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The Secret to Fast Jazz Articulation Lesson

The Secret to Fast Jazz Articulation Lesson

Rated 5.00 out of 5 based on 1 customer rating
(1 customer review)

$9.99

SKU: 121 Category: Sax Tone Tags: jazz articulation, jazz sax, saxophone, tonguing, video lesson
  • Description
  • Reviews (1)
  • Lesson Sample

Description

In this lesson I reveal what is an amazing tip for fast jazz articulation. I am excited about this lesson because What I talk about in it is something that I recently discovered that I did while articulating fast jazz phrases. I talk in depth about what is called “Ghost Tonguing” and how it helps me to tongue and articulate fast jazz passages.  (Video & Audio)

1 review for The Secret to Fast Jazz Articulation Lesson

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    Rated 5 out of 5

    Ken Tyler – November 11, 2011

    Hi there Steve, I downloaded this video some time ago when I was working on my basic articulation. I found the Basic Jazz Articulation lessons really helpful at that time but its taken me a long time to really integrate those skills. Now that my basic articulation is improving I noticed that my bebop lines were sounding really clunky. This was the missing link! It’s a very powerful technique with loads of applications and it’s starting to help my lines sound better all over again. I find it difficult to do – when I think about it, everything else goes haywire but when I don’t think about it I forget to do it! Basic bebop themes are starting to sound right now – still not there but sounding more fluent. Like you, I noticed that I was already doing it without realizing on some tunes I know really well. I couldn’t find anything on ghost tonguing at all on the web, then this came up and I realized I already had it. It was too soon before for me to appreciate but now I realize what a great lesson this is. Thanks a lot for all your lessons and continuing inspiration – you’re a genius man!

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Lesson Sample

https://public.neffmusic.com/The%20Secret%20to%20Fast%20Jazz%20Articulation%20clip.mp4

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I am a music book junkie and I have to say that your books are the most clear, user friendly, and helpful books I own.  They are my absolute favorites and I only wish I had them years ago.  I wouldn’t change a thing about the experience I had in acquiring my degree at Berklee, but my playing has perhaps grown more in the time I’ve spent buried in your books and lessons.  Keep up the great work!!! Thanks, John
John
Thank you so much for the great job you are doing to help further our jazz studies. Though I make my living as a repairer of musical instruments I am a student of jazz and have been fortunate enough to be involved with a big band and a combo for the last several years. As my children began to leave “the nest” I had decided to dedicate the next half of my life to a more serious study of the sax but I didn’t know exactly how I would go about doing this until a friend of mine turned me onto your si… Read more
Jon

Hello Steve,

I have not received my alto yet but have already gone through 14 lessons. I love your approach, style, knowledge and competence. I now regret so much to have stayed away from playing the sax for the past 45-50 years…(I am 65).  But It is never too late to get back to your first love. After 23 years in compuer sciences and 22 years in finances…I am now back to music for the rest of my life.

Doing some research on the net, I found this:

http://forum.saxontheweb.net/showthread.php?1… Read more

Claude
I’m an experienced player in the pop/soul/funk areas of music and, previously, classical.  Over the decades I’ve been playing, I’ve always felt that I could do what I needed in those styles of music.  However, recently I began to feel limited by my use of the same old licks. When I discovered Steve Neff’s website, and heard the audio examples based on the exercises in his books, I realized they were what I needed.  I purchased all of them and have been working on them since.  It’s very hard work… Read more
Paul
Your major diatonic patterns book is great. I”m studying the first twenty patterns (first twenty pages) each day with different articulation each day and slowly increasing the tempo each week or so.  There is a noticeable improvement in finger coordination across all keys and its amazing how much more secure I feel on the difficult keys when attempting to play pieces with 5+ flats/sharps. I’m able to sort out the fingerings for these pieces now much more quickly than before, often in one or two … Read more
Geoff

I want to thank you again, because, not only are you an inspiration to listen to, you are a fine teacher!

I have been teaching sax and other winds for over 20 years, and you give me that “push” to give my students more!

Mark Peotter

Mark Peotter
Hey Steve, I’m a 22-year-old from Australia. I thought it would be worth saying. You’re an absolute legend. I can’t thank you enough. You have helped me rekindle my love for the saxophone and music as a whole. All the best for the future, your work doesn’t go unnoticed. PS. I am loving your devastating minor lines pdf.
Sapph
Your lessons on playing the blues is so clear . I have been through many books on blues playing and not one of them explains as clear as your lessons . Most of them say “Play the same blues scale over all three chords of a 12 bar blues ” Its very misleading .     Thanks
Martin
I bought Steve’s dominant bebop book and took a couple of online lesson from him. I really appreciated Steve’s careful listening of what I wanted to get done in a lesson and his clear, concise ideas on next steps to improve my playing and musical interpretation.  His mastering  the Dominant Bebop Scale has lots of exercises to use a scale that addresses the largest percentage of chords I come across in pop/blues music. The dominant V7.  Needless say it has improved my playing.  I teach and a… Read more
Keith
Thank you for all the educational information you provide.  I am a classically trained musician.  Professionally, I am a 4th and 5th grade band teacher.  I have played piano and sax for many years, but now I am starting to gig out more. I have always improvised by ear in the past. I have gotten by with my strong sense of pitch, rhythm and melodic contour. However, I want to go deeper. I want to play with a greater variety of melodic and rhythmic ideas to pull from.  I have studied to gain a … Read more
Ray

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