Wow! Thank you Mirko for this superbly detailed transcription and analysis of one of my favourite solos! Much appreciated for your sharing of this lovingly crafted exposé! ❤🎶
@@mirkoguerrini And a modest donation made to your PayPal as a small token of my appreciation for this fantastic video and transcription. What software are you using for notating your transcriptions?
@@tonytonewharton You are a legend! TO transcribe I don't use a software. It's a web platform called soundslice. CHeck this out: www.soundslice.com/ On this platform you can sync any video from RU-vid o Vimeo or even your uploads, and write the music directly into the webpage. It has also a looper, a slowdowner, ...it's very cool! Let me know if you want more info. Happy to share. Ps The donation was much appreciated, thanks.
Picture this: this guy Micael dissecting a solo from somebody he got chills from listen to. And you doing the same with his playing.. I guess some will can be inherited or passed on. Nice!
The 1/2 step approach from above, slurred to the target is a definitely one of Brecker’s (and Berg) stylistic signatures. I believe that so much of this was ‘worked out’ in the practice room, not on the bandstand.
Hello! I am a student living in SouthKorea and I learned saxophone in college Recently, I was looking for a score to play my favorite artist, Michael Braker's Say It But it was really hard to find the score for this song. It's not in the jazz real book.. And I was so happy to find your RU-vid. The score is perfect, too! There's an interpretation of the song, too! If I play this song, it's all thanks to you. Thank you so much. You are my RU-vid professor (Actually, I sent you a message on your Instagram, but you haven't seen it yet.)😅
Mirko, I think that F#- arpeggio isn’t conceptually from the diminished scale; it’s a 1/2-step key shift (e.g. F#->Gminor, and often done Abminor to G-). You see this often with ‘pentatonic shifting’ (long line flurries), too. Once again, total technical mastery. Mike was very self-effacing when asked about his playing, and often gave credit to others (see Jerry Bergonzi).
Well, probably you're right. In fact, there is a phrase where he plays Gminor and then shifts up to Abminor. Even though F#minor arpeggio is an option you have in the C diminished h/w! 🙂 In the final cadence Brecker exploits all the 4 (major) triads that are included in that scale: A, F#, Eb and C. It is true that it would be rare and uncommon, but the same scale includes the 4 (minor) triads on A, F#, Eb and C. 🙂
@@mirkoguerrini This is the super-cool mastery that these modern players have: the ability to play, in a sense, in a "multi-modal" fashion. That is, they could be thinking in multiple ways, but have such command of the instrument and language, that the lines can be seen in more than one way! Love your work, btw.
@@Osnosis Exactly! It is fascinating to see how from the great fathers of the Tenor Sax (Coleman Hawkins, Ben Webster etc.) and passing through the innovators of their time (Coltrane, Joe Henderson, Shorter etc.) players like Brecker can process, develop and personalise ideas that can be found inside the chord progression. Brecker says it all: we are all a product of our time!
Es de mucho agradecer todo èste hermoso y arduo trabajo pero para mi hablan demasiado,veo muchos videos de todo tipo musicales desde aprendizaje hasta analisis,como èste y para decirte como se coloca una caña hablan una hora antes de decir lo que en verdad interesa,en una palabra señores,son muy pesados,no hablen tanto por favor,gracias.
Estimado @miguelogando1423, Gracias por tu comentario. Si no quieres escuchar el análisis del solo, ve al final del video donde está el solo completo. Por eso he creado capítulos, para que puedas saltar hacia adelante y hacia atrás. Intento hablar menos, pero al analizar un solo tan complejo, hay tantas cosas que decir que es casi imposible reducir la cantidad de palabras. Gracias por su comprensión. Lo siento por mi pobre español.
