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

Korner Karnataka #4 - Mela #18 - Hatakambari

9/19/2013

I thought I'd do another Melakarta post, this time featuring #18 - Hatakambari. If you're not hip to what a Melakarta is, then please check out my post from June 7th, 2013 entitled "Korner Karnataka #2 - Melakarta #15, Double Harm. Maj. & Graha Bedham", where a complete set of mp3 drone pitches can be downloaded, to facilitate in practicing these scales.

The Melakarta presented here, is related to #15 in that they are from the same "chakra", or group of six, and share the same lower tetrachord. In fact, the only difference between the two is the sixth step, or "da", of #18 being raised two semitones from D1 to D3, or in the key of C, from G# to A#. This scale could also be seen as "Ionian b2, #6", in western terms

1235 Melodic Minor Circle - Apt. #251

9/9/2013

Our old friend Mel Minor (MM to friends and family) is back with an exercise featuring an alteration of Major's basic 1-2-3-5 diatonic pattern. To begin with, we know that MM is an altered form of Major in itself.

If you are familiar with running Major 1-2-3-5 combinations such as CDEG FGAC, DEFA GABD, FGAC BCDF, etc., this MM version will be at once familiar, yet strange and exciting.

Using a four bar ii-V7 phrase, measure 1 of Line 1 starts out with a 4 note 1-2-3-6 grouping starting on D (D-E-F-Bb), the root of the Dmin7b5 chord (Locrian #2 mode) and the sixth step of it's parent scale, F Melodic Minor.

The second 4 note grouping starts, as with it's Maj. counterpart, by turning back a whole step, to Ab in this case. It then does a MM diatonic 1-2-3-5 (Ab-Bb-C-E).

Another way to think of this is to start the first group on the sixth step (D) of F Melodic Minor and the second group on it's third (Ab).

In measure 2, G7alt (Ab MM) the first group mimics the shape of it's measure 1 counterpart (1-2-3-6), while the second grouping, again turning down a whole step and starting on Ab, breaks the symmetry and resolves to the fifth of the tonic chord (C Maj. or min.).

Although not notated here, if we flip the scrip' and start the first measure pattern on the third of F MM (Ab-Bb-C-E), drop a whole step again and continue on it's sixth (D-E-F-Bb), the symmetry continues in measure 2, G7alt (Ab MM) with straight 1-2-3-5s (Ab-Bb-Cb-Eb and Db-Eb-F-Ab) outlining a Db7 (tritone sub) resolving again to a G in bar 3; maybe a bit more symmetrical and logical, but who says symmetrical and logical are always the best or the most fun, anyway?

Check 'em both out!

Read earlier posts on the subject of Melodic Minor, starting with
"Sympathy for Melodic Minor - Major's Evil Twin, Pt. 1"

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Treble Clef Bass Clef

B. Stern

Rhythm Changes - ReCycling the Cycle

9/4/2013

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.

Lucky 13 - Major Scale Polymodal 13th Chord Arpeggios

8/19/2013

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.

Sonny Stitt - "How Many Keys on the Saxophone?"

8/7/2013

Sonny Stitt - How Many Keys on the Saxophone?

From the mid 1970's until the early '80's I lived in Munich, Germany. Aside from being a beautiful, culturally oriented city lying at the foothills of the Alps, Munich hosted (somewhat unceremoniously, it seems in retrospect) one of Europe's premier jazz venues at the time, known as the "Domicile"

The "Domicile" was on par with Ronnie Scott's in London, the Montmartre in Copenhagen, and several other major European clubs. It was part of "the circuit", so one got to see all the major jazz legends who came over from the States (plus some of the top European musicians), on a consistent basis, with the usual length of engagement being 5 or 6 nights. Eventually, even I had the opportunity to play there with some frequency. I got to see people like Dizzy, Blakey's Jazz Messengers, Joe Henderson, Johnny Griffin, Woody Shaw, Archie Shepp, etc. I took a lesson from George Coleman and sat in with Freddie Hubbard.

The Domicile was also, in the Summer of 1980, where I got to experience the likes of none other than one Edward "Sonny" Stitt.

Marvin Gaye Sessions #3 - Tomorrow's Gone

7/20/2013

Part 1 Part 2
When "Midnight Love" finally hit the streets in the autumn of 1982, it marked the triumphant return of Marvin Gaye. I first got wind of it when, half asleep in the back seat of a car riding through Belgium on a November afternoon, en route to a gig in Luxembourg, I heard this tenor saxophone coming over the radio and, in my half conscious state, thought it sounded like Michael Brecker on one of his top forty disco type solos of that era. But when I heard the unmistakably familiar voice of Marvin Gaye as well as the vague familiarity of the tune itself, I suddenly realized, "Holy shit! That's me!" The tune was "Joy", one of the album cuts I played on. When we got to Luxembourg, I found the nearest record store and bought the album (Vinyl LPs were still the main medium for recorded music).

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

7/16/2013

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.

1-2-5 Pattern - Coltrane Changes

7/9/2013

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.

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Get it! Got it! Gone!

Click to enlarge

B. Stern

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

7/3/2013

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.

Marvin Gaye Sessions #2 - Tomorrow Comes

6/26/2013

After seemingly scoring some points with Marvin (Gaye) and Harvey (Fuqua) with a brief tenor solo on "'Til Tomorrow" (see Part 1), I talked my way into having them invite me back for some more fun the next day.

When I found out they were going to be recording in Munich for a few more days, before Marvin headed back over to Ostend, Belgium, I had to try to convince them I could still be useful; and while I don't consider myself one of those individuals born with the gift of gab, whatever I told them worked.

Marvin Gaye Sessions - 'Til Tomorrow, Pt 1

6/20/2013

Marvin Penz Gaye

It was a typical Munich summer's afternoon in 1982 when I got back to my apartment and found a message, that I was to call Arco Studios back about a "Marvin Gaye Session".

I had been doing a modest amount of studio work in those days, mostly as a tenor saxophone soloist, as saxophone solos were common on many pop recordings of the '70's & '80's.

Munich, as far as Europe went, was a pretty major recording town. It was a center of the "Disco" boom of the '70's, and the city boasted several film music recording studios, hosting rooms large enough to hold entire orchestras. Arco was one of those places.

I called the number which was left with the message and a guy with a deep, resonant Barry White type voice answers. I gave him my name and that I was contacted about a session.

Korner Karnataka #3 - "Yagapriya", The Jazz Version

6/13/2013

Let's take a look at a very hip sounding scale, Melakarta #31, known as Yagapriya. As you can see on the keyboard graphic to the left, Yagapriya has an unusual interval makeup:

1 1/2 steps - half step - half step - whole step - half step - half step - 1 1/2 steps

The interval scheme of the second four notes (tetrachord) is the reverse of the first four notes, separated by a whole step.

Yagapriya can also be thought of, in western terms, as 4 triads: (In C) C Maj., C min., F Maj., & F min.

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

6/7/2013

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).

Korner Karnataka - Charlie Mariano - Konnakol/Solkattu & Prof. Dave King

5/29/2013

Charlie Mariano with his nadaswaram in the early 1970's

One of the legendary alto saxophonist Charlie Mariano's greatest and lasting legacies has been exposing an entire generation of Western musicians (including yours truly), primarily in Europe, to the highly intricate beauties of South Indian (Carnatic) Classical Music culture.

Carnatic Music probably contains the most sophisticated, mathematically derived rhythmic system on the planet. It's no wonder that the city of Bangalore, Karnataka, a megalopolis of 8.5 million people, is considered the "Silicon Valley" of India.

"But with all that math", you ask yourself, "can the music swing"?

Oh man, and how!!

Mariano himself was first exposed to this deep musical culture in the late 1960's on a trip to Malaysia, and began serious study of the Nadaswaram, the popular Carnatic double reed instrument, with a teacher/guru named M. Muthaiah, in India.

One of the musicians, originally introduced to Carnatic music through Charlie Mariano, and who has really gotten into it seriously, is bassist and long time friend Dave King. Dave is originally from Louisville, KY, and is currently a professor at the University of Music and Performing Arts in Mannheim, Germany.

Changing 'Trane's, Part 2

5/21/2013

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.

Changing 'Trane's, Part 1

5/16/2013

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).

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

5/8/2013

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.

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

5/3/2013

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.

The Augmented Scale as Sub for Melodic Minor Harmony

4/26/2013

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.

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

4/18/2013

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".

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

4/9/2013

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!

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B. Stern

Unchained MM Melody! - Melodic Minor in 4ths

4/4/2013

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.

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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

Transcriptions That Stick! - Dig Big Nick!

3/27/2013

Here's a transcription of John Coltrane's soprano saxophone solo on his composition "Big Nick", recorded April 11th, 1962 at Rudy Van Gelder's famed studio in Englewood Cliffs, NJ and was released as part of the album "Coltrane", on the Impulse! label.

This is the first of two versions of the tune recorded by Coltrane that year; the second, which appeared on the aptly titled Impulse! classic, "Duke Ellington and John Coltrane", was recorded in September.

The main difference between the two versions, is the form (and the intention). The "Ellington" version is a standard 32 bar, AABA classic American song form with a typical late 1940's, Rhythm & Bluesish chord progression on both the A sections and the bridge (in honor of former mentor, saxophonist Big Nick Nicholas, for whom Coltrane wrote the tune). Both 'Trane's and Ellington's solos are played over the complete form.

Augment Your Diminished Returns - Diminished Scale b6ths

3/19/2013

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).

Fun-da-Mentals - Major Triads & Inversions

3/13/2013

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.

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B. Stern