ean RED GARLAND: Outines and 357-9 Arpeggios famusic Bert Ligon bligon@mozart.sc.edu [Return to Jaz ‘Transcriptions page| RED GARLAND: OUTLINES ¢ 3-5-7-9 ARPEGGIOS ‘These examples from improvised solos by Red Garland will illustrate some basic shapes available to improvisers. These basicshapes are use by all improvisers over traditional harmony ‘The most fundamental shape would be the step line beginning on the third of a chord and following it through the progression, This is alled outline no. 1."The thin the most consonant note in the mess 2s it identifies she diond qualy. The most dissonant note isthe 7 that retolves in every ae to th following 34 1, Outline no. 1: connecting 3rd ba? o c vr “ ‘ bot ttes ol eee, — A common elaboration of this melodie pattem is to add the 3-5-7-9 arpeggio between the fist and second notes of the pattern. This octave displaess the line, and by arpeggiating the chord makes it harmonically very dear. (The basicdescending sale tones are shown with crdes in this and subsequent examples.) 2. Outline no. 1 with 3-5-7-9 arpeggios: ‘The arpeggios can be inverted. Rather than ascending 3-5-7-9, they an be played as shown below. 3. Outline no. 1 with inverted 3-5-7-9 arpeggios: ‘nw music se edulealjazzhranscriptonsIREDOutines him wrean RED GARLAND: Outines and 35-7-9 Arpeggios Red Gatland illustrates the conerpts in these examples from his improvisation on the mine A Faggy Day. Ta the first example, Garland plays the third of cach chord on beat two, emphasizing the back beat. Each third begins a 3-5-7-9 arpeggio. The first and last measures eontain the ascending 3-5-7-9 arpeggio and the ‘middie measure features an inverted arpeggio. Gatland uses a9 over the G7, a note borrowed from the parallel key of C minor. The Glin m.3 is approached dhromatiailly from below. Notice the musical symmeuy beween the first and last measures. Try playing this in all wwelve major keys. Decide where to use the ascending or invested arpeggio depending on the range of yout instrument. (Ihe basiedeseending salle ones are showa with drdes and the 3-5-7-9 arpeggios with boxes in this and subsequent examples ) 4, Outline no. 1using 35-7-9 arpeggios: bar o cor = Pee seer “The basic structure of this exept is similar 0 the previous one. Garland aims for the third of D7 by ying the note above and below (the upper and lower neighbor tones). After artiving at the third, the expeced 3-5-7-9 arpeggio cous, inverted this time. Notie that in the fist example the arpegzio for the first measure was aseending and inverted in the second measure. In this excerpt the direaions are reversed, Garland uses a9 over the D7 borowed from G minor and a9 over the G7 bontowed from C minor. He uses the same diromaticapproach used in the Bist excerpt this time to arrive at the Din m.2 and the GM in m3. Tey playing this in all twelve keys finding different eombinations of ascending and inverted arpeggios for all the chords. 5. Outline no. 1 using 3-5-7-9 arpeggios: the fee eo tS 5-7-9 arpeggio from GarlandOs improvisation on I Conld Write a Book: 6. Simple version of outline no. 1 using 35-7-9 arpeggio: Outline no. 1 and 3. 9 apeggio from Garlands improvisation on I Could Write a Book 7. Simple version of outline no. 1 using 3-5-7-9 arpeggio: ‘enw music s6-edulealjazziranscriptons REDOutines him 2n7ean RED GARLAND: Outines and 35-7-9 Arpeggios n sho? a8 ths = Here is another common melodieshape ailled outline no. 2. Outline no. 2 begins with a 1-3-5-7 arpeggio. ‘The 7 resolved to the 3° of the following chord. Because outline no. 2 ends on the 3" of the subsequent ciord itis often followed by outline no. 1 8. Outline no. 2 followed by outline no. 1: Garland uses outline 20. 2 followed by outline no. 1 in the following example. ‘The G7 chord is satidpated asving eaty on beat four of m.1. The 38 of G7 is approached by its leading tone A#, Garland sxpeggiates the 3.5.7 9 of the G7, duomatially approadies the G natural as shown before, and éusomaticlly approaches the 3 of the C major 7 dhond. Garland also uses the 3-5-7-9 arpeggio on the C major chord. Thereis an interesting eontmadicion in harmoniczhythm between what the chords indicate and what Gavland plays. He bepins Das? late on beat two, he antiépates G7 by a beat and plays the C major 7 on time, The impliation of the music is four beats for exch of the chords. Gatland implies a quarter rest, ewo beats of Den7, five beats of G7 and then badk to four for C major? 9. Outline no.2 followed by outline no. 1 including 3-5-7-9 arpeggios: Garland again uses outline no. 2 followed by outline no. 1 in the following examples from his improvisation on What is This Thing Called Lor? Almost every time he lands on the third of a chord a3-5- 7.9 sapeggio seems to follow. 10. Outline no. 2 followed by outline no. 1 including 3-5-7-9 arpeggios: —-~- =. Tepe t - 1 Outline no. 2 followed by outline no. 1 including a 3.5-7-9 arpeggio: cma? ee NS Garland ses outline no. Lin this except from his improvisation on If [Ware A Bell ‘The pices in the key of F, chough aone of these chonds indicate that. The A0T isthe io? and the D7 the V7 of G minor, theif chord in the key of F. Those two chords together ae the iio7/ii (07 of the key of i) and the V7/ii (V7 offi). However, they do not resolve to G minor but o. G7. The deprive resolution dos not change the analysis and funcion of the two chords. The G7 isthe V7 of C which is the dominant of F: V7/V. 12, Outline no. 1 over iis7/ii - V7/ii -V7/V progression: ‘enw music s6-edulealjazziranscriptons REDOutines him 3n7