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k
g
n
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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
\
. "
"
. ,
,
. , ,
, .. ,
, , ""
.
, -, (
)
. , , ,
,
. ,
, ,
, " "
(0. , . , . , . , . .).
- .
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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