The contents includes 15 complete solo transcriptions from YouTube and Instagram. All The Things You Are, Caravan, How High The Moon, Melodic Cell Lines, Recorda Me, Struttin' With Some Barbecue, and There Is No Greater Love. The book is available as both an E-Book ($20) and as a spiral-bound physical copy ($32). All physical copies come with a digital copy, and both versions come with the corresponding audio files. Free shipping to anywhere in the US including Hawaii, Alaska, and Puerto Rico. Is a world-renowned saxophonist and one of the most followed jazz musicians of his generation. He has toured throughout the globe as a soloist and international recording artist, prompting critical acclaim for his musicianship and virtuosity. The New York Daily has headlined Chad as a 'sax phenom' and Downbeat Magazine has commended his 'technical abilities that mask the difficulty of his wondrously intricate lines.'
Books in '***.pdf'. I advise you to use the program to view Foxit Reader, which you can download here: E. Ed Baker - Blues Riffs For Piano (mp3,pdf15mb). Michael Brecker (pdf40mb) Michael. Aug 6, 2018 - I've found that with the blues scale, students tend to view all notes as. I've also included a PDF of a few pentatonic shapes that work great in funk/ rock settings. You don't want to just play licks and regurgitate the solo, but make. Today's transcription is Michael Brecker's solo on 'If You Wanna Boogie.
Chad currently resides in New York, and is on faculty at the San Francisco Conservatory of Music as a visiting artist. This masterclass focused on the blues and improvisation - specifically, using the major pentatonic scale. When it comes to beginning improvisation, I've never been particularly fond of teaching the blues scale, except in certain cases. I've found that with the blues scale, students tend to view all notes as equal instead of understanding how each note actually functions. For this masterclass, I divided notes into three categories: chord tones, passing tones, and altered tones.
Understanding these three note qualities allows students to form more logical and melodic solos instead of just picking a note at random from the blues scale and hoping for the best. Another benefit of this method is that it gets students to focus on playing the changes. I'd like to thank the Patrick Henry band director, Mrs. Peters, for having me, as well as for providing the students with free reeds and swag! So you've transcribed your favorite solo, now what?
You've memorized it. You've written it down. You understand the theory.
How do you turn this newfound knowledge into something you can use? You don't want to just play licks and regurgitate the solo, but make those lines your own and blend them into your vocabulary. To explain this, I'm going to use John Coltrane's solo from Mr. As an example - specifically the first half chorus. This is the version off the Giant Steps album. I'm always looking for ways to stretch out ideas. When I was first starting out with improvisation, I found that on minor or dominant vamps (modal tunes), I would run out of ideas rather quickly.
So I was always on the the lookout for ways to take something simple, like a minor scale, and expand upon it. The opening line Coltrane plays on Mr. Is one of those lines. (short for Mr.
Paul Chambers, the bassist on this recording) is a minor blues. Each chorus is 12 measures long. The line Coltrane plays (see the attached PDF) is just a minor scale with upper and lower neighboring tones. The lower is a half-step below the scale tone, and the upper is a diatonic (within the scale) third above the scale town. Example: The scale tone is D, the lower neighbor is C#, the upper neighbor is F. Now, I could just play the first three measures of Coltrane's solo verbatim in my improvisation, but that wouldn't be very creative. So what I've done is expanded upon this idea and turned it into an exercise.
In the example I've used the D harmonic minor scale. I could have used any minor scale, but my ear likes the flat 6 and major seventh sound. I've written the line out in multiple keys. Try to play it in every key; write it out if you need to. Writing the exercise out in every key is OK if you're just starting out, but I highly recommend working these lines out in your head as soon as you're capable. I had a great time at the Navy's saxophone symposium at George Mason University this past weekend. Lots of astounding performances given by jazz and classical artists alike.
The jazz guest artist this year was Mark Turner. Mark Turner is considered by many as one of the most influential living saxophonists around. Prior to his evening performance with the premiere Navy jazz ensemble, the Commodores, Mark presented a masterclass where he fielded questions from the audience. One question - or request, rather - was for Mark to play an example of building upon a idea in a stream of consciousness type of playing.
(No pressure, Mark.) He didn't disappoint, and what followed was ten minutes of improvisation at the highest level. Be on the lookout for more posts regarding Mark's masterclass. One of the most common questions I see is, 'what's the best way to transcribe?' Short answer: There is no best way.
Far too often we get so caught up in the How that we never actually get to the Doing. My advice is to just do it. Get out there and transcribe. No matter how you go about, you will benefit. As far as the benefits, there are many depending on how you go about transcribing (improved sight-reading, better intonation and tone, better technique, expanded vocabulary.) When I first started transcribing, I wrote everything down as soon an I learned it. I would regularly go back and read through what I wrote. My tone and intonation improved, and some language sunk in, but not as much as if I had memorized the piece.
An unexpected benefit was that my ability to sight-read increased dramatically! This came from writing it down. My current approach is to memorize the piece, and write it down afterwards (oftentimes from memory and without a horn). I feel this is the 'best' way (for me, at least). I still receive the same benefits as before, but now I'm really letting the language sink in to my subconscious. No matter how you go about transcribing, it doesn't really matter, just as long as you are doing it.
Transcription books are great, particularly for those who have transcribed and listened a lot on their own, but they are no substitute for actually doing the work yourself. As for programs to help with the transcription process, I have used the and. Both are great. There are some who advocate that you shouldn't slow down the music, but try to learn it at tempo. Developing this ability can really help you out on the bandstand when you have to learn a tune by ear on the fly. I always try to do this first, but more often than not I end up slowing the music down a little. Hey everybody!
By request, here is Joel Frahm's solo over Cherokee from 's YouTube video. If you don't know Joel Frahm, you need to check him immediately. So much language! I keep his duo album Don't Explain with Brad Mehldau on regular rotation. I also recommend Sorry, No Decaf and vocalist Cyrille Aimee's Live at Smalls album, where he appears as a sideman with Roy Hargrove.
Also, be sure to check out Matt Marantz. Killin saxophone and EWI player!
This transcription was a little tricky to notate. I have a lot of mixed meter in there to break up the phrases into shapes I recognize.
This is really just for my understanding. I placed chord changes throughout to help you follow along. Click image to access the full file.