Sax on the Web Portal - Education

  • Education

    by Published on 03-30-2016 08:51 PM     Number of Views: 1313 
    1. Categories:
    2. Education

    Attached old piece of advice by Chick Corea

    by Published on 03-28-2016 07:28 PM     Number of Views: 1356 
    1. Categories:
    2. Education
    Article Preview

    Hey all,

    Just posted a new episode of my 10 Minute Jazz Lesson Podcast. This week I'll be covering some cool ...
    by Published on 03-06-2016 09:56 AM
    1. Categories:
    2. Education

    My teacher (Tevet Sela) made an observation in my last lesson. I told him with all the tech work we've done I can play fast but so what? Where will that go. So he suggested I look through my library and look at players I like. List why and perhaps what I want to learn from them. Heres 25 I came up with in about an hour. so my challenge is to listen to them and steal steal steal. feel , inflections, tech, licks you name it. and the compilation of that will be ME?

    1. Everette Harp Song Kisses down line. I like the grit, soul, tone , His inflections coming down to a chord tone.

    2. Art Porter Texas Hump Background real funky. His tone is too processed for me. Everette is better. Porter has great time sense and inflections. Tone too bright no warmth He sounds like a fatter Eric Marienthal

    3. Bob Mintzer Groovetown Great tone, his lines are right in the pocket clean. Uses the major and minor pent well , simple lines lays it right down

    4. Steve Coleman Oracle Love his core tone, no harsh. moves in and out of key easily

    5. Brandon Fields Gone but Not Forgotten Always like his volume swells and his vibrato . He opens his sound somehow

    6. Bob Berg The Search Great tone, brighter than Mintzer great background. fades in and out with his lines good at answering his lines

    7. Warren Hill Funky music white boy I like his song grooves, sound is thin and processed .

    8. Dave Sanborn Hideaway Love his tone and lines. He is the best at building a long long solo. for a pop groove

    9. Sonny Stitt Au Private I really like his tone but he puts in too much bop between phrases

    10. David Fathead Newman it was a very good year Very controlled tone, like a classical trained musician Pretty

    11. Justin Robinson The Challenge Good jazz tone lines

    12. Eric Kloss African Cookbook Nice raw feel jazzy fluid Coltrane influenced

    13. Gerald Albright Respect Yourself Really like this scoring , tunes, great tone, leaves space in lines

    14 Charlie Mariano Adagio for Oboe Incredible tone , very soulful, great control of phrasing

    15. Kenny Garrett After the Rain Distinctive tone pretty feel expressive phrasing

    16. Pat Caroll Interesting Jazz tone, great lines

    17 Kirk Whalum All I do Great tone and phrasing

    18. Grover washington all the Kings Horses Dark and expressive sound

    19. Charlie Parker All the things you are bad recording quality Great tone and lines for bop

    20. Phil Woods all the things you are. In your face tone very expressive

    21. Tom Scott Anytime anyplace Love his control of the the song nicest scored

    22. Bob Berg Arja Great tone, phrasing , lines distinctive tone

    23. Macao Parker Better get it in your soul Old school meyer tone. Good control of lines.

    24. Candy Dulfer Bird cool contemporary tunes, harder sounding smooth jazz tone good lines, good songs

    so from compiling this list (and I left out some of my heros Trane and Brecker to name two) I see that I am mostly at this point drawn to a soul time sound and phrasing and simplicity and logical development of pop type lines. My goal in this list isn;t to say one person is better than any other , just my impressions of what I might want to grab and put in my development. I'm glad my teacher had me do this K
    by Published on 11-29-2015 04:30 PM     Number of Views: 11262 
    1. Categories:
    2. Education
    Article Preview

    A few years ago, I published a program on SOTW for stage fright and anxiety that has been downloaded nearly 40,000 times.

    After publication, over the years, I received many questions about the emotional and psychological aspects of performing, especially why we can't perform consistently well every time, all the time.

    The answer is "distractions".

    Imagine a circle. When you compete and/or perform at your very best, the circle is 100 percent complete. However, when distractions get in your way (which includes "thinking", nerves, anxiety, and self-doubt), each distraction removes a slice of the circle until you are performing at only a fraction of your potential.

    By far, the most serious distraction is that voice in your head that shows up at the worst possible time to comment on how you're doing, to worry about you making mistakes, wonder what people are thinking about you, and so on.

    It doesn't have to be that way.

    "Pressure Proof- Mental Training For Competition and Performance" is a program that can be accessed for free.
    by Published on 09-24-2015 08:43 PM     Number of Views: 10106 
    1. Categories:
    2. Education
    Article Preview

    I posted a new article on my blog today about the #1 thing you need to do to become a great improviser. It would seem like common sense but as you read the article you will see that I have seen tons of adult students who are really neglecting this one thing even though it is what they want most to improve in. Hope it gives some insight or direction for some. Steve

    by Published on 08-09-2014 09:55 AM
    1. Categories:
    2. Education


    I'm currently reading the Bergonzi book about the pentatonics, Ricker's book on Fourths etc. to enhance to improvisational skills. I was thinking of building up a practise routine for this (learn to utilize these new methods).

    First, I choose a standard tune and then get a play-along tune to go with it. My idea is to utilize different techniques on each chorus and finally combine these to get some new ideas and approaches to standard chords changes.

    Like this:

    #1 Chorus : Play just the arpeggios of the chords to get familiar with the changes.
    #2 Chorus : Play the "appropriate" scales over the chords (for example dorian scale over m7-chords, mixolydian scale over dominant chords etc.)
    #3 Chorus : Play only pentatonic scales over the chords (Bergonzi's book has nice advices how to use different pentatonics over different chords)
    #4 Chorus : Play only triad pairs over the chord changes.
    #5 Chorus : Play only lines by fourths (Ricker's book)

    This is just a short list from the top of my head (I may have forgotten something important). But my question is that what else (methods & techniques) should I utilize and finally are you using something similar in your practice routine and is this a good idea at all?

    by Published on 08-08-2014 01:42 PM     Number of Views: 3507 
    1. Categories:
    2. Reviews,
    3. Education
    Article Preview

    Saxophone Artistry in Performance and Pedagogy from Dr. Eugene Rousseau is a new pedagogical masterpiece that defines and describes the essential factors for success in both classical and non-classical performance.

    As Dr. Rousseau explains, "The sound quality concepts are understandably different (in both classical and non-classical performance), but the basic principles of the saxophone tone production, are undeniably similar." Dr. Rousseau continues to express clear and viable techniques, with the ultimate goal "to make ourselves (teachers) as useless as soon as possible." Throughout the book, Dr. Rousseau discusses a variety of topics saxophone from an historical view of the sound quality, articulations, learning techniques and many other topics. Rousseau students themselves recognize much of the material; especially the chapter entitled simply "Air".

    Eugene Rousseau is one of the most influential saxophonists in the world and a recognized master teacher. He has performed across North America and on five continents since his Carnegie Hall debut. The legendary saxophonist Marcel Mule described Rousseau as "a brilliant saxophonist and distinguished artist," and critics the world over have echoed Mule's praise. His teaching includes a distinguished career at Indiana University’s Jacobs School of Music and, more recently, at the University of Minnesota School of Music.
    by Published on 04-03-2014 12:10 PM     Number of Views: 4442 
    1. Categories:
    2. Music Industry,
    3. Education
    Article Preview

    Interesting thoughts from Chuck Israels including encouragement to find a (any) role model musically and including this provocative comment, "Excessive ...
    by Published on 04-02-2014 12:15 PM     Number of Views: 3172 
    1. Categories:
    2. Education

    Mine has been influenced by the Suzuki Teacher I am copying some of her approaches. Also, I'm learning alot from watching ...
    by Published on 02-28-2014 04:37 AM     Number of Views: 19666 
    1. Categories:
    2. Music Industry,
    3. Education

    Entertaining! I love Harry Connick.

    by Published on 09-12-2013 12:56 PM     Number of Views: 3519 
    1. Categories:
    2. Music Industry,
    3. Education
    Article Preview

    Roger Freundlich

    Much has been written about performance stress, genuine issue of course, but listening ...
    by Published on 09-24-2012 12:56 PM  Number of Views: 4066 
    1. Categories:
    2. Education
    Article Preview

    Question:What values does a jazz education offer beyond the music itself?

    Artists have always had a supply ...
    by Published on 02-22-2012 08:24 PM  Number of Views: 3621 
    1. Categories:
    2. Education

    I hope this is not too silly a question, but what is recommended to get the best from the Jo Viola 'Chord Studies' book? ...
  • Amazon ad

  • Recent Article Comments Widget

  • Google ad

  • SheetMusicPlus

  • Recent Forum Posts

    B Flat

    Re: RPC High-baffle vs rollover baritone mpcs

    I had a rollover that I used on my B6 and it suited it quite well.
    But in the end I preferred my Strathon Adjustatone on that horn.
    I always thought that horn sounded better with a pice that had a...

    B Flat Today, 10:26 AM Go to last post
    B Flat

    Re: Drake Mouthpieces

    Is that the ring ligature?
    Could always use it on your napkins.
    Drake pieces are excellent IMO at least those that I’ve had or tried.
    I still have one of his earlier metal Jazz pieces and a more...

    B Flat Today, 10:14 AM Go to last post

    Re: Yet another Link STM ID

    So, is this considered a "wide tip" or not? I'd still like to know where the tip is measured when using the Them Wanne chart.

    bvandrasik Today, 10:01 AM Go to last post

    Re: Build quality Super D Florida Retro Revival

    I agree with all of this. I own a Sakshama Shorty and a RR NY double ring. The RR is much prettier than the Sakshama, but they both play really well. In my experience players don't get hung up on...

    saxomorris Today, 09:30 AM Go to last post

    Re: Japanese saxophones and CONN.....did CONN give Japan their blue-print's....?



    The same alto sax

    oLGol Today, 09:28 AM Go to last post