A Practical Method of Playing Changes

A Practical Method of Playing Changes  by Wayne Escoffery Wayne Wayne Escoffery is a Rico Rico Artist and endorses RS Berkeley Saxophones

www.escofferymusic.com [email protected]

© 2012 ESCOFFERYMUSIC

Table of Contents About the author & Introduction How to use use this book  Scale exercises and patterns patterns for daily dail y warm-up warm-up Phrases to be transposed in ALL 12 KEYS Basic Be bop Scale Introdu Introduction ction and and Practice  Practice Advanced Bebop Scale Techniques Playing over a Diminished Chord using its four related Dominant Chords Pivoting Combining Com bining Pivoting with the the Advanced Adva nced Bebop Bebo p Scale Sc ale Techniques Pivoting with other scales

 About the author  author  Since moving to New York City in 2000, Grammy Award winning tenor  saxophonist Wayn Waynee Escoffery has becom beco me one of the Jazz Ja zz world’s worl d’s most talent tale nted ed rising stars and in-demand sidemen. He has recorded eight studio dates as a leader and been on numerous recordings as a sideman. He began his  professional career caree r touring touring and recording with The The Eric Eric Reed Septet. Since Since then he has been a member of many groups including The Mingus Big Band, Orchestra and Dynasty Dynasty,, Ron Carter ’s Great Grea t Bigband, Ben Riley’ Rile y’ss Monk Legacy Legacy Septet, Abdullah Abdull ah Ibrahim’s Ibrahim’s Akaya and Jazz J azz At Lincoln Lincoln Center’s Center ’s “Music of the Masters” consisting consis ting of two two groups of musi musicia cians ns hand hand picked pi cked by Wyn Wynton ton Marsalis to perform the music of Jazz legends Dexter Gordon and Miles Davis. Davis . In 2006 Wayne ayne Escoffery Es coffery secured sec ured one of o f the the most coveted cove ted gigs in i n jazz: a frontline position in Tom Harrell’s working quintet. He is currently a member  of the quintet and to date has recorded five CDs with the group and co produced four four of Harrell’s releases: rele ases: Prana  Prana Dance, Roman Nights Nights,, Time Time of the Sun and Sun and No.  No. 5. In 5. In addition to being a part of some of the last true “apprenticeship” opportunities of our era, Wayne leads his own quintet featuring five year Miles Davis band veteran Adam Holzman, as well as a collaborative group with Steely Dan vocalist Carolyn Leonhart. The vast array of contributions Wayn Waynee has made to the Jazz world wor ld in such a short s hort time time leads l eads seasoned industry industry professionals like l ike Niel Tesser to write wri te "Pay special  attention to tenor man Wayne Escoffery, whose rapid development - from album to album (and (and seemingly solo to solo) - has given us a jazz hero for  the coming decade.”

Introduction The inspiration for writing this book came to me a few years ago after  doing a masterclass for some saxophone students while touring in Portugal ith bassist Rufus Rufus Reid. Before the masterclas masterclass, s, I wrote w rote down dow n several patterns patterns and exercises for developing technical fluency on the horn and for playing over  chord chan c hanges. ges. Since Si nce then I have have made a point p oint of docum doc umentin enting g exercises exercis es and ideas that I think will both help students, and make my lessons run more efficiently. The long-term goal has always been to incorporate these documents into a book for my students or anyone needing clear and practical instruction on how to play through chord changes. I hope this book provides the beginning and intermediate student with a practical method for improvising over common chords and chord progressions, as well as a path to gaining fluency in all keys. While I believe this book will help the beginning and intermediate student a great deal, I have found that there are many devices discussed here that even some of the most advanced players are not aware of. Most of these ideas were introduced to me by the masters of this music we call Jazz like Jackie McLean, Barry Harris, George Coleman, Jimmy Heath, Clark Terry, Benny Golson and many others whom I encountered as a student at the Hartt School and The Thelonious Monk Institute. What they taught me has proven very useful both as a player and a teacher. Please be aware that there are many different ways to approach playing over chord changes, and the methods discussed here are by no means the only way only way to do so. I’m presenting these methods because I  believe  belie ve they they are not not overly techn technical ical an a nd thu thus very accessible, accessi ble, practical prac tical and relatively easy to implement. With a reasonable amount of dedicated practice, these methods can be mastered and playing over commonly used chords and chord progressions will fast become second nature to the aspiring Jazz artist.

How to to use this book  For the first two sections of this book (Scale exercises and patterns or daily warm-up, warm-up, and  and Phrases  Phrases to be transposed transpos ed in ALL ALL 12 KEYS) KEYS) I  I suggest  practicing one or two two exercises exercise s from each section. section. The The individual’s comfort comfort level in transposing each idea into all 12 keys will determine how many of  these ideas he or she explores daily. Another method is to take one pattern or   phrase from these these sections and transpose transpose them them to just just a few few keys keys each day. day. Whichever approach you choose, remember that everything MUST be put into 12 keys in order for it to be a useful tool. For the Sonny Stitt solo transcription (included in the hardcopy of this book only) it only) it would be best to play through the entire solo as slowly as needed. The idea is to play everything correctly, regardless of how slow you need to take it at first. Then gradually increase the tempo with the ultimate goal of playing pl aying along alo ng with wi th the the origin ori ginal al recordi rec ording ng.. You You may may need to work w ork on the 16th note passages of the transcription at an even slower tempo than the rest of the solo, and that is fine. Simply isolate different sections of theses 16th note  passages and work on each one one separately unt until il it’ i t’ss up to to speed. Then incorporate them back into the solo later. For the A the Advanced dvanced Bebop Scale Scal e Techniques Techniques section,  section, it is necessary necessar y to to have reached a reasonable reas onable comfort comfort level with w ith the the basic Bebop Scale Scal e first. It is highly recommended that you spend ample time working in the Basic the Basic Bebop Scale Introduction and Practice se Practice section ction of this book b ook before moving ovi ng on to the the the  Playing over a dvanced Bebop Scale Techniques section, Techniques section, as well as the Playing  Diminished Chord using its it s four related relate d Dominant Chords Chords section.  section. The same is true of the Combining Pivoting with the Advanced Bebop Scale Techniques and the Pivoti the Pivoting ng with other othe r scales scale s sections in that, it is necessary to have reached a reasonable re asonable comfort comfort level with Pivoti with Pivoting  ng  before  before combining it with other techniques.

Be strict with yourself but also be patient. When 12 keying an idea, do not move on to the next key until you have played it satisfactorily in the the current c urrent key. key. I generally general ly play pl ay things things three three times times correc cor rectly tly in one key before moving on. It is also a good idea to practice the phrases and patters that you learn in this book along with a “band in the box” type of play along CD or  mp3. There are several play-a-longs on the market that provide common tunes, isolated isol ated chord progressions and sin si ngle chord vamps. vamps. They are a perfect pe rfect tool to use for hearing what these new ideas sound like in context, and also great for   practicing the the application appli cation of the the Bebop Scale and Pivoting Pivoting techniqu techniques es discussed in this book.

Good luck and have fun!

Scale exercises and patterns for daily warm-up, to be done in all 12 Keys. K eys. Upper and Lower Neighbor Upper and Lower Neighbor: The process surrounding a note by playing either  the chromatic or diatonic note above and below a note, before actually playing the targeted note. The most common use of the Upper and Lower Neighbor  is  is to target a Chord Chord Tone, but this this technique technique can c an also als o be b e used to target both nonnonchord tones and altered notes of a given chord. Practice the following exercise first thinking of each target note (in this case each quarter note) as the root, then try it thinking of each target note (each quarter note) as other notes in a chord. For example, you can think of the F as the root of F Major, then the 3 rd of Db Major, then the 5th of Bb7, then the b7th of G7, or even the #9 th of D7#9.

Upper and Lower Lower Neighbor Exercise

C Major Scale

Ascending and descending Seventh Chord Mode exercise beginning on each scale degree of the the C Major Scale. Scale .

Ascending and descending C Major Scale exercise arpeggiating each Seventh Chord Mode, connected by diatonic scale degrees.

Alternating ascending and descending diatonic 3rds exercise for C Major 

C Melodic Minor Scale (Play the scale the same descending as ascending)

Ascending and descending Seventh Chord Mode exercise beginning on each scale degree of the the C Melodic Minor Scale.

Ascending and descending C Melodic Minor Scale exercise arpeggiating each Seventh Chord Mode, connected by diatonic scale degrees.

Alternating ascending and descending diatonic 3rds exercise for C Melodic Minor 

C Whole Half Diminished Scale

Ascending and descending Seventh Chord Mode exercise beginning on each scale degree of the C Diminished Scale.

Ascending and descending C Diminished Scale exercise arpeggiating each Seventh Chord Mode, connected by diatonic scale degrees.

Phrases to be transposed in ALL 12 KEYS

Learing the Language of this music we call Jazz  call Jazz  While this and many other method books discuss devises for playing over  chord changes and progressions, the most important thing one needs to do is learn the language of language of this music we call Jazz. call Jazz. The  The term language (in language (in this context) was introduced to me by my mentor Jackie McLean, and equates musical notes, licks lic ks and and phrases, to letters, words wor ds and phrases of a spoken language. In order to learn a spoken language one needs an arsenal of key ords and phrases commonly used in that language, in addition to an understanding of its grammatical rules. The same is true of the Jazz the Jazz language lan guage in that, it is essential to transcribe solos and phrases from your favorite musicians so as to accumulate an arsenal of material that can be applied to common chords and chord progressions. This process of transcribing  and  and 12 keying  is  is very useful for ear training and developing proficiency in all keys. It also fosters a natural understanding of phrasing, rhythm and harmony that when coupled with basic Jazz  basic Jazz  theory,  theory, rules of harmony and various improvisational devices, will lead to a real fluency in the Jazz the Jazz language. lan guage. The following section gives some common phrases for use over Major over Major chords, c hords, the Major the Major ii-V ii- V-I  and Minor  and Minor ii(half-di i i(half-dim)-V(alt)-i m)-V(alt)-i chord  chord progressions. p rogressions. The num numbers ber s under each e ach note denote the degree of each eac h scale scal e that the the note com co mes from. Analyzing each phrase in this way will make it easier for you to transpose them into other keys. In a few cases I have mentioned the scales that are being used.

EVERYTHING IS TO BE TRANSPOSED INTO ALL 12 KEYS!

 Major Chord Phrase Phrasess

Below are the same two phrases transposed up a perfect fourth.

 Major ii-V7-I ii-V7-I Phrases Phrases

Below are the same two phrases transposed up a perfect fourth.

Transpose the above two phrases into all the other keys on your own and write them down if you need to.

 Minor ii-V7(alt) ii-V7(alt) - i Phrases Phrases

Below are the same two phrases transposed up a fourth.

Transpose the above two phrases into all the other keys on your own and write them down if you need to.

The ii-V7 progression moving in descending whole steps (two beats for each chord ) is a very common chord progression and can be found in many commonly played Bebop played Bebop and  and Har  Hardbop dbop tunes  tunes like Confirmation, Blues For  lice, All Gods Children Got Rhythm, Seven Steps To Heaven and Heaven and others. Below is a phrase that is commonly used over this progression.

ii-V7-I ii-V7-I phrase descending in whole w hole steps

Below are a variety of phrases phrases for use use over a ii-V ii -V7-I 7-I progression wherein the the ii and V7 V7 chords are also played for only two beats a piece. Practice Pr actice this exercise as written, then pick out the ii-V7-I phrases that you like, analyze them (by assigning numerical degrees to the notes) and transpose them into all 12 keys. As always, write them down if you need to but it is also good to practice transposing transposi ng in your your head. Various ari ous ii-V ii -V-I -I phrases phras es ascending asc ending in ½ steps

Basic Bebop Scale Introduction and Practice The Bebop Scale: There There are techn technically ical ly five different different Bebop Scales: Scales : The Major Bebop Scale, The Dominant Bebop Scale, The Dorian Bebop Scale, The Melodic Minor  ebop Scale and Scale and The Harmonic Minor Bebop Scale. A Scale. A Bebop  Bebop Scale is Scale is a scale ith an extra passing note added so that when the scale is played beginning on a chord tone and on the beat (beats one, two, three and four), all the other  chord tones will also lay on the beat. The use of the Bebop the  Bebop Scales in Scales  in this this way w ay creates good voice voi ce leading l eading and and can help facilitat facili tatee the creation of lines and  phrases similar to those those heard by many many of our our favorite accomplished accomplished past and  present day musicians. sici ans.

In my performing experience as well as through my formal private study with Barry Harris, George Coleman, Jackie McLean and others, I have found that the most useful of these Bebop these Bebop Scales is Scales  is the Major, the Major, Melodic Minor Mi nor,, and  particularly the the Dominant Bebop Scale which Scale which can be used used over a variety vari ety of  different chord changes. Mastery of the Bebop Scale and its usage is an invaluable tool for playing over chord changes.  Learn your Major Maj or,, Minor and an d Dominant Bebop scales in i n all 12 keys. ke ys.  Practice  Practic e playing playi ng them ascending ascendi ng and descending descendi ng from each chord chord tone.

B asic C Major B ebop Scale S cale Practice Practice CMaj6

B asic C Melodic Melodic Minor Bebop Scale Practice Cmin6

Basic C Dominant Bebop Scale Practice C7

The following are some places where you can use the C Dominant Bebop Scale:

Advanced Bebop B ebop Scale Tec Techni hniques ques In this this section s ection we will wi ll discuss d iscuss wh w hat I call A call  Advanced dvanced Bebop Techniques Techniques.. These “techn “techniques” are a series ser ies of rules rules wherein specific ch c hromatics romatics are added to the the descending Dominant descending Dominant Bebop Scale when Scale when starting on the beat (beats one, two, three or four). For the purpose of using these A these Advanced dvanced Bebop Scale Scal e Techniques, the Techniques, the terms Chord Tone and Tone and Non-Chor  Non-Chord d Tone Tone will  will generally refer to the chord tones or non-chord tones of the relevant dominant chord, unless otherwi otherwise se stat s tated. ed. Chord Tones – The root, third, fifth and seventh of a chord. The Chord Tones of a chord can be found by starting on the root and playing every other note of  the scale that corresponds to that chord. The scale that corresponds to C7 is the C Mixolydian Scale (which is the fifth mode of the F major scale). Every other  note of the C Mixolydian Scale is C, E, G and Bb.

C7 chord tones

Chord Tone Rule When playing down the Dominant the Dominant Bebop Scale starting Scale starting on the beat and on a chord tone, add tone, add chromatics between the 3rd and the root.

How to practice it: Play down the Bebop scale using the Chord Tone Tone Rule starting Rule starting from each chord tone, 1-3-5 and b7. The examples below begin on beat one but can also  be applied appli ed beginn beginning on beats two, three three and four four..

on-Chord Tones - Notes that do not belong to a specific chord. For the  purpose of th these A ese Advanced dvanced Bebop Techniques Techniques the  the non-chord tones referred tones referred to are diatonic. This means that the non-chord tones are tones are not a part of the basic chord construction but are diatonic notes within the corresponding scale. The non-chord tones of tones of C7 are D, F and A.

C7 non-chord tones (diatonic)

Non-Chord Tone Rule Ru le When playing down the Dominant the Dominant Bebop Scale on Scale on the beat and starting on a non-chord tone add tone add chromatics between the 9th (or 2nd) and the flat 7 th, then switch to the Chord Tone Rule.

How to practice it:

Play down the Bebop scale using the Non-Chor the Non-Chord d Tone Tone Rule starting Rule starting from each non-chord tone. All examples below will begin on beat one but can also be applied beginning on beats two, three and four.

The following examples use the Chord Tone Rule and Rule and the Non-Chor the Non-Chord d Tone Tone  Rules over   Rules over  Major ii-V i i-V-I -I prog pro gressions ressi ons and minor minor ii(h ii( half-dim)-V(alt)-i alf-dim)-V(alt)-i progressions.  Notice  Notice that they they utilize utilize the the use of the the C7 Bebop scale over the follow following ing chords: G-7, C7, E 7 and A7#9b13. ∅

Examples:

Playing over a Diminished Chord using its four related Dominant Chords There are four dominant Bebop Scales that can be used over each diminished chord. These four scales are related to each diminished chord and can be found a half step below or a whole step above a bove each ea ch chord chord tone of the the diminished diminished chord.

The four dominant chords related to the C diminished chord are B7, D7, F7 and Ab7. Notice that that when w hen you you take the the root r oot of each ea ch dominant dominant chord up a half  step, it spells an inversion of the C diminished 7th chord.

The following examples play down each of the four Dominant Bebop Scales related to the C diminished chord. Each example starts on the root of each related rel ated dom d ominant inant chord chord and uses the the Chord Tone Rule.

Exercise combining the Diminished arpeggio with the four fou r related related Dominants Dominan ts

Examples Examples of playing pl aying over a diminished chord, using usin g the four related dominant chords:

Pivoting The pivot is a great tool for facilitating fluid diatonic movement. Combining the Bebop Scale rules with pivoting is a great way to play through changes and common chord progressions with ease.  - The  Pivot  -

pivot is a sudden change in register. It enables one to play an arpeggio but break up the ascending or descending direction of the line by leaping lea ping either down do wn or up the the octave o ctave to the next next note in the the arpe a rpegg ggio. io. In the the following section, the pivots break up 7th chord arpeggios of the Major mode.  NOTE:  NOTE: If a specific speci fic pivot will take take you out of th the range range of your your instru instrum ment, ent, simply play up the arpeggio without  pivoting.  pivoting.

Pivot Preparation Exercise Ascending and descending Seventh Chord Mode Exercise from each scale step of the C Major Scale.

Ascending and descending Seventh Chord Mode Exercise from each scale step of the F Major Scale.

CONTINUE PRACTICING THE ABOVE EXERCISE IN ALL 12 KEYS

Creating the Pivot  Pivoting in the Key of C Major:

Ascending and descending Seventh Chord Mode Exercise from each scale step of the G Mixolydian Scale.

Pivoting each 7th chord arpeggio of the G Mixolydian Scale.

Practice the above Pivot over a  CM7 chord chord as well we ll as th t he following following chords:

Pivoting in the Key of F Major:

Ascending Seventh Chord Mode Exercise from each scale step of the C  ixolydian Scale.

Pivoting each 7th chord arpeggio of the C Mixolydian Scale

Practice the above Pivot over a  FM7 chord as well as the following chords:

Combining Pivoting with The Advanced Bebop Scale Techniqu echni ques es

ii-V-I phrases combining P combining Pivoting  ivoting  with  with The Bebop Scale  Rules: otice in the 1 st  example that it is i s fine to t o still use the G Dominant Dominant Bebop Scale over the C Major Chord creating a delayed resolution.

Minor ii(half-dim)-V(alt)-i progressions phrases combining Pivoti combining Pivoting  ng  with  with The  Bebop Scale Rules

Pivoting with other Scales

C Melodic Minor Scale Ascending Seventh Chord Mode Exercise from each scale step of the C  elodic Minor Scale.

Pivoting each 7th chord arpeggio of the C Melodic Minor Scale

C Harmonic Minor Scale Ascending Seventh Chord Mode Exercise from each scale step of the C  armonic Minor Scale.

Pivoting each 7th chord arpeggio of the C Harmonic Minor Scale

Continue on experim experimenting enting combin combining ing Pivoting   Pivoting  and  and  Bebop Scales Scales to create great lines and phrases!