Does anyone use the Slominsky book?

**Jazzyteach65** · 06-22-2010, 09:50 AM

Does anyone own the Nicholaz Slominsky encyclopedia for melodic patterns? I'm interested in ordering it from the store. I know Trane used it until he diedm and guys like Rosenwinkle draw from it for new ideas.

The few things I've read from it feature some amazing melodic sequences I would have never though of on my own. I know Diorio say to work out of the Koker book and the Slominsky book, and Diorio has nver written anything that hasn't helped me.

**FatJeff** · 06-22-2010, 09:52 AM

I own it. I looked at it once, and it went on the shelf. I've never opened it again. It reminds me of those ridiculously fat guitar chord books that spell everything out in all keys. Why do I need ten thousand weird scales when I still have trouble with the two or three I'm working on?

**Jazzyteach65** · 06-22-2010, 10:58 AM

Originally Posted by FatJeff

I own it. I looked at it once, and it went on the shelf. I've never opened it again. It reminds me of those ridiculously fat guitar chord books that spell everything out in all keys. Why do I need ten thousand weird scales when I still have trouble with the two or three I'm working on?

You mean those chord bibles? Well, my take is this: "take what you like," as Jimmy Rainey would say. I would choose the patterns and ideas I like. If books like "Patterns in Jazz" and "Modern Fusion Improvising" has helped me greatly thusfar, (and both of those books have hundreds of scale patters, but OPENED my eyes and ears as far as playing things I would have never done before)then why wouldn't the Slominsky thesaraus help me?

Where did you get the book? Did you have to order it?

jeffstocksmusic · 06-22-2010, 11:54 AM

Does anyone own the Nicholaz Slominsky encyclopedia for melodic patterns? I'm interested in ordering it from the store. I know Trane used it until he diedm and guys like Rosenwinkle draw from it for new ideas.

I have bought and sold it twice over the last ten years. This is not a criticism of the material, but more an admition of where I am musically. I have so much work to do w/ triad pairs, pentatonics, and hexatonics that this type of mental algebra is not appropriate for me.

I have heard many a musician get spooked upon cracking it open. It is a DENSE book, somewhat pricey, with no real map of use in terms of application.

I absolutely see the benefit for someone who has fallen into pattern-based playing and wants to challenge the fingers/ears or composers looking for new melodic material. Just for me, I have far to much other stuff to work on.

BTW>>Holdsworth is also rumored to have worked on it 'like a dog, according to Bill Bruford' when he was young. Apparently many of his linear concepts came from it.

**Jazzyteach65** · 06-22-2010, 12:20 PM

Originally Posted by jeffstocksmusic

I have bought and sold it twice over the last ten years. This is not a criticism of the material, but more an admition of where I am musically. I have so much work to do w/ triad pairs, pentatonics, and hexatonics that this type of mental algebra is not appropriate for me.

I have heard many a musician get spooked upon cracking it open. It is a DENSE book, somewhat pricey, with no real map of use in terms of application.

I absolutely see the benefit for someone who has fallen into pattern-based playing and wants to challenge the fingers/ears or composers looking for new melodic material. Just for me, I have far to much other stuff to work on.

BTW>>Holdsworth is also rumored to have worked on it 'like a dog, according to Bill Bruford' when he was young. Apparently many of his linear concepts came from it.

I've heard that about Holdsworth too. nIt's not that I am STRICTLY looking for new ideas and approaches, as much as I am interested in some of the concepts. Some of the excerpts I have read contain varying lines with wide intervals ect like Eric Dolphy does. That kind of stuff is SO interesting and funky/wild.

**FatJeff** · 06-22-2010, 12:30 PM

I do find it interesting from a mathematical/theoretical perspective, but as JSM mentioned, I got so much other stuff to worry about that I don't really feel like I have any business looking at this stuff.

**BigDaddyLoveHandles** · 06-22-2010, 12:52 PM

I use computer applications that, when you open them, give you a random tip of the day. How about a forum here with random jazz tips of the day (we're actually pretty close to that). For example: here's a crazy Slominsky synthetic scale, or here's a pattern from Jerry Coker's book, or here's an idea from Trane's Giant Steps solo, heh. Might save on bookshelf space!

Actually, this sounds more like a blog. One person needs to have editorial control.

**jeffstritt** · 06-22-2010, 01:24 PM

Originally Posted by BigDaddyLoveHandles

I use computer applications that, when you open them, give you a random tip of the day. How about a forum here with random jazz tips of the day (we're actually pretty close to that). For example: here's a crazy Slominsky synthetic scale, or here's a pattern from Jerry Coker's book, or here's an idea from Trane's Giant Steps solo, heh. Might save on bookshelf space!

Actually, this sounds more like a blog. One person needs to have editorial control.

That is the best idea that I have heard in a while! We could do a lick a day or something like that?

**wizard3739** · 06-22-2010, 01:54 PM

I never really got much out of the Slonimsky book. I have had it for many years along with the Jerry Coker book "Patterns for Jazz" both recommended by Joe Diorio. I got more value from the Jerry Coker Book. Unfortunately I recently lost my copy of "Patterns for Jazz".

wiz

**BigDaddyLoveHandles** · 06-22-2010, 02:11 PM

Originally Posted by gersdal

We would need a bit of help then, but BDLH has contributed with a lot of good stuff. I'll try to increase the frequency a bit, but my licks are mostly for beginners I guess. BDLH and fep's licks are more advanced stuff...

Didn't you post a lick with 16th note triplets (Bireli)?

I've been thinking of stealing as many licks as I can from the Giant Steps transcription. Stay tuned for that.

**gersdal** · 06-22-2010, 02:13 PM

Originally Posted by BigDaddyLoveHandles

Didn't you post a lick with 16th note triplets (Bireli)?

Ah well.. I play it slooow

Originally Posted by BigDaddyLoveHandles

I've been thinking of stealing as many licks as I can from the Giant Steps transcription. Stay tuned for that.

I will!

**bako** · 06-22-2010, 02:24 PM

Yusef Lateef wrote a book called a Repository of Scales and Melodic Patterns that is a similar mass of melodic ideas but created more from a modern jazz improvisors esthetic. I like both books.

**jeffstritt** · 06-22-2010, 03:40 PM

Originally Posted by wizard3739

I never really got much out of the Slonimsky book. I have had it for many years along with the Jerry Coker book "Patterns for Jazz" both recommended by Joe Diorio. I got more value from the Jerry Coker Book. Unfortunately I recently lost my copy of "Patterns for Jazz".

wiz

For sure, "Patterns for Jazz," is a must for every jazz musician's library.

**derek** · 06-23-2010, 10:46 AM

The Slonimsky book has been used by everyone from Zappa to Trane, to Diorio to Holdsworth to Buckethead to Jaco. I have had a few conversations with Tony DeCaprio on it also, as he has used it too.

Probably one of those things like Chord Chemistry. If you look at it as a whole, pretty intimidating and overwhelming. But taking pieces out at a time, probably useful. Besides, being able to quote Nic Slonimsky gives you instant jazz cred.

**cosmic gumbo** · 06-24-2010, 02:59 AM

I used the Slonimsky book for a while when I was younger, but when I got taller, I didn't need to stand on it to reach the cookie jar.

**villadv** · 07-11-2010, 02:08 PM

I have it in PDF form its about 27MB do you guys want me to upload it somewhere and pass the link onto you guys? I opened it I understood it, but I'm not sure how to apply it. I would really love some feedback in my improvisation. I'm fairly new to Jazz I've been playing for about a year, and I've been playing guitar for about 4 years now.

**javierfiji** · 10-25-2015, 05:19 PM

Hello I Have been working composing some modal changes tunes, based on some nicolas slonimsky concepts.

This is my approach to it. The chord changes are

Glydian
Db lydian augmented aka Lydian #5)
Bb lydian
E lydian augmented (I play thinking in C altered)

Changes were created based on slonismky concepts, diving the octave in four equal parts, that gave us minor Thirds. Then You organize those notes the way You choose.

E G Bb Db.

I organized it starting in G and then going up a tritone to Db, then going down a minor third to Bb, And finally up a tritone to E.[/

So finally the changes are: G lydian Db lydian #5 Bb lydian E Lydian #5[

G Lydian chord I Apply the triad pairs concept, playing G And A triad. Sometimes I play A triad\ B triad implying a Glydian #5

Dd Lydian #5 chord I play A altered, which has the same notes. Also I Apply the triad pairs concept playing Eb triad \ F Triad.

Sometimes I play also minor pentatonics, using the One who are inside the Lydian And Lydian #5 scales.

In G lydian I play : F# minor pentatonic. B minor pentatonic

Db lydian#5 I play: C minor pentatonic. G minor pentatonic (replaces the D for the Db)