Bebop Scales and Jazz Play Along
ฝัง
- เผยแพร่เมื่อ 25 ก.ค. 2024
- Bebop Scales and how to play them on the saxophone.
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00:00 Introduction
2:00 Bebop Scale Overview
3:04 The problem with Bebop scales
5:20 TENOR exercises
6:48 ALTO exercises
8:16 So long and thanks for all the scales - เพลง
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I find that mere act of singing these phrases out alongside the playalongs helps to sharpen my listening. And that helps when I’m trying to form that phrase in my head, so that when I play it back on the sax, it is as accurate as it gets and there is that link between what I see in my brain and what comes out on the saxophone. It helps me not to play gibberish but aids my formation of melodies. Hope that makes sense hahah 😅
Love all your vids. You do a great job with them and I especially like your humor. We’re all very thankful for guys like you helping us novice players get better. There’s never been a better time to learn the sax.
Brendon, that's incredibly kind. Thanks my friend. Have a great week and happy practicing!
Thanks once again , Dr Wally. It's refreshing to hear a pro be realistic about the whole 12 keys thing.
Right? It's absolute rubbish. Robots play in 12 keys - it's not idiomatic. Different language sounds better in different keys! Have a great weekend, Francis, and happy practicing!
@@drwallysax I am no jazz expert but practicing licks and phrases in 12 keys really helps me remember the phrases and use them when I am improvising, I think that is the main reason why its talked about so much. Also when I'm working through all 12 keys thinking about scale degrees it seems to help me get a really solid grasp of what I am actually playing and the theory behind it as opposed to just learning it in a few keys. I think transposition is a very useful skill to have too. Great video!
@@haydensaxton1001 Totally hear what you're saying. When I was in grad school, I did take the time to learn quite a bit of language in 12 keys (I had the time). After speaking with some of the improvisers I admired most (mainly a trumpet teacher from Julliard I had a lesson with) - I switched to spending far more time Improvising and altering language in a few, common keys. So, I'd take a great phrase from Bud Shank, then learn it in G, E, C, maybe A - then pick a key area and start messing with it. Given so many hours in the day, I found this a better use of time to create truly improvised, fluid melodic lines. Also, the overwhelming majority of my students are adult amateurs, with jobs and other interests. I just don't think 12 keys is doable or fun for most people. It's the dogma of "you must put in all 12" that I'm railing against. I think it's ruining a perfectly good hobby for a lot of people. Make sense?
My favorite bebop player: Oscar Peterson by a long shot, then Bird, and Sonny Stitt. I love the way Stitt switched between alto and tenor WITHIN each track on New York Jazz - like it's no thing.
It's only labels but I don't I consider Oscar Peterson to be a bebop pianist as such. He certainly utilized bebop techniques but he also tended to use other stylistic methods. No question that Oscar was a truly phenomenal musician for sure.
If we're talking bebop piano then Bud Powell was the absolute gold standard.
Sonny Stitt was beyond incredible and certainly not given enough credit for his mind blowing performances over a 35 year period. I met Sonny and despite his reputation for being a salty customer he was extremely gracious to me as a young musician on the occasions I spoke with him.
Excellent video on the bebop scale !! I particularly like the way you worked in the flat 9th. Very important note in bebop. Thank you Dr. Wally!
Favorite Bebop Musicians outside of Charlie Parker: Cecil Payne, Pat Patrick, Nick Brignola, Ronnie Cuber, Sonny Stitt, Phil Woods, Pepper Adams, Serge Chaloff, Thelonious Monk, and Dizzy Gillespie to name just the beginning of my long list of Bebop Greats.
Im a bassist turning into a saxophone player. Im so glad for this channel. This is absolute gold and i cant wait to use this on my journey through life.
Awesome series Wally! Thanks for posting a new video! Great material to practice and learn the language of jazz.
Someone says that if you play jazz and you don’t sound like Charlie Parker, probably you’re doing something wrong… so, putting Bird aside, my favorite bebop player is Dexter Gordon, closely followed by Coleman Hawkins, both Sonnys (Rollins and Stitt), Joe Henderson…. man, I could go on forever….
Sooo good and helpful for right where I'm at (tryin my darnedest to make better jazz sentences, but often not knowing how or where new to go). Thanks Dr. Wally, bigtime!
Thank you Dr. Wally! I am learning a lot with you!
Dr. Wally your content is golden! Best channel for actually improving on technique as well as theory that there is on TH-cam.
Thanks Bill! I hate theory, I just want to play! happy Tuesday my friend!
Good stuff. You help make it simpler to understand and makes more sense to me the more I watch your videos.. I appreciate that you did this on tenor as I do like to practice with both alto & tenor saxes. Thank you and much love and blessings go out to you Dr. Wally Wallace... and may you get a million subscribers too :)
That's very kind and much appreciated, thanks N. Joel. Hope you have a wonderful week and happy practicing!
Brilliant lesson. Thanks for the music. Cheers
Thanks for your videos - inspiring without being overwhelming (I was always told to learn everything in 12 keys).
Thanks Peter. I was told the same thing, it just feels like busy work.
Canonball Adderley, my all time favorite bebop player.
I've been listing non-stop to Cannonball with Nacy Wilson on vinyl this past few months. His alto energy with her voice, such an amazing combination. Happy weekend, Allard!
Dr. Wally Wallace back at it once more!
Can't stop. Won't Stop!
@@drwallysax Don't Stop!
Thank you very much for the video, very useful, I'm going to practice now.👍🎷👍
Thank you your lessons have helped me to hear and read better also to have more focus on tone and air . I love Cannon Ball andJackie Mac but Bird John Sonny Dexter and every body who try to express them selves .
Thanks Dr. Wally, i like that you play the Tenor also..love my Tenor
Thanks, Angela! Hope you had a happy weekend - and happy practicing!
Thank you Dr. Wallace for this video. My favourite Bebop saxophonist is Sonny Stitt. But one must not omit Sonny Rollins, he's one of the greats.
This lesson makes sense. Clear and well-played. I think I'll buy you a cuppa Joe!
6:46 hahahaha! Perfect!! Loved your vid. Will look further into your stuff now. Thank you :-)
Thank you again, what you are doing here makes sense to me.
That makes me happy, thanks Calvin! Happy practicing!
Favourite bebop player, Jean Luc Ponty violin.
Thanks for this lesson. Years ago, when trying to conceptualize & thinking about playing jazz I also asked the question, "What scale do I use?" (That was long before the days of internet, so I never got a simple answer. And it took years to realize there are no shortcuts to learning jazz.) Some of my favorite sax players (mostly within the bebop realm): Charlie Rouse, Cannonball Adderley, Ben Webster, Johnny Hodges, Paul Desmond, Michael Brecker -- and the one who inspired me to start playing sax: John Coltrane.
You know, Rob, Charlie Rouse doesn't get mentioned enough! He had SUCH a unique sound and language all his own. Half a bar and we can tell it's Charlie Rouse!
This is some good material to study with, thank you so much 🙏
Most welcome Olea!
Thanks Dr Wally. During your entire explanation all I understood was BeBop. Once you started playing I thought ‘oh, why did you say that in the first place. Good stuff. Now I’ll, “Go Practice. “
I think you have (intentionally or not), hit upon my teaching philosophy?? I hated theory, not because I couldn't do it, but because EVERYTHING I needed was in the recordings. I didn't want to be told how things worked, I wanted to hear it. There's also so much that can not, and should not, be put into a book. I spend a lot of time playing with my students, All the answers can be heard.
These are so great thank you so much!
Most welcome, Casey! Glad you're enjoying them - happy practicing!
I'm not a lover of beebop but this video tutorial certainly made me feel far more receptive to it than any other video I've watched. This was beautifully explained and presented.
Just to let you know Dr. Wally, I bought your mouthpiece (your sound is absolutely wonderful) and I have to say that I could not be more pleased with the power, warmth and fullness it produces on my alto.
I have a preference for tenor because it feels more comfortable (ergonomically) while I play but I've recently been making the effort to play on my alto more.
This mouthpiece certainly makes me look forward to play on it more. It is now one of my top two mouthpieces I use for the alto. 😁
Heeeyyy! that makes me incredibly happy, Alex! Bebop is a complex flavor to be sure, it has grown on me over the years. But if it's a beautiful summer day, driving with the windows down? It's Stan Getz Bossa Novas all the way!
Wally thank u so much!! It really helps me you must be a good teacher !!i think~~~ have a great day!!
Thanks so much! Have a great week and happy practicing!
Buenisimo Dr Wally!!! Muy didáctico!!! Gracias Amigo!!!
Thanks Daniel!
I've watched this back a few times now (not made it to my horn yet...work/four year old!!). Anyway, I love the fact that each repeat play over is ever so slightly different in interpretation. Just shows how just a handful of notes can allow for so much expression.
Oh man, that might be more of an indictment of my playing! Hope you get some practice time - I've got a 5 and 8 year old, maaaaaan I feel ya Francis!! happy Monday my friend.
@@drwallysax No indictment, I promise! I'll try and get my 56 singing as well as yours.
Thank you for another informative and helpful video Dr. Wally Wallace (a.k.a. Saint of the Saxophone), they are always helpful, entertaining, and inspiring. Now if I can just get that same tone on my tenor :)
Transcribe your heroes! You'll get your version of that sound soon enough. Thanks for the kind words my friend!
Because of you I love playing again
That may be the highest compliment a teacher can get. I appreciate that Jragon, very very much.
Thank you Sir
Thank you 🙏
First time here. Good video and nice tone!
Thanks Pepper! Hope you stick around. Some really cool people in here, I call them my "pack of strays." Have a great weekend my friend.
Digging the tutorial my friend. Favorite soloists? Fats Navarro at the top followed by in no particular order: bird 🐦, Mr Gillespie, Bud Powell, both of the Sonny's, Clifford Brown and Lee Morgan.
GREAT content and melodic lines. Nice to see you on the tenor, fantastic tone! More tenor in future videos? :)
Thanks, Nick! Much more tenor to come - was testing out the prototype for my signature tenor mouthpiece in this video. So, I'll be playing a TON more tenor (especially when I release the mouthpiece)!
How do you make such a simple set of note just sound so good. I’ve watched/play to last weeks a load of times and I don’t get anywhere near the the silky sound you produce! (I’ve only been plays for a year but your videos are inspirational) Looking forward to this weeks lesson...
Oh John, that is incredibly kind, thanks my friend! The secret - play along with me, over and over. Soon you'll be just as good. Wait.....never mind, don't do that....I don't need the competition ;)
Great riffs!
Thanks Denis, happy practicing my friend!
Hi Dr Wally. Love your instruction and humour. So many other teachers out there bang on about learning all scales and kicks in all keys - I like your 1940s remark, but if you take a different view could you expand on why you think it’s not necessary.
Yes! Wally on tenor! Nice tone 👌🏻
Thanks, Jamie! Wait, is the big one the tenor?
@@drwallysax No Wally, the big one is sub-contra bass. 🙄 *sigh*
I love to applicate Bebop scales on my solos, but it’s always good to learn new things. I’ve never introduced that chromatism from minor 7th - mayor 7th - tonic... I will use it 👍
Steal from the best (Parker, Gillespie, Stitt, etc) - that's what where these phrases come from!
Thanks again for the ABSOTOOTLY best stuff ever !!!
Yeeeeesssss! Thanks Bluegoose, have a honktastic week my friend!
@@drwallysaxThanks Doc. I was watching and listening to CP yesterday.. and surely heard D Hitchcock in there ! I believe Ive spent well over 80 hours plus on Feb Etude (finally getting a decent handle on it (Concert F is just scrumptious) and all the in and out tension/resolve dynamics.. etc ..Absolutely Fascinating ! (yes the listening) the stillness of Parker's hands as he blitzes.. its just mind-boggling facility.. take care ..be safe
Oh yeah... and the two players that still give me goosebumps (and I find most inspiring)..are Coltrane and Zoots
and you !
Hey, Nice tenor playing man!!!
Adriene, that means a TON coming from you. Thanks my friend. Hope you're doing well!
How someone ( a few of the commenters here) can say they love BeBop, Jazz, Sax etc., and name 15 artist and leave out a name that on any list should be #1 or #2 is amazing to me. The all time greatest BeBopper ever in the universe, Dexter Gordon. You really got my attention when you mentioned not knowing everything a musician plays be done in all keys. I've been around Tenor Sax from the time of having to know Yakety Sax or you weren't considered a real musician if you played Tenor until I've gotten too old to be much interested anymore especially since I lost my Son 6 years ago. I also might add that I have never heard any sax player record a blues in (concert key) E, A, B, D, Db, Gb and the list goes on. It's mostly Bb, C, F, Eb, G. I will bookmark you and check out more of your videos Sir. Now I'm off to take my Gemma for a ride. She's an 8 year old English Bulldog. More like my Grand Daughter. Where were you 65 years ago when I started playing Fats Domino tunes with Tenor solos. Haha. Back then if some had said, "hey learn this Dexter Gordon tune," I would have died on the spot. Easy three chord R&R got me going. Thank you for your honest and common sense approach to improvisation. I really appreciate it.
Hmmmm Dexter is considered Hard Bop. So.......
@@lyntedrockley7295 ?
Great stuff! I'm a big Phil Woods fan 🎷👍
Me too, Joe! His work with the Monk Big Band is some of my favorite alto sound out there!
Gracias maestro!
You are most welcome, martin! Have a great weekend!
Favourite bebop players...apart from Bird...Dexter Gordon, Bud Powell, Fats Navarro...OK - only one sax player so lets add Wardell Grey, Leo Parker, Sonny Stitt and Sonny Criss
Exellent thanks very much.
Most welcome, hope you find it helpful!
These call and response exercises are fun Dr.Wally. I'm still destroying music with my lines, but I know I will get better at it at some point. I will...no, seriously.
Heck ya you will, Javier! Keep at it my friend!
Plz Doc, more videos with the call and response stuff. Incredibly helpful. Although you could play with your eyebrows a little harder in the process, it is very motivating.
If I work my eyebrows any harder, I'll pull a muscle.
he has an alto and a tenor... but a bari???? and its so wholesome that he responds to every comment I think that shows he really cares and that's what keeps me watching.
I take an hour a day with a hot cup of coffee to respond to comments, questions, and messages. It's the best part of my day. I'm a huge fan of several watch review channels (mechanical wristwatches - a hobby of mine). When they respond to my comments, or give me a shoutout in the livestream, I NERD OUT! I know how that makes me feel. If it can help encourage a saxophonist to want to play a bit more, I'll keep commenting until my fingers fall off. So cheers and happy Tuesday, Cole!
@@drwallysax you too have a great day
Bravo!
Favourite Bebop players :well, they change the further I look into it. But, currently, I would say Chet Baker because his Bebop lines are not so superspeed. Therefore they are easier to decipher. They are also good proof that the beauty of Bebop ain't reliant on speed, but on feel, and choice of notes and phrasing.
Love Chet Baker, his recordings with Bud Shank are some of my absolute favorite!
hi Dr Wally, again, thank you for a clear teaching. Must mention that the black T shirt suits you. :) i like Sonny Stitt as a bebop artist.
Looooove Stitt! (and thanks for the kind words my friend)
That was so cool. Another great video! By any chance, will you be creating a video on what exercises to do to improve timing. I seem to learn a technical song but will lose my place in the music.
Hi Martin! Do you mean rhythm specifically, or getting lost in the chord changes?
@@drwallysax Thank you Dr. Wallace. It's the rhythm. I'll play slightly slower or faster. Or I'll start to play just before or after I'm supposed to.
Art pepper probably my favorite alto sax player besides bird !
I LOOOOOVE Art Pepper. Sooooo good! Art Pepper Meets the Rhythm Section may be in my top 3 favorite albums!
es todo maestro
Gracias mi amigo!
Scott Hamilton
*Change My Mind*
Great content Dr. Wally Wallace. 5***** and I don't even play the sax. Thanks!
Thanks my friend, what do you play?
Favs: Cannonball, art pepper, lee konitz, Desmond, mulligan, hank Mobley, rollins, brecker
Oh man, your record collection looks like mine! (don't hate me, but I never really connected with Brecker. Appreciate him, totally, but don't really listen for pleasure). Great list!
Hey Dr Wally W, loving this vid. Tight! Where can we grab that magnificent backing track to 'Go Practice' these licks please? PS: Love CP, Paul Desmond, Sonny Rolllins and (more funk than Bebop) Maceo Parker.
Afraid I don't have the backing track, BUT you can make your own in iReal pro!
Thank you Doctor. I am feeling much better now. Q> How do you play at Bebop speeds on tenor sax?
Hi Michael, I'm not sure I fully understand the question? Do you have more difficulty playing quickly on tenor? Sorry, I might be confused (or as I call it, Monday)!
@@drwallysax Apologies. The first sentence was an attempt at levity, you being a doctor and all that. Yes I find playing Bebop on a tenor really difficult.
♥️♥️♥️
this is great i like bird the most
Hello.!! thank you for the video...i have a question ...why i feel that I have more control if i put something in the bell....some clothes...tanku
It creates a little resistance and dampens the upper partials. It's why many classical players use a donut shaped mute, covered in velvet ribbon!
You should study Barry Harris's harmony. The significance of the b9, b6 etc. is that they allow access to the relative diminished family, which is how you stop thinking about individual chords and begin thinking about tonal centers. In a 2/5/1 in the key of D maj, all one needs to do is focus on the 5/1 relationship, and the major bebop produces Bb/Db/E/G fully diminished which is what replaces A7. This allows you to access other shapes and triads like C Lydian dominant, Eb Lydian dominant, and their relative minors, Gmin, Bbmin, etc., all over A7 (or Dmaj more generally). The point is not the individual notes, it's the triads/chords that those added notes produce. All the best.
That's certainly an interesting, and not uncommon, way to think of it. I have experienced (as I'm sure you have as well) players that think "diminished!" over every dominant, and the results can become overused and formulaic. (I throw in the Stan Getz fully diminished dominant lick from time to time). Also, for my non-theory inclined adult students, it's quite overwhelming. The approach that works for my brain (and the students who tend to gravitate towards me) - is transcribing solos, and practicing bits of the language, noting chromatic alterations (and context) in the key area. The results may very well be quite similar! But my primary interest in the youtube channel is streamlined pedagogy: How can I get as many people picking up the saxophone again and enjoying the process!
I appreciate the tip! I'll certainly read up on Barry Harris, most of my jazz theory is from Levine and Baker. Happy Tuesday Joel!
Hi, Dr Wally. I've practice all the melodies in "Jazz Improvisation Lesson - Play the sax by ear", really by ears! Then I'm going to continue with this video. But now I wonder should I follow your bebop melodies only by ears, too? I really want to earn the ability of improvisation.
Hello Dr. Wallace, fantastic video. I was just curious, I’m in the market for a new sax and was wondering the difference between the YAS-62, the 875 Custom EX, and the 82Z. Could you provide some clarification and which would be the best choice?
They're all great! The 82Z is far more free blowing and brighter than the 875EX - both are great. The 62 is missing a few features (mother of pearl keytouches and some engraving) but is an INCREDIBLE value. It kind of plays inbetween the other two. You can't go wrong, they're all great and build incredibly well! Let me know if you get one!
@@drwallysax thank you, I think I’ll go for the 62 and invest the money into good peripherals like a nice mouthpiece and neck.
I also read that the 62 is a free-blowing horn as well, which is really appealing to me.
@@rohankurani4974 You will not be dissapointed. When I reviewed the 62, I played on it for a week. Never missed my 875EX for a second. It's just as good.
Well thank you for taking the time out of your day to reply to me, I really appreciate it. Keep making great quality content!
I love John Coltrane! 🎷
me too Roberto..me too!
Call and return ist really fun. Currently i have issues to schedule my practice, as cycliing season started. So i think i don"t buy you any Coffee for the moment als you get too productive ;-). I wish my old teacher would have been a bit like you.
cycling season! That sounds fun, you do the competitive thing? I'm impressed by those folks!
@@drwallysax i used to cycle competitive when i was young, But i was too addicted to bavarian food and Beer. That's why i never won the Tour de France. Meanwhile i cycle just for fun. But there ist still always the next higher mountain to reach. But you are right. Pro cyclists are a crazy bunch. I think it' s one of the hardest Sports. And i still like to watch it. With a cold beer in my Hand.
Great widows peak
Wally, what is the intro song and how can I get the sheet music if you have it or if it is recorded i just think its super catchy and it is really good sounding.
Thanks Cole, It's a tune I wrote: "Your Love is a Gamma Ray." I'll have an online lesson on it at some point. In the meantime, it's based on the changes to "What is This thing Called Love." Start learning those changes!
Hard bop, Joe Henderson, Wayne Shorter, George Coleman
What software or tools are you using to generate the rhythm sections for your exercises?
It's called "Band in a Box." The interface is abysmal, but it gets the job done.
@@drwallysax that was my first guess. Thanks!
I'm just a bit confused about the chords you are playing over in the exercise examples is it just 2 bars of G major 7? thanks
Dear Dr Wally, let me ask a few questions!
For the dorian scale you mention it could sound wonderfully on both major and minor chords. So talking about a G Dorian bebop scale, do you mean it could be used over G - 7 and the major parallel Bb Maj ?
While talking about the dominant bebop scale, you meant it could be both used for G7 as well as GMaj, am I right?
In your call response examples, which harmonic context did you use? You used b3, b9, b6 and b7 over the same chord backing track... that confuses me a little. So that was the part where you'd just "forget about everything"?
One of the first things I got to learn about bebop scales was that I never ever should play a passing tone on a downbeat. I guess that makes sense, but I shouldn't worry about it too much, right?
Thank you so much for your videos. You make practising music feel more alive and musical!
Kind regards, Sandra
Could you tell us the tenor mouthpiece you are using?
I can! Prototype of my new signature tenor mouthpiece: The 56!!
@@drwallysax i've inquired them about their tenor mouthpiece, they said it won't be ready for months... can't wait.
Flat nines are great for break solos. I actually have to remind myself not to overuse them on every break I play.
Ohhhhh yes! I also overdo diminished in breaks :)
What's your favorite brand of coffee Dr Wallace?
I've never met a coffee bean I didn't like, but currently: Counter Culture Coffee from North Carolina! What about you? What gets you out of bed in the morning?
Knowing I got a Kuraig in the kitchen gets me out of bed. As for my favorite brand hmmmmmm lavazza coffee
wally have you heard of plays mulligan three baritone band before I think they are good and I was just wondering about your opinion but have a nice day p.s. if you haven't heard them you should listen to them I play bari and they are the most skilled bari band I've ever seen.
I'll check that out, Cole!
I'm a keyboardist, but I played along!
Nice stuff but wonder if the examples would benefit from showing the chords you are playing over to help us understand context.
It's all just G major! I don't teach chords - but key areas, and this all fits over the key center of G major.
🇧🇷❤️🇧🇷
Sonny Stitt
Daddy-O hits the tenor for Bebop! Oh yeah!!
Sonny Stitt, Don Byas and the usual suspects.
Wait, is the curvy one the tenor?
@@drwallysax that's what I was told at music school by a trombone player so, I've had my doubts.
@@donl3248 Mouth breathing heathens, can't trust em.
I have never been a big fan of bebop scales, enclosures and approach notes feel more essential to me than be able play a bebop scale. As you said it does look like someone trying to put a name on some of the common chromaticisms. But it misses the point : chromaticism are used usually to approach a target note. Learning bebop won't make you anticipate the target note and approach it properly. Anyway, I'm glad you don't like bebop scales.
Very much agree. My other problem, with even enclosure exercises, is that it can quickly become formulaic. All the enclosures I need are in the great lines of Parker, Gillespie, Stitt, Shank, Mulligan and my other heroes! (and then, it's in context). These lil' call and response exercises are taking some of this language, and making it more digestible (and fun) for those who aren't quite ready (or want to) dive into transcriptions.
@@drwallysax yes, usually I don't practice enclosures neither. I extract a short phrase from a solo that I like and play it in 12 keys (I don't have time to do a full transcription, you know, kids). But for me enclosures is big part of the bebop sound.
Yo, seriously, this is fantastic content, makes me wanna practice more!
Here's my theory-challenged tl;dr: flat3, flat6, flat7, all are used as passing notes and they "blur" the usual major/minor distinction and that's what provides the bebop color. flat2 I'd guess comes from phrygian, but that's not important; what's important is that it sounds *good*!
So, if we get a feel of how to use these as passing tones in phrases we're getting closer to bebop, right? And then there's the rhythm ...
Thanks my friend! I honestly don't give a poo where a note comes from (that's manufactured by theorists after the fact), for me it's simply: Tension (dissonance). Melodic lines are built with tension and release. Men of action have no time for fancy theory, we're too busy playing.
@@drwallysax love this attitude, less thinking more playing!
So, b2, b3, b6 and b7 are ok for bebop sound, b4 Is actually a Major 3, b5 Is the Blue note. Is there a single note left that should be avoided? Do just the b5 should be avoided to sound bebop?
I'm not 100% sure that G Dorion has an F#.
Ooooops, good catch. Forgot about that ol' key signature (I'll fire my editor....me)
Hey Wally, i bought my mom a burger.
Hope she had a wonderful mothers day!
Do you have a PhD in music?
DMA: Doctor of Musical Arts
@@drwallysax You do musicals?
@@lyntedrockley7295 Good lord no, that requires woodwind doubling. In DMA, the Musical is an adjective. That I can do.
@@drwallysax Hi yeah, a bit of fun. I love the videos. And your sound. Exemplary technique. I was told years ago by someone who I had referred to as 'The Musical Director' that 'Musical' is a word that should only be used for Shows and Boxes. And I think he was right, Music Director should be the term, but its nearly always Musical Director! Which is crazy, why would you have someone directing the music who isn't musical? I mean the very least they might say, 'The extremely musical Director' or even 'The Outrageously Musical Director'. Just saying 'musical' is the least you'd expect!
And yeah pit doubling is really earning the money!
On Bebop scales, I get that you (as an approach) emphasise the melodic line, I'm 100% with you on that. it occurs to me that your excellent lesson might also flag up why the extra note is there, which is for rhythm, to keep the important chord tones on the strong beats especially when running across octaves. Barry Harris is huge on this. Though the ones you show are the usual ones used. to be honest practically ANY extra note will work. As such 'bebop scales' are more a concept, rather than defined scales. But what do I know? I ain't the Doc! Keep 'em coming!
Great clarity of explanation.
Hard to find amidst all the confusing, superficial gobbledygook online