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k
g
n
g k<
ScboolofJazz
improwisatio
for Saxophone
1
.V
A.OSEICHUK
g
unpouauu
, g k<
ScboolofJazz
i01prowisation
1
,.
for Saxophone
n
!,__
Instruetion book
K<t>Af>A
1997r.
~-
. J.
85.95
72
tJt'llpC ?l~tz ~~
olomro My&IJIOAIIIX'O 1rYJ1C01 , ~ Poecdtd . tpwn ~WI
n n .
~ , 1997 .
520700Q000-124
. "" , , 1997 .
22()-97
~
J. --
FOREWORO
The wok of well-known Moscow saxophonist and teache Alexande Osseychuk
"School of lmpovisation f Saxophone" is pactical couse of jazz impovisation.ln this
wok is genealized the artistic and pedagogical expeience, accumulated the pevious
geneations of jazz musicians and of jazzmen, woking today. The k is aimed,
particulary,on the conquests of moden jazz maisteam, that is, it itoduces the
students into the cicle of otions, nomes, stylistics, which used f the
"communicatio" betwee md jazz musicians of diffeet couties . Despite the high
degee of individuality, iht to each emiet perfomer - impovisator, all of them
(excluding those, who elong to the avat-gade stearns) ased the esthetic
steeotypes, woked out f decades. This fact, natually, doesn't d the spotaeity,
the ispiatio of jazz impovisatio, d muttiple impovised solos of emient musicias
serve as exemple to it.
l occasions, due to thei individual qualities d demads , the jazzmen,
educated the maisteam, feel uncomfo-tae withi its fames d they ealize
themselves in the jazz" (0. Colema, J. tt, . Shepp, F. Sades, . Dolphy
and othes) . But such metamophoses possie l the s of the ichest
pevious expeience i the m taditional jazz style - the maiste<:tm.
The autho of this wok put f himself difficult go<:tl of t<:tcig the laws of jazz
improvisatio, evealig thei asis, systematizig the d pesenting as certai
execises d etudes, td with typical hamoic turs of the md jazz, <:ts well
as with the priciples of modal jazz. l methodical systematizatio will allow the
studet to master succes..<;fully the elemets of jazz impovisatio, which ecessary f
professional jazz impovisato. Each chapte is composed i the following d .
certai mode with sdig chods is cosideed; the the ;thos poposes the
execises , ased this mode, the etudes d the exemples fom the perfomance
pactice . poposes also the taes of the cosideed modes d chods in all keys. All
etudes and exemples fom the perfo+mace practice quite covicing . The
1 fagmets f~m the imrovisational solos of the best-kow jazz musicias (k,
Addeley, Cjltae, Rollis, Farrell d ofhes) peseted .
Although this book is witte saxophoist d is oieted to the perfomace
practice of saxophoists (. Oseichuk is of the leadig Russia saxophoists ,
laureate of the AII-Uio d lteational competitios, epesetative of the jazz as
well as of the academical schools), we suppose, that it succes...:;fully used the
perfomers, playig othe istuments
Such wok is C:t i one i our coutry and it's delightig, thCit it tued our to
eally seious d complete.
Yuri Chugunov
\
. "
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, , ""
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5
, 1 PART 1
1 CHAPTER
'i' DoRIAN MODE
D- DORIAN Dm" 8 D
''
'' 11 11
- -- U
II
11
11
11
124
11
.7 ' 1 J f tJ ha [ Ed r 1 r f f f 1.
'rrl ttattafirlrffrtffrft?ift1f 1
'4"iB
" tfrlftQv
" " " " F1. . ._r Q rrl r i, 1
. ~~
---
.9 ' ...t tt:nc@:t@}@!:a:&)
-----
.......---
[!! r r r r! ~~~ ~ 1
f':\
3 3 J.J qJ J J) u
11
tlt(~rQirffr r 11
VII .
D - DORIAN
- DORIAN
Dm" >
11
1:!1
8 .l
l ~1
~
,,. ~. tt. .
~
EPm" 8
~
13
-
~
~.
' lldl
Em"
8
1 ....
~
11
~
1
# 11 1 11
t3
Fm"'
8
~ .L
1 ~. l!. g'l
'
11 11
F#m"
8
~
1 .L
# 1 # 1 1! 1DI
'
11 11
Gm"'
....
8 ....
it
t
:!:
~. l
'~
11 11
G#m7
~ ~ ~-
1
1 tF IJ 1 # 1 11'18 11
Am"' ..._
8
....
~
1
+
~ 11 1 11
. ! . ~ ...
11
BPm7
~~ .
..
8
~
-
t3
~
'
11
Hm"' 8
#
1t
1:
' ..-,.: # 1
11
iJ 11
t
Cm7
:
9
-+
~.
8
' . 11 11
-+
f l # #
,. 1 #
"~=
C#m7 9
1
,:: ~
11
1:!4
9
1
Etudt>
F#m 18
1[ f1'f-l
11
Moderato Etude
Em9
, .r r -r--r 11r
m'f
,ttlr
AJD9 > Dm9
(i)f '
8
lt: r;;t t71 tJ ,g J
1:!4
11
11
od lib.
~ 'j1. .
Moderato - -
,...
=J Jl
",..._ . fJ ". .".
.:::. J. ADDERLEY
".
21 6~tf Lre::ffil uwa.riJ! lif r-4tcir"!
Fast
Am'7
Na22., 1 1 [' j. 7
4 f 1 t> r 1- RJ'
~
1
.
4'7 r t) 1
> ;;;!!!;;
j, 1 J - JJDI r J....__.., 1
Moderato fast
. .:::.J
' 1 1
.
J. FARRELL
>
~~~~~ > >
1 1-1
J=i12 . 3
. WOODS
* ----- ___
"J] ' [1! F L_ 1
! '
11
L __ ---------'
k - . 2 ( N~5-8)
.~ - detailed explanation - !t 2 (exemples N~N~5-8)
12 fast
Am"~
.
.. J 1 '1
11
'
11
.
Moderato s. CRISS
.
Slow
*
~ PH .WOODS
28 j
Dm9
r?fft~'j
-...,.- (\
.. 4 tf JJ
__, ]{(f
""' '"'f:bl
(itJtf:U&& 1
2 CHAPTER
MYXOLYDIAN MODE
G- !3
~ ::!!:.
~ MIX~LY:IAN ;, .,.. ..._ G"
11
Cj
8
11
- MIXOLYDI~ ~ - ~
G'f i1
13
VII 8 ~)
I III v
<~) (:!!:')
'NglJ'
11
t 7i ! r 1 J ; ~ f?J 11
lJ 1 J ~
....-:=-
rg 11
1::4
14 2
l 2 t.3
!,..
~'7 . :_ ~ ~
.
~ ll.
' ~. .
11~ 11
~ # i 11
ttl 11
,,_ ~"' 8
ltt ..
13
~ &r
18
~.
~ ~. 11
ti 11
"' 8 tt
j:
4 ,... #
......- # 1 ll,q: #
t.3
11
"'
---
8 tl
4 -
..- ' 11
1 11
~~ # f # 1 #
# li#ft
#"'
1
8
~~ '- 11
i
D'7 8 ..JL
~ # 11 #l 11
~"' 8 ~ ....
13
4 . (,. ~. ~. lz
11$1 11
'7
1: ....
~
~ ~t 1 # 11 11 11
13
F'7 9
bJL .L
~. lz ~~~
' 11 11
~
11
F#7
#: ..JL.
1 ~f # # 1 llft#l
' # 11
1:!1
- ~~ ... .. . .:_,. . _ , f '
. . . .. .. ..
. _, __. ' . -~ - , . . ,__ . -~- . - -f. ........ . '"~
... ~-~ '
' ' -~- ..
~-
NoS~tL! ~ --- 1 l21f__J qJ
15
11
11
Ef?l rJ:rr
11
No11' ~\, tll1rtj (f rfQJ!J r fq fr~
>
V 1 LJl' 11
lf8 tJ(JJtJ 11
>
tE ittJ]lJ nwl r1 8
11
J), {D @ (j.ff 3
11
11
The exemples of tl1e Myxolydia11 modes use i11
. tl1e performa11ce practice.
Moderato .6
'7 . WOODS
1:!1
fast .
(j' ~af:Lisl
c'7(ta)
a<t41tt {jQ )Q I t ~
7 1~.
t(ll ~
.edfum fast .
. BRECKER
"
G"
1 r gQ ~ [ ? 11 CJ U
,j Jj (.J ~ J( r=t an l;er ft! r ~
J," >~ EJ,"
----------
~ --- ~~
) ;
1 sr{e> s '* 1 tiO
1
8&0 s &oiJ 1 85" 11
,
1 Dl;''( ij1) 1 1 11.,
&r 1 ,]
r) 1 1 1 11
n . And so on to schems .
RiD ,u t ej 1 11
' 1: U " 11
f!U 11 ( F1 11
t ti u : ev
Jl
1 II nu i,
11
TllK 11, ill Cll d so 11ccording to tl1e instrument ' s
COO il . dillpllZOile.
Etu-de
19
!l . l so to d cliapazoe of istiet.
- 11
= 11
A"' '
4* rttr1r~ .... - . 11
!l !l D!J BL AL G FH 'F
d SO U ' . ' ' IJ'' ' IJ'' ' tf'
!l : d so in desceding movemet .
. . .
11
20
3 CHAPTER
.
. IONIAN MODE
YONIAN
,, ,,
u ''
~ ~~: lmaj 7 (9) 1 6 (9)
'*
corresponding to harmomc vert1cale: . '
CmaJD 6/9 r-::: ~ >~
N111 ~ 1 j ~~
~ J ~~ t >
f~ : t -fgp- f
- 11
L ,-., "-._ ~~ ~~
f !JU r nru rffJW dFQ tJ t1
CmaJ (or.
~j v ;tJ. 3'E[t m r r [t t (t 1 ii 11
11
1
f r 1. tptol EJl
I, III, V . Playing nround the I, III, V degrees of clrd.
~ d
4 1 Qj
1 1 >
1
1 111
I!
v
f 11
NR4 , . ,
Gm&J
J !, ,J 2
-
,~
r F
>
1 'l t
rt 11
NRS * @' t
~s
Fz r ]' mr .
2 r~ 11
J- 1rrcrtr ~-
11
1~1
21
Dma.f ~ ~i&~ L~~ ~ ~
.7'tt' rturg fif' rrr r
>
rpt 1
~J ~
rr1Jftftl ru ttfffi)
- r> _ .
..~f ~-rittttftfi!Ertfftl:arif - 11
11
, Imaj (I6) In the case, wl1en the the Imaj ( 16) function
the given harmonic succession lasts for 2 bars and
, more, as well as when playing the sixteenths
and tl1e thirty-seconds in slow and moderate
, tempos, the functions of the V7 or Ilm7 - V7 are
I maj (I 6) V7 layed on the basic function Imaj (16). For example:
Ilm7- V7 . N21l, 12, 13. N2N211, 12, 13.
11
11
22
Etude
. BpmaJO
4ttt41tri~Ea:d
~ . EmaJO _ . - - - - - : : ;
FmaJ r-.
8
cmaJ . HmaJO BPmaJ 0
&J
.
LIAN MODE
F- LYDIAN
,,
~ ....... \1
IV
,, '' 11
11
1~ 4
24
. DmaJ 11+ .
DpmaJtt+ .
N'il9~~~ flJ J j pr r
11
t 'lrtj t ~ Emaj"
J QJ @
~ -
tlt zcftcrf tfit Og 1
.
11
GPmaJ 11 (F#maJ111-) . ~""- r-.. ~
HmaJ 11 +
11
1 crut (]Jif
.rmaJ :r.~
Gm9 q_"'
1'614
uitr1 r1 11
. '
Bounee _ ~ma,f(or %) EmaJf1+ . GARRETT
.
M-BRECKER
~
ltE(] lf
.
.edium fast
. BRECER
Dmaj11+ Gmaj H+
~~,~~"~~e~F~L~~~IA~N~e~~~"~~e~~"~~e~~~~~
-
( I maj)
YONIAN
,,
'- ,,
,,
'' 11
gg~~~ ( m") (V )
D _
,. G -YXOLYDIAN
,. ,,
"
" ''
51
1
, 'fhus, when playing on tl1e lrmonic succession
1Im7- V7 1Im7- V7~Imaj in the key one can perform
- l maj dur, melodical phrases playing tl1e Lydian major
~1 n seventh chord in the key F dur:
F dur:
:
For exemple:
11
11
.
DPmaJ M. BRECKER
.tT ~ r r~
f
One can also use this melodical phrase when
playing on harmonic succession:
:
f, "'' Ef,O
11
.
Em
J, J J, 1J
. 2, N~ 5, 6, 7.
See clpter No. 2, exemples No. 5, 6, 7.
e-
~ ~lgm
N'g15. ~~ J fi1t r=r OL cpr ~ ~ ~
11
D9- -- -- - - - -,
X.17 ~~ t rCFt
.
( -
1.. - - - - - - - - _. J
1
.J
:1 1 :J FJ
~
J?j
~
11
. pneJi 2, N2 5, 6, 7.
See clpter No. 2, exemples No. 5, 6, 7.
- _
,~
- L ~ - 1
r? fa) t
-
~
~ f .;'\) -t r)t- llrF#m
==
G9-
N'!I19 Jts J r f :
1 11
11
i 11 -
D#D -(9 -)
23 F9-
. 'ilti;te rr n u
fl_
rHiAJUR rR:Pffi ,
#D-(9-)
moll - t1
ARMONIC
11
-
11
W ~ F 9-
Gmoll - + ~ +
ARM~IC~ . ~ .
m
- - D9-
..... D ..- 1 11
. ....
F# moll-
--
il
t;e
ARMONIC
11
#-
___
;
... 11
.."
moll - ' ...
.. .
... ~)-=
8 ? -
ARMONIC
: ;;_
. 11
# inoll-
ARMONIC ... ~ ...
....
8 ole
11
G
~
u- ~ 11
Fmoll-
ARMONIC ft
lfe .. : .. j?. IJ
~9-
1 ftl 11
11
1:!4
FD-
':'8.':
ARMONIC MINOR
C-m~ll-
==
1J1i
ARMONIC
& io " l
(tit
(;
. ...... 11
G9-
1\
" l " . 1i ' ' 11
E9-
N~r1~~~~jj~J;AJ~?0
~-d~riif~l[liiIEE~f#r[l~+riDJt~JJrJ]lj~iiP~J~I
-
N~r2~.~~~~-jj-~~~FfiJ~f!f~lt~f~iiJi~fJmfifJat1Ji7iJ[j~f~~gLq;ro~-m~tJ~Ir
- ~~
N~r'f~~lroz~~~~~w~~u~w~~~r;~-~tti1J~~r;~~~#~A~=,~J-~~~
. F#D- r. :::... r. "sfVf= ~
4 ' .. tc.fhf &F ri t f 1mro rR:fi:rJJJj'
1 11
.a,Jw.s&roariOf1t:afitfttf 1t
11
.
. WOODS
Latino J=ID c#"'s-(ta) :::..~
.. lt J t9 ! J"kt Q;P[
.
:::.. J. F ARRELL
n
J. FARRELL
n~ "/s - {ta) >-
.
. BRECKER
. Am 7/s- Am "/s -_()
iiJU 1 11
1:!1
36
c#m'7/s- ~ r.. ~~ ~.
No9 ''t iU if81R r 1 rft affi 1 f 11
c#m'7Ai-(H)
11
: D-dur
For exemple: D-dur
Em" .
. 1
1 ~(~'rmf{J~.,~~i
a).,-~!g~a~ftftt1~r1~tl!$1 1
: 1
1 1
1 1 :: 1
: F
11
1
Eii c#m"/6-(e)
il iJDI
clm"/s- (r#"fe -)
n 1
C-dur Playing around tl1e rst degree of the harmonic verticnle
Dm'f G'~
;i
>\f. i@j U 'ii!M ft Yii'f!ttt ;; tfi'
1!::!
1
. N' 2, n N 5.
See chapter No. 2, exemple No. 5.
n III n
- moll . Playing nround the Illd degree of the hnrmonic verticnle
- m'~/s- m'7/s-(ta)
LOKPIAN, MODE
~
m"~/s- t
- LOCRIAN Q - ~ 8 ti
Q Q
'' \1 '' 11
VII
Vll The Locrian is built from tl1e VII degree of the
, , major scale and corresponds, as rule, to tl1e m 7/;,...
IIm 7;5_ - (II$ZS) . Hn - (II0)in tl1e minor key. In tl1e above-mentioed
Hm%- , Am (llm7/5- ). example IIm 7J5_ , Am (IIm 1f5- , Im) . Here are some
exercises for tl1e adoption of tl1e Locrian mode in
. 1\ll keys.
Am '7/s -()
. 4~~ J r
~
trr- rJA 11
34
t= - Gm'7 .
Moderato fast
m7 "-. >",.__F '7
~t 1
_ .
Medium bounce tempo
Fm'7
i -- _ EL j
. BRECER
.39 ' 153 ~= f~
.'""" nn , .f- ~ ~riE! !-r _'~ t ~maJ~' ~
vmo
Em
8
j -
.
. BRECKER
"r , 1
.edium fast .
~m
... '7 t8 S. CRISS
~ 1[ r f ! 11
D .
:;:...~ Df
JVGt r r 11 rt:r n
Em7 S. ROLLINS
;i: l Fast ~ =138
N!!42 ~ lj - 1 11
.
EmajiH
1re u.rlf
'7 S. ROLLINS
lt f r - 11
1~1
33
.
. GARRETT
Cma.J
i Ift 1 f
fast Dm'7
;i >?
N!128 ~ ., d~_!L ! :::::: 1
.
- - ~ EmaJ . GARRETT
lti r r l[tt!J[ 1 1
.
K.GARRETT
tf EmaJ
>
1
.
.edfum bossa F#mO 8 aJ J. ADDERLEY
.
L J. COLT~E
EpmaJ ..-..,_
r]t t trr- 1
.
J.COLT~E
.edium fast
_J!m9- 9
.s ~ J1frr m~
-"' ~
m. 1
1~1
! (Ilm 7- V 7 ) (Ilm 7- V 7 -lmaj) D.:
Exemples of clrd clges (IIm 7 -V 7) (IIm 7 -V7 -Imaj) in the performllllce practice:
.
C.PARKER
. .edJum '~:U :; D'7 -
GmaJ
N23 '
11
1 ~t; d fitQ () rffsJ 00 JiJ
. '
fast Fm'7 . f,S _ Em'7 9 . WOODS
r -
.edjum. tempo .
J.ADDERLEY
~-
1 ~\!t' # g;F:f;Lf i i
1
- frt r rr~ r; r r & ~ ~;
13
1
DmaJO ~
1
.
31
~
1J) r '! 1
~ : =i=
imoJ 11
FmaJ +
1 ff) t
3
11
1:.
11
29
m 11 18 Am11 n 13 Gm~ 1 18
~ /'s;?~...,-.._ 11 J) : 11
r) 11
28
Dm'f G'f Hm'f E'f
lfJJ 1 tJ ljJ ss u r 11
0 t=Jttf
Am'f D'f Fm'f f,'f
(F
4t
c#m"
rtrt
F#'f .
ra/t
AmaJ
~ r t!O
;:::..
11
~ r ft Q HJtffl ffli$@tiPG rW r 3
11
(-22) ~ The following melodico.l pl1ro.ses (from N~3) .
, used o.s the sequence's links o.nd performed in o.ll
, the possihle keys, o.llowed the instrumnent's
. diapo.zone. Tl1e sequences' liks co.n built witl1
different intervo.ls, in tl1e o.scendig .d tl1e
~ , descending movements, for exemple:
, :
L/NK
GJt cta
~ Ji) ]3 QJ 11
Sequence (in half-tone relo.tionslrip)
F~H f,18 Emt1 13
EXEMPLES PLAYING
ON ARMONIC SUCCESSIONS
D. ,
In order to adopt tl1e above-mentioned harmonic
successios, often met in tl1e performance practice,
, it is necessary to begin with simple melodical
~, phrllSes, built on tl1e basic clrd's degrees, for
, exemple:
:
Dm 7 G' Dm7 G7
~tJJJ1ar 11 fJ J J FJd 11
1Im'7 '7
~ tf rt - 1 fJ J 16
11
II1'7 '7 Imaj
DmO
~ t mO
li V7 ImaJ9 r6
11
~fJur
G#m 7 #'~
1 erd!cr 1 '~t:r t;"J dr r 1 ! ] (J$
m7 '7
.Nir25 'q 11
7 CHAPTER
MELODIC MINOR
' mo'll - MELODIC
11
11
l 11
11
e- u
n The melodical minor mode in tl1e nscending and
the descending movements corresponds to tl1e
: Im7+ lm_ hnrmonic vertical: Im7 + and lm6
: moll . 1',or exemple: C-moli melodical
' cm () cm 8 () ()
'J
11
1 10 '7+ ( r 10 ~ 9)
Exemples of playing on functions '
""'"
,.i
,.1
.Nir2
Em8 (or '7 -t)
1
n 8/e (or '7 ... )
1 fblJ f Dr]to
1
~
#r
'!ii ' 11
m 8/ (or '7-t)
moll
MELODIC
1
~ moll
1
4.
d moll ~~- 1 ....
11
~
,. #
11
h moll
g moll
1
~J ~ 11
l~ moll
4t#
1 lt
11
4Jr1
moll
~ moll
~
,.
. 11
,~ .. ~-
,.
" . 11
,~;
l moll
,. ~ .. 11
g~ moll
~~ #
11
b\1moll
d# moll (~ moll)
~~~~ 11 1 z 11
121
46
. - The exemples of tl1e playing on tl1e hnrmonic
: successio:
m "/s- V"/-
Locrinn Hnrmonic minor Melodic minor
/
Ji"ls-:._ . .n- . ~ 8/ 8/
. ; 10.
See chupter No. 10.
1
G#m "/s .. # '7/-
~L# ~ .
21 @"ft J]j] J r J t
3
3
r E:fJ 1t flf fF ftr cEJl3 -
1:
47
F#m8/o .
11
11
:J)
11
~ 11
Etu.de
Dm"/&- G8-
,, &tif=t 1-:t
. Fm9
1 n :ra
EPmaJ +
F brSZf ?J
~ !: :::::::t J ::: ~ EIf'
:>
1- t$)1
124
48
G 1/s- -
) ,
j,e-
:;& 1 r ~. . r r1
,,~~s- tft (I"t) 1 L~ "f
1
EpmaJ
Pe~j:n!
! *t
Fm"~/6-
EPmaj 9
r 114
GP 9 -
&@ QJ:J.
JCj J. >;g r rCft r q@ .J
1 11
Bounc~ temp.o
.
'*' ti1 \
c#m"~/&- m"'+ . WOODS
No14 .1
1;: #j,r
Bounce tempo .
Am"/s- nD- . . WOODS
&tl [Jt r
. 3
. 'f
. GARRETT
F#m
rs : 1,1 ;
1 ~4
49
.
. GARRETT
m"~/s-
.
.edium swing . GARRETT
G# m"~/s- F#m 6 (or '7)
~
J. FARRELL .
.
J. FARRELL
f} - 11
.
J. GRIFFIN
.
Bounce tempo L. SCHNEIDER
F#'f/s- - 9
m/
No 22 ~ 1 .u r r ,.r n F'E ) 1 t (! f 1 - 11
. F
L. SCHNEIDER
11
. :l1
GD- J. BERGONZI
Dm"~/s- _ _ _ - '1;' . cuaaJ
J$U1 gcr 1I f r t
3
>------------~--~
r :; 1 <' 1 ' v' 11
!> 1 J - 11
Using the method of comination of the Locrinn
(. N2S nnd Myxolydinn modes (see chnper 5, examples
Mll-24), N!!.Nl-24) one cnn perform the following pl1rnses
n n\m 7t5 jV9-IJ on the succession\IIm 7j5 :_/V9-//
n.~~- -
c#m"'/s-=> -
- ~Ftt "'+
:
LOCRIAN
.
.edlum fast
. WOODS
c#"'/5-
M29''1411itf-r @ r1 65?
moll- li
F#B- MELODIC
nII 11-
MODE OF DOMINAN SEVRN CHORD
WI RAISED ELEVENTH DEGREE
dur
,, n1
11 11 11 11
., f),.
1*
n 1! lligJ
11 11 11 11
G'7
cmaJ
Lf [ (1 6ilir1 J 1
D& j
' ( j t: r':
: nn-
> 11
~
11 11 ,EJ &i
i " # -
1
" la 0
''
D 1.1+
11
Ng3 ~ ~t J v Ji!r? JW J 11
11
53
j#Q*[(j) J 1 r ] r? ' 11
~ + ~
+ .
8 CHAPTER
EXEMPLES PLAYING
ON HARMONIC SUCCESSIONS
.
1) 'Z "* 11
.t 't ~ i!Jrtteri
Dm" n~u
- . H"l/s-
M,iL])
11
3
. Ai-119
Am"'~ ~-~~ Gmaj9 Gmaj . .
uWJi?i1' 11
. N~ 2, N2 5.
See chnpter No . 2, exemple No. 5. Gp11 ...
Gm '~ - lth ~~ -
.s.~tJJJ JaA~'Qa>tsw Ilf@tf -tFf JJ?t'P
F8 Fma.j1H
, s~~ 1rJjf6\;Q4&J
J .J._J 6 jJ ! 11
. N2 3, N2 20n, 206.
.
See chapter No. 3, exemples No. 20, 20.
Em'~/s- _ - + Dm9/'J+ Dm8
. 'V>t pl J1Ptrrf11 , Jl
11
55
11
G/,11 +
!.to J - ..--.., 1
.
! r:r 11
c#mB cttt- _
UJ) 1 'r) t
><=:>
( ?fr j 11
'@f?JJ d2 "
1~1
(D#m 6 ftJ) E~m 6/o
~tJfCtrr) J i?JJJ. 11
One can pla.y tl1ese phrases according to the own
. clice, taking into account tl1e sl s
. . dia.pazone
n
.
. WOODS
1 11
t ,t
. GARRETT
L- ~ moll- .
1~ 11 r
melodic
.
.edium bounce M.BRECKER
Em9 4 t DaJO
~ G11+ .
. BRECKER
. t;~c4 f [ r t ' #f 11
L- D moll- .
melodic
.edium
L + LH mol1- !'- _J
Dv- maJ melod1c
ifita:fJ) #q - 11
t_ A~moll- .
melodic
.edium fast .
.
+
. BRECKER
Ne9 ,~!j f
L._ G moll - .
melodic
.
M. BRECKER
c'7alt. FmaJS
~tt~~~~t~T~f~~~~~r~r~~~~I~f~t~rt!~~f~~~:r~>~f~':'~If~;~-~t~~-~~~11
Gm11 1 .
melodic
1:!1
--
58
In jazz improvisation when playing on the
, lrmonic successions, tlt are consiesting, llS
, Ilm7 V7 , rule, from the 117 and tl1e V7 of the seventl1 clrds
"" . - one use the metld of tl1e anticipating" of the
: lrmony. For exempie:
1IIm 7 V7/=
1 1 V1/ V 71 / IIm 7 / V 7 / = / V 1/ V1l
, It aiiows to play longer meiodic pl1rases, which
. . (), 12, are based on tl1e same mode. See, this chapter ( )
, !l Exempie 12. One I111S to play either polytonal
2- , : seqiences, based on tl1e comination of two, modes,
, - for exemple: Myxolydian and melodic minor, but
. witl1 tl1e n functional base.
l"maJ
l J j 11
r"v~
r
ll :
Tlike the next exere1ses:
.J. "ait. J,:L::j ha.~ ~~J,~ D~ ___
]t(gt -,~, r:r=r R'rf]fsJ:t~ Qj r JJr 11
11
N-*arttrtmn =
11
D!7 maJ (Gm"}
124
--
59
. : Eitl1er tlle following comhino.tion is possiie:
.
M.BRECER
- 11
~~~~~~ \ IIm17 1 v.,j Imaf \-1 V"alt.\ v,alt.\ ImJ VIPmaJ\ VIPmaJ 1 ImaJI
n:
BPmaJ (A'~alt~
lj~Jqij~}i 11
.. Tl1e accmpanime11t for tl1e soloist performing
, , the v mentioned melodic pl1rases is, as rule,
V7alt. (5+/9 ~ 5-/9-), based on tl1e l111rmolly V7alt (9+/5+ 9-/5-), in rare
V7alt VI"mo.j. case tl1e cl111nge of V7alt to VI"'maj is specified.
IIm 7-V7-Imaj Also, in l111rmonic sccessio 7-V7- Imaj it is
n possile to perform tl1e following alternations of
: the dominant function:
) m' f,maJ ImaJ
) m'7 v., n~ ml..j Imaj
IIm' ~maJ v, lmaJ
;
For exemple :
Dm9 nmaj9 Cmaj9 CmaJ
N~t21 ~~~~r~~tJ~=~r~r~n~-~~~t~r~-)~~f~'f-~rtg~rz~-,f~pr~~iia)~J~Ui?1EJ~~~
Em8
. ~~: j 11
11
--
60 m" 1(nJ9) nmaJ(D-;r)
4 fMt tU 1=t tJ @ (f-:/Urf!r& 1tn!f r 1 11
:
Exemples from the performer s practice:
Fast .
,.._., ~ .-..._(J) D13 G~ . PARER
.
. PARER
Am 7
'# r - 11
.
. BRECER
-- Hma.j9 - - - - - - - - ,
; 1I@ r cif)st: LJ 11
Etude
Medium bounce
Dm'7 Cmaj
'' J 1~ cz
-g f?)tta
3
(]
Em'fs- - Dm7
9-(l'r
61
DPmaJ
'ttFfi v r t
/9
! r
..
J t;!
DP 8/s Dm'7
>
~'7.
~
f
- 3
G'7 CmaJ9
CmaJ
Sequences
L--------
r-:.+
t+
:
Llnk of the sequence
BPmaj9
lf - 11
, .
And so on in all keys, taking into accout tl1e diapazone of the instrument.
--
62
Cmaj Dm'7 CmaJ
' 11
~
Unk ofthe sequenc:e
E~m'7 DmaJ DPmaJ
.~yJ,fiJ;t9@ 1 11
t a)rw 'W !
Fm'7 EmaJ EPmaJ
1. "''"''
J'ntaJ FlaJ 11
, m n .
11 ' J 1 flmaJ 11
And so on in all keys, taking into account the diapazone of th~ instrument .
9 CHAPTER
III
DIINISED CHORD
.
. DIMINISHED CHORD
wR nr r r .
The diminished chord has three variants.
Cdtm"
'd Ddtm'7
11 GE') 1
and 1ts verslons
,,tr dlm'7
124
--
63
<t
and its versions
f t ; 4i 1
''fi;r;Ltl)brr; 13 J1io 11
r 1 1 rJ r rJ f r t; t r 11 1
11
Ap8-
'4
Cdlm"
~~f;~) . 51
n Eacl1 of tl1e 3 types of the dimillisl1ed seventl1
4 clrd icludes i itself 4 clrds
:
For exemple:
Cdlm7
Edlm7 Gdim7
,r-1
A#dlm'7 c#dJ.rn"
M ... IJ1J
1~
g=R- llt,l
II~
1eJ:- f&!~iljl
II~
. 1 u- n_1zz
IV
1 3 : 11
1 .r; 1 u<'. :
Exemple for praci.. :
Gm 7 - ~ - -
Fm6 Fm'7+
Dm 7
:m'l/s -
""'1~ 11
. ~ i.
. MODE Ol' DIMINISHED
,, jJ
&
i:! n ,u u.
This mode consists of t-..' dimiished seventh chvds .
dtm'7
~M~-~~=~~E~~~J~.~~J~r~:~J~.~~
= ~ ~"~~~e~.~&4~ ..
L-.- - D dim'7
~ AnDJ.ogically one n u;.r t : the' moJ es in two
;_ :u un. other types of t l1e diinished seventh clrct .
nll J~ li)l . We propose the following cxercises for tl1e
n n ..I l\ :,' n. mn.teri ng of the fingering of tl1e modt..s of dimini~
l . u u. shed seventh,chords and tl1ei1- intonutionl colouring.
65
11
No12 ~ v . 0 1 ar~fta 1
89 9 fJ'O!n 1rJ w ~ 11
1:!1
--
66
- TJ1e alteration of the dominant different,
: yS ../9+, yS-f-, Vsf+, VS+f- ..
: The are some exemples:
11
E(,\Jt., f'#\It., A"' alt.
Play llJlalogically
2.
1 3 3
11;-ti} 3
11
E"~alt., o"~alt.,BPllt.
Play analogicnlly ~
11
~t., A#alt. (DP'iJt.), G"alt.
Play analogically
n#"aa.
--
67
11
c#m 8 ~
1
n~
~ [00 r ,,,!tr f$',. 11
.: . {j,ktt. ("alt.), D'7alt., F"alt.
Plo.y o.o.logJ.co.lly
~~ ~
g u UtJ1p pros;m r~tM 0
) '111~ J@ w-
'' tV:;rt t fit n O!l f1 Q !] \~'1
68
11
; ll c'7aJt., E(,\}t., C1P1lt. <F#Alt.)
Pluy analogically
11
11
f r "t 11
c7alt_:_- - - -
Play nnalogically
# ()'7 alt.
B)~tk f t t w
rr f [ fUrff [ ~ f]J
~
,,@)J 1J J 1D ffl J J ~J ' g ! r
8 .
1 11
G'7alt., E'7alt., c;#ilt. (DPltt.)
Play analogically
.
-
. EXEMPLES OF USE OF DIMINISHED SEVENTH CHORD
AND MODE OF DIMINISHED SEVENTH CHORD
IN PERFORMANCE PRACICE
,
In Modern jnzz music, when hnrmonic net of tl1e
improvisational solo is based on tl1e function of one
( V7alt.
hnrmony (for exemple V7alt during 4, 8 or 16
4-, 8- 16- <),
times), one uses llte method of tl1e combinntion of
<
.
the diminished seventh chord d other musical
modes.
:
For exemple:
J 1
r 11
1- 3-
In tlris case tl1e 1st nd the 3 rd parts of the
,
bnrs nre bnsed on tl1e diminished seventl1, and their
(
).
superstructure - on tl1e tetrnchord of the mnjor
triads (Ioninn or Myxolydian modes)
70
11
11
(c#m'7- F#.,ait.)
No22 ) ~ #@ f :r f ' f ~~ @
(,f
f f v- t -~
)'* f () 13 t
(Hm'7- E.,alt.)
--
(c"att., EP"att., F#"ait., A7 ait.) 71
't '$1JOF n
(c#'7ait., BP'7ait., G'7ait., E 7 ait . )
In this pattern you can see tl1e comhination of
.
the diminished seventl1 clrd nnd major triads
) &t q <2 J J ]
J J '" r 'r 't
, , Xff an, ffiiQ 6D ~ 11
) &tQ .J J J EJ ~z J .J J r r f?r
.
D.GORDON
Fast
N!2S , , ,
09 ])
.
. WOODS
1:!4
--
72 .
J. FARRELL
.
c#'!.ali. M.BRECKER
N.30a) ,, r:-xm
,~('~~~
U ~ @ "~ . F) [@;F
J ) IBE!i
BPilt., G 1 alt., E'\ut.
Play nalogically
G.,alt.
E.,alt.
D.,alt.
No31 )~ Q Q f1:1t Q{ f
6-!!r1C --
~~ - - - ~ ; )
~
~l~:' annlogically
!f1 lt"
.-
1 11
@&1 1
.'Sl~
t
Am9
,.
'
Dm"
G1fi
J J
3
1 3
3
3
; 'f f f t1
J
'
74
_ Em"~/s-
J r'Qt (f? f?
CmaJ9
i g]T77?t
""' -
\A2f Am gL+
Hm't5-
D9 -
~
~ 1
--
75
-
Em"~/s-
.., J. ,3~
DmD rubnto
ft J[ ; j ~1
Cadenza
G'7a.It . ~
tE) ;) ~ pt f:
rt]'
tempo
::> '
tiit;jltfr
rlt.
tfit d 11
10 CHAPTER
I
WHOLE TONE SCALE
. I, II
. WHOLE TONE SCALES, AUGMENTED CHORDS
II
1#~ #
1 j
ij
1 1
-- --
76
D~. (aug.) ~. (aug.) F. (aug.) Gy.(aug.) Ays.(aug.) . (aug.)
11 J; #'1 1
n 12 of 12 c]rds can tJ1e base of tJ1e
function of the corresponding dominant seventl1,
, .. that is,
1 nf,'r/s +
~110
EP"/s +
tll BJII
G"~!s+ "~ls
F"/s + A"/s+
II
llp n
:
Scheme:
" Ii _ V 'f G f maJ -
u (.
1 (
l lt (+
.
1
" J y'f/s+G
,. 8
~ lmaJ
J
- WOLE TONE
(.
)111 (
1 1i(...
.) 1
lr
11
Gm9 c"/s+
1 rr r?t &!_r_f_r_r__&u
3 3 3 3 3 3
rF~ 3 3
r-r J -J:J.
3
l 11
--
77
) 'tJ'i; J JJ J .~ lwJ l ,; J r 1 r !( ft G
,tiffir 1 ft1 nr 10 rJ r rY ~~&~. JJ, J1v 11
'
1
fp#r L@ lij,fiJ,@ r91
3 8 8 3 -- ~
1
11
3
3 -
-~ _ i1ii
-
1 ., - ~
77
W propose some exercises for tl1e mastering of
, tl1e modes of tl1e wlle tone scales, augmeted
: chords and tl1eir conversions:
) 'tJ1] J J J J .~ 1,J J ,; J r 1r f G
flflfiffi 1tt ft1 f!1 18[1 rFf rft ~~. 3J JJJ1& 1
) 'IJJ 1!1 j}J ]j IIIJ ~..) Jr; ft #r r ~r f 1
4f?t t tr t r 1r?r r r~ r! 1J;J ~ ],J J JF: 1
r> 'tJjp @ thJ @1,6fJ ''t!fl ~ t r (
- ---._
:-:'\ :~ ~
' ar t nc , ( 1 t ! t 1 I f f f 1 tl{
r--
1
3 3 3 3 3 3 3 3
~#~1 #- ~ ~ 3
' Efrt#f;l'
3 8
Eillfk 1"rA1 ff) (fl t#ft
3 3 8 8 3 3
11
8 3 8 8 - - ~ - &ii
-
78
~l:
4 crn
~
m iw @ #@ r
-
1r
3 3
1
3 3
@1 ..,.
~ JJJ J J 3 J J 1 J JnJ #1 J
) ), ll - play tlle exercises from ) to ), taking into
. account t diapazone of your instrnet. practical
use of augmented cllords d modes of tlle w]]
: tone sca]es:
(D~,.) G "~/t 6/
18
- cm&J9 _ > _ r-
[~ . (
--
79
'7/s + 'fs-
#.
. ,, f fff r f Jlr rft r
'7/s+
~ ~ 1, ;,.~r
n'7/s+ G........-......
''3f , 11 r "'>~
;~'
..........
..,
11
:
The link of the sequece:
:
Sequence:
.-
) '* n'7/&+
- ~~~--
c'7/s+
- ffi ~--
txrf!@l I r P:r1FT ft'EJ!J 1 xf ~ 1
F#'7/s+ E'7/st-
'7fs...
n'?'s+
,.-,..._ '"' .
~s+
~ ~ ~--
G/
-- i 11
--
F"'ls +
.to.J'j .J@{f[JI 3
g
80
Am "~/s- n"~/s,..
N'!!11~~vj't~f~~f~.~f~~~~~~i)a~tit~~~~~~tr~~!~C~r~i~!~r~?(~!x~r
]1 ' J) 11
C~m"'/s- - - ~
rt
-'--
N'!l13 ,, ' Et
f f f t t: #rQfr
F#e-
lt. 112. 1
) II:IIm"~ J y"'/.s + 1 ImaJ :11 ImO u
) II:IIm 7/s- J v?. 1 Im
lt.
"
:11 Im~J
1
11
1'1.'""1 12.
) 11: 1Im7.$- 1 ve- v"~/s+ 1 Im :11 ImaJ 11
11. 112. 1
r) 11: v"~/s+ v"~/s-t- ImaJ :11 Im 11
) 1 I"~h+
'7/s + 1 V '7/s + 1 V 7 /s t- 1 1 m aJ 11
1:!-1
--
81
. IJ
. EXEMPLES OF USING WHOLE TONE SCALES
AND AUGMENTED CHORDS
IN PERFORMANCE PRACICE
n:
In ho.rmonic successions:
1) ll . V 7(V 7o.lt.) 2-, 4- :
If fonction of dominant seventh chord V 7 (V 7 alt.) is mo.rked in 2, 4 .d more bo.rs:
The nlternntion of small minor seventh chords nnd domimant sevetl1 chords sequentiono.lly whole
tones
1~ 1
82
A 7 alt. (G 7 ait., F 7 ait., EP 7 alt., DP 7ait., 7 alt.)
r?t
c 7 ait. (BP 7 alt., AP 7 ait., F# 7 alt., E 7 a1t., D7 alt.)
-----=-----... ~ ...----:--... ~
No 16 ) 4<f f f f @ 1 f 1& f f t ar .n[ t
4lifi:JJ~:~:!fTI---E rtft Fr
4Ef !~:rfiJdti4 r ifiD'ifl -
D '7 ali. ( '7 alt., 7 alt., G 7 alt ., F 7 alt . , EP 7alt.)
4ti-f I <ff? L f f 1 L f 1@ r tf
.t7) 1
1~4
7 alt. (G 7 alt., F 7 alt., P7 alt., DP 7 alt., 7 alt.) 83
4tf-~~{~
Variant
:f~t
~ - ~ 1 ;--,
1f'Ftffi j
Variant
>it"i;;&~bl;} If fl r r,
E(, 7 al-t., H 7 alt., G 7 a1t.
J =:
tult13 rt ;= r r= f rn
.
., ' ' '
M23a);~sr~
. ~;i~i=-r~!~,~bi~lt:~pt~:r~w~~~;~ir~~:~~- ~;. 'PIi
ji Hrf ! ( f ' iTr @ ' J i: ::.
1', ..
7 alt. (D ~ 7 a.lt ., 7 alt., 7 ait ., G,. alt. ,F 7alt .)
~..-.-.?" ~-9- . >---
)+"tf;fJ
>::-~
r !r/i: r 1 1
--
86
..
c#alt., A 7 alt., F 7 alt.
.
No27a)~t<!fffi Ift, ~ 16~ 111t 1j/f1:r
c'7alt., A~ 7 a.It., E 7 alt.
11
) ~ f1 ~ Ett 1 ,!) * r ~
7 alt., G7 a.It., EP 7 a.It.
1 v~ r::; l 1 r1 ir 11
't
) t (;) (f t[ (); 'r 'r~ 'Ffil
,, r~r;;Q @: Jf\.. Ct ;tlt R(~~ j]
.:
Exemples from the performo.nce pro.ctice:
.
{Am'7) D 7/s- D 7/s- GmaJ L. DONALDSON
-~'-. ~ -~ ~~
No29 &t JJ 1 r~
Fast > >
Efi?tr=pJ. Jl JiJj'E r,rru t 1
:::1
.edium fast
N ~~
f ;: f_ f L!M=w - ~~ ! ! t 1
--
87
.
c7 a:It. J. FARRELL
No32 fi j
fast
f
11
-
:t ~t
-....
ft j:
;t:: 11
.
F'7 alt. J. FARRELL
Fast
N2 ~ 11[ cr ~r J t ~.J;zJ 1@ r Lz 1
.
J.COLTRANE
1 rr1fl l 1 ar~ $ 1
-
t 1tf 31
-
, -t
~
1:!4
....
89
Etude
Blues
124
..
90 11 CHAPTER
. ~:I
, PENTAi. J NIC
.N2 5 '
i .
PENATONIC
f .. DP
~
11
f & D
~. L -~- (
f ~- 11
f ~
1t =-- 1
lz
4 1;.
., ,
'~ 11
1 # #
F
= 11 1
1 :
1
,.
- 1
,.
Fl
f
i .w # ~;~:1~ 11
:f
G
- .
1 i
-
,
"1 .
::-~
!,..
fl
~
1
1
11
~~- ~; .
,. ~
j
~.....
.
~. ~.
~
,;.
'~
lJ
,. _ - f:
(,~
,..,.,.,,,_ ..
,...
i .A
,... ,.__
.._
1
91
~~~~~~~~)'~
~--....,....--____..,:::::::::;:> =:>"
26 26 8 26
'"'
Ench pentatonic scale ls 4 conversions besides
4 . the main tyDe.
ll
1 6. (conver.) 11 . (conver.) 111 6, (conver.) JV . (conver.)
~
_.,._ ..
h ...,....._
11
1
11
1
11
~ J 1: :v
J ' 11Z J1 J r rJ 1t r =t
r. """ ~ - '.
111
VARIANTIII~----------------------------~------------------------------------------~
~~~th @3 ti JJ!/2 - t r 1J
1 J
. =:- --- ~
EJ 1
.~
ffJO t
81
11
f1 J" @. .
...J 11
1 ~4
92
V
VARIANTV-------------------------------------------------------------------
~
~') :~ ~ ~ ~
tJ tJ 1 rt rj 1v rxu 1 t~ ?J 1 j) i11
t J1J
2. / " " '
J
,...
1 J 11
......." -
:::> _"
. 1 ._, ._,
2. _, 8 8 8 8 8 8
s. 8 .
[f) (JJ 1 #Q
{!JJ titr @J ~
11
8 8
BAPAHTVII
VARIANTVII
fi41~r 0 ffl1trrJ
1.-
r7[r1Jl
&J
~.
j r"r JjJJ 11
V
VARIANT Vlll
'if.. J
IX
VARIANT I.X
1.
J J j
, 1!!:
~ J !
1
3 J1 tfi
J j j
r
VARIANT
~IWJqa
t.
f J E2J: t2?t fJ1 lf5J J 3 @
1:.?4
93
. !!;
. PRACICAL USE 0 }:' P.uNTATONIC
: Pentntonics:
N21
1- 'J J ) t~ 1 1 f
@1] r =t:
--!.==<-
.:
~ J J1
F ! JJ ~
I
F1om tl1e I clrd' s degreef=:
=i r ~ftrt :~--
2f%i1 ; 1 _ 1- _ 1_-.., ktJ:= r 1
V
G From tl1e V clrd's degree
DmJ r--, ~ . ..--- ~ aJ
ft t f ; f qfJ..
D-n.---- ~
~ ~~~t~
1 j~~~f~lll
pent.
F0 /e
-
4Etf ~ '~)
~ r~
><==$f
F. !) r t 11
-n.
pent. - --- -
--- -
: Pentntonics:
Nolljf
~
n J:
3
r t
III
+- t=:. - ~::._j- ~~-
li t 1;3=: r r 1r r
.........-..1..-J
,j 11
No2~t r f iJ r ( f FF1 J J 11
rv
From tl1elV c1rd7s deg~e
i J r::.J r i 1 tltf:@r
VII
F1om t l1e VII c J~od's degree
.
11
;::..
t ; 11
F#- ner.
pent.
cm1
v.., 1~ IW
(!) Jx 1
I
: Pentntonic" t
.t '* J r 1 1~ t f r r 11
I n
No2 '!J f] ( r r ( f 1
From t l1e I
clrds
VI1
degree
n
.f''rom tl1e VII
lf
clrd's
f; r r
degree
F J J3
1 J 11
3 1. 3
3 8 3 >
J- {C[jffJ J 1 J JJJ J J 11
-----------------==~
3
'---------..:...___ _ _ _ _ _ _ _ _ - nn.
8 3
pent.
.t '*J 1 J J r 'r 1 r 1 r r r ~,
III~ vn
Frorn tl1e lliP c lrd's degree
1 JJ J 1 J>rJO 11
1:!1
....
95
11
Or V..J(,n
11
f& t fN 1 ~
r?5J?r
...
(r'
, AJs
r ,, t r
-n.
. - n.
pent
r: l'
.~
11
pent.
XI
v. (,t
11 ,,,r:o @
111
1
I
: Pento.tonics: .
errt&fftrr ,JJJ 3 J
11
11
96 Vl.
: Pentatonics:
No1 , , Jj JJ( ( r r 1f f f f r 1 ? F- ~ JJ
11
Vll n
From the VII chord's degree
r r u j J1 11
IV n
From the IV chord's degree
s?Pr 11
G -n. - - - - - - - - - ' '---------- n.
pent pent
D"us
ftita -
[0 1
>-
11
""'------G- n.------' ""'--------G- n. ___ _ __.
pent pent.
VII
ImaJ." 'I 'I, xt#
11
: Pentatonics: J
r r 1f ~r r JJ 3 J 11
V vn
From the V chord's degree
,.
III pentatonic, the III degree is flattened .
.
11
11
1
11
124
ns ......---...... - n" 9i
r
>
r~r
1 11
M2~,~~~c~r~ll?~r~'~r~t~t~*l~lf~@~t~r~~r~r~i~'~r~~~~~~~
VI n
From the VI chord~s degree With the third's flattening
GmaJ"+
, 0 f Gt
D- n,
11
pent.
11
1 ' ' f J J r r r r ,r f f r r r
V q
1 r 1 lJ
1 11
From the \. chords degree
nn nn The most expressive nlterated pentatonic (with
nn ?( III ) flnttened degree)
~~ ! w f:ffi
~ ~
G-n.
pent.
> F9-
F~ ~~
ni'71'
lt 0 ;:1 ~; fiJ ~
86
\
-
Gm"'/.s.-
~~-cr= r f r "..--......
11
. - ,n.
pent. .
alt.-----------------J
:
. CmaJ9 Practical use of pentatonic: _
2~ t =~ ffl -------...J
' - - - - - - -
ft afg f @ 0 !
- n11.
1
1
- ~ ...............
r Qfll
'--F -neff.---' '--- -n.-..--1
pent. pent. pent.
98
trf ({f ff
A"sus
r (rft lf
'------D- n.----...J '-------D - n. ----...J
m, r~r (t
DmaJ8
fncri 1, Iitt
~"'""
t i r:fJ
pent.
11
~-----D- n.
pent
----...J ~----- n.
oent
------.....1
Am'f D'f ~
5~~~~~~~~~~~~~~~ ~ - n. pent
. ~
t Q t r
3
r - r 8
rrr J ,J g
'----------------- J.~--n. ----~--------------~
m &+/ 1 / pent.
> _ ~ e=,G+ S_: > ~maJ _ Am~
;jr at 1~
rr LG
G~-n.----1
1 r 9 tf rz;
- n. ---------'
lt
pent pent.
11
11
'------ n:-'
pent.
~9
tF'r
AtH
. 11
G#m"/s- GH+
No13 ~! pf?t 1 1 fd 4 J :t 1
.....__ _ _~D-n. ----~ L
F#m'7+ pent. F#m 8
f-'J
3
~-~,
J
}
J FJci\~IF ~ 11
n n n:
The Exemples of the pentatonic use in the performance practice:
. .
. BRECKER
J =t.oo
--.._ ,.....--...._
~t
14 ~~ (1) l :: f f
F#"
' '---------- """
> - n.
, pent
-------'
1
~1 ~ t
~
n.
penr.
F"sus
f4l...t3?.1
t1 '----- n. - - - - - - - -.......
pent.
.
J. FARRELL
Fast F'7
No15 t <],( f j 7t ~
~----- - n.--1
3
F'7 ~~ pent.
F 7sus
Vf
3
CUr ] J4
3 3
1.
J lJ iiJJ
--n, ------------~
pent.
\~4
100 F'7
lt
~
. 11
Lr---~A.b- n. -----------~
pent.
.
. GARRETT
Dm'7
Fast
~216 ~~ 1 %) ~$-
~ ('
"-------D--;:n. - - - - - - - '
pent.
Gts
>
' ~ ! 1 11
.
t
. GARRETT
FU+(H 7alt.)
,CJt
1t r -r ' 9[
' - - - - - F - n.
1 11
pnt.
. :f'
. 1-!ARSALIS
-
i
:::::,.
$ f t
'-----------------n. --~----------------------~=---~--~
pent.
.
.edium fast
D. F..ARRISON
m8/s (!J 7sus) E 7a.It~
,
m5/'1'- m"'/s- 9 -
VII .
PENTATONIC
. n N 19 (2- ).
See tl1e exem~le No . 19 (::3-d t)ar)
!~4
101
1----------F- n.
pent.
L-------- VII ~- n. -----'
p<er.t
r~r g
r:ir
--------------------------------G--n.--------------------~
pent.
CHORD PfNTATONIC
oric;Vcr.
from the 1and V chord 's degrea
V : VI cr. ( alt. )
I maj 11+ from the V chord"s degree
from the Vl chords dP.gree (with the third>s flatteing)
I ...-; V .
from the 1. Vll chord's deQree
~------------------~-------------------------------------- -- _J
IVc~ 1
from the IV chcrd's d eg re
11 PART 11
1 CHAPTER
m
SIPLEST S OF IMPROVISAION
11: lr 1 Ul
1
(1.
F#7 a1t. Hm 7
:::.
251.
1
"r 1
-----------------------------------.~,2~.-----------
*' .s-(+)
[J
C#m"'fs+
"
F~- m 7 G#'7 alt . G 7
Hm7(or 6 j
:
orc#m 7 /s- F~)
44JI
1. n n 11 1. Let"s see the diatonic modal base of tlle
(11 hnrmonic vertical (non-shaded notes - basic tones
- n n). 1- of the chord). In the 1st part. of the "School of
n n Snxophone J azz Playing you Cfu""l find detailed
n n llil /l description of tl1e building of mode for the given
, harmonic vertical.
~
C~m1/s-(Ddur)
=::11: g
Em.,.(Ddur) A,(Ddur)
Q
s
# # #1!
1
'i
1 0 "'
124
103
F #".a.It. Gmollmelod)
.
'Dmaj(Ddur) Cim".(Hdur)
" jo
'' 1#& # 0 # # # #
.
Hm".(Adur) Em".CDdar) G+(Dmoll han. )
0
#
J
. 1.
.
#" 1
Hm".CAdur)
8 # f 1i
G #'7/s-( Amoll
1f ~ #
melod:.) #
. q ~ -
.
t E+(Hmoll melod.) t
~ ''
1 # fe " ; 1
F #
1#.. # ~ :11
. Hm".(Adar)
Hm.(Adur)
4
Q
1) 1 0
Q Q
har . 1\I."JlQ. .
F~- (Hmoll r .)
4...... JJ
~ # "jo
1
Hm(Hmoll
melod . .)
#" f #
HmCHmoll
melod. )
11
,....
2. ~ , $ 2. Bnsing yourself on the mnin tones of the
.rn () hords, nnd also using non-essential (shaded) tones,
try to compose nn improvisational melody, but
, don't try to play from the start in complex
. rhythmic structre . t yorself goal to s in
- the rhythm-scheme only the whole notes, the l1alves
, , : nnd the forths, for exemple:
1 J
1 J J jfJ J lffo
1.
Hm'7 G#7/s-
;f t
C#m'Y/s-
J 11# F I' r
ftJi ! ~~n u@
11
1
c#m7/s- F~7alt . Hm.y Em 7 G+
C#m7/s- F# 7 alt. G#"~/s~
Hm 7
.:
2
C~m7/s- F~- Hm7 G~+ Gq, Fi 7 ait. Hm7 C#m7/s- F# 7 ait.
l~g =!i ~ ~~ lq~ J lg 1 ~ tJ il
n If we follow tl1e upper voice's melody in the
8- , first 8 bnrs, we'll see tl1e following sccession of
:: tl1e passage of the clrd's degree: VII degree passes
VII . III, VII VII III VII to , tl1e - to VII VII III VII III I
III III VII, . . : nnd VII, tlt is, in order to compose basic tone~
. III VII st sarc h for tl1e nearest III or VII degrees
11 . ~, of tJ1e next c 1 rd . Melodical jm ps ar e possile.
. n, but they must not exceed tl1e forth the trit one.
7- . For exemple, let's take tl1e meiody from the 7t h
bur and so on.
Dmaj C~m7/s- F #7 ait . Em 7 Gu+
and so on.
124
105
r 1 fit'
G+ C~m'/s- F#? alt.
:11
Gq7 F~7
1 t!j J,Q J 1
"
, Tls, we Ive oto.ined t!1e simplest type of
, improvisation, bnsed 011 the melody of the bnsic
. tones. The knowledge of bD.Sic tones in pieces is
very important fo r the nccompaniment of the
, , melody, wllen it is performed anotl1er , soloyig
instrument, as well us for tl1e practical use in tl1e
D. writing of arro.ngements for small estrade and jazz
. ensemles.
6. , . Beside melodic line, formed on t l1e b nsic tones
, of t he haronic t , moder11 juzz music uses
melodic lines, created on tl1e basic clrd s tones as
, well as tl1e secodary tones (sa.ded, see
, (, explunation for Ml), except the so-called non-
. n Ml), , o!igutory tones: as . rule, tese o.re tlle IV degrees
, : of the hamoic verticul's mode in simple do m i t
IV n sevetl1 cl1rods, tonical major o.11d miir sevetl 1
., clrds (for exemple: in 7 tllis is t t F, B ~muj
. , - Es, in Fm7+ or i Fm9/ 6 - ~) tl1e s of scl1
:{{ . (: 7 - ; meioc1ic lies makes it eusy to peform tl1e c o pli
.j - ; Fm7+ Fm9j 6 - cated, non-studnrd lrmonic ets, i11cl di g
) . great amout of 11011-alterated clds . (These
. , melodic li11es 11 sed ulso i11 studard nr onic
, ets).
Melodic lies, nccorclig to tl1e o.bove-metio e<l
. ( rules, clividecl ito tl1e nscelig nd tl1e
) .
106
, descedingoes . Tlley gi c\egree of
, . tl1e ]rmony of tl1e 1st clrd, except no
ohligatory toes. If JIO!l-obligatory toes nre
1- , encounterd i the melocly moveet, avoid
. tl1em repeatig tl1e preceeclig sou;1d.
, exemple of meloclic lie's bilding tl1e
, . harmoic t:
'!fr :
G7
G7 alt. (5+5-)
or
9+9- Cmaj7 B~7jt Am7 Fmaj'7/ Eb7u+ D?
.11: 1 1 1 1 1 1() Qj
, Let's t tl1e oclal strctre of
tl1e
, - clrds, rememberig, tlt tl1e basic tones
are
, - ; represeted no-slded notes, -si tones -
- , slded s; tl1e notes witlli tl1e brackets are
. non-obligatoy tones, wllicl1 ust avoide<l.
G'7
,., G 7 alt.(Abmoll. .)
f
Q
" . !; #
Cmaj +( Fmoll .)
Am 7
. ''
() Q
Q
() 1 1 #
'
1 j
'
1 i
1i
Fmaj + D,
je ()
11
'
(!;) !;
'j
1 j
1 () j 1 ''
,_
~~ , Guidig ourself tl1e abo ve -etioe<l rle,
: let' s build tl1e asceding meloclic lies:
Cmaj ~+ Am 7 Fmaj ~+ D7
,, l#e ~ ....
1 :ll
Crnaj + Am 7 Fmaj + D,
1 .. 1 lr 1! <:::: J!' ~~ IQe :11
- :
- tl1e descelig elodic lies:
1
11
1
1
,; )i 1!; 1 j)
:11
G,. G7 lt. Cmaj ~ +
q-e- An1 7 Fmaj + D,.
1~
.Q ~
'tll: 1 1
lb"
:ll
1:!1
107
' l
G 7 alt. Cmaj + A m .7 Fmaj i L' H+ D7
G7
~ill: !# 10 '1 ,\
l"
l]i
1 1
; ) :11
G,.aii;.
1ffiJ]J ~''
Am7(or 6) F maj + D7
MODAL STRUCURE AND DESCENDING LINE
G7 alt. Cmaj
E!PJ) ,, FJ
Fma j . + D7
9*/:, J ~f li ~
Ci!!j
108
n. : Let's t tl modl structre:
Hmaj
f=-a F
Gmaj
411' . Q 1 g ()
Amaj +
: .r
D 9 --ls- Gmaj Cmaj C#m'i D7 Gmaj
*~::7 r ->- ...
j#_ '-'
~~
j#o
-~, .
1 1
) -
) -- descendir1g
,,: -6-
C~1n~1 Hmaj9
~
i
Hmaj
if
+
bf
Hm 7
-''!-
g
~
+
1
~
A.maj (or6)
r
Amaj B~tH
3
c#m., Gmaj (.or6) CmaJ+
Am 7 D 9 -/s- G Cm~
~~r=ti'rfi d,~~~
~ r -
~
r r
2
,&.
rt r r ~
1'! 1
-~ ( ( t
1-t r .
D
) - J As::.y ett-ic
1
~r rt
r r
?.
- ;:,..
~ r
1 r:J [J~ .
~ 110
4
~~ r . r.- ~
-~
D( ~~
D
1
('
5
r
.::::,.. .::::,.. .::::,..~ .::::,.. .::::,..
1 t r~ r 1' r r r 1 r f' r r ~
~D r
.::::,..~
1 D 1'
1
:::".~
D D
1 '1- - (1
r 1
.::::,..~
1- .
rr
'7
~t r .....--....
r r
-....----;--....
1
D r r. D r
~
1
-r---.
m-+ r
,.--..., - .....--....
D r~
~
) - ) Coblnatio of s ti ud sti
: rl1yt Jlic scl1ees:
.::::,..
. .::::,..
1 r r r r 1 ---+-~--o'----7~ot--;f--~~---tlf-ii--ir--~~~'
. pq
r r 11
t: r D r
( (' ('
1
D r
.
11
r r
uu u - : \ Vork t l1e solo l"llytll- scllee: iet"s tuke
si p le ]ri periocl and out its ndal
. st 1 ctue .
Hm 7 6 ( 1 7 + )
f~
_Q_
~-
...Q
~
--
# 1:11:1 jo
1~
::::1 ~
#J 23
)
~ C#m7/5- F~ 7 /s .. Hm!) Hm7+ (or 6)
F~7/s ..
1i
'
111
do tl1e same tllig witl1 asymmetric
-. rllytllm-scllees.
C#m7/s- F#7/ 5+
a) Hm 7 Hm 9 /'7+
.:::::...
~tll: r 1 r F (tr
J ,z lJ ;tr t :11
Rm 7
) C#m'Y/s- F#'Y/s+ ..----...... Hm 9/7+
# #
,!11: h J 1 r (]) ~ i 1ft P7fD ;tJ J .,. :ll
alterate symetric
d asymmetric
, ll rllytll-scllemes, startig
simple rl1ytlns: 1)
: 1) - ; 2) - fourtllS d llves; 2) eigbll1s d fourtl1s; 3)
; 3) - ll asymmetric rllytllm-sclleme (for istace, N~); 4)
( N~); 4) - ll mixed rllytllm-sclleme, etc.
. .
~~ J r 1 l J J
'J ~ 11
Hm'Y+
m
C#m'Y/s- Hm7+(.ov6)
~~t f #j ez 11
1 ~4
112
- : n -. (. N~2).
Cmaj <. add 5 ~)
typicul for the - (see clpter No.2).
g'
lt)
t1n - (. 2).
t y picul for tl - (see chnpter No. 2) .
>
(1 .. 7]
11:
F+,. :11
~
cim 7 /s- F~ 7fs ..
=ll: #- #
1~.. ~ "
11 1)
#"
Hm 7 (add # ) .0. Hm7 ( add #) ....
#
4
,, A7 Ca~d s b)
~ #
'1
D m a.1 (add t # )
!] ~ ~"
1 '1
C#m7/s- Hm7(add #)
f :J f' (1!-)
/U#EJ#Vr -
Hm 7 ( adcl #)
1
ftf.]jd
A7(acldsb) Dmaj(add ) Dmaj ( acld t#)
,, q" '1 11
#-- Q
" ''
'
&ir r rJJJ J 1J J JJ J J J 1J J J J JJ 1 ; w w 11
11
11
l.
f
114
11
11
11
11
~-
115
~ :
TI1e variants of exercises:
2 CHAPTER
"-"
"-"
. This clpterof the Sclol is dedicated to tl1e
"-". " - " style.
u IV, VII VIII :i In tl1e first Part and t11e Clpters IV, VII and
VIII you've made acquaintance with the bnse of the
"-". rhytl1mic and !1armonic langage of tl1e "- " .
style. In tllls clpter we'll propose some prnctical
, advises for everyday exetcises. for the mastering of
n..' tllls style, as well as some iportat elements of
"-". the ndaland lrmonic "-" structure.
. .
n, Let s egin witl1 tl1e Ii mode, tlt is witl1
: Imaj, J9/6 tl1e lronic vertical of tonic cl1ds: Iaj, 19/6 or
1Vmaj 1 1+ {) . " IVmai11+ (Lydia)
. Usig the syste of ad<led, extraclrdal souds,
, , describe<l i tl1e 1 Clpter, let's write witl1
VI (Vl~: d VI deg~ee (VIb) Tllis soud lie is of tl1e
most wi<le-sp1ead i ti1e "- ~ for the playig
"-'' on tlle fuction of toic clrds. You'll find elow
. some exercises for everyday practical trainig for
all tl1e period of masterig of tl1e "-" style.
"-" .( (TI1e proposed exercises mst played in all keys
witl1 tl1e consideration of the saxoplne' s or tl1e
J{ , otl1er instrument' s diapazone).
). r
t ,) Cmaj f ._..------ ~!: 'i --.. . . ._ _
11
11
11
.t
5 Cmaj
fJ J J FJ 3 J 1iJJ 3 ( J
1:!1
1( J ( J 1F 11
~
117
- 11
11
D~
;t3J j [ rJrh j"jl&~~a-g_r_~;-d-.p_i;__F_d_J_?_JJD
.. !
.
11
. .
, n The other important sound line, used for the
n playig on the functio of tl1e dominant seventl1
, VII clrds, is based on the addition of tl1e VII natural
degree in the sound's line of tl1e dominant-seventl1
( t? ). clrd (that is, itl the soud's line of the
Myxolydian mode).
- ~ - add7 .
- Myxolydian. mode - Myxolydia add 7 natr.
6 1'
11 1' Q 11
~. '1
' .... Q
..
118
= 11
2 7
'tffl 1 fJ J 11 ~ @ r; cr:tr!t 1f = 11
= 11
-3
= 11
~~ tr ; t r; 1 J : /. -9*J .;:J33 1 J = 11
=
11
. . ud so i uscedi g vt according to
. tl1e istruet' s diupazoe
>#
119
. .
n .
d so in descendig v t ac cordig
to tl1e i stumet s clinpazoe.
11
::::[ "-.._./ '-'=J:. ::.___../
1 F7 Bbmaj (add 6) F# 7 Hmaj ( add ~
i;tE fff=tJ
.!!f =
J+Ji]l!?Jti
~ ".__; c!11t=)
!~Edrf#fiJ Jp I#J~J,J#] r~*j l
tt :>
1
... Cmaj(add6b) . .
~~~g~~~~-~~~~
~
-~~j~~: ~~~~f~
- ~P~~~...~ij~J~6~~~i~~~~J~~J:~~~E~~:~~:~j
=--=::+ .::1 c:;J:)
:~7~:: ~~:.~~:~~~~~; moveet acco!mg
istruet's oJo.pazoe .
to tl1e
. \ 11
--1 3
1-i<::
F exemple:
11
. .
(jm7VI7/ t J1e f1 c ti o 11 of t J1e suc c e sio
/7\~7 j
[J <l cxe:vxn 'l1i s 1 l tl :J no i c n 1 ~c l !e i P i:=; 1 \ r_ ve ry o f'tP i ~ i
- ! -:- <r lr i; st.t c t l!! e of t J1 e t i:-ma t i c m >lteriol o t' t !Je
r "-". "-" style. \Ve p;o r se sume ptClct icui
i . : execises. For exetple:
~-
1- Tl1e first link of n sequence
We pick out n lik of sequence nnd plny it in
n: the following' succession:
1) - n 1) llf-steps i nscendig d descending
( n ): movements (taking ito accont tl1e dinpazone of
tl1e instrument):
2) - 2) steps in descending ilnd acsencling
: movements:
1~1
~ . . -
4) - 4) uugmeted tillrds in uscending 1111d
: descending movements:
11
Am 7 11
Em'1 7
f ~ J 3 JJ [ r 1 ,"~
Ebm 7 7
~
Tbls is tl1e principle of playig tl1e given link i
. all tl1e keys and fingering positions.
1 11
s 11
1 D; G" .J 1 11
. . . d so t.nkig ito account tl1e diapazone of
tl1e isttmet.
~
123
~!f
,
F~. II Ji r , i\:maj ;
11 m., ., 1: nr"
1
Em~ A"l Dm"l G'7 .J
Hm 7 ~9- Am 7 Dg-
&t UVOCU1titf11tQJ 1 F
. '
,. Gm.. 7 J. COLTRANE
_ Fm 7
.
. WOODS
G1 > _ F1 -
~~ ~ (~ )~ ~
&t :!
6 Dm 7 _,._
; 1tffU F
Cm 7 _,._
r = lc
1:!4
124
.
T.ARRELL
Em'7 t Dm'7 Gt
f~ Jjl iliffliJn qm 9-
1
:!1 -
1
. to Em 7 _ k~~ Dm 7 G9-
prn r r r rfu"
:::....
1 pg t!fLat 1 ~
.
't
D ~ . PARKER
11 Hm 7 - Am'7
't CJJO!
2
Dm
F#m
~7
lf
F.
m .
liiPP fflj
Em 7
~'7
+
li.P
~ ~Qt1 EJD!ffucty 1~
1:!-1
125
9 ~m7 t ~m 7 Gt - . PARKER
~ fJ~ro 11 r[!
I. m7 . From the fifth tone nf the llm7 chord
.~
... Gm 7 9- PI1. WOODS
1 w~u~a: 1
F9
:::...
"( ]Jf' 1 r
~-
126
2 Gm 7 .,
J. McLEAN
;,J?
, .
.
J. FARRELL
~ ~+
Hm 7
Am'7~ ~
't!:rt~ ' 11 1Li1 cQF?J, f 1
. r
.
J. FARRELL
1~4
127
.
. PARKER
s Em7 ~9- Dm7 G9-
~[ ?!J?F p 1 (] j--~. D 1
VI. 7 VI. Fom the fla ttened ninth of the llm7 chord
z Dm 9 _ ~9 Cmg F7
G 1 - r--:
ft R rJ[
1
1 ~1
128
2 Gg ~ F9
j. -~~ ~ - ~ ~
Wt C:R lQj 1[ "ri lQ} I"
., _ pentatonic t
3 Fit7 (- n) pento omc
' _, ~ ~ "1 /'""::: ~ -n)
ffi.WOOOO
6 - _ D9-
~:qQpJjf-~
'!.
. Am7 Ds- G 7 Cg- . PARKER
9
VIII. V7 (7) VIII. From the third degree of the V7 (7) chord
"' .
1 ~~~ ~ :::::...~ ~'1"" :::::... . -
'p:tiftl;:WE!f 1 fJ1f9e@g 1
~ G- ~~ F&- :----_
1:!1
...
129
....... . -.:_
~ '
-
. .
-
t1 ----! 1 ~ . . . .. . PARER
! - '1 D7
11
1 )' r 2][ " :,: .
>.
1 1
IX. VI 7 JI
.
A"t att.~ Eb7+J(tt+J G7 a 1t.(Db7)(11+) . . GARRETT
-1
.&t';;;rol'"'J;i tzJg ~ ~;gltfi Q t w~ Q 11
" .
1
...
130
E~tt1' (ov A7a.It . J D~+ (ov G 7 aJt)
.
G"ljs. . PARER
C!r'b E1i'f?!g
.
1 IE
n- " Wllell learn.ig some solo i tl1e "=@
" style, pick t some pl1rase d try to
. . work . it followir1g tl1e metlds proposed in tl1e
. , , clpter . Very ofte tl1e "-" msicians,wl
want to avoid log-tel'nl sodig of tl1e
, "- domiat. replace tl1e sccessio:
:
Hll
1 I
/ IIIm 7 V 1.7 IIm 7 v7 1 I
:
For exemple:
r. D.
nn Tl1e most typical pl1rases i tl1e playing tl1e
fction of tl1e l1armoic sccession
...
131
Ilm'1 . Ima'
::l :
d i ts vints:
Emaj .
(lt!f-fj]d 11
bmg
Bm14 1- Cot4J jss, J]&JQ J)
11
:::::..
....__".
i@IfffH 1fil:f\13,
....
132
11
Amaj
124
....
133
.
. Dm~ ._ G7 . GARRETT
fH [ ' E#ffljffi UJ
, __.,. J l
-...__::; ::
Amn , .
_!,. ~ ,..--.D '7 \1 .. D. GILLESPIE
' i.
itti' tfTrfll~f & I'E'
16 Dm'7 D~ ..
[
1
't ~r t f :
"-... '
~...-- q-- .--....,.
t r f ~ tiJ)N, 1 -~
.
.
18 C~m 7 F~ . ARRELL
'iflt r ~R Eytzeultll l %1
121
...
134
.
. BRECKER
. 11
. . .
- "--..._ ~ . Ag . .. . . .. . PARER
"1 9 Im Im 1
--
1
_1
,_ ...~
.
Gg- . PARER
1 ttl; rtrl
Em'7/s- 9 _ .
i WD; rn r J &L@JF
1
F.
"' =" Tl1e most popular pl1ro.ses in tl1e "-" style
lmaj, 1 9/ 6. on tlte lrmony lmaj; 19/6
.
C. PARER
Cmaj r-!
4t t@ lJJ tiB
2
1 rtt:6
Amaj
~~, fit&)
...
136
'7 m
'' J D Jt &r
Dmaj
1
&:- ) ,
; -. .
. '
. WOODS
.
,,
.....,...
.
t'* Gmaj J. ADDERLEY
't nu
.
t5 Cmaj ~ ...-::::: . PARKER
EJFCJfl 1t!tU f t 1
.
J. McLEAN .
.
1:!4
..
137
.
Omaj J . COLTRANE
18 ~. _...--... ~---
,,t1ift~~~
==--= :::;t_
i
G.
i n ' -r Hnrmonic replacemrents nnd exercises on
. standard revol utions. Let s take standnrd
i l1armonicnl revol ution (from t 9tll bar of t J1e
( 9- r. ) ero lues Jrmony ) nnd it s trnditionnl revlncemnts:
:
t .G : aj .., Am..,
'", f=tfc-
, ':::.! aj * Anx7 11
2. G :n aj.., Am.,.
~ ' r.:vre You ve made ncqlintance witll t plnying on
nnc 1 . ; rn the function of tl1ese trnditionn] replncements i
, . " t Pnrt 1 of tJ1e Sclol . We propose yet tl1ree
:' .~ armonic ri:Ja cemets, wllicl1 nre often used today
" J . " . tJ1e musicians, playig t st adard tJ1emes of
tl1e modern "mnistrim" .
1
1. cor AP maj)
~~ ;\ 7 Dq ~ G aj
t(or m)
=k
:1 Abl!/ 1,!!1 +) 11
2.
=-
[ t) 1!1 1" 7 D1 (!!!' a1t .) 11
3. ( m)
[ (} CtJ =:;=
11
. ... ~ '1
1 Gmaj ~.., .--!?~ ~ I;';,.
'*tll: t:i]iPEJ I'EU t iiClf ; i/01
? Cmaj ~ 7 n aj D~maj (ov 7~ __ _
'tll ; f2]71Q
1' 1
138
; 11
t Gmaj F7 ,. D,.
~ Fmaj 7 !:'- ,.
:11
124
...
139
:~ tude
11
124
14()
~# @@ . . . .~ L 'l . 11 1 > 1 .
~ ~ ~ t ~
lii
pt variant ., q
h
; 1
#, #., 1 ., , 1 , n, 11
t~~ ~ f t t
2ii
2nd variant lf .,
1 Cl* CIJ 1 .,
,. 1 Alf ~:
, 11
1~4
~
'!
,1 . i., v. .
11:
"' 11 11
-
l~ -1
...
142
D~9
( t- l,r ''(
-
~
i 2 4 .. 5
lt .
&iiidj '"" 1 Ai!j D'1 1 "'" ll'l:s- 1 ;;;"" , 1 ",
ft iz t k e#q ts
, ",
1 1 i'+q Db" 1 " Otr 1 D7 1 Gtr
:
Exemple:
2- : 2nd variant:
~D'7
1
..
1 r #f ~ Qr %#r #r r
El1.,
r f I'' r . .
and so on.
1t
11
Eib 0 1f r rb r: 1r . .
and so .
Tl1ese are variats of lrmoic replacement for
. 140. tl1e part i tl1e lrit, presented 011 page
140.
144 (F#m.,.) (Hm 7 ) (Em 7 ) (Am 7 )
,
11 , 1 .,
1 ; 1 .,
1 , 1 , 1 H!f 1 11
t1 f f f t t t !
1
1st variant
~
, 1 , 1 nE; 1 D!!; 1
f
, 1 $ 1
:i!Z i
i ifil!
= 11
2 !
2nd variant " 1'; ; ., 1 ., , !J n, 11
r+ r+ or r
or alt. or alt. r . 01' .
: Exemples:
1 - 1st variant
@[> #~ J
tE'e lt
1 - 1st variant
.,.alt.
,,.ltiJf
2 2nd variant
tJir
N~ N~4 : I tl1e pntters N~N~3 l 4 tl1ere are alterated
, , clls; get ncqrited witl1 tl1eir modal
: 1- strctre i tl1e 1 pnr t of tl1e Sclol (Clpters 7-
7, N~s. 9 . 9).
145
3 CHAPTER
.
HARMONIC SRUCURES OF JOHN COLTRANE
in
9; , OnaJ Fif ; 11
Ftili; On'3i ( f'iii&J) t"''"'
1
fast '7
Dmaj
9ffi ' jl
1~4
.,
1
n Encl1 of these sentences represents
,,
, sequetional lrmonic structure, bnsed on tl1e
n n: following depedence:
.
1~ n
lst sentence: ti
G'7
1 E4J !uJ
~ 6 11
~'7
'7
-~
. pr
211 n
2nd sentence &
F
1
&Jj tl]
11
D~
lr
311 n
-~
~ [t] 11
31:"d sentence
11
~ G
3- 1- ( Tl1e rd sentence repeats tl1e 1st one (that is
)_ n 1- 2- nlso nn augmented triad). Let"s add to the 1st and
, 2- the 3rd sentences, to tl1eir 2nd augmented triads,
, : nnotl1er two:
1 ' d] 11
~ F# D
1:!4
.,
147
~t ifYh
~
1
pr
i
1 qJ
@]
11 11
11
11
1:!4
1
148
F~m 7 Emaj
~ t- 1 qr # 11
11
11
.___ _ _ _.:=_5 _ _ _ _....J 2 . ...J
&.""
clfJ?tssi>. iPQJJ J .
't
t1 Am,.
-J>E
\1,.
>-
>-
A'tJ'7 Dl>ma.j
~~Er '!J! f f I r 11
1
1
Amaj 9
qi!Jlioa
In modal relationslllp in tl1e descending and tl1e
: nscending movements:
. n.
'
150
11
3 ~---{maj r---,
~
t r~ . t 11
Fmajg .
~t ~~
'""'>
,..-..._
r 11
~9
r cr t
~-
~tf ~~r 11
11 11
9/ ~
r r f f 11
' G 1
The pntterns N!! nnd 9 use 1the replncement of
N~N26 9 tnn nn
nn 11 7/ + the nlternted dominnnt the IJt' 7/11 +
Fl' Emaj
J 1 Emaj
. . '
In this pnrt of th.e clpter we"ll propose the
n second vnrinnt of tl1e trnditionnl hnrmonic
- IIm 7 V7 Imaj Imaj succession Ilm 7 V7 Imnj Imnj
. Let's consider nn extract form john Coltrnne's
" " solo on the theme "Ginnt Steps"'
Fast
Dbma .-.Amaj Fma
~ Cg J r--...
ffi tn
7 ,......-;;-. , '
Fma
r rt "~ r;
~
f
151
Modulatlon
ng q
. .;.
" ( >
1 1 +) Fncc r 1
rr
Dm7
~ ~ ~ 9~
~ (J3 -sr f1.Jl '
F# Fmaj ~
J $:::::::;
J J)
~J \i ~ 1~w J eJ 2Jj J. ~11~ :~ .
121
151
Modulatlon
ng q
. .;.
" ( >
1 1 +) Fncc r 1
rr
Dm7
~ ~ ~ 9~
~ (J3 -sr f1.Jl '
F# Fmaj ~
J $:::::::;
J J)
~J \i ~ 1~w J eJ 2Jj J. ~11~ :~ .
121
152
. n. l of tl1e solo accoding to tl1e sceme
of Jol lt :
Gm7 G. Fmaj
(> jr f> 1t '' ~f?r ;'fJ\J .
11
D~dur <m'7 7)
t
'" 4J {' 1\IAj
JA , '' 1!14J. l' ixad.
11
.
the first 4 bars of the initical square:
:
. .
Let s cosider
tl1e tl1ird variat of the
. , replacemet of t tro.ditionl harmonic scheme.
''" ( . n 2) . For insto.nce, lrmonic scl1eme of tl1e type
"Oleo" (see Clpter 2) .
'~~~~; li "''~ 1Amo Doj ~:.~ ~::,, "' Dol I!! !:! ol oildi 111"' 1! "- 1 "m fJ 11
. . Va1iat f Jol Coltrane's system.
~ ,-o:r D'-, ---wo:r D'--
~~ fll: Omaj $1 ''"J {'!1., loii'H.I o,l GnxaJ Dt; 1 , 1 , G~li 1 Hnx t; - ln,., '"* 1
11
124
~-
~
153
: We propose ns nn exemple n frngment of Jol
. .: " " Coltrnne's solo tl1e tl1eme "But Not For ".
Medium Fast
,.. . . 13
~J9- f: ~f: ~~ ~ .
r
.;:. < r---
tfJ J J
m~
jj, r t rl ~ ;;J
t17 \ 11
''7
~
t ''
J .~ .r----. -~
".~maj('-"'o) Gm 7 ~~
, , Fmai~
, ~ ~ r 1; 1 r - 1 - '
r. '
~s 1F!r i 1
. Let s comine tl1e lrmornc scl1eme, proposed.
n (Al 2 1- 8- Jol Coltrane (Al or 2 from the ist to the 8tl1
n) . bnr) witl1 tl1e traclitional varint of tl1e hnrmony.
Traditional.
124
~
154
. .
and so on .
. D.
Tl1e followig variat of tl1e replacemet
, sed for tl1e playing lrmony, lasting for
. : long time. For istace:
., ~ ~ ~ ., ~ 11
~----- 4 _ _ _ __, L..----- 4 - 4
4 bars 4 bars 4 bars
., , ] t. j ., alt. :11
(or Emaj)
1
., h
D tJtaj s., h
.
'" 1 , .,
11
" 1 (or bmaj)
11
'"' ~ if 1 l1' 1f 01 aJ
111 dJ . " Eoraj
11
.
seeB
'' r;
,___ _ _ _ _ _ _ .
seeB
----------1 11
11 ; aJ )\
1 Po'aJ
., "'& 1r1i!J. :11
.
~------- see _ _ _ _ _ ___.
124
~
155
(Dm ) . ? Dmaj
~~ # ~ ~ # ~ (F~
r J
9
1 11
7 ait. 7/+
.~
1 r '' r'jr =?r
1
1
11
.
n Traditional scl1eme
li
. Jol Coltrane's scheme
li ; , Omj
n "' 1
L------1--------~ L---------2--------~
D,"" ;
07 j 111 aj
1 11
Dr; ., ., , j Ctoj
11
Cmaj9 _ .....---..
- (~) :t: :t:. ::f
' 1 ] rt ft 1~ 11
11
11
5
W clnge the group of o tes, . wllicil is
, . universal for tl1e major, as well as for tl1e minor.
:
Let's consider on tl1e played exemple:
t:v
~
2
- -]
5
J
't
VI
11
,
2
- ~~-
't
~
--c~-..J
1 5
- --
d
\ _
'i 5
r
2
r
1
VIII
.
11 ElJJ
5 1 't 2
11
11
) n) small tl1rids
4@J@~@J Efi>#rf,ffLQ(dfsx]
~# ......-=-
n u
u.alogicnlly
~~
157
llHIUIO
.......... nalogically
) nn ) r fortl1s
~1 J J J J J . r1ltr"ri!;f#J#J 1J#i Q
J " r 'F 1 "r
1
~ i#J J J t r r ; r r f i r:i J J J 11
~) '
' ) in tritonnl relntioslllp
- 11
.
11
- 11
. F.
n n Get ncqoited \vitll tl1e s of tl1e Ionia mode
nn _: n (j) of tl1e nj sevetl1 cltcl (j) for tl1e playig
. tlle ftctio ' tl1e lit sevetl1 Jrds . Here
. are s exepies
lo..
=
11
.._; L_ - ___! '----"'
maj
G., - loian Cmaj 11 +
~ ll r @ &i4 'l])J 11
Cmaj
~fiOEEf{tJII
t.____ - .
Amaj
- Ionian
~I - Taking into account tl1e petatoic of
n, !l tl1eig major seventl1 clrds, play
, domiant tl1e sperpositio of any ,
.l\. trying to approacl1 tl1e stahle degree of the tonic
n. sevetl1 clrd witl1 tl1e resolution.
F
. __.1 L._ - _ ___,1 L__ - _J
F - t atomc - pentntoic - pentatoic
'1
n
Extro.chordo.l toes
() ()
...j (nearest) ...j (distant)
Dominnnt
bn!aj 1
III~maj; llmaj lllmaj ;
'
vbmaj VI~ maj; Vmaj Vl j;
' '
Vmaj vn#maj
6~11
-4 IX
1 . ~Vll
v
BECOMING
.., I
BECOMJNG
PENTATONJCS PENTATONJCS
+ +
n n
. I xr
see part 1, chapter Xl
1~1
J.
. 159
Etude
tl-r-
G-r ,-..... ..-._
-
Dmaj Gm'7
Dmajt.t. ...
1 jJl'4 (# J) .~ l)
-
- Ionian .
,.,
Fmaj
&r r: t
~ (Amaj) Fmaj
Fmaj 9 Fmaj ...
lf lffr - v
".......,
l
Dm 7
-
- Ionian
'
~~ ~~
F1: 1 gp~r1E
~ Cm 7 ~
Dma.J Gm 7
Dma.j+ #. ~ Gm"'
- 1' # f t r -r t ~('t
Dmaj Dma.j
-
- Dmaj +
fc:t ~ - l
~ t;;;FJ ~
lonian
~'1)=
f !f>
1
i 11
: Note: The large characters are used for the
, ; designation of l1armony, beig the base of the
- Etude's scl1eme; smaller clracters -its
. replacement tl1e base of tlus Chapter's content.
*) ~)TI1e harmnonic scl1eme of tl1e Etude is based on
. " " tl1e theme of . Marsalis "Swingin'at the Haven"
~-
~-
160
4 CHAPTER
I'
SIX-DEGREE MODES
f
Cdur
]
1
~ J( ~L ~~
Dbdur
Jt! Jr
* 11 ~
( ~ j 3 11
& .
0 '"d] SJ + ) 11
-;,.
11 11
11
1:!-1
161
,Jr ~
t
f{ ~~ ,J
5
1':\
~ Jt ~r ~ F
# ~~L !J J 11
Hmaj 5+
Hmaj s+( 2) - ---...-'1--- 9-/s+ D-
Jf 5 + ::J~
C4-Db
j( J J: i J ; 1':\
'
Cmaj 5+(2) ...,.-
Cmaj 5+
1:>
nbmajtt+(b); 9-/5+; Fm7
j
~9-
'
1 11
~
c#+D
r ,, IJ.L
-
iJ... ~;; ~J~ ~ - 1":\
~
11
-
".
'1 ~ 11 r 111
~+
1
c#maj 5 + Dmaj +(); c#9-Js. F#m7+ ~ -
C#maj5+(\,2) - D
D+
~
4 J"r::Jr ?# 5 r 1ff ~j
4 # 4i f.'l
' JE jj~ J= 11
5
+
~ kc ~~ ~ i J#j & jf ., 11
1
, Et>maJ 5+
F.~'maj 5+ (bz)-
1~ - t
162
E+F
1 I #f } zf JF !1 t f t:\
j( ,J ~
' 3 11
Emaj 5+
Emaj5+(b2)- Fmaj +() ; 9-/5+ ; G-
F
& +r 11 ~ 4 lr fi
F+Gb
J 11
Fmaj 5+ .
Fmaj 5+(2)- Gb ,
#Fr #~
t:\
~ nJ 11
F#maj 5+ .
F #maj5+(b2)- ,
- G
G+A~
9 *)
~ r 11
11
11
, AmajS+
maj S+ (t>2) - ---,:~:.__
163
11
'1 1
()
1
}
'
,
, .
J
IE r :
J ( j
1 ~1
165
1
3
[J 11
+ +
. .
n. - Tl1e ti of two ujo1 1xiuds i toal
311 . dd.
1
C+D
li
Bm11 l1} ]
11
D [, maJ .
11+ , .
1
Bl? m ..... ,
'
ED 7 s us'* , G9-/s-(9+/s+) . D[, F m ( 13-)
. + ;
166
~D~ ~J~I[ ~ f
tJ#r h fr Jr #J
i ~.[ ~ J 11
E~+F
4
~ .J( ~t ; .J
~ "J 11
11
167
11
11
i -~ ~t: , ~~ J j; tfG +3 f ~~ ~ J 11
H-DD
i JL-c:~#J_.__#_3 1 Jft 11
11
11
+ F+G
F+G
\~ 1
168
11
11
I
1*El:tr Id! 11
. .
-. Tl1e ti of majo tritoe dependence.
F ,
11
11
#,.,7+>{:.-
1
1 11 11
11
) 11 d #1!1 / +'15-
j
11
+ +
~ a,i J
-/s-
j' -~ Jr icJL ~ J 11
169
11
Db+G G+Db
' [. Jr ~:r 11
11
Am7+/s-
11
F#m
QiJt{91{!3;3 J 1 11
;;J
11
1~ 1
170
Em7+/s-
3Eb+A [, . ~# Em7+/s- . Em7 +/s- Em7 +fs-
Emaj 9 #m Cmaj +
Cmaj +
~1f l@#f ~ - 1
-
' # t!flr J;J) 7 !~ cr) (r> Fil
C+D C+D
. D.
- Tl1e conection of two agmete<:l cleds in llf
. toe dependece.
. +.
,J ly ~
k[
~ ~ ~~ ~~ 7 i
ic
~ J 11
11 DH is 11
11 ls+ 11
D#.+.
4#jt: ~ _} 11
1''.1
171
: Tl1e second:
G . + .
4Jt. \ 5 ( J 11
. +D~ .
~ ]t: i! ii J Er #+ f + 11
11
11
11
11
F# . + G .
~.+,
l' ) ) Giding yorself tl1e etlcls from ) to )
~ _ in tl1e SbcllD.pter, play encl1 of tl1e proposed six-
}'I n . degree modes.
172
- Prncticnl s of tl1e tonl t i of two
: ,gmeted clrcls:
Dm7+/s-
~ 11
''
173
G.+.
&d~J
11
: Spplement :
1- Let"s consider tl1e first conectio of two
.+. augmeted clrds: +
-
#J
' "gmoo<e<
JE -
augmented
,1
~
q):
Cinaj
}tb
~ 11
., Emaj
11 q~
11
correspoding harmonic fuctions:
11
2-. \, '
2i COIection . +D )'.
11 11 11
121
174
C7alt Fma.
4t!?r!rtoJlW&-ttJ!ffftiO~t_nP+ri:&. ~
Amaj }' maj D l' maj
11
Tl1e s
.,
3- # .
8rd conectio . +D 13
;j
11 ~ # 11
11
7 alt ; F7alt;
Tl1e s on
.,
4-
4t]l conection D.+ .
ZTrtj
11 tl 11
11
&ffit:t!tCU~?fiL?itP1E~ t 11
.'
175
5 CHAPTER
'
ALTERED PENTATONIC
,1
III v VI I VI v III I
~~
11
\ 1 11
u
11
- - -&
- pentatonic - simple
11
1
(1
11
VI-
- pentatonic witl1 flattened VI. degree
,, 'i ,,
11
- -
- pentatonic witl1 flatteed II degree
''
4 7 4
11 ' ~. 11
- j>r III VI
- pentatonic with flattened III and VI degrees
. L
, 1
.
_ III -r - petatoic III r
1 i
i 1i
1
11
176
.,
l followig lrnic fuctios corespocl to
.,
: t bls petatonic:
-6- ..
#1[0] 11
~~
1 !!
~t
1I'"
11
2'
'"4J "+11
fz 'r' ~
' 751159"'11'
, !)
11
~ iU MQ*js+ n
1
Dm7/s- D"1 11 + ,_, 9
'"'
:::::...,.-..._ -- "'
i~~.
~
t t t) rSttr Etr' =;=r
11
J -=Qft
~
rr t r 1tr
~. 11
~
'----- - < III ~, _ _...::a:___ ___J
- pentatoic III ~
2 Fm9
G : ( SUS~)
11
. +.
11
L - IIJ~">...I L - IbJ G- IIIb -----...1
- ti III - petatoic III J, G -'- petatoic IIII
1 ~-1
177
11
-' - . "'---"
*) U(.J}i:l fl . *) Tlle f'iges k tl1e vaiuts of toucl1es.
11
L 11
t
,:
) ) Play also tl1e petatonics of tl1e simple type i
. all keys usig tl1e metlds from ) to ).
. .
- VI ~ - petatoic VI
1 1
. fzw 11
APma.i 7 /s+
~t at11:Qg) 1 tr 11
179
Gm7/s-
2 -
&~rtU 11
- n VJb
- petatoic Vlb
'
6 Hm7/s-
t 1 Jl ] [ f f~J
L.-
-
.
VJI
ta to i
' __J
1 f
v
8
1
Am7+
lftJ (J)JCJJJ,J
- 11
. 1 .
- II ' - pentatonicllb
11
'1 ')
11 ~-~ "
lf 11
L------F;- -------.J '------- _ ~ri-----'
F~- petatoic - pentntoc IP
~ -1
..
180
11
11
11
5 9+/5- r'U/
D.
- pentatomc :r/>d VI
#
'1 1,.
11
Fg 11 11 11 11
: Exemples of practicalse:
1~1
181
~ +
. ~j~m~a-ga1f!r t-t;pw):tl
0- n VI~-----.J
!_ petatoic VI
11
Drr. 7/s
'"ti 11
J. CIOMATIC ililtCISt:S .
Bnsed siple pentatonic
nn witl1 tlie s
of for degrees i different interval
. cobinatios. Fo1 !:
:
11
~ ~ f
&t; J~ J Jm flliJB ft1ffi lgrsrrt gc rJ_/ztfL
'J E"rtd&wtr lt Q 1'--".,.fQ f1 a!f'J JEJq!j Q 1
182
11
4
C7alt.
*mgn8-~ @ -~: 1 11
1111
71t.
lf pl11y from t11 tl1e l111rmonic fction will
..
~ F
tl.r f
~ J #? . #, ,,.
~
; d
. , 1 11" 11
Bl:tdi Hdim
'~
11
and
183
11
( D-D7alt. ,
(fro from
Play i nll keys tDkig i to t tile
. saxople's dinpnzoe.
V, 1, II, V - : V, 1, II, V - i t I"elntiosllip:
r
J 3 J 3 J J 11
~ 7 ; F# 7 alt ; 7 ; D 7 lt ; 7 alt
V, Vl, I, II V, VI, 1, II
) :
) i llf-toe relatiosblp:
F# n. -,
-
f[iJ J ~f f JJ
1:'-1
184
6 ) : ) in tone relationsllips:
ftifJ~~mgimp q 1 i4tt ~ ~~ 11
' '
'1
'U
15 11
--
!; ~" 11
7 G7
l'7 Db'7 '7 .,. D7
F7
) ) i ig tllirds relationsllip
1":\
j 1 .. 11
Play i t keys
7 [L lt F m"- .i (ot Fm )
11
1~1
185
Plny i tlle keys
'tJ - ED n . ~
3 J
-- n.
ft J ;J
~
J
.
f1 iJ J J iJ ==-=-
&fH:JJ~.llt!rl"t~ri#fr ; lkE;E:!J}'=".".Jtj.j] l: 11
: in !1nlf-toe nd t relatios!Ups:
11 )
..
186
1. 2 i2
\ TI; \; I; III; II;I VI; V; I ; III; II;I
) ) i llf-toe elt io s l1ip
) : ) i t relatioslups:
1n In tl1e
nscendig movemet, tnkig ito accout
n, : tl1e istrumet 's
diapnzoe, tl1ell in tl1e
descedig movemet:
1~ - 1
l 14 187
V;I;II;V
L
L Play in different iterval coinations in tl1e
. descending d asceding- nvernts.
L 1.5
VI; V; Il; I
11
) ~ A 7alt
L
11
7 alt.
11
11
113
V; VI; II; I
s -s,. 11
&i r]J (t r\ ( 11
1:!1
...
188
Tl1e followig lrnic fctions d to
: tlris t\vo-bar pl1rn.se:
. N~ 2 .
See Chapter 2 of this Sclol
1 -:-- DP . ~
.- ~ pent.
~* zr
bmaj
I,J
Cm
11
.
..
189
pent\ 1 n . !. 1
4
rn. ',VlPI nt. t;~
~~ i r F ' r ~ jr J
G '7 lt. - - - - - - . J
. N~ 2 .
/v7alt. lv7alt. 1 I maj Imaj
:.:> Cl111pter N~2 of this Sclol
Dm 7 D+ Dm7 D+ Cma.;
pent. bne~:t
~j - D ~~ .-, - Fne;~ - ~~/ - ~t.'~
@lft ; 1Jf Jj? Jt f J . ,,
? # 1 r
D ne .
pent.
1 J F ~J J~Ft@iJ J 11
Ern t Dma.l
n Pentntoc in tl1e playig 011 tl1e fuction os tl1e
succession lg to tl1e
11 rn 7 V7 I ma.; I maj
~! III~ 7 l.,
I vrb 7 7 I ,; I .;
r
to the ('Imaj vrr\?7 r\?7 7 Imaj Imaj
1~ -1
190
6 CHAPTER
"- ~"
"Blues in D"
.
..edium fast . PARKER
in 11
G,.,
Dm 7
&# Gmaj
~ t=
-
Am,.,
D 11
191
~lo".)Gmaj
4 "..---.. ~ '1
5~ (1 1 ..
t)
11
11
&~J
c#ctim
- 11
Gmajr,
1 - Qri! ;qi]; j
11
7 9+ G9
&#J
.
192
,, 10
1 1 t
Am 7 D .., (G 9/ G7
.. 11 J [] J 'l
/1]
Gmaj
1tJj}_
v
193
~*tr :~ ~r
ll Wl1e learing, s tlle etlds, slwed i
N~2 Clptet N~ 2 f tl1e li sccessio
m 7
D9-
l t 'r F''? f4
MI. Play tl1e scllee of t pl1ase N~l.
5. - 4 . . Figre 5. - \)3tcl ! 4 tl1 s
~~ 1
194
N~I. Plny tl1e scl1ee ot tl1e plnse N~l
5. - l ll ; Fige 5 - 1 Otl1 n! lltl1 bns; plny
, , seqetionlly i lla]f.toe,toe, tllitd 's d
. fotl1' s elntiollsl1ips .
"1
Lik of sq
?
What's New?
- .
Soln-i povisntio of tl1e al to-saxoplaiste Steve l R.AGGART
Gm
~
l!tf r
Hm7/s-
~~ .~
? f f
~?- ~ !t1t1
7/
Hm7/s-
.
195
...
Fmaj ~ 9- '7\ 7/5+ E9-js-
Wwlf
Fmaj 11+ _ ,.-..., Hm7
..
196
Gm9 9 .
lf
-
Am7 D1 t - :- -.,
Gm7 13
flUj
g;[J J Lr
Amaj 9
fp
1~1
197 .
v
#~ 11
Hm'/s- ,
1
~ ~ -~ ~ ~
rr f r r r rr r r
-----------
~r
s-
(J r rlt [ (if ~
- ':--------
1 Hm"~/s-
~~.
}_ Variant 1 .
Hm7/s :t ~:~- "-...,
~~ ; &ffl=Jbl JJJ1fft; 11 t
N~2 Use tl1e scl1eme of tl1e Cl111pter N22 for the
. harmo.ic sccession.
2. V ariant 2 .
1:!1
!>
198
N~2 Use tlle scl1erne of tl1e Clpter N~2 for tl1e
n . lrrnonic sccessio.
11 - 2 .
Figure - 2d d 3rd ba1s.
2 Gm.,
~~ J ". 11
V ariant
J 11
fl ~ - 2 .
Figure ~ ~ - 2nd bar
Gm9 9 C 7/s~ t
~~ rrr r:j(r r1 r
- ~ /< "' i~~
#r
1
11
Variant
Gm9 ~
~~rafI
N~ I, Use t!1e scl1ees siil to tllose for the phr!lS
2. N, varian t 2 .
[";l .;::..
Figure L!J ~
. 11
nn Variant
1~ - 1
199
11
" ?"
"What Is This Thing Called Love?"
Cole PORTER
in \,
Gm
q. (,-~
Gm 9
,~~- lj f 1
,r~.
~ 1
Dmaj
~.
)
t 1 -
Ift 1 f?' 77?11
_,#Qf}
@Dmg
f'<J
Gt
. &- "
r r
~...--..
1
Cmaj
11
1 '=-
~
t!
1 1
\,7( 11+)
f r
,. ~ 87
,
@Am"~/s- D9- ...---..._
A 7 alt.
,~ J 4
v
J 1 '1 r-" "11~ f~ 1
fi
Gm Em7/5-
~":"\ Gm 7
~ ~9+ Dmaj Dmaj
,~ """ . '1
~
!
1
r rr 1
r s ~ 1 ' ~ - 11
Solo
Am7/s-
*)
~~f - 1 -
1 -
-
Dmaj
11
1~ 1
t>
201
q::o..
f)~
E'7alt.
~fl;y11
Dmaj
1-
If
"-...
~ 1 . 1 " rr f1J -
J!
1~ 4
>
202
. ( - Pl1rnses for seq11etioal plnyig (in all tl1e
, - possible keys, witl1 tl1e accout of tl1e istrnet s
n). diapazoe).
1111 1. - 5 . Fige 1.- Stl1 bar.
- 2
~ -2nd bar
D-
Gm
. N24
See Clpter 4 D+ '
l _ 2-
-2nd var
11
f -t -
Q
~
- 5- 6-
5th and 6t]>
t
."
qcJr
~ m,
11
F
" retii\fxn
7
11
1. - 1- 2-
fig11re 1 - 1st nd 2d n rs
Am7 Gm 7 +/
;---... ,...---..._
11rrrcg 11
. 1
6
l11f~ 0_
,~t-U1
Fmo "'
t 1 r.t=rtf"p,
.?
11
11 N~l . Le11m tlle exemple of pl1rase Ml.
Dmaj or Dm
N~l. Lenr tl1e exemple of pl1rnse Ml .
""
"Lover"
.
R. RODGERS
.,.
,.,--... ~ ::::....---....._
rf r 1
t t r 1
E1maj
r~r J
A"talt. ::::....---....._
f
'e37f2Pr
Cmaj
1
'f' Cmaj
:r= ~
Dm "1
.
...
1
----=----..
11
f j t ,
.
204
~
tL,
- 11
1 -
t#' lpt7}t;r
"~/5+
~
1 t Jlf"
Cmaj
i:.r-.
F m7
#
t!t t. . .-._r t
7 @Eraj
~
#r r]t
#1
,r ~
#r tFg
~rrJ) l 1 t 11 J ~.
t]t ,tf
1 -
Dm, ,--...
1 (E?rJ f 1
Dm.,..
1 -
t 1
C'7/s+
~
1...
206
B~9-/s-
6
'' DF -
Dm"' _.....--....G9 ~ Cmaj ",...--.. ::::..
, ~ 1- 1f#fR r r [J 1 f]J
1-
A"'
1t1? ~ s t!?
A"'
,~t rr ~ i
A~"'
IJ;t
11
H 9 -ls-
1-
207
A'7alt..\_o.,. ) 7 alt .
l"r-eti'"'t:i) 1 w ! l 1
11
1~ . \
208
, Ema. 9 Emaj Am,
~ J ~
1 J r+t
J 1 f 1
t
D7 . D
Gg G
G'7 alt .
'j;'t rOJf' p1ftt{1 1 eJ t E!f1r r
Gi. ~Cmaj
Cmajg 7
1
!' ~--~
r~;lltH
~
1 f i tf 1
{\1)
7 alt,
ti 1maroo-
A'1alt. 'lt.
ltr
!1
: Pl1rases for exercises:
- 14-
.t t rlJ1?
l1- 14tll bar
1
Em'7/s- ,
:
Wl1en learning s tl1e metlds, showed in
N~2 Chapter 2 for the lrmonic sccesion
lm 7 1 v, 1 Imaj 1 Imaj
209
n()-- 2- . m ()- 2nd '.
Gi m7/s- #-
~
au
ll Ftt+ 7 Emaj Emaj
F if~
ft gpmKU
.
1
9
:r:i} JJ{Jit!)iJ1l9 ffl
! " 11
5 mg D1
~
~t.
Gmaj
~ .,;; ~-~
! EJZEl 1 11
1 .
Plny the scheme of tl1e pl1rase N2l.
ft tfE:rt;itiJt11tt() 11
N~ 2 .
Plny tl1e scl1eme of t!1e pl1rase N~2.
'1 ([r
8 Dm7 _
Play
11
,j. f
'7 ~
n 11
J i .
n sed ns n sq s lik.
, ,
;
. nnn n ;
1~ 1
~-
210
nl; ~ - 5-ii 6- Fige l; 2 - 5tll l 6tll nrs
_ E~maj
m{ 1
t1 - 11
n N2
In scl1 aspect play witl1 tl1e etl1ods of Clpter N~
11
1 J 11 ' J
N211, n Play witll resoltio accop1ding to tl1e scl1eme
n n n n of tl1e pl1rn..<>e N~ll , as well as witl1 tl1e alternatio
n, ~n n "" (. of sevetl1 clrcls two ars, as in tl1e tl1emes of
N22). tl1e "OJeo" type (see !t1 2, t ).
D~
lq771J , IOA 1 t
. - 14- 15- . Fige - 14t11 nd 15 tl1 bnrs .
1~ 1
~
211
n3. - 3- 11- 13 - . Figre 3 - -;- from tl1e 11th to the ltl1 bar.
~ tJ t t("j(?Jl :ift .r ,
1
"Giant Steps"
.
J. COLTRANE
inB
~ F\st
fil!: F Ir~
::::..
J. qfr J Ir $1 1 r F 1J =
.J. t ld J. ] 1r
pjf
. tp"
1
r-..
-
,Qr r
~
:pll- #r
~ -
' 1
E'7/S+
w~
l:.'-!
,
Gm,. ,...,..,.-~
1 - 11
Hm,. 7
u DJ'ir
.
- 11
~~ 1
213
'
r?bmaj9
, t?1t ~
ru1 ,- -r.
~~r
FmJ
j r
~
11
~ Coda(Rubato~)----------------------------------~--~~-------
J,~h@rrq;trpr
~
r
_
@
Qq.J J)3 m5 11
t PJ1rases for iprovisntio nd sequentional
n exercises
2-. 1 21 volta
't
1 m7
tft rc
"-
~ ~7
~
WJ1e11 learig s tl1e scl1ee fro tl1e Cl1apter
.2 N~2 for li sccessio
1. - 1- 2- . Fige 1 - 1st d 2d s
Ama.J
.......-......,
E;fR r 1
-
-~ ' -
WJ1e11 lenig use tl1e Ji scl1eme of J .
. N~3. ( !t f1 tl1e Clpter N~3. (I tl1e desceding
) . moveet gtd clrd)
gt!(1 cl!cl \ ~ 1
214
n1. - 4- . Fige 1 - 4tll IJnr
3 Hm,. E9-
~flQJiiOJ
WJ1en learig s t scl1eme of tl1e plllse Ml
1 .
1. - 5- . Figre 1 - 5tll })ar
Gm,. ,. Fmaj
~ "-~-
'ef ur n rr ,
5 _..._,
.
....._______ link of sequence
- ~ - -
j -
2. Variant 2
~ trf.r 1 r.
1~ 1
~
215
3. - 10- 11- n. Figure 3.- 10tll and 11tll bnrs.
1
Hm7 7
~ ma.j
~ ~ #t~/'": /'":
6tt
9
E4W f L(\
1
~'1 . ., 'Fmaj ~
6n --et1jlrtf
Lik of the sequece
N~5 . Play tl1e scl1eme of tlle pl1rnse N~5.
,,.
5. - 2- 3- Figure 5.- 2nd d 3rcl bars.
Fmaj
12
~~i~ ~
,rrt rrrJ 1
.
Link of theseqence
N~5. Play tl1e sclleme of tl1e pl1rase 5.
n 5. - 14- 15- . Figre 5. - 14tll d 15tll bars .
Lik of tl1e seqence
15 Gm.,
6tt
11
Lik of tl1e sequece
N~5 . Play tl1e scl1eme of tl1e pl1rase N~5.
\24
...'
;j.
/00
I
1. ... ... .. ...... .. . ... ... ... .. 5 II m7/ 5-, 11+, I m7+ (1 m6)
2. ... .. .... .. ... .. .. . 12 2) II m7, 11+, 1 maj
3. . ..... .... . . . .. . .. . .... 20 II m7/ 5-, 11+, I m7+
. . ........... . ........... .. .. . .... . .. .. 23 3) II m7,'V7, I maj
4. VI maj , V7, I maj
: .. . ... . ... ... . .. .. . . .. 27 9. .. .. .. ..... 62
1) II m7, V7, I maj .
2) II m7, V7, 1 maj (or I maj 11+) .
5. ... ....... .. .. .. .... .. : ... 35 .
" 6 . .. ........ . ...... 39 .1-
. _
11-
8.
:.................. . ... 53 11. . ::........ .. .......... ..... 90
1) II m7, 11+, I maj . :
1. .. 102 6.
2. -. .. . . ............ . . . .... . .. . ........... 116 :
CONENTS
Part I
R 1. Dorian Mode. ... .... .. .. . . .. .. . .. . .. . ..... 5 II m7/ 5-, 11+, I m7+ (I m6)
R 2. Myxolydian Mode. .. .... ...... ... ....... 12 2) II m7, 11+, I maj
R 3 . . Ionian Mode.. .. .. .... .. ........... ... 20 II m7/ 5-, 11+, I m7+
. Lydian Mode.. . .. . .. . ... . . .. . . . . . .. . . . . . . . . .. . . . . . . . . . . 23 3) II m7, V7, I maj
R 4 . Exemples of the playing on the VI maj, V7, I maj
funktion of the hamonic successions:.......... .. 27 R 9. Diminished seventh chord.. .. .. .... . 62
1) II m7, V7, I maj . Diminished seventh chord
2) II m7, V7, I maj (or I maj 11+) . h mode of the diminished seventh chord
R 5. Locrian Mode. .. .. . . . . . . . . .. . . . .. . . .. . . . . . 35 . h exemples of the use of the diminished
R 6. Hamonic minor .... .. .... ...... ...... . . 39 seventh chord and its mode in the perfonan
R 7. Melodic minor .... ... ... ........... ..... . 43 ce practice
Exemples of the playing on the function of the R 10. h whole - tone scale............ ... 75
.hanoniuc succession . h whole - tone scales, augmented
II m7/ 5-, V9;-I m6/9 (or 7+) triades
Mode of the dominant seventh chord with the . h exemples of the use of the whole-tone
elevated 11th degree scales and augmented triads in the perfor-
R 8 . Exemples of the playing on the mance practice
function of the hanonic successions:...... .... .. 53 R 11. . Pentatonic................ .. .. .. .... 90
1) II m7, 11+, I maj . Practical use of pentatonic
Partll
R 1. Simplest tupes of improvisation... 102 ) Chalie Parker - Blues in .......... ........ ... 190
R . 2. - ... ... ........ .. ...... .... .. ....... ... 116 )R.Haggart- What's New? .. .. .... .. .. .. .... .. ... . 194
.R 3 . Hamonic structures ) Cole Porter- Vlhat is his hing Called
of John Coltrane ... ....... .. .... ..... .. :.... .... .... .. .. . 145 Love? ... ......... .... ... ......... .. ,... ... .. .... ........... .. 199
R 4. Six-degree modes .. ........ .. .. .. .. .. .. .. 160 d) Robert Rogers - Lover............................. 203
R 5. Alterated pentatonic.. .. .. .. ........... 175 ) John Coltrane- Giant Steps.... .. .... .......... .. 211
R 6 . Work on jazz solo-in1provisations
on the themes: