Tag Archives: solo

One Ginger Snap

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One Ginger Snap (Jim Funnell)
©2007, 2018 Jim Funnell/Funnelljazz (ASCAP, SACEM)
Available sheet music: score | piano | bass

Jim Funnell – piano

Rather fast paced with some treacherous changing meters, this tune represents just how exciting having at least One Ginger Snap to spice up a warm and comforting afternoon tea is to most of us.

As you can see from the score or piano part, the coda was fashioned as a tribute to Herbie Hancock’s burning “One Finger Snap” in an attempt to establish a budding, yet crucial link between jazz history and the noble beverage’s rich tradition!

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major and minor blues scales on Maceo Parker’s “Uptown Up”

Dear fellow funk/blues enthusiasts,

Here’s a transcription of Maceo Parker‘s alto saxophone solo on Uptown Up, the opening track from his album Funk Overload (1998), followed by an analysis of what’s going on melodically…

Note: although Maceo’s rhythm, phrasing, and expression won’t be discussed in length in this post, they are also really hip and definitely worth spending time accurately imitating on your instrument!

Uptown Up - alto sax (concert)_p1

Uptown Up - alto sax (concert)_p2

Shifts between major and minor blues scales:

  • [bar 0 – bar 3/beat 3]: Bb major blues
  • [bar 3/beat 4 – bar 5/beat 2]: Bb minor blues
  • [bar 5/beat 3 – bar 7/beat 1]: Bb major blues
  • [bar 7/beat 2 – bar 8/beat 2]: Bb minor blues
  • [bar 8/beat 3]: Bb major blues
  • [bar 8/beat 4 – bar 11]: C major blues
  • [bar 13/beat 3 – bar 15/beat 1]: C major blues
  • [bar 15/beat 2 – 16/beat 2]: C minor blues
  • [bar 17]: Bb major blues
  • [bar 18]: Bb minor blues
  • [bar 24]: Bb major scale

Passages where major and minor blues scales are intertwined:

  • [bar 12 – bar 13/beat 3]
  • [bar 16/beat 3 – bar 16/beat 4] (ascending chromatic motion)
  • [bar 19 – bar 23]

Comments on “intertwined” passages:

  • D# E F F# G: C blues. E is characteristic of C major blues, while F and F# are characteristic of C minor blues.
  • D D# E F (F#): Bb blues as a melodic anticipation of the next chord/section, with D characteristic of Bb major blues, and D# (Eb) and E characteristic of Bb minor blues. In this case the F# on the 1st beat of bar 17 is a lower chromatic approach to G (scale degree 6 of the Bb major blues scale). The note F# doesn’t belong to either of the blues scales in Bb. Arguably, it could still be heard as the blue note of the reminiscing C minor blues sound. In any case, the F# is part of the ascending chromatic motion initiated on beat 3 of bar 16.
  • C C# D D# E F: Bb blues. C and D are characteristic of Bb major blues, while D# (Eb) and E are characteristic of Bb minor blues.
  • Ab G F Eb D: Bb blues. Ab and Eb belong to Bb minor blues, G and D belong to Bb major blues, and F is common to both scales.

So based on this transcription, a few patterns stand out when intertwining major and minor blues scales:

  • an ascending chromatic motion from scale degrees 2/#2/3 up to scale degree 5;
  • a descending diatonic motion (akin to the mixolydian mode) from scale degree b7.

Conclusion: Maceo sets up the tone of his improvisation by using the minor and major blues scales separately at first, and then begins intertwining them more and more as he goes along. He finally crafts a whole passage featuring extensive chromaticism from bars 19 to 23, before wrapping up with an effective and strong major blues statement (bar 24).

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Charlie Rouse on “Monk’s Dream” / nonchord tones and melodic triads

My favourite passage from Charlie Rouse‘s solo on Thelonious Monk’s 1962 recording of Monk’s Dream – Take 8 is made up of the four closing phrases below (Charlie’s final statement right before the piano solo starts):

Monk's Dream, Charlie Rouse_C

Most of the soloing is built on chord tones here: the emphasis is placed on the notes that make up the lower part of the changes (root, 3rd, 5th, and 7th) as opposed to the tensions (9th, 11th, and 13th). It is interesting however to pay close attention to the use of nonchords tones, and to the various triads – interestingly all arpeggiated in a descending motion, and mostly in root position (RP) – that emerge to define a distinct melodic contour.

Nonchord tones:

  • Db in bar 1 (technically the “second” measure here: the very first measure shows the 3-beat pickup to the first phrase and we’ll number it “bar 0”) is a passing tone approaching the following C from above (upper chromatic approach);
  • A# in bar 3 approaches the note B (which, as the major 7th of the following C chord, is itself an example of harmonic anticipation) from below (lower chromatic approach);
  • the first E in bar 5 can be seen as a lower chromatic neighbor tone of the two Fs it’s surrounded by, although E is technically the flatted fifth of Bb7(b5), and could arguably be considered a chord tone as well;
  • D# in bar 5 is a lower chromatic approach to the following E;
  • the notes A (diatonic note to the E7sus/B chord) and G (chromatic note since it doesn’t belong to the E mixolydian scale from which E7sus/B derives) in bar 7 form an diatonic-chromatic enclosure, surrounding the following Ab; such nonchord tones are also commonly referred to as changing tones;
  • both Abs in bar 8 are upper chromatic neighbor tones;
  • the first F in bar 8 is a lower neighbor of the G, which when struck against the Ab7 chord becomes a bold sounding nonchord tone itself!;
  • Ab and F# in bar 9 form a chromatic enclosure of the following G.

Melodic triads:

  • Eb+ (RP) over C and F7 (bar 2);
  • Bb (2nd inversion) over Bb7(b5) (bar 3);
  • C- (RP) over F7 (bar 4);
  • E- (RP) over C (bar 6);
  • D- (RP) over F7 (bar 6);
  • C (RP) over F7 and E7sus/B (bars 6-7);
  • A- (RP) over E7sus/B (bar 7);
  • Bb- (RP) over Ab7 and G7 (bars 8-9);
  • Db (2nd inversion) over G7 (bar 8).

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