➡NEW: Do you want to become a better soloist/improviser and learn straight from your personal heroes 🎷? Check out our brand new online program "The Authentic Improviser Roadmap" (AIR) here: www.sharpelevenmusic.com/air and discover the 5 crucial steps that all the legends used to become an authentic improviser with an own sound! You'll learn through our new 5-step cycle approach how to connect and integrate all the things important when it comes to improvisation on your instrument (harmony, ear training, mastering your instrument, vision), and the best thing is... it can all be tied to your intrinsic motivation, the blend of players that inspire YOU personally.
Many many thanks!!It's an incredible gift to ear and understand a magic solo that has accompanied my whole life. Your video get inside the music and make me discover all its beauty. Thanks again.
What is YOUR favorite part? Would love to know guys! 😀 If you are interested in Part I (there is a ton of great lines too!), here is the link: th-cam.com/video/p1CqxULsE3I/w-d-xo.html And the sheet music if you like to study this solo: www.musicnotes.com/l/HG6m4
@@SharpElevenMusic you know what? Now I have a soprano and I enjoy your analysis all the more! One part I particularly enjoy is the A#, B#, C# in the double time solo. BTW thanks for your Roxanne transcription too, another fantastic Marsalis moment 🥰
Nice to hear Eric! Which soprano did you get? It's such a fun instrument, but it isn't used nearly enough imo, so not too much stuff to be found. Always loved Branford and Eric Marienthals sound, the few recordings of Brecker on soprano do also blow my mind... I just wished he had played it more
Hey Jorre. Such a great tune and analysis you did!!! Your enthusiasm is infectious!!! Beautiful soprano concept by you and Branford. So relaxed. Thanks as always man. Love and much respect. Cy in Salt Lake City, Utah, USA 🇺🇸 Belgium 🇧🇪
First, thank you for the brilliant analysis and talented playing. It is nice to know that in 1985, Sting seek out several of the best young jazz musicians to tour along with Bradford like pianist and good friend of Bradford, Kenny Kirkland and later on with weather Report fantastic drummer Omar Hakim. You have a new subscriber.
One of my favorite Sting songs You should analyze Branford’s other solo on “Children’s Crusade” from Sting’s “Bring on the Night” album. Such an great solo as well.
Don't know that particular one actually, but checked out the Bring On The Night documentary/concert that is here on TH-cam, that's truely pop at it's highest intensity! Transcribed the "Driven To Tears" solo by Branford from that session as well. Thanks for the input, definitely gonna check it out more again
Thank you very much for your analysis. Mister Marsalis plays divinely well on this piece, with the resumption of the theme in counterpoint of Sting, and all the sensitivity that is his. Thanks again to you for this video. I have a question: which soprano saxophone do you play? And with what mouthpiece? I know the instrument is only part of the final sound, but I find you are very close to the sound of Marsalis.
Hi Josselin, thanks for you very kind comment! I play a Selmer Super Session mouthpiece, not sure which opening though because overtime it became unreadable... (it was the largest one available in the shop, I think it was opening G). Never even considered other mouthpieces, which could be great as well, but I just love that I have a mouthpiece that I like and i am quite big on consistency. So I'm playing it 14 years straight now and no need to check others if you feel great with your mouthpiece. And the soprano sax is a Yamaha Custom Z, unlacquered. Bought it 3 or 4 years ago, and it's an amazing instrument. Soundwise, intonation wise, mechanical speaking, price/quality. checked out a lot of brands back then, only Yanagisawa came close I'd say, Selmer was a huge problem for me. Always loved the sounds of Branford, Eric Marienthal and Michael Brecker (those rare recordings there are of him playing soprano), so your remark about getting close to Branfords sound is hugely appreciated!
@@SharpElevenMusic Really enjoying your channel this year, by the way, as a Holdsworth fan especially! I have one transcription video of my own so far, Allan Holdsworth's Ruhkukah, and am currently working on two more transcriptions to post.
@@reubennb2859 Thanks man! Cool you're transcribing yourself some Holdsworth! Putting in the work yourself always gives you a lot more than reading the transcriptions, although that has it's value too. Keep on going!
thanks so much for your analysis, fine playing and advices.. I'm playing (or trying to) a Yamaha Custom soprano too with a Selmer Concept mouthpiece, so my setup is near from yours (but not at all my playing) I'm especially struggling to find a nice vibrato like yours.. would you have an advice in terms of practicing on this particular point ?.. Once again, thanks a lot for all your nice work..
I think a vibrato can only start sounding well once your airstream/support is steady, that's the foundation to build on. Then start with listening to the vibrato's you like, cause there is so much difference and expression to be found in one. For exame, does it start right from the start, or perharps after 1/4 of the note lenght. Or perhaps the tail end (that's pretty old school). How deep is the amplitude, shallow or big? How fast is the vibrato? etc etc. Hope this helps, it takes some time to experiment where you find your voice with it /Jorre
Hi man, sure I can. Although I would credit setup of the mouthpiece and sax brand (and also reeds) for maximum 20 - 25% of the sound... It just needs to feel nice, play comfortable, and intonate well (or at least, it should be adjustable to a good intonation, because you always will have to do alot of the work yourself) That being said, I love how both the soprano feels superb and the mouthpiece I have for 12 years now to. Never ever felt the need to try other brands, because I love this one! Mouthpiece: Selmer Super Session; opening "G" (I believe, not totally sure, could also be 'H', but the place where it was carved onto the mouthpiece isn't readable anymore) Saxophone: Yamaha Custom Z, unlacquered. Hope it helps a bit, do you play soprano yourself?
@@SharpElevenMusic thank you very much for your time.Yes I have been playing for 6 months now.I have started with an Aerophone.It helped me a lot on fingerings but not the embochure.I am comfortable with Aerophone.Playing soprano sax is not as easy as playing Aerophone.I am trying some reeds and mouthpieces to have a comfortable airflow .thanks again
@@Caglarsax Sure! That's great! You defeintely need good gear, so once you did all the testing and decided on what you want as a setup, go for it and also give it time to develop. At leaaaast a year before you walk into any store again to test mouthpieces etc. (I'd rather say actually 2 - 3 years to really get to know the setup). It takes time to get to know your setup, which notes might intonate bit high or low, where there might be more resistance on the horn you have to compensate, ... Soprano I find by far the hardest saxophone (I play soprano, alto, tenor and bari), because of the fluctuation in intonation, and it's a more intense mouthpiece. Anyways, just my few cents, have fun playing soprano! And if you're doubting which mouthpiece to take in the end, I would always go with the mouthpiece that feels the most comfortable to play. Indeed, go for the best airflow you can, and your sound will be the best it can :)
@@SharpElevenMusic thank you very much for your advises.mostly the embochure is the hardest part for me. I hope i learn this asap.thanks again and good luck 👍
➡NEW: Do you want to become a better soloist/improviser and learn straight from your personal heroes 🎷? Check out our brand new online program "The Authentic Improviser Roadmap" (AIR) here: www.sharpelevenmusic.com/air and discover the 5 crucial steps that all the legends used to become an authentic improviser with an own sound!
You'll learn through our new 5-step cycle approach how to connect and integrate all the things important when it comes to improvisation on your instrument (harmony, ear training, mastering your instrument, vision), and the best thing is... it can all be tied to your intrinsic motivation, the blend of players that inspire YOU personally.
❤Very Amazing analysis and breakdown. Even to this day that soprano playing stands the test of time as it approaches 40 years of age!
Your passion and love for the instrument really transpires in this video more than any other one imho! Thank you so much
A lovely video! So nice to hear someone talks so passionate about this great music!! Interesting too with the analysis. Thanks!!
One of the most underrated songs in Sting's catalogue. Always loved that solo and the entire airy feel the piece portrays.
I really enjoyed your analysis.
Thanks Gerard!
Many many thanks!!It's an incredible gift to ear and understand a magic solo that has accompanied my whole life. Your video get inside the music and make me discover all its beauty. Thanks again.
Thanks Luciano, I'm glad you like it! One of the most inspiring solo's since I was a kid to me
Man, I tell you, I LOVE what you do!!!
Haha, thanks Shawn! :D
Excellent look at a class tune & sublime sax accompaniment.
Thanks Andrew
What is YOUR favorite part? Would love to know guys! 😀
If you are interested in Part I (there is a ton of great lines too!), here is the link: th-cam.com/video/p1CqxULsE3I/w-d-xo.html
And the sheet music if you like to study this solo: www.musicnotes.com/l/HG6m4
Thank you for this in depth analysis. I've always loved that solo, it's out of this world. Now I really want to buy a soprano 😊
Haha, go for it if you can, it's so much Fun! Won't get you playing gigs though 😂
@@SharpElevenMusic you know what? Now I have a soprano and I enjoy your analysis all the more! One part I particularly enjoy is the A#, B#, C# in the double time solo. BTW thanks for your Roxanne transcription too, another fantastic Marsalis moment 🥰
Nice to hear Eric! Which soprano did you get? It's such a fun instrument, but it isn't used nearly enough imo, so not too much stuff to be found. Always loved Branford and Eric Marienthals sound, the few recordings of Brecker on soprano do also blow my mind... I just wished he had played it more
@@SharpElevenMusic I was very lucky to be get a Yani SCO20 (curved) so the sound is fantastic ☺
Nice!
Hey Jorre. Such a great tune and analysis you did!!! Your enthusiasm is infectious!!! Beautiful soprano concept by you and Branford. So relaxed. Thanks as always man. Love and much respect. Cy in Salt Lake City, Utah, USA 🇺🇸 Belgium 🇧🇪
First, thank you for the brilliant analysis and talented playing. It is nice to know that in 1985, Sting seek out several of the best young jazz musicians to tour along with Bradford like pianist and good friend of Bradford, Kenny Kirkland and later on with weather Report fantastic drummer Omar Hakim. You have a new subscriber.
One of my favorite Sting songs
You should analyze Branford’s other solo on “Children’s Crusade” from Sting’s “Bring on the Night” album. Such an great solo as well.
Don't know that particular one actually, but checked out the Bring On The Night documentary/concert that is here on TH-cam, that's truely pop at it's highest intensity! Transcribed the "Driven To Tears" solo by Branford from that session as well. Thanks for the input, definitely gonna check it out more again
Such a fine, lovely video. Thanks for both parts. Love your work.
Thanks for letting know you liked it Tobias, much appreciated!
I love you I do ! Thank you !
Bravo!!
Thank you very much for your analysis. Mister Marsalis plays divinely well on this piece, with the resumption of the theme in counterpoint of Sting, and all the sensitivity that is his. Thanks again to you for this video. I have a question: which soprano saxophone do you play? And with what mouthpiece? I know the instrument is only part of the final sound, but I find you are very close to the sound of Marsalis.
Hi Josselin, thanks for you very kind comment! I play a Selmer Super Session mouthpiece, not sure which opening though because overtime it became unreadable... (it was the largest one available in the shop, I think it was opening G). Never even considered other mouthpieces, which could be great as well, but I just love that I have a mouthpiece that I like and i am quite big on consistency. So I'm playing it 14 years straight now and no need to check others if you feel great with your mouthpiece.
And the soprano sax is a Yamaha Custom Z, unlacquered. Bought it 3 or 4 years ago, and it's an amazing instrument. Soundwise, intonation wise, mechanical speaking, price/quality. checked out a lot of brands back then, only Yanagisawa came close I'd say, Selmer was a huge problem for me.
Always loved the sounds of Branford, Eric Marienthal and Michael Brecker (those rare recordings there are of him playing soprano), so your remark about getting close to Branfords sound is hugely appreciated!
@@SharpElevenMusic Thanks a lot for your answer !
It's a fun section to improvise over on guitar. I've learnt some of the sax licks too.
absolutely! Fun chord progression, keeps it really open
@@SharpElevenMusic Really enjoying your channel this year, by the way, as a Holdsworth fan especially! I have one transcription video of my own so far, Allan Holdsworth's Ruhkukah, and am currently working on two more transcriptions to post.
@@reubennb2859 Thanks man! Cool you're transcribing yourself some Holdsworth! Putting in the work yourself always gives you a lot more than reading the transcriptions, although that has it's value too. Keep on going!
thanks so much for your analysis, fine playing and advices.. I'm playing (or trying to) a Yamaha Custom soprano too with a Selmer Concept mouthpiece, so my setup is near from yours (but not at all my playing)
I'm especially struggling to find a nice vibrato like yours.. would you have an advice in terms of practicing on this particular point ?..
Once again, thanks a lot for all your nice work..
I think a vibrato can only start sounding well once your airstream/support is steady, that's the foundation to build on. Then start with listening to the vibrato's you like, cause there is so much difference and expression to be found in one. For exame, does it start right from the start, or perharps after 1/4 of the note lenght. Or perhaps the tail end (that's pretty old school). How deep is the amplitude, shallow or big? How fast is the vibrato? etc etc.
Hope this helps, it takes some time to experiment where you find your voice with it
/Jorre
I LOVE 7:48
That was "The lick" in a minor key. Almost a Freudian slip
try Mad about you (featuring Sting and Branford)
transcribe the flute solo In Christian Scott's sunrise in Beijing its really dope
Hi Nathan, don't know it, bit Will definitely check it out!
Hi can you please tell me what setup are you using?your sax sounds cool.
Hi man, sure I can. Although I would credit setup of the mouthpiece and sax brand (and also reeds) for maximum 20 - 25% of the sound... It just needs to feel nice, play comfortable, and intonate well (or at least, it should be adjustable to a good intonation, because you always will have to do alot of the work yourself)
That being said, I love how both the soprano feels superb and the mouthpiece I have for 12 years now to. Never ever felt the need to try other brands, because I love this one!
Mouthpiece: Selmer Super Session; opening "G" (I believe, not totally sure, could also be 'H', but the place where it was carved onto the mouthpiece isn't readable anymore)
Saxophone: Yamaha Custom Z, unlacquered.
Hope it helps a bit, do you play soprano yourself?
@@SharpElevenMusic thank you very much for your time.Yes I have been playing for 6 months now.I have started with an Aerophone.It helped me a lot on fingerings but not the embochure.I am comfortable with Aerophone.Playing soprano sax is not as easy as playing Aerophone.I am trying some reeds and mouthpieces to have a comfortable airflow .thanks again
@@Caglarsax Sure! That's great! You defeintely need good gear, so once you did all the testing and decided on what you want as a setup, go for it and also give it time to develop. At leaaaast a year before you walk into any store again to test mouthpieces etc. (I'd rather say actually 2 - 3 years to really get to know the setup). It takes time to get to know your setup, which notes might intonate bit high or low, where there might be more resistance on the horn you have to compensate, ... Soprano I find by far the hardest saxophone (I play soprano, alto, tenor and bari), because of the fluctuation in intonation, and it's a more intense mouthpiece.
Anyways, just my few cents, have fun playing soprano! And if you're doubting which mouthpiece to take in the end, I would always go with the mouthpiece that feels the most comfortable to play. Indeed, go for the best airflow you can, and your sound will be the best it can :)
@@SharpElevenMusic thank you very much for your advises.mostly the embochure is the hardest part for me. I hope i learn this asap.thanks again and good luck 👍