I came acress this 75-minute seminar by Lenny Pickett,held at Broken Arrow Jazz Band facilities. The video was posted in July 2014 and has been watched to only a few hundred times,which is a pity because it is quite interesting.
For those who aren’t familiar with him:Lenny is sax,flute and clarinet player and is considered a master in altissimo register,alternate fingerings and all sort of tricks and interesting sounds you can get out of a wind instrument. He played with Tower of Power and the Saturday Night Live band.
The seminar has been split if five videos. During the seminar Lenny performs a few of his compositions for sax or clarinet solo,which are impressive and that demonstrate how to use harmonics,multiphonics,slap toungue and altissimo register notes in a very musical context. Happy watching!
Every now and them I have a look at saxopedia stats,to learn what pages are viewed the most and which ones are less interesting for my fellow musicians.
For example,in a few days the free “The Scale Omnibus”book has been downloaded by more than 3,000 people,and the trend seems growing. The book raised a lot of interest,which makes me very happy. A great reward for the many evenings spent researching,typing and proofreading.
Not surprisingly,the most popular pages are those devoted to transcribed solos. In the last 30 days these pages were visited 40,000 times,with half of the visits going to the sax transcription pages. More than 50,000 solos have been downloaded,most of which are 2-3 pages long. Given that an average book with transcribed contains 120-150 pages,it is as if saxopedia were giving away one thousand transcription books each month. Not bad at all!
The NEA Jazz Masters Awards Ceremony &Concert will be webcast at 7:30 pm EST on January 13,2014,from The Allen Room at Jazz at Lincoln Center. As we honor Jamey Aebersold,Anthony Braxton,Richard Davis and Keith Jarrett with the nation’s highest jazz award,we will hear incredible performances by past honorees and the 2014 NEA Jazz Masters themselves.
I am glad for all these great musicians,all of them deserve this award but –indirectly and a bit paradoxically –the one in the group who did more for jazz diffusion is also the less popular one among the “average”jazz lover. My sincerest wishes to James Aebersold,to whom several generations of jazz musicians owe so much.
Thomas Høeg-Jensen from Denmark transcribed a lot of solos in the ’80s,from funk and fusion sax players of the caliber of David Sanborn,Michael Brecker,Tom Scott,Marc Russo,and Jay Beckenstein. He kept this precious material in the closet until last week,when he scanned the hand-written scores and sent them over to Saxopedia. You can find these never-published-before solos in the transcription index.
If you think of it,sax players (and any other musicians,for that matter) need a lot of accessories when practicing. You need your horn,of course,but you also need a metronome,a tuner,a robust music stand,one or more exercises books,the RealBook or other music scores. To practice improvisation you also need a CD or MP3 player with some Aebersold play-along records. If you study harmony you surely need a piano or at least a keyword where you can play chords.
It’s a lot of stuff to carry around,uh?
The good news is that today all you need is an iPhone or an iPod Touch,or an iPad if you like larger and more screens. Well,you still need your saxophone,but nothing other than that!
If you search for “metronome”in the App Store you get about 350 matches,so it’s easy to pick up that one that fits your needs. Some of these matches are programs that do a lot more than just keeping the time,but even not counting them you still have a couple hundred apps to choose from. All those that I have tried out are accurate enough for training purposes.
If you just need a “plain”metronome there is no point in spending your money,because most free metronome apps are enough accurate and complete. I especially like the Steinway Metronome,because of its nice “wooden”interface. It supports most common time signatures and has a handy visual indicator that doesn’t force you to connect your iPhone to a loudspeaker to make its click audible when playing your horn.
There are many other apps that offer fancy variations on the basic metronome job,for example progressive changes towards faster or slower tempo. I am not interested in these variations,because they defy the main goal of a metronome. However,they are in the store,if you need this and other additional features. For example,you might invest 0.99$ for the Ultimate Metronome,which additionally supports weird time signatures,different sounds for each click,custom/compound time signatures inside a single song,and more.
Another interesting metronome app (also at 0.99$) is PolyRhythm,which helps you work with compound polyrythms,such as 7-over-2 or 11-over-3. This is more geared towards drummers,but mastering this sort of complex rythms can be useful to any musicians. Its author Wolfram Winkel has also created a reduced version of this software that runs inside any browser,so you can have an idea of how the apps works before purchasing it. (The main difference between the iPhone app and the browser-based app is that the latter doesn’t let you specify the exact BPM value.
As for most music apps,remember to disable auto-lock when working with metronomes,else you’ll spend most of your time unlocking the screen.
The category of tuners is nearly as crowded as the category of metronome apps and,like for metronomes,you can find a tuner inside many popular apps,especially apps for guitarists such as AmpliTube,AmpKit,and iShred Live. As for metronomes,you can save your money and get a free tuner.
For my setup I chose n-Track Tuner. There isn’t much to say about it,except that it works well and that only a few years ago I spent about 30$ only to get a “real”chromatic tuner that does the same thing and that I never carried around because I had no room in my sax case.
There are many iOS apps that can help you develop the ability to recognize individual notes or even chords. Several free apps cover the basics (e.g. simple intervals),but you might need to spend a few bucks for a complete ear training course. It’s a good way to spend your money,though. The good news is that all commercial apps also offer a free version that lets you try before you purchase.
Play By Ear offers a different and interesting approach to ear training. In this case,instead of touching the screen to indicate your guess,you just play the note on your instrument. Last but not the least,it is absolutely free!
If you are transcribing,studying,or practicing a solo you badly need a player that can slow down a song without changing its pitch,or maybe by changing the pitch so that all notes are in a more comfortable key. In the good old days,when records were made of vinyl,it was possible to play a song at half velocity (and lower the pitch by an octave,more or less),by playing the LP at 16 r.p.m. This is how I learned by first solos by Bird or Coltrane,but luckly there are better means today.
In my opinion,the most versatile app in this are is Slow Down Music Player,that supports importing from the iPod library,the ability to bookmark a point and to loop over a section of a song,and to share individual phrases via email. Best of all,its absolutely free! It’s only limitation is that it doesn’t work with DRM-protected songs,becase they can’t be imported from the iPod library (a limitation that is common to all apps of this type,though).
In the App Store you can find other programs with similar features,though. For example,you may want to try Slow Notes Music Player,which has a better user interface and is free as well.
If you own an iPad you can finally leave all your Real Books at home! In fact,there are several great apps that allow you to browse music scores in PDF format.
For starters,any PDF reader can work as a music score browser,for example the great GoodReader,which also supports annotations and the ability to display two pages in landscape mode. For example,I use GoodReader to store the PDF version of my exercise books. However,there are a few apps that fit the specific needs of musicians much better than generic PDF readers.
The two apps that I regularly use are forScore and forScore Both are available on the iPad only,because it would make little sense to view a score on the iPhone’s tiny screen.
At $4.99 forScore is the less expensive of the two,and includes virtually any feature you may desire,including importing from iTunes or Dropbox,bookmarks,the ability to search for title,genre,composers,etc.,annotations,zoom,landscape support,and page cropping (so that you can discard large margins and make better use of iPad screen estate). It comes with an integrated metronome,a tuner,the ability to automatically turn pages (even half pages) or link two portions of a score (great for repetitions,codas,etc.),score sharing via Bluetooth,a piano keyword,output to an external monitor,support for AirTurn pedal (for hands-free operations),and more.
iGigBook costs three times more ($14.99) than forScore,however if you are a jazz musician the extra money might be well spent. The main iGigBook feature,in fact,is the index of about 60 fake books,including all the most popular ones (e.g. all Real Books editions,including their Bb end Eb variants). This means that –if you have the PDF version of one or more such books –you can find all the versions of a given song in a few seconds.
iGigBook includes many other interesting features,such as chord changes (no themes) for 1200+ popular jazz standards,that can be transposed to any key,and the ability to build a PDF book of selected stored (quite useful to hand out printouts to your fellow musicians before a rehersal). As for forScore,you can point at repeats,D.S.,D.C. so that iGigBook can turn pages for you,and in my opinion iGigBook is slightly better in how you can organize your score lists. The authors also offer a separate iPhone app,named iGigBook Pager,which allows you to wirelessly turn pages on the iPad,a great feature if you are display the score on an external monitor. On the other hand,iGigBook doesn’t support half-page turns,doesn’t include a tuner,doesn’t support sharing via Bluetooth or DropBox,just to name a few of its current limitations.
To recap,as of this writing forScore and iGigBook apps aren’t perfectly equivalent. For this reason,you should carefully compare their features before you pick your choice. Or maybe buy both of them and use one or the other depending on the circumstances,as I did.
In this area there is only one app that you should absolutely have:iReal b. This app has been in the store for at least a couple years and it’s updated and extended on a regular basis. When it started it just offered a “chord-only”version of the Real Book (the melodies could not be included for copyright restrictions),with the added ability to transpose it automatically to any key and to account for Eb,Bb,F,and G transposing instruments. Great for all wind instruments.
Some time later the author added a few in-app purchases (for jazz,pop,and latin styles) that allow you instantly generate the accompaniment for any song in the archive,using the style and the tempo you like most (see left image below). Thanks to this great feature not only can you practice on Giant Steps at a slowed down tempo,you can even try changing the style,and maybe play Donna Lee with rock or latin flavor.
The newest releases of iReal b come with no songs,but you can easily download 1300+ chord changes or enter your own (see right image below). On the authors website you can find several tutorial videos that teach you how to leverage the many features of this great software.
iReal is priced at $7.99,and the jazz,pop,and latin style packs cost $5.99,$4.99,and $3.99 respectively,so be prepared to spend about $23 for the entire suite. It’s much more than the typical iOS app,but it’s absolutely worth it. It’s like owning the entire Aebersold series in your pocket:the computer-generated accompaniment can’t compete with the great musicians that play on Aebersold records,but the result is absolutely first class and can keep you busy for years and years of practicing.
Even if you aren’t interested in the play-along feature,iReal b is still a must-have even just for its repository of chord changes. I never go to a jam sesssion without my iPhone now.
Having to select the tip opening,I scouted the ‘NET,looking for good comparison charts,using my Meyer as a starting point. It’s good to have these charts always at hand,thus I am sharing them here. I loosely sorted them in decreasing order of usefulness.
JodyJazz –Compares all models of JodyJazz alto sax mouthpieces’with Bari,Beechler,Berg Larsen,Dukeoff,Meyer,Ponzol,Rico,Rousseau,Runyon,Rovner,Selmer,Vandoren,Yamaha,Yanagisawa,and a few others. Other charts are available for soprano,tenor,and baritone. (Image above comes from JodyJazz website.)
JunkDude –Covers several models by LeBayle,Morgan,Meyer,Otto Link,Ponzol,and Vandoren. This chart compares Ralph Morgan models and also provides reccommendation about which reed to use.
Saxman –covers Bari,Beechler,Berg Larsen,Dukeoff,Meyer,Otto Link,Selmer, Vandoren,Yanagisawa,and a few others. Newer models are not covered,yet it’s a very good reference. Apparently,it’s based on 1996 The Saxophone Shop’s catalog,which I have seen in many other sites,such as this.
Practicing can be quite boring,especially if you play sax,flute,trumpet,clarinet,or another monophonic wind instrument . Worse,practicing with your instrument alone can bring to some bad musical habits,including not being able to play “on the beat”and not being aware of the relationships between the notes/scales/arpeggios you play and the chords these notes were supposed to be playing upon.
Virtually all teachers recommend to use a metronome to prevent bad timing habits,but what about the inability to hear and “feel”the actual harmony implied by the scales you are playing?
Many players remedy to this issue by using play-along records (e.g. Aebersold,Hal Leonard). For example,Aebersold’s volumes 1,3,and 16 offer great backing tracks for practicing scales,II-V progressions,and turnarounds,respectively. Other musicians prefer making their own backing tracks with Band-in-a-Box (BIAB). However,both approaches have limitations.
Play-along CDs include realistic backing tracks,but limited choice of keys,chord sequences,and tempos. Most recording tracks are medium speed,which can be problematic for beginners,who should practice scales and arpeggios VERY slowly to master the subtleties of rhythm,such as playing “ahead”or “behind”the beat.
Band-in-a-Box and other similar programs far more flexible,in that you can enter any chord sequence as well as easily change the key and the tempo. Recent BIAB versions include features such as RealBand and RealTracks,which can produce natural-sounding tracks that are much more realistic than the computer-generated sounds of its earlier versions. However,all these additional features make BIAB quite a complex software to learn,so complex that BIAB maker PG Music had to produce many tutorial videos to let users learn how to master all these features.
Finally,both play-along CDs and BIAB surely don’t come for free. Aebersold CDs are 10-15$ each,whereas BIAB starts at 129$ and goes up to 669$ if you want all the RealTracks you might need. No pocket money,really…
In a recent post I introduced ChordPulse,a simple yet useful Windows program that can generate backing tracks in a very easy manner. Chord Pulse accompaniment styles are simplicistic –if compared to BIAB,at least –yet they exactly what you need to practice rhythms over basic harmonies. More important,ChordPulse is so simple that it takes only a few minutes to discover all its features. Like BIAB,you can define chord sequences of (almost) any length,define loops inside the sequence,change the tempo,the accompaniment styles,and the key. You can even tune the software to frequencies other than the standard 440Hz.
What I overlooked in my review is that there are as many as THREE versions of ChordPulse,namely:ChordPulse (full version,$27.95 or 19.95 euros),ChordPulse Lite(freeware,has limited number of chord types and accompaniment styles),and ChordPulse Player (also freeware,can play songs created with the full version but can’t create new songs). The great thing about the Player version is that you are still able to change the tempo and the key,define loops,etc. It was perfect for what we need!
Using the full version I created a few chord sequences that are specifically meant to be played while practicing with a wind instrument. You can download and play these files with ChordPulse Player at the speed you prefer,starting at lower tempos and going faster once you feel comfortable to do so. Most sequences are available in all keys,but you can change the key by pressing the Up/Down arrow keys.
Simple Chords -Major,minor,dominant 7th,augmented,diminished,and half-diminished chords,played by themselves or in simple sequences (e.g. Major to Minor). The first 12 sequences (or pages,according to ChordPulse terminology) only contain chords in C key,but you can easily transpose them using the Up/Down arrow keys. Pages from C to Z include sequences of chords of same type that raise or descend chromatically,whole tones,minor thirds,perfect fourths,etc. Great for practicing Brecker-like patterns!
II-V-I Sequences –The first 12 pages contain the basic II-V-I sequence in all keys. If you want to practice on the II-V sequence,you just create a loop that includes only the first two chords in each page. You can practice each page separatedly,until you feel confident in that key,or you can play these 12 pages as a loop (read later). The remaining 24 pages contain II-V or II-V-I sequences that raise or descend chromatically,by whole tones,minor thirds,major thrids,and perfect fourths.
II-V-I Sequences (Minor) – Same as previous exercises,except it contains IIm7/5b –V7+alt –Imin sequences. (Unfortunately,ChordPulse can’t easily generate complex chords such as dominant augmented chords,therefore the sound of the V7+alt chord isn’t perfect.
Turnarounds –Contains many variations of the common I- VIm7 –IIm7 –V7 turnaround,including variations with tritone substitutions. The first 10 pages contain only turnarounds in C key (use arrow keys to transpose),the remaining pages contain turnaround in all keys,in ascending or descending sequences. When creating these turnarounds I used this page as a reference.
A few tips for using ChordPulse and these chord sequences:
Use the File-Session Notes menu command (or just press the N key) to read a description of the contents of each file.
Use the Up and Down arrow keys or the commands near the bottom-right corner to transpose to different keys.
Use the Repeat All command to play the entire sequence,or the Repeat Page command to loop over the chords in current page. (You can alternate between these modes by clicking the third button from the right,near the top border.
You can loop over chords in the same page by clicking the mouse immediately under the first chord of the sequence,and then dragging the mouse to the last chord in the sequence.
You can loop over chords in different pages by right-clicking the first chord and selecting the “Loop from this Bar”menu command,then right-clicking on the last chord of the sequence and selecting the “Loop to this Bar”menu command.
ONE LAST WORD! If you find ChordPulse useful,consider purchasing the full version! Even if you don’t do it immediately,at least send its author Laszlo Oroszi an email saying how much you appreciate his work and his generousity (don’t forget that the Lite and Player editions are completely free!).
I started playing sax when I was sixteen,and that was some years before James Aebersold begun producing his wonderful play-along albums. (Yes,I am *that* old…even if we prefer the term “experienced”).
In those days,the only way to practice a solo on My Favorite Things or Impressions –short of having a very patient friend who could spend hours on the piano while you assimilate the subtle differences between Dorian and Phrygian modes –was to play over the actual Coltrane’s record,trying to ignore their immensely beautiful melodic lines and concentrating on piano,bass,and drums.
Aebersold changed all this,and since then virtually every jazz player on the planet has perfectioned his/her style thanks to these or similar play-along albums. It is great to “virtually”jam with professional studio musicians (in some cases,*great* musicians). After all,what can be more inspiring than a pianist comping behind you in the same style of McCoy Tyner?
Of course,that McCoy Tyner is far more inspiring than any other pianist who plays in his style,but –again –it’s hard to play over Coltrane’s solo and still preserve some sort of self-confidence about your playing 🙂
Today I read an announce from Roland that might change all this. The new R-MIX software promises to be the next new killer-app for improving your music skills. In short,this audio processing software allows to “visually”manipulate an audio track and do a few wonders such creating “minus-one” type karaoke files from existing songs by lowering the level of the pre-recorded vocal or any other instrument you select.
This appears to be much more sophisticated than any “vocal canceling”software seen so far,none of which works particular well. These programs simply remove sounds that are equally balanced between left and right channel,on the assumption that the vocal part appers at the center of the stereo image. This is seldom true for the voice and rarely true with sax,trumpet,guitar,and other jazz solo instruments.
Not only does R-MIX allow you to play with your favorite pianists,bassists and drummers,it only allows you to change the tempo and/or the pitch of the song. Now you can practice your favorite blues in all 12 keys and speed. That’s even better than Aebersold!
R-MIX can also perform sophisticated audio processing. For example,you can remove the noise from the amateur recording you made the last time you saw Michael Brecker on stage (something within reach of other similar software) or add reverb or delay to only your sax in the recording you made at your last rehersal (something no other software can do,as far as I know).
The great news is that R-MIX will be also available on the iPad,in a reduced (and less expensive,I guess) version that is still capable of producing the “minus-one”playing-along thing that I am so interested in.
R-MIX Tab (the iPad version) will be available in November 2011,whereas the full Mac and Windows versions will come in January 2012. Until then,it’s impossible to know whether it will keep its promises,even if this video is quite intriguing. In the meantime,I think I’ll keep my Aebersold collection under lock…just in case 🙂
I love studying Pat Metheny themes and solos on the EWI,thus during the weekend I scouted the Internet for transcriptions. The result is a new section with nearly two hundreds guitar solo transcriptions,one third of which are from Pat.
There are so many saxophone blogs around and it’s hard to keep track of all the good material out there. The beauty of running a blog myself is that I can publish my favorite bookmark list instead of just keeping it for myself.
Today’s choice is Everything Saxophone (Reviewed) site,run by Ben Britton,an experienced sax player who lives near Philadelphia. Ben posts about 3-4 articles a month and virtually all of them are worth reading (and often re-reading).