More Blues Minor - The Coal, Hard Sax!

Picture Miner Blues - The Coal Hard Sax
This post could be considered as an addendum to "C Minor Blues - The Last Four" from a few weeks ago.

This 4 bar mini-etude didn't make the cut, only because it was conceived at a much slower tempo (ca. quarter note = 120) as in, for example, Joe Henderson's "Out of The Night" or  "Bags & 'Trane", than the dozen or so in that post.

It does, however contain the same premise; being based on bars 9, 10, 11 and 12 (bVI7-V7-i-i) of the type of medium tempo Minor Blues as those tunes named above.

This one contains a single, four bar phrase, presented in 12 keys, with a 16th note feel.

It works really well as a warmup type exercise.


 
 

Got the Digits?
Melodic Minor Tonic to Dominant (i-V7alt) Digital Patterns

Picture"Dig It All! Re: Doo-Doo" painting by Fo-Toh Zjiap
The Melodic Minor scale, being in reality, an "altered" Major scale (with a flatted 3rd), translates those alterations from Major to it's phrases and melodic patterns as well.

This exercise is a technical study in the use of inherent Melodic Minor "1235 type" "digital patterns" over a common Tonic to Dominant (i - V7alt) harmonic movement, aka the "A" sections of "Softly as in a Morning Sunrise", or "A Night in Tunisia" (which has a bII7 sub for its V7).

By "digital patterns", I don't mean "ones and zeros" or Boolean Algebra; just good ol' analog left and right hand "digits", more commonly known as fingers.

While one might be familiar with the common Major Scale "digits" (ie, 1235 4568, 2346 5679 and so forth), the altered Melodic Minor versions of these same patterns might be less familiar, both in feel as well as sound.

The downloadable exercise is designed to familiarize oneself with these Melodic Minor "altered" digital patterns.


 
 

B. There! - "Invitation" - The Last Eight

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Here's another in a series of "Last Eight" (or "Last Four") groups of etudes; designed to zero in on a certain section of a particular tune, where the chord / scale choices and their connectivity might be somewhat ambiguous, and might in general, might make you say "Huh?!"

This time, we'll take a look at the well known and oft played standard "Invitation", by Bronislau Kaper, the Polish born film composer who also wrote "On Green Dolphin Street'.

At the very end of last year, I posted an etude based on the complete set of changes of "Invitation" (here), for what it's worth.

The last eight measures (and especially the last four) of "Invitation" used to make me scratch my head (I'm sure it wasn't dandruff, or worse), before I knew how to recognize and handle Melodic Minor chord / scale relationships in these situations.

And if you didn't already realize it "Invitation" is a Melodic Minor lover's dream!


 
 

Tweet 'Dis! See Myna Fuddah Boids!
C Minor Blues - The Last Four

Picture"See Myna Blues" Bird
Hello "Bird" Lovers!

Actually, the subject of this post is neither the bird, the man, nor his "Ornithology".

Rather, based on the positive reaction to recent posts (here & here), which take 8 bar sections of tunes for study and analysis, this one focuses on the last 4 measures of a typical "Mr. PC" type C Minor Blues (bVI7-V7-i), for which I've scribbled out a dozen (12, count 'em) 4 bar mini-etudes.

A good precursor to this post, and where you'll find the basic premise for this exercise, would be this post from 2013, which deals with the same VI7-V7-i movement, with the accompanying exercises focusing on the Melodic Minor derived Pentatonic b6 mode.

It's probably a good idea to check that one out, as there isn't much to add here in the way of a basic harmonic breakdown.

The dozen lines presented here are a bit looser in their scale choices, although Melodic Minor still predominates.

After all, it is supposed to be a Minor Blues, right? ...o
r a piece of one, anyway.


 
 

Joe Henderson's
"Black Narcissus" - The Last Eight

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Joe Henderson's "Black Narcissus" is a delicate jazz waltz and one of the legendary tenor saxophonist / composer's better known compositions.

Originally recorded on May 29, 1969 and released as part of Henderson's album "Power to the People" (which included Herbie Hancock, Ron Carter and Jack De Johnette) on the Milestone label, Joe recorded it several times subsequently. That includes the 1974 version, recorded in Paris and featured on the album of the same name.

It has since been covered by many by other artists.


Although completely different
in emotional intent, scope and style, "Black Narcissus" has striking similarities in compositional structure, as well as harmonic usage, to another one of Henderson's classics, and the subject of an earlier post; namely, "Inner Urge".


I had heard different versions of "Black Narcissus" for years before actually trying to learn it myself. At that point, I realized that this simple sounding tune necessitated some closer scrutiny; especially after hearing many improvisers trying to "ramrod" their way through the last eight measure, "B" section of the tune.


 
 

One Cool Warmup.....Comin' Up!!

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Here's a nifty little chromatic warmup exercise, great for getting those icicles out of your fingers any time of the year.

It can be worked in over a iii-VI-ii-V7-I (in C: E-7 A7 / D-7 G7 / C / C ) progression, and the breakdown is pretty straightforward.

Question: What's 4 measures long, contains all 12 notes, includes a descending Maj7+5 arpeggio, a descending dim7
arpeggio and ends on the Major 3rd of the key?

Uhhhhhh............Give up?

Just keep on reading and the truth shall reveal itself (...and maybe even set you free!)
.


 
 

Unidentified Descending Shape (UDS)
Landing Near You
Origin determined to be from the planet Tritonius Minorus in the Diminished Scale System, according to reports from Deep Space b9

PictureIdentified as Unidentified Descending Shape (UDS) by Deep Space b9
Don't jump out the window just yet...........!

Swap that tricorder for a trichord and check out this supplementary exercise based on my last post, which deals with a hexatonic scale comprised of two minor triads, a tritone apart (C- & F#-).


As this scale seemed to have been nameless,
for lack of one better I dubbed it the "Tritone Minor Scale".

It's close resemblance to it's likewise Diminished Scale offshoot cousin, the more popularly known "Tritone Scale" (2 Major Triads, a tritone apart), confirms its DNA and keeps it in the family.


The descending shape used for this exercise is the same one used on a different scale in an earlier post, and is a hip way to let your fingers run through the intervallic construction of any scale, regardless of how many notes it contains.


 
 

Who Put the "Hex" on My Hexatonic?
(Tritone Minor, That's Who!)

Picture"Impression of Mr. Eerius N. Hedlace at the Piano''. Painting by Pho-Toh Ziap
Here's an interesting and useful hexatonic (6 tone) symmetrical configuration, which I came across recently:

C-Db-Eb  F#-G-A


This scale is actually a derivative of the half tone / whole tone diminished scale, with the E - Bb
tritone removed:

C-Db-Eb (E) F#-G-A (Bb)

In 12 tone set theory, it would be seen as a pair of 013 trichords spaced a tritone apart.


As a triad pair, it consists of 2 minor triads, a tritone apart: C-Eb-G / F#-A-C#

And, if you haven't already noticed, our new friend turns out to be the dark, mysterious, little known first cousin of what has become commonly known to improvisers as the "Tritone Scale", a likewise hexatonic formation; made up of 2 Major Triads a tritone apart (C-E-G / F#-A#-C#) and derived from the same diminished matrix.

As you will see and hear, there is a large qualitative difference between these two "relatives".


I haven't yet found any other names for an exact match to this scale (Slonimsky p.2 #6, no name. Several Carnatic Ragam come close, but no incense).

That's why
I, hereby, take it upon myself to christen it (drum roll).................


"The Tritone Minor Scale" (e.g. C Tritone Minor, F# Tritone Minor, etc.).

Pour the champagne and strike up the band!



 
 

On Ramp, Off Ramp - ii-V7 Fourth Cycle Vamp
Sill inspired by "A Study in Fourths" by Walter Bishop, jr.

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Since I realize y'all can't get enough of this 4th thing, and as I'm on somewhat of a roll with the subject, I thought I might just continue along this line of thought from the point where we left off last time.

I promise I'll give it, and the esteemed Mr. Bishop, a break after this.


Anyway, it occurred to me that measures #3 & 4 (D-7 / G7) of that exercise contained a complete, uninterrupted 12 tone cycle in perfect 4ths.

"So?!", you say.

"So" I say, "let me see if I can conjure up a few more lines like that one, over a ii-V7 cadence, which use the complete 4th cycle and which resolve to the tonic (I).

Of the 5 lines presented here, each starting on a different diatonic scale tone, 4 of them employ a complete 12 tone cycle in perfect 4ths; while the fifth (line 4) uses a number of shifts and rests, resulting in a series of 027 trichords.

The coolest thing about using a complete 4th cycle in these cases, is that the cycle, being a 12 tone row, contains all twelve notes of the chromatic scale; meaning that it also contains all of the eleven possible note choices, plus one, available for an altered dominant (V7alt) chord.


 
 

A Curious Case of Temporary Outness
in the 4th Dimension

Inspired by "A Study in Fourths" by Walter Bishop, jr.

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As with these two previous posts (here and here), this particular exercise covers improvisational techniques utilizing the interval of a perfect 4th, inspired by the legendary pianist and composer, the late Walter Bishop, jr., and his currently out of print book, "A Study in Fourths".

If you are unfamiliar with Mr. Bishop and his contributions to the music and its vocabulary,
this is a must see video, whatever your instrument happens to be.

While Walter Bishop, jr. certainly wasn't the first to come up with the concept of using fourth cycles as a tool for improvisation, his legacy as a contributor to the concept lives on, through his book, as well as the above linked instructional video.

In this case, we're talking about working some of these modified fourth cycles over a common, six measure iii-VI-ii-V-I chord progression.