Видео

I use a vandoren a35 on my alto for everything 😊

Having lessons with this guy will give you an anxiety attack..

That's what I was doing before lessons.

Another explanation is you're tritone subbing the entire ii V instead of just the V. Instead of D-7 G7 C, you're playing Ab-7 Db7 C

You should change your name to Josh Wokem as this definitely woke me up!

Mind altering substances required! Apply within!🎶🎶🎷

Space

Mind blown!

Rather than calling it the 7th mode I think it's easier to tell people to play the melodic minor a half a step up from the root of the dominant chord. G7 - Ab melodic minor

Best explanation I've seen on this topic. Thank you

🙄 some things just don't need over complication! This I fear, is one of them

Hi Josh, Here two albums of Stan Getz that are heavy and swing hard: Serenity : ruclips.net/video/qy_mlVmmVsQ/видео.html and Anniversary: ruclips.net/video/P3X3xXgxroE/видео.html , both worth to be listen over and over haha so much language. Cheers

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 RUclips 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!

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!

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?

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?

Just discovered your channel man. Love your tutorials. You earned my sub.

Great stuff !!

I think Dex already did that