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

[Mike]

Nice post Steve. Where did you get this? I think I have seen this 
before. Great information and practical too.

Mike


Steve barbone wrote:
> 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.
> 
> 
> 
> _______________________________________________
> Dixielandjazz mailing list
> Dixielandjazz at ml.islandnet.com
> http://ml.islandnet.com/mailman/listinfo/dixielandjazz
> 
> 
>