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The Holy Six

Graham English — Wed, 26 Jul 2006 15:34:27 +0000

My saxophone teacher at the University Of Pittsburgh, Dr. Nathan Davis, developed a series of exercises he called, “The Holy Six.” Each exercise has a practical musical application and also builds fundamental technique.

Holy Six #1 is a series of major arpeggios weaving up and down a half step at a time. For variation, try different chord qualities and inversions.
Holy Six #2 is a pattern based on a V-I progression and is repeated by transposing a whole step. For variation, try different chord qualities.
Holy Six #3 is a pattern based on the diminished scale. A favorite of John Coltrane, this exercise has plenty of practical application and room for variation.
Holy Six #4 is a four note pattern (1-2-3-5) repeated in the interval of a minor third.
Holy Six #5 is another four note pattern (b6-5-3-1) repeated in intervals of a major third.
Holy Six #6 is a pattern I like to call, “The Windmill.” A flurry of fourths within a larger pattern of minor thirds—the faster this pattern is played, the more you blow people away.

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Top Secret Patterns (shhh, they’re free!)

Graham English — Tue, 18 Jul 2006 17:12:28 +0000

Patterns are a great way of putting scales to work. Not only do they get you out of any do-re-mi rut, they expand your musical vocabulary. They also expand your mind by forcing you to think about systems within systems—and sometimes within other systems. For example, this diminished pattern is a three note system:

within another system of minor thirds:

And you could repeat that entire pattern by another interval, thereby creating a system within a system within a system! Patterns can be extremely complex mathematically. Developing your own will help strengthen your creativity as well as your chops.

In a solo, use patterns as a starting point or as a connecting point between phrases. Exploit their repetition to increase tension. Winding down a solo with a descending pattern is an effective way to give the listener something recognizable to hold on to as they ease back into their seat. And, of course, you can use a super fast and complex pattern to just plain astonish your audience.

Get all of my TOP SECRET patterns for free:

Who Else Wants To Master the Diminished Scale?

Graham English — Thu, 15 Jun 2006 17:19:40 +0000

The diminished scale is an extremely creative tool. Due to the diminished chord’s symmetrical structure of stacked minor thirds, we have two options of diminished scales: half step-whole step and whole step-half step.

A major benefit to this scale is that you only have to learn it in three different keys since it repeats itself every minor third. Another useful aspect of its symmetrical and repeating nature is the use of scale patterns. Patterns can be a wonderful source of inspiration for solos as well as being useful in improving finger dexterity. And now for some practical applications:

In this example, the scale (whole step-half step) is played over a Dmin7 chord and ends nicely by leading into the third (G#) of the E7 chord.

This example is similar to the first but uses a different diminished scale over the same chord (Dmin7).

This is a nice long run over a G7 chord.

Here’s a pattern in the style of John Coltrane.

Get 17 of my favorite diminished scale patterns for free: