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The conclusion if pure gold !

I love the economical way of playing only one altered pentatonic scale over a minor II V I ! It enables you to really play more melodically, as if you were on a modal tune for three measures.

Very useful information ! and very nice and inspired playing too ! Over the B half diminished chord we can also think of the D altered pentatonic scale as the B blues scale without the perfect fifth.

The best video on improvisation I've seen on RUclips. Great teaching!

Great

Guitar player here.... Awesome video! I love how you give an example of playing over the chord with the scale you are just altered. And your playing is so tasteful! It highlights the note that is alerted perfectly. I can use this in my guitar solos to create some splash. Thank you!

This material is well presented and clear, it's a good introduction. In the mid 70s, while playing with Hal Galper, Brecker was fond of going out over 7th cords using a major pentatonic a tritone above the root, it's similar to the minor pentatonic a semitone above, presented here, but includes the b5.

It’s a minor 6 pentatonic.

Cool! Tks for sharing!

Just to be clear, for a dominant 7th chord, you recommend using the altered pentatonic starting on the 5th scale degree. Example: for A7, play the E altered pentatonic. I understand the notes' functionality will be different.

I had a question from a viewer about keys, and why I didn't keep the scale in the same key. The comment has disappeared, but it was a good question, and may be helpful for others, so here's my response: Thanks for the comment. It's important to know the scale in all keys , and in jazz, keys or chords often do change without rhyme or reason, so yes the choice to jump around in key was intentional. Also, if I want to demonstrate how this scale works over different chords, I will have to change either the chord or the key at some point, it's impossible not to. If you watch right before each playing example (pause video if you need to), I show the chord and scale I'm working with (for C, Bb and Eb transpositions) so you can learn it. The whole point is to be able to apply one scale to a variety of chords and keys, not just one key. If you need help practicing the scale, try thinking of the scale in terms of degrees (as I say in the video). If you know all 12 major scales, Start in C major and play 1, 2, b3, 5 6 (C D Eb G A). Then go up a half step and play the same pattern (Db, Eb, E, Ab, Bb)... Then, when you are practicing the scale with specific chords, concern yourself with the function and sound of the chord of the moment. Don't worry about the original key of the scale so much. That will hang you up. For example, with the minor ii V i progression, I'm playing a D altered pentatonic over the Bmin7(b5), but the progression is in A minor, so I'm going to voice lead and phrase with that in mind. You have to think about where you are and where you're going harmonically. The scale will take on a whole new meaning over each new chord. If you DO want to keep the scale only in the key of C, the chords would be (1)Cmin6, (2) F7, (3)12 bar Blues in C, (4) Amin7(b5) (5) Ebmaj7#11 (6) G7alt - Cmin. But, as my former theory teacher used to tell us in class, "you can't graduate in C Major!"

You made my day, now I'll go on my bari and go crazy, thanks for sharing.

Very helpful video. Learnt a bunch from it

Thanks!

Amazing video, Zack!

Good stuff!

as with the voicing and overtones video, you explained this very clearly and have supporting resources. the extra effort you put in researching what you are talking about is really appreciated. thank you.

hi Zack, thank you for the thorough explanations, diagrams, insights, advice, etc. i’ve watched a lot of videos on this topic and yours is by far the best (same with your mouthpiece lesson). the humor is also appreciated, looking forward to more lesson videos like this.

Damn! This is useful, thank you. Gonna try this stuff out.

Beautiful rendition of this amazing Neil Young iconic classic. I really enjoy everything about it.

Super!

i'm moving my tongue like you said, but absolutly no tone change unless i squeeze more on the reed :(

Hello, I'm discovering your channel and I've already become a fan. I'm Brazilian and I don't speak English. In your other videos, you enabled the RUclips translator, but unfortunately, in this video there is no translation of the subtitles in other languages. Was this intentional? Note: I translated my writing using Google Translate. Thank you!

Fun!

Thank for the vidéo, what is your setup please ?

Excellent presentation. Thank you for this in-depth lesson on voicing👏🏽

great video! should one move the larynx like in yawning? Interestingly I saw in your video that when you play an high A your larynx is much lower than when you play lower notes (in the chromatic passage it is apparent). P.S any alto listening recommendations? (I listened to bird's with strings, cannonball, pepper with rythem section. )

Cool

I like the middle D with regular fingering without octave key and with palm D instead.

Great lesson. Thanks

If you can locate it, the SaxFAQ explains this and the mouthpiece exercise in great detail. I was teaching people to do this on the internet in 1994 when some Brits approached me and asked if they could post it in the SaxFAQ. I consented and was persuaded to write it for them. I described using the mouthpiece alone to play a scale starting on about concert A and using voicing to play the notes downward an octave. You can use vowel sounds to remember the positions. Then apply the same movements to the overtone series. Same vowels to remember positions of the tongue. Many people call it the Shooshie Mouthpiece Exercise, but I got the basic idea from Joe Allard, who played a scale on his mouthpiece for the audience at the World Sax Congress in Evanston Illinois in 1979. It affects literally every aspect of playing from double tonguing, circular breathing, altissimo, intonation, timbre, phrasing, and everything else. Glad to see that it’s becoming more widespread now. When I learned it, the reception to it was pretty much to ignore it. Then I began helping people online. ‘After the posting of the SaxFAQ, I got letters from literally thousands of people (email, and a few on paper!) from all around the world, who each said that it was the key that opened up their playing even after years of lessons with teachers who had no concept of this. This is the singular most important technique you can learn on saxophone. All wind instruments use this to some degree, but it’s critical on saxophone, which can be like a kazoo in its flexibility. This controls that kazoo-like mess and turns it into a musical instrument. Thanks for sharing this! I feel vindicated! -- Shooshie www.bobrk.com/saxfaq/2.6.html

What kind of microphone do you use?

Really awesome video! I love this series!

I am happy you covered Hasbrook. I was going to mention it. :-D I would just add that Hasbrook claimed going down a minor third was the way to create a jazz sound.

wow, you might actually have changed my life with that bit about the same embouchure up the scale, with and without aaa-eee, and how it just didn't work without it. thing is I'm an ex-clarinettist so I've been squeezing the reed as I go higher through ingrained force of habit, and it's sending me way sharp. and I've watched TONS of videos that keep imploring me to "stop doing that, just relax your lower jaw/lip, and it'll sound better!", and to use voicing rather than lip pressure for tuning. but none of them seem to have clicked for me because if I don't squeeze, the note doesn't come out. so what I've ended up doing is (1) squeeze to get the note out, (2) it's wildly sharp (3) apply exaggerated 'aaa' shape voicing to try and flatten it back to where it should be. I got really good at blowing ugly sounding notes a semitone or two below what I was fingering, but actually settling into a high note that was both in-tune and 'nice' seemed impossible. finally you explain doing the correct voicing (ee shape) before you even start the note MAKES THE NOTE COME OUT EASIER IN THE FIRST PLACE so you don't need to squeeze, so actually with a 'sharp' voicing I'm now less sharp than I was before because I can finally relax my lip without the note vanishing or squeaking. halllujah. man I've spent the last 2 weeks vainly trying to find the right degree of 'aaa' to get those notes right and it was the complete opposite shape to what I should have been doing, thank god I watched this before I wasted more months ingraining bad habits. wish i could give a superthanks

So thorough on the overtones. I will try it tomorrow!😊

Excellent training. Can’t wait for the next video

Great video thank you so much for putting this together. I'm still trying to figure out how to open/expand my throat as I see most of the pro players do it. I'm probably missing a step here. Thank you.

Best explanation so far. Cant wait for part 2. Hope you post it soon...

lift the tongue a few CENTIMETERS??? My mouth isn't that big. Other than that, I think this is going to help me. I keep pushing for tighter embouchure, especially as I get tired. Concentrating on vowels might get me moving in the right direction.

Thanks professor aloha coach Mundo Hawaii

So far this is the most straightforward video on voicing I've seen. Thank you!

Diggin' everything as I want to start incorporating altissimo. By the way what is on your walls? Are you using whatever you have on your walls to dampen the sound? I need that as much as learning from you in altissimo and voicing. 😂😂😂

Nice

Thank you so much for this WONDERFUL video. You are the first teacher that made sense out of voicing I have witnessed. You took all the fugazy out of sax instruction and provided simple directions that were easy to understand and implement. I wish I saw this thirty years ago, but am happy to see it now, because it was immediately impactful for me. Thank you very much Sir! By the way, your introductory phrase on sax was what instantly struck me as being played by someone I needed to learn from. Thank you Sensei.

I like I like 🎵🎶😎 subbed …

Very good info! Thanks!

Great stuff!

Killer. Me trying to count it. 🤔… 🧮

Very cool 😎 so many fun quotes in Joel’s solo lol y’all sound great 🎶