The clearest exposition on RU-vid of what a ii V I is and how to get into improv. Outstanding teaching of something often explained in a way that discourages rather than enables.
@@GetYourSaxTogether I have a question re/reeds. I use Vandoren #3s, but I have to confess that not being a professional--a mere inconsistent amateur, I know that the 3s play probably more like 2&1/2s after probably 4 to 5 hours. And I'm comfortable with them then. The same softening will happen with 2&1/2s. Is this way a common approach, or should I be using 2&1/2s and change them when they are too soft which would be more frequent? I ask this because there might be some other consideration I need to know about.
@@joshcharlat850 em, I guess you’re talking about how reeds get broken in. That’s normal and sometimes I use different Reed strengths based on the individual Reed.
You're an absolute legend, Jamie. There isn't a single one of your videos where I've not learned something new; I've got a Music degree too!! Way too classical so I'm trying to branch out; better late than never. Love your alto sound too.
Just the right level and amount of information.This is not an easy thing to achieve but Jamie gets it right week after week. Such a good channel. Thanks once again Jamie 😀
Gosh music is so complex ,getting my head round all this stuff .is a nightmare.your a star 🌟 gotta get some lessons with you in the not to distant future.👏👏
Thanks for this lesson (and for the examples on alto! And tenor.) I was always looking for shortcuts to learn how to play jazz, but, alas, there is no way around the hard work of learning how to do it right.
Thanks Jamie! You’ve really made II- V-I simple! Awesome licks and explanation. I’m getting my sax together with your lessons! Please consider modulation for a next video, which could be like the natural next step after understanding basic combination of chord degrees.
Hi Jamie, on lick #3 in the G7 bar can you explain the notes in that phrase? It starts on an E which is not a chord tone of G7 (unless you’re including the 13th?). I thought GBDF would be the chord tones. There is a D and a B but they are on the downbeat and don’t really seem to function as strong notes in the G7 phrase. Just trying to figure it out ...
with the enclosure technique sound like you are almost mimicking the secondary harmonics of used by impressionistic composers? If I am right I can now see why they are always saying the jazz musicians look up to Debussy. Just this little bit and the part where you add one note to the pentatonic scale has opened up my mind to beginning to understand jazz like nothing else. I have taken music theory and harmony etc. and played around with piano, trumpet and classical guitar and always loved jazz but with these two bits of information I think I can begin to see the how and why of the jazz thought and structure, at least a little. Thanks. just to clarify, when I am speaking of secondary harmonics with Debussy I mean as example "Clair de Lune" which we analyzed in high school and to this day when I listen to it, it blows me away.
Go to the link above click which will take you to the link below practice your 2-5-1 progression if you haven't learned how to do that click on the link above which will take you to the third lesson paragraph to column 6 do your 2 5 1 progression now if you want to add a third click on the link below which will take you to paragraph 6 Lesson 27 click on that link go to the next link go to the Slauson cutoff then cut off your Slauson. Now that you have accomplished this click on the link below which will take you to the master class above if you can't do the master class yet go below to the link and keep going below and click clicking and you will find yourself in clickable ....
