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

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.

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.

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 ).

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.

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.

Flip 4 Real! - Using Mordents in a ii-V7-I Melodic Line

3/23/2023

Flip 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.

The SUPER 4 - A 4-Note Swiss Army Knife

7/27/2022

New 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.

"Nutville" - Joe Henderson's Tenor Saxophone Solo Transcribed

6/25/2022

"Nutville"
Joe Henderson's Tenor Saxophone Solo Transcribed

© Maurice Stern. All Rights Reserved

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.

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

10/21/2021

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

Bet you haven't checked your sleeve in a minute!

As an improviser, there are numerous devices that help one to get from points A to B in any particular tune - whether it's a ii-V7 cadence or any other type of harmonic sequence.

In this post, we'll revisit the ACE concept, which can utilize up to 4 different Melodic Minor tonal areas over a common ii-V7-I, resolving to either Major or minor - or both.

By using melodic material derived from several Melodic Minor "keys" you'll introduce tension and dimension to your ii-V7 lines - adding to that of the basic, more vanilla sounding Major Scale modes - which we all still know and love.

"Come Rain or Come Shine" - An All-Weather Etude

8/19/2021

"Come Rain or Come Shine" - An All-Weather Etude

As an improviser, one of the most effective ways to learn and study any tune is to compose an Etude over its chord changes.

This can get you up close and personal with the tune's harmonic structure, as well as its harmonic and melodic resolution points.

It will also reveal where you are in terms of your own aural understanding in relation to where you might want to be (this never stops - it's a continuous process!).

One particular tune I personally wanted to delve deeper into was "Come Rain or Come Shine" - music and lyrics by Harold Arlen & Johnny Mercer. It debuted as part of the 1946 Broadway musical "St. Louis Woman", and has since been performed and / or recorded by just about everyone and anyone. It's enshrined as part of the "Great American Songbook".

Monk's Time Again - "Bye-Ya": A Self Transcription

2/25/2021

Toot My Own Horn Dept.
VAYA! Monk's Time Again - "Bye-Ya": A Self-Transcription

Since I really enjoyed doing last month's post - recording a tenor solo on Thelonious Monk's “Bemsha Swing” then transcribing it and posting them both here - I thought I'd try an encore with another Monk classic - “Bye-Ya”

“Bye-Ya” was originally recorded on October 15th, 1952 and, as with the aforementioned "Bemsha Swing", was initially released as part of the album “Thelonious Monk Trio”. The title given was actually “Vaya”, which remains an expression of positive affirmation in many Spanish speaking cultures – and was anglicized into “Bye-Ya”.

Subsequent versions were recorded featuring tenor greats Johnny Griffin and long time quartet member Charlie Rouse, as well as Steve Lacey's recording on soprano saxophone, but the definitive version - for me - is the 1957 Carnegie Hall concert featuring the immortal John Coltrane. 'Trane knew this tune so well that he was able to deliver his then patented “sheets of sound” - cascades of sixteenth-notes – for almost the entirety of his solo.

Monk's Bemsha Swing - A Self-Transcription

1/28/2021

Toot My Own Horn Dept.
Thelonious Monk's "Bemsha Swing": A Self-Transcription

This post features a self-recorded and transcribed tenor saxophone solo on Thelonious Monk's well known classic. “Bemsha Swing”.

As I hadn't recorded myself in quite a while, I was anxious to turn this into a project. Fortunately, the results passed quality control and I can happily share them here.

The backing track used here is from “Thelonious Monk Favorites – 10 Classic Tunes” (Hal Leonard Jazz Play-Along, Vol. 91). It features the great Ronnie Mathews on piano, Kiyoshi Kitagawa on bass, and Monk's former drummer - Ben Riley. It was recorded, mixed and mastered by the legendary RVG – Rudy Van Gelder – at his studio, where so many iconic recordings where made. Don Sickler, a name associated with many such projects, produced the session. What more could one ask for in a backing track?

Vertical Structures - Scaling the Heights!

9/24/2019

"Vertical Structures" - Scaling the Heights!

Chords and Scales! Scales and Chords! Two manifestations and expressions of the same thing.

Like the age-old "chicken or the egg" argument, it's interesting but unimportant as to which came first.

For the improviser, however, it's essential that he or she becomes fluent with both concepts and can readily visualize and execute each in a creative situation.

"Vertical Structures", focuses on and explores some of the more common scale systems and modes (Lydian, Dorian, Melodic Minor, Harmonic Minor & Major, as well as the half tone/ whole tone Diminished Scale) and presents them (in 12 keys) as selected, extended 13th chord arpeggios and sequences, as well as diatonic 4th stacks.

We Got Rhythm Changes!

7/26/2019

We Got Rhythm Changes!
"Who could ask for anything more?"

Yeah... we got 'em!

"We Got Rhythm Changes!" is this months featured Shortbook™, and if there's any doubt as to its subject matter, the title itself should be clear enough.

The seminal chord changes to George Gershwin's 1930 classic "I Got Rhythm" became popular among swing era musicians of the 1930's and '40's. With creative modifications, they became iconic to the post WWII bebop era and beyond, being referred to simply as "Rhythm Changes".

Next to the 12 bar Blues, the 32 bar AABA standard American song form "Rhythm Changes" became one of the most popular (and flexible) vehicles for improvisation.

Many classic lines or "heads" were composed over "Rhythm Changes". Some of the best known are:

Hexatonic Triad Pairs II - Mixed Pairs

4/23/2019

Hexatonic Triad Pairs II – Mixed Pairs

“Hexatonic Triad Pairs II – Mixed Pairs” is the second volume of exercises and sequences aimed at the improvising musician, exploring the subject and usage of triad pairs. It logically follows the concepts introduced in Vol. I, which focused exclusively on pairs of Maj & min triads derived from the Major Scale system.

Because of the strong tonal gravity of the triad itself, the use of triad pairs creates an alternate, intervallic option to the more linear method of line creation.

The formatting and layout of "Hexatonic Triad Pairs II - Mixed Pairs" is identical to Vol. I. However, the characters and scenery have changed, which alters the story line here considerably, meaning that the exercises, sequences and shapes from the previous volume have been altered to fit the construction of those in this volume.

The 4 triad pair / hexatonic configurations examined here in Vol. II - each derived from a different scale system - are:

Approaches! - A Sound, Musical Approach to Approach Notes

10/23/2018

Approaches!
A Sound, Musical Approach to Approach Notes

The term "approach notes" is exactly what it claims to be: notes that are employed to approach a "goal" or "target note", most likely a chord or scale tone that completes a melodic or harmonic resolution of some sort - either temporary or final.

Approach notes can be a single note or single and double note combinations of chromatic and/ or scale tones which approach the target note from below and/ or above. They are sometimes referred to as "enclosures", since they tend to surround or enclose the intended target note.

Employing the use of approach notes is an important and time tested technique for creating tension and release within an improvised melodic line, through delayed resolution as well as basic ornamentation.

Shortbook of the Month: The Book of Altered

11/26/2017

Shortbook™ of the Month: "The Book of Altered"
Altering your Melodic Minor consciousness

So what is it? The Altered Scale or Melodic Minor? As this debate has raged on for what seems like millennia (no - not Trump's wife), I'm here, as the self appointed final arbiter on the subject (hah!), in order to help set the record straight.

So - as the late great Eddie Harris once said - "Listen Here"!

Since we'd all probably agree that the so called "Altered Scale" (aka "Altered Dominant Scale", "Diminished / Whole Tone Scale", "Pomeroy Scale", and Locrian b4, et al) is derived from the Seventh Mode of Melodic Minor - which is itself derived from the Major Scale matrix - we've pretty much answered our own question.