bebop mandolin target notes and chromatic approaches(1)

7/23/2019 Bebop Mandolin Target Notes and Chromatic Approaches(1)

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Bebop Mandolin:

Target Notes and Chromatic Approaches 2010 by Pete Martin

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Bebop Mandolin:

Target Notes and Chromatic ApproachesTable of Contents

Introduction ...................................................................................................................

Chapter 1 Examples of Target Notes .........................................................................

Chapter 2 Targeting Thirds .......................................................................................

Chapter 3 Sevenths As Target Notes .........................................................................

Chapter 4 Targeting Alterations ................................................................................

Chapter 5 Other Targets ............................................................................................

Chapter 6 Diatonic Approach Notes .........................................................................

Chapter 7 Chromatic Approach Notes ......................................................................

Chapter 8 4 Note Chromatic Approaches .................................................................Chapter 9 How To Practice Targets and Chromatic Approaches ..............................

Chapter 10 Targets and Approaches - Charlie Parker .................................................

Chapter 11 Targets and Approaches - Other Players ..................................................

Chapter 12 Clifford Brown .........................................................................................

Chapter 13 Conrmation Solo by Clifford Brown ......................................................

Appendix

Appendix 1: Chord Spellings ........................................................................................

Appendix 2: Notes Names On The Mandolin Fingerboard ..........................................Appendix 3: Two Octave Major Scale Note Names and Numbers ...............................

Appendix 4: Blank Fingerboard Chart ..........................................................................

Appendix 5: Pdf Books by Pete Martin and Materials For Further Study ....................

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Introduction

Any strong melody, composed or improvised, needs good structure and a look to what

is happening next. It is also important in music to have places we look forward to going. The

act of moving toward these places gives the music more logic to the players and the listeners. It

keeps interest by hearing how the music gets that point, then moves to the next of these points

in time progressively.

In a melody or improvised solo, there needs to be notes that connect that melody to the

chords being played. This helps bond the melody and chords together in a logical way that

sounds pleasing to most listeners.

We can think of these notes as Target Notes(indicated by an X throughout thetext). Used well, these are notes toward which we are constantly moving, and cement together

the melody and chords into an appealing sound. When soloists use target notes, they give the

solo forward motion and a logic that keeps the listener involved in the solo.

While these target notes can be any note that sounds good to the soloist, they are usuallyChord Tones(notes that make up the chord). It just makes sense to do this. The rhythm sec-tion is playing chords. If the melody plays a note of that chord, they come together and sound

harmonious. If too many non-chord notes are played by the soloists they sound disjointed, as if

they dont belong together.

This book will teach you how to hear and use these target notes and how we use other

notes (Approach Notes) to link these together musically. There will be examples andetudes (exercises) to train your ear, mind and hands to get these sounds into your improvising.

This sound is a large part of the bebop and post bop sound of the 1940s and 50s. Clifford

Brown was the master of this approach. We will look at his and other musicians examples ofhow they used these devices to create interesting and exciting solos.

Special Thanks to:

The author wishes to thank Greg Glassman for sharing his knowledge of Jazz and pa-

tience in attempting to teach me to play the music. Thanks to Larry Brandon, Brad Weiss,

Frank Dodrill, Jack McKellar, Clark Hess, Vicki Martin for proof reading and feedback; to all

my Jazz playing friends and students; to Carol for love, support and guidance. And of course,

thanks Mom!!


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Chapter 1

Examples of Target Notes

Be sure you have read the introduction before continuing to this chapter. Target notes are

usually chord tones. All target notes are marked with X throughout the book. Often the rst

note of a chord change is the target note. This is the case in Example 1, which shows a line go-ing from G7 to CMaj7. The target note, marked in the music notation with an X, is G, the fth

of the CMaj7.

Example 2 shows the same chord progression with the root note C being the target.

Example 3 shows a target note of B on a G7 chord and a target note of E on the CMaj7

chord. Both of these targets are thirds.


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Target notes can be used effectively to play a line through a progression of chords. Play

Example 4.

Our rst target note is B, the third of the G Maj7 chord. The next target is F, the at sev-

enth of the G7 chord. The next target is E, the third of the C Maj7. C#, the root of C#dim is the

next target. Finally, the last target note is B, the third of a G Maj7.

The notes that dene the coloration of the chord are thirds, sevenths and alterations (such

as at or sharp fths and ninths). Roots and non-altered fths are fairly neutral sounding, mean-

ing they dont have much of the chord denition in their sound. Major, minor and dominant

chords all have roots and fths, but have very different functions as chords.

Because of this coloration found in thirds, sevenths and alterations, improvisers will get a

lot of mileage from their use as target notes in a solo. Because of this, every improviser should

regularly practice hitting these target notes. We will start this process in chapter 2.


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Chapter 2

Targeting Thirds

As noted in Chapter 1, good target notes are thirds, sevenths and alterations. Lets start

the study of how to apply target notes to solos using thirds.

It is important to get the sound of a third in your mind. Play a B note, and then play a G7chord. Can you clearly hear the B, the third of the G7 chord? Play the G7 chord and sing the B

aloud. Now play an E note, then play a CMaj7 chord. Can you hear that E is the third? Sing E

while playing a CMaj7 chord.

Example 5 has the thirds of both of these chords.

It doesnt matter in what octave you place the notes, a third is a third. In example 5, each

third is in a different octave. We can make a musical line go down to a lower third, or go up to

a higher third. Both are effective.

One more thing before we start practicing. It is very important to learn everything in

ALL keys. Eventually you will need knowledge of all keys to become a uid jazz improviser. I

will write the rst few etudes (an etude is a study designed to perfect a particular musical skill)

in all keys. After that you are on your own to practice in all keys.

Learn where the thirds are for a V7 - I Maj7 chord

progression in all keys as shown in etudes 1 12.


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If you have weak keys, keep practicing those keys until you know where the thirds are

located. It is essential you can see and hear these target notes while playing a solo. In that

way, you can play them in places where they help your solo sound more musical. This type of

repetitive practice is the rst step in that process.

Now that you are comfortable nding thirds on major and dominant seventh chords, put

this into your improvising. In the key of C, one possible way is shown in example 6, seen on

the next page.

Do NOT go any farther in this book until you can quickly

identify and play the thirds presented in Etudes 1 12.


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One can play a more sparse solo than example 6. Example 7 offers a simpler solo in the

key of Ab.


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In your solo, try to interweave places where the solo is more active and places where the

solo is sparse. A great strategy is to start sparse and build to more intense, active phrases.

Start with two measures of V7, followed by 2 measures

of I Maj7. When improvising, make the rst note of

each measure a third. If you have Band in a Box or other

play along software, enter this chord progression, have

it repeat many times and improvise along. Start with aslow tempo, so you can think of where the next target is

located. As this gets easier, increase the tempo. Do this

in ALL keys.


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Probably the most often encountered chord progression in jazz is IIm7 V7 I. If you want

to play uid jazz solos, you must be able to handle this set of chords comfortably in all keys.

Now that youre comfortable nding thirds on major and dominant seventh chords, lets add

thirds on minor seventh chords.

A minor seventh chord contains a atted third. This will be one note (one half step)

lower than the third we found for major and dominant seventh chords.

Learn where the thirds are for IIm7 - V7 - I Maj7 chord



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Just as before, if you have weak keys, keep practicing those keys until you know where

the thirds are located.

When you reach the point where you are comfortable nding thirds on minor seventh,

dominant seventh and major chords, put this into your improvising. Example 8 shows one pos-

sibility.


identify and play the thirds presented in Etudes 13 24.


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If you are having trouble getting the target notes in the right place, you can try the follow-

ing. Play only two notes of the scale into the target. In example 9, we ascend two notes to the

target.


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In example 10, we descend two notes to the target.

We can ascend into one third, then descend into the next third. Example 11 takes thechord progression to the common Miles Davis piece Tune Up and does just that.


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Example 12 takes the chord progression of the two A sections of Exactly Like You and plays ascending

and descending into thirds at the beginning of each new chord.


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Example 13 takes the chord progression to the same section of Exactly Like You. It shows a possible

improvisation using thirds at the beginning of each new chord.


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Find a number of tunes that use only IIm7 V7 I. Put their

progressions in Band in a Box and play at a comfortable tempo.Play along:

1) Ascending and descending into thirds at the start of each

new chord.

2) Improvise but still place thirds at the beginning of

each new chord.


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Chapter 3

Sevenths As Target Notes

As noted in Chapter 1, good target notes are thirds, sevenths and alterations. You looked

at thirds in chapter 2. Now lets start the study of how to apply target notes to solos using sev-

enths. There are two types of seventh sounds in Jazz, the major seventh and the atted (or domi-

nant) seventh. If you do not know the difference between these, you should study music theory

and better understand sevenths before reading this chapter.

It is important to get the sound of a seventh in your mind. Play an F note, and then play

a G7 chord. Can you clearly hear F, the (atted) seventh of the G7 chord? Play the G7 chord

and sing the F aloud. Now play a B note, then play a CMaj7 chord. Can you hear that B is the

(major) seventh? Sing B while playing a CMaj7 chord.

Example 14 has the sevenths of both of these chords.

Learn where the thirds are for a V7 - I Maj7 chord



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If you have weak keys, keep practicing those keys until you know where the sevenths are

located.

Now that you are comfortable nding sevenths on major and dominant seventh chords,

put this into your improvising.

Now add sevenths on minor seventh chords. A minor seventh chord contains a atted

seventh. This will be the same note as the seventh in the dominant seventh chord. Learn wherethe sevenths are for IIm7 - V7 - I Maj7 chord progression in all keys as shown in etudes 37

48.

Do NOT go any farther in this book until you can quicklyidentify and play the sevenths presented in Etudes 25 36.

Start with two measures of V7, followed by 2 measures of

I Maj7. When improvising, make the rst note of each

measure a seventh. Play along with Band in a Box. Start

with a slow tempo, so you can think of where the next

target is located. As this gets easier, increase the tempo.Do this in ALL keys.


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Just as before, if you have weak keys, keep practicing those keys until you know where

the sevenths are located.

When you reach the point where you are comfortable nding sevenths on minor seventh,

dominant seventh and major chords, put this into your improvising. If you have trouble getting

the target notes in the right place, do as we did in chapter 2. Play only two notes of the scale

into the target either ascending or descending. In example 15, we ascend or descend two notes

to the target.

Now it is time to use both thirds and sevenths as targets in improvising. Example 16

shows an improvisation using a few IIm7 V7 I Maj7 progressions.


identify and play the sevenths presented in Etudes 37 48.


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It has come time to try playing an improvisation to a real jazz tune. Improvise on the

chord progression to the common tune All Of Me. The chords are shown in example 17.


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If you need help to make this easier, write target notes using thirds and sevenths. Exam-

ple 18 shows thirds and sevenths used as target notes.


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After you have decided on your target notes, connect them to make your solo. Example

19 shows a solo using the target notes from example 18.


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Did you notice something new in example 19? In measures 14, 15, 25 and 27, we moved

the target note beat ahead of the rst beat of the new measure. In each of these cases the note

is tied into the new measure. Moving the target ahead and behind the rst beat of a measure is a

common device we will look at later.


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Do NOT go any farther in this book until you can quicklyidentify and play the sevenths presented in Etudes 37 48.

Find a number of tunes that use only IIm7 V7 I. Put

their progressions in Band in a Box and play at a comfortable

tempo. Play along:

1) Ascending and descending into thirds and sevenths atthe start of each new chord.

2) Improvise but still placing thirds and sevenths at the

beginning of new chord.


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Chapter 4

Targeting Alterations

Alterations to chords are commonplace in Jazz. We can alter fths and ninths by raising

and lowering each a half step (b5, #5, b9, #9). While any chord can be altered, the most com-

mon chord to be altered is the dominant seventh. The chord known as an altered chord, such asCalt or C7alt, alters the fth to b5 and #5 and the ninth to b9 and #9! Another common chord is

the minor seventh with a at fth (a. k. a. half diminished).

Some tunes have chords with altered notes. A good example is the second chord in Duke

Ellingtons Take The A Train. This chord is a D7b5, also called a D7#11 (#11 and b5 are the

same note, Ab in the key of D). Look below at how this chord is constructed.

1 3 5 7

D7 chord = D F# A C

1 3 b5 7

D7b5 chord = D F# Ab C

We hear dominant seventh chords, such as D7, in all kinds of music. A dominant seventh

with a atted fth is an unusual sound most common in Jazz. The Ab note is the difference

between the D7 and D7b5 (D7#11) chord. Using this unusual sounding note as a target in Jazz

improvising makes a lot of sense. Example 20 shows this Ab note as a target in the rst twochords of Take The A Train.


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Another common use of an altered note is a minor II V I progression. Minor keys use

IIm7b5, or II half diminished as the II chord. V7b9, V7#9 or V7alt is used as the V chord.

ImMaj7 or Im6 is most often used as the I chord, although Im7 can work as well. This sound

became common place in the 1950s as Jazz moved into the hard bop era. Tunes like Whisper

Not, Bohemia After Dark, Minority and countless others use minor II V I.

If you have trouble understanding minor II V I sounds, it might help to study more mu-

sic theory. Mark Levines excellent book Jazz Theory dives into detail from pages 55 to 94,

looking at the chords and scales for improvising against these chords. I highly recommend that

every serious Jazz student study this!

Example 21 shows the rst 5 measures of chord progression of Minority.

Notice the notes that fall on the beat in the C7b9 chord. They are C, Bb, Db, and Gb, the

1, b7, b9, and b5.


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Here are the scales I used for these chords.

CHORD SCALE NOTES

FmMaj7 F Melodic Minor F G Ab Bb C D E

Dm7b5 F Melodic Minor F G Ab Bb C D E

Gm7b5 Bb Melodic Minor Bb C Db Eb F G A BbC7b9 Db Melodic Minor Db Eb Fb Gb Ab Bb C Db

C7b9 C Altered Scale C Db Eb Fb Gb Ab Bb C

The Db melodic minor and the C altered scale are two terms that mean the same sound.

Unlike major II V I where we use the scale of I and everything ts nicely, in minor II V I most

players use three different scales.

As stated before, any note that sounds good to the soloist can be used as a target. Chord

tones are most common, the most colorful being the third, seventh and alterations. These target

notes are listed here:

CHORD TARGET NOTES

mMaj7 b3, 7

m7b5 b3, b5, b7

7b9, 7#9, 7b5, 7#5, Alt b9, #9, 3, b5, #5, 7

Look at the C altered scale.

1 b9 #9 3 b5 #5 7 1

C Altered Scale C Db Eb Fb(E) Gb Ab Bb C

All these notes are in a Calt chord. Because of this, any note of the altered scale is a

chord tone, thus can be a target note. Therefore, you need to learn all of them. We will do that

in every key in etudes 49 60. Due to its lack of color, we shall omit the root note as a target in

the etudes, just as weve done previously.


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Take these target notes and use them in solos. First, take a chord progression and nd target notes.

Then make a solo using these target notes. This is shown using the chord progression of Stella By Starlight.


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Example 22 shows possible target notes in this chord progression.


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Example 23 shows a solo constructed from these target notes.


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Look at the target notes in examples 22 and 23.


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Target Note in

Measure Chord Note Chord1 Em7b5 Bb b5

2 A7b9 C# 3

3 Cm7 Eb 3

4 F7 Gb b9

5 Fm7 Ab 36 Bb7 F 5

7 EbMaj7 D 7

8 Ab7 Gb 7

9 BbMaj7 Bb 1

10 Em7b5 D 7

10 A7b9 C# 3

11 Dm7 F 3

12 Bbm7 F 5

12 Eb7 Db 713 FMaj7 D 6 (13)

14 Em7b5 D 7

14 A7b9 Bb b9

15 Am7b5 C b3

16 D7b9 C 7

17 G7#5 Eb #5

19 Cm7 Eb 3

21 Ab7#11 C 3

23 BbMaj7 D 325 Em7b5 Bb b5

26 A7b9 C# 3

27 Dm7b5 F 3

28 G7b9 F 7

29 Cm7b5 Gb b5

30 F7b9 Gb b9

31 BbMaj7 D 3

Notice how often the target note is a 3, 7 or alteration? While occasional 1, 5 and 6 (13)

are played, the bulk of the target notes are 3, 7 and alterations. They give the solo more color

than other notes.

In measure 4 a Gb note (the at 9) is played against an F7 chord. You can improvise

notes of an altered dominant against a dominant seventh chord any time you hear it works.


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1) Take a chord progression to a common Jazz piece

2) Write target notes

3) Improvise a solo using these target notes

4) Repeat using many different tunes


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In example 26 the target is a fth.

In example 27 the target is a sixth (thirteenth).

Practice these target notes as you have all others up to this point. If needed, write out

target notes and improvise using these notes. Eventually you should strive to improvise without

use of a predetermined target. Youll get good at hitting targets automatically, in the ow of the

musical line.

Example 28 shows an improvisation to the chord progression of There Will Never Be Another

You using many different target notes.


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1) Take a chord progression to a common Jazz piece

2) Improvise a solo using any and all target notes

3) Repeat using many different tunes


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Chapter 6

Diatonic Approach Notes

Approach notesare used to get to target notes. There are many ways to approach

target notes. We can approach target diatonically or chromatically. Diatonicmeans using

only the notes of the key we are in. If that key is C, diatonic would mean only the notes C, D,

E, F, G, A and B, the notes of C major. Chromaticmeans any of the 12 notes in westerncivilization music.

All exercises in chapter 6 use the key of C diatonically. All following examples have ap-

proach notes labeled a and target notes labeled x.

Approaches can be single or multiple notes. In example 29 we approach the target by us-

ing a single descending note.

In example 30 we approach the target using two descending notes.


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In example 31 we approach the target using ve descending notes.

In example 32 we approach the target by using a single ascending note.

In example 33 we approach the target by using two ascending notes.


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We can ascend or descend into a target by any number of diatonic notes that sound good.

We can also use combinations of ascending and descending approach notes. Many Jazz teach-

ers call this surroundbecause the target is surrounded with approach notes. The most basic surround idea is one note above, one note below, then the target. This is

shown in example 34.

In example 35 we approach the target by one note below and one note above.

In example 36 we approach the target by two notes below and one note above.


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In example 37 we approach the target by two notes above and one note below.

In example 38 we approach the target using both ascending and descending notes. We

start two scale notes above the target, play one scale note below, one scale note above then ar-

rive at the target.


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Example 39 is the opposite of example 38. We start two scale notes below the target,

play one scale note above, one scale note below then arrive at the target.

Notice how Jazzy this line sounds. We are starting to get into Bebop territory here.

These ideas are all over in recordings of the 1950s.

We can extend this surround to many notes. Example 40 has a four note surround. We

start two scale notes above the target, descend one scale note, play two scale notes below the

target, then ascend the scale to the target.

Example 41 is the opposite of example 40. We start two scale notes below the target,

ascend one scale note, play two scale notes above the target, then descend the scale to the target


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Example 42 is two scale notes above, two scale notes below, one scale note above, one

scale note below.

Example 43 is two scale notes below, two scale notes above, one scale note below, one

scale note above.


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There are too many of these diatonic surrounds to go into all of them, but you should now

have an idea of how they function. Make up a few of your own using however many notes you

wish.

How to practice diatonic approach notes? There is no one correct way to get this sound

into your improvising. below are some suggestions, feel free to modify them to suit your

needs.

1) Improvise 2 measures of G7 and 2 measures of

C Major (CMaj7 or C6). Select the target as the third

of the C major chord. Practice all approaches givenin this chapter (examples 29 43) into that target

(for instance, examples 29, 30, 31, 34, 35, 36, 37, 38,

39, 40, 41, 42 and 43 all show approaches into a third).

Repeat, selecting different target notes, i.e., root, third,

fth, seventh, ninth, thirteenth. Repeat in all keys.

2) Improvise 2 measures of Dm7, 2 measures of G7 and4 measures of C Major. Select a root target. Practice

all approaches given in this chapter into that target for

all 3 chords. Repeat selecting different targets.

Repeat in all keys.

3) Repeat as above with many different chord progressions

and targets in all keys.

4) Improvise common tunes using the above approach.


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Chapter 7

Chromatic Approach Notes

Last chapter we discussed approach notes, but only used diatonic approaches. We can ap-

proach targets diatonically, chromatically or a combination of both. Reviewing, diatonic means

using only the notes of the key we are in. Chromatic means any of the 12 notes in western civi-

lization music.

As shown in chapter 6, there are many ways to approach target notes. We will not look

at every conceivable combination, but will look at enough to give us an idea how the concept is

applied to improvisation.

One Note Approaches Example 44 shows a chord progression of Dm7, G7 and Cmaj7. The target, a third on

each chord, is approached one half step from below.

Notice that sometimes this approach shown in example 44 results in diatonic notes (e to f

in 1st and 2nd measures) and non diatonic notes (the others).

Example 45 shows the same chord progression with each third approached from one half

step above.


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Example 48 is a scale step above, one half step below, then the target.

Example 49 is a half step below, one scale step above, then the target.


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Example 50 is a half step above, one scale step below, then the target.

Example 51 is a scale step below, one half step above, then the target.

Example 52 is a half step above, one half step below, then the target.


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Three Note Approaches

Example 53 is a two scale notes above, one scale note above, one half step below, then

the target.

Example 54 is a two scale notes below, one scale note below, one half step above, then

the target.

Example 55 is a two scale notes above, one half step below, one scale note above, then

the target.


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Example 56 is a two scale notes below, one half step above, one scale note below, then

the target.

Example 57 is a two scale notes above, one half step below, one half step above, then the

target.

Example 58 is a two scale notes below, one half step above, one half step below, then the

target.


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Example 59 is one half step below, two scale notes above, one scale note above, then the

target.

Example 60 is one half step above, two scale notes below, one scale note below, then the

target.

Example 61 is two half steps above, one half step above, one half step below, then the

target.


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Example 62 is two half steps below, one half step below, one half step above, then the

target.

Example 63 is two half steps above, one half step below, one half step above, then the

target.

Example 64 is two half steps below, one half step above, one half step below, then the

target.


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Example 65 is one half step below, two half steps above, one half step above, then the

target.

Example 66 is one half step above, two half steps below, one half step below, then the

target.

Example 67 is three half steps below, two half steps below, one half step below, then the

target.


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Example 68 is three half steps above, two half steps above, one half step above, then thetarget.

Chapter 8 will continue with 4 note approaches. In chapter 9, we will look at strategies

for how to practice approaches.


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Chapter 8

4 Note Chromatic Approaches

We continue our look at chromatic approach notes. Example 69 is three scale notes

above, two scale notes above, one scale note above, one half step below, then the target.

Example 70 is three scale notes below, two scale notes below, one scale note below, one

half step above, then the target.

Example 71 is three scale notes above, two scale notes above, one half step below, one

scale note above, then the target.


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Example 72 is three scale notes below, two scale notes below, one half step above, one

scale note below, then the target.

Example 73 is three scale notes above, one half step below, two scale notes above, one


Example 74 is three scale notes below, one half step above, two scale notes below, one



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Example 75 is one half step below, three scale notes above, two scale notes above, one


Example 76 is one half step above, three scale notes below, two scale notes below, one


Example 77 is two scale notes above, two half steps above, one half step above, one half

step below, then the target.


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Example 78 is two scale notes below, two half steps below, one half step below, one half

step above, then the target.

Example 79 is two scale notes above, two half steps above, one half step below, one half


Example 80 is two scale notes above, one half step below, two half steps above, one half



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Example 81 is two scale notes below, one half step above, two half steps below, one half


Example 82 is one half step below, two scale notes above, two half steps above, one half


Example 83 is one half step above, two scale notes below, two half steps below, one half



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Example 84 is three half steps above, two half steps above, one half step above, one half


Example 85 is three half steps below, two half steps below, one half step below, one half


Example 86 is three half steps above, two half steps above, one half step below, one half



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Example 87 is three half steps below, two half steps below, one half step above, one half


Example 88 is three half steps above, one half step below, two half steps above, one half


Example 89 is three half steps below, one half step above, two half steps below, one half



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Example 90 is one half step below, three half steps above, two half steps above, one half


Example 91 is one half step above, three half steps below, two half steps below, one half


Example 92 is two half steps above, one half step above, two half steps below, one half



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Example 93 is two half steps below, one half step below, two half steps above, one half


Example 94 is two half steps above, two half steps below, one half step above, one half


Example 95 is two half steps below, two half steps above, one half step below, one half



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Chapters 7 and 8 have only looked some possibilities of approaching target notes. This

set of examples is by no means complete, but it should give you an idea of how to nd ap-

proaches. In the next chapter, lets look at how to practice these to get this sound into your

improvising.


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Chapter 9

How To Practice Targets and

Chromatic Approaches

In previous chapters, we have looked at target notes and how to use approaches to those

target notes. We have seen many examples of approaches in chapters 6, 7 and 8. There is noone correct way to practice these. This chapter will make some suggestions. Feel free to use

these or develop your own method of practicing.

Some approaches will sound better to each player than others. There should be plenty of

examples that sound good to you. If you dont like a sound, dont use it. I suggest listing which

of these you like and use these as the basis of your practicing.

Here are four ways you can practice targets and approaches. We will look at each later in

the chapter.

PRACTICE SUGGESTION ONE

1A) Select one chord out of a progression (for example, V7). Take a single target note in that

chord (such as the third of that V7 chord). Find a one note approach you like. Practice this in all

keys.

1B) Using the same progression and target as 1A above, nd a two note approach you like.

Practice this in all keys.

1C) Repeat the same using a 3 note approach, all keys.

1D) Repeat the same using a 4 note approach, all keys.

1E) Do all of the above for each possible target note (R, 9, 3, 5, 13, 7 plus alterations).

PRACTICE SUGGESTION TWO

2A) Using a IIm7 V7 I Maj chord progression. Select a single target note for all chords in

that progression (such as the fth). Find a one note approach you like into each target. Practice

this in all keys.

2B) Repeat the same using 2 note approaches, all keys.

2C) Repeat the same using 3 note approaches, all keys.


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2D) Repeat the same using 4 note approaches, all keys.


PRACTICE SUGGESTION THREE

A) Select a chord progression to a common tune. Select a target note for all chords in that

progression. Find a one note approach you like into each target.

B) Repeat the same using 2 note approaches.

C) Repeat the same using 3 note approaches.

D) Repeat the same using 4 note approaches.

E) Repeat A, B, C, D in all keys.

PRACTICE SUGGESTION FOUR

A) Select a common chord progression segment (such as V7 - IMaj) found in many tunes.

Improvise one note approaches into target notes. Dont preplan targets, improvise them and the

approaches.





F) Expand the progression segment (such as IIm7 V7 IMaj) and repeat a through E.


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Lets look at these as practice etudes.

PRACTICE SUGGESTION ONE

1A) Select one chord out of a progression (for example, V7). Take a single target note in that

chord (such as the third of that V7 chord). Find a one note approach you like. Practice this in allkeys. Etude 61 shows 1A.

1B) Using the same progression and target as 1A above, nd a two note approach you like.

Practice this in all keys. Etude 62 shows 1B).


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1C) Repeat the same using a 3 note approach, all keys. Etude 63 shows 1C).


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1D) Repeat the same using a 4 note approach, all keys. Etude 64 shows 1D).


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PRACTICE SUGGESTION TWO

2A) Using a IIm7 V7 I Maj chord progression. Select a single target note for all chords in

that progression (such as the fth). Find a one note approach you like into each target. Practice

this in all keys. Etude 65 shows 2A).


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2B) Repeat the same using 2 note approaches, all keys. Etude 66 shows 2B).

Repeat etude 66 in all keys.

2C) Repeat the same using 3 note approaches, all keys. Etude 67 shows 2C).


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Play etude 67 in all keys.

2D) Repeat the same using 4 note approaches, all keys. Etude 68 shows 2D).

Play etude 68 in all keys.


PRACTICE SUGGESTION THREE

3A) Select a chord progression to a common tune. Here are the chords to the Charlie Parker

tune Conrmation.


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3A) Select a target note for all chords in that progression. Find a one note approach you like

into each target. Etude 69 shows 3A).


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3B) Repeat the same using 2 note approaches. Etude 70 shows 3B).


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3C) Repeat the same using 3 note approaches. Etude 71 shows 3C).


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3D) Repeat the same using 4 note approaches. The chord changes of Conrmation will not

allow 4 note approaches into every target note. Etude 72 shows 3D) using 4 note approaches

where possible.


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3E) Repeat A, B, C, D in all keys.

Example 72 is not how a good solo sounds. Each player must use a number of musical

devices to make a solo interesting. Example 72 is just useful to get apporaches and target notes

into your improvising.

Practice suggestion four on your own. Use many different chord progression segments. If

you have trouble thinking of some, use a fake book for examples.


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PRACTICE SUGGESTION FOUR

A) Select a common chord progression segment (such as V7 - IMaj) found in many tunes.

Improvise one note approaches into target notes. Dont preplan targets, improvise them and the

approaches.





F) Expand the progression segment (such as IIm7 V7 IMaj) and repeat a through E.

Chose one or more of the practice suggestions in this

chapter (or one of yours) and practice targets and

approaches. Do these in all keys.


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Chapter 10

Targets and Approaches - Charlie Parker

Up to this point, we have looked at target notes and seen many possible ways to approach

those targets. In this and the next chapters, lets look at how Jazz legends used them in their

improvisations.

Charlie (Bird) Parker is as responsible as anyone for how great Jazz players play today.

The improvisational language he developed is a great place to start your Jazz studies. In exam-

ple 96, his target is an A note, the fth of a Dm7 chord. His approach is a half step above, two

half steps below, one half step below, then the target.

In example 97, Bird approaches the fth of a G7 chord from D7 in exactly the same way.

In example 98, Bird targets the root of an F7 chord. His approach is simple, scale note

below, half step above.


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Example 99 shows Bird targeting the same root of an F7 chord. His approach is much

more elaborate than example 98. Two half steps below, one half step above, two half steps be-

low, one half step below, then the target.

The next few examples show chromatic approaches from above. In example 100 the tar-

get note is the at seven of an F7 chord. Bird approaches it 4 notes chromatically from above.


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All of the notes in the rst measure of Example 100 could be thought of as approaches to

the target, the at 7 of F7. Descend the F major scale from D to G, then chromatically descend

to the target.

Example 101 is a classic Parker phrase. If you listen closely to any Bird solo, chancesare high you will hear this one. His target is C, the fth of an F Major7 chord. His approach is

4 chromatic notes from above.

Also worth noting in example 101 is there is no chord change. Both measures are an F

Major7 chord. It is good practice to target and approach targets whether or not there are chord

changes.

Example 102 targets the note C, a at third of an Am7 chord. Once again Parker ap-

proaches this with 4 chromatic notes from above.


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Parker uses a very typical bebop era approach in the rst measure of example 102. The

chord changes in 102 are Bm7, E7, Am7. In the rst measure, the notes that fall on the beat are

F, G#, E and D. Those 4 notes outline an E7b9 chord, not Bm7 to E7. Bop players often play

IIm7 V7 as just V7.Example 103 targets the note D, a fth of G7 chord. This basic approach is a scale note

below, half step above, then the target.

In example 103, the target is on beat two of the measure, not beat one. Having a target

note later in the measure creates a lot of forward motion in the solo. Against the G7 chord, ten-

sion is created by the notes C and Eb. That tension is nicely released when the note D is played

Example 104 descends a long chromatic line from Bb to E, then one half step below, then

the target Eb, a fth of an Ab7 chord.


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Example 105 is one half step above, two half steps below, one half step below, then the

target. This is a phrase I hear many great Jazz improvisers use.

Example 106 is the same as example 105 in a different key.


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In example 107, Parker approaches the target two scale notes above, one scale note

above, one half step above, one half step below, then the target. Also note the rst 4 notes in the

G7 measure are notes from a G7 altered scale. This scale is the same as an Ab melodic minor

scale.

Example 108 is a wonderful surround example. Two scale notes above, two half steps

below, one scale note above, one half step below, then the target.

In example 109 the target is the note G, the fth of a C7 chord. The approach is half step

above, two half steps below, one half step below, then the target.


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Chapter 11

Targets and Approaches - Other Players

Besides Charlie Parker, lets look at approaches and target notes as played by other well

know Jazz musicians. In example 111, guitarist Wes Montgomery approaches a target of D on

a D7 chord by two scale notes above, one scale note above, two half steps below, one half step

below, then the target.

In example 112, Wes surrounds the target D note by the simple scale note above, one half

step below, then the target. This is our rst example in time.

In example 113, guitarist Joe Pass uses three approach notes into the target note A, the

third of an F7 chord. The approach is two half steps below, one half step above, one half step

below, and then the target.


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In example 114, Pass plays a long line through common chord changes, targeting notes

on all the new chords he encounters.

The rst target is D, the fth of a Gm7 chord. The approach is half step above, half step

below, then the target.

The second target is E, the third of a C7 chord. The approach is scale note above, scale

note below, then the target.

The third target is C#, the sharp fth of an F7 chord. The approach is scale note below,


The fourth target is F, the root of an Fm7 chord. The approach is one half step above,

then the target.

The fth target is D, the third of Bb7. This Charlie Parker phrase is one half step above,

two half steps below, one half step below, then the target.

In examples 115, 116 and 117, Joe uses the same approach into targets over IIm7, V7

changes. In example 115, the target is B, the third of a G7 chord. The approach is two half


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steps below, one half step above, one half step below, and then the target.

In example 116, the target is A, the third of a F7 chord. The approach is two half stepsbelow, one half step above, one half step below, and then the target.

In example 117, the target is E, the third of a C7 chord. The approach is two half stepsbelow, one half step above, one half step below, and then the target.


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Example 118 shows Pass using a scale approach into the target, which is an Eb, the root

of an Eb7 chord. The approach is two scale notes below, one scale note below, two scale notes

above, one scale note above, then the target.

There are two targets and approaches in example 119. Joes rst target is C#, the sharpfth of an F7 chord. His approach is one half step above, two half steps below, one half step

below, then the target. The second target is F, the fth of BbMaj7. This more unusual approach

is two scale notes above, three half steps above, one half step above, then the target. This line is

full of tension which is released by the sound second target note F.


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In example 120, saxophonist Sonny Stitt plays into two targets against the same FMaj7

chord. The rst target is the root F (notice it is the second beat of the measure), approached by

scale note above and scale note below, then the target. The second target is C, the fth of the

FMaj7 and the approach is the same, scale note above and scale note below, then the target.

In example 121, Stitt uses the same approach, scale note above and scale note below, into

a Bb note, the root of a Bb7 chord.


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Example 122 shows Stitt using a longer approach into an A note, the third of F7. The ap-

proach is scalar, then chromatic, a nice combination. Four scale steps above, three scale steps

above, two scale steps above, one scale step above, two half steps below, one half step below,

then the target.

In example 123, pianist Bill Evans uses one of the most common approach to targetphrases. Ive heard this phrase in solos of all types of music. The target is E, the third of a C7

chord. The approach is three half steps above, two half steps above, one half step above, one

half step below, then the target.


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In example 124, Evans approaches two chord tones later in the measure than the chord

change. This creates tension that is resolved nicely when the target note is played.

The rst target is B, the third of a G7. The approach is half step above, two half steps

below, one half step below, then the target. The next target is E, the third of the C7. The approach is one scale tone above, three

scale tones above, two scale tones above, one scale tone above, then the target.


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Chapter 12

Clifford Brown

In his short life, trumpeter Clifford Brown had a huge impact on the Jazz scene. He was

not only an undisputed master of his instrument, his improvisations inuenced almost all who

came after. Of the players Ive studied, Brown developed targets and approaches more thor-oughly than any other. In this chapter, we will look at examples of how he used these. In chap-

ter 13, we will analyze one of his solos on the Charlie Parker tune, Conrmation.

In example 125, Brown plays a simple approach to an A note, the root of an A7 chord.

The approach is one half step above, one half step below and then the target.

Brown was highly skilled in using approaches and target notes anywhere in a measure.

This uidity made his solos unpredictable, giving the music a lot of forward motion by playingnotes in unexpected places. In example 126, we expect to hear the F note on the third beat of

the measure, but Brown surprises us and holds off the F until the fourth beat, placing a surround

in front of the F. The surround is a simple scale note above, scale note below and then the tar-

get.


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Example 129 is the same line as example 128 except against an Ab7 chord.

Example 130 has two targets, the third of an A7 (C#) and the third of a D7 (F#). Brown

plays the same phrase into both targets, two scale notes above, one scale note above, one half

step below and then the target. The notes E, G, and A at the end of the rst measure are used to

connect the two phrases.


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In example 130, Brown used more than one target note in a phrase. In example 131, he

uses the rst target as the rst approach note into the second target!

The rst target is an A note, the third of an FMaj7. He approaches this by half step

above, two half steps below, one half step below and then the target.

The second target is an F note, the root of an FMaj7. He approaches this by two scale

notes above, one scale note below, one scale note above and then the target. A very cool line

indeed.

Example 132 is another where the target is an approach to the next target. The rst target

is an E note, the third of a CMaj7. Brown approaches this by half step above, two half steps be-

low, one half step below and then the target. The second target is a C note, the root of a CMaj7.

He approaches this by two scale notes above, one half step below, three half steps above andthen the target.

Example 133 is almost the same as example 132 and 131. The rst target is an F note,

the third of a DbMaj7. Brown approaches this by one half step above, two half steps below, one

half step below and then the target.


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The second target is Db, the root of a DbMaj7. He approaches this by two scale notes

above, one half step below, one scale note above, one half step below and then the target.

In example 134, the target is an A, the third of F7. Brown approaches this by half step

above, scale step below and then the target. Once again he makes the target later in the measure

for a tension/release effect.

Example 135 is another where the target is delayed from the chord change. The target

note, Bb is the root of a Bb7 chord. It is delayed until beat 3 of the measure. The approach is

two half steps above, one half step above, one half step below and then the target.


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Example 136 targets C, the third of AbMaj7. The approach is two scale steps above, one

scale step above, two half steps below, one half step below and then the target.

Example 137 targets Gb, the atted seven of Ab7. This simple approach is two half steps

above, one half step above and then the target.


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Example 138 is another of two targets, and the rst target is the rst approach to the sec-

ond target. The rst target is Eb, the ninth of DbMaj7. The approach is three half steps above,

two half steps above, one half step above and then the target.

The second target is Db, the root of DbMaj7. The approach is scale note above, scale

note below and then the target.

Example 139 targets C, the fth of F7. The approach is two scale steps above, one scale

step above, two half steps below, one half step below and then the target.

Compare examples 139 and 136. Do you see they are the same line, but t two very dif-

ferent chord progressions? Being exible with your knowledge goes a long way in being able

to improvise comfortably in a number of music situations.

In example 140, the rst target is G, the third of Eb7. The approach is one half step

above, two half steps below, one half step below and then the target.

The second target is Eb, the fth of AbMaj7. The target is scale note below, scale note

above, then the target.


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Brown was a master at tting targets and approaches seamlessly together to make long,

elegant lines. Example 141 is a 6 measure line with 6 targets. Work out the approaches for each

yourself.

Example 142 has two targets. The rst is F#, the third of D7. Brown approaches it with

a simple surround of a scale tone above and scale tone below.

The second target is D, the fth of Gm7. The approach is two half steps below, one half

step below and then the target.


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In example 143, Brown targets the third of G7, the note B. The approach is two scale

notes above, two half steps below, one scale note above, one half step below and then the target

In example 144, Brown targets the note G, the root of GMaj7. His approach is half step

below, two half steps above, one half step above and then the target.


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Example 145 is a very typical IIm7 V7 Jazz line. Brown arpeggiates an Am7 chord, re-

solving on an F# note, the third of D7. The approach to that F# target is scale tone above, scale

tone below and then the target.


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Chapter 13

Conrmation Solo by Clifford Brown

Brown recorded Charlie Parkers Conrmation on February 24, 1954. The live record-

ing at Birdland in New York City features Art Blakey (drums), Lou Donaldson (alto sax), Hor-

ace Silver (piano) and Curly Russell (bass). The CD is called A Night at Birdland, Volume 2,Blue Note 5038. It is also available on The Complete Blue Note and Pacic Jazz Recordings

of Clifford Brown.

Brown takes 4 choruses on the opening solo. I have marked out 49 targets and approach-

es, but could have done many more! Play through the solo and see how many more you can

nd.

Browns target notes are not always the rst note of the new chord. Many occur later in

the measure. One, the target in measure 32, is one beat before the new chord.

Three target notes are the rst note of the next approach. Find these and play them.

Notice how Brown starts with simple approaches, then builds intensity as the solo pro-gresses. There are many other devices he uses besides approaches and targets. He interjects

these with the target-approaches to give the solo variety and interest.

Listen to the recording, play through the solo and have fun studying Browns unique

style.

The very last note (F) is written one octave higher than played, so it is in the range of

normal mandolin tuning. Five string mandolin players can play it one octave lower.


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Appendix 1

Chord Spellings

Chord Type Symbol SpellingMajor X 1 3 5Minor Xm 1 b3 5

Sixth X6 1 3 5 6

Major Seventh XMaj7 1 3 5 7

Dominant Seventh X7 1 3 5 b7

Minor Seventh Xm7 1 b3 5 b7

Diminished Xdim X 1 b3 b5 bb7 (6)

Half Diminished X Xm7b5 1 b3 b5 b7

Minor Seventh Flat Fifth X Xm7b5 1 b3 b5 b7

Minor Sixth Xm6 1 b3 5 6

Minor Major Seventh XMaj7 1 b3 5 7

Suspended Xsus 1 4 5

Augmented X+ X#5 X+5 1 3 #5

Chord Extensions (9, 11, 13)Ninth X9 1 3 5 b7 9

Eleventh X11 1 3 5 b7 9 11

Thirteenth X13 1 3 5 b7 9 (11) 13

Minor Ninth Xm9 1 b3 5 b7 9

Minor Eleventh Xm11 1 b3 5 b7 9 11

Minor Thirteenth Xm13 1 b3 5 b7 9 (11) 13

Major Ninth XMaj9 1 3 5 7 9

Major Eleventh XMaj11 1 3 5 7 9 11

Major Thirteenth XMaj13 1 3 5 7 9 (11) 13

These are just some, any chord can be extended

Chord Alterations (5, 9, 11, 13)Sharp Nine X#9 1 3 5 b7 #9Flat Nine X(b9) 1 3 5 b7 b9

Sharp Eleventh X#11 1 3 5 b7 9 #11

Sharp Thirteenth X#13 1 3 5 b7 9 (11) #13

Major Seven Flat Five XMaj7b5 1 3 b5 7

These are just some, any chord can be altered


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The 5 main chord types are:1. Major

2. Minor

3. Dominant Seventh

4. Diminished

5. Half Diminished

MAJOR: Major,Sixth, Major Seventh, Major Ninth, Major Eleventh, Major Thirteenth,any of these with suspended or augmented, sharp eleven (at ve)

MINOR: Minor, Minor Seventh, Minor Sixth, Minor Major Seventh, any of these withsuspended or augmented (rare)

DOMINANT SEVENTH: Dominant Seventh,Ninth, Eleventh, Thirteenth, any of

these with suspended or augmented (common)

DIMINISHED: Diminished, Diminished Seventh

HALF DIMINISHED: Minor Seventh Flat Fifth

Any Major, Minor, or Dominant Seventh chord can have alterations, but these are most

common on the Dominant Seventh. These alterations are b5 and #5, b9 and #9, #11, b13 and

#13.


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Appendix 2

Mandolin Note Names

Fret String Name

# G D A E1 G#/Ab D#/Eb A#/Bb F

2 A E B F#/Gb

3 A#/Bb F C G

4 B F#/Gb C#/Db G#/Ab

5 C G D A

6 C#/Db G#/Ab D#/Eb A#/Bb7 D A E B

8 D#/Eb A#/Bb F C

9 E B F#/Gb C#/Db

10 F C G D

11 F#/Gb C#/Db G#/Ab D#/Eb

12 G D A E

13 G#/Ab D#/Eb A#/Bb F14 A E B F#/Gb

15 A#/Bb F C G

16 B F#/Gb C#/Db G#/Ab

17 C G D A


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Appendix 3

Two Octave Major Scales

Two Octave Major Scale

One Octave 1 2 3 4 5 6 7 1 2 3 4 5 6 7 1

Two Octaves 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15

Key of C C D E F G A B C D E F G A B C

Key of F F G A Bb C D E F G A Bb C D E F

Two Octaves 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15

Key of Bb Bb C D Eb F G A Bb C D Eb F G A Bb

Key of Eb Eb F G Ab Bb C D Eb F G Ab Bb C D Eb

Two Octaves 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15

Key of Ab Ab Bb C Db Eb F G Ab Bb C Db Eb F G Ab

Key of Db Db Eb F Gb Ab Bb C Db Eb F Gb Ab Bb C Db

Two Octaves 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15

Key of Gb Gb Ab Bb Cb Db Eb F Gb Ab Bb Cb Db Eb F Gb

Key of B B C# D# E F# G# A# B C# D# E F# G# A# B

Two Octaves 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15

Key of E E F# G# A B C# D# E F# G# A B C# D# E

Key of A A B C# D E F# G# A B C# D E F# G# A

Two Octaves 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15

Key of D D E F# G A B C# D E F# G A B C# D

Key of G G A B C D E F# G A B C D E F# G


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Appendix 4

Blank Fingerboard Charts


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Appendix 5

PDF Books by Pete MartinDownload and try for free at:


Bebob Mandolin: Target Notes and Chromatic Approaches

Explains Target and Approach notes and how to get this fundamental Bebop sound into

your improvising. Music and tab.

Jazz Chording for Mandolin

A comprehensive look at chords for Jazz (Swing, Bebop, Post Bebop) Mandolin

Mandolin and Fiddle Improvisation Using the Chord Tone ScaleLooks at developing ideas for improvising in a non Jazz setting (Bluegrass, Fiddle tunes,

etc.), Music and tab.

Easy Music Theory For Fiddle and Mandolin

A good introduction for players who know no theory but want to learn. Music and tab.

Texas Style Fiddle Tunes for Mandolin

Tunes from this great ddlin style arranged for mandolin players. Music and tab.

Oldtime Tunes for Fiddle and Mandolin, Volume 1

50 common ddle tunes. Music and tab.

Oldtime Tunes for Fiddle and Mandolin, Volume 2

50 less common ddle tunes. Music and tab.

Texas Style Fiddle Transcriptions, Volume 1

21 note for note versions as played by top Texas style ddlers. Music notation only.

Texas Style Fiddle Transcriptions, Volume 2

18 more note for note versions as played by top Texas style ddlers. Music notation only.

Benny Thomasson Fiddle Transcriptions

17 tunes as played by the legendary Texas ddler. Music notation only.
http://www.petimarpress.com/http://www.petimarpress.com/


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Materials For Further StudyChord Study

How To Comp: A Study of Jazz Accompaniment by Hal Crook

A comprehensive chord study text highly recommended!!

http://aebersold.com/Merchant2/merchant.mvc?Screen=PROD&Product_

Code=HTC&Category_Code=PIAVOI

Hearin The Changes by Jerry Coker, Bob Knapp, Larry Vincent

How to learn chord changes by ear

http://aebersold.com/Merchant2/merchant.mvc?Screen=PROD&Product_

Code=HEAR&Category_Code=JERCOKBOO

Improvising Jazz by Jerry Coker

Especially good is appendix C and D where he looks at various chord progressions

common to the musichttp://www.amazon.com/Improvising-Jazz-Fireside-Jerry-Coker/dp/0671628291

Music TheoryJazz Theory by Mark Levine

A comprehensive theory text highly recommended!!

http://www.shermusic.com/new/1883217040.shtml

General Jazz Informationhttp://www.jazzstandards.com/compositions/index.htmA list of 1000 Jazz standards, ranked in order of importance.

Fake BooksThe Real Book, Volumes 1-3

http://www.amazon.com/s/ref=nb_ss_b?url=search-alias%3Dstripbooks&eld-keywords=real+

book&x=0&y=0

The New Real Book, Volumes 1-3

http://www.shermusic.com/new/0961470143.shtml
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Play Along Books and SoftwareJamey Aebersold Play Along Recordings

http://www.aebersold.com

A ton of great suff here for all levels of players.

Band in a Box

http://www.band-in-a-box.com/Play along software. Type in chords, pick a backup style (a lot of good Jazz styles) and it

generates the backup band. Change tempo, key, etc. Terric and highly recommended!!!!
http://www.aebersold.com/http://www.band-in-a-box.com/http://www.band-in-a-box.com/http://www.aebersold.com/

bebop mandolin target notes and chromatic approaches(1)

Documents