![]() The final motif uses B as a neighbour note to the root of C minorĪnother neighbour note as a leading note in to the root of the D minor 7 b5. This one is quite straightforward, a scale run down from the F of D minor 7 flat 5, voice leading to the 3rd of the G7 and then again via the F to the 3rd of the C minor. Again on the descending phrase we have a b9, and then this couples with another neighbour note, the F#, to enclose the G as it all resolves nicely to the 5th of the C minor and down on to the root. C# on a Dm7? Yes, it’s a chromatic passing note as well as a neighbour note. As with the previous lick it is a neighbour note to the F of the D minor 7 flat 5 so it works well a semitone lower leading into the F (like a leading note). why we have an E natural in the key of C minor. The last scale run down from F# to resolve again with voice leading includes the flattened 9th for some flavour, though it could just as easily have a natural 9th.Īgain, with this one you might be wondering about off notes, e.g. From there on it’s quite straightforward with descending motif on the strong beats A to G which then leads nicely to the F# of the D7 (voice leading). You may wonder why G# on Am7? Well it works well in this enclosure situation as it is a chromatic neighbour note of the A, like a leading note that gets there via the B. If you want to analyse it then it starts wit a suspension on to the 3rd of the Am7, then the next two notes enclose the root. This first one is a bit involved but a very cool sounding lick. Here are a few to start off with (to learn in every key of course): Enclosures and Neighbour Notes IIm7 V7 I with neighbour notes and enclosures Lick of the WeekĮach week I will be adding a new lick here, so bookmark the page and check back regularly: These can be easily adapted for any instrument. Beginners and more average players may have flashes of real invention, but usually need to fall back on use of scales and patterns just to give the brain a rest.Īs well as the patterns on these pages, you can also find many more on the saxophone pages, including plenty of IIm7-V7-Is, diminished and whole tone patterns and licks. The great players often combine spontaneous original invention with established patterns to create new and fresh yet stylistically relevant solos. New styles of jazz sometimes dictate new harmonic structures. Jazz is an ever evolving language, the established patterns and licks are borrowed, adapted and mutated into new ones. How many jazz improvisers construct a completely original solo? It may be fair to say that most players rely on scales and patterns (aka licks, phrase or in more academic circles, formulae). Our fundraising See here for more info….Discounts and Free Find all the best deals.Collectables Rare and unusual music stuff.CD | Playalongs Including downloads & sheet music.Beginners Downloads Free when you buy a book.CaféSaxophone Our friendly & informative saxophone forum.Beginners Improvising In the impro section>. ![]() ![]() Understanding Transposition for Saxophones.D’Addario Reserve alto mouthpiece (review).Saxophone Info Info | History | Reviews.
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