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
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 RU-vid 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.)
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!
My understanding is that the double-diminished is just the same notes as the half-step/whole-step diminished. Some people just refer to it as double-diminished because it contains two different diminished 7th arpeggios (e.g. C Eb Gb A, Db E, G Bb) and they prefer to think of it like that as it's a bit easier to think about chord tones/patterns/shapes than when thinking of a whole scale
awesome Josh, thanks so much! I just got ripped off buying an online course raving about what I thought was some new altered scale The guy had come up with, and that’s all it was was the usual diminished scale! What a joke.
@@joshwakeham thanks! the introduction vid looked fine, but the course vids look just thrown together, rehashing the same stuff. Instead it should have been titled maybe "how to use diminished scales for 2-5-1s" and free. LOL
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.
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?
I usually don't recommend having the exact same tip opening (e.g. 0.09'') on alto and tenor. The different size of the instrument means that having the same tip opening can end up really skewing things - a 0.105 is relatively standard tenor tip opening, but a giant one on alto. Instead I tend to recommend going for the equivalent size, so if you're using an Otto Link 6 on tenor, an Otto Link 6 on alto (or a mouthpiece with the same tip opening as the alto Otto Link 6) would be a good pick. I hope that helps!
You could also play Cdim7 over Cmin because A B C D Eb and F are common. The consonance of a line is directly proportional to the number of common tones with the chord it’s played over.
This is Pat Martino exactly… over G7: Abm (b9), Bm (3rd), Fm (7th), Dm (5th)…. From most dissonant to consonant…Pats Linear Expressions, Dorian on all chords. Take some time and get under the fingers, it’s invaluable…
It seems like you are describing super locrian (seventh mode of the harmonic minor, not superlocrian b7 from melodic minor) thinking in terms of the minor chord one semitone up
Of course Dexter’s thing was SO laid-back he was in another time zone! That “sense of swung quavers” later in the phrase was because of his “ghosting tonguing”. Even 1/8 + appropriate ghosting/accenting = swing like a mofo! Thanks for the excellent vid!
As with audio equipment. I have spent a lot of time getting my equipment that works for me. In those times sitting and auditioning various things I came across alot of people being taken in by voodoo magic. Things like raise your speaker cable off the floor and it makes a "massive" difference. As well as this gizmo is 10 times as expensive and your old gizmo so it must be alot better. I call it the placebo effect. Chasing the next "best thing" never ends with you coming in first. Just as in saxophone there is the voodoo magic as well. Spend $500 on a ligature and your sound will be amazingly better. Must get that silver plating because that is going to make the difference. Where what you say is right on... the sound really comes from you.
Have you listened to Getz with Cal Tjader? His up tempo solo in Ginza Samba is insane. The whole band is all star, with Billy Higgins on drums, Vince Guaraldi on piano and Scott La Faro on bass. On the waltz ballad ' Liz Anne', Getz plays a masterpiece solo that has constant achingly wide intervals and lyrical beyond belief. Knowing Getz, and those band members that day, they probably did it in one take.
You're definitely right about them not thinking about not thinking about the scale when thinking about the sound it produces. I used it inadvertently for quite a few years.
