Good advice, yes it IS good to tap into 'the inner listener' that each of us is and has and to be able to respond to it. But, to have the tools to be able to EXECUTE what that 'inner listener' hears? That's where the proverbial 'ten thousand hours' of practice comes in, to prepare your body to be able to respond to your 'inner listener' and to be able to execute what you are 'hearing'.
thank you so much for the information - yes indeed the video is uploaded wrong under the wrong title. Sorry for the inconveinience. Changed the title and the embouchure vid will be up in a few days!
And in a couple of weeks I make a small look through the book. It's genius. Remember to keep watching. There are some super nice stuff in the book. Working out the video now. :)
Thanks for asking. All pdf material, all the video pdf are on Patreon. 3-4000 pages of lesson material on first tier on Patreon www.patreon.com/posts/102576180 $6.50 monthly
These provisional "altered scales", compared to strict diatonic scales, they are like American English versus British English. The problem with Jazz, same as with American English, is that sometimes a player may use all notes from these "provisional scales", which results in "heavy Yankee accent". They are oversaturated, and then "tension" loses meaning. (Because every song played with them, begins sounding the same - which is a major complaint against Jazz, predictability of sound quality despite "improvisations"). However, by picking just some "altered notes", one or two, here and there, is enough to pass as "an American" (or Jazzed-up song) and create interest. Jazz, by definition, SHOULD allow that. What is your opinion about this?
I would say, there are no jazz police, so there are no rules. But there are different styles. In old school traditional jazz, do not play the scales- play chord tones. In bebop, add chromatic enclosures and scales, in the 60' 70' start playing real outside stuff. When playing anything think about why you play it and make it sound good. I think that's where I'm coming from. Still trying to make it all sound good. And there are so many options for this, and the names are only to make it easier to talk about and pass on to the ones who want to know.
I never really understood when people say " play what you hear". Is that supposed to be taken literally? Are they saying that you should have everything in your head before you play it? Who does that? When I play, I have a certain vocabulary and I play from that, mixing things up, trying to swing and trying to play melodically through the changes, I'm not hearing what I play in my head before I play it. I also never understood Sonny Rollins' quote "you can't think and play at the same time", I don't know about you guys, but I'm thinking while I'm playing. Maybe it means don't get so in your head about the theory and try to play in the moment and interact with the other musicians, but even then, you're still thinking. Perhaps these things are meant to be poetic and not taken so literally, but I'm not a genius so maybe there are people that play like that. I always wondered what is happening in Keith Jarrett's mind when he plays 🤔
Keith said pretty recently that he lets his hands just play because if he told himself what to play it wouldn’t be nearly as good. Take that for what it is but I think it essentially means what Parker said, learn your instrument thoroughly and then forget about it. That also implies what Rollin’s is saying about not thinking. But it takes years to become aware of this paradigm because jazz players are taught to keep trying new scales, arpeggios, concepts and of course the way to initially apply those is to think.
Of course it's almost impossible to hear every single little thing you play. The only way to know if you can hear something is if you can sing it - try singing as you finger your instrument. At first you might find that you almost can't do any of the things you usually do. I think that's a sign that you need to work on your hearing. But eventually you will learn that the ear is actually much more powerful than your thoughts if you give it your attention. That's why when we imagine some "killing" music, we can sort of hear it. So if you just make your hearing clearer, you will be great just by nature of that. This is also why so many musicians, including keith jarrett, sing as they play. Of course their voice isn't as trained as their hands, and there are many things you can do on instrumetns that are unthinkable with the voice. But still, the sound of the instrument comes out of an idea of what they want to play, that comes from the place inside their mind/heart that relates to music.
Play what you hear, well try working on it. You hear your vocabulary, because when you play I bet you do not think about the D7 scala from the F# to C and then continue in the scale etc. So you hear your vocab. But the more you listen the better you begin to connect the lines and listen to what actually fits in the musical setting around you. Not just playing you, but playing into the music, having musical conversations with your fellow musicians. I am working on this as a crazy person, trying to really play what pops into my head. It's lots of fun, because you become so aware of what you play, because you listen and react to your own playing, trying to fit the whole thing together. My 5 cents
You also need to continually add new melodies and phrases from your fav players to what’s in your head. Those end up in your solos and make them more enjoyable to the listeners.
I really want to perform on Amateur Night At The Apollo Theater in Harlem New York I keep on Practicing Every Day and Night on the Saxophone because I need to be a great Saxophonist
My philosophy exactly. I would add that we are listening to the other musicians in a multiple conversation. The really value of music is that the audience is really listening to the musicians selfless cooperation with each other...
I am not hanging ING anyone out, seconds before it's Herbie on piano. It could have been me or that Michael Brecker intro where he plays 16th notes in a pickup. It's not about the person, it's the idea. I hope you can see the point. Ornette Coleman wrote amazing music and inventory amazing things, and he performed as a beast with his band. Not the person, only the idea.
Soooooo good! You sound great and the information you bring to the table is priceless. Thank you for doing what you do! I know I practice as much of it as I can.
That’s what I’m talking about. I’ve been ranting about this for years and the application of the Greek names of the modes to modes of nonmajor scales, i.e. Phrygian major for 5th mode of harmonic minor. The chord expressed by this mode is a dom 11th b9 b13, i.e., 1 3 5 7 and the upper extensions, b9 11 b13.
Thanks so much man. Long time no answers, I am working a couple of weeks ahead with the videos. Demands lots of discipline, so the communication is not all up to date. Please share the Barry Harris video if you have it. Love to see it.
@@sorenballegaardmusic I’ve been able to log in and I get your emails now but I don’t see any free pdfs that this video mentioned. Looks like they all cost $ to get them.
@@SaxmanShawn hi Shawn. When you subscribe to the email you should get an email sent to your email as a email check, does it work. Check if this email ended in spam or socials etc. Read it and follow the instructions. This will lead you to the email page with the link to the download of the PDF. Let me know if it works. All the best Søren
Thank you so much, lot of bang for the buck. Well I try to make it worthwhile. If you need the PDFs they are on Patreon, all of my videos with exercises and licks written out in all 12 keys.
