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improwisatio
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 1

.V
A.OSEICHUK

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i01prowisation

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for Saxophone

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Instruetion book

K<t>Af>A
1997r.

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. J.
 85.95
72

tJt'llpC ?l~tz ~~
olomro My&IJIOAIIIX'O 1rYJ1C01 , ~ Poecdtd . tpwn ~WI

11J nJI JYI8 ~

. ,3- , . .Ir~. .llaopa. . . ,3

63461 14.06. 1994'
. . 04.03.97. 609018.w .. "- .
. . 27,0. .-..29. 7 3000 . .N 735
" ". 125008. . . . . 2QI Q

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~ , 1997 .

520700Q000-124


. "" , , 1997 .
22()-97

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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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 5
, 1 PART 1

1 CHAPTER

'i' DoRIAN MODE

D- DORIAN Dm" 8 D

''


'' 11 11
- -- U
II

11 The Dorinn mode is built from the 11 degree of

the mnjor scnle nnd corresponds to the harmonik
1Im7. vertiknl IIm 7 nre some exercises for the
digitnl masteriring of of this mode and its
: intonntionnl colouring:

11

11

11

124
 11

~ /""". ': . ~ . . f':\

4rttptO n Q;P J 1.; s] J J JlJ 11

.7 ' 1 J f tJ ha [ Ed r 1 r f f f 1.

4 mm~r 1WJrr rp~mm 1

. 41 Jd ciiJ OJJ JJJ;~ UJ21r fJr r 1
- ~ ,.-..

'rrl ttattafirlrffrtffrft?ift1f 1

'4"iB
" tfrlftQv
" " " " F1. . ._r Q rrl r i, 1

4 4J J 3.ffJ t:t ~j QJ )lCQ J)@ 11

u find different vnriants of touches in ench
1110 . of the under-mentioned exercises. When executing
' the exercise you must plny it entirely using one
. vnrinnt of touches.

. ~~
---
.9 ' ...t tt:nc@:t@}@!:a:&)
-----
.......---
[!! r r r r! ~~~ ~ 1
f':\

'! r g r !t ftrr tf it!Et!Jttlttftf 11

124
 7

3 3 J.J qJ J J) u
11

9, 10 nn n Tl1e exercises MN~9 ~ nnd 10 slw tl1e cl1romatic

nn . n plnying nround tl1e degrees of tl1e Dorinn mode.
n 1- nn, 111, V, The most commonly used is tl1e cl1romntic playig
Vll . n: around tl1e 1, 111, V degrees; more rare ~ of tl1e
Vll degree. For exemple:

tlt(~rQirffr r 11
VII .

D - DORIAN

' ! ' ;, J Jq 12f) f'

III .
1 1

- DORIAN

;v J-t r' ra:rr lr Pt i 1r t r 11

. V.

NH, , Using tl1e tnJe N2l must interprete the

n , Dorinn mode in different keys, bnsing yourself on
n . the ahove-mentioed ten exercises. After it you n
stnrt to compose your own melodicnl phrnses on tl1e
n (n n m 7 llllrmony, using either rhythmic structure. For
7 ), ex.emple: from Nl to N220.
. n: Mll - 20

Dm" >

- J\\11 , . 'iftrf nrQ tft r

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

'jj, Q rf AEU' ej - j?f

zt 8 .
11

19 it1r:(i ft1tfi r:fl cpfr ft 1

tff'tt}riifr Q tflsiUaty@)
8 8

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.

Exemples of the s of Doria mode i tl1E

: performance practice:

~ '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

411z Pr r fflr- F61 r1Mi[f) fi)

Hm'~ ct ~ .:::. >-~

>
~~~~~ > >

4Yff rmi1 Grt]) f} 1@ Ffr ffFF!r

>

1 1-1
J=i12 . 3
. WOODS

No244Vs! a.ra 1V-

Hm9

* ----- ___
"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

8'4 'Q) f]tilttiill Wf}tJr1tl? 11

.
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

. V Tl1e Mixolydia d is built fro tl1e V degree

.. of tl1e mo.jor scale d corresponds to tl1e lrmoic
V7. vertico.l V7 . Here are some exercises for tl1e
. .. adoption of fidering ill tl1e Myxolydia mode .d
its intonntional colourig:
:
 13
G 7, MIXOLYD.IAN

1' t ffi- r !Itifff[flftdff 1 J ]) 1

No4 ~ 1 cJ r Frfr F1tr r r r r F 1 J ] JJ J1 j J 1 t: r rJ r 11

N22 Using tl1e tale 2 and the above-mentioned

ll. (N-4), exercises N2N2l-4 you must interprete the
. : Myxolydian mode in different keys. F exemple:

- MIXOLYDI~ ~ - ~

tP!%t t (:t ffi ( ftfff1f 11

, . In order to further emplsize the dominant

functionality of tl1e Mixolydian mode, the
performers often use the descending scale from the
stale degrees of the dominant seventh chord witl1
- VII the alternation of the VII raised and natural
. : degrees. For example:

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

... "' _._8 _._

#13
L

~ # 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

N~2 You must play tl1e exercises N~N~-8 in all

N2S 8 . keys following the tale 2.
Mter the mastering of tl1e exercises N -8 i11
, ll all keys 11 cn11 stnrt to compose melodicnl phrnses,
. : bo.sed 11 the Myxolydin11 mode. For exemple:

11

Ef?l rJ:rr

11

No11' ~\, tll1rtj (f rfQJ!J r fq fr~
>

V 1 LJl' 11

ll Nl , - 111 tl1e exemple Nl you 11 see n melodicnl

n phrnse ofte11 met i the jazz performa11ce; its
, - ll VI begi11nig - it's tl1e chromatic playi11g nrou11d the
.
VI degree of tl1e domi11n11t seve11tl1' mode.
' > >..-......,
>

1 f f t ,i f f f:Of f
,~nnqop

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

No16 ~ f 2- F J J ()J >j J (J EJ 1 f f f V 1

1:!1
 fast .

(j' ~af:Lisl
c'7(ta)

f~t trLCif QJJit[( ri

.
Very fast C.PARKER
'7 >

a<t41tt {jQ )Q I t ~
7 1~.
t(ll ~
.edfum fast .
. BRECKER
"

_s 4lat 4 ""~ 1i 4) 37( r r t i&'

1 1 -

Etude
 17

G"
1 r gQ ~ [ ? 11 CJ U
,j Jj (.J ~ J( r=t an l;er ft! r ~
J," >~ EJ,"

. @tr J!) bl J JH 1ff:Cff1 t 1Ef]::f1r' 1ffJ

>~

f 1I( if -~ GJ (!) J}Hb (Jp~ 3'flt 1tf't! J3 [ f 11

----------
~ --- ~~

) ;
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

DJiee . DJi.: D!. L L

d so : v, ' ' v,A, , G.
18
Etude

G'7(D) > ~() -

~afur ltt t
F#D ~
tza(t !f.tt

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 f!p'&l i (&!,) .... 11

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.

4- , Tlris is 4-bnrs link of sequence, wlricl1 must

!l: studied in all keys:

- 11

= 11

A"' '

4* rttr1r~ .... - . 11

!l !l D!J BL AL G FH 'F
d SO U ' . ' ' IJ'' ' IJ'' ' tf'

1-bars lik of sequencej

!l : d so in desceding movemet .
. . .

1 #" 1'" 9 u " U

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

Imaj (16), Wl1en playing tl1e Imaj ( 16) function, tl1e

melodical phrase witl1 the cl1romatic playing
III : nround the III degree of the cl1ord became
traditional:

11
1

,., iili ~w ~~~ () EjfiffiO?JfD

J 1 11

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> _ .

N84 ~~. 1 QJtPJ 11(@' 1 11

..~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.

APmaJ" (f,m9 _ ~") ~j,~

.11 @jP z!4 gJ{Jj !i pJlft i 1f Qr1ttJQt ~ 11

11

DPmaJ (7 ) DPmaJ (Ap'f) DPm!\1 9 ~

No13 'g!P)I [tJHlsn rrltt>[ rir atFL 1

~#maJO (c#'J) F#maJ F# 6 ,..-...

No14 ~-!Ptp:Efb,I ruwfr,Jftff 11

11
22
Etude
. BpmaJO

4ttt41tri~Ea:d

~ . EmaJO _ . - - - - - : : ;

.ieDR rfQ EfJ' ;"! ~ Q} ~ df T!l rtfi

v
f''F titf 1 -

FmaJ r-.

IIJ DI{fifft r rru 1

 23
AmaJ ~- _

11 41id Jt,at rt'r1fJ ,

8
cmaJ . HmaJO BPmaJ 0

6tfilrq tipl'rriifq Ii]J 1f[Rp q f 1

v, n n .

And so on sonctions, according to the struent s diapazone.

AbaJD 6J" 1 #J9 J" 1 &J" 1 &J 9 1 DaJ9

&J

.
LIAN MODE

F- LYDIAN
,,
~ ....... \1
IV
,, '' 11

IV n Tl1e Lydian mode is built from tl1e IV degree of

the major scale and corresponds to the lrmonic
IV maj 11 + vertical IV maj 11 +

11
1~ 4
24

. DmaJ 11+ .

. , ... 1 fUV4J;1 toftfr @:fl ftrrtfir~E . 11

Apmaj 11 + > ~-------

:l: h ~ ~ ~ ~ :1!:~:l::~t=~~
. - ~
7 ij ~. t l d) tffi ftll U11V\fE:tl r;tr fflfljJ
8
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-.. ~

No11,~1%Hfr EJf~. f1t(ffJI[fj)tn 11

HmaJ 11 +

.t ~.,. t :' (:@ ffi !rrftO ' 1[ J> r 1

1:!4
 25

11

11 Very often in jazz practice wl1en playing on the

il function of tl1e major seventh chord (maj) the
: lonian mode is changed tl1e Lydian mode:

1 crut (]Jif
.rmaJ :r.~
Gm9 q_"'

1'614

uitr1 r1 11

_ : Or there is an alternation of tl1e lonian and

Lydian modes_ For exemple:

. '
Bounee _ ~ma,f(or %) EmaJf1+ . GARRETT

ts4\\t. k 11t f!t1t 1u 1r rYwlJ1 r!:Pit 1 11

ll Here are examples of the use of the Lydian

_ mode in the performance practice.:

.
M-BRECKER

~
ltE(] lf
.
.edium fast
. BRECER
Dmaj11+ Gmaj H+

41 tifa r11 cwO~fit

Very often in jazz practice when p]ving tl11~

Lydian major seventh clrd (maj 11 ->tl1e Lydian mode
is alternated with the correspondg lonian mode
in tl1e oth.e r key:
:
\~ 4
26

~~,~~"~~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

Here is an exemple from tl1e performance

: practice:

.
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 -)

22,,.,. "@jJlJj J~ r FJ"l1 ~ 1

-r'# - - ~

23 F9-

. 'ilti;te rr n u
fl_
rHiAJUR rR:Pffi ,
#D-(9-)

x.'\\Jt 1 rrE ul1f r~'IfftdlJJJ)

 l .3 41
.3

moll - t1
ARMONIC

W <1 . . . '1 -=-~~ ; 11

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

Bf, moll- ~ . ~F9-

ARMONIC ~ ~
~ ''
-
8 L
1
-
1_
_J
1

11

1:!4
 FD-
':'8.':

'~~%i iliiw JI rttttlf f ltj!f hfr

No11
8
1 1

,~,4t frut Pw& Irut fr;p,r r$r

~3, U mst play melodical pl1rases from N~.N~ 1 -

N-12 12 followigtl1e tne N~3, i differet keys, takig
!l: ito accout tl1e diapn.zoe of t sn.xople:
~: N~1 (7 /9-) u F9-, For exemple: tl1e plase N~1 ( 7/ 9-)
F 9- 9- . . pln.yed F9-, F 9-7 9-
After it one cn.n proceede to tl1e composition of
n V9- melodical phrases on tl1e V 7/ 9-
. N~13. See exemples from 13.
 39
6 CHAPTER

ARMONIC MINOR

C-m~ll-

f -- ~~:: ,,,, '' ,,,, ,, 11

In this textbook we won't examine tl1e mode of

. . the Jrmonic minor or tl1e tonical variant of tl;
. minor scale.
'. The details of tlris system are presented in
: . " multiple sclols of academic direction:
. " . ''", . . L. Mikl1ailov "TI1e Sclol of Saxoplne"
" ". . ". ("Muzika"):
", . . ', . Rivcln "The School of Saxoplne"
" . "". ("Sovetsky kompozitor"):
, . Slposlikova "Scales, Etudes and
., Exercises", ("Mzika", 1986).
Tl1e harmonic minor is iterestig for us, as tl1e
. (V9-) V degree of this sound succession serves as basse
'. for tl1e building of the mode, corresponding to the
harmonic vertical og tl1e dominat seventh with tl1e
flattened nona (V7 /9) to tl1e give mior key.
C-moll-

==

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

.s fit jjQ;J v ~ g rW~t r];t1f1t1t1tl

 #"/s-
( J8);')
.~.~ f'}Df ur~ 1 'J'r 11 .

FID '7/s -(11)

.a,Jw.s&roariOf1t:afitfttf 1t
11

n. nn The exemples of the use of tl Locrinn in the

n. perfonnnnce prnctice.

.
. WOODS
Latino J=ID c#"'s-(ta) :::..~
.. lt J t9 ! J"kt Q;P[
.
:::.. J. F ARRELL

r)-l Q'd; r);~S

.
.edium latlno

n
J. FARRELL
n~ "/s - {ta) >-

.27,Jtl r !r ' r !r*t

.
. BRECKER
. Am 7/s- Am "/s -_()

No29 'd> 1 ' sJld It )Cf1

 Douli'C!e tem;o
Gm/s-(io) _ ~

No16 4"'~ t 'i qj q?lf 1

11

VERSION G "!/s -(!3) - -.

~ ~I
rg: ru
Slow =-m
4~~~, t 11

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)

.t 4h 1 , lf!V kltro z rrrtf

~ ~

11

In tl1e performance practice wl1en playing tl1e

1Im7 /5-
Ilm7 /5- one often use the superposition of the
, n melodical pl1rases based on the Dorian and
nn (IIm7 - V7) Myxolydian modes (IIm7 - V7) on tl1e harmonic
Ilm7 n /5- , vertical Ilm7 /5-, based on the Locrian mode "in tl1e
, pnrallel minor key, as the Dorian, Myxolydian and
, n n , Locrian modes are built 9n the sound succession of
the same major scale: for exemple:
:
II m" V'~ - C-dur
J 1
11 m'~/s- IIm "/6- - A-moll

: 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)

'' EJ@J zV '{;' Ot{j*OJ[Q R di@ tfi . --- - .. _@ v 11

121
 35
5 CHAPTER

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.

Em "/s _() r-.

Nt4 ~ 1 irpr rnt~LJtJ 4Iill J: r Gtrllt

Am '7/s -()

No'l ~~ {} U itJ D ifQ (!) qiih1 reiff 1

Am'fs- -- i ~.
rrri =
"..._,

. 4~~ J r
~

trr- rJA 11
34
t= - Gm'7 .

.4~= etm ,ttlfr ~r1;tt it'ri~i1E L. Bluc N ote _J

Moderato fast
m7 "-. >",.__F '7

.'l 4~~ tft r1 rf! f 1 1

.
J. FARRELL
.
~ """\ Fo/11
f fflf

~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

~.41 , --~ tfi t1 r r~r AmJ

_ DmaJ

~ 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

.t4 1r\z .#ill(fffiEQ;lVtntAio -~, 1

8

.
L J. COLT~E
EpmaJ ..-..,_

r]t t trr- 1
.
J.COLT~E
.edium fast
_J!m9- 9

4 *'tf ft. ft:r

.
J.COLT~E
..edium fast
. Dm'!.. G9

.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

g244e~@ij 4_J 1) 1 't> t ~~~tJ - 1ifl'r>fr l@f4JOR'er't 1

. '
Fast . WOODS

D' ~ F# V Emaj F~s /7 7

.s4t E(r'ftf F)t)fJ vlf ~ ~

I'E ft 1fl l - '""'
(fl

.oderato bounce . '

GjmO . WOODS

No26~-~ L k@J J ' 11

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

( ) Sequece (in tlrird s relationslrip)

18 11 ta ~~t ;:::."__

4t Fj1i!P.' w:a i1 $ 1E'Qtrtt , j)I'f 1Q

F#mu. Am11 Dta Cm F ~ ~

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

Ef,m9 ~f,'f c#m9 F#'f . Hm 9 " Am9 D'f

) 4trfifirt ~Jir rt1t1 1;;t rl;p

Gm 8 . ' FmB f,'f Ef,m9 Af,'f DpmaJB

~ 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

( ) Sequence (in t relatioslrip)

G111 tt cta Fm f,t8 E!7m
11
18 c~m11y#'7
~~\ ~ ~..-._~ - ;:::....-._ >.......-..,_
) ~ 1fl $ t
-
'] 1 t J 1 t i i 1 f f 'f F1:1 '
1
1 D"
 27
4 CHAPTER

EXEMPLES PLAYING
ON ARMONIC SUCCESSIONS

1 aJ 2) 1 1!! ., yQ' lllitJ t 11' 111! 11

11

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

Dm'7 (;'7 Cma,f

~ tf rt - 1 fJ J 16
11
II1'7 '7 Imaj

DmO

~ t mO
li V7 ImaJ9 r6
11

Tlle under-metioned sequential exercises will

11 ll help you to adopt tl1e llarmonic succession Ilm 7 -
Ilm 7 - 7 V 7 , with tlle simplest presentation of the basic
!l : chord' s degrees:

cm"' F' c#m' F#' Dm"' G"' Em'7 '7

~~~~~~~ 1 ]1J:1ztft 1SQQ ;J

Em7 A"' Fm"~ 7 F#m 7 '7 Gm"~ '7

~fJur
G#m 7 #'~
1 erd!cr 1 '~t:r t;"J dr r 1 ! ] (J$
m7 '7

~' rU~!E t cr~J#EJf 11

Bpm"~ "~ G#m'7 #"~

~ rrElf Ift r1rlf#r1J !:

1:!1
 Bp9- 43

.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 '
""'"

Nol '*f Q. 1~ r5ir Am8

r r
l ...--... ......--.
1 ,r J)
'~~ 3 ~) f r) #r}
----.
t )> 1 r r
?
1 11

,.i
,.1
.Nir2
Em8 (or '7 -t)

J=J }= t (JJ ,.,,

J
f4A f Gt .r'~

1
n 8/e (or '7 ... )

1 fblJ f Dr]to
1
~

#r
'!ii ' 11

m 6/9 (or '7+)

No4 ,~~ :ft5Et5t ~1

' r Q 4 t . 1 11
:s '.t @JlfurEOO
F#m 8/9 (or '7t-)
afj) 1f4t~r
- ~ q ~ ~ ~
p;iD;J
6 '~~ J -: rV eJ1=pr 1 r 1r rx 3 1
, Gtrtf 1illWcg J,v

G#m 8/9 (or '7 +)

t 'i!l!ii tQ; .g - 1 r D1 1! (t:"6L@: J

t~" t r 1 r r 1 flJJ. 11

m 8/ (or '7-t)

No11 ~! !i'q)tfrlr ffi' r ffig),J &1 ~ 1

. N~ 4 Followif tl1e to.le N~3 and tl1e elodic pl1ro.ses

( N~ 1-13), n (\s N~N-13) one co.n proceede to the
. copositio of tl1e own elodies witl1 t\1e lrony
I/9; I7+ . I9j6; I7 +.
1~ 1
 45
.4
- l .4

moll
MELODIC
1



~ moll
1
4.
d moll ~~- 1 ....
11

~
,. #
11

h moll

~lfw "F ... 1 # ... ... 11

g moll
1
~J ~ 11

l~ moll

4t#
1 lt
11

4Jr1
moll

~ moll
~

,.
. 11

,~ .. ~-
,.
" . 11

,~;
l moll

,. ~ .. 11

g~ moll

~~ #
11

b\1moll

~ljf\ ... .. ~ ~- .... ... 11

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
/

1< - I m Im7+ 1t When playing the Im or the Im7 + hnrmony

VII - the VII naturnl degree cnn usend in the melodic
n .. phrnses ns the pnssing one. This is used the more
. , . lm often when the Im6 or the Im7+ hnrmony is
Im 7 + n . . souded for the long time.

Ji"ls-:._ . .n- . ~ 8/ 8/

16 f1t' p-q!EQ r'ifi)Q;&f 1 fV;J[rdrO 1

"ls- - n"+ Dm 8
i. Jam ,. - - - - - - - - - - ~ ~ . ~
.4 ijH @futJZU!Wf)lPJJ!Oi!i $1Jl U4 11
L.---------J
t;. : 5.
See chapter No. 5.
g,#"ls-
F#"/s+
5~ Q)
~
~-=
r r !f' IVZrEljf
F# - r- - - - - - - - - i
r=! j'>! 1
'--- ___ J

. ; 10.
See chupter No. 10.

I[JJ. ric fcrf1 11

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 .

44 JCi: i j ] t r 1t.--- .(] 11

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

~I TJ1e exemples of the p]aying on tl1e l111rmonic

succession
lm71s-\Y7;9 _jim or. Imaj/ LIIm7fs- / V7;9_ Im or Imaj / in the
.. perfornitince practice.

Bounc~ temp.o
.

'*' ti1 \
c#m"~/&- m"'+ . WOODS

No14 .1
1;: #j,r
Bounce tempo .
Am"/s- nD- . . WOODS

&tl [Jt r
. 3

M15 ' 1' Ffr ''(~ ~ f=1 J5

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)

.ts 4t a0'1t pr f 1 ~ rr r f1#p

1

~
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

~ " Very often in tl1e pertormance practice tl1e

~ Ilm 71r.-l V9-l lrmonic succession j Ilm 71:; ...JV9-l tl Locria mode
m 7f5 - - is trasported tl1e Ilm7J5 - lrmony to tl1e V9-
V9- ( N~22, 23). lrmoy. See exemples N~N~ 22 d 23. You see
. below tl1e exercises for tlris metld.
1~4
50

!> 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.~~- -

1'637 4i<il lttfr titr QF[J'-"1J GJZVOn (:? 1

c#m"'/s-=> -
- ~Ftt "'+

2s teft!f t>f E , Q[J Jj) . . tr>@ftJ.

1
~ 11
N!n nn, That is, melodic phrnse, corresponding to the
)'d n Myxolydinn mode of the dominnnt of tl1e major
nn n key, pnrnllel to the given minor, is trnnsported
n (V9~ when playing on the dominant (V9-) to this minor.
. Some jn~z performers nre using in -tl1e hnrmonic
successionlllm 7/5-\V9-Ion the function IIm %... tl1e
111m 7/ 5 _jV9-\ n mode of the me1odic minor from tl 111 degree of
IIm 7/ 5 _ the given chord instead the Locrinn mode.
111
.

:
LOCRIAN

For exemple: #~&- ~~~~~~~.~~~.~~~~-~~~.~~~-~~~~~~JI~~~~~

MELODIC MINOR


1 # 11

.
.edlum fast
. WOODS
c#"'/5-

M29''1411itf-r @ r1 65?
moll- li
F#B- MELODIC

'" rv :)r ~Jft lJ J r > ~~

 51
.edfum f ast
.
Em'Jfs- &- . WOODS
- ~ ~ Q "' ~ ~
., ~t t&Jj,J
~
D i{u~)fJir rfprt=! t q t 11
G m o il- n'l
MELODIC

nII 11-
MODE OF DOMINAN SEVRN CHORD
WI RAISED ELEVENTH DEGREE

IV Tl1e 1V degree of t he melodic mior serves as

n, base for bailding tl1e mode, correspoding to tl1e
n n n . domimt sevetl1 witl1 tl1e raised elevetl1 degree.
, 7!11 +, n n Tllis clrd (let s denominate it as V7!11 + is used
when replacing tl1e function of tl1e domiant in tl1e
. .. V7, f,7!11 + given key tritone, tlt is, V7, \r7i11 1: For
n , exemple:
n It is necessary to find tl1e mode of tl melodic
, minor, corresponding to tl1e dominant given in tl1e
: n, dur, n harmonic succession. tl1e followig way: for
\ Ilm 7\V7\ Im~j\ Dm 7\ G 7\ Cmaj\ , exemple, the L: key, succession {m 71 v7f Imaj\ Dm 7f
IG7\ Cmaj\ in order to change the doinant's
(G7 nl> 7!ll+), n n ll function. the tritone (G7 n1> 7;11+) one Is to
~
1/ 2 build the mode of tl1e elodic inor whicl1 would
: )/2 tone higher, than the ain tone of the
given doinant:
11
.,, 11 73
I.

t MODE OF MELODIC MINOR

,,_ ~. h ..

11 &''* 11 > ,,. 1
11 ' r;.

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

clere are s exercises for tl1e adoptio of tl1e

n<n il ! fingering and tl1e intonatioal colouring of tl1e
n 11 n domiant seventl1 witl1 tl1e raised eleventl1 degree.
.
52

911 - MELIDJC w j # ~ JL .. JL .. JL ...

~
11 11 ,EJ &i

i " # -
1

" la 0
''

D 1.1+

11

Ng3 ~ ~t J v Ji!r? JW J 11

<+ v l q Q&[rl Eli#tJ 11

. ~~~ (fJ J t3 U J '--' 11

N!l7 *~ ~'t F~P)J2 s~~1if ~ "'i0r1 ern

.. - 11

r#" f l#p Q::/f (jl JirftJ 11

11
 53

j#Q*[(j) J 1 r ] r? ' 11

~ + ~

Noll 'JjM i!q:rf @s1 1 f ! ' -; na~rra;r

11

+ .

.t4WWH ! r =:r J J@J 1 i J-r !(' !

, J;:.if . (lf r ,r t r t ! -rr:J 11

8 CHAPTER


EXEMPLES PLAYING
ON HARMONIC SUCCESSIONS
.

1) 'Z "* 11

11 Vt- '' 6J ,,, 1 : I I'*

I I J I ~~
11

.t 't ~ i!Jrtteri
Dm" n~u

- . H"l/s-

M,iL])

11
3
. Ai-119
Am"'~ ~-~~ Gmaj9 Gmaj . .

' itq11 r iftlr1nJJ~ ,t J :r tf ~ - 11

J ~1
 Em'~ ...

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

..~t tr;fE AJ1f: tjd0J.frr*d' ~ tr ~ 11

Emii - EPiH - DmaJ" - Dmaj:~

No'l .~ t;;f (fu!l' IJ r F eJ Er1tiD Ji@J J 1

9
c#m'~/s- + _ Hm /7+

No8 ~~ !J11~-r'ff1U,iiNJ UiJ 1

cm'~

. 'V>t pl J1Ptrrf11 , Jl

11
 55

11

G/,11 +

!.to J - ..--.., 1
.

J>J J..............; ) J>-=ecnM 1 r

Fm6/tt

! r:r 11

c#mB cttt- _

19 ~~~ , iJ E--=gsi}l-rJ;) t @~ ,,J) iJ L 1

'vttJ 7t
+i HmaJB 3

UJ) 1 'r) t
><=:>
( ?fr j 11

A#m '7/s- t1+ G#m 6/9 G#m 8/tt

No20 ~~ i ~ 1 rzt@P;J,I j Q.! it~- 3

11
n11+

No21 'Wif;~tm;J J f f f tf i l blil:t1U(J tl:rl

Ffr 1; --r-
DPmaJ9 . DpmaJ

'@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

The exemples of the playing on the harmonic succession

. 2) \ IIm'7111" +flmaJ 1 Ilm'7/s-) II!J +IIm

11 11
(~aJ)~ ...
in tl performace practice.

.
. WOODS

1 11

Bounce tempo (,tt+ 1\.

~ . ~~

t ,t
. GARRETT

. O1t?tJi 1 EfU 1if11J - 11

' L..-E~moli-"'eno--1
melodic
:.
Fast . GARRETT
~ +
Am" GmaJ
~
N ~ ,., -==? ~

L- ~ moll- .
1~ 11 r
melodic

.
.edium bounce M.BRECKER
Em9 4 t DaJO

' t t ,-( tr J 3 1t cr' J

t.._ f, mll-.
---1
1~4 melodlc
 57

~ 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 .

'1 Em"'/s- + J. BERGONZI

DmOfg

No8 ("f @[ (ft ]'' ! rl tJ

L- moli- .
ll,Cf '
melodic

.
+
. BRECKER

Ne9 ,~!j f
L._ G moll - .
melodic
.
M. BRECKER

In the modern pertormance practice the II 11 +

II ll+ V7 alt. , - is often considered as the clrd V7alt; it is ba..c;ed
. on rl1e same mode of the melodic minor, and due to
it this chord's resolution will in tl1e otl1er key.
. : For exempie:
111m '7 \ V'7 alt.\ v'7/ + J - I J
11

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

trled of Mlxolydlan trled of Mode

Mode of Melodlcmlnor

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

No14 'i'ilj (f1:{fJ1t f} fhrt'i[ ~11 f]}lfCiJ

1
"lt. ~1 D~maj

11

4- 13, 14 These 4-base patterns 13 and 14 must

, played in all keys, taking into account tl1e
. diapazone of the saxophone.

.. , and so on, in all keys, taking into account tl1e

. diapazone of the saxophone.

3) Ilm\ V 7 , Imaj --. VI~maj, V', Imaj

In harmonic successions lm~V 7 1 Imaj)after the

change of IIm 7 to V 7alt. 1 1alt. 1 V 7 1 , the
following afternation is possile: in the 1-st bar
V 7alt. to VI~ maj (which considered llS 11~ maj
to V7), or as cnange to tritone m 7 For
exemple:
n_?maj(~., ait.) "

N-*arttrtmn =
11
D!7 maJ (Gm"}
124

--
 59
. : Eitl1er tlle following comhino.tion is possiie:

1Ilm'fl V-r f I maJ J ~ ( V 7 alt V7 1 I maj 1 1VIPmaJ 1f,tt+( 1m~

.
M.BRECER

- 11

~~~~~~ \ IIm17 1 v.,j Imaf \-1 V"alt.\ v,alt.\ ImJ VIPmaJ\ VIPmaJ 1 ImaJI
n:

APmaJ(G'7 alt.) :::-.

N"o19 ~! 1f) ~aJR 11

BPmaJ (A'~alt~

. .~11 ' <rz

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

22 't DmO (DPmtiJ)

r r p=t.J,J,I!,f .,J 3./' CJir

G"~' J

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

.s ,.,vaua 1Efu! &M1fD~J~ft;Ffc - 11

.
. PARER
Am 7

No26 *ill , .. :::f

.~") ru3
-
1J
G6

'# r - 11

.
. BRECER
-- Hma.j9 - - - - - - - - ,

'r' !j') 1 J 1J tZJ

f !fl ![i 3
BPmaJ (/)

; 1I@ r cif)st: LJ 11

Etude
Medium bounce
Dm'7 Cmaj

'' J 1~ cz
-g f?)tta
3
(]
Em'fs- - Dm7

-r--- rJt @;;; ~

1
Cma.j Cmaj 11 +

9-(l'r
 61
DPmaJ

'ttFfi v r t
/9

! r
..
J t;!
DP 8/s Dm'7
>
~'7.

' t Xt :rtslJt IJf?r r?f] J 1

~
f
- 3

lt(] (iJ #t)

3
F#m 8/
#+ -3 F#m
;,tf[jr r IBK 3?rtJ r '
3
lbetf*{@ i?
3
J 11

G'7 CmaJ9
CmaJ

' ' g;(ti)

rg r~arnaru q!t- 11

Sequences

1 't, 1t!=,rijt( rlrmiOi1:fr""

c#m'7
Cm'7

L--------
r-:.+
t+

:
Llnk of the sequence
BPmaj9

lf - 11

' , Pb*'lfr' U 1f tit ~qz-==r 1

' & 1# l'"'

, .
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

' ""'" llliaJ fdiaJ 1 &Jm'' ClaJ # J

, 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"

Nil ~;~~,i~~~~~i@ii~~~~~ :00:~

D#cllm., F#dlm.,
u 11#11 1

'd Ddtm'7

11 GE') 1
and 1ts verslons

,,tr dlm'7

124

--
 63

<t
and its versions

No2 '1 D dn7 (or 9-)

J~ ,,J" J J J~ ;:J r :: r ri 1" r[1 ,r

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

(dim) (. esides the mnin type (dim7) see exemples M .l,

N, 2, 3) 3, 2, the diminished seveth chord is employed in
, n l1nrmollic successios, ns sevetl1 clrd ( V9-)
(V9-) : d is built. from the tl1rid t of tl1e domillllt
. : fuction. For exemple:

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

N'ol , " 1 &-

1...___/

Edlm7 Gdim7

,r-1
A#dlm'7 c#dJ.rn"

NR2 1 eV" 1 ~tt 1 @]' oll guz_l_gJ:"- w1l: 1 g- 11

1~ ~ III _ IV
1~1
 HdJm'7
Dd1m'7 ~ dfm7 (FdJm7 ) G#d1m7 f

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 - ~ - -

J\J0 4 -&~t [{i',J t Ut @ r) FfQJ 11

Fm6 Fm'7+

prJ UD)iJ! ii!J 11

- _1

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

No11 'iJVHlJqJ; 1 J J J cJ I;;"E rr''~\PJtftfl

pr&:Y!&!!frdfJitnnw $)JqQJf~ 11

No12 ~ v . 0 1 ar~fta 1
89 9 fJ'O!n 1rJ w ~ 11

.t ~~ tbl cu'1itmnrn taf!tW#ftf1

at1 ~lif ~tJ Q arr (!!(! ri1EiJ 11

lt i@ 'J@ ti[i# t5fif1kt"t (l.r.-J]JJ-J

t4
4tntJdt t1Yi:rJ;J4 tJ54 ri#f1 Vf tt ;;;I
t atJ1#Q 0 'awt cu;rifW U
n n Ml4 'l'aking for the base tl1e ex~rcise Ml4, you must
D . built the modes of the dimizJsl1ed seventh chords
Hn from tl1e notes D and .
I the performance practice great llillount of
, melodic phrases and sequences, used for the playing
on lrmonic sccessions, are based
. nn t.hP. modes of three types of tl1e climini-
shed sevetl1 chords.
1 m 7fs- jv 9 - V 7 alt 1 V' alt

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 ~

) ,111: utw. prt'l QIQQOar Q@ ffll

t. 8 t2.

ipr qg fljj ihti ll~ap: ~ l1J iJ$i 11

n F'falt., o#11t. <A1It.), "alt.
Play ll1lalogically
E"~alt.

t> .111 ~'rffi fffO@J 1 1

11
~t., A#alt. (DP'iJt.), G"alt.
Play analogically
n#"aa.

5) ~~.f~tFJcw l~tm 411J,@J 1

--
 67

11

ll c"alt., A'7alt., F#ltt.

Play analogically
D"alt.

) U ffiit-#t@t -rffft 1Cf1} ( [ [)tltJJ q~

1
t 12.
G~ ~ G ---------~......,.
' fPi;}r r lr :11 ifhJV Ei r EJ lr F 11
H'falt., o#ltt. (AP'lit.), F.,alt.
Play analogically

Pltt., DPltt. (c#itt.). E17alt., AP\tt. (#t.>

Play annlogically

'7 alt. ( G# '7 alt.)

) 'ti!:J?[fj j:J j MJJ J iJ J,J JJ jft r f ~ " 1

iffi r ' r"; r r r ' , cJ ,t tr , r: f r t ' r D f2.

1

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

: G'7alt., E'7alt., c#~t. (DP1Jt.) A#Mt. {I)ltt.)

On the Harmony: .. ~ _

) 4t~&f\ f} 10? era ,' fsa!t ~tJUgr[J 11

: F~t., D#~t. <EP1t.) C"alt. {#att.) '7alt.
On the Harmony:

),, erU g(ftl cffitE!fJ I@J 6# 16Di6D 11

: F'7alt., D'Yalt., '7alt., G#Mt. (AP~t.)
On tl1e Harmony:

c7alt_:_- - - -

20) .iJ\% f f{:J f si;ap 11f ( f rif!t 1 1

'fi hr !:J iJ) lotifi " f 'I ~1 lb( rD 11

: '7alt., F#Jtt. (GPllt.), EP1lt.
Play utlog1cully
1~4
 '7att.
69

) ,~ fl Q1t 0 r!zW!} 1Q;1

'=t r:J' Ct 1~bl ~) izr rJ . ( t
3
G#itt. (AP~lt.), Palt., D7 alt.


1
t 11

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 -~

- n. In this pattern you can see the comblnntion of

.. (.) n. the diminished seventh chord (see ) and Dorian
. mode in the superstructures
(Cm'7- F'7ait.)

)'* f () 13 t

(Hm'7- E.,alt.)

)'* t !Q-f-tJ Q ra U t?t t't #Q

pt (fiffiMQ,:!tJrill ''Q ;t; f t 1 !(t [f)l
(B"ait., AP"ait., F"ait., D'7alt.) . n,.r
dim. seventh chora

- l tllis pattern you can see the comblnation of

l' n ll tl1e diminisl1ed seventh clrd d mnj or trinds witl1
. tlle itroduction tone i tlle superstructure
121

--
 (c"att., EP"att., F#"ait., A7 ait.) 71

),,' Ct:Q Fl: @ r1f ~] I'(d {jJ

't '$1JOF n
(c#'7ait., BP'7ait., G'7ait., E 7 ait . )

) T?Jt ("~'F Jl } r:IO B(JJ

In this pattern you can see tl1e comhination of
.
the diminished seventl1 clrd nnd major triads

u"att., D 7 ait., F'7ait., A"att.

) &t q <2 J J ]
J J '" r 'r 't
, , Xff an, ffiiQ 6D ~ 11

"tt., n"., E"att., G"att.

) &tQ .J J J EJ ~z J .J J r r f?r

&!{J,Jp ;au~rij ,Gz, 't 11

: Exemples from tl1e performance practice:

.
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.

) ~f17) I07?t 1 ffi[!( QQg 1 JmkJ(Cm) - 11

~~t., BP~lt., Ga1t.
Play analogically

E.,alt.

) i ffi?r ,t:]:) fJJ??)! ,..

AmaJ (Am)
,, !
c#iit., BP~lt., G"alt.
Play analogically

D.,alt.

No31 )~ Q Q f1:1t Q{ f
6-!!r1C --
~~ - - - ~ ; )
~

\tt., #I., F"alt.

1 r ~~ s
Play analogically
1~ 1
 73
F"&lt.
~~ B~maj(BPm)

>1 r fllr tJftr I'Cff]f G&J 1 J 11

llilJIO D'7ait., H'alt., o#"ait.

,fiay nnalogically
F alt.

) '~! i @t tl(t~ 1t (! ~' 11

il D'7alt., H"alt., o#'llt.
Play analogically
" aJt.

No32a) fto n t:t D rr

' [lt h9 fJi:t
aHilJIO
@
7alt.,
(j: CZi:& i'fJf ~! tnry '
'7alt., F#'ltt.

) ,f,}Ji) F#" alt.Play nnnlogically

f.:f ~~- !(} l;mJ(m)

ll Ep\it., c"alt., A'7alt.
11

~l~:' annlogically

) '1' Jtj!f 0& lt

APmaJ(APm)

!f1 lt"
.-
1 11
@&1 1

aHilJIO c'7alt., '7ait., F#'llt.

Play nnD lrricnllv

Tl1e hnrmonic net of tlris Etude is bn.sed the

. ll "Soul Eyes" theme of . Wnldro "Soul Eyes"

.'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

: Tl1ere are two wlle-tone scales:

II

1#~ #
1 j
ij
1 1

. ' I tl1ese scales can built augment ed c]rd

. from each degree.

t . ('"g.) D . (aog.) '-('"<) F# . (ud.) ~ . (aagi ~ . (aag.)

1 ~ q Jl#g al& f' " ~~

12.-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,

c"~/s n"~/s E"~/s+ F#"~ls A~"/s+ tit"/s +

00 # 1
1

1 nf,'r/s +
~110

EP"/s +
tll BJII
G"~!s+ "~ls
F"/s + A"/s+
II

; t '11 11 tt~O 1'1 1

llp n

1 Ilm 7] Vzl I 1 1 V1 1Vz 1I 1 - ~~~layind on the successions \ m ~ V I 1 J

and V V 1 one can make tl1e alterated dominant
1Ilm 7 1V7 /s+ 11 1 m V 1 + 1 and\V 7/ 5 +\ V 7/5 IiJand then instead
of Myxolydia mOde one could play tl1e mode of the
1V7 / 5 + 1V7 / 5 + 1I 1 ~ corresponding wJle tone scale or corresponding
,
chords.
,
v.

:
Scheme:
" Ii _ V 'f G f maJ -

DORIAN ~ - MIXOL YDIAN YONIAN

)
)
)
4

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

W propose some exercises for tl1e mastering of

, tl1e modes of tl1e wlle tone scales, augmeted
: chords and tl1eir conversions:

.aJ.IJJj g1SJ 1{iftfff}Hftr~ F!(~fJ Jif3; 11

) 'tJ'i; J JJ J .~ lwJ l ,; J r 1 r !( ft G
,tiffir 1 ft1 nr 10 rJ r rY ~~&~. JJ, J1v 11

> 'tg_j jj; jjJ )j I11J 4J J?( ft ~ ~ 1 f 1

( f 1
t~- i= - - -
' r t r., 1JjJ .; J,J J Vx 11
r1!r r t r 1#rir 1 Pr
r) ~iv tY tJ &1#fiJ rra t r
- ~ /' ~~ :'\ "'""
@

tF # t
( 1[ J !
8 8
1 t 1f
8
f
8
f f flt r
8 8

'
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:

.a,,IJJHifJ~ 16iif!t(fQif1fi'rh rfF~rJ Jj}; 1

) '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

i r-p F fJ r J] ! 1!JfiR,@ f91 ...

- 3
11

) 'tJJ # ,rJ J ,J i 1,;;i t~r, ~ r # r1

3 8 3
1

' 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

) '*J JJ ~ i J.~ ] JJbl]

1 f!i.2 lrVf!i ir 1
4trr nr;:1 crtf #r~f;t f wu 1t rout ~
1

~l:
4 crn
~
m iw @ #@ r

-
1r
3 3

1
3 3

@1 ..,.

"') 4tJ]EJi@]; @1 1&ff~ +r 1r 1 ~,rr tr[Q 1

1 1t fl ttPn ,~et{t#r r ~ *r 11 r rr 1

4#; #r r ~ ,J .J J f J J J ,oE,J J j IIm' 11

) .ij) - df "t f 1fr HHJ1 J

1Jf.]l #~ f f 1f#l riiiJ 11

) '1@t1 @ l6i 1 rJ; 1rna 1~ Nr fJ JJIIm' rm 11

~~ JJiP lcJU 1i rf r 1#[ r _~~ 11
!l , Basing on tJ1e mode of otJ1er w]le tone scale:

~ 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-

N24 .@~ 1 ,(~

: ~- ~ ~---
JW1tf1ra1t11]
~\ i:~
fifJLf r Pr!r c;fr d i{t
8
>~ )~qa --t.f
11

[~ . (

--
 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/

'Pr!t #rl"r!lljo 1Er!t ii&Q 1m! rGW 1J#JJ V ~ 11

cl'7/s... ;'s... "'/s+ G"~fs+ .
--
) ft!t1rbfJ4tttrrulvr~ar 'tr rr1 F1:r 1 1

F7/s + '7/s + _ c#'7/s+ F#f

-- f r r1J[EJ~I ffi --J::tJi{1111[t{Ff;; &J,J#J#D ' 11

-- 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

"~/5+ "'/&+ DmaJS D~j

Ne12 rf'J rVQJ! ' 1 J) J-1 (7r 9<r 1 trt - 11

C~m"'/s- - - ~
rt
-'--

N'!l13 ,, ' Et
f f f t t: #rQfr
F#e-

"1~ rJ .___ _ _ . _ __,

' 11

!'.;ln Taking into nccount melodic pl1rn.ses (form N~4

( 4 - 13) to 13) nnd bnsing on the l.rmonic nets:
:

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

n. We propose to compose your own melodies

usig nugmented clrds and tones of tl1e whole
u tone scales wllen playig tl1e fuction of V7 /5+
V7 /5+ (V7alt.) (V7 nlt) i all major and minor keys. In lrmo.ic
. successios.

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:

V'f(alt.) 1vOJ 1 V"' 1 y'f 1 v"~)

2) v 'J 11 m'J y'J 1 m'f 1 y'J 1
When cho.nging
.~
lv'J v'J y'J V'f)
3) n V ''
When changing all the harmonic chai V 7
4) ll n. n

The nlternntion of small minor seventh chords nnd domimant sevetl1 chords sequentiono.lly whole
tones

1::5 n n It is possile to use polytonal sequeces, whose

, bnse is constituted from the -v1Jle tone scales or
, augmented chords, o.nd t !1e spe rstruct ure can
- i different - major chords and minor tetrachords of
, major nnd minor chords, major chords and minor
, chords with introduction tones for tl1e basic or
, , fiftl1 tone,fourths, thrids, pentatonic constructions,
, ; !U
~...--
major and minor seventh chords, etc.
. .

E 7 alt. (D 7 alt., '7 alt., '7 alt., AP 7 alt., F# 7 a.!t.)

) ttf t ~ rJ ~f tr (]f t 12t r fJ

if [fl[t !'lr*EBF~ir 0E!!I1trt:ft' ffJJ]JJrn =
* n . '1
'TI1e wlle-toe scale's degrees are idicat. ed.

1~ 1
82
A 7 alt. (G 7 ait., F 7 ait., EP 7 alt., DP 7ait., 7 alt.)

.tsa> 4t(tiltfff(i?t~fil 1t1id?~ }

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.)

) &t if lt tls t t f t ('

d Q,4t-& ~t3t:in rl
-~~~~Frr:v
b 7 alt. (Ab 7 alt., F# 7 alt., E 7 alt., D7 alt., C7 alt.)
--------------~

4ti-f I <ff? L f f 1 L f 1@ r tf
.t7) 1

4'1iidffii1ii.Jr 1Vi1j(frf rir<pD 1~:

1~4
 7 alt. (G 7 alt., F 7 alt., P7 alt., DP 7 alt., 7 alt.) 83

Ap 7 .Jt. (F# 7 a lt., E 7 a!t., D 7 a!t., c 7 alt ., Bp 7 alt.)

>;iftilfatfrrM!trJ Fltt' fJf~;~

- - ~~t -
7 alt . (D"ait., 7 alt.,

.t9a)fvfff-f-x4!:&? lf~Of1ft?$' ,!Ct! 4tl;w

BP 7 alt., AP 7 alt., F~ 7alt.)
~ ~
1

4f!r ~ ,rerclrb !ir Jt~c&tt!r +crrrr !r' 1

4tf-~~{~

Variant
:f~t
~ - ~ 1 ;--,
1f'Ftffi j

Variant

F 7 alt ., # 7 alt ., '7 alt.

a>it J;& t1 0 r?e r9 r1C r~ rGJ; 'rfr

" alt., '7 It ., '7 1t.

>it"i;;&~bl;} If fl r r,
E(, 7 al-t., H 7 alt., G 7 a1t.

)* v:lf ri Jlt#rV 6t &fie rE&r t

84
D 7 alt., 7 alt., F# 7 alt.

r) ~:;:;ts tit fi rC! @ ~

Vari ~r.1
) ~ tili #(i JUr L r u
l-L'" -t'I ), }, ).
play

J =:

6)~ : -t: 11 rt D -r t:ti@ ~r 3!' t:i

~

tult13 rt ;= r r= f rn

7 (", F#", '7, D7 , 7 )

) :f-., :-ff f J!Of:

:f:r =crt U1 :r EJli
!

F'1a.It (/,"1 #"' "l 7 G7

. )

.
., ' ' '

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- . >---

r ' r ,t1 nc-1 Ylr

,-.-,

)+"tf;fJ
>::-~
r !r/i: r 1 1

=4 r r1f D gct3t -r : Q 'f 1oczt?J 1

![ j
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

;'* f1=1 U1 ,tr ~ - 1 - l ~~ 11

'7 alt,, F# 7 alt., D 7 alt.

>* "(f lt F 7 ali.,

1 tref
EP 7 a.It., Dp 7
& [j
7
alt., H a.It.,
~ cJ t [ ~= ''ffl;--A
1
A 7 a.It.,G 7 alt.
9

28) 4t tfJ #ff tf} J) fi Ct fi (if

No

4l "f'l't fl 1rJt Wr3f ffEi 9f fl6t~

E'7a.It., n'7a.It., c'7a.It., (,'7 a.It.,
n AP 7 a.It., GP'7a'It.

'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

'f (, '7/s ... .

. 8 J.COLTRANE

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
~

: EP'1alt., DP'7alt., H 7 alt., '7 alt., G'7 alt., F'7alt.

Sequences:

) 4t~tft f) tD 1ICf 1} r:r ~-@? t} Qfg 1

6rft 1] tU 1t?r tt r7} 1 i} rJJ 1 '

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

5 , Pentatonic scale is composed from 5 notes,

: which are situated in tl1e following order: ig
, , second, ig second, small tl1rid, ig second, small
, , . third.

~~~~~~~~)'~
~--....,....--____..,:::::::::;:> =:>"
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

N25 Serving yourself the tahle N2 play some

. exercises for the mastering of pentatonic. You
' must play each variant in all keys taking ito
. cccount the diapazone of the saxovhone.
I 1
VARIANT-1 - - - - - - - - - - - - - - ; : : : : : : - - - : : - - - - - - - - - - - -

'~"J 1 ~ r r f 1 Fkff rJf Ql) ]

* , 'f- Figures denominate the variants of toucl1es,

,.... - whicl1 must used when playing t exercise!:'
. from tl1e beginning till the end.
j
11
VARIANTII

~ J 1: :v
J ' 11Z J1 J r rJ 1t r =t
r. """ ~ - '.

~1 FifF(~ 1 r1zr 1l ]" f 1 1D 0 ~ 0 1.... 11

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

From t!1e III chord>s degree

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

~rtTJ rf'Efl[r r:(fr r~~ t 11

- n. ----------'
pent.
~11
I.

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

IOJJ r J' I ---- 11

- n.
.

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

v 91 /st 11 ~~$} 11 v"~ a.lt.

r r 1 J ;J 1. J 11
n
Fro t l1e II 1' clrd's degee

1:!1

....
 95

11
Or V..J(,n

't t"t :: t f tJn(,B:t/st

f
. ~ From the VII7 chord's degree

11

:4iiMt pf]t ~'

' ,-
,g, r g> '' 11
.
pent.
9 t./&t

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: .

No1 ft,j ~J J J ' r r , ~r i t r jrJ J

Or 1 n
J,) .J
From the 1 chord's degree

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

Tl1e most expressive pentatonic from tbls chord

VI , is built on the VI degree, but unlike the simple

,.
III pentatonic, the III degree is flattened .
.

11

11

1
11

*) III , -~>rhe flnttening of tl1e 111 degree gives us so-

, , called alterated pentatonic, wblcl1 can used when
playing on the function of other chords, for
, ! : exemple:

124
 ns ......---...... - n" 9i

'*t :::@ 1 r rC$)

. VIII N22- F#m
t 7/5- t f 1f t
~

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

VIII m'f/s- ~~~~~,~~~~~~~~

"#
1

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)

'2 ' ' fJ J J f r r r t f f1 r r -r 1@J ~

1 -,
Or cyneti n
Gm"~/s- From the III chord's degree With the third's ntteng

~~ ! 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: _

.t-4t:i:r: ~--td:t tO{If ftJCfgq :

' - - - - - - - - 11. L - - - G- n.
pent. pent.
Gm" Gm9

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 ~

N9 4 ~~~ (f) } j.<">( EfJ ) : ! 1 JsL!o

r?r t] t) _--=::=:::u::::::. 1 j
i! 1
r 1_::J ~
pent. __....!:'====1....1 ' D
'--------=--- n. - n.
GmaJ8 GmaJt1+ pent.
- .--:---. L_ .::::!:::::: __
J~ r ( r : J l 1 J J r1 ' 11

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~

. .f\ ,ffj!t 1 11r u~ ar Q r '! ~

1 11
'----F -n. - n11 . .- - - - - - - - - - '
pent. pent.
Fme ~~8+/s+ "-- EPmaJ! EPmaj

;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

' J) J~t ([ r~r ~

l! tii [1
...._________ - n .--------------'
J.lt:nt.
1~ 4
 99
c#m" F#" alt.
HmaJH+ ->
tt$~~,r.~%~t~'tP~~u~~~r~r?~r~cr>ll~~~(rt~l)~-t$~~~~r~~r1~r~r~iirT!r~-~lf~T~f~r~~r~,~~~
'--G# alt.-ne.----'
pent

. 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 -

.ts -.~ '----

@rLf3o :t'=l t R4!.#13f&g;;J
.--n.---' ~- n,-' '-- n
&lt .-"..1 __ -_.-......
pent. pent pent'

Y7alt. ~maj (. 8 V/1 cJnging V7alt II~maj (see chapter

21, 22) : n 8, exemples 21, 22) it is possile to use
~ VII w:, pentatonic from the VII elevated degree of the
IV . domino.nt, or t IV degree.

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.

s, Bing on the above-mentioned material one can

compose the following tale for practical use of
u: pentatonic:

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)

IIm 7 ; IV ; VII cr.

from the 111; IV; Vll chord"s degree

I ...-; V .
from the 1. Vll chord's deQree

V 7 alt II~c; f,:; ViPcr: n

l:> maj - V . (n)
(s-) (s+) (::) ( ; : ) n $ - vJ, .
from the 11~, 111~, Yl~ chords degree
(::) (Z~) Exchanging on ll~maj - from VH chcrd's degree (&harping}
Exch:mglng 11 - rom ., chord's degree
~--------------------------~
I ; V. ( XI#)
rrom tne 1 Fllord>s degree; ,.
from the \lt:>cho rd's degre e; (from tl1e Xl ~ chor d ~ degree)

~------------------~-------------------------------------- -- _J
IVc~ 1
from the IV chcrd's d eg re

Vb cr; I. ~ . ( alt. ;.;~ r ~ 1:)

m 7/r;- from the vt" ciJordJs degrec
from the 111 chords degree {alt. wlth the thfrd's flattening)

I cr: V cr; I . ( alt. n11 )

from !he 111; v;:\, chord':s d~gree;
from the 1 chords degree (alt. with the t hird's f!attening)
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