Category Archives: Minor

10 Killer Solo Strategies on Funky Modal Grooves

10 Killer Solo Strategies on Funky Modal Grooves
How to keep your one chord solo funky?
How do you play one chord groove and keep it exciting?
In this video I will work with funky solo strategies and build up from simple to advanced.
We will begin with a simple pentatonic scale and go all the way to adding bebop.

LINK TO VIDEO

In this tutorial
10 killer Solo Strategies on Funky Modal Grooves
Play with great timing and rock steady groove
G minor pentatonic scale
Music theory with Albert Einstein 
Build up with Candy Dulfer
Repeating patterns in the pentatonic scale
The Dorian minor scale extension
Triads
4 and 5 note chords
Blues scale and bebop
https://www.patreon.com/posts/55988893

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Video links: 
PENTATONIC SCALES HOW TO PRACTICE AND USE IMMEDIATELY
https://youtu.be/ZRs1W9SJ57o

3 great melodic tools to develop strong melodies
https://youtu.be/F8gWYGhOKUs

10 ways to improve your timing
https://youtu.be/2k3NPy0qSPg

Play Amazing Bebop Lines Like This
https://youtu.be/hkEZhgq75cs

The best thing about the Blues and How to Use It
https://youtu.be/EwyfRuIWgAg

Dennis Chambers – Chameleon
https://youtu.be/WtaKRY8wqhA

Candy Dulfer – Lily was here
https://www.youtube.com/watch?v=3SfSQ3lQmJw

Candy Dulfer – Strasbourg
https://www.youtube.com/watch?v=GNx4EbTu10w

Miles davis – “so what”
https://youtu.be/ylXk1LBvIqU

Funky G minor groove
https://youtu.be/MJIMlr8tI2s

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Lesson tutorials and live online lessons – check my shop:
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Mini keyboard for music notation – https://amzn.to/3sVufcWTenor 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
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4 tips on how to play amazing solos on minor chords

4 tips on how to play amazing solos on minor chords 
In jazz music there are so many tunes where you have long stretches of minor chords on which you should solo.
Just playing a Dm7 tends to get a bit tedious after a while.
Getting more vocabulary playing minor chords is both important for one or two bars and on long stretches of minor chords.
I want to show you how to spice the minor chord up melodically and harmonically with 4 great tips. 

LINK TO VIDEO

In this tutorial
What are the basic theory, chord and scale material of the minor chord?
Minor 6 
Minor 9
Minor major 7
Dominant b9 
Minor chord solo add on manual
Show, play and analyze a short solo on “Softly as in a morning Sunrise”
Get the full transcription of the lesson:
https://www.patreon.com/posts/43289637

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Video links: 
“Add ons for minor chord solos – minor 6, minor 9, minor major, dominant 7(b9)”
Transposed to the common minor keys
Patreon:
https://www.patreon.com/posts/43252315
Shop: https://sorenballegaard.dk/product/add-ons-for-minor-chord-solos-minor-6-minor-9-minor-major-dominant-7b9/

“How to play minor on dominant chords – 3 great minor sounds”
https://youtu.be/ExPAcooKQeI

Get more value from the Youtube lessons by supporting me: 
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Subscribe for more free saxophone videos and lessons: https://www.youtube.com/c/SørenBallegaard

Lesson tutorials and live online lessons – check my shop:
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Contact me for video exchange lessons or live online lessons
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Web-cam: https://amzn.to/3cf71cb
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2x computer monitor – https://amzn.to/3gIclIm
Mini keyboard for music notation – https://amzn.to/3sVufcWTenor 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
Tenor reedshttps://amzn.to/2Qrk8zz
Alto reeds –https://amzn.to/2Pwv8Lu
Soprano reeds – https://amzn.to/3vnHfJS
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How to reach your saxophone practice goals the best and fastest way

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

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Video links: 
“Chord note solo manual – effortless soloing using only chord notes”
Patreon:
https://www.patreon.com/posts/41934321
Shop:
https://sorenballegaard.dk/product/chord-note-solo-manual-effortless-soloing-using-only-chord-notes/

“Jazz improvisation step 2 – from chords to scales”
Patreon:
https://www.patreon.com/posts/42483935
Shop:
https://sorenballegaard.dk/product/jazz-improvisation-step-2-from-chords-to-scales/

Chord note solos – Instantly boost your jazz skills using this method
https://youtu.be/kDRytP4m7jY

This is how to connect the scales to the chords
https://youtu.be/tYckTjHszfU

Blue Bossa solo manual
Patreon: 
https://www.patreon.com/posts/43097272
shop:
https://sorenballegaard.dk/product/full-solo-manual-blue-bossa-basic-melody-chords-and-scale-exercises-and-how-to-for-melodic-soloing-ebbb/

Subscribe for more free saxophone videos and lessons: https://www.youtube.com/c/SørenBallegaard

Lesson tutorials and live online lessons – check my shop:
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Contact me for video exchange lessons or live online lessons
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My setup:
Video camera: https://amzn.to/2S7hrUv
Web-cam: https://amzn.to/3cf71cb
Music notation software – https://amzn.to/3gHW1ag
2x computer monitor – https://amzn.to/3gIclIm
Mini keyboard for music notation – https://amzn.to/3sVufcW
Tenor 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
Tenor reedshttps://amzn.to/2Qrk8zz
Alto reeds –https://amzn.to/2Pwv8Lu
Soprano reeds – https://amzn.to/3vnHfJS
Saxophone strap – https://amzn.to/3sV20Lt
Alto mouthpiece – https://amzn.to/3sZvdF0
Soprano mouthpiece – https://amzn.to/2R6mvI0
Alto Ligature – https://amzn.to/3xvCn7E
Tenor Saxophone Case – https://amzn.to/32SD1xG
Alto Saxophone Case – https://amzn.to/3aIqxgu

Diatonic approach 5 – minor II-V-I – triads

In this video I get around the minor II-V-I in minor and explains how you can use the diatonic triads when you improvise. Eø7 – A7(b9) – Dm6.
I call the Dm6, by this name for this lesson but you can also call the tonic minor chord minor-major Dm(maj7), both are good but refers to the extensions of the chord.

The problem mostly found with the minor II-V-I is that you need three different scales to play diatonic over the progression.

The scale of the Eø7 is basically the Fmajor scale played from the E.
E F G A Bb C D E F

The A7(b9) scale is a D harmonic minor scale played from the A
A Bb C# D E F G A Bb

The scale I use over the Dm6 chord is D melodic minor
D E F G A B C#

I will now go on to the chord tones and focus on the diatonic triads in the chords.

The first exercise is the triads of the Eø7 – A7(b9) and the Dm6 in one exercise going through all the different diatonic triads found in the chords.

Diatonic approach 5 - minor II-V-I - diatonic triads_exercise triads 1

I put a little rest in there to also adress the rhythmical aspect of exercises. To make exercises not only finger technicalities.

The next exercise is an exercise without the breaks in it, this makes it more phisically demanding and also covers more material in shorter time, further it will adress the ability to think longer 8th note lines.

Diatonic approach 5 - minor II-V-I - diatonic triads_exercise triads 2
With these exercises I work with every chord for two bars. Two bars Eø7, two bars A7(b9) and four bars of Dm6. This is an outstretched II-V-I with double the amount of time on each chord. I have chosen to do this to extend the time on each chord.

I recommend that you of course use the above mentioned patterns but definitely also look for your own patterns to get really into the material. One of these methods are finding and developing own musical/technical patterns.

I will go on with som examples of the minor II-V-I which I made consisting of the scale material and the diatonic triads I have explained above.

Diatonic approach 5 - minor II-V-I - diatonic triads_example 1
I start this example going down the Bb major triad ending on a low E going up the Eø7 scale from the G to resolve to the C# on the A7(b9). Going up an inversion of the Bb diminished triad approaching the A with the notes Bb and G, going down the A augmented triad to the low A, resolving to the mid E on the Dm6 chord, which is an approach of the D through the E and the C#. From the D I go up the scale to the F jumping down to an A triad going up to the high A running down the scale and ending on the 9th an E.

Example 2.

Diatonic approach 5 - minor II-V-I - diatonic triads_example2
I start the exercise with two combined triads, the one of Ediminished and the Dminor triad running up to the high G going donw the Ediminished triad in an inversion to the low G going on to the A of the A7(b9), jumipng up an octave to the high A approaching the F with the notes E-G. The F resloves to the E of an A triad going down ending on the low A jumping up to the high F of the Dm6 the third. Through the F, C#, E and the C# again im approaching the D minor triad played in a triplet figure up, continuing the rest of the example in triplets, approaching the A with the notes B and g, ending on C#,the maj7, high E, the 9th and finally ending on the B – the 6th.

Example 3.
Diatonic approach 5 - minor II-V-I - diatonic triads_example3
I go down the Dminor triad, A F D, 11, 9, 7 of the Eø7, approaching with the D and the D the E, root of the Eø7, going down the Eo triad to the low E. Begin on an A of the A7(b9) jumping up to the Bb, flat9, approaching the G through the F and the A, picking up from under the Bb and the C#, b9+3 of the A7(b9), jumoing ip to the A, approaching on the Dm6 the F with the G as approach note. Using from the F, the third degree, the A augmented triad approaching the B, the 6th of the Dm6, with the C# + A, jumping up to the E going down the A triad. Approaching the F on the second bar Dm6 with the G+E, ending on some big jumps, A – E – B to C#.

I really hope you enjoyed the approach and the examples.

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Diatonic approach 4 – Minor II-V-I

This video lesson explains the basic scales and chords used over a minor II-V-I – Am.

The minor II-V-I consists of three different scales, one on each chord of the II, the V and the I.
In this video i work on the Am6 II-V-I, Bø7, E7(b9) and Am6.
_0001-Diatonic approach 4 - minor II-V-I - Bø-E7-Am

On the Bø7 chord the II of the II-V-I I play the Cmajor scale from the 7th degree, B C D E F G A B C,
on the E7(b9) i play A-harmonic minor from the Eof, E F G# A B C D E F,
and on the Dm6 i play D-melodic minor, D E F G A B C# D E.
These scales are maybe the most diatonic scales to the these functions.
Diatonic approach 4 - minor II-V-I_0001 - three different scales

I made a set of exercises which you can practise to get the scales well into your fingers but also into you ears.
the first exercise basically just plays the scale up from each chord over a four bar period.
I repeat the exercise, more times.
Second line of the exercise is playing the same material but descending.
Diatonic approach 4 - minor II-V-I_0001 - scale exercise 1

The next exercise takes the scales from the third degree of each scale and again just plays the scale up.
Second line is playing the scale down.
Diatonic approach 4 - minor II-V-I_0001 - scale exercise 2

The arpeggios, the chord tones or the target notes which I sometimes calls the chord tones is the next matter.
on the Bø7(9) you have notes B D F A C, on the E7(b9) you have the E G# B D F and on the Am6 you have the A C E G# B.
I play the arpeggios till the 9th degree of the chord, because i like the sound of the 9th but also because its one of the most common extensions of the chords.
Diatonic approach 4 - minor II-V-I_0002 - arpeggios

You can make up any exercise you want, i made the following exercise, playing the arpeggios up and down:
Diatonic approach 4 - minor II-V-I_0002 - how to practise arpeggios1
Diatonic approach 4 - minor II-V-I_0002 - how to practise arpeggios2

Try to find exercises that suits you.

I also like to play quarternote lines staying within the chordtones.
Here is an example of how this sounds:
Diatonic approach 4 - minor II-V-I_0002 - quarternote melody - chord tones1

I use only chordtones and the rhythm is quarter notes, so in this case, four notes in the bar.
the tones are: high A B D F on Bø7, E G# B D on the E7(b9), C A C E – G# A C E on the two Am chords,
next system is: B A B D, E B G# D, C A G# A, C G# A.

With this method you get the notes in your fingers and into your ear in a slow and controlled way.
The second quarter note, chord tone exercise:
Diatonic approach 4 - minor II-V-I_0002 - quarternote melody - chord tones2

The notes are: starting on high D B F D, B G# E D, C A G# E, C A G# B.
The lower system: A B D F, E D E B, C E G# E, C B A.

I will now play some examples of II-V-I lines. I only use the material I presented in this video in the examples.

example 1:
Diatonic approach 4 - minor II-V-I_example1

I start on the 7th of the Bø7 going down making an approach through the E and G to the F going down the scale of Bø7. Hitting the B of the E7(b9) i continue down the scale to the G# running up the arpeggio of E7(b9) to the high F semi approaching the C of the Am6 with a E and D from above. On the C of the Am6 i jump down to play the E triad up one octave to the E, running down the scale to end on the B.

Example 2:
Diatonic approach 4 - minor II-V-I_example2

running up the complete arpeggio of Bø7 to the high C and from there going down the scale approaching the F of the E7(b9) through the g and E. From the F i go donw the scale to the G# going up the scale hitting a C on the Am major 9 chord going up the arpeggio to end on a high E making a glissando to the B.

Example 3:
Diatonic approach 4 - minor II-V-I_example3

i start with an approach to the F, via the E and G, going down the scale to the G# of the E7(b9) jumping up to the high F going down the scale to the C jumping again up to a high G# playing up to the high C to play th Caug triad down, followed by the E triad followed by a small tail E B C D.

Thank you for watching.
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