Bb Edition of “The Giant Steps Scratch Pad” Is Now Available!

Tenor sax, soprano sax, trumpet, and clarinet players, I’ve kept my promise and haven’t forgotten you! I’m pleased to announce that The Giant Steps Scratch Pad, Bb Edition is now published and available for purchase on Lulu.com.

In case you haven’t followed any of my related posts, “The Giant Steps Scratch Pad” is a book of licks and patterns on the Giant Steps cycle. Made for the woodshed, it had its inception over ten years ago during a period in my life when I was immersing myself in Coltrane changes. Finding nothing in the way of practice material, I bought a spiral-bound book of staff paper and began writing down my own ideas, which multiplied over time into more material than I could wrap my arms around.

In recent months, it occurred to me that the material could benefit other jazz musicians. So I transcribed it using MuseScore, and after more hassles and delays than I care to describe, finally published the Eb edition for alto sax and baritone sax players just two weeks ago. Read the release notice for more information on what the book has to offer jazz instrumentalists of every stripe who want a practice companion to help them develop their technique for improvising on “Giant Steps.” In a nutshell, information abounds on the theory of Coltrane changes, but this is the first book I know of that actually gets you soloing on “Giant Steps.”

Flutists and other concert pitch instrumentalists, fear not: The C edition is next in line, and I’m already underway with editing. Bass players and trombonists, a bass clef edition will follow after the C edition has been published. So, campers, be patient. Nobody’s going to be excluded from the party.

“The Giant Steps Scratch Pad” is now priced at $10.95. I had initially settled on $13.95, but when I factored in the cost of shipping from Lulu, I decided to trim down by a few bucks. Head to the Scratch Pad landing page to access both the Eb and Bb editions, and other editions as they become available.

I’m hoping to have the C edition published within a week, so look for another announcement soon.

Update on “The Giant Steps Scratch Pad”

“If something’s worth doing, then it’s worth doing right.”

Hear, hear! I agree with that old axiom. But doing something right often takes longer than we expected when we first got our project underway. In the case of “The Giant Steps Scratch Pad”–my book of licks and patterns for Coltrane changes–it has been taking considerably longer. So I thought I’d share another update for those of you who are interested. Here’s the status of the project and my plans for it:

* After many a headache and blind alley, the music and text files for the Eb edition are now merged into a single document and the interior of the book is ready to go.

* Registration for copyright has been filed at the U. S. Copyright Office.

* Rather than use one of the templates at Lulu.com, I’ve decided to have the cover professionally done by a friend of mine who specializes in graphic design for book and CD covers. I meet with him next week. This should be the last big task (knock on wood).

* Once the cover is completed, the Eb edition will be ready for publication through Lulu.com. At that point, I’ll just need to set up a store account and make the book available.

* Bb, C, and bass clef editions will follow once the Eb edition is published. So tenor sax, trumpet, piano, flute, trombone, and bass players, never fear! I’ve definitely got you on the radar. It just makes sense, from my standpoint, to publish the material as I initially wrote it first, so I can at least get alto sax player like me underway.

That’s it for now. When there’s more to tell, I’ll let you know, so stay dialed in.

A Charlie Parker Lick Around the Cycle of Fifths

Okay, campers, listen up: Uncle Bob says it’s time again for another great sax lick. So gather round the campfire with your saxophones, and grease your fingers to keep them from igniting, because this lick comes to you from the immortal Bird. That’s right, Charlie Parker, the indisputable emperor of the alto sax–not merely a luminary of jazz, but one of its incendiaries. It pays to light your tinder with Bird’s flame, and this exercise will help you to do so. Click on the thumbnail to enlarge it to readable size.

bird_lick_cycle_of_fifthsThe lick comes from the first bridge section of Parker’s solo on “Thriving from a Riff,” which is one of the myriad contrafacts based on the changes to “I Got Rhythm” that were written back in the bebop era. An alternate and perhaps better-known name for this particular tune is “Anthropology.” Same head, same changes, just a different title.

While a number of variations exist on the chord changes to the Rhythm bridge section, the basic progression, and arguably the most frequently used, is four dominant seventh chords moving around the circle of fifths in two-bar increments. Since the cycle of dominants is the foundation for the Rhythm bridge, extending a lick written over the bridge so that it covers all twelve keys is a great way to develop fluency in every key. That’s the premise of the exercise on this page.

Note that I’ve done only half your work for you. Once you’ve mastered the written material, you’ll need to transpose the lick so that it starts on E7 instead of B7, and work your way through the remaining transpositions.

Parker played Rhythm changes in a number of keys, but the standard key of concert Bb is the one he used most often, and it’s the one that “Thriving from a Riff” was written in. It puts the Eb alto sax in the key of G, with B7 being the first chord of the bridge section. For Bb instruments such as tenor sax, soprano sax, and trumpet, the first chord will be E7. But for purposes of practicing the cycle of fifths, it really doesn’t matter which chord you start with–it’s all good, and it’ll all take you around the complete cycle through all twelve keys, which is the purpose of this exercise.

It’s de rigeur these days to offer analyses of transcribed solos that are so exacting they could split the hairs on a fly’s behind. I admire the insight and effort that go into such exhaustive examinations of an artist’s work, but I frankly find them a bit overwhelming. I do, however, appreciate having points of particular interest spotlighted, and I will offer a few such highlights here.

The opening figure, an arpeggio descending from the thirteenth of the chord, superimposes an A+(#7) over the B7. Bird couldn’t have more effectively avoided playing the basic triad tones. Note his use of the flatted fifth, creating a Lydian sonority. The parent scale at this point is a B Lydian dominant scale, but it’s only a temporary application. In the following bar, Parker clearly defines the B7 and his approach becomes purely diatonic up to bar 4, where he injects a touch of chromaticism in the form of a passing tone. Look closely and you’ll see a hidden chromatic line descending from the note D in bar 3 through C# and B# in bar four and landing on the note B. The final two notes, B and D, are chord tones, the fifth and flat seventh of the E7.

So much for the fancy analytical stuff. If it helps you, fantastic; if it just loses you, don’t worry about it. The main thing is for you to get the exercise drilled into your fingers and your ears. In other words, make a point of memorizing it. Doing so won’t make another Charlie Parker out of you, but it will make you a better player.

That’s the goal, right, campers? You bet it is. Uncle Bob has spoken. Now get your little butts back to your cabins–you’ve got some practicing to do.

“Oleo” a la Hancock and Brecker

How about a romp through Rhythm changes? I’m always intrigued to see the different ways that master musicians handle that most contrafacted of all chord progressions besides the blues. The tune in this case is “Oleo,” and the band is Herbie Hancock, Buster Williams, Al Foster, Bobbie McFerrin, and Michael Brecker.

The YouTube video you’re about to see is a truly weird, creative, and delightful rendition, with McFerrin scat singing and acting a total goofball…and obviously having a blast. But I don’t think there’s any doubt that while these guys are just dinkering around, loose and laughing, the level of musicianship and interplay is monstrous. And need I say, Brecker delivers on the tenor sax.

This is a funny, fun, and really insane musical excursion that I think you can only loosely call “Oleo.” But you’ve heard enough from me. Give the band a listen.