Triad-pairs-for-jazz-practice-and-application-for-the-jazz-improvisor-nodrm.pdf

Why Practice Triad Pairs? ..............................................................3 Applying Triad Pairs .......................................................................4 Triad Pairs Within Conventional, Seven Tone, Diatonic Scales..4 Triad Pairs Within Symmetrical Scales ......................................6 Triad Pairs as Individual Entities Within Various Environments..9 Determining Applications .......................................................10 How to Practice Triad Pair Patterns ..............................................12 Basic Three-Note Patterns ......................................................13 Basic Four-Note Patterns ........................................................36 Linking Triads ..............................................................................54 Six-Note Patterns ...................................................................54 Continuous Chain Based on Six-Note Links ............................69 Eight-Note Patterns ................................................................71 Triad Pairs Linked With a Chromatic Passing Tone ..................85 Other Triad Linking Possibilities ..............................................89 Stacked Triad Pairs ......................................................................91 Variations ..................................................................................100 Variations on Basic Four-Note Patterns .................................101 Interchanging Patterns and Altering Chord Sequence ...........105

Approach Tone Variations ....................................................107 Rhythmic Variations .............................................................110 Triad Mutation .....................................................................113 Licks .........................................................................................117 Solos - Using triad pair applications ...............................................124

on standard

tune

Solo Application Guide .............................................................125 Gary Campbell Biography .........................................................142

chord

changes

Working with triad pairs is a very effective strategy for constructing fresh sounding melodic lines. Here are some reasons why: 1. By limiting note selection to six tones (each triad consisting of three), a more concise sonority is created. For example, the conventional chords used in the jazz idiom are oftentimes associated with parent chord-scales of seven or more tones (melodic minor, major, harmonic minor, and so on). Rendering these scales in the form of triad pairs yields more variety in tone color and suggests novel melodic possibilities. (I'll present a brief procedure for extracting triad pairs from these seven-tone scales later on.) 2. Each of the triads expresses a tonality. By using two triads, bi-tonal effects are created. This effect is multiplied when the triad pair is used over a root tone that is not present in either triad. 3. The structure and "tensile strength" of triads give the melodic line an independent internal logic. The "stand alone" sound is oftentimes enough to make a strong, effective melodic statement regardless of how it is (or isn't) relating to the harmony over which it is being used. It sounds "right." 4. The triads offer a skeleton structure to base lines on. This can be very helpful in modal settings where there are no diatonic, cycle-of-fourth root movements or resolutions and where each chord change may last a long time (for instance, four, eight, or sixteen measures.) An in-depth study of this subject is presented in my book Connecting Jazz Theory (Houston Pub. - Hal Leonard). I also highly recommend Walt Weiskopf's book Intervalic Improvisation (Aebersold).

Perhaps the clearest way to conceptualize the ways in which triad pairs can be used is to consider them as an alternative to using a chord-scale (parent scale) over a given chord or chord progression. How do we determine which triad pairs can be used in place of of the given scale? Simple: Use any two adjacent diatonic triads within a parent scale. Triad Pairs Within Conventional Seven-Tone Diatonic Scales

1) Major Scale C Major Scale

2) Harmonic Minor Scale C Harmonic Minor Scale

3) Melodic Minor Scale

C Melodic Minor Scale

4) Byzantine or Double Harmonic Scale C Byzantine or Double Harmonic Scale

5) Harmonic Major Scale C Harmonic Major Scale

Triad Pairs Within Symmetrical Scales

The symmetrical scales present a radically different chordal environment from that of the conventional seven-tone scales. Let's examine the auxiliary diminished and augmented scales. 1) Auxiliary Diminished Scale

C Auxiliary Diminished Scale Diminished chords include:

Major and minor chords include:

The auxiliary diminished scale yields two diminished seventh chords, four major triads, and four minor triads. (Note their symmetry.) Any two of these chords that do not share a common tone constitute a viable triad pair. Starting with a C major triad, we can move each chord-tone up stepwise to get this progression of diatonic triads. Of course, any two adjacent triads constitute a viable triad pair.

2) Augmented Scale

C Augmented Scale

The augmented scale yields two augmented triads, three major triads, and three

minor triads. Any two of these that share no common tones constitute a viable triad pair. Triad Pairs as Individual Entities Within Various Environments For ease of reference, let's consider triad pairs in generic terms. That is, the quality of each triad (major, minor, augmented, and so on) and the distance between the two (for example, half-step, wholestep). As we go through the process of determining the triad pairs contained within various scales, we begin to notice that most generic triad pair types can be found within more than one class of parent scales. For instance, Cmin/Dmin can be found among the diatonic triads of the C melodic minor scale as well as those of the Bb major scale.

Diatonic Triads Within the C Melodic Minor Scale

Diatonic Triads Wihin the B6 Major Scale

So, the Cmin/Dmin triad pair can function the same as the C melodic minor scale, as well as the B6 major scale. In generic terms: Two minor triads a whole-step apart may be interpreted as the i and ii triads of melodic minor as well as the ii and iii triads of major.

Determining Applications The focus of this book is on mastering the manipulation of triad pairs while presenting a general guide to determining chord applications. All the fundamental information you need has been presented in the preceding pages. For an in-depth study of applications, I recommend my book Connecting Jazz Theory (Houston Pub. - Hal Leonard). I will, however, illustrate the application process with two scenarios. 1) Starting With a Chord-Scale First of all, for any given chord or chord progression, there is no single solution as to what to play. There is no single "correct chord scale" from which to draw. There may be many choices. Issues of style, harmonic context, the music's tolerence for dissonance, and so on, are all criteria. So, as I present the following illustrations, I presuppose that these factors have all been considered and the choice of a particular chordscale has been made. Let's say you have chosen a melodic minor scale as the chord-scale for a situation and you want to see what triad pairs can be used. Upon examination, we see that within a C melodic minor scale are the following triads:

The possible triad pairs are:

Of these, my preferred selections are:

Conclusion:

The above triad pairs can be used wherever you would use the C melodic minor scale. Experiment and determine which sounds best. 2) Starting With a Triad Pair Let's say I've mastered the triad pair F Maj/G Maj and I want to determine over which chords I can use it. I have examined the diatonic triads within several parent scales and have found this triad pair within the C melodic minor scale and the C major scale. Diatonic Triads Within the C Melodic Minor Scale

Diatonic Triads Within the C Major Scale

A C melodic minor scale can effectively be applied to these chords:

A C major scale can be applied to these chords:

Conclusion: The triad pair F Maj/G Maj may be applied to all of the above chords. Experiment. Remember the criteria mentioned under Starting With a Chord-Scale on the

previous page.

The exercises in this book illustrate the inexhaustible possibilities for playing triad pairs. By practicing these exercises daily, you can absorb the overall sound of the triad pairs and learn many ways to weave melodies from them. Then the process of integrating these sounds into your playing can begin. The exercises also serve as great exercises for developing instrumental technique. Some will lay easily on the instrument while others may be quite awkward. Always practice slowly with a metronome, maintaining precision and relaxation throughout the range of the instrument. This is not always easy to accomplish because your mind's eye is concentrating on the triadic patterns. When the mind is stressed, physical tension can creep in and debilitate technique and sound production. So take your time! This way of practicing is great discipline for the jazz improviser. In this book I've put the practice patterns and the application strategies in separate chapters. My approach has always been to first practice the patterns as isolated entities, like technical etudes, concentrating on how they sound, developing a mind's-eye image of them, and learning to manipulate them in various ways. Then, once they are mastered, I'm ready to determine which application possibilities I prefer and begin practicing the triad pairs within a given musical context. Detailed suggestions and illustrations of this process are included in my book Connecting Jazz Theory (Houston Pub. - Hal Leonard). The first exercises are simple, conjunct patterns with basic variations. As we go, the patterns become more involved and perhaps more difficult to grasp. For this reason, I suggest mastering the beginning exercises before proceeding to the more complex ones. Otherwise, you will easily get lost and disoriented. Remember: These exercises are written out in only one key! You must transpose them into all 12 keys in your head. When needed, brief explanations or comments will accompany each group of patterns. Basic Three-Note Patterns

Note: Most of the patterns presented hereafter are in the following order: 1. Triads going up-ascending/descending pattern. 2. Triads going down-ascending/descending pattern. 3. Triads alternating (one up, one down)-ascending/descending pattern. Many alternating patterns are not shown. Figure them out! Important: Don't forget to do all of the transpositions for each pattern, and reverse the order in alternating patterns. For maximum results, be thorough! Notation: With regard to the use of accidentals-I have notated sharps and flats in such a manner as to facilitate reading and to help identify each triad as a separate entity. Accordingly, accidentals may be marked more than once within a given measure, and sharps and flats may coexist within a given measure.

1) Major Triads A Whole-Step Apart

Practice the 11 other transpositions before continuing. With all alternating patterns, also start on the second triad to reverse the alternation order.

Before going on to the next section, I'd like to suggest something. The preceding patterns were major triads a whole-step apart based on the C major triad as the starting point. The second triad was D major, a whole-step up from C major. Now, when I practice these whole-step apart patterns I like to think of them two ways: 1) as starting on the "central triad" (in this case C) followed by the triad either a whole-step above (D), as in the preceeding patterns or 2) as the central triad (C) followed by the triad a whole-step below (B6). Despite the fact that these two sets of patterns are both major triads whole-step apart, I believe it is useful to think of them as separate patterns rather than as the same pattern either starting on C major going up to D major, or starting on B6 major going up to C major. This way of imagining triad pairs around a "central triad" is useful when you get to the application stage of this study. For example, with a C7011 chord we might think of the triad pair C Maj/D Maj. Whereas, with a C7sus11 chord we would think of the triad pair C Maj/B6 Maj. In both cases the C Maj. triad is the "central triad" accompanied by one of the two others. Therefore, I will include both versions of these patterns.

2) Major Triads A Half-Step Apart

Don't forget to reverse the order, D6 -up, C down. Also, the transpositions.

Reverse the order - B up, C down. Transpositions! 3) Major Triads A Tritone Apart

Do all transpositions. Reverse alternation order. 4) Minor Triads A Whole-Step Apart

Do all transpositions. Reverse alternation order.

Do transpositions and reverse alternation. 5) Minor Triads A Half-Step Apart

Do transpositions and reverse alternation.

Don't forget transpositions and reversing alternation. 6) Minor Triads A Tritone Apart

Don't forget all transpositions and alternations. 7) Whole-Step Apart

Also do alternating.

Also do alternating patterns.

Do alternating patterns. 8) Half-Step Apart

Do an alternating version of the preceding pattern.

Do alternating patterns. 9) A Tritone Apart

Also do the "triads going down" version, as well as the alternating versions.

Also do the "triads going down" version, as well as the alternating versions. This concludes the basic three-note patterns for major/major, minor/minor, and major/minor triad pairs. There are, of course, more possibilities for combining major triads with minor triads. Some of these may be found in the chapter Triad Pairs Within Symmetrical Scales. Now we will continue, exploring basic four-note patterns over many of these same triad pairs. These should be a bit easier to get a grip on if you have mastered the

preceding three-note patterns. Later, as we continue into more and more complex patterns, the process should actually become easier. Turn on your metronome. Basic Four-Note Patterns The most basic four-note pattern is essentially the same as the basic three-note pattern, the difference being the addition of the fourth note, one octave above the first note. Basic three-note pattern

Basic four-note pattern

Go back and practice the triad pairs you've already done, now in the above fournote pattern. Assuming you have put in considerable time practicing the three-note patterns, this transition should be pretty easy. Please observe that I do not illustrate these very basic four-note versions. Instead, we'll start with another simple four-note pattern in which the fourth note of each unit is a repetition of the first note. 1) Major Triads A Whole-Step Apart

Try to figure out what the alternating version of the preceding pattern would be.

2) Major Triads A Half-Step Apart

3) Major Triads A Tritone Apart

Try alternating. 4) Minor Triads A Whole-Step Apart

5) Minor Triads A Half-Step Apart

6) Minor Triads A Tritone Apart

8) Half-Step Apart

Alternate. 9) Tritone Apart

This concludes my selections for mixed triad pairs - major and minor. Other

possibilities can be found in the chapter Triad Pairs Within Symmetrical Scales.

Six-Note Patterns In the patterns presented thus far, the basic unit of patternization was a single triad, either in three-note or four-note form. Now we will link the two triads of the pair together, forming a basic unit of six notes or eight notes. Let me illustrate some of the possibilities. Basic Three-Note Triad Unit

The above pattern is formed by alternating between C major and D major triads in root position, first inversion, second inversion, root position, and so on. Now, when we "link" the triads we first play C major in root position. Rather than proceeding with D in root position, we go down from the third note of the C triad (G) to the closest note of the D triad (F#) and build the D triad from there. This forms a six - note unit. Then, we build six - note units from each successive inversion of the C major triad.

Important: As with all of the preceding patterns, the patterns that follow are written out relative to C only. Be sure to practice the other 11 transpositions. 1) Major Triads A Whole-Step Apart

Alternating.

Alternating.

2) Major Triads A Half-Step Apart

3) Major Triads A Tritone Apart

4) Minor Triads A Whole-Step Apart

5) Minor Triads A Half-Step Apart

6) Minor Triads A Tritone Apart

Continuous Chain Based on Six-Note Links

We can construct continuous links.

Likewise, construct six-note continuous chains with the other triad pairs: Two minor triads a whole-step apart. Two minor triads a half-step apart. Two minor triads a tritone apart.

The mixed pairs, as before. By now, you should be familiar with the sequence and procedure I've been using to assemble the various patterns - major triads at various intervals, minor triads at various intervals, mixed triads at various intervals, and so forth. Therefore, from now on, I'll write out only the first few examples of each new pattern. If you have difficulty, refer to the sequence I've used up to this point and write out the new patterns for yourself.

1) Major Triads A Whole-Step Apart

2) Major Triads A Half-Step Apart

3) Major Triads A Tritone Apart

4) Minor Triads A Whole-Step Apart

5) Minor Triads A Half-Step Apart

6) Minor Triads A Tritone Apart

7) Selected Mixed Pairs

Triad Pairs Linked With A Chromatic Passing Tone It is possible to link triads together with a chromatic passing tone (that's not part of

either triad.) Where there is the interval of a whole-step between the last note of one triad and the first note of the other triad, a chromatic passing tone can be inserted, linking the triads together. tricky_Unlike our basic patterns, these patterns often work only if the they start with the first triad in a particular inversion (root position, first inversion, or second inversion.) Furthermore, the order of the triad alternation (in which one goes first) may be reversed in the descending version of the pattern. In the following few pages, I have illustrated some of these tricky patterns that work. In each new pattern, observe the features mentioned above very carefully. Then proceed with the transpositions. I'm sure that if you play with these enough, you'll find other possibilities. 1) Major Triads A Whole-Step Apart

In the pattern above, notice that the ascending version starts with C major whereas the descending version starts with B6 major. Also, the ascending pattern only works when the C major chords are in root position and the descending version starts with the 3rd of the B6 major chord.

2) Minor Triads A Whole-Step Apart

3) Augmented Triads A Whole-Step Apart

4) Major and Minor Triads A Whole-Step Apart

5) Major Triads A Tritone Apart

This is the only inversion that works. 6) Minor Triads A Tritone Apart

Again, this is the only inversion that works. Other Triad Linking Possibilities The possibilities for linking triad pairs are many. The preceding section dealt with linking triads with a chromatic passing tone, joining the last note of one triad with the first note of the other triad. This creates a smooth, connected sound. Triad pairs can also be linked in a number of other ways. First, select two triads to be linked. (As before, we define a triad pair as having no common tones.) If the distance between the last note of the first triad and the first note of the second triad is greater than a whole-step, we have a choice of two possible passing tones. If the notes to be linked are a half-step apart, an approach tone from the other direction can be used.

For instance:

In the example above, I chose a chromatic approach tone to link D6 to C (bar 1 to bar 2). I could have opted for a whole-step approach tone (In the ascending version).

The choice of B6 as the (whole-step) approach tone would imply the parent scale of F harmonic minor, whereas the original choice of a B natural (chromatic) approach tone would imply a C Byzantine or double harmonic parent scale. Accordingly, different overall sonorities can be created from the same two triads depending on the choice of linking tones. This is an area for experimentation. Another possibility:

We can stack triads, one on top of the other, to create one large broken chord. Owing to the extensive range of the piano, pianists are able to stack many chords. The same holds true for guitarists. Wind instruments, on the other hand, have a much more limited range. So, limiting our discussion to triad pairs (two triads only) will be particularly applicable to wind instruments. Assuming that the reader has spent ample time practicing the basic patterns, these stacked patterns shouldn't present any major difficulty. The challenge here concerns the visualization (in the mind's eye) of the greater expanse of a stacked broken chord. The units within the basic patterns usually fit within one octave or possibly a ninth. The stacked triads usually extend to an eleventh-a little harder to "see" on a horn. These exercises are not easy. They require intense concentration. Go slowly. 1) Major Triads A Whole-Step Apart

2) Major Triads A Half-Step Apart

3) Major Triads A Tritone Apart

4) Minor Triads A Whole-Step Apart

5) Minor Triads A Half-Step Apart

6) Minor Triads A Tritone Apart

7) Augmented Triads A Whole-Step Apart

The above patterns yield the two Whole-Tone Scales. 8) Augmented Triads A Half-Step Apart

The pattern above yields an augmented scale. Don't forget that there are three other transpositions:

As always, when dealing with augmented triads, they are symetrical and any of the three chord tones could be considered as being the root, for example:

9) Diminished Chords A Half-Step Apart

The above stack forms a C auxiliary diminished scale. There are two other transpositions: D6 dim/D dim and D dim/E6 dim. 10) Mixed Triad Pairs

Stack mixed triad pairs following the same procedure. I'll illustrate only one example.

Variations on Basic Four-Note Patterns We'll start with simple variations on the Basic Four-Note Patterns (see page 36). I'll illustrate these using only the basic Two Major Triads triad pairs. Of course, you must also practice these variations with all of the others-minor/minor and mixed pairs.

The following are similar to the preceding variations, except the direction of every second four - note group is reversed:

There are many other possible variations of this type. To use triad pairs successfully in your improvisation, fluidity is essential, so experiment! Interchanging Patterns and Altering the Chord Sequence Here I have selected a few basic patterns and illustrated some ways to make them more interesting (I hope). In the first example, I alter the basic Two Major Triads a Whole-Step Apart, the central triad being C major. Rather than pair it with D major only, I interchange B6 major (for D) every other time.

This time I have C major as the central triad and pair it with B6 major and then F# major.

Using the same triads (C, B6, and F#, here is a variation on one of the Triad Pairs Linked With A Chromatic Passing Tone patterns.

Approach Tone Variations First the approach tone is placed before the lowest tone of each triad.

For the following patterns, I'll show only the ascending patterns. Figure out the descending versions similar to the pattern above.

Here the approach tone is placed before the uppermost note of the triad.

Rhythmic Variations In the jazz idiom in particular, rhythm has always played a dominant role. The basic pulse of the music underpins syncopations, rhythmic displacements, feeling of "swing," rendering the clave (particularly in Afro-Cuban music), sensations of pushing or pulling back, and all other rhythmic elements essential to the music. The patterns presented in this book have all been rendered in straight three-or fournote groups. Here are some rhythmic variations to use when practicing the patterns. The rhythmic variations and displacements not only break up the monotony of constant eighth notes, but they can also mask or disguise the nature of the patterns, making them sound less "patterny." They also rhythmically shift or displace the points at which each triad sounds. Having practiced these variations myself as well as assigning them to many students, I can testify to the fact that they can be very difficult! You may think you really know how a particular pattern sounds until you try the rhythmic variations! Be patient and use a metronome (slowly). Good luck. Here is a basic three-note triad pattern in triplet form:

Here is the same pattern rendered as eighth notes rather than triplets:

Here are triads rendered as four-note chords:

Now as triplets:

Remember: Use a metronome and concentrate on where the downbeats are! Here is an approach tone pattern, rendered as eighth notes, starting on the downbeat of one:

The same pattern, starting on the up-beat of one:

The same pattern, as triplets:

Now, the triplets start on the upbeat of one:

These few simple rhythmic variations are enough to keep anyone busy for quite some ti me . Remember: Practice these patterns with all triad pairs-maj/maj, min/min, maj/minor, and so on. Triad Mutation Another interesting way to vary the patterns is to actually change the structure of the triads. In this case, I use only two tones of the first triad, and then four tones (doubling the first tone) of the second. This 1) shifts the harmonic rhythm of the triads to form a longer, irregular design and 2) effects the relative presence of the triads, giving more emphasis to the sound of the four-note chord.

Using the Rhythmic Variations procedure illustrated in the last section, these eight-note mutated triads can be rendered as triplets, creating a very interesting effect.

Reversing the preceding pattern, use four tones of the first triad and then two tones of the second.

Again, convert the eight-notes to triplets.

The possibilities for variations on all of these patterns is almost limitless. (Apply these patterns to all of the pairs (majJmaj., min/min, mixed) shown in the Basic Patterns sections of this book.) This is fantastic ear training and great discipline to get your fingers away from their old habits. Go slowly, using your friendly metronome.

Although the purpose of this book is to present a method for practicing and mastering triad pairs outside any specific musical context, I will show how these pairs might be applied to a few standard chord progressions (functions). After a thoughtful and thorough study of the opening chapters of this book (Applying Triad Pairs), you should be able to determine which triads can be used in given situations. Therefore, I'll keep explanations in this regard to a minimum. Although these licks are illustrated in a pretty basic from, I encourage you to experiment with other pattern combinations, rhythms, displacements, and so on, to suit your playing style. A downward progression of Major triads (two pairs) in whole-steps, starting on the V chord performs a ii min?-V7 alt function. ii min7-V7 alt

Using a chromatic passing tone link, here are three inversions of the same pattern:

More chromatic passing tone links:

A combination of patterns:

A variation on the approach tone patterns, starting on the upbeat of one:

Rendered as triplets:

Mutated triads (two-note/four-note) rendered as triplets:

Approach tone to the uppermost chord tone:

Approach tone to the lowest chord tone:

Here are some V7-I patterns, first using major triads a tritone apart. Mutated triads:

Starting on the third beat of the bar:

Chromatic passing tone links:

Mutated diminished seventh chords:

Passing tone links using minor triads a whole-step apart (i and ii of the A6 melodic minor scale) in three different inversions:

The following solos illustrate some possibilities for triad pair application over the chord changes to a few well-worn tunes. The solos are intentionally over-saturated with triad pairs, an indulgence I wouldn't recommend in an actual playing situation. Overused, any device can sound contrived and become boring, even annoying. Today, the world of improvised music is very broad. Jazz is experiencing the growing influence of music (musicians) from the Caribbean, Brazil, Africa, Europe, and other countries. Established concepts of melodic structure and phrasing must expand and mutate to suit and serve stylistic evolution. The phrasing, rhythms, and melodies that are effective in one context may fail in another. Even within the existing realm of "straightahead" American jazz, possibilities are vast. For these reasons, style is an issue I prefer to shy away from in discussions of jazz theory. So, I have constructed the following solos in a pretty generic fashion, basing the melodic lines on eighth notes. Analysis It is your task to identify the triad pairs within these solos and determine in which parent scales, chord alterations, or chord substitutions they are being used to express. To facilitate this analysis, I made a Solo Application Guide that shows some of the applications I have used in the solos. Note: I have written these solos with no key signatures, with all accidentals indicated. Both sharps and flats often appear within the same measure. I have chosen these enharmonic spellings to facilitate the reading and identification of the individual triads used in each particular situation. The chord symbols reflect only the basic chord changes, occasionally indicating the upper-structures of dominant seventh chords. Each solo is written for Concert, B-flat, and E-flat instruments.

Two Major Triads A Whole-Step Apart Used in place of a Melodic Minor Scale, the triads built off the 4th and 5th degrees of the scale.

Or - used in place of a Major Scale, triads built off of the 4th and 5th degrees of the scale.

Two Minor Triads A Whole-Step Apart Used in place of a Melodic Minor Scale, triads built from the 1st and 2nd degrees of the scale.

Two Major Triads A Half-Step Apart

Used as part of a Diminished Scale, to create the "Maj7 diminished sound," uses the Major triads off the root and the 7th - CMajBMaj

Two Major Triads A Tritone Apart Used as part of an Auxiliary Diminished or Tritone Scale

A Minor Triad and an Augmented Triad A Half-Step Apart Used as part of a Melodic Minor Scale, triads from the 2nd and 3rd scale degrees.

86 SLUES CoNef¢t

5 SLU(S Eb INST4uMENT6

SOSSA Comm

SOSSA 0 INfiftumiRfs

SOSSA 0 INst4uw(Nf6

STMT cogattf

Sniff

ST4EET 0 INSItuNENTs

840WN coMeEet

840WN 0 INS?2UHEN16

840WN Eb INS1QUWEN1S

S?AQ Comm

S?A2 OIRsnumeRfs

Saxophonist/composer Gary Campbell's life as a jazz musician began in his hometown of Indianapolis, Indiana, the city that spawned jazz greats such as J. J. Johnson, Freddie Hubbard, Slide Hampton, Wes, Buddy and Monk Montgomery, and many others. As a teenager he was introduced to the "Naptown" jazz community through his teacher and mentor David Baker. Learning the ropes by sitting in at local clubs and jam sessions, he played with the likes of organist Mel Rhyne and guitarist Ted Dunbar. After brief stints at Indiana University and the University of Miami, Gary migrated to New York City. From the late '60s through the '70s he was active in the innovative, energetic, and notorious loft scene-the testing ground for dozens of creative young jazz musicians. As a performing member of Free Life Communications, an organization of young jazz artists founded by David Liebman and Richie Bierach, Gary presented concerts of original music with John Abercrombie, Jan Hammer, Michael Moore, Bobby Moses, and many others. He appeared on records alongside Randy Brecker, John Abercrombie, Dan Wall, Adam Nussbaum, David Friesen, Ira Sullivan, and others. He has shared concert, festival, and nightclub stages with (in addition to the above) John Scofield, Dave Liebman, Tom Harrell, Jaco Pastorius, Andy Laverne, Red Rodney, James Moody, George Adams, Hank Crawford, Mose Allison, Arturo Sandoval, and many more. Since moving to Miami in 1982, Gary has become one of the most influential figures on South Florida's re-emerging Latin-flavored jazz scene-gigging and recording with jazz greats Ira Sullivan, Chubby Jackson, Dr. Lonnie Smith, Bobby Thomas Jr., Rene Luis Toledo, and the great Cuban drummer Ignacio Berroa. Gary is becoming one of this country's most sought-after jazz educators. He taught for 12 years at the University of Miami (where he earned a master of music degree in jazz performance), is now assistant professor of jazz studies/saxophone at Florida International University, and for many years has been a performer/clinician at the Jamey Aebersold Summer Jazz Workshops. Gary has been awarded numerous National Endowment for the Arts performance grants and has previously published four highly acclaimed books on jazz improvisation: Patterns For Jazz (co-authored with Jerry Coker); Expansions, a method for developing new material for improvisation; Hank Mobley Transcribed Solos; and Connecting Jazz Theory.

Gary regularly performs and records original material. His compositions have also been recorded by John Scofield, Ira Sullivan, Jeff Palmer, Duffy Jackson, Mike Orta, and the University of Miami Concert Jazz Band. His exciting CD, Intersection (Milestone Records), provocatively blends the currents of Afro-Cuban and Brazilian music into the mainstream of modern jazz. His recent CD release, Thick & Thin (Double-Time Records), features guitar great John Abercrombie.