Want to Sound Good? Play This ONE Note!
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- čas přidán 5. 08. 2024
- Get the worksheet with all lines written out in 12 keys:
►www.davepollack.com/sharp11
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Get the worksheet with all lines written out in 12 keys:
►www.davepollack.com/sharp11
You are a blessing to the saxophone community.
Thank you so much! 🙏
One of my favorite notes is the flat 6 resolving a half step down to the fifth. I love using that in lines.
I review this video often as this sound is hip and your summary of phrases is just great. Thank you!
You’re very welcome!
Loved the video Dave. Spot on and thanks for the download. Just playing one variable really makes it easier, as you isolate it. It was what I did 8 years ago or so starting to improv over the blues. I just used one note per measure! You would surprised what you can do with just one note!
Love it!
Thanks so much Dave for such a great video, I’ll practice on that topic. Regards from Germany 🇩🇪
You're very welcome - have fun with it!
What a good idea and so very nicely demonstrated. Thanks also for the very generous pdf in all keys - can’t wait to get started, practicing on the set of 251s on iReal Pro (downloaded from Forum)
Awesome!
Thank you. this was exactly what i needed!
So glad to hear that!! 🙏
Simply sensational lesson on the #11 (shout out to Jorre and his Sharp Eleven Music). This lower leading tone to the fifth of a chord has many other names: Tritone; Sharp fourth (#4); Augmented fourth (Aug 4); Diminished fifth (Dim 5); and flat five (b5), depending on the context of the chord structure. But whatever you wish to call it, I'm just glad Antônio Carlos Jobim decided to make a big deal out of it with Astrud Gilberto and Stan "the man" Getz on tenor sax! It's such a COOOL sound!
Absolutely!!
Very nice video, and yes, this a wonderful sound. A couple of thoughts - the first is that while it does strongly lead up a half step (as most of your lines use), it is also quite nice to just let the color "hang" (like the Jobim example) or let it chromatically descend to the Maj 7 of the I chord. But these are just little nits, the idea of hanging with something long enough that it gets into your playing, and that this is a wonderful sound, yea, those are super solid ideas.
Thank you Dave, this is a very good point (work on one thing) and it is very effective at making transitions sound more interesting!
You’re welcome!
Thanks, my practice times are getting longer, cause of your great help.❤ Phew!
You're very welcome!
Thank you Dave I am a player in Australia,really appreciate your content ,
Kind regards
You're welcome! So glad to hear that.
Great advice, Dave! I've been getting into "Effortless Mastery" by Kenny Werner and he says the same thing about working on mastery of one thing before moving on. Thanks for sharing!
You’re very welcome!!
Great video, Dave! I love those lines. I’ve been playing that (V7) 3 2 | (Imaj7) 5 | resolution recently, ever since I heard it in a performance of a friend of mine’s. It implies the upper structure nicely, and I feel that it has a Christmas composition like sound to it.
Awesome!
🎉🎉🎉
Great video, I've been doing soemthing similar with the b13 sound, making that the only alteration allowed. There's a great long 2-5-1 through all 12 keys backing on here, its about 30 minutes long so quite the practise!
Love that sound as well! Diving into just one note for a LONG while can really get you familiar with a specific sound!
Great lesson, Dave! Playing the #11 keeps it simple and yet is not simplistic. While there is a lot of harmonic theory behind the #11 (and b9), it’s much more important to think melodically when improvising and the #11 adds a great color to the melody.
100%!
Great lesson. Thanks Dave.
You’re welcome! 🙏
Thanks Dave. The #11 over the dominant chord is (kinda) "alluding to" the blues scale, even though the lines you played don't sound very "blusey."
In this instance (a 2-5-1) it doesn’t give the “blues” sound, and that’s on purpose! I just like the tension/color it provides.
@robstevens9590 Play through the PDF and hear how the #11 resolves melodically in such a way that it doesn’t have a “blues” sound. The #11 here alludes to the tritone substitution, which includes the #11, 7th, b9, and 3rd of the dominant chord. (Sorry, Dave, I opened the can of wormy jazz theory.) The #11 just sounds fantastic against a dominant chord. I know the theory but often end up in the weeds whacking around trying to find a melody, which is why I enjoy and appreciate Dave’s teaching approach. He doesn’t get into a lengthy explanation of the theory behind the #11 and why it sounds great in a 2-5-1 harmony. Instead, he makes it approachable by giving multiple examples in all 12 keys so we can see, hear, experience, and incorporate the #11 into our improvisations in a way that is melodic and more musical.
Thanks so much Doug! You nailed it - I just wanted to simplify it for people so they can actually USE it.
Seems you always resolve the #11 to the 5th (only once did you not…by encircling instead)…so is this more about a chromatic approach to the 5th than an altered scale etc?
That's just what I was hearing at the time, so it's really whatever you like. In this video I'm not using any other altered notes (just the #11) so I think naturally that will have a consonant resolution to a nice chord tone versus part of an altered idea. Both work great though, just different!
Isn't the sharp 11th the same as the flat 5th "blue note"?
Yes it’s the same “note” but the V chord in a 2-5-1 is not functioning the way dominant chords in the blues are. This is a specific upper extension alteration that adds color and tension that resolves to a 1 chord.
Fantastic. However if you take those patterns/licks and play them without the chords, aren't we simply playing a flat 5?
Correct - the sharp 11 is the same note as the flat 5.
It may be worth noting that the sharp 11 as it’s presented in this vid is a flat 2 in the context of the overall key center - ie a flat 5 on a dominant 5 chord in the key of C gets you a Db. I know you wanted to “play them without the chords,” but I still think the context of the overall key center may be worth thinking about. Cheers 🖖
Why doesn't what I'm playing doesn't sound the same notes as your playing, very confusing
I’m reading the concert pitch lines and transposing - look at the lines in A if you’re playing alto, and D if you’re playing tenor if you want to line up with what I played in the video.