This felt like a race and not a tutorial. I can't grasp the insights with the pacing and distractions. I respect your knowledge and skill but Soren, it's just not on my wavelength. Bottom line. Thx

Fabulous !! Keeping a warm-up Exciting & Fun 🎉🎷

thank you! very interesting. question: instead of going thru slightly convoluted explanation of C# min pentatonic over the E7, couldn’t we just say ‘play E maj pentatonic over the E7’, it’s the exact same notes as the C# min pentatonic.

Thanks, great video helped me a lot. Zoot Sims is my actual swing master.

Great advice

108 page manual for a 16 bar tune.Wow! I can do 80% of these exercises I bet but how many of these are musical and meaningful.

E7b9- Bm6 pent (B, D, E, F#, G#,) then fm6 pent (F, Ab, Bb, C, D)

Thanks for this! I’ve often dismissed pentatonics, thinking they aren’t ‘jazzy’ enough, despite the greats clearly using them! My issue with them is how to phrase them. They always sound like scales in my hands.

Thanks

Someone told me Kenny Garret looked at everything as the key of C. Easier said than heard, but if u know the form……

Fabulous tips, as our brain wants to add mélodic and rhythmic notes

In reality, the pattern 1-2-3-5 works well over any type of chord, whether ascending or descending (5-3-2-1), just lowering the 3rd in a minor chord, or the 5th in a diminished chord… The pattern 1-3-4-5, however, is more problematic: it works well over any type of chord only when descending (5-4-3-1), as this places 5 and 3 on the downbeat. When ascending… it works only with minor chords because the 4 (no chord tone) lands on the downbeat, and in addition in major chords it would clash with the major 3rd. To emphasize the chord tones (regardless of the type of chord), I would suggest, for example: • Ascending: 1-2-3-5 • Descending: 5-4-3-1 You can, of course, also start from the third: • Ascending: 3-4-5-7 • Descending: 7-6-5-3

where did you get that nice looking neck strap bro..? i'm looking for one like that ..can you help me .? thanks man.. by the way you're a good teacher keep it up.

Hi.Thanks for the super class.1 min of beauty,wisdom...For all life...Coltrane' s Music...Please,could explain some of Coltrane playing " Big Nick" ?One of the most beautyful solo I never hear...If possible...✨🍀👾🛸 Would be Magic...

You are good but your excitement makes me sick. Relax...

Yes, getting back to the basics is not to be discarded, whatever the technical level we currently have got.

I gotta question its been bugging me for a while .How do I practice starting my phrases on the and of the 1 it is very hard for me to hear the and of 1 and start a phrase on it.

Hello Soren Thanks for the lessons Keep up the good work!

Very useful information ! It looks like the FIFTH note of a third note sequence in Coltrane's phrase is the starting point of a triad or an arpeggio. This is a motif that can be played with every note of the scale (Bb major); for instance : A / F / G / Eb // F - A - C ( F ascending triad or rather F7 (Eb F A C) )/ Bb or // F- D - Bb (descending triad) / C. tThe 8th note added after the triad or arpeggio is intended to make the line more interesting changing direction unexpectedly.

In a nutshell, the flat seventh is bluesier whereas the major sixth is jazzier ! Hence the dorian mode, a favorite one in jazz tunes. It all depends on what mood you are in when you are playing...

I admire Wardell Gray‘s lyricism and I would like to get more of it into my playing this year

Bedankt voor deze video. groeten uit Polen

My bigger goals for 2025 are to improve accuracy, improve finger work so that I don't keep tripping over myself. Bring more improvement to my tone. I think 'trying to sound like one of your heroes' is an excellent idea, and I really, at least at this stage, want to sound like Coltrane. After 36 years of alto, I have only recently realised that I much prefer tenor (!!!!!), so establishing a decent tone has to be my main aim this year. As always, thank you.

👍🎶

Learning tunes is a great reminder and one of my 2025 goals. I've fell into the trap of hammering technical exercises, transcribing, practicing over common changes, anything but learning the actually tunes. I've definitely moved some of these exercises over the context of tunes, but definitely important to remind us tunes should be the vehicles to output our exercises through. The reason I'm playing any instrument is to play music, not repeat exercises forever, so my goal is to learn a Jazz tune every month, and review one I know every month. In that time may be technical exercises, checking out how my favourite artists play those tunes, applying some learnt language over both new and old tunes, etc.

Does the Clarinet of Klezmer Music make the Most of Vibrato with long Runs of Sorts ? Really like your Teaching Qualities ~ Must : Get myself a Sax ^ one of these Days now, at least I have a Remote Teacher as there were none around my Neck of the Woods in the Past ✍️📝🏝️🐧👍

I will try now! I guess it is easier to remember if I have V, I just play #Vm7 or IVm7?

Where is the ebbok for free? Bahhhh 💩💩

This guy seems like a really good player. His explanations go by a little fast for me.

I always do overtones when I pick up my horn for the first time of the day, and only for a few minutes. I just do it to remind myself to keep my face relaxed and get my voicing right. Otherwise, I'd say what I warm up with is pretty similar to what I'd play on a horn that I'm trying out in a shop, I'm concerned with how it plays rather than how it practices.

Great video, hopefully you'll focus on more jazz guitar greats in the future. Might I suggest Jimmy Raney in the future--for all of his progressive rhythmic innovations into bebop post Bird? Re: playing warm-up's by playing music. Might I add that a key to musicality is to adhere to whatever harmonic rhythm you setup for your practice--tune, progression, or elsewise. In the past, I got so caught up in the harmony--colors--tensions--and scales of whatever I was playing that I neglecting playing it all in time. The harmonic rhythm is the pulse that glues the music together--and that pulse helps you hear the music when you put your instrument down. Everything you play on your videos has a STRONG sense of pulse and time. I think us amateurs take time for granted, all pun intended.

Having played and toured for 62 years., I learned that usually there is no possibility to warm up. My thing is to play for real when the horn is in my hands. At home I like to start with (on tenor) Prelude To a Kiss with a metronome at 42 to the quarter note. Or maybe Stella By Starlight in every key with the Metronome on 53 to the half note. Or with backing tracks. But I play music, I do not play excercises. Usually I will find an idea and run it through the keys. that idea usually comes from 1 or 2 bars of a song- bar 3 of the verse to Star Dust is a beautiful motif into another chord. Or I play along with stuff i know swings, like The Sermon by Jimmy Smith. I play everyday and that is the most important thing. It makes it so much easier. I keep a diary of what I play and what horn and setup. Everyday is a new beginning into the unknown, an adventure. I have played all over the world in many styles and in the big time with the big names. I hope what I say here inspires young players. I did not mean to take over your channel here Søren(LOL). You are doing excellent work!!!!!

Im a self taught jazz pianist, and started tenor 3months ago, i thank you from the buttom of my heart, happy new year

You are a fabulous teacher and motivator. I feel that with your videos and inputs, I'll finally get closer to that glass cealing and break it to go from reading music tothe next great step: improvising nicer musical lines. And foremost having fun when playing music.Thanks Soren for your almost-daily video contributions. I'll nickname you "Bach".

Really important concept, thank you for this video! To me a great warm up routing is long tones going through the circle of fourths and one exercise from the Klose 25 daily exercises

Your ar so inventive and a real great master of scales, arpeggios and jazz improvisation lanes. I look forward to enjoying your posts and long articles in 2025.

"Camouflage or disgiusing the merging of sharps and flats in 4 note patterns...in Rhythm and syncopation in 4/4 time..."

How important is intonation to you?

Love these and the PDF, I've been running through patterns very similar across every diatonic chord. I recently was trying to get a 4-3-8-2 pattern into my playing to get some different sounds with bigger leaps. Definitely one to run through over multiple chord types and modes. I often forget about altering my patterns and lines when I want to get a more Lydian sound for example.

Great video!

Question: as a new subscriber on your Patreon channel, you describe your saxophone gear without mentioning which ligature you play on your tenor & Otto-Link mouthpiece? Can you please share as a an advice? I have order a new Otto-Link metal 7* for my baritone sax to use in a big band and have experienced on a vintage version that the original ligature is now that great? Many thanks.

Beautiful examples selected & played, Soren!

Hey Soren, this is Cy in Salt Lake City, Utah USA thank you for your beautiful content. I am mainly a lead alto player and chromatic harmonica player here. I direct a big band (Phoenix Jazz and swing band )from the lead Alto chair and gig weekly with a duo guitarist extraordinaire Kevin Stout. 🎸 I am so glad you brought Ryan Devlin into the mix. He’s a young upcoming master. I studied with him almost every day in Chad LB‘s jazz gym classes. Also want to bring to your attention Jorre Reynders #11 Music in Brussels. I’ve studied almost every week with you in my sixth year with him. Thanks for your fresh approach and your short concise helpful videos. Keep up the good work, my friend. Love and much respect. Cy 🧡😎🎷

Thanks 🙏

Some great thoughts and strategies here. The key thing for me has definitely been to make everything musical, whether that’s technical exercises, scales and arpeggios, techniques, whatever it is, applying that to a standard I’m learning or know well has been massive. I used to constantly do exactly what you’ve mentioned, playing scales up and down. I wish I did this sooner!

This is so useful

Soren for president!

"Do not invent the wheel." I needed that.

That should read ( 16th.) notes. And Merry Christmas!"

Triad patterns in 6th. notes. Check out Eric Dolphy's tune OUT THERE. Chromatic leading tones in 16th. notes with heavy Syncopation and Rhythm correct?