II-V-I-Licks im Stil von Parker, Coltrane und Adderley

Building Vocabulary with Two-Five-One (251) Progressions

So, when you're happy with these chord tones, you'll want to start building some vocabulary and phrases based on these two-five-ones (251). I've written out three licks that I came up with to demonstrate a 251.

Styles of Famous Saxophone Players

I've tried to write in the style of famous saxophone players:

• One idea that I think sounds a little bit like how John Coltrane might play a 251.
• One that sounds a little bit like how Charlie Parker might do it.
• And one that would sound like the great Cannonball Adderley, another alto saxophonist.

I will play each of those over a 251 in C with the track.

Charlie Parker Line

1, 2, 1, 2, 3, 4.

I've basically arpeggiated the chords. Rather than starting on the root of the G7 chord, I've chosen to start my line on the third, then follow up the chord tones. By going up above the root to the A, I've captured a little bit of a Parker staple trick by seeking higher notes from the Mixolydian mode. So, that's a kind of Parker sounding line.

John Coltrane Line

2, 1, 2, 3, 4.

Again, Coltrane would have stuck quite closely to the chord tones. If you look at each section, the D minor, the G7, and the C, he is focusing quite clearly on the chord tones of the line. Here it is again, with notes a little bit closer together on the G7. Whereas Parker played straight up the chord tones, Coltrane keeps the notes a bit closer together.

Cannonball Adderley Line

Our third 251 idea is inspired by the great Cannonball Adderley, and this is a little bit more rhythmic. It focuses with a bit more detail on the C major chord at the end of the phrase.

1, 2, 1, 2, 3, 4.

The rhythmic offbeats on the D chord are quite demonstrative of Adderley's style. Again, I think he follows the chord tones closely through the 251.

Practicing in 12 Keys

You've got three sample ideas there to get you started, along with a backing track that plays a 251 in all 12 keys.

Like the major seventh chord, the minor seventh chord, and the seventh chord workouts, it's really up to you to figure out how to approach practicing in 12 keys. Ideally, we all want to be fluent in all 12, but take your time.

It's much better to play a lick comfortably and confidently in a few keys rather than sketching and bluffing your way through all 12. Hopefully, these phrases will become starting points for you to hear how the great players approached these chord progressions. You'll be able to take bits you like, twist things, and fit them to your own conception and ideas to create your own 251 ideas.