APPLYING Jazz Vocabulary: A Practical Approach
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- Опубліковано 29 чер 2024
- This lesson on how to apply one nugget of vocabulary in multiple places is from my Virtual Studio. Download the lesson PDF ►► lessons.bobreynoldsmusic.com/...
Join the Virtual Studio bobsvirtualstudio.com
00:00 Quick preview of the nugget
00:23 Soprano saxophone ligature update
03:29 Lesson overview
05:55 Practicing the lick as a technical exercise
08:27 Autumn Leaves explanation
11:33 Autumn Leaves demonstration
13:54 There is No Greater Love explanation
14:46 There is No Greater Love demonstration
16:28 Oleo explanation
18:50 Oleo demonstration
20:33 Harmonic explanation
Download the lesson PDF ►► lessons.bobreynoldsmusic.com/...
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Bob Reynolds is an American jazz saxophonist and Grammy Award-winning member of Snarky Puppy. He's toured with John Mayer, Larry Carlton, and many others and released 12 solo albums-4 of which reached the Top 10 in Billboard's Jazz Charts. A pioneering educator, Bob has coached thousands of musicians through his innovative Virtual Studio. He is a D'Addario Woodwinds artist, amateur surfer, and popular UA-cam vlogger. He lives with his wife and kids in Los Angeles, CA.
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LONGER BIO
Saxophonist Bob Reynolds is an in-demand jazz performer, educator, and sideman, as well as a Grammy Award-winning member band Snarky Puppy. Born in Morristown, New Jersey in 1977, Reynolds grew up in Jacksonville, Florida, where he first started playing saxophone at age 13. Although he listened to a range of music as a kid, by his late teens he was a dedicated jazz student. After high school he honed his skills at Boston's Berklee College of Music, where he mentored with George Garzone, Hal Crook, and others. As a leader, he debuted with 2000's The Bob Reynolds Quartet, followed by 2006's Can't Wait for Perfect. That same year, he joined fellow Berklee alum John Mayer's band and spent the next five years with the pop star, touring and appearing on such albums as 2008's Where the Light Is and 2009's Battle Studies.
In 2013, he returned to his solo work with Somewhere in Between, which reached number one on digital jazz charts. He then made his Snarky Puppy debut appearing on the genre-bending group's 2014 effort, We Like It Here. Two years later he was back with Snarky Puppy for the Grammy Award-winning Culcha Vulcha. In 2017, Reynolds delivered the EP Guitar Band, which featured appearances from Kneebody bassist Kaveh Rastegar as well as fellow Snarky Puppy members Robert "Sput" Searight (drums) and Mark Lettieri (guitar). In 2018 he began touring with 4-time Grammy-winning guitar legend Larry Carlton. He also released the albums Hindsight and Quartet which both landed in the top 10 of Billboard's Jazz charts. A passionate educator, he cofounded an annual summer retreat for adult saxophonists called the Inside:Outside Retreat and he's coached thousands of musicians through his Virtual Studio, a ground-breaking web-based teaching platform he built and has operated since 2010.
#alteredscale #autumnleaves #oleo
Download the lesson PDF ►► lessons.bobreynoldsmusic.com/applying-b9-b13-lick-to-three-standards/
Just pull the Rovner back a little more if it's hitting your lip lol. Personally always been a fan of the Rovners bc you just don't have to think about the ligature and they're so fast and easy to put on. Sooo many times I've forgotten to even tighten mine, and it's not a problem at all.
Thanks Bob ! This is very helpful in the intervalic ear training adventure possibilities ! Good Food to Chew On ! Ben Sax
I ain’t ever heard someone swing so bloody hard to a backing track before. Jesus talk about fluency in the language
Bob's Virtual Studio is super awesome. I've been a member for over two years and I've really enjoyed all the lessons. For anyone looking for a great group musicians to interact with, the Studio is fantastic. I find Bob's lessons really useful and insightful. I enjoy being able to stay on a lesson for days or come back to them as I need. Bob is also one of the nicest people I've ever met. If you're thinking about joining, you should!
When I first started learning alt. scales, I used the same trick (i.e., thinking of them as the 7th mode of the mel. minor a half step up). However, that's two levels of indirection. I think a slightly easier way to learn and practice them is to think of it as a major scale a half step down with a raised root. I.e., using the example in the video clip, I'd think of F# alt. as F major with a raised root (F# instead of F).
Of course, this is all moot once you get the scales under your fingers (and in your ears), but I found it a lot easier to initially access the notes using this trick (one level of indirection) instead of the melodic minor one (two levels of indirection).
Terrific! Thanks for the insight. Appreciated.
Have you ever tried the method described in my post - but like you said, once under your fingers and in your ears it doesn't matter how you get there. Did you notice that Bob doesn't use side Bb
@@axe4sax651 I learned my whole tone and diminished scales that way (decades ago) because I don't think that there's a simple alternative shortcut. However, I think that for students who already know their major scales, it's much easier to learn the melodic minor as "major with a flat 3" and the alt. scale as "major with a raised root" than to have to think explicitly about each interval in the scale. Regarding Bob's use of side Bb, I'm pretty sure that he uses it sometimes. I use side Bb about 50% of the time, but I wouldn't typically use it in an F# alt. scale either (nor generally in any scale, arpeggio, or lick that doesn't also include a B).
I love this ligature too. Regarding how much it covers the reed, just push it back till it hangs out passed the end of the mouthpiece, with one of the cloth strips hanging out. That's what I do and it works great!
I got so much from this video. It explained stuff I've been working on without really knowing how to apply it. Thx for sharing Bob.
Hey Bob, my name is Ian. I am a jazz and Western swing violinist and guitarist. I love studying horns on my instrument and have to say I enjoy everything you offer here. I especially appreciated that you didn’t immediately rush into getting something into all 12 keys, instead recommend working the piece of language into things we already know and love. In general, your videos are great! I’m a big fan of the way you think and how you communicate your experiences. Thank you for sharing with us.
Thank you, Ian! Yes, I’m a big advocate of getting something comfortable in one key first
this is such good teaching
Wow didnt know you played saxophone. Love the vids!
Do you play saxophone?
Big Big Big!! Great lesson, thank you Bob!!!!
I will do my best to get this done, but the main thing I learned was how to approach to the learning process!
What a great example. (Oleo hits me) Thank you very much for this!
A great video, really like the way you explained this. Am inspired to getting back to the practise room and trying it all out!
Bob you are super! Thank you
Thank you so much! Bob, for the PDF
Hello from France .
Enlightening! Thanks.
Very helpful lesson. Thank you for this exercise tool. It will be very helpful for me.
Eres increíble. Cheers from Ecuador. 🤘
Amazing lesson. Thanks!
Thank u Bob, good work!
Brilliant explanation
Super lesson 👍👍👍
Hilarious! Glad you got to check out the ligs, Bob.
I play the same ligature on soprano and I can confirm it feels and plays great
Great lesson, thank you Bob! Btw, your sound seems to have become darker, warmer and kind of "dusty" ;) . Really like that.
Hi Bob, for me this tutorial is bang on point and right on time - I had been working on longer 2-5-1 lines but even though easy enough to learn and remember, there is too much info to use in a practical way so I have started to focus on short 2-5s, V7s or just the V7 of the 2-5 (apparently that’s how Barry Harris teaches). I am currently playing standards and swapping out the melody for the phrase to help in learning a tune's changes.
As for the melodic minor - I’m self taught, and haven’t taken any music grades. I only ever learnt my major scales (and the modes by default!) now I feel the need to revisit scales (and modes from their root) and the melodic minor was 1st on my hit list.
I am mainly interested in improvising, playing by ear and in all keys. For ‘me' the quickest and most effective way to learn scales is by their interval structures e.g. WWH.. (whole-tone, half-tone..) or T T s.. (Tone semi-tone) because, after a bit of practice you can practically see how the scale will sound. Similar to solfege, I think (or sing) the root note as ‘R’ and the next whole tone note as the sound Dahh or half tones as Derr, for example:
T s T T T T s = R - Dahh - Derr - Dahh - Dahh - Dahh - Dahh - Derr
Whereas Ab Bb Cb Db Eb F G Ab, doesn’t sing melodic minor to me! And as for harmonic minors, blues scales etc, the -3rd sound is pretty obvious.
I find the key to learning all scales with this approach is to nail both whole tone scales, their sound and the note names.
Thanks again for this excellent video lesson
Good one
This video makes me want to learn more....
Thank you Bob, Any plans for future posting on upper structures? No rush, it will take me a while to digest this beauty (-:!
Thank u
GRACIAS !!!!!!
That soprano sound though!!
'Shoe horn the lick in' - Great!
Great stuff thanks Bob. Would love a minor 251 hack next blessings 🙂👍🎷🎷
This is a great piece of advice for getting phrases to become a part of your vocabulary instead of just some random licks. I struggle a lot recently with finding “the best way” to get something into my vocabulary without forcing something into my solos. Quick question, do you still imply the “II” over the dominant when you switch to doubletime?
Thanks!
totally yanked that first lick. haven't heard something that swings that hard in awhile
Dear Bob,
First of all, great video!
I'm writing to you because I don't know how to articulate myself.
Should I stick my tongue on the reed on weak beats?
Should I articulate in pairs on the strong beats going up and on the weak beats in a descending phrase as Chad Lb explains?
Thanks for your answer and for everything you do!
You're really great!
Philippe
My teacher always said you can turn a 2-5 into just a 5. Like tension and release
You can turn anything into a 5
I liked your quarantine hair
👋 Hello 🙋♀️
Man you and Chad going after the altered scale this week huh?
Great minds think alike I suppose haha
I've been dying to join the virtual studio but my studies finish in January, should I try to join now or wait till studies are finished?
What a cool video! How do you set up iReal pro to loop just a few bars like that?
On iOS - tap and hold the first measure, then drag the dots to select the loop section. On Mac OS X - simply click and drag to select the section. On Android - tap and hold the first measure and then tap and hold the last measure of the loop.
@Bob Reynolds
How about singing the lick not with the AH sound, but with the EE or EH (ala Allard/Liebman) voicing? I think this is another little way to help students develop good tone focus/tongue position. What do you think?
uah!! 💥💥💥🎷🎷🎷💥💥💥 🐻👍
Completely random question, are you naturally slim or do you exercise; and if so, what types?
I want to transcribe that on keys 🎹 !!!
Great lesson. I have a question or two about the line itself. This line starts low with chordtones, then moves up into the V chord and uses altered notes, then peaks and moves back down and resolves with chordtones again. So you set up context, then move away, then towards resolution. That's clear, and the harmony is clear without any accompaniment. So that's just note choice and rhythm.
But then there's register and dynamics to consider, and what this line has is starting lower in the register, moving up as the tension builds, and also a slight increase in volume and intensity as lines tend to naturally do when they go up. Then it moves back down into the lower register and it resolves.
So in a sense the line is built like a piano player would voice a chord with the guide tones down lower and the altered tones up higher.
The question is, was this stuff also conscious when building the line or is it just a coincidence that it moves up as you move into altered notes then back down as it resolves. Is this a general way of thinking that you apply to line construction, and start by creating a context that's more diatonic that would then support the altered notes played higher up, then maybe move back down to relax the tension and resolve at the cadence?
I know this is just one line, but it's a perfect example. All lines don't HAVE to do this, but now I'm wondering if you start high, then move down to the lower register with your altered notes, then back up higher to resolve if that would just sound screwy or not.
And this is just a very general way of approaching the shape of the line, but it's kind of a broad , non-analytical way of seeing the shape of the line and a way to envision a map of the line before you play it.
I noticed you are always sliding from B natural to Bis B flat, do you always do this? When I was studying classical saxophone in college this was frowned upon so I got used to using side Bb when going from Bb to B natural
I'm not Bob, but Greg Fishman talks about using B to Bis as well. I tried it for bit but couldn't stick with it as I learned as you did. But if these great players are doing it, there must be something to it.
@@jazznutz oh Greg is phenomenal! I can understand rolling off of the bis Bb to B but rolling onto bis Bb from B is more challenging..
@@racehoglund7251 Yes, particularly depending on the set up position of those keys. It's doable on my tenor but seems unreasonable on my Alto due to the lift.
There are also great classical players who slide to/from bis, there’s nothing wrong with it
@@eliwyatt2292 oh cool I didn’t know that! Do you know of any specific classical players that do it? I got to work with Otis Murphy for a tiny bit when I was a freshman but at that time I didn’t notice if he was doing that or not
Hello, love your playing! What mouthpiece are you playing on soprano?
Otto link 8
Hello. What make model are your glasses? Thanks.
Me ayuda muchisimo esta explicacion , estoy trabajando en Oleo , uno de mis temas favoritos , junto a Lingus, asi es que te agradezco tu sporte . Saludos desde Chile . Te dejo un par de cosas para que me escuches . ua-cam.com/video/mQpA2YnqayA/v-deo.html
Thats why Jeff Has 200billions
69th comment
Great vid, 27 minutes to explain this??? terrible voice 😱😱😱😱
Thanks for spending your time and sharing your thoughts.
@@bobreynolds what a hater - it's 27 minutes of pure gold which I'd gladly pay for. Thank you for all you do!
@@klimzy yes; showing the process in real time is very helpful.