Charles McNeal Compilation of Licks and Patterns 2014

Patterns and Licks

Compiled by Charles McNeal

2014

5 Bob Berg Lines over a "D" minor groove 1

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

2

D

3

D

4

D

5

D

2013

50 Phrases For Jazz

                           4                                                                                                                                                                                                           D

1 A

2 A

3

D

3 D 

4 E

A

3

D

5 E

7 E  

A

A

6 E

D

D

8 E

A 

A 

D

D

3

9 E

11 E  

A 

D

10 E

A

D

A 

D

12 E

A

D

3

13 E  

15 C

A

D

14 C

16 C

2013

17 D 

G

G

C

18 D 

                                                                                                                                                                                                                                                           

20 D 

C

19 D 

G

G

21 D 

C

3

22 G 

C

24 D 

G

27 D 

G 

G

23 D 

C

25 D 

C

G

G 

26 D 

G 

C

C

C

29 G 

2 2013

C

28 D 

C

30

G 

32 G 

31 G 

                                                                                                                                                                                                                                                C

33 G 

35 D 

G 

37 G 

39 D 

34 G 

C

C

G 

C

36

C

G  

C

38 G 

40 D 

C

G 

C

3

41 D 

G 

C

42 D 

43 D 

44 D 

45 D 

47 D 

48 D 

49 D 

3 2013

G 

C

46 D 

50 D 

Brecker Lick from Live in Germany & 44 Ó

b -œ ⁄ œ- . œ ⁄

≈

transcribed by Charles McNeal

œ œ+ œ œ+ œ+ œ œ œ œ+ œ œ+ œ œ+ œ œ

3

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

5

slower....................................... œ # œ n 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 œ

œ œ #œ œ

tempo.......

7

Œ

10

‰

œ #œ œ nœ œ #œ œ œ œ

œ œ œ œ bœ nœ œ œ œ œ J‰Œ œ #œ œ œ œ #œ œ œ œ #œ œ #œ œ œ œ nœ œ 11

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

ritard.......... œ œ #œ œ bœ œ œ œ nœ œ œ œ #œ.

12

œ œ œ œ bœ nœ œ œ œ œ bœ œ bœ œ œ œ nœ tempo...

œ b œ b œ n œ œ œ n œ œ b œ b œ delayed b œ b 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 œ œ

14

16

Ó

"aaaarrrrgggghhhh......"

 





 

                             

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



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

                                 

Another Sonny Stitt Lick.... G

C

C

F

        4                                                                                                                                                                                                                     3

3

3

3

F 3

3

3

3

3

D

3

B

3

 

3

3

3

3

3

F 

3

E

3

3

A

3

D

3

3

3

3

D

3

3

3

E

3

3

3

3

B

3

G

3

3

3

A

F

E

3

3

3

C  3

3

A 

A

3

3

B 

B

E  3

3

3

3

3

3

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

3

3

E

3

3

3

3

A

3

3

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 C

E 

B

A

E

G

C

4                                                                                                                                                                                                                                         F

A 

C

E

A

C

F

B

D 

F

A

D

F

B

D

G

B 

E

E

F 

B

A

B

E

G

C

E 

A

C

E

A

C

F

A 

C

F

A

D

F

B

C 

F

B

D

G

B 

E

F 

B

       

E

G

C

E 

B

A

E

                                                                                                                      A

C

F

A 

D

F

B

C 

G

B

E

F 

C

2

E

A

F

A

D

B

D

G

   

Diminished Pattern Exercise: Chromatic Target Tempo:  = 240

 78                                                                                                                                                                                                                                                                                                   2013

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

2 2013

Diminished Pattern 3/14/13 A B D  F

                                       4                                                                         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 

C

E

D

F

E

E

B

A

E

G

C

F

G

C

4                                                                                                                                                                                                                                                                     F

F

G

A

C

B

C 

F

A

D

F 

B

D

G

B 

E

G

C

E 

A

B

E

G 

C

E

A

D

F

B 

E

F 

A

C

F

B

C 

F

B

D

G

A

B

A

C

F

B

C 

B

D

                                                                                                                                                           C

E 

A

A 

C

E

A

F

A

D

F

B

G

B 

E

F 

B

E

G

2

Hank Mobley "Rhythm Changes" Lick C

A

D

G

E

A

D

G 

4                                                                                                                                                                                                                                                                                        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

A 

D

G 

F

D

G 

C 

G 

C 

F 

F

B

2013

F

B 

E 

A

D

G 

A 

D 

G 

C

G 

C 

F

C

D

E

E

C 

F 

B

A

F 

B

E

C 

D

B

E

A

F 

G

E

G 

C

F 

B

F

B

E

B

E

A

                                                                                                                                                     A

D

B

2 2013

E

A

D 

iii-VI7-ii-V7 Lick inspired by Keith Oxman

Target Tempo =250 E 

C3

A3

F 

B

4                                                                                                                                                                                                                                                3

3

3

G 3

C 

3

B

3

E

A

3

3

3

3

3

A 3

D 3

3

A

D

3

3

3

G 3

D

3

3

3

C

G

3

3

F

C

G

3

3

3

3

B

F

C 3

3

G

D

3

3

3

3

3

3

3

3

3

3

D

A

E

3

3

3

3

B

F3

E

3

3

3

A

E

B

3

3

3

3

F 

E

3

3

3

C 

3

B

F 

3

3

3

3

3

3

3

       

G

E

                                                                                                                                                 C

3

3

C

3

3

3

3

F

3

3

F

3

3

3

D 3

3

3

3

A

3

2

C

3

3

F

C 

3

3

3

G 

G 

3

3

3

3

E 

B 

3

3

3

3

E 

B 

B 

3

B 

F

3

3

   

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

                                     4                                                                                       E

E  

G

D

A

E

D

3

C

A  

A

G

F

C

C

B 

C

G

F

F

C

A

E 

B 

F

3

D 

F

                                                                D  

D

C

G 

D

3

C

F

B

B 

E 

2003

A 

B

G

G  

F

B 

G

C

F

B 

                                                                 E

A 

E 

3

D 

E 

E

E 

                                                                    C

C  

B 

F

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B 

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G 

A

A 

B

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                                                                    F

F  

E 

3

E 

A 

A 

A 

D

G 

D 

C 

G 

C 

D

A#bmi

D 

                                  2 2003

3

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D

F 

C 

G 

D

3

C 

F 

B

E

B

G 

G 

F 

B

E

F 

B

E

A

E

A

B

G 

D

3

C

E

E

                                                                              C 

C 

B

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C 

3

A

A

D

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3 2003

A

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A

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A

E

F 

B

F 

E

3

D

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D

B  

B

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A

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B

D

                                                                     A

D

G

G

3

C

4 2003

F

G

Michael Brecker Chromatic Pattern Target BPM = 290

4                                                                                                                                                     

Michael Brecker ii-V7-I Lick #1 D

G

G

C

C

F

F

B 

                                 4                                4                                                     4                                       4                   C

F

B

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

C

                      4                                                                                                                                                                                                                                                  Dmin

G

C

                                                                                                                                                                                                                                                                  3

C

G

Dmin

Dmin

G

C

G

C

2

                                                                                                                                                                                                                                                             G

C

3

Mike Brecker line over the 2nd "A" Section of Rhythm Changes œ œ+ b œ œ œ œ+ œ n œ # œ œ+ n œ œ+ œ œ+ # œ œ b œ œ+ œ œ n œ œ œ+ œ œ œ b œ œ œ œ œ œ 4 &4 C 7alt

5

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

One of my...byfavorite short ii-V7-I licks way of Cannonball Adderley G 

D

C

G

C

F

B

E

A

D

                  4                                                                       3

3

C

F

F

B

3

3

B 

E

A

E 

3

3

G 

C 

F

                                   C

B

A

E

A

3

B

E

3

3

E

B

                       

3

F 

F

A

                                 D

D 

3

3

2013

G

Phil Woods lick from "The Theme For Star Trek" *(D7 G

D

F 

)

                                    4                                                                                                                                                                                                             

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

G

A 

E 

G

A

E

A

G 

A

B 

F

B

2013

A

F 

B

A 

C

B

D 

C

D

C 

                                                           B

                                                     G

C

A 

                                                                                                                     D

A

2 2013

D

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

E 

D

E

E 

E

B

E

C

F

E

F 

F

F

C 

3 2013

F

         

4 2013

Tri-tone sub for a VI7-ii resolution (John Coltrane) A 

D

          4                                                                                                                                                                                                                              implies an Ebmi (tri tone sub)

3

3

C 

G   

3

3

G  

C

3

F  

3

B 

F 

3

3

B

3

3

A

E  

3

3

A 

E   

3

3

G

D  

3

3

C   

   

C  

B  

B   

F 

                                                                                        3

3

F

3

3

E

3

3

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)

2013

ETC...