Hey everyone! If you would enjoy going deeper like this into a new jazz concept every single week, me and Chad Lefkowitz-Brown just launched a virtual music studio called the Shed Club! In this community, we provide instruction on a concept each week, then everyone practices the material together, uploading their progress and collecting feedback. There are also various other fun channels. You are welcome to join us here for $7.99 a month!: www.jazzlessonvideos.com/theshedclub
The part I desperately want to learn, but I don't know English well, because I'm an older Korean old man.... I feel uncomfortable, but I want to try it.
It was always fun to watch Chad's videos. His enthusiasm was one of the most important bits (along with the exercise, of course). And, I have to say you guys have done it again, I love the sense of humor on your videos, along with the great exercises, spot on. Big thanks.
Your approach of these context is so "mindblowness", but, with a simple form. Even me, a brazilian guy, can understand and practice. Thank you so much!
Building vocabulary allows the player to feel more "free"? I struggle with the improvisation part. An organic thought that sounds good in context is very challenging to execute.
Imagine you’re learning a new language. You need to express that you just hurt your toe. However, you only know 4 words in that language: Hello, Dog, Banana, Toothpaste. It’s going to be really hard to express that. You will feel limited. Okay, now say you learned some new words. You did a lot of reps on these words. Now you know: “Toe. Hurt. Pain. Shoes. Foot. Ouch. Me. I. Big toe. My. Mine. Badly. Bad. Very. Really. Great! Now, you’d have to do new reps on configuring those words together. Alone, maybe you’d configure some sort of new sentence like “Toe of mine badly hurt.” But a more experienced speaker would listen and offer you alternate suggestions on how you might communicate that better. “My toe hurts badly. I hurt my toe.” Now you’ve just acquired some real useful language! It’s the same with jazz improvisation. It is a long process. I’m still working on it every day, as we all are. But you gain real progress quicker by socializing your playing with people and receiving feedback.
to your last point: i took Spanish for five years in middle+high school but never really successfully learned it. i studied, i understood a lot of grammar and rules and idiosyncrasies, i could read news articles and poetry in Spanish, the language made plenty of sense to me on paper -- but ultimately my problem was that i would always chicken out of speaking Spanish in class and revert to speaking English. clearly I was afraid of sounding stupid, as are a lot of novices in a lot of different contexts. but without speaking Spanish i was never going to really, truly learn Spanish. i had to grow up to learn that getting good at anything is a mix of being a good student but also being at peace with sounding like a beginner for longer than you want to hear yourself sound like that. think of all the people you've ever met or seen who fluently speak a second language that they clearly learned in adulthood. those people put in the work to build their vocabulary. but before they had all the words, while they put in that work, they also summoned the confidence to go out into the world and get as far as they could with "Hello, Dog, Banana, Toothpaste," so to speak.@@Saxologic
This was AWESOME! Thank you for making jazz and improv digestible. I understand improv is based on theory but I sometimes wonder how people know what to play from chord changes alone, but you breaking it down like this really helped. Thanks!
Can you explain why you enclose the E in the Cmaj7 measure with F#? F# is not in the C major scale. Is it because the Cmaj7 is a continuation of the G major scale chords from the previous 3 measures, thus a ii-V7-I-IV in G? Is that what you are thinking to find the scale tones for the upper enclosure note, that the first 4 bar chords are all derived from a G major scale? The F#m7(b5) - B7(b9) - Em6 following that makes sense since those chords imply the E harmonic minor scale (which has F# and D#). So it is only the use of the F# in the Cmaj7 measure I wonder about.
That Cmaj7 functions as a IV chord, and the fourth mode of the key (G) is C Lydian. So there is an implied #11 within that chord, and that’s the scale I am using (Lydian). F naturals in that chord wouldn’t sound great
Hey everyone! If you would enjoy going deeper like this into a new jazz concept every single week, me and Chad Lefkowitz-Brown just launched a virtual music studio called the Shed Club! In this community, we provide instruction on a concept each week, then everyone practices the material together, uploading their progress and collecting feedback. There are also various other fun channels. You are welcome to join us here for $7.99 a month!:
www.jazzlessonvideos.com/theshedclub
Your videos are getting really refined and seriously full of useable content. Awesome!
The part I desperately want to learn, but I don't know English well, because I'm an older Korean old man.... I feel uncomfortable, but I want to try it.
Man i owe you for this. This is IT
Every video I watch from this channel gives me two months of homework to do
Interesting to see you row grow over years. You are getting better all the time. you are worth subscribing to. Good work.
It was always fun to watch Chad's videos. His enthusiasm was one of the most important bits (along with the exercise, of course). And, I have to say you guys have done it again, I love the sense of humor on your videos, along with the great exercises, spot on.
Big thanks.
Your approach of these context is so "mindblowness", but, with a simple form. Even me, a brazilian guy, can understand and practice. Thank you so much!
Amazing!
This really helped alot, after watching this, my improvisation is ALOT better now.
Love the Savoy quote
Nice!
Ngl I woke up from a hangover and thought this was a Dr.K video at first. Then I was like, man I play jazz too.
yes sir
Ah the stamp that seals the deal
1:08 bro i love you so much LMAOOOOOOOO
EDIT: also 8:06, bro, this is the best clown channel
Glad someone caught that part lolll
Context man context master context.... God
Great one Nathan!!
Thanks Jack!!
This is eggselent!
Very helpful!
This is very good material! Cheers
Thank you for splendid ideas!
Thank u)
I wonder, if pro saxers think:"I'm so sick of this s*** I'm playing all the time".😂
Love the somber shots of you in road at night lol.
That means a lot, thank you so much
@@Saxologic 😁
Is there any channel similar to this, but for piano ?
I guess this is the random vegan in me saying I dont eat egg. Love the video :)
Building vocabulary allows the player to feel more "free"? I struggle with the improvisation part. An organic thought that sounds good in context is very challenging to execute.
Imagine you’re learning a new language. You need to express that you just hurt your toe. However, you only know 4 words in that language: Hello, Dog, Banana, Toothpaste. It’s going to be really hard to express that. You will feel limited.
Okay, now say you learned some new words. You did a lot of reps on these words. Now you know: “Toe. Hurt. Pain. Shoes. Foot. Ouch. Me. I. Big toe. My. Mine. Badly. Bad. Very. Really.
Great! Now, you’d have to do new reps on configuring those words together. Alone, maybe you’d configure some sort of new sentence like “Toe of mine badly hurt.” But a more experienced speaker would listen and offer you alternate suggestions on how you might communicate that better. “My toe hurts badly. I hurt my toe.” Now you’ve just acquired some real useful language!
It’s the same with jazz improvisation. It is a long process. I’m still working on it every day, as we all are. But you gain real progress quicker by socializing your playing with people and receiving feedback.
to your last point: i took Spanish for five years in middle+high school but never really successfully learned it. i studied, i understood a lot of grammar and rules and idiosyncrasies, i could read news articles and poetry in Spanish, the language made plenty of sense to me on paper -- but ultimately my problem was that i would always chicken out of speaking Spanish in class and revert to speaking English. clearly I was afraid of sounding stupid, as are a lot of novices in a lot of different contexts. but without speaking Spanish i was never going to really, truly learn Spanish.
i had to grow up to learn that getting good at anything is a mix of being a good student but also being at peace with sounding like a beginner for longer than you want to hear yourself sound like that.
think of all the people you've ever met or seen who fluently speak a second language that they clearly learned in adulthood. those people put in the work to build their vocabulary. but before they had all the words, while they put in that work, they also summoned the confidence to go out into the world and get as far as they could with "Hello, Dog, Banana, Toothpaste," so to speak.@@Saxologic
I propose a Nathan vs Chad LB beard battle!
I would lose lol
Have you tried the Aisiweier saxophone before if so what are your thoughts on it?
❤❤❤❤❤❤❤
I wish i could join shed
whoever is charging 7.99 for a lattee is pure evil
This was AWESOME! Thank you for making jazz and improv digestible. I understand improv is based on theory but I sometimes wonder how people know what to play from chord changes alone, but you breaking it down like this really helped. Thanks!
EGGselent video man. Cant wait to practice those enclosures.
Man your videos are getting better and better and better every time… thanks for this Nathan!
I want to see what you do when you top 500k subscribers! I hope you survive it.
The Shed Club? Sounds intriguing.
this is one of the most useful videos on saxophone improv I ever watched, thank you so much!!
Good one. Enjoying the shed club.
You can never help your intrusive thoughs becoming eggsternal, huh? Solid video!
❤ thanks for this video
Great video, you're egging closer to 200k subs every day, keep it up!
edit; misspelled edging lol
Ahhh good one! ;)
Great stuff Nathan! Some it reminds me a little of the 'Sauntertown' experiement 😅😎🔥
I would humbly love to hear your thoughts about Ed Calle’s solo on a Night in Tunisia
The more i watch your videos, the more i understand🥚
This is one of the handiest videos you've made. Got the concept across well. Thanks!
Can you explain why you enclose the E in the Cmaj7 measure with F#? F# is not in the C major scale. Is it because the Cmaj7 is a continuation of the G major scale chords from the previous 3 measures, thus a ii-V7-I-IV in G? Is that what you are thinking to find the scale tones for the upper enclosure note, that the first 4 bar chords are all derived from a G major scale?
The F#m7(b5) - B7(b9) - Em6 following that makes sense since those chords imply the E harmonic minor scale (which has F# and D#). So it is only the use of the F# in the Cmaj7 measure I wonder about.
That Cmaj7 functions as a IV chord, and the fourth mode of the key (G) is C Lydian. So there is an implied #11 within that chord, and that’s the scale I am using (Lydian). F naturals in that chord wouldn’t sound great
Very helpful video! BTW What is the name of that neckstrap?
Glad you think so! It is the Boston Sax Shop neckstrap
Why would you use a C# as the upper neighbor on a B7b9 chord? I don't approve LOL
Early anticipation the incoming E melodic minor!
@@SaxologicGross 😝
@@lukasalihein How could you
@@Saxologic LOL But for real I don't like it. You should try harder to please me :)
@@lukasalihein What if I like it but you don’t like it? How do we solve this issue?