BRECKER’S BLUES: TRANSCRIPTION AND THEORETICAL ANALYSIS OF SIX

SELECTED IMPROVISED BLUES SOLOS BY JAZZ SAXOPHONIST MICHAEL

BRECKER

DOCUMENT

Presented in Partial Fulfillment of the Requirements for

the Degree Doctor of Musical Arts in the Graduate School

of The Ohio State University

By

David Rawlings Freedy, M.M.

*****

The Ohio State University

2003

Document Committee:

James Akins, Advisor

Joseph Duchi

Dr. Russel Mikkelson

 ABSTRACT

The following is an analysis of selected musical

improvisations of tenor saxophonist Michael Brecker. The

improvisations span the years 1987-99 and are all characterized

by a shared underlying 12-bar chord structure commonly known as

“Blues.” The improvisations at hand were chosen by the author by

means of six necessary characteristics: 1. Performance over a 12-

bar Blues (major or minor) harmonic progression; 2. Profundity or

“specialness” of the improvisation as determined by the author;

3. Theoretical complexity of the improvisation sufficient to

warrant an extended analysis as determined by the author; 4.

Historical placement of the improvisations from 1987 to the year

of Document submission; 5. Commercial availability of Compact

Disc recordings of all of the improvisations; 6. Lack of

availability of other transcriptions of the improvisations from

either commercial or academic sources. It is the author’s

contention that the transcriptions and analyses of the selected

improvisations will help illustrate Mr. Brecker’s approach to the

Blues as well as identify the theoretical underpinnings upon

which these improvisations rest.

ii
 ACKNOWLEDGMENTS

I wish to thank my advisor, Professor James Akins, for his

patience, support, and encouragement throughout my entire

Doctoral degree program at Ohio State University.

Thanks also to James Defrancesco, whose computer savvy

ensured a polished and professional presentation of the

transcriptions.

I also wish to thank Professor Pat Harbison (Indiana

University) for teaching me everything I know about Jazz

Improvisation to date.

Additional thanks to Brad Taylor for providing sound

fundamental training in music theory in the early years of my

music studies.

Finally, I would like to acknowledge my parents, Dr. Robert

and Dr. Lucy Freedy, whose support continues to be instrumental

in bringing my musical efforts to fruition.

iii
 VITA

January 12, 1968. . . . . . .Born – Columbus, Ohio

1991. . . . . . . . . . . . .Bachelor of Music, Cincinnati

College-Conservatory of Music

1994. . . . . . . . . . . . .Master of Music, Cincinnati College-

Conservatory of Music

1996. . . . . . . . . . . . .Artist Diploma, Cincinnati College-

Conservatory of Music

1993-present. . . . . . . . .Principal Tuba, Kentucky Symphony

Orchestra

1999-present. . . . . . . . .Associate Member, Columbus Symphony

Orchestra

2000-present. . . . . . . . .Graduate Teaching Associate, The

Ohio State University

FIELDS OF STUDY

Major Field: Music

Minor Field: Jazz History, Analysis, and Performance

iv
 TABLE OF CONTENTS

Abstract ...................................................... ii

Acknowledgments .............................................. iii

Vita .......................................................... iv

Chord and Scale Syllabus ..................................... vii

Chapters:

1. Introduction ............................................ 1

Blues: Brief History and Early Influence Upon Jazz 3

Michael Brecker: A Brief Biographical Sketch ...... 6
The Art of Transcription .......................... 7
Review of the Literature .......................... 8
Purpose of the Study ............................. 12
Suggestions for Further Study .................... 12

2. “Nothing Personal”: Analysis ........................... 15

3. “Two T’s” [sic]: Analysis .............................. 21

4. “Cabin Fever”: Analysis ................................ 31

5. “Jones Street”: Analysis ............................... 42

6. “Delta City Blues”: Analysis ........................... 46

7. “Timeline”: Analysis ................................... 52

8. Selected Breckerisms ................................... 58

Appendices:

A. Discography ............................................ 75

v
B. “Nothing Personal”: treble and bass clef transcriptions,
annotated and unannotated ............................. 77

C. “Two T’s” [sic]: treble and bass clef transcriptions,

annotated and unannotated ............................. 98

D. “Cabin Fever”: treble and bass clef transcriptions,

annotated and unannotated ............................ 119

E. “Jones Street”: treble and bass clef transcriptions,

annotated and unannotated ............................ 152

F. “Delta City Blues”: treble and bass clef transcriptions,

annotated and unannotated ............................ 161

G. “Timeline”: treble and bass clef transcriptions,

annotated and unannotated ............................ 178

Reference and Related Bibliography ........................... 191

vi
 CHORD AND SCALE SYLLABUS

CMA: C, E, G
CMA 7: C, E, G, B
CMA 9: C, E, G, B, D
CMA 9 (#5): C, E, G sharp, B, D
CMA 9 (#11): C, E, G, B, D, F sharp
CMA 13 (#11): C, E, G, B, D, F sharp, A
Cmi: C, E flat, G
Cmi 7: C, E flat, G, B flat
Cmi 7 (b5): C, E flat, G flat, B flat
CmiMA 7: C, E flat, G, B
Cmi 9: C, E flat, G, B flat, D
CmiMA 9: C, E flat, G, B, D
Cmi 11: C, E flat, G, B flat, D, F
Cmi 13: C, E flat, G, B flat, D, F, A
C 7: C, E, G, B flat
C 7 (#5): C, E, G sharp, B flat
C 7 (b9): C, E, G, B flat, D flat
C 7 (#9): C, E, G, B flat, D sharp
C 7 (b9, #9): C, E, G, B flat, D flat, D sharp
C dim 7: C, E flat, G flat, B double flat
C 9: C, E, G, B flat, D
C 9 (#11): C, E, G, B flat, D, F sharp
C 13 (#11): C, E, G, B flat, D, F sharp, A
C 13 (#9, #11): C, E, G, B flat, D sharp, F sharp
CAUG: C, E, G sharp

Aeolian Mode/Natural Minor Scale: C, D, E flat, F, G, A flat, B-

flat
Ascending Melodic Minor Scale: C, D, E flat, F, G, A, B
Dominant Bebop Scale: C, D, E, F, G, A, B flat, B
Dorian Mode: C, D, E flat, F, G, A, B flat
Fifth Mode of the Dominant Bebop Scale: C, D, E flat, E, F, G, A,
B flat
Fifth Mode of the Harmonic Minor Scale: C, D flat, E, F, G, A-
flat, B flat
Fifth Mode of the Major Pentatonic Scale (altered)/ “Blues”
Pentatonic Scale: C, E flat, F, F sharp, G, B flat
Fifth Mode of the Major Pentatonic Scale (unaltered): C, E flat,
F, G, B flat

vii
Fourth Mode of the Ascending Melodic Minor Scale/”Lydian
Dominant” Scale: C, D, E, F sharp, G, A, B flat
“Gap” Scale: C, E flat, E, G, G sharp, B
Harmonic Minor Scale: C, D, E flat, F, G, A flat, B
Ionian Mode/Major Scale: C, D, E, F, G, A, B
Lydian Mode: C, D, E, F sharp, G, A, B
Major Bebop Scale: C, D, E, F, G, G sharp, A, B
Major Pentatonic: C, D, E, G, A
Mixolydian Mode: C, D, E, F, G, A, B flat
Octatonic Scale (beginning with a half step)/”Dominant
Diminished” Scale: C, C sharp, D sharp, E, F sharp, G, A,
B flat
Octatonic Scale (beginning with a whole step): C, D, E flat, F,
F sharp, G sharp, A, B
Second Mode of the Major Pentatonic Scale: C, D, F, G, B flat
Seventh Mode of the Dominant Bebop Scale: C, C sharp, D, E, F-
sharp, G, A, B
Seventh Mode of the Major Bebop Scale: C, D, E flat, F, G, A-
flat, B flat, B
Third Mode of the Ascending Melodic Minor Scale: C, D, E, F-
sharp, G sharp, A, B
Whole Tone Scale: C, D, E, F sharp, G sharp, B flat

viii
 CHAPTER 1

INTRODUCTION

This D.M.A. Document provides analysis of six selected

Blues improvisations (see Discography: Appendix A, page 75) of

Jazz tenor saxophonist Michael Brecker. The primary goal of this

investigation was to uncover and illuminate the theoretical

structures upon which these improvisations rest. The

improvisations were chosen with six characteristics in mind: 1.

Performance over a 12-bar Blues (major or minor) progression; 2.

Profundity or “specialness” of the improvisation as determined by

my own subjective opinion; 3. Theoretical complexity of the

improvisation sufficient to warrant an extended analysis, also as

determined by my own subjective opinion; 4. Historical placement

of the improvisations from 1987 to the year of Document

submission, which roughly spans the time period of Mr. Brecker’s

solo career as of this writing; 5. Commercial availability of

Compact Disc recordings of all of the improvisations; 6. Lack of

availability of other transcriptions of the improvisations from

either commercial or academic sources, to the best of my

knowledge as of the time of Document submission. With respect to

1
adherence to these criteria, some of these elements require

further explanation.

Blues, as the basis for the selected improvisations in this

study, were chosen due to their prominent role in the historical

performance practice of Jazz. This being granted, the

transcriptions I have created will help illuminate Mr. Brecker’s

approach to this time-honored vehicle for Jazz improvisation.

Additionally, Mr. Brecker’s certain thorough knowledge of this

form helps ensure that the solos themselves will be ones in which

he is not burdened with unfamiliar chord progressions, thus

facilitating unbridled instrumental virtuosity and theoretical

complexity.

The commercial availability of the recordings is important

because an aural knowledge of the solos themselves is essential

if one is to grasp the musical effect of the theoretical

structures utilized by the soloist, and readily available

recordings provide that knowledge. They also represent an aural

record of the performance practice of the soloist, further

deepening one’s understanding of the musical statement being

made.

Finally, it was important to me to transcribe solos

otherwise unavailable in written form so as to provide fresh

grist for the mill of Jazz scholarship.

2
 BLUES: BRIEF HISTORY AND EARLY INFLUENCE UPON JAZZ

Blues is one framework within which Jazz musicians ply

their trade. Often, it is considered a touchstone through which

these artists can find common ground on which to improvise.

Though much associated with Jazz, the Blues has a distinct

history unto itself.

The earliest forerunners to the Blues consist of Field

Hollers and Black Ballads. Of Southern origin, Field Hollers

amount to freely performed vocal incantations of a soloistic

nature with the manifest purpose of helping pass the time during

long hours of manual labor. Their use gradually superceded that

of group based Work Songs as Southern plantation life and the

large accompanying slave based labor force declined. Black

Ballads, of a more formal structure, were a very popular mode of

musical expression from 1870-1915. Whereas the Field Hollers

provided the emotional prototype for later Blues, Black Ballads

provided an early version of the later structural framework of

Blues. In terms of structure, Black Ballads typically consisted

of a couplet followed by a refrain occurring over the course of 8

or 12 bars, a clear foreshadowing of Blues structure that had yet

to coalesce at that time. The 3 line stanza began its

codification within the Blues realm in the early 1900s. This now

ubiquitous form consists of one line of repeated material

3
followed by a second line that rhymes with the first which is

utilized as a response to the first repeated line.

With regards to performance practice, the Blues has a

tradition independent of Jazz. In particular, Rural Blues

(acoustic emphasis) as well as Urban Blues (electric emphasis)

were manifest in several different forms which corresponded to

their region of origin. As relates to the Blues inclusion in

Jazz, it is worth noting that two of the cities most associated

with the inception and development of Jazz as an art form, New

Orleans and Kansas City, had no strong tradition of Blues

performance practice. As a result of this stylistic vacuum with

regards to Blues performance practice coupled with an active Jazz

scene in each of those cities, the attitudes of Jazz musicians in

those cities would have presumably been more permissive towards

an attempted amalgam of the two styles.

Although it is widely assumed that the Blues has profoundly

influenced the development of Jazz, there is not currently

scholarship available to support this supposition, though its

presence was often significant. As for the dissemination of

Blues within the New Orleans and Kansas City Jazz cultures, the

relatively learned New Orleans musicians most likely came to the

Blues by means of dissemination of sheet music. Given that they

were entertainers, they were apt to adopt styles that would be

enthusiastically received by their patrons. As the Blues was

experiencing a commercial heyday in the 19 teens and 1920s,

4
inclusion by means of (at least initially) sheet music

arrangements would seem to be the likely explanation for the Blue

tinge added to New Orleans Jazz. As for Kansas City, the

stylistically permissive environment coupled with touring

territory bands in need of material for performance most likely

explains the Big Band style Blues primarily produced in and

associated with Kansas City. Though Blues was influential in the

development of the Kansas City style of Big Bands, this generally

did not extend to Big Bands from other cities and regions. While

Kansas City Big Bands (also known as Territory Bands) frequently

toured, most other Big Bands throughout the United States had

ongoing residencies in particular dance halls or hotels. Part

and parcel of being the “House Band” in the various

establishments was to provide functional dance music and

melodious ballads for the patrons’ enjoyment. As a result,

competent execution of popular songs of the day in the style of

the given band was held in much higher esteem by patrons as

compared to capturing the impassioned and rollicking quality of

the Blues.

With regards to structure, there is historical evidence to

suggest that the basic form for Blues (12 bars, traditional I IV

V type progression) was in use by Mississippi Delta Blues

guitarists and Boogie Woogie pianists as early as the 1890s.

This being asserted, there is lamentably no recorded evidence of

5
this until the 1920s (The New Grove Dictionary of Jazz, ed. Barry

Kernfeld [New York: St. Martin’s Press, 1994]).

MICHAEL BRECKER: A BRIEF BIOGRAPHICAL SKETCH

As a youth in Philadelphia (born March 29, 1949), Michael

Brecker was primarily a clarinetist and alto saxophonist. It was

not until some time later during his High School years that he

took up the instrument with which he is most associated, the

tenor saxophone. Beyond High School, Brecker attended Indiana

University for a time, later moving to New York City in 1969.

Since that time, Mr. Brecker has been associated with a number of

commercially successful and critically acclaimed projects. Some

of the more prominent include The Brecker Brothers (with brother

and trumpet player Randy Brecker; 1974-79, 1992-94), Steps Ahead

(with Mike Mainieri; 1979-86), and a still burgeoning solo

career, which began in 1987 with his self titled début solo CD

(see Discography: Appendix A, page 75). To date, Mr. Brecker is

an 8 time Grammy winner as well as being the only performer to be

awarded both the “Best Jazz Instrumentalist” and the “Best Jazz

Instrumental Solo” in consecutive years. Hailed by Jazz

aficionados, students, and professionals alike for his

innovations, Michael Brecker is among the most influential Jazz

instrumentalists of his time (“Michael Brecker: Biography”

6
[www.michaelbrecker.com]; The New Grove Dictionary of Jazz, ed.

Barry Kernfeld [New York: St. Martin’s Press, 1994]).

THE ART OF TRANSCRIPTION

For the purpose of clarity, transcription (as utilized in

this document) is the process of capturing in written form a

selected improvised solo or solos of a given artist or artists

for the purpose of intellectual study and/or musical reiteration.

Transcription has been utilized by many developing as well

as accomplished Jazz musicians for the purpose of beginning and

continuing the never ending educational process. This

educational process is essential in promoting technical facility

and stylistic evolution which are primary components of the

noteworthy artist. Though this autodidactic pedagogical tool has

been widely utilized, the process itself has not been written

about in any great detail with a few notable exceptions (Larry

Dunlap, Ron Gorrow, and Andrew White; see Bibliography: Appendix

H, page 191).

Historically, it is difficult to establish the prominence

of the practice of transcription as many transcriptions are

created by the transcriber for the transcriber who often does not

seek a wider dissemination of the end product. This being said,

there are some collections extant that were created expressly for

this purpose. Their existence gives some indication as to the

7
general interest of the musician/scholar in such an offering. As

early as 1927, collections of improvisations (ostensibly) by

Louis Armstrong were in print and available for purchase. The

1930s saw the appearance of transcriptions in such industry

journals as Metronome and Downbeat. The 1940s through the 1970s

were witness to an increasing array of single transcriptions in

industry journals as well as commercially available transcription

folios dedicated to a given artist or selected artists on a given

instrument.

Starting in the 1980s with the inception of the Jazz

repertory movement, transcriptions began to serve the purpose of

historical reenactment/recreation in addition to the already

prominent practice of scholarly study, reiteration, distillation,

and personalization. As well, formalized study of Jazz at the

University level was also burgeoning which produced a number of

scholarly treatises in which transcription is a prominent feature

of the document itself. It is my intention that this Document be

a contribution to the scholarly trend with respect to Jazz which

continues to date (The New Grove Dictionary of Jazz, ed. Barry

Kernfeld [New York: St. Martin’s Press, 1994]).

REVIEW OF THE LITERATURE

The following is included as an overview of the materials

currently available which concern the topic of the Document at

8
hand. Materials included in this review contain transcriptions

of solos (not necessarily Blues) and/or analysis of the

theoretical underpinnings of Mr. Brecker’s improvisatory style.

The entries are listed in chronological order. See Bibliography

(Appendix H, page 191) for an alphabetical listing.

Kynaston, Trent. Michael Brecker: Improvised Saxophone Solos.

Transcribed by Trent Kynaston. Hialeah, FL: Studio 224,
1982.

A collection of 12 transcriptions of Michael Brecker

improvisations spanning the years 1977 to 1981 and encompassing
his work with Jack Wilkins, Chick Corea, and the Brecker
Brothers. Text concerning analysis of the improvisations
themselves is absent.

Kynaston, Trent. “An Analysis of Michael Brecker’s Harmonic

Style.” Down Beat 52, no. 5 (May 1985): 54-5.

A brief identification and explanation of particular techniques

utilized by Michael Brecker in his improvisations when addressing
minor seven (mi 7) and dominant seven (7) sonorities.
Devices/structures identified and discussed include the Dorian
Mode, the Ascending Melodic Minor Scale, the “Altered” Scale
(a.k.a. the “Super Locrian” Scale; 7th mode of the Ascending
Melodic Minor Scale), and the Mixolydian Mode.

Kynaston, Trent. Jazz Tenor Solos: Masters of the Tenor

Saxophone Play the Blues. Transcribed by Trent Kynaston.
Kalamazoo, MI: Corybant Productions, 1986.

Unavailable (one non-circulating copy extant; Library of

Congress). The 1988 version of this publication does not contain
a transcription of a Blues solo by Mr. Brecker. With respect to
format, the 1988 version contains transcriptions of 8 improvised
Blues solos by 8 different artists. Text concerning analysis of
the improvisations themselves is absent (1988 version). One can
reasonably assume that the 1986 version which apparently contains
a transcription of a solo Blues improvisation by Michael Brecker
also contains no analysis of the solo itself.

9
Demsey, David. “The Succesful Sax, Part V: Michael Brecker’s Solo
on ‘Suspone’ by Michael Stern.” Jazz Educators Journal
XXIII, no. 4 (Summer 1991): 36-8.

A full transcription and analysis of a Michael Brecker

improvisation based on the Mike Stern composition “Suspone” (a
melodic contrafact composition based on the chord changes to the
George and Ira Gershwin composition “I Got Rhythm”). The
improvisation comes from a live performance at the University of
Main at Augusta on March 27, 1987. Note: “Suspone” was later
recorded and released on Michael Brecker’s 2nd solo effort
entitled Don’t Try This at Home (1988; see Bibliography: Appendix
H, page 191). Devices/structures identified and discussed
include the articulation of idiomatic diatonic language that is a
half step removed from the underlying sonority and the
articulation of melodic material that connotes harmonic intent
complimentary to or in contrast with the underlying sonority or
chord progression.

Coan, Carl. Artist Transcriptions; Saxophone: Michael Brecker.

Transcribed by Carl Coan. Milwaukee, WI: Hal Leonard
Corporation, 1995.

A collection of 19 transcriptions of Michael Brecker

improvisations spanning the years 1976 to 1992 and encompassing
his work with the Brecker Brothers, Steps Ahead, and as a solo
artist. Sections concerning background (Biography), notation,
fingerings (saxophone), multiphonics, and selected recordings
(Selected Discography) are included. Text concerning analysis of
the improvisations themselves is absent.

Osland, Miles. “Woodshed: Michael Brecker’s Tenor Sax Solo on

‘Impressions’.” Down Beat 63, no. 7 (July 1996): 64-5.

A partial transcription (5th and 6th choruses) and analysis of a

Michael Brecker improvisation based on the John Coltrane
composition “Impressions” (a melodic contrafact composition based
on the chord changes to the Miles Davis composition “So What”
{1959; from Miles Davis’ Kind of Blue; see Bibliography: Appendix
H, page 191}) which was recorded with the McCoy Tyner Trio on the
McCoy Tyner release entitled Infinity (1995; see Bibliography:
Appendix H, page 191). Devices/structures identified and
discussed include the articulation of idiomatic diatonic language
that is a half step removed from the underlying sonority, tritone
substitution, and the articulation of a repeating intervallic
pattern presented at varying pitch levels.

10
Weremchuk, George. “Comparative Analysis of Improvised Solos
Based on the Popular Songs ‘Body and Soul’, ‘Night and
Day’, and ‘Out of Nowhere’ as Performed by Selected Jazz
Tenor Saxophonists Representing Different Styles.” D.M.A.
diss., University of Miami, 1998.

A dissertation which contains a full transcription and analysis

of a Michael Brecker improvisation based on the Green-Sauer-
Heyman-Eyton composition “Body and Soul” from the 1993 release
entitled Twin Tenors (Brecker and Mintzer; see Bibliography:
Appendix H, page 191). Devices/structures identified and
discussed include chromaticism, the “Altered” Scale (a.k.a. the
“Super Locrian” Scale; 7th mode of the Ascending Melodic Minor
Scale), the “Dominant Diminished” Scale, and the articulation of
melodic material that connotes harmonic intent complimentary to
or in contrast with the underlying sonority or chord progression.

Allen, Eric. “Woodshed: Michael Brecker’s Tenor Sax Solo on ‘Body

and Soul’.” Down Beat 65, no. 5 (May 1998): 80-1.

A partial transcription (1st two “A” sections and half of the

bridge) and analysis of a Michael Brecker improvisation based on
the Green-Sauer-Heyman-Eyton composition “Body and Soul” from the
1993 release entitled Twin Tenors (Brecker and Mintzer; see
Bibliography: Appendix H, page 191). Devices/structures
identified and discussed include the “Altered” Scale (a.k.a. the
“Super Locrian” Scale; 7th mode of the Ascending Melodic Minor
Scale), tritone substitution, and chromaticism.

Osland, Miles. “Woodshed: Michael Brecker’s Tenor Sax Intro on

‘Delta City Blues’.” Down Beat 66, no. 4 (April, 1999): 72-
3.

A brief narrative concerning a Michael Brecker pre-composed

introduction to the Michael Brecker composition “Delta City
Blues” (Mr. Brecker’s improvised solo on “Delta City Blues” is
contained within this study; see Appendix F, page 161).
Devices/structures identified and discussed include fingerings
(saxophone), equipment (mouthpiece), and Michael Brecker’s
thoughts on a text-based approach to the study of improvisation
versus listening-based/curiosity-based approaches.

11
 PURPOSE OF THE STUDY

The primary purpose of this study was to provide insight

into Mr. Brecker’s approach to improvisation within the context

of the Blues and within the chronological confines of his solo

career to date. This was needed in the opinion of the author in

as much as there is a paucity of literature (exceptions noted in

previous section) currently available that addresses both the

actual notes being played by Mr. Brecker and the origins of the

notes themselves. This is particularly noteworthy in light of

Michael Brecker’s current elevated status within the artistic

community (see Brief Biographical Sketch, page 6). It is my aim

and hope that this Document will help illuminate the complex

inner workings of the particular improvised solos contained

within this document, thus providing additional probative

material for the interested scholar.

SUGGESTIONS FOR FURTHER STUDY

The following is a reference list of compositions on which

Mr. Brecker improvises which I believe merit further study. As

of this writing, none of the following have been transcribed (in

toto), analyzed, and made available to the public in article,

book, or dissertation form. All compositions listed are in some

way tied to the standard canon of Jazz repertoire (Blues, Ballad,

12
Standard, or post-tonal) and are readily available in Compact

Disc format as of this writing. Entries preceded by an asterisk

(*) are, in the opinion of the author, particularly noteworthy

examples of Mr. Brecker’s improvisational prowess with respect to

theoretical complexity as well as instrumental virtuosity. The

list is limited to the same temporal confines as the Document

(1987-present; current length of Mr. Brecker’s career as a solo

artist) and is not intended to be a comprehensive list of Brecker

improvisations worthy of further investigation. The entries are

listed in chronological order. See Bibliography (Appendix H,

page 191) for an alphabetical listing.

*Brecker, Michael. “My One and Only Love.” (Wood and Mellin,
composers) On Michael Brecker. MCA/Impulse Compact Disc
MCAD-5980. (1987)

Ballad.

*Brecker, Michael. “Syzygy.” (Michael Brecker, composer) On

Michael Brecker. MCA/Impulse Compact Disc MCAD-5980. (1987)

Extended post-tonal introduction.

*Brecker, Michael. “Suspone.” (Mike Stern, composer) On Don’t Try

This at Home. Impulse Compact Disc MCAD 42229. (1988)

Melodic Contrafact composition based on the chord changes to a

Standard (“I Got Rhythm” by George and Ira Gershwin).

*Brecker, Michael and Bob Mintzer. “Giant Steps.” (John Coltrane,

composer) On Twin Tenors. Novus Compact Disc 01241 63173-2.
(1993)

Standard.

13
*Tyner, McCoy. “I Mean You.” (Thelonious Monk, composer) On
Infinity. Impulse Compact Disc IMPD-171. (1995)

Standard.

*Tyner, McCoy. “Impressions.” (John Coltrane, composer) On

Infinity. Impulse Compact Disc IMPD-171. (1995)

Standard.

Silver, Horace. “A Prescription for the Blues.” (Horace Silver,

composer) On A Prescription for the Blues. Impulse Compact
Disc IMPD-238. (1997)

Major Blues.

Silver, Horace. “Yodel Lady Blues.” (Horace Silver, composer) On

A Prescription for the Blues. Impulse Compact Disc IMPD-
238. (1997)

Altered Major Blues.

Silver, Horace. “You Gotta Shake That Thing.” (Horace Silver,

composer) On A Prescription for the Blues. Impulse Compact
Disc IMPD-238. (1997)

Major Blues.

*Stern, Mike. “One Liners.” (Mike Stern, composer) On Give and

Take. Atlantic Compact Disc 83036-2. (1997)

Melodic Contrafact composition based on the chord changes to a

Standard (“Softly, As in a Morning Sunrise” by Sigmund Romberg).

*Brecker, Michael. “Outrance.” (Michael Brecker, composer) On

Time is of the Essence. Verve Compact Disc 314 547 844-2.
(1999)

Melodic Contrafact composition based on the chord changes to a

Standard (“So What”/”Impressions” by Miles Davis/John Coltrane).

*Hancock, Herbie; Michael Brecker and Roy Hargrove. “Naima.”

(John Coltrane, composer) On Directions in Music. Verve
Compact Disc 314 589 654-2. (2002)

Ballad.

14
 CHAPTER 2

“NOTHING PERSONAL”: ANALYSIS

In the 1st Chorus of this improvisation (see Appendix B,

page 77), Mr. Brecker begins by utilizing selected pitches from

parallel minor scales to imply sonorities other than those

dictated by the given progression. Measures 1-4 employ a G

Dorian Mode: Measure 1 starts with the 2nd/9th scale degree (GmiMA

9 implied), followed in measure 2 by stepwise scalar motion which

covers all pitches of G Dorian except for A natural (2nd/9th scale

degree). Measures 3 and 4 evidence an implied CMA triad which is

imbedded within G Dorian. Measures 5-7 switch to G Ascending

Melodic Minor Scale: Measure 5 contains material indicative of a

D 7 sonority, also an imbedded chord within the G Ascending

Melodic Minor Scale. Measure 6 contains stepwise diatonic

movement within the scale (ranging from the 4th to the 7th scale

degree) followed in measure 7 by a reiteration of the imbedded D

7 sonority first heard in measure 5. Measure 8 is somewhat

ambiguous in that the three sounded pitches are contained in both

G Dorian and G Ascending Melodic Minor (perhaps an implied

resolution to the differences of the 2 minor scales by means of

common tones). Measure 9 articulates, with a lower neighbor, the

15
flatted 7th of the underlying Eb 7 sonority, followed in measure

10 by a similar articulation of a flatted 7th (C natural), this

time relating to the underlying D 7 (#9) chord. This is followed

(still measure 10) by a partial articulation of an imbedded D dim

7 chord, all notes of which are contained within the D Octatonic

Scale (beginning with a half step)/”Dominant Diminished” Scale

that is clearly implied by the D dim 7 chord’s presence.

Measures 11 and 12 contain material that relates directly to an

Ascending Melodic Minor Scale, though this time with Ab as its

tonic pitch. In measure 11, beat 3 and its pick-up note outline

an Eb major triad (dominant sonority of Ab mi; F natural as

passing tone) imbedded within Ab Ascending Melodic Minor which is

followed in measure 12 (first 3 beats of the bar) by a full

scalar presentation (Gb as chromatic passing tone) of the same Ab

Ascending Melodic Minor Scale. Measure 12, beat 4 contains what

I think could best be termed a “chromatic turnaround” which leads

naturally to the following A natural on beat 1 of measure 13.

The 2nd Chorus begins with a return to the G Dorian Mode:

Measures 13 and 14 contain a stepwise scalar articulation of this

pattern, with an internal emphasis on particular pitches

equidistant from one another. That is to say, measure 13

contains metrically emphasized pitches (A natural, D natural, G

natural, and C natural) that are all (except for A natural;

beginning of the pattern) a perfect fourth above the emphasized

pitches by which they were preceded. Measure 14 evidences the

16
same metrical emphasis intervallically arranged (perfect 4th),

though this time in inversion/descending. Measures 15 and 16

illustrate a return to the Ab Ascending Melodic Minor Scale:

Measure 15, beats 3 and 4 contain standard diatonic material (G

flat and F flat as passing tones; 3 note chromatic lead-in to bar

16) followed in measure 16 by imbedded triads on beats 1 and 2.

Beat 1: Eb MA (dominant sonority of Ab Ascending Melodic Minor)

followed by Beat 2: Db MA (subdominant sonority). Beat 3 arrives

at the superimposed tonic area (Ab mi) by means of more standard

diatonic material. After a beat and a half of chromatic

material, beats 2-4 of measure 17 once again contain tones for

both G Ascending Melodic Minor and G Dorian (all notes in common

except for 7th scale degree; F sharp from G Ascending Melodic

Minor, F natural from G Dorian). Measure 18, beat 1 contains a

quick reference to the underlying Cmi 7 sonority (D natural as

lower neighbor) followed by the remainder of the bar as well

measure 19 being a stepwise diatonic articulation of the G Dorian

Mode (movement confined to the octave between respective A

naturals). Measures 20 and 21 contain the Eb Mixolydian Mode:

Measure 20, beat 3 contains a quick Bb 7 reference (dominant

sonority of Eb MA) followed by standard Eb Mixolydian diatonic

material for the next 5 beats (measure 21, beat 3: A natural as

diatonic lower neighbor to briefly tonicized B flat). Measure 22

contains elements of Eb Mixolydian as well as some attendant

chromaticism. Beat 4 clearly articulates a DMA triad (dominant

17
sonority of GmiMA; G natural as diatonic passing tone) clarifying

the harmonic direction of the melodic line. Measures 23 and 24

contain a clear and primarily stepwise articulation of the G

Dorian Mode.

The 3rd Chorus begins (measure 25) on the 2nd/9th scale degree

of G Dorian/Ascending Melodic Minor, followed on beat 3 by a

quick F# mi triad reference and returning to Gmi on beat 4 (C

natural as diatonic upper neighbor). Standard Gmi diatonic

material ensues in measure 26 (C flat as chromatic passing tone,

A flat as chromatic upper neighbor, B natural as diatonic upper

neighbor) followed by a bi-polar diatonic juxtaposition (AMA and

Ab MA) throughout measure 27. Just as it seems that Ab MA will

be more prominent (beat 1 of measure 28), beat 2 introduces F# MA

by means of the F# Ionian Mode/Major Scale followed by

diatonically imbedded triads on beats 3 and 4. Beat 3: D# mi

triad (submediant sonority of F# MA) followed by an implied C# MA

triad on beat 4 (dominant sonority of F# MA). Measures 29 and 30

contain a stepwise reiteration of G Dorian/Ascending Melodic

Minor (B natural as chromatic lower neighbor) followed by more

harmonic juxtaposition. In measure 31, beats 1 and 2 are

essentially Gmi (B natural as chromatic upper neighbor) followed

by A 7 material on beat 3, followed by B 7 material on beat 4 and

beat 1 of measure 32. Beat 2 contains a quick reference to Bb 7

followed by FMA on beat 3 (dominant sonority of Bb MA; D natural

as diatonic upper neighbor) followed by a series of planed 4ths

18
(D-G {inverted}, C-F, B flat-E flat, A flat-{implied} D flat).

Measure 33, beat 4 contains the beginning of an Eb Dorian Mode

which continues throughout measure 34 (F flat as chromatic

passing tone). Measure 35 represents a return of G Ascending

Melodic Minor with decorative chromaticism intermingled. Measure

36, beat 1 (with an A natural pick-up from previous measure)

begins a 4 beat chromatic sequence of a 4 note diatonic pattern.

The first grouping (A natural, G natural, F natural, E natural)

constitutes a 4 note cell which I believe emanates from G Dorian,

which is subsequently followed by 3 more intervalically identical

groupings at 3 different pitch levels in addition to Gmi (in

toto, Gmi, F# mi, Fmi, Emi).

The 4th Chorus begins with a reiteration of the G Ascending

Melodic Minor Scale (measures 37 and 38), articulated in a

stepwise manner. Measure 39, beats 1 and 2 are a brief

intervallic study, intermingling 3rds, 4ths, and 5ths articulated

through a G Dorian Mode. An Ab Ascending Melodic Minor Scale

ensues on beats 3 and 4 with a brief BMA 7 reference on beat 1 of

measure 40 (enharmonically Cb MA 7; mediant 7th chord of Ab

Ascending Melodic Minor) followed by chromaticism on beat 2

leading to more Ab Ascending Melodic Minor diatonic material on

beats 3 and 4 (A natural as chromatic passing tone). Diatonic

triads ensue in measures 41-43. Measure 41’s triads (Gmi, FMA,

and Eb MA) are extracted from G Aeolian Mode/Natural Minor Scale

(parallel equivalent of C Dorian; diatonic lead-in on beat 1

19
followed by a change of mode in measure 42 (G Dorian Mode:

parallel equivalent of C Mixolydian; diatonic triads: Dmi, CMA).

Starting on beat 3 of measure 42, chromatic planing of a MA

sonority ensues (beat 3: CMA, beat 4: BMA; measure 43, beat 1: Bb

MA, measure 43, beat 2: AMA {implied}). Beat 4 of measure 43

brings the quasi-diatonic sequence back home to Gmi, followed on

beats 1-3 of measure 44 with G Dorian diatonic material (F sharp

added to serve as leading tone for Gmi). Beginning on beat 4 of

measure 44 through measure 46, Eb Mixolydian is utilized,

followed by measures 47 and 48, where a change from A flat to A

natural implies a return to a G Ascending Melodic Minor

Scale/Dorian Mode.

The 5th Chorus begins (measures 49 and 50) with another

brief intervallic study in G Dorian followed by measures 51-53,

in which no fewer than 4 tonalities are implied along with

attendant chromaticism (Gmi, Ab 7, AMA, Bb MA). Measures 54-56

(starting with beat 3 of measure 54) signal the return of G

Dorian, articulated stepwise (measure 54) as well as in a

tertiary arpeggiated manner (measures 55 and 56). Beat 4 of

measure 56 and measure 57 in toto exhibit a slightly altered Eb

Mixolydian Mode (no C natural present) followed in measure 58 by

a more plainly stated, stepwise version of the same pattern (Eb

Mixolydian is equivalent to Db Lydian; another possible

interpretation). Measures 59-61 round out the solo with a

stepwise and rhythmically augmented final statement of G Dorian.

20
 CHAPTER 3

“TWO T’S” [SIC]: ANALYSIS

In the 1st Chorus of this improvisation (see Appendix C,

page 98), Mr. Brecker makes his entrance in measure 3. Measures

3-8 evidence basic chord tone assertions (in agreement with the

underlying chord structure; exceptions: E flats in measures 3 and

7; diatonic lower neighbors) with the interest of the line

initially being rhythmic. Measure 9, beats 1 and 2 see a brief

GMA triad (displaced articulation of implied G 7 chord {V of ii}

customarily played in the 8th measure of many Major Blues

Choruses) which is followed on beats 3 and 4 by the articulation

of an imbedded Eb MA/Eb MA (#5) chord which is contained

diatonically within C Dorian Mode/C Ascending Melodic Minor

Scale. Beat 1 of measure 10 repeats the ascending interval

sounded on the previous beat one half step lower, followed by a

quick F 7 reference on beats 2 and 3 (E natural as chromatic

passing tone). Beats 3 and 4 of measure 10 (the G natural on

beat 3 is a common tone between the F 7 and FMA 9 (#5)

sonorities) as well as beat 1 of measure 11 articulate an FMA 9

(#5) arpeggio (descending), which is followed by B Ionian Mode

material from beat 2 of measure 11 through beat 1 of measure 12

21
(F natural as chromatic passing tone). The solo returns to its

tonal home (Bb MA) on beats 2-4 of measure 12 (E natural as

chromatic lower neighbor).

The 2nd Chorus begins (measures 13 and 14 along with the B

flat pick up from measure 12) with the basic Bb mi pentachord (B

flat, C, D flat, E flat, F; parallel minor to Bb Ionian

Mode/Major Scale) which probably emanates from Bb Dorian Mode.

This is followed in measure 16 by a partial reference to the Bmi

pentachord; planing in evidence. Measure 18 contains all chord

tones of an E dim 7 chord (a common chord substitution in the 6th

measure of Major Blues Choruses; C natural as diatonic passing

tone) emanating from an E Octatonic (beginning with a whole step)

Scale. Measure 19, beats 1 and 2 presents a typical

chromatically descending intervallic pattern followed on beats 3

and 4 by an equally typical chromatic/diatonic turnaround in Bb

MA. Measure 20 articulates all pitches of a G 7 (b9) chord; an

altered version of the expected substitution (measure 20 as 8th

measure of the 2nd Chorus; G 7 as V of ii {Cmi}; b9 as

alteration). Measure 21 safely lands on a primary chord tone of

Cmi. Measures 22-28 present a particularly interesting use of

the Dominant Bebop Scale: utilization of the 5th mode of E

Dominant Bebop (B natural as tonic), which renders a scale

containing both a minor and major 3rd scale degree. (B, C sharp,

D, D sharp, E, F sharp, G sharp, A) My theoretical reading: B 7

(#9) i.e. an altered dominant sonority displaced from the tonic

22
key (Bb MA/Bb 7) by a half step. Measure 29 sees the return of

Bb MA in plain terms (a return to tonic/delayed acknowledgement

of the underlying Eb 7 sonority; see next measure) followed in

measure 30 by Eb MA on beats 1 and 2 and FAUG on beats 3 and 4

(IV and V (#5) of I/Bb MA). Measures 31 and 32 establish a

return to tonic (Bb MA/Bb 7) by means of standard diatonic and

chromatic material (F flat and D flat as chromatic passing

tones). Measure 33 revisits the C Ascending Melodic Minor Scale,

complete with a displaced GMA/V of ii triad on beats 1 and 2, as

Mr. Brecker articulated previously in measure 9 (measure 32 as 8th

measure of the 3rd Chorus i.e. typical placement for a V of ii

type chord; thus similar chordal displacement in measure 33 as in

measure 9). Measure 34, beat 1 contains standard Mixolydian

material (B Mixolydian: half step above tonic) followed on beats

2-4 by standard diatonic material in the tonic key; beats 3 and 4

clearly articulate an FMA sonority (V of I; D natural as diatonic

upper neighbor) which leads the way back “home” to tonic (Bb

MA/Bb 7). Measures 35 and 36 begin a 4 measure sequence based

upon the 5th mode of Db Major Pentatonic Scale i.e. Bb “Blues”

Pentatonic Scale, minus the typical blues note (E natural)

alteration (B flat, D flat, E flat, F, A flat).

At the beginning of the 4th Chorus, the aforementioned 4 bar

pattern continues in measures 37 and 38. Measures 39 and 40

evidence a chromatic displacement of the preceding mode (5th mode

of D Major Pentatonic, B as tonic: B, D, E, F sharp, A). Measure

23
41 begins on beats 1 and 2 with a brief tonicization (Bb MA as V

of IV/Eb MA; C natural as diatonic passing tone) followed by 6

beats of Eb mi (Eb Dorian Mode; B natural as chromatic passing

tone), a common chord substitution for the 6th measure of a Major

Blues progression (measure 42 as the 6th measure of the 4th

Chorus). Measure 43 contains standard Bb MA diatonic material

(Gb as oft utilized chromatic passing tone) followed by B Ionian

Mode material on beats 1-3 of measure 44. Beat 4 of measure 44

and measure 45 in toto acknowledge the underlying Cmi sonority,

followed once again by a chromatic displacement in measure 46

(beats 1-3 as B Mixolydian, C natural as chromatic passing tone).

Beat 4 of measure 46 through beat 1 of measure 48 bring the solo

back to the diatonic home base of tonic (Bb MA/Bb 7).

Measures 49 and 50 (first 2 measures of the 5th Chorus) in

addition to the pick up notes from beat 4 of measure 48 explore

the 5th Mode of Db Major Pentatonic (B flat as tonic). Chromatic

displacement of the same mode (up a half step; B natural as

tonic) occurs in measures 51 and 52. A circle of 4ths sequence

runs through measures 53 and 54, utilizing the first two notes of

the 5th Mode of Major Pentatonic in four different keys (B flat, E

flat, A flat, and D flat {incomplete statement}). Measure 55

through beat 2 of measure 56 utilizes a similar rhythmic pattern

from the preceding two measures, though adhering exclusively to

one 5th Mode of Major Pentatonic Scale (5th Mode of C Major

Pentatonic; A natural as tonic). Beats 3 and 4 of measure 56

24
articulate a brief symmetrical pattern sequence, abandoned in

favor of acknowledging the underlying Cmi 7 sonority in measure

57 by means of the 5th Mode of the F Dominant Bebop Scale (C

natural as tonic: C, D, E flat, E natural, F, G, A, B flat).

Measure 58 signals a return to Major Pentatonic Mode, this time

being the 5th Mode of Cb Major Pentatonic, (A flat as tonic) which

carries through beat 1 of measure 59. Beat 3 of measure 59

through beat 3 of measure 61 contain four different 5th Mode of

Major Pentatonic Scales, with the tonics F sharp, E natural, D

natural, and C sharp represented respectively.

Beat 4 of measure 61 through beat 2 of measure 62 (6th

Chorus) articulate common Bb MA material which is quickly

supplanted (beat 3 of measure 62 through beat 1 of measure 64) by

Bmi diatonic material emanating from a B Dorian Mode. Beats 2-4

of measure 64 return to standard diatonic/chromatic Bb MA

material (A sharp enharmonically equivalent to B flat). Measure

65 evidences all pitches (excepting the tonic) necessary for an E

dim 7 chord, followed in measure 66 by a plain, albeit disjunct,

representation of an Eb MA triad (E natural as chromatic lower

neighbor to F natural on beat 1 of measure 67). Beat 1 of

measure 67 through beat 2 of measure 69 cycle though more

standard diatonic Bb MA material before launching another brief

chromatic progression: Beats 3 and 4 of measure 69 as BMA, Beats

1 and 2 of measure 70 as AMA, Beats 3 and 4 of measure 70 as GMA.

Measure 71 is devoted exclusively to B Mixolydian, followed by

25
standard Bb MA diatonic and chromatic material in measure 72 (E

natural as common chromatic passing tone, C sharp as #5 of

implied F 7 (#5) sonority {last 3 eighth notes of the measure}).

In the 7th Chorus, measures 73 and 74 articulate more

material from the 5th Mode of Db Major Pentatonic. Measure 75

contains standard Bb 7 diatonic material (E natural as chromatic

lower neighbor) followed by an arpeggiation in measure 76 which

emanates from the B Ascending Melodic Minor Scale. Next, in

measures 77 and 78 (with eighth note pick up from measure 76),

more 5th Mode of Db Major Pentatonic material followed by similar

Bb 7 diatonic material as heard a few measures prior (measure 75;

E natural as chromatic lower neighbor, G flat as chromatic

passing tone). Measure 80 contains another unusual arpeggiation

(similar to measure 76) which emanates, this time, from an A

Ascending Melodic Minor Scale. Measures 81 and 82 traverse a B

Mixolydian Mode followed by an A Dominant Bebop Scale in measure

83. Measure 84 contains standard Bb MA chromatic material on

beats 1 and 2 followed by a descending FAUG triad on beats 3 and

4 (D natural as chromatic upper neighbor).

In the 8th Chorus, measures 85 and 86 begin with more 5th

Mode of Db Major Pentatonic. This is followed in measure 87 by

an imbedded DMA triad (from B Dorian; F natural as carry over

from previous measures; G sharp as chromatic lower neighbor; E

natural as diatonic passing tone). Measure 88 more clearly

acknowledges (Bmi arpeggiation; C sharp as diatonic upper

26
neighbor) the scale from which the previous measure’s content

arises. Beat 1 of measure 89 through beat 1 of measure 90 enlist

the Eb Ionian/Major Scale (note equivalent of Bb Mixolydian) to

concisely sound its agreement with the underlying chord

structure (B natural as chromatic upper neighbor). Beats 2 and 3

of measure 90 switch to Eb mi material (a common 6th measure

substitution for Major Blues: measure 90 as 6th measure of the 8th

Chorus; E natural as chromatic passing tone) followed by a

chromatic displacement (half step lower: D mi; E flat as

chromatic tone) on beat 4 of measure 90 through beat 1 of measure

91. Beat 2 of measure 91 through the first half of beat 1 of

measure 92 illustrate plainly an ascending Bb Lydian Mode (C

sharp as chromatic lower neighbor) followed by diatonic BMA

material from the 2nd half of beat 1 through beat 4 of measure 92.

Measure 93, beats 3 and 4 through beat 1 of the following measure

add an interesting Bb MA/Bb mi sonority followed by (beats 2 and

3 of measure 94) AMA type material. Beat 4 of measure 94 through

beat 4 of measure 96 brings the solo back to the Bb MA/Bb 7 tonal

area by means of standard diatonic material.

The 9th Chorus begins (starting with the 3 eighth note pick

ups from measure 96 through beat 2 of measure 97) with an unusual

Bb based pattern (Bb, E flat, F,; C natural as passing tone {?})

followed on beats 3 and 4 of measure 97 and beat 1 of measure 98

by 5th Mode of Db Major Pentatonic material. Beat 3 of measure 98

through beat 2 of measure 99 reiterates the same intervallic idea

27
from the first 2 beats of the chorus, followed by the same

intervallic idea again on beat 3 of measure 99 through beat 2 of

measure 100 displaced by a half step (B based pattern). Beats 3

and 4 of measure 100 reiterate one final time the Bb based

pattern. Beat 1 of measure 101 through beat 1 of measure 102

evidence another modal structure. This time, it’s the 2nd Mode of

Db Major Pentatonic (E flat as tonic: E flat, F, A flat, B flat,

D flat). Beat 2 of measure 102 through beat 4 of measure 103

exhibits an A Ionian Mode followed by Bb MA diatonic material on

beats 1 and 2 of measure 104 (G natural and G flat from measure

103 as chromatic lead in). Beats 3 and 4 concisely outline a G 7

(b9) chord (vi of I; I, vi, ii, V turnaround very common for the

11th and 12th measures of Major Blues choruses) followed by an Eb

MA triad on beats 1 and 2 of measure 105 (F natural as diatonic

passing tone; Eb MA triad imbedded in C Dorian {ii of I}). The

remainder of the Chorus, from beat 3 of measure 105 through beat

4 of measure 108, contains standard Bb MA diatonic material.

The first four measures of the 10th Chorus (measures 109-12)

contain basic Bb Mixolydian language. Beat 3 of measure 113

through beat 1 of measure 114 contain basic Eb MA triad material,

followed by Bb mi/Bb MA language from beat 3 of measure 114 (Bb

pick up included) to beat 1 of measure 116 (F sharp as chromatic

passing tone). Beats 2-4 of measure 116 once again outline a G 7

(b9) chord (VI of I; E natural as chromatic passing tone)

followed again by an embedded Eb MA triad (C Dorian; ii of I) on

28
beats 1-3 of measure 117 (F natural and D natural as diatonic

passing tones). Beat 4 of measure 117 through beat 4 of measure

118 articulates a B Mixolydian Mode (G natural as chromatic

passing tone). Beat 1 of measure 119 through beat 2 of measure

120 traverse the Ab Ionian Mode/Major Scale (A natural and B

natural as chromatic modal displacement, half step up; G flat as

flatted 7 of formerly Ab MA 7 sonority). Beats 3 and 4 of

measure 120 as well as beat 1 of measure 121 begin a sequenced

arpeggiation pattern, starting in the home key of Bb MA (Bb

Mixolydian Mode).

The beginning of the 11th Chorus continues the arpeggiation

sequence begun at the end of the previous Chorus, first in Ab MA

(beats 3 and 4 of measure 121 as well as beat 1 of measure 122)

followed by a superimposed ii-V type progression (Bmi as ii, EMA

as V) from beat 3 of measure 122 through beat 2 of measure 123 (F

sharp as diatonic passing tone). Beats 1 and 2 of measure 124

see the appearance of a Bmi triad followed by a Db MA triad on

beats 1 and 2 of measure 125 (pick up from beat 4 of measure 124

included). Beat 4 of measure 125 through beat 2 of measure 126

harbors more standard 5th Mode of Db Major Pentatonic material

followed by standard Bb MA diatonic material from beat 4 of

measure 126 through beat 4 of measure 128 (G flat and E natural

on beat 3 of measure 126 as chromatic upper and lower neighbors;

E natural on beat 4 of measure 128 as chromatic passing tone).

Beats 1 and 2 of measure 129 hold the now familiar imbedded Eb MA

29
triad (from C Dorian; F natural as diatonic passing tone)

followed by four beats of AMA material (beat 3 of measure 129

through beat 2 of measure 130; B flat as chromatic passing tone).

Beat 3 of measure 130 through beat 3 of measure 132 contain

diatonic material contained within the Bb Mixolydian Mode.

30
 CHAPTER 4

“CABIN FEVER”: ANALYSIS

In the first four measures of the 1st Chorus (see Appendix

D, page 119) Mr. Brecker utilizes typical diatonic and chromatic

material from the Bb Mixolydian Mode (E natural as chromatic

passing tone). Measure 5 descends an Eb MA triad, (Ab as

diatonic upper neighbor) followed by Eb Mixolydian on beats 1 and

2 of measure 6 and EMA triadic figures on beats 3 and 4 of

measure 6. Measure 7 articulates Bb mi material with

chromaticism followed by Ab MA material in measure 8, also with

some chromaticism. Measure 9 quickly visits AMA, followed by Ab

MA/Ab 7 type material in measures 10-12 (E natural and F sharp as

chromatic passing tones).

Measures 13-15 return again to the well of standard

diatonic Bb Mixolydian material. Measure 17 counters with EMA

triadic material, (half step removed from underlying sonority; A

sharp as chromatic lower neighbor, A natural as diatonic passing

tone) followed by F# MA triadic material in measure 18 (C natural

as chromatic lower neighbor; F# MA triad imbedded within the Eb

Octatonic {beginning with a half step}/”Dominant Diminished”

Scale: E flat, E, F sharp, G, A, A sharp, C, C sharp). Beat 1 of

31
measure 19 through beat 1 of measure 20 sounds a B Mixolydian

Mode, also utilizing standard diatonic language (G natural as

chromatic passing tone). Beats 2-4 of measure 20 seem to veer

briefly into the C Dorian Mode (E natural as chromatic passing

tone) followed by a chromatic turnaround on beats 1 and 2 of

measure 21 and a C Major Bebop Scale on beats 3 and 4 of measure

21. Beat 1 of measure 22 first finishes the previous C Major

Bebop Scale, followed by an A Major Bebop Scale throughout the

remainder of the measure. Beat 1 of measure 23 through beat 2 of

measure 24 articulates diatonically and chromatically standard Bb

MA material followed by a nicely displayed F 7 (#5) arpeggio on

beats 3 and 4 of measure 24.

Measures 25-28 of the 3rd Chorus begin with standard Bb MA

material, (C sharp as chromatic lower neighbor) followed by a

concise Eb 7 reference in measure 29 (C natural as diatonic lower

neighbor). Measure 31 then engages standard Bb Ionian Mode

material (C sharp as chromatic lower neighbor) followed in

measure 32 on beats 1-3 by the sounding of a G 7 (b9) arpeggio

that is imbedded within the C Harmonic Minor Scale. Beats 3 and

4 descend through this scale, excepting the E natural (chromatic

passing tone; C Harmonic Minor utilized as an anticipation of the

Cmi 7 sonority in the next measure). Measure 33 utilizes the

Major Bebop Scale in a particularly interesting manner: 7th Mode

of Eb Major Bebop Scale, (C, D, E flat, F, G, A flat, B flat, B)

which covers the Cmi 7 sonority while introducing a chromatic

32
passing tone between the tonic and flat 7 of the Cmi 7 chord.

Measures 34 and 35 finish out the chorus in a typical diatonic Bb

MA manner (E natural as chromatic passing tone).

Measures 38-40 begin the 4th Chorus in typical diatonic Bb

Mixolydian manner (E natural as chromatic passing tone, C sharp

as chromatic lower neighbor), followed by equally typical Eb 7/Eb

mi 7 material in measure 41 (1st G flat and E natural as chromatic

passing tones). Measure 42 sees the previous measure’s Eb mi

sonority continued (E natural as chromatic passing tone) followed

by, on beats 1 and 2 of measure 43, an articulation of an FMA

triad (D natural as diatonic upper neighbor; FMA as dominant

sonority of Bb MA). Beat 3 of measure 43 through beat 2 of

measure 44 offer more Bb MA material (C sharp as chromatic lower

neighbor), followed by a partial G 7 arpeggio on beats 3 and 4 of

measure 44, in agreement with the underlying sonority. Measure

45 traverses a common C Aeolian Mode (same exact pitches as Bb

Mixolydian Mode; E natural as chromatic passing tone),

emphasizing an embedded Eb MA triad on beats 3 and 4 (F natural

as diatonic passing tone). Beats 1 and 2 of measure 46 seem to

suggest a switch to a C Ascending Melodic Minor Scale (D flat as

chromatic passing tone) followed by a reference to F 7 (b9, #9)

on beats 3 and 4 of the same measure (E natural as chromatic

passing tone). Measure 47 traverses a 5th Mode of Db Major

Pentatonic which lends a decidedly bluesy tone to the passage.

Measure 48 ascends chromatically, implying Bb MA and landing

33
unexpectedly on F sharp (Bb AUG implied on beat 4; E flat as

diatonic passing tone, E natural as chromatic passing tone).

The 5th Chorus begins, in measures 50 and 51, with a concise

articulation of a Bb Ionian Mode. Measures 52-54 change the

harmonic contour by articulating BMA material (B Ionian Mode;

half step above preceding Bb MA sonorities). Beat 1 of measure

55 through beat 2 of measure 56 produce standard Bb MA material

(E naturals as chromatic passing tones, C sharp a chromatic lower

neighbor) followed by a concise G 7 reference on beats 3 and 4 of

measure 56, in agreement with the underlying sonority. Measure

57 again mines the C Aeolian Mode (note for note equivalent of Bb

Mixolydian Mode) emphasizing again the imbedded Eb MA triad on

beats 3 and 4 (E natural as chromatic passing tone). Measure 58

descends, in its entirety, the F Dominant Bebop Scale (F, G, A, B

flat, C, D, E flat, E) followed by more F Dominant Bebop material

on beats 1 and 2 of measure 59. Beats 3 and 4 of measure 59 lead

chromatically into the downbeat of measure 60, where Bb Ionian is

present. Beats 1 and 2 of measure 60 emphasize an embedded Eb MA

triad (D natural as diatonic passing tone) followed by a tritone

substitution (A 7 chord) for the Eb MA triad on beats 3 and 4

(D flat enharmonically equal to C sharp).

The 6th Chorus begins with a Bb Dominant Bebop Scale passage

in measures 61 and 62 (G flat and E natural as chromatic upper

neighbors). Measure 64 (plus pickup from the previous measure)

articulates a combined B Mixolydian/B Ionian Mode followed by Eb

34
MA material in measure 65 (E natural as chromatic passing tone).

Measure 66 begins on beats 1 and 2 with Eb mi 7 material followed

by F 7 chromatic material on beats 3 and 4 (perhaps F Dominant

Bebop). Measure 67 sweeps through the upper tones of a Bb MA 9

(#11) arpeggio (5, 7, 9, #11; a colorful acknowledgment of the

underlying sonority; E natural as chromatic lower neighbor)

followed by B Ionian Mode material on beats 1-3 of measure 68.

Beat 4 of measure 68 diatonically leads into a fragmented C 9

arpeggiation on beats 1 and 2 of measure 69, followed by B

Mixolydian material from beat 3 of measure 69 to beat 2 of

measure 70. Beat 3 of measure 70 through beat 1 of measure 71

infers a F 7 type end to the phrase (E natural as chromatic

passing tone) only to provide the surprise of a 5th Mode of Db

Major Pentatonic coda on beats 2 and 3 of measure 71.

The 7th Chorus begins (measures 73-75) with standard Bb

Mixolydian material (G flat and E natural as chromatic passing

tones) followed by a quick AMA reference on beat 1 of measure 76

(G natural on beat 4 of the previous measure could be seen as the

7th of an A 7 sonority). Beats 2 and 3 of measure 76 round out

the phrase with 5th Mode of Db Major Pentatonic material. Beat 4

of measure 76 through beat 2 of measure 78 runs articulate D

Major Pentatonic material (half step removed from the underlying

sonority) followed by a brief Bb Mixolydian foray on beats 3 and

4 of measure 78. Measure 79 traverses BMA (G natural as

chromatic upper neighbor) and begins a descending triadic

35
sequence that continues up through measure 86: Measure 80-beats 1

and 2, Bb dim (F natural as chromatic upper neighbor); beats 3

and 4, Ab dim (E flat as chromatic upper neighbor); Measure 81-

beats 3 and 4, D dim (A natural as chromatic upper neighbor);

Measure 82-beats 1 and 2, E dim (B natural as chromatic upper

neighbor); beat 3, D dim (implied); Measure 84-beats 1 and 2,

BAUG (imbedded within the 3rd Mode of G# Ascending Melodic Minor:

B, C sharp, D sharp, E sharp, F double sharp, G sharp, A sharp).

The 8th Chorus continues the sequence: Measure 86-beats 1

and 2, Ab mi; beats 3 and 4, Gb miMA 7 (implied). Measure 87

approaches the tonic from a half step above, followed by AMA

material beginning in measure 88 and continuing through measure

90. Measure 91 sequences the previous pattern down a whole step

to GMA, followed by FMA in measure 92. Measure 93 again

emphasizes an Eb MA material over a Cmi 7 sonority (C Dorian or

Aeolian) followed by A Dominant Bebop material on beats 1-3 of

measure 94. Beat 4 of measure 94 through beat 2 of measure 95

produces standard Bb MA diatonic material (E natural as chromatic

passing tone) followed by an implied G 7 (b9) sonority on beats 3

and 4 of measure 95 (G flat as chromatic passing tone; G 7 {b9}

imbedded within the C Harmonic Minor Scale, an anticipation of

the implied Cmi 7/ii chord on the first two beats of measure 96).

Measure 96 traverses chromatic and diatonic material indicative

of Bb MA (E natural as chromatic passing tone).

36
 Measures 97 through 100 of the 9th Chorus present motivic

Bb MA diatonic material, with the exception of beat 1 of measure

99, which quickly alludes to the 5th Mode of Db Major Pentatonic.

Beat 1 of measure 101 through beat 2 of measure 102 fulfills the

“blue” foreshadowing from measure 99, traversing again the 5th

Mode of Db Major Pentatonic. Beat 3 of measure 102 begins an A

Major Pentatonic passage which lasts through beat 4 of measure

104 (half step removed from the home key of Bb MA). Measure 105

moves the preceding pattern up a half step to Bb Major

Pentatonic, followed by standard Bb MA diatonic material on beats

1 and 2 of measure 106. Beat 4 of measure 106 through beat 3 of

measure 107: B Major Pentatonic; Beat 4 of measure 107 through

beat 3 of measure 108: C Major Pentatonic. Beat 4 of measure 108

intimates as to the Bb material yet to follow in the next Chorus.

Measures 109-111 of the 10th Chorus articulate, in an

intervalically interesting manner, a basic Bb Mixolydian Mode.

Measures 112 and 113 make their way through an A Ionian Mode

(tritone substitution for the underlying Eb 7 sonority; C natural

as chromatic passing tone). Measure 114 utilizes the Bb Major

Bebop Scale, anticipating the underlying sonority of the next

measure (E natural as chromatic passing tone). Beat 1 of measure

115 through beat 2 of measure 116 explore tertiary means of

ascension of a standard Bb Ionian Mode (D flat as chromatic

passing tone) followed by an implied G 7 (b9) sonority on beats 3

and 4 of measure 116 (imbedded within the C Harmonic Minor Scale;

37
anticipation of Cmi 7 underlying sonority in the next measure).

Measure 117 sees the reappearance of the imbedded Eb MA triad (C

Dorian; D flat as chromatic upper neighbor) followed by an

implied F 7 (b9, #9) sonority in measure 118 (E natural as

chromatic passing tone). Measure 119 rounds out the Chorus with

an accessible Bb MA triad. Beats 3 and 4 of measure 120 begin

the articulation of a partial (5, 7, 9; E flat as diatonic lower

neighbor) Bb 9 arpeggio, to be continued in the first measure of

the next Chorus.

Measures 121 through 126 of the 11th Chorus engage in

chromatic interplay over the range of a perfect 4th, followed by a

Major Pentatonic pattern articulated in four distinct keys: DMA-

measure 127; Db MA-beats 1-3 of measure 128; CMA-beat 4 of

measure 128 through beat 2 of measure 129; Cb MA-beat 3 of

measure 129 through beat 1 of measure 130. Beat 2 of measure 130

through beat 1 of measure 131 descends in a chromatic and

serpentine manner. Beat 4 of measure 131 exacts a diatonic turn,

followed by an ascending Ab MA 9 arpeggio which is imbedded

within the Bb Mixolydian Mode.

This arpeggio fills the entirety of the 12th Chorus, being

punctuated by two note interjections, most often flat 7 and tonic

of Bb Mixolydian. (measure 138 as exception: half step

displacement; measures 139, 141, and 144: Ab MA 7 arpeggios)

The vast majority of the 13th Chorus seems to be

chromatically inspired in conjunction with being rhythmically

38
syncopated. Measure 156 finally returns to the tonally

recognizable with the sounding of a simple Bb mi pattern (C

natural as diatonic passing tone).

The 14th Chorus begins with two beats of the 5th Mode of Db

Major Pentatonic (altered)/”Blues” Pentatonic followed by two

beats of Bb Mixolydian. Measure 158 articulates a Cb MA triadic

pattern (D flat as diatonic passing tone, A double flat as

chromatic upper neighbor) followed by Db MA on beats 1 and 2 of

measure 159 (B double flat as chromatic upper neighbor) and Eb MA

on beats 3 and 4 of the same measure (C flat as chromatic upper

neighbor). Beat 1 of measure 160 through beat 3 of measure 161

explores, once again, a certain random chromaticism. Beat 4 of

measure 161 through beat 2 of measure 162 finally hones in on the

5th Mode of Db Major Pentatonic. Measures 163 and 164 sweep

through an ascending Bb MA 13 (#11) arpeggio, beginning on the 5th

of the chord (lower E natural as chromatic lower neighbor).

Measures 165 and 166 imply, by chromatic means, a C dim sonority

(established by the agogic stress of the E flat, C natural, and A

natural). Measures 167 and 168 monophonically make their way

through an implied I, VI, ii, V progression in the key of Bb.

Measure 167: beats 1 and 2, I by chromaticism; beats 3 and 4, VI

by diatonic movement between chord tones; Measure 168: beats 1

and 2, ii by descending C Dorian Mode; beats 3 and 4, chromatic

displacement on beat 3, F 7 material on beat 4.

39
 The 15th Chorus begins with an incessant diatonic passage

emanating from the Bb Mixolydian Mode and covering measures 169

through 171. Beat 1 of measure 172 through beat 1 of measure 173

takes the pattern up a half step to B Mixolydian. Bb Mixolydian

returns from beat 4 of measure 173 through beat 2 of measure 174,

then back to B Mixolydian from beat 3 of measure 174 through beat

1 of measure 175. Next, C Mixolydian from beat 2 of measure 175

through beat 4 of the same measure. Db Mixolydian encompasses

the entirety of measure 176. D Mixolydian is utilized from beat

1 of measure 177 through beat 3 of measure 179, followed by Eb

Mixolydian from beat 4 of measure 179 through beat 2 of measure

180. Beats 3 and 4 of measure 180 lead in to the next Chorus

with a fragment of B Major Pentatonic (half step removed from

tonic key of Bb MA).

Measure 161 of the 16th Chorus begins with an enharmonic

flatted 3rd for the Bb “Blues” Pentatonic (C sharp enharmonic

equivalent of D flat) which is resolved to tonic on beat 1 of

measure 182. Measure 183 traverses an A Mixolydian Mode (G flat

as chromatic passing tone) followed by diatonic/chromatic

material from Bb MA in measure 184. Measure 185 ascends a Bb 7

arpeggio (C natural as diatonic passing tone) followed by 5th Mode

of Db Major Pentatonic on beats 2 and 3 of measure 186 followed

by a quick Gb MA arpeggio on the last three eighth notes of the

bar. (Gb MA triad imbedded within the Eb Octatonic Scale

(beginning with a half step)/”Dominant Diminished” Scale; Eb

40
“Dominant Diminished” Scale in agreement with the underlying Eb 7

sonority) Measures 187 and 188: Beat 1 of measure 187 as #11 of

Bb 13; Beat 3 of measure 187 as 13 of Bb 13; Beat 1 of measure

188 as tonic of G 7; Beat 3 of measure 188 as b7 of G 7. Beats

1-3 of measure 189 elongate the previous measure’s G 7 sonority

by means of a simple GMA triad which is followed quickly on beat

4 of the same measure by diatonic (C Dorian) material indicative

of Cmi. Measure 190 articulates a F 9 arpeggio imbedded within

Bb Ionian/Major Scale (G flat as chromatic upper neighbor, E

natural as chromatic lower neighbor). Beats 1 and 2 of measure

191 descend a Bb Ionian Mode, followed by language that implies G

7 (b9) on beats 3 and 4 (G flat as chromatic passing tone).

Beats 1 and 2 of measure 192 contain more diatonic Bb MA material

(D flat as chromatic passing tone) followed by clear triadic FMA

material on beats 3 and 4 of the same measure (B flat as diatonic

passing tone). Measure 193 fittingly returns to the Blues by

means of the 5th Mode of Db Major Pentatonic.

41
 CHAPTER 5

“JONES STREET”: ANALYSIS

The improvised solo to Jones Street begins with a one

measure lead in to the 1st Chorus (see Appendix E, page 152).

This measure, on beats 2 and 3, contains Ab 7 material (a tritone

substitution for the underlying D 7 (#9) chord) followed on beat

4 by D 7 (#9) material (F natural as #9, C natural as b7).

Measure 1 of the 1st Chorus contains material that

foreshadows later more extensive use of the 5th Mode of Bb Major

Pentatonic (G, B flat, C, D, F). Measure 2 follows with a clear

descending Ab MA arpeggio, as explicit an example of a tritone

substitution as one is likely to see. Measure 3 contains more 5th

Mode of Bb Major Pentatonic material followed by an interesting

composite arpeggio (Eb MA and Db MA) in measure 4 (Db MA triad as

tritone substitution for underlying G 7 chord, Eb MA triad as

anticipation of Cmi sonority in the next measure; Eb MA triad

imbedded within the C Dorian Mode). Measures 5-8 select

interesting color tones from the C Dorian Mode (equivalent to G

Aeolian Mode/Natural Minor Scale, thus a pattern comprised of

common tones between the two modes). Measure 9 (with pick up

from measure 8) contains an FMA arpeggio, concisely articulating

42
the upper tertian harmonies of the underlying Eb 7 chord (F

natural as 9th, A natural as #11, C as 13th; composite sonority is

Eb 13 (#11)). Measure 10 enlists another Major arpeggio (Bb MA)

in order to decorate that measure’s underlying sonority (D7 (#9);

B flat as {enharmonic} #5, D natural as tonic, F natural as

{enharmonic} #9) landing at measure’s end on the 13th of the next

measure’s sonority (Gmi 7; Gmi 13 implied).

Measures 13 through 15 of the 2nd Chorus are an intervallic

interlude based upon the tonic and 13th of an implied Gmi 13

sonority (D natural as diatonic {perhaps G Dorian} lower

neighbor). Measure 16 (including pick up from measure 15)

emphasizes the 3rd and 5th of an implied Gmi 7 sonority (triplet

as chromatic passing tones) followed in measure 17 by the 9th and

13th of an implied Cmi 13 chord (B natural and B flat as chromatic

passing tones). Measures 18 and 19 contain some interesting

tertiary movement through a C Dorian Mode (changes to implied G

Aeolian Mode in measure 19; all notes in common with C Dorian).

Measure 20 is primarily of rhythmic interest i.e. not a

sufficient amount of melodic material to leave any particular

harmonic fingerprint. Measure 21 again utilizes the composite

arpeggio concept (Db MA and Eb MA triads; both are contained

within the Eb Mixolydian Mode, which is in agreement with the

underlying sonority). Beat 4 of measure 21 as well as beats 1

and 2 of measure 22 derive from the 5th Mode of the Bb Major

Pentatonic Scale which is followed on beat 3 by an Ab MA triad

43
(tritone substitution) followed on beat 4 by more 5th Mode of Bb

Major Pentatonic material. Beats 1 and 2 of measure 23 utilize

standard Bb MA diatonic material (Bb Ionian note for note

equivalent of G Aeolian) followed by CMA triadic material on

beats 3 and 4 (both Bb MA and CMA triads imbedded within the G

Dorian Mode). This bitonal exploration continues through

measures 24 and 25, Bb MA and CMA still being the triads of

choice.

Measures 26 and 27 of the 3rd Chorus oscillate between Bb

MA, BMA, and CMA material (Bb MA from G Aeolian; BMA implies half

step displacement of G Aeolian i.e. Ab Aeolian; CMA from G

Aeolian). After Bb MA material on beat 1, beats 2-4 of measure

28 finally fully acknowledge the previously implied Ab mi

sonority (beat 3 as V {Eb MA} of i {Ab mi}, beat 4 as i).

Measure 29 selects notes from C Dorian spaced 3rds apart

(continuation of the triadic concept from immediately preceding

measures). Beat 1 of measure 30 revisits the Eb MA as related to

Cmi (C natural and C flat as chromatic passing tones) followed by

notes 2-7 of the sixteen-tuplet articulating an EMA sonority

(implies an underlying C# mi sonority). Notes 8-16 of this same

grouping revert back to more familiar Bb MA material (G flat and

E natural as chromatic passing tones). The thirteen-tuplet of

measure 31 is comprised of more bitonal material, this time Bb MA

and CMA being the triads articulated (implying G Dorian Mode).

Beat 3 of measure 32 through beat 2 of measure 33 works its way

44
through a Db MA 7 (#5) arpeggio (imbedded within the Fourth Mode

of the Bb Ascending Melodic Minor Scale, also known as the

“Lydian Dominant” Scale: E flat, F, G, A, B flat, C, D flat).

Beats 3 (starting with the E flat) and 4 of measure 33 articulate

an Eb Dominant Bebop Scale. Beats 1-3 of measure 34 articulate

material contained within Eb mi (Eb Dorian or Aeolian; E natural

as chromatic lower neighbor; Gb MA triad as relative major of Eb

mi; Eb mi triad as tonic). Beat 4 of measure 34 through beat 1

of measure 36 traverse a G Dorian Mode.

45
 CHAPTER 6

“DELTA CITY BLUES”: ANALYSIS

This particular solo (see Appendix F, page 161) begins with

a one measure lead in that articulates an F 7 (#5) sonority (V of

I) over the course of three beats (E natural as chromatic passing

tone, G natural as diatonic passing tone).

The first 3 measures of the 1st Chorus articulate a B

Mixolydian Mode (B flat as chromatic lower neighbor; B Mixolydian

one half step removed from the underlying sonority of Bb 7).

Measures 5 and 6, in contrast, ascend a 4th Mode of Bb Ascending

Melodic Minor Scale/”Lydian Dominant” Scale, which implies the

addition of a #11 to the underlying sonority of Eb 7 (Eb “Lydian

Dominant” Scale: E flat, F, G, A, B flat, C, D flat). Beat 4 of

measure 7 through beat 4 of measure 10 utilizes diatonic material

from the B Mixolydian Mode, again, one half step removed from the

underlying sonority of Bb 7 (noteworthy is the F# mi 7 arpeggio

on beat 2 of measure 10: functionally, a ii of V/B 7). The last

eighth note of measure 10 coupled with the first 2 beats of

measure 11 imply a shift (down a half step) to the Bb Mixolydian

Mode, a more direct agreement with the underlying sonority. Beat

2 of measure 12 through beat 2 of measure 13 counters with a

46
return to diatonic material which emanates, once again, from the

B Mixolydian Mode (A sharp and F naturals as chromatic passing

tones).

In the 2nd Chorus, beat 3 of measure 13 through beat 3 of

measure 15 traverse and ultimately ascend a B Octatonic Scale

(beginning with a half step)/”Dominant Diminished” Scale (B

“Dominant Diminished” Scale: B, C, D, D sharp, F, F sharp, G

sharp, A; G natural as chromatic passing tone). This is followed

in measure 16 by a fragmented presentation of the B Ascending

Melodic Minor Scale in descending order (B Ascending Melodic

Minor Scale: B, C sharp, D, E, F sharp, G sharp, A sharp). Beat

1 of measure 17 signals a return to material that is consonant

with the underlying sonority by means of two B flats an octave

apart (consonant with Eb 7). Beats 3 and 4 of measure 17 ascend

a Db MA 9 (#5) arpeggio which is imbedded within the Eb “Lydian

Dominant” Scale (see previous paragraph for spelling) followed on

beats 1-3 (with pick up from previous measure) of measure 18 by a

more linear presentation of the same scale (E natural as

chromatic passing tone). Beat 4 of measure 18 through beat 4 of

measure 19 utilize the consonant Bb Mixolydian Mode (G flat as

chromatic upper neighbor). Beat 4 of measure 19 (last two eighth

notes) through beat 3 of measure 20 return to the previously

articulated B “Dominant Diminished” Scale (E natural as chromatic

passing tone). Measure 21 navigates a partial representation of

an F# 9 chord, which arises as a tritone substitution for the

47
implied underlying sonority of C 7 (a manifestation of the common

practice of changing MA 7 and mi 7 sonorities to {dominant} 7

sonorities in the context of an improvisation). Beat 2 of

measure 22 quickly alludes to an A Mixolydian Mode (half step

removed anticipation of Bb 7 sonority in next measure) followed

on beats 3 and 4 by diatonic Ab Mixolydian material (F flat as

chromatic passing tone, E natural as chromatic lower neighbor).

Measure 23 begins with brief chromatic material, followed by a

CMA triad, followed by a brief Bb 7 reference, followed by

another CMA triad (rapid fire bitonality from a monophonic

instrument).

In the 3rd Chorus, beat 1 (with pick up from previous

measure) of measure 25 through beat 4 of measure 27 contain

diatonic material from a Bb Mixolydian Mode (A natural as

chromatic passing tone). This is followed in measure 28 by more

bitonality: B 7 on beat 1, Bb MA on beat 2, and diatonic material

from B Dorian Mode on beats 3 and 4. Measure 29 contains, so far

as I can tell, a chromatic morass, ultimately leading towards the

diatonic Bb mi resolution on beat 1 of measure 30. Beat 2 of

measure 30 briefly references (E, D, B) the 5th Mode of D Major

Pentatonic, followed by diatonic B Mixolydian material (half step

removed anticipation of Bb 7 sonority in next measure; B flat and

F natural as chromatic passing tones). Beats 2 and 3 of measure

31 offer standard diatonic material from the Bb Ionian Mode/Major

Scale followed on beat 4 (through beat 4 of the next measure) by

48
more diatonic B Mixolydian material (half step above the

underlying sonority). Measure 33 returns to the Bb Ionian Mode

on beats 1-3 (E natural and B natural as chromatic passing tones)

followed on beat 4 of measure 33 and beat 1 of measure 34 by more

B “Lydian Dominant” material. Beats 2-4 of measure 34 traverse a

B Mixolydian Mode, which is only one note removed from the

preceding “Lydian Dominant” Scale (B “Lydian Dominant”: B, C

sharp, D sharp, E sharp, F sharp, G sharp, A; B Mixolydian Mode:

B, C sharp, D sharp, E, F sharp, G sharp, A). The first 5 notes

of measure 35 run a portion of a Bb Major Scale, followed by

diatonic material from a B Major Scale from beat 2 of measure 35

through beat 1 of measure 36 (G natural as chromatic passing

tone). Beats 2-4 of measure 36 return to the Bb Major Scale (E

natural as chromatic passing tone) which is transformed to the

Mixolydian Mode by a single note on the first beat of the next

measure.

The 4th Chorus begins with a Bb 7/Ab 7 type sonority (beats

1 and 3 of measure 37) followed by the beginning of a triadic

bitonal sequence on beat 4 (EMA; Bitonal Sequence that alternates

between EMA and F# MA sonorities which are both diatonically

contained within the B Major Scale) Measure 38: Beat 1, F# MA;

Beat 2, EMA; Beat 3, F# MA, Beat 4, EMA. Measure 39: Beat 1, F#

MA; Beat 2, EMA; Beat 3, F# MA; Beat 4, Bb MA. Measure 40 is

comprised of diatonic material from the B Ionian Mode (half step

removed from underlying sonority; G natural as chromatic passing

49
tone). Consonance returns with an altered Eb Mixolydian pattern

in measure 41 (E natural, D natural, and F flat as chromatic

passing tones). Measure 42 evidences a most interesting use of

the Dominant Bebop Scale: 7th Mode of the F Dominant Bebop Scale

i.e. E flat as tonic (E flat, E, F, G, A, B flat, C, D) which

implies the sonority Eb MA 7 (#11) (G flat as chromatic passing

tone). The first two beats of measure 43 engage standard

chromatic and diatonic patterns in Bb MA which is followed on

beats 3 and 4 by a chromatic allusion to the 5th Mode of Db Major

Pentatonic (B natural and C natural as chromatic passing tones).

Beat 2 of measure 44 and the first half of beat 3 articulate

chromatically and diatonically their Bb MA affiliation, followed

by material on beats 3.5 and 4 indicative of a G 7 (b9) type

sonority (G 7 as V of ii in Bb MA; C sharp as chromatic lower

neighbor). Beat 1 of measure 45 lands on the flatted 3rd of the

underlying Cmi sonority, followed by another multi measure chord

progression sequence comprised primarily of diatonic triads

contained within the Bb Ionian Mode/Major Scale. Measure 45:

Beat 2, Gmi; Beat 3, FMA; Beat 4, EMA. Measure 46: Beat 1, Eb

MA; Beat 2, Dmi; Beat 3, Cmi. Beat 4 of measure 46 articulates a

common chromatic turnaround followed by a typical diatonic

turnaround on beats 1 and 2 of measure 47. Beat 3 of measure 47

through beat 3 of measure 48 are comprised entirely of diatonic

material from the 4th Mode of the F Dominant Bebop Scale (B flat,

C, D, E flat, E, F, G, A; Bb MA 7 (#11) implied). Beat 4 of

50
measure 48 concisely implies a decorated dominant sonority: F 7

(#5, #9; D natural as chromatic upper neighbor) followed by

resolution to the tonic in the final measure (G natural as

diatonic lower tertian neighbor).

51
 CHAPTER 7

“TIMELINE”: ANALYSIS

In measure 1 of the 1st Chorus (see Appendix G, page 178),

Mr. Brecker utilizes the 5th Mode of F Major Pentatonic (altered)/

D ”Blues” Pentatonic (D, F, G, A flat, A, C). This is followed

in measure 2 on beats 1 and 2 by a descending diatonic 7th chord

(Ami 7; probably from D Dorian: D, E, F, G, A, B, C) followed on

beats 3 and 4 by more material emanating from the aforementioned

“Blues” Pentatonic Scale. Beat 2 of measure 3 through beat 1 of

measure 4 mines the same “Blues” Pentatonic, followed, on beats 3

and 4, by D Major Pentatonic material, which implies a D 7

sonority (F natural and E flat as chromatic passing tones; D 7 as

V of Gmi 7 i.e. the underlying sonority in the next bar). Beat 1

of measure 5 through beat 3 of measure 6 mine the G Dorian Mode,

first in a linear fashion, then by arpeggiated means (Bb MA 9 as

diatonic 9th chord imbedded within the G Dorian Mode). On beat 4

of measure 6, the modal implication is altered by means of

changing just one note in the sweeping arpeggiation pattern: B

flat to B natural, which implies a switch from G Dorian to G

Mixolydian (G Dorian: G, A, B flat, C, D, E, F; G Mixolydian: G,

A, B, C, D, E, F). Measure 7 possesses a sweeping diatonic

52
pattern that clearly articulates a D Aeolian Mode/Natural Minor

Scale (B natural as chromatic passing tone; D Aeolian is G Dorian

note for note i.e. both come from the same parent scale: F

Ionian/Major Scale). Beats 1 and 2 of measure 8 harbor a

collection of pitches from the 5th Mode of F Major Pentatonic

(non-altered): D, F, G, A, C. Beats 3 and 4 of measure 8 contain

diatonic material from B Mixolydian, an anticipation (a half step

removed) of the underlying sonority of measure 9. Beats 1-3 of

measure 9 contain standard Bb MA diatonic material (G flat as

common chromatic passing tone) followed by material from the A

Octatonic Scale (beginning with a half step)/”Dominant

Diminished” Scale from beat 4 of measure 9 through beat 4 of

measure 10 (A, B flat, C, D flat, E flat, E, F sharp, G; C sharp

enharmonic equivalent of D flat, D sharp enharmonic equivalent of

E flat). Measures 11 and 12 are comprised entirely of material

from the 5th Mode of F Major Pentatonic (altered)/ D ”Blues”

Pentatonic.

The 1st measure of the 2nd Chorus finishes the blues

statement begun in the previous measure, utilizing the same

scalar pattern. Measure 14, utilizes a highly unusual synthetic

scale (“Gap” Scale: D, F, F sharp, A, A sharp, C sharp; C sharp

not sounded) to articulate what, to my ears, comes across as a

DAUG sonority. Measure 15 begins a two measure sequence of a

superimposed harmonic progression. Beat 2 of measure 15: A 7 (V

of i); Beat 3 of measure 15: BMA (VI of i; D natural as chromatic

53
lower neighbor); Beat 4 of measure 15: DAUG (i altered to I (#5);

F natural as chromatic lower neighbor); Beat 1 of measure 16: Dmi

(implied) followed by D 7 (#9)(implied); Beat 2 of measure 16:

DMA (by means of D Major Pentatonic Scale); Beat 3 of measure 16:

Ab MA (by means of Ab Major Pentatonic; E natural as chromatic

passing tone); Beat 4 of measure 16: Ab MA (Major Pentatonic)

followed by D 7. (V of iv/Gmi) Measure 17 articulates a Bb MA 9

sonority imbedded with the G Dorian Mode (G sharp as chromatic

lower neighbor). Measure 18 continues this modal foray, followed

in measure 19 by a descending Ami 7 chord imbedded within the D

Aeolian Mode/Natural Minor Scale (G Dorian and D Aeolian both

count F Ionian/Major Scale as their “parent” scale). Measure 20

contains what I would term a chromatic turnaround, followed by

material from the 5th mode of F Major Pentatonic (altered)/”Blues”

Pentatonic from beat 1 of measure 21 through beat 4 of measure 24

(F sharp as chromatic upper neighbor).

The 3rd Chorus begins with a few color tones (13th and 11th of

Dmi) followed by another superimposed harmonic progression in

measure 26. Beat 1: A 7 (V of i); Beat 2: DmiMA 7 (i); Beat 3:

GMA (IV of i {altered/non-diatonic}); Beat 4: AMA (V of i)

Measure 27 descends an A 7 arpeggio (V of i). Measure 28

contains material from an Ab Dorian Mode, a half step

displacement of the approaching Gmi sonority in measure 29 (D

natural as chromatic passing tone). Measures 29 and 30 contain

parallel Dominant Bebop Scales a half step apart, utilized

54
individually for different effects. Measure 29: Db Dominant Bebop

Scale: tritone substitution for (implied) underlying G 7

sonority; Measure 30: 5th Mode of the C Dominant Bebop Scale

Bebop Scale (contains all pitches of underlying Gmi 7 sonority;

A flat and F sharp as chromatic passing tones). C Dominant Bebop

Scale: C, D, E, F, G, A, B flat, B; Db Dominant Bebop Scale: D

flat, E flat, F, G flat, A flat, B flat, C flat, C. Measure 31

contains a DmiMA 9 arpeggio which is imbedded within the D

Ascending Melodic Minor Scale (G natural and B natural as

diatonic passing tones, C natural as chromatic passing tone). In

measure 32, the first 12 notes of the bar emanate from a B

Mixolydian Mode, which implies a B 7 sonority which is imbedded

within the D Octatonic Scale (beginning with a half

step)/”Dominant Diminished” Scale (D “Dominant Diminished” Scale:

D, D sharp/E flat, F, F sharp, G sharp, A, B, C). Notes 14-23 of

measure 32 more directly articulate the D “Dominant Diminished”

Scale upon which the previous B Mixolydian pattern is based (note

13/B flat as chromatic passing tone). Beats 1-3 of measure 33

briefly allude to Bb Mixolydian, followed on beat 4 by a brief

reference to a B Whole Tone Scale (B, C sharp, D sharp, F, G, A).

The first 12 notes of measure 34 allude, once again, to a B

Mixolydian Mode, followed by notes 14-25 being an anticipation of

the coming Dmi sonority in the next measure (D Dorian Mode; note

13/B flat as chromatic passing tone). Measure 35 mines the

“Blues” Pentatonic once again, (B natural and B flat as chromatic

55
passing tones) followed in measure 36 by another chromatic

turnaround.

The 4th Chorus begins (beat 1 of measure 37 through beat 1

of measure 38) with a veiled reference to an Ami 7 sonority

(imbedded within the D Dorian Mode which would agree with the

underlying sonority and has been utilized previously within this

improvised solo; G sharp as chromatic upper neighbor). Beat 3 of

measure 38 concisely articulates an A 7 sonority (V of i)

followed on beat 4 by a fragment of a D Ascending Melodic Minor

Scale. Measure 39 traverses a D Dorian Mode followed by (from

beat 2 of measure 40 to beat 1 of measure 41) the 5th Mode of G

Harmonic Minor (D, E flat, F sharp, G, A, B flat, C; implies a D

7 (b9) sonority i.e. V of iv/Gmi 7; A flat as chromatic lower

neighbor). Beat 2 of measure 41 through beat 3 of measure 42

traverse the Bb MA 9 diatonic area of a G Dorian Mode (G sharp as

chromatic lower neighbor, C flats as chromatic passing tones)

followed by additional standard “Blues” Pentatonic material from

beat 4 of measure 42 through beat 3 of measure 44. Measure 45

sounds an Fmi 7 arpeggio (imbedded within the Bb Mixolydian Mode)

followed by a D Dorian reference on beats 1-3 of measure 46 (C

sharp as chromatic passing tone). The second eighth note of beat

3 (still measure 46) coupled with the first eighth note of beat 4

cover, in an oft utilized manner, the implied b9 and #9 of the

underlying sonority. Measures 47 and 48 (with eighth note pick

56
up from measure 46), once again, navigate their way through a D

“Blues” Pentatonic Scale.

57
 CHAPTER 8

SELECTED BRECKERISMS

This chapter is intended to serve as a reference guide to

selected techniques indicative of Mr. Brecker’s improvisational

style as represented by the solos chosen for this study. Each

technique listed is accompanied by a brief description of the

technique itself as well as a list of illustrative examples

contained within the solos at hand. Please see the appropriate

chapter (see Table of Contents) for additional commentary on each

example listed below as well as the transcriptions themselves for

visual confirmation. The techniques themselves are listed in

approximate order of prominence (highest to lowest) as contained

within these particular improvisations.

ARTICULATION OF IDIOMATIC DIATONIC LANGUAGE THAT IS A HALF STEP

REMOVED FROM THE UNDERLYING SONORITY

This particular technique is one of sophisticated placement

of relatively straightforward diatonic material. That is to say,

standard jazz vocabulary delivered one half step removed (above

or below) from the underlying harmony so as to exact a feeling of

58
familiarity from the listener while at the same time jarring them

with superimposed dissonance. See the following for explicit

examples.

“Nothing Personal”
• measures 33 and 34

Eb Dorian
                   
  
Mode

    
      
Eb7 D7(#9)
       
33 34

            
Eb Dorian
   
Mode
    
   
   Eb7
 
D7(#9)
       
33 34

“Two T’s” [sic]

• measures 22 and 23

     
5th Mode of E Dominant Bebop Scale
    
    
 
F7 Bb7
       
22 23

     
5th Mode of E Dominant Bebop Scale
      
  
 
F7 Bb7
       
22 23

59
 • measures 39 and 40

    D Major
5th Mode of
  
Pentatonic

     

Bb7 Bb7
       
39 40

             
5th Mode of D Major Pentatonic

 
Bb7 Bb7
       
39 40

• measures 81 and 82

       
B Mixolydian Mode

   
    
Cmi7 F7
       
81 82


               
B Mixolydian Mode


Cmi7 F7
       
81 82

“Cabin Fever”
• measures 52 through 54
B Ionian
  
Mode

                


Bb7 Eb7 Eb7

           
52 53 54
B Ionian Mode
               
   
Bb7 Eb7 Eb7
           
52 53 54

60
“Delta City Blues”
• measures 2 and 3

B
 3   
   
Mixolydian Mode

  

Bb7 Bb7
       
2 B 3

Mixolydian Mode

       
   
3

Bb7 Bb7
       
2 3

• measures 7 through 10

     3 
B Mixolydian Mixo-
Mode Bb lydian
                 
      
Mode

    
Bb7 Bb7 Cmi7 F7
               
7 8 9 10

  3 
Mixo-
B
    
Mixolydian Mode Bb lydian
     
               
Mode

    
Bb7 Bb7 Cmi7 F7
               
7 8 9 10

• measures 31 and 32

       
Bb B Mixolydian Mode
            
  
Ionian Mode

   
Bb7 Bb7
       
31 32


Bb B
          
Ionian Mode Mixolydian Mode
   
     
   
Bb7 Bb7
       
31 32

61
 ARTICULATION OF A REPEATING INTERVALIC PATTERN PRESENTED AT
VARYING PITCH LEVELS

This technique involves the delivery of a given pattern of

limited length presented at various pitch levels, typically

starting in harmonic agreement with the underlying sonority and

venturing forth from there. See the following for explicit

examples.

“Nothing Personal”
• measures 35 and 36

  
       G Dorian
G
                       
Ascending Melodic Minor Scale

F# Dorian F Dorian E Dorian
 
 
GmiMA7 GmiMA7
       
35 36

  
      G Dorian
G
                        
Ascending Melodic Minor Scale

F# Dorian F Dorian E Dorian

 
GmiMA7 GmiMA7
       
35 36

“Two T’s” [sic]

• measures 48 through 56
5th Chorus 5th Mode of
Db Maj. Pent.
5th Mode of Db 5th Mode of D

                   

Major Pentatonic Major Pentatonic

      

Bb7 Bb7 Bb7 Bb7 Bb7
                   
48 49 50 51 52
5th Mode
5th Mode
5th Mode of Cb Maj. of Fb Maj. 5th Mode

        Pent.      
of Gb Maj. Pent. Pent. of C Maj. chromaticism
    
         
Pent.

  
Eb7 Eb7 Bb7 Bb7
               
53 54 55 56

62
 5th Chorus
5th Mode of Db 5th Mode of D 5th Mode of

     
         
Major Pentatonic Db Maj. Pent.
          
Major Pentatonic

Bb7 Bb7 Bb7 Bb7 Bb7

                   
48 49 50 51 52
5th Mode
5th Mode 5th Mode
of Fb Maj. 5th Mode
of Gb Maj. of Cb Maj.
  of
           
C Maj.
     
Pent. chromaticism

Pent. Pent.
       
Pent.

Eb7 Eb7 Bb7 Bb7

               
53 54 55 56

“Cabin Fever”
• measures 90 through 92

                     
AMA GMA FMA

  

Eb7 Bb7 G7
           
90 91 92


AMA
                       
GMA FMA

Eb7 Bb7 G7
           
90 91 92

• measures 127 through 129

                            
Major
D Db Pentatonic
Major Pentatonic C Pentatonic Cb Major Pentatonic
Major


Bb7 G7 Cmi7
           
127 128 129

    
Major Major
Db Pentatonic C Pentatonic
 
D
            
Cb Major Pentatonic
   
Major Pentatonic
    
Bb7 G7 Cmi7
           
127 128 129

63
 • measures 173 through 179


Bb Mixolydian
     
B Mixolydian Mode C Mixolydian Mode Db Mixolydian Mode

                      
Mode


Eb7 Eb7 Bb7 G7
               
173 174 175 176


                      
D Mixolydian Mode Eb Mixolydian Mode


Cmi7 F7 Bb7
           
177 178 179

Bb Mixolydian B Mixolydian C Mixolydian Db

                          
Mode Mode Mixolydian Mode
Mode

  
Eb7 Eb7 Bb7 G7
               
173 174 175 176

                       
D Mixolydian Mode Eb Mixolydian Mode


Cmi7 F7 Bb7
           
177 178 179

UTILIZATION OF NON-STANDARD MODES AND SCALES

As indicated by the title, these passages evidence a

utilization of modes and scales somewhat beyond the typical scope

of modes and scales utilized in contemporary Jazz performance

practice. See the following for explicit examples.

64
“Delta City Blues”
• measures 5 and 6 (“Lydian Dominant” Scale)
Eb "Lydian
3       
Dominant" Scale
3
       
  
 
Eb7 Eb7
       
5 6
Eb "Lydian
    3        
Dominant" Scale
3
  
 
Eb7 Eb7
       
5 6

“Timeline”
• measures 9 and 10 (“Dominant Diminished” Scale)

   
A "Dominant

Diminished" Scale
Bb Ionian
           
Mode


           
   
Bb7 A7(#9)
       
9 10
A "Dominant
  
Diminished" Scale
Bb Ionian
    
     
Mode

                 
 
Bb7 A7(#9)
       
9 10

• measure 14 (“Gap” Scale)

"Gap" Scale
 3 
      

3
Dmi7
   
14
"Gap" Scale
  3 
3

    
Dmi7
   
14

65
 • measure 30 (5th Mode of the Dominant Bebop Scale)

     
5th Mode of C Dominant Bebop Scale

       
  


Gmi7
   
30

    
5th Mode of C Dominant Bebop Scale
       
 
  

Gmi7
   
30

ARTICULATION OF SAME QUALITY TRIADS IN A PLANED MANNER

As with the aforementioned Repeating Intervallic Patterns,

these triads (typically MA triads) are often initiated in

consonance with the underlying sonority, only to depart to

different pitch levels as repetition ensues. See the following

for explicit examples.

“Nothing Personal”
• measures 42 and 43

   
     
     
Dmi CMA BMA BbMA AMA Gmi
       
       
 
Cmi7 GmiMA7
       
42 43

Dmi CMA BMA BbMA AMA Gmi

   
      
     
        
       

Cmi7 GmiMA7
       
42 43

66
“Cabin Fever”
• measures 17 through 19

 
F#MA

                   
 
B Mixolydian Mode
EMA
  
  
 
3
Eb7 Eb7 Bb7
           
17 18 19

    
F#MA
        
        
EMA B Mixolydian Mode
      

 
3 Eb7 Eb7 Bb7
           
17 18 19

“Delta City Blues”

• measures 45 and 46

        EMA
FMA
  
Gmi
    
     Dmi
EbMA
      turnaround
Cmi

chromatic
Cmi
  
 
        

Cmi7 F7
       
45 46

              EbMA 
Cmi Gmi FMA EMA Dmi Cmi chromatic

       
             
    
turnaround


Cmi7 F7
       
45 46

67
 ARTICULATION OF MELODIC MATERIAL THAT CONNOTES HARMONIC INTENT
COMPLIMENTARY TO OR IN CONTRAST WITH THE UNDERLYING SONORITY OR
CHORD PROGRESSION

This technique is typically used as a means of creating an

implied chord progression that is superimposed over a static

harmonic structure. See the following for explicit examples.

“Jones Street”
• measures 9 and 10

     
FMA BbMA Gmi13
      
  
3 3 3
3
Eb7 D7(#9)
       
9 10

                
FMA BbMA 3 Gmi13


3 3 D7(#9)
3 Eb7
       
9 10

“Timeline”
• measure 15
A7 BMA DAUG
          
  
 
Dmi7
   
15

A7 BMA DAUG
   
 
     
  

Dmi7
   
15

68
 • measures 26 and 27

3  
A7 AMA
     3
 
     
A7 DmiMA7 GMA

      
  
Dmi7 Dmi7
       
26 27

3  
A7
A7

DmiMA7AMA
  
GMA    3
 
          

   Dmi7 Dmi7
       
26 27

ARTICULATION OF DIATONIC TRIADS CONTAINED WITHIN A GIVEN SCALE OR

MODE

This technique is a monophonic representation of sequential

presentation a triads as found within the given scale or mode

selected by the soloist. See the following for explicit

examples.

“Nothing Personal”
• measures 41 and 42
Gmi
    
         
FMA
     Dmi
G Dorian EbMA
   
   CMA
     

BMA
 

 
Cmi7 Cmi7
       
41 42

 
G Dorian Gmi
    
            
FMA EbMA Dmi CMA BMA
   
    
     
  
Cmi7 Cmi7
       
41 42

69
“Delta City Blues”
• measures 45 and 46

        EMA
FMA

Gmi
      
     Dmi
EbMA
    Cmi 
chromatic
Cmi
             
turnaround

 
Cmi7 F7
       
45 46

       EMA
            
          turnaround
CmiGmi FMA EbMA Dmi Cmi chromatic


       
Cmi7 F7
       
45 46

ARTICULATION OF SWEEPING TERTIAN ARPEGGIATIONS CONTAINED WITHIN A

GIVEN SCALE OR MODE

This technique enables the soloist to imply fundamental as

well as upper tertian harmonies by means of sweeping tertiary

arpeggiations. See the following for explicit examples.

“Nothing Personal”
• measures 55 and 56
G Dorian Mode
   
Eb
   
Mixolydian Mode

         
6
 
6

    
GmiMA7 GmiMA7
       
55 56
G Eb
     6
Mixolydian Mode

 
  
Dorian Mode

       
6
  
  
GmiMA7 GmiMA7
       
55 56

70
“Timeline”
• measure 6
G Dorian Mode G Mixolydian
  3   
    3    3    3  


3 3 3 3
Gmi7
   
6
G
   
Dorian Mode
G Mixolydian
  3    3    3    3  
   
3 3 Gmi7 3 3
   
6

ARTICULATION OF SWEEPING DIATONIC LINES IN A STEPWISE MANNER

WHICH ARISE FROM A GIVEN SCALE OR MODE

This technique enables the soloist to infuse a given

section of the improvisation with the sonorities of a given scale

or mode in a relatively short amount of time. See the following

for explicit examples.

“Nothing Personal”
• measure 19
G
       
Dorian Mode

      
9
   
9
GmiMA7
   
19
G
      
Dorian Mode
  
9
      
  
9
GmiMA7
   
19

71
 • measures 37 and 38

     
G Ascending Melodic Minor Scale G Dorian Mode


                  

6
6
GmiMA7 GmiMA7
       
37 38
G
     
Ascending Melodic Minor Scale
6 G Dorian
      
Mode
            
6

GmiMA7 GmiMA7
       
37 38

ARTICULATION OF SELECTED IMBEDDED TRIADS WITHIN A GIVEN SCALE OR

MODE

This technique allows for the soloist to purvey a somewhat

unfamiliar sound from a scale or mode that may well otherwise be

quite familiar. An articulation of selected pitches from a

larger given collection. See the following for explicit

examples.

“Jones Street”
• measures 23 through 25 3rd Chorus

BbMA
    CMA

BbMA CMA   BbMA
  
 CMA 
Gmi9
 
   
       
   
3
Gmi7 Gmi7 Gmi7
           
23 24 25
3rd Chorus

      

BbMA CMA BbMA CMA BbMA CMA Gmi9
          
   
      

3
Gmi7 Gmi7 Gmi7
           
23 24 25

72
 “Delta City Blues”
• measures 37 through 39
4th Chorus
      
 F#MA   EMA  BbMA
EMA F#MA EMA F#MA EMA F#MA
Bb7/Ab7

                    

   
Bb7 Bb7 Bb7
           
37 38 39

4th Chorus
                
EMA F#MA EMA F#MA EMA F#MA EMA F#MA BbMA
 Bb7/Ab7     
      
        
Bb7 Bb7 Bb7
           
37 38 39

ARTICULATION OF MELODIC MATERIAL THAT IS DISPLACED FROM THE

UNDERLYING SONORITY BY THE DISTANCE OF A TRITONE A.K.A. “TRITONE
SUBSTITUTION”

This substitution rests upon the premise that Dominant 7

material may be articulated a tritone apart from an underlying

Dominant sonority due to a special relationship existing between

the two Dominant sonorities. In short, in any given Dominant 7

sonority, the 3rd and 7th are considered to be the most important

of the four pitches involved in terms of providing the distinct

colors that identify the Dominant sonority as Dominant. Dominant

sonorities a tritone apart have as common tones the 3rd and 7th of

both respective chords (Ex. C 7: C, E, G, B flat; F# 7: F sharp,

A sharp, C sharp, E). See the following for an explicit example.

73
“Jones Street”
• measure 2

AbMA
 
   
D7
   
2
AbMA
   
 
D7
   
2

74
APPENDIX A

DISCOGRAPHY

75
 DISCOGRAPHY

Brecker, Michael. “Nothing Personal.” (Don Grolnick, composer) On

Michael Brecker. MCA/Impulse Compact Disc MCAD 5980. (1987)

*Brecker, Michael and Bob Mintzer. “Two T’s.” [sic] (Bob Mintzer,
composer) On Twin Tenors. Novus Compact Disc 01241 63173-2.
(1993)

Brecker, Michael. “Cabin Fever.” (Michael Brecker, composer) On

Tales from the Hudson. Impulse Compact Disc IMPD-191.
(1996)

Stern, Mike. “Jones Street.” (Mike Stern, composer) On Give and

Take. Atlantic Compact Disc 83036-2. (1997)

Brecker, Michael. “Delta City Blues.” (Michael Brecker, composer)

On Two Blocks from the Edge. Impulse Compact Disc IMPD-260.
(1998)

Brecker, Michael. “Timeline.” (Pat Metheny, composer) On Time is

of the Essence. Verve Compact Disc 314 547 844-2. (1999)

*Tenor Saxophone improvised solo # 1 is played by Mr. Brecker;

Tenor Saxophone improvised solo # 2 is played by Mr. Mintzer.

76
 APPENDIX B

“NOTHING PERSONAL”: TREBLE AND BASS CLEF TRANSCRIPTIONS,

ANNOTATED AND UNANNOTATED

77
 “Nothing Personal”
Michael Brecker tenor saxophone solo
from Michael Brecker
transcription is notated one octave
above actual sounding pitch
h = 120
 indicates passing tone
transcription: David Freedy

1st Chorus G Dorian
  
        
Mode

  
3
    
3
    
  
GmiMA7
  
GmiMA7 GmiMA7
         
1 2 3

 
G Ascending

3           
Melodic Minor Scale

     

GmiMA7 Cmi7 Cmi7
           
4 5 6

    
Gmi11 Eb7
   
  
        
3
 
GmiMA7 GmiMA7 Eb7
           
7 8 9

       
D "Dominant Ab Ascending Melodic Minor Scale

      
Diminished" Scale

         
 
D7(#9) GmiMA7
       
10 11
2nd Chorus
           
chromatic
    
           
G Dorian Mode turnaround

  
3
GmiMA7 GmiMA7
       
12 13

        
Ab Ascending
 
Melodic Minor Scale
      
    
GmiMA7 GmiMA7
       
14 15

78
 "Nothing Personal"
transcription: David Freedy
  G Dorian

chromatic

           
turnaround G Ascending Melodic Minor/
          
   
GmiMA7 Cmi7
       
16 17


Cmi7
        
G Dorian Mode
            9 
            
9
Cmi7 GmiMA7
       
18 19

       
    
Eb Mixolydian

   
Mode

     
     
 
GmiMA7 Eb7
       
20 21

 
 
         
DMA G Dorian Mode
     
           
    
D7(#9) GmiMA7
       
22 23

3rd ChorusF#mi
   Gmi
   
         
 
GmiMA7 GmiMA7
       
24 25

 
  
       
           
AMA/Ab7
 
     

GmiMA7 GmiMA7
       
26 27

79
 "Nothing Personal"
transcription: David Freedy

 G Ascending Melodic

          
Ab7 F# Ionian
Mode Minor/Dorian

  
        
GmiMA7 Cmi7
       
28 29

           
            A7 
      B7   
 
Cmi7 GmiMA7
       
30 31

 Bb7
 
       FMA planed 4ths Eb Dorian

  
Mode

         
      
GmiMA7 Eb7
       
32 33

 
               
      
G Ascending Melodic Minor Scale
                
  
D7(#9) GmiMA7
       
34 35
4th Chorus

                
G
              
G Dorian F# Dorian F Dorian E Dorian Ascending Melodic Minor Scale

   
6
6
GmiMA7 GmiMA7
       
36 37

   G Dorian Mode
  
Ascending Melodic

           
Ab Minor Scale
   
GmiMA7 GmiMA7
       
38 39

80
 "Nothing Personal"
transcription: David Freedy
Ab Ascending Melodic
Gmi
                   
         
chromaticism FMA
    
Minor G Dorian EbMA
 
BMA7

  

GmiMA7 Cmi7
       
40 41

   
     
     
Dmi CMA BMA BbMA AMA Gmi
       
       
 
Cmi7 GmiMA7
       
42 43
Eb
 
   
Mixolydian Mode
D7 G

Dorian Mode
        
      
          
GmiMA7 Eb7
       
44 45

            
   
3
     
6 6 6
D7(#9)
   
46

                    
G Ascending Melodic Minor Scale/G Dorian Mode


21
GmiMA7
   
47
5th Chorus
                 Mode
      Dorian
G
 

  
21
GmiMA7 GmiMA7
       
48 49

81
 "Nothing Personal"
transcription: David Freedy
      
 
           
  
AMA
G Dorian

 
GmiMA7 GmiMA7
       
50 51

            Gmi
         
Ab7
  
   chromaticism
         
CMA/BbMA
     
GmiMA7 Cmi7
       
52 53

      
G6 Dorian
 
Mode
              
  
6
Cmi7 GmiMA7
       
54 55
       
     
Eb
 
Mixolydian Mode

   6     
    
6
       
 6
GmiMA7 Eb7
       
56 57
  G Dorian
 3   
Mode
 
Eb Mixolydian Mode/Db Lydian Mode

         
    
      
   
 
14
D7(#9) GmiMA7
       
58 59

      
         
GmiMA7 GmiMA7
       
60 61

82
 “Nothing Personal”
Michael Brecker tenor saxophone solo
from Michael Brecker
transcription is notated one octave
above actual sounding pitch
h = 120 transcription: David Freedy
1st Chorus
             
3
    
3

       
GmiMA7
  
GmiMA7 GmiMA7
         
1 2 3

  

3                

GmiMA7 Cmi7 Cmi7
           
4 5 6

        3  
          
GmiMA7 GmiMA7 Eb7
           
7 8 9

       
               
 
D7(#9) GmiMA7
       
10 11

            2nd Chorus     

           

3
GmiMA7 GmiMA7
       
12 13

               
    
GmiMA7 GmiMA7
       
14 15

83
 "Nothing Personal"
transcription: David Freedy
     
            
           
GmiMA7 Cmi7
       
16 17


                           9 
 
9
Cmi7 GmiMA7
       
18 19

       
             
       

GmiMA7 Eb7
       
20 21

 
     
          
    
       
 
D7(#9) GmiMA7
       
22 23

3rd Chorus   
      
     
GmiMA7 GmiMA7
       
24 25

   
                         
 
GmiMA7 GmiMA7
       
26 27

84
 "Nothing Personal"
transcription: David Freedy

             
        
GmiMA7 Cmi7
       
28 29

                                  

Cmi7 GmiMA7
       
30 31

    
        
      
      
GmiMA7 Eb7
       
32 33

 
                              
       
D7(#9) GmiMA7
       
34 35


   
4th Chorus
                     
        
6
6
GmiMA7 GmiMA7
       
36 37

    
           
    

GmiMA7 GmiMA7
       
38 39

85
 "Nothing Personal"
transcription: David Freedy
                                    
 
  
GmiMA7 Cmi7
       
40 41

              
             
Cmi7 GmiMA7
       
42 43

      
            
          
GmiMA7 Eb7
       
44 45

            
   
3
     
6 6 6
D7(#9)
   
46

                    

21
GmiMA7
   
47

                     5th    
 Chorus
  

21
GmiMA7 GmiMA7
       
48 49

86
 "Nothing Personal"
transcription: David Freedy
                    
 
GmiMA7 GmiMA7
       
50 51

             
                   
  
GmiMA7 Cmi7
       
52 53

           
   
6

          
6
Cmi7 GmiMA7
       
54 55
       
 
  6      
 
   
6
   
       
 6
GmiMA7 Eb7
       
56 57

    3   
           
         
   
 
14
D7(#9) GmiMA7
       
58 59

      
         
GmiMA7 GmiMA7
       
60 61

87
 “Nothing Personal”
Michael Brecker tenor saxophone solo
from Michael Brecker

transcription is notated one octave

below actual pitch
h = 120
 indicates passing tone
transcription: David Freedy
1st Chorus
  
G
             
Dorian Mode
     
3
   
3
GmiMA7
  
GmiMA7 GmiMA7
         
1 2 3
G Ascending
     
Melodic Minor Scale
 3             
GmiMA7 Cmi7 Cmi7
           
4 5 6
Gmi11 Eb7
            
  
3

     
GmiMA7 GmiMA7 Eb7
           
7 8 9

     
D "Dominant Ab Ascending
Melodic Minor Scale

Diminished" Scale
               

D7(#9) GmiMA7
       
10 11
2nd Chorus
    
chromatic

       
G Dorian
      
turnaround Mode

       
3
GmiMA7 GmiMA7
       
12 13

       
Ab Ascending
       
Melodic Minor Scale

    
GmiMA7 GmiMA7
       
14 15

88
 "Nothing Personal"
transcription: David Freedy
chromatic

      
G Ascending Melodic Minor/G Dorian
  
            
turnaround

      
  
GmiMA7 Cmi7
       
16 17

           
Cmi7 G Dorian
 
Mode

9

             
9
Cmi7 GmiMA7
       
18 19

            
    
Eb Mixolydian

Mode
         
  

GmiMA7 Eb7
       
20 21

 
   
DMA G Dorian Mode
  
     
        
      
   
D7(#9) GmiMA7
       
22 23

3rd Chorus
F#mi
   Gmi
              

GmiMA7 GmiMA7
       
24 25

 
  
       
              
AMA/Ab7
 
 
GmiMA7 GmiMA7
       
26 27

89
 "Nothing Personal"
transcription: David Freedy

      
G Ascending Melodic


Ab7 F# Ionian

Mode Minor/Dorian
  
         
GmiMA7 Cmi7
       
28 29

         
            
        
A7 B7
  
Cmi7 GmiMA7
       
30 31

      
Bb7 FMA Eb Dorian
  
planed 4ths
Mode

     
       
   
GmiMA7 Eb7
       
32 33

 
                
G Ascending Melodic Minor Scale
  

                  
D7(#9) GmiMA7
       
34 35
4th Chorus
G

                 
Ascending Melodic Minor Scale
6
                
G Dorian F# Dorian F Dorian E Dorian

6
GmiMA7 GmiMA7
       
36 37

   Mode
Ascending Melodic
G Dorian Ab Minor Scale
       
     
   
GmiMA7 GmiMA7
       
38 39

90
 "Nothing Personal"
transcription: David Freedy
Ascending Melodic
chromaticism Ab Minor
                  
Gmi
         
BMA7
   
FMA EbMA
 
G Dorian
 
 

GmiMA7 Cmi7
       
40 41

Dmi CMA BMA BbMA AMA Gmi

   
      
     
        
       

Cmi7 GmiMA7
       
42 43

     
Eb
   
Mixolydian Mode
D7 G
      
Dorian Mode
  

          
 
GmiMA7 Eb7
       
44 45

           
      
3

    6 6
6
D7(#9)
   
46

                  
  
G Ascending Melodic Minor Scale/G Dorian Mode

21
GmiMA7
   
47
5th Chorus
    Mode
      Dorian  
 
G
  
21
GmiMA7 GmiMA7
       
48 49

91
 "Nothing Personal"
transcription: David Freedy

                  
AMA
    
G Dorian
 

GmiMA7 GmiMA7
       
50 51

           Gmi
        
Ab7
       CMA/BbMA
          
chromaticism

   
GmiMA7 Cmi7
       
52 53


G
    
Dorian Mode

        
6
 
      
6
Cmi7 GmiMA7
       
54 55

      
 
Eb
 
Mixolydian Mode

   
          
6 6
  
      6
GmiMA7 Eb7
       
56 57

 
Eb Mixolydian Mode/Db Lydian Mode G Dorian
 3   
Mode

          
14
      
         

D7(#9) GmiMA7
       
58 59

   
           
GmiMA7 GmiMA7
       
60 61

92
 “Nothing Personal”
Michael Brecker tenor saxophone solo
from Michael Brecker

transcription is notated one octave

below actual sounding pitch

h = 120
transcription: David Freedy
1st Chorus
       
              
3
   
3
GmiMA7
  
GmiMA7 GmiMA7
         
1 2 3

   
3
             
  
GmiMA7 Cmi7 Cmi7
           
4 5 6

              
3

     
GmiMA7 GmiMA7 Eb7
           
7 8 9

        
             

D7(#9) GmiMA7
       
10 11
2nd Chorus
    
               
      
3
GmiMA7 GmiMA7
       
12 13

                  

GmiMA7 GmiMA7
       
14 15

93
 "Nothing Personal"
transcription: David Freedy

                   
          
GmiMA7 Cmi7
       
16 17

                        
9

       

9
Cmi7 GmiMA7
       
18 19

              
            
  

GmiMA7 Eb7
       
20 21

 
                   
      
 
D7(#9) GmiMA7
       
22 23

3rd Chorus
       
        
GmiMA7 GmiMA7
       
24 25

                             

GmiMA7 GmiMA7
       
26 27

94
 "Nothing Personal"
transcription: David Freedy

            
        
GmiMA7 Cmi7
       
28 29

                             

Cmi7 GmiMA7
       
30 31

             
   
       
GmiMA7 Eb7
       
32 33

 
                     

           
D7(#9) GmiMA7
       
34 35

4th Chorus 
                                 
6

6
GmiMA7 GmiMA7
       
36 37

    
           
    

GmiMA7 GmiMA7
       
38 39

95
 "Nothing Personal"
transcription: David Freedy

                
                
  
GmiMA7 Cmi7
       
40 41

                     
      
Cmi7 GmiMA7
       
42 43

     
            

          

GmiMA7 Eb7
       
44 45

           
      
3

    6 6
6
D7(#9)
   
46

                  
  
21
GmiMA7
   
47

         

5th Chorus
    
21
GmiMA7 GmiMA7
       
48 49

96
 "Nothing Personal"
transcription: David Freedy

                    
 

GmiMA7 GmiMA7
       
50 51

              
                   

GmiMA7 Cmi7
       
52 53

      
                
6
   
6
Cmi7 GmiMA7
       
54 55

      

      
         
6 6
  
      6
GmiMA7 Eb7
       
56 57

    
14
   3   
     
          
  
 
D7(#9) GmiMA7
       
58 59

    
          
GmiMA7 GmiMA7
       
60 61

97
 APPENDIX C

“TWO T’S” [SIC]: TREBLE AND BASS CLEF TRANSCRIPTIONS, ANNOTATED

AND UNANNOTATED

98
 “Two T’s” [sic]
Michael Brecker tenor saxophone solo
from Twin Tenors
transcription is notated one octave
above actual sounding pitch
q= 222
 1st Chorus
indicates passing tone transcription: David Freedy

       
chord tones


          
Bb7 Bb7 Bb7 Bb7 Eb7 Eb7
                        
1 2 3 4 5 6

          

EbMA/EbMA(#5)
      
GMA F7 FMA9(#5)
B Ionian Mode
        
   
 
Bb7 Bb7 Cmi7 F7 Bb7
                   
7 8 9 10 11
BbMA 2nd Chorus B Dorian
             
Bb Dorian Mode
   
Mode

    
Bb7 Bb7 Bb7 Bb7 Bb7
                   
12 13 14 15 16

  
Edim7 intervallic chromatic
              
G7(b9) Cmi7

chromaticism turnaround

     
Eb7 Eb7 Bb7 Bb7 Cmi7
                   
17 18 19 20 21
     
5th Mode of E Dominant Bebop Scale 3rd Chorus
    
              
      
F7 Bb7 Bb7 Bb7 Bb7
                   
22 23 24 25 26

      
BbMA
   
EbMA FAUG

BbMA/Bb7
             
   
Bb7 Bb7 Eb7 Eb7 Bb7
                   
27 28 29 30 31

99
 "Two T's"
transcription: David Freedy
B Mixolydian 5th Mode of Db
           Bb Ionian Mode
Ascending Melodic
C Minor Scale
        
Major Pentatonic

   
          
Bb7 Cmi7 F7 Bb7
               
32 33 34 35
4th Chorus
        
           
5th Mode of D Major Pentatonic

     
Bb7 Bb7 Bb7 Bb7 Bb7
                   
36 37 38 39 40

BbMA
Eb Dorian Mode
                Bb Ionian
 
  Mode
 B Ionian     Cmi
 
       
Mode
    
  
Eb7 Eb7 Bb7 Bb7
               
41 42 43 44
B Mixolydian
5th Chorus
  
     
Mode 5th Mode of Db
Bb Ionian
       
        
Mode Major Pentatonic

      
Cmi7 F7 Bb7 Bb7 Bb7
                   
45 46 47 48 49 5th Mode
5th Mode 5th Mode of Fb Maj.
5th Mode of of Gb Maj. of Cb Maj. Pent. 5th Mode
  
5th Mode of D

       
              
Major Pentatonic Db Maj. Pent. Pent. Pent. of C Maj.

 
Pent.
  
Bb7 Bb7 Bb7 Eb7 Eb7
                   
50 51 52 53 54
5th Mode of F 5th Mode of Cb
Dominant Bebop Scale Major Pentatonic
      
          
chromaticism

  
     
3 3
Bb7 Bb7 Cmi7 F7
               
55 56 57 58

100
 6th Chorus
"Two T's"
transcription: David Freedy
5th Mode of 5th Mode of 5th Mode of 5th Mode of
    
        
A Maj. Pent. G Maj. Pent.F Maj. Pent. E Maj. Pent. BbMA B Dorian
        
Mode

 
3 3 3 3
Bb7 Bb7 Bb7 Bb7
               
59 60 61 62

        BbMA      
Edim7 EbMA
    
Bb Ionian
    
Mode

           
Bb7 Bb7 Eb7 Eb7 Bb7
                   
63 64 65 66 67

    
BMA
       AMA
     GMA
         
B Mixolydian Mode
        
  
Bb7 Cmi7 F7 Bb7
               
68 69 70 71
7th Chorus
Bb Ionian
     
FAUG
  
5th Mode of Db Major Pentatonic
      Mode
Bb Mixolydian

        
Mode

    
  
Bb7 Bb7 Bb7 Bb7
               
72 73 74 75

B Ascending Bb Mixolydian
     
   Minor Scale
Mode
Db A Ascending Melodic
      
Melodic Minor 5th Mode of Major Pentatonic

                   

Bb7 Eb7 Eb7 Bb7 Bb7
                   
76 77 78 79 80

                  BbMA
B A Dominant Bebop Scale
 FAUG
Mixolydian Mode

           
        
Cmi7 F7 Bb7 Bb7
               
81 82 83 84

101
 "Two T's"
8th Chorus transcription: David Freedy

    
DMA
        
5th Mode of Db Major Pentatonic Bmi Eb Ionian Mode
     
           
   
  

5
Bb7 Bb7 Bb7 Bb7 Eb7
                   
85 86 87 88 89

   
BbMA/Bbmi
                            
Ebmi Dmi Bb Lydian Mode B Ionian Mode

     
3 3 3
Eb7 Bb7 Bb7 Cmi7
               
90 91 92 93
9th Chorus Db
 AMA  
5th Mode of
    BbMA/Bb7
        Major
  Pentatonic
    
     
   
F7 Bb7 Bb7 Bb7
               
94 95 96 97
2nd Mode of Db
  
   BbMA/Bb7        
Major Pentatonic
BbMA/Bb7
BMA/B7
    
           
  
Bb7 Bb7 Bb7 Eb7
               
98 99 100 101

  
BbMA
              
A IonianMode
   BbMA
 
G7(b9)
 EbMA
  
          
   
3
Eb7 Bb7 Bb7 Cmi7
               
102 103 104 105
10th Chorus
                
Bb Mixolydian Mode

      

F7 Bb7 Bb7 Bb7 Bb7
                   
106 107 108 109 110

102
 "Two T's"
transcription: David Freedy
           
EbMA
      
Bbmi/BbMA
     
           
3
Bb7 Bb7 Eb7 Eb7 Bb7
                   
111 112 113 114 115

EbMA
      B Mixolydian
    Mode
Ab Ionian
  
   
Mode

    
G7(b9)
      
      
   

3 chromaticism
3
Bb7 Cmi7 F7 Bb7
               
116 117 118 119

11th Chorus
         Bmi7   EMA
Bb AbIonian Mode
Mixolydian
     
Mode
   Bmi

DbMA

            
 
3 3
Bb7 Bb7 Bb7 Bb7 Bb7
                   
120 121 122 123 124

5th Mode of Db
         
BbMA
      
Major Pentatonic
    
       

Eb7 Eb7 Bb7 Bb7
               
125 126 127 128

      
                  
AMA
 3
EbMA Bb Mixolydian Mode
       
 
Cmi7 F7 Bb7 Bb7
               
129 130 131 132

103
 “Two T’s” [sic]
Michael Brecker tenor saxophone solo
from Twin Tenors
transcription is notated one octave
above actual sounding pitch
q= 222

     
1st Chorus transcription: David Freedy


          
Bb7 Bb7 Bb7 Bb7 Eb7 Eb7
                        
1 2 3 4 5 6

       
   
      
 
        
Bb7 Bb7 Cmi7 F7 Bb7
                   
7 8 9 10 11
2nd Chorus
                 
   
Bb7 Bb7 Bb7 Bb7 Bb7
                   
12 13 14 15 16

                  
     
Eb7 Eb7 Bb7 Bb7 Cmi7
                   
17 18 19 20 21
      3rd Chorus
    
              
      
F7 Bb7 Bb7 Bb7 Bb7
                   
22 23 24 25 26

           
             
   
Bb7 Bb7 Eb7 Eb7 Bb7
                   
27 28 29 30 31

104
 "Two T's"
transcription: David Freedy

             
                   
Bb7 Cmi7 F7 Bb7
               
32 33 34 35
4th Chorus
         
          
  
Bb7 Bb7 Bb7 Bb7 Bb7
                   
36 37 38 39 40

 
                                    
  
Eb7 Eb7 Bb7 Bb7
               
41 42 43 44

         
5th Chorus
                 
     
Cmi7 F7 Bb7 Bb7 Bb7
                   
45 46 47 48 49

          
                 

Bb7 Bb7 Bb7 Eb7 Eb7
                   
50 51 52 53 54

     
              
     
3 3
Bb7 Bb7 Cmi7 F7
               
55 56 57 58

105
 "Two T's"
transcription: David Freedy

    
        
6th Chorus
 
        
3 3 3 3
Bb7 Bb7 Bb7 Bb7
               
59 60 61 62

               

          
      
Bb7 Bb7 Eb7 Eb7 Bb7
                   
63 64 65 66 67

                                   
 
Bb7 Cmi7 F7 Bb7
               
68 69 70 71

     
7th Chorus
        
             
Bb7 Bb7 Bb7 Bb7
               
72 73 74 75

              
                  

Bb7 Eb7 Eb7 Bb7 Bb7
                   
76 77 78 79 80

                      
 
     
    

Cmi7 F7 Bb7 Bb7
               
81 82 83 84

106
 "Two T's"
transcription: David Freedy

     
8th Chorus
     
                    
5
Bb7 Bb7 Bb7 Bb7 Eb7
                   
85 86 87 88 89

                                
  
3 3 3
Eb7 Bb7 Bb7 Cmi7
               
90 91 92 93

     9th Chorus  
                       
   
F7 Bb7 Bb7 Bb7
               
94 95 96 97

 
              
              
Bb7 Bb7 Bb7 Eb7
               
98 99 100 101

  
                          
      
3
Eb7 Bb7 Bb7 Cmi7
               
102 103 104 105

           
10th Chorus    
 
      

F7 Bb7 Bb7 Bb7 Bb7
                   
106 107 108 109 110

107
 "Two T's"
transcription: David Freedy
               
         
        
3
Bb7 Bb7 Eb7 Eb7 Bb7
                   
111 112 113 114 115

                      
                


3
3
Bb7 Cmi7 F7 Bb7
               
116 117 118 119

11th Chorus
      
   
                   
     
3 3
Bb7 Bb7 Bb7 Bb7 Bb7
                   
120 121 122 123 124

         
      
           

Eb7 Eb7 Bb7 Bb7

               
125 126 127 128

    
       3                 

Cmi7 F7 Bb7 Bb7
               
129 130 131 132

108
 “Two T’s” [sic]
Michael Brecker tenor saxophone solo
from Twin Tenors

transcription is notated one octave

below actual sounding pitch
q= 222
 indicates passing tone transcription: David Freedy

                
chord tones
1st Chorus
    
Bb7 Bb7 Bb7 Bb7 Eb7 Eb7
                        
1 2 3 4 5 6


        
   
GMA EbMA/EbMA(#5) F7 FMA9(#5) B Ionian
      
Mode

       
    
 
Bb7 Bb7 Cmi7 F7 Bb7
                   
7 8 9 10 11
BbMA 2nd Chorus B Dorian Mode
Bb Dorian
               
Mode

     

Bb7 Bb7 Bb7 Bb7 Bb7
                   
12 13 14 15 16
Edim7
   intervallic
  
chromatic G7(b9) Cmi7
                
     
chromaticism turnaround

Eb7 Eb7 Bb7 Bb7 Cmi7

                   
17 18 19 20 21
3rd Chorus
 Mode of E Dominant Bebop Scale
          
5th

         
            
F7 Bb7 Bb7 Bb7 Bb7
                   
22 23 24 25 26


BbMA EbMA FAUG BbMA/Bb7

                        

Bb7 Bb7 Eb7 Eb7 Bb7
                   
27 28 29 30 31

109
 "Two T's"
transcription: David Freedy
Ascending Melodic B Mixolydian 5th Mode of Db
C
         Bb Major Pentatonic
        
Minor Scale

      
Ionian Mode

       
Bb7 Cmi7 F7 Bb7
               
32 33 34 35
4th Chorus
           
D
            
5th Mode of Major Pentatonic
 
Bb7 Bb7 Bb7 Bb7 Bb7
                   
36 37 38 39 40

Eb Dorian Mode       Mode


BbMA
             Bb Ionian
 
Mode
   B Ionian   
Cmi
 
  
     
Eb7 Eb7 Bb7 Bb7
               
41 42 43 44
5th Chorus
B Mixolydian 5th Mode of Db
  
    Bb Ionian
 
Mode Mode Major Pentatonic
      
               
Cmi7 F7 Bb7 Bb7 Bb7
                   
45 46 47 48 49 5th Mode
5th Mode of Cb Maj. of Fb Maj.
5th Mode
5th Mode of D Pent. 5th Mode

      
5th Mode of of Gb Maj.

       
Db Maj. Pent. Pent. Pent. of C Maj.

                
Major Pentatonic
Pent.

Bb7 Bb7 Bb7 Eb7 Eb7

                   
50 51 52 53 54
5th Mode of F 5th Mode of Cb
  
      
Dominant Bebop Scale Major Pentatonic

           
chromaticism
 
    
3 3
Bb7 Bb7 Cmi7 F7
               
55 56 57 58

110
 6th Chorus
"Two T's"
transcription: David Freedy
5th Mode of 5th Mode of

      
A Maj. Pent. 5th Mode of F Maj. Pent. 5th Mode of BbMA B Dorian

        
Mode

       
G Maj. Pent. E Maj. Pent.

3 3 3 3
Bb7 Bb7 Bb7 Bb7
               
59 60 61 62

        
                 
BbMA Edim7 Bb Ionian Mode EbMA
     
 
Bb7 Bb7 Eb7 Eb7 Bb7
                   
63 64 65 66 67

    
BMA
      AMA
     GMA
           
B Mixolydian Mode
         
 
Bb7 Cmi7 F7 Bb7
               
68 69 70 71
7th Chorus
Bb Ionian FAUG Bb Mixolydian
    
Db
 
Mode Mode
                  
5th Mode of Major Pentatonic

       
Bb7 Bb7 Bb7 Bb7
               
72 73 74 75

B Ascending Bb Mixolydian A Ascending Melodic

    
Db
 
Mode
Melodic Minor 5th Mode of Major Pentatonic
    
              
Minor Scale

    
Bb7 Eb7 Eb7 Bb7 Bb7
                   
76 77 78 79 80


                        
B Mixolydian Mode A Dominant Bebop Scale BbMA FAUG
   
  
   
Cmi7 F7 Bb7 Bb7
               
81 82 83 84

111
 "Two T's"
transcription: David Freedy
8th Chorus DMA
5
    
Bmi Eb Ionian
    
5th Mode of Db Major Pentatonic Mode
              
      

  
Bb7 Bb7 Bb7 Bb7 Eb7
                   
85 86 87 88 89

BbMA/Bbmi
                               
Ebmi Dmi Bb Lydian
Ionian Mode Mode B

    
3 3
3
Eb7 Bb7 Bb7 Cmi7
               
90 91 92 93
9th Chorus
5th Mode of Db
   
          
AMA BbMA/Bb7 Major Pentatonic
         
     
F7 Bb7 Bb7 Bb7
               
94 95 96 97
2nd Mode of Db

   
Major Pentatonic
 
BbMA/Bb7 BMA/B7 BbMA/Bb7
                   
  
Bb7 Bb7 Bb7 Eb7
               
98 99 100 101

  
BbMA
   
          
A Ionian BbMA G7(b9) EbMA
     
Mode
              

3
Eb7 Bb7 Bb7 Cmi7
               
102 103 104 105
10th Chorus
                
Bb Mixolydian Mode

       
F7 Bb7 Bb7 Bb7 Bb7
                   
106 107 108 109 110

112
 "Two T's"
transcription: David Freedy
             
EbMA
      
Bbmi/BbMA
            
 
3
Bb7 Bb7 Eb7 Eb7 Bb7
                   
111 112 113 114 115

   B Mixolydian Mode     
Ab Ionian
          
EbMA

G7(b9) Mode

                    
 
3 3 chromaticism
Bb7 Cmi7 F7 Bb7
               
116 117 118 119

11th Chorus
     
Bb AbIonian Mode
Mixolydian

Bmi7 EMA Bmi DbMA
                
Mode
        
 3
3
Bb7 Bb7 Bb7 Bb7 Bb7
                   
120 121 122 123 124

5th Mode of Db
     
BbMA
      
Major Pentatonic


  
      

      

Eb7 Eb7 Bb7 Bb7
               
125 126 127 128

    
    
EbMA AMA Bb Mixolydian
                  
Mode
   3

Cmi7 F7 Bb7 Bb7

               
129 130 131 132

113
 “Two T’s” [sic]
Michael Brecker tenor saxophone solo
from Twin Tenors

transcription is notated one octave

below actual sounding pitch
q= 222
transcription: David Freedy

             
1st Chorus
      
Bb7 Bb7 Bb7 Bb7 Eb7 Eb7
                        
1 2 3 4 5 6


      
        
     
      
Bb7 Bb7 Cmi7 F7 Bb7
                   
7 8 9 10 11
2nd Chorus
                    

Bb7 Bb7 Bb7 Bb7 Bb7
                   
12 13 14 15 16


                       

Eb7 Eb7 Bb7 Bb7 Cmi7
                   
17 18 19 20 21


          
3rd Chorus
         
             
F7 Bb7 Bb7 Bb7 Bb7
                   
22 23 24 25 26

       

  
              

Bb7 Bb7 Eb7 Eb7 Bb7
                   
27 28 29 30 31

114
 "Two T's"
transcription: David Freedy

                      
       
Bb7 Cmi7 F7 Bb7
               
32 33 34 35

4th Chorus
           
              
Bb7 Bb7 Bb7 Bb7 Bb7
                   
36 37 38 39 40

                 
                

Eb7 Eb7 Bb7 Bb7
               
41 42 43 44

                
5th Chorus
           
    
Cmi7 F7 Bb7 Bb7 Bb7
                   
45 46 47 48 49

                
               
Bb7 Bb7 Bb7 Eb7 Eb7
                   
50 51 52 53 54

  
                    
    
3 3
Bb7 Bb7 Cmi7 F7
               
55 56 57 58

115
 "Two T's"
transcription: David Freedy
6th Chorus
       
                
3 3 3 3
Bb7 Bb7 Bb7 Bb7
               
59 60 61 62

        
                       

Bb7 Bb7 Eb7 Eb7 Bb7
                   
63 64 65 66 67

 
                                

Bb7 Cmi7 F7 Bb7
               
68 69 70 71

7th Chorus

      
  
           
         
Bb7 Bb7 Bb7 Bb7
               
72 73 74 75

              
                  
Bb7 Eb7 Eb7 Bb7 Bb7
                   
76 77 78 79 80


                            
    
Cmi7 F7 Bb7 Bb7
               
81 82 83 84

116
 "Two T's"
transcription: David Freedy
8th Chorus 5
                              
  
Bb7 Bb7 Bb7 Bb7 Eb7
                   
85 86 87 88 89

                               
 
3 3
3
Eb7 Bb7 Bb7 Cmi7
               
90 91 92 93

9th Chorus
    
                   
     
F7 Bb7 Bb7 Bb7
               
94 95 96 97

     
                   
  
Bb7 Bb7 Bb7 Eb7
               
98 99 100 101

  
   
                   
         
3
Eb7 Bb7 Bb7 Cmi7
               
102 103 104 105
10th Chorus
                 
       
F7 Bb7 Bb7 Bb7 Bb7
                   
106 107 108 109 110

117
 "Two T's"
transcription: David Freedy
             
        
           
3
Bb7 Bb7 Eb7 Eb7 Bb7
                   
111 112 113 114 115

               
                   

3 3
Bb7 Cmi7 F7 Bb7
               
116 117 118 119

11th Chorus
   
          
                
 3
3
Bb7 Bb7 Bb7 Bb7 Bb7
                   
120 121 122 123 124

                   
           
Eb7 Eb7 Bb7 Bb7
               
125 126 127 128

            3                 

Cmi7 F7 Bb7 Bb7
               
129 130 131 132

118
 APPENDIX D

“CABIN FEVER”: TREBLE AND BASS CLEF TRANSCRIPTIONS, ANNOTATED AND

UNANNOTATED

119
 “Cabin Fever”
Michael Brecker tenor saxophone solo
from Tales from the Hudson
transcription is notated one ocatave
above actual sounding pitch
q= 302
 indicates passing tone
transcription: David Freedy
1st Chorus
Bb

Mixolydian Mode

                        
      
   Bb7    Bb7    Bb7    Bb7 
1 2 3 4
Bbmi  

  
EbMA Eb MixolydianEMA 
       AbMA
    
          
   
Eb7 Eb7 Bb7 G7
               
5 6 7 8
AMA 2nd Chorus
    AbMA/Ab7
          
  
Bb Mixolydian

  
Mode

       
Cmi7 F7 Bb7 Bb7 Bb7
                   
9 10 11 12 13

   
 
EMA
                  

3
Bb7 Bb7 Bb7 Eb7
               
14 15 16 17
chromatic turn C Major Bebop
                         
F#MA B
 
Mixolydian Mode around
C
 
Scale
   
Dorian Mode

       

Eb7 Bb7 G7 Cmi7
               
18 19 20 21

120
 "Cabin Fever"
transcription: David Freedy
3rd Chorus
         BbMA
A Major Bebop Scale
    
       F7(#5)

BbMA
        
F7 Bb7 Bb7 Bb7
               
22 23 24 25

Eb7
     
    
 
Bb7 Bb7 Bb7 Eb7 Eb7
                   
26 27 28 29 30

           
BbMA G7(b9) C Harmonic 7th Mode of
BbMA
     
Eb Major Bebop
  
Minor
  
          

Bb7 G7 Cmi7 F7
               
31 32 33 34

 4th Chorus Bb Mixolydian

         
Mode

        
Bb7 Bb7 Bb7 Bb7 Bb7
                   
35 36 37 38 39

Ebmi  
Eb7/Ebmi7
           
FMA BbMA
          
             


Bb7 Eb7 Eb7 Bb7
               
40 41 42 43
C Ascending
C Aeolian Mode       
5th Mode of

              F7(b9
 ,#9)      
Melodic Minor

   
G7 Db Major Pentatonic
    
G7 Cmi7 F7 Bb7
               
44 45 46 47

121
 "Cabin Fever"
transcription: David Freedy
BbMA BbAUG 5th Chorus Bb B Ionian
   
Ionian Mode Mode

                     
Bb7 Bb7 Bb7 Bb7 Bb7
                   
48 49 50 51 52

 
                   
G7
         
BbMA
   
Eb7 Eb7 Bb7 G7
               
53 54 55 56
F Dominant
     
          
Bebop Scale
C Aeolian Mode
   chromaticism Ionian Bb A7
     
 
3
     
Cmi7 F7 Bb7 Bb7
               
57 58 59 60
6th Chorus
Bb Dominant Bebop Scale  B Ionian/Mixolydian
      Mode
 
 
          
          
Bb7 Bb7 Bb7 Bb7
               
61 62 63 64
BbMA9(#11) 
                      
Ebmi7
       
B Ionian
 
EbMA
 F7 Mode lead in

   
3
Eb7 Eb7 Bb7 G7
               
65 66 67 68

   B Mixolydian
   Mode
Dominant Bebop
F Scale
C9
    
5th Mode of

               
Db Major Pentatonic
 
Cmi7 F7 Bb7 Bb7
               
69 70 71 72

122
 "Cabin Fever"
transcription: David Freedy
7th Chorus 5th Mode of
Bb Mixolydian
             Pentatonic D Pentatonic
Major
AMA Db Major

Mode

         
 
Bb7 Bb7 Bb7 Bb7
               
73 74 75 76
Bb Mixolydian
    Bbdim
 
Abdim
   
BMA
      
                 
Eb7 Eb7 Bb7 G7
               
77 78 79 80

        chromaticism
              
Ddim Edim BAUG
  
   

Cmi7 F7 Bb7 Bb7
               
81 82 83 84

8th Chorus Ami GbmiMA7  

BbMA 
AMA

    
       
                  
chromaticism

Bb7 Bb7 Bb7 Bb7

               
85 86 87 88

                       FMA
GMA

    
Eb7 Eb7 Bb7 G7
               
89 90 91 92

                BbMA
A
        
        
Dominant Bebop
EbMA G7(b9)

Bb Ionian Mode

 
3
Cmi7 F7 Bb7 Bb7
               
93 94 95 96

123
 "Cabin Fever"
transcription: David Freedy
9th Chorus 5th Mode of Db
Maj. Pent. Bb Ionian Mode
                  
    
Bb7 Bb7 Bb7 Bb7
               
97 98 99 100

A
          
Db Major
              
5th Mode of Pentatonic Major Pentatonic

   
Eb7 Eb7 Bb7 G7
               
101 102 103 104

Major
Bb
 
Pentatonic BbMA
    
B Major Pentatonic
         BbMA
C Major Pentatonic
 
            

Cmi7 F7 Bb7 Bb7
               
105 106 107 108
10th Chorus
     Mode
 Mixolydian
Bb A Ionian
        
Mode

     
        
Bb7 Bb7 Bb7 Bb7
               
109 110 111 112

Bb Major    
 G7(b9)
   
Bb Ionian Mode

Bebop Scale
           
             

Eb7 Eb7 Bb7 G7
               
113 114 115 116
C
 
             
Dorian Mode
F7(b9,#9) BbMA Bb9

           

Cmi7 F7 Bb7 Bb7
               
117 118 119 120

124
 "Cabin Fever"
11th Chorus transcription: David Freedy
                    
chromaticism


Bb7 Bb7 Bb7 Bb7
               
121 122 123 124

                   D               Pentatonic
Major
Major Pentatonic Db Pentatonic C

Major


Eb7 Eb7 Bb7 G7
               

125 126 127 128

     
Bb Mixolydian Mode/
CbMajor
 AbMA9
                 
Pentatonicchromaticism

  
3 3
Cmi7 F7 Bb7 Bb7
               
  12th Chorus   
129 130 131 132

          
     
3 3    
Bb7 Bb7 Bb7
               
Bb7

     
133 134 135 Mixolydian Mode136
Bb
        
(AbMA7) 3
B Mixolydian

Mode/AMA9

    
3 3   3    
Eb7 Bb7
               
Eb7 G7

        
137 138 139 140
(AbMA7) (AbMA9)
   
     
    
3 3
Cmi7 F7 Bb7 Bb7
               
141 142 143 144

125
 "Cabin Fever"
13th Chorus
   
chromaticism
transcription: David Freedy

         
        
        
Bb7 Bb7 Bb7 Bb7 Eb7
                   
145 146 147 148 149

      
           


   
Eb7 Bb7 G7 Cmi7
               
150 151 152 153
Bbmi 
14th Chorus

            
"Blues" Bb Mixolydian
   Bb Pentatonic
              
F7 Bb7 Bb7 Bb7
               
154 155 156 157

   chromaticism
     
5th mode of
   
EbMA
   
DbMA

Db Major
    
CbMA
          
  
    
Pentatonic

Bb7 Bb7 Bb7 Eb7

               
158 159 160 161

BbMA13(#11)  
3
   
Cdim7
 
  
           

3
Eb7 Bb7 G7 Cmi7
               
162 163 164 165

   
15th Chorus
 BbMA
    
G7 Cmi7 F7 Bb Mixolydian Mode
                     
 
F7 Bb7 Bb7 Bb7
               
166 167 168 169

126
 "Cabin Fever"
transcription: David Freedy
B Bb Mixolydian
                  
Mixolydian Mode
    
Mode

     
Bb7 Bb7 Bb7 Eb7
               
170 171 172 173

                            
B Mixolydian ModeC Mixolydian ModeDb Mixolydian Mode D Mixolydian Mode
   
Eb7 Bb7 G7 Cmi7
               
174 175 176 177
B Major 16th Chorus
      
              
Pentatonic
Eb Mixolydian Bb "Blues"

   
Mode
Pentatonic


F7 Bb7 Bb7 Bb7
               
178 179 180 181

          
A Mixolydian Bb7
       
Mode BbMA

  
      
Bb7 Bb7 Bb7 Eb7
               
182 5th Mode of 183 184 185
Db Major
      GbMA
   
Pentatonic
Bb13(#11) G7 GMA Cmi
 
             
Eb7 Bb7 G7 Cmi7
               
186 187 188 189

 
5th Mode of
      
F9 BbMA G7(b9) BbMA FMA
                
Db Major Pentatonic
 
             
  
F7 Bb7 Bb7 Bb7
               
190 191 192 193

127
 “Cabin Fever”
Michael Brecker tenor saxophone solo
from Tales from the Hudson
transcription is notated one ocatave
above actual sounding pitch
q= 302
transcription: David Freedy
1st Chorus
                        
     
               Bb7 
Bb7 Bb7 Bb7

1 2 3 4

   
                       
     
Eb7 Eb7 Bb7 G7
               
5 6 7 8

                2nd Chorus

          
Cmi7 F7 Bb7 Bb7 Bb7
                   
9 10 11 12 13

      
                  
3
Bb7 Bb7 Bb7 Eb7
               
14 15 16 17

    
          
                
     
Eb7 Bb7 G7 Cmi7
               
18 19 20 21

128
 "Cabin Fever"
transcription: David Freedy

                     3rd Chorus
      
F7 Bb7 Bb7 Bb7
               
22 23 24 25

           
Bb7 Bb7 Bb7 Eb7 Eb7
                   
26 27 28 29 30

                   

           
Bb7 G7 Cmi7 F7
               
31 32 33 34

  
4th Chorus
           
    
Bb7 Bb7 Bb7 Bb7 Bb7
                   
35 36 37 38 39

           
   
                  
Bb7 Eb7 Eb7 Bb7
               
40 41 42 43

       
                        

G7 Cmi7 F7 Bb7
               
44 45 46 47

129
 "Cabin Fever"
transcription: David Freedy
5th Chorus
   
                    
Bb7 Bb7 Bb7 Bb7 Bb7
                   
48 49 50 51 52

                           
 
Eb7 Eb7 Bb7 G7
               
53 54 55 56

                    
     
      
3
Cmi7 F7 Bb7 Bb7
               
57 58 59 60

6th Chorus           
          
          
Bb7 Bb7 Bb7 Bb7
               
61 62 63 64


                                 

3
Eb7 Eb7 Bb7 G7
               
65 66 67 68

       
                 
 
Cmi7 F7 Bb7 Bb7
               
69 70 71 72

130
 "Cabin Fever"
transcription: David Freedy

            
7th Chorus

         
Bb7 Bb7 Bb7 Bb7
               
73 74 75 76

            
                  
Eb7 Eb7 Bb7 G7
               
77 78 79 80

        
                 
Cmi7 F7 Bb7 Bb7
               
81 82 83 84

8th Chorus    
           
                  
Bb7 Bb7 Bb7 Bb7
               
85 86 87 88

                        
    
Eb7 Eb7 Bb7 G7
               
89 90 91 92

                                 
 
3
Cmi7 F7 Bb7 Bb7
               
93 94 95 96

131
 "Cabin Fever"
transcription: David Freedy
9th Chorus
                     
 
Bb7 Bb7 Bb7 Bb7
               
97 98 99 100

             
             


Eb7 Eb7 Bb7 G7
               
101 102 103 104

                         
    
Cmi7 F7 Bb7 Bb7
               
105 106 107 108


  
10th Chorus

             
        
Bb7 Bb7 Bb7 Bb7
               
109 110 111 112

          

                     
Eb7 Eb7 Bb7 G7
               
113 114 115 116

      
                  


Cmi7 F7 Bb7 Bb7
               
117 118 119 120

132
 "Cabin Fever"
transcription: David Freedy
11th Chorus
                    

Bb7 Bb7 Bb7 Bb7
               
121 122 123 124

                                   

Eb7 Eb7 Bb7 G7
               

125 126 127 128

            
             
3 3
Cmi7 F7 Bb7 Bb7
               
  12th Chorus   
129 130 131 132

           
    
3 3    
Bb7 Bb7 Bb7
               
Bb7

     
133 134 135 136
3
        
     
3 3   3    
Eb7 Bb7
               
Eb7 G7

        
137 138 139 140

   
     
    
3 3
Cmi7 F7 Bb7 Bb7
               
141 142 143 144

133
 "Cabin Fever"
13th  Chorus   transcription: David Freedy
 
         
        
        
Bb7 Bb7 Bb7 Bb7 Eb7
                   
145 146 147 148 149

      
           


   
Eb7 Bb7 G7 Cmi7
               
150 151 152 153

            
14th Chorus
     
                
F7 Bb7 Bb7 Bb7
               
154 155 156 157

       
                    
       

Bb7 Bb7 Bb7 Eb7
               
158 159 160 161
  
3
     
  
            
3
Eb7 Bb7 G7 Cmi7
               
162 163 164 165

            
15th Chorus
                 

F7 Bb7 Bb7 Bb7
               
166 167 168 169

134
 "Cabin Fever"
transcription: David Freedy

                  
          
Bb7 Bb7 Bb7 Eb7
               
170 171 172 173

                            
   
Eb7 Bb7 G7 Cmi7
               
174 175 176 177
16th Chorus
     
                  

F7 Bb7 Bb7 Bb7
               
178 179 180 181

                  
      

Bb7 Bb7 Bb7 Eb7
               
182 183 184 185

           
             
Eb7 Bb7 G7 Cmi7
               
186 187 188 189

                        
    
F7 Bb7 Bb7 Bb7
               
190 191 192 193

135
 “Cabin Fever”
Michael Brecker tenor saxophone solo
from Tales from the Hudson

transcription is notated one ocatave

below actual sounding pitch
q= 302
 indicates passing tone
transcription: David Freedy
1st Chorus
Bb
 
Mixolydian Mode

  
                        

  
Bb7
   
Bb7
   
Bb7
   
Bb7
 
1 2 3 4

    
       
Bbmi AbMA
 
EbMA Eb MixolydianEMA

                 

Eb7 Eb7 Bb7 G7

               
5 6 7 8
2nd Chorus
                 
AMA
AbMA/Ab7 Bb Mixolydian Mode
       
   
Cmi7 F7 Bb7 Bb7 Bb7
                   
9 10 11 12 13

  
EMA
 
                 
   
3
Bb7 Bb7 Bb7 Eb7
               
14 15 16 17
chromatic turn C Major Bebop
             
           
F#MA B C
     
Mixolydian Mode Dorian Mode around
 
Scale

 
  
Eb7 Bb7 G7 Cmi7
               
18 19 20 21

136
 "Cabin Fever"
transcription: David Freedy
3rd Chorus
 A Major Bebop Scale BbMA
            
F7(#5) BbMA
        
     
F7 Bb7 Bb7 Bb7
               
22 23 24 25

Eb7
     
     

Bb7 Bb7 Bb7 Eb7 Eb7
                   
26 27 28 29 30
Harmonic 7th Mode of
BbMA G7(b9) C BbMA
     
Eb Major Bebop
             
Minor

   
       

Bb7 G7 Cmi7 F7
               
31 32 33 34

   
4th Chorus Bb Mixolydian Mode
        
        
Bb7 Bb7 Bb7 Bb7 Bb7
                   
35 36 37 38 39

     
Eb7/Ebmi7 Ebmi FMA BbMA
            
     
      
    

Bb7 Eb7 Eb7 Bb7
               
40 41 42 43
C Ascending

 
    F7(b9,#9)
5th Mode of
 
Melodic Minor
G7
C Aeolian Mode
                       
Db Major Pentatonic

    
G7 Cmi7 F7 Bb7
               
44 45 46 47

137
 "Cabin Fever"
transcription: David Freedy
BbMA BbAUG 5th Chorus Bb Ionian Mode B Ionian Mode
                  
        
Bb7 Bb7 Bb7 Bb7 Bb7
                   
48 49 50 51 52
BbMA G7
    
                          
 
Eb7 Eb7 Bb7 G7
               
53 54 55 56

       
F Dominant Bebop Scale
 
C Aeolian Mode chromaticismBb Ionian A7
               

3
      
Cmi7 F7 Bb7 Bb7
               
57 58 59 60
6th Chorus
Bb Dominant Bebop Scale
 B Ionian/Mixolydian
      Mode
 
     

    
        
Bb7 Bb7 Bb7 Bb7
               
61 62 63 64

    F7
Ebmi7 BbMA9(#11)  
                  
B Ionian
 
EbMA

Mode lead in
      
  
3
Eb7 Eb7 Bb7 G7
               
65 66 67 68

 B Mixolydian
   Mode
Dominant Bebop 5th Mode of
F
 
C9
             
Scale Db Major Pentatonic
        

Cmi7 F7 Bb7 Bb7
               
69 70 71 72

138
 "Cabin Fever"
transcription: David Freedy
7th Chorus 5th Mode of
Bb Mixolydian AMA Db Major D Major
           
Mode
 
Pentatonic

        
Pentatonic
 
Bb7 Bb7 Bb7 Bb7
               
73 74 75 76
Bb Mixolydian
BMA Bbdim Abdim
         
        
          
  
Eb7 Eb7 Bb7 G7
               
77 78 79 80

Ddim
       chromaticism
Edim BAUG
   
               
 
Cmi7 F7 Bb7 Bb7
               
81 82 83 84

8th Chorus
  chromaticism
Ami GbmiMA7
   
BbMA AMA
                       
 
   
Bb7 Bb7 Bb7 Bb7
               
85 86 87 88

                             
GMA FMA

Eb7 Eb7 Bb7 G7

               
89 90 91 92

  
EbMA
        
A Dominant Bebop BbMA
  
G7(b9)
    
Bb Ionian Mode
                 
3
Cmi7 F7 Bb7 Bb7
               
93 94 95 96

139
 "Cabin Fever"
transcription: David Freedy
9th Chorus 5th Mode of Db
Maj. Pent. Bb Ionian Mode
          
            
Bb7 Bb7 Bb7 Bb7
               
97 98 99 100

5th Mode of Db Major Pentatonic A Major Pentatonic

                    
        
Eb7 Eb7 Bb7 G7
               
101 102 103 104

                              
Bb Major Pentatonic BbMA B Major Pentatonic C Major Pentatonic BbMA

Cmi7 F7 Bb7 Bb7

               
105 106 107 108
10th Chorus
A Ionian
         
Bb Mixolydian Mode Mode

           
       
Bb7 Bb7 Bb7 Bb7
               
109 110 111 112

Bb Major
  
  G7(b9)
   
Bb Ionian
Bebop Scale Mode
      
                  

Eb7 Eb7 Bb7 G7
               
113 114 115 116
C
 
             
F7(b9,#9) BbMA Bb9
  
Dorian Mode

         

Cmi7 F7 Bb7 Bb7
               
117 118 119 120

140
 "Cabin Fever"
11th Chorus transcription: David Freedy

                          
chromaticism

Bb7 Bb7 Bb7 Bb7

               
121 122 123 124

             D MajorPentatonic        
Major Major
Db Pentatonic C Pentatonic
         
 
Eb7 Eb7 Bb7 G7
               
125 126 127 128


Bb Mixolydian Mode/AbMA9

            
Cb Major
        
Pentatonicchromaticism

     
3 3
Cmi7 F7 Bb7 Bb7
               
129 130 131 132
  12th Chorus   
           
    
3 3    
Bb7 Bb7 Bb7
               
Bb7

133 134 135 136

    
Bb
  
Mixolydian Mode

      
(AbMA7) 3

        B Mixolydian
Mode/AMA9
  
3 3   3    
Eb7 Bb7
               
Eb7 G7


137 138 139 140

         
(AbMA7) (AbMA9)
  
          
3 3
Cmi7 F7 Bb7 Bb7
               
141 142 143 144

141
 "Cabin Fever"
13th Chorus transcription: David Freedy
   
chromaticism

              
  
        
Bb7 Bb7 Bb7 Bb7 Eb7
                   
145 146 147 148 149

            
         
     
Eb7 Bb7 G7 Cmi7
               
150 151 152 153
14th Chorus
       Bbmi
Bb Mixolydian
           
Bb "Blues"
        
      
Pentatonic


F7 Bb7 Bb7 Bb7
               
154 155 156 157
5th mode of

   
               
CbMA DbMA EbMA Db Major
     
chromaticism

            Pentatonic


Bb7 Bb7 Bb7 Eb7
               
158 159 160 161
BbMA13(#11)
    
  
3
 
Cdim7
         
   

 
3
Eb7 Bb7 G7 Cmi7
               
162 163 164 165
15th Chorus

   
BbMA G7 Cmi7 F7 Bb Mixolydian
        
Mode

             
   
F7 Bb7 Bb7 Bb7
               
166 167 168 169

142
 "Cabin Fever"
transcription: David Freedy
B Mixolydian Mode Bb Mixolydian
             
           
Mode

  
Bb7 Bb7 Bb7 Eb7
               
170 171 172 173

B Mixolydian ModeC Mixolydian ModeDb Mixolydian Mode D Mixolydian

                  
Mode
   
         
Eb7 Bb7 G7 Cmi7
               
174 175 176 177
B Major
16th Chorus
                        
Eb Mixolydian Mode Pentatonic Bb "Blues"
Pentatonic

 
F7 Bb7 Bb7 Bb7
               
178 179 180 181

              
A Mixolydian
Mode BbMA Bb7
   
       
 
Bb7 Bb7 Bb7 Eb7
               
182 5th Mode of 183 184 185
Db Major

        
Pentatonic GbMA Bb13(#11) G7 GMA Cmi
            
Eb7 Bb7 G7 Cmi7
               
186 187 188 189
5th Mode of
F9 BbMA G7(b9) BbMA FMA
        
         
Db Major Pentatonic

               
F7 Bb7 Bb7 Bb7
               
190 191 192 193

143
 “Cabin Fever”
Michael Brecker tenor saxophone solo
from Tales from the Hudson

transcription is notated one ocatave

below actual sounding pitch
q= 302 transcription: David Freedy
1st Chorus
    
                    
     
  
Bb7
   
Bb7
   
Bb7
   
Bb7
 
1 2 3 4

          
                  

Eb7 Eb7 Bb7 G7
               
5 6 7 8

                   

2nd Chorus
     
Cmi7 F7 Bb7 Bb7 Bb7
                   
9 10 11 12 13

 
 
                 
   3
Bb7 Bb7 Bb7 Eb7
               
14 15 16 17

                   
             

Eb7 Bb7 G7 Cmi7

               
18 19 20 21

144
 "Cabin Fever"
transcription: David Freedy


                    
3rd Chorus
   
F7 Bb7 Bb7 Bb7
               
22 23 24 25

           
Bb7 Bb7 Bb7 Eb7 Eb7
                   
26 27 28 29 30

                  
           
Bb7 G7 Cmi7 F7
               
31 32 33 34

   
4th Chorus
        
      
Bb7 Bb7 Bb7 Bb7 Bb7
                   
35 36 37 38 39

             
  
                  
Bb7 Eb7 Eb7 Bb7
               
40 41 42 43

   
                       
  
G7 Cmi7 F7 Bb7
               
44 45 46 47

145
 "Cabin Fever"
transcription: David Freedy
5th Chorus
                  
       
Bb7 Bb7 Bb7 Bb7 Bb7
                   
48 49 50 51 52

                             

Eb7 Eb7 Bb7 G7
               
53 54 55 56

       
               
3
      
Cmi7 F7 Bb7 Bb7
               
57 58 59 60

6th Chorus   
           
     
       
Bb7 Bb7 Bb7 Bb7
               
61 62 63 64

              
                   
3
Eb7 Eb7 Bb7 G7
               
65 66 67 68

     
           
        

Cmi7 F7 Bb7 Bb7
               
69 70 71 72

146
 "Cabin Fever"
transcription: David Freedy
7th Chorus
             
        
Bb7 Bb7 Bb7 Bb7
               
73 74 75 76


  
                     
   
Eb7 Eb7 Bb7 G7
               
77 78 79 80

          
             
Cmi7 F7 Bb7 Bb7
               
81 82 83 84

8th Chorus
              
           
      
Bb7 Bb7 Bb7 Bb7
               
85 86 87 88

                             
Eb7 Eb7 Bb7 G7
               
89 90 91 92

                                 

3
Cmi7 F7 Bb7 Bb7
               
93 94 95 96

147
 "Cabin Fever"
transcription: David Freedy
9th Chorus
          
            
Bb7 Bb7 Bb7 Bb7
               
97 98 99 100

                    
        
Eb7 Eb7 Bb7 G7
               
101 102 103 104

                              
Cmi7 F7 Bb7 Bb7
               
105 106 107 108

10th Chorus
             
          
    
Bb7 Bb7 Bb7 Bb7
               
109 110 111 112

            
                   

Eb7 Eb7 Bb7 G7
               
113 114 115 116

   
                     

Cmi7 F7 Bb7 Bb7
               
117 118 119 120

148
 "Cabin Fever"
transcription: David Freedy
11th Chorus
                         

Bb7 Bb7 Bb7 Bb7
               
121 122 123 124

                         
        
Eb7 Eb7 Bb7 G7
               
125 126 127 128


                       
   
3 3
Cmi7 F7 Bb7 Bb7
               
129 130 131 132
  12th Chorus   
           
    
3 3    
Bb7 Bb7 Bb7
               
Bb7

133 134 135 136

        3 
       
     
3 3   3    
Eb7 Bb7
               
Eb7 G7


137 138 139 140

            
          
3 3
Cmi7 F7 Bb7 Bb7
               
141 142 143 144

149
 "Cabin Fever"
transcription: David Freedy
13th  Chorus  
 
              
  
        
Bb7 Bb7 Bb7 Bb7 Eb7
                   
145 146 147 148 149

     
                
     
Eb7 Bb7 G7 Cmi7
               
150 151 152 153

       14th Chorus
                   
       
F7 Bb7 Bb7 Bb7
               
154 155 156 157

      
                                   

Bb7 Bb7 Bb7 Eb7

               
158 159 160 161
     
  
3
 
        
   

 
3
Eb7 Bb7 G7 Cmi7
               
162 163 164 165


   
15th Chorus
        
                

F7 Bb7 Bb7 Bb7
               
166 167 168 169

150
 "Cabin Fever"
transcription: David Freedy

             
              
Bb7 Bb7 Bb7 Eb7
               
170 171 172 173

                   
            
Eb7 Bb7 G7 Cmi7
               
174 175 176 177
16th Chorus
                        
 
F7 Bb7 Bb7 Bb7
               
178 179 180 181

                      
   
Bb7 Bb7 Bb7 Eb7
               
182 183 184 185


                     
Eb7 Bb7 G7 Cmi7
               
186 187 188 189

                 
            
F7 Bb7 Bb7 Bb7
               
190 191 192 193

151
 APPENDIX E

“JONES STREET”: TREBLE AND BASS CLEF TRANSCRIPTIONS, ANNOTATED

AND UNANNOTATED

152
 “Jones Street”
Michael Brecker tenor saxophone solo
from Give and Take
transcription is notated one ocatave
above actual sounding pitch
q = 108

 indicates passing tone

*Improvised lead-in to first chorus transcription: David Freedy

      
Ab7 D7(#9)

   

   D7(#9)
 
1st Chorus 5th Mode of Bb
5th Mode of Bb
  
AbMA Major Pentatonic
   C Dorian
EbMA/DbMA

Mode

          
3 3

  
Major Pentatonic
 
 
3
3
       
Gmi7 D7 Gmi7 G7 Cmi7
            
1 2 3 4 5
   FMA
   BbMA   
Gmi13
                 

 
3 3 3
Cmi7 Gmi7 Gmi7 Eb7 3 D7(#9)
                   
6 7 8 9 10

2nd Chorus   
     
 
Gmi13
         
  
3 3
Gmi7 Gmi7 Gmi7 D7 Gmi7
                   
11 12 13 14 15

    
 3           
Cmi13 C Dorian Mode
    
         
3
 
3 3
G7 Cmi7 3 Cmi7 Gmi7
               
16 17 18 5th Mode of Bb 19 5th Mode of Bb
          AbMA
Major Pentatonic
Eb Mixolydian 3 3
Major

          
Mode

              
3 3 3 3 Pentatonic


Gmi7 Eb7 3
D7(#9)
           
20 21 22

153
 "Jones Street"
transcription: David Freedy
3rd Chorus
 CMA 
    
BbMA
BbMA
    CMA
 
BbMA CMA
    
Gmi9
       
   
3
Gmi7 Gmi7 Gmi7
           
23 24 25

            
Ab Ascending
      BbMA
Melodic Minor
CMA BbMA  CMA
 
   
BbMA BMA
      
         
3
D7 Gmi7 G7
           
26 27 28

    3  
EbMA
  
BbMA/CMA 13
         
BbMA
 EMA
        
            
   
16
Cmi7 Cmi7 Gmi7
           
29 30 31

DbMA7(#5)
    Eb Dominant
     
Bebop Scale

     
       
 
Gmi7 Eb7
       
32 33

                          
Eb Aeolian/Dorian G Aeolian Mode

     
 

D7(#9) Gmi7 Gmi7

           
34 35 36

154
 “Jones Street”
Michael Brecker tenor saxophone solo
from Give and Take

transcription is notated one ocatave

above actual sounding pitch
q= 108 transcription: David Freedy
      
*Improvised lead-in to first chorus

   

   D7(#9)
 
1st Chorus      
            
3 3

      
3
3
       
Gmi7 D7 Gmi7 G7 Cmi7
            
   
1 2 3 4 5
  
                   

 
3 3 3
Cmi7 Gmi7 Gmi7 Eb7 3 D7(#9)
                   
  
6 7 8 9 10

2nd Chorus
   
                   
3 3
Gmi7 Gmi7 Gmi7 D7 Gmi7
                   
11 12 13 14 15

      3                
       
3
 
3 3
G7 Cmi7 3 Cmi7 Gmi7
               
16 17 18 19

         
3 3
        
                 
3 3 3 3

Gmi7 Eb7 3 D7(#9)
           
20 21 22

155
 "Jones Street"
transcription: David Freedy


3rd Chorus
           
    
       
   
3
Gmi7 Gmi7 Gmi7
           
23 24 25


                                
     
3
D7 Gmi7 G7
           
26 27 28

    3        13

       
         
       
   
16
Cmi7 Cmi7 Gmi7
           
29 30 31

      
 

   
    

     

Gmi7 Eb7
       
32 33

                           
     

D7(#9) Gmi7 Gmi7

           
34 35 36

156
 “Jones Street”
Michael Brecker tenor saxophone solo
from Give and Take
transcription is notated one ocatave
below actual sounding pitch
q = 108

 indicates passing tone

*Improvised lead-in to first chorus transcription: David Freedy

           
Ab7 D7(#9)

   D7(#9)
 
1st Chorus 5th Mode of Bb
C Dorian
5th Mode of Bb AbMA EbMA/DbMA
   
Major Pentatonic Mode
         
3
   
3
   
Major Pentatonic

 
3
       
Gmi7 D7 Gmi7 G7 3 Cmi7
            
1 2 3 4 5
 
FMA
           
BbMA Gmi13
     3
         
  
3 3 D7(#9)
Cmi7 Gmi7 Gmi7 3 Eb7
                   
6 7 8 9 10

  
2nd Chorus

    
Gmi13
        
    
 
3 3
Gmi7 Gmi7 Gmi7 D7 Gmi7
                   
11 12 13 14 15

   3    C Dorian Mode
              3  3     
Cmi13
  

3 3
G7 Cmi7 Cmi7 Gmi7
               
16 17 18 5th Mode of Bb 19
5th Mode of Bb
  3   AbMA
Major Pentatonic
Eb Mixolydian
  3       
Major
Mode 3

         
3
 
3 3 Pentatonic
 
   
Gmi7 Eb7 3 D7(#9)
           
20 21 22

157
 "Jones Street"
transcription: David Freedy

3rd Chorus
BbMA CMA
  BbMA  CMA
BbMA CMA
 Gmi9
          
             
3
Gmi7 Gmi7 Gmi7
           
23 24 25

 Ab Ascending
                           
Melodic Minor
BbMA BMA BbMA CMA BbMA CMA
      
 

 
3
D7 Gmi7 G7
           
26 27 28

    3
BbMA/CMA
       EMA
EbMA 13
  
BbMA
          
        
     
  
 
16
Cmi7 Cmi7 Gmi7
           
29 30 31

  Eb Dominant
      
 
DbMA7(#5) 
Bebop Scale

     
    
 
Gmi7 Eb7
       
32 33

  
Eb Aeolian/Dorian
   
              
G Aeolian
    
Mode

   

D7(#9) Gmi7 Gmi7

           
34 35 36

158
 “Jones Street”
Michael Brecker tenor saxophone solo
from Give and Take
transcription is notated one ocatave
below actual sounding pitch
q= 108 transcription: David Freedy

           
*Improvised lead-in to first chorus

   D7(#9)
 

 
1st Chorus
      
      
3
   
3
  
 
3
       
Gmi7 D7 Gmi7 G7 3 Cmi7
            
1 2 3 4 5

        
       
3
         

3 3 D7(#9)
Cmi7 Gmi7 Gmi7 3 Eb7
                   
6 7 8 9 10


2nd Chorus   
                  
 
3 3
Gmi7 Gmi7 Gmi7 D7 Gmi7
                   
11 12 13 14 15

   3             3  3     
     


3 3
G7 Cmi7 Cmi7 Gmi7
               
16 17 18 19

3  3   
         
        
3 3

3 3

     

Gmi7 Eb7 3 D7(#9)
           
20 21 22

159
 "Jones Street"
transcription: David Freedy

 
3rd Chorus
           
       
    
3
Gmi7 Gmi7 Gmi7
           
23 24 25


                                  
   
3
D7 Gmi7 G7
           
26 27 28

    3        13

             
        
  
  
16
 
Cmi7 Cmi7 Gmi7
           
29 30 31

          
          
     

Gmi7 Eb7
       
32 33

        
                  
 
D7(#9) Gmi7 Gmi7
           
34 35 36

160
 APPENDIX F

“DELTA CITY BLUES”: TREBLE AND BASS CLEF TRANSCRIPTIONS,

ANNOTATED AND UNANNOTATED

161
 “Delta City Blues”
Michael Brecker tenor saxophone solo
from Two Blocks from the Edge
transcription is notated one ocatave
above actual sounding pitch
h = 138
 indicates passing tone
* Improvised lead-in to 1st chorus transcription: David Freedy
F7(#5)

3
 
            
  
1st Chorus
 3   
B
 
   
Mixolydian Mode

  
    

   Bb7   
Bb7
     
Bb7

1 2 3
Eb "Lydian
3       
Dominant" Scale
3

       
  

Bb7 Eb7 Eb7
           
4 5 6

     3 
B Mixolydian Mode

    
   
Bb7 Bb7
       
7 8
Mixo-

Bb lydian
         
          
Mode

Cmi7 F7
       
9 10
B Mixolydian Mode

     
        
   
Bb7 Bb7
       
11 12

162
 "Delta City Blues"
transcription: David Freedy
2nd Chorus B "Dominant Diminished" Scale

         
          
Bb7 Bb7
       
13 14

   BAscending
   
Melodic Minor Scale

          
     
Bb7 Bb7
       
15 16

      
Eb
 
"Lydian Dominant" Scale

      Bb Mixolydian
Eb7 Mode

           
   
Eb7 Eb7
       
17 18

B "Dominant
     
Diminished" Scale

                     
Bb7 Bb7
       
19 20
A Mixolydian
F#9
       Ab Mixolydian
      
Mode

     
Mode

    
Cmi7 F7
       
21 22
3rd Chorus
     
chromaticismCMA Bb7 CMA 
Bb Mixolydian Mode
  
        

Bb7 Bb7 Bb7
           
23 24 25

163
 "Delta City Blues"
transcription: David Freedy

                 
     

Bb7 Bb7
       
26 27

B7 BbMA

B Dorian            
chromaticism

           
Mode

         
Bb7 Eb7
       
28 29
5th Mode of
D Major
Bbmi B Mixolydian Bb B Mixolydian
     
    
Pentatonic Mode Ionian Mode Mode

     
         
 
Eb7 Bb7
       
30 31

          
Bb Ionian B "Lydian
 
  
Mode
    
     
Dominant" Scale

 
Bb7 Cmi7
       
32 33

            Bb Ionian Mode   B Ionian      

    
B Mixolydian Mode
 
Mode
       
 
F7 Bb7
       
34 35

4th Chorus
         
Bb Ionian Mode EMA
Bb7/Ab7
    
          
 
Bb7 Bb7
       
36 37

164
 "Delta City Blues"
transcription: David Freedy
F#MA EMA

F#MA

EMA
     F#MA
 F#MA    EMA      BbMA
  
            
Bb7 Bb7
       
38 39
B

Ionian Mode

         
3
Eb Mixolydian Mode
            
        
Bb7 Eb7
       
40 41

    
7th Mode of the F Dominant Bebop Scale 5th Mode of Db
     
     
Bb Ionian Mode
     
Major Pentatonic

        
Eb7 Bb7
       
42 43

 
   
BbMA
  
G7(b9) Cmi  
Gmi
    FMA
     EMA
    
 
       
   
Bb7 Cmi7
       
44 45

     Dmi  
EbMA
    Cmi             
chromatic 4th Mode of F Dominant Bebop
       
diatonic turnaround
  
turnaround

  
3
F7 Bb7
       
46 47

    
        F7(#5,#9) BbMA/Bb7
  
       

Bb7 Bb7
       
48 49

165
 “Delta City Blues”
Michael Brecker tenor saxophone solo
from Two Blocks from the Edge

transcription is notated one ocatave

above actual sounding pitch
h = 138
* Improvised lead-in to 1st chorus transcription: David Freedy

  3

             

 3   
1st Chorus
      
      

   Bb7   
Bb7
     
Bb7

1 2 3

3        
3
    
      

Bb7 Eb7 Eb7
           
4 5 6

  3  
        
  
Bb7 Bb7
       
7 8

          
          

Cmi7 F7
       
9 10

            
   
Bb7 Bb7
       
11 12

166
 "Delta City Blues"
transcription: David Freedy
2nd Chorus
                
  
Bb7 Bb7
       
13 14

    
           
   
   
Bb7 Bb7
       
15 16

     
          
       
  

Eb7 Eb7
       
17 18

     
                    
Bb7 Bb7
       
19 20

                   
    
Cmi7 F7
       
21 22

    
3rd Chorus
     
       

Bb7 Bb7 Bb7
           
23 24 25

167
 "Delta City Blues"
transcription: David Freedy

                 
    
Bb7 Bb7
       
26 27

                    
              

Bb7 Eb7
       
28 29

         
                 
Eb7 Bb7
       
30 31

                           

Bb7 Cmi7
       
32 33

                      
           

F7 Bb7
       
34 35

         
4th Chorus
           
    
Bb7 Bb7
       
36 37

168
 "Delta City Blues"
transcription: David Freedy

     
              
          
Bb7 Bb7
       
38 39

  
       
3
           
     
Bb7 Eb7
       
40 41

    
   
                
 
Eb7 Bb7
       
42 43

                           
        
Bb7 Cmi7
       
44 45

                           
      
3
F7 Bb7
       
46 47

    
       
  
      
Bb7 Bb7
       
48 49

169
 “Delta City Blues”
Michael Brecker tenor saxophone solo
from Two Blocks from the Edge
transcription is notated one ocatave
below actual sounding pitch
h = 138
 indicates passing tone
* Improvised lead-in to 1st chorus transcription: David Freedy
F7(#5)
    
3
           
  
1st Chorus
    
B

Mixolydian Mode
   
      
3

 
   Bb7   
Bb7
     
Bb7

1 2 3
Eb "Lydian
   3       
Dominant" Scale
3
    
  
Bb7 Eb7 Eb7
           
4 5 6

  3 
    
B Mixolydian Mode
    
 
Bb7 Bb7
       
7 8
Mixo-
Bb lydian
   
        
          
Mode

Cmi7 F7
       
9 10
B Mixolydian Mode
     
       
     
Bb7 Bb7
       
11 12

170
 "Delta City Blues"
transcription: David Freedy
2nd Chorus B "Dominant Diminished" Scale
 
       
            
Bb7 Bb7
       
13 14

    BAscending
   
Melodic Minor Scale
           
   
Bb7 Bb7
       
15 16

           
Eb "Lydian Dominant" Scale
Eb7 Bb Mixolydian
      
Mode
    
       
  
Eb7 Eb7
       
17 18

B "Dominant Diminished" Scale

         
  
               
Bb7 Bb7
       
19 20
Mixolydian

            
F#9 A Ab Mixolydian Mode
  
Mode
 
       
Cmi7 F7
       
21 22
3rd Chorus
CMA
        
Bb7 CMA

Bb
  

Mixolydian Mode

 
chromaticism

     
Bb7 Bb7 Bb7
           
23 24 25

171
 "Delta City Blues"
transcription: David Freedy

         
           
  
Bb7 Bb7
       
26 27

             
chromaticism
B7 BbMA B Dorian Mode
             
     
Bb7 Eb7
       
28 29
5th Mode of
D Major
Bbmi Pentatonic B Mixolydian Mode Bb Ionian Mode B Mixolydian Mode
    
    
         
     
    
Eb7 Bb7
       
30 31

B "Lydian
             
Bb Ionian Mode

 
Dominant" Scale
           
 
Bb7 Cmi7
       
32 33

         Bb Ionian Mode   B Ionian

B Mixolydian Mode
                 

Mode
    

F7 Bb7
       
34 35

4th Chorus

Bb EMA
       
Ionian Mode
  Bb7/Ab7
  
            
  
Bb7 Bb7
       
36 37

172
 "Delta City Blues"
transcription: David Freedy


F#MA EMA
F#MA

EMA

F#MA
  
EMA
   F#MA
    
BbMA
          
     
Bb7 Bb7
       
38 39
B

Ionian Mode
       Eb Mixolydian Mode  
3
     
           
  
Bb7 Eb7
       
40 41

      
7th Mode of the F Dominant Bebop Scale 5th Mode of Db
Bb Ionian Mode
        
     
Major Pentatonic

         
Eb7 Bb7
       
42 43

 
BbMA
 
G7(b9) Cmi Gmi
    FMA
                    EMA
    
 
 
Bb7 Cmi7
       
44 45

           turnaround         
chromatic
EbMA Dmi Cmi diatonic turnaround4th Mode of F Dominant Bebop
               
3
F7 Bb7
       
46 47

       F7(#5,#9) BbMA/Bb7
       
        
Bb7 Bb7
       
48 49

173
 “Delta City Blues”
Michael Brecker tenor saxophone solo
from Two Blocks from the Edge

transcription is notated one ocatave

below actual sounding pitch
h = 138
transcription: David Freedy
* Improvised lead-in to 1st chorus
    
3
           
1st Chorus
     
          
3
 
   Bb7   
Bb7
     
Bb7

1 2 3

    3       
3
     

Bb7 Eb7 Eb7
           
4 5 6

         3  
  
Bb7 Bb7
       
7 8

   
        
          
Cmi7 F7
       
9 10

          
     
 Bb7 Bb7
       
11 12

174
 "Delta City Blues"
transcription: David Freedy
2nd Chorus
 
            
    
Bb7 Bb7
       
13 14

   
             
   
  
Bb7 Bb7
       
15 16

       
   
     
         

Eb7 Eb7
       
17 18

           
   
          
Bb7 Bb7
       
19 20

                
      
Cmi7 F7
       
21 22

3rd Chorus
          

        

Bb7 Bb7 Bb7
           
23 24 25

175
 "Delta City Blues"
transcription: David Freedy

         
           
 

Bb7 Bb7
       
26 27

                   
             
Bb7 Eb7
       
28 29

         
         
   
    
Eb7 Bb7
       
30 31

                           

Bb7 Cmi7
       
32 33

    
                          

F7 Bb7
       
34 35

          
4th Chorus
  
  
          

Bb7 Bb7
       
36 37

176
 "Delta City Blues"
transcription: David Freedy

       
             
        
Bb7 Bb7
       
38 39

   
      
3
               
 
Bb7 Eb7
       
40 41

    
   
                 

Eb7 Bb7
       
42 43

                            
  
Bb7 Cmi7
       
44 45


                             

3
F7 Bb7
       
46 47

    
   
          
 
Bb7 Bb7
       
48 49

177
 APPENDIX G

“TIMELINE”: TREBLE AND BASS CLEF TRANSCRIPTIONS, ANNOTATED AND

UNANNOTATED

178
 “Timeline”
Michael Brecker tenor saxophone solo
from Time is of the Essence

transcription is notated one ocatave

above actual sounding pitch
q = 114
 indicates passing tone
1st Chorus transcription: David Freedy

     
D "Blues" Pentatonic D "Blues" Pentatonic 3
 Ami7
     
       
    
3 3

  Dmi7
    
Dmi7
   
Dmi7
 
1 2 3

Pentatonic
Major
     3  3  3 GMixolydian
D

G Dorian Mode
                     
3
  
3 3 Gmi7 3 3
Dmi7 Gmi7
           
4 5 6
5th Mode of "Dominant
D Aeolian A Diminished"
 3         
Mode F Major
Bb Ionian Mode
Pentatonic B Mode
Mixolydian

9
   
Scale

   
     
            
 
Dmi7 Dmi7 Bb7
           
7 8 9

    
               
D "Blues" Pentatonic

       
    
3 3
3
A7(#9) Dmi7 ( Emi7(b5) A7 )
           
10 11 12

2nd Chorus "Gap" Scale A7 BMA DAUG

    3  
            
      
  
3
 
Dmi7 Dmi7 Dmi7
           
13 14 15

179
 "Timeline"
D Major transcription: David Freedy
 D7 G Dorian Mode     
Pentatonic

                
Dmi/D7(#9)
 
AbMA
    
      
3 3
Dmi7 Gmi7 Gmi7
           
16 17 18
D Aeolian Mode
 3 
D "Blues" Pentatonic
chromatic turnaround
 
                  
3 straight eighths

     
3
  
3
 
 3 3

3
Dmi7 Dmi7 Bb7 A7(#9)
               
19 20 21 22
3rd Chorus
 
Dmi11
 

     
straight eighths

3
        3 3 3

        
3 3

Dmi7 ( Emi7(b5) A7 ) Dmi7

           
23 24 25
Ab Dorian
  
Mode

   3   3
AMA A7
         
   
A7 DmiMA7 GMA

  
        

Dmi7 Dmi7 Dmi7
           
26 27 28

Db
          
Dominant Bebop Scale 5th Mode of C Dominant Bebop Scale

                
    

Gmi7 Gmi7
       
29 30

    
D Ascending Melodic Minor Scale B Mixolydian Mode D"Dominant Diminished" Scale
      
         
         
  
  
Dmi7 Dmi7 23

       
31 32

180
 "Timeline"
Whole transcription: David Freedy
Bb Mixolydian B
   3  
Tone

Mode
B D

         
Scale Mixolydian Mode Dorian Mode

               
  
Bb7 ( ) A7(#9) 25
       
33 34

4th Chorus Ascending

chromatic

Ami7
     D Melodic

D
        
"Blues" Pentatonic turnaround
     Minor
A7
  
straight eighths

   

Scale

    
3
Dmi7 ( Emi7(b5) A7 ) Dmi7 Dmi7
               
35 36 37 38

       
D Dorian
 
Mode 5th Mode of G Harmonic Minor Scale
3 G Dorian Mode
              
      
         

3
Dmi7 Dmi7 Gmi7
           
39 40 41

       
D "Blues"
          
Pentatonic

        
3
    3 3
Gmi7 Dmi7 Dmi7
           
42 43 44

       
Bb
     
      
Mixolydian Mode D Dorian Mode b9 #9 D "Blues" Pentatonic
    3   3 


    
3 3 (A7)
Bb7 A7(#9) Dmi7 ( Emi7(b5) A7 )
               
45 46 47 48

181
 “Timeline”
Michael Brecker tenor saxophone solo
from Time is of the Essence

transcription is notated one ocatave

above actual sounding pitch
q = 114
1st Chorus transcription: David Freedy
      
3

      
       
3
   3

  Dmi7
    
Dmi7
   
Dmi7
 
1 2 3

      3  3  3  3
                    

3 3 Gmi7 3 3
Dmi7 Gmi7
           
4 5 6

  3         
9
          
             
Dmi7 Dmi7 Bb7
           
7 8 9

    
           

         
      
3 3
3
A7(#9) Dmi7 ( Emi7(b5) A7 )
           
10 11 12

2nd Chorus
    3  
            
        
3

Dmi7 Dmi7 Dmi7
           
13 14 15

182
 "Timeline"
transcription: David Freedy
               
               

   
3 3
Dmi7 Gmi7 Gmi7
           
16 17 18

   
            
3
  
3

straight eighths

  
3
   
3
   
  3 3

3
Dmi7 Dmi7 Bb7 A7(#9)
               
19 20 21 22

  
3rd Chorus
 
straight eighths

3
   3  
   
3 3
            
3 3

Dmi7 ( Emi7(b5) A7 ) Dmi7

           
23 24 25

3      3  
             
       
        

Dmi7 Dmi7 Dmi7
           
26 27 28

          
                
   
Gmi7 Gmi7
       
29 30

     
                          
  
Dmi7 Dmi7 23

       
31 32

183
 "Timeline"
transcription: David Freedy

   3   
                         
  
Bb7 
( ) A7(#9) 25
       
33 34

4th Chorus
      
           
  
straight eighths

         
3
Dmi7 ( Emi7(b5) A7 ) Dmi7 Dmi7
               
35 36 37 38


         
3
       
              
    
3
Dmi7 Dmi7 Gmi7
           
39 40 41

                    
 
3
     
  3 3
Gmi7 Dmi7 Dmi7
           
42 43 44

                        3  3
        
 
3 3
Bb7 A7(#9) Dmi7 ( Emi7(b5) A7 )
               
45 46 47 48

184
 “Timeline”
Michael Brecker tenor saxophone solo
from Time is of the Essence

transcription is notated one ocatave

below actual sounding pitch
q = 114
 indicates passing tone
1st Chorus transcription: David Freedy
D "Blues"
  D "Blues"

Pentatonic
Ami7 Pentatonic 3
        
         
3
    3
  Dmi7
    
Dmi7
   
Dmi7
 
1 2 3

Pentatonic G Dorian Mode       3

Major

    3   3   3 

D
      
G Mixolydian
       
      
Dmi7 Gmi7 3 3 Gmi7 3 3
           
4 5 6
5th Mode of "Dominant
D Aeolian A Diminished"
3        
Mode F Major
Bb Ionian Mode
Pentatonic B Mode
Mixolydian
 
Scale
  
9
   
        
            

Dmi7 Dmi7 Bb7
           
7 8 9

   
      
D "Blues" Pentatonic
                 
3

      3 3
A7(#9) Dmi7 ( Emi7(b5) A7 )
           
10 11 12

2nd Chorus "Gap" Scale A7 BMA DAUG

      3 
3

         
       
  

 
Dmi7 Dmi7 Dmi7
           
13 14 15

185
 "Timeline"
transcription: David Freedy
D Major

              
Pentatonic

        
Dmi/D7(#9) D7 G Dorian
 
AbMA Mode
         
  3 3
Dmi7 Gmi7 Gmi7
           
16 17 18

D "Blues"

D Aeolian chromatic turnaround Pentatonic
  
Mode

             
straight eighths 3
   
3

     
3 3
 
  3 3 3

Dmi7 Dmi7 Bb7 A7(#9)
               
19 20 21 22
3rd Chorus
straight eighths
 
Dmi11
 

     
3
 
3
 
3
         3 3 3
 
  
Dmi7 ( Emi7(b5) A7 ) Dmi7
           
23 24 25
Ab Dorian Mode
AMA
3  
A7
   3   
A7 DmiMA7 GMA
            
          
      

Dmi7 Dmi7 Dmi7
           
26 27 28

Db
        5th
 Mode
  
of C Dominant Bebop Scale
 
Dominant Bebop Scale
      
           
 
Gmi7 Gmi7
       
29 30
B Mixolydian Mode 23 D"Dominant Diminished" Scale
 
D Ascending Melodic Minor Scale
    
        
        
         
  
Dmi7 Dmi7
       
31 32

186
 "Timeline"
transcription: David Freedy
Whole
Bb Mixolydian B B Mixolydian Mode 25 D Dorian Mode
  3   
Tone

Mode
 
         
Scale
      
        
  
( )
Bb7 A7(#9)
       
33 34

4th Chorus Ascending

   
chromatic Ami7
Pentatonic straight eighths   D Melodic

turnaround
D "Blues"
Minor

             
 A7

Scale
    
3   
Dmi7 ( Emi7(b5) A7 ) Dmi7 Dmi7
               
35 36 37 38

3          
D Dorian Mode

5th Mode of G Harmonic Minor Scale

       
G Dorian Mode
   
      
      
   

3
Dmi7 Dmi7 Gmi7
           
39 40 41

D "Blues"
   
Pentatonic 3
3
              
   
 
   
3
Gmi7 Dmi7 Dmi7
           
42 43 44

    
Bb
     
D "Blues"
          3  3
Mixolydian Mode D Dorian Pentatonic

Mode b9 #9
         
3 3  
(A7)
Bb7 A7(#9) Dmi7 ( Emi7(b5) A7 )
               
45 46 47 48

187
 “Timeline”
Michael Brecker tenor saxophone solo
from Time is of the Essence

transcription is notated one ocatave

below actual sounding pitch
q = 114
1st Chorus transcription: David Freedy
  3
        
         

3   3
  Dmi7
    
Dmi7
   
Dmi7
 
1 2 3

    3   
                  3 3 3

3 3 Gmi7 3 3
Dmi7 Gmi7
           
4 5 6

   3         
9
          
           
Dmi7 Dmi7 Bb7
           
7 8 9

   
            
       
3
 
        3 3
A7(#9) Dmi7 ( Emi7(b5) A7 )
           
10 11 12

2nd Chorus
      3 
3

         
          

Dmi7 Dmi7 Dmi7
           
13 14 15

188
 "Timeline"
transcription: David Freedy

               
                

   3 3
Dmi7 Gmi7 Gmi7
           
16 17 18

    
             
straight eighths 3
   
3

     
3 3
 
  3 3 3

Dmi7 Dmi7 Bb7 A7(#9)
               
19 20 21 22

 3rd
 Chorus
straight eighths

  
  3       3   3   3   
3 3
 
  
Dmi7 ( Emi7(b5) A7 ) Dmi7
           
23 24 25

  
  3    3 
       
  
       
  
    

Dmi7 Dmi7 Dmi7
           
26 27 28

                  
            
   
Gmi7 Gmi7
       
29 30

23

      
         
               
  
Dmi7 Dmi7
       
31 32

189
 "Timeline"
transcription: David Freedy

  3   
25
  

                      

 
( )
Bb7 A7(#9)
       
33 34

4th Chorus
    
       
        
straight eighths

     
3  
Dmi7 ( Emi7(b5) A7 ) Dmi7 Dmi7
               
35 36 37 38

     
3     
   
                  
 
3
Dmi7 Dmi7 Gmi7
           
39 40 41

 
3
      
3
          
   
  3
Gmi7 Dmi7 Dmi7
           
42 43 44

                 3  3
            
3 3 
Bb7 A7(#9) Dmi7 ( Emi7(b5) A7 )
               
45 46 47 48

190
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