I've been scouring TH-cam for this kind of info for a couple years and I just stumbled upon this video after listening to a Sonny Stitt recording. Great stuff, I hope you keep putting this info out. Thanks!
Ma'ahn, your chosen endeavor to promote Jazz through theory, advice and encouragement must be complimented by everyone. You are doing a very exciting and excellent favor to all of us musicians.
You're exactly right, K. And I want to thank you for taking the time to provide a valuable information to young musicians. I'd like to say one more thing that I wish someone had told me. I wasted a lot of time trying to BECOME Dexter Gordon. I didn't realize that I could never be as good as Dex at being Dex. Every musician is wired differently. So always put your efforts into becoming the best YOU that you can be, because you're just as valid, and no one else will be able to do YOU better.
Great stuff, please do more. Please, if you can, patch in the original excerpt during the lesson as well, that would have a dramatic effect on the lesson, I believe.
Very cool. Ya, we are going to continue for sure. In fact, Kevin has been working on an amazing Gene Ammons solo that he's going to share. Thanks for watching.
All good points, and thanks for bringing them up. I'm glad your views are now up on the comment thread for all to consider. Don't forget, though: These concepts are to be considered while practicing, not performing. I can assure you this is EXACTLY the same stuff all of the greats worked through while practicing. What we're trying to do is show folks what someone like Freddy might have been practicing BEFORE he stopped thinking about the notes. One needs to earn that kind of freedom. Kevin
Great stuff - gotta gotta speed that up when demonstrating to let the key chord tones take shape aurally. The magic of Stitt is the chord tones and passing notes to land on the key target tone notes.
very good thanks so much. I was looking for something else but found this. Looking for a s.stitt example of the chorus straight...eternal triangle being not straight...
Kcandfen, You should learn theory separate from your playing. You should practice on your horn until you know what a Gm7 FEELS like in the context of the tune. You should also know what the cycle of 4ths and 5ths sound and feel like. Thereafter, you should develop your OWN musical vocabulary for navigating through the changes, not Stitt's. Then when you're playing you should simply FEEL where YOU want to go. Playing a horn should be like singing. You don't think notes; you think feeling.
I like what you're doing, but you're over analyzing a bit. You should just put the chord notation above the staff and write the notes attendant to the chord and let the players get the feeling of it. The doesn't need to know that a note is a flat 13. That's over analyzing and leads to stiffness. We must remember that other than using the basic chord, Stitt played what notes he FELT off the top of his head at that moment. As Freddie Hubbard said, I stopped thinking about notes 20 years ago.
Sorry your voice is very feeble. Poor eloquence. You are a master of the subject but how ever extremely poor in expressions. Sorry to say that. Cultivate a good voice & then while talking give pause where ever required otherwise it will be felt that as if you are stammering. I am giving my heartfelt opinion , Please take it positively my friend. Its not my intention to hurt you rather to express my concern since me too is a serious sax practitioner.
I've been scouring TH-cam for this kind of info for a couple years and I just stumbled upon this video after listening to a Sonny Stitt recording. Great stuff, I hope you keep putting this info out. Thanks!
Ma'ahn, your chosen endeavor to promote Jazz through theory, advice and encouragement must be complimented by everyone.
You are doing a very exciting and excellent favor to all of us musicians.
Time well spent! Well done and keep up the good work.
Thank you Mark and Kevin for what you contribute. Very good info for working the mind when away from the horn.
You're exactly right, K.
And I want to thank you for taking the time to provide a valuable information to young musicians.
I'd like to say one more thing that I wish someone had told me. I wasted a lot of time trying to BECOME Dexter Gordon. I didn't realize that I could never be as good as Dex at being Dex. Every musician is wired differently. So always put your efforts into becoming the best YOU that you can be, because you're just as valid, and no one else will be able to do YOU better.
Great Lesson man! Love your stuff
Coming from a kid the notation and everything does help! Thank you so much
spaz life Glad you are enjoying this stuff. Good luck with your music
Great stuff, please do more. Please, if you can, patch in the original excerpt during the lesson as well, that would have a dramatic effect on the lesson, I believe.
Very cool. Ya, we are going to continue for sure. In fact, Kevin has been working on an amazing Gene Ammons solo that he's going to share. Thanks for watching.
American Pie!!! LOL
All good points, and thanks for bringing them up. I'm glad your views are now up on the comment thread for all to consider. Don't forget, though: These concepts are to be considered while practicing, not performing. I can assure you this is EXACTLY the same stuff all of the greats worked through while practicing. What we're trying to do is show folks what someone like Freddy might have been practicing BEFORE he stopped thinking about the notes. One needs to earn that kind of freedom. Kevin
very good Jim!!
Great stuff - gotta gotta speed that up when demonstrating to let the key chord tones take shape aurally. The magic of Stitt is the chord tones and passing notes to land on the key target tone notes.
C Davis Glad you dig it! Cheers...
very good thanks so much. I was looking for something else but found this. Looking for a s.stitt example of the chorus straight...eternal triangle being not straight...
+rkatz0 Very cool! Glad you dig it.
Great stuff, Pal, way to be. No criticisms for a free lesson. :: ))
hi Jim.
where's your pie?
Ouch. Well, I wonder if you learned anything from the example...
this is great man you know your stuff but why say eleven why not just say four? You confuse people doing that. It's good overall though.
Kcandfen,
You should learn theory separate from your playing. You should practice on your horn until you know what a Gm7 FEELS like in the context of the tune. You should also know what the cycle of 4ths and 5ths sound and feel like. Thereafter, you should develop your OWN musical vocabulary for navigating through the changes, not Stitt's. Then when you're playing you should simply FEEL where YOU want to go. Playing a horn should be like singing. You don't think notes; you think feeling.
I like what you're doing, but you're over analyzing a bit. You should just put the chord notation above the staff and write the notes attendant to the chord and let the players get the feeling of it. The doesn't need to know that a note is a flat 13. That's over analyzing and leads to stiffness. We must remember that other than using the basic chord, Stitt played what notes he FELT off the top of his head at that moment. As Freddie Hubbard said, I stopped thinking about notes 20 years ago.
Sorry your voice is very feeble. Poor eloquence. You are a master of the subject but how ever extremely poor in expressions. Sorry to say that. Cultivate a good voice & then while talking give pause where ever required otherwise it will be felt that as if you are stammering. I am giving my heartfelt opinion , Please take it positively my friend. Its not my intention to hurt you rather to express my concern since me too is a serious sax practitioner.
ALTO SAX damn bro cool it
Truth is always like that Bro.
This is embarrassing