SUGAR FREE Being able to solo over this song requires knowing 1) the key signature 2) what chords

you are playing over 3) scales/modes that fit those chords 4) patterns/lines based on the scales/modes that fit the chords.

Concepts and figures outlined here in are property of BROOKS MUSIC EDUCATION SYSTEMS 2010 ALL RIGHTS RESERVED

Lets begin with the key signature. Basically, the song is in G minor (concert). That means E minor for Eb instruments, A minor for Bb instruments. That means we must first look at the ubiquitous G-7 chord, which we will graciously add tension 9 (for those who may not have been around for one of my previous clinics, tensions are simply the logical upward extensions of 7th chords. For those who arent quite sure what 7th chords are, my prayers are with you. Just kidding. Seriously, Ill have some extra material available in the completion of the book this has been excerpted from). Fig. 1 Here you see the G-7 chord with tension 9 spelled out. Again, this is concert pitch. You will want to transpose this to your respective instrument, as it will aid you in developing discipline as well as your inner ear. More on the inner ear concept during the *Skype lessons. You will notice the numbers. These are merely intervallic designations. The (b) signs do not necessarily mean accidentals; they are more to designate the intervallic space between the root and that note. The chord spelled out is G Bb D F A. G (root) Bb (distance of a minor third between it and G, therefore it is designated b3) D (fifth or 5) F (distance of a minor 7th between F and G or 1 and b7) and A which rounds out as the ninth or 9. The next step is to figure out the scales that are available to play over this particular chord. Again, well stay in concert pitch and you, the student, can transpose to your instrument, (or clef as it were.) Since we are in G minor, obviously the G pure minor scale is available

Fig. 2 This scale includes b6, since it IS G minor. Of course, you will want to develop some patterns based on this scale, and not simply play it up and down. Try playing the scale in intervals of thirds (1 b3 2 4 b3 5 4 b6 | 5 7 b6 8 b7 9 b7 5). You can figure out the notes by looking at the scale that is written. Place them in eight notes and youll be able to see a pattern form. Using this example, you can create more than one pattern with this scale. You arent limited to beginning on the root of the scale; you can also start with b7. Instead of beginning on g, start the pattern on F. You can make it into a basic scale pattern by beginning on the b3, skip b6 and go to b7 leap up to the 9th and descend back down (b3 4 5 b7 9 8 b7 b6 | 5 b3 2 1 4 2 1 b3). The line in the middle designates a bar break. *Brooks Music Education Systems will be offering SKYPE lessons June 2010.

It is also possible to substitute the G minor pentatonic scale in place of the G pure minor scale.

Fig. 3

(The C in the Bass Clef example is dropped an octave with the 8va over for notation purposes.) In fact, there are multiplicities of combinations, but for our purposes, we will use but one final example: the Dorian mode. The two primary chords used in Sugar Free are G-7 (9)

Fig. 4
And C-7 (9)--

Fig. 4

Fig. 5

Here again, you see the C-7 chord with tension 9 spelled out. Again, this is concert pitch. You will want to transpose this to your respective instrument, as it will aid you in developing discipline as well as your inner ear. You will again, notice the numbers. Again, these are merely intervallic designations. The (b) signs do not necessarily mean accidentals; they are more to designate the intervallic space between the root and that note.

Here are the G Dorian and C Dorian modes respectively G Dorian

Fig. 6

Note that the sixth scale degree is no longer lowered. Even though the key signature is classified as the relative minor of Bb major, we can substitute G Dorian (based on the 2nd scale degree of the F major scale) in place of the G pure minor scale.

Fig. 7 The same principle holds for the C Dorian scale, which actually occurs naturally in the key of Bb major. Simply by moving from the 2nd scale degree to the 2nd scale degree of Bb major (or for that matter, ANY major scale), you will find the corresponding Dorian mode. As an exercise, create patterns using both G Dorian and C Dorian. You can actually go back and use the previous examples; just make certain you use the scale degrees from the Dorian examples as opposed G minor. For example the very first example, the one in thirds, would now read (1 b3 2 4 b3 5 4 6 etc), instead of b6. Remember those logical upward extensions of 7th chords that we called tensions? We can actually extend them to 11th and even 13th extensions or tensions. The following example, Fig. 8, is an example of breaking the chord up and adding the 11th. You will notice the addition of the accidental C#; basically a blues scale type alterationyet another of the myriad choices that are available.

Fig. 8

Note that as we ascend in playing this G-7 chord, we also add the 11th (C), and return playing elements both of the G Dorian scale (the E natural), and the G blues scale (the C#, which technically speaking should be written Eb, but you get the idea.)

In Fig. 9 this same pattern is based on the C Dorian mode

Fig. 9 Note again that the sixth degree is no longer lowered. Without going into detail on minor harmony (a discussion covered at length when the book is released) instead of the normal scale that would be used (C minor) we can again substitute Dorian in place of the C pure minor scale. Again we arpeggiate upwards on C-7, adding the 9th (D), 11th (F), and descending--partly Dorian and partly Blues scale.

Using Figures 1-8, it is now possible to construct patterns from which we can construct linesphrases which when strung together form solo passages. Im going to include 16 bars of an alto chorus. From this example, it should be possible to construct your own solo passages. With the addition of the excerpts from the upcoming Brooks Music Education Systems book on improvisation, you will no doubt have an interesting time putting a few creative things together! Good Luck!