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6 Steps To Improvise Jazz Scales On The Saxophone by Marvy Sax

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How to improvise Jazz Scales to your solo on the saxophone

 

Jazz is a genre of music centered around improvisation. If you ever have wondered how some guy can just make up that beautiful music as he/she goes, and want to do it yourself, this article is for you.

This article is brought to you by Marvy Sax. Fadipe Marvellous Ayooluwa popularly known as
“Marvy Sax“, is an Ibadan based Gospel Music Minister, who is one of Nigeria’s most gifted
and captivating musician who as carved a niche for himself in music through ministering with his saxophone.(You can read more about Marvy Sax at the end of the article)

Steps to take to improvise jazz scales on the saxophone

1. Given that you know the basics of saxophone playing, learn your major, minor, dominant 7th, and Pentatonic/Blues scales and arpeggios IN ALL 12 KEYS. It is extremely important to be comfortable in all 12 keys (Not every song is in the key of C, G, or F). Although this may seem boring at first, it is the essential building blocks of improvisation(I bet John Coltrane and Charlie Parker were more than comfortable in all 12 keys).

2. After becoming comfortable in all twelve keys, learn how these scales and arpeggios fit into the twelve bar blues. Being the simplest and most common set of changes, the blues is essential for the beginning improviser. It might be easy to use only the blues scale for improvising on the blues, but don’t you want more than one sound?

Experiment with your scales over a play along cd–the most popular of these is the Jamey Aebersold series. After getting comfortable with the blues, start learning jazz standards. These are essential to any jazz musician looking for a job.

You can purchase real books or fake books, or use the Aebersold books that come with the play along. When learning a tune, start with playing the scale in time along with the recording or a play along, then play your arpeggios. This should help with memorizing the changes so you can begin making music.

3. Now that you’ve got some chord changes in your head, what are you going to do with them? Improvisation is quite literally composing on the spot, and it can be very intimidating in the heat of the moment.

Listening to your favorite players improvise is a great way to get ideas–you can even transcribe(figure out for your own use) a cool lick you find in a solo and learn it in all twelve keys, and use it in your own soloing. Eventually, you will want to transcribe as much as you can to obtain a good vocabulary of jazz licks.

This is the beginning to finding your own sound. Finding what you like about your favorite musicians will help you find your niche in music.

4. Alright, now you have the scales, the chord changes, and the vocabulary; you just simply need to put it together. You may find that you aren’t playing well enough in time when you play passages of eighth notes or sixteenth notes or triplets.

Work some time into your practice routine where you just play eighth notes with a metronome at a slow tempo in any given key or perhaps any given set of chord changes. Slowly speeding up your metronome will gradually put you right in the pocket, allowing you to play faster(but remember that the ability to play fast is not the ability to make a good solo, it is one of your tools to HELP your solo.

You wouldn’t want to throw a whole pepper shakers worth of pepper onto your food would you? It would overpower your meal as a whole. Use your fast technical stuff to spice up your solo, not to dominate it).

5. An extremely important aspect of Jazz is the conversation the soloist has with the rhythm section. You don’t need to fill every beat with notes–give your audience some time to take in your last idea, and give your rhythm section some time to respond to you.

Jazz is simply another language we use to communicate–and you wouldn’t want to talk to someone who just talks and talks and never listens to you, would you? The same goes with jazz.

6. Finally, be creative. Use different rhythms, syncopate, swing 8th notes to fit the style, build a sequence, repeat motifs, and just get into the music.

 About Marvy Sax

 Fadipe Marvellous Ayooluwa popularly known as “Marvy Sax”, is an Ibadan based Gospel Music Minister who is one of Nigeria’s most gifted and captivating musician who as carved a niche for himself in music through ministering with his instrument [the saxophone].

He was born into a baptist relation in a family of five(5) & hails from Ilesha Osun State, Nigeria, he is the first son of Evang & Mrs Olaolu Fadipe.

He started learning music at an early stage in the church and tries is hands on different musical instruments before falling in love with the saxophone which he picked up at the age of 12.

Marvy started his first musical band from where he proceeded to the “Federal College Of Animal Health & Production Technology” to study animal science [animal health & production technology]. This was a training ground for him as well as brandishing his talents.
The dexterous Marvy Sax whose content is deeply graceful and undoubtedly proven to be an immense blessing to his generation and the world at large is defined by what makes him
who he is.
He has a heart that loves and serve GOD with compassion for humanity, burn out of a passion for music. He reaches out to people through his music and encourages them to live a life of worship and services to God and humanity sharing the love of Christ everywhere they go. He is a singer,
song writer and a prolific Saxophonist.

Facebook: Marvy Sax Praise
Facebook Page: Marvy Sax Music Outreach
Email: marvysax@gmail.com
Whatsapp @08148569278
Instagram @marvysaxpraise

 

“This God is too good oo” by Nathaniel bassey piano chord progression tutorial(Beginners)

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Chord Progression of “This God is too good oo” by Nathaniel Bassey

 

 This is the chord progression piano tutorial of “this God is too good oo” by Nathaniel Bassey. It is written in solfa notation.
 
Note: The chords used for the respective notes are

written below:

 
d – d m s             s – t r s            l – d m l             f – d f l               r – r f l                   m – m s t
   I know a God who’s merciful and kind
d                                       s                 l
    Faithful and gracious
    s                     f
    I’m the apple of his eyes
d                                        s
The thought that fills his heart
                                           l
Every morning noon and night
            S                               f
     He loves me when I didn’t care
R                                                   l
And was patient till I came running back into his arms
                                      D                                                m
      Look how He turned my life around
R                                                           l
Made me a shining star
                                   d
His glory to reveal
                         s
I will worship Him forever
          d
Love Him forever
s
Because this God is too good oo
            L             s                    f

Advanced Piano chord voicing and application by Elmond Isaiah Part 4

michael@phils@music
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Ab6

Ab6 First Voicing: G# + Eb / C + F + C

Advanced Piano chord voicing

Application:

  • This chord voicing type can serve as Vi to Ab.
  • This chord voicing type can also serve as iii to C#.

Ab6 Second Voicing: Eb / G# + C + F

(This type of chord voicing happen to have two names by just adjusting a note an octave below.
For example, if you play the Eb in this chord an octave below from the Eb close to the notes for right hand, the chord’s name will be Fm7/Eb, but if you play the Eb close to the notes the right hand should play, the chord’s name will be Fm7)

When it is Eb an octave below

Advanced Piano chord voicing

When it is Eb close to right hand notes

Advanced Piano chord voicing

Application:

  • Depending on the chord progression you are playing, this chord voicing type can serve asi, Vi or iii to Ab.
  • This chord voicing type can also serve as Vii chord to C#.

These chord voicing type is not limited to only Ab(9) / C, F# (9) / C and Ab6. You can translate them and them in any key of your choice.

(Chords, the life blood of music)

Advanced Piano chord voicing and application by Elmond Isaiah Part 3

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F# (9)/Bb

 F# (9)/Bb First Voicing: Bb+G# / C#+F#+C#

Advanced Piano chord voicing

Application:

  • This chord voicing type has a mix feelings of being either ii or iii. But primarily it is a root chord.i.ei chord.
  • This chord voicing type can serve as iV chord to C#.
  • This chord voicing type can also serve as Vii  to Ab.

F# (9)/Bb Second Voicing: Bb/C#+F#+G#

Advanced Piano chord voicing

Application:

This chord voicing type can serve as iii chord to F#.
When you have a progression such as iV – iii – ii – i, the chord voicing above can serve as the i.

F# (9)/Bb Third Voicing: F# / C# + G# + Bb

(The name of this chord changed to F# (9) (F sharp ninth) because of the change in voicing)

Advanced Piano chord voicing

Application:

This chord voicing type can serveas a root chord.i.e F#.

F# (9)/Bb Fourth Voicing: C# + Bb / G# + C# + F#

(Thename of this chord changed to F# (9)/C# (F sharp ninth over C sharp) because of the change in voicing)

Advanced Piano chord voicing

Application:

This chord voicing type can serve as iii or V to F#, depending on your chord progression or other chords you played previously.

F# (9)/Bb Fifth Voicing: C# + Bb / F# + G# + F#

Advanced Piano chord voicing

Application:

Depending on the kind of progression you are playing, this chord voicing type can be i or iii chord to F#.

Advanced Piano chord voicing and application by Elmond Isaiah Part 2

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Ab(9)/C

Ab(9)/C first voicing: C+Ab /Eb+Ab+Bb+Eb

Advanced Piano chord voicing

Application:

  • This chord voicing type can serve as a root chord. i.e the i chord.
  • This chord voicing type can again serve as V chord to C#.
Ab(9)/C second voicing: C / C+Eb+Ab+Bb

Advanced Piano chord voicing

Application:

  • This chord voicing type can serve as iii chord to Ab. Although the chord is more of iii, in rear occasions it can serve as ii.
  • This chord voicing type can also serve as Vii chord for C#.

Ab(9)/C Third voicing: G / C+Eb+Bb.

(The name of this chord changed to G# 9 (G sharp ninth) because of the change in voicing)

Advanced Piano chord voicing

Application:

This type of chord voicing has different feels from the second Ab(9) / C voicing type above, but they still have the same method application.

  • This chord voicing type can serve as iii chord to Ab.
  • This chord voicing type can also serve as Vii chord to C#.

Ab(9)/C Fourth voicing: Bb / C+Eb+Ab

(The name of this chord changed to Ab (9)/Bb (A flat ninth over B flat) because of the change in voicing)

Advanced Piano chord voicing

Application:

This type of chord voicing has a different feels from the Ab(9) / C second and third voicing type above, but their application can still be the same.

  • The chord voicing type above can serve as iii chord to Ab.
  • The chord voicing can also serve as Vii chord to C#.

Ab(9)/C Fifth voicing: C+Bb / C+Eb+Ab

Advanced Piano chord voicing

Application:

This kind of chord voicing for Ab(9) / C has a different feels from the second, third and fourth voicing type above, but their application method is still almost the same.

  • This chord voicing type can serve as iii chord to Ab.
  • This chord voicing type can also serve as Vii chord to C#.

Ab(9)/C Fifth voicing: Eb / Eb+Ab+Bb+C

(The name of this chord is changed to Ab(9)/Eb(A flat ninth over E flat) because of the change in voicing)

Advanced Piano chord voicing

Application:

  • This chord voicing type can be V chord to Ab.
  • This chord voicing type can also be ii chord to C#.

Elmond isaiah’s Advanced chord voicing and application

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Elmond Isaiah

This tutorial of Advanced chord voicing is brought to you by Elmond Isaiah of ‘The mystery of sound‘.

He is one of the finest pianist in Nigeria and we are delighted to have him share some of his knowledge and experience with us to make young musicians grow.

In this tutorial he would be giving us cool advanced chords that we can substitute for our regular major and minor chords that we are used to playing.

INTRODUCTION

Chords are not just three or more musical notes harmonically played or sung together, they are the life blood of music like Jermaine Griggs will always say.

If chords are rightly applied, they produce an irresistible outstanding positive effects on anything, whether living or non-living.

In this lesson we will examine three popular chords and their application. Many musicians have been using these kind of chords their own way, but here, we will talk about them in many different exciting perspectives. Hope you will like it!

The three chords to be discussed are:

  •  Ab(9)/C
  •  F#(9)/Bb
  •  Ab6

Firstly, I want to establish a fact that chords should be voiced according to the kind of music you are playing to at the moment.

Always listen to what music want you to play per time. It is also good to know how to interpret chords and name them rightly to avoid mix up.

Chord description:

A chord like Ab (9)/C, is called A flat ninth over C, and it means that the right hand should play Ab(9)while the left hand should play C at the same time.

But when there are more than one note on both sides or on one side, then it will be for left and right hand just as it appears.

For example: Ab+Eb/F+Ab+Bb+ C# means the left hand will play Ab and Eb, while the right hand play F+Ab+Bb+C# together, or if the chord appear as Eb/F+Ab+Bb+C#, or Ab+Eb/ C#, the same method of playing is applied.

The left hand and right hand respectively following the demarcation by the slash between the notes.

Although forAb+Eb/C#, right hand can decide to play the Ab+Eb, while the left hand play C#.

NOTE: The slash between chords with more than one note in either left or right hand side is called ‘slash.’ E.g, Ab+Eb/F+Ab+Bb+ C# is called A flat, Eflat slash F, Aflat, B flat and C sharp.

While the slash in between chordswith just one notes on either of the side, or when right hand is to play the notes that appears on the left side is called ‘over.’ E.g, Ab(9)/C is called A flat ninth over C.

Chord voicing is a most know techniques. I discovered years back that by allowing a finger in your left hand play just a note meant for a finger in your right hand, in the same position is able to change the chord’s quality and give it a different feels.

Though this does not happen all the time, but we must know that our left and right hand does not have the same dexterity, frequency, speed, touch sense and task.

For example, looking at Ab+Eb/F+Ab+Bb+C#, if you decide to have the chord as Ab+Eb+F/Ab+Bb+C#, though the F is still on the same position, but now played by the left hand, possibly your tomb, you may notice a slit change in frequency and feels of the chord than it was when your right hand tomb played it together with the other notes.

So, let’s get started.

Two Bass line grooves for 1 – 5 (doh – soh) highlife progression

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Nigerian highlife bass guitarist

Two Bass guitar grooves for 1-5 highlife progression

We are going to talk about two bass line grooves that you can play for the 1-5 highlife progression. When we talk about the 1-5 progression, we mean the doh – soh progression. Remember that different highlife songs carry different progressions, so don’t expect that these basslines would work on all highlife songs.

These bass lines are more popular with the juju highlife songs. You know all those yoruba bands that play at weddings, burial and other ceremonies. Most of their songs(not all oo) don’t go beyond the 1-5 progressions. Even celestial churches too, most times they sing on the 1 – 5 progression throughout.

You can watch the video above for an illustration of how the bass grooves sound.

The first bass line is:

doh soh   reh soh

While the second one is:

mii fah soh reh
lah fah soh doh

Before you begin to question me on how it sounds, watch the video illustration to know how they sound.

Enjoy.

“I want to see you” Bass line by Victoria Orenze

“I’m getting ready” Bass line by Tasha cobbs ft Nicki Minaj

Bass Line of “Ancient of Days” by Ron Kenoly

Bass line of 7 popular Gospel Nigerian praise and worship songs

“There is something that makes me come….my helper” Bass line

“Today oo, I will lift up my voice in praise..” Bass line in tonic solfa

Bass Line of “Be Magnified” by Don Moen in tonic solfa

Bass Line of “Arise” by Don Moen in Tonic Solfa

Bass Line/ Chord Progression of “Arugbo Ojo” by “Minister K

Bass Line/ Chord Progression of “Great are you Lord” by sinach


       Get our ebook of chord progression of over 150 Nigerian praise and worship songs here

5 Useful Accessories for Your Laptop

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Computers and laptops have become a big part of our lives. And they also need ‘assistants’ to perform better, longer and faster. Your personal assistant can be upgraded with a variety of accessories. Shop computer accessories
at https://jiji.ng/computer-accessories including Batteries, Bags, Cases, Chargers, routers, cooling pads and so much more. 
Wireless Mouse 
A wireless mouse will be a perfect addition to your laptop or desktop. These days mouses come with a new great feature as a built-in battery, that automatically connects to your laptop and is instantly ready to use. No more cables getting into your way.
Spare Battery 
Everyone who has ever used laptop away from the power outlets knows that laptop’s battery life is not that long. But you can extend it with an additional battery, especially if you work outdoors or away from power outlets. When buying a spare battery, it is important to pay attention to its compatibility with your laptop: the battery must be manufactured either by the laptop manufacturer or by a company that guarantees the compatibility of the battery with the device.
USB Lamp 
Usually, such lamp is compatible with any notebook or PC by plugging into any USB port. No external power supply is needed as it is powered by laptop or PC through USB.LED light is rated to average 8,000 hours of use. Typically, these lamps are equipped with a flexible neck so that it can be positioned any way you wish. The lamp is lightweight and easy to carry On the Plane, in a meeting or in bed. 
Hardshell case 

 

Protect your laptop with a hardshell case. They are lightweight and made of durable materials that protects your laptop from scrapes, scratches, and scuffs. The case offers protection without sacrificing access to ports, lights and other useful buttons. Ventilation slots promote continuous airflow for efficient device cooling. The color palette will not leave anyone disappointed and will suit every taste and style. Use a hardshell case for your laptop if you plan to sell it later as it could improve its resale value. 
Cooling Pad 

 

The best way to avoid overheating is a laptop cooling pad, which provides both a rigid surface to rest your laptop on, and high-powered fans to increase airflow and heat dissipation inside its case. But if you find a laptop cooler with fan positioning that properly matches your vent positioning, you won’t really need much more.

This post is sponsored by Jiji.ng

Bass line tutorial of “I love you forever” by Tye Tribbett

michael@phils@music
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This is a short tutorial on the bass line that was played in “I love you forever” Tye tribbett. You know that ever bass line is coined out from the chord progression of a song. You can learn the chord progression of I “love you forever” here. Now that you know the progression, you can now see the way improvisation the bass guitarist used in the song. You can watch the video for more clarity.

However, I would still explain what He did here.

The progression of the song goes thus:

I Love you forever.
f
I love you forever.
l                   s
I love you forever, Lord
f                            d

So, we have the fah, lah, soh and doh chord

fah chord comprises of:    f l d note (major chord)
lah chord comprises of :   l d m note (minor chord)
soh chord comprises of:    s t r note   (major chord)
doh chord comprises of:    d m s note  (major chord)

Now during the time frame when the bass guitarist is meant to play fah, he added another note to supplement the fah. The other note they added was from amongst the notes that comprises the fah chord which is doh

So we have:

fah   doh'(higher octave)

for the time frame where lah is being played they used mi to supplement the lah note

So we have:

lah    mi'(higher octave)

When it comes to the time to play te soh chord, the reh note was used to supplement it

so we have

soh     reh'(higher octave)

and now when we resolve to doh, the soh note was used to supplement it.

so we have

doh    soh'(higher octave)

When we add everything up, we have:

fah   doh'(higher octave)
fah   doh'(higher octave)
fah   doh'(higher octave)
fah   doh'(higher octave)

lah    mi'(higher octave)
lah    mi'(higher octave)

soh     reh'(higher octave)
soh     reh'(higher octave)

fah   doh'(higher octave)
fah   doh'(higher octave)
fah   doh'(higher octave)
fah   doh'(higher octave)

doh    soh'(higher octave)

Now that is what we call improvisation. I know this looks clumpsy for you to understand, eventhough we have tried to make it as simple as possible. Just watch the video for more understanding:

Bass Line/ Chord Progression of “Alpha and Omega” by Eben

Bass line/Chord progression of “you do mighty things” by Sinach

Chord Progression/ Bass line of “Wonderful wonder” by Nathaniel Bassey

Five popular Reggae bass lines you should play on your bass guitar

Two Bass line grooves for 1 – 5 (doh – soh) highlife progression

Bass line tutorial of “I love you forever” by Tye Tribbett

How to play “Kaabio osi ooo, you are the God of…” on the bass guitar

How to play “do do do, oghene do on the bass guitar”

Get our ebook of progression of over 150 nigerian praise and worship songs for beginner bass guitarist

Chord progression of “I love you forever” by Tye Tribbett(in tonic solfa)

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chord progression of i love you forever by tyetribett

This is the chord progression in tonic solfa of “I love you forever” by Tye Tribbett. It’s a very simple song. You can begin to play it on your piano or guitar today. Make sure you share so your friends can find it too. Learn to play the original bass line on the bass guitar here

I Love you forever.
f
I love you forever.
l                   s
I love you forever, Lord

   f                            d

And we give…Glory to God.
f
Glory to God.
s            l      s
Glory to God Forever

f                              s
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