Saxophone Blues Scales - If You Want To Play Blues, Rock, Jazz You Need To Start Here

If you're a saxophonist interested in playing any type of blues based music including rock and roll and even jazz then you need to use the blues scale as your number one tool to make things sound right.

A little history

If you want to investigate back to the beginnings of the blues as it came about in America just start with W.C. Handy, who was a black composer active in the early 1900's when the blues form began to get popularized in large part because of his instrumental compositions "Memphis Blues" (1912) and "St. Louis Blues" (1914). Of coarse the blues oral tradition can be traced back to the mid 1800's.

The blues scale

Because our western music has it's roots in European classical music the music theorists needed to notate the blues scale as it was naturally played and sung into an understandable notation which could be analyzed and played by western trained musicians.

The simplest way to explain it's theory is this:

Simply take the traditional major scale; C D E F G A B C and flatten the 3rd, 5th, and 7th. Now it looks like this: C D Eb E F Gb G A Bb C.

(Please look at the example on my website for the full musical notation). Notice the E, G, and B have been flattened, they are the 3rd, 5th and 7th notes of the C major scale and flattening them makes the scale sound minor thus giving it the "blues" or sad sound as opposed to the "major" or happy sound.

For us sax players these flat notes are perfect to incorporate a "growl" sound to further emphasize that "bluesy" expression or make it a bit more nasty. Two other things to notice; the 3rd and 5th can be played as a flat or not but the 7th generally is only played as a flat and not the major 7th in this type of scale or musical genre. (for some audio examples please refer to the website version of this article).

So now our basic major scale of 8 notes is now a blues scale of 10 notes. There are other variations to this blues scale; the basic version for example is a 7 note scale: C Eb F F# G Bb C (the F# being the same as the Gb). Adding the D, E natural and A give us more musical possibilities and will not change the basic sound of the blues scale. Even adding a flat 9th ( D flat) was a favorite thing Charlie Parker did a lot and is a good way to jazz up your phrases.

The blues progression

Of coarse this is all just words and notes and theory. You have to apply it and in any blues music this is done over a musical progression thats 12 measures in length, thus the term "12 bar blues".

We're in the key of C so the first 4 bars will be the C chord. The 5th and 6th bars change to the 4 chord which is F (4th note in the C scale).

The 7th and 8th bars change back to the 1 chord (C). The 9th and 10th bars change to the 5 chord, which is G. The 11th and 12th bars change back to the 1 chord (C). There are variations in this 12 bar pattern and can be seen on the website version of this article.

When starting out you can get away with just playing the same C blues scale over the entire progression but try to emphasize 1 or 2 of the notes in the F and G chord to make things a little more interesting. For example, over the F chord play an F or an A note to emphasize the harmonic color of the chord a little more.

In conclusion

The blues mean different things to many people ranging from musical styles to a way of life or philosophy. The blues do have musical influences from Europe and Africa but it is truly an American musical form and tradition fully rooted in the black experience of the post-war southern United States.

I want to be clear that when I talk about the blues or the blues scale I'm not only referring to this type of musical tradition and style but include funk, R&B, country, jazz and pop. Like the old saying goes; The blues had a baby and they names it rock & roll and from there came just about every form of pop music in western history since that explosive time in the mid 1900's

And so, I think it's safe to say that the blues scale is easily one of the most used and important scales for all types of western popular music.

Experience the full article on saxophone blues scales complete with music notation and audio sample and learn about important artists who made contributions to great American Blues and Rock & Roll.Johnny Ferreira is an award winning saxophonist, international touring and recording artist. Advocator of saxophone music that rocks, jumps, and swings!

For more articles, information, and music visit http://JohnnyFerreira.com

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CD Mixing Tips - 10 Tips To Get Your Music Mixes Rockin

With the widespread availability of affordable computers and powerful software for music mixing, the average musician is now able to set up a reasonably decent home studio on a relatively small budget. However, even though the software is extremely powerful and versatile, what seem to be missing are tips on how to create a great mix.

So, without any more fanfare, let us get right down to the 10 mixing tips you can try IMMEDIATELY to improve the quality of your mixes:

1. While mixing, keep a close eye (and ear) on all those plug-ins. Each one of them will distort if the output signal exceeds the acceptable threshold level. Because the output meters are out of sight when the plug-ins are closed, it is fairly easy to be unaware of the distortion, all of which can absolutely ruin your mixes.
2. Make use of the high-pass filter found on many equalizers to cut off the low frequencies on tracks that do not need the presence of low frequencies (e.g. frequencies below 100Hz) in order to sound right in the mix. These include vocals, hi-hats, keyboards, etc. Of course, all this depends on the song itself. For example, if you are mixing a song that is just piano or guitar and voice you might run a high-pass filter much lower down, around 40Hz or so, in order to maintain some of the bottom end in the mix. However, even the bass and kick drum can be improved by rolling off frequencies below 20Hz. Most project studio mixes sound terrible because there are too many sounds competing for space in the lower frequencies. On the opposite end of the spectrum, you can use a low-pass filter on instruments like bass and kick drum that do not need the presence of high frequencies.
3. Try using compression to even out volume variations and control the attack of a sound. Using a FAST attack will accentuate the body of a sound, while using a SLOW attack will increase the definition. Bass, kick drums and vocals tend to benefit most from compression, although you should listen to all your tracks with and without compression to see what works best. Keep an eye on the other settings on the compressor (Input, Release, Threshold, Ratio, Output Gain) since these can dramatically affect the results you are trying to achieve. Its also important to remember that compression can raise the level of background noise in your mix as well as accentuate sibilance (essssssss) in the vocals. It may help to place a de-esser after the compressor to take care of excessive sibilance.
4. Listen for tracks that can be cleaned up by scooping out (reducing) the frequencies between 150 300 Hz. This is generally where the mud tends to be in most tracks. Be careful when you do this however, since this can also be where the meat or warmth resides on some tracks. Listen for the track(s) that can benefit most from this action, and do not scoop out too much of the track or else your mixes will start to sound thin.
5. Always listen to your mixes IN CONTEXT! It doesnt matter how great that kick drum sounds by itself if it sounds terrible once you turn everything else up. Its okay to solo a track briefly to get a sense of what is happening to the sound as you apply processing, but only do that for a few bars and then listen to it with everything else in context.
6. A parametric equalizer is an extremely powerful signal processing tool used to sculpt sound. It is generally better to cut (reduce) than it is to boost (add) frequencies, although you should always do what is right for a particular track. Begin by making the track sound terrible (by boosting a specific frequency dramatically and sweeping slowly across the spectrum at a fairly narrow bandwidth as you listen), and than cutting the frequency that sounds bad in order to reduce the presence of the bad sound. Do that several times using each band, listening for when a cut or a boost is necessary, until you either run out of bands or dont need to make any more cut/boost corrections. Dont feel the need to use every band available, though. When using EQ and other signal processors, less processing tends to be more beneficial to the overall sound of the mix (i.e. less is more).
7. Dont mix entirely in headphones, or at extremely loud volumes through your monitors. Spend most of your time mixing at moderate and even low volumes, occasionally cranking it up to see how things move at those high energy levels. Try listening to your mixes through several different headphones (which can pick up clicks and pops not heard in the monitors) and at different volume levels through the monitors, as well as on different monitors if possible. The mix will surely sound different on the different systems, but the objective is to get things to sound good on all systems, not great on some and terrible on others. Occasionally walk away from the monitors and listen to your mix from another room. This gives you another perspective on level imbalances not apparent inside your normal mixing environment.
8. Concentrate on the busiest parts of your mixes first. This may be the hook (chorus), or bridge section, and this is where your mixes tend to get away from you the most. As you listen, make a determination as to whether or not EVERY SINGLE TRACK and EVERY SINGLE LAYER absolutely NEEDS to be in the mix ALL THE TIME. Mute / un-mute and add / remove tracks one at a time to evaluate their contribution to the impact of the song. It may be necessary to strip away some of those layers in order for your mix to sound more punchy and energetic.
9. Make good use of automation. If that is too complicated (based on your understanding of your music mixing software) you can try breaking up your tracks into song sections (e.g. VOCAL intro, VOCAL verse 1, VOCAL B-section, VOCAL hook, VOCAL verse 2, VOCAL bridge, etc). The reason for this is that the signal processing and volume / pan settings that work for a track in one section of the song (e.g. VOCAL verse 1) may not necessarily be right for another section (e.g. VOCAL hook). In this instance, you may need to set your EQ, chorus, compression, reverb, pan, and volume settings differently for the different song sections. The same may apply to other instruments as well.
10. Tune your instruments often during your recording session, or at least CHECK the tuning often. Even though this is a no-brainer for bass and guitars, dont forget that even drums (kick, toms, and snare) need to be tuned in order to sound their best. No matter how well you process the tracks for your mix, out-of-tune instruments will distract the listener and contribute to the impression that the mix sucks! It is sometimes possible to tune your instruments after the fact, but that time could be better spent on other crucial areas of your mix.

And there you have it! Try out some of these mixing tips and you will find yourself on the way to better mixes in no time.

copyright 2007 Jeremy Rwakaara

Problems getting your music mixes to sound right? Confused about what to do with your CD once you've finished recording it? Don't know how to put together a tour so that you can make some money selling merchandise, tickets, and lots of CD's? Author, consultant and music producer / engineer Jeremy Rwakaara offers music articles cd mastering tips music mixing software list, glossary of recording terms and a music directory at the maryland recording studio site

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Tango in New Zealand

Origin:

Tango originated in Buenos Aires in Argentina in the mid-19th century. Over the years, a few variations of Tango have emerged and so the original variation is aplty known as Argentine Tango. The working class in Buenos Aires developed Argentine Tango as a way of identifying themselves as a group.

Music:

Tango music is played in 2/4, at walking speed. The music and lyrics (if any) usually have a sad theme. Tango Nuevo is changing all this. The music is getting faster and "happier". It's possible to hear hints of Waltz in the music at times.

Dance:

Tango is a very structured dance, unlike a lot of other Latin American forms of dance. The upper body stays straight with a ballroom hold. The leaders lead with their arms like ballroom dancing but the frame is a bit closer. The feet move on the first beat and the other foot usually drags and "catches up" on the second beat. There are a lot of variations, but Angentine Tango is the most common form.

Latinos NZ Popularity Scale: 7/10

Tango is fast gaining popularity in New Zealand, but a vast majority of Tango dancers are in their 30s, 40s and over as the younger generation seems to prefer other Latin American dances over Tango. Having said that, Tango Nuevo is starting to gain popularity with it's faster and more modern music and dance.

Article taken from Latinos.co.nz (http://www.latinos.co.nz)

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House Music DJ Magazines

Here is a review of the best house music dj magazines on the planet. Over the past decade a lot of magazines in the electronic music dj arena have gone down, and only the strongest have survived. Recently there has been a major increase in people who are interested in electronic music and the following magazines are blooming with advertising dollars pouring in!

1. MixMag - has been noted as the best selling dance magazine in the world. Unfortunately they don't have an online version of this magazine but their inclusion of cd's with each release makes it a pretty good subscription to have. For instance, they had an amazing new compilation from Paul Oakenfold in a past issue! The annual subscription runs for 36.00 in the UK and 60.00 in US/Canada so it's a little pricey, but again the inclusion of a cd with each magazine. Get a subscription at www.mixmag.net
2. DJMag - another UK magazine which is once again getting a revival through all the major music events and releases offers each copy in PDF format for a fraction of the price. The printed price is 3.95 an issue whereas the online PDF download is only 83p or you can get an annual membership for just 10 (38 printed)! Very smart indeed as this just bloat their subscribers! The great thing about this magazine is all the insider info on all the upcoming events several months in advance. The downside is that the layout is not the most professional and it is a little hard on the eyes as to where you should focus on. Nevertheless, you can try a 2 week trial subscription online to see if you like it. Get a subscription at www.djmag.com
3. BPM Magazine - By far the most successful North American DJ magazine, BPM has taken on whole new world offering their editions free to read online! And what's even better is that the intelligent interface of the magazine allows you to click on all the links to the web sites! Looking at the vast high quality advertising in this magazine it becomes quite apparent why it's online version is free. Probably the most stylish of all the magazines there is quite a lot of variety in the fashion and dj gear reviewed in BPM. If you still want a hard copy of this magazine the rate is only $20/yr for US Subscribers and $40 for Canadian subscribers. Get a subscription at www.bpmmagazine.net
4. URB Magazine - features a blend of hip hop and electronic music info with DJ culture, technology and studio gear reviews. For US subscribers only they have a $10/6 issue special going on right now or you can get an annual membership (10 issues) for $15 US, $40 for Canadians, and $70 for international orders. Get a subscription at www.urb.com

Great Resource for: House Music DJ's

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How To Make Your Wedding Music Rock

Your wedding is one of the most significant days of your life, and as such, you want everything, from the moment you awaken to the honeymoon, to be perfection so you have great memories. Naturally, the reception also included, and this means you will want to take precautions in choosing the music for your wedding reception.

Ensuring that you have great music for your wedding reception means a lot more then just finding a guy who can play "The Chicken Dance" at some point during the evening. Choosing a good provider for the music at your wedding reception can set the tone for the whole evening and create more memories of your special day, whether good or bad. Knowing how to choose your wedding entertainment will increase your chance that those memories are good ones.

Ensure There's Music

It seems silly to state the obvious, but ensure that the person providing the music at your wedding reception has a wide range of music; you don't want to attend your reception and find that the selection of wedding music is limited to a handful of awful ballads that no one seems to like. A wide range of music in your provider's collection means that requests at the reception can be handled. If you'd like to hear a special song while at your reception, ensure that the person providing the music at your wedding reception can play it.

And while you talk with your provider about the music, ascertain that he will have all the equipment to play it. You don't want to host your wedding at your local community center only to find that the most your music provider has brought is his stereo system from home.

Ensure it Flows

Be sure to discuss with your provider before and how the music will fit accordingly with the tone of your reception. If you intend for the happy couple's special song to be played after the cutting of the cake, be sure to tell your music provider. It will seem awkward if the music at your wedding reception isn't played at the appropriate times. Don't hesitate to ask the person providing music at your wedding reception for advice on music to choose or timing for particular songs. If you've picked an experienced provider of wedding reception music, you will have a great source of advice about what has and hasn't worked for other wedding receptions.

And on the subject of finding an experienced provider, be sure to obtain references and make a point to check them. You don't want to discover on the day of your wedding that your DJ tends to hit the open bar more often then he hits the record table. With care and some planning beforehand, though, you'll have a selection of wonderful music along with your wonderful wedding.

Passionate Weddings.com is an excellent resource for all of your wedding requirements. From wedding gowns through to speech writing. Visit us today for more assistance.

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The "Stag Line": A Cape Breton Dance Hall Etiquette (part of Cape Breton Social Heritage)

The Stag Line, a male high school dance etiquette, was certainly indigenous to Cape Breton Island in Nova Scotia Canada.

Remember those Cape Breton school dances in the 1960s?

The community hall or gymnasium would be dimly lighted by a few flood lights. Whether the music was delivered by a jukebox, a DJ or live band, the use of a color organ and strobe light was prevalent. Waiting in anticipation of being asked to dance, the teenage ladies were seated along the walls of the dance floor while some of the young girls started things off by dancing with each other.

In Cape Breton this familiar 1960s dance scene now took a radical depart from the norm. The young gents, dressed in typical macho denim jeans 'n jacket, entered the dance hall 'struttin' their stuff'. Then, like "the March of the Penguins", these young males, 2 or 3 abreast, began a deliberate saunter (always in counter clockwise direction) around the dance floor.

This procession of "eligible male dance partners" (hence the name '''stag line''') expanded with more guys joining their buddies in the "dance floor walk about". In short order, this stag line grew to a solid moving procession (2 to 4 wide) of guys. For the entire evening, this organized stag line circled the dance floor, positioned between the dancing masses and the eligible ladies sitting along the edge of the gymnasium.

What was the purpose of this Cape Breton dance-matching ritual?

Being in the stag line, provided each male ample opportunity (multiple loops of the dance floor) to scope out the females, both dancing and sitting. He would spot his next potential dance partner. With both the encouragement and jabs from his immediate stag line buddies, once he worked up the nerve, (usually after 4-10 passes) the male would simply step out of the stag line in front of the chosen sitting lady and request a dance.

Now here is the shear brilliance of the stag line. It really was a simple male support system for those almost always shy and awkward teenage guys working up the courage to ask a girl to dance. If the female response was affirmative, the gentlemen simply escorted her to the dance floor then danced to as many tunes as was enjoyable for both. When the dancing was ended by either party, the guy escorted her back to her seat and then (this is perfect) rejoined his comrades in the stag line parade.

Now, should a female's response to a dance request be 'negatory' or even a little hesitant, the "stag line extracted" male need simply to step back into the line right next to the comfort and support ( or jabs) of his buddies. And likely only a few people even noticed the rejection let alone the valiant attempt. Everyone kept face. And the recovering male, once re-composed, would start the hunt for the next dance partner.

How did the stag line practice get started?

One plausible theory about the origin of the stag line is that at a dance enters the local 'fonzie,tough guy with his entourage of tough guys. Being the top catch for any lady, these tough guys started to strut in front of the ladies seated around the dance floor. Low and behold, the 'regular', 'not so tough', 'but wanting to be part of the tough guy club' guys started following behind these tough guys. And so the 'stag line' was born. The stage line phenomenon appears to have only survived the 1960's teenage generation. Not sure if any photographs have captured this social dance practice.

So the stag line really brought a kind social order to Cape Breton teenage dances. No one got hurt and males learned to deal with rejection and ridicule in a more supportive (sometimes not) team environment.

Maybe stag lines should re-introduced for those over 50 dances. If for no other reason, seniors would get their walking exercise. Picture that.....

Carl Chesal is a business development consultant, trainer, photographer, and avid snowmobiler. He operates BizFare Enterprsie Inc, Foursight Marketing and Consulting, and Foursight Photography, which provide business, marketing, and internet marketing consulting services. He also co-operates a number of e-commerce web-sites with his wife: MyLeatherExpressions.com, PewterExpressions.com and CoolComfortWear.com, which provide Pewter Home Decor, custom leather bags and casual and activewear apparel.

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