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

Augmentation Station: An Augmented Scale Sequence

9/27/2024

Augmentation Station:
An Augmented Scale Sequence

Here's a nifty little exercise, featuring the still somewhat mysterious and enigmatic Augmented Scale.

The Augmented Scale is a six-note symmetrical scale with its interval scheme alternating between augmented and minor 2nds before repeating at the octave (F-G#-A-C-Db-E in F). This interval setup can be flipped to form what's known as the "Inverted Augmented Scale" (F-Gb-A-Bb-C#-D), meaning that 2 different scales can be generated from the same note.

Because the Augmented Triad splits the 12-tone chromatic scale into three equal parts, there are really only four unique transpositions of the Augmented Scale.

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 ).

Major/ minor: A Diminished/ Blues Scale Hex-0-Tonic

6/23/2023

Major / minor:
A Diminished/ Blues Scale Hex-0-Tonic

"Bubble, bubble; toil and trouble!"..., Oh yeah!

Regardless of which witch stirs the pot, the makings of great solo improvisation isn't about magic - even when the results do seem magical.

The "toil and trouble" part of it comes down to the consistency of - and attitude towards - one´s own practice regimen. The "toil" ceases to be "trouble", as positive results begin to manifest.

Since there actually is a method to this magic, one spellbinding, tried and true device for your bag of tricks is the use of Triad Pairs. This involves two mutually exclusive triads (no common tones between them) and their inversions - which in turn forms a 6-note (Hexatonic) scale.

Get an Angle on "The Eternal Triangle" Bridge

2/24/2022

Take it to the Bridge...
Getting an Angle on "The Eternal Triangle"

Ok, folks! Are you ready to take it to the bridge? Brooklyn? GW? Golden Gate? London Bridge?

Nope. I'm talking about the "The Eternal Triangle" bridge - from the classic Dizzy Gillespie album "Sonny Side Up" - featuring both Theodore "Sonny" Rollins and Edward "Sonny" Stitt (the tune's composer). Two Samurai swordsmen battling it out on the bridge (the whole tune actually) with tenor saxophones as their musical swords of choice. And then, of course - there's Dizzy! Not to be forsaken!

Despite the high winds created by the tune's rapid tempo, crossing this bridge might not be as treacherous as it might initially seem.

The Andalusian Cadence, Triad Pairs & "Song for my Father"

6/18/2021

The Andalusian Cadence, Triad Pairs & "Song for my Father"

Something that caught my attention recently was the familiar chord progression, i - bVII - bVI - V (Cmin-Bb7-Ab7-G7, in C), known as the "Andalusian Cadence".

This progression is reported to have its origins in the Flamenco music of Andalucia, the region of southern Spain where Flamenco culture was born.

The Andalusian Cadence has long become a staple in many forms of music around the world, including Pop & Jazz.

One obvious example that quickly comes to mind is the Ray Charles classic "Hit the Road, Jack!", and there are literally thousands more.

Another popular example from the Jazz repertoire is pianist Horace Silver's classic "Song for my Father", which is the focus of this post.

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.

An Etude for a Brighter Day - John Coltrane's "Mr. Day"

8/28/2020

An Etude for a Brighter Day! - John Coltrane's "Mr. Day"

On numerous levels, John Coltrane's original 12-bar blues “Mr. Day” has always been an inspirational favorite of mine.

Recorded during an evening session on Oct. 24th, 1960, it became part of the classic Atlantic LP “Coltrane Plays the Blues”, which was released in July 1962, after Coltrane had moved to the Impulse! record label.

This session was part of several which took place that same week and which produced all the material for the Coltrane albums “My Favorite Things” - released March, 1961 - and “Coltrane's Sound”, not released until June, 1964 a well a the rest of "Coltrane Plays the Blues".

A previous version, slower in tempo and more deliberate, listed as “Mr. Day (aka One and Four)”, was recorded in Los Angeles about a month and a half earlier as part of a compilation for the Roulette label. Coltrane was touring the West Coast with his new quartet, which did not yet include Elvin Jones on drums, who joined the group a few weeks later. Instead Billy Higgins, an LA native, known for his work with Ornette Coleman and subsequently everyone else, was the drummer.

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.

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.

Shortbook of the Month - And they called it "K A L I N D A J A"

2/21/2018

Shortbook™ of the Month:
...and they called it "Kalindaja"

The focus of this month's Shortbook™ features a beautiful, exotic (where is she?), and not all too unfamiliar sounding triad pair / hexatonic scale (or "pitch collection", as is the fashionable term), which can be said to be derived from several different sources - both theoretical & cultural.

From a Western point of view, it can be derived from the 5th mode of Harmonic Minor (or Major) while omitting the minor or Major 3rd, as the case may be, of its parent scale (in parenthesis, below).

As an example, the 5th mode of F Harmonic Min or Maj. = C - Db - E - F - G - (omit Ab or A) - Bb
This creates a hexatonic (6 note) scale.

The exact same tonal configuration is realized - as a triad pair - by coupling a Major triad with the minor triad one whole step below it (eg. C Maj & Bb min or C-E-G & Bb-Db-F).

From a Carnatic (South Indian) point of view, this janya raga or "derived scale" comes directly from the 14th Melakarta "Vakulabaranam", which is the Carnatic 7-note tonal equivalent of the Western 5th Mode of Harmonic Minor, as previously described.

Omitting the sixth scale degree, or "da", leaves us with our 6 note janya raga....and they called it Kalindaja (pronounced Ka - LIN - da - DSHA)...and therefore, so shall we.

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”.

8 Will Get You Six - A Diminished Scale Hexatonic

10/21/2016

8 Will Get You Six - A Diminished Scale Hexatonic

The 8 note (octatonic) diminished scale has been an essential and popular improvisational tool since at least the mid 1950's. Over dominant chords especially, it's been a common “go to” device for creating “inside / outside“ harmonic tension and resolution.

Because of its alternating whole step / half step (and vice versa) interval scheme, a symmetrical scale structure is formed, which divides the octave into 4 equal parts, spaced in minor thirds.

This symmetrical construction not only builds diminished triads and 7th chords on each of its scale steps, but forms, as well, a number of leaner, meaner 6 note permutations of the original 8 note scale, consisting of several combinations of Major and minor triads.

Three's a Pair! Pt. 2 - Melodic Minor Triad Pairs - Rhythm Changes Bridge

4/27/2015

Three's a Pair! - Part 2
Melodic Minor Triad Pairs - "Rhythm Changes" Bridge

Back on the subject of Triad Pairs in general and Melodic Minor derived triad pairs in particular, this previous post would be a good preliminary read, containing the basic premises for this post.

As mentioned in that article, the pair of adjacent triads which most captures the sound of Melodic Minor are the Major & augmented triads, built off of the 4th and 5th scale steps, respectively.

(In C Melodic Minor = F Maj.(F-A-C) & G aug. (G-B-Eb) triad pair).

However, the quality of the pure diatonic triad built on 5th step of Melodic Minor is not augmented, but Major - G Maj. = G-B-D, which is exactly the same in C Major.

So?.........

Signs of Augmentia - Augmented Scale Major / Minor Triad Pairs

1/8/2015

Signs of Augmentia - Augmented Scale
Major / Minor Triad Pairs

Signs of Augmentia++++

While we're on the subject of symmetrical scales (at least we were the last time I posted something), let's check into some of the possibilities which another, albeit lesser discussed, symmetrical configuration, commonly known as the "Augmented Scale", has to offer.

The Augmented Scale is a 6 note (hexatonic) scale made up of three minor 2nds, spaced a Major third apart:

C-Db, E-F, G#-A

Or, the same exact scale can be viewed as consisting of three minor 3rds (or augmented 2nds), spaced a Major third apart:

Funkman's Delight #2 - Children of the Damned (Diminished Scale)!

12/18/2014

Funkman's Delight #2 - Children of the
Damned (Diminished Scale)!

Starring Cy O'Nara

The essential, most compelling element of the 8 note, symmetrical "Diminished Scale" is.........
it's symmetry!

Regardless of whether it starts with a whole or a half step, the beauty of this scale lies in its ability to be broken down into smaller pieces of three, four, five (pentatonic) or six note (hexatonic) cells, whereby these groupings can be combined and spaced at intervals, usually minor thirds or tritones, to create some very hip longer lines.

The potential downside to this method is that the results of pure symmetry could end up sounding somewhat mechanical or mathematical. but for the sake of exploration and experimentation, that may not necessarily be a bad thing; at least as a starting point.

Besides, a lot usually depends as much on "how" you play something, as it does "what" you play; doesn't it?

But that's something for another post. In the meantime.......

See Myna Fuddah Boids! - C Minor Blues - The Last Four

10/22/2014

Tweet 'Dis! See Myna Fuddah Boids!
C Minor Blues - The Last Four

"See Myna Blues" Bird

Hello "Bird" Lovers!

Actually, the subject of this post is neither the bird, the man, nor his "Ornithology".

Rather, based on the positive reaction to recent posts (here & here), which take 8 bar sections of tunes for study and analysis, this one focuses on the last 4 measures of a typical "Mr. PC" type C Minor Blues (bVI7-V7-i), for which I've scribbled out a dozen (12, count 'em) 4 bar mini-etudes.

A good precursor to this post, and where you'll find the basic premise for this exercise, would be this post from 2013, which deals with the same bVI7-V7-i movement, with the accompanying exercises focusing on the Melodic Minor derived Pentatonic b6 mode.

It's probably a good idea to check that one out, as there isn't much to add here in the way of a basic harmonic breakdown.

The dozen lines presented here are a bit looser in their scale choices, although Melodic Minor still predominates.

After all, it is supposed to be a Minor Blues, right? ...or a piece of one, anyway.

Deep Space b9 - Descending Tritone Minor Scale Shape

10/1/2014

Unidentified Descending Shape (UDS)
Landing Near You
Origin determined to be from the planet Tritonius Minorus in the Diminished Scale System, according to reports from Deep Space b9

Identified as Unidentified Descending Shape (UDS) by Deep Space b9

Don't jump out the window just yet...........!

Swap that tricorder for a trichord and check out this supplementary exercise based on my last post, which deals with a hexatonic scale comprised of two minor triads, a tritone apart (C- & F#-).

As this scale seemed to have been nameless, for lack of one better I dubbed it the "Tritone Minor Scale".

It's close resemblance to it's likewise Diminished Scale offshoot cousin, the more popularly known "Tritone Scale" (2 Major Triads, a tritone apart), confirms its DNA and keeps it in the family.

The descending shape used for this exercise is the same one used on a different scale in an earlier post, and is a hip way to let your fingers run through the intervallic construction of any scale, regardless of how many notes it contains.

Who Put the "Hex" on My Hexatonic?

9/24/2014

Who Put the "Hex" on My Hexatonic?
(Tritone Minor, That's Who!)

"Impression of Mr. Eerius N. Hedlace at the Piano''. Painting by Pho-Toh Ziap

Here's an interesting and useful hexatonic (6 tone) symmetrical configuration, which I came across recently:

C-Db-Eb F#-G-A

This scale is actually a derivative of the half tone / whole tone diminished scale, with the E - Bb tritone removed:

C-Db-Eb (E) F#-G-A (Bb)

In 12 tone set theory, it would be seen as a pair of 013 trichords spaced a tritone apart.

As a triad pair, it consists of 2 minor triads, a tritone apart: C-Eb-G / F#-A-C#

And, if you haven't already noticed, our new friend turns out to be the dark, mysterious, little known first cousin of what has become commonly known to improvisers as the "Tritone Scale", a likewise hexatonic formation; made up of 2 Major Triads a tritone apart (C-E-G / F#-A#-C#) and derived from the same diminished matrix.

As you will see and hear, there is a large qualitative difference between these two "relatives".

I haven't yet found any other names for an exact match to this scale (Slonimsky p.2 #6, no name. Several Carnatic Ragam come close, but no incense).

That's why I, hereby, take it upon myself to christen it (drum roll).................

"The Tritone Minor Scale" (e.g. C Tritone Minor, F# Tritone Minor, etc.).

Pour the champagne and strike up the band!

Three's a Pair! - Melodic Minor ii-V7-i Triad Pairs

9/4/2014

Three's a Pair! - Melodic Minor ii-V7-i Triad Pairs

The use of Triad Pairs (adjacent diatonic triads which form a hexatonic, or six note, scale), has been a relatively recent addition, historically speaking, to the general vocabulary of improvised music, becoming more prevalent among improvising musicians during the past 30 years or so.

One of the earlier examples of the use of triad pairs can be found in the well known 1959 recorded TV version of John Coltrane's solo on Miles Davis' "So What", when he was still a member of the trumpeter's quintet.

Coltrane can be heard to clearly enunciate both G and F Maj. triads (built from the 5th and 4th scale degrees, respectively, of the C Major scale) in sequence over a basic D-7 for most of the first 10 bars of his second chorus, beginning at 4:51 of the above linked YouTube video.

There are many subsequent examples of the use of these, and other, triad pairs to be found in 'Trane's solos on numerous versions of his own compositional adaptation of the "So What" changes; namely, "Impressions".

Likewise, the same G and F Maj. triad pair is in evidence on Coltrane's 1962 trio recording of his original, "Big Nick" (solo transcription here).

Three Flavors! - Mixo, MM & Aug ii-V7-I

3/4/2014

This exercise comes in 3 flavors, and I don't mean your standard vanilla-chocolate-strawberry, either.

I'd even venture to claim, from my own biased point of view, that it's even more yummy, and certainly less fattening.

It could even help you sweat off a few pounds in the process, plus it'll most definitely keep your cholesterol in check..

Having gotten those preliminary points out of the way, what I'm really trying to say here is............

Ubop Chabang! - "The Steppes of Tiang" - Giant Steps Etude

11/22/2013

Ubop Chabang & the Klukumops

Here's a hot bowl of fresh noodles in the form of a recipe I discovered on a recent "trip" to Tiang, a remote and peaceful place, somewhere over the rainbow, where "g's" become "t's" and vice versa.

Tiang has a musically rich and ancient cultural tradition, which is in evidence everywhere.

This particular composition was inspired by an archaic scale based on a six note row, which divides the octave into three equal parts, representing the sun, the moon and the stars., something which the people of Tiang have been given the opportunity to ponder endlessly throughout the ages.

The scale's inception is credited by historians to the legendary Tiangian musician and sage, Chun Culutran, who is considered a deity almost, and dates back to antiquity, approximately to the year 1959 BC (Before Computers).