So for the last time I would like to welcome Luke, Tyrone, and Daniel. And I would like to thank them for their great playing and participation in this session. This time I ask Luke to compose a counterpart based on the Isotope Progression by Joe Henderson. And ask him to use different scale or partners as a kind of compositional model and also different motivic developmental techniques such as conversion, retrograde, and others. So the name of the composition is Top Set. [SOUND] One, two, one, two, a one two. [MUSIC] Yeah, very nice. So Luke, tell us about your compositional process. >> Okay, so like you said before, this is a contrafact in a Joe Henderson tune called Isotope. And so now, in jazz history there's been this lineage of contrafacting tunes, of taking the chords to existing tunes and writing new melodies on them. So I decided to keep the chords of Isotope and write a pretty related new melody to it. For example, pretty much the first motive and then some of the later motives, but especially the first motive is an inversion of the first motive in the actual tune. So when I was writing and I was like okay, how am I going to write something that's related to it that is enough different? And I said okay, let me just invert the shape of this line. And so that's my first idea. And then later on in the piece I use a lot of chromaticism. And I was basically capitalizing on something that Joe Henderson does. Where he kind of plays like a really bluesy idea, but it's like a half step away or a tritone away from the related harmony. And I try to compose some of these really blatently bluesy ideas that were a half step away from the chord, but still were enough related to the first motive. And then the title is also, like I guess you can say inversion of the word isotope. >> Okay excellent. So now before we talked about the use of different scaler patterns, and this tone and these chord changes lend themselves perfectly for the use of familiar one, two, three, five patterns that both Joan Cauldron and Joe Henderson utilize in their playing. So now I ask Luke to demonstrate the use of these patterns in the context of his composition Top Set. [SOUND] One, two, one, two, three. [MUSIC] Excellent, great, great. So very idiomatic playing. And I've noticed that you did something particularly idiomatic for a sax player, is you kind of superimpose the culturing changes over the pre-existing chord changes, which is very effective. And you could hear the clear definition of his lines using simple one, two, three, five patterns over the so-called coltrane substitutions. So tell us a little bit about the way you practice these. To get to that point that you are right at now. >> Well okay, so using these, like you said, the one, two, three, five pattern. So you can practice those. Well first of all, everything should be practiced slow on a metronome, at least quarter note equals 50, quarter note equals 60. Because the slower you can play them, the slower that they're in your fingers, the more easily they'll come out in a fast tempo tune. So one way to practice a pattern like one, two, three, five, would be ascending, descending. So invert the pattern, five, three, two, one. Maybe alternating, so five, three, two, one. And then the next inversion of the pattern. So one, two, three, five. Ore one, two, three, five, five, three, two, one. And then you can practice that pattern going around the cycle of fourths, the cycle of fifths, ascending in half steps, whole steps. Minor thirds, major thirds, getting as much mileage as you can out of that one particular pattern. And then taking them around like the cycle of fourths or fifths will kind of render that coltrane sound. >> It's very very effective. And it just tells you how, you know, when you compare our first performance with Charlie, now's the time progression. And you compare it to that progression on Isotope and see how different blues progressions can get and how different we can approach them in terms of different improvisational techniques.