Ramon-Ricker-Pentatonic-Scales-for-Jazz-Improvisation (1)

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1 Pentatonic Scales
1 for Jazz Improvisation
1 THE RAMON RICKER
m JAZZ IMPROVISATION SERIES
TABLE OF CONTENTS
INTRODUCTION.................................................................................................................................1
Chapter
I. CONSTRUCTION OF PENTATONIC SCALES .............................................................. 2
II. APPLICATION OF PENTATONIC SCALES TO VARIOUS
CHORD T Y P E S ................................................................................................................... 5
Dominant Seventh Chords......................................... ..................................................... 8
Minor Seventh Chords.................................................................................................... 10
Major Seventh Chords......................................... .......................................................... 12
III. APPLICATION OF PENTATONIC SCALES TO CHORD
PROGRESSIONS................................................................ ..............................................15
Modal or Static Harmony...............................................................................................15
Blues.................. .............................................................................................................18
IV. ALTERED PENTATONICS ..............................................................................................24
V. IMPROVISED SOLOS (Transcribed by Bill Dobbins)..................................................... 26
Joe Farrell, Moon G erm s ...............................................................................................28
Wayne Shorter, Ginger Bread B o y ............. ................................................................. 31
Joe Henderson, No Me Esqueca...................................................... .............................. 33
Chick Corea, Matrix .......................................................................................................34
Keith Jarrett, Forest F low er ..........................................................................................36
Herbie Hancock, Hand Jive ................................................. ........................................37
VI. EXERCISES.......................................................................................................................... 38
Diatonic.......................................................................................................................... 39
Chromatic.........................................................................................................................49
l l - V - I ................................................................................................................................ 68
Turnarounds................................................................................................................... I I
Circle of Fifths.................................................................................................................74^
Altered Pentatonics......................................................................................................... 77^
Copyright © 1976 by STUDIO 224, c/o CPP/BELW IN, INC., Miami, Florida 33014 
International Copyright Secured Made In U.S.A. All Rights Reserved
INTRODUCTION
The pentatonic scale has, of late, drawn considerable atten­
tion by jazz artists as a tool in their 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 
pentatonic scales and patterns in fourths and fifths as a means of 
expressing their music. In the continuing evolution of music, it 
must be remembered that events that appear as a departure almost 
always have roots in the past. The use of pentatonics is no
exception. Numerous tunes of the ' 40's and ’ 50's used pentatonic
scales as an integral part of their melodies (Symphony Sid, 
Moanin’, 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, more comprehensive, books which 
deal with chord/scale relationships, substitute chords, melodic 
development, swing, etc. 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/scale relationships and their application to jazz improvisa­
tion.
This method, if studied diligently, can provide the student 
with materials to build a harmonically "outside" improvisation 
while still retaining a logical basis. The use of these scales 
has proved particularly effective in turnarounds, and in modal or 
vamp playing. They also can be used with satisfying results in 
nearly every other circumstance in jazz. Because the scales often 
only hint at a basic sonority while outlining the upper extensions 
of a chord, a skating quality above the changes is achieved. This 
is discussed in detail in Chapter II.
CHAPTER I
CONSTRUCTION OF PENTATONIC SCALES
Pentatonic scales, as used in jazz, are five note scales made up of major 
seconds and minor thirds. Within a scale there are two minor thirds leaps in 
an octave, thus producing a gap. (Ex. 1) In addition there is no leading tone 
(seventh scale degree of a major scale) nor, for that matter, any half step 
within the scale. For these reasons, the scales act as chords, and are invert­
ible.
*
Example 1
m3 m3
It can be seen that each pentatonic has five possible inversions, or what 
the author refers to as Modes. (Ex. 2)
Example 2
C pentatonic ------------------------------------------------------
I
Mode I Mode II Mode III Mode IV Mode V
The above is not without historical precedent. The pentatonic scales 
were tabulated in a similar manner by Annie G. Gilchrist in "Note on^fche Modal1 
System of Gaelic Tunes," Journal of the Folk Song Society, Dec. 1911,~pp. 150- 
153. However, it must be noted that M s . Gilchrist assigned Mode I to the 
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!
I
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B
2
§
Figure 1
Mode I Pentatonic Scales on Each Half Step*
(1) C pentatonic (2) pentatonic (3) D pentatonic
I - : - - . ~
' (4) E^ pentatonic (5) E pentatonic 
___ _ . .... . ,
(6) F pentatonic
U ___ g ..* - y 1 ..
. (7) F^ pentatonic
tL I----1" . r i i i
r~.^ : . y a q-fL— .lIL;
(8) G pentatonic
_ = - . . . . - T - . T t r T T
? a c A i j r : _ z : :
(9) A^ pentatonic
i---- — ihiit— Ez.
k (10) A pentatonic
£ r — - 1 , ^
........in.....
(1 1) B^ pentatonic 
l i t . > # -
?■— r + ~ m — ...
(12) B pentatonic i
" " =
........1 .......... i l l ............. ........... . m jr v
* Numbers 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 already constructed three more penta- 
tonics (Ex. 3). For our purpose in jazz improvisation, a further restric­
tion to the pentatonic construction can be stated. There are no consecutive 
m3 leaps.
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Example 3
*
Since there are five different pentatonic scales on each half step 
of the chromatic scale, some confusion may arise in identifying them. The 
author refers to a C pentatonic as C D E G A (1,2,3,5,6 of a C major scale) 
These notes when found in any other configuration are still referred to as
C pentatonic. (Example: A C D E G i s a Cpentatonic, but, more specifi­
cally, mode V C pentatonic.) C E^ F A^ B^ is mode III A^ pentatonic. See
page 47 for a listing of five different pentatonics on each half step.
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CHAPTER II
APPLICATION OF PENTATONIC SCALES TO VARIOUS CHORD TYPES
In using pentatonic scales with conventional (tertian) chord symbols, 
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 "outside" 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 among the basic 
chord toiies. Repeated experimentation has shown that this is not always 
the case and the final assignment of "inside" or "outside" has been done 
through listening tests. (Ex. 4)
Example 4
7 a. (most inside) b. c. (most outside)
» = ■ = 1 Ï »
Root 9 3 5 13 #11 b6 b7 b9 #9 7 b9 #9 #11 bl3
In the most inside scale (Ex. 4a) it can be easily seen that coming to rest 
on any of the notes will not clash with the C7 harmony. In fact the 9th 
and 13th will sound better (more hip) as stopping points than the root, 3rd, 
or 5th.
In the most outside scale (Ex. 4c) two of its members (M7 and^bl3) will 
clash more than the other three. The b 9 , #9, and #11 are conventional upper 
extensions of the C7 chord. The M7 and bl3 will prodtice 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 that the upper extensions 
of the chord are outlined. (Ex. 5)
Example 5 
a.
C7 (most outside) resolves------- ► FA7 (most inside)
Swing
D A
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Li_L.
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b. Most outside pentatonic used in sequence
\ rl -~j£- ,i FA 7
I a c m i ""i 1 dr*
&L £
c. Mode IV used in sequence over fast harmonic rhythm
c? A 7 Dm7 G 7 CA'
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— y 0™.— — ----—-I---J9 — n
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It is the author’s experience that because each pentatonic contains some
■ chord tones (whether they be upper extensions or basic chord members), 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 
to consonances on held notes. It should be stressed that the author is not 
advocating indiscriminate use of pentatonics in all styles of jazz. What 
would be in the style in free or modal playing would be very much out of the 
style in Dixieland or Bop music. The inside scales and their relationship 
to chord types must be mastered first in order for the more outside scales 
to be effective.
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It seemed logical that there should be a way of classifying these scales 
in a continuum from the most "inside" to the most "outside" when played over a 
given sonority. Each scale was analyzed with respect to how many basic chord 
tones were contained. In instances where several scales contained an equal 
number of chord tones, value judgments were made by the author as to which 
scale was more "inside" or outside." The scales were then placed in a con­
tinuum from "inside" to "outside."
1 
0
0
Q
E!
a
a
Dominant Seventh Chords C7 (C E G B&)
Pentatonic scales are perhaps most useful when played over a dominant 
7th sonority. A dominant 7th implies motion. It wants to resolve. In 
addition, any number of altered upper extensions can be applied to the basic 
dominant 7th sonority without destroying its tendency to resolve. When 
pentatonic scales are played above this sonority, upper extensions are empha­
sized. Thus, it is possible for the improviser to change the color of the 
basic dominant 7th sound by his choice of scale. For example, above a C7 
chord the improviser might play a scale built on the root. (Ex. 6a) This 
scale is compatible with a C7 , C9 , or C 13 chord, and those sonorities will 
be implied. If he chooses to play a scale built on the ^3 (Ex. 6b), a C 7j,<!® 
chord will be implied. He may elect to "take it gut" even further and play 
a scale built on the ^5. This scale implies a C ^ g , C7+ or C7#11 chord.
(Ex. 6c)
Example 6a 
C 7
6b
t . b j . £
6c
C 7
The above can be both a help and a hindrance to the performer. When 
comping behind soloists, most advanced keyboard players add upper extensions 
to their voicings. The upper extensions added by the keyboard player should 
have a great effect on the soloist's choice of scales. For this reason the 
soloist must listen intently, and, if it is necessary, ask the pianist what 
extensions he is using. This is not to say that the pianist should dictate 
the direction of the improvisation. Interaction between pianist and soloist 
is essential. As a group plays together they begin to know each other's 
style, and verbal communication concerning voicings is greatly reduced. For 
solos in a big band situation, the same problem exists. The soloist may see 
a C 7 chord, but the background at that moment may be C ^ g . He will sound 
correct playing a pentatonic built on the root, but he will sound better 
playing a pentatonic built on the b’5.
In the scales of figure 1 (page 3), numbers 1, 4, and 11 contain three 
chord tones of a C 7 chord, numbers 6 , 8, and 9 contain two chord tones, num­
bers 2, 3, 5, 7, and 10 contain one chord tone, and number 12 contains no 
chord tones. ---*=■
III * r-
When placed in a continuum from inside to outside the result is as 
follows:
inside------------------------------------------------------------------------ outside
from fig. 1
scale no. 1---4--- 11--- 8--- 6--- 9--- 3--- 7--- 2--- 5--- 10--- 12
Therefore to apply pentatonic scales in a continuum from "inside" to "outside" 
to a dominant 7th sonority, build Mode I on the following scale degrees.
Inside Scale Degree
c. root
b3rd
r ' b 7th
4th
r f
b5th
b6th
I> 2nd
5 th
L*! b2nd
J. 3rd
/, 6 th
j>*-f 7 th
Outside
Examples:
Most Inside Pentatonic for Bb7
k
Implied Harmony
c7, c9, c13
c 7#9
C7sus
C7sus
,7# 9 
' b9
7//11
c 7+ //9
c 7#ll
j,7 (add M7)
r 7b9 
C #9
r 7b9#9 
C #11#5
r 7b9 
C # 11
r7b9#9
#ll//5
Most Outside for B
Most Inside Pentatonic for E7 
1 ___________
m
Most Outside Pentatonic forjj!7
In the above continuum two alterations have been made. The scale built 
on the t>5 has been elevated in position simply because it encompasses upper 
extensions that sound good when played over a dominant seventh. The scale 
built on the 5th, even though it was analyzed as having two chord tones, has 
been "demoted." The presence of a major 7th automatically makes it sound 
more "outside."
Minor Seventh Chords Cmi7 [C G bP (D F A)]
chord tones in a C m i ^ Scale number from figure 1
5 chord tones 4, 11
4 chord tones 6, 9
3 chord tones 1 , 2
2 chord tones 7, 8
1 chord tone 3, 12
no chord tones 5, 10
Inside------------------------ '---------------------------- Outside
4---11---6---9---2---1---7--- 8---12---3---10---5
m
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The minor seventh is probably the easiest sonority with which to use 
pentatonics. This chord sounds exceptionally normal and stable with the 
natural 9th,and 11th. The 13th is an only slightly less "normal" extension.
Hence the normal chord notes include 1, 3, 5, 7, 9, 11, (13). For this
reason the 9th and 1 1th were included as basic chord tones in the following I
analyzation.
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Apply Mode I pentatonic scales to minor 7th sonorities from "inside"
to "outside" on the following scale degrees.
Inside
Outside
Scale Degree
b3rd 
b 7th 
4 th 
b6th 
b2nd 
b5th 
root 
5th 
7th 
2nd 
6 th 
3rd
Examples
b 7
Most Inside Pentatonic for B mik
b 7
Most Outside Pentatonic for B mi'
h
Most Inside Pentatonic for Emi'
I
Most Outside Pentatonic for Emi7
A quick glance at this continuum should tell the student that penta- 
tonics on the flat side of the circle of 5ths will sound more "inside."
Major Seventh Chords Cmaj7, CA7 [C E G B (D F#)]
Major seventh chords are chords of rest. They do not want to resolve. 
The upper extensions normally associated with this chord type are the 9th, 
//11th, and the 13th. For this reason the 9th and #llth were included as 
basic chord tones in the following analyzation.
No. of chord tones in a Cmaj^-*-1 Scale number from figure 1
4 chord tones 3, 8, 1
3 chord tones 5, 6, 1 0, 11
2 chord tones 4, 12
1 chord tone 7, 9
no chord tones 2
Inside Outside
Apply Mode I pentatonic scales to Major 7th sonorities from "inside" to
"outside" on the following scale degrees.
Inside
r
V,"1
Scale Degree
C root 
5th 
2nd 
£• 3rd 
/4 6 th
r 4th
7th
7th 
b
3rd
6 th
5th
2nd
Most Inside Pentatonic for 
Most Outside for &
|>
Most Inside ‘Pentatonic for E4t
Outside Most Outside Pentatonic for EL 1
As previously stated, any pentatonic can be used above a given sonority 
provided the ear is the final judge. Outside pentatonics are best reserved 
for use in sequences, turnarounds, and as a means to create tension in modal 
playing. In addition, they are inherently better over dominant 7th, major 
7th, and minor 7th sonorities. The following is a list of pentatonics that 
sound particularly good over given sonorities. Some are more outside than 
others.
Chord Type Symbol Spelling
Suggested Mode I penta­
tonics built on the 
following scale degrees
Dominant 7th C7 C E G Bb root, b3, b5, b 7
Dominant 7th #9 C7#9 C E G Bb D# b 3, b5, b6, b 2
Dominant 7th b9 C7b9 C E G Bb Db b 2, b 3, b5
Dominant 9t'h #11 c9# 11 C E G Bb D root, 2, b5
Dom 7th Aug 5th c7+ C E G^ Bb b5, b2 , b6
Dom 7th sus C7sus C F G Bb b 7, 4, b 3
Dominant 13th c13 C E G Bb D F# A
b c „ 
root, 5, 2
Major 7th Cmaj7
CA7
C E G B root, 2, 5 , 6
Major 7th #11
Cmai7#11
CA7#11 C
E G B D F# 2, 5, 6, 7
Minor 7th Cmi7 C Eb G Bb b3, b7, 4, b6
Half dim. 7th
C**?
Cmi7b5 C
Eb Gb Bb b5, b6
Dim 7th C° 7 C Eb Gb Bbb None suitable (see 
Chapter IV)
1» .........
CHAPTER III
APPLICATION OF PENTATONIC SCALES TO CHORD PROGRESSIONS
Modal or Static Harmony
Currently in vogue are jazz compositions based solely, or in part, on 
one chord. These compositions have their roots in latin and rock music, 
and most frequently, though certainly not always, have a funk or soul 
character. Soloing on a tune with limited chord movement poses a specific 
problem-^creating and maintaining interest. Let us say we have a latin/rock 
tune 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 
circumstance can handle the four notes in the chord (e g b d). If he has 
some chord/scale background he may even play the Dorian mode on E (e, f#, g,
a, b, c#, d). The problem is what to do for the rest of the solo!
One solution is to use pentatonic scales that slip in and out of the 
harmony that the rhythm section is playing. As discussed in the previous 
chapter, the most inside pentatonic for a minor 7th chord is one built on 
the b 3 scale degree. In E minor that scale would be the G pentatonic. 
Example 7 begins by using the G pentatonic (Mode II with g omitted). At 
point "a" the solo line uses Mode II of the Ab pentatonic. The resolution 
takes place at point "b". The solo line momentarily leaves the key of 
E minor, but it gracefully returns, or resolves. In this example the most 
inside pentatonic is used at the outset. The listener's reaction is that 
"Everything is fine— I understand this." The most outside scale is then 
used (refer to inside/outside continuum for min. 7th chords, page 11).
The listener's immediate reaction is, "What's going on? Is he playing 
wrong notes?" When the resolution occurs in the next measure, the listener 
says to himself, "Oh, now I see what he was doing." The soloist has 
created interest. (Ex. 7)
Example 7 a b
.6
Example 8 illustrates the same principle but at greater length. The 
example was taken from a unison saxophone line in Tortilla Mama, an original 
big band composition by the author. When it was written there was no con­
scious effort to use pentatonic scales. Though it is a written soli it is 
not unlike an improvised solo.
Example 8
Latin Rock i = 120
6- Ptt/toouit
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n U t e
a w ^ 1»4 - M -
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...— : .........................: ~ r _ "
& Pan/tatowifi.
j= 3m
There are no concrete rules for using pentatonics in modal playing,
some basic concepts.
1. Don’t use pentatonics exclusively. Mix them with other harmonic 
material.
2. Use pentatonics by planing as a means to create harmonic tension.
3. Start inside. Take it out. Bring it back smoothly and logically. 
Outside scales will sound wrong if not surrounded by inside 
scales.
4. -Use pentatonics in sequences.
5. Experiment with pentatonics one half step above and below the 
basic tonality.
Blues
Using pentatonics on tunes that have changes is no different than 
applying conventional scales or modes to changes. The performer simply 
must learn which pentatonics go best with various chord types. As a 
means of study the student should begin with a simple blues progression 
and write in the scales he wishes to play in each measure. Example 9 
illustrates this procedure. In this example the more "inside" scale 
were chosen.
Example 9
, C7 fim1 C7
t —A----------------- 1--------------- 1-------------- n ---- ^M k
------— ------r a r ------------— -jg--: u i . # r : «
^ -------------n n
+ g 6 & -1
C P
QSL_____ c U t J L .
)> W
J-------------- a 0
fr7
----'
C P
------------- — 0 - A —
..... — »
( c “. : a H L ? ...:d
Once the scales have been selec ted the student
1 £ & — g .w ------
: should set the
metronome at a comfortable tempo and begin improvising using those 
notes. Example 10 is a possible realization. Note that this example 
is entirely pentatonic. As stated elsewhere in this book, exclusive 
use of pentatonics for harmonic material is not recommended. How­
ever, in the initial practice sessions the student should limit him­
self to pentatonics. After they are under the fingers he can then 
begin to integrate them with other harmonic material.
Example 10 
Swing
| in T T |% jfr r
As soon as the student feels he has the basic blues under control, the 
next step should be experimentation with altered blues. There are many vari­
ations on the twelve-bar blues. All of these come under the general heading 
of altered blues. Example 11 is one set of altered blues changes. The scales 
selected for these changes are more "outside" than the ones of Example 10.
That need not be the case. An "inside" set of scales could have been just as 
appropriate.
Example 11
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Example 12 illustrates one possible solo from the scales given in m
Example 11. Note the use of the b5 pentatonic in measures 6, 11, and 12.
Like Example 10, Example 12 is entirely pentatonic. ||
20
Example 12
Moderate Swing
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Example 13 is a saxophone soli in Skuffle, an original big band com­
position by the author. Only the lead sax (soprano) is given. In this 
example pentatonics are mixed with other conventional scales and modes. 
The soli begins on the 4th bar of the blues, after a short lead-in by the 
band. Only pentatonics have been analyzed. Note the use of pentatonics 
in the turnaround in bars 11-12, and the half step planing in bars 9-10.
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23
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Assignments
1. Study the chart on page 14 .
2. Study Examples 9 and 11. Figure out how the scales were selected
and where they fit in their respective inside/outside continuum.
3. Play the scales in Examples 9 and 11 on the piano while comping with
the left hand.
4. Play all the examples on your instrument. 
| 5. Use a metronome for a rhythm section.
6. Buy Jamie Aebersold's A New Approach to Jazz Improvisation Vol I and 
Nothin' But Blues Vol. 2. Apply your pentatonic knowledge to his 
records.
7. Try to slip in and out of the basic tonality while you are playing. 
Don’t stay "outside" too long. In blues you can go quite far afield 
as long as you hit the basic guideposts (the I chord bar 1, the IV 
chord bar 5, the I chord bar 7, the V chord bar 9, the I chord bar 11).
8. Always continue to practice scales and modes. Know how to apply them 
to chords. See Jamie Aebersold's books if you don't know for sure.
9. Remember you can’t play hip "outside" if you can't play hip "inside."
CHAPTER IV 
ALTERED PENTATONICS
I
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It is beyond the scope of this book to discuss in depth the use of 
altered pentatonic scales. However, some mention must be made of their 
application to jazz improvisation.
If an improviser plays a D pentatonic over a C7 chord, only one note 
of that scale will clash— the B^. If the intention is to play outside, the 
D pentatonic with no alterations is perfectly all right. However, if it is 
the improviser's purpose to keep all the notes in the scale compatible with 
chord tones, he must alter the Btj by lowering it one half step (Ex. 14).
Example 14 
C7
------------- if----- a —
P = f l
h # ---
t P --- — — g -..^ .. 1------ w---------_-, : • * 1
x r * TT
9 3 //ll 13
0 w 1
M 7 9 3 ://ll 13 b 7
For dominant seventh chords, six altered pentatonics are particularly 
good. Build a pentatonic with a lowered fifth note on the 2 and ^6 scale 
degree, or build a pentatonic with a lowered second note on the root, ^3, 
t>5 or 6. (Ex. 15)
I
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Example 15
i
9
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24
Altered pentatonics are perhaps most useful when played against dimin­
ished seventh chords, since every pentatonic scale in its unaltered form 
clashes in one way or another with that chord. By constructing an altered 
pentatonic one step above any diminished chord member and lowering the sec­
ond note of the scale, four altered pentatonics result, which are compatible 
with the diminished seventh sonority. (Ex. 16)
Example 16
.. 1 .-.......... .I
........ iiiijiil
.. 0 ■
T 1
J = F =
L » - H
' “fct - ■ -M - k 1 ..; i l l .....r ~ ~ w 4 • ||
The altered pentatonic exercises that appear on page 77 of this book 
are meant as introductory exercises. The student interested in pursuing 
this subject should experiment by taking any pentatonic scale and lower­
ing or raising any one of its chord members one half step. Those scales 
should then be applied to various chord types. With repeated experimenta­
tion the student should be able to apply altered pentatonics to a variety 
of chord types.
CHAPTER V
IMPROVISED SOLOS 
(Transcribed by Bill Dobbins)
The excerpts of improvised solos that appear in this chapter were 
transcribed by Bill Dobbins and are used as study materials for the course 
New Concepts in Jazz Theory at the Eastman School of Music. Only penta- 
tonic scales were analyzed by the author, and excerpts were chosen that 
contained several examples. It should therefore not be inferred that the 
represented artists always use pentatonic scales with the frequency shown 
in the examples.
In measure 16 of Joe Farrell1s solo on Moon Germs note the use of a 
D^ pentatonic over an Fmi chord. That outside sounding melodic line re­
solves it* the following measure when the B^mi chord is sounded in the 
rhythm section. In measure 20 Joe plays a pentatonic one half step away 
from the chord that the rhythm section is playing. In the following mea­
sure he resolves the line to a D^ altered pentatonic. Those two measures
clearly demonstrate one method of effectively handling outside pentatonic
scales. A favorite melodic device of Joe Farrellfs is pentatonics in
sequence. Measures 28-30 and 42-44 are examples. One way to change the 
color of an improvised line over relatively slow harmonic rhythm is to 
string pentatonic scales together. Measures 54 to the end demonstrate 
this.
There is no piano comping for Wayne Shorter’s solo on Ginger Bread 
Boy. This allows for greater harmonic freedom by Shorter, and the dialogue 
between the saxophone and the bass becomes in effect two-part counterpoint. 
Without the chords being sounded beneath him* Shorter has the freedom to 
stretch the changes farther than normal by using pentatonics that are con­
siderably outside of the basic harmony. Note the use of one pentatonic 
that is played over two changes (measures 18-19 and 22-25).
Joe Henderson5s solo on No Me Esqueca clearly demonstrates in mea­
sure 16 the use of an altered pentatonic. In this solo most of the scales 
used are a P4 or P5 above the root of the chord (see measures 3, 9, 11* 13,
and 14)*
In Matrix Chick Corea frequently uses pentatonics in sequence. He 
uses altered pentatonics in measures 9-11, chromatically descending penta­
tonics in measures 19-20, and different modes of the same scale in measures 
15-16 (quasi sequence).
Keith Jarrett in the excerpt of Forest Flower uses one scale (a 
pentatonic) over three changes (measures 3-5). Note the smooth resolu­
tion of the and pentatonic in measure 12 to the C pentatonic in 
measure 13. From thepentatonic or gapped texture that is present in the 
entire excerpt, Jarrett begins a more linear texture in measure 14. That 
texture is continued into the first few measures of the next chorus (not 
shown).
Hand Jive is an up tempo free piece. For that reason no changes have 
been given. In this solo Herbie Hancock combines the more jagged texture 
of P4's, P5's, and pentatonic scales with more linear melodies. In mea­
sures 28-37 he limits his solo to basically three pentatonic scales whose 
roots are within an interval of an M2.
It must be remembered that each artist has developed his improvisa- 
tional devices in his own personal way. There are many ways to approach 
a subject, and the author is not implying that the artists represented in 
this chapter think of pentatonic scales in the exact manner outlined in 
this book. What should be evident to the reader is that pentatonic scales 
and related fourth and fifth intervals are an integral part of many well 
known jazz musicians’ harmonic vocabulary; and by studying this book and 
practicing the exercises the student can develop an improvisational tech­
nique that is in keeping with the way players are playing today.
28
1st 5 Choruses
JOE FARRELL'S
Improvised solo on 
Moon Germs Moon Germs 
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WAYNE SHORTER'S
Improvised solo on 
Ginger Bread Boy*
1st & 2nd Choruses
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Improvised solo on 
No Me Esqueca
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Matrix
Now He Sings, Now He Sobs 
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HERBIE HANCOCK'S
Improvised solo on 
Hand Jive*
37
Excerpt starts on 
the 54th measure 
of the solo
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EXERCISES
It is virtually impossible, and in reality unnecessary, for the student 
to memorize th§ 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 or sixty scales.
The Diatonic Exercises should be practiced first. After they are mas­
tered the student should have little difficulty applying them to improvisa­
tion. The student is urged to study the chart on page 14. If he is 
familiar with three or four pentatonics that sound good and best convey the 
harmony of the chord, the more outside scales will take care of themselves. 
As he is practicing, the student should constantly remind himself how the 
exercisehe is playing can be applied to chords. For example, if he is 
playing line 1 of number 1 in the Diatonic Exercises, he should be aware 
that that scale could be played with effectiveness over a C7, A 7, F.#7,
B^sus, Gsus, Cmaj7, B^maj7# 11, Ami7, and a B^mi7.
The student will find that the Diatonic Exercises lay well on most in­
struments. Since exercises 3-25 are given in the key of C, they must be 
transposed to all keys.
Most intrumentalists who are serious about music have, by the time 
they are seniors in high school or entering freshmen in college, a technique 
that enables them to play major and minor scales and scales in thirds with 
little difficulty. The etude books with which they are familiar endlessly 
drill on scales and chords. Every student knows that scales in thirds are 
relatively easy when compared to scales in fourths. The thirds are easier 
mainly because they have been practiced more. Many of the Chromatic Exer­
cises in this book are based on fourths, since by skipping some notes in a 
pentatonic scale fourths result. It is therefore probable that some dif­
ficulty may be at first encountered in playing some of the exercises. The 
Chromatic Exercises are not meant as "hot licks." It is highly unlikely 
that anyone of these exercises would be played in its entirety during the 
improvised solo. However, if as many exercises as possible are committed 
to memory, the student will have a reserve source of material to draw on 
consciously or unconsciously during the course of an improvised solo.
Chord changes have been provided for the II-V-I, Turnaround, and 
Circle of Fifths exercises. Students unfamiliar with these elements in 
jazz should consult the David Baker books on these subjects.
All of the exercises should be practiced using different articula­
tions and in a variety of tempi. The exercises are notated in a range 
most fitting the saxophone and other treble clef woodwinds. Other in­
strumentalists must make range adjustments. Some difficulty may at first 
be encountered in transposition, but experience has shown that the pat­
terns will remain at the fingertips longer if they are worked out without 
reading them.
I 
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DIATONIC EXERCISES
39
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~ _ r *
MODE
- j —
f t “ -* -------
i Y . | .
_I..#.w .T ..
.... '•
P
......
H a v *
D
 ̂0 0 *1*
+ ...
— ;-------
—— :— —■— ^ — —y m .------------
L i t • * —
— .w..“.... ..... ... .
* » > h, m P * #----- ^ -
. * .:.
i i : , fc« » *
:1ft....
~ j y i 0 h w *
(P f r ____________
A
V V “ — V W ..... . ■
E
.-..-.......
D
I
The above is a table of the sixty different pentatonic scales. As
PREVIOUSLY STATEDj 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.
I
If
I
1
1
0
î h t i
CHROMATIC EXERCISES
4i
7=m±
, p
''MM
50
I
I
H
0 1 k
k i s i i u
r i f e
S J ^ e
^ Í l L J
P ----t e l 1*3
I 4 „t A , b H
= ä = i— — r Z B S S S S t Z t
l Æ i i ' H i
- f c e k £ £ - á ^ — 
5 - 1 — ,---- rt
9 U L . T p f = y 
k j ß - i f
If pp j?.l
^ ß = ;
f ^ f » £ = j p » = i J M i r
fc 
-
I
I
0
6.
5f
i
i
i
3
f
I
0
Transpose Exercises 15 and 16 to all scale degrees. 
15, / £ ------ a^ S 2 S S S--- ------------------ — t —r— f f
^ I T O T J
54
h % f | / r fr
[ f ^ r f i *4] ^ J i - | r -4
Ä*7~ ~ r~ '^ p r i r i ^ : f e —M = f----- 1---------
) A i f tl
tSr I lL— r r f ^ r l r i i r M f i l r n i T T ! ~t"" ~ -1f f i - ¥ I J J ..1L L p 1 f f f 1 é l ? i j 1
VL> - r - ^ , - t— . ----- |[ - ~ I j ------ i— - — :
f e E = i ± a =
■ ' • ----- Í ^ "W f **- , f à i ! j ------ ----- *E=_f ^ i i i °f-i ^ ; =}=* - ^ r 
& f f ̂ * V :p = '-> :5 ^ ; jh r t ...£24-..1—
l i ■
|yr 1 1 1 1 f 1 11 f y j j f t ^ »
f H r f 1 f W ^ H f r î r r f f V ^ HA JjjT......... ....■■»
? L
I » —.f~k * "»..—*
: 1 ^ ~ t~ t - f - h i ï ï l - ....1 - j ^ = _ z ) r : - [ j ^ - - - ^ - ,
t u ^ r i J i M / b i R l T ] i r m r m i =n£g_..Lrf r —
i t * f f
..[Hfflf f . J J 1 H i ^ e H 
ë f r f , - f t f f ■ - f
1 j . f
1 1 1 1 L. yj-d 1 a ' - [ , . 1 1 ~ |_2 !£ j
piw ---f1-- -J--"- - -X....■" )3~1--- i i 1 I “ÍX , T-------- -1 -1-Ê 3 -^ -^ p r 1 - HÍ r 1 i * MU
55
\
ä
» -jJífflrfPP:t t ig P ° liffi ‘’fjflh
/' . f r f l r|.fjffir 1 f -p-rf-W f*ffri f
r * f f t j ÿ r t -
jjjj 1U i^M
# M— 1
'L ib 'l iü i
1 H I B M M tea Mi— » — m m —
j .l | .l - ^ J | i i j L j J j-H-^ J j j f
56
14 > -
L - r r n .\ à i1 f4...f.t..ri1 ;11.í.. "".ft t.":: 11 ■..........
d ^ H
í? ■ * * 1* fl * ^ ° tJ U ::̂ f|=g ---—
f f :|
-/ f f fr f r ^ f P r = R f r T - ^ r t « r !. f f f - ^
a ã s —
f-==bf=
f c - ^ - f l U r j f j t f
jzr —. í-i u-- ^ K j ■ -Jíai--- I r j J l Æ i i t r n - i r m f f i j
É Í Ê s H
f e ^ r r L . - = = 3 * * a & - ^ íi-á^ ■ ■?__? ^ " i f 1 ~ .W g — i1..... .
(tf.. ] J f * * f* J. ' 1 0 ■ ■ :- • • • = = ••-••-• •-- 
^-A.-f f ̂ 1 -f~f T * ^ V>~f f ̂ ^
W ^ = i
( g ^ - L U U ..U J 1 L
jr-.
J . U I L Ü J ' 1 .p J - > - L
. rp— f—
i;----n i — J-n — ■ — j
Lit y T j a : li — JLz# Tf F;1 ~z -*
t e H
H T H l&- .“* ■'-. ■..."Ui
fín---i-- 1---- W — H------tk— I-
& — .-------M L / r '
M ..J__ ... .. LMzí.Ur ■ -4-- - a —g I— --— ]
_
* 4 P = I
i
11
ft
3i
s
1
32.
33.
< 1
34.
. Jí
35
T##fE¥f=^ "Î1 ::.—i r.:..r~ ï...1 1 ' r ih i ' i i n ,---------------- h$4 h LL
h .4» .
U [»r 11 =
v r^ 'i* .:'f -ï-1J-j-f-ir-A-a--------- ---1— t j- 'f— a ï .
F===* 
-j---—:§gfr " r , =
iî*=46Ffcft
■ü r n m *
r î ^ r l f i ■— 1 ...... —̂ jĵ i'rf- - } .1
J|UJ j lu .
+ - - + - ............ .. •
i -
( g t t - r — ãããã 
t íÈ É
u Ll.irii-
lífrYWrfr^mmmÊÊhKÊM k̂màât
Wr W- J1-------------- U
1------ — 3
Transpose Exercise 43 to all scale d e g r e e s.
a --'f*» #— i—
r - L .
+ i t
1— p Z L ^ J
m f a
1
É l s È 3 - =
î 1 ‘
r L L
T _
9
& F + i p g
------- 1
P 1 r-
/ r ..... r-^- L » - i r - n r - ' — - - - • - •
ÿ T t l r T T f y
l 3 ------- . - i m Sl f i
U - f f r f t =
i < 1 b g 
* ^ - — ~ >..«—
a % . 1 u _ y
/ „ j .......... d i.................. „ .
r - r T ( i- u . 7 J ^
_ — ,— ..................................... ...................
j 1 L I T l t j U ^
& — ?— 
à - Y ^ r '
k - g - r - =
fcct'7 - != = é :t— P : t = D n T 1t -íw-----f — — ja f m-------------
1 1 t -
/ H « j b.̂ L á * i
f f l - [ f j £ f
(ijz-----it£-------^ J tf— ü t i
%
r T Í ^ , r t
^ ~ l 4 > — -
r f l £ L i r r P , ^ n , _ r r p [ u n
6 % , _ J i
í i » j t r ^ r = t
-i-E«. ________ . . . . ^zi _..jj pr...tr
njr #■. “ .—irr ' — 4-
#'■—#■ -trr—'
----- 1_i ---------------- 4-------------------- 1
M f c V r Y i J r ^
{ = = - . f r f t
U * = u t i s J J ^
-■ —jr..—.........— -.. - ------ -■
U M ç f p i ß j ^ ä ä
{fir- ~z^:--f-_:^aaJ—
j J - ^ L Í
•■ L-JLf - 0 -
: T * f ^ t r f . r U - H -
UP
5 T O - c n r n , - -B
Il
I
I
I
ü
63
63.
...
■ —fe—-̂=ii
"T»
1---g........-.- ------
i n m —jtp o~tttg».' ...
1 l it L f rl
fJT JJr ty p r t . * =ffi=l
r J r ̂ Tn it, f t i
M r
UU "
4rér Jrï£ ± _
iJ J J *
i . r » t i J r i k fjfiU—iHs!jrJ .-
u ItQnéti^yilp
iyzu L:m
J V 7 J 1 - 4
Transpose Exercise 64 to all scale d e g r e e s,
64,I f i tX f r ̂ 5 1 1
64
65,fl X l r-\ JTj l>rjïïj] I
l U lf ^ r*f¥l*tfTri r^ nkitth ti-V^
68,
}
l tjtftyf f r ^ r 1
k k$r f t̂ f rtr ■y f- ß 1 i J T j p
&
ji
69
70,
-à---- *-
i
l i f e -jP~ m
n
I
I
•ï
67
I
' V r f i f ^ r # =
---- * - À t - Hr-* 1 .. m—
— ~t— —
1 1 1-----1 1 1 1
t i £ d = f fr r [
¥ t f = H
(ft f r 14 M -— . . . . g..■ — ....... ---■ = «
^ f-f^ 1 •• f o r T ^ f V f c T i .~ j ~ J J T
I ---- 1 1 1 -1-------- frI t ■ 1 :i^A: :
« = T - f c f c M 1 g y —
1 , ‘í t i j A k . , k . . 1
r i I T ~ f ~ . T l i i l ~ ^ h h f b J
h ~ - J P
^ = F
< r n ■ • * • —
4 :/,,,{:,,,,|i;:,|— ;...... w * .....— ....Jm 4 .J.VÊLi
■ / 4 f f
± } = +
....d _____
f f f
« 1 J T O J T 7 ^ = i
i g = “
i = Æ
J - 1 L -1— I— 1 1 1 \— 1—
O J P \ ^
- L l x J
# » • * j # - q
*■1
g p * á i » :J 
. J j. * # r * f * r -
« i r i - = = 
f l f j é f p f ^ p p — •— p -f-# h-J ̂ .IL 1 i
J f t - p * - ..
------ 77p=|z: : = z f ± Jt£Jf E .X L ^ m £ =**=
68
EXERCISES ON II - V - I*
D * 1 (
M -
V 1 C a 1
... ..... ..................... ~ ~ 1É jX — 3— l .-------- ------------- r T ! r 1̂ 8 = - .. .------zdl
CùP
%
\ û v f 1
Lii--------- 1
C a *
>r ‘r V u i $
fci
Pm 1 
» L ^zfc
£
Dm 1
-5' i
& » 1 - « ’ L Ci’
iX C J ‘l i l i - J -
5 »’ »!
M - f V r
£»’
* Transpose these exercises to all keys.
Dm1 G? CcP
Dm1
■jg: — r*-
n 1 j iíü 
â“7
n iJjJjj
H l u I
— Ca1
3 1 j fa° 1
■lé- rr
ô*1_________ _ Cô1
— rfF=5^-r g --- .. ---- 1
D*1
0 = ^
_Jt_J_I_=—u-#-- -*---
ü."1
p t b r
CA1
.......... .. Ig|_- , *
Dm1
-*1- -' M.-fc
n n r :
»-------- _=-— --- -- —
CS
fr^T - II( 3̂ Z._ ■-
TW“1
/■4-----
-?=-T» bl
t)̂
M fC-- -- ' ----■“
tl*-1—H-p------------------ -t»4— • -«
, D̂ 1
■4-, j r
-■.
T l t f r
_•£-._ 4 ■p------- -----------
Ce?
S St™.. U HZ —
\ Dm1
U - r f
-t---- lí—
t)b
=**] I r T J í
±4=He." -— ...... 11
j S - f ^ .. - -..■- ^Q?4 J * 
ft*»1
■k-4-:
*==P=ÍS
pl>7
— a— t-i-4— f
' 9 J ir
Cá1
-~H~~" C ~—~-----------H(©4--- *-
Ai
t a
~frl L_i ~è—- - - f
jlA*.fy-̂ =
/ - —1----------- -- ---------- —--=*
ÛA1
■**f ' - - ____
70
(UP
A * ’7
f e r r V
É ^ â i 
* 1 I
r i p ï ’ n z i
C ó n
-_± , — - a . ------------------ — ;
A * 
h ï , . i
■ i r % E ^ 1
D In
. , . - U 4 frjj
< L t ?
|j*'.. H Ä
V f i n
u f >
p h
r t ------ ( r r ^ ' é i
J 1 a ..... - —
C a ’
V.t'".4 0 .— ... ... .fl
1 4 . » f ^ i
r b r r n 
&
t y r f , " p m
d P — — ...... ...
C ú P
f ^ L 1 i ' = = n
y 4 rtJ
, Ab1
'ü -7^ ~ ^ r V -
&
ti»-:----- ji ► — r* t
^ j g _ g " ----------------- = :
C i P
1 m ■.... ......... ........ ......... -. -$4. t- i-
nr
è = f e
^ e í í E É E — 1= *
Í J - L * .......................... 1
C t P
F - 4 — --- ê -------------------------- ---- :----------- :
, A1»1
L . ==fc= 
Q P
1-------- . - - . - C T
krnmm----1
C a 1 
, *
— f ---- ---- — — = — -.-----:----- ---- :-------:--- -W £ i i
A'»1
k ĴTT
M ^ t S
( T
- v ^ L — k i k ^ -l
J 1 ■ = 6
C t P
L— . ----gr----------------- :— — ----------------
t a # : .—
■) Afcl
U - t L
8 M ^
Ë fe îæ
1 f t 1 t V
^ . = r ::-3
71
EXERCISES ON TURNAROUNDS*
Transpose these exercises to all keys.
72
*á=(yvy*T..~
, ^
ÉM &
*̂-1 fw
jQ rrfa iÜ ^ 'W iii« ' = :
pb .0̂ L. Cá’’
-f-»■---:r:i«4j-4ĝkf fV̂ T Vi 0̂ — n^ .H
iM=Mi
-jU~E3:
ß*7
f f f- ri*
±j—<- 
í
fcf=*— =t
LU 1 1-kr Dh 
1 L ífbfbr "|T;
■A.,] ..... ..ZJ
CS
rm.n.Ö..—..11....mEE— 
h -fe
ru 1 r
f- tf *L
-Li - ̂ 
ê
r í* 1 ~pi
L-f f f \ j X 
% V r >H i.
Lf. . if w .::::::::::: :
H î h6..—.ha^L
? £?7-4—f
Uj LI 
]"T31, _fX
gf j 'T r, ' y -1 -|--í 1 =B
j0 |—| çjfl $7 Cà7li j:U t .-.> f.t "l ~z4? ?-T- rQr:::̂ -̂-=ü
■ frr
1 rzir: : :zpa is?
jbi 
f f f f ti
Î
'■J 1J rl \ i-J » = H
■!•’' pl>̂, c.ú7
f km m —t-J L J T j-kJ -.. ■——----■Ltu u
! 6k'
L.-̂
J u 17 gl> " 
í=f̂ ' »f 1
...®“ pj ' ..'. —&..... ..
»rV i^Wr £ j i * ̂
•lá—--- » f f--T̂ f
» ß!,i f fi D̂*7.
5SM
Càn♦
i ̂iH ff
u-j u
_ g> 
; 4 I li J—: ~1
. § .
;. î.. iTh v
_fJSL-U.W J
&
---^̂ -------P
î u 'L .a........
M
JbeiJjPerntet:j/r j i ■ 
*■»
yt>|.[ 11““ ■■ -4--■—" “ y w T "
.^
D̂1
■ ■ r-w— + 
■ ■ ? / ■ .m\
*r..:.... ................................................ ■"'
ttS
m
1 Jümw W 3
73
c n(*<)
74
EXERCISES ON THE CIRCLE OF FIFTHS
0
e
;]
s1 B i 4 7 D 1 <*'
Bbi l\bl
á
t /f
É É É Ê É
7.1 t7 * £ * k &
^ L L . ^ 
ÍL.ll f V
g r u M M ^
W J J iw 2
9., bfi I b+!plt]
$P
I
EXERCISES ON ALTERED PENTATONICS*
I
n
i
Altered third note 
l.l/i . t »
^ n'ifl 0 1.UÜSSI} i [j'jit uàM
É -(rp f r fr
m ■r j ~ n n ~ n
bi J ijj
m m Îf m f=k
'k rfTJ jiff31 tjT17 i [̂ iJ g]Ji *
'■l l TffXlLr
* Transpose these exercises to all keys,
78
Altered second noter t L I C l X L U o c w u n u n u i t ^ ̂
liTĴ aiHirîHrrriu'ij rnj
> ^ 7 1 r r ? 7 r f l ^
. r f f l t e ^ x r ‘tij J
f F U L i ^ - Ü l J i T f f r ^
“'k - f i j v jjffl i txir i cieT
?
5’|4 —
I?-.# lJ—Ü — g 0TF”
=̂ — .-.^J Ji>1
Altered fifth note
r f f < . 1 fT T=- .-■ ~~. -
1
n
!.J v j
J JJ b[Xli
~é rTT^——r m i n r P jt p
L-jr| -B«,#_
F~3~i~ 1 , » t
.
1 V>T~f—1
lit
B
f ;
1 _
^ JJ i j J »
— f f r r* i*~
{.# g * Jvé m- J té m
r*T f i
- >PU J J ..falsfal »
,~>~if y-ÿ ,—t + m L--- 15 = j 1-zL Η^
J~~J ti~l =£
■L ~=T.IT-- |—£=(:
L J T Î -rr"T T l1 f*
-M LI J J - 
Wrnmhd.. — ---- Hi 1I
^ 16.-
J?........ ..3® jfr
N -r-i r-
A r r ^ = -
» ».#.-jl---*-*—#—jjj—
+ . ... = *
r j f V ^ -n.
0 i
f| 17 ̂
HÜ « 10
B 1
1 1SJ
.. X *.J *
(4 i n"i |
....i ^ r u U—
■£— ■ - ~ «■■ t—#-— »—* *.Ÿ"
LJ--------------------- 1
-f: f.\ t i ? r - f .....a
» J J. »J J ; 
*4 r r m r
s Jt* —* - “ =dfc«=p= rziz
T tf2 r - r r n
.f- :i i » «—
0 = zFpT-B=
.r .... n
fT T r ir ft& ... J_ J ^ J:
# T̂™ r
6 m... .....3_r__::::...:::...i p*....->------ 1—è—------- ----
=r--tT£Tf'f
= [btJ> 
T H T l i
;F L L U —i 
—f-------—■? '-v 4“
n
U 20 ̂
p* Li r =)=[= 
j j i i 1 i j
J 1 Li 7 1 f 1 ^ J 1
j.—i- j—ai.. j
-J-. .
U--1--
7jf .• i»» 1 ] j~ t
ɧ
*= .« « „ . _
.. 2-jfl[ _a i_pLi.___:-------g I-—---------- |i---
1 r ¥ r - r f J f I - f
— J-tt-*--- J--■
fc-
.....2j|L . SL i __
ABOUT THE AUTHOR
Mr, Ricker is currently an Assistant Professor of Clarinet 
at the Eastman School of Music, where in addition to teaching 
clarinet and saxophone, he teaches jazz improvisation and is 
coordinator of the Woodwind Doublers Institute.
His many articles on jazz and studio teaching have appeared 
in Woodwind World, The Instrumentalist, Music Journal, and The 
International Musician. He is active as a composer/performer in 
both the classical and the jazz fields. His published works in­
clude compositions for jazz ensemble, studio orchestra, wind 
ensemble, and clarinet duets, Mr. Ricker has appeared as soloist 
on several occasions with the Rochester Philharmonic Orchestra.
He currently plays third clarinet, bass clarinet, and saxophone 
with that organization. In the field of jazz he has recorded and 
performed with Chuck Mangione, and performed with Buddy Rich on 
the NET special ,fRich at the Top." In 1975 he was a recipient of 
a National Endowment for the Arts Jazz/Folk/Ethnic Travel-Study 
Fellowship Grant to study saxophone and improvisation with Joe 
Farrell. Mr. Ricker holds a Bachelor of Music Education Degree 
from the University of Denver, a Master of Music in Woodwinds 
from Michigan State University, and a Doctor of Musical Arts 
Degree in Music Education from the Eastman School.
Jazz Instruction Books 
from CPP/Belwin
PATTERNS FOR JAZZ
PATTERNS FOR JAZZ stands as a monument among 
jazz educational materials. This performance-oriented 
text by Jerry Coker, James Casaie, Gary Campbell and 
Jerry Greene is a must for music educators. Condensed 
charts and pertinent explanations are conveniently in­
serted throughout the book to give greater clarity to the 
application of over 400 patterns built on chords and 
scales. The patterns are organized from simple (major 
triads) to intermediate (ii-V7) to complex patterns 
(polychords, lydian augmented scales). Spiral-bound.
Treble Clef Instruments (SB1)
Bass Clef Instruments (SB72)
TECHNIQUE DEVELOPMENT 
I N FOURTHS FOR 
JAZZ IMPROVISATION
This book in the Ramon Ricker Jazz Improvisation Series 
is for the advanced player. The interval of a fourth is an 
integral part of jazz improvisation and the sixty pages of 
reading and exercises will give the musician a good 
understanding of the interval’s uses. The serious student 
should use this book as a supplement to aid and expand 
his harmonic and melodic vocabulary. When fourths are 
mastered, they can be applied directly to jazz improv­
isation and ultimately increase musicianship.
(SB17)