Pee ears Cee ee eet 2k eC A tea Te aati W Ce) eee eel pe = BY DENNIS TAYLO) Beet) Gere tener Ys & FoIntroduction Good phrasing is essential to communicating musically. The exercises in this book teach the techniques behind phrasing and are designed to help you make the leap from playing notes to playing music: This books is divided into sections on harmony, rhythm, and melody, Learning about these fundamental elements of music is just like learning a new language. At first you lear words— hhow they're spelled and pronounced, Nest comes simple phrases and sentences, providing you with 2 basic understanding of the new words and how to use them, Eventually, you move into thinking and communicating in the new language. ‘The key to good phrasing is knowing when to play and when not to pla. It's important to become your own editor. There's a famous story about Miles Davis and John Coltrane, During the Kind of Blue period in the lat fifties, wien they were playing modal compositions, Coltrane ‘was having a hard time ending his solos because ofthe lack of a closing cadence. Davis wanted Coltrane to eut down on the length of his solos, and "Trane replied that he didn’t know how to get out of them. Miles’ response was, “Just take the horn out of your mouth,” One important quality that all great musicians share is flexibility both in sound (a large tonal palate) and meter (the ability to play behind the beat, in front ofthe beat, ete), so they don’t sound like machines. Versatility in these two areas will lead to good phrasing, the ability to express yourself, and originality of style. How to Use This Book Fora long time, I was reluctant to practice patterns. I thought it would make my playing more ‘mechanical and predictable, But when I did start working with patterns, {discovered that just ‘he opposite was true, My ear improved tremendously, allowing me to be more creative and expressive in my playing, Some of the patterns in this book are technique builders, and you will want to incorporate these into your daily practice regime. Others are for playing over specific chords, and you can use the companion CD to hear how they work together. (You can remove the saxophone from the track by panning the balance knob all the way tothe left.) In-working with these patterns, try to avoid writing them out, Tis will help develop your ear immeasurably. If the patter is too long to remember, break it down into smaller segments Work toward being able to sing the phrases through the transpositions —in other words, think in terms of phrases rather than thinking of every note and its relationship to the chord. If something in the pattern sparks in you a song or another pattern, go with it, You can always return to the original patern. Is all part of being flexible and reacting to your musical environment. By improving the connection between your ear and your fingers, you will develop the confidence and the ability to play whatever you hear. On the études that have CD accompaniment, the written solos are just a starting point, Once you're familiar with the written version, try your hand at writing your own renditions, incorporating certain ideas that you like from what's in the book. Then pan out the sax and play your written solos withthe rhythm track. Finally, take your own improvised solos, Have fun and enjoy the book.Contents Harmony #1 Modes: wee #2 Major Scale Patterns 43° Major Chord Patterns #4 Minor Chord Patterns #5 Diatonic Seventh Chords #6 Arpeagios #7 Dorian Mode . #8 Mixolydian Mode #9 The LVI Progression #10 The Minor 11-V-1. #11 Um?-V7 Etude. ‘#12 One-Measure Iim7—-V7 Patterns #13 Descending Ninth Chords. . ... #14 Fourths. wee #15 Bebop Mixolydian . #16 — The Diminished Scale. #17 The Altered Scale 18. The Whole-Tone Scale .. 419 Polychords.. . #20 — Tritone Substitutions. #21 The Passing Diminished......... #22 Pentatonics. Rhythm #23. Jazz Legato Tonguing,.. #24 — Developing a Swing Feel... #25 Energizing Your Lines. #26 Manipulating Time #27 ‘Three Against Four... #28 Rhythmic Displacement 429 Chromatic Scales in Gycle #30. Challenge Tempo 16 28 Page CD Track 18 20 2 25 30 32 34 238 2 46 48 49 53 54 56 258 159 60 261 262 Lawn 0-11 2 1B Melody 431 — Creating Melodies. #32 Melodic Embellishment . #33 Contour Lines. 434 — The Blues Scale . #35 Blues Guide-Tone Line . #36 Melodies from the Blues Scale #37 Building a Solo. ee #38 Arpeggiating Chords in a Progression. #39 — Chord Scales ... . #40 — Horizontal and Vertical Approaches #41 — Making Patterns Musical #42 — Soloing in a Limited Range. #43 Rhythm Changes. #44 — Playing in a Key Center #45 One-Chord Vamps . . .. #46 Neighboring Tones........- #47 Approach Notes #48 Developing a Motif. #49 — Flexible Embouchure. , #50 Finding Your Voic About the Author Page = 63 66 68 -70 a7 3 4 76 79 82 - 84 89 92. 4 95; 96 98 - 100 102 = 103 ‘aD Track 4 15 16 7 18 19 20 a 2 23 4 25 6rite Modes Idea # In classical music, the use of modes can be traced to twentieth-century composers like Ravel and Debussy. Looking for a new palate of tonal colors, they began exploring these permutations of basic Western scales, Named for Greek cities and regions, some modes—like the Ionian and, Aeolian—are just other names for familiar scales like the major scale and natural minor scale Other modes, like Dorian and Phrygian, are derived from folk music in other counties. In jazz, modes played an important role in the cool” school of bebop. As musicians grew tired of bebop's complex chord progressions and were looking for afresh sound, they simplified the chords, often using one chord for many measures, and based the melodies and improvisations ‘on new-sounding scales or modes. Miles Davis was atthe vanguard of this new style, as docu- mented on his 1959 masterpiece Kind of Blue. The new modes also seeped into popular ‘music—the Mixolydian mode was used in the opening measures of the Beatles’ tune “Norwegian Wood.” ur first example is an Tonian scale (major scale). Notice that the two half steps are between the third and fourth degrees, andthe seventh and root. ‘The Dorian mode is built on the second degree of a major scale, For example, D Dorian mode consists ofthe same notes as a C major scale. The Dorian mode may also be thought of as a major scale wth a minor third and minor seventh, and it would naturally be used over & minor chord. The second, fourth, and sixth degrees provide the richest sonorities. Some tunes that are based on Dorian modes are “So What” (Miles Davis), “Impressions” John Coltrane), and ile Sunflower” (Freddie Hubbard) The Phrygian mode is built on the third degree of a major seale—eg., from E to E using the notes from the © major scale, Notice the Spanish flavor of this scale. Use ofthe Phrygian is usually independent of a specific chord; the music would simply state Phrygian mode, Some ‘compositions that wilize this mode are “Plamenco Sketches” (Miles Davis/Bill Evans), “OIG” (ohn Coltrane), and “Masqualero” (Wayne Shorter) PhrygianJydian is majorsounding mode and has the same notes asthe major scale a fourth below; its essentially a major scale with a raised fourth degree. This mode is usually played over a major chord, a major 7411 chord, or a major 7>5 chord. Some tunes based on this mode include “In ase You Haven't Heard” (Woody Shaw), “Black Narcissus” (Joe Henderson), and “Nefertiti (Wayne Shorter). SSS 4 2 lian mode is found on the fifth degree of the major scale and can be thought of as a ale with a lowered seventh degree. The scale is applied to dominant seventh chords. ‘Tunes that make use of the Mixolydian mode are “Maiden Voyage” and “Watermelon Man” (Hlerbie Hancock), “Well You Needn't” (Thelonious Monk), and “Killer Joe” (Benny Golson). Mixolydian 2 o Aeolian mode is found on the sixth degree of the major scale, Also known as the natural minor, this scale is used over a minor chord when functioning as a tonic in a minor key. Some compositions that utilize the Aeolian mode are "My Pavorite Things” (Richard Rodgers) and “Autumn Leaves” Johnny Mercer) Aeolian 12 ‘The Locrian mode is built on the seventh degree of the major scale. lis characteristic sound ccomes from the combination of a minor third, seventh, and sixth, plus a diminished interval between the root and the fifth. The Locrian mode is played over a minor 7>5 chord, also known as a half-diminished chord. The minor 7S chord usually functions as a I chord in a minor key, There are many compositions that utilize this mode, including “Airegin” (Sonay Rollins), “Night in Tunisia” (Dizzy Gillespie), “What Is This Thing Called Love,” and “Night and Day” (Cole Porter), Locrian SS v2 a HARMONYPela Major Scale Patterns Idea # ‘The following major scale pattems are designed to improve technique and ear taining as well 45 0 combine aspects of harmony and phrasing that improvising musicians encounter on a regular basis. | recommend adopting the exercises as part ofa daily warm-up routine. It ‘wouldn't he practical to play each one in every key every day; work out a schedule based on your available time and level of playing that incorporates all ofthe patterns, The familiarity dhat ‘comes from working on these every day wll eventually allow you to focus on tone, attack, releases, and all the other subtleties that go into amazing phrasing. Yo develop your musical reflexes, is best to transpose these exercises by ear LeeBee eS Cteetperesss peered sec JesMajor Chord Patterns Idea # ‘This series of pattems is based on major triads and major seventh chords, These exercises are designed to improve your technique and phrasing while also developing your ear. Is important to try playing these patterns through all the keys without writing them out, Make them a part of your daily practice routine. Pracice using various tempos and articulations B) Whole steps a 3rd os FSS (DB) Augmented Ce . 2S = Saas LE] Major 7ths Cinaj? Domai? Dinaj7 a~) gt 4sMinor Chord Patterns Idea # ‘These patterns are based on minor triads and minor seventh chords and are the minor key equivalent of the patterns in Mea #3. Again, play through these patterns in all the Keys without ‘writing them out, and incorporate them into your daily practicing Chromatic Bim > aS [B) Whole steps \ ‘Minor 7th chords Dm? Bm? === ===, Minor (major 7) Em(maj7) Fin(mnaj7) [E) Chromatic down i Dm chin cm Bm > Bb et F) With major 7th Dm(maj7) (Chm(maj7) Cm(maj7) Bm(mnaj7) et aeaae ye ie Pt Pie Meee. ee fe pied [G] Minor 9th arpeggio Fm? Fim? 10[H] Minor 9th arpeggio Fin? n Ent hm ‘etete, . ttt ee ,, bee te # bey _——— =SSoe fhe ra Gm7 Fhm7 Fm7, Bmil 1 BhmiLa Diatonic Seventh Chords Idea # In this exercise, we take the major scale and build a seventh chord on each pitch. Below, we start with the key of G and then move to F Note tat in every major scale, when you build a seventh chord on the 1 it will always be a major seventh, Il is always minor, III is minor, Wis major, Vis dominant, VI is minor, and VIL is minor 75, Repeat each exercise in all twelve keys Key of Gm? Am? Bm?) Cai? Bm? Fmvbs) Gai? 4 afte at , 4 : a Pa ett Fim7's = Em7 D7 Cmaj?_ Bm? Am? Gmaj7 Am? D7 Gmaj7 2Arpeggios Idea # ‘This exerise is designed to illustrate the five basic chord types—major, dominant, minor, minor 75, and diminished. Starting with the major chord and changing one note at a time, ‘work through the chords. After playing the arpeggios for a while, try singing them as an aid to developing your eat. Also familiarize yourself wth the following chord symbols, which are ‘commonly found in a fake book or lead sheet, Major n M MA Dominant = 7 dom7 Minor 7 m7 miz Minor 75-765 9 Diminished * dim Example A is in one octave. Example B isin two octaves (when applicable). Example Cis in firs inversion (starting onthe third degree). Example D is in second inversion (starting on the fifth), and Example Bis in third inversion (starting on the seventh). mar epiettrs [B] or two octaves when possible Cina? geek f Pei C] First inversion Gmaj? 4 teeter fe 7 g eS a be Gms epee Serpett 13neon’ DD) Second inversion Ginai? chee eae Gms pees E] Third inversion Gmaj7 a7 Gm?dL ae Dorian Mode Idea # In Idea #1, we learned how to construct and play seven modes. Now lets try playing in the Dorian mode over this 32-measure progression, On the CD, you'll find accompaniment parts to play over First, play the Dorian scale through the chord changes. Fm? Gm7 : : boy fm? Gm? Eh play 3 cmes Once you feel confortable, try stretching and taking a solo using Dorian scales. Begin the Phrases on an upbeat to give your lines momentum. Experiment with anticipating the chord change by a beat or two, as in the following example, This will help lead you into the next chord and give your phrases more direction, Dm? Em? 15Mixolydian Mode Idea # As we saw in Idea #1, the Mixolydian scale is built off the filth degree of a major scale (or you ‘can think of it as 2 major scale with a lowered seventh degree). Here itis in C. C Mixolydian oS = 1 2 3 4 5 6 by ' ‘This scale is used on unaltered dominant seventh chords. Practice it with the chord progression on the CD, which is made up of dominant sevenths inthe cycle of fourths. @ TRACK 2 cr FT BY By FA By D7 o7 Ply ines & 3] 16Finally, work on playing these patterns with the rhythm section on the CD. ‘Try transposing the patterns without writing them out, Transpose by numbers if you have difficulty, but work toward boing able to play the patterns in all keys by just using your ear and singing the lines. [A] c7 FT 7a eee The II-V-I Progression Idea # ‘The [I-VI (or 117-V7—1) progression is the cornerstone of a great many compositions. Understanding these chords both aurally and technically will help you navigate many standard tunes, and recognizing these patterns will aid in your harmonic analysis, Each II-V=I signifies a key area or key of the moment, Grouping these chords into coherent phrases enables you to simplify what might at first glance seem to be a very complex chord progression. Looking at the big picture will smooth out your phrases and get you away from thinking from chord to chord, All the patterns below deal with the Dorian, Mixolydian, and lonian scales, They're designed to help you hear the progression as well as learn co play in all twelve keys. Examples involving alterations on the dominant seventh chords appear later in the book.Dm? ar Cmaj7 Dm or maj? A dD het 5 va F TRACK 3, Dm? G7 Cunai7 m7 FT Bimaj7 Bhn7 BT Abmaj7 Abm7 Db Gimai7 Ebm? AW Dbmaj7 Chm? FI Bmaj? Gm? cr Fmaj7 Fm? BY Ebmaj7 19RMONY The Minor II-V-I Idea # Now let’ look at the I-VI progression in a minor key. The Locrian scale is used on the lm75 chord except in Example L, which uses the Super Locrian scale (a raised ninth degree). ‘On the dominant seventh chords, a variety of #9 and b 9 extensions are played. On the I minor chord, the melodic minor, Dorian, or minor pentatonic scale is used. [A] Botts BH Am? aie jet -p 2 4 tf #4 eo soo — $ 4 Bl ons es ett fe at tt = a4 = {Cl Bas Eto Am7 [1 pms Ep9 Am?Practice along with this progression on the CD track. pe B44 En? TRAGK 4 Bm7's EDD Am7 Embs 4264 omy Ams, Dr9 Gm7 pn ds s4 € Gms Ho Fm? Cmts Fst Pras bay Seed bs FRI S4 Bbm7bs Ano Ab ma ds eb 84 SbaF Chmi's, FIpO Bm7 Gm US co Faq Ruy cms, FRO Bhn7 F Bh th Bhm7bs BHO Abm7 eb 4b bb Abm7>S Dito Gm? e “Re B FAs Bro Em7 Em?h5 Ang Dmn7 4 7 $ a Dm7!s G79 Cm7 : 24ianMONY IIlm7-V7 Etude Idea # Here isa twenty-fourmeasure étude running through a lim7-V7-I7 chord progression in ‘every key. You may play the étude as written or transpose each two-measure pattern throughout Jas cmt o TRACK S Gimai7 Gm7 c7 be Fei? rim? BT Emaj7 Fm? 7 Ebmaj7 Sf te te epee a =] s SSS oi lee Se Em? AT Dmaj? - ee eS SS Div oi maj chn7 ry Bmaj7 4 peer tee =F 22 !EEE Now try these six additional two-measuce patterns in all welve keys. These patterns add alterations to the upper extensions of the V7 chord (29, 99, 5, etc.). Take them slowly and play each two-measure pattern without writing it out. Lear to trust your ear As you become familiar withthe progression, create your own tvo-measure patterns. Other Patterns m7 Ft Bimai7 cm? 7 Bbmaj7 Che SS rsa = — = cmt #7 Bhnaj7 be be tebe == poet cm7 Bhmaj7 5 ie = si oi ‘The next exercise runs through [IV moves in minor keys, For the tonic minor (Im7), the melodic minor or Dorian scale are the best choices. For the 1im75, use the Locrian scale (seventh degree ofa major scale). Ina minor I-V progression, the V chord usualy features a bo alteration (the b5 of the IL chord is the same note as the b9 of the V chord) Again, this exercise can be played as written or you can transpose and play each two-measure fragment through each chord change, 1280 Burts Bo Bhs BMt9 Abn? TRAGK 6 = —— Abm7#5 pitig. Gh? Gms C79 Fm? Fis Bro Em7 bie be = ==! et rete Efof i Feats Biko Ebm7 Ems Apo Dm7 pi oerRMONY Ebm76s Alo Dim mits Go cm? Finally, here are eight addtional minor-key patterns. Pay special altention to patterns D, E, and G—they are based on the Super Locrian scale (Locrian scale with raised ninth), [A] ams Evy Am? Bm?s Eno Am? lsat Fo, Am D) ants Ets Am? EJ] Batis Eno Am? [E) mrs Exo An? Batis E79 Am7 a Bris E79 AmtOne-Measure IIlm7-V7 Patterns Idea # Continuing along the lines of idea #11, here are some one-measure Ilm7—V7 patterns, major keys Dm7 G7 Cm? FT Bhn7 EH $e ol Dm7 Gre cm7 FT9 Ebm? 7 Abho chm? Fg ett beh 2 be » he te gee poe Beetle Doom a cm7 7 ar Ay chm? 7 {E] Dm amy cm? Png Bint alts ct? rio oe alee Oe being ote be rie ot - te feet ae eo — os Ehm7 ANT cin? Fy baberet te os isipitic oo 25iG] pm7 ato Cm 9 Bont be chm ¥i9 be bef b Cm7 CTor FP9 Eb? EbeTor AO. abe ten ue } mpm ats pilteeth Gt Eee [E] pm ar chm Fy cm7 Bm? BT fs ‘ tet. Pehl Cte tt terete ptt tiers apicfltiee And now in minor keys. Also practice these patterns descending and ascending in whole steps. im Al paris . 2 | Bhnghs BW b ppt wate — tf te te te, ett 4 [B) amis Epo Bhnths Bibg Ppa te te 9 SS = [C] Bm7s En9 Bim7's Byb9 by by 2 tt z — ft be jp 5 by 55 a ete. D] Bmis Eno Bom7bs, hl etl 26(E) Bus £7 Bhm7s BH _ be be ee 2 pe ee He pe F] Bmis 7 Bhm7s BH BmPs ERS Bbm7b5 Bbrbo Super Locrian Bins Eno Bhmtts Bib [1] Chromatic Bmils Eib9 cms, Fo Chmtts FRO arDescending Ninth Chords Idea # One of the best ways to train your ear to hear intervals and ther relationship to chords is 10 play arpeggios through a chord progression. Many ofthe previous arpeggio exercises were oot based formations. In this exercise, we will concentrate on hearing an arpeggio played from the ninth of the chord down, in order to try and get beyond the up/down patterns usually associated with arpeggios. By stating on an extension, we are training the ear to hear the important color tone ofthe ninth, When you're playing a repetitive pattern like this, try to make it sound like a piece of music rither than a musical drill. Paying close attention to the articulations and making it swing wil help it come to life pn 7 er tng? gar Sad 9 oor oy ie Fy Fiaj7 oy aot pts Am7 DI Gm7 cr F6Froai7 cmt 7 bhai? 2 7 at pts OL iti g — ===> Z £ os ee oS == ] EW Am? Dm? a Gm7 5 cy Fmt Bh Fin? br Fmaj7 29