YAS. PENTATONIG SCALES for JAZ INPHOVISATIONS by RAMON RICKER sTuDIa publications recordingsTABLE OF CONTENTS INTRODUCTION ey ‘Chapter |, CONSTRUCTION OF PENTATONIC SCALES .. ea 2 tl, APPLICATION OF PENTATONIC SCALES TO VARIOUS ‘ CHORD TYPES ...... bas eee meee ce ona ae a Dominant Seventh Chords , 8 Minor Seventh Chords sale eer sas 10 Major Seventh Chords .. . aa ein Ill, APPLICATION OF PENTATONIC SCALES TO CHORD PROGRESSIONS . be een eee : 15 ‘Modal or Static Harmony - 1s Blues 218 IV. ALTEREDPENTATONICS ......2-00+02 0002 2eee+ 4 V. IMPROVISED SOLOS (Transcribed by Bill Dobbins)... 26 Joe Farrell, Moon Germs... ... Wayne Shorter, Ginger Bread Boy Joc Henderson, No Me Esqueca Chick Corea, Afatrix Keith Jarrett, Forest Flower : Herbie Hancack, Hard Jive . r Vi. EXERCISES... Ae Be 38 Diatonic 5 = Ghovagtieie tit ues 249 Hv 3 . = 68 Turnarounds : a7 Circle of Fifths.. . = oh ea ee 1 Altered Pentatonics 9.15. 2 Sheet ge. 2.77 Copyright © 1975 by Studio F/R, Inc. 224°8, Lebanon St., Lebanon, Indiana 46052 All rights reserved. No part of this book may be reproduced in any form, by mimeograph ‘or any other means, without permission in writing from the publishers. Printed in the United States of America.aS =] een ene oo —} et ee ee Cor eee oe ? 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 'S0's used pentatonic scales as en integral part of their melodies (Symphony Sid, Moanin’, 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 auther can not stress enough the continued study of chord/scale relationships end their application to jazz improvisa~ tion. This method, if studied diligently, can provide the student with materials to build 2 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 L 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. Example 1 eae m3 m3 It can be seen that each pentatonic has five possible inversions, or what the author refers to as Modes. (Ex. 2) Example 2 € pentatonic - Mode I Mode II y Mode IV The above is not without historical precedent. The pentatonic scales were tabulated in a similar manner by Annie G. Gilchrist in "Note on che Modal System of Gaelic Tunes," Journal of the Folk Song Society, Dec. 1911, pp. 150- 153. However, it must be noted that Ms. Gilchrist assigned Mode I to the author's Mode IV. With five possible modes and twelve half steps in an oétave 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! ee de fo ee Cee a Oe ae Ng fg Cg tit a et olFigure 1 Mode I Pentatonic Scales on Each Half Step* (2) © pentatonic (2) vP pentatonic (3) D pentatonic ae a \ = cnr (4) EP pentatonic (5) E pentatonic (6) F pentatonic a“ r (7) F pentatonic (8) G pentatonic (9) AP pentatonic es (10) A pentatonic (11) BP pentatonic (12) B pentatonic 1 | tore cq i heer ie + Numbers have been assigned each scale for easier reference. cia +By using the definition found in the first paragraph of this chapter, the inquisitive student has probably already constructed three more penta~ tonics (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. 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 aC pentatonic as C DE GA (1,2,3,5,6 of a C major scale). These notes when found in any other configuration are still referred to as € pentatonic. (Example: AC DEG is aC pentatonic, but, more specifi- cally, mode VC pentatonic.) C EP F Ab BP is rode III AP pentatonic. See page 47 for a listing of five different pentatonics on each half step.co" Saar a3 a9 AS oO co r 3 CHAPTER IT APPLICATION OF PENTATONIC SCALES TO VARIOUS CHORD TYPES In using pentatonic scales with conventional (tertian) chord synbols, certain combinations are obviously related (ex., C pentatonic against C 6/9 chord) while others are obviously more unrelated and "outside" (dissonant). A valuable extension of this principle is that there is a continuum of rela~ tionships from "inside" to “outside” which gives the player great control in choosing his degree of consonance or dissonance with the chord. This is related to the number of pentatonic scale tones included among the basic chord tones. Repeated experimentation has shown that this is not always the case and the final assignment of "inside" or “outside” has been done through listening tests. (Ex. 4) example 4 a. (most insi b. c. (most outside) ? eer Root 9 3 513 #11 b6 b7-b9 #9 7 bo #9 #11 b13 In the most inside scale (Ex. 4a) it can be easily seen that coming to rest on any cf the notes will not clash with the C? harmony. In fact the 9th and 13th will sound betcer (more hip) as stopping points than the root, 3rd, or Sth. In the most outside scale (Ex. 4c) two of its members (M7 and b13) will clash more than the other three. The 9, #9, and #11 are conventional upper extensions of the ¢? ch The M7 and b13 will produce a more dissonant, sound, but when they are played as passing tones and the remaining three notes are used as stopping points, the result is that the upper extensions of the chord are outlined. (Ex. 5)6 Example 5 ; ¢? (most outside) resolves + Fa” (most inside) Swing a b. Most outside pentatonic used in sequence c? a Fe e Mode IV used in sequence over fast harmonic rhythm oF av Dn? ce ca? fs veniam “ues melt emis Sent eens Corel Ged Coen, Uopeelt Goeelll Geel Goel Gell Geel Goel Gee Lael GoMa3 = = = = = ao (ee ae ra ar ot ioe | bg ews t It is the author's experience that because each pentatonic contains some chord tones (whether they be upper extensions or basic chord members), any pentatonic can be played over a given sonority provided the ear is the final judge and certain dissonances are used mainly as passing tones or resolved to consonances on held notes. Zt should be stressed that the author is not advocating indiscriminate use of pentatonics in all styles of jazz. What would be in the style in free or modal playing would be very much out of the style in Dixieland or Bop music. fhe inside scales and their relationship to chord types must be mastered first in order for the more outside scales to be effective. It seemed logical that there should be a way of classifying these scales in a continuum from the most “inside” to the most “outside” when played over a given sonority. Each scale was analyzed with respect to how many basic chord tones were contained. Tn instances where several scales contained an equal number of chord tones, value judgments were made by the author as to which scale was more "inside" or outside." The scales were then placed in a con- tinuum from "inside" to “outside.”Dominant Seventh Chords c? (c EG Bb) Pentatonic scales are perhaps most useful when played over a dominant Tth sonority. A dominant 7th implies motion. It wants to resolve. In addition, any number of altered upper extensions can be applied to the basic dominant 7th sonority without destroying its tendency to resolve. When pentatonic scales are played above this sonority, upper extensions are empha~ sized. Thus, it is possible for the improviser to change the color of the basic dominant 7th sound by his choice of scale. For example, above a C’ chord the improviser might play a scale built on the root. (Ex. 6a) This scale is compatible with a C7, C2, or C13 chord, and those sonorities will be implied. If he chooses to play a scale built on the >3 (Ex. 6b), a c/#9 chord will be implied. He may elect to “take it gut" even further and play a scale butlt on the 65. This scale implies a C’02, C7 or C7#!! chord. (Ex. 6c) Example 6a é 7 7 c ¢ bet The above can be both a help and a hindrance to the performer. When comping behind soloists, most advanced keyboard players add upper extensions to their voicings. The upper extensions added by the keyboard player should have a great effect on the soloist's choice of scales. For this reason the soloist must listen intently, and, if it is necessary, ask the pianist what extensions he is using. This is not to say that the pianist should dictate the direction of the improvisation. Interaction between pianist and soloist is essentiel. As a group plays together they begin to know each other's style, and verbal communication concerning voicings is greatly reduced. For solos in a big band situation, the sare problem exists, , The soloist may see moment may be C’}g. He will sound aC? chord, but the background at correct playing a pentatonic built on the root, but he will sound better playing a pentatonic built on the b5 In the scales vf figure 1 (page 3), numbers 1, 4, and 11 contain three chord tones of a C7 chord, numbers 6, 8, and 9 contain two chord tones, num- bers 2, 3, 5, 7, and 10 contain one chord tone, and number 12 contains no chord tones When placed in a continuum from inside to outside the result is as follows: inside outside from fig. 1 scale no, 1---b---11 ‘Therefore to apply pentatonic scales in a continuum from "inside" to “outside” to a dominant 7th sonority, build Mode I on the following scale degrees. cee Ne ee ee Ss tin Ce a Ne ( Sk et[ ° root cf, oF, 624 [ Dard cle [ ren c?sus 4th c?sus c sen 7f3, 74, 711 been crt r a e7kadd M7) ; na ome c se ot r sth oy, s, a otis . outside x Examples: Le Most Inside Pentatonic for B>? Most Outside for n>? r 4 ue @ ep teres. Most Inside Pentatonic for £7 Most Outside Pentatonic for 5” ~ ) i Saas In the above continuum two alterations have been made. he scale built . on the D5 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 5th, even though it was analyzed as having two chord tones, has tw been "demoted." ‘The presence of a major 7th automatically makes it sound more “outside.” a =Minor Seventh Chords ¢mi? [¢ 2? G a> (DF aj) 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 9th and 11th were included as basic chord tones in the followig analyzation. No. of chord tones in a cmi!l Scale number from figure 1 5 chord tones au 4 chord tones 6,9 3 chord tones 12 2 chord tones 78 1 chord tone ame po chord tones 5, 10 Inside~ outside 10 Bt AC tet a te ak Ce ng Ct ta lg le to (Cg (oe Ce(es, (em. meio r r a Apply Mode I pentatonic scales to minor 7th sonorities from "inside" £0 “outside” oa the following scale degrees. Inside Seale Degree Examples Pea Most Inside Pentatonic for BPmi? Pen ath etn Pond Nost Outside Pentatonic for Smt? ®Sth root sth 7th Most Inside Pentatonic for Emi? 2nd 6th 3rd Outside Most Outside Pentatonic for Emi? i A quick glance at this continuum should tell the student that penta~ tonics on the flat side of the circle of Sths will sound more "inside."Hajor Seventh Chords ¢maj7, ch? [C EG B (D FH)J 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, #1ith, and the 13th. For this reason the 9th and fllth were included as basic chord tones in the following analyzation. No. of chord tones in a Cnaj?#11 Scale number from figure 1 4 chord tones 3,98521 3 chord tones 5, 652104. 11 2 chord tones 4,12 1 chord tone 9 no chord tones 2 Inside- 12 ( C { gS nomen © waocen © non mt amma st | can ltt | net mat nat Cott ant mt Co lt lt et Count clasa aA a co f [ C a 13 Apply Mode I pentatonic scales to Major 7th sonorities from "inside" to “outside” on the following scale degrees. Inside Ourside Scale Degree root Sth 2nd 3rd 6th ach eh 7th 3rd Pern Pseh Yost Inside Pentatonic for 147 Most Outside for By Most Inside ‘Pentatonic for Fa? Mest Outside Pentatonic for Ea”14 uy 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 particulerly good over given sonorities. Some are more outside than others. Suggested Mode I penta~ Chord Type Symbol. Spelling tonics built on the following scale degrees Dominant 7th ig CEG > Dominant 7th #9 | c7#9 cEG g> vo Dominant 7th bg c7b9 cEG x > Dominant 9eh #1 | c9011 | cece’ pre Dom 7th Aug 5th | C7 cect ab Dom 7th sus c? sus CFG w Dominant 13th eo cEG we D e A Major 7th maj? CEGB i ca” mig hen | Cn | CEG ren? ¢ Minor 7th \ cai? ceca? bP ra, Malf aim. 7¢h nce Rae Aa Bee Dim 7th c ae cones None suitable (see Chapter IV)= Sa OI om ol ¥ aie Ce Cee CHAPTER TIT 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 (eg bd). If he has some chord/scale background he may even play the Dorian mode on E (e, ff, a, b, cf, 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 7th chord is one built on the 3 scale degree. In E minor that scale would be the G pentatonic. Example 7 begins by using the G pentatonic (Node II with g omitted). At point "a" the solo line uses Mode II of the AP 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 Rock \ Soloist #4 Emi? Bass e vv 1s16 Example 8 illustrates the same principle but at greater length. The example was taken from a unison saxophone line in Tortilla Mama, 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 J Latin Rock = 120 (— © Pewtstowic ——_—_—_____, -_b fewtatonic —____, E? eA Este wie ee Cert Se Upper Weighber Escape Towe Lower Neghber 7 ; 1 1 J 1 1 1 1 1 fe reAFIS. CY oe Cee cae Cre eC Rte Ce mo 1 17 There are no concrete rules for using pentatonics in modal playing, just some basic concepts. pon't use pentatonics exclusively. Mix them with other harmonic material. Use pentatonics by planing as a means to create harmonic tension. Start inside. Take it out, Bring it back smoothly and logically. Outside scales will sound wrong if not surrounded by inside scales. Use pentatonics in sequences. 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 7 Get qT oa = + Fp q Da? Q7 q = Once the scales have been selected 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 ststed 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. 1sIIIA AIA oi. we > Example 10 Swing po" 19 Gaace 52 As soon as the next step should be ations on the twelv of altered blues. selected for these That need not be the case. appropriate. Example 1 e7 student feels he has the basic blues under control, the experimentation with alter e-bar blues. All of these Example 11 is one set of al changes are more “outside” An "inside" set of f7 7 ea ie Gat ed blues. There are many vari- come under the general heading tered blues changes. The scales than the ones of Example 10. scales could have been just as(og 20 - the scales given in - © ossible solo from and 12. bg pentatonic in measures 6, 11, Example 12 illustrates one P Example 11, Note the use of the Like Exemple 10, Example 12 is entirely pentato pianpie 22 C7 woserace suing FT < ones Example 13 is a saxophone ' position by the author. Only tl txample pentatonics are mixed W: a 8 The soli be! nthe 4th bar ¢ pand. Only pentatonics have bee Gn the turnaround in bars 11-12,ee ee a a a eos ’ example 13 07 Fase Shvitle skuffe © 1974 Mission Muste Used by perniss. Lon: Bl22 Dri? a? Eni At me — es i ——aaeoll Det? pb? 07 i! eT rag Bes foe ara ak mi? ce F? ag Can Bees Emi? E87 Bb? a ae D eo iene y Dina 6? d ae Sie (Oa Dmi? a Cm ' ' ' 1 1 1 1 1 } ' Ja 4 93S 349 = el eel eee ri EL a ee 3 23 Assignments Study the chart on page 14. Study Examples 9 and 11. Figure out how the scales were selected and where they fit in their respective inside/outside continuum, Play the scales in Examples 9 and 11 on the piano while comping with the left hand. Play all the examples on your instrument. Use a metronome for a rhythm section. Buy Jamie Aebersold's A New Approach to Jazz Improvisation Vol I and Nothin’ But Blues Vol. Apply your pentatonic knowledge to his records. 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). 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. Remember you can't play hip "outside" if you can't play hip “inside.”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? chord, only one note of that scale will clash=-the BY, If the intention is to play outside, the D pentatonic with no alterations is perfectly all right. owever, if it is the inproviser's purpose to keep all the notes in the scale compatable with chord tones, he must alter the BH by lowering it one half step (Ex. 14). Example 14 c? ? ‘ i‘ ig iy PS He 90 Fe Ailes ey 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, b5 or 6. (Ex. 15) Bxample 15 c? 24 { ’ ; ae ee ee ee ee ee ee ee ee oe ee eee ee ee oe ee ee ee turereo Fieri nore fp 7 [ de oe ) ¢ b bABOUT THE AUTHOR Mr. Ricker is currently an Assistant Professor of Clarinet at the Eastman School of Music, where in addition to teaching clarinet and saxophone, he teaches jazz improvisation and is coordinator of the Woodind 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. iis published works in- clude compositions for jazz ensemble, studio orchestra, wind ensemble, and clarinet ducts. Mr. Ricker hes appeared as soloist on several occasions with che Rochester Philharmonic Orchestra. He currently p.ays third 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 specia! "Rich at the Top." In 1975 he was a recipient of a National Endowment forthe Arts Jazz/Folk/Ethnic Travel-Study Fellowship Grant to study saxophone and improvisation with Joe Farrell. Mr. Ficker holds a Bachelor of Music Education Degree from the University of Denver, 2 Master of Music in Woodwinds from Michigan State Unversity, and a Doctor of Musical Arts Degree in Music Education from the Eastman School. 80 ae a ae oa a a a a ee a a a a a a a