USE THIS PATTERN TO GET THAT MODERN JAZZ SOUND

Fourths baby, fourths.
Gear (but does it really matter?):
Reeds - amzn.to/2byJByQ
Ligature - amzn.to/2b1uYll
Mouthpiece - bit.ly/2acqB6Z
Saxophone - Selmer Mark VI SN: 111XXX - bit.ly/29W1Srz
EWI - amzn.to/2b1EKXj
Midi Controller - amzn.to/2bdjNtd
Hair (the most important gear of all): Bb Texture by Bumble and Bumble - amzn.to/2byJROm
To book Skype lessons, please email me at [e-mail].
Instagram: @JeffSchneiderMusic
Snapchat/Facebook/Twiiter: @JSchneidsMusic
www.JeffSchneiderMusic.com

[@nicreynolds_]

You honestly have the best channel on youtube. All of your videos are so succinct and informative. Thanks man!

[@nicreynolds_]

and also, what changes would be playing under a lick like this? Thanks in advance :)

[@JeffSchneiderMusic]

Thanks so much, Nic!

[@JeffSchneiderMusic]

The great thing about this kind of lick is that you can play it over any changes!

[@daveaustin4538]

You are a brilliant teacher!

[@makmusique]

Awesome tip. Nice sounding pattern. The perfect 4th interval is so key.

[@JeffSchneiderMusic]

Thanks, Melissa. May the fourths be with you. 8-)

[@cns7139]

You're a great teacher, and OH, THAT HAIR!!!

[@geestman9]

Great tip. Thanks man. You are great on the sax and as a teacher.

[@saxmanrs1]

Its Awesome, Your explanation about this pattern..Thank You!!!

[@owenbrownjr8595]

Very clear language and you don't assume anything in your explanations👏🏽 Excellent Stuff!

[@garysnowdon1918]

Amazing man. I am just getting my head around the SAX as I have been playing the guitar for awhile. I do a similar thing using a whole tone scale. I’ll have to try this zig zag approach. Keep up the amazing work man.

[@havokmusicinc]

Quartal licks are hip as hell, and whole tone licks are too! I use them in my writing all the time. They are great for adding textural complexity over vamps, and playing "out" without resorting to nonsense noodling.

[@JoeTigheOnline]

Very cool and good teaching!!

[@ashthesaxguy825]

Thank you so much for this your videos help me out so much as a player

[@romain.g]

hi man, i just stumbled upon your channel and I just wanted to thank you for what you do. Cheers !

[@MichaelMolinaM]

awesome concept

[@fidsta30]

Great lesson thank you

[@anthonybowers7571]

thanks Jeff ! I find your lessons immensely helpful as I am a late starter

[@JeffSchneiderMusic]

Thanks for watching, Anthony. Happy to help!

[@espr7564]

Nice Jeff really cool

[@jamesrobinson529]

What a hip tutorial! I can't wait to pick up my axe & fight like a farmer, with this perfect 4th pattern! If you ever find time, could you post a video or even a video series, about various was to get different sounds? Such as, in a ii - V- I in G, over the Am an A minor penatonic can be played, but then over the V, the Cm pentatonic can be played to give the sound of the altered scale. That's what I call jazz magic...which would be a great title for the series. Now, a book full of THAT kind of information, I'd buy!!!

[@JeffSchneiderMusic]

+James Robinson Definitely, James. And the book will be called Jazz Magic!

[@bryankim1960]

Thank you so much! I have been wondering how so many saxophone players on KZbin played this kind of fast jazz pattern!

[@JeffSchneiderMusic]

Happy to help break it down for you, Tyrell. Thanks for watching!

[@madsaxx]

Thanks Brother for sharing your knowledge.I will practice it. Subscribed to your channel.

[@nathanradich9374]

It's only been a week, but already I'm grasping theory more thanks to you!

[@JeffSchneiderMusic]

So happy to hear that, Nathan!

[@yzimsx]

Your comment got me thinking, why didn't you say "I'm grasping _practice_"... To me this video felt more practical than theoretical. Maybe the theory becomes practice after you've... practiced it long enough. You have to spend the hours, there's no way around it. Or at least that's the way it is for me. I spend time playing the things, and then gradually, some parts of it somehow automagically become part of my musical vocabulary.

[@keithridenhour7033]

great video Ksaxman.

[@nicktiberimusic]

Jeff - you are the man! Thanks for the videos. I think it would be cool if you had a quick backing track for these kinds of lessons so we could hear what these licks sound like in some context. Thanks again for the lessons and keep up the great work! :-)

[@iamg07]

Learning a lot from you man. Many thanks. 👍

[@JeffSchneiderMusic]

Happy to hear that!

[@eltacrash]

Wao man! that was awesome!

[@maximiliane777]

Sounds realy logical. thx

[@LouisSerieusement]

hey, awesome tips thank you :) you speak like a teacher it's great :) your videos are non conventional ( oneshot with only one camera angle..) but still, they all are really nice and interesting, even when they are 20minutes long or so (your dynamic speech works really well :) keep doing them it's great and useful for people with basic knowledge like me :) cheers from france :)

[@JeffSchneiderMusic]

I really appreciate your comment. Thank you so much and stay tuned for more videos!

[@ScorpWriter]

This is great! Thanks, man! :D

[@JeffSchneiderMusic]

Thanks for watching!

[@digitaldinchannel7056]

Nice sound, thank you very much .. May i ask why did you begin decending on Eflat when you arrived, as you said on GFlat? thank you

[@kennethstonemusic]

Love your videos Jeff, how about a PDF showing the fourth intervals in several exercises.

[@JeffSchneiderMusic]

Not a bad idea. I will try to make one soon!

[@mariotte]

I love hearing you play and try to imitate your intonation on guitar! In guitar fourths are quite easy in most pair of strings but I realise I wasnt quite hearing the interval or the intention of it (does it make sense?).. I've been watching many of your videos and they are awesome, short and down to the point, with many great things to practice, so thanks!

[@JeffSchneiderMusic]

Awesome! This stuff works great on all instruments. Thanks for tuning in, Mario!

[@SuperDeepzone]

How does your pattern this differ in use from Bb M ) all fourths except a b5 to stay in key thus 1) Bb Eb A D G C F or the chromatic version 2) Bb Eb Ab Db Gb B F... or this in key version of what you did 3) Bb Eb C F D G Eb A F Bb G C A D Bb Same issue with 5ths pattern , do you prefer to use all perfect 5ths almost all 5ths or do you prefer to do fifths with whole steps in between?

[@itaylevin4555]

Great tip. Thank!

[@JeffSchneiderMusic]

+Itay Levin Glad you like!

[@curiouscurious6558]

great as always Jeff, as a piano player Mcoy Tyner esque?

[@richardsorice4509]

awesome, thanks!

[@JeffSchneiderMusic]

+Richard Sorice Thanks for watching, Richard!

[@sequoyahcisneros8719]

Reminds me of the diminished scale lick coltrane plays on moments notice

[@aynrandy1]

These video's are the only ones I watch for jazz licks on guitar.

[@claragary]

Thanks!!!

[@irishmuso7129]

A la 'Agitato' from the great Blood Sweat and Tears? Lovely.

[@JeffSchneiderMusic]

:) Thanks!

[@usmansax]

I appreciate you.

[@JeffSchneiderMusic]

Thank you, Usman!

[@nickcavill8824]

Thanks Jeff I love your videos. If only I could be a better player just by watching them! Here's a question on the fourths one. There are two of these 'scales' or exercises, right? for example one starting on D and one on Eb. Bit like the diminished scale. So how do I choose which one to use/where to start your cool pattern?

[@JeffSchneiderMusic]

Nick, this isn't a scale. It's an interval set. Focus only on the intervals for this kind of playing.

[@MarcoH72]

I'm trying this out on my bass.

[@jmoggar700poggers7]

You're videos are so great man! Just wondering what Selmer model you're using?

[@JeffSchneiderMusic]

+Oscar The posher Thanks a bunch!. It's a Mark VI.

[@XavierJordanMusic]

Good stuff!

[@JeffSchneiderMusic]

Thank you, Xavier. Glad you like!

[@foxybrown2]

sounds like Mcoy Tyner or Coltrane

[@JeffSchneiderMusic]

Totally!

[@JeffSchneiderMusic]

Good ear!

[@bholaoates1542]

Reminds me of the Oliver Nelson song 'Blues And The Abstract Truth", not from the album of the same name, but from the album called "More Blues And The Abstract Truth".

[@bholaoates1542]

Both albums should be in any serious jazz fan's collection.

[@garysnowdon1918]

Doing a whole tone scale in 4ths going up a tone is cool as well. C F# D G# E A# at any time decend or accend a semi tone up C# G D# A

[@rizalsianturi1572]

Scale is used to what chord

[@bokchoiboi9016]

This is cool but how do you use this playing over changes?

[@samou9]

Video on practicing jazz and daily routines?

[@JeffSchneiderMusic]

Great suggestion! Thanks for the comment and thanks for watching.

[@ParkCircusPunks]

woof those kamasi washington vibes:)

[@Emma-qm6tb]

Nice vid. A bit confused though. Where did you get the "concert Gb"? Starting on F with the pattern of perfect 4ths which you give I cannot get to a concert Gb. Wouldn't the sequence be ; F - Bb , G - C , A - D , B - E , C - F , D - G , E - A ?

[@seatedabove]

got it thanks

[@JeffSchneiderMusic]

Yes! Thanks.

[@eternalrainbow-cj3iu]

hinJeff could you write 10nLicks on this octatonic subject?

[@edphaze6550]

I'm a guitar player and I find myself leaning towards the approach of sax players. Why does it seem to me that horn players are so much more hip? There are many guitarists that can get those super hip lines, but they are hard to find!

[@JeffSchneiderMusic]

Not sure why that is, Ed! But I'm glad to hear you're learning!

[@daveopina28]

I am sorry to ask as i am very clueless.. what is the essence of this perfect fourth thing? When do you actually apply this? Sorry and thank you..

[@petermorrison5002]

If you get lost in any piece of music for a moment due to unexpected chord change or fall asleep while playing, just throw this in and you will still sound ok. Gives you time to refocus and jump back in..

[@warmregards4439]

just out of curiosity why does the pattern begin to descend on the e flat?

[@carlodevivomusicontent2138]

thank you. no guitar teacher would theach you this.

[@leonellecezar3233]

Hey jeff in a begginer, i have a question what is a perfect fourth?

[@JeffSchneiderMusic]

Hi Leonelle, great question. A perfect fourth is 5 semi-tones (half steps). For example, the interval between a C and F is a perfect fourth. Hope that helps!

[@marcp8674]

im a piano player an this is really helpful

[@JeffSchneiderMusic]

Happy to hear that, Marc!

[@tomeks88pl]

Can you please demonstrate it in a real-life example in a next video? For example on the "All the things you are"?

[@JeffSchneiderMusic]

Yes, will definitely do more musical examples going forward.

[@saxdee24]

do I have to learn this Lick and pattern on every key or I just have to learn this on one key and I can apply it to any key.

[@JeffSchneiderMusic]

You should learn the lick starting on every note, yes.

[@sneedingsoyjack7170]

Im a player too im 11 and could you show me some cool improvises for jazz?

[@garysutton9135]

4th's it is

[@nickhaupt9266]

im a little confused. lets say you started on a C, then you wuold go up to a F and then back to a D and go a G etc... but when you play E to an A, do you go up a wholestep to a F# or just go to a F?

[@nicreynolds_]

You'd go up to F# :) Going to F would make sense if you wanted to stay in c major but this lick is meant for playing "outside the changes."

[@JeffSchneiderMusic]

Hey Nick, Great question. Nic Reynolds's response is correct. This is a chromatic line as opposed to a diatonic line. Keep the intervals pure and don't worry about your major scales.

[@inflatedear7131]

descending you played a minor 3rd interval instead of a ma 2nd... C#-(F#-Eb)-Bb ...still sounded cool :>)

[@JeffSchneiderMusic]

Hmmm, when in the video are you referring to?

[@inflatedear7131]

3:54.....instead of playing concert C#-F#-E-B, you played C#-F#-(Eb-Bb)...C#-Bb is a minor 3rd descending. In any case, descending/ascending 4ths sound great using any interval between them. :>)

[@cephusalexander9645]

can i get all the notes for the pattern with the extra stuff you did at the end

[@JeffSchneiderMusic]

Do you mean the notes written out? That's your job! :)

[@MrSwaggertroll]

What kind of ligature do you have?

[@JeffSchneiderMusic]

It's a Francois Louis!

[@cephusalexander9645]

can you play this in any major key?

[@JeffSchneiderMusic]

Yes, it works in any key. Experiment and see what configurations you like best.

[@charlesmartin374]

What is the size of your mouthpiece an reed

[@JeffSchneiderMusic]

Piece is a 7 and reed is a 3!

[@johnanderson9494]

Woody Allen's son is a musical virtuoso?

[@MusicTeacherGuyNorristown]

Hey, John Norum's guitar is on the wall back there...

[@JeffSchneiderMusic]

+Music Teacher Guy Hahah

[@7deepbreaths.sounds]

You probably get that "harmonic freedom" because of the whole tone movement as well, no?

[@davelester1985]

Have you thought of trying a metal mouthpiece?

[@digitaldinchannel7056]

Ah because you carried on ascending from the beginning note.

[@F216]

Nice lessons and great playing and sound. Question; why do you make the effort to talk in concert pitch? I play all the saxes and I haven't got perfect pitch, but my ear tells me what notes you're playing on the sax, so when you say Eb it sounds like a C to me, because you're playing an alto! If someone is following this with an alto it will just serve to confuse them. If someone is following with a tenor they'll have to transpose from concert pitch anyway, so why not just say what notes your playing on the alto? The ability to transpose to/from concert is of course extremely useful, but in this case I just find it confusing!

[@JeffSchneiderMusic]

Just because it's the universal way of speaking about notes. I know it's not ideal for Eb and Bb instruments, but it is the common denominator for all instruments.

[@F216]

Thanks for the reply, Jeff. I totally understand, but I do wonder how helpful or necessary it is given that your audience is going to be almost exclusively saxophone players. I actually have a bit of a beef with this for reasons that I'll try to explain as briefly as possible! I play all the saxes as well as flute clarinet and bassoon and I'm well used to having to transpose at sight from C parts on Bb and Eb instruments, as well as from Eb to Bb and vice versa, not to mention reading from three different clefs on the bassoon(!) so I'm certainly not stuck with only being able read and think from notes which are transposed for the instrument which I'm playing. But, whist I totally agree that transposing a written line or/and chord symbols at sight is a useful skill, I do think that it's become something of a 'badge of honour' for jazz players, and, with respect, I think that is why you are using concert pitch here - not because it's helpful (which arguably it isn't), but because as a jazz player you're hard wired to do so! Why is that a problem? Well, apart for being potentially confusing in this situation as I mentioned, I would argue, first, that it's a much less necessary skill than many jazz players would have you believe, and, second, that ultimately it can become a handicap. It seems to me that the main argument for jazz players who are horn players to think and read in C is so that there is not conflict or confusion when it comes to playing with and talking to other musicians - especially relevant in a rehearsal situation when somebody brings along a tune they've written and then talks about the changes, all of which will inevitably be done in C. So of course, the ability to think and read in C is an asset in that situation. But how long does it take to jot down the changes in Eb or Bb? I think in that situation the ability to transpose a melody is actually more important - then you can go on and improvise from the chords which took you no time at all to transpose. The other situation of course is a jam when somebody calls a tune which you're not familiar with and you have to read from a C real book. Well, first, playing on a tune that you don't know at a jam probably isn't a good idea anyway(!) and, second, there are transposed real books! ;) But my main issue with the 'badge of honour' for jazz players to think only in C is that it can ultimately become a handicap. I know a very good musician and jazz trumpet player who trained himself so well to think in C and read chord changes from C that he cannot now read from transposed chords! That maybe unusual, but it seems to me that's where thinking and reading only in C will lead. And this is why I have a problem with it; untimely, the ONLY situation when you HAVE to read chord changes (i.e. the only situation when in practice you will actually have to use written notes or chord symbols at all) is in a transposed part! Any time that chord changes are written in a part for big band or show music or any other situation, they will be transposed. When my friend plays in a big band and has a solo, he has to un-transpose the chords back into C (he actually has to re-write the changes in C)! That, to me, seems to be a much worse situation to be in (for the reasons that I just stated) than not being able think in C and read from C chords at all! I don't expect that this will change your way of thinking, and neither am I suggesting that it should, but it's maybe something to bear in mind if you habitually think and teach in C. Thanks again for the great lessons and for being able to communicate so clearly, as well as your willingness to put lessons like this up freely on the internet. All the best. Michael.

[@Emanonerewhon]

pointless rambling diatribe about nothing. Is it not enough that Jeff graciously puts out FREE educational content for your edification? I think I can assume with a fair amount of certainty that one could ponder the merits of what you're saying for years and still suck at playing music.

[@F216]

Deleted. I was replying to you comment on the other video here by mistake.

[@Emanonerewhon]

Brevity is the soul of wit.

[@wadesharp11]

Love your lessons as always...But this one too much talking, im like just play lol. But thank you

[@alicep9872]

U look like a combination from charlie puth and the guy from buzzfeed who has a wife lol

[@rajin7165]

man i aint understand shit 😅