percussive notes 38 MAY 2011

A
comprehensive and in-depth knowledge
of jazz harmony is indispensable to the
improviser. Many improvisational con-
cepts are based on harmonic principles
that allow the improviser to deviate from the
original underlying harmony of a compositions
progression. Such players as saxophonist John
Coltrane and pianists Herbie Hancock and
Chick Corea have utilized advanced harmonic
techniques in their lines. With Coltrane, we get
his sheets of sound and advanced superimposed
harmony. With players like Hancock and Corea,
the harmony is altered, reharmonized, and
superimposed, thereby creating lines that are in-
triguing as a result of the harmonic deviations.
Te utilization of these harmonic techniques
are not relegated to the players of today. Such sax
players as Coleman Hawkins and Don Byas used
reharmonization and substitution in their solos.
Pianist Art Tatum was a master with harmony,
substitutions, and reharmonization. Within the
language of bebop, players like Charlie Parker
and Sonny Stitt were using a variety of these
harmonic devices on a consistent basis in their
solos. Contemporary sax players such as Dave
Liebman, Michael Brecker, and Bob Berg have
incorporated many harmonic techniques that
have resulted in unique and interesting chromat-
ic lines that weave in and out of the underlying
changes.
Te improviser should experiment with cre-
ating lines based upon the harmonic concepts
and devices as discussed in this article. In doing
so, try to convey the new chord(s) as clearly as
possible. It can be efective to simply outline the
new chord(s) via chord-tone soloing, since the
harmonic deviation is the important aspect of
the line. Bringing out guide-tone lines can also
be efective in sounding the new change(s).
II7 V7 REHARMONIZATION
Well begin by looking at a standard II7 /
V7 / I progression in the key of C and illustrate
the various chord substitutions (via a Sub V7)
possible.
D7 / G7 / C Maj 7
Sub V7
A common device is to use a Substitute V7
(called a Sub V7 or Tritone Sub) for the G7.
D7 / D
b
7 / C Maj 7
We can also use the related II7 of the Sub 7
along with the Sub V7 in place of the G7.
D7 / A
b
7 D
b
7 / C Maj 7
Harmonic Practices
By Ed Saindon
We can use the related II7, replacing part of
the D7.
D7 A
b
-7 / D
b
7 / C Maj 7
We can use the related II7 to replace the
D7 altogether.
A
b
7 / D
b
7 / C Maj 7

HARMONIC GENERALIZATION
Tis concept isolates the essence of the har-
monic intent of a specifc combination of chords
and reduces the amount of chord structures
while retaining the primary cadential intent.
Certain chordssuch as related II7s, passing
diatonic, and diminished chordscan be omit-
ted with this process.
D7 / G7 / C
G7 or G7 sus / G7 or G7 sus / C
C A7 / D7 G7 / C
C / G7 / C
V7
b
9 Alternation
A chord can be alternated with its own V7
b
9
(or Dim 7 a half-step below) in order to create
the efect of tension resolution and a sense of
harmonic movement over the underlying chord
structure. Te V7
b
9 should be resolved to the
target chord. Here is an example on a Min 7
(7) chord.
D7 / D7 / D7
D7 A7
b
9 (C
#
Dim 7) / D7 A7
b
9 / D7
TURNAROUND VARIATIONS
Tere are many turnaround variations that an
improviser can utilize. Diferent variations can
be used from chorus to chorus on a standard
tune progression. Here are some of the many
turnaround variations possible in the key of C.
C Maj 7 A7 / D7 G7
C Maj 7 E
b
7 / D7 D
b
7
B
b
7 A7 / A
b
7 G7
C B
b
/ A
b
G
C E
b
/ A
b
D
b

C E
b
/ G
b
A
G7 sus
b
9 / G7 sus
b
9
D/C / E/C
C Maj 7 B7 / E Maj G7
b
9 sus
C Maj 7 E / A
b
G
C Maj 7 A
b
7 / D
b
Maj G7
b
9 sus
C Maj 7 A
b
7alt / D
b
Min Maj7 G7
b
9sus
C Maj 7 E
b
Maj 7 /G
b
Maj 7 A Maj7
Tere are many more possible turnaround
variations. Te improviser should explore other
combinations as well as listen to recordings for
ideas on turnarounds.
CHORD ALTERATION
Improvisers can alter a chord without nec-
essarily changing the basic chord quality and
harmonic function. Here are some possible al-
terations:
Maj 7 to Maj 7
#
5 (can be resolved back to
Maj 7 or Maj 6 if desired)
Maj 7 to Dim Maj 7 (can be resolved back to
Maj 7 if desired)
Min 7 to Min 6, Min 7
b
5, Min Maj 7, or
Dim Maj 7
Min 7
b
5 to Dim Maj 7
Dom 7 to Dom 7 sus, Dom 7 sus
b
9 13, or
Dom 7 sus altered
HARMONIC DISPLACEMENT
Tis technique retains the original chords.
However, the original chords can be anticipated
or delayed. Here are several examples illustrating
the use of this concept.
D7 / G7 / C Maj 7
D7 G7 / / G7 C Maj 7
A
b
7 / G7 / C6
A
b
7 / Ab7 G7 / G7 C6
SUPERIMPOSITION
Tis technique involves the superimposition
of other chords and progressions over the un-
derlying chord(s). Te outlining of the superim-
posed structures give the lines unity and a sense
of direction while creating varying degrees of
dissonance in conjunction with the underlying
harmony. Here are some options with superim-
position:
Extended Dominants
We can use extended dominants in place of
the original harmony. Once a target chord is
established, we can backcycle with extended
dominants from the target chord. When creat-
ing lines with the extended dominants, consider
bringing out the guide-tone lines of the domi-
nant chords, and try to connect each dominant
via stepwise motion. Here are a few examples:
D7 / G7 / C Maj 7
E7 A7 / D7 G7 / C Maj 7
Blues (frst 4 bars):
C7 / F7 / C7 / C7 Alt
Db7 Gb7 / B7 E7 /A7 D7 / G7 C7
Rhythm Changes (frst 4 bars):
B
b
6 G7 / C7 F7 / B
b
6 G7 / C7 F7 / B
b

F
#
7 B7 / E7 A7 / D7 G7 / C7 F7 / B
b

percussive notes 39 MAY 2011
3 Tonic System
Coltranes concept of playing in tonal centers
major thirds apart has been used my many im-
provisers. Coltrane applied the concept to his
compositions such as Giant Steps and Count-
down (based on the changes of Tune Up). He
also applied the concept to many standards, in-
cluding the Gershwin classic But Not For Me.
Here is the concept as applied to a II7 V7 I
Maj 7 in the key of C:
D7 / G7 / C Maj 7 /C Maj 7
D7 E
b
7 / A
b
Maj 7 B7 / E Maj 7 G7 / C
Maj 7
Other variations:
D7 / G7 / C Maj / C Maj 7
D7 A
b
/ E G7 / C Maj 7 / C Maj 7
D7 B
b
7 E
b
7 / A
b
F
#
7 B7 / E / C Maj 7
Parallel Tonal Substitution
Te original progression can be replaced with
chords of the same harmonic function trans-
posed to another key. For example, a II7 V7 I
Maj 7 in C would be replaced with a II7 V7 I
Maj 7 in a new key.
D7 / G7 / C Maj 7
F
#
7 / B7 / E Maj 7
V7 or II7 V7 Superimposition
Saxophonist Dave Liebman uses this tech-
nique in his lines. Te technique can create
chromatic lines that have a strong sense of di-
rection and can weave in and out of the changes.
Te concept involves creating lines based upon
superimposed V7 or II7 V7 chords over the
underlying harmony.
Based upon the V7 or II7 V7 chord struc-
tures, the lines have a sense of fow and direction
and should resolve clearly and smoothly into
the target chord. Outlining the superimposed
chords along with diatonic and chromatic ap-
proach notes can create bebop-type lines with
a contemporary favor. Te skillful use of this
technique can be efective in increasing the de-
gree of tension in ones overall playing. Here are
some examples in the key of C:
Te superimposed chord selection can in-
clude a series of V7 chords or II7 V7s based
upon a specifc interval or pattern.
E7
b
5 / A7 / D
C7 E
b
7 / F7 A
b
7 / D
G7 C7 / F7 B
b
7 / D
D7 / G7 / E7 / A7 / D
E7 A7 / F7 B
b
7 / F
#
7 B7 / G7 C7 / D
A7 / B7 / Db 7 / E
b
7 / D
Or the superimposed chord selection may
utilize a random combination of V7s or II7
V7s.
D7 / G7 / C Maj 7
D7 / F
#
7 B7 / C Maj 7
E7 / F7 / C Maj 7
E
b
7 A
b
7 / E7 A 7 / C Maj 7
Constant Structure
Tis concept utilizes a specifc type of chord
that moves in equidistant intervals over the
underlying harmony. Here are several examples
illustrating this concept. Te lines should repeat
the same structure from chord to chord.
D7 / G7 /C7 /F7 / B
b
Maj
G7 sus / A7 sus / B
b
7 sus / C7 sus / B
b
Maj
C Maj 7
#
5 / E
b
Maj 7
#
5 / G
b
Maj7
#
5 / A
Maj 7
#
5 / B
b
Maj
D Min Maj 7 / G Min Maj 7 / C Min Maj 7
/ F Min Maj 7 / B
b
Maj
As evident by the preceding harmonic con-
cepts, many harmonic devices and concepts can
be applied for improvisation. Tese concepts
should be explored with a variety of standards in
order to assimilate the concepts naturally in the
ones overall playing.
Ed Saindon has been on the faculty at Berklee
College of Music since 1976 and is a clinician
for Yamaha and Vic Firth. He recently created
a Facebook page for vibists called All Tings
Vibraphone. Upcoming concerts/clinics, articles,
YouTube videos, etc. can be seen on his website
at www.edsaindon.com. PN