I had a professor recommend something like this to me, but the order is: 1.) Tritone away 2.) Down a half-step. It mimics the root motion in tritone subs and also it gets you all the way around all twelve keys TWICE ;)
8:41 “The simpler the idea, the better it’s actually going to sound.” This is definitely something I struggle with when improvising. I get so busy pulling out everything in my arsenal and thinking about where to go just to get lost in ideas. This could definitely be useful. I currently go through “patterns for jazz” which uses some of the same concepts you introduced through Brecker’s book, yet this sounds much more aligned with developing my fingers in the horn! Let’s hit the practice room!!!
I studied with someone who was with Michael Brecker at Indiana University, long, long ago. He said that one thing Michael Brecker would do is spend extended periods of time trying to capture the sound one of his heroes on saxophone. Then he would switch to another player, and then another, etc.
Hi Nick. Great video and now you have one subscriber more. Just being courious how to transfer this materiale to a standard tune? Mayby a topic for another video :)
Jeff Ellwood propose Root Progressions pdf document which is essentially an all inclusive Alvin Baptiste Approach. It is a must have. It includes scales, arpeggios, 24 4notes patterns in 4 shapes (up, Down, Up % down, Down and Up)
Thanks for the incite, application, and share, hope to try this today Would you identify a lick I just transcribed from a guitar solo on track 2 of Jimmy Smith’s Prayer Meetin at 7:35 or 7:45 depending on the format? I also heard a tenor play the idea on another Smith album 3,5,6,5,6,1,3 - eighth triplet, quarter, quarter, dotted quarter, eighth Maybe the first the first five notes would work for the Cambell method?
Also neat to use a pair of intervals, like ma2 + mi3, etc. , so up2+ up3, then start down 1, up2+up3, then down1, up2+up3, and so on. So many variations possible!!
Awesome video! As I watched I was thinking the ideas were very similar to a book I did with my teacher about 15 years ago, Patterns for Jazz. I found my copy, lo and behold Gary Campbell is one of the authors. I'm an awful practicer and usually end up "playing" more than practicing, but I'm inspired to go through that book again now, thanks for sharing these tips!!
Cool way to practice. I definitely used to struggle with motivating myself to practice in all 12, largely because of the looming question of what order to practice it in. Now I hardly play my horn, but as I get into the shed, it's more and more important to me that the time I spend is focused so I can get the most out of it. I'll definitely be giving this a whirl. Thanks, Nick!
Hey Nick. Thanks so much for this gem of practice thought. I’ve followed you for a long time and appreciate your cool ideas. Keep up the good work friend. Love and much respect. Cy in Salt Lake City Utah, USA. ❤️😎🎷
That’s the beauty of this. You come up with your own ideas and then you simply play them in the different intervals. It will allow you to sound like you want to sound 👍
Great video! So wouldn’t it provide a different sound moving in M6 as opposed to m3? I understand they are inversions of one another, but would the bigger interval not provide a new sound? Guess I have to play it. Maybe I’m just not hearing it in my head.
Nice! Aldana teach me that method, and Ive loved so much! But I recommend to do it in augmented fourth too, that wouldn’t do any damage to your playing haha
HI. How can I apply this wonderful exercise while playing a jazz standard? for example: if I made a minor triad on its relative shortening, can I then move with the various intervals even when the chord changes? or should I do the same thing and move to the next chord like this? for example a major chord?
