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

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.

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.

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: "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: RETROSTEPS - The Cycle of ASCENDING Major 3rds

8/22/2017

Shortbook™ of the Month: RETROSTEPS - The Cycle of ASCENDING Major 3rds

“RETROSTEPS – The Cycle of ASCENDING Major 3rds” is an expression of some of the relationships and subsequent ideas I've stumbled upon while coming to grips - and having fun - with the legendary John Coltrane's so called “Giant Steps Changes” (aka “Coltrane Changegs”), and known technically as the “Cycle of DESCENDING Major 3rds”.

Coltrane's original intention for this cycle was as a harmonic substitution device that would take him “out of the ordinary path”, meaning the common ii-V7 cadences that most standards and jazz tunes were (and are) based on.

Retrosteps is a further variation of the Major 3rd cycle – the “Cycle of ASCENDING Major 3rds” - the directional description in caps being of primary importance.

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"

Yagapriya and the Tonnetz

3/18/2017

The Tale of Yagapriya and the Tonnetz

Yagapriya and the Tonnetz

This is the tale of Yagapriya and the Tonnetz. Yagapriya was a fair maiden who, while bathing her lovely body in the sun sparkled waters of the stream back in the woods, didn't fail to catch the eye of the dashing young Prince Tonnetz, and....(CUT!) ...OK, let's go! Take #2...

Yagapriya is the 31st raga, out of a total of 72, in the Carnatic (South Indian) Melakarta system of seven-note parent ragas, from which other smaller ragas are derived.

Besides its Carnatic origin, this post was inspired as much by my belated introduction to the Neo-Riemannian “Tonnetz” (German for “tone network” and pronounced "tone netz"), which clearly illustrates Yagapriya's internal intervallic and chordal relationships.

I had never heard of the Tonnetz before receiving an email recently from Uruguayan mathematics researcher and amateur guitarist Alfonso Artigue, who's interest in both disciplines lead him to the discovery of the relationship between the Tonnetz and the Yagapriya raga. He had found an earlier post I had done on the scale and contacted me about his discovery. I Thank you, Alfonso!. Yagapriya thanks you, too.

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.

'Trane Changing Tracks - Rhythmic Variety

11/21/2016

'Trane Changing Tracks - Rhythmic Variety

In belated remembrance of the late John Coltrane's 90th birthday, here's a cute little four bar "digital pattern" exercise based on the Cycle of Descending Major 3rds (a.k.a. Coltrane Changes) through the keys.

As mentioned previously in these pages, 'Trane used these four note digital groupings, played in eighth notes, to better negotiate the rapid tempi of several of his classic originals (Giant Steps, Countdown, Satellite, etc), which were based on the descending Maj. 3rd Cycle.

'Trane had an arsenal of these groupings, many of them variations of simple 1235 on Maj. chords (C-D-E-G on C Maj) and b7123 on dominant chords (Db-Eb-F-G on Eb7), as classic examples.

A 'Trane Back@sswards - The Cycle of Ascending Major Thirds

6/20/2016

A ‘Trane Back@sswards - The Cycle of Ascending Major Thirds

"Giant Steps, Giant Steps, Giant Steps"! How we love ya! As one of John Coltrane's best known originals, it's been an obstacle course as well as a right of passage for several generations of aspiring improvisers since its recorded inception in 1959.

Despite its notoriety, "Giant Steps" is but one of 9 known Coltrane originals in which he featured, in whole or in part, the Cycle of Descending Major 3rds, aka "Coltrane Changes ("Countdown", "Satellite" and "26-2" are some of the others).

Originally, 'Trane's intended use of this cycle was as a substitution for the more mundane ii-V7 harmonic movement as well as a device, which in his own words, "...would take me out of the ordinary path".

Since the Cycle of Major 3rds uses three key centers and divides the octave into 3 equal parts, regardless of direction (eg. B-G-Eb / descending or B-Eb-G / ascending), this poses a question: What's the difference in the quality and effect of a descending cycle (Coltrane Changes, aka Giant Steps Changes), as opposed to an ascending one?

To ponder this query, let's take a few giant steps back, so that we might get a more cosmic view of the larger picture. Shall we?

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.

Korner Karnataka #7 - Melakarta #45 - Shubhapantuvarali

3/15/2016

A Little Shubhap in Your BeBop?
Melakarta #45 - Shubhapantuvarali

In this post we'll take a look at Melakarta #45 - Shubhapantuvarali (that's shoo-bop pahn-too-vah-rahlly....no really!). "Shubhap" (for short) has the same tonal DNA as another Melakarta, namely, #36 - Chalanata, which is the subject of an earlier post. It might be helpful to check that out for some pertinent background info, as well as any of the other posts in this category (hey, why not? - they're FreeB's).

Due to the process known as graha bedham, which changes the śruti, or tonic, of a scale (Melakarta) to a different note within that scale, Melas #36 and #45 have the same tonal makeup, with each containing the exact same interval relationships. Only the starting point is different in each case.

This is the same type of relationship found between, for example, the Major scale and any of its modes (Dorian, Phrygian, etc.) - same 7 scale tones; different tonic.

As with the other posts on the subject, the objective here is to investigate the usage of these Carnatic (South Indian) Melakartas (there are 72 in all), as one would treat any 7 note western scale - as a melodic improvisational tool.

JoHen Tunes Up "Night & Day" - Joe Henderson's Reharm & Solo Transcription

2/10/2016

JoHen Tunes Up "Night & Day"
Joe Henderson's Reharmonization and Solo Transcription

Joe Henderson w/ Horace Silver in France- July, 1964

Joe Henderson's tenor saxophone solo on his reharmonized version of Cole Porter's "Night & Day" (downloadable transcription below), was recorded for the Blue Note label at Rudy Van Gelder's studio (where else!) in Engewood Cliffs, NJ on Nov. 30th, 1964, ten days before John Coltrane recorded "A Love Supreme" in the same studio.

"Night & Day" would be the final track on the "B" side of the original vinyl LP "Inner Urge", Henderson's fourth as a leader for Blue Note; and featured then current Coltrane Quartet members McCoy Tyner and Elvin Jones on piano and drums respectively; as well as Bob Cranshaw, who was pretty much Blue Note's house bassist at the time.

The album "Inner Urge" was titled after the now classic Henderson original and the subject of an earlier post. Both the tune and the album are iconic examples of '60's compositional, harmonic and improvisational innovations.

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!

Korner Karnataka #6 - Melakarta #36 - Chalanata

12/11/2015

Mela Down Easy With #36
Chalanata

I recently stumbled upon this scale, not quite knowing if it belonged to the 72 scale South Indian Carnatic Melakarta family or not. I discovered that it was, in fact #36 - Chalanata, the sixth ragam of the sixth chakra, or group of six, and is from the same chakra as the subject of an earlier post, #31 - Yagapryia.

Checking it out from a Western point of view as a tool for improvisational vocabulary, which is my main intention; Chalanata is a seven note symmetrical scale; the two tetrachords being built off of the exact same interval scheme.

C - D# - E - F / G - A# - B - C
1 1/2 1/2 1/2 1 1 1/2 1/2 1/2

The sound of Chalanata should already be pretty familiar to many, as 5 of its seven scale tones form a much used minor pentatonic scale:

In C: C - D# - F - G - A# = C minor pentatonic (aka 5th mode of Eb Maj. pentatonic).