Benoit R said
I fully agree with you, but I thought I would chime in because this is a combination I like a lot, AND which was suggested by Bob very recently.
Limiting yourself to simple things first and getting a in-depth understanding is of course a very healthy practice !
  

Yep, man. Appreciate your "chiming in". That's what this place is all about.

Limiting yourself to simple things first and getting a in-depth understanding is of course a very healthy practice !

Benoit R said

...So, for example on C7alt : Db and Eb minor triads. Within two minor chords, you have b9, #9, b5, #5, 3rd and minor 7th, with a lot of structure thanks to the triad pairs ! 
  

Yes Benoit. As you said, I have been limitimg my examples to major triads. If you add minor triads to the mix, the possibilities become endless. As I see it, for a C7alt chord you would use the C# (Db) Melodic minor scale as your "base". The C#m and D#m (or Dbm, Ebm) triads are part of this scale (i and ii degrees); certainly they work and give you all the alterations plus the 3rd and 7th of the chord... that is so cool. The Gb-Ab major triads also work because they are the IV-V triads of the scale, but they do not have the 3rd of the chord. What I have found is that having a theoretical understanding of all this is a long way from being able to play the thing. That is why - for the moment - my hands are full with just the major triads Imagine incorporating augmented triads,  like Walt Weiskopf does in his book! 

There is some crackling in the recording. I don't really know how to fix this in the future. Is there someone who came across similar problems?

Have a nice day!

Ivan said

3) Major triad on the root and tritone away for a dimimished sound. C-Gb major triads for a C7b9 sound.
4) Major triad on the tritone and one step above for a fully altered sound. Gb-Ab major triads for C7alt.

Hi Ivan, 

I'm currently away from my horn, but your post is inspiring me quite a lot ! I think I will also compose some etudes over next tunes I work on, using triad pairs. 

Now, reacting to the part I quote above : I know you were talking about major triad pairs specifically, but in a very recent transcription challenge (Girl from Ipanema), Bob showed a very nice use of triad pairs for altered chords : minor triads starting on the b9 and on the #9. So, for example on C7alt : Db and Eb minor triads. Within two minor chords, you have b9, #9, b5, #5, 3rd and minor 7th, with a lot of structure thanks to the triad pairs ! I've been working on/using this a lot since then, and it's pretty cool !

Cheers!

davebo said
Dave (SaxPedalGuy)...the end of your video is priceless!  Very Supersax!  As we say in New England...WICKED!
Dave
  

Thanks, parallel motion is fun.

https://drive.google.com/file/.....p=drivesdk

Dave

Ugh!  Sorry you had that happen, and here's wishing you a speedy recovery.  There have been a couple of threads on this in the studio and Bob has chimed in on both...check them out here:

https://lessons.bobreynoldsmus.....two-weeks/

https://lessons.bobreynoldsmus.....th-injury/

Good luck and go slow!

Dave

Regarding intonation in a big band setting, I have had this discussion among bandmates in several bands.  There is some agreement in that a sax section that plays all Selmers play in tune as a section more easily than one that plays varying horns.  Maybe, but it really comes down to the section being aware of where their horns differ and really adjusting and listening to one another.  Still, when they all are in synch for intonation, and the vibrato and articulation is matching, there's no better fun to be had!

Looking forward to your next post.

Dave

davebo said
Hi Peter, 
Your Cannonball stuff (well, ALL of these!) are just spot on.  I am really enjoying listening to your incredible work and really appreciate the time spent getting to be so accurate.  Wow.
By the way, it seems you have two different altos.  Would you share for the curious what those two horns are?  Is that a King with the underslung octave key?
Dave 
  

Dear Dave 

Thanks for your kind words. It means a lot from someone like contributing so much to the studio.

Yes one is a King Super 20 series V

The other is a Selmer Balanced Action 

Great horns! However intonation is always a challenge especially when playing in a big band setting!

It was valuable to do this though, so I think I might do this in all keys. Here is the G major (Bb) version. 

I made a few mistakes but the B section is a bit more comfortable.