Transposing music into different keys is such a big part of music. The keys are like different colours and give each a completely different impression. Learn to transpose the easy way. Taking you through the steps of really easy transposing in different major scales
In this tutorial 00:00 Gain Incredible Flexibility By Easy Transposing 00:24 12 keys 01:04 Step one – learn the melody 01:31 What key is it? 01:56 Analyse the melody 02:28 Scale in numbers 03:07 Start transposing 04:47 Do you like my videos – support me on Patreon https://www.patreon.com/posts/60019499
My setup: saxophone: Selmer MKVI 82xxx Mouthpiece is an old Otto Link Babbit – refaced from opening 6 to opening 8/8,5 Alto – The Martin Alto Soprano – Yanagisawa Elimona
10 Major7 Jazz Chord Licks That Work Major chords should be easy to play, but don’t make them dull and uninteresting. Coming up with good ideas on your major chords is sometimes a challenge. You should be able to approach this from many different angles. Here is how you can add more jazz line options to your major 7 chords.
In this tutorial 00:00 10 jazz solo ideas on major chords 00:45 Don’t play the root 02:08 Licks from the root 03:01 Dexter Gordon major7 lick 04:25 Become versatile – Chord lick exercise 06:23 Hitting the 5th, adding Charlie Parker 07:53 The magical 6th degree 08:35 The 7th as a target note 09:57 Do you like my videos – support me on Patreon https://www.patreon.com/posts/59747509
My setup: saxophone: Selmer MKVI 82xxx Mouthpiece is an old Otto Link Babbit – refaced from opening 6 to opening 8/8,5 Alto – The Martin Alto Soprano – Yanagisawa Elimona
The 8 most important chord patterns You need to know your chords. With the chords you also need to know how to play these. The more ways you can play a certain group of notes the more flexibility you have. Here are 8 of the most used and played chord patterns in jazz and how to use them.
Why is it important to learn chord patterns? What is a chord pattern? Chord pattern number 1 + example on how to practise. Chord pattern number 2 + example on how to practise. Chord pattern number 3 + example on how to practise. Chord pattern number 4 + example on how to practise. Chord pattern number 5 + example on how to practise. Chord pattern number 6 + example on how to practise. Chord pattern number 7 + example on how to practise. Chord pattern number 8 + example on how to practise. Show, play and analyse short a solo on “There will never be another you” using chord patterns Get the full transcription of the lesson: https://www.patreon.com/posts/41196433
In this tutorial Why is it important to play a beautiful melody? What is a beautiful melody? What do you need to know? Repetition is great Question / answer Can you sing it? Show, play and analyse a short solo on “There will never be another you ” using melodic playing. Get the full transcription of the lesson: https://www.patreon.com/posts/41483990
Chord note solos – Instantly boost your jazz skills using this method Playing chord note solos really improves your overview of any tune. You learn the sound of the tune and the functions of the chords. Playing chord note solos should be in your basic jazz skill set. And you really need to get your basic skills down to be able to use them well. Your basic skills start with knowing the chord notes and how to play solos using these. Boost your jazz skills – practise your chord note solos – play strong rhythmic melodies
In this tutorial Why are the chord notes more important than the scales? What chord notes can I use to play a solo? Play 100 guide tone lines USE RHYTHM!!! Improvise – guide tone line + more chord notes Spice it up – quarter notes and eight notes Add even more chord notes Show, play and analyse a short solo on “Take the A-train” using chord notes and guide tone lines Get the full transcription of the lesson: https://www.patreon.com/posts/41967448
This is how to connect the scales to the chords Getting from playing rather simple chord note solos using a couple of chord notes to using scales and playing longer lines within the scales is a thing. Chord scale relationships are one of the fundamentals in playing jazz. You have to know this when playing jazz. Connecting the scales to the chords is the way to develop your solos.
In this tutorial Why is chord scale relationship important? What is chord scale relationship? Which scales fit where? Chopping up scales into bite sized chunks Chopping up more scales – bigger chunks Less chopping Show, play and analyse a short solo on “Autumn Leaves” – using chopped up scales Get the full transcription of the lesson: https://www.patreon.com/posts/42519488
Using the 9th in your playing is a great asset to control. The 9th gives you more target notes in the chord and makes the sound of the chord much more exciting. Exchanging the root for the 9th gives you this great open sound waiting for more. A very nice option in your improvisations.
In this video I take you through how to add the 9th to the chords and your playing.
In this tutorial What is the 9th? Passing note or extension The 9th on chords The 9th in scales 12 jazz licks using the 9th Get the full transcription of the lesson: https://www.patreon.com/posts/48038183
It is very important to learn the best way you can learn. It is not important if you use much time or less time to practice.
The time spent is not important – only your inspiration, motivation and your progress. A structured, but flexible learning path is the fastest way to learn.
In this video I will take you through the three pillars of fast learning – Technique, creativity and performance.
In this tutorial Why do you need three steps of learning What is the three pillars of fast learning Technique Creativity Performance How to practice using the three pillars of fast learning Basic chords More on practice ideas and inspiration Get the full transcription of the lesson: https://www.patreon.com/posts/50253686
This is how to construct great II-V-I lines with simple scales and chords You are probably already practicing your technique. Scales and chords, what teachers and saxophone players say is important.
But are you using the material to play solos and be creative with music?
In this video I will take you through how to construct great II-V-I lines with your basic technical exercises which you probably already know.
In this tutorial What are the basics? Triads, 7th chords, 9 chords, scales What is a basic II-V-I line Start, continue and end Three examples on how to construct great easy II-V-I lines More on constructing jazz lines Get the full transcription of the lesson: https://www.patreon.com/posts/50864899
In this video I give some exercises and examples in how to improvise over a minor II-V-I using the diatonic 7th chords.
I will focus on the minor II-V-I of Dm – Eø7-A7(b9)-Dm6(maj7).
In this progression ill talk about the 7th chords and how to use these in an improvisation.
The scales that i use are:
On Eø7 i play the F-major scale from the E on: E F G A Bb C D E F – E locrian scale
on the A7(b9) I play the Dm harmonisch toonladder from the A on: A Bb C# D E F G A Bb
i use the scale of Dminor melodic on the Dm6(maj7): D E F G A B C# D E
I play the Eø7 till the 11 – E G Bb D F A
The A7(b9) – A C# E G Bb
Dm6(maj7) D F A C# E
On each chord of the D minor II-V-I i have different 7th chords.
I can find these if i staple 7th chords up from the root/third and/or the fifth.
I start with the Eø7.
I play the Eø7 all the way to the 11 – Eø11 – E G Bb D F A
The following 7th chords can be extracted
Eø7 – E G Bb D
Gm7 – G Bb D F
Bbmaj7 – Bb D F A
On the A7(b9) we find:
on the root: A7 – A C# E G
on the third: C#o – C# E G Bb
The Dm6(maj7)
root Dm6 – D F A B
root Dm(maj7) – D F A C#
third Fmaj7(aug) F A C# E
I played the chords loosly, rubato like without time to be able to listen to the sound of the notes and get the finger combination into my fingers.
Ill get on with an exercise
This exercise is played over the chord progression Eø7 – A7(b9) – Dm6
Playing the 7th-chords going up from the root.
The second line of the exercise i play the 7th-chords from the 7th degree gooing back to the root.
These two ways of playing the chords are something you will often play in a solo and often hear in the solos played by other players.
The next exercise.
I now play the 7th-chords from the third going up and from the 9th, of the original chord, going down. The chords i play here you can see written out simply in the earlier examples here above.
The two last chords when im playing the progression down i play in a different inversion because I liked the sound better of these ones than the ones that matching the rest of the exercise. To work more with this try to play different inversions of the chords and see what you like the best.
This exercise takes you through some of the other chords i presented earlier. the exercise begins on the 5th degree of the Eø11 and then goes on with other possibilities as mentioned above.
In all the exercises above i begin the exercise on the second beat of the bar, just to get used to the sound of this. This will get into your ear and you will eventually also be able to start lines on the second beat the bar in your solo. The rhythm is the most essential of your solo so make sure when you practise that you always have a rhythmical aspect in your exercises. Most people use a lot of time exercising so why not exercise more things in one go!
This exercise works with a continous 8th note line so practising the timing of this and takes you through more arpeggios going up. Root till 7 and 7 till 9 – going up
What i repeat a couple of times in the video, which is also important in your soloing, what goes up can also come down.
Again a continous 8th note line but this one works with the chords decending.
I play the chords acsending from the 3rd to the 9 and from the 9th to the 11th with some minor changes in the chords. Look out!
The same exercise as above but this time playing the chords descending.
I have made some II-V-I examples by using the above mentioned material, the diatonic 7th chords.
Oc course i also use the scales and approach notes mentioned in earlier videos.
Here is the first example:
I begin by sourrounding the Bb, the 5th of the Eø7, with A and C then running up the Bbmaj7 chord up to the A running down the scale to the D on the A7(b9). The first two beats of the A7(b9) i keep playing the Eø7 resloving to the E of the A7(b9) on beat three, going down the C#o chord of the A7(b9). Resolving to the A of the Dm7 going up an inversion of the Dm6(add9) and on beat three running up the Dm6 ending on the last bar on the D going to the high E surrounding the B with the C# and the A.
I begin this example on the root of th Eø7 going up the scale, surrounding the F with the G and E running down the Gm7 chord, 3rd degree 7th chords of the Eø7. On the A7 i play a standard bebop line A G# G going down to the E, jumoing up to the root arpeggio A7 running up to the Bb in the Dm6 bar staying on the A7(b9) for two beats running down the augmented A triad A F C# to resolve to the 9th of the Dm(maj7) going down the arpeggio E C# A F ending on the second bar of Dm6 descending from the B of the Dm6 to the E.
The first arpeggio in this line is the Gminor triad, see my video on diatonic triads, ending in a standard jazz line playing the maj7 and the minor 7 of the Gminor chord. Jumping down to play the G running up the Gm7 chord over the barline to the A7 resolving to the A7(b9) on beat two ascending the scale of A7 to the C# playing down the C#o arpeggio. Resloving on the Dm to the F going up the Dm6(maj9) chord mixing the B (6), C#(maj7) and the E(9). Ending high on the A going down the chord again and on the last bar of Dm6 i go down the F9aug from the E, down to the F jumping to end on the 6th, B.
I really hope you enjoyed my exercises and examples.
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