Earlier this week I wrote about my Christmas wish list for my language learning habit over at Eurolinguiste, but I don’t just love learning new languages and so my wish list includes a few music related items too. Note: Some of these links are affiliate links, and AT NO ADDITIONAL COST TO YOU, Teen Jazz will make a small commission from a number of the products on this page. It’s an easy way to support our site and help keep us up and running. External Storage Device (or a Dropbox Subscription) Most musicians are constantly writing or recording music and so having backups of all of their handwork is an absolute must! Get them a USB key or a or even get them a subscription to.
Many musicians may also need a place to back up their music collection since most of us are “collecting” digitally now. USB Keyboard The is the standard go-to midi keyboard, but if you want to get fancy, the midi keyboard is beautiful.
If they already have a midi keyboard, you can always go for the travel size option ( ), plus it’s more affordable. USB Microphone For the musician who is just starting to record, this is great option if they’re using software like Garageband.
It gives them an easy way to record and get started. You can get a pretty affordable option here with the, but you can take it a step up with this one ( ) from Audio Technica. Also have some pretty great reviews on Amazon. You can never have enough of these For some reason I seem to either misplace or wear out my tuners so I think it’s time to invest in a new one (or two or three). I’m a fan of the basic Korg tuners and I dig the white color of this one. It will stand out more in my black sax case than the dark gray tuners I’ve had in the past.
For the Musician Who Cooks I’m sorry, but this is the coolest cutting board ever. In addition to music, one of my hobbies is cooking and I kind of love this. Music Lessons For musicians still in the early stages of musical development, lessons can help a great deal. You can check out music tutors for various instruments and music skills at places like, but we’ve also recommended a few more places here.
Music Success in 9 Weeks by Ariel Hyatt I enjoy reading Ariel Hyatt’s blog on music marketing so it’s quite natural that I’d be interested in her book. Plus, it’s one of Amazon’s top selling music books! First Learn to Practice This book has amazing reviews and I’m really interested in what the author has to say about the right ways to practice. I think there’s much to gain from this read.
Just make sure your friend knows that you don’t mean anything by it Or maybe you do? This Cool Guitar Pick Necklace This solves both the problem of carrying around picks in your pocket and you get a pretty stylish jewelry option that works for either gender. I only came upon this on Etsy by chance, but I’m now a fan. Music Education Stamps (for the beginning student or your music educator friends) I wish I had one of these a long time ago! This is an ingenious idea and a fantastic tool for guitar or bass players who read tabs, music teachers, and beginning music students. These are a really fun gift idea. Shameless Plug #1: The Album Checklist Our book, The Album Checklist, is a great guide and workbook to help you or your musician friends help plan and budget your next (or first) album.
It takes you step-by-step through the planning process all the way to post-release marketing and promotion. It has a nice collection of worksheets to help you keep organized too. Shameless Plug #2: Kenkase Reedcases and Guitar Pick Cases My dad has a pretty cool business where he handcrafts wood reed and guitar pick cases with tons of customizable options.
You can get different sizes (like 5 reeds or 10 reeds), stone inlays, initials, wood combinations, felt colors, wood inlays, etc. It’s a great option for your musician friends and it’s totally personalized. Shameless Plug #3: Holiday Music Okay, I know, I’m pushing it with 3 plugs, but I promise this is the last one! I’ve released a holiday album and you can pick up a copy of it (Signed) or get it digitally on iTunes, Amazon, Bandcamp. We also recommend this. It’s nearly the end of 2013 and so a lot of us are making our New Year’s Resolutions.
For many, continuing to improve and grow as a musician in the next year is high on our list of goals for 2014. For those not currently studying with private teachers, creating a practice schedule or finding resources to help you get better at your craft may not be easy, so we’ve compiled a list of things you can do in the next year to help you improve. Play everyday. You can download our to help keep track. It’s motivating to see several days in a row marked off.
Get real life experience. It’s one thing to play along with tracks, recordings or read music while you’re at home. Getting out and playing live is a completely different experience.
Listen to recordings and learn to play the melodies and solos of other performers and the chords of new songs. Play with musicians that are better than you. Take advantage of the countless resources available to our generation. If you’re having trouble doing something, chances are someone has written an article or recorded a video explaining how to do it.
Why not start with our? Record yourself.
Listen back to recordings you’ve made while practicing or during performances. You may hear mistakes that you didn’t know you were making or things that you need to improve may stand out more. Play something completely different. A great way to round out your playing is to do something completely different like practicing music in a different genre (sightread some classical etudes if you play jazz) or even trying a different instrument. For example, I started to play guitar and it has helped me memorize chord changes and understand harmony better than I did just playing saxophone.
You can try some of our. Read the biography of one of your favorite artists, a book on music theory or music psychology or even a music business or marketing book. It will help round out who you are as a performer. Here’s our suggested lists of and. Is there anything else you think should be on this list? Introduction Diatonic chords are chords that naturally occur within a key.
They contain only the notes found in the scale or key that you’re working in. There are seven diatonic chords in every key with each chord built from one of the 7 notes in the scale. Root Position The chords in this exercise are all in root position, or built on the root of each scale tone of the given Major Scale. The first 3 tones of each chord is the basic triad, which is 3 – note chord stacked in 3rds when in root position. A student should become familiar with the diatonic triads first before embarking on studying the diatonic 7th chords in this hand out. 7th chords have four tones stacked in 3rds when in root position. Block Chords Block chords are when all of the chord tones are played simultaneously.
This can only happen on chordal instruments such as guitar, piano, harp and vibraphone. Melodic instruments can play one part of the chord tone at a time and can divide up the block chords with other melodic instruments to hear the whole chord harmonically. Broken Chords Broken chords are when you play each individual notes of the chord melodically.
Ear Training It is highly recommended that a student learn to sing the chord tones individually along with learning to play them on your instrument to develop and train the ear to hear the intervals and harmonies. Intervals are the distance between two notes. Inversions The next step to learning these chords is to learn the inversions of each chord. A chord inversion simply means rearranging the notes in a given chord. To invert a chord you move the lowest note or the bottom note up an octave.
Transposition It is important for a student to learn these diatonic chord progressions and arpeggios in all 12 major keys so they can be applied to various chord progressions in different keys. Application The chords and patterns in this exercise can be used as tool for developing melodies for improvisation and for learning chord progressions and how they relate to the key signature. One great way to start is to play these exercises with a metronome to get fluidity and then experiment with developing some melodies using the chord tones and passing tones over diatonic chord progressions in the given key such as: I – IV – V7; ii7 – V7 – IMaj7 or IMaj7 – vi7 – ii7 – V7. It is preferable to practice these with a live rhythm section or some sort of play along or accompaniment track. Enjoy the process and have fun experimenting with new ideas!
If you’ve enjoyed these exercises, you can download the remaining keys for $0.99. Get the Diatonic 7th Chord Exercises in all 12 keys here.
Where did you/do you go to school? I attended high school at the L.A. County High School for the Arts (LACHSA). While I was there, I mostly focused on jazz and played in their big band and combos. I recently completed my Bachelors degree in Pop Music Performance at USC in May, 2013.
At USC, I mostly studied playing in contemporary situations, arranging, business, and promotion. Do you play any other instruments? Aside from alto, tenor, and soprano saxes, I do play flute, keys and a bit of background vocals if you want to call that an instrument. I also play bari sax, but the other three have stronger voices than the bari. Saxophonist Justin Klunk Located in California, USA.
Alto, Tenor, & Soprano saxophones How long have you been playing? I’ve been playing saxophone since 6th grade, so it would add up to about 11 years of playing now. I did study piano when I was about seven or eight years old, but I was such a bad student then. I never practiced. It wasn’t until I discovered the saxophone that I really began to like practicing. Setup/Gear/Manufacturer of Instruments: I’ll run down my set-up in a list format: Alto: Yamaha YAS-62S Sax Yanagisawa metal mouthpiece size 7 Vandoren Java (Green) Tenor reeds size 3 Tenor: Yamaha YTS-82ZS Vintage SR Tech Fusion Mouthpiece size unknown (roughly 8) Rigotti Gold Tenor reeds size 3M Soprano: Yamaha YSS-62S Selmer Super Session Mouthpiece size E Vandoren Java (Red) soprano reeds size 2 1/2 Flute: Haynes Silver Plated Flute For my pedalboard, I run a Shure PGX wireless mic into it, and a Radial DI out of it. Why did you begin studying music?
I actually began seriously studying music for a silly reason. The middle school band would go to Knott’s Berry Farm for an annual competition and I just wanted a free ticket to Knott’s. Seriously though, sax was the first instrument I began to practice without anyone telling me to. The biggest “life-changing” moment when I wanted to pursue music professionally was when I was a member of David Benoit’s Asia America Youth Orchestra. He brought a select few of us to perform with his personal band. After that night, I was hooked! But I realized then how much more I needed to learn, and started looking into private instruction.
What are you doing with music right now? Right now, I’m currently working on two things; being a solo artist, and being a sideman.
With the solo path, I’ve recently released my first CD, “Justin Klunk – EP”, and have begun to make a push for radio airplay as well as play gigs with my band to promote it. I’ve been trying to take as many “featured soloist” gigs to help that cause as well! During May and June of 2013, I was fortunate enough to be a featured soloist with artists like Melissa Manchester and Michael Paulo. That was a ton of fun! So many mentors have been so helpful in getting this project started, that I would be listing them all day if I tried to thank them all.
As a sideman, I recently finished a tour as the saxophonist for Ariana Grande (Pop/R&B singer). It was my first major tour and an amazing experience! Ariana was superb and the band was one of the best bands I’ve played with, so I can’t wait to see what happens with that project! I also gig extensively with a few other singer-songwriters who I think are awesome! The first is this singer named Lara Johnston.
She’s more of the pop-rock type of singer. The gig is so much fun because I get to really dive into my pedalboard to try to create some textural sounds with the sax that I wouldn’t be able to on a jazz gig or a horn section gig. Other artists include Annie Dingwall and Barry Harris, and with both of them, I’ve recorded on their albums and performed at GRAMMY Foundation related events.
Who are some of your influences? In general I listen to a lot of Pop and R&B bands. I grew up listening to Earth Wind and Fire, Chicago, Tower of Power, Stevie Wonder, and others in that vain. As far as saxophonists, Dave Koz, Cannonball Adderlley, Michael Brecker, Eric Marienthal, Grover Washington Jr., Gerald Albright, and David Sanborn have all been very powerful influences in how I approach the saxophone. I started out listening to a lot of instrumental pop since I related to it more at first, and then I really got into Jazz in high school when I was introduced to the works of Cannonball, Bird, Rollins, Stitt and the other greats!
Who do you/have you studied with? I’ve been fortunate enough to have studied with teachers who know how to both convey lessons across, and structure lessons with the goal of a career in mind (whether I knew it at the time or not). My past teachers have included George Shelby, Jason Goldman, Rusty Higgins, Andy Suzuki, Frank Fontaine, Eric Patterson, Rick Izumi, and Ted Yamada. What do you plan on doing with music in the future? Ideally, I want to become a solo artist on the saxophone and have a long-lasting career with my band. I’ve just started figuring out what my own sound is, and I’m super excited to start pursuing that goal, so we’ll see where it all leads!
I still want to continue doing sideman work in different bands regardless of style. Whether I’m playing in a big band, or a pop band, its all fun to me! I mainly just want to be able to play music until I’m too old to play anymore (which Sonny Rollins and Phil Woods are proving that there is never a “too old”). What are your thoughts on what it takes to be successful as a performer? Do you think any other skills are needed aside from the ability to play your instrument well? I think honesty is the strongest trait to have in being a successful performer (aside from a solid understanding of your instrument, of course). Being a successful performer can take different meanings depending on the context of what you’re listening to or watching.
Take Jeff Kashiwa and Joshua Redman for example. Both of them are phenomenal saxophonists. Jeff would play some ridiculously melodic and complex solos, but at the same time, glide across stage when performing with the Rippingtons.
Joshua would dive into some deeply melodic and virtuosic solos as well, but keep his stage movement to a minimum. Free voice changer software for windows 7. They are both successful performers, and I enjoy listening to either saxophonist. Because they are both honest performers. They perform in a way that’s genuine to them, and the audience can easily feel that honesty.
I try to carry that same mindset when I perform with any group. Have fun, be honest, and own the stage! What would your advice be for a fellow up and coming, young musician? I don’t have a whole lot of advice for up and coming musicians, since I am one myself. My only advice is to get out there as much as you can and stay open-minded. As a musician there is no end to the learning. There is always something to improve upon and sometimes you need to play with others and get their perspective to learn what you’re missing.
So force yourself to learn and play out even if you don’t feel ready. Endorsements: Right now I’m endorsed as a JH Audio In-Ear Monitor Artist. I use the JH-7 IEM’s for Ariana Grande and Lara Johnston. The JH-7’s are great! Wonderful, balanced mix, and super easy to pick out any instrument being fed into them. Where can we find more information?
For more information on me and updates on what I’m doing, you can check out either my main website at, my facebook music page at, or my youtube channel. Also I have a twitter and instagram, both @klunkfunk. New releases and projects coming up: As of right now, there are no major releases in the works. My team and I are working on promoting my CD and myself as an artist.
Mostly working on trying to get some gigs for my band. Although we’re still working on promoting the first CD, I am writing tunes for the next CD.
Greg Fishman Saxophone
Hopefully we can start tracking next year. Aside from that, I’ll still be playing with quite a few singers, Ariana Grande being one of them. You can keep track of which singers I’ll be playing with through my social media sites.
Interested in having your profile featured on our site? Teen Jazz is also looking for young Jazz Artist features, so you could become a feature if you.
You will be notified by email of the status of your application. Terms and Conditions: (A) You cannot submit one sentence answers to the Teen Jazz Artist Application form questions, they must be a short paragraph.
(B) You must respond to the confirmation email that you receive from Shannon Kennedy after you submit your profile or your profile will not be published on Teen Jazz. (C) Pictures and Contact Information on your page are optional, but let us at Teen Jazz know if you would like to have both or either on your profile. Deadline for application is one week from today: December 4th, 2013 Cornel School of Contemporary Music (CSCM) is giving away 15 scholarships of up to $80,000.00 each at their first annual Live Performance Scholarship Fund on December 6th and 7th, 2013. The Scholarships will be awarded to students who demonstrate remarkable talent and potential in any one of the five areas: piano/keyboard, guitar, bass, drums, and vocal performance. Auditions will be held at Shepard University December 6th and 7th, 2013 between 10am-4pm. Application Deadline is midnight December 4th, 2013.
To apply, please contact Colleen Loaiza at [email protected], or call 323.550.8888 ex. Scholarships Available: Top Prize: Full Tuition / $1000 cash prize Second Prize: Full Tuition / $500 cash prize Third Prize: Full Tuition Get the here. As I’ve mentioned in the, I’m a huge fan of surveying other industries and their product release processes to see how I can adapt them to music. One of my favorite industries to keep up on is that of indie authors. There’s a pretty popular technique that many independent writers implement upon the release of their books that I think a lot of musicians fail to fully utilize because they’re often afraid to give their music out for free.
I follow a number of independent authors and the majority of them offer their book for free prior to release in exchange for an honest review on a platform such as Amazon. They do this knowing that a decent portion of those that get a preview copy of the book may not ever write a review, but they create significant social proof for their product at its release because they were willing to take that risk. Offering your fans a free copy of your album in exchange for a review through a medium such as Amazon is an honest and effective way to not only build up your album reviews but to help generate buzz for its release. Reviews can make or break your album sales – too many bad or fake reviews can hurt your sales while good reviews can help improve them. Lining up reviews prior to your album’s release (especially when the list of reviewers includes fans already on your mailing list) can definitely help set your album up for success.
SO HOW DO YOU GO ABOUT THIS? Usually once your album is completed, you have finalized digital versions of your songs before the official album release date. Zip these up into a nice compressed file and either upload it to your website so that it has a link or stick it in the public folder on your Dropbox account.
Bandcamp also allows you to give out download codes for a limited number of free downloads. Craft an email blast that announces the fact that you have 100 free copies of your album in exchange for honest reviews on Amazon. Ask your subscribers to email you back for a copy so that you increase the chances of attracting those who are truly interested. Send out your 100 copies. Keep an excel sheet or something similar so that you can keep track of who promised to write you a review. Once your album release date draws near, send those 100 or so people a reminder email to let them know that the date is coming up and then on the day of release, send them the link to your Amazon page (if that’s where you want reviews) to make it easy for them to help you.
After that last email, let nature take it’s course. Don’t pester your fans. If they don’t write a review, let it be. Hopefully you’ll have had enough listeners take a moment to write a review. If not, that’s okay. Hopefully it will be better the next time around.
For more advice on album preparation and promotion, check out, a guide and workbook available for only $2.99 on Teen Jazz. You can also purchase the. WHO DOESN’T LIKE FREE STUFF? – A directory of jam sessions across the US.
– A long list of suggested repertoire. – A daily and weekly practice journal template. – 10 ways to become a better musician. A free poster for your practice space. – Several chapters with advice from established musicians in a variety of industries on everything from practice to mentality. – a few fun memes about being a musician. – keep track of how often you practice with our Project 365 worksheet.
– A list of summer music camps. – check out our free podcast packed with weekly music advice on itunes. Series: Playalongs Publisher: DC Music School Publication Date: 2012 Price: Free (21 tracks recorded at 100 bpm and 150 bpm with PDF chord charts) -or- $24.99 (60 tracks recorded at 100 bpm and 150 bpm with an improvisation guide, PDF chord charts, and 8 studies with transcriptions and tabs on popular tunes) Skill Level: Beginner, Intermediate is an online music learning platform geared towards the gypsy jazz style (although they have a few resources in other genres).
I fairly recently interviewed the school’s founder, Denis Chang, and I’ve also had the opportunity to check out quite a few of their resources. I’m a huge fan of the, and a great supplement to that course (or as a stand-alone product) are his Gypsy Jazz Playalongs. There are two versions of the playalong series, a free version that includes around 20 tracks, and a paid version that includes 60 tracks along with a wealth of bonus material.
The recordings are good quality, you can definitely use them at a track gig and they are fun to play along to. My only complaint is that sometimes they feel too short! When I really get into it, I am sometimes surprised when the tune comes to an end.
The tracks (in addition to the Hono Winterstein course) make a wonderful supplement to the other courses available at DC Music School. The violin etudes (which can be played or transcribed for most any instrument) make a wonderful pairing. The free playalongs are a great place to start if you’re interested in gypsy jazz. You can access several of the tracks for free at DC Music School or on Youtube, but if you’re really interested in digging in, it’s worth paying $24.99 to get all 60 tracks.
— The creator of DC Music School is Denis Chang. You can read and his thoughts on music entrepreneurship here. Saxophonist Greg Fishman is an excellent player and educator currently residing in Chicago Illinois.
We first connected with Greg several years ago after he published one his first books, “,” and he has since expanded his catalog to include more than a dozen publications. Thank you, Greg, for taking the time to do an interview with us and for sharing your advice for up and coming musicians!
Name: Greg Fishman Location: Chicago, IL Profession: Saxophonist and Educator Years Playing: Since the age of 12 (clarinet) 13 (sax) – 33 years School/Major/Degree: Masters of Music Jazz Pedagogy, Northwestern University, Evanston, Illinois, June 1999 Bachelor of Music Jazz Studies, DePaul University, Chicago, Illinois, 1991 The Interview When did you first begin seriously studying your instrument? I started on clarinet at age twelve, saxophone at age thirteen. Who are your greatest influences?
Stan Getz, Sonny Stitt, Lester Young, Gene Ammons, Sonny Rollins, John Coltrane, Paul Desmond, Joe Henderson, Johnny Griffin, Lee Konitz, Jimmy Forrest, Wardell Gray, Wayne Shorter,. Who did you study with? Rick Schalk, Joe Daley, Mark Colby, Dave Liebman, Larry Combs, Alan Swain, Hal Galper, James Moody and Joe Henderson. Who or what gave you the confidence to pursue music as a career? I knew from the age of thirteen that I wanted to play music professionally. From a very young age, I felt that it was my calling in life, almost like a religion. My love of the music, along with encouragement from my teachers gave me the confidence to pursue music as a career.
What are your thoughts on what it takes to be successful as a performer? To be a successful performer, you need the ability to communicate through your instrument and interact with the other musicians on stage.
You also need the ability to play each note with intent. Imagine that each note you play is like a word in a sentence, and those sentences are telling a musical story.
Stan Getz, my original inspiration for playing the saxophone, had a famous quote that I just love. Stan said, “I never played a note I didn’t mean.” To me, those are words to live. Do you think any other skills are needed aside from the ability to play your instrument well? This is a very broad question, because it can be interpreted several different ways. Looking at the question from the perspective of being a saxophonist, I’d like to emphasize the importance of studying the music of the past masters, learning lots of tunes, and spending time at the piano to develop a good sense of harmonic context. From the perspective of being a musician, everyone needs to develop the skills to play interactively, communicating with all of the musicians onstage.
I think of playing as a dialogue, not a monologue. Addressing the questions from a business perspective, the same skills are needed in the music business as you’d need to be successful in other fields. You need to be professional. By that, I mean that you need to be on time, and dressed well for the gig, and prepared musically to do a great job. You also need the ability to communicate well through your writing. Letters, emails, newsletters, blogs, posts, tweets, etc.
Everyone needs to learn how to manage their own website and to build a fan base. We are truly living in the age of communication. There is also a large social aspect to success. Networking is of great importance. You can’t do everything from your computer. You need to get out into the real world and travel and meet people in person.
Go beyond your hometown. Your world vision becomes expanded each time you travel and meet new people. Also, stay in touch with friends and colleagues. What are some of your goals musically for the future? I have goals as a player and as an educator. As a player, I have many recording projects and book projects planned.
I want to add to my current discography (five CDs with “,” three with pianist Judy Roberts, one with pianist Jeremy Monteiro, and one with pianist Eddie Higgins). I have several quartet albums of originals already in the can, which will be released in the coming year. I’m also going to be recording some more Brazilian music, standards and bebop tunes, and at some point, I’d love to do an album with strings, as well. Lately, I’ve also been enjoying rediscovering the flute and clarinet, which I played much more in my early years. My educational goals involve many more book projects. I also want to continue to expand my international student base on Skype.
I already teach people all over the world, with Skype students in South Korea, Hong Kong, South Africa, Japan, New Zealand, Germany, Mexico, Canada, and throughout the United States. Skype is an amazing way to meet and teach people at home and around the globe. For the first time in my teaching career, I actually have more students on Skype than I do in person. It’s very exciting to see the great progress made by all of my students around the world on Skype. Eventually, I plan on visiting many of the countries where my students live, giving concerts, clinics and masterclasses. On the subject of educational goals, I’m very excited to announce that my books will be coming out as ipad and android apps in 2014. They will have special features, such as automatic page turns, coordinated with the play-along recordings.
You will also be able to purchase one song at a time for the apps, so if you want to buy one etude, a page of hip licks, and a duet, you can do that, and piece the books together in any order you like. Currently, Jazz Phrasing for Saxophone – Volume 1 is available as an iPad app. It’s available at the app store, under the name Phrasing. What inspires you to continue to pursue music? It’s limitless.
With each passing year, the musical experience gets deeper and more meaningful for me. You could be playing (or listening) to the same song for ten years, and then you play it or hear it today and notice something new about it. To me, that’s a magical thing. Have you ever come close to giving up and how did you overcome that feeling? I have never even come close to giving up music. However, the music business can be very difficult. It’s not an easy career choice.
It’s my true love of the music that always helps me overcome any feelings of wanting to give up. I’ll listen to some old favorite recordings, and that always inspires me to keep going.
Some other things that inspire me to keep going: I’ll be performing at a gig or concert and get a great response from the audience. Also, just sharing the music on a high level with fellow band members.
These things are always inspiring. What are some of the things you enjoy most about your career as a performer/recording artist? I love the fact that I can travel around the world, meet new people and play music together, even if we’ve never met or spoken before. I’ve played concerts in different countries where I didn’t even speak the same language as the musicians, yet we communicated on a very deep level. That’s a very satisfying feeling. Also, it feels great to share the music with listeners. I once played in Japan, and a fan came up and told me that he’d lost his entire family in the horrible tsunami a few years ago.
He told me that hearing me play for a set of music provided him the only hour of peace he’s had since losing his family. That comment moved me very deeply, and it made me very thankful that I could do something in my career that would have such personal meaning to someone. Tell us about your series of books?
I have five different series of books for saxophone. They all come with play-along CDs, and each series teaches a specific concept. “Jazz Phrasing for Saxophone” (Volumes 1 – 3) The phrasing series features stylized melodies that sound like standard tunes, and helps the player develop a great tone, good breath control, and a great sense of musical balance. Theme and variation is a key component of this series, and just playing the songs will help the students develop a good sense of strong thematic development. “ ” (Volumes 1 – 3) This was my original series of books, and they were written to help my students learn how to solo like a professional over chord changes to standards and bebop tunes. I use key elements in the jazz language, including: voiceleading, streaming eighth-note lines, sequence, enclosures, chord substitutions, etc., to demonstrate how a pro player would approach soloing over a set of changes. Although they’re called “etudes,” these are really more like solos, because they don’t sound like exercises.
These etudes were written idiomatically for the saxophone. In other words, they’re designed to lay well on the horn, and they’re based on the great jazz traditions of saxophone playing.
Another unique feature of the books is that there’s just one written part. This ensures that the etudes lay great on all saxophones. The rhythm section on the play-alongs were recorded in two different keys. This avoids the “Omnibook on tenor” effect of having lines that don’t lay well under the fingers. “ ” (Volumes 1 – 3) This series was written to feature two altos, two tenors, as well as alto lead with tenor playing the second part.
They teach players to hear two independent lines at the same time. The writing style is in the tradition of the classic two saxophone groups, like Al & Zoot, Stitt & Ammons, etc. All of the songs are based on the chords of popular standards. The play-alongs feature four different versions of each duet, so students can hear both saxes play each song, and then gives them the choice of playing lead, second, or having just the rhythm section, with extra blowing choruses.
“ ” (Volumes 1 & 2) This is my latest series, and was the most challenging from a writing standpoint. Just creating the format took many years. I wanted to provide books that would be more useful than just a bunch of random licks. In the past, lick or pattern books typically go one of two routes: They either give you twelve licks in one key, or one lick in twelve keys.
My books do neither! I provide a unique lick for each key, giving twelve separate licks, each based on the weight, texture and timbre of the note, based on how it lays on the horn.
This provides players with a real-world vocabulary that builds equal facility in all twelve keys, while providing twelve-times the melodic material of the other approaches. The book is a lot of fun to play, and it’s the fastest way I know to develop ears, fingers and jazz vocabulary, all at the same time.
For those interested in seeing me demonstrate some ways of practicing with the “Hip Licks” books, please visit YouTube and do a search for “Greg Fishman Hip Licks.” “ “ (link goes to Eb edition – here’s the ) is a book and CD adaptation of an ear training system which I developed for my own use during my formative years. It features each note harmonized eighty-one different ways.On the play-along CD, a vocalist sings the circle of fourths, while a pianist accompanies her, reharmonizing each note as different degrees of varying chord types. Each track is just 44 seconds long, and it’s great for training yourself to hear #11’s or #9’sany note can be targeted for training. I also like the system, because it’s portableyou can listen to the tracks in the car or while jogging, and sing along. Regarding the titles of all of the songs in my books, they’re all based on Chicago street names. Originally, I was going to just number the etudes, etude number one, number two, etc., but I thought that was too boring.
Then, I was going to have some kind of clever play on words for the chord progression, like switching Green Dolphin Street to Blue Whale Boulevard, but I decided that was a little corny. Finally, I decided on the streets of Chicago, my hometown. The etudes often came into my mind while I was driving.
Some were named for streets I drove while going to or from gigs. People liked the concept of the street names with the first book, so I stuck with it. Now, I’ve written over ninety songs with Chicago street names! What was the inspiration for starting them?
The original inspiration started when I studied with Joe Henderson in the late 1980’s. He suggested that I write an etude over each tune, to “have something else to hang your hat on, besides the melody.” It was a great idea, and I started giving some of these etudes to my students who needed help with soloing over changes. The students really liked the etudes, because they were short, fun, easy to understand, and they lay great on the horn.
Mainly, the etudes made them sound like pro players, not students running their scales. It was easy for my students to take the musical concepts I presented in the etudes, and use them in their own solos. Although the etudes were originally written for myself, and then for some of my students, I started getting requests from other teachers for me to share the etudes with them. One of good friends and former teacher, Mark Colby, suggested that I record the etudes and put them out as a play-along book. I had originally submitted the book to Hal Leonard for publication around 2002 (I’d written three Stan Getz transcription books for them in previous years). They rejected the book, thinking it was too much of a “niche” book, and too narrow in focus, musically.
(Of course, that’s exactly what I was going for—a very focused, niche market book). That same year, I went on a tour in Japan with.
It was an incredible experience, and I got to be friends with Michael. While traveling on the tour bus in Japan, I mentioned the etudes to him, and he told me to send them to him when we returned to the states. I thought that maybe he was just “being nice” by telling me to send them, but, the day he received them, he played through all of them and called me on the phone!
He told me to start my own company, to publish the book, and that he was going to endorse it. He loved the etudes and told me that they were going to help a lot of young players. He sent me an endorsement blurb for the back cover of the book, and that was the very beginning of my publishing company. “Jazz Saxophone Etudes” came out in 2004. Michael was the kindest, most humble person I’ve ever known.
Every day, I think of him and thank him for his encouragement. After ten years of publishing, the books now sell in over thirty countries, and are standard texts at many high schools and colleges throughout the world for jazz saxophone majors. Gary Keller, at University of Miami, was the first professor to make the book a core part of his curriculum. What was your lamest gig and how did you learn from it? The lamest gig was one private party event where the combination of the crowd noise and band volume level was so loud, I couldn’t hear myself play one note all night, and my ears were ringing loudly and painfully for days afterwards.
I learned to always have a set of foam earplugs with me to protect my ears when things get too loud. What was the best? There have been many. I don’t think I could narrow it to one. Highlights include the tour with Brecker in Japan (I didn’t play with Michael, but with my duo, (Two for Brazil) in sixteen cities throughout Japan; playing with my wife, pianist Judy Roberts at the Northsea Jazz Festival in Holland; and at the Monterey Jazz Fest are also highlights; doing an intense, impromptu two-tenor and piano after-hour jam with Harry Allen on one of the Jazz Cruises. Honestly, any gig, even if it’s at a little club or restaurant, has the potential to be the best gig ever. It doesn’t have to be in front of thousands of fans.
It’s about the musical connections you make onstage in the moments when you’re playing. You just never know when it’s going to be one of those incredible, memorable, breathtaking nights of music. The music is always great, but there are those few nights a year, when you’re just inspired, and everything’s working just right, and it’s magical. We can’t control when those happen, but the potential for those nights is there on every single gig.
So, never hold back your playing for “the big concert.” Always play your very best, no matter what the situation. Hobbies other than Music: Photography Classic TV shows & Movies; Honeymooners, Route 66, Perry Mason, Dick Van Dyke, Sunset Boulevard, From Here to Eternity, On the Waterfront, etc. Driving Travel What would your advice be for an up and coming, young musician? Practice hard. Master your instrument.
Learn lots of tunes. Study the masters. Find your own voice. Be respectful of older musicians and of the great musical traditions. Endorsements: I’m proud to be a artist. I play Rico Royal #3 on tenor and #2.5 on alto.
I also play Rico Jazz Select #3 soft on tenor and baritone. Horns: Selmer MK VI tenor saxophone #80,xxx King Super 20 tenor saxophone #501,xxx Selmer MK VI alto saxophone #55,xxx Yamaha 62 Silver plated Yamaha 62 baritone Yamaha 221 flute Selmer Series 10 Clarinet Mouthpieces: Tenor: Bobby Dukoff “Hollywood” model from the early 1950’s. #5 Alto: Meyer Bros.
From the 1950’s #7 M Baritone: Berg Larsen (Doc Tenney modified) 130/2 Clarinet: Eddie Daniels classical mouthpiece by Backun Where can we find more information? New releases and projects coming up: I’m just completing a new book of my teaching analogies. This book features many of my playing and teaching concepts illustrated by famed New Yorker Magazine cartoon artist, Mick Stevens. The book will be available by early 2014. © Copyright 2004-2015 Teen Jazz Privacy Policy Maintained by Shannon Kennedy Sitemap Teen Jazz is a for-profit blog, meaning that we occasionally work with brands who compensate us for our time. All products or services that we endorse or review are products or services that we would use even without being paid, and opinions are our own. We also occasionally use affiliate links, which give us a small commission if you purchase one of the products or services we talk about in our posts.
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Alto saxophone Instrumental Solo Part and 2 CDs. Published by Music Minus One (MO.MMOCD4131). Item Number: MO.MMOCD4131 ISBN.
Greg Fishman, alto saxophone. This superb new set of etudes fills a major gap in the musical resources for the aspiring jazz saxophonist. Master player Greg Fishman demonstrates the concepts of soloing to those students who know their chords and scales but lack the musical vocabulary to create professional-level solos. These twelve jazz etudes are enjoyable to play, yet present some technical challenges. But most importantly this album will allow you to play through the chord changes in a musical manner while clearly expressing the song's harmonic structure. The etudes are based on familiar chord progressions, including blues, rhythm changes, and a variety of common 'standard' 32-bar song forms. This unique and terrifically rewarding album will become part of you complete practice regimen!
'THIS IS REALLY A GREAT BOOK! A powerful sight-reading, ear-training, swinging, improvising jazz tool. Perfect for the student of jazz. Wish I had it when I was growing up. Glad I have it now.' -Michael Brecker 'This is one of the most concise and easy to digest collections of solos over standard tune chord changes that I have seen.
All the elements of good voice leading, passing notes and common scale usage are here. Very enjoyable!' -Dave Liebman I wish I had material like this when I was coming up. These etudes are little masterpieces. There is such a wealth of material to learn from here. Great line construction and great conceptual ideas.
Aap jaisa koi meri zindagi mein aaye old song download. Having the rhythm section continue after the etude is a great idea! I will be using these with virtually all my students from now on. Greg Fishman has done a terrific job of putting this book together, and the play-along rhythm section is first class!' -Mark Colby, Depaul University, Elmhurst College 'This book is a written version of the way jazz is supposed to be taught-learning from a great player who truly understands how to distill the language into clear, understandable terms. Chicago-based saxophonist Greg Fishman has composed a set of etudes based on standard tunes that are one of the best collections of this type I've seen.
The lines he composes are textbook versions of post-bop saxophone improvising, and will give students at all levels a wealth of material to practice and internalize. Fishman is equally well-versed as a teacher and as a saxophonist-it's a rare combination that is showcased in this book.' -David Demsey, William Paterson University, Saxophone JournalEach etude demonstrates the use of: -Theme and development, including use of sequence.Syntax - the order in which musical events occur.Voice-leading - the smooth connection of chords by moving no more than a whole step. Phrasing - a wide variety of starting and ending points.Eighth-note lines - the use of long streams of eighth notes, sometimes in the 'change-running' style.Idiomatic Construction - these etudes were written for saxophone, and use patterns, scales and intervals common to the jazz saxophone lexicon.Chord Changes - try to hear the chords in your head while playing these lines. Soloist: Greg Fishman. Ensemble: Rhythm Section accompaniment.
Alto saxophone Instrumental Solo Part and 2 CDs. Published by Music Minus One (MO.MMOCD4131). Item Number: MO.MMOCD4131 ISBN. Greg Fishman, alto saxophone. This superb new set of etudes fills a major gap in the musical resources for the aspiring jazz saxophonist.
Master player Greg Fishman demonstrates the concepts of soloing to those students who know their chords and scales but lack the musical vocabulary to create professional-level solos. These twelve jazz etudes are enjoyable to play, yet present some technical challenges. But most importantly this album will allow you to play through the chord changes in a musical manner while clearly expressing the song's harmonic structure. The etudes are based on familiar chord progressions, including blues, rhythm changes, and a variety of common 'standard' 32-bar song forms.
This unique and terrifically rewarding album will become part of you complete practice regimen! 'THIS IS REALLY A GREAT BOOK! A powerful sight-reading, ear-training, swinging, improvising jazz tool. Perfect for the student of jazz. Wish I had it when I was growing up. Glad I have it now.' -Michael Brecker 'This is one of the most concise and easy to digest collections of solos over standard tune chord changes that I have seen.
All the elements of good voice leading, passing notes and common scale usage are here. Very enjoyable!' -Dave Liebman I wish I had material like this when I was coming up. These etudes are little masterpieces. There is such a wealth of material to learn from here. Great line construction and great conceptual ideas. Having the rhythm section continue after the etude is a great idea!
I will be using these with virtually all my students from now on. Greg Fishman has done a terrific job of putting this book together, and the play-along rhythm section is first class!' -Mark Colby, Depaul University, Elmhurst College 'This book is a written version of the way jazz is supposed to be taught-learning from a great player who truly understands how to distill the language into clear, understandable terms. Chicago-based saxophonist Greg Fishman has composed a set of etudes based on standard tunes that are one of the best collections of this type I've seen.
The lines he composes are textbook versions of post-bop saxophone improvising, and will give students at all levels a wealth of material to practice and internalize. Fishman is equally well-versed as a teacher and as a saxophonist-it's a rare combination that is showcased in this book.' -David Demsey, William Paterson University, Saxophone JournalEach etude demonstrates the use of: -Theme and development, including use of sequence.Syntax - the order in which musical events occur.Voice-leading - the smooth connection of chords by moving no more than a whole step.
Phrasing - a wide variety of starting and ending points.Eighth-note lines - the use of long streams of eighth notes, sometimes in the 'change-running' style.Idiomatic Construction - these etudes were written for saxophone, and use patterns, scales and intervals common to the jazz saxophone lexicon.Chord Changes - try to hear the chords in your head while playing these lines. Soloist: Greg Fishman. Ensemble: Rhythm Section accompaniment. Review Guidelines. Explain exactly why you liked or disliked the product. Do you like the artist? Is the transcription accurate?
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I was recently asked to review the book Jazz Guitar Etudes by Chicago-based saxophonist Greg Fishman on my blog. It's a really wonderful book that has been adapted from his earlier Jazz Saxophone Etudes book with help from guitarist Mike Allemana. I've had a blast working with it! If you or your students want to work on getting more of that horn-style phrasing into your playing the book will really help.
The full review and a youtube video of Mike Allemana playing one of the etudes here: Sorry if this sounds a little self-promotional. I really do dig the book, and encourage you to check it out! The book is very good, however I prefer the saxophone phrasing rather than the guitar version phrasing. Listen to both versions on the CD and work out how to get the best articulation and phrasing. Use the guitar tab as a start, just as they recommend in the book. State Street is a great Rhythm Changes improvisation/etude. I find that playing it a bit slower (around 200 bpm) and keeping more of the phrasing is preferable to playing it like a machine gun.
There is plenty of useful advice on using the etudes to develop your playing, no matter what level you are. Well, so let's talk articulation and phrasing on the guitar, since that's something I specifically have worked on in the past 6 months. I've been working out of the Dale Bruning book, and the overall idea there is to alter your fingerings so that you slur into each beat, particularly beats 1 & 3.
This took me a while to get, because I had to throw out a lot of my old scale fingerings, but I can now pretty convincingly play all the modes of major, the blues scales, the 1st and 7th modes of melodic minor, and the harmonic minor scale with a swing inflection. It was frustrating while going though it, but ultimately worthwhile, since it freed me from the rigidity of staying in one particular 'box' on the fretboard (ingrained into me from years of classical training). I achieve the slurs in one of a few ways. I either slide up or down the neck into the next note (almost always a single fret); I slur (hammer-ons and/or pull-offs); and I take care not to pick every note; I try to pick only on the offbeats (not always possible). Sometimes the realities of the fretboard get in the way, and I 'break' the swing feel, particularly when crossing strings.
But for the most part, it's had a positive effect on my sound. I had one of the board members of my jury last semester comment on this aspect of my playing, which I took as a compliment.
I've been transcribing a lot of Charlie Parker heads and solos lately, and I've noticed a definite difference (between now and half a year ago) in the way I approach my fingerings. I search for a lot of ways to finger things now, instead of being stuck in one spot. And I'm not afraid to move my hand position around anymore, which is quite freeing. So, what exactly is it that is recommended in these books for the guitarist to do in order to get 'horn-like' phrases, beyond what I'm already doing? FatJeff - that is exactly what I meant by working out your own fingerings, in particular the use of hammer-ons, hammer-offs and slides.
It is a good idea to start with picking only on the upbeats, or where this is impractical, you can emphasise the upbeat by picking slightly harder on each upbeat. A word of caution however, once you have this swing feel down, then you need to let your musical ear tell you what to emphasise with articulation and what not, irrespective of whether it is an upbeat or not. Charlie Parker did this all the time, with unusual (for the time) articulation and emphasis. The book recommends that you copy the horn phrasing - I do this by listening closely to the saxophone part and copying first of all, then forgetting about it and just playing. There is no short cut.
Transcribing Parker solos is a great way to get a jazz feel. Just remember to develop your own feel. Playing Parker heads such as Anthropology and/or Ornithology is also good - I find that I move about the fingerboard to provide the emphasis, articulation and sound that I want just as you stated. Perhaps the greatest benefit from etudes such as those of Greg Fishman is that you are playing music and not scales when doing this.
This in my opinion makes it much easier to feel the articulation and to avoid mechanical playing. All the best, Bill.
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