I'd like to welcome Luke, Tyrone, and Daniel again. I asked Tyrone this time to compose a contrafact based on the Sus Blues. So let's play the tune and then we'll talk about Tyrone's compositional process. >> One, two, one, two, three. [MUSIC] >> Okay, Tyrone, so tell us about it. >> So, big characteristic of coltrane in a lot of the song's he writes, especially the Blues's are, they have like an o[en feel to them usually. And writing the Suss Blues I really try to capture that and just using a lot of B flat's over the F seven Sus chords. Just using a lot of fours in here. And so if you look the phrase structure. In measure one, we have the E flat and the C that's going down, and then if you look at measure five, we have the E flat and the F going up. So it kind of just, in the blues form we have something like a motive that's used right at the beginning and then it's just a little bit different once you get to the second area. Also if you take a look at the ends of the phrases, they end in a little kind of wacky places which kind of make it feel a little open as well. So if you take a look at measure four, the end of the phrase is really on beat two. And then if you look at measure eight the end of the phrase is on beat four. So I just tried to make sure this blues felt really, really open. And if you look at the very last measure we have an A flat in the end. And it leads right back to the G in the beginning of the blues. So, try to make sure everything kind of fit together. >> One of the challenging aspects of Sus, this particular one, which is based on Mr. Day by Coltrane, is the last four bars. Instead of going to the dominant harmony you go to the subdominant and go down to flat three. And going to one. So that's kind of uncharacteristic of the typical blues progression. So, you can see at the melodic content, Tyrone is using upper structure triads to really get inside of these Sus harmonies. On B flat, upper structure on flat seven. And on A flat on flat seven? So that's a really nice touch. Before we talked about the use of pentatonic's in improvisation and Suss Blues. So and we have Luke with us. So I asked Luke to demonstrate the use of pentatonic's, different pentatonic's using Tyrone Shuz. So now we're going to demonstrate the use of pentatonics using Tyrone's, Mr. T. >> One, two, and three. [MUSIC] >> Okay, so tell us, Luke, about your approach to improvisation. >> So on this one, once again this is a very clear Coltrane influence in the blues. Like you said, Mr. Day. And so one thing that Coltrane kind of, he improvised in different blues' differently. So, on this one, I think that he would use more of a penatonic based approach, especially emphasizing on the sus sound. So, instead of playing a pentatonic that included the third in it he would include something that would emphasize the fourth and the flat seven scale degrees. And saxophone this fits really well, because you can play multiple pentatonic shapes in one range of the horn, and just change the few notes that change from pentatonic to pentatonic. And that works really well in developing motives and playing across changes and not necessarily restricting one pentatonic per change. Kind of extending one panatomic harmony throughout a few different chords. And then a few times I kind of played a pentatonic that was very clearly dissonant and I was doing that purposefully in the last few bars, the last four bars the turnaround section to kind of contrast with the rest of the pentatonics that I used before. That's something Coltrane would also do very frequently. >> Yeah, and before we talk about the nature of pentatonic scales that we discussed about their neutral character in terms of tonality. So it opens different possibilities for the pianos or for the bass player to kind of go outside of the changes, and make a nice contrast between diatonic, pentatonics and some chromatic chords that we can experiment with in the rhythm section.