d) Down-Up: alternate down and up directions with the interval as you ascend and descend on your instrument, smoothly turning around at the top.

Transcription

1 The Materials of Melody, Part 2 d) Don-Up: alternate don and up directions ith the interval as you ascend and descend on your instrument, smoothly turning around at the top. c b b b b b b You can also use this technique for chromatic intervals, as shon in Example 6. Practice your interval, anything from a minor third to a Maor 10th ith the 4 ay technique in half steps, hole steps, minor thirds, maor thirds, fourths, and tritones, and you ill have created and practiced a vast number of permutations on your note cell hich you can apply in your improvisation or composition. I ve chosen to illustrate one set of Maor 6ths moving in Maor rds here; to be chromatically complete you ould need to practice 4 sets of Maor rds. These ould include not only /A, E/ #, and A b /F as illustrated, but the sets # /A #, F/D, A/F # ; D/B, F # /D #,B b /G; and E b /, G/E, B/G #. EXAMPLE 6 4 Way Interval System: Maor 6th Moving in Maor rds c a) Up-Up # b n # b n n b # n b) Don-Don c # b n # b n b # n c) Up-Don c # b n # b n b # n c d) Don-Up # b n # b n b # n 21 chapter

2 RHYTHMI ONTENT There is an identifiable group of elements that make up the rhythmic character of any given melodic line, distinguishing it stylistically from other lines or phrases. As improvisers, being aare of ho these elements function and relate to one another, and ho they affect the sound of our lines is an important part of training our ears. One of the biggest rhythmic differences beteen phrases is created through altering meter. In all but the freest settings in azz this is predetermined, so as improvisers e can manipulate only the perception of meter. Example 7 illustrates the differences created by altering the meter of a phrase from /4 to 6/8. (I ve adusted a fe notes to heighten the melodicism of the phrase). EXAMPLE 7 Altering Meter 4 b b b b b. b b b b 6 8 b b b b b b b b b. Example 8 shos one ay that a hemiola can imply another meter (or pulse) by repeating certain notes, altering our perception of note grouping and crossing over the bar lines. The popular sing-era tunes String of Pearls and In the Mood are also examples of simple hemiolas, implying over 4 using accents to create dotted-quarter note groupings over a quarter note pulse. EXAMPLE 8 Hemiola: 2/4 Implied Over 6/8 6 8 # ( 2 4) ( 6 8) #. Other members of this group of rhythmic elements that change the character of a melodic line include eighth note subdivision (duple or triple straight 8th or sing feel), the level of complexity or density (hole notes versus 16th notes), and the range of note lengths (16th through hole notes ). I haven t included examples to illustrate these elements because I think that they are self-explanatory. THE PHRASE The third and final essential element creating melody after interval and rhythm is phrasing. The elements of the phrase that e can isolate and that help us in designing our improvised phrases in relation to the harmony of the tune include some that I feel arrant examples and some that are self-explanatory. Those that need no example can be seen as either structural or expressive. Structural phrasing elements to be aare of are phrase length, tessi- 22 chapter

3 EXAMPLE 11 Diminution and Augmentation Original phrase: c #. b. a) Diminution c # b Ó b) Augmentation c # b c) Loose application of both diminution and augmentation c #. b. ontrary motion and Inversion are more often used for riting several voices in counterpoint, yet have a clear function in improvising. If you play a phrase that moves donard, playing a similar group of intervals and rhythms in contrary motion (in other ords upard) is an excellent ay to develop that melodic cell into a longer phrase. Both Steve oleman and Greg Osby, to name to examples, develop their lines using this concept, and, as a general, broad stroke it can be found in many azz solos and compositions. Inversion is a more specific treatment that may not come as naturally to mind unless one trains specifically for that skill. Example 12 develops several phrases using contrary motion and inversion. EXAMPLE 12 ontrary Motion and Inversion Original phrase: c # a) Exact Inversion (changes the notes chromatically) c # c # # # # b) Looser contrary development (stays diatonic to original phrase) 26 chapter 4

4 EXAMPLE 24 Key center improvising on Woody n You using sequencing a) direct sequence of phrase in each key center c b b G 7 b 5 E b 7 b 5 b b b b b b n b 7 # F minor key center (Harmonic minor scale used as diatonic scale for minor) D b minor key center b b A b7 b b b b b b b F 7 b 5 b b b b D b b b n B b7 b b b b E b minor key center b b D b maor key center b b b b. b) same 8 bar phrase entied to be more melodic, but retaining shape essence of sequenced phrase c b b b b G 7 b 5 7 # F minor key center b b F 7 b 5 b b b B b7 b b b E b minor key center b b b E b 7 b 5 b b b A b7 b D b minor key center b b b. b D b maor key center b b b. NEW PATTERNS OF KEY RELATIONSHIPS ompositions like ohn oltrane s Giant Steps, Dizzy Gillespie s on Alma or hick orea s Tones for oan s Bones still use resolutions based on the rd/7th movements and tonic/dominant motion of functional harmony, but move through key centers in cycles of a different nature than the tunes above. Giant Steps, and the related compositions ountdon, Satellite and 26-2, hich are all based on a harmonic series of maor rds, are the next step aay from standard tunes in terms of harmonic complexity. An interesting exception in the standard repertoire is the bridge to Have You Met Miss ones by Rodgers and Hart, hich presages oltrane s maor rd key center motion, moving from the maor keys Bb to Gb to D and back to Gb before it modulates back to the tonic key F in the last A section. Tones for oan s Bones uses functional harmony for cadential development, but also employs nonfunctional chord resolutions and parallel movement of maor 7th chords. One very important tool for playing through chord progressions that shift key centers in these different ays is to use common tones to bridge the change. Example 25 shos ho to find and use these common tones. As I mentioned earlier, the improviser must be fluent in the chords and scales expressed in any progression to be able to spontaneously find and musically incorporate the common tones beteen chords of different key centers. This is especially clear if they are different chord types also, like D 7 and Ab1 # chapter 7

5 Melodic Improvising Over omplex hord hanges Nonfunctional Harmony to Forever and the collective group Oregon, all of hich brought ne elements to their music and improvisations hich further enhanced the language of the azz melody. MUSIAL SPEIFIS OF THESE DEVELOPMENTS To bring all of this closer ith specific musical examples to get a vie into hat the ne chords, modes and forms are I m going to use excerpts of my composition, Ode to Ken Saro Wia, from my 2002 D Reinventing the World, Example 28. Because our focus here is on melodic improvising, I m going to discuss ho I construct a melody in this complex context of chord, mode and progression. We ll do a modal analysis of the chords, determine the phrases and then study the resolution schemes. After gaining some familiarity ith the tune s structure and content e ll look into the resources needed to improvise over it. We can derive some basic melodic principles from this melody to use in improvising over it and other similar tunes. EXAMPLE 28 Excerpts from Ode to Ken Saro Wia F 7sus (,4) c A b. D/Bb b E b /B b. 5 7 # b b A b1 sus 4 G 7 b 5 b b b B b / b. 7 b b b b A F. b F 7 b 6 b F 7sus 4 F sus F 7 b 6 b. 1 b D b b b b F 11 b b D b b B b / 7 b b b b B 17 F 7sus (,4) D/Bb.. A 7 # b A b1 sus 4 b A b1 b B 25 G 7 b 5 b B b / A/F Ó 47 chapter 8

6 Describing exactly ho I create a melody in my riting or improvising is tricky, because it is in many ays a process that I don t control consciously. When riting I try to hear the melody and the chords together, or start ith the melody alone and find chords for it. I have also ritten tunes by creating a chord progression and letting the melody gro from it, much as I ould improvise a solo line. You could think of these last to processes as mirror images of each other. When riting a melody (as opposed to improvising one) I have the luxury of editing and reflecting upon it, and I pay very close attention to the structure I m building. Examining the melody riting/improvising relationship further shos that both processes require a thorough knoledge of chord/scale/mode groups. For example, if I start ith a melody alone I need to kno hich chords could harmonize it, hich means being able to recognize the line s potential modal identities. If I begin ith a chord progression I need to find melody notes that fall ithin the modal sound of each chord (chromatic passing and neighbor tones aside). Likeise, hen I improvise melodically over a tune built of nonfunctional chords, my note choices come from my aareness of the available harmonic options. My rhythmic phrases gro from the groove of the piece and the interplay of the musicians. Because improvising is spontaneous e must really have our resources prepared and at our fingertips so that e can edit and structure our lines as e play them. At the end of this chapter I ll present those harmonic and technical resources that are most useful for navigating complex compositions. I ve presented about half of the form of the complete composition Ode to Ken Saro Wia, and the complete solo section, hich is an abridged and derived form of the melody, Example 2. Try playing through the chords on a piano or guitar to get the feel of them, looking for smooth voice leading, colorful voicings, and the general feel of the progression. EXAMPLE 2 Solo form for Ode to Ken Saro Wia c F 7sus (, 4) D/Bb A 7 # B b / 7 b b 1 5 F D b /F 1/F D b /F D b /Db D b 7 b 1 A/F F 7sus (, 4) F o F chapter 8

7 Melodic Improvising Over omplex hord hanges Nonfunctional Harmony 21 A b /D b A b 11 A b1 b # E 7sus (, 4) 2 E b 11 D b 1 B b / F # 1 E b 11 G b /A b D b b 6 Example 0 is a modal analysis of the uncommon chords in the solo changes of Ode to Ken Saro Wia.While I ill assume that the minor, maor, diminished and dominant chords and their modes are familiar to most musicians, I ve included a chart illustrating those chords and the modes associated ith them in the appendix. EXAMPLE 0 Modal analysis of selected nonfunctional chords D/Bb Lydian augmented - parent scale G melodic minor # b # b B b / b b Phrygian - parent scale A b maor b b b b D b /F b b b b /Db b b F 7sus (, 4) b b F # /G # Aeolian - parent scale A b maor Lydian # 2 - parent scale F harmonic minor F Mixolydian - parent scale B b maor b b b b G # Phrygian natural 6 - parent scale F # # melodic minor # # # # # 1/F b A F # B b / b # b 6 Ionian - parent scale F maor Synthetic version of A Lydian augmented - parent scale D melodic minor n Phrygian natural 6 - parent scale B b melodic minor b # b b # Mixolydian b 6 - parent scale F # melodic minor # # # # # # 4 chapter 8

8 oncert pitch b b F 7sus, 4 c 1. EXAMPLE 2 Ode to Ken Saro Wia Andy Middleton s improvised solo First chorus from Reinventing the World, Intuition Records Upper Structure Triad D Blues Scale F7 Arpeggio b Andy Middleton D/Bb b b F b b b n A 7 # Shape Motif Shape Motif Rhythmic and Melodic Sequence B b / 7 b b b D b b /F Shape Motif 1/F b n b Shape Motif Shape Motif D b /F b b b b D b F Arpeggio /Db A /DB Arpeggio b b n n Inverted Shape Motif F 7sus, 4 b D b b b 17 F. n # n n F b b n b b b D b 11 b b b b b E b 1 b A b /D b Anticipation of AB Upper Structure Triad E 7sus, 4 b b b. of next chord b b b b E b 11 Upper Structure Triad Anticipation Altered b Shape Motif b b b 25 # # n Rhythmic D b 1 Reference to bar 2 Upper Structure Triad Rhythmic and Melodic Sequence G b /A b Structure b Triad Inverted Shape 7 b Motif b b b b n n b n # n n F o A b 11 b. b b Diminished Scale A b1 b Inverted Shape Motif n. b Ó. # # #. #. # #. # Shape Motifs b b b b. Shape Motif n GB Upper Structure Triad Rhythmic and Melodic Sequence # # AB Phrygian (N6) scale fragment AB Upper Upper Structure Triad ith chromatic passing tone D b b 6 B b / Ó Rhythmic reference to bar 21/22 n b hange of Rhythm F # and Note 1 n # Altered Shape Motif Rhythmic Sequence n Upper Structure Triad Shape Motif Ó 52 chapter 8

9 Melodic Improvising Over omplex hord hanges Nonfunctional Harmony EXAMPLE 2 Ode to Ken Saro Wia Andy Middleton s improvised solo First chorus from Reinventing the World, Intuition Records Bass clef? b b c F 7sus, 4. b Andy Middleton D/Bb? b b 1 A 7 # B b / b b 7 b b b b? b b F? b b? b b? b b? b b? b b? b b 17 b n A D b /Db b D b b /F n b n b D b 1/F F. n # n n F 7sus, 4 F n D b 11 b b b b b b b E b 1 b. b b E b b b A b /D b b b E 7sus, 4 # # n D b 1 # Ó. b b b G b /A b b. n # # n b F o A b 11 7 b n b b b n b. b b # #. # 2001 Muddletone Music BMI D b b 6 B b / Ó n b D b /F b b b n # n n A b1 b n. b. n # # #. # F # 1 n Ó 5 chapter 8

10 EXAMPLE 2 Ode to Ken Saro Wia Andy Middleton s improvised solo First chorus from Reinventing the World, Intuition Records B b Tenor saxophone G 7sus, 4 c 1. b Andy Middleton E/ B 7 # /D b b D 7 b b b b G b # E b b /G D 1/G # F /G b E b B D/Eb b # b # b E b 17 G. # # # # G 7sus, 4 b D 7 b b b b b # # b # # # # G o # G E b 11 b b b b n b b B b /E b b b F # 7sus, 4 # 25 # # Ó. # B b 11 b. b b # #. # B b1 b #. b. # #. # F 1 b. 2 b b b b F 11 E b 1 b b b A b /B b b. # # # E b b Muddletone Music BMI /D Ó # b G # 1 # # # Ó 54 chapter 8

11 Melodic Improvising Over omplex hord hanges Nonfunctional Harmony EXAMPLE 2 Ode to Ken Saro Wia Andy Middleton s improvised solo First chorus from Reinventing the World, Intuition Records E b Alto saxophone Andy Middleton c 1 E 7sus, 4. # # # # # # /A A b7 # A /B B 7 b b 17 E # # B/ A b E. E # # # # # # # # b b 2 11 /E # # # n n D 1. b 25 D 11 B 1/E # E 7sus, 4 # # G/ # E b7sus, 4 b b Ó. 1 F /G. b b # # b Muddletone Music BMI G 11 /E B 7 b # # # # # # # # # # E o. A /B Ó b b # # G 1 b # #. b b. b b b F 1 b. b b Ó 55 chapter 8

12 Modal Improvising EXAMPLE omparison of a bebop approach to a modal approach over 8 bars of D 7 a) Bebop phrases D 7 c # # # # D 7 b # Ó b) Modal phrases D 7 c D 7. Ó A modal composition, one hich is a good vehicle for modal playing, isn t ust a tune ith one or to chords, but can be any tune that has multi-measure units of one chord, from as small as 2 bars to 24 or more. Another aspect of a piece that defines it as modal is hether or not the harmonic progression is made up of functionally resolving chords, or of harmonically distinct sounds that flo one to the next. The V7 I resolution scheme of many chord progressions can be either modal or not, depending upon our conception of them and ho e choose to improvise over them. Hoever, chord changes that have no functional resolutions and are made up of chords ith different parent scales must be defined as modal, because there is not the functional bridge of rd/7th movement beteen them that the V7 I resolution scheme creates. Therefore e have to play them as discrete harmonies, using common tones and other devices to link the chords and make our lines flo across the bar lines. Example 2 in hapter 8, the chord changes to Ode to Ken Saro Wia, includes several V7 I resolutions, but also contains many chords that do not resolve functionally, instead using coloristic flos of light and dark to create resolution. A brief list of ell-knon composers hose tunes ould fall into this category includes Ralph Toner (including Icarus), Randy Brecker (including Some Skunk Funk), Kenny Wheeler (including Heyoke), David Liebman (including Pendulum), ohn Scofield, Vince Mendoza, ohn Abercrombie, and many, many more. In fact, because a great deal of the azz compositions ritten since the 170 s are modal compositions, modalism has truly become a large part of the modern azz repertoire. 57 chapter

13 Modal Improvising Another related item to upper structure triads is constant structure, hich is a group of intervals that are found in several chords, usually creating different chord types by using different root/upper structure relationships. Please refer to the D tune Far From Home, hich uses the structure of a half-step and a minor sixth over various roots to create different chordal colors, Example 6c. EXAMPLE 6 onstant-structure chords in Far from Home c E b no /A b 11 b b b B b2sus/d B /B b # b # n b b b F 11 E b7sus (,4)/B b b A b /E # n # F # 1 sus Intervals not in these types of groupings can also be used as fundamental, structural elements in a solo or solo passage, as shon here in Example 7, hich develops a multi-measure passage from an intervallically-based melodic fragment. Please refer to hapter 2 for a refresher on intervals and ho to practice them. EXAMPLE 7 Developing a phrase from an intervallically-based melodic fragment of a minor 2nd and a perfect 5th c b Ó b b b b b. # # # # # # n b b n b. Pentatonic scales offer the improviser many musically interesting ays to develop melodic material ith different interval combinations. Because there are quite a fe alterations possible on the basic idea of a pentatonic scale, and most of the scales have common tones hich fit several chords, pentatonics can be a great ay to begin modal improvising. With the multitude of excellent books about pentatonic scales I on t get into detail about their derivation and application beyond a musical example. Example 8a shos ho an unaltered maor pentatonic scale fits over 10 different chords, and then ho to alter it to fit many different chord types. The maor pentatonic ill fit ell over maor chords from the 4 and loered 7 (scale steps in relation to the scale s root), dominant chords from the root, 5 and 2, and minor chords from the 6, 2 and 4. To illustrate, a maor pentatonic goes ell over F 7 and Bb 7; 7, G7 and D7; A 7, D 7 and G chapter

14 EXAMPLE 8a Uses of an unaltered maor pentatonic scale, hich implies the Ionian (Maor) mode # D maor pentatonic scales fits B 7, E 7, A 7, G, # 11, D7, A7, and E7 A 7 D 7 c # G 7 # 11 # B 7 E 7 # # E 7 A 7 # # A 7 D 7 # G # F # 11 E 11 # Example 8c uses the five basic notes of the D maor pentatonic scale as a melodic cell, building the phrase over the first 8 measures of Stella by Starlight by preserving the shape and pentatonic sound of the scale, hile altering several of its notes to fit each successive chord as it develops melodically and rhythmically. Example 8b illustrates ho the D maor pentatonic scale has been altered through eight different permutations, and they are numbered so that you can identify them in the eight-bar phrase of Example 8c. EXAMPLE 8b Altering a maor pentatonic to fit different chords 1 b # D pentatonic b implies the dimished scale chords of B7 #, D1 b, F1 b, # 11 and A b 7 b # # 11, and the G harmonic maor scale 2 # b D pentatonic b 5 implies the A maor mode chords of B 1 and E7, or A melodic minor modes, including the chords D7 # 11, A b 7 # b 1, A, ( # 5), F # 7 b 5 D minor pentatonic implies the maor mode chords of D 7, F # 11, sus and G7, and the D melodic minor mode chords of D, B 7 b 5 4 # b D pentatonic b 6 implies the G melodic minor mode chords of E 7( b 5), F # 7 alt, G, 7 # 11, B b # 5, B b # 5/A, and D b 6 5 # # b D pentatonic # root, b 6 implies the dimished scale chords of A1 b, 1 #, F # 1 # and A1 b # chapter

15 V. MODAL HART - PARENT SALES AND THEIR MODES 1. Maor scale 2. Diminished scale. Melodic minor scale (ascending form) 4. Harmonic minor scale 5. Augmented scale 6. Harmonic maor scale (a maor scale ith a loered 6th step) I use the term mode often in the text, and offer here a ritten definition, as ell as musical examples to illustrate the various modes, scales and chords described in the book. Many of you may kno some or most of hat follos, but I am including it anyay for the sake of those ho don t, and for the sake of thoroughness. The modal system as a concept is very useful for understanding ho to choose appropriate notes for chords that you encounter, and as the music you play becomes more sophisticated and dras on more different sources, you may find the progression of modes that I illustrate here to be very useful. My music encyclopedia defines mode as A set of notes hich form the material of melodic idioms used in composition. I d like to add that a mode (for our purposes) is a scale derived from a parent scale that begins on a different scale step than the root. The parent scales of the modes used in azz are the maor scale, melodic minor scale (ascending form), harmonic minor scale, diminished scale, augmented scale, and harmonic maor scale (a maor scale ith a loered 6th step). Each of the modes has, or can be given, a functional name. The modes of maor have historical significance as the medieval or ecclesiastical modes hich ere the basis for Plainsong, also knon as Gregorian hant. These modes bear names derived from the Greek musical system - Ionian, Dorian, Phrygian, Lydian, Mixolydian, Aeolian, and Locrian (Example 1). EXAMPLE 1 Modes of the Maor Scale and the chords ith hich they are most often played I. Ionian III. Phrygian E 7sus b or V. Mixolydian G 7 F /E II. Dorian D 7 IV. Lydian VI. Aeolian A 7 b 6 F 1 # 11 VII. Locrian B 7 b 5 b or /B 78 APPENDIES

16 Modal hart - Parent Scales And Their Modes Many of the modes of the other parent scales above have been given functional names. The 2 modes of the diminished scale are most often knon as the diminished hole/half, and the diminished half/hole, hich is also called the diminished dominant or auxiliary diminished (Example 2). EXAMPLE 2 Modes of the Diminished Scale I. Diminished Scale; Whole-half diminished scale II. Auxiliary diminished scale; Half-hole diminished scale; diminished dominant D 1 b scale o b b b n b # # The modes of melodic minor (ascending), Example, are the Melodic Minor, Phrygian natural 6, Lydian Augmented, Lydian flat 7 (or Mixolydian #11), Mixolydian 6, Locrian #2, and either Super Locrian or the Altered Scale (refer to the musical examples). This family of modes is, along ith the modes of the maor and diminished, the source for almost all of the harmonic sounds used in azz. The other families derived from the rest of the scales that I listed above are used by a small number of composers (myself included), and create very special sounds that definitely require familiarity and practice to be incorporated and used fluently. EXAMPLE Modes of the Melodic Minor and the chords they closely match I. Melodic minor ( ) b II. Phrygian n 6 /D b III. Lydian augmented E b 7 # 5 b b IV. Mixolydian # 4 F 7 # 4 b V. Mixolydian b 6 G b 6 b VI. Locrian # 2 A b 5 b VII. Altered scale B 7 # b 1 b 7 APPENDIES

17 Play-Along Guide Mother Night slo /4 sing tune mixing functional and modal chord movement melody in; solo choruses; melody out Breathing Room up-tempo sing tune in AABA form mixing functional and modal chord movement ith dense harmonic content melody in; solo choruses, melody out, tag Ever through-composed sing ballad ith alternating open and dense phrases of modal tonality and functional harmony 4 choruses total; 2 solo choruses The Doughnut Song a bluesy slo sing tune ritten in 4-, 6- and 8-bar phrases using different resolutions of II V7 progressions ith chord substitutions 5 choruses total; solo choruses Mr. orge slo shuffle-implying tune ith modal shifts, Monk-inspired harmonies using functional and modal chord movement and some rhythmic tists in the melody melody in; solo choruses; melody out from DS Shortly Thereafter latin-flavored 24-bar tune using functional chords moving in modal progressions, including an 8-bar vamp 5 choruses total; solo choruses These tunes use the same type of chords that are found in Group 1 (functional harmony and functional resolutions), but have chord progressions that often avoid the V I resolution that is basic to the sound and function of Group 1 s more diatonic, key-oriented style. While the V I resolution remains important for cadences, chord movements also follo other ays of resolving that have more to do ith common tones, modal shifts and color movements than the rd/7th guide tone resolution scheme and root movements of 4ths and 5ths. omposers like early Wayne Shorter, Thelonious Monk, and Herbie Hancock are representative of this style, in hich pieces have some modal characteristics like those described in hapter. The pieces Shortly Thereafter, Ever and Mother Night use harmonic techniques like those described in hapter 7 on more complex functional harmony yet share many characteristics ith those tunes in the folloing Group III. III. MODAL AND NONFUNTIONAL RESOLUTIONS The Brook straight-8th piece using bass lines, suspended chords and modal vamp sections melody; times through first solo section, on to last 16 bars; D al oda Far From Home straight-8th romantic ballad employing a constant harmonic structure over changing bass notes melody in; 2 solo choruses; continue through form to Fine No More latin-flavored tune ith a melody built from sequentially developed intervals that explores the Dorian, Mixolydian and Aeolian modes moving backards through the cycle of 5ths 8 PLAY-ALONG GUIDE

18 melody in; open E minor vamp 24 bars; 4 times through solo vamp; continue through form to DS al oda Tarkhun straight-8th modal composition using Brazilian rhythmic elements ith 4- and 8-bar sections of modal harmony, including harmonic maor, melodic and harmonic minor, aeolian modes, and augmented and diminished scales melody in; 2 solo choruses ith 16 bar vamp sections; D al oda This last grouping of pieces reflects the modal, nonfunctional nature of the chords and their resolutions, along ith more familiar chords that move in unfamiliar ays. Some of the pieces have no functional resolutions at all, as defined by the dominant/tonic V I relationship, but do use chord movements that create the feeling of cadential resolution. Other pieces have multi-measure groupings of a single chord that encourages a modal and intervallic approach to soloing. Wayne Shorter, Kenny Wheeler, Ralph Toner, and Ron Miller are representative composers of this group of tunes. Each of these 14 tunes offers the opportunity to apply and practice a variety of the improvisational contexts that I ve discussed. I ve compiled a list of the most relevant and useful techniques to try, and have demonstrated 5 of them for you at the end of the D. As you ork ith each technique, notice ho several of them might interact in a solo. Begin by isolating ust one technique as much as you can, and then, as your skill increases, try adding other techniques to see hat sort of results you get ith various combinations. Ultimately ork toard an intuitive use of any and all of these melodic development techniques as your ear desires them. Playing melodically is an approach, an overarching concept and attitude toards improvising. That being said, hoever, melodic playing is enhanced by the musical and skillful application of the folloing tools, helping you to effectively make the most of your musical resources and creative imagination. Melodic sequence hange of mode Intervallic approach Upper structure triads ontrary motion and Inversion hange of rhythm Pitch bend Added notes ommon tones Modal approach Augmentation/diminution Articulation Dynamics DEMONSTRATION TRAKS - Melodic Improvising techniques demonstrated by Andy Middleton on tenor and soprano saxophone 1. Upper structure triads demonstrated on Song for li I begin this track by playing the triad exercise as ritten in the supplemental materials section, then play one chorus using almost nothing but the selected triads as my melodic source material. I noticed that as I as combining the triads I tended also to use the technique of Melodic and Rhythmic Sequencing to create my lines. 2. ommon tone analysis demonstrated on Mother Night and The Brook When using common tones as a central unifying element in a solo one must consider and include notes from both the chords preceding and folloing the chord that you re playing. For example, in the tune Mother Night, in the 4th measure of the second half of the solo section, the A1 #11 chord, I used notes from the preceding Eb 1sus chord to begin my line, but then began including notes from the folloing Ab 1sus chord. 84 PLAY-ALONG GUIDE

19 oncert pitch TARKHUN Andy Middleton Latin 4 A. A b 6. #. #. # # G 7 b 6. b F #o 14 F #o b b b b 1. E.. 2. b Ó B E E 11 #. G /B # #. #. E A /E F # E b B b7alt. #. #. # # n # F # 11. A b /B b # n A 1. # 6 A 1 # A b7alt.. D sus.. 41 E 7 b 6 b 2004 Muddletone Music BMI 110 PLAY-ALONG HARTS

20 111 PLAY-ALONG HARTS Play-Along harts. 4 A b 6 G 7 b 6 57 F #o E E / 65 A b 6 G 7 b 6 7 F #o E F # E 11 F # E A b /B G /B 8 B b7 # # 11 A 1 A b7alt. D sus 7 E 7 b 6 b. 105 E 7 b 6 b D.. al oda 11 ñ E 7 b 6 b. F # 11 A b. F # 11 D b 118. F # 11 A b U F # 11 U E 11

21 oncert pitch, bass clef TARKHUN Play-Along harts Andy Middleton Latin 4 A?. A b 6. #. #. # #? G 7 b 6. b F #o? F #o b b b 1. E b.. 14 E? b Ó. 1? B 25? 1 E 11 #. G /B # #. 2. E. A /E #. F # E b B b7alt. #. #. # # n # F # 11. b A b /B # n A 1. #? A 1 # A b7alt.. D sus 6 E 7? b 6 b Muddletone Music BMI 15 PLAY-ALONG HARTS

22 ?. A b 6 G 7 b 6 4? F #o E E / 57? A b 6 G 7 b 6 65? F #o E F # 11 7? E 11 F # E A b /B G /B 81? B b7 # # 11 A 1 A b7alt. D sus 8? E 7 b 6 b 7 E 7? b 6 b. 105 ñ E 7? b 6 b. 11 F # 11 A b. F # 11 D b D.. al oda? 118 F # 11. A b F # 11 U U E PLAY-ALONG HARTS

23 B b TARKHUN Andy Middleton # Latin 4 A #. B b 6. #. #. # # # # # # 14 A 7 b 6. G #o n b n # F # D # b Ó. 1 # # B #. 25 # # 1 F # 11 # A / #. # 2. F # D. B /F # #. A b F # n 7alt. n #. G #o 1. F # D n #. # # # #. G # 11. B b / # b #. n B 1. # # # 6 B 1 # B b7alt.. B 1 E sus # #.. 41 F # 7 b 6 b 2004 Muddletone Music BMI 160 PLAY-ALONG HARTS

24 Play-Along harts # #. B b 6 A 7 b 6 4 # # G #o F # D F # /D 57 # # B b 6 A 7 b 6 65 # # G #o F # D G # 11 7 # # F # 11 A b F # B b / # A / # 81 # # 7 # # 11 B 1 B b7alt. E sus 8 # # F # 7 b 6 b 7 # F # # 7 b 6 b. 105 ñ # # 11 # # 118 F # 7 b 6 b. G # 11. D B b G # 11 D B b G # 11. G # 11 U D E b U F # 11 D.. al oda 161 PLAY-ALONG HARTS

25 E b TARKHUN Andy Middleton # # # Latin 4 A. F # b 6. #. #. # # # # # # # # 14 1 E 7 b 6. D #o n n n # # # # A n Ó. # # # B #. 25 # # # 1 # 11 # E /G #. # 2. # A. #. F # / # E b # n G 7alt. n #. D #o 1. n. #. # # # #. # A. D # 11 n F/G# n # F # 1 #. # # # F # 1 # F 7alt.. B sus 6 # # # # 7 b 6 b Muddletone Music BMI 184 PLAY-ALONG HARTS

26 Play-Along harts # # #. 4 # # # 57 # # # 65 # # # 7 # # # 81 # # # 8 # # # 7 F # b 6 D #o F # b 6 D #o # 11 G 7 # # 11 # 7 b 6 b E b # F # 1 E 7 b 6 # A E 7 b 6 # A F/G # F 7alt. # /A D # 11 E /G # B sus # # # # 7 b 6 b. 105 ñ # # # 11 # # # 118 # 7 b 6 b. D # 11. A F D # 11 A F. D # 11 A B b D # 11 U D.. al oda U # PLAY-ALONG HARTS