💡Start MAKING THE CHANGES with the "7→3" ii-V-I HACK

[@GetYourSaxTogether]

Instantly up your sax game with this free masterclass www.getyoursaxtogether.com/masterclass

[@davidscott1052]

Very well and clearly explained ..works for me ...I was kinda doing this already just from listening to records without knowing too much theory ....but for people just starting this is really gonna speed up their progress..well done you...b.t.w. I've actually taped you when you were a finalist in the" young jazz musician of the year" back in the day...sounded great then

[@robstevens9590]

Thanks, Jamie! Working on this is exactly what I need at this point in my learning to make the changes. I do tend to get frustrated that I don't make quicker progress from the "exercise phase" to "performing phase." C'est la vie.

[@GetYourSaxTogether]

Great! Keep at it

[@Lance37a]

You're a wizard Jamie

[@GetYourSaxTogether]

Ha! Thanks

[@sumanthhejjaji6990]

Wow! This is the most structured way of practising 'improvised lines'. This will keep me busy for a few weeks at least. One quick question: To apply this to a minor 2-5-1, should we use the flat-5 instead of flat-7 as a guide tone when transitioning from 2 to 5? That way we will capture the half-diminished quality of the 2 chord when transitioning.

[@jamiemcgoldrick3350]

Many thanks Jamie..Great lesson.

[@GetYourSaxTogether]

Thanks. You are welcome

[@GetYourSaxTogether]

You are welcome

[@Gk2003m]

2:30: this is why chromatic “leading tones” from above work so well, particularly on bass lines. Even if the change is not specified, you are implying it. Imagine for a moment the first bar was simply G7. By using the F to E on the third beat, you’ve implied the ii7. It adds motion to otherwise static chords.

[@montesfam5]

Excellent as always Jamie! 🎷

[@GetYourSaxTogether]

Hey man! How are ya? Drop me an email. 🫡

[@wschrad]

Thank you! This very helpful and easy to grasp.. love the color coding!

[@GetYourSaxTogether]

Glad it was helpful!

[@kooky74]

You made my day 😂. Bebopicus Magicus. You are not only a good player but a fabulous teacher. God! I'm a long time piano jazz player and never think like this. If I knew this 20 years ago I would be a better now 😂. + your smile is a level up. Thx for the video ❤

[@GetYourSaxTogether]

Thank you so much!

[@pavelpatsenkov]

Thanks for Magic, Mr Anderson. Great video!

[@GetYourSaxTogether]

Thanks so much

[@gonzaloescuder]

Great tip, thank you!!!!!!

[@GetYourSaxTogether]

You are most welcome

[@ChristopherDecenaZaozaoWang]

That’s really great. Thanks .

[@GetYourSaxTogether]

You're welcome

[@kenos20]

great lesson Jamie

[@GetYourSaxTogether]

Thank you

[@balanceaction5174]

Great! Thank you!

[@GetYourSaxTogether]

You are welcome

[@ahha6304]

Jamie with Elder Wand, Jamie is the master of Saxophone's death sounds

[@GetYourSaxTogether]

😮

[@stephenbashforth8257]

Voice leading! b7-3 !

[@andyrandall8913]

Really interesting lesson 😊 look forward to the bonus content in the Inner Circle (hopefully?)

[@GetYourSaxTogether]

Thanks Andy. As always! 👍

[@derycktaylor3677]

This is another very valuable video. Thanks a lot.

[@GetYourSaxTogether]

You are welcome

[@GetYourSaxTogether]

You are welcome

[@pavosax]

Let‘s say, if you start with the third of the ii and you go down diatonically (according obviously to the I major scale) you will automatically finish on the third of the I (very similar to your fifth example) and you will never be “wrong” (you are going through the “7ths” and “3rds” without needing to remember all the cord tones, only one major scale.)

[@tomaszszlapanski5988]

Hey all who don't know chord tones, just follow this pattern; EGBDEFACEGBDEFAC........... So for i.e. Cmaj7 CEGB etc just apply b or# according to scale is with 👍 Nice video.

[@zvonimirtosic6171]

You very nicely illustrated how piano destroyed jazz, and how jazz "solos" become 75% formulaic and predictable notes, in predictable patterns, with a bare minimum of space left for the notes of the melody of the song and any possible play on it. And then they ask why most people call jazz "irrelevant elevator music"? Where every next "song" is "improvised" the same way as the previous, one player plays the same as the next?

[@GetYourSaxTogether]

Ha! How boring if we all thought the same. 🤔

[@zvonimirtosic6171]

@@GetYourSaxTogether I really appreciate this video. It graphically shows with many diagrams how once an interesting and artistic genre descended into a predictable, formulaic folk music.

[@andyshaw325]

@@zvonimirtosic6171 Charlie Parker's music is all formula yet his music always sounds fresh and interesting - depends how you put the 'formula' together. Let's face it, nobody can improvise at 300bpm unless they use some form of patterns. Words in sentences are just formula but great wordsmiths tell great stories and in the same way great musicians can do the same. How do you learn to write well; by reading and writing over years to develop a good vocabulary, and then set down your story based on experience of life. Good writers create new and interesting ways to do this. However, they all learned by putting down the vocabulary in a simple easy to understand method taught to them by their teachers. So in this case isn't that what Jamie Anderson is doing here; putting down the basics in a simple easy to understand manner.

[@zvonimirtosic6171]

​@@andyshaw325 Music by formula, painting by numbers, literature by gluing pages together from different books, ain' art and can't teach anything. It's below craft, or at best something like cross-stitching. There is more originality in cross-stitching when you run out of thread of some colour and replace it with a thread of different colour. Jamie did a wonderful job by showing to us that Bebop was so mutilated to become formulaic and playable by totally inept people, that as a music genre it's become worthless.

[@andyshaw325]

@@zvonimirtosic6171 Do you know anything about music? Mozart did the same thing and his music is art - surly even by your standards.