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

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).

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.

Go Ye 4th: Fourtitude + Lines in 4ths

9/25/2020

Go Ye 4th: Fourtitude + Lines in 4ths

As the title suggests, "Fourtitude + Lines in 4ths: iii-VI-ii-V7" is a happy fusing of the two named, previously individual Shortbooks™ from 2018 and 2017, respectively.

For reasons pertaining to "virtual inventory management", as well as the compatibility of each volume's subject matter - what was two, now is one.

For a full description of what have become individual chapters of the same volume, see the original blog posts for "Fourtitude" and "Lines in 4ths: iii-VI-ii-V7", which are still in tact, and will remain so.

Now as before, the "Fourtitude" section of the book focuses on exploring the uses of Perfect 4th pairs in creating melodic lines.. This concept occasionally overlaps with that of the recent Shortbooks™, "Trichord 027", "The Cycle - 101" and "Pentalogy", which all link the interval of a P4th and the Pentatonic Scale inherently.

Along with P4ths, the section on "Lines in 4ths" allows for Augmented 4ths (tritones), as well as diminished 4ths (sounds a Maj 3rd) in the creation of lines over the familiar iii-VI-ii-V7-I chord progression.

Trichord 027 - A Fresh, New Old Piece of Musical Language

7/31/2020

Trichord 027 - A Fresh, New Old Piece of Musical Language

As I hinted in last month's post, a new book on the subject of the 027 Trichord, conceived with the improvising musician in mind, might soon be forthcoming.

Well, you can now stop holding your breath (you've got your mask on, right?!), 'cause here it is!

With the straightforward, no nonsense title "Trichord 027", this new volume features all of 111 pages of introductory to advanced exercises, sequences and melodic lines, based on combinations and permutations of this familiar, contemporary sound.

The close relationship of the 027 Trichord with both the interval of a Perfect 4th and the Pentatonic Scale is highlighted in this volume, as is its symmetry within a 12-Tone Row.

Changin' Trane's / Retrosteps - New Edition Revised & Combined

5/31/2020

“Changin' Trane's / Retrosteps”
New Edition Revised & Combined

This edition of “Changin' Trane's / Retrosteps” combines two previous volumes - “Changing Trane's” and “Retrosteps” - a collection of sequences and exercises based on the “Cycle of Major 3rds” - both Descending (aka “Coltrane Changes” or “Giant Steps Changes”) and Ascending (dubbed here as “Retrosteps” or “Reverse Coltrane Changes”).

The vast majority of sequences here have been tweaked, updated and improved from the originals.

For blog posts describing the original editions of each book, follow the links for each title above. Further examples are given below.

Oh-Two-Six (026) - An Improviser's Guide

2/27/2020

Oh-Two-Six (026)
An Improviser's Guide to Practical Usage of the 026 Trichord

Since the inception of the improvisational art form we know and love as “Jazz”, melodic and harmonic techniques have steadily expanded in all directions – in some cases even disappearing altogether.

Presently growing within the collective consciousness of many contemporary improvisers (guitarist Bruce Arnold and saxophonist John O'Gallagher lead the way), is the awareness and usage of the 12-tone techniques pioneered by the early 20th century European “serialist” composers – Berg, Webern & Schoenberg - being the most prominent among them.

The basic premise of this system is the construction of 12-tone rows – the 12 tones of the chromatic scale as equal entities, non-repeating and organized into different “pitch class sets”, or note groupings of varying lengths.

Jazzitudes 3 - Ten More Solo-Styled Jazz Etudes With Attitude!

1/29/2020

"Jazzitudes 3"- Ten More Solo Styled Jazz Etudes With Attitude!

The ten original, solo style Jazz etudes “with attitude” found in this, the 3rd volume of “Jazzitudes”, are based once more, on the chord changes of familiar, time honored Jazz & Pop standards.

Each etude is presented in C, Bb and Eb versions.

Creating etudes over a familiar set of chord changes is a practical method of “transcribing one's mind”, as well as a vehicle for employing different musical concepts in a musical manner. While not all concepts might be stylistically relevant to a given musical situation, many of the concepts found in previously published Shortbooks™ are employed successfully here within these various etudes.

0 1 3 Calling...Super Augmented!

11/29/2019

0 1 3 Calling...Super Augmented!
An Introduction to the 013 Trichord & Super Augmented Scale

The scale in the title of this latest Shortbook™ was originally referred to as "Super Augmented" in a previous blog post from several years ago.

Among other names, it's been identified primarily as the inverse of Messaen's 3rd mode of limited transposition, as well as "Tcherepnin Nonatonic Mode 1", "Genus Chromaticum", and "Augmented Nine".

I'll still go with "Super Augmented", however, since among other aspects of its scalar construction, it contains two overlapping 6-note Augmented Scales, linked by a common Augmented triad.

"Pretty super!", I'd say. It also contains a trio of 013 Trichords, a Major 3rd apart - forming a 9-note (nonetonic) scale.

"But..what", you ask "is an 013 Trichord?" Or - better yet - what is a trichord, period?

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:

Your Daily Bread - 100% Whole Tone

5/29/2019

Your Daily Bread - "100% Whole Tone"

OK, let's put a bit o' butter on the subject, shall we?

This month's Shortbook™ "100% Whole Tone" explores some of the improvisational possibilities and applications of the somewhat ignored and under appreciated Whole Tone Scale.

The Whole Tone Scale, as you may know, is a symmetrical, hexatonic (6 note) scale in which the intervallic distance between each of its inherent tones is that of a Major 2nd, or whole tone. Its layout is palindromic, meaning that its interval makeup is the same ascending as it is descending, regardless of its starting note, or "root".

Because of it's lack of certain basic intervals derived from the natural overtone series, such as the perfect 4th & 5th, the Whole Tone Scale has a somewhat ethereal quality, but could be seen as being melodically and harmonically limited or even boring to some degree.

However, it might also be compared to the two Knights on a chessboard - unique, quirky and extremely effective when used properly - especially in tandem with each other.

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:

Hexatonic Triad Pairs: Vol. 1 - Major Scale Pairs

3/21/2019

Hexatonic Triad Pairs: Vol. 1 - Major Scale Pairs

The concept and technique of Triad Pairs has been a tasty topic, the seeds of which have borne fruit for many an inquisitive improviser since they were first sown into the music's fertile vernacular in the late 1950's and early '60s, with more widespread usage coming somewhat later.

The term "Hexatonic Triad Pairs" is actually a redundant phrase, or something known as a "pleonasm". It is, however, accurately self-descriptive and rolls off the tongue quite easily.

A true triad pair - which is formed from 2 adjacent triads and therefore comprised of 6 non repeating notes - always results in a hexatonic (6 note) scale. On the other hand, a hexatonic scale, being any scale of 6 notes, doesn't always yield a triad pair.

Triadicisms II - Minor, Augmented & Diminished Triad Workout

1/23/2019

Triadicisms II - Minor, Augmented & Diminished Triad Workout

As the first not-so-Shortbook™ (139 pages) of 2019, “Triadicisms II”, is the second volume and logical extension of “Triadicisms, Vol. 1” (which features exercises and sequences focusing exclusively on the Major Triad).

Formatted along similar lines, this new volume presents individual chapters featuring the “other” three – namely, Minor, Augmented & Diminished Triads.

As mentioned in the previous post, the triad is the building block of Western harmony, as it characteristically exerts a strong harmonic “pull”, regardless of its function.

Triads can also be part of a larger, more complex (7th, 9th, 11th, or 13th) chord as an extension or upper structure.

Triadicisms - Vol. 1: Major Triad Workout

12/23/2018

Triadicisms - Volume One: Major Triad Workout

A Triad is defined as the combination of 3 notes, usually expressed in 3rds, either simultaneously as a chord, or as a single note arpeggio.

If the interval - the resulting combination of 2 notes - is considered the foundation of the melodic line, then the triad is certainly the backbone of Western harmonic function.

Because triads have such strong tonal gravity, they are a powerful means of creating colorful melodic lines – both “inside” or “outside” of a given key center.

It's therefore of primary importance for the improviser to be comfortable and proficient with all aspects of triads, including their inversions and permutations. This should lead to the eventual understanding of how they function, not only as the bottom part (root, 3rd & 5th) of an extended chord (7th, 9th, 11th & 13th), but as the extensions themselves.

Although this might sound like a pretty basic topic to an advanced improviser, it's always a good idea to review the subject from time to time, as well as to include triad sequences as part of a daily practice or warm-up routine.

It's amazing what one might (re)discover.

Fourtitude - "Fourtification" for Improvisation

11/22/2018

F o u r t i t u d e
"Fourtification" for Improvisation

This month's Shortbook™, "Fourtitude" (I know, fortitude) explores various methods of utilizing the interval of a Perfect 4th (C & F) in pairs to create captivating and original melodic lines and sequences.

Becoming an important part of the improviser's toolbox in the early 1960's - most notably through innovations by pianist McCoy Tyner and others - mastery of the Perfect 4th (P4th) remains an essential and challenging skill set for the present day improviser.
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In the late 19th and early 20th Centuries, harmony based on fourths, known as Quartal Harmony, had been introduced via the symphonic works of several renowned European classical composers; namely Claude Debussy, Maurice Ravel and Bella Bartok, being a few of the most prominent.

As mentioned, the focus of "Fourtitude" is the combining of Perfect 4th pairs to create lines that weave seamlessly in, out and through the underlying harmonic structure; but before we get to the good stuff, let's take a look at what makes a Perfect 4th so "perfect" in the first place.

Shall we?

UPDATE: "Fourtitude" has been combined with "Lines in 4ths: The iii-VI-ii-V-I Progression" as a single 98 page pdf volume "Fourtitude + Lines in 4ths: iii-VI-ii-V7"

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.

Double Harmonic Major - An Ancient Futuristic Melodic Source

9/21/2018

Double Harmonic Major
An Ancient Futuristic Melodic Source

Throughout history, the scale known theoretically as Double Harmonic Major (aka Byzantine Scale, Melakarta #15, Ionian b2 b6), has been a prominent ingredient in numerous musical cultures around the world.

This scale (and its modes) is the Western equivalent of an early tone collection that is indigenous to Greece, Turkey and the Balkans, as well as North Africa & India, where in the south (Karnataka), it's the first scale (Melakarta) taught to young Carnatic music students.

Because of its unique interval make-up, consisting of four Augmented 2nds, as well as its resulting "Eastern" flavor (to Western ears, at least), it has remained a challenge to harmonize in the normal fashion, as many of the usual harmonic cadences and resolutions are not available or functional within its scale system. At the same time, it remains as a largely untapped source of inspiration and material for the improviser and composer willing to investigate and experiment.

There Ain't No Cure for the "FUNKADOSIS!"

3/16/2018

There Ain't No Cure for the "FUNKADOSIS!"

El yambu no se vacuna

Recently, while paying a visit to the office of Dr. Fredonious P. Funkenbutta, my family doctor, for my bi-centennial checkup, I was greeted with some rather alarming news.

Son,” he informed me, “according to our diagnosis, you've got an acute case of ...the Funkadosis!”

As this came totally unexpected, I was naturally in somewhat of a state of shock; especially since he had called me “son” - he was young enough to be my son.

"You can relax!" he ordered. "It won't kill ya! You should be aware, however, that unlike neurosis, psychosis, halitosis or B.Osis, ...there ain't no cure for the Funkadosis!”