Sei sulla pagina 1di 39

Patterns and Licks

Compiled by Charles McNeal

2014
5 Bob Berg Lines over a "D" minor groove
1
D
 4                     
2
D
                   
          
   
3

  D
         
                     
  
4
D
                              
      
 
          
5

   D                           
            
                        
2013
50 Phrases For Jazz
1 A
4             
D
       2 A
        
3

 
  
D
     3 D 
                4 E
       
A    
3

  D
   
5 E     
A
  
D
   6 E
    A  
   D
  

7 E 
       A
     
D
  8 E
     
A  
   D
 
3

  
9 E
      A  
   D
   10 E
 A
          D


11 E 
  
     A  
   D
  12 E
     A
     
D

3

13 E 

        A
    D
  
14 C                 
 
15 C
           16 C           
2013
 
17 D 
           G
        C
  
18 D 
       
   
G          C
  
19 D 
        G
        
20 D 

          G
        C
  
21 D 
        
3

22 G

  
        C
  
23 D 
       G
         C

24 D 

           G
         C    25 D    
      
  
G
       C
 
       26 D 
  G 
             C


  
27 D 
      G 
           C
  28 D 
        
 G 
         C
  29 G           C
 
2
2013
                        
30 G  31 G  32 G 

  C
  33 G 
           C
  34 G 
         C
    
35 D 

         G 
  
              36    
G  
   
C

37 G 
 
        C 38 G 
             C

39 D 

       G 
     C
   40 D 
    G 

3
     
C
 
41 D 
    
          G  C

42 D      G 
      C

43 D 

         44 D 
         
45 D 
     46 D 
         
 
47 D 
         48 D 
         
49 D 
      50 D 
        
3
2013
!

bœ œ. œ œ œ+ œ œ+ œ+ œ œ œ œ+ œ œ+ œ œ+ œ œ
& 44 Ó ≈

bœ bœ bœ bœ bœ nœ nœ œ œ nœ nœ bœ bœ œ œ bœ nœ œ #œ œ nœ œ bœ œ œ
œ bœ œ œ œ œ
œ

œ
#œ #œ œ œ #œ œ œ œ œ œ œ nœ œ œ #œ #œ œ œ œ œ œ œ #œ œ œ œ #œ #œ
# œ n œ # œ œ
& $$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$

œ œ

œ œ œ œ œ œ œ bœ nœ
œ œ #œ œ œ #œ œ nœ œ #œ œ œ œ œ #œ œ œ œ #œ œ œ œ #œ œ #œ œ œ œ nœ
œ J‰Œ
% $$$$$$$

œ #œ œ nœ #œ œ œ œ œ nœ #œ nœ #œ #œ œ œ nœ œ bœ œ bœ nœ nœ bœ œ bœ
Œ ‰

œ œ #œ œ bœ œ œ œ nœ œ œ œ #œ. œ œ œ œ bœ nœ œ œ
% $$$

œ œ bœ œ bœ œ œ œ
$$$$$$$$$$

œ b œ b œ œ bœ bœ nœ œ œ nœ œ bœ bœ œ œ œ œ bœ bœ nœ œ bœ œ
œ œ #œ œ # œ œ œ œ

+
#œ #œ œ œ œ œ œ œ " #### $$$$$$"
Ó


 
               
         
    

  
              
            
 

      
          
              

      
          
              


  
           
           
     


      
          
              

Another Sonny Stitt Lick....

4                        
 G
  3
3      C C F

3
3 3
3 3
3

                           
F
B B  3 E
 3
3
3
3
3
  3
3

                          
E  A A  3
3

3
3
3
3
3
 3

D
     
C 
                        
F       F 
   
 3
3
 3
3
3
3 3
3

   B
     
B
                     3  E
        E
   
3
3
 3
3
3
3
3

   A
      A
       
         3  D
        D
  3
3 3
3 3
3 3

G
 
Bebop Cliche Lick ala "Sonny Stitt"
 
C
  
4                       
3
3 3

3 3 3
3 3

 
F
     
3
                      
3 3 3
3 3
3 3


B
  
                      
 3
3 3

3 3 3
3 3

                           
E

3 3
3 3
3 3
3 3

                           
A

3 3
3 3
3 3

3 3

Continue to transpose around the "circle of 5ths" on your own. Go slow!!


M. Brecker Pattern over Coltrane Matrix

4                         
C E  A B E G C

  F
    
A 
     C
      E
     A
    C
  F
     
B D 
             F A D
                 F B

                         
E F  B D G B  E

                        
A B E G C E  A


A 
  C
     E
     A
   C
  F
             C

  F
     
A
  D
   F
     B
    C 
  F
     
F 
 B
    D B 
                     
G E B

  
E
    G
    C
   
E 
    A
 B E
         
                        
A C F A  C E A


  
D
    F
    B
    C  F A
             D

  G
    
B
     
E
    
F 
    B
   D
     G
 

2
Diminished Pattern Exercise: Chromatic
Target Tempo:  = 240

 78                            
                                
    
                            
                                  
                                            
                                        

                            
                                           
2013
                                  
  
 
         
                

                            
               

2
2013
Diminished Pattern 3/14/13

4     
A B D F
                                 
   
                             

G  B C E
                                   

                                
       
F A C E
                            

                
                   
  
          
Diminished Pattern 12/6/14
1
4                            
          
2
                           
          
3
                                 
          
Eric Alexander Pattern over Coltrane Matrix
C E  A B E G C
4                          
C E A C F G C
                               
  D
    
F
   B C  F A
                    D

  E
     
F 
  B D G B 
                    E

  E
    G
    C
   E 
    A B E
            
  F
    
G 
    C
     E
       A C F
            
  F
      A     D
    F
     
B
  C  F
           
  
G
    
B 
  
E
   F 
      B D G
            
  A
      
B       
E
    
G
     C E 
            A

   A
    
C
     F    
A 
    E
           
C A

  
B
     
C 
     F      
A
     
D
     F
      B
   
   B
      
D     G     
B      
E
    F 
       B
   

2
Hank Mobley "Rhythm Changes" Lick
D
4                             
C A D G E A G 

  F
     D
    G
   C
     A
      
D
    G
     
C

B G C F D G  C F
                             
                             
E C F B  G C F B

                             
A F B  E  C F B  E

C A  D  G  E  A D  G 

                                             

   
F
    D 
     G 
       C 
    A 
    
D
    G 
      
C

G  F  G  C  F
                             
B C  D 

2013

  E
      C 
       
F 
    B
      G 
      
C
   F 
     
B

A F  B E C  F B E
                             

  D
     B
      E
    A
     F 
     
B
    E
    
A

  G     E
    
A
   D
    
B
    
E
   A
    
D

2
2013
Target Tempo =250
iii-VI7-ii-V7 Lick
inspired by Keith Oxman

4                         
E 
3
3 A3

3
C3

3
F 

3
3
B

G 3

          
C 
         
F 
     B     
3
E

3 3 3
3 3 3

C 
       
F        B      
E     A
   3
3 3
 3
3
3 3 3

F3

         
B
      E
       
A   
3
 D

3 3 3
3 3 3

B
       
E       
A
     
D    G
    3
3 3
 3
3
3 3
3

C
E

      
3
  3
 A 3
        D 3
     
G    3

3 3 3

A

      3
    
D
       G
      
C     3
F

3 3 3
3 3 3

D B
 
         
3
3
   G 3
      C 3
      
F
   3

3 3 3
G

     
3
   C
      F
        
B     3
   E
 
3 3 3

C
  
3

  
F
3

      3

B        
E         
A
     
3
3 3
3
 3
3 3 3

C
F
     
3
    B 
        D3
       G 
     
3
   
3 3 3

B 

       
3

   3
E        G 
         
C    3
   F
 
3 3 3
3 3 3
3

2
A really nice Michael Brecker line over the
last "A" Section of Rhythm Changes

 
E  E
      D
   
G    
E
      
A     
D
    G
 
4  3

 C
    
C
  F
     
B 
     C
  
A
   A
    
                 G
   C A 3 D

G
   C
 F
                         
F B  E  F

  
D       
D       
C        F
       D G 


C
   
                          
F B B  E  A  B

2003
B 
G
     
G 
   F

              
   B 
         G
    3 C F

E E  A  D  E
                      
C

      C
      
B     E 
          
C
        
F    B 
 E 

                      
A A  D  G  A

F
  
      F
      E 
          
A 
       F B

E 
   
                           
 A  D D  G  C  D

  A 
     A
        
G 
   C 
             A#bmi 3 D

2
2003
  G
      C 
     F
       F 
 B E F
                 

    
D     D
      C 
        
F 
   D 
           
G 

3

    
C 
     
F 
   B
      
B
     
E
   A
      B
     
B
G 
  G 
    
                
  F 
    G  3 C

  F 
     B
     E
    E A D E
                  

    
C 
    C
       B
      E
     C 
       F
        
B     E

  A
     A
     D
     G
   A
      
3
2003
  
F    
F     E
     
A
    F 
      
B
    
E    
A
  
  3

  
D     D   
G     
C
      
D
     

  B
     B
      A
      D
   B
   
   E

D 3

  A
        G
    G
     C
     F
     G
      

4
2003
Michael Brecker Chromatic Pattern
Target BPM = 290
4                       

                        

                                 
       
         

                        
                     
Michael Brecker ii-V7-I Lick #1

4  D
             
G                   
 C      
C
G
4                             
F

        
4   C
           F
                     
 
B           
B 
F
4                              
E
           Transpose into remaining 8 keys on your own
(you didn't expect me to do all the work for you)
Mike Stern Licks
for Treble Clef Instruments
G
4                  
C
               
                                   
                                           
                              
                                    

                         
                               
 Dmin
  G
    C
           
  
                                         
3

  G
                  C
                  
  Dmin
     G
     C
               
                             
  Dmin
              
      G
   C
         
                  
       
                
                
              
   
2
     
                   
                            
                                 
                             
                                  
   
                      
  
 G
         C
                       
                                 
3
One of my...byfavorite short ii-V7-I
way of Cannonball Adderley
licks

D
   
4         G  C    
G         
3
C F

 C
   
3
   
F
  
B
      
F
    B
       E

  
B   
3
  E
    A
        
E 
   A
       D

  G 
    
3
   F
     
C
C  F
            B

  
F 
       B E
                  
B
3
E A

  E
       A
     D
        A
      
3
D G
3

2013
Phil Woods lick from "The Theme For Star Trek"
*(D7 )

4    D
                       G
     
        
    F 

*Phil plays this bar as a Dominant 7th chord resolving to "G"


G
         
  
E 
                          A 
           G
           
A
         
  E
                         
A
           G 
         
A

        
 
F
                          
B 
         A
            
B

        
2013
   
F                               
B
            A 
 
B
 
        
  
G                               
C
             B
 
C
 
 

A 
                             
D 
         C
           
 
D
         
 A
                         
D
          C 
            
 
2
2013
D
  
       
                              
B  E  D

E
         
                             
B E E 

E
         
 C
                       
F
          
E
          
F

 
C 
                        
F 
          
F
          
3
2013
F
         

4
2013
Tri-tone sub for a VI7-ii resolution (John Coltrane)
   
4                 
A  
     
implies an Ebmi (tri tone sub) D

3 3


G   
 
                      C 

3 3

 
G  
  
          
           C
    
3 3
B
  
F  
   
                    
3 3
B 
 
F 

               
        
3 3
A

E  
  
             
         3

 
E   
      3

          A 
         
 3 3

  
D  
                 G
         
 3 3
C   
                     
F 

3 3

C  
                     
F

3 3

B  
                     
E

3 3

B   
                     
E 

3 3

2
Basic Triad Motif realized 6 ways
Basic Triad Motif

4        
Major Triad ascending in half steps
  
                                 ETC...

         
Major Triad descending in half steps
                            ETC..

Augmented Triad ascending in whole steps (Whole Tone Scale)


   
                     
           ETC...

                      
Augmented Triad descending in whole steps (Whole Tone Scale)
                  ETC...

Diminished (expanded into a chord) ascending in minor thirds (Diminished Scale)

                
                  ETC...

          
Diminished (expanded into a chord) descending in minor thirds (Diminished Scale)
       
               
 ETC...

2013

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