Rick Margitza On Weaving Through Chord Changes Using Chromatic Embellishment Best. Saxophone. Website. Ever

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Saxophone Technique By Roquai – CC BY-SA 3.0 (https://creativecommons.org/licenses/by-sa/3.0), from

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Tone Production
This is a general term that I use that includes the use of the descending
Transcriptions
be-bop scale (half step between the root and dominant 7th) and all
https://www.bestsaxophonewebsiteever.com/rick-margitza-on-weaving-through-chord-changes-using-chromatic-embellishment/ 1/6
Video the various versions of the ascending and descending major be-bop
scales…check out the many videos on this subject that are based on
the teachings of master Barry Harris. Under this general heading, I also
include the use of upper and lower approach notes (half steps above
or below the target chord tone) and enclosures: the use of both upper
and lower approaches. Clifford Brown comes to mind as a master of
this technique.
I’ve found that most younger, more inexperienced players tend to

avoid or shy away from these “avoid” notes. As a result, their lines tend
to sometimes sound awkward because the guide tones end up falling
on weak parts of the measure. Besides the color that these
passing/approach tones add, one of their main functions is to place
the target notes on the strong beats of the measure.
That being said, I feel that it is extremely important to be able to

master the technique of NOT using these chromatic notes – i.e. to
improvise using nothing but the appropriate major or melodic minor
scales. The goal here being to develop the ability to hear and feel the
“right notes in the right places.” Once you are able to confidently hear
and play melodies without the use of these “avoid” notes, the
chromatic passing tones and enclosures become natural extensions of
your melodic conception, thus adding color and interest to your lines.
With these two concepts in mind, I offer the examples below.
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Line 1 is an improvisation over the chord changes of Cherokee. I

used nothing but the notes in the corresponding major or melodic
minor (lydian dominant chords) scales.
Line 2 is based on the melodies and melodic shapes of line 1, but

added are chromatic embellishments.
Line 3 is and ultra embellished version that is not based on either

of the two other examples. It is perhaps a little over the top
chromatically, but I went out of my way to show how effective the
use of chromatic passions tones and enclosures can be. In these
examples, the objective was to illustrate the concepts mentioned
above and are mostly 8th note based. Rhythmic variety is
purposefully ignored.
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Note that at no time am I thinking of any harmonic tensions or

extensions…only scales and chromatic embellishments. Once these
two techniques are absorbed and become second nature, the next
step would be to start altering the chords and harmony. The perfect
example of this logical progression would be John Coltrane from his
Prestige through Impulse periods.
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Rick Margitza
Born in Detroit, Rick Margitza has studied classical saxophone with
Donald Sinta at the university of Michigan, and jazz with Sonny
Stitt, Gerry Niewood, Michael Brecker, and Gary Campbell and
David Liebman. He studied at Wayne State University in Detroit,
the Berklee School of Music in Boston, the University of Miami,
and graduated with a bachelors of music from the Loyola University in New Orleans.
After living in New Orleans, Margitza moved to New York in 1989. He has performed
and/or recorded with McCoy Tyner, Bobby Hutcherson, Tony Williams, Eddie Gomez,
Chick Corea, Maria Schneider, Dave Douglas and Miles Davis. He has led his own band
and performed in clubs, concert halls and festivals around the world. His 10 albums as a
leader document the evolution of his playing as well as his growth as a composer.
Margitza has also composed music for orchestra including two symphonies and a
saxophone concerto. He currently live is Paris since moving there in 2003. He is of
Eastern European Gypsy decent and is part of the new band called Gypsy Tenors with
fellow countrymen Gabor Bolla and Tony Lakatos. He is also in the process of finishing
an album of his big band music as well as a new recording with his French quartet.
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Saxophone Technique By Roquai – CC BY-SA 3.0 (https://creativecommons.org/licenses/by-sa/3.0), from

I’ve found that most younger, more inexperienced players tend to

That being said, I feel that it is extremely important to be able to

Line 1 is an improvisation over the chord changes of Cherokee. I

Line 2 is based on the melodies and melodic shapes of line 1, but

Line 3 is and ultra embellished version that is not based on either

CLICK HERE FOR A MORE READABLE AND

Tim on Making the Case for “Shredding”

Music School El Dorado Hills - Mr. D's Music School on

Jasmine Belle on 7 Tips to Keep Your Lower Lip Pain-

Sam on A Killer 12-Key Workout Using Coltrane’s

Tsophia nagelJohnson on 7 Tips to Keep Your Lower Lip

Note that at no time am I thinking of any harmonic tensions or

More from Rick

IF YOU LIKED THIS ARTICLE, YOU'LL LOVE THE

Of course, your email address is 100% private, and you'll never be

Enter your email address

© Best. Saxophone. Website. Ever. 2020

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