http://www.youtube.com/watch?v=_eo7DsXftRs&feature=youtu.

be&t=5m31s

###########_______________________________________________
This is from a video I came across of Kreisberg playing a blues, Tenor Madness, at
a master class. I transcribed the last chorus from his solo because it has three
interesting motifs that really illustrate a contemporary approach to playing the
blues.

Motif 1:

Over the Bb7 chord from the second beat of measure one until the first beat of
measure four he plays either triads or 1-2-3-5 patterns through the circle of
fourths beginning on Bb and going all the way to F. All of this is over an
essentially static Bb chord. This is a straightforward was to go �outside� the
chord to create a sense of movement with a solid structure. Kreisberg uses some
other triad and 1-2-3-5 patterns (chromatic and in minor 3rds) earlier in his solo.
Any pattern or chord progression (the �Coltrane changes� for example) could be used
over a static chord or even a longer progression as long as there is an underlying
structure and the line resolves properly.

Motif 2:

In the second half of measure 4, Kreisberg leads into the Eb7 chord with a line
suggesting a Bb altered chord. The first two beats over the Eb7 work nicely with
the dominant chord (note the A which is the #4). Kreisberg then starts a sequence
using the Eb diminished scale. This five note pattern obscures the downbeat and
adds rhythmic complexity despite being straight sixteenth notes.

Motif 3:

The third motif beginning on beat two in measure seven combines classic blues
phrasing, syncopation, and swing with a more contemporary ending. The traditional
jazz/blues line over the F7 chord is followed by two descending triads that begin
on their #4. The Db triad suggests a Bb7#9 sound and the B natural triad suggests
a bV substitution for an F7 chord. The solo ends on an E natural, the #4 of Bb7.
A nice dissonant note over a dominant chord.