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ScboolofJazz
improwisatio
for Saxophone
1

.V
A.OSEICHUK

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ScboolofJazz
i01prowisation

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for Saxophone

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Instruetion book


K<t>Af>A
1997r.

~-
. 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

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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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)
102

11 PART 11
1 CHAPTER
m
SIPLEST S OF IMPROVISAION

:tf n The buildihg ! simplest- improvisations on the


base of the mode and the bnsic tones of the
; harmonic vertical; variants of rhythmic solo
; structure with the consideration of the mode and
the bnsic tones of harmony; nscending and
; descending melody on the base of 11 st andard nnd
n ( ) non-standard harmonies; rl1ythmic exercises
n n (symmetric and non-symmetric) and their use for
; , . the building of sntional improvi solo; extra-chord,
. ndded tones in the modal structure of the harmonic
n base.
I : The work on the improvisntional solo egins
. from the study ef the themntic mnterial: the
n . " melody of the theme nnd its harmonic bnse.
" Here you cnn see the theme of V. oung
s. n "eautiful Love.
; This theme is charncterized 11 simple lyric
(. -n . meiody and harmony, typical for trnditionnl styles
.). of jazz music (sming, -, etc).

F#+/s+ nf6)(ov'7) ( '7 a.lt .) Em, t


\ediur11 Fast
. c#m'7/s-
-~

-~~' r r ~1 ' ~~-


:::.

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

' ' r f ;11 r Jcr 1 r


7(r6.)


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. )

4..,. jl.- #.... '' ., jf #


lj

0
#

J
. 1.
.

#" 1
Hm".CAdur)

8 # f 1i
G #'7/s-( Amoll

1f ~ #
melod:.) #
. q ~ -
.
t E+(Hmoll melod.) t
~ ''
1 # fe " ; 1

' C#m>/s-(Ddur) Fi9+( Gmoll- melod.)

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:

H'7alt. Em'7 '7 DmaJ

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

3. , - 3. No\v take rhytl1mic figure, based on the


, : eigl1tlls otes, for exemple:
.::::.......-....._
!1PUCCC/I
and try to wok out t modnl bnse of tl1e
. lni verticnl i its simplest form.
124
104
C~m'7/s- Fi9Js-< +/5+)

ftJi ! ~~n u@

11

4. 4. This pntterns ure bnsed on the chordal D.IIO


n non-clrdal tones of the modal base of the
, hnrmony, but without tl1e consi-deration of
, . . smootl1 logical movemebl of the melody, tlt is,
iQ.-: , the resolution of the preceeding sound into tl1e
, . scceeding. The so-cnlled basic tones of the chords
, III VII exist for this purpose. As rule, they are bnsed on
, the III or VII degree of some chord, either simple
, maj, m 7. majo:r or minor clrd, or maj , or m7.
Let's consider the aove-mentioned harmonic
'': " scheme of the theme "Beautiful Love" from the
: poit of view of basic tones:

C~m7fs- l;.#7 ait. Hm7 7 alt. ,


Em 7 Dmaj
.n
,111: 1 s ?;t ,~ -&
!#
,~g
li~ li~
1

1
c#m7/s- F~7alt . Hm.y Em 7 G+
C#m7/s- F# 7 alt. G#"~/s~
Hm 7

~~ i~ le~ 1~ l~g 1 ~ ii 1~ 1~~~

.:
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+

fi:=o;:. j:: Ig 11 g Er. . .

and so on.

124
105

out and play turs tlle melodies of tl1e


. upper and lo\ver voices. Tl1e11 try to perfom tl1e
tl1eme simulta11eously 'vith one of tl1e lines of tJ1e
. basic tones on tJ1e piano or witl1 tl1e l1elp of
par tner.

5. 5. Basing yourself on tl1e bnsic tones of t


, !l, clrds and on tJ1e modal basic, using different
, - r11ytl1mic constructions, let's adon the melodical
: line of t1le upper voice:
C#m7/s- Hm7
lsglrl
'fJI: lf

r 1 fit'
G+ C~m'/s- F#? alt.

D#lj? 1 ffJ 1 P,zJ 1J EiH #J=J ,


1,

: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:

G7 lt. Cmaj + Am7 F'rnaj + D7


l .. ~~ ~~G !=
l" ~~ \ 1
1 :11

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:

G7 G 7 alt. Cmaj ~ Am7 Fmaj + D7


,......-
'tll: 1

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

W e aclvise to t a ll tl1e possile vuriats


( of t l1e elotlic lies (uscedig ud desceaclig), to
), u pluy tl1em witl1 tl1e ccom p a imet of i 1 of
- rl1ytl1m -secti o til tl1e total masterrig of tl1e
~.:: . , !rmoic s!1. Tl1e11. sil! tl1e oclal str:tre
( d one 1 ti:: melodic lines (accorcling to titt:
), n1- performer" s wisl1), try to play your w melody
( . ). (tlt is, tlle improvisatio) .
: For exemple: modal str ucture d ascenclig lie
(). ().

G,.aii;.

1ffiJ]J ~''
Am7(or 6) F maj + D7

~ , Eif ) rp , ttrl ,w u:r ~ 1 :r rFf? :11

- - tl1e asceclig melocilc lie is marked.


.


MODAL STRUCURE AND DESCENDING LINE
G7 alt. Cmaj

E!PJ) ,, FJ
Fma j . + D7

l! !fu Ei!J 1 )1'' i ilJ}4J :1

d 'v let' s take n stndard lrmoic net


( . "~") (tl1eme of . Davis " Up").

ltl ""; pft~ 11 lrlj HJiJ ., fi? l\1aJ f\xaJ

AII!t; D~ G111j Ctt!BJ #,".., B!'J G!!Ij J :11

, I ord to mnke melod ic lies more expressive,


, uu n iet s do n nl teratio ud lri substitutio
, of s c]ids i tl1e scl1ee , for istace:
:

9*/:, J ~f li ~

Ci!!j
108
n. : Let's t tl modl structre:

Hmaj

1-cr#-- #~" fe ~fo


#+ ~Gm oll .)
-ff--
t=f: ~~~v_"j--~>3=-lfti
"'" :w~ 1. } .
~.w 1' 1
7
....J.''J.

f=-a F

Gmaj
411' . Q 1 g ()

1 let s bild ascedig 1d


: descediag lies:
) - ) - o.scetiJ

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+

_Ji_i; ~~--=- =t :=_g


109
v n Usi ~:; ociv.l strc: t lle uJid of t lines,
, , , f o1 is1,, tl1e v.scelig , plny your own
3. i p rovi::< a tio .

Am 7 D 9 -/s- G Cm~

~~r=ti'rfi d,~~~

'l. . ii - 1. l work tl1e rl1ytiic sc l1ee in tl solo-


. i ro rovif atio. Ri1ytl1mic scl1ees 1 symmetric
: llJ , :_ asyn metric:
) - ) Sy , netric
1

~ 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

'1 let's tuke u siple syetric l"ilytl


- , 'l'U , scJ ud play tl1e elody, taking i to tl1e
. t its ndul strctre.

)
~ C#m7/5- F~ 7 /s .. Hm!) Hm7+ (or 6)

ill~ J J I#J J ~ fJf" J ~ !#d iJ ;11

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.
. .

C#m"'/s- F#7/cs~) Hm7

~~ J r 1 l J J
'J ~ 11

Hm'Y+
m

' D 1ir r ~t lff n~ 11

C#m'Y/s- Hm7+(.ov6)

~~t f #j ez 11

i<- Wl1en playing some lrmoic period (desiraly,


( ), , v;itll an accompayig ensemle), for instance, like
, -, tl1e above-metioed, we md to repeat
, . sometimes tl clsen rl1ytl1m-sclme. It is better
- to start witl1 symmetric rl1ytllm-scl1emes or simple,
, tl passing to more complicated asymmetric
- rllytllm-scllemes witl1 displacements, tl1en one can
, pass to t alternatio of simple, symmetric d
, coplicated, asymmet1ic rl1ytl-scllemes.
-.

8. , JlllO 8.Extraclrdal, addecl toes i tl1e modal


o . ll strctre . flatteed or elevated tone can
n extraclrdal t in tl1e clrd's modal st1ucture:
: ) tl1e elevated I ,II , IV , V , \TJ .
) 1, , IV V, VI. desigate<l uclclr#, nclcl2~, 4#, 5#, 6#.
adcll~ ll2'# ..
dur (Cmaj) Cmaj add t.#)

'~ 1 i () '1 1 '1


#
j
')
(j 1

1 ~4
112

C maj (add r...#)


1\ () oj= )
'1 i \l
11
~ ~-

- : 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]

) : v~. v ib, v~. ~ 11 ~- ) flo.ttened: v, VI~ , III~ l.


n Wl1en playig extrac irdal tocs it is necessary
. u . to resolve it into tl1e eurest clrdnl soud. Fot
, n : exemple, let' s take J monic scl1eme:

11:

F+,. :11

: Let's out tl1e odal sttucture:

~
cim 7 /s- F~ 7fs ..
=ll: #- #
1~.. ~ "
11 1)

#"
Hm 7 (add # ) .0. Hm7 ( add #) ....
#

t tf-o #" -0- -&-


()

tE 4!
1 ] [F]
to

4
,, A7 Ca~d s b)
~ #
'1

D m a.1 (add t # )

!] ~ ~"


1 '1

- - d tl1e -- tl i m p (ovisatio solo witl1 tl1e use


. of ext1nclrdal toes .

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#)

1@ ~#r r!1 , , f$! J /1 @f@il 11


113

W propose some exercises for tl1e mnstering of


. extraclrdal topes. Firstly you lve to out
, the mode's sounds'line witl1 an extraclrdal tone,
. n, that is, tl1e so-called scale. For instance, tl1e
function

,, q" '1 11
#-- Q
" ''

. d tl1e - tl1e exercises.

*) . * ) Figres desigate tl1e variats of tocl1es.

l5122i 1 JJJ JJJ tdJ# rm R F1f ~~


&!ifJiffl ' ffl Ef f Er Ef f f 1 ji!ff tf!ft 1

,~:rrt t 1 r r r 1rr r Prf 1E!r;rrr#r 1

'
&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

N~4 N~5 , Tl1e exemples N~N~4 d 5 s]w tl1e degrees,


. enterig i tl1e sotd lie. tllis priciple
can compose sotd lie of clrd witl1
, , determined extraclrdal toes, ns rule, tl1ese nre
1 V - ( I nd V - oligatory (i tl1e sevetl1 clrds tl1e v
l Vltc.) , degree is possidle) and tJ1e nearest, resolvif1g into
, : 7 the extraclrdal toes, for exemple: 7(add4~)
~
(add4-)

11

~-
115

~ :
TI1e variants of exercises:

-ft tw'-W'EF~-t~~ ftrf]


11

: N~l .~ la) Note: tJ1e pJ1rase Ml l its vaiunts la d 15


- 16) . Dmaj can also used wl1e11 playing t!1e Daj(addI)
(addb)
116

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 --.. . . ._ _

~~ 41 $JJJ 1 r 1=tem 1trt:AJ ~... 11

*) . *) Figures are used for tl1e desig11ation of tl1e


variants of tocl1es.

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

.. ! and so on in ascending movement according to


. the instruments diapazone.

.. !
.

and so on in descending movement according to


the instruments diapazone.

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

. n., We s s exercises, w!Ucl1 ust


n., played in all tl1e poss i!e keys, considering tl1e
n : cliapuzone of t istrent :

= 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

'~~ ~ r 1n J f2::li@U [ r:r 1r


---..
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

, T i1is soucl s 'lie , bes1de ]: rm o nic ve rtical of tl1e


J:-if\-. !l , : doion t seventl1 c l id s, f'or istrce:
;

. \ 11

: r n t) r:; 11seci '7il~f-il p l oyi ~"lf'. tl ~ !t ~ l-l o y II 7


7 7 j 5- ( VII nnd IIm7 / 5- ( huilt t !1e ' I ck pee of the k ey),
!1J1 ), il: f exe tnpJe:

G m 7 ( Ilm7 ) 7/s- ( V1lm'7/s-)

--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:

3) - - 3) dimiisl1ed tllirds i nscending nnd


: descedig 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

~~;]~J~J]t rtr 1 Gnt7 ,

~
Tbls is tl1e principle of playig tl1e given link i
. all tl1e keys and fingering positions.

6) - , 6) two liks followig tl1e tone in tl1e


: descendig movement wirf1 tl1e tesolutio into tl1e
key: 1

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"

G .' ""t ., Gm., ., 11


11

. . 1 . d so on tnkig ito accOlt tl1e diapazoe of


tl1e instrment.

( N WI1en playig tl1ese sccessios (6 d ) it is


) : necessnry to observe tl1e followig coditions:
1. 1. Close nn opportune tempo d follow it till
. tl1e d. Begin witl1 moderate tempos, you can use
, ; tl1e m.etroome .
2. !l ? Try to differentiate toal resolutions,
, !l, slwing your fantllSy, using major and minor keys,
!l, , Lydian, llS well llS extra-clrdal added tones (see
!l (. chapter N)
N). Under-mentioned are tl1e pllrllSes, wlricl1 can
, used for practical exercises.
.

1. llm7 1. From the basic tone of the m7 chord

1
Em~ A"l Dm"l G'7 .J

Jit Lr f# tfir1! 1ft v Ei!Eoo !

Hm 7 ~9- Am 7 Dg-

&t UVOCU1titf11tQJ 1 F
. '
,. Gm.. 7 J. COLTRANE
_ Fm 7

~ t t l :t=fitJ Q, 1Ll:rJ:*iflJ ~J, I''

.
. WOODS
G1 > _ F1 -
~~ ~ (~ )~ ~
&t :!
6 Dm 7 _,._

; 1tffU F
Cm 7 _,._

r = lc
1:!4
124
.
T.ARRELL

"! Am"' D9-/s- Gm"' c-fs-

~ tr U ; 1c:~F F;~Or "!r 1F


s F#m'7 7~ Em"' "1(9-)
~
~-
tF r'#' r) r- !: ~ r"" qr-.,... - ~------
1 ' r ;-----,r 1

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

niU! rfU:; pfNfUa


(J
1

II. Or m7 . From the third. tone of tJe m7


J
1 Dm 7 G- Cm 7 F9-

' t r?t;c-JJ: ( ,, 1''t -f!fJRtJ;J) 1~

'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

V.1n7 rv. From the seventh of the llm7 chord

2 Gm 7 .,
J. McLEAN

;,J?
, .

F#m7/s- Em7/s- Pl1. WOODS


~ ~ -/":> ------~~ :;-..,
f Inr r) r fi f 1=U EJ1i5;tP 1f-
3

.
J. FARRELL
~ ~+
Hm 7
Am'7~ ~
't!:rt~ ' 11 1Li1 cQF?J, f 1

. r

_ ~m 7 G'7 (g-) Cm 7 F 9_ S. S'ITT

~ tf') (!g fU~tl"t ttFr;~ jtq 1

.
J. FARRELL

V. 1 Ilm7 V. From the ninth of the llm7 chord

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

fttl f!fR:: 1f) l#(? j r1 rVtp l~c


LJ. Dm7/s- Gg- Cm7/s- F9_

ft EitJ""'f&@ cJ, lpt'EiC&fQJ;J3 1


VII. V7 (7)
VII. l"rom the first degree of the V7(7) chord

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)

4t~r# fJ &J 1 r rtcfU t 1


ffi.WOOOO
6 - _ D9-

~:qQpJjf-~

'!.
. Am7 Ds- G 7 Cg- . PARKER
9

4t QJo.J f ...__.. 1 @?fM t ~ ....__..

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&- :----_

!!!!ttfli 1@:) Offi 1

1:!1
...
129

....... . -.:_

~ '

-
. .
-
t1 ----! 1 ~ . . . .. . PARER
! - '1 D7
11
1 )' r 2][ " :,: .
>.

1 1

IX. VI 7 JI

IX. Replacement : thc or



VI 7 a1t. v.,aJt.
bJ>

.
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)

~tf ~ vr~r''tl"fitr}j: r-rgj ll:

.
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:

, In n.ie . cl1apters, desigated Roman


, ~ nmerals; you'll find tl1e. most wide-spread pl1rases.
, n mnstered . almost all tl1e msicias, playig in
, "- the modern "-" and "Mnistream" styles.
" "n".

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:

IItn7 1 V7alt Imaj7 Imaj (Lyd.) 1 lm.,. 1 "f+ \ Itna.j ., Imaj

n , Tl1e successions, presenteci below, cited in tl1ree


(n, , n), patterns (, , ) must played as follows: 1)
: 1) l1nlf-steps i ascending nnd descending movements,
, witli.1t resolution into key, taking into tl1e
, ; nccont tl!e dinpnzone of tl1e instrment; 2) one
2) step i tlie descedig nvt witl1 resolutio11
(, ':' . (twice, accordi11g to two wlle-steps scales).
). For exemple:
:

. . And so on, i nscedig movemet to tl1e


. initinl key.

Emaj .

(lt!f-fj]d 11

bmg
Bm14 1- Cot4J jss, J]&JQ J)

11
:::::..
....__".

) Gm.,. ,.-.... "!:.....-..._ ~ '7 :::::..

i@IfffH 1fil:f\13,
....

132

11

Amaj

(it J!fF GJ JJ, 11

ll ) - The pl1rases of tl1e modnl type in tl1e pattern )


Emaj; Dmaj; Cmaj .. 11 - tlt is, Emnj; Dmnj; Cmnj, and so on, cnn
, , played vuriously from tl1e' point of view of the
. melody as well liS of tl1e rhytyl1m; tl1ey can nlso
ll: presented sequentially.
Pl1rases for prncticnl exercises:

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~ ..

ft fi r E:J 1 1JJ .J ;{@ 1 lcr:'


17 F#m~

&tflt r rpitr ~--]rm, g ~';i .


1

[
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

r?JJ: frfflt0(j).4 J}U &J3Ni f


. .
, nn Pl1rnses, typicnl for l1nrmonic sccession

"1 9 Im Im 1

--
1
_1

,_ ...~

, , Play, using t~unetlds, presented in tl1e


. chnpter D.

.
Gg- . PARER

1 ttl; rtrl
Em'7/s- 9 _ .

i WD; rn r J &L@JF
1

.r.. Am'7fs- D9-

t cTr Ct Fr]? Jf{'W 1


...
135

n n The aove-mentioned pl1ro.ses, the most


, n expressive from the structurnl point of view,
. n n rt underline the modal <bo.se of tl1e lrmoy.
n n 1- , more detniled < working out of tl1e J...ocrian
5, V9- mode is presented in the I pnrt of the School,
N~6-8 Chnpter N2, and tl pntterns of tl1e playing on tl1e
function of the V9- harmony nre presented in the
Chnpters -8 .

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

~tr [ Cfzr 11~ f' .


1
&:- ) ,
; -. .

. '
. WOODS

.
,,
.....,...
.
t'* Gmaj J. ADDERLEY

4t@ t[De;;@ (r1 1Yfclf ~

'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 . We propose some exercises for tJ1e replacement M l.

. ... ~ '1
1 Gmaj ~.., .--!?~ ~ I;';,.
'*tll: t:i]iPEJ I'EU t iiClf ; i/01
? Cmaj ~ 7 n aj D~maj (ov 7~ __ _

&tg Q]_J 19JtJ~ . et1 :1(~


Fmaj 7 D bm aj F:f 7

&~tll: Efl::rT Er t]k& *f ffl!{ 1 1


lj, Cm a j 7

'tll ; f2]71Q

1' 1
138

; 11

A~maj 9 Dbmaj (or Db 7 )

Lc- pent._J LA.b-pent._J


1 i!JQYPCty TJi
It is desirahly to play in all keys taking into
. account tl1e diapazone of tl1e instrument.

2. Some exercises for tl1e replacement of 2.

t Gmaj F7 ,. D,.

.4111: c:t::ul !EUJ ~-


j 11 ~

~ Fmaj 7 !:'- ,.

'ti ill: " # j)~ tJ Jl:Ji41 ~ ~~~EJ Fl =11-J~

:11

N~3. Some exercises for tl1e replacement of N~3.

124
...
139

n - nll. n Tl1e Etude is bnsed on tl1e J1enroic net of the


. n n n". . Dnvis thee ''Hnlf Nelso "


:~ tude

11

124
14()

ii n - Tl1e t lllll'!Ho ic replaceet i:;:; proposed for


n\.r . -.. . tl -. stad-ard . t ' of tl1e "Olw ~ t ype ~tl1ei'ne of S.
" (n .ri). . n- . 'Rblliri:;:;). Tliis. i1rirmoic;sbliem serves as .s ior
. '' tl1e tl1emes of: Cl1. Parker "Antl1ropology", "Moose
'', ' '-'', ' ' ' '; . tl1e Moocl1e", "Pasport"; G: Gersl1win "1 Got
- ''; . Rl1ytm" ;. D; Gillespie "Salt ts;:, .ets ~
' ' : .

~# @@ . . . .~ L 'l . 11 1 > 1 .

\j \ lli Gora.1 n j m ., 1n()'") .,l9=11 n1 ., 1ztt 1 )ii,.l e'i!O~di:axJ 1Hl'l'\., l


----./2. @(F#m'7 (Hm'l) (Em_7) .. (Am'7)
Am 1 *:ll 1 .,lamaJI 7 1 ., ;; 1 , 7 1 , 1 n, 1 ,
~ta;J 1 .l "'" .- 1"'" Do 11 D,;, ' G01 . lai) 1""' "- 1 ! . 11
: 2 4 We propose tl1e replacmets: 2 variats for tl1e
first 4 bars and 2 variants for tl1e part of tl1e
2 _ prec9eding l111rmonic net ~
. I.ees c onsider t 1 replacemet.
1- .

Gmnj 'R !1iq ,, , llnr,. ., 1 Am 11 , 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

. , .bls replacement is . sed scl1 usicians , as


. , . , D. Gillespie, J . McLean; . Brown and otl1ers . .
. 1 variant
1

1~4
~

2- n I 2 cnses tllis ) s 11 seqentioJial


tl1e first
. N~ expositio. I
tl1e p11tte1 N~ is preseted n
4- variat of tl1e fist 4 ars i melodic and rllytl1mic
. diversity.

'!

:r,;; 11 t t?ir ]' wJ


1- :~ 2- Tl1e ubove-presen ted clis of tl1e clrds { tl1e
. l r 1 and 2 va1iuts 1 se11d in t l1e lrmonic net,
ll, 4 wl1ere tl1e 4-bars-periocls nre bused lrm o ny
n . .. of. tl1e domint sevc tl1.
"n "
'.'Sweet Geogin Br own"
For l :
:

,1 . i., v. .
11:
"' 11 11

11 B~~J . 11 A~Q . 1 Gm7ls-


1
9= ill
-; 1-ft Let's write t tl1e solo -irprovisntioil, sig tl1e
2- : 1st ud tl1e 2d vnrin ts:

-
l~ -1
...

142

D~9

( t- l,r ''(
-
~

3- nn; , n rd vnrinnt: it's tised less often, thnn ~l: two


. preceeding.

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:

nn n n Some exercises for tl1ese tl1ree vnrinnts


nn . of lrmnonic replncement .
1- : 1st vnrinnt:
143

: N~16 N~26 N~2 G mst played o.alogically to N~1b

n N N2 3 mst plo.yed o.no.logically to 1

N 46 46 must plnyed o.nalogically to N~1b

2- : 2nd variant:

~D'7

1
..

G F#~ and so on.


7

1 r #f ~ Qr %#r #r r
El1.,

r f I'' r . .

and so on.

) D., !'. Db., ., ., 7 7 ?'7 G.,

~tf r1LT lf rJf* li 0 rr 11


4
lz r r EJ

't " ttftr:o


. .

) hnb., 7 ., !J., , AP'J G., F#., 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

4i' ~ rY tT rlf#rr t1 J f...~ ~ crlf' i 11


2- 2nd variat

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

. . Tllis c]rter is dedicated to tl1e ivations of


n. J] Colt1ane.
(1926-1967) Jol Goltrae (1926 - 1967) is tl1e greatest
jazz musicias and. t less sigificant reforator
in tl1e fielct of Iilelodic, rl1ytmis d lrmoic
, langunge of tl1e "-" st yle. In tbls clpter
" -". we'll cosic1er pnrt of bls innovations,
, n conected "''itll tl1e origial iterpretatio of
harmoic succes+sios of tl1e type m 7 V7 Imaj
Ilm7 V7 Imaj Imaj
Imaj W propose tl1e lrmoic net of tl1e well-know
ii tl1eme of M.Davis "t Up" .
. ":

in

11; Fl 5 11; e",a;J Etoa.J En; , t "'] BmJ


1:

9; , OnaJ Fif ; 11
Ftili; On'3i ( f'iii&J) t"''"'

. Tl1en we propose fragment of Jol Coltrane's


" ': solo !Us own tl1eme "Countdown" .

1
fast '7

4~j;trJ j 1;;~ ~~i r ,ffifijtliffiE~iJU

Dmaj

9ffi ' jl

1~4
.,

The lnst sentence of each period (from the 13th


( 13 16 ), , to tl1e 16tll bar), ns we cnn see, remnins witlut
, changes of harmonic of scl1eme, but the first (from
( 1 4 ), 2- - ( 5 8 ) 3- - ( 9 the 1st to the 4th bnr), tl1e second (5th-8th bnr)
1.2 ) , f nnd the tlrird (9tll-12tll bnr) sentences have
nn, . hnrmonic structure, tlt differs from tl1e
traditionnl one. Let"s write it out and present the
n: traditionnl vnriant in tl1e upper pnrt of the line:
F#m'1 '7 m
i~ pili'if " '"l. El
h
lz fHAdi t
i 1 Cl s 1~1! J 11
1st sentence
Em'7 , Dmaj

2~ n 7 ,
1 t .1 11ft IHAJ Aq t1xaJ
2nd sentence
G'7
"
~n ~o~,,~,~,~~~~~b~~~~~~~~~c~A~J~~~~~l~!f~~~~~~~m~''~:~1~J~~~~a~,~~~~~~~~~~~
Dm'7
Ctoa.l 11
3rd sentence

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

n n tlt is, tl1e alternation of dominnnt seventh


witl1 tl1eir division -hy tl1e augmented. triad in the
tt: 2- 1- descending movement from the 2nd hnlf of the 1st
TllTa . bnr.

-~
. 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

lli< Ench of augmented triads includes 3 keys, for


11 3 , : Ml D dur; l instance:
dur; F r. dur. N 1 D dur; l d; F# dur.
2 dur; ~ dur; dur. N 11 dur; dur; dur.
3 G dur; dur; dur.
4 F dur; D dur; dur.
N 111 G dur; Et dur; dur.
N IV F dur; D dur; dur.
- W propose tl1e following exercisee for the
. mnstering of tlle above-descried lrmonic scheme.
, Firstly choose simple tetrachords and, bnsing
, yourself on one of the nugmented trnids, play the
, : seguence in moderate tempo, for instance:

, Mter all tl1e under-mentioned sequentional


- turns nre pla1 ed in all keys, you cnn proceed to
, their nlteraon. (Tetrachords cnn different,
. ( , according to tl1e performer's chois'e, or from the
, nn proposed materinl; here is frngment from the solo
", , n . of Joqn Coltrnne. In this fragment the tetrachords
. n nre put into squnre::J
).

11

11

1:!4
1

148
F~m 7 Emaj

~ t- 1 qr # 11

!l , ll Compose tl1e phrase, including the tetrachords


1, 4, 3. consequently from NN 1,4,3.

11

In this pattern we use tetrachords from N2.N~5, 2


N2S, N22 . and 6.

11
.___ _ _ _.:=_5 _ _ _ _....J 2 . ...J
&.""

7 8 - .N2.N'2 7 and 8 must studied in all tl1e possile


, . keys, taking into account tl1e imstrument' s
. , - diapazone. After solid mastering of the proposed
, patterns you can with the cl1anges of tl1e
, n: tetraclrds' rl1ythmic structure, for instance:

~.,. m;l ~ {"' ~


"""'
''@1(' ' ir 11 r EJ' 1tf 1 11

A~maj .,. EmaJ G,..

clfJ?tssi>. iPQJJ J .
't
t1 Am,.

-J>E
\1,.
>-

>-

Here are tl1e tetraclrds for sequentionl


11

, playig according to tl1e scl1eme of tl1e augmented


, trinds, presented on pnde as well as in mod11l
relntionsblp in tl1e descending and tl1e ascendig
movements smnll thirds n11d fourti1s 1d
: half-steps in tl1e ascending and tl1e desceding
movements:

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:

~'1 . D~maj9 F# _.Jimajg Amajs

it !ft~rJt fl r i.(Tr'f~#fl;y 1i rl' ftrlyt\


' () thlJ 1
.
D7 .

. n.
'

'@) (~J ERO Q 1J l ~


Amaj s F# 7

In tl1e nscending movemet.


H~aj 9

Tl1en you must play analogically from the note


. F the whole tone scnle in tl1e descending and the
i nscending movements.
: .J small tllirds in tl1e ascending nnd the
descending movements:
). D ~maj 9 F7 B11majg ~ D~maj 9

't@ (J 1LJ 0 '@ qo ~u=o,,s ,.J ~J,


~majs
D1 .
EJ.~-" '7 1'Emaj9 D
'7 .
Gmajs
.

lltff'U;tf( (] l@ r\1 E!@jl''s(J)J) JJflQII


Play tl1e snme way tl1e remaining two
nn: diminisl1ed sevetl1 clrds:
Hdim
' c#dim
11 tf
-- In tl1e fort\1 . s reln.tiosblp tl1e fourtl1-fiftl1
. rond

gtd sevetl1 clrds in tl1e


, . decscecHg movemet, i all keyR.
> .

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 ,......-;;-. , '

,,1:;~' rlr#; lr " f.J '!'~ 1

Fma

r rt "~ r;
~

f
151

1- 4- 5- 8- Let's consider the bars from the 1st to the 4tl1


, and from tl1e 5th to tl1e 8th, putting traditional
: harmonic variant. above the line:
(Gm7) ( 7) (Fmap ( Fmaj)
5 IIIJ-
i ., 111 CJ Og 1! ffl f!.d 1 tt g q - 11

(E~m 7 ) ( 7) (Dbmajj ( Dbmaj)


t Agcj ., liidJ Ab'f u''tooj , ,
11

~ Such harmonic change can used un the


, 4- themes, where in the 4th bar of the 4-bars-period
4- there is modulation to tl1e another key. For
. , instance, harmonic net of G. Gershwin's theme
. " ": "But Not For ":

t 1 S m'7/3- ., alt. l)mg


1 _ __,

Modulatlon

Q" Om 7 e.," 9 a1i. Ptxg 1


_
L ------- - - - - - - - '
Modulatlon

. Let's write tl1e l1armonic net according to John


. . Coltrane's system .

"' .1 J f1r; Ortj

ng q
. .;.
" ( >
1 1 +) Fncc r 1

: exemple of tl1e solo according to the


traditional lrmony :

G13 Dl1,. Cmaj 9 .

,,di,t r9J1 'lr if i


Em'7/s-

rr
Dm7
~ ~ ~ 9~
~ (J3 -sr f1.Jl '
F# Fmaj ~
J $:::::::;
J J)
~J \i ~ 1~w J eJ 2Jj J. ~11~ :~ .
121
151

1- 4- 5- 8- Let's consider the bars from the 1st to the 4tl1


, and from tl1e 5th to tl1e 8th, putting traditional
: harmonic variant. above the line:
(Gm7) ( 7) (Fmap ( Fmaj)
5 IIIJ-
i ., 111 CJ Og 1! ffl f!.d 1 tt g q - 11

(E~m 7 ) ( 7) (Dbmajj ( Dbmaj)


t Agcj ., liidJ Ab'f u''tooj , ,
11

~ Such harmonic change can used un the


, 4- themes, where in the 4th bar of the 4-bars-period
4- there is modulation to tl1e another key. For
. , instance, harmonic net of G. Gershwin's theme
. " ": "But Not For ":

t 1 S m'7/3- ., alt. l)mg


1 _ __,

Modulatlon

Q" Om 7 e.," 9 a1i. Ptxg 1


_
L ------- - - - - - - - '
Modulatlon

. Let's write tl1e l1armonic net according to John


. . Coltrane's system .

"' .1 J f1r; Ortj

ng q
. .;.
" ( >
1 1 +) Fncc r 1

: exemple of tl1e solo according to the


traditional lrmony :

G13 Dl1,. Cmaj 9 .

,,di,t r9J1 'lr if i


Em'7/s-

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

n n Learn the scl1eme of tl1e replacement /m7/ V7/


17 / V7 / Imaj / Iaj 1 IImalmaj/in all keys:

dur (Bbm 7 '7)


111" ~
i J..f ., Jild
.1 ., j (J tocj 11

D~dur <m'7 7)

t
'" 4J {' 1\IAj
JA , '' 1!14J. l' ixad.
11

Ddur (Cm 7 '1)



t "'"J ei, 1 "'8J , DmaJ btAj
11
n, J o v. And so on, cllromatically.
1
~.:- These lrmonic 4-bars-period can used for

.
the first 4 bars of the initical square:
:

'~Hj--1 -"-,.,_-J-8--.,---p-Jf~~~=-<!-.-,--,---n-.a_J__, 1\;m 7 .,

g t%J D '"dJ 1DrtJ , . 11


n 9- , . from tl1e 9tll bar, see tl1e clpter .

. .
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---

~tr r " v lttt r


Cg

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.

. n Jol Coltrane s lrmony

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

. Accordig to John Coltrae's system it can have


: tl1e followig r:
(1 Dmaj)
11: ; Fq;
ii' aJ cll 11 i.,
JJ i#
q

(or Emaj)

1
., h
D tJtaj s., h
.
'" 1 , .,
11
" 1 (or bmaj)
11

11 F;; #, pUaJ ; D IIIJ F ., 1'' 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 _ _ _ _ _ ___.

. We propose fragmet of Jol Coltrane's solo


" " on tl1e tl1eme of Farber-Bralm "Limelse
1- 4-, Bles".
Gl attetio to bars 1st - 4tll; in the
5- 8-, traditional variat tl1ere is !lD.rmoy G "l's-
7
and to bars 5tll - 8tl1; i tl1e traditional
variant tl1ere is lrnny 7 .
Fast
(Dm,) Emaj G7

'#: (Cr JJ1J@JJ titP ,:.,

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--------~

Using tl1e scl1eme of lrmonic replacement, we


co.n play on tl1e traditionoJ scl1eme tl1e following
: way: distinguislllng non-tonal elements (N~N
( Ml N~2) mj . and 2 on tl1e scl1eme) o.nd cho.nging the function
(7). maj to tl1e dominant seventh clrd. Let's write out
. the resulting- l1armonic succ'e ssions.

D,"" ;
07 j 111 aj
1 11

Dr; ., ., , j Ctoj
11


Cmaj9 _ .....---..
- (~) :t: :t:. ::f
' 1 ] rt ft 1~ 11

11

, Tls, we've otained aotl1e1' two vario.nts of


il the playing on tl1e traditional ltmonic succession.
u. Almost in all the preseted materioJ tl1e
, tetrachords, wlllcl1 we've used for tl1e playing of
some chords, are, as rule, connected with the
, , harmony the tonal base. Tllls base consists of
. tl1e tblrd' s t, wlricl1 is present i tl1e wlle
, series of clrds, eitller in one of two near chords,
or in tl1e alternation over clrd. I order to make
, g . tl1e melodic lie nre atonal one use tl1e group
, n of 4 otes, t excldig tl1e tllird's t. For
, istace:
. 4- , n . :
1~4
156

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:

W propose practical exercises fo tl mastering


. of tl1e 4-notes group.
I l. : rv
- J
-
- ;-~,7t-7
J j
1 2 't 5
11
J
2 ft 5 1 't 5 1
1
J
2
11 4
5 11
J J
2
't
11

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

Having ls of tl1e vaio.nts, play tl1e


: followig way:
) t:_~r; ) Jlf-steps i tl1e asce:ting and tl1e
. desceding ovemets, takig into L11e account tl1e
instrume t s diapazone.

~t 173 J fRiJ $J . 1 qJN ~ .1 ,J . 11J !J 51--= ;\'-

~ "t f fj t J 1~ E fif 1....... tf# J 11

) r ) step i a tl1e descljdig d tl1e ascending


movement

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

' dr r!r r *r Ff r t f f J 1 J J : r r;J ~ r r ~ "t f


~ t tf f .J J .J ; "t " 'r ~ #r t t t !f f ~ 1

~ i#J J J t r r ; r r f i r:i J J J 11

~) '
' ) in tritonnl relntioslllp

fi J J J J#Jt3 JiQ I!(U#Ef! rf 1ff1(! 9tlf g 1iJ,J#J JiJ jjll


't -eertr 1 rtrr"tJilrrrm l"rcoerJJ
. .. ll!l !l. nnd so on tl1e same way i all keys taking i .
nn . account tl1e instrument's diapazone -~
n 1 nn, n Mter lving played and mllStered tl1e 1 vnrinnt,
n n !l . cnpniiec n proceed to the \Vork on otl1ers. Don't try to play all
nn , n n tl1e vnriants in one day, it' s better to nllof 2 or 3
2-3 .. dnys for each vnriant.
) n . ) arpeggied variants of tl1e grot.tp.

- 11

.
11

- 11

N~l N~3 n !l Patterns N~Ml-3 st played i all keys.


..

. 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

t When playing one cnn use the under-presented


:, n tahle, which shows the fnr or the nenr dependence
~ n- of. the ig mo.jor seventl1 chords as relo.ted to the
plo.yed dominant.
.


'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 ~

r '' t?Ff r r g-siJ '


............

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

Six-degree modes nre used in modern jazz


~ , , prnctice, 11s 11 rule, for th~ plnyig on the nlternted
~ dominat fuctions, as well ns on tl1e tonic majior
, seventl1 clrds in order to give tl1em particulnr,
, original colourig maj 11 +(3-); maj 7 j 5+(2-) or
ajll +(3-); maj7 /5+(2-). simple maj7 /5+ and scl1 nre harmonies, ns
j7 /5+ , m7+/5-.
7+/5- Six-degree modes are otnied tl1e
comhinntion of two mnjor triads, or two nugmented
, triads, or two diminised trinds. We'll discuss i
, detnils tl1e first two comhinntions, as the
. H!l comhiation of two dimiisl1ed triads is alrendy
, lenrned (see tl1e 1 J?art of tl1e School, Chapter .N~9)
(. 1- .
, 11 .N~9) . Tl1e comhination of two major trinds in lllllf-
. tone dependence

f
Cdur
]
1

~ J( ~L ~~
Dbdur
Jt! Jr
* 11 ~
( ~ j 3 11

, Tls we l111ve obtnied an originl scale,


, . including 6 deg1ees. Let's consider the l111rmonic
n, verticale, correspo11ding to tbls mode.
.

& .
0 '"d] SJ + ) 11

) , , ) Tl1e otes, put ito brackP.t s, nre used as t l1e


, p11sse does, noinfluencig tl1e i fuctionl
n . colouring of tl1e clrd .

-;,.
11 11

11

1:!-1
161

We propose tl1e six-clegree ocles i llf-toe


dd \vitl1 tl1e clecodig of tl1e lmonic
. verticale iall keys. Let' s gi \vitl1 tl1e mode i
t lower register of tl1e istrumet, wicl1 is easy
: to perform from tl1e point of view of tl1e figerig:
4-

,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;E J J:r J.r ; (':\

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

) u. ) TJ1e give scales include in tl1eir movement tl1e


. blgl1 notes. One can perform tl1em from one of t!1e
I- , N29 notes of tl1e resoltio of tl1e first triad, for
- - . exemple N~9 - from tl1e of tl1e Small octave d
to tl1e D of tl1e Tllird octave.

N, N~ll N~12 - N~NHO, 11 d 12 must played


9. analogically to N~9.
, One hllS to attention to the fact, that two
2 six-degree modes can performed for tl1e same
, : N~4- D9/5+ N- D9- chord, for exemple: N24 - D9-j5+ lllld N - D9-;
N~4 - D-9/5+ - in N24 tl1e clrd D9-/5+ ls tonally more marked
Gm Gmaj . N - its gravitation to Gm or Gmaj; in N - the chord
D9 - - . D9- is less marked tonally. The choice of the mode
for this harmonic function can made according
to the performer's wish and his modal way of
. thinking.
: 1 metlds for tl1e mastering of the above-
mentioed modal structures:
) D+ ~ ; -- : : - - - - - - - - - - - - -

~! J.J J @ '!IE Fft t f i ljf'L j J J ~f1\ 11


) *) ~----:-----_ ~ ~ ~ .~
~ ) ~ J .J J J 3 .J 1tr ( f 1 f t t 1
11 11

'1 1
()
1

}
'
,
, .
J

IE r :

J ( j

../)Ulike tJ1e exeples, desigated figures, the


metlds are marked letters. Figres desigate
11

. tl1e variats of toucl1es.

ru ) Play witl1 tl1e toucl1es, aalogical to those from


). tl1e metlds ) d ).
164

-- - itrodctio toes for tl1e ti1irds

n - Plllctical ose of tl1e l.lf - step triacls'coectio.


.

1 ~1
165

1
3
[J 11

+ +

. .
n. - Tl1e ti of two ujo1 1xiuds i toal
311 . dd.

1
C+D

ll Tl1e followig lrmoic fctios sd to


: tllis six-degree d:

li

Bm11 l1} ]

ll ull. Next are preseted toul t1iads" c onectios in


{t u ii u all keys witl1 tJ decodig ot' tl1e urmoic verticul:
:

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

Dmaj + ; Hm 7 ; 7 sus~; Ab 9 -/s- ( 9 +fs+); D+; F#m(t-)

E~+F
4
~ .J( ~t ; .J
~ "J 11

Emaj +; c#m 7 ; F# 7 sus~; b 9 -/s-(9+/s+); . + ~ G#m(t-)

Fmaj 11+ ; Dm'7 , G'7 SUS't ; 9fs-C0+/5+); F+; m(t-)


....

F#maj +; E~m 7 ; ~ 7 sus't; 9-/s-(9+/s+); F# t1+; ~m(t-)

11
167

11

11

i -~ ~t: , ~~ J j; tfG +3 f ~~ ~ J 11

BPmaJ +' G m, '

H-DD

i JL-c:~#J_.__#_3 1 Jft 11

*) *) Tl1ese scales executed from one of tl1e


: 7 - lower otes of tl1e first triad' s coversion: in N27
, N~8 - - from tl1e of tl1e Small octave, in N~8 - from
, N~9 - . tl1e of tl1e First octave, in N~9 - from tl1e C-
sltp of tlte First octave.

) ) Gidig yourself tl1e metlds from ) to u)


. in tl1e Sbclpter , play eacl1 of tl1e proposed six-
. degree modes.
: Practical s of tl1e tonal triads' connection:

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 Tl1e following lrrnoi c fctios cores

: pond to tl1e give sixclegee mode:

11

#,.,7+>{:.-
1
1 11 11

F1t +, If cosicle tilis mode as F~ +, tl1e tl1e


, f nctios will tl1e s, l tnken i tl1e
. opposite order.

11

) 11 d #1!1 / +'15-
j

11

Tls, eocl1six-clegree mocle in t1itoe


dd ls two corespodig Jronic
decoclings of tl1e vctical d, respectively, two
. scnles.

+ +

~ a,i J
-/s-
j' -~ Jr icJL ~ J 11
169

11

a-Js- ; F 9-/s- Cm7+fs- ; F~ 7 +/s-

Db+G G+Db

' [. Jr ~:r 11

Db-/s-; G9-Js-; Dm7+/s- ; Ab'H/s-

11

Am7+/s-

11

Eb9-/s-; A 9 -/s-; Em7+/s-; Abm7+/s-

) ) Guidig yourself tl1e metlds from ) to u)


. in tl1e Subclpter , play eacl1 of tl1e proposed six-
. degree modes. Prnctical use of tl1e tonal triads
: connection:

F#m

QiJt{91{!3;3 J 1 11

;;J

11

1~ 1
170
Em7+/s-
3Eb+A [, . ~# Em7+/s- . Em7 +/s- Em7 +fs-

4too I r Eir l 1' [ l ~ ~ rJl'~ t bi 1

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

. Tl1e followig lm i vetticals correspod to


: tl1e given six-degree nde:

11 DH is 11

11 ls+ 11

, Tbls connection ls two convesions,


corresponding to two conversions of tl1e agmented
: clrds: tl first

D#.+.

4#jt: ~ _} 11

t ' l . Respectively, tl1e lrmonic fnctions .

1''.1
171
: Tl1e second:
G . + .

4Jt. \ 5 ( J 11

Respectively, tl1e llD.rmoc tctios

Abmaj7/s.(bz); 7/~:~ Fm 7/5-; G 7 /~~ A\'mn.j "'/s+(lz); b7jg:; F'm''""/~ -, G 7 / ~:


- W propose t followigtl1ree connections witl1
, armoic decodig, as wel! as llD.rmonic decoding
: witl1 two conversios:

. +D~ .

~ ]t: i! ii J Er #+ f + 11

IEy.+Fy.l- Fmaj7/S+(b2) G 9 -/s- Dm7+fs-; 9-/s+

11

11

E 9 -/s- ~ Hm7+fs- ; # 9-/5+

G~ma,j7/s-(b2); .Ab9-/s-; Ebm7+/s- F 9-/s+


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

Besides tl1e essential harmoic decoding tl1ere is


., nnotl1er one, wlricl1 is used modern jo.zz
, : musicio.ns, no.mely:
Amaj, H7(alt.) Amo.j
- -
maj : i tlris conectio tl1e lrnny H7(alt.) one
can perform mo.j . For exemple:

,1

n Tlris six-degree mode ls aother two

~
q):

Cinaj
}tb
~ 11
., Emaj

11 q~
11
correspoding harmonic fuctions:

If we to.~e the augmeted chord as base, tl1ell,


, , , plncig tlris clrd s souds, we obtlli tl1e
, sequece, used for tl1e plo.ying of domino.nt
n : altero.ted c]rds:
7 alt.

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

-- Wl1en playig traditionl sccessios


use tl1e followig sequece of ig major seveth
clrds:
1. n:
.'
t
/
1
t7 v, alt 1 Ia;j 1 r j

H7alt. H7alt. Emaj Emaj9

&ffit:t!tCU~?fiL?itP1E~ t 11

, . Tls is, tl1e iti of two ig ajor


. sevetl1 clrds i tl1e dd of tl1e sall
t blrd. I tl1e above- metioed patter
<

.'
175

5 CHAPTER

'
ALTERED PENTATONIC
,1

get acqlited witl1 tl1e essetial types


of petatoic and tl1eir siplest cxcrcises in tl I
1- Nl. Part of tl1e Sclol (Clpter N~ll). I tllis Clpter
4 i.. we propose 4 types of altered p etatoic, wl1icll
, l1( importat wl1e11 playing tl1e fnction of tlle
altered seventh clrds, and more complex exercises
for tl1e study and practical use of altered well as of
, simple types of tbls pentatonic
.

III v VI I VI v III I

~~

11


\ 1 11

u
11

- - -&
- pentatonic - simple

4 : 4 types of altered petatonic :


1
11
1 11
11
I,


- "

----------- - pentatoic witl1 flattened III degree

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

W propose lrmonic decoding and practical


: exercises of altered pentatonics .
.

. 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

~~ lf 9 -Js + 11 '' 7': r


,, ~~~
1 _ 11
'
: Tl1e exemples of practical use:

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

'&\tEfi1]1J) ~ ~......._..... '


11
- III -----'
- pentatonic 111 ~

G : ( SUS~)

::t~n g J?fJ J nficl

11
. +.

11
L - IIJ~">...I L - IbJ G- IIIb -----...1
- ti III - petatoic III J, G -'- petatoic IIII

Metldsfor tl1e mnsterig of altered petatonic .


. tl1e exemple of - petat~ic III lyou must
~ Ill l ear tl1e ud-entioed exercises i all keys.
(Tl1e give etlds mst also used fro tl1e
::ui . ( . astetig of tl1e t otl1e1' types of altered
q, petatoic)
nn n ).

1 ~-1
177

11
-' - . "'---"
*) U(.J}i:l fl . *) Tlle f'iges k tl1e vaiuts of toucl1es.

11

: Witl1 omitted t1lird soud:

: Witl1 omitte<1 fortl1 soud:

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

Tl1e followig lrmoic fuctios correspod to


: tbls petatoic:
1

~~~~$~?ft~. .~1'nstr'd~-;{~:s*~~ll ~ &11 ",;. 1 ~~ "'l 11

@'~~n~,~,*~11 '~ fj",.,,. 11

ll. Exeples of practical s

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

n F tl1e masteig of tllls type of pentntonic use


, . the metlds, mtntioed in tl1e subclpter , form
) ). ) to ).

. 1 .
- II ' - pentatonicllb

11
'1 ')

The following harmoic fnctions correspond to


: this pentatonic:

11 ~-~ "

lf 11
L------F;- -------.J '------- _ ~ri-----'
F~- petatoic - pentntoc IP
~ -1

..
180

11

11

11

5 9+/5- r'U/

4t~ iEJl:iyl'r ) #BQSFJ) i%t 11


' - - - - - Frt- II~ -------.J
Fif_ pentatonic II~
. . 14'or the mustering of tllis type of petatorlic use
, . tl1e metlds, mentioed in tl1e subclpt.er , form
) ). . ) to ).

D.
- pentatomc :r/>d VI
#
'1 1,.



11

n Tl1e following lromc functions correspond to


: tllis pentatonic:

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

- !11'011 lll j\VI\' __j '---- - n r l'


- pentatoic r~>;VI - petatonic III

For tl1e terig of tllis type of" petatoic use


) ) . tl1e menlds, metioned in tl1e Subclpter , for
) to ).

J. CIOMATIC ililtCISt:S .
Bnsed siple pentatonic
nn witl1 tlie s
of for degrees i different interval
. cobinatios. Fo1 !:
:

1, 11, III, V 1, Il, III, V degrees i llf-toe relationsllip


4t::: 3 i1 .J :-r 1; ~ 1 ?tJ .:r 1 j,j 1 =='"" 1f f1


&\ttrl~;er tU r11"ti ft ulv ''"=J . 1 11

11

1, 11, III, V 1, II, III .v deg1ees i tone rela tiosblp

~ ~ 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

'ft!J; 11 -~~ ~~.~ rou/ nltt~rt,


'@J fH U &; CqPiQE @ 1-,.,..,. Ji1j'ft l::::!o f.'\
LJ] J 1-& 11

'iJf;t!~&J.JD ffi@ J 1stJ J g JiPPr;g J


.~ ; . &rt 1r t& 1"...~~1!! 1: 1
z

4t:rpi.;.ffJqJ :@ J Jj"i 1 gri(J=""

11

l, 11, III, V . 1, 11, 111 V degrees in fourtl1 relatnsllip


. . - - - - - 7 -----~:--,

~~11ft ==t'fi.a;Gf"M J 1 i rti g:;g JfPt 1: 11


11 Pl11y tllis pl1r11se i 1111 keys t11king into 11ccout
il HCTpyMeHTil . tl1e istrnet s diap11zone.

1, 11, 111, V m: 1, 11, 111, V Degrees in small tllirds relntionsllip

4
C7alt.

*mgn8-~ @ -~: 1 11

1111
71t.
lf pl11y from t11 tl1e l111rmonic fction will

..
~ F
tl.r f
~ J #? . #, ,,.
~
; d
. , 1 11" 11

Play tllis pl1rase l)y snll tllirds tl1e base of


11~ tl1e reniig two cliiisld sevet clrds:
:

Bl:tdi Hdim

'~

11
and
183

V, IV, 1, II - > Vl, V. 11 , l


( )

V, Vl, 1, li - i t1itoe relationsip VI, V, II, I i clescendig oveim t


(in asceding vt)

~ Tl1e lri fuctios i 7alt. , 7alt.


7alt., A7alt. correspod to tllis pl1ase.
! i all keys takig ito t tl1e
. sl s diapnzoe.
1, V, II, VI - 1, V, II, VI - i ig tbltds relntiosblp .
.

11

~ J Jmi fuctio corres pods to tllis


p!1rase

( 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

Tl1e lni fuctios corespod to tllis pl1rase:


:

7 ; G7 alt; ~,. a lt; Db7 alt; '1 alt.

l followig lrmoic fuctios correspod to


: tlris phrase:

~ 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:

) : ) in small tirds r elationsllip:


7 . F#7 7 7 1":\

ftifJ~~mgimp q 1 i4tt ~ ~~ 11

Tl1e following lrmonic functions to tllis pl1ro.se

Plny on two remainig diminisl1ed seventll


n . cllords.
1 Hdim 2 Cdim 7
!tt ~

' '
'1
'U
15 11
--
!; ~" 11

7 G7
l'7 Db'7 '7 .,. D7
F7
) ) i ig tllirds relationsllip
1":\
j 1 .. 11

Play in all keys taking into account tlle


. sl' s diapazoe.
I; II; V; VI- : I, II, V, VI - i t relntionsllips:


Play i t keys

7 [L lt F m"- .i (ot Fm )

ft f r:t f U 1tffE "tu 1":\


11

1~1
185

Plny i tlle keys

N~lO III, 1, V, II N~lO III; 1; V; 11


n) n) i lllllf-toe 1elatiosllip

'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

) ) i tone relntionsllips i descelig movement:


:

r t:r J1r fCF ~, JiDR r~ ~ r qj ~1


'j .J !z;F ,] .J f~A '~ . iJ @.
I; II; III;I-
III; I;

II;III-
I; II; III;I- i tl1e ascedig mov e et
III; I; II; III - in tJ1e descending movement
11

: in !1nlf-toe nd t relatios!Ups:
11 )

&t 11 j 1'1 Tj Ptl ~ J '1 iJ j -=="' "UiJ


,etr:E1PE#rrr 1%r ~,, . . 1435 11

'iJ;Ji21oiftfl J 3 3 J J FI J 3 J J 1 J j, ... z tlf\ t 1

~ fr tf UE ftE=E~J s="., J iJ IO .(' "U"


==
~ !
ip;;J"j IJtlU1J J1J~J 3 J,J J 3 1JJ J J/ 7
., f k.f= 1
~ f. ~ f: ~ #:j!: ~ #~ f: tt ~:f: ~ f: ~ . . ~ _:~ "-- ~ ~ ~ f:. ~
%'' ++=:tLLF{E;;ErbflEf!: +tTit J j;J] ~~
>"
55
s 11
1
17

..
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:

n) ) Play tlle u) ! )vnrints also i tl1e nscendig


. movement
- ) : ) i small tlli1ds relatios!Jip:

1n In tl1e
nscendig movemet, tnkig ito accout
n, : tl1e istrumet 's
diapnzoe, tl1ell in tl1e
descedig movemet:

'~ @J] JJ31fJ~J J J J1eiiJ~M, 1-u~~~ fJ 1Ur g 1/ ' -.11


t
\l; V; I; VI; V; II.

'2\t! El&P 1IW tl@r; 1t (r r1t~ 1Iw1 rlr


L..._ F# n . __J
1

n Plny tl1is exercise i cliffeteat itervn l


. coil>iatios i tlle clescedig l nscedig
. lOVelllltS.

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 ftf:"er "f"r 1tlor 1[ lr rtr


Ab7alt. E'7alt. C7alt.
11

L
11
7 alt.

11

11

113
V; VI; II; I

s -s,. 11

Play i differet iterval coiations in tl1e


. desceding- and ascending over~1ts.
17 V: III; II; VI.

,t~~1rb1f~r 1tt1:ft/fi"'~ 1tr lJ h!f! 1iec(J ..s,. ./1


N~l. Play siilnr to execise N~l
18
V; 11; \'1; V .

N~l6. l siila to exercise N~l


19
II V Vl 1
' ' '

&i r]J (t r\ ( 11

1:!1

...
188
Tl1e followig lrnic fctions d to
: tlris t\vo-bar pl1rn.se:

Play in all keys takig ito accont tl1e


. suxoplne' s din z
20
II;V;III;I,II;VI~I V;

n . Play also in tone relationslllps


21
V; III; I;

, Play nlso in tone relationsllips, smnll and ig


n thirds and in fourtl1 relationship in the nscending
. nnd descending movements.
: In fourth relatioslrip:

iu JJ 1 ~EJ .J , r;r g1 r g: 1ite ~r# I0 ! ;; 9 1


'1' gtrs rJ Q J)10ft 1 [ rra"tr;imuyu ,.eJ~ii!fJJfl 4

11

Pentatonic in tl1e playing of harmonic


: succesions:

. 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

Pentatohic in t playihg of l111rmonic


: - succesions:

lm 1 V7 I maj 1 maj [ rm 7 ! "1 I ma.; 1 1 maj


:'

. 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

.l Irna.; v 7 VI f, 7 II f, 7 Irnaj Ima.;

. N~2 ~ u . See \,;]pter N~2, Sbclpter G of tbls Sclol.

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

1 t:efj4 . \ fi1:r5p ,. t " ), lt9 ~~ trl q u


5
c#dim

&#J

*) - n . :1t) Soio - iprovisatio Cl1~rlie Parker.

.
192

,, 10
1 1 t

Am 7 D .., (G 9/ G7

.. 11 J [] J 'l

/1]
Gmaj
1tJj}_
v
193

Meiodic pllrases fot tl1e improYisatios d


ll)f{ I. - 9 seqetionl exercises.
10. Figre 1 - ls 9tll d 1 Otl1.

Wl1e11 learning s tl1e et]ds showed in tl1e


II : CJpter II for tl1e lronic succession:

11 2. - I 5 . Figre 2 - bars fro tl1e 1st to tlle Stl1. Tbls


melodic pl1rase st leared i all kleys witl1
. tl1e 1t of tl1e inst1ment's diapazone. It is
''-" clussical pllrase of tl1e "-" style for the
begiing of tl1e Blues' square d is used many
ll. moder musicians.

2. - 9 l . Figure 2 - 9tl1 and 1 Otl1 bars.

~m7 ~maj Gmaj

, .1])1 lCE#, llCEtfll r


N21. Play tl1e scl1eme of tl1e pl1rase N.
4. - 8 <. Figre 4 ,- 8tJ1 bar,
7
Hm /s- 7/ 9 -
4 ~ ~ ;::,.

~*tr :~ ~r
ll Wl1e learing, s tlle etlds, slwed i
N~2 Clptet N~ 2 f tl1e li sccessio

m 7

4. - 9 l . Figre 4.- 9tl1 l lOtl1 s .

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

Fmaj + add# ~t,


~
~

~?- ~ !t1t1

7/

Hm7/s-

.
195

...
Fmaj ~ 9- '7\ 7/5+ E9-js-

,r.taJrEff f;1!?1 Wf=rfffr" 11~1


Gmg

Wwlf
Fmaj 11+ _ ,.-..., Hm7

'tt:rJ4 f: f )f i:f1U t' ffit 1Th

..
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 ~
- ':--------

~ ~ u.J Pl1rases fo1 seqet ioal exercises and


. improvisations.
1. - . Fige 1.- tll ])ar.

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

N~I, 2. Use tlle scl1erne for tl1e pllrase N~l, variant 2.

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

n .N~I. 2. Use tl1e scllemes tl1e pl1rase .N~l, variat 2


2. - J n. , - Figre 2 - 1st bar. frnget of pl1se,
11:1 rnaj 11+ wblcl1 ~: used wl1er1 playing oma/ 1 (Lydia).
(). Varinnt

11

' - - - - - - - - Amaj + -------~

Learn in all keys witl1 tl1e account of tlle


. instrument' s diapazone.

" ?"
"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 -

~) nn :n. "') Solo-impovisatio )' Miclel Hrecker.


1~1
200

1 -

-
Dmaj

11

1~ 1

t>
201

q::o..

f)~

E'7alt.

~fl;y11
Dmaj

1-

Gm9/6 (Em 7 ) 7/s+

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.

1 Em, ; 11 + D maj Dmaj -

,~~ r if, lr rt F 1 0J1t -r t R ff[f1fti ' 11


Wl1en learig use tl1e et!cls, showed in
.'il 2 . lt N~2 for tl1e succesio

Ilm 7 v, Imaj lm~j

- 2
~ -2nd bar

D-
Gm

fPJt r r ~rtr,, [ttl 1] . 1

. N24
See Clpter 4 D+ '

Wl1e learning use "t metlds, showed in


N22 . Clpten :1'&2 for tl1e lr.i succesion

l _ 2-
-2nd var

11

Wl1e leaing use tl1e etlds, showed in


2 Clpter N~2 for tlle lrmonic succesion

1 IIIm 7 VI"'' Ilm7

f -t -
Q

~
- 5- 6-
5th and 6t]>

t
."
qcJr
~ m,
11
F

" retii\fxn
7

11

N~l. Learn on tl1e exemple of pl1rnse N~l.

1. - 1- 2-
fig11re 1 - 1st nd 2d n rs
Am7 Gm 7 +/
;---... ,...---..._

11rrrcg 11

N~ l. Learn t l1e exemple of p l ase N~ l .


1~ 1
203
~
~

~ 2. - 5- 6- . (!3.J}fige2.- 5tll and 6tl1 bars.

. 1
6
l11f~ 0_
,~t-U1
Fmo "'
t 1 r.t=rtf"p,
.?
11
11 N~l . Le11m tlle exemple of pl1rase Ml.

2) 2. - 7 - 8- A'l /9. @)figre 2. - 7tll nnd 8tl1 bars 7/ 9.


f.'"' ~~~
~~ rh FtftJ 1f f f t 11-
- Em - -

Dmaj or Dm
N~l. Lenr tl1e exemple of pl1rnse Ml .

@ 3.- 7- 8- A7j9. @figure 3.- 7tll and 8tl1 bars 7j9.


Em, Ag-

~~f Ocr[ e"f?tV ~ 1 1

n Ml Learn on tl1e exemple of pl1rase 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"

*) . ") Solo-ip1ovi~at io Garet.


205

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 ~

E!ffl OOmnJ iJJt Ift t


1
' 1 1
. 1 J,4J Jt l
~.m,
.
9+

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.

' rYJPf t:i


-

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

- 15- 16- . Theme- 15th and 16th bars.

Wllen learning s tl1e et lds, sJwed i


N~2 ClpterJ.i:.:2 for t ] r i Stlccesion

lm 7 1 v, 1 Imaj 1 Imaj
209
n()-- 2- . m ()- 2nd '.
Gi m7/s- #-
~

,,# r!r it FJ;lt' 1



Play t scheme of the pl1rase
N~1
N~1

n@)- 3- 6- . Tlleme@:')- bars from rd to 6th.

au
ll Ftt+ 7 Emaj Emaj
F if~

ft gpmKU
.

1
9
:r:i} JJ{Jit!)iJ1l9 ffl

! " 11

2 . Play the scl1eme of tl1e pl1rase 2.

@- 7 - 8- . Tl1eme@)-- 7th nnd 8tl1 bnrs.

5 mg D1
~
~t.
Gmaj

~~;@ ,HCR:fuJf N~2.


Play tl1e scl1eme of tl1e pl1rase 2.

()-- 10- . Tl1eme@- 10tll bar.

~ .,;; ~-~
! EJZEl 1 11
1 .
Plny the scheme of tl1e pl1rase N2l.

n@)- 11- 12- . Tllee(~ 11 t l1 d 12tll bars .



Am7 .N. +
7 ~ Gmaj

ft tfE:rt;itiJt11tt() 11
N~ 2 .
Plny tl1e scl1eme of t!1e pl1rase N~2.

1-11- 12- . Figure 1 - lltl1 d 12t bnrs.

'1 ([r
8 Dm7 _

< L! fif;J?t: rJFd


2 .
J
G'7

J-.. . _.;J J"----"J - 11


Cmaj

Play
11

tl1e scl1eme of tl1e pl1rase 2 .

!;@- 3- n. Figre 1;@- rd bar.

,j. f
'7 ~
n 11
J i .
n sed ns n sq s lik.

, ,
;
. nnn n ;

Pluy i llf-toe, t, t1i toe telatiosllips, as - 11


we ll as sall d ig tlliJcls. Cosicle1i; tl1e
n ,. .
plase as :
\ , sig tl1e JJtlcls of' Clpte1 N~.

1~ 1

~-
210
nl; ~ - 5-ii 6- Fige l; 2 - 5tll l 6tll nrs

N~ 2. Play tlle scl1ee of tl1e pl1rnse N~2.

_ E~maj

m{ 1
t1 - 11
n N2
In scl1 aspect play witl1 tl1e etl1ods of Clpter N~

Fige 2. - 1st nnd 2 bnrs .

11

n Tbls pl1rase n plnyed witl1 tl1e resolution


ll N~2 . itotl1e key nccordig to tl1e scl1eme given in tl1e
Clpter 2 of tbls Sclol .

'7 a.lt.. (F~ +) '7 alt. ( F# t) Ftnaj 9

ltlt!f !! llt1F1 1t fF 11 E:fQ&#i! 11

2, - 7- 8- . Figure 2, --,- 7tll nd 8 t bnrs.


~
~ ~ A'alt.

' "r ttu t


t2 A7alt. Dmaj

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 ).

I# Qj ' 1 ;siJ:S fO~ 1

D~

lq771J , IOA 1 t
. - 14- 15- . Fige - 14t11 nd 15 tl1 bnrs .

, Plny i ull keys , sig tl1e sc l1 e es of tl1e pl ase


N~ 2. 2.

1~ 1

~
211
n3. - 3- 11- 13 - . Figre 3 - -;- from tl1e 11th to the ltl1 bar.

14 Dm7 f _.,.....-,. ~ G& Cmaj

~ tJ t t("j(?Jl :ift .r ,
1

n, N~2. Plny sig tl1e scl1ees of tl1e pl1rase N~2.


"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

'fQ rr r;;r?ii)f71#t @JW~Zeri (ffJ


D~m~ ~ ~ Jr~~? ~ ~m 7
'ft!erT tn FJ> 1-t ttc r-
Fmaj

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

Play similar to tl1e pl1ruse 2


N~2.

1. - 8- 9- . Figure 1 - 8tl1 and 9tll bars

Gm,. ,. Fmaj
~ "-~-
'ef ur n rr ,
5 _..._,

.
....._______ link of sequence

Play in all keys in different interval


. relationsblps.
: One cnn use t followig metlds:
1. Vnriunt 1

- ~ - -

j -
2. Variant 2

2. - 10- . Figure 2 - 10tll bar


:~.
Hm 7 r:: ~ ~
~~; ztt;f f#U lcr)
n Ml. Plny t scl1eme of tl1e pluse Ml

2. - 16- . Figre 2 - 16tl1 bar


Al
7 m7~7 .---. "i:
&t lp 5 : f f =
rn r: N~l. l t l1e scl1eme of t pJase N~l

3. - 5- 6- . Figre 3 - 5tl1 d 6tl1 l)als


Fma
8 ,. f,- ..;t~ ~ -

~ 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

Lik of tl1e sequence

5. Play tl1e scl1eme of tl1e plm1se 5.


4. - 12- 13- . Figure 4.- l2tl1 and 13tll bars.
t Dbmaj 9
10 Ebm~. ~
6t 1 p"@f iW Pj ~

sequece
Link of tl1e
5. Play tl1e scl1eme of tl1e pl1rnse 5 .
4. - 14- 15- . Figre 4.- 14tll d 15tll bars.

~'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
.

N~2. Play tl1e scl1eme of the pl1rase N~2.


5. - 10- 11- Figure 5.- 10tll d 11t11 bnrs .


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

5. Play tl1e scl1ee of tl1e !..:; 5.


6. - 14- 15- . Figre 6.- 14tll nd 15tll hars.

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-

7. .. .. .... .... .... .. . 43


10. fi... .. ....... .... .. . 75
: . , )r
II m7/5-, V9;-I m6/9 (or 7+)

. _
11-
8.
:.................. . ... 53 11. . ::........ .. .......... ..... 90
1) II m7, 11+, I maj . :

1. .. 102 6.
2. -. .. . . ............ . . . .... . .. . ........... 116 :

3. ) . . BJDOO -.... .... .... ... .. ..


190
. 1\ . ...... . .... . . . .......... . ... . . ... ... .. . . ..
145 ) .. ? ... .... ...... .... ......... .
194
4. ..... .............. 160 ) .. ?............ .. .... 199
5. . ...... 175 ) .. .............. ........ ...... . 203
) . . .. .... .. ...... .. 211

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: