JANUARY 2010 Woodshed WS AZZ/ SCHOOL MASTER CLASS by Pete McCann Applying The Axis Concept To Improvisation In 1988, I was fortunate to participate as a gui- tarist at the Banff International Workshop in Jazz and Creative Music in Alberta, Canada Pat LaBarbera, the saxophone instructor that year, suggested that I check aut Lexicon of Symmenric Seales and Tonal Pattems, by Dr “Maury Deutsch, which has since provided a \wellspring of dees for mein improvisation and ‘composition. Deutsch explains thatthe octave an he split into these symmetrical divisions (inthe key of C): *Trtone: CF + Augmented tad: C-E-Ay: + Diminshed 7th chord: CE} PALA; + Whole tone scale: C-D-E-PI-GHA; Chromatic scale: C-D)-D-F}-E-F-Pt G-GH-A-BYB. He named these divisions “ais” points, and \wrote melodic ideas called “units” over each suis (the number of notes in the melodie idea equals the number of unis) have found that the axisunit concept works very well when applied wo improvisation. la fat, it always peo- vides me with a game plan when I am playing ina modal or fre envionment. Two of my favorite axis points for impro- ising re the augmented triad three axes) and the diminished 7th chord (four axes). Let's Dein withthe augmented iad. First, you need to create a drome in order to hear the axis points on top. This can be done by siting at a piano, playing & low C and holding down the sustain pedal. 1 like using a looping pedal ‘ace you have your drone going, play or sing the notes of the augmented triad (see eg 1). Now, we add melodie units on each axis. Lots use the first, socond and fifth note of a major scale on each axis point, This ereates three-unit shape over thee axes (e.g. 2). You can also use the three-unit shape over a (Cmaj7#5—even though a By creates an obvi ‘ous dissonance, Let's try another three-unit, three-axes shape. Let's use the fist, second and seventh degree ofa major scale over three axes (eg 3). ‘You can try any numberof units over each axis point, but the ears sill drawn to the augment- ed triad, The variation of each example sug: gests how you might play the material in a more melodic way Now, let's look atthe diminished 7th chord, with four axes (ee eg. 4). Let's use the fis, fat second and fifth of a phrygian scale over four axes. This three-unit shape works well over a C79 of a C7sus chord (eg. 5). You ‘probably figured out tat this pattern generates the notes of a C halfwhole diminished scale, Now let’ ty a four-unit shape with the first second, seventh and eighth degrees ofa domi: rant Tth scale (eg 6). Tis shape works well lover a C7, oF C7sus vamp. Thete ate obvious tissonances agin, but the ear navigates to the fouraxes sound ‘You ean also apply the axis concept to com- position. One of my favorite techniques is to ‘write harmonies using a specific axis. In my composition “Jojo's Walz." I used thre-axes harmony on the frst eight bars of the bridge (eg. 1). The C major chord moves to Abmaj, nd then to Ema. In my composition “Third Walt.” I used four-axes harmony on the second half of the tune (e. 8). The chords are moving dovn in ‘minor thirds: Fmaj7, Daj? to Bmaj7; then Amin, Féin? to Epmin?. have been incorporating the axis concept {nto my improvisations and compositions for ‘more than 20 yeas. I would suggest the next time you get together to play a session, try sing ome ofthese idews over a vamp, OB ‘Guitar Pole Mocannis an adn feeuiyautar Aacher at ‘The New Schoo! and Cry Calg ‘New York Ciy- He also teacias ar the NYU ‘Sumever Guia Intensive ana the Maine Jaze Camp. His bres CD, Ex Mies aval on Nineicensignt Hecoris. Email him st petem- ‘exopronine ne