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Looking for any feedback on this version of confirmation I recorded today during my practice session. Sorry for the not so great recording quality, I just generally throw a mic near my speakers and forget about it when I practice.

You can listen here : http://dl.dropbox.com/u/17427912/confiscation.mp3

My focus was on playing and develop some motives, avoid playing the same old licks and explore new options for substitutions as well as get a full vibrant and resonant tone. I've also been trying to "modernize" how I play my 8th notes recently so any feedback on my swing feel is welcomed.

Thanks in advance for your courage. :twisted:
 

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Victor, I'd say I hear a ton of potential. How long you been playing sax?

Sometimes the intonation is un peu douteux, if that phrase conveys "suspicious" -- here's the thing, at times it reminded me a bit of Von Freeman, whose intonation can impart a bit of tartness or even sourness to his lines -- and someone who I'm pretty confident you haven't heard at all, and more to the point aren't trying to sound like. (And Von would still get a hug from me, no matter what, as a Very Sweet Person, and a great player.)

And then, other times, I hear a very Traneish cry, like at 1:14 in the bridge, that's just plain great.

As for your lines, *my* take would be that the more you can justify "outness" by resolving in some sort of "in" way, the better. Sometimes I'm not ... convinced ... by your resolutions. I think Confirmation changes are especially challenging to figure out how to go out on without just sounding ... like you're not playing the changes.

Regarding articulation and swing feel: I've been trying to learn the sax approximately 29X longer than you, but some of your concerns are my concerns as well -- your recent posts regarding Garzone mirror my efforts here in Buffalo trying to get info from local folks who've studied with him... Less inflection, less "trying" to swing, less less less -- I'm trying to move more in that direction, and I think you're sounding fine along those lines.

At your current rate of progress, and knowing how long you've been at this: I'm digging what I'm hearing, and I can easily imagine coming to hate you. I'd keep on doing what you're doing...
 

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I'll leave the analysis to the greater talents. But I really enjoyed listening to your rendition (three times). Sounded GREAT to me! I'm mostly a legit player but I at least know what I enjoy and I enjoyed THIS. Thanks for sharing and I hope you get lots of useful feedback from folks with the credentials to do so.
 

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You've got the changes down. Now play it faster.:twisted:

No, really, I'm amazed at your progress.
 

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Discussion Starter #5
Thanks for taking the time to listen guys!!!

How long you been playing sax?
I started in Dec 2005.

Sometimes the intonation is un peu douteux, if that phrase conveys "suspicious" -- here's the thing, at times it reminded me a bit of Von Freeman, whose intonation can impart a bit of tartness or even sourness to his lines -- and someone who I'm pretty confident you haven't heard at all, and more to the point aren't trying to sound like. (And Von would still get a hug from me, no matter what, as a Very Sweet Person, and a great player.)
Good call. I'm working on this as well (what am I not working on?). I heard a few Von Freeman with Johnny Griffin. I for one find Chico Freeman's intonation kind of dubious at times (with all due respect).

And then, other times, I hear a very Traneish cry, like at 1:14 in the bridge, that's just plain great.
One of my main men...

As for your lines, *my* take would be that the more you can justify "outness" by resolving in some sort of "in" way, the better. Sometimes I'm not ... convinced ... by your resolutions. I think Confirmation changes are especially challenging to figure out how to go out on without just sounding ... like you're not playing the changes.
I see what you mean. At some points I was just playing wrong notes in this take which may be why it didn't sound convincing. Hehehe... But I know what you mean, even if you play a dissonant substitution (and don't necessarily play out) and you don't clearly resolve it, it just sounds like you're playing a bunch of random notes.

Regarding articulation and swing feel: I've been trying to learn the sax approximately 29X longer than you, but some of your concerns are my concerns as well -- your recent posts regarding Garzone mirror my efforts here in Buffalo trying to get info from local folks who've studied with him... Less inflection, less "trying" to swing, less less less -- I'm trying to move more in that direction, and I think you're sounding fine along those lines.
Tone and rhythm are kings!

I'll leave the analysis to the greater talents. But I really enjoyed listening to your rendition (three times). Sounded GREAT to me! I'm mostly a legit player but I at least know what I enjoy and I enjoyed THIS. Thanks for sharing and I hope you get lots of useful feedback from folks with the credentials to do so.
I'm very glad you enjoyed it. That must be one of the reasons why we play music : so people can enjoy themselves.

You've got the changes down. Now play it faster.:twisted:

No, really, I'm amazed at your progress.
:lol:

Fast playing will come eventually. As for the progress it's 8H a day of practicing 5 days a week since the beginning of February (which makes me think I should sound better...) Give me another 10 years. ;)
 

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I agree with Hakukani, but one thing you might want to consider is some additional dynamic expression. Dynamically it was a bit flat. Emphasize certain notes, de-emphasize others and create a little more dynamic interest.

I did like it, just needs a little more tabasco.
 

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I agree with Hakukani, but one thing you might want to consider is some additional dynamic expression. Dynamically it was a bit flat. Emphasize certain notes, de-emphasize others and create a little more dynamic interest.

I did like it, just needs a little more tabasco.
Do you mean within my lines or overall?

And it's an hour and a half drive from where I live to the Tabasco factory. :D
 

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Within the lines. Listen to Charlie Parker. Note that he frequently changes the dynamic of the phrase -- sometimes playing one note, or a short series quite loudly, but backs off for others within the idea -- even on fast runs. You do it a bit, but tend to have a pattern on this piece of playing slightly louder as you go higher and a bit softer when you go lower. It would be more interesting if it were more pronounced and perhaps a bit unexpected within the phrase. Mix it up a bit.

Of course, it could just be the limitation of the recording, but that was my perception.
 

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Within the lines. Listen to Charlie Parker. Note that he frequently changes the dynamic of the phrase -- sometimes playing one note, or a short series quite loudly, but backs off for others within the idea -- even on fast runs. You do it a bit, but tend to have a pattern on this piece of playing slightly louder as you go higher and a bit softer when you go lower. It would be more interesting if it were more pronounced and perhaps a bit unexpected within the phrase. Mix it up a bit.

Of course, it could just be the limitation of the recording, but that was my perception.
Got you. I used to do this more actually but I think it came in the way of 1. my swing feel 2. my air support.

It's great you mention it though as I can work on incorporating it back into my playing. d(^.^)b
 

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Hi Victor,

I had a listen while walking to work today. I must admit i didn't hear too much blatant outside stuff - notable things were (in both instances) you hitting on a flatted fifth at the beginning of the B in the second chorus, and in the A in the 3d(?) that sounded willfully outside because they weren't just a modest passing note. But, great playing! I really enjoyed listening to it - had no qualms about swing. Most important thing seemed, to me, to be that you know how to space your lines. Oh, and intonation seemed not that bad, either...(but i'm challenged by that myself often enough..).

Reine
 

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very nice playing and you've only been at it 5 years!- you're definitely working on the right stuff. I like the tone and your time, both very solid
 

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I think I can tell what type of 8th note swing you are going for.
At certain points it seems like you lose track of the beat, almost as if you were not able to hear the accompaniment well enough while you were playing. So at these places you sound a little behind the beat, I mean a little too much so and it makes the new feel "not work" at those points.
In case you want more specifics, here are a couple of times I felt this while listening:
0:10-0:12
0:52-0:56

Overall your composition was good (and your sound too), but your execution was not as good as the last time I heard one of your sound clips.
If this is just because this song is still a work in progress for you, that's ok, I'm just telling you what I hear.
 

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Discussion Starter #14
I had a listen while walking to work today. I must admit i didn't hear too much blatant outside stuff - notable things were (in both instances) you hitting on a flatted fifth at the beginning of the B in the second chorus, and in the A in the 3d(?) that sounded willfully outside because they weren't just a modest passing note. But, great playing! I really enjoyed listening to it - had no qualms about swing. Most important thing seemed, to me, to be that you know how to space your lines. Oh, and intonation seemed not that bad, either...(but i'm challenged by that myself often enough..).
Thanks for the feedback! Like I told Kelly, I played a few wrong notes, but yeah, most of these are either playing alt7 chords, maj7#11, tritone sub or playing a IVm7/bVII7 instead of a IIm7/V7. Targeting and approaching the right notes / shapes is the challenge. I'm glad you think I know how to space my line, I've been working on this. :)

As for intonation, I know I suck because when I practice it it's obvious I have a hard time locking in sometimes.

very nice playing and you've only been at it 5 years!- you're definitely working on the right stuff. I like the tone and your time, both very solid
Thanks man!!

I think I can tell what type of 8th note swing you are going for.
At certain points it seems like you lose track of the beat, almost as if you were not able to hear the accompaniment well enough while you were playing. So at these places you sound a little behind the beat, I mean a little too much so and it makes the new feel "not work" at those points.
In case you want more specifics, here are a couple of times I felt this while listening:
0:10-0:12
0:52-0:56

Overall your composition was good (and your sound too), but your execution was not as good as the last time I heard one of your sound clips.
If this is just because this song is still a work in progress for you, that's ok, I'm just telling you what I hear.
Oh, cool! Very helpful. It's true if I play too much behind the beat it doesn't work. LOL. Thanks for pointing this out. I think my new swing feel is still a little too stiff and mechanical too which would resonate with maddenma's comment. A work in progress.

If by execution you mean I didn't play as clean as usual (screwing up, hesitation, etc.) it's more because I'm trying to push myself to incorporate the new stuff I'm working on (motives, subs and new feel) and as a result 1. I don't let loose enough because I play it more as an exercise 2. I just don't have everything I'm trying to play under my fingers or in my brain.
But it's good to know you hear a difference - I thought it was as bas as usual. :twisted:

Thanks for the feedback!
 

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I wish I was qualified to offer you some meaningful critcism Victor, but I'm not. I'm just glad to hear how well you've been progressing and that you're still working hard at learning more. Keep up the good work!!
 

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I wish I was qualified to offer you some meaningful critcism Victor, but I'm not. I'm just glad to hear how well you've been progressing and that you're still working hard at learning more. Keep up the good work!!
Same here,very enjoyable Vic.
I felt like I was in a jazz club.
 

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Discussion Starter #19
Thanks guys! For those who hear some intonation issues, can you hear a certain tendency I could specifically work on or am I generally too flat or sharp?
 

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Working hard Victor! To my ear you're a tad sharp much of the time. Most people didn't mind Trane usually being sharp so I guess it depends on your tone concept and ear.
 
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