Here are some examples of Woody using pentatonic scales a major 3rd apart to get ‘outside’. note the use of pivot tones common to both scales. ‘outside’ – Ex. 14 - Is This Called Love’ bars 37 - 41 ‘What Ex. 15 Is This Thing Called Love’ bars 70 - 72 – ‘What Here is an example of Woody constructing a line using several pentatonic scales together in his solo on Case You Haven’t Heard’. Note the way the E flat on the fourth beat of bar 118 is used as a ‘In pivot note between B and E flat pentatonic scales, again linking pentatonic scales a major 3rd apart. Ex. 16 Case You Haven’t Heard’ bars 113 - 120 – ‘In Another approach used by in his solo on is the superimposition of chords a minor third ‘Zoltan’ below the actual chords. On several of the D maj7#11 chords, Woody plays B major pentatonic scale, resulting in dissonance between the D# in B pentatonic and the D natural in the bass. Also, in bars 17 and 49, Woody clearly plays phrases outlining F7 (using the bebop scale) despite the underlying chord being A flat maj7#11, creating a clash between the A natural of F7 and the A flat in the bass. He does a similar thing in bar 54, outlining D7 over F maj7#11. The result is a strange sound where most of the notes used are and fit with the underlying harmony, but one note is sharpened ‘inside’ and gives the line a brighter sound. Ex.17 bars 25 27 (B pentatonic played over D maj7#11) – ‘Zoltan’ – Ex. 18 bars 17 19 (F7 outlined over A flat maj7#11) – ‘Zoltan’ –
‘outside’. Here are some examples of Woody using pentatonic scales a major 3rd apart to get ‘outside’ – note the use of pivot tones common to both scales. Ex. 14 - ‘What Is This Called Love’ bars 37 - 41 Ex. 15 – ‘What Is This Thing Called Love’ bars 70 - 72 Here is an example of Woody constructing a line using several pentatonic scales together in his solo on ‘In Case You Haven’t Heard’. Note the way the E flat on the fourth beat of bar 118 is used as a pivot note between B and E flat pentatonic scales, again linking pentatonic scales a major 3rd apart. Ex. 16 – ‘In Case You Haven’t Heard’ bars 113 - 120 Another approach used by in his solo on ‘Zoltan’ is the superimposition of chords a minor third below the actual chords. On several of the D maj7#11 chords, Woody plays B major pentatonic scale, resulting in dissonance between the D# in B pentatonic and the D natural in the bass. Also, in bars 17 and 49, Woody clearly plays phrases outlining F7 (using the bebop scale) despite the underlying chord being A flat maj7#11, creating a clash between the A natural of F7 and the A flat in the bass. He does a similar thing in bar 54, outlining D7 over F maj7#11. The result is a strange sound where most of the notes used are ‘inside’ and fit with the underlying harmony, but one note is sharpened and gives the line a brighter sound. Ex.17 – ‘Zoltan’ bars 25 – 27 (B pentatonic played over D maj7#11) Ex. 18 – ‘Zoltan’ bars 17 – 19 (F7 outlined over A flat maj7#11)
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