3 Biggest Lies in Jazz Theory
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- Опубліковано 21 лип 2024
- This is designed to help facilitate understanding jazz theory.
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Man, you are the most legit, no nonsense sax teacher and reviewer on UA-cam. Keep it up, and thanks for what you are doing .
Thanks
Sir, have been playing sax over 50 years and have totally forgotten how to read the music!! Therefore, anything I play is totally what I am hearing where I can go and have fun with the song being played whether I know it or not!!! Everything I do is by ear, whether playing solo or playing with a band! My basic style is a blend of CHICAGO, BLOOD SWEAT&TEARS AND EARTH WIND & FIRE!! I do fills, accents, intros and solos, basically coloring the song with whatever is needed to make the song sound better.
Man, everything you're doing is awesome. Watching your videos over the years has changed my playing, and this video is no exception.
😊 thanks
Hey, big fan I wanted to ask you something, i played the flute for 6 years and now i want to play saxophone, will it be difficult to change the fingering and do you have some advice? I am currently deciding between alto and tenor (probably will get both 😁).
Another question: would it be easier to develop a good tone and what are the difference between fingerings ( talking about flute and saxophone)
Thanks for everything that you taught me!
@@markozivic8588 You should find the fingerings very similar to saxophone. Focusing on embouchure for tone should be a priority. Developing a good tone is usually the most difficult part of any brass or wind instrument.
@@Sirvalorsax thanks for the advice!
Thank you soooooo much! Great lesson! I’ll be buying your new book!
Awesome just absolutely incredible stuff you're doing. Will be buying some stuff for sure
Waiting for that diminished book to be available. Thanks for writing it.
You lost me at "Let's do it!". 🤣🤣 Love your channel! Cheers from Nebraska!
We the amateurs need more
Is it the lighting? Your sax has such a rich coppery color. Beautiful.
Great vid! Thanks!
Lovin your alto sound too!
Looking forward to your diminished book.
Thanks
Big fan of your channel, big ups!
Much appreciated!
that of the information with the new format does not come out or I do not know how to do it
Haha loved the reference to The Old Castle!
Wow, someone finally picked up on that,LOL
I am new to music theory and jazz theory, what are some good places to start to learn the necessary basics/fundamentals to become a good jazz musician (especially improvising)
Thanks
“The Jazz Theory Book” by Mark Levine is a great place to start.
Which alto sax reed do you think that has the most beautiful sound? RED javas, Boston sax, Rigotti, v16, etc..?
what is the name of your cap or what style? thanks
Newsboy cap. I got mine on Amazon. I have a link in the description there. Thanks
Soy principiante Sax tenor gracias
So how would you play the descending blues scale over major? You hint at a solution but don’t give one. I can’t discern from your playing example other than that it sounds right.
thanks thanks
Feliz domingo
Gos bless. You master
Great stuff, bro! Wanna come onto the Harmony and play those scales together during Grease ? ;)
Harmony is my all-time favorite ship but I'm done with ships now. I left 2 years ago
@@Sirvalorsax I don't blame you. I would've quit too but for now I don't have an alternative. This place is a floating jail. Can't wait to be done and get out.
What happened to your camera? Image is washed out...
I tried to use better lighting. Oops
Using 19th century theory to discuss Jazz is like using steam tech to build a jet. The whole system ought to be chucked and a new and simpler nomenclature developed. One way to do this is to shorten the train. Instead of an 8 note scale, a 4 note Grip. There are around 27 of them just to get to a diminished chord: C, Eb, F#, A. That's not even the full octave, but the system, starting with a 4 note chromatic Grip is much more flexible, easier to hear, read, analyze, visualize, and connect kinetically. Chek out my short vid called the Shape of Jazz.
It's not like that. Jazz has sprung from several primitive (or folk) music genres, in their various combinations, that existed outside of established Western scales. However, the problem is that the Americans forcibly squeezed those genres into the Western scales, and they couldn't, then ended up making an utter mess. So people falsely believe that "jazz is something extraordinarily great and advanced", while it is not - it's jumbled up mess. Why?
Because, in the European classical music, that poor practice was abandoned in the Middle-ages and something else was used. It was the job of a composer to analyse the folk tune (if needed), or folk scale, adapt it into established scales, make it »independent« from its ethnographic content into an artistic and wholesome music piece that can be performed by the vocalists, small and large orchestras, standard instruments, etc. in many different territories without much fuss. While still containing some hints of the original, but never "quoting exactly" to ruin the well-established standard scales that are made on very solid principles. That is music as an independent art form.
But that did not happen in America, because Americans did not have really great composers (when they had them, they ignored them), not did they like the rules of performing arts. They insisted on doing things their own way. As a result, today we have one gazillion "jazz scales" and most of them serve no other purpose but to squeeze in some "awkward jazz harmonies" based on awkward folk music content and its derivatives that can't fit in anywhere else. Even in cases when a Classical composer would write in an occasional flat or sharp outside the key, in "jazz, for that must be a new scale". You can't even sing to such scales because they sound outlandish and have zero melodic purposes.
It is literally the same thing as filling up the "English dictionary" with every single variation of spelling AND phonetic pronunciation of all words, in every possible local dialect. The first thing you'll need for such "English dictionary" is more than 26 letters of the English alphabet. But that's not language anymore - it's a mess.
want a hard copy!!! hate downloads
5:01 i think it's meaby easier to think ionian minor 3
he's wearing the hat in his profile pic
LOL
@@Sirvalorsax the legend himself! I'm an intermediate tenor sax player. I've been playing for about three years now. What has gotten you as good as you are?
You've got to be kidding.
I disagree with your Dorian Major 7 idea. There needs to be a clear distinction between modes of scales, and the three main minor scales in western music (Pure, harmonic, melodic). The examples of the nomenclature that you give like Dorian flat 2 and Mixolydian flat 6, are modes of the melodic minor scale, and arguably wouldn’t exist like we know them without an understanding of what the melodic minor scale is. To me, your idea is the equivalent of calling the major scale “mixolydian raised 7”, which is obviously an absurd and unnecessarily complicated way of thinking about what the major scale is. “The Melodic Minor Scale” is a much more clear naming approach that suggests that this is an important western scale of music, of which other scales (modes) are derived.
The melodic minor scale is different on the way down than it is on the way up. My whole point that I reiterate many times is that without the up and down version of the scale, it is not Melodic minor.
@@Sirvalorsax The way the scale descends certainly doesn’t warrant a complete name change, especially a title deriving from other modes of the melodic minor scale. There is the term “Jazz Minor” that is taught in academia for when someone wishes to descend the melodic minor scale without lowering the 6 and 7 degrees. But calling it “Dorian Major 7” is a completely unnecessary stretch, that will do more to confuse rather than help the understanding of the scale.
@@jazzyjake99 the way a scale descends absolutely necessitates a name change if the scale is different on the way down. How else do you differentiate it from the scale that doesn't change. Dorian can also be seen as the jazz minor as opposed to pure minor being the classical minor. This caused a lot of confusion for students that weren't jazz majors and even some that were when I was in school. This name is not derived from a mode of melodic minor. There are no modes derived from Melodic minor. Remember that the real melodic minor scale changes on the way down so there are no modes derived from it that actually reflect this feature. The modes are derived only from its ascending form and these modes already have a naming convention
JazzyJake.. somehow I think you’re missing the point, and hung up on the conventional theoretical explanations that are indeed flawed. Our goals are making music anyway, so rigid preconceptions about music theory won’t always work. You need to be able to slice and dice all concepts in many different ways to garner a real understanding. The way musical theory concepts are viewed in the best light vary from genre to genre and instrument to instrument within the context of the musical production at hand anyway. If you want to call that confusion well, that’s your personal thing.. whatever makes you happy, but shouldn’t tell others that perfectly valid ideas are ridiculous. Just like when we’re playing and having a musical conversation, when we’re discussing theory, it is also a conversation, not a singular correct answer.
@@Sirvalorsax I think/teach about it this way: In "Classical" performance practice, the melodic minor is only used in ascending passages. In jazz and other more modern music, that performance practice is largely ignored; that is to say, we use the melodic minor both ascending and descending.
If you have a scale that is different up and down, you don't have one scale. You have two. That's the fundamental issue here. The difference between CMaj scale/key and FMaj scale/key is only one note, and nobody says "We're in CMaj but the version with Bb." How absurd then to change to or 3 notes in a scale and then pretend it's still the same scale. It simply, objectively, is something different.
Your opinion is not valid or clear or functional on melodicminor
If you're hung up on proper modes when blowing, go back to square one. You like to hear yourself talk!
It’s called Theory because there’s no proof.
A scientific theory actually holds up to rigorous proof like quantum theory and Einstein's special and general theory of relativity. What you are describing is a conjecture or hypothesis. Music theory on the other hand is mostly a lot of very strong suggestions. LOL!!
Your opinion is not valid or clear or functional on melodicminor