Three's a Pair! - Part 2
Melodic Minor Triad Pairs - "Rhythm Changes" Bridge
Back on the subject of Triad Pairs in general and Melodic Minor derived triad pairs in particular, this previous post would be a good preliminary read, containing the basic premises for this post.
As mentioned in that article, the pair of adjacent triads which most captures the sound of Melodic Minor are the Major & augmented triads, built off of the 4th and 5th scale steps, respectively.
(In C Melodic Minor = F Maj.(F-A-C) & G aug. (G-B-Eb) triad pair).
However, the quality of the pure diatonic triad built on 5th step of Melodic Minor is not augmented, but Major - G Maj. = G-B-D, which is exactly the same in C Major.
Polly Juanna Safecracker? Ms. Polly Juanna Safecracker
Pentatonic b6 Combination Exercise
Been feeling locked out (or up!) lately?
This pretty little combination exercise, which unlocks the door and lets you get "up close and personal" with the Pentatonic b6 scale and its modes, is similar in construction to an exercise which I posted previously, based on the Pentatonic b2 scale.
While the Penta b2 could be considered as a derivative of the 8 note diminished scale system (as well as the lesser used Harmonic Major scale), the Penta b6 is derived from the Melodic Minor harmonic system (scale steps 5-6-7-9-b3), but also found as part of Harmonic Major (scale steps 1-2-3-5-b6).
As its name suggests, the Penta b6 is a 5 note pentatonic scale with the 6th (as being the interval measured from its root, not its scale step), flatted (eg. G Penta b6 = G-A-B-D-Eb, derived from C Melodic Minor or G Harmonic Major).
Toot Your Own Horn Dept.: The Rev. Dizman Tootoot
A Self-Transcription of "Like Someone in Love"
Welcome to another, "Toot my own horn!" moment, featuring a self-transcription of the van Heusen-Burke standard, "Like Someone in Love".
As I'd been checking this tune out lately (for about 30 years), I thought it would make good subject matter for a post, with a recorded solo example, as well as an audio file thereof; both downloadable.
Now ain't that generous?!
I think it's a very healthy thing, in terms of self-analysis, to record and transcribe one's self from time to time. The fact is, that if you don't happen to be one of the handful of "household (make that "practice room") names", you might as well transcribe yourself, for yourself.
Besides, "it's my blog and I'll toot if I want to"! Dig?!
Roller Coaster Ride! "Roller Coaster" - Karen Elzinger
A Snakey, Chromatic ii-V7 Line
This exercise, which features the smaller intervals of Maj. & min 2nds, was developed from one that I made up for myself a while back; when I first heard guys like Michael Brecker, Dave Liebman, Steve Grossman and, of course, John Coltrane, Wayne Shorter, and Miles Davis from the mid '60s before them; who made frequent use of these snakey, swirling, chromatic types of lines.
The original exercise was made up of a pattern which, connecting each measure by a half step, repeated itself down a perfect 4th, and which can be found on pp. 71-76 of my eBook, "Slick Licks That Stick!" which is available right here.
The downloadable exercise presented here is my attempt to tonicize and resolve the original line. Probably the easiest and most accessible way to do that, in my estimation, was as.......you guessed it; some sort of ii-V7-I resolution.
Colonel Bleeped! Col. Bleepdat knows "Satellite".
Coltrane's "Satellite" - The First Eight
This post presents an exercise over the chord changes to the first eight bars of John Coltrane's "(Giant) Step-ed Up" up treatment of the popular standard, "How High the Moon", (Charlie Parker's "Ornithology" is based on the straight changes of the tune).
I posted a full transcription of Coltrane's solo, on "Satellite", as well as information about the solo and the recording itself, so I won't repeat that here.
"Satellite" is but one of several 'Trane originals, based on standards, over which he superimposed his version of the "Cycle of Descending Major Thirds", which has become known to the world as "Coltrane Changes" or "Giant Steps Changes".
Be-Boppin' the Harmonic Major Prof. Diz - Dissecting the equations to some Universal Truths
As I've been recently treating the Harmonic Major scale like a new found toy, I've discovered, for myself at least, some of the unique and interesting qualities of this "hidden in plain sight" seven note harmonic system.
The practice of adding a non-diatonic passing tone to the Major, as well as the Melodic & Harmonic Minor Scales and their modes began as the "eighth note" became the basic rhythmic pulse unit of the music called "BeBop", and became known at some point as the "BeBop Scale"
I think it was David Baker who first "bopularized" the term.
In order to create an even 8 count of eighth notes trom the original 7 note scale and allow a melodic line to flow and resolve evenly through measures of 4/4, a passing tone was strategically added, the location depending on the mode used, allowing the chord tones to fall on downbeats (and vice versa), for the most part.
So, with that in mind, I was curious to see how one might "Bebop-a-size" the modes of Harmonic Major.
Right off the bat, I hit a slight snag.
Harmonic Major - Cinderella Scale Story?
This post focuses on a scale system which has been given some lip service, but has been less well represented in either recorded or written examples; namely Harmonic Major
Personally, I haven't paid much attention to this scale and its modes up to this point; the reason being, I guess, is that many of its diatonic chord types are embedded within some the more commonly used scale systems: Major. minor (melodic & harmonic), diminished and augmented.
However, I've come to discover that the Harmonic Major scale system is a unique and beautiful thing (or should I say thang?)!
Although a hybrid, of sorts, it contains a number of strangely beautiful and exotic sounding (to western ears) modes and melodic possibilities.
So what, then, is this thing called Harmonic Major, and how did it get here?
Signs of Augmentia - Augmented Scale Signs of Augmentia++++
Major / Minor Triad Pairs
While we're on the subject of symmetrical scales (at least we were the last time I posted something), let's check into some of the possibilities which another, albeit lesser discussed, symmetrical configuration, commonly known as the "Augmented Scale", has to offer.
The Augmented Scale is a 6 note (hexatonic) scale made up of three minor 2nds, spaced a Major third apart:
C-Db, E-F, G#-A
Or, the same exact scale can be viewed as consisting of three minor 3rds (or augmented 2nds), spaced a Major third apart:
Funkman's Delight #2 - Children of the Starring Cy O'Nara
Damned (Diminished Scale)!
The essential, most compelling element of the 8 note, symmetrical "Diminished Scale" is.........
Regardless of whether it starts with a whole or a half step, the beauty of this scale lies in its ability to be broken down into smaller pieces of three, four, five (pentatonic) or six note (hexatonic) cells, whereby these groupings can be combined and spaced at intervals, usually minor thirds or tritones, to create some very hip longer lines.
The potential downside to this method is that the results of pure symmetry could end up sounding somewhat mechanical or mathematical. but for the sake of exploration and experimentation, that may not necessarily be a bad thing; at least as a starting point.
Besides, a lot usually depends as much on "how" you play something, as it does "what" you play; doesn't it?
But that's something for another post. In the meantime.......
Granted! - A Joe Henderson Solo Transcription "Happiness is Just a Thing Called (hearing a guy named) Joe"
Joe, as you should know, was one of the music's more stylistically unique and influential tenor saxophonists and improvisers, as well as the composer of a healthy number of classic originals.
His influence and legacy live on in his many recordings, made both as leader and sideman, during a career which spanned nearly four decades.
Henderson's tenor saxophone solo on one of those original compositions, an uptempo C Minor Blues entitled "Granted" (dedicated to the renowned NYC Jazz Radio personality and promoter, Alan Grant, who recently passed away at 93), is the subject of this post and downloadable transcription.
"Granted" was recorded by Rudy Van Gelder on January 27th, 1966 (which happened to be the 25th birthday of the session's vibraphonist, Bobby Hutcherson) and was part of the session that produced Henderson's fifth and last studio album as a leader for the Blue Note label, "Mode for Joe".
At the time of the recording, Joe Henderson was a member of pianist Horace Silver's quintet, which also included a young Woody Shaw on trumpet. Henderson had joined Silver's group in June, 1964 and would remain with the pianist for just another two-plus months.