Our first lick is a Bbmaj run in the style of the late, great saxophonist Michael Brecker. This line is very similar to his playing in the funky outfit 'The Brecker Brothers' alongside his brother Randy (Though Michael would have played this line as an insane run of 32nd notes!) Over the ii chord its seems that Micahel uses the 'pentatonic up a 5th' substitution, basing his line on Gm pentatonic (for more info on this substitution check out ). We do have some chromatic embellishment; the 1st note moves chromatically up to D then we descend down chromatically from F to Eb. This the ascends up slides to rest on a D (the 9th). Remember that this is a saxophone line so there is no correct fingering, only what works best for you.
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Over the F7#5 we have a line that focuses on the #5 (C#), b5 (Cb/B) and #9 (G#) but the use of chromaticism leaves you questioning exactly what scale Brecker is thinking of. I would say that this is irrelevant, the idea is to create tension over this chord and resolve it effectively to the next chord, in this case the 3rd of Bbmaj7. When it comes to this sort of approach it may seem odd, but all the 'wrong' notes are the 'right' ones, so start playing around with the superlocrian scale (R,b2,#2,3,b5,#5,b7) and experiment by adding chromaticism to this. The following two shapes are a great starting point to practice this idea of tension and resolution. This ii-V-I is a 'quick change' in Bb. This means that instead of playing the ii and V for an entire bar we up the harmonic pace and move to two chords per bar.
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The result is that we have even less time on each chord, making outlining the change even harder! Fortunately there are ways to make this easier on you - using extended tension. Philips speechmike pro 5274 windows 7 driver. The basic idea is that a standard ii-V-I is a well crafted progression that sets up tension over the V chord which is resolved smoothly to the I chord, a perfect cadence. Over this V chord anything is fair game, as long as you resolve the tension created. So if we take that principal of 'create tension - resolve tension' then why not ignore the ii chord all together and play out for longer? This idea is very common in bebop circles; a genre synonymous with tension/resolution and quick change ii-V-Is at tempos often reaching 200bpm!
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