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

[Larry Walton Entertainment]

Some of my solos use those very same notes.  It's not the scales you 
know it's how you put them together and the study of jazz on this level 
and there really isn't anything grossly wrong with it, is it's like a 
kid with a huge box of crayons that can't think of a thing to draw.
Larry
St. Louis

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.
>
>
>