Download - Woodshed BY GEORGE GARZONE MASTER CLASS · 156 DOWNBEAT OCTOBER 2012 Woodshed | BY GEORGE GARZONE MASTER CLASS Example 4 Example 1a: C Major Pentatonic Scale Example 1b: A Minor Pentatonic

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Page 1: Woodshed BY GEORGE GARZONE MASTER CLASS · 156 DOWNBEAT OCTOBER 2012 Woodshed | BY GEORGE GARZONE MASTER CLASS Example 4 Example 1a: C Major Pentatonic Scale Example 1b: A Minor Pentatonic

156 DOWNBEAT OCTOBER 2012

Woodshed | BY GEORGE GARZONEMASTER CLASS

Example 4

Example 1a: C Major Pentatonic Scale Example 1b: A Minor Pentatonic Scale

Example 2: G Minor Pentatonic

Example 3

Using Minor Pentatonics In The Funk Zone

The Pentatonic Scale is one of the most com-monly used scales in the world. There are

many different Pentatonic Scales, all of which DUH�FRQVWUXFWHG�RI�RQO\�ÀYH�QRWHV��7KH�5HODWLYH�Minor Pentatonic Scale, commonly known as the Minor Pentatonic Scale, is the focus of an instructional DVD I recently did with JodyJazz called In The Funk Zone With George Garzone.

/HW·V�ORRN�DW�DQ�H[DPSOH�RI�D�5HODWLYH�0LQRU�Pentatonic Scale and how it relates to its Major Pentatonic counterpart. As you’ll see in Examples 1a and 1b, the A Minor Pentatonic 6FDOH�VWDUWV�RQ�WKH�ÀIWK�QRWH�RI�LWV�SDUHQW�VFDOH��C Major Pentatonic. Both scales share the same QRWHV�� KRZHYHU�� E\� FKDQJLQJ� WKH� VWDUWLQJ� QRWH��a different texture to the sound is created. Play WKURXJK� WKH� 0LQRU� 3HQWDWRQLF� 6FDOH� ([HUFLVH�LQ� ([DPSOH� ��� VWDUWLQJ� LQ� *�PLQRU� DQG� JRLQJ�WKURXJK�DOO����PLQRU�NH\V�

Playing In The Pocket2QH�LQWHUHVWLQJ�DVSHFW�RI�SHQWDWRQLF�VWUXF-

WXUHV� LV� KRZ� HIIHFWLYHO\� WKH\� FDQ� EH� DSSOLHG�LQVLGH�DQG�RXWVLGH�RI�WKH�NH\��%XW�EHIRUH�ZH�JHW�into some “outside” pentatonic ideas, I would OLNH�WR�VKRZ�\RX�KRZ�WR�SOD\�LQVLGH�WKH�JURRYH��RU�LQ�WKH�SRFNHW��7KDW�PHDQV�SOD\LQJ�LQ�VWULFW�WLPH�ZLWK�HYHQ�HLJKWK�QRWHV��ZKLOH�ZRUNLQJ�RQ�D�VROLG�VWUXFWXUH�ZKHQ�\RX�LPSURYLVH�

Example 3 is a direct transcription from the In The Funk Zone DVD and E-Book (Chapter 1.2). With this transcription, you can see and KHDU�KRZ�WKH�ZULWWHQ�QRWHV�DQG�UK\WKP�ÀW�LQ�WKH�JURRYH� RU� SRFNHW��7KH�(�%RRN�SURYLGHV� VHYHU-DO� WUDQVFULSWLRQV� IRU� \RXU� FRQYHQLHQFH�� EXW� WKH�EHVW�ZD\�WR�OHDUQ�VRPHWKLQJ�LV�WR�WDNH�WKH�WLPH�to learn it by ear. You can use the E-Book tran-scriptions as a reference, but you should tran-scribe much of this material yourself. (To see DQG� KHDU� PH� SOD\� WKURXJK� WKH� PXVLFDO� H[DP-SOH� WUDQVFULEHG� KHUH�� ORJ� RQ� WR� MRG\MD]]�FRP�IUHHJDU]RQHWUDQVFULSWLRQV��

All the notes on the transcription are from WKH�*�0LQRU�6FDOH���²!�²�²�²!7), and once in D�ZKLOH�,�XVH�D�VKDUS���WR�JLYH�LW�D�ELW�RI�D�EOXHV� FRQQRWDWLRQ��,W·V�XS�WR�\RX�WR�ÀJXUH�RXW�KRZ�\RX�can play this quasi-Minor Pentatonic scale with-RXW� VRXQGLQJ� WRR� VFDODU� RU� WRR� LQWHUYDOOLF� DQG�NHHSLQJ�LQ�WKH�SRFNHW�DW�WKH�VDPH�WLPH�

Blues Sus Scale2PLWWLQJ� WKH� !3, or the second note of the

minor pentatonic, forms the Blues Sus Scale. ,Q� ([DPSOH� ��� E\� WDNLQJ� RXW� WKH� !�� RQ� WKH� *�Minor Pentatonic Scale, you can transform it to

D�*�0LQRU�%OXHV�6XV�6FDOH��7KLV�VFDOH�will create an open sound because of its LQWHUYDOOLF�QDWXUH��,�VWURQJO\�UHFRPPHQG�that you practice this scale in all 12 keys.

Improvising Outside Of The Key1RZ� WKDW� \RX·YH� OHDUQHG� DOO� ���

0LQRU� 3HQWDWRQLF� 6FDOHV� DQG� EHJXQ�LQSURYLVLQJ� LQ� WKH� SRFNHW�� LW·V� WLPH� WR�FRQQHFW�WKH�NH\V�E\�VWHSSLQJ�RXWVLGH�RI�WKH�NH\�DUHD��0RYLQJ�E\�KDOI�VWHSV�LV�RQH�of simplest and most common methods RI�VWHSSLQJ�RXWVLGH�RI�WKH�NH\�

([DPSOH��D�LOOXVWUDWHV�WKH�&�0LQRU�

Page 2: Woodshed BY GEORGE GARZONE MASTER CLASS · 156 DOWNBEAT OCTOBER 2012 Woodshed | BY GEORGE GARZONE MASTER CLASS Example 4 Example 1a: C Major Pentatonic Scale Example 1b: A Minor Pentatonic

OCTOBER 2012 DOWNBEAT 157

Example 5a Example 5b

Example 6a

Example 6b

Example 7

3HQWDWRQLF� DVFHQGLQJ� DQG� WKHQ� VKLIWLQJ� WKH�WRQDOLW\��VWHSSLQJ�RXWVLGH�RI�WKH�NH\��E\�PRYLQJ�up a half step to C# Minor Pentatonic. Example �E�LV�&�0LQRU�3HQWDWRQLF�GHVFHQGLQJ�DQG�WKHQ�VKLIWLQJ�WKH�WRQDOLW\�E\�PRYLQJ�D�KDOI�VWHS�GRZQ�to B Minor Pentatonic.

,W·V�YHU\�LPSRUWDQW�WR�KHDU�DQG�JHW�XVHG�WR�WKH�sound of the tonality shift. I recommend prac-WLFLQJ� WKLV� KDOI�VWHS� PRYHPHQW� ZLWK� D� FKRUG-DO�LQVWUXPHQW�DV�D�EDFNJURXQG�VR�\RX�FDQ�KHDU�WKH�UHODWLRQVKLS�WR�WKH�RULJLQDO�NH\��3OD\LQJ�MXVW�WKH�URRW�DQG�ÀIWK��DV�VKRZQ�LQ�WKH�H[DPSOHV��LV�VXIÀFLHQW� WR� HVWDEOLVK� WKH� SULPDU\� NH\� FHQWHU��7R�IXUWKHU�GHYHORS�\RXU�FRPPDQG�RI�WKLV�KDOI�VWHS�PRYHPHQW��ZRUN�WKURXJK�WKH�DVFHQGLQJ�DQG�GHVFHQGLQJ�SDWWHUQV�LQ�([DPSOHV��D�DQG��E��3OD\�WKHVH�H[HUFLVHV�LQ�DOO�NH\V��VWDUWLQJ�LQ�&�PLQRU��DQG�WKURXJK�WKH�HQWLUH�UDQJH�RI�\RXU�LQVWUXPHQW�

([DPSOH� �� FRPELQHV� WKH� DVFHQGLQJ� DQG�GHVFHQGLQJ� SHQWDWRQLFV�ZLWK� D� KDOI�VWHS�PRYH-ment in a quasi-scrambled formation. Just let it JR�DQG�IDOO� WKH�ZD\�LW�ZDQWV��<RX�FDQ�VHH�KRZ�

WKH�SHQWDWRQLFV�J\UDWH�DURXQG� WKH� IXQGDPHQWDO�tonality. This is another transcription of an exam-ple that I perform in the In The Funk Zone DVD DQG�(�%RRN��&KDSWHU�������&KHFN�LW�RXW�RQOLQH�DW�MRG\MD]]�FRP�IUHHJDU]RQHWUDQVFULSWLRQV�

These are just a few examples of how I look DW� SHQWDWRQLFV�� 5HPHPEHU�� \RX� KDYH� FRPSOHWH�freedom to play what you want, when you want. -XVW�NHHS�LQ�PLQG�WKDW�LW�LV�JRRG�WR�XVH�D�SURSHU�EDODQFH�RI�EHLQJ�LQ�DQG�RXW�RI�WKH�NH\��,I�\RX�SOD\�too much on the outside it can upset the structure, VR�,�IHHO�WKDW�EDODQFLQJ�WKH�LQQHU�DJDLQVW�WKH�RXWHU�helps to keep the whole axis in line.

Do what you want, and do it the way you feel LW��$QG�UHPHPEHU�WKDW�HYHU\WKLQJ�\RX�SOD\�LQ�OLIH�is based off of how you feel. DB

TENOR SAXOPHONIST GEORGE GARZONE IS A SAXO-PHONIST AND JAZZ EDUCATOR IN THE BOSTON AND NEW YORK AREAS. FOR MORE INFORMATION ON GARZONE AND HIS INSTRUCTIONAL DVD IN THE FUNK ZONE WITH GEORGE GARZONE, GO TO JODYJAZZ.COM OR GEORGEGARZONE.COM.