Eric Alexander on “I Can Dream, Can’t I?”
Specific observations/language
m. 5
arpeggiates E, resolving into F major
m. 8
uses D H-W diminished over D7
mm. 13-14
uses A triad over G7
mm. 15-16
use of C H-W diminished, generally over C7
mm. 23-24
vestiges of Coker’s “CESH” idea
m. 26
G# W-H diminished over G# dim7
mm. 30-31
once again arpeggiates A major, this time over C7
mm. 35-36
diatonic 7ths in tonic key
mm. 41-42
descending motives outline Bb, Ab, G major
mm. 46-47
G Whole tone beginning on G7
m. 48
A triad again over C7
m. 50
planes up to F# over F major
mm. 57-58
G# W-H diminished pattern over G#dim7
mm. 59-60
descending C minor, B minor, Bb minor scalar idea
m. 64
1235 digital pattern by 4ths
m. 74
A H-W diminished over A7
m. 79
idea ends by outlining C# over C7
mm. 82-83
descending minor idea by ½ steps. A minor, G# minor, G minor
similar to minor chromatic descent in mm. 59-60
m. 85
F W-H diminished over F major
General Observations:
Does not quote melody
No clear references to other melodies/cliché licks
2nd chorus is replete with double time ideas
Solo employs full range of saxophone but no altissimo
Rich subtone sound down low
Rhythmically straightforward solo
Strong technique!
Plays on back side of time, for example first 10 measures. Also quarter notes in m.
71
Ideas for 12-key practice:
mm. 5-6 as a short idea that planes ½ step under intended key area
mm. 15-16 diminished idea resolving into F major
m. 20 as a nice idea over dominant that employs #4 (Lydian dominant)
m. 64 1235 digital pattern by 4ths
mm. 66-67 blues motive
m. 75 as an efficient way to outline minor
Charles McPherson on “Blues for Chuck”
Specific observations/language
m. 3
blues idea
m. 8
possible quote of Peanut Vendor
m. 11
looks more like Bb major than A7 idea
mm. 14-15
this chorus also starts with a simpler blues idea
mm. 21-22
chromatic idea here seems to reference Donna Lee
mm. 26-29
again starts chorus with simple D idea, repeated, lifted chromatically
mm. 30-31
D minor-oriented idea over G7
m. 32
chromatic elaboration over repetitive A’s
mm. 33-35
chromatic
m. 36
quite similar to m. 14
mm. 36-37
lick up to the high E recounts m. 23
mm. 40-41
based on Ab7 (triton sub of D7)
mm. 43-44
outlines Dmaj7 rather than D7
m. 45
chromatic
mm. 47-50
ends with blues idea
General Observations:
Solo generally favors mid- to high-range
Two possible quotes of other tunes
Nice mix of blues references and bebop language
Rhythmically varied
Ideas are generally in time
Use of vibrato, some false fingerings, articulation effects all contribute to his
signature style
Ideas for 12-key practice:
mm. 1-2
for a short simple diatonic idea
mm. 14-15
nice diatonic blues idea
mm. 17-18
for 2-5-1- idea into the downbeat
mm. 28-29
two measures of melodic material central to one key
m. 30 into m. 31
simple outline of D minor
mm. 40-41
great sounding and succinct tritone sub idea
Dick Oatts on “Walkin’ About”
Specific observations/language
mm. 1-3
begins with clear blues idea in F
m. 10
idea employs #5 and b9
m. 11
refers back to m. 4
m. 12
idea ends by inverting similar idea from m. 3
mm. 15-17
angular blues oriented idea
m.18
first double time lick over 2-5-1 in Bb
mm. 19-20
question
mm. 21-22
answer
mm. 19-20
might as well outline F minor (here it’s Bb7#9)
mm. 23-24
uses D harmonic minor
mm. 25-26
planes in F#, tritone sub for C7
mm. 32-34
blues oriented idea
m. 35
mostly chromatic – almost a C and G bebop scale amalgam
m. 37
idea in 2nd half of measure descends by ½ step
m. 39-42
2nd chorus begins with simple F ideas, question/answer.
m. 43
idea moves chromatically up into high D
m. 46
measure is very much in Db over C7
mm. 4-50
2nd 8 measures starts like beginning of 1st and 2nd choruses. Simple;
question/answer
m. 53
same shape as m. 39
m. 59
similar idea as m. 47
m. 66
descent into D minor similar to mm. 49-50
m. 67
G Lydian dominant
General Observations:
High Fs reserved for 2nd chorus
Medium-slow groove of this tune inspires great blues-oriented ideas
Take note of how lots of ghosting of bottom notes makes all lines swing
Ideas for 12-key practice:
m. 10
altered dominant idea
mm. 15-17
nice angular blues idea
mm. 25-26
for tritone sub
pickups to m. 28
triplet idea outlines F major
Walt Weiskopf on “A Time for Love”
Specific observations/language
m. 5
2nd half of measure encloses upcoming downbeat (5 of Bb maj)
m. 7
runs up Ab Lydian dominant
mm. 8-9
runs up C Lydian dominant
m. 12
2nd half of measure encloses upcoming downbeat (minor 3rd of Am7b5)
mm. 18-20
rhythm of these short motives somewhat question/answer
m. 20
ascent here is reminiscent of m. 13 – same harmony also
m. 22
enclosure again, into the Bb on beat 3
m. 26
inspired by same rhythm, m. 24
mm. 36-37
similar shape, same harmony as m. 20
m. 43-44
repeats idea from m. 42
m. 45
Ab Lydian dominant
mm. 47-53
chooses virtuosic 16th-note technique
m. 54
shuns high Ab in favor of A natural over Bb7/F chord
m. 57
encloses upcoming downbeat (9 of A minor)
m. 59
reminiscent of rhythmic idea from mm. 18-19, and 34-35
m. 60-64
emphasis on high C and D glues these motives together
m. 73
more Cmin(maj7) than Cm7
General Observations:
Not afraid to employ altissimo, up to high A
Expected to find triad pair language, but not prominent in this solo
Nice up-tempo treatment of what’s usually a ballad
Generally an “inside” solo with formidable technique and use of full range of
saxophone, favoring mid to high register
Ideas for 12-key practice:
mm. 1-4
2-5-1 lick
mm. 20-22
2-5-1- lick
mm. 36-37
2-5 lick into downbeat of m. 38
mm. 75-76
minor 2-5-1 lick
Miguel Zenon on “La Maga”
Specific observations/language
m. 5
use of G#’s avoid the A7 sound
mm. 4-6
seem to outline F# minor
m. 7
succinct idea really establishes Gmaj7(b5)
m. 8
Lydian sound with E#’s
m. 9
continues previous shape into D major
mm. 10-11
descending idea employs mostly diatonic fourths
mm. 11-13
motive is morphed/expanded to match the changes, walking up the instrument
m. 14
again a clear outlining of Gmaj7(b5)
m. 15
returns to Lydian sound with E#’s
mm. 18-20
largely diatonic in A, however the high F serves to tonicize the upcoming statement
establishing F# minor
mm. 20-25
lengthy intensification and heightening of the line, eventually into the altissimo
Measure 20 establishes the motive that Zenon runs with for multiple measures
m. 25
maximum height of the solo, up to altissimo B
mm. 25-27
these measures again establish an F# minor sound
General Observations:
Intricate composition – multi-meter, interesting changes with chromatic/step-wise
bass motion
The challenge of multiple meters does not impede a building of energy and intensity
– rather it serves to propel the solo
Zenon clearly builds the solo using increased rhythmic activity, range, motivic
repetition and variation, and limited growling in the altissimo
Gorgeous tune, somewhat minimal, employs legato cello, percussion sounds
Straight 8ths composition
“Lazy” approach to articulation at the outset of the solo, along with multiple grace
note ideas, lends to relaxed sound.
Ideas for 12-key practice:
mm. 5-6
as a good way to establish a minor key
m. 7
great outline of a maj7(b5) sound
m. 11
descending major 4ths pattern
m. 15
1st two beats as a short way to establish a key center using an angular pentatonic
lick