I highly recommend studying with Dr. Wallace - while these videos are a fantastic resource, I feel that they don't capture how engaging and insightful he is as a teacher. Seriously, if you're at all interested, give it a try. You'll be a better saxophonist and musician for it. (not sponsored)
Thanks again Dr. Wally! Questions: Do you have videos that explains the 16th-note scales/arpeggios (chord tones?) or more (like bebop)) and what is going on? Are they certain scales? I'm familiar with Major and minor scales. I'm classically trained with very little jazz background, other than listening. Suggestions from anyone are welcomed. Thanks
Another great video Wally! I agree with your philosophy regarding playing changes. It seems like pre-bebop it was more about using your ear, but modern methods teach outlining the chords. That is what Bird did, you can hear the changes with or without the rhythm section. I read that Lester Young didn’t like playing “chords” because he didn’t understand them much…his ear was his guide. I watched Chris Potter give a talk, and he said if you think about a chord, you've already lost it. By the time the thought reaches your consciousness, the music has already passed you by. There is no doubt he plays what he feels at that moment. He may happen to outline a chord, but he goes in whatever direction the music leads him. His goal is to simply get out of the way. Thanks again, and now I have to go practice my diatonic harmonic chords.
This has some good insights, but I have to chime in here as a long-time jazz history teacher who spends a lot of time on Lester Young's improvisations. If you focus on a few of his most famous solos, it's easy to come to this hypothesis that he "didn't like chords" and perhaps was less aware of or less interested in harmonic detail. But if you dig a little deeper and study his solos on minor-key tunes, certain details of bridges, and occasional solos like "You're Driving Me Crazy," it's clear that he not only knew and heard every note of every chord, but that he was a master and ahead of his time, an influence on modernists who were paying attention to these things. (Sam Rivers pointed out that "You're Driving..." solo as a major influence on a Ted Panken interview.) You can't always tell what someone *doesn't* know by what they choose to do or not do. A better description is that Lester Young favored a horizontal, common tone, less arpeggiated, more melodic (more like vocal melodies -- notice how rarely they spell out the underlying changes) approach when it fit, for example on blues and the non-modulating A sections of major-key standards. But he never plays a "wrong note" when the chords need to be accommodated.
@@jazzprof56 I figured saying that about the chords was "controversial,” but I got it from Dave Gelly's book, "Being Prez: The Life and Music of Lester Young." I agree with you regarding Young's ear for music and harmony. Gelly also said that early on, when Lester was playing in his father's groups, he played the charts from ear and memory. One time Lester asked his father to show him how to play a chart, and his father played it wrong knowing that Lester would copy it. Then, when Lester was pretending to read, his father called Lester out on it and told him that he needed to learn to read better. Obviously, Lester had a tremendous ear. I'm convinced he heard every note in every chord too. Someone once told me that Bird is just Lester sped up. Not to be taken literally, the point is that he highly influenced Bird. There's another story about Fletcher Henderson's band traveling to KC. Lester never saw Coleman Hawkins play and was hanging around outside hoping to listen in. Hawkins was a no show, and Lester sat in and sight-read the charts and played all of Coleman Hawkin's solos, on Coleman Hawkins' sax and setup. So, it looks like Lester ended up learning to read OK.
Hey DOC- speaking of the harmonic minor- did you know that the Bm harmonic scale page is missing from the Fundamentals book-unless I’m missing it- thanks and thanks for all the great content!!
I enjoy your video lessons and have learned a lot from you in a short time, but I don’t know what you mean about “language” and “vocabulary.” Do I just need to practice until it becomes apparent, or can you describe it further?
Is it possible that your solo at the 7.40 mark is the same as your opening solo at the 0.06-mark? Just asking, it is an awesome solo. Dr Wally, you said in your video that one should learn the ''language of the KEY'', that made my day then and there, it removed hundreds of years of struggling to learn music, thanks for posting.
Hi brother I love your show ,sorry for calling show ,but you are hilarious love your sense of humor and the way you explain the lessons ,wonder where you live, I love to have some personal lessons from you . Most likely I can't aforded but I can ask right ..I am new to saxophone havong new alto and tenor Taking lessons from music teacher nut he is not strictly saxophone expert ,so I am taking whotever I csn but going nowhere . saxophone ,thank you for your time
3 days ago I figured I should really get the exercise book out with all those scale and interval patterns in every key, then bingo along comes this video to make the whole thing much better. I freeze when I'm faced with a bunch of unending written notes! Yes, I do it in small chunks...I must have a glitch lurking around in the little grey cells because it's the same with the piano .So when I listen to what you play, stop the video then play what I think I heard, its much better. I then check it against the sheet music to make sure. Very laborious process. Loved the Benny Carter solo, that was my Saturday workout done! Big thanks, and tons of luv! Julesxxx
If you have a II-7,V7 going to its perfect tonic you can substitute a II half diminished and a V7b9 for the II-7, V7. I have heard people who should know better say you should avoid the harmonic minor because it sounds like snake charmer music. This is absurd. Sure, you can make a harmonic minor sound like someone's idea of snake charmer music but to say you should not use it is just plain stupid. I suppose Parker, Art Pepper, etc. must be mistaken when they used the harmonic minor scale. Your students are lucky to have you as a teacher. Also, if you have a major chord followed by a V7 based on the sixth of the preceding major chord you can play the V7 as V7b9. I love the harmonic minor and use it often.
You are such a great help for me Dr. Wally! I am a college student that also works, but play in my schools symphony band. Improv is something I love doing and your exercises make my practice much more efficient on days I don't have much time. Much love!
Thanks Dr. Wally, as I am wanting to learning this scale and a bit unknown territory for me but i am kind of at the level now to where I am a bit more confident in my playing ability.
Wally at what point would you consider trying a different mouthpiece? I've been playing on a jodyjazz hr for about a year now on tenor and I've never quite jived with it. I think it's a little too freeblowing (although I hate that word) for what I'm looking for, despite trying slightly harder reeds, and mixing up my embouchure. Great vid as always!
I've not played that particular mouthpiece, but if you're looking for a bit warmer, mid-century sound I'd check out the GS reso! What I currently play on tenor.
Well done, Doc. When Bach is in a Minor key (say B minor), and a natural 7th occurs rather than the leading tone (A natural rather than A#), you can bet the farm he's traveling to the Major key, (or faking it). The natural 7th has no juice in a minor key.
@@andyquinn1125 that is primarily true for harmonic practice. Melodies in minor keys use the natural 7th quite often, especially descending (which is why we have the melodic minor scale).
Hey everybody, it's a base player! One of the mythical musicians who outlines chords - so WE don't have to. Salute them, they allow us to make melodies.
There are a few spots left in Dr. Wally's private studio - grab a seat here!!!!: www.thesaxophoneacademy.com/private-studio
This is fantastic & affordable.. something that I would be proud of to join as well. Hope to see ya soon Dr. Wally as I am looking forward to it!
Another superb post Dr Wally- invaluable advice as ever. Thank you so much for posting such great content cheers!
Glad it was helpful! Hope you have a great (practice filled) week!
I highly recommend studying with Dr. Wallace - while these videos are a fantastic resource, I feel that they don't capture how engaging and insightful he is as a teacher. Seriously, if you're at all interested, give it a try. You'll be a better saxophonist and musician for it.
(not sponsored)
Awwww, thanks Tom!
Thanks again Dr. Wally! Questions: Do you have videos that explains the 16th-note scales/arpeggios (chord tones?) or more (like bebop)) and what is going on? Are they certain scales? I'm familiar with Major and minor scales. I'm classically trained with very little jazz background, other than listening. Suggestions from anyone are welcomed. Thanks
Another great video Wally! I agree with your philosophy regarding playing changes. It seems like pre-bebop it was more about using your ear, but modern methods teach outlining the chords. That is what Bird did, you can hear the changes with or without the rhythm section. I read that Lester Young didn’t like playing “chords” because he didn’t understand them much…his ear was his guide. I watched Chris Potter give a talk, and he said if you think about a chord, you've already lost it. By the time the thought reaches your consciousness, the music has already passed you by. There is no doubt he plays what he feels at that moment. He may happen to outline a chord, but he goes in whatever direction the music leads him. His goal is to simply get out of the way. Thanks again, and now I have to go practice my diatonic harmonic chords.
Well put, Hank! Interestingly, as we develop "vocabulary" it's often implying chord changes, but works over many many different contexts.
This has some good insights, but I have to chime in here as a long-time jazz history teacher who spends a lot of time on Lester Young's improvisations. If you focus on a few of his most famous solos, it's easy to come to this hypothesis that he "didn't like chords" and perhaps was less aware of or less interested in harmonic detail. But if you dig a little deeper and study his solos on minor-key tunes, certain details of bridges, and occasional solos like "You're Driving Me Crazy," it's clear that he not only knew and heard every note of every chord, but that he was a master and ahead of his time, an influence on modernists who were paying attention to these things. (Sam Rivers pointed out that "You're Driving..." solo as a major influence on a Ted Panken interview.) You can't always tell what someone *doesn't* know by what they choose to do or not do. A better description is that Lester Young favored a horizontal, common tone, less arpeggiated, more melodic (more like vocal melodies -- notice how rarely they spell out the underlying changes) approach when it fit, for example on blues and the non-modulating A sections of major-key standards. But he never plays a "wrong note" when the chords need to be accommodated.
@@jazzprof56 I figured saying that about the chords was "controversial,” but I got it from Dave Gelly's book, "Being Prez: The Life and Music of Lester Young." I agree with you regarding Young's ear for music and harmony. Gelly also said that early on, when Lester was playing in his father's groups, he played the charts from ear and memory. One time Lester asked his father to show him how to play a chart, and his father played it wrong knowing that Lester would copy it. Then, when Lester was pretending to read, his father called Lester out on it and told him that he needed to learn to read better. Obviously, Lester had a tremendous ear. I'm convinced he heard every note in every chord too. Someone once told me that Bird is just Lester sped up. Not to be taken literally, the point is that he highly influenced Bird. There's another story about Fletcher Henderson's band traveling to KC. Lester never saw Coleman Hawkins play and was hanging around outside hoping to listen in. Hawkins was a no show, and Lester sat in and sight-read the charts and played all of Coleman Hawkin's solos, on Coleman Hawkins' sax and setup. So, it looks like Lester ended up learning to read OK.
Hey DOC- speaking of the harmonic minor- did you know that the Bm harmonic scale page is missing from the Fundamentals book-unless I’m missing it- thanks and thanks for all the great content!!
I enjoy your video lessons and have learned a lot from you in a short time, but I don’t know what you mean about “language” and “vocabulary.” Do I just need to practice until it becomes apparent, or can you describe it further?
AA BB C C# Cb DD EE FF GG =15…🤔🎶🎵🎷
Brilliant technical analysis with an emphasis on the idea of vocabulary to inform your soloing.
All very clever and effective !
❤❤❤❤❤❤❤❤❤❤❤❤❤❤❤
Is it possible that your solo at the 7.40 mark is the same as your opening solo at the 0.06-mark? Just asking, it is an awesome solo.
Dr Wally, you said in your video that one should learn the ''language of the KEY'', that made my day then and there, it removed hundreds of years of struggling to learn music, thanks for posting.
Hi brother I love your show ,sorry for calling show ,but you are hilarious love your sense of humor and the way you explain the lessons ,wonder where you live, I love to have some personal lessons from you . Most likely I can't aforded but I can ask right ..I am new to saxophone havong new alto and tenor
Taking lessons from music teacher nut he is not strictly saxophone expert ,so I am taking whotever I csn but going nowhere . saxophone ,thank you for your time
3 days ago I figured I should really get the exercise book out with all those scale and interval patterns in every key, then bingo along comes this video to make the whole thing much better. I freeze when I'm faced with a bunch of unending written notes! Yes, I do it in small chunks...I must have a glitch lurking around in the little grey cells because it's the same with the piano .So when I listen to what you play, stop the video then play what I think I heard, its much better. I then check it against the sheet music to make sure. Very laborious process. Loved the Benny Carter solo, that was my Saturday workout done! Big thanks, and tons of luv! Julesxxx
Thanks for the brilliant info .
If you have a II-7,V7 going to its perfect tonic you can substitute a II half diminished and a V7b9 for the II-7, V7. I have heard people who should know better say you should avoid the harmonic minor because it sounds like snake charmer music. This is absurd. Sure, you can make a harmonic minor sound like someone's idea of snake charmer music but to say you should not use it is just plain stupid. I suppose Parker, Art Pepper, etc. must be mistaken when they used the harmonic minor scale. Your students are lucky to have you as a teacher. Also, if you have a major chord followed by a V7 based on the sixth of the preceding major chord you can play the V7 as V7b9. I love the harmonic minor and use it often.
Agreed, and thanks for the kind words. Much love from sunny North Carolina!
10000000% Do more to think less ✌
Many thanks again DR Wally
You are such a great help for me Dr. Wally! I am a college student that also works, but play in my schools symphony band. Improv is something I love doing and your exercises make my practice much more efficient on days I don't have much time. Much love!
This makes my heart sing :)
Thanks Dr. Wally, as I am wanting to learning this scale and a bit unknown territory for me but i am kind of at the level now to where I am a bit more confident in my playing ability.
Excellent, keep at it!
nice!
Merci beaucoup !
Wally at what point would you consider trying a different mouthpiece? I've been playing on a jodyjazz hr for about a year now on tenor and I've never quite jived with it. I think it's a little too freeblowing (although I hate that word) for what I'm looking for, despite trying slightly harder reeds, and mixing up my embouchure. Great vid as always!
I've not played that particular mouthpiece, but if you're looking for a bit warmer, mid-century sound I'd check out the GS reso! What I currently play on tenor.
On tenor, for a classic mid century sound , use an Otto Link hard rubber tone edge 7, 7* or 8
GS Reso are great, good shout Doctor. Greetings from UK.
Well done, Doc. When Bach is in a Minor key (say B minor), and a natural 7th occurs rather than the leading tone (A natural rather than A#), you can bet the farm he's traveling to the Major key, (or faking it). The natural 7th has no juice in a minor key.
To put it more precisely: when the natural 7th (A natural) occurs in Bach, you're *in* the Major key.
You've got it. The chord/scale oversimplification in some of jazz education loses the magic, as you mention :)
@@andyquinn1125 that is primarily true for harmonic practice. Melodies in minor keys use the natural 7th quite often, especially descending (which is why we have the melodic minor scale).
Ended before it started.
Upload glitch, should be working now ;)
You really make that new horn sing Dr. Wallace!
Awwww, thanks! It's my new mouthpiece and ligature, soon to be released ;)
@@drwallysax I just got a 56 two months ago. Will I be tempted to get the new one?
@@bilbostoy Well, you certainly might be tempted by the ligature;)
Thanks Wally!
Most welcome, Rob! Happy practicing and have a great week!
Dr. Whatley, sorry,(seinfeld) Dr. Wally what is your setup and sax - you have a lovely and soft tone - thank you
That was Brian Cranston! My setup is the VERY soon to be released Hyperion Mouthpiece and ligature! (with Selmer Supreme alto). Happy practicing !
On A# to B use side Bb key or 1&1 but never and I say never
use a rolling bis Bb!!!!!!
Hi wally
You lost, bass player?
@@drwallysax this isn’t the real estate seminar?
Hi Wally
Hey everybody, it's a base player! One of the mythical musicians who outlines chords - so WE don't have to. Salute them, they allow us to make melodies.
@@drwallysax "Dr." huh? base? BASE? hahahah Im teasing. Hi everyone - I look forward to walking behind your 34 chorus solos
@@LearnJazzBasswithMattRybicki we've got AI backing tracks for that, cheaper and better personal hygiene.
@@drwallysax Ah yes. But who's going to supply the much needed intonation problems?