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.| | | a Charles Parker, alto saxophone (“Au Privave”) Julian “Cannonball” Adderley, alto saxophone (“Green Dolphin Street”) py OF 166. Julian “Cannonball” Adderley, alto saxophone (“Straight, No Chaser”) f- gr’ be phe lee ie. ee => Phil Woods, alto saxophone (““Airegin”) » =e 168, Chet Baker, trumpet (“Autumn Leaves”) ct e rece eg meeeRandy Brecker, trumpet (“Gregory Is Here”) Dizzy Gillespie, trumpet (“Hot House”) ar —___, tH, Lee Morgan, trumpet (“Speed Ball”) Ca a ebe 72. Fond (ders Clark Terry, flugelhorn/trumpet (‘“Straight, No Chaser”) Yr G —— 118, Clifford Brown, trumpet (“Pent-Up House”) ce ar 1%, and later: 3118. George Coleman, tenor saxophone (“Maiden Voyage”) 3% eu t -— uu) 115, Sonny Rollins, tenor saxophone (“Eternal Triangle”) Sonny Stitt, tenor saxophone (“By Accident”) q —_;, I a, eee Ways to Practice/Ingrain The bebop lick is an easily acquired item, due to its brevity and simplicity of structure. It is nonetheless a valuable addition to the player's style. Be sure to learn ways to integrate the lick into linear substance as well. Note that many of the examples given here weave the bebop lick into an ongoing line, preceded and left by non-bebop lick substance. Begin, however, by learning the lick (motive) in its isolated form, against exercise tracks and tunes which have a preponderance of minor seventh chords and dominant seventh chords. Another interesting way to apply the bebop lick against dominant seventh chords is to use it as a means of playing tri-tone substitutions (or altered dominants), an element that will be taken up later in this book: ey +4, ¢ (or Ge) continue Mack shan around cycle (fad V) then with LV (fuck Z)Exercises Co (ar Pree ete a hen wd ele a 19, = fe C7 (oe “ee hy cutie Yu Lhe rand age cs w Serres Sheet c e 7 e continue Pack Y ” c (ing Cis GP) Cinplies Fs o 3) continue tack 182, . +4 c a. implies Dis or 6 contina. faek U 183. Cc Ff continue ‘fack BB45 CHAPTER 7 HARMONIC GENERALIZATION Definition Harmonic generalization occurs when an improviser chooses one scale to accommodate two or more chords of a progression. Illustrations The simplest illustration of harmonic generalization is the use of the tonic (I) major scale against chords which call for a derivative of that major scale. For example, a D-7 chord (II of C) is usually interpreted with a D dorian scale, which is a C major scale that is re-circulated from D (D, E, F, G, A, B, C,D). A G7 chord uses, among other possibilities, a G mixolydian scale, which again, is a C major scale beginning on G. Hence a progression of D-7, G7, C4 could be realized by simply playing a C major scale or a pattern on that scale (especially non-terminal patterns). There won't be any ‘wrong’ notes, though the emphasis of particular scale degrees may not always be in accordance with the particular chord of the moment. This same principle could be used to accommodate other chords in the key of C, such as F4, E-7, A-7, and B®. ‘Another approach to harmonic generalization would be to use a pentatonic scale, which by definition has only five notes. This reduces the risk of colliding pitches and opens up the possibility of searching for notes that are common to several successive chords. For example, a C pentatonic scale (C, D, E, G, A) will fit C4, F4, Bb(+4), A-7, D-7, G-7, C7, G7(sus. 4), D7(sus. 4), and a Gb7 (+5, b9) with not one colliding (‘wrong’) note! Therefore, if the improviser encounters two or more adjacent chords in a progression that are from the foregoing list of ten chords, one pentatonic will accommodate them. Still another means of achieving harmonic generalization is to use the blues scale over a section of a tune. Because we are accustomed to hearing a single blues scale over the various chords of a blues, that phenomenon can be transferred to other, non-blues progressions. Charles Parker favored using the blues scale over the last four measures of the ‘A’ sections of “I Got Rhythm” (“Rhythm Changes”), though there are 4-8 different chords transpiring during those four measures (depending upon the particular variation of progression that is being used). Other types of harmonic generation are engendered by fast tempos, short chord durations, and complex chord structures. The most common of these is the improviser’s use of the harmonic minor scale of the tonic (I) to accommodate the II-V-I progression in a minor key. Now we have encountered a form of harmonic generalization in which there are colliding notes. Alll three of the chords of the IL-V-l ina minor key require different scales (unlike the II-V-1 in major): ug V7 (+5, +9) IL locrian, or diminished-whole tone, or ascending melodic. locrian #2, or Iydian augmented from the minor, or harmonic Iydian augmented major 3rd minor, or dorian, or from the b5 Iydian augmented from the 68Hence a comparison between a single harmonic minor scale and what has been rendered in the above listing would yield the following results (collision tones are symbolized by +) +4 y Gls c Correct Seales C harm. minor e Now before the reader jumps to the conclusion that this sort of harmonic generalization is ill-advised, understand that it does work, though less than ideal and risky to use, for a certainty. The three considerations that make it a modified success are: (1) most II-V-I progressions in minor transpire about twice as quickly (shorter chord durations) as their major counterpart; (2) although each of the three chords requires a different scale, the sum total of the effect on the hearer is a minor key; and (3) most players instinctively avoid the collision tones, perhaps because their ears warn them in advance of the potential danger. Closely related to the foregoing type of harmonic generalization, still another variation comes about when an improviser combines the II and V chords in a minor key (but not the I chord) under a single diminished scale. Again, there are collision tones present, but it can and does work, especially in the hands of the more capable improviser. a che correct scales dim. Sealea Examples From Recorded Solos Chet Baker, trumpet (“Autumn Leaves”) ad AY (Charm. min) AP (Charm nin) Ds 185, a and leter: Art Farmer, trumpet (“Blue Bossa”) eb (Damm) le Yr 1i6. Freddie Hubbard, trumpet (“Clarence’s Place”) +4 Bes (Ghorm.miny) — G™ Charles Parker, alto saxophone (“Anthropology”) G! (Gmgor see) of Joe Henderson, tenor saxophone (“Song For My Father”) (G blues scale) Yr oe ev aaHank Mobley, tenor saxophone (“Remember”) a (dim sale) Me 190. Sonny Stitt, tenor saxophone (“Eternal Triangle”) A dim. seale) iy ) a rg fe Sonny Stitt, tenor saxophone (“By Accident”) F" (A dim, seale) ee 192. Keith Jarrett, piano (“Forest Flower”) €¥° (tar pentatonic) in a 193, z Though too lengthy to reprint in this study, the reader is encouraged to investigate transcriptions of Randy Brecker (trumpet) on Horace Silver's recording of “Liberated Brother”, and Stanley Turrentine (tenor saxophone) on his recording of “Sugar.” Both are excellent examples of harmonic generalizations that use the blues scale almost exclusively over their entire solo lengths. Ways to Practice/Ingrain It’s difficult for this author to suggest the seeming ‘cop-out’ of learning to play harmonic generalizations. Most students have the opposite problem, namely that of learning to be thorough with working up the ‘correct’ scales for every situation. Nonetheless, it’s also important to learn ‘fudging’ short cuts for those times when it is truly unreasonable to dootherwise. In time, harmonic generalization may become, rather than a ‘cop-out’, an effective option to smooth out a solo, or break the monotony of ‘making all the changes’, especially in long solos on fast-moving chord progressions. In using play-alongs, while practicing harmonic generalization, it will be noticed that one has to play against the grain; that is, the play-along rhythm section can’t hear you, can’t accommodate the way you're playing, and will continue to play the regular progression, of course. This can be very distracting, in the case of the student who is trying to learn to use harmonic generalization. A good, live rhythm section would probably change their approach as they become aware of what you're attempting, which makes it easier for you. Yet it is good training for the young improviser to learn to play against the grain, being a challenge for the ears. Furthermore a less-than-good live rhythm section may not understand what you're attempting, so that you may have to play against the grain even more strenuously than what was necessary with the play-alongs! Learn to recognize particular chord successions in which a change of scale is unnecessary. Chords which simply move diatonically (i.e., C, D-7, E-7, F, etc.), are easy to spot and are prime targets for harmonic generalization. The progression of G-7 to Bb major (as in the second and third chords of Chick Corea’s “500 Miles High”) use the same scale. A- to F## (also in “500 Miles High”) doesn’t require a change of scale, nor does C- to B7(+5, +9), the last two chords of the same tune. The two-chord vamp/ostinato of C- to Db maj. (+4), or Db maj. (+4) to C-, can both be realized with an Eb major pentatonic scale. That combination of chords is used at the beginning of Wayne Shorter’s “Speak No Evil” and the beginning of Chick Corea’s “What Was.” Re-read the illustrations of this section for more examples of opportunities for harmonic generalization. Exercises Using Track CC, improvise over the II¥ -V7(+5, +9) -I-4 progression, using only notes from the scales shown in Exercises 194-195. + it ce fls a a ee ae continue Mack CC 194 Z ro LC Harmonie minor) | L_(@b Harmonie minor)___] oo at oak 195. e L. (c aiminished) ILL (gh ase melodiewina) IL. (a diminished) —_] ab-* be continue “ack CC L. (AP ase. melodie tninor) }CHAPTER 8 ENCLOSURE Definition An enclosure is a linear or melodic device in which an object note is approached by both the upper and lower leading tones. The object note is the eventual note aimed for by the improviser. An upper leading tone is one-half step above that object note and the lower leading tone is one-half step below the object note. An enclosure is, then: UPPER LEADING TONE — LOWER LEADING TONE — OBJECT TONE Illustrations In notation, the classic enclosure would be: pees cbject mote (note. af chord’) 4 = In the strictest sense, the following are close to being an enclosure, but are not, though the person who analyzes solos will frequently encounter them: Enclosures, however, are often decorated/embellished, causing the device to be of a length greater than three notes, especially the following example: YT snus ittote It was mentioned earlier in the book that sometimes elements of the jazz language carry the potential for being quickly successive, overlapping, and/or interlocking. The following example combines six elements in one 2-measure phrase! (The element “CESH” will be taken up a little later in the book.) - é” 3 cesH robebop seale /riek inelosure Se. wdExamples From Recorded Solos George Benson, guitar (“Billie’s Bounce”) ay" iceameteT Louis Armstrong, trumpet (“Hotter Than That”) fe Yr —— fot. Dizzy Gillespie, trumpet (“Hot House”) # is r— Tom Harrell, trumpet (“Adjustment”) 0 wW" ra) — 99. Booker Little, trumpet (“You Stepped Out of a Dream”) @ cf —. 200. 51Lee Morgan, trumpet (“Sidewinder”) 6" 201. Fats Navarro, trumpet (“Ladybird”) » eb" 3» —— 202. Wayne Shorter, tenor saxophone (“Gingerbread Boy”) Q — 0 203. Hank Mobley, tenor saxophone (“This | Dig Of You”) Q 204. Sonny Rollins, tenor saxophone (“Airegin”) ¢@ 205. Stanley Turrentine, tenor saxophone (“Sugar”) ef"Oscar Pettiford, bass (“Tricotism”) eb > 20", Paul Chambers, bass (“Blue Spring”) f rl 208. Chick Corea, piano (“Matrix”) cn ~— 209. Bill Evans, piano (“I Love You”) fe ——ee ‘U0. Charles Parker, alto saxophone (“Confirmation”) at é ee! ot. Charles Parker, alto saxophone (“Yardbird Suite”) y en _ 2. cand 12 bors later: a 5354 Rollins used the example shown here (205) a total of five times in his solo on “Airegin”. Clifford Brown used thirty-five enclosures in his four-chorus solo on “Confirmation”, and Clark Terry used seventeen enclosures in his seven blues choruses on “Straight, No Chaser”, four of them transpiring in the first chorus. | To give the reader a better notion, with respect to the frequency of enclosures, Sonny | i | Ways to Practice/Ingrain As was the case with the bebop scale, the best way to learn the enclosure would be to. study Baker's HOW TO PLAY BEBOP, which has many examples and suggestions for practice. Exercises ch py DP conieue ack é 213, Ct wet fol 2 uit 214, Then convert 213 to minor chords, practicing with Tracks G & I. Convert 214 to minor and practice with Tracks H & J. CH (or Ct) D* (or BY) conte fucks MAU 215. C8 for C*) #4 (ee Ft) conta Macks WH 216, C8 caret) word cote Aes Mu 20, C8 (ae C1) 4 car F) conkwe fla NOV 218. Now convert 217 to minor and practice with Tracks O & Q. Convert 218 to minor and practice with Tracks P & R.55 CHAPTER 9 SEQUENCE Definition ‘A sequence occurs when a melodic fragment is immediately followed by one or more variations on that same fragment. The practice of using sequences in music, be it written or improvised, is both natural and learned. It is natural in the sense that once the ear has experienced a new motive, we tend to want to hear it again, either in a precise repetition or in a variation. Improvisers, songwriters, and classical composers study the multifarious techniques of variation, which generally leads to sequences, as a means of providing cohesion to their creative outpourings. Even if they don’t study those techniques, however, sequences are a natural tendency. Perhaps more than any other element taken up in this book, the sequence is appropriate to the definition of the jazz language. Items such as digital patterns, 73 resolutions, 3-19, enclosures, etc., are like letters and words of the language, whereas sequences are more like complete thoughts, sentences, and chains of thought. And sequences consume more space in music, as some sort of repetition is employed. It is the practice of using sequences that also lends much-needed communication with the listener, who perceives, even predicts, such occurrences. ‘The motives used for sequences may be long or short, and they may be melodic, rhythmic, harmonic, or based on a provocative interval. Sometimes the sequential occurrence of the motive is simple and transparent. Other times it may be heavily- decorated and disguised, perhaps escaping the conscious awareness of the listener, but it is nevertheless sensed in some subtle way. Examples From Recorded Solos J.J. Johnson, trombone (“Out Of Nowhere”) n a56 J.J. Johnson, trombone (“’ll Remember April”) G4, Slide Hampton, trombone (“Moontrane”) mM ay) eo oe Te . fy 2at, dimmy Blanton, bass (“Body and Soul”) a 8 ae 2, SSR E Slam Stewart, bass (“Just You, Just Me”) eve gh _ fe 30? | 228, Scott LaFaro, bass (“Nardis”) i Qe" ea e eo y 224, Stanley Clarke, bass (“500 Miles High”) & & 225.Miles Davis, trumpet (“So What”) 7 206, Clifford Brown, trumpet (“Pent-up House”) EB e a. Woody Shaw, trumpet (“Child’s Dance”) ee" eb" 208. z eo qv eb Kenny Dorham, trumpet (“Recordame”) e ce 209. gp" eo" aps ay" ae a" a" aye A"58 Dizzy Gillespie, trumpet (“Hot House”) nt r eo 230. eb a Freddie Hubbard, trumpet (“Sky Dive”) os ai 2, Charles Parker, alto saxophone (“An Oscar For Treadwell”) cr a 232, Joe Zawinul, piano (“Eurydice”) 233, Horace Silver, piano (“Gregory Is Here”) Bes ec 234, and later in Same sola: 6 BI B44 yChick Corea, piano (“What Was”) John Coltrane, tenor saxophone (“Trane’s Slo Blues”) ¢ ct Joe Henderson, tenor saxophone(“Song For My Father”) a ft at. e v G Joe Henderson, tenor saxophone (“No Me Esqueca/“Recordame”) ea at co et 248, be GeThough virtually all improvisers employ sequences in their solos, some players are inclined toward using them very consistently throughout all of their solos. Players to be investigated from the latter category should include J. J. Johnson, Joe Henderson, Kenny Dorham, Horace Silver, Randy Brecker, Wes Montgomery, and Bill Evans, among others. Ways To Practice/Ingrain The first and most crucial need to be met is the acquired ability to play any motive or short melody in any key and with any chord-type. The successful realization of melodies in sequences is absolutely dependent upon that ability to spontaneously adapt melodies to fit any situation. Practice playing melodies to jazz tunes in all twelve keys. Play all learned, borrowed, or invented motives in all keys. Learn to slightly alter them to fit different chord-types. Practice playing a single motive and its variations throughout complete chord progressions to tunes. Try to vary the rhythms somewhat and add or delete notes here and there, to maintain a balance between the expected and the unexpected. Study the examples from recorded solos given here, noticing the various ways in which the sequences are handled. Sometimes you'll notice that the soloist simply transposed the motive to a different key (see 222, 223, 231, and 238), other times the motive remained the same (same notes) but against a different chord that had those notes in common with the first chord (see 235), and some remained unchanged with respect to pitches but were rhythmically altered (see 233). In example 232, Parker retained the basic shape of the phrase, began each of the sequences on the same note (G+), though the chords were changing and began each successive G# a half-beat earlier. In #219, J.J. Johnson uses a very short motive (two notes) and astutely alters the motive to fit the sharply contrasting chords (G major - Bb minor - G major). This author's favorite examples are 229 and 230. Dorham’s poigniant note choices for the motive and the rhythmic variety contained in the sequences make it a superbly artistic example. Gillespie's motive (based on the given melody of “Hot House”) is highly chromatic and complex, yet he weaves it masterfully through contrasting and rather difficult chord-types. There are many other lessons to be learned from studying all of the examples, and the reader should seek many more examples in transcribed solos. Exercises Because of the unspecific nature of the motives that might be used for sequences (such motives might be based on patterns, intervals, melodies, etc.) and because ‘sequences often lie at the creative heart of improvised solos, it would be inappropriate to assign specific motives for practice. In a sense, all exercises given up to this point have been presented as sequences, in that they have been placed into sequential, repetitive sequences (chromatic and cycle motions), which has unquestionably caused the reader to be confronted with placing a given motive into all 12 keys, even transforming them to become another chord-type (i.e., changing a pattern that was first presented as a major chord idea into a minor chord version). Nevertheless, it would be helpful at this point to begin collecting original motives, examining each for its potential flexibility to fit various chord-types, learning to play them in 12 keys, practicing them with appropriate play-along exercise tracks that accommodate the various chord-types and durations, and then try using each in actual tunes (pethaps on published play-along tunes at first) as sequences. Review the examples from recorded solos (219-238), noting the melodic and rhythmic variations employed in those examples of sequences.a CHAPTER 10 CESH (pronounced “Kesh”) Definition The word comes from the initials of Contrapuntal Elaboration of Static Harmony. Though the term sounds like an unlikely prospect for the jazz language, it is a very widely-used device. “Static harmony” indicates that a single chord remains in place throughout the CESH. “Contrapuntal elaboration” indicates that one member of the chord is in motion. There are four varieties of CESH, illustrated below: Illustrations IN MINOR, WITH THE ROOT IN MOTION ¢ 239, 1 1 oT 6 IN MINOR, WITH THE FIFTH IN MOTION G- +5 6 as 240. IN MAJOR, WITH THE ROOT IN MOTION & Mt, a 1 oT 6 IN MAJOR, WITH THE FIFTH IN MOTION @ 5 +5 6 3,0 242.e If the reader will play these on a keyboard instrument, each example should sound extremely familiar, bringing to mind a multitude of songs and improvised solo fragments that have made use of CESH. Of the four varieties, the most common one by far is #239 (in minor, with the root in motion), and that is the type upon which we will focus for this segment. Sometimes an improviser will render an incomplete CESH; that is, play a CESH, but not to the full extension shown in the illustration. At other times the player will decorate or embellish a CESH to the point that the novice may have difficulty recognizing it as such. Since the melodies to jazz tunes may be even more familiar to the reader than the examples taken from solos, here are a few excerpts from the jazz repertoire."! “Groovin’ High” (Gillespie), 3rd measure (also occurs in the 7th and 11th bars): ay () 6 “Tenor Madness” (Rollins), 9th measure: 1 7 . 1 Na I “Bee-Bop” (Gillespie), beginning of introduction: e- or 245. §!-alengthy isting of standard tunes andjazz tunes which use CESH as part oftheir chord progressions is given on pp. 43-44 of JAZZ KEYBOARD (Coker)“Confirmation” (Parker), beginning of bridge/B section: ce 1 4 wn 246. + “Billie’s Bounce” (Parker), 9th measure: 6 (c’) 44 oT 6 “Omithology” (Parker), 7th measure (this same melodic fragment also appears in the last two measures of the bridge of Parker’s “Thriving From A Riff’/”Anthropology”). (a) 14 be 248, The supposed harmonic setting for a CESH to take place is a minor chord of long duration. However, the examples from recorded solos will reveal that improvisers will also use CESH on II-7 chords, V7 chords (the minor CESH will actually be built on the fifth of the V7, as in G - on a C7), or the IV in combination.Examples From Recorded Solos Bill Evans, piano (“Israel”) a" (c) 1 6 249. George Coleman, tenor saxophone (“Maiden Voyage”) er in 6 250. Hank Mobley, tenor saxophone (“Remember”) (A) cr) 251, Sonny Stitt, tenor saxophone (“After Hours”) ce" (#4) 7 44 bn 6 252, Stanley Turrentine, tenor saxophone (“Cherry Point”) = 4 1 La 253,John Coltrane, tenor saxophone (“Blue Train”) Ar bet tl the sft npr fote Wont : 254, f Sa ey Julian “Cannonball” Adderley, alto saxophone (“The Way You Look Tonight”) cn aout Y. 255. Charles Parker, alto saxophone (“K.C. Blues”) Clifford Brown, trumpet (“Pent-Up House”) (cy roid ie 25", Kenny Dorham, trumpet (“Blue Bossa”) al , @h) 16 258. Kenny Dotham, trumpet (“Woody n’ You”) a" on 1 4 Ww 259,Tom Harrell, trumpet (“Adjustment”) BH (Ft) eve 4 6 260. Freddie Hubbard, trumpet (“It’s You Or No One”) r 4a @) we 261. Lee Morgan, trumpet (“Sidewinder”) ee" ae) oy 6 262. Fats Navarro, trumpet (“Barry’s Bop”) ee 4 4 ca") a] 263, J.J. Johnson, trombone (“I'll Remember April”) - ) re 1 |W i 264. Paul Chambers, bass (‘This Can’t Be Love”) oe") on 6 265.67 Paul Chambers, bass (“The Theme”) CW) aa nm 6 266, John Scofield, guitar (“Fresh Out”) the 1, on 261. Ways To Practice/Ingrain CESH is a harmonic element and therefore has no specific way to be realized melodically. Studying the examples from solos will show that there are some specific melodic tendencies that are shared by various improvisers, and those should be learned. However, there is also quite a variety of ways to express a CESH device included in the examples, and those should suffice to stimulate the reader's imagination as to the endless possibilities. A starter list of CESH patterns to be practiced in all keys with play-along exercises and tunes follows. Exercises > _ continue - Use “tacks 0#Q (chrom), 268. tert = then PER (gle) for + tt Exercises + Om oi " h 6 continue. Cos abt 6 continue. continue,CHAPTER 11 QUOTES Definition Quote is a term used to label a phrase which comes from a known tune. It can take place at any moment when the chord or progression cell of the tune being improvised agrees with the harmonic setting in which the phrase originally occurred. Most often a quote is a humorous interjection in an improvised solo, bordering on the ridiculous, but nonetheless very communicative, as the hearer usually knows the tune being quoted and the humorous implications are appreciated. At other times the quote happens somewhat by accident, when in the middle of an improvised solo the player plays several successive notes which coincide with the notes of a familiar melody. The improviser’s mind/ear is then reminded of the familiar tune that uses the same notes and proceeds to complete the melody as a quote. Nearly all improvisers use quotes in their solos, but some players use them to an exaggerated degree. One such player is Horace Silver, who not only uses quotes in his solos, but even works them into his compositions. Illustration Composed melody of “Quicksilver” (Horace Silver) in the 13th measure (quote comes from the old standard tune, “Oh You Beautiful Doll”) es e ar" (er) ana. When analyzing solos, one can also expect to encounter a number of partial or implied quotes, in which the analyzer cannot be entirely certain that the improviser intended or stumbled into a quote. Even if we were to have the rare opportunity to interview the player to confirm or deny a possible quote, it is doubtful that the moment in time could be recreated substantially enough for the player to render the answer. Examples From Recorded Solos The examples given here will focus on quotes which come from other known melodies. However, the reader should be advised that there are two other varieties of quotes extant in recorded improvised solos; (1) quotes from the melody of the tune being played at the moment; and (2) quotes from well-known solos by influential jazz artists. Horace Silver, piano (“Silver’s Serenade”) quote from: “I Love You” 213,(later in same solo) quote from: “Honeysuckle Rose” am. et Horace Silver, piano (“Nica’s Dream”) quote from: “Down By The Riverside” eb" qy" ys (e") 5. a ay" yw! Horace Silver, piano (“Gregory Is Here”) quote from: Prelude in A Major, Op. 28, No. 7 (Chopin) ao ar » 216. Bill Evans, piano (“I Love You”) quote from: “March Of The Grenadiers” Fa Sola Brak - - - === @ om,Charles Parker, alto saxophone (“Anthropology”) quote from: “Honey” a ane 218. (later in same solo) quote from:”Tenderly”®, BR bey ey 219, Julian “CannonballAdderley, alto saxophone (“The Weaver”) quote from: “Sippin’ At Bells” Y¥ a 280. Julian “Cannonball” Adderley, alto saxophone (“Milestones”) quote from: “Fascinatin’ Rhythm” e-" 28. Clifford Brown, trumpet (“Blues Walk”) quote from: “Reuben, Reuben” cn Ft e 282. 2 ten measures before the end of this same solo, Parker plays a six measure quote from “Temptation.”1 Dizzy Gillespie, trumpet (“Hot House”) quote from: “Carmen” (opera by Bizet) ee v we © 283. Freddie Hubbard, trumpet (“Up Jumped Spring”) quote from: “Carmen” (Bizet) cf +, 284. Dizzy Gillespie, trumpet (“Perdido”) quote from: “Laura” >» G e 285. J.J. Johnson, trombone (‘Tl Remember April”) quote from: “Ivy” ec a eo " 286. Jimmy Blanton, bass (“Body and Soul”) quote from: “The Man I Love” eo" z yw oePaul Chambers, bass (“This Can’t Be Love”) quote from:"Air Mail Special” ae fe ar" e* 288. Hank Mobley, tenor saxophone (‘‘Nica’s Dream”) quote from: “Hot House” eu 289, (later in solo) quote from: “Donna Lee” ee c 290. os] Sonny Rollins, tenor saxophone (“Eternal Triangle”) quote from: “Taps Miller” ct qr r’ @ eR 3’ o 251, Ways To Practice/Ingrain Of all the elements of the jazz language, quotes are among the most difficult to learn. It’s easy enough to find the harmonic settings that will alow a quote to be inserted in a solo, even to transpose and play the quote in some other key than the original (in order to fit the key of the moment). The difficulty is in knowing tunes from which quotes may be taken! Amidst the young, growing musicians of today there is a deplorable lack of tune repertoire, a common complaint from contractors of musical engagements who hire them (once, but never again). Without launching into a lengthy tirade with respect to the plummeting level of musical quality in the musical venues, one has to wonder why Dizzy Gillespie and Freddie Hubbard are familiar with the music of Bizet, why Horace Silver can quote a Chopin Prelude, why Charles Parker should know a commercial standard like “Honey”, or why an egg head like Bill Evans should know “March of the Grenadiers”, to say nothing of the quotes which come from a wide variety of jazz originals, as well as revered jazz solos on record. Has rock and roll music truly electrocuted 2-3 generations of Americans to the point that they no longer know any73 classical music, jazz, or blues? Has the economic ‘crunch’ on our school systems ended all familiarity with our musical heritage forever? Are all of the future musicians on ‘commercial engagements of the future going to be 100% reliant upon the contents of “The Real Book” and others like it? Only time will tell. But this author finds that his students don’t even know a quote when they hear one, simply because they have no knowledge of jazz repertoire. Perhaps their quotes will have to emanate from Steely Dan, Pink Floyd, or whoever is at the top of the charts at any particular point in time. The whole point is, how is a student supposed to practice using quotes if he/she has nothing from which to quote? Exercises As was the case in Chapter 9 (sequences), it would be inappropriate to assign specific materials for practicing quotes, as the possibilities or sources are seemingly endless. A quote might come from a standard tune, a jazz tune, someone’s improvised solo on a tune, an anthem, a hymn, a folk tune, a march, a children’s song, a classical piece, a theme or jingle from television, etc. However, players who use quotes well generally have three important traits/skills in their personalities and performance abilities: (1) a farcical, yet poetic, sense of humor; (2) quick-witted reactions to events of the moment, along with the grace and presence of mind to utilize those reactions in an imaginative way; and (3) recognition of the harmonic setting that will accommodate the quote being used. Every possible interval has been used in the opening two notes of at least one familiar tune, if not many. Hence the first two notes of an improvised phrase already shares that ‘opening interval with one or more known tunes. Even longer series of notes (3 or more) are often shared by several known tunes. So when an improviser happens upon 2 or more notes which occur in some other song(s), and he/she is familiar with the song, quick-wittedness will enable the improviser to recognize the allusion and, perhaps, decide to complete the allusion by executing the remainder of the phrase. The player may even be moved to use the quote in a sequence, as was done by Horace Silver in example 274 (Chapter 10), for example. Often the initial “allusion”, whether planned or accidental, is made more obvious and recognizable by playing it over the same harmonic setting in which the idea originally occurred. For example, the first phrase of the standard tune, “Laura”, utilized the harmonic setting of II-V-I (in major). Therefore, any time a II-V-I progression occurs (and there are many), the opening phrase of “Laura” becomes one of many possibilities for a quote when playing another tune which uses the same progression. Dizzy Gillespie used a quote from “Laura” in the bridge of “Hot House” (from the Jazz at Massey Hall recording), and again in “Perdido” (see example 285) at the beginning of an A section, both times at a point in which the progression was Il-V-I. Obviously an improviser, in order to become skilled at using quotes, must be (or become) observant enough to have noticed the correlation between melodies and their harmonic settings. The student who lacks an abundant repertoire could begin studying and borrowing from the many examples provided in this chapter.CHAPTER 12 “CRY ME A RIVER” LICK Definition The “Cry Me A River” Lick is a specific melodic fragment, named after the tune from which it comes. The lick is the opening melodic statement of the tune, “Cry Me A River” (see illustration below). Illustrations First 2 measures of “Cry Me A River” : 292. The reader might wonder why the “Cry Me A River” lick merits its own segment of our study, instead of simply being included along with the quotes of the previous segment. There are two reasons: (1) the frequency of its use (and by all players); and (2) its extraordinary versatility, capable of accommodating five different chord-types without being altered! accommodates: G-, C7, E%, 293. F#7(+5,+9), and Bb 4 (+5) Lick starts on the: ninth of the -7 chord thirteenth of the 7 chord fourth of the # chord augmented ninth of the 7 (+5, +9) chord major seventh of the 4 (+5) chord Examples From Recorded Solos George Benson, guitar (“Stella By Starlight”) e 294, §B George Benson, guitar (“Billie's Bounce”) fs 298, Randy Brecker, trumpet (“Gregory Is Here”)! yw 296. oo Kenny Dorham, trumpet (“Woody ‘n’ You”) a4 Due 29%, Lee Morgan, trumpet (“Most Like Lee”) 4 As 298. Dizzy Gillespie, trumpet (“Stardust”) Hank Mobley, tenor saxophone (“Ecaroh”) we 300. 1. the “Cry Me A River” lick is used three times inthis sol.% Hank Mobley, tenor saxophone (“Remember”)!* ar Sot, Bill Evans, piano (“I Hear A Rhapsody”) en 302. John Coltrane, tenor saxophone (‘“Straight, No Chaser”) Ways To Practice/Ingrain The approach is simple. Practice the lick in all twelve keys. Then study the possible harmonic applications as shown in #293. Practice the lick with Tracks G, H, I, J, K, L, W's, X}5, and BB, and tune play-alongs which have those harmonic settings. the "Cry Me A River” lick is used twice inthis solo. 's-since W and X use: measure durations, instead ofthe I measure consumed by the “Cry Me A River"lick, insert l measure of rest between each key.n CHAPTER 13 “GONE BUT NOT FORGOTTEN” LICK Definition The “Gone But Not Forgotten” lick is a specific melodic fragment, named after the tune from which it comes. It is the opening melodic statement of the tune (see illustration below). Illustration Pick-up notes and the first measure of “Gone But Not Forgotten”. o Sod. As in the case of the “Cry Me A River” lick, the “Gone But Not Forgotten” lick has earned its own segment in the book, as opposed to simply citing it as an example of a quote, because it is widely used by virtually all jazz improvisers on record. By virtue of its structure, it too can be played with any of the five chord-types given for the “Cry Me A River” lick, without being altered. 365 s accommodates: G-, C7, E% F#7 (+5, +9), and Bb 4(+5). Lick starts on the: ninth of the -7 chord thirteenth of the 7 chord fourth of the # chord augmented ninth of the 7 (+5, +9) chord major seventh of the 4(+5) chord Examples From Recorded Solos Chet Baker, trumpet (“Autumn Leaves”) c 306.B Lee Morgan, trumpet (“Most Like Lee”)! CE ~ 301. Lee Morgan, trumpet (“Speed Ball”) eo 4308, Louis Armstrong, trumpet (“Hotter Than That”) q 409. Clifford Brown, trumpet (“Pent-up House”) a 310. George Benson, guitar (“Stella By Starlight”) - an, °® Morgan uses 2 total of seven complete or partial “Gone But Not Forgotten” licks inthis solo!np John Coltrane, tenor saxophone (“Blue Train”) e ae. John Coltrane, tenor saxophone (‘Trane’s Slo Blues”) e + it 318, Hank Mobley, tenor saxophone (“Remember”) ef o a4. Ways To Practice/Ingrain Re-read the suggestions made at the end of Chapter 12 (“Cry Me A River” lick), applying them to the “Gone But Not Forgotten” lick.CHAPTER 14 OTHER CONSIDERATIONS This book is not a book on analytical techniques, but rather it is a collection of elements resulting from analysis. Furthermore, it will probably stimulate the reader toward analytical activity, as he/she searches for still more useful elements contained in transcribed solos, and he/she may want to make personal discoveries that might reinforce the thirteen elements discussed thus far in this book. It is important, then, to briefly discuss some of the other elements or traits of improvised solos. The elements to be discussed in this segment are no less important, though grouped together here as though they are considered ‘miscellaneous’ items. The brevity of their discussion here ‘owes to one or more of the following reasons: (1) though interesting to notice, the element appears too inconsistently, or only among certain players; (2) the element, for ‘one reason or another, is inappropriate for practice by the reader; or (3) the element is too general in nature, having no particular or specific way of being utilized. Analytical activity, indeed the very word analysis, has always been viewed with a certain amount of suspicion, distrust, and impatience by the average jazz fan. Even the practitioners of the craft have sensitivities about being transcribed, analyzed, studied, and imitated. Freddie Keppard, an important trumpet player/improviser of the 1920's, refused to be recorded for a number of years, because he feared that other jazz musicians, especially white ones, would steal his musical ideas and style (partly from fear of losing the uniqueness that assured him of being in demand). When another early jazz trumpet player, Bunk Johnson, was presented with a transcription of one of his solos, he denied that it could be what he had played. More than once this author has received suspicious glances from gifted jazz musicians who resented being complimented in a manner that was too specific and/or analytical. Novices and masters alike are subject to feeling uncomfortable when playing for someone who knows and remembers, by instantaneous transcription and analysis, exactly what the performer has just played, even though the subsequent assessment by the hearer is constructive and helpful (for the novice) or complimentary (for the master). Whether a practitioner of the craft or simply a fan of the music, there is often the desire to perpetuate the notion that the source of the content of improvised solos is a mystery, and therefore should not be scrutinized under the microscope, but simply received as the outpourings of the moment. In time such attitudes of resistance and resentment will probably disappear to a large extent, The age of growing technology has created an ever-expanding availability of recordings of all players, even including the novices, and the computer is now providing the means to transcribe, analyze, even create examples of the music for performance and study. Nonetheless, technology cannot replace the warm, creative body and mind of the live performer, and the magic of improvisation will, to some extent, continue to be a joyous mystery. In the meantime, many young musicians have quickened their learning through formal study, analysis, listening, and imitation of the jazz greats. And at least some of the jazz greats have replaced an attitude of suspicion and resentment with a feeling of being deeply appreciated. The knowledge that their creative outpourings have an even better chance of being a permanent legacy of their musical gifts, rather than disappearing when their recordings are out-of-print, has given them encouragement. Many great jazz recordings have been re-issued as a result of the demands for intense study.a The elements to be discussed in this segment will fill some of the gaps of an analyzed solo that remain after citing all incidents of the thirteen elements discussed thus far. But more importantly, perhaps, the elements of this segment share one common. characteristic of improvised solos that is crucial to the more complete understanding of any given solo: chromaticism, in one form or another. Improvisation, for all the studied and acquired skills, represented largely by the thirteen elements taken up thus far, remains a relatively spontaneous craft. Therefore, it is only natural that even the greatest players will, though infrequently, commit errors in their solos. As in the case of sermonizing or making a speech, if a script is absent, the sermon or speech will probably have a more impassioned delivery, but there will also be a greater risk of error. In the case of jazz improvisation, the risk is worth the taking, in the hands of a master. The novice to analysis, however, also runs a risk in attempting to cite such errors, unless he/she comes to know and experience the following elements. Linear Chromaticism All improvised lines, even melodic fragments, will include non-harmonic, chromatic notes. Similar to the principle of the bebop scale, chromatic notes are often the result of a metric problem that results in adding one or more notes to cause the phrase to agree with the number of beats in a measure. At other times the player may simply want to use a chromatic scale, or at least a considerable portion of it. The following example is only ‘one of seven instances in which Gillespie played 6-14 consecutive notes of the chromatic scale in a single solo: Dizzy Gillespie, trumpet (“Hot House”) an Ge eo 35. See the transcribed solos/analyses at the end of this chapter for more examples of linear chromaticism. Tri-Tone Substitution/Altered Dominant Tri-tone substitution is the substituting, especially of dominant seventh chords, with a chord of the same type whose root is a tri-tone (diminished fifth or augmented fourth interval, or simply three whole-steps)away from the given chord, as in substituting an F#7 for a C7. The altered dominant is a dominant seventh chord which contains, in its complete realization, an augmented fifth (+5), a flatted ninth (b9), an augmented ninth (+9), and an augmented eleventh (+11, or +4). Tri-tone substitutions and altered dominants are nearly identical, as shown below: C (given cheed 8" (tristine sub) CP (giver chard allored, ( ) ¢ ( aaGood improvisers will liberally sprinkle their solos with both devices. A simple comparison of the notes generally used with the given chord and the notes used in either tri-tone substitution or altered dominants will reveal a rather stunning contrast, and could cause the unknowledgeable analyzer to suspect errors. Re-read the examples given for the segment on the “Cry Me A River” lick (Chapter 12), comparing the notes with the given chord, and it will be noted that many of the examples are really examples of tri-tone substitution or the altered dominant (the distinction between the two is usually a moot point). See the solo analyses at the end of this chapter for examples of tri-tone substitutions/altered dominants. Back Door Progression As A Substitute For V7 The I chord, in a given progression, is often preceded by IV-7 to bVII7, instead of the usual V7 chord. This common practice has led to improvisers using that progression (called the back door progression) even when the given chord is V7. The following example is commonly found in improvised solos: ro glee) co 316. 411°7 As A Substitute For V7 Like the back door progression, the #I1°7 is often used to precede the I chord (or IIl-7, a substitute for I) in a given progression, leading to the improvised use of #I°7 in place of a given V7 chord. The following examples are very common in solos: ¥ ear) ct ec py’ gO") ct 318, (This example often occurs when the given chord is simply a one or two measure duration of a single major chord or a single dominant seventh chord) Note that both the back door progression and #l[°7, when substituted for V7, introduce notes that seem wrong or anachronistic to the V7 chord (such as the fourth and the major seventh). They work only because the given instances of those chords are familiar to the ear; hence when an improviser uses them against the V7, the listener’s ear hears the given precedents for the event, instead of the conflict with the V7.Bar-Line Shifts Bar-line shifts occur when an improviser, by virtue of his/her note choices, arrives at a given chord late, sometimes even a whole measure late, or earlier than the given placement. jough not intentional, necessarily, they are not errors, either, as they might be in the case of the novice who momentarily loses his/her place in the progression. Most of the tlme such an event is attributable to one of two causes;(1) the player is using harmonic get only a V7 (+ already tr decides to a be very inte deliberately chord of the jeralization, as in the case of playing a Il#7 to V7 (+5, +9) progression as , +9); or (2) the player wanted to play the previous chord (though it has ired), but was either pausing momentarily (as in taking a breath), and »pt the “better late than never” attitude. At other times a bar-line shift may ional, as in Cannonball Adderley’s solo on “So What”, in which he ters and exits the bridge early, causing considerable tension, since the section (D-) is one-half step lower than the chord of the bridge (Eb-) At any rate, the|person who analyzes should always look at the chords both before and after a point jhere an error is suspected, before jumping to a wrong conclusion (or simply learn {o understand and appreciate deliberate bar-line shifts). For many examples of bar-line shifts, see the solos at the end of this chapter. Side-Slippijg/Outside Playing Having esgentially the same meaning, these terms refer to events in a solo where the improviser deliberately playing ‘out-of-the-key’ for the sake of creating tension, similar to the Adderfey example just mentioned, except that his tension-creating device was at least based focusing on In chords which are part of the given progression (though in a different, .e only ‘wrong’ notes of a chord. Most chords are accommodated by a adjacent mofecn Side-slipping and outside playing derive their note content simply by fh seven-note ale. Since there are twelve notes in the chromatic scale, simple subtraction reveals that there are five ‘wrong’ notes possible with the average chord. The improviser who wants tb side-slip or play outside needs to know what notes are ‘wrong’ with any given chord, using those notes in convincing groups of ‘wrong’ notes, as well as learning to use them kingly in a mildly dissonant, but smooth manner. The experienced analyzer has very littl difficulty distinguishing between errors and side-slipping ot outside playing. For examplds of side-slipping and outside playing, see the transcription/analysis of the Michael Brefker solo on “What Is This Thing Called Love” at the end of this chapter. Errors reconciled t any of the foregoing types of chromatic devices. Some will understandably We can pi certain that an error has occurred if the note(s) cannot be question ant one’s efforts, especially an inexperienced player/analyzer, to uncover errors in the solos pf great jazz improvisers. They might feel that it is presumptuous and disrespect . It might be presumptuous, if the analyzer is incorrect, or if the attitude is wrong. But pven errors teach us that some things work and others don’t, and disrespect is not the making err {tural conclusion of learning that all of us are imperfect and capable of . Nor do we want to underestimate the difficulty of the craft. If a master like John Cltrane can make an error, then the rest of us are on notice to be doubly careful abot It presuming our preparedness to be perfect! Furthermore, no great player wants us tofimitate, unknowingly, his imperfections. He’d rather we focused on his best efforts. If w¢ don’t know an error when confronted with one, then how can we ignore that event and concentrate on the finest points?Single-note errors can often be spotted by the appearance of inexplicable space after a wrong note, as itis a natural reaction of any improviser to balk after unintentional errors. The other type of error about which we can be reasonably certain is the instance in which a known, ‘right’ phrase is applied incorrectly. For example, the “Cry Me A River” lick is a familiar, well-established phrase, capable of sounding correctly with at least five different chords. But if the application analyzed doesn't agree with any of the five applications, and the harmonic setting causes several of the notes of the lick to be in conflict with the chord, itis reasonable to assume that the lick was placed in the wrong ‘key’. Always try to understand the reason for the error, if you can, so that you may learn from it, rather than imitate and repeat the error. As Clarence Darrow once said, “History repeats itself. That’s one of the things wrong with history!” Exercises Practice 316, 317, and 318 with Track DD. Also practice 318 with Tracks M, N, U, and V. SAMPLE ANALYSES OF TWO TRANSCRIBED SOLOS If the elements put forth in this book are truly the major elements of the jazz language, then the analysis of a solo will reveal that many of those elements will appear in the solo. No single solo is likely to contain examples of every element presented in the book, but we should expect to find a considerable number of them. The following pages present analyses of Clifford Brown’s solo on “Split Kick”, a song composed by Horace Silver, based on the chord progression to “There'll Never Be Another You” and Michael Brecker’s solo on “What Is This Thing Called Love.” The ardent student should be advised that certain players emphasize certain of the elements in their solos, each player being anywhere from slightly to dramatically different with respect to the inclusion, exclusion, frequency, and manner of use of the elements. Therefore, a student who wishes to understand an individual improviser’s style should learn to recognize those differences and emphases as part of his/her study. In closing, the author should like to make it clear that the elements of the jazz language taken up here, primarily represent the connective tissue of the language. They can and are handled creatively much of the time, but the most creative, original, and inspired Portions of a given solo are often what remains after you’ve tagged all the elements. Therefore, “what remains” must be carefully studied, perhaps more than the elements of the language.CLIFFORD BROWN improvised solo on SPLIT KICK (Another You) A Night at Birdland BLP1521 « i ~ e arstend. Rs » a Yr wat endl . ene — on ae gs bey sale Sesue nee gt FP eta Canin trgh the Ge’) gh Maw 7 Yr et ce vebop lie FT ante ee# a bacline shift ev dig gett, OP Q (S-3-2-4) change Cunning Ss —— z : y ea aD f = f a barline sift ancl, ee a pene, a - q - * GON lick 7 change cunning fr 34 acl + fom » EV" _harmonie_genrdietO™ (hues seals) nt! digital pete - Gq (356. 2-1 fms) © a aege- ening e ¢ ee beeline shift on r 1 _ 8 segyences eng sees ye Et 2 sequence 60" Yr (sequences)(Gd G7) sequences (A D) e e é Wy - * oe oe ee don, end git MP certobtleatdmenertey ; ‘ Ge sequence. ¢ es ss a é a é a harmonic generalization (D harm. ein) z ese aterm Lsagueree e rw o Cc yA ev" Yr y harmonic generalization (F Blues Seale) 811" eee ope ee 7 > ¢ Co sequences e" 3-4 endl, qt bebop seale. a ee ed) F _ ane sift Qt eee eel Sed r GB —_ sequences cr e" = G b " ¢ rea " c a ey panies ate) inlp sala, Mehl () Lesh i @ &) ® aaa cia (beepANALYSIS SUMMARY (Clifford Brown on “Split Kick”) ELEMENT NO. OF OCCURRENCES Change-Running..........++ Digital Patterns/Scalar Patterns. 73 Resolution B19. Bebop Scale . Bebop Lick Harmonic Generalization Enclosures. Sequences . CESH. Quotes “Cry Me A River” Lic “Gone But Not Forgotten” Lick Linear Chromaticism....... Tri-Tone Substitution/Altered Dominant . Back Door Progression as Substitute for V7 #ll°7 as Substitute for V7 Bar-Line Shifts ... Side-Slipping/Outside Playing. Errors NOTHN AH wWOnMNORHH ASIEN Total number of element occurrences ... ~ 92MICHAEL BRECKER improvised solo on WHAT IS THIS THING CALLED LOVE You Can’t Live Without It (Jack Wilkins) Chiaroscuro CR185 d= 300 nfo Gr a av Bat) whe ” (8 alt change -eunming ) oes ev berlin sity AP alt) s-4 OUD —— harm. gen (dim. scale) Diet) v Side - slip ee q eesti Haven. gen, (A ait) Meath a ¥ enon eee a > ' OF EF eb /dt dom So Meh Reig fa q digital_pattera ind fee abt y b e sa Te hy 7 oy AH" acta? “ap Been ge, bebor staleoN ih Mak) suede eo oes est, bd endl. e : Qa Qe y digit patlera geroming saesto, near eho. DY terstine shift (0 at) b b qe Dat) pita e bas-line shifi(14) ; “eet tone A, o we sna co outside playing ghd ee ee Geet) ray Ala har = go. - digital patenn ce pn e 5 ¥ f_- dim. scale ‘pW Par lne shit Oar ea ce & b. e pn oho oo - =~ nne e" assis, A a2 a » alt dom, I bev ling ef diggeit, gh ney i ay bebop scale digital patter ‘esr dig at E" andra) berlin shift nec, GP Any a pfctl eater Cin Ge scale) w (Bt bebop seae, Tat) bacline shift (BP, scale) ee: A (ait) Tr ub, 2 _cronge oti tet a bebop scale. e " A tate i (aANALYSIS SUMMARY (Michael Brecker on “What Is This Thing Called Love”) ELEMENT NO. OF OCCURRENCES Change-Running Digital Patterns/Scalar Patterns . 73 Resolution . 319... Bebop Scale Bebop Lick . Harmonic Generalization . Enclosures Sequences CESH. “Cry Me A River” Lick . “Gone But Not Forgotten” Lick Linear Chromaticism . Tri-Tone Substitution/Alter minant . Back Door Progression as Substitute for V7 #1197 as Substitute for V7 Bar-Line Shifts ...... Side-Slipping/Outside Playing. Errors. Total number of element occurrences .APPENDIX A CHORD PROGRESSIONS FOR ALL PLAY-ALONG TRACKS (Side 2) Concert Key ax Ce a oO 4 ct ge ah ps phe ga ght ga ce cht ce Mee po gt htt oh Gt we toe gt Ra yr? ot abet get ce abd Ged hat ged ghd pat cot gt het aot ght Get ght gt got eb ot goa Ct c-4 x pa Fro gp ehmt pad hd ht ged ged gad pea Gad co ope Dt gt et 4 ght G4 get gt phe a om pt opt oo gt Gee gt et ope3x C4 Fa abe ee he ye ae 6 qe a G4 ce a . c-4 ye x et €-4 eg a g-4 a Ane ae a cA a pe art as G4 gr fa8 fa £b-4 Yr yt end a c ad 0 pe at pp-4 pe 4 Gh 3 4 e-4 An4 Yr o- 4 ca oo » Y a” @-7 Ps) Gh? CG ia 4-7 BB -1 1. et Bs! ye fo? pho? @-" oe ¢-" e eb” y po a 3x. e- 2° eb? pb-7 Dp & 1 a" ee Qe? y 6 e =] 2 0 yo b> e fe aye ae abe ae a Be K. ce ae ap? ae abt 6e a ¢ ¢ ge pe yt gt ce ¢? wt gt ay? y a a ¢ ae ? Ge q@ 95abe Ge ave a Bee BA cr} ae > er* e-4 es Qt a ae qed = = B74 e4 ga a 3 i at G =o ay-* ¢-4 eo e-4 > p- cs798 a @ a” a y" B 3 +4 Cts vie \ +5 in vis i ets 4 ; 4s 4 “s i : Ghs i abs ts _ aes 1 ws a - 3 Bas x ei Bes ff as ails it Ghs 4 +4 wi 4 4 +S 48 et if _ f _ ts Os vs is ¢ - - ds rasof 4 +4 4 4 +4 cls és ahs aly hes vis if +4 +4 ah +4 4 if bls Bis ahs as is hs Ces BX oot gt abet chet het og em > 3 eg 1 Bg” ev oy oo e-" By a Ma €1 pb? gb? be? yh? ge? gt gogo? Qt u a a oe oa at et at om at oe gn 4 4 4 mot lett hts tly a. FE ee 4 + eu fe a Ga a 4 was tf 4 aw och ont ots toh > vis 3x : e é" a" e av D aE qn 3 e a” y @7 ¢ 4 +4 +4 ch gis abt ab ells gt ab} whe hea ce, +4 td +4 ee ahs ed ef oaks ne! y ohs ct 4 4 eb? its pt HF aly aes aegis art +4 +4 4 a at onts and cece pt eo ogg A cet owe ae" eb? abe a 2B. a gr ed e ao» pat ce ear aa a At ge Boe ay ad oe Fe eo101 Bp Instruments 5x yee ef 68 get go bt ont ppt phot ce y cl ct at wt at at gt at gt gt ght ee A x Mat get gat eet ett ged at aed abt aed cot che art cht cob pd abet act hed get ated pal get ghd Dot HX ab get cob gob het chad het ted chod ged gal gal a 2 y bd e4 fe eH ot aps ivy a 3 cA ae as eet 2 r) er ee Ge ice ee gee ee cues102 x a at ch gh gt cbt ght cH bt gh gt gt OF rh det ged gob chad ge hed pd ghd gel cod ped 4 rt ot at bt at abet get et ped get ght Dr! 5x get Get cot ged ghd ghd abet Cbd phd gd gd gd HM p>’ gt Et get het get a Br Ce? he? 1 Be ee 1 yt GT get abet et abet get ete? get get he? a 3x 1 Dl GT Tobe? gb abe? chet chet ge? get get zy we gh ch ch orth gh be at hh md ch ott K. pe cht ch ge bh ne gb) gh cee cb cb cht OP yeah ch ee ahh ebb hh cod hh ad ch gh 2?4 3 _ gb-4 e-4 4 fied g-4 Apo Aa ae - 3 cnt cht pba Qed hed ¢ ¢-s g-4 zb-4 >-4 aqe" ah? ape » ape ae? ae at Ge ee Ae gp ae et Bo ¢o 3° ae 6-7 e a abe _ a7 ee ce ae D>y ee ce eb ave gt ar" a eH ¢" é” ev v it it +4 a4 +4 44 DMs es es 5 8 as +4 4 +4 4 +4 +4 obs alts Bits whi crs ats ‘ aa “4 4 4 4 vi as cls Bus ote arts +4 avd ot Fis et et ee aisve att cn - 5 eid att n aus ant SH orig ait : ‘+6 at at - 5 eg Xy -1 @ c1 ‘7 a7 e b-" » ae BI é-" a" e-7 Bt et ar ch? ee RB e’ ac? y Go’ on et ae See mae % = 6’ c7 a abet 7 a D e-1 2" eben ar ae ee” a" e” A" y G" a 3x 2 +5 4 x Cc # s 8 é ’ G 4 F pe Hh ah ws AA. a Fe Bis if ce ahs ¢ wis ge wg +4 ad a # hs s B els De $ ef 6 ae at cis107 x, GQ" e By" ev’ 8. en" ce ¢# 8) e ’ A ey a aff c- ; “ BC ch etts a4 a obfs ait we aie at Gf reals e- ise ee aig art eh owt get AS el fe ais mp! oly art at chs ad ab vie ert fog ab cts el Gl co c- ¢7 gpd pp” eb” pba | a. bo" bt 2 “7g! a éb-” ay’ Fe og e4 é 2 ¢-7 gb? ba gb-7 gp’ Ab? ppd ca) eH” Bl a" 27 Ae Ae? - y G4 Qe" a aEb Instruments. 3 x Ad ae pt co cht ght gt gk cha gh ht AS Abo gd ghd fa go gba pA ppt ca ghoba aA 4x ae pe GA ch Fé ght bt abt apt ght gs ga 3x fet ai at cnt chet debt ed pot phat Ged ghd Ard fied get hed god ged ghd ped ape cod get ght fc Met eb gab cob et abt cht ght ght ght aed ga fot 2 Ae wee ea a4 ona gf ea Fe gh abt ge aba abd fA e4 4 yt ye ca 3 b4 a3X Ao a ria cf ¢ 4 Be ep abt apd ato eff in} Ard ahd prt cn aes yp gp-4 feo ped ett G4 abd art ay G-4 ab-4 fed ged go yt pee od 0 pet pha A-4 a 3x A-4 yr Gs ad ¢ aa Bh phat phed gba @ at ea Act a 4-7 ger Bg ct y»’ y eb? é-" fo" ae Gre act Ab-7 Gg ah? ge" e-7 gb? opt ae 2 a =" cot ogt phe AST a BX Toy? gt ot -7 phe? phe a 1 af 7 a! 4 e 6” ¢ we eb? pb y yy" Gr ry 3 é- ab wh oP 6 # ? i et ee ge ape c Cc yw gf ¢ 6h A @ a? ¢ é é a p y 6 4 0d % 2b > bb nb 8 ch ope LY 2 a ae a gt ce ¢¢ abt gb pbb ape D ap at eb arno A-4 gh Ftd ait 6-4 ¢-4 ab-4 g-4ul42 a’ e? eo? qr a? y ab" ahr cu py > a ; al Qts wi e a ab" a wy a ‘7 Bb? @ y e +! th Ohhs ets ar qn+4 4 4 +4 . +4 4 ets Obes Ws Os Bhs Ets is ae ett eet ght ye Gh" BR’ e” c-7 ¢? Bi? eh qb-? yh? ero e-" gn Yr @ Cc a Kyte get ote ahh ah bet ett aa 4 cet ae? ght the? aor gn ogt goer gt +4 +4 4 Pi 8G A) ah ne AA, eb? “4 a Aah eke ch Fas wr abl6 eb apn W a? a ¢) A a te, a » a ts Gnd eb bale ‘ 7 : rs cet : : Fo wi pt = r ae +4 Ris : : : e- = : e +4 2 : A : %s oped . y +4 Ghs cot a oy 4 ¢ (ul fA fe ” Bh" ed D eb-" ah ” pes ct ee 4 Be ” é’ p48 er pi4 Bg? a4 ab? py ae eee B 4 e Q > > Q (2 oOus16 APPENDIX B APPLYING ELEMENTS OF THE JAZZ LANGUAGE TO TUNE PROGRESSIONS If the elements of the jazz language, as presented in this book, are to become useful to the developing improviser, they must be ingrained into the mind, ears, and hands. Merely reading the book, even with the deepest understanding, will not reap the necessary benefits of this sort of study. Indeed it is even unlikely that they will remain, for very long, in the memory. Improvisation is a performer's art. Hence it becomes imperative for the serious student of improvisation that the first step, that of mentally comprehending each element, be followed by diligent study and practice, in order that it become assimilated by, and subsequently useful to, the developing improviser. One can mentally decide that an element of the jazz language ought to become part of his/her improvisation, even plan to use it soon, but the mind and ears still need to establish the habit of considering the element’s use, and the hands need to feel comfortable with the execution of the element before it will materialize in the ‘heat of battle’ as part of an improvised solo. The absorption of an element happens in stages. First it must be mentally understood through definitions and illustrations. Then motivational fires need to be fueled by observing (and hopefully hearing) the element as it has been used in seemingly endless variations by masters of the craft. In the next stage, the ‘hands on’ approach begins, with the student practicing the execution of the element, including its variations, at different tempos, and in all keys and registers of the instrument. Then a strong association needs to be established and developed in the ear, connecting the sound of the element with the sound of its accompanying harmony. This is accomplished through playing the element with exercise play-alongs, like those found in Appendix A. Finally, and now we come to the function of Appendix B, each element should be applied to ‘real’ chord progressions of tunes. In this last stage of assimilation the student learns to discern locations within the progression which accommodate the playing of certain elements (unlike exercise play-alongs, tunes usually have a generous mixture of various chord-types, durations, etc.; therefore, one has to search out opportunities within the progression where, potentially anyway, a certain element becomes possible). Presently there are over 600 published play-along tunes. The space allocations of this book and its accompanying cassette do not permit us to compete with that figure. Rather the 3 progressions presented here have as their purpose the opportunity to illustrate potential locations in a few well-known progressions where elements could take place. Each of the 3 progressions is presented in two versions. In the first version only the chord symbols and recommended scales are given. The student should practice improvising with this first version for awhile without considering the use of elements, until the chords and scales are familiar and comfortable to the player. The second written version (to be used with the same cassette track as the first version) gives the chord symbols and indicates where certain elements can be used, so the student can practice working them into an improvisation. Eventually, of course, the process will become more natural, rather than a contrivance, and the improviser learns to recognize potential locations for various elements in any progression, whether or not he/she chooses to execute the thought. In the first version of each of the three progressions, the ones which show the recommended scales for each chord, some of the scales and their spellings may /ook strange or wrong to the reader, but they are indeed wholly accurate. Sometimes the given scales do not begin on the roots of the chords, but this author believes that when all scales are thought of as beginning on the roots of the chords, the player is more subject to over-using the root, which is a questionable practice, since the root is generally the weakest note of a chord, sounding simplistic and redundant. At7 other times the given scale may be written enharmonically (ie., Db instead of C#), sometimes confusing the reader at first, but the rationale for writing, say, a Db lydian augmented scale on an altered A7 chord instead of a C# Iydian augmented scale, is that the one selected has fewer accidentals, though it may appear to be a ‘flat’ scale on a ‘sharp’ chord. Whenever a II-V progression occurs in one measure (2 beats for each chord), only one scale is given for the whole measure, since both chords are accommodated by the same pitches. For example, the notes of a Bb dorian scale (for a Bb-7) are identical to the notes. of the Eb mixolydian or dominant scale (for an Eb7). The reader may wish to regard this practice as a form of harmonic generalization (see Chapter 7). Whenever two chords occur in the same measure (2 beats each) that do not use the same scale content, the note heads are filled-in (black) to bring the player's attention to the fact that the chords are of shorter duration than 4 beats each. “Urbane Blues” has 2 ‘built-in’ examples of tri-tone substitution (see Chapter 12), one ‘occurring in the fourth measure, the other in the 10th measure. In the second version of each of the three progressions, the ones in which the locations for possible use of certain elements are denoted, the following abbreviations were used to save space: 7-3 = 7-3 resolution BBL = Bebop Lick HG = Harmonic Generalization (area will also be bracketed) CMA! ry Me A River lick GBNF = Gone But Not Forgotten lick TT/AD = Tri-Tone substitution/Altered Dominant BD = Back Door substitution #1I° = #II° substitution Of course 3-b9 and CESH are already abbreviated terms, needing no explanation. When a letter, chord symbol, scale abbreviation (i.e. hm for harmonic minor), or key area (i.e. Ab major) appears in parenthesis after the element abbreviation, it is to help the student to find starting notes, substitute chords or scales, etc. BBL(C), for example, would indicate that a bebop lick may be played, starting on the note C. 3-59 (A-G b) would help the student to know that a 3-b9 is possible, based on the notes A (3rd) and Gb (69), if the given chord was F7. HG (F hm) would indicate an opportunity to use harmonic generalization, using an F harmonic minor scale. BD(F-7) would tell the player that he/she could use a back door substitution, starting on an F-7. The following elements do not appear in the second versions of the progressions because their use is so general, with respect to location within the progressions, that they might occur anywhere (and everywhere): sequences change-running digital patterns scalar patterns bebop scale enclosures quotes linear chromaticism bar-line shifts side-slipping/outside playing The fact that these elements are not shown in the second versions of the Progressions should in no way diminish their importance to the developing improviser, and should most certainly be practiced along with the other elements.ns Concert Key HOMESICK HOOSIER d= 184 6 choruses pe be F" we By be a a a nes e- ar ’ Coiee Glee eae Ogee ee a (er)19 Concert Kes ree ee HOMESICK HOOSIER 6 Choruses ‘CESH(C-) 3-59(A-Gi) BBLIF or B) CESH(B»-), CMARID or Gi) 7-31Ab-G)-- GBNFIG#) CMAR(G) BBL{Bb or E) BBL{Eb) GBNFIC)* - CMAR\G or C#) ‘CMAR(C) CMAR(G) = TT/AD(A Iyd.aug.) GBNFIG) GBNFG or C#) GBNF(C) k Abs i F7 I Bb7+4 sr i Bb-7 T ~ 7 - 4 HG(Dbmaj.) ------------------~ 7 7-3{Db- 3-b9(C-A) BBLIED or A) BBLIAD or D) CESHODP-) CMARIC or FA) CMARIF or B) 3-59(B0-G) GBNFIC or Fa) GBNFIF or B) BBLIG)) Reeve. iva. aug.) CESH(Eb-) Byes lyd.aug.) CMAR(D#) BDIDP-7) BDGI-7) CMAR(C) GBNFDDA a8?) CMAR(G) are") are") , 7 Abs Eb-7 ANT i Drs | Gi7+4 t T ~ T — : + HG(Abmej)~ CESHIC) 7-3(Ab-G) ~ BRS Ay 3-b9(A-Gi) —CESH(F-)------~ 2 CESHIBD-) RIC or Fah? BBLIF or B) 3-b9(D-Cb) GBNF(C or Fi) CMARID or Gi) BBL{Bb) BBL{Bo or E) BBL(Eb) TT/ADG lyd.aug.) GBNFID or Gi) CMAR(G) CMAR(G or Cf) CMAR(C) BDIDs-7) ‘CMAR(G) pine lyd.aug.) GBNF{G) GBNFG or Cf) GBNF(C) a8) ADS | Bo7+4 L 1 Bb-7 ET - } = : CESHIC.) 3-9(A-Gb) i BBLIF or B) | CESH(F-+- a 7-3(F-E) ------ CMARID or Gf) BBLIBb) 3-b91-C) * 3-99E-D») GBNFGA CMAR(G) BBL{Bb or E) BBLIEb) BBLFA) BNF + CMARG or Ch CMARIQ) CMARDS CMARIG) TT/ADIA beets) GONFO) GBNFIG or Ci) GBNF(C) GBNFDA Abe F7 4 Bb7+4 7 T CESHIF-) fe bO(E- Db) CESH(F-) BBL(Bb) BLIFH) BBLIBb) CMARIG) Giana CMARI) GBNF(G) GBNFIDA, ‘GBNF(G) Fea (ere Fs T T y CESHIBE-ITT/ADIG Iydaug) CESHIC-) FSRPS) ee 7-31B9-A) 3-491G-Fi) ita 3-b9(A-Go) BBLE> or A) BBL(E> or A) BBL(F) ‘CMAR(C) GBNF{Bb) ‘CMARIC) 3-b9{B-Ab) CMAR(D) GBNF(C) TAD Iyd.aug.) GBNF(C) BD(D>-7) GBDN(D) GBNF(C)-~ BD(Db-7) BD(Db-7) AP(BS) FADIA Mi al “are TT/AD(A lyd. ) HIB") G7 ,Cc-7 Be 7 Eb7 l Apo F7 i ‘Bb? Eb7 4 T “t * A different use of GBNF than what was recommended in Chapter 13, but because of the resolution to the next chord, it works, * Whenever a BD is chosen, CMAR or GBNF may be played, starting on 9th of BD substitute, or a BBL on the 4th,120 Bb Instruments HOMESICK HOOSIER Jet 6 cHoeuses rN ola @ Cha a he FO oo en ae (a) eb uy po ate g oe @ C4 obo oe fe Pt) yt et we ree) ee * ye nal11 ae HOMESICK HOOSIER 6 Choruses CESH(D-) 3-b9(B-Ab) BBLIG or Ci) eee ae CMAREE or Af) BBLIC) 3-b9E-Db) GBNFIA#) a BBLIC or Ff) BBL) GBNFID)* -~ (CMARIA or E>) CMAR(D) CMARIA) — TT/AD(B lyd.aug.) GBNFA or Eb) GBNF(D) Bbo G7 y 4, | | 4 F i t ~ HG(Bbmaj.) eee noes * 3-b9(A-Gh) ‘ 596.8 B) BBLIF or B) BaLDe or E) CESH(Eb-) (CMARID or Gi) CMAR(G or Db) 3-p9(C-A) GBNFID or GA GBNFG or Db) BBL{Ab) TT/AD(A yd.aug.) CESH(F-) TT/AD(D lyd.aug.) CMAR(F) BDIEb-7)"" BD(Ab-7) CMAR(D) GBNF(F) al(Cé*7) (CMAR(A) HI(Gb°7) HI°(Db") F7 | Be (FT BT A744 _ } 1° ae HGBbmaj) "7-3IBb-Ay ==="; 3-59(A-Ge) CESHID-) CESH(C.)------- BBUF oF. B) 3-d9(B-Ab) CESH(G-}- a CMARD or Gi" BBLG or C#) 3-b9(E-Db) GBNFID or Gi) CMARIE or Af) BBL{C) BBLIC or F#) BBLIF) TT/AD(A lyd.aug.) GBNFIE or Af) CMAR(A) CCMARIA or Df) CMAR(D) BD(Eb-7) ‘CMAR(A) TT/ADIB Iyd.aug.) GBNF(A) GBNF(A or Df) GBNF{D) Ce) Bra ,S7 c74 oop | c-7 LF7 t ~ T t 1 — CESHD-) ee 3-49(8-A0) A BBL(G or Cl) CESH(G-} + | 7-3G-FA)-----3 CMARIE or Af) BBL(C) 3-b9(E-Dr), 3-b9(F#-Eb) GBNF(AM) a (A) BBLIC or F#), BBLIF) BBLIGt GBNF(D)- ~~~ ' ‘CMARIA or Df) = CMAR(D) CMARI (CMARIA) TT/AD(B lyd.aug.) GBNF(A) GBNFIA or Dé) ~~ GBNF{D) GBNFIF) Bra 1 G7 ) C744 L D7 1 : — T = - HOG hm} -> - - _ CESH(G-) (3-b9(F#-Eb) CESH(G-) CESH(G-) BBLIC) BELG, BBLIC) BBLIC) (CMARIA) CMAR(F) (CMAR(A) ‘CMARIA) GBNFA) GBNFF GBNFA) BNF) eee 1 D7:8 1 6-4 eae T mn | 4 Che). SHIC-)TT/ADA -) Iyd.aug) 7-3(85-A) 7-3(89-A) aus 3-b9(A-Gb) 3-b9(A-Go) 3-)9(B-Ab) BBLIF or B) BBLEF or B) BBLIG) (CMAR(D) GBNF(C) - ‘CMAR(D) 3-b9(C#-Bb) CMARIE) GBNI (D) Been yd. aug) GBNF(D) BDE-7) GBDNE) GNFD) BDIES- BDED-7) aeICh) TI/ADB bd.aug) ‘aN T/ADB wang) HICH A755 f D-7 G7 nl c-7 | Bhs G7 f F7 n T — — ‘1 * A different use of GBNF than what was recommended in Chapter 13, but because of the resolution to the next chord, it works. “Whenever a BD is chosen, CMAR or GBNF may be played, starting on 9th of BD substitute, or a BBL on the 4th.122 ee HOMESICK HOOSIER d= 184 6 cHoruses fe Y Gla fe ¥ Cha ee 4 4 pho a aes = y ae x a a (y) 6" (cr) Es y _123 Eb Instruments el HOMESICK HOOSIER 6 Choruses CESHIAY) 3-59FE-ED) BBLID or Gi ; CMARB or F) 3-b9(B-Ab) GBNEF) BBLIG or Cay GBnFay CMAREE or Bo) MARIA) TI/AD(Gr iyd.aug) GBNFEE or Bo) GBNFIA) (D7 (G-7 t T = '3-49(E-Do) 3-594 BBLIC or Fi) Bate or 8 CESHB>-) CMARIA or DA) CMARD or Gi) 3-6916-6) GBNFIA. or Df) GBNFD or Gh) BBLIED) TIVADEE Wyd.aug,) CESHIC-) TIVADIA Iydaug) MARI BD(B-7)" BDE}-7) MARIA) GBNEG) sirab°7) MARE) scr) AI AP°) C7 Fs (C7 FT Bes E744 ' — t t t-— | postesistroe++ HGFmai) CESHIA-) TSB Bare or Fh : on 3-b9(F¥-Eb) CESHID-}-- s+ CESHIG) CMARIA or E5)"° BBLD or Gi 3-b9(8-Ab) GBNF(A.or E>) CMARIS or F)—-BBLIG) BBLGor Ch BBLIC) TIVADEE Wyd.aug) GBNFIB or F) CMARIE) CMAREE or Bb) CMAR(A) BDBr-7) CMARE) ——-TT/AD(Ghyd.aug) GBNFE) GBNF(E or Bb) GBNFIA) Arab?) Fa D7 GI+4 L G7 cr CESHIA) S S-bOFE-Eb) i BBLID or Gl —CESHID-)-~ oe 7.3(0-08 22-3 CMARG orf) BBLIG) 3-b9(B-Ab) 3-b9ICH-BE) GBNFIF) CARE) BBLIG or Cf) BBLIC) BBLIEH) GBNFIA)-~ 1 CMAREE or Bb) CMAR(A) CMARIC) MAREE) TI/ADIGY hdaus) GBNEE) GBNFIE or Br) GBNF(A) GBNFIC) a. G7+4 I xY LE A723 : ~ T r t lee 1 = HGD himp----20-2 ceceee - CESH(D-) 3-9(C¥-BH) 3-69(C#-Bb) CESHID-) BBLIG) BBLIED) BBLIED) BBLIG) MARE) CMARIC) CMARIC) CMARE) GBNFE) GBNFG) GBNFC) GBNFE) ATS ATS : HGFmaj) = HIG) T-3G-FA) SSE by 3-b9(F#-Eb) BBLIC or FA) BBL(D) ‘CMARIA) GBNF(G) - 309(GI-F) CMARB) GBNFA) TIVADIE iyd.aug) BD(B)-7) GBD) GBNF(A)-----> BDIBb-7) MAY) BYADG is rea HIP(AP) Ev [A-7 C7 Fa CESHIG-) TT/ADEE lyd.aug.) T-3IF-E) 3-b9(E-Db) BBLIC or FA) CMARIA) GBNF(A) BDB)-7) TT/ADIG> Iyd.aug) —AIAb’ Hf Nears) HY) 4 * A different use of GBNF than what was a in Chapter 13, but because of the resolution to the next chord, it works, “* Whenever a BD is chosen, CMAR or GBNF may be played, starting on 9th of BD substitute, or a BBL on the 4th,124 Concert Key URBANE BLUES 5160 42 cHoruses fe” a e a) # og? a yit e" (¢’) cer (FF) e vi a" odConcert Key URBANE BLUES 125 d= 160 12 Choruses 3-b9/A-Gi) 7-3E-Df) BBLIF) BBL(Bb) BBLIA BBL) CESHIC-) CESHIF-) CESHIC-) CESHIFL) CMAR(D) CMARIG) BD(Bb-7)— CMARID) CMARIGH GBNF(D) GBNF(G) HGF) GBNF(D) GBNFIGH AIrCE) FT | Be7 hid [Fe7 BT i - t t 1 7-31Ab-G) 3-b9(G-FP) 3-49(FF-ED) BBL(B}) BBLIED) BBL) BBLIAY) CESH(F-) CESHIBP-) CESHIC-) CESH(ED-) CMARG) CMARC) CMARID) MARA) GBNF(G) GBNFC) 4lIG) GBNF(D) GBNFIA BT 1 Bp-7 ET \F7 (D7 7 ET f _ 7-3F-E) 7-3(B-Ad) 3-49(E-Db) 3-bHAH-G) BBLC) BBLIFA) -3 CESHIG-) CESHICE) 3-b9(E-Dh) MARIA) BD(Bb-7) — CMAR{(D/#) BBLIF)-~ BD(Bb-7) GBNF(A) ar) GBNF(DA) CMAR() - CMARDA) HIG) | S-7 crs G-7 c7 1 ci-7 FT \F7126 Bo Instruments URBANE BLUES J 2460 42 cHoRuses @ a @ oo) oe e) a et ed pe A) ag Hh) nt 1 att @ et be A oliBb Instruments 4160 12 Choruses 3-b9(B-Ab) 7-3(Gb-F) BBLIG) BBLIC) BBL(G) BBLID}) CESHID-) CESHIG-) CESHiD-) CESHIAy-) CMARE) CMAR(A) BDIC-7) — CMARIE) CMARB:) GBNFE) GBNF(A) —aIl(B5°) GBNFE) GBNFIBH) AEP) | G7 \c7 | G7 jAb-7 DHT 7 t = t - 7-3(Bb-A) 3-9(A-Go) 3-591G1-F) BBLIC) BI BBLIG) BBLBH) CESHIG-) CESHIC-) CESH(D-) CESHIF-) CMARIA) MARIO) CMARE) CMARIG) GBNFA) GBNFD) HIB, GBNFIE) GBNFIG) , C7 C-7 F7 G7 E733 I T I - 7 7-3G-FH 7-3(Db-C) 3-)9(FI-ED) 3-91C-A) BBLD) BBLIA) 7-31G-FY) CESHIA-) CESHIED-) 3-9(G4-F) 3-19(FH-Eb) CMARIB) BDIC-7) CMARIF) BBLG)-- : a) GBNFIB) sI"BP) GBNFF) CMARE) MAR) a"(Bb*) D7 | E-7 Ab7 S7 E73 T AT D7 T 127128 Eb Instruments URBANE BLUES 22460 42 cHoruses y G’ a er? (ary a eC) Y aid a) BM bo x Be ay attsEb Instruments URBANE BLUES 129 J=160 12 Chonses 3-49(F1-Eb) 7-310+-C) BBL(D) BBLG) BBLID) BBLIAY) CESH(A-) CESH(D-) CESH(A-) ESH{Eb-) CMARG) CMARE) BDG-7) CMA) CMARIB GBNFB) GBNFE) are") GBNFB) GENER) aren k D7 l G7 I D7 nl Eb-7 ADT 7 i t —— 1-3-8) BBLIG) BBL SEP a1 bap” CESHD-) Fes) Ces. CESHC-) CMARIE) al MARIS) GMARD) GBNFE GBNFA) an?) GBNFB) GBNFD) | 67 ,G-7 7 | D7 i v T 1 7-3(D-Ch) ‘3-b9(CH-Bb) BBL{A) 7-3(D-CH) site 3-4901-C) 3-591C$-B>) MARE) _BDIG-7) BBLD)-- 7 BNF) a") GBNFC) CMARtB) -- MAR) APF) E-7 AT ) Bo-7 Eb7 D7 B73 —- Ss __* E-7 ATS | ——4Concert Key STELLAR J 182 A cnaauses e arth ct e fe" # ee Pe Fe a" ae wit ates pps e+ ag Ny atsConcert Key 131 42132 4 Choruses (Choruses 1 & 2 ESB ac (Comes 182) 7 ap oy BBLF) 3-49(CH-BH) BBLIC) BLE) BBLIA BNF) BL (BE) CESHIG-) CESH(BS-) CESHIC-) TTYADIA lyd.aug) cae CMARIA) CMARIC) CMARD) (EP-7) CMAR( GBNFIA) GBNF(C) GBNFD) ancy” GBNAG. re AT C-7 F7 F-7 r T— ~ | i HG(Ebma}) 7-3E>-D) 3:49(D-B) 3-49(C-A) CMARICA) BBL(Ai) BBLIC) TI/ADD ye.oua) CESHIES-) CESHIG-) YA 7) CMARF) CMARIA) aIFF) CMAR(D) BNF) CMAR(A) GBNFIA) | B78 | Bs AbT+4 Bra BF 1 7-3{Ab-G) 3-b9(G-E) BBL) 7-3(G-Fh BBL(E®) CESHIG.) 3-)9(FF-Eb) BBL{G) CESH(BS-) MARIA) BBLIAW) CESHID-) CMARIC) FA) ) CESH(ED-) MARIE) GBNFC) BB)-7) CHAR MAR) GBNFEE) (GE) CMARE) HnGh) ” GBNED) GBNFIF] D-7 | Br-7_ 7 (S-7 aw | D733 ———F - T t t I 4 3-49(B-AH) BBLID}) BBLID}) BBLIA) BBL BBL(AH) CESHIAP-) CESHIAb-) CESHIC-) CESHIC-) CESH(ED-) CMARBH) CMARB>) CMAROD) CMAR(D) CMARH) GBNFIB») GBNFIBS) GBNF(D) GBNFID) GBNFIA G73 x C-7 ADT+4 t + 7-31D-Ch 3-b9(C-A) 3-491CH-BH) BBLIAH) BBLIC) BBL(ED) CESHIE>-) CESHG-) CESH(B-) MARC CMAR MARI) GBNFF MARIA) CMAR(A) GBNFIA) GBNFC} zr Bra x pe Ans : — eal 7-3(B)-A) 7-3(C-B) 3-91A-GH) 3-9(B-Ab) BBL) BBL(BH) BBLS) BBL(AP) CESHIFH) CESHIF-) CESHIAb-) CESHIED-)_ CMARIGH) -MARIG) CMARB:) CMARFA GBNFGH GBNFIG) GBNF(BH) BNF BD(ED-7) MARIA) CMARIA) pe L FT Bos x G73 c — | =132 as a a eé y eG) ee ee els wi Bis / eo hts WE Be hore eo e ats a” (a) oe (et)(Choruses 3 & 4) 133 7-3(Bb-A) 3-b9(A-Gi) BBL) 1jPT SPT OTe Fra Be 7-31D-C4) 3-bO(CH-Bb) CMARD) BBLIC) BBLEH) a) GBNFID) BBL(BH) CESHG-) CESH(BS-) CESHIC-) TT/ADIA Wydaug) CESHIF-) CMAR CMAR( MAR) \E>-7) CMAR(G) GBNFIA) GBNFIC) GBNFID) HICH) GBNF(G) __p BeSt5/A ATS qe F7 Bb7sus.4 -HG(Esmaj) “7-3E4-D) 3-b9(D-B) 3-99(C-A) CMARICH BBLIAb) BBLIC TI/ADD Wyd.aug.) CESHEED-) ces) BoIAi-7) CMARE) MARIA) af) CMAR(D) GBNFF) MARIA) GBNFAY Be Epa Bis LE t t — 7-3{Ab-G) 3-49(G-E) BBLIC) 7-3(G-F) BLED) CESHIG-) 3-9(FS-Eb) BBLIG) CESH(B}-) MARIA) BLAH) CESH(D-) CMARIC) GBNFIA) CESHIC-) CESHIED-) MARE) GBNFC) BD(By-7) CMAR(D) MARI) GBNFEE) hI(GF) CMARTE) HIGH) GBNFID) GBNFF) D-7 | Br-7 7 | Fa LE Beas (D728 i 1 1 1 a T 1 3-9B-AH) BBLID}) BBL{D?) BBLIF BBLIA BBLIAH) CESHIAb-) CESHIAD-) CESHIC-) CESHIC-) CESH(ED-) MARS) CMAREB:) CMAR(D) CMARD) CMARF) GBNF(BY) GBNFIBD) GBNF(D) GBNF(D) GBNFIF) Ba+5/B) x \o-7 i x | Grass | t T t 7-3D-Ch 3:49(C-A) 3-9(CH-BH) ) BBLIC) BBL{ES) CESHIED-) CESHIG-) CESH(B}-) CMARM) CMARIA) IAR(C) BNF GBNFE) CMARE) GBNFIA) GBNFC) x APB Board EF ATS : a L ee —_ 7-31D»-C) 7-31C-B) 7-31B-B») 3-59(C-A) 3:59(B-Ab) 3h 91Bb-G) 7-3(Bb-A) BBL{Ab) BIG) Bl 3-9(A-Go) CESHEED-) CESHID-) CESH(D>-) BLAH) CMAR®) MARIE) CMARDH CMAR(F) GBNFF) GBNFE) GBNF(DA) BDJEb-7) CMAR(A) MARIA) E)-7 Ae? )D-7_ G7 Di-7_- GT xBb Instruments STELLAR det (Ghodt-2] Sovonuses gi YY @ +4 ahs 2 Bey _ S at wo é aBb Instruments STELLAR J=132 4 Choruses 7-31C-B) 3-9(B-A) (Choruses 1&2) 7-SIE-D#) BBLIG) 3-9(D4-C) CMARE) BBLID) BBLIF) GBNFE) BBLIC) CESHIA-) CESHIC-) CESHIG-) CMAR®) MAR) CMARIA) GBNFEB) GBNFD) GBNF(A) | B78 G7 G-7 | . _ 399(-B) BBL (BS) BBLID) i mu | CESHIF-) CESHIA-) SDBb-7) CMARIG) CMARIB) aap?) 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CESHIC-) CMARIC#), GBNFIA) BD(G-7) CMAR(B) CMAR(D) GBNFICH) alee) CMAR(C#) AIF") GBNF(B) GBNFID) = I G-7 C7 fl Ds | cr i C845 | B72 1 a T T T T I 3-b9(GH-F) BBLIBS) BBLIB) BBLID) BBLID) BBLIF) CESHIE») CESHIE-) CESHIA-) CESHIA.) CESHIC-) CMAR(G) CMARIG) CMAR(B) CMAR(B) CMAR(D) GBNF(G) GBNF(G} GBNF(B) ‘GBNF(B) GBNF(D) Ab6+5/G Lr A-7 x Ebas5 — Tt 7-3(B-Al) 3-b9(A-Gb) 3-bA$-G) BBL{A) BBL(C) CESHEE-) CESHG-) CMARIEA CMARIA) GBNFICH) CMARICA GBNFIFA) GBNFA) LFvG Gad cir (FIT t — 7-3Bb-A) 7-3(A-GH) 7-3{Ab-G) B19A-Gr) 3-b91G-F) 3-91G-E) 7-3(G-FA BBUF) BBL) BBL(E>) 3-b9(F#-Eb) CESHIC-) CESH(B. CESH(Bb-) BBLIA CMAR(D) MARC CMARIC) CMAROD) GBNFD) GBNF(CH BNF) BDIF-7) CMARIFA CMARFH C7 7 BT EV Be? BT Ar x D733 | Gs =142 BIBLIOGRAPHY Aebersold, Jamey. A New Approach To Jazz Improvisation, Vol. 1. New Albany, Indiana: self-published, 1967. Aebersold, Jamey. A New Approach To Jazz Improvisation, Vol. 3. New Albany, Indiana: self-published, 1974. Aebersold, Jamey. A New Approach To Jazz Improvisation, Vol. 21. New Albany, Indiana: self-published 1979. Baker, David N. How To Play Bebop, Vol. 1. Van Nuys, California: Alfred’s Music 1985. Baker, David N. The Jazz Style Of Cannonball Adderley. Hialeah, Florida: Columbia Pictures Publications, 1980. Baker, David N. The Jazz Style Of John Coltrane. Hialeah, Florida: Columbia Pictures Publications, 1980. Baker, David N. Modern Concepts In Jazz Improvisation. Van Nuys, California: Alfred’s Music, 1989. Butler, Hunt. Modern Jazz Tenor Solos. Brett Music, 1988. Coker, Jerry. Complete Method For Improvisation. Hialeah, Florida: Columbia Pictures Publications, 1980. Coker, Jerry. Jazz Keyboard. Hialeah, Florida: Columbia Pictures Publications, 1984. Coker, Jerry; Casale, Jimmy; Campbell, Gary; Greene, Jerry. Patterns For Jazz. Hialeah, Florida: Columbia Pictures Publications, 1970. Coolman, Todd. The Bass Tradition. New Albany, Indiana: Jamey Aebersold, 1985. Dobbins, Bill. Chick Corea: Now He Sings, Now He Sobs. Rottenburg, Germany: Advance Music, 1988, Keller, Gary. Sonny Stitt. Hialeah, Florida: Columbia Pictures Publications, 1985. Kynaston, Trent. Michael Brecker. Hialeah, Florida: Columbia Pictures Publications, 1982. Kynaston, Trent. Phil Woods. Hialeah, Florida: Columbia Pictures Publications, 1981. Leisenring, John; Butler, Hunt. J.J. Johnson. New Albany, Indiana: Jamey Aebersold, 1989. Reeves, Scott D. Creative Jazz Improvisation. Englewood Cliffs, New dersey:Prentice-Hall, Inc., 1989. Ricker, Ramon. Pentatonic Scales For Jazz Improvisation. Hialeah, Florida: Columbia Pictures Publications, 1976. Slone, Ken. 28 Modern Jazz Trumpet Solos, Book 1. Hialeah, Florida: Columbia Pictures Publications, 1977. Slone, Ken. 28 Modern Jazz Trumpet Solos, Book 2. Hialeah, Florida: Columbia Pictures Publications, 1980. Slone, Ken. Charlie Parker Omnibook. New York, New York: Atlantic Music Corporation, 1978.Jerry Coker followed an early caling to become a jazz tenor saxophonist, growing up training in composition and multiple woodwinds. ‘Study was interrupted by a several-year stint as featured soloist with Woody Herman, Stan Kenton, and Frank Sinatra, during which time he discovered a love for teaching, Applying to Yale, he was given a full scholarship in composition. After attending there, he later returned to Indiana University for graduate study and a position as director of jazz studies. 1991 marks his 33rd year of teaching at the college level. Jerry Coker’s output as an author of jazz texts and his work as a recording artist have brought him international attention (his first book is now printed in Japanese, Spanish, Italian, and German). He has taught in many countries abroad and in Canada through his association with the Jamey Aebersold clinics. At the University of Miami, Coker developed the first program offering both a Bachelor’s and a Master's degree in jazz, and he has since created a similar program at the University of Tennessee in Knoxville, Recordings include “Extensions”, (featured soloist with Clare Fischer) and more recently, “Rebirth” and “Re-emergence”, each being feature albums. Jerry Coker has authored How to Listen to Jazz, improvising Jazz, The Complete Method for Improvisation, Drones for Improvisation, Jerry Coker’s Jazz Ke ‘eyboard for Pianists and Non-Pianists, The derry Coker Figure Reading Series, The Teaching of Jazz, Patterns for Jazz, The Jazz Idiom and How to Practice Jazz.