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Mel Bay Presents JAZZ SAXOPHONE LICKS, PHRASES PATTERNS by Arnie Berle 3 ® Mel Bay Publications, Inc. #4 Industrial Drive Pacific, MO 63069-0066Contents Licks, Phrases and Patterns 4 How to Use This Book 5 Scale Practice Routine 5 Major Chords-Major Triads 7 Licks Based on Major Triads 7 Major 6 Chords 7 Licks Based on the Major 6 Chords 8 Major 7 Chords 8 Licks Based on Major 7 Chords 9 Major 9th Chords 9 Major 9th Licks 10 The C Major 11 and Major 13 Chords 10 Major Type Licks 11 More About Major Type Chords 13 Adding Chromatic Notes 14 Dominant 7th Scale-Mixolydian Mode 18 Dominant Type Chords 18 Dominant Type Licks 19 Dominant Type Licks (with Chromatic Notes) 21 More About Dominant Type Chords 26 Major 7th Scale-Dorian Mode 27 Minor 7th Type Chords 27 Minor Type Licks 28 Minor Type Licks (with Added Chromatic Notes) 30 More About Minor Chords 35 Progressions 36 Forming the Progressions 36 The II-V Progression 37 The II-V-I Progression 44 The I-VI-II-V Progression (Between Changes) 47 The Diminshed 7th Chord 49 Diminished 7th Chord Patterns 49 The Diminished Scale 50 Diminished 7th Chords in Progressions 51 51 I-#10-II-V 52 Diminished Licks and Dominant Type Chord 53 Diminished Scale as Improvising (Scale for II-V Progression) 54 More on the Diminished Scale 55 Rhythm Changes 57 The Standard Song Form 61 The Blues Progression 62 Blues Notes-Blues Scale 65 Blues Licks 65 Analyzing Licks 68 Conclusions 71 Patterns for Improvising Technique 72 Making Up Your Own Licks 75 Improvising on Altered Chords 77 Major 77 Major 77 Dominant or 78 Dominant 78 Dominant 78 Dominant 79 Dominant 79 Dominant 79 Appendix (How to Transpose) 80 Keyboard Accompaniment (for Non-Keyboardists) 83 II-V Progression 85 II-V-I Progression 85 I-VI-II-V Progression 85 Progression 86 Progression 86 3Licks, Phrases and Patterns Before we get into the book any further I think we should have an understanding of just what the words Licks, Phrases, and Patterns mean. Sometimes the meanings tend to be fuzzy and overlap according to who is using the words but the following will serve as a good working definition for our purposes. LICKS A lick is a short melodic fragment based on a particular chord type such as major, minor or dominant. It is part of a phrase in the same why that a word is part of a sentence. A lick can be as short as two beats or as long as two measures. Sometimes it is called a "run". Below is an example of a lick based on a G7 chord. (Dominant type chord) G7 PHRASES A phrase is a connected series of licks which form a complete musical statement. It may be as short as two measures or as long as four measures. It may be part of a longer solo. Below is a phrase based on a frequently used series of chords. Dm7 3 G7 Cmaj7 PATTERNS A pattern is a model to be copied or imitated. A lick or a phrase may be considered a pattern when it is used as model to be played in other keys. In this book we will consider a pattern to be a sequence of notes repeated on different steps of a scale. Below is a pattern based on the Major scale. Actually everything in this book may be considered a pattern since in order to get the most benefit from the book you should play all licks, phrases and patterns in ALL KEYS. In the APPENDIX you will see how to transpose all licks and phrases into other keys. This is very important and you should make every effort to understand the principle of transposing. 4How to Use This Book All knowledge is best gained when taken in small doses. Therefore, go through this book slowly. Memorize a few licks of each type, major, minor, and dominant and then move on to the section on phrases. It would be helpful to hear how the various licks sound against their respective chords, for that purpose you should play the chords on the piano in the left hand (voicings are given for the non pianist in the APPENDIX) and play the licks in the right hand. Guitarists should tape the chords and play the licks over the taped chords. Play everything very slowly to avoid forming poor fingering habits. Play all licks, phrases, and patterns an octave higher or lower wherever possible. Scale Practice Routine Although scales by themselves have nothing to do with jazz, the fact is that a lot of jazz licks, phrases and patterns are based directly on scales. The ability to play around every kind of scale is very important in helping you become a good jazz improvisor. The following scale exercises and patterns should be played in every key. 3 3 3 3 3 59. 10. An extended two octave pattern. Memorize and then play in all keys. 11. 6Major Chords-Major Triads Chords are derived from scales. Below is the C major scale. The numbers beneath each scale note indicate the numerical position of that note within the scale. By extracting the 1st, 3rd, and 5th notes from the scale we form the major triad. A triad is a three note chord. The symbol for the triad is the letter name of the triad. C major scale C (symbol for the triad) 1 2 3 4 5 6 7 8 1 3 5 Licks Based on Major Triads The following licks are based on the major triad. Since there are only three notes in the triad there are not too many interesting possibilities. You will find that as we add more notes to our chords the licks become more interesting. For now we will begin with these. 3 Major 6 Chords The major 6 chord is formed by extracting the 1st, 3rd, 5th, and 6th notes from the major scale. C6 (chord symbol) 1 3 5 6 7Licks Based on the Major 6 Chords One measure licks C6 3 3 Two measure licks C6 3 Major 7 Chords By extracting the 1st, 3rd, 5th, and 7th notes from the C Major scale we form the CMajor Seventh chord. Symbol; CMaj7. Cmaj7 1 3 5 7 8Licks Based on Major 7 Chords When improvising on a Major 7 chord you may also include the 6th of the scale. The following licks will include both the 6th and the 7th of the major scale One measure licks Cmaj7 3 3 Two measure licks Cmaj7 3 Major 9th Chords By extending the C Major scale to its 2nd octave we can extend our chords beyond the Major 7th. For example, if we extract the 1st, 3rd, 5th, 7th and 9th notes from the two octave Cmajor scale we form the Cmajor ninth chord. The symbol is Cmaj9. 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 Cmaj9 1 3 5 7 9 9Major 9th Licks The following licks are based on the Major 9th chords. Notice that the Major 7th and the 6th may also be used when the symbol is CMaj9. One measure licks Cmaj9 3 Two measure licks Cmaj9 3 The C Major 11 and C Major 13 Chords By extracting the 1st, 3rd, 5th, 7th, 9th, and 11th notes from the major scale we form the CMajor 11 chord. A common practice when using the 11th is to raise the 11th a half step. If we add the 13th note to the 11th we form the major 13th chord. Below we see the CMaj11 CMaj9# 11, and the CMaj13 chords. Cmaj11 Cmaj9# 11 Cmaj 13 11 1 3 5 7 9 11 1 3 5 7 9 # 11 1 3 5 7 9 #11 13 NOTICE: The 11th note is the same letter as the 4th note (F) and the 13th note is the same letter as the 6th (A) 10Major Type Licks All of the following licks are in the key of and may be played against any Cmajor type chord, CMaj7, CMaj9, CMaj11, CMaj13. When a chord symbol indicates a raised 11 (#11) then that note, the # 11 must be included in your lick in order to avoid a clash with the natural 11. Memorize as many of the licks as you can and play them in all the other keys. See the section on transposing in the APPENDIX. 1 2 3 3 3 4 5 6 3 7 8 9 Cmaj 13# 11 10 Cmaj13#11 11 Cmaj 13 # 11 12 Cmaj9 # 11 13 14 3 1115 16 Cmaj13#11 3 3 17 18 3 19 20 21 22 3 3 23 24 3 25 26 27 3 28 29 30 31 33 34 32 Cmaj7 add#11 13#11 12More About Major Type Chords It is important to remember the following points about all major type chords. 1. The 1st note of all chords is known as the ROOT of the chord. The root is the same as the letter - name of the chord. For example, The root of a CMaj9 chord is C. The letter - name of the CMaj9 is C. 2. Since all of the major type chords that we have learned start from the 1st note of the major scale, we can call all major type chords by the Roman numral I. In other words, all major type chords are known as I chords since they start from the 1st note of the major scale. 3. All major type chords ( I chords ) are chords of rest and are usually found at the end of a section of music or the end of a progression such as the 11th measure of the blues. Major type chords are also the chords used to establish the key of a piece of music and so they may be found at the beginning of a progression or a section of music. For example, the 1st measure of a blues progression would contain a major type chord. The 1st measure of an 8 measure section such as found in the standard tunes used by jazz players would also contain a major type chord. ( there are some exceptions to all rules). 4. When improvising against any major type chord you may use any of the notes in the major scale. Be sure there are no altered notes in the chord symbol such as for example, CMaj7 5. Where there is a raised 11th in the chord symbol then that note must be included in your improvisation. A scale which contains the raised 11th ( or the raised 4th which is the same letter ) is called the LYDIAN Mode. * lydian mode 1 2 3 4 5 6 7 8 Notice that the Clydian mode is the same as the Cmajor scale with the raised 4th. This is the correct scale to be used for any major type chord which has a raised 11 in the chord symbol such as CMaj9#11 or * There is a school of theory that believes that when the major 7th is extended up to the 11th, the 11th is naturally raised. Therefore, since the 11th is the natural extension of the CMaj7 chord it is also more natural to use the Lydian mode when improvising against a major chord. It is not necessary to have that indicated in the chord symbol. The student should experiment using the Lydian mode against the major chord. 13Adding Chromatic Notes so far all of our licks have been madeup entirely of notes within the scale, either the major scale or the Lydian mode, now we are going to add notes that are not in the scale. These notes are the chromatic notes and they help to create a smoother melodic flow. The chromatic notes are those notes which are in between the normal scale tones and generally lead either a half step up or a half step down to a scale tone. 1 2 3 3 4 3 5 6 7 8 3 9 10 3 3 11 12 13 14 1415 16 17 18 3 3 19 20 21 22 3 23 24 3 25 26 27 3 28 29 30 3 31 32 33 3 1534 35 36 3 3 37 38 39 3 3 3 40 41 42 3 43 44 45 3 3 3 46 47 48 3 49 50 51 3 3 52 53 54 3 55 56 3 16You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.