"Airegin" - Six Short Etudes
Based on the First Eight Measures of the First Ending
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.
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.
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.
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.
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
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" *
* "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" *
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