Thelonious Monk's "Bemsha Swing" - A Self-Transcription Monk's Time Again - "Bye-Ya" - A Self-Transcription 'Ning's the Thing! Monk's "Rhythm-a-Ning" - Self Transcription Kalimbaphone? - Try These Pentatonic Scale Spreads! 'Tranein' with Triads - "Coltrane Changes" The Andalusian Cadence, Triad Pairs & "Song for my Father" A Jug Full of Ammons - Gene Ammons' Tenor Solo Transcription on "Exactly Like You" "Come Rain or Come Shine" - An All-Weather Etude Playin' the Numbers - A Pentatonic Shape in 12/8 Hey! You've Got an ACE up Your Sleeve! Joe Henderson - Tenor Solo Transcription - "You Know I Care" Some Fresh Air for Your Practice Routine! Getting an Angle - "The Eternal Triangle" Bridge The Daily BoopaDoop - "LuLu's Back in Town" Check Your Connections! - A Multi- Pentatonic Sequence in Minor 3rds Vamp Like a Champ! - ii-V-iii-VI Arpeggiated Sequence "Nutville" - Joe Henderson's Tenor Solo Transcribed NEW Shortbook ™ - "The SUPER 4" - A 4-Note Swiss Army Knife for Improvisers "Coming on the Hudson" - A Johnny Griffin Tenor Saxophone Solo Transcription 'Tis the Season - A Sleigh Ride at 250 BPM A Whole Lotta Sole - Giant Steps 027, sus2, sus4, 125 Flip 4 Real! - Using Mordents in a ii-V7 Melodic Line Pairing Off! Fresh Twist, Familiar Combo Return of the SUPER 4 - A minor ii-V7 Sequence The final 7#9 chord is a tonic dominant, as in a blues, with both Maj. The basic harmonies and root movement suggested here work well and sound good. There are many ways to harmonize this line. The last 5 notes of the measure belong to an F-Ab-B-D half tone / whole tone diminished scale, which take us to the top of the hill before skipping back down with a basket full of daisies in measure #4, via a contrasting arpeggiated figure, spanning an octave and a half. The ascent begins in measure #3, with a combination of half and whole steps. I thought it needed a change of direction from a basically descending line in the first 2 bars to something moving back the other way towards resolution. I wanted to see where it could go and how it could resolve. That, my friends, was from the original exercise. The good news is that measure #2 is exactly the same as bar #1 transposed down a perfect 4th, with the lone exception being the very last interval, which is a whole step instead of a half. We're not even out of the first measure yet! It starts a half step up from the final 16th note of beat one.īeat 3, which begins a half step below the last 16th note of beat 2, consists of two groups of descending whole steps, spaced a descending half step apart: = W (down) - H (up) - W (down)īeat 4 of measure #1, starting a whole tone up from the last 16th of beat 3, goes W (down) - H (up) - H (down). The four 16th note cell, which makes up beat 2, is the exact inversion of beat one, namely 2 decending half steps and an ascending whole step. The first beat (four 16th notes) consists of 2 ascending half steps and a descending whole step: = H(up) - H (up) - W (down) Line #1, Measure #1 is constructed in two parts.
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