Scott you are the go to guru when it comes all things Saxophone theory - just love how you break down over complicated methods into such an easy to understand method - helped me big time over the years to become a better musician thankyou regards Paul 🇬🇧🎷😃
I didn’t realise there was so much more to Sax theory until now. When I learnt the sax 44 years back. I was shown how to play and read music. Then pushed into the school band without the theory. The rest I learned by ear.
Yeah, the school band programs don't really teach a lot aside from how to play the music in the bands. I grew up way before UA-cam, but now everything is at the touch of your hands between social media and all of the course offerings.
For numbering all 12 notes: 1-b2-2-b3-3-4-b5-5-b6-6-b7-7. Sometimes b5 will be called #4 but not in Blues and Jazz; and b6 will usually be called #5, like in an Augmented triad.
But don't forget the sharps/flats in the inherent key. Besides, that's what I want all of my students to know at a specific point. It's just great and handy
“How to play a lick in any key” Answer: Know every key. Like, you aren’t wrong, but this isn’t accessible to early learners. Kids are gonna get caught up on knowing every scale/key when it’s A LOT more feasible AND practical to teach them modes and then go from there. If you’re already talking about scale degrees, immediately transition into talking about modes versus talking about tonal (key) centers, because you’ll actually instill some real learning in establishing (variable) tonal centers if you focus on ‘what’ (modal composition) you’re trying to do versus ‘where’ (key center) you’re trying to do.
Like if you’re saying “c is 1 d is 2…” etc etc, focus on saying “whole whole half” etc (I’m sure I don’t need to explain intervals to you) because as long as you find ‘where’ you need to be, you already know ‘what’ you can/need/want to do because you have the template quite literally in the muscle memories of your hands.
Why not just learn the scales? If someone says play in (such n such) key, 🗝️ then you know all the notes. Numbers, I think JS Bach might disagree with the "numbers system"... Just sayin' 🙄
Of course, you learn the scales, but you think of scales in scale degrees. That's how you can easily transpose a song or lick into a different key. If the lick is in C and it goes: G B G A B G, and you don't know what the scale degrees are, you can't transpose it into a different key, because G just means play the fingering for a G. It doesn't tell you where it is in the scale. If you are in the key of C and you know that G is the 5th, then when you go to a different key, you know to play the 5th in that new key. Bach used figured bass... I think he was ok with using numbers 😀😀
I always struggled with solfege. Also, I can't sing in tune or on key, so numbers have always worked better for me. When I was on tour with an Italian band, they talked in solfege all the time.
@@ScottPaddock Oh I see. What you described is the solfege people used in Asia. I guess once you are familiar with the system of relative distance to the root, it makes no difference. One thing I find it strange is that in the US kids don't learn solfege.
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This is a amazing tip! Its almost what i do when i think about a song transpose using intervals. But this is way better 👏👏👏👏
With intervals, you're on the right track, but scale degrees make it a lot easier.
I just wanna say the colourization and wear on your saxophone is just stunning-
It's mind boggling how simple that is!
Love this! As a noob, I eat this kind of thing up!
Scott you are the go to guru when it comes all things Saxophone theory - just love how you break down over complicated methods into such an easy to understand method - helped me big time over the years to become a better musician thankyou regards Paul 🇬🇧🎷😃
Thanks Paul!
Excellent upload Scott great tip
Thanks!!
I didn’t realise there was so much more to Sax theory until now. When I learnt the sax 44 years back. I was shown how to play and read music. Then pushed into the school band without the theory. The rest I learned by ear.
Yeah, the school band programs don't really teach a lot aside from how to play the music in the bands. I grew up way before UA-cam, but now everything is at the touch of your hands between social media and all of the course offerings.
For numbering all 12 notes: 1-b2-2-b3-3-4-b5-5-b6-6-b7-7. Sometimes b5 will be called #4 but not in Blues and Jazz; and b6 will usually be called #5, like in an Augmented triad.
"It goes like this the 4th, the 5th, the minor fall, the major lift"
Thank you for your best information
Selmer S80 >>> on top, has the same mouthpiece for 15 years does me so well
I’ve just reached a point where I get the first note of the lick, and use the intervals between each note
Intervals work for some people, for me, the scale degrees are a lot easier to remember and hear.
@@ScottPaddock I’m a pretty young player still, so maybe it’s just one of those things I haven’t gotten as accustomed to yet
But don't forget the sharps/flats in the inherent key. Besides, that's what I want all of my students to know at a specific point. It's just great and handy
I always think of notes scale degrees and intervals. It allows us to play in any key provided that you know your scales.
Choked on key changes 😂
Show
THANK YOU
You're welcome 😁
I’ve been told that when using non-tonic scale degrees one should use the extensions (I.e. 9,11,13) can you tell me why someone might do that?
Great! Solfeggio is even better.
I could never make solfeggio feel natural to me, but I know throughout the world it is very widely used. I like the numbers.
Huh... I just had a "aHA" moment...
Thanks for that! :)
Is that a Syos mouthpiece?
This is a necessity in church music
Do re do so mi re do
“How to play a lick in any key”
Answer: Know every key.
Like, you aren’t wrong, but this isn’t accessible to early learners. Kids are gonna get caught up on knowing every scale/key when it’s A LOT more feasible AND practical to teach them modes and then go from there. If you’re already talking about scale degrees, immediately transition into talking about modes versus talking about tonal (key) centers, because you’ll actually instill some real learning in establishing (variable) tonal centers if you focus on ‘what’ (modal composition) you’re trying to do versus ‘where’ (key center) you’re trying to do.
Like if you’re saying “c is 1 d is 2…” etc etc, focus on saying “whole whole half” etc (I’m sure I don’t need to explain intervals to you) because as long as you find ‘where’ you need to be, you already know ‘what’ you can/need/want to do because you have the template quite literally in the muscle memories of your hands.
It’s called “movable Do”.
Dude it’s not a swinging song
Why not just learn the scales? If someone says play in (such n such) key, 🗝️ then you know all the notes. Numbers, I think JS Bach might disagree with the "numbers system"... Just sayin' 🙄
Of course, you learn the scales, but you think of scales in scale degrees. That's how you can easily transpose a song or lick into a different key. If the lick is in C and it goes: G B G A B G, and you don't know what the scale degrees are, you can't transpose it into a different key, because G just means play the fingering for a G. It doesn't tell you where it is in the scale. If you are in the key of C and you know that G is the 5th, then when you go to a different key, you know to play the 5th in that new key. Bach used figured bass... I think he was ok with using numbers 😀😀
Just learn solfege, you'd be fine in transposing by ear
I always struggled with solfege. Also, I can't sing in tune or on key, so numbers have always worked better for me. When I was on tour with an Italian band, they talked in solfege all the time.
@@ScottPaddock Oh I see. What you described is the solfege people used in Asia. I guess once you are familiar with the system of relative distance to the root, it makes no difference. One thing I find it strange is that in the US kids don't learn solfege.