August | 2019 | Bill Plake Music

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My aim in composing this etude arose from an interest in exploring the sound of ascending perfect 5ths over ii-V7-I chord changes. And in my explorations, I also discovered an easy and practical way to use chromatic passing tones to help make my melodic line have a nice, flowing sound and feel. Take a look at the example above.

I begin with two ascending perfect 5ths starting on the root of the ii chord (“D” from the Dm7 in the example). The fourth note is an Eb, which functions as a chromatic passing tone that leads to the E natural on the third beat of that measure. I then descend with two fourths: E natural to B (perfect 4th); then the B descending a tritone to the F natural. I then use an F# as a chromatic passing tone that leads up to the G natural in the second measure, which continues upwards with two perfect 5ths (G moving to D; D moving to A).

As a variation from the original four-note pattern, I add another G natural as the fourth note, which then connects chromatically with the Ab on the third beat of the measure. Starting on the Ab, I move downward in perfect fourths (Ab, to Eb, to, Bb, to F natural). Not only does this pattern of 4ths compliment and “mirror” the quality of the previous perfect 5ths, but it also adds a good deal of altered tension over the V chord (G7); specifically: -9, (Ab), -13 (Eb), +9 (the Bb functioning as an enharmonic version of A#), and 7 (F natural).

The F natural goes on to connect (again, via half-step) to the E natural (the 3rd of the CMaj7 chord) in the third measure, which once more starts the ascending perfect 5ths pattern. The fourth note of the measure (Bb) is used as a chromatic passing tone that resolves to A natural, then the line ends with a mix of perfect 5ths and major seconds. There is most definitely an “angular”, more “modern” sound to the melody, but it fits easily within the harmonic structure, and has enough other elements to vaguely hint at the bebop language.

If you’d like to explore using wider intervals in improvisation, please consider my e-book, The Vertical Saxophone (which, by the way, is applicable to any melodic instrument). If you’re interested in going more deeply into how to use chromatic passing tones to connect melodic ideas, please consider my e-book, Four-Note Diatonic Triad Cells. And if you’d like to work through some unique ideas you can apply specifically over the ii-V7-I harmonic progression, please consider another of my e-books, ii-V7-I: 40 Creative Concepts for the Modern Improviser. For a free, downloadable pdf of this etude, click the link below:

4ths-and-5ths-With-Chromatic-Passing-Tones.pdf

Many of the chronic problems wind instrumentalists and singers encounter with breathing are due, in part, because of misconception.

In particular, misconception of the structure, function and coordination of the mechanisms involved in both natural (passive) and extraordinary (as in playing or singing) breathing.

I’d like to address and clarify a very common misconception here in this post: the size and location of the lungs themselves.

Let’s start by some of the things some musicians think they are doing with their air:

“I’m putting the air down there in my belly.” Or, “I’m placing the air down into my diaphragm.” And other ideas to this effect.

I won’t digress here about why it’s impossible to “place the air down in your diaphragm”, other than to say that the air you inhale never goes directly into your diaphragm.

It enters into your lungs. Simple as that.

The primary function of your diaphragm is to assist in changing the size and shape of your lungs to facilitate inspiration and expiration. It does this in concert with your intercostal muscles (the muscles between your ribs), as well as with other auxiliary muscles.

So where are your lungs, exactly?

Well, they’re higher up and further back in your body than you might have thought. Here’s a simple, animated video from the DVD entitled, Move Well, Avoid, Injury, to help you get a visual on all this:

As you can see, the air doesn’t actually go into your “belly”. The three-dimensional movement of your abdominal area is largely on account of the displacement of the abdominal content, because of the movements of the diaphragm and ribs (and other structures, as well.)

So what’s the possible downside of trying to “put the air down there in your belly”?

Well, in the simplest sense, by trying to do the impossible, you’re most likely also interfering with your natural, optimal breathing coordination.

Whenever I see a wind instrumentalist trying to “put the air into the belly”, I typically also see a stiffening up of the neck and shoulders, accompanied by a downward compression of the head on top of the spine, and a narrowing, or hollowing, of the lower back.

All this tends to prevent the ribs from moving freely enough to sufficiently (and efficiently) transform the internal dimensions of the thoracic cavity (the part of your body including, and inside of, your ribs) that facilitates the movements necessary for full and dynamic breathing.

So take a good look at the video I’ve posted here. Notice the size and the specific location of your lungs, along with the range of movements the lungs go through via the actions of the ribs, diaphragm, and other muscles. By clarifying this misconception, you might very well discover a new freedom, flexibility and fullness with your breathing that had been eluding you in the past. Enjoy!