Sheet music included for all Jazz Gym Coaching Sessions! Book a session with the 7 Day Free Trial: www.jazzlessonvideos.com/thejazzgym Sign up for the waitlist to study with Chad through the Chad LB Text Lessons Studio! www.jazzlessonvideos.com/text-lessons Use $5 coupon code “CLB5” for $5 off practice materials at www.jazzlessonvideos.com/pdf-packages Chad LB plays Nexus Saxophones, Mouthpieces and Reeds. For more information upon release, visit www.nexussax.com
I had a breakthrough in my practicing recently. A friend and I have been doing something similar to your jazz gym. Every day we first decide what each of us will practice, each picking a few different things, then set a timer for 1 hour and go into 2 practice rooms and shed intensely. Having the limited time aswell as the other person also doing it makes sure that you really use the time efficiently. Before this I usually got distracted by my phone and ended up wasting so much time, and have generally been inconsistent about daily practice, but with this I have been laser focused every day. We also sometimes do it multiple times per day when we have the time. Highly recommend!
@@mfc0511 I tend to have things that I practice that take many sessions to complete, for example, I might do some scale exercise slowly and methodically building up speed, doing one new key every day, aswell as making sure the previous ones are good. That will take me 12 days until I need to find some other scale exercise. I might be taking one of Chad's approach note etudes and taking it through every key (first memorising it in one, then never looking at it again as I take it in different keys). I might do one additional key every 2, or 3 days, as I first do some chord tones exercise in the key I'm currently working on, and take multiple days to perfect playing it in that key. So this could last me a month. So really, it's only once in a while that I really have to find something new to practice. Currently I'm doing altered scale exercise, and therefore I'm also taking altered phrases through the keys. And tbh, one hour is a short amount of time, so I often spend most of the time on one thing and a bit of something else at the end (not counting that I always begin with some tone exercises, long tones all over the register with overtones).
Trust the process. Not long ago I came to this understanding, don't worry about the application just get it. Music is a language, learn it as one, you can't speak fluently without knowing a ton of vocabulary. At first you can't focus so much on how to use every word that you are learning, just learn the word-pronunciation, enunciation, spelling etc. Learning a foreign language has been teaching me a whole lot about the language of music. Great stuff Teach!
Hey Chad! Thanks so much for your video! I was just wondering how we could take these enclosures to different types of chords like dominant and minor instead of major sevenths. If these exercises apply to all of those chord types, how does it do so? Thank you so much!
Quick question about the exercise at 7:45. Why do you change the pattern on the last one? Is it just to keep that last jump up still a perfect 5th? You could also jump up a tritone from F to B then you could keep the pattern consistent. It won't sound very dissonant since B is still diatonic to the scale, plus it's on an off beat
It must be something I'm not understanding about Chad's "approach note pattern" to diatonic scales. I can ALWAYS find a note a half-step below the "target" note of the next tone in a scale - sometimes the approach tone is in the scale, sometimes not. What am I missing, please? Should the approach tone NOT be diatonic to the scale? Why?
When you make an enclosure that first goes below and then above the target (and not the other way around) you usually never make the second note chromatic if the first is chromatic. It just kind of sounds weird.
Can anyone clarify why at 9:39 "Enclosure On A Blues" the rule of "2 above, 1 below" changes on the diminished and 7b9 chords. These enclosures start on the b3 to b9 then half step below. Is it because the b9 in the chord scales associated with the chords? Diminished also have whole/half scales, so this throws me off, though the sound makes sense. Thank you.
It's because of the scale choice. If it's acting as a dominant 7b9 you'll hit the b9 (semitone above) and then go down to the tone below the target stepping through the 7's.
@@SallyGreenaway , yes. I just wondered why on all the dom7 chords he begins TWO half steps above (natural 9) the target whereas with the diminished and half diminished and 7b9 he begins THREE half steps above but I assume it is related to the bigger picture of the key as opposed to isolated chords. SO the FIRST "approach note" MUST be DIATONIC to the key, as opposed to doing the same pattern "2 above, 1 below" for each chord, isolated.
@@banjobanjo-xn7lq hey, yeah you can choose either a key-scale or chord-scale note (of the chord you're currently on, not necessarily the chord you're leading to) as your start note, then chromatic semitones either side of your target!
Sheet music included for all Jazz Gym Coaching Sessions! Book a session with the 7 Day Free Trial:
www.jazzlessonvideos.com/thejazzgym
Sign up for the waitlist to study with Chad through the Chad LB Text Lessons Studio! www.jazzlessonvideos.com/text-lessons
Use $5 coupon code “CLB5” for $5 off practice materials at www.jazzlessonvideos.com/pdf-packages
Chad LB plays Nexus Saxophones, Mouthpieces and Reeds. For more information upon release, visit www.nexussax.com
For EB ?
I had a breakthrough in my practicing recently. A friend and I have been doing something similar to your jazz gym. Every day we first decide what each of us will practice, each picking a few different things, then set a timer for 1 hour and go into 2 practice rooms and shed intensely. Having the limited time aswell as the other person also doing it makes sure that you really use the time efficiently. Before this I usually got distracted by my phone and ended up wasting so much time, and have generally been inconsistent about daily practice, but with this I have been laser focused every day. We also sometimes do it multiple times per day when we have the time. Highly recommend!
@Mank Hobley Why don't we do it together?😌
How did you figure out each day what to practice?
@@mfc0511 I tend to have things that I practice that take many sessions to complete, for example, I might do some scale exercise slowly and methodically building up speed, doing one new key every day, aswell as making sure the previous ones are good. That will take me 12 days until I need to find some other scale exercise. I might be taking one of Chad's approach note etudes and taking it through every key (first memorising it in one, then never looking at it again as I take it in different keys). I might do one additional key every 2, or 3 days, as I first do some chord tones exercise in the key I'm currently working on, and take multiple days to perfect playing it in that key. So this could last me a month. So really, it's only once in a while that I really have to find something new to practice. Currently I'm doing altered scale exercise, and therefore I'm also taking altered phrases through the keys. And tbh, one hour is a short amount of time, so I often spend most of the time on one thing and a bit of something else at the end (not counting that I always begin with some tone exercises, long tones all over the register with overtones).
@@NomuTaro hey man, I'd be down to shed together!
@Mank Hobley I'd love to shed together!
I am a huge fan of Bob Mintzer and Michael Brecker, but Chad LB is my favorite Saxophonist. Excellent teacher.
“Trust in the process” 11/10 video again large Chad
Trust the process. Not long ago I came to this understanding, don't worry about the application just get it. Music is a language, learn it as one, you can't speak fluently without knowing a ton of vocabulary. At first you can't focus so much on how to use every word that you are learning, just learn the word-pronunciation, enunciation, spelling etc. Learning a foreign language has been teaching me a whole lot about the language of music. Great stuff Teach!
Bass player here. Great "break out of the scale box" lesson! Your content has been an eye opener for me. Keep up the great work!
Thanks!
Thank you!
Always awesome contents.
I would need so much time to get that practicing through the twelve keys .. thanks for posting and sharing your enthusiasm
Great, great lessons here. I've learned a lot about soloing through your studies. Thank you.
Thanks Bro; great material!!🙏🎷
Thank you for all the great content and PDF books!
Thank you so much Chad your exercices are so dope 🙌
Good stuff, thank you so much for sharing!
Very helpful, thanks !
Great stuff as usual, "Coach", and remember....... Inverness. 😉🌟
Thank you!
Thanks sooooo much for this!!!
Hey Chad! Thanks so much for your video! I was just wondering how we could take these enclosures to different types of chords like dominant and minor instead of major sevenths. If these exercises apply to all of those chord types, how does it do so? Thank you so much!
nice
Quick question about the exercise at 7:45. Why do you change the pattern on the last one? Is it just to keep that last jump up still a perfect 5th? You could also jump up a tritone from F to B then you could keep the pattern consistent. It won't sound very dissonant since B is still diatonic to the scale, plus it's on an off beat
how do you get your hair to stay like that?
Eskerrik asko Chad!
It must be something I'm not understanding about Chad's "approach note pattern" to diatonic scales. I can ALWAYS find a note a half-step below the "target" note of the next tone in a scale - sometimes the approach tone is in the scale, sometimes not. What am I missing, please? Should the approach tone NOT be diatonic to the scale? Why?
Just curious as to why the approach note to the F in the third measure is a diatonic G and rather than a chromatic approach Gb?
I mean on the first descending example.
And I guess I have the same question about the last bar, the next to last note is a diatonic D, why not a chromatic approach from Db?
When you make an enclosure that first goes below and then above the target (and not the other way around) you usually never make the second note chromatic if the first is chromatic. It just kind of sounds weird.
@@spinnis okay thanks for that
Can anyone clarify why at 9:39 "Enclosure On A Blues" the rule of "2 above, 1 below" changes on the diminished and 7b9 chords. These enclosures start on the b3 to b9 then half step below. Is it because the b9 in the chord scales associated with the chords? Diminished also have whole/half scales, so this throws me off, though the sound makes sense. Thank you.
It's because of the scale choice. If it's acting as a dominant 7b9 you'll hit the b9 (semitone above) and then go down to the tone below the target stepping through the 7's.
@@SallyGreenaway , yes. I just wondered why on all the dom7 chords he begins TWO half steps above (natural 9) the target whereas with the diminished and half diminished and 7b9 he begins THREE half steps above but I assume it is related to the bigger picture of the key as opposed to isolated chords. SO the FIRST "approach note" MUST be DIATONIC to the key, as opposed to doing the same pattern "2 above, 1 below" for each chord, isolated.
@@banjobanjo-xn7lq hey, yeah you can choose either a key-scale or chord-scale note (of the chord you're currently on, not necessarily the chord you're leading to) as your start note, then chromatic semitones either side of your target!
He really is a chad
Hotel volume doesn't work on mine.
Are you GigaChad??
It's a video, but you do have to know your scales...!
Nope! So many greats did not- learn the language of jazz