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  • Solo by Christian Scott As Recorded On "Rewind That"

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    Tobias Weber
    99 views2 pages
    This document is a musical score for the jazz solo "So What" performed by Christian Scott. The score is written in standard musical notation. It consists of the solo played over the changes to the Em7 chord progression for the song. The solo explores the scales and modes over the changing harmonies through melodic lines and rhythmic phrasing.

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    so_what_christian_scott

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    This document is a musical score for the jazz solo "So What" performed by Christian Scott. The score is written in standard musical notation. It consists of the solo played over the changes to the Em7 chord progression for the song. The solo explores the scales and modes over the changing harmonies through melodic lines and rhythmic phrasing.

    Copyright:

    © All Rights Reserved
    Download as PDF, TXT or read online from Scribd
    Flag for inappropriate content
    Download as pdf or txt
    99 views2 pages

    Solo by Christian Scott As Recorded On "Rewind That"

    Uploaded by

    Tobias Weber
    This document is a musical score for the jazz solo "So What" performed by Christian Scott. The score is written in standard musical notation. It consists of the solo played over the changes to the Em7 chord progression for the song. The solo explores the scales and modes over the changing harmonies through melodic lines and rhythmic phrasing.

    Copyright:

    © All Rights Reserved
    Download as PDF, TXT or read online from Scribd
    Flag for inappropriate content
    Download as pdf or txt
    of 2

    So What

    Solo by Christian Scott as recorded on "Rewind That"


    q=200
    Em7

         
              

    8   
        
                      

    3
    13

                          
       
    18 Fm7
         
                         

    23 Em7
            
                
    28

                        

    33 Em7

                         

    38

                    
    3

           

                  
    42
        
              
    
    46 Fm7

                
            
             
    51
                   
            
    3

    transcribed by Tobias Weber


    2
    54
    3 
                              

    58 Em7
     
                          
     


    62
           
    3
      
      
      
    65 3

            

    transcribed by Tobias Weber

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