Professional Documents
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by JeRRy CokER FoREwond
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o 1986 Studio224, Copyright 33014 Miami,Florida 158OO N.W.48th Avenue, All Rights Reserved in Made U.S.A. hnennatlnnal CopyrightSecured
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and inspirction rom the tcpe, even without the melodies qnd improvisation! he meqsrue orgcnizqtions o his pieces qre also imcginative and well-chosen. Those who hqve reod my COMPLETE METHOD FOR IMPROVISATION will recqll thqt I refened to Ron MiIIer's music qs being the prototype o contemporcry tunes. I listed the mqny ingredients that typiy the contemporcry tune style qt its best. Then ater eqch given excmple o ttrnes by some o my avorite composers(i.e. Vcyne Shorter,Chick Corec, Woody Shaw,JoeFcrrrell, etc., qnd o course Ron Miller), I listed the ingrredientsused by ecch. Although Ron wcrsthe leqst known o the group, his use o the trqits ound in contemporcry tunes far oubrumbered the traits used by others. In itsel, this does not mqke his tunes better, but it does support the notion thqt his tunes qre the prototype, the model. I oten speak o composers as hqving q 'bctting qvercrgfe', *it respect to how often they come up with c reclly choice tune, and I crm impressed with qnyone who 'bqts' better than .500.Some o my favorite composers hqve a 'batting cvercge' that is not much better thqn that. With all sincerity I hear qn 'cvercge' of close to 1.000in the music o Ron Miller. Ron clso is a very flexible writer, stylisticqlly, though the tunes in this album are close to the same style, being mostly fcntcsyIike. But he qlso writes in q neo-Horqce Silver bog sometimes, other times more like c Vcyne Shorter tune, or the Thelonius Monk or Chqrles Mingus styles, others in a usion or rock bog, qnd still others thqt defy verbal description because no one hqs ever written anything remotely like them. Finclly, i you will permit me to be "Iowery",Iind qll of Ron's music to be especially beautiul and each tune provokes cr consistent, undeniable mood. The rhythm section for this plcy-clong is superb, cnd most qppropriqte or the music o Ron Miller (Don Coffman on bcss, Steve Bcgby on dnrms, qnd Ron on picno). They plcy together,crso one mind, and they Iisten to eqch other, resulting in lexible cnd ever-chcnging dyncmics, coordinqted qccents, vcriety, drive, sensitivity, qnd tempos that don't fluctuate (cll very rore among plcy-clongs), creqting q spontcneous plcying environment for the user. It is qn honor and c plecsure to introduce you to the music o Ron Miller. I know thot you will be honsported by its becuty, os is everyone who heqrs it. May you be lited to new heights o personql expression by both the quclity o the tunes and the quclity o the rhythm section. Jerry Coker
l. CHORDSvBOL(S) AI\TD 2. NOTECHOICEFORARPEGGIANON G]IDE TONES CHORD 3. MODATITYOF GI\TEN 4. RELAONSHIP OF PARENT SCLE TO CHORDAL MODE 5. LOCAION OF OTHERSCALES USEDFOR IMPROVISATION PERTINENT INORI\4flON WHICH WILL 6. OTFIER ASSIST THEIMPROVISOR FROM TFIE AtL EXAI\,PLES ARE BASEDON CHORD SPELLINGS TONIC Ch FOR CLARITY
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GROUP A, chords from the dictonic modes (pcrent mcior scale) Other scales used or improvisationin this group: c. be-bop mixolydian,C, D, E, F, A, Bb,Bq,C plcyed rom Stho
!:.: the pcrent (up)
b. minor pentotonic, e,Eb, F, G, Bb, C, plcyed rom the 2nd o the pcrent, cnd from the 3rd or 6th cs cr secondchoice t. Cl3sus4 (1,! 4,b 7, 9, 13) a. Mixolydicn rom tonie o chord-C,D, E, F, G, A, Bb, C b. pcrrentscale ound o P5 below - F, G, A, Bb, C, D, Ef , F c. Be-bop Mixolydi(m, from chord tonic - C, D, E, F, G, A, Bb, Bh, C d. minor pentctonic,from P5 qbove - G, Bb, C, D, F, G e. you can treat the suschord os crii/V with ii-V pctternsbqsed on crminor chord q P5 above 2. Ctnin 13, C-13 (I,b 3,h 6) c. Dorian mode rom chord tonic - C, D, Eb, F, G, Ah, Bb, e b. pcrent is M2 below - Bb, C, D, Eb,F,G, A, Bb c. be-bop mixolydian is rom the 4th degrree o Dorian pentctonic d. minor rom chord tonic e. alteredpentctonic rom tonic - C,Eb, F, G, Ah, C . you ecn treat this chord crsyou would ony ii chord in the bop vernacular
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q. Aeoliqn rom the chord tonic - C, D, Eb, I G, Ab, Bb, C b. pcrrent scale is q minor 3rd cbove - Eb, F, G, Ab, Bb, C, D, Eb c. be-bop mixolydianfrom b7 of the chord : d. minor pentctonicrom h4 o chord e. Aeoliqn is otentreqtedqs cruL/i(F-g) with Dorian cpplicctions to e upper stnrcttue o chord.
7.C^8(t,! 3,h 7)
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a. Phrygranrom chord tonic - C, Db, Eb,F, G, Ab, Bb, C b. pcrent scolelocatedq M3 below - Ab, Bb, C, Db,Eb, F, G, Ab c. the use o "colors" cnd effectsis recommended with Phrygian,i.e. trills, tremolos,etc. 6. CA7 #4, C^#4 (l,l 3, #4,17) o. Lydion rom chord tonic - C, D, E, F#, G, A, Bh, C b. porent scale a P4 below - G, A, B, C, D, E, F#, G c. minor pentctonic rom h3 o chord ot \7 o chord d. It's best to qvoid tonic and ISU qt cadences.
This is the chord o the pcrent lonicn mode; it is used in possing chord sections in this lpoup o compositions. Sequentiql motivic development is suggested or those crecs.
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2. CA +5, CAf(l, 3, +5, \ll romthe chordtonic- C, D, E, F#, G#, A, Bh,C c. LydicnAugmented
b. pcrent scqle c min. 3rd below c. qugmented scqle rom h7 d. dominqnt diminished from h3 3. Cfh I (1,b 3,b 5,b 7, hg) tt"tt diminished nqtural 9
(I,b2,f 4,h6) 4. Db+/C, Bb-^/C - e,Db,Eb,E, q.Phrygranq6 G, Af, Bb,C thechord tonic from
b. pcrent scale ound a M2nd below c. augmented sccle rom chord tonic NOE: An cugmented hiod is or:nd rom the b3rd o the pcrent scole, (C, D, Eb, F, G, A, Bq, C) - one should ind this useful.
Lidi"n #Zfrom tonic- C, D#,8,8#, G, A, Bh, C ". b. pcrent scale ound q M3 qbove E, E#, G, A, B , C , D#, E c. beqted as q oA , or cs Ab7+9/C, domincntdiminishedsccle from the h7 of the chord ccrnbe used.
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CONCLUSION
The improvisor of modql music does not hqve pre-lecrned hqrmonic voicelecding or "licks" qccumulcted through prcctice and perormcrnceupon which he or she ccn rely. With ii-V-I music, in q sense, one has only to learn one tune qnd apply thct knowledge to all ii-V-I tunes. Improvising over modcl chord chcnges with their seemingly crbitrcry root movements reguires one to leqrn each composition qs <Isepcrcte entity; to memorize the contours, the emotionql rise and qll and rhythmic tension and release. This does not mean thct one must abandon the bebop vocabulory. Tlte jazz lcngrucge,dyncmic qnd evolving, still is to be considered crscrwhole, including the earliest and the contemporary. VVherethe use o the bebop mixolydicn scale or o ii-V pcrtternsover q sus 4 chord or cny o its reloted modes is entirely appropricte, the use o ornqmentction and symmeticcl phrcsing is less desirable. Reference to the listening list is shongly advised, cs in the opinion o this composer, the soloists on the recordings qre among the best in this style. Make special note o the vcriety o qrticulctions, qsymmetrical phrclsing cnd emotionql contour
LISTEMNG LIST: l. Miles Dcvis, Sorcerer, Columbia PC 9532 2. Herbie Hancock,Mcriden Voycrge,BLP 84195 3. Dcve Leibmqn, Drum Ode, ECM 1046 4. Chick Corec, Irnproviscrtions, ECM 1014,1020 5. Art BIckIey, Moscic, BLP 84090 6. JoeHenderson, Powe to the People, Milestone W24
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