"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.
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.
It's been said that back in the day, tenor saxophone pioneer Coleman Hawkins was, by and large, a "vertical" improviser, whereas the flowing melodic lines of fellow innovator and contemporary, Lester Young, were described as "linear" or "horizontal".
The legacy and influence of each was strongly embedded in the subsequent innovations of the following generations. Both "BeBop" pioneer Charlie Parker, as well as John Coltrane after him, were firmly grounded in each directional concept. In fact, it could be safely stated, that any great improviser, then or now, was or is instinctively versed in each concept.
The following notation and audio examples demonstrate concepts from "Vertical Structures". Each exercise or sequence is transposed to all 12 keys.
Ex 1. below illustrates a basic Bb Maj7 9 #11 13th chord arpeggio in 3rds. This full arpeggio contains all 7 notes of the Bb Lydian scale (the 4th mode of F Major).
Ex 1. - Maj7 9 #11 13 - from the Lydian mode.
The legacy and influence of each was strongly embedded in the subsequent innovations of the following generations. Both "BeBop" pioneer Charlie Parker, as well as John Coltrane after him, were firmly grounded in each directional concept. In fact, it could be safely stated, that any great improviser, then or now, was or is instinctively versed in each concept.
The following notation and audio examples demonstrate concepts from "Vertical Structures". Each exercise or sequence is transposed to all 12 keys.
Ex 1. below illustrates a basic Bb Maj7 9 #11 13th chord arpeggio in 3rds. This full arpeggio contains all 7 notes of the Bb Lydian scale (the 4th mode of F Major).
Ex 1. - Maj7 9 #11 13 - from the Lydian mode.
Listen
Ex 2. shows a basic Bb Min7 9 11 13th chord arpeggio in 3rds. This full arpeggio contains all 7 notes of the Bb Dorian scale (the 2nd mode of Ab Major).
Ex 2. - Min7 9 11 13 - from the Dorian mode.
Ex 2. - Min7 9 11 13 - from the Dorian mode.
Listen
Ex 3. below illustrates a melodic sequence based the 7 notes of a full E7 9 #11 13th chord. Likewise, this sequence contains all 7 notes of the E Lydian Dominant scale (the 4th mode of B Melodic Minor).
Ex 3. - 7 9 #11 13 - from the Lydian Dominant mode (Melodic Minor).
Ex 3. - 7 9 #11 13 - from the Lydian Dominant mode (Melodic Minor).
Listen
The melodic sequence in Ex 4. is based the 7 notes of a full Fmin7 9 #11 13th chord. This sequence is based on the 4th mode of C Harmonic Minor and contains all 7 notes of the F Dorian #4 scale.
Ex 4. - Min7 9 #11 13 - from the Dorian #4 mode (Harmonic Minor).
Ex 4. - Min7 9 #11 13 - from the Dorian #4 mode (Harmonic Minor).
Listen
The second half of "Vertical Structures" explores diatonic 4th stacks (arpeggios in diatonic 4ths) based on the four most common 7-note Western scale systems: Major, Melodic Minor, Harmonic Minor and Harmonic Major.
The Harmonic Minor scale, stacked in consecutive diatonic 4ths, in Ex 5. is range adjusted for the saxophone, which presents some interesting melodic alternatives, for non saxophonists, as well.
Ex 5. - Harmonic Major in diatonic 4ths.
The Harmonic Minor scale, stacked in consecutive diatonic 4ths, in Ex 5. is range adjusted for the saxophone, which presents some interesting melodic alternatives, for non saxophonists, as well.
Ex 5. - Harmonic Major in diatonic 4ths.
Listen
"Vertical Structures" is a "go to" volume for studying and practicing the vertical aspects of these selected common scale systems. Practicing the exercises and sequences presented will not only promote the necessary technical facility in executing 7-note chordal arpeggios, but will sharpen one's own aural recognition, as well.
Scale the heights!
B. Stern
Scale the heights!
B. Stern
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