Saxophone confidence. Playing the Blues

Here’s a good way to gain loads of confidence playing the sax after only a few lessons.

Have you started your scales yet? If not don’t worry just try a C major scale now, it’s quite easy, all you have to do is play C,D,E,F,G,A,B,C on your saxophone. It is often easier to start on the C in the middle of your sax (3rd finger, right hand) and work backwards descending down the sax.

Now a little music theory. Try think of your scale like this:

C = 1

D = 2

E = 3

F = 4

G = 5

A = 6

B = 7

C = 8

Why do this? Because numbering your notes will not only help you remember where you are in blues, but it can then be applied to any key signature whilst playing blues. To apply it to another scale just remember that if you are in the key of C then the note C is the first one you play and so becomes note 1. If you were in the key of F then F would be the first note you play and so F becomes note one, G note two, A note three etc.

Next question; what is the twelve bar blues progression? This is a series of chords which form a style of music used in many jazz and rock n roll numbers. You’ve probably heard it and not realised, but if not then YouTube it and you’ll find thousands of examples. A good place to start is C Jam Blues by Duke Ellington. The original videos of this are a little difficult to follow so look for a school jazz band version.

You’ll notice the same melody being played interspersed with solos. Now listen to the rhythm section (Piano, guitar, bass and drums) even during the other instrumental solos they’ll be playing the same thing, again and again. That’s the twelve bar blues progression and it goes like this:

Bar Number

Chord Number

one

1

two

1

three

1

four

1

five

4

six

4

seven

1

eight

1

nine

5

ten

4

eleven

1

twelve

1

 

Now compare that to the way we numbered the notes in the C major scale and you have a key for playing the beginnings of a blues progression.

In bar one you need chord number one. Chord number one is based on the first note in the C major scale so in bar one you begin by playing C. Skip to bar five; in this bar you need chord number four in the C major scale. Chord number 4 is based on the 4th note so in bar five you play an F.

Using this guide you can try and play along to many blues based songs using the basic notes of the progression. Be aware though that saxophones are transposing instruments. To keep things nice and simple we need to find songs that let you play in the key of C major so if you are playing an alto you want to search for blues in Eb and if you are playing a tenor, blues in Bb.

(Eb and Bb are the concert keys or the notes as they would sound on a piano. Because a saxophone has a different range than other instruments we have to play in different key signatures in order to sound correct with everyone else.)

If you have any question please leave a comment and I will answer you/

Advertisements

Quick Lessons – Don’t Be Good, Be Lucky

It’s the most obvious part of being a gigging musician, especially if you’re a soloist.

ALWAYS SIGN A CONTRACT!

Whilst I was in Africa I set up my own solo act. I’ve been doing it for three years and I have always drawn up my own contract. If the client doesn’t sign it, then there’s no sax at their wedding. So how did I manage to forget that this time?

Now it looks like the gig will be cancelled, meaning hours of practice and music hunting have gone to waste. I cannot emphasise just how much I was kicking myself. Until I got a little email from my client.

“I’m sorry for the inconvenience.  We will, of course, forward you a cancellation fee of 50%”

It helps to be good at what you do. It also helps to be a jammy little bugger.

 

So, take my advice, and remember that contract!

My Best Teaching Aid – Bonnie the dog

It’s all over You’ve Been Framed. Little Johnny gets out his recorder and the dog goes nuts. Or little Suzie picks up her violin and the cat runs a mile. I am, predominantly, a saxophone teacher which means that ever year I get new students who need to be taught which way to hold the thing and which end to blow in. Like everyone else (you and I included) the first few lessons tend to be evil honking affairs about as musical as a stepped on frog.  Through it all, though, Bonnie will sit in the corner of the music room and have a nice kip.

She’s not a small dog, being half Labrador and half Alsatian. I had worried that she would intimidate my students but, bless her, she’s so happy to see each and every one of them that she instantly puts them at ease. For the kids that don’t practice this must be great because they can come and see their teacher and get a big hug from Bonnie before confessing that they didn’t actually learn D minor this week.

One thing always confused me though. Bonnie kept silent all the time I was teaching but as soon as I started to practice she’d begin to sing. What the hell?? Is she self conscious of her singing ability? Does she not like my sax? Is she respecting my students? All these things and more were running through my head as I tried to play Harlem Nocturne – The Woof Chorus.

Then came Gustav. A mature student who’d been teaching himself for about two years and came to me to work out theory as much as anything. He had a nice tone, full range and a good feel for the music. Bonnie thought he was great but still sat in her corner watching the lesson, not a single howl escaping her furry muzzle.

Three months later Gustav had a break through. He arrived at the lesson keen to show me what he had achieved that week. I was impressed, he’d broadened his tone considerably in that time.

 Then Bonnie joined in. Gustav’s face fell a mile, “I thought I was doing so well,” he said “but now the dog is singing it must be awful.” But for me it all clicked into place. “No,” I said, “she only sings when she likes it.”

From then on that became a bench mark. Every student asks the same question; “when will I be able to play well?” and thanks to Bonnie I always had an answer. “When Bonnie sings you know you’re doing well.”

Sadly Bonnie has retired from teaching and gone to live on a farm with my parents (that’s not a metaphor, she really has.) Never again will I have a teaching aid quite as good as she was.

Free Jazz Lessons

We all know that the best way to learn a musical discipline is to have a tutor.  You learn at your own pace, the lessons are tailored to you and having to play in front of a tutor each week is a fantastic practice incentive.  Unfortunately though, tutors cost money and we don’t always have it to spare.

 

I have searched for a long time for a website that will offer free lessons in music theory.  Usually what I find is basic (Wikipedia for example) and often difficult to apply to the real world.  Today, however, I found one that I just had to share.

 

http://www.outsideshore.com/primer/primer

 

It looks dry and uninviting and like you have to pay to download it.  But be patient, scroll down and you will find some of the best free advice on jazz theory (including implementation) that I have ever come across.  There is everything here from a history of jazz to an explanation of scales and chords (which you can find anywhere but not usually this well done) though to applying theory to practice in improvisation and problem solving whilst accompanying other musicians.

 

Other good resource I found was www.jazzdatabase.com

I like the idea of this website; you write an article and post it here for free.  So the idea is you enjoy all the free advice and contribute as well.  Unfortunately there aren’t many contributors but that doesn’t mean some of the links aren’t fab.

 

For instance if you follow the menu to Jazz Theory then Miscellaneous you will be able to download a PDF by Bert Lion which is a great read if you are a theory nerd (like me.)  It also has a link to his website where you can download – for free – a whole range of transcriptions. Some even come with annotations to give you a batter idea of what is going on.

 

Staying with the jazz database website if you click on Transcriptions then Saxophone you will be also to follow a link to the www.saxsolos.com website.  Music here is not free to download but you can stream backtracks. You can then download the relevant PDF from the jazz database.

 

Now you have a great practice aid for free and a fantastic website explaining what you need to be working on.

 

My Keilwerth Needs A Name

Why is it that giving your instrument a name is seen as blisteringly un-cool? I’ve seen people shy away from me when I call me sax by its name, like they think they might catch un-cool vibes just by being near me. But I really don’t understand why.

A professional musician builds up a relationship with their instrument. You spend hours alone with it, the pads wear according to how you play and you even hundreds of pounds modifying it to your specifications. You worry about it if it gets to hot or too cold and most of us wouldn’t contemplate leaving it in the car. Some pets don’t get treated this well (poor things.)

I’m quite happy to tell people that my tenor is called Sam, my back-up is called Dean, my bari’s name is monster and my flute is called Castiel. (I know there is a theme here but it actually wasn’t intentional until Castiel came along.) The only instrument with a name that hasn’t stuck is my clarinet and that’s probably because I haven’t spent enough time with it.

Now I have a problem because I traded my lovely Selmer alto ‘Tatty’ for a Keilwerth alto and I can’t find it a fitting name. It’s actually a bizarre reason to practice more because only by getting to know the sax better will I find it the perfect name. Bet you haven’t tried that one on your students have you?

“That’s right kids; if you do a lot of practice you’ll be able to give your sax a really good name.”

(And I wonder why people think I’m strange.)

Prelude to ‘An Evening with Snake Davis.’

I can stress enough how happy I am to be back in England.  Barely five minutes in the country and one of my favourite sax players is hosting a ridiculously cheap master-class.  It’s on Wednesday 30th March at The Spice of Life, Cambridge Circus, London.

 

Here are some of the subjects he will be covering:

  • How to form an individual sound.

 

  • How to achieve more expression, better sound, more control, more dynamics, better intonation.

 

  • An in-depth look at vibrato.

 

  • Adopting a less jazz and more pop/rock approach to the short solo.

 

But best of all is the open Q&A, so you’ll literally have the chance to ask him anything you want!

 

What more could you ask for for £5?

Here’s the link

http://www.sax.co.uk/snakemasterclass.html

Weather Affects Your Instrument

Its true. I think my sax has caught the flu and my clarinet keeps screeching in protest at the thought of being played.  The downside they don’t mention when you move instruments in the hold of an airplane is that they get extremely cold and you need to do some minor tlc before they come right again.

Thats not an excuse to not play them though.  I was wondering what I would say if one of my kids came in and said “I didn’t practice this week because my sax was too cold.”  I think its a good thing that hasn’t happened.

All in all I am enjoying being back in England, the culutral home of come of the best music in the world.  Maybe today that will rub off and my practice will go better. Its not only your instruments the cold gets to!

Previous Older Entries