tag:evantatemusic.com,2005:/blogs/10-ways-to-improve-your-jazz-soloing?p=1Saxophone Stuff2023-10-18T11:03:31+02:00EVAN TATE MUSICThe New SaxTips Podcast by Evan Tate. The rebirth of the "First and Only Saxophone Workshop on the Web as a Podcast". Brought to you by EVAN TATE MUSIC.The New SaxTips Podcast Evan TatefalseEvan Tateevantate2@icloud.comtag:evantatemusic.com,2005:Post/72893442023-10-18T11:03:31+02:002023-10-18T11:04:14+02:00The Art of Phrasing - A Harmonious Blend of Classical Precision and Jazz Expression<p dir="ltr"><span style="color:#ec7b00;">Greetings Saxophonists,</span><br> </p><p dir="ltr"><span style="color:#666666;">In the rich tapestry of musical expression, the art of phrasing stands as a universal pursuit, weaving its way through the genres of classical and jazz. This edition of our newsletter is a celebration of the harmonious blend that occurs when classical precision meets jazz spontaneity in the realm of saxophone performance.</span></p><p dir="ltr"><span style="color:#666666;"><strong>Understanding the Dichotomy: Classical vs. Jazz Phrasing</strong></span></p><p dir="ltr"><span style="color:#666666;">Classical phrasing is often characterized by meticulous attention to the composer's markings, adherence to structural integrity, and a commitment to conveying a predetermined narrative. Jazz, in contrast, thrives on improvisation, encouraging musicians to paint with broad strokes of spontaneity, creating a narrative in the moment. At first glance, these two worlds may seem disparate, but within the heart of the saxophone, they find a common ground that is both fascinating and enriching.</span><br><br><span style="color:#666666;"><strong>Nuanced Expression and Dynamic Contrast</strong></span></p><p dir="ltr"><span style="color:#666666;">The essence of phrasing lies in the ability to convey emotion, tell a story, and capture the listener's imagination. Whether interpreting the nuanced lines of a classical concerto or engaging in the free-flowing conversation of a jazz improvisation, saxophonists must master the delicate balance of nuance and dynamism. In classical phrasing, precision is paramount – every articulation, every dynamic shift is carefully crafted. In jazz, the challenge lies in injecting this level of precision into the spontaneous and unpredictable world of improvisation.</span><br><br><span style="color:#666666;"><strong>A Deep Dive into Stylistic Elements</strong></span></p><p dir="ltr"><span style="color:#666666;">To bridge the gap between these two worlds, let's delve into the stylistic elements that define classical and jazz phrasing:</span></p><ul>
<li dir="ltr" aria-level="1"><span style="color:#666666;"><strong>Classical Precision:</strong> Classical phrasing often involves meticulous attention to articulation, dynamics, and tempo. It's a world where every note is intentional, and each phrase contributes to a larger, predetermined narrative. Saxophonists can draw inspiration from the structured beauty of classical compositions, learning to craft phrases with clarity and purpose.</span></li>
<li dir="ltr" aria-level="1"><span style="color:#666666;"><strong>Jazz Spontaneity:</strong> Jazz phrasing is characterized by its fluidity and adaptability. Improvisation opens the door to uncharted musical territories, requiring saxophonists to be attentive listeners and nimble responders. Embracing the unpredictability of jazz allows classical players to infuse their music with newfound spontaneity.</span></li>
</ul><p dir="ltr"><span style="color:#666666;"><strong>Cultivating a Versatile Approach</strong></span></p><p dir="ltr"><span style="color:#666666;">The magic happens when these seemingly disparate elements are brought together. Saxophonists who master the art of phrasing in both classical and jazz contexts unlock a world of expressive possibilities. It's about finding the common thread that runs through precision and spontaneity, structure and freedom.</span></p><p dir="ltr"><span style="color:#666666;"><strong>Practical Tips for Versatile Phrasing:</strong></span></p><ul>
<li dir="ltr" aria-level="1"><span style="color:#666666;"><strong>Listen Widely:</strong> Immerse yourself in recordings of both classical and jazz saxophonists. Pay attention to how they shape phrases and convey emotion within the context of their respective genres.</span></li>
<li dir="ltr" aria-level="1"><span style="color:#666666;"><strong>Imitate and Innovate:</strong> Experiment with incorporating classical phrasing elements into your jazz improvisations and vice versa. This can be a playful and enlightening exercise to expand your expressive toolkit.</span></li>
<li dir="ltr" aria-level="1"><span style="color:#666666;"><strong>Embrace the Silence:</strong> Both genres appreciate the power of silence. Experiment with intentional pauses and silences in your playing, allowing the music to breathe and creating moments of heightened tension and release.</span></li>
<li dir="ltr" aria-level="1"><span style="color:#666666;"><strong>Collaborate Across Genres:</strong> Engage in collaborative projects with musicians from diverse backgrounds. Collaborations provide opportunities to blend different phrasing styles and create something truly unique.</span></li>
</ul><p dir="ltr"><span style="color:#666666;"><strong>In Closing: A Symphony of Styles</strong></span></p><p dir="ltr"><span style="color:#666666;">As saxophonists, we have the privilege of navigating the diverse landscapes of classical and jazz music. The art of phrasing allows us to traverse these landscapes with finesse, creating a symphony of styles that captivates audiences and speaks to the universality of musical expression. So, let's embark on this journey together, embracing the nuances of classical precision and the freedom of jazz spontaneity in our pursuit of expressive excellence.</span></p><p dir="ltr"><span style="color:#666666;">Keep Phrasing,</span></p><p dir="ltr"><span style="color:#666666;"><strong>Evan Tate</strong></span></p>Evan Tatetag:evantatemusic.com,2005:Post/71656452023-03-05T23:20:05+01:002023-10-16T16:54:24+02:00Choosing the Right Saxophone: Tips for First-Time Buyers<p>When purchasing a saxophone, it's important to invest in a quality instrument that will provide a rich and enjoyable playing experience. However, with so many options available on the market, it can be difficult to determine which saxophone is worth the investment. In this article, we'll explore how to spot a quality saxophone. </p><p>Here are a few tips to help you on your search for a new horn;<br><br><strong>1.</strong> <strong>Look for a reputable brand </strong><br><br>One of the easiest ways to ensure that you're purchasing a quality saxophone is to buy from a reputable brand. Well-known saxophone brands have a reputation to uphold and are more likely to produce high-quality instruments. Some reputable brands include Yamaha, Selmer, Yanagisawa, Keilwerth and Cannonball. Even buying these brands as a used instrument is a good idea.<br><br><strong>2. Inspect the keywork </strong><br><br>The keywork on a saxophone is important because it affects the ease of playability and overall sound quality. Inspect the keywork to ensure that the keys move smoothly and do not stick. Also, make sure that the keys are not loose or wobbly. <br><br><strong>3. Check the pads and springs</strong> <br><br>The pads and springs on a saxophone are crucial for producing a clear and consistent sound. Check the pads to ensure that they are not torn or leaking air. Springs should be in good condition and not rusted or loose. This should not be a problem if you are buying your sax new or used from a shop. If you are buying from a private seller or over the internet, these problems may occur. <br><br><strong>4. Play test the saxophone </strong><br><br>Playing the saxophone is the best way to determine if it is the right instrument for you. Listen for a clear and consistent sound across all notes and ensure that the saxophone is easy to play. If you're a beginner, strongly consider bringing someone with experience to help you test the saxophone. <br><br><strong>5. Price range </strong><br>Saxophones can range in price from a few hundred dollars to several thousand dollars. Determine your budget before shopping and avoid overpaying for a saxophone. Keep in mind that quality instruments may be more expensive, but they're worth the investment. <br><br>Finally, purchasing a quality saxophone is important for a fulfilling playing experience. When shopping for a saxophone, take the time to carefully inspect saxophones before purchasing and invest in an instrument that will provide years of enjoyment.</p><p>Happy Practicing!<br> </p>Evan Tatetag:evantatemusic.com,2005:Post/69967322022-06-20T12:00:00+02:002023-03-05T22:11:27+01:00Breathing - Important for Life, Important for your performance.<p><strong>Breathing!</strong></p><p>Breathing is vital for life and critical for saxophone players to optimize their performance. Without proper breathing technique, saxophonists may struggle to play long phrases, leading to subpar performances. Here are some essential breathing exercises for saxophonists to improve their breathing technique and enhance their overall performance.</p><p>To maximize your breathing technique, ensure you assume a comfortable, upright position when playing, whether standing or sitting. The most natural way the human body breathes is by the movement of the stomach and belly, not by raising the shoulders and expanding the rib cage. This way, the lungs can be optimally filled, unlike the shallow filling that occurs when raising the shoulders and expanding.</p><p>Here are some exercises to help you improve your breathing technique: </p><p>1. The "1-4-2" Exercise:</p><ul>
<li>Stand straight with your hands on your hips.</li>
<li>Inhale for 1 count.</li>
<li>Hold your breath for 4 counts.</li>
<li>Exhale slowly for 2 counts.</li>
<li>Repeat 10 times.</li>
</ul><p>2. The "2-1-8" Exercise:</p><ul>
<li>Pick a note on your sax (middle C or G as a suggestion).</li>
<li>Inhale for 2 counts.</li>
<li>Hold your breath for 1 count.</li>
<li>Exhale (play) for 8 counts.</li>
<li>Repeat 10 times.</li>
</ul><p>3. The "Rib Cage" Exercise:</p><ul>
<li>Sit on the edge of a chair with your back straight.</li>
<li>Inhale and simultaneously raise both your arms above your head and hold your hands together for 2 counts.</li>
<li>Hold your breath for 8 counts.</li>
<li>Exhale slowly and lower your hands to your sides for the length of 4 counts.</li>
</ul><p>4. The "Floor" Exercise:</p><ul>
<li>Lie down on your back on the floor.</li>
<li>Raise your hips and buttocks off the floor.</li>
<li>Inhale for 2 counts.</li>
<li>Hold for 8 counts.</li>
<li>Exhale for 4 counts.</li>
</ul><p>Practice these exercises at least once a day to improve your breathing technique.</p><p>Contrary to popular belief, the diaphragm is not a voluntary muscle that saxophonists can control consciously. Instead, they can access it through abdominal breathing, as demonstrated in the above exercises. Practicing breathing patterns also activates the lymphatic system, which gets rid of impurities and improves overall health.</p><p>In summary, proper breathing technique is crucial for saxophone performance. By practicing these exercises regularly, saxophonists can improve their breathing technique, enhance their performance, and improve their overall health.</p><p>Have fun!</p>Evan Tatetag:evantatemusic.com,2005:Post/69967312022-06-18T12:15:45+02:002022-06-18T12:15:45+02:00"Jack of all trades" - Tips on doubling.<p><strong>Doubling! </strong></p>
<p>For those saxophonists who plan to make playing music their profession, playing several woodwinds is eventually a necessity in order to keep yourself in supply of enough work. There is also much to gain out of what you learn by playing other woodwinds that can augment your saxophone playing. </p>
<p>There are a few things that are good to remember when considering doubling. First of all, every woodwind is a different animal. What do I mean by that? Well, you can't take the approach that just because another instrument uses the Boehm fingering system that "you already know it" and that "it will be easy". Far from it! Every instrument has its own character, nuances and history that accompanies it - and its own problems. Even if you double on another saxophone say, alto and tenor, or tenor and soprano - you have to treat them as though they are totally different instruments in order to get the most out of them. The basic essential woodwinds to play besides other saxophones are the clarinet and the flute. Other instruments beyond that would be the oboe and English horn. </p>
<p>How do you go about starting to learn to play another instrument? First of all, you need to allot time to dedicate practicing this new "friend". That's right. You have to get friendly with the instrument and see it as something to help you and not make your life difficult. If you review the first newsletter you've received - "Mastering Basic Skills" - this will help you get clear on how well you should learn how to play this new instrument. You need to develop a good tone, good intonation and a decent technique. You must investigate music composed for the instrument and get some solo recordings of the instrument in order to form an idea of what is possible with the instrument and what sound you may want to acquire. And of course, very good sight-reading skills on all instruments. </p>
<p>Depending on the type of professional situation you may be involved in will more or less dictate how proficient on each instrument you should become. For example, if you're planning to play musicals, most of the time, the saxophone is going to be the least important instrument in your arsenal. The first reed book of the musical "A Chorus Line" demands good flute and piccolo proficiency, a little clarinet and very little saxophone is needed. "West Side Story" needs advanced clarinet proficiency. "<em>Grease</em>" needs mainly saxophone with a good grasp of playing different musical styles and some clarinet good clarinet skills. Musicals like "<em>Bubblin' Brown Sugar</em>", "<em>Eubie</em>", "<em>Ain't Misbehavin'</em>" need good skills in interpretation of sax and clarinet playing styles of the swing era. </p>
<p>What if that's not your goal? Studio musicians need to be proficient in many styles, on cue (!) and be particularly a master of at least one style. Show bands or Club Date bands also need a good grasp of various styles and various instruments. Whatever your genre you have to know in and out. </p>
<p><strong>Some tips: </strong></p>
<p><strong>Sax/Clarinet double</strong> - here you need a lot of work on your embouchure and your reading skills. Clarinet is not built in octaves like the sax, so you'll have learn practically a different fingering for every note and you need to drill reading the notes far below and above the staff. Watch that vibrato! If you use it on sax, you need to get rid of it on clarinet (in the meantime). </p>
<p><strong>Sax/Flute double</strong> - here you'll also need a lot of embouchure work and reading skills. For flute you'll need to practice overtones often and work on projection (getting heard)! </p>
<p><strong>Sax/Clarinet/Flute double</strong> - You need to practice switching between these instruments for quick embouchure adjustments and reading. </p>
<p><strong>Along with doubling on clarinet or flute</strong>, you may need to investigate other voices of those instruments such as bass clarinet, basset horn, piccolo and alto flute. If you add oboe to your arsenal, you may also need English horn too. With whatever doubles you have I suggest dedicating one hour (at least) a day (every day!) to practicing the instrument(s). You'll be amazed what you can achieve after 6 months! In that time, you'll also learn to develop a "feel" for the instrument so that once you touch it, you'll trigger off messages in your brain that will dictate to your fingers, embouchure and ear as to how and what to do. You'll recognize the "new animal" instantly. </p>
<p>Get together with other doublers to play duets, trios or quartets with your doubles. Help and support each other in learning. This is also an important lesson in "networking". Letting others know that you play doubles for future reference. A lucrative gig may come out of it. And don't forget to offer then gigs when you have a chance to also.</p>Evan Tatetag:evantatemusic.com,2005:Post/64786242020-11-19T12:55:19+01:002022-04-20T19:57:59+02:00Why Scales Are Not The Answer<p><img src="//d10j3mvrs1suex.cloudfront.net/u/411837/754e0ba264ae01df01fc829c8c0f1fb4b597d712/original/scales.jpg/!!/b:W10=.jpg" class="size_l justify_center border_" /></p>
<p>I remember my first solo. I played in my High School's Junior Jazz Big Band. I was 15, and I played 2nd alto in the band. We had a concert at school. We played a funky rock tune, and all of a sudden, I was asked to play a solo(!). It was just over an A minor chord. All I knew at the time was that A minor was the relative minor of C major. So, in my nervousness, I played all the notes in the C major scale. :-D :-( It was pretty tragic. I had no idea what I was doing.</p>
<p>I had listened to a lot of jazz, but improvisation was still a "Book of 7 Seals". A mystery to me.</p>
<p>Check out my YouTube Video <a contents="here" data-link-label="" data-link-type="url" href="https://youtu.be/ZMjxy6WTuy0" target="_blank">here</a>.</p>Evan Tatetag:evantatemusic.com,2005:Post/64114112020-08-17T21:37:58+02:002022-05-13T10:47:14+02:00On the Passing of Steve Grossman<p>Today, I was informed by a friend, that a mutual friend posted on their Facebook page that saxophonist Steve Grossman, had died. </p>
<p>If you are or were a private student of mine, a follower of my posts, my YouTube Channel, have listened to my podcasts, or have ever purchased any of my books, you know that not only was Steve Grossman one of my teachers, but he was a major influence on my playing and teaching method as well. </p>
<p>In his honor, I'd like to tell my account of how I met Steve, and the time that I had studied privately with him.</p>
<p>It was back in 1982 that I had transferred to the Manhattan School of Music (NYC) as a sophomore from the University of Bridgeport (CT). At Bridgeport, I was a Composition/Jazz Studies Major. Although I enjoyed my freshman year there, playing in the Senior Big Band, killing my Music Theory classes, struggling with my piano lessons :-D, and getting my improvisation and reading chops up, I still didn't really think I was learning my instrument the way I really wanted to. </p>
<p>After a lot of thought, I decided to learn the way the masters had learned; playing classical in school, and playing jazz in the clubs at night. So, I auditioned for the Manhattan School of Music. (MSM did not have a jazz degree program at that time) I passed my audition, and I became a student of the famous saxophone guru Joe Allard. Studying with Joe was an absolutely amazing experience, but I'll save that for another post. </p>
<p>While I was at Bridgeport, I was studying Charlie Parker, practicing patterns, writing tunes, jamming with my school mates, and practicing, practicing, and practicing, I needed inspiration as to "how I wanted to play". I heard many living alto saxophonists at the time, but I didn't feel that "spark" for what I was looking for. While I was checking out the concert section in New York's now defunct "Village Voice" ( I miss that paper), I saw that Steve Grossman was playing at an Upper East Side club called "Eric". I remember hearing about him from friends of mine who were tenor saxophonists. They spoke in the highest regard of him. So, needless to say, I had to go hear him.</p>
<p>As I sat in the club, I was astonished at what I had heard. Not only his technical abilities, but the way he weaved in and out of the chord changes with such ease, I knew that I had to know what he was doing! Did I ask for lessons then and there? No. I was quite a shy guy and I couldn't imagine him taking me on as a student, somehow.</p>
<p>I later asked Joe Allard about Steve Grossman and discovered that he was also a former student of Joe's like many other famous saxophonists like; Michael Brecker, Bob Berg, David Liebman, Eric Dolphy, Dave Tofani, and more. Joe advised that I check out Steve's embouchure closely!</p>
<p>A couple of months later while reading the "Village Voice", I found an ad anouncing that Steve Grossman was accepting students! I called right away. The calls were filtered by someone else in order to screen potential students. I relayed that I was a student at MSM and currently studying with Joe Allard.</p>
<p>I later received a return call from Steve himself. After a short conversation, my first lesson was scheduled. </p>
<p>At my first lesson, Steve's then wife, Graciela, prepared Earl Grey tea for us. Steve had almost a cold look in his eyes, which could be very intimidating (I was afraid of him, as in having great respect for his abilities). Nonetheless, Steve was very friendly and willing to help. We spent the beginning of each lesson with tea and listening to records. After almost an hour we'd then start playing. </p>
<p>We would talk about what or who we were listening to, he'd write something out, we'd play it, we'd jam to play-alongs, we'd switch horns (he played great alto! - he started as an alto player with Horace Silver), he'd give career tips, personal anecdotes, share stories from his times with Miles Davis, and with Elvin Jones, etc. At each lesson, I had always spent two hours at his apartment, and he'd only charge me for one hour. His wife told me in confidence that Steve really liked working with me. </p>
<p>Although, I was only with Steve Grossman for about three or fourth months before he started touring again, my lessons with him skyrocketed my playing, and I use those techniques I had learned then, today still. I continue to teach what I've learned from him.</p>
<p>Steve Grossman lived for many of his last years in Bologna, Italy, and I had heard him perform in Munich, Germany many years ago, and I was surprised that he still remembered me. :-)</p>
<p>On the 13th of August, 2020, Steve Grossman suffered a heart attack, fatally. The World of Jazz has lost another great musician, educator, and inspiration for many musicians.</p>
<p>R.I.P. Steve Grossman</p>
<p>I'll miss you dearly.</p>
<p><a contents="Check out an Interview with Steve Grossman" data-link-label="" data-link-type="url" href="https://www.youtube.com/watch?v=BRkF5ZeLvJo" target="_blank">Check out an Interview with Steve Grossman</a></p>Evan Tatetag:evantatemusic.com,2005:Post/63895932020-07-22T12:48:31+02:002022-05-06T13:35:42+02:00Product Review: The A.L.E. "Reed Balancer"<p><iframe class="justify_inline" data-video-type="youtube" data-video-id="0gI4GWzIua4" data-video-thumb-url="https://img.youtube.com/vi/0gI4GWzIua4/mqdefault.jpg" type="text/html" src="https://www.youtube.com/embed/0gI4GWzIua4?rel=0&wmode=transparent&enablejsapi=1" frameborder="0" height="180" width="320" allowfullscreen="true"></iframe></p>
<p>This time I'm reviewing the A.L.E. "Reed Balancer". Soon I'll be doing another video on reed preparation in general:<br>What it is, How to do it, What to look for, What to avoid, What tools are on the market.</p>
<p>See you soon!</p>
<p> </p>Evan Tatetag:evantatemusic.com,2005:Post/63551502020-06-16T17:46:39+02:002022-05-26T11:38:35+02:00Playing Exercises on the Mouthpiece<p><iframe class="justify_inline" data-video-type="youtube" data-video-id="AJ9-tyNJLY8" data-video-thumb-url="https://img.youtube.com/vi/AJ9-tyNJLY8/mqdefault.jpg" type="text/html" src="https://www.youtube.com/embed/AJ9-tyNJLY8?rel=0&wmode=transparent&enablejsapi=1" frameborder="0" height="180" width="320" allowfullscreen="true"></iframe></p>
<p>This video demonstrates how to start playing exercises on the mouthpiece and the reasons why you should do it.</p>
<p>Download the exercises <a contents="here" data-link-label="" data-link-type="url" href="https://drive.google.com/file/d/1LedRYNYrYsiEsr7-AfjJGb6bSWuljkrt/view?usp=sharing" target="_blank">here</a>.</p>Evan Tatetag:evantatemusic.com,2005:Post/62862562020-04-18T11:50:50+02:002022-05-06T07:05:23+02:00How to Practice and Learn Jazz Patterns Effectively<p>This video is an extension of a previously uploaded video "<a contents="5 Things You're Practicing Incorrectly and How To Correct Them" data-link-label="" data-link-type="url" href="https://youtu.be/3vzzi9sWsQU">5 Things You're Practicing Incorrectly and How To Correct Them</a>". - This video will discuss how to practice jazz patterns.</p>
<p><a contents="Check out the entire video here!" data-link-label="" data-link-type="url" href="https://youtu.be/1rDSfbpTBT8" target="_blank">Check out the entire video here!</a></p>
<p>Enjoy!</p>Evan Tatetag:evantatemusic.com,2005:Post/62829502020-04-15T10:46:05+02:002020-04-15T10:46:05+02:00An Important Tip on How to Improve Your Technique<p>This is in part a follow-up on a previous video of mine; "5 Things You're Practicing Incorrectly and How To Correct Them". This video displays a way to approach practicing technique and technical issues within a piece or music, or in jazz improvisation.</p>
<p><a contents="Check out the full video here." data-link-label="" data-link-type="url" href="https://youtu.be/oN1p9n-I9iE" target="_blank">Check out the full video here.</a></p>Evan Tatetag:evantatemusic.com,2005:Post/62769992020-04-15T10:44:12+02:002022-02-11T08:33:08+01:005 Things You're Practicing Incorrectly and How To Correct Them<p>Here's my take on five things you may be practicing wrong and my tips on how to make it right.</p>
<p><a contents="Check out the video here." data-link-label="" data-link-type="url" href="https://youtu.be/3vzzi9sWsQU" target="_blank">Check out the video here.</a></p>Evan Tatetag:evantatemusic.com,2005:Post/62769972020-04-15T10:43:14+02:002021-09-09T11:22:31+02:00How To Form an Embouchure (Part 2)<p>This is Part 2 of my previous video on Embouchure: The "One Note" Theory.</p>
<p>Here I speak in detail about how to form an embouchure easily without difficulty.</p>
<p><a contents="Check out the video here!" data-link-label="" data-link-type="url" href="https://youtu.be/0AN7tUaetLo" target="_blank">Check out the video here!</a></p>Evan Tatetag:evantatemusic.com,2005:Post/62693712020-04-03T13:00:00+02:002020-04-03T13:01:18+02:00Have you heard of the "One Note Theory"?<p>The "One Note Theory" is a concept for forming an optimal saxophone embouchure (also for clarinet!). </p>
<p>It is based on principles I'd learned from Hon. Dr. Joseph Allard, master teacher of many world famous saxophonists and clarinetists. Among them were; </p>
<p>Michael Brecker <br>David Liebman <br>Steve Grossman <br>Eddie Daniels <br>Dave Tofani <br>Eric Dolphy <br>Harry Carney, and more. </p>
<p><a contents="Check out the complete video here!" data-link-label="" data-link-type="url" href="https://youtu.be/h6IntLmvTZU" target="_blank">Check out the complete video here!</a> </p>
<p>And be sure you check out the link in the description to get the absolutely free 14 page ebook on this concept. It contains plenty of exercises!</p>Evan Tatetag:evantatemusic.com,2005:Post/62693692020-04-02T15:47:16+02:002022-05-21T06:48:05+02:00Long Tones: Are you practicing them effectively?<p>I recently stumbled across a video in YouTube with the title "The Only Long Tones Exercise You'll Ever Need". So naturally, I was curious to find out what that was. </p>
<p>Although, it was a good exercise I did find flaws in it and I decided to share that in a video of my own, with a Long Tones exercise I practice. </p>
<p>Of course, I didn't mention any names nor did I defame anyone. No need. We're all musicians who are trying to learn and do our best. </p>
<p>So. my question is: </p>
<p>Are you practicing long exercises effectively? </p>
<p>Check out the <a contents="full video on my YouTube Channel" data-link-label="" data-link-type="url" href="https://youtu.be/_vM_sg1jJCw" target="_blank">full video on my YouTube Channel</a> and be click the link in the description to get the free download files!</p>Evan Tatetag:evantatemusic.com,2005:Post/61344862020-01-20T13:11:32+01:002022-05-12T11:54:25+02:00Product Review: SYOS Mouthpieces / "Freaks"<p><iframe class="justify_inline" data-video-type="youtube" data-video-id="9-19XnozSps" data-video-thumb-url="https://img.youtube.com/vi/9-19XnozSps/mqdefault.jpg" type="text/html" src="https://www.youtube.com/embed/9-19XnozSps?rel=0&wmode=transparent&enablejsapi=1" frameborder="0" height="180" width="320" allowfullscreen="true"></iframe></p>Evan Tatetag:evantatemusic.com,2005:Post/59626062019-11-22T09:55:00+01:002022-05-11T08:51:28+02:00ET with "The Uptown Jazz Orchestra"<p>playing "Cherokee" with guest soloist Jürgen Seefelder.<iframe allowfullscreen="allowfullscreen" frameborder="0" height="315" src="https://www.youtube.com/embed/M-_Lu64v7ZY" width="420"></iframe></p>Evan Tatetag:evantatemusic.com,2005:Post/59626052019-11-21T09:55:00+01:002020-03-27T10:35:10+01:00SaxTips Vidcast #1 - The "One Note Theory"<p><iframe allowfullscreen="allowfullscreen" frameborder="0" height="315" src="https://www.youtube.com/embed/AycKf0aEMHM" width="420"></iframe></p>Evan Tatetag:evantatemusic.com,2005:Post/59626042019-11-20T09:55:00+01:002022-03-16T18:31:56+01:00The Importance of Composing in Improvisation<p>The topic of this audio is a subject I’ve spoken about with my peers as well as my students over the years. And that is the subject of composing. </p>
<p>You see, throughout musical history, the musician / performer was not only expected to be versed in various songs, but it was also expected that he/she would present new songs. Either for the enjoyment of the public or of the royal courts. </p>
<p>Royalty not only wanted to be entertained but they wanted to the symbol of culture in their respective kingdoms. Thus, the appearance of the court composer. This was usually a man hired to compose music to the King’s liking. </p>
<p>In days gone by, many European classical musicians composed music as well. </p>
<p>Today, most classically trained musicians don’t compose their own music nor are they expected to. </p>
<p>Today, jazz musicians don not only improvise but are also expected to at least be able to compose a simple blues. Many jazz musicians do a lot more than that. </p>
<p>Many jazz musicians have even become film and television composers as well as arrangers in the pop music world. </p>
<p>I’ve personally stressed on my improvising students the importance of being able to compose (at least) a blues tune. Understanding how to form a melody and develop it is key to improvisation. </p>
<p>The PDFs available at my Patreon page explain a very simple method as to how you can compose many Blues themes with very little material. </p>
<p><a contents="Go to Patreon&nbsp;now for the audio and PDF files!" data-link-label="" data-link-type="url" href="https://www.patreon.com/posts/8040352" target="_blank">Go to Patreon now for the audio and PDF files!</a></p>Evan Tatetag:evantatemusic.com,2005:Post/59626022019-11-19T09:55:00+01:002019-11-20T06:44:14+01:00Playing over a Dominant 7th Chord<p>With this article/sound file / pdfs, I'd like to discuss and demonstrate some of the thinking and techniques I use when I'm faced with having to solo over a dominant 7th chord for an extended solo. </p>
<p>In college, we often called the <strong>dom</strong>inant 7th chord the "<strong>dumb</strong> chord". Why? Frankly, it's easier to play an interesting solo when you have a few chord changes instead of just one. You just have to get through the changes and your melodies (almost) create themselves. But this is exactly the challenge with a single chord. </p>
<p><strong>How do you be creative with such a limited harmonic structure?</strong> </p>
<p>Well, that is exactly what we need to realize. The chord does not have a limited harmonic structure. It is actually <strong>ourselves</strong> that may have a limited harmonic understanding of the chord at hand. </p>
<p>Sure, pianists and guitarists have the luxury of playing an extension of the chord or another chord completely in order to support the melodic line they are playing. We single-note players will have to be clearer about what harmonic structure we are spelling out in our improvisations. </p>
<p>First of all, as I just said, dominant 7th chords are not limited. Depending on the genre you're improvising in, the mood of the music, your harmonic understanding, etc. will determine how much room you have harmonically in order to create an interesting solo. </p>
<p>On dom. 7th chords you can use a Blues scale, a Diminished scale, a whole-tone scale, various Pentatonic scales, Diminished-Whole Tone scale or you can treat is a dom.7th sus4 chord. </p>
<p>One of the things I like to do is to create "implied chord progressions" to the chord. What I mean here is that I may create another set of changes to play over that dominant 7th chord. </p>
<p>The fact is: as long as your melodic lines follow logic harmonically, and resolves properly, you can play whatever you want! That is the real "secret" to "out" playing. </p>
<p>The audio example I chose is from a recording I did many years ago with a band. The tune was called "Middleman", composed by saxophonist Michael Green. A link to the recording is provided at the end of this post. </p>
<p>The band played a type of odd-meter avant-garde funk, "M-Base" type of thing. I transcribed the beginning of my solo in order to display a little of my approach to playing over a single "F7" chord. </p>
<p>The solo is transcribed in 4/4 meter although it may not sound like that. In truth, the drummer and bassist are really playing a figure alternating between 9/8 and 7/8, while the guitarist is playing an overlapping figure in 6/4. It sounds complicated but the effect was interesting and provided for some great adventures. </p>
<p>I've made some notes of the chord changes I was kind of thinking of as I often experimented with it. The transcription is provided in Eb Alto and Bb tenor. </p>
<p>Enjoy! </p>
<p>Check out the full, original recording at <a contents="getyourmusic.com" data-link-label="" data-link-type="url" href="http://getyourmusic.de/album/index.php?id=11043-31" target="_blank">getyourmusic.com</a> </p>
<p><a contents="Go to Patreon&nbsp;to get the Audio file and PDF!" data-link-label="" data-link-type="url" href="https://www.patreon.com/posts/playing-over-dom-8015140" target="_blank">Go to Patreon to get the Audio file and PDF!</a></p>Evan Tatetag:evantatemusic.com,2005:Post/59626012019-11-18T09:50:00+01:002019-11-18T10:44:37+01:00Try this "Minimalist" Exercise to improve your Improvisation<p>All improvisers are looking for new licks and/or techniques to improve our soloing. As saxophonists, too often are we seduced to licks with many notes with sometimes some quite complicated harmonic structures. I got a little weary of that I started to look for ways to i<strong>mprove my use of melody</strong> in improvisation and not just be able to rip off a myriad of notes. </p>
<p>A few years back I did a Jazz Workshop and a concert at the College of Music in Nuremberg, Germany. A diverse group of students attended the workshop. There were not only saxophonists, but guitarists, violinists, pianists, bassists, etc. attending. </p>
<p>The workshop as presented under the title of <strong>"A Minimalist Approach to Improvisation"</strong>. This was a good title for it because that was the idea I was working on at the time. If you caught my previous post "Playing over a Dominant 7th Chord", you may be able to get a glimpse of that. It was during my time with the group "The Bridge" where I had to look for other ways to solo, mainly because we played most things in odd meters and polyrhythms. </p>
<p>The exercise I presented to the class followed as so; we played the changes to the tune <strong>"Lady Bird" </strong>by Tadd Dameron. Then, I instructed the students to use a single rhythmic motive, consisting of just two notes, and they were to try to continue to use this motive throughout the entire chorus. One can (and must) make whatever harmonic changes you need to fit the chords, but you need to keep the motive! </p>
<p><a contents="Check out the rest of the post on Patreon!" data-link-label="" data-link-type="url" href="https://www.patreon.com/posts/8217416" target="_blank">Check out the rest of the post on Patreon!</a></p>Evan Tatetag:evantatemusic.com,2005:Post/59626002019-11-17T09:45:00+01:002022-05-26T10:44:06+02:00Enclosures for Improvisation - Part One<p>A while back someone asked me about enclosures and how to practice them for improvisation. I had to first identify what was meant by "enclosures". I realized that I've always referred to this technique as "encircling". </p>
<p>What I would do in a solo was to determine my "target notes" and define ways to indirectly and melodiously reach that note. </p>
<p>In order to really be successful at doing this, one's technique has to be pretty solid. I've included a small document of some basic exercises over major and minor scales and triads to get you going. </p>
<p>Often, the notes that fall on the strong parts of the beat will be non-chordal tones that may or may not exist in the key. This is totally fine. </p>
<p>As long as your goal (or target note) is clear and the logic of your melody is solid, all notes will sound consonant / consistent with the chord. </p>
<p>In the next part of this series, I will give specific examples and exercises on how this technique is used in jazz improvisation. </p>
<p>Happy Practicing! </p>
<p><a contents="Read it here!" data-link-label="" data-link-type="url" href="https://www.patreon.com/posts/10545528" target="_blank">Read it here!</a></p>Evan Tatetag:evantatemusic.com,2005:Post/59625992019-11-16T09:41:53+01:002019-11-16T10:15:10+01:00Improv Etude over "There Will Never Be Another You"<p>Here's another Improv Etude over a classic jazz standard. "There Will Never Be Another You" by Harry Warren. <br>I've added just one technique in using alternate changes in the second part of the form. See if you can find it. ;-) </p>
<p>Happy Practicing! </p>
<p><a contents="Check it out here!" data-link-label="" data-link-type="url" href="https://www.patreon.com/posts/improv-etude-be-22286200" target="_blank">https://www.patreon.com/posts/improv-etude-be-22286200</a></p>Evan Tatetag:evantatemusic.com,2005:Post/59625982019-11-16T09:41:15+01:002019-11-16T10:02:16+01:00Improv Etude over "Cherokee"<p>This is a challenging Bebop standard from Ray Noble. Any improviser that wants to prove their worth must be able to play this standard, often at break-neck tempos. </p>
<p>This improv etude will force you to use the whole range of your instrument. </p>
<p>Go for it! </p>
<p>Start out slow and steady. Timing is everything! and above all have fun with it! </p>
<p>For Eb, Bb and C instruments </p>
<p><a contents="Go get it on my Patreon Page!" data-link-label="" data-link-type="url" href="https://www.patreon.com/posts/21932515" target="_blank">Go get it on my Patreon Page!</a></p>Evan Tatetag:evantatemusic.com,2005:Post/59616092019-11-15T16:50:49+01:002019-11-15T16:56:04+01:0010 Ways To Improve Your Jazz Soloing<p>Everyone who works hard on improvising jazz comes to a point that they hit wall. They feel that their practicing is not helping their soloing anymore. They don't know what to practice anymore. They looking for inspiration but don't know where else to look. </p>
<p>Well, here are 10 Things You Can Do To Improve Your Jazz Soloing: </p>
<p>Listen to new music. - Listen to some music that you don't or even wouldn't normally listen to. You may want to first keep it in the same genre as jazz such as; you play hard bop, and you listen to some old swing recordings. Or vice versa. Or you're maybe the type that will play mainstream jazz and listen to some hip hop or new classical. Hearing different melodies and compositional forms will give you some inspiration to try something new. <br>Listen to other instruments. - If you're saxophonist like me, you've mainly listened to other saxophonist in your lifetime. That's all fine and good. The only downside of that is, you've probably wound up playing / sounding like a bunch of other saxophonists. To break away from that, listen to soloist of other non-related instruments. Miles Davis mentioned in his biography that he often listened to guitarists. David Sanborn not only listened to Hank Crawford coming up, but he also listened to Stevie Wonder's harmonica solos. Saxophonist Greg Osby told me in an interview that he used to transcribe piano solos! Note the uniqueness of just these three players! <br>Learn a new tune. - Now, I'm pretty sure that we all have a bunch of tunes we plan to (or say we plan to) learn. Well, now's the time to do it. Learning to play a new tune (preferably a hard tune, like "Lush Life")will force you to look for new ideas as long as the chord changes aren't too standard. <br>Learn a favorite tune in an odd key. - Got a tune you love to play? Learn to play it in a key that probably no-one would play it in. It will expand your ears, force you to create new ideas, expand your technique, and your repertoire. We've all heard the stories about how Sonny Rollins often played "Rhythm Changes" in B Major. George Coleman was known to play "Cherokee" in all 12 keys! <br>Take a lick from a solo and transform it. - This is also a technique that Greg Osby told me that he used after transcribing chose piano solos. He'd learn to play his favorite licks from the solo in every key, then transform that lick so often, that it had "virtually" nothing to do with the original lick anymore. Making it then, his own. <br>Take a lick and transform it rhythmically. - This is something you can do in tandem with the previous technique. Change not only the notes, change the rhythms. Stretch it. Diminish it. Keep experimenting. <br>Write an Improv Etude. - This is one of the main things I did during the time I studied with Steve Grossman and long afterwards. Take a tune. Write out the changes. Write a solo over it in all eighth notes. First one chorus, then two, or three. Practice it. Learn it. Transpose it to another key. Add another chorus in the new key. Practice it. Learn it. Transpose it again. Add another chorus. Etc. <br>Writing a Improv Etude may not be easy but it is a game changer! I hope to offer an online course soon on how write them. Keep on the look out! <br>Transcribe a solo. - This is one of the things that I didn't and don't do often, but it is a tried and true method of learning and getting new ideas. Although there are plenty of books on the market that are full of solos that someone else has already transcribed, bite the bullet and do it yourself. You'll gain a lot more that just reading what someone else got the real benefit from (and your money too!). <br>Improvise on an instrument you don’t play well. - This is an idea I learned from Professor Neal Slater who is now head of the Jazz Department at North Texas State University. He would teach jazz improvisation and bring his trombone to class. He said he had no chops and no technique on the instrument, but he was going to play a decent solo on it regardless. This technique will force you to concentrate on making melodies instead of relying on fast runs through scales and such (which saxophonists are really great at). I try to play a solo on the piano (where I definitely have no solo chops). <br>Improvise freely over a chord. - These are one of the things I like doing. Without the constraint of tempo, bar length, etc. I let myself create freely on order to find out what comes out. I actually got a compositions this way.And Now for 2 Bonus Tips: <br>Compose your own tunes! - Often I teach improvisation to beginners by teaching them how to create their own basic blues tune. One musical idea and automatically get two tunes out of it. This gets the novice to learn to create and manipulate melodies and how it eventually crosses over into your spontaneous improvising. I hope to soon offer a course on the web on how to do that. <br>Learn to play every new tune as a ballad. - This is something I learned from a jazz workshop I attended as a kid in New York hosted by Jamil Nasser and Harold Mabern. They even learned to play John Coltrane's "Giant Steps" very slow. Thinking is; playing fast is easy. You can repeat yourself without anyone noticing. You can also fake it! But when you play really slow, you really have to play something solid, it has to swing! Guaranteed, you'll know the changes better than anybody else. ;-)Well, there you have it. Here are just 10 ideas. Maybe you have a few more? <br>No more excuses!</p>Evan Tate