Lesson 12: Embellished Triad
Lots of great melodies are no more than a triad with a bit of stepwise embellishment. This exercise takes a spread triad in root position and embellishes the 3rd at the top of the voicing with upper and lower neighbor
Lesson 11: Major b9, b13
Finding new ways to construct melodies over a major chord can be challenging as Ionian, Lydian and Lydian augmented seem to dominate the harmonic landscape in major. This lesson uses a melody that incorporates b9 and b13 over major. Although
Lesson 10: Whole Tone Melody
The whole tone scale can be a bit too transparent to use frequently during improvisation. I’ve found that by conceiving of it both in augmented triads and with chromatic passing tones it becomes a little less obviously “whole tone”. This
Lesson 9: Arpeggiating Voicings
Sometimes when playing saxophone without a chordal instrument or accompaniment, it can be hard to hear the harmonic context for the melodies being improvised or worked on. One way to help hear harmonically while playing single note lines is to
Lesson 8: ii-V7 using triads
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126: Practice PDFs
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Lesson 7: C7 using Maj7(#5)
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Lesson 6: Minor ii-V-i
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Lesson 5: 13th Arpeggios
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Lesson 4: Cycle Melody
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Andy Ehling and Matt Otto “Returning”
Click here to download I’ve played with alto saxophonist Andy Ehling since 1983. Andy and I went to high school together, played in jazz band, and practiced every day under an old railroad bridge in Orange County California, sometimes late
Lesson 3: Rhythm Changes
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