@@JoelPurnell Thanks for your superb demonstration! The concept of using both the major and minor pentatonic as well as the 6th intervals is really constructive when it comes to improvisation. We owe you once for barring you from entering. We need you very much as an instructor, hope you can understand. Cheers😁
Joel your solo at the end is insane !! ⭐️Love you playing the blues !!! Great instructional tips of how you do this ! Amazing and thanks ! Don’t enter what ever you do - or no one else will stand a chance 😂!!
Thanks for giving us a wonderful instruction. It's very practical and informative. We'd like to take the chance and let people know that, we will try our best to be fair and avoid conflicts of interest. In this case, the submissions from our collaborating musicians will not be taken as eligible. They won't compete for the prize either. We hope people will enjoy the backing that we've made and give it a try. Cheers
Very useful. Will try all that. Recently noticed the sixth, so something to practice there. Enjoyed listening to the solos. Good to hear how complicated sounding stuff can be from basics.
I am so embarrassed to say that I have been a member of McGill Sax School for a while and I have not been to class. I feel quite dumb wondering how to do a lot of things only by ear, if I had been going to sax classes I would know by now! Especially that there is a major and a minor blues scale. I knew there was a major and minor pentatonic scale, however this is my first time hearing about the major and minor blues scale shame on me! Well I'm gonna say better late than never stop beating myself up and get busy and go to my McGill Sax classes since they are already paid for!!!
Joel, thanks for this lesson. I'm trying to apply it. When you are playing the CMaj Blues vs Amin blues - how do you "play" the distinction since the Amin blues contains the CMaj Blues - this where I get lost Do you consciously start and end on a "C" (for CMaj Blues) and start and end on "A" for (amin blues) in order to contrast the different interval relationships? Otherwise - I'm just back to playing an Amin Blues...... on the C (Bb maj concert)
Thanks. Try not to get grounded on start points or scale names if you can. Think about it across the full range of your instrument. Whether you think of it as C major Blues (or A minor blues), and the other as C minor Blues (or Eb major blues) really doesn’t matter technically, it’s just a series of notes. That said, the piece is in C for Tenor, so that is the ‘home’ note for both scales, hence why I discuss them both as C scales rather that their alternative names. So in answer to your question, the key of the piece dictates whether is sounds like C major / A minor blues. Hope that helps! Best wishes. Joel. 👍🏼
So for those of us who aren't that adept on using the scales and/or "blues words" on-the-fly, do you suggest writing out the notes we plan to play first? My biggest issue what and how to play them when there are two or more chord changes in a single bar. Thanks.
It’s definitely not a bad place to start. Never be afraid to make notes on your charts! Then slowly, one at a time, remove them, until they are internalised. Then write some more! Many great player are renowned for writing out potential solo ideas, so if it’s good enough for them, it’s good enough for us! 👍🏼
Hi. No, generally just the key centre blues scale is applied generically to the whole blues progression, though obviously you can do that if you like. Hope that helps! 👍🏼
another good lesson! With some of the same ideas I use for my students.. The most difficult part however for me is to explain the phrasing and the timing of the lines... I guess it is just a matter of listening a lot of good records.. Do you have any thoughts on that?
Thanks! Yes, lots of listening is definitely the key to internalising great phrasing and rhythmic ideas. From a specific blues perspective, a much heavier use of quaver (8th note) triplet ideas really adds to the authenticity, style and phrasing, but just as importantly, when playing the blues, a good dose of melancholic / semi-aggressive attitude goes a long way! Frame of mind is key. Hope that helps! 👍🏼
Joel, with that solo at the end you just won the Cloud Vocal Challenge! Thanks for the lesson.
Ha! Thanks Corey. I’m barred from entering unfortunately! Hope you’re well. Joel. 👍🏼
@@JoelPurnell Thanks for your superb demonstration! The concept of using both the major and minor pentatonic as well as the 6th intervals is really constructive when it comes to improvisation. We owe you once for barring you from entering. We need you very much as an instructor, hope you can understand.
Cheers😁
@@cloudvocalproductsupportte7707 Of course! I was just joking! 😂 My pleasure! Best wishes. Joel. 👍🏼
Great instruction. No fancy 'must know' licks, just great advise on how to use your scales effectively.
Wish I'd known this years ago.
Thank you.
Thanks! Glad to help. Best wishes. Joel. 👍🏼
Thank you so much! I really like the major blues stuff you did. Fantastic Player!
Thanks! 👍🏼
Joel your solo at the end is insane !! ⭐️Love you playing the blues !!! Great instructional tips of how you do this ! Amazing and thanks ! Don’t enter what ever you do - or no one else will stand a chance 😂!!
Thanks Andi! No, don’t worry, I won’t enter, I’ll just leave it to you pros!! 😉 Hope you’re well. Joel.
😂eh … I guess I’ve a bit of work to do then 😳😉
Thanks for giving us a wonderful instruction. It's very practical and informative. We'd like to take the chance and let people know that, we will try our best to be fair and avoid conflicts of interest. In this case, the submissions from our collaborating musicians will not be taken as eligible. They won't compete for the prize either. We hope people will enjoy the backing that we've made and give it a try.
Cheers
Exactly as it should be!! Great backing track by the way! Good fun! 👍🏼
Thank you Great Instruction
No problem! 👍🏼
u r the best..thak u very much..i also love ur album..the joel purnell quartet...u r great...💚
Thanks! 👍🏼
Great lesson! I’m a guitar player. That octave key on the sax is stink face city.
Very useful. Will try all that. Recently noticed the sixth, so something to practice there. Enjoyed listening to the solos. Good to hear how complicated sounding stuff can be from basics.
Thanks! Yes, keeping ideas simple allows you more time to be creative. It’s not what you’ve got, it’s what you do with it! Best wishes. Joel. 👍🏼
Thank you very much - very well explained and clearly presented. Great saxophone sound!
Thanks! 👍🏼
Joel is the man ! Greets from 🇩🇪
Great course, great ideas. Looks so simple
Thank yuo 👍grazie
Joel ...ottimo sax tenore ottimo blues
Grazie! Lieto di aiutarla. 👍🏼
I like that you make the concepts simple to hear explained I've been playing sax 22 years and I enjoy this teaching style. Be blessed yall!
Thanks! 👍🏼
Always enjoyed Wilton Felders solos, in the Jazz Crusaders - you've just given me an insight into some of his trademark intervals...😉 nice, thanks !
Great lesson, great sax playing
Wow, some awesome playing there. I won't ever reach that level, even if I practice for the rest of my life. well done.🙂
Thanks! Never say never!! Practice, practice, practice! Hope you’re well. Joel. 👍🏼
So valuable! Thank you, sir.
Excellent video. Thanks for the suggestions!
Thanks! No problem. 👍🏼
Excelente muchas gracias, suena realmente muy bien
Thanks! 👍🏼
Nice piece
Thanks! 👍🏼
I am so embarrassed to say that I have been a member of McGill Sax School for a while and I have not been to class. I feel quite dumb wondering how to do a lot of things only by ear, if I had been going to sax classes I would know by now! Especially that there is a major and a minor blues scale. I knew there was a major and minor pentatonic scale, however this is my first time hearing about the major and minor blues scale shame on me! Well I'm gonna say better late than never stop beating myself up and get busy and go to my McGill Sax classes since they are already paid for!!!
We are here to help you Duane. Just shoot us a message inside the member area if you need help finding any of the lessons.
Joel, thanks for this lesson. I'm trying to apply it. When you are playing the CMaj Blues vs Amin blues - how do you "play" the distinction since the Amin blues contains the CMaj Blues - this where I get lost Do you consciously start and end on a "C" (for CMaj Blues) and start and end on "A" for (amin blues) in order to contrast the different interval relationships? Otherwise - I'm just back to playing an Amin Blues...... on the C (Bb maj concert)
Thanks. Try not to get grounded on start points or scale names if you can. Think about it across the full range of your instrument. Whether you think of it as C major Blues (or A minor blues), and the other as C minor Blues (or Eb major blues) really doesn’t matter technically, it’s just a series of notes. That said, the piece is in C for Tenor, so that is the ‘home’ note for both scales, hence why I discuss them both as C scales rather that their alternative names. So in answer to your question, the key of the piece dictates whether is sounds like C major / A minor blues. Hope that helps! Best wishes. Joel. 👍🏼
So for those of us who aren't that adept on using the scales and/or "blues words" on-the-fly, do you suggest writing out the notes we plan to play first? My biggest issue what and how to play them when there are two or more chord changes in a single bar. Thanks.
It’s definitely not a bad place to start. Never be afraid to make notes on your charts! Then slowly, one at a time, remove them, until they are internalised. Then write some more! Many great player are renowned for writing out potential solo ideas, so if it’s good enough for them, it’s good enough for us! 👍🏼
@@JoelPurnell Thank you sir!
Hi Joel... The theory says o nly to play de Major blues scale in the corresponding chord... Isn't ir?
Hi. No, generally just the key centre blues scale is applied generically to the whole blues progression, though obviously you can do that if you like. Hope that helps! 👍🏼
Ok, I'll try
Thanks
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another good lesson! With some of the same ideas I use for my students..
The most difficult part however for me is to explain the phrasing and the timing of the lines...
I guess it is just a matter of listening a lot of good records..
Do you have any thoughts on that?
Thanks! Yes, lots of listening is definitely the key to internalising great phrasing and rhythmic ideas. From a specific blues perspective, a much heavier use of quaver (8th note) triplet ideas really adds to the authenticity, style and phrasing, but just as importantly, when playing the blues, a good dose of melancholic / semi-aggressive attitude goes a long way! Frame of mind is key. Hope that helps! 👍🏼
tanx !!
@@JoelPurnell