This weekend use coupon code "JLV50" for $50 off a Full Access Pass to the Virtual Saxophone Workshop! www.jazzlessonvideos.com/virtualsaxophoneworkshop For an instant download of the "50 Major ii-V-I Phrases" PDF Package: www.jazzlessonvideos.com/pdf-packages?Collection=Phrases+Combo+Package Chad LB plays a Nexus One prototype saxophone and mouthpiece. For more information, visit www.nexussax.com Chad LB Text Lessons Studio at Capacity! Sign up for the Waitlist at www.jazzlessonvideos.com/text-lessons Download the Melodic Cells PDF Package at www.jazzlessonvideos.com/pdf-packages?Collection=Modern+Combo+Package Tour dates: www.chadlb.com/shows
@Chad LB Great lesson Have you seen this?: Allan Holdsworth Solo Cover - Zarabeth on Sax & Guitar Playthrough Sharp Eleven Music Maybe you could do a video on this Holdsworth approach which has some difference from modern Michael Brecker or Coltrane influenced players. It's rare to hear a sax player play some of these Holdsworth lines. There are many videos on how to play like Holdsworth for guitar. Also Tigran Hamasyan, some of his line. What can we learn as sax players from some of these cutting edge other instruments? Also I would have thought Michael Brecker, Charlie Parker, John Coltrane. Yes Brecker is very Coltrane influenced but I'm not sure about this, is there something in this Brecker riff something Coltrane wouldn't do? Of course one might argue Coltane has been dead for 54 years so it's quite conservative to play like him now although there is nothing wrong with that. It's been done to death of course, and interesting variation on this is to transcribe some McCoy Tyner runs to saxophone because he doesn't do exactly what Coltrane might do, yet sax players might not have realized the possibilities there to play them on sax (or trumpet)
@@luisdavidbonillamusic vi tu canal y tocas rebien! Yo compre el approach notes y si me abrió el panorama para estudiar escalas con cromatismos. Estos 3 ejemplos que da Chad son una joya de info para aplicar en nuestras líneas.
@Mexicandro gracias mil por ese elogio. Y por el dato, yo he visto varios videos de Chad pero ya quisiera formalizar un poco...eso que dices de los 3 approaches lo voy a checar y de pronto me decido por ahí. Saludos!
Hi Chad! I 've bought several of your masterclasses. I am currently transcribing a whole solo and wondering if you recommend to practice the phrases isolated chord by chord or rather the entire phrases over the chord progressions that make the tune.
Is the tri-tone substitution that Brecker uses on the minor 2 (if I’m correct) typically a minor 7 chord? Or can it be a dominant 7 chord if you wanted to, giving you that 13th or 6th of the V chord? Or is the tri-tone substitution in a ii - v progression always a minor 7th?
@@freshpansen6313 yes. I realized that he’s doing a tritone substitution on the minor 7th so it only makes that it should be a B minor7, and not a B7. My badd.
@@theteetones look at it this way to better understand it: a ii - V progression is a unit that consists of a minor chord on the second degree and the dominant. as told in the video one simplification method for soloing is either 1) you play a V7 over both ii and V or 2) iim7 over both ii and V as Lester Young. Now let's apply that to the key of Eb. The tritone-sub for the dominant Bb7 would be E7. If you put a ii before the subV that would make Bm7 to E7 (then resolving to Eb). And now doing the 'Lester Young' trick, you simply just play Bm7 over the tritone-subbed ii - V unit. Really hip.
Do you have any PDF that focuses on Swing language, or technique, approaches? Lester Young’s playing seems the most different compared to Brecker and Parker, even though it’s only diatonic. And the triplet thing seems unique too.
his influences extended far beyond bird, if you had to pick one i think it would maybe be coltrane but he seriously took from a lot of others and also apparently he was influenced by a lot of guitarists as well
brecker is not outlining B minor 7. hes running a short Bb altered chromatic line. starting from the F#, he's playing: #5, 3>chromatic down to>b9 over that Bb7 and then uses the tail end of that to enclose the 5 of the tonic. i understand that in reality he is outlining a B minor, but i can almost 100% guarantee he was just using a little Bb alt cell because there are many instances where he uses that same cell within a longer altered line
At 3:25, why do you say that Lester is ignoring the V chord? He plays 9,1,7,5 descending (then the 6 anticipates the root for the I chord) in the second bar. That seems like A7 to me. If anything, it looks like he’s either ignoring the II chord entirely or playing the first bar as II-V and then extending the V chord through the second bar. Yes, he doesn’t play the C# to fully bring out the A7, but he doesn’t ignore enough it to make that argument in my opinion. I’m not trying to be rude; I’m just a little confused.
It is a fair point. Let's look at the beats 1,2,3,4. In A7 that's 9, 7, 5 and 6. Ok, in the chord, fair. But it is also 5,3,1, and 7 of Emin. Lester also approaches the B simply walking up the scale of Emin. For me, if I play that lick with nothing behind it, it simply sounds like an Em phrase, in large part (I think) because the 7th of the Emin chord never plays note that it would lead to in A7, the C#. But you are raising the point that the minor 7th (Em) and dominant 7th (A7) duality is a really cool thing to play with.
@@jomajor8485 that makes sense, although I feel like it can really go either way. I feel like the best description for what he’s doing is just thinking either the chords with extensions or overall key. I’m not sure it’s clear enough to be worth discussing. I think that if he played the 4 of the V7 it’d make it clear that he’s implying the II (just like how playing the C# over the A7 would make the V really clear).
You have a fair point but the way I see chords and remember them is that they all have a note that makes it stand out from others. For me, when I differentiate Eminor and A7 it’s def the C# that highlights the A7 for me and makes it sound like a A7 chord rather than a Amin. It can probably go either way but for me it’s more leaning towards Lester just bringing out that full minor sound from the E minor and avoid going that C# to really bring out the chord
This weekend use coupon code "JLV50" for $50 off a Full Access Pass to the Virtual Saxophone Workshop! www.jazzlessonvideos.com/virtualsaxophoneworkshop
For an instant download of the "50 Major ii-V-I Phrases" PDF Package: www.jazzlessonvideos.com/pdf-packages?Collection=Phrases+Combo+Package
Chad LB plays a Nexus One prototype saxophone and mouthpiece. For more information, visit www.nexussax.com
Chad LB Text Lessons Studio at Capacity! Sign up for the Waitlist at www.jazzlessonvideos.com/text-lessons
Download the Melodic Cells PDF Package at www.jazzlessonvideos.com/pdf-packages?Collection=Modern+Combo+Package
Tour dates: www.chadlb.com/shows
@Chad LB Great lesson
Have you seen this?:
Allan Holdsworth Solo Cover - Zarabeth on Sax & Guitar Playthrough
Sharp Eleven Music
Maybe you could do a video on this Holdsworth approach which has some difference from
modern Michael Brecker or Coltrane influenced players. It's rare to hear a sax player play some of these Holdsworth lines. There are many videos on how to play like Holdsworth for guitar.
Also Tigran Hamasyan, some of his line. What can we learn as sax players from some of these cutting edge other instruments?
Also I would have thought Michael Brecker, Charlie Parker, John Coltrane.
Yes Brecker is very Coltrane influenced but I'm not sure about this, is there something in this Brecker riff something Coltrane wouldn't do?
Of course one might argue Coltane has been dead for 54 years so it's quite conservative to play like him now although there is nothing wrong with that. It's been done to death of course, and interesting variation on this is to transcribe some McCoy Tyner runs to saxophone because he doesn't do exactly what Coltrane might do, yet sax players might not have realized the possibilities there to play them on sax (or trumpet)
Even though I play guitar I’ve learned some of the most jazz harmony from guys like Chad and other horn players.
Sharp 9th!
Love your music
Chad is too good. I just get discouraged, lol
You make me wish I played sax. And your teaching is as great as your playing.
applying all of the ideas to guitar. thanks for the amazing material.
Yo quiero hacer eso, pero no sé por donde empezar...alguna recomendación? Este man tiene demasiados libros. Saludos!
@@luisdavidbonillamusic vi tu canal y tocas rebien! Yo compre el approach notes y si me abrió el panorama para estudiar escalas con cromatismos. Estos 3 ejemplos que da Chad son una joya de info para aplicar en nuestras líneas.
@Mexicandro gracias mil por ese elogio. Y por el dato, yo he visto varios videos de Chad pero ya quisiera formalizar un poco...eso que dices de los 3 approaches lo voy a checar y de pronto me decido por ahí. Saludos!
Great content! If you want to hear these phrases, skip to 18:00
Great insights. Love the comparison in the same key. Thx for sharing Chad.
As always gets me itching to get back to my horn. Thanks Chad, keep it coming mate
Thank you for this. I met you and you were good to me. Blessings, +KCE
Really think this was pedagogically well thought-out. Definitely will pick up some of your pdfs to play through.
Wonderful class Chad! Best regards!
Great stuff!
Such a cool vid!
Nice !
Good videos 🔥🔥🔥
yes
I'm a better guitarist because of you, thanks Chad!
ALWAYS LOVELY 2HEAR U PLAY MAESTRO,TQ
Too complicated for me, but your playing us amazing!
Yeah
Hi Chad!
I 've bought several of your masterclasses. I am currently transcribing a whole solo and wondering if you recommend to practice the phrases isolated chord by chord or rather the entire phrases over the chord progressions that make the tune.
Awesome content... perfectly explained... and perfectly played. The "dislikes" on this video must be from other jealous saxophonists! Lol!
Is the tri-tone substitution that Brecker uses on the minor 2 (if I’m correct) typically a minor 7 chord? Or can it be a dominant 7 chord if you wanted to, giving you that 13th or 6th of the V chord? Or is the tri-tone substitution in a ii - v progression always a minor 7th?
are you referring to the Bm7?
@@freshpansen6313 yes. I realized that he’s doing a tritone substitution on the minor 7th so it only makes that it should be a B minor7, and not a B7. My badd.
@@theteetones look at it this way to better understand it: a ii - V progression is a unit that consists of a minor chord on the second degree and the dominant. as told in the video one simplification method for soloing is either 1) you play a V7 over both ii and V or 2) iim7 over both ii and V as Lester Young.
Now let's apply that to the key of Eb. The tritone-sub for the dominant Bb7 would be E7. If you put a ii before the subV that would make Bm7 to E7 (then resolving to Eb). And now doing the 'Lester Young' trick, you simply just play Bm7 over the tritone-subbed ii - V unit. Really hip.
I'm curious why you perfer to Brecker's sub for Bb7 to be Bm, rather than the normal tritone sub E7.
Maybe because Bm is part of the upper extensions of E7?
Altered Dominant
Do you have any PDF that focuses on Swing language, or technique, approaches? Lester Young’s playing seems the most different compared to Brecker and Parker, even though it’s only diatonic. And the triplet thing seems unique too.
I think the voice leading workshop is the one that best fits your interest.
This makes me curious what Brecker's influences were outside of Bird
his influences extended far beyond bird, if you had to pick one i think it would maybe be coltrane but he seriously took from a lot of others and also apparently he was influenced by a lot of guitarists as well
When are we going to hear your sax on fm radio?
Thank you, Mark! "Quartet Sessions" actually reached #15 on the U.S. Jazz Charts! Stay tuned for the next album, "Open World" this fall!
brecker is not outlining B minor 7. hes running a short Bb altered chromatic line. starting from the F#, he's playing: #5, 3>chromatic down to>b9 over that Bb7 and then uses the tail end of that to enclose the 5 of the tonic. i understand that in reality he is outlining a B minor, but i can almost 100% guarantee he was just using a little Bb alt cell because there are many instances where he uses that same cell within a longer altered line
7th
At 3:25, why do you say that Lester is ignoring the V chord? He plays 9,1,7,5 descending (then the 6 anticipates the root for the I chord) in the second bar. That seems like A7 to me. If anything, it looks like he’s either ignoring the II chord entirely or playing the first bar as II-V and then extending the V chord through the second bar. Yes, he doesn’t play the C# to fully bring out the A7, but he doesn’t ignore enough it to make that argument in my opinion. I’m not trying to be rude; I’m just a little confused.
It is a fair point. Let's look at the beats 1,2,3,4. In A7 that's 9, 7, 5 and 6. Ok, in the chord, fair. But it is also 5,3,1, and 7 of Emin. Lester also approaches the B simply walking up the scale of Emin. For me, if I play that lick with nothing behind it, it simply sounds like an Em phrase, in large part (I think) because the 7th of the Emin chord never plays note that it would lead to in A7, the C#. But you are raising the point that the minor 7th (Em) and dominant 7th (A7) duality is a really cool thing to play with.
@@jomajor8485 that makes sense, although I feel like it can really go either way. I feel like the best description for what he’s doing is just thinking either the chords with extensions or overall key. I’m not sure it’s clear enough to be worth discussing. I think that if he played the 4 of the V7 it’d make it clear that he’s implying the II (just like how playing the C# over the A7 would make the V really clear).
You have a fair point but the way I see chords and remember them is that they all have a note that makes it stand out from others. For me, when I differentiate Eminor and A7 it’s def the C# that highlights the A7 for me and makes it sound like a A7 chord rather than a Amin. It can probably go either way but for me it’s more leaning towards Lester just bringing out that full minor sound from the E minor and avoid going that C# to really bring out the chord
Fifth!
Second comment!
Can I borrow your BRAIN 🧠
excellent job 👏
Third