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00:00:43
you00:00:45
[Music]00:01:07
bye00:01:16
me00:01:21
[Music]00:01:36
be00:01:48
[Music]00:02:03
huh00:02:07
[Music]00:02:44
ah00:02:48
[Music]00:02:52
hey00:02:56
hi everybody00:02:57
how are you doing00:03:01
thanks for tuning in00:03:06
how's everybody doing today where's00:03:07
everybody from00:03:08
let me know in those comments before we00:03:10
get started here00:03:12
uh to everybody watching this after the00:03:14
fact hello as well uh you can't00:03:17
uh comment live but00:03:19
um00:03:21
thanks for watching00:03:24
who knows what song that was i i gave it00:03:25
away at the end there but uh i wasn't um00:03:29
uh i didn't have the uh keys playing so00:03:33
it was cordless trio00:03:35
from my real pro bass drums and uh00:03:38
me00:03:40
hello from san diego indiano00:03:43
hello00:03:44
texas lansing michigan the netherlands00:03:47
hi everybody i always use people ask why00:03:50
i always use this rocco's00:03:51
uh modern life00:03:55
mug00:03:57
and uh00:03:58
i have a ton of mugs like way too many00:04:00
but it's because it's really wide and00:04:02
it's harder00:04:04
harder to spill although i have spilled00:04:07
um00:04:08
it before and spilled coffee all over so00:04:10
i use it because the the bottom is wider00:04:13
um just friends that's right yeah just00:04:15
friends so i was just trying to start00:04:16
which is just blowing over the chorus to00:04:19
lead into this whole masterclass about00:04:20
two five ones and about how uh with00:04:23
strong00:04:24
um clear voice leading you can00:04:27
you know outline changes and play tunes00:04:29
without00:04:30
needing to hear the chords there00:04:33
from vegas00:04:35
california00:04:37
san antonio wyoming usa philippines00:04:39
hello hello from poland we've got00:04:41
multiple countries here i love that00:04:42
poland00:04:43
and um00:04:45
uh the philippines and the netherlands00:04:47
that's awesome00:04:48
from la from france00:04:51
dover new hampshire cool hi everybody so00:04:53
that's the uh the people that are live00:04:55
here and i love to00:04:56
see how many of you are00:04:58
uh from around here from all over the00:05:00
place so uh once again to those who are00:05:02
are watching after the fact i'm probably00:05:04
gonna put time stamps down below so you00:05:06
don't have to worry about me00:05:07
uh asking everybody where they're from00:05:09
right now00:05:10
um00:05:11
so00:05:12
this is a master class by the way thank00:05:14
you all for joining me um on this you00:05:17
know master i call it a master class but00:05:18
it's00:05:19
you know i guess that's what it is00:05:20
really because it's a one-way kind of00:05:22
deal but hopefully it's going to be a00:05:24
class that helps you00:05:26
maybe understand two fives better maybe00:05:28
understand00:05:30
um00:05:31
different approaches to them and or00:05:33
maybe you're just here to hang out and00:05:34
hear what my thoughts are maybe you'll00:05:36
learn a little something and i found00:05:38
that no matter how far along you are you00:05:40
can always learn i'm always learning00:05:41
from other people as well um so it's not00:05:43
like you stop once you know how to play00:05:45
a couple licks it's not like you stop00:05:48
um00:05:49
so00:05:50
you know it's really cool for you guys00:05:51
to to be here so thank you so much um00:05:54
and those watching afterwards i hope you00:05:56
get a lot out of this as well even00:05:57
though you're not live you can follow00:05:59
along and everybody that's following00:06:00
along live right now you can also00:06:02
um watch this afterwards you know you00:06:04
watch it after and00:06:06
follow along using the worksheet um that00:06:08
i'm going to be going over during this00:06:10
but you can take your own time and uh00:06:11
you can always send me an email with00:06:14
questions info00:06:16
davepollock.com will be the easiest way00:06:19
so uh those in the chat live right now00:06:21
check out the pinned comment00:06:23
uh not underneath but in the in the live00:06:25
chat00:06:26
um or in the description so you wanna00:06:29
have i'm gonna be going over the00:06:30
worksheet but you wanna make sure you00:06:32
have this worksheet so00:06:33
if you're already on my email list00:06:34
yesterday i emailed it to you directly00:06:36
if you're not yet all you got to do is00:06:37
click on that link it's00:06:38
davepollock.com25100:06:41
and it'll take you to a thing all you do00:06:42
is put your email address in go to your00:06:43
inbox confirm it bam you can follow00:06:47
along and also then you can get the free00:06:48
masterclass00:06:49
um i did on melodic soloing as well but00:06:52
today it's gonna be the worksheet on two00:06:53
five ones hey everybody so um00:06:57
you know in this it's going to be like00:06:59
like a live master class where i'm going00:07:01
to be you know giving things out one way00:07:03
but also i'm going to be asking some00:07:04
questions and having you ask your00:07:06
questions as well so this isn't an open00:07:07
q a don't just start randomly asking00:07:09
questions about stickers and whatnot um00:07:12
but uh00:07:13
you know i want to00:07:14
you know ask some questions and have you00:07:17
all ask00:07:18
um ask me things because i'd like to00:07:21
gear it towards what you have you know00:07:22
i've asked a lot of people00:07:25
recently00:07:26
and i'm building up towards something00:07:27
that you'll find out about a little00:07:29
later this year but i've been asking00:07:31
people what their issues are with00:07:32
improvisation and their struggles and00:07:34
where they think improvisation for them00:07:37
um is lacking or or could be better you00:07:40
know and we all have00:07:41
things that we could be better at right00:07:43
but a lot of people mention getting00:07:45
through chord changes making coherent00:07:46
solos um being able to play things that00:07:49
are unique and fresh or just getting00:07:51
through chords and so i'm going to be00:07:53
doing a series of these videos hopefully00:07:55
helping you out and really guiding you00:07:57
on that way because i've you know been00:07:58
teaching for a long time and i've taught00:08:00
a lot of different students improvisation00:08:02
um so i hope00:08:04
that uh00:08:05
um00:08:06
you know i i know it'll help you as well00:08:08
um i do love stickers hey emily00:08:11
i miss you00:08:12
yeah00:08:13
the stickers are there we got a smiley00:08:15
face on the back00:08:17
you got to be you got to be happy right00:08:19
be happy for that so i got lots of00:08:21
different different stuff here shout out00:08:23
chris williams shout out jasmine shout00:08:25
out adam fan of steel shout out key00:08:27
leaves one of my sponsors shout out don00:08:28
palumbi i see chris williams uh chris00:08:31
guarino00:08:32
uh00:08:33
chris g00:08:35
uh more key leaves uh boston sack shop00:08:37
of course boston sack shop shout out00:08:40
scott grimaldi shout out orlando youth00:08:42
chamber ensembles all right00:08:45
so if you have your00:08:47
uh the 251 worksheet um and by the way00:08:50
i'm going to be playing stuff it's not00:08:51
just going to be boring like me just00:08:53
just lecturing you but if you do have00:08:54
the 251 worksheet you can get it out or00:08:56
i'm going to be showing you right00:08:58
whoa right here00:09:00
so00:09:01
this00:09:03
is the worksheet00:09:04
so we should be whoops00:09:07
we should be good there00:09:08
okay so i'm going to be bouncing in and00:09:11
out of it00:09:12
um going over some things and and00:09:14
talking about things so first off00:09:16
before we even get started with it00:09:18
understand that this first of all is my00:09:21
approach to certain things like when i00:09:23
start specifically talking about how to00:09:25
create certain sounds i have my own way00:09:27
to do it and i'll explain when we get00:09:28
there why i do what i do i like to00:09:30
always explain because i'm not the kind00:09:31
of teacher that just says do it because00:09:33
i said so i wouldn't learn well that way00:09:36
um and i've seen people00:09:38
not learn well that way00:09:40
as well it's it's important to00:09:43
know i think it's important to know why00:09:46
you know you're doing things um00:09:49
so for me that's super important um so00:09:51
this is first of all my approach to it00:09:53
but also this isn't everything okay i00:09:56
can't cover everything in two five ones00:09:57
and i can't dive deep because you know00:09:59
we'd be here for days and days um so i'm00:10:01
gonna give you kind of an overview but00:10:03
also the important parts that i think so00:10:05
let's just dive right into this so i'm00:10:07
only gonna be by the way i'm only gonna00:10:08
be talking about major two fives in this00:10:10
one00:10:11
minor two fives are a separate thing i00:10:12
might touch on them a little later00:10:13
especially if you have questions about a00:10:15
minor two five one like um and by the00:10:18
way when i say minor two five one00:10:20
instead of if you're looking at the00:10:22
uh if you're looking here on the sheet00:10:23
instead of d minor seven to g seven it00:10:25
would be d minor seven flat five also00:10:28
called d half diminished seven so that a00:10:30
would be a flat and g7 flat nine00:10:33
specifically and it would lead to c00:10:35
minor usually00:10:36
once again we'll talk about the the00:10:39
alternates because there are alternates00:10:41
to all these and other options okay so00:10:44
um i'm only gonna be talking about major00:10:47
two fives today if you have specific00:10:48
questions about miners later we can get00:10:50
to them but just major two fives so00:10:52
i'm gonna use the terms long and short00:10:54
two five one i like to use those to me a00:10:56
long two five one in four four is a00:10:58
measure of the two chord measure of the00:11:00
five chord measure of the one chord00:11:03
um so four beats four beats and then a00:11:05
resolution so the resolution by the way00:11:07
in this is almost arbitrary but we're00:11:09
just going to use the one as the00:11:10
resolution it could be any length you00:11:11
want um it could also be any chord but00:11:14
we'll focus on the one for now a short00:11:15
two five one which i get to a little00:11:18
later where is that oh here you go short00:11:20
two five one right here is two beats00:11:23
two beats and then the resolution okay00:11:26
and it's important to have a distinction00:11:28
between them and it's important to talk00:11:29
about how you approach each of them00:11:32
because i approach them differently and00:11:34
i'm going to show you how to actually00:11:37
condense your practicing down00:11:40
to only worry about one of them00:11:42
but you can still play over both once00:11:44
again i'm all about efficiency00:11:48
ah black coffee00:11:50
the only way to drink it00:11:51
so00:11:52
um00:11:54
long two five one so let's just start00:11:56
talking about that so a two five one in00:11:57
c major everything i wrote on this this00:12:00
specific worksheet's all in c major just00:12:01
to make it easier i'm not i'm gonna do00:12:03
it in concert c00:12:05
so everything i talk about is gonna be00:12:06
in c everything applies in 12 keys so00:12:09
whether i talk about00:12:10
you know if i say the third is f that's00:12:12
only for this you have to obviously00:12:13
transpose00:12:15
to your own key or to a different key if00:12:17
you want okay so here we go so d minor00:12:19
seven to g seven to c major why is it a00:12:22
two five one first of all like what is00:12:23
this so when you think about c major00:12:25
this is why major keys are so important00:12:28
i wrote a whole pdf00:12:30
book on major keys called strictly major00:12:32
because i think playing in a major key00:12:33
center is so important00:12:35
so right out of the gate you got to know00:12:37
major keys so when i say c major concert00:12:39
c major00:12:43
that's our key a key center right we00:12:46
talk about a key we talk about all these00:12:47
things and this is where it gets some00:12:49
people even right off the00:12:50
bat are the voices cutting in and out00:12:53
oh00:12:55
that's not good00:12:59
wait a minute00:13:01
let me check00:13:02
is it cutting out00:13:04
is it because i'm just moving away from00:13:05
the mic like that00:13:07
that might be why i apologize um00:13:10
if that's why i'm sorry i'll stay closer00:13:12
okay okay we got to get into this so c00:13:15
major in the key of c major we have no00:13:17
sharps and no flats all right00:13:19
no sharps no flats c d e f g a b c00:13:22
two five one literally means build a00:13:25
seventh chord which whenever you have a00:13:27
seventh chord you have four chord tones00:13:29
with a skip in between based on the two00:13:33
based on the five and then based on the00:13:34
one so if you look right here based on00:13:37
the two you would take the second note00:13:39
of the key in this case the key of c so00:13:41
you would take d then you would skip in00:13:43
the key in the key this is the big thing00:13:45
when you start a d minor chord on the00:13:48
key of in the key or seventh chord in00:13:50
the key of c00:13:51
don't think of the00:13:53
key of the root don't think d major00:13:54
we're basing everything off of c major00:13:56
so you would take the second scale00:13:58
degree the fourth the sixth and the00:14:00
eighth which will give you d f a c00:14:03
that is the two chord in the key of any00:14:05
major key is two four six eight two four00:14:08
six eight00:14:09
if you start on the note d here gives00:14:10
you d f a c which is one flat three five00:14:14
flat seven in the key of d major so if00:14:16
you alter it from d major you get flat00:14:17
three flat seven if you're thinking of00:14:19
it as a mode00:14:20
just like scales it can be modes like00:14:22
dorian or whatever second mode of the00:14:24
chord of c major you get dfac which is a00:14:26
minor seven a regular two five one in00:14:28
major is always going to be minor seven00:14:30
dominant seven major seven okay so when00:14:33
i say two i mean the two chord the chord00:14:36
starting on the two second scale degree00:14:38
that's literally what it means there's00:14:40
no nothing else that it means the five00:14:42
chord and by the way you'll usually see00:14:44
these as roman numerals so two will be00:14:47
like two i like lowercase i i00:14:49
a five will be a v and then one will be00:14:51
a capital i00:14:52
five is literally a seventh chord so00:14:55
four notes with a skip in between00:14:57
diatonically in the key of c but00:14:58
starting on the fifth which is g so you00:15:00
get g b d f which gives you a dominant00:15:03
seventh chord g seven we call it and00:15:05
then the one is one three five seven we00:15:07
have c major so that's the building of a00:15:09
two five one00:15:10
why is a two 251 important why does00:15:11
everybody talk about two five ones why00:15:13
do i see books on two five ones and00:15:15
licks on two five ones and why is it00:15:17
important00:15:18
two five one is a cadence cadence means00:15:20
a set of chords that resolve somewhere00:15:23
in all music not even jazz music but all00:15:25
music if you have these turnarounds or00:15:27
these cadences they do one of two things00:15:29
they either get you to a new key or they00:15:31
get you back to the original key or the00:15:33
main key00:15:35
that's it they don't they don't do00:15:36
anything else right they're just a set00:15:38
of chord changes the reason why they're00:15:39
so important00:15:41
is that00:15:43
they appear first of all they appear00:15:46
so often they appear in00:15:49
um00:15:51
back to here they appear in almost every00:15:54
jazz song you'll ever ever come across00:15:56
almost i say obviously somebody's gonna00:15:57
go what about so what impressions yeah00:15:59
obviously some songs don't so many songs00:16:01
have two five ones so they're a very00:16:02
important tool because you know you're00:16:04
going to come across them often00:16:06
repetition buried breeds familiarity and00:16:08
then if you're familiar with a set of00:16:10
chords like a two five one when you see00:16:11
it in the song you don't have to then00:16:13
analyze those new chords you can just00:16:15
say oh it's a two five one and f bam i00:16:17
already know how to play it okay so00:16:19
that's why it's really important also00:16:20
because in a song00:16:22
when you're when you're highlighting a00:16:24
new key or you're highlighting the key00:16:25
you're going back to that's a very00:16:27
important turn turn around in the song00:16:30
so you need to really make sure that00:16:32
part of the song is done really well yes00:16:35
if you have floating chord changes that00:16:36
are kind of diatonic or chromatic you00:16:38
got to hit those it's really important00:16:39
but if you have a turn around back to00:16:41
the one usually it's at the end of a00:16:43
chorus or the end of a section or you're00:16:44
getting into a new section like like a00:16:46
lot of times on the bridge of a song00:16:48
you'll go up to the four it's really00:16:49
those are important parts of the00:16:52
song so that's why it's really important00:16:54
to know them because you're gonna come00:16:55
across them a lot and they're just00:16:58
important okay so00:16:59
how do we get through them00:17:01
so right out of the gate i'm gonna say00:17:04
you know you need to know the chord00:17:05
tones so a lot of people talk about00:17:07
highlighting chord tones and and00:17:09
hopefully all of you here if you know or00:17:11
you're starting your two five journey or00:17:13
improvisation journey any song you00:17:15
should be able to00:17:16
understand what the chord tones are for00:17:18
each chord okay so if you see00:17:21
once again here d minor seven00:17:24
g seven c major seven you need to know00:17:26
what the literal notes are00:17:29
that's not as important as what it means00:17:32
okay i know that's a little vague but00:17:34
what it means is when i see this if i00:17:36
see d minor seven g seven c major i'm00:17:39
not thinking00:17:40
okay it's a one flat third flat seven d00:17:42
f a c then i'm gonna play um g7 gbdf00:17:46
that that's the nitty-gritty right00:17:48
just like if i said shoot a basketball00:17:51
you're gonna think okay so i'm gonna put00:17:52
my hand here my fingers are gonna be00:17:53
here all right i'm gonna arc the00:17:55
basketball at 47 degrees yes those00:17:57
things happen and they are maybe in00:17:59
there in practice but in the middle of a00:18:01
game00:18:02
you know steph curry is not thinking00:18:04
about those nitty-gritty things just00:18:06
like if right now i asked you all to00:18:07
raise your right hand00:18:08
most of you or hopefully00:18:11
all of you or most of you don't have to00:18:13
think about which arm it is you just do00:18:14
it you don't think about okay00:18:16
left right okay to raise my arm do i oh00:18:19
no wait a minute i need to raise my hand00:18:20
so i bend at the elbow then push this00:18:23
way right there those00:18:25
things happen there are processes that00:18:27
happen00:18:28
um00:18:30
at the nitty gritty level to me for me00:18:33
when i teach this thinking about what00:18:35
the chord tones are that's that's00:18:36
thinking about which angle to lift your00:18:38
arm00:18:39
yes you need to know that at some level00:18:41
but it should be subconscious so for you00:18:44
when you're learning a new tune or00:18:45
learning two fives or whatever get so00:18:47
good at just knowing what the chord00:18:49
tones are of the literal chords that you00:18:51
don't even have to think about them i00:18:52
should be able to say d minor seven you00:18:54
go dfac or even more importantly you00:18:57
should be able to00:18:58
play it on your instrument00:19:01
um you should be able to play it on your00:19:03
instrument instantly bought it up right00:19:05
any chord that you say00:19:06
minor seven dominant seven major seven00:19:08
those are the three main chords00:19:10
all right so00:19:12
how do we play through them now there's00:19:14
this this thing00:19:17
and i call it playing vertically00:19:19
and this is where people play up a two00:19:21
chord00:19:27
right now you might not be able to you00:19:29
know might not think that's terrible or00:19:31
whatever and that's fine if that's where00:19:32
you're at that's cool but i think it's00:19:34
important instantly to not do that in00:19:37
the beginning of your playing if you're00:19:38
the person that's watching this right00:19:40
now and you're thinking i want to start00:19:42
two five ones don't start by doing that00:19:44
you should start knowing that it's00:19:53
but more importantly to you is what you00:19:55
see right here in the pdf measure 400:19:58
which is what i call the 373 and the 73700:20:01
guide tone lines00:20:03
okay 737 37300:20:06
guide tone lines in any order you want00:20:08
they are literally00:20:10
what they say they are okay what they00:20:13
say they are is00:20:14
you play the third00:20:17
of the two chord which is in this case f00:20:19
then you play the seventh of the five00:20:20
chord which is also f and then you go00:20:22
down a half step you get the third of00:20:25
the seventh chord which is e so you get00:20:27
ffe now why is this important00:20:29
first of all thirds and sevenths are00:20:31
always very important in two five ones00:20:33
because the chords move by fourth d up00:20:35
to g is a fourth g of the c is a fourth00:20:37
the thirds and sevens are always going00:20:38
to be either right next to each other or00:20:39
they're going to be sharing notes so00:20:41
always know that thirds and sevenths00:20:43
especially in two five ones are super00:20:44
super super critical00:20:47
and then if you look here on the 737 the00:20:49
seven is00:20:51
c then you go down a half step to the00:20:53
third which is b and then stay there00:20:55
common tone b as well so here's what00:20:57
this would sound like00:20:59
in the key of c major i'm gonna play it00:21:01
as long 2 5 just as it's written okay00:21:03
i'm gonna play the three seven three00:21:05
then the00:21:07
seven three seven00:21:13
[Music]00:21:26
beautiful00:21:27
okay so00:21:29
why is that important00:21:32
well00:21:34
think about it let's think00:21:36
being able to play vertically through00:21:38
the chords and by the way for me when i00:21:40
say vertical i'm talking about playing00:21:43
over the two chord up and down or00:21:44
whatever then disregarding it thinking00:21:47
about the v chord then playing the one00:21:49
chord so for me this would be00:21:51
not the way i would play it if i were00:21:53
you this is once again a two five one00:21:55
and c major00:22:00
[Music]00:22:11
right now you can save it with00:22:14
good you know not voice leading because00:22:15
that's that's what we're about to do but00:22:17
you can save it with00:22:19
strong you know rhythms motifs00:22:22
um intervals good tone quality obviously00:22:25
all those things but to me i want to00:22:27
play more00:22:29
horizontally through the chords what i00:22:31
mean by horizontally is using voice00:22:33
leading as your guide to lead you00:22:36
through the chords okay i did that00:22:38
master class that you can find once00:22:40
again on my website called how to play00:22:42
melodic solos or the best way to play00:22:43
melodic solos and in that and we're00:22:46
gonna go through that six step process00:22:47
here in a second with two five ones but00:22:48
basically i'm talking about how to go00:22:50
horizontally left to right through the00:22:51
chords without worrying about going up00:22:53
and down yes you need to know the chords00:22:55
yes the key center is c major so we're00:22:56
all diatonic for now i'm not going to00:22:58
play anything non-diatonic so if i was00:23:00
to create00:23:02
um00:23:03
let's just create a little solo bouncing00:23:05
off those guy tone lines 3 373-737 it00:23:08
would sound something like00:23:10
this00:23:21
373 again00:23:27
here's 73700:23:33
73700:23:40
to me00:23:42
that sounds better to you it might not00:23:44
but00:23:45
when i listen to people play00:23:48
um if i'm you know critiquing them in00:23:50
some way um i'm thinking about the00:23:53
motion between the chords i'm always00:23:55
thinking about how are we moving between00:23:56
the chords00:23:58
and you know how are we00:24:00
creating melody00:24:03
in real time which is what improvisation00:24:04
is how are we doing that00:24:06
in a coherent way that makes the chords00:24:10
sound like they mean to be there right00:24:13
because by playing vertically and by00:24:15
kind of chunking each chord and treating00:24:17
it as its own phrase the phrasing is00:24:19
clumsy so even if the chords make sense00:24:21
even if you have a two five one which00:24:22
obviously makes sense if the chords are00:24:24
gonna sound clunky00:24:26
you're gonna it's gonna almost sound00:24:27
like the chords aren't meant to be like00:24:29
that and it's just gonna make everything00:24:30
sound really00:24:32
not connected and that's the biggest00:24:33
thing to me is connection00:24:35
creating a coherent melody i always say00:24:37
melody00:24:39
improvisation is composing in real time00:24:41
that's what it is right and composing is00:24:44
improvising with a pause button00:24:49
if you think about that makes perfect00:24:50
sense when you're composing you're00:24:52
writing something new00:24:54
you're improvising you're creating00:24:55
something new00:24:56
it's just not in real time improvising00:24:58
you have to be in real time so you have00:25:00
to create these melodies all right so00:25:02
looking back at the worksheet how do we00:25:05
create lines okay yeah we have three00:25:07
seven three seven three seven but that's00:25:09
like uh okay i don't know00:25:11
it still doesn't sound right i'm still00:25:12
just jumping around okay let's think of00:25:14
something here00:25:16
what if we hit the third of every chord00:25:18
let's just start there the third of00:25:19
every single chord is really important00:25:21
because00:25:22
well the third gives you is the third00:25:24
third is probably the most important of00:25:26
any chord most important chord tone of00:25:28
any chord it gives you most of the the00:25:30
color gives you the sound it gives you00:25:32
if it's major or minor you can't give00:25:34
everything with it like you don't know00:25:35
if it's dominant major whatever but00:25:36
thirds are going to be i would say the00:25:38
most important if the chord has a third00:25:40
so let's look right here survival line00:25:44
um00:25:45
what we're going to do is we're going to00:25:46
start on the third of the d minor which00:25:47
is f00:25:48
scaled down00:25:50
we hit the third of the five chord and00:25:52
then scale down and hit the third of00:25:53
here notice that we're just scaling down00:25:55
diatonically in the key of the one in00:25:58
this case the key of the one is c major00:26:01
so you're literally just gonna play00:26:07
i played that down an octave from where00:26:08
it's written but you get the point00:26:09
here's what that sounds like over top of00:26:12
the chords00:26:18
[Music]00:26:30
okay i'm gonna put the chords back in00:26:31
for this now the actual chords i've just00:26:33
been having00:26:34
bass and drums um but let's see what it00:26:36
sounds like now00:26:38
check this out00:26:41
[Music]00:26:52
okay how is this00:26:54
what does this mean00:26:55
what can we do with this00:26:57
well00:26:58
a lot of people00:27:00
um like to think in a linear fashion00:27:02
myself included so when i think of lines00:27:05
i'm thinking of scale00:27:07
type things i'm not thinking scales00:27:09
hard stop i'm thinking of scale looking00:27:12
things so linear stepwise type things00:27:14
all right00:27:15
so by the way put in the chat right now00:27:17
how many of you just00:27:19
right off the rip how many of you00:27:21
do you rather think of chords00:27:23
and phrases in a more linear fashion00:27:26
like when you see a 251 are you thinking00:27:28
lines or do you think more individual00:27:30
chord tones like if you see 251 are you00:27:32
thinking chord tones or are you thinking00:27:33
more of melody lines so let me know in00:27:35
the comments i'd like to see who00:27:38
um thinks which way it'd be interesting00:27:40
to me00:27:41
um so that'll be kind of cool to00:27:44
to see how you guys are thinking00:27:46
so for me i'm always thinking of those00:27:48
lines because i'm thinking of melody and00:27:49
how can i smoothly get between these00:27:51
chords now i i play00:27:53
with lots of different you know00:27:55
intervals and everything so i'm not just00:27:56
going to play linearly but i like to00:27:58
think linearly how can i convert this00:28:00
survival line to something cool well how00:28:02
about this what if i think about this00:28:04
hitting this note here hitting this note00:28:06
here the third here the b at the d minor00:28:08
the third over the g7 and the third over00:28:10
the one chord i'm going to change other00:28:12
elements of music and here's where00:28:14
really the practice comes in00:28:18
melody is king yeah yeah melody is king00:28:21
i think lines that hit the chord tones00:28:22
okay yeah yeah so00:28:24
and by the way there's no right answer00:28:26
because there's some people that are all00:28:27
chord tone-based that sound amazing and00:28:29
there's some people that are all linear00:28:30
bass assignments so it's not like00:28:32
there's a right answer i'm just curious00:28:34
as to where we're thinking cool so00:28:36
thinking chord tones to me is good but00:28:38
once again i think00:28:40
for a lot of people if you start to00:28:42
experiment with more00:28:44
line based and more overall phrasing00:28:46
based i think it'll do some good00:28:48
one of the reasons why i'm doing a whole00:28:50
master class here on00:28:53
two five ones is that i want that to00:28:55
become00:28:56
a a singular thing to you in your mind a00:29:00
two five one should not be three00:29:02
separate chords it should be oh that's a00:29:04
two five one in c major00:29:07
third is savior and jazz yeah um00:29:10
so00:29:11
building lines you know there is a00:29:13
process it's not as easy as just00:29:15
transcribing and and memorizing lines00:29:17
it's not as easy and cut and dry as i00:29:19
give you a line it's not as cut and dry00:29:21
as00:29:22
you know um00:29:24
i don't know steal them from a worksheet00:29:26
or something whatever but it's about00:29:27
understanding what sounds a certain way00:29:30
and then do you want to use that sound00:29:32
for example i always use analogies like00:29:33
cooking because cooking analogies are00:29:35
pretty universal00:29:37
if i want something to taste00:29:40
like barbecue like the barbecue type of00:29:43
taste00:29:44
flavor00:29:45
i need to know00:29:47
what in the pantry can give me that00:29:49
taste or that flavor like barbecue sauce00:29:52
or if i'm if i'm doing like like a smoky00:29:54
barbecue like on a a pellet grill or00:29:57
something but i need to have that prior00:29:59
knowledge of what it is i can't just00:30:00
like randomly pick out things i can't go00:30:02
oh there's some sriracha is that gonna00:30:04
give me barbecue00:30:06
oh black pepper is that going to do you00:30:08
have to kind of prior knowledge so if i00:30:09
want a sound that's00:30:11
you know a nice diatonic linear sound00:30:14
that hits and sounds like a nice bright00:30:16
happy sound i need to know what what's00:30:18
going to give me that sound if i want a00:30:19
bluesy sound i need to know so when00:30:21
you're building lines it's not about00:30:23
just taking a line that sounds cool and00:30:25
implementing it it's about finding out00:30:27
what sound you're going for because in00:30:29
real time that's what i want you to00:30:31
think about i want when i when i'm00:30:33
interacting with the drummer which is my00:30:34
main goal in improvisation harmonically00:30:37
though00:30:38
harmonically what i'm thinking about is00:30:41
instantly what sound would work next oh00:30:43
i want a really outside sound bam00:30:45
instantly i need to go in my toolbox00:30:47
what gives me that outside sound or go00:30:48
into my cupboard we'll give you that00:30:50
outside sound boom sprinkle that on bam00:30:52
outside but you have to have that prior00:30:54
knowledge just like when i say raise00:30:55
your right hand you need to pry the00:30:57
prior knowledge is working on which hand00:30:59
is right you can't just imitate people00:31:02
without knowing that this is right this00:31:04
is left okay that's called paroting and00:31:06
that's what a lot of people end up doing00:31:07
they transcribe but they don't know what00:31:08
to do with the transcription they read00:31:10
the omnibook or they get someone's pdf00:31:12
but they don't know okay 25 great 25100:31:14
lines and 12 keys awesome but if you00:31:16
don't know how they work what sound it's00:31:18
giving us giving off and then how to00:31:20
then take that sound and build it into00:31:22
your own playing which we're gonna get00:31:23
to later about we are gonna get into00:31:24
sounds by the way we're getting into00:31:25
outside stuff colors diminished stuff00:31:28
extensions we will but i really want to00:31:29
harp on this diatonic stuff okay so00:31:34
um00:31:35
that's what's going on there so here we00:31:37
go back to the survival line and we are00:31:39
going to pick up the pace here in a00:31:40
second how do i make the survival line00:31:42
sound cooler well let's just hit the00:31:44
thirds again so f b and e but this time00:31:48
i'm gonna add some different rhythms and00:31:50
i'm gonna try to change the line in some00:31:52
way so here's what that would sound like00:31:58
[Music]00:32:09
titanic00:32:10
[Music]00:32:25
change the octave00:32:28
[Music]00:32:53
me00:32:57
okay so00:32:59
i got there00:33:01
i got there eventually right00:33:05
and what i mean i got there i mean i got00:33:06
got to the third each time i may have00:33:08
delayed it but a little bit when doing00:33:11
that that right there00:33:12
all i did was think f00:33:16
b00:33:17
e00:33:19
right and harmonically i thought c major00:33:23
flat if you see major when i say flat i00:33:26
just mean like that's it sorry00:33:28
uh latency with the backing track yeah00:33:30
that's sorry about that00:33:32
you get you hopefully you still get the00:33:34
point hopefully it's not too bad the00:33:35
other problem is00:33:38
the other problem is i lay back too far00:33:39
as well i need to like00:33:41
to make it work a little bit i need to00:33:42
actually play on the front end of the00:33:43
beat help how do i make two five lines00:33:45
that are 12 tone rows that's very simple00:33:49
play all 12 notes play chromaticism but00:33:52
you can still hit chord tones which00:33:53
we're going to talk about in a little00:33:54
bit later about how to use chromaticism00:33:57
or outside notes to create these sounds00:33:58
because playing a 2-5-1 is not only00:34:00
about just playing in the key of the one00:34:04
but or just playing the chord tones but00:34:06
it's about creating a certain feeling00:34:08
and when we start talking about it and00:34:09
and probably the main reason why a lot00:34:11
of you came here is how do you make cool00:34:13
sounding things over the dominant chord00:34:14
how do i add color and alterations over00:34:16
that dominant chord to give me that00:34:18
consonant tension resolution00:34:21
um00:34:22
we're gonna get there i promise so if00:34:24
you're like oh my god stop talking about00:34:26
the c major scale i know i know i know00:34:28
but this this is important this is00:34:31
to do another analogy this is cooking00:34:33
the chicken properly00:34:37
okay no matter how great the sauce is00:34:40
or the seasoning00:34:41
or00:34:44
you know any sides00:34:46
on top of your chicken if you don't cook00:34:48
the chicken all the way through or cook00:34:49
it properly it's not gonna be good if00:34:51
you undercook chicken people are gonna00:34:52
get sick i don't care how great your00:34:54
your sauce is or your seasoning you have00:34:56
to make sure the chicken is cooked properly this stuff i'm talking about00:34:58
right now survival line guide tone lines00:35:01
diatonically getting through the chords00:35:02
and not playing vertically that's00:35:04
cooking the chicken we're gonna get to00:35:05
the sauce don't worry00:35:07
how do i play outside if the weather is00:35:09
bad you just play don't what do you mean00:35:10
just go outside00:35:12
don't be a wimp i played out in a00:35:13
snowstorm i had videos playing a00:35:14
snowstorm i played during a tropical00:35:16
storm down the shore00:35:18
it's fine your horn will be fine it's00:35:19
just a piece of metal so now let's go to00:35:23
go back over here to the worksheet let's00:35:24
now do the six step process so i have a00:35:26
six step process that i like to do for00:35:28
melodic improvisation it's all about00:35:31
building guide tone lines from different00:35:32
directions that help you lead into the00:35:35
next chord tone00:35:37
okay00:35:38
the idea of going through this process00:35:40
is not only that you'll have different00:35:42
avenues and different maybe00:35:45
guide tone lines that you can use00:35:46
because you're not going to use every00:35:47
single one but literally just going00:35:49
through the process is going to train00:35:51
you to hear00:35:52
the guide tone line one thing i always00:35:55
do with students is i ask them00:35:56
when we're playing through chords i say00:35:58
can you maybe hum me a line or just play00:36:00
me a couple notes that work without even00:36:01
thinking about it you shouldn't be00:36:03
thinking about the root everybody always00:36:04
tries to go for what is the root what is00:36:06
the root what's the root hear the guide00:36:07
tone line this will help you with that00:36:09
so right00:36:10
now honestly you could00:36:13
frederick says honestly you could spend00:36:14
a lifetime playing diatonically and00:36:15
never get tired if you do it right it's00:36:16
my opinion yeah i mean there's so many00:36:18
options people think diet and this is00:36:20
also where i get into this is why just00:36:22
thinking of chord tones or thinking00:36:24
scale equals chord or chord equal scale00:36:26
drives me nuts because if you teach that00:36:28
oh you see d minor think d dorian you're00:36:31
already locking yourself into starting00:36:33
on d only playing linear and you're not00:36:36
playing00:36:37
you know00:36:38
all these other options that are out00:36:40
there they exist okay so here we go yeah00:36:42
i agree i'm gonna go through this00:36:44
process so basically we're hitting the00:36:46
third of the two chord hitting the third00:36:48
or the five chord hitting the third00:36:49
again third is king you could do this00:36:50
with the five you can do this with the00:36:51
seven00:36:52
third is going to be the most stable00:36:54
okay third and five are going to be the00:36:55
most stable not seven resolving to the00:36:58
seven00:37:00
is going to be not as stable it'll be00:37:02
good in major it's fine but in like if00:37:04
you're landing like a dominant like in a00:37:05
blues or something or minor seven's not00:37:07
super stable it always wants to go00:37:08
somewhere else so be aware of that but00:37:10
you can do it that's fine i just use the00:37:12
third for this example because it's00:37:13
great so basically i'm gonna approach00:37:15
the notes six different ways the first00:37:17
way ln right here stands for lower00:37:19
neighbor basically on beat four i'm00:37:22
going to play a note that's one step00:37:25
below the third of this chord00:37:27
diatonically in c major so this chord is00:37:30
b what's the what's the next note below00:37:32
b00:37:33
the closest note b flat er b flat is not00:37:36
diatonic now you might say well i can00:37:38
use chromatic leading tones yes that's a00:37:40
different thing we're staying diatonic00:37:42
for now so we have lower neighbor into00:37:44
each one then we have an upper neighbor00:37:46
same process then let's go over here00:37:48
number three we have two lower neighbors00:37:51
so now we're gonna make more of a line00:37:53
two eighth notes so you take the two00:37:55
notes diatonica that lead into here two00:37:57
lower neighbor number four we're gonna00:37:59
do two upper neighbors00:38:01
then number five is what we call an00:38:03
enclosure that's a big term in the last00:38:05
few years people love enclosures and00:38:07
closures man i love playing enclosures00:38:10
that's always been there it's always a00:38:11
term but it's it's just become more00:38:13
popular00:38:17
lower than upper00:38:19
and then upper then lower the cool thing00:38:20
about this process00:38:22
if you did00:38:23
let's go back here for a second if you00:38:25
did the lower neighbor and the upper00:38:26
neighbor your enclosure lower upper is00:38:28
literally this it's literally look a00:38:31
c00:38:33
lower to b upper to b and then if you00:38:35
look over here look00:38:38
a c then b so it the enclosures are00:38:40
built in but by going through the00:38:42
process one step at a time it works00:38:44
really well so i'm gonna play a little00:38:46
bit of this for you00:38:50
here we go00:38:55
so i'm gonna play each one with a break00:38:57
in between00:38:58
starting from number one going through00:38:59
number six you can follow along here or00:39:01
if you already downloaded the pdf00:39:04
you can uh watch it there00:39:06
here we go00:39:10
lower neighbor00:39:12
[Music]00:39:16
upper neighbor00:39:19
[Music]00:39:23
okay let me00:39:24
do the next one now number three here we00:39:27
go two lower neighbors00:39:28
[Music]00:39:34
two upper00:39:40
now the enclosure lower upper00:39:46
upper lower [Music]00:39:54
and that's every way you can approach a00:39:55
note diatonically00:39:58
using no more than two notes00:40:01
now00:40:02
somebody's going to say well can't you00:40:03
do two lower than two upper00:40:08
yeah there's combinations for every00:40:09
single one00:40:11
but i'm just sticking to these right now00:40:13
don't jump ahead00:40:16
um00:40:17
go phillies i'm actually in miami00:40:18
tomorrow hey00:40:20
go phil's00:40:21
um00:40:22
i love this diatonic is important yeah00:40:24
um so00:40:26
once again i00:40:28
when i00:40:29
i'm only teaching from my experiences00:40:31
i'm only teaching from my00:40:34
um00:40:35
my point of view in my approach i'm very00:40:39
very big on if you learn the basics00:40:41
really well if you have simple but core00:40:43
concepts really well done00:40:45
you those translate over in real time00:40:49
in real life in real improvisation and00:40:51
real recording real gigs whatever better00:40:54
than if you just try to memorize a whole00:40:56
bunch of licks i see it all the time at00:40:58
like high school jazz festivals and00:40:59
stuff where some kid will get up there00:41:01
the band will be smoking00:41:04
they're playing great stuff the kid gets00:41:05
up there00:41:06
and and they're like00:41:08
we're just farting around like not00:41:10
playing in time00:41:11
there's no pocket whatever then all of a00:41:12
sudden00:41:15
they play some bird lake or some cold00:41:17
train thing and everybody's like whoa00:41:18
and then they go back to just kind of00:41:20
not playing in time and it's so obvious00:41:22
and i always tell my students i'd rather00:41:24
have you just play00:41:25
a bad solo all the way through that's00:41:27
yours that has good core concepts rather00:41:30
than just randomly throwing in these00:41:31
these complicated licks you know00:41:35
um00:41:36
in the middle of nowhere because then it00:41:37
sticks out even more because you're not00:41:38
learning how to actually use it00:41:40
and you're not learning how to00:41:42
incorporate it into your actual playing00:41:44
you're just being a parrot it'd be like00:41:46
if you didn't know anything in a00:41:47
language but you memorized some really00:41:49
complex sentence and just would use that00:41:51
everywhere but if somebody says hi how00:41:52
are you you couldn't respond so to me00:41:54
it's all about the basics and00:41:56
when i talk about being able to00:41:57
translate if you have good if you talk00:41:59
about forget even improvisation00:42:01
like chords if you have good time right00:42:04
if you're a00:42:05
whether you're whatever instrument you00:42:06
are if you have really good time and a00:42:08
good tone quality to your instrument and00:42:10
you could fit in the pocket i did a00:42:11
whole other master class on this a live00:42:13
one called taking the fear out of00:42:14
improvisation the whole thing was00:42:15
basically fit the vibe i could have00:42:18
summed it up in a two-second sentence00:42:19
fit the vibe if you can play in time in00:42:22
the pocket with good feel good sound and00:42:25
good musical elements that fit the style00:42:28
it doesn't matter really what note00:42:29
you're playing now this one obviously is00:42:30
about notes and stuff but i'm just00:42:32
taking a backseat for a second00:42:34
or taking a tangent00:42:36
think about those elements first those00:42:38
translate over so these simple elements00:42:40
getting back to the 251 here in this00:42:42
sheet these simple elements of being00:42:45
able to play00:42:47
the third leading tone in it might seem00:42:50
you know like wow that's so like boring00:42:51
that's such like a00:42:53
easy thing this is like a beginner basic00:42:55
thing00:42:56
this is the core of all improvisation00:42:59
anybody that you've heard that sounds00:43:01
great with improvisation in a harmonic00:43:03
sense like obviously if they're you know00:43:05
playing john zorn and biting the read00:43:07
and stuff that's a different vibe but00:43:08
like even if you listen to like go00:43:10
listen to chris potter play all the00:43:11
things you are00:43:12
go listen to chris potter play all the00:43:13
things you are that that 13-minute one00:43:15
at the master class that's acapella if00:43:18
you a couple people transcribed it um i00:43:21
think charles mcnail did i think did00:43:23
steve neff do it too i don't know a00:43:24
bunch of people have transcribed it but00:43:26
if you look at it00:43:27
you don't you he doesn't even need a00:43:29
rhythm section at all you hear the00:43:30
chords because he has great voice00:43:31
leading now he's not playing it00:43:33
obviously as simple as this but this is00:43:35
in there all this stuff is in there and00:43:37
this is what i'm talking about if you00:43:39
master the basics of voice leading00:43:40
through a tune and this by the way i00:43:42
know this is about two five ones but if00:43:43
you take this process through any song00:43:46
any song and any chords people always00:43:48
ask about what if i use weird chords00:43:50
once again back to that other master00:43:51
class the the best way to play melodic00:43:54
solos00:43:55
i literally on instagram like weeks00:43:57
beforehand i was like name your favorite00:43:58
chord nobody knew why they were just00:44:00
giving me random chords and i took those00:44:01
random chords and i just threw them in00:44:03
and i did this whole process this00:44:04
voice-leading process through the random00:44:06
chords it makes those sounds00:44:08
you know smooth it it makes them sound00:44:11
like they they connect even if even though they00:44:13
literally were completely random chords00:44:15
chosen by different people00:44:17
people who think this is primitive00:44:18
probably can't even play00:44:20
well maybe but it you know what i mean00:44:21
though it's like00:44:22
here's the thing if you're a right now00:44:24
you're a00:44:25
person who's on the beginning stages of00:44:27
improvisation or you're in that stage00:44:28
where you're like i listen to jazz but00:44:30
it doesn't translate to my instrument i00:44:32
know some lines you know especially i00:44:34
teach a bunch of like high school age00:44:35
kids like that00:44:36
and i've taught a bunch of kids like00:44:37
that in the past if that's you right now00:44:40
take the time to do voice leading and by00:44:42
the way there's a lot of other stuff in00:44:43
this masterclass00:44:44
we're only a little bit in we're not00:44:46
even halfway in00:44:48
if you00:44:50
take this stuff this voice leading idea00:44:53
and you work take the six step process00:44:55
so it's six step process but you can do00:44:57
it for any chord tone just say you want00:44:58
to do it with the third and the fifth00:45:00
those are the most stable that's 1200:45:01
different voice leading lines or avenues00:45:04
of voice leading diatonically through00:45:07
12 different ways through every single00:45:09
set of two chords chord to chord to00:45:10
chord do that through it through a tune00:45:12
take it through a blues take it through00:45:14
solar is a great tune00:45:15
to do it over because it's all based on00:45:18
two five ones00:45:19
um and i'm gonna play that in a little00:45:20
bit but just take it through there and00:45:23
then see what avenues you can come up00:45:24
with because here's now the next step00:45:26
how do we take that into actually00:45:28
building it example lines and when i00:45:30
play these some of you might00:45:32
recognize them from something by the way00:45:34
i forgot to put the number here but00:45:35
basically it's number three four five00:45:40
and six00:45:41
the reason why i didn't do one and two00:45:43
is because that's only the quarter note00:45:44
one step i wanted to do the eighth notes00:45:46
so the two steps so this we have our two00:45:48
lower again what am i doing i'm taking00:45:50
my landing tone00:45:52
so look right here so00:45:54
example lines diatonic using steps three00:45:55
through six two neighbor tones so i'm00:45:58
landing on the third of the two chord00:46:00
third the five chord third of the one00:46:01
chord for all of these just like up here00:46:03
and on beat four i'm doing my two lower00:46:05
neighbors so if you look two lower00:46:07
neighbor g and a now it's just down an00:46:09
octave but g and a00:46:10
once again i'm playing these all as00:46:12
concert key so they apply to any00:46:14
instrument00:46:17
what i'm doing is i'm i'm i have my my00:46:21
my outline okay the more00:46:24
parameters you put on yourself the more00:46:25
rules you put on when practicing the00:46:27
more creative you then have to become00:46:30
but it also the parameters give you a00:46:31
guide the tough thing about00:46:33
improvisation i always say this to my00:46:34
students the tough thing is00:46:36
when do you know you're done00:46:40
i'll wait00:46:43
when do you know you're done with00:46:44
improvisation how do you know i've done00:46:46
it i've i'm now an improviser i'm done00:46:50
i've learned improvisation00:46:52
the answer is there is no finish line00:46:54
which is frustrating for a lot of people00:46:56
because there's no end goal there's just00:46:58
all this stuff out there how do we build00:47:00
it in or how do we bring ourselves to00:47:03
what to practice00:47:05
start here i promise this will be great00:47:06
for you so put the parameters on the00:47:08
third of each one let's do two lower00:47:10
neighbor here's what it sounds like00:47:12
i'm going to play the lines that are on00:47:14
the sheet right now so i'm going to play00:47:16
right here measure starting on measure00:47:17
31 to lower neighbor here's what that00:47:19
would sound like00:47:21
i'm going to slow it down so you guys00:47:23
can actually hear it00:47:24
a little better00:47:26
let's put it at our favorite tempo 120.00:47:29
here it is00:47:34
[Music]00:47:40
i'll play it again two lower neighbors00:47:41
see if you can hear it00:47:42
[Music]00:47:49
right00:47:50
so even from there00:47:51
if you wanted to create your own00:47:53
but just have your two lower neighbors00:47:57
[Music]00:48:01
you can create something maybe00:48:04
like this with some different rhythms00:48:18
late resolution00:48:23
[Music]00:48:42
right so00:48:44
even though i didn't hit him exactly00:48:45
there with that fast stuff i was still00:48:47
kind of thinking of them and and that's00:48:50
i think the most the biggest the biggest00:48:52
benefit you get of doing this process is00:48:54
you think00:48:56
voice leading through chords versus00:48:58
thinking of just chord tones all of you00:49:00
who answered chord tones00:49:03
when i asked you how do you think of the00:49:04
lines hopefully when you solo through a00:49:06
2-5-1 you're not just saying i'm going00:49:08
to hit chord tones and then hit chord00:49:10
tones and then hit chord tones yes00:49:12
that'll work but how are you connecting00:49:14
those chord tones be just hitting the00:49:15
third of each one isn't going to work as00:49:17
well it's not going to be00:49:19
[Music]00:49:23
that might create a nice melody if you00:49:25
go00:49:28
[Music]00:49:30
but you have to do that connection just00:49:34
playing the chord tones alone will not00:49:36
get you there00:49:38
knowing what they are00:49:40
then00:49:41
thinking of how to connect them will00:49:44
two-step process really00:49:46
okay00:49:47
so00:49:48
let's go back to here let's hear the00:49:50
next line00:49:53
so this is gonna be two upper neighbors00:49:56
i'm just gonna play all the rest of them00:49:57
for you here we go00:50:00
two upper00:50:09
lower upper now00:50:12
[Music]00:50:17
so that right there00:50:19
shows something that one right there if00:50:20
you notice00:50:22
all the other ones i barely put any00:50:23
skips in oh in the first one i did but00:50:26
and the second one a little bit but this00:50:27
one because i knew the parameter was00:50:31
lower upper enclosure i knew i was going00:50:34
to play da da da00:50:36
da da i knew i was going to play that i00:50:38
highlighted that fact by adding some00:50:41
like a scale and thirds almost look what00:50:42
i did00:50:48
so i also did it so it didn't stick out00:50:50
as much now you might want it to stick00:50:52
out00:50:53
you might want it to be linear00:51:00
i don't know you might want to be linear00:51:02
then have it pop out but that's your00:51:03
choice00:51:05
the point is if you know in your mind00:51:08
you have that in your back pocket you00:51:09
can do that enclosure ahead of time00:51:11
lower upper or upper lower like i'm00:51:13
going to show you you know what it00:51:14
sounds like and the feel it gives so00:51:17
you'll be able to approach it in any way00:51:19
do you want to have lots of skips00:51:24
something like that and it gives that00:51:26
more modern sound which i'll show you in00:51:27
a second00:51:28
or do you want it more linear the choice00:51:30
is yours but you have to have practiced00:51:32
each of them to know what it sounds like00:51:34
so that way in real time you're not00:51:36
thinking what lick should i play instead00:51:38
you're thinking what sound or feeling00:51:40
should i evoke00:51:44
when i use the term sound i'm not00:51:46
talking about tone quad i'm talking00:51:47
about what sound the diminished sound00:51:48
the the sharp 11 sound the the linear00:51:51
sound the s skip sound00:51:54
think about that and then in real time00:51:57
you can dig into your bag of tricks and00:51:58
say oh i want the linear sound i want00:52:00
the chromatic sound i want the outside00:52:02
sound i want the tritone sub sound and00:52:05
then within that category you have00:52:06
subcategories of okay now00:52:08
i want outside sound and whatever i'll00:52:10
show you how to kind of do that in a00:52:11
second i'm going to play this last one00:52:13
the upper00:52:14
lower enclosure upper lower neighbor00:52:17
tones00:52:23
[Music]00:52:29
right00:52:30
they give off a different feel each of00:52:32
them does00:52:33
yeah so all right somebody just00:52:35
mentioned juan just just said00:52:37
um00:52:39
plus 30 articulation nice um00:52:42
dynamics and phrasing is important yeah00:52:43
so00:52:45
that's a whole nother thing that's my00:52:46
once again that taking the fear out of00:52:48
improvisation master class that i did00:52:50
the live one i talked all about that i00:52:52
said notes00:52:54
are not music music is everything that00:52:56
you add to notes dynamics articulation00:52:58
phrasing motifs interaction with the00:53:00
band you know all those things this this00:53:04
master class is not about that00:53:05
specifically i'm going to have other00:53:07
ones on that and how to use articulation00:53:10
as a as a tool to get a certain sound00:53:13
this is just about specifically two five00:53:15
ones00:53:18
yes articulation i know yes that's the00:53:20
most it's way more important than notes00:53:22
that's another another day okay00:53:26
last thing we're going to do on the00:53:28
before we get to oh look at that00:53:29
alterations before we do that i'm going00:53:31
to show you some different sounds that00:53:33
you can create00:53:34
diatonically00:53:36
this is why somebody was saying00:53:37
diatonically is00:53:39
diatonic as king check this out i'm00:53:41
going to play linear up and down linear00:53:44
linear linear linear only00:53:46
stepwise00:53:49
gives a certain sound00:53:52
[Music]00:54:06
okay now listen to this00:54:16
[Music]00:54:22
foreign00:54:29
[Music]00:54:48
sorry so there's a couple clams in there00:54:50
buddy rich would have yelled at me by00:54:52
the way i heard super tangent because i00:54:54
just mentioned buddy rich about yelling00:54:55
if you don't know there's this famous um00:54:58
if there's a famous uh00:55:00
thing where buddy rich was like00:55:02
screaming at his band on the bus00:55:05
and they taped it and he's like yelling00:55:06
at them he's like i'll fire you all and00:55:08
like using bad language i heard00:55:10
through someone who talked to someone00:55:12
who was in the band that it didn't00:55:13
actually go quite like that like you00:55:16
heard i mean actually happened but there00:55:17
was other things that led up to and it00:55:18
wasn't just like people messed up00:55:21
and whatever there's a whole thing so00:55:22
i'll get into that no i gotta ask that00:55:23
person if i can tell the story because00:55:25
it's like this like never heard of story00:55:27
that led to that specifically like the00:55:29
band had something to do with it00:55:31
consciously so whatever that's a00:55:33
separate thing um00:55:35
but did you hear that the difference00:55:36
between playing diatonically00:55:39
linear and diatonically with large00:55:40
intervals or bigger intervals is is00:55:42
something that's00:55:44
um it gives a completely different sound00:55:46
but i played linear stuff within that if00:55:48
i didn't do a great job of it because i00:55:49
wasn't i was just trying to show the the00:55:51
interval thing but if you have great00:55:53
voice leading you can play large00:55:55
intervals and still have the notes and00:55:56
the chords connected really well00:55:58
um00:56:01
how do you if you've only ever practiced00:56:03
scales and made your keys as linear up00:56:06
and down scales00:56:07
you know one through eight and back down00:56:09
you're not gonna have the technique and00:56:11
you're not gonna have the tools in your00:56:12
toolbox in real time if you wanna see oh00:56:14
i want that modern fourths open sound00:56:18
practice scales in thirds in fourth and00:56:19
fifth and sixth practice stacked fourths00:56:22
man i really wonder i really wish there00:56:23
was like a pdf book out that had all the00:56:25
stuff written out in different exercises00:56:27
in like all major keys oh strictly major00:56:30
so i joke about that and it's not all a00:56:32
sales pitch but it's like00:56:34
i've used that the reason why i wrote00:56:36
that book is because i've been using00:56:37
that my students for years and years and00:56:38
years of if you if you want that modern00:56:41
outside00:56:42
fourths sound you have to practice00:56:44
playing in that sound and the best way00:56:46
to do it is take a major key center00:56:48
in this case we're doing c major and00:56:50
play a scale in fourths00:56:57
right or fifths00:57:04
diatonically then you could like stack00:57:05
the fourths00:57:10
stack the fourth00:57:11
and then move them around00:57:13
[Music]00:57:17
right you get all these different sounds00:57:20
and these different shapes but they're00:57:22
all based on a major key why is the00:57:23
major key important well when we're00:57:25
talking about chords and key centers and00:57:27
everything00:57:28
that you have to know the key center of00:57:29
these chords if you think of it as00:57:32
a00:57:33
chord phrase these chords as a phrase00:57:35
and an overall key center00:57:36
and then think of00:57:38
chord to chord voice leading you have00:57:40
the overall key the overall vibe you00:57:43
have the voice leading between them and00:57:44
then you create those good melodies00:57:46
with that technique without having to00:57:48
worry about just vertically playing00:57:49
through each chord that's how lines and00:57:51
melodies are built but you have to do00:57:52
this process of cooking that chicken00:57:54
first for those who weren't here before00:57:56
for the chicken analogy well just rewind00:57:58
it and you'll see here we go let's get00:58:00
back into the book here so a short 25100:58:03
now we're getting some nitty-gritty00:58:04
stuff so those of you who just came to00:58:06
to hear how to play wacky notes over the00:58:08
v chord get ready we're about to be00:58:09
there00:58:10
short two five one is c major to me00:58:12
when i say short two five one i mean00:58:14
basically two beats of the two chord two00:58:16
b's at the five and then the one so if00:58:18
you're playing in three four or00:58:19
something it'll be like i guess half the00:58:21
measure so beaten a half each00:58:23
you know what i mean half the length of00:58:25
a long two-five00:58:29
so00:58:30
here's why00:58:32
i believe00:58:34
here's why i believe00:58:36
learning short two five00:58:38
short two five vocabulary is infinitely00:58:42
more important than learning long two00:58:45
five vocabulary00:58:48
short two fives learning how to play00:58:50
through short two fives is way way way00:58:53
way way way more important and more00:58:56
useful more beneficial00:58:58
and more essential than learning long00:59:01
two five ones00:59:05
here's why00:59:09
whoops00:59:11
every two five one every long two five00:59:13
can be turned into a short two five00:59:15
without the band the rhythm section00:59:16
doing anything different00:59:18
every time and and not every time i play00:59:21
but most of the times i'm thinking of a00:59:22
long two five i'm thinking this right00:59:24
here on the worksheet00:59:28
i'm thinking the two chord for a measure00:59:30
just like it's written and then instead00:59:32
of thinking just of a big g7 for measure00:59:34
i'm thinking of d minor for two beats g700:59:37
for two beats then resolving00:59:40
what do i mean00:59:42
in the measure of the five here this is00:59:44
the five chord here's now we're starting00:59:45
to get into it this is where00:59:47
the motion happens this is where the00:59:51
extra stuff happens by the way if you00:59:52
don't have this00:59:54
worksheet00:59:55
um00:59:56
click the link in the00:59:58
pinned comment in the live thing or the00:59:59
top of the description01:00:01
davepal.com251 pick your email address01:00:02
and bam you got it so you can follow01:00:04
along easier and you can jump around you01:00:05
can write on it print it out whatever01:00:06
you want to do01:00:08
the v chord01:00:09
is01:00:10
important to play through01:00:12
but it's hard for a lot of people and01:00:15
myself included to play on a stagnant01:00:18
kind of chord that sits there now if01:00:19
you're playing really fast and you have01:00:21
long linear swooping lines yeah you01:00:23
might want to just think this for me01:00:25
especially when i'm thinking of maybe a01:00:28
slower tempo or i really want to create01:00:30
some01:00:32
some motion when i say motion i mean go01:00:34
through the chords i'm thinking short01:00:36
two five here so basically you still01:00:37
play the two chord and lead into it01:00:40
something here and then you play01:00:42
that there01:00:44
i'll demonstrate01:00:46
this is one of the most common short 25101:00:48
lines you can ever play01:00:50
[Music]01:00:53
in fact jacob mann from the one minute01:00:56
jazz lessons used to use that01:00:58
as he had like a midi horns midi sac01:01:01
section play that over top of when he01:01:02
was like hey everybody it was one minute01:01:04
jazz lessons he would play it over top01:01:05
it was01:01:08
it would it's hilarious if you don't on01:01:10
the jacob man go check him out01:01:12
um01:01:13
but that line is basically this i'm01:01:15
going up the two chord01:01:18
and then going down you know what i'll01:01:19
write it out right here oh wait a minute01:01:21
i'll add a measure01:01:23
ready for this01:01:28
right here i'm going to add what i just01:01:30
played01:01:32
so i'm basically going up the two chords01:01:33
so d f a01:01:35
oops a01:01:37
c01:01:38
then scale down01:01:40
b a g c and then i would resolve on c01:01:43
okay so this would be01:01:46
d minor01:01:48
this would be g7 here01:01:51
all righty01:01:52
so01:01:55
check this out01:01:58
one three five seven of the two chord01:02:00
and then seven looked seven to three i01:02:02
always tell you seven to three and then01:02:03
scale down three two one then seven if01:02:06
you resolve on e it'd be seven three at01:02:08
the end so that simple line01:02:10
[Music]01:02:13
is super simple everybody plays it it's01:02:14
like one of the first two fives i think01:02:15
that was the first two five line someone01:02:17
showed me back when i was in high school01:02:20
and uh01:02:21
i didn't learn much before college in01:02:23
the in the sense of improvisation but01:02:24
that's one so watch this i'm gonna play01:02:26
that01:02:27
here i'm gonna have the backing track01:02:29
play d minor for bar g seven for a bar01:02:31
then c i'm gonna play this here listen01:02:33
whoops01:02:34
listen to how it works because even01:02:37
though01:02:38
i'm thinking short 251 over the the long01:02:40
two five it will work well i'm just01:02:43
telling you it will here's what it'll01:02:45
sound like get ready01:02:56
now i'm gonna fill in the first bar01:03:04
now i'm going to fill in and alter it01:03:13
[Music]01:03:18
uh01:03:30
right so you can you can then start01:03:33
somewhere and then take it as far as you01:03:35
want01:03:36
based on a lot of things01:03:38
that we're going to talk about in a01:03:39
second01:03:42
turning along 251 into a short 251 is01:03:45
one of the most beneficial things you01:03:46
could do here's why also i like it01:03:49
getting back to just memorizing lines01:03:51
and having vocabulary over short two01:03:52
five ones01:03:54
think about it if i'm memorizing a long01:03:56
251 that's two in four four anyway01:03:58
that's two full measures01:04:02
first of all that's01:04:04
a lot lot of stuff to memorize two01:04:05
measures of line01:04:07
so if you're working on 12 keys that's a01:04:09
lot of stuff to memorize but also think01:04:11
about this if i'm using a quote in a01:04:13
speech01:04:14
a simple quote from someone and i use a01:04:16
small snippet i can work around it with01:04:19
my own stuff01:04:20
to make before and after it to make it01:04:22
fit to almost make it sound like i'm not01:04:23
even using a quote i'm talking about01:04:24
like using a quote and not saying i'm01:04:26
using quote kind of slipping in there if01:04:28
i in my01:04:30
speech i memorize like five sentences01:04:32
from someone else then go back to01:04:34
speaking like me01:04:35
people because of that length of time01:04:37
they're going to notice that it's01:04:38
different so the longer and this comes01:04:40
back to students01:04:42
or not when i say students just people01:04:44
memorizing phrases that are long and01:04:46
just inserting them into their solos01:04:49
if you01:04:50
do that often01:04:52
and you're just kind of playing your own01:04:54
stuff then inserting this really long01:04:55
phrase and then going back to it's going01:04:56
to be very obvious where it is but if01:04:58
you can learn how to take small snippets01:05:00
of vocabulary like maybe just four beats01:05:02
two five one01:05:04
you can01:05:06
learn how to lead into it voice leading01:05:08
get out of it voice leading01:05:10
it'll elevate your playing you'll be01:05:12
able to use pre-rehearsed stuff maybe01:05:14
that you heard maybe that you01:05:15
transcribed maybe it's just stuff that01:05:17
you worked out on your own that you01:05:18
wrote that you want to use and it won't01:05:20
sound as pre-rehearsed because you're01:05:22
you're kind of combining it with what01:05:24
you're actually improvising in real time01:05:26
it'll fit more organically that's01:05:29
basically the goal to me is to sound01:05:31
organic when i'm playing even if i've01:05:34
played these some of these lines before01:05:35
i want to fit them into my playing the01:05:37
easiest way is smaller snippets and01:05:39
that's why learning a short two-five and01:05:41
applying that over the measure of the01:05:42
five chord is so important to me because01:05:44
you can take that small snippet of a01:05:46
two-five-one like i was just doing and01:05:49
then put it over there also it's much01:05:51
easier to01:05:53
alter and edit yourself with a short 25101:05:56
in real time than it is a long one01:05:58
okay when i get into this stuff and we01:06:00
start talking about all these color01:06:01
tones and01:06:02
outside sounds in a minute here01:06:05
you know it's about what are we changing01:06:07
somewhere to create a certain sound and01:06:09
then put it over top same thing if if i01:06:12
want to01:06:13
edit if i want to you know think really01:06:14
creatively it's really important for me01:06:16
once again going back to the simplest01:06:17
simplicity of it if i have simple01:06:20
smaller snippets memorize core sounds01:06:22
with good voice leading in real time i01:06:25
can edit those simple things easy if i01:06:27
have this really long complex line01:06:30
right if i take that charlie parker line01:06:31
that everybody likes01:06:36
right it's going to be hard for me to01:06:37
how am i going to edit that in real time01:06:39
i'm not i'm just going to basically copy01:06:40
and paste it which could be fine if01:06:41
that's what you're going for but my goal01:06:43
is always01:06:44
practice learn sounds from people01:06:46
whether i'm transcribing a sound once01:06:48
again a sound could be harmony whatever01:06:50
transcribe a sound work out a sound and01:06:53
then i want to edit it in real time so01:06:54
with my students and this is why you01:06:56
know in this i can talk about this for01:06:58
100 hours and i can't go as in depth as01:07:00
i want to right now but once again01:07:02
there's something coming down the pike01:07:05
um01:07:06
stay tuned uh01:07:08
but what i have them do is i say think01:07:10
of a simple line01:07:14
if that's our simple line memorize that01:07:16
in all 12 keys right01:07:17
[Music]01:07:22
round circle fourths01:07:24
oh by the way always practice things in01:07:26
fourths because that's how jazz chords01:07:28
traditionally move so don't go by the01:07:30
fifths and i wouldn't go chromatically01:07:32
because i like to jump around the horn01:07:33
go by fourths um how can i edit that and01:07:36
make it sound better maybe i can adjust01:07:38
the rhythm one two01:07:41
[Music]01:07:51
whatever there's a million ways you can01:07:52
edit it but at its core that's what01:07:54
you're thinking about01:07:55
two five ones short two fives putting01:07:57
them over the v chord will give you that01:07:59
flexibility okay01:08:02
now01:08:03
um01:08:04
that's a bit scratched here01:08:06
hold on a second01:08:11
whoops01:08:17
okay01:08:18
so now01:08:20
let's get into the stuff that a lot of01:08:21
you came here for which is01:08:23
color01:08:24
over the v chord01:08:26
everything that we're going to talk01:08:27
about from here on out so we have01:08:29
alterations on the five we have01:08:31
diminished scale i show you the tritone01:08:33
sub01:08:34
and how to create some other sounds here01:08:36
right01:08:38
all of these01:08:39
mean nothing if you don't have pages01:08:42
page one down right all of this doesn't01:08:45
mean a single thing unless you have01:08:48
the voice leading there you're landing01:08:49
on good chord tones01:08:51
obviously and then01:08:53
even before that beyond that um01:08:55
tone quality intonation dynamics motifs01:08:58
phrasing all that stuff obviously01:09:00
all this stuff is just the sprinkle of01:09:03
of um01:09:05
uh the sauce or the seasoning on the01:09:07
chicken like i said we talked about01:09:09
until this point cooking the chicken now01:09:10
we're gonna add the spice and seasoning01:09:12
if you guys have any questions right now01:09:14
on anything i've talked about up to this01:09:16
point you can ask them right now before i go01:09:18
further i don't want to go all the way01:09:19
to the end if a couple of you are01:09:20
chomping the bit to ask a question so01:09:22
you can ask that right now01:09:24
before we get into all the alterations01:09:26
because once again the alterations are01:09:28
just notes01:09:30
okay there's only 12 notes so i'm going01:09:32
to show you just some common alterations01:09:34
some some cool sounds that i like some01:09:37
cool um01:09:38
ways to approach it because once again01:09:40
it's not just about now01:09:42
everybody approaching the the01:09:44
alterations the same way because then01:09:45
we'd all sound the same and my goal is01:09:47
always to approach it with efficiency01:09:49
and um01:09:51
simplicity so then i can edit them in01:09:52
real time so if you have any questions01:09:54
ask them right now about anything i talk01:09:56
to up to this point or if you have any01:09:58
questions about how to practice it or01:10:00
you know uh building anything01:10:02
diatonically01:10:03
give yourself give yourself a second01:10:07
and give me a second01:10:13
by the way it's a good little pause to01:10:15
say01:10:16
um boston sack shop01:10:18
um one of my sponsors01:10:20
um01:10:22
if you need reeds ligatures mouthpieces01:10:25
cases necks i have i have their silver01:10:27
neck the heritage neck i've been playing01:10:30
it off camera for a little while now i'm01:10:32
still getting used to it um it's just a01:10:34
little different for me it does project01:10:36
like great and has great resonance the01:10:38
difference is that the only issue is my01:10:39
horn already plays super bright i do01:10:42
everything i can to dull the sound down01:10:44
and this actually helps project more so01:10:46
it's for the stuff that i do it01:10:48
sometimes projects a little too much but01:10:50
it's like it's great the hair the notes01:10:52
pop out way easier um01:10:55
but you could use code pollock01:10:57
p-o-l-l-a-c-k 10 off your entire order01:10:59
you buy a case for 400 bucks bam 40 off01:11:03
you buy two boxes of reads i don't even01:11:04
know how much the reads are 25 bucks a01:11:06
piece you buy two boxes for 50 bucks you01:11:08
get five bucks off it's a couple cups of01:11:09
coffee01:11:10
um01:11:12
okay so we uh we do have a question good01:11:14
so far thanks saunders should i know by01:11:16
the way thank you for that uh that01:11:18
donation up01:11:20
to the coast to coast which i'll talk01:11:21
about a little later too should i know01:11:23
all of my scales in fourths01:11:25
i mean01:11:28
so the answer is always going to be yes01:11:29
that you know then because then once you01:11:31
know in fourths the question is try to01:11:32
know in fifths yeah and six yeah seven01:11:35
is octave01:11:36
i if you want to have mastery of the01:11:39
instrument whatever instrument you play01:11:41
and that's the cool thing about this is01:11:42
i'm not doing this for just for01:11:43
saxophone players most of you are01:11:45
probably saxophone players but a lot of01:11:46
you might not be01:11:49
mastery of your instrument01:11:52
hold on let me let me talk to you guys01:11:53
here01:11:54
mastery of your instrument01:11:56
is not just playing01:11:58
things that you come across every single01:12:01
day you might never ever play a song01:12:03
that goes bull people people people01:12:04
people right but that's not the point of01:12:06
practice the point of practice is to01:12:08
over01:12:09
play things and oh work things01:12:12
too much or beyond the point of what01:12:14
you'll do so that way you have that01:12:16
complete control so when you are01:12:18
improvising or reading a tune01:12:21
everything to you is like under your01:12:22
belt so the answer is yes you should01:12:24
know all 12 scales and fourths as long01:12:26
as you already know them linearly and in01:12:29
thirds so don't just jump to that you01:12:31
know learn them and learn them linear01:12:33
full range learn them in thirds learn01:12:34
them in fourths then go fifth sixth01:12:36
seventh you know there's things like01:12:37
that01:12:38
um just joining in do you have any tips01:12:40
on building in and how to practice01:12:43
motifs and themes so that's that's a01:12:44
separate idea so01:12:47
writing out motifs can be good you know01:12:49
there's a whole thing i go through and i01:12:50
don't have time right now but you can01:12:53
approach motifs in one well a few ways01:12:55
but one of the ways is01:12:56
in real time see how you end a phrase01:12:59
however you end the phrase deed up in a01:13:01
third and start your next phrase and you01:13:04
build build the end of one phrase build01:13:06
that as your motif even if it's as01:13:08
simple as01:13:11
two syncopated notes on end and that'll01:13:13
be your motif now boo da da da da da01:13:20
that's your motif so building it off01:13:22
what you did another one is having01:13:24
pre-worked out kind of small snippets of01:13:27
either rhythms i like rhythm rhythmic01:13:29
motifs the most they seem to01:13:31
carry across the best01:13:34
thinking of a motif ahead of time01:13:36
building it into the beginning of your01:13:37
phrases that's a little more worked out01:13:40
i can't get into it too much now right01:13:42
now but also writing out motifs writing01:13:44
out little snippets that you've heard or01:13:46
that you like and haven't and practicing01:13:48
them practice a motif beat all practice01:13:50
different intervals01:13:52
then the idea but here's here's the01:13:53
application when you're practicing01:13:55
whether it's with a backing track or01:13:56
whatever put that motif everywhere in01:13:58
every single measure and every single01:14:00
phrase of every chord it won't be01:14:01
musical01:14:03
that's fine if you i always have this01:14:04
phrase if you can do it all the time01:14:06
then you can do it sometimes so if you01:14:09
know you can play01:14:10
a rhythm motif in every single measure01:14:12
of of cherokee a 64-bar form then you01:14:15
know that some you can do it sometimes01:14:17
over cherokee or sometimes over any01:14:19
other tune so implement whatever motif01:14:22
you wrote or that you got from someone01:14:23
or that you you've heard implement it01:14:25
all the time over and over until you01:14:26
know you can do it over every set of01:14:28
chord changes the problem is people01:14:30
sometimes get too comfortable in certain01:14:31
chord changes that they play a certain01:14:32
way rhythmically harmonically that they01:14:36
get stuck in that the best way to do it01:14:37
is to force a simple idea over01:14:39
everything every tune01:14:41
all over the place and then back off and01:14:42
just how to implement it musically01:14:45
here we go now it's time the time you've01:14:47
all been waiting for01:14:49
maybe i don't know um is that we're01:14:51
going to now talk about alterations01:14:54
okay alterations are01:14:56
that spice01:14:58
right alterations is just that little01:14:59
extra thing so i'm just gonna straight01:15:01
up talk about what these alterations are01:15:04
first and and how to create the sound01:15:07
this is the non-musical side of it01:15:09
people go oh i want to play diminished01:15:11
stuff i'm going to play flat whatever01:15:12
37. that's there's nothing musical about01:15:15
playing01:15:16
a flat 9 or something right by the way01:15:19
these are just some of alterations that01:15:20
you can have here's the disclaimer01:15:22
this master goes i can't go through01:15:24
every alteration that i use i can't go01:15:25
through every alteration that's out01:15:26
there there's only 12 notes though so if01:15:28
you think about it if a if the five01:15:30
chord the g7 has four chord tones you01:15:32
have01:15:34
theoretically what's 12 minus four eight01:15:36
you have eight options of alterations01:15:39
right01:15:41
technically01:15:42
um01:15:44
and quinn uh if you want to email me01:15:47
info davepollock.com um01:15:49
i can expand upon that maybe a little01:15:51
more to help you out give you more01:15:53
direction to your solo there01:15:57
uh oh01:16:02
basically working with small stuff01:16:03
allows you to be more efficiently gain01:16:04
flexibility so you'd argue that taking01:16:06
small shapes from transcription is01:16:07
generally better than working with long01:16:08
phrases 100 christian 100 million01:16:10
percent i'm not a big fan of01:16:12
transcribing full solos if you want to01:16:14
learn a solo or you want to get better01:16:16
at transcription do it but if and if if01:16:18
you spend let's just do an arbitrary01:16:20
number here if you spend 20 hours01:16:22
transcribing a solo and you get five01:16:24
cool lines out of it that means if you01:16:26
break it down that's four hours per line01:16:28
if you transcribe just just find five01:16:30
lines that you like01:16:32
that might only take you if it's an even01:16:34
an hour per line that's still four times01:16:37
faster four times more efficient01:16:39
efficiency i'm all about efficiency01:16:41
uh i'd rather practice for one minute01:16:43
than 10 minutes that's just how i am i'd01:16:44
rather get something done so01:16:46
transcribing smaller phrases is great01:16:47
because you're picking you're being more01:16:49
focused you're not just transcribing01:16:50
some line just because once again if you01:16:52
want to get better transcription you01:16:53
want to learn a whole solo great if you01:16:55
want to use it to learn how to play for01:16:57
dominant chords transcribe the dominant01:16:59
chords if you want to learn it for01:17:01
i don't know how to play over minor01:17:03
chord you know what i mean so yes small01:17:05
phrases and then you're able to01:17:07
learn them quicker get them into your in01:17:10
under your fingers better and use them01:17:11
edit them alter them in real time and01:17:13
assimilate them into your regular01:17:14
playing much more organically hello dave01:17:17
i just asked will this video still be on01:17:18
the channel yep so this video is just01:17:19
going to be on my channel like a normal01:17:21
one01:17:22
a lot of you watching right now are01:17:23
probably01:17:24
watching it not live um in fact most01:17:27
people are probably watching it after01:17:29
the fact so hello thank you i'm gonna01:17:30
put some um channel markers in the01:17:32
description so you can kind of click01:17:34
through because i know i'm doing a lot01:17:35
of talking01:17:36
you know about different topics so you01:17:37
can click right to that topic okay here01:17:39
we go alterations i'm looking at the01:17:41
this the worksheet again01:17:42
these are not in any order01:17:44
they're not in order of like difficulty01:17:46
not in order of importance i just01:17:48
ordered what i kind of thought of01:17:50
okay the first one is the most common01:17:52
one is a flat nine and by the way01:17:54
whenever i teach this stuff it's not01:17:55
just what it is it's how to play it so01:17:58
g7 flat nine that's probably the most01:17:59
common alteration on a dominant chord is01:18:01
the flat nine it literally means you01:18:03
take the ninth which is the same as the01:18:05
two but in jazz we stack them one three01:18:07
five seven nine eleven thirteen the01:18:08
ninth which is a and you flat it so it01:18:11
becomes a flat you get this one three01:18:13
five flat seven flat nine01:18:18
wonderful that's great how do you now01:18:20
use it in playing the best way is i say01:18:23
think of01:18:24
the diminished seven chord that it01:18:26
creates if you delete the root delete01:18:28
the g if you just think of the five01:18:29
seven or three five seven nine three01:18:32
five flat ten flat nine you get concert01:18:34
bdfa01:18:36
the great thing about a diminished seven01:18:38
chord as i wrote here b slash d slash f01:18:40
a flat01:18:42
it's um01:18:44
symmetrical01:18:46
[Music]01:18:51
right and the scale is symmetrical as01:18:52
well so all you need to think about i'm01:18:55
going to implement this diminished chord01:18:58
over top of g7 superimpose if you will01:19:01
over g7 so i'm going to try that now i'm01:19:03
going back to long two fives again just01:19:05
so you can hear the sound better short01:19:08
two fives01:19:09
it'll work but you won't hear it as well01:19:11
right now so all i'm gonna do the only01:19:13
chord tones i'm gonna play01:19:14
over the g7 is b d f a flat i'm only01:19:18
gonna play three five flat seven flat01:19:19
nine here's what that sounds like01:19:24
[Music]01:19:41
oh01:19:51
[Music]01:19:54
now01:19:55
just playing them vertically01:19:57
well you get the sound sure you'll get01:19:59
the sound but you're not going to get01:20:01
that good motion think about now all the01:20:04
things we talked about think about01:20:05
cooking the chicken01:20:07
if if01:20:08
and this is once again one of the ways i01:20:10
approach it if you're trying to create01:20:13
that color the color here is that flat01:20:16
9.01:20:19
so that would be kind of the main note01:20:20
or at least that's the color note that's01:20:22
what has the tension01:20:24
consonant over the two chord tension01:20:26
over the v chord resolution consonant01:20:28
tension resolution ctr01:20:31
adam larson one of my friends he's a01:20:33
great saxophone player great educator he01:20:35
says it like think about diving like01:20:37
diving into a swimming pool in the01:20:38
olympics the run up is like the two01:20:41
chord it's going to be kind of the same01:20:42
every time01:20:43
the five chord is where all the action01:20:45
happens that's all the flipping the01:20:46
spinning right and then hopefully the01:20:48
landing is controlled you know you're01:20:50
not landing on your back your stomach01:20:51
you have a nice good landing01:20:53
the more outside you go on the five01:20:56
chord the stronger the resolution needs01:20:58
to be to have it work overall now01:21:00
there's obviously there's always cases01:21:02
where you want it to be super outside01:21:04
and be disjointed in it and it doesn't01:21:06
land right or whatever and you do that01:21:08
on purpose because you want it to feel01:21:09
this is all about connection so in this01:21:12
case it's not super outside but the flat01:21:14
9 is a tension note think about it it's01:21:16
a half step from the root if the root is01:21:19
we're playing01:21:21
that's going to have tension but that's01:21:22
what we want the best way to people01:21:25
listen backwards by the way this is this01:21:26
is something that you have to think01:21:29
about01:21:30
justification is very important in the01:21:32
ears of the listener if i just play01:21:34
wrong notes wrong notes only right if i01:21:37
just play wrong notes and then don't01:21:38
resolve it01:21:41
it's gonna be like was he just playing01:21:42
wrong notes but if i play wrong notes01:21:43
and have good voice leading outside of01:21:45
it it's gonna work right check this out01:21:47
i'll just demonstrate with just the flat01:21:48
nine01:21:54
[Music]01:22:17
right now there are lots of times when01:22:18
you want it to be unresolved you might01:22:20
want that unresolved sound and let their01:22:23
ears kind of fill in the blank01:22:24
but01:22:25
you know as we get deeper into the01:22:27
outside sounds that becomes a little01:22:30
trickier so the flat 9 always resolves01:22:33
down really well to the 5. so in the01:22:35
case of g7 to c major a flat resolves01:22:37
down a half step to g you could resolve01:22:40
up to the seven01:22:41
[Music]01:22:50
okay01:22:51
you could also01:22:53
i actually don't know if i wrote this in01:22:54
i didn't so01:22:56
not written on here i also like to use01:22:59
the sharp nine with the flat nine so in01:23:01
this case it would be a sharp01:23:06
resolves down as well so a sharp a flat01:23:08
g here's what that would sound that's01:23:10
part of the diminished scale which we're01:23:11
going to talk about but i'll just show01:23:13
it without the diminished scale check it01:23:15
out a sharp and a flat those are your01:23:17
key notes for the tension g is going to01:23:19
be our landing note think of those three01:23:21
notes01:23:22
a sharp01:23:23
a flat g01:23:28
[Music]01:23:42
all right there you go there's the flat01:23:44
9 sound and then also adding in the01:23:46
sharp nine as well triad pairs ah we're01:23:49
going to be getting there01:23:51
uh we're going to be getting there01:23:53
sir01:23:54
sir sergey01:23:55
we're going to be doing the pairing01:23:57
don't get there yet you're jumping ahead01:23:59
okay01:24:00
here we go so look at the next one so g01:24:02
this is probably my favorite alteration01:24:04
it's g7 really g13 flat 9. i wrote it as01:24:08
g7 flat 9 and 13 because literally i'm01:24:11
not playing the 11th the 13th same as a01:24:13
6 so that would be the no e natural01:24:15
and then the flat 9 like we just did is01:24:17
a flat01:24:19
okay that's great01:24:20
[Music]01:24:24
i mean it's fine but how are you going01:24:25
to use it find a triad if you use the a01:24:28
flat01:24:30
call it g sharp that's the flat 9.01:24:33
the 13th the e and then you have b the01:24:35
third you have an e triad over this this01:24:37
is my i've used this all the time01:24:39
here's the sound it's actually a01:24:41
if you're on piano um thinking of an01:24:44
open bill 11 shell voicing in the right01:24:46
hand think three five seven nine of the01:24:48
two chord01:24:50
[Music]01:24:51
and then just move the middle two01:24:54
notes uh down a half step so you get f a01:24:56
flat b e so01:24:59
[Music]01:25:15
that's the sound so it's an e triad so01:25:18
what does that sound like over top of g701:25:20
here we go so e triad over g701:25:26
huh01:25:34
[Music]01:25:49
ah01:25:50
[Music]01:25:57
so you get the point i use that sound01:26:00
all the time01:26:01
i love that sound and to me yeah01:26:03
vertical is cool when it's hip so01:26:05
yeah that in that case01:26:07
you know because we're playing a triad01:26:09
it leads itself to be more vertical but01:26:11
you still have the the voice leading out01:26:13
of it you're not i'm not just going01:26:19
it's still01:26:24
there still needs to be voice leading so01:26:26
think about it where are your options of01:26:27
voice leading g sharp you can stay there01:26:30
on the seven01:26:31
g sorry be natural01:26:33
[Music]01:26:36
the01:26:37
the e natural is the third that can stay01:26:39
and then that flat nine01:26:42
resolve it down as well so you have your01:26:43
good voice leading01:26:45
[Music]01:26:48
there you go build a line on it01:26:51
the advent of ireal pro being able to01:26:53
loop things you could sit there for 1001:26:55
hours01:27:06
and just think of different ways to get01:27:07
in and out of it come across one you01:27:08
like write it down bam01:27:10
then you can expand upon it01:27:12
i love triads superimposed over chords01:27:15
because think about it like this the01:27:17
there's still only one altered note here01:27:19
it's just the flat nine but that sound01:27:20
is so different01:27:22
[Music]01:27:25
that's flat nine01:27:30
that's flat nine as well but it's a01:27:31
different sound when you superimpose01:27:34
triads or sounds over top of sounds01:27:36
think about what the sound gives you01:27:37
it's not just the harmony it's also the01:27:40
combination of playing that chord01:27:42
we're a monophonic instrument we can't01:27:44
play more than one note at a time01:27:46
for the most part people do overtones01:27:48
and stuff don't come at me01:27:50
but for the most part we're01:27:51
playing one note so to make a chord01:27:53
sound01:27:57
we gotta play01:27:59
notes in a row so it's not just about01:28:01
playing the note e or g sharp or b it's01:28:03
about playing them consecutively01:28:10
there you go okay the next one flat01:28:13
third oh what did i do01:28:15
flat 13 and flat nine01:28:17
okay so we're playing01:28:19
[Music]01:28:24
so we're it's the same kind of deal but01:28:26
we're playing in uh e flat concert01:28:28
instead of e natural the way to think of01:28:30
it play an a flat minor01:28:34
chord yeah a flat minor chord because01:28:36
like the c flat third01:28:38
a flat flat nine we get the color notes01:28:40
here the important color notes that01:28:42
we're doing so i'm going to play an a01:28:43
flat minor triad over top of g7 here's01:28:46
what that will sound like once again01:28:48
vertical01:28:50
for now01:28:51
[Music]01:29:05
uh01:29:07
[Music]01:29:14
so think about our options now for voice01:29:17
leading the flat 13 e flat resolves01:29:20
beautifully either up a half step to e01:29:22
which would be the third of c major or01:29:24
down a half step to d which is the nine01:29:26
i like that more it gives more color so01:29:28
i'm gonna aim for that i'm gonna aim for01:29:29
e flat to d01:29:31
over the g7 to c check it out01:29:34
[Music]01:29:40
right01:29:44
[Music]01:29:50
[Applause]01:29:55
and right there oh i came across that01:29:58
over the ii chord i can play e natural01:30:00
which is the nine01:30:03
over the g7 i can play e flat which is01:30:05
the flat 13 and then over the the01:30:08
c major i could play d01:30:10
that's the nine so nine flat thirteen01:30:12
nine or yeah nine flat thirteen nine01:30:15
that's a chromatic guide tone line e e01:30:18
flat d01:30:19
let's just focus only on that guide tone01:30:21
line let's see what i can do01:30:22
let's see what i can do huh01:30:26
[Music]01:30:45
[Applause]01:30:50
ah01:30:56
[Music]01:31:06
if you have that guide toned line in01:31:08
your head01:31:09
thinking about the line i'm not thinking01:31:11
about it like this thinking about that01:31:12
line you have a goal which remember the01:31:14
subconscious is the micro thinking about01:31:17
the chord tones those need to be01:31:18
automatic so when i play down01:31:22
that's automatic01:31:24
[Music]01:31:29
all that's d minor concert and then i01:31:31
think about01:31:33
now i have my options01:31:36
[Music]01:31:38
over the g7 then resolve right01:31:41
it's01:31:42
there um01:31:44
the most modern outstanding lines are01:31:46
constructed with triads yes01:31:48
just like the one i played and i'm01:31:49
getting to more yes so01:31:51
the idea is01:31:53
implementing these sounds these sound01:31:55
there's only 12 notes right mozart01:31:59
bach and justin bieber use the same 1201:32:02
notes i01:32:04
use the same 12 notes that you use that01:32:06
michael brecker used that john coltrane01:32:07
used it's combinations of notes01:32:10
obviously rhythms dynamics phrasing01:32:11
articulation we talked about that01:32:13
these sounds01:32:14
are01:32:15
how you combine them together to create01:32:17
certain sounds if i say play a flat nine01:32:19
sound there's too many options just01:32:21
playing that note i showed you is one01:32:22
sound playing it with a diminished chord01:32:26
is one playing with the triad01:32:29
playing with a flat 13.01:32:33
completely different sounds constructed01:32:34
based on chords over chords which is why01:32:36
i teach these triads01:32:39
all right01:32:40
last one is the01:32:42
uh01:32:43
girl from ipanema bridge01:32:46
right01:32:49
[Music]01:32:56
different key but you get the point01:33:04
i'll show you that so that's going to be01:33:05
using literally01:33:07
[Music]01:33:09
sharp 11 and flat knight01:33:10
[Music]01:33:15
so over g7 i could play an e major triad01:33:17
kenny yeah that's a that's the best01:33:19
not best i love that sound it's right01:33:21
there boom in the worksheet that is the01:33:24
best sound01:33:25
i keep saying best maybe it is the best01:33:26
i love that sound the most but here's01:33:28
what a d-flat major triad01:33:30
hitting that flat 9 the sharp 11 and the01:33:33
flat 7. d-flat major triad over01:33:37
uh g701:33:38
some people might think of this as a01:33:40
tritone sub it's not really but01:33:42
take a listen01:33:50
sorry i played the completely wrong01:33:51
thing01:33:52
[Music]01:34:07
uh01:34:16
[Music]01:34:23
that's a cool sound right let me make it01:34:25
a little faster to give these sounds a01:34:27
little something01:34:28
let's do it at 18001:34:30
whoops not 800.01:34:33
here we go01:34:37
so i'm gonna go back i'll do the first01:34:39
sound diminished seven off of b so check01:34:42
it out01:34:48
same thing01:34:50
[Music]01:34:54
next one e triad01:35:05
a flat minor01:35:15
d flat01:35:28
oh well01:35:31
all i did was play those four sounds01:35:33
okay01:35:34
obviously your rhythms matter more than01:35:36
the notes obviously your articulation01:35:38
matters obviously this is about the01:35:39
notes right now01:35:40
okay that's what it sounds like now01:35:44
let's move on because we are starting to01:35:46
run out of time01:35:47
the diminished sound there there are01:35:49
people who are way more into the01:35:50
diminished sound than me in fact most01:35:52
people are01:35:53
i'm not nearly as much into the01:35:54
diminished sound as a lot01:35:57
but i do value it and i do like to01:35:59
approach it in certain ways so just so01:36:01
you know if you have a g701:36:03
chord01:36:05
or you see any dominant chord01:36:07
the diminished01:36:09
scale you're going to use is either you01:36:11
could think of it as the root so if it's01:36:13
g7 g01:36:14
half whole diminished which means you01:36:16
start with a half step up to a flat then01:36:18
whole step half step whole half whole01:36:19
half hole all the way up or a lot of01:36:22
people learn um a lot of people learn01:36:25
diminished scales01:36:26
as whole step first because the whole01:36:28
step it's no it's it's needlessly01:36:30
confusing but the whole step is what you01:36:33
would use over the root of a diminished01:36:34
chord so if you see g sharp diminished01:36:36
seven that's the same scale you'll play01:36:38
over a g701:36:41
g7 you can either think of it as g half01:36:43
hole diminished or g sharp whole half01:36:46
diminished same notes01:36:55
right so here's how you can use them01:36:58
over01:36:59
a two five one let's go back to the long01:37:00
two five one the reason why i like going01:37:03
uh descending is for this purpose right01:37:05
here look at the first four notes of01:37:06
this this is the diminished scale just01:37:07
going down right look at the first four01:37:09
notes01:37:11
[Music]01:37:13
that's diatonic to c major or d minor01:37:15
however you want to think of it01:37:17
right that is diaton by the way sorry01:37:18
for this light right here um01:37:21
i don't have a blackout curtain in the01:37:23
side of my01:37:25
um01:37:26
the blinds there's that's where the sun01:37:28
sets so it's right there i film all my01:37:30
videos at night so i don't have to deal01:37:31
with this the light coming in but01:37:33
you know01:37:34
i'll slide over here maybe a little bit01:37:36
uh it's also bothering me probably not01:37:38
bothering you as much so look at these01:37:39
these notes right here01:37:41
um01:37:42
the first four are diatonic and then01:37:44
over the five chord look what happens01:37:46
this is where all the color happens you01:37:47
get the sharp 11 the third there's the01:37:49
sharp 9 flat 9 and then the resolution01:37:51
here's what this scale literally just01:37:53
playing the scale over top of a long two01:37:55
five here's what it sounds like01:37:57
i'm gonna slow back down again so you01:37:58
can hear it01:38:02
diminished scale descending01:38:08
[Music]01:38:14
now i'm going to add some little rhythms01:38:21
the cool thing about the diminished01:38:22
scale is it adds its even though it's a01:38:25
scale01:38:26
it adds its own color it has its own01:38:28
sound and it sounds pretty hip even01:38:30
though it's just a scale so how do you01:38:33
use it well once again you have to be01:38:35
careful whenever you're using01:38:38
um01:38:39
these color sounds that the01:38:41
the more tension you have the better the01:38:44
resolution should be01:38:45
should be01:38:46
so here's a cool little one that uh i01:38:48
hope you can all see i have01:38:51
for those who are color blind like my01:38:52
friend caesar i apologize he wouldn't be01:38:54
able to see this but01:38:56
um01:38:58
some of these notes here are in red01:39:00
so for the honeysuckle rose line so this01:39:02
is a three part i love this line because01:39:04
it's01:39:05
like uh01:39:06
three layers three things in one so01:39:08
honeysuckle rose for anybody don't know01:39:14
right that's the melody so people use01:39:16
this as a 2-5-101:39:20
or some version of that01:39:22
i'm also going to show you how you can01:39:24
use that here so if i just played a01:39:26
short two five to c it would be what's01:39:28
right there01:39:32
or some version01:39:34
so i'm gonna put that line real quick01:39:36
over the five chord01:39:38
just like i said you can turn the long01:39:40
into the short watch this01:39:44
check it01:39:47
[Music]01:39:50
works beautifully right01:39:52
if you use it in over the two chord or01:39:55
thinking of it of the short two five01:39:57
over the two chord and then go a tritone01:39:59
away in this case down01:40:02
you're playing the tritone sub01:40:05
of the full two five condensed down into01:40:08
a short two five over the five chord so01:40:11
as it says i'm thinking of the tritone01:40:13
sub and we're going to get into tritone01:40:14
subs in a second but as you get into01:40:17
tritone subs you're thinking of what is01:40:19
a two five to a tritone away from this01:40:21
so that'd be f sharp or g flat so you're01:40:24
going to think a flat minor to d flat01:40:25
here's the cool thing about this i'm01:40:27
going to play this exact line it's just01:40:29
this phrase this phrase a tritone wayne01:40:30
resolves but notice what the red notes01:40:32
create01:40:33
notice what the red nodes create01:40:36
look at them i even wrote it there but01:40:40
see if you can hear it hear the top01:40:42
of the red notes01:40:47
[Music]01:41:00
now i'll just play the top notes01:41:03
[Music]01:41:09
that's the diminished scale01:41:10
the cool it's it's01:41:12
so cool to me that you can take uh a01:41:15
motif01:41:16
a motif like the honeysuckle rose line b01:41:19
leader01:41:20
right and then01:41:22
turn it into a tritone sub01:41:25
tritone sub with good resolution but01:41:27
also you hear on all the downbeats one01:41:30
and three and one and three and one it's01:41:34
the diminished scale01:41:36
so01:41:37
if we think the diminished scale but add01:41:38
some notes now check this out i have to01:41:40
read this one i forget01:41:46
listen to that that's a little chromatic01:41:47
version of it if i played that fast01:41:53
you wouldn't really you'd be like oh01:41:54
it's a chromatic kind of line look at it01:41:57
every downbeat is the diminished scale01:41:59
i'm just either adding a chromatic01:42:01
passing tone in between or like a lower01:42:05
uh neighbor which makes conclusions so01:42:07
check it out here's what this sounds01:42:09
like slow01:42:14
[Music]01:42:19
now01:42:22
if i jack the tempo up01:42:27
by the way already don't comment yet but01:42:29
start thinking of01:42:31
songs you want me to play because i'm01:42:32
going to end in about01:42:35
15 minutes 10 minutes um with a tune01:42:38
i'll just blow a tune think right now01:42:40
don't comment yet01:42:45
[Music]01:43:01
okay01:43:02
[Music]01:43:04
you're probably hearing a little more01:43:05
delay i'm not actually sure why that's01:43:07
happening right now01:43:08
um01:43:10
i just heard it in my ears i'm not quite01:43:12
sure why the delay is happening worse i01:43:13
apologize okay01:43:15
last thing we're gonna get to and and01:43:16
once again this is only scraping01:43:19
the surface of two five ones but i kind01:43:21
of wanted to start from the beginning i01:43:23
know we spent the first full hour on01:43:26
just just to recap again for those who01:43:28
are either here now or here the whole01:43:29
time by the way thank you so much i01:43:30
don't know if i said thank you yet you01:43:32
know really to you guys for hanging out01:43:34
with me and01:43:35
for listening to this stuff and you know01:43:37
commenting and01:43:38
just enjoying this and and i hope it01:43:40
helps some of you um once again if you01:43:42
have specific questions after this you01:43:44
can always email me at info01:43:47
davepollock.com um that works really01:43:49
well01:43:50
so um01:43:53
but thank you but oh yeah i spent the01:43:54
whole first hour01:43:55
just talking diatonically i could spend01:43:57
20 hours on it but this stuff is all01:43:59
extra once you have that together i'd01:44:01
much rather hear a solo that has no01:44:03
outside notes all diatonic but good01:44:04
phrasing good feel good sound good01:44:06
motifs good voice leading then just add01:44:09
this extra stuff okay let's talk about01:44:11
the tritone sub for a second01:44:13
it's a sound that you hear all the time01:44:14
even if you don't know you hear it01:44:17
i have a very particular way that i like01:44:19
to01:44:20
go about it i made a whole video on it01:44:21
well a short video on it so i'll go into01:44:23
a little more depth right now01:44:25
at its core01:44:26
tritone substitution literally means01:44:28
you're substituting01:44:30
a chord for a chord a01:44:34
i think it's a light because your mic01:44:35
interface01:44:36
well yeah but i've been using this the01:44:38
whole time i don't know why all of a01:44:39
sudden it's worse in my ears whatever um01:44:42
you're substituting for a tritone away01:44:45
the common one like it says right here01:44:46
is you play d minor the two chord then01:44:48
you substitute the five chord for a01:44:50
tritone away and then the one so it ends01:44:52
up being chromatic motion d to d flat to01:44:54
c01:44:55
that's great but here's the problem01:44:56
here's how everybody then learns to play01:44:58
over it they play vertically01:45:05
oh my god i don't want to ever hear that01:45:07
so01:45:08
there's lots of ways we can approach01:45:09
this i'm going to show you two ways that01:45:11
work really well one i think works01:45:12
better than the other01:45:14
just so you know you can also substitute01:45:15
out for the two01:45:16
in which case you'll substitute a flat01:45:18
minor here here's where voice leading01:45:20
really works guys if you just play the01:45:22
notes of a flat minor seven over d minor01:45:24
seven think about the notes a flat so01:45:26
that's gonna be the flat five of d so01:45:28
it's already highlighting like a flat01:45:30
five01:45:31
then you're putting b natural which is01:45:32
the major six here then e flat which is01:45:34
the flat nine in here and then g flat01:45:37
which is the natural third these notes01:45:39
are very crunchy understand that the01:45:41
more out you go the more conviction you01:45:43
have to be playing with you can't just01:45:44
randomly bop around and try to play the01:45:46
notes of this and say i'm playing a01:45:47
tritone sub no you're just playing wrong01:45:49
notes okay if you have good voice01:45:51
leading and play a nice strong two five01:45:54
that's you know01:46:04
it'll work01:46:05
but it has a lot of a lot of crunchiness01:46:07
there right so here i'll demonstrate01:46:09
kind of this real quick01:46:11
i'm gonna play the first one01:46:12
then the second01:46:14
one01:46:16
uh where are we at01:46:18
okay01:46:19
i'll do it at 170.01:46:22
so this is just tritone sub over the01:46:24
five then the second one i'll play the01:46:26
two and the five01:46:28
here we go01:46:31
[Music]01:46:41
right so if it leads in there better01:46:43
um if you could lead from chord to chord01:46:47
smooth it'll work a lot better01:46:49
now but that's but that doesn't teach01:46:50
you how to play over it i would never01:46:52
teach that to you and say01:46:54
play those chords here's what i would01:46:56
say01:46:57
you have this option01:46:58
which is turning the long two five into01:47:01
a short two-five just subbing out the01:47:03
five or01:47:05
playing the two01:47:06
and then playing oh i wrote the wrong01:47:08
thing oops01:47:11
wow so this should say a flat minor01:47:14
seven so whoever already downloaded this01:47:18
a flat minor seven01:47:21
whoever already downloaded this i01:47:22
apologize the chord didn't it's written01:47:25
right but i wrote the chord name wrong so01:47:28
you're basically playing d minor for bar01:47:30
then the short two five tritone sub so01:47:32
check out what that sounds like01:47:35
here we go01:47:42
one more time01:47:43
[Music]01:47:48
with really01:47:49
your feature in that a flat minor now01:47:52
how to actually01:47:54
solo over it01:47:56
what am i going to think well01:47:58
instead of thinking b-flat 7 which when01:48:01
people just play thirds it sounds kind01:48:02
of corny play the d flat major pen01:48:05
uh pentatonic01:48:07
it's still vertical but i like it so i'm01:48:09
gonna do that over the entire g701:48:16
[Music]01:48:22
uh01:48:27
[Music]01:48:34
okay01:48:35
there it is01:48:41
um all right01:48:43
so that's that it's okay here's much01:48:46
better01:48:47
i love to think if you want the tritone01:48:49
sub sound i always like to teach you the01:48:51
behind and then the why and then i teach01:48:52
you what i actually do here's when i01:48:55
actually think of attraction stuff01:48:56
here's what i really teach and here's01:48:57
what i really play01:48:59
b major seven over g seven01:49:02
what01:49:03
here's why01:49:04
if you think of the tritone sub you have01:49:06
the two chord is a flat minor and then01:49:09
this a lot of times in two fives i01:49:10
didn't even talk about this yet but you01:49:12
can delete the five chord just think01:49:13
about the two the two chord is a flat01:49:15
minor let's call it g sharp minor if you01:49:18
play all the color notes think of the01:49:19
relative major i always like turning01:49:20
things into major think of g sharp major01:49:23
or a flat i mean g sharp minor or a flat01:49:26
minor the third third five seven nine01:49:28
you get the notes b d sharp f sharp a01:49:30
sharp i always like to just01:49:32
categorize things so thinking of just01:49:33
four random notes is hard for me if i01:49:35
say oh it's a b major seven chord01:49:37
because i'm really i know my b major01:49:39
seven chord really well bam play b major01:49:42
seven that resolves to c here's all you01:49:43
have to think of if you're resolving to01:49:45
c major play the major seven chord a01:49:47
half step below01:49:49
that sounds weird but it'll give you the01:49:50
tritone sound then also if you want to01:49:53
think here's the last thing i wrote on01:49:54
here if you want to make both things01:49:56
major think of the ii chord as the01:49:58
relative major as well think of f major01:50:00
so what you end up getting is instead of01:50:01
d minor to g01:50:02
you get f major b major c major now one01:50:06
caveat whenever you think of alterations01:50:09
of chords over chords the fact that01:50:12
we're thinking b major seven over g is01:50:15
the alteration don't then alter the b01:50:18
major don't say oh well with b major i'm01:50:20
going to add a sharp 11. no no no the b01:50:23
major itself think of it like a piano01:50:24
player they're playing a g7 and left01:50:26
hand adding a b major over top that's01:50:29
going to create the color that we're01:50:31
looking for and it'll give us the sound01:50:33
so check it out01:50:36
i'm going to play01:50:37
f major over the d minor then i'm gonna01:50:39
play b major over the g7 and we should01:50:42
get a nice tritone sound check it out01:50:47
[Music]01:50:59
ah01:51:08
here's a lick01:51:10
[Music]01:51:26
hey01:51:29
[Music]01:51:41
once again i apologize01:51:43
even my my voice is super01:51:46
delayed now i don't know if my computer01:51:47
is like about to die or something i mean01:51:50
it's you know dies and like01:51:52
explode not run out of battery um so i01:51:55
apologize for that because it was01:51:56
working pretty good up until there01:51:58
all right so01:52:00
i want to end in like five minutes01:52:04
questions01:52:06
i know i know i i gave a lot i hope and01:52:08
and i know we talked about a lot today01:52:10
but do you have any questions01:52:11
overarching even stuff that i didn't01:52:12
maybe touch on and also put a put a tune01:52:14
suggestion put a tuned suggestion in01:52:18
put a tune suggestion in please01:52:28
be01:52:39
hold on one second guys two suggestions01:52:52
all right01:52:54
let's see what we have01:52:56
here and let me go back to01:53:00
just me hey i'm back01:53:02
um01:53:08
all right questions real quick01:53:09
completely01:53:10
serious on top thank you for this i01:53:12
would like you to play corcovado gray01:53:13
tune01:53:14
wildflower yard we're swimming01:53:17
repair no not at all01:53:19
so there's lots of things um01:53:22
what i've learned about in my life in01:53:23
getting older is like01:53:25
in the way i like to approach things01:53:26
there's certain things i don't want to01:53:28
know about01:53:29
because i'll i'll01:53:30
obsess about them like i'll be on forums01:53:32
about them01:53:33
um01:53:34
repair is one of those things i don't01:53:36
even want to know i just if it's broke01:53:38
i'm bringing it to my repair guy who's01:53:39
the only person who's ever touched my01:53:40
horns ever my entire life um john01:53:42
ashcraft local here in central new01:53:44
jersey i bring him to him no i don't01:53:45
want to know about repair01:53:47
um i don't i don't want to know me01:53:49
channel theme01:53:50
having mysterious sentences cherokee ggg01:53:53
if i'm learning a transcription do i01:53:54
need to memorize the changes for the two01:53:55
and i'm learning i would say yes because01:53:57
it gives you the context of what they're01:53:59
playing and why they're playing it01:54:01
because then you can really analyze oh i01:54:03
like that sound here well why do you01:54:05
like it and this is i can do a whole01:54:06
another masterclass on just01:54:07
transcription01:54:09
um i might want to get patrick bartley01:54:10
on for that one but for me transcription01:54:13
is about using01:54:14
the transcription as a tool it's not01:54:16
just learning it but it's about why does01:54:18
that line sound cool01:54:20
and i fell into the strap when i was01:54:21
younger because nobody taught me this i01:54:22
would just memorize a line and just use01:54:24
it randomly in places that doesn't make01:54:26
sense why does it sound cool is it the01:54:28
harmony is it the01:54:29
rhythms is it the articulate like what01:54:31
about it is cool and usually the people01:54:34
that learn the harmony behind it you can01:54:36
then implement it to your own playing oh01:54:38
all he's doing is using that triad there01:54:39
like i stole this line from dick oates01:54:41
by the way i'm still trying to find01:54:42
where this line is01:54:44
i don't know where it is i thought it01:54:45
was in um01:54:47
um01:54:48
like someone in love but it's not01:54:49
[Music]01:54:52
that's the first time i heard that01:54:55
or not the first time i heard it but the01:54:56
first time i really thought about it01:54:57
playing an a on alto or concert b major01:55:00
triad going to c major01:55:02
[Music]01:55:05
so that phrase right there is kind of01:55:06
cool01:55:08
um but i learned how to use it all right01:55:10
uh something dave your sound your01:55:11
lessons and skill i love that oh thank01:55:13
you i love the whole major concept for01:55:15
attracting himself yeah i love thinking01:55:16
major why make things harder efficiency01:55:19
if i can turn every chord into major i01:55:20
only need to know 12 harmonic concepts01:55:23
right why would i have to learn sharp 1101:55:25
flat 9 flat 13 sharp if i can just go oh01:55:27
i'll just play b major 7. that gives you01:55:29
all of it because i also think like a01:55:31
piano player i'm thinking of how can i01:55:32
put a chord over a chord to create a new01:55:34
sound i'm not thinking of each01:55:35
individual note and it goes back to the01:55:37
vertical thing01:55:42
can you pick any note from your two and01:55:44
walk that down by going major01:55:46
diminishing landing on something that01:55:48
resolves01:55:53
major demand are you talking about01:55:54
changing the chords01:55:57
you mean like going like d minor01:56:00
c sharp diminished i'm not sure what01:56:01
you're asking there jack01:56:03
have you ever had a bad teacher and01:56:04
how'd you deal with it um that's a whole01:56:06
nother topic topic topic for another day01:56:10
um01:56:13
um01:56:14
any chance you could do a similar01:56:15
masculine how to look at and feel01:56:16
rhythms absolutely because rhythms to me01:56:18
are so important having reference01:56:20
recordings in your mind hearing rhythms01:56:22
that are that work with the band and01:56:24
work with the style is super01:56:26
important yes i'm going to do that01:56:34
hold on one second01:56:47
um01:56:50
oops where are we at01:56:51
there we go01:56:52
what are your thoughts on01:56:54
melodic01:56:56
and harmonic minor modes and how01:56:57
important they are that's a whole01:56:59
another we can't i can't just give a01:57:00
quick answer on that um01:57:03
i mean just like anything else it's01:57:04
another tool to be used i don't think01:57:06
they're as and and let me just say this01:57:09
from my own experience they're not as01:57:11
important to everyday improvisation as01:57:14
major01:57:15
so if you don't have your major modes01:57:17
and major stuff locked in i wouldn't01:57:18
start approaching harmonic minor modes01:57:20
or anything but especially when you01:57:22
start talking about playing over my01:57:24
different minor sounds absolutely01:57:26
they're super important and i think it's01:57:28
really important to have that in your01:57:30
bag as well so yes it's important but um01:57:33
i can't get into it right now britney01:57:35
spears toxic01:57:40
[Music]01:57:43
that's a great song01:57:44
how do you decide on difference between01:57:46
blues and funk solos01:57:48
whatever fits the current style or01:57:52
how do you decide on different what are01:57:54
you asking zachary like um what's up01:57:56
igor uh what do you what do you mean01:57:58
like like if i'm playing like a bluesy01:57:59
function like how do i decide how i01:58:01
should play01:58:03
or you just i don't know ask again will01:58:05
you do anything else than strictly major01:58:06
already you mean like as a pdf book yeah01:58:08
i'm gonna do something else um in the01:58:11
well for like a like a pdf book yes01:58:14
that's not gonna be probably till next01:58:15
year sometime i'm doing something big01:58:17
big big that i've been working on hours01:58:18
and hours and hours for the last few01:58:21
months01:58:22
um01:58:23
teaching thing that's big that's going01:58:25
to be later this year stay tuned for01:58:27
that that it's going to go in depth in01:58:29
all the things that i can't do in live01:58:31
streams here01:58:32
and it's going to have so many resources01:58:33
that's gonna be awesome01:58:35
the smooth jazz only used pentatonix01:58:38
actually no but i made the joke that it01:58:40
did for my original series when i was01:58:42
playing a character making fun of smooth01:58:44
jazz even though people thought it was01:58:45
me making fun of smooth jazz01:58:47
note wise style wise and notes so so01:58:50
zach are you what do you so you're01:58:52
saying like how do you like01:58:54
well i mean they share a lot of the same01:58:55
things01:58:56
you can make a funk solo using only the01:58:58
blue scale you can make blue solos using01:59:00
you know it's all i think it's all about01:59:01
the rhythms and the groove is the01:59:03
difference blues to me if you're talking01:59:05
blues like bb king blues that's gonna be01:59:07
a different deal but bluesy01:59:10
and funk it's just gonna be what the01:59:11
band's playing what the groove is that's01:59:12
gonna be more kind of what's there01:59:15
oh dave oh wave play wave01:59:18
uh currently who's your biggest01:59:20
influence for your sax sound specifically tone dick hoats still dick01:59:22
oates has been for a long time he's my01:59:25
biggest influence on that but it's a01:59:26
combination01:59:28
i think the way i hear him play is what01:59:30
i hear mostly but it's a combination of01:59:31
him and like the kenny garrett type01:59:33
sound that's why i play a little more of01:59:34
that modernish play where dick coaches01:59:37
is more the the more mellow01:59:39
with the pop pop01:59:41
articulation and linear bebop lines i01:59:44
kind of combine that with that more01:59:46
heavier01:59:48
uh candyguard type sound so those two01:59:50
are my main but mainly decodes very01:59:52
poorly word of question sorry if you're01:59:53
in c major you play two five one01:59:56
can you play an f major seven over d01:59:57
minor yes and then walk that oh okay02:00:00
walk that f major seven chord down by02:00:02
playing f major seven diminished f major02:00:04
seven diminished i don't know what you02:00:06
mean by that02:00:07
then resolving on e02:00:12
wait you would walk f major down to what02:00:15
walk it down to f02:00:18
then resolve on me i'm still the02:00:19
question still eludes me i'm maybe i'm02:00:21
just stupid02:00:22
um02:00:25
walk f major down by playing f major02:00:28
diminished and then resolving on e02:00:35
you mean f major then playing f02:00:36
diminished like f a flat02:00:39
c flat02:00:40
e double flat02:00:43
i don't know02:00:44
uh sorry do you tend to approach two02:00:46
fives that don't resolve two and yeah so02:00:48
that's a whole another thing that i'm02:00:49
gonna i don't have time to get into02:00:51
today two fives that don't resolve02:00:53
basically the super quick overview is i02:00:56
when i see a two five one for example if02:00:58
it's a back door two five one like parts02:00:59
three and four lady bird or just a two02:01:01
five that just goes somewhere else02:01:02
non-resolving i take the two five and i02:01:04
approach it02:01:05
as if it's going to the 1 and then at02:01:08
the very end of the v chord i do voice02:01:10
leading into notes that work over the02:01:12
next chord remember if i do a 2 5 d02:01:15
minor to g 7 the resolving chord is02:01:17
usually c major c e g02:01:19
b if the note is if the chord we resolve02:01:21
to is not c major02:01:23
you still only have eight other notes to02:01:25
choose from some of them are either02:01:26
going to be the same as these four or02:01:28
they're going to be close so if normally02:01:30
i would resolve to02:01:31
just say i want to resolve a a tritone02:01:33
away all four notes f sharp a sharp c02:01:35
sharp e sharp instead of resolving down02:01:37
to the third of e i would switch that02:01:39
maybe resolve to e sharp which would be02:01:41
the seventh of f sharp major just i02:01:43
still lead as if i'm going to the02:01:45
original wherever it would normally02:01:46
resolve and then i just do good voice02:01:48
leading and guide to lines that lead me02:01:50
to the new chord02:01:53
okay so you did say f minor if02:01:54
diminished yeah so02:01:57
that's literally what i talked about in02:01:58
here hold on so02:02:02
jack jack check it out dude02:02:04
look at this02:02:06
right here02:02:07
back when we were talking about02:02:08
alterations02:02:10
look right in this measure02:02:12
to get the flat nine sound you can play02:02:14
any of these diminished chords remember02:02:15
b diminished d diminished f diminished02:02:17
and a flat to minister all the same so02:02:18
it gives you that sound it's just02:02:20
however you want to approach it so if02:02:22
you have that finger pattern remember02:02:23
it's all02:02:24
it's all symmetrical so yeah you can02:02:26
think f major02:02:33
[Music]02:02:41
it's just then about finding yeah so02:02:42
there we go we got to the we got to the02:02:45
question we got to the answer yes you02:02:46
could think f major which is the02:02:48
relative major of d minor then play f02:02:50
diminished which is the same as a flat02:02:51
diminished same as b diminished same as02:02:53
however you want to think of it that's02:02:54
the harmonic color then you resolve to02:02:56
whatever you want02:02:58
okay um02:03:02
let me get back to here awesome02:03:05
how do you structure your practice02:03:06
sessions today compared to back when you02:03:07
were first starting out huh great02:03:09
question um not a great answer how many02:03:12
how many out well let me go back up i02:03:13
skipped a few02:03:15
how to to play tunes with easy harmony02:03:17
like chameleon that don't make it sound02:03:18
boring yeah so that's talking about02:03:20
creating motifs creating melodies and02:03:21
and making the02:03:24
creating uh02:03:25
motion02:03:26
okay so02:03:28
that is going to be02:03:31
um02:03:33
i i don't have time to talk about that02:03:34
now02:03:35
but02:03:36
that is definitely something that is uh02:03:39
i'm gonna lean back i've been sitting up02:03:40
this whole time that is definitely02:03:41
something that's super important um how02:03:44
to create02:03:45
motion how to create good melodies that02:03:47
aren't boring like02:03:48
the funny thing is when people see a02:03:50
tune like chameleon or like even like so02:03:52
what they're like oh there's only two02:03:53
chords it's so easy02:03:55
but you're the one who has to be02:03:56
creative in creating motion right a song02:03:58
like giant steps for as much as it has02:04:00
now become a meme which which kind of02:04:02
pisses me off even though i fed into it02:04:04
like really02:04:05
big i can't be mad i'm mad at myself if02:04:07
anything but tune like giant steps if02:04:10
you just hit the chord changes with good02:04:12
voice lighting your solo will be good02:04:14
because the chords create that motion02:04:16
right they're they're creating the02:04:17
complexity they're creating the sound02:04:20
you don't have to worry about creating02:04:22
that road map it's already there and in02:04:23
tune like so what you have to create the02:04:25
road map so there's there's different02:04:26
challenges like that or chameleon or02:04:28
something like that so yes i can't get02:04:30
into it now but that's gonna be02:04:31
something else i'll talk about later how02:04:33
many hours do you spend daily with sax02:04:34
and how does your structure your02:04:35
practice now02:04:37
dave saxologist dave my main man i enjoy02:04:39
visiting tiger playing thank you so much02:04:41
um02:04:42
same name brother um so what i'm about02:04:45
to say02:04:46
don't take this at this is a definitely02:04:48
do as i say not as i do moment i don't02:04:50
want to lie and be like yeah i'm on the02:04:52
horn like eight hours a day02:04:54
basically the02:04:55
it's gonna sound ridiculous02:04:58
the and there's reasons why i'm not02:05:00
gonna go into everything but02:05:02
the only time i touch my horn now is02:05:04
either when i'm playing a gig02:05:06
doing a recording02:05:08
teaching a lesson02:05:09
or i need to practice something very02:05:11
specific for a recording or a gig02:05:14
i can't remember the last time i just02:05:16
sat down and practiced saxophone02:05:19
legitimately so don't don't02:05:22
use that as as what you should do don't02:05:24
use that as what everybody should do02:05:26
don't use that as02:05:28
what is bet it might not it probably not02:05:30
even best for me02:05:32
for saxophone playing but it's it's the02:05:34
best thing for me02:05:37
in general02:05:39
if i have a really if i have it like i02:05:40
had a gig with chris williams his big02:05:42
band and there was some pretty tricky02:05:43
sack sully stuff we had a rehearsal up02:05:45
in the city i he sent out the charts02:05:47
ahead of time i'm always that person02:05:48
who's super prepared i'm there early i02:05:50
got a pencil got my stand i already02:05:52
printed out my music even though he had02:05:53
to print it out i wrote in the music02:05:54
because there was some tricky stuff i02:05:56
learned all the hard parts ahead of time02:05:57
listen to the recordings learn the parts02:05:59
bam i'm ready rehearsal so rehearsals02:06:00
rehearsal so rehearsal doesn't turn into02:06:02
practice that's a good tip for all of02:06:04
you in a band don't make rehearsal02:06:06
practice rehearsals for rehearsing02:06:08
putting together parts that you already02:06:09
know it's not about learning the parts02:06:11
so i don't02:06:13
spend02:06:14
um time on the horn really02:06:17
um02:06:19
outside of playing a gig doing a02:06:21
recording or teaching a lesson02:06:24
take that for what for what you want so02:06:26
when you ask how do i structure my02:06:27
practice session02:06:28
the only practice i do is if i'm02:06:30
learning something specific like hey02:06:32
we're playing a gig tomorrow night and02:06:34
we're doing these specific tunes and02:06:35
we're not having sheets you have to02:06:37
memorize the tunes okay i'll memorize02:06:39
the tunes that's a practice session i'm02:06:41
not sitting here going okay i'm going to02:06:42
start with long tones today and i'm02:06:43
gonna play my scales i just don't do02:06:44
that02:06:45
would i be a better saxophone player if02:06:47
i did yeah most likely02:06:49
but that's not what i do i have my02:06:51
reasons okay02:06:53
uh02:06:54
how do you02:06:57
how do you practice putting silence in02:06:59
your solos do you mean you practice not02:07:00
to take all the place yeah the best way02:07:01
to do that is to play acapella and fill02:07:04
in as a as a drummer02:07:07
i my biggest thing when i solo is02:07:10
interacting with the drummer if there's02:07:11
a drummer in the band so pretend you're02:07:12
the drummer watch this i'll try to wait02:07:14
i'll play and i'll make the sounds here02:07:16
we go one two i want you02:07:23
[Music]02:07:36
off02:07:38
[Music]02:07:43
up02:07:45
[Music]02:07:55
sorry i'm choking02:07:57
be the drummer02:07:58
interact with yourself as a drummer even02:08:01
if you're02:08:02
even if you're just02:08:04
singing it or smacking the keys i do02:08:06
that a lot boo bad02:08:09
right that gives you02:08:11
that space and it teaches you how to02:08:14
say something and interact now obviously02:08:16
in if you're the one interacting you02:08:18
know what you're playing so you can02:08:19
anticipate it instantly and the02:08:21
drummer's not going to catch everything02:08:22
but if you think of it more as a02:08:24
conversation and remember a solo is only02:08:26
a solo if you're the only person playing02:08:29
so if you're playing with a quartet and02:08:31
there's a rhythm section playing02:08:33
you might be soloing out in front and02:08:35
improvising02:08:37
you're not i mean i guess you can be02:08:39
called a soloist you're basically the02:08:40
melody leader02:08:46
joe schmidt yo02:08:49
guys joseph schmidt is in the chat02:08:52
so he's been on some of my videos02:08:55
um dude what's up man02:08:57
i gotta come down there we gotta hang02:08:58
yeah see little tony um so02:09:01
joe has been on my channel you can02:09:02
search my name and joe schmidt he's a02:09:04
great tenor player you want to talk02:09:05
about someone who doesn't practice but02:09:07
still sounds great oh my god this dude02:09:09
might have the same read on for three02:09:10
years because he only played it twice02:09:11
and then just rips through like any tune02:09:13
it's amazing02:09:15
yo joe uh but yeah i did play a lot in02:09:17
college yeah so yeah that's once again02:09:19
why i'm saying take this with a grain of02:09:21
salt what i do now is not what i did in02:09:23
college 15 years ago02:09:26
um02:09:27
so uh02:09:30
yeah so there's that how do you is the02:09:33
blue scale basically the same as02:09:34
diminished and can you substitute them02:09:36
um no02:09:38
i wouldn't say that02:09:40
the blue scale is very specific with the02:09:41
flat third02:09:43
with the skips and stuff in it um02:09:46
i know what you're saying02:09:48
like some of the notes are the same but02:09:49
they're not it's it's not don't don't02:09:51
don't equate those two things together02:09:52
the blue scale is completely separate02:09:54
deal in general how would you approach02:09:56
playing outside on a minor two five one02:09:57
yeah so that's a whole nother thing now02:09:59
miners you you shouldn't02:10:02
go as outside because the idea of a02:10:03
minor two five one is it's an altered02:10:05
major two five one it's it's a02:10:07
specifically altered with that flat five02:10:10
over the two chord in flat nine it's got02:10:11
its specific alteration so that's why02:10:13
the harmonic minor sound is usually best02:10:15
if you start going too far out i mean02:10:17
you could do it and it's the same kind02:10:18
of process but the sounds aren't going02:10:20
to be as authentically02:10:23
alt it's a whole different thing i can't02:10:25
get into that today02:10:26
can you play a251 and resolve with five02:10:29
four two02:10:31
huh stephen i don't understand your02:10:33
question02:10:34
can you end resolve what do you mean02:10:36
resolve with five like the chord tone uh02:10:38
like the notes five four the chords five02:10:40
four two i don't know um years ago how02:10:42
many hours you're playing a day in high02:10:43
school college oh hugh davis02:10:45
what up hugh02:10:46
what's going on02:10:48
i mean you can i think you can answer02:10:50
that about high school hugh but um you02:10:52
know a bunch a bunch of hours a day02:10:54
three hours a day maybe probably back in02:10:56
high school in college probably more02:10:58
what was your practice02:11:00
schedule like i don't like the schedule02:11:01
but i just played at night you know i02:11:02
just played for a few hours02:11:04
i did play in college a lot hey it's02:11:06
kevin yeah yeah hugh02:11:08
that's brother kevin joe02:11:11
uh oh sorry i'm just catching up you02:11:12
guys like talking to each other and i02:11:13
i'm just catching up to it now sorry i02:11:15
can only imagine the energy you and dom02:11:17
have in person when playing together02:11:18
yeah02:11:19
i mean we have a lot of energy by the02:11:20
way i guess i can announce a couple gigs02:11:22
like far off i mean i have a bunch02:11:24
before this too but i'm playing in uh02:11:26
philly we're doing i'm doing a02:11:28
cannonball call train02:11:29
kind of deal02:11:31
uh with with ryan devlin in october more02:11:34
details to come02:11:35
hey i've never got this tip thanks late02:11:38
to the party hope very late you're in02:11:40
the family peep the vod yeah joe lewis02:11:42
what's up man all right i'm gonna play a02:11:43
tune and then get out of here guys we've02:11:45
been on for two hours and 11 minutes so02:11:47
i thank you all02:11:49
um so i'm gonna play02:11:50
um02:11:52
um wait a minute let me scroll back up02:11:55
there are a couple tunes people are02:11:57
suggesting02:12:00
um02:12:02
somebody said a blues that's always good02:12:04
but yeah what about02:12:07
somebody said cherokee oh god02:12:14
i'm gonna do softly's in the morning02:12:15
sunrise02:12:17
um02:12:21
let's do that actually02:12:23
i might be able to02:12:25
[Music]02:12:27
get a better track for that as well02:12:31
because i have the j metcalf tracks i02:12:33
think somewhere02:12:39
um02:12:42
no i do not02:12:43
i thought i did02:12:46
oh well02:12:47
here we go so i hope it lines up guys if02:12:49
it doesn't once again i apologize02:12:52
but i'm gonna do softly02:12:54
for a couple reasons02:12:58
or actually you know what02:13:00
we've been talking about two fives may i02:13:02
should do a tune with more major two02:13:04
five ones02:13:07
uh02:13:10
cherokee again oh fine i'll do cherokee02:13:13
god02:13:14
not great at this tune02:13:16
joe schmidt is though02:13:18
let's do it at uh 240. not too fast02:13:25
do you guys want it in the original key02:13:26
or do you want it like up a half step02:13:28
like vincent herring called me out one02:13:30
time he's like yeah it's cool you can do02:13:31
it in b flat how about02:13:33
up a half step02:13:35
um so do you want b or b flat02:13:40
black scholars yeah joe oh man i would02:13:43
need a chart for that and a track02:13:46
uh crossfit there is a delay that's the02:13:49
see i'm not02:13:53
oh actually it's not as bad as it was02:13:56
uh original key you got it all right02:13:58
here we go02:14:04
[Music]02:14:14
hello02:14:17
[Music]02:14:29
see how many when i solo how many of the02:14:31
sounds i talked about you hear maybe02:14:33
comment when you hear them02:14:36
[Music]02:14:45
hey02:14:50
[Music]02:14:59
there's one02:15:04
[Music]02:15:19
wow02:15:23
uh02:15:27
[Music]02:15:37
uh02:15:39
[Music]02:15:58
huh02:16:05
[Music]02:16:11
ah02:16:12
[Music]02:16:37
wow02:16:39
[Music]02:16:43
[Applause]02:16:44
[Music]02:16:49
ah02:16:51
[Music]02:17:13
uh02:17:15
[Music]02:17:44
uh02:17:46
[Music]02:18:01
ah02:18:07
[Music]02:18:17
oh02:18:19
[Music]02:18:28
so i played a lot of notes there you02:18:30
know um02:18:32
too many02:18:33
uh probably but02:18:35
it is what it is um02:18:40
so i'm glad you guys are digging it kirk02:18:41
thank you so much for tuning in i'm02:18:43
heading out now anyway um heard the02:18:45
quote yeah i played it a few times so i02:18:46
tried to throw some of those in there02:18:49
the only downside to doing this though02:18:50
is that now that i've showed you guys02:18:51
these specific ways that i think about02:18:53
it every time i like post a video now of02:18:55
me playing you're going to be a comment02:18:56
like oh i heard that line i heard that02:18:58
triad here's a try it again you know02:19:00
when you start pulling back the curtain02:19:01
and you see how the how the sausage is02:19:03
made or go inside baseball here use a02:19:05
couple different analogies um you start02:19:08
to realize like oh yeah it's like i've02:19:10
heard those sounds before but now02:19:11
they're quantifiable you know what they02:19:12
are so it's pretty um02:19:15
it's pretty cool i think because then02:19:16
you learn02:19:18
like what they are and it's it02:19:20
demystifies them a bit it's not just02:19:21
like wow there's that cool line there's02:19:23
that wow wild outside line it's oh this02:19:26
is a very specific02:19:28
alteration that he's using here02:19:30
and and even if you were to hopefully02:19:33
this master class has taught you that if02:19:36
you go transcribe someone and you hear a02:19:37
sound you can quantify it over top of02:19:40
these chords right especially if it's02:19:41
harmony oh he played these notes why02:19:44
does it work you can go back to this and02:19:45
go oh he's using part of the diminished02:19:47
scale he's using part of that02:19:48
that triad part of this part of whatever02:19:51
so it creates a02:19:52
um02:19:53
you know a connection between what02:19:55
you're hearing and what what you can02:19:57
do with it so02:20:00
to wrap things up here02:20:02
um thank you all once again for for02:20:04
hanging out sticking and listening um if02:20:07
you haven't downloaded the02:20:09
pdf to go along with this02:20:11
it just has all those things i was02:20:12
talking through um please do so02:20:14
davepac.com02:20:16
it's in the pinned comment here in the02:20:18
live02:20:19
uh chat it's also the top of the02:20:21
description of the video02:20:23
if you're watching this afterwards and02:20:25
you didn't download it yet just go to02:20:26
the description i'll pin the comment as02:20:28
a regular comment as well all you have02:20:30
to do is put your email in02:20:31
and then also once you're by the way02:20:33
just once you're on that email list02:20:35
i02:20:36
i say weekly content i'm going to start02:20:38
being a little more regular but i'm02:20:39
going to be sending02:20:40
separate things just to the email list02:20:42
email people so if you give your email02:20:44
in that does not ever go on youtube02:20:46
like02:20:47
i actually have something already02:20:48
written that i'm going to be sending out02:20:49
probably02:20:50
early next week that is only to the02:20:52
email list i'm not going to make a02:20:53
mention of it anywhere publicly it's02:20:54
going to be hey thanks for being on my02:20:56
email list and being a fan of being a02:20:58
you know subscriber follower whatever02:20:59
you want to call it here's a free pdf or02:21:02
here's an extra video that's only for02:21:03
you guys that's not anywhere else so02:21:05
that's why the email list is important02:21:06
because it's a direct line from me to02:21:08
you me just posting on youtube or02:21:10
something is out into the void but i02:21:12
know the people that you know i can02:21:14
connect with through the through the02:21:15
email list is really important so make02:21:17
sure you download that02:21:19
if you haven't yet and uh you can also02:21:21
get the free masterclass on melodic02:21:22
soloing using only your email as well it02:21:25
doesn't cost anything02:21:26
um boston stack shop 10 off using code02:21:29
pollock p-o-l-l-a-c-k as always02:21:32
um02:21:33
it'd be cool if uh use anytime you use02:21:35
those codes02:21:37
and i know about it it's awesome02:21:39
merci beaucoup thank you thank you02:21:41
you're very welcome guys i hope you02:21:42
enjoyed this one um if you have any02:21:44
questions about it info davepollock.com02:21:46
you can email me02:21:47
and uh02:21:49
you know i'll hopefully be able to get02:21:50
to it and well i'll be able to get to i02:21:52
just you know how quickly um you know02:21:54
depending on how many i get02:21:56
hit the nail on the head awesome ending02:21:57
i hope you enjoyed it thank you all so02:22:00
much once again02:22:01
and as a02:22:02
uh final sign off if you're watching02:22:04
this live or you're watching this02:22:05
sometime in02:22:07
2022 in the summer my wife is doing a02:22:10
big charity bike ride coast to coast02:22:13
um02:22:14
i'm gonna put the link to that02:22:16
actually i'll get the link to that in a02:22:18
second02:22:20
for you um so check it out02:22:22
because02:22:25
uh02:22:26
oh wait a minute02:22:31
wait a minute02:22:35
hold on one second02:22:38
i'm gonna get you guys this link02:22:42
in the chat02:22:48
do so this isn't you know you don't have02:22:51
to do anything but her02:22:52
page02:22:54
um she's going to be biking like02:22:57
225 miles in three days or 250 something02:23:00
insane and uh in the end of september02:23:02
she's raising money for02:23:03
cancer research she is a cancer02:23:04
researcher but she's also raising money02:23:06
specifically through the v foundation if02:23:07
you wouldn't mind checking it out or02:23:09
sharing it around i know not everybody02:23:10
can afford it obviously that's totally02:23:12
fine just sharing it putting some eyes02:23:14
in front of it is also great02:23:16
and she sounds like she's a bike rider02:23:17
either she's just been training recently02:23:19
for this so it's pretty crazy02:23:21
but uh yeah so there's that02:23:23
check it out and uh yeah02:23:26
um just well have your attention on that02:23:28
thank you guys so much again i'm gonna02:23:29
be heading out i hope you enjoyed this02:23:31
make sure you get the pdf and uh have02:23:33
fun practicing your02:23:35
two five ones i'm sure you have a lot of02:23:37
questions you can send them thank you so02:23:39
much again i will see you guys in the02:23:41
next video and be on the lookout for02:23:43
more live stream master classes just02:23:46
like this one be sure to share this link02:23:48
around too if you think other people02:23:49
would enjoy this class thanks again02:23:52
appreciate it have a great oneDescription:
►Download the free PDF worksheet to go along with this video! https://www.davepollack.com/251 In this free masterclass I'm going to be talking all about 2-5-1s - what they are, how to build them, how to approach creating lines through them, alterations and substitutions, and lots of other tips and tricks that I’ve used over the years. There is a corresponding PDF as well, and if you're on my email list it was already sent out to you. If you're not on my list yet, head over to https://www.davepollack.com/251 to download the PDF. Check out some more videos: ►Christmas Tune of the Day 2020 Playlist: https://www.youtube.com/playlist?list=PL7QPFAUbUvt3Vbf0qpzGkIU3ECG1gixOW ►Will it Play? Playlist: http://bit.ly/325J2F9 ►Smooth Jazz Playlist: https://www.youtube.com/playlist?list=PL7QPFAUbUvt2_dtzPEf2itIVuK4gvmMBG ►Worldwide Sessions Playlist: https://www.youtube.com/playlist?list=PL7QPFAUbUvt1NIIPI5lrrbb5iLMZMze7c Follow me on social media! ►IG - @davepollackmusic ►Website - https://www.davepollack.com/ Thank you to my sponsors! ►Boston Sax Shop - https://www.bostonsaxshop.com/ ►Key Leaves - https://keyleaves.com/ ►10mfan - https://10mfan.com/
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