in the funk zone e-book - bb.pdf

8/17/2019 In the Funk Zone E-Book - Bb.pdf

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E-BOOK - Bb


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CONTENTS

Chapter 1: PLAYING THE POCKET- Chapter 1.2 DVD Transcription ................................................................................. 1

- Chapter 1.3 DVD Play Along Chord Progression

Chapter 2: BASIC PENTATONIC STRUCTURE

- Pentatonic Scales

- Minor Pentatonic Scale Exercise in 12 Keys

..................................................... 2

.................................................................................................... 3

........................................................... 4

- Minor Pentatonic Ascending and Descending Exercise in 12 Keys

- Create Your Own Exercises

......................... 6

..................................................................................... 9- Chapter 2.3 DVD Transcription ................................................................................ 11

- Chapter 2.4 DVD Transcription ................................................................................ 11

- Minor Pentatonic Workout Sheet ............................................................................ 12

Chapter 3: IMPROVISING INSIDE OF THE KEY

- Applying Pentatonic Over the Groove

- Chapter 3.2 DVD Trading Chord Progression

..................................................................... 13

........................................................ 14

- Chapter 3.3 DVD Play Along Chord Progression ................................................... 14- Chapter 3.4 DVD Trading Chord Progression ........................................................ 14

Chapter 4: BLUES SUS

- Blues Sus Scale

- Blues Sus 4 Note Grouping

...................................................................................................... 15

..................................................................................... 15

- Blues Sus 4 Note Grouping Ascending and Descending Exercise in 12 keys ....... 16

- Chapter 4.1 DVD Transcription ................................................................................ 19

- Chapter 4.2 DVD Transcription ................................................................................

- Chapter 4.3 DVD Transcription ................................................................................

20

21

- Create Your Own Exercises .................................................................................... 22

- Chapter 4.4 DVD Play Along Chord Progression ................................................... 23

- Blues Sus Workout Sheet ...................................................................................... 24


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CONTENTS

Chapter 5: IMPROVISING OUTSIDE OF THE KEY: Basic- Pentatonic with a Half Step Movement ................................................................. 25

- Minor Pentatonic With A Half Step Movement Exercises ..................................... 26

- Chapter 5.3 DVD Transcription With Extension ..................................................... 28

- Scramble Formation .............................................................................................. 29

- Chapter 5.4 DVD Transcription ............................................................................... 29


- Chapter 5.6 DVD Trading Chord Progression ......................................................... 30

Chapter 6: IMPROVISING OUTSIDE OF THE KEY: Advanced

- Minor 3rd Movement .............................................................................................. 31


- Create Your Own Exercises ................................................................................... 33

- Pentatonic with a Chromatic Approach ................................................................ 34

- Chapter 6.2 DVD Transcription Part 1 ..................................................................... 34




- Invent Your Own Approach ..................................................................................... 36



- Create Your Own Exercises ................................................................................... 38

CONCLUSION .............................................................................................................. 39

CHORD CHANGES FOR PLAY ALONG AND TRADING (DVD DISC 2) ........................ 40

- Chapter 6.6 DVD Trading Chord Progression ......................................................... 37

- Chapter 6.7 DVD Conclusion Jam .......................................................................... 37


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PLAYING THE POCKETChapter 1

1

Throughout this E-Book, I will be talking about pentatonic structures and how to apply them

inside and outside of the key. Before we get started, I would like to show you how to play

inside the Groove; “Playing The Pocket” and what the depth of the groove is. For this DVD

that means playing in strict time with even eighth notes, while working on a solid

structure when you improvise. This DVD is more about playing what you feel, with a good

pocket than it is about technical things.

Continue...

The following example is a transcription from the DVD. (Chapter 1.2). With this transcription

you can see and hear how the written notes & rhythm fit in the groove or pocket. In the

E-Book we have provided several transcriptions for your convenience but the best way to learnsomething is to take the time and learn it by ear. You can use the transcriptions as a reference

but you should transcribe much of this material yourself. Whether or not you write your

transcriptions down is up to you.

Chapter 1: Playing The Pocket

Chapter 1.2 DVD Transcription

A‹7 A‹6 FŒ„Š7/A E7 9)

A‹7 A‹6 FŒ„Š7/A E7 9)

A‹7 A‹6 FŒ„Š7/A E7 9)

A‹7 A‹6 FŒ„Š7/A E7 9)


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2

All the notes on the transcriptions are from A minor scale (1 - b3 - 4 - 5 - b7) and once in a

while with a sharp 4 in there to give it a little bit of a blues connotation. So its up to you to

figure out how you can play this quasi minor pentatonic scale sound without sounding tooscalular or too intervallic and keeping the pocket at the same time.

Chapter 1.3 DVD Play Along Chord Progression

Chapter 1: Playing The Pocket

A‹7 A‹6 FŒ„Š7/A E7 9)

A‹7 A‹6 FŒ„Š7/A E7 9)

A‹7 A‹6 FŒ„Š7/A E7 9)

A‹7 A‹6 FŒ„Š7/A E7 9)

A‹7

A‹7 A‹6 FŒ„Š7/A E7 9) A‹7


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BASIC PENTATONIC STRUCTUREChapter 2

Pentatonic Scales

3 Chapter 2: Basic Pentatonic Structure

The Pentatonic Scale is one of the most commonly used scales in the world. There are many

different pentatonic scales all of which are constructed of five notes only. The main focus of

this project is the Relative Minor Pentatonic Scale, commonly known as the Minor Pentatonic

Scale.

The A Minor Pentatonic Scale (Ex.1b) starts on the 5th note of it's parent scale: C Major

Pentatonic (Ex. 1a)

Example 1a: C Major Pentatonic Scale

Example 1b: A Minor Pentatonic Scale

As you can see, both scales share the same notes, however by changing the starting note,a different texture to the sound is created.

1 2 3 5 6 1

1 b3 4 5 b7 1


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Minor Pentatonic Scale Exercise in 12 Keys

4Chapter 2: Basic Pentatonic Structure

G Minor Pentatonic

C Minor Pentatonic

F Minor Pentatonic

Bb Minor Pentatonic

Eb Minor Pentatonic

Ab Minor Pentatonic


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5

Db Minor Pentatonic

F# Minor Pentatonic

B Minor Pentatonic

E Minor Pentatonic

A Minor Pentatonic

D Minor Pentatonic

Chapter 2: Basic Pentatonic Structure


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Minor Pentatonic Ascending and Descending Exercise in 12 Keys

G Minor Pentatonic

C Minor Pentatonic

F Minor Pentatonic


Bb Minor Pentatonic


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Eb Minor Pentatonic

Ab Minor Pentatonic

Db Minor Pentatonic

F# Minor Pentatonic


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B Minor Pentatonic

E Minor Pentatonic

A Minor Pentatonic

D Minor Pentatonic


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Create Your Own Exercises

The previous exercises cover the basic scales & patterns of the minor pentatonic scale. Now

it's time for you to make up your own exercises. You can do this by Alternating the Orientation

of Notes and or Changing the Direction of Your Pattern.

One example of alternating the orientation is skipping a note in the basic fundamental scale.For example if you played the 1, b3 and then played the 5 and came back down to the 4,

this would be alternating the orientation. Changing the direction means if your pattern is

ascending then you change the direction to descending. Your exercises can be symmetrical

or non-symmetrical. Here are some examples to get you started:

Ascending Symmetrical Pattern with an Alternative Note Orientation.

Descending Symmetrical Pattern with an Alternative Note Orientation

Continue...

Continue...


Fundamental Scale: G Minor Pentatonic

1 b3 4 5 b7 1

Fundamental Ascending Fundamental Descending

1 b3 4 5 5 4 b3 1


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There are so many possibilities using this method. You can also apply other tools such as

Octave Displacement and Doubling Notes as described below.

Non-Symmetrical Pattern with a Mixed Alternative Orientations & Direction

*Orientation Shift = OS

OS OS OS OS OS

Use all the available tools to create your own exercises. As always practice your own exercises

in all keys the entire range of your instrument.

Symmetrical Pattern with an Alternative Note Orientation & Mixed Direction

Continue...

Continue...

Octave Displacement

Displaced Displaced

Doubling Notes

Double Double


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We have provided space for you to write down your transcription of this slight improvisation.



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Minor Pentatonic Workout Sheet

Write Your Exercises Here

Fundamental Scale: ___ Minor Pentatonic




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IMPROVISING INSIDE OF THE KEYChapter 3

Applying Pentatonic Over the Groove

13 Chapter 3: Improvising Inside The Key

In the previous chapter, I have explained a basic pentatonic structure and hopefully you came

up with various exercises of your own. Now I am going to explain how to make them more

personal.

Here are some basic ideas:

1. Break up the rhythm by using spaces or longer notes.

2. Break up the lines by changing direction.3. Break up the lines by alternating the orientation of notes.

The following example is a transcription from the DVD (Chapter 3.1). Notice how one simple

pentatonic scale (D Minor Pentatonic) can be turned into a more personal line or improvisation

Continue...

Chapter 3.1 DVD TranscriptionD‹ B¨ E E¨ D‹ B¨ E E¨

D‹ B¨ E E¨ D‹ B¨ E E¨

D‹ B¨ E E¨ D‹ B¨ E E¨

D‹ B¨ E E¨ D‹ B¨ E E¨


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Chapter 3.2 DVD Trading Chord Progression

D‹ B¨ E E¨ D‹

INTRO


D‹ B¨ E E¨ D‹

14Chapter 3: Improvising Inside Of The Key

In Chapter 3.2 & Chapter 3.4, I’ll play two measures and then you play two measures and

we’ll trade back and forth. Be sure to pay attention to your time. Play even eighth notes with a

good pocket.


D‹ B¨ E E¨ D‹ G

INTRO

D‹ B¨ E E¨ D‹ B¨ E E¨

D‹ G


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BLUES SUSChapter 4

Blues Sus 4 Note Grouping

15 Chapter 4: Blues Sus

Omitting the b3 or the second note of the minor pentatonic forms the Blues Sus Scale. For

example, by taking out the b3 on G Minor Pentatonic Scale (ex. 4a), you can transform it to a

G Minor Blues Sus Scale (ex. 4b).

This scale will create an open sound because of its intervallic nature. This is one of the many

tools that can be taken into your playing to expand your vocabulary. I strongly recommend tha

you practice this scale in all 12 keys.

Four note groupings gives the Blues Sus Scale more unity and direction. You can group this in

order or in random order. Please go through all the exercises to get this sound in your headand under your fingers.

Blues Sus Scale

Example 4a: G Minor Pentatonic Scale

Example 4b: G Blues Sus Scale

Omitting Bb (b3)

1 b3 4 5 b7 1

1 4 5 b7 1


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Blues Sus 4 Note Grouping Ascending and Descending Exercise in 12 keys

G Blues Sus

16Chapter 4: Blues Sus

C Blues Sus

F Blues Sus

Bb Blues Sus


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Eb Blues Sus


Ab Blues Sus

Db Blues Sus

F# Blues Sus


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B Blues Sus


E Blues Sus

A Blues Sus

D Blues Sus


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We have provided space for you to write down your transcription of this improvisation. Notice that

I like to throw in the 9th of the key sometimes. Technically the 9th is not in the Blues Sus Scale but

it sounds good.

A‹ Bm A

Chord Progression

Write Your Transcription Here



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We have provided space for you to write down your transcription of these 4 note groups. Notice how

I skip some notes of the Sus scale and this opens up the sound even more.

A‹ Bm A

Chord Progression

Write Your Transcription Here



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INTRO


A‹ B‹ A A‹ B‹ A




A‹


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Create Your Own Exercieses

With the same method you learned in Chapter 2, (Alternating the Orientation of Notes and or

Changing the Direction of Your Pattern.) you can create your own Blues Sus Exercises. Your

exercises can be Symmetrical or Non-Symmetrical. Here are some examples to get you

started.

You can also apply Octave Displacement and Doubling Notes as explained in Chapter 2. Use

all the available tools to create your own exercises. As always practice your own exercises in

all keys through the entire range of your instrument.

Ascending Symmetrical Pattern with an Alternative Note Orientation.

Descending Symmetrical Pattern with an Alternative Note Orientation

Continue...

Continue...


Fundamental Scale: G Blues Sus Scale

1 4 5 b7 1


1 4 5 b7 b7 5 4 1


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You can also apply Octave Displacement and Doubling Notes as explained in Chapter 2. Use

all the available tools to create your own exercises. As always practice your own exercises in

all keys the entire range of your instrument.

Non-Symmetrical Pattern with a Mixed Alternative Orientations & Direction

*Orientation Shift = OS

OS OS OS OS

Continue...


Am7 Bm7 A Am7 GŒ„Š7 A A‹7

Symmetrical Pattern with an Alternative Note Orientation & Mixed Direction

Continue...



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Blues Sus Workout Sheet


Fundamental Scale: ___ Blues Sus




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IMPROVISING OUTSIDE OF THE KEY: BasicChapter 5

Pentatonic with a Half Step Movement

Up to this point, you’ve learned minor pentatonic scales in all 12 keys in order to improvise

inside the key. Now it’s time to connect the keys by stepping outside of the key area. Moving

by half steps is one of simplest and most common methods of stepping outside of the key.

The example below illustrates the D Minor Pentatonic ascending and then shifting the tonality

(stepping outside of the key) by moving up a half step to D# Minor Pentatonic. Next is D Minor

Pentatonic Descending and then shifting the tonality by moving a half step down to Db Minor

Pentatonic.

It’s very important to hear and get used to the sound of the tonality shift. I highly recommend

practicing this half step movement with a chordal instrument as a background so you can

hear the relationship to the original key. Playing just the root and fifth as written above is

sufficient to establish the primary key center.

Key of D

D Minor Penta. D# Minor Penta.

D Minor Penta. Db Minor Penta.

Key of D

ShiftTonality

ShiftTonality

25 Chapter 5: Improvising Outside Of The Key: Basic


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Minor Pentatonic With A Half Step Movement Exercises

D Minor Pentatonic Ascending Pattern I

Practice these exercises in all keys and through the entire range of your instrument.

Continue...

D Minor Pentatonic Desending Pattern I

Continue...

Continue...

D Minor Pentatonic Ascending Pattern II

Continue...

Key of D

Key of D

D Minor Pentatonic Desending Pattern II

Key of D

Key of D

26Chapter 5: Improvising Outside Of The Key: Basic


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D Minor Pentatonic Ascending and Desending Pattern I

Continue...

Key of D

D Minor Pentatonic Ascending and Desending Pattern II

Continue...

Key of D



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Chapter 5.3 DVD Transcription With Extension

Minor Pentatonic With A Half Step Movement – Ascending and Descending

Key of D

Key of D

Key of D

Key of D

Continue...



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Scramble Formation

Now, I am going to combine the ascending and descending pentatonics with a half step movement in

a quasi scrambled formation. Just let it go and fall the way it wants. You can see how the

pentatonics gyrate around the fundamental tonality.




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We have provided space for you to write down your transcription of this improvisation. We’ll be

moving these pentatonics with a strict half step in between. A little risqué but highly effective.


‹ ‹



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IMPROVISING OUTSIDE OF THE KEY: AdvancedChapter 6

Minor 3rd Movement

Minor 3rd movement is a little device which involves 2 keys. The example below, starts with

D minor pentatonic and shifts to F Minor Pentatonic. Even though the tonality changes

radically, using the same pentatonic structure will keep the naturalness of the tonality.

Tonality Shift can occur anytime you like. It’s up to you to shift quicker or slower. The nextfew examples illustrate different versions of Tonality Shift.

31 Chapter 6: Improvising Outside Of The Key: Advanced


Shift

Tonality

Shift

Tonality

Shift

Tonality

Shift

Tonality

Key of D

Key of D

D Minor Penta. F Minor Penta.

F Minor Penta.D Minor Penta. D Minor Penta.

Resolution


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Quicker Tonality Shift

Key of D

ShiftTonality

32Chapter 6: Improvising Outside Of The Key: Advanced

ShiftTonality

ShiftTonality

Slower Tonality Shift

ShiftTonality

ShiftTonality

ShiftTonality

ShiftTonality

ShiftTonality

Key of D

ShiftTonality

ShiftTonality

Key of D

Key of D

ShiftTonality

Resolution

Resolution

Resolution


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Using this Minor 3rd Pentatonic movement you can create your own exercises. Your exercises

can be Symmetrical or Non-Symmetrical. Here are some examples to get you started.

Remember, practicing in all keys is essential.

Ex. 1

Ex. 2


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Pentatonic with a Chromatic Approach

Key of C

Chapter 6.2 DVD Transcription Part 1

ShiftTonality

ShiftTonality

ShiftTonality

Additional Example

Key of C

ShiftTonality

ShiftTonality

ShiftTonality

Continue...


Key of C


ShiftTonality

ShiftTonality

ShiftTonality

ShiftTonality

ShiftTonality

Connecting Pentatonics with a Chromatic Approach is another way to explore the different

tonalities. The transcriptions and examples below illustrate how the original key modulates to

the new key with a few chromatics.


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Key of D

Additional Example

ShiftTonality

ShiftTonality

ShiftTonality

ShiftTonality


Key of D

ShiftTonality

ShiftTonality

Shift

Tonality

Shift

Tonality

Shift

Tonality

Continue...



Key of D

ShiftTonality

ShiftTonality

ShiftTonality

ShiftTonality


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Invent Your Own Approach

Now I would like you to invent your own approach using ascending and descending

pentatonics with chromatics in between. You can expand the amount of chromatics to

whatever you like. Be careful not to expand too much because it will take away from the

pentatonic sound. The chromatics you will be using should always be in a random sense.

It’s really up to you to decide how much chromatics you use.

Key of D

Key of D




Key of D

Key of D


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Key of D



Chapter 6.7 DVD Conclusion Jam

A‹

D A


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Using Pentatonic with chromatic approach notes connecting tonalities you can create your

own exercises. Your exercises can be Symmetrical or Non-Symmetrical.




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CONCLUSION

39

In conclusion this is the scope of how I look at pentaonics. Remember you have complete

freedom to play what you want when you want because you’re being guided through this

pentatonic structure but just keep in mind that it is good to use the right and proper balance

of in and out. Evidently if you play too much on the outside it can upset the structure so I

feel that balancing with the inner against the outer helps to keep the whole axis in line.

So do what you want and do it the way you feel it and remember that everything you play in

life is based off of how you feel.

Conclusion

- THE END -


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CHORD CHANGES FOR PLAY ALONG AND TRADING

(DVD DISC 2)

40CHORD CHANGES FOR PLAY ALONG AND TRADING

Funk In G - Trading

Slow Blues - Play Along

Blues Shuffle - Play Along

A-7

G7 G7 G7 G7

C7 C7 G7 G7

D7 “ C “ G7 D7

Funk In G - Play Along

A-7

C-7 G-7 A¨‹ƒ‰7 G-7 F-7 B¨7 “

E¨‹ƒ‰7

B¨7 “

C‹ƒ‰9

Ending


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Outside The Key - Trading

A

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