Ramon Ricker - Pentatonic Scales for Jazz Improvisation

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Pentatonic Scales for Jazz Improvisation

1

THE RAMON RICKER JAZZ IMPROVISATION SERIES

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TABLE OF CONTENTS IN T R O D U C T IO N .................................................................................................................................1 Chapter I. II.

CONSTRUCTION OF PENTATONIC SCALES

.............................................................. 2

APPLICATION OF PENTATONIC SCALES TO VARIOUS CHORD T Y P E S ................................................................................................................... 5 Dominant Seventh C h o rd s......................................... ..................................................... 8 Minor Seventh Chords.................................................................................................... 10 Major Seventh C hords......................................... .......................................................... 12

III.

APPLICATION OF PENTATONIC SCALES TO CHORD PROGRESSIONS................................................................ ..............................................15 Modal or Static Harm ony............................................................................................... 15 B lu e s .................. ............................................................................................................. 18

IV.

ALTERED PENTATONICS ..............................................................................................24

V.

IMPROVISED SOLOS (Transcribed by Bill Dobbins)..................................................... 26 Joe Farrell, Moon G e rm s ...............................................................................................28 Wayne Shorter, Ginger Bread B o y ............. ................................................................. 31 Joe Henderson, No Me Esqueca...................................................... .............................. 33 Chick Corea, Matrix .......................................................................................................34 Keith Jarrett, Forest F lo w e r..........................................................................................36 Herbie Hancock, Hand Jive ................................................. ........................................ 37

V I.

EXERCISES.......................................................................................................................... 38 D iato n ic.......................................................................................................................... 39 Chromatic.........................................................................................................................49 l l - V - I ................................................................................................................................ 68 Turnarounds................................................................................................................... I I Circle of Fifths.................................................................................................................74^ Altered Pentatonics......................................................................................................... 77^

Copyright © 1976 by S T U D IO 224, c/o C P P/B E LW IN , IN C ., M iam i, Florida 33014 International Copyright Secured Made In U .S.A . A ll 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, M o a n i n ’, 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. *

I I I I

Example 1

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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 Mode I

-----------------------------------------------------Mode V Mode IV Mode III Mode II

B

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The above is not without historical precedent. The pentatonic scales were tabulated in a similar manner by Annie G. Gilchrist in "Note on^fche Modal 1 System of Gaelic Tunes," Journal of the Folk Song Society, Dec. 1 9 1 1 , ~pp. 150153. H owever, 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!

2

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Figure 1 Mode I

Pentatonic Scales on Each Half Step*

(1) C pentatonic I - : - - .

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(3) D pentatonic

(5) E pentatonic , ___ _ . .... .

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* 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 pentatonics (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.

I I I

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 C pentatonic, 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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Outside Examples: Most Inside Pentatonic for Bb 7

Most Outside for B

k Most Inside Pentatonic for E 7

Most Outside Pentatonic forjj!7

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m 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 5 th, 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."

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I I I I Minor Seventh Chords

Cmi7 [C

G bP (D F A)]

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 9 th and 1 1 th were included as basic chord tones in the following analyzation. Scale number from figure 1

chord tones in a C m i ^ 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

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Apply Mode I pentatonic scales to minor 7th sonorities from "inside" to "outside" on the following scale degrees. Inside

Scale Degree b 3rd

Examples b

Most Inside Pentatonic for B mi

7

b 7th 4 th

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b 6 th b 2nd

b 7 Most Outside Pentatonic for B mi'

b5th root

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5th 7th

Most Inside Pentatonic for Emi'

2nd 6th

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3rd Outside

Most Outside Pentatonic for Emi 7

A quick glance at this continuum should tell the student that pentatonics on the flat side of the circle of 5 ths 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

Scale Degree C

root

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Most Inside Pentatonic for

2nd £• 3rd

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4th 7th

Most Outside for &

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7th b

3rd

Most Inside ‘ Pentatonic for E4t

6 th 5th

2nd 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, b 3, b 5, b 7

Dominant 7th #9

C7#9

C E G Bb D #

b 3, b 5, b 6 , b 2

Dominant 7th b 9

C 7b9

C E G Bb Db

b 2, b 3, b 5

Dominant 9t'h #11

c9# 11

C E G Bb D

root, 2, b 5

Dom 7th Aug 5th

c7+

C E G^ Bb

b 5, b 2 , b6

Dom 7th sus

C 7sus

C F G Bb

b 7, 4, b 3

Dominant 13th

c 13

C E G Bb D F# A

root,

Major 7th

Cmaj 7 CA 7

C E G B

root, 2 , 5 , 6

Major 7th #11

Cmai 7#11 CA 7#11

C E G B D F#

2, 5, 6 , 7

Minor 7th

Cmi 7

C Eb G Bb

b 3, b 7, 4, b6

Half dim. 7th

C**? Cmi 7b5

C Eb Gb Bb

b5, b6

Dim 7th

C° 7

C Eb Gb Bbb

None suitable (see Chapter IV)

bc „ 5, 2

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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 7 th 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

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Example 8 illustrates the same principle but at greater length. The example was taken from a unison saxophone line in Tortilla M a m a , 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 ( ...

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There are no concrete rules for using pentatonics in modal playing, some basic concepts. 1. D o n ’ t use pentatonics exclusively. material.

Mix them with other harmonic

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

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Once the scales have been selec ted the student: 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

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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.

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Example 12 illustrates one possible solo from the scales given in Example 11. Note the use of the b 5 pentatonic in measures 6 , 11, and 12. Like Example 10, Example 12 is entirely pentatonic.

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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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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 the left hand.

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on the piano while comping with

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."

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CHAPTER IV ALTERED PENTATONICS 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 C 7 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

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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)

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Example 15

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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

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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 pentatonic 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 the pentatonic 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 improvisational 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.

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