UNIVERSITY OF CINCINNATI Date: I,, hereby submit this work as part of the requirements for the degree of: in: It is entitled: This work and its defense approved by: Chair:
Sonata for Alto Saxophone and Piano by Phil Woods: An Improvisation-Specific Performer s Guide A doctoral document submitted to the Graduate School of the University of Cincinnati In partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS In the Performance Studies Division of the College-Conservatory of Music By JEREMY LONG August, 2008 B.M., University of Kentucky, 1999 M.M., University of Cincinnati College-Conservatory of Music, 2002 Committee Chair: Mr. James Bunte
Copyright 2008 by Jeremy Long All rights reserved
ABSTRACT Sonata for Alto Saxophone and Piano by Phil Woods combines Western classical and jazz traditions, including improvisation. A crossover work in this style creates unique challenges for the performer because it requires the person to have experience in both performance practices. The research on musical works in this style is limited. Furthermore, the research on the sections of improvisation found in this sonata is limited to general performance considerations. In my own study of this work, and due to the performance problems commonly associated with the improvisation sections, I found that there is a need for a more detailed analysis focusing on how to practice, develop, and perform the improvised solos in this sonata. This document, therefore, is a performer s guide to the sections of improvisation found in the 1997 revised edition of Sonata for Alto Saxophone and Piano by Phil Woods. This guide will aid in the successful rehearsal and performance of well developed improvised solos that are solidly based in the harmony, and that incorporate melodies and rhythms found in the sonata. For each movement the harmony is analyzed to determine one or more scales that are commonly used with each chord. Second, I wrote exercises based on methods found in The Jazz Theory Book by Levine, A Creative Approach to Practicing Jazz by David Baker, Inside Improvisation, vol. 1 and 2 by Jerry Bergonzi, The Jazz Handbook by Jamey Aebersold, How to Practice Jazz by Jerry Coker, The Modern Sound: A Step Beyond Linear Improvisation by Walt Weiskopf, and a guide-tone exercise by Brad Goode. Finally, I composed example solos for the first and third movements that not only incorporated the scales, arpeggios, and exercises, but that are also based on the themes, rhythmic ideas, and the harmony of each movement. iii
CONTENTS LIST OF FIGURES AND MUSICAL EXAMPLES...v Chapter I. INTRODUCTION...1 Background II. MOVEMENT I...4 III. MOVEMENT II...30 IV. MOVEMENT III...33 V. MOVEMENT IV...53 VI. CONCLUSION...55 BIBLIOGRAPHY...57 iv
LIST OF FIGURES AND MUSICAL EXAMPLES Figure 1.1, Scale chart...9 Example 1.1, Exercise with arpeggios...6 1.2, Solo based on arpeggios...8 2.1, Scale exercise based on Aebersold s method...13 2.2, Continuous Scale Exercise using quarter notes...15 2.3, Continuous Scale Exercise with eighth notes and quarter notes...16 3.1, Guide-tone line...18 3.2, Solo based on the guide-tone line...19 4.1, Woods sonata, m. 52...20 4.2, Exercise using m. 52 motive...21 5, Movement I example solo...23 6.1, Woods sonata, mm. 100-103...24 6.2, Woods sonata, mm. 73-76...25 6.3, Woods sonata, mm. 47-48...25 7, Example solo with scale annotations...27 8.1, Bb7sus triad pairs...31 8.2, Triad pairs for B7sus, C7sus...31 9.1, Piano, mm. 30-37...34 9.2, Piano, mm. 42-45...38 9.3, Piano, m. 53...36 v
10, Improvisation section chords, mm. 30-53...35 11, Arpeggio exercise...37 12, Scale exercise...40 13.1, Diatonic seventh chord examples...43 13.2, Diatonic 7 th Chord Pattern No. 2 through harmony...44 14.1, Movement III example solo...46 14.2, Five motives found in the example solo...47 15, Piano, m. 4...53 vi
CHAPTER I INTRODUCTION Crossover music that combines Western classical and jazz traditions creates unique challenges for the performer when the music requires improvisation. In general, the performance level of the improvisation is weaker than the performance of the written sections of music. Artists are usually well prepared to rehearse and perform the written sections of music; however, many times they lack the knowledge and experience to successfully rehearse and perform a well developed improvised solo that not only incorporates the melodic, rhythmic, and harmonic language of the piece, but also creates a dialogue between the soloist and the other members of the ensemble. The research into crossover music for saxophone is limited. I found only two dissertations that analyzed saxophone works that mix Western classical traditions and jazz improvisation, A Performer s Analysis of Phil Woods Sonata for Alto Saxophone and Piano by David Brennan, and Crossover considerations: Performing three works by Ludmila Ulehla, Phil Woods and Bill Dobbins by John Mark Perrine. Brennan s dissertation on Woods s sonata is thoroughly researched, yet the coverage of the improvisational sections is limited. He gives general suggestions that are helpful, such as recommending standard scales for improvising, explanation of slash chords, and rehearsal techniques that recommend that the saxophonist must first internalize the chord changes to have a basis of melodic material in which to draw from when improvising; 1 however, his analysis of the work focuses much more on the written music than the sections of improvisation. 1 David Brennan, A Performer s Analysis of Phil Woods Sonata for Alto Saxophone and Piano (DMA diss., 1
This document, therefore, is a performer s guide to the sections of improvisation found in the 1997 revised edition of Sonata for Alto Saxophone and Piano by Phil Woods. Due to the performance problems associated with these sections, this guide will aid in the successful rehearsal and performance of well developed improvised solos that are solidly based in the harmony, and that incorporate melodies and rhythms found in the sonata. For each movement with chord symbols, Mark Levine s The Jazz Theory Book was used to analyze the harmony and to determine one or more scales that are commonly used with each chord. Second, I wrote exercises to expand on Brennan s suggestion to internalize the chord changes, based on methods found in The Jazz Theory Book by Levine, A Creative Approach to Practicing Jazz by David Baker, Inside Improvisation, vol. 1 and 2 by Jerry Bergonzi, The Jazz Handbook by Jamey Aebersold, How to Practice Jazz by Jerry Coker, The Modern Sound: A Step Beyond Linear Improvisation by Walt Weiskopf, and a guide-tone exercise by Brad Goode. Finally, I composed example solos for the first and third movements that not only incorporated the scales, arpeggios, and exercises, but that are also based on the themes, rhythmic ideas, and the harmony of each movement. Background Phil Woods s contemporary classical compositions are known for blending aspects from both the classical and jazz traditions, which is understandable due to the fact he is an internationally known jazz alto saxophonist. Surprisingly though, improvisation was not included in the original version of his sonata, which was then entitled, Four Moods for Alto Saxophone, Piano, and Bass. This sonata was written for Victor Morosco s saxophone solo recital at Carnegie Hall in 1962. 2 2 Ibid., 72. 2
In 1974, at the request of Morosco, Woods omitted the bass part and included two improvised solo sections in the first movement, one for saxophone and one for piano. He also changed the title to Sonata for Alto Saxophone and Piano. It was not until 1994 that he added more sections of improvisation for the saxophone in the other three movements. 3 I used the revised edition, which was published in 1997 by Advance Music, for this document. 3 Ibid. 3
CHAPTER II MOVEMENT I The style of a work is one of the first characteristics to consider when improvising a solo. Phil Woods offers no suggestion of style in the first movement except for faster in m. 36 and jazz legato in m. 52. The revised edition of the piece does include Notes on Interpretation and Performance by Morosco, which provides some guidance to the style. He suggests a definite jazz feeling for articulation and rhythm beginning at m. 36 in the first movement. 4 It seems that the style of the first movement, at least from m. 36, should include swing-eighth notes when only considering the above information; however, Morosco and saxophonist John Harle have both recorded the work playing a combination of even and swing eighth notes up to m. 100. The sonata is on Morosco s Double Exposure and Harle s Plays. In both recordings, they play even eighths during the sections in common time and swing eighths for the sections in ¾. In my opinion, the composer is leaving the style choice open and up to the performer. Measures 36 through 100 could be played with either swing or even eighth notes, or a combination of both as recorded by Morosco and Harle. This still leaves the performer with the question of what style to use for the improvisation section, mm. 100-117. I would suggest a swing style for the entire improvisation section no matter what style the performer chooses to use beginning at m. 36. The swing style will contrast the straight-eighth note style of the improvisation section in the third movement. Harmony is the next and possibly the most important aspect to be considered when improvising. Improvisation is viewed by most to be the act of composing music as it is being 4 Victor Morosco, Notes on Interpretation and Performance, notes to Sonata by Phil Woods (Germany: Advance Music, 1997), 2. 4
performed. Careful study of the harmony is imperative for the performer to be able to improvise a solo that is solidly based on the harmony. The first improvisation section, beginning in m. 100, is sixteen measures in length and is divided into four four-measure phrases. The first two phrases are in D minor, the third is in F, the relative major, and the last phrase is in D, the parallel major. The harmonic rhythm moves quickly throughout each section, yet improvising is not as difficult as in a tune that moves through multiple key centers because all four phrases are related to either D minor or D major. For instance, the first two phrases contain two chords per measure, although each phrase contains the same descending chromatic tetrachord in D minor, D-C#-C-B-Bb-(E)-A, with the E functioning as a V/V in D minor. The third phrase begins in F and modulates to D major as shown by the following Roman numeral analysis: F: ii7 iii7 IV (maj7) vii (m7b5)/v ii7 ii4/2 D: iv4/2 ii7 V7 I. Furthermore, the fourth phrase only contains alternating D and Bb major chords, I and bvi. A bvi chord in major is a borrowed chord from a minor key and usually has a predominant function; however, here the Bb major chord is functioning as a chord prolonging the major tonic chord, D. There are many ways to learn the harmony for improvising. The following suggestions and exercises will give the performer a solid understanding of the harmony. First, the saxophonist should play the written piano part from the improvisation section. Then, the person should practice exercises from Jamey Aebersold s article, Practice Procedure for Memorizing Scales and Chords to any Song found in his Jazz Handbook. 5 Begin by playing only the roots 5 Jamey Aebersold, Practice Procedure for Memorizing Scales and Chords to any Song, in Jazz Handbook [book on-line] (New Albany, IN: Jamey Aebersold Jazz, INC., 2000, accessed February 2008); available from http://www.jazzbooks.com/miva/documents/handbook/09_tips_for_new_tunes.pdf ; Internet. 5
of each chord, then add the third and the fifth of every chord, and finally, add either the sixth or seventh of each chord. All of these exercises should mainly be played on the saxophone in the transposed key from the solo part. Note that many of the chord symbols do not include a six or seven suffix. 6 For instance, the Bb major chord symbol on beat one of m. 102 does not include a 7 suffix, even though the seventh of the chord, C concert, is included in the written piano part. The sixth is included in the D minor chord on beat one of m. 104, but a six is missing from the chord symbol. Even though these chord symbols do not match the chords provided by the composer, it is standard in jazz improvisation to add other extensions to the written chord symbols, such as sixths, sevenths, ninths, elevenths, and thirteenths. In ex. 1.1, I have composed an exercise based on only the root, third, fifth, and sixth or seventh of each chord. Example 1.1: Arpeggio exercise. Since slash chords are an integral part of this solo section, not all of the arpeggios are in root 6 If the performer is not familiar with chord symbols written in pop notation, then I recommend p. ix of Levine s Jazz Theory Book or Nomenclature from Aebersold s Jazz Handbook. 6
position. The appropriate inversions were used to incorporate the descending chromatic tetrachords in the first two phrases and the slash chord on beat three in m. 11. The performer should be aware that the G-7 on beat one of m. 11 should be a C7sus chord because there is an Eb concert bass note in the piano part (see m. 110 of the piano part). The C7sus, however, was not incorporated into the exercise since it is very similar to G-7 because C7sus may also be represented by G-7/C. The exercise should be played with a metronome on all four beats and then on beats two and four until the tempo of the fast section of the first movement is reached. The eighth notes should be played in a swing style. Articulation is not indicated, but it should be in a connected jazz style and not choppy. After the saxophonist is comfortable with ex. 1.1, they should improvise a solo limited to the notes from the arpeggios. I suggest playing the arpeggios in all of the possible inversions. For example, play all of the chords ascending in first, second, and third inversions, then play them descending in all inversions. It may also help to think of the arpeggios as digital patterns as Jerry Bergonzi suggests in Inside Improvisation Melodic Structures, vol.1. Therefore, the ascending arpeggios would become 1357, 3571, 5713, 7135, and the descending patterns would become 7531, 1753, 3175, and 5317. Replace the 7 with a 6 for each of the digital patterns for the Dmin chords in mm. 100 and 104 of the sonata. The sixth is not included in the piano voicing in m. 100; however, it has the same function as the chord in m. 104, which does include the sixth. Bergonzi also suggests using any permutation of the 1357 digitals pattern, such as 5317, 3715, and so forth. 7 Of course, there are many permutations of 1357(6), which give the soloist many possibilities to choose from. I have composed an exercise, shown in ex. 1.2, which demonstrates 7 Jerry Bergonzi, Inside Improvisation Melodic Structures, vol. 1 (Germany: Advance Music, 1992), 10. 7
one possibility. I only use notes from the arpeggios, but I also use Bergonzi s method of editing, where all four notes of the chord are not always included. 8 The simple act of deleting notes creates rhythmic interest and makes the exercise sound more like an improvised solo. This method of practicing the chord progression is also valuable because any solo created with this method contains all chord tones, thus the solo will always be harmonically sound. Example 1.2: Solo based on arpeggios. Improvising using arpeggios is an excellent exercise to develop melodic ideas based on the harmony. Improvising using scales is another way to create harmonically sound ideas that are more conjunct, which contrasts the more disjunct melodies created from arpeggios. Each chord has at least one possible corresponding scale. Since there are only three key areas, many of the scale choices will either be related to the D jazz melodic minor, 9 D harmonic minor, F major, or D major scales, allowing the performer to use the same scale for more than one chord, 8 Ibid., 39-40. 9 The jazz melodic minor scale is the ascending form of the melodic minor scale played both ascending and descending, thus D jazz melodic minor would be, D-E-F-G-A-B-C#, ascending and descending. 8
which makes improvising easier. For example, Bb Lydian and G Dorian are modes of F major, B Locrian #2 is a mode of D jazz melodic minor, and the A 5 th mode of harmonic minor scale is the D harmonic minor scale beginning on the note A. Figure 1.1 is a list of the commonly used scales for chords found in the improvisation section it does not include every possible scale choice. Figure 1.1: Scale chart. Chord 1st Scale Choice 2nd Scale Choice 3rd Scale Choice D- D Jazz Melodic Minor D Minor 6 Pentatonic A7(b9) A 5 th mode/harm min A 5 th mode/harm min bebop A Altered D-/C D Dorian D Dorian Bebop D Minor Pentatonic Bmin7(b5) B Locrian #2 B Locrian G Dominant Bebop BbMaj7 Bb Lydian Bb major Bb Major Pentatonic E7(b9) E Dominant Diminished E 5 th mode/harm min E Altered E-7 E Dorian E Dorian Bebop E Minor Pentatonic C# Dim7 C# Diminished (Octatonic) A Dominant Diminished G-7 or G-7/F G Dorian G Dorian Bebop G Minor Pentatonic A-7 A Dorian A Dorian Bebop A Minor Pentatonic DMaj7 D Major D Lydian D Major Pentatonic The most common scale choices include the Dorian mode for a minor seven chord, diminished scale for a diminished seven chord, a major scale for a major chord, and the jazz melodic minor scale for a minor six chord. Brennan only suggests D Dorian for the D minor chords in mm. 100 and 104. Dorian, however, should not be the first and definitely not the only scale choice for these two chords because they are functioning as tonic minor chords, not as predominant ii7 chords. Scale choices may also be determined by the melody. Measures 52-99 are based on the same chord progression as the improvisation section at m. 100. The most common scale used in the written section between mm. 52-99 is the D jazz melodic minor scale. Specifically, mm. 52-54, 56-61, 68-69, 72-73, 84-85 are all based on this scale, but the chord is not always Dmin. For 9
example, when the scale is used with a Bmin7(b5) chord, as in the second half of m. 53, then the melody could be analyzed as being derived from the B Locrian #2 scale, 10 which is the sixth mode of D jazz melodic minor. As for the Bb major chords, the Lydian mode should be the first choice (see fig. 1.1) instead of the Bb major scale because Woods s melodies are derived from the Lydian mode in almost every instance of the chord see mm. 54, 70, and 97 of the sonata. Dominant chords in jazz are very flexible due to the fact that there are a number of possible extensions and combinations of those extensions which are not always indicated by the chord symbol. All of the dominant chord symbols in the saxophone part and the corresponding voicings in the piano part in the improvisation section include a flat ninth, 7(b9), but no thirteenth, either natural or flat. Thus, there are many scale possibilities, from scales with a b9 and natural 13 such as dominant diminished, 11 to scales with a b9 and b13 like the fifth mode of harmonic minor. The soloist can reduce the number of choices with three determining factors, the function of the chord, how the chord is resolved, and the melody associated with the chord. The A7(b9) chords in mm. 100, 103, and 107 all have a dominant function, resolve to D minor, and have corresponding parts in the melody earlier in the sonata that contain the note F. As a result, scales with an F and not F# would be the likely choices because a dominant chord in a minor key almost always contains the b13 and the melody in mm. 52, 55, 59, and 68 in the sonata all contain F naturals in combination with chords with a dominant function. The A 5 th mode/harmonic minor scale is a good choice because it matches the melodic language of the movement and is based on D harmonic minor. The scale is spelled, A Bb C# D E F G, which includes not only the root, third, fifth, and seventh, but also the flat ninth and flat 10 The B Locrian #2 scale is B C# D E F G A. H W H. 11 The dominant diminished scale is another name for the octatonic scale beginning with a half step, H W H W 10
thirteenth. The A altered scale is also a valid choice because it fits an altered dominant chord with a b13 and b9; however, it also contains the sharp ninth, sharp eleventh, and no fifth, and as a consequence of these non-diatonic notes, it does not fit the melodic language of the movement. The A7 chord in m. 111 has more choices than just scales that contain the b13 because it resolves to D major. Dominant chords that resolve to a major chord, in general, can include any variation of natural and altered extensions. In this case, the chord symbol from the sonata is A7, which matches the natural nine scale degrees found in mm. 63, 79, and 95 of the melody; however, in the improvisation section, the piano part includes a flat ninth and no thirteenth (the chord should then read, A7[b9]). Thus, the soloist can either use the 5 th mode/harmonic minor, altered, or the dominant diminished scale. 12 I chose dominant diminished for the exercise shown in ex. 2.1 to add contrast to the previous altered dominant chords. Of course, if the accompanist is not going to adhere to the written piano part, this is something that should be discussed, or if the pianist is sensitive to these issues, then they will make these decisions while accompanying the soloist. The last dominant seventh chord to consider is the E7(b9) chord in mm. 102 and 106. An E7 chord in D is a secondary dominant because its function is to tonicize the dominant chord; in this case it is followed by Emin7 and then the dominant chord, A7. The fourth mode of jazz melodic minor, Lydian dominant is the common scale choice for a V/V chord because it includes all natural extensions and the sharp eleventh. The E7 chords in this movement, however, include a flat ninth, do not resolve to A minor, and there are no examples of the composer using either a natural or flat thirteenth in the melody except for m. 90 where the C is included in an ascending chromatic line. Thus, allowing the soloist to again choose from any of the three altered dominant scales previously listed. I chose E dominant diminished for this chord, as shown in ex. 2.1, to 12 The A dominant diminished scale is, A Bb C C# D# E F# G. 11
add contrast to the other dominant scale choices. Also, I prefer the C# in the E dominant diminished scale because it is diatonic to D tonic minor. I composed a scale exercise shown in ex. 2.1 using techniques found in Aebersold s article, Practice Procedure for Memorizing Scales and Chords to any Song. 13 The scales are written in sixteenth notes to cover the entire scale in relation to the harmonic rhythm. The saxophonist should practice the exercise with a metronome and only tongue the first note of each scale. Then, the saxophonist may add other articulation patterns as they see fit. 13 Aebersold, Practice Procedure for Memorizing Scales and Chords to any Song, in Jazz Handbook; Internet. 12
Example 2.1: Scale exercise based on Aebersold s method. Mark Levine s Continuous Scale Exercise is an excellent way to bridge the gap between the previous exercise of simply playing scales and improvising melodies using scales. The first step is to select the scales to be used, as done in ex. 2.1. The second step is to use these scales to create melodies that move in a stepwise motion in quarter notes, eighth notes, or any other 13
rhythm that do not restart at the root for every chord change, but continue from where the previous scale ended. According to Levine, The beauty of this exercise is twofold : 1) It trains you to start each new scale wherever the last chord dropped you off, rather than jumping back to the root, which is too easy. 2) Most important, you learn how to link the scales together. You ll get experience in creating long flowing lines. Practicing this exercise also equalizes the importance of each note in every scale, and helps you get rid of root bias, or always thinking of the root of a scale first. 14 Example 2.2 illustrates one possible version of the Continuous Scale Exercise as applied to the first movement using only quarter notes. Many of the features of Levine s method are demonstrated in this example, such as linking all the scales linearly, use of sequence, and use of common tones between different chords. The scales are continuously linked throughout the exercise and only occasionally do they begin with the root. Levine writes of how important sequence is, and of how Joe Henderson, Herbie Hancock, Freddie Hubbard, and others are masters of the device. 15 Measures six and seven are sequences of m. 5, and the melodic line in mm. 15-16 is a sequence of mm. 13-14 (see ex. 2.2). Levine also writes of how common tones, or notes that belong to two or more consecutive chords, may be used to create more space and less chromaticism. 16 For example, the note D fits all four chords in mm. 9-10 in ex. 2.2, and the note C fits the first three chords of those measures. 14 Mark Levine, The Jazz Theory Book (Petaluma, CA: Sher Music Company, 1995), 122. 15 Ibid., 127. 16 Ibid., 155. 14
Example 2.2: Continuous Scale Exercise using quarter notes. Many times the melodies created by the multiple scales in ex. 2.2 collectively create a particular scale, which is a defining characteristic of this particular harmonic progression. For instance, in the first two measures, the four scales, D jazz melodic minor, A 5 th mode/harm min, D Dorian, and B Locrian #2, that are used to create the descending melodic line collectively create a one octave D harmonic minor scale. Also, in mm. 11-12, three scales (G Dorian, E Dorian, and A dominant diminished) are used to create a descending C# diminished scale. Example 2.3 illustrates an exercise I composed using a combination of Levine s Continuous Scale Exercise and Bergonzi s method of editing. In this exercise, quarter and eighth note rhythms, including rests, are used in various combinations, but the melodies are still limited to a stepwise motion only, which forces the improviser to choose only adjacent scale degrees, creating a coherent melodic line that is solidly based in the harmony. Melodic sequences play an even larger role in ex. 2.3. Motives are melodically sequenced and developed to build tension and to articulate the climax points (marked with an 15
asterisk (*) above mm. 23, 28). Three motives are developed in ex. 2.3, motives a-c. Motive a is developed in mm. 18-23. Motive b is introduced in m. 23 coinciding with the first climax point (*) and is subsequently developed in mm. 23-27. Motive c is then introduced in m. 28, coinciding with the final climax point (*) and is then developed throughout the last four measures (mm. 29-32). Example 2.3: Continuous Scale Exercise with eighth notes and quarter notes. One aspect of Levine s scale exercise that is not covered is the treatment of non-chord tones. He suggests only choosing scales that contain no non-chord tones, or what he calls avoid notes. For instance, the fourth degree of the Mixolydian and Ionian modes, when used with a dominant and major chord respectively, is an avoid note because the fourth is only a chord tone if it is raised a semitone, which is labeled as #4, b5, or #11. Two of the scales chosen for the first movement, D major and A 5 th mode/harm minor, contain non-chord tones. The rest of the scales, dominant diminished, jazz melodic minor, Dorian, Lydian, and Locrian #2, do not. 16
For example, if B Locrian was chosen for Bmin7(b5), then C would be the avoid note because a flat ninth is not a possible extension for a min7(b5) chord. Practicing avoid notes should not be avoided, just not played without resolving the tension. In general, they are used as either passing tones or lower and upper neighbor tones on weak parts of the measure. All of the non-chord tones in ex. 2.3 are treated in this manner and labeled with N.C. above the note-head. If a non-chord tone is played on a strong beat, then it is usually resolved by step. Many Charlie Parker solos contain brilliant examples of non-chord tone resolution. Even at three-hundred beats per minute, many of his eighth note lines placed chord tones on the downbeats and non-chord tones on the upbeats. Levine s scale exercise is an excellent way to help the soloist combine their knowledge of the chords and scales of the improvisation section in a logical and musical way. Another exercise that achieves this, as well as considers voice-leading, is a guide-tone line exercise by Brad Goode, who is a Professor of Jazz Studies at the University of Colorado at Boulder. A guide-tone line is created by connecting one chord member to the next to create a melodic line derived from a specific harmonic progression. There are multiple guide-tone line possibilities for a specific harmonic progression. Goode s exercise, like Levine s scale exercise, sets limits that not only create a guide-tone line, but more importantly forces the improviser to choose the closest note for the next chord as determined by a set of rules. If played with a metronome, then the exercise tests the recall time of the soloist as well. The first step in Goode s exercise is to select which chord tones will be used, 1-3-5-7 or 1-3-5-7-9 or 1-3-5-7-9-13, and so forth. Then, select a starting pitch for the first chord. Finally, use the following four rules to determine the next note: 1. Stay on the same pitch 2. Descend a semitone 17
3. Descend a whole step 4. Ascend a semitone. If the note does not fit the chord, then move to the next rule until a note is found, but always start with the first rule for each new chord. One possible scenario is shown in ex. 3.1. First, I chose only to use 1-3-5-7(6) of each chord. Second, I chose the root as my starting pitch for the first chord. D is not a chord tone in the next chord, so using rule #2, the pitch was lowered a semitone to C#, which is the third of A7(b9). Rule #2 was used for the next three chord changes until the Bb in m. 3 where rule #3 was used to descend a whole step to G#, which is the third of E7(b9). Rule #4 was used between the notes C# in m. 8 to the D in m. 9, thus all four rules were utilized for this particular guidetone line. There are three other possible guide-tone lines for this progression beginning with the third, fifth, and sixth of Dmin, F, A, and B; however, other extensions could be included to create other possibilities. Example 3.1: Guide-tone line. 18
The melodic lines created by the guide-tone exercise may also be used as a guide for an improvised solo. In ex. 3.2, I composed a solo using the guide-tone line from ex. 3.1 that essentially embellishes it as an accomplished soloist such as Charlie Parker would embellish a simple popular melody. The most important pitches are from the original line and the other added pitches and rhythms used as ornamentation. Example 3.2: Solo based on the guide-tone line. According to Victor Morosco, The section from m. 100 to m. 115 is a part of the entire work and utilizing thematic, rhythmic, and harmonic material found throughout the movement is suggested. 17 After the saxophonist is comfortable with the harmony and can easily play the scales, arpeggios, and guide-tone lines outlining the harmony, then they should use an exercise from A Creative Approach to Practicing Jazz by David Baker to incorporate the material from the first movement as Morosco suggests. 17 Morosco, 2. 19
The exercise found in chapter ten of Baker s book, A Practice Technique for Using Bebop Tunes as a Tool for Learning and Internalizing the Bebop Language, directs the improviser to incorporate motives from the melody of a piece to be used as melodic material to develop in the improvisation section. For example, if a motive from the melody fits a Dmin7 chord, then the motive may be played over any Dmin7 chord in the chord changes. Also, the motive may be transposed to fit any min7 chord in the harmony, such as down a fifth to Gmin7 or up a minor third to Fmin7. 18 The five note motive found in the sonata, m. 52, on beats one and two is an excellent excerpt of the melody to be used for the Baker exercise because it is taken from the melody, it outlines the harmony, and it is rhythmically interesting. Example 4.1: Woods sonata, m. 52. Measure 52 is where Woods begins using the harmonic progression found in the improvisation section, thus making it simple to find motives that fit the harmony. In this case, the first chord in m. 52 is D-; therefore, the motive represented by scale degrees of the D jazz melodic minor scale would be, 2-1-5-3-2. The improviser could play this motive wherever there is a Dmin6 or Dmin7 chord because the motive does not contain the sixth or seventh scale degrees (see ex. 4.1). The motive, in fact, may be played over any chord in the entire harmonic progression except for C# diminished. If it is transposed up a whole step it will fit E-7, up a perfect fourth, 39-43. 18 David Baker, A Creative Approach to Practicing Jazz (New Albany, IN: Jamey Aebersold Jazz, INC., 1994), 20
G-7, and up a perfect fifth, A-7. It fits Bb major without transposing, so the same notes represented by scale degrees of the Bb Lydian mode are, 4-3-7-5-4. It also fits Bmin7(b5) without transposing. The scale degrees of the B Locrian #2 scale would also be, 4-3-7-5-4, even though they are two different scales. The motive transposed up a major third also fits D major using the D Lydian mode (see ex. 4.2). Finding the correct transposition of the motive to fit altered dominant chords, such as A7(b9), is more difficult. One way, is to use the altered scale since it is the seventh mode of jazz melodic minor, thus giving the improviser a minor key to relate to the minor motive in m. 52. The A altered scale is the seventh mode of Bb jazz melodic minor. The original digital pattern of 2-1-5-3-2 as related to Bb minor is, C-Bb-F-Db-C, which are the following chord members of an A altered dominant chord: sharp ninth, flat ninth, flat thirteenth, third, and sharp ninth. Therefore, the motive in the correct transposition contains all the information for an altered dominant chord in four notes. Example 4.2: Exercise using m. 52 motive. 21
The saxophonist should improvise a solo using the motive from m. 52, but also find other motives that can be used in this way. In doing so the improviser will not only learn to incorporate material from the movement into their solo, but they will also train themselves to incorporate more melodic development into their improvisations. Just as developing melodic material is arguably one of the most important aspects of composition, melodic development in improvisation is just as important since an improvised solo is also a composition. The main goal is not to regurgitate pre-practiced melodies in a sterile way, but to be more successful at developing any motive or melodic idea that comes to mind while improvising. For the last exercise of the first movement, I combined all of the previous exercises, scales, arpeggios, and other material to compose an example improvised solo. First, I recorded myself improvising in mm. 100-117 in order to keep a sense of spontaneity in the solo and to see if any of the pre-practiced material would be incorporated. Then I edited the solo to accomplish my end-goal, which was to compose a solo that not only incorporated the scales, arpeggios, and exercises, but that was also based on the themes, rhythmic ideas, and the harmony of the movement. This solo is shown in ex. 5. 22
Example 5: Movement I example solo. Examples of the salient features of the entire solo are found in the first four measures. Melodic and rhythmic motives from the sonata, melodies shaped by a guide-tone line, and scalar based melodies are all included. In the first measure, the F ends the ascending melodic line of the melody that begins in m. 99, and the double-time line in beats three and four is a quote from 23
m. 51 of the sonata this is another motive similar to the one in ex. 4.2 that would be beneficial to practice through the harmony. The D Dorian scalar figure in m. 2 uses the same rhythm from m. 48 in the sonata. Finally, the first four measures are essentially an embellishment of the guide-tone line given by the composer in mm.100-103 of the sonata, which is shown in ex. 6.1. Example 6.1: mm. 100-103. Woods s line is similar in shape and stresses the same chord tones as the first four measures of the example solo. The first measure of examples 5 and 6.1 both begin with the note F, and C# is the lowest note. In the next measure, ex. 5 does begin with E, but the following notes D, C, B, and D again are also found in the second measure of ex. 6.1. The third measure of each example is very similar; however, the rhythm is completely different. The notes in ex. 6.1 are essentially syncopated in ex. 5. with a few additions. The note G begins the fourth measure of each example, although the guide-tone line is extended in ex. 5. The last two eighth notes in m. 3 are tonally sequenced by the last two eighths in m. 4, which in turn are tonally sequenced with one added eighth note in the end of m. 5. The guide-tone line is therefore G F E D. The next phrase in ex. 5, mm. 6-9, is an embellishment of mm. 73-76 of the sonata. In the sonata, there are two separate guide-tone lines, the top one being the accented notes, and the bottom one beginning with G in m. 74, moving through G#, A#, B, C, and then ending with the C# in m. 75 (see ex. 6.2). 24
Example 6.2: mm. 73-76. The phrase from my composed solo in ex. 5 emphasizes the guide-tone line pair and embellishes them with syncopation. The phrase ends, just as the phrase from the sonata does, with the notes C and Bb, which are the sharp ninth and flat ninth over A7(b9). Throughout the first movement, Woods regularly emphasizes the sharp ninth and flat ninth chord extensions, as shown by the use of the notes C and Bb over the A7(b9) harmony in mm. 55, 71, and 75 of the sonata. This emphasis is reflected not only in mm. 8 of the example solo, but also in mm. 12, 20, 24, and 28 (see ex. 5). Other references in the example solo of melodic and rhythmic ideas from the sonata are found in mm. 21-22 and mm. 13-12. The melody from m. 84 to beat four of m. 85 in the sonata is referenced in mm. 21-22 (see ex. 5), which is also related to the first half of Woods s guidetone line (see ex. 6.1). Measures 13-14 in the example solo, on the other hand, use the exact rhythm, and not the melody from m. 47 to beat three of m. 48 in the sonata (see ex. 6.3). Example 6.3: mm. 47-48. All of the double-time passages in the example solo are written in a bebop style, which is similar to the bebop style of mm. 51-67 in the first movement. These double-time passages in ex. 5 are not specifically based on any melodic material found in the sonata, although they are still linked with the sonata by style. This is yet another way to incorporate Morosco s suggestion 25
for the improviser to make a conscious effort to base their improvisation on Woods s composition. In doing so, the solo will not only be linked to the sonata, but also to Woods s playing style as well. Using bebop scales is an easy way to begin improvising in a bebop style. All of the double-time lines in the example solo, except for m. 12, employ either the dominant bebop 19 or Dorian bebop 20 scale (see ex. 7). The double-time line in m. 1 is a quote from m. 52 of the sonata and is based on the A dominant bebop scale. However, it is somewhat of a hybrid scale in that: it is a mixture of the A 5 th mode/harm minor scale and the A dominant bebop scale because of the F natural. The double-time line in m. 11 is based on the G Dorian bebop scale and incorporates the leading tone, F#. In m. 18, the G dominant bebop scale is used in the double-time line over both D-/C and Bmin7(b5). Finally, the line in m. 28, which is from a Bill Evans solo recorded on Cannonball Adderley s composition Minority, employs the C dominant bebop scale over the E-7 to A7(b9). The inclusion of the Bb over the E-7 chord, which has a B natural, implies a ii chord common to a minor ii-v, Emin7(b5). Using a C dominant bebop scale over an Emin7(b5) is identical to the relationship between the G dominant bebop scale and Bmin7(b5) in m. 18. Furthermore, the Bb on beat two of m. 28 anticipates the flatninth of A7(b9), Bb. The Bill Evans phrase ends with the sharp ninth, flat ninth, and sharp eleventh chord members of A7, which is again similar to many of the melodies found in the first movement of the sonata. Many of the scales listed in figure 1.1 were used in the example improvised solo (see ex. 7). 19 The dominant bebop scale is an eight note scale that is a major scale with both the natural and flat seventh scale degrees, therefore, the scale in C is, C D E F G A Bb B. 20 The Dorian bebop scale is the Dorian mode with the major third as well, there fore, the scale in G is, G A Bb B C D E F, which is also the C dominant bebop scale beginning on G. 26
Example 7: Movement I example solo with scale annotations. In ex. 7, note, that even though multiple scales are used concurrently, many times the resulting melodic line can be analyzed as one scale that is usually diatonic to D minor as my analysis of the harmony demonstrated when I covered scale choices. In mm. 4-6, the phrase only contains notes diatonic to D minor even though it consists of six different scales, A altered, D jazz 27
melodic minor, C# diminished, D Dorian, B Locrian, and Bb major. In mm. 18-19, the sixteenth note line could be analyzed as G dominant bebop, even though it could also be analyzed as a combination of three scales, D Dorian, G dominant bebop, and Bb Lydian. Also, the melody in mm. 25-27 could be analyzed as only notes from the D Aeolian mode, even though it is a combination of four modes, G Dorian, A Dorian, Bb Lydian, and B Locrian. Measures 25-27, 23-24, and 17-19 of ex. 7 are three examples of using Levine s Continuous Scale Exercise to create a single melodic phrase through combining multiple scales. In addition to improvising scalar lines that move in a step-wise motion (see ex. 2.2-2.3); Levine s scale exercise also works with other patterns such as scales that move in thirds, fourths, or some other recurring pattern. 21 In mm. 25-27, the pattern is up a fourth, down a fourth, then down a step in the respective scale. In mm. 23-24, the pattern is up a third, down a third, then up a step using the E dominant diminished scale and E Dorian mode. The last phrase, mm. 17-19, does not use a specific pattern; however, the fact that the phrase is stretched through four different chords by melodically linking them together is also reminiscent of Levine s scale exercise. Examples of the D and Bb major scales and Lydian modes are shown in mm. 29-32, where the key modulates to the parallel major. The line in m. 29, which ends the Bill Evans phrase from m. 28, is a favorite Charlie Parker phrase that is derived from the major scale. When Parker played this melody it usually ended the phrase outlining the fifth, third, seventh, and sixth chord tones of the tonic chord. Measure 30 is a real sequence of m. 29 in augmentation. The next two measures use the Lydian mode in different ways. Measure 31 is a restatement of the Parker melody with an added G#, fourth scale degree of D Lydian. The G# is an appoggiatura on a weak beat because it is approached by leap and left by step on the second half of beat three, which makes the note less pronounced than the E in the next measure. More 21 Levine, 124-127. 28
emphasis is placed on the E, which is the fourth scale degree of Bb Lydian, because it is left unresolved and is the last note of the solo. The last section of improvisation in the first movement is the piano solo in mm. 134-149. There is some question as to the function of the saxophone during this section because chord changes are given in the saxophone part for the entire section, as well as a melody line to be played the last time at m. 142. Morosco suggests that the saxophonist may join in whenever he desires to do so. However, it should be remembered that the pianist is the dominant soloist here. 22 I suggest the saxophonist play less active improvised counter melodies such as guidetone lines that emphasize certain chord members such as thirds, sevenths, ninths, and thirteenths. At first, the lines could be less active rhythmically using whole notes, half notes, and other unobtrusive rhythms that function as backgrounds. Then, the line could become more rhythmically active and not only accompany the piano solo, but also interact and create a dialogue with the pianist. The saxophonist should use the guide-tone line exercise from exercises 3.1-3.2 to develop counter-melodies in this style. 22 Morosco, 2. 29
CHAPTER III MOVEMENT II The second movement of Woods s sonata has very little improvisation. There are three fermatas in mm. 67-68 with no chord symbols with a note from the composer that directs the player to think Free Jazz à la Eric Dolphy. Let yourself go crazy! 23 Obviously, the player could go crazy and play what ever they felt. Or, they could use the chords in the piano part as a guide. Chord symbols that reflect the piano part would therefore be read Bb7sus, B7sus, and C7sus as transposed for alto saxophone. The sus symbol represents a chord where the fourth scale degree replaces the third. In popular styles of music, many times, the suspension does not resolve down by step to give the chord what Levine calls a floating quality. 24 The sus chord shares the same mode as a dominant seventh chord, Mixolydian. 25 Jamey Aebersold suggests using the following scales with a sus chord: Mixolydian, dominant bebop, and major pentatonic built on the b7, which in Bb would be, Ab-Bb-C-Eb-F. 26 The first two scales are also used with dominant seventh chords, the only difference is how one uses the scales because the fourth scale degree is no longer an avoid note. 27 Aebersold suggests not to emphasize the third of a sus chord, 28 the note D with Bb7sus for instance. However, Levine states that jazz pianists often include the 3 rd in sus chords and gives Wynton Kelly s 1997), 5. 23 Phil Woods, Sonata for Alto Saxophone and Piano, rev. ed., saxophone solo part (Germany: Advance Music, 24 Levine, 43. 25 Ibid. 26 Jamey Aebersold, The Scale Syllabus, in Jazz Handbook [book on-line] (New Albany, IN: Jamey Aebersold Jazz, INC., 2000, accessed March 2008); available from http://www.jazzbooks.com/miva/documents/handbook/13_scale_syllabus.pdf; Internet. 27 Levine, 43. 28 Aebersold, The Scale Syllabus, in Jazz Handbook; Internet. 30
performance at the beginning of Mile Davis recording of Someday My Prince Will Come as an example. 29 Also, there is such a voicing in the piano part in m. 53 of the third movement (see ex. 10.2). Therefore, the performer has the same scale options as with a dominant seventh chord with natural extensions in mm. 67-68 of the second movement. Walt Weiskopf s book, Intervallic Improvisation The Modern Sound, will train the improviser to play in a more contemporary style that will contrast the more bebop style of the first movement. Weiskopf s method essentially selects two triads that fit a particular chord and then mixes them to create a non-linear melodic shape. This is achieved by alternating the triads and their inversions, root/root, first inversion/first inversion, et cetera. 30 For example, Ab major and Bb major triads match a Bb7sus chord resulting in the pattern shown in ex. 8.1. Example 8.1: Triad pair Bb, C. The saxophonist should then practice the triad pairs that fit B7sus and C7sus, which are A and B major triads for the former, and Bb and C major triads for the latter (see ex. 8.2). Example 8.2: Triad pairs for B7sus, C7sus. 29 Levine, 46. 30 Walt Weiskopf, Intervallic Improvisation The Modern Sound (New Albany, IN: Jamey Aebersold Jazz, INC., 1995), 5-7. 31
After the triad pairs are mastered, the saxophonist should mix other scales, such as dominant bebop, with patterns based on the triad pairs and then, Go crazy! 31 31 Woods, Sonata, 5. 32
CHAPTER IV MOVEMENT III Unlike the first movement, Woods specifies even eighth notes in the third movement. This contrasts the swing style of the improvisation section in the first movement. Also, Woods wrote a more rhythmically specific piano accompaniment for the third movement to capture the change in style Morosco suggests that the pianist may move away from this as they see fit or just repeat the pattern as written. 32 A time change to 5/4 also contributes to the change in style. The third movement is in a minor key as was the first; however, it is modal whereas the first movement was tonic minor. A modal tune in a minor key, Dorian in this case, has a distinct harmonic contrast to a tune in tonic minor. Tonic minor chords include minor sixth or minor with a major seven, whereas modal tunes that are in a minor key are usually based on the Dorian mode which has a flat seven. The flat seven is always used in the written piano accompaniment (mm. 30-37 of the piano part from the sonata are shown in ex. 9.1). I added the chord changes from the alto saxophone part, but transposed them to concert pitch. What is immediately noticeable is that the Eb bass note in the beginning of each measure between mm. 34-37 does not match the Bb-7 chord symbol. Woods is merely using Bb-7 in place of the actual chord symbol Eb7sus, which is essentially the same chord. If Woods s chord symbols are used, then the flat seven of every minor seven chord is utilized, F in the first four measures, and alternating notes Ab and Db in each of the next four measures (see ex. 9.1). 32 Morosco, 2. 33
Example 9.1: Piano, mm. 30-37. The harmonic rhythm of this movement is much slower than the first movement. The improvisation section, mm. 30-53, is divided into five four measure phrases that are repeated. There is also a four measure coda that ends with a fermata (see ex. 10). Three of those phrases use only one chord, E-7. The static harmonic rhythm is similar to other modal jazz compositions in minor, such as John Coltrane s Impressions, Woody Shaw s Little Red Fantasy, and Herbie Hancock s One Finger Snap, where there are stretches of one chord for four or more measures. The harmonic rhythm is quicker in the second phrase, mm. 34-37, with alternating G-7 and C-7 chords, but the chord change is repeated for four measures. The third phrase, mm. 42-45, has a very quick harmonic rhythm with two chords for each measure that move down by fifths. 34