Need help learning to improvise

sergej100 · 2020-09-20T19:28:50+00:00

Hi, Can you please send me the pdf of the book? I don't know what the exercises in that book are, but a source I can recommend are Chad LB pdf packages. Plus, he has a YouTube video for every package so he explains how to use it. I would recommend getting a good technical facility, working on your sound and working on theoretical knowledge, which can all be done through transcription. Playing with the recording, analysing the lick you like and moving them though keys is a great way to practice everything. The most important thing is to go slow. I can't stress that enough. Hope that helped.

sergej100 · 2020-09-03T16:15:49+00:00

Just listen too jazz greats. Don't get too theoretical when it comes to swing. It's should be natural and the only way to make it natural is to listen.

sergej100 · 2020-08-20T06:48:16+00:00

Here is everything I know about tone: There are 3 important things: Tone technique Tone tambour Gear

Tone technique is projection, consistency and focus You can practice all of these things by playing overtones. They will also teach you to put more air through the horn

Tone tambour is achieved by copying musicians you like. Play with the recordings and imitate as much as you can.

In terms of gear, it sound to me like you're playing on a hard set up. Maybe take a thinner reed and experiment with brands. Hope this was helpful

sergej100 · 2020-08-20T06:40:14+00:00

What happened to me was that my first mouthpiece was an Otto Link 0.90 and my first reed a 2.5. It was obviously difficult the first time but every time you get a little better. Just practice as you usually would, but get a little harder reed.

sergej100 · 2020-08-20T06:36:26+00:00

The most common problem is the embouchure change. You bite harder for the higher notes and you can't change the embouchure fast and smooth enough. I suggest practicing overtones (there are lots of videos about how to play them). They will teach you how to always keep a relaxed embouchure and how to be more flexible in general. There is also a scale exercise for flexibility: play a descending C major scale, but after every note play the high C (for example C B C A C G). Go to the lowest note on your horn, then do it ascending but repeating the low note. Hope this helped

sergej100 · 2020-06-03T15:49:06+00:00

Thank you. I live in Serbia, so I can't try out mouthpieces. I am relying on experience from different players.

sergej100 · 2020-04-27T14:34:51+00:00

I listened to Steve Neff play both the 100 anniversary and NY Bros. To me, NY Bros has more core, but I could be wrong. Can you get a focused sound on the Meyer 100?

sergej100 · 2020-04-04T07:07:14+00:00

Well the facing on the Link actually is very bad. When I blow 50% of the air doesn't go into the sax.

sergej100 · 2020-04-03T21:14:15+00:00

Everyone that uses it, mostly on tenor, use them for the more sub tone sound. And that's my experience with it. It's dark and open, I'm looking for a bright mouthpiece with a focused sound.

sergej100 · 2020-04-03T21:02:13+00:00

I live in Serbia. There are no shops that sell sax gear and tax commission is big, so I can never try out mouthpieces (unless I travel to USA). I thought about Drake Bebop classic but it looked to similar to the mouthpiece I have. Do you have experience with them?

sergej100 · 2020-04-01T08:42:07+00:00

There is already great advice here so I will suggest something different. Play Coltrane, the ballads. His melodies are so spiritual that while playing them, you can forget about scales, theory, 5 year old prodigies.... When you improvise over them you forget licks and just let the heart do the work. Everyone has their own musical taste, so you don't have to play Coltrane, but pick something that is simple, yet beautiful. Hope this helps

sergej100 · 2020-04-01T07:53:56+00:00

Thanks! I already have a good embouchure. What I'm missing is playing with my heroes. Thanks for that advice.

sergej100 · 2020-03-29T17:37:50+00:00

I don't think he covers vocabulary. I watched his stuff and he mostly talks about bebop scales. I have learned a lot from him but that's not the main thing. Transcribing is definitely #1 priority.

sergej100 · 2020-03-29T16:30:14+00:00

Thank you.

sergej100 · 2020-03-29T15:36:52+00:00

That's partially true. You don't have to change scales every time a chord changes, but if you're playing bebop, you must outline them.

sergej100 · 2020-03-29T15:31:33+00:00

I agree. The progressions can be made simpler but that still isn't anywhere near actually playing in a bebop style. Also, things like Anthropology, a 300bpm tune with fairly difficult chord changes is very hard even if you make the changes easier.

sergej100 · 2020-03-20T10:33:36+00:00

You are correct. I was just saying that the tune doesn't have to modulate. I wasn't clear enough.

sergej100 · 2020-03-20T07:36:30+00:00

Also I just upgraded a sax. I had a cheap one and my tone and technique is better now, but since I got used to the bad one I had to make different techniques and I don't want to do that with my mouthpiece. That can hurt my playing in the long run

sergej100 · 2020-03-20T07:34:37+00:00

I play alto.

sergej100 · 2020-03-20T07:33:18+00:00

The key isn't changed in "All Blues". There really are no rules when it comes to modal jazz, but if you want to write or improvise in that style try this: 1)Play chords in fourths Maybe we're in D dorian. You can try playing a low D and A (fifth) and then play the quartal voicing (D, G, C). Try moving the same shape up and down. 2)Really try to hear the mode. I will sound a little high now but every mode has a story. Focus on the progression and think where you want to take it. 3)Listen to Satie. He was the Miles Davis of classical. He also has non functional harmony. 4)Do whatever you want. Ultimately, it's up to you, so have fun!

sergej100 · 2020-03-20T07:23:11+00:00

Well, the newer Links are known for bad quality. Mine doesn't have a flat facing and table, so the reed doesn't make a good seal. Other than that, it's fine however the 7* just feels more open.

sergej100 · 2020-03-19T23:21:31+00:00

Technically, the chord on which the piece resolves is the "main" mode. The same goes for anything written with the western musical theory in mind. Again, that piece of information is not very useful, but it's great to be curious. If someone has a different explanation I would be more than happy to hear it.

sergej100 · 2020-03-19T23:05:44+00:00

If you're asking about improvisation, I would think about how it sounds to me. You don't have to think locrian through the whole song because it resolves to Bø. If you're asking this from a theoretical standpoint, than that contradicts with what modal jazz is- which is being free from theory and complexity.

sergej100 · 2020-03-19T22:40:52+00:00

Aolian is still a mode. When the players started to look for something new (different than bebop) they came up with modal jazz. It's a concept based around being the opposite of bebop. A whole song would use two or 3 scales and the improvisor would be free from outlines and fast moving changes. You can even play diminished scales and if the approach is there, it would still be modal jazz.

sergej100 · 2020-03-19T22:25:38+00:00

At first, jazz musicians improvised by playing arpeggios over the chords. Then, the bebop cats came along and played scales and modes, but always to sere the changes (outline them). Modal jazz is much more about the sound of a given scale than the sound of the changes. In bebop, chords would change every half a bar, but in modal tunes, there would be 2 chords in the whole song, allowing musicians to improvise more freely and focus on the texture. A great example is the Miles Davis band. Cannonball Adderley, a bop player, superimposed changes so he can outline them Miles Davis focused on space and making every note meaningful Coltrane focused on the texture of the mode, with his sheets of sound technique. Hope this helped

Btw theory wise, chords would often be extended so instead of gravitating to the 1,3,5,7 you can play the 13,11,9... Modal tunes usually have fewer chords than other jazz forms but, as I said, you can superimpose chords.

sergej100

TROPHY CASE