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Table of Contents
Improv, Harmony, & Tunes
Chord Studies
- Turning a Major 7th Chord on its Head
- 7 Examples to Move You Beyond the Same Old Ideas Over Dm7
- Minor 7th Chord Exercises (+ Sonny Rollins’ Solo on The Eternal Triangle)
- Sound Hip over a One Chord Jam (5 Things to Play over E Minor)
- Don't Stop at the Top: Unlocking 7th Chords
- Playing Bebop Over Dominant 7 Groove
- How to Handle Adjacent 7th Chords
- Dealing with Identical Chords a Half Step Apart
- Superimposing Diatonic 7th Chords on Dominant 7ths
- Using Inverted Major Triads Over Diminished Chords (5 lessons)
- Using Bebop Scales, Enclosures, and Pentatonics Over A-7 Rock Jam
- Sonny Stitt, V7b9, and Chromatic Turnarounds
- Chord Exercises 1: Diminished Descending
- Chord Exercises 2: Augmented Descending
- Chord Exercises 3: Dominant Descending (From Flat 7)
- How to See Inside a Chord Symbol
- Every Melody Note Works with Every Bass Note
- Upside Down Major 7th Chords (+ how to instantly improve your swing 8th notes)
- Diatonic Tensions: Why Some Notes Sound Good and Others Don't
- An Athletic Approach to Converting the Major Scale Into 7 Important Chords
- The Altered Dominant (7#9) Trick
- Sharp 1 & 2 Diminished – An Elegant Harmonic Substitution to Use in Your Turnarounds
- 7b9 vs. 7#9 – What’s the Difference? (And When to Use Which One)
- Minor II V Chord Scales, Defining Available Tensions, and What the Heck Is Locrian #2?
- Where Do Minor II V’s Come From? A Chord-Scale Exercise to Help Make Sense of Modes and Modal 7th Chords
Scale Studies
- How I Practice Scales to Maximize Accuracy, Control, Range, and Dexterity
- Practicing Scales: Common Mistakes and a Better Approach
- What Does it Mean to Work on Triads on a Scale?
- Triad Pairs 101, Part 1: Introduction to Triad Pairs
- Triad Pairs 101, Part 2: What are Triad Pairs?
- Triad Pairs 101, Part 3: Locating Triad Pairs (Modal Triads Explained)
- Triad Pairs 101, Part 4: A Triad Pairs Practice Strategy
- Stan Getz's Beautiful Lydian Riff on Moonlight in Vermont
- The Melodic Minor and Lydian Dominant Scale Connection
- A Modern Sound on Minor II-Vs: Applying the Pentatonic Flat 3 Scale
- Explaining Pentatonic Scale Variations
- How to Quickly Think of the Altered Scale
- Extracting Multiple Sounds from One Scale
- Working the Altered Dominant Scale - Tubby Hayes' Solo on "Pint of Bitter"
- Operating Instructions for Improvising Within A Modal Pop Song: Branford Marsalis On Englishman in New York
- When 7sus isn’t what you think – “Bet” Solo Changes Workout, Measure 2
- A Whole Practice Session from One Chord – “Bet” A9b13 Chord Scale Workout
- Build Mental Dexterity Over Chords: Practice This Digital Sequence In 4 Directions (With Bob)
- Straight Vs. Broken Triads Explained (& Why They’re Important to Practice)
- Applying Harmonic Minor To Dominant 7b9
- Improvising Over a 4-Chord Groove (1)
- Improvising Over A 4-Chord Groove (2)
- Playing Over A II-7 V7 In A Difficult Key (1 Of 2)
- Playing Over a II-7 V7 in a Difficult Key (2 of 2)
- A Simple ii-V-I Lick You Should Know in 12 Keys
- ii-V-I’s in 12 Keys
- ii-V-I with Triplets and Chromatic Enclosures
- Minor II-V, Tritone Sub, and the Harmonic Minor Scale: the Last 4 bars of "Sugar"
- Monk's Alternate Rhythm Changes (Cycle of Fourths)
- How to Improvise Over "Outlier" by Snarky Puppy
- The "Pennies From Heaven" Ending
- The Sharp 4 Half-Diminished Turnaround: A Common Jazz Chord Progression And Effective Practice Tool
- Interchangeable Modes and the Value of Repetition - Shedding Session on a Minor ii-V From "Stella By Starlight"
- Train Your Mind and Fingers to Think Ahead: A Chord-Scale Proficiency Exercise on “Miyako”
- IIm7 V7#11 Workout (Miyako)
- 12 Key Perpetual Motion Dominant Chord Exercise
- Strategies for Backdoor II-Vs: Voice-Leading Upper Structure Chords
- The 1753 Exercise For Memorizing Chord Changes (Ex. Donna Lee)
- Tune Learning - Level 1: Introduction
- Tune Learning - Level 2: Simple Solo Techniques
- Tune Learning, Level 3: Guide Tone Soloing
- Blues Basics, Part 1: Blue Monk (Head Only)
- Blues Basics, Part 2: Triads and 7th Chords
- Blues Basics, Part 3: Soloing with One Rhythmic Figure
- Blues Basics, Part 4: A Simple Chord Tone Solo
- Blues Basics, Part 5: A Simple Solo
- Now's The Time - Lesson 1: Melody and Opening Solo Phrase
- Now's The Time - Lesson 2: Transposing a Lick You Transcribed
- Now's The Time - Lesson 3: Dissecting the VI7 Phrase
- Now's The Time - Lesson 4: Bird's Iconic Turnaround Lick
- Now's The Time - Lesson 5: Substituting iii-, biii- over VI7
- Rhythm Changes: Basic Training
- Rhythm Changes: Using Minor 6 Pentatonic
- Rhythm Changes: Minor 6 Pentatonic Lick
- Rhythm Changes: Play Along with Me
- Rhythm Changes: Superimposing Cycle of 4ths (Monk Style)
- Autumn Leaves - Finding and Using Guide Tones
- Autumn Leaves - Chord Scale Exercise for Learning Tunes
- Ideas for Playing Over "Tune Up" (and Is It OK to Steal Ideas From Other Players?)
- What is This Thing Called Love? - Part 1 - Internalizing Chord Changes
- What is This Thing Called Love? - Part 2 - Pentatonic Flat 3
- What is This Thing Called Love? - Part 3 - Diminished Major 7 Over ii V I
- Days of Wine and Roses: Learning a Song from Recordings (What to Listen for and How to Make the Most of It)
- I Should Care: Learning Tunes from Multiple Sources
- Four – part 1 - Things to Focus on with This Classic Tune
- Four – part 2 - Strategies for Practicing with a Play-Along
- Four – part 3 - Descending Minor 7th Chord Progression
- Four – part 4 – Triplets, Triads and Half-Step Resolutions
- Taking a Melody to the Next Level
- Just Friends - Listening Lab
- Just Friends: Using the Number System to Learn, Remember, and Transpose Tunes
- Just Friends: Motivic Development and Rhythmic Displacement
- Just Friends: Introduction to Triad Pairs
- Just Friends: What Are Triad Pairs?
- Just Friends: Locating Triad Pairs (Modal Triads Explained)
- Just Friends: A Triad Pair Practice Strategy
- Just Friends: Trade with Bob
- Anthropology: Improve Your Time Feel By Practicing With the Metronome on Different Beats (Part 1)
- Anthropology: Improve Your Time Feel By Practicing With the Metronome on Different Beats (Part 2)
- Anthropology: 4 Ways to Turn A Bebop Melody Into New Melodic Material
- Anthropology: Using the Bridge as a Launchpad for Improvisation
- Anthropology: Understanding Melodic Architecture - Borrowing from Ornithology
- Anthropology: Superimposing -7b5 Over Dominant 7 Chords
- Anthropology: Superimposing -7b5 and Major 7 Chords Over Dominant 7 (and Tritone Sub)
- Realtime Analysis: What I’m Thinking as I Improvise Over “Lady Bird”
- Classic Bebop Tunes - A Night in Tunisia, Part 1: Learning the Melody from Multiple Sources
- Classic Bebop Tunes - A Night in Tunisia, Part 2: Figuring Out the Harmony by Ear
- Classic Bebop Tunes - A Night in Tunisia, Part 3: Stan Getz's Solo on "A Night in Tunisia"
- Classic Bebop Tunes - A Night in Tunisia, Part 4: Weaving Chord Changes Together
- Classic Bebop Tunes - A Night in Tunisia, Part 5: Play-alongs and Trading 8s
- Classic Bebop Tunes - Groovin' High, Part 1: Getting Your Eighth Notes to Swing
- Classic Bebop Tunes - Groovin' High, Part 2: A Great Line to Use Over ii-Vs
- Classic Bebop Tunes - Groovin' High, Part 3: Playing "Out" on ii-Vs (1)
- Classic Bebop Tunes - Groovin' High, Part 4: Playing "Out" on ii-Vs (2): Play Along with Me
- Classic Bebop Tunes - Groovin' High, Part 5: Playing "Out" on ii-Vs (3): Superimposing 7th Chords
- Classic Bebop Tunes - Woody'n You, Part 1: Level 1, 2, and 3
- Classic Bebop Tunes - Woody'n You, Part 2: Chris Potter's Solo Over "Woody'n You"
- Classic Bebop Tunes - Woody'n You, Part 3: Dealing with Minor 7 Flat 5 (or "Half Diminished") Chords
- Classic Bebop Tunes - Woody'n You, Part 4: Breaking Down Chris Potter's Solo (1)
- Classic Bebop Tunes - Woody'n You, Part 5: Breaking Down Chris Potter's Solo (2)
- Classic Bebop Tunes - Woody'n You, Part 6: Breaking Down Chris Potter's Solo (3)
- Classic Bebop Tunes - Woody'n You, Part 7: Breaking Down Chris Potter's Solo (4)
- How Insensitive: the Power of Arpeggios
- What is Chris Potter Playing in this Insane Lick on Lingus? (Plus, Why Practice One Song to Prepare for Another)
- Digging into Blue 7, Part 1: Play Along with Bob
- Digging into Blue 7, Part 2: Exploring Triplets
- Digging into Blue 7, Part 3: Wide Interval Leaps and Rhythmic Displacement (Sonny's Opening Phrase)
- Digging into Blue 7, Part 4: Lydian Dominant Triplet Lick
- Digging into Blue 7, Part 5: Combining Lydian Dominant, Bebop Enclosures, and Triplets
- I'll Remember April - 2 Minor Licks for the A Section
- I'll Remember April - Etude
- I'll Remember April: Transforming the Melody from Basic to Advanced, Part 1
- I'll Remember April: Transforming the Melody from Basic to Advanced, Part 2
- I'll Remember April: Memorizing the Changes 1 - Make the Basics Musical
- I'll Remember April: Harmony 2 - How I Practice Using Guide Tones in My Solos
- I'll Remember April: Jazz Practice Buddy - Play Along With Bob
- I'll Remember April: Try This ii-V-I Lick - Dominant 7th up, Altered Dominant Down
- An 8-Bar Phrase To Help You Connect Chord Changes (Based On The Bridge To I’ll Remember April)
- Easy Living: Harmonic Analysis and the Elegance of the Circle of Fifths
- Easy Living Etude Pt. 1 - Chromaticising the Turnaround
- Easy Living Etude Pt. 2
- Miyako: Simplify Complex Chord Changes by Using 4-Note Cells
- Miyako: Finding 4-Note Cells
- Miyako: Pivot Points, Half-Step Motion, and Contrary Motion
- Miyako: Play Along While I Comp on Piano
- Without A Song: Beyond 1357, Part 1 - Feel
- Without A Song: Beyond 1357, Part 2 - Melodic and Harmonic Construction
- Without A Song: Visualizing Voice Leading - Applying Piano Voicings to the Saxophone
- Shedding "Stella By Starlight" - Building a Solo From Fundamental Elements to Melodic Shapes
- Trade with Bob: Recorda Me
- “There Will Never Be Another You” Etude – A Real-Time Example of How I Shed
- Christmas Time Is Here – Discover Cool Harmonic Devices By Playing It On Piano
- Basic Blues (I IV V) Workout – Progressive Exercises To Hear And Feel The Blues Form
- Jazz Blues Workout – Progressive Exercises To Hear And Feel The Blues Form
- Bird Blues Workout (“Blues for Alice”)
- Bird Blues Workout (“Blues for Alice”) – Part 2
- A Simple Way to Make Melodies More Expressive
- Autumn Leaves: Play Along With Bob
- The Girl From Ipanema – Etude & Song Analysis
- Jam with Bob – “Misty”
- Doxy Lesson 1 – Etude of Superimposed 7th Chords
- Doxy Lesson 2 – Deep Shed: Connecting the Feeling of Each Superimposed Chord
- “Donna Lee” Piano Voicings for Non-Piano Players
- “Donna Lee” Melody Workout
Creative Improv Concepts
- The Confident Improviser Part 1: Getting Nervous; Forgetting What You Know
- The Confident Improviser Part 2: Forget About Scales, Learn to Love Chord Tones
- The Confident Improviser Part 3: Play it Until You're Sick of it, Then Play it Some More
- The Confident Improviser Part 4: Do You Have Swiss Cheese Syndrome?
- The Confident Improviser Part 5: Visual Altitude (What You Need to Create Space)
- The Confident Improviser Part 6: The Creative Power of Limitations
- The Confident Improviser Part 7: Even When It's Easy, It's Hard (Plus: How to Play Fast)
- Fluid Improvisation Part 1: Root Motion and Harmonic Rhythm
- Fluid Improvisation Part 2: Outline Every 7th Chord in Time
- Fluid Improvisation Part 3: Derive Chord Scales from Context
- Fluid Improvisation Part 4: Using the Piano, Triads, and Upper Structure Triads
- Fluid Improvisation Part 5 Creating Interest with Rhythm
- Fluid Improvisation Part 6: Using Chord Inversions
- Fluid Improvisation Part 7: Visual Technique for Improvisation
- Fluid Improvisation Part 8: Understanding Voice Leading
- Fluid Improvisation Part 9: Limiting Your Range
- Fluid Improvisation Part 10: Using Motifs
- Beyond 1357 - Part 1: Feel
- Beyond 1357 - Part 2: Melodic and Harmonic Construction
- I have a hard time connecting chord changes and making them melodic as well as rhythmic.
- Slow (Very Slow) Blues in E Concert (Chi Chi by Charlie Parker)
- Visual Technique for Improvisation Part 1: Preparation Exercises
- Visual Technique for Improvisation Part 2: Things to Focus On While Practicing
- Visual Technique for Improvisation Part 3: Exercises 1 & 2 (Scales)
- Visual Technique for Improvisation Part 4: Exercises 3 & 4 (Arpeggios)
- Visual Technique for Improvisation Part 5: Intro to Exercises 5-8
- Visual Technique for Improvisation Part 6: Exercises 5 & 6 (Scales)
- Visual Technique for Improvisation Part 7: Exercises 7 & 8 (Arpeggios)
- Visual Technique for Improvisation Part 8: Intro to Exercises 9 & 10
- Visual Technique for Improvisation Part 9: Exercises 9 & 10 (Scales)
- Visual Technique for Improvisation Part 10: Intro to Exercise 11
- Visual Technique for Improvisation Part 11: Exercise 11
- Visual Technique for Improvisation Part 12: Intro to Exercises 12-14
- Visual Technique for Improvisation Part 13: Exercise 12 (Root & 5th)
- Visual Technique for Improvisation Part 14: Exercise 13 (Pentatonics)
- Visual Technique for Improvisation Part 15: Exercise 14 (Broken 7th Chords)
- Visual Technique for Improvisation Part 16: Four Exercises Through the Cycle of Fourths
- Visual Technique for Improvisation Part 17: Exercise 15 (1235)
- Visual Technique for Improvisation Part 18: Exercise 16 (Pentatonics)
- Visual Technique for Improvisation Part 19: Exercise 17 (7ths on 7)
- Visual Technique for Improvisation Part 20: Exercise 18 (Minor 7th Over Major 7th)
- Visual Technique for Improvisation Part 21: Intro to Exercises 19-24
- Visual Technique for Improvisation Part 22: Exercise 19 (5321)
- Visual Technique for Improvisation Part 23: Exercise 20 (5321 With Rhythmic Variety)
- Visual Technique for Improvisation Part 24: Exercise 21 (Pentatonics)
- Visual Technique for Improvisation Part 25: Exercise 22 (Pentatonics as a Launchpad for Improvisation)
- Visual Technique for Improvisation Part 26: Exercise 23 (7ths on 7 Over Ascending Major)
- Visual Technique for Improvisation Part 27: Exercise 24 (Minor Over Major)
- Visual Technique for Improvisation Part 28: Intro to 4-Bar Bebop Phrase #1
- Visual Technique for Improvisation Part 29: How to Think of Each Part of the Phrase for Speed and Accuracy
- Visual Technique for Improvisation Part 30: Exercise 25: 4-Bar Bebop Phrase Beginning On The Root (All Keys – Ascending)
- Visual Technique for Improvisation Part 31: Exercise 26: 4-Bar Bebop Phrase Beginning On The Root (All Keys – Descending)
- Visual Technique for Improvisation Part 32: Bebop Phrase #2 - Things to Know
- Visual Technique for Improvisation Part 33: Exercise 27: 4-Bar Bebop Phrase #2 (Slow)
- Visual Technique for Improvisation Part 34: Exercise 28: 4-Bar Bebop Phrase #2 (Fast)
- Think It. Say It. Play It. Part 1: The Importance Of Visualization In Improvisation
- Think It. Say It. Play It. Part 2: Visualizing the 12-Bar Blues
- Think It. Say It. Play It. Part 3: Practicing Visualization
- Practicing a 4 (major) Chord Loop
- Enclosures: 12 Exercises to Help You Understand (and Practice) Them
- What Percentage of Your Improvisation in Harmonically Conscious?
- An Improvisational Approach to Practicing Scales in Thirds Over A Chord Progression
- Getting Away From Root Based Improvising: A Simple Trick to Add Color to Chord Progressions (Joy Spring)
- Understanding the Architecture of New Vocabulary: The Honeysuckle Rose Lick
- Applying Vocabulary: Practicing the Honeysuckle Rose Lick Over Joy Spring
- Thinking Ahead - How to Practice Executing Vocabulary
- How I Shed: Working Out New Ideas Over a Snarky Puppy Groove
- The Way You Look Tonight: Applying Erroll Garner's Lick
- A "Quick Win" Vocab Nugget: A ii V Phrase Highlighting the Dominant Flat 9 Sound
- Introduction to George Garzone's Triadic Chromatic Approach
- Let's Shed a 251 in E Major
- Applying a Flat 9, Flat 13 Lick to Three Standards
- Techniques To Create a Compelling Solo Over a 2-Chord Vamp (Covered In Rain Example)
- Summertime – Joshua Redman Phrases, Part 1
- Summertime – Joshua Redman Phrases, Part 2
- Blue Bossa – Lines that feel good to play #1
- Blue Bossa – Lines that feel good to play #2 – Let’s practice laying back
- Blue Bossa – Lines that feel good to play #3 – Experiencing upper extensions
Creative Improv Challenges
- Improvisational Technique: Fourths Moving in Various Intervals
- Limitation Exercise: Improvising With Only 4 Notes
- Mini Ranges: Limiting Scope to Improve Improvisation
- Visualizing Voice Leading: Applying Piano Voicings to the Saxophone
- Modal Melodies: How to Find the Right Notes (and Play Them Creatively)
- Practicing Cherokee in B Concert
- How I Practice Soloing Over a 4-Chord Rock Loop (Plus a Transcription Challenge)
- Use Simple Triads to Get Away From Root-Based Improvising
- Two Birds With One Stone: Applying the Same Vocabulary Over Both Major and Minor II-V's
- Call and Response - Find New Material While Developing Your Improvisation Phrasing
- Bob Sheds “There Will Never Be Another You” In 5/4 and Tells You What He’s Thinking on Each Chorus
- Improv Practice – Melody & 2x Solo (Miyako)
Creative Improv: Playing “Outside”
- I don’t know how to play the more jazzy and colorful notes of chord changes
- Create a modern inside/outside sound using first inversion triads
- Sidestepping: Sliding out—and Back in—to a Chord
- Taking it "Out" with Major Triads: Pat Metheny Solos over the Blues
- Playing "Out" Doesn't Have to be Theoretical: Solo Break Over Stitched Up with John Mayer
Saxophone Master Class
Embouchure, Mouthpieces, and Reeds
- Soprano Sax Mouthpiece & Embouchure Basics
- My Embouchure is a Mess! Please Get Me Out of the Darkness
- Embouchure, Overtones, Jaw Shape, Subtoning, Altissimo, & Articulation
- How to Get a Tight Seal Between Your Reed and Mouthpiece
- The Greatest Mouthpiece in the World!
- Watch Rafael Navarro Make Me a Custom Mouthpiece
- How I Prepare Reeds
- Soaking Your Reeds
- If I'm Going to Use the Mouthpiece Silencer, This is How I Do It
- Soprano Sax: Positioning and Reed Size Issues
- Alto for Tenor Players, Part 1: Dos and Don'ts
- Alto for Tenor Players, Part 2: Getting in the Zone
- Alto for Tenor Players, Part 3: Do You Need to Play Both?
- B Flat Overtone Series
- Build Your Technique Through Tunes, Triads & Triplets (1 of 2)
- Build Your Technique Through Tunes, Triads & Triplets (2 of 2)
- False Fingering for B flat
- How to Get Rid of Sticky Pads
- Isolation Drills to Clean up Your Technique
- How to Play Legato/Staccato Articulation, and Fast!
- Quick Tip: Using the Bis Bb Key
- Low Register Mechanism Exercise: F Sharp to C Sharp
- Alternate Fingerings: A Flat/G Sharp
- Using Vocabulary to Practice Technique (Starring Bis and Side Bb)
- Step by Step Process to Play Scales with Speed and Perfect Execution
- Bob's Altissimo Fingerings on Tenor
- 5-Note Drills Over the Break
- How do you Handle a Phrase That's too Fast for your Current Technical Ability?
- SSS (Slow, Straight, Slurred): A Reminder Why it Helps
- Stan Getz's Palm Key Exercise
- Half (Ghost) Tonguing: A 5-Note Exercise To Make Playing Fast Easier
- Altissimo Fingerings: Should You Choose Easier Execution or Better Sound?
- Why do you use the paddle/spatula keys when playing Ab/G#?
- Overtones: The Secret to a Remarkable Sound
- Simple Way to Get Started With Overtones
- Act Like Darth Vader to Sound Like Stan Getz
- Improve Your Time Feel with this Long Tone Exercise
- Finding that soft, airy tone in the upper register (Joe Henderson, “Black Narcissus”)
- How I Split Altissimo G
- How To Do an Altissimo Glissando
- Improve Your Tone by Learning a New Melody
- Long Tones 101
- Strengthen Your Tone with These 3 Mouthpiece and Neck Exercises
- Subtle Nuances Give You That Pro Sound
- Vibrato
- What to Do About Wimpy High Notes
- Ghosting, Half-Tonguing, and "Jazz" Articulation
- Half or Ghost Tonguing
- Triadic Tone Exercise (for Intonation)
- A One-Note Exercise to Significantly Improve Your Sound
- Developing a Sound That Fills the Room
- Vibrato: Common Mistakes, Practice Methods, and Performance Suggestions
- Release Your Bottom Lip (To Get a Bigger, Fatter, Warmer Tone)
- Altissimo Diagnosis – Helpful Tips From Studio Members on Unlocking the Upper Range
- Uniformity of Tone Character – An Exercise to Achieve a Balanced, Full Sound in All Registers
- Chromatic Long Tones with a Drum Loop – A Great Workout in Under 10 Minutes
Ear Training/Transcribing
- Transcribing 101
- Transcribing in Real Time
- How to Apply What You Transcribe To Your Solos (Stan Getz Solo on "Yardbird Suite")
- Transcription Analysis: Days of Wine and Roses Part 1: Choosing Chord Changes to Solo Over
- Transcription Analysis: Days of Wine and Roses Part 2: First 16 Bars
- Transcription Analysis: Days of Wine and Roses Part 3: How to Use Maj7 Over Dominant 7
- Transcription Analysis: Days of Wine and Roses Part 4: Measures 21-30
- Transcription Analysis: Days of Wine and Roses Part 5: Measures 31-45
- Transcription Analysis: Days of Wine and Roses Part 6: Measures 46-End
- What Spanish Can Teach You About Learning Jazz
- How to Transcribe a Fast Lick
- Transcribing in Real Time: Hot House
- Why Transcribing and Technique Practice Are Not Mutually Exclusive (and How To Practice Both at the Same Time)
- Getting the Most From Transcribing: Details Make the Difference, Metronome Challenges, and the Benefits of Small, Loopable Phrases
- Unlocking New Musical Pathways: The Power of Transcribing a Second Time
- In the Car with Cannonball Adderley – Stars Fell on Alabama
- In the Car with Chris Potter – Bad Guys
- In the Car with Chris Potter – Blues in Concentric Circles
- In the Car with Joshua Redman: Jig-a-Jug
- 10 Elegant Seconds of Charlie Parker on "East of the Sun" from Bird with Strings
- Lower Neighboring Tones - An Example From John Coltrane's Solo on My Shining Hour
- What is [That Cool Stuff] Going on in This Alto Solo?!
- Listening Lab: David Sanborn "Hobbies" From Another Hand (A Down-Home Blues in A)
- Listening Lab: Sonny Stitt on I'll Remember April
- Case Study: Scales in Thirds in a Stan Getz Solo (500 Miles High)
- Case Study in Phrasing a Melody: Chet Baker Sings "Easy Living"
- Listening Lab: Paul Desmond and Gerry Mulligan on "Easy Living"
- Listening Lab: Stan Getz's Solo on Pennies From Heaven
- Listening Lab: Erroll Garner on "The Way You Look Tonight"
- Listening Lab: Roy Hargrove on September in the Rain
- Listening Lab: Charlie Parker's Beautiful Melodic Embellishments and Ornamentation on "April In Paris"
- Listening For The Spark
- Listening Lab: Hank Mobley's Melodic Turnarounds and More From "Dig Dis"
- Using Dynamics To Accent Phrases: Dexter Gordon on “I Was Doing All Right” – Listening Lab, Chord & Guide Tone Exercises, Transcription Workout
- Listening Lab: Opening Up Minor Chords With Wider Intervals, the 110% Trick, and Using the Rhythmic Density Scale — Chris Potter on “El Morocco”
- Listening Lab: Bebop in the Groove
- Listening Lab: Joe Henderson - The Sound of Natural 6 on Minor and Using Minor Triads in Colorful Ways
- Listening Lab: Branford Marsalis’ Exquisite Duet with Sting on “Roxanne”
- Listening Lab: Adapting a Bebop Classic into a Groove Context
- Listening Lab: Michael Brecker’s EWI solo over “In A Sentimental Mood” – Part 1
- Listening Lab: Michael Brecker’s EWI solo over “In A Sentimental Mood” – Part 2
- Listening Lab: Stan Getz – There Will Never Be Another You
- Listening Lab: Inside the demo for “Bet” by Snarky Puppy
- Listening Lab: Freddie Hubbard “Birdlike” (F Blues)
- Listening Lab and Transcription Challenge: Snarky Puppy – “Take It!”
- Listening Lab: Rhythm & Blues Soloing – Bob with Scary Pockets and David Ryan Harris
- Listening Lab – Joshua Redman on “Turnaround”
- Listening Lab: Joe Henderson on Flamenco Sketches
- Joe Henderson’s 1985 Lecture from North Texas University
- Listening Lab: Joshua Redman on Summertime
- Johnny Griffin’s Solo on Blue Monk
- Kirk Whalum’s solo on Every Breath You Take
- A Study in Bluesy Triplet-Based Playing: Stanley Turrentine's Solo on "Sugar"
- Sonny Stitt’s Solo on Tune Up
- Theory Analysis: Cannonball's solo on "Straight, No Chaser"
- Transcribing Chris Potter’s solo on “Easy To Love”
- Transcribing Pat Metheny’s “The Gathering Sky”
- Guide Tone Lines, Real-Time Transcribing, and a New Twist to 7th Chords: Chris Potter on "Without a Song"
- Benefits of Playing Soft (Transcribing Pat Metheny)
- Using the Keyboard to Transcribe Harmony From a Pop Song (EWF "Sign On")
- Breaking Down Stan Getz's Solo On Pennies From Heaven (Pt. 1)
- Breaking Down Stan Getz's Solo On Pennies From Heaven (Pt. 2)
- Breaking Down Stan Getz's Solo On Pennies From Heaven (Pt. 3)
- Breaking Down Stan Getz's Solo On Pennies From Heaven (Pt. 4)
- "What's He Doing There?!" - How To Make Use Of Eric Alexander's Solo Break On "Four"
- Improvising a Solo Introduction - In Front of People and Cameras (Breaking Down My A Capella Intro to "Mulholland")
- Solo Analysis - Bob Brookmeyer's Solo on "I'll Remember April"
- Solo Analysis: Bob Breaks Down His Approach to "Our Day Will Come"
- “Birdlike” (F Blues) Transcription Workout (Practice with Bob)
- Harmonic Analysis of Chris Potter’s solo on “Ornithology”
Hear What You Play and Play What You Hear
- How Do I Put What I Transcribe into my Solos?
- How to Break Down and Practice What You Transcribe Part 1: Why Doing Your Own Transcribing Is Critical To Improving As An Improviser
- How to Break Down and Practice What You Transcribe Part 2: An Overview of My Transcribing Process
- How to Break Down and Practice What You Transcribe Part 3: Play 3 Sing 1: Take It Further With Ear-Training
- How to Break Down and Practice What You Transcribe Part 4: Breaking Down The Solo (1 of 2)
- How to Break Down and Practice What You Transcribe Part 5: Breaking Down The Solo (2 of 2)
- How to Break Down and Practice What You Transcribe Part 6: False Fingering High E Flat
- How to Break Down and Practice What You Transcribe Part 7: False Fingering B Flat
- How to Break Down and Practice What You Transcribe Part 8: A Triad Pair
- How to Break Down and Practice What You Transcribe Part 9: Turn Their Solo Into Your Language: Improvising with the Triad Pair
- How to Break Down and Practice What You Transcribe Part 10: The Low B Flat (Concert A Flat)
- How to Break Down and Practice What You Transcribe Part 11: Outlining Ab Minor; Wide Intervals
- How to Break Down and Practice What You Transcribe Part 12: Using 4ths and 5ths
- How to Break Down and Practice What You Transcribe Part 13: Stepping Outside
- How to Get What You Transcribe Under Your Fingers
- Playing What You Hear, Part 1: Ranges, Motifs and the Importance of Singing
- Playing What You Hear, Part 2: Different Ways to Alter a Motif
- Playing What You Hear, Part 3: Bebop Scales, Half-Step Resolutions, & Enclosures
- Playing What You Hear, Part 4: the Element of Surprise
- Thinking While Improvising: Should You Do It?
- How Do You Accompany Another Soloist With Your Saxophone?
- Improvisation Play-By-Play: Here's Exactly What I'm Thinking As I Improvise My Way Into A Standard
- Bridging the Gap: How to Get Transcribed Vocabulary Into Your Own Playing (Stan Getz on “TWNBAY”)
- Extracting and Adapting Your Own Vocabulary – Coltrane Ballad Phrase to a Medium Swing 2-5-1
Practicing
Getting Organized
Staying Focused & Motivated
- 7-T Practice Framework, Part 1: the 7 T's: What They Are and How to Use Them
- 7-T Practice Framework, Part 2: Benchmarks for Learning Tunes (Levels 1, 2, and 3
- 7-T Practice Framework, Part 3: Developing a Weekly Practice Plan
- 7-T Practice Framework, Part 4: Tune Learning - Level 1
- 7-T Practice Framework, Part 5: Tune Learning - Level 2: Simple Solo Techniques
- 7-T Practice Framework, Part 6: Extracting Practice Elements from the Tune
- 7-T Practice Framework, Part 7: Finding Your P.I.G.
- The Holy Grail of Practice Tempos
- Find More Focus—and Avoid Noodling—When Practicing Changes (a Trick to Free up Brain Power)
- How to Stop Getting Lost While Practicing Tunes A Capella
- How to use one phrase to improve your technique, articulation, time feel, mental focus, and more
- Practicing Patterns Efficiently
- An Alternative to Practicing Blues in All Keys
- Grace Notes, Blues Feel, Bebop Lines and Space...on the Piano
- How to Practice Etudes, Part 1
- How to Practice Etudes, Part 2
- How to Practice Scales
- Practicing a tune with just a metronome
- Cleaning Technical Glitches (in My Pajamas) at 60 BPM
- Practicing into a Problem
- How To Loop a Section in the IReal Pro App
- Things to Practice Away From the Saxophone
- How To Keep Your Fingers Moving While Taking Breaths
- Takeaways From My Conversation With Chris Potter About Playing Standards
- Practical Ways To Use A Metronome
- Using the 7T Practice Framework to Convert a Lick You Transcribe Into Your Own Vocabulary
- Ways To Practice Intonation
- Metronome on 2 & 4 – Quick Tip To Get Comfortable (& Why Do It)
- Why 2 & 4 Are Important (And Should You Tap Your Foot?)
- The Philosophy of 60 BPM
- Approach Notes, Grace Notes, and Enclosures – What’s the Difference?
Rhythm, Groove, and Time
- The Holy Grail of Practice Tempos
- Make it FEEL Good: Do This to Get Better at Keeping Your Place and Landing Your Phrases in the Pocket
- How to Come Up with New Rhythmic Ideas When Improvising
- Motivic Development with Rhythmic Displacement
- How to Play Over Fast Tempos
- Strategies for Getting Comfortable Improvising at Faster Tempos
- Shedding Accurate Time: Coltrane Changes Exercise
- Player Problems (1 of 4): Ghosting, Half-Tonguing, and "Jazz" Articulation
- Player Problems (2 of 4): Dynamic Phrasing and Articulation
- Playing Across the Barline & Through the Form (Advanced)
- Rhythmic Density (is Really Important)
- Subdividing the Beat
- Time Feel Case-Study: Using Straight 8th Notes to Make Your Lines Swing Hard
- Get Your Reps In: Use Repetitive Phrases to Improve Your Time Feel and Groove
- Focus on Feel: An Exercise to Improve the Way You Deliver Vocabulary
- A Rhythmic Approach to Practicing Improvisation (and Technique)
- Getting Started with Odd Meters
- Odd Meter Bebop: 15 Lines Over II-V in 7/8
- Scale interval exercise to add syncopation in 3/4
- Essential Elements of Swing (3 Lessons)
- Groove in F#7 (Mothership Groove)
- Grooving over a Minor Blues with a Backbeat
- Playing Pop Saxophone: My Blueprint
- Sound Hip over a One Chord Jam (5 Things to Play over E Minor)
- Developing Motifs Over a Funk Groove (Brecker's Solo on "Slang")
- Playing Bebop Over Dominant 7 Groove
- Using Bebop Scales, Enclosures, and Pentatonics Over A-7 Rock Jam
- "What Do You Think About When You Rip the $#*T Out of a Static Funk Groove?"
- Add More Grease to Your Groove Playing
- Soloing Over A Pop Tune: Finding Colors Beyond Basic Pentatonics
- Recording a Funk-Rock Power Sax Solo
- Funky Enclosures & Approach Notes
- How to Shed “Groove” Vocabulary – Licks from My Solo on “Yesterday Shutting Down”
- Funk-Fusion Soloing Workout - Use The Same Track I Recorded for Jeff Lorber
- 7 Bebop Lines Over a 1-Chord (-7) Groove – Enclosures, Approach Notes, and Anticipations
Q&A
- Q&A October 2019 – Marketing Yourself, Practicing Rhythm, Chord Visualization, and Writing for the Quartet
- Q&A - Physical Warmups, Soloing With Just a Metronome, Breaking Free From Running Changes, Altissimo Glisses, and More
- Q&A - Keeping Your Cool While Soloing, Available Tensions, and Recalling Transcriptions
- Q&A - Altissimo Control, Copying Articulation, Pros/Cons of Using Harder Reeds, and Developing Intonation Imagination
- Q&A - What the Heck Is Chris Potter Doing Over Cherokee?! (And Why Never to Trust Written Transcriptions)
On the Gig
- 10 Secrets to Getting (and Keeping) Gigs
- How to Play a Standard (Out of Nowhere) A Capella
- Inside a Rehearsal: Rehearsing a New Band
- Successful Careers in Music, Berklee Clinic
- Transcribing Not Optional: Recording with Snarky Puppy
- Transitioning From Studying Music in College to Playing Music Professionally
- SBA vs. MKVI - What's the Difference and Why Choose One Over the Other
- How the Snarky Puppy Horn Section Learns Music.....Fast