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International Trumpet Guild Journal

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JAZZ CORNER
CHUCK TUMLINSON, COLUMN EDITOR

A HIGHER SENSE OF DIRECTION

BY CHUCK TUMLINSON

March 2007 • Page 59

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 JAZZ CORNER
CHUCK TUMLINSON, COLUMN EDITOR

Jazz Corner seeks material relating to the pedagogy and performance of jazz. Ideas and suggestions should be directed to: Chuck Tumlinson,
Jazz Corner Editor, Department of Music, California State University – Fullerton, Fullerton, CA 92634 USA; jazzcorner@trumpetguild.org

A HIGHER SENSE OF DIRECTION

BY CHUCK TUMLINSON
n a past column (“Improving Your Sense of Direction,” es changes the chord (if you raise a minor third a minor sec-

I ITG Journal, March 2005), I stressed the need for the

inexperienced improviser to be able to effectively connect
the thirds and sevenths when negotiating chord progressions. I
also offered suggestions for approaching chord tones.
Once the player is able to connect these tones, there are
other, more advanced possibilities for guide tones. This col-
umn will outline some of those possibilities and offer some
methods of practice to gain mastery over these techniques.
Thirds and sevenths offer good, fundamental direction since
they do contain the functional colors of the chord. This reso-
lution of thirds and sevenths can be regarded as one level.
Another level that offers interesting colors involves fifths and
ninths. A look at the resolution of fifths to ninths and vice-
versa reveals the basic movements (see Example 1).
Unlike thirds and sevenths, where any variation in the pitch-
ond, it becomes a major third which changes the chord quali-
ty from minor to major), you can vary the fifth and ninth.
Instead of changing the basic quality of the chord, these varia-
tions add interest in color with extensions and alterations. Fur-
thermore, you could substitute a thirteenth (sixth) for the fifth
and obtain other variations. Note that when employing exten-
sions and/or alterations, you could either use what the chord
symbol dictates or substitute your own. The context and your
own ears should help determine what notes you use (see Exam-
ple 2).
You should practice these with simple approaches. Example
3 is just one example.
It would also be good to practice arpeggios such as this one,
which connects both the third to seventh at the bottom and
the ninth to the fifth at the top. The first goes up and down

Example 1: Basic Movement of 5ths, 9th

13th on resolution

11th to root resolution

#9-b9 to 5th on resolution

Example 2: Some variations on these resolutions

© 2007 International Trumpet Guild March 2007 / ITG Journal 59
 Example 3: An example of approach to practice

Example 4: Examples of arpeggios to practice

Example 5: Excerpt from “Invitation” by Bronislav Kaper (from ms. 17)

Example 6: Excerpts from “Donna Lee” by Charlie Parker (ms 8 and 30)

the minor ninth chord. The second alters the fifth and ninth
on descent (Example 4).
Examples 5 and 6 are some examples from standard and jazz
tunes. They have been transposed to the key of C.
You can also mix and match resolutions toward any chord
tone (Example 7).
This is an idea that resembles some things that John Col-
trane played in the late 1950s. It combines the last resolution
presented in Example 7 with two of the resolutions presented
in Example 2; see Example 8.
Make sure you apply this only after mastering the use of
thirds and sevenths. As I have suggested before, you should
discover a lot of this information on your own. Transcribe and
study solos (especially people like Charlie Parker, 1950s John
Coltrane, Kenny Dorham, and Tom Harrell), and play chords
with these resolutions as the top notes on piano. I have listed
only a few patterns. Apply these patterns to your improvising,
but also vary these patterns and place your own imprint on
these concepts. These are only templates or outlines of what
you might eventually play. Devise your own patterns that use
these concepts. Eventually work toward implementing these
ideas into your own playing without a predetermined pattern
until they become a subconscious part of your playing.
About the author: Chuck Tumlinson is the director of jazz
studies and jazz trumpet instructor at California State Univer-
sity – Fullerton. He earned a bachelor’s degree at Wichita State
University, and the master’s and doctorate from the University
of North Texas. He has performed with the Count Basie Orch-
estra, the North Texas One O’Clock Lab Band, Dizzy Gille-
spie, Rosemary Clooney, and Al Jarreau.

3———b9———5 7———#9—b9———5 7———#11————9

Example 7

Example 8
60 ITG Journal / March 2007 © 2007 International Trumpet Guild