Our final demonstration involves the isotope progression and we will use that progression to discuss improvisation with different scale or patterns. With a faster harmonic rhythm coupled with unusual chord progression, the isotope progression is more challenging to negotiate during improvisation. But with various scalar patterns, such as one, two, three, four, and I'm going to use these numbers to refer to specific members of the underlying harmony. So one, two, three, four, the first two, note, second note, third, and five or any kind of combinations of four notes. One, three, four, five. Famous John Coltrane solo on Giant Steps [NOISE], entirely based on scalar improvisation, pattern improvisation. And with these patterns, we can clearly delineate the underlying harmonies and engage in your highly idiomatic playing, which is similar to actually what John Caltrane did in the late 50s and early 60s. On the screen, you can see the use of one, two, three, five scalar patterns as the progression. When I play that line even without the baseline, you can clearly hear the underlying progression. Again, we're dealing with much faster harmonic rhythm and much more intricate chord progression. Let me play that line without a baseline. Let's play with the metronome, so we can retain the same growth and listen to these patterns and try to hear the underlying chord progression. One, two, one, two, three, four. [MUSIC] Okay? So now let play it with the chords and again, I just played four quarter notes in the case of single harmony and eight, eight notes in the case of two harmonies per bar. [MUSIC] In the case of suspended chords, [SOUND] I used one, two, four, five, in order to avoid the third. Now, on the next screen, you can see the use of the one, two, three, five pattern along with different permutations. What we're going to do, we're going to treat them in the same way we treated our chord [INAUDIBLE] in earlier lecture. We're going to utilize and exploit different permutations of that pattern. Here is our original pattern one, two, three, five. We can kind of reshuffle these notes and play them. [MUSIC] So we have as many as six different permutations. The next thing what you can do, instead of starting on the root, you can start on the second note, start on the third, and start on the fifth. Again, we will need all these configurations in order to make a much stronger connection between individual chords. Now on this next screen, you can see the of the chord progression with much better voice leading connectivity between chords. I show it with different colors, the connection between individual chords and if you can notice the motion between chords are utilized by stepwise motion. So if you start on scale to B1. [MUSIC] We move to, [MUSIC] To the second note. [MUSIC] And then, [MUSIC] One. [MUSIC] You can see it sounds completely different but again, it doesn't sound like a pattern or like a sequence, which is so obvious when you play it. [MUSIC] But now I'm very mindful of the way I connect chords, and try to utilize these important voices and connections. As you can notice, the action, the main actions across the bar lines or in the case of two chords per measure, between beats end of two and three. [MUSIC] And you can add rhythmic octave displacements for a saxophone player, that's something that saxophone players love to do and create a more kind of jagged contour. As was the case with five part chords and four part chords, we can experiment with different positions. Instead of starting, [MUSIC] One, two, three, five, we can start on, [MUSIC] On the five, with different directions or all together, we can change to a different pattern. [MUSIC] One, three, four, five or be a little bit more daring. [MUSIC] Or something [MUSIC] So there are endless possibilities but again, the most important thing is to be in control of what you're doing and connect with your ears.