bobbysternjazz.com - The Jazz Sax & Improvisation Blog of Saxophonist Bobby Stern

Face the Music... and dance to this Melodic Sequence!

4/30/2025

Face the Music... and dance to this Melodic Sequence!

Much has been written in these pages about the 3-note pitch configuration known as the 027 trichord - perhaps more commonly referred to as sus2 and / or sus4 (C-D-G and C-F-G, respectively).

Its intrinsic relationship with the interval of a Perfect 4th, as well as with the Pentatonic Scale, has also been noted.

So, to expand a bit on the topic, let's take a look here at a particular 4-note "pitch collection".

We'll combine a sus2 and sus4 and call it an 0257 tetrachord (C-D-F-G) - 'cause, well... that's what it is!

Have You Met Miss Jones? - She awaits you on the bridge!

3/28/2025

Have You Met Miss Jones?
She awaits you... on "the bridge"!

Have you met Miss Jones? If not - well, allow me to introduce you.

"Have You Met Miss Jones?" - a Richard Rogers and Lorenz Hart song classic - was first introduced in 1937 as part of the Broadway musical / political satire, "I'd Rather be Right".

Having been recorded by artists as diverse - in style and era - as Louis Armstrong and Robbie Williams, "Have You Met Miss Jones?" has since become a Jazz Standard, making its way onto the exalted list of 20th Century songs known as the "Great American Songbook".

What sets "Miss Jones" apart from the rest of the pack is her unique bridge in which the key centers modulate in descending Major 3rds (a song's bridge being the eight-bar "B" section - bars #17 thru #24 - of the 32-bar, AABA "standard American popular song" form).

Mostly 4ths in a line over a very common Chord Progression

2/28/2025

Mostly 4ths
in a line over a very common Chord Progression

For the improviser, the ability to introduce the interval of a Perfect 4th (P4ths) into one's melodic lines is a useful alternative to basic scale running or chordal arpeggios in 3rds (horizontal vs. vertical).

Utilizing 4ths is a time tested option that will "modernize" one's lines - although it's been a staple choice for improvisers since the early 1960s.

It's also helpful to understand the intrinsic relationship between P4ths, the Pentatonic Scale, the 027 Trichord, as well as the Major Scale matrix itself.

Looking for Inspiration? Try Adding Triads!

1/30/2025

Looking for Inspiration? Try Adding Triads!

In this post we'll revisit a fundamental musical compound which never gets old, regardless of one's level or experience.

Talkin' 'bout the triad.

It's no secret that the triad - a 3-note structure comprised of a pair of Major and/ or minor 3rd intervals - forms the cornerstone of functional Western harmony.

Even though this might seem like an elementary concept for some, a full understanding and command of the use of triads - along with their inversions and permutations - are a must for any competent improviser, and as mentioned previously, it's one of the basics deserving of a periodic refresher.

John Coltrane's Tenor Solo on "I Love You" - A Transcription

12/22/2024

John Coltrane's Tenor Solo on "I Love You" - A Transcription

In the holiday spirit, I'm merrily posting a transcription of John Coltrane's tenor saxophone solo on Cole Porter's “I Love You” (in Bb tenor key only, at this point). It was recorded on August 16th 1957 for the Prestige label, during the early part of 'Trane's famed gig with Thelonious Monk's quartet at the legendary Five Spot that summer and fall.

It was also part of a session that included a ballad version of “Like Someone in Love” as well as two takes of 'Trane's Slow Blues”, which made up side-one of the LP “Lush Life” and wasn't released by Prestige until 1961.

Bassist Earl May and drummer Art Taylor round out the piano-less trio.

These sax/ bass and drums trio (known as “strolling”) recordings are some of my favorite Coltrane, as well as those recorded in Oct. 1960, which included “Satellite”, among others.

Yet Another Case for ACE - A Melodic Minor ii-V7

11/23/2024

Yet Another Case for ACE - A Melodic Minor ii-V7

In the dozen years of this website's existence, much has been written in these pages on the use of Melodic Minor harmony.

One of the techniques often cited, when dealing with the ubiquitous ii-V7-I chord progression, is transposing a phrase from the ii chord up a minor 3rd to the V7.

This is sometimes referred to as the ACE method, which defines the ii and V7 chords in terms of their Melodic Minor "keys" and can resolve either to a third Melodic Minor tonic (i) chord, or to Major, as it does in our case here.

A Perfect Line in Fourths - 4 You!

10/25/2024

A Perfect Line in Fourths - 4 You!

The use of consecutive Perfect 4ths (P4ths) is a tried and true method of creating variety and contrast in one's melodic lines.

Harmony in 4ths - known as quartal harmony - was introduced in the early 20th century by European composers such as Ravel and Bartok, among others.

In the 1960s, its use was pioneered by American pianists, most notably McCoy Tyner and Herbie Hancock, and spread rapidly to improvisers on all melodic instruments.

In this post we'll take a look at an example of P4s in a melodic line over a familiar harmonic device - namely the iii-VI-ii-V-I chord sequence.

Augmentation Station: An Augmented Scale Sequence

9/27/2024

Augmentation Station:
An Augmented Scale Sequence

Here's a nifty little exercise, featuring the still somewhat mysterious and enigmatic Augmented Scale.

The Augmented Scale is a six-note symmetrical scale with its interval scheme alternating between augmented and minor 2nds before repeating at the octave (F-G#-A-C-Db-E in F). This interval setup can be flipped to form what's known as the "Inverted Augmented Scale" (F-Gb-A-Bb-C#-D), meaning that 2 different scales can be generated from the same note.

Because the Augmented Triad splits the 12-tone chromatic scale into three equal parts, there are really only four unique transpositions of the Augmented Scale.

The Fix is In - Broken Maj 9 Chords in 5ths, Major 3rds Cycle

8/29/2024

The Fix is In:
Broken Maj 9 Chords in 5ths, Major 3rds Cycle

You've probably heard the saying, "If it ain't broke, don't fix it".

If a "working musician" is not working, he or she might be "going broke", but if we're talking about one who's dedicated - working or not - the decision may be to "go for broke" in reaching musical and professional goals.

In music terminology - which applies to the subject of this post - it ain't "broke" but "broken" in the sense of being disconnected or detached - as in a broken chord.

So if your chords are broken and you're in a fix, but you're fixin' to fix it, then fixate on the next few paragraphs, so that it might become a fixture of your daily practice routine.

A Snakey, Serpentine Warm-Up!

7/30/2024

A Snakey, Serpentine Warm-Up!

While attempting to learn and assimilate any new skill, it's almost always more effective to take in smaller bits of information at a time. A phrase or melodic line, for example, might be broken up into smaller chunks for better digestion.

In this post, we'll take a look at an ascending, snake-like sequence that also functions as an excellent warm-up exercise.

Based on a simple, repeating 4-note cell, it winds its way chromatically in ascending, serpentine fashion.

Messiaen Around With Mode 3 (Super Augmented)

6/29/2024

Messiaen Around with Mode 3 (Super Augmented)

If the number of online videos and articles on the subject is any indication, Mode 3 of celebrated French composer Olivier Messiaen's series of "Modes of Limited Transposition" seems to have seen a recent surge in popularity among improvisers.

A while back, I posted an article detailing my personal discovery of this nine-tone scale by stringing together a trio of 013 trichords, a Major 3rd apart. I had no idea what it was called - nor of Messiaen's modes, for that matter.

Since it was also apparent that it consisted of a pair of overlapping Augmented scales - glued together by a common Augmented triad - I wound up calling it "Super Augmented".

"Stablemates" - The Last 4-Bars of the "B-Section"

5/23/2024

Running Into Ideas
"Stablemates" - The Last 4-Bars of the "B-Section"

Recently, while working through the changes of Benny Golson's classic "Stablemates", I realized the need to zero-in on one particular part of the tune - namely, the last four bars of the B-section.

That part of the form (which is A-B-A) is a succession of descending chromatic ii-Vs, which in order to be navigated through smoothly, needed some specific focus on my part.

As I was trying out different approaches, I stumbled upon a sequence based primarily on the interval of a Perfect 4th, which seemed to work well - actually covering two bars at a time.

Four'll Get You Twenty-Four

4/19/2024

Four'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".

Whispering Familiar - An 027 Trichord Transformed

3/22/2024

Whispering 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.

The Joys of Half and Whole Steppin'!

2/24/2024

The 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.

Directions & Connections - Alternating Triads in a Pair

1/26/2024

Directions & 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 ).

Stocking Stuffer... and a ii-V in a Pair 3!

12/16/2023

Stocking 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!

A Friendly Little I-VI-ii-V Sequence

11/23/2023

A 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.

Monkin' Around With the "Evidence" - A Self-Transcription

10/26/2023

Toot 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!).

Airegin - Six Short Etudes - First Eight of the First Ending

9/22/2023

"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.

Tailor Made - A Simple Melodic Minor V7-I Resolution

8/25/2023

Tailor 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.

Plus Factor - An Augmented Scale Sequence

7/27/2023

+ 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.

Major/ minor: A Diminished/ Blues Scale Hex-0-Tonic

6/23/2023

Major / 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 Return of the Super 4!

5/25/2023

A 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.

Pairing Off! - Fresh Twist, Familiar Combo

4/27/2023

Pairing 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.