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Hi, I'm Paul from northern BC, Canada, home of steelhead salmon and white bears who thrive on them. 50+, I played tenor when I was 13 and occasionally up to the 80s, then quit for 15 years. Played guitar and keyboard and wrote many songs in between, then had a long fallow period. Fell in with a fine bebop player in 1998 who needed piano backup and I got inspired. Now I play alto in a concert band, tenor in a big band, and sit in with wacky jammers (rock n roll to heavy metal) weekly.
Working lots on transcriptions, using Finale for both bands and assembling material for an R&B band, and I have a few alto students whom I'm writing individual exercises for. The Saxophone Tutorials on this site are terrific and I am sharing them with my students.
My ambition is to get real good and agile on tenor and alto, and master certain techniques I haven't been able to get yet, such as the Fall and Slap Tonguing.
I wish I'd started way back when my eyes were better - the sheet music blurs and I often misread a third above the written note.
From playing guitar and piano I have a good sense of accompaniment and melody, as well as theory which helps me "run the changes" but I realize there's much more to it than that. So I am studying Larry Teal, Dave Liebman, John Coltrane and Charlie Parker's Omnibook and trying to get it from the inside rather than merelly memorizing licks.
I have been lurking in the Forums and found polite people working hard to master their craft, so I am very pleased to join you-all!
Good work, Pete! Please let me have access to the advanced material.
--
Cheers,
"Ammo"
PS Here are some of the tunes I have been trying to master lately
Friday Night at the Cadillac Club - Bob Berg has an amazing solo in this presto blues (it runs parallel 13sus4 chords in a sequence of I, bII, I, bVII, I, bV, IV, bIII, II, bII, I, VII, bVII and VI before building up tension on a V7#5) that I haven't managed to crack yet. He runs some terrific "sheets" of notes towards the end of the last chorus, and hits some high notes that are beyond my reach so far.
You Dirty F Minor You by Amadee Castenell - love to just listen to his tone. Great growlies! A real tour de force.
So What by Miles Davis - both Coltrane and Cannonball are in top form here. Playing very clean and controlled, Trane starts with Davis' minor 9th add 11 at a walking tempo and soon is running 16ths for 8 measures at a time. What a monster! Yet he finishes with a promise of more and leaves a lot of questions for Adderley to answer with his pretty, fluid fingerwork and trademark trills.
I'd love to find out what insights other sax players here will have into their favourite solos.
Hi, I'm Paul from northern BC, Canada, home of steelhead salmon and white bears who thrive on them. 50+, I played tenor when I was 13 and occasionally up to the 80s, then quit for 15 years. Played guitar and keyboard and wrote many songs in between, then had a long fallow period. Fell in with a fine bebop player in 1998 who needed piano backup and I got inspired. Now I play alto in a concert band, tenor in a big band, and sit in with wacky jammers (rock n roll to heavy metal) weekly.
Working lots on transcriptions, using Finale for both bands and assembling material for an R&B band, and I have a few alto students whom I'm writing individual exercises for. The Saxophone Tutorials on this site are terrific and I am sharing them with my students.
My ambition is to get real good and agile on tenor and alto, and master certain techniques I haven't been able to get yet, such as the Fall and Slap Tonguing.
I wish I'd started way back when my eyes were better - the sheet music blurs and I often misread a third above the written note.
From playing guitar and piano I have a good sense of accompaniment and melody, as well as theory which helps me "run the changes" but I realize there's much more to it than that. So I am studying Larry Teal, Dave Liebman, John Coltrane and Charlie Parker's Omnibook and trying to get it from the inside rather than merelly memorizing licks.
I have been lurking in the Forums and found polite people working hard to master their craft, so I am very pleased to join you-all!
Good work, Pete! Please let me have access to the advanced material.
--
Cheers,
"Ammo"
PS Here are some of the tunes I have been trying to master lately
Friday Night at the Cadillac Club - Bob Berg has an amazing solo in this presto blues (it runs parallel 13sus4 chords in a sequence of I, bII, I, bVII, I, bV, IV, bIII, II, bII, I, VII, bVII and VI before building up tension on a V7#5) that I haven't managed to crack yet. He runs some terrific "sheets" of notes towards the end of the last chorus, and hits some high notes that are beyond my reach so far.
You Dirty F Minor You by Amadee Castenell - love to just listen to his tone. Great growlies! A real tour de force.
So What by Miles Davis - both Coltrane and Cannonball are in top form here. Playing very clean and controlled, Trane starts with Davis' minor 9th add 11 at a walking tempo and soon is running 16ths for 8 measures at a time. What a monster! Yet he finishes with a promise of more and leaves a lot of questions for Adderley to answer with his pretty, fluid fingerwork and trademark trills.
I'd love to find out what insights other sax players here will have into their favourite solos.
