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.

'Tis the Season - A "Sleigh Ride" at 250 BPM

12/17/2022

'Tis the Season
A "Sleigh Ride" at 250 BPM

'Tis once again "The Season" of hopefully fun and enjoyable times for you and yours. It´s also the season of non-stop holiday shopping music; which - thankfully, for the most part - comes but once a year.

Most of these holiday songs have been around for a while for the simple reason that they're popular and familiar to most of us - with the added and possibly unconscious realization that after New Year's Day, we likely won't be hearing them for another year.

One of those tunes was actually composed as a light orchestral piece during the heatwave of July, 1948 and makes no reference to the December holiday season.

More...SUPER 4!

8/27/2022

More...SUPER 4!

More SUPER 4? OK, You got it!

Since the release last month of "The SUPER 4" Shortbook™ and blogpost, I've subsequently come across a few additional interesting and potentially useful musical relationships between aspects of this "super" 4-note grouping, known technically as a tetratonic.

Specifically, I've been checking out the effect of expressing them in intervals of a minor 3rd, which divides the octave into four equal parts - forming the diminished cycle.

As mentioned, the results proved to be quite interesting - and musically useful to boot.

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 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.

Bluesitudes - One Dozen 12-Bar Blues Etudes With Attitude

8/28/2019

Bluesitudes! One Dozen 12-Bar Blues
Etudes With Attitude!

The 12-Bar Blues form is probably the most recognizable song form across all styles of popular and world music.

Its organic simplicity and malleability has made it accessible not only to musical artists of all genres, but to the listening public, as well.

While the earlier Shortbook™ “Blues Deep: Fifty” focused primarily on the phraseology of the original, primal Blues, as well as the construction of the so called “Blues Scale” and it's relationship to (and result of) the natural overtone series, “Bluesitudes” attempts to demonstrate, from a harmonic point of view, just a few of the modifications to the standard 12-bar Blues form which, over the years, have come into play.

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.

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.

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"

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.

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!

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.

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.