50 Essential Jazz Funk Lines Break Bad Habits! In Order To Play Great Lines, You Have To To Practic Practice e Great Gr eat Lines Lines!! by Joe Hubbard
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TABLE OF CONTENT CONTENTS S Introduction....................................................................................................i About The Author...........................................................................................ii Author...........................................................................................ii
1. Minor Minor Conv Conversion ersion Conc Concept.... ept.............. .................... .................... ................... .........
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2. Mino Minorr Line Supe Line Superimpo rimposition sition.......... .................... .................... .................... ............ ..
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50 Essential 50 Essen tial Ja Jazz Funk Funk Lines..... Lines............... .................... .................... ............... .....
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Tablatu ablature re Appendi Appendix........ x.................. .................... .................... .................... .................. ........
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5. Coda Coda......... .................... .................... ..................... .................... .................... .................... .................... ..........
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Acknowledgem Acknowle dgements.. ents............ .................... .................... .................... .................... .............. .... 80
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Introduction
The idea to write this book evolved from a variety of scenarios that has included many years of teaching aspiring students of improvisation, coupled with my own personal journey with practicing new musical concepts in order to strengthen my ability to improvise over chord changes and make the connection from exercise to performance with a higher level of clarity and ease. I first learned how to play jazz and funk through listening and copying copying all the great players. I found, that in order to really understand what all the great jazz players were actually playing, I had to seek out the best jazz teachers and learn the individual concepts formally. Throughout my history, history, I have studied with some of the best jazz teachers in the world, including Charlie Banacos, John LaPorta, Bruce Gertz and Garry Dial. One commonality that was consistent between all these great teachers was being instructed to write my own lines in support of every new lesson I learned! This single concept fascinated me, sparked the creative forces inside me and the best news was that it enabled me to ‘own’ a new new concept that I was learning. This process is sometimes a ‘slow‘slowburn’ but nevertheless nevertheless rewarding when when you understand understand how it works. I found that when ‘paying ‘paying this forward’ to my own students over the years, that many will simply not take the time to write their own lines. In this day and age of instant gratification, gratification, it’s no wonder that the idea of writing a bunch of lines out is becoming less and less popular. Over the years, I have collected hundreds of lines that I have written where I tried to capture the musical vocabulary vocabulary that I would study and hear hear all my heroes heroes play. play. This methodology is what I’m sharing with you in this book. book. The lines included in this this book are set out in an etude etude format from two to six bars in length; are predominately 16th note based and are in the style of all the great players like Hadrien Feraud, Feraud, Jeff Berlin, Jaco Pastorius, John Patitucci and and Matt Garrison. The musical concepts within these lines contain Pentatonics, Triad Pairs, 3-Tonic Systems (Giant Steps Changes), Tri-Chord Patterns, Intervallics, Poly-Rhythms and Slonimsky’s 23rd Chord Concept. After practicing practici ng through these ideas and concepts you will be amazed at how easily they th ey can slowly weave their way in to your playing little by little. Practice Smart, Work Hard and Play Creatively!
Joe Hubbard 2016 To access the MP3 Library that includes all 50 etudes played both slow and fast; a play-along track in C minor; a ‘How to Practice Video’ and the bonus tracks Alien Nation and A Seat at the Table, follow this link: http://www.joehubbardbass.com/50 http://www.joe hubbardbass.com/50-essential-jazz-funk-lines-resou -essential-jazz-funk-lines-resource-mp3-tracks/ rce-mp3-tracks/ The content on this page is password protected. To gain access to this page, page, type this password: T3trach0rd
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About The Author
London based bass player Joe Hubbard’s professional background is represented by a collective body of experience that spans over more than three decades as an internationally acclaimed bass guitarist, teacher/clinician and contemporary jazz fusion recording artist. art ist. Aside from working with some of the top jazz musicians on the planet including Jim Mullen, Dick Morrisey, Frank Gambale, Mose Allison, Flip Nunez, Gary Husband, Dave O’Higgins, George Benson, Dave Garabaldi, Guy Barker, Patches Stewart, Ian Carr’s Nucleus and Richie Cole; Joe is also a well known recording artist where he has written, arranged and co-produced three internationally recognised jazz fusion CDs, while currently working on a new release with Los Angeles based keyboardist George Whitty (Michael Brecker Band). Joe has also been acknowledged by music business insiders as one of the leading bass guitar educators in the world, having taught some of the most prestigious bass players on the planet including Pino Paladino, Michael Mondesir (Jeff Beck, John McLaughlin), Paul Turner (Jamiroquai) and and Dave Swift (Jools (Jools Holland). For more information on courses, books, private study and session availability, availability, please visit: www.joehubbardbassvideos.com www.joehubbardbassvideos.com Email Joe direct on:
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The Minor Conversion Concept One of the best kept secrets for improvising over chord changes (especially for bass guitar players) is known as the Minor Conversion Concept. Concept. I first heard about this through the great bass player Anthony Jackson, where he talked about how ‘minor shapes’ translated very well onto the bass guitar fingerboard. fingerboard . Anthony was one of the first guys I ever heard talking about how the bass guitar was actually a descendant descendant of the guitar family. family. He spent some considerable considerable time studying with jazz guitar legend legend Pat Martino. I later found out that the Minor Minor Conversion Concept was a subject that Pat Martino would take all of his students through. My own real hand’s on discovery of this concept came while I was studying with Charlie Banacos. Although Charlie never directly told me about converting everything to minor, he actually had me understand how you could convert any chord type and relate it to a number of different chord qualities. Through this exhaustive study of Chord Chord Superimposition, I discovered how easily any chord chord could be converted back to a minor shaped shaped line. It was at this point that the light bulb flashed and transported me back to what Anthony Jackson and and Pat Martino were talking about. The essence of this concept and why it works so well, is that the bass guitar fingerboard interprets minor shapes as user friendly! This is not the only way I think about playing over chord changes, but it’s a good sixty percenter! The guiding principle of this concept is that if we had a line that worked over a minor 7th chord, we could superimpose that same line over other chords where the chord tones of the original chord (C-7) would translate into other chord tones tones or chord tensions of the new new chord. For instance, if we superimposed a C-7 line over an Ebmaj7 chord it would work, because the R-b3-5-b7 would become the 6-R-3-5 of the Ebmaj7 chord. chord. If you do not understand the last last few sentences, then you need to get my book, Functional Harmonic Concepts, which covers these harmonic and melodic concepts in great depth. I have seen some texts where they attempt to analyse this minor conversion phenomenon and only apply it to minor 7th chords, but we can also interchange the minor 7th chord with the min(maj7) chord. This works especially well well over altered dominant sonorities. The real ‘wrinkle’ to be aware of, regardless of the chord type you are playing over is where you resolve your linesthink chord tones or tensions! All of the lines in this book are minor related ideas and all of the examples are played over a minor 7th chord. The play-along track track included in this package is also also over a minor 7th chord. I encourage you to go through the next chapter, which explains the theory of superimposing minor related shapes over different chord qualities and then practicing these lines over different chord types when jamming with friends or playing along to t o your own backing tracks using different chord types.
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Minor Line Superimposition Over Min7 Chords: Play Min7 lines starting on the Root, 2nd & 5th
Over Dom7 Chords: Play Min7 lines starting on the Root, b3rd, b5th & 6th
Over Maj7 Chords: Play Min7 lines starting on the 3rd, 6th & 7th
Over Dom7(sus4) Chords: Play Min7 lines starting on the 2nd & 5th
Over Min7(b5) Chords: Play Min(maj7) lines starting on the b3rd
Over Dom7 Chords: Play Min(maj7) lines starting on the 5th
Over Altered Dom7 Chords: Play Min(naj7) lines starting on the b2nd
Over Maj7(#5) Chords: Play Min(maj7) lines starting on the 6th
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As you can see from the Minor Line Superimposition chart is that the relationship between the minor lines and their respective new chord qualities revolves around how the chord tones in both Minor 7 and Min(maj7) chords function as different chord tones and tensions over their t heir new superimposed chord qualities. With that said, there is a pliability between both Minor 7 and Min(maj7) chords where they are virtually interchangeable as long as you respect resolving to either a chord tone or tension over the chord you are playing over. over. This is good news, because because it means that you could apply apply any of the lines in this book over all the chord types listed in the Minor Line Superimposition chart.
Action Plan: Over the changes of The Chicken, superimpose both Minor 7 and Min(maj7) lines a 5th above the root of the Dominant 7 chords.
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50 Essential Jazz Funk Lines Jazz Funk Line 1
The first two bars include chord tones, chromaticism and diatonic approach notes. Locate the chord tones and then observe how how the notes that surround them function. Looking at the first beat of bar one, we have 5-b3-doublechromatic 5-b3-doublechromatic approach from above to the root. Beat two is R-b3-5b7, followed by diatonic approach from f rom above, chromatic approach from below below,, back to chromatic from below resolving to R-b7-b3-5. In bar two we have more chromaticism. From the last beat of the second bar to the end of the etude is made up of minor pentatonic patterns.
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Jazz Funk Line 2
Contained within this etude starts off with scale sequence patterns and develops into the use of chromaticism. There are several several phrases here that are very common common that are comprised of moving down two half steps and then up up a major 3rd. These occur on the 3rd beat of bar bar 2 and the 1st beat of bar 3. 3. Remember these pattern, because they are are used throughout throughout this book. A good way to internalise these one beat phrases is to t o isolate them and then move them around in different interval sequences. Notice the pattern in the 3rd beat of bar 3- this is an intervallic approach combination pointing to the Eb, so it outlines a 4th below, then maj2nd below. below. The line finishes off with a chromatic and diatonic approaches and chord tones.
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Jazz Funk Line 3
This line contains more of the same one one beat phrases- notice notice the first two beats of bar one. Be cognisant of where the chord tones are and then t hen analyse how the notes that surround them function functi on both diatonically (to the scale) and chromatically (non-diatonic). Remember that you should be practicing these lines in every key!
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Jazz Funk Line 4
Okay, here’s where the plot thickens. This is a good example of how somebody like Michael Okay, Brecker would play outside of the changes, but always bringing it back to reality. There is a Slonimsky concept called the 23rd Chord. Chord. It is based on using all the notes in the chromatic chromatic scale to outline different chord types creating outside melodies that are still pointing our ears back to the original chord. It goes beyond the scope of the book book to explain the theory of this concept, but in a nut shell it represents the logical extensions of the chord past the 13. As you go above the 13, things start to become a little murky and this is where where the outside part evolves. The order of notes over the minor 7th chord would be, R-b3-5-b7-9-11-13-#15-17-#19-21 R-b3-5-b7-9-11-13-#15-17-#19-21 -Double Sharp 23. Had enough? It sounds more complicated than it is, because when when combining different different combinations into chord structures such as triads and seventh chords we end up with some very modern sounds. Notice how the first bar starts off using scale patterns, patterns, chromaticism and chord tones. tones. In bar 2, the line starts off as a F#-7 chord followed by some of those familiar one beat patterns that we’ve seen before- notice how those patterns start and end end on chord tones. In bar 3 there is more outness with the 23rd chord concept organised into a C major triad; Bb minor triad; Db diminished triad and then resolving to a C-7. In the next bar, bar, I’m moving 4-note cells down down in whole steps, then resolving back to C-7. Be careful- this line is not for the faint hearted.
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Jazz Funk Line 5
This etude starts off with some 4th patterns, followed by some pentatonic lines and chromaticism in bars 2, 3 and 4. The last two bars consist of some cool cool syncopated rhythmic material implying a 3 against 4 poly-rhythm in bar 4.
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Jazz Funk Line 6
This etude is based on using the Giant Steps 3-Tonics 3-Tonics Concept, but instead of descending through the cycle of major 3rds, I’m ascending through the cycle of major 3rds, starting on C-7, then moving to B7 to Emaj7; Eb7 to Abmaj7 and then coming back home with with G7 to C-7. The 3rd bar consists of chromatic approach note combinations followed by the use of triad pairs in bar 4. Triad pairs pairs produce a very open sounding effect and and are very modern sounding. Here I’m using a D minor triad followed by an Eb major triad.
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Jazz Funk Line 7
The first two bars of this etude is based entirely on the triad pair combination of Eb major to F major. The 2nd two bars shows the Giant Steps 3-Tonic 3-Tonic System based on the descending cycle of major 3rds. Starting on C-7, followed by Eb7 to Abmaj7; B7 to Emaj7 and bringing it back to G7 resolving to C-7.
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Jazz Funk Line 8
In this etude, I tried to get away from the predictability of how some triad pair patterns can sound. The first 2 bars consist of D minor to Eb major. major. Listen how these triads are blended together together and I would recommend using the tablature provided to check out my fingerings. However, please note that the TAB TAB is written for 4-string bass. You might be able to be a bit more economical using a 5string. The second 2-bars also breaks out of the mould mould by using intervallic structures.
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Jazz Funk Line 9
This line is pretty much based on a melodic minor idea, so it emphasises that min(maj7) sound. This would sound great played over an altered dominant chord a half step s tep below. below.
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Jazz Funk Line 10
The first 2-bars etude was inspired by the way Pat Martino plays, while the second 2-bars reminds me of Freedom Jazz Dance Dance by using all those 4ths. 4ths. Listen to how those 4ths change the whole whole mood of a line.
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Jazz Funk Line Line 11
This line is a nice challenge as it brings us us back to the 23rd Cord Concept. In his autobiography Perfect Pitch, Slonimsky remembers how he came up with the idea of the 23rd chord by asking the question, “Is it possible to form a chain of four mutually exclusive (no repeated notes) triads?” In this line the four mutually exclusive triads are C minor, D major, F diminished and Bb diminished. If we combine these into three 4-part 4-part chords, we would have C-7, Dmaj7 Dmaj7 and F-(maj7)b5. See if you can follow this by finding these shapes within this line.
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Jazz Funk Line 12
This etude is based on what is known as Tri-Chords. Tri-Chords. Tri-Chords are basically 3-note cells that are not built in 3rds. In the context of the line we have two tri-chords with the intervallic structure of R2-5 built off the b3 and 5th of the minor 7th chord. As you analyse this line, notice how it alternates between the two tri-chords moving through the different inversions.
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Jazz Funk Line 13
This line mainly consists of chord tones and chromaticism, along with the use of a triadic shape. Notice the use of the Db whole tone scale fragment fragment in the first beat of the 4th bar. bar. This functions as an approach chord resolving back to the root.
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Jazz Funk Line 14
Notice how this line slips in and out of the tonality. tonality. This is a technique called Side Slipping, where you are playing melodic content content on either side of the chord you are playing over. over. Notice how this line flows seamlessly in a descending fashion. This is definitely a personal favourite favourite of mine.
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Jazz Funk Line 15
This line starts off with some side slipping ideas coupled with chord tones and chromaticism, but the real cool thing going on here lies in superimposing the major triads moving down in whole steps and then resolving back to original tonality. tonality. Starting on the 2nd beat of bar three, it moves from E major to D major, major, down to C major to Bb Bb major before resolving the line. The ear loves structure and the idea of taking a pattern and moving iti t through a sequential intervallic cycle is very effective and a technique that is used by all the pros!
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Jazz Funk Line 16
This line is very indicative of all the bebop era players and highly effective over jazz funk grooves. Notice where the chord tones are and how the chromatic activity is being used in and around the chord tones.
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Jazz Funk Line 17
Rhythmic syncopation is a concept that should not be over looked and notice that when you are using this type of syncopation, you can really just stick to using chord tones. Notice when the line starts to get busier, more melodic content is used because the rhythmic rhyt hmic has become static.
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Jazz Funk Line 18
A very useful technique to use is melodic pedal points. Notice in bar one I’ve taken a short repetitive melodic phrase and combined that with a descending melodic line. This can add a lot of tension and excitement into your lines.
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Jazz Funk Line 19
Carrying on with the rhythmic vocabulary, vocabulary, in this line we are using a repetitive poly-rhythmic phrase of 3 against 4. Notice how the 3-beat phrase phrase starts on beats 1, 4, 3, 2 respectively through bars 1 to 3. On bar 4 it comes back to beat 1 and then the line resolves with a blues lick.
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Jazz Funk Line 20
One of the cool things about this line is that it takes a 4-note cell starting on beat 3of bar two (6#4-5-b7) and then moves that down in half steps until it resolves back to C minor. Another example of intervallic structure.
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Jazz Funk Line 21
Repeated patterns are something that horn players and piano players use to build a certain dynamic in their solos. Check out how I’ve taken this simple 4-note pattern and milked it for a whole bar before resolving the idea back down the fingerboard.
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Jazz Funk Line 22
The main focus of this etude is playing descending patterns over C-7 and then in the 2nd bar playing a 2-beat pattern starting on the 5th and then moving that exact 2-beat pattern up to the root.
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Jazz Funk Line 23
It was really just a coincidence that Jazz Funk Line 23 was largely based around the Slonimsky 23rd Chord Concept. It’s not until the end end of the second bar bar that it starts to move back to C-7. C-7.
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Jazz Funk Line 24
Check out how this etude reflects a standard standard bebop vocabulary in the style of Jeff Berlin. Chord tones, chromaticism, scale activity activ ity,, et al!
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Jazz Funk Line 25
This is all about the bebop language- notice the use of pentatonics and chromaticism. If you are a 5-String player, you could create more economy by playing some of the lower notes on the Bstring.
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Jazz Funk Line 26
You’ll notice a lot of similar patterns that we’ve used in other lines going on here. Be sure to highlight the line in bar 3 as this t his provides some cool chromatic voice v oice leading.
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Jazz Funk Line 27
Notice the interval patterns of ascending diatonic 3rds 3rds ascending. This is a very common pattern and a good one to have under your belt!
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Jazz Funk Line 28
Examine how this moves around the fingerboard a bit. bit. Standard jazz vocabulary and compare tablature fingerings to possible alternate 5-string fingerings for ease and economy of motion.
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Jazz Funk Line 29
Study the scalar motion in bar one and how that develops into wider interval relationships.
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Jazz Funk Line 30
More standard bebop language language in the style of Sonny Stitt and Charlie Parker. Parker. By listening to this line, you can really hear that Jaco influence and how he was a major component to raise the bar universally for bass players.
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Jazz Funk Line 31
This line is very reminiscent to John Patitucci who was hugely influenced by the lines of Michael Brecker. Notice the nice melodicism coupled with the use of 4ths and 4-note cell patterns.
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Jazz Funk Line 32
This line starts with scalar motion leading towards an A diminished outline at the end of bar one. Bar 2 starts with a D diminished outline followed by some chromaticism resolving back to a C minor outline. Notice in the last beat of bar 2 how the natural 7th 7th is used. Bar 3 starts off off with some diatonic interval patterns finishing off with more scalar s calar motion.
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Jazz Funk Line 33
Common bebop language language patterns including chord tones, scalar motion and chromaticism. Good meat and potatoes line!
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Jazz Funk Line 34
This etude focuses on the technique of Side Slipping. Slipping. Notice how this line slips back and and forth between C-7 and Db-7. I’ve written in some some low notes for 5-string players. To access 4-string fingerings, go to the t he Tablature Tablature Appendix.
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Jazz Funk Line 35
Check out the first beat of bar 1- this is an intervallic approach approach note line. The root of the chord is being approached by a major 3rd above and below below and then resolving to the 5th. 5th. The rest of the line consists of previously discussed material.
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Jazz Funk Line 36
There are some similar triad pair ideas in this etude consisting of an Eb major triad moving to a Fmajor triad. Notice in bar 2 how the notes in the resulting resulting Hexatonic scale are being played in diatonic 5ths and 6ths.
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Jazz Funk Line 37
Some interesting ideas happening here starting with an Ab major triad going to a Bb major triad, then moving back to C minor and heading towards F# (pass the garlic!) before heading back to C minor.
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Jazz Funk Line 38
This etude is a bit of a finger twister. It starts off with Coltrane changes: C-7, Eb7 to Abmaj7; B7 to Emaj7 and then G7 to C-7. The next two bars is using some some tricky approach combinations, so I suggest checking out the Tablature Tablature Appendix Appendix for fingerings.
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Jazz Funk Line 39
This etude is a great study of 2-beat patterns ascending chromatically. chromatically. The line starts out outlining C minor, then at the end of the first bar starts to employ the half step patterns leading us back to C minor. minor. This is a good example of inside-outside-inside.
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Jazz Funk Line 40
More chord tones and chromaticism- make sure you are hitting this in every key!
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Jazz Funk Line 41
Notice the use of the 4-note cells in the 2nd bar. bar. We’ve used that pattern a lot in these lines. That’s because they work!
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Jazz Funk Line 42
Staple lines using similar concepts like chord tones, chromaticism and scale notes. Look and pay attention to all the variety I have created with these similar ideas.
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Jazz Funk Line 43
Some nice side slipping between C minor and Db minor followed by some s ome cool ideas in 4ths.
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Jazz Funk Line 44
Scalar motion (ascending) coupled with minor outlines that include chromaticism. chromaticis m.
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Jazz Funk Line 45
Another good example of the use of repeated notes as seen in bar 1, followed by repeated patterns as seen in bar 2.
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Jazz Funk Line 46
This line employs some nice lyrical phrasing using a F and Bb major triad patterns, followed by a F major triad to a G augmented triad.
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Jazz Funk Line 47
The main thing about this line is the way it creates melody using different interval patterns. Check out and analyse what chord chord shapes are being used on this etude. This will help you when you are transposing this to different keys.
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Jazz Funk Line 48
This etude is using rhythm to create contrast and syncopation along with a steady rhythmic flow where chromaticism is focused on.
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Jazz Funk Line 49
The first bar uses a bebop Dorian scale (R-b7-6-5-4-3-b3) pattern followed up with the use of chord tones, scalar motion and chromaticism.
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Jazz Funk Line 50
This is a good example of how to use repeated pedal points on the bottom of your line, while playing a moving melodic line on the top.
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Tablatur ablaturee Appendix
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79 CODA
It’s a terrible feeling to get things wrong, but what is far worse is failing to seize the opportunity to take a chance to get things right. Starting with a strategy is half the battle as a strategy to improve your skills equates to doing the right thing, which means practicing and bonding with your instrument on a daily basis. However However,, the tactical implementation of that strategy is just just as important as tactics are defined as practicing the right things. Getting caught up with regret and sorrow because you have not taken advantage of getting your playing together is not the way to go, unless it has given you a wake-up call enabling you to turn this around to a more positive outcome for your overall musical growth. Growing is painful, at any stage of the game, but to continually improve requires commitment and sacrifice to some degree. And, by the way if you love music music or profess to love it, you need to ask yourself this- what have you done today to demonstrate your sacrifice and commitment to the music that you love so dearly? You should be asking yourself these questions regularly. regularly. Musicians in general tend to be mavericks, especially jazz musicians. I often think of this as relating musicians to eagles, as eagles do not not flock, but are found found one-by-one. one-by-one. Think about it. This is a very very accurate analogy.. All of the bass players I mentioned in the promotion of this book are all eagles! analogy eagles! Jaco was an eagle; Hadrien is an eagle; Jeff is an eagle; Patitucci is an eagle and Matt is an eagle. It is my hope that the t he material covered in this book will inspire you to find your own inner eagle and continue your musical journey by doing the right thing, while at the same time doing things right. All the Bass
Joe Hubbard
80 ACKNOWLEDGEMENTS
First and foremost, I would like to thank my amazing family from the bottom of my heart, for their unconditional love and support. support. Special thanks goes out out to all of my students, past and present present thank you for being part of my tribe! Additional thanks goes to Kevin and Corey at No Treble, Nik Preston, Jeff Berlin, Steve Bailey, Joel McIver, Dann Glenn, Rufus Philpot, Philpot , Jim Mullen, George Geor ge Whitty, Tom Tom Brechtlein,Pino Palladino, Pal ladino, Bruce Gertz, Joey Lauricella, Chris Jisi, Dave Boonshoft, Dave Avenius, Avenius, Hans Peter Wilfer, Mark Stickley and Barry Moorehouse. Moorehouse. Lastly Lastly,, heartfelt thanks goes out to my teacher teacher Garry Dial, who continues to teach me where Charlie Banacos left off.
This book is dedicated to the memory of my Guru, Charlie Banacos.
