How Cannonball Adderley Plays The Blues
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- Опубліковано 26 лип 2024
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Here's the original recording you can check out in full: • Straight, No Chaser (L...
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Walk through of how Cannonball Adderley plays the tune blues tune Straight No Chaser, learn what techniques he uses so you can try them in your own versions.
To get your free PDF www.newonlinesaxacademy.com/blog/106-how-cannonball-adderley-plays-the-blues
Hiya. Love all of your content! I'm a beginner (as in 12 hours worth of playing so far!). Is there a trial available on your site? To get a feel of the content? I ought to book a Zoom lesson with you as well!
I automatically sub to anyone w/ Cannonball Adderley content...this whole solo is great so I'm glad I found this!
That’s a great sub policy!
great analysis you really pointed out the core of a good improvisation
Thanks!
This video was entertaining and instructional - I really enjoy this format as a player and a listener!
Thanks Jim!
Brilliant. Very helpful tips to apply to solos. Thanks Paul!
Thanks Martin!
This is so well explained - thank you!
Thanks so much Ghulam Yar!
Very helpful!
Thanks!
Adam Bishop in North London does excellent repair work.
Thanks!
Muito bom! Continue o trabalho
Thanks Leonardo!
Hi friend are you agree with me? I'm sorry I don't have much time to study 😢. But the reason I prefer listen sax to learn on my guitar maybe depend because on the guitar we have a geometric shapes and many guitars follow this way to play?? Are u agree??
That makes sense, i suppose it depends on who you listen to
Sd
A “sickth”. One two three four five sick
Indeed!
Why is there an Ab in a C7?
Hi Kris, there are a few ways you could look at this. You could think of it as the b13 of C7, or #5 of C7, or it’s second note of the F (minor) blues scale. It basically creates a bluesy tension which he then resolves later.
@@OnlineSaxAcademy by that reasoning, no note is excluded from any key. Am I right?
You see, that’s what makes chord charts so difficult. You don’t really have to follow them at all if every note outside the associated scale can also be justified as being used.
When in doubt simply call something a flattened 9th or sharp 4, etc. 😂 😂
To someone trying to follow a chord chart and also transposing, it can be a bit overwhelming. I guess the rule is really, “if it sounds good, then do it. If it sounds like a mistake, just repeat the mistake two more times”. This has the benefit of giving the impression that you meant to do it and that makes it “artistic impression” after all. So says Miles.
By your explanation, may I ask what notes would not be allowed?
It’s Jazz, after all. The most rule-breaking, rules imposed music there is.
Also, I love Jazz. I just feel she is like a cheating spouse at times. 😂
@@OnlineSaxAcademy and also, in my mind, as I’m playing, I think of C7 in the easiest terms for me. I think of a C Major scale with the 7th flattened. I tend to try and see the 1357 arpeggio in most modes (Phrygian notwithstanding, 😂).
This means that I shoot for “chord
Tones” when I’m trying to improvise. When I see chord charts and notes which are not a part of the modal scale associated, my brain tries to reason and this never works out for me. Best I can do is look for chromatic leadings or enclosures or some valid logical explanation to justify the otherwise clear violation.
I don’t always agree with the designated chord listed and this frustrates me. I’m looking for logic when it seems increasingly clear that rules were made to broken or excused at the very least
Hi Kris, the justification for the note is subjective, but the sound of an Ab on a C7 chord has its own distinct ‘flavour’, ideally you want to be able to identify this sound by ear, then you can decide if you want to use this ‘flavour’ in your improvising, it’s all context dependent, sometimes it’ll sound bluesy and cool, sometimes it’ll just be too strong of a sound in other songs, like ketchup on ice cream.
@@OnlineSaxAcademy mmmm…I once heard of a lady who liked mustard on her lime jello!