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Distinguished SOTW Member, Forum Contributor 2009
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Discussion Starter · #1 ·
Doing a whole tone lick arpeggio in both keys. Running bass lines to green dolphin street trying to play less and more vocally. I did some sight reading this morning and warmed up out of the Larry Teal workbook. Lastly I worked doing sub V7s on II Vs so rather than II V I it is II bII7 I maj What did you Practice??? K
 

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I'll be practicing technique via the Viola Scale Studies book, then transcribing Bird's "Warming up on a Riff" by ear. Then later some piano, LH playing 4ths off the 2, 3, 6, 7 (so in the key of C - D,E,A & B), RH playing pentatonics off the 5th (G penatonic), then practice a tune playing voicings with the LH, melody with the RH sometimes using two handed voicings with the melody on top.
 

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Fundamentals, fundamentals and more fundamentals.
(trumpet)
 

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Selections from Pata and Oliver Nelson (3 pages apiece), assigned blues melodies in 12 keys, played over a transcription I did, sightread from a couple of jazz charts, improvised to an Aebersold. Will try to improv to backing tracks on the computer tonight for a while.
 

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Steve Neff Bebop Dominant exercises. Yesterday I worked on the linking phrases #1-15 in all keys.
 

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Last night it was:
Flute: Doodling around on Moondance, Trevor Wye tone exercises
Tenor Sax: Klose, Ab riffs (yeah, blues in Ab...that's enough to give you the blues...especially when you're trying to think G#) from Steve Neff's Mastering the Blues Scale: Dominant Chords, A couple of pages out of Sinta's Voicings... just trying to get the Dukoff chops back for the summer.
 

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This week its been no songs, no books, just an hour or so each day of patterns that I make up transposed to every key. Keeps the brain and fingers learning new things. Also extreme range exercises on sopranino. I had to take a break from playing publicly over a year ago and have been concentrating on classical music on the sopranino. The little horn and I have become good friends.
 

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Diatonic triads for the keys of F# and Db.

Then I worked on the heads for and then improvising on "If you could see me now", "Look to the sky" and "Star Eyes".
 

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Not much. Just a bari piece for my community choir's rendition of 'It's My Party'.
Six sharps and there is a 'big solo' in the middle. Basically it's just getting the strength built up in my girlie pinkys.
I've been playing little horns too much lately.....
 

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I recently got Steve Neff's II-V-I major and minor patterns. There's enough there to keep me busy for months, perhaps years, and hopefully make soloing less repetitive.

I also have a bari piece to learn for a small ensemble I play in: Miles Davis' Boplicity. Miles' bari player was Gerry Mulligan, so some very big shoes to try to fill.
 

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Discussion Starter · #17 ·
Did my warm up. Some reading to keep that up. Then whole tone triads and green dolphin bass like solo. I spent an half hour trying to record Sonny with BIAB. Doing a layed back Sanborn vibe is a hell of alot harder than I ever thought. K
 

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Lester Young's solo on "Lester Leaps In". I play about 4 bars on the pc and then play it until I memorize it. I'll continue until I know the whole solo. I warm up with harmonics and various scales & noodling.
 

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My daily warm up:
-mouthpiece exercises (long tones, dynamics, tunes, scales, arpeggios), just 3-5min
on the horn
- long tones (with dynamics), overblowing
my current practice:
-scales in the altissimo register (from f2-f3 until f3-f4)
-approach notes for major/minor chords
-some work on Steve Neff's Dom7 Bebop scale book
-practising solo on "Mr. Sandman - key of C
-practising solo on "It's only a papermoon" - key of A
-practising solo on "Knock on wood" - key of F#
-practising solo on "Hold on, I'm coming" - key of Bb

-takes me about 2 hours, if I have less time I shorten the list.
-if I have more time I pick some lines from Steve Neff's great book "Devastating minor lines"!

...will be busy with that for a while ;-))
 

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Distinguished SOTW Columnist and Saxophonistic Art
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I'm up early 6:36 AM....Have a noon gig in Philly with Phila Jazz Project.

So....What I'm dealing with is concept and the time feel. None of us do it exactly the same. Listen to James Moody play Rhythm Changes vs Trane or Bird. It's a defined thing. Something felt and etched into the mind set. ( imho) Certain kinds of music define a concept to be rhythmically successful. So I'm getting a focus.... very simple but effective. I play a major scale from the root to the ninth and add a half step between any two scale tones every other time.
I'll play up and down the scale with the CD metronome at a medium tempo. Then I practice playing ahead, behind, and in the middle of the beat. I concentrate on getting a level where the beat is flexible and the metronome becomes a reference in a way . I want to start then,
playing ahead and behind the beat, as well as dead center. Simple but it opens the ears to the _time_and placement.

Before I leave the house, I practice a left hand Opperman study on clarinet at 50=quarter note. Between that and the....concept and time work- I'm working on things.

When I drive to Philly- I have my Hank Jones / James Moody CD and this is James Moody week for listening while
driving.

There it is.
 
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