TECHNIQUE DEVELOPMENT 1 FOURTHS for JALT IMPROVISATION by RAMON RICKER recordingsINTRODUCTION In the improvisatory style of many well-known jazz artists, the perfect fourth has become an integral part of their harmonic and melodic vocabulary. In an effort to make their music unique from bebop, many post-bop players, such as Jackie Byard and Joe Farrell, began incorporating patterns in per fect fourth intervals into their improvised lines. During this same period in jazz history, many pianists began experimenting with left-hand voicings based on quartal harmony. This technique of integrating fourths into jazz improvisation began perhaps around 1960 and continues to this day. This book is for the advanced player--the musician who wishes to add yet another harmonic dimension to his improvisations. It can only be a beginning--a tool that opens a door. It is up to the student to walk through that door and explore the contents of the room. Perhaps the most important point a student must remember when using this or any other impro- visation method is to learn it, master it, then forget it. Do not let the "rules" get in the way of your music. ~ Mastery of the fourth is extremely difficult. In a conversation with the author, Joe Farrell once said it took him a year of diligent practice before he could successfully apply fourths to his improvisations. Experi- ence has shown the author that rules concerning this interval are not that important. First be able to play them in exercises. Once the fingers are capable of execution, the ear and mind will be in a position to dictate their use. When all is said and done, you must play musically and melodi- cally. This book does not take the place of other, more comprehensive books on jazz improvisation. It is a supplement, another tool to aid and expand the serious student's harmonic and melodic vocabulary. ts purpose is two- fold. 1) Most instrumentalists (both jazz and non-jazz) cannot fluently play consecutive fourth intervals. One of the reasons is that most of the music with which students are familiar is based on thirds. In addition, on most instruments, fourths are more difficult to execute than thirds. It is the author's experience that a fluent technique with this interval will greatly help other aspects of the student's technique whether it is in a jazz or a non-jazz context. 2) When fourths are mastered, they can be applied directly to jazz improvisation. For this reason chord changes are provided.APPLICATION OF FOURTHS TO CHORD CHANGES Many recent jazz and jazz/rock compositions use as a harmonic frame~ work a relatively small number of chord changes. Freddie Hubbard's Straight Life, Keith Jarrett's Sorcery, and Chameleon by Herbie Hancock are three examples. This style of composition is in sharp contrast to bebop music, with chord changes every measure or even every two beats. Frequently, composers employ both harmonic elements in their music; that is, a tune harmonized with fast harmonic rhythm but a set of more simple changes reserved for "blowing." Joe Farrell's Sound Down is an excellent example. soloing over a set of changes with slow harmonic rhythm in a sense frees the improviser, and allows him greater harmonic freedom. It is in ‘his circumstance that patterns in fourths are most useful, or at any rate easiest to handle. When soloing over a pedal point, a soloist can venture quite far from the chord changes and still sound convincing. In other words, as irrational as it may sound, you can play about anything you want over a pedal point if you begin and end properly. In fact, it is very desirable for the soloist under these circumstances to be able to convincingly venture away from the changes. One way to successfully “take it out" is to play chain sequences, more simply called patterns. If a soloist begins with a melodic idea that is compatible with the chord change of that instance, he can continue the pattern without regard to the chords being sounded against it. The pattern, because it maintains its own integrity, will sound correct even though in some instances its notes may be quite dissonant with the chord the rhythm section is playing. It can be carried as far as the soloist wishes, broken and resolved. As an interesting sidelight, the author, from analyzing numerous tran- scribed solos, has observed that keyboard players generally play a sequence exactly as it theoretically should be. For instance, if Example 1 was an excerpt from a transcribed solo, it would probably be from a keyboard solo. It is theoretically correct. Because of technical limitations, single line instrumentalists frequently make minor deviations in the pattern of inter- vals. These slight intervalic deviations are only noticed by the most discerning ear, or by analysis of transcribed solos, and do not detract from the overall solo. In playing chain sequences, the soloist may choose to play a pattern based on thirds, but he can also play one based on fourths. By using fourths he adds another dimension to his solo--something different, some~ thing the post-bebop players of today might play. (Ex. 1, 2, 3, 4.)Example 1 consists of quartal patterns. Descending fourths in major thirds and ascending fourths on a whole-tone scale. Example 1. Rock 79 f +F ct Example 2 outlines a diminished triad. bxample 2. swing c7#9 hyo the notes in Example 3 are in complete agreement with the chord, but because of its contour it should be apparent to the reader that melodic fragments of this type cannot be frequently used in a solo. The result would be rather boring to the listener. Example 3. swing 7 7 By sliding up a half step above the changes (Ex. 4), a more interest- ing Line is created.Example 4. Swing 7 d he octave transposition of some of the notes of Example 4 makes the line more manageable. (Ex. 5) Example 5. Swing ce Fa # s - tn summary, when playing over one chord, use all the melodic material you usually do, but integrate patterns in fourths into the solo. Use them as ‘a means to "take it out," to change the color, to add interest. Become acquainted with pentatonic scales. Pentatonics and fourths are very similar in their application to jazz improvisation. Consult the author's Pentatonic Scales for Jazz Improvisations: Studio P/R, Lebanon, Indiana, 1975. When applying fourths to chord types, some rules can be formulated, but they become very cumbersome and hard to remenber. Nevertheless, the follow- ing is a series of chords that are used frequently in jazz. Vertical fourth structures that are compatible and sound good with the chord are given, along with some rules for their application, The student is urged to study and play the examples on the piano and on his instrument. The notes are given only as examples, and need not be played exactly as notated. ‘The student is encouraged to change the order and formulate his own "licks." Some of the vertical fourth structures are more "outside" than others, but in all cases these dissonant notes can be analyzed as upper extensions of the chora.DOMINANT SEVENTH Over a Dominant Seventh Chord (c’) build up to four consecutive fourths on the 3rd, Sth, b7th or 2nd scale degrees.DOMINANT SEVENTH SHARP NINE over a Dominant Seventh Sharp Nine (c’*®) build up to four consecutive fourths on the Sth, b7th, root or 4th scale degrees. 749 ° 7 Eh E 749 7489DOMINANT NINTH SHARP ELEVEN over a Dominant Ninth Sharp Eleven chora (c°11) puiia up to four consecutive fourths on the 3rd, #4th (#11th), or b7th scale degrees. coe DOMINANT SEVENTH PLAT NINE over a Dominant Seventh Flat Nine chord (c’P®) build up to four consecutive fourths on the 4th, 5th, or b7th scale degrees. 79 ban bEDOMINANT SEVENTH AUGMENTED Over a Dominant Seventh Augmented Chord cH) build up to four consecu~ tive fourths on the b7th, 4th, or root scale degrees. DOMINANT SEVENTH SUSPEND Over a Dominant Seventh Suspend Chord (c’sus) build up to four consecu- tive fourths on the 2nd, 6th, or Sth scale degrees. 7susDOMINANT THIRTEENTH over a Dominant Thirteenth Chord (c’°) build up to four consecutive fourths on the 3rd, b7th, or #4th (#11th) scale degrees. oe MAJOR SEVENTH over a Major Seventh chord build up to four consecutive fourths on the 3rd, #4th (#11th) or 7th scale degrees.MAJOR SEVENTH SHARP ELEVEN over a Major Seventh Sharp Eleven Chord (cmaj’" ox cf") buiia up to four consecutive fourths on the #4th (#11th), 7th, b2nd or b3rd scale degrees. (The fourths on the b2nd and b3rd scale degrees contains some dissonant notes, but they nevertheless can be used effectively.) ca7#it oa7#2 ca7#22 10MINOR SEVENTH Over a Minor Seventh Chord (mi) build up to four consecutive fourths on the Sth, 2nd, 6th, and root scale degrees. cnt \ qlMIXOLYDIAN MODE go include all notes of the Mixolydian Mode, build perfect fourths on the third scale degree. Mixolydian Mode LYDIAN MODE To include all notes of the Lydian Mode, build perfect fourths on the fourth scale degree. Lydian Mode 12DORTAN MODE To include all notes of the Dorian Mode, build perfect fourths on the sixth scale degree. EXAMPLES The following examples demonstrate the use of the fourth over chord changes. Examples 1 and 2 are excerpts from two compositions by the author for Jazz Ensemble. Example 1 is the soprano part from a saxophone soli, and Example 2 is a unison background behind a guitar solo. Examples 3 and 4 are written solos simulating improvised lines. 13UP TEmeo swine 426.240 [Break] ae example 1 2 FA, YZ ae re ‘2. 3 of? 2 ge? AL De e ees zh pba < Sin fe BE z. of oS a a Fy Sg OS bait DH bi? Dwi? Cie ck code ctde phy WS oo 4 Eu? bmi 7bS eile ces ee Abe? >, Cla ee eg ee ne eI : = | CT ae a,Example 2 Fuwky Bock J2¢.404 ouExample 3 UP Tempo Sure qo F? @Jee. 120 (Stainar P's vv ample 47 Praate 4D syEXERCISES The exercises in this section are basically for the development of technique whether in a jazz or non-jazz context. It is the author's ex- perience that in an improvisation nothing will be played that has not been played or practiced before. The improviser may hear a fantastic melody in his head-~a line traveling all over the horn. If he has prepared himself technically he will play it. If he does not have the technique he will never play it. These exercises are designed to help master the interval of a fourth and thereby develop a better technique. When they are learned the student will find he can begin to integrate them into his solos. He need not try to “plug in" the exercises verbatim, but instead use only bits and pieces. Months, or even years, of practice are required to learn the exercises and to incorporate them into solos. From a technical standpoint fourths are much more difficult to play than thirds, since on the woodwind instruments more fingers have to be moved and on the brass instruments more lip movement is involved. In addition, most instrumentalists in their years of practice, have worked on scales, chords and scales in thirds, but they probably have never played scales in fourths. Their fingers have not been programmed to play this wider interval. All of the exercises should be practiced using different articulations and in a variety of tempi. The exercises are notated in a range most fit- ting the saxophone and other treble clef woodwind instruments. Other instrumentalists must make range adjustments by transposing some note groups one octave lower. All of the exercises should be memorized. Where appli- cable, chord changes have been provided. When practicing this book the student must have patience. The exer- cises will not at first come easy, but if they are diligently practiced the student will find his technique and his ear improving greatly. He will hear more disjunct lines as he is improvising, and he will have the command of the instrument to execute them. 18Esus, EM, Emi? 2 3 ll 789, Fmi? { \ Faus ,F 3 pads, at fs 9 Sus 5 5 = Cr, es Et + 3 7 fh, Ave A fl Ais, AM, Au? 5 Boss BH, Bai? © b,, P4, coni? 3 3 Chee, C744, Lomi? 20 = : Dies 4D, DmiT Phi 2h, hit 3s re t 2 # | = = 2 = aieEdusg BA, Emi” Fiusg FM, Fai’ t s 3 4 24 Phas, Ftd, Poi? Gus, Cs Omi 7 25 + * 4 26 AY 8 Ani” Abses a 7° ghtdg® ghyi? Bas, Bi%4, Bim24 Dee -bee * Use this pattern over chords in the same manner as you use the Diminished Scale.2 4 fo p#7 see stiletto t f eesBas" 29 wit ct? ti 77Sa chs his HH, Che gh chi, Che ale Si ct Dh, oda By D ds (a, Dt 4 Ef sus Dus big, Dbus 42, 4, 5 3 Ds b b mek oe es? 1 6h a 7 Bas Oies Hes 4 Blas Che 3 84 Tr $s 7 4 Fs Bias Ars 4b25 Ares bss Bus eh 332 Aaa = eget tet ey34 Bra?As? i, ae 7 135 Ahh pate te gy 136 a 7 17, abd, Fes O83 37 uo Ett FEE = i a7 Ba’, B45 Fas36 AES G0, D8", Soi’, Foi” 145 387,674 AA Bs, Doi Goi” A, FAY, Ga, 027, CO, Poi? Fab? Aba Aa’, Bat, Emi”, Ami? 7 # 1g 7 07543 840", F072, Emi, Ami? De, 897, 607,6%", Fumi, Bhi” 1g # z === wf jeri { z eed 2%, 87, C07, Ga", bai Boi Fife) 0, At, Onions 150 151 # = ot DIZ, Da’, Aa”, Ali 7, Omi? 07 £47, BL, Ami’, Demi” 4 Fig 5 gh a 5 Oe a 4 152 ——: i 153 £ = GF, BF, 9 Ea”, 60%, Bai E%mi? G7, Ej, F3', CAs Bi Emi? byt pt + 154 i= | 155 = AY, Fa e's 040%, Cori % Fini? At, PAY, a", Da, CBni 7, i? 157 +. = BY, 9 A875 Bb,7, Di, Omi? @ 057, AS" 43’, pa Ebi ?, Mei? 159 075 A%, 847, Fa", Emi, Ami? 158 160 161 03 8% CaS Ca, Pen] Bni? 163 2%, 08% 2a", 437, Abmi 3 Doni? 162 165 14 Ba, 84m 3 Phi? 164 07, Eb? 166 167 eo f oe, ar, om, obs 7, Poni 7, Bi” 437, Gomi %y Cont? eFC gs Ab’, ee E427, B47, Ami, Dai? G, E727, CA, Bmi Bal? vvnotes in the Chromat. as long as you begin oCtee a Hl 228Ae, a? Me" Ga”mnBei t = pe = = f Fus FILS ais Abes hi Bhs == eee! 307 ; SP ESre: SSS SS == a Bus Cis Bas Dis eh, 2 iE ernie es Ets 5 i 7 7 =; + Fous Ges lia Mus 4 ia ahs Bus Chu Does j 3n9. Pare Ob ater BY, ae 4, ben saris ctl os :59 DISCOGRAPHY artist Selection Albun Kenny Baron Two Wives Earl and Carl Grubs (The Visitors Rebirth), Muse 5047 Jaki Byard Broadway Live, Prestige S-7419 Jaki Byard Twelve Live, Prestige S-7419 chick Corea matrix Now He Sings, Now He Sobs, Solid state $s18039 Chick Corea Steps Now He Sings, Now He Sobs, Solid State $$18039 Joe Farrell Broadway Live, Prestige S-7419 Joe Farrell Sound Down Outback, CTT 6014 Joe Farrell Twelve Live, Prestige $-7419 Steve Grossman Haresah Some Shapes To Come P.M. Records PMR-002 Steve Grossman Pressure Point Some Shapes To Come P.M. Records PMR-002 Herbie Handcock Handjive Nefertiti, Columbia cs-9594 Dave Liebman Pablo's Story Lookout Farm, ECM 1039 ST Wayne Shorter Bighty-one ESP, Columbia CS-9150 Wayne Shotter Masquelero Sorcerer, Columbia CS-9532 Wayne Shorter orbits Miles Smiles, Columbia cs-9401ABOUT THE AUTHOR Mr. Ricker is currently an Assistant Professor of Clarinet and Saxophone at the Eastman School of Music, where in addition to teaching clarinet and saxophone, he teaches jazz improvisation and is coordinator of the Woodwind Doublers Institute. His many articles on jazz and studio teaching have appeared in Woodwind World, The Instrumentalist, Music Journal, and The International Musician. He is active as a composer/performer in both the classical and the jazz fields. His published works~ include compositions for jazz ensemble, studio orchestra, wind ensemble, and clarinet duets. Mr. Ricker has appeared as soloist on several occasions with the Rochester Philharmonic Orchestra. He currently plays clarinet, bass clarinet, and saxophone with that organization. In the field of jazz he has recorded and performed with Chuck Mangione, and performed with Buddy Rich on the NET special "Rich at the Top." In 1975 he was a recipient of a National Endowment for the Arts Jazz/Folk/Ethnic Travel- Study Fellowship Grant to study saxophone and improvisation with Joe Farrell. Mr. Ricker holds a Bachelor of Music Education Degree from the University of Denver, a Master of Music in Wood- winds from Michigan State University, and a Doctor of Musical Arts Degree in Music Education from the Eastman School. 60