<![CDATA[bobbysternjazz.com - Blog: B Natural]]>

<![CDATA[bobbysternjazz.com - Blog: B Natural]]>Fri, 19 Apr 2024 14:42:18 -0400Weebly<![CDATA[Four'll Get You Twenty-Four]]>Fri, 19 Apr 2024 04:00:00 GMThttp://bobbysternjazz.com/blog-b-natural/fourll-get-you-twenty-fourFour'll Get You Twenty-Four
A few half-diminished permutations to get started

According to an online permutation calculator I stumbled upon recently, the number of unique combinations of the 12 pitches of the Western chromatic scale comes to exactly 479,001,600 - and that's just the pitches! Add to that the variations in rhythm, tone and timbre, etc., and that number grows to infinity.

Not to worry! In this post, we'll cover just a few of the permutations of just four notes - which yield the measly number of 24 possible unique combinations - definitely enough to deal with!

The 4-note cell focused on here is commonly known as a min7b5, or half-diminished chord and is similar in concept to a previous post and book, "Permutation Station 1235".

The 24 possible permutations of C min7b5 (C, Eb, Gb, Bb) are:

{C,Eb,Gb,Bb} {C,Eb,Bb,Gb} {C,Gb,Eb,Bb} {C,Gb,Bb,Eb} {C,Bb,Eb,Gb} {C,Bb,Gb,Eb}
{Eb,C,Gb,Bb} {Eb,C,Bb,Gb} {Eb,Gb,C,Bb} {Eb,Gb,Bb,C} {Eb,Bb,C,Gb} {Eb,Bb,Gb,C}
{Gb,C,Eb,Bb} {Gb,C,Bb,Eb} {Gb,Eb,C,Bb} {Gb,Eb,Bb,C} {Gb,Bb,C,Eb} {Gb,Bb,Eb,C}
{Bb,C,Eb,Gb} {Bb,C,Gb,Eb} {Bb,Eb,C,Gb} {Bb,Eb,Gb,C} {Bb,Gb,C,Eb} {Bb,Gb,Eb,C}

The notation graphic below (Ex. 1) shows the first possibility - a root position half-diminished arpeggio, ascending in perfect 4ths around the Cycle. A half-diminished chord can be considered as part of a dominant 9th by adding the root a Maj 3rd below it (C min7b5 = Ab 9). The numbers on the left (35b79) represent this as third, fifth, flat-seventh & ninth. The letter names on top indicate the full 9th chord, as well as its tritone substitution (in smaller letters). In parenthesis is the half-diminished chord name, as notated.

Ex. 1 - Root position half-diminished arpeggio as dominant 9th around the cycle.

Listen

Example 2 again shows a 35b79 permutation - this time with the first note displaced up an octave - combined with a b7953 configuration, as the second grouping in each measure. Notice that the first note of each grouping descends in half-steps, indicating how the Cycle of 5ths and the chromatic cycle are related through tritone substitutions (the 3rd and b7 are a tritone apart).

Ex. 2 - Octave displaced 35b79 combined with b7953 permutations per measure.

Listen

Download PDF

The Free-B. downloadable pdf contains an additional pair of these permutation examples.

This permutation technique works with any group of four notes. See how many you can come up with and integrate into your own playing.

B. Stern

Related:
* Permutation Station 1 2 3 5 - Twenty-four roads to Rome *
* Return of the SUPER 4 - A minor ii-V7 Sequence *
* NIDIAN & Her Sisters - Maj7sus4 Chords & Tetratonic Modes *

Shortbooks™ - For Serious Improvisers of All Levels! Add them to your library.

Permutation Station 1235

The Super 4

The Cycle 101

Permutation Station II
Inversions

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]]><![CDATA[Whispering Familiar - An 027 Trichord Transformed]]>Fri, 22 Mar 2024 04:00:00 GMThttp://bobbysternjazz.com/blog-b-natural/whispering-familiar-an-027-trichord-transformedWhispering Familiar
An 027 Trichord Transformed

It's no big secret that the 027 Trichord (C=0, D=2, G=7, based on the number of semitones from C, in this case) has become an important musical tool for the contemporary improviser - so there's no need to be hush-hush about it.

As has often been stated in these pages, the close relationship between 027s, the interval of a Perfect 4th and the Pentatonic Scale make this an important trichord to master.

In this post we'll try to show how an 027 can be expanded, ending up with a familiar motif.

Ex. 1 below shows the 2nd rotation 027 trichord in question (Eb=0, F=2, Bb=7), transposing and descending in minor thirds. The second two measures are transposed down a half-step from the first two, as does each succeeding 2-bar sequence. The audio example is actually eight bars, as compared to the 4 bars shown here. Download the pdf (link below) for the full effect.

The chord symbols indicate the intended tonality could be Major or minor. Since the 027 trichord lacks a Major or minor 3rd, it's commonly referred to as a suspended (sus) chord and it's quality (Major or minor, etc), as well as its key center is therefore ambiguous. In the example below, the first trichord - labeled Eb Maj/ min - consists of (in a descending direction) the 2nd, root and 5th scale steps of Eb (major or minor). This grouping could also be the 6th, 5th and 2nd scale steps of Ab (Maj or min) - or 5-4-1 scale of Bb (Maj or min). Get the point? For the purpose of this exercise, though - Eb it is!

Ex. 1

Listen

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In Ex. 2, the tonality becomes defined as Major with the simple addition of a Maj 3rd - as what was previously a 3-note trichord becomes a 4-note descending figure, starting on the 9th (or 2nd), followed by a Major triad in first inversion.

Ex. 2

Listen

In similar fashion, Ex. 3 illustrates how the same trichord can be made to exhibit a minor quality - you guessed it - by the addition of a minor 3rd. In the case of the first chord, it means adding a Gb, creating an Eb min2. The reason I'm calling it a min 2 instead of a min 9 is that there is no 7th in between the triad and the 9th. The same holds for Ex. 2.

Ex. 3

Listen

If you didn't hear it already, this leads us to the inevitable link to "Careless Whispers" - the George Michael pop classic from 1984 - which just about every saxophonist has had to encounter at one time or another, or frequently.

Bars 1 and 2 of Ex. 4 show "Careless" starting with the descending Dmin2 motif - as in the beginning of the 3rd bar of Ex. 3. The next 2 bars are covered by the Bb Maj motif shown in Ex. 2 - over G min. Thus the relationship of the first two motifs are min2 / Maj2 a Major 3rd apart - different, of course, from our previous examples.

Ex. 4

So now - armed with all this inside info - you too can...

Stand out in a crowd... Toot your horn anywhere... Take it straight to the people... Maybe even get arrested...

Ahh, the things we do for love!

B. Stern

Shortbooks™ - For Serious Improvisers of All Levels! Add them to your library.

Trichord 027

Fourtitude + Lines
in 4ths iii-VI-ii-V

The Cycle

Triadicisms Vol. 1
Major Triad Workout

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]]><![CDATA[The Joys of Half and Whole Steppin'!]]>Sat, 24 Feb 2024 05:00:00 GMThttp://bobbysternjazz.com/blog-b-natural/february-24th-2024The Joys of Half & Whole Steppin'!

While it could be argued that scalar motion and arpeggiation traditionally make up the bulk of melodic lines in most genres, the use of smaller intervals, such as semi & whole tones (or half & whole steps), provides a useful and interesting melodic addition and alternative.

This technique came to the forefront in the early 1960's, most recognizably in the playing of Miles Davis, as well as members of his "2nd Great Quintet" - namely saxophonist Wayne Shorter and pianist Herbie Hancock.

Even as Major and minor 2nds are inherent in any Major or minor scale, their use chromatically - with consistant directional change - is the key to this technique's effectiveness.

The example below illustrates a 12-bar segment of an exercise (extended in the free pdf download - link below), consisting of a simple 4-note cell - repeated and modified slightly within the measure - then transposed down a semitone. The 12-bars represent a once around the descending chromatic cycle, and by virtue of tritone substitution - the Cycle of 5ths.

The simple interval scheme, per measure, is:
up a whole step / down a half-step / down a whole-step
up a half-step / up a whole-step / down a half-step / down a half-step
connecting to the following measure via a descending half-step, where it repeats in each succeeding measure.

Since it cycles around, you can begin this exercise at any point and anywhere on your instrument - its main purpose is to build technical dexterity - as it's a bit of a finger twister.

The audio example is of the first eight bars only, and attempts to illustrate how these close melodic intervals can function within harmony.

Listen

Download PDF

Try and develop your own Major/ minor 2nd exercises based on four and/ or eight note cells and move them around chromatically - or by any interval, for that matter.

B. Stern

Shortbooks™ - For Serious Improvisers of All Levels! Add them to your library.

CHROMATIX

The Cycle 101

Triadicisms, Vol. I

Approaches!

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]]><![CDATA[Directions & Connections - Alternating Triads in a Pair]]>Fri, 26 Jan 2024 05:00:00 GMThttp://bobbysternjazz.com/blog-b-natural/directions-connections-alternating-triads-in-a-pairDirections & Connections - Alternating Triads in a Pair

An oft discussed technique, in these pages and elsewhere, is the practice of employing triad pairs as a device for creating improvised lines.

A triad pair can consist of any two triads of the same or different qualities, as long as there are no duplicate tones among them. This is most easily accomplished by taking adjacent triads from the same scale system.

In most cases, the first pair an improviser might come across contains two Major triads a whole step apart, which is derived from the 4th & 5th degrees of the Major Scale (F & G Maj triads in C Major). Alternating these 2 triads through their inversions creates, on its own, a decidedly Mixolydian flavor.

The subject of this post, which takes it a step further - adding harmonic and melodic tension - is the triad pair based on the 3rd & 4th scale steps of the Melodic Minor scale (Eb+ & F Maj in C Melodic Minor ).

The premise of this ii-V7 exercise is to create a line consisting of the alternating Melodic Minor triad pair described above over both the ii and V chords. Using each descending note of the ii chord's hexatonic scale as a starting point, connections between the chords are made via the smallest possible interval, before resolving to the tonic Major chord in the final bar.

The notation graphic below shows the first three lines of the downloadable pdf, which is in C Major only.

Listen

Download PDF

Using the ACE method, the ii chord - D-9b5 - (built in thirds from the 6th scale step of F Melodic Minor), yields the triad pair Ab-C-E / Bb-D-F (Ab+ & Bb Maj) from its 3rd and 4th scale degrees. Played out horizontally as a scale, these six notes result in the hexatonic - Ab-Bb-C-D-E-F.

Likewise, the triad pair defining the V chord - G7alt - is derived from scale degrees 3 & 4 of Ab Melodic Minor – B-D#-G / Db-F-Ab (B+ & Db Maj), the resulting hexatonic being B-Db-Eb-F-G-Ab.

In bar #1, the first line begins on an F and moves in a descending / ascending direction thru a pair of inversions of the aforementioned triad pair, descending with a Bb Maj triad and ascending with A+, over D-9b5. Notice how the E, or “natural 9” in the ii chord gives a distinct flavor - in contrast to the more common “b9” found as a result of the Major Scale derived Locrian mode.

The line then pivots via a semitone, descending from C at the end of bar #1 to B, beginning bar #2 - the triads B+ & Db Maj once again descend through a pair of inversions over G7alt - resolving in bar #3 down a semitone to E, the 3rd of C Major.

The second line begins with an E (the next note down in the ii chord derived Hexatonic) and descends and ascends as in Line #1, except that the order of the triads in each measure is now reversed. This has no bearing on the line's harmonic quality - it's simply another way to realize and practice these inversions and slowly incorporate them into your playing.

With D as its starting point in Line #3, the triads revert back to the same order as in Line #1, while simultaneously introducing the next set of inversions in both bars #1 & 2.

This exercise is a starting point and should be practiced in all keys and all directions. It should keep you busy for a while.

B. Stern

Shortbooks™ - For Serious Improvisers of All Levels! Add them to your library.

Hexatonic Triad Pairs Vol. I
Major Scale Pairs

Pentalogy

Permutation Station 1 2 3 5

Hexatonic Triad Pairs Vol. II
Mixed Pairs

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]]><![CDATA[Stocking Stuffer... and a ii-V in a Pair 3!]]>Sat, 16 Dec 2023 05:00:00 GMThttp://bobbysternjazz.com/blog-b-natural/stocking-stuffer-and-a-ii-v-in-a-pair-3Stocking Stuffer... and a ii-V in a Pair 3!

Holiday season is here again and so is the ubiquitous sound of holiday music. I had to laugh recently when I heard the one that repeats "...and a partridge in a pear tree" after each verse. It made me realize (being the city kid that I am), that I've never seen a partridge (or a pear tree either, for that matter).

So after checking with reliable sources, I discovered that a partridge is a game fowl, somewhere in size between a quail and a pheasant. They're ground-nesting birds, like chickens and turkeys, so anyone claiming to have seen - or have received "a partridge in a pear tree" form their true love - has most likely been smoking the bomb schmizz. On the other hand, a roast partridge in pear sauce would look mighty pretty sitting on my plate! Could be that's what they were really talking about in the first place.

So - speaking of pears - the best I can do in keeping with the holiday spirit this time around, is offer up a tasty "pair" of triads - a Triad Pair, to be exact!

As you might be aware, a true triad pair consists of any 2 adjacent triads from a given scale system. In this case, we're looking at a pair of not too uncommon triad pairs from the Melodic Minor scale system. The example below (Ex. 1) shows a 4-bar ii-V7-I sequence, with triad pairs used on the ii and V7 chords (bars #1 & 2).

A minor 7b5 chord (also known as half-diminished) can always be built from the 6th step of a Melodic Minor scale. As an alternative to the usual half-diminished built from the 7th step of the Major Scale, this Melodic Minor version has a natural 9th, as opposed to a b9 in Major.

The D min7b5 (D-F-Ab-C) in bar #1 is formed from the 6th scale degree of...
F Melodic Minor (F-G-Ab-Bb-C-D-E-)

While any 2 adjacent triads can be useful, the triads in this Melodic Minor pair are formed from the 3rd & 4th scale steps of a Melodic Minor scale. Once again, in the case of:
F Melodic Minor (F-G-Ab-Bb-C-D-E-) that means Ab augmented (AB-C-E) and Bb Major (Bb-D-F) triads - alternating thru inversions and direction - form the melodic line in bar #1.

Ex. 1

Listen

Download PDF

If you're already familiar with the ACE method, you'll know that whatever Melodic Minor scale you use on the ii chord can be transposed up a minor 3rd for the V. This means that in bar #2, the Melodic Minor scale (a minor third up from F Melodic Minor) from which we'll get our triad pair is... Ab Melodic Minor.

An altered dominant chord (G7alt, in bar #2), is formed from the 7th scale step of Melodic Minor - also known scale-wise as the famous/ infamous altered scale, since it contains the root, 3rd, b7 plus the four alterations - b9, #9, #11(b5) & b13 - so:
Ab Melodic Minor (Ab-Bb-B-Db-Eb-F-G), with the altered dominant extensions in red. G is the 7th scale step of Ab Melodic Minor.

Our triad pair - again built from the 3rd & 4th scale degrees - is:
Ab Melodic Minor (Ab-Bb-B-Db-Eb-F-G) = B Augmented (B-Eb-G) & Db Maj (Db-F-Ab).

In viewing the contour of the line in the first two bars, the Ab+ triad ascends on beats 1 & 3. The Bb triad descends on beats 2 & 4, alternating through a pair of inversions in the first measure, before resolving by a half-step (D to Db) in bar #2. There's a quick change of direction as B+ & Db triads alternate in an ascending direction on beats 2 & 3 before B+ descends on beat 4, resolving to the tonic (I) chord - C Maj7 in bar #3.

Except for the enclosure on the last half of beat 4 in bar #3, the material in the final two measures is strictly diatonic to C Major (absent the "avoid-note" F - the 4th scale degree), with an accent on the interval of a Perfect 4th, in bar #4.

The downloadable pdf (link above) has this 4-bar sequence transposed neatly to all 12 keys.

So here's hoping your holidays are full of cheer,
'Cause with these "Pairs", you can jam all year!
(Here! Here!)

B. Stern

Related:
* Sympathy for Melodic Minor - Major's Evil Twin, Pt. 1 *
* Three's a Pair! - Melodic Minor ii-V7-i Triad Pairs *
* The Book of Altered: Altering Your Melodic Minor Consciousness *

Shortbooks™ - For Serious Improvisers of All Levels! Add them to your library.
**HOLIDAY YEAR'S END $AL€** Get 15% off all pdf Books
Add code HEY15 at checkout and $AV€!!
*From 16 Dec. 2023 to 02 Jan 2024

Hexatonic Triad Pairs Vol. I

Triadicisms Vol. I

The Harmonic Minor Primer

Hexatonic Triad Pairs Vol. II

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]]><![CDATA[A Friendly Little I-VI-ii-V Sequence]]>Thu, 23 Nov 2023 05:00:00 GMThttp://bobbysternjazz.com/blog-b-natural/a-friendly-little-i-vi-ii-v-sequenceA Friendly Little I-VI-ii-V Sequence

It's always good to run into a friendly face - or in this case, a friendly chord progression. What, in most cases, makes the experience so "friendly" is the familiarity involved.

The I-vi-ii-V chord progression and its modifications is, in one form or another, arguably the most familiar 4-chord harmonic progression found in all popular styles of music.

Its familiarity includes the A-sections of standards such as "I Got Rhythm" and "Blue Moon", for example, as well as parts of countless tunes, intros and vamps across all genres.

So, what makes this friendly chord progression so popular? Must be the sunglasses.

The I-vi-ii-V chord progression, in its native form, is a diatonic progression - meaning that all four chords involved are derived from the same Major key and scale. In the key of C Major, for example, that would translate to: C Maj (I) - A min (vi) - D min (ii) - G Maj (V) - as triads.

If we examine the above sequence starting on the second chord (A min), we see that the root of each succeeding chord resolves up a Perfect 4th or down a Perfect 5th - a very natural sounding Cycle of 5ths - resolving back to C Maj (A-D-G-C).

So now that we have our basic, vanilla version I-vi-ii-V, what can we do to throw a little flavor into the mix.

First of all, we need to add the 7th to each chord, which would look like:
C Maj7 (I) - A min7 (vi) - D min7 (ii) - G7 (V) - as 4-note 7th chords.

Then, we take the A min7 and make it an A7. We do this by raising the minor 3rd of Amin7 - C - up a half-step to C#, turning a minor 7th chord into a dominant 7th. This bold, daring move actually takes a note from outside of the C Major scale (non-diatonic), and creates an all-important tritone (C# - G), the 3rd and b7th of A7. At this point, our I-vi-ii-V chord sequence becomes a I-VI-ii-V progression. Notice the lower case roman numerals for minor, with upper case indicating Major and /or Dominant chords.

Next, we'll add the secret sauce by abandoning the Major scale system completely on each of the Dominant 7th chords (A7 and G7) in favor of material from the Melodic Minor system.

In bar #2 of the example below, the A7 is populated by material from the Bb Melodic Minor scale. Many folks would prefer to call this the A Altered scale, and they wouldn't be wrong. Since the A Altered Scale is actually the 7th mode of Bb Melodic Minor, I prefer to think of it in terms of the scale system of which it is a part. Whatever one decides to call it, we now have an A7alt chord expressed by the notes of Bb Melodic Minor.

The line in bar #2 reads:
F(b13) C(#9) A(Root) F(b13) Db(C# 3) F(b13) G(b7)

Similarly in bar #4, G7 becomes G7alt, with material drawn exclusively from Ab Melodic Minor.
Ab(b9) F(b7) Eb(b13) B(3) Ab(b9) Bb(#9) Eb(b13) F(b7)

At this point, its official title becomes I Maj7 - VI7alt - ii7 - G7alt, but it'll still answer to I-VI-ii-V.

Listen

Download PDF

The Free B., downloadable pdf contains this friendly 4-bar sequence in all 12 keys. Check 'em out and make them all your friends!

B. Stern

Related:
* Major/ minor: A Diminished/ Blues Scale Hex-0-Tonic *
* Vamp Like a Champ! - ii-V-iii-VI Arpeggiated Sequence *
* Hey! You've Got an ACE up Your Sleeve! *

Shortbooks™ - For Serious Improvisers of All Levels! Add them to your library.

Pentalogy

Kalindaja

The Book of Altered

The Super 4

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]]><![CDATA[Monkin' Around With the "Evidence" - A Self-Transcription]]>Thu, 26 Oct 2023 04:00:00 GMThttp://bobbysternjazz.com/blog-b-natural/monkin-around-with-the-evidence-a-self-transcriptionToot My Own Horn Dept.
Monkin' Around With the "Evidence"
A Self-Transcription

October, being the month of a shared birthday with Thelonious Monk, made me think it might be time to try and tackle another one of Monk's classics - "Evidence" - which is based on the chord changes of the standard pop song "Just You, Just Me".

"Just You, Just Me" - Just Us - Justice - "Evidence".

Monk first recorded "Evidence" in 1948 with a quartet that featured Milt Jackson on vibraphone, which was released on Blue Note.

His original version went through numerous changes over the years, and if you've been following current events of late, it compliments other legal-titled themes, such as, "Arraigny Night in Georgia" (my fav!).

It's always a fun, interesting, educational and revealing practice to record one's self on occasion. The results are not always what one might expect and can be full of surprises - both on the plus and minus side. This solo itself consists largely of bebop language and phraseology, drawn from the history of the genre - from Bird to 'Trane and everyone in between.

The play-along track used here is from Thelonious Monk Classics Jazz Play-Along Volume 90 available form Hal Leonard. As with previous self-recordings / transcriptions of Monk tunes, the rhythm section features pianist Ronnie Mathews, bassist Kiyoshi Kitagawa, as well Monk's former drummer Ben Riley. Together with Vol. 91 - to my knowledge - this is the most authentic sounding Monk play-along set to be found anywhere in the universe.

"Evidence" has a standard 32-bar, AABA song form, as does "Just You, Just Me", of which "Evidence" is a contrafact.

The notation examples below are in concert key. The key signature - although not shown - is three flats - Eb Major. Check out the link below to see and/ or download the complete solo.

In Ex.1 below, bars #12 - 13, is a device which I like to use, derived from "Coltrane Changes". It works, in most cases, as a IV-bVI7-bII7-I substitution for a standard ii-V7-I cadence and is similar in effect to a Tadd Dameron "Lady Bird" turnaround (I-bIII7-bVI-bII7).

Over the Bb7b9 in bar #12, the superimposition is Ab Maj (beat #2) - the IV of Eb, B7 (beats #3 & 4) - the bVI7 of Eb, continuing in bar #13 over the A7alt with E Maj (beats 1 & 2) - the bII7 of Eb, resolving to the tonic Eb on beats 3 & 4. The A7alt in bar #13 is Monk's tritone substitution for Eb, the chord originally found there in "Just You, Just Me", and continues with a iv7-bVII7 "backdoor cadence"
(Ab-7 Db7) in bar #14, via some blues inflected material in the line, resolving to Eb Maj in bar #15 - even though Fmin7 Bb7b9 is listed as the changes on the lead sheet. It all goes by in the blink of an eye.

Ex.1 - Bars #12 & 13 - IV-bVI7-bII7-I substitution.
*Key signature = 3 flats.

The next example (Ex.2), starts out with a classic, Sonny Stitt-esque sequence for the first 2 1/2 measures, where in the second half of bar #43 , it morphs into a series of 027 trichords, based for the most part, on the interval of a Perfect 4th - before returning to a more traditional scalar line in bars #45 thru #48.

Ex.2 - 027 Sequence (ca 1:41) bars contrasting with scalar material
*Key signature = 3 flats.

In the final example (Ex.3), I borrowed a concept from Johnny Griffin's awesome tenor solo on "Evidence", which is part of the live recording "Thelonious in Action" from the Five Spot in 1958 (YouTube vid below).

While not an exact note for note copy, the concept is to take the short eighth-note chromatic hits - one to a bar - which make up the "melody" on the bridge, and build alternating ascending diatonic and whole tone scales, one measure apiece, for the eight bars.

Bar #81 - Bb Dorian over Bb min7 starting on Ab
Bar #82 - Eb Whole Tone over Eb7 starting on A
Bar #83 - Ab Lydian over Ab Maj7 starting on Bb
Bar #84 - Db Whole Tone over Db7 starting on B
Bar #85 - C Dorian over C min7 starting on C
Bar #86 - G Whole Tone over G7 starting on Db
Bar #87 - G# Whole Tone over F7#9 starting on D
Bar #88 - Intervallic and scalar material over Bb7alt

Ex.3 - Ascending scales, alternating between diatonic & whole tone
*Key signature = 3 flats.

Listen

Download PDF
Bb Concert

So, ladies and gentleman of the jury, with the "Evidence" now presented, I rest my horn case (for the moment, anyway).

B. Stern

Related:
* 'Ning's the Thing! Monk's "Rhythm-a-Ning" *
* Monk's Time Again - "Bye-Ya" *
* Thelonious Monk's "Bemsha Swing" *

This recording of "Evidence", from a live performance of the Thelonious Monk Quartet at The Five Spot from 1958, is for me the definitive version of the tune. It features the great Johnny Griffin on tenor, who quite simply tears it up.

Shortbooks™ - For Serious Improvisers of All Levels! Add them to your library.

Permutation Station

Hexatonic Triad Pairs

Vertical Structures

Changin' Trane's / Retrosteps

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]]><![CDATA[Airegin - Six Short Etudes - First Eight of the First Ending]]>Fri, 22 Sep 2023 04:00:00 GMThttp://bobbysternjazz.com/blog-b-natural/airegin-six-short-etudes-first-eight-of-the-first-ending"Airegin" - Six Short Etudes
Based on the First Eight Measures of the First Ending

Earlier this month, Sonny Rollins - the iconic tenor "Saxophone Colossus", turned 93 years old - which is a major accomplishment in and of itself. So, as a belated birthday salute, I thought we might hone in on a section of one of Sonny's well known and oft played originals - "Airegin" - the title which is, of course, the name of the West African nation Nigeria delleps sdrawkcab (spelled backwards).

Like several of his other originals - which include "St. Thomas", "Oleo", "Doxy" & "Paul's Pal" - "Airegin" has long ago made it to the list of must-know Jazz standards.

It was first recorded in June of 1954 on the Prestige label as part of the 10-inch EP "Miles Davis with Sonny Rollins". In this post, we'll focus on an eight-bar section of "Airegin" - namely measures 9 thru 17 - which make up the first half of the first ending of the tune.

The free, downloadable pdf (link below) consists of six short etudes based on this eight-bar section.
What I find most interesting and challenging about this particular section is the chromatically descending ii-V-Is starting on the second bar - the challenge being to smoothly connect a single melodic line through them.

The notation graphic below, in the original concert key of Ab, illustrates the first of the six short etudes.

Bar #1 consists of an ascending scalar motif over Bb-7, continuing in bar #2 as a descending arpeggio containing the b5 of Dmin7 (Ab), as well as the b5 of G7alt (Db) which is anticipated before the 3rd beat, and which features a descending B augmented triad on beats #3 and 4, resolving to C Major material in bar #3.

The line continues with a C Maj7 arpeggio on the 3rd beat of bar #3, and connects to the next descending ii-V7 (C#-7 F#7) in bar #4, via the interval of a min 3rd (Bb). But wait..., shouldn't C#-7 the (ii7 in the key of B) have a B natural instead of a Bb? From a purely literal theory rule book interpretation, the answer would be yes - but more practically, the Bb (or A#) is the 3rd of F#7 - the V7 of B.

Listen

The V7 of a Major or minor key is known as the dominant for good reason - it dominates! The ii chord can be viewed simply as a ramp up to the V7, via the Cycle of Fifths. When creating a melodic line in cases where the rhythm section is playing the ii chord, the ii can be bypassed - in favor of some version of its V7, especially when playing up-tempo. More on that in a minute.

Focusing back to the second half of bar #4, the #9, b9 and b7 (A, G & E natural) of F#7alt are in play here. Moving from diatonic to altered V7 material, as it does in this measure, is a sure-fire way to create harmonic movement in a melodic line - in this case resolving to B Maj7 in bar #5, with straight diatonic material.

Bar #6 is where things get even more interesting - with an F# Melodic Minor derived b3 Pentatonic altering and coloring the F7. Notice that the ii chord (C-7, listed above the staff in parenthesis) is completely ignored in the melodic line. Because the tritone A - D#(Eb) found in F7 (as well as B7, its tritone substitution) is part of the melodic line, it works seamlessly and resolves smoothly to Bb Maj7 in the final two bars of the section.

Download PDF
Bb Concert Eb

There are 5 more of these Sonny Rollins inspired eight-bar etudes, with the same premise, in the free pdf.
As mentioned in previous posts, creating etudes for oneself is a perfect way to slow things down and take a look under the hood at any particular musical puzzle.

B. Stern

Related:
* "Come Rain or Come Shine" - An All-Weather Etude *
* An Etude for a Brighter Day - John Coltrane's "Mr. Day" *
* For Your High-Ness: An Etude on "Someday My Prince Will Come" *

Shortbooks™ - For Serious Improvisers of All Levels! Add them to your library.

Beboppin' the 6th/ Diminished Scale

Jazzitudes

The Book of Altered

The SUPER 4

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]]><![CDATA[Tailor Made - A Simple Melodic Minor V7-I Resolution]]>Fri, 25 Aug 2023 04:00:00 GMThttp://bobbysternjazz.com/blog-b-natural/tailor-made-a-simple-melodic-minor-v7-i-resolutionTailor Made - A Simple Melodic Minor V7-I Resolution

Since the publication of "The Melodic Minor Handbook: A Jazz Player's Perspective" (Aebersold Books) in 2006, there's been a plethora of online text and video information on the subject of Minor scale harmony in general, lumping the three main minor types (Natural, Harmonic and Melodic) together in one bunch.

Although much has been written in the pages of this website - focusing on Melodic Minor harmony in particular - it seems that there's still a good deal of confusion in the minds of many improvisers of every level - including professionals.

So while I don't profess to be on a crusade to stamp out the flames of Melodic Minor unfamiliarity, I'm hoping, nevertheless, to be able to clear up a few ambiguities.

It all starts with the Major Scale matrix - a collection of 6 consecutive Perfect 5ths.
                F-C-G-D-A-E-B = C-D-E-F-G-A-B = the 7-tone C Major Scale

It´s important to understand then, the difference between the Major and Melodic Minor scales - which on the surface seems to be minor (pun intended). For example, while the C Major scale contains a Maj 3rd (E), C Melodic Minor has a minor 3rd (Eb). No surprises there!
                C Major:                C-D-E-F-G-A-B
                C Melodic Minor: C-D-Eb-F-G-A-B

Upon closer inspection, we see that simply lowering the 3rd scale degree of the Major scale by a half step changes the entire scale and interval structure - altering it into something with a completely different set of tensions and implied resolutions.

Zeroing in on C Melodic Minor even further, we discover that scale tones Eb thru B make up 5 of the 6 notes of a Whole Tone Scale. If we take A thru F, we have 6 of the 8 notes of a Whole/ Half Tone Diminished Scale. Because of this combination, aspects of Melodic Minor are sometimes referred to as the Diminshed/ Whole Tone Scale.

I believe a large part of misunderstanding Melodic Minor harmony stems from mistakenly approaching it in terms of Major Scale harmony, its modes and key centers - which we all learn first.

The Major Scale harmonic system contains a single tritone (F - B in C Major, for example), which is the core element of the dominant to tonic (V - I) resolution - possibly the most important aspect in traditional Western harmony. The presence of this tritone creates a so-called "avoid note" (the 4th scale degree held against a Major chord), which was traditionally considered to be an unwanted dissonance, rubbing against the Major 3rd (E, in this case), where it needed to resolve.

By lowering the Maj 3rd, the Melodic Minor system now contains two tritones (Eb - A & F - B in C Melodic Minor), and has no such "avoid note" dissonance. This means that any note or group of notes need not be avoided. More importantly, it means that the strong tension and release mechanism of the tritone, inherent in Major Scale harmony, is considerably weakened in Melodic Minor - enough so, that it frees up the improviser to start or end a phrase on virtually any point in the scale.

The notation graphic below shows a V7alt - I cadence resolution (C7alt - F Maj7). Unsurprisingly, the scale of choice for the C7alt is C# (Db) Melodic Minor. If we were to start the scale on C, its seventh scale step, we'd have what is commonly referred to as the C Altered Scale, which is the seventh mode of C# (Db) Melodic Minor.

In the first measure of this example, over a C7alt (V7), a pair of 1-2-3-5 "digital patterns" are employed, starting on the first and fourth scale degrees of the C# Melodic Minor scale - outlining C# minor & F# Maj triads.

In measure #2, G# Maj & C# minor (up an octave) are used in the same fashion. Thus, a melodic line is created based on the i, IV & V triads of C# Melodic Minor. The numbers under each note indicate its part in each chord. Being a dominant chord, C7alt contains the root (C), Maj 3rd (E) and flat 7th (A# or Bb). The other four tones - b9, #9, b5 (#11) & b13 - are altered from the Major scale derived Mixolydian mode, built on the 5th degree of C Major - G Mixolydian, in this case.

A neat resolution to F Maj7 (I) takes place in measures 3 & 4, as the last G# (b13 of C7alt) in measure #2 resolves down a half step to G natural (9 of F Maj 7), the first note in measure #3. The notes in these last 2 bars make up a C Maj Pentatonic Scale (over F).

Listen

Download PDF

In dominant to tonic (V7-I) situations such as this, thinking Major Scale harmony (in which Mixolydian plays a "dominant" role), considerably slows down the thought process. The necessity of having to identify each individual dominant chord extension and then altering it is tedious, to say the least.

On the other hand, facility with the Melodic Minor scale in all "keys", eliminates this burden, as it contains the root, 3rd & b7, as well as all four previously mentioned altered dominant chord extensions. It's been pre-digested and contains all the vitamins you'll need.

Also, thinking in terms of the "altered scale" vs. Melodic Minor is pointless. The altered scale is the 7th mode of Melodic Minor - not the other way around. Know your Melodic Minor scales and keys and you'll know your altered scales. The same holds true for the other 6 Melodic Minor modes, as their interchangeability is the key.

The exception to this might be, in most cases, a purely modal situation - where a particular mode of Melodic Minor (i.e., Lydian Augmented, Dorian b2, etc.) is called for over several measures.

The take-away: Melodic Minor is "tailor made" to make your lines hip, colorful and more interesting.

Wear it well!

B. Stern

Related:
Hey! You've Got an ACE up Your Sleeve!

Shortbook of the Month: The Book of Altered

Got the Digits? - Melodic Minor i-V7 Digital Patterns

Shortbooks™ & more - For Serious Improvisers of All Levels!
Make them part of your library.

The Book of Altered

The Melodic Minor Handbook

The Book of Altered
II

The SUPER 4

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]]><![CDATA[Plus Factor - An Augmented Scale Sequence]]>Thu, 27 Jul 2023 04:00:00 GMThttp://bobbysternjazz.com/blog-b-natural/plus-factor-an-augmented-scale-sequence+ Plus Factor +
An Augmented Scale Sequence

Following up on last month's post, which featured a Diminished Scale derived triad pair / hexatonic, let's take a look at a different type of hexatonic system - namely, the symmetrical, synthetic Augmented Scale.

The Augmented Scale wasn't much in evidence in its use by improvisers before the 1960s. It's unique structure, tonal limitations and resulting dissonant character, had made it less than a "go to" for many improvisers in the traditional sense.

As melodic and harmonic concepts opened up in '60s music, the Augmented Scale began to receive some well deserved loved, but to this day still seems to be somewhat misunderstood and underappreciated.

A breakdown of the Augmented Scale`s construction can be found in this previous post, but here's a quick review:
The Augmented Scale can be formed by each of the following methods.
Alternating augmented 2nds and semitones (C - D# - E G - Ab - B = the C, E or Ab Augmented Scale).
2 Augmented triads, a minor 3rd apart (C-E-G# & Eb-G-B).
2 Augmented triads, a minor 2nd apart (C-E-G# & Db-F-A) known as auxiliary augmented (C - Db - E F - G# - A).
1 minor & 1 Major triad, a Major 3rd above (C-Eb-G & E-G#-B), (Ab-B-Eb & C-E-G) &
(E-G-B & Ab-C-Eb). These triad pairs work well and sound great.

Intervallically speaking (including inversions), the Augmented Scale contains:

3 minor 2nds (B-C, D#-E & G-Ab), as well as 3 Maj 7ths.
3 minor 3rds (C-Eb, E-G & G#-B), as well as 3 Maj 6ths.
6 Major 3rds. A Major 3rd interval, as well as a min 6th can be built from each scale tone.
3 Perfect 5ths (C-G, E-B & Ab-Eb), as well as 3 Perfect 4ths.
There are no Maj 2nds, min 7ths or tritones.

Because of the lack of a tritone, the Augmented Scale is not officially considered a Dominant scale in some quarters. However, because its inherent triads form upper structure extensions, it works well over an altered dominant.

For example, over a G7alt, the C (E or Ab) Augmented Scale provides the b9 (Ab), b13 (Eb), 3rd (B), as well as unaltered chord tones, the 13th (E), 11th (C) and the root (G), which also spell out the tonic (I) chord (C) which G7alt is most likely to resolve to (V7-I).

There are only 4 transpositions of the Augmented Scale, due to the Augmented triad itself dividing the 12-tone chromatic scale system into 3 equal parts.

Ex. 1 below is a symmetrical Augmented Scale sequence - ascending in the first two bars through it's Maj 7th chords (E, Ab & C Maj7) - and descending with a 4-note scalar pattern in Maj 3rds, through the final two.

Ex. 1

Listen

Download PDF

The free, downloadable pdf contains this sequence in 12 keys, with a few modifications along the way.

For more specific exercises and sequences (ii-Vs, intervals, 7th chords, etc.), download your copy of the Shortbook™ "Augmented Scale Reality", and make this ethereal sounding scale system part of your reality.

B. Stern

Shortbooks™ - For Serious Improvisers of All Levels! Add them to your library.

Augmented Scale Reality

Changin' Trane's / Retrosteps

Super Augmented Vol. II

100% Whole Tone

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]]><![CDATA[Major/ minor: A Diminished/ Blues Scale Hex-0-Tonic]]>Fri, 23 Jun 2023 04:00:00 GMThttp://bobbysternjazz.com/blog-b-natural/major-minor-a-diminished-blues-scale-hex-0-tonicMajor / minor:
A Diminished/ Blues Scale Hex-0-Tonic

"Bubble, bubble; toil and trouble!"..., Oh yeah!

Regardless of which witch stirs the pot, the makings of great solo improvisation isn't about magic - even when the results do seem magical.

The "toil and trouble" part of it comes down to the consistency of - and attitude towards - one´s own practice regimen. The "toil" ceases to be "trouble", as positive results begin to manifest.

Since there actually is a method to this magic, one spellbinding, tried and true device for your bag of tricks is the use of Triad Pairs. This involves two mutually exclusive triads (no common tones between them) and their inversions - which in turn forms a 6-note (Hexatonic) scale.

The Triad Pair / Hexatonic conjured up here consists of a Major triad and the minor triad a min 3rd above it. Ex. 1 below, illustrates alternating G Maj and Bb min triads - ascending through their inversions, with root positions repeating up an octave in bar #4.

Ex. 1)

Root Position 1st Inversion 2nd Inversion

When both triads are laid out horizontally, the result is the hexatonic scale shown below in Ex. #2.

Ex. 2)

R #9(b3) 3 #11(b5) 5 b7

Looking at it from another angle reveals an abridged version of the G half tone/ whole tone Diminished Scale (G-G#-A#-B-C#-D-E-F). Being that the Diminished Scale is octatonic (eight notes), the two that didn't get the party invite this time are G# and E. Sorry guys!

The result is a strong G7, dominant sound with a b5 (Db/ C#) and a #9 (or b3, A#/ Bb). The presence of both of these extensions creates a decided Major/ minor Blues inflected tonality, which is the hallmark of most any Blues/ Funk related style.

Taking the enharmonic spellings into consideration, the interval breakdown consists of:

2 minor 2nds (A#-B & C#-D),
2 Major 2nds (B-C# & F-G),
4 minor 3rds (G-A#, A#-C#, B-D & D-F, which form 2 diminished triads),
3 Major 3rds (G-B, A#-D & C#-F)
2 Perfect 4ths (D-G. F-A#) & 2 tritones (G-C# & B-F).
Perfect 5ths are, of course, inverted 4ths. Maj/ min 6ths are inversions of min/ Maj 3rds & Maj/ min 7ths inversions of min/ Maj 2nds.

Due to the effect created by the interaction of the Maj 3rd (B) with the #9/ b3 (A#/ Bb), as well as with the b5 (C#/Db), this also turns out to be a streamlined alternative to a popular version of the so-called "Blues Scale" (G-A-Bb-B-C-C#-D-E-F (Triad Pair / Hexatonic in bold)).

Below (Ex. 3) is an example of a 4-bar sequence, employing all six notes, as well as all of the above listed intervals (excluding 6ths), of the G Maj & Bb min Triad Pair / Hexatonic, intervalically over a bed of funkafried greens.

Ex. 3)

Listen

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The Free B! downloadable pdf contains this 4-bar sequence transposed to all keys.

Work it into your own pot of "Bitches Brew", and let it marinate.

As a wise Wiz once proclaimed: "Poof! I'm out!"

B. Stern

Shortbooks™ - For Serious Improvisers of All Levels! Add them to your library.

HEXATONIC TRIAD PAIRS
Vol. II - Mixed Pairs

The Ultimate! DIMINISHED SCALE
COLORING BOOK

FUNKADOSIS!

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]]><![CDATA[The Return of the Super 4!]]>Thu, 25 May 2023 04:00:00 GMThttp://bobbysternjazz.com/blog-b-natural/the-return-of-the-super-4A ii-V7 Tetratonic Sequence
The Return of the...

In this post, we'll take another look at the Super 4 tetratonic - a potent 4-note configuration and a very handy tool for the improviser.

The two previous posts (as well as an available Shortbook™ on the subject) might a good place to review.

The minor ii-V7-i sequence exercise featured here and in the downloadable pdf (in 12 keys) is straightforward and should get you up and running in "Super 4" hero mode in no time.

Specifically, the example below shows a 4-bar ii-V7-i melodic sequence in D minor. This sequence utilizes 3 of the 5 basic chord types inherent in the Super 4 tetratonic - namely min7b5, Dominant 7alt, and min 6/9. Examples which include Dom7 13 and Maj7#11 - the other two chord types - can be found in the previously mentioned articles.

The digits underneath each of the 4-note groupings indicate the number of semitones (half-steps) between each note of a particular "Super 4" tetratonic shape, of which there are four (1+4+2, 4+2+5, 2+5+1 & 5+1+4). Notice that these numbers circle around in sequence.

In this case, we start with 2+5+1 & 5+1+4 shapes in the first bar, over an E min7b5. The fact that there is no minor 3rd (G) in the line, is inconsequential.

Listen

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As the idea here is the creation of an ascending line through the first 3 bars, shapes 5+1+4 & 1+4+2 in bar #2 work well to that effect. Another possibility for this measure might be 2+5+1 & 5+1+4 starting on F, but the fact that the 5+1+4 configuration repeats here up a minor 3rd over the A7alt, creates a stronger sense of composition and continuity.

Likewise in bar #3 - which repeats shape 1+4+2 over the bar line on the tonic minor D min6/9. The 2+4+1 (in parenthesis) in the first half of bar #4 is just a reverse (descending) 1+4+2.

Familiarizing yourself with the four shapes of this Super 4 tetratonic - in all keys - will no doubt take you to the next level in creating well balanced tension and release in your melodic lines.

B. Stern

Shortbooks™ - For Serious Improvisers of All Levels! Add them to your library.

The Super 4

100% Whole Tone

Augmented Scale Reality

Bluesitudes

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]]><![CDATA[Pairing Off! - Fresh Twist, Familiar Combo]]>Thu, 27 Apr 2023 04:00:00 GMThttp://bobbysternjazz.com/blog-b-natural/pairing-off-fresh-twist-familiar-comboPairing Off! - Fresh Twist, Familiar Combo

For the improvising musician, the concept of Triad Pairs seems to have become a hot topic of late. Its use, however, dates back to the late 1950s and early 1960s, pioneered by the work of McCoy Tyner, John Coltrane and Herbie Hancock, being a few of the usual suspects.

The Triad (a 3-note structure built in 3rds) is arguably the most stable and recognizable of all musical structures. Pairing them together in various combinations creates a flexible, intervallic melodic alternative, with its own integrity.

The triads in a pair are normally derived from adjacent scale steps - sharing no common tones between them. Such is the case with Major and minor scales.

Spelled out on the rungs of the ladder depicted above are F & Eb Maj triads, a pair which is derived from the 5th and 4th scale steps, respectively, of the Bb Major scale. This particular pair - 2 Major Triads, a whole step apart - is most likely already familiar to most, as it's the one most commonly discussed, as well as usually the first one learned.

Take a look at just one of the many ways you can transform this 6-note (hexatonic) triad pair into groups of 4 eighth-notes, using rhythmic displacement.

Using the shape 3-R-5-3 (third-Root-fifth-third) as a starting point, we'll take the F & Eb Maj triads and descend through their respective inversions, repeating the first measure an octave lower in the fourth bar.
*An underscore ( _ ) beneath a note's letter name, means that note is descending relative to the note before it.

A-F-C-A G-Eb-Bb-G / F-C-A-F Eb-Bb-G-Eb / C-A-F-C Bb-G-Eb-Bb / A-F-C-A G-Eb-Bb-G

Shifting the whole line an eighth-note to the left - the 4-note groupings become -

F-C-A-G Eb-Bb-G-F / C-A-F-Eb Bb-G-Eb-C / A-F-C-Bb G-Eb-Bb-A / F-C-A-G Eb-Bb-G-F

- as notated in the first 4 bars in Ex. 1 below. Measures #5 - 8 are a retrograde (backwards) version of the first four, ascending back to the starting point in bar #1.

Ex. 1

Listen

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The line is harmonized with basic inversions of alternating F and Eb add2 voicings.

In the Free-B, downloadable pdf (link above) this exercise is transposed to all 12 keys.

As mentioned, this is just one way to approach this particular Triad Pair. The articles detailing the Shortbook™ Hexatonic Triad Pairs: Vol 1 - Major Scale Pairs, as well as Hexatonic Triad Pairs II - Mixed Pairs are worth checking out for a methodical look at some more varied combinations.

B. Stern

Shortbooks™ - For Serious Improvisers of All Levels! Add them to your library.

Hexatonic Triad Pairs Vol. I
Major Scale Pairs

Pentalogy

Permutation Station 1 2 3 5

Hexatonic Triad Pairs Vol. II
Mixed Pairs

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]]><![CDATA[Flip 4 Real! - Using Mordents in a ii-V7-I Melodic Line]]>Thu, 23 Mar 2023 04:00:00 GMThttp://bobbysternjazz.com/blog-b-natural/flip-4-real-using-mordents-in-a-ii-v7-i-melodic-lineFlip for Real! - Using Mordents in a ii-V7-I Melodic Line

Interjecting well placed embellishments into a static musical phrase is an oft used and effective way to "spice it up" - so as to make it more varied and interesting.

One of these common ornamentation techniques involves the use of what is known as a mordent - a single, rapid alternation from a primary note in the melodic line to a neighboring tone a half or whole tone above or below it.

Mordents first came into vogue during the Baroque period of Western classical music (early 1600´'s to mid 1700's). As their interpretations have evolved over time, their usage continues across a broad spectrum of musical styles and cultures.

So what do these mordents look like exactly? Example #1 (below) on the left shows a squiggly line above the note - known as an upper mordent - indicating a single eighth or sixteenth note modulation with the note either a whole or half step above it - the choice being up to the performer.

The note on the right shows the same squiggle, but with a small vertical line through it - indicating the same action, this time with the note a half or whole tone below, known as a lower mordent.

Ex. 1 - Upper and Lower Mordents

Example #2 shows a typical 4-bar ii-V7-I cadence in F Major with no embellishments. Bars #1 & #2 begin on a common tone (C) - the 11th of G minor and the root of C7, respectively. In the first measure, the notes are all derived from the F Maj Pentatonic scale, and in the second bar, they're all part of C# (or Db) Melodic Minor.

Rhytmically, the first two measures are made up exclusively of eighth-notes.

Ex. 2 - Give it to me straight

This all works perfectly fine, but how could we give it a little more "pazazz"? One method is the use of mordents.

In example #3, the previously mentioned "rapid alternation" takes place between the 1st & 2nd, 3rd & 4th, 5th & 6th and 7th & 8th notes of each of the first two measures, rhythmically subdividing the first eighth note in each case into a sixteenth and 2 thirty-second notes. This example is written out in full, with the primary notes alternating a semitone above in each case, as an example of an upper mordent.

Ex. 3 - Upper mordent, written out in full.

Example #4 illustrates how the line might appear if we chose to use the squiggly-lined upper mordent, also referred to as a "flippity-bip" (by no one other than myself).

Ex. 4 - Upper mordent, over the second sixteenth note in a line of swung eighth notes.

Because the eighth notes are swung, it seems rhythmically more accurate to place the mordent squiggle over the second sixteenth note of each beat, rather than to simply place it over each of the first eighth notes (see Ex #2), as one might encounter in a straight-eighth classically styled piece. Plus, there´s no indication whether the alternating note is a half or a whole step away.

Interpreting a mordent as a musical ornamentation is largely up to the performer, who should be conscious of style, context and intention.

Listen

Download PDF

Both the audio example and the Free B. downloadable pdf (link above) are reflected in example #3, which employs a half-step upper mordent exclusively. Again, being open to interpretation - and to certain instrument specific and fingering considerations - a whole step alternation might be desired. Because of the speed of the mordent, the effect is usually the same in either case.

The pdf is written out in all 12 keys.

To flippity-bip is hip,
but be careful not to trip, and
bust up your lip!

B. Stern

Want to create your own amazing musical lines? The following Shortbooks™ break it all down for you and show you how. Simply add them to your library!

The Book of Altered

Pentalogy

The Book of Altered II

The Cycle - 101

ALWAYS ON SALE!! Available for immediate download!

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]]><![CDATA[Straight Ahead - Elements of an 027 Line]]>Fri, 24 Feb 2023 05:00:00 GMThttp://bobbysternjazz.com/blog-b-natural/straight-ahead-elements-of-an-027-lineStraight Ahead - Elements of an 027 Line

Here's a nice, neat little 4-bar melodic line made up of overlapping two, three, four and five-note cells (depending on how you look at them).

Perfect 4ths, 027 Trichords, sus2 & sus4 combinations and Pentatonic structures, are all in evidence here.

Aside from the fact that the line itself sounds and works well as an "in-out-in" option over a ii-V7-I cadence, it's worth checking out how the aforementioned elements combine and overlap.

As you might know, a trichord is a non-triadic 3-note structure. Having its origins in 12-tone theory, each of the 12 notes in the chromatic scale has a numerical designation from 0 - 11. An 027 trichord refers to the number of semitones from its "root", which is "0". For example, if C were 0, then counting
2 semitones up would be D and 7 (from C) would be G.

027s are perhaps more commonly known as suspended, or "sus" chords. Again, C-D-G would be called Csus2, or when inverted (G-C-D), with G as the root, could be labeled as Gsus4.

An 027 trichord contains the intervals of a Maj 2nd and a Perfect 4th (P4th), or in its first inversion (rotation), 2 consecutive P4ths (D-G-C).

As a kind of "find the faces in the picture" game, can you find the 027s (sus chords) in the melodic line below? C'mon, give it a shot!

Answer: Bar #1 - F#-B-C#, G#-A#-D# and A#-D#-(F)
Bar #2 - (D#)-F-Bb, F-Bb-C, C-G-D and D-E-A /
Bar #3 - F#-B-C#, C#-G#-Eb, Eb-F-Bb and F-Bb-C
Bar #4 - (C)-G-D and D-E-A.
A parenthesis indicates that note belonging to a previous or subsequent measure.

Looking at the above melodic line from the perspective of Perfect 4ths is revealing as well. Much has been written in these pages about the close relationship between the Pentatonic Scale and P4ths.

Bar #1 contains 4 pairs of P4ths in whole steps. They are all ascending except for the 3rd one (C#-G#). This group of P4ths, in turn, creates overlapping Pentatonic sonorities of A, F# and B Pentatonic, and contain all the notes of each (A-B-C#-E-F# = A Pentatonic, F#-G#-A#-C#-D# = F# Pentatonic, B-C#-D#-F#-G# = B Pentatonic).

In bar #2, colors from Bb, C and F Pentatonic are all available - again as four pairs of P4ths.

F#, G#(Ab) and B Pentatonic are combined and overlap in bar #3, and if we count the G in bar #4, we've got a straight Eb Pentatonic.

Listen

Download PDF

The chord symbols above the line represent the left hand piano voicings (more or less), with the bass indicated. They're not that important when practicing the line itself and are only listed above the top line of each page of the free downloadable pdf (link above) for reference purposes.

The rhythmic contour of this melodic line is reminiscent of the first half of John Coltrane´s Miles' Mode.

Influences!

B. Stern

Create your own amazing musical lines! The following Shortbooks™ break it down and show you how. Add them to your library!

Trichord 027

Pentalogy

Fourtitude + Lines in 4ths - iii-VI-ii-V

The Cycle - 101

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]]><![CDATA[A Whole Lotta Sole - Giant Steps 027, sus2, sus4, 125]]>Fri, 13 Jan 2023 05:00:00 GMThttp://bobbysternjazz.com/blog-b-natural/a-whole-lotta-sole-giant-steps-027-sus2-sus4-125A Whole Lotta Sole!
Giant Steps 027 - sus2, sus4, 1-2-5

Sus2, sus4, 027, 1-2-5?? These are all ways of expressing the same thing; namely a 3-note, non-triadic configuration - or trichord - containing the intervals of a Major 2nd and a Perfect 4th in its prime form (root position).

Exploring these configurations and using them in your melodic lines - both improvised and composed - can help take one "out of the ordinary path", to quote John Coltrane, as he referred to his own then revolutionary use of the Descending Major 3rds Cycle (aka "Coltrane Changes"), which gave birth to a number of his challenging compositions, the best known being "Giant Steps".

Using "Giant Steps" chord changes, I composed a one-chorus (16-bar) etude, featuring the aforementioned trichord as a basis for the solo melodic line.

Below, in concert key, is the full 16-bars (The free pdf download link, including Bb and Eb versions, is below).

As with the comping piano voicings (not shown), on both the Major and Dominant 7th chords, the Maj 3rd is mostly avoided in the melody line. The whole idea of a "sus2 or sus4" chord is to "delay or suspend" resolution, usually to a Major tonality. This results in a subtle, desired "tonal ambiguity".

However, besides Major Scale steps 1-2-5 (C-D-G in C Maj), prime form 027 trichords can be formed from:

Major Scale steps 2-3-6 (D-E-A), 4-5-1 (F-G-C), 5-6-2(9) (G-A-D), 6-7-3 (A-B-E), so that, depending on the chord involved, a Maj 3rd can pop up melodically within these trichords and their inversions. This happens here in bars #3, 5, 9, 10, 11 & 15. They all consist of a Maj 2nd and a Perfect 4th in prime form.

An 027 trichord can also represent an altered dominant, as is the case in the second half of bar #12, where the trichord G-A-D spell the b9-#9-b13 of F#7alt. This trichord is derived from scale steps 1-2-5 of G Melodic Minor. In bar #8, a descending 027 (first inversion), derived from scale steps 5-6-9 of B (or would you prefer Cb) Melodic Minor, sound the b13-#9-b7 of Bb7, resolving V7-I to Eb in bar #9.

The vast majority of the melodic trichords in this etude are sus4 (Maj scale steps 1-4-5, which are 027s in second rotation). This was not necessarily by design, but the parallel nature of descending in whole steps works well against the Descending Maj 3rds Cycle. Coltrane's tune "Satellite" itself uses a bass line descending in whole steps.

Try experimenting by using sus2s on the Major chords and sus4s on the Dominants. For example, changing the E on the second beat of bar #1 to a C#, changes the trichord from a sus4 to a sus2. This effect per measure is subtle, as well, and creates an ascending min 3rd effect as is indicated in the chord changes. Likewise, changing the second eighth note in bar #2 from C to A, creates the same effect. Either way it works.

Listen

Download PDF

Bb Concert Eb

Even if playing the bleep out of "Giant Steps" isn't necessarily your goal, a reasonable command of sus2 & sus4 configurations (027 trichords), as well as the Minor 3rds Cycles will greatly enhance your improviser's vocabulary and add colors to your palette.

B. Stern

Here's your chance to take some GIANT STEPS as an Improviser and create your own amazing musical lines! The following Shortbooks™ break it down and show you how. Add them to your library!
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Changin' Trane's / Retrosteps

Trichord 027

Pentalogy

Hexatonic Triad Pairs - Vol. 1

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]]><![CDATA['Tis the Season - A "Sleigh Ride" at 250 BPM]]>Sat, 17 Dec 2022 05:00:00 GMThttp://bobbysternjazz.com/blog-b-natural/tis-the-season-a-sleigh-ride-at-250-bpm'Tis the Season
A "Sleigh Ride" at 250 BPM

'Tis once again "The Season" of hopefully fun and enjoyable times for you and yours. It´s also the season of non-stop holiday shopping music; which - thankfully, for the most part - comes but once a year.

Most of these holiday songs have been around for a while for the simple reason that they're popular and familiar to most of us - with the added and possibly unconscious realization that after New Year's Day, we likely won't be hearing them for another year.

One of those tunes was actually composed as a light orchestral piece during the heatwave of July, 1948 and makes no reference to the December holiday season.

If you guessed the reference is to "Sleigh Ride" by orchestral composer Leroy Anderson - bingo! It was premiered a year later by Arthur Fiedler and the Boston Pops Orchestra, for which Anderson was formerly an arranger. Lyricist Mitchell Parish eventually added the words, and it's been a hit that's kept on hittin' ever since - recorded by artists as diverse as Ella Fitzgerald, Bela Fleck and Gwen Stefani, to name just a few.

So, following a tradition started last year at this time, I've posted a recording of "Sleigh Ride" by a mystery tenor saxophonist, with a free, downloadable transcription (links below) of the solo. No detailed analysis is given here, but let me just say that at a tempo of approximately 250 beats per minute, the horse pulling that sleigh sure must be in a hurry to get to Grandma's house! That is where we're going, right?

Listen

Download PDF

Bb Concert Eb

Ok, so the mystery man on tenor is me, after all - but you knew that. Once again, the track was from Aebersold Playalong #78, "Jazz Holiday Classics. The "no horsing around" rhythm section is comprised of Andy LaVerne - piano, Lynn Seaton - bass and Steve Davis - drums.

Enjoy! Have a healthy, happy and safe holiday and beyond!

B. Stern

Solo Transcriptions & Etudes are a fun and entertaining way to study tunes!
Create your own amazing musical lines! The following Shortbooks™ break it down and show you how. Add them to your library!
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Bluesitudes

Changin' Trane's /
Retrosteps

We Got Rhythm Changes

Jazzitudes

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]]><![CDATA[Maj7sus4 - Chords and Tetratonic Modes]]>Sun, 27 Nov 2022 05:00:00 GMThttp://bobbysternjazz.com/blog-b-natural/maj7sus4-chords-and-tetratonic-modesN i d i a n & Her Three Sisters
Maj7sus4 - Chords & Tetratonic Modes

Exploring Sus (short for suspended) chords, and the melodic lines they can generate is a sure way for improvisers and composers to stylistically evolve elements of their sound - as can be found in much of contemporary Jazz, Gospel and Pop.

The ambiguous quality of suspended chords is designed to delay, suspend or deny resolution to a Major or minor tonality, simultaneously creating tension and exhibiting an open, airy vibe.

In this post we'll be looking at a particular 4-note sus configuration and the tetratonic scale it produces, but first - let's suss out a few "sus" basics.

In the first measure of Ex.1 below, we see how the suspended trichord* C-F-G (Csus4) delays or "suspends" resolution to a C Major triad, with the F, or suspended fourth (sus4) resolving down a half-step to E, the 3rd scale-step of C Major. Likewise in bar #2, the note D, the second scale-step of C Major, creates the suspension (Csus2), before resolving up a whole step to E.

Both sus4 and sus2 configurations are also known in 12-tone vernacular as 027 trichords. If we take the C in Csus4 up an octave, we have in essence an Fsus2. Likewise, if we drop the G in Csus2 down an octave, that'll give us Gsus4. In each case the distance from the root (0) is 2 semitones and 7 semitones, hence 027.

Ex.1 - Csus4 and Csus2 moving to C Maj *A 3-note note configuration, not built in 3rds.

Listen

We can add any of the nine still available notes to the initial suspended trichord to form various 4-note configurations. Adding a B-natural - a Maj 7th from C - to the Csus4 trichord, creates a C Maj7sus4.

From C, it's root, this 7thsus4 chord possesses a Perfect Fourth (P4), Perfect 5th (P5) and Major 7th. Ex.2 below illustrates a C Maj7sus4, in root position as well as it's three inversions.

Ex.2 - C Maj7sus4 and inversions, as vertical, chordal configurations.

Listen

Ex.3 shows these same 4 configurations as horizontal, tetratonic (4-note) scales. The names listed above each scale are from ianring.com, web home of Canadian pianist/ composer and theorist Ian Ring, and possibly the most comprehensive and informative source of theoretical musical information anywhere. I'm not sure how he came upon these labels, as Nidian, Bekian, Gosian and Cajian sound like they could be Armenian versions of a few of the Seven Dwarfs - but hey, if they're good enough for Mr. Ring...

These four tetratonic scales are inversions - and therefore modes - of each other. The numbers under the scale names in Ex. 3 represent the intervallic distance between each successive note. The numbers in parenthesis under each scale represent the number of semitones from the root (0).

Focusing on Nidian as the I Mode, it contains within an octave the intervals of:
one minor 2nd (B - C),
one Major 2nd (F - G),
one Major 3rd (G - B),
two Perfect 4ths (C - F & G - C),
one tritone (F - B or B - F),
two Perfect 5ths (C - G & F - C),
one Major 7th (C - B)

Ex.3 - C Maj7sus4 tetratonic modes with interval breakdowns.

As for chord and scale types one could superimpose, the list is long. Even though the chord symbol for C Maj7sus4 says "Maj7", this is not a Major 7th chord, as there is no Maj 3rd - nor is there a 3rd of any type determining chord quality. It's clear though, that it's a sus4 chord with a Maj 7th. The "Gosian" mode does contain a Maj 3rd, and a min 7th - a tritone. It's often used melodically - one of Joe Henderson's early favorites - over an unaltered dominant chord, G 11 in this case.

Inserting an Ab and a D into this mode would produce the Carnatic Raga Kalindaja.

Obviously, any of the modes derived from Major, Melodic & Harmonic Minor with the same root (C, in this case) will work. Any inclusion and/ or alteration of Major Scale steps 2, 3 & 6 (the in-between tones) would work in this case as well, forming more colorful and exotic sounding scales - including Double Harmonic Major, for example.

It's also interesting to note that in forming the inverse of the Nidian mode - by taking its ascending interval structure and applying it in descending fashion, as in:

Ascending: C P4 F M2 G M3 B m2 C
we get
Inverse Descending: C P4 G M2 F M3 Db m2 C
what I've named "The Super 4" and Ian Ring terms "Bapian".

Ex.4 is part of an exercise / sequence from the free downloadable PDF (link below) where it's transposed to all keys. It's based on the intervallic make-up of each of the Maj7sus4 tetratonic modes, starting from a common tone - again C in this example. This exercise is similar in construction to the X-Centric Pentatonic sequences, found on this website.

The four Maj7sus4 tetratonics are ordered according to the size of their initial interval:

DbMaj7sus4 starts with a half-step, C-Db (Cajian)
GMaj7sus4 starts with a whole-step, C-D (Bekian)
FMaj7sus4 starts with a Maj 3rd, C-E (Gosian)
CMaj7sus4 starts with a Perfect 4th, C-F (NIDIAN)

Ex.4 - The four Maj7sus4 tetratonic modes from a common tone - ascending & descending sequence.

Listen

The final item on the menu is a short improvised solo, played on an Akai EWI, over a 4-bar vamp consisting of this same group of Ma7sus4s, again utilizing a common tone - this time being F#. Here, their order was determined by each tetratonic's Maj 7th - which are the top notes of each voicing, ascending as whole notes as the chordal melody - F - F# - A# & C (heard, but not seen).

Ex. 5 shows the first eight bars of the solo, in which the Maj7sus4s are pretty closely outlined, beginning on the Maj7th in bars #1, 3, 5 & 7. An F# minor pentatonic is played against the C# Maj7sus4 in bar #8, which works fine, since F# is common to all four chords - meaning we are in the key of F#... something!

Remember that Ma7sus4 chords are not necessarily Maj (or min) chords, as they have no 3rd.

Ex.5 - First eight bars of EWI solo - common tone F#.

The final eight bars (Ex. 6) show how filler-tones, which in this case include both A and A# - the Major and minor 3rds of common tone F# - are both utilized effectively, before taking the one-note, 2-3 clave approach on trusty old F#, letting all four Maj7sus4s pass on by and speak for themselves.

Ex.6 - Last eight bars. Maj - min 3rd Blues oriented sound in bars # 1-4.

Listen

Download PDF

The full transcription of this short improvised solo is attached to the free downloadable pdf (link above).

I sincerely hope this post held you in enough suspense to sustain your interest. I suspect that if you've read this far, it did!

B. Stern

Create your own amazing musical lines! The following Shortbooks™ break it down and show you how. Make them part of your library!
Available for immediate download!

Kalindaja

The Super 4

Bluesitudes

The Book of Altered

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]]><![CDATA[On the Menu...Tasty Lines Over a Neo-Soul Vamp]]>Fri, 28 Oct 2022 04:00:00 GMThttp://bobbysternjazz.com/blog-b-natural/on-the-menutasty-lines-over-a-neo-soul-vampOn the Menu...
Tasty Lines Over a Neo-Soul Vamp

As a general description, the term "Neo-Soul" is a broad designation given to a popular musical genre which combines elements of traditional R & B, Soul, Hip-Hop and Pop, as well as Jazz and Gospel harmony.

Coming to the forefront of popular culture in the mid-1990's, it was overwhelmingly a vocalist's music, represented by a younger, "urban" group of artists and their audience.

At the same time and with some of the same roots, its instrumental cousin - labeled "Smooth Jazz", for lack of a better term - was being dressed up, watered down and marketed to an older demographic, with its own radio format, etc.

What could be argued as being a rough cross-pollination of these two genres has, over time, yielded something definable as "instrumental Neo-Soul", or "Neo-Soul Jazz", with its own unique harmonic vibe.

The instrumentalist who's had the single greatest impact on this particular sound, would no doubt be Robert Glasper who, while being primarily an innovative Jazz pianist has, as musician and producer, been able to seamlessly and organically blend all of the previously mentioned styles, genres and influences together - and bag four Grammys in the process.

In my attempt at understanding what makes this Neo-Soul harmonic vibe what it is, I've created several audio and notational examples (below). As a saxophonist with less than elite two-handed keyboard skills (no Robert Glasper here), the process has been slow-motion, but I think these examples are representative of the style in a basic sort of way.

Example #1 below illustrates the chords and voicings of a 4-bar vamp - over a programmed drum loop and simple bass line at 150 bpm.

Notice that each of the five chord structures is a complete minor 13th chord, containing all seven notes, with none repeated. If viewed horizontally as a scale, they would contain all seven notes of a Dorian mode - the 2nd mode of a Major scale and therefore of the Major scale itself (a whole step below the chord's letter name) as in the first measure (Bb min13 = Bb Dorian = Ab Major scale).

Part of Neo-Soul harmony's secret sauce is the use of polychords (chord over chord ), whereby a chord voicing in the right hand sits on top of one in the left. In the case of the Bb-13 in the first measure below, a C-7 (third inversion) is voiced in the right hand on top of a root position Db Maj triad in the left, and could be written as C-7/Db Maj. The fact that the bass (not shown) is sounding a Bb, is why it´s called a Bb-13 and not a Db Maj7#11. This use of polychords, together with their often non-diatonic movement (non key-based) is what gives Neo-Soul harmony its extra-dimensional sonic perception.

Check out the D-13 in measure #2. The right hand moves from a C min7 to a C Maj7, by moving two notes up by half-steps (Bb to B and Eb to E) while C an G remain as common tones, maintaining the same chordal inversion and shape. This parallel Maj - min (and vice versa) movement is a common sound which recalls elements of early Blues. Two notes in the left hand also moves up by half-steps (Db to D and Ab to A) with F staying put, forming an D min triad (C Maj7/D min = D-13).

Notice the top note of each voicing - the common tone is G, in this case. Another potent feature of Neo-Soul harmony is chordal movement underneath a common top tone, which can get considerably more complex than in this particular example.

Ex #1 - A 4-bar Neo-Soul loop at 150 bpm, using complete minor 13th chords.

In measure #3, both hands simply move down a whole step in parallel to Bb Maj7/C min = C-13, top note F, with an Eb (again not shown) in the bass.

Measure #4 is where things really get interesting. For the first two beats, in the right hand, the top tone stays on F, while the D from the previous chord moves down a whole step to C, the B to Bb and the A to Gb, resulting in a 4-2-5 Super 4 voicing - call it Eb-6 9, while the left hand sounds a fourth chord (aka 027 trichord), call it Ab sus4, resulting (again with Eb in the bass) in Eb-6 9/Ab sus4 = Eb-13.

On the "and" of beat 3, the top note of the right hand slides up a half step from F to Gb. This creates smooth voice-leading back to top-tone G in measure #1. C moves up to Eb, Bb to B and Gb to A#(Bb). This creates, enharmonically, a third inversion B Maj7 chord, with the aforementioned smooth voice leading back to measure #1, via two common tones (Bb/A# and Eb). The remaining two voices slide up a half step (B to C and Gb to G).

In the left hand, Eb nudges up to E while Ab & Db remain common, resulting in an open voiced Db min triad. The overall result becomes B Maj7/Db min = Db-13.

This open left hand voicing closes back up for the return back to measure #1, with the Db dropping down an octave, the E sliding up to F and the Ab remaining common.

Listen

So now that we've got some of the harmonic mystery covered, it's time to check out how one might be inclined to blow over the top of this vamp. The way I see it, there are two main approaches one could take with this:

1) The notes C, Eb, F, G & Bb are common to pretty much each of the 5 chord structures, enough so to make this choice of notes (commonly known as C Minor Pentatonic) a natural basis for melodic improvisation - with C as the key center. This is how a singer or instrumentalist might instinctively approach it, and is stylistically consistent with numerous musical genres. The fact that the bass line in this first example sounds in Bb, actually creates a hip polytonal effect against this pentatonic.

2) The second approach utilizes the full range of melodic material from each of the given minor 13th chords - including scale fragments, triads, 7th & 9th chords, etc. from the various polytonal sources. This approach requires the improviser to be familiar with this material and to be able to make seamless melodic connections between chords / modes. This is the way of the Neo-Soul Jazz Samurai!

Examples #2 thru #4 below illustrate this second approach. Notice how in almost each case, melodic voice leading between chords is by either a whole or half step.

Each example has its own unique bass line, in counterpoint to the melodic line.

Ex #2

Listen

Ex #3

Listen

Ex #4

Listen

The downloadable pdf (links below) contain five more of these examples. Check 'em out!

B. Stern

Download PDF
Bb Concert Eb

Oh...and while you're at it...

Create your own amazing musical lines! The following Shortbooks™ break it down and show you how. Add them to your library!
Available for immediate download!

Hexatonic Triad Pairs - Vol. II

Fourtitude + Lines in 4ths - iii-VI-ii-V

(Ain't no Cure for the) FUNKADOSIS!

Pentalogy

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]]><![CDATA["Coming on the Hudson" - A Johnny Griffin Tenor Saxophone Solo Transcription]]>Wed, 28 Sep 2022 04:00:00 GMThttp://bobbysternjazz.com/blog-b-natural/coming-on-the-hudson-a-johnny-griffin-tenor-saxophone-solo-transcription"Coming on the Hudson" - A Johnny Griffin Tenor Saxophone Solo Transcription

This month's post features a transcription / analysis of Johnny Griffin's tenor saxophone solo on Thelonious Monk's "Coming on the Hudson", recorded live at the legendary Five Spot Cafe in NYC on August 7, 1958. It was released as one of the tracks on the album "Thelonious in Action!". In addition to Monk and Griffin, the quartet was rounded out by bassist Ahmed Abdul Malik and the great Roy Haynes, on drums.

I've been wanting to do a transcription of Griffin's tenor solo on "Coming on the Hudson" for a long time. The tune - which is perhaps one of Monk's most "Monkish" - seemed somewhat challenging to grasp, as far as its form, rhythms and resolutions were concerned. At the same time, it ebbs and flows steadily - kind of like the Hudson River itself - whirlpools and all!

"Coming on the Hudson" sports a quirky 19-bar, AABA song form. Each A-section is 5-bars long, with the bridge, or B-section, being 3 bars of 4/4, plus 1 bar of 2/4. Not your typical standard song form. It's also noticeably devoid of any real ii-V-I harmonic resolutions.

Ex. 1 below (from Hal Leonard's Jazz Play-Along vol. 90, Thelonious Monk Classics), is a notation graphic of Monk's piano voicings, which reveal how the tune is constructed, as well as what Johnny Griffin was working with for his solo.

This example, as well as the examples of Griffin's tenor solo below, are all in concert key.

If the 5-bar A-section isn't unconventional enough for the period, the melodic accents and harmonic rhythms give the illusion that this tune might actually be in something other than 4/4, as given in the time signature.

It feels like:
12 34/ 123 1 / 23 12 / 1234 / 1234 - in other words, a bar of 4/4, followed by 2-bars of 3/4, a bar of 2/4 and 2-bars of 4/4.

Likewise, the B-section - with its 2/4 bar on the end - feels like:
123 1 / 23 12 / 123 1 / 23 - or 2-bars of 3/4, a bar of 2/4 and two more of 3/4.

As it is actually written in 4/4, this breakdown is only to show where the accents fall. Monk plays them throughout the duration of Griffin's solo, as well as on his own. There's always a method to Monk's madness.

Ex. 1 - Coming on the Hudson - Monk's Voicings

"Thelonious in Action!" features some of Johnny Griffin's strongest recorded efforts. Even with the then recent emergence of John Coltrane (who Griffin replaced in Monk's band, when 'Trane rejoined Miles Davis in early 1958), Johnny Griffin was considered among the "top dog" contemporary tenor saxophonists in Jazz at that time and place in space.

Coming up in Chicago and nicknamed "The Little Giant", Griffin was known for his rugged, blues inflected sound and rapid fire execution. He was considered the "fastest gun in the West" (or East), well before Coltrane developed his so-called "sheets of sound". "I like to play fast", said Griff. "I get excited, and I have to sort of control myself, restrain myself. But when the rhythm section gets cooking, I want to explode". This controlled explosiveness is definitely in evidence on these live recordings.

Focusing again on "Coming on the Hudson", it´s apparent that, by the time of this live recording, Griffin had this quirky, asymmetrical tune well tamed. A quick listen to an earlier studio version, recorded some 5+ months earlier (which included trumpeter Clark Terry and baritone saxophonist Pepper Adams, as well as Griffin and Monk), reveals an unfamiliarity by all involved. It´s highly probable that - on this earlier session - it was the first time anyone, other than Monk, had seen the tune.

Fast forward to the Five Spot recording - after weeks or months of it being part of the band's nightly repertoire - and it's clear that by this time, Griffin is tearing it up it like he owns it.

What impresses me most is not only Griff's aforementioned sound and chops, but his rhythmic approach, as well. This is evidenced in the first few bars of his solo (Ex. 2), in which the accents of the eighth-note triplet figures in bar #1 are on the downbeats of 3 and 4 (the intervals involved are perfect 4ths).

In bar #2, he shifts the accents forward by an eighth note triplet, to the 3rd triplet of beats 1 and 2. It's almost too subtle to notice, but... notice it! He continues in bar #3 with a Monkish sixteenth-note tritone containing figure, before outlining the Ab min7.

Ex. 2 - Shifting accents

Listen

The next two examples (Ex. #3 and 4), illustrate Johnny Griffin's ability to creatively and coherently sub-divide the beat into 16th and 32nd notes - and continue to swing in the process.

The scalar sequence beginning on the second beat of bar #23 (over C7), is an exercise in itself.

Ex. 3 - 16th and 32nd note scalar sequence (C7)

Listen

Similarly, Griffin "spits" a series of rapidly descending, diatonic seventh-chord arpeggios (bar #48), again over C7, a bit later in the solo.

Ex. 4 - Spittin' in the microcosmos

Listen

From the tune's B-section, Griff employs whole-tone scale material, beginning on the second beat of bar #68 (3:03). Whole-tone is his scale of choice over this section of the tune in each of his 4 choruses.

Ex. 5 - Whole-Tone on the bridge.

Listen

Recalling his experiences while working with Monk, Griffin explained, "We never rehearsed. You can imagine what could happen with no rehearsals, playing Monk's music. So, of course I'm making mistakes [on the bandstand], and we'd stop and play it again. The club is packed full of people and we kept playing it over and over. I'm making mistakes, but I never felt embarrassed - and the people loved it".

Monk began his first stint at the venue in July 1957, with saxophonist John Coltrane, bassist Ahmed Abdul-Malik, and drummer Shadow Wilson in his group. However, by the time it ended in December, he had lost Wilson to poor health, while Coltrane left in pursuit of a solo career and a return to Miles Davis's group. Monk returned to New York's club scene in 1958 with a new quartet and received an eight-week offer from Joe and Iggy Termini to play the venue again, beginning on June 12.

Johnny Griffin's tenor solo begins at ca. 0:50

He played most nights during the weekend to capacity crowds with Abdul-Malik, drummer Roy Haynes, and tenor saxophonist Johnny Griffin, who had performed with Monk before. Griffin was unfamiliar with all of his repertoire and, like Coltrane, found it difficult to solo over Monk's comping during their first few weeks. During their performances, Monk often left the stage for a drink at the bar or danced around, which gave Griffin an opportunity to play with more space. However, the quartet eventually developed a sufficient rapport and grasp of the set list.
- Wikipedia

That must have really been something to have experienced live and in person!

B. Stern

Download PDF
(complete solo)
Bb Concert

Create your own amazing musical lines!
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Bluesitudes

Beboppin' the 6th / Diminished Scale

The Book of Altered Vol. I

Vertical Structures

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]]><![CDATA[More...SUPER 4!]]>Sat, 27 Aug 2022 21:03:29 GMThttp://bobbysternjazz.com/blog-b-natural/moresuper-4More...SUPER 4!

More SUPER 4? OK, You got it!

Since the release last month of "The SUPER 4" Shortbook™ and blogpost, I've subsequently come across a few additional interesting and potentially useful musical relationships between aspects of this "super" 4-note grouping, known technically as a tetratonic.

Specifically, I've been checking out the effect of expressing them in intervals of a minor 3rd, which divides the octave into four equal parts - forming the diminished cycle.

As mentioned, the results proved to be quite interesting - and musically useful to boot.

As explained in "The SUPER 4" Shortbook™, as well as in the previous post, the four shapes / inversions of the tetratonic reveals 5 basic chord types:

Dom7 13
Maj7#11
min6 9
Dom7 alt
min7b5.

After all, they're really just melodic expressions of time-honored piano voicings to begin with. Why should keyboard players have all the fun?!

In Ex. 1 below, a sequence made up of four identical tetratonic shapes descends in minor 3rds in bars #1 & 2. Each 4-note shape consists of a tritone and a Perfect 5th. This creates a neat, symmetrical, intervallic line which, after several repeats, resolves to a singular tetratonic in bars #3 & 4.

The chord choices, from the five listed above, are interesting in that, while attempting to create some type of ii-V7 movement, I realized that a line with the tetratonics ascending in minor 3rds (instead of descending, as it is here), would lend itself to a more traditional ii7b5 - V7alt (the ACE method).

To clarify that, and hopefully not to confuse; if we were to work backwards from the end of bar #2 to the beginning of bar #1 (creating an ascending line with exact same notes, retrograde or not), instead of B7 13 and F-7b5 in bar #2, we could have D#(Eb)-7b5 G#(Ab)7alt.

In bar #1, it would be A-7b5 D7alt.

In either case, the relationship between bars #1 & 2 remains a tritone.

Ex. 1

All that aside, the ii-V7 harmonic choices for the descending sequences, as they are in Ex. 1, work just fine. The resolution to E Maj7#11 (another one of the 5 chord choices) in bars #3 & 4 sounds smooth and natural as a tonic choice. The whole line reads: bvi-7b5 bII7 13 | ii-7b5 V7 13 | I Maj7#11.

The first two measures are tritone substitutions for each other. Which led me to a startling discovery!

Listen

Two consecutive "SUPER 4" tetratonics a min 3rd apart do not share any common tones. For example, if we combine all the notes of each tetratonic in bar #1 (Ex. 1) and form an 8-note scale, we get:
Bb-C-D-Eb-F-Gb-G-A, which is non other than a Bb Major BeBop Scale, aka Bb 6th/ Diminished Scale.

Are you startled yet? Logically, the same thing would be happening in bar # 2 - a tritone away: E-F#-G#-A-B-C-C#-D# = E 6th/ Diminished (BeBop) Scale.

The significance of this earth-shattering revelation, as far as I can tell, is in the ascending version of this sequence (described above the Ex. 1 graphic), whereas D#-7b5 G#7alt (bar #2) is the ii-V7 of C# min, the relative minor of E Maj. Likewise in bar #1; A-7b5 D7alt is the ii-V of G min - the relative minor of Bb Maj. Make sense?

Whew! I´m glad that´s out of the way!

More SUPER 4 means there's more...

Ex. 2 below again shows the same sequence - four SUPER 4 tetratonics (tritone & P5th) descending in minor 3rds - transposed and rhythmically broken up with triplets and rests. The chords, again chosen from the basic 5, have their roots ascending in min 3rds - in contrary motion to the line itself - before resolving V7-I7 to a Bb7 13 tonic dominant.

Can you tell which 6th / Diminished Scales are in play here?
(Answer: E & Bb, in bars #1 & 2 respectively - the reverse of Ex. 1.)

Ex. 2

Listen

Similarly, a transposed and rhythmically juxtaposed version of same descending sequence is depicted in Ex. 3 below (notice the octave displacement in bar #2). The chosen chords are all of the same min6/9 quality, and descend in parallel with the line itself.

The BeBop Scale equivalents here are C (bar #1) & F# (bar #2).

Ex. 3

Listen

Download PDF

The free, downloadable PDF (link above) contains 9 more versions of this sequence, each transposed and rhythmically modified, for the most part. Download it, check it out, agonize and grow - and remember to have fun doing so.

The SUPER 4 tetratonic is a great little tool for the improviser - allowing for a leaner, meaner set of note choices.

Make it work for you!

B. Stern

For deeper insights into The SUPER 4 and more,
the following Shortbooks™ break it down even further.
Available for immediate download!

The SUPER 4

BeBoppin' the 6th / Diminished Scale

Trichord 027

Oh-2-Slick
(026 Vol. II)

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]]><![CDATA[The SUPER 4 - A 4-Note Swiss Army Knife]]>Wed, 27 Jul 2022 17:46:03 GMThttp://bobbysternjazz.com/blog-b-natural/the-super-4-a-4-note-swiss-army-knifeNew Shortbook™ : "The SUPER 4"
A 4-Note Swiss Army Knife For Improvisers

The “Super 4” is a collection of four tetratonic (4-note) structures, bound together by a consistent set of intervals and their inversions, resulting in a handy, streamlined tool with which to create colorful melodic lines over multiple chord types, while at the same time avoiding some of the more time-worn cliches.

Originating from a set of well known piano voicings, these structures form a quartet of unique 4-note “scales”. Due in large part to the presence of the intervals of a minor 2nd and tritone, they offer a good deal of “bite”.

This harmonic and melodic tension was first fully appreciated by such innovators as Joe Henderson, Woody Shaw, Herbie Hancock, McCoy Tyner, et al in the early 1960s and beyond.

Shown below in Ex. 1, are the Super 4 voicings (call them “shapes” if you will) as vertical chords. Notice that they are inversions of each other - starting with the most closed (C-Db-F-G). Their five most common chord types are listed on top.

Ex.1 – The 4 basic structures / inversions and their shared chord types.

The 5 basic chord types break down as follows:

1) Eb13 – 3rd, 6th (13th), 7th, 9th. As no 11th is present here, this combination works melodically with both natural and #11 - implying Mixolydian or Lydian Dominant colors, respectively.

2) Db Maj7#11 – Root, 3rd, 7th, #11. Implies a Lydian or Lydian Augmented sound.

3) Bb min6/9 – b3rd, 5th. 6th, 9th. Ascending Melodic Minor, as well as Dorian, are the implied colors.

4) A7alt – 3rd, b7th, #9th, b13th. A sub-set of the Altered Scale (7th mode of Melodic Minor).

5) G min7b5 – Root, b5th, b7th,11th, (no 3rd). Implies a Locrian as well a Locrian #2 sound.

The goal of this book is to present these voicings as a horizontal melodic (i.e. scalar) concept, with the single-line instrumentalist in mind. The introductory exercises and sequences - in 12 keys - found in the first chapter are designed to develop technical facility as well as aural familiarity with the shapes and sounds of the Super 4 tetratonic.

Take a close look at Ex. 2

Ex. 2 – The 4 basic structures – mutually exclusive – horizontally from a common tone C.

Shown above are the 4 inversions, as in Ex. 1; this time horizontally, from C as a common tone.

A set of four, unique tetratonic structures is generated - as it is from each step of the chromatic scale. Again, the 5 basic chord types are listed above each grouping.

Underneath, in the spaces between the notes - 1+4+2(+5), 2+5+1(+4), 4+2+5(+1) & 5+1+4(+2) – are numbers that signify the amount of semitones between each note (e.g. C – Db = 1 semitone; Db – F = 4 semitones; F – G = 2 semitones; G – C (octave) = 5 semitones. Hence, 1+4+2(+5).

The number in parenthesis is the number of semitones from the fourth tone in the group to the octave (i.e. G – C = +5 semitones)

This method of labeling is for the sole purpose of distinguishing one structure from the other. Notice that the numbers cycle around and that their order is constant (5 follows 2, 4 follows 1, etc.) regardless of structure.

The interval make-up of each structure from Ex. 2 (within one octave, C – C) looks like:

1+4+2(+5)
1 minor 2nd, 1 Major 2nd, 1 Major 3rd, 2 Perfect 4ths, 2 Perfect 5ths, 1 tritone, 1 Maj 7th

2+5+1(+4)
1 minor 2nd, 1 Major 2nd, 1 Major 3rd, 2 Perfect 4ths, 1 Perfect 5th , 1 tritone, 1 min 6th, 1 min 7th

4+2+5(+1)
1 minor 2nd, 1 Major 2nd, 1 Major 3rd, 1 Perfect 4ths, 1 Perfect 5th , 1 tritone, 1 min 6th, 1 Maj 7th

5+1+4(+2)
1 minor 2nd, 1 Major 2nd, 1 Major 3rd, 2 Perfect 4ths, 1 Perfect 5th , 1 tritone, 1 min 7th

The similarities between structures shouldn't be too surprising. After all, they are inversions of each other.

If we combine the interval possibilities (including the octave) from all 4 structures, we have ten of the twelve possible intervals at hand. The two missing intervals are the min 3rd and the Maj 6th – a tritone relationship.

The descending / ascending sequences in Ex. 3 give a different look at the Super 4 structures from a common tone, and are similar in concept to the X-Centric Pentatonic sequences found in the first few pages of “SUPER! Slick Licks That Stick!”

Ex. 3 – X-Centric Super 4 sequences from a common tone.

Connecting the Super 4 tetratonics to each other musically and logically is an important goal. Ex. 4 is an example of a smooth connection around the Cycle of 5ths.

Ex. 4 – Connecting 514 to 425 - Cycle of 5ths

Another way to view the Super 4 structure is the Perfect 4th / Tritone combination, which essentially combines 026 and 027 trichords.

Ex. 5 – Perfect 4th / Tritone Combination

The next chapter features various ii-V7 versions, illustrating different types of resolutions, while using Super 4 structures exclusively. Ex. 6 shows a straight up minor ii-V7-i in Bb, using Super 4 structures on each chord.

Ex. 6 – Super 4 minor ii-V7-i in Bb.

Listen

In a real-life playing situation, one might normally rely on melodic material from a number of different sources from the complete chromatic palette. Playing through these ii-V7 examples - which are limited to these slimmed down Super 4 structures exclusively - are a perfect way to familiarize yourself with their possible usage and resolutions.

In Ex. 7 below, it seems that the ii7b5 / V7alt will once again resolve to a minor chord as in the previous example - but instead resolves to a Maj7#11 in measure #3.

Ex. 7 – Super 4 ii-V7alt resolving to Bb Maj 7#11.

Listen

The use of an altered II7 in the first bar is effective (Ex. 8). The V7alt, in this case, resolves to a tonic dominant 7th chord (I7) for the final 2 bars – typical of many blues cadences.

Ex. 8 – Super 4 ii-V7alt resolving to a tonic dominant (Bb13).

Listen

Notice how the 4 notes in the first bar of Ex. 9 are the same as those in the first bar of the previous example (enharmonic spellings aside).

Because of the tritone relationship between the two dominant chords (C7alt & Gb7#11) – which, in this case, are both part of the same C# (Db) Melodic Minor scale – they're really both the same chord with different notes in the bass (C and Gb, respectively).

Resolving to a tonic minor chord, this cadence is often found in bars #9 – 12 of a minor blues.

Ex. 9 – Super 4 bVI7-V7alt resolving to a tonic minor

Listen

Finally, a pair of etudes, based on the chord changes of “Invitation” and a “Blues in Super-4”, round out the book in the final chapter. With its melody, minor ii-Vs and tonality, “Invitation” is the perfect study for the Super 4 tetratonic.

“Blues in Super-4” is a 12-bar, two chorus etude, utilizing the 5 chord types previously discussed.

Both etudes are presented in Bb, Eb and Concert keys.

Creating meaningful musical lines with fewer note choices can be fun, challenging and rewarding - especially with an all-purpose tool like “The Super 4”.

B. Stern

Click images to enlarge

The Super 4
(63 pages, PDF)
Purchase & Download

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]]><![CDATA["Nutville" - Joe Henderson's Tenor Saxophone Solo Transcribed]]>Sat, 25 Jun 2022 04:00:00 GMThttp://bobbysternjazz.com/blog-b-natural/nutville-joe-hendersons-tenor-saxophone-solo-transcribed"Nutville"
Joe Henderson's Tenor Saxophone Solo Transcribed

Drawing courtesy of mauricestern.org. Click pic for more info.

Horace Silver's classic, "Nutville" was recorded on Oct. 22nd, 1965 and released as part of his Blue Note album, "The Cape Verdean Blues".

Along with Silver on piano, the hall-of-fame lineup included Joe Henderson on tenor saxophone, Woody Shaw - trumpet, J. J. Johnson - trombone, with Bob Cranshaw and Roger Humphries - bass and drums, respectively.

While the solos by Shaw and Johnson have often been the subject of study, Henderson's brief 4-chorus improvisation is the focus here. Being a tenor player myself, I guess I've always been a little nuts on the subject of Joe.

"Nutville" is a slightly modified, double-time, 24-bar C minor Blues taken at a healthy 280-something beats per minute. The slight modification occurs in the last eight bars of the form (17 - 24, see Ex. 2 below), which features chromatically descending dominants (one per bar) from the bVI7 for four bars , back to a typical bVI7-V7alt-i Minor Blues cadence for the final four measures.

A driving "latinesque" rhythmic figure supports the soloists, subtly changing to a swing feel from the 17th to the 22nd baars of each chorus, returning to the "Latin Tinge" for the final two bars.

A couple of noteworthy spots in Henderson's solo:

Henderson instinctively picks up where Woody Shaw's solo ends. Ex. 1 below begins on beat one of the beginning of Henderson's first chorus (3:02), with Shaw holding over a Bb (concert),

Rolling back about a second (to approx. 3:01), reveals Woody's complete phrase to be - C up to F and down to Bb - an 027 Trichord. Henderson reacts immediately with the exact same trichord and shape - transposed up a whole step (D-G-C). Smokin' Joe works with it as his opening statement - changing accents and rhythm - for the next several bars.

Ex. 1 - Measures 1 - 8 (All examples in Concert key)

In the final eight bars of Joe's first chorus (Ex. 2), he employs simple three-note groupings - simple ascending 5-b7-1 patterns on each of the descending dominant chords. Notice how he varies the rhythm of each in measures 17 to 20, creating a single, balanced 4-bar phrase.

He continues along the same lines from bar 21, over Ab13 - G7alt (bVI7 - V7alt), but doesn't resolve to to the tonic C min (i) as might be expected. Instead, he resolves up a half step (Db min) from the tonal center, using the same trichord grouping. He continues to play with this dissonance for the first few bars of his second chorus.

I don't know if he was called "Crazy Joe" in his day, but I do remember someone fondly referring to some of his lines as being "Cuckoo Crispy".

Ex. 2 - Measures 17 - 24

The graphic below (Ex. 3), from measures 46 - 52, illustrates a classic "Joe-ism" from this period. His effective use of a repeating 6-note motif, in this case - over and through multiple bar lines while shifting accents to different places in the measure - serve to build tension and create excitement.

Ex. 3 - Measures 45 - 52

After a quick pause for a breath in bar 52, Henderson repeats the same rapid motif (Ex 4), whirlpooling into a trill (bar 54 - 55) before spinning out into a hemiola (ever have one of those?), executed flawlessly across the bar lines from 56 thru 60.

Another signature Blue Note era "Joe-ism"..

Ex. 4 - Measures 53 - 60

From measures 72 thru 80 (Ex. 5) - leading into and beginning his fourth chorus - Henderson creates tension with the use of 3-note intervallic groupings in 4ths & 5ths, expressed in quarter note triplets, moving some or all of the notes up or down by a half or whole step at various points along the way.

Ex. 5 - Measures 69 - 80

This four-chorus solo illustrates Joe Henderson's originality on multiple fronts. His use of the techniques described in the previous examples illustrate his profound influence on subsequent generations of improvisers.

A pdf in your choice of flavors (Bb, Concert & Eb) can be downloaded gratis via the links below.

If it doesn't do so automatically, cue the below YouTube vid to 3:01 for the start of Henderson's solo.

Go Nuts!

Download PDF
Bb Concert Eb

B. Stern

For a closer look at even more improvisational elements , the following Shortbooks™
are recommended and available for immediate download.

The Book of Altered

Bluesitudes

Jazzitudes

Trichord 027

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]]><![CDATA[Vamp Like a Champ! - ii-V-iii-VI Arpeggiated Sequence]]>Thu, 26 May 2022 04:00:00 GMThttp://bobbysternjazz.com/blog-b-natural/vamp-like-a-champ-ii-v-iii-vi-arpeggiated-sequenceVamp Like a Champ!
ii-V-iii-VI Arpeggiated Sequence

Let's talk about vamps... and no, I don't mean those nocturnal, pointy-tooth bloodsucker types from Transylvania.

In musical terms, a vamp can be defined as a repeating harmonic or rhythmic sequence, of usually two, four or eight bars. It can be based on a single harmony, a bass riff, or on a series of chord changes.

Vamps are everywhere these days, and have been for a good while. Listen to any contemporary charted pop tune and chances are the bulk of the tune is based on a vamp of some sort. Traditionally, a vamp might function as a song's intro. In our case, it functions as an improvisational vehicle often found at the end of a solo, or at the end of a standard tune, as well.

Two examples that quickly come to mind are Miles Davis' recording of "If I Were a Bell" (short vamp at the end of each solo) and John Coltrane's version of "But Not For Me" (end of solos, as well as 'Trane's extended vamp at the end of the tune), but there are many others..

The 4-bar exercise shown below is but one way to approach this particular type of vamp. It features an arpeggiated sequence, staggered in triplets as min 9th & min 11th chords. Harmonically, the chord symbols could be spelled out in a few different ways, but this one works fine.

Closer inspection reveals this to be a thinly veiled ii-V-I-VI cadence in F, using upper structures against descending roots (bars #1 thru #3), forming tritone substitutions (in bars #2 & #4), with the last bar (which could also be written as Ab13 no 3rd) functioning as the biii turnaround back to ii (G min9) in the first bar.

The downloadable pdf (link below) presents this exercise in all 12 keys.

Listen

Download PDF

The purpose of this exercise is to hear this particular repeating cadence with extensions, and simultaneously get the shape of these staggered arpeggios under your fingers.

Check it out. Good for your ears! Good for your chops!

B. Stern

For a closer look at even more elements of improvisation, the following Shortbooks™
are recommended and available for immediate download.

Vertical Structures

Permutation Station
Vol. I

Changin' Trane's / Retrosteps

Hexatonic Triad Pairs - Vol. II

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]]><![CDATA[Check Your Connections! - Three Multi-Pentatonic Sequences in min 3rds]]>Sat, 23 Apr 2022 04:00:00 GMThttp://bobbysternjazz.com/blog-b-natural/check-your-connections-three-multi-pentatonic-sequences-in-min-3rdsCheck Your Connections!
Three Multi-Pentatonic Sequences in Minor 3rds

As an improviser, the ability to create and smoothly resolve a melodic line between shifting harmonies is about knowing where to "connect the dots".

One off the smoothest and most common of these "dot connectors" is the melodic resolution by a half or whole-step between harmonies.

This can be especially effective when dealing with a harmonic progression which doesn't resolve up or down in Perfect 4ths or 5ths (as does a ii-V7-I); moving instead in Major or minor 3rds, for example.

In this post, we'll take a look at three sequences, made up of Pentatonic scales descending in minor 3rds. Because the interval of a minor 3rd (3 semitones) divides the octave (12 semitones) into four equal parts (12 / 3 = 4), there are four unique Pentatonic scales per Diminished Cycle - of which there are 3 per octave - accounting for all 12 Pentatonics.

The following sequence (Ex. 1) illustrates a series of four parallel Pentatonic configurations, a measure apiece, descending in minor 3rds. Each Pentatonic connects to the next by an ascending half-step (minor 2nd).

Ex. 1 - 4 descending Pentatonics, a minor 3rd part, connected by an ascending half-step (relative min Penta in parenthesis).

The premise is the same in Ex. 2. Here the contour is a bit more jagged, as rests and triplets are employed to break up the constant flow of eighth-notes. The connection point between measures is a descending half-step.

Ex. 2 - 4 descending Pentatonics, a minor 3rd part, connected by an descending half-step.

Ex. 3 takes a completely different route. The two-bar sequences, with a pair of 4-note groupings per measure, represent each of the 4 Pentatonics in that particular descending Diminished Cycle (of which - remember - there are three). In this example, the cycle is F, D, B & Ab Major Pentatonic.

As you (should) know, a Major Pentatonic Scale can be viewed as:

1) The Root - 2nd - 3rd - 5th - 6th scale degrees of a Major Scale.
2) A Major Scale with the 4th & 7th scale degrees (tritone) removed.
3) Four consecutive Perfect 5ths ascending (or Perfect 4ths descending) from the Root
(C-G-D-A-E = C Maj Pentatonic).

Because these "digital cells", consist of only 4 notes, a single note needs to be left out from each (5-note) Pentatonic. As the root of each Pentatonic descends in minor 3rds, the line itself continues to ascend.

The connection point between each subsequent Pentatonic, in this case, becomes the next available ascending note belonging the next descending Pentatonic in the cycle. In the example below, the first cell (F Maj Penta) begins on the note D, the 6th scale degree of F Major. The next 4-note cell begins on the next available ascending note in the chromatic pallet belonging to D Maj Penta (a min 3rd below F Maj) is E, followed by the notes F#-A-B, comprising the 2nd, 3rd, 5th & 6th scale steps of D Major. F#, the 5th scale degree of B Major, kicks off the next cell, followed by Ab, the root of Ab Major.

The next 2-bars continue as the next ascending melodic inversion of this descending Diminished Cycle (F-D-B-Ab). For the full picture, download the free pdf via the link below..

The numbers underneath each 4-note grouping represent the scale steps of that Pentatonic's Major Scale.

Ex. 3 - The first 2 bars of a multi-pentatonic ascending line, over a descending diminished harmonic cycle, using 4-note "digital cells".