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

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.

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.

Shortbook of The Month: "C H R O M A T I X" - A New Ear's Resolution

1/20/2018

Shortbook™ of the Month: "C H R O M A T I X"
A New Ear's Resolution

As the initial Shortbook™ of 2018, "Chromatix", as the title suggests, focuses on the technique and improvisational usage of chromaticism (referring, of course, to the 12 note Chromatic Scale).

It provides a window into the myriad combinations of lines and sequences that can be constructed with the close intervals of a minor and Major 2nd, as well as min. & Maj 3rds.

As a result, "Chromatix" is first and foremost, a collection of 50 technical exercises, designed to get into the "cracks and crevices" of your fingering technique - regardless of your chosen instrument.

Chromaticism (from the Greek word chrōmatikos - meaning "multicolored"), has been a part of the improviser's palette since Louis Armstrong introduced it in his early recorded solos from the 1920's.

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.

Shortbook of the Month: The Cycle -101

10/28/2017

Shortbook™ of the Month: "The Cycle - 101"
A hundred & one thrilling trips around the Cycle of 5ths

Finally completed, this month's Shortbook™ is entitled "The Cycle - 101", both the subject and contents of which is "one hundred and one creative exercises & sequences, designed to transport you around the Cycle of Fifths" (Just like the well-bred gentledudes on the left).

The so called "Cycle (or Circle) of Fifths (or Fourths)" is one of the primary building blocks, melodically and harmonically, of what's become the basis of Western Music.

Derived from the natural harmonic series, the interval of a Fifth is the first overtone, or partial, that occurs after the octave, (i.e. C - C - G......). The Fifth has been "instrumental", with the advent of equally tempered tuning, in forming the Western sense of pitch, and ultimately - harmony.

Shortbook of the Month: Augmented Scale Reality

7/26/2017

Shortbook™ of the Month:
Augmented Scale Reality

"Augmented Scale Reality", this months Shortbook™, is - at 100 pages on the nose - starting to make these so called "short books" seem not so short after all.

Considering that the previous Shortbook™, "Changing Trane's" was also 100+ pp - could this possibly mean more bang for the buck?

Judging from the quality and quantity of the material in this book, I'd say that's a reality!

So here's a taste of "Reality" by way of the book's introduction, including several notation and audio examples:

The six note (hexatonic) symmetrical “Augmented Scale” has been, historically speaking, somewhat of an enigma to practitioners of modern improvised music. While it has shown up in the works of several noted late 19th, as well as early 20th century classical composers, noted examples of its usage in jazz have been limited to but a handful of the most common “cliches”.

Changing 'Trane's - The Cycle of Descending Major 3rds

5/23/2017

Shortbook™ of the Month: Changing 'Trane's - The Cycle of Descending Major 3rds

If you are reading this, it probably means that you are, to some degree, already familiar with the short harmonic progression that has come to be known alternately as "Coltrane Changes" or "Giant Steps Changes".

Among self proclaimed theory nerds (such as yours truly), it's also known by its more accurate description, namely "The Cycle of Descending Major Thirds", which is in fact, exactly what it claims to be.

Made famous by legendary saxophonist and innovator John Coltrane, he crafted the cycle into a number of his own well known compositions, which were all recorded between March, 1959 and late October, 1960 on the Atlantic label. One of the earliest and most influential among them being, of course, “Giant Steps”.

Lines in 4ths - The iii-VI-ii-V-I Progression

4/23/2017

Shortbook™ of the Month: Lines in 4ths
The iii-VI-ii-V-I Progression

The interval of a perfect 4th has been an important melodic and harmonic component of the improvising musician's language since the early 1960s, being introduced to the idiom and popularized by pianist McCoy Tyner, and featured in the compositions and solos of pianists Herbie Hancock & Chick Corea (among others); B3 organist Larry Young; saxophonists John Coltrane, Joe Henderson, Wayne Shorter and Joe Farrell; as well as trumpeter Woody Shaw and guitarist Karl Ratzer, to name just a few.

A good bit of info on the subject has already been posted on this site, and in order to avoid a trip to the Office of Redundancy Office, the dozen or so posts are all linked under the "Fourths" category. Check 'em out!

The exercises contained in this post are from a new Shortbook™, which is in the form of 12 individual melodic lines in 4ths, over the basic premise of the familiar iii-VI-ii-V-I chord progression and transposed into all twelve keys.

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

Bach to Basics - BeBoppin' the 6th / Diminished Scale

2/13/2017

Bach to Basics - BeBoppin'
the 6th / Diminished Scale

Johann Sebastian Bop (1685 – )

For those who are familiar with the so called “Bebop Scale” this may not come as a revelation; but then again - it still just might.

For the uninitiated, a basic Bebop Scale is a Major scale with an added passing tone between the 5th and 6th scale degrees (Ab in C Maj.). The reason for this added half step is so that when the scale is played in eighth or sixteenth notes in either direction over a Major tonality, the Maj chord tones (scale steps 1-3-5 & 6) will fall on down beats. As such, the scale can originate on any of the chord tones with the same effect.

There is also the Dominant Bebop Scale, used over unaltered dominant 7th chords which inserts a passing tone between scale steps 7 & 8 of the Mixolydian mode (steps 4 & 5 of the Major Scale).

Also on the Bebop Scale hit parade is the Dorian Bebop Scale (3 & 4), as well as the Aeolian (Natural Minor) Bebop Scale (7 & 8). Unsurprisingly, all three are modes (V, ii & vi respectively) of the Major version, and while I wanted to point them out, they're not really relevant to this particular discussion; so... (see above picture).

Unintended Intro - iii-VI-ii-V Descending Four-Note Sequence

1/19/2017

Unintended Intro - iii-VI-ii-V Descending Four-Note Sequence

Here's an exercise sequence which utilizes a melodic cell of four notes (pentatonic minus one) per measure (except for the 4th & 8th bar, which uses four notes per chord), descending over, under, around and through a iii-VI-ii-V7 cadence.

It's basically a four bar sequence which repeats with rhythmic, melodic and directional variations the second time around.

The idea here is to maintain the integrity of the four note cell per measure / chord, while connecting the following measure / chord via a descending (mostly) whole or half step.

This results in the overall descending shape of the line.

Diminished Perspective vs. Altered Reality - The Fight For Dominants

12/26/2016

Diminished Perspective vs. Altered Reality
The Fight For Dominants

“Dominants”…as in V7, dominant seventh, etc., dig? And I'll bet you thawt I coodent spell!

Referring to none other than the Diminished vs. Altered Scale, I've been privy to recent discussions as to which one is the more suitable choice to express an altered dominant chord.

Therefore, I thought we might get these two dominant scalar heavyweights to slug it out in the ring for 13, or maybe even b13 rounds. This is a telling number, but we’ll get to that momentarily.

In the near corner, wearing the purple trunks, hailing from Symetria, Octatonia – the octatonic Diminished Scale, aka Auxiliary Diminished, Diminished Dominant, Half Step/ Whole Step. He’s been called other things, as well.

This guy is known to have a pronounced split personality, which actually works to his advantage once he swings into full action. If his initial move is a whole step, he falls into predominantly diminished 7th chord patterns.

For Your High-Ness: An Etude on "Someday My Prince Will Come"

9/20/2016

For Your High-Ness:
An Etude on "Someday My Prince Will Come"

"Heah come da Prince!"

This is yet another solo style etude, which I this time fashioned from the chord changes of the popular Standard American Song, "Someday My Prince Will Come".

This tune has been in my repertoire for a while, but I started to take a closer look at it recently, for reasons I'll get into.

The music for "Someday My Prince Will Come" was composed and scored by Frank Churchill back in 1937 for the first ever full length animated Disney movie, "Snow White and the Seven Dwarfs".

I don't think I've ever actually seen the whole movie myself, but I think we all grew up knowing about little Ms. White and her seven vertically challenged buddies (Sleepy, Creepy, Peepee, Goofy, Doofy, Humpty & Dumpty....I think - off the top of my head; no?!?!?).

In any case, Someday My Prince has been a staple for improvising musicians and singers and has been recorded often - the definitive version possibly being Miles Davis' 1961 recording on Columbia (featuring tenor solos by both Hank Mobley and John Coltrane) from the album of the same name.

Monk's "Skippy" - The Etude

8/17/2016

Monk’s “Skippy” - The Etude

Based on a previous post, which included a breakdown of Thelonious Monk's challenging original, "Skippy", I finally got around to putting together a one chorus, 32 bar "solo style" etude, as a means to decipher ways to navigate the changes of this roller coaster ride of a tune.

Monk's only recording of "Skippy" was from the 1952 Blue Note session that was released as part of "The Genius of Modern Music, Vol. 2", and which included an alternate take of the tune, as well.

As I've mentioned elsewhere, composing an etude for oneself can be extremely beneficial, in that it slows down the improvisational process and allows one to better see, hear and comprehend certain melodic and harmonic connections and how they tend to resolve - or not.

It's kind of like transcribing your own mind.

A Line in Fourths ii-V7 - 027 Trichords

7/14/2016

A Line in Fourths ii-V7 - 027 Trichords

This 4 bar melodic line is built predominantly on the interval of a perfect 4th, wrapped neatly within the confines of various 027 (Major Scale steps 1-2-5) trichords (3 note groupings) and their inversions.

As a technique for melodic and harmonic improvisation, 027s began to show up regularly in the early to mid 1960's in solos and compositions of such pioneers as McCoy Tyner, John Coltrane, Joe Henderson; Woody, Wayne, Herbie .....y'know; them guys.

The use of the 027 trichord, as a basic melodic unit, was and is a practical way to break free of the standard bebop scalar motif approach. It not only opens the door to a more intervallic melodic line (perfect 4ths, pentatonics), but can easily lead to the creation of an inside-outside (and vice versa) tension and release approach to building improvised and composed melodic lines; not to mention the potential for piquing ones interest in other types of trichord units (013, 025, etc).

Shape Up! - A Melodic Minor ii-V7 Shape

5/22/2016

Shape Up! - A Melodic Minor ii-V7 Shape

Here's a four bar Melodic Minor ii-V7 "shape" that will get and keep you in shape - and you don't even need to join a gym, Jim!

The simplicity and symmetry of this little shape make for a perfect warmup type exercise, especially when taken through all the keys.

If you're looking for a way to familiarize yourself with the sound and feel of a Melodic Minor ii-V (using two different Melodic Minor scales), right here might not be a bad place to start.

Playin' the Angles! - An Angular, Intervallic ii-V7-I Line

4/12/2016

Playin' the Angles!
An Angular, Intervallic ii-V7-I Line

"Angular" by Stephen Younts

This nifty little 4 bar ii-V7 line is based on a somewhat angular shape, which is almost identical for both the ii and the V chords.

The line's angularity is due to the absence of any consecutive 2nds (Maj. or min.), with the bulk of its interval content being comprised of different qualities of 3rds and 4ths.

This, however, is not a line built on a four or five note scale. Rather, the ii chord contains 6 out of the 7 diatonic note choices from the dorian mode, while the V7 contains all 7 from Melodic Minor (altered scale).

One of the beauties of this line lies in observing how, while moving from the ii to the V7, the scale tones become altered on the dominant side, while the integrity of its shape remains intact.

A Cool Tonic for Your PentaUp b6

1/14/2016

A Cool Tonic for Your PentaUp b6

Here's another in a series of Pentatonic lines aimed at stomping out the flames "Vitamin" b6 deficiency.

It's not supposed to be some sort of "snake oil" remedy you can sip on or chug down (although that could be hip), or some magic potion you could pour in your ear, so you might be able to "hear the music before it comes", a la Eddie Harris (which would be even hipper).

What it is, in fact, is another way of hearing and approaching a common 4 bar minor ii-V7-i cadence, using 3 Melodic Minor derived Pentatonic b6s, employing the "ACE" method, as described in a recent post.

All things considered, it's tried and true pretty hip, too!

Back to the Future 'Trane - Transcription of John Coltrane's 1954 Solo on "In a Mellow Tone"

11/16/2015

Back to the Future 'Trane
Transcription of John Coltrane's 1954 Solo on "In a Mellow Tone"

This transcription of the first chorus of John Coltrane's tenor solo on Duke Ellington's "In a Mellow Tone", was taken from a live (possibly radio) recording from sometime in mid 1954, when 'Trane was on the road with Johnny Hodges' septet. The band included Hodges' fellow Ellingtonians, Harold "Shorty" Baker - trumpet, and Lawrence Brown on trombone.

This version of "Mellotone" was originally released, to my knowledge, in on a "bootleg" vinyl in the 1970's on the "Enigma" label. A friend of mine had it and I promptly copied it to cassette (remember those?.....OK, maybe not).

Then as now, 'Trane's solo here blew me away for several reasons.

First of all, through this recording, we get a glimpse of a 27 year old John Coltrane, who was still a little more than a year away from the start of his historical association with trumpeter Miles Davis. In the second chorus of this solo, which is not transcribed here, we hear a portent of things to come; i.e. sixteenth note scalar runs, which he seemed to be hearing as if from a distance, but didn't quite have the concept, which we would later know as "sheets of sound", under his complete control yet.

Slide, Glide & ACE a Ride on the Wild Side With This Penta Flat-6 Two Five

10/21/2015

Slide, Glide & ACE a Ride (on the Wild Side)
With This Penta Flat-6 Two Five

In automotive terms, a flat-6 is a six cylinder, horizontally opposed engine used by Porsche, among others.

Since automotives is not really my thing, the flat-6 (b6) referred to here is none other than an old "5 cylinder" friend and Melodic Minor derivative, the Pentatonic b6.

As explained in several previous posts on the topic, The Penta b6 can be thought of either as a Maj. Pentatonic with a flatted 6th degree from the root (ie. C Pentatonic b6 = C-D-E-G-Ab), or; as being built from the 5th-6th-7th-9th-b3rd scale degrees of F Melodic Minor, in this case.

It can also be built simply from scale steps 1-2-3-5-b6 of the Harmonic Major Scale, but it's the Melodic Minor derivation that we'll be dealing with here.

A Plus in Your Scale Arsenal - Augmented Scale ii-V7-I

9/15/2015

A Plus in Your Scale Arsenal: Augmented Scale ii-V7-I

This is the latest post in the Augmented Scale category, this time with an exercise that negotiates a common ii-V7-I with a single augmented scale, which is:

A six note scale (hexatonic), formed by:

2 augmented triads a minor third apart (C-E-G# & Eb-G-B = C-Eb-E-G-Ab-B)

2 augmented triads a half step apart (C-E-G# & Db-F-A =
C-Db-E-F-G#-A)

A Major triad and a minor triad a Maj 3rd below (C-E-G & Ab-B-Eb = C-Eb-E-G-Ab-B)

A minor triad and a Major triad a Maj 3rd above (C-Eb-G & E-G#-B = C-Eb-E-G-Ab-B)

3 min 2nds a Maj 3rd apart (C-Db, E-F, G#-A)

3 min 3rds a Maj 3rd apart (C-Eb, E-G, Ab-B)

There are also Perfect 4ths and 5ths, as well as Maj & min 6ths, plus Maj 7ths included.

Check 'em out.

Dig it All! - Melodic Minor "Digital" ii-V7-I Exercise

7/31/2015

Dig it All!
Melodic Minor "Digital" ii-V7-I Exercise

I'm going to try and keep this brief, so I'll refer you to an earlier post for the basic premise of this exercise.

The difference here is that:
1) this one focuses on "digital patterns" starting on the 3rd degree of the Melodic Minor scale (scale steps 3-4-5-7 / 6-7-8-4; ie. F#-7b5 = A Melodic Minor = C-D-E-G# / F#-G#-A-D), and

2) as a ii-V7-I, the pattern transposes up exactly a minor third from the ii7 to the V7 chord (B7alt = C Melodic Minor = Eb-F-G-B / A-B-C-F. It should be noted that the order of the two 4 note cells can be reversed with no change in effect (A-B-C-F / Eb-F-G-B).

This is a nifty little device, which if not overused, can be quite effective over a ii-V. It is also a good sounding "altered" alternative to your typical Major Scale ii-V7 melodic patterns.

Toot Your Own Horn Dept. - A Self-Transcription / Etude of "Like Someone in Love"

3/29/2015

Toot Your Own Horn Dept.:
A Self-Transcription of "Like Someone in Love"

The Rev. Dizman Tootoot

Welcome to another, "Toot my own horn!" moment, featuring a self-transcription of the van Heusen-Burke standard, "Like Someone in Love".

As I'd been checking this tune out lately (for about 30 years), I thought it would make good subject matter for a post, with a recorded solo example, as well as an audio file thereof; both downloadable.

Now ain't that generous?!

I think it's a very healthy thing, in terms of self-analysis, to record and transcribe one's self from time to time. The fact is, that if you don't happen to be one of the handful of "household (make that "practice room") names", you might as well transcribe yourself, for yourself.

Besides, "it's my blog and I'll toot if I want to"! Dig?!

Roller Coaster Ride! - A Snakey, Chromatic ii-V7 Line

3/8/2015

Roller Coaster Ride!
A Snakey, Chromatic ii-V7 Line

"Roller Coaster" - Karen Elzinger

This exercise, which features the smaller intervals of Maj. & min 2nds, was developed from one that I made up for myself a while back; when I first heard guys like Michael Brecker, Dave Liebman, Steve Grossman and, of course, John Coltrane, Wayne Shorter, and Miles Davis from the mid '60s before them; who made frequent use of these snakey, swirling, chromatic types of lines.

The original exercise was made up of a pattern which, connecting each measure by a half step, repeated itself down a perfect 4th, and which can be found on pp. 71-76 of my eBook, "Slick Licks That Stick!" which is available right here.

The downloadable exercise presented here is my attempt to tonicize and resolve the original line. Probably the easiest and most accessible way to do that, in my estimation, was as.......you guessed it; some sort of ii-V7-I resolution.