Half a Step Away from Right

The old jazz improviser’s adage is true: You’re never more than half a step away from the right note. You can justify any clinker by calling it a chromatic neighbor as long as you play it like you mean it and resolve it to a chord tone or to the correct upper extension. That raised seventh you played over the dominant chord–that was intentional, right? Love how you used it as a leading tone to the chord root! The major third you landed on in that minor seventh chord–how clever of you to create such unexpected tension en route to the minor third.

I’m joking around a bit, but what I’m saying is perfectly true: the difference between a clinker and chromaticism lies in how you handle the note.

Knowing about the half-step difference can help you when you’re sitting in with a group and find yourself playing a tune by ear whose harmonies you’re not familiar with. Barring tunes whose chords are all purely diatonic, you’ve got to identify the qualitative differences in borrowed chords. Modulations are a different matter; often, though, you’re dealing with just a chord or two out of the norm. Can you identify the note (or notes) that has been changed? It has only been raised–or lowered, take your choice–by just a minor second; otherwise, it would be diatonic to the scale.

Often the sixth note of the scale will be lowered to serve as the minor third in a IVmin7 chord, or as the flat 5 in a IImin7b5. Or the fourth may be raised to serve as the major third of a secondary dominant (V7 of VI). Or the tonic may be raised to serve as the major third in a V7 of II. The point is, if something in the harmony you’re hearing creates a clear qualitative difference, try to identify the tone or tones involved. You may be able to simply skate over the altered chord using a diatonic scale, as you can in rhythm changes, but you really should pay attention to it so you can make judicious choices about how to handle it. Doing so isn’t necessarily a matter of using a different scale; think instead of using the same scale with a note or two in it changed, or perhaps a note added. Your scale options can become more involved, of course, but it pays to start simply until you know what you’re dealing with.

Some tunes will stretch your ears if you work with them; others are too complex to simply jump in on. Speaking personally, my ears have their limitations. If a tune has a lot of modulations and odd harmonies, I have no problem with sitting out that number. But if I think I stand a chance of playing something convincing over unfamiliar territory, I’ll give it a try. Such on-the-spot listening and response is part of the learning curve of an improvising musician. Mistakes can be embarrassing, I’ll grant you, but don’t be afraid to make them. How else are you going to learn?

If you found this post helpful, then make sure to check out my jazz page, featuring many more articles, solo transcriptions, and resources of interest to jazz instrumentalists.

Guest Post for Sax Station: Connecting Technique to Expressive Improvisation

For today’s post, I’m giving myself a break and connecting you with a guest post that I wrote for my co-conspirator in saxophonistic mayhem, Neal Battaglia. When Neal invited me to write an article for his topnotch blog site, Sax Station, I cast about for a bit and came up with a post titled “Connecting Technique to Expressive Improvisation.” After reading what I’d written, I mildly lamented the fact that I wasn’t posting it on my own blog, but I’m honored that it’s on Neal’s.

I hope you enjoy the read. And don’t stop with my article. Check out the rest of Neal’s site, because there’s a lot of really good stuff on Sax Station! Also, keep an eye out for a reciprocal post by Neal here on Stormhorn.com. I love featuring guest posts, and while Neal is less long-winded than I am, he offers some very worthwhile insights.

PDF Download of “The Giant Steps Scratch Pad” Now Available

With my practice book for Coltrane changes, “The Giant Steps Scratch Pad,” now published in its four fundamental editions–C, Bb, Eb, and bass clef–I’m now making it available as a PDF download as well as in print.

The advantages of the download for you are twofold:

* You’ll save money. The difference is $9.50 for the download versus $10.95 plus shipping for the print edition. Those of you who can afford the print edition will love it! The cover looks fantastic and Lulu.com does a professional job of printing. But if it’s not in your budget, then the download is a cost-effective alternative that gives you all of the book’s vital content to help you master Coltrane changes.

* You’ll save time. If you want to start practicing the material today rather than wait for the print edition to arrive in the mail, then the PDF download is the way to go.

To give you a quick summary, “The Giant Steps Scratch Pad” is a collection of 155 licks and patterns for all jazz instrumentalists on the chord changes to the John Coltrane tune “Giant Steps.” Taking you beyond theory to actual application, the book is intended to be played, not just read. Choose the edition that meets your needs–C, Bb, or Eb, and print or PDF download–and order your copy today.

“…a practical approach to Coltrane changes that will challenge advanced players and provide fundamental material for those just beginning to tackle the challenge of ‘Giant Steps.'” –Ric Troll, multi-instrumentalist, composer, owner of TallmadgeMill Studios

“…a wealth of great material that will be of assistance to students of jazz at all levels of development.” –Kurt Ellenberger, composer, pianist, jazz educator, author of “Materials and Concepts in Jazz Improvisation”

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Giant Steps Scratch Pad Complete instant PDF download, $21.95
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Print editions (C, Bb, Eb, and bass clef editions only)–retail quality with full-color cover, $10.95 plus shipping: order here.

Praise Team or Praise Family? Some Thoughts for Worship Ministry Leaders

The single, most far-reaching improvement you can make in your praise team involves the “C” word, “connecting.”

Worship ministry leaders, let me speak frankly. I’ve been a disciple of Jesus for 30 years now, and most of that time I’ve served in praise bands of various kinds. So when I write, it’s from an insider’s perspective, and a fairly seasoned one. It’s from that point of view that I’m telling you, something vital is missing from many–I daresay most–evangelical praise teams today.

Actually, two things are missing. Let me pose a question: How much of your weekly rehearsal times do you set aside for your team to connect with each other and to pray together?

In my experience, the answer for a lot of teams, truthfully, is, not much. Sure, the team members exchange greetings and a bit of conversation prior to practice, and the leader begins the rehearsal with a quick prayer asking God to bless the team’s efforts and vowing to give him all the glory. But when it comes to really connecting with one another and with God, deliberately and intimately, rehearsal times are typically two hours wide and half an inch deep.

I understand that there’s music to be learned and practical affairs to be discussed. But ladies and gentlemen, this is probably the only day of the week other than  Sunday when you’re all together. If you don’t devote a substantial part of it to growing not just as musicians, but as a little family who cares for each other and seeks God together, then what is it, really, that makes you a ministry? For that matter, what is it, other than the music you’re playing and the venue where you’re playing it, that sets you apart from any secular band? Because ministry lies in the moment and in your ability to relate to each other as complete people, not just as components of a band who fill neat little roles with set expectations–who play your parts and then go your separate, disconnected, and quite possibly painful and lonely ways.

Ministry starts in your midst as you prioritize what God values most, and that’s not music. It’s your brothers and sisters. It’s family. Jesus revealed God as our Father, not our band director.

I submit that making time for each other and for God is every bit as important as practicing tunes, and more. Except for the occasional new tune, you already know the material–you’ve been playing it for a long time. Chances are you know the music a lot better than you know each other. So, worship director, if you want to take your team to the next level of ministry, here’s where your greatest, most potentially life-changing opportunity lies. Not in your programming. Not in sound checks. Not in massaging a new, creative twist into a particular song. The single, most far-reaching improvement you can make in your praise team involves the “C” word, “connecting.” I’m not saying the other things aren’t important. I’m just saying that there’s something else that’s more important, and if you don’t get that in place, then none of the rest matters. Not really.

I think we evangelicals need to change our ministry model from that of a praise team to a praise family. And I think we need to invest the idea of rehearsal time with greater depth and breadth, as a time not only to tighten down the tunes and their order in next Sunday’s service, but also and more importantly, to grow closer together and to God in ways that give substance to the teachings and heart of Jesus. He didn’t say that the world would know we’re his disciples by the music we play, but by the love we have for one another. Moreover, the request that Jesus’ disciples asked of him was, “Lord, teach us to pray,” not, “Teach us to play.”

So, here’s my proposal: What would happen if your team devoted the first half-hour to 45 minutes of your rehearsal time to enhancing your relationships and your prayer life? Before you ever flip on a switch, tweak a dial, or pick up an instrument, you sit down and share your lives with each other with an honesty, care, acceptance, and mutual appreciation that goes beyond just scratching the surface. And you pray–not just the team leader, but all of you, one by one, organically–from your hearts with a hunger for God that far exceeds, “Lord, we come to you and give you praise and ask that you bless our practice time, and we give you all the honor and glory, amen.”

I challenge you to try it once and see if something good doesn’t happen. Then do it again, and again, every time you come together as a praise team. Persistence will bear fruit, and I believe that the fruit will in time ripen into something far better, more powerful, more Christlike, and more genuinely ministry, than you can imagine.

Show me a praise team that has something like what I’ve just described in place and I’ll come running to join it. I’ve played a lot of music over the years with a lot of very talented musicians, both Christian and secular, so I couldn’t care less how hot a band sounds.  Music isn’t a draw for me; spiritual and relational depth are. If you can offer me that, then I’ll gladly offer you my saxophone in return–along with all the rest of who I am as a person and brother in Christ–if you’ve got room for me in your praise family.

Troughy Weather for Next Week

Here on the back end of a 996 mb low, dry Canadian air has dropped the moisture along with the heat in Caledonia, Michigan. We’re presently socked in with clouds, and temperatures are supposed to peak at just 65 degrees. It feels a lot like fall outside.

This latest cold front has meant business, and to me it signifies the arrival of autumn’s transitional weather pattern–a time when the upper atmosphere begins to cool and conditions become more conducive to bouts of severe storms.

Our next round of stormy weather may be arriving by next weekend. Granted, it’s pretty early to be looking so far ahead, but the SPC has been eyeballing the next trough in their long-range discussions with a good amount of confidence. Seems like a question not of whether something will happen, but when.

Not having access to many of the SPC’s forecasting tools, I have to go by what’s available to me. The GFS and Euro both depict a pretty deep trough. The GFS, typically, wants to move it along faster than the Euro, but both models agree that there will be something there to move. Both also show a robust surface low developing and drawing in dewpoints in the mid 60s. The northern plains may get hammered later this coming week. By the weekend, Michigan may get a crack at some severe storms. Or not. The crystal ball is murky this far out, and as always, the caveat is, we’ll find out when we find out.

Whatever happens, it’s nice to think that the weather machine may be lurching out of the summer doldrums and getting set to ramp up the action. September furnishes some nice opportunities for taking photos of squall lines blowing in at the lakeshore. Maybe this will be one such occasion. Maybe it’ll be even better than that. It’s not premature to cross our fingers.

C Edition of “The Giant Steps Scratch Pad” Is Now Available

I’m pleased to announce that “The Giant Steps Scratch Pad, C Edition” is now published and available for purchase on Lulu.com. If you play the flute, piano, guitar, or any other concert pitch instrument and want a practice companion to help you master Coltrane changes, then this collection of 155 licks and patterns is for you!

Besides the new C edition, “The Giant Steps Scratch Pad” is also available in Bb and Eb editions. A bass clef edition is next in line. I’m not sure what kind of editing it will require, since the shift is to a different clef rather than a different key. I’m hoping that the process will be a simple one and I’ll be able to release the bass clef edition soon.

If you want to learn more details on what the book has to offer, read the initial release notice for the Eb edition. The description applies to all the editions, which are identical except for the keys in which the musical material is written.

At the risk of sounding immodest, I’m not aware of any other resource, either in print or online, that offers such extensive practice material for the Giant Steps cycle. You can find plenty of information on the theory of Coltrane changes, but it has been a different story when it comes to a hands-on, made-to-be-played book that jazz musicians can take with them to the woodshed. “The Giant Steps Scratch Pad” fills that gap. If you want to solo confidently and creatively over the challenging, lopsided changes of “Giant Steps,” then pick the edition that’s right for you and order your copy today!

Review: “Bullseye Bowdle” DVD

It all came back to me yesterday evening, just as if I was once again sitting in the front seat of Mike Kovalchick’s Subaru Outback blasting east down US 12 in South Dakota. There it was–the Bowdle wedge, seething like a boiling, black cauldron in the field north of our vehicle.  Thanks to a beautifully produced new DVD, my buddies Tom, Bill, and I relived what was unquestionably our most unforgettable chase of the year.

To the guys at Convective Addition: Bravo, gentlemen! “Bullseye Bowdle” is a superb chronicle of the amazing May 22 north-central South Dakota cyclical supercell. From the first tornado of the day, to the massive, violent Bowdle wedge, to the infamous “farmer’s field” debacle, this video provides those who chased that day with an opportunity to relive its events, and those who didn’t with the chance to drool over what they missed.

I spotted our Michigan contingent–consisting of Bill and Tom Oosterbaan, Mike Kovalchick, and me–in a number of scenes. Hey, now we’re stars! Or just walk-ins, I suppose. Getting filmed on various chase videos that day seemed almost inevitable, since everyone out there was tracking the same slow-moving storm, albeit approaching it from different angles. “Bullseye Bowdle” does a splendid job of presenting multiple perspectives on each tornado.

The storm structure that day ranged from breathtaking to unbelievable, and this video captures it all, from storm initiation to the phenomenal, bell-shaped meso with an immense cone/quasi-wedge beneath it west of Bowdle, and plenty more. Of course, the powerful Bowdle EF-4 wedge is the show’s main act. But the graceful, highly photogenic tornado that formed northeast of Bowdle after the wedge dissipated is also spotlighted, and deservedly so. If you want to get a good look at multi-vorticity, check out the braided appearance of this tornado. During its truncated tube phase, it looks as if it were literally woven out of delicate, pirouetting vortices, like a strand of yarn in which you can see all the individual threads–simply amazing, not to mention quite beautiful.

And then, yes, there is the farmer’s field. Those of us who were there will never forget it: our narrow escape from disaster, and the craziness that followed. Having survived both the tornadoes and the ensuing lunacy, each one of us has a story to tell, and it’s nice to see part of that story dramatized on film. I love the footage of the drill-press tornado! But for me, the most jaw-dropping part is Adam Lucio’s segment of a tornado forming right by the vehicles, not more than 30 feet from one of them. I failed to witness that spectacle when we were actually sitting out there in the middle of the South Dakota prairie, but the video shows it clearly. It was a moment worthy of every expletive under the sun, or in this case, the mesocyclone.

My favorite comment in the video occurs as two sets of headlights appear on the horizon, heading toward us through the darkness. Adam Lucio: “Off in the distance we can see help is on the way.” Ha! Not quite. Swap out the “P” in “help” for a second “L” and that assessment would have been spot-on. I can’t make a blanket indictment of the locals since some of them were decent folks, sympathetic, and extremely helpful, and the land owner’s initial anger was understandable; but there were others who in my opinion behaved–how shall I put this? I’ll say it delicately–like wholesale, unmitigated, gold-gilded, rhinestone-encrusted, butt-drunken, power-abusing, 24-karat jerks.

Okay, I got that out of my system. Moving right along: The Convective Addiction crew have thoughtfully included a section featuring a time-lapse chronology of the storm as it busted the cap and began spitting out tornadoes. The value of this section, besides the fact that it’s just plain fun, lies in how the faster motion highlights aspects of the storm that I normally wouldn’t have noticed. It’s fascinating, for example, to watch the dramatic, cascading interaction between the flanged meso and an adjacent inflow band as the RFD carves a clear slot between them.

The video concludes with a well-presented synoptic and mesoscale overview of May 22, 2010 which does a good job of describing the setup. I don’t recall (and can’t check, not owning my own BlueRay player) whether it discussed the cap, which was the big forecasting question mark for that day. But the cap obviously blew, and the meteorological analysis does a good job of showing the ingredients which combined to make May 22 such a dramatic chase.

Besides some fantastic footage, Convective Addiction has also selected some tasty music for their sound track. However–and this is something I appreciate–they use the music judiciously, not to the point of overkill. In a chase video, I want to hear the reactions and interactions of the chasers; the sound of the wind, the rain, the passing traffic, and hail pelting the windshield; the real-life environmental stuff. That’s part of what puts me in the picture, and the storm chasers who produced this video clearly feel the same way. I know these guys like their jams, but in “Bullseye Bowdle” they wisely focus on the storm, the tornadoes, and the human element of the chase.

If I have any critique to offer, it would be that in their next video–and I hope there will be a next, and many more to follow–the editors of Convective Addiction might consider offering a brief wrap-up where appropriate in order to avoid the somewhat jarring effect when a video segment ends abruptly.

Bottom line: If you’re a storm chaser or just enjoy watching storm chasing videos, then “Bullseye Bowdle” is a must for your DVD collection. It’s available in both standard resolution and BlueRay at Convective Addiction.

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For the sake of complying with new federal regulations, whether real or imagined: This review is not a paid review. I’ll gladly write reviews for pay. In this case, though, I bought the DVD with my own sweet shekels and I’m writing purely because I like “Bullseye Bowdle” and think you will too.

Warmest West Michigan Summer in 55 Years

This summer of 2010 has been the warmest summer in West Michigan since 1955, according to WOOD TV meteorologist Bill Steffen. Temperatures in the 90s have predominated, with dewpoints in the upper 70s,  and Lake Michigan water temps–in the mid 70s this morning–have been as high as 80 degrees. That’s like swimming in bathwater, and I’m not even referring to the lake–I’m talking about just stepping outdoors.

We made it as high as 93 degrees yesterday, and it looks like hot temperatures are going to hang around for a few more days until a weak cold front modifies things a bit and hopefully brings a few storms to make life interesting. I’m all for hot and sticky under the right circumstances, but a glance at RAOB model soundings for RUC and NAM shows utterly placid conditions. Winds at 500 millibars are doddering along at a geriatric 10-15 knots, and the rest of the atmosphere is keeping pretty much the same pace.

The great storms of May and June are so far past that they seem like ancient history. Who all besides me is ready for a nice, deep trough to come sweeping across our area? Patience, patience, lads and lasses. The fall season is coming. This stifling heat and humidity will soon get stirred up with episodes of cooler air sweeping in from Canada, and the weather machine will kick into gear once again. Then we can all fire up our laptops and Rain-X our windshields for one last blast before the snows fly.

How to Growl on the Saxophone

After rereading one of my older posts on how to ghost a note on the saxophone, I’m reminded that even simple sax techniques–or tricks, if you wish–seem like a mystery at some point in a saxophonist’s learning curve. So it is with the growl. It’s easy once you know how to do it, but until then, you listen to players who use the growl–Phil Woods does so to great effect–and wonder how the heck they do that.

Let me enlighten you. The technique is so easy to acquire that if you’ve got your horn in your hand, you can be growling in fifteen seconds and have a pretty good feel for the growl in a few minutes. What’s the secret? Sing or hum into your instrument while you’re playing it. Pick a tone lower than the range you’re playing in.

That’s it.

I repeat: Just sing or hum into your instrument while you’re playing it. The extra source of sound creates conflicting overtones that jostle with each other to create a growling effect. (That’s my simple, non-technical explanation.)

You can experiment with humming certain pitches relative to the notes you’re playing–an octave below, a fifth below, and so forth. I don’t worry about such stuff myself, and maybe I should pay more attention to it. But I’ve never had any problems getting the essential effect.

Note that growling is not the same thing as flutter tonguing. The two techniques may sound somewhat similar, but I think that most ears can easily tell them apart. They’re very different approaches that produce different effects.

If you enjoyed this article, check out the many other helpful articles, exercises, and solo transcriptions on my jazz page.

Great Lakes Waterspout Season Is at Hand

Now is the time of year when waterspouts start putting in an appearance on the Great Lakes. I had largely forgotten about spouts until a few days ago when my friend and fellow weather weenie Mike Kovalchick mentioned them in an email. Bing! A light blinked on in my head: That’s right! Waterspouts!

I’ve never seen a waterspout. But then, until last year about this time with my buddy Kurt Hulst, I’d never made a point of going out after them. Kurt and I busted that day, but maybe this year I’ll get lucky, provided I increase my chances by taking more opportunities to chase spouts.

I have zero experience forecasting waterspouts. Thankfully, there’s a snappy little graph called the Waterspout Nomogram that simplifies the process. Developed by Wade Szilagyi of the Meteorological Service of Canada, the Waterspout Nomogram provides a quick visual aid for determining when certain critical parameters are in place for four different classifications of waterspout: tornadic, upper low, land breeze, and winter.

The tornadic variety is self-explanatory, and any storm chaser with some experience making his or her own forecasts should have a good feel for when that kind of waterspout is likely. Mike favors the 500 mb cold-core, closed low setup, which to my thinking may be a variant of the first in producing low-top supercells. The remaining two, land breeze and winter, seem to involve different dynamics. For all the waterspout categories, one of the constraints is that for spouts to occur, winds at 850 mbs have to be less than 40 knots, something I find particularly interesting in the case of supercell-based waterspouts.

In any event, I’m hoping that this year is my year to finally witness a spout or two. Michigan chasers and weather weenies, it’s time to pay attention to the marine forecasts. The “second season” can include action right along the lakeshore even when nothing’s popping anywhere else. Make sure you bring your shotgun just in case a waterspout gets too close for comfort (written with a wink and a grin).