BRECKER’S BLUES: TRANSCRIPTION AND THEORETICAL ANALYSIS OF SIX SELECTED IMPROVISED BLUES SOLOS BY JAZZ SAXOPHONIST MICHAEL BRECKER

DOCUMENT

Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts in the Graduate School of The Ohio State University

By David Rawlings Freedy, M.M. *****

The Ohio State University 2003

Document Committee: James Akins, Advisor Joseph Duchi Dr. Russel Mikkelson

ABSTRACT

The following is an analysis of selected musical improvisations of tenor saxophonist Michael Brecker. The

improvisations span the years 1987-99 and are all characterized by a shared underlying 12-bar chord structure commonly known as “Blues.” The improvisations at hand were chosen by the author by

means of six necessary characteristics: 1. Performance over a 12bar Blues (major or minor) harmonic progression; 2. Profundity or “specialness” of the improvisation as determined by the author; 3. Theoretical complexity of the improvisation sufficient to warrant an extended analysis as determined by the author; 4. Historical placement of the improvisations from 1987 to the year of Document submission; 5. Commercial availability of Compact Disc recordings of all of the improvisations; 6. Lack of availability of other transcriptions of the improvisations from either commercial or academic sources. It is the author’s

contention that the transcriptions and analyses of the selected improvisations will help illustrate Mr. Brecker’s approach to the Blues as well as identify the theoretical underpinnings upon which these improvisations rest. ii

ACKNOWLEDGMENTS

I wish to thank my advisor, Professor James Akins, for his patience, support, and encouragement throughout my entire Doctoral degree program at Ohio State University. Thanks also to James Defrancesco, whose computer savvy ensured a polished and professional presentation of the transcriptions. I also wish to thank Professor Pat Harbison (Indiana University) for teaching me everything I know about Jazz Improvisation to date. Additional thanks to Brad Taylor for providing sound fundamental training in music theory in the early years of my music studies. Finally, I would like to acknowledge my parents, Dr. Robert and Dr. Lucy Freedy, whose support continues to be instrumental in bringing my musical efforts to fruition.

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.Bachelor of Music. . . 1968. . . . . . . Analysis. . . .Principal Tuba. . . . Cincinnati College-Conservatory of Music 1994. . .Master of Music. . .Associate Member. . . The Ohio State University FIELDS OF STUDY Major Field: Music Minor Field: Jazz History. . . . . . . . . .Graduate Teaching Associate. . Cincinnati CollegeConservatory of Music 1996. and Performance iv . . . Cincinnati CollegeConservatory of Music 1993-present. . . . . . . . . . . . Kentucky Symphony Orchestra 1999-present. . .Born – Columbus. . . . . . . . Ohio 1991. . . . . . .Artist Diploma. Columbus Symphony Orchestra 2000-present. . . .VITA January 12. . . . .

........... 46 “Timeline”: Analysis ................................... 75 v ...................... 42 “Delta City Blues”: Analysis ........................ 8 Purpose of the Study .............. 7 Review of the Literature ................. 12 Suggestions for Further Study ................................... Discography ...................................................................................... 12 2.. 8.................. 5............... 3.................... 4.... 52 Selected Breckerisms ......................................... vii Chapters: 1............................ 1 Blues: Brief History and Early Influence Upon Jazz 3 Michael Brecker: A Brief Biographical Sketch .......... 15 “Two T’s” [sic]: Analysis ...........................................................TABLE OF CONTENTS Abstract ........... 6........................ ii Acknowledgments ........ 58 Appendices: A.................................... 7................... Introduction ......... iv Chord and Scale Syllabus ................... 21 “Cabin Fever”: Analysis .... iii Vita .... 6 The Art of Transcription ................................ “Nothing Personal”: Analysis ... 31 “Jones Street”: Analysis .......

. 161 “Timeline”: treble and bass clef transcriptions..........B.. annotated and unannotated ... 191 vi ... 98 “Cabin Fever”: treble and bass clef transcriptions......................... 119 “Jones Street”: treble and bass clef transcriptions............ 77 “Two T’s” [sic]: treble and bass clef transcriptions.......... G....... F..... annotated and unannotated ........................ annotated and unannotated ...................... annotated and unannotated ..... 178 Reference and Related Bibliography . annotated and unannotated ............... C......... “Nothing Personal”: treble and bass clef transcriptions....................... annotated and unannotated . D................ 152 “Delta City Blues”: treble and bass clef transcriptions.......... E......

E flat. F Cmi 13: C. D flat. D CMA 9 (#11): C. F.CHORD AND SCALE SYLLABUS CMA: C. B. E. D C 9 (#11): C. D Cmi 11: C. B flat. E. E. F. F sharp. E flat. E flat. F sharp. G. G. G. D. E flat. G. B flat. F sharp C 13 (#11): C. E flat. E flat. E flat. D. B flat vii . B. G. F. G CMA 7: C. B flat Cmi 7 (b5): C. F. G. F. B flat. B flat Fifth Mode of the Dominant Bebop Scale: C. E. E. F. E flat. A. E flat. B flat. A. B flat. B flat. B flat C 7 (#5): C. B flat. B flat C 7 (b9): C. E flat. A. D CMA 9 (#5): C. F. B flat. D. Aflat. E flat. D. G sharp. F sharp CMA 13 (#11): C. E flat. E. G. G. G. G. G. E. E flat. B flat. B. E. E. G. G. D. G sharp Aeolian Mode/Natural Minor Scale: C. G. E. G. G. G. G flat. Bflat Ascending Melodic Minor Scale: C. B flat. B Dominant Bebop Scale: C. G flat. B flat. G. E. D sharp C 7 (b9. G. E. A C 13 (#9. D. E. B flat Fifth Mode of the Harmonic Minor Scale: C. D. D. B Cmi 9: C. D sharp C dim 7: C. B double flat C 9: C. G. E. D CmiMA 9: C. G. D. F sharp. A C 7: C. B flat Fifth Mode of the Major Pentatonic Scale (altered)/ “Blues” Pentatonic Scale: C. F. E. G. G. A flat. B CMA 9: C. F. G. F sharp CAUG: C. #11): C. B. B flat CmiMA 7: C. B flat Fifth Mode of the Major Pentatonic Scale (unaltered): C. E flat. D sharp. E. D flat C 7 (#9): C. G sharp. E. D. A. D. B. E. A Cmi: C. G Cmi 7: C. E. B Dorian Mode: C. #9): C. G. E flat. G. D flat.

F sharp. A flat. B Ionian Mode/Major Scale: C. E. B Third Mode of the Ascending Melodic Minor Scale: C. G sharp. A. E. D. D. D. F. B Second Mode of the Major Pentatonic Scale: C. E. D. E flat. G. D. F sharp. Fsharp. D. A. E flat. D. G. D. D. B flat Octatonic Scale (beginning with a whole step): C. B flat. G. G sharp. F. F. B Whole Tone Scale: C. G. A. B Seventh Mode of the Major Bebop Scale: C. G.Fourth Mode of the Ascending Melodic Minor Scale/”Lydian Dominant” Scale: C. D. E. A. F sharp. G. G. E. B flat Seventh Mode of the Dominant Bebop Scale: C. B Major Pentatonic: C. E flat. B flat “Gap” Scale: C. D. B flat Octatonic Scale (beginning with a half step)/”Dominant Diminished” Scale: C. D. B Harmonic Minor Scale: C. B flat viii . E. G sharp. G. C sharp. E. Fsharp. E. A. D. F sharp. G. A. A Mixolydian Mode: C. E flat. G. B Major Bebop Scale: C. G. G. E. F. F. C sharp. F sharp. G sharp. E. D sharp. F. G sharp. A. Aflat. A. F. E. A. B Lydian Mode: C.

Brecker’s solo career as of this writing. Theoretical complexity of the improvisation sufficient to warrant an extended analysis. Historical placement of the improvisations from 1987 to the year of Document submission. Commercial availability of Compact Disc recordings of all of the improvisations. The improvisations were chosen with six characteristics in mind: 1.CHAPTER 1 INTRODUCTION This D.A. Lack of availability of other transcriptions of the improvisations from either commercial or academic sources. With respect to 1 . Profundity or “specialness” of the improvisation as determined by my own subjective opinion. Document provides analysis of six selected Blues improvisations (see Discography: Appendix A. Performance over a 12-bar Blues (major or minor) progression. to the best of my knowledge as of the time of Document submission. 5. 6. page 75) of Jazz tenor saxophonist Michael Brecker. which roughly spans the time period of Mr. The primary goal of this investigation was to uncover and illuminate the theoretical structures upon which these improvisations rest. also as determined by my own subjective opinion. 2. 4. 3.M.

some of these elements require further explanation. The commercial availability of the recordings is important because an aural knowledge of the solos themselves is essential if one is to grasp the musical effect of the theoretical structures utilized by the soloist. Mr. it was important to me to transcribe solos otherwise unavailable in written form so as to provide fresh grist for the mill of Jazz scholarship. Finally. This being granted. were chosen due to their prominent role in the historical performance practice of Jazz. 2 . Brecker’s approach to this time-honored vehicle for Jazz improvisation. thus facilitating unbridled instrumental virtuosity and theoretical complexity.adherence to these criteria. Brecker’s certain thorough knowledge of this form helps ensure that the solos themselves will be ones in which he is not burdened with unfamiliar chord progressions. and readily available recordings provide that knowledge. Blues. They also represent an aural record of the performance practice of the soloist. further deepening one’s understanding of the musical statement being made. the transcriptions I have created will help illuminate Mr. as the basis for the selected improvisations in this study. Additionally.

Whereas the Field Hollers provided the emotional prototype for later Blues. a clear foreshadowing of Blues structure that had yet to coalesce at that time. Of Southern origin. Black Ballads. Often. Black Ballads provided an early version of the later structural framework of Blues. ubiquitous form consists of one line of repeated material 3 . were a very popular mode of musical expression from 1870-1915. The 3 line stanza began its This now codification within the Blues realm in the early 1900s. of a more formal structure. In terms of structure.BLUES: BRIEF HISTORY AND EARLY INFLUENCE UPON JAZZ Blues is one framework within which Jazz musicians ply their trade. it is considered a touchstone through which these artists can find common ground on which to improvise. Field Hollers amount to freely performed vocal incantations of a soloistic nature with the manifest purpose of helping pass the time during long hours of manual labor. The earliest forerunners to the Blues consist of Field Hollers and Black Ballads. the Blues has a distinct history unto itself. Black Ballads typically consisted of a couplet followed by a refrain occurring over the course of 8 or 12 bars. Though much associated with Jazz. Their use gradually superceded that of group based Work Songs as Southern plantation life and the large accompanying slave based labor force declined.

followed by a second line that rhymes with the first which is utilized as a response to the first repeated line. With regards to performance practice, the Blues has a tradition independent of Jazz. In particular, Rural Blues

(acoustic emphasis) as well as Urban Blues (electric emphasis) were manifest in several different forms which corresponded to their region of origin. As relates to the Blues inclusion in

Jazz, it is worth noting that two of the cities most associated with the inception and development of Jazz as an art form, New Orleans and Kansas City, had no strong tradition of Blues performance practice. As a result of this stylistic vacuum with

regards to Blues performance practice coupled with an active Jazz scene in each of those cities, the attitudes of Jazz musicians in those cities would have presumably been more permissive towards an attempted amalgam of the two styles. Although it is widely assumed that the Blues has profoundly influenced the development of Jazz, there is not currently scholarship available to support this supposition, though its presence was often significant. As for the dissemination of

Blues within the New Orleans and Kansas City Jazz cultures, the relatively learned New Orleans musicians most likely came to the Blues by means of dissemination of sheet music. Given that they

were entertainers, they were apt to adopt styles that would be enthusiastically received by their patrons. As the Blues was

experiencing a commercial heyday in the 19 teens and 1920s, 4

inclusion by means of (at least initially) sheet music arrangements would seem to be the likely explanation for the Blue tinge added to New Orleans Jazz. As for Kansas City, the

stylistically permissive environment coupled with touring territory bands in need of material for performance most likely explains the Big Band style Blues primarily produced in and associated with Kansas City. Though Blues was influential in the

development of the Kansas City style of Big Bands, this generally did not extend to Big Bands from other cities and regions. While

Kansas City Big Bands (also known as Territory Bands) frequently toured, most other Big Bands throughout the United States had ongoing residencies in particular dance halls or hotels. and parcel of being the “House Band” in the various establishments was to provide functional dance music and melodious ballads for the patrons’ enjoyment. As a result, Part

competent execution of popular songs of the day in the style of the given band was held in much higher esteem by patrons as compared to capturing the impassioned and rollicking quality of the Blues. With regards to structure, there is historical evidence to suggest that the basic form for Blues (12 bars, traditional I IV V type progression) was in use by Mississippi Delta Blues guitarists and Boogie Woogie pianists as early as the 1890s. This being asserted, there is lamentably no recorded evidence of

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this until the 1920s (The New Grove Dictionary of Jazz, ed. Barry Kernfeld [New York: St. Martin’s Press, 1994]).

MICHAEL BRECKER: A BRIEF BIOGRAPHICAL SKETCH

As a youth in Philadelphia (born March 29, 1949), Michael Brecker was primarily a clarinetist and alto saxophonist. It was

not until some time later during his High School years that he took up the instrument with which he is most associated, the tenor saxophone. Beyond High School, Brecker attended Indiana

University for a time, later moving to New York City in 1969. Since that time, Mr. Brecker has been associated with a number of commercially successful and critically acclaimed projects. Some

of the more prominent include The Brecker Brothers (with brother and trumpet player Randy Brecker; 1974-79, 1992-94), Steps Ahead (with Mike Mainieri; 1979-86), and a still burgeoning solo career, which began in 1987 with his self titled début solo CD (see Discography: Appendix A, page 75). To date, Mr. Brecker is

an 8 time Grammy winner as well as being the only performer to be awarded both the “Best Jazz Instrumentalist” and the “Best Jazz Instrumental Solo” in consecutive years. Hailed by Jazz

aficionados, students, and professionals alike for his innovations, Michael Brecker is among the most influential Jazz instrumentalists of his time (“Michael Brecker: Biography”

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[www.michaelbrecker.com]; The New Grove Dictionary of Jazz, ed. Barry Kernfeld [New York: St. Martin’s Press, 1994]).

THE ART OF TRANSCRIPTION

For the purpose of clarity, transcription (as utilized in this document) is the process of capturing in written form a selected improvised solo or solos of a given artist or artists for the purpose of intellectual study and/or musical reiteration. Transcription has been utilized by many developing as well as accomplished Jazz musicians for the purpose of beginning and continuing the never ending educational process. This

educational process is essential in promoting technical facility and stylistic evolution which are primary components of the noteworthy artist. Though this autodidactic pedagogical tool has

been widely utilized, the process itself has not been written about in any great detail with a few notable exceptions (Larry Dunlap, Ron Gorrow, and Andrew White; see Bibliography: Appendix H, page 191). Historically, it is difficult to establish the prominence of the practice of transcription as many transcriptions are created by the transcriber for the transcriber who often does not seek a wider dissemination of the end product. This being said,

there are some collections extant that were created expressly for this purpose. Their existence gives some indication as to the 7

reiteration. 1994]). REVIEW OF THE LITERATURE The following is included as an overview of the materials currently available which concern the topic of the Document at 8 . distillation. transcriptions began to serve the purpose of historical reenactment/recreation in addition to the already prominent practice of scholarly study. 1930s saw the appearance of transcriptions in such industry journals as Metronome and Downbeat. and personalization. Barry Kernfeld [New York: St. formalized study of Jazz at the University level was also burgeoning which produced a number of scholarly treatises in which transcription is a prominent feature of the document itself. Starting in the 1980s with the inception of the Jazz repertory movement.general interest of the musician/scholar in such an offering. As well. It is my intention that this Document be a contribution to the scholarly trend with respect to Jazz which continues to date (The New Grove Dictionary of Jazz. ed. collections of improvisations (ostensibly) by Louis Armstrong were in print and available for purchase. The As The 1940s through the 1970s were witness to an increasing array of single transcriptions in industry journals as well as commercially available transcription folios dedicated to a given artist or selected artists on a given instrument. Martin’s Press. early as 1927.

Trent.” Down Beat 52. “An Analysis of Michael Brecker’s Harmonic Style. MI: Corybant Productions. Transcribed by Trent Kynaston. the “Super Locrian” Scale. The entries are listed in chronological order. See Bibliography (Appendix H. 9 .k. Library of Congress). One can reasonably assume that the 1986 version which apparently contains a transcription of a solo Blues improvisation by Michael Brecker also contains no analysis of the solo itself.hand. 7th mode of the Ascending Melodic Minor Scale). A brief identification and explanation of particular techniques utilized by Michael Brecker in his improvisations when addressing minor seven (mi 7) and dominant seven (7) sonorities. With respect to format. Hialeah. Unavailable (one non-circulating copy extant. 5 (May 1985): 54-5. Chick Corea. Kynaston. FL: Studio 224. Materials included in this review contain transcriptions of solos (not necessarily Blues) and/or analysis of the theoretical underpinnings of Mr. Kalamazoo. Jazz Tenor Solos: Masters of the Tenor Saxophone Play the Blues. and the Brecker Brothers.a. 1986. no. page 191) for an alphabetical listing. The 1988 version of this publication does not contain a transcription of a Blues solo by Mr. the Ascending Melodic Minor Scale. Kynaston. Kynaston. the 1988 version contains transcriptions of 8 improvised Blues solos by 8 different artists. the “Altered” Scale (a. Text concerning analysis of the improvisations themselves is absent (1988 version). A collection of 12 transcriptions of Michael Brecker improvisations spanning the years 1977 to 1981 and encompassing his work with Jack Wilkins. Brecker. Trent. Trent. 1982. Text concerning analysis of the improvisations themselves is absent. Brecker’s improvisatory style. Michael Brecker: Improvised Saxophone Solos. and the Mixolydian Mode. Transcribed by Trent Kynaston. Devices/structures identified and discussed include the Dorian Mode.

no. Saxophone: Michael Brecker. notation. Osland. 1987. Devices/structures identified and discussed include the articulation of idiomatic diatonic language that is a half step removed from the underlying sonority and the articulation of melodic material that connotes harmonic intent complimentary to or in contrast with the underlying sonority or chord progression. Coan. Milwaukee. multiphonics. “Woodshed: Michael Brecker’s Tenor Sax Solo on ‘Impressions’. from Miles Davis’ Kind of Blue. page 191). Transcribed by Carl Coan. Note: “Suspone” was later recorded and released on Michael Brecker’s 2nd solo effort entitled Don’t Try This at Home (1988. A collection of 19 transcriptions of Michael Brecker improvisations spanning the years 1976 to 1992 and encompassing his work with the Brecker Brothers. and as a solo artist. tritone substitution. and selected recordings (Selected Discography) are included. Sections concerning background (Biography). David. 7 (July 1996): 64-5. Miles. see Bibliography: Appendix H. 4 (Summer 1991): 36-8. A full transcription and analysis of a Michael Brecker improvisation based on the Mike Stern composition “Suspone” (a melodic contrafact composition based on the chord changes to the George and Ira Gershwin composition “I Got Rhythm”). page 191}) which was recorded with the McCoy Tyner Trio on the McCoy Tyner release entitled Infinity (1995. and the articulation of a repeating intervallic pattern presented at varying pitch levels. Carl. Text concerning analysis of the improvisations themselves is absent. Steps Ahead. A partial transcription (5th and 6th choruses) and analysis of a Michael Brecker improvisation based on the John Coltrane composition “Impressions” (a melodic contrafact composition based on the chord changes to the Miles Davis composition “So What” {1959. 10 .Demsey. no. WI: Hal Leonard Corporation. Part V: Michael Brecker’s Solo on ‘Suspone’ by Michael Stern. see Bibliography: Appendix H.” Jazz Educators Journal XXIII. see Bibliography: Appendix H.” Down Beat 63. The improvisation comes from a live performance at the University of Main at Augusta on March 27. fingerings (saxophone). “The Succesful Sax. Devices/structures identified and discussed include the articulation of idiomatic diatonic language that is a half step removed from the underlying sonority. 1995. page 191). Artist Transcriptions.

Osland. page 191). A dissertation which contains a full transcription and analysis of a Michael Brecker improvisation based on the Green-SauerHeyman-Eyton composition “Body and Soul” from the 1993 release entitled Twin Tenors (Brecker and Mintzer. the “Super Locrian” Scale. and ‘Out of Nowhere’ as Performed by Selected Jazz Tenor Saxophonists Representing Different Styles. “Woodshed: Michael Brecker’s Tenor Sax Intro on ‘Delta City Blues’.k. and the articulation of melodic material that connotes harmonic intent complimentary to or in contrast with the underlying sonority or chord progression. see Bibliography: Appendix H. ‘Night and Day’. see Bibliography: Appendix H.” D.k. see Appendix F. equipment (mouthpiece). Devices/structures identified and discussed include chromaticism. Devices/structures identified and discussed include the “Altered” Scale (a.A.M. “Comparative Analysis of Improvised Solos Based on the Popular Songs ‘Body and Soul’.a. no. and Michael Brecker’s thoughts on a text-based approach to the study of improvisation versus listening-based/curiosity-based approaches. A partial transcription (1st two “A” sections and half of the bridge) and analysis of a Michael Brecker improvisation based on the Green-Sauer-Heyman-Eyton composition “Body and Soul” from the 1993 release entitled Twin Tenors (Brecker and Mintzer. 11 . 7th mode of the Ascending Melodic Minor Scale). tritone substitution. George. 5 (May 1998): 80-1. the “Super Locrian” Scale. Brecker’s improvised solo on “Delta City Blues” is contained within this study.Weremchuk.a. A brief narrative concerning a Michael Brecker pre-composed introduction to the Michael Brecker composition “Delta City Blues” (Mr. 4 (April. Eric.” Down Beat 66. University of Miami. 1999): 723. Allen. 1998. diss. and chromaticism. Devices/structures identified and discussed include fingerings (saxophone).. “Woodshed: Michael Brecker’s Tenor Sax Solo on ‘Body and Soul’. the “Dominant Diminished” Scale. 7th mode of the Ascending Melodic Minor Scale). page 191).” Down Beat 65. Miles. the “Altered” Scale (a. page 161). no.

PURPOSE OF THE STUDY The primary purpose of this study was to provide insight into Mr. This was needed in the opinion of the author in as much as there is a paucity of literature (exceptions noted in previous section) currently available that addresses both the actual notes being played by Mr. or dissertation form. analyzed. and made available to the public in article. Brecker improvises which I believe merit further study. Brecker and the origins of the notes themselves. book. All compositions listed are in some way tied to the standard canon of Jazz repertoire (Blues. Brecker’s approach to improvisation within the context of the Blues and within the chronological confines of his solo career to date. This is particularly noteworthy in light of Michael Brecker’s current elevated status within the artistic community (see Brief Biographical Sketch. thus providing additional probative material for the interested scholar. SUGGESTIONS FOR FURTHER STUDY The following is a reference list of compositions on which Mr. It is my aim and hope that this Document will help illuminate the complex inner workings of the particular improvised solos contained within this document. Ballad. 12 . none of the following have been transcribed (in toto). page 6). As of this writing.

“Giant Steps. current length of Mr. in the opinion of the author. composer) On Twin Tenors. “My One and Only Love. MCA/Impulse Compact Disc MCAD-5980. Brecker’s career as a solo artist) and is not intended to be a comprehensive list of Brecker improvisations worthy of further investigation.” (Michael Brecker.” (John Coltrane. “Suspone. or post-tonal) and are readily available in Compact Disc format as of this writing. Michael. The list is limited to the same temporal confines as the Document (1987-present.” (Wood and Mellin. composers) On Michael Brecker. *Brecker. Michael. listed in chronological order. “Syzygy. 13 .” (Mike Stern. *Brecker. MCA/Impulse Compact Disc MCAD-5980. particularly noteworthy examples of Mr. Michael. (1987) Ballad. (1988) Melodic Contrafact composition based on the chord changes to a Standard (“I Got Rhythm” by George and Ira Gershwin). *Brecker. (1993) Standard. Impulse Compact Disc MCAD 42229. page 191) for an alphabetical listing. (1987) Extended post-tonal introduction. composer) On Don’t Try This at Home. Novus Compact Disc 01241 63173-2. The entries are See Bibliography (Appendix H. Entries preceded by an asterisk (*) are. Brecker’s improvisational prowess with respect to theoretical complexity as well as instrumental virtuosity. *Brecker. composer) On Michael Brecker. Michael and Bob Mintzer.Standard.

(1997) Major Blues. Impulse Compact Disc IMPD-238. Herbie. Impulse Compact Disc IMPD-238. (1999) Melodic Contrafact composition based on the chord changes to a Standard (“So What”/”Impressions” by Miles Davis/John Coltrane). McCoy. Mike. Silver.” (Horace Silver. composer) On Give and Take.” (Thelonious Monk. (1995) Standard. Silver. 14 . (1995) Standard. (2002) Ballad. Michael. composer) On A Prescription for the Blues. “A Prescription for the Blues.” (Michael Brecker. McCoy. Impulse Compact Disc IMPD-171. Horace. Horace. *Hancock. (1997) Melodic Contrafact composition based on the chord changes to a Standard (“Softly. Michael Brecker and Roy Hargrove. “One Liners.” (Horace Silver. composer) On Infinity. Horace. “You Gotta Shake That Thing. composer) On Time is of the Essence. “I Mean You. (1997) Major Blues. As in a Morning Sunrise” by Sigmund Romberg). (1997) Altered Major Blues. Silver. composer) On A Prescription for the Blues. Atlantic Compact Disc 83036-2. *Stern. composer) On Infinity. “Naima. Verve Compact Disc 314 589 654-2. “Impressions. composer) On A Prescription for the Blues. Impulse Compact Disc IMPD-171. “Outrance.” (Mike Stern. *Tyner.” (John Coltrane.” (Horace Silver. Verve Compact Disc 314 547 844-2. Impulse Compact Disc IMPD238.” (John Coltrane. “Yodel Lady Blues.*Tyner. *Brecker. composer) On Directions in Music.

the 15 . Measure 6 contains stepwise diatonic movement within the scale (ranging from the 4th to the 7th scale degree) followed in measure 7 by a reiteration of the imbedded D 7 sonority first heard in measure 5. Brecker begins by utilizing selected pitches from parallel minor scales to imply sonorities other than those dictated by the given progression. page 77). Measure 9 articulates. Melodic Minor Scale: Measure 5 contains material indicative of a D 7 sonority. Mr. Measures 3 and 4 evidence an implied CMA triad which is Measures 5-7 switch to G Ascending imbedded within G Dorian. Measures 1-4 employ a G Dorian Mode: Measure 1 starts with the 2nd/9th scale degree (GmiMA 9 implied). with a lower neighbor.CHAPTER 2 “NOTHING PERSONAL”: ANALYSIS In the 1st Chorus of this improvisation (see Appendix B. Measure 8 is somewhat ambiguous in that the three sounded pitches are contained in both G Dorian and G Ascending Melodic Minor (perhaps an implied resolution to the differences of the 2 minor scales by means of common tones). followed in measure 2 by stepwise scalar motion which covers all pitches of G Dorian except for A natural (2nd/9th scale degree). also an imbedded chord within the G Ascending Melodic Minor Scale.

followed in measure 10 by a similar articulation of a flatted 7th (C natural). The 2nd Chorus begins with a return to the G Dorian Mode: Measures 13 and 14 contain a stepwise scalar articulation of this pattern. F natural as passing tone) imbedded within Ab Ascending Melodic Minor which is followed in measure 12 (first 3 beats of the bar) by a full scalar presentation (Gb as chromatic passing tone) of the same Ab Ascending Melodic Minor Scale. That is to say. Measures 11 and 12 contain material that relates directly to an Ascending Melodic Minor Scale. 16 Measure 14 evidences the . beat 4 contains what I think could best be termed a “chromatic turnaround” which leads naturally to the following A natural on beat 1 of measure 13. beginning of the pattern) a perfect fourth above the emphasized pitches by which they were preceded.flatted 7th of the underlying Eb 7 sonority. measure 13 contains metrically emphasized pitches (A natural. G natural. beat 3 and its pick-up note outline an Eb major triad (dominant sonority of Ab mi. and C natural) that are all (except for A natural. D natural. This is followed (still measure 10) by a partial articulation of an imbedded D dim 7 chord. this time relating to the underlying D 7 (#9) chord. though this time with Ab as its tonic pitch. Measure 12. with an internal emphasis on particular pitches equidistant from one another. In measure 11. all notes of which are contained within the D Octatonic Scale (beginning with a half step)/”Dominant Diminished” Scale that is clearly implied by the D dim 7 chord’s presence.

beats 3 and 4 contain standard diatonic material (G flat and F flat as passing tones. Beat 1: Eb MA (dominant sonority of Ab Ascending Melodic Minor) followed by Beat 2: Db MA (subdominant sonority). beat 1 contains a quick reference to the underlying Cmi 7 sonority (D natural as lower neighbor) followed by the remainder of the bar as well measure 19 being a stepwise diatonic articulation of the G Dorian Mode (movement confined to the octave between respective A naturals).same metrical emphasis intervallically arranged (perfect 4th). F natural from G Dorian). Beat 3 arrives at the superimposed tonic area (Ab mi) by means of more standard diatonic material. beat 3 contains a quick Bb 7 reference (dominant sonority of Eb MA) followed by standard Eb Mixolydian diatonic material for the next 5 beats (measure 21. After a beat and a half of chromatic material. Measures 20 and 21 contain the Eb Mixolydian Mode: Measure 20. beat 3: A natural as diatonic lower neighbor to briefly tonicized B flat). F sharp from G Ascending Melodic Minor. Measure 18. though this time in inversion/descending. 3 note chromatic lead-in to bar 16) followed in measure 16 by imbedded triads on beats 1 and 2. beats 2-4 of measure 17 once again contain tones for both G Ascending Melodic Minor and G Dorian (all notes in common except for 7th scale degree. Measure 22 contains elements of Eb Mixolydian as well as some attendant chromaticism. Beat 4 clearly articulates a DMA triad (dominant 17 . Measures 15 and 16 illustrate a return to the Ab Ascending Melodic Minor Scale: Measure 15.

beat 2 introduces F# MA by means of the F# Ionian Mode/Major Scale followed by diatonically imbedded triads on beats 3 and 4. G natural as diatonic passing tone) clarifying the harmonic direction of the melodic line. Standard Gmi diatonic material ensues in measure 26 (C flat as chromatic passing tone. Beat 3: D# mi triad (submediant sonority of F# MA) followed by an implied C# MA triad on beat 4 (dominant sonority of F# MA).sonority of GmiMA. The 3rd Chorus begins (measure 25) on the 2nd/9th scale degree of G Dorian/Ascending Melodic Minor. followed on beat 3 by a quick F# mi triad reference and returning to Gmi on beat 4 (C natural as diatonic upper neighbor). Measures 23 and 24 contain a clear and primarily stepwise articulation of the G Dorian Mode. Just as it seems that Ab MA will be more prominent (beat 1 of measure 28). In measure 31. Measures 29 and 30 contain a stepwise reiteration of G Dorian/Ascending Melodic Minor (B natural as chromatic lower neighbor) followed by more harmonic juxtaposition. followed by B 7 material on beat 4 and beat 1 of measure 32. A flat as chromatic upper neighbor. Beat 2 contains a quick reference to Bb 7 followed by FMA on beat 3 (dominant sonority of Bb MA. beats 1 and 2 are essentially Gmi (B natural as chromatic upper neighbor) followed by A 7 material on beat 3. D natural as diatonic upper neighbor) followed by a series of planed 4ths 18 . B natural as diatonic upper neighbor) followed by a bi-polar diatonic juxtaposition (AMA and Ab MA) throughout measure 27.

Fmi. beat 4 contains the beginning of an Eb Dorian Mode which continues throughout measure 34 (F flat as chromatic passing tone). triads ensue in measures 41-43. An Ab Ascending Melodic Minor Scale ensues on beats 3 and 4 with a brief BMA 7 reference on beat 1 of measure 40 (enharmonically Cb MA 7. articulated in a stepwise manner. intermingling 3rds. Measure 33. 36. diatonic lead-in on beat 1 19 . B flat-E flat. The 4th Chorus begins with a reiteration of the G Ascending Melodic Minor Scale (measures 37 and 38). 4ths. F# mi. Diatonic Measure 41’s triads (Gmi. FMA. mediant 7th chord of Ab Ascending Melodic Minor) followed by chromaticism on beat 2 leading to more Ab Ascending Melodic Minor diatonic material on beats 3 and 4 (A natural as chromatic passing tone). G natural. The first grouping (A natural. beat 1 (with an A natural pick-up from previous measure) begins a 4 beat chromatic sequence of a 4 note diatonic pattern. which is subsequently followed by 3 more intervalically identical groupings at 3 different pitch levels in addition to Gmi (in toto. and Eb MA) are extracted from G Aeolian Mode/Natural Minor Scale (parallel equivalent of C Dorian.(D-G {inverted}. Measure 35 represents a return of G Ascending Measure Melodic Minor with decorative chromaticism intermingled. Measure 39. and 5ths articulated through a G Dorian Mode. Gmi. Emi). C-F. E natural) constitutes a 4 note cell which I believe emanates from G Dorian. F natural. A flat-{implied} D flat). beats 1 and 2 are a brief intervallic study.

Measures 59-61 round out the solo with a stepwise and rhythmically augmented final statement of G Dorian. The 5th Chorus begins (measures 49 and 50) with another brief intervallic study in G Dorian followed by measures 51-53. where a change from A flat to A natural implies a return to a G Ascending Melodic Minor Scale/Dorian Mode. Starting on beat 3 of measure 42. followed by measures 47 and 48. beat 2: AMA {implied}). articulated stepwise (measure 54) as well as in a tertiary arpeggiated manner (measures 55 and 56). Ab 7.followed by a change of mode in measure 42 (G Dorian Mode: parallel equivalent of C Mixolydian. Beginning on beat 4 of measure 44 through measure 46. CMA). beat 1: Bb MA. beat 4: BMA. Measures 54-56 (starting with beat 3 of measure 54) signal the return of G Dorian. Eb Mixolydian is utilized. another possible interpretation). diatonic triads: Dmi. stepwise version of the same pattern (Eb Mixolydian is equivalent to Db Lydian. chromatic planing of a MA sonority ensues (beat 3: CMA. Beat 4 of measure 43 brings the quasi-diatonic sequence back home to Gmi. in which no fewer than 4 tonalities are implied along with attendant chromaticism (Gmi. measure 43. 20 . Beat 4 of measure 56 and measure 57 in toto exhibit a slightly altered Eb Mixolydian Mode (no C natural present) followed in measure 58 by a more plainly stated. Bb MA). followed on beats 1-3 of measure 44 with G Dorian diatonic material (F sharp added to serve as leading tone for Gmi). AMA. measure 43.

followed by a quick F 7 reference on beats 2 and 3 (E natural as chromatic passing tone). Brecker makes his entrance in measure 3. Mr. page 98). Beats 3 and 4 of measure 10 (the G natural on beat 3 is a common tone between the F 7 and FMA 9 (#5) sonorities) as well as beat 1 of measure 11 articulate an FMA 9 (#5) arpeggio (descending).CHAPTER 3 “TWO T’S” [SIC]: ANALYSIS In the 1st Chorus of this improvisation (see Appendix C. diatonic lower neighbors) with the interest of the line initially being rhythmic. beats 1 and 2 see a brief GMA triad (displaced articulation of implied G 7 chord {V of ii} customarily played in the 8th measure of many Major Blues Choruses) which is followed on beats 3 and 4 by the articulation of an imbedded Eb MA/Eb MA (#5) chord which is contained diatonically within C Dorian Mode/C Ascending Melodic Minor Scale. Measure 9. Measures 3-8 evidence basic chord tone assertions (in agreement with the underlying chord structure. Beat 1 of measure 10 repeats the ascending interval sounded on the previous beat one half step lower. which is followed by B Ionian Mode material from beat 2 of measure 11 through beat 1 of measure 12 21 . exceptions: E flats in measures 3 and 7.

beats 1 and 2 presents a typical chromatically descending intervallic pattern followed on beats 3 and 4 by an equally typical chromatic/diatonic turnaround in Bb MA. F sharp. Cmi. D sharp. G 7 as V of ii {Cmi}. b9 as alteration). C sharp. an altered dominant sonority displaced from the tonic 22 . C. Measure 18 contains all chord tones of an E dim 7 chord (a common chord substitution in the 6th measure of Major Blues Choruses. D.e. This is followed in measure 16 by a partial reference to the Bmi pentachord. Measure 20 articulates all pitches of a G 7 (b9) chord. Measure 19. (B. C natural as diatonic passing tone) emanating from an E Octatonic (beginning with a whole step) Scale. The solo returns to its tonal home (Bb MA) on beats 2-4 of measure 12 (E natural as chromatic lower neighbor). G sharp. F. The 2nd Chorus begins (measures 13 and 14 along with the B flat pick up from measure 12) with the basic Bb mi pentachord (B flat. parallel minor to Bb Ionian Mode/Major Scale) which probably emanates from Bb Dorian Mode. A) My theoretical reading: B 7 (#9) i. E.(F natural as chromatic passing tone). planing in evidence. which renders a scale containing both a minor and major 3rd scale degree. an altered version of the expected substitution (measure 20 as 8th measure of the 2nd Chorus. D flat. Measure 21 safely lands on a primary chord tone of Measures 22-28 present a particularly interesting use of the Dominant Bebop Scale: utilization of the 5th mode of E Dominant Bebop (B natural as tonic). E flat.

minus the typical blues note (E natural) alteration (B flat. F. F sharp. D flat.e. beat 1 contains standard Mixolydian material (B Mixolydian: half step above tonic) followed on beats 2-4 by standard diatonic material in the tonic key. Measures 31 and 32 establish a return to tonic (Bb MA/Bb 7) by means of standard diatonic and chromatic material (F flat and D flat as chromatic passing tones). see next measure) followed in measure 30 by Eb MA on beats 1 and 2 and FAUG on beats 3 and 4 (IV and V (#5) of I/Bb MA). Brecker articulated previously in measure 9 (measure 32 as 8th measure of the 3rd Chorus i. beats 3 and 4 clearly articulate an FMA sonority (V of I. E. complete with a displaced GMA/V of ii triad on beats 1 and 2. Measure 34. Measures 35 and 36 begin a 4 measure sequence based upon the 5th mode of Db Major Pentatonic Scale i. B as tonic: B. D. A flat). Bb “Blues” Pentatonic Scale. typical placement for a V of ii type chord. Measure 23 . A). At the beginning of the 4th Chorus. D natural as diatonic upper neighbor) which leads the way back “home” to tonic (Bb MA/Bb 7). thus similar chordal displacement in measure 33 as in measure 9). the aforementioned 4 bar pattern continues in measures 37 and 38. E flat.key (Bb MA/Bb 7) by a half step.e. Measures 39 and 40 evidence a chromatic displacement of the preceding mode (5th mode of D Major Pentatonic. Measure 29 sees the return of Bb MA in plain terms (a return to tonic/delayed acknowledgement of the underlying Eb 7 sonority. Measure 33 revisits the C Ascending Melodic Minor Scale. as Mr.

utilizing the first two notes of the 5th Mode of Major Pentatonic in four different keys (B flat. B natural as chromatic passing tone). A flat. followed once again by a chromatic displacement in measure 46 (beats 1-3 as B Mixolydian. Measures 49 and 50 (first 2 measures of the 5th Chorus) in addition to the pick up notes from beat 4 of measure 48 explore the 5th Mode of Db Major Pentatonic (B flat as tonic). a common chord substitution for the 6th measure of a Major Blues progression (measure 42 as the 6th measure of the 4th Chorus). E flat. Chromatic displacement of the same mode (up a half step. Measure 43 contains standard Bb MA diatonic material (Gb as oft utilized chromatic passing tone) followed by B Ionian Mode material on beats 1-3 of measure 44. Beat 4 of measure 46 through beat 1 of measure 48 bring the solo back to the diatonic home base of tonic (Bb MA/Bb 7). 24 Beats 3 and 4 of measure 56 . A natural as tonic). C natural as diatonic passing tone) followed by 6 beats of Eb mi (Eb Dorian Mode.41 begins on beats 1 and 2 with a brief tonicization (Bb MA as V of IV/Eb MA. B natural as tonic) occurs in measures 51 and 52. and D flat {incomplete statement}). C natural as chromatic passing tone). Measure 55 through beat 2 of measure 56 utilizes a similar rhythmic pattern from the preceding two measures. Beat 4 of measure 44 and measure 45 in toto acknowledge the underlying Cmi sonority. A circle of 4ths sequence runs through measures 53 and 54. though adhering exclusively to one 5th Mode of Major Pentatonic Scale (5th Mode of C Major Pentatonic.

representation of an Eb MA triad (E natural as chromatic lower neighbor to F natural on beat 1 of measure 67). with the tonics F sharp. abandoned in favor of acknowledging the underlying Cmi 7 sonority in measure 57 by means of the 5th Mode of the F Dominant Bebop Scale (C natural as tonic: C. Measure 71 is devoted exclusively to B Mixolydian. and C sharp represented respectively. G. B flat). A. Beats 3 and 4 of measure 70 as GMA. Measure 58 signals a return to Major Pentatonic Mode. F. D natural. E flat. (A flat as tonic) which carries through beat 1 of measure 59. Beat 4 of measure 61 through beat 2 of measure 62 (6th Chorus) articulate common Bb MA material which is quickly supplanted (beat 3 of measure 62 through beat 1 of measure 64) by Bmi diatonic material emanating from a B Dorian Mode. followed in measure 66 by a plain. followed by 25 . E natural. Beats 2-4 of measure 64 return to standard diatonic/chromatic Bb MA material (A sharp enharmonically equivalent to B flat). Measure 65 evidences all pitches (excepting the tonic) necessary for an E dim 7 chord. D.articulate a brief symmetrical pattern sequence. albeit disjunct. this time being the 5th Mode of Cb Major Pentatonic. E natural. Beats 1 and 2 of measure 70 as AMA. Beat 3 of measure 59 through beat 3 of measure 61 contain four different 5th Mode of Major Pentatonic Scales. Beat 1 of measure 67 through beat 2 of measure 69 cycle though more standard diatonic Bb MA material before launching another brief chromatic progression: Beats 3 and 4 of measure 69 as BMA.

E natural as chromatic lower neighbor. from an A Ascending Melodic Minor Scale. Measure 80 contains another unusual arpeggiation (similar to measure 76) which emanates. measures 73 and 74 articulate more material from the 5th Mode of Db Major Pentatonic. Measure 75 contains standard Bb 7 diatonic material (E natural as chromatic lower neighbor) followed by an arpeggiation in measure 76 which emanates from the B Ascending Melodic Minor Scale.standard Bb MA diatonic and chromatic material in measure 72 (E natural as common chromatic passing tone. C sharp as diatonic upper 26 . Next. measures 85 and 86 begin with more 5th Mode of Db Major Pentatonic. in measures 77 and 78 (with eighth note pick up from measure 76). G flat as chromatic passing tone). this time. C sharp as #5 of implied F 7 (#5) sonority {last 3 eighth notes of the measure}). G sharp as chromatic lower neighbor. This is followed in measure 87 by an imbedded DMA triad (from B Dorian. E natural as diatonic passing tone). F natural as carry over from previous measures. Measures 81 and 82 traverse a B Mixolydian Mode followed by an A Dominant Bebop Scale in measure 83. Measure 88 more clearly acknowledges (Bmi arpeggiation. Measure 84 contains standard Bb MA chromatic material on beats 1 and 2 followed by a descending FAUG triad on beats 3 and 4 (D natural as chromatic upper neighbor). In the 8th Chorus. more 5th Mode of Db Major Pentatonic material followed by similar Bb 7 diatonic material as heard a few measures prior (measure 75. In the 7th Chorus.

F. Measure 93. Beat 3 of measure 98 through beat 2 of measure 99 reiterates the same intervallic idea 27 .. C natural as passing tone {?}) followed on beats 3 and 4 of measure 97 and beat 1 of measure 98 by 5th Mode of Db Major Pentatonic material. E flat as chromatic tone) on beat 4 of measure 90 through beat 1 of measure 91. Beat 2 of measure 91 through the first half of beat 1 of measure 92 illustrate plainly an ascending Bb Lydian Mode (C sharp as chromatic lower neighbor) followed by diatonic BMA material from the 2nd half of beat 1 through beat 4 of measure 92. E natural as chromatic passing tone) followed by a chromatic displacement (half step lower: D mi. The 9th Chorus begins (starting with the 3 eighth note pick ups from measure 96 through beat 2 of measure 97) with an unusual Bb based pattern (Bb. Beats 2 and 3 of measure 90 switch to Eb mi material (a common 6th measure substitution for Major Blues: measure 90 as 6th measure of the 8th Chorus. E flat. Beat 1 of measure 89 through beat 1 of measure 90 enlist the Eb Ionian/Major Scale (note equivalent of Bb Mixolydian) to concisely sound its agreement with the underlying chord structure (B natural as chromatic upper neighbor). Beat 4 of measure 94 through beat 4 of measure 96 brings the solo back to the Bb MA/Bb 7 tonal area by means of standard diatonic material. beats 3 and 4 through beat 1 of the following measure add an interesting Bb MA/Bb mi sonority followed by (beats 2 and 3 of measure 94) AMA type material.neighbor) the scale from which the previous measure’s content arises.

B flat. F. Beat 3 of measure 113 through beat 1 of measure 114 contain basic Eb MA triad material. vi. followed by the same intervallic idea again on beat 3 of measure 99 through beat 2 of measure 100 displaced by a half step (B based pattern). Beat 1 of measure 101 through beat 1 of measure 102 This time. it’s the 2nd Mode of evidence another modal structure. A flat. Beats 3 and 4 of measure 100 reiterate one final time the Bb based pattern. ii of I) on 28 . from beat 3 of measure 105 through beat 4 of measure 108. D flat). followed by Bb mi/Bb MA language from beat 3 of measure 114 (Bb pick up included) to beat 1 of measure 116 (F sharp as chromatic passing tone). Db Major Pentatonic (E flat as tonic: E flat. contains standard Bb MA diatonic material. The remainder of the Chorus. V turnaround very common for the 11th and 12th measures of Major Blues choruses) followed by an Eb MA triad on beats 1 and 2 of measure 105 (F natural as diatonic passing tone. E natural as chromatic passing tone) followed again by an embedded Eb MA triad (C Dorian. ii. Eb MA triad imbedded in C Dorian {ii of I}). Beats 3 and 4 concisely outline a G 7 (b9) chord (vi of I. I. Beat 2 of measure 102 through beat 4 of measure 103 exhibits an A Ionian Mode followed by Bb MA diatonic material on beats 1 and 2 of measure 104 (G natural and G flat from measure 103 as chromatic lead in). Beats 2-4 of measure 116 once again outline a G 7 (b9) chord (VI of I. The first four measures of the 10th Chorus (measures 109-12) contain basic Bb Mixolydian language.from the first 2 beats of the chorus.

E natural on beat 4 of measure 128 as chromatic passing tone). The beginning of the 11th Chorus continues the arpeggiation sequence begun at the end of the previous Chorus. Beat 1 of measure 119 through beat 2 of measure 120 traverse the Ab Ionian Mode/Major Scale (A natural and B natural as chromatic modal displacement. starting in the home key of Bb MA (Bb Mixolydian Mode). Beat 4 of measure 125 through beat 2 of measure 126 harbors more standard 5th Mode of Db Major Pentatonic material followed by standard Bb MA diatonic material from beat 4 of measure 126 through beat 4 of measure 128 (G flat and E natural on beat 3 of measure 126 as chromatic upper and lower neighbors. Beats 1 and 2 of measure 124 see the appearance of a Bmi triad followed by a Db MA triad on beats 1 and 2 of measure 125 (pick up from beat 4 of measure 124 included). Beats 1 and 2 of measure 129 hold the now familiar imbedded Eb MA 29 . Beats 3 and 4 of measure 120 as well as beat 1 of measure 121 begin a sequenced arpeggiation pattern.beats 1-3 of measure 117 (F natural and D natural as diatonic passing tones). G flat as flatted 7 of formerly Ab MA 7 sonority). first in Ab MA (beats 3 and 4 of measure 121 as well as beat 1 of measure 122) followed by a superimposed ii-V type progression (Bmi as ii. half step up. Beat 4 of measure 117 through beat 4 of measure 118 articulates a B Mixolydian Mode (G natural as chromatic passing tone). EMA as V) from beat 3 of measure 122 through beat 2 of measure 123 (F sharp as diatonic passing tone).

F natural as diatonic passing tone) followed by four beats of AMA material (beat 3 of measure 129 through beat 2 of measure 130.triad (from C Dorian. 30 . B flat as chromatic passing tone). Beat 3 of measure 130 through beat 3 of measure 132 contain diatonic material contained within the Bb Mixolydian Mode.

31 Beat 1 of . C sharp). also with some chromaticism. Measure 17 counters with EMA triadic material. Measure 7 articulates Bb mi material with chromaticism followed by Ab MA material in measure 8. (half step removed from underlying sonority. page 119) Mr. A sharp as chromatic lower neighbor. F sharp. G. Measure 5 descends an Eb MA triad. (Ab as diatonic upper neighbor) followed by Eb Mixolydian on beats 1 and 2 of measure 6 and EMA triadic figures on beats 3 and 4 of measure 6. followed by Ab MA/Ab 7 type material in measures 10-12 (E natural and F sharp as chromatic passing tones). Brecker utilizes typical diatonic and chromatic material from the Bb Mixolydian Mode (E natural as chromatic passing tone). A sharp. Measures 13-15 return again to the well of standard diatonic Bb Mixolydian material. A. C. F# MA triad imbedded within the Eb Octatonic {beginning with a half step}/”Dominant Diminished” Scale: E flat.CHAPTER 4 “CABIN FEVER”: ANALYSIS In the first four measures of the 1st Chorus (see Appendix D. Measure 9 quickly visits AMA. E. A natural as diatonic passing tone) followed by F# MA triadic material in measure 18 (C natural as chromatic lower neighbor.

D. A flat. Beat 1 of measure 23 through beat 2 of measure 24 articulates diatonically and chromatically standard Bb MA material followed by a nicely displayed F 7 (#5) arpeggio on beats 3 and 4 of measure 24. B) which covers the Cmi 7 sonority while introducing a chromatic 32 . Beats 2-4 of measure 20 seem to veer briefly into the C Dorian Mode (E natural as chromatic passing tone) followed by a chromatic turnaround on beats 1 and 2 of measure 21 and a C Major Bebop Scale on beats 3 and 4 of measure 21. Measure 31 then engages standard Bb Ionian Mode material (C sharp as chromatic lower neighbor) followed in measure 32 on beats 1-3 by the sounding of a G 7 (b9) arpeggio that is imbedded within the C Harmonic Minor Scale. G. Measure 33 utilizes the Major Bebop Scale in a particularly interesting manner: 7th Mode of Eb Major Bebop Scale. F. (C.measure 19 through beat 1 of measure 20 sounds a B Mixolydian Mode. also utilizing standard diatonic language (G natural as chromatic passing tone). E flat. excepting the E natural (chromatic passing tone. Beats 3 and 4 descend through this scale. B flat. followed by an A Major Bebop Scale throughout the remainder of the measure. C Harmonic Minor utilized as an anticipation of the Cmi 7 sonority in the next measure). (C sharp as chromatic lower neighbor) followed by a concise Eb 7 reference in measure 29 (C natural as diatonic lower neighbor). Beat 1 of measure 22 first finishes the previous C Major Bebop Scale. Measures 25-28 of the 3rd Chorus begin with standard Bb MA material.

passing tone between the tonic and flat 7 of the Cmi 7 chord. E natural as chromatic passing tone). Measure 48 ascends chromatically. implying Bb MA and landing 33 . Measure 47 traverses a 5th Mode of Db Major Pentatonic which lends a decidedly bluesy tone to the passage. #9) on beats 3 and 4 of the same measure (E natural as chromatic passing tone). C sharp as chromatic lower neighbor). Measures 34 and 35 finish out the chorus in a typical diatonic Bb MA manner (E natural as chromatic passing tone). Beat 3 of measure 43 through beat 2 of measure 44 offer more Bb MA material (C sharp as chromatic lower neighbor). emphasizing an embedded Eb MA triad on beats 3 and 4 (F natural as diatonic passing tone). an articulation of an FMA triad (D natural as diatonic upper neighbor. Measures 38-40 begin the 4th Chorus in typical diatonic Bb Mixolydian manner (E natural as chromatic passing tone. Measure 42 sees the previous measure’s Eb mi sonority continued (E natural as chromatic passing tone) followed by. Beats 1 and 2 of measure 46 seem to suggest a switch to a C Ascending Melodic Minor Scale (D flat as chromatic passing tone) followed by a reference to F 7 (b9. Measure 45 traverses a common C Aeolian Mode (same exact pitches as Bb Mixolydian Mode. in agreement with the underlying sonority. followed by equally typical Eb 7/Eb mi 7 material in measure 41 (1st G flat and E natural as chromatic passing tones). FMA as dominant sonority of Bb MA). on beats 1 and 2 of measure 43. followed by a partial G 7 arpeggio on beats 3 and 4 of measure 44.

in agreement with the underlying sonority. Beat 1 of measure 55 through beat 2 of measure 56 produce standard Bb MA material (E naturals as chromatic passing tones. E flat. E) followed by more F Dominant Bebop material on beats 1 and 2 of measure 59. Beats 1 and 2 of measure 60 emphasize an embedded Eb MA triad (D natural as diatonic passing tone) followed by a tritone substitution (A 7 chord) for the Eb MA triad on beats 3 and 4 (D flat enharmonically equal to C sharp). with a concise articulation of a Bb Ionian Mode.unexpectedly on F sharp (Bb AUG implied on beat 4. Measure 64 (plus pickup from the previous measure) articulates a combined B Mixolydian/B Ionian Mode followed by Eb 34 . E natural as chromatic passing tone). in its entirety. Measures 52-54 change the harmonic contour by articulating BMA material (B Ionian Mode. G. in measures 50 and 51. Measure 58 descends. B flat. The 6th Chorus begins with a Bb Dominant Bebop Scale passage in measures 61 and 62 (G flat and E natural as chromatic upper neighbors). E flat as diatonic passing tone. The 5th Chorus begins. C sharp a chromatic lower neighbor) followed by a concise G 7 reference on beats 3 and 4 of measure 56. C. A. the F Dominant Bebop Scale (F. half step above preceding Bb MA sonorities). Beats 3 and 4 of measure 59 lead chromatically into the downbeat of measure 60. D. Measure 57 again mines the C Aeolian Mode (note for note equivalent of Bb Mixolydian Mode) emphasizing again the imbedded Eb MA triad on beats 3 and 4 (E natural as chromatic passing tone). where Bb Ionian is present.

Beat 4 of measure 68 diatonically leads into a fragmented C 9 arpeggiation on beats 1 and 2 of measure 69. Beats 2 and 3 of measure 76 round out Beat 4 the phrase with 5th Mode of Db Major Pentatonic material. Measure 79 traverses BMA (G natural as chromatic upper neighbor) and begins a descending triadic 35 . of measure 76 through beat 2 of measure 78 runs articulate D Major Pentatonic material (half step removed from the underlying sonority) followed by a brief Bb Mixolydian foray on beats 3 and 4 of measure 78. 9. E natural as chromatic lower neighbor) followed by B Ionian Mode material on beats 1-3 of measure 68. The 7th Chorus begins (measures 73-75) with standard Bb Mixolydian material (G flat and E natural as chromatic passing tones) followed by a quick AMA reference on beat 1 of measure 76 (G natural on beat 4 of the previous measure could be seen as the 7th of an A 7 sonority).MA material in measure 65 (E natural as chromatic passing tone). 7. Measure 66 begins on beats 1 and 2 with Eb mi 7 material followed by F 7 chromatic material on beats 3 and 4 (perhaps F Dominant Bebop). Beat 3 of measure 70 through beat 1 of measure 71 infers a F 7 type end to the phrase (E natural as chromatic passing tone) only to provide the surprise of a 5th Mode of Db Major Pentatonic coda on beats 2 and 3 of measure 71. followed by B Mixolydian material from beat 3 of measure 69 to beat 2 of measure 70. #11. a colorful acknowledgment of the underlying sonority. Measure 67 sweeps through the upper tones of a Bb MA 9 (#11) arpeggio (5.

D sharp. Measure 87 approaches the tonic from a half step above. A sharp). Measure 82-beats 1 and 2. BAUG (imbedded within the 3rd Mode of G# Ascending Melodic Minor: B. followed by FMA in measure 92. F double sharp. beat 3.sequence that continues up through measure 86: Measure 80-beats 1 and 2. G sharp. emphasizes an Eb MA material over a Cmi 7 sonority (C Dorian or Aeolian) followed by A Dominant Bebop material on beats 1-3 of measure 94. D dim (implied). C sharp. beats 3 and 4. E dim (B natural as chromatic upper neighbor). D dim (A natural as chromatic upper neighbor). Measure 96 traverses chromatic and diatonic material indicative of Bb MA (E natural as chromatic passing tone). E sharp. G 7 {b9} imbedded within the C Harmonic Minor Scale. Bb dim (F natural as chromatic upper neighbor). followed by AMA material beginning in measure 88 and continuing through measure 90. an anticipation of the implied Cmi 7/ii chord on the first two beats of measure 96). Measure 81beats 3 and 4. Ab dim (E flat as chromatic upper neighbor). beats 3 and 4. Gb miMA 7 (implied). The 8th Chorus continues the sequence: Measure 86-beats 1 and 2. Beat 4 of measure 94 through beat 2 of measure 95 produces standard Bb MA diatonic material (E natural as chromatic passing tone) followed by an implied G 7 (b9) sonority on beats 3 and 4 of measure 95 (G flat as chromatic passing tone. Measure 91 sequences the previous pattern down a whole step Measure 93 again to GMA. 36 . Measure 84-beats 1 and 2. Ab mi.

a basic Bb Mixolydian Mode. which quickly alludes to the 5th Mode of Db Major Pentatonic. in an intervalically interesting manner. Beat 4 of measure 108 intimates as to the Bb material yet to follow in the next Chorus. C natural as chromatic passing tone). traversing again the 5th Mode of Db Major Pentatonic. anticipating the underlying sonority of the next measure (E natural as chromatic passing tone). Beat 4 of measure 106 through beat 3 of measure 107: B Major Pentatonic. Measures 109-111 of the 10th Chorus articulate. with the exception of beat 1 of measure 99. Beat 3 of measure 102 begins an A Major Pentatonic passage which lasts through beat 4 of measure 104 (half step removed from the home key of Bb MA). Beat 1 of measure 115 through beat 2 of measure 116 explore tertiary means of ascension of a standard Bb Ionian Mode (D flat as chromatic passing tone) followed by an implied G 7 (b9) sonority on beats 3 and 4 of measure 116 (imbedded within the C Harmonic Minor Scale. followed by standard Bb MA diatonic material on beats 1 and 2 of measure 106. Measure 105 moves the preceding pattern up a half step to Bb Major Pentatonic. Beat 1 of measure 101 through beat 2 of measure 102 fulfills the “blue” foreshadowing from measure 99. Measures 112 and 113 make their way through an A Ionian Mode (tritone substitution for the underlying Eb 7 sonority. Beat 4 of measure 107 through beat 3 of measure 108: C Major Pentatonic. Measure 114 utilizes the Bb Major Bebop Scale. 37 .Measures 97 through 100 of the 9th Chorus present motivic Bb MA diatonic material.

CMA-beat 4 of measure 128 through beat 2 of measure 129. D flat as chromatic upper neighbor) followed by an implied F 7 (b9. Db MA-beats 1-3 of measure 128. Measure 119 rounds out the Chorus with Beats 3 and 4 of measure 120 begin the articulation of a partial (5. being punctuated by two note interjections. Cb MA-beat 3 of measure 129 through beat 1 of measure 130. followed by an ascending Ab MA 9 arpeggio which is imbedded within the Bb Mixolydian Mode. most often flat 7 and tonic of Bb Mixolydian. E flat as diatonic lower neighbor) Bb 9 arpeggio.anticipation of Cmi 7 underlying sonority in the next measure). followed by a Major Pentatonic pattern articulated in four distinct keys: DMAmeasure 127. Measure 117 sees the reappearance of the imbedded Eb MA triad (C Dorian. and 144: Ab MA 7 arpeggios) The vast majority of the 13th Chorus seems to be chromatically inspired in conjunction with being rhythmically 38 . This arpeggio fills the entirety of the 12th Chorus. measures 139. 9. to be continued in the first measure of the next Chorus. #9) sonority in measure 118 (E natural as chromatic passing tone). 7. Beat 2 of measure 130 through beat 1 of measure 131 descends in a chromatic and serpentine manner. (measure 138 as exception: half step displacement. Measures 121 through 126 of the 11th Chorus engage in chromatic interplay over the range of a perfect 4th. 141. an accessible Bb MA triad. Beat 4 of measure 131 exacts a diatonic turn.

Measure 158 articulates a Cb MA triadic pattern (D flat as diatonic passing tone. beats 3 and 4. I by chromaticism. once again. measure 161 through beat 2 of measure 162 finally hones in on the 5th Mode of Db Major Pentatonic. C natural. ii. F 7 material on beat 4. Beat 1 of measure 160 through beat 3 of measure 161 Beat 4 of explores. The 14th Chorus begins with two beats of the 5th Mode of Db Major Pentatonic (altered)/”Blues” Pentatonic followed by two beats of Bb Mixolydian. chromatic displacement on beat 3. Measures 167 and 168 monophonically make their way through an implied I. beginning on the 5th of the chord (lower E natural as chromatic lower neighbor). VI by diatonic movement between chord tones. a certain random chromaticism.syncopated. Measure 167: beats 1 and 2. beats 3 and 4. ii by descending C Dorian Mode. Measure 156 finally returns to the tonally recognizable with the sounding of a simple Bb mi pattern (C natural as diatonic passing tone). Measures 163 and 164 sweep through an ascending Bb MA 13 (#11) arpeggio. Measures 165 and 166 imply. Measure 168: beats 1 and 2. V progression in the key of Bb. 39 . a C dim sonority (established by the agogic stress of the E flat. A double flat as chromatic upper neighbor) followed by Db MA on beats 1 and 2 of measure 159 (B double flat as chromatic upper neighbor) and Eb MA on beats 3 and 4 of the same measure (C flat as chromatic upper neighbor). VI. and A natural). by chromatic means.

The 15th Chorus begins with an incessant diatonic passage emanating from the Bb Mixolydian Mode and covering measures 169 through 171. Measure 161 of the 16th Chorus begins with an enharmonic flatted 3rd for the Bb “Blues” Pentatonic (C sharp enharmonic equivalent of D flat) which is resolved to tonic on beat 1 of measure 182. Eb 40 . followed by Eb Mixolydian from beat 4 of measure 179 through beat 2 of measure 180. Beats 3 and 4 of measure 180 lead in to the next Chorus with a fragment of B Major Pentatonic (half step removed from tonic key of Bb MA). (Gb MA triad imbedded within the Eb Octatonic Scale (beginning with a half step)/”Dominant Diminished” Scale. Next. Measure 185 ascends a Bb 7 arpeggio (C natural as diatonic passing tone) followed by 5th Mode of Db Major Pentatonic on beats 2 and 3 of measure 186 followed by a quick Gb MA arpeggio on the last three eighth notes of the bar. D Mixolydian is utilized from beat 1 of measure 177 through beat 3 of measure 179. Measure 183 traverses an A Mixolydian Mode (G flat as chromatic passing tone) followed by diatonic/chromatic material from Bb MA in measure 184. C Mixolydian from beat 2 of measure 175 Db Mixolydian encompasses through beat 4 of the same measure. returns from beat 4 of measure 173 through beat 2 of measure 174. Beat 1 of measure 172 through beat 1 of measure 173 Bb Mixolydian takes the pattern up a half step to B Mixolydian. the entirety of measure 176. then back to B Mixolydian from beat 3 of measure 174 through beat 1 of measure 175.

Beats 1 and 2 of measure 192 contain more diatonic Bb MA material (D flat as chromatic passing tone) followed by clear triadic FMA material on beats 3 and 4 of the same measure (B flat as diatonic passing tone). Beat 1 of measure 188 as tonic of G 7. Beats 1-3 of measure 189 elongate the previous measure’s G 7 sonority by means of a simple GMA triad which is followed quickly on beat 4 of the same measure by diatonic (C Dorian) material indicative of Cmi. E natural as chromatic lower neighbor). Beat 3 of measure 188 as b7 of G 7. followed by language that implies G 7 (b9) on beats 3 and 4 (G flat as chromatic passing tone). 41 . Beat 3 of measure 187 as 13 of Bb 13. Measure 190 articulates a F 9 arpeggio imbedded within Bb Ionian/Major Scale (G flat as chromatic upper neighbor.“Dominant Diminished” Scale in agreement with the underlying Eb 7 sonority) Measures 187 and 188: Beat 1 of measure 187 as #11 of Bb 13. Beats 1 and 2 of measure 191 descend a Bb Ionian Mode. Measure 193 fittingly returns to the Blues by means of the 5th Mode of Db Major Pentatonic.

This measure. B flat. Measure 1 of the 1st Chorus contains material that foreshadows later more extensive use of the 5th Mode of Bb Major Pentatonic (G. thus a pattern comprised of common tones between the two modes). D. F). on beats 2 and 3. Measures 5-8 select interesting color tones from the C Dorian Mode (equivalent to G Aeolian Mode/Natural Minor Scale. C natural as b7). as explicit an example of a tritone substitution as one is likely to see. Measure 2 follows with a clear descending Ab MA arpeggio. Measure 3 contains more 5th Mode of Bb Major Pentatonic material followed by an interesting composite arpeggio (Eb MA and Db MA) in measure 4 (Db MA triad as tritone substitution for underlying G 7 chord. contains Ab 7 material (a tritone substitution for the underlying D 7 (#9) chord) followed on beat 4 by D 7 (#9) material (F natural as #9. Measure 9 (with pick up from measure 8) contains an FMA arpeggio. C.CHAPTER 5 “JONES STREET”: ANALYSIS The improvised solo to Jones Street begins with a one measure lead in to the 1st Chorus (see Appendix E. Eb MA triad as anticipation of Cmi sonority in the next measure. page 152). concisely articulating 42 . Eb MA triad imbedded within the C Dorian Mode).

the upper tertian harmonies of the underlying Eb 7 chord (F natural as 9th. Beat 4 of measure 21 as well as beats 1 and 2 of measure 22 derive from the 5th Mode of the Bb Major Pentatonic Scale which is followed on beat 3 by an Ab MA triad 43 . A natural as #11. Measure 21 again utilizes the composite arpeggio concept (Db MA and Eb MA triads. C as 13th. Measure 20 is primarily of rhythmic interest i. Measures 18 and 19 contain some interesting tertiary movement through a C Dorian Mode (changes to implied G Aeolian Mode in measure 19. Measure 16 (including pick up from measure 15) emphasizes the 3rd and 5th of an implied Gmi 7 sonority (triplet as chromatic passing tones) followed in measure 17 by the 9th and 13th of an implied Cmi 13 chord (B natural and B flat as chromatic passing tones). composite sonority is Eb 13 (#11)). both are contained within the Eb Mixolydian Mode. Gmi 13 implied).e. D natural as tonic. Measure 10 enlists another Major arpeggio (Bb MA) in order to decorate that measure’s underlying sonority (D7 (#9). Measures 13 through 15 of the 2nd Chorus are an intervallic interlude based upon the tonic and 13th of an implied Gmi 13 sonority (D natural as diatonic {perhaps G Dorian} lower neighbor). which is in agreement with the underlying sonority). all notes in common with C Dorian). F natural as {enharmonic} #9) landing at measure’s end on the 13th of the next measure’s sonority (Gmi 7. not a sufficient amount of melodic material to leave any particular harmonic fingerprint. B flat as {enharmonic} #5.

Measure 29 selects notes from C Dorian spaced 3rds apart (continuation of the triadic concept from immediately preceding measures). This bitonal exploration continues through measures 24 and 25. Ab Aeolian. and CMA material (Bb MA from G Aeolian. beats 2-4 of measure 28 finally fully acknowledge the previously implied Ab mi sonority (beat 3 as V {Eb MA} of i {Ab mi}. beat 4 as i). this time Bb MA and CMA being the triads articulated (implying G Dorian Mode). Measures 26 and 27 of the 3rd Chorus oscillate between Bb MA.(tritone substitution) followed on beat 4 by more 5th Mode of Bb Major Pentatonic material. The thirteen-tuplet of measure 31 is comprised of more bitonal material.e. BMA implies half step displacement of G Aeolian i. After Bb MA material on beat 1. BMA. CMA from G Aeolian). Notes 8-16 of this same grouping revert back to more familiar Bb MA material (G flat and E natural as chromatic passing tones). Beat 1 of measure 30 revisits the Eb MA as related to Cmi (C natural and C flat as chromatic passing tones) followed by notes 2-7 of the sixteen-tuplet articulating an EMA sonority (implies an underlying C# mi sonority). Beat 3 of measure 32 through beat 2 of measure 33 works its way 44 . Bb MA and CMA still being the triads of choice. Beats 1 and 2 of measure 23 utilize standard Bb MA diatonic material (Bb Ionian note for note equivalent of G Aeolian) followed by CMA triadic material on beats 3 and 4 (both Bb MA and CMA triads imbedded within the G Dorian Mode).

Beats 3 (starting with the E flat) and 4 of measure 33 articulate an Eb Dominant Bebop Scale. A. Beats 1-3 of measure 34 articulate material contained within Eb mi (Eb Dorian or Aeolian. Eb mi triad as tonic). also known as the “Lydian Dominant” Scale: E flat. Beat 4 of measure 34 through beat 1 of measure 36 traverse a G Dorian Mode. 45 . E natural as chromatic lower neighbor. G. C. Gb MA triad as relative major of Eb mi.through a Db MA 7 (#5) arpeggio (imbedded within the Fourth Mode of the Bb Ascending Melodic Minor Scale. B flat. D flat). F.

which implies the addition of a #11 to the underlying sonority of Eb 7 (Eb “Lydian Dominant” Scale: E flat. in contrast. F. a ii of V/B 7). one half step removed from the underlying sonority of Bb 7 (noteworthy is the F# mi 7 arpeggio on beat 2 of measure 10: functionally. Measures 5 and 6. G. again. 2 of measure 12 through beat 2 of measure 13 counters with a 46 Beat .CHAPTER 6 “DELTA CITY BLUES”: ANALYSIS This particular solo (see Appendix F. D flat). page 161) begins with a one measure lead in that articulates an F 7 (#5) sonority (V of I) over the course of three beats (E natural as chromatic passing tone. B flat. a more direct agreement with the underlying sonority. Beat 4 of measure 7 through beat 4 of measure 10 utilizes diatonic material from the B Mixolydian Mode. G natural as diatonic passing tone). The first 3 measures of the 1st Chorus articulate a B Mixolydian Mode (B flat as chromatic lower neighbor. B Mixolydian one half step removed from the underlying sonority of Bb 7). A. The last eighth note of measure 10 coupled with the first 2 beats of measure 11 imply a shift (down a half step) to the Bb Mixolydian Mode. C. ascend a 4th Mode of Bb Ascending Melodic Minor Scale/”Lydian Dominant” Scale.

D. G natural as chromatic passing tone). G sharp.return to diatonic material which emanates. D. from the B Mixolydian Mode (A sharp and F naturals as chromatic passing tones). A sharp). F sharp. Beat 4 of measure 18 through beat 4 of measure 19 utilize the consonant Bb Mixolydian Mode (G flat as chromatic upper neighbor). F sharp. In the 2nd Chorus. Measure 21 navigates a partial representation of an F# 9 chord. A. D sharp. C. once again. Beats 3 and 4 of measure 17 ascend a Db MA 9 (#5) arpeggio which is imbedded within the Eb “Lydian Dominant” Scale (see previous paragraph for spelling) followed on beats 1-3 (with pick up from previous measure) of measure 18 by a more linear presentation of the same scale (E natural as chromatic passing tone). Beat 1 of measure 17 signals a return to material that is consonant with the underlying sonority by means of two B flats an octave apart (consonant with Eb 7). Beat 4 of measure 19 (last two eighth notes) through beat 3 of measure 20 return to the previously articulated B “Dominant Diminished” Scale (E natural as chromatic passing tone). C sharp. beat 3 of measure 13 through beat 3 of measure 15 traverse and ultimately ascend a B Octatonic Scale (beginning with a half step)/”Dominant Diminished” Scale (B “Dominant Diminished” Scale: B. F. which arises as a tritone substitution for the 47 . E. This is followed in measure 16 by a fragmented presentation of the B Ascending Melodic Minor Scale in descending order (B Ascending Melodic Minor Scale: B. G sharp.

D. followed by a brief Bb 7 reference. Measure 29 contains. a chromatic morass. beat 1 (with pick up from previous measure) of measure 25 through beat 4 of measure 27 contain diatonic material from a Bb Mixolydian Mode (A natural as chromatic passing tone). Beat 2 of measure 22 quickly alludes to an A Mixolydian Mode (half step removed anticipation of Bb 7 sonority in next measure) followed on beats 3 and 4 by diatonic Ab Mixolydian material (F flat as chromatic passing tone. Bb MA on beat 2. B) the 5th Mode of D Major Pentatonic. ultimately leading towards the diatonic Bb mi resolution on beat 1 of measure 30. E natural as chromatic lower neighbor). Beat 2 of measure 30 briefly references (E. Measure 23 begins with brief chromatic material. followed by a CMA triad. followed by another CMA triad (rapid fire bitonality from a monophonic instrument). and diatonic material from B Dorian Mode on beats 3 and 4.implied underlying sonority of C 7 (a manifestation of the common practice of changing MA 7 and mi 7 sonorities to {dominant} 7 sonorities in the context of an improvisation). so far as I can tell. In the 3rd Chorus. Beats 2 and 3 of measure 31 offer standard diatonic material from the Bb Ionian Mode/Major Scale followed on beat 4 (through beat 4 of the next measure) by 48 . followed by diatonic B Mixolydian material (half step removed anticipation of Bb 7 sonority in next measure. This is followed in measure 28 by more bitonality: B 7 on beat 1. B flat and F natural as chromatic passing tones).

G natural as chromatic passing 49 . which is only one note removed from the preceding “Lydian Dominant” Scale (B “Lydian Dominant”: B. D sharp. Bb MA. Beats 2-4 of measure 34 traverse a B Mixolydian Mode. G sharp. The first 5 notes of measure 35 run a portion of a Bb Major Scale. Beat 4. A). F# MA. Beats 2-4 of measure 36 return to the Bb Major Scale (E natural as chromatic passing tone) which is transformed to the Mixolydian Mode by a single note on the first beat of the next measure. F# MA. F# MA. Beat 3. F sharp. The 4th Chorus begins with a Bb 7/Ab 7 type sonority (beats 1 and 3 of measure 37) followed by the beginning of a triadic bitonal sequence on beat 4 (EMA. E sharp. C sharp. D sharp. EMA. Beat 3. Bitonal Sequence that alternates between EMA and F# MA sonorities which are both diatonically contained within the B Major Scale) Measure 38: Beat 1. followed by diatonic material from a B Major Scale from beat 2 of measure 35 through beat 1 of measure 36 (G natural as chromatic passing tone). Measure 33 returns to the Bb Ionian Mode on beats 1-3 (E natural and B natural as chromatic passing tones) followed on beat 4 of measure 33 and beat 1 of measure 34 by more B “Lydian Dominant” material. Beat 4. Measure 39: Beat 1. A. C sharp. Beat 2.more diatonic B Mixolydian material (half step above the underlying sonority). G sharp. comprised of diatonic material from the B Ionian Mode (half step removed from underlying sonority. EMA. F sharp. B Mixolydian Mode: B. EMA. E. Beat 2. F# Measure 40 is MA.

Measure 42 evidences a most interesting use of the Dominant Bebop Scale: 7th Mode of the F Dominant Bebop Scale i. Cmi. MA. Beat 3 of measure 47 through beat 3 of measure 48 are comprised entirely of diatonic material from the 4th Mode of the F Dominant Bebop Scale (B flat. Eb Beat 4 of measure 46 articulates a common chromatic turnaround followed by a typical diatonic turnaround on beats 1 and 2 of measure 47. G. Beat 4.tone). D natural. Bb MA 7 (#11) implied). Gmi. The first two beats of measure 43 engage standard chromatic and diatonic patterns in Bb MA which is followed on beats 3 and 4 by a chromatic allusion to the 5th Mode of Db Major Pentatonic (B natural and C natural as chromatic passing tones). Beat 1 of measure 45 lands on the flatted 3rd of the underlying Cmi sonority. and F flat as chromatic passing tones). Dmi. Beat 3. Beat 2. D. Beat 2. A. C. E flat. C. followed by another multi measure chord progression sequence comprised primarily of diatonic triads contained within the Bb Ionian Mode/Major Scale. B flat.e. F. F. Consonance returns with an altered Eb Mixolydian pattern in measure 41 (E natural. A. D) which implies the sonority Eb MA 7 (#11) (G flat as chromatic passing tone).5 and 4 indicative of a G 7 (b9) type sonority (G 7 as V of ii in Bb MA. Beat 2 of measure 44 and the first half of beat 3 articulate chromatically and diatonically their Bb MA affiliation. 50 Beat 4 of . Beat 3. E flat as tonic (E flat. followed by material on beats 3. EMA. G. Measure 45: Measure 46: Beat 1. E. E. C sharp as chromatic lower neighbor). FMA.

measure 48 concisely implies a decorated dominant sonority: F 7 (#5. D natural as chromatic upper neighbor) followed by resolution to the tonic in the final measure (G natural as diatonic lower tertian neighbor). 51 . #9.

Brecker utilizes the 5th Mode of F Major Pentatonic (altered)/ D ”Blues” Pentatonic (D. E. C) followed on beats 3 and 4 by more material emanating from the aforementioned “Blues” Pentatonic Scale. by D Major Pentatonic material. page 178). F. G. first in a linear fashion. Beat 1 of measure 5 through beat 3 of measure 6 mine the G Dorian Mode. E. probably from D Dorian: D. A. which implies a switch from G Dorian to G Mixolydian (G Dorian: G. F. F). F. Mr. G Mixolydian: G. C.CHAPTER 7 “TIMELINE”: ANALYSIS In measure 1 of the 1st Chorus (see Appendix G. C). B. On beat 4 of measure 6. D 7 as V of Gmi 7 i. A. A. which implies a D 7 sonority (F natural and E flat as chromatic passing tones.e. A flat. G. on beats 3 and 4. the underlying sonority in the next bar). Measure 7 possesses a sweeping diatonic 52 . This is followed in measure 2 on beats 1 and 2 by a descending diatonic 7th chord (Ami 7. A. B. followed. C. B flat. D. then by arpeggiated means (Bb MA 9 as diatonic 9th chord imbedded within the G Dorian Mode). E. Beat 2 of measure 3 through beat 1 of measure 4 mines the same “Blues” Pentatonic. D. the modal implication is altered by means of changing just one note in the sweeping arpeggiation pattern: B flat to B natural.

utilizing the same scalar pattern. D Aeolian is G Dorian note for note i. C sharp. G. F. C sharp enharmonic equivalent of D flat. Measure 15 begins a two measure sequence of a Beat 2 of measure 15: A 7 (V superimposed harmonic progression. F sharp. an anticipation (a half step removed) of the underlying sonority of measure 9. utilizes a highly unusual synthetic scale (“Gap” Scale: D. E flat. D flat. B flat. A sharp. F. Beats 1 and 2 of measure 8 harbor a collection of pitches from the 5th Mode of F Major Pentatonic (non-altered): D. D sharp enharmonic equivalent of E flat). Measures 11 and 12 are comprised entirely of material from the 5th Mode of F Major Pentatonic (altered)/ D ”Blues” Pentatonic. F sharp. both come from the same parent scale: F Ionian/Major Scale). D natural as chromatic 53 . The 1st measure of the 2nd Chorus finishes the blues statement begun in the previous measure. A. C. Measure 14. comes across as a DAUG sonority. C sharp not sounded) to articulate what. Beat 3 of measure 15: BMA (VI of i. G. Beats 1-3 of measure 9 contain standard Bb MA diatonic material (G flat as common chromatic passing tone) followed by material from the A Octatonic Scale (beginning with a half step)/”Dominant Diminished” Scale from beat 4 of measure 9 through beat 4 of measure 10 (A. E.pattern that clearly articulates a D Aeolian Mode/Natural Minor Scale (B natural as chromatic passing tone. C.e. to my ears. Beats 3 and 4 of measure 8 contain diatonic material from B Mixolydian. of i). A.

Measure 20 contains what I would term a chromatic turnaround. Beat 4 of measure 15: DAUG (i altered to I (#5). Measures 29 and 30 contain parallel Dominant Bebop Scales a half step apart. F natural as chromatic lower neighbor). Beat 4: AMA (V of i) Measure 27 descends an A 7 arpeggio (V of i). E natural as chromatic passing tone). a half step displacement of the approaching Gmi sonority in measure 29 (D natural as chromatic passing tone). followed in measure 19 by a descending Ami 7 chord imbedded within the D Aeolian Mode/Natural Minor Scale (G Dorian and D Aeolian both count F Ionian/Major Scale as their “parent” scale). (V of iv/Gmi) Measure 17 articulates a Bb MA 9 sonority imbedded with the G Dorian Mode (G sharp as chromatic lower neighbor).lower neighbor). Beat 1 of measure 16: Dmi (implied) followed by D 7 (#9)(implied). Measure 18 continues this modal foray. followed by material from the 5th mode of F Major Pentatonic (altered)/”Blues” Pentatonic from beat 1 of measure 21 through beat 4 of measure 24 (F sharp as chromatic upper neighbor). The 3rd Chorus begins with a few color tones (13th and 11th of Dmi) followed by another superimposed harmonic progression in measure 26. Beat 2: DmiMA 7 (i). Beat 3: GMA (IV of i {altered/non-diatonic}). Beat 3 of measure 16: Ab MA (by means of Ab Major Pentatonic. Beat 1: A 7 (V of i). Measure 28 contains material from an Ab Dorian Mode. Beat 2 of measure 16: DMA (by means of D Major Pentatonic Scale). utilized 54 . Beat 4 of measure 16: Ab MA (Major Pentatonic) followed by D 7.

A flat and F sharp as chromatic passing tones). C). which implies a B 7 sonority which is imbedded within the D Octatonic Scale (beginning with a half step)/”Dominant Diminished” Scale (D “Dominant Diminished” Scale: D. B. G sharp. F. (B natural and B flat as chromatic 55 . G. F sharp. F. Notes 14-23 of In measure 32 more directly articulate the D “Dominant Diminished” Scale upon which the previous B Mixolydian pattern is based (note 13/B flat as chromatic passing tone). A flat. A). E flat. once again. Measure 35 mines the “Blues” Pentatonic once again. D sharp/E flat. E. The first 12 notes of measure 34 allude. G.individually for different effects. C natural as chromatic passing tone). A. Measure 30: 5th Mode of the C Dominant Bebop Scale Bebop Scale (contains all pitches of underlying Gmi 7 sonority. Beats 1-3 of measure 33 briefly allude to Bb Mixolydian. Measure 31 contains a DmiMA 9 arpeggio which is imbedded within the D Ascending Melodic Minor Scale (G natural and B natural as diatonic passing tones. Db Dominant Bebop Scale: D flat. measure 32. followed on beat 4 by a brief reference to a B Whole Tone Scale (B. F. D sharp. D. B flat. C Dominant Bebop Scale: C. C flat. to a B Mixolydian Mode. note 13/B flat as chromatic passing tone). followed by notes 14-25 being an anticipation of the coming Dmi sonority in the next measure (D Dorian Mode. C. A. B. B flat. Measure 29: Db Dominant Bebop Scale: tritone substitution for (implied) underlying G 7 sonority. G flat. F. C sharp. the first 12 notes of the bar emanate from a B Mixolydian Mode.

Beat 2 of measure 41 through beat 3 of measure 42 traverse the Bb MA 9 diatonic area of a G Dorian Mode (G sharp as chromatic lower neighbor. A flat as chromatic lower neighbor). Measure 39 traverses a D Dorian Mode followed by (from beat 2 of measure 40 to beat 1 of measure 41) the 5th Mode of G Harmonic Minor (D. The second eighth note of beat 3 (still measure 46) coupled with the first eighth note of beat 4 cover. B flat. G sharp as chromatic upper neighbor).e. Measures 47 and 48 (with eighth note pick 56 . V of iv/Gmi 7. The 4th Chorus begins (beat 1 of measure 37 through beat 1 of measure 38) with a veiled reference to an Ami 7 sonority (imbedded within the D Dorian Mode which would agree with the underlying sonority and has been utilized previously within this improvised solo. Beat 3 of measure 38 concisely articulates an A 7 sonority (V of i) followed on beat 4 by a fragment of a D Ascending Melodic Minor Scale. C. Measure 45 sounds an Fmi 7 arpeggio (imbedded within the Bb Mixolydian Mode) followed by a D Dorian reference on beats 1-3 of measure 46 (C sharp as chromatic passing tone). in an oft utilized manner. implies a D 7 (b9) sonority i. C flats as chromatic passing tones) followed by additional standard “Blues” Pentatonic material from beat 4 of measure 42 through beat 3 of measure 44. G. the implied b9 and #9 of the underlying sonority.passing tones) followed in measure 36 by another chromatic turnaround. A. F sharp. E flat.

navigate their way through a D “Blues” Pentatonic Scale. once again.up from measure 46). 57 .

ARTICULATION OF IDIOMATIC DIATONIC LANGUAGE THAT IS A HALF STEP REMOVED FROM THE UNDERLYING SONORITY This particular technique is one of sophisticated placement of relatively straightforward diatonic material. Please see the appropriate chapter (see Table of Contents) for additional commentary on each example listed below as well as the transcriptions themselves for visual confirmation. Each technique listed is accompanied by a brief description of the technique itself as well as a list of illustrative examples contained within the solos at hand. That is to say. standard jazz vocabulary delivered one half step removed (above or below) from the underlying harmony so as to exact a feeling of 58 . The techniques themselves are listed in approximate order of prominence (highest to lowest) as contained within these particular improvisations.CHAPTER 8 SELECTED BRECKERISMS This chapter is intended to serve as a reference guide to selected techniques indicative of Mr. Brecker’s improvisational style as represented by the solos chosen for this study.

examples.familiarity from the listener while at the same time jarring them with superimposed dissonance. See the following for explicit “Nothing Personal” • measures 33 and 34  33         Eb7                            Eb Dorian Mode  34   D7(#9)    33        Eb7   Eb Dorian Mode                        D7(#9) 34     “Two T’s” [sic] • measures 22 and 23                   5th Mode of E Dominant Bebop Scale 22   F7   23   Bb7    5th Mode of E Dominant Bebop Scale                  F7 22   23   Bb7     59 .

• measures 39 and 40 D Major Pentatonic                 5th Mode of 39     5th Mode of Bb7 40     Major Pentatonic Bb7                 D 39     Bb7 40     Bb7 • measures 81 and 82 B Mixolydian Mode                        B Mixolydian Mode Cmi7 81                       Cmi7 82 82   F7   81   F7   “Cabin Fever” • measures 52 through 54                      Mode B Ionian 52     B Ionian Mode Bb7 53     Eb7 54     Eb7                     52     Bb7 53     Eb7 54     Eb7 60 .

“Delta City Blues” • measures 2 and 3   2 B                 Bb7 Mixolydian Mode   3      Bb7     B  Bb7 Mixolydian Mode  3    3     2    3   Bb7  •    measures 7 through 10 Mode         B Mixolydian  3    Bb7          9  10 7     B Bb7 8       Cmi7      Mode             Bb lydian Mixo- F7     Bb7 7         Mixolydian Mode  3    Bb7    9             8       Cmi7    10   F7        Bb lydian MixoMode     • measures 31 and 32   31 B Mixolydian Mode Ionian Mode                         Bb   Bb7   B 32   Bb7                              Bb Ionian Mode Mixolydian Mode 31  Bb7   32   Bb7   61 .

  52   Bb7   5th Mode         Bb7 chromaticism   Eb7   54   Eb7   55   Bb7    56  62 . 49   Bb7     50     51             Bb7 5th Mode of Db Maj. Pent. of Fb Maj. Pent. examples.ARTICULATION OF A REPEATING INTERVALIC PATTERN PRESENTED AT VARYING PITCH LEVELS This technique involves the delivery of a given pattern of limited length presented at various pitch levels. typically starting in harmonic agreement with the underlying sonority and venturing forth from there. “Nothing Personal” • measures 35 and 36 G Dorian F# Dorian F Dorian E Dorian                                        See the following for explicit G Ascending Melodic Minor Scale 35  G  GmiMA7   G Dorian F# Dorian F Dorian E Dorian                                     Ascending Melodic Minor Scale 36   GmiMA7   35   GmiMA7   36   GmiMA7   “Two T’s” [sic] • measures 48 through 56            48 5th Mode of Db Major Pentatonic 5th Chorus       Bb7 5th Mode of D Major Pentatonic     Bb7     of C Maj. Pent. of Gb Maj.                     53 5th Mode 5th Mode 5th Mode of Cb Maj. Pent. Pent.

                    53 5th Mode 5th Mode 5th Mode of Fb Maj. Pent.               51 5th Mode       Bb7 chromaticism      54 Eb7  Eb7   55         56 Bb7 “Cabin Fever” • measures 90 through 92 AMA GMA FMA                          90  AMA  Eb7   91   Bb7   92   G7                            GMA FMA 90   Eb7   91   Major Bb7   92   G7   • measures 127 through 129 D  127 Db Pentatonic C Pentatonic Cb Major Pentatonic                              Major Pentatonic Major C Pentatonic Db Pentatonic Cb Major Pentatonic                            D Major Pentatonic Major Major   Bb7   128   G7   129   Cmi7   127   Bb7   128   G7   129   Cmi7   63 . Pent. of Gb Maj. of Cb Maj. Pent. 49   Bb7            Bb7 Bb7 52 5th Mode of Db Maj. Pent.           48 5th Mode of Db Major Pentatonic 5th Chorus      Bb7 50 5th Mode of D Major Pentatonic     Bb7   of C Maj. Pent.

See the following for explicit examples. 64 . these passages evidence a utilization of modes and scales somewhat beyond the typical scope of modes and scales utilized in contemporary Jazz performance practice.• measures 173 through 179  173  B Mixolydian Mode C Mixolydian Mode Db Mixolydian Mode                              Bb Mixolydian Mode Eb7 Eb Mixolydian                           D Mixolydian Mode     174   Eb7   175     Bb7 176   G7   Mode 177   Cmi7   178   F7   Mode 179   Bb7  Db  Mixolydian Mode                               Mode Bb Mixolydian Mode B Mixolydian C Mixolydian 173     Eb7 174   Eb7   175     Bb7 176   G7                             D Mixolydian Mode Eb Mixolydian Mode 177   Cmi7   178   F7   179   Bb7   UTILIZATION OF NON-STANDARD MODES AND SCALES As indicated by the title.

“Delta City Blues” • measures 5 and 6 (“Lydian Dominant” Scale)   5   3  3          Dominant" Scale Eb "Lydian         Eb7     Eb7      3     3        Dominant" Scale Eb "Lydian 6     Eb7 5  Eb7   6    “Timeline” • measures 9 and 10 (“Dominant Diminished” Scale)                      Mode Bb Ionian A "Dominant Diminished" Scale      A7(#9)           9  Bb Ionian  Mode Bb7   10                            Bb7 A "Dominant Diminished" Scale    A7(#9)           9   10   • measure 14 (“Gap” Scale)  3        14 "Gap" Scale   3 Dmi7       3       14 "Gap" Scale 3   Dmi7   65 .

only to depart to different pitch levels as repetition ensues. “Nothing Personal” • measures 42 and 43 Dmi CMA BMA BbMA AMA                                Gmi See the following       42  Dmi  Cmi7  CMA  BMA 43   AMA GmiMA7                                 42 BbMA Gmi   Cmi7   66 43   GmiMA7        . for explicit examples. these triads (typically MA triads) are often initiated in consonance with the underlying sonority.• measure 30 (5th Mode of the Dominant Bebop Scale)                   5th Mode of C Dominant Bebop Scale 30   Gmi7    5th Mode of C Dominant Bebop Scale                     Gmi7 30   ARTICULATION OF SAME QUALITY TRIADS IN A PLANED MANNER As with the aforementioned Repeating Intervallic Patterns.

“Cabin Fever” • measures 17 through 19 F#MA B Mixolydian Mode                                   EMA 17  EMA  3 Eb7   B Mixolydian Mode                                 F#MA 18   Eb7   19   Bb7   17   3 Eb7   18   Eb7   19   Bb7   “Delta City Blues” • measures 45 and 46 FMA Gmi chromatic EMA Cmi  turnaround             EbMA            Dmi                 Cmi 45  Cmi Gmi  Cmi7  FMA  EMA Dmi Cmi turnaround               EbMA                            chromatic 46   F7   45   Cmi7   46   F7   67 .

“Jones Street” • measures 9 and 10  9 FMA 3    3   Eb7             3 BbMA 10 Gmi13  3    D7(#9)   Gmi13                  FMA BbMA 3 9  3  3 Eb7   10   3 D7(#9)     “Timeline” • measure 15                 15 A7 BMA DAUG   Dmi7        A7              Dmi7 BMA DAUG 15   68 .ARTICULATION OF MELODIC MATERIAL THAT CONNOTES HARMONIC INTENT COMPLIMENTARY TO OR IN CONTRAST WITH THE UNDERLYING SONORITY OR CHORD PROGRESSION This technique is typically used as a means of creating an implied chord progression that is superimposed over a static harmonic structure. See the following for explicit examples.

examples. “Nothing Personal” • measures 41 and 42 FMA EbMA Dmi                            CMA  BMA           G Dorian See the following for explicit Gmi 41   Cmi7   42   Cmi7   G Dorian Gmi FMA EbMA Dmi CMA BMA                                        41   Cmi7   69 42   Cmi7   .• A7 3                   A7 DmiMA7 GMA AMA measures 26 and 27   3      Dmi7 26   Dmi7   27    26 A7 AMA 3                   Dmi7      A7 DmiMA7 GMA 27   3      Dmi7   ARTICULATION OF DIATONIC TRIADS CONTAINED WITHIN A GIVEN SCALE OR MODE This technique is a monophonic representation of sequential presentation a triads as found within the given scale or mode selected by the soloist.

“Delta City Blues” • measures 45 and 46 FMA Gmi chromatic EbMA EMA Cmi Dmi                          turnaround                Cmi 45  Cmi  Cmi7   46   F7   chromatic Gmi FMA EMA EbMA Dmi Cmi turnaround                                         45   Cmi7   46   F7   ARTICULATION OF SWEEPING TERTIAN ARPEGGIATIONS CONTAINED WITHIN A GIVEN SCALE OR MODE This technique enables the soloist to imply fundamental as well as upper tertian harmonies by means of sweeping tertiary arpeggiations. “Nothing Personal” • measures 55 and 56 G  55  Dorian Mode        6               GmiMA7 Eb Mixolydian Mode        G   GmiMA7   Dorian Mode        6           70 56 56       6 Eb Mixolydian Mode 55   GmiMA7   GmiMA7     6  . See the following for explicit examples.

for explicit examples. “Nothing Personal” • measure 19 G Dorian Mode See the following   19     9                 G GmiMA7 9    Dorian Mode      19  GmiMA7 9                 71 9  .“Timeline” • measure 6    3  3  3 3                    6 G Dorian Mode G Mixolydian  G 3  3 Gmi7  3  3 G Mixolydian  3        3   3   3          Dorian Mode 6  3  3 Gmi7  3  3 ARTICULATION OF SWEEPING DIATONIC LINES IN A STEPWISE MANNER WHICH ARISE FROM A GIVEN SCALE OR MODE This technique enables the soloist to infuse a given section of the improvisation with the sonorities of a given scale or mode in a relatively short amount of time.

• measures 37 and 38 G  37  Ascending Melodic Minor Scale                     6 6    GmiMA7 G Dorian Mode    G  GmiMA7    38    G Dorian   Ascending Melodic Minor Scale      6                   GmiMA7 37  GmiMA7   6   Mode 38      ARTICULATION OF SELECTED IMBEDDED TRIADS WITHIN A GIVEN SCALE OR MODE This technique allows for the soloist to purvey a somewhat unfamiliar sound from a scale or mode that may well otherwise be quite familiar. examples. “Jones Street” • measures 23 through 25       BbMA BbMA          CMA  CMA                BbMA CMA  BbMA  3rd Chorus 3 Gmi9  23  Gmi7  CMA   24   Gmi7             Gmi7      3rd Chorus Gmi9  BbMA  CMA             BbMA CMA 3  25     Gmi7 23  24   Gmi7   25     Gmi7 72 . An articulation of selected pitches from a See the following for explicit larger given collection.

A sharp. the 3rd and 7th are considered to be the most important of the four pitches involved in terms of providing the distinct colors that identify the Dominant sonority as Dominant. Dominant sonorities a tritone apart have as common tones the 3rd and 7th of both respective chords (Ex. See the following for an explicit example. C 7: C.K. In short. C sharp. “TRITONE SUBSTITUTION” This substitution rests upon the premise that Dominant 7 material may be articulated a tritone apart from an underlying Dominant sonority due to a special relationship existing between the two Dominant sonorities. G. B flat.A. E). F# 7: F sharp. in any given Dominant 7 sonority.“Delta City Blues” • measures 37 through 39  Bb7/Ab7 4th Chorus    Bb7  37     EMA F#MA EMA F#MA EMA    BbMA  F#MA   EMA   F#MA                       EMA 38   EMA Bb7  F#MA  EMA 39   EMA Bb7  F#MA  BbMA  Bb7/Ab7    37 4th Chorus  Bb7                                    F#MA F#MA  38   Bb7   39   Bb7   ARTICULATION OF MELODIC MATERIAL THAT IS DISPLACED FROM THE UNDERLYING SONORITY BY THE DISTANCE OF A TRITONE A. 73 . E.

“Jones Street” • measure 2   2 AbMA    D7       AbMA     2    D7    74 .

APPENDIX A DISCOGRAPHY 75 .

Michael. Michael and Bob Mintzer. “Delta City Blues. composer) On Time is of the Essence. Verve Compact Disc 314 547 844-2. Mintzer. Impulse Compact Disc IMPD-191. 76 . composer) On Tales from the Hudson. Impulse Compact Disc IMPD-260. composer) On Two Blocks from the Edge. Michael.” (Don Grolnick. “Jones Street. (1987) *Brecker. “Two T’s. Tenor Saxophone improvised solo # 2 is played by Mr.DISCOGRAPHY Brecker. “Nothing Personal.” (Pat Metheny. Atlantic Compact Disc 83036-2. (1998) Brecker. Michael. composer) On Michael Brecker. Novus Compact Disc 01241 63173-2. “Cabin Fever. (1993) Brecker.” (Michael Brecker.” [sic] (Bob Mintzer.” (Mike Stern. (1996) Stern.” (Michael Brecker. composer) On Twin Tenors. Brecker. “Timeline. Michael. MCA/Impulse Compact Disc MCAD 5980. (1997) Brecker. Mike. (1999) *Tenor Saxophone improvised solo # 1 is played by Mr. composer) On Give and Take.

APPENDIX B “NOTHING PERSONAL”: TREBLE AND BASS CLEF TRANSCRIPTIONS. ANNOTATED AND UNANNOTATED 77 .

“Nothing Personal” Michael Brecker tenor saxophone solo from Michael Brecker transcription is notated one octave above actual sounding pitch  indicates passing tone h = 120 1st Chorus G Dorian          GmiMA7 Mode   3          transcription: David Freedy 1       2    GmiMA7   3            3 GmiMA7   3    4  GmiMA7  5         Gmi11 Cmi7           G Ascending Melodic Minor Scale     Cmi7   6       Eb7         7    GmiMA7              GmiMA7 3      8     10 D "Dominant    D7(#9)         Diminished" Scale     GmiMA7              Ab 9 Ascending Melodic Minor Scale  Eb7   G Dorian Mode                           11 chromatic turnaround 2nd Chorus         3 12       GmiMA7      15 13     GmiMA7  14    GmiMA7 Ab Ascending Melodic Minor Scale                  GmiMA7   78 .

turnaround G Ascending Melodic Minor/G Dorian                                 chromatic "Nothing Personal" transcription: David Freedy 16   Cmi7  GmiMA7   17   Cmi7    18 G Dorian Mode 9                                    Cmi7   Mode 19   GmiMA7  9    20  GmiMA7                                Eb Mixolydian   21   Eb7   DMA G Dorian Mode                                    22     D7(#9)   23   GmiMA7    24      GmiMA7   3rd ChorusF#mi      Gmi          25   GmiMA7  AMA/Ab7                                   26   GmiMA7   27   GmiMA7   79 .

Mode                    Ab7 F# Ionian "Nothing Personal" transcription: David Freedy G Ascending Melodic Minor/Dorian         28     GmiMA7   Cmi7 29    30 A7 B7                                      Cmi7   31   GmiMA7   Eb7    Eb Dorian Mode planed 4ths  Bb7    FMA                      32   GmiMA7   Minor Scale              G Ascending Melodic                               33       34  G Dorian  D7(#9)   E Dorian                                     F# Dorian F Dorian 4th Chorus G 35   GmiMA7   Ascending Melodic Minor Scale 36       GmiMA7        39 37   GmiMA7  6 6   38  GmiMA7  G Dorian  Mode Ab Minor Scale              Ascending Melodic    GmiMA7   80 .

                       BMA7 chromaticism Ab Ascending Minor Melodic G Dorian                      "Nothing Personal" transcription: David Freedy Gmi FMA EbMA 40   GmiMA7   41   Cmi7   Gmi Dmi CMA BMA BbMA AMA                                      42  D7  G Cmi7   43   GmiMA7  Eb                                 Mixolydian Mode Dorian Mode 44   GmiMA7   45   Eb7     46      3             6      6  D7(#9) 6          47 G Ascending Melodic Minor Scale/G Dorian Mode                   GmiMA7 21   48                   GmiMA7 21 G         Dorian Mode       5th Chorus   49   GmiMA7   81 .

  50    GmiMA7             G Dorian "Nothing Personal" transcription: David Freedy AMA                        Gmi                chromaticism  CMA/BbMA               Ab7    51   GmiMA7 52   GmiMA7   Mode 53     Cmi7           54          Cmi7 6 G Dorian 6            GmiMA7      6         Eb 56  GmiMA7   58        Mixolydian Mode/Db Lydian Mode             D7(#9) 14                             6 Eb 6 57  55 Mixolydian Mode       3           Mode G Dorian  Eb7     59  GmiMA7      60       GmiMA7            61    GmiMA7   82 .

“Nothing Personal” Michael Brecker tenor saxophone solo from Michael Brecker transcription is notated one octave above actual sounding pitch 1st Chorus h = 120          GmiMA7           3 transcription: David Freedy 1    3       2    GmiMA7   3           3  GmiMA7    4  GmiMA7  5        Cmi7             6     Cmi7    9    7           GmiMA7             8    3    Eb7   GmiMA7     10  D7(#9)          11    GmiMA7                      3    2nd Chorus                          12       GmiMA7      15 13     GmiMA7  14    GmiMA7                  GmiMA7 83 .

 16          "Nothing Personal" transcription: David Freedy      GmiMA7                      17   Cmi7    18                            9        Cmi7    19   GmiMA7  9    20                           21  GmiMA7    Eb7                                   22     D7(#9)   23   GmiMA7     24      GmiMA7   3rd Chorus           25   GmiMA7                                  26   GmiMA7   27   GmiMA7   84 .

                   28 "Nothing Personal" transcription: David Freedy             GmiMA7   Cmi7 29    30                                    Cmi7   31   GmiMA7   Eb7                              32   GmiMA7                                             D7(#9) 33    34   35   GmiMA7                                      4th Chorus 36       GmiMA7     37   GmiMA7  6 6   38  GmiMA7                   39    GmiMA7   85 .

     40                  GmiMA7                        Cmi7 "Nothing Personal" transcription: David Freedy    41         42                           Cmi7   43   GmiMA7                44   GmiMA7                45     Eb7     46      3             6      6  D7(#9) 6                47              GmiMA7 21  48                   GmiMA7 21          5th Chorus        GmiMA7   49   86 .

  50    GmiMA7                       GmiMA7 "Nothing Personal" transcription: David Freedy                                         GmiMA7   51   52   53     Cmi7           54          6      Cmi7 6         GmiMA7    6          GmiMA7 56                             6 6 57  55      58                  D7(#9) 14      Eb7    3            GmiMA7  59      60       GmiMA7            61    GmiMA7   87 .

“Nothing Personal” Michael Brecker tenor saxophone solo from Michael Brecker transcription is notated one octave below actual pitch  indicates    h = 120 passing tone 1st Chorus       G GmiMA7 transcription: David Freedy Dorian Mode  2 1             GmiMA7        3          3  3  GmiMA7    3   4  GmiMA7  5 G Ascending         Gmi11 Cmi7            6 Melodic Minor Scale     Cmi7    9  Eb7 3         7    GmiMA7              GmiMA7        Eb7 8        10 D "Dominant    D7(#9)         Diminished" Scale     GmiMA7 Melodic Minor Scale            Ab Ascending                      G Dorian 12 11 chromatic turnaround 2nd Chorus Mode             3     GmiMA7      15 13     GmiMA7       GmiMA7 Ab Ascending Melodic Minor Scale            14    GmiMA7   88 .

"Nothing Personal" transcription: David Freedy turnaround                                 chromatic G Ascending Melodic Minor/G Dorian 16   GmiMA7   17   Cmi7   9                            Cmi7 G Dorian Mode 18   Cmi7   19   GmiMA7  9       Eb Mixolydian GmiMA7  20                             Mode  21   Eb7   DMA G Dorian Mode                                     22   D7(#9)   23   GmiMA7           GmiMA7   3rd Chorus   F#mi    Gmi        24  25   GmiMA7   AMA/Ab7                               26   GmiMA7   27   GmiMA7   89 .

                  Ab7 F# Ionian Mode  "Nothing Personal" transcription: David Freedy G Ascending Melodic Minor/Dorian      28   GmiMA7   29   Cmi7      A7 B7                                 30  Cmi7   31   GmiMA7   Eb7    Eb Dorian Mode Bb7 FMA                       GmiMA7 planed 4ths 32     33        Minor             G Ascending Melodic   Scale                       34   D7(#9)   E Dorian                                     G Dorian F# Dorian F Dorian Ascending Melodic Minor Scale 4th Chorus G 35   GmiMA7  6  36       GmiMA7     G Dorian 37   GmiMA7   6   GmiMA7  38  Ab Minor Scale Mode                  Ascending Melodic 39   GmiMA7   90 .

 BMA7                      Dmi Ascending Melodic chromaticism Ab Minor G Dorian                     "Nothing Personal" transcription: David Freedy Gmi FMA EbMA 40  GmiMA7   BMA 41  BbMA  Cmi7   Gmi                                42 CMA AMA  D7  G Cmi7   43   GmiMA7        Eb                                  Dorian Mode Mixolydian Mode 44   GmiMA7   45   Eb7          3             6      6 46  D7(#9) 6         5th Chorus G Ascending Melodic Minor Scale/G Dorian Mode                  47   GmiMA7 21         GmiMA7 21 G         Dorian Mode       48   49   GmiMA7   91 .

      GmiMA7                       G Dorian "Nothing Personal" transcription: David Freedy AMA 50   Ab7 CMA/BbMA chromaticism           Gmi                                51   GmiMA7   52   GmiMA7   53     Cmi7           54   Cmi7 G       6 6 Dorian Mode          GmiMA7     Eb 6   6         Eb 55 Mixolydian Mode 56  GmiMA7                     57             6            G Dorian Eb7   Mixolydian Mode/Db Lydian Mode 58                   D7(#9) 14  3           Mode  59  GmiMA7     60       GmiMA7            61    GmiMA7   92 .

“Nothing Personal” Michael Brecker tenor saxophone solo from Michael Brecker transcription is notated one octave below actual sounding pitch 1st Chorus h = 120          GmiMA7  2 1    3          GmiMA7 transcription: David Freedy        3          3  3  GmiMA7       4  GmiMA7  5         Cmi7            6     Cmi7    9  3         7    GmiMA7             8       Eb7   GmiMA7        10  D7(#9)           11    GmiMA7                    3                     12 2nd Chorus         GmiMA7      15 13     GmiMA7       GmiMA7          GmiMA7 14      93 .

"Nothing Personal" transcription: David Freedy                                16   GmiMA7   17   Cmi7   9                             18   Cmi7   19   GmiMA7  9       GmiMA7  20                             21   Eb7                    22   D7(#9)                  23   GmiMA7            GmiMA7   3rd Chorus            24  25   GmiMA7                                26   GmiMA7   27   GmiMA7   94 .

                    GmiMA7 "Nothing Personal" transcription: David Freedy          28   Cmi7 29                                  Cmi7 30   31   GmiMA7   Eb7                            GmiMA7 32     33                                         D7(#9) 34   35   GmiMA7  6                                     4th Chorus 36       GmiMA7     37   GmiMA7   6   GmiMA7  38                   39   GmiMA7   95 .

                     GmiMA7                     Cmi7 "Nothing Personal" transcription: David Freedy 40   41                                 42   Cmi7   43   GmiMA7                                  44   GmiMA7   45   Eb7          3             6      6 46  D7(#9) 6                  5th Chorus GmiMA7               GmiMA7 21 47        GmiMA7 21          48   49   96 .

"Nothing Personal" transcription: David Freedy       GmiMA7                       GmiMA7 50                                         GmiMA7 51   52   53     Cmi7                     54            6      Cmi7 6    GmiMA7   6 55   6          GmiMA7 56              57             6     Eb7   58                  14    3            GmiMA7  D7(#9)  59      60       GmiMA7            61    GmiMA7   97 .

APPENDIX C “TWO T’S” [SIC]: TREBLE AND BASS CLEF TRANSCRIPTIONS. ANNOTATED AND UNANNOTATED 98 .

“Two T’s” [sic] Michael Brecker tenor saxophone solo from Twin Tenors transcription is notated one octave above actual sounding pitch q=  1st Chorus    Bb7 1 222 indicates passing tone  Bb7 2 chord tones        Bb7 4   Bb7 transcription: David Freedy   5      Eb7 6         Bb7                                Bb7 3 Eb7      GMA Cmi7 9 EbMA/EbMA(#5) 7             8 B Ionian Mode                    F7 FMA9(#5)   12 BbMA       Bb7 2nd Chorus Bb Dorian 10      Bb7 F7 11          Mode Bb7     Bb7 Mode        Bb7 B Dorian          Edim7  17      Eb7 13 14 15 intervallic chromatic G7(b9) chromaticism turnaround         16 Bb7                   Bb7 Cmi7     Cmi7                                  3rd Chorus Bb7 18 19 5th Mode of E Dominant Bebop Scale       Eb7      20    Bb7      21 22     F7       Bb7 27        Bb7 28 23    Bb7   24 BbMA              25 26 Bb7 Bb7                 29 30 Eb7                EbMA FAUG BbMA/Bb7 Eb7 31     Bb7 99 .

5th Mode of of Gb Maj. Pent. Pent. of C Maj. Pent. Db Maj.C Minor Scale                     Ascending Melodic "Two T's" transcription: David Freedy 5th Mode of Db B Mixolydian Major Pentatonic    Bb Ionian Mode  32   Bb7     36      Bb7 4th Chorus 33   Cmi7           F7   34     35     Bb7     Bb7  5th Mode of D Major Pentatonic                    BbMA 37     Bb7 38       39 Bb7   40   Bb7   Eb Dorian Mode  Ionian               Bb Ionian Mode   B    Mode  Cmi                      41   Eb7   42   Eb7   43 Mode   Bb7   44        45                F7 B Mixolydian Mode Bb Ionian     Cmi7        Bb7           Bb7 5th Mode of Db Major Pentatonic 5th Chorus  Bb7   46 47         48        Bb7 50 5th Mode of D Major Pentatonic             51 52                         Bb7 Bb7 53 54 5th Mode of Cb 5th Mode of F Dominant Bebop Scale Major Pentatonic chromaticism 5th Mode 49 5th Mode 5th Mode of Fb Maj. Pent.     Bb7      Eb7  Eb7          55          Bb7        Cmi7     3     3   Bb7   56  57    58     F7 100 . of Cb Maj. 5th Mode Pent.

6th Chorus  59       Bb7 3 5th Mode of 5th Mode of 5th Mode of 5th Mode of F A Maj. Pent. G Maj. "Two T's" transcription: David Freedy           3     60    Bb7 3  Edim7 61  3         62 BbMA B Dorian Mode    EbMA Bb7    Bb Ionian Bb7  Mode        Bb7 63         BbMA       Bb7          Eb7           Eb7 67     64 65     66         Bb7 BMA B      AMA    GMA   Mixolydian Mode                          68   Bb7   FAUG 69   Cmi7   70   F7   71    Bb7   5th Mode of Db Major Pentatonic                            Mode Bb Ionian 7th Chorus Bb Mixolydian       Mode   Bb7 72     Bb7   73   Db Bb7   74   Bb7   75     Melodic  76 B Ascending Melodic Minor                     5th Mode of Major Pentatonic Bb Mixolydian   B Bb7   77             78 79 Eb7 Eb7         Minor Scale       Mode A Ascending Bb7 80     Bb7 Bebop       A Dominant     Scale BbMA  FAUG                       Mixolydian Mode 81   Cmi7   82   F7   83   Bb7   84   Bb7   101 . Pent. Maj. E Maj. Pent. Pent.

8th Chorus "Two T's" transcription: David Freedy      Bb7 85 5th Mode of Db Major Pentatonic      Bb7  Eb Ionian Mode     Bmi                      5 DMA           86 87 Bb7   88         89 Bb7 Eb7 B Ionian Mode Dmi Bb Lydian Mode                                  Ebmi BbMA/Bbmi 90   Eb7 3 3       3   91   Bb7   92   Bb7      93 Cmi7  94  AMA     BbMA/Bb7      F7 Major     Pentatonic                    of 9th Chorus 5th Mode  Db   95   Bb7   96    Bb7   98 BMA/B7 BbMA/Bb7                            BbMA/Bb7 Bb7 97 2nd Mode of Db Major Pentatonic   Bb7        99    Bb7  100    Bb7  101   Eb7    102 BbMA Mode   G7(b9)               BbMA     EbMA                  A Ionian Eb7        106            Bb7 103   Bb7   104   Bb7 3       Bb7 10th Chorus   Bb Mixolydian Mode              105   Cmi7       F7 107   108 109    Bb7   110    Bb7 102 .

    Bb7           Bb7     EbMA       "Two T's" transcription: David Freedy Bbmi/BbMA      3         Bb7 111     G7(b9) 3 112     113        114 Eb7 Eb7      115 EbMA Mixolydian    B     Mode                                      Ab Ionian Mode 3 chromaticism 116   Bb7   117   Cmi7   118   F7    119  Bb7   AbIonian Mode DbMA EMA  Bmi     Bmi7                                     Bb Mixolydian Mode 11th Chorus 3 3 120         Bb7 121     Bb7 122     Bb7 123         124 Bb7 Bb7      Eb7 5th Mode of Db Major Pentatonic BbMA                        Eb7 125    AMA 126     127   Bb7   128    Bb7  Bb Mixolydian Mode              3                         EbMA 129   Cmi7   130   F7   131   Bb7   132   Bb7   103 .

“Two T’s” [sic]
Michael Brecker tenor saxophone solo from Twin Tenors
transcription is notated one octave above actual sounding pitch
q=

 
1

1st Chorus

222


Bb7
2

 

   
Bb7
4

 
Bb7

transcription: David Freedy

 
5



   
Eb7
6

                        
     
Bb7

Bb7

Eb7


7

     
Bb7

3

    
Cmi7
9

            
Bb7
15

           
8

F7

 
12

    
Bb7

2nd Chorus

10

11

        
Bb7
16

    
Bb7

   
Bb7

      
Bb7

  

         
Eb7
13


17

              
19

14

        

 

  
Cmi7

                                
3rd Chorus
Bb7

     
18

Eb7

  

Bb7

20

  

Bb7

    
21

22

   

F7

     
Bb7
27

      
Bb7
28

23

  

Bb7

 

24



           
25 26

Bb7

Bb7

               
29 30

Eb7

              
Eb7
31

   

Bb7

104

"Two T's" transcription: David Freedy

                               
32

Bb7

33

Cmi7

34

    

F7

35

   

Bb7

 
36

    
Bb7

4th Chorus

   
Bb7



            
Bb7

   

37

   

Bb7

38

     
39

Bb7

40

                                        
41

Eb7

42

Eb7

43

Bb7

44

Bb7

     
45

              
F7

   

Cmi7

      
Bb7

         
Bb7 Bb7

5th Chorus

46

47

       
48

49

   

      
Bb7
50

           
51 52

                      
Bb7 Bb7
53

    
54

Eb7

Eb7

 

      
55

        
Bb7

       
Cmi7

  
3




F7

  
3

 

Bb7

56

57

 

58

  

105

"Two T's" transcription: David Freedy


59



   
Bb7
3

6th Chorus                  
3

  

60

 

Bb7

3

61

3

  

Bb7

62

  

Bb7

     
Bb7
63

            
Bb7

  

     
Eb7

         
Eb7
67

   

64

65

   

66

   

   

Bb7

                                     
68

Bb7

69

Cmi7

70

F7

71

 

Bb7

                         
72

7th Chorus

     
Bb7

  

Bb7

73

 

Bb7

 

74

Bb7

75

 


76

                   
Bb7

 

 

77

           
78 79

Eb7

Eb7

           
Bb7
80

   

Bb7

                                    
81

Cmi7

82

F7

83

Bb7

84

Bb7

106

"Two T's" transcription: David Freedy

8th Chorus

    
Bb7

     
Bb7

              
5

      
Eb7
89

85

         
86 87

Bb7

 

88

             
Cmi7
3

Bb7

                             
90

Eb7

3

3

91

Bb7

92

Bb7

   
93


94

          
F7

9th Chorus                         

95

Bb7

96

  

Bb7

97

Bb7

  


98

                         
Bb7

   

99

 

Bb7

100

 

Bb7

101

Eb7

 


102

                                  
Eb7

  

  


106

         
Bb7

103

Bb7

104

Bb7

3

   

     
Bb7

10th Chorus        

105

Cmi7

 

 

   

F7

107

 

108

109

  

Bb7

 

110

  

Bb7

107

    Bb7           Bb7       Eb7     "Two T's" transcription: David Freedy       3      Bb7 111     112     113        114 Eb7      115                              3      3 119          Bb7 116       Bb7   117   Cmi7   118   F7          Bb7      3 11th Chorus                         3 120         121     Bb7 122     Bb7 123         124 Bb7 Bb7      Eb7                      126 125      Eb7   127   Bb7   128    Bb7      3                                Cmi7 129   130   F7   131   Bb7   132   Bb7   108 .

“Two T’s” [sic] Michael Brecker tenor saxophone solo from Twin Tenors transcription is notated one octave below actual sounding pitch  indicates   q= 222 passing tone 1st Chorus   Bb7 2 chord tones        Bb7 4            Bb7 Eb7 Eb7 5 6 transcription: David Freedy 1         Bb7                          3 Bb7      Bb7 8 7             BbMA         Cmi7 GMA EbMA/EbMA(#5)                   F7 FMA9(#5) B Ionian Bb7 Mode         Bb7 2nd Chorus Bb Dorian 9 10      Bb7 15 F7 11          Bb7 16     Bb7 Mode        Bb7 B Dorian Mode 12          13  Edim7 17 5th Mode of E Dominant Bebop Scale                          18 Eb7    intervallic chromatic G7(b9)     chromaticism turnaround                Eb7 14         Cmi7       Cmi7    19  Bb7   20    Bb7 3rd Chorus Bb7      21 22        Bb7 F7 23    Bb7         Bb7 24              25 26          Bb7         Bb7 28 BbMA  Eb7 27                 29 30                Eb7 31 EbMA FAUG BbMA/Bb7     Bb7 109 .

Pent. Mode Pent.     Bb7 50             51      54 Eb7  Eb7            Bb7          Bb7 5th Mode of F 5th Mode of Cb Dominant Bebop Scale Major Pentatonic chromaticism        Cmi7    3           F7 3 55   56  57    58  110 . Pent. 5th 5th Mode of of Gb Maj.                    32 C Ascending Melodic Minor Scale "Two T's" transcription: David Freedy 5th Mode of Db B Mixolydian Major Pentatonic Bb Ionian Mode    Bb7   33   Cmi7   34               F7   35     Bb7       Bb7 4th Chorus       Bb7  36     BbMA 37     Bb7                5th Mode of D Major Pentatonic 38       39 Bb7   40   Bb7    Eb Dorian Mode      Ionian       Bb Ionian Mode   B    Mode  Cmi                      41   Eb7   42   Eb7   43 Mode   Bb7   44      Cmi7       Bb Ionian          F7 B Mixolydian Mode 45     46 47         48        Bb7           Bb7 5th Mode of Db Major Pentatonic 5th Chorus  Bb7         Bb7 5th Mode of D Major Pentatonic                           Bb7 Bb7 52 53 5th Mode 49 5th Mode 5th Mode of Cb Maj. Db Maj. of C Maj. Pent. Pent. of Fb Maj.

6th Chorus           Bb7 3 5th Mode of 5th Mode of A Maj. 5th Mode of F Maj. "Two T's" transcription: David Freedy            3 59  60   Bb7 3  Edim7 61  3    EbMA Bb7       62 BbMA B Dorian   Mode    Bb7        Bb7 63            64     Bb7 Bb Ionian Mode                       BbMA 65     Eb7 66     Eb7 67     Bb7  BMA AMA B Mixolydian Mode   GMA                                 68   Bb7   FAUG 69   Cmi7  Db  70   F7   71   Bb7   Mode                            5th Mode of Major Pentatonic Bb Ionian Mode 7th Chorus         Bb7 Bb Mixolydian 72   Bb7   73   Db Bb7   74   Bb7   75      B Ascending Melodic Minor 5th Bb7 76                        Eb7 Eb7 77 78 Mode of Major Pentatonic Bb Mixolydian             79               Mode A Ascending Melodic Minor Scale Bb7 80     Bb7 B Mixolydian Mode A Dominant Bebop Scale BbMA FAUG                                     81   Cmi7   82   F7   83   Bb7   84   Bb7   111 . Pent. G Maj. Pent. 5th Mode of E Maj. Pent. Pent.

8th Chorus      Bb7 5th Mode of Db Major Pentatonic      Bb7 85           86 87                         Mode DMA "Two T's" transcription: David Freedy 5 Bmi Eb Ionian Bb7   88         89 Bb7 Eb7 Ionian Mode                              Ebmi Dmi Bb Lydian Mode B BbMA/Bbmi 90   AMA Eb7  3  BbMA/Bb7 91  3         3  Bb7   92   Bb7      93 Cmi7             F7 94   95                          Bb7 9th Chorus 5th Mode  of Db Major Pentatonic   96    Bb7   98                             BbMA/Bb7 BMA/B7 BbMA/Bb7 Bb7 97 2nd Mode of Db Major Pentatonic   Bb7         99    Bb7  100    Bb7  101   Eb7  BbMA G7(b9) EbMA      Mode         BbMA                      A Ionian Eb7 102       103   Bb7   104   Bb7             Bb7       Bb7 10th Chorus   3 105   Cmi7   Bb Mixolydian Mode              106     F7 107   108 109    Bb7   110    Bb7 112 .

  EbMA     Bbmi/BbMA                                3 "Two T's" transcription: David Freedy 111     G7(b9) 3 Bb7 112     Bb7 113        114 Eb7 Eb7      115 Bb7 EbMA    B Mixolydian Mode                                        Ab Ionian 3 Mode chromaticism 116   Bb7   117    Cmi7  118    F7    119 Bb7   EMA Bmi DbMA   AbIonian Mode Bmi7                                 3 Bb Mixolydian Mode 11th Chorus 120     Bb7 121     BbMA Bb7 122     Bb7 3 123         124 Bb7 Bb7         125 5th Mode of Db Major Pentatonic     AMA Eb7                          Eb7 126     127   Bb7   128    Bb7               3                     EbMA Bb Mixolydian Mode 129   Cmi7   130   F7   131   Bb7   132   Bb7   113 .

“Two T’s” [sic] Michael Brecker tenor saxophone solo from Twin Tenors transcription is notated one octave below actual sounding pitch 1st Chorus q= 222     Bb7 2       Bb7 4            Bb7 Eb7 Eb7 5 6 transcription: David Freedy 1        Bb7                          3 Bb7      Bb7 8 7                   Bb7         Cmi7        10  2nd Chorus 9      Bb7 15 F7 11          Bb7 16      Bb7     Bb7        Bb7 12               Eb7 13 14            17                                     3rd Chorus Bb7       18 Eb7                19     Cmi7 21     Bb7   20    Bb7      22        Bb7 F7 23    Bb7   24             25 26 Bb7 Bb7         Bb7 28  Eb7 27                 29 30                Eb7 31     Bb7 114 .

"Two T's" transcription: David Freedy                                32   Bb7   33   Cmi7   34   F7   35     Bb7       Bb7 4th Chorus       Bb7  36     37     Bb7                Bb7 39 38         40   Bb7                                        Eb7 41   42   Eb7   43   Bb7   44   Bb7                           45           Bb7 Bb7 48 49 5th Chorus     Cmi7 46     F7 47         Bb7           Bb7                            Bb7 Bb7 51 52 53 50                     Bb7      54 Eb7  Eb7             Bb7         Cmi7    3           F7 3 55   56  57   58  115 .

"Two T's" transcription: David Freedy           Bb7 3           60 6th Chorus 59   3   Bb7 3  61  3    Bb7         62    Bb7        Bb7 63            64     Bb7                      65     Eb7 66     Eb7 67     Bb7                                      Bb7 68   69   Cmi7   70   F7   71   Bb7                             72 7th Chorus          Bb7   Bb7   73   Bb7   74   Bb7   75      76                      Bb7   77             78 79 Eb7 Eb7               Bb7 Bb7 80                                        81   Cmi7   82   F7   83   Bb7   84   Bb7   116 .

"Two T's" transcription: David Freedy 8th Chorus      Bb7      Bb7 85           86 87                  Bb7 5   88         89 Bb7        Eb7                           90   Eb7  3  91  3         Cmi7 3  Bb7   92   Bb7      93              F7 94   95                          Bb7 9th Chorus Bb7   96    Bb7  97      98                             Bb7       99    Bb7  100    Bb7  101   Eb7                                   Eb7 102       103   Bb7   104   Bb7   3 105   Cmi7              Bb7       Bb7 10th Chorus           Bb7          Bb7 106     F7 107   108 109   110 117 .

    Bb7          Bb7       Eb7     "Two T's" transcription: David Freedy       3       Bb7 111     112     113        114 Eb7      115                            3           3 116   Bb7   117   Cmi7   118   F7    119  Bb7           3 120     11th Chorus                       Bb7     Bb7 121     122     Bb7 3 123         124 Bb7 Bb7         125     Eb7                        126   Eb7   127   Bb7   128    Bb7               3                     Cmi7 129   130   F7   131   Bb7   132   Bb7   118 .

ANNOTATED AND UNANNOTATED 119 .APPENDIX D “CABIN FEVER”: TREBLE AND BASS CLEF TRANSCRIPTIONS.

“Cabin Fever” Michael Brecker tenor saxophone solo from Tales from the Hudson transcription is notated one ocatave above actual sounding pitch  indicates Bb q= 302 1st Chorus passing tone transcription: David Freedy 1                                     Bb7    Bb7    Bb7    Bb7   Mixolydian Mode Bbmi   Eb MixolydianEMA                         EbMA 2 3 4 AbMA        G7 5   Eb7    6  Eb7   7    Bb7    8     Mode     AbMA/Ab7                        9 AMA 2nd Chorus Bb Mixolydian       Cmi7 10     F7 11             12 13 Bb7 Bb7 Bb7            14     16            EMA 17    Bb7                                      F#MA B Mixolydian Mode 15     Bb7     C Bb7   3 Eb7   Dorian Mode chromatic turn C Major Bebop around Scale 18         19 Eb7 Bb7 20     G7 21   Cmi7   120 .

#9)                                  41   Eb7   C Ascending Melodic Minor 42     Eb7 43 5th Mode of Db Major Pentatonic   Bb7   44        45 G7 Cmi7  46     F7 47     Bb7 121 .A Major Bebop Scale BbMA          BbMA          F7(#5)             "Cabin Fever" transcription: David Freedy 3rd Chorus 22    Bb7 F7   23    Bb7  24   Eb7 Bb7   25      Eb7 Bb7  26  Bb7 27        28     Eb7 29 30         BbMA G7(b9) C    Bb7          BbMA   Minor  Eb Major Bebop                       Harmonic 7th Mode of 31    Bb7  32      Bb7 G7 33     Cmi7   34            Mode F7         Bb7 35 36 4th Chorus  Bb Mixolydian           Bb7 39                     37 38 Bb7 Bb7 Ebmi   FMA BbMA                                    Eb7/Ebmi7 40   Bb7   G7 C Aeolian Mode   F7(b9.

"Cabin Fever" transcription: David Freedy        48 BbMA BbAUG 5th Chorus Bb          Bb7 50 Ionian Mode     Bb7 51 B Ionian       Bb7 Mode G7                                  BbMA     Bb7 49     Bb7             52 53     Eb7 C Aeolian Mode              3 54  F  Dominant    Eb7       F7 55     Bb7 56  Bb    A7 G7 Bebop Scale    chromaticism Ionian             59 57   Cmi7   Bebop Scale 6th Chorus Bb Dominant 58         Bb7 60     Bb7                    61 B   Ionian/Mixolydian          Mode      Bb7 Ebmi7 BbMA9(#11)             F7                EbMA   Bb7   62   Bb7       63 64   Bb7   B Ionian  Mode lead in         65     C9 Eb7 3 5th Mode of F Scale    B Mixolydian Mode       Db Major Pentatonic                   Dominant Bebop 66   Eb7   67      68 Bb7    G7 69   Cmi7   70   F7   71   Bb7   72     Bb7 122 .

     Bb7 73 7th Chorus Bb Mixolydian "Cabin Fever" transcription: David Freedy Mode          Bb7         Pentatonic D Pentatonic         AMA Db Major Major 5th Mode of     74 Bbdim Abdim                                 Bb Mixolydian BMA 75   Bb7   76   Bb7   77     Ddim Eb7 78     Eb7 79     Bb7 80   G7            81 Edim BAUG chromaticism                           Cmi7   82  Ami  F7   83     Bb7 8th Chorus Bb7                    chromaticism GbmiMA7 BbMA AMA                  84   Bb7   85                            FMA        GMA 86   Bb7   87   Bb7   88   Bb7   89     EbMA Eb7    Bb Ionian Mode                 BbMA     G7(b9)                A Dominant Bebop 90   Eb7   91   Bb7   92   G7   93     Cmi7 3 94     F7 95     Bb7 96     Bb7 123 .

#9)                C Dorian Mode     Eb7 114    Eb7  115     BbMA Bb7 116     Bb9 G7      Bb7        120 117   Cmi7   118   F7   119        Bb7  124 . Pent. Bb Ionian Mode "Cabin Fever" transcription: David Freedy        Bb7 Bb7 98    A Bb7  99    Bb7  100                 5th Mode of Pentatonic Major Pentatonic 101  Bb    Eb7 102    Eb7                      Bb7 104 103     G7 B C Major          Pentatonic BbMA   MajorPentatonic   Major Pentatonic  BbMA               105     Bb Cmi7 10th Chorus 106     F7 107      111 Bb7  108     A Ionian Mode Bb7  Mixolydian Mode                   Bb7   Bb7 109    G7(b9)                                    Bb Major Bebop Scale 110   Bb7        112 Mode           Bb7   Bb Ionian 113   F7(b9.9th Chorus  97                       Db Major 5th Mode of Db Maj.

11th Chorus  121  chromaticism        Bb7                Bb7 "Cabin Fever" transcription: David Freedy      122 Bb7    123    125 Major Pentatonic Db Pentatonic C                     D               Pentatonic  Major Major 124   Bb7       Cb  Major Eb7 126     Eb7 127     Bb7  129                     Pentatonicchromaticism       Bb Mixolydian AbMA9 3 3 128     Mode/ G7    12th Chorus            Bb7   Cmi7   130       Bb7 F7           131 132     Bb7    Bb7   133   137         134      135   Bb7 Bb 3 3 B Mixolydian Mode/AMA9   Eb7 3 3 (AbMA7)   141       3   138       Eb7 (AbMA9) 139           Bb7 3  136 Mixolydian Mode 3 (AbMA7)      Bb7         Cmi7 3   142           Bb7     140      G7           F7 143    144     Bb7 125 .

13th Chorus chromaticism     Bb7        Bb7 "Cabin Fever" transcription: David Freedy     Bb7             Bb7 145     146             147 148 149         Eb7               150   Eb7   151    Bb7              152                   154 Bbmi    Db Major chromaticism              Pentatonic                          F7 155     DbMA EbMA Bb7 "Blues" Bb Mixolydian  Pentatonic    Bb           G7  14th Chorus 153     Cmi7 156     Bb7 157     Bb7 CbMA 5th mode of 158   Bb7         162       F7     Eb7       BbMA13(#11) 163 159     3 Bb7   160   3       G7     Bb7 161     Cdim7 Eb7   165     Bb7   164         Cmi7 166     F7 Bb Mixolydian Mode  BbMA   G7   Cmi7                      15th Chorus 167     Bb7 168   Bb7   169   Bb7   126 .

"Cabin Fever" transcription: David Freedy Mode                               Mixolydian Mode B Bb Mixolydian 170   Bb7   171    Bb7  172   Bb7   173     Eb7 B Mixolydian ModeC Mixolydian ModeDb Mixolydian Mode D Mixolydian Mode                                  174   Eb7   175     Bb7 176     Mode G7             Eb Mixolydian 178 16th Chorus B Major Pentatonic Bb Pentatonic    "Blues"  177     Cmi7    F7    182    Bb7 5th Mode of Db Major Pentatonic Mode        BbMA      Bb7               179   Bb7   180   Bb7   181     Bb7 A Mixolydian       186       GbMA   Eb7 183   Bb7    Bb7 184   G7 Bb7     185   Eb7   Cmi    187 Bb13(#11)    GMA   F9       188     G7          Cmi7 189   BbMA G7(b9) BbMA FMA Db Major Pentatonic                                    5th Mode of 190     F7 191     Bb7 192     Bb7 193    Bb7  127 .

“Cabin Fever” Michael Brecker tenor saxophone solo from Tales from the Hudson transcription is notated one ocatave above actual sounding pitch q= 1st Chorus 302 1                                 Bb7 Bb7 Bb7                Bb7   2 3 4 transcription: David Freedy                           5      G7    Eb7    6  Eb7   7    Bb7    8   2nd Chorus                            9     Cmi7 10     F7 11             12 13 Bb7 Bb7 Bb7            14         Bb7            17    Bb7  15     Bb7 16   3 Eb7                                        18         19 Eb7 Bb7 20     G7 21   Cmi7   128 .

3rd Chorus                            

"Cabin Fever" transcription: David Freedy

22

 
Bb7

F7

23

 

Bb7

24

Bb7

25

    
Eb7

Bb7


26


Bb7
27

    
28

  
Eb7
29 30

       

  

Bb7

                   
F7

                       
31

 

Bb7

32

    
Bb7

G7

33

   

Cmi7

 
34

       
Bb7
35 36

4th Chorus

       
Bb7 Bb7
39

                   
37 38

Bb7

                                
40

 

Bb7

 

                                        
45

41

 

Eb7

 

42

   

Eb7

43

 

Bb7

 

G7

Cmi7

44

46

  

F7

47

   

Bb7

129

"Cabin Fever" transcription: David Freedy

     
48

5th Chorus

       
Bb7
50

   
Bb7
51

     
Bb7
52

                                  
Eb7
54

   

Bb7

49

   

Bb7

           

53

                                  
3

  

Eb7

55

   

Bb7

56

  

G7

57

 

Cmi7

 

58

   

F7

59

   

Bb7

60

   

Bb7

6th Chorus

                  
Bb7

               
Bb7

61


65

                            
Eb7
3

62

 

Bb7

     
63

64

Bb7

                 
72

                        
Cmi7

66

 

Eb7

 

67

    
68

Bb7

G7

69

 

70

F7

71

Bb7

 

   

Bb7

130

"Cabin Fever" transcription: David Freedy

    
73

7th Chorus
Bb7

        
Bb7

             
75

   

74

 

Bb7

76

Bb7

 

                               
77

   

Eb7

78

   

Eb7

79

  

Bb7

80

 

G7

 

       
81

     
82

              
83

 

Cmi7

F7

 

  

Bb7

8th Chorus

                      
Bb7
86

                 
Bb7

84

Bb7

 

85

Bb7

  
89

                          
Eb7

87

 

88

 

Bb7

 

   

                                       
Cmi7
3
94

90

Eb7

91

Bb7

92

G7

93

  

F7

95

   

Bb7

96

   

Bb7

131

"Cabin Fever" transcription: David Freedy

9th Chorus

                     
Bb7
98

    
100

97

  

Bb7

99

 

Bb7

 

Bb7

 


101

                
Eb7
102

 

Eb7

 

                  
Bb7
104

103

  

G7

 
105

                            
Cmi7
106

       

   

F7

107

   
111

Bb7

108

   

Bb7

10th Chorus 

           
110

 
Bb7

109

Bb7

Bb7

    
112

         
Bb7

                                                   
Cmi7

113

   

Eb7

114

  

Eb7

115

   

Bb7

116

  

G7

    
119

      
120

117

118

F7

 

 

Bb7

 

  

Bb7

132

11th Chorus  121         Bb7                Bb7 "Cabin Fever" transcription: David Freedy      122 Bb7    123    125                                               Cmi7 Eb7 124   Bb7   126     Eb7 127     Bb7   129              130        3 3 128      G7  133   12th Chorus           Bb7           Bb7 F7  135          131 132     Bb7    Bb7     137         134        Bb7 3 3 3 3   Eb7   141       3   138       Eb7 139           3 3   136     Bb7       Bb7   Cmi7 3   142           Bb7     140      G7           F7 143    144     Bb7 133 .

13th   Chorus     "Cabin Fever" transcription: David Freedy   145     Bb7 146             147 148      Bb7     Bb7             Bb7 149         Eb7               150 14th Chorus                                   Eb7   151    Bb7              152    G7  153     Cmi7 154                                       Bb7     F7 155     Bb7 156    Bb7  157     Bb7 158         162       F7     Eb7       163 159     3 Bb7   160   3       G7     Bb7 161       Eb7   165   Bb7   164         Cmi7 166                               15th Chorus Bb7 167     Bb7 168   Bb7   169     134 .

"Cabin Fever" transcription: David Freedy                               170   Bb7   171    Bb7  172   Bb7   173     Eb7                                  174   Eb7                    F7 175     Bb7 176     G7 177     16th Chorus Cmi7  178    182    Bb7                       183 179   Bb7   180   Bb7   181     Bb7       Bb7    Bb7                Eb7 184     Bb7     185   Eb7    186   187     188     G7        189   Cmi7                                 190     F7 191     Bb7 192     Bb7 193    Bb7  135 .

“Cabin Fever” Michael Brecker tenor saxophone solo from Tales from the Hudson transcription is notated one ocatave below actual sounding pitch  indicates   Bb q= 302 1st Chorus passing tone transcription: David Freedy 1                                    Bb7 Mixolydian Mode   2   Bb7   3   Bb7   4   Bb7   Bbmi Eb MixolydianEMA                        EbMA AbMA        G7 5   Eb7    6  Eb7   7    Bb7    8   Mode AbMA/Ab7                          AMA 2nd Chorus Bb Mixolydian      Bb7 9     Cmi7 10     F7 11             12 13 Bb7 Bb7             14         C Bb7    Bb7  15     Mixolydian Mode Bb7            EMA 17 16   3 Eb7                                        F#MA B 18 chromatic turn C Major Bebop Dorian Mode around Scale         19 Eb7 Bb7 20     G7 21   Cmi7   136 .

#9)                                    G7 C Ascending Melodic Minor 42     Eb7 43 5th Mode of Db Major Pentatonic   Bb7   44        45 G7 Cmi7  46     F7 47     Bb7 137 ."Cabin Fever" transcription: David Freedy F7(#5) BbMA  A Major Bebop Scale BbMA                              3rd Chorus 22   F7   23    Bb7  24   Bb7   25      Eb7 Bb7   Bb7 27  Bb7        28     Eb7 29 30 Eb7 26         BbMA G7(b9) C    Bb7          BbMA                           31 Harmonic 7th Mode of Minor Eb Major Bebop    Bb7  32      Bb7 G7 33     Cmi7   34             Mode F7         Bb7 36 4th Chorus  Bb Mixolydian            Bb7 39 35                     37 38 Bb7 Bb7                                      Eb7/Ebmi7 Ebmi FMA BbMA 40   Bb7   41   Eb7   C Aeolian Mode F7(b9.

"Cabin Fever" transcription: David Freedy        48 BbMA BbAUG 5th Chorus Bb                                       Eb7 54     Bb7 49     Bb7          Bb7 50 Ionian Mode  51             BbMA 52    Bb7 B Ionian        Bb7 G7 Mode 53     Eb7 F C Aeolian Mode  DominantBebop Scale Bb Ionian A7                  chromaticism               3 55     Bb7 56     G7 57   Cmi7   6th Chorus 58     F7 59     Bb7 60     Bb7  Bb Dominant Bebop Scale                   Bb7 B   Ionian/Mixolydian Mode             Bb7 61   62   Bb7       63 64   Bb7   Ebmi7 BbMA9(#11)          F7                  EbMA B Ionian  65     C9 Eb7 3 Mode lead in         66   Eb7   67      68 Bb7              Bb7 G7 F B   Mixolydian Mode                   Dominant Bebop 5th Mode of Scale Db Major Pentatonic 69   Cmi7   70   F7   71   Bb7   72 138 .

7th Chorus "Cabin Fever" transcription: David Freedy Mode  Bb Mixolydian     Bb7         Bb7 73                     Pentatonic AMA Db Major 5th Mode of D Major Pentatonic 74                                      Ddim Eb7 78 Bb Mixolydian BMA 75   Bb7   76   Bb7   Abdim Bbdim 77     Eb7 79     Bb7 80   G7           81 Edim   Cmi7 BAUG chromaticism                         82  Ami  F7   83     Bb7 84   Bb7   8th Chorus Bb7   chromaticism                    86 GbmiMA7                 BbMA AMA 87 85   Bb7     Bb7   88   Bb7   GMA FMA                               89     EbMA Eb7 90   Eb7   91   Bb7   92   G7   Bb Ionian Mode A Dominant Bebop BbMA G7(b9)                                       93     Cmi7 3 94     F7 95     Bb7 96     Bb7 139 .

#9)                  C      Bb7 117   Cmi7   118   F7   119             120    Bb7  140 .9th Chorus "Cabin Fever" transcription: David Freedy 5th Mode of Db Maj. Pent. Bb Ionian Mode                        Bb7 98        Bb7 97    A Bb7  99    Bb7  100                 101 5th Mode of Db Major Pentatonic Major Pentatonic  Bb    Major Pentatonic Eb7 102    Eb7   B                    Bb7 104 103     G7                                BbMA Major Pentatonic C Major Pentatonic BbMA 105     Bb Mixolydian Mode Cmi7 10th Chorus 106     F7 107      111 Bb7  108     A Ionian Mode Bb7                    Bb7   Bb7 109   110   Bb7        112 Mode           Bb7      G7(b9)                                   Bb Major Bebop Scale Bb Ionian 113     Dorian Mode Eb7 114    Eb7  115     BbMA Bb7 116     Bb9 G7 F7(b9.

11th Chorus   chromaticism         Bb7                    Bb7 "Cabin Fever" transcription: David Freedy 121      122 Bb7    123   124   Bb7   Major C Pentatonic Major Pentatonic Db                    D       Pentatonic         Major 125          Cb Major Cmi7 Eb7   129                   Pentatonicchromaticism 126     Eb7 127     Bb7 Bb Mixolydian 128     Mode/AbMA9 G7    12th Chorus           Bb7     130       Bb7 F7           Bb7 Bb 3 131     Bb7 3 3    3 132    Bb7   133                Eb7 3 3 134     135 B Mixolydian Mode/AMA9 137      3 141 (AbMA7)      3  138                 (AbMA9) 139 140       Eb7             Bb7 3  Mixolydian Mode 3 (AbMA7)  136     Bb7             G7       Cmi7      142 F7  143     Bb7 144     Bb7 141 .

13th Chorus
chromaticism

 


Bb7

      
Bb7

"Cabin Fever" transcription: David Freedy

   
Bb7

          
Bb7

145

   

146

           
147 148

149

   

   
Eb7

              
150

Eb7

 

151

  

Bb7

            
152

 

G7

"Blues" Bb Mixolydian     Pentatonic    Bb                         

Bbmi

14th Chorus

153

  

Cmi7

154

   
CbMA

F7

155

   
DbMA EbMA

Bb7

156

   
chromaticism

Bb7

157

   

Bb7

                                   
158

5th mode of Db Major Pentatonic

 

Bb7

 

  
162

     
Eb7

     
163

159

BbMA13(#11)

   
3

Bb7

 

160

3

     
G7

   

Bb7

161

   
Cdim7 

Eb7

 
165



 

Bb7


Cmi7

164

 

 
F7

   
Mode

Cmi7

      
166

   

F7

                          
167

BbMA

G7

15th Chorus
Bb Mixolydian

  

Bb7

168

Bb7

 

169

Bb7

142

"Cabin Fever" transcription: David Freedy

                            
170

B

Mixolydian Mode

Bb Mixolydian Mode

Bb7

 

171

 

Bb7

172

Bb7

 

173

   

Eb7

                                
Mode

B Mixolydian

ModeC Mixolydian ModeDb Mixolydian Mode

D Mixolydian

174

 

Eb7

 

175

   

Bb7

176

   
Mode

G7

177

    

Cmi7

                          
Eb Mixolydian
178

B Major Pentatonic Bb "Blues" Pentatonic Bb7

16th Chorus

F7

179

Bb7

180

Bb7

181

   

    
182

   

Bb7

Bb7 Mode BbMA                         A Mixolydian

         
Bb13(#11)
186

183 5th Mode of Db Major Pentatonic GbMA

 

Bb7

  
Bb7

184


G7

Bb7

  

185

Eb7


Cmi

 

GMA

 
F9

Eb7

187

   
G7(b9)

188

   
FMA

G7

        
Cmi7

189

                                     
F7
191

BbMA

BbMA

5th Mode of Db Major Pentatonic

190

   

Bb7

192

   

Bb7

193

 

Bb7

143

“Cabin Fever”
Michael Brecker tenor saxophone solo from Tales from the Hudson
transcription is notated one ocatave below actual sounding pitch

1st Chorus

q=

302

 

transcription: David Freedy

1

 

                              
Bb7

 

2

 

Bb7

 

3

Bb7

4

Bb7

  

                       
5

    
G7

 

Eb7

 
6

Eb7

7

  

Bb7

  
8

 

                    
9

2nd Chorus

    
Bb7

   

Cmi7

10

   

F7

11

           
12 13

Bb7

Bb7

           
14

       
Bb7

        
17

  

Bb7

15

   

Bb7

16

3

Eb7

                                        
19

Eb7

Bb7

18

20

   

G7

21

Cmi7

 

144

"Cabin Fever" transcription: David Freedy

3rd Chorus                          
22

F7

23

 

Bb7

24

Bb7

25

    
Eb7

Bb7


Bb7
27


Bb7

    
28

  
Eb7
29 30

26

       

  

Bb7

                  
F7

                      
31

 

Bb7

32

    
Bb7

G7

33

   

Cmi7

 
34

      
Bb7
36

4th Chorus

        
Bb7 Bb7
39

35

                   
37 38

Bb7

                                
40

 

Bb7

 

41

 

Eb7

 

42

   

Eb7

43

 

Bb7

 

                              
44

      
45

G7

Cmi7

46

  

F7

47

   

Bb7

145

"Cabin Fever" transcription: David Freedy       48 5th Chorus                                     Eb7 54     Bb7 49     Bb7          Bb7 50  51             52    Bb7        Bb7 53     Eb7                                3   Cmi7 55     Bb7 56     G7 57   58     F7 59     Bb7 60     Bb7 6th Chorus                  Bb7               Bb7 61   62   Bb7       63 64   Bb7                                Eb7 3                    72 65 66   Eb7   67      68 Bb7 G7                       69   Cmi7   70   F7   71   Bb7       Bb7 146 .

"Cabin Fever" transcription: David Freedy  7th Chorus Bb7             Bb7 73                   75 74   Bb7   76   Bb7                                       Eb7 78 77     Eb7 79     Bb7 80   G7           81       82   Cmi7     F7                83       Bb7 84   Bb7   8th Chorus                       Bb7 86                 87 85   Bb7     Bb7   88   Bb7                                 89     Eb7 90   Eb7   91   Bb7   92   G7                                      93     Cmi7 3 94     F7 95     Bb7 96     Bb7 147 .

"Cabin Fever" transcription: David Freedy 9th Chorus Bb7                        98      100 97    Bb7  99    Bb7    Bb7                 101     Eb7 102    Eb7                      Bb7 104 103     G7                                105     Cmi7 106     F7 107      111 Bb7  108     Bb7 10th Chorus                    Bb7   Bb7 109   110   Bb7        112           Bb7      113                                   Eb7 114    Eb7  115     Bb7 116     G7                    118      119 Cmi7 117   F7     Bb7          120    Bb7  148 .

11th Chorus           Bb7                    Bb7 "Cabin Fever" transcription: David Freedy 121      122 Bb7    123   124   Bb7                                               Cmi7 Eb7 125   129                   130 126     Eb7 127     Bb7 128      G7   12th Chorus           Bb7           Bb7 F7           Bb7 3 131     Bb7 3 3    3 132    Bb7   133           Eb7 3 134         135 3 137       3 141     3  138                 139 140       Eb7    3        Bb7 3   136     Bb7             G7       Cmi7      142 F7  143     Bb7 144     Bb7 149 .

13th   Chorus     "Cabin Fever" transcription: David Freedy   145     Bb7 146             147 148      Bb7     Bb7            Bb7 149         Eb7                   Eb7 150   151    Bb7               152    G7  153     Cmi7  14th Chorus                                  154     F7 155     Bb7 156     Bb7 157     Bb7                                            158   Bb7      162       Eb7        163 159     3 Bb7   160   3       G7     Bb7 161         Eb7   165 Bb7   164         Cmi7        166     F7                            167 15th Chorus Bb7     Bb7 168   Bb7   169     150 .

"Cabin Fever" transcription: David Freedy                              170   Bb7   171    Bb7  172   Bb7   173     Eb7                                  174   Eb7   175     Bb7 176     G7 177      Cmi7                            178 16th Chorus   F7    183 179   Bb7   180   Bb7   181     Bb7      182     Bb7                      Bb7       Bb7 184     Bb7     185   Eb7             186   Eb7   187     188     G7        189   Cmi7                                      F7 191 190     Bb7 192     Bb7 193    Bb7  151 .

APPENDIX E “JONES STREET”: TREBLE AND BASS CLEF TRANSCRIPTIONS. ANNOTATED AND UNANNOTATED 152 .

“Jones Street” Michael Brecker tenor saxophone solo from Give and Take transcription is notated one ocatave above actual sounding pitch q = 108 indicates passing tone  *Improvised lead-in to first chorus               Ab7 D7(#9) transcription: David Freedy 1st Chorus    D7(#9)   1 5th Mode of Bb Major Pentatonic          AbMA      3 5th Mode of Bb Major Pentatonic         Gmi7 D7   6    2      Gmi7 C Dorian Mode             3 EbMA/DbMA 3      Gmi7 Cmi7 7     Gmi7    8  11            Gmi13 Gmi7 12 2nd Chorus      Gmi7    BbMA                3 3 FMA 9 4   G7  3  3 5     Cmi7 Gmi13  3  Eb7   10  3  D7(#9)   3              3         Cmi13     13   Gmi7              D7 15       14 C Dorian Mode 3              3  3  3           Gmi7 G7 16   17  3     18 Mode Cmi7 3 3                   Eb Mixolydian 20   Gmi7   21   Major               Pentatonic         5th Mode of Bb Major Pentatonic  3 3 Cmi7   3 3  AbMA  19     Gmi7 5th Mode of Bb Eb7  3  22   D7(#9)  153 .

"Jones Street" transcription: David Freedy       BbMA BbMA      BMA Gmi7 CMA       24 CMA   BbMA               BbMA CMA 3 3rd Chorus Gmi9  23    Gmi7   25     Melodic Minor Gmi7  BbMA                                     CMA BbMA  CMA  Ab Ascending 3 26   D7   27   Gmi7   28   G7   BbMA/CMA 13 EbMA     3 BbMA        EMA                                29    Cmi7  30   Cmi7 16      31   Gmi7          Gmi7               33 DbMA7(#5)   Eb7  Eb Dominant Bebop Scale         32  G Aeolian Mode                                  Eb Aeolian/Dorian  34   D7(#9)   35   Gmi7   36     Gmi7 154 .

“Jones Street” Michael Brecker tenor saxophone solo from Give and Take transcription is notated one ocatave above actual sounding pitch *Improvised lead-in to first chorus               q= 108 transcription: David Freedy    D7(#9)   2  1st Chorus              Gmi7 3 1         Gmi7 D7 3 3             Cmi7   6     7           Gmi7 Cmi7     Gmi7    8  11            Gmi7 12 2nd Chorus      Gmi7                   3 3 4 5 9   G7  3  3         3  Eb7   10  3  D7(#9) 3                           13   Gmi7            D7 15       14 3              3  3  3           Gmi7 16   3 G7  3  17  3     18 Cmi7  3 3 Cmi7                        3 20   Gmi7   21   Eb7  3                   3 22   3 19     Gmi7    D7(#9)   155 .

"Jones Street" transcription: David Freedy            Gmi7       24 3rd Chorus                  3 23    Gmi7   25     Gmi7                                            3 26   D7   27   Gmi7   28   G7   13     3                                  29    Cmi7  30   Cmi7 16      31   Gmi7          Gmi7               33   Eb7           32                                    D7(#9)  34   35   Gmi7   36     Gmi7 156 .

“Jones Street” Michael Brecker tenor saxophone solo from Give and Take transcription is notated one ocatave below actual sounding pitch  q = 108 indicates passing tone *Improvised lead-in to first chorus transcription: David Freedy               Ab7 D7(#9) 1st Chorus    D7(#9)    1 5th Mode of Bb Major Pentatonic   AbMA              Gmi7 D7      3 5th Mode of Bb Major Pentatonic   6    7 2      Gmi7           3 3 EbMA/DbMA C  Dorian  Cmi7 Mode    8      Gmi7 Cmi7     Gmi7   11         12           Gmi13 Gmi7 Cmi13  13 2nd Chorus      Gmi7                    FMA BbMA 3 9 4   3 G7  3  3  5     Gmi13  3  Eb7   10   3 D7(#9)   Gmi7       14 C Dorian Mode              D7 15  3  3             Gmi7   3           G7    Cmi7     3  3        3 18 5th Mode of Bb Major Pentatonic 16  3  Major AbMA 3 3 3   3                  Pentatonic                  17      Mode  3 Cmi7   3 19     Gmi7 Eb Mixolydian 5th Mode of Bb 20   Gmi7   21   Eb7  3  22   D7(#9)   157 .

"Jones Street" transcription: David Freedy            BbMA BbMA CMA        CMA    BbMA              BbMA CMA 3 3rd Chorus Gmi9  23  BMA Gmi7  24   Gmi7   25     Melodic Minor Gmi7  BbMA                                      CMA BbMA CMA Ab Ascending 3 26   D7   27   Gmi7   28   G7   EbMA 13     3 EMA BbMA                                         BbMA/CMA 29    Cmi7  30   Cmi7  16  31   Gmi7       32  Gmi7             DbMA7(#5)      Eb7  Eb Dominant Bebop Scale            33    Eb Aeolian/Dorian                      G Aeolian Mode         Gmi7  34   D7(#9)   35    36     Gmi7 158 .

“Jones Street” Michael Brecker tenor saxophone solo from Give and Take transcription is notated one ocatave below actual sounding pitch q= *Improvised lead-in to first chorus               108 transcription: David Freedy    D7(#9)   2    D7 1st Chorus      1         Gmi7      3   6    7      Gmi7 3 3               8        Gmi7 9 4   3 G7   3      Gmi7 Cmi7     Gmi7   11         12           Gmi7 2nd Chorus       3  Eb7          3 10  3   Cmi7 5           3 D7(#9) 3                   13   Gmi7       14         D7 15  3  3           Gmi7 16   G7   3 3 3 3   3 3                                17     18 Cmi7     3  3        3  Cmi7   3 19     Gmi7 20   Gmi7   21   Eb7  3  22   D7(#9)   159 .

"Jones Street" transcription: David Freedy             Gmi7         Gmi7  3rd Chorus           3 23  24     25     Gmi7                                          3 26   D7   27   Gmi7   28   G7   13     3                                      29    Cmi7  30   Cmi7  16  31   Gmi7        Gmi7 32               33      Eb7                                     D7(#9)         Gmi7  34    35    36     Gmi7 160 .

ANNOTATED AND UNANNOTATED 161 .APPENDIX F “DELTA CITY BLUES”: TREBLE AND BASS CLEF TRANSCRIPTIONS.

“Delta City Blues” Michael Brecker tenor saxophone solo from Two Blocks from the Edge transcription is notated one ocatave above actual sounding pitch  h = 138 * Improvised lead-in to 1st chorus indicates passing tone    F7(#5) 1st Chorus             Mixolydian Mode 3           Bb7 transcription: David Freedy       B    2   3    Bb7   1    Bb7        Bb7 5    4     7          B Mixolydian Mode   3     3          Dominant" Scale Eb "Lydian   3          Eb7   6    Eb7  3         Bb7   8   Bb7  Bb lydian Mixo-  9           Cmi7  10      12  B  Mode             F7    11  Bb7                   Bb7 Mixolydian Mode   162 .

2nd Chorus "Delta City Blues" transcription: David Freedy               Bb7 B "Dominant Diminished" Scale     14     Bb7     13              15  Eb7      Bb7 B  Ascending Melodic Minor Scale               Eb  17         "Lydian Dominant" Scale   16   Eb7  18            Bb Mixolydian          Eb7  Bb7      Mode                               Diminished" Scale B "Dominant 19   Bb7   20   Bb7     21 F#9          Cmi7   A Mixolydian Mode      Ab MixolydianMode            F7   CMA  22  Bb              chromaticismCMA Bb7  Bb7    Mixolydian Mode 3rd Chorus      23   Bb7   24     25    Bb7 163 .

 26       B7     Bb7        Bb7 "Delta City Blues" transcription: David Freedy             BbMA  Mode  27 chromaticism                                     B Dorian 28  Bbmi  Bb7   B Mixolydian Mode                   30 5th Mode of D Major Pentatonic 29     Bb Eb7   B Mixolydian Mode   Eb7            Ionian Mode   31  Bb7   B "Lydian Dominant" Scale            32   Bb7                Mode Bb Ionian   Bb Ionian Mode B Ionian Mode B Mixolydian Mode                                      33   Cmi7   34   F7   35   Bb7    EMA Bb Ionian Mode Bb7/Ab7                      36 4th Chorus    Bb7   37   Bb7        164 .

F#MA EMA F#MA EMA  F#MA  BbMA                                F#MA EMA "Delta City Blues" transcription: David Freedy 38  B  Bb7    3  39   Bb7   Ionian Mode      40    Eb Mixolydian Mode                      5th Mode of Db      Bb Ionian Mode Major Pentatonic                          7th Mode of the F Dominant Bebop Scale   Bb7  41   Eb7   42   BbMA Eb7   43   Bb7     44 Gmi FMA G7(b9) Cmi EMA                                    Bb7   EbMA   45 chromatic   Cmi7   diatonic turnaround Dmi Cmi turnaround                                    4th Mode of F Dominant Bebop 46      BbMA/Bb7         F7(#5.#9)              Bb7   F7   47   Bb7 3   48   49   Bb7   165 .

“Delta City Blues” Michael Brecker tenor saxophone solo from Two Blocks from the Edge transcription is notated one ocatave above actual sounding pitch h = 138 * Improvised lead-in to 1st chorus                 3 transcription: David Freedy 1st Chorus         2 1    Bb7        Bb7 5         Bb7   3    Bb7    4     7             8   3    3          Eb7   3           6    Eb7  3          Bb7    Bb7   9           Cmi7  10      12               F7    11  Bb7                 Bb7   166 .

"Delta City Blues" transcription: David Freedy 2nd Chorus              Bb7       14     Bb7     13             15        Bb7              Bb7  17         Eb7   16    18                  Eb7                                   19   Bb7   20   Bb7     21          Cmi7                  F7    22                      23  Bb7  3rd Chorus   Bb7   24     25    Bb7 167 .

 26           Bb7          Bb7 "Delta City Blues" transcription: David Freedy            27                                     28   Bb7   29      Eb7                   30   Eb7           Bb7   31                  32   Bb7                33     Cmi7    34                                      F7   35   Bb7   4th Chorus                            36   Bb7   37   Bb7   168 .

                               38 "Delta City Blues" transcription: David Freedy   Bb7    3  39   Bb7        40                           Eb7                               Eb7   Bb7 41   42   43   Bb7     44                                   Bb7     45   Cmi7                                     46                      Bb7   F7   47   Bb7 3        Bb7 48   49    169 .

“Delta City Blues” Michael Brecker tenor saxophone solo from Two Blocks from the Edge transcription is notated one ocatave below actual sounding pitch  indicates passing tone h = 138 * Improvised lead-in to 1st chorus      F7(#5) 1st Chorus 1    Bb7        Bb7 5    B              Mixolydian Mode 3           Bb7 transcription: David Freedy    2 3        Bb7     4      3          Dominant" Scale Eb "Lydian   3          3 Eb7     7   Bb7          B Mixolydian Mode 6     3   Bb7 Eb7   8     Bb lydian Mode Mixo-                Cmi7  10 9      12  B               F7     Bb7 11                   Bb7 Mixolydian Mode   170 .

2nd Chorus "Delta City Blues" transcription: David Freedy                 Bb7 B "Dominant Diminished" Scale     13    14     Bb7                  Eb7 15      Bb7   B  Ascending Melodic Minor Scale           16  Bb7       Eb  17  Eb7           "Lydian Dominant" Scale 18         Bb Mixolydian                Eb7 Mode                                  Bb7 B "Dominant Diminished" Scale 19   20   Bb7               Cmi7 F#9   A Ab Mixolydian Mode                F7 Mixolydian Mode 21  CMA  22   Bb CMA chromaticism                23 Bb7  Bb7    3rd Chorus  Mixolydian Mode       Bb7   24     25    Bb7 171 .

"Delta City Blues" transcription: David Freedy        B7     Bb7        Bb7             26  BbMA  Mode  27                                   B Dorian chromaticism 28  Bbmi  Bb7   B Mixolydian Mode                    30 5th Mode of D Major Pentatonic 29     Bb Eb7   B Mixolydian Mode   Eb7               Bb7 Ionian Mode 31                 32   Bb7                   33 Bb Ionian Mode B "Lydian Dominant" Scale   Cmi7   B Mixolydian Mode Ionian          Bb Ionian Mode   B   Mode                      34   F7   35   Bb7   EMA Bb7/Ab7    Bb                   Ionian Mode 4th Chorus  36   Bb7   37   Bb7           172 .

#9) BbMA/Bb7                   Bb7 48   49   Bb7   173 ."Delta City Blues" transcription: David Freedy  F#MA EMA F#MA EMA BbMA  F#MA                               F#MA EMA 38   Bb7   39   Bb7        40 B Ionian Mode              Eb Mixolydian Mode                 3   Bb7  41   Eb7   Db Bb Ionian Mode        Major Pentatonic                           7th Mode of the F Dominant Bebop Scale 5th Mode of 42   Eb7   43   Bb7     BbMA G7(b9) Cmi Gmi FMA EMA                                     Bb7 44   EbMA   45 chromatic   Cmi7   Dmi Cmi turnaround                                    diatonic turnaround 4th Mode of F Dominant Bebop 46   F7   47   Bb7 3           F7(#5.

“Delta City Blues” Michael Brecker tenor saxophone solo from Two Blocks from the Edge transcription is notated one ocatave below actual sounding pitch h = 138 * Improvised lead-in to 1st chorus      1st Chorus              2 3           Bb7 transcription: David Freedy 1    Bb7        Bb7 5   3        Bb7     4       3         3   3          Eb7     7           8 6     3   Bb7 Eb7   Bb7                     Cmi7  10 9      12                F7     Bb7 11                 Bb7   174 .

"Delta City Blues" transcription: David Freedy 2nd Chorus              Bb7     13    14     Bb7                       Bb7 15                   Bb7 16    17  Eb7           18                   Eb7          19                       Bb7   20   Bb7               Cmi7                 F7 21   22                      23  Bb7    3rd Chorus   Bb7   24     25    Bb7 175 .

"Delta City Blues" transcription: David Freedy             Bb7        Bb7            26   27                                   28   Bb7   29     Eb7                    30   Eb7               Bb7 31                 32   Bb7                  33   Cmi7                                     F7 34   35   Bb7   4th Chorus                              36   Bb7   37   Bb7   176 .

"Delta City Blues" transcription: David Freedy                                  Bb7 38   39   Bb7        40        3                      Eb7   Bb7 41                                 Eb7 42   43   Bb7                                    Bb7 44     45   Cmi7                                   46   F7   47   Bb7 3                       Bb7      Bb7 48   49    177 .

APPENDIX G “TIMELINE”: TREBLE AND BASS CLEF TRANSCRIPTIONS. ANNOTATED AND UNANNOTATED 178 .

“Timeline” Michael Brecker tenor saxophone solo from Time is of the Essence transcription is notated one ocatave above actual sounding pitch  indicates q = 114 1st Chorus passing tone Pentatonic   1 D "Blues"        Ami7      D Dmi7 3 2            Dmi7 D "Blues" Pentatonic transcription: David Freedy  3    Dmi7     3   3     Pentatonic G Dorian Mode  3  3 G Mixolydian        3          3                  Major 4    9 Dmi7  Mode 5   Gmi7    6 3  3 Gmi7  3  3   7         Dmi7 Bb Ionian Mode 3 Scale                                 D Aeolian 5th Mode of F Major Mixolydian Pentatonic B Mode A Diminished" "Dominant  8   Dmi7   9   Bb7    10      A7(#9) D "Blues" Pentatonic                            11   Dmi7    12  ( Emi7(b5) 3 3 3   A7 )  2nd Chorus          Dmi7 13    3         14 "Gap" Scale    3 Dmi7   15               Dmi7 A7 BMA DAUG   179 .

Dmi/D7(#9) D7 G Dorian Mode      AbMA                                D Major Pentatonic "Timeline" transcription: David Freedy 16   Dmi7   D Aeolian 3  19 3        Mode chromatic turnaround straight eighths   3 Dmi7       20 D "Blues" Pentatonic 3                  3           3 3 Dmi7 17   Gmi7   18   Gmi7 3 3   21   3 Bb7      22 A7(#9)    3 3                     3 3 23 straight eighths 3rd Chorus Dmi11   3       A7  Dmi7   AMA 24  ( Emi7(b5) 3                  DmiMA7 GMA A7    A7 )  3    Dmi7      Ab Dorian  25 Mode   Dmi7               26   Dmi7   27     28   Dmi7                                   Db Dominant Bebop Scale 5th Mode of C Dominant Bebop Scale 29  D Ascending  Gmi7  B  30   Gmi7   Diminished" Scale               Dmi7 Melodic Minor Scale                          Mixolydian Mode D"Dominant 31   32   Dmi7  23  180 .

Bb Mixolydian      3   Mode            34 B Whole Tone Scale "Timeline" transcription: David Freedy B Mixolydian Mode 33    D Bb7                      A7(#9) 25 ( )    D Dorian Mode  straight eighths                    "Blues" Pentatonic chromatic turnaround Ami7  4th Chorus     Dmi7  3   A7      Scale D Melodic Minor Ascending 35  D Dorian  Dmi7     36 ( Emi7(b5)     37 A7 )      38 Dmi7       Mode 3   3 5th Mode of G Harmonic Minor Scale       G Dorian Mode                            Dmi7 39   Dmi7     40   41   Gmi7           3                      3 D "Blues" Pentatonic 42  Bb  Gmi7   D Dorian 43    Dmi7 3  44   Dmi7    Mixolydian Mode           3 Mode b9 #9 D "Blues" Pentatonic                 3  3          3 (A7) 45   Bb7    46  A7(#9)   47   Dmi7   48  ( Emi7(b5)    A7 ) 181 .

“Timeline” Michael Brecker tenor saxophone solo from Time is of the Essence transcription is notated one ocatave above actual sounding pitch 1st Chorus q = 114   1        3      Dmi7 2           Dmi7 transcription: David Freedy  3    Dmi7      3   3              3  3  3  3                        4    9 Dmi7  5   Gmi7    6 3  3 Gmi7  3  3   7         Dmi7 3                                 8   Dmi7   9   Bb7    10      A7(#9)                         3 3   11   Dmi7    12  ( Emi7(b5) 3   A7 )  2nd Chorus Dmi7             3         14  13   3 Dmi7   15              Dmi7   182 .

 16               3  Dmi7           17                Gmi7 "Timeline" transcription: David Freedy     3    3 18   Gmi7 3 3       3 3                   straight eighths    Bb7         3 19  3rd Chorus       3 3      3                 straight eighths   3 Dmi7       20 Dmi7 21       22 A7(#9)  3 3 3 23   Dmi7        26  3           Dmi7   24  ( Emi7(b5)   A7 )  3    Dmi7                 25   Dmi7       27     28   Dmi7                                   29   Gmi7    30   Gmi7                   Dmi7                      Dmi7 31   32    23  183 .

     3   Bb7 "Timeline" transcription: David Freedy 33                                 A7(#9) 25 ( )      34 straight eighths                    3  A7 ) 4th  Chorus      Dmi7         Dmi7 35       Dmi7     36 ( Emi7(b5)     37      38    3     3                               Dmi7 Dmi7 39     40   41   Gmi7           3                     3 42   Gmi7   43    Dmi7 3  44   Dmi7              3               3  3       3      A7 ) 45   Bb7    46  A7(#9)   47   Dmi7   48  ( Emi7(b5) 184 .

“Timeline” Michael Brecker tenor saxophone solo from Time is of the Essence transcription is notated one ocatave below actual sounding pitch  indicates q = 114 1st Chorus passing tone Pentatonic      D "Blues"     3 Ami7 1      D Dmi7 2            Dmi7 D "Blues" transcription: David Freedy Pentatonic         3   3   Dmi7  3  G Mixolydian Pentatonic G Dorian Mode 3                        3    3    3              Major 4    9 Dmi7  Mode 5   Gmi7    6 3  3 Gmi7  3  3   7    Dmi7 Bb Ionian Mode Scale 3                                D Aeolian 5th Mode of F Major Mixolydian Pentatonic B Mode A Diminished" "Dominant  8   Dmi7   9   Bb7   D "Blues" Pentatonic 3                                    10   A7(#9)   11   Dmi7    12  ( Emi7(b5)  3  3 A7 )  2nd Chorus          Dmi7 13    3         14 "Gap" Scale 3    Dmi7   15               Dmi7 A7 BMA DAUG   185 .

Dmi/D7(#9) AbMA               D Major Pentatonic "Timeline" transcription: David Freedy D7 16  D Aeolian 3  Mode Dmi7       G Dorian          3 Mode                    Gmi7 3 3 17  Gmi7 18       3           3 19 chromatic turnaround         straight eighths D "Blues"    Bb7 Pentatonic   3 Dmi7       20 Dmi7 21   3  3         3    22 A7(#9)                        3 3 3 3 23 straight eighths  3rd Chorus Dmi11   3      A7  Dmi7       AMA 24  ( Emi7(b5)      A7 )   26  Db           Dmi7 DmiMA7 GMA A7 3     3    Dmi7                 Dmi7 25 Ab Dorian Mode    Dmi7    27     28   5th Mode of C Dominant Bebop Scale                                      Dominant Bebop Scale 29   Gmi7   30   Gmi7    D Ascending              Dmi7 Melodic Minor Scale  31   32                         Dmi7 B Mixolydian Mode 23 D"Dominant Diminished" Scale     186 .

 Bb Mixolydian    3    Mode B 33    Bb7          34 Whole Tone Scale B Mixolydian Mode                       ( )  A7(#9) "Timeline" transcription: David Freedy 25 D Dorian Mode    Pentatonic straight eighths  D  "Blues"                 chromatic turnaround Ami7  4th Chorus     Dmi7  3  A7 D Melodic Minor Scale Ascending 35  D Dorian  Dmi7     36 ( Emi7(b5)     37 A7 )      38 Dmi7            3         Mode 5th Mode of G Harmonic Minor Scale 3       G Dorian Mode                         Dmi7 39  Dmi7     40   41   Gmi7   3                             3 Pentatonic D "Blues" 3 42  Bb  Gmi7   D Dorian 43    D "Blues" Dmi7  44   Dmi7              3 Mixolydian Mode 45   Bb7 Mode b9 #9                3  3          3 (A7) Pentatonic    46  A7(#9)   47   Dmi7   48  ( Emi7(b5)    A7 ) 187 .

“Timeline” Michael Brecker tenor saxophone solo from Time is of the Essence transcription is notated one ocatave below actual sounding pitch 1st Chorus q = 114          3 1      Dmi7 2           Dmi7 transcription: David Freedy         3   3   Dmi7  3      3                      3  3  3          4    9 Dmi7  5   Gmi7    6 3  3 Gmi7  3  3   7    Dmi7 3                              8   Dmi7   9   Bb7              A7(#9) 3                           3 3 10   11   Dmi7    12  ( Emi7(b5)   A7 )  2nd Chorus          Dmi7 13    3       14 3   Dmi7      15               Dmi7   188 .

"Timeline" transcription: David Freedy               16  3  Dmi7           17                Gmi7     3    3 18   Gmi7 3 3       3 3                   straight eighths    Bb7         3 19   Dmi7       20 Dmi7 21       22 A7(#9)  3  3   3       3      3         3 3 23 straight eighths  3rd Chorus        Dmi7      Dmi7   24  ( Emi7(b5)      A7 )  25       26  3             3    Dmi7                Dmi7 Dmi7   27     28                                      29   Gmi7   30   Gmi7                 Dmi7  31   32                        Dmi7 23     189 .

"Timeline" transcription: David Freedy     3    Bb7          34 33                          ( )  A7(#9) 25                      straight eighths  A7 ) 4th Chorus      Dmi7  3  35   Dmi7     36 ( Emi7(b5)     37      38 Dmi7                   3 3                            Dmi7 Dmi7 39     40   41   Gmi7                   Gmi7   43   Dmi7 3         3 3 42       44   Dmi7             3  45   Bb7                3  3         3  A7(#9)    46   47   Dmi7   48  ( Emi7(b5)    A7 ) 190 .

(1988) Brecker. composer) On Time is of the Essence. “Nothing Personal. and Eyton/Adair and Dennis.” (Don Grolnick. Michael and Bob Mintzer. Michael. composer) On Two Blocks from the Edge. “Cabin Fever. Michael.” (Michael Brecker. composer) On Don’t Try This at Home. (1999) Brecker. MCA/Impulse Compact Disc MCAD 42229. Michael. “Delta City Blues.” (Michael Brecker. Michael.REFERENCE AND RELATED BIBLIOGRAPHY Allen. composer) On Twin Tenors. MCA/Impulse Compact Disc MCAD-5980.” (Michael Brecker. Impulse Compact Disc IMPD-191. Michael. Heyman. Michael. “Suspone. (1996) Brecker. (1987) Brecker. Novus Compact Disc 01241 63173-2. (1993) Brecker. “Syzygy. Novus Compact Disc 01241 63173-2 (1993) 191 . MCA/Impulse Compact Disc MCAD-5980. (1987) Brecker. no. MCA/Impulse Compact Disc MCAD 5980. composers) On Michael Brecker. “Woodshed: Michael Brecker’s Tenor Sax Solo on ‘Body and Soul’. Brecker.” (Pat Metheny. Eric. (1999) Brecker. Michael. “Giant Steps.” (Wood and Mellin. Verve Compact Disc 314 547 844-2. “Timeline. 5 (May 1998): 80-1.” (Green. Sauer. (1998) Brecker. Michael. composer) On Time is of the Essence. “My One and Only Love. Verve Compact Disc 314 547 844-2.” (Mike Stern.” Down Beat 65. Michael and Bob Mintzer. composers) On Twin Tenors. composer) On Tales from the Hudson. Impulse Compact Disc IMPD-260. composer) On Michael Brecker.” (John Coltrane. (1987) Brecker. “Outrance. “Body and Soul/Everything Happens to Me.” (Michael Brecker. composer) On Michael Brecker.

1 (January 1996): 16-20. Kynaston. Transcribed by Carl Coan. CA: September Publishing. Michael Brecker and Roy Hargrove. Herbie. no. (2002) Johnson. 5 (May 1985): 54-5. 8 (August 2003): 92-3. no. 1986. 192 . Martin. no. 6 (June 2002): 26. Columbia/Legacy Compact Disc CK 64935. David. Hialeah. Hearing and Writing Music: Professional Training for Today’s Musician. Dunlap. Trent.” In The New Grove Dictionary of Jazz. John. Studio City. Martin’s Press. (1993) Coan. Davis.Brecker. and Roy Hargrove: Directions in Music. (1997.” Jazz Educators Journal XXIII. Miles. WI: Hal Leonard Corporation. Verve Compact Disc 314 589 654-2. Part V: Michael Brecker’s Solo on ‘Suspone’ by Michael Stern. 4 (Summer 1991): 36-8. “Master Class: The Craft of Transcribing. composer) On Twin Tenors. Carl. Novus Compact Disc 01241 63173-2. Transcribed by Trent Kynaston. 1982. Kalamazoo. “Naima. composer) On Directions in Music. “So What. “Pro Sessions: An Analysis of Michael Brecker’s Harmonic Style. “McCoy Tyner and Michael Brecker: An Easy Marriage of Styles. “Michael Brecker. Ephland. 2000. Michael Brecker: Improvised Saxophone Solos. 1994. Michael and Bob Mintzer. “Two T’s” [sic] (Bob Mintzer. 1995. no. Ron. New York: St.” (John Coltrane. Milwaukee. Kynaston. “The Successful Sax. Gorrow. Herbie Hancock.” Down Beat 70. Artist Transcriptions-Saxophone: Michael Brecker. Larry.” Down Beat 63. Kernfeld. MI: Corybant Productions.” Down Beat 52. FL: Studio 224. Jazz Tenor Solos: Masters of the Tenor Saxophone Play the Blues. Kynaston. Edited by Barry Kernfeld. no. Trent. Trent.” (Miles Davis. Hancock. “Blues. originally released in 1959) Demsey. composer) On Kind of Blue. Barry and Paul Oliver. Transcribed by Trent Kynaston.” Down Beat 69.

2003].” (Mike Stern. Osland.” (Horace Silver.” (John Coltrane. Mike. Horace. “Woodshed: Michael Brecker’s Tenor Sax Intro on ‘Delta City Blues’. “Yodel Lady Blues. Martin’s Press. composer) On A Prescription for the Blues. New York: St. Impulse Compact Disc IMPD-171. McCoy. Martin’s Press. “One Liners. “A Prescription for the Blues.” Down Beat 63. Mark. no.” In The New Grove Dictionary of Jazz. (1997) Tucker. composer) On Give and Take. 2 (February 2000): 26-33. Impulse Compact Disc IMPD238.” (Thelonious Monk. (1997) Stern. 1994. “Mike Brecker. “Impressions. (1995) Tyner.” (Horace Silver. McCoy. Osland. Panken. Available from www.” (Mike Stern. Silver.” In The New Grove Dictionary of Jazz. composer) On A Prescription for the Blues. 4 (April 1999): 723. Edited by Barry Kernfeld.” Down Beat 66. no. “Michael Brecker: Shades of Soul. Horace. composer) On A Prescription for the Blues. Impulse Compact Disc IMPD-238. “You Gotta Shake That Thing.” On official Michael Brecker website [as of June 16.michaelbrecker.” (Horace Silver. 1994. “Transcription (i).” Down Beat 67. (1997) Silver. composer) On Infinity.com. Tyner. Impulse Compact Disc IMPD-238. “Woodshed: Michael Brecker’s Tenor Sax Solo on ‘Impressions’. “Jones Street. Atlantic Compact Disc 83036-2. New York: St. Ted. no. (1997) Stern. 7 (July 1996): 64-5. Impulse Compact Disc IMPD-171. Brenda.“Michael Brecker: Biography. (1997) Silver. Mike. Miles. Edited by Barry Kernfeld. Horace. “I Mean You. composer) On Give and Take. (1995) 193 . composer) On Infinity. Pennel. Atlantic Compact Disc 83036-2. Miles.

Andrew Nathaniel. University of Miami. D. 1978.A. and ‘Out of Nowhere’ as Performed by Selected Jazz Tenor Saxophonists Representing Different Styles. George..” D. ‘Night and Day’. White. Washington. “A Comparative Analysis of Improvised Solos Based on the Popular Songs ‘Body and Soul’. 194 . diss.C.: Andrew’s Music.M. 1998. A Treatise on Transcription.Weremchuk.

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