Michael Brecker never stopped practising, so why should you? I’d advise against trying to regurgitate great chunks of memorised bebop lines when you’re performing, for two reasons. Created Date: 9/8/2014 7:38:56 AM.

Description 20 Sax Licks For Guitar Learning and studying saxophone lines is probably one of the best things you can do to improve your vocabulary and improvisation skills. In this course we will go through 21 saxophone lines from the greatest players like Michael Brecker, Kenny Garrett, Joe Lovano, Chris Potter, John Coltrane, Joshua Redman and many more! Your phrasing will improve a lot by studying all those lines using the mixolydian, dorian, altered, lydian b7 modes and most of all you will be able to take a closer look at the note choice, arpeggios, substitutions, chromaticism & articulations used by all those Jazz greats! All of the examples feature fast and slow lick videos, full Tab/transcription, lick notes/explanations and 3 backing tracks. Hope you enjoy!

 Package Details – 21 HD Videos (Normal/Slow) – 1 Bonus Lick – PDF Booklet/Analysis – Full tab/notation – 3 Backing Tracks Related products •. Cara Menangkap Sinyal Wifi Jarak Jauh Menggunakan Hp No Root here.

Our first lick is a Bbmaj run in the style of the late, great saxophonist Michael Brecker. This line is very similar to his playing in the funky outfit 'The Brecker Brothers' alongside his brother Randy (Though Michael would have played this line as an insane run of 32nd notes!) Over the ii chord its seems that Micahel uses the 'pentatonic up a 5th' substitution, basing his line on Gm pentatonic (for more info on this substitution check out ). We do have some chromatic embellishment; the 1st note moves chromatically up to D then we descend down chromatically from F to Eb. This the ascends up slides to rest on a D (the 9th). Remember that this is a saxophone line so there is no correct fingering, only what works best for you. Over the F7#5 we have a line that focuses on the #5 (C#), b5 (Cb/B) and #9 (G#) but the use of chromaticism leaves you questioning exactly what scale Brecker is thinking of.

I would say that this is irrelevant, the idea is to create tension over this chord and resolve it effectively to the next chord, in this case the 3rd of Bbmaj7. When it comes to this sort of approach it may seem odd, but all the 'wrong' notes are the 'right' ones, so start playing around with the superlocrian scale (R,b2,#2,3,b5,#5,b7) and experiment by adding chromaticism to this. Activate Wireless Adapter On Hp on this page.

The following two shapes are a great starting point to practice this idea of tension and resolution. This ii-V-I is a 'quick change' in Bb. This means that instead of playing the ii and V for an entire bar we up the harmonic pace and move to two chords per bar. The result is that we have even less time on each chord, making outlining the change even harder! Fortunately there are ways to make this easier on you - using extended tension. The basic idea is that a standard ii-V-I is a well crafted progression that sets up tension over the V chord which is resolved smoothly to the I chord, a perfect cadence. Over this V chord anything is fair game, as long as you resolve the tension created.

Driver Epson Lq 2500 Xplor. So if we take that principal of 'create tension - resolve tension' then why not ignore the ii chord all together and play out for longer? This idea is very common in bebop circles; a genre synonymous with tension/resolution and quick change ii-V-Is at tempos often reaching 200bpm! So looking at our lick, you want to ignore the ii chord altogether; it is there (the rhythm section will be playing it) but we're thinking in terms of the V chord alone.