PREFACE “improvisational Patina: The Contammorary Eran one of «continuing sare a pata books predicated onthe bei ‘hat, wise cara pattems seem to Vanscand eras and ates, to greater Body 41 ipoviatinal materia 8 ef igh ‘meciicity wan rar oi i ana ploce witin ie azz continu, The ito 19368 sam a Humber a major ew aH! ‘wands jn jaz, arsong ther the Yoioming: ih Tra! modal cempssrions (Mhistonos,” "Sa What.” wn hers George -RUssal’s magsum cous The Lycian Chromatic Concept of Tonal Qrpscsalion for lmorovieatlon.Orneie Coleman's eos ‘quartet: the bapiengs ata foemal moverant calle Mtuplea! jaz: atengeg explorations i the are of Gunther Sener _tarmad “nine stream”; ceninoad Finations with the ethnic rmusic of oinay cultures auch ws Spain, the Wast cies, tna, ant ‘tics and the continuing weluiton of he Bebop phenomsnon Tor tne contemooray is: ayer, avert ot the alacametoned mica phenomena hua eacselinaamany changes in Winking an approac oo wll onthe re-evaluation straw maria Tha tings 3 changes baz growing cut f tha rate of Ornate Colaran (ie vam parte raw must aa musi, ate ‘ne subject at anctner Book Io = For th Jaze musician who wou!d hunstin suscess ily lathe pos-bebop of contemparary wa, tha undaatanding at many ‘ew concepts end the grup of mary cilferert Kinds of maleate scluly mandatory, Fourtha pentatonic sales, mod scales, vical seas uted rcdally, fone rows, ad set ayers te all presario hia toot II Vr progressions reales ina cavlemeercy fan ae axe apiled in epeciny constiuied paler an im pattems tsa lnm tha paying) ve R2z pata of eontemporery mune. Tao sieials ar ten presented in moda astont The musicw ealetnorce pert H ihe beginning of the book aller tha warowtnel or gaining aia, wl tute ermreness, enc merl ease win tne ram sien o!fu language of sonenoate Jae ‘Arana the citer proterna which conta fodey's ald muBlcans NG wich Af GBat WiC Na BOCK ace Ta fatowRg: 1 How 10 hurdle unounlunoribodex choad progressions such aa These found in “Giant Stags", “Staolematen” “Dulohin Dance”, "Miles Made” Farest Flower” “Lazyolg"- "Cato tenes’, "S00 Mies High "Wnioh Mun,“ [Gaucno", Slumber, "Brte Place”, "Torrone Expectations”, “Soll Altar a"."Lafnand other. Some Slee tons te ie probiems found in such une ws tee ar proserte i Chater il Coltrane Grange 2. How to succansiuly Hance the iooger bulcing blocks necessiaing by inode! compositona, tthe baat the ‘rorivec dealt ory wih one te a Bourmnesute bases athe Beene Lulcing BOGkE, Mower, MA tht 3d vent of medal musi ea 90%, Ye eight a srtan-measure ard ecg, Nok, and pant became ie ia tathor Ian the exception As Avon. tbe emproviet mast Rave long, tare eoenprehrate, more Sveti and gonally meee technical demanding pattems ramorized and under Hnger Cagle lt Moda Palla Souls wl {ha problem cacessiated i fleteat 140 Be Sustaed ‘Argus ane mana of energizing an stherwine sla geal ne (A.latnic ina may bo mada angus by octave diaplacareant Ta tacaniqun in Suvieianyatictive wih fash moving wghtr note arentad rovidien Se example one Dew EXAMPLE t pee eh SSS ofscale choices oye imaginal uaa.o! thar AAnothet way ol anaigiting a stati ine ealae datietion nts Yecbnique the coject ist prevent a acaie trom ting {ilo recognizable and predictable palenns. The ee of notes shyinm, dynarmica, ociawe placervan wi. awe constant Ip aartangeo to setievg thin. Soo o2ampie two below: EXAMPLE 2—_- Yet another way of snorgizng a tonally static lines toceaaie harmonic and matodic the tonality via. fourths, pentatonics, tone rows, atc. See exarnole thes batow tina! observation with ragard to the music of t and gonta: virtuoso technique 1s absolutely mandatory. (The caligthenics In Chapter | of thit bock nim at developing this King of technique ‘SOME SUGGESTIONS FOR THE USE OF THIS BOOK 1. Take one of the Bages of calatnasics each day and play I through diferent keys, varying dynamics, articulation, phras: (na, rapist, ar othr abemants and always working lemaid maximum speed, (Use the metronome 10 measure improvement) Skip around between tha pentatonics, fourths, and Yourtha in variaus combinations. The exercises are-nok arranged in rder of propresive dificult. Also practice ising tha calisthenics in actual playing slivations based on your analysis of tha materi Involved. ‘2 Pay Miraugh Ine varbous I Vs palteens, chodsing different ones to cormmit to mamacy. Other pattorne should simply be practioad tor tamaariy. Yo davelop dexterity with thi kind of malarial, the player shout then practice using the mateial ‘transposed to the appropriata keys}on Tamiliar tunes. Aa.exceliont way of working hel V+ patterna sa with tha Jamey ABD& ‘Sold play along recrcs, particularly volumes’, 16, 4N6 21, and with volume 3 of Advanced improvisation by Clavid N, Best, AB tha playr becom hart and mare Comfortable with tha materia, the iogical progression is 1 mary coticult Matera, f8,-COn- temporary jazs tuts and the rote diftcull play dong records. such ws volumes 4,5, 9.10, 14,18. and 49, 68 well ad Ihe lay slong compositions in volume 9 of Advanced improvisation by Caria N. Baker. Exporiment with the sound of the differant ‘modal, pantatonic, and fourth remzations oth I Vs progression, choosing afew each cay te commit to pour repertcireol pal 3. The four, sin, and wight eneasure evadal patterns should be mamdtted we blacks and used in various modal compos tiara, Again, recommend that playa search throuph tha various Aebersold ptay along ‘ecards lor appropriate tones for procs tice. | espocaily recommend volume 1, Side 1. tracks 1 wid 8, wolvme 2 volume &, side 1, Lack ?-nodcohomens oO 17 aod ct) ‘Don't be atid jo experimen with “dissonant or “outed pattems. They begin to seund an feel naturat with repeated "Aa you become mare and mere Gemfortuble with material. begin constructing soles atong similar tines ‘Aino incloded aro two original 2orR@esiiss with Solos thal exemplify the lechmigues her va vertical tune based on the changos to “Back Home Again in indiana" and ahewre ho ight ute fourths, He Stra might wee fourths, pemtalanic and ih ikeon standard cr bobo tune. "The Harlem Pipes" isa modal unednd tha imroniaation on kesomene wa ma fev in which a pieyor euch as McCoy Tyner, Gavid Lisbman, of oe Henderson might realize I ‘Practice siigentiy and don't be discouraged. Ta ast tS YU at fl, Persist and thing wall agin to happen.* 0 SE oP oir ane | ® ee 0 oe sey ptr set eS 6a maa Etter fetta Fgteanatraneet E a \ be 2 » AE» a 2 be # ik6 Hf é Hy ; saan t= | Sr FERaneyDorian: DEFGABED Modot Patterns SpeeSS SSee aa ras my —S = =I Sa a co P . —— a — at - — TS Ss <= & ap & @ 4 a « == ES = ed=Ays es eBayModal. 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Keres GyED Gb AP BP pb Eb = zs ae r E beTY, Fattems Using Lonremporary ‘eh aE ORE NE mee mont Gt) 6 ee Se ==] 0 =e SS SS = 0 SSS ear oF SSSI Deb DR = ® He epee? = ecrewee =e Ce “tb oF Pb _ o SE a = o Koo Bie Pee——— Pe be b. ® S=SeFea Pentatenics, Coltrane changes, Hh paiterns, and tone rows= & ee es & = Gy cr 3s D= — 3 id Ay ae At £ a as =~ Le =e