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This Coltranesque etude is comprised of arpeggios, bop scales, and the frequent
use of scale fragments (also known as tetratonics). The challenge here is that the
harmonic rhythm (two chords per bar) moves very quickly, necessitating the rapid
change of fingerings relevant to the content of each chord. Notice that tetratonic/
scale fragments such as 1,2,3,5 could be played over dominant 7th, majar 7th, or
other chords simply by raising or lowering a note in the pitch collection to suit a
chord type. This makes these fingerings very •see-able, • transposable, and usable
on the fingerboard. There are also sorne pentatonic sequences in 4ths to aim far.

Half-time "swunk" feel, J=204

34
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35
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This comp uses open strings to broadcn our range of chord voicings. Whcrever a circled E, B or G occur3 play the éorre-
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(f:ir auoillon ~1.ipoie only)

(Acoust:ic guitar)
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J= 112
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- (Bd tle neck effects until end)
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al Coda

( V amo. solo & fade )


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5. S01ne Skunk Funk
. . ~

By Ranc1}' Brecker

Bb-13/G
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5. Son1e Sl<unk Funk - Cont. 1:
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TO SOLOS

~
SOLOS (Improvise) (Improvise)
G-7 8 G Triad/C~ A Triad/C~ Bb Triad /C~ C Triad D7+9 G-7 8
1~ 3b -~:::11 C~ Pedal -- - - ---1__ 4- 1~
- -- - - - - - - - -- -- - - - - - - - - - . . - - . - . . . - . . - - - ..
1 1 ±TI
1'
I G Triad - ~ - - - ~ - - ~Fij ·~·-iau l,
1 -==::=::=:::=:í===::=::::;:;=::=::.:::;
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C# Pedal - - - - - - - - - - - · · · · · · · - · · · · · · · · · · - · · · · · - · · · · · · · - · · · · · · · · · - - - · - - - - - · · - · - - · · · · · · - - · · -
F# G/Eb Db/A llb!F# Ab/E F#ID G/Ab Dbli Eb~ Eb/E Eb/F Db/A U7+:, Eb7+9 B7+9 C7+9
!1~
M=--fr-fª~=f--E EF~=f?J?Y~~ffil~-.. - -§
1/'/ Play 1O Times
~ F-1
1/f== I
-"'------~-- -z-----=r~ v.- --t-- -0.=-f
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- - . - - - F-7
~ ~-l ~ -±:::
__~-=-~=1~-, - ________
_____ -=±=__~
r~
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Atter ~olas go to L§}
and p!ay to Fine
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