Many thanks once again Doc! Another great lesson with more Joe Henderson material. I am anxious for the new videos, perhaps you can make a video exploring Joe's masterpiece "Y todavia la quiero"... just some thoughts (please do it!)
A suggestion…if I can be so bold: I would love to see a three minute video of your listening recommendations for jazz songs… My reasoning is that I follow your advice that I have to commit to LISTENING a lot first in order to really absorb the language… Often I find myself bouncing around with different songs and artists and I’m having trouble committing to something… so… What are your favorite songs to “listen” to?
Assuming HH is Herbie Hancock? He's not on the original recording. This lesson is on how Joe Henderson approaches his composition - lots of unadorned dorian.
@@drwallysax Today was my online-listen-to-everybody-and-get-sax-input day (You, Jay Metcalf, Nigel McGill, Sir Valor Sax, Jeff Antoniuk, Scott Paddock, Chad LB and Learn Jazz Standards). Tomorrow I will put it all into practice (wishful thinking) - I will actually go play in the park (busking) tomorrow, taking advantage of the unseasonably warm weather.
👍Can’t wait for the Lou Donaldson stuff.. I have about 5 hours of Lou recordings doing standards and some of his own tunes, and have been ear training on alto with that stuff. I’m getting good (or better lol) with most of the melodies, but I mostly crash and burn on solos! 😩 (and Blues Walk is relatively easy theoretically 🤯).
@@drwallysax Yes Dr. Wally! definitely.. even some of the fingerings and the embouchure changes, etc. there’s a lot going on there, but it’s great stuff. I love it🎷🥳
Awesome as always! I am a new trumpet player that has really gotten into jazz by watching your videos… I wish I had a special button to raise my octaves… By the way, what key would this be in for Trumpet language?
Hi Dr Wally - Just blowing along with the tenor solo I found that the transcription and the recording are a 5th apart. The audio is over B-7 initially and the transcription has it in F#-7. Any reason for this ?
Great information. I tend to get tangled up in chords while trying to improvise. There's way more going on with a chord than 1-3-5-7. There's inversions, articulations, rhythms, and of course Dr. Wally comes on and throws in syncopation. I might not be able to go practice right now but I can listen to the videos while away from my horn.
Good observation. We cannot consciously be thinking about any of this when we improvise, but recreate and "feel" it while playing. Then it becomes, eventually, a natural expression. Lifelong journey to be sure. Have a great weekend, Noah!
I've been looking at Miles Davis's solo on So What as modal inspiration, and what I find impossible is coming in at the right time after the long rests. There's so much space!
Not quite. The goal of studying modes, chord/scale theory, syncopation etc is to allow everyone to speak the same musical language. This way, everyone on the bandstand will have a common framework to express ideas. Jazz education is not about teaching everyone to play exactly the same as everyone else; it’s about teaching everyone a common musical vocabulary as a starting point so that uniquely new collective improvisations can take place in that language.
That’s like saying learning the rules of English grammar made James Joyce and John Steinbeck exactly the same! Learning and mastering the inherited traditions of music theory is actually the surest (and least lazy) path to originality.
@@spankypdx That's like saying that counting the sesame seeds on a Wendy's bun compared to a McDonalds bun makes a difference. They all just hamburgers. I understand what you're trying t justify, but the results speak for themselves. Today virtually everyone sounds the same. In jazz (they all sound like the pioneers of their instruments), in rock (everybody shreds the same as their influences as well as having the same hair length), and country (all the instruments are interchangeable in sound).
@@rockwellmath It's more like learning to write exactly like them. Understand, I'm not disparaging rules and theory, but the end result is that musicians today are lazy and parrot back what they think people want to hear in jazz.
Thank you Dr. Wally for another great lesson.
Thanks for watching!
Recordame and next Blues Walk? That's gold, Doc...GOLD!
Thanks Chip, much more good stuff to come!
Good morning doc, cheers to some good practice
Hey ditty, happy practicing my friend - have a great weekend!
I was looking for something like this. So glad you made this
Glad it's helpful! Have a great weekend and happy practicing!
i greatly enjoy your videos - great content, delivered with style and humour! I'm enjoying Recorda Me.
Recorda Me is such a great tune, eh!? Happy practice, and thanks for the kind words Stephen!
Obrigado pelo conteúdo é fantástico, muito bom.
Many thanks once again Doc! Another great lesson with more Joe Henderson material. I am anxious for the new videos, perhaps you can make a video exploring Joe's masterpiece "Y todavia la quiero"... just some thoughts (please do it!)
Super great lecture. thanks doctor
Most welcome my friend, have a wonderful weekend! (and of course, go practice) :)
@@drwallysax go go go
A suggestion…if I can be so bold: I would love to see a three minute video of your listening recommendations for jazz songs…
My reasoning is that I follow your advice that I have to commit to LISTENING a lot first in order to really absorb the language… Often I find myself bouncing around with different songs and artists and I’m having trouble committing to something… so… What are your favorite songs to “listen” to?
A good suggestion!
Awesome !
its genius the segment and full chain loop stuff ( I could have saved myself years of struggle)
Well, now you can have a great practice for the future years :)
Happy practicing!
@@drwallysax yes indeed ( very helpful hearing how you play those ) cheers
Pls listen to HH's solo on the original recording. He is almost always comping around II-V (both on Am and Cm concert pitch).
Assuming HH is Herbie Hancock? He's not on the original recording. This lesson is on how Joe Henderson approaches his composition - lots of unadorned dorian.
uah! bravo maestro! 💥💥💥🎷💥💥💥
Just happy to be here less than an hour after this was posted...
Love your work, Doctor Wally...
Thanks Eke, appreciate you being here. Have a great weekend (filled with practice)!
Thanks Wally!
Most welcome, Rob. Hope you have a great (and practice filled) weekend!
@@drwallysax Today was my online-listen-to-everybody-and-get-sax-input day (You, Jay Metcalf, Nigel McGill, Sir Valor Sax, Jeff Antoniuk, Scott Paddock, Chad LB and Learn Jazz Standards). Tomorrow I will put it all into practice (wishful thinking) - I will actually go play in the park (busking) tomorrow, taking advantage of the unseasonably warm weather.
Hello everyone am I the only one who can't find the download link?
Congrats Doc from Italy!
👍Can’t wait for the Lou Donaldson stuff..
I have about 5 hours of Lou recordings doing standards and some of his own tunes, and have been ear training on alto with that stuff. I’m getting good (or better lol) with most of the melodies, but I mostly crash and burn on solos! 😩 (and Blues Walk is relatively easy theoretically 🤯).
As I'm sure you're discovering, it's much more than the notes he's playing - it's the WAY he's playing them! Such an amazing album!
@@drwallysax Yes Dr. Wally! definitely.. even some of the fingerings and the embouchure changes, etc. there’s a lot going on there, but it’s great stuff.
I love it🎷🥳
Modal Egg first! Thx Dr. W; I'm first AGAIN, of course.
Quick reflexes...should make your scales snappy! Have a great weekend!
do you live on youtube?
Hahaha...
Kind of Blue was recorded and released in 1959.
that's what the big vinyl lobby wants you to believe.
Awesome as always! I am a new trumpet player that has really gotten into jazz by watching your videos… I wish I had a special button to raise my octaves… By the way, what key would this be in for Trumpet language?
Hey Micah, I'm playing in Eb - so the A-dorian would be D-dorian in Bb (trumpet and tenor saxophone). Have a great weekend!
Hi Dr Wally - Just blowing along with the tenor solo I found that the transcription and the recording are a 5th apart. The audio is over B-7 initially and the transcription has it in F#-7. Any reason for this ?
Hello Dr Wally, not to change the topic, but what happened to the follow up on the Courant from Bach's first cello suite?
next month - articulation video! We have more classical studies coming as well!
Thank you, Wally! Love this. 🎷❤️🙏
Most welcome, Sabrina. Glad it's helpful!
Great information. I tend to get tangled up in chords while trying to improvise. There's way more going on with a chord than 1-3-5-7. There's inversions, articulations, rhythms, and of course Dr. Wally comes on and throws in syncopation. I might not be able to go practice right now but I can listen to the videos while away from my horn.
Good observation. We cannot consciously be thinking about any of this when we improvise, but recreate and "feel" it while playing. Then it becomes, eventually, a natural expression. Lifelong journey to be sure.
Have a great weekend, Noah!
I've been looking at Miles Davis's solo on So What as modal inspiration, and what I find impossible is coming in at the right time after the long rests. There's so much space!
Oh my god, yes. It's a masterclass in balance. Keep at it, use the force George!
If understand this, playing this way allows everyone to sound exactly the same. And isn't that the reason for playing jazz?
Not quite. The goal of studying modes, chord/scale theory, syncopation etc is to allow everyone to speak the same musical language. This way, everyone on the bandstand will have a common framework to express ideas. Jazz education is not about teaching everyone to play exactly the same as everyone else; it’s about teaching everyone a common musical vocabulary as a starting point so that uniquely new collective improvisations can take place in that language.
That’s like saying learning the rules of English grammar made James Joyce and John Steinbeck exactly the same!
Learning and mastering the inherited traditions of music theory is actually the surest (and least lazy) path to originality.
@@spankypdx That's like saying that counting the sesame seeds on a Wendy's bun compared to a McDonalds bun makes a difference. They all just hamburgers.
I understand what you're trying t justify, but the results speak for themselves. Today virtually everyone sounds the same. In jazz (they all sound like the pioneers of their instruments), in rock (everybody shreds the same as their influences as well as having the same hair length), and country (all the instruments are interchangeable in sound).
@@rockwellmath It's more like learning to write exactly like them. Understand, I'm not disparaging rules and theory, but the end result is that musicians today are lazy and parrot back what they think people want to hear in jazz.
👍🏽🎵🎶🎷
Bedst altotone I ever heard.
well you just made my day :)
Have a great weekend Olaf - and GO PRACTICE!
flat DDDDDD ed
it's called microtonality, get hip grandpa