Stretch the Arrangements
We have a gig a the end of this month with Michael Sinatra for a private event, which we are looking forward to. I've been meaning to write up new arrangements for our set. Since most of our vocal selections feature a melody, short solo, and a return to the melody (usually over the B section and then out), I've wanted to work out a design that incorporates a longer solo section, or perhaps multiple solo sections, without taking too much away from the original design of each piece. For the most part, the trio has been reading off lead sheets from fake books, without much detail provided for a road map that pertains to our group. It's time now to work out new arrangements specifically for my group. I enjoy that kind of project.

I don't have any dates on my calendar just yet for more Ana Barbara gigs, but my music director told me we have several shows this November in south America. I expect this will involve us traveling beyond Bolivia.

Recently I revisited Mark Levine's Jazz Theory Book, looking for lines to work on transposing. I decided to put some hours into working on my symmetrical scales (sometimes called diminished scales, or half diminished, or combination diminished), which correlate to dominant 7(b9) chords, and diminished 7th chords. These are fun scales to explore because there are only three of them, and transposing becomes a lot simpler. There's a diminished scale that works over C, Eb, Gb, and A (which I think of as scale X), another diminished scale for Db, E, G, and Bb (scale Y), and a third diminished scale for D, F, Ab, and B (scale Z). You can use the same patterns that exist in one of these scales (e.g. scale X) for multiple chords like C7(b9) and A7(b9). Also of note, each of these diminished scales contains 4 major and minor triads belonging to the roots that outline the diminished 7th chord. So, scale Z has D, F, Ab, and B major and minor triads. Really interesting patterns can be developed from those harmonic shapes.