Re: [Harp-L] Funk Vocab C D Eb E G A C

C D Eb E G A C
  I think that this is a C major pentatonic with an added flat third.
  It could also be a C bebop scale with the 4th and 7ths removed.
  Whatever you call it, it is highly highly useful.  
  If you're seeking this advice, Listen to Mr. Masterson.
  I think of it in a completely incorrect manner (theory wise).  But it works for me.  I think of it as the second "mode" of the blues scale (this is Mr. Masterson's minor 3rd).  I try to play each blues scale starting and ending on different degrees to get different sounds.
  In A, 
  1    A C D Eb E G 
  2    C D Eb E G A 
  3    D Eb E G A C
  4    Eb E G A C D
  5    E G A C D Eb
  6    G A C D Eb E

Damien Masterson <dzm@xxxxxxxxxxxxxxxxxxx> wrote:
  Just wanted to chime in on my favorite subjects...

Check the recent thread on scales re: blues and the likes.

And I'll repeat what I said before: One of the most popular sounds 
you'll hear in blues, jazz and funk alike is to take a blues scale (C 
Eb F F# G Bb C) and play it in the key a minor third above. People 
call this different things, but it's used in many genres, especially 
gospel and soul, blues and funk. So, in the key of C (C, C6, C7, 
etc... ) you play an A Blues Scale. Starting on C, it looks like this:

C D Eb E G A C

which provides you with the root, 9th, #9, 3rd, 5th and 6th 
degrees of the scale. Start playing that over the key of C and it 
will sound very familiar. A C Blues scale you would play in Eb. Many 
of the classic R&B licks fit right in there, like the cliche A to Eb 
to C lick played by everybody and his mother. Some say Everybody's 
mom has the most chops!

What has been said about rhythm is the undeniable truth. Maceo 
could play major triads over a drone, but if there's a nice 16th note 
groove happening, it'll sound like the moldiest funk you've ever 
smelled. If you want to be a better funk player, spend 30 minutes a 
day with hand percussion. Shakers, two drumsticks, your two hands on 
your knees. Use a metronome. Practice at a medium tempo (funk is 
rarely incredibly fast) and spend time accenting the different 16th 
note pulses of the beat. Most pros call them 1 ee and uh. So, for 

ONE ee and uh TWO ee and uh THREE ee and uh


one EE and uh two EE and uh...


one ee AND uh two ee AND uh

James Brown and the TOP grooves are so juicy because they create 
complex variations, usually very syncopated, using what are called 
"2nd sixteenth" or "4th sixteenth" hits:

one ee AND uh two EE and UH etc...

The study of rhythm is obviously much deeper than all of this, 
but one thing is for sure. Having good rhythm, or what we call "good 
pocket", is a MUST when playing funk. MUCH more so than scales, I 
would argue.

Honestly, that's why we hear more shuffle blues bands out there, 
because that triplet based groove is a lot more forgiving than a 
tight 16th note groove. There's not too many harmonica players out 
there who can really lay down the funk, so it's a good time to get it 

Email me offline if you have questions.

Damien Masterson
or enter my name in any search engine
415 305 7138 dzm@xxxxxxxxxxxxxxxxxxx
Damien Endorses Hohner Harmonicas and Audix Microphones

On Jun 6, 2007, at 9:20 PM, harp-l-request@xxxxxxxxxx wrote:
> Today's Topics:
> 4. Re: funk scales (Roger A Gonzales)
Harp-L is sponsored by SPAH,

Sick sense of humor? Visit Yahoo! TV's Comedy with an Edge to see what's on, when. 

This archive was generated by a fusion of Pipermail 0.09 (Mailman edition) and MHonArc 2.6.8.