Elements Of The ee a Developing meow egElements Of The JAeZ Language ForThe Developing Improvisor PERSONNEL FOR TAPING MARK BOLING. Engineer for all MIDI and acoustic recording, guitarist forall solo excerpts for guitar and bass. *DONALD BROWN. Performer for all piano solo excerpts, and pianist and midi bassist on exercise tracks (A-DD) and the three play-along tunes. KEITH BROWN. Mici drum set on exercise tracks and play-along tunes. JERRY COKER. Tenor saxophonist for all trombone, tenor saxophone, and alto saxophone solo excerpts. Also pianist and midi bassist on accompaniment for solo excerpts. VANCE THOMPSON. Trumpet on trumpet solo excerpts. * Mr. Brown's appearance on this recording is through the courtesy of| Muse Records, Cover Desig: Frank Mone eto: ack Buk Autorapy: San Webs Production Coordinator: Sora Poor, Copyright © 1991 Studio 224, cfo CPP/Betwin, ne. Miami, FL 99014 International Copyright Secured Made in U.S.A. All Rights ReservedDEDICATION This book is lovingly dedicated to my wife, Patricia, who has not merely endured or supported my activities in playing, composing, teaching, and authoring during the thirty-five years we've been married, but who has often instigated and contributed substantially to the realization of those activities. Without her belief and confidence in me, whatever I have accomplished might never have happened.CD TRACKING SHEET 1.Solo Excepts #4-11 2.Solo Excerpts #38-65 3.Solo Excerpts #93-103 4.Solo Excerpts #120-134 5.Solo Excerpts #139-153 6.Solo Excerpts #164-177 7.Solo Excerpts #185-193 8.Solo Excerpts #196-212 9.Solo Excerpts #219-238 10.Solo Excerpts #249-267 11.Solo Excerpts #273-291 12.Solo Excerpts #294-303 13.Solo Excerpts #306-315 14.Tuning Tones 15.Homesick Hoosier 16.Urbane Blues 17.Stellar 18.Tuning Notes 19.Exercise A 20.Exercise B 21.Exercise C 22.Exercise D 23.Exercise E 24.Exercise F 25.Exercise G 26.Exercise H 27.Exercise | 28.Exercise J 29.Exercise K 30.Exercise L 31.Exercise M 92.Exercise N 33.Exercise O 34.Exercise P 35.Exercise Q 36.Exercise R 37.Exercise S 38.Exercise T 39.Exercise U 40.Exercise V 41.Exercise W 42.Exercise X 43.Exercise Y 44.Exercise Z 45.Exercise AA 46.Exercise BB 47.Exercise CC 48.Exercise DDTABLE OF CONTENTS INTRODUCTION . GENERAL INSTRUCTIONS FOR USING THIS BOOK. INSTRUCTIONS FOR USING THE AUDIO CASSETTE. ILLUSTRATIONS OF USED CHORD MOTIONS . . CHAPTER 1 - CHANGE RUNNING CHAPTER 2 - DIGITAL PATTERNS AND SCALAR PATTERNS CHAPTER 3 - 7-3 RESOLUTION .. CHAPTER 4-349. CHAPTER 5- BEBOP SCALE CHAPTER 6 - BEBOP LICK. . CHAPTER 7 - HARMONIC GENERALIZATION . CHAPTER 8 - ENCLOSURE . CHAPTER 9 - SEQUENCE, CHAPTER 10 - CESH CHAPTER 11 - QUOTES CHAPTER 12 - “CRY ME A RIVER” LICK. CHAPTER 13 . “GONE BUT NOT FORGOTTEN” LICK . CHAPTER 14 - OTHER CONSIDERATIONS LINEAR CHROMATICISM ...... TRITONE SUBSTITUTION/ALTERED DOMINANT : BACK DOOR PROGRESSION AS A SUBSTITUTE FOR V7 . #11°7 AS A SUBSTITUTE FOR V7... BAR-LINE SHIFTS... . SIDE SLIPPING/OUTSIDE PLAYING . ERRORS . SAMPLE ANALYSES OF TWO TRANSCRIBED SOLOS . APPENDIX A. CHORD PROGRESSIONS FOR ALL PLAY-ALONG TRACKS (Side 2) CONCERT KEY ... : Bb INSTRUMENTS Eb INSTRUMENTS. APPENDIX B - APPLYING ELEMENTS OF THE JAZZ LANGUAGE ‘TO TUNE PROGRESSIONS ......--2.+++ HOMESICK HOOSIER. URBANE BLUES STELLAR .... BIBLIOGRAPHY RSSSBRSorne TELINTRODUCTION Though the arts of music, dance, visual arts, and drama have existed for many centuries, even millenia, individual and collective styles within those art forms stay in a state of perpetual change and development. When a relatively new style comes into being and survives the scrutiny of practicing artists, critics, and the general populace, a reasonable amount of time must pass before we can deal with what might be termed “common practice” within that style. This is not to say that new elements will not be introduced by leading practitioners of the craft. Artists are individuals, and as such they will always be pressing at the established parameters of the established order of things as well as their own personal practices. But a certain grouping of ideas and approaches will remain relatively constant, giving an identity to the style. This is partially due to the fact that even artists who strive to be different and/or innovative will generally know that it is ill-advised, even impossible to create in a vacuum. Models and examples of their craft have been programmed into their memories since birth and so are relatively inescapable. Furthermore, they understand that one of the fastest means by which artists become trained, artistically literate, and inspired is to study the past work of the masters. Discoveries are made which might never have transpired without such study. Jazz music has now been in existence for about a century, and its validity is no longer questioned by anyone who is relatively wise and informed. The ‘common practices of the style are fast becoming evident. My first book, IMPROVISING JAZZ (1964), contained items such as common chord progression tendencies of standard songs used by jazz artists for their improvisations, a number of chord substitution principles in common usage for the blues and “I Got Rhythm,” a citing of common bridges (B sections) and their chord substitution practices, the prevalence of the II-V-I progression, the growing tendency of pianists to utilize new chord voicings which do not contain chord roots, and an analysis of what causes the ‘swing’ effect of eighth-notes in jazz. Others were making similar discoveries of common practices in the jazz style. My learned colleague and friend, David Baker, was making new observations, coupled with the terminology with which we would refer to those tendencies, such as digital patterns, the bebop scale, the bebop lick, and enclosures. He even coined the term, “jazz language”, spoke of its syntax, and pointed to the need for students to absorb that language. Another highly- esteemed colleague, Jamey Aebersold was including patterns in his play-along records/books that utilized many of the elements of the jazz language. Despite our efforts, a complete list of the vocabulary for the jazz language remained mysterious, elusive, and incomplete. As is usually the case, the more complete identity and nature of the jazz language was discovered quite by accident. And even when the pieces of the puzzle fell into place, I virtually had to be bludgeoned into realizing the significance of the discovery. It came about as a result of teaching a course called “The Analysis of Jazz Styles”, in which solos by leading jazz artists werelistened to and analyzed in class. I kept searching for ways to describe and define elements that seemed to be common to all artists. | utilized what my colleagues and I had already found, especially Baker’s contributions, and kept adding to the list until about 18 elements were on it. I typed them, with definitions into a hand-out for my students, called “Devices Commonly Found In Improvised Solos.” Though the list was very helpful to us, I didn’t have a system for marking the solos we studied, so I couldn't see what was taking shape. Each time I taught the course, the selected solos were analyzed all over again, as though for the first time. | felt remiss, because I knew I was probably missing some items we'd discovered the preceding year. It seemed haphazard tome. At least my copy of the solos should be marked, so we wouldn’t miss anything. About this time I was scheduled to go to a Canadian hospital for double-hernia surgery. Not wanting to be bored or in pain with nowhere to put my concentration, I took my copy of Ken Slone’s book, 28 MODERN JAZZ TRUMPET SOLOS and about 15-20 colors of felt-tipped pens, and worked out a coded, color bracket system for marking the solos, For example, a green bracket indicated the use of a digital pattern, a purple one signified the use of the bebop scale, and a pink bracket indicated a melodic quote from another tune. The result was a real eye-opener! Prior to marking them in this way, I was unconscious of the concluding totals, and I wasn’t fully aware that the “Common Devices” list was so uniformly shared by all fifteen players whose solos were contained in the book, ranging from the likes of Fats Navarro and Dizzy Gillespie to Tom Harrell and Randy Brecker! The color coding made it effortless to see in a glance that all players were using the devices. Furthermore, there was virtually nothing left unmarked in the solos, though there were only 18 devices on the list. The only significance I attached to all this was that it was going to be an improved Analysis of Jazz Styles course from now on. Then, because my students don’t always assimilate everything I teach them, I began summing up what we'd learned when we approached the end of the term. I pointed out to them that all the players studied shared the 18 devices, and that there was very litle left unmarked after citing those events (though sometimes what remained was really the best part of the solo, or at least the freshest). Then I would ask them how many of those devices they'd ingrained into their own playing. If they were devices that their ‘heroes’ found useful and/or needed, why weren't they using them? The students would hang their heads in shame. But I was the real dummy! I had collected the “Common Devices” list, I could find them in solos with enviable speed, I could recognize them quickly by ear, and they were a part of my own playing... yet it was several years of chiding my students for lack of assimilating the devices into their playing before it dawned on me that the elusive ‘jazz language’ was now in place! It wasn't merely a collection of things to notice about other peoples’ solos. It was a concise list of what every jazz student should learn first, in order to speak the language of jazz and communicate with others in that language!Now let us understand the true value of the jazz language at this point. It should not be used for cloning purposes (as in analyzing the solos of your favorite players, collecting their devices and personal cliches, then Programming your own playing to be as close to identical as possible), Each of us has a worthwhile musical identity and enough originality and creativity to carry us through. Nor should the list be used so that we all sound the same. Finally, the list should not be used to the exclusion of many other worthwhile, new, or original thoughts in musical expression. On the other hand, it should not surprise or discourage us to learn that much of jazz improvisation is clever re-editing of learned elements, many of which are shared by all the great players. All artists (classical composers, great choreographers, playwriters, painters, sculptors, architects, etc.) have personal cliches, as well as elements they share with others in the same field. Furthermore, there are innovative, fresh, inspired moments in the solos of all great players. If you can, pigeon-hole a phrase you hear, study it especially hard and long. It could be the creative heart of the solo. The jazz language is a logical starting point (at least), providing us with the less-important, but needed aspects of the language, as words like “the”, “and”, “is”, “by”, “for”, “a”, “an”, etc., are to the spoken language. They may seem relatively unimportant words, but without them, language is unintelligible and uncommunicative! Let us focus, then, on the connective tissue in the giant body of a great art form. JC.GENERAL INSTRUCTIONS FOR USING THIS BOOK Each chapter will embody one element of the jazz language. Within each chapter, the designated element will be defined and illustrated; examples will be given of its use in outstanding recorded solos, each written in the key of the instrument that played it; ‘suggestions will be made with regard to ingraining the element, and specific exercises provided for practicing the element. Since there are many notated examples throughout the book, each requiring an identification number for easy reference, all examples are integrated into one numbering sequence, regardless of their purpose. For example, #163 might be an illustration, or an example from a recorded solo or an exercise, but there will be only one #163. The same number will identify each example as it is demonstrated on Side 1 of the cassette. Note: All examples from recorded solos are notated in the key and clef of the instrument that played them. INSTRUCTIONS FOR USING THE AUDIO CASSETTE Side 1: As previously stated, Side 1 contains simulations of all examples excerpted from recorded solos, identified by the number assigned to them in the book, plus three play-along tunes. Side 1 does not include the accompaniment tracks for practicing the exercises. Because the accompaniment tracks are on Side 2, it is easier to locate the appropriate exercise track/s for practicing each of the elements. So Side 1 is essentially for listening (ear training, etc.), except for the three play-along tunes, and Side 2 provides the opportunity to roll up your sleeves and play (and sing!). Side 2: The accompaniment tracks on Side 2 are identified by letters (A, B, C, etc.), rather than by numbers that agree with the exercise numbers in the book. The reason for usinga different identification system for the accompaniment tracks is simply because a small number of tracks can service a much greater number of exercises. The book will direct you to theappropriate play-a long track/s for each exercise. For example, the book might state:” practice this exercise with tracks E, F, G, and H.” Alll exercises should be practiced in 12 keys and with the appropriate accompaniment track/s. By playing them in 12 keys, you will be prepared to use the element in whatever key you might need, during improvisation. Practicing with the accompaniment tracks ensures that you will be continually strengthening the relationship between the sound of the exercise and the sound of the appropriate harmony implied by the exercise, which is an indispensable form of ear-training. It is also important, whenever possible, to learn to slightly alter an exercise in such a way as to enable it to fit other chord-types. Hence the book will sometimes instruct you to practice some of the exercises, after minor alterations, with accompaniment tracks that use other chord-types. The key sequences on the accompaniment tracks are deliberately sequenced to resemble the motions most frequently encountered in segments of tunes. Chord roots most often move around the circle of keys (commonly referred to as the cycle of fifths) and chromatically (especially chromatically downward). These are the motions included in the accompaniment tracks. In this way, you are not only learning each exercise in 12 keys, but you are also practicing them in sequences that you will most frequently encounter in real tunes.ILLUSTRATIONS OF USED CHORD MOTIONS Cycle Of Fifths Chromatic ascending: C, Db, D, Eb, E, F, Gb, G, Ab, A, Bb, B, C. descending: C, B, Bb, A, Ab, G, Gb, F, E, Eb, D, Db, C. (Classical theory cycle motion illustrations notwithstanding, this is the logical and useful way to learn the cycle for our purposes.) Allaccompaniment tracks for the exercises begin on CONCERT C. “Concert key” is the key of piano, bass, guitar, vibraphones, flute, trombone, etc. If you play a Bb-pitched instrument (trumpet, tenor or soprano saxophone, for example), you must begin on D in order to be in the same place with the accompaniment. Your sequence on the cycle would be D, G, C, F, Bb, etc., and your chromatic sequence will become D, Eb, E, F, Gb, etc. (ascending). If you play an Eb-pitched instrument (alto or baritone saxophone, for example), your cycle begins on A (then D, G, C, etc.) and your chromatic sequence will be A, Bb, B, C, Db, etc.) Allexercises are notated in treble clefand in concert key, therefore bass clef instruments and Bb and Eb instruments will need to transpose those notations into the proper clef or key. For awhile, you may find it necessary to keep these pages handy, so you can re-read the instructions, review the organization of the book and tape, read the cycle and/or chromatic sequences (until they are memorized), and review your possible need to transpose the exercises. If you've never practiced exercises, patterns, licks, scales, etc. in 12 keys without reading them in a notated form, you may be tempted to write them out, instead of figuring them in your head. This is acceptable at the outset, but wean yourself away from both the notated form and the cycle or chromatic illustrations shown here as soon as possible. Remember, you want to learn to improvise, and all great recorded improvisers have learned to execute their phrases by mental and aural skills, not by reading them. It will take time to develop those skills, however. To help you get under way, the first exercise in Chapter 1 will be notated in the first few keys and the remainder of the sequences will be given in chord symbols. After that you will simply be given the notated form of the exercise in the starting chord/key and told to practice them in the sequences, along with the appropriate play-along’s identifying letter (A, B,C, etc.) Always analyze each given exercise in terms of its digital relationship to the chord. That is, if the notated form of the exercise is: cothen think of it as 1-3-5-1, not C-E-G-C. In this way the exercise becomes universal to all keys, so that if you are confronted witha Gb (major) chord, instead of C, you can quickly find the 1-3-5-1 of Gb (Gb-Bb-Db-G}) by simply thinking in another key (in this case, the key of Gb major). NOTE: FOR THE READER’S CONVENIENCE, ALL EXERCISE PROGRESSIONS (A, B, C, etc.) ARE COMPLETELY WRITTEN OUT IN THE APPENDIX, FOR CONCERT, Bb, AND Eb INSTRUMENTS.CHAPTER 1 CHANGE-RUNNING Definition Change is a synonym for chord. Running is a synonym for arpeggiating. Hence change- running is a jazz colloquialism for chord-arpeggiating. In terms of creative musical expression, change-running is somewhat superfluous when it occurs in an improvised solo, since the chord is already being sounded and/or implied by members of the rhythm section (piano, guitar, and bass). Nevertheless, change-running frequently occurs in improvised solos, and sometimes in interesting ways. It has at least several possible functions: (1) as a phrase which helps to place the ear of the improviser into the exact structure and sound of a chord, which sometimes insures the effectiveness and accuracy of a more melodic phrase to follow; (2) as a means to learn, during practice, the sound of each chord in a sequence or progression of chords; (3) as pick-up notes into a melodic phrase; (4) as a means to make the sound of a chord clear to an audience; and (5)asa means of communication or reinforcement for other members of the group, in the event that one or more members lose their place in the progression or the form of the tune. Illustrations Because of the nature of improvisation, being based upon chord progressions to a large extent, nearly all improvised phrases could be more or less regarded as change- running. However, the purpose of its introduction here is to focus upon phrases which do little more than to arpeggiate the notes of the chord, and even with that restriction the possibilities are endless. Note in the following examples that a change-running phrase does not necessarily begin on the root of the chord, it may omit one or more chord members, and its direction can be ascending or descending or both.Examples From Recorded Solos J.J. Johnson, trombone (“Now's The Time”) 13 @" or Freddie Hubbard, trumpet (“Clarence’s Place”) ae eee Blue Mitchell, trumpet (“Silver’s Serenade”) f- ' Lee Morgan, trumpet (“Ceora”)George Coleman, tenor saxophone (“Maiden Voyage”) Bsus4 Begg 4 4} John Coltrane, tenor saxophone (“Trane’s Slo Blues”) 1 Hank Mobley, tenor saxophone (“Nica’s Dream”) ap" ' Wty sy! “ 3 s Michael Brecker, tenor saxophone (“Freight Trane”) 7 .-' be eb-" aT , h a bebe : he FH (ps) (ts) ou f ec . ets e : 2 ak oi i= en de 3 i a=Ways to Practice/Ingrain We have begun our study with one of the most general aspects of improvisation (Change-Running). The foregoing examples from recorded solos will show some similar tendencies, with regard to the manner in which prominent players utilize change-running. However, it is also easy to see that there are a multitude of ways in which change- running can be realized, with very few common guidelines. Most of the remaining devices taken up in this book will have a considerably higher degree of uniformity, with respect to the manner in which players use them and, consequently, more specific ways for the reader to practice and ingrain those devices. Any form of arpeggiation of chords in practice will lead to feeling more comfortable with using change-running as a part of one’s solo. In fact, utilizing change-running phrases on each and every chord, in practice, is an excellent way to learn a new progression. Practice every known chord-type, in arpeggiation, in all 12 keys. Practice one chord-type at a time, modulating up and down in half-steps (chromatic sequence), around the cycle of fifths, up and down in minor thirds, and up and down in major seconds (whole-steps). Practice arpeggiation with triads, seventh chords, ninth chords, elevenths, and thirteenths, whenever the chord-type permits such chord extensions. All of the items taken up in this book should first be practiced alone, then with an exercise track! on a play-along that accommodates the item being practiced, finally with a play-along tune whose progression offers numerous opportunities to apply the device being practiced. Although recorded examples of each device of the jazz language contained in this book will be provided, the author had to be very selective. Therefore, the reader should acquire some books of transcribed solos (there are many)?, searching for examples of each device, and studying the particular manner in which they were used by various players. Find the recordings’, whenever possible, from which the transcribed solo was taken, so that you will eventually be able to recognize each of the devices by ear alone. You will find this sort of study to be the most valuable skill you can acquire in behalf of your development as an improvisor! '-an exercise track isa play-along track in which the accompaniment focuses on a single chord-type or progression cell, (e, ILV¢) in all 12 keys. In other words itis primarily designed for practice, as opposed to playing a tune. Aebersol’s Volumes 1,3, 16,21 and 24 are devoted to exercise tracks. 2 see the Aebersold catalog, JAZZ AIDS, 4 see the Aebersold record catalog, DOUBLE-TIME JAZZ,Exercises 8 y» RB c 8 8 A fw G6 @ F Practice +his evercise with Atack A ¢ f » @ eve Gis & € A dD «6 ¢ Prastice this exercise with “tack B, ¢ » 3 e Continue chramatically up and down. 44, sy a 7 Practice this exercise with rack A. ¢ -_# 4 continue araund eyele. 5 peas = =] Practice this exertise uith Pack 8. C Dw. 2D eo continue chramatically uith ‘rack A. ‘6 bam 5g z 7 Se ¢ é » & Continue around cycle with “tack B. "1. Now practice ‘2-17 inninor (aver 3#enatt with APacks C (chromatic) and D (cle) ce Practice with Tacks & (chromatic) and F (cycle) a% eScA Practice with (racks G (chromatic) and H (ay¢le). 8 we Fe { a Keacks I (chromatic) and F (cycle). as ie = e racks K (chromatic) and L (cycle), $5 ce Tracks 6 and H. 0. ct Tracks I and J. 23, be a ae cM facks M and N. ct Tracks O and P. cl 2 racks Q and R. 26. chs racks $ and T. ot, The rhythms of any one of the last four (#24-27) could be used with the other three. The various rhythms used are merely to indicate some of the possibilities,7 c Tracks U ond V. +4 - Cts Toacks W and X. 29, = — (#28 and 29 could also be played with the rhythms of 25, 26, & 27) When practicing chord arpeggiation, it is important to understand that Exercises 12-29 are all tertian (constructed with successive third intervals), presented here from the chord roots (ie., 1-3-5-1, 1-35-7-5-3-1, or 1-35-7-9-7-5-3-1, therefore other possibilities = Guist if we don’t begin them from the root. For example, the first four notes of #12 (C-E- G-C) are taken to be 1-3-5-1 in C major, to be practiced with Track A, yet if we think of those four notes as being 3-5-7-3 of an A-7, or 5-7-9-5 of an F4 chord, the exercise works for those as well, though we'd have to use a different accompaniment track to accommodate the different chord-type. #21 would work against an Ab7 chord, #25 could = become an F7 (+4) chord or an AY chord, and so on. ‘Also, this list of exercises on change-running is only a starter list. Other chord-types, other note sequences, and other rhythms should also be investigated.sane ness CHAPTER 2. ee or a DIGITAL PATTERNS AND SCALAR PATTERNS , Definitions Digital Patterns (term originated with David Baker) are cells of notes, usually numbering 4-8 notes per cell, that are structured according to the numerical value of each note to the root of a chord or scale. That is, 1 would be the root, 2 is the second degree of the scale (or 9th of the chord), 3 is the third, and so on. Hence a digital pattern of 1-2:3.5 for a C major chord (or scale) would be C-D-E-G. Some of the most commonly used digital patterns are: 4-note cells 8-note cells 123-1 1.2:3-4.5- 123-5 123-4.5-7-6.5 13-53 15-3-2-1235 Of course there are many other possibilities, and improvisers often invent their own digital patterns. A beginning improviser, for example, might wish to use an even simpler 4-note cell, such as 1-2-1-2, All of the above examples can also be used in their retrograde (backward) form to good effect (ie., 1-3-2-1 instead of 1- 3-1, or 5-6-7-5-4-3-2- 1 instead of 1-2-3-4-5-7-6.5). Many of the above examples also sound well when placed on another note of the chord, especially the fifth, as in 5-6-7-9, which is the same as 1-2-3-5 but placed on the fifth of the chord. All digital patterns may be altered to accommodate any needed scale/chord-type. For example, a 1-3-5-3 pattern can be adjusted to 1-b3-5-b3 to accommodate a minor chord. Generally speaking, digital patterns usually occur at one thythmic level for the entire cell (as opposed to a mixture of thythmic values), and that level is most often the eighth-note level. However, they will also appear, though less frequently, in mixed rhythmic values and at, say, the sixteenth-note level (double-time) or the quarter-note level (as in the walking bass line). In their most common usage, then, at the steady eighth-note level, a 4-note digital pattern would accommodate a chord duration of two beats, and an 8-note cell will accommodate a chord duration of four beats. Though digital patterns have been in use since the early days of jazz (probably at a relatively unconscious, instinctive level),the device was brought suddenly and sharply into notice by John Coltrane, whose brilliant solos on “Giant Steps” and “Countdown” made use of a number of digital patterns, each pattern ‘occurring literally dozens of times. Although the solos are improvised, the nature of the tune progressions and tempos, both tunes being made up of quickly-modulating chords of short duration (mostly two-beat durations) at a very fast tempo, encouraged a more mechanistic approach, to say the least. Transcriptions of the solos quickly revealed the stunning number of digital patterns contained in them. Perhaps the greatest lesson we learned from examining Trane’s efforts on those solos was not that a mechanistic approach was sensible, needed, or used, but that it revealed a portion of a master’s practice habits. In other words, Coltrane practiced digital patterns apart from, preceding, and in preparation for tunes like “Giant Steps” and “Countdown”! Scalar Patterns are simply patterns which are based on a single scale. They are usually longer than digital patterns, accommodating chords of long duration (two or more measures) or chord progressions that are made up of closely-related chords (ie., I-V in major, in which the major scale of I is used to accommodate all 3 chords). Often such patterns are, or can be, continuous in nature. This author refers to continuous scalar Patterns as non-terminal patterns in his other books. David Baker calls them perpetual motion patterns. Scalar patterns have been in existence for centuries, often appearing in classical compositions and in instrumental method books (scales in thirds, broken scales, etc.), Scalar patterns make use of all scale tones, on a more or less equal basis, as ‘opposed to favoring fundamental chord tones in the fashion so prevalent in digital patterns.| Illustrations 4.NOTE DIGITAL PATTERNS 1.3533 applied to the bebop turnaround progression e7 eb? ape pe ce 40. Alternating 5-3-2-1 and 1-2-3-5 over the first 4 measures of “Countdown” ey ae Py oat Y 5 5321 123 fee 0 AAA eOG pris 4H 8-NOTE DIGITAL PATTERNS 1-23-4-5-7-65 applied to the first 4 measures of “All The Things You Are” a a" e Ap 4% Alternating 1-5-3-2-1-2-3-5 and 1-2-3-4-5-3-2-1 over the first 4 measures of “Moments Notice” E-7 f-7 ae) eve ar-7 or) 1532 5 a4 5524 532 35 123 ue y 12 123.655 2 SCALAR PATTERNS D (3 over 4) ce. Cil8 (diminished seale)GES, (tele-tie seale) a (2 (Je Aactnate) aw Examples From Recorded Solos DIGITAL PATTERNS Paul Chambers, bass (“This Can't Be Love”) ee 38. Chick Corea, piano (“What Was”) Ae Gar 4 rea 3 Freddie Hubbard, trumpet (“Clarence’s Place”) ev, (rt) O”) ang 2 ( +23 as ot 4. ‘Pattem 3783/4 over 4/4 pattern, based on the C major scale, but also utilizing chromatic, non harmonic notes (indicated by“+"), This pattern starts as a descending one, but changes to an ascending direction inthe 4th bar. The change of direction could have taken place earlier or later than the 4th bar. #37 is merely an listration of the possibilities,Hank Mobley, tenor saxophone (“This I Dig Of You”) a BIE, ig 6! Og 7 O's | 4 Sonny Rollins, tenor saxophone (“Eternal Triangle”) By @) Bee) a?) $ i 32 ' Es z ges 2 3 _ a. Fats Navarro, trumpet (“Ladybird II”) fee? g? Bye ev 133 | vas | 4 Slide Hampton, trombone (“Moontrane”) a ab d- 3° 515 Sys 3 2 ‘ and 16 bars later Slide Hampton, trombone (“Confirmation”) (er) a4 5be 6 CT 2 512 Lee Morgan, trumpet (“Ceora”) eo f 1ap45sar 4. —3— The author was extremely selective in regard to presenting examples of digital patterns, looking for variety and representation in personalities and instruments. Very often an example cited was merely one of many occurrences in the same solo, as well as only one solo by an individual who was/is prone to using the device in other, perhaps even all, of his solos. Since it is of vital importance that the reader comprehend the extent of the use of digital patterns by the jazz greats, so that he/she will simultaneously realize the importance of the study and acquisition of such patterns, let’s examine the numbers and percentages on one significant solo by a highly-regarded performer:John Coltrane on “Giant Steps”. Coltrane plays 13 solo choruses in all, each chorus being 16 measures in length. However, the figures presented here are based on the first 4 choruses only, which is sufficient for gleaning percentages. The digital pattern ‘read-out’ is as follows: pattern no. of occurrences 1235 15 5-6-7-9 (same as 1-2-3-5, but built on 5th) 2 53-21 3 9-7-6-5 (same as 5-3-2-1, but starts on 9th) 3 5-6-7-5 (same as 1-2-3-1, but begins on 5th) 2 7-9-8(1)-7 (same as 1-3-2-1, but begins on 7th) 1 3-123 1 3 sub-total 30 (16 1/2 measures) Though a little awkward to show digitally, the following 8-note pattern occurs 2 times, adding 2 more measures to the above total: The following 2-measure pattern occurs twice: CG” a fo b b,This brings the total number of measures that are taken up with digital patterns to 22 4, which, when divided by 64 total measures ( 4 X 16), yields 35%! If we subtract the 5 4 ‘measures worth of rests (to take breaths) from the total number of measures, the figure becomes nearly 40%. Either figure should be enough to convince the reader. It is also interesting to note that much of the remaining 60-65% is taken up with change-running substance (chord arpeggiation and scale fragments) and material closely-resembling digital patterns. SCALAR PATTERNS McCoy Tyner, piano (“I'm So Excited By You”) Fe 48. dulian “Cannonball” Adderley, alto saxophone (“The Way You Look Tonight”) >» b 49 (earlier in same solo) yp 5. Jimmy Blanton, bass (“Sophisticated Lady”) ape 4 Miles Davis, trumpet (“So What”) fF? 52,George Benson, guitar (“Billie’s Bounce”) fe 20 53. J.J. Johnson, trombone (“Out Of Nowhere”) o (a) (a) (r) 54, Art Farmer, trumpet (“Blue Bossa”) D fot cu 55, dim Hall, guitar (“You'd Be So Nice To Come Home To”) 6" * b 5%. J.J. Johnson, trombone (“I'll Remember April”) G-’ wu. John Coltrane, tenor saxophone (“Milestones”) Ae 58.Julian “Cannonball” Adderley, alto saxophone (“Milestones”) é- 3. J.J. Johnson, trombone (“Aquarius”) 4 (diminished seale) aiteleeetet eS &. Chick Corea, piano (“Windows”) (diminished Seale) “yw a. Clifford Brown, trumpet (“The Blues Walk”) ct (x) (¢") 62. Michael Brecker, tenor saxophone (“What Is This Thing Called Love”) ve AT (diminished seale) 63 Chick Corea, piano (“What Was”) DES (ahomatie. stale) et 64.Michael Brecker, tenor saxophone (“Spidit”) £7 (chromatic scale) 65. Ways To Practice/Ingrain Study and practice the illustrations (30-37) in all keys. Search for and/or invent more possibilities. Study, analyze and learn the examples from recorded solos (38-65), noticing the various ways the patterns are used (rhythmic variations, placing patterns on different notes of the scale or chord, metric shifts, polymetric variations, chromatic enhancement, series of same or similar patterns, different patterns woven together, accommodation of several successive chords with a single pattern, ‘outside’ or chromatic uses, etc.). As is the case with all items taken up in this book, practice the patterns in all keys, learn to alter them to fit different types of chords, play them with exercise tracks, and apply them to tunes. Exercises Digital Patterns cor continue Track A 86 ga co ga camtique Track B a, a= CHO" Doe continue Cocks Cand 1 (footnote) “ == Se CAortat FlyeF=" continue Packs D and I” (foatncte) ‘ae * Play-along Tracks I and J use chord durations of 4 beats, so in order to use those tracks with Exercises 68, 69, 72 and 73, ‘which are all 24eat examples, the player will have to leave the Sr and 4th beats of each measure vacant, counting two beats of rest.cay cantioue Track A ca 4 continue Track B 1. ra 7. = a CoecO? Feetct eontioae Packs D and T (foatnate). ‘8. r # 4 Teacks E (chramatia) and F (eyele’, 4, # eee Cota¢ 0-7 Tracks G and T (chromatic), and Hand T(cyele), ‘5 aS ce Canks I (chromatic) and T (oyele). 6. Q" e Tasks U (¢hioenatie) and V (eyele}. .Scalar Patterns co Tracks M (chromatic) and N (cyele). 8. pee See 0 Afacks Mi (ehiromatic) and N (eyele). 9. c-1 Aeacks A (chromatic) and Q (yee). a oaks Q (chrematia) and (eye). a C88 (Cdn. ble Aras W (ohm) ond X (atl). | &. ===: fe cot Tracks W (chomadia) and X (eyele). &. cA 2 racks M (chromatic) and N (aytle) &. ce Tacks M (clivomatia) and N (ayele). 85, Convert 84 and 85 to C-7 (C dorian) and C} (C dim. whole tone) using Tracks Q & R (for C-7) and Tracks W & X (for C'} ) ca : Packs M (elvamatic) and Ni (ayele). ape & == rl Convert 86 to C-7 (dorian) and C-4 (C ascending melodic minor), using Tracks Q & R (C-7) and O & P (C-4)9 | CHAPTER 3 7-3 RESOLUTION | (07 of I-7 to 3 of V7) | } Definition A resolution in music generally refers to smooth, graceful connections of successive chords in a progression. The term also implies that harmonic tension is being relieved. For example, the music of the renowned composer, J. S. Bach, frequently contains temporary dissonances (usually in the form of suspensions or appoggiaturas) which are relieved by moving (resolving) the dissonant note(s) to a nearby consonant position, thereby removing the tension, The most common formulae to evolve.out of such practice are what were referred to as the 4-3 and 9-8 suspensions or appoggiaturas, which should sound very familiar to the reader, though the theoretical reasons/formulae may not be understood. pP—s R P——s—Re 4—3 4 3 reparation (consonant) S = suspension (dissonant) R = resolution (consonant) The above example contains two 4-3 suspensions. The chord at the beginning is a C major chord with the fifth of the chord (G) on the bottom. On the third beat of the first measure, when the E moves to F, the chord is transformed to a G7 chord, except for the | top note (C), which creates a suspension on that beat, relieved on the next beat when the C resolves down to B (the 3rd of the G7). Since C is a 4th interval above G, we call this a 4-3 suspension. Note that the preparation and resolution (P and R) both need to be | consonant, with the point of suspension being the only dissonance. The first resolution, | then, in the above example, could also function as the preparation for another suspension (Bach sometimes built long chains of suspensions and appoggiaturas in this —{ manner).6 On the first two beats of the second measure, all notes are members of a C chord except the F, which is sustained against the C chord, then resolves on the third beat to E, resolving the suspension. Since F is a fourth interval above C, the second suspension is also a 4-3 suspension. The note D that appears briefly on the fourth beat (called a neighboring tone or returning tone) is merely a decoration added to make the ‘example even more familiar to the ear, often used to parody the musical style of J. S. Bach. Though a roundabout way to approach the definition of the 7-3 resolution, at least some light has been shed on the nature of a “resolution” and the notion that they are sometimes categorized in a numerical fashion (ie., 4-3 or 9-8). In jazz, the setting for the 73 resolution is most often a harmonic progression of II-7 to V7, though the setting is sometimes V7 to I. Unlike the Bach example, we are now simply concerned with the smooth connection (voice-leading) of two chords, especially with respect to melodic, rather than harmonic, implications. «The only difference between the suspension and the appogaiaturais that the latter doesn’t require the preparation or ‘tied’ entrance ofthe former.>» GI ¢ cA thot? Sof GT thf GT Se fC In the above examples, the 7-3 resolution is shown in both the II-7 to V7 setting and the V7 to I setting. In both situations the seventh (67) of the first chord resolves to the third (3) of the second chord, hence the 7-3 designation. In our study we will be focusing more on the II7-V7 melodic realizations than on the V7-I possibilities. Note that both the Bach- type example and the 7-3 examples have resolutions of a half-step down, yet Bach’s were called 4-3 instead of 7-3. This is because there is no suspension or appoggiatura, where the 4-3 takes place against a single chord. Our primary reason for utilizing the 7-3 resolution (besides the fact that it sounds logical and good) in improvised melodies is to increase our change-running efficiency. In change-running we saw that it was frequently the case that 4-7 notes were used to sound a single chord (arpeggiation). In the 7-3 resolution, we can use only 2 notes, yet imply two chords (1 note per chord)! Illustrations Play this example on keyboard or with another player (one on each part). Notice how complete and functional it sounds. Play it in various chord/key sequences, such as: pia ot Ft DG? eb" nh" r'e ecai Even without the bass notes, which provide chord roots, the principle continues to work, because we are so accustomed to hearing the device with the bass notes that our ear memory supplies the root sounds even when the roots are not being sounded by a player. Consider, for example, the melody of “Round Midnight” (Thelonious Monk), which uses 7-3 resolutions six times in the first eight bars. Five of them are shown in the following excerpt: | 4 eK Bde ta a et ai et rov-1 = 43 yesolution | Unquestionably the melody sounds more complete with the accompanying chords and | bass notes, but if the melody is played without accompaniment, the listener will sense the chord-types and chord sequences, as they are strongly implied by the structure of the melody, which utilizes both change-running (bars 3 and 5) and 7-3 resolutions (bars 4 and 5.6) Baritone saxophonist Gerry Mulligan led a quartet in the 50’s and 60's that did not include piano or guitar. Instead it consisted of baritone saxophone, trumpet (replaced by valve trombone when Bob Brookmeyer was a member of the group), bass, and drums. This keyboard-less instrumentation was fresh and unencumbered in sound, but it also presented a problem, one that Mulligan was well-equipped to solve (being a composer/arranger didn’t hurt). The trumpet could play the melody, the bassist could supply a bass line (mostly roots and fifths, but also scalar at times), and the drummer could function in his normal way. But what was Mulligan to play on a ‘single-line’ instrument that would close the harmonic gap between melody and bass line? A glance at the following example, the first six bars of the bridge (B section) of Mulligan’s “Line For Lyons”, will reveal that Mulligan made exclusive use of 7-3 resolutions.Notice that Mulligan melodicaly embellishes the 7-3 resolutions in the third and fifth Gee measures. Our task, then, is to explore the variety of ways in which the 7-3 resolution can be enhanced by melodic embellishment. Often the 3rd of the minor seventh chord will be pulled into the embellishment (along with the 7th, of course), since both the 3rd and 7th are crucial notes for determining or establishing chord-types. The following 95, examples both use the 3rd of the minor seventh chord to embellish the 7-3 resolutions: “Dansero” a" cl Fay 7 ee pt Art m. Counter-melody/ostinato to “The Continental” Ci G c" Examples From Recorded Solos Because the 7-3 resolution is such a natural, commonplace device, examples abound and they are very easy to recognize, especially if you are willing to search out the ones which are earlier or later than the exact point where the II-7 arrives at the V7 chord (there are many of those), the ones which are created by a soloist who changes the 9 dominant seventh (V7) into a II-7 to V7 cell, and the ones that are highly-decorated. When searching for examples, start by checking all points in the progression where a II-V progression exists (those are the easiest to locate). Sam Jones, bass (“It Could Happen To You”) ' a and later inthe solo, G7 C7 : a Dizzy Gillespie, trumpet (“Stardust”) 1 et a 34, ft 7 +George Benson, guitar (“Billie’s Bounce”) G7 c" 95. | | ‘Art Farmer, trumpet (“Blue Bossa”) 5 |. ee ar and later: FT a + Cliford Brown, trumpet (“Confirmation”) i Re ¢ 4 m1. Clifford Brown, trumpet (“The Blues Walk”) > Q $8. Kenny Dorham, trumpet (“Recordame”) Br’, et 9, Horace Silver, piano (“Gregory Is Here”) ae Yr 100.ey Charles (Charlie, “Yardbird,” “Bird”) Parker, alto saxophone (“Confirmation”) ce alt fot. Charles Parker, alto saxophone (“Yardbird Suite”) eg! 402. Sonny Rollins, tenor saxophone (“Airegin”) cc" ¢7 103. Numbers can be convincing, so it should be of interest to learn that Parker used fifteen 7:3 resolutions in his two solo choruses on “Confirmation”. On “Eternal Triangle”, Sonny Rollins used thirty-one 7-3 resolutions in his five choruses, and Sonny Stitt played sixteen 7-3 resolutions in his eight choruses. Ways to Practice/Ingrain Study the preceding examples given here (93-103). Learn to play them in all keys, then practice them with exercise tracks and tunes on play-alongs that contain a large number of IV cells. When using play-alongs that are in stereo, with bass on one channel and piano on the other, try turning off the piano channel, giving you the opportunity to test your effectiveness with using 7-3 resolutions without chordal accompaniment. Try improvising with no accompaniment, also, using the 7-3 resolutions to help you to hear the progression.| | } t | Exercises Use Track Z for all of the following. ct e? Bp" eb 14. } he? _ BI A" continue eo oo era eo fe" Bit a contique Oy f a conte eo f" a" a _contive wt. Bete ct a Be ev continue a a continue,CHAPTER 4 3-b9 ' Definition 3-69 refers to melodic motion from the 3rd of a dominant seventh chord to the flatted 9th of the same chord, an extremely common occurrence in improvised solos. Sometimes the soloist will move from the 3rd up to the b9, sometimes from the 3rd down to the 49. Illustrations a, ¢ 32 ort 7 110. Sometimes the soloist will leap (skip) from the 3rd to the 9, other times he/she will ‘fill: in’ the gap with other notes from the chord or scale: o yn er ” i: 3 or: 3 or: ‘mM, $ ¢ ——— = Some of the devices presented in this book connect easily to one or more other devices, so that in analysis, we frequently encounter very brief phrases that will contain several devices that are in quick succession, interlocking/overlapping, or simultaneous. The 7-3 resolution and 3-49 present our first opportunity to observe that potential (there will be other combinations discussed and observed later in the study). The 7-3 resolution, by definition, ends on the 3rd of the dominant chord. Therefore that 3rd could now proceed to the 19, causing the two devices to overlap, with the 3rd serving as both the resolution tone of the 7-3 and the beginning of the 3-19: on o oo a al aa I-3 ort He.2 Experience has taught this author that the most effective illustrations we encounter in the learning process are those which are the most familiar, so that we can associate the definition with something already known. For example, a major triad’s structure and sound can be quickly communicated by relating it to the first five notes of our national anthem, and the 1-2-3-5 pattern can be related to the first four notes of “The Tennessee Waltz” (especially in this author’s neck of the woods!): fa 1 3 Ff 80) Therefore the best illustrations of the 3-19 device, for the learning jazz musician, are more likely to be contained in melodies to widely-known jazz compositions, which we hear and play more often than the content of recorded solos, though both are needed. Hence the following examples should prove useful. Measure #8 of “Billie's Bounce” (Charles Parker) eo, ae 113. Measures #14-16 of “Ornithology” (Charles Parker) fom Ys tit.Measure #7 of “Thriving From A Riff’/"Anthropology” (Charles Parker) Gon 15. Measures #2-3, 12, 16, and 29 of “Donna Lee” (Charles Parker) po e een f fs Ma. z — neg manne oy Measures #8 and 10 of “Mayreh” (Horace Silver) 7 - mos Dy nae A 2 ft, Measure #26 of “Dig” (Miles Davis) c 4 118. Measure #3 of “Doxy” (Sonny Rollins) Cn + mm ® § sear :Scott LaFaro, bass (“Nardis”) BR 3 1, Jim Hall, guitar (“You'd Be So Nice To Come Home To”) Ab yih 3 Examples From Recorded Solos Ray Brown, bass (“Blues For Basie”) "o> aoe o =e ttt. Slide Hampton, trombone (“Moontrane”) Y - 3 1B. | | | | | Charles Parker, alto saxophone (“Moose The Mooche”) - y ‘ G4Charles Parker, alto saxophone (“K.C. Blues”) Qo 3 125, Phil Woods, alto saxophone (“Airegin”) ° ah oD 126, McCoy Tyner, piano (“Birdlike”) Ff y ba fat, Bill Evans, piano (“Israel”, 1970 recording) c Lal 3 08. Bill Evans, piano (“I Hear A Rhapsody”) " " " GQ hn ¢ in F a 19. Freddie Hubbard, trumpet (“Up Jumped Spring”)a1 Lee Morgan, trumpet (“Most Like Lee”) e a " 3 " ‘at. Hank Mobley, tenor saxophone (“Nica’s Dream”) c 3 904 ‘tha. ot Sonny Rollins, tenor saxophone (“I Know That You Know”) y 3 183, Sonny Stitt, tenor saxophone (“By Accident”) v y rl 4 1. = Also review examples 97, 101, and 102 in the 7-3 resolution section of this book, as they are examples of 7-3 resolutions that connect with 3-b9 patterns. Ways to Practice/Ingrain Study the foregoing examples. Play them in all keys. Practice them in logical sequences, especially the cycle of fifths. The harmonic settings that are most appropriate are dominant seventh chords, dominant seventh chords moving around the cycle of fifths, IL-7 to V7 cells moving downward in whole steps, and II? to V7 (alt.) moving downward in whole steps. Find play-along tunes and exercise tracks with which to practice the 3-49 device.y pet gt et ow ro @ a Exercises , " Ceth e a) a ie Yond AAT | | Boe mom tte | | c ie aro continue “Track Y. | eo fF se continue Track AA’ a 7 » Be continue, ack BB 18. Abe PU Gh B 7 the letters ofthe root sequence for Track AA isthe same as that for Track Y (C, F, Bb, Eb, Ab, etc). The only dilference is that AA uses half diminished chords(@)in place of minor seventh chords (7) and altered dominant in place ofthe unaltered dominants (7) 1 +. sine wi probaly be necessary forte ayer to change rejtrsratherequety on #88, the change can ocur on | the last 8th note (C# in this example) or wait until the 2nd note of the next bar, dropping down to the F (in this particular key). The latter would make for a smaller interval to execute, but the former causes the arpeggiation of the dominant (B 5) to be entirely ascending. Either can be used, effectively.CHAPTER 5 BEBOP SCALE Definition A.common scale (major, dorian, or mixolydian, usually) that has one specific chromatic tone (non-harmonic) added, causing the scale to have eight notes, rather than the usual seven, The discovery of the scale’s existence in improvised solos, as well as the designated term for the scale, are credited to David Baker, who has written much about the scale and its use in HOW TO PLAY BEBOP? The development of the scale, historically, came about as a result of the need to use an eight-note scale, instead of a seven-note scale, in order to fit a 4/4 time signature (which can be consumed by 8 eighth- notes). In other words, the bebop scale will equal four beats, instead of the three and one-half beats that result from using a seven-note scale. The added chromatic note in the major scale is the half-step between the fifth and sixth degrees of the scale. In the dorian scale, the added note is the half-step between the third and fourth degree, and in the mixolydian scale it’s the half-step between the seventh degree and the octave of the first degree. C mejor bebop (C4) C dorian beep (c*) C mivolydan bebop (C1) _ + = Two surprising facts emerge when studying the bebop scale: (1) the added chromatic note, with respect its specificity, is 99.4% consistent with what we find in analyzing transcribed solos; and (2) the added note, in the case of the dorian and mixolydian, is the perfect anachronism to the chord quality with which it is used; that is, a major third against a minor seventh chord or a major seventh against a dominant seventh are precisely the notes we generally consider to be contrary to the chord quality. Though Baker claims the scale originates with bebop players of the likes of Charles Parker and Dizzy Gillespie in the mid-forties, there were, to be certain, much earlier precedents. To cite one well-known example, consider the typical introduction of the march: c *- see Bibliography, page 142To cite another example, Louis Armstrong played the following phrase in 1927 on “Hotter Than That”: e b, Nonetheless, Baker is perfectly accurate in saying that the intensified use of the bebop scale begins in the Bebop Era (1940-1950) of jazz. It is important to understand that a player's use of the bebop scale need not include only those phrases in which the entire scale is played. A very brief phrase, say 3-4 notes, which includes the designated chromatic note is already implying bebop scale use. Because of the nature of the scale and the examples used to define the scale here, we will dispense with the customary illustrations and move on to recorded examples. Examples From Recorded Solos John Coltrane, tenor saxophone (“Giant Steps”) og my £ ples 188, fee McCoy Tyner, piano (“Birdlike”) ry 140. Bill Evans, piano (“I Love You”) fe tt.John Coltrane, tenor saxophone (“Countdown”) (in all this bebop scale pattern occurs 21 times during Coltrane’s 8-chorus solo on this 16-bar tune) ee @ + 14. John Coltrane, tenor saxophone (“Countdown”) g ce + 1a. Michael Brecker, tenor saxophone (“Freight Trane”) » e ie 4. Sonny Rollins, tenor saxophone (“I Know That You Know”) pe + 145. Sonny Stitt, tenor saxophone (“Eternal Triangle”) ry, @ 146.Randy Brecker, trumpet (“Gregory Is Here”) » + 141, é Dizzy Gillespie, trumpet (“Hot House”) a” + 148. Freddie Hubbard, trumpet (“It’s You Or No One”) fr 149. Blue Mitchell, trumpet (“Silver’s Serenade”) ge + 150. J.J. Johnson, trombone (“Tune Up”) Ff + 151,Ray Brown, bass (“Blues For Basie”) ¢ _ 152. Paul Chambers, bass (“This Can’t Be Love”) (art) f" Be oe 153,Exercises 89 ct we rack Miche) conte 154, = then move aroond the cycle of fifths (4fack N) b va . 7 ack M(¢htat) conticue 46 455, | Allso practice. in cycle of fifths (Tack N) | | ct ye tack M(chron) continue. | 156, i | Also play around cycle (47ack N) ' ce a hoe Sack Mice) toate 151. ‘then play around eycle (rack N) ‘ | CT (or Gt) We A") Aedes i koe | 158. | = then play as eycle (fucks Vand R*) { ‘Remember, when practicing 158-163 with Tracks Q and, that those tracks willbegin on C-7, not G-7(as shown here),sothe first note of 158, for example, wll be F, rather than C.Aces WO C (or G*) (or Ah") continue 159, Now practice. around cycle (ffacks V4R) Arecks WO Ch 6") > (or A) continue Now practice around cycle (racks V # 2) C* (or 0°") Yor") oo ‘et. Now practice as cycle (Packs VR) Cae Ge" bY foe be Arcks \RO- CT (ar Gr") DW" oh") naw Now practice as cycle (racks V& R) Mocks WO continue, (or) DW (or A") Now practice as cycle (Aracks VER)CHAPTER 6 BEBOP LICK Definition The bebop lick is a specific melodic phrase, generally taking place on dominant seventh and minor seventh chords, and closely related to the bebop scale, using a Portion of that scale in its structure. As in the case of most of the devices contained in this book, the bebop lick evolved naturally, in the historical sense, not being studied or taught until recent years. Once again, David Baker was responsible for its discovery, name, and use, through his careful analysis of many improvised solos from the Bebop Era forward. The most typical form of the bebop lick is: C" (0 >") + —— Other, nearly related forms, of the melody are: Cr 6") + _ + = ie as of SS on: or: Once again, because of the specific nature of the bebop lick, we will dispense with theoretically created illustrations and move on to recorded examples. Examples From Recorded Solos McCoy Tyner, piano (“Birdlike”) ft cee ge 164.