Jan 19 2013

Lesson 69: A Major

Sometimes working on just one key for a while can be beneficial.  Today I practiced a bit on concert A major -  on tenor sax this is B major, which does not lay well on the horn for me, mainly due to my deficiency using the side A# fingering.  Also, it’s more difficult for me to visualize the 7 modes in this key than compared to concert Bb major.Warne+Marsh+warne

After singing and playing over an A drone for a while, I came up with a simple melody that moves down through the 7 modes of concert A major by diatonic step (all over an A drone).  For rhythmic interest,  each melody is played first as all dotted quarter notes (a 3 over 4 grouping) and than in 8th notes.   I started by singing the exercise until it was easy to hear and visualize and than put it on the horn.

There’s a PDF with the melody for C, Bb and Eb below.

~Enjoy!

Lesson 69: A Major Melody PDF

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Jan 17 2013

Lesson 68: -7b5 nat 9 nat 13

This is a simple melody that uses the 2nd mode of harmonic major over a -7b5 chord (or half diminished) in one key (concert F#-7b5) which is concert E harmonic major, the 2nd mode being concert F#-7b5(nat9, nat13).

This 2nd mode of harmonic major creates an interesting “bright” sound over half diminished; natural 9 and natural 13. Harmonic Major

The more common locrian mode of the major scale gives you a b9 and b13 on a -7b5 and the popular 6 mode of melodic minor will give you a natural 9 and a b13 over a -7b5.

The 2nd mode of harmonic minor over -7b5 will give you the b9 and the natural 13.

All 4 scales will work nicely over a half diminished chord but this melody just focuses on using the natural 9 and natural 13 sound (2nd mode of harmonic major).

Here’s a simple chart that should help make it clear:

 

F#-7b5 (b9,b13) = F# locian (G maj scale 7th mode) F#, G, A, B, C, D, E, F#
F#-7b5(nat9,b13) = 6 mode of A melodic min F#, G#, A, B, C, D, E, F#
F#-7b5(b9, nat13) = 2nd mode of E harmonic min F#, G, A, B, C, D#, E, F#
F#-7b5(nat9,nat13) = 2nd mode of E harmonic maj F#, G#, A, B, C, D#, E, F#

The intro and outro clips in the video are short improvisations using this 2nd mode of harmonic major i.e. concert E harmonic major, 2nd mode = F#-7b5(nat9, nat13).

The short melody in the lesson uses a grouping of 7/8 over 4/4 and is a sequential melody descending by diatonic 3rds through the mode (cycle 6 in Mick Goodrick’s system).

Try singing the melody over a drone or the F#-7b5 chord until it feels comfortable than play idea on your instrument.  After try improvising freely with the mode.

For more an introduction on the use of the 7 modes of harmonic major, you can pick up my book on the topic here.

~Enjoy!

Lesson 68: -7b5(nat 9,nat 13) PDF

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Jun 11 2012

-Lesson 60: Diatonic Sequence

This lesson covers a great melody from  one of the Bach Cello suites which has been extended slightly to cover the whole major scale.

The sequence outlines the main seven chords found in the major scale (in the key of C: Fmaj, B-7b5, E-7, A-7, D-7, G7, Cmaj); the root motion moves in diatonic fourths.  I’ve found this exercise to be very melodic and yet strangely challenging to memorize and play technically.

To expand on this melody, try playing the material in smaller phrases, perhaps just outlining one or two of the chords.  Also, changing the rhythm in a variety of ways should help the material become a more creative part of your vocabulary.

~ Enjoy!

Lesson 60: Diatonic Sequence PDF

 

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Mar 6 2012

Skype Lessons

I’ve started doing Skype Lesson formally.   Having taught many Skype lessons over the last few years, I’ve come to believe that Skype is a good way to both teach and learn from the comfort of your own home.  I charge 40$ for one a one hour lesson, and interested folks who are at an intermediate or advanced level can email me to set up a lesson at: ottojazz@gmail.com.

During a Skype lesson I will listen to you play/improvise for a duration and determine a course of study based on what I hear.

Some of my common teaching methods include:

  • Singing and visualising melodies and harmonies over drones.
  • Playing ideas through keys.
  •  Memorising tunes and chord progressions.
  • Displacing melodies rhythmically.
  • Working with a metronome.
  • Singing and playing scales, ideas, melodies, voicings, arpeggios, and  solos.
  • Transcribing, singing, memorising and playing solos through keys.
  • Diatonic harmony.
  • Analysis of standard progressions and songs.
  • Chord-scale theory.
  • Synthetic scale analysis and application in improvisation and composition.
  • Long tones.
  • Overtones.
  • Diaphragmatic Breathing.
  • Establishing an effective daily routine.
  • Writting contra-facts.
  • Compositon.
  • Interval recognition.
  • Harmonic recognition.
  • Singing and playing over progressions and songs.
  • Learning to play by ear.
  • Working on rhythmic feel.
  • Developing a vocabulary.
  • Working towards performance and recording.

I’m also willing to work on specific personal goals and/or problems that an individual may have.

I’m happy to work with people who play any instrument.

Best,

Matt Otto

Reviews:

“Matt Otto is a gifted teacher and a warm-hearted person. I’ve been fortunate enough to study with him and have applied his
teachings to many facets of music-making, from sound production and ear training to improv and composition. I can’t recommend him
highly enough. He’s approachable, friendly, and has a casual way of making difficult concepts easy. His methods and philosophy
are geared toward developing the whole musician and guiding the student in finding their musical “voice”, which has been a joy
to experience first-hand! He’s been a great mentor and I would recommend him to any musician interested in improving the quality
of their playing in a way that is true to the self.”

~Peter Gilli – tenor sax, Rhode Island

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I have been studying with Matt for over six months now. With his guidance, I’ve been able to move past several musical obstacles allowing me to set new goals as an artist and saxophonist. The bar has been raised, so to speak. His teaching effortlessly encourages growth within the idiom of jazz improvisation, while still maintaining clear awareness of the student as an artist in their own right. Simply put, my lessons with Matt have allowed me to deepen my relationship with music directly.

~Jason Moore – tenor sax, North Carolina www.jasonjmoore.com

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“I studied with Matt Otto from 2000 to 2006 and during that time, Matt was a true mentor.  In those years of study, I developed an understanding of elemental aspects of sound, rhythm, and musicality that I felt ownership of.  Matt stressed the importance of developing a personal and instinctive command of the instrument, and I credit his teaching style for enabling me to mature from student to artist.  Beyond teaching, Matt  produced and engineered a recording of mine, which helped me win a competitive artist’s grant from UC Berkeley — the funding from this grant payed for my travels and first year expenses moving from California to New York City where I live today.  Learning from Matt and being influenced by him has been a great gift that continues to be a part of who I am both musically and personally.”

~Kenneth Auyeung – Alto Sax, Brooklyn, NYC.

 

“Studying with Matt is the best. He really taught me how to sing through my instrument, which completely transformed my approach to music.”

~Ryan Seward – Guitar, Los Angeles, CA.

 

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“After years of going around in circles in my practice, lessons with Matt finally got me to break through the blocks and rise above the plateaus. His positive, encouraging approach to ear training and teaching jazz improvisation have given me the tools and confidence necessary for any measure of success I’ve reached. In short, Matt has basically taught me everything I know.”

~ Josh Welchez – Trumpet, Los Angeles, CA.

 

“I have only two regrets about taking lessons with Matt Otto. 1. That when my friends recommended I take lessons with Matt, I had done it sooner and 2. That I didn’t take more advantage of him when he lived in town. Matt is easily the best teacher I’ve ever had regardless of instrument. I’ve never seen anyone with a more clear approach and was so quickly able to get to the my weaknesses. Another one of Matt’s strengths was giving you a way to work on those issues that were really easy to implement. I don’t think I could have asked for more from a teacher.
 With Matt’s help I was able to accepted to the Master’s degree program at Cal Arts for Jazz Studies, a feat which I never could have done without his guidance. For that I’ll always be indebted to him.” (and Sallie Mae).
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~ Scott Cummings – Drums, Los Angeles, CA.
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“I recently started playing saxophone again after a 10 year break.  However I was dissatisfied, as many of the issues that bothered me about my playing years ago, where still present such as:  solo’s that lacked thematic direction and did not ‘tell a story’, an over-reliance on ‘hot licks’ and a disconnect between my fingers and ears’ .  I decided I needed to get some help If I was going to make any progress.  After reading Matt’s blog and hearing him play I started taking lesson’s earlier this year and it has led to massive changes in my approach to improvisation and level of musicality.

Here are some of the things we worked on:  Slow motion improvisation and using thematic development.  Learning tunes inside out by singing the melody and bass, voice leading, shell & drop 2 voicing’s.  Technical problems with air support and tonguing.  The modes and chords of the Harmonic and Melodic minor scales.  Getting a stronger time feel by using the metronome on the offbeat’s and singing along with Bird solo’s.  Transcribing what I sing in order to strengthen the connection from ear to instrument.  With Matt’s help I finally feel that I am starting to ‘Play what I hear and sing thru the horn’ and I am very happy that I chose Matt for Skype lessons as he is a fantastic teacher, musician and a genuinely nice guy.”

~Robert Gillespi – tenor sax , Edinburgh, Scotland

 

I had the honor of taking lessons with Matt Otto for an extended period of time beginning in 2008. In addition to being one of my favorite musicians on the planet, Matt is among greatest teachers I have ever had. His approach to learning is focused on the student developing his/her own unique individual voice. He made me aware of how to be honest in my playing. Many of the exercises we did involved singing over a drone (Example: Charlie Parker head). Often I would sing over the drone and transcribe what I sang. This opened up my ear immensely and is one of the best ear training concepts I have learned. I began realizing that the instrument is just an extension of my voice and we worked towards bringing out what I really hearing. Matt knows the balance of being positive and encouraging, yet challenging and demanding. I always left our lessons motivated and excited. Matt is a treasure to the jazz community.

~ Dr. Brandon Bernstein – Guitar, Los Angeles, CA.

 

 

“Matt Otto has been an incredible mentor and teacher who’s passion for the music and articulate way of teaching has not only changed the way I play, but also the way I listen and experience music as well.”

~Blake Deibal – Tenor Sax, Kansas City, MO.

 

“I have studied with Matt Otto and utilized the resources of his music blog for several years.  In my case, as with his other students, he carefully analyzed my level of playing and developed an action plan for improving both my technical skill and my understanding of jazz improvisation and underlying harmonic structure. In addition to his vast knowledge of music and technical expertise, Matt has a very generous spirit that inspires his students to put in the work necessary to reach their individual goals. For players of all levels who wish to improve their jazz improvisation skills, I highly recommend studying with Matt.”

~Frank Martinez – Tenor Saxophone, Pico Rivera, CA.

 

“Matt Otto played a huge role in helping me understand and feel comfortable with jazz harmony and improvisation.  He broke things down in a way that made sense to me as a singer and a musician. I’m grateful to have had him as a teacher!”

~Sara Gazarek – Vocalist, Los Angeles, CA.

 

“I was drawn to Matt as a teacher because of my love for his music.  I sought him out, hopeful that his teaching would match the depth of his music.  I was not disappointed.   My lessons with Matt have been musically transformational.  In my experience, he is a rare breed.  His ability to get right at the heart of a musician’s strengths and weaknesses is truly amazing.  He was able to quickly match up my goals with a plan to overcome my weaknesses, in some cases using ‘outside the box’ methods to deal with my stubborness.  He is an incredibly patient and generous person which translates into how he deals with his students.  You could not ask for a better mentor on your musical journey.”

~Jeff Stocks – Guitar, Kansas City, MO.

 

“Studying with Matt has been a truly eye opening experience for me.  Within minutes of our first lesson, he recognized the holes in my playing and set out a concrete plan on addressing them; the time I have spent studying with him has been the most rewarding and fruitful of my learning career.  The lessons posted on his blog have given me enough material for me to work on for years to come.  I cannot recommend Matt’s teaching abilities enough! Not to mention, he’s a pretty cool guy.”

~Miles Freeman – Tenor Saxophone, Los Angeles, CA.

 

 


Sep 1 2011

Lesson 46: Altered Melody

Here’s a short melody that uses all the notes from the Altered Scale (the 7th mode of the Melodic Minor Scale).  While chord-scale theory can be a valuable part of learning to improvise, finding an actual melody, not just the a scale, really helps bring out the true aural color of the chord.  This melody starts by outlining the shell of the dominant 7th (root, b7, 3) and than touches upon each of the altered tensions, #5, #11, #9 and b9.   First work on singing the melody slowly over a drone to make sure you have a strong aural image of the material, than play it on your instrument through the keys.

As with all the material on the blog, I recommend memorizing each idea.  I feel even memorizing one idea in one key is more valuable than playing through all the material sight reading.

As a variation, try mixing up the order of the tensions and/or the shell voicing.  You may stumble across many sounds and shapes that you like.

 

Lesson 46: Alt Dom Melody PDF

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Jun 5 2011

Lesson 42: Synthetic Scale

Sometimes working with a synthetic scale can be rewarding and help break you out of a melodic monotony.  I still have a 12 sided die from the Dungeon and Dragon days of the early 80′s and by assigning  12 notes to  12 numbers I can roll some crazy scales to work from.

Here’s one scale that works well in one of it’s modes as a Major 7 with a #9, #11 and b13.  It also contains the natural 5th, major 3rd, major 7th and root) – lot’s of half steps and odd intervals equals lots of new melodic ideas.

In this short lesson just play the scale ascending and decending through the keys.  To explore the sound further you might want to use a drone or pedal on the root and stay in one key for a while, flushing out some of the melodic material you feel sounds interesting.  After a little while over the drone you’ll begin to hear some nice pathways that still outline the major sound while adding some interesting surrounding color.

~Enjoy!

Synthetic Scale PDF

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~Click Here To Make A Donation. Thank You!~!

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Oct 21 2010

Modern Jazz Vocabulary Vol.2

The second volume of Modern Jazz Vocabulary is finally done.  I made some changes in the books format based on a lot of the feedback I got from people about vol. 1.  This book is bigger in size but should still fit in a sax or guitar case, about 7.5 inches by 7.5 inches and is spiral bound so it will stay open on your stand better.  There are 288 II-V-I melodies in the book and all the lines are different in every key so you could put them through all the keys and have a ton of material to work on.

Modern Jazz Vocabulary Vol. 2
Is an in depth study of the classic II-V-I progression found commonly in jazz improvisation.

The nearly 300 melodic examples incorporate rhythmic groupings, triad pairs, enclosures, chromatics, synthetic scales, chord substitutions and more.

“In this second volume of Modern Jazz Vocabulary, Matt Otto presents a wide
range of how to play over the
II-V-I progression. …A very direct and clear approach utilizing
vocabulary from several different eras of jazz, as well as accentuating the
importance of presenting examples from seemingly simple to more complex.”

~Steve Cardenas
Guitarist with:
Charlie Haden, Norah Jones, Paul Motian,
Joey Baron, Mark Johnson, John Patitucci, Ben Allison.

” A thoughtful and refreshing revisit to the II-V-I. Matt Otto has an eclectic personal style and he has added his creative sensibilities to an often cliched topic. I can definitely use his book for myself and my students”

~Bob Sheppard
Saxophonist with:
Freddie Hubbard, Steely Dan, Chick Corea, Sting,James Taylor, Nat Adderly, Joni Michell, Horace Silver.
Billy Childs, Lyle Mays, Natalie Cole, Mike Stern, Al Foster.

 

Here’s a review of the book from Casa Valdez Studios:

Saxophonist/educator Matt Otto has just released Vol. II of his Modern Jazz Vocabulary series. The first volume dealt with modes of the Harmonic Major Scale, which I personally got a lot of new great ideas from working out of. Vol. II consists entirely of ii- V7s. There are several pages of phrases in each and every key. There are are ton of other ii- V7 books out there and I can honestly say that Otto’s new book blows them all away. What makes Otto’s book better, you ask? The lines are actually hip, in stark contrast to the embarrassingly stale and corny patterns that take up a majority of space in most other ii-V7 books.

Otto uses many different modern harmonic and melodic devices in his book and the resulting lines are highly sophisticated and unique sounding. Matt’s personal style is reflected clearly in this book, which is a good thing because Otto sounds somewhat like a cross between Warne Marsh, George Garzone and Stan Getz. His lines are highly melodic and lyrical while still sounding like cutting edge Post-Bop. I think if I only had one adjective to describe the lines in this book it would be snakey, and I like snakey lines a lot. Actually there are a number of straight-ahead Be-Boppy sounding lines in there as well and when you come across one it’s kind of surprising after playing so much super hipness.

Pattern books are good for giving you new ideas to incorporate into your own playing. As long as you make an attempt to make the lines your own rather than learning them by rote I think they are a highly effective way to expand your vocabulary. Your source material matters however and if you start with lame patterns you’ll end up with a lame vocabulary, even if you put your own slant on the lame patterns. What do they say about turd polishing again? Anyway, you’ll find Matt Otto’s Modern Jazz Vocabulary Vol. II on my music stand for a while.


Aug 23 2010

Lesson 37: Singing Modes

This is an exercise I came up with since I have carpal tunnel syndrome and can’t play as much as I’d like to.  I either sing along with this mp3 or I do long tones on the root while listening to the track.

The mp3 includes all the modes of Major, Melodic Minor, Harmonic Minor, Harmonic Major, Diminished W.H., Diminished H.W., Whole Tone, Classical Augmented Half Step, Classical Augmented Whole Step.

Of course you can add as many scales and modes as you’d like, but this is a good start.  I’ve found that just holding or singing the root while listening to the different modes is very good for the ears and is relaxing as well.

Another option is to sing along with the slower version of the mp3 which is more challenging but even better for ear.

~Enjoy!

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Scales – Modes over pedal – slowest

Scales – Modes over pedal – slow

Scales – Modes over pedal – fast

Modes PDF


Jan 5 2010

Lesson 15: Drones and Pedals

Improvising over a Drone or Pedal has been something I’ve always enjoyed.  Not only is it relaxing and simple, it really helps me hear scales, modes and melodies.  When a single note instrument is your main axe, you need a little “crutch” to help you hear harmonic context.  Of course piano is great for this, but sometimes you want to work on your instrument and not have to put on an Aebersold…   ;(

At Berklee, in the 80′s,  I would balance a cassette tape with my wallet on it to hold down a string pad on my battery powered Casio so I could practice over a drone.  Now, my friend Aaron Shragge (who plays trumpet, shakuhachi, and sings), introduced me to this electronic tambura which I’ve been using almost every day for the last few years.  Here I’ve posted similar sounding mp3s of the tambura drones for your use.  There are an infinite number of things you can practice over these drones.   I enjoy playing a odd mode, say the 3rd mode of harmonic minor or harmonic major and just improvising with that for a few hours.  Another great exercise is to sing 3 notes and play those notes on your instrument.  There’s also a link to an online metronome which works nicely with a drone.

~Enjoy!

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C Drone

Db or C# Drone

D Drone

Eb or D# Drone

E Drone

F Drone

Gb or F# Drone

G Drone

Ab or G# Drone

A Drone

Bb Drone

B Drone

Online Metronome

Online Timer

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