Creative Study w/Tim price ( nyc & pa )

[Tim Price]

I'm gearing up...for some one on one NYC master class lessons with students that are on a Pro--Advanced level. Or- fast learning semi-pro dedicated players.

The mission of these master class lessons is to OPEN your ears to
_VERTICAL_playing directions based on chord progressions and saxophonistic technique.eg- To enhance your timbral spectrum more vertically through the entire range of your horn.

Full range, via simple displacement... through expanded displacement.
Other topics include;
- Partial displacement of scales
- Cycles & resolution via voice leading
Here is a mini warm up I use to get students to open up more. ( enjoy )
http://www.timpricejazz.com/lessons/sax_warmup.pdf
I use one of my unpublished books as a text on this.You get the book and the lessons as well as "hands on" guidance
from me on how to approach this.It can be applied to ANY form or idiom of sax playing. Jazz, funk, free, pop through your own insights.

Also within these one on one master classes...I am presenting a series of studies on pentatonic scale improvisation.
Called the "Pentatonic Quadrants of Creativity."
This is a series of lessons using very advanced pentatonic via EVERY chord type and coming from MORE than just your basic pentatonic direction.

In your interested please contact me. TEP251SAX@AOL.COM.

I teach in NyC.....AS WELL AS...my home studio in PA.
(Near Philly or Allentown)
I also still teach ANY level saxophonist that wants to improve.
- Thanks-

http://www.timpricejazz.com/study.html
And some stuff to shed @;
http://www.timpricejazz.com/lessons.html

BTW- http://www.meilana.com/sounds.htm
Enjoy my NyC based student- Meilana.Take a listen to her "sound files". She's working hard! A very dedicated up & coming player.
( She goes to the.. New School )

[Tim Price]

One more thing...

REPITORE.
A series of intensive studys of ;
- How choose tunes for a live gig.
- Learning important standards and tunes that are unplayed gems-via Ellington/Monk/Phil Woods/ Eddie Harris/ Ray Pizzi / Bert Wilson / re-har standards by Bergonzi etc.

Some elements are touched on here;
http://www.timpricejazz.com/lessons/learningatune.html

These studys are vital to the player in a performing capacity, or the student who aspires to be a professional player. We have a one on one atmosphere with responsibilities via the working professional.

Also, the student will be exposed to many different techniques and concepts, choosing those that will help define a professional career.
My energy in these areas is highly personal via my respect for this art form.
I do this with the hope of perpetuating an art form both unique and indigenous to the people who created it.

Sorry for the ramble.
I just feel strongly about a more centered
approach these days-It's needed!!

[JS]

Hey Tim,
I sent you an email regarding these studies...
Talk to you soon,
Jim

[Tim Price]

Jim- thank you..It will be a pleasure.


btw-check out this rehar. on " There will never be another you".
I started to get kind of tired of the chords SO..I grabbed some " giant steps" shapes to fresh it up.
Check it;

There Will Never Be Another You
Uses A B A C form, where the C section begins like the B section, and could be considered variation. I use the standard key of Eb major.
Check the three tonal centers of the tritonic grouping are C, Ab, and E. I shortened the sequence to end the B section, and its use shows the similarity in the beginning of the C section.
You can tweak the melody quite a bit in all three sections. The pickup note Bb is changed to B natural. In bar three of the A section, the F is replaced by E natural on beats one and two, and moved to the F on beat three. Bar four begins with F#, which changes to G on beat three. In bar six, the second C natural is changed to a B natural, to form the melody sequence C, Eb, B, Bb. In the last measure of A, the Bb is moved up to a B natural. In measure one of the B section and the C section, the C natural is changed to a Cb. In measure two of those sections, the F natural is moved up to F#. In measure four of the B section, the Eb is moved up to E natural. In measure five of the C section, the D is changed to Db, and the C is changed to Cb. In measure six, the Ab is moved up to A natural. E chord on the last bar of the C section is the fine. Check them out;
C Eb7 | Ab B7 | E G7 | C Eb7 | Ab | D-7b5 G7b9 | C Eb7 | Ab B7 ||

E G7 | C Eb7 | Ab | D-7b5 G7b9 | C Eb7 | Ab B7 | E | D-7b5 G7b9 ||

C Eb7 | Ab B7 | E G7 | C Eb7 | Ab | D-7b5 G7b9 | C Eb7 | Ab B7 ||

E G7 | C Eb7 | Ab | F#-7b5 B7b9 | E | Bb-7 Eb7 | Ab B7 | E G7 ||
The dominant chords should be altered according to the melody when playing the head in bar eight (B7b9) A section, bar one (G7b9) of the B and C sections, bar six (B7alt) B section, and bar seven (B7b9) C section.

[Tim Price]

By the way~ this summer ( 2005 ) I'm looking to do more summer masterclasses in my home studio and NyC. I'll keep ya'll posted.

I love teaching, there are also some things in Pa, coming up in July I might be doing with Rachel Z and myself educationally. ( ensemble things )

KEEP PLAYING LONG TONES GUYS!!!