Evan Tate's SaxTips eZine

Improv Etudes and their benefits

noreply@blogger.com (Evan Tate) — Wed, 30 Dec 2009 15:09:00 +0100

All those who have read my articles and know my books, you’ve read that how I evangelize the benefits of “Improv Etudes”. In this article I’m going to attempt to explain some of those benefits.

First of all, “What are Improv Etudes?“

Improv Etudes are comparable to Jazz Etudes or Studies with the special hook. As Jazz Etudes are more like tunes written in order to help learn jazz phrasing, articulation and such, Improv Etudes are written in order to simulate improvisation, or an improvised solo in a jazz style.

My first acquaintance with Improv Etudes (as I call them) was during my lessons with saxophonist Steve Grossman. Part of my homework for my lessons were that he would write out a chorus on a blues or any other standard we were working on, all eighth-notes, without rests (more on that later), he asked me to practice it, and then demanded that I would write at least one more chorus myself, continuing the solo. At my next lesson, I play everything and we would review what I wrote in order to check out if I used correct voice leading, etc. Basically, to find out if what I wrote sounded any good. (Luckily, I did not make many mistakes. )

One of the coolest benefits of this practice was that I could be anywhere to write my choruses. I write them on the train on the way to school, I write them in the cafeteria during lunch, before going to bed at night, waiting at the dentists’ office, anywhere. That is, once I was able to get to the point of not needing my saxophone to write them.

It’s a good idea that one should use your horn at first to write your improv etudes in order make sure that they sound the way you imagine them.

After using the horn to write for a while, you should be able to evolve to the level that you know how your instrument sounds without having it with you. You should be able to literally hear what you write as you write it.

What about the “all eighth-notes, no rests” thing?

Basically, this is about learning how to develop your linear thinking in improvisation by keeping a continual flow of melodies. Secondly, this also prevents you from just memorizing your solos ant then just playing them on stage.

On top of that, you’ll improve your timing immensely. Take a breath when you need it but keep the time and don’t go back to play what you missed. That won’t happen on the bandstand, so don’t do it in your practice session.

Take a breath when you need it but keep the time and don’t go back to play what you missed. That won’t happen on the bandstand, so don’t do it in your practice session.

Eventually, after practicing the improv etudes, creating your own and practicing them as well, most of this will become a part of your playing style. It will also happen sometimes that your ideas my wind up being longer than what you have air for, but that’s ok. That will change as well.

And this is by far the coolest benefit of them all – you are engaging in an intense, focused, practice of working only on how you want to play. If you want to play like Charlie Parker, you can incorporate his licks in your improv etudes. Want to add Coltrane?Brecker? Cannonball Adderley? Kenny Garrett? Work intensively on your own licks? You can do all this with Improv Etudes and do it faster than any other method to do so.

Do you want to play like Charlie Parker, Coltrane, Brecker, Cannonball Adderley or Kenny Garrett? Or work intensively on your own licks? You can incorporate all playing styles in your improv etudes.

In closing, I can only highly recommend that you start on the practicing of using Improv Etudes to improve your playing. You’ll find plenty of them in my books “Blues & Rhythm Changes in All Keys”, “250 Jazz Patterns” and “Coltrane Changes”.

SaxTips Vidcast # 1 - One Note Theory

noreply@blogger.com (Evan Tate) — Sun, 28 Sep 2008 09:11:00 +0200

Download the Exercise

News from Evan Tate and "The Way To Mastery Workshop Series"

noreply@blogger.com (Evan Tate) — Mon, 19 May 2008 16:17:00 +0200

Hi!

I've got news! The "Way To Mastery Workshop Series" are now available on DVDs!

Each DVD is available in English or German language and PDF files of all exercises.

The "W2M Series" is divided thusly;

The W2M 100 Series - Basic techniques in saxophone playing including Embouchre, Tonal development, Intonation, Ear-Training, and Technical Development.

W2M 101 - Embouchure, Intonation and Tonal Development
W2M 102 - Technical Development
W2M 103 - Altissimo: Preparation and Development
W2M 104 - The Soprano Saxophone

The W2M 200 Series - Beginning Jazz/Pop Improvisation Series including common chord progressions and soloing techniques.

W2M 201 - Beginning Improvisation - Minimalist Approach to Improvisation
W2M 202 - Cycles, Dominant 7th, Minor 7th, Blues, Minor
W2M 203 - Turnarounds, ii-V7-I, Major and Minor
W2M 204 - Rhythm Changes with variations

The W2M 300 Series - "Improv Etudes" for intermediate to advanced improvisers.

W2M 301 - Improv Etudes I
W2M 302 - Improv Etudes II

Go to Evan Tate.com for more info and to order.

Many thanks,

Evan Tate
Parkstr.10
80339 Munich,Germany

Discover The Simple Five Step Process To Having Financial Independence Each Month As A Committed Musician

noreply@blogger.com (Evan Tate) — Sun, 8 Apr 2007 22:13:00 +0200

Dear Musician,

Why do most musicians fail to make money? Why do some musicians just make a measly couple of hundred a month, and even that's not consistent?

Maybe you're the kind of musician who's in a 9-5 job and doesn't have much time to live the life you want to making music.

Maybe you're the kind of musician who in the past has set up your music career as full-time work but have had to go back and get an evening job or a full 9-5 because your music career wasn't working and you couldn't sustain yourself financially?

Well no matter what kind of musician you are and what you've been earning before, I have a proven way that will allow you to become financially independent as a musician - and it doesn't involve working a 9-5 job.

Would you like to learn my strategy? Continue...

An Interview w/ saxophonist Sue Terry (Part II)

noreply@blogger.com (Evan Tate) — Thu, 15 Mar 2007 10:50:00 +0100

SaxTips Podcast # 26 - An Interview w/ saxophonist Sue Terry (Part II)
Call in your comments or questions: +1-302-476-2517

Download it here.

Show Notes
# Intro
# An Interview with Sue Terry (Part II)(www.sueterry.net)
# Outro - About "Gilly's Caper"
# "Gilly's Caper" (Sue Terry) - "Gilly's Caper"- Sweet Sue Terry

Blues & Rhythm Changes in All Keys promo

noreply@blogger.com (Evan Tate) — Thu, 15 Mar 2007 10:47:00 +0100

Blues & Rhythm Changes in All Keys

An Interview with saxophonist Sue Terry (Part 1)

noreply@blogger.com (Evan Tate) — Fri, 9 Mar 2007 14:14:00 +0100

SaxTips Podcast #25 - An Interview with saxophonist Sue Terry (Part 1)
Call in your comments or questions: +1-302-476-2517

Download it here.

Show Notes
# Intro
# "Jam Thang"
# An Interview with Sue Terry (www.sueterry.net)
# Outro
# "Slow Journey" (Sue Terry) - Sue Terry (Solo Alto Saxophone)

An Interview with multi-instrumentalist Tim Price

noreply@blogger.com (Evan Tate) — Thu, 22 Feb 2007 02:18:00 +0100

Check out the first part of this interview on the SaxTips Podcast.

Go here now!

The Way To Mastery: Saxophone "Workout Book"!

noreply@blogger.com (Evan Tate) — Fri, 22 Sep 2006 18:14:00 +0200

The newest saxophone publication from Evan Tate - The Way To Mastery: Saxophone "Workout Book"!
This book is designed to give the intermediate to advanced saxophonist a powerful regimen to keep sharp on all necessary skills for today's saxophonist.
Included in this ebook:

Tone Exercises
Embouchure Exercises
Scale Exercises
Interval Studies
Ear-Training Exercises
Exercises for the Extreme Ranges
Altissimo Exercises
Develop your saxophone skills faster with consistency.

Available NOW for only EUR 10,-. Go here to order!
For other products, go to: www.evantate.com

Vintage Saxophones

noreply@blogger.com (Evan Tate) — Wed, 17 May 2006 14:19:00 +0200

by Kristy Annely

A saxophone is a musical instrument belonging to the woodwind category. It is one of the youngest musical instruments, invented by Adolphe Sax, a Belgian, in the 1840s. Later, many people made their own alterations to the instrument. Saxophones
were generally used in the military and in big orchestras but are now found in smaller bands as well. They are generally used for big band music, pop music and jazz. There are many kinds of saxophones but the four most common ones are: Soprano, Alto, Tenor and Baritone saxophones.

Vintage saxophones may not be in great playing condition, but are generally bought for collection purposes. Some suppliers also sell vintage saxophones that are repaired and in good condition. They can also be custom-restored to suit individual
requirements. Some manufacturers offer one-year guarantees on restored saxophones.

Otherwise, vintage saxophones are sold in "as is" condition to retain their original and antique value. Vintage saxophones can have frills like hand engravings on them. They are also generally gold- or silver-plated instead of being lacquered like
the new saxophones.

Here is a sampling of the vintage saxophones available at one dealer: King - super 20 and zephyr; Selmer - mark VII, mark VI, super balanced action, balanced action, super, radio improved, and cigar cutter; Buescher - true tone, aristocrat, and 400 top hat and cane; Conn - Chu Berry, conqueror (26 and 30M), and lady face (4M, 6M, 10M, and 12M); Martin - handcraft, magna and committee.

Vintage saxophones can be found at local music stores or in antique shops. They can also be found by browsing some special sites on the Internet, which provides hundreds of choices in vintage saxophones. However, some Internet dealers sell fake
vintage saxophones. Some suppliers of vintage saxophones offer certificates of guarantee, or even warranties.

About the author:

e-Saxophones provides detailed information on saxophones, jazz saxophones, soprano saxophones, alto saxophones and more. Saxophones is affliated with Violin Music .

Saxophone and Concert key

noreply@blogger.com (Evan Tate) — Mon, 15 May 2006 09:41:00 +0200

This is a great little article posted by "Simon" at Jazzwise (UK) about the saxophone and concert key.

Quote:
"Concert key is perceived as irrelevant or a bane to most saxophonists. When new sheet music or instructional books are published, the first question some saxophonists ask is "when will the Eb or Bb versions appear?". This article presents reasons why maintaining this attitude is a limitation to your playing ability and reduces the opportunity to learn more about music in general."

Read the rest of the article.

Sax Lessons on CD-ROM

noreply@blogger.com (Evan Tate) — Sun, 30 Oct 2005 22:28:00 +0100

Get a private lesson with me through my "Way To Mastery" CDs!

Each of these Lessons contains an MP3-file (approx. 60 minutes long) and accompaning exercises to the lesson in Adobe Acrobat PDF Format.

Available in English and German languages!

ALL Lessons are priced at EUR 15,00 each. FREE SHIPPING!!!

Orders within Germany can be made per Bank transfer and are sent free of shipping costs!

Bestellungen innerhalb Deutschland kann per Überweisung getätigt werden und sind Versandkostenfrei!

Lesson Topics:

Embouchure, Intonation & Tonal Development -
This lesson will involve the theory and practice of an effective embouchure, a sure-fire method to improve your intonation, and the theory and development of good tonal quality. Many exercises are included and demonstrated.

Ear-Training and the Saxophone -
This lesson involves learning to hear the most important intervals of western music. The concept is based on using the instrument you hear the most (your sax) to fine-tune your ears. Here you will also learn and develop relative pitch and perfect pitch.

Theory of Technique: How To Develop Fast Fingers -
This lesson will be introducing a theory of technique, a methodical way of approaching your goals and plenty of exercises!

Advanced Tonal Development through Overtones -
This lesson features more exercises and an advance philosophy of tonal development.

Altissimo Range: Preparation and Study -
How to prepare and approach learning the range above high f#. Tuning systems will be discussed and plenty of exercises are used to build consistency and great intonation.

Developing a Practice Regimen -
How to practice getting the most done with the least amount of effort. This lesson will involve goal-setting and planning.

Upcoming topics:
Jazz Improvisation (Beginner, Intermediate & Advanced)

Go to: "www.evantate.com" and then "Lessons" to order!

Way To Mastery: Saxophone Workshop

noreply@blogger.com (Evan Tate) — Mon, 8 Aug 2005 09:00:00 +0200

"Playing the saxophone should be just as natural and relaxed as talking. The key to mastery of any instrument is to be able to have access to all your abilities and acquire new abilities in a stress-free manner." - Evan Tate

All Photos: Rock Shop, Karlsruhe, Germany

The "Way To Mastery Workshop: Saxophone" was created to promote this philosophy. The major part of these techniques are those taught by the Late Dr. Joe Allard, instructor of many world-known saxophonists. Among them are;
David Liebman
Steve Grossman
Michael Brecker
Eric Dolphy
Dave Tofani
Harry Carney
Paul Winter
Steve Lacy
Bob Berg
Ken Radnofsky
Paul Cohen
... and many others.

The "Way to Mastery" philosophy is based on basic laws of physics that help the saxophonist to accomplish more with less effort. Go against these laws and one makes it more difficult to reach the desired goal.

I have taught hundreds of saxophonists privately and through workshops over the past 15 years and the "Way To Mastery Workshop" is a compilation of these skills taught.

Here at the "Rock Shop" in Karlsruhe, Germany, I was greeted by over 80 saxophonists of various playing niveaus with great interest.

"Your Saxtips on cybersaxophone and your website have been a source of creativity to me." - Bidemi Treasure (per Email)

The Workshop handles the following topics and more:

The Basics - What does a musician have to be able to do in order to perform well consistently?
Theory of Tone Production - How is tone produced? What makes a "good tone"? How can you develop your own, personal, good saxophone sound?
Embouchure Theory - How do I develop a good, effective embouchure easily?
Breathing Theory - How do I develop good breath-control?
Tonguing – various techniques.
Intonation - How do I improve my intonation - FAST!
Technique - How do I develop Amazing fingers in a short period of time?
How do you practice? - How do I practive effectively and get the most work done and improve my musical skills at the same time?
"Mouthpiece–Reed–Ligature" - Combination - How do I get a setup that I can stay with for a long time?
The Altissimo Range - What is the best way for me to learn it and improve my sound and intonation?
The Soprano Saxophone - What are the challenges and how do I overcome them easily?
Further Recommendtions - Some of the best literature for jazz, classical, etc.

The Way to Mastery: Saxophone Workshop is just the beginning. Soon, I will be creating podcasts and CD-ROMs of the workshop for the benefit of all those who cannot attend or who I otherwise cannot visit personally.

So far I have given these workshops in Karlsruhe, Stuttgart, other cities in Baden-Würtemberg, Nordrhein-Westpfalen, and in Linz, Austria. Parts of these techniques you can read in the other articles in this blog. But for the full information listen and/or download the upcoming podcasts.

If you have any questions, please feel free to contact me at anytime at the email address in my profile above.

Enjoy!

Evan Tate on the Web

noreply@blogger.com (Evan Tate) — Tue, 28 Jun 2005 00:07:00 +0200

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My Meeting with the Master

noreply@blogger.com (Evan Tate) — Sun, 27 Mar 2005 16:24:00 +0200

Just before I ever heard of Joe Allard, I spent my freshman year in college as a Composition/Jazz Studies major at a University in Connecticut. After deciding that I wasn't learning my instrument the way I wanted to, I decided to audition for admission to the Manhattan School of Music back in my hometown of New York City.

At that time I had almost no knowledge of classical saxophone literature. I only had a few transcriptions from G.F. Handel. But I was going to go for it. I did not meet my future saxophone instructors at my audition, but I had read about them in the Manhattan School of Music admissions handbook. Both names were unfamiliar to me, but hey, this is the Manhattan School of Music! They had to be good.

A few weeks after my audition I received my letter of acceptance. I told the news to a couple of colleagues of mine and informed them that I would be studying with a guy named Joe Allard. Suddenly their eyes got really big. "Man, you're going to be studying with Joe Allard? Oh, I envy you." It seemed that with nearly everyone who I had talked to mentioning Joe's name, he got the biggest praises. I made the acquaintance of a professor of saxophone in the Virginia / Washington, D.C. area, who again, was astounded to hear the news that I would study with Joe Allard. I asked him; "Who is Joe Allard?" He explained to me that anybody who's anybody studied with him: Michael Brecker, Dave Liebman, Steve Grossman, Eddie Daniels, Eric Dolphy, Harry Carney... the list goes on. You can imagine I really got excited and eager to start the Fall Semester.

Well, the time finally came. After going through admissions and meeting fellow saxophone students, I was advised to go to Joe's teaching studio right away to schedule an appointment to make sure I got a good time. Before I entered his room, I imagined Joe was a man in his mid-30's to 40's with dark hair, tall with a medium build. Why did I imagine all that? I don't know. I could hear that Joe was still giving a lesson, so I waited patiently outside his room until it was over.

A few minutes later, a student left the room. I nervously knocked on the door as not to disturb him. As I entered the room, I saw a white-haired man with a close cut beard; he had a slight build, medium height and was about in his early 70's. He had a big bright smile and was full of energy. I first thought to myself; "Is this the master that everyone's been talking about?" I explained to him that I was a new student and that I was advised to come to him right away to make an appointment. The only slot he had left in his schedule was Monday mornings at 8 am. I agreed, although I wasn't too excited about having to get up so early.

I arrived at the school building the following Monday at 7 a.m. in order to warm up before the lesson. I came into his studio at 8 am. Joe was already there, reading a newspaper and drinking a cup of tea (I think. I can't recall all details). He was in a good mood and full of energy (in fact, he always full of energy). I sat down, packed out my horn, we exchanged a few words, and he asked me play something. Not knowing what to play, I began to play that what I did at my audtion. He stopped me not even midway. He spoke with me a while, explained a few things to me, showed me a few things. Joe never had his own horn with him. If he did play an instrument during the lesson, he played your horn and got a better sound than you did!

The concepts that he explained to me in that first lesson blew me away! It was almost like receiving a revelation! I became convinced immediately that this man is a Master Teacher. After I got home that day, I sent Joe a postcard. I thanked him for the lesson and that I was eagerly looking forward to the next lessons.

Joe was a very friendly, youthful man. In the school cafeteria, he always sat with the students and did not sit in the designated area for faculty. He wanted his students to call him "Joe" and not Mr. Allard or such. Joe was a very positive man, a supportive man. He had a no nonsense attitude about making music and playing the instrument. So many things he taught were based on simple laws of physics. He concepts challenged many previously held concepts of saxophone technique, embouchure, you name it. Joe stated that his job was not to teach you how to play, but to help you discover how you want to play, and give you the necessary tools and techniques to realize that goal.

I have taken as much of Joe's concepts to my more than 100 students that I've had over the past 15 years. Of course, I don't have the magic that Joe had, but I try to transmit what I can.
The years that I spent under his tutelage were some of the most productive and influential times in my musical life. I miss the Master as a teacher and as a person.

Many thanks to you, Joe!

We all miss you.

An Interview with Greg Osby

noreply@blogger.com (Evan Tate) — Tue, 22 Mar 2005 11:20:00 +0100

This interview was conducted on the 28th of May 2003 at the Jazzclub Unterfahrt in Munich, Germany. Greg was currently on tour with the 'New Sound Collective' along with Terri Lynne Carrington, Steve Khan, and Jimmy Haslip. I spoke with Greg after the gig in the musician's room.

ET: You were born in St. Louis. How did you come to play saxophone?

GO: Well, you know (in) the junior high school band, 7th grade, 12 years old; there was a choice of playing trombone or clarinet. And of course I jumped to the clarinet because it looked more interesting. And one year later, this is 1972 actually, I got my hands on a saxophone and immediately fell in love with that because it was applicable to more contemporary situations. But I stuck with the clarinet as well because of the challenges. So I was doubling. And a year later I got a flute. So, by the time I was 13 I was playing saxophone, flute and clarinet. So, I took to it very rapidly because I enjoyed it so much. And after two years from the beginning, I was good enough to play with some the local bands. I was playing in Blues band, pop bands and soul bands, and R&B. Because you know in the 70's, they didn't have synthesizers so they had to have a horn section. So, I learned to play in the soul bands, and to play in a section. It was really good. It was important.

ET: Do you come out of a musical family?GO: No, no musicians at all. It was just a stroke of fate, and I'm really happy that it happened that way. Because I would stand out and it was unique and music posed a whole set of challenges, and it gave me something to work on and to work towards.

ET: You mentioned that you played with local R&B bands and such. What brought you to jazz?

GO: Well, I guess while I was playing in those bands, it was frustrating for me. Although we did take solos it was usually over one chord like a groove or some vamp. And even though I didn't know much about the higher properties of music, I knew that there was a lot more that could be done. There was a lot more potential. So, a friend of mine, he gave me a Charlie Parker record and I had never heard anybody play like that. I never heard saxophone played so intricately and with so much complexity. So, I got my hands on every Charlie Parker record I could. And then Cannonball Adderley and Sonny Stitt followed. You know, technicians. Players of my instrument. So that started it. Because I said; “Wow! I didn’t know that this was possible.” And then I studied on my own and I questioned a lot of the older players around St. Louis. I asked a lot of questions. Not formal study, but badgering them. Actually, following them and being a pest. And when you you’re young you have to be shameless and full of will. You can’t be shy. And you can’t be afraid of rejection and you can’t be afraid to expose the fact that you don’t know something. Wherever the information lies, you have to go for it. From players in your peer group, or players who have been playing a little longer, or older players. So, I just jumped in headfirst.

ET: Who were some of the older players in the St. Louis area?

GO: People like Willie Aikins, and Freddy Washington, and E. O'Harra Spearman, these were local players in St. Louis, though. People really don’t know them, but they were very inspirational to me, because I was able to see at a young age, players on that level, of that caliber, on a professional level. They were actually very generous with the information (they gave me). They told me exactly what I needed to study, and what I need to approach and do. So, it was good. I was informed properly at an impressionable age.

ET: You studied at the famous Howard University and Berklee College of Music. Could you tell us what were the greatest “highlights” of what you got out of these institutions?

GO: Well, interestingly enough, while I was there (Howard Univ.) I was very resistant to what was being taught. The fundamentals that were being presented were primarily Western European choral writing, counterpoint and things like that. I was resistant because I didn’t see the value in that. I couldn’t see how that could be applicable to any kind of contemporary situation. I called it “powdered wig” music.

[Outburst of laughter]

[Terri Lynne Carrington: “Powdered wig” music?]

Yeah, I said; “I can’t make any money playing this. I’m not going to play in any orchestras playing saxophone.” So, then I became very impatient after my second year and visited the Berklee College of Music. I had some friends studying there. And after sitting in on a couple of ensembles there, those teachers wrote letters of recommendation about me to the Directors of Admissions. So, I got a scholarship to go there. So, I transferred from Washington, D.C. to Boston. There was a higher caliber of players, there were more players and it was much more intense because it wasn’t a university, but a music conservatory. So, it was great. Now, in retrospect to look back at the things I learned initially, the choral writing, figured bass, and all that· now, that encompasses a great deal of how I approach music. Dealing with form and structures.

ET: Now that you found a medium where you actually can apply it, it makes sense.

GO: Yeah. So, it’s all relative. There’s really no such thing as disposable information for me. Some things you may not see the purpose for or value in, but there are various ways you can incorporate that information into your craft.

ET: You display a phenomenal technical ability on your instrument. Do you have a certain type of philosophy about how you approach the saxophone on the technical aspects?

GO: Well, during my formative years, the years I was in college, I endeavored to try to develop a technique that was unique, that was exclusive to me, that was readily identifiable. When people heard it, they would know that it was me. This was as a young player. I really had no business thinking that, but that is what I wanted to do. I knew I would be up against legions of saxophone players, all going for the same gigs, and I said; “What can I do?” So, as opposed to be exclusively studying Charlie Parker and Sonny Rollins and other established players of my instrument, I also studied a great deal of piano players. It almost superceded my study of saxophone. I transcribed a lot of Art Tatum, Bud Powell, Herbie Hancock, Herbie Nichols, um… Nat Cole, Fats Waller, Teddy Edwards, Phineas Newborn, Errol Garner, like really technical… Jaki Byard, those kind of players.

ET: It’s funny that you mention that, because that’s my impression when I hear you play. To me it sounds like you’re trying to play piano. I mean, I can hear the influence.

GO: That’s right on the head. I’m trying to play polyphonic technique on a monophonic instrument, like a two-handed duality kind of thing. A pianist can play in different directions, they can “comp” with themselves, and they can do different kind of things because they have two hands and ten fingers. So, I’m playing a simulation of that. You know, jumping registers and doing real technical kind of things and larger groups, and smaller intervals and smaller clusters· so, that’s exactly what it is. I would take a 4-bar, or 8-bar or 16-bar phrase from Bud Powell, so to speak· transcribe that. Sometimes the whole solo but more likely, exactly what

I wanted which would be a great run, or a great passage. And I would put that on the top line of some manuscript paper and consequently, I would transpose it into all twelve keys. So, as opposed to working on that line in one key, I would work it in all keys. So, I would work on that until I have it under my fingers, for a week or two. Then I would that take same line and start altering accidentals, changing rhythms, changing the stress points and accents, and stuff. So, that by the time I had modified it after a month or two or so, it no longer sounded like the original line. It sounded more like a Greg Osby line. So, therefore I could retain it a lot more readily on the bandstand or in a jam session because it sounds like something that I made up, but its origins came from somebody who really knew what they were doing.

ET: So, you were really going through the process of getting the most out of the material that you were picking up.

GO: Sure. It’s an evolution, it’s like theme and variations and it taught me how to modify things and think quickly on the spot. Say, for instance, you’re on a tour and you’re playing the same songs in the same sequence every night. You have to figure out different approaches.

ET: Right.

GO: So, by doing that, if you have four variants of the same line, I have four different ways of doing it. I can change rhythms and delete things, add things, and stagger things, you know, it’s endless. So, it really baffles me when I hear younger players say; “I don’t know to practice.”, “I don’t know what to study.” You know, there is a great deal to be done with smaller fragments of information. You can just change rhythms, you can add accidentals, and you can delete things but you have to have an imagination and just say to yourself “What if?”

ET: Along the way, did you have any saxophone instructors that were most memorable to you, or had the biggest influence on you?

GO: When I was playing in these funk bands in high school; we were playing exclusively by ear. We would learn Earth, Wind and Fire songs, Tower of Power, you know, we played them from records, we were playing by ear. So there was no written music. So I developed a great ear, so that I can hear things and play it back. Unfortunately, or fortunately, depending on how you look at it, we had this turntable that was really temperamental. The turntable was a belt-driven turntable. It was affected by humidity, and heat. If it was too hot, it would run fast, if it was to cold it would run slow, so the key was always different. So, if the tune was in “C”, we would invariably play that tune in “B” or “C#”. If it was “F”, it was “F#” or “E”. So we’d always played tunes in the most difficult keys, with the most sharps and flats. We didn’t now. We didn’t know any better, we just thought that all tunes were in “C#”, and “F#”. So, that gave me a great deal of facility in these really difficult keys. I developed a great deal of fearlessness, when I saw key signatures, because I didn’t know any better. And I also learned to play saxophone in a very unorthodox way, because I didn’t have formal instruction until I got to college. I was fingering things really uniquely and unorthodox, it was quite interesting. So when I did get to Howard University, there was classical instruction, you know, all the saxophone majors had to study classical. And I was really resistant because I really didn’t like the sound of that French school of classical saxophone. I didn’t like the discipline, you know, they tried to make me play a small mouthpiece with a really soft reed and all that. I just didn’t like it. So, I was reluctant but I did it anyway just for the grade. But in retrospect, he helped me out a lot. There were keys on the saxophone I didn’t even know what they were for. I played all my “Bb’s” with two fingers and a side key. I didn’t even use the “bis” key at all, or even “one-to-one”. So, I had the most difficult fingering for real easy things. When I learned other options, I had a lot of alternate fingerings and that’s what I do now. I have alternate fingerings for different keys, different passages, different tempos and stuff, which allowed me a greater flexibility than some players who had only one way of doing things.

ET: What advice would you give a young saxophonist today, according to the instrument and to playing music in general?

GO: Well, first of all, I’d encourage any player, young or old, to try to maximize what they are working with. “Play the hand you are dealt.” A lot of players have this illusion that if they buy an Otto Link mouthpiece, they are going to sound like Coltrane, Wayne Shorter, Dexter Gordon or whomever. Not only has that been done to death, there is no guarantee that you will succeed. These players were dealing with a very personalized physiology; their oral cavity, chest cavity, lung capacity, bone structure, those issues factors into how they sounded.

ET: It all pays a role.

GO: Right. So, the thing is to really examine how you play, what your strengths and weaknesses are, and capitalize on the strengths and to develop and hone the weaknesses. So, you have to be honest. If your technique is faulty or if your tone is weak, or you don’t have any endurance, you can work on these things. It’s pointless to drill yourself in areas where you excel. If you can play your scales flawlessly, and play your arpeggios great, there’s no point on doing that everyday. What you need to do is work on the stuff that is weak. If your high register is thin, you need to work on your long tones. If in your low register you have to honk out notes, you need a softer reed. A lot of people won’t do that. They’re playing the setup that their idol played, not realizing that Cannonball was a really big guy, and Charlie Parker had a lot of power, you know that kind of thing. You have to deal with your sound, and polish it. The sound that I’m playing with is basically the sound that I’ve always had. It might be stronger now, and more centered and focused, but it’s basically the same sound. I never endeavored to sound like Sonny Stitt.

ET: There’s a certain “Kernel” to your sound that’s always you, because it is you. It’s your jaw, your teeth…

GO: It’s like your speaking voice you can’t change it. You can’t really change it. So the best thing to do is, you try to enunciate and try to have as much focus and proper musical diction as possible. It comes from dealing with articulation, you know, tonguing exercises, and good reading, good posture, good attack, not to be sloppy and not developing lazy and bad habits. My saxophone teacher· I’m happy now, at that time I was really angry at him. He used to hit our hands with a ruler. Gary Thomas, and me we were at college at the same time, so we had the same teacher and he was into the “sticky fingers” technique, where your fingers don’t leave the keys too much. That’s the Charlie Parker technique. He used to say, “Don’t flap your fingers”, “Don’t show people what fingerings you’re playing”, “Don’t use excessive body movement”, you know, focus. My other teacher at Berklee, Andy McGhee, he would talk about; “Play to the exit sign”, “Don’t play to the people in the first row, play to the people in the back row. Throw your sound back there.” I want to give the simulation that, if you’re a smaller framed cat, like me· if somebody hears me on tape, they should think that you weigh 300 pounds. He wanted your sound to be wide, and fat, and broad and distinct… projecting. You don’t want it to come out of the bell and let it drop to the floor, you want to throw it like a ventriloquist. To the back. So, those types of things, you get a visual picture and· it was some very helpful information. He never told me what to do and what not to do. He said, just follow your instincts and just be honest. If you know that you need work on in a certain area, you have to do the work.

ET: No one else is going to do it for you.

GO: The results are directly reflective of the work.

ET: Who was your instructor at Howard?

GO: At Howard, his name was Reginald Jackson. He was a renowned classical cat on alto. He made the alto sound like…it didn’t even sound like an alto anymore.

ET: More like a cello probably.

GO: Yeah, it was a Buffet and he had half-moon cork in the low Bb and B keys and when he played he just had so much control. He could whisper a low Bb and come from complete silence. I just marveled at his control. However, he could never improvise, he couldn’t sight-read jazz rhythms, -syncopation. He used multiphonics and played tricky fingerings. He was from the French school. He studied in France. So, I listened to him and extracted from that experience what I could. But I never wanted to pursue that as a lifestyle. But there are still remnants of those studies still in my playing. The control. Even though, I don’t fancy myself as a practitioner or die-hard fan of classical saxophone.

ET: I noticed also when I hear you play; I hear a lot of classical saxophone technique, as far as the control is concerned. I had wondered if you had seriously spent any time doing that.

GO: That may be by default. I never really paid attention, even when I was studying.

ET: That’s why I didn’t assume. It could happen without having to deal with…

GO: Sure, because I would just cram for the lesson an hour before. [Outburst of laughter] I had a whole week to study the stuff, and I tried to shed an hour before, because I hated it. So, it’s just by default.

ET: So hey, that about wraps it up. It’s been a great pleasure talking with you and you’ve shared a lot of great information. Many thanks to you Mr. Greg Osby.

Greg Osby is one of the most innovative voices of the saxophone and of jazz today. You can visit Greg at www.gregosby.com. You’ll find MP3 and MIDI files to download, photos, more interviews and more. His latest recording “St. Louis Shoes” is available at Amazon.com - http://www.amazon.com/exec/obidos/ASIN/B00009L52P/ntnmedianet0b-20

Alternate Fingering: High Notes

noreply@blogger.com (Evan Tate) — Sun, 13 Mar 2005 16:50:00 +0100

This week, we'll shortly explore alternate fingering for notes in the higher range. Alternate fingerings have the purpose of making things easier for us to perform and extending our technical ability. Some alternate fingerings serve the purpose of changing the timber of a certain note. The easiest way to demonstrate this is to play your left palm high "D" without the octave key to alternatively play middle "D". This "D" is more "open" the regular fingering for this note. Try playing low "C#" with the octave key in order to play middle "C#". This produces a "C#" that has a more "closed" sound rather than regular open C# fingering.

I'd like to present two sets of alternate fingerings here that are used to enhance your technique for playing high "E", "F" and "F#".

The first set involves using the alternate high "F" key found above the "b" key on the left hand. If you depress this key with your left index finger, and then your middle finger depressing the "C/A" key, and your ring finger depressing the "G" key, and using the octave key, you'll produce a high "E".

To produce high "F", use the same fingerings mentioned above omitting the ring finger on the "G" key.

To produce high "F#", use the same alternate fingering for high "F" as above and include the side "A#" key (right hand palm key).

The second set of alternate fingering are a bit unusual and may at first be difficult to produce the desired tone, but if you play them often, they will speak as they should.

To produce a high "E", use the normal fingering for a high "G#" and include the high "E" key (as played by the right hand when you play a nor mal high "E").

To produce a high "F", use the same fingering for high "E", minus the left hand ring finger.

To produce a high "F#", finger the "Bis Bb", depress the "G#" key and the high "E" key on the right hand palm.

I've prepared some exercises to begin using these fingerings, which you can download under http://www.evantate.de/media/altfingeringex.pdf

Evan Tate is a freelance musician/instructor and the author of "Way to Mastery: Saxophone". He holds a BM of Music from the Manhattan School of Music under the tutelage of Dr. Joe Allard and has over 20 years of professional playing and teaching experience and has performed at various jazz festivals and radio broadcasts. Since 1993, he is an endorser for Julius Keilwerth saxophones.http://www.evantate.de or mailto:evan@evantate.de

"So you wanna play saxophone, huh?"

noreply@blogger.com (Evan Tate) — Sat, 12 Mar 2005 16:29:00 +0100

No other instrument enjoys so much popularity as the saxophone. People love it’s sound. How many times have you heard people say; “You play saxophone? That’s my favorite instrument!” Whether it’s jazz (where the sax is the number 1 symbol of the music), pop music (next to a screaming guitar solo, fans love a hot sax) or any other contemporary style of music, the saxophone has secured a place in the hearts and minds of avid listeners.

That much more pressure is on you, the saxophonist, to live up to many expectations. Now, don’t get me wrong. I am someone who believes in setting personal standards and not chasing after the ideals of others as far as how one should play. Nonetheless, we are all confronted with the desires and ideas of others and somehow “must” give a little compliance to these ideas in order to lead a successful saxophone career.

Think about it. What made you choose the sax as an instrument to play? Was it the sound? It’s popularity? The desire to play modern music? Was it forced upon you? Were there certain saxophonists that you heard that inspired you to play it, too? You see, you also had your own ideas, desires and expectations and you still do.

What are you doing to live up to your expectations? Are you practicing what you want to play, or are you just practicing? Do you have an idea about what sound you’d like to have, or are you hoping to develop a sound some day?

The saxophone carries a long history behind it with many master players in very diverse directions of music. The sax may be a little over 100 years old, but it has come a long way from Adolphe Sax’s attempts to have it included in the orchestra, and it having to settle for a place in military bands.

Saxophone technology has come a long way. There have been attempts to re-invent the instrument. Jim Schmidt tries it. Check out http://cvip.fresno.com/~js210/. Simultaneously it’s experiencing a “retro” phase (Check out the Selmer Reference, Julius Keilwerth saxophones).

In my humble opinion, I believe that saxophone pedagogy is still in its baby shoes, but more techniques are being discovered to advance this area as well.

Mouthpieces mad from different metal alloys and woods have also taken their place next to the standard hard rubber and plastic models. Cane reeds have to share their place with plastic-covered and fully synthetic reeds as well. Ligatures have taken all forms and are made from several materials.

Today, we have such a wide choice in equipment; it’s baffling trying to keep up with it all. But be glad! The up side of it all is that we have more choices than ever before, and we will probably continue to have ever more choices in the years to come. Adolphe Sax can actually be proud if he were alive today.

Think about it. Where do you fit in amongst of all this? What statement do you wish to make to contribute to the vast history of the saxophone (if at all)?

Many more composers have taken on the challenge of writing for saxophone as for years gone by. Some attempts have been successful. Many have been failures. But the beat goes on. (Or is that the “honk”?)

So, you wanna play saxophone, huh? Well, do your best and honor the instrument by being the best you can be.

Have fun,

Evan Tate

More Tips on Self-Promotion

noreply@blogger.com (Evan Tate) — Thu, 10 Mar 2005 19:11:00 +0100

Hey! Here are some more self-promotion tips I think that one really needs to think about and implement. Playing your instrument well is great and often necessary, but promoting your talent is the "A and O" of your career.

* If you have a CD (regardless if it's "official" or self-produced) or a music cassette of your music - Give it away! Hand it out to your friends, family, colleagues, students, anyone who you'd think should hear it and could eventually help your name get around. If you've recorded a CD and had it reproduced say, 500 times, give about 50 of them away. Yes, 10%! Don't think of it as losing money, but as investing in your career.

* If you teach lessons, make special offers. For example, offer a block of 5 lessons and give the student 10% off the fifth lesson. If you hand out your own materials during your lessons, see to it that your name is on every sheet of paper. For example, I use a music notation program on my computer.

I print out my own manuscript paper with my name and my email address and telephone number ("Evan Tate - evan@evantate.de") on the bottom of every sheet. In case, that sheet of music paper should wander elsewhere, someone else has seen your name and can contact you in the future.

* Send out a regular newsletter to all your students and/or contacts. Inform them about your projects, concerts and activities. And I do mean regularly. It is extremely important that your contacts should see your name on a regular basis - weekly, monthly, bi-monthly, whatever you choose but DO IT!

Collect those mail addresses and Email addresses and get that information out.

* Produce flyers and postcards advertising your band, concerts and music lessons, and bring them by every music store you deal with personally. Build rapport with the clerks and storeowners. These people are an important source for repeat business. They recommend you to customers who ask about where to get music lessons, a band for a wedding, school dance, etc.

I hope that you find these tips very useful to you. Of course, there are many more things one can do to promote oneself. Brainstorm a few things and get going!

Evan Tate is a freelance musician/instructor and the author of "Way to Mastery: Saxophone". He holds a BM of Music from the Manhattan School of Music under the tutelage of Dr. Joe Allard and has over 20 years of professional playing and teaching experience and has performed at various jazz festivals and radio broadcasts. Since 1993, He is an endorser for Julius Keilwerth saxophones.

http://www.evantate.de or mailto:evan@evantate.de

How to Quit Playing Sax

noreply@blogger.com (Evan Tate) — Thu, 10 Mar 2005 11:18:00 +0100

Before you get the wrong idea, I'm not trying to get any of you to give up playing the sax. During the careers of nearly every musician, (and many of them quite famous) there comes a time when one has doubts whether all that they are doing, playing, etc will ever amount to a successful career as a musician. I‘ve always said that every artist has quit the profession at least 5 times in his/her career. No joke. They'll come a time when your technique seems to not be good any more, you won't get any calls for gigs over a longer period of time, you may be working a day job and you feel that you'll never be able to quit it because you don’t make enough money as a musician to support yourself or your lifestyle. The list goes on.

First of all, I'd like to say that this is actually healthy. Really! When you get to one of these points, it's always a message to you and one should treat it as an opportunity and not as "bad luck". Personally, I don't believe in "bad luck". Luck is the meeting of preparation with opportunity. "Bad Luck" is therefore the meeting of no preparation and therefore no opportunities. Get my drift? When you get to the point of doubting yourself, find out what's getting you so upset. If you’ve got no gigs maybe you've been relying to much on other people to hire you and not having enough self-initiative to keep yourself in work. If you’re playing plenty of gigs but they're not the type of gigs you can be proud of "maybe you're not setting your standards high enough. If your technique is lacking " maybe you're ignoring other things about your playing. If you’re having a relationship crisis – maybe you’re paying too much attention to your sax. ??? Who knows? You do!

Take the time to evaluate what you’re doing and/or not doing. Take a break! Go fishing. (By the way, I've read that Phil Woods had done this regularly. Every Sunday, he wouldn’t play his horn. He'd go fishing.) Read a book! Go places! Meet new people. Get around places where life’s more positive. It’ll supercharge you and give you new ideas and new courage to keep on keepin' on.

Have fun!

Jazz Improvisation

noreply@blogger.com (Evan Tate) — Tue, 8 Mar 2005 23:20:00 +0100

If you've read the interview with Greg Osby, you'll noticed that Greg talked about the need to optimize whatever techniques that you pick up and/or transcribe to improve your playing in general and for improvisation in specific.

I'd like to introduce you to a technique that I have used over the years teaching students jazz improvisation with varying levels of ability. The most popular "school" method of learning improvisation has been the "Chord/Scale" approach. That is basically learning to use certain scales over certain chords in order to learn the different sounds of the scales and accompanying chords. Along with this method I like to use what I call as a "Minimalist Approach" to improvisation. It is based simply on the premise that in improvisation, we need to construct melodies, much in the same way a composer composes a melody. A composer starts with a single musical idea, a germ or "motif" if you will. This motif is then expanded, turned upside-down, transposed, interpolated, rhythmically varied, etc. in order to use the material to the maximum. We can approach improvisation the same way.

On the "SaxTips eZine" website, I have provided a link to a PDF document displaying various exercises for improvisation that you may use to your benefit and to illustrate the concept somewhat better. You may also download this file directly by going to http://www.evantate.de/media/Ex4Improv.pdf.

The first exercises display an exercise for beginners using a simple dominant 7^th chord progression in coasting along the Cycle of Fourths. You can use the Play-along recording provided by Jamey Aebersold "II-V7-I, Cycles and Turnarounds" for this purpose. It starts with playing just the root tone of the chord on every change. Then the first 3 notes of the scale are played. Following that, the first 5 notes of the scale are played. Then it gets a little more "jazzy" by playing the first, second, third and fifth tones of the scales (this is the famous 1-2-3-5 pattern). Next, the pattern is varied using 1-2-5-3, then 5-3-2-1, then 3-5-2-1. This is just a beginning to illustrate what can be done with just 4 notes of a scale.

In the next segment, using 8^th notes, we are mixing patterns "1-2-3-4-5-3-2-1. Then, 5-4-3-2-1-2-3-5. Following that, I've provided a simple bluesy V7 lick " 1-2-3-5-b7-5-6-6-5-1. Next, a linear approach to chord connecting is introduced " 3-2-1-b7-3-2-1-b7, etc.

Now the first II-V7-I pattern is introduced "b3-2-1-b-7-3-5-b7-9-5. Then using a couple of simple ii-V7 sequences.

Next, more advanced players can incorporate a basic Be-Bop lick over the Dominant 7^th chord.

Finally, for the really advanced players I've provided what I call a "Jazz Etude" or "Practice Solo". It is based on a concept that I first learned from saxophonist Steve Grossman. If Classical etudes are used to learn and convey the language of classical literature, then it may be just as helpful to do the same in a jazz context. Here, I've provided a basic blues progression. I wrote a solo using entirely eighths notes, without rests. The purpose here is three-fold. One is to help develop a linear thinking in your playing. Two, to improve your technique. Three, it is done this way in order that you don't just memorize the exercises and then play it on stage! (You have to breathe some time!) Steve Grossman contends that part of the difficulty in playing tunes in harder keys is not so much as the lack of technical ability, but more so the lack of being able to hear in those keys. Blues in concert Bb sounds great. We all know it. But as soon as we have to play blues in A or Ab, or B we seem to not only stumble and run out of ideas, but we can't seem to "hear" blues in that key. Using an exercise such as this is used solely to give a key (as opening a door) to learn to hear in those "difficult" keys by using material that is familiar to our ears already. Subsequently, after you've gotten this exercise under your fingers and in your ears, transpose it to another key, a harder one, and learn to play it and hear it in that key. Eventually, add on a chorus or two to the exercise. This way you can concentrate on the way you want to learn to play and integrate it into your playing. Take licks out of a transcribed solo from one of your favorites and build it in!

If you'd like more exercises like this, download it here: http://www.evantate.de/media/PracticeSolo.pdf

Have fun!

Being and Staying Prepared

noreply@blogger.com (Evan Tate) — Tue, 8 Mar 2005 16:57:00 +0100

Today I'm going to tell you about an experience I had when I was in the early years my profession. I was a hard lesson to learn, but also one I never forgot.

I had just graduated college and had gotten a "dream job" (which was any regular gig playing music and making good money at it). I got an opportunity to tour with the musical "Bubblin' Brown Sugar", a jazz musical, throughout Europe. I played Tenor sax and clarinet. Things were riding smooth. Soon, I was able to memorized the whole book and play with reading. I saw a little bit of the world, met interesting people and played with some fine musicians. After a few months, I go back home to New York City and I got a call from a colleague who I was just on tour with. Jackie Byard's big band (the Apollo Stompers) was playing a weekend gig in the Village and they needed a sub on 2nd alto. I thought, "Great!” I can get to read some charts again, and possibly make some more contacts for more jazz gigs. I asked, "When is the rehearsal?", I was told that there was no rehearsal. I just needed to show up to the club and play the gig.

Well, Friday evening came and I showed up nice and early for the gig, ready to blow. Most of the band was already there, too. Jackie Byard wasn't there yet. I heard from a couple of the other guys in the band that there were a number of subs in the band that night. Almost half the band!

The guy next to me playing lead alto sax asked me if I'd like to play lead. I declined saying I was hired to play second alto. He told me that he was a sub too and didn't know the book! Well, Jackie Byard showed up 10 minutes before the downbeat and brought the music with him. Just so you understand, none of the "new" guys got to see the music at all before we had to play. Tough!

Anyway, Jackie passed out the charts and called out the first tune. We all flipped through the book, looking to the tune and Jackie started counting off! The tune was a "Rhythm changes" at break-neck tempo with a sax soli. You can imagine how many of us panicked! On top of "fluffing" through a lot of the notes, the big moment came: the first solo with a solo break. Who was it? Yes, you got it. Me! The second alto was to play the first solo! I was barely able to keep the tempo and just made it through by the skin of my teeth. After my solo there was even more sax soli to play.

After the first tune was over, you can imagine how I felt. I was shaken! Jackie was cursing at the band (so that the audience didn't hear it), and I felt 2 inches tall. The rest of the evening was a little quieter but there were always surprises.

On the way home that night, I was determined to play the next two nights better than ever and really fight to play everything in sight.

The next two nights went a lot better, but nonetheless, after it was over, I got paid, no "thank you"s, and didn't get a call to play with the band again.

Lesson here? You always have to be ready. Ready to read anything, solo over anything at any tempo, and keep your chops up. You see, although when I was on tour, I always kept practicing (which can be hard to do on tour) but forgot to keep my reading chops up. Well, I paid a dear price for ignoring that.

Now, you all may not live near a metropolitan city where the music scene is so intense as it is in New York, or Chicago, Philadelphia or Los Angeles, but it pays to keep your skills at the highest caliber you possibly can - just in case.

Have fun!

Music, Midi and Sax

noreply@blogger.com (Evan Tate) — Tue, 8 Mar 2005 06:50:00 +0100

Here we are in the next Millennium! The music industry continues to evolve and musicians are being afforded more opportunities to create music.

What's definitely here to stay is the marriage of traditional acoustic music and computers. Whether you're performing music with a combination of acoustic instruments and electronic instruments (such as samplers and sequencers), solely electronic, or just using the computer to write your acoustic music scores, MIDI (that's Musical Instrument Digital Interface for those who've still shied away from electronics) continues to play an integral role in all of this.

In the electronic perspective, as synthesizers are for pianos, electronic wind instruments are for wind instruments. Over the years there have been many instruments that have sprung up to meet the challenge with varying degrees of success. Starting from the low-cost "toys" like the Casio MIDI sax, to more professional models like the AKAI EWI, Yamaha WX7, WX11 and WX5, and the seldom used or heard of Synthophone from the Swiss saxophonist and computer specialist Martin Hurni.

We've come a long way from the first electronically amplified saxophone using a wah-wah pedal or other effects to fully electronic instruments that use saxophone-like fingerings (like the EWI and WX-models) to actual saxophones jam-packed with electronics, such as the Synthophone.

Many saxophonists have experimented with this new challenge in different ways. Greg Osby and Gary Thomas electronically amplified their horns and used Pitch-to-MIDI converters in order to drive synthesizers and sequencers on various recordings with Jack De Johnette’s band "Special Edition" and their own recordings. Michael and Randy Brecker used a wah-wah pedal in earlier recordings of the "Brecker Bros", and Mike later picked up the EWI with "Steps Ahead" and his own recordings. Concert saxophonist John Sampen has used the WX-7 in specially hired works for the instrument. Saxophonist Chico Freeman used a Synthophone on a live recording while on tour in Germany. Steve Coleman has also used the Synthophone although solely in his home studio for sequencing purposes. I've even heard that Branford Marsalis has experimented with it.

Whether you're considering using one on stage, in the studio or just for fun, there are a few obstacles connected with these instruments, but may be well worth the effort to investigate them.

The Yamaha and AKAI models are what I call "new animals". They are intended to use saxophone-like fingers but they are not saxophones in any sense. That may please you in the way that you will treat it like a new, unfamiliar instrument. It may bother you because you have to learn to play another instrument and not just let loose and play as you do a sax. The Synthophone is an actually saxophone stuffed with electronics but mind you, it generates no acoustic sounds at all, just like the other instruments. You may like that because the learning curve is a lot smaller. Again, that may bother you that it is a sax because it doesn't really respond the sax way as a sax does. All in all it is a matter of personal preference which electronic wind instrument may be worth your time and money. They can be expensive.

If you use music software such as Steinberg's CUBASE, Elogic or CODA's Finale, you can hook up your "e-sax" to your computer to enter notes into your scores the same way you would do with a MIDI keyboard. Instead of struggling to play a piano solo for your sequencing project, maybe you want to play it with your "e-sax" instead.

I personally have experimented along this direction. I've used a Roland VP-70 Digital Voice Processor (in Pitch-to-MIDI mode) with Korg Poly 800 (Monophonic/Analog sounds) and Yamaha TX81-Z (Polyphonic/FM-Snythesis) synthesizers with a contact microphone on my sax bell. This worked very neatly in the studio, but it was a catastrophe on the stage. The problem there was that a Pitch-to-MIDI converter can only process one note at a time. Fine in the secluded cabin of a recording studio. But on stage you get "spill over" from the guitar, the drums, the bass, etc. - too many signals - the VP would just shut down. I had to change programs in order to get it to kick in again. I should have used a built-in microphone, but really didn't want to have a hole drilled into the neck and I really didn't want to change necks in the middle of gig.

Anyway, while using an "e-sax" many things have to be learned and taken into consideration. Sounds are the biggest issue in my opinion. I've heard many failed attempts at it. The most common mistake of the "newbie" is to use synthesizer sounds that are really made for a keyboard instrument in mind. If you try to play the sound as though it's a wind instrument, it really sounds terrible. One really has to pick sounds that are more adept for a wind instrumentalist's technique.

Have fun,

Evan Tate

"Tales from the Crypt"

noreply@blogger.com (Evan Tate) — Sun, 6 Mar 2005 21:55:00 +0100

This week’s issue is NOT about the old television horror program that played in the 70’s (although it may still run now, and I imagine many of you are too young to have even heard of this program. Whatever.), but it is another story about my early experiences as a young musician. I often feel that these are “horror stories” in their own right, but I find that they are also useful as I think back on these experiences.

Like (or unlike) many saxophonists today, I started as a saxophonist, and not as a clarinetist that later switched to saxophone. In fact, I avoided playing clarinet for the longest time. Although my middle school band teacher tried to encourage me to learn clarinet – I listened to my schoolmates play it and, of course, they sounded terrible – I didn’t listen to him, and the clarinet and I were like a string of garlic and Dracula.

In High School I picked up the flute and learned to play that with a lot of dedication. I even considered playing oboe, but I was told that there were too many oboists in the school already and not enough instruments to go around. Anyway, my mother advised that I stay away from oboe due to the massive pressure to one’s head.

By the time I got to college I had to finally face the fact that clarinet was going to become a part of my life (at least a small part, if any). I finally bought one. I forgot which brand it was. The next day, a colleague of mine called me up and told me that a High School in Brooklyn was putting on a student production of the musical “West Side Story”. The organizers of the production were looking for college music majors to form the orchestra. I asked him, “What do I need?” He said; “Your alto sax, flute and CLARINET.” I thought, “Cool. So I can start using this thing and get a return on my investment.” I told him that I was up for the gig.

“West Side Story” is a beautiful musical. A beautiful piece of work. I had no idea how difficult, or should I say “musically challenging” it was.

Since the production was low budget (almost all budgets are), the musicians had to “double-up” on books. What do I mean? Well, I played the first reed book, AND the second reed book. I had to play music for two musicians! I had to figure out which were the most important cues to play, and play them regardless of which book they were in. the whole band played this way.

On top of that, the clarinet parts were not for someone who was just learning to play clarinet. The most challenging part was the “Rumble Scene”. It is like a very modern classical work and the clarinet is VERY exposed. No chance to cover up anything here.

Believe it or not, I learned to play clarinet playing that musical. I “shedded” clarinet for hours a day. Mainly practicing the music to “West Side Story”.

Lesson here? When an experienced musician or teacher wants to give you some advice, listen to it. Even if at that moment you didn’t think it was the coolest thing, take heed. You can save yourself a lot of unnecessary stress in the future.

Have fun!

Ways to Cultivate Creativity

noreply@blogger.com (Evan Tate) — Sun, 6 Mar 2005 21:54:00 +0100

Whether or not you're an improvising musician or not, creativity is an integral part of this profession. We need creativity not only to find the best ways to play a passage, express a cadenza, whale a bluesy solo, or play the most interesting chord progressions over a modal tune. We need creativity first and foremost, in my opinion, to solve problems. We need it to adjust our intonation when blending with other instruments, to find an effective way to master our scales, arpeggios, chord progressions, trills, interpreting pieces and styles of music. Yes, we are called on to be creative more often than we probably have ever acknowledged.

Here are some tips you can try to cultivate and nurture your creativity:

1. Listen to music everyday. If you already do that, take advantage of listening to various styles of music. Go to your public library and dig out archived recordings of music you've never heard of and give them a listen. Please do this regularly.

2. Practice something your usually don't. If you're a jazzer, practice some classical etudes. If you're a classical saxophonist, explore some jazz exercises and articulations. Nothing expands your creativity as much as expanding your musical horizons.

3. Learn to play another instrument. If you don't have the time or patience for that, play the music of another instrument. Get a hold of an etude book for flute, oboe, violin, piano, recorder, guitar - and do some sight-reading.

4. Transcribe solos of another instrument. It's been known that Miles Davis often listened to guitar players. Dave Sanborn listened not only to Hank Crawford, but also Stevie Wonder's harmonica playing to get his soulful sound. Greg Osby listened to and transcribed piano solos. Expand your horizons! (You've heard that before, haven't you? :-))

5. If you're not already an avid reader, I suggest you take on this habit. Read! Read! Read! Read a book. Read a magazine. Read the music industry periodicals. Read lifestyle mags, fashion mags... If you don't read this stuff already, you can borrow them from your sister, brother, mother, father, girlfriend, boyfriend, neighbor, whatever the last guy left sitting on the seat in the bus, etc. Read stuff you've never read before. Read stuff you'd never had an interest in before (you may just be surprised).

6. Take 15 minutes a day, or an hour or two a week and think about how or what you could improve on in your present situation. Get creative! Write it down and put it into action. Today!