Dennis Sandole’s Unique Jazz Pedagogy

Thomas Scott McGill

De is as a i telle tual. De is had so ethi g spe ial goi g . (Benny Golson) [1]

Introduction

This paper will investigate the jazz pedagogical literature of Dennis Sandole, a legendary
Philadelphia-based teacher, theorist, performer, and composer who is perhaps most well-known for
having been John Coltrane s theo a d i p o isatio tea he and mentor. [2] He was also known
for his virtuosity on the Guitar and for having developed a conceptually advanced and technically
demanding teaching literature that was strongly influenced by twentieth century classical
compositional practice. Described as a i o pa a le tea he of i p o isatio ,[3] Sandole
encouraged his students to apply a range of highly sophisticated melodic and harmonic techniques
such as exotic scales, chord progressions and substitutions based on interval cycles, polytonality and
synthetic multi-octave scales to the jazz idiom in a unique and personal way, always striving to
de elop a stude t s i di idual playing style and musical concept.[4] This paper will examine
“a dole s pe fo ance and teaching career, his pedagogical approach and musical literature, and
will consider the influence that his tea hi gs e e ted o Joh Colt a e s usi al output.

Biography

Dennis Sandole was born on September 29, 1913 in Philadelphia, P.A. and died there on September
30, 2000.[5] He was an autodidact whose primary instrument was the Guitar. Sandole began playing
the instrument sometime in his late teens and from there progressed quickly on to Piano, Theory,
Composition, and Arranging, eventually playing in a group with his brother Adolph, a saxophonist.[6]
Both Sandole brothers would go on to become jazz musicians and teachers, and would collaborate
musically on and off throughout their lives.

“a dole s performance career began in Atlantic City, New Jersey where he played in the it s
numerous nightclubs before moving to the West Coast .[7] He relocated to Hollywood C.A. in the
late s e o i g a Staff Guitarist/Composer/Arranger for MGM Studios. It is here that he began
working with musical luminaries such as Billie Holliday and Frank Sinatra [8] and also played and
recorded with bandleaders such as Ray McKinley, Tommy Dorsey, Boyd Raeburn, and Charlie Barnet.
[9,10] At around this time, he also became interested in teaching and began work on a pedagogical
literature for jazz musicians and composers using his experience and close interaction with
orchestral musicians to help shape his ability to eventually teach musical concepts to all types of
instrumentalists.[11]

He returned to Philadelphia i the id s [12] to devote the rest of his life to teaching,
performing and recording only sporadically thereafter and it was here that John Coltrane became
one of his weekly private students at The Granoff Studios , a school dedicated to training both jazz
and classical music, from 1946 u til the ea l s a d oth e e ai ed lose . [13]Word
spread about his unique abilities as a teacher and he became sought after for private lessons by
many well-respected jazz musicians in Philadelphia, New York, and elsewhere. “a dole s skills as a
performer, composer, and teacher were held in high regard by many influential modern jazz artists
1
such as Stan Kenton, Sonny Stitt, and Charlie Parker who reputedly asked Sandole for a lesson. [14]
He also completed two pedagogical texts during his career which were reportedly finished by the
time he returned to Philadelphia from the West Coast: [15] the influential Guitar method book
Guitar Lore first published in 1976, and “ ale Lore , an unpublished text consisting of some of
“a dole s te h i ues fo o st u ti g u i ue s ales as ell as ate ial dealing with scalar and
harmonic substitution in jazz composition and improvisation.

His recorded output is relatively small and includes a collaboration with his brother Adolph of
original compositions for big band titled The Brother’s “a dole: Moder Music from Philadelphia
(Fantasy, 1955), featuring musicians such as Art Farmer, Teo Macero, and Milt Hinton and The
Dennis Sandole Project: A Sandole Trilogy (Cadence, 1999), a collection of material featuring Sandole
on guitar in a quartet setting from the s, so e solo pia o a d jazz o o o positio s, a d
excerpts from what he termed his Jazz Ballet Ope a , E e i ’ Is Cr i ’. Of particular note as a
sideman is his Guitar performance o the “a dole o igi al Da k Ba ou with Charlie Barnet on The
Charlie Barnet Orchestra: Drop Me Off In Harlem-The Original Decca Recordings (GRP, 1992). As a
composer, “a dole s Wa ard Plai t a e hea d o Ja es Mood s Running The Gamut
(Sceptre, 1964),and his H a i th a e hea d o A t Fa e s The Many Faces of Art Farmer
(Sceptre, 1964).

A o g the ost ell k o of “a dole s la ge oste of stude ts include Horn players John
Coltrane, James Moody, Benny Golson, Art Farmer, Randy Brecker, Michael Pedicin Jr., Danny
Turner, Billy Root, Rob Brown, and Bobby Zankel, Pianists Ron Thomas, Matthew Shipp, and Sumi
Tonooka, Jazz Bagpipist Rufus Harley, Bassists Craig Thomas and Fred Weiss, and Guitarists Jim Hall,
Harry Leahy, Billy Bean, John Collins, Dale Bruning, Joe Diorio, Tom Giacabetti, and Pat Martino. [16,
17,18]

Teaching Outline

“a dole s lesso pla o I p o isatio Outli e as he te ed it consisted of a four week cycle in

which specific topics were covered per week in a prescribed manner. This lesson plan covered the
main aspects of a jazz musician s technical and creative training including technique, ear training,
composition, arrangement and concepts for improvisation.

The ai featu e of “a dole s lesso ate ial e e fou o fi e easu e etudes he termed
o positio al de i es hi h e e o posed by Sandole for the student during the lesson and
were based on a specific harmonic or melodic topic or concept. Each was written specifically for the
student and they differed significantly from person to person with no two lessons on the same topic
being identical. [19] These etudes were desig ed to e te d the stude t s te h i al fa ilit ,
compositional concept, and aural recognition of advanced harmonic and melodic material. [20]

Creativity and individuality was stressed and Sandole rarely performed on any instrument at lessons
to minimize direct visual and aural stylistic influence over his students. This is also perhaps a
reflection of the profile of stude t ho sought “a dole s i st u tio . Those stud i g ith hi
already knew the mechanics and were seeking his insights on matters of concept, his knowledge of
exotic scales, and other and other techni ues to oade a i p o ise s a ge of e p essio . M .
Sandole was known fo his p og essi e app oa h to jazz ha o . [21]. He also did not advocate a
2
spe ifi st le o s hool of jazz through his teaching, [22] and encouraged the student to apply the
lesson material in any way they deemed appropriate. Legendary Jazz Guitarist Pat Martino remarked
that He “a dole taught ot i te fe i g ith the lessi gs ea h stude t as gi e , a plifying
them in any way he could , [23] and Jazz Guitar Virtuoso and long time friend/student of Sandole
Joe Fede i o added: The stude ts that he p odu ed sho ed that he had a great literature to teach
which was expressed diffe e tl ea h stude t . [24] As a consequence, there was no uniform
sound or style that could be evidenced amongst his students.

As a general mode of practice, Sandole had Horn, Piano, Bass, and Voice students perform each
compositional device in every key while Guitar students were asked to play each device starting on
every string and every finger using the original un-transposed device only, making octave
adjustments where necessary. These procedures were not always rigidly followed and Sandole
would encourage students to construct their own methods for practicing the lesson material when
he felt it was appropriate and beneficial, for instance a guitarist playing the devices in a I, IV, V
modulatory pattern similar to a blues. [25] Students of monophonic instruments typically played the
chord voicing portions of the lessons on piano and Sandole asked that his students construct
examples that voiced the melody of their harmonization assignments in every voice of the chord, not
just in the top voice as is most common in jazz.

Sandole was also known to have possessed a thorough and intimate knowledge of traditional
classical pedagogical texts for various instruments such as Franz “i a dl s New Method for String
Bass, [26] Niccolo Paga i i s Twenty Four Caprices for Solo Violin for violinists and guitarists, and J.S.
Ba h s Two and Three Part Inventions and Sinfonias for pianists and guitarists, [27]and assigned his
students novel and creative ways of studying them. Pianist Matthew Shipp recalls when he
(Sandole) had me take violin books and write bass lines in the left hand and then learn these pieces
i ke s i additio to usi g ate ial f o solfege ooks as i p o isatio al de i es o e ho d
changes. [28] Also, Jazz Bagpiper Rufus Harley credited Sandole with helping him discover how to
play chromatic tones on his instrument and encouraged him to try Bagpipes as his primary
instrument. [29] Sandole was also knowledgeable of many influential theoretical texts such as
Vincent Pe si hetti s Twentieth Century Harmony, Hermann o He holtz s On The Sensations of
Tone, [30] Walter Pisto s Orchestration, [31]and even possessed cantus firmi with a lineage going
back to Antonio Salieri for studies in traditional species counterpoint. [32]

Some General Topics of Study-Compositional Devices

The topics for each lesson included (but are not limited to) subjects such as Compositional Device on
Bass Line, Substitution of Note, and Alteration of Note, Modes, Development of Augmented and
Diminished Triads, Substitute Chords, Bitonal and Synthetic Scales, Polychords, Alternate Triads,
Deceptive Resolutions, Two Augmented or Diminished Scales Simultaneously, Harmonisation of
Exotic Scales, Neapolitan on each Chromatic Note, Doubly Chromatic Chords and Scales, and 1st,
2nd, and 3rd four bars of Blues. [33] Sandole typically started all pupils with the first three from this
list, and once an area was completed to his satisfaction, he would ask the student to choose the next
topic so that each student went through each topic in a different sequence depending on their area
of interest and level of development.

3
The lesson plans consisted of four designated weeks labelled A, B, C, and D with each week being
broken down into three subsections (A1, A2, A3, B1, B2, B3, etc.). A different compositional device
as itte fo A , B , a d C . The last eek D as desig ed fo the stude t to o i e a d
apply the concepts from the previous three weeks into a final performance project. After D week
was completed, the cycle began again with A week consisting of entirely new material.

Ex. 1: Sandole: Improvisation Outline [34]

A Week: B Week:

1. Compositional Device 1. Compositional Device

2. Arpeggio- Verticalization of Exotic and 2. Ear Training -Singing of exotic or synthetic

Synthetic Scales (all keys or every string/every scales at intervals (thirds through tenths) in all
finger for Guitar) keys with Fixed Do, Moveable Do, and Neutral
Syllable
3. Voicing of Chords- ased o a ‘edu tio of
A1 3. Rhythm Studies-2 bar Rhythm Study-largely
African or Latin American Rhythms applied to
any eight or nine consecutive notes from A1 to
be harmonised with A1 chords in any order

C Week: D Week:

1. Compositional Device 1. Compose and perform original melody and

chords based on 8 bars of a standard of the
. E te ded Ph ase -Transcription and stude t s hoi e plus a o positio ased o
performance at tempo of eight to sixteen bars of or 9 consecutive notes from A1, B1, and C1
a e o ded solo of the stude t s hoi e forwards or in retrograde (a possible total of 27
3. Sight Singing-Fixed Do, Moveable Do, Neutral notes for the melody) harmonised with chords
Syllable. Sing one line a day every week from standard tune
performing the example of that particular day at
2. Compose and perform an accompaniment
the C week lesson. Text: Modus Novus by Lars and solo based on D1
Edlund
3. Exotic and synthetic scales with
harmonisations for composition and to be
played in all keys or on every string/every finger
on the guitar

Description and Analysis of Sandole’s Four Week Improvisation Outline

I was a student of Mr. Sandole from December 1990 until his passing in 2000. The following four
week lesson cycle has been taken from my lesson notebooks from 1992 and the material was
written specifically for the Guitar. All of the musical terminology used in this paper to describe
4
“a dole s lesso e a ples is his and the lesson material has been re-written into notational
software as authentically as possible adhering to “a dole s original freehand notation.

A Week

The Sandole outline begins with A Week. The A topi fo this pa ti ula le as titled Neapolitan
o Ea h Ch o ati Note a d the o positional device assigned is quoted below:

Ex. 2: Sandole: Neapolitan on Chromatic Scale Tones [35]

This topic deals with descending semitonal resolutions or Neapolitan relationships. The overall
harmonic scheme of this device starts on the dominant chord (G) with the chord cycle ascending by
semitone with each chord being preceded by its Neapolitan chord. Progressing into the last bar, the
chordal root movement leaps by a third with the final resolution being to the tonic chord C. These
chords are all major with seventh designations changing between dominant and major seventh
sounds depending on the melodic content implied by the compositional device. Guitarists would be
required to play this example with what Sandole termed E e “t i g-E e Fi ge . This means
that one would be required to play this entire device from memory beginning on every D natural on
the fretboard (the first and lowest tone of this particular device) starting on each of the four fingers
on the fretting hand making octave adjustments where necessary. Other instrumentalists and
vocalists would be required to perform their devices in all twelve keys.

In this example the double stops in the first three measures consisting of major sevenths and minor
ninths are placed on each possible position within a group of four sixteenth notes to accent a variety
of h th i g oupi gs f o t o s through to fives. Sandole would, in some instances, highlight the
notes he wanted accented within a device to underscore a specific rhythmic scheme he deemed
important to the execution and interpretation of the music.

Sandole e ou aged stude ts to pa aph ase o o pose an original etude on each compositional
device in whatever manner they wished to further develop their improvisational and compositional
vocabulary as well as to aid in aural recognition of the lesson material and to extend instrumental
technique. The following is an excerpt of a composition on the A1 device where the melodic material
from the Ab and G chordal sections has been gathered up and re-ordered as a scale for melodic
composition and improvisation vocabulary:

Ex. 3: Compositional Paraphrase on A1 device: [36]

5
The A2 section consisted of an arpeggio based on a particular scale type, usually an exotic or
synthetic scale. For this lesson it was the Raga Todi Scale in its first inversion.

Ex. 4: Raga Todi Scale: [37]

Ex. 5: Raga Todi Arpeggio-1st inversion [38]

The arpeggio was to be played using the every string-every finger format for guitarists, and in all
keys for other instrumentalists. A composition based on the A2 lesson is quoted below which also
makes use of the harmonies contained within the arpeggio formation:

6
Ex. 6: Compositional Paraphrase on A2: [39]

The third aspect of the A lesson was a chord voicing assignment. Sandole wrote a lead sheet type
summation or reduction of the A1 device for the student to harmonize as a melody and chords
arrangement.

Ex. 7: Melody and Chords based on A1: [40]

The melody was to be placed in all voices of the chord and not just in the soprano or top voice. This
as to e pe fo ed o the pia o o the guita depe di g o the stude t s p efe e e. Example 8 is
a realized harmonization based on four part chords formed on the first, third, fifth, and sixth strings
of the guitar o hat “a dole te ed a Cho d Fa il or a specific combination of four strings on
the guitar.[41] The first musical line in Example 8 has the melody on the first string or top voice, the
second line the third string, etc. When performing this portion of the lesson, Sandole asked to hear
the voice that possessed the melody a bit more prominently than the others and stressed the
importance of a musician to be able to put the melody of any tune in any voice of their chords and
melody arrangements or compositions. It was typical for a guitar student to perform their chordal
harmonisations on more than one chord family throughout the four week lesson cycle although only
one is shown here, and Sandole encouraged guitar students to investigate chordal playing using all
the possible permutations of string groupings.

7
Ex.8: A3 Chord Study with the melody in every voice using the 1356 string family: [42]

B Week

The B week lesson began with a compositional device on another topic, i this ase Alte ate
T iads , a coupling of two distinct triads, the first of which began on the tonic C, made into a scale
and harmonized. This particular lesson cycle featured a C i - o di i ished t iad o i ed ith
a F aj- or augmented triad. Fourths and minor ninths form most of the double stops, and
oti e the i o i age efle ti e iti g i the last a , hi h is o o i “a dole s lesso
material:

Ex. 9: Sandole: Alternate Triads: [43]

The B1 would be performed at the lesson in the same manner as an A1 lesson using either all keys or
an every string-every finger for guitarists. Sandole encouraged the student to learn the B1 scale in all
keys and to write a composition or paraphrase based on it. Example 10 is a compositional excerpt on
B1 featuring mostly sequential melodic material:
8
Ex.10: Compositional Paraphrase on B1: [44]

The second task in B Week was an intervallic ear training exercise based on singing a particular
exotic or synthetic scale chosen by Sandole. The scale was to be sung using one particular interval
per four week lesson cycle (in this case a Persian or Double Harmonic Scale- C, Db, E, F, G, Ab, B, C to
be sung in ninths usi g Mo ea le Do , Fi ed Do , a d a eut al s lla le su h as La . Sandole
would typically only want to hear the student sing this exercise in one or two keys at the lesson, but
he expected that all keys were practiced during the week. One particular scale was used for
intervallic singing until the interval of a tenth was reached and then a new scale was assigned
beginning with the interval of a third.

Ex. 11: Sandole: Ear Training-Persian Scale in 9ths: [45]

The B3 assignment was novel in that it involved using the previous A Week lesson material in a
multi-faceted way to create new lesson material. Sandole asked the student to choose eight or nine
consecutive tones from the A1 device either moving forwards or in retrograde in which any tone
could be altered using a sharp, flat, or natural if so desired. This collection would then be used as the
pitch material for a new melody to be harmonized by the student using the A1 chords placed in any
order. For this particular lesson, eight consecutive unaltered tones were taken from the top line of
A s E a ple s fou th easu e, eat beginning on G Natural then progressing in retrograde
into beat three of the third measure ending on D Sharp. This harmonization uses the A1 chords in a
new order.

Ex. 12: Harmonization of A1 Melodic and Harmonic Material: [46]

This e elod a d ho ds ould the e applied to a t o a ‘h th “tud hi h “a dole

would have the student copy from his personal manuscripts at the lesson. These rhythm studies
were usually based on rhythmic patterns of other cultures and musical traditions. The rhythmic
9
pattern could be notated and performed strictly, or could be improvised by the student when
performing the B3 melody and chords assignment at the lesson.

Ex. 13: Sandole: Rhythm Study applied to A1 harmonization: [47]

The melody would then be placed in each voice of the chords for performance as per the A3
procedure. Example 13 is an excerpt demonstrating the melody on the top and bottom voices using
four part chords on the second, third, fourth, and fifth strings of the guitar.

Ex. 14: B3: Harmonization on 2345 String Sets-melody in top and bottom voice [48]

Melody in Top voice:

Melody in Bottom Voice:

C Week

The beginning of C Week consisted of a third category of o positio al de i e, i this ase Bito al
“ ales hi h o sisted of a scale implying two different tonalities that, in many cases, was a two
octave scale where the octave is issed . [49] Example 15 is a Bitonal Scales device combining the
scalar characteristics of C Major with an augmented fourth, and E Major with an augmented fourth
with the o ta e C ei g skipped gi i g the uppe a ge of the s ale a o e disti t E Majo + o
Lydian sound. The same performance procedures for A1 and B1 applied for C1. Again, fourths and

10
minor ninth double stops predominate within the compositional device and contrary motion is used
as a cadential figure:

Ex. 15: Sandole: C1 Bitonal Scales: [50]

As stated previously, daily practice of the scalar material and a paraphrase composition was
encouraged. This section of a compositional paraphrase on C1 utilizes double stops and six note
harmonies diatonic to the C1 bitonal composite scale.

Ex. 16: Compositional Paraphrase on C1: [51]

The second part of the C lesson involved sight singing. Upon commencing their studies, Sandole
would assign a student a text for sight singing based on what he felt was appropriate at that given
time. Typically, Sandole preferred The “ight “i gi g Ma ual by Allen McHose and Ruth Tibbs for
tonal work, and Modus No us by Lars Edlund for contemporary tonal and atonal work. Although
Sandole asked to hear the student perform only one line for their sight singing book at their lesson
on C Week, he stressed that each student should practice one line of sight singing each day. As in the
B2 ear training assignment, each sight singing example was to be performed in moveable and fixed
do, a d a eut al s lla le, the fi st to e e o i g do fo ato al e e ises when using moveable
do. Exercise 16 represents a typical C2 sight singing assignment to be sung at a lesson.
11
Ex. 17: Excerpt from Modus Novus, pg. 57: [52]

The last assignment of this week was hat “a dole te ed E te ded Ph ase , o a t a s iptio of
a jazz solo. Typically, Joh Colt a e s Gia t “teps was the first solo he asked to be transcribed for
new students, but after this was completed the student would choose the work to be transcribed.
Sandole asked for only eight to sixteen bars of a solo to be transcribed for maximum benefit with the
transcription to be performed at the lesson from memory at the same tempo as the original
recording. The t a s iptio fo this pa ti ula lesso as the fi st se e tee a s of M Co T e s
solo on the tune I eptio .

Ex. 18: Extended Phrase-T a s iptio : M Co T e solo Inception : [53]

In addition to transcription of jazz material, Sandole advocated the transcription and performance of
classical music for students who showed interest in extra-curricular work of this type. Example 18 is
an excerpt from a transcription done for C Week of A to We e s “t i g Qua tet Op. a a ged
for guitar.

12
Ex. 19: Transcription Excerpt: Webern String Quartet Op. 28 3rd movement. Bars 13 through 22: [54]

D Week

The final week of the lesson cycle was meant to be the creative culmination of the work done in the
previous three weeks which would then be applied to a jazz sta da d of the stude t s hoosi g.

For D1, the student was asked to select eight or nine consecutive notes from their A1, B1, and C1
lessons, and construct a new melody in the same manner as prescribed in the B3 lesson (forward or
retrograde in any combination with any note subject to possible alteration). The student would then
harmonize this new melody with the chord changes from eight consecutive bars of their chosen jazz
standard. Example 19 illustrates the melodic tones chosen from the A1, B1, and C1 lessons
(Examples 1, 8 and 14 respectively). The top line in Example 20 is taken from the third measure of A1
beginning on E a d as e di g u til E is ea hed agai , the se o d li e f o the fi st eat of the
fifth easu e of B egi i g o A a d p og essi g a k a ds i to the last eat of easu e fou ,
and line three was taken from the last two pitches in measure two of C1 progressing into the next
easu e u til the ote E is ea hed.

Ex. 20: Eight consecutive tones from A1, B1, and C1 devices for melody to be harmonized with jazz
standard chord changes: [55]

The rhythmic values of the melody were chosen by the student and then harmonized using the
chords of the chosen jazz standard. The standard tune used for these examples is Fall Wa e
Shorter used in its entirety. The original and newly composed melody of the tune was to be placed in
any voice or combination of voices the student chose. In these examples, the melody is in the top
voice throughout using a variety of four note voicings based on the 1236, 1356, 2345, and 2456
guitar chord family string combinations.
13
Ex.21: D1 Original Chords and Melod A a ge e t of Wa e “ho te s Fall : [56]

Ex. 22: D1 Original Co positio o Fall using the 24 consecutive melodic tones in Ex. 20: [57]

For D2, an accompaniment and solo were to be itte ased o the tu e s ha o i st u tu e.

Example 22 is a four bar excerpt from an accompaniment using similar voicing schemes as the D1
melody and chords version, and Example 23 is an excerpt from the composed solo section using bars
5 to 9 of the tune. The scales employed were the Six Tone Symmetrical Scale o “ hoe e g s Ode
To Napoleo He a ho d [58] of alternating augmented seconds and semitones (ex. On C as tonic: C,
D#, E, G, Ab, B, C), the Dominant Diminished Scale of alternating semitones and whole tones (ex. On
B as tonic: B, C, D, D#, E#, F#, G#, A, B), and the D3 scale of this particular lesson week Sandole
composed alled a U ede uple , o sisti g of ele e dis ete to es to be discussed in the next
section.

14
Ex. 23: D2 Accompaniment: [59]

Ex. 24: D2 Solo: [60]

The last section of this lesson, D3, consisted of an original scale composed by Sandole and
harmonised for the student to learn on their instrument and compose with in any manner they
wished. Sandole stated that the D week scales he composed were based on hat he te ed the
stude t s pa ti ula usi al espo se to the previous A, B, and C lessons and characterized them as
usto ade fo ea h stude t. [61] Example 24 is a D3 U ede uple o ele e to e s ale
harmonized as a Alte ed He ato i s ale. The emphasis is on dissonant intervallic combinations
in the harmonization such as augmented fourths, major sevenths, minor ninths, with the final chord
consisting entirely of semitone intervallic relationships:

Ex. 25: D3 Extended Scale and Harmonization: [62]

15
Example 26 is a compositional excerpt based on both the scalar and harmonic elements of the D3
material. Many of the chordal elements are stated verbatim from the given harmonization, but some
are embellished by the free use of individual scalar tones or fragments. D3 would constitute the end
of the four week cycle and the student would begin the cycle again with a new A1 and so forth.

Ex. 26: D3 Compositional Excerpt: [63]

Although “a dole s lesso u i ulu diffe s g eatl f o t aditio al Cho d/“cale Jazz Pedagog s
emphasis on a specific family of scale systems (Major, Harmonic, and Melodic Minor scales and their
modal inversions, Pentatonic, Whole Tone, and Diminished Scales), memorizing idiomatic lines and
li ks fo use i pe fo a e, and its tendency to emphasise and codify the work of the masters of
the idiom within these tonal systems, his four week outline could be viewed as a logical and
evolutionary next step in a jazz musicians development, encouraging the student to develop their
own tonal/scalar systems and substitutions for improvisation, to hear more abstract and modern
tonal relationships more easily, and to develop a mature compositional concept unique to o e s self.

16
Analysis of Sandolean Compositional Devices and their relationship to Twentieth Century Classical
Compositional Practice

The use of Tetrachords

In his compositional practice, Sandole used tetrachords to create unique scales that produced novel
and colourful harmonic and melodic effects. This technique is pervasive in his pedagogical
methodology. Example 26 taken from his unpublished text Scale Lore is a list of the types that he
generally preferred. Thei a es a e ote o th as the e eal “a dole s i te est i e oti s ales
and twentieth century composers and composition. These were used both in their pure form, and
chromatically altered according to compositional and pedagogical expediency:

Ex. 27: Sandole: Scale Lore- Type Tetrachords : [64]

Sandole frequently created and employed original scales in his musical literature that have no octave
repetition by joining similar or dissimilar tetrachords, trichords, pentachords, and hexachords and
used them as the basis for his lesson material compositional devices. Composer/Theorist Vincent
Persichetti, an acquaintance of Sandole, describes this technique in the following manner:

Ne s ales a e so uilt ith si ilar or dissi ilar tetra hords that the tonic is not repeated at
the first octave. When the tonic is missed and the tetrachords are continued, a two octave scale or
multi-o ta e s ale a e ol e . [65]

17
Example 28 is a C1 lesson compositional device based on a Cmaj 7th -9 (lowered ninth) sound:

Ex. 28: Sandole: Compositonal Device on Alteration of Note: [66]

The resultant scale used as a mirror image at the cadence misses the octave (C, D, E, F#, G, A, B, Db),
the result of joining two Scriabin (Lydian) tetrachords at the fifth degree (G). “a dole s elodi
writing in the first bar outlines two quartal harmonies a semitone apart (F#,B, Db, an inversion of Db,
F#, B, and C, F#, B) and the registral position of the note D flat stays fixed in the upper register
throughout with a D atu al fi ed i the lo e to e ha e the li e s pol to al effe t.

Ma of “a dole s s ale structures extend into nine, ten, eleven, and twelve tone scales which he
used primarily as modes to write his compositio al de i es. “a dole s modal use of these scales is
similar to Post War American Twelve Tone practice as advocated by theoreticians and composers
such as Richard S. Hill, Ernst Krenek, and George Perle which, in the main, stressed the interval
content of aggregates rather than interval order. [67] A clear illustration is this twelve tone scale or
set hi h is the p oduct of three dissimilar tetrachords joined to create a multi-octave polytonal
scalar unit.

Ex. 29: Sandole: Polytonal Scales: [68]

The key areas spelled out by Sandole reflect the joining of a C minor tetrachord (C, D, Eb, F), a R,2,3,5
tetrachord on Gb (Gb, Ab, Bb, Db) and an E Minor tetrachord (E, G, A, B) implying an A o A9 sound
speifically.

“a dole s tet a ho dal s ales such as this one give an improviser the ability to imply many different
to al a eas fo pla i g outside , the a ilit to a ess t el e to e odes easily by simply placing
the first tone after the final one generating eleven discrete scalar inversions, twelve tone arpeggios
based on these modes, and the a ilit to eate e s ales o sets fai l easil o o e s i st u e t
by simply interchanging or altering the tetrachords themselves. From a compositional standpoint,
these scales can allow for twelve tone or pan-chromatic writing that contains tonal/polytonal
references and the possibility of secundal scalar passages without necessarily negating serial
ordering. “a dole s tet a ho dal procedures provide a straightforward methodology regarding the

18
use of twelve tone modality for both composition and improvisation in contemporary jazz or other
types of music.

Example 30 Illustrates an analysis of a D3 lesson T el e To e o Duede uple s ale with its

accompanying harmonization:

Ex. 30: D3 Duedecuple Scale and Harmonization:[69]

This scale could be viewed as the joining of similar and dissimilar trichords that include various
pentatonic scale fragments (A-C-D, Eb-F-Ab, B-C#-E), or as the joining of dissimilar tetrachords (Jazz:
A-C-D-Eb, Raga Todi: D-Eb-F-Ab, Pentatonic in Inversion: B-C#-E-F#, and Hungarian Minor :E-Gb/F#,
G, Bb/A#). The harmonization to the left could be rationalized as a row of alternating partial major
seventh type chords in second and third inversion of primarily quartal construction, the implied root
movements progressing in major seconds, minor and major thirds, and perfect fourths.

Ex.31: D3 Harmonization-Harmonic Analysis: [70]

Chord Progressions based on Interval Cycles

The use of interval cycles of all types to construct harmonic progressions, tetrachordal root
o e e t, a d s ala ate ial pla s a la ge pa t i “a dole s pedagogical literature. Example 32
taken from an A1 lesson on the topi Minor Progression shows a wide variety of intervallic chordal
root movements in a relatively small amount of musical space: major thirds, perfect fourths, minor
seconds, and major seconds. In measure two, a leading tone root B7 chord is used as a substitute
dominant chord for G7 (a major third cycle of dominant 7th substitutes).

19
Ex. 32: Sandole: Minor Progression: [71]

Example 31 is a compositional de i e o “u stitute Cho ds utilizing minor thirds cycles of Min/Maj

7 +5 type chords as dominant substitutes, and using a diminished chord as tonic:

Ex. 33: Sandole: Substitute Chords: [72]

Of particular note is the Ebmi/maj7+5 chord which is enharmonically a B Major Triad in its first
inversion with a raised ninth or minor third, an unusual chord to see in a lead sheet fo at and an
identical formation to Bela Ba tok s Majo /Mi o Cho d . [73] A similar chord appears in the next
bar on Gb if one considers the F natural in the melodic material. This chord is also of significant
importance in the music of Alexander Scriabin as demonstrated here in his Piano Sonata No. 7 Op.
64 (1911-1912), and the modal use of non-dodecaphonic sets for melodic and harmonic material can
be observed in both the Scriabin work and Sandole s E a ple . [74]

“a dole s i e ti e use of this spe ifi ho d a eithe e atio alised its use as a II D
substitute within a minor thirds cycle noting the B Major Pentatonic Scale fragments in the melodic
content (B, Ab, Gb, Eb) as part of an overall C Octatonic Diminished Scale sound, or as a V chord (G7)
su stitute atio alised the ho d s i lusio i a Aug e ted “i To e “ etrical Scale of
alternating minor thirds and minor seconds (G, A#, B, D, Eb, F#, G) or Schoenberg s Ode To
Napoleo He a ho d . [75]

In bars 37 and 38 of the Scriabin Sonata, we see a similar cycle of minor thirds use of these chords
including roots on Eb and Gb in the right hand, as in the Sandole example, with an emphasis on
augmented fourth bass motion in the left.

20
Ex. 34: Scriabin: Sonata No. 7 for Piano Op. 64, Bars 37-38: [76]

In the Sandole device, the B Major portion of the Eb min/maj7#5 chord could be viewed as an
appoggiatura chord belonging to a major thirds cycle in place of G resolving to C and is the relative
major sound to Ab/G# minor, a common G7 substitute sound in jazz. Also, the use of Major
Pentatonic scales (and fragments thereof) based on the third of the V chord is commonly observed
in modern jazz improvisation, such as in Chi k Co ea s solo o Miles High on the album
Retur To Fore er-Light As A Feather (1972) in which a complete Ab Major Scale is played over an
E7 chord before resolving to A Minor 7th:

Ex. 35: Glanden: Transcription of Chick Corea Solo 500 Miles High, Bar 8: [77]

In conclusion, Example 33 ends with mirror writing in tetrachords. Starting on D, this constitutes a
Messiaen tetrachord on D followed by a Hungarian Major tetrachord beginning on Ab. Taking C as
the tonic, this would be a C Minor tetrachord followed by a Gb Raga Todi (inversion) tetrachord.

Example 36, taken from the A1 topics st Fou Blues and 2nd Fou Blues de o st ate how Sandole
combines his tetrachordal melodic procedures and cyclic chordal root movement techniques in a
unified way. The tetrachords a e la elled usi g “a dole s te i olog :

21
Ex. 36: Sandole: First Four Blues and “e o d Four Blues : [78]

This skilful use of tet a ho ds fa ilitates a i p o ise s a ilit to egotiate diffi ult ha ges i a fast
ha o i h th a d “a dole stated that he suggested tet a ho d te h i ues to Colt a e du i g
the course of their studies together.[79] Noteworthy is the liberal use of a all i te al -note
ho d ,[80] or Enigmatic tetrachord in this example and the employment of the bluesy sounding
Neapolita Alte ed Tet a ho d D#, E, F, G#/A , the e ha o i e ui ale t of the a ie t G eek
Ch o ati tet achord. [81]

Example 37 taken from Scale Lore illust ates “a dole s te h i ue of joi i g elodi f ag e ts of
various sizes from three to seven notes to create extended polytonal scales based on various
intervallic cycles such as minor thirds, major thirds, minor seconds, and perfect and augmented
fourths.

Ex. 37: Scale Lore: E e pt f o Pol to al “ ales : [82]

22
Use of Contrary Motion

A g eat a of “a dole s compositional devices employ contrary motion figurations as evidenced in

earlier examples. This is a device also common in the work of Bela Bartok.

Ex. 38: Bartok: Music for Strings, Percussion, and Celeste (1936): [83]

Ex. 39: Sandole: Alternate Triads: [84]

Sandole seemed to have held Bartok in high esteem and enthusiastically recommended the study of
his work. [85] He evidently told John Coltrane during the course of his studies, I Ba tok s “t i g
Quartets, you can hea a e ti e s pho o hest a . [86] Example 38 is an excerpt from the Coda
section of Bartok s Thi d “t i g Qua tet hi h displays contrary motion prominently between the
instruments.

23
Ex. 40: Bartok: String Quartet #3 Coda section: bars 53-40: [87]

Example 41 is the same section of music, only from a guitar arrangement of this work assigned by
Sandole:

Ex. 41: Bartok: String Quartet #3 Coda section: bars 53-40: Guitar Transcription: [88]

24
In the guitar version, the contrary motion is even clearer to see on one staff, a d it s si ila it to the
type that “a dole s employed in his compositional devices is striking. Considering “a dole s ords
and the content of his compositional devices, it seems possi le that Ba tok s o k had a di e t
influence on his musical and pedagogical output.

Extended Scalar Based Arpeggio Studies

“a dole s arpeggio assignments were verticalizations of exotic and synthetic scales usually in thirds
in a manner similar to that advanced by Alois Haba in his New Theory of Harmony [89] and to what
Joseph Schillinger called “ig a o Fi st E pa sio , [90] and he instructed his students to exhaust
all modal inversions of these arpeggios before moving to the next type. Below is a typical B2
arpeggio lesson example based on the Hungarian Major Scale:

Ex. 42: Sandole: Hungarian Major Scale Arpeggio: [91]

This structure yields a C Dominant Seventh harmony with an augmented ninth, augmented eleventh,
and thirteenth as upper extensions which constitutes a truncated C Dominant Diminished Scale with
only one note missing, a D Flat. In addition to aiding soloists with accessing a wide variety of unusual
uppe pa tial sou ds fo a wide variety of harmonies, these arpeggio exercises seemed to be of
particular benefit for bassists as it helped them develop the skill of being able to create walking lines
over virtually any harmonic structure they might come across in jazz from any position on the
fingerboard. [92]

Exotic and Symmetrical Scales

Sandole advocated the use of exotic scales in jazz improvisation and composition as early as the mid
s a d a number of these scales were contained in the earliest versions of his pedagogical texts
Guitar Lore and Scale Lore. [93] A small selection of the exotic scales Sandole utilized in his teaching
are listed below:

25
Ex. 43: Sandole: Exotic Scales: [94]

Ex. 44: Sandole: Exotic/Synthetic Scales: [95]

“a dole s inclusion of the Prometheus S ale e eals his i te est i “ ia i s usi as the s ale is
derived from the so-called M sti Cho d , a predominately quartal harmonic structure that forms
the asi o positio al ate ial of his o k Prometheus: The Poem of Fire :

Ex. 45. Scriabin: Mystic Chord: [96]

Symmetrical scales a e also p o i e t i “a dole s pedagogi al lite atu e. I the ai , these take
the form of either the coupling of similar tetrachords to form scales larger than, or within one
octave:

Ex.46: Sandole: Symmetrical Scales: [97]

O, o st u ti g s ales that elodize cyclic chord movement, in this case dominant seventh
chords in an ascending major thirds cycle:

26
Ex.47: Sandole: Major Thirds Relationship: [98]

The second scale in Example 46 and Example 47 a e oth ide ti al to Messiae s si th a d thi d
Modes of Limited Transposition respectively,[99] and illustrate “a dole s a a e ess of Messiae s
use of symmetry, particularly in constructing scale material that has harmonic as well as melodic
implications.

Sandole used exotic scales in their pure and altered forms in virtually all aspects of his four week
lesson cycle such as compositional devices, ear training exercises, arpeggios, and compositional
work. Example 44 is a B1 compositional device written for piano based on a pure or unaltered
Japanese Scale complete with harmonization that shows one aspect of his exotic scales writing
within the context of composed lesson material:

Ex. 48: Sandole: Harmonization of Exotic Scales: [100]

Added Intervals

Sandole frequently added combinations of intervals to more basic harmonic formations to create
olou ful uppe e te sio s a d pol to al elatio ships that are not diatonic in origin. In this device
he te ed Dou l Ch o ati Cho ds , he adds a se ies of i te als to a basic Bb min 7th chord. If
collected as a scale within one octave, this is a ten tone scale on Bb with o l a D a d A issi g,
a formation that is similar in con ept to Ha a s Note Cho ds , [101] and Messiae s Mode .
[102] Doubly Chro ati , i Sandolean terms, is the presence of three chromatic tones within an
overall scale system whereby at least one of the tones is placed in a different register so that the
tones are not consecutive semitones. These relationships can overlap and are not restricted to only
three tones within one scalar system.

27
For instance, the tones Bb, B, and C in the scale system of Example 49 illustrate this concept clearly,
as well as B, C, and Db, etc. “a dole s dist i ution of doubly chromatic interval relationships over a
three octave range produces obvious polytonal references such as the last four notes which
comprise a C Maj7th chord.

Ex. 49: Sandole: Doubly Chromatic Chords: [103]

These sorts of pitch relationships are common in Twentieth Century Classical music and “a dole s
use of these abstract types of melodic and harmonic figurations in his improvisational outline as
observed in Example 52 is quite unique, placing them in a polytonal rather than a strictly chromatic
(Example 50), or serial setting (Example 51).

Ex. 50: Slonimsky: Thesaurus of Scales and Melodic Patterns, #649: [104]

28
Ex.51: Stockhausen: Klavierstucke III, bars 2-4: [105]

Ex. 52: Sandole: Polychords: [106]

Fixed Pitch Classes

In some of his compositional devices, Sandole fixes notes within a specific range to provide for more
deliberate bitonal and polytonal pitch relationships in harmony and melody. This concept of fixed
register of assigned pitches was pioneered by Olivier Messiaen in his Canteyodjaya , and Mode de
Valeures et d’I te sites. [107] “a dole s use of this de i e i jazz iti g a d
composition/improvisation pedagogy is rare and could be viewed as a logical result of his
tetrachordal approach. Example 53 illust ates “a dole s fi ed pit h o ept usi g Bito al “ ales
based on combining C diminished and A-2 (an A Major tonality with a with a lowered second degree)
sounds:

29
Ex. 53: Sandole: Bitonal Scales: [108]

In this example, all B naturals are in the upper register and in general, all B flats remain in the middle
register as well as E naturals and E flats, C naturals and C sharps, etc., and that by and large the
position of each tone is generally held intact as per the original mode stated in measure one. The
exceptions seem to be when a particular harmonic interval is desired as in the second measure
where a C natural is used in a higher range to create a series of descending perfect fourth intervals in
whole steps, and where an E flat is used in a higher register to create a minor ninth interval against a
lower D natural. Also of note in this example is the predominant harmonic texture of minor ninth
a d pe fe t fou th i te als, the s et of the se o d a d thi d tet a ho ds the Hu ga ia
Major Alte ed see ea lie i E a ple ), and that the scale this device is based on is made up of
all twelve tones.

Influence on John Coltrane’s Work

Much has been written about De is “a dole s usi al a d pe so al elatio ship to his pupil Joh
Coltrane. Below are quotes from various sources that des i e “a dole s i flue e o Colt a e s
musical and conceptual development:

• B 1951 or 1952, John Coltrane was familia ith Ni holas “lo i sk s Thesaurus of Scales
and Melodic Patterns which he had learned about from his theory teacher Dennis Sandole,
ho as i te ested i s ala app oa hes to usi . [109]

• “a dole also e posed Colt a e to hat the fo e alled e oti s ales-scales from every
eth i ultu e. Colt a e a so ed the p i iples of Ni holas “lo i sk s i flue tial
Thesaurus of Scales and Melodic Patterns, ut he also pa took of “a dole s Scale Lore, an
u pu lished ook that diffe ed f o “lo i sk s i that it as less a al ti al a d o e au al
in approach; ...It embodied a ope a d e le ti outlook, hi h e ha ed Colt a e s o
searching inclinations, his constant pursuit of new sounds, form, and technique. Coltrane
hand- opied the ook s useful pages a d e ide tl e ai ed lose to “a dole fo a
ea s. [110]

• “a dole, a legendary figure, and teacher, became a mentor to Coltrane. Sandole

e e e s Colt a e fo dl He used to take t o legiti ate lassi al lesso s pe eek, ot
30
 one. He was superbly prepared for each one. He was superlatively gifted, you know. I mostly
teach a maturing of concepts, and it involves advanced harmonic techniques you can apply
to any instrument. Coltrane went through eight years of my literature in four years. And we
became excellent friends— e had di e togethe o e a eek. [111]

• Colt a e as theo -mad. He had studied third-related harmonic relationships with Dennis
Sandole at the Granoff School, and, as we have seen, there was a hint of the device in his
o positio Nita , e o ded o Paul Cha e s Whims of Chambers three years ea lie .
[112]

Theorist Donald Chittum states in his paper Mozart, Wag er, a d Coltra e , that Colt a e s ost
i po ta t studies e e do e ith “a dole , a d that it is ost p o a le that “a dole, o e tha
a o e else, as espo si le fo Colt a e s embarking on a study of classical music, especially that
of the twentieth century . [113] The topics Coltrane studied with Sandole, including but not limited
to pe tato i a d odal s ales, ito alit a d pol ho dalit , pedalpoi t a d luste ha o , and
harmony derived from melodic lines, a device closel asso iated ith se ial usi ,[114] are among
those areas Coltrane went on to innovate in concerning jazz improvisational practice. Sandole also
had Coltrane practice from harp books to extend his range on the tenor saxophone, [115]and might
have been one of those that suggested the soprano saxophone to Coltrane. [116] It is also plausible
that it was Sandole who i t odu ed Colt a e to “lo i sk s Thesaurus as this was a text that
Sandole was quite familiar with, [117] and one that Pat Martino learned about from Sandole during
thei ief studies i the late s, which is where Martino himself met Coltrane.[118]

Example 54 is a ha d itte sheet f o Joh Colt a e otati g so e of “a dole s ha monic

principles. Colt a e s iti g is i p i t s ipt a d “a dole s i u si e. This document was given to
student Arnez Hayes by Sandole in 1993 who said that Sandole told him that Colt a e as e
ou g when he wrote it, [119] perhaps indicating that the document dates back to his studies with
Sandole at the Granoff Studios. Sandole makes reference to a similar do u e t i Le is Po te s
John Coltrane: His Life and Music ega di g a ha d itte do u e t of Colt a e s stati g I had
substitute cho ds ased o do i a t to i o i Colt a e s ha d iti g-he copied it. I found it in
o e of old ooks, ut I a t fi d it a o e . [120]

31
Ex. 54: Handwritten page of Dennis Sandole s ha o i p i iples Joh Colt a e: [121]

32
In Colt a e s late work, improvisational processes that are similar to concepts he studied with
Sandole can be seen. Fo i sta e, i his tho ough a al sis of Colt a e s Ve us f o Interstellar
Space, Coltrane scholar and biographer Lewis Porter makes the following observations:

No etheless, it see s lear that Coltra e prefers to o e a o g third-related keys to avoid a sense
of tonal modulation—for example, E flat and C, B and E flat, and to a lesser extent, E flat and G flat, A
flat and C. He often connects these key areas by means of a repeated common tone—for example, E
in the key of C is repeated, holding over into the key of B; G sharp in the key of B is then repeated to
e o e A flat i the ke of E flat . [122]

Po te s t a s iptio of the Venus solo illustrates this practice clearly. Example 51 is from line eight
of the solo. There are no barlines or time signatures given and the key areas are labelled above the
musical line:

Ex. 55: Excerpt from Lewis Porter transcription- John Coltrane Venus solo: [123]

In Example 56 f o “a dole s Scale Lore, we see Bitonal scalar material that utilizes a variety of
common tones in similar cycles as described above such as descending semitone relationship C
Majo a d B Majo o i ed ith a o o to e of E , a d major and minor thirds relationships
C Major and Ab Major, C Major and A Major, C Major and D#/Eb Major, and C Major and E Major
sha i g a A ote, i o i g the exact intervallic relationship of B Major and Eb Major sharing a
G#/Ab in the Coltrane example. In Example 53 from the Pol to al “ ale se tio of the te t
(illustrated earlier in a truncated form as Ex. 37), Sandole states at the bottom of the page: Make
tra sitio to e t ke o a ote of pre ious ke s ale ; a statement that precisely describes
Colt a e s i p o isatio al p o ess ithi Ve us as illust ated Po te :

33
Ex. 56: Sandole: Scale Lore-excerpts from Bitonal Scales : [124]

C Major and B Major:

C Major and Ab Major:

C Major and A Major:

C Major and D#/Eb Major

C Major and E Major:

34
Ex. 57: Sandole: Scale Lore- Pol to al “ ales : [125]

35
According to student Bruce Eisenbeil , Sandole said that the last time he had seen Coltrane was in
1963, [126] and according to Joe Barrale, a long time intimate f ie d a d stude t of “a dole s since
the id s, Coltrane stayed in touch with Sandole for many years and remembers speaking to
Coltrane himself on the phone at “a dole s studio who was calling to request that he send him more
lesson material by mail while he (Coltrane) as i Japa , and that payment was forthcoming, [127]
which could mean that as late as his 1966 tour of Japan, Coltrane was continuing his studies with
Sandole. All of this suggests that “a dole s musical concepts and instruction were of significant
i flue e o Colt a e s creative output for a significant portion of his career, and that Coltrane
valued both his personal and musical relationship with Sandole.

Conclusion

De is “a dole s jazz pedagogy draws upon classical compositional theory in a unique way that
allows for great creativity in melodic and harmonic invention for both himself and the student. Also,
the student is exposed to a set of technical problems that cannot be found in any etude book that
are written specifically for them. The extreme technical and conceptual demands that his jazz
improvisation literature represented attracted many cutting edge virtuoso jazz practitioners as
demonstrated by the impressive and varied roster of students that he taught. Joe Sgro, a legendary
Jazz Guita ist/Pedagogue a d ousi of jazz ioli ist Joe Ve uti, ha a te ised “a dole as The
“ hoe e g of the Jazz Wo ld, a t e e dous usi ia [128] seemingly referring to his
compositional, theoretical, and pedagogical prowess and originality.

Through his teaching literature, Sandole demonstrated endless invention in the creation of scalar
and chordal material and an uncommon gift in composing and demonstrating the application of
these harmonic and melodic materials in the modern jazz vernacular. His pedagogical methodology
differs significantly from traditional jazz improvisation pedagogy such as chord/scale relationship
methods, and yet his literature can be used in this way if so desired. The sheer volume of pitch and
harmonic material he organised and utilised was immense and his ability to cater each lesson to a
particular stude t s usi al eeds is remarkable and reveals a lifelong dedication to helping each
student find their own voice.

In addition, his influence on John Coltrane is significant, and it is possible that, through their close
musical relationship, his theories have impacted and shaped modern jazz vernacular and practice in
a substantial way. Lea i g his fi ge p i ts all over the jazz histo ook , [129] Dennis Sandole is a
remarkably original figure in the history of jazz theory and pedagogy whose teachings have
influenced a significant amount of important jazz musicians many of whom are still making music
today. His work is worthy of further academic inquiry and study.

Thomas Scott McGill

March 19, 2013

36
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[1] Benny Golson, Interviewed by Anthony Brown for The National Endowment of The Arts,
Smithsonian National Museum of American History, January 8-9, 2009, pg.33-34. Accessed July 22,
2012.
http://www.smithsonianjazz.org/oral_histories/pdf/Golson.pdf.

[2] Lewis Porter, John Coltrane, His Life and Music (Ann Arbor: The University of Michigan Press,
1999), 51.

[ ] “tephe “la ek, Chpt. , Hi dusta i “ita a d Jazz Guita Musi : A Fo a I to Co pa iti e
I p o olog i Musical Improvisation: Art, Education, and Society, ed. Gabriel Solis and Bruno Nettl,
Champaign: University of Illinois Press, 2009),204.

[4] Bruce Eisenbeil, Sandole Guitar Student, International Recording Artist, telephone interview with
author, digital recording, December 18, 2012.

[ ] Be ‘atliff, De is “a dole: Jazz Guita ist a d a I flue tial Tea he , , The New York Times
Online, October 8, 2000. Accessed 25 April 2012.
http://www.nytimes.com/2000/10/08/nyregion/dennis-sandole-jazz-guitarist-and-an-influential-
teacher-87.html

[6] JazzHouse.O g., Colt a e s Me to Was Lege da Jazz Tea he The Last Post/The Scotsman,
2000. Accessed April 15, 2012. http://www.jazzhouse.org/gone/lastpost2.php3?edit=971426621

[7] Joseph Barrale, Sandole Guitar student and close friend, telephone interview with author, digital
recording, June 28, 2012.

[8] JazzHouse.O g., Colt a e s Me to Was Lege da Jazz Tea he .

[9] To Moo , De is “a dole, Edu ato Who Taught Gia ts of Jazz , Philly.com Online, October 4,
2000. Accessed 25 April, 2012. http://articles.philly.com/2000-10-04/news/25584730_1_jazz-
guitarist-rufus-harley-saxophonist-brother

[10] JazzHouse.O g., Colt a e s Me to Was Lege da Jazz Tea he .

[11] Craig Thomas, Sandole Bass Student, Senior Lecturer of Bass, The University of The Arts, Phila.,
P.A., telephone interview with author, digital recording, December 6, 2012.

[12] ‘atliff, De is “a dole: Jazz Guita ist a d a I flue tial Tea he , .

39
[13] Lewis Porter, John Coltrane, His Life and Music (Ann Arbor: The University of Michigan Press,
1999), 51-52.

[14] Joseph Barrale.

[15] Ibid.

[16] To Moo , De is “a dole, Edu ato Who Taught Gia ts of Jazz .

[17] JazzHouse.O g., Colt a e s Me to Was Lege da Jazz Tea he .

[18] Joseph Federico, Sandole Guitar Student and close friend, telephone interview with author,
digital recording, June 21, 2012.

[19] Bobby Zankel, Sandole Alto Saxophone student, International Recording Artist, telephone
interview with author, digital recording, November 30, 2012.

[20] Craig Thomas.

[ ] To Moo , De is “a dole, Edu ato Who Taught Gia ts of Jazz , Philadelphia Inquirer,
October 4, 2000, g. Bo6 in “la ek, Chpt. , Hi dusta i “ita a d Jazz Guita Musi : A Fo a I to
Comparitive I p o olog i Musical Improvisation: Art, Education, and Society, ed. Gabriel Solis and
Bruno Nettl, Champaign: University of Illinois Press, 2009),219.

[22] Bruce Eisenbeil.

[23] Moon in Slawek in Solis & Nettl, 2009,218).

[24] Joseph Federico.

[25] Bruce Eisenbeil.

[26] Craig Thomas.

[27] Joseph Federico.

[28] "GUE“T PO“T: Matthe “hipp s t i ute to tea he De is “a dole | desti atio :
OUT."destination: OUT, February 7, 2011. . Accessed September 7, 2012.
http://destination-out.com/?p=2264.

[29] Rufus Harley, personal conversation with the author, 1997.

[30] "GUE“T PO“T: Matthe “hipp s t i ute to teacher Dennis Sandole, destination: OUT.

[31] Bobby Zankel.

[32] Dennis Sandole, personal conversation with the author, 1990.

[33] Dennis Sandole, Dennis Sandole Teaching Procedure (Philadelphia, © 1994).

40
[34] Ibid.

[35] Dennis Sandole, private lesson material for the author, 1992.

[36] T. Scott McGill, private lesson material for Dennis Sandole studies, 1992.

[37] Dennis Sandole, Guitar Lore (Philadelphia: Theodore Presser, 1999),66.

[38] Sandole, Private Lesson Material for the author

[39] McGill, material for Sandole studies.

[40] Sandole, Private Lesson Material for the author.

[41] Sandole, Guitar Lore, 34.

[42] McGill, material for Sandole studies.

[43] Sandole, Private Lesson Material for the author.

[44] McGill, material for Sandole studies.

[45] Sandole, Private Lesson Material for the author.

[46] McGill, material for Sandole studies.

[47] Sandole, Latin American Rhythms, Philadelphia.

[48] McGill, material for Sandole studies.

[49] Vincent Persichetti, Twentieth Century Harmony: Creative Aspects and Practice (New York:
W.W. Norton & Company Inc., 1961), 48 .

[50] Sandole, Private Lesson Material for the author.

[51] McGill, material for Sandole studies.

[52] Lars Edlund, Modus No us: L ro ok i frito al elodil s i g = Lehrbuch in freitonaler

Melodielesung = Studies in reading atonal melodies. (Stockholm: Nordiska musikförlaget, 1964), 57.

[53] McGill, material for Sandole studies. McCoy Tyner, Inception from McCoy Tyner: Inception,
©1962 Impulse!,Compact disc.

[54] McGill, material for Sandole studies. Anton Webern, String Quartet Opus 28.( Vienna, Universal
Edition, 1990).

[55] McGill, material for Sandole studies. Wayne Shorter, Fall, from Miles Davis: Nefertiti,
©1968/1990 Sony Music Entertainment Inc., Columbia, #467089 2, Compact disc.

[56] McGill, material for Sandole studies.

41
[57] McGill, material for Sandole studies. Shorter, Fall, Davis: Nefertiti.

[58] Nicholas Slonimsky, (1947) Thesaurus of Scales and Melodic Patterns (New York: Schirmer
Books, 1947), 34.

[59-60] McGill, material for Sandole studies. Shorter, Fall, Davis: Nefertiti.

[ ] De is “a dole, pe so al o e satio ith the autho , s.

[62] Sandole, Private Lesson Material for the author.

[63] McGill, material for Sandole studies.

[64] Dennis Sandole, Scale Lore ( Philadelphia).

[65] Vincent Persichetti, Twentieth Century Harmony: Creative Aspects and Practice (New York:
W.W. Norton & Company Inc., 1961), 48 .

[66] Sandole, Private Lesson Material for the author, 1990.

[67] John Co a h, T el e To e Theo i The Cambridge History of Western Music Theory. ed.
Thomas Christensen (Cambridge: Cambridge University Press, 2002). Accessed March 3, 2011.
http://www.musictheory21.com/documents/readings-in-music-theory/covach-twelve-tone-theory-
pp.603-627.pdf , 613-617.

[68] Dennis Sandole, private lesson material for the Alto Saxophone, 1998, used with permission
from Bobby Zankel.

[69-70] Sandole, Private Lesson Material for the author, 1994.

[71] Ibid, 1991.

[72] Ibid, 1995.

[73] E Le d ai, B la Bart k: An Analysis of His Music (London: Kahn & Averill, 1971), pg.40,
Accessed February 28, 2013, Scribd, http://www.scribd.com/doc/104439346/Bela-Bartok-An-
Analysis-of-His-Music-Erno-Lendvai, 40.

[74] George Perle, Serial Composition and Atonality: Sixth Edition (Berkeley and Los Angeles:
University) ,40.

[75] Nicholas Slonimsky, (1947) Thesaurus of Scales and Melodic Patterns (New York: Schirmer
Books, 1947), 34.

[76] Alexander Scriabin, Piano Sonata No. 7, Op. 64 (Editions Peters # 12652, 1972). Accessed 17
June, 2012. http://erato.uvt.nl/files/imglnks/usimg/f/f9/IMSLP78311-PMLP05433-
Scriabin_Ausgewaehlte_Klavierwerke_Band_6_Peters_Op_64_filter.pdf .

42
[ ] Do Gla de , A al sis of Chi k Co ea s “olo- Miles High , [“epte e , 009], Video clip.
Accessed June, 16, 2012. YouTube, www.youtube.com,
http://www.youtube.com/watch?v=NE33Kz6_DT4

[78] Dennis Sandole, Private Lesson Material for Piano, 1995.

[79] J. C. Thomas, Coltra e: Chasi ’ The Tra e (New York: Da Capo Press Inc., 1975), 51 .

[80] Elliott Carter, Nicholas Hopkins, and John F. Link, Harmony Book (New York: Carl Fischer, LLC,
2009), 352.

[81] Alois Haba and Suzette Mary Battan, New Theory of Harmony: of the Diatonic, the Chromatic,
the Quarter Tone, the Third Tone, the Sixth Tone, and the Twelfth Tone Systems (Leipzig: Fr. Kistner &
C.F. W. Siegel, 1927), pg. , Accessed Dec. 11, 2011, UR Research at The University of Rochester,
http://hdl.handle.net/1802/2896, 8.

[82] Dennis Sandole, Scale Lore (Philadelphia).

[83] Larry Solomon, "Symmetry as a Compositional Determinant: Chpt. VII: Analysis of Works with
Intensive Applications" (PhD diss., West Virginia University, 1973, revised 2002). Accessed July
13, 2012. http://solomonsmusic.net/diss7.htm.

[84] Sandole, Private Lesson Material for the author, 1994.

[85] Thomas, Coltra e: Chasi ’ The Tra e, 53 .

[86] Ibid, 54.

[87] Bela Bartok, String Quartet III, (London, Universal Edition, 1929) Accessed February 22, 2012.
http://en.scorser.com/S/Sheet+music/Bartok+String+Quartet/-1/1.html.

[88] McGill, material for Sandole studies, 1996.

[89] Haba and Battan, New Theory of Harmony, 52-53, 70-71.

[90] Joseph A de , Fo ussi g the Musi al I agi atio : E plo i g i Co positio the Ideas a d
Te h i ues of Joseph “ hilli ge PhD diss., Cit U i e sit , Lo do , . A essed Ju e, .
http://januszpodrazik.com/downloads/Schillinger.pdf, 31-32.

[91] Dennis Sandole, Private Lesson Material for Piano, 1995.

[92] Craig Thomas.

[93] Joseph Barrale.

[94] Sandole, Guitar Lore, 65-66.

[95] Sandole, Private Lesson Material for the author, 1990-91.

[96] Perle, Serial Composition, 41.

43
[97] Dennis Sandole, Private Lesson Material for Piano, 1997.

[98] Ibid.

[99] Robert Sherlaw Johnson, Messiaen ( London: Omnibus Press, 1989), 90,93.

[100] Dennis Sandole, Private Lesson Material for Piano, 1997.

[101] Haba and Suzette Battan, New Theory of Harmony,122-125.

[102] Johnson, Messiaen, 94.

[103] Dennis Sandole, Private Lesson Material for Piano, 1997.

[104] Slonimsky, Thesaurus, 90.

[105] Karlheinz Stockhausen, Nr.2, Klavierstucke I-IV, (London, Universal Edition, 1954) Accessed
August 16, 2012. http://vkgfx.com/scores/stockhausen/Stockhausen_klavierstucke_2_I_IV.pdf.

[106] Dennis Sandole, private lesson material for the Alto Saxophone, 1998, used with permission
from Bobby Zankel.

[107] Johnson, Messiaen, 104-107.

[108] Sandole, Private Lesson Material for the author, 1997.

[109] James Lincoln Collier, The Making of Jazz: A Comprehensive History (Boston: Houghton Mifflin
Co., 1978). Accessed June 15, 2012.
http://books.google.co.uk/books?id=Dz8YAQAAIAAJ&q=Sandole+Coltrane+Slonimsky&dq=Sandole+
Coltrane+Slonimsky&hl=en&sa=X&ei=wylHUauBH-PS0QX974DgDg&ved=0CGAQ6AEwCQ, 432.

[110] Preston Whaley, Blows Like a Horn: Beat Writing, Jazz, Style, and Markets in the
Transformation of U.S. Culture (Cambridge: Harvard University Press, 2004). Accessed, June 15,
2012. http://books.google.co.uk/books?id=_M-
gNNEVsH4C&pg=PA187&dq=Sandole+Coltrane+exotic+scales&hl=en&sa=X&ei=DCZHUcf6JYO40QWJ
t4Bg&ved=0CDEQ6AEwAA#v=onepage&q=Sandole%20Coltrane%20exotic%20scales&f=false, 187.

[111] Porter, John Coltrane, His Life and Music , 51.

[112] Ben Ratliff, Coltrane: The Story of a Sound: (London: Faber & Faber, 2007), 51-52.

[ ] Do ald Chittu , Moza t, Wag e , a d Colt a e pape p ese ted at The I te atio al
Association of Jazz Educators, New York, N.Y., January 10, 2007), 6-7 .

[114] Ibid, 7.

[ ] "GUE“T PO“T: Matthe “hipp s t i ute to tea he De is “a dole, desti atio : OUT.

[116] Thomas, Coltra e: Chasi ’ The Tra e, 54 .

44
[117] Craig Thomas.

[118]"Pat Martino." YouTube, . Accessed May 24, 2012.

http://www.youtube.com/watch?v=COyOxqyEeTs&feature=related.

[119] Arnez Hayes, e-mail correspondance to author, March 7, 2013.

[120] Porter, John Coltrane, His Life and Music , 51.

[121]Arnez Hayes, e-mail correspondence to author, April 14, 2012, used with permission.

[122] Porter, John Coltrane, His Life and Music , 280.

[123] Ibid, 283.

[124-125] Sandole, Scale Lore.

[126] Bruce Eisenbeil.

[127] Joseph Barrale, Sandole, telephone interview with author, digital recording, March 2, 2013.

[128] Slawek in Solis & Nettl, 204-205.

[129] Moon, Dennis Sandole, Educator.

45