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The difference in my opinion is usually when a player is thinking G melodic minor the G minor sound is outlined. It’s obvious that Brecker likes this lick and probably got it from Coltrane as did the rest of us that studied Coltrane at one time Measure 4-C#-11 F#7#9 Here we have a ii-V going to B minor.įor the most part Brecker seems to be treating this whole measure as F#7 altered or G melodic minor. He even throws in a common Coltrane line a bunch of times (top of page 8 solo 2 DMaj7, bottom of page 10 solo 3 DMaj7, top of page 12 solo 2 DMaj7, middle of page 13 solo 2 DMaj7, bottom of page 18 solo 3 DMaj7.
The lines sound great over this chord and using these 3 concepts over altered chords will give us a load of new ideas and lines! Measure 3-DMaj7 Brecker treats this measure with some pretty common D Major patterns on every chorus. You can see how the F Lydian and G7 bebop lines share most of the same notes as the C# altered scale.
Brecker’s lines over this measure generally take on the form of outlining a C# altered scale, F Lydian type of idea or a G7 bebop scale type of line.į lydian is FGABCDEF and the G dominant bebop is GABCDEFF#G. Measure 2-C#7#5#9 (the original Don Grolnick score has this chord as a F#-7sus although there is a F in the bass on the sheet music and I know I hear an F in the comping on this measure so I’m going with C#7#5#9.) The typical approach to this chord is the C# altered scale which is C#DEFGABC#. So in this case the phrygian mode makes sense for this minor chord. The chord after the F#-11 is a C#7#5#9 (also G and D if you use the C# altered scale). In this case the chord before F#-11 is a G13(has a G and D). When trying to figure out what scale to use over a minor chord I teach students that they have to do a little detective work with the chord before and after the specific minor chord (as well as using their ears).
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This is the Phrygian mode.Īlan Jackson Screen Saver v2- C WINDOWS SYSTEM AlanJacksonSSv2.
During the times that he includes those scale degrees he goes for a G for the 2nd and a D for the 6th. If you go with dorian the 2nd would be G# and the 6th would be D#. When playing over a minor chord the question arises on what to play for the 2nd and 6th degree of the scale. I will start on the first measure (not counting the pickup measure): Measure 1-F#-11 (the original Don Grolnick score has this chord as a F#-7sus) For the most part, Brecker is highlighting the F# minor pentatonic during these F#-11 chords. Let’s take a look at these concepts one measure at a time (We will be referring to the Bb key for the chords). The similarities make these concepts all the more recognizable. This is a great way to decipher and pinpoint an approach or concept that Brecker might have used when soloing over certain chord changes. Steps Ahead in the 80’s I’ve found that by placing the 3 solos next to each other on staves you can find certain similarities and concepts in common through each chord. I came up with the idea of placing these two transcriptions along side my transcription from the original Paradox CD to compare Brecker’s lines and ideas over the chords.
We are in for a treat today! I contacted Rick Margitza (a great tenor saxophone player) on facebook the other day and asked if I could share his two transcriptions of Michael Brecker’s solos from two Steps Ahead bootlegs of Four Chords.
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