Tag Archives: Practicing Saxophone

New Book: Four-Note Diatonic Triad Cells

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I’m especially pleased to announce that my latest eBook, Four-Note Diatonic Triad Cells: Comprehensive Studies in Leading Tones, is now available for purchase and immediate download.

Major and minor triads are a fundamental building block of virtually any melodic language, most certainly including jazz. As an improvising musician, gaining mastery over the movement and connection of triads is an essential skill that leads to fluency and cogency in musical expression. In bebop as well as the modern jazz languages, this is especially true when the triads can be seamlessly connected via half-step leading tones.

The concept of this book is simple, but far-reaching: I’ve converted every diatonic triad (major and minor, in all inversions) into a “four-note melodic cell” by adding a note that helps it to connect (via half-step voice leading) to other triad cells in a flowing, melodic way. By adding this fourth note, triads become more readily available for eighth note and sixteenth note movement, which is still the rhythmic staple of modern jazz improvisation.

Each triad cell is connected to the next by both lower neighbor and upper neighbor leading tones. The “fourth note” of the cell is either a diatonic tone (either scale degree, or a repeated chord tone), or a chromatic passing tone, depending on how one cell needs to connect to the next cell:

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The triads are organized to move intervallically: ascending perfect 4ths (as in the example above), as well as ascending and descending minor 2nds, 3rds, etc., in every possible way. These intervallic movement sequences are organized from major to major, minor to minor, major to minor and minor to major; again, in all inversions and with upper and lower neighbor leading tones connecting them.

Some of these movement sequences will most likely sound familiar (“bebopish”), whereas others will sound most decidedly “modern”. At the end of the book I’ve included a Reference Chapter that demonstrates how each of these triad cell movements can be applied to ii-V7 cycles. Part of my aim in composing this book was to bridge the gap between bebop and more contemporary jazz languages.

You can think of this book as a playable reference, of sorts, on how to connect triads via leading tones. Like my other eBooks, it is comprehensive and very carefully organized and presented. There are over 200 pages of notated exercises to keep you busy for a very long time. I’ve composed each exercise to flow in a smooth, melodically logical way.

Working from this book will not only significantly increase your melodic fluidity when improvising, but will also improve how you hear and think harmonically and melodically. You’ll have a working guide on how to go deeper into using melodic devices with triads, including triad pairs, stacked triads and enclosures.

And as a bonus, practicing these exercises on a regular basis will significantly improve your technical skills, no matter which melodic instrument you play. You’ll be working with arpeggios in a fundamentally different way: One that is challenging, enjoyable, and ultimately, highly practical.

I’ve written this book with the intermediate to advanced jazz improviser in mind (for this reason I don’t explain basic jazz harmony and theory), though even less advanced students of improvisation can benefit from working through these exercises by getting the sounds in their ears and under their fingers. All exercises are in treble clef.

So take a look at the Four-Note Diatonic Triad Cells: Comprehensive Studies in Leading Tones landing page on my blog, which has a pdf sample of one of the exercises, as well as a pdf copy of the written introduction of the book, which further explains the concept, the format, the benefits and the practice guidelines for implementing the work. I’ll also be putting up a few jazz etudes that deal specifically with this concept in the near future. Hope you enjoy, and let me know what you think!

Breathing: Avoid This Misconception About “Moving the Air”

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Whereas most of my blog posts are written with all instrumentalists in mind, this particular post is aimed exclusively towards wind instrumentalists and singers. It addresses a common misconception about how you manage the movement of the air on the exhalation as you play or sing.

The idea has to do with the concept of the “velocity” of the airstream.

As you know, you must use your respiratory mechanism in an extraordinary way when singing or playing a wind instrument. You are not simply breathing in a completely passive way. You are using your breath with an energetic purpose that serves both function (physiological and mechanical) and self-expression.

And of course, the “working part” of the breath cycle is the exhalation. In large part, this kind of management of the exhalation involves changing the velocity of the airstream.

Yet, what you do with yourself to manage those necessary changes in air speed can significantly impact not only your breathing, not only your sound, but also the coordination of your entire body and ultimately, your skill.

One of the ways that air is “sped up” is by “compressing” the airstream. (In short, everything else being equal, a narrower airstream means “faster air”.)

And there’s where the problems sometimes begin.

I once watched a video of a highly skilled, fairly well-known trumpet player talking about the importance of “compression” when using the airstream.

In fact, it was something that he encouraged his viewers to do consciously each time they began to play a note or a phrase.

Now, he was talking about doing something with the airstream, but it was interesting for me to see what he was doing with his whole self as he carried out the instructions he advocated.

His entire body went into a state of “compression”.

Specifically, his head was pulled down onto his spine, his ribs were pulled downward with great force toward his abdomen (which was actively involved in distorting his pelvis), and his shoulders became rigid and narrow. I couldn’t see his lower half, but I imagine that was affected as well.

In essence, as this very fine trumpet player compressed his airstream, he simultaneously compressed and shrunk himself. (For the record, I’m not here to criticize this musician, only to call into question some of his ideas. I’d say he plays very well, despite what he’s doing with himself.)

But here’s the truth:

For you to compress your airstream you don’t need to compress yourself.

Really. You don’t.

You certainly need to use a considerable amount of muscular energy to move the air, especially at high velocities.

But this muscular energy doesn’t need to involve shortening your three-dimensional stature.

Here’s why.

First, because of the way your ribs attach to and move with your spine, the natural, structural tendency of your spine is to lengthen on the exhalation.

It will do so, even with tremendous muscular energy, if you let it.

Second, by forcefully pulling your ribs downward into your abdomen, you are interfering with two things: The full excursion of the diaphragm and the full excursion of the ribs.

The movement of the ribs in concert with the diaphragm is essential to optimal breathing.

Third, by compressing your respiratory mechanism in this manner as you exhale, you signficantly impact the coordination of the following inhalation, again limiting the excursion of the ribs and diaphragm.

It is these reciprocal excursion patterns between the ribs and the diaphragm (and other parts of you, as well) that are essential to all breathing, both natural and task-specific.

So what to do instead?

Mostly, subtract a few things.

First, subtract a noisy, forced inhalation (which often carries with it a tense jaw). Instead, aim for a free, energetic and expansive reflexive inhalation.

Second, don’t pull your head down into your spine. If you need more muscular energy, direct it upwards, as you ride the wave of your naturally lengthening spine. Allow your neck and jaw to be supple and responsive.

Third, avoid pulling your ribs down forcefully on the exhalation. Imagine your ribs (including the muscles between them) as being in an active, but gentle state of opposition to your upward moving spine. As your ribs slowly descend, your spine gently lengthens, as you move the air into your instrument at the most optimal velocity.

Fourth, allow your abdominal muscles to respond to the needs of moving the airstream, as opposed to a preconceived set amount of tension. If you work with this idea a while, you’ll learn to trust that your intention with your sound (range, color, pitch, etc.) will inform your neuromuscular system to do the right thing with your abs (and all the other muscles involved in supporting your airstream and sound). This “response” I’m talking about will take place instantly, optimally and organically. Naturally, if you will.

In sum, aim towards separating the concept of air compression from bodily compression. To be clear, I’m not talking about using less muscular effort, so much as avoiding misdirected muscular effort.

Allow yourself to move freely and energetically (always aiming upward), with a three-dimensionally expanding organism. You might be surprised at how much easier and more efficiently you can “move your air” to create the sound you wish for. And as a bonus, you’ll avoid some of the patterns of misuse that often lead to fatigue and injury. Win/win.

Listening to Your Sound Differently: An Experiment in Perception

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There really is no such thing as truly hearing the “absolute reality” of your sound as you play. In part, that’s because your sound constantly changes as it is impacted by two fundamental things:

1. Environment

2. Perception

Environment has to do with such things as the acoustical qualities of the room you’re playing in, coupled with other variables, such as the other instruments you’re playing with.

Perception has to do with how you hear your sound.

More specifically, it has to do with how you pay attention to your sound as you play. Your perception includes not only the environment in which you are playing, but also how you’re sensing the bony structures inside your head (and close to your ears!) as they vibrate in response to your playing.

Your perception of your sound both shapes the sound itself and influences your experience of it. Perception and experience being inextricably connected. (If you’ve ever played in a particularly good or particularly horrible acoustical setting, you’ve probably realized this.)

Whenever I teach the Alexander Technique to musicians, we do lots of explorations with how they hear their sounds, and how that perception influences their coordination. This is often a question not just of “how” they’re listening for their sound, but also “where” they’re listening for it.

If I’m working with a musician who has serious problems with loss of skill (focal dystonia, for example), I find without fail that the musician in question is listening to his/her sound in a very inflexible, internally focused way.

More specifically, the sound is being felt (kinesthetically) almost more than it is actually being heard in the external environment.

An overly internal focus of attention is often the very thing that leads these musicians to seek my help. This quality of attention tends to exclude and divide, as opposed to include and integrate.

The motor mechanisms of the brain don’t work optimally this way, and problems with tone quality, attack, time, articulation and technical control can arise as a result of such thinking.

Striking a healthy, dynamic balance between the internal (what’s going on inside of you) and external (what’s going on outside of you) helps support optimal coordination and skill.

One of the tools I use to help musicians find this balance involves a very simple experiment with sound and perception. And even for musicians who don’t have any discernible problems, this little experiment can be eye-opening, and quite helpful. Here it is:

Choose something lyrical and highly familiar and enjoyable for you to play.

Then, play the piece (or passage, or whatever) as you make a conscious decision to hear your sound as close to you as you possibly can.

So if you’re a wind instrumentalist or a singer, you’ll listen for the sound right inside your head: in your oral cavity, nasal passages, etc. If you play a string instrument, you’ll listen for the sound right where your bow or fingers make contact with the strings.

Play like this a couple of times, until you’re reasonably sure that you carried out your intention to hear your sound so closely.

Now, play the same piece, this time bringing your attention to the room itself. Listen for your sound to the very far corners of the room (no matter how large or small).

What do you notice?

Is there a contrast between one quality of attention and the other in terms of how you experience your sound? (quality, color, volume, resonance, control)

Is there a difference in your effort? (more tension, less tension, better coordination, worse coordination?)

Play the piece yet again, this time bringing most of your attention to the feel of the sound inside the instrument itself (not in your body!) Take this attention to the feel of the sound in the instrument and with it, listen for your sound out into the far corners of the room.

How does this compare/contrast to the other two ways of paying attention? Which seems to help you most?

After experimenting this way a few times, giving yourself a chance to process and reflect upon the experiences, try doing all three experiments with some kind of recording device.

Do you notice anything different in your sound as you change your thinking? Resonance, volume, color, pitch? If you notice any differences, keep in mind that you’re noticing how your perception of your sound impacts its quality. (This reality can be very powerful, and working in accordance with it can be highly practical!)

You can also explore going back and forth from hearing the sound near you, and farther away all in the same piece (even in the same phrase).

So how do you typically listen to your sound as you play? Close to you? Away from you? (Somewhere in between?) Do you listen to yourself differently depending on the environment? The needs of the situation itself?

By becoming aware of how/where you listen to yourself, you can give yourself the opportunity to improve both your sound and your overall skill as you play.

Explore this process. See what you like. What seems to help most. What allows you to respond with the greatest availability and precision. Realize that, ultimately, your thinking can (and should) remain flexible and responsive, and generally be as outward oriented as is practically possible.

Take these “tools of thinking” into your practice, rehearsal and performance, honing your attention to best serve your intention and your expression.

Healthy and Efficient Practice: Aim for Wanting This at the End of Each Session

Skill and Coordination (They’re Not Necessarily the Same Thing)

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One of the aims of the Alexander Technique is to improve coordination.

And I would say more specifically for musicians, the aim of the Technique is to improve the quality of overall coordination that you use to implement your music making skills.

A misapprehension that many musicians have is that skill and coordination are one and the same thing.

Though they are certainly closely related, they’re not exactly one and the same.

How so?

Allow me to clarify by offering my working definitions of the two terms.

Your skill is your ability to carry out your desired task (for our purposes, playing music). It is manifested in tangible, sonic results: pitch, time, articulation, tone color, technical control, expression, etc.

Your coordination is what you do with your entire self to carry out your skill. It is manifested in muscular effort, or more specifically, the quality of movement you apply to the task. (This includes balance, posture, breathing….everything you do!)

So it is possible to be a highly skilled musician (and yes, this does mean having highly cultivated fine motor coordination skills), yet have less than optimal overall, gross motor coordination.

You can witness this in many instances, if you take time to notice.

Some musicians make it look easy, don’t they?

Truth be told, for most of these musicians, it is easy. They typically appear effortless because their efforts are so singularly integrated into the skill of their performance. Virtually nothing they do interferes with their artistic intentions, with their desire of self-expression, nor with the acoustic and physiologic components involved in playing.

(I look upon classical pianist Artur Rubinstein as a glowing example: free neck, strong and flexible back and arms, moving easily, fluidly and naturally with the music. It is this beautiful, efficient coordination that is at the service of his skills.)

And I think we’ve all seen/heard virtuosic musicians who look like they’re fighting an imaginary foe as they play music: head compressed into the neck, raised (stiff) shoulders, rigid ribs and back, hard narrowed gaze, noisy breathing.

Yet they still deliver the goods. They still play devastatingly beautiful music. (No, I won’t point my finger at any one musician here, as a gesture of respect. But I so easily could!)

So should these musicians even bother with improving their overall coordination? Should you?

Yes. And for three main reasons:

1. Your overall coordination impacts your skill. When you are working in a less than optimally coordinated way, you are interfering with your brain/body’s ability to carry out your skill in the most efficient manner. In essence, you’re working against your human design, and not in accordance with it. You might be able to do so. But you do so despite of, not because of, your coordination. Improving your overall coordination invites greater skill. Or, as F.M. Alexander (the founder of the Alexander Technque) said, your improved coordination creates “the ideal conditions” for your skill to manifest itself through your bodily mechanism.

2. By improving your overall coordination, you reduce your risk of injury (and fatigue). This is why many musicians seek my help as an Alexander teacher in the first place. I have volumes of stories of very highly skilled musicians I’ve encountered who have career-threatening health issues that are related to the poor coordination they apply to their skill. As their coordination improves, so does their health, comfort, endurance and satisfaction.

3. By improving your overall coordination, you open yourself up to other expressive possibilities. This is the hidden gem of all this. As you improve your overall coordination, you also discover different ways to experience the music you play. You become less stereotyped (less “stuck”) in your interpretive choices, which, believe it or not, are highly conditioned by your bodily reactions. (This is especially true for improvising musicians!)

Our tendency as musicians is to sometimes become overly concerned with the parts that seem most pertinent to playing our instruments at the expense of neglecting the rest of ourselves. (For example, a flutist thinking perhaps too much about the formation of the embouchure at the expense of not noticing neck and shoulder strain.)

If this sounds even remotely familiar to you, consider including the quality of how you “use” your entire self (your overall coordination) into the consciousness of playing your instrument.

Let your head be poised freely atop your spine (and of course, let your jaw be free). Let your shoulders release and widen. Soften your gaze. Let you knees unlock. If you’re standing, let your ankles be free and mobile (feet, too!) as you permit the ground to support you. Let your breathing be elastic, easy, reflexive and expansive.

Think balance, mobility and expansion, instead of position or posture. A nice, lively, upward organization of your whole organism is the wish. Notice how these things impact your skill.

And of course, if you need any help in this area, consider finding a skilled Alexander Technique teacher. Allow your coordination to support your skill, and your expression.