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by EricS
(10 posts)
17 years ago
Re: Have you met miss jones?
Wow I've never heard of Eb pentatonic on D minor
Can you please help me out here with my tone what should I change
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by mjohnnie
(66 posts)
17 years ago
Re: Have you met miss jones?
Link doesn't take me to your video, sorry.
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by EricS
(10 posts)
17 years ago
Re: Have you met miss jones?
Better recording of it:
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by saxplaya81
(110 posts)
17 years ago
Re: Have you met miss jones?
just keep practicing everyday man, scales chords sight reading and play as much as you can and you'll be ready and do what your private teacher tells you. even if you dont feel like you're ready you can consider going to a junior college and studying music then transferring to a big school, this is the method i prefer anyway, college is a big deal and can real catch you off guard especially if you decide to change your mind on something. The best thing to do is to go on the school you want to apply to website and go to their music page then look up audition requirements, almost all schools have them on their website. Good luck and keep jammin.
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by newreedsyndrome
(343 posts)
17 years ago
Re: Have you met miss jones?
Alright, I'm gonna cut you into confetti, but I think that's what you're looking for.
Stylistically: Try not to overdo it on the inflections. You've got a serious case of High School Scoop Syndrome. Also, be aware of your vibrato; it sounds more like a mannerism or an affect than something you thought would make the music sound better. Your time got a little hurried sometimes; try to avoid that. And dont do the forte-piano thing. Nine times out of ten, it comes off as really constrived. Listen and communicate with the rhythm section! They're not there to do your bidding (I'm keepin it polite).
Harmonically: Your harmonic aproach sounds forced; think more about the melody you're playing and less about going 1-2-3-4-5-3-2-1 or arpeggiating or whatever. Play more melodies. When you play a note for a really long time, make sure it's a really good note. Learn to scat, and sing over all the tunes you try to solo over.
Saxophonically: Also, maybe try to add some more body and warmth to your tone. Bright is fine, but thin isn't. Intonation is a must, always. The altissimo is pretty good. Don't attack your notes so hard, and try to avoid tounge cut offs.
All around, make your solo go somewhere: tell a story; don't just play one long altissimo note after another with sporadic little psuedo bebop moments. A certain infamous saxophonist who's name I don't care to mention attracts the ridicule of almost every jazz musician in the world by doing that. Tell a story.
Now, I've totally sunk your jazz ship, but don't get your feelings hurt or feel discouraged. Work on all this stuff, and you'll be so much more the musician for it. Good luck!
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by EricS
(10 posts)
17 years ago
Re: Have you met miss jones?
Thanks for the advice
by the way it was an aebersold not a real rythym section :)
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by EricS
(10 posts)
17 years ago
Re: Have you met miss jones?
How is my sound thin? I really don't think it is. What do you mean.
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by newreedsyndrome
(343 posts)
17 years ago
Re: Have you met miss jones?
Oh, was it an aeborsold? Still though, and to discredit what I'm about to say, I obviously haven't heard you play with a live rhythm section, but I keys and drums as well as woodwinds, and honestly, I don't know how well I'd be able to communicate with what I heard you playing. I think it was the lack of direction; when your ideas are going somewhere, it's much easier for your rhythm section to have a conversation with you. It's proportional to words; just play how you converse. As far as your tone, maybe it was just the recording, but I was hearing a lot of upper overtones and not a lot of low end in your tone. This is an extremely common issue with young players who go for bright tones. Who are your tonal idols? For bright, I think Mike Brecker has the perfect 'bright' tone (tenor, though, but still the same concept). Before you go for tone coloration, you should make sure your tone has a full spectrum of overtones. When you do long tones, listen closley for the overtones in your sound and try to get the low ones as well as the high. I can't explain how to do this physically; everyone's head is shaped differently; but its really just an issue of hearing it.
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by EricS
(10 posts)
17 years ago
Re: Have you met miss jones?
Cannonball Adderley, Eric Marienthal, David Sanborn for tone
You play more like Sonny Rollins or Stan Getz I imagine. Nothing against that by the way.
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by newreedsyndrome
(343 posts)
17 years ago
Re: Have you met miss jones?
Good tone idols. All three of those guys have a LOT of body to their tone, and its all really bright, but it's all there.
Me, actually, I play more along the Brecker vein. I play with a loud bright tone, lots of multiphonics and harmonic fingerings and such, and I'm a bit of an altissimo-holic. Lot's of weird scales and stuff; I like to play a lot of stuff people can sing, but in different contexts. For example, on a D minor chord, I might play Eb pentatonic or pentatonic b6, and maybe juxtapose it with the same cale a tritone away, in which case I'd play the pentatonic licks we all hold so dear going back and forth between Eb and A pentatonic b6, and maybe compliment them with little diminished and altered fluries. Haha... I have a lot of fun.
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by EricS
(10 posts)
17 years ago
Re: Have you met miss jones?
Wow I've never heard of Eb pentatonic on D minor
Can you please help me out here with my tone what should I change
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by newreedsyndrome
(343 posts)
17 years ago
Re: Have you met miss jones?
all i think you need is a fuller in that respect, and i cant really tell you how to do that from afar. i can give you excercises, though. Do you play the overtone series? Try tone matching between natural and harmonic fingerings, and playing up and down the overtone series on each of your low note fingerings (maybe up to low F# at the hightest). Also, do long tones where you sit there and play a note and listen real close for the overtone series one note at a time (the first one is an octave, than an octave and a fifth, etc.; you'll hear it). If you cant hear it, experiment with you embrochure and oral cavity until you can.PLay outside, in big open fields, too, if you can, when wheather and circumstance permit. I'm guessing you have a private teaher? Get his/her input on how much of your overtones are coming out.
Hehe, as far as the Eb pentatonic over D minor goes, forget that I said anything about that for about 7 years. With stuff like that, you really have to be able to hear it and sing it to pull it off. What are you working on as far as harmony goes right now?
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by EricS
(10 posts)
17 years ago
Re: Have you met miss jones?
I do overtones up to D and longtones with a breath start at ppp cresendo and then decresendo, breath release.
I'm doing licks in all 12 keys right now.
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by newreedsyndrome
(343 posts)
17 years ago
Re: Have you met miss jones?
good. are you tone matching your overtones? licks in all 12 keys is good, but they dont harmonically... expand, so to speak, what you're doing. i honestly almost regard that as a technical excercise more than working on harmony. i mean what concepts? what would you play over a 2-5-1? how would you voice a C7#9#5 chord?
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by EricS
(10 posts)
17 years ago
Re: Have you met miss jones?
Well that depends on the situation of course!!!!
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by newreedsyndrome
(343 posts)
17 years ago
Re: Have you met miss jones?
ahhhh. i see. imagine you've got a really short solo on some arangement generic, 4/4 swing tune, and you only had 2 bars to play the hippest shit you could, and the changes for those two bars were a 251. what would you play? and if someone held a gun to your head and said, "play the a really hip voicing for a C7#9#5 or ill blow your brains out", what would you play (assuming there was a piano there that you could play the voicing on)?
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by EricS
(10 posts)
17 years ago
Re: Have you met miss jones?
Hmm lets say it was 2 beats ii 2 beats V then 4 beats I. I could play the dominant chord for the first measure a tritone above, if I felt like it. I don't know if I would feel like it I've never had that situation before. for the major maybe something sophisticated with a #11 I don't know.
I have no idea I only play a little piano but I would play an E, G#, Bb, D# in some manner. Haven't really worked on voicings honestly.
I feel like you're trying to put me down as a musician. Why? And you still haven't answered my original question :)
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by newreedsyndrome
(343 posts)
17 years ago
Re: Have you met miss jones?
I'm not trying to put you down as a musician. I'm trying to make sure you're practicing and learning efficiantly. I like to do what I can to help young players succeed.
As far as colleges go, shoot for the moon. I would check out as much as you can and pick maybe 5 or so schools that would be your first choice, and another 5 or so as your second choices. A lot of audition stuff overlaps. Have you looked at UNT (University of N. Texas)? Thats a great school.
You said you're a junior. If you practice and learn efficiantly (that's kind of my 'thing'. many teachers have their 'thing' that they like to tell students to do; thats mine), I think it'll really expand your options as far as colleges you can get into. Colleges like well rounded musicians more than ever nowadays; the age of one-trick-ponies is at an end. I dont say that to call you a one-trick-pony, but most high school jazz musicians are. The more you can learn and incorporate into your playing, the better.
Good luck!
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by clamness
(13 posts)
16 years ago
Re: Have you met miss jones?
the new reed guy sounds more than a little condescending to me. anyhow, he must be really awesome to play all that stuff. one might recommend a little chet baker to that guy. so as i was saying, michael brecker had a huge stack of licks on manuscript at his house that he would refer to when he'd practice, and he'd play them in every key. i personally think its the best thing i've done for my own playing...but what do i know.
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