In my last four columns we have looked at improvisational devices that Iàve defined as linear and vertical applications. I would now like to review how we have reached this point, then discuss a few basic linear and vertical concepts, and also look at several exercises for the beginning improviser.

LINEAR AND VERTICAL IMPROVISATION
The term linear improvisation can easily be translated to scaler or modal improvisation. Since the saxophone is a single line instrument, linear activity is the most accessible form of improvisation. Vertical improvisation, or chordal playing, can be acheived on the saxophone by creating the illusion of playing chords. This effect is acquired on a single line instrument by using arpeggios. What I strive for in my playing and encourage my students to develope is a good combination of both the linear and vertical concepts. Some of the greatest jazz solos on record (i.e., Miles Davisà solo on So What, John Coltraneàs solo on Giant Steps) blend the linear and vertical concepts almost to a textbook case. We have looked at the scale (linear) to chord (vertical) relationships of the dorian mode to the min13 chord, the major scale and lydian mode to the MAJ13 #11 chord, the mixolydian mode and mixture scale to the DOM13 #11 chord, and the altered scale to the DOM7#11 #5 b9#9 and DOM7b5#5 b9#9 chords. We even discussed the major pentatonic/dominant tritone application process. The terminology and application of concepts have been quite complex up to this point. What all beginners have to understand and all advanced players must be reminded is simple is good!! Everything we play does not have to be complicated. With that in mind, I would like to apply the linear and vertical concepts to some very simple ideas. The first scale (linear improvisational device) everyone learns is the major scale, or ionian mode. As a beginner, one should also be aware of the basic chordal (vertical improvisational device) implications of this scale.
C major scale - linear exercise (see example #1)
CMAJ7 - vertical exercise (see example #2)

The next scale in the practice sequence is the natural minor scale, or the aeolian mode, and itsà various forms (harmonic minor, melodic minor, and jazz minor scales).

C natural minor scale - linear exercise (see example #3)
Cmin7 - vertical exercise (see example #4)
C harmonic minor - linear exercise (see example #5)
Cmin(MAJ 7) - vertical exercise (see example #6)
C melodic minor - linear exercise (see example #7)
Cmin(MAJ7)/Cmin7 - vertical exercise (see example #8)

The jazz minor scale is the ascending form of the melodic minor scale played the same way descending. You can also think of it as a major scale with a lowered third degree. The vertical aspect of this scale implies the Cmin(MAJ7) chord, comparable to the harmonic minor scale.
C jazz minor scale - linear exercise (see example #9)
Cmin(MAJ7) - vertical exercise (see esample #6)

Please remember that you must become proficient with all of these exercises in all twelve keys. After you have conquered the major scale, the natural minor scale and itsà three forms, along with each scalesà coinciding vertical arpeggio, you are ready to attempt the modes.

The mixolydian mode can be conceived as a major scale with a lowered seventh degree (i.e., C major scale with a Bb). This modesà corresponding vertical aspect is the dominant seventh chord.
C mixolydian mode - linear exercise (see example #10)
C dom7 - vertical exercise (see example #11)

The lydian mode can be conceived as a major scale with a raised fourth degree (i.e., C major scale with an F#). This modesà coinciding vertical aspect is the MAJ7 chord, comparable to the major scale.
C lydian mode - linear exercise (see example #12)
CMAJ7 - vertical exercise (see eample #2)

The dorian mode can be conceived as a major scale with a lowered third and seventh degree (i.e., C major scale with an Eb and Bb), or a natural minor scale with a raised sixth degree (i.e., C natural minor scale with an A natural). I have found that the easiest way to think of this mode is to borrow the major key (tonal center) from a whole step below (i.e., C dorian mode = a Bb major scale starting on C). This modesà corresponding vertical aspect is the min7 chord, comparable to the natural minor scale.
C dorian mode - linear exercise (see example #13)
Cmin7 - vertical exercise (see example #3)

The locrian mode is also known as the half-diminised scale. You can conceive this scale as a major scale with lowered second, third, fifth, sixth, and seventh degrees (i.e., C major scale with a Db, Eb, Gb, Ab, and Bb). That is alot of altering to execute, so I have found that the easiest way to think of this scale is to borrow the major key (tonal center) from a half step above (i.e., C locrian mode = a Db major scale staring on C). This modesà coinciding vertical aspect is the min7 b5 (or half-diminshed) chord.
C locrian mode - linear exercise (see example #14)
Cmin7 b5 - vertical exercise (see example #15)
If you practice all of these scales, modes, chords, and arpeggios in all twelve keys, you will have shedded a voluminous amount of improvisatory devices. About seventy-five percent of all the chords you will ever see on a lead sheet you will have mastered. Along with that, you will have practiced at least one corresponding scale or mode per chord. In my next article, we will look at how to start puting all of this artillery to good use.