Back in the 1980s I studied with a saxophone teacher named Ira Jackson in NYC. During one of my Saturday afternoon lessons Charles stopped by to visit Ira. They knew each other growing up in Detroit. Charles was in town performing at the Village Vanguard. During his visit he gave me pointers on mouthpieces, reeds and developing a sound. Passing the knowledge on.
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Hello! Can you explain please in detail what exactly you are practicing here? After I had studied the scales and patterns from video part 5, what should I practice after that and what backing tracks should I use for this? I understand what patterns you play there but I don't understand what backing tracks you are using. What is the purpose of that kind of practice? Thanks
Man your tenor sound is real nice! Really powerful and full! Love listening to Charles talk too. Saw him in NYC bout 7 years ago and it was an excellent performance. He's great!
What tune are you playing in the improv section at the end, and are you just playing diatonic triads in the key of the tune, or are you using different key triads based on the chord color of each measure?
what is the song? are you using different available-note-scale triads for different chord qualities? ie dorian on the ii, mixo on the V, and ionian on I ?
I've been watching all through these wonderful series, thank you for uploading. I loved hearing you use SIR in your responses showing respect during the lesson.
I used to be like you and got so much better when I realized that this is an aural endeavor. Listen and transcribe which you should be doing almost daily anyway.
I find the part about melodic minor very interesting. Especially that detail of targeting melodic minor notes with chromatic enclosures. One thing I couldn't follow was when to use it? Do you use it over dominant7 chords to create a different sound? I feel like I'm missing theoretical knowledge of when to apply that material over changes.
That made more sense to me than many hundred of hours of theory or anything similar. This and the other series you recorded are priceless, thank you so much for sharing.
One BIG PROBLEM IS THAT WE DONT KNOW WHAT IS HE TALKING ABOUT? YOU NEED TO PUT WHAT YOU ARE,THERE IS NO CONTEXT HERE PLAYING. SO WE KNOW WHAT HE IS TALKING ABOUT
He failed to mention, AFTER sucking the air out, THEN close the reed to the mouthpiece (by pushing upwards with the tongue:edit). The suction is then held shut via the reed sealing the entire hole of the mouthpiece. You can also do this with the neck on to check sealing there too.
