Download the lesson PDF ►► lessons.bobreynoldsmusic.com/applying-b9-b13-lick-to-three-standards/

I ain’t ever heard someone swing so bloody hard to a backing track before. Jesus talk about fluency in the language

Hey Bob, my name is Ian. I am a jazz and Western swing violinist and guitarist. I love studying horns on my instrument and have to say I enjoy everything you offer here. I especially appreciated that you didn’t immediately rush into getting something into all 12 keys, instead recommend working the piece of language into things we already know and love. In general, your videos are great! I’m a big fan of the way you think and how you communicate your experiences. Thank you for sharing with us.

When I first started learning alt. scales, I used the same trick (i.e., thinking of them as the 7th mode of the mel. minor a half step up). However, that's two levels of indirection. I think a slightly easier way to learn and practice them is to think of it as a major scale a half step down with a raised root. I.e., using the example in the video clip, I'd think of F# alt. as F major with a raised root (F# instead of F). Of course, this is all moot once you get the scales under your fingers (and in your ears), but I found it a lot easier to initially access the notes using this trick (one level of indirection) instead of the melodic minor one (two levels of indirection).

Bob's Virtual Studio is super awesome. I've been a member for over two years and I've really enjoyed all the lessons. For anyone looking for a great group musicians to interact with, the Studio is fantastic. I find Bob's lessons really useful and insightful. I enjoy being able to stay on a lesson for days or come back to them as I need. Bob is also one of the nicest people I've ever met. If you're thinking about joining, you should!

this is such good teaching

I love this ligature too. Regarding how much it covers the reed, just push it back till it hangs out passed the end of the mouthpiece, with one of the cloth strips hanging out. That's what I do and it works great!

I got so much from this video. It explained stuff I've been working on without really knowing how to apply it. Thx for sharing Bob.

Big Big Big!! Great lesson, thank you Bob!!!!

Very helpful lesson. Thank you for this exercise tool. It will be very helpful for me.

I will do my best to get this done, but the main thing I learned was how to approach to the learning process!

A great video, really like the way you explained this. Am inspired to getting back to the practise room and trying it all out!

Thank you so much! Bob, for the PDF Hello from France .

'Shoe horn the lick in' - Great!

Amazing lesson. Thanks!

Brilliant explanation

Thank u Bob, good work!

What a great example. (Oleo hits me) Thank you very much for this!

Bob you are super! Thank you

Hilarious! Glad you got to check out the ligs, Bob.

Eres increíble. Cheers from Ecuador. 🤘

Super lesson 👍👍👍

Good one

Enlightening! Thanks.

Great lesson, thank you Bob! Btw, your sound seems to have become darker, warmer and kind of "dusty" ;) . Really like that.

Hi Bob, for me this tutorial is bang on point and right on time - I had been working on longer 2-5-1 lines but even though easy enough to learn and remember, there is too much info to use in a practical way so I have started to focus on short 2-5s, V7s or just the V7 of the 2-5 (apparently that’s how Barry Harris teaches). I am currently playing standards and swapping out the melody for the phrase to help in learning a tune's changes. As for the melodic minor - I’m self taught, and haven’t taken any music grades. I only ever learnt my major scales (and the modes by default!) now I feel the need to revisit scales (and modes from their root) and the melodic minor was 1st on my hit list. I am mainly interested in improvising, playing by ear and in all keys. For ‘me' the quickest and most effective way to learn scales is by their interval structures e.g. WWH.. (whole-tone, half-tone..) or T T s.. (Tone semi-tone) because, after a bit of practice you can practically see how the scale will sound. Similar to solfege, I think (or sing) the root note as ‘R’ and the next whole tone note as the sound Dahh or half tones as Derr, for example: T s T T T T s = R - Dahh - Derr - Dahh - Dahh - Dahh - Dahh - Derr Whereas Ab Bb Cb Db Eb F G Ab, doesn’t sing melodic minor to me! And as for harmonic minors, blues scales etc, the -3rd sound is pretty obvious. I find the key to learning all scales with this approach is to nail both whole tone scales, their sound and the note names. Thanks again for this excellent video lesson

I play the same ligature on soprano and I can confirm it feels and plays great

This video makes me want to learn more.... Thank you Bob, Any plans for future posting on upper structures? No rush, it will take me a while to digest this beauty (-:!

That soprano sound though!!

totally yanked that first lick. haven't heard something that swings that hard in awhile

Thank u

My teacher always said you can turn a 2-5 into just a 5. Like tension and release

👋 Hello 🙋‍♀️

I liked your quarantine hair

Dear Bob, First of all, great video! I'm writing to you because I don't know how to articulate myself. Should I stick my tongue on the reed on weak beats? Should I articulate in pairs on the strong beats going up and on the weak beats in a descending phrase as Chad Lb explains? Thanks for your answer and for everything you do! You're really great! Philippe

Great stuff thanks Bob. Would love a minor 251 hack next blessings 🙂👍🎷🎷

Man you and Chad going after the altered scale this week huh?

This is a great piece of advice for getting phrases to become a part of your vocabulary instead of just some random licks. I struggle a lot recently with finding “the best way” to get something into my vocabulary without forcing something into my solos. Quick question, do you still imply the “II” over the dominant when you switch to doubletime? Thanks!

GRACIAS !!!!!!

uah!! 💥💥💥🎷🎷🎷💥💥💥 🐻👍

@Bob Reynolds How about singing the lick not with the AH sound, but with the EE or EH (ala Allard/Liebman) voicing? I think this is another little way to help students develop good tone focus/tongue position. What do you think?

What a cool video! How do you set up iReal pro to loop just a few bars like that?

I noticed you are always sliding from B natural to Bis B flat, do you always do this? When I was studying classical saxophone in college this was frowned upon so I got used to using side Bb when going from Bb to B natural

I want to transcribe that on keys 🎹 !!!

Great lesson. I have a question or two about the line itself. This line starts low with chordtones, then moves up into the V chord and uses altered notes, then peaks and moves back down and resolves with chordtones again. So you set up context, then move away, then towards resolution. That's clear, and the harmony is clear without any accompaniment. So that's just note choice and rhythm. But then there's register and dynamics to consider, and what this line has is starting lower in the register, moving up as the tension builds, and also a slight increase in volume and intensity as lines tend to naturally do when they go up. Then it moves back down into the lower register and it resolves. So in a sense the line is built like a piano player would voice a chord with the guide tones down lower and the altered tones up higher. The question is, was this stuff also conscious when building the line or is it just a coincidence that it moves up as you move into altered notes then back down as it resolves. Is this a general way of thinking that you apply to line construction, and start by creating a context that's more diatonic that would then support the altered notes played higher up, then maybe move back down to relax the tension and resolve at the cadence? I know this is just one line, but it's a perfect example. All lines don't HAVE to do this, but now I'm wondering if you start high, then move down to the lower register with your altered notes, then back up higher to resolve if that would just sound screwy or not. And this is just a very general way of approaching the shape of the line, but it's kind of a broad , non-analytical way of seeing the shape of the line and a way to envision a map of the line before you play it.

I've been dying to join the virtual studio but my studies finish in January, should I try to join now or wait till studies are finished?

Completely random question, are you naturally slim or do you exercise; and if so, what types?

Hello. What make model are your glasses? Thanks.

Hello, love your playing! What mouthpiece are you playing on soprano?

Me ayuda muchisimo esta explicacion , estoy trabajando en Oleo , uno de mis temas favoritos , junto a Lingus, asi es que te agradezco tu sporte . Saludos desde Chile . Te dejo un par de cosas para que me escuches . kzfaq.info/get/bejne/o7egdJWK09fFqXU.html

Thats why Jeff Has 200billions

69th comment

Great vid, 27 minutes to explain this??? terrible voice 😱😱😱😱