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Pete, that WAS a challenge to count...10 and 12...then 9 and 11, then 6 and 10. Nasty! LOL
 

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I've been working with a collective using file sharing for some years. It's all original music and an opportunity for using improvisation and fit into many different styles. Here's an example:
Apogee Celestial Tango
I did some of those kind of 'instant composing' type of tunes many years ago, with backings provided by and sounding like the one in Wade's submission above. So no real writing involved here, just trying to find your way on fully unknown backings. I hope that fits the purpose of this thread.

Here are some examples:




 

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I did some of those kind of 'instant composing' type of tunes many years ago, with backings provided by and sounding like the one in Wade's submission above. So no real writing involved here, just trying to find your way on fully unknown backings. I hope that fits the purpose of this thread.

Here are some examples:




Right you are and it's fun to hear these once again. I especially got a kick out of the way you intpreted "Sassafrass and Cat Skittles". They were mostly played by my long time performing partner Gerhard Lotemosser except the Easygoing Bass which I put together. So glad that they gave you and others some practice in live style improvisation on original tracks. I've posted 300 similar tracks on Pete's site with (modest) examples of how one could play these. It's possible to do the same here. I've got about 800 of these in all different genres. They run from easy to very complex most with pretty full backing. I'm still not sure that players here wish to play tracks other than standards where they are using their eyes and theory to play "the changes". This exercise is totally about listening and anticipating, and of course experiencig all those other genres.
 

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Right you are and it's fun to hear these once again. I especially got a kick out of the way you intpreted "Sassafrass and Cat Skittles". They were mostly played by my long time performing partner Gerhard Lotemosser except the Easygoing Bass which I put together. So glad that they gave you and others some practice in live style improvisation on original tracks. I've posted 300 similar tracks on Pete's site with (modest) examples of how one could play these. It's possible to do the same here. I've got about 800 of these in all different genres. They run from easy to very complex most with pretty full backing. I'm still not sure that players here wish to play tracks other than standards where they are using their eyes and theory to play "the changes". This exercise is totally about listening and anticipating, and of course experiencig all those other genres.
Thanks Wade.

Yes, most posted recordings here are still jazz / standard oriented and I think that won't change on short term. It was the same in 2007, when you (with a little help of me as moderator) tried to start off the >Ear Music Composition/Improvisation Challenge< threads. The easiness of available scores and backing-tracks and the fall-back option to use chord executing muscle memory technics in those numbers are the main reasons for that I guess.
 

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A lot of really good, serious stuff here. So let's break it up a bit with something more frivolous. Another tune I wrote for our 80's alternative band Yanomamo. This one though, is more along the lines of the sort of stuff we generally did as opposed to My Own Show on the previous page, which was more mainstream. No, this is about coming of age as a Yanomamo. I sing it and play jungle flute, along with other percussion and voice modulations. Head-banging optional:

https://soundcloud.com/akagrumps%2Frealm-of-the-alligator
 

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Right you are and it's fun to hear these once again. I especially got a kick out of the way you intpreted "
I'm still not sure that players here wish to play tracks other than standards where they are using their eyes and theory to play "the changes". This exercise is totally about listening and anticipating, and of course experiencig all those other genres.
Sorry, but sounds like a loaded comment. Maybe some people use their hearts and their ears and their personal experiences to play melodically through changes? Maybe it's not about playing playing the changes, but about expressing and communicating something beautiful. What's the hangup with changes?
 

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Sorry, but sounds like a loaded comment. Maybe some people use their hearts and their ears and their personal experiences to play melodically through changes? Maybe it's not about playing playing the changes, but about expressing and communicating something beautiful. What's the hangup with changes?
No hang up about changes at all. The tracks mrpeebee was referring to were all originals with the intention being that one would use this as an exercise in NOT knowing the chord structure. There was no notation. You had to use your ears and find your way, preferably melodically as you state. It's ear to hand training as compared to eye to hand training. This can be important for players who may wish to play in rock or pop bands or any improvisation situation where it's not a "standard" or where written music or a chart isn't provided.

The comment was simply referring to the fact that there wasn't much uptake when it was featured previously. The culture of playing standards or improvising to a written out cord charts is what's mostly done here. There's nothing wrong about that, it just won't take most players towards other styles or developing their ability to play by ear. We are, or become, what we practice and play. If most only have a goal of playing to the changes that's fine. Some of us thought that other challenges could be helpful for further development.

This concept has been thoroughly embraced by another sax site with around 100,000 hits. It's hard to know how much that benefited those players, but it's still being used. There are lots of types/styles of music outside of jazz where improvisation is required. If you can play what you can hear in your head that's the goal.
 

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Myself and Martin Ear recorded this just a couple months ago. I improvised phrases of various lengths running through a couple effects pedals - Eventide H9 Max and Montreal Assembly's Count To 5. I played both soprano saxophone (
Yanagisawa) and flute (1920's Selmer). As a side note some of you might find it interesting that I use the mouthpiece that came with the Yanagisawa. I've tried several other mouthpieces with it and found I prefer the Yanagisawa. I even did a blind sound test with other saxophonists and each person picked the Yana as their favorite.

After recording the improv phrases Martin then added guitar & drum/samples. No metronomes or backing tracks were used.

 

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Hello beautiful people of SOTW community!

It has been a really long time, since my last post on the forum, and to my surprise with my return here, i am introduced to the new outlay of the board. I see many things have changed (new graphs, more high-tech i guess), but the flame for saxophone music remains the same, as an old flame. Hope everybody is fine and healthy, with all this trouble caused by the pandemic.

So here is my new composition for alto saxophone. It is a jazz ballad!
It is a bit emotional and autobiographical. My tune speaks about old folks, relatives that have passed away, and an ex girlfriend. So i dedicated this piece, to all people that i met in my life, hanged around, and had time together.

Hope you dig it some how. Hard critic on saxophone technique and tips on how to get better, are extremely welcomed!


Sincerely

Vasileios Vazouras

Western Greece
 
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