1:57 the face of the alt chord resolving!!! Freakin hilarious!
@FrictionFive6 күн бұрын
What a great video, and what a great channel!
@jimmyhay478 күн бұрын
I’ve been using the melodic minor a half step above the root of the dominant for quite a while(through sheer laziness 🤓), but I never thought of just using minor language. This is great. Thanks.
@gilsonamaral48999 күн бұрын
You could also just thinking of it as the tritone of the 2 in a 251. For instance a 251 in C, would be D-|G7, the tritone of that would be Ab-|Db7. So over the G7 you could use either Ab- which is what the video is talking about or you could think of Db7 it ultimately creates the same effect.
@martinmarini984813 күн бұрын
So you're basically reinventing tritone substitution? Playing Ab Dorian on G7 is the same as playing Db7 dominant, hence the subV7
@augustusbetucius293114 күн бұрын
Turn on the lights, wake the ham.
@redsilversquirrel15 күн бұрын
How do you actually get to try different mpcs to find the one that suits you best without lots of (wasted) expense? I have no actual shops near me and online the mpc always seems to be excluded from being returned, obviously for hygiene reasons.
@MAS4JI16 күн бұрын
Awesome lesson. I use this all the time on guitar and think of it as a major scale a flat fifth above the root of the I I'll resolve to or as the major scale a half step below the root of the V I want the altered tones on; same results. It basically gives me the b9,#9,b5,#5 along with the 3 and b7, leaving the "rogue" 7th degree, which is a great chromatic passing tone. I think of it this way because guitarists often think in patterns and it's a very easy way to quickly shift i/o of the altered sounds and I can dip into the altered if I want some triads and arpeggios from that scale. It's also very useful for getting all the outside note when playing over a major "vamp" in fusion, e.g. Amaj7, move i/o of D#/Eb major. Immediate options for something like an Amaj7, there's the A major scale, the D#/Eb major (tritone) and the side-slipping (aka "side-stepping") major a half step up and down from the key. That's a lot of sounds for just one chord. [I use the maj7 chord as an example because it can potentially be the most boring chord to play over for some musicians.]
@tradingwithwill721417 күн бұрын
Amazing video plus editing effort wow.
@capsaxcat17 күн бұрын
Getz au go-go. Might as Well be Spring. Changed my life.
@TheLoraxTaylorsversion18 күн бұрын
This worked, but I’m squeaking on my low notes whenever I play.
@granddaddy_funk18 күн бұрын
Are we talking Dorian, melodic or natural minor? Asking for a friend
@damianlopez-gaston246624 күн бұрын
Excellent delving into Dexter's wonderful playing.
@davidferrara110526 күн бұрын
Altered scale works if you work from the harmonized arps that it contains. It's challenging as a melodic set, I feel. I work with the arps a lot. Your example here is on the naturally occurring ii chord of G altered, which is of course A flat minor. Try B flat minor as well! Or even B flat minor pentatonic and you get all the upper extensions without a bunch of half steps to worry over
@ianhenkel715729 күн бұрын
I have messed with this scale a lot, and it rarely sounds right starting or thinking from the "g" root of the scale (if resolving to C/cm) it sounds GREAT thinking in terms of Am ... I guess its is because of the way it pushes you to think in terms of note choice and then resolution . Could also play D7#11 or think in those terms
@johnhopper1979Ай бұрын
Must say Josh you are a goldmine of understandable jazz info.. cheers from Australia 😁
@spanglitalianlearnitalianАй бұрын
Don't be that guy 😂 Great content, thanks!
@hahabassАй бұрын
Maaaan, you are such a good teacher! Thank you so much for posting this. ❤
@aron.gortmanАй бұрын
You are a handsome man.
@geoffbuss3699Ай бұрын
Thank you, Josh. This video is exactly at the limit of my current appreciation of jazz and saxophone, so perfect timing for me. Looking forward to a bit of a binge on your other ones. Cheers from France.
@avonriver2891Ай бұрын
Hello, I am a Korean senior trying to learn jazz on the alto saxophone. I feel lucky to have seen your KZread video lecture today, Thank you. I will continue to watch the lecture and learn.
@cbredesenАй бұрын
Thank you for this! My daughter is progressing with learning sax and plays bari about 60% of the time. How would you work out the "geometry" to mic a bari?
@KiraPlaysGuitarАй бұрын
I was wondering why I didn't hear Stan Getz' name popping up enough, when discussing favourite sax players. Glad I followed the thought, if only to learn more about this legend (and indeed one of my all-time favourites.)
@zaccelinder3344Ай бұрын
Epic thank you for this!
@alankirkby465Ай бұрын
How about Cannonball Adderley, solo on Miles Davis, Milestones. + Stan Getz, playing on The Peacocks. Anyway, Peace to all.
@ivanbelichenko5521Ай бұрын
How you calculated that exactly 71 percent?
@alexcokeАй бұрын
Theory explains practice. Music is SOUND. Thanks for a nice way of looking at this sound.
@AniketChaturvedi2 ай бұрын
That's a cool looking sax bro, what is it? I am trying to buy a new sax, this looks dope!
@joshwakehamАй бұрын
It's a Joe Lovano Borgani. Best horn I've ever played!
@AniketChaturvediАй бұрын
@@joshwakeham thanks! Love your videos by the way, learning a lot from them!
@ronrobbins27372 ай бұрын
thanks Josh? So what's the deal with the so called "double-diminished" scale others are talking about? seems to be nothing more than an ordinary half-step/whole-step run-of-the-mill diminished scale!
@joshwakeham2 ай бұрын
My understanding is that the double-diminished is just the same notes as the half-step/whole-step diminished. Some people just refer to it as double-diminished because it contains two different diminished 7th arpeggios (e.g. C Eb Gb A, Db E, G Bb) and they prefer to think of it like that as it's a bit easier to think about chord tones/patterns/shapes than when thinking of a whole scale
@ronrobbins27372 ай бұрын
awesome Josh, thanks so much! I just got ripped off buying an online course raving about what I thought was some new altered scale The guy had come up with, and that’s all it was was the usual diminished scale! What a joke.
@joshwakeham2 ай бұрын
Oh man, that's so frustrating! I'm sure the course will still have some useful stuff in it though, so hopefully it wasn't a complete waste of money!
@ronrobbins27372 ай бұрын
@@joshwakeham thanks! the introduction vid looked fine, but the course vids look just thrown together, rehashing the same stuff. Instead it should have been titled maybe "how to use diminished scales for 2-5-1s" and free. LOL
@georgehiggins13202 ай бұрын
I feel like a lot of the best jazz musicians don't pick one way or the other to think about it, but have spent so much time understanding how it works that they have multiple ways to think about it and hence multiple perspectives to approach it from.
@Chilajuana2 ай бұрын
Does Transcribe actually write the notes down below the wave form like at 8:45 or is it a superimposition?
@joshwakeham2 ай бұрын
No, that was me superimposing it
@williamsanborn91952 ай бұрын
I feel like this advice holds true regardless of what (wind) instrument you play. I’m not a saxophonist, but I could tell that when I switched trumpet mouthpieces from the one I got with my trumpet to the one my late grandfather used, my tone drastically changed for the better, and I’d practiced the same amount of time across both. Now I play on Granddad’s. Mouthpiece and all. Gotta keep his spirit alive, even if he’s been gone for 20 years.
@pontiactransam752 ай бұрын
hi, I fully agree with what you say that the mouthpiece is a personal choice and each of us has our own tone, but I must say that the set up is also important because it sometimes helps in a truly remarkable way, the emission of the sound, the dynamics etc.. but it is equally true that it has now unfortunately become a very expensive business
@wckoek2 ай бұрын
I am mostly a tenor player, and comfortable with an Otto Link with 6 opening. I am thinking of dabbling size 7* on alto which has the same opening at 0.09 inch as the tenor 6. Would you think for different tenor or alto instrument it is still a good idea to stick with the same opening you found a sound for?
@joshwakeham2 ай бұрын
I usually don't recommend having the exact same tip opening (e.g. 0.09'') on alto and tenor. The different size of the instrument means that having the same tip opening can end up really skewing things - a 0.105 is relatively standard tenor tip opening, but a giant one on alto. Instead I tend to recommend going for the equivalent size, so if you're using an Otto Link 6 on tenor, an Otto Link 6 on alto (or a mouthpiece with the same tip opening as the alto Otto Link 6) would be a good pick. I hope that helps!
@wckoek2 ай бұрын
Thanks. I'll try with a size 6 first.
@charleschidsey28312 ай бұрын
Just discovered your channel man. Love your tutorials. You earned my sub.
@blueginger85702 ай бұрын
Great stuff !!
@jamesharvey88352 ай бұрын
I think Dex already did that
@dominicellis18672 ай бұрын
You could also play Cdim7 over Cmin because A B C D Eb and F are common. The consonance of a line is directly proportional to the number of common tones with the chord it’s played over.
@gonzaloperezhornos86563 ай бұрын
It seems like you are describing super locrian (seventh mode of the harmonic minor, not superlocrian b7 from melodic minor) thinking in terms of the minor chord one semitone up
@natesargent99963 ай бұрын
I was just working with the chord changes in this one and I can hear them all in your lines. Well done!
@johnnyloungejazz54773 ай бұрын
His Ballads are magnificent
@johnnyloungejazz54773 ай бұрын
Getz and Zoot Sims were as good as anyone that ever played. Scott Hamilton is my Man
@blindcanseemusic3 ай бұрын
Love your tone. Excellent advice
@bryandickerson53653 ай бұрын
Of course Dexter’s thing was SO laid-back he was in another time zone! That “sense of swung quavers” later in the phrase was because of his “ghosting tonguing”. Even 1/8 + appropriate ghosting/accenting = swing like a mofo! Thanks for the excellent vid!
@brzezbrzez3 ай бұрын
use of space/timing/fewer notes but great, unexpected notes occasionally
@BobYourell3 ай бұрын
I think a crucial part is that he strategically catches up with the beat. His on-beat hits punctuate the rhythm, highlighting important moments.
@kellygrant49643 ай бұрын
As with audio equipment. I have spent a lot of time getting my equipment that works for me. In those times sitting and auditioning various things I came across alot of people being taken in by voodoo magic. Things like raise your speaker cable off the floor and it makes a "massive" difference. As well as this gizmo is 10 times as expensive and your old gizmo so it must be alot better. I call it the placebo effect. Chasing the next "best thing" never ends with you coming in first. Just as in saxophone there is the voodoo magic as well. Spend $500 on a ligature and your sound will be amazingly better. Must get that silver plating because that is going to make the difference. Where what you say is right on... the sound really comes from you.
@MichaelAndrews-uy1gl3 ай бұрын
Listen to the tune "Shine" on his West Coast Sessions" album. (1955-1956). His technique is brilliant.
@jimthompson6063 ай бұрын
For a long time I never paid much attention to Stan, but then I came to love his interpretation of Brazilian music and Wow.
Пікірлер
Nice videos. I have lots to practice😂
1:57 the face of the alt chord resolving!!! Freakin hilarious!
What a great video, and what a great channel!
I’ve been using the melodic minor a half step above the root of the dominant for quite a while(through sheer laziness 🤓), but I never thought of just using minor language. This is great. Thanks.
You could also just thinking of it as the tritone of the 2 in a 251. For instance a 251 in C, would be D-|G7, the tritone of that would be Ab-|Db7. So over the G7 you could use either Ab- which is what the video is talking about or you could think of Db7 it ultimately creates the same effect.
So you're basically reinventing tritone substitution? Playing Ab Dorian on G7 is the same as playing Db7 dominant, hence the subV7
Turn on the lights, wake the ham.
How do you actually get to try different mpcs to find the one that suits you best without lots of (wasted) expense? I have no actual shops near me and online the mpc always seems to be excluded from being returned, obviously for hygiene reasons.
Awesome lesson. I use this all the time on guitar and think of it as a major scale a flat fifth above the root of the I I'll resolve to or as the major scale a half step below the root of the V I want the altered tones on; same results. It basically gives me the b9,#9,b5,#5 along with the 3 and b7, leaving the "rogue" 7th degree, which is a great chromatic passing tone. I think of it this way because guitarists often think in patterns and it's a very easy way to quickly shift i/o of the altered sounds and I can dip into the altered if I want some triads and arpeggios from that scale. It's also very useful for getting all the outside note when playing over a major "vamp" in fusion, e.g. Amaj7, move i/o of D#/Eb major. Immediate options for something like an Amaj7, there's the A major scale, the D#/Eb major (tritone) and the side-slipping (aka "side-stepping") major a half step up and down from the key. That's a lot of sounds for just one chord. [I use the maj7 chord as an example because it can potentially be the most boring chord to play over for some musicians.]
Amazing video plus editing effort wow.
Getz au go-go. Might as Well be Spring. Changed my life.
This worked, but I’m squeaking on my low notes whenever I play.
Are we talking Dorian, melodic or natural minor? Asking for a friend
Excellent delving into Dexter's wonderful playing.
Altered scale works if you work from the harmonized arps that it contains. It's challenging as a melodic set, I feel. I work with the arps a lot. Your example here is on the naturally occurring ii chord of G altered, which is of course A flat minor. Try B flat minor as well! Or even B flat minor pentatonic and you get all the upper extensions without a bunch of half steps to worry over
I have messed with this scale a lot, and it rarely sounds right starting or thinking from the "g" root of the scale (if resolving to C/cm) it sounds GREAT thinking in terms of Am ... I guess its is because of the way it pushes you to think in terms of note choice and then resolution . Could also play D7#11 or think in those terms
Must say Josh you are a goldmine of understandable jazz info.. cheers from Australia 😁
Don't be that guy 😂 Great content, thanks!
Maaaan, you are such a good teacher! Thank you so much for posting this. ❤
You are a handsome man.
Thank you, Josh. This video is exactly at the limit of my current appreciation of jazz and saxophone, so perfect timing for me. Looking forward to a bit of a binge on your other ones. Cheers from France.
Hello, I am a Korean senior trying to learn jazz on the alto saxophone. I feel lucky to have seen your KZread video lecture today, Thank you. I will continue to watch the lecture and learn.
Thank you for this! My daughter is progressing with learning sax and plays bari about 60% of the time. How would you work out the "geometry" to mic a bari?
I was wondering why I didn't hear Stan Getz' name popping up enough, when discussing favourite sax players. Glad I followed the thought, if only to learn more about this legend (and indeed one of my all-time favourites.)
Epic thank you for this!
How about Cannonball Adderley, solo on Miles Davis, Milestones. + Stan Getz, playing on The Peacocks. Anyway, Peace to all.
How you calculated that exactly 71 percent?
Theory explains practice. Music is SOUND. Thanks for a nice way of looking at this sound.
That's a cool looking sax bro, what is it? I am trying to buy a new sax, this looks dope!
It's a Joe Lovano Borgani. Best horn I've ever played!
@@joshwakeham thanks! Love your videos by the way, learning a lot from them!
thanks Josh? So what's the deal with the so called "double-diminished" scale others are talking about? seems to be nothing more than an ordinary half-step/whole-step run-of-the-mill diminished scale!
My understanding is that the double-diminished is just the same notes as the half-step/whole-step diminished. Some people just refer to it as double-diminished because it contains two different diminished 7th arpeggios (e.g. C Eb Gb A, Db E, G Bb) and they prefer to think of it like that as it's a bit easier to think about chord tones/patterns/shapes than when thinking of a whole scale
awesome Josh, thanks so much! I just got ripped off buying an online course raving about what I thought was some new altered scale The guy had come up with, and that’s all it was was the usual diminished scale! What a joke.
Oh man, that's so frustrating! I'm sure the course will still have some useful stuff in it though, so hopefully it wasn't a complete waste of money!
@@joshwakeham thanks! the introduction vid looked fine, but the course vids look just thrown together, rehashing the same stuff. Instead it should have been titled maybe "how to use diminished scales for 2-5-1s" and free. LOL
I feel like a lot of the best jazz musicians don't pick one way or the other to think about it, but have spent so much time understanding how it works that they have multiple ways to think about it and hence multiple perspectives to approach it from.
Does Transcribe actually write the notes down below the wave form like at 8:45 or is it a superimposition?
No, that was me superimposing it
I feel like this advice holds true regardless of what (wind) instrument you play. I’m not a saxophonist, but I could tell that when I switched trumpet mouthpieces from the one I got with my trumpet to the one my late grandfather used, my tone drastically changed for the better, and I’d practiced the same amount of time across both. Now I play on Granddad’s. Mouthpiece and all. Gotta keep his spirit alive, even if he’s been gone for 20 years.
hi, I fully agree with what you say that the mouthpiece is a personal choice and each of us has our own tone, but I must say that the set up is also important because it sometimes helps in a truly remarkable way, the emission of the sound, the dynamics etc.. but it is equally true that it has now unfortunately become a very expensive business
I am mostly a tenor player, and comfortable with an Otto Link with 6 opening. I am thinking of dabbling size 7* on alto which has the same opening at 0.09 inch as the tenor 6. Would you think for different tenor or alto instrument it is still a good idea to stick with the same opening you found a sound for?
I usually don't recommend having the exact same tip opening (e.g. 0.09'') on alto and tenor. The different size of the instrument means that having the same tip opening can end up really skewing things - a 0.105 is relatively standard tenor tip opening, but a giant one on alto. Instead I tend to recommend going for the equivalent size, so if you're using an Otto Link 6 on tenor, an Otto Link 6 on alto (or a mouthpiece with the same tip opening as the alto Otto Link 6) would be a good pick. I hope that helps!
Thanks. I'll try with a size 6 first.
Just discovered your channel man. Love your tutorials. You earned my sub.
Great stuff !!
I think Dex already did that
You could also play Cdim7 over Cmin because A B C D Eb and F are common. The consonance of a line is directly proportional to the number of common tones with the chord it’s played over.
It seems like you are describing super locrian (seventh mode of the harmonic minor, not superlocrian b7 from melodic minor) thinking in terms of the minor chord one semitone up
I was just working with the chord changes in this one and I can hear them all in your lines. Well done!
His Ballads are magnificent
Getz and Zoot Sims were as good as anyone that ever played. Scott Hamilton is my Man
Love your tone. Excellent advice
Of course Dexter’s thing was SO laid-back he was in another time zone! That “sense of swung quavers” later in the phrase was because of his “ghosting tonguing”. Even 1/8 + appropriate ghosting/accenting = swing like a mofo! Thanks for the excellent vid!
use of space/timing/fewer notes but great, unexpected notes occasionally
I think a crucial part is that he strategically catches up with the beat. His on-beat hits punctuate the rhythm, highlighting important moments.
As with audio equipment. I have spent a lot of time getting my equipment that works for me. In those times sitting and auditioning various things I came across alot of people being taken in by voodoo magic. Things like raise your speaker cable off the floor and it makes a "massive" difference. As well as this gizmo is 10 times as expensive and your old gizmo so it must be alot better. I call it the placebo effect. Chasing the next "best thing" never ends with you coming in first. Just as in saxophone there is the voodoo magic as well. Spend $500 on a ligature and your sound will be amazingly better. Must get that silver plating because that is going to make the difference. Where what you say is right on... the sound really comes from you.
Listen to the tune "Shine" on his West Coast Sessions" album. (1955-1956). His technique is brilliant.
For a long time I never paid much attention to Stan, but then I came to love his interpretation of Brazilian music and Wow.