APPLYING Jazz Vocabulary: A Practical Approach

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This lesson on how to apply one nugget of vocabulary in multiple places is from my Virtual Studio. Download the lesson PDF ►► lessons.bobreynoldsmusic.com/...
Join the Virtual Studio bobsvirtualstudio.com
00:00 Quick preview of the nugget
00:23 Soprano saxophone ligature update
03:29 Lesson overview
05:55 Practicing the lick as a technical exercise
08:27 Autumn Leaves explanation
11:33 Autumn Leaves demonstration
13:54 There is No Greater Love explanation
14:46 There is No Greater Love demonstration
16:28 Oleo explanation
18:50 Oleo demonstration
20:33 Harmonic explanation
Download the lesson PDF ►► lessons.bobreynoldsmusic.com/...
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Bob Reynolds is an American jazz saxophonist and Grammy Award-winning member of Snarky Puppy. He's toured with John Mayer, Larry Carlton, and many others and released 12 solo albums-4 of which reached the Top 10 in Billboard's Jazz Charts. A pioneering educator, Bob has coached thousands of musicians through his innovative Virtual Studio. He is a D'Addario Woodwinds artist, amateur surfer, and popular RU-vid vlogger. He lives with his wife and kids in Los Angeles, CA.
“A self-assured saxophonist and an unassuming yet effective composer…”
NEW YORK TIMES
“…Reynolds flexes an assured hand with melding hip-swiveling jazz and funk as a bandleader.”
LA TIMES
“Some of the freshest, most compelling, and most soulful music I have heard recently. Bob Reynolds is an amazing musician, with something very exciting and original to say.”
Joshua Redman, Grammy-nominated saxophonist
“Bob is one hell of a saxophonist! His sound is rich and his execution is effortless.”
Michael Brecker, Grammy-winning saxophonist
LONGER BIO
Saxophonist Bob Reynolds is an in-demand jazz performer, educator, and sideman, as well as a Grammy Award-winning member band Snarky Puppy. Born in Morristown, New Jersey in 1977, Reynolds grew up in Jacksonville, Florida, where he first started playing saxophone at age 13. Although he listened to a range of music as a kid, by his late teens he was a dedicated jazz student. After high school he honed his skills at Boston's Berklee College of Music, where he mentored with George Garzone, Hal Crook, and others. As a leader, he debuted with 2000's The Bob Reynolds Quartet, followed by 2006's Can't Wait for Perfect. That same year, he joined fellow Berklee alum John Mayer's band and spent the next five years with the pop star, touring and appearing on such albums as 2008's Where the Light Is and 2009's Battle Studies.
In 2013, he returned to his solo work with Somewhere in Between, which reached number one on digital jazz charts. He then made his Snarky Puppy debut appearing on the genre-bending group's 2014 effort, We Like It Here. Two years later he was back with Snarky Puppy for the Grammy Award-winning Culcha Vulcha. In 2017, Reynolds delivered the EP Guitar Band, which featured appearances from Kneebody bassist Kaveh Rastegar as well as fellow Snarky Puppy members Robert "Sput" Searight (drums) and Mark Lettieri (guitar). In 2018 he began touring with 4-time Grammy-winning guitar legend Larry Carlton. He also released the albums Hindsight and Quartet which both landed in the top 10 of Billboard's Jazz charts. A passionate educator, he cofounded an annual summer retreat for adult saxophonists called the Inside:Outside Retreat and he's coached thousands of musicians through his Virtual Studio, a ground-breaking web-based teaching platform he built and has operated since 2010.
#alteredscale #autumnleaves #oleo

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30 июл 2024

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Комментарии : 75

@bobreynolds 2 года назад

Download the lesson PDF ►► lessons.bobreynoldsmusic.com/applying-b9-b13-lick-to-three-standards/

@gangofgreenhorns2672 2 года назад

Just pull the Rovner back a little more if it's hitting your lip lol. Personally always been a fan of the Rovners bc you just don't have to think about the ligature and they're so fast and easy to put on. Sooo many times I've forgotten to even tighten mine, and it's not a problem at all.

@kingsax7 Год назад

Thanks Bob ! This is very helpful in the intervalic ear training adventure possibilities ! Good Food to Chew On ! Ben Sax

@WhosonKeyz 2 года назад

I ain’t ever heard someone swing so bloody hard to a backing track before. Jesus talk about fluency in the language

@melchimichel3979 2 года назад

When I first started learning alt. scales, I used the same trick (i.e., thinking of them as the 7th mode of the mel. minor a half step up). However, that's two levels of indirection. I think a slightly easier way to learn and practice them is to think of it as a major scale a half step down with a raised root. I.e., using the example in the video clip, I'd think of F# alt. as F major with a raised root (F# instead of F). Of course, this is all moot once you get the scales under your fingers (and in your ears), but I found it a lot easier to initially access the notes using this trick (one level of indirection) instead of the melodic minor one (two levels of indirection).

@thesukhster 2 года назад

Terrific! Thanks for the insight. Appreciated.

@axe4sax651 2 года назад

Have you ever tried the method described in my post - but like you said, once under your fingers and in your ears it doesn't matter how you get there. Did you notice that Bob doesn't use side Bb

@melchimichel3979 2 года назад

@@axe4sax651 I learned my whole tone and diminished scales that way (decades ago) because I don't think that there's a simple alternative shortcut. However, I think that for students who already know their major scales, it's much easier to learn the melodic minor as "major with a flat 3" and the alt. scale as "major with a raised root" than to have to think explicitly about each interval in the scale. Regarding Bob's use of side Bb, I'm pretty sure that he uses it sometimes. I use side Bb about 50% of the time, but I wouldn't typically use it in an F# alt. scale either (nor generally in any scale, arpeggio, or lick that doesn't also include a B).

@ianleemusic 2 года назад

Hey Bob, my name is Ian. I am a jazz and Western swing violinist and guitarist. I love studying horns on my instrument and have to say I enjoy everything you offer here. I especially appreciated that you didn’t immediately rush into getting something into all 12 keys, instead recommend working the piece of language into things we already know and love. In general, your videos are great! I’m a big fan of the way you think and how you communicate your experiences. Thank you for sharing with us.

@bobreynolds 2 года назад

Thank you, Ian! Yes, I’m a big advocate of getting something comfortable in one key first

@Orlando-wn4uc 2 года назад

Bob's Virtual Studio is super awesome. I've been a member for over two years and I've really enjoyed all the lessons. For anyone looking for a great group musicians to interact with, the Studio is fantastic. I find Bob's lessons really useful and insightful. I enjoy being able to stay on a lesson for days or come back to them as I need. Bob is also one of the nicest people I've ever met. If you're thinking about joining, you should!

@johnnyharris 2 года назад

this is such good teaching

@OceansPiece 2 года назад

Wow didnt know you played saxophone. Love the vids!

@user-hv4nl9rn8t Месяц назад

Do you play saxophone?

@nickpilgrim1966 2 года назад

I got so much from this video. It explained stuff I've been working on without really knowing how to apply it. Thx for sharing Bob.

@MrGuto 2 года назад

I love this ligature too. Regarding how much it covers the reed, just push it back till it hangs out passed the end of the mouthpiece, with one of the cloth strips hanging out. That's what I do and it works great!

@kenbeattie2584 2 года назад

A great video, really like the way you explained this. Am inspired to getting back to the practise room and trying it all out!

@rainer.saxbass 2 года назад

What a great example. (Oleo hits me) Thank you very much for this!

@01contralto 2 года назад

Big Big Big!! Great lesson, thank you Bob!!!!

@robertreynolds9607 2 года назад

Very helpful lesson. Thank you for this exercise tool. It will be very helpful for me.

@garaumoris9893 2 года назад

Thank you so much! Bob, for the PDF Hello from France .

@linopiccolo4148 2 года назад

Bob you are super! Thank you

@jdmccorful 2 года назад

Enlightening! Thanks.

@dukoff11 2 года назад

Hilarious! Glad you got to check out the ligs, Bob.

@axe4sax651 2 года назад

Hi Bob, for me this tutorial is bang on point and right on time - I had been working on longer 2-5-1 lines but even though easy enough to learn and remember, there is too much info to use in a practical way so I have started to focus on short 2-5s, V7s or just the V7 of the 2-5 (apparently that’s how Barry Harris teaches). I am currently playing standards and swapping out the melody for the phrase to help in learning a tune's changes. As for the melodic minor - I’m self taught, and haven’t taken any music grades. I only ever learnt my major scales (and the modes by default!) now I feel the need to revisit scales (and modes from their root) and the melodic minor was 1st on my hit list. I am mainly interested in improvising, playing by ear and in all keys. For ‘me' the quickest and most effective way to learn scales is by their interval structures e.g. WWH.. (whole-tone, half-tone..) or T T s.. (Tone semi-tone) because, after a bit of practice you can practically see how the scale will sound. Similar to solfege, I think (or sing) the root note as ‘R’ and the next whole tone note as the sound Dahh or half tones as Derr, for example: T s T T T T s = R - Dahh - Derr - Dahh - Dahh - Dahh - Dahh - Derr Whereas Ab Bb Cb Db Eb F G Ab, doesn’t sing melodic minor to me! And as for harmonic minors, blues scales etc, the -3rd sound is pretty obvious. I find the key to learning all scales with this approach is to nail both whole tone scales, their sound and the note names. Thanks again for this excellent video lesson

@josealarcon1599 2 года назад

Brilliant explanation

@rodrigogarciabeni7698 2 года назад

I play the same ligature on soprano and I can confirm it feels and plays great

@NegroTorresV 2 года назад

Eres increíble. Cheers from Ecuador. 🤘

@lucianogb59 2 года назад

Thank u Bob, good work!

@elnauta9525 10 месяцев назад

I will do my best to get this done, but the main thing I learned was how to approach to the learning process!

@TheGilmusik 2 года назад

Super lesson 👍👍👍

@djmileski Год назад

Amazing lesson. Thanks!

@3163steve 2 года назад

Thank u

@rosstones1 2 года назад

Good one

@MichaIsraelKovler 2 года назад

This video makes me want to learn more.... Thank you Bob, Any plans for future posting on upper structures? No rush, it will take me a while to digest this beauty (-:!

@austenholritz7554 2 года назад

That soprano sound though!!

@JohnyMusica 2 года назад

GRACIAS !!!!!!

@fluteluc1 2 года назад

'Shoe horn the lick in' - Great!

@JJ_Photo 2 года назад

Great lesson, thank you Bob! Btw, your sound seems to have become darker, warmer and kind of "dusty" ;) . Really like that.

@emilklomberg3061 2 года назад

This is a great piece of advice for getting phrases to become a part of your vocabulary instead of just some random licks. I struggle a lot recently with finding “the best way” to get something into my vocabulary without forcing something into my solos. Quick question, do you still imply the “II” over the dominant when you switch to doubletime? Thanks!

@MegaRas73 2 года назад

Great stuff thanks Bob. Would love a minor 251 hack next blessings 🙂👍🎷🎷

@thomasgrady3103 2 года назад

totally yanked that first lick. haven't heard something that swings that hard in awhile

@johnnilsson3061 2 года назад

I liked your quarantine hair

@Aerophoneschool Год назад

👋 Hello 🙋‍♀️

@patrickolugbemiro9377 2 года назад

I've been dying to join the virtual studio but my studies finish in January, should I try to join now or wait till studies are finished?

@bluessax5089 2 года назад

My teacher always said you can turn a 2-5 into just a 5. Like tension and release

@jensclarberg6419 2 года назад

You can turn anything into a 5

@Romain-sc8lh Месяц назад

Dear Bob, First of all, great video! I'm writing to you because I don't know how to articulate myself. Should I stick my tongue on the reed on weak beats? Should I articulate in pairs on the strong beats going up and on the weak beats in a descending phrase as Chad Lb explains? Thanks for your answer and for everything you do! You're really great! Philippe

@kevinAuguillard 2 года назад

Completely random question, are you naturally slim or do you exercise; and if so, what types?

@saxiroth6647 2 года назад

Man you and Chad going after the altered scale this week huh?

@racehoglund7251 2 года назад

Great minds think alike I suppose haha

@bryandickerson5365 2 года назад

@Bob Reynolds How about singing the lick not with the AH sound, but with the EE or EH (ala Allard/Liebman) voicing? I think this is another little way to help students develop good tone focus/tongue position. What do you think?

@chrisrotsching363 2 года назад

What a cool video! How do you set up iReal pro to loop just a few bars like that?

@shields765 2 года назад

On iOS - tap and hold the first measure, then drag the dots to select the loop section. On Mac OS X - simply click and drag to select the section. On Android - tap and hold the first measure and then tap and hold the last measure of the loop.

@LA-hx9tx 2 года назад

Great lesson. I have a question or two about the line itself. This line starts low with chordtones, then moves up into the V chord and uses altered notes, then peaks and moves back down and resolves with chordtones again. So you set up context, then move away, then towards resolution. That's clear, and the harmony is clear without any accompaniment. So that's just note choice and rhythm. But then there's register and dynamics to consider, and what this line has is starting lower in the register, moving up as the tension builds, and also a slight increase in volume and intensity as lines tend to naturally do when they go up. Then it moves back down into the lower register and it resolves. So in a sense the line is built like a piano player would voice a chord with the guide tones down lower and the altered tones up higher. The question is, was this stuff also conscious when building the line or is it just a coincidence that it moves up as you move into altered notes then back down as it resolves. Is this a general way of thinking that you apply to line construction, and start by creating a context that's more diatonic that would then support the altered notes played higher up, then maybe move back down to relax the tension and resolve at the cadence? I know this is just one line, but it's a perfect example. All lines don't HAVE to do this, but now I'm wondering if you start high, then move down to the lower register with your altered notes, then back up higher to resolve if that would just sound screwy or not. And this is just a very general way of approaching the shape of the line, but it's kind of a broad , non-analytical way of seeing the shape of the line and a way to envision a map of the line before you play it.

@vannigio6234 Год назад

uah!! 💥💥💥🎷🎷🎷💥💥💥 🐻👍

@racehoglund7251 2 года назад

I noticed you are always sliding from B natural to Bis B flat, do you always do this? When I was studying classical saxophone in college this was frowned upon so I got used to using side Bb when going from Bb to B natural

@jazznutz 2 года назад

I'm not Bob, but Greg Fishman talks about using B to Bis as well. I tried it for bit but couldn't stick with it as I learned as you did. But if these great players are doing it, there must be something to it.

@racehoglund7251 2 года назад

@@jazznutz oh Greg is phenomenal! I can understand rolling off of the bis Bb to B but rolling onto bis Bb from B is more challenging..

@jazznutz 2 года назад

@@racehoglund7251 Yes, particularly depending on the set up position of those keys. It's doable on my tenor but seems unreasonable on my Alto due to the lift.

@eliwyatt2292 2 года назад

There are also great classical players who slide to/from bis, there’s nothing wrong with it

@racehoglund7251 2 года назад

@@eliwyatt2292 oh cool I didn’t know that! Do you know of any specific classical players that do it? I got to work with Otis Murphy for a tiny bit when I was a freshman but at that time I didn’t notice if he was doing that or not

@Bashanvibe 2 года назад

I want to transcribe that on keys 🎹 !!!

@jamesjefferson8353 2 года назад

Hello, love your playing! What mouthpiece are you playing on soprano?

@bobreynolds 2 года назад

Otto link 8

@dry509 2 года назад

Hello. What make model are your glasses? Thanks.

@claudiohecht5265 2 года назад

Me ayuda muchisimo esta explicacion , estoy trabajando en Oleo , uno de mis temas favoritos , junto a Lingus, asi es que te agradezco tu sporte . Saludos desde Chile . Te dejo un par de cosas para que me escuches . ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-mQpA2YnqayA.html