EXAMPLES OF CHROMATIC LINES by DAVID LIEBMAN

The following examples represent the original source material for what would become my book A Chromatic Approach To Jazz Harmony and Melody (Advance Music). When these lines were first published by Jazz Life Magazine in Japan, I was just beginning to formulate the concepts which lead to these kinds of lines as well as harmonies which could accompany them. The basic principle is superimposition. As the original progression, mode or pedal point is being played, the improviser is thinking, hearing and executing lines in a variety of different keys placed on top or against the original. Bi or poly-tonality would also be an accurate description. To be avoided are symmetrical patterns for the superimposition like whole steps, minor thirds, etc., because they are too predictable. The degrees of tension (and eventual release via a tonal type of line) are a consequence of the various methods described in the book. The main goal is to increase the dissonant-consonant scale and range of ones improvisational language. The first three examples represent one each for different harmonic situations: diatonic, modal and pedal point. Example 1 representing diatonic, modulating progressions is a iii-VI-V of V-V- I progression and one possible superimposed progression against the original. Example 2: Using a D dorian tonality with accompanying ascending fourth voicings in the left hand, I superimpose other key centers in the melody line. The bass player could stay with D type notes or if he truly heard the superimposition, he could find other notes to compliment the line. Example 3 This example superimposes other key centers above an F# pedal point. The line player can think of these other key centers played against the pedal point, but devoid of a specific color such as minor, major, augmented, diminished, etc. Chord qualities may or may not become specific in the moment in pedal point playing as a result of what the players do together.

Examples 4 through 10 These are all ii-V lines with the superimposition material coming from other possible ii-V progressions. As we know the ii-V is the most common diatonic progression found in standard tunes. The degree of tension and release depends upon how far away the superimposed ii-Vs are from the original in terms of common tones between the new and the old. Also, your resolution to the original home key (C major in this case) is crucial, though not included here.

Example 11 Another way to chromaticize a chord or scale without going to far away from the home key is to change the chord quality; in this case from the usual D dorian to D diminished in bar 1 and from G mixolydian to G Phrygian in bar 2.

Examples 12 -18 In the following examples I use a mode as the stationary center, various D modes such as Phrygian, mixolydian, aeolian, etc. Possible left hand voicings (for a pianist playing the lines in his right hand) are suggested, very much in the fourth interval style of McCoy Tyner. The chords in parenthesis are the basis for the superimpositions. Ex. 12 In this case the home mode is a D dorian while the superimposed entities are dominant 7th chords a flat sixth and flat fifth away from the root.

Example 13 Over the D Phrygian the superimposed triads move in random motion above the root.

Ex 14 The home key here is D Lydian augmented; note that for the sake of clarity for most of these examples, it is advisable to begin and end in the first and last bar with a very tonal line clearly outlining the home key sound.

ex 15 Using a D major scale as the established tonality, by using neighboring tones a feeling of chromaticism is heard. In essence this is a traditional bebop concept which Charlie Parker clearly enunciated in his work. In this example the neighboring tones are also the blue notes (from the blues scale) and give the line that specific kind of atmosphere.

ex 16 More superimposition over a D mixolydian scale.

ex 17 Using D locrian as the home key, the superimpositions move in descending whole steps (up to the last bar). In general as mentioned above, I try to avoid pattern or what we call symmetrical movement since the motion of the line becomes too predictable and takes interest away from the listening experience.

ex 18 Over a D aeolian mode , another example of random superimposition.

examples 19-24:Pedal point Pedal point playing means that the improviser plays without necessarily specifying a scale or chord color around the root. This is a more abstract level of modal playing since now, the choice of minor, major, diminished, augmented, dominant colors are up to the moment and interaction between the chordal player, the bass line and the soloist. In the first example over a G pedal four bar phrase I use several different types of superimposed sounds. The same kind of reasoning exists for all the following examples of pedal point harmonic situations.

Example 25 For these examples, I turn to a musical situation where there is no harmonic center, be it chord changes, mode or even pedal point. Ornette Coleman was the primary artist responsible for this style called free bop or time, no changes (the Miles Davis group of the 60s with Herbie Hancock, etc were the main proponents of this way of playing). By the way the principles described can work in an out of tempo or rubato situation also. In these cases the thinking is completely intervallic. One can use different interval sets in random sequences to invent lines. You will soon discover that each interval set has a certain color or feel. Eventually each artist builds his or her own understanding of which intervals to use for expressive purposes.

Example 26-Free Form Lines These lines are free combinations that can be used in all sorts of chromatic situations. In the final result all lines are after all a combination of intervals.

FINAL NOTE: Obviously these examples do not consider the harmonic aspect of voicing which is a separate topic in itself. To review the process described here: invent examples using a specific thought pattern as described above followed by writing them out in normal eighth note rhythms. Of course when going to play them, use all the usual means of theme/variation techniques through rhythmic and expressive devices (augmentation, diminution, syncopation, neighboring tones, range, grace notes, ghost notes, etc.) The route is that the mind conceives; the body executes (ear at first followed by fingers, breath, etc. depending upon the instrument); finally the individuals expressive needs dictates when and how the material will be translated into music and hopefully, art. Have fun and please refer to my books on the subject.

Sept 12 2007 Stroudsburg, PA USA