Great tutorial, again, Scott! Always pragmatic, methodical and concise. I've said it before and I'll keep saying it ... You're a very good music/sax teacher. Fantastic!
@@aljerones99 The funny thing about Autumn Leaves is that it doesn't really shift tonal centers that much (except a little bit at the end) most of the tune is just transitioning back and forth between relative major & minor. Both are great tunes!
Love the idea of chord tone solos - I've heard of playing a solo using chord tones but you seem to have put it in a different context (or the penny's just dropped). Creating phrases within the bar just using the chord tones that flow into the next bar/phrase.... so obvious but up until now it hadn't clicked.
Yeah, and the more you work on chord tone solos, the more you will start to recognize chord changes and hear smooth voice leading between the chords. It's a great exercise!
That Bm7 E7 cadence has as much relationship to F as A. (Pivoting V7/iii -> III.) Threw me off sonically for a long time, so I’m putting it out there. Likewise, sixth arpeggios deserve attention for use with tonic major and minor. Great content as usual. Cheers, Daniel
Hey Daniel, Hmmm, I always just think of it as a 251 in A and never really thought about its relation to F. I think of the Bb as the transition chord that easily leads to the B-7.
@@ScottPaddock Yeah, it functions both ways, more or less depending on how one hears it. Pivot on the IV versus pivot on the V7/iii. I was mystified for many years by changes that sounded abrupt in one way or another (to me), and it was a bit of an epiphany when the secondary dominant functions started popping out at me. Partially due to my limitations, and partially due to influence by other educators, I tend not to break down V7s into ii-V7s unless harmonic rhythm of a tune specifically demands it. Getting that Mixolydian b9b13 sound in there doesn't help the beginner focused on key centers, but it helped me make more sense of the change and chord-scale choices I'd been taught. And please pardon the pedantic guitarist chiming in. ;-)
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Great tutorial, again, Scott! Always pragmatic, methodical and concise. I've said it before and I'll keep saying it ... You're a very good music/sax teacher. Fantastic!
BTW ... I have been working on "Autumn Leaves" and "Misty". This is a great method that I need to focus more on!
@@aljerones99 The funny thing about Autumn Leaves is that it doesn't really shift tonal centers that much (except a little bit at the end) most of the tune is just transitioning back and forth between relative major & minor. Both are great tunes!
One of your best improv instruction videos yet. Thank you, Scott! Great job!
Bang on! I’m working on In Walked Bud, and using this approach. Many thanks for another great tutorial 🎷🤩
One of the most unique tone out there.. I really love your teachings Scott.. You really helped me alot 1 year ago til now..
Beautiful information
Great Thanks 🙏
You did it again. This is another helpful and practical phrasing lesson. Thank you!
Awesome thanks
Nice lesson Scott. That gives me great ideas to practice. Thanks.
This is super helpful! Thanks Scott! 🙏🏼
Glad you it helped!
Thanks Scott~
Nice step by step way to progress in learning to improvise. Good examples!
Yeah, I've always found that if you can figure out an easy way to organize it, it becomes a lot easier to learn.
Great tutorial!!!
Thanks!
Thanks Scott. Once again an excellent lesson in a nutshell from a very experienced teacher. I'm always looking forward to your new tutorials.
Awesome lesson Scott!
Thanks!
Another top quality video Scott- excellent stuff cheers
Thank you!
Love the idea of chord tone solos - I've heard of playing a solo using chord tones but you seem to have put it in a different context (or the penny's just dropped). Creating phrases within the bar just using the chord tones that flow into the next bar/phrase.... so obvious but up until now it hadn't clicked.
Yeah, and the more you work on chord tone solos, the more you will start to recognize chord changes and hear smooth voice leading between the chords. It's a great exercise!
That Bm7 E7 cadence has as much relationship to F as A. (Pivoting V7/iii -> III.) Threw me off sonically for a long time, so I’m putting it out there. Likewise, sixth arpeggios deserve attention for use with tonic major and minor. Great content as usual. Cheers, Daniel
Hey Daniel, Hmmm, I always just think of it as a 251 in A and never really thought about its relation to F. I think of the Bb as the transition chord that easily leads to the B-7.
@@ScottPaddock Yeah, it functions both ways, more or less depending on how one hears it. Pivot on the IV versus pivot on the V7/iii.
I was mystified for many years by changes that sounded abrupt in one way or another (to me), and it was a bit of an epiphany when the secondary dominant functions started popping out at me.
Partially due to my limitations, and partially due to influence by other educators, I tend not to break down V7s into ii-V7s unless harmonic rhythm of a tune specifically demands it. Getting that Mixolydian b9b13 sound in there doesn't help the beginner focused on key centers, but it helped me make more sense of the change and chord-scale choices I'd been taught.
And please pardon the pedantic guitarist chiming in. ;-)
What microphone do you use?
👍
😁😁😁
Your tone is so good, it's actually distracts my attention from the lesson