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    Cellular Patterns BB

    Uploaded by

    Randy Marmer
    Cellular Patterns Bb

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    © All Rights Reserved
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    Cellular Patterns BB

    Uploaded by

    Randy Marmer
    185 views3 pages
    Cellular Patterns Bb

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    Cellular Patterns Bb

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    Cellular Patterns Bb

    Copyright:

    © All Rights Reserved
    Download as PDF, TXT or read online from Scribd
    Download as pdf or txt
    185 views3 pages

    Cellular Patterns BB

    Uploaded by

    Randy Marmer
    Cellular Patterns Bb

    Copyright:

    © All Rights Reserved
    Download as PDF, TXT or read online from Scribd
    Download as pdf or txt
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    At a glance
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    The key takeaways are about using simple musical cells or motifs as building blocks for jazz improvisation. The document introduces basic cells, patterns formed from those cells, and ways to combine and modify the cells, such as through modulation.

    Cells are the basic musical ideas or motifs, referred to as Cell #1 and Cell #2. Cell #1 is an ascending major arpeggio and Cell #2 is a descending third. Basic patterns are formed using repetitions of these cells.

    Cells are combined by using both Cell #1 and Cell #2 together to form new patterns, such as scalar triad arpeggios or triad arpeggios with thirds. The cells can also be combined by modifying aspects like rhythm or grouping.

    Cellular Patterns

    B-FLAT PART
    Mike Lebrun
    Want  to  know  what's  going  through  the  heads  of  today's  leading  jazz  ar7sts  when  they  are  improvising?  
    If  only  I  knew!  However,  here's  one  concept  that  just  might  begin  to  offer  a  window  inside  these  great  minds.

    Cells-­‐  these  two  ridiculously  simple  elements  are  the  founda4on  of  everything  that  follows:

    Cell #1
    #1: Ascending Major Arpeggio Cell #2
    #2: Descending third
    #
    &# œ œ œ Œ Œ œ œ
    Œ Ó
    1 3 5 3 1

    Basic  Pa,erns-­‐  just  humor  me  and  start  here,  please!

    Pattern #1 (cell 1) Pattern #2 (cell 2)


    3 ascending  major  triad  inversions ascending  major  triad  thirds
    ## œ œ œ
    œ œ œ œ œ œ œ œ
    œ œ œ œ œ
    & œ œ œ œ
    1 3 5 3 5 1 5 1 3 1 3 etc. 3 1 5 3 1 5 3 etc.

    Pattern #3 (cell 1) Pattern #4 (cell 2)


    6 Scalar  triad  arpeggios Scalar  thirds
    ## 3
    & œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 4
    1 3 5 2 4 6 3 5 7 4 6 etc. 3 1 4 2 5 3 6 etc.

    Combining  Cells-­‐  from  now  onward  we  will  use  both  Cells  1  &  2:

    Pattern #5 - simple combination Pattern #6 - simple metric rephrasing


    9 Triad  arpeggios Same  as  before,  but  in  4  (phrased  over  barlines)
    # 3 4 œ œ œ œ œ
    &# œ œ œ œ œ œ œ œ œ œ œ œ
    4 4œ œ œ œ œ œ
    1 3 5 3 1 3 5 1 5 etc 1 3 5 3 1 3 5 1 5 3 5 1 etc.

    Pattern #7 - simple grouping Pattern #8 - simple scalar & stepwise


    13 Now  using  all  eighth  notes  (groups  of  5) Now  scalar  instead  of  arpeggios
    ## 4 œ œ œœ œ œ œœœœœœœ œ
    & œ œ œ œ œ œ œ œ œ œ œ œ œ œ
    4 œ œ œ œ
    1 3 5 3 1 3 5 1 5 3 5 1 3 1 5 etc. 1 3 5 3 1 2 4 6 4 2 3 5 7 5 3 etc.
    Copyright © 2014 The Woodshed Music, www.thewoodshedmusic.com
    2

    Now  for  the  Fun  Stuff-­‐  once  you  have  wrapped  your  head  around  the  basics  outlined  in  pa4erns  
    1-­‐8,  you  can  start  playing  around  with  the  two  cells  in  more  complex  ways.  I'm  going  to  take  the
    same  cells,  modulate  to  minor,  and  play  around  with  just  one  idea  (you  can  think  of  pa4ern  #9  as
    the  base  pa4ern):

    Pattern #9 - Minor & stepwise


    C  Harmonic  Minor,  move  each  cell  up  stepwise  (each  cell,  meaning  each  cell  group  moves  up  by  a  third)  
    17 œ œ œ œ œ œ# œ œ œ œ
    D‹ œ œ
    œ œ œ œœ
    & b œ œ œ œ œ nœ œ # œ œ œ œ # œ œ œ œ
    1 3 5 4 2 3 5 7 6 4 5 7 2 1 6 7 2 4 3 1 2 4 6 5 3 4 6 1 7 5 6 etc.

    Pattern #9a - Octave displacement of Pattern #9


    Same  notes,  but  the  first  and  last  of  each  grop  of  5  have  been  moved  up  the  octave.  See  the  nice  liNle  paNern  
    it  creates  with  the  "up  notes"  -­‐  1,  2-­‐3,  4-­‐5,  6-­‐7,  1-­‐2,  3-­‐4,  5-­‐6...
    21 D‹ #œ œ œ œ œ œ œ œ œ œ
    œ n œ œ œ œ œ œ œ œ
    &b œ œ œ œ œ# œ œ # œ œ œ œ# œ œ
    1^ 3 5 4 2^ 3^ 5 7 6 4^ 5^ 7 2 1 6^ 7^ 2 4 3 1^ 2^ 4 6 5 3^ 4^ 6 1 7 5^ 6^ etc.
    Whole  line  moved  down  octave

    Pattern #9b - Harmonic Modulation - ascending minor thirds


    I've  heard  Mark  Turner  do  something  similar  to  this:
    D‹ F‹ G©‹
    D‹ F‹ G©‹ B‹

    & b œ œ œ œ œ œ b œ nœ <b> œ œ # œ nœ # œ # œ # œ œ nœ # œ œ
    25 n œ œ œ #œ n œ #
    # œ œ n œ n œ n œ œ œ b œ
    #
    1 3 54 2 1 3 5 4 2 1 3 5 4 2 1 3 5 4 2 1 3 5 4 2 1 3 5 4 2 1 etc.
    Copyright © 2014 The Woodshed Music, www.thewoodshedmusic.com
    3

    Modula>on  with  the  changes-­‐  use  one  or  more  of  these  concepts  to  outline  a  tune's  chord  changes
    while  developing  a  conHnuous  idea/line.  

    Pattern #10 - Major, descending cell #1, don't change Cell #2


    New  base  paNern,  taking  the  descending  form  of  cell  1  instead  of  ascending.
    DŒ„Š7
    29 œœ œ œ œœœ œ œ
    ## œ œ œœœœœ œœœœœœ œ œ
    & œ œ œœœœœ œ
    1 6 4 7 5 6 4 2 5 3 4 2 7 3 1 2 7 5 1 6 7 5 3 6 4 5 3 1 4 2 3 etc.

    Applied  over  the  first  4  bars  of  Green  Dolphin  Street:

    FŒ„Š7 F‹7

    œ œ b œ œ œ œ <b> œ œ b œ œ œ œ b œ œ œ
    33 œ œ
    œœ œœœœ œœœœ œ œ
    & b œ œ œ
    Applied  over  the  first  4  bars  of  Confirma7on  (with  a  few  small  liber7es  to  make  it  work):
    G F©‹7(b5) B7(b9)
    37 œ œ œ œ
    # œ œ œ œ œ œ œ œ nœ œ #œ œ
    &
    (anHcipaHon)
    39 E‹ A7[äÆ] D‹7 G7(b9) C
    # œ nœ œ nœ 3
    bœ
    & œ œ nœ b œ œ # œ œ nœ œ # œ œ nœ nœ nœ œ œ œ nœ
    Add  F#  
    Down  1  step Use  F   approach Octave  
    for  7th tone   up

    S7ll  over  Confirma7on,  try  to  simplify  this  by  choosing  from  cells  1,  2,  and  their  combina7on  to  create    
    a  melody/mo7ve.  Here's  something  similar  to  what  Chris  PoNer  might  play  if  he  were  using  our  cells:
    42 -Gœ F©‹7(b5)
    œ œ œ œ B7(b13) E‹ A7
    # œ œ œ #œ œ œ œ œ œ Œ œ
    & Ó ‰ J ‰ J
    Cell  1 Cell  1 Cell  1 Cell  2 Cell  1 Cell  2

    45 D‹7 G7 > C
    #œ nœ n œ b œ œ œ
    œ œ ‰ œ œ Œ Ó
    & J
    Cell  1 3 Cell  2
    Cell  1  (sort  of)
    Copyright © 2014 The Woodshed Music, www.thewoodshedmusic.com

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