[Dixielandjazz] Horizontal - Vertical - etc. The Gunter Queries

[Steve barbone]

Larry at larrys.bands at charter.net wrote:

> This proves that you're not just another pretty face Steve.  Your
> comments are well thought out and excellent.

Thanks Larry. Below is a snip about the same subject for those who might
wish to be "challenged" as players or listeners. From Saxophone Professor
Miles Osland's teaching book on "BEGINNING Improvisation."

Music is communication. In order to communicate your ideas to others, you
must speak the same language. Whether you choose to speak with slang, proper
grammar, or in iambic pentameter, there are certain spelling and grammatical
conventions required to talk coherently in musical form.

Yes sir, it ain't easy to be a jazz musician. And, you don't need all the
below knowledge to either play or enjoy listening to OKOM. But if you want
to be challenged by the music, then learn how to play, or hear and
understand the language. Makes music MUCH more interesting. :-) VBG.

Cheers,
Steve


LINEAR AND VERTICAL IMPROVISATION - Miles Osland

The term linear improvisation can easily be translated to scaler or modal
improvisation. Since the saxophone is a single line instrument, linear
activity is the most accessible form of improvisation. Vertical
improvisation, or chordal playing, can be achieved on the saxophone by
creating the illusion of playing chords. This effect is acquired on a single
line instrument by using arpeggios. What I strive for in my playing and
encourage my students to develop is a good combination of both the linear
and vertical concepts. Some of the greatest jazz solos on record (i.e.,
Miles Davis' solo on So What, John Coltrane's solo on Giant Steps) blend the
linear and vertical concepts almost to a textbook case. We have looked at
the scale (linear) to chord (vertical) relationships of the dorian mode to
the min13 chord, the major scale and lydian mode to the MAJ13 #11 chord, the
mixolydian mode and mixture scale to the DOM13 #11 chord, and the altered
scale to the DOM7#11 #5 b9#9 and DOM7b5#5 b9#9 chords. We even discussed the
major pentatonic/dominant tritone application process. The terminology and
application of concepts have been quite complex up to this point. What all
beginners have to understand and all advanced players must be reminded is
simple is good!! Everything we play does not have to be complicated. With
that in mind, I would like to apply the linear and vertical concepts to some
very simple ideas. The first scale (linear improvisational device) everyone
learns is the major scale, or ionian mode. As a beginner, one should also be
aware of the basic chordal (vertical improvisational device) implications of
this scale.
C major scale - linear exercise (see example #1)
CMAJ7 - vertical exercise (see example #2)

The next scale in the practice sequence is the natural minor scale, or the
aeolian mode, and itsà various forms (harmonic minor, melodic minor, and
jazz minor scales).

C natural minor scale - linear exercise (see example #3)
Cmin7 - vertical exercise (see example #4)
C harmonic minor - linear exercise (see example #5)
Cmin(MAJ 7) - vertical exercise (see example #6)
C melodic minor - linear exercise (see example #7)
Cmin(MAJ7)/Cmin7 - vertical exercise (see example #8)

The jazz minor scale is the ascending form of the melodic minor scale played
the same way descending. You can also think of it as a major scale with a
lowered third degree. The vertical aspect of this scale implies the
Cmin(MAJ7) chord, comparable to the harmonic minor scale.
C jazz minor scale - linear exercise (see example #9)
Cmin(MAJ7) - vertical exercise (see example #6)

Please remember that you must become proficient with all of these exercises
in all 12 keys. After you have conquered the major scale, the natural minor
scale and its 3 forms, along with each scale's coinciding vertical arpeggio,
you are ready to attempt the modes.

The mixolydian mode can be conceived as a major scale with a lowered seventh
degree (i.e., C major scale with a Bb). This mode's corresponding vertical
aspect is the dominant seventh chord.
C mixolydian mode - linear exercise (see example #10)
C dom7 - vertical exercise (see example #11)

The lydian mode can be conceived as a major scale with a raised fourth
degree (i.e., C major scale with an F#). This modes' coinciding vertical
aspect is the MAJ7 chord, comparable to the major scale.
C lydian mode - linear exercise (see example #12)
CMAJ7 - vertical exercise (see exmple #2)


The dorian mode can be conceived as a major scale with a lowered third and
seventh degree (i.e., C major scale with an Eb and Bb), or a natural minor
scale with a raised sixth degree (i.e., C natural minor scale with an A
natural). I have found that the easiest way to think of this mode is to
borrow the major key (tonal center) from a whole step below (i.e., C dorian
mode = a Bb major scale starting on C). This mode's corresponding vertical
aspect is the min7 chord, comparable to the natural minor scale.
C dorian mode - linear exercise (see example #13)
Cmin7 - vertical exercise (see example #3)

The locrian mode is also known as the half-diminished scale. You can
conceive this scale as a major scale with lowered second, third, fifth,
sixth, and seventh degrees (i.e., C major scale with a Db, Eb, Gb, Ab, and
Bb). That is a lot of altering to execute, so I have found that the easiest
way to think of this scale is to borrow the major key (tonal center) from a
half step above (i.e., C locrian mode = a Db major scale staring on C). This
mode's coinciding vertical aspect is the min7 b5 (or half-diminished) chord.
C locrian mode - linear exercise (see example #14)
Cmin7 b5 - vertical exercise (see example #15)

If you practice all of these scales, modes, chords, and arpeggios in all
twelve keys, you will have wood shedded a voluminous amount of improvisatory
devices. About seventy-five percent of all the chords you will ever see on a
lead sheet you will have mastered. Along with that, you will have practiced
at least one corresponding scale or mode per chord. In my next article, we
will look at how to start putting all of this artillery to good use.