Pentatonic Scales a for Jazz Improvisation THE RAMON RICKER JAZZ IMPROVISATION SERIESTABLE OF CONTENTS, nTRoDUCTION . 5 ‘chapter |, CONSTRUCTION OF PENTATONIC SCALES II, _ APPLICATION OF PENTATONIC SCALES TO VARIOUS ‘CHORD TvPES Dominant Seventh Chords Minor Seventh Gord aS Major Seventh Chords SEEEES IIL, APPLICATION OF PENTATONIC SCALES TO CHORD PROGRESSIONS : Modal o Static Harmony a Bes : IV, ALTERED PENTATONICS V. IMPROVISED SOLOS (Transerbed by Bill Dobbins) Joe Fae, Moon Germs Wayne Shorter, Ginger Bread Boy 2... Joe Henderson, No he Esquece (Chick Corea, Matrix. ee Keith Jarret, Forest Flower Herbie Hancock, Hand fe Vi. EXERCISES Dintonie Cnvomatic : nv TTumarounds oss 5 ice of Fits : [Altered Petatni. 15 18 2% 26 28 3 B y 38 2° 9 7rRopucr TON ‘The pentatonic scale has, of late, dravn considerable atten tion by Jazz artiste as a tool in theit 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 Pentatonte scales and patterns in fourths and fifths as a means of expressing their music. In the continuing evolution 0: music, {¢ ‘ust be remeabered that events that appear as a departure alnost always have roots in the past. The ute of pentatonics is no ‘exception. Numerous tunes of the "40's and "50's used pentatonic scales ae an integral part of their melodies (Syaphony $id, Mosnin', 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, nore comprehensive, books which deal with chord/scale relationships, substitute chords, melodic evelopment, swing, ete. 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/seale relationships and their application to jazz improvisa- ton. ‘This method, if studied diligently, can provide the student with materials to build a harmonically “outeide" improvisation while still retaining a logical basis, The use of these scales has proved particularly effective in turnarounds, and :n modal or vamp playing. They algo can be used with satisfying results in nearly every other eircuastance in jazz. Because the scales often only hint at a basic sonority while outlining the upper extedsions of a chord, a skating quality above the changes is achieved. This is discussed in detail in Chapter IT. .CHAPTER 1 CONSTRUCTION OF PENTATONIC SCALES Pentatonic scales, as used in Jazz, are five note scales nade up of major seconds and minor thirds. Within a scale there are two minor thirds leaps in fan octave, thu producing a gap. (Ex. 1) In addition there 1s no leading tone (seventh scale degree of a major scale) nor, for that matter, eny half step within the scale. For these reasons, the scales act as chords, and are invert~ able. Bxanple 1 Fr 33 a3 Tt can be seen that each pentatonic has five possible inversions, or what the author refers to as Modes. (Ex. 2) Example 2 © pentatonic Mode T Wode II Mode TIT Mode IV. Mode V ‘The above is not without historical precedent. The pentatonic scales were tabulated in a similar manner by Annie C. Gilchrist in "Note onthe Modal” System of Gaelic Tunes," Journal of the Folk Song Society, Dec, 1911, "pp. 150- 153. However, it must be noted that Ms. Gilchrist assigned Mode I tothe 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!Figure 1 Mode I Pentatonic Scales on Each Half Step* (2) ¢ pentatonic (2) DP pentatonic (3) D pentatonic ~~ (4) BP pentatonic (5) E pentatonic (6) F pentatonic (7) ¥ pentatonte (8) pentatonte (9) ab pentatonte (20) A pentatonic » (11) BP pentatonic (12) B pentatonic * Nunbers 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 elready constructed three nore pente: tontes (Ex. 3). For our purpose in Jazz improvisation, further restric- tion to the pentatonte construction cen be stated. There are no consecutive m3 leaps. Example 3 Since there are five different pentatonic scales on each half step of the chromatic scale, sone confusion may arise in identifying thes. The author refers to a C pentatonic as CD EC A (1,2,3,5,6 of a C najor scale). These notes vhen found in any other configuration are still referred to as, Cipentatonic. (Example: AC DEG is a € pentatonic, but, more specifi- cally, mode VC pentatonic.) CEP F Ab BD is mode III AP pentatonic. See page 47 for a listing of five different pentatonies on each half step. jor am T ab P < c gh C xb cp é c iE T Tie cbECAC ca eo oo = oe oo CHAPTER IT APPLICATION OF PENTATONIC SCALES TO VARIOUS CHORD TYPES In using pentatonic scales with conventional (tertian) chord sysbols, 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 “outeide” 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 anong the basic chord tones. Repeated experimentation has shown that this is not always the case and the final assignnent of "inside" or “outside” has been done through Listening tests. (Ex. 4) Brample 4 7% (most inside). fe. (eost outside) = ie Root 9 3 513 #11 b6b7b949 —_7)B9 Y9 #1 BID In the most inside scale (Ex. 4a) {¢ can be easily seen that coming to rest fon any of the notes will not clash with the C7 harmony. Ta fact the 9th ‘and 13th will sound better (wore h{p) as stopping points than the root, 3rd, or Sth. In the most outside scale (Ex. hc) two of its mesbers (M7 and-b13) will clash more than the other three. The B9, #9, and #11 are conventional upper extensions of the C7 chord. The M7 and b13 will produce 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 thet the upper extensions of the chord are outlined. (Ex. 5)Example 5 ¢ Seine» + Fa? (most inside) (eost outside) resolves: b. Most outside pentatonic used in sequence “z a? Cc a Mode IV used in sequence over fast harnonte rhythm ov ” Dn? er ca?Te 48 the author's experience that because each pentatonte contains sone chord tones (whether they be upper extensions or basic chord meubers), 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 fo consonances on held notes. zt should be stressed that the author is not advocating indiscriminate use of pentatonies in all styles of jazz, Whac would be in the style in free or modal playing would be very auch out of the style in Dixieland or Bop music. The inside scales and thelr relationship £0 chord tupes mist be mastered first in order for the more outside scales to be effective. Ut seemed logical that there should be a way of classifying these scales in @ contisiuum from the most “inside” to the most “outside” wien played over a given sonority. Each scale vas analyzed with respect to how aany baste chord tones were contained. In instances where several scales contsined an equal number of chord tones, value judgnents were made by the author as to which scale was more "inside" or outside." The scales vere then placed in « con ‘inuum from "inside" to "outeide.Dominant Seventh Chords 7 (c EG Bb) Pentatonie scales are perhaps most useful when played over a doninant Teh sonority. A dominant 7th implies motion. It wants to resolve. In addition, any nunber of altered upper extensions can be applied to the basic dominant 7eh sonority without destroying its tendency to resclve. When pentatonic scales are played above this sonority, upper extensions are enpha~ Sized. Thus, it Se possible for the improviser to change the color of the baste dominant 7eh sound by his choice of scale. For example, ebove a 0” chord the tnproviser might play a scale built on the root. (Ex. 6a) This scale 4s compatible with a C7, C®, or C!? chord, and those sonorities will, be implied. If he chooses to'play a scale built on the >3 (Ex. 6b), a O79 chord will be implied, He nay elect to "eake Lt,gyt™ even further and play aiscale butle on the 85. This scale implies a C7B3, C/+ or C#! chord. (ex. 66) Example 6a o be c ? bee The above can be both a help and a hindrance to the perforner. When comping behind soloists, most advanced keyboard players add upper extensions to their voicings. The upper extensions added by the keyboazd player should have a great effect on the soloist's choice of scales. For this reason the soloist mist listen intently, and, {f it ie necessary, ask the planist what extensions he {a using. ‘This 1s not to say that the planist should dictate She direceton of the iupruvisutiou. Interaction between pianist and soloist Ss essential. As group plays together they begin to knoe each other's style, and verbal communication concerning votcings is greatly reduced. For solos’in a big band situation, the sane problen existe.) The soloist may see 20? chord, but the background at that soment ay be CHf2, He vill sound correct playing a pentatonic built on the root, but he will sound better Playing & pentatonic buile on the D5. In the scales of figure 1 (page 3), numbers 1, 4, and 11 contain three chord tones of aC? chord, nunbera 6, 8, and 9 contain two chord tones, num bers 2,3, 5, 7, snd 10 contain one chord tone, and nunber 17 contains ‘no chord tone Wen placed in a continuum from inside to outside che result is a follows: outside 25-10. Therefore to apply pentatonic scales in @ continuum from "inside" to "outside" to a dominant 7th sonority, butld Mode I on the following sczle degrees. 12TT 0... CC root 7, 8, ld ara 79 eh Meh c7sus sen 783, o74, 7 oP een che . | tnd 7 sen pada 6) ana ors ot ont. een 7%, re om Bxamples: Most Inside Pentatonte for Most Outside for BY 7 Most Inside Pentatonic for E7 Most Outside Fentatonic fot_p” } In the above continuum two alterations have been made. The scale butt on the b§ has been elevated in position simply because it encoapasses upper extensions chat sound good vhen played over a dominant seventh. The scale built on the Sth, even though {twas analyzed as having two chord tones, has Been “denoted.” ‘The presence of a major 7ch automatically makes 1t sound nore "outside" eee eeeminor Seventh Chords cai? (c 5? 6 BP (DF A)) ‘The atnor seventh ss probably the easiest sonority with which £0 use pentatonies. This chord sounds exceptionally normal and stable with the Ratural Sthvand Lith, The 13th Je an only slightly less "noresl” extension. Hence the normal chord notes include ly 3, 5, 7, 9, 11, (13). For this Feason the Sth and Lith were included a8 basic chotd tones in the following analyzation, No. of chord tones in a Cnill Scale nunber from figure 1 5 chord tones an 4 chord tones 68 3 chord tones a2 2 chord cones 8 1 chord tone 3,42 no chord tones 5, 10 10a Apply Mode I pentatonic scales to minor 7th sonorities from "inside" to "outside" on the folloving scale degrees. Iostde Seale Degree eanplot Para ‘Most Inside Pentatonic for 8°=i? . eh fen Poem Pena Most Outside Pentatonic for Boni? seh t sen ren vost Taaide Fentatonte for ti? 2nd ) ay aa sed outside Moat Outside Pentatente for Eat? A quick glance at this continuus should tell the student that pente tonics on the flat side of the cirele of Sethe will sound sore "inside."Major Seventh Chords cnaj?, cA? (C BC B (D FH)] Major seventh chords are chords of rest. They do not want to resolve. ‘Te upper extensions noraally ‘chord type are the 9th, Mleh, and the 13th. For this base’ chord tones in the following analyzation, io. of chord tones in a Cnaj%11 scale number from figure 1 4 chord tones 381 3 chord tones 5, 6) 20, 12 2 chord tones 4,2 1 chord tone ne no chord tones 2=— oo 43 Apply Mode T pentatonte scales to Major 7th sonorities from "inside" to “outside” on the folloving scale degrees, Inside outside Seale Degree Most Inside Fentatonic for Hay Most Outside for HA? Most Inside Pentatonte for EA? babde Most Outside Pentatonic for EATaa As previously stated, any pentatonic can be used above a given sonority provided the ear is the final Judge. Outside pentatonics are bes: reserved For use in sequences, turnarounds, and as 2 means to create tension in modal playing. In addition, they are inherently better over dominant 7th, major Jen, and minor 7eh sonorities. The following is a list of pentatonics that sound particularly good over given sonorities. Some are more outside than others. Suggested Mole 1 penta chord Type Symbol Spelling tonies built on the : Following scale degrees Dominant 7th as cece root, 3, 5, 7 Dominant 7th #9 cts cece of s, Ps, Pe, Pe Dominant 7th °9 crs ceca oP ba, Ps, 5 Dominant seh fur | c9 | cece pv root, 2, °5 Dom 7th Aug Sth bs, Dom 7th sus 7, 4, Dontnant 13th roots Major Teh root, 2, 5,6 Major 72h #21 25,67 Minor 7th 3,7, 4, 6 6 Malt dim. 7eh None suitable (see Dim 7th Chapter 1)= os oo [._a oo oo on aa (CHAPTER TI APPLICATION OF PENTATONIC SCALES TO CHORD PROGRESSTONS Modal or Static Harmony Currently in vogue are Jazz compositions based solely, or in part, on fone chord. These compositions have their roots in latin and rock msi, ‘and sost frequently, though certainly not alvays, have a funk or soul character. Soloing on a tune with Limited chord movement poses a specific problen-rcreating end maintaining interest. Let us say ve have a latin/rock fune 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, cireunetance can handle the four notes in the chord (e gb d). If he hgs sone chord/acale background he may even play the Dorian nade on E (e, f, gy 2, By ch, a). The problem te what to do for the rest of the solo! One solution is to use pentatonic scales that slip in and out of the harsoay that the rhythm section is playing. As discussed in the previous chapter, the most inside pentatonic for a minor 7th chord {# one built on the 3 scale degree. In E minor that seale would be the C pentatonic. Exanple 7 begins by using the G pentatonic (pde II with g omitted). At point "a" the solo line uses Yode II of the AP pentatonic. The resolution Eekes place at point "b". The solo line momentarily leaves the key of Evminor, but it gracefully returns, or resolves. In this example the most inside pentatonic 1s used at che outset, The Listener's reaction is that "Bresyubug de fine--T smdecstand this: The most outetde scale 4a thea used (refer to inside/outside continuum for min. 7th chords, page 11). The Listener's amediate reaction ie, "What's going on? Is he playing wrong notes?" When the resolution occurs in the next measure, che listener seya to hinself, "Oh, nov T see what he wat doing.” The soloist hi created interest. (Ex. 7) Brample 7 <> Soloser asme Example 8 {lustrates the sane principle but at greater Length. example was taken. fron @ unison saxophone Line in Tortilla Mana, a original Sig band composition by the author. When it vas vritten there wes no con~ Schovs effort eo use pentatonic scales. Though it 1s a written soli it i hot unlike an improvised solo. prample 6 atin Rock d= 120 © Pustowig ———_—_——, -—# feitonie —— Baar — 0 Pavtdtonie —___-y- 6 ——, pth Bs — — © Pastatowie ——___—,_— @) fastens ————— jo Ercape Tone Une Wea Laue NegiThere are no concrete rules for using pentatonics in modal playing, Just some basic concepts Don't use pentatonics exclusively. Mix them with ather harmonic naterial. 2. Use pentatonies by planing ‘2 meane to create harmonic tension. Start inside. Take it out. Bring it back smoothly and logteally. Outside scales will sound vrong if not surrounded sy inside seales. Ase pentatonics in sequences. 5. Experiment with pentatonice one half step sbove and below the baste tonality. a7blues Uaing pentatonies on tunes that have changes 1s no different than applying conventional scales or nodes to changes. The performer simply ust learn which pentatonies go best with various chord types. AS a feans of study the etudent should begin with a simple blues progression ‘and write dn the scales he wishes to play in each measure. Example 9 {llstrates this procedure. In this example the nore "inside" scale vere chosen. Example 9 q 7 7 ¢ Gm? OT F q De? Q q once the scales have been selected the student should set the eetronone at a confortable tempo and begin inprovising using those fetes. Example 10 is a postible realization. Note that this example fe enctrely pentatonic. Ae stated elseuhere in this book, exclusive lise of pentatonies for harmonic material is not recommended, How ever, tn the initial practice sessions the student should Limit him Self to pentatonics. After they are under the fingers he cam then begin to integrate them with other harmonic material. 18as Example 10 ” oa — bw, C2 jon as the student feels he has the basic blues uder control, the yp should be experimentation with altered blues. There are many vari~ a the twelve-bar blues. All of these cose under the general heading Of eltered blues, Exanple 11 is one, set of altered blues changes. The scales ide" than the ones of Example 10. jet of scales could have been just as ¢7 F e Gwi7? 0720 Example 12 illustrates one possible solo from the scales given in Example 11, Note the use of the >5 pentatonic in measures 6, 11, and 12, Like Example 10, Exanple 12 4s entirely pentatonic. Example 12 C7 woserate suing 7 q7 ee + eye + céunit} Quin - hee Example 13 is a saxophone soli in Skuffle, an original big band com . position by the author. Only the lead sax (soprano) is given. Im this Rfasple pentarontes are mixed with other conventional scales and nodes. The solt begins on che 4th bar of the blues, after a short LBad-in by the band. Only: pentatonics have been analyzed. Note the use of pentatonics fa'the earueround in bare 11-12, and the half step planing in bars 9-10. i i i i i i i i i ! i i i i i 1Puomle 23. guste o n Fast Shuffle Te er zo Gite 07th F TAS oe FB Bas © 1974 nteston Maske, Used by permissson ae eeT eeow 23 ‘Assignments 1. Study the chart on page 16. 2, Study Examples 9 and 11. Figure out hov the scales vere selected and where they fit in thelr respective inside/outeide continuus, 3. Play the scales in Examples 9 and 11 on the piano while comping with the Ieft hand. 4, Play all the examples on your instrusent. 5. wu 4 metronoue for a rhythm section. 6. Buy Janie Aebersold's A Mow Approach to Jazz Improvisation Vol I and Nothin’ Bue Blues Vol. 2. Apply your pentatonic knowledge to his records. 7. Try to slip in and out of the baste tonality vhile you are playing. Don't stay “outside” too long. In blues you can go quite far afield ‘a8 Tong as you Me the basic guideposts (the I chor! bar 1, the IV chord ber 5, the I chord bar 7, the V chord bar 9, the I chord bar 11). 8. Always continue to practice scales and nodes. Know hov to apply then to chords. See Janie Aebersold's books if you don’: know for sure. + Remember you can't play hip “outside” 1¢ you can't play hip "inside."HAPTER IV [ALTERED PENTATONICS Ie As beyond the scope of this book to discuss in depth the use of altered pentatonic scales. Hovever, sone mention must be msde of their application to Jaze improvisation. If an’ improviser plays a D,pentatonic over a C7 chord, only one note of that scale will clash--the BW. If the intention is to play outside, the D pentatonic vith no alterations ts perfectly all right. However, if it is the inproviser's purpose to keep, all the notes in the scale compatible with chord tones, he must alter the BY by lovering it one half step (Ex. 14). sxanple 14 ? ° 9 3m Bow 9 3 mash For domtnant seventh chords, six eltered pentatonics are particularly good, Bulld a pentatonic with # lovered fifth note on the 7 and 6 scale degree, of build a pestatonte with # lovered second note on the root, °3, dsior 6. (Ex. 15) ? 4CT ee 2s ‘Altered pentatontes are perhaps most useful vhen played against dimin- Ashed seventh chords, since every pentatonic scale in ite unaltered form clashes fn one way of another with that chord. By constructing. an altered pentatonic one step above aay diminished chord menber anc lowering the sec~ fond note of the scale, four altered pentatonice result, shich are conpat ble with the dimintshed seventh sonority. (Ex. 16) Example 16 or ‘The altered pentatonte exercises that appear on page 77 of this book fare meant as introductory exercises. The student interested in pursuing thio cubjece should experiment by taktug muy poutstunte evale and losers ing or raising any one of ite chord nenbers one half step. Those seales should then be applied to various chord types, With repeited experinenta tion the student should be able to apply altered pentatonics tos variety of chord typeCHAPTER V IMPROVISED SOLOS (transcribed by BLLL Dobbins) ‘The excerpts of improvised solos that appear in this chapter were transcribed by Bil] Dobbins and are used as study materials for the course Wow Concepts in Jaze Theoty at the Eastman School of Music. Only penta~ Konte scalés vere analysed by the author, and excerpts vere chosen that Contatned several examples. Tt should therefore not be inferred that the Sepresented arciate always use pentatonic seales with the frequency shown in the examples. In measure 16 of Joe Farrell's solo on Moon Gerns note the use of a Db pentatonie over an Fai chord, That outside sounding melocie Line re- solves in the folloving measure when the Boat chord is sounded in the thythm section. In measure 20 Joe plays a pentatonic one half step avay From the chord that the thycha section 18 playing. In the following nea ure he resolves the Line to a DP altered pentatonic. Those two measures Elearly demonstrate one method of effectively handling outside pentatonic Scales, “A favorite melodic device of Joe Farrell's is pentatonics in Sequence.” Measures 26-30 and 42-44 are examples. One way to change the Color of an inprovised line over relatively slow harnonie rhytha {3 to String pentatonic scales together. Measures 54 to the end demonstrate this. mere is no ptano comping for Mayne Shorter's solo on Ginger Bread oy. ‘This allovs for greater harmonic freedom by Shorter, and the dialogue between the saxophone and the bags becomes in effect two-part counterpoint. Wiehout the chords being sounded beneath him, Shorter has the freedom to Stretch the chenges farther than noraal by using pentatonics that are con- Siderably outside of the basic harmony. Note the use of one pentatonte that is played over two changes (Reaaures 18-19 and 22-75). Joe Henderson's solo on No Me Esqueca clearly denonstra:es in nea~ sure 16 the use of an altered pentatonic. Tn this solo most of the scales sed area Pl or PS above the root of the chord (sce seasures 3, 9, 11, 13, and 1h). In Nateix Chick Corea frequently uses pentatonics in sequence. He uses altered pentatonice in measures 9-11, chronatically descending penta Eonics in messures 19-20, and different modes of the sane scale in measures 15-16 (quasi sequence). 26rT °° ae eee ee oo 27 Keith Jarrett in the excerpt of Forest Flover uses one scale (a 3» pentatonic) over three changes (measures 3-5). Note the smooth resolu- tion of the DP and GP 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 sore Linear texture in measure 14. That Eexture is continued into the firet fe measures of the next chorus (not show). Mand Jive 418 en up tempo free piece. For that reason no changes have been given, In this solo Herbie Hancock coubines the more jagged texture and pentatonic scales with more Linest selodies. Tn mea ures 26-37 he Liatts his solo to basically three pentatonic scales whose Toots are within an interval of an M2. Tt mst be remembered that each artist has developed his improvise tional devices in his omm personal way. There are many ways to approach faubject, and the author de not Amplying that the artises represented in this chapter think of pentatonic scales in the exact mmer outlined in this book. What should be evident to the resder 1s that pentatonic scales and related fourth and fifth intervals are an integral part of many well Know Jazz musicians! haraonic vocsbulary; and by studying this book and practicing the exercises the student can develop an isprovisationsl tech~ Bique that de 4n keeping with the way players are playing today.NN * a ees Boni Mo et tt —— pb? — eo ooVQ pe at ; Emi rae aureeeny Tb oot 4 Dt Cc BP A, D7 c 18 a Paste Tone, Fini eee eee eee eee-E — ce we a = rF— 3 . —F b—§ 4, BS, ob”eee ee a WAYNE SHORTER’S Ieprovieed sole on ‘inser Bread Boye Up Tempo J=.120 te rel GA bg ~ a Ff? Men a? 67 * composed by Simm Heath ee ee eePassine TomeSEE ———— 2 JOE HENDERSON'S Meni Fase Lan Fees 4 A a ob. ee ——————— » RES Abs = Loi? F? | BB? Boni? £47 | Aba? os = ve Lower weet! gn7 ett ee ee eee & -—G =Eee u CHICK COREA'S (prams =z —_— Cs Fh ’ ti oS Seig gine)aa | 36 suas of EIT JARRETT 'S [tre Tal SEM hans Cai? -_b ae oo HERBIE HANCOCK'S » deo Fe =e ———— peg > He "ke fe hk Gas eds Gn * coapost By Tony MELLGaneExeRcrses Ie Se virtually tnpossible, and to reality unnecessary, for the student to menorize the 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 oF sixty scales. ‘Te Diatonic Exercises should be practiced firet. After they are mas: tered the student should have Little difficulty applying then to improvisa ton. The student ir urged to study the chart on page 1s. If he 8 faniisar with three or four pentatontcs that sound good and best convey the hateony of the chord, the more outside scales will take care of themselves. As he de practicing, the student should constently renind hinself how the foxerctee he is playing can be applied to chords. For example, if he is Playing Ling i of nuber 1 fn the Dlatonte Beerciee, he shgcll be qyare Ehat that acale could be played with effectiveness over a C7 Bsus, Cous, Cnaj?, Bbmaj/#l1, ant’, and a Bout’. ‘The student will find that the Diatonfe Exercises lay vell on most in- struments. Since exercises 3-25 are given in the key of C, they must De transposed ¢0 all keys Most intrunentalists who are serious about music have, by the time they are seniors in high school or entering freshmen in college, a technique that enables thea to play major and ninor scales and ecales in thirda with Little difficulty. The etude books with which they are faniiter endlessly Geill on scales and chords. Every student knows that acales ia thirds are relatively easy when compared to scales in fourths. The thirds are easter Ssinly because they have been practiced sore. Many of the Chromatic Exer= Sines in this book are based on fourths, since bY skipping som notes in a pentatonic scale fourths result. It 1s therefore probable that sone dif~ Ficulty may be at first encountered {n playing some of the exercises. ‘The Chromatic Exercises are not meant as "hot licks.” Te 49 highly unlikely that anyone of these exercises would be played in its entirety during the improvised solo. Hovever, if as many exercises as possible ars comitted eo memory, the student will have a reserve source of material to drav on consciously or unconsciously during the course of an inprovisel solo. Chord changes have been provided for the II-V-I, Turnaround, and Circle of Fifths exercises.” Studente unfaniliar with these elements in Jaze should consult the David Baker books on these subjects. AL of the exeretses should be practiced using different articula- tions and in a variety of tempi. The exercises are notated in a range fnost €4eeing the ssxophone and other treble clef woodwinds. Other {n= Strunentalises aust make range adjustuents. Some difficulty my at first bbe encountered in transposition, but experience has shown that the pat= terns will renain at the Fingertips longer if they ere vorked out without reading then. 38DIATONIC EXERCISES aa ae oe eee eeeMone 11 Move IIL Nove IV Nove 11 Move III Move IV e_ Taauspose Exercises 3-25 To ALL Keys.Sa= atte thee, + ——# pth settee ae ee a ae ae ae ee eTc 3 Ab F MODE MODE MODE MODE MODE = = nm zx z eb = cbTHe ABOVE 1S A TABLE OF THE SIXTY DIFFERENT PENTATONIC SZALES. AS PREVIOUSLY STATED, IT SHOULD BE THE SERIOUS STUDENT'S GOAL TO BE ABLE TO PLAY FIVE DIFFERENT PENTATONIC SCALES ON EACH CHROMATIC SCALE DEGREE. To ACHIEVE THIS GOAL ALL OF THE SCALES CONTAINED IN THIS TABLE SHOULD BE appLieD To exercises 1-25, ete ee —I CHROMATIC. EXERCISES rl 1 ee fea a saeHe es 1 Trauspose Exercises 15 AnD 16 To ALL SCALE DEGREES.be Travsrose Exenctse 43 To ALL SCALE DEGREES= feet = = soda $ thelet hey bpEXERCISES ON IT = V = IF Dn” a” Ca" nD co" Wa a Co” o Ca" Ww tw o Cal Duct c Co" Dn? o" Ca" Dn! Qt C07 7 TransPose THESE EXERCISES TO ALL KEYS,ne EXERCISES ON TURNAROUNDS* a ey ee e e7 an bia Ca” oe pee yr Om cat v eM 4 po Co” Q ep? er pha Co? q ee? Abr oe Cat +. com ‘ie SEE * TRANSPOSE THESE EXERCISES TO ALL KEYS,arth) ah h wr anEXERCISES ON THE CIRCLE OF FIFTHSEXERCISES ON ALTERED PENTATONICS* | AvreneD THIRD NOTE | * TRANSPOSE THESE EXERCISES TO ALL KEYS.7” ALTERED SECOND NOTE tl ee Ao_o os oe oe ALTERED FIFTH NOTEsour THE AUTHOR Mr. Ricker fe currently an Assistant Professor of Clarinet fat the Eastnan School of Music, where in addition to teaching, clarinet and saxophone, he teaches Jaze inprovisation end 1e, coordinator of che Noodwind Doublere institute. Hie many articles on Jazz and studio teaching have appeared in Woodwind World, The Instrumentalist, Music Journal, and The International Musician. He te active a2 a composer/perfermer in bboth the classical and the Jazz fields. Hts published verks tn- Elude compositions for jazz ensenble, studio orchestra, wind ‘ensemble, and clarinet duets. Mr. Ricker has appeared aa soloist fon several oceations with the Rochester Philharmonie Orchestra. Me currently plays third clarinet, bass clarinet, and sasophone wich that organization. Ip che field of jazz he has recorded and performed with Chuck Mangione, and perforned with Buddy Bich on the NET special "Rich at the op.” "in 1915 he was a recipient of 4 National Endowment for the Arts Jaz2/Folk/Ethoie Travel-Study Fellowship Grant to study saxophone and iuprovisation with Joe Ferrell. Mr. Ricker holds a Bachelor of Muske Educstion Degree ‘from the University of Denver, @ Master of Music in Wooddinds from Michigan State University, anda Doctor of Musical Ares Degree in Music Education from the Eastman School. 80Jazz Instruction Books from CPP/Belwin PATTERNS FOR JAZZ PATTERNS FOR JAZZ stands as a monument among Jazz educational materials. This performance orestog text Pertinent explanations are convenient n= serted throughout the book to give greater carly ta the pplication of over 400 patterns bull on chords and Scales. The patterns are organized fom simple (major triads) to Intermediate (I-V7) to complex pattrns (Bolyehords, clan augmented scales) Splral-bound ‘Treble Clt Instruments (S31) Bass Ciel Instrumente (S872) = * TECHNIQUE DEVELOPMENT IN FOURTHS FOR JAZZ IMPROVISATION “his book nthe Ramon Ricker Jazz Improvisation Series is forthe edvanced player. The interval ola fourh is an Integra pat ofjazz improvisation andthe sity pages of Feading and exercises will gle the musician a good Understanding of heinterval uses, Tha enous student should use this book as a supplement a aid and expand hisharmonicané meloaic vocabulary. When fours are mastered, tney can be applied directly Yo azz improv isaton and ukimataly increase musicianship, sain) = =