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EXAMPLES OF CHROMATIC LINES by DAVID LIEBMAN

The following examples represent the original source material for what would become my book AChromatic 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 originalprogression, mode or pedal point is being played, the improviser is thinking, hearing and executing lines in avariety 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-consonantscale 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, Isuperimpose 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 3This 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.

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Examples 4 through 10These 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 andrelease 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.

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Example 11Another 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 GPhrygian in bar 2.

Examples 12 -18In 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, verymuch 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 sixthand flat fifth away from the root.

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

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Ex 14The 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 heardIn 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 specifickind of atmosphere.

ex 16

More superimposition over a D mixolydian scale.

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ex 17Using 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 ofthe 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 pointPedal 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 ofsuperimposed sounds. The same kind of reasoning exists for all the following examples of pedal point harmonic

situations.

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Example 25For 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 ortime, 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 alsoIn 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 artistbuilds his or her own understanding of which intervals to use for expressive purposes.

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Example 26-Free Form LinesThese 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.

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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 asdescribed 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 theinstrument); 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