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.

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.

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!

A Fun Jazz Night at Noto’s

It has been a long time since I went to a lounge where a group of topnotch musicians was playing and sat in with them on my sax. Tonight I took the plunge and headed over to Noto’s in Cascade, where keyboardist Bob VanStee, vocalist Kathy Lamar, and drummer Bobby Thompson were performing. I’m glad I went! I had an absolute blast.

I’ve known Bobby for a couple years now and enjoy him both as a player and as a person. I’m just getting to know Bob VanStee, but I’ve known OF him since my college days, when he was well-known about town prior to his taking a 15-year hiatus from music from which he has only recently reemerged. As for Kathy, I’d heard her name but never met her until this evening. Holy cow! What a fantastic vocalist and charismatic entertainer! I love playing side man to a good vocalist, and Kathy is an absolute joy to play alongside of.

It really did me good to jump in with this trio and provide some horn work. While I brought my fake books, I wound up not having any use for them. Vocalists frequently sing tunes in keys different from the standard instrumental keys–a good reason for jazz musicians to become as fluent as possible in all twelve tone centers. I like that kind of challenge; it forces me out of my comfort zone. For instance, I’ve woodshedded “How High the Moon” in its contrafact incarnation, “Ornithology,” to the point where I can pretty well shred it in its normal key, concert G. I’ve also been working on it in concert A and F#, and bit in C. But playing it in Eb tonight took me places I wasn’t used to! Sure, Eb puts me in the nice, easy alto sax key of C, but the tune quickly modulates from C to Bb, then down another whole step to Ab. Navigating the key of Ab makes life nothing if not interesting.

Aebersold CDs and Band-in-a-Box are great assets for getting one’s chops together. But the real joy is in playing live with real-life musicians in a spontaneous framework. That’s the essence of jazz–musicians listening and responding to each other in a way that brings coherence and beauty to collective improvisation. It was wonderful to spend some time this evening with three superb talents who know what that’s about.

The Giant Steps Scratch Pad: NOW PUBLISHED!

You read right: The Giant Steps Scratch Pad has finally hit the streets!

I hadn’t wanted to give further updates until now because it seemed that I kept running into snags and delays. That kind of news gets embarrassing to write about after a while, and no doubt it’s tiresome to read. But all the hurdles have finally been crossed, and I am extremely pleased to announce that my book of 155 licks and patterns on Giant Steps changes is at long-last published and available for purchase.

Let me quickly follow with this caveat: The Eb edition is the one that is presently available. However, with that trail finally blazed, Bb, C, and bass clef editions are all in the works and will be following shortly. I finished editing the Bb edition earlier today, and I hope to complete the job tomorrow, so look for it in a day or two, or at least sometime this week. After that will come the C and bass clef editions. (UPDATE: ALL FOUR EDITIONS OF THE GIANT STEPS SCRATCH PAD ARE NOW AVAILABLE FOR PURCHASE. SEE BOTTOM OF PAGE TO ORDER. CLICK AND ENLARGE IMAGE TO YOUR LEFT TO VIEW A PAGE SAMPLE FROM THE Bb EDITION)

If you’ve ever wanted to build the technique to blaze your way through the changes to John Coltrane’s jazz landmark, “Giant Steps,” this is the book to help you do it. It’s truly a one-of-a-kind. Here’s the cover copy for it:

Build Your Technique and Creativity for the Giant Steps Cycle

Looking for a practice book to help you master “Giant Steps”? The Giant Steps Scratch Pad will help you develop the chops you need.

Plenty has been written about the theory behind Coltrane changes. This is the first book designed to help you actually improvise on John Coltrane’s benchmark tune. In it, you’ll find

  • * A brief overview of “Giant Steps” theory
  • * Insights and tips for using this book as a practice companion
  • * 155 licks and patterns divided into two parts to help you cultivate facility in both the A and B sections of “Giant Steps”

“Giant Steps” isn’t innately hard. It’s just different and unpracticed. This book gives you a wealth of material to help you take Coltrane’s lopsided chord changes and make music with them. Choose the edition that fits your instrument—Bb, C, Eb, or bass clef—and then get started today.

“Ever since John Coltrane recorded ‘Giant Steps,’ its chord progression has been a rite of passage for aspiring improvisers. Bob’s book The Giant Steps Scratch Pad presents 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, composer, multi-instrumentalist, owner of Tallmadge Mill Studios

“In this volume, Bob has created an excellent new tool for learning how to navigate the harmonies of ‘Giant Steps.’ This is a hands-on, practical approach with 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 and author of Materials and Concepts in Jazz Improvisation

I’ll of course be putting up an advertisement for the book on this site. But no need to wait for that. If you’re an alto sax or baritone sax player, you can purchase the Eb edition right now!
Trumpeters, tenor saxophonists, soprano saxophonists, and clarinet players (did I miss anyone?), the party is coming your way next, so keep your eyes open for the next announcement.

It seems strange to me that something like this book hasn’t been done before, but as far as I know, The Giant Steps Scratch Pad truly is unique. It has been a lot more work than I ever anticipated, but I’m really proud of the results. Major thanks to my friend Brian Fowler of DesignTeam for creating such a totally killer cover for the print edition. But there’s more to this book than good looks alone. I trust that those of you who purchase it will find that its contents live up to its appearance. If you’re ready to tackle Coltrane changes, this book will give you plenty to keep you occupied for a long time to come.

NOW AVAILABLE IN C, Bb, Eb, AND BASS CLEF EDITIONS, AND BOTH IN PRINT AND AS A PDF DOWNLOAD.

Instant PDF download, $9.50
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Print editions–retail quality with full-color cover, $10.95 plus shipping: order here.

Chromatic Exercises: Descending and Ascending Lines Against Static Tones

chromatic-lines-mscz-1The thumbnail to your cleft contains a couple of patterns I like to practice from time to time to limber up my ability to interpolate chromatic lines with common tones. I’ve also included a third exercise that I just thought of, and since I’ll be incorporating it into my saxophone practice sessions from now on, I figured I’d drop it into your lap as well. Click on the thumbnail to enlarge it.

The repeat signs don’t mean repeat just once; they mean repeat ad infinitum until the pattern is laying easily under your fingers. Then bump it up or down a half step and practice it in the new key. Repeat this process until you own the pattern in all twelve keys throughout the full range of your instrument.

While each pattern begins by outlining an A minor triad, it implies other harmonies as the chromatic line descends or ascends while the remaining tones remain static. I’ll leave it to you to figure out different practical applications.

You’ll find plenty more patterns, exercises, solo transcriptions, and articles of interest to jazz musicians on my jazz page.

Double Tonguing: It Doesn’t Come Easily, But It Does Come

Last November I posted an article on double tonguing on the saxophone, a technique I was just beginning to incorporate as a regular part of my practice sessions. Eight months have elapsed since then. I’d like to say that I’ve mastered double tonguing, but I’d be lying. I have, however, kept at it, and the gains, if slow, have nevertheless been significant.

This is a HARD technique to master! At least, it has been difficult for me. Maybe it has come easily to other saxophonists, but not to this one. By comparison, when I took up circular breathing years ago, I was quite comfortable with it within a few months. But double tonguing…well, the best thing I can do is to keep on keeping on with it, and to strive to apply it increasingly in my playing.

I have in fact gotten to the point where I’ve finally begun to use double tonguing when I’m playing out. It’s not a steady feature of my sax solos, just something that I experiment with.

But it’s in my practice sessions that I’ve been pushing myself, working on scales and licks using double tonguing. Does it sound polished? No. But it’s coming together, and at times it even sounds reasonably convincing.

As is true of any other musical challenge, repetition and perseverance are undoubtedly the key to mastering this technique. It’s a discipline, trying to get my tonguing to not only coincide with my fingerings, but also to make the results sound halfway musical rather than clunky. I seem to be able to handle about ten minutes of double tongue work, after which I move on. My patience is probably integrally tied to my tongue and embouchure’s endurance, and my philosophy is, work it and then leave it be.

At the time of this post, I’m capable of executing sixteenth notes at a tempo of around 135-140 mm. Not gracefully, to be sure, and not on the turn of a dime. I have to work into it. But that’s better than where I started.

Why am I even writing about this? Well, I’m not aware of anyone else who has actually chronicled their efforts to master this technique. If you’re working on it and it’s coming easily for you, then bully for you! But if you’re one who, like me, is finding double tonguing to be a real challenge to bring to a point of usefulness, then you might find it reassuring to know that you’re not the only one.  You might also take courage in hearing that improvements, while slow, do come.

Repeat Notes

Amid the fast flow of notes that so often characterizes a jazz solo, it’s good to add a little punctuation. Your listeners need it and so do you–a pause here, an accent there, something to break things up for the sake of creative interest. I probably should devote an entire article to the concept of space. In this post, however, I want to talk for a second about a more subtle form of musical punctuation: repeat notes.

I don’t know whether I’m using an actual technical term, but “repeat notes” is the handle I’m hanging on the concept I’m about to describe. It’s as simple a technique as you can imagine: you simply repeat a note in the midst of your flow of ideas. You may repeat it just once. You may repeat it several times for dramatic effect. You may choose to ghost the note or use an alternate fingering for effect. The point is, you’re momentarily bringing the jumble of tones to rest on a single pitch, and you’re working that pitch, spotlighting it, whether for a microsecond or for several bars.

Like many musical concepts, this one is easier to illustrate than to explain. So click on the image and take a look at the exercise I’ve included. It’ll give you a start on repeat notes. From there, the possibilities are limited only by your imagination.

By the way, the note heads with X’s are ghost notes. For whatever reason–probably because we’re talking about punctuating solos–it seemed appropriate to include a few of them in this exercise along with the repeat notes.

Kirk Whalum on What To Practice When You’re Stuck

You are reading what will likely prove to be the shortest post I’ve ever written on this blog. There’s no need for me to write a lot. I’m just going to redirect you to Neal Battaglia’s Sax Station website, where I came across a terrific YouTube video by Kirk Whalum. If you’re looking for some new practice ideas with which to challenge yourself and improve your saxophone technique, you have got to check this out!