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Pentatonic Scales for Jazz Improvisation
1
THE RAMON RICKER JAZZ IMPROVISATION SERIES
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TABLE OF CONTENTS IN T R O D U C T IO N .................................................................................................................................1 Chapter I. II.
CONSTRUCTION OF PENTATONIC SCALES
.............................................................. 2
APPLICATION OF PENTATONIC SCALES TO VARIOUS CHORD T Y P E S ................................................................................................................... 5 Dominant Seventh C h o rd s......................................... ..................................................... 8 Minor Seventh Chords.................................................................................................... 10 Major Seventh C hords......................................... .......................................................... 12
III.
APPLICATION OF PENTATONIC SCALES TO CHORD PROGRESSIONS................................................................ ..............................................15 Modal or Static Harm ony............................................................................................... 15 B lu e s .................. ............................................................................................................. 18
IV.
ALTERED PENTATONICS ..............................................................................................24
V.
IMPROVISED SOLOS (Transcribed by Bill Dobbins)..................................................... 26 Joe Farrell, Moon G e rm s ...............................................................................................28 Wayne Shorter, Ginger Bread B o y ............. ................................................................. 31 Joe Henderson, No Me Esqueca...................................................... .............................. 33 Chick Corea, Matrix .......................................................................................................34 Keith Jarrett, Forest F lo w e r..........................................................................................36 Herbie Hancock, Hand Jive ................................................. ........................................ 37
V I.
EXERCISES.......................................................................................................................... 38 D iato n ic.......................................................................................................................... 39 Chromatic.........................................................................................................................49 l l - V - I ................................................................................................................................ 68 Turnarounds................................................................................................................... I I Circle of Fifths.................................................................................................................74^ Altered Pentatonics......................................................................................................... 77^
Copyright © 1976 by S T U D IO 224, c/o C P P/B E LW IN , IN C ., M iam i, Florida 33014 International Copyright Secured Made In U .S.A . A ll Rights Reserved
INTRODUCTION The pentatonic scale has, of late, drawn considerable atten tion by jazz artists as a tool in their improvisation. Perhaps as a reaction to the melodic patterns of the Bop Era that were based primarily on chords with third intervals, many jazz artists, such as Freddie Hubbard, Chick Corea, and Joe Farrell, turned to pentatonic scales and patterns in fourths and fifths as a means of expressing their music. In the continuing evolution of music, it must be remembered that events that appear as a departure almost always have roots in the past.The use of pentatonics is no exception. Numerous tunes of the '40's and ’ 50's used pentatonic scales as an integral part of their melodies (Symphony Sid, M o a n i n ’, Cousin Mary). The purpose of this book is to acquaint the advanced high school or college improviser with the vast resource of melodic material available through the use of pentatonic scales. It is not intended to be used as a complete method of improvisation, but rather as a supplement to other, more comprehensive, books which deal with chord/scale relationships, substitute chords, melodic development, swing, etc. If pentatonics are used exclusively in improvisation the result can be a rather predictable, stereotyped sound. The author can not stress enough the continued study of chord/scale relationships and their application to jazz improvisa tion. This method, if studied diligently, can provide the student with materials to build a harmonically "outside" improvisation while still retaining a logical basis. The use of these scales has proved particularly effective in turnarounds, and in modal or vamp playing. They also can be used with satisfying results in nearly every other circumstance in jazz. Because the scales often only hint at a basic sonority while outlining the upper extensions of a chord, a skating quality above the changes is achieved. This is discussed in detail in Chapter II.
CHAPTER I CONSTRUCTION OF PENTATONIC SCALES Pentatonic scales, as used in jazz, are five note scales made up of major seconds and minor thirds. Within a scale there are two minor thirds leaps in an octave, thus producing a gap. (Ex. 1) In addition there is no leading tone (seventh scale degree of a major scale) nor, for that matter, any half step within the scale. For these reasons, the scales act as chords, and are invert ible. *
I I I I
Example 1
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It can be seen that each pentatonic has five possible inversions, or what the author refers to as Modes. (Ex. 2) Example 2 C pentatonic Mode I
-----------------------------------------------------Mode V Mode IV Mode III Mode II
B
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The above is not without historical precedent. The pentatonic scales were tabulated in a similar manner by Annie G. Gilchrist in "Note on^fche Modal 1 System of Gaelic Tunes," Journal of the Folk Song Society, Dec. 1 9 1 1 , ~pp. 150153. H owever, it must be noted that M s . Gilchrist assigned Mode I to the author's Mode IV. With five possible modes and twelve half steps in an octave there exist sixty different pentatonics. To have every pentatonic at full command the student should be able to pay five different pentatonics from each note in the chromatic scale. A tall order for anyone!
2
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Figure 1 Mode I
Pentatonic Scales on Each Half Step*
(1) C pentatonic I - : - - .
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(3) D pentatonic
(5) E pentatonic , ___ _ . .... .
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* Numbers have been assigned each scale for easier reference.
By using the definition found in the first paragraph of this chapter, the inquisitive student has probably already constructed three more pentatonics (Ex. 3). For our purpose in jazz improvisation, a further restric tion to the pentatonic construction can be stated. There are no consecutive m3 leaps.
I I I
Example 3
*
Since there are five different pentatonic scales on each half step of the chromatic scale, some confusion may arise in identifying them. The author refers to a C pentatonic as C D E G A (1,2,3,5 ,6 of a C major scale) These notes when found in any other configuration are still referred to as C pentatonic. (Example: A C D E G i s a C pentatonic, but, more specifi cally, mode V C pentatonic.) C E^ F A^ B^ is mode III A^ pentatonic. See page 47 for a listing of five different pentatonics on each half step.
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CHAPTER II APPLICATION OF PENTATONIC SCALES TO VARIOUS CHORD TYPES In using pentatonic scales with conventional (tertian) chord symbols, certain combinations are obviously related (ex., C pentatonic against C 6/9 chord) while others are obviously more unrelated and "outside" (dissonant). A valuable extension of this principle is that there is a continuum of rela tionships from "inside" to "outside" which gives the player great control in choosing his degree of consonance or dissonance with the chord. This is related to the number of pentatonic scale tones included among the basic chord toiies. Repeated experimentation has shown that this is not always the case and the final assignment of "inside" or "outside" has been done through listening tests. (Ex. 4)
Example 4 7 a. (most inside)
b.
c. (most outside)
»=■=1 Ï» Root 9
3
5 13
#11 b 6 b7 b9 #9
7 b9 #9 #11 bl3
In the most inside scale (Ex. 4a) it can be easily seen that coming to rest on any of the notes will not clash with the C 7 harmony. In fact the 9th and 13th will sound better (more hip) as stopping points than the root, 3rd, or 5 th. In the most outside scale (Ex. 4c) two of its members (M7 and^bl3) will clash more than the other t h r ee. The b 9 , #9, and #11 are conventional upper extensions of the C 7 c h o r d . The M7 and bl3 will prodtice a more dissonant sound, but when they are played as passing tones and the remaining three notes are used as stopping points, the result is that the upper extensions of the chord are outlined. (Ex. 5)
Example 5 a. C 7 (most outside) Swing
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It is the aut h o r ’ s experience that because each pentatonic contains some chord tones (whether they be upper extensions or basic chord m e m b e r s ) , any pentatonic can be played over a given sonority provided the ear is the final judge and certain dissonances are used mainly as passing tones or resolved to consonances on held notes. It should be stressed that the author is not advocating indiscriminate use of pentatonics in all styles of jazz. What would be in the style in free or modal playing would be very much out of the style in Dixieland or Bop music. The inside scales and their relationship to chord types must be mastered first in order for the more outside scales to be effective.
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It seemed logical that there should be a way of classifying these scales in a continuum from the most "inside" to the most "outside" when played over a given sonority. Each scale was analyzed with respect to how many basic chord tones were contained. In instances where several scales contained an equal number of chord tones, value judgments were made by the author as to which scale was more "inside" or outside." The scales were then placed in a con tinuum from "inside" to "outside."
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Dominant Seventh Chords C 7 (C E G B&) Pentatonic scales are perhaps most useful when played over a dominant 7th sonority. A dominant 7th implies motion. It wants to resolve. In addition, any number of altered upper extensions can be applied to the basic dominant 7th sonority without destroying its tendency to resolve. When pentatonic scales are played above this sonority, upper extensions are empha sized. Thus, it is possible for the improviser to change the color of the basic dominant 7th sound by his choice of scale. For example, above a C 7 chord the improviser might play a scale built on the root. (Ex. 6 a) This scale is compatible with a C 7 , C 9 , or C 13 chord, and those sonorities will be implied. If he chooses to play a scale built on the ^3 (Ex. 6b), a C 7j,
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The above can be both a help and a hindrance to the performer. When comping behind soloists, most advanced keyboard players add upper extensions to their voicings. The upper extensions added by the keyboard player should have a great effect on the soloist's choice of scales. For this reason the soloist must listen in te n t l y , and, if it is necessary, ask the pianist what extensions he is using. This is not to say that the pianist should dictate the direction of the improvisation. Interaction between pianist and soloist is essential. As a group plays together they begin to know each other's style, and verbal communication concerning voicings is greatly reduced. For solos in a big band situation, the same problem exists. The soloist may see a C 7 chord, but the background at that moment may be C ^ g . He will sound correct playing a pentatonic built on the root, but he will sound better playing a pentatonic built on the b’ 5. In the scales of figure 1 (page 3), numbers 1, 4, and 11 contain three chord tones of a C 7 chord, numbers 6 , 8 , and 9 contain two chord tones, num bers 2, 3, 5, 7, and 10 contain one chord tone, and number 12 contains no chord tones. ---*=■ III
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When placed in a continuum from inside to outside the result is as follows: inside------------------------------------------------------------------------ outside from fig. 1 scale no. 1---4--- 11 --- 8--- 6--- 9--- 3--- 7--- 2--- 5--- 10 --- 12 Therefore to apply pentatonic scales in a continuum from "inside" to "outside" to a dominant 7th sonority, build Mode I on the following scale degrees.
Scale Degree
Inside
c.
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Implied Harmony
root
c7, c9 , c 13
b 3rd
c 7#9
b 7th
C 7sus
4th
C 7sus
b 5th
,7# 9 ' b9
b 6 th
c 7+ //9
2nd
c 7#ll
5 th
j,7 (add M7)
L*! b 2nd
r 7b9 C #9
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3rd
r 7b9#9 C #11#5
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6 th
r 7b9
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7//11
C # 11
r 7b9#9
#ll//5
Outside Examples: Most Inside Pentatonic for Bb 7
Most Outside for B
k Most Inside Pentatonic for E 7
Most Outside Pentatonic forjj!7
1 ___________
m In the above continuum two alterations have been made. The scale built on the t>5 has been elevated in position simply because it encompasses upper extensions that sound good when played over a dominant seventh. The scale built on the 5 th, even though it was analyzed as having two chord tones, has been "demoted." The presence of a major 7th automatically makes it sound more "outside."
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I I I I Minor Seventh Chords
Cmi7 [C
G bP (D F A)]
The minor seventh is probably the easiest sonority with which to use pentatonics. This chord sounds exceptionally normal and stable with the natural 9th,and 11th. The 13th is an only slightly less "normal" extension. Hence the normal chord notes include 1, 3, 5, 7, 9, 11, (13). For this reason the 9 th and 1 1 th were included as basic chord tones in the following analyzation. Scale number from figure 1
chord tones in a C m i ^ 5 chord tones
4, 11
4 chord tones
6, 9
3 chord tones
1, 2
2 chord tones
7, 8
1 chord tone
3, 12
no chord tones
5, 10
Inside------------------------ '---------------------------- Outside 4--- 11 --- 6--- 9--- 2--- 1--- 7--- 8--- 12--- 3--- 10--- 5
10
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Apply Mode I pentatonic scales to minor 7th sonorities from "inside" to "outside" on the following scale degrees. Inside
Scale Degree b 3rd
Examples b
Most Inside Pentatonic for B mi
7
b 7th 4 th
k
b 6 th b 2nd
b 7 Most Outside Pentatonic for B mi'
b5th root
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5th 7th
Most Inside Pentatonic for Emi'
2nd 6th
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3rd Outside
Most Outside Pentatonic for Emi 7
A quick glance at this continuum should tell the student that pentatonics on the flat side of the circle of 5 ths will sound more "inside."
Major Seventh Chords Cmaj7, CA7 [C E G B (D F#)]
Major seventh chords are chords of rest. They do not want to resolve. The upper extensions normally associated with this chord type are the 9th, //11th, and the 13th. For this reason the 9th and #llth were included as basic chord tones in the following analyzation.
No. of chord tones in a Cmaj ^-*-1
Scale number from figure 1
4 chord tones
3, 8 , 1
3 chord tones
5, 6 , 1 0 , 11
2 chord tones
4, 12
1 chord tone
7, 9
no chord tones
2
Inside
Outside
Apply Mode I pentatonic scales to Major 7th sonorities from "inside" to "outside" on the following scale degrees. Inside
Scale Degree C
root
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5th
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Most Inside Pentatonic for
2nd £• 3rd
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4th 7th
Most Outside for &
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7th b
3rd
Most Inside ‘ Pentatonic for E4t
6 th 5th
2nd Outside
Most Outside Pentatonic for EL 1
As previously stated, any pentatonic can be used above a given sonority provided the ear is the final judge. Outside pentatonics are best reserved for use in sequences, turnarounds, and as a means to create tension in modal playing. In addition, they are inherently better over dominant 7th, major 7th, and minor 7th sonorities. The following is a list of pentatonics that sound particularly good over given sonorities. Some are more outside than others.
Chord Type
Symbol
Spelling
Suggested Mode I penta tonics built on the following scale degrees
Dominant 7th
C7
C E G Bb
root, b 3, b 5, b 7
Dominant 7th #9
C7#9
C E G Bb D #
b 3, b 5, b 6 , b 2
Dominant 7th b 9
C 7b9
C E G Bb Db
b 2, b 3, b 5
Dominant 9t'h #11
c9# 11
C E G Bb D
root, 2, b 5
Dom 7th Aug 5th
c7+
C E G^ Bb
b 5, b 2 , b6
Dom 7th sus
C 7sus
C F G Bb
b 7, 4, b 3
Dominant 13th
c 13
C E G Bb D F# A
root,
Major 7th
Cmaj 7 CA 7
C E G B
root, 2 , 5 , 6
Major 7th #11
Cmai 7#11 CA 7#11
C E G B D F#
2, 5, 6 , 7
Minor 7th
Cmi 7
C Eb G Bb
b 3, b 7, 4, b6
Half dim. 7th
C**? Cmi 7b5
C Eb Gb Bb
b5, b6
Dim 7th
C° 7
C Eb Gb Bbb
None suitable (see Chapter IV)
bc „ 5, 2
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CHAPTER III APPLICATION OF PENTATONIC SCALES TO CHORD PROGRESSIONS Modal or Static Harmony Currently in vogue are jazz compositions based solely, or in part, on one chord. These compositions have their roots in latin and rock music, and most frequently, though certainly not always, have a funk or soul character. Soloing on a tune with limited chord movement poses a specific problem-^creating and maintaining interest. Let us say we have a latin/rock tune based on one chord, E minor. The solo sections are open, meaning each soloist can play as long as he likes. Even the novice improviser in this circumstance can handle the four notes in the chord (e g b d ) . If he has some chord/scale background he may even play the Dorian mode on E (e, f#, g, a, b, c#, d ) . The problem is what to do for the rest of the solo! One solution is to use pentatonic scales that slip in and out of the harmony that the rhythm section is playing. As discussed in the previous chapter, the most inside pentatonic for a minor 7 th chord is one built on the b 3 scale degree. In E minor that scale would be the G pentatonic. Example 7 begins by using the G pentatonic (Mode II with g omitted). At point "a" the solo line uses Mode II of the Ab pentatonic. The resolution takes place at point "b". The solo line momentarily leaves the key of E minor, but it gracefully returns, or resolves. In this example the most inside pentatonic is used at the outset. The listener's reaction is that "Everything is fine— I understand this." The most outside scale is then used (refer to inside/outside continuum for min. 7th chords, page 11). The listener's immediate reaction is, "What's going on? Is he playing wrong notes?" When the resolution occurs in the next measure, the listener says to himself, "Oh, now I see what he was doing." The soloist has created interest. (Ex. 7)
Example 7
a
b
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Example 8 illustrates the same principle but at greater length. The example was taken from a unison saxophone line in Tortilla M a m a , an original big band composition by the author. When it was written there was no con scious effort to use pentatonic scales. Though it is a written soli it is not unlike an improvised solo. Example 8 Latin Rock ( ...
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There are no concrete rules for using pentatonics in modal playing, some basic concepts. 1. D o n ’ t use pentatonics exclusively. material.
Mix them with other harmonic
2. Use pentatonics by planing as a means to create harmonic tension. 3. Start inside. Take it out. Bring it back smoothly and logically. Outside scales will sound wrong if not surrounded by inside scales. 4. -Use pentatonics in sequences. 5.
Experiment with pentatonics one half step above and below the basic tonality.
Blues Using pentatonics on tunes that have changes is no different than applying conventional scales or modes to changes. The performer simply must learn which pentatonics go best with various chord types. As a means of study the student should begin with a simple blues progression and write in the scales he wishes to play in each measure. Example 9 illustrates this procedure. In this example the more "inside" scale were chosen. Example 9
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Once the scales have been selec ted the student: should set the metronome at a comfortable tempo and begin improvising using those notes. Example 10 is a possible realization. Note that this example is entirely pentatonic. As stated elsewhere in this book, exclusive use of pentatonics for harmonic material is not recommended. How ever, in the initial practice sessions the student should limit him self to pentatonics. After they are under the fingers he can then begin to integrate them with other harmonic material.
Example 10 Swing
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As soon as the student feels he has the basic blues under control, the next step should be experimentation with altered blues. There are many vari ations on the twelve-bar blues. All of these come under the general heading of altered blues. Example 11 is one set of altered blues changes. The scales selected for these changes are more "outside" than the ones of Example 10. That need not be the case. An "inside" set of scales could have been just as appropriate.
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Example 12 illustrates one possible solo from the scales given in Example 11. Note the use of the b 5 pentatonic in measures 6 , 11, and 12. Like Example 10, Example 12 is entirely pentatonic.
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Example 12 Moderate Swing
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Example 13 is a saxophone soli in Skuffle, an original big band com position by the author. Only the lead sax (soprano) is given. In this example pentatonics are mixed with other conventional scales and modes. The soli begins on the 4th bar of the blues, after a short lead-in by the band. Only pentatonics have been analyzed. Note the use of pentatonics in the turnaround in bars 11-12, and the half step planing in bars 9-10.
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Assignments 1.
Study the chart on page 14 .
2.
Study Examples 9 and 11. Figure out how the scales were selected and where they fit in their respective inside/outside continuum.
3.
Play the scales in Examples 9 and 11 the left hand.
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on the piano while comping with
Play all the examples on your instrument.
5.
Use a metronome for a rhythm section.
6.
Buy Jamie Aebersold's A New Approach to Jazz Improvisation Vol I and Nothin' But Blues Vol. 2. Apply your pentatonic knowledge to his records.
7.
Try to slip in and out of the basic tonality while you are playing. Don’ t stay "outside" too long. In blues you can go quite far afield as long as you hit the basic guideposts (the I chord bar 1, the IV chord bar 5, the I chord bar 7, the V chord bar 9, the I chord bar 11).
8.
Always continue to practice scales and modes. Know how to apply them to chords. See Jamie Aebersold's books if you don't know for sure.
9.
Remember you can’t play hip "outside" if you can't play hip "inside."
I
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CHAPTER IV ALTERED PENTATONICS It is beyond the scope of this book to discuss in depth the use of altered pentatonic scales. However, some mention must be made of their application to jazz improvisation. If an improviser plays a D pentatonic over a C 7 chord, only one note of that scale will clash— the B^. If the intention is to play outside, the D pentatonic with no alterations is perfectly all right. However, if it is the improviser's purpose to keep all the notes in the scale compatible with chord tones, he must alter the Btj by lowering it one half step (Ex. 14).
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CHAPTER V IMPROVISED SOLOS (Transcribed by Bill Dobbins) The excerpts of improvised solos that appear in this chapter were transcribed by Bill Dobbins and are used as study materials for the course New Concepts in Jazz Theory at the Eastman School of Music. Only pentatonic scales were analyzed by the author, and excerpts were chosen that contained several examples. It should therefore not be inferred that the represented artists always use pentatonic scales with the frequency shown in the examples. In measure 16 of Joe Farrell1s solo on Moon Germs note the use of a D^ pentatonic over an Fmi chord. That outside sounding melodic line re solves it* the following measure when the B^mi chord is sounded in the rhythm section. In measure 20 Joe plays a pentatonic one half step away from the chord that the rhythm section is playing. In the following mea sure he resolves the line to a D^ altered pentatonic. Those two measures clearly demonstrate one method of effectively handling outside pentatonic scales. A favorite melodic device of Joe Farrellfs is pentatonics in sequence. Measures 28-30 and 42-44 are examples. One way to change the color of an improvised line over relatively slow harmonic rhythm is to string pentatonic scales together. Measures 54 to the end demonstrate this. There is no piano comping for Wayne Shorter’ s solo on Ginger Bread Boy. This allows for greater harmonic freedom by Shorter, and the dialogue between the saxophone and the bass becomes in effect two-part counterpoint. Without the chords being sounded beneath him* Shorter has the freedom to stretch the changes farther than normal by using pentatonics that are con siderably outside of the basic harmony. Note the use of one pentatonic that is played over two changes (measures 18-19 and 22-25). Joe Henderson5s solo on No Me Esqueca clearly demonstrates in mea sure 16 the use of an altered pentatonic. In this solo most of the scales used are a P4 or P5 above the root of the chord (see measures 3, 9, 11* 13, and 14)* In Matrix Chick Corea frequently uses pentatonics in sequence. He uses altered pentatonics in measures 9-11, chromatically descending penta tonics in measures 19-20, and different modes of the same scale in measures 15-16 (quasi sequence).
Keith Jarrett in the excerpt of Forest Flower uses one scale (a pentatonic) over three changes (measures 3-5). Note the smooth resolu tion of the and pentatonic in measure 12 to the C pentatonic in measure 13. From the pentatonic or gapped texture that is present in the entire excerpt, Jarrett begins a more linear texture in measure 14. That texture is continued into the first few measures of the next chorus (not shown). Hand Jive is an up tempo free piece. For that reason no changes have been given. In this solo Herbie Hancock combines the more jagged texture of P4's, P5's, and pentatonic scales with more linear melodies. In mea sures 28-37 he limits his solo to basically three pentatonic scales whose roots are within an interval of an M2. It must be remembered that each artist has developed his improvisational devices in his own personal way. There are many ways to approach a subject, and the author is not implying that the artists represented in this chapter think of pentatonic scales in the exact manner outlined in this book. What should be evident to the reader is that pentatonic scales and related fourth and fifth intervals are an integral part of many well known jazz musicians’harmonic vocabulary; and by studying this book and practicing the exercises the student can develop an improvisational tech nique that is in keeping with the way players are playing today.
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EXERCISES It is virtually impossible, and in reality unnecessary, for the student to memorize th§ complete inside/outside continuum for every chord type. But nevertheless, it should be the goal of every student studying this book to eventually be able to play five different pentatonic scales on each half step or sixty scales. The Diatonic Exercises should be practiced first. After they are mas tered the student should have little difficulty applying them to improvisa tion. The student is urged to study the chart on page 14. If he is familiar with three or four pentatonics that sound good and best convey the harmony of the chord, the more outside scales will take care of themselves. As he is practicing, the student should constantly remind himself how the exercise he is playing can be applied to chords. For example, if he is playing line 1 of number 1 in the Diatonic Exercises, he should be aware that that scale could be played with effectiveness over a C 7 , A 7 , F.#7 , B^sus, Gsus, Cmaj7 , B^maj7# 11, Ami7 , and a B^mi7 . The student will find that the Diatonic Exercises lay well on most in struments. Since exercises 3-25 are given in the key of C, they must be transposed to all keys. Most intrumentalists who are serious about music have, by the time they are seniors in high school or entering freshmen in college, a technique that enables them to play major and minor scales and scales in thirds with little difficulty. The etude books with which they are familiar endlessly drill on scales and chords. Every student knows that scales in thirds are relatively easy when compared to scales in fourths. The thirds are easier mainly because they have been practiced more. Many of the Chromatic Exer cises in this book are based on fourths, since by skipping some notes in a pentatonic scale fourths result. It is therefore probable that some dif ficulty may be at first encountered in playing some of the exercises. The Chromatic Exercises are not meant as "hot licks." It is highly unlikely that anyone of these exercises would be played in its entirety during the improvised solo. However, if as many exercises as possible are committed to memory, the student will have a reserve source of material to draw on consciously or unconsciously during the course of an improvised solo. Chord changes have been provided for the II-V-I, Turnaround, and Circle of Fifths exercises. Students unfamiliar with these elements in jazz should consult the David Baker books on these subjects. All of the exercises should be practiced using different articula tions and in a variety of tempi. The exercises are notated in a range most fitting the saxophone and other treble clef woodwinds. Other in strumentalists must make range adjustments. Some difficulty may at first be encountered in transposition, but experience has shown that the pat terns will remain at the fingertips longer if they are worked out without reading them.
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ABOUT THE AUTHOR Mr, Ricker is currently an Assistant Professor of Clarinet at the Eastman School of Music, where in addition to teaching clarinet and saxophone, he teaches jazz improvisation and is coordinator of the Woodwind Doublers Institute. His many articles on jazz and studio teaching have appeared in Woodwind World, The Instrumentalist, Music Journal, and The International Musician. He is active as a composer/performer in both the classical and the jazz fields. His published works in clude compositions for jazz ensemble, studio orchestra, wind ensemble, and clarinet duets, Mr. Ricker has appeared as soloist on several occasions with the Rochester Philharmonic Orchestra. He currently plays third clarinet, bass clarinet, and saxophone with that organization. In the field of jazz he has recorded and performed with Chuck Mangione, and performed with Buddy Rich on the NET special ,fRich at the Top." In 1975 he was a recipient of a National Endowment for the Arts Jazz/Folk/Ethnic Travel-Study Fellowship Grant to study saxophone and improvisation with Joe Farrell. Mr. Ricker holds a Bachelor of Music Education Degree from the University of Denver, a Master of Music in Woodwinds from Michigan State University, and a Doctor of Musical Arts Degree in Music Education from the Eastman School.
Jazz Instruction Books from CPP/Belwin PATTERNS FOR JAZZ PATTERNS FOR JAZZ stands as a monument among jazz educational materials. This performance-oriented text by Jerry Coker, James Casaie, Gary Campbell and Jerry Greene is a must for music educators. Condensed charts and pertinent explanations are conveniently in serted throughout the book to give greater clarity to the application of over 400 patterns built on chords and scales. The patterns are organized from simple (major triads) to intermediate (ii-V7) to complex patterns (polychords, lydian augmented scales). Spiral-bound. Treble Clef Instruments (SB1) Bass Clef Instruments (SB72)
TECHNIQUE DEVELOPMENT FOURTHS FOR JAZZ IMPROVISATION I
N
This book in the Ramon Ricker Jazz Improvisation Series is for the advanced player. The interval of a fourth is an integral part of jazz improvisation and the sixty pages of reading and exercises will give the musician a good understanding of the interval’s uses. The serious student should use this book as a supplement to aid and expand his harmonic and melodic vocabulary. When fourths are mastered, they can be applied directly to jazz improv isation and ultimately increase musicianship. (SB17)
