Here’s the original chart to this tune, which I wrote for Michael Brecker’s “Time Is Of The Essence” CD and Third Rail’s debut CD “Ignition: Live Across Europe”. Melody (harmonized as played on organ), chords and form. Hit “Buy Now”, pay via PayPal, and you will be automatically emailed a download link. THE OUTSIDERS full text.pdf. THE OUTSIDERS full text.pdf. Page 1 of 58.

Michael Brecker and Mike Mainieri’s take on the Ellington classic “In A Sentimental Mood” offers some great insights into how Brecker thinks about harmony. In this song he uses lots of great pentatonic and blues ideas over the tonic chords but I’m mostly going to be covering his approach to the dominant 7 chords. Because their performance is essentially in free time it was difficult to notate rhythms accurately so they are only approximated in the chart. Also, Brecker’s EWI (electronic wind instrument) has such a huge range (and he definitely uses all of it) that I noted octaves for ease of reading and playing rather than accuracy. Lastly, depending on how you think about the ideas he uses, the enharmonic spelling of notes could change. So sometimes the accidentals might be weird, like seeing a G# on an Ab chord but that’s because it might be from an Aminor major7 arpeggio. Though I tried, I’m sure I’m inconsistant on these. This version is off the Steps Ahead: Live in Tokyo 1986 album, also available in video.

Example 1, 1:54

Here Brecker is dealing with a D7 chord. It’s the VI chord in the key of F but is functioning as the V of ii, Gm7. He starts with a lead into an Am triad (the ii of D7) and resolves that on the major third of D (F#). That is also the beginning of the next phrase which uses a D altered sound. The D altered scale is a melodic minor scale a half-step up (Eb minor) and many of his note choices outline that Eb minor chord. Another way of thinking about it would be the bV substitution for D7 which is Ab7. Ab7 is also the V if you consider that Ebm a ii chord. Either way you think about it that same melonic minor scale is the appropriate sound for both chords. In the following examples Brecker uses ideas from that chord substitution to get many of his lines.

Example 2, 2:09

Now Brecker plays over a standard ii V going to the bridge of the tune in Db. His line starts with an Ebm9 arpeggio (beginning on the minor third) and continues with a chromatic line that resolves into a C major arpeggio. A C major arpeggio is also an Am7 arpeggio and A minor a half-step up from the Ab7 chord he’s playing over. So another line using the bV substitution. The following line uses the same concept.

Example 3, 2:22

This is a great set of ideas over the I-VI-II-V progression from the bridge in Db. On the VI, Bb7, he plays an ascending G major #4 arpeggio (1-3-#4-5). This comes from the Bb7 diminished scale. A #4 arpeggio works on any major chord with a root from the Bb diminished7 arpeggio: Bb, Db, E, G. Using G works particularly well because it has the notes from a Bb13 chord: 3, 13, b9, #9. An E arpeggio also sound good because it it the bV sub for the Bb7.

Once Brecker gets to the II-V-I part he disregards the II and plays the same triad idea for the Ab7 chord; in this case an F arpeggio. He then plays a three octave Am add2 arpeggio (1-2-3-5). Again this is the minor chord a half-step up which gives an altered sound. He also hints at the F arpeggio again on the descending line.

Example 4, 2:52

Over the A7 chord that returns to the Dm starting the last A section, Brecker plays a huge six octave A major #4 arpeggio. Same idea as those other #4 arpeggios but this time it’s on the root of the chord.

Example 5, 3:09

Here’s another relatively straightforward idea. This time Brecker uses a G harmonic minor scale with a b5 passing note giving this scale four chromatic notes that somewhat disguise its true nature. This is all over a Gmin major7 chord which could also be interpreted as a D7 chord so that G harmonic minor scale is a perfect choice.

Example 6, 3:23

This example is over a II-V going to G minor. On the Am7 Brecker starts with an A minor pentatonic scale and then uses chromatics to arrive at notes from a D altered sound. The end of the phrase centers on the Min9 sound a half-step up, in this case Ebm where he outlines notes from an Em9 arpeggio in two octaves. As usual he avoids the b7 in the Ebm only using it as a chromatic or approach note. Carrier quietline air conditioner manual 2017.

Example 7, 3:37

Over the final C7 Brecker starts his cadenza with a quick line based on the C altered scale outlining a Dbm chord with a 6 and 9. He then plays and ascending C altered scale starting on Eb. Next Brecker breaks out a diminished idea using descending chromatic notes and an ascending diminished arpeggio.

Example 8, 3:54

For the end of his cadenza Brecker uses all his previous ideas over a dominant chord in one long line; altered scale, minor6/9 up a half-step, triad substitutions, and chromatics. He begins with an ascending C altered scale beginning on an Ab and continues that into a long riff on a Dbm 6/9 (or Gb13 depending how you look at it). He get out of this riff using an Eb triad (any triad off a diminished7 arpeggio on C would work; C, Eb, Gb A) and C triad that leads to a chromatic line based on C altered and finally three octaves based around a Dbm.