This is an excerpt from my pdf book, The Vertical Saxophone, A Methodical Approach To Wide Intervals: Technique And Improvisation. In this etude I run through ii7-V7-I cycles in all 12 major keys applying altered, upper harmonic tensions (-9, +9, +11, -13) over the V7 chord . I do so by organizing the tensions into symmetrical intervals (mostly perfect 4ths, tritones and perfect 5ths). Take a look at the example below:

In beats 3 and 4 of the 2nd measure (G7) I have arranged the +9, 7,  -13 and -9 (Bb, F, Eb, Ab) into a pair of perfect 4ths (Bb descending to F; Eb ascending to Ab). By organizing the tensions this way, I create a line that is angular, yet resolving. (You’ll also notice that the line in general is made up of primarily 4ths, 5ths and a few 7ths, continuing this more angular sonority.) Each 4 bar pattern modulates in descending whole steps, which allows you to more clearly hear the wider intervals in a context of tonality.

If you’d like to find some more unique and interesting ways to approach the ii-V7-I chord progression (for any instrument), please consider another of my e-books, ii-V7-I: 40 Creative Concepts for the Modern Improviser.

Click the link below to download the pdf of this etude:

Harmonic Substitutions Using Symmetrical Intervals .pdf

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