The Jazz Sax & Improvisation Blog of Saxophonist Bobby Stern

Stowell from John - 4 Melodic Minor Scales as Dominant Subs

1/17/2014

John Stowell

Actually, your honor, I ain't stole nuthin'! I just borrowed a little bit, which I'm tryin' to return, by way of the Universe!
Hey, I hadn't even heard of Master Guitarist & Educator, John Stowell until a few months ago, when my long time buddy, Prof. Dave King of the University of Music & Performing Arts in Mannheim, Germany (see post from 5/29/2013), took part in one of John's master classes which was given at the school and sent me some video links.

Needless to say, I was intrigued by Stowell's harmonic and scalar concepts; especially his ideas of mixing and integrating modes of Melodic Minor with modes of Major (e.g. C Dorian with Bb Melodic Minor), not necessarily a measure at a time, but fusing them together as one scale.

0 Comments

Payin' Dues and Playin' Blues with Pentatonic b2's

1/8/2014

0 Comments

I find this to be an excellent warm-up type exercise and an aid for gaining facility with the Pentatonic b2 scale. The Pentatonic b2, as advertised, is a Major Pentatonic scale with a lowered 2nd degree (in C: C-Db-E-G-A). It can be considered to be derived from the diminished scale, which generates four distinct Penta b2's.

The "soul" of this scale, however, is in its fifth mode, which in C, would start on A (A-C-Db-E-G). Hearing A` as the root then gives us a Maj / min 3rd inherent Blues quality. It can also spell out an A7 #9 (C#-E-G-C, with A in the bass), the "Funk Man's delight".

As a 2 measure exercise, Jerry Bergonzi's formulas (from his book "Vol 2 - Pentatonics" - Advance Music) #5 (ascending) or #1 (descending) are used for the first bar, with the scale moving, in the second measure, back in the opposite direction in diatonic 3rds.

Each 2 bar segment represents one of the 5 pentatonic "modes".

The repeat signs should definitely be put into effect here, as the idea of this exercise is to loop each 2 bar phrase ad infinitum at a tempo that is comfortable, gradually increasing the speed as the phrase becomes part of your nervous system.

This scheme can be used with any pentatonic scale.

Download PDF (8 pages)
Treble Clef Bass Clef

B. Stern

0 Comments

Practice Room Instigation - Etude "Invitation"

12/28/2013

0 Comments

Happy New Year, everybody!

I've been absent from these pages for over a month now, mainly due to the time it's taken me to complete and release my new eBook, "Slick Licks That Stick! Vol. 2" available for download right here.

Anyway, I couldn't let December go by and 2013 go out by posting "0" for the month, soooo..............

Here's is an etude, re-titled "Instigation" based on the changes of yet another popular standard "Invitation", by Bronislaw Kaper, from the 1952 film of the same name.

Kaper, who emigrated from Poland in the mid 1930's, was a prolific composer for Hollywood films and Broadway theater, and is also best known as the composer of another standard and improvisational vehicle which we all know and love (don't we?), "On Green Dolphin Street".

The tune "Invitation" makes an excellent study in Melodic Minor usage. Some form of MM can be organically utilized on virtually every chord of the tune.

MM elements Pentatonic b3 & b6, altered scale, triad pairs, etc. abound throughout the etude.

Hopefully, this etude will "instigate" your curiosity to isolate and identify them.

So here's your "invitation to instigation". Enjoy!

Download PDF
Bb Concert
Eb Bass Clef

B. Stern

0 Comments

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

11/22/2013

0 Comments

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).

0 Comments

Etude - "The Real Bella (by Bar Light)"

11/13/2013

0 Comments

Bella, mein Bella!!

Welcome to another bowl of my noodlings. This time it's an etude over the changes of the ever popular standard, "Stella by Starlight", composed for the 1944 scary movie "The Uninvited", by Victor Young.

Young also composed such classics as "My Foolish Heart", "When I Fall in Love", "Street of Dreams", and "Love Letters", to name a but few, all of which have also become popular vehicles for improvisers.

I remember seeing the film years ago on TV, with the leading man (Ray Milland), sitting at the piano in an attic, composing a song to this young, fine chick named Stella. "Ahhh", me thinked, "so that's where the song comes from."

I also don't remember the film as being that scary. I''ll probably check it out again, now that we're on the subject.

As for the etude, I can honestly say that I came up with the title, "Bella by Bar Light", on my own (really!), but after a few chuckles at the images it evoked, I realized that it might be a bit too obvious a moniker to be original, so I Google searched it and sure enough, I was beat to the spot by at least twenty years by saxophonist John Lurie (and probably others), who gave the title to his short piece of minimalistic film music, which bore no resemblance whatsoever to the original "Stella", save for being cute with the title.

So therefore, herewith and thereby, I present you with "The Real Bella (by Bar Light)" in all her naked, neon glory!

0 Comments

Front Burner! - More Penta b6 ii-V-i Apps

11/5/2013

0 Comments

Here's another Pentatonic b6 (Melodic Minor derivative) exercise, applied over a minor ii-V7-i, using a different MM scale, and therefore Penta b6, for each chord.

The basic pattern is a descending retrograde pentatonic b6 , in diatonic (to the pentatonic) thirds, with a simple scheme of:

Step Up / Skip Down - Step Up - Skip Down - Step Up - Skip Down - Step Up/

with the first 2 eighth notes of each Penta functioning as a pick up and anticipating the chord on beat one of the following measure.

Each pentatonic begins on the note closest to that of the first penta, which starts off the line.

Therefore, at least five of these lines (one for each pentatonic note position) can be generated from this pattern and it's interval scheme. It will work with Penta b3 (it's ii mode: aka, In-Sen scale) and b2, or for that matter, any 5 note scale of your choosing.

As I mentioned in my last post, I really like the sound of the Penta b6, due to it's open, augmented quality, so, if you haven't noticed, it's been sitting on my front burner as of late.

Cool! Heat 'em up!

Download PDF
Treble Clef Bass Clef

B. Stern

0 Comments

X-Centric Gonzatonics - Penta b6 ii-V7-i Applications

10/27/2013

0 Comments

This exercise is for practicing Pentatonic b6 (1-2-3-5-b6) over a minor ii-V7-i cadence, using three derivative Melodic Minor scales (from which Penta b6 is formed), one for each chord, to do the job.

As an added "bonus", we're using "formula" or "shape" #1
from tenor master Jerry Bergonzi's popular book,
"Vol. 2 - Pentatonics" (Advance Music).

To add even further excitement, we'll start each Penta b6 from a common tone, giving it the "X-Centric" treatment.

0 Comments

013, 1+2, 3-4-5 - Super Augmented?

10/16/2013

1 Comment

I recently discovered an awesome book by NYC alto saxophonist / composer John O'Gallagher, entitled "Twelve Tone Improvisation" (Advance Music) after stumbling upon it via a Dave Douglas podcast. O'Gallagher is a monster alto player with a fresh & unique concept. After hearing some of the music from the podcast off of his latest CD "The Anton Webern Project" and how "sophisticatedly funky" it sounded (Anton Webern gets jacked by Ornette meets Sun-Ra meets Bitches Brew), I got so excited I bought both the book & the CD.

Although I've previously had some minimal exposure to twelve tone rows in both composition and improvisation, it wasn't something I had been thinking about lately. However, just the idea itself woke me up enough to realize, "This is something I would definitely love to (and need to) check out!"

1 Comment

Rhythm Changes - ReCycling the Cycle

9/4/2013

2 Comments

Here is an exercise utilizing a 4 note, whole tone pattern, based on steps b7-1-2-3 of a dominant seventh chord, taking it two-thirds the way around the cycle of 5ths.

A common use for this cycle device in the jazz vernacular is as a substitute progression for the first 4 bars of each of the three "A" sections of "Rhythm Changes", the 32 bar AABA song structure based on "I Got Rhythm" by George Gershwin, on which so many bebop era standard tunes have been based.

2 Comments

Lucky 13 - Major Scale Polymodal 13th Chord Arpeggios

8/19/2013

0 Comments

I came up with this 13th chord, seven note arpeggio exercise for myself a long time ago, as I wanted to practice the complete major scale and it's modes as 7-note arpeggios.

Originally, I probably saw a totally diatonic version of this exercise in "Technique of the Saxophone - Vol. 1 - Scale Studies", by acclaimed Berklee woodwinds guru, the late Joe Viola. But, due primarily to each chord containing the inherent tritone, playing diatonic 13th chord arpeggios on each degree of the Major Scale just didn't sound good, right or "natural" to me somehow.

0 Comments

Kissin' Cousins - 1-2-5, Pentatonics & P4ths

7/16/2013

0 Comments

1-2-5s (027 Trichords) everywhere! I'm seein' 'em in my sleep!

This time it's 1-2-5 and it's dear cousins, Pentatonic and Perfect 4th (P4th), that gets our attention.

The notes of a Maj. pentatonic scale are formed by two 1-2-5 patterns a whole tone apart (C-D-G + D-E-A = C-D-E-G-A).

The close relationship to these 1-2-5 patterns and the pentatonic scale, as well as the pentatonic scale and the interval of a perfect fourth (E-A-D-G-C) is a somewhat obvious one.

A 1-2-5 pattern contains at least one P4th, and in it's first inversion (D-G-C) contains those final two consecutive P4ths.

0 Comments

1-2-5 Pattern - Coltrane Changes

7/9/2013

0 Comments

The 1-2-5 Pattern (027 Trichord) intrigue continues with this single unit exercise (one 3-note unit per chord, including inversions) over the Cycle of Descending Major Thirds (aka "Coltrane Changes").

The small numbers over the first line indicate (see graphic or download):

The pattern numbers (ie. 1-2-5 = C-D-G).

When necessary, in parentheses, the scale/chord degree relative to the chord symbol above it (ie. 1(9) 2(3) 5(13) in relation to Eb7 = F-G-C ).

Small letters next to a number indicate a pattern inversion and a deviation from the six basic 1-2-5 pattern shapes. An "a" means ascending or "above". A "b" means descending, or "below".

As I mentioned before, 1-2-5s are a great way to create lines intervalically.

But yet, another road to Rome.

Download PDF

Get it! Got it! Gone!

Click to enlarge

B. Stern

0 Comments

1-2-5 Patterns - ii-V7-I Applications

7/3/2013

2 Comments

These 1-2-5 Patterns (027 Trichords) have been intriguing me lately, especially after getting around to practicing the stuff I've previously posted here and here, myself.

Each three note, 1-2-5 unit has six basic shape combinations: 125, 152, 215, 251, 512 & 521.

Adding a second 1-2-5 grouping, a major 3rd apart (Maj 7#11) or minor 3rd apart (min 7 11) increases that number to 36 (eg. 125-125, 125-152, 215-125, 512-251, etc.) in each case.

2 Comments

Korner Karnataka #2 - Melakarta #15, Double Harm. Maj. & Graha Bedham

6/7/2013

0 Comments

A Melakarta, in Carnatic (South Indian) Music is a scale consisting of seven notes (swaras), which among meeting other qualifications, must include a root (Sa) and a perfect fifth (Pa).

The individual swaras of a Melakarta are identified with syllables, similar to Western solfege:
Sa - Ri - Ga - Ma - Pa - Da - Ni - Sa
(Do Re Mi Fa Sol La Ti Do)

There are 72 Melas, organized into 12 chakras (groups) of 6 Melas each. The second-half group of 36 Melas is identical to the first half, except that each of the Melas belonging to the second half has a raised 4th degree (M2).

0 Comments

Changing 'Trane's, Part 2

5/21/2013

0 Comments

Leaving the dusty little town of Giant Steppes has been no easy task. While sitting in the bar down- the-road-a-piece from the 'Trane Station, known as "The Cycle of Descending Major Thirds", I ran into this demonic looking, but sophisticated gentleman of dubious nobility who introduced himself as Count Down. I thought he looked more like Screamin' Jay Hawkins, but I didn't mention it.

It was very difficult to understand him at first, since (aside from the noise in the bar) he spoke extremely fast, in short clipped syllables and long sentences, with an accent I failed to recognize. However, after a short while (and a few mugs of Jazz Juice, the local brew), as I started to get the Count's speech patterns in my ear, I found him to be genuinely erudite and our conversation stimulating.

0 Comments

Changing 'Trane's, Part 1

5/16/2013

0 Comments

This week, on our way back from 1-2-5 St., we'll take a little detour to the tiny town of Giant Steppes, where, thirsting for knowledge, we'll descend the stairs to a local establishment known as "The Cycle of Major Thirds" to get a taste of some "fluid" voice leading.

Are ya with me?

As in a previous "Coltrane Changes" exercise posted here, this line resolves to the Maj. 3rd of each of the 3 tonic Major chords in the cycle, from the b7th of each of it's preceding V7s (ie., C7 - C-E-G-Bb resolves to F Maj. - F-A-C).

0 Comments

1-2-5 Street, Part 2 - 3 Note Group Combos & Maj7#11

5/8/2013

0 Comments

Last time, in Part 1, on our little trip to "1-2-5 St." we got acquainted with a pair of 3 note groupings from scale steps 1-2-5 (known among the uptown 12-tone crowd as "027 trichords"), spaced a minor 3rd apart which formed a min7 (11).

This time, we meet some of their relatives, namely two more groups of "1-2-5's", spaced a Major 3rd apart. Together, these 2 groups (in C: C-D-G & E-F#-B) form a Maj.7#11 chord.

Again, these 6 notes form a hexatonic scale (in C: C-D-E-F#-G-B), as well as the triad pairs C Maj & B min.

0 Comments

1-2-5 Street, Part 1 - 3 Note Groupings & Min7 (11)

5/3/2013

0 Comments

This week, we hop on the subway of our minds and get off at 1-2-5 St., where we'll hang out with a couple of three note groups, co-mingling to form a min7 (11) chord. We don't even need a token (remember those?), except possibly, a token of your appreciation.

Specifically, we're talking C-D-G (1-2-5 in C), as the first basic group; then Bb-F-Eb (5-2-1 in Eb). Together, they form a C-7 11, six note chord (C-Eb-G-Bb-D-F).

These two groups were chosen because there are no repeating notes, which means they form a hexatonic (6 note) scale (C-D-Eb-F-G-Bb), which can also be viewed as the triad pair of C min. and Bb Maj.

0 Comments

The Augmented Scale as Sub for Melodic Minor Harmony

4/26/2013

1 Comment

The Augmented Scale is a symmetrical six note (hexatonic) scale.

It can best be described as being formed by two augmented triads a minor 3rd apart (C aug & Eb aug) or, with different inversions, a half step apart. (C aug & C# aug).

It can also be viewed as being made up of three Major (or minor) triads, a Major 3rd apart. From C, the resulting hexatonic scales would be:
C - Eb - E - G - G# - B (stepwise: -3, 1/2, -3, 1/2, -3), or C - C# - E - F - G# - A (1/2, -3, 1/2, -3, 1/2).

Since the Augmented Scale can have three tonal centers which divides the octave into three equal parts, this results in only 4 mutually exclusive Augmented Scales.

1 Comment

Sub-way Samidge! - bVI Sub, Minor Blues & Penta b6

4/18/2013

0 Comments

This pattern / exercise is based on the bVI7 to V7 movement found in the 9th & 10th bars of a typical minor "Mr. P. C." type blues. It dawned on me recently that this is really just a ii-V7 in disguise.

As the bVI7 could normally be given a #11, that would infer a Lydian Dominant (fourth mode of Melodic Minor), which would be an excellent scale choice.

The V7 could be given the full altered treatment, and will for the purposes of this example.

Translating that into C minor, we get:
bVI7: Ab7#11 / V7: G7alt / I: C min / C min /

If we examine the Ab7#11 a little closer, we see that this dominant chord / scale is interchangeable as a tritone substitution with the other Melodic Minor dominant chord / scale, namely D7alt and the D altered scale. Both are derived from the Eb Melodic Minor scale system, and as we all know too well (don't we?):

Any Melodic Minor chord or mode can be substituted for any other Melodic Minor chord or mode of the same Melodic Minor "key".

0 Comments

Get Nutty, Buddy! - X-Centric Pentatonic b6 Modes

4/9/2013

0 Comments

Check out my recent guest post on X-Centric Pentatonics on the Best.Saxophone.Website.Ever for an explanation of the concept, as well as the Bergonzi formula.

The Pentatonic b6 is derived from the 5-6-7-9-(b)10 scale steps of the Melodic Minor Scale (i.e. C Pentatonic b6 = C-D-E-G-Ab, is derived from F Melodic Minor). It can be used, in theory, in any situation which utilizes Melodic Minor Scale harmony. It contains a tritone which means can be used as any dominant chord containing that same tritone.

It's sound might take a bit of getting used to. Four of it's notes are from the whole tone scale, as well as the augmented triad, plus the minor second, giving it an added pinch of dissonance.

But this ugly duckling is truly beauty-ful!!

Have Fun! Gotta run!

Download pdf

B. Stern

0 Comments

Unchained MM Melody! - Melodic Minor in 4ths

4/4/2013

0 Comments

Here's a groovy little line, based on 3 note groupings of diatonic 4th intervals of the Melodic Minor scale, which morphed into being today as I waxed saxosophical.

In my recent series of posts entitled "Melodic Minor: Major's Evil Twin", Pts. 1 -5, it was mentioned that:

1) The Melodic Minor scale system does not contain an unbroken row of 6 perfect fourths, as does Major (i.e. C Maj: B-E-A-D-G-C-F). As a result of altering the Maj. 3rd "E" to "Eb", the newly created C Melodic Minor scale now has 4 perfect fourths, 2 tritones (Eb-A, F-B) and a diminshed fourth (B-Eb, which sounds as a Maj. 3rd).

This means that different finger patterns are created than if you were to play purely Maj. diatonic 4ths or lines based on perfect 4ths, a la Walter Bishop, jr's method. In fact, getting MM 4ths under your fingers will enhance your ability to create hybrid lines using all of these methods.

2) Melodic Minor has no "avoid notes", as does Maj. (i.e. "F" in C Maj.), so that theoretically, nothing will sound "wrong", plus diatonic melodies, chords, and bass lines are all pretty much interchangeable.

Each 2 bar phrase, one ascending & one descending, contains all 7 notes of the Melodic Minor scale.

There are myriads of ways which you could harmonize this line, so knock yourself out.

Thanks, I think I will.

Download PDF

Lots more Melodic Minor material is available in my recent eBook, "Slick Licks That Stick!", including a Melodic Minor 4th Stack Workout! Check it out!

B. Stern

0 Comments

Augment Your Diminished Returns - Diminished Scale b6ths

3/19/2013

0 Comments

Here's an intriguing and suspenseful sounding exercise / pattern based on the whole tone / half tone diminished scale, broken down into the interval of a minor 6th, moving in minor 3rds.

The diminished scale, as you may know (or maybe you don't), is an 8 note symmetrical scale. It's construction can be viewed as:

alternating whole and half tones, a 2 note pattern which repeats itself 4 times per octave, thus dividing the octave into 4 equal parts, each consisting of a minor third. This division creates 3 distinct diminished scales (2 per note).
e.g. Whole tone/ Half tone (C-D) (Eb-F) (F#-G#) (A-B). Half tone/ whole tone (Auxiliary diminished): (C-Db) (Eb-E) (F#-G) (A-Bb).
2 diminished seventh chords, a whole step or half step apart (C-Eb-Gb-A, D-F-Ab-B) or (C-Eb-Gb-A, C#-E-G-Bb).
4 minor or Major triads, a minor third apart (C, Eb, F#, A Maj. / min triads).

0 Comments

Fun-da-Mentals - Major Triads & Inversions

3/13/2013

0 Comments

This is a basic, fundamental exercise dealing with Major Triads and their inversions.

The triads are spaced a whole tone apart with the scheme being ascending / descending in an upwards direction for 2 octaves, then ascending / descending back down.

Each inversion is presented in four groupings, as each measure is a Major Third apart, thus dividing the octave into 3 equal parts. Therefore, the triads repeat after the fourth grouping.

Triads are one of the more basic tools in an improviser's arsenal. A good technical facility, as well as a basic theoretical understanding of their usage both in and of themselves as well as their use as chordal extensions or upper structures, is an important part of building vocabulary.

Two Major triads a whole step apart are found diatonically in the Major and Melodic Minor scales (on the fourth and fifth degrees of each).

This exercise is but a starting point, as triad exercises can be built in half steps, thirds, etc., changing direction, Major, minor, mixed quality, etc., and all with inversions.

That should keep us all out of trouble, at least for a while, anyway.

Download PDF
B. Stern

0 Comments

Inspired from "A Study in Fourths" by Walter Bishop, jr.

3/6/2013

2 Comments

Here's an exercise inspired, for the most part, by the late, great pianist Walter Bishop, jr., from his book, "A Study in Fourths", published in 1976 and now, unfortunately, out of print.

I was fortunate enough to have bought this book from Mr. Bishop personally in the late 1970's or early '80s, after seeing him perform. I seem to remember him autographing it for me, but the book contains no autograph. Either I had asked him, but there was no pen available or he used invisible ink (or I was............never mind!).

*I remember now. As I had several copies of the book, I inadvertently lent or gave the autographed copy away to a student without checking. Careless maybe, but I know I wasn't trippin'.

It is said that Woody Shaw practiced out of this book, and maybe he did. But it is well documented that he played the way he did (using lines comprised of 4ths, not common on trumpet), long before this book appeared in 1976.

2 Comments

<<Previous

Forward>>

Stowell from John - 4 Melodic Minor Scales as Dominant Subs

Payin' Dues and Playin' Blues with Pentatonic b2's

Practice Room Instigation - Etude "Invitation"

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

Etude - "The Real Bella (by Bar Light)"

Front Burner! - More Penta b6 ii-V-i Apps

X-Centric Gonzatonics - Penta b6 ii-V7-i Applications

013, 1+2, 3-4-5 - Super Augmented?

Rhythm Changes - ReCycling the Cycle

Lucky 13 - Major Scale Polymodal 13th Chord Arpeggios

Kissin' Cousins - 1-2-5, Pentatonics & P4ths

1-2-5 Pattern - Coltrane Changes

1-2-5 Patterns - ii-V7-I Applications

Korner Karnataka #2 - Melakarta #15, Double Harm. Maj. & Graha Bedham

Changing 'Trane's, Part 2

Changing 'Trane's, Part 1

1-2-5 Street, Part 2 - 3 Note Group Combos & Maj7#11

1-2-5 Street, Part 1 - 3 Note Groupings & Min7 (11)

The Augmented Scale as Sub for Melodic Minor Harmony

Sub-way Samidge! - bVI Sub, Minor Blues & Penta b6

Get Nutty, Buddy! - X-Centric Pentatonic b6 Modes

Unchained MM Melody! - Melodic Minor in 4ths

Augment Your Diminished Returns - Diminished Scale b6ths

Fun-da-Mentals - Major Triads & Inversions

Inspired from "A Study in Fourths" by Walter Bishop, jr.

Categories

Archives