines and combine them to form melodies.

I include strategies to create two-part, three-part and four-part melodies based on the voice leading lines. PDF practice materials include very detailed notes for Bb, Eb and C instruments. Intermediate & Advanced Level.

LESSON 3: Chicago Ave (Satin Doll) – Melodic Embellishment
In this video lesson, I demonstrate the concept of melodic embellishment, using my composition “Chicago Avenue” from “Jazz Phrasing for Saxophone, Volume 1.” This is a medium tempo swing piece based on chords similar to “Satin Doll.” In the lesson, I’ll show you how I embellish the original melody of Chicago Avenue by connecting new notes to the original melody.

I demonstrate approaches using arpeggios, fills and melodic variations as I take you through the piece. This is an essential skill for all improvisers. INTERMEDIATE LEVEL, Includes PDF practice notes for Bb, Eb and C instruments.

LESSON 4: Listening Recommendation: The Hi Lo’s: And All That Jazz
Recorded in 1958, this masterpiece by the Hi-Lo’s is one of my favorite vocal jazz albums. The Hi-Lo’s, comprised of four male vocalists: Clark Burroughs, Gene Puerling, Bob Strasen and Bob Morse.

They were one of the first (and best IMHO) jazz vocal groups to incorporate modern jazz harmony, complete with chord clusters including b9/#9, #11, etc. They had impeccable timing and intonation. This album teams them up with one of my favorite arrangers, the great Mary Paich, with an all-star cast of jazz players including: Jack Sheldon, Mel Lewis, Herb Geller and Bud Shank. Listening to their beautiful harmonizations is a lesson in voice leading and great for ear training. Also, they just have so much fun when they sing, it’s always a pleasant listening experience. Some of their stuff can range from ultra sophisticated to a bit tongue-in-cheek corny, but with a sort of wink….they’re just having fun with all of it. You’ll hear that on the tune “Lady in Red.” This is a long time favorite album for me. I hope that you enjoy it.

LESSON 1: Bebop Scale Highway – Part 1 of 3
Perhaps you’re familiar with the term “Bebop Scale.” The most common form of the scale is to play a descending Mixolydian scale with the addition of a major seventh. This extra note causes a shift in the placement of the notes in the scale, shifting the primary chord tones on the downbeats.

LESSON 2: Bebop Scale Highway – Part 2 of 3
In part 2 of this lesson the Bebop Scale highway, I demonstrate how to combine different exits for the descending or “Southbound” form of the scale. I also introduce four different exits for the ascending or “Northbound” version of the scale. Includes detailed PDF practice notes for Bb, Eb and C instruments. Intermediate and advanced level.

LESSON 3: Bebop Scale Highway – Part 3 of 3
In part three of this lesson, I demonstrate several different ways to practice the scale and the variations as I play along with Aebersold Volume 16 at a slow practice tempo and also at a fast, professional level tempo. Includes detailed PDF practice notes for Bb, Eb and C instruments. Intermediate and advanced level.

LESSON 4: Listening Recommendation: Antonio Carlos Jobim – Wave
Recorded in 1967, this masterpiece by Antonio Carlos Jobim is one of my favorite albums, in no small part because of the incredibly beautiful arranging and orchestrations of the great Claus Ogerman. Jobim, himself is on piano and guitar, and Ron Carter is playing bass.

The album features two of Jobim’s biggest hits — Wave and Triste, two staples in the Brazilian/Jazz repertoire.

LESSON 1: Ogden Avenue (Take the A Train) – Melodic Embellishment
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 a medium tempo swing piece based on chords similar to “Take the A Train.” In the lesson, I’ll show you how I embellish the original melody by connecting ideas with additional notes or sequences. This is an essential skill for all improvisers. INTERMEDIATE LEVEL, Includes PDF notes for Bb, Eb and C instruments.

LESSON 2: Cake, Frosting & Sprinkles – Part 1 of 3 – Lower & Upper Neighboring Tones on Triads
This is part one 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. The upper and lower neighboring tones are an essential part of the musical language.

Once you’ve learned how to apply these concepts, your playing will have a new level of fluency and polish. Includes extensive practice PDF notes for each of the three videos. Includes parts of Bb, Eb and C instruments. INTERMEDIATE & ADVANCED LEVEL.

LESSON 3: Cake, Frosting & Sprinkles – Part 2 of 3 – Lower & Upper Neighboring Tones on Triads
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.

The upper and lower neighboring tones are an essential part of the musical language. Once you’ve learned how to apply these concepts, your playing will have a new level of fluency and polish.

Includes extensive practice PDF notes for each of the three videos. Includes parts of Bb, Eb and C instruments. INTERMEDIATE & ADVANCED LEVEL. Part two focuses specifically on the usage of the upper neighboring tones.

LESSON 4: Cake, Frosting & Sprinkles – Part 3 of 3 – Lower & Upper Neighboring Tones on Triads
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.

The upper and lower neighboring tones are an essential part of the musical language. Once you’ve learned how to apply these concepts, your playing will have a new level of fluency and polish. Includes extensive practice PDF notes for each of the three videos.

Includes parts of Bb, Eb and C instruments. INTERMEDIATE & ADVANCED LEVEL. Part three focuses on combining the lower and upper neighboring tones, how to apply both upper and lower neighboring tones to minor chords, and includes extensive playing examples.

LESSON 5: Listening Recommendation: Count Basie – E=MC2
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.

LESSON 1: The JS Bach Effect

In this video lesson, I explore what I call the “JS Bach” effect. With this effect, Bach turns a basic triad into a melodic masterpiece.

He does this by raising the 3rd of the chord by an octave and changing the note order from 1-3-5 to 1-5-3. This may sound like a simple device, but since it involves some large intervals, it takes a little bit of practice to get comfortable playing it on the saxophone.

I first noticed this great effect when I hear the Bach Cello Suites. This effect is one of my favorites on any instrument, and it really gets your ear to hear the 3rd of any chord very clearly. I demonstrate the JS Bach effect with diatonic triads and also major and minor triads played in the cycle. Includes detailed PDF practice notes for Bb, Eb and C instruments.

LESSON 2: Melodic Embellishment
In this video lesson, I demonstrate the concept of melodic embellishment, using my composition “Milwaukee Avenue” from “Jazz Phrasing for Saxophone, Volume 1.”

This is a medium tempo blues with plenty of space in the melody, similar to a “standard.” In the lesson, I’ll show you how I embellish the original melody by connecting ideas with additional notes or sequences. This is an essential skill for all improvisers. INTERMEDIATE LEVEL, Includes PDF notes for Bb, Eb and C instruments.

LESSON 3: The Dexter Bb Shake
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.

Although many other tenor players also use this expressive device, I still associate it with Dexter. This is a fun lesson and it helps you work on what I call “timbral shading,” which means modifying the timbre of the note. INTERMEDIATE LEVEL.

Includes PDF practice notes. Since this lesson is dependant on this exact fingering to produce the effect, the PDF is only in the tenor key. This effect will work well on alto with the same fingering, as well.

LESSSON 4: Sonny Rollins Style Articulation
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.

The video includes a demonstration comparing the smoother Sonny Stitt approach to this more percussive approach. INTERMEDIATE & ADVANCED LEVEL. Includes PDF for Bb, Eb and C instruments.

LESSON 5: Listening Recommendation: Sonny Rollins Plus 4
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.

LESSON 1: Basic Voice leading for a ii – V – I – PART 1 of 2
In this video lesson, I share some essential voice-leading strategies which will transform your chord arpeggios, making them sound smooth and professional.

f you’re used to just arpeggiating your ii – V – I chords as 1-3-5-7, one after another, this video (in two parts) will take you to the next level! Part one of the lesson deals with major ii V I progressions. INTERMEDIATE LEVEL. Includes detailed PDF practice notes for Bb, Eb and C instruments.

LESSON 2: Basic Voice leading for a ii – V – I – PART 2 of 2
In this video lesson, I share some essential voice-leading strategies which will transform your chord arpeggios, making them sound smooth and professional.

If you’re used to just arpeggiating your ii – V – I chords as 1-3-5-7, one after another, this video (in two parts) will take you to the next level! Part two of the lesson deals with minor ii V I progressions. INTERMEDIATE LEVEL. Includes detailed PDF practice notes for Bb, Eb and C instruments.

LESSON 3: Hip Lick #49
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.

I demonstrate how to use dynamics to liven up the lick and I also play it in 12 keys, descending chromatically. INTERMEDIATE LEVEL. Includes PDF practice notes for Bb, Eb and C instruments.

LESSSON 4: Why Does My Playing Sound so Choppy (and how do I make it Smoother)?
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.

I explore the three main reasons for the “choppy” sound issue and provide effective solutions for this frustrating issue. When I show these techniques to my students, it immediately raises their playing level, and many years of frustration go away very quickly.

While it will take some time and effort to fix the problem, with the tips from this video lesson, you’ll be sounding smoother than you ever thought possible. INTERMEDIATE LEVEL. Includes PDF practice notes for Bb, Eb and C instruments.

LESSON 5: Listening Recommendation: Marcos Valle – Samba 68
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.

Each tune is a masterpiece of melodic construction, performed in a charming, relaxed manner, by the composer himself, singing and playing guitar.

The lush orchestrations are by Deodato. Recorded in 1967 and released in 1968, at the tail-end of the bossa nova craze, this is a rare gem of a record.