More Blues Minor - The Coal, Hard Sax!
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.
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.
The breakdown is simple.
Line #1, Measure #1 - Starting on the b7 of Bb7 (bVI7), 4 groups of 16th notes alternating direction (ascending - descending). The second grouping contains a passing tone (A), which is consistent with what is known as the Bb Bebop Dominant scale, a descending Mixolydian mode with a non-diatonic passing tone between scale steps 8 & 7.
Line #1, Measure #2 - As the final note of measure #1 is D, starting the A7alt chord / scale (V7) in bar #2 on a Db (C#), Major 3rd is a smooth choice, with the same asc.-desc. pattern of 16th note groupings, as well as a passing tone (D) in the second grouping again. This scale is Bb Melodic Minor. Depending on the starting note, Melodic Minor can accommodate "BeBop" passing tones between scale steps 3 & 4, 4 & 5, 5 & 6 and 1 & 2.
Line #1, Measure #3 & 4 - The tonic (i) D minor chord starts on its 3rd and the scale choice here is, you guessed it; D Melodic Minor. The pattern employed here is an "altered" take off on the common Major scale 1-2-3-5 4-5-6-8 "digital" pattern.
As the Melodic Minor scale is, in reality, an "altered" Major scale (with a flatted 3rd), it's patterns will "alter" accordingly.
Line #1, Measure #1 - Starting on the b7 of Bb7 (bVI7), 4 groups of 16th notes alternating direction (ascending - descending). The second grouping contains a passing tone (A), which is consistent with what is known as the Bb Bebop Dominant scale, a descending Mixolydian mode with a non-diatonic passing tone between scale steps 8 & 7.
Line #1, Measure #2 - As the final note of measure #1 is D, starting the A7alt chord / scale (V7) in bar #2 on a Db (C#), Major 3rd is a smooth choice, with the same asc.-desc. pattern of 16th note groupings, as well as a passing tone (D) in the second grouping again. This scale is Bb Melodic Minor. Depending on the starting note, Melodic Minor can accommodate "BeBop" passing tones between scale steps 3 & 4, 4 & 5, 5 & 6 and 1 & 2.
Line #1, Measure #3 & 4 - The tonic (i) D minor chord starts on its 3rd and the scale choice here is, you guessed it; D Melodic Minor. The pattern employed here is an "altered" take off on the common Major scale 1-2-3-5 4-5-6-8 "digital" pattern.
As the Melodic Minor scale is, in reality, an "altered" Major scale (with a flatted 3rd), it's patterns will "alter" accordingly.
B. Stern
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