For sheet music of all 50 ii-V-I phrases in all 12 keys plus recordings and backing tracks visit: www.jazzlessonvideos.com/pdf-packages Mouthpiece: use $10 coupon code CHADXSYOS at www.syos.co/en/shop/products/signature-saxophone-mouthpiece/chad-lefkowitz-brown-tenor
he could just give himself some space to breathe, we get that you know the notes you can play over a chord and you can play fast, that doesn’t make it sound good, lyrical lines sound way better in this musical context. there is a time and a place for every style of playing and running up and down chords aggressively fast over some 2-5-1’s that aren’t even on a double time is not that time or place. It didn’t sound very good
@@timothylolcats8020 Music and how you play is preference pal, if you don’t like how he plays that’s fine. But to tell somebody how they should play because it’s more pleasant to your ears it’s just not the right thing to do. *So what* if he plays like that? He learned what he had to learned to play Jazz, and now he express himself however he wants to. Ignore his playing, or move on with your music education with these contents, there’s no need to shit on somebody’s playing like Chad don’t know what he’s doing.
@@timothylolcats8020 you tell him Timothy lulz. Tell him you won't hire him for your gig until he gets his shit together. You gotta be sick to play with Timothy and the jazzlulzcatz big band
Am i the only person who thinks the lick meme is a moronic travesty to jazz music? Y'all seem to forget that nearly every phrase has been recycled and warped countless times. But because someone edited a clip of one specific lick being played a lot, that lick gets demonized and now you can't even play it without it being a joke. Man, jazz musicians have been holding onto this meme for way too long. It's not funny anymore
I love your videos. I find them really inspiring and motivating. Your playing sounds gorgeous, also. I'm a guitarist and most horn players don't leave me feeling so jealous but the kind of care of expression that you put into your notes/phrases really makes me wish I was playing a tenor.
Wow this is really some slick s***. I took one phrase and was able to create effortlessly and not run out of ideas. You stimulate creativity, I'm going to devote myself to learning how a great saxophone player such as yourself thinks so I can apply it to the piano. My 🎹 teacher and musical father the late great Walter Bishop Jr told me 20 years ago that he didn't listen so much to other piano players besides Bud Powell but that he listened to horn players. such as his hero Charlie Parker. "Thanks young blood," by sharing the knowledge you're not only helping other musicians develop their talents but you are actually keeping Jazz alive for generations to come and that makes you a "JAZZ MESSENGER."
Great stuff..I can hardly wait to get into this..:-) ..I remember when Jimmy Forrest was in town...he worked with us kids at the Junior College, I had the highest honor to share some time with him...I asked him what it was he'd did when he improvised. He responded " just messin with the chords man". Unforgettable.
I love this! It sounds like you actually put thought and workin these lines, where a ton of other books I've checked out sound like random notes thrown together
Thanks so much Chad, these are really cool. I had already bought some of your materials and so I knew this was going to be good, but these II-V-Is are incredible. Some are a bit challenging range-wise for me to play on trumpet though I can get by with dropping an octave or pivoting. I will definitely need to work hard to get the double time lines fast and clean enough.
I got this package and I am enjoying it. I suggest you make volume 2 of these pdf’s but I would mention that you should add and explain the voice leading and analysis of each line (with colored circles and note quality) and the other general tips, just as you explain in your videos. (Except that you explain all the phrases). This would make the pdf’s much more powerful and you could even charge a higher price. I am sure that I am not the only person who would be interested in second “advanced” volumes with expanded written analysis etc.. I was surprised that even though I could figure out many of the licks and concepts from your free videos, nothing inspires like the pdf with everything layed out for the musician. I play piano and use the PDFs in my own way for my instrument. Thanks again.
I'm totally with you. Just bought both major and minor 2-5-1s and I got my head around major diatonic phrases 2 & 3. Completely blacked out about the 4th one. Literally no idea what's the analysis behind that line. U.u Would've loved to pay a bit extra to have a section explaining them. As in, you get to do the analysis yourself and then you check the solutions to compare what he actually implied behind.
8:53 That you can play all those notes that quickly and on purpose is impressive enough, but I really don't get how you are able to play all those notes that quickly while planning a phrase that will lead to the right approach note for where you you want to start the next chord. Obviously, you are able to do this, but honestly, I find myself wondering if my brain is designed to work that fast.
Hey. In my experience, all the planning and heavy thinking happens in the practice room at much slower tempos. What Chad is demonstrating is thousands and thousands of hours incorporating those lines and phrases into his playing at burning tempos. So inspiring!
Nobody can think that fast. When you talk, do you think about each specific word before you say it and what words you want to land on? no, because you’ve spend thousands of hours perfecting the skill of speaking over the course of your entire life. This guy speaks through his horn.
@@ziruini5071 You're probably right. I guess that's part of what so amazing about the people who've mastered their craft -- most people either can't or (perhaps more likely) won't put in all those hours.
In your pentatonic shift example, is there an underlying reason for going from C Maj to the F#- and then the C#-? Or, was that a sound you just found to be cool, maybe a little idiomatic thing you like to use in similar situations. To me, learning the "why" is the hard part of learning licks and language. I can get the "what" but getting the "why" is how to lock down the phrases. Of course that's the very individual part of it. I can only ever get so close before I just have to do my own thing.
C to F# tritone interval creates tension and the C# because its a fifth/fourth away from F# (circle of fifth), nicely resolving to actual C. That what I think
Bob C, he mentions the common tones, which allow the ear to move towards the new “outside” tonality, and most players bring it back with the half-step resolution, here done with a standard enclosure.
When you play double-time lines, are you tonguing for accenting or using breath / embouchure to make the accents / ghost notes so you don’t get bogged down?
Great question! In general, I do a combination of “dooden” tonguing and articulating the off beats. Check out my video on “How to Articulate in Jazz” for more analysis.
@@flaviuspitigoi8275 You say that as though it's a bad thing. He has taken the time and other resources to provide something people want and he is directing someone to it. It costs resources to create and he is selling the product, just as we all sell our skills and time to make a living. It is as it should be (in today's world as we know it). Please don't be snide about it.
@@mfonisoossom hahahah I ask:how much @theycallhimdan will learn if the answer is "yes, dubble tongue" or "breath column and triple tongue"? How much did he share? Or loose? Example : hahhahahahaha Yes baby, for skying you need sky equipment. And for sure to have snow! That's make your baby an expert how can compete at Olimpics? Hahhaahhahahaha Yes tongue! And now you are master jedi in triple staccato Hahahahaahhahahahaha
Actually not that hard. Find minor 3rd and b5 intervals in the associated chord scale, with specific awareness of flat 3 and flat 9 on dominant chords.
@Chad LB first of all thanks a lot for the video and the content is super great. Nevertheless, would you consider uploading/selling an additional PDF explaining the answers (analysis) of each line just like you did in your video anytime? Just bought your both books on major and minor 2-5-1 and although I understand music some of them get a bit ahead of me. I had no troubles in the Major 2 & 3 Diatonic phrases but the 4th I'm literally lost on Bar 2 & 3. Would love to have a section where I could compare my analysis to the idea you actually implied. Thanks a lot. Kind regards Dave.
Thanks Chad...you've been a tremendous help for my alto and flute improvising...my guitar and keyboard voicing and improvising has enjoyed a remarkable level of improvement as well. I will definitely want to purchase your diatonic exercises and chromatic studies as well. Thanx again bro. 7deepbreaths/Chicago, USA 6/27/21
ngl the lick at 6:10 kinda sounds like the lick charlie plays when he's with the Russian model in the episode "The Gang Hits The Slopes" from Its Always Sunny In Phillidelphia
Man great stuff, my question is how do internalized all of this? Or how long do you run through the materials before you go it? I have to go over slowly as far as reading like you did Chadd. And for the most part if I had to think my way through while playing I’m done ✅ Basically I hear what’s going on and play accordingly, but being able to internalize the material would be major plus! Sometimes it becomes overwhelming going through the materials and wanting to be locked and loaded when you hear
@@juandalg4907 If you have faster songs, then you need to play as often as possible to that fast song and try to use your vocabulary on certain chords in the song. The more you play to the song, the more you are able to adapt to the fast tempo and the vocabulary will come out more naturally after some time. Your mind will adapt to the faster tempos, but at first its also important to practice slowly, you have to mix both approaches. Go through the changes slowly at first and try to play only the arpeggios in one direction, then the other direction, then mix it up. Also practicing scale patterns (and also creating your own scale patterns) can help but beware, its also vocabulary which you have to apply and learn. Most of it i think, comes down to learning many lines, breaking them down in small chunks and practicing those chunks in different ways (moving through scales, scale degrees, keys etc.) Also you have to think in concepts and allow yourself to be concious of what you play, you dont think in the way like when you are thinking about a math equation or something, while playing you are aware of what goes on in the song, but let your mind handle the rest. Its like driving a car, you have to be aware of so many things at first, but after a while many things are going automatic and you have more freedom over how you want to travel to a destination. Hope this helps
Dear Chad, I am educated as a classical saxophone player, and as a classical singer, although I love jazz for many years and try to find time to catch up theoretically and technically since it is a completely different discipline. My probably obvious question is , how and with which of your pdfs do you suggest me to start of with..so i can work gradually to the next level? Thanks so much, you are incredible. Huub Claessens
Hi Chad. I bought the book and love it, just has a quick question for you...you say that [nothing is random - every note serves a purpose] and explain what's going on, so what's happening when you improvise ? Are you recalling "chunks" of pre-learnt material, or are you just thinking at a million kph ?
How do you get to the point that you use all these patterns that you learn, no matter how many licks i've studied in all keys etc i can hardly play them or remember them .Any suggestions?
Transposing licks into different keys and analyzing what is going on helps me remember them Also you don't have to play the lick exactly the way you learned it changing it and making it your own is what makes jazz fun
I understand the explanation but 2 what is your harmonic accompaniment going to to when on CMa you go to F# and C#? The harmonic movement is a bit fast for someone to follow. Is this like simultaneous music ala Stockhousen?
When learning solos, I frequently hear the playing of the 4th scale note (11th) at the beginning of the measure, on a downbeat, but supposedly a chord tone like R, 3, 5, 7, should be played on the downbeat. Another one is playing a Major 7th tone instead of b7th over a dominant chord. That and just about every Wes Montgomery solo has a part that leaves me with no explanation. Is there any reference to these in music theory?
Wes didn't know much theory, he mostly just played by ear, so I'm sure there's plenty of stuff he plays that doesn't fit into theory nicely. Don't know about the rest of your question though.
it's also a wrap around note, so in c (maj or dom7) it could resolve to E via F,Eb,E or the root, via F, E,Eb,D,C, or the fifth by F,E,Ab,F#G and so on and so on - effectively extending the solo pattern and tension before the release of a chord tone. A nice practice routine is purposely playing 'outside' before landing on a tone note. At least that's what I say I'm doing with all my 'duff notes' and all my duff notes can always be explained as things such like the #11, b13, if I really get defensive :o)
Pentatonic pentatonic it makes a certain predictability. Also the lack of half steps denies the improvisor so much! Nice tone. Plus there are otherways to slide outside for a quick second.
Just a head's up that your examples are transposed for Bb instruments (your Dm is Cm for non-transposing instruments). I know the information is the same but when I went to play along (nice examples, by the way) I realized I needed to transpose down a step to play with you.
Hi! where on the site do you click on for these 50 phrases.? I see Guitar, so will all these lines your playing be there if you are a guitarist? Thank you
Chad..Found you by accident on u-tube. I've been playin' since '61. My first gig in '69. Been a Woodwind tech for 45 years and worked on literally 1,000's of saxes, student and pro. Bundy to Balanced action, Mark 6, Couf, Yani'S etc. Played central US, Mexico, cruises, resorts, Etc. Served as a clinician for Hal Leonard, numerous recordings, etc. I'm very curious about your equipment. Judging by the appearance, you are either playing on a copper neck, (WITH RECEIVER) or is it tinted lacquer? Also curious about mpc. specs. and brand. Looks like pretty interesting resistance curve. Can't tell by vid., but it looks like a big chamber, and it looks like it's designed to totally encompass the neck cork for bore match to alleviate turbulence. Is that accurate? I'm always looking for ideas. What make is horn? Old school study. Getz, Hank Mobley, Scott Hamilton, Stitt, etc. Playing King Super 20, '73 vintage, annealed body tube, with Meyer 9* mpc. VERY WELL DONE VIDEO!! Especially for young students! Best Regards, Gary
Hey chad idk if you will see this but im considering buying ur signature mouthpiece at syos. I really love the tone that you have and the brightness of the mouthpiece is just beautiful. I was just wondering if it would hinder me in large ensemble settings. Is it easy enough to control the brightness on long notes to where i can blend in with the group’s sound? I would really appreciate any feedback! Thanks
What helped me was mapping out the tune with “go to licks” for every phrase. Then I go back and add more on top of the changes. Your ear will get use to your “go to lick” and you will know where you are
Thanks I’ll try that. Maybe a video would help? I find myself faking it during the solo just playing scale runs until I get a handle on where in the tune everybody else is. Embarrassing.
@@jefferyperkins4668 Get comfortable on voice leading. Chad did I video on it called "how to improvise melodically" its a really good video, you should check it out :) ua-cam.com/video/06KTKnr1XYE/v-deo.html
For sheet music of all 50 ii-V-I phrases in all 12 keys plus recordings and backing tracks visit:
www.jazzlessonvideos.com/pdf-packages
Mouthpiece: use $10 coupon code CHADXSYOS at www.syos.co/en/shop/products/signature-saxophone-mouthpiece/chad-lefkowitz-brown-tenor
Me encanta estos ejercicios, me ayudan mucho en organizar frases, saludos desde Paraguay
I need the sheet music
absolute chad
The chad white mouthpiece vs the virgin otto link metal
Hey would you listen to mu video. I improvise in an advanced way over a blues withouth backing track! :)
iop223 Chadsolutely
Same thought bro xD
Hehe
I love that you cut straight to the point with no unnecessary build-up! Great content.
You didn’t have to flex that hard in the beginning but you did
it's what he does
he could just give himself some space to breathe, we get that you know the notes you can play over a chord and you can play fast, that doesn’t make it sound good, lyrical lines sound way better in this musical context. there is a time and a place for every style of playing and running up and down chords aggressively fast over some 2-5-1’s that aren’t even on a double time is not that time or place. It didn’t sound very good
@@timothylolcats8020 I mean. It do be fire tho
@@timothylolcats8020 Music and how you play is preference pal, if you don’t like how he plays that’s fine. But to tell somebody how they should play because it’s more pleasant to your ears it’s just not the right thing to do.
*So what* if he plays like that? He learned what he had to learned to play Jazz, and now he express himself however he wants to. Ignore his playing, or move on with your music education with these contents, there’s no need to shit on somebody’s playing like Chad don’t know what he’s doing.
@@timothylolcats8020 you tell him Timothy lulz. Tell him you won't hire him for your gig until he gets his shit together. You gotta be sick to play with Timothy and the jazzlulzcatz big band
One of the best music educators in this planet!
0:27 think you can slip one by??
Got em
D E F G E C D
Oof
Am i the only person who thinks the lick meme is a moronic travesty to jazz music? Y'all seem to forget that nearly every phrase has been recycled and warped countless times. But because someone edited a clip of one specific lick being played a lot, that lick gets demonized and now you can't even play it without it being a joke. Man, jazz musicians have been holding onto this meme for way too long. It's not funny anymore
Major7Flat5 oh boy ur one of those people lmao
I love your videos. I find them really inspiring and motivating. Your playing sounds gorgeous, also. I'm a guitarist and most horn players don't leave me feeling so jealous but the kind of care of expression that you put into your notes/phrases really makes me wish I was playing a tenor.
Hey Geoff, I’m up in Lansing & these ARE great tuts.
Just the same I downloaded ALL your “lesson room” vids years ago - just sayin..
That’s , this has been the best and easiest video to follow. Plus it helps if your a Flat out Monster. Incredible player
yessss
Wow this is really some slick s***. I took one phrase and was able to create effortlessly and not run out of ideas. You stimulate creativity, I'm going to devote myself to learning how a great saxophone player such as yourself thinks so I can apply it to the piano. My 🎹 teacher and musical father the late great Walter Bishop Jr told me 20 years ago that he didn't listen so much to other piano players besides Bud Powell but that he listened to horn players. such as his hero Charlie Parker. "Thanks young blood," by sharing the knowledge you're not only helping other musicians develop their talents but you are actually keeping Jazz alive for generations to come and that makes you a "JAZZ MESSENGER."
Amazing musician and teacher. Fantastic, in the truest sense. Thank you!
Great stuff..I can hardly wait to get into this..:-) ..I remember when Jimmy Forrest was in town...he worked with us kids at the Junior College, I had the highest honor to share some time with him...I asked him what it was he'd did when he improvised. He responded " just messin with the chords man". Unforgettable.
one of the best tutorials i've seen. so much good info!
Your basically pressing buttons but knowing what you're doing... just brilliant!
People tell me that I’m a really good sax player and then I feel confident. Then I clicked this vid and my self confidence went a committed not alive
Being a musician is an eternal tug of war between "wow I'm pretty good!" and "I fucking suck why do I even bother"
I’m just wondering how many years ide have to practice this before I start to sound like him
@@Joshua-gv1ep all
To boost your self-confidence, perhaps starting with some classical-sax finger exercises may help:
ua-cam.com/video/spHuK5fy29I/v-deo.html
;-P
Baila Hie you really had to do this to me. I might just sell my sax now
Clearest explanation ever. Thanks.
Really helps to understand how to put more tension in the same basic phrase.
Top notch educational material as always, useful and to the point
very impresive mate! good job
Brilliant lesson. Taken my playing to another level.
yeah, chad is amazing great video chad!!
Chad. You are a real gent for putting out this stuff. You've given me lifetimes of stuff to shed :D
Super cool thanks man
Thank you so much ...... Well explained .....
Thanks Chad
Muy bueno Chad gracias!!!!
我非常喜欢爵士乐，我也是吹萨克斯的，但是我不懂英语要是有中文字幕那简直太好了！我会尽量去尝试着理解！感谢您的视频！
商润泽 你可以学
Good thing I recently picked up on a lot of music theory before watching this lol, makes this a lot more helpful. Awesome video dude 👍
That mouthpiece is massive.
I think it might be a Syos.
@@lylecrawford2794 Yes it is.
Chad is inspirational! He has definitely motivated me to further my playing and has helped me along the way!
Thanks for your Joy about this Chad...Inspirational
Hey would you listen to my video. I improvise in an advanced way over a blues withouth backing track! :)
He's a monster and he knows it and wears it like a badge XD
Lllklolllolollollooloooooollllololloooolooloooooooooooooooooooo
Ool
L
Llllyltll
😄😄😄😄😄😄
I love this! It sounds like you actually put thought and workin these lines, where a ton of other books I've checked out sound like random notes thrown together
Thanks for sharing....keep up the great job
Awesome
Amazing video, really. Thank you sooo much💯
I'm a bass player, and I love using these lines
Hey bro sorry i dont know alot about the bass. Can you really play these sax notes in the same way on the bass?
@@thoughttgainz2626 ya, I've been playing bass a long time (I'm still a teen tho). A lot of my improv comes from sax lines
@@thoughttgainz2626 I also play sax in orchestra so I can read treble on bass
@@thoughttgainz2626 I study a lot of charlie parker and coltrane
You hipped me to a two sub. ideals I'd never thought about! Thanks
Super useful
Man... You're amazing
nice lesson i bought this one , it would be nice if there would be more explanation of the exercises especialy the bebop ones
Your vids is one of the best however I would really wish it there could be a next treble clef for alto players please🙏🏼
super guy! good teaching
Thanks so much Chad, these are really cool. I had already bought some of your materials and so I knew this was going to be good, but these II-V-Is are incredible. Some are a bit challenging range-wise for me to play on trumpet though I can get by with dropping an octave or pivoting. I will definitely need to work hard to get the double time lines fast and clean enough.
Very instructive vid, even for guitarist who play only by ear, like me 👍👍
For me too !...
Great lesson!
Wow I love you're playing and analysis, a great teacher and artist no doubt. Thank you, I will be purchasing the full volume.
Great Chad, thanks!!!👍
I got this package and I am enjoying it. I suggest you make volume 2 of these pdf’s but I would mention that you should add and explain the voice leading and analysis of each line (with colored circles and note quality) and the other general tips, just as you explain in your videos. (Except that you explain all the phrases). This would make the pdf’s much more powerful and you could even charge a higher price. I am sure that I am not the only person who would be interested in second “advanced” volumes with expanded written analysis etc.. I was surprised that even though I could figure out many of the licks and concepts from your free videos, nothing inspires like the pdf with everything layed out for the musician. I play piano and use the PDFs in my own way for my instrument. Thanks again.
I'm totally with you. Just bought both major and minor 2-5-1s and I got my head around major diatonic phrases 2 & 3. Completely blacked out about the 4th one. Literally no idea what's the analysis behind that line. U.u Would've loved to pay a bit extra to have a section explaining them. As in, you get to do the analysis yourself and then you check the solutions to compare what he actually implied behind.
8:53 That you can play all those notes that quickly and on purpose is impressive enough, but I really don't get how you are able to play all those notes that quickly while planning a phrase that will lead to the right approach note for where you you want to start the next chord. Obviously, you are able to do this, but honestly, I find myself wondering if my brain is designed to work that fast.
Hey. In my experience, all the planning and heavy thinking happens in the practice room at much slower tempos. What Chad is demonstrating is thousands and thousands of hours incorporating those lines and phrases into his playing at burning tempos. So inspiring!
Nobody can think that fast. When you talk, do you think about each specific word before you say it and what words you want to land on? no, because you’ve spend thousands of hours perfecting the skill of speaking over the course of your entire life. This guy speaks through his horn.
@@ziruini5071 You're probably right. I guess that's part of what so amazing about the people who've mastered their craft -- most people either can't or (perhaps more likely) won't put in all those hours.
Great video. Loved the variety of styles
In your pentatonic shift example, is there an underlying reason for going from C Maj to the F#- and then the C#-? Or, was that a sound you just found to be cool, maybe a little idiomatic thing you like to use in similar situations. To me, learning the "why" is the hard part of learning licks and language. I can get the "what" but getting the "why" is how to lock down the phrases. Of course that's the very individual part of it. I can only ever get so close before I just have to do my own thing.
C to F# tritone interval creates tension and the C# because its a fifth/fourth away from F# (circle of fifth), nicely resolving to actual C.
That what I think
@@flippinozzy537 that makes sense.
Bob C, he mentions the common tones, which allow the ear to move towards the new “outside” tonality, and most players bring it back with the half-step resolution, here done with a standard enclosure.
Thanks Chad, awesome stuff!! Hey, come down under to Australia some time on tour please 🙂
Anthony Bock thanks, Anthony! I toured Australia several years ago, hope to be back real soon :)
When you play double-time lines, are you tonguing for accenting or using breath / embouchure to make the accents / ghost notes so you don’t get bogged down?
he's tonguing for sure
Great question! In general, I do a combination of “dooden” tonguing and articulating the off beats. Check out my video on “How to Articulate in Jazz” for more analysis.
Hahaha!
Politics , baby! Politics!
HahaH
Check out(buy) my new book
Hahaha
@@flaviuspitigoi8275 You say that as though it's a bad thing. He has taken the time and other resources to provide something people want and he is directing someone to it. It costs resources to create and he is selling the product, just as we all sell our skills and time to make a living. It is as it should be (in today's world as we know it). Please don't be snide about it.
@@mfonisoossom hahahah
I ask:how much @theycallhimdan will learn if the answer is "yes, dubble tongue" or "breath column and triple tongue"? How much did he share? Or loose?
Example : hahhahahahaha
Yes baby, for skying you need sky equipment. And for sure to have snow!
That's make your baby an expert how can compete at Olimpics?
Hahhaahhahahaha
Yes tongue! And now you are master jedi in triple staccato
Hahahahaahhahahahaha
this is outstanding... if you take requests for future lessons: how to mix the blues into your lines? thanks!
Hey would you listen to mu video. I improvise in an advanced way over a blues withouth backing track! :)
Actually not that hard. Find minor 3rd and b5 intervals in the associated chord scale, with specific awareness of flat 3 and flat 9 on dominant chords.
Awesome!
Awesome !!
Man. This guy flies
@Chad LB first of all thanks a lot for the video and the content is super great. Nevertheless, would you consider uploading/selling an additional PDF explaining the answers (analysis) of each line just like you did in your video anytime? Just bought your both books on major and minor 2-5-1 and although I understand music some of them get a bit ahead of me. I had no troubles in the Major 2 & 3 Diatonic phrases but the 4th I'm literally lost on Bar 2 & 3. Would love to have a section where I could compare my analysis to the idea you actually implied. Thanks a lot. Kind regards Dave.
For tht double time phrase, when do we actually hit the chord tones? I'm a bit confuse 😅
Great playing. What’s the MP your playing
Thanks Chad...you've been a tremendous help for my alto and flute improvising...my guitar and keyboard voicing and improvising has enjoyed a remarkable level of improvement as well. I will definitely want to purchase your diatonic exercises and chromatic studies as well. Thanx again bro. 7deepbreaths/Chicago, USA 6/27/21
ngl the lick at 6:10 kinda sounds like the lick charlie plays when he's with the Russian model in the episode "The Gang Hits The Slopes" from Its Always Sunny In Phillidelphia
Thought you were talking about Bird at first lmao
Man great stuff, my question is how do internalized all of this?
Or how long do you run through the materials before you go it?
I have to go over slowly as far as reading like you did Chadd.
And for the most part if I had to think my way through while playing I’m done ✅
Basically I hear what’s going on and play accordingly, but being able to internalize the material would be major plus!
Sometimes it becomes overwhelming going through the materials and wanting to be locked and loaded when you hear
Nice vid! And did I catch a Confirmation lick at 5:13?
Hey is there a similar pdf available to buy for guitarists? I really love the lines and the concepts behind them :)
@@igordrozdowski9718 thank you so much for your valuable info :)
How do you suggest to practice yor ii v i book? It's super..but I don't know to study...thanks so much
What I don’t get is how you can process all that information on the spot while improvising, specially on a faster song
Practice, practice, practice
@@Anty7 that’s the thing, I have no Idea what to practice at this point
@@juandalg4907 EVERYTHING
@@juandalg4907 If you have faster songs, then you need to play as often as possible to that fast song and try to use your vocabulary on certain chords in the song. The more you play to the song, the more you are able to adapt to the fast tempo and the vocabulary will come out more naturally after some time. Your mind will adapt to the faster tempos, but at first its also important to practice slowly, you have to mix both approaches.
Go through the changes slowly at first and try to play only the arpeggios in one direction, then the other direction, then mix it up. Also practicing scale patterns (and also creating your own scale patterns) can help but beware, its also vocabulary which you have to apply and learn.
Most of it i think, comes down to learning many lines, breaking them down in small chunks and practicing those chunks in different ways (moving through scales, scale degrees, keys etc.)
Also you have to think in concepts and allow yourself to be concious of what you play, you dont think in the way like when you are thinking about a math equation or something, while playing you are aware of what goes on in the song, but let your mind handle the rest. Its like driving a car, you have to be aware of so many things at first, but after a while many things are going automatic and you have more freedom over how you want to travel to a destination. Hope this helps
@@cx777o thank you so much, I will definitely have this in mind
Dear Chad, I am educated as a classical saxophone player, and as a classical singer, although I love jazz for many years and try to find time to catch up theoretically and technically since it is a completely different discipline. My probably obvious question is , how and with which of your pdfs do you suggest me to start of with..so i can work gradually to the next level?
Thanks so much, you are incredible.
Huub Claessens
In the sheet music, what does the staff with numbers for notes illustrate?
Finally u included analysis, but now I'm too broke to buy this ... Bought youre last book
I'll follow this and im a guitar player. Never played any horns lol
sax players (or any brass for that matter) can be really inspiring for us guitar players!
@@Purpose_Tortoise absolutely! The horn players can make singing like phrases. Is something unique about these instruments
Hey would you listen to my video. I improvise in an advanced way over a blues withouth backing track! :)
I wish guitar lesson videos were this straightforward
Check out this guy ua-cam.com/channels/qepSCHTyWj4BzHxEEUNvlg.html
I love it and am buying it. Can't wait for the the Minor version which I'm sure you're working on. :)
Hi Chad. I bought the book and love it, just has a quick question for you...you say that [nothing is random - every note serves a purpose] and explain what's going on, so what's happening when you improvise ? Are you recalling "chunks" of pre-learnt material, or are you just thinking at a million kph ?
Number 4. Sounds alot like a Joe Levano sound!
How do you get to the point that you use all these patterns that you learn, no matter how many licks i've studied in all keys etc i can hardly play them or remember them .Any suggestions?
Transposing licks into different keys and analyzing what is going on helps me remember them Also you don't have to play the lick exactly the way you learned it changing it and making it your own is what makes jazz fun
I understand the explanation but 2 what is your harmonic accompaniment going to to when on CMa you go to F# and C#? The harmonic movement is a bit fast for someone to follow. Is this like simultaneous music ala Stockhousen?
When learning solos, I frequently hear the playing of the 4th scale note (11th) at the beginning of the measure, on a downbeat, but supposedly a chord tone like R, 3, 5, 7, should be played on the downbeat. Another one is playing a Major 7th tone instead of b7th over a dominant chord. That and just about every Wes Montgomery solo has a part that leaves me with no explanation. Is there any reference to these in music theory?
Wes didn't know much theory, he mostly just played by ear, so I'm sure there's plenty of stuff he plays that doesn't fit into theory nicely. Don't know about the rest of your question though.
Theory is an explanation for the sound not the other way around. You just explained it, the Major 7th over b7th dominant chord.
it's also a wrap around note, so in c (maj or dom7) it could resolve to E via F,Eb,E or the root, via F, E,Eb,D,C, or the fifth by F,E,Ab,F#G and so on and so on - effectively extending the solo pattern and tension before the release of a chord tone. A nice practice routine is purposely playing 'outside' before landing on a tone note. At least that's what I say I'm doing with all my 'duff notes' and all my duff notes can always be explained as things such like the #11, b13, if I really get defensive :o)
Hard to think of all this as you play live
Pentatonic pentatonic it makes a certain predictability. Also the lack of half steps denies the improvisor so much! Nice tone. Plus there are otherways to slide outside for a quick second.
When you’re in the middle of a performance how do you remember all of this?
did you do the lick in the beginning.
The moment ur feeling ur sax improv so u sway back and forward
After purchasing the PDF pack, where can I access these backing tracks?
Thanks, Parker! Link for backing tracks is in the table of contents.
Hi that was so great I how can I download the all scale need to know for Jazz is they a link thanks
Just a head's up that your examples are transposed for Bb instruments (your Dm is Cm for non-transposing instruments). I know the information is the same but when I went to play along (nice examples, by the way) I realized I needed to transpose down a step to play with you.
This guy KNOWS HIS SHIT! Great teaching here!
great
Hi Chad, what kind of mouthpiece are the ones you use?
Syos. He has his own signature piece
Hi! where on the site do you click on for these 50 phrases.? I see Guitar, so will all these lines your playing be there if you are a guitarist? Thank you
Great job. Second bar (G7) you play A-Ab while on paper is A-A#
@@Fbarrett of course he is! :-)
What is the difference between Phrases and Etudes
WOW!
When you say "enclosure shape" -- what does that mean?
5:10 can anybody help me. What he plays is not on the transcribed frame. Whats up with that?
Joaquin Odriozola I thought it was just me..
He has Bb pitch
boa tarde, souy de itapira brasil....muito bom...very much....
Chad..Found you by accident on u-tube. I've been playin' since '61. My first gig in '69. Been a Woodwind tech for 45 years and worked on literally 1,000's of saxes, student and pro. Bundy to Balanced action, Mark 6, Couf, Yani'S etc. Played central US, Mexico, cruises, resorts, Etc. Served as a clinician for Hal Leonard, numerous recordings, etc. I'm very curious about your equipment. Judging by the appearance, you are either playing on a copper neck, (WITH RECEIVER) or is it tinted lacquer? Also curious about mpc. specs. and brand. Looks like pretty interesting resistance curve. Can't tell by vid., but it looks like a big chamber, and it looks like it's designed to totally encompass the neck cork for bore match to alleviate turbulence. Is that accurate? I'm always looking for ideas. What make is horn? Old school study. Getz, Hank Mobley, Scott Hamilton, Stitt, etc. Playing King Super 20, '73 vintage, annealed body tube, with Meyer 9* mpc. VERY WELL DONE VIDEO!! Especially for young students!
Best Regards,
Gary
Gary Zimmer, Lupifaro tenor, KB sax copper neck (not sure if its a redwood or a vanguard) and a SYOS mouthpiece
Hey chad idk if you will see this but im considering buying ur signature mouthpiece at syos. I really love the tone that you have and the brightness of the mouthpiece is just beautiful. I was just wondering if it would hinder me in large ensemble settings. Is it easy enough to control the brightness on long notes to where i can blend in with the group’s sound? I would really appreciate any feedback! Thanks
Absolutely! Check out my Instagram for lots of ballad video. Use coupon code CHADXSYOS for $10 off.
I get lost when improvising. I know the chords and scales etc, but it’s hard to know where in the tune I am when I’m into a solo. Help?
What helped me was mapping out the tune with “go to licks” for every phrase. Then I go back and add more on top of the changes. Your ear will get use to your “go to lick” and you will know where you are
Thanks
I’ll try that. Maybe a video would help? I find myself faking it during the solo just playing scale runs until I get a handle on where in the tune everybody else is. Embarrassing.
@@jefferyperkins4668 Get comfortable on voice leading. Chad did I video on it called "how to improvise melodically" its a really good video, you should check it out :) ua-cam.com/video/06KTKnr1XYE/v-deo.html
I'm so confused, over the Dmin in the first example, you're playing over Cmin but it's not transcribed that way????
David Gray thank you for clarifying
@David Gray But then 200,000 sax player subscribers might be confused. All 12 or so sax channel that I subscribe to do it in the way Chad does
"How to improvise"
Plays the lick at 0:27
Nice
Nice, was a hard one to notice😅
thEeee lick
Where’s the lick from?
G |Bb |D| C |D |Eb| F| C|F |BbBC |A |C |D| F| A| C |G |F#G| you are welcome