Part 04: Treatment of the Dominant Chord Throughout "Have You Met Miss Jones?"

Unlike the previous example, in this example I side step up a half step rather than down a half step and play Bb7 over the predominant or A-7 chord. Played as an anticipation to the next measure or D7, the chord Bb7 or Bb7 pentatonic scale (1, 2, 3, 5, b7) contains many of the altered notes of a D7 chord or D altered scale. Bb7 pentatonic becomes: b13, b7, 1, #9, and #11 relative to the key of D. Pentatonic shapes help me to break away from strictly stepwise motion and are a great tool for conveying harmony and stepping outside the key. I use a sequence to help guide the listener through the build up of tension from ii-7 to V7 and from the first measure into the second measure of the example. The sequence is derived from the Bb bebop scale and emphasizes the first and third note of each iteration of the sequence or the notes: Bb, Ab, G, F, and Eb (or 1, b7, 6, 5, 4). Perfect 4th intervals link the sequence together to make a more angular line and break up chromaticism.

Chords changes located on the top and furthest from the staff indicate what chords the guitar player is voicing. Chords closest to the staff are what I am thinking when improvising. When there is only one chord present both saxophone and guitar are playing/thinking the same chord.

Ex. 4 Side Step And Use Of Sequence

Notice the last sixteenth note of each beat of sequence starting with C descends by whole step (C, Bb, Ab). Descending whole steps in the upper voice create a strong pull leading to D altered. After the sequence, I use Ab pentatonic scale to break up chromaticism. Again notes from the Ab7 pentatonic scale (1, 2, 3, 5, b7) are also #11, b13, b7, b9, and 3 relative to the key of D and are all notes from the D altered scale. Like many of the previous examples, I begin playing back inside the harmony on beat four of the V7 chord. On beat four in measure two of this example I play an A minor pentatonic scale leading into beat one of B-7 (iii-7). As I continue soloing, I explore even more sounds through super imposition as well as incorporate sounds I have already introduced.

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