A “pentatonic” scale has only five notes in each octave. “Chances” is a very SLOW “blues” song, played in the typical “blues” or “swing” style. The song features a saxophone and the rhythm section, and you fulfill the role of a second soloist. “Chances” is an excellent song to study the jazz technique of “call and response.”  The first player makes a statement or asks a musical question, and the second performer answers it.  Since the MP3 has already been recorded, the role of the “first soloist” is pre-assigned, leaving you (along with other participating soloists) to be the one that answers. So, if the sax soloist is active, the live performer is not and participates in more of a “backup” role.  When the lead soloist becomes “less active,” the second player increases their activity, now being their turn to be featured. In summary, your job as a soloist involves reacting to what you hear the lead soloist is playing.  Along with the “resource” MP3, I also include a recording of a “jam” session I did with two students a few years ago.  It demonstrates for you what I mean by your role “sliding back and forth” as the live performer in several places.

               Since the pentatonic scale uses only five notes, when laid out onto the “blues clock” format, it covers a vast range of notes on your instrument. You do not have to play this full range by any means. Just stick to the notes and the range with which you feel comfortable. The “circled” note (at 6:00) is the tonic note and a good range area to start.  DO NOT start at one O’clock, not that you cannot play that low, but it is better to work your way down to the low register if you wish to use it. However, do not stay in your lower register very long, or your solo will sound “muddy” and be hard to discern.  Another unusual feature of the song “Chances” is its eight-bar phrases instead of twelve. That means if there are multiple soloists, each should take a turn every eight measures. There is no “voice-over” count-off, so each performer is responsible for counting their measures and knowing when to play and when to stop.

               On the “Eb” and “F” clocks, there are some hours with “blue” note names. Because the clocks accommodate the maximum range for each instrument, there are some hours of the clock where, if played in unison with other “clocks,” are playing on a different “concert” pitch. I picked this song up from the “Creative Commons,” and past students have had a lot of fun improvising with it. Hopefully, you (and your friends) will enjoy it equally as much.

               I am also experimenting with a 10 Note pentatonic “blues circle.”  It does not offer a blues clock’s written range but simplifies the different instrument transpositions and “loops” the two 5 note pentatonic scales into a complete circle.  Soloists can start on any note in whatever octave they wish and play their notes as high or low as they want to.  Would you mind checking out both versions of these two improvisation tools and telling me which you feel was the easiest to use?

Happy Soloing!

Mr. Moon