The Enclosures are written for Major scales. Should the enclosures be modified for Dorian and Mixolydian scales, etc., that is for applying to different chords?
I can see you've put a lot of effort in to creating this exercise. You're a good educator. I like the idea of a pragmatic pattern especially for adult learners who only have time for the answers.
I use this exercises by learning a tune first and then use it as improvisation and man...this gave me so much freedom from outlining chords and worrying about hitting wrong notes, my playing has improved 10fold in just few days, is this some of the results you get from this workout? I hope others are having the same experience, love it. thanks for sharing it Jamie, you are a true master.
I've just begun to take baby steps towards trying to use enclosures. What a treat to find this video and "mothership" workout! Will definitely add this to my practice routine. Thanks again Jamie!
@@GetYourSaxTogether Mr Anderson, I'm enjoyed every day, with "Daily training". From tomorrow, daily training with that training, every day. Thank you so much.
Thank you for this wonderful exercise! I have one question about the implied harmony: are the target note in this exercise are the root of the harmony in each bar? (C Dm Em F etc…) because it seems some of target note and the diatonic pattern implied different harmony. in the 8th bar for example it sound like the harmony is F and the target note C is the fifth of the chord. or maybe it intent to work on multiple different harmonies?
Many thanks for the free PDF Mothership Enclosures, was there a reason why you use accidentals instead of key sig changes ? I find it unusual to be say be in Key of E maj without thinking im in 4 sharps,and reading lots of accidentals ? Not a criticism ,just aquestion.Thanks again for the good work.
You are so inspiring! I'm so excited to try this out. I'm curious about the backing track chord changes. I think a loop of the tracks would be fun to practice with. Cheers!
Thank you Soo very much for taking the time to do this for me. Its just what I have been looking for!!!😀 I have a very special software called video surgeon that will slow this down so I can learn it faster You should have a look at it. I use it every day
Thank you so much - this is a great exercise. Unfortunately I can't practise where I live, but with 50 years experience behind me I can read it silently and my fingers respond. I also play trumpet, not as well as sax, but down an octave it works fine, and with a good practice mute nobody hears me.
Really nice Jamie! Very cool sounding and fun to play. (yeah, and difficult, as promised). What’s the chord progression so I can build an iReal backing track? Is it just I, ii, iii, IV, V7, vi,vii? Mine doesn’t sound as cool as yours.😬
Thank you for this. Really, this was wonderful, and a great exercise. When are you gonna some more transcribing cool funk solos. I've been personally learning the David Sanborn sav solo to Kenny Logins "Heart to Heart" , and that is one of the greatest Yacht Rock sax solos of all time. I am struggling a bit, trying to figure out the very first growling altissimo note at the beginning of the solo, and how the saxophonists scoops up on the second big altissimo note ¾ of the way through solo. I would love for you to do a refresher on scooping up (gliss up) in the altissimo range. Again, thank you for this.
Just played this through a couple of keys. Great exercise. It will take me a while to get it my head so I don't have to read it. I found it helpful to play through a key just using the enclosures, and then just the scale licks (e.g.- 1235) first, then combine them into the full exercises. It seems like I'll remember the order better that way. But that got me thinking about the significance of the order, if any. So... Question: Is there a reason why certain enclosures (and certain diatonic scale patterns) were paired with specific notes of the scale, or was that random? For example, is there a reason the enclosure in the second bar works best with the 2nd scale degree as the target, or would it be just as good in the first measure targeting the root? And the same question for the diatonic patterns: Why R235, 2346, 3567, 456R, 5679, 67R3, 7R97, R? In their respective diatonic chords these would be 1235, 1235, 1345, 1235, 1235, 1235, 1231, so only the third one uses the 1345 pattern. Any reason?
The third diatonic pattern is different because the 1235 pattern would give you the flat 9 in the shape and you don’t come across that in typical bebop. Eg in C it would give you efgb which you don’t find much compared to egab. Re the enclosures, it’s more of an intuitive thing. I just know from experience which shapes end up being played a lot and which don’t. For example, in C, the first key, you find the first bar a lot over an Am7 chord and the second bar a lot over Dm7.
I recorded the Enclosure excise as 168 files, each one bar long (or two, if the next bar has only one note), and then listening to each bar to practice, rather than trying to read the music. That's because I hate reading music (!!). Once I have the sound locked into my brain, then it's easier for me to read the notes, not before. Anyway, I’ve now got these recordings, from: "1st enclosure G 1st bar" to "12th Enclosure F# 15th and 16th bars"). I've found it immensely helpful for learning the Enclosures. Does anyone else want a set of these recordings? I just want to share it, 'cause it took me forever to set it up. If you get it and find it useful you can send Jamie a coffee for me.
Exactly. I went for years treating exercises as finger exercises only, without really engaging my brain. Now I try to consciously track everything in practice because my goal is to rewire my brain.
I feel like there is an "original bebop music theory" lost in midsts of time. I find the post-1960s pedagogy doesn't really help with my bebop transcriptions. I can only conjecture what they were doing. Sometimes I have hunches. Wish there was more first hand information out there.
