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

11/16/2015

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

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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.

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

10/21/2015

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

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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.

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

9/15/2015

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

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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.

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NOT Peanut But Uhhh... - Thelonious Monk's "Skippy"

8/27/2015

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NOT Peanut But Uhhh...
Thelonious Monk's "Skippy"

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"Skippy", which was originally recorded by Thelonious Monk for Blue Note on May 30th, 1952, might be considered (no, is!) one of his most challenging compositions.

The melody alone, which is uncharacteristically dense by Monk standards, is a workout in and of itself.

Harmonically, the descending cycle of 5ths and chromatic tritone subs require considerable "'shedding" in order to confidently negotiate improvised lines through the changes.

In this post, we'll just concentrate on the head, with the rest to follow.

"Skippy" is 32 bars long with what appears to be an A1-B-A2-C song form. The tune is Monk's reharmonization and abstraction of Vincent Youmans' well known standard, "Tea for Two", which due to the melodic consistency between the sections, comes off more like an A1-A2-A3-B form.

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

7/31/2015

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

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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.

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Spring's the Thing! - An Etude Based on Freddie Hubbard's "Up Jumped Spring"

6/23/2015

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Spring's the Thing! - An Etude Based on Freddie Hubbard's
"Up Jumped Spring"

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Seasonally speaking, I realize I'm a few days late, but one tune I've always enjoyed playing is Freddie Hubbard's classic jazz waltz, "Up Jumped Spring" - so I wrote a "solo style" etude based on its changes, which I present here.

Freddie Hubbard was not only one of the music's all-time great trumpet voices, he was also an accomplished and prolific composer who contributed a number of classics to the repertoire (Little Sunflower, Birdlike, Red Clay, etc.), as well as some great lesser known gems (Lament for Booker, Blue Spirits, among others).

"Up Jumped Spring" has a form of A1-A2-B-A3. Each "A" section  is 16 bars long and has a different ending. The bridge, or "B" section, is 8 bars long, which adds up to and makes this a 56 bar tune.

Can you name another tune with the same form?

One tune which immediately "springs" to mind is Kurt Weil and Ogden Nash's "Speak Low" (Shhh! It has the same AABA, 16-16-8-16 = 56 bar form, in 4/4).

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Diminishing Perspective - A Diminished Scale Line

5/22/2015

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Diminishing Perspective - A Diminished Scale Line

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Here's a nifty little four bar line, best served over a modal type vamp, which utilizes the complete 8 note symmetrical diminished scale.

Because the diminished scale is devoid of avoid notes, and due to its symmetry, is essentially polyphonic in nature (hosting 4 Major and 4 minor triads, 4 dominant 7th chords, as well as 2 distinct non enharmonic diminished 7th chords), a single tonal center can be somewhat ambiguous and not always immediately apparent. Nor does it need to be.

However, for the purpose of this exercise, letting my ear be the guide, a tonal center was chosen which felt natural, with alternates, based in the same diminished 7th chord (listed in parentheses).

They all "work", in both theory and practice, and are only suggestions in any case.

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Polly Juanna Safecracker? - Pentatonic b6 Combination Exercise

4/12/2015

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Polly Juanna Safecracker?
Pentatonic b6 Combination Exercise

PictureMs. Polly Juanna Safecracker
Been feeling locked out (or up!) lately?

This pretty little combination exercise, which unlocks the door and lets you get "up close and personal" with the Pentatonic b6 scale and its modes, is similar in construction to an exercise which I posted previously, based on the Pentatonic b2 scale.

While the Penta b2 could be considered as a derivative of the 8 note diminished scale system (as well as the lesser used Harmonic Major scale), the Penta b6 is derived from the Melodic Minor harmonic system (scale steps 5-6-7-9-b3), but also found as part of Harmonic Major (scale steps 1-2-3-5-b6).

As its name suggests, the Penta b6 is a 5 note pentatonic scale with the 6th (as being the interval measured from its root, not its scale step), flatted (eg. G Penta b6 = G-A-B-D-Eb, derived from C Melodic Minor or G Harmonic Major).

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

3/29/2015

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

PictureThe 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?!

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

3/8/2015

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

Picture"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.

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Coltrane's "Satellite" - The First Eight

2/21/2015

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Colonel Bleeped!
Coltrane's "Satellite" - The First Eight

PictureCol. Bleepdat knows "Satellite".
This post presents an exercise over the chord changes to the first eight bars of John Coltrane's "(Giant) Step-ed Up" up treatment of the popular standard, "How High the Moon", (Charlie Parker's "Ornithology" is based on the straight changes of the tune).

I posted a full transcription of Coltrane's solo, on "Satellite", as well as information about the solo and the recording itself, so I won't repeat that here.

"Satellite" is but one of several 'Trane originals, based on standards, over which he superimposed his version of the "Cycle of Descending Major Thirds", which has become known to the world as "Coltrane Changes" or "Giant Steps Changes".

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Be-Boppin' the Harmonic Major Scale

2/5/2015

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Be-Boppin' the Harmonic Major

PictureProf. Diz - Dissecting the equations to some Universal Truths
As I've been recently treating the Harmonic Major scale like a new found toy, I've discovered, for myself at least, some of the unique and interesting qualities of this "hidden in plain sight" seven note harmonic system.

The practice of adding a non-diatonic passing tone to the Major, as well as the Melodic & Harmonic Minor Scales and their modes began as the "eighth note" became the basic rhythmic pulse unit of the music called "BeBop", and became known at some point as the "BeBop Scale"

I think it was David Baker who first "bopularized" the term.

 In order to create an even 8 count of eighth notes trom the original 7 note scale and allow a melodic line to flow and resolve evenly through measures of 4/4, a passing tone was strategically added, the location depending on the mode used, allowing the chord tones to fall on downbeats (and vice versa), for the most part.

So, with that in mind, I was curious to see how one might "Bebop-a-size" the modes of Harmonic Major.

Right off the bat, I hit a slight snag.

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Harmonic Major - Cinderella Scale Story?

1/22/2015

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Harmonic Major - Cinderella Scale Story?

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This post focuses on a scale system which has been given some lip service, but has been less well represented in either recorded or written examples; namely Harmonic Major

Personally, I haven't paid much attention to this scale and its modes up to this point; the reason being, I guess, is that many of its diatonic chord types are embedded within some of the more commonly used scale systems: Major. minor (melodic & harmonic), diminished and augmented.

However, I've come to discover that the Harmonic Major scale system is a unique and beautiful thing (or should I say thang?)!

Although a hybrid, of sorts, it contains a number of strangely beautiful and exotic sounding (to western ears) modes and melodic possibilities.

So what, then, is this thing called Harmonic Major, and how did it get here?

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Signs of Augmentia - Augmented Scale Major / Minor Triad Pairs

1/8/2015

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Signs of Augmentia - Augmented Scale 
Major / Minor Triad Pairs

PictureSigns 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:

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

12/18/2014

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

PictureStarring 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.......

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Granted! - A Joe Henderson Solo Transcription

12/2/2014

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Granted! - A Joe Henderson Solo Transcription

It's Joe Henderson time again, ladies and gents!
Picture"Happiness is Just a Thing Called (hearing a guy named) Joe"
Joe, as you should know, was one of the music's more stylistically unique and influential tenor saxophonists and improvisers, as well as the composer of a healthy number of classic originals.

His influence and legacy live on in his many recordings, made both as leader and sideman, during a career which spanned nearly four decades.

Henderson's tenor saxophone solo on one of those original compositions, an uptempo C Minor Blues entitled "Granted" (dedicated to the renowned NYC Jazz Radio personality and promoter, Alan Grant, who recently passed away at 93), is the subject of this post and downloadable transcription.

"Granted" was recorded by Rudy Van Gelder on January 27th, 1966 (which happened to be the 25th birthday of the session's vibraphonist, Bobby Hutcherson) and was part of the session that produced Henderson's fifth and last studio album as a leader for the Blue Note label, "Mode for Joe".

At the time of the recording, Joe Henderson was a member of pianist Horace Silver's quintet, which also included a young Woody Shaw on trumpet. Henderson had joined Silver's group in June, 1964 and would remain with the pianist for just another two-plus months.

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More Blues Minor - The Coal, Hard Sax!

11/18/2014

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More Blues Minor - The Coal, Hard Sax!

Picture Miner Blues - The Coal Hard Sax
This post could be considered as an addendum to "C Minor Blues - The Last Four" from a few weeks ago.

This 4 bar mini-etude didn't make the cut, only because it was conceived at a much slower tempo (ca. quarter note = 120) as in, for example, Joe Henderson's "Out of The Night" or  "Bags & 'Trane", than the dozen or so in that post.

It does, however contain the same premise; being based on bars 9, 10, 11 and 12 (bVI7-V7-i-i) of the type of medium tempo Minor Blues as those tunes named above.

This one contains a single, four bar phrase, presented in 12 keys, with a 16th note feel.

It works really well as a warmup type exercise.

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Got the Digits? - Melodic Minor i-V7 Digital Patterns

11/4/2014

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Got the Digits?
Melodic Minor Tonic to Dominant (i-V7alt) Digital Patterns

Picture"Dig It All! Re: Doo-Doo" painting by Fo-Toh Zjiap
The Melodic Minor scale, being in reality, an "altered" Major scale (with a flatted 3rd), translates those alterations from Major to it's phrases and melodic patterns as well.

This exercise is a technical study in the use of inherent Melodic Minor "1235 type" "digital patterns" over a common Tonic to Dominant (i - V7alt) harmonic movement, aka the "A" sections of "Softly as in a Morning Sunrise", or "A Night in Tunisia" (which has a bII7 sub for its V7).

By "digital patterns", I don't mean "ones and zeros" or Boolean Algebra; just good ol' analog left and right hand "digits", more commonly known as fingers.

While one might be familiar with the common Major Scale "digits" (ie, 1235 4568, 2346 5679 and so forth), the altered Melodic Minor versions of these same patterns might be less familiar, both in feel as well as sound.

The downloadable exercise is designed to familiarize oneself with these Melodic Minor "altered" digital patterns.

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B. There! - "Invitation" - The Last Eight

10/29/2014

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B. There! - "Invitation" - The Last Eight

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Here's another in a series of "Last Eight" (or "Last Four") groups of etudes; designed to zero in on a certain section of a particular tune, where the chord / scale choices and their connectivity might be somewhat ambiguous, and might in general, might make you say "Huh?!"

This time, we'll take a look at the well known and oft played standard "Invitation", by Bronislau Kaper, the Polish born film composer who also wrote "On Green Dolphin Street'.

At the very end of last year, I posted an etude based on the complete set of changes of "Invitation" (here), for what it's worth.

The last eight measures (and especially the last four) of "Invitation" used to make me scratch my head (I'm sure it wasn't dandruff, or worse), before I knew how to recognize and handle Melodic Minor chord / scale relationships in these situations.

And if you didn't already realize it "Invitation" is a Melodic Minor lover's dream!

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

10/22/2014

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

Picture"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.

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Joe Henderson's "Black Narcissus" - The Last Eight

10/15/2014

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Joe Henderson's
"Black Narcissus" - The Last Eight

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Joe Henderson's "Black Narcissus" is a delicate jazz waltz and one of the legendary tenor saxophonist / composer's better known compositions.

Originally recorded on May 29, 1969 and released as part of Henderson's album "Power to the People" (which included Herbie Hancock, Ron Carter and Jack De Johnette) on the Milestone label, Joe recorded it several times subsequently. That includes the 1974 version, recorded in Paris and featured on the album of the same name.

It has since been covered by many by other artists.

Although completely different in emotional intent, scope and style, "Black Narcissus" has striking similarities in compositional structure, as well as harmonic usage, to another one of Henderson's classics, and the subject of an earlier post; namely, "Inner Urge".


I had heard different versions of "Black Narcissus" for years before actually trying to learn it myself. At that point, I realized that this simple sounding tune necessitated some closer scrutiny; especially after hearing many improvisers trying to "ramrod" their way through the last eight measure, "B" section of the tune.

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One Cool Warmup....Comin' Up!!

10/8/2014

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One Cool Warmup.....Comin' Up!!

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Here's a nifty little chromatic warmup exercise, great for getting those icicles out of your fingers any time of the year.

It can be worked in over a iii-VI-ii-V7-I (in C: E-7 A7 / D-7 G7 / C / C ) progression, and the breakdown is pretty straightforward.

Question: What's 4 measures long, contains all 12 notes, includes a descending Maj7+5 arpeggio, a descending dim7 arpeggio and ends on the Major 3rd of the key?

Uhhhhhh............Give up?

Just keep on reading and the truth shall reveal itself (...and maybe even set you free!).

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Deep Space b9 - Descending Tritone Minor Scale Shape

10/1/2014

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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

PictureIdentified 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.

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Who Put the "Hex" on My Hexatonic?

9/24/2014

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

Picture"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!

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On Ramp, Off Ramp - ii-V7 Fourth Cycle Vamp

9/17/2014

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On Ramp, Off Ramp - ii-V7 Fourth Cycle Vamp
Sill inspired by "A Study in Fourths" by Walter Bishop, jr.

Picture
Since I realize y'all can't get enough of this 4th thing, and as I'm on somewhat of a roll with the subject, I thought I might just continue along this line of thought from the point where we left off last time.

I promise I'll give it, and the esteemed Mr. Bishop, a break after this.

Anyway, it occurred to me that measures #3 & 4 (D-7 / G7) of that exercise contained a complete, uninterrupted 12 tone cycle in perfect 4ths.

"So?!", you say.

"So" I say, "let me see if I can conjure up a few more lines like that one, over a ii-V7 cadence, which use the complete 4th cycle and which resolve to the tonic (I).

Of the 5 lines presented here, each starting on a different diatonic scale tone, 4 of them employ a complete 12 tone cycle in perfect 4ths; while the fifth (line 4) uses a number of shifts and rests, resulting in a series of 027 trichords.

The coolest thing about using a complete 4th cycle in these cases, is that the cycle, being a 12 tone row, contains all twelve notes of the chromatic scale; meaning that it also contains all of the eleven possible note choices, plus one, available for an altered dominant (V7alt) chord.

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    12/22/2024 -     John Coltrane's Tenor Solo on "I Love You" - A Transcription
    ___________________
    11/23/2024 -     Yet Another Case for ACE - A Melodic Minor ii-V7
    ___________________
    10/25/2024 - A Perfect Line in Fourths - 4 You!___________________
    09/27/2024 - Augmentation Station: An Augmented Scale Sequence
    ___________________
    08/29/2024 -     The Fix is In - Broken Maj 9 Chords in 5ths, Major 3rds Cycle
    ___________________
    07/30/2024 - A Snakey, Serpentine Warm-Up!
    ___________________
    06/29/2024 - Messiaen Around With Mode 3 (Super Augmented)
    ___________________
    05/23/2024 - Running Into Ideas - "Stablemates" the Last 4-Bars of the "B-Section"
    ___________________
    04/19/2024 - Four'll Get You Twenty 24 - A Few Half-Diminished Permutations
    ___________________
    03/22/2024 - Whispering Familiar - An 027 Trichord Transformed
    ___________________
    02/24/2024 - The Joys of Half & Whole Steppin'!
    ___________________
    01/26/2024 - Directions & Connections - Alternating Triads in a Pair
    ___________________
    12/15/2023 -     Stocking Stuffer...and a ii-V in a Pair 3!
    ___________________
    11/23/2023 - A Friendly Little I-VI-ii-V Sequence
    ___________________
    10/26/2023 - Monkin' Around with the "Evidence" - A Self-Transcription
    ___________________
    09/22/2023 - "Airegin" - Six Short Etudes - First Eight of the First Ending
    ___________________
    08/25/2023 - Tailor Made - A Simple Melodic Minor V7-I Resolution
    ___________________
    07/27/2023 - Plus Factor - An Augmented Scale Sequence
    ___________________
    06/23/2023 - Major/ minor: A Diminished/ Blues Scale Hex-0-Tonic
    ___________________
    05/25/2023 - Return of the SUPER 4 - A minor ii-V7 Sequence
    ___________________
    04/27/2023 - Pairing Off! Fresh Twist, Familiar Combo
    ___________________
    03/23/2023 - Flip 4 Real! - Using Mordents in a ii-V7 Melodic Line
    ___________________
    02/24/2023 -     Straight Ahead -
    Elements of an 027 Line
    ___________________
    01/13/2023 - A Whole Lotta Sole - Giant Steps 027, sus2, sus4, 125
    ___________________
    12/17/2022 - 'Tis the Season - A Sleigh Ride at 250 BPM
    ___________________
    11/27/2022 - NIDIAN & Her Sisters - Maj7sus4
    Chords & Tetratonic Modes
    ___________________
    10/28/2022 - On the Menu...Tasty Lines over a
    Neo-Soul Vamp!
    ___________________
    09/28/2022 -     "Coming on the Hudson" - A Johnny Griffin Tenor Saxophone Solo Transcription
    ___________________
    08/27/2022 -     "More SUPER 4"
    ___________________
    07/27/2022 - NEW Shortbook    ™ - "The SUPER 4" - A 4-Note Swiss Army Knife for Improvisers
    ___________________
    06/25/2022 - "Nutville" - Joe Henderson's Tenor  Solo Transcribed
    ___________________
    05/26/2022 -     Vamp Like a Champ! - ii-V-iii-VI Arpeggiated Sequence
    ___________________
    04/23/2022 - Check Your Connections! - A Multi- Pentatonic Sequence in Minor 3rds
    ___________________
    03/26/2022 - The Daily BoopaDoop - "LuLu's Back in Town"
    ___________________
    02/24/2022 -     Getting an Angle - "The Eternal Triangle" Bridge
    ___________________
    01/19/2022 - Some Fresh Air for Your Practice Routine!
    ___________________
    12/17/2021 -  Stuff This One in Your Stocking!
    ___________________
    11/25/2021 -     Joe Henderson  - Tenor Solo Transcription - "You Know I Care"
    ___________________
    10/21/2021 -     Hey! You've Got an ACE up Your Sleeve!
    ___________________
    09/24/2021 - Playin' the Numbers - A Pentatonic Shape in 12/8
    ___________________
    08/19/2021 - "Come Rain or Come Shine" - An All-Weather Etude
    ___________________
    07/20/2021 - A Jug Full of Ammons - Gene Ammons' Tenor Solo Transcription on "Exactly Like You"
    _______________________
    06/18/2021 - The Andalusian Cadence, Triad Pairs & "Song for my Father"
    _______________________
    05/19/2021 -     'Tranein' with Triads - "Coltrane Changes"
    Alternating Major & Minor Triads
    _______________________
    04/21/2021 -     Kalimbaphone? - Try These Pentatonic Scale Spreads!
    _______________________
    03/26/2021 -     'Ning's the Thing! Monk's "Rhythm-a-Ning" - Self Transcription
    _______________________
    02/25/2021 - Monk's Time Again - "Bye-Ya" - A Self-Transcription
    _______________________
    01/26/2021 -     Thelonious Monk's "Bemsha Swing" - A Self-Transcription
    _______________________
    12/18/2020 -     Step Up Your Game! - The Major 3rds Cycles - Descending & Ascending
    ________________________
    11/25/2020 - The Last 8 - "Night and Day" - JoHen Style
    _______________________
    10/29/2020 - Components: Triad Pairs, Melodic Minor ii-V7--I with a iii-VI Turnaround
    _______________________
    09/25/2020 - Go Ye 4th: Fourtitude + Lines in 4ths
    _______________________
    08/28/2020 -     An Etude for a Brighter Day - John Coltrane's "Mr. Day"
    _______________________
    07/31/2020 - Trichord 027 - A Fresh, New Old Piece of Musical Language
    _______________________
    06/27/2020 - The Lines Are Open! - An open 027 Trichord line
    _______________________
    05/31/2020 - Changin' Trane's / Retrosteps - The Ultimate Book on Coltrane Changes
    _______________________
    04/28/2020 - Oh 2 Slick Blues - A 12-Bar Blues for the Socially Distanced
    _______________________
    03/28/2020 - Oh-2-Slick! More Fun & Games With the 026 Trichord
    _______________________
    02/27/2020 - Oh-Two-Six - An Improviser's Guide to the 026 Trichord
    _______________________
    01/29/2020 - Jazzitudes 3 - Ten More Solo-Styled Jazz Etudes With Attitude!
    _______________________
    12/28/2019 - Super Augmented II - Further Explorations
    _______________________
    11/29/2019 - 013 Trichord...
    Super Auugmented!
    _______________________
    10/29/2019 - Beboppin' the 6th / Diminished Scale - An Essential Element
    _______________________
    09/24/2019 - Vertical Structures - Scale the Heights!
    _______________________
    08/28/2019 - Bluesitudes! One Dozen 12-Bar Blues Etudes With Attitude!
    _______________________
    07/26/2019 - We Got Rhythm Changes!
    ________________________
    06/25/2019 - The Harmonic Minor Primer
    _______________________
    05/29/2019 - Your Daily Bread - 100% Whole Tone
    _______________________
    04/23/2019 - Hexatonic Triad Pairs II - Mixed Pairs
    _______________________
    03/21/2019 - Hexatonic Triad Pairs: Vol 1 - Major Scale Pairs
    _______________________
    02/12/2019 - Pentalogy - A Multi Pentatonic Scale Practical Practice Guide
    ____________________________
    01/23/2019 - Triadicisms II - Minor, Augmented & Diminished Triad Workout
    ____________________________
    12/23/2018 - Triadicisms - Vol. 1: Major Triad Workout
    ____________________________
    11/22/2018 - Fourtitude - Fourtification for Improvisation
    ____________________________
    10/23/2018 - Approaches! - A Sound, Musical Approach to Approach Notes
    ____________________________
    09/21/2018 - Double Harmonic Major - An Ancient Futuristic Melodic Source
    ____________________________
    08/21/2018 - Shortbook™ of the Month - "Blues Deep: Fifty"
    ____________________________
    07/18/218 - Permutation Station II - Next Station: Inversions
    ____________________________
    06/21/2018 - "Jazzitudes 2" - The Baker's Dozen
    ____________________________
    05/23/2018 - Permutation Station 1 2 3 5 - Twenty-four roads to Rome
    ____________________________
    04/24/2018 - Shortbook™ of the Month: "Jazzitudes" - One Dozen Solo Etudes with Attitude
    ____________________________
    03/16/2018 - There Ain't No Cure for the "FUNKADOSIS!"
    ____________________________
    02/21/2018 - Shortbook    ™ of the Month: ...and they called it "Kalindaja"
    ____________________________
    02/09/2018 - RetroSpective: "Ten to 2" - 25th Anniversary Reissue - A collection of original music feat. the first Akai EWI
    ____________________________
    01/20/2018 - Shortbook™ of the Month: CHROMATIX - A New Ear's Resolution
    ________________________
    12/27/2017 - Shortbook™ of the Month: The Book of Altered II - Extensions & Dimensions
    ________________________
    11/26/2017 - Shortbook™ of the Month: The Book of Altered
    ________________________
    10/28/2017 - Shortbook™ of the Month:
    The Cycle - 101
    ________________________
    09/19/2017 - "26-2" and "226 Retrosteps" - An Addendum
    ________________________
    08/22/2017 - Shortbook™ of the Month: RETROSTEPS - The Cycle of ASCENDING Maj 3rds
    ________________________
    07/26/2017 - Shortbook™ of the Month: Augmented Scale Reality
    ________________________
    06/20/2017 - Yellin on Henderson: A Candid Interview with Saxophonist Pete Yellin
    ________________________
    05/23/2017 - Shortbook™ of the Month: Changing 'Trane's - The Cycle of Descending Major 3rds
    ________________________
         See Index to All Posts™

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