g r e g o s b y.

com - Chart #3 - Six Of One

Pgina 1 de 2

Chart #3 Six Of One from: Further Ado

main
OzForum
biography
interviews
discography
recordings
tour schedule
resources
art forum
links
contact/booking

This is a lead sheet style chart of a composition entitled "Six Of One". It is featured on
the CD Greg Osby - Further Ado (BN# 7243 8 56543 2 9)
The vertical groupings in this composition structures are in a typical "Jazz style" voicing
format. However, many of these structures do not directly adhere to the common standard
of notational labeling. I named the structures in a fashion that I thought would be
commony understood to Jazz improvisers. In this case, it will be necessary for each
performer to decipher these groupings and label them according to their reasoning of what
they think the voicings should be called. It has been my experience that everyone comes
to entirely different conclusions, which ultimately affects how they will improvise.
Upon recording this piece, my group improvised on the structures exactly as written -

http://www.gregosby.com/resources5.html

11/03/2009

g r e g o s b y.com - Chart #3 - Six Of One

Pgina 2 de 2

without the usage of typical notational symbols or chord "changes". As a saxophonist, I

find that this approach removes me from the standardized frame of thinking and it
changes my improvisational perspective completely. This method of vertical structure
identification during a solo excursion will most assuredly guarantee that one will refrain
from reliance on prepared or contrived material or melodic content. The discipline to do
such is very demanding and requires a great deal of focus and preparation. Chord symbols
often require that musicians recall memorized material or "licks". The objective here is to
improvise on the actual voicings and sound of the composition and not to progress in a
chord to chord or bar by bar manner. It has been my experience that several personalized
conceptual options must be created and embraced to insure that redundancy and
repetition in improvisation can be avoided.
On this composition, the soloist is required to improvise on the given structures as written.
This song has what I refer to as customizable "changes". Unlike some free improvisation
compositions, where there often is no reference to the theme of the piece, the object here
is to compose in a linear fashion on the tonal implications suggested by the verticle
structures, which , along with the lead voice melody, constitute a theme stated in a
concerted or block chord fashion. Another option would be to arpeggiate and embellish at
the natural cadence points. (beat 3, bar 3; beat 3, bar 7;beat 1, bar 12; beat 1, bar 14
and beat 1, bar 16)
Another option would be to attempt a purely thematic approach in which the player would
refer to the written content at key points during the improvisation. These snippets of the
theme would serve as melodic soundposts and will also ground the solo somewhat. This
method will be effective for players who opt to take a departure from the changes
completely.
Continue to Chart #4:
To order full band arrangements, contact us at Oztone Productions
[back to top]

http://www.gregosby.com/resources5.html

11/03/2009