![]() Eddie is an unsung hero to me! Playing this one is a great way to work on your internal time as well as being able to imply the "feel" that thr rhythm section typically sets up in a groove of this kind. One of the first people I heard doing this was Eddie Harris (listen to "Listen Hetre" and "Compared To What' on Les McCann-Eddie Harris "Swiss Movement"). I involves playing typical funk and blues licks combined with bass notes and implied chord changes to create the sensa tion of a whole rhythm section playing with the soloist. This piece developed out of something I used to do on Bass Clarinet and later transferred to Tenor Sax. If the piano player is listening, he/she v compliment your line with a major 7th shaqp 5 chord or perhaps a dominant 7th altered chord. ![]() When playing on the blues, try to interject this scale in your solo. I was hearing this one as aiazz & funk piece with a Middle Eastern flavor. Eighth notes shor be played long and legato (connected) and evenly. The tonal center of the piece is G and pretty much uses the one scale in a variety of ways. This works well with major 7th, sharp 5 or flat 5, and if lou flat the 7th G) you can use it to color dor nant 7th chords. The scale can be used in a variety of situations due to it having the minor 3rd, major 3rd, sharp 5 and major' of the tonic. ![]() A SCAI,E FOR ALL OCCASIONS This piece utilizes the following symmetrical scale which alternates a minor 3rd and a half step.
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