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Transcription Music Analysis Essay

SAYS YOU Composed by Sam Jones As played by Wes Montgomery On ‘Movin’ Along’ Transcribed by Mathias Baumann BAJP – Year 3 01/04/2012

Table of contents Album Information 4 Introduction 6 Says You – A Composition By Sam Jones 7 Structural Overview 7

Structural Analysis 9 Harmonic Analysis 13

Melodic Analysis 17 Says You – Bebop, Wes Montgomery Style 20 Structure Of The Solo And Its Dynamic Profile 20

Note Density 21 Note Choice In General 21 Pitch Contour And Density Of Registers 23

Phrases In The Solo 27 Phrasing 31

Melodic & Harmonic Content Of Phrases 31 Use Of Motifs 32

Analysis 33

1st Chorus Including Pick‐Up (A1.1, P01 – P03) 33 2nd Chorus (A1.2, P12 – P15) 35 3rd Chorus (A1.3, P27 – P30) 37 1st Chorus (A2.1, P04 – P06) 39 2nd Chorus (A2.2, P16 – P18) 40 3rd Chorus (A2.3, P31 – P33) 41 1st Chorus (A3.1, P10 – P11) 42 2nd Chorus (A3.2, P23 – P26) 43 3rd Chorus (A3.3, P38 – P42) 44 1st Chorus (B1.1, P07 – P08) 45 2nd Chorus (B1.2, P19 – P22) 46 3rd Chorus (B1.3, P34 – P37) 48 Tag (B1.4, P43 – P46) 49

Intervallic Range Of Phrases 50

Phrase Construction 51 Phrase Development 54 Rhythmic Content 55 Starting Points And Ending Points 55 Phrase Length 57 Use Of Space And Rests 59 Use Of Note Values 62 Colouristic Aspects 64 Conclusions 65

Motivic Development And Wes Vocabulary 65 Summary 66 Final Conclusion 67 Glossary 68 Sources 69

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Album Information

5

Track List:

1. Movin' Along (Wes Montgomery) – 5:40 Taggie Music Co. / Orpheum Music‐BMI

2. Tune‐Up (Miles Davis) – 4:27 Prestige Music‐BMI

3. Tune‐Up (Miles Davis) – 4:39 Prestige Music‐BMI, Alternate Take, Take 9

4. I Don't Stand a Ghost of a Chance with You (Victor Young, Ned Washington, Bing Crosby) – 5:02 Mills Music, Inc. / Victor Young Publishing, Inc.‐ASCAP

5. Sandu (Clifford Brown) – 3:23 Slow Dancing Music‐BMI

6. Body and Soul (Edward Heyman, Robert Sour, Frank Eyton, Johnny Green) – 7:19 Warner Brothers Music ‐ ASCAP

7. Body and Soul (Heyman, Sour, Eyton, Green) – 11:17 Warner Brothers Music – ASCAP, Alternate Take, Take 2

8. So Do It! (Wes Montgomery) – 6:05 Taggie / Orpheum‐BMI

9. Says You (Sam Jones) – 4:59 Orpheum‐BMI

On the original LP recording tracks 3 and 7 are not included. The album was recorded October 12, 1960 in Los Angeles. Recording Engineer: Wally Heider, United Recording Studios Produced by Orrin Keepnews Cover Design by Ken Deardoff, Cover Photographs by William Claxton Record Label: Riverside Records, Tenth and Parker Berkeley, CA 94710

James Clay ‐ Tenor Saxophone, Flute Wes Montgomery ‐ Guitar Victor Feldman – Piano Sam Jones ‐ Bass Louis Hayes ‐ Drums

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Introduction Wes Montgomery is a very natural and soulful player, mainly because of his inability to read chords or any kind of music notation. As a result he developed a good ear which made him one of history’s great musicians. To analyse the solo of someone who does not have any theory background and therefore most likely does not really know what he is doing seems to be pointless. But let us ask the question where do we derive all theoretical knowledge from? All assumptions, rules and all theory are based on scientific exploration and facts. Before music theory was elaborated there was music. Otherwise there would have been nothing to establish rules for. The analysis of a solo is therefore very important if one wants to explore the style and sound of a particular musician. For me, learning to know how a natural player like Wes approaches lines, phrases and a whole solo just by ear is most interesting. The only way to find out is to analyse his playing. This essay will depict analytical aspects of his solo of Sam Jones’ composition ‘Says You’, recorded October 12, 1960 on the album ‘Movin’ Along’. It will also look at parallels in other solos and establish some basic facts about his playing style. Please note: As this is a transcription of a guitar solo, all notes are transposed for guitar, which means one octave above concert range. In the analysis notes are described in concert, although the notation is transposed.

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Says You – A Composition By Sam Jones

Structural Overview

Out‐Head/Ending (A + Ending, 13 bars)

Continuation Of Guitar Solo / Tag (1x B, 8 bars)

Bass Solo (1x A‐A‐B‐A, 32 bars)

Piano Solo (2x A‐A‐B‐A, 64 bars)

Guitar Solo (3x A‐A‐B‐A, 96 bars)

In‐Head (A‐A‐B‐A, 32 bars)

Intro (2 bars)

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For easy understanding about detailed information in this essay and references about particular form parts, all sections in this tune are labelled as follows:

Out‐Head / EndingA 3.4 (bars 235‐247)

Continuation Of Guitar SoloB 1.4 (bars 227‐234)

Bass Solobars 195‐226 will not be analysed in this essay

Piano Solobars 131‐194 will not be analysed in this essay

Guitar Solo ‐ Chorus 3A 1.3 (bars 99‐106) A 2.3 (bars 107‐114) B 1.3 (bars 115‐122) A 3.3 (bars 123‐130)



In‐HeadA 1 (bars 3‐10) A 2 (bars 11‐18) B 1 (bars 19‐26) A 3 (bars 27‐34)

Introbars 1‐2

9

Structural Analysis ‘Says You’ is a typical 32‐bar AABA Jazz standard. The arrangement of this recording begins with a short two‐bar drum introduction by Louis Hayes.

After the introduction Victor Feldman and Wes Montgomery play the melody of the first A‐section (bars 3‐10) in a call and response manner. The section is eight bars long. It contains three structural elements:

1) a starting phrase (bars 3‐4) 2) a chordal response and (bars 5‐6) 3) a finishing phrase (bars 6‐8).

Wes starts with trademark octaves in the first two bars of the A‐section (bars 3‐4), then switches to block chords in (bars 5‐6) and continues with a single note line (bars 6‐8). There is no melody played in the last two bars of the A‐section, which finishes with a turnaround (bars 9‐10).

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The second A‐section (bars 11‐18) is very similar to the first A‐section. The starting phrase is played as a single note line instead of octaves (bars 11‐12). The chordal response is played exactly as in the first A‐section (bars 13‐14) but the ending of the second phrase (bars 14‐16) is different. This section finishes on the tonic chord, which is played for two bars (bars 17‐18).

The B‐section (bars 19‐26) features the composer with the bass on the melody, which is picked up in the last bar of the second A‐section (bar 18). While the A‐sections are based on a call and response idea with alternating eighth‐note lines, chords and melodic space, the B‐section is rhythmically more dense, yet melodically simpler. The melody is based on a one‐note rhythmic figure which is sequenced through descending II‐V progressions.

11

Feldman and Montgomery comp sparsely in the background, continuing their call and response ideas.

The last A‐section (bars 27‐34) is identical to the second A‐section with the exception of the last two bars (bars 33‐34) which are the start of Wes’ guitar solo.

The guitar solo (bars 33‐131) which is three choruses long follows after the In‐Head and starts in the second last bar of the last A‐section (bar 33). Victor Feldman continues with a piano solo over two full forms (bars 131‐194). The last solo is played by Sam Jones on bass for one chorus (bars 195‐226), only accompanied by Louis Hayes on drums.

beginning of guitar solo

12

Wes uses arpeggio ideas over the very last B‐section (bars 227‐234) to bring the tune back to the head.

The last A‐section (bars 235‐242), which is identical to the second A‐section and leads to the ending of the song (bars 243‐247).

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Harmonic Analysis To be able to draw conclusions on Wes’ interpretation of ‘Says You’ it is useful to analyse the harmonic content of the tune itself. The overall key of ‘Says You’ is C‐Major. It stays mainly within the key or its harmonic universe. Harmonic universe in C‐Major and its use in ‘Says You’: Substitute

II‐V Aim7 ‐ Di7 Bim7 ‐ Ei7 Cm7 ‐ F7 *1 Dim7 ‐ Gi7 Eim7 ‐ Ai7 Fm7 ‐ Bi7 Gm7 ‐ C7

Secondary II‐V Dm7 ‐ G7 Em7 ‐ A7 *2 F#m7 ‐ B7 Gm7 ‐ C7 Am7 ‐ D7 Bm7 ‐ E7 C#m7 ‐ F#7Scale Chords Cmaj7 Dm7 Em7 Fmaj7 G7 Am7 Bm7( í 5)

Scale Degree I II III IV V VI VII

Chords in bolt are used in ‘Says You’.

*1: F7 is used in two different ways in this tune. It is used as a substitute dominant chord, but also as a modal interchange chord IV7, which derives from either C‐Dorian or from C‐Blues. Its use as a substitute dominant will result in a Lydian‐Dominant sound whereas its use as a modal interchange chord from C‐Dorian or C‐Blues will result in a Mixolydian sound. Wes perceives it both ways, as we will see later in this essay. *2 Em7 is not used as a diatonic chord. Instead the chord Em7(b5) is used. It functions primarily as the related II chord of the secondary dominant chord A7 (V7/II). Its origin, yet, is from C‐Mixolydian and therefore can also be seen as a modal interchange chord.

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The first A‐section commences with the tonic chord C in bar 3. F7 in the following bar is the substitute dominant with an expected resolution to the III chord Em. Its resolution, though, is deceptive as it is going to Em7(b5) in bar 5, which is a modal interchange chord from C‐Mixolydian and part of a secondary II‐V progression. Before going to its related V chord A7 in bar 6, the substitute dominant chord Bb

7 is interpolated. The secondary dominant chord A7 then resolves as expected to the II chord of the key in bar 7. The primary II‐V progression Dm7 – G7 in bars 7 and 8 does not resolve. Instead a variation of a III‐VI‐II‐V turnaround is used in bars 9 and 10. The III chord is dominant and functions as the secondary dominant of the VI chord which is also dominant and therefore the secondary dominant of the II chord Dm7. The primary dominant’s tritone substitute chord Db

7 replaces G7 and leads back to the tonic chord in the second A‐section.

The second A‐section is harmonically very similar to the first A‐section. Only the last two bars (bars 17‐18) are different. This time the dominant chord G7 (bar 16) resolves as expected to the tonic chord Cmaj7 in bar 17.

I (SubV7/III) MI (SubV7/VI) V7/II

IIm7 (V7) (V7/VI) V7/II IIm

7 SubV7

IIm7 V7 Imaj7


15

The B‐section consists exclusively of consecutive descending II‐V progressions and can be analysed as a sequence of dominants. Still all chords are part of the harmonic universe in C‐Major. The sequence starts with a secondary II‐V progression of the IV chord (bars 19‐20). It resolves deceptively to the IVm7 chord (bar 21), which is the starting point of the next II‐V, this time a substitute progression (bars 21‐22). Expected resolution to the VI chord Am7 does not happen. Instead the sequence continues with another substitute II‐V progression (bars 23‐24) with a resolution to the V chord of the key (bar 26). The resolution, though, is delayed by one bar as the diatonic chord Dm7 is interpolated in bar 25 to form a final, primary II‐V progression in the bridge. This leads back to the tonic chord in the last A‐section.

The last A‐section is identical to the second A‐section with the exception of the very last bar (bar 34). The dominant chord G7 leads back to the top of the form which serves as the beginning of Wes’ guitar solo.

(V7/IV) (SubV7/VI)

(SubV7/V) IIm7 V7


IIm7 V7 Imaj7 V7sus4

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The very last A‐section of the tune starts the same way as the second A‐section and is identical to it until bar 240. Then, G7 does not resolve to Cmaj7. This resolution is delayed by a turnaround of four bars (bars 241‐244). The dominant III chord E7 in bar 241 functions as the secondary dominant with an expected resolution to Am7. Instead an altered dominant chord, functioning as a secondary dominant is used (bar 242) to resolve expectedly to the diatonic II chord Dm7 in bar 243. It forms a primary II‐V with G7 in bar 244. Instead of ending the song in the next bar on the tonic chord, another II‐V progression is tagged on (bars 245‐246) to finally bring the tune to an end on the tonic chord Cmaj7 in bar 247.


IIm7 V7 V7/VI V7/II

IIm7 V7 Imaj7 IIm7 V7sus4 Imaj7

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Melodic Analysis In order to analyse Wes’ solo with reference to the melody of ‘Says You’ we will now have a look at the melodic content of the composition. All A‐sections start with a two‐bar, eighth‐note bebop phrase, which is predominantly in the key of C. Over the tonic chord C in bar 3 the melodic material is exclusively derived from the C‐Major‐Bebop scale, composed of a descending C‐Major triad which is connected by an approach note (AN) to a descending D‐Minor triad. The second bar of the A‐section (bar 4) starts with a chromatic approach note (AN) and then continues with another descending C‐Major triad, followed by further notes of the F‐Dominant‐Bebop scale and targeting an anticipated root note ‘E’ of the first chord in the next bar (TN). Together with the chordal answer (bars 5‐6) bars 3 to 6 form the first theme (Theme 1) of the tune.

The melody of the A‐section finishes on a two‐and‐a‐half‐bar phrase (bars 6‐8), forming a second theme (Theme 2). It exclusively contains notes of the C‐Major scale. The first half (bars 6‐7) is composed of an ascending and descending A‐Minor triad resulting in a Dm9 sound. It is rhythmically varied as it uses longer note values, rests and syncopation. The second half (bar 7‐8) starts with an Fmaj7 arpeggio fragment, followed by a C‐Major triad resulting in a G7(13) sound. It exclusively uses eighth notes. Theme 2 finishes with an anticipated root note (TN) of the target chord E7 in bar 9. Bar 7 is called M1 as it forms a motif, which Wes uses in his solo in different variations.

AN AN TN

Theme 1 Theme 2

Theme 2

C‐Triad Dm‐Triad C‐Triad Chordal Answer Am‐Triad

Am‐Triad Fmaj7

C‐Triad

TN

M1

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The second A‐Section is structurally the same as the first A‐section. The melody finishes differently in bar 16. Instead of the C‐Major triad, an Am triad is used and the melody concludes with a Cmaj7 arpeggio fragment targeting the note ‘C’ (TN) which anticipates the tonic chord in bar 17, giving the melody a strong point of resolution. Because of the different endings ‘Theme 2’ is therefore replaced by ‘Theme 3’. The last A‐Section (A3) is melodically identical with the second A‐Section (A2).

Theme 1 Theme 3

Theme 3

C‐Triad Dm‐Triad C‐Triad Chordal Answer Am‐Triad AN AN TN

Am‐Triad Fmaj7

Am‐Triad Cmaj7

‐Fragment

TN

M1

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The B‐Section introduces a new thematic idea. A one‐note, one‐bar rhythmic motif (M2), built on the ninth of the chord first chord (Gm9) is followed by short answer, which targets the root note of the second chord (C13), forming ‘Theme 4’ (bars 19‐20). The answer is called M3 as it will also appear later in the solo in different variations. The same theme is repeated, sequenced by a whole tone (bars 21‐22), and then sequenced again (bars 23‐24). The B‐Section ends on another typical eighth‐note bebop line (bars 25‐26, Theme 5), predominantly in C‐Major, used with a scalar approach. It also finishes on the root note of the chord.

Summary Melodic Analysis: The melody contains diatonic triadic arpeggios, with the occasional use of chromatic approach notes. Scalar passages refer to the C‐Major, the C‐Major Bebop and the F‐Dominant Bebop scale. Predominantly eighth‐note bebop lines are altered with syncopated simple rhythmic figures and motifs, creating a conversation within.

Theme 4 Theme 4 (sequenced, down a whole tone)

Theme 4 (sequenced, down 2 whole tones) Theme 5

One‐note, rhythmic motif (M2) Answer (M3)

AN

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Says You – Bebop, Wes Montgomery Style Structure Of The Solo And Its Dynamic Profile Wes Montgomery’s solo of ‘Says You’ is three choruses long with an eight bar solo‐tag over the B‐Section before going to the final A‐Section. The first chorus of Wes Montgomery’s solo begins with higher pitched notes at the start of the sections leading to lower registers towards the end of the sections. A mix of blues and bebop phrases with clear breathing space creates a conversation within, which can be seen as the development of the call and response ideas in the in‐head. The B‐section is more playful and conveys a more bouncing feel due to quickly ascending and descending arpeggio ideas with less space in between phrases. The first chorus finishes in a bluesy way with less busy lines. The second chorus introduces longer phrases with less space. This gives the solo more density and raises the intensity level. The last A‐section, again, uses bluesy ideas but clearly does not evoke a feeling of closure. A third chorus concludes Montgomery’s solo with extended harmonic and melodic content. Smaller subdivisions and slightly louder dynamics bring the improvisation to its peak in the last bridge of the solo after which the last A‐section finishes with a mix of single‐note and harmonic blues lines. The rhythm section comps carefully during the first chorus but complements the soloist. Feldman uses mid‐ranged voicings, played with staccato and almost no sustain, and changes to a higher register at the start of the last A‐section, bringing it back down for the next chorus which he plays in a similar way with the exception of staying in mid‐register. The bass walks throughout and follows the soloists intensity level by adjusting his lines in register, going higher for more intense phrases and lower at strong resolution points. Louis Hayes uses brushes for the entire piece, providing a steady four‐feel groove. He marks the transitions between the sections and starts interacting shortly during the last A‐section of the first chorus of Wes’ solo. In the second chorus he interacts regularly but at particular chosen points, which raises the solo to its climax in the last chorus. Apart from the B‐section, when both Feldman and Hayes leave a lot of space for the soloist, the last chorus is played at a very high intensity level. The piano is a lot busier and uses only high registered chords while the drummer increases his playing, as well.

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Note Density

In the following graphic one can see the change of note density in the different sections during the course of the solo.

With regards to the intensity level and reference to the note density Wes builds up his solo gradually during the first three sections of the first chorus (A 1.1 – B 1.1). He brings it down in the last A‐section (A 3.1). The first three sections of the second chorus (A 1.2 – B 1.2) stay at a medium level of note density. Again, he plays less in the last A‐section (A 3.2) The last chorus is full of contrasts. He starts with a high intensity level (A 3.1), drops it right down in the second A‐section (A 3.2) and raises it to the peak in the bridge (B 1.3), before bringing it right down to the level he started at the very beginning. Note Choice In General A different observation can be made by looking at the choice of notes during the solo in general. The peak of intensity with regards to tension and chromaticisms is placed at the start of the third chorus. The tension level always raises at the end of each chorus. While the note density increases in the B‐sections tensions are used less. This leads to the conclusion that when Wes plays more notes, he refers to diatonic notes rather than tensions or chromaticisms.

0

10

20

30

40

50

60

70

A 1.1 A 2.1 B 1.1 A 3.1 A 1.2 A 2.2 B 1.2 A 3.2 A 1.3 A 2.3 B 1.3 A 3.3

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Here is a graphic which displays the use of chromaticisms and non‐diatonic notes within the sections.

Another interesting fact about Wes’ note choices is that the key note ‘C’ is played a total of 97 times throughout the solo, which is 18% of all notes. In the first chorus he refers 25 times to the key note (13.8% of all notes played within the first chorus), in the second chorus 32 times (18.6%) and in the last chorus 40 times (21.6%).

0

2

4

6

8

10

12

14

A 1.1 A 2.1 B 1.1 A 3.1 A 1.2 A 2.2 B 1.2 A 3.2 A 1.3 A 2.3 B 1.3 A 3.3

0

100

200

300

400

500

600

1st Chorus 2nd Chorus 3rd Chorus Total

Other Notes 156 140 145 441

Key Note 'C' 25 32 40 97

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To sum up, we can see that although he is creating more tension in the last chorus of his solo he also refers a lot more to the key centre ‘C’.

Pitch Contour And Density Of Registers When looking at the pitch contour of the solo there are some interesting developments to notice. First of all the overall intervallic range is very similar in all three choruses. Yet there are subtle differences in the development of the solo. In the first chorus he plays the lowest note (nadir) of his solo which is in the second A‐section in bar 48 (G).

In total there are only eighth notes played in the great octave in the entire solo. Six of these are played in the first chorus, two in the second chorus and none in the last chorus of solo.

0

1

2

3

4

5

6

7

1st Chorus 2nd Chorus 3rd Chorus

Great Octave

nadir

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In the small octave the density of notes goes from 55 notes in the first chorus over 43 notes in the second chorus to 39 notes in the last chorus.

The opposite development can be seen in the high register. In the first chorus he plays 11 notes in the second octave, the second chorus contains 17 notes within the second octave and in the third chorus there are 38 notes in this register.

0

10

20

30

40

50

60


Small Octave

0

5

10

15

20

25

30

35

40


2 Line Octave

25

It is therefore very obvious that he purposely develops his solo from a lower range density in the first chorus to a higher range density in the last chorus. This is supported by the fact that the apex of his solo is placed in the third and last chorus. It is in bar 118, the fourth bar of the B‐section (g’’).

The overall range of the solo is exactly three octaves: from the Great ‘G’ to g’’. 1st Chorus In the following graphic the pitch contour of the first chorus is shown. We can see that he consistently changes his direction in his phrases. Another interesting aspect is that he frequently refers to the key note C, especially middle C (c’). He does not descend to very low notes in the B‐section (B1.1) and the last A‐section (A3.1) whereas the first two A‐section cover quite a big range: from eb’’ to the Great A in A1.1 and from B’ to the Great G (nadir) in A2.1.

A1.1 A2.1 B1.1 A3.1

apex

Great A Great G (nadir)

C’

eb’’ b’

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2nd Chorus The second chorus reveals similar aspects of his playing with regards to his omni‐directional playing style. But this time he stays close to middle C during the first and last A‐sections (A1.2 and A3.2). Notes in a higher range can be found in the second A‐ and the B‐section (A2.2 and B1.2). The only time he uses a big range in his phrasing is in the B‐section: from c’’ to the Great Ab.

3rd Chorus The third chorus is in essence the same as the second chorus. While all A‐sections evolve in between middle C and c’’ the B‐section covers a bigger range, also leading to the peak of the solo: g’’. As already mentioned, the lower register is rarely used in this chorus.

A1.2 A2.2 B1.2 A3.2

A1.3 A2.3 B1.3 A3.3

C’

C’

C’’

Great Ab

G’’ (apex)

27

Here is a graphic which displays all three choruses in comparison: 1st Chorus 2nd Chorus

3rd Chorus

The main two aspects which can be derived from the comparison are that first of all the second and third A‐section are very similar in contour and range, and secondly the A‐section in the first chorus of solo, as well as the B‐section in the second and third chorus use a much bigger range than all other sections.

The nadir is placed in the first chorus, whereas the apex is played in the last chorus.

Phrases In The Solo After looking at the general outline of the solo, we will now have a detailed look at the phrases. Here is the transcribed solo in its entirety with all the phrases labelled in chronological order for easy reference.

A1 A2 B1 A3

nadir

apex

C’

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A3 / A1.1 – Phrase 01

A3 / A1.1 – P01 A1.1 – Phrase 02

A1.1 – Phrase 03 A2.1– Phrase 04

A2.1 – P04 A2.1– Phrase 05

A2.1 – Phrase 06 B1.1– Phrase 07

B1.1 – P07 B1.1– Phrase 08

B1.1 – P08 B1.1 / A3.1 – Phrase 09

B1.1 / A3.1 – P09 A3.1 – Phrase 10 A3.1 – Phrase 11.1

A3.1 – P11.1 A3.1 – P11.2 A3.1 – P11.3 A3.1 – P11.4 A3.1 / A1.2 – Phrase 12

i

29

A3.1 / A1.2 – Phrase 12 A1.2 – Phrase 13 A1.2 – P14

A1.2 – P14 A1.2 – Phrase 15

A1.2 – P15 A2.2 – Phrase 16 A2.2 – Phrase 17

A2.2 – P17 A2.2 – Phrase 18 B1.2 – P19

B1.2 – P19 B1.2 – Phrase 20

B1.2 – Phrase 21 B1.2 – Phrase 22

A3.2 – Phrase 23 A3.2 – Phrase 24


30


A1.3 – Phrase 29 A1.3 / A2.3 – Phrase 30

A1.3 / A2.3 – P30 A2.3 – Phrase 31 A2.3 – P32

A2.3 – P32 A2.3 – Phrase 33 B1.3 – Phrase 34

B1.3 – P34 B1.3 – Phrase 35

B1.3 – Phrase 36 B1.3 – Phrase 37 A3.3 – Phrase 38



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Melodic And Harmonic Content Of Phrases To be able to analyse Montgomery’s interpretation of the tune it is important to know what the primary scale choices for the chord progressions are.

For the second and last A‐section the primary scale for last two bars is C‐Major.

B1.4 – Phrase 43 B1.4 – Phrase 44 B1.4 – P45

B1.4 – Phrase 45 B1.4 – Phrase 46

C‐Major F‐Lydian Dominant E‐Locrian Bb ‐Lydian Dominant

A‐Mixolydian

D‐Dorian Db ‐Lydian Dominant

E‐Mixo A‐Mixo (b9/b13) (b9/b13)

G‐Mixolydian D‐Dorian

D‐Dorian G‐Mixolydian

Bb‐Mixolydian F‐Dorian G‐Dorian

Eb‐Dorian Ab‐Mixolydian

C‐Mixolydian

32

Use Of Motifs: Before we continue, we are going to have a quick look at Wes’ motivic and thematic inspirations again. He uses three different motivic ideas from the melody in the In‐Head: M1 (5th bar of A‐sections) M2 and M3 (1st bar and 2nd bar of B‐section):

Throughout the analysis variations will be labelled M1.1, M1.2, M2.1, etc.

M1 M2 M3

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Analysis 1st Chorus Including Pick‐Up – A1.1 Phrase 01: In bar 33, a C‐Major scale pattern with chromaticisms is used. The first chromatic note is a chromatic approach, the other two chromaticisms are escape tones (ET). The essential sound in bar 34 is G‐Mixolydian, which is based on a triplet Fmaj7‐ arpeggio, one of Wes’ trademarks. The pick‐up ends on the ‘And’ of four on the 4th degree of G7, which creates a suspension, becoming the root note of the tonic chord in the first bar of the upcoming A‐section. This is a device Wes uses a few times in his solo. The first bar (bar 35) of A1.1 contains a 2‐note motif (M2.1) which is derived from the one‐note motif in the B‐section of the melody.

Phrase 02: The second phrase starts with a variation of M3 (M3.1) and reflects the basic sound of the chords with the use of chord tones and available tensions with the exception of the target chord A13. Over the F7 chord Wes uses a symmetrical shape consisting of two perfect 4ths which are connected by a wholetone. He either hears the last chord of the progression (A13 in bar 38) as an A7(#9) or Am7 as he chooses to play the note ‘C’, anticipated by a full beat. Bars 7 and 8 form a variation of motif M1 (M1.1). To link chords he often uses so called ‘pivot notes’ (PN), which are available tensions or chord tones in both chords. In this case the ‘C’ is the 9th degree in Bb but also the #9 in A7 (or b3 in Am7).

p4 p4 M1.1

Cr Cr/ET Cr/ET Fmaj7 – Arpeggio susp. A3 / A1.1 – Phrase 01

M2.1 M3.1, F9 sound E‐Locrian / Bb‐Lydian Dominant A7(#9) or Am7 A3 / A1.1 – P01 A1.1 – Phrase 02

PN i

A

DA DA A

Apex of 1st chorus

34

Phrase 03: The third phrase begins with straight forward played scale fragments of D‐Dorian and G‐Bebop Dominant with the inclusion of an indirect resolution (IR) in bar 40. A leap of a perfect fourth in conjunction with the use of a pivot note (PN) connects bars 40 and 41. The phrase finishes on a variation of M3. M3.2 is an intervallic transformation of the initial motif.

D‐Dorian G‐Bebop Dom. |‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐ M3.2‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐| G‐Mixolydian A1.1 – Phrase 03 A2.1– Phrase 04

PN

IR Leap: p4

35

2nd Chorus – A1.2 Phrase 12: Phrase 12 begins in the second last bar of the last A‐section in the first chorus (A3.1). A C‐Major scale idea, starting on the 6th degree of the scale, picks up the phrase in bar 65. In the following bar (bar 66) the primary Mixolydian sound of the dominant chord G7sus4 is changed into a Mixolydian (b13) sound to create more tension leading to the first A‐section of the next chorus (A1.2). Additional tension is created by an ascending leap of an augmented 5th interval within the phrase. After a strong resolution on beat 1, with the 5th of the tonic chord the phrase continues with another C‐Major scale segment, this time starting on the 5th degree of the scale. Bar 67 is a rhythmic and intervallic transformed motif M1 (M1.4). The phrase ends with an F‐Lydian Dominant sound, being the result of scalar passages followed by a descending Em‐Arpeggio, which includes a leap of a perfect 4th. The very last note (bb) anticipates the upcoming Em7(b5) chord in bar 69. This is one of two phrases (phrase 01 being the other one) connecting two adjacent choruses. It is also the second longest phrase of the solo, taking up 15 beats over 4 bars.

Phrase 13: Similar to the first A‐section Wes uses only a few notes to describe the sound of the chord Bb

13. Here he includes a chromatic approach and the #11 of the chord (bar 69). In the next bar (bar 70) an indirect resolution (IR) targets the 5th degree of the chord A7 and its primary function within the scale is used, which is A‐Mixolydian (b13).

C‐Major scale (M1.4) F‐Lydian Dominant A Bb‐Lyd. Dom. + Cr A7(b13) M2.3 A3.1 / A1.2 – Phrase 12 A1.2 – Phrase 13 A1.2 – P14

Cr #11 13 b13 A

Leap: p8 Em‐Arpeggio

p4 IR PN

C‐Major scale G‐Mixolydian (b13) + Cr A3.1 / A1.2 – Phrase 12

Cr/PT

Leap: #5

36

Phrase 14: Phrase 14 (M2.3) is a modified segmentation of M1 and commences in bar 70 with an anticipation (A) on the ‘And’ of four. This note (e’) also serves as a pivot note (PN) as it is the 5th degree of the A7 chord as well as the 9th degree of the Dm7 chord.

Phrase 15: The following phrase again contains scalar and arpeggio ideas. Bar 72 starts with a double chromatic approach, followed by a Bm7(b5) arpeggio creating a G‐Mixolydian sound. The connection to the following bar is again created by a leap of a descending perfect 4th interval. In bar 73, Wes plays a descending A‐Mixolydian scale and therefore creates a more Dorian sound instead of a dominant E7. The phrase finishes with an F‐Major triad over a Dm7 chord, creating a D‐Dorian sound which is followed by two notes, spelling a Db

9 chord and a passing tone (PT) which resolves in the 5th degree of the target chord C in bar 75.

Bm7(b5) – Arpeggio PN

M2.3 DCHR G‐Mixo |‐‐‐ (E‐Dorian) A‐Mixolydian ‐‐‐‐‐‐‐‐‐‐| F‐Major triad Db9 PT A1.2 – P14 A1.2 – Phrase 15

Leap: p4 Leap: #5

37

3rd Chorus – A1.3 Phrase 27: The third chorus is not connected to the end of the second chorus. Wes does not use a pick‐up to interlink the sections and choruses. Yet he uses the same idea to start the chorus. He starts it with a scalar passage of C‐Major, this time starting on the note G on the ‘And’ of beat one (bar 99). It is followed by a descending F‐Lydian Dominant scale pattern with the inclusion of a chromatic passing tone (Cr/PT).

Phrase 28: Phrase 28 consists of straight forward scale passages. The ascending E‐Locrian and Bb‐Lydian Dominant scale in bar 101 is extended into the next bar (bar 102) and descends after a chromatic passing tone (Cr/PT) as an A‐Mixolydian (b9/b13) scale. The phrase also starts on the ‘And’ of beat one.

C‐Major scale F‐Lydian Dominant E‐Locrian Bb‐Lydian Dominant A‐Mixolydian (b9/b13) A1.3 – Phrase 27 A1.3 – Phrase 28

Cr/PT Cr/PT

38

Phrase 29: Wes begins phrase 29 with a repeated Cmaj7(#5) arpeggio (bar 103), which creates a D‐Lydian Dominant sound over the II chord. The phrase continues with a rhythmic and intervallic transformed motif of M1 (M1.8) in bar 104 which is, at the same time, the continuation of the descending maj7(#5) arpeggio only a semitone lower. The two bars are again connected by a leap (b7).

Phrase 30: The last phrase of A1.3 contains a lot of harmonic and melodic devices. He changes the sound of all dominant chords, even within the space of two beats. In bar 105 he starts with an Esus sound, continues with E7(#9), which is followed by an altered A7 and a plain A7 sound. The use of two consecutive leaps connects bar 106 to the chain of dominant chords. A descending Dorian scale passage including a chromatic passing tone (Cr/PT) in bar 106 continues with a tense Db

7(#9) sound, which after another leap resolves into a bar of Cmaj9 which includes another ascending Wes Montgomery trademark arpeggio. The phrase finishes with the b7 and 5th over F7.

Cmaj7(#5) Arpeggio |Bmaj7(#5) arp. / M1.8 ‐‐‐‐‐‐‐‐‐‐‐‐| E9sus4 E7(#9) A7(alt) A7 D‐Dorian Db‐Mixo (b9/#9/b13) A1.3 – Phrase 29 A1.3 / A2.3 – Phrase 30

Cmaj7 arpeggio |‐‐‐ F‐Dominant A1.3 / A2.3 – P30

Leap: b7 Leap: #4 Leaps: p5/p4 Leap: p5

Cr/PT

39

1st Chorus – A2.1 The second A‐section in each of the three choruses reveals similar aspects of Wes’ playing style. Phrase 04: The beginning of the fourth phrase (bar 42‐43) is the exact same as the beginning of phrase 27 in A1.3, with the exception that in A2.1 it starts two beats earlier. The continuation of the phrase (bar 44) is different but reflects an F‐Lydian Dominant sound, as well. It contains an inverted descending E‐Minor triad which leaps into its resolution by a perfect 5th in bar 45. The phrase ends with a one‐beat anticipation of the chord Bb

13.

Phrase 05: Phrase 05 is an intervallic transformation of motif M3. It is therefore called M3.3. It creates an A‐Mixolydian (b13) sound. Phrase 06: A typical Wes Montgomery bebop phrase concludes the second A‐section. The D‐Dorian scale in bar 47 descends into a G‐Mixolydian (b9/#9/b13) scale which at the end uses a G‐augmented triad to end on the lowest note of the solo (nadir) and then leaps up by a perfect 5th to resolve in the next bar (bar 49) with a Cmaj7 – arpeggio.

Leap: #5 Leap: p5 Em‐triad

D‐Dorian G‐Mixol (b9/#9/b13) Gaug triad |‐‐‐Cmaj7 arpeggio ‐‐‐| A2.1 – Phrase 06 B1.1– Phrase 07

C‐Major scale A1.1 – Phrase 03 A2.1– Phrase 04

C‐Major scale F‐Lydian Dominant A M3.3, A‐Mixo (b13) A2.1 – P04 A2.1– Phrase 05

Nadir Leap: p5

Cr/PT Cr/PT

40

2nd Chorus – A2.2 Phrase 16: Phrase 16 is a straight forward F‐Lydian Dominant scale, starting on the 3rd of the chord, 2 ½ beats early in bar 75. Phrase 17: The ascending Bb‐Lydian Dominant scale in bar 77 continues with a descending A‐Mixolydian (b9/b13) scale in bar 78 and finishes in bar 79 with an ascending F#m

7 arpeggio, which itself creates a D‐Mixolydian sound.

Phrase 18: Again, Wes uses the Mixolydian (b9/#9/b13) scale over the primary dominant chord G7 (bar 80) with the inclusion of chromatic passing tones (Cr/PT). The end of the phrase (bar 81) represents another variation of the initial motif M3.

D‐Mixolydian G‐Mixolydian (b9/#9/b13) |‐‐‐‐‐ M3.4 ‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐| A2.2 – P17 A2.2 – Phrase 18 B1.2 – P19

F‐Lydian Dominant scale Bb‐Lyd. Dom. A‐Mixolydian (b9/b13) A2.2 – Phrase 16 A2.2 – Phrase 17

. Leap: p4 F#m7 arp.

Cr/PT Cr/PT

41

3rd Chorus – A2.3 While in all other sections Wes uses certain scales including chromatic passing tones, this section is entirely in the key of C, with no altered notes. Phrase 31: This phrase could be interpreted as a fragmented ascending Cmaj7 arpeggio followed by a fragmented descending Fmaj7 arpeggio, creating the sound of Bb‐Mixolydian in bar 109 and A7(#9) in bar 110.

Phrase 32: Phrase 32 is another variation of motif M2 (M2.6). It is rhythmically displaced and fragmented, but uses the same pitches as M2.1 in bar 35. Phrase 33: Because the whole section is in C‐Major, the II chord in bar 111 is D‐Dorian and uses a fragmentation of M2 (M2.7). The V chord in bar 112 is G‐Mixolydian. The phrase ends with an ascending, anticipated C‐Major triad. Although melodically simple, the rhythm is more intense and syncopated.

M2.6 ‐‐M2.7 / D‐Dorian ‐‐‐‐‐‐| G‐Mixolydian |‐‐‐C‐Major triad ‐‐‐‐‐‐‐‐‐ A2.3 – P32 A2.3 – Phrase 33 B1.3 – Phrase 34

b3 Cr/PT 2 6 5 5 #9 M2.6 A1.3 / A2.3 – P30 A2.3 – Phrase 31 A2.3 – P32

A

42

1st Chorus – A3.1 Phrase 10: The 10th phrase of the solo implies an Fsus sound as Wes refrains from using the third of the chord. Instead he plays the 4th degree twice (bar 60). In bar 61 he finishes the phrase with yet another rhythmic and intervallic transformation of M1 (M1.3).

Phrase 11.1 – 11.4: Phrase segments 11.1 to 11.4 (bars 62‐65) introduce a new two‐note motif (M4), based on delayed attacks (DA) with resolutions on beat one. Phrase segment 11.2 is the exact repetition of phrase segment 11.1, whereas phrase segment 11.3 is rhythmically displaced and intervallically transformed (M4.1). The last segment (11.4) is an exact sequence of phrase segment 11.1, modulated down a wholetone (M4.2).

M4 DA M4 DA M4.1 DA M4.2 A3.1 – P11.1 A3.1 – P11.2 A3.1 – P11.3 A3.1 – P11.4 A3.1 / A1.2 – Phrase 12

Fsus ‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐| M1.3 DA M4 B1.1 / A3.1 – P09 A3.1 – Phrase 10 A3.1 – Phrase 11.1

43

2nd Chorus – A3.2 Here is another example where Wes uses only one scale to play over an entire section. In A3.2 he applies the C‐Minor Blues scale to create a bluesy atmosphere with tension, as well as release. Phrase 23: Wes starts with a one‐note motif idea, generated from M2 (M2.4, bar 91). The second half of the phrase consists of a rhythmic displaced intervallic transformation of M1 (M1.7). A leap of a perfect 5th connects phrase 23 with an anticipation (A) to the next phrase. Phrase 24: A variation of M2 (M2.5) continued by a rhythmic displaced and intervallic transformed M3 (M3.7) serves as the basis for phrase 24. The application of the C‐Minor Blues scale results in an A‐Altered sound.

Phrase 25: Phrase 25 is a basic C‐Minor Blues lick, creating an appoggiatura towards the targeted b7 of G7 (bars 96‐97). To create more tension he ends on the minor third of the C‐Minor Blues scale, which is the b13 of the dominant G7 chord. Phrase 26: Another straight forward played C‐Minor Blues scale, followed by a further appoggiatura leading into the key note c’ concludes the third A‐section of the second chorus. Again Wes hears a sus‐sound over the dominant chord as he holds the key note for a full beat.

Appoggiatura (Cm Blues) Cm Blues scale appoggiatura c’ A3.2 – P24 A3.2 – Phrase 25 A3.2 – Phrase 26

M2.4 | M1.7 A M2.5 | M3.7 / A7(alt) – Cm Blues A3.2 – Phrase 23 A3.2 – Phrase 24

Leap: p5

44

3rd Chorus – A3.3 The very last A‐section is also based on a bluesy approach. With the exception of one bar (bar126) Wes uses the C‐Minor Blues scale for the entire section. Phrase 38: Phrase 38 (bars 122‐123) is a rhythmic displaced and transformed variation of M1 (M1.10) followed by a descending C‐Minor Blues scale with an inserted appoggiatura (app.). An octave leap connects phrase 38 with phrase 39. Phrase 39: A bluesy interpretation of M2 (M2.8, bars 124‐125) creates phrase 39.

Phrase 40: Instead of continuing with the C‐Minor Blues idea, he decides to use an A‐Diminished triad over the dominant A7 chord in bar 126. This creates an A‐Altered sound, which builds up another level of tension towards the end of the solo. Phrase 41 ‐ Phrase 42: Phrase 41, as well as the start of phrase 42, is the conclusion of the motivic development of motif M2 (M2.9, M2.10, M2.11 – bars 127‐129). The very last bar of the actual solo finishes with another C‐Minor Pentatonic scale idea. Wes targets the major third of the tonic chord C on beat one of the first bar of A1 after raising the tension with another leap.

M2.9 | M2.10 M2.11 Cm Pentatonic ‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐ A3.3 – Phrase 41 A3.3 – Phrase 42

Cm Blues app. M2.8 A‐diminished triad A3.3 – P38 A3.3 – Phrase 39 A3.3 – Phrase 40

M1.10 susp. B1.3 – Phrase 36 B1.3 – Phrase 37 A3.3 – Phrase 38

Leap: p8 Leap: p5

Leap: p4

45

1st Chorus – B1.1 Phrase 07: The start of phrase 9 (bar 50) is another example of Wes’ use of ideas of the melody. The fourth bar in each A‐section starts at the exact same place in the bar and uses the exact first two notes (a and c). Another element to point out is that he already anticipates the Gm9 chord by using pivot notes (PN) that work over both chords: Cmaj7 and Gm9. Starting the phrase on the 9th degree of the II chord in a II‐V progression is a typical characteristic in his playing. Over Gm9 in bar 51 he then connects two arpeggios (Gm9 and A7) in a triplet rhythm while also using anticipations (A). In the next bar he plays another triplet based Gm7 arpeggio and concludes with another anticipation which is followed by the next pivot note (PN). Again it is the 9th degree of the following II chord Fm9 in bar 53. Phrase 08: This time he starts his phrase in the same place of the bar (the ‘And’ of beat three) but with a longer note. The following Fm9 arpeggio is also triplet based but descends before it ascends after an anticipated root note (A). He concludes phrase 08 with a Cm7 arpeggio, used as a variation of M1 (M1.2), which he connects with a leap of a perfect 5th to the previous bar.

B1.1 – P08 B1.1 / A3.1 – Phrase 09

Bbmaj7 arp. A A7 arp. A Gm7 arp. PN/9 Fm9 arp. A Fm9 arp. Cm7/Cm Blues M1.2 B1.1 – P07 B1.1– Phrase 08

PN/9 PN PN/9 A2.1 – Phrase 06 B1.1– Phrase 07

46

Phrase 09: The last phrase of the first B‐section (B1.1) is the longest phrase in the solo. It is played over 5 bars and measures up to 16½ beats in total. It starts on an anticipation with two adjacent scalar passages in Ab‐Mixolydian and D‐Dorian (bars 55‐57) with the inclusion of a double chromatic approach (DCHR), chromatic passing tones (Cr/PT) and escape tones (ET). The phrase ends with a Bm7(b5) arpeggio over the primary dominant chord G7 (bar 58) followed by an ascending C‐Major triad, implying a variation of M2 (M2.2). bar 55 is an intervallic transformation of M2.1. Both motifs target the key note c’.

2nd Chorus – B1.2 Phrase 19: The first phrase in the B‐section of the second chorus also starts on the 9th degree of the II chord Gm9 (bar 82). It is also anticipated and part of a varied motif M2 (M2.4) and leads with a descending Dm7 arpeggio into the related V chord C7 (bar 83). An intervallic and rhythmic transformation of M1 (M1.5) in bar 84 finishes the phrase. Wes uses a leap of a perfect 4th to connect the bars.

M2.4 |‐‐Dm7 arp. ‐‐‐‐‐‐‐| C‐Major triad M1.5 B1.2 – P19 B1.2 – Phrase 20

A/9 A2.2 – P17 A2.2 – Phrase 18 B1.2 – P19

M2.2 C‐Major triad B1.1 / A3.1 – P09 A3.1 – Phrase 10 A3.1 – Phrase 11.1

A Ab‐Mixolydian DCHR D‐Dorian Cr/PT ET ET |‐‐‐Bm7(b5) arp.‐| B1.1 – P08 B1.1 / A3.1 – Phrase 09

Leap: p4

47

Phrase 20: The second phrase in B1.2 (bars 85‐86) consists of a descending Fm9 arpeggio, also starting on the 9th degree of the chord in the rhythm of M3 (M3.5), and a descending Cm7 arpeggio with the minor third omitted, being a modified idea of M1 (M1.6). Note how he connects the two bars, as well as the two phrases (phrase 19 and 20) with a leap again.

Phrase 21: Phrase 21 (bars 87‐88) is a straight forward played Ab ‐Mixolydian scale, which is interrupted in the middle by an escape tone (ET). Phrase 22: The last phrase of B1.2 (bars 89‐90) starts on the 9th degree of the II chord, again. It is composed of a Dm9 arpeggio with an omitted b7th which leads into the next bar with an anticipated pivot note (PN/A). Its finish is an ascending G‐Diminished ½‐wholetone scale with a leap of an augmented fourth at the end.

Eb‐Dorian / Ab‐Mixolydian ET 9 M3.6 Dm9 arp. ‐‐‐‐‐‐‐‐‐‐‐‐‐ PN/A G‐Diminished ½ ‐ Whole B1.2 – Phrase 21 B1.2 – Phrase 22

9 M3.5 Fm9 arp. ‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐| M1.6 Cm7 or Cm Pent/Blues B1.2 – P19 B1.2 – Phrase 20

Leap: p4 Leap: p5

Leap: #4

48

3rd Chorus – B1.3 B1.3 is in its essence very much alike to B1.1. Phrase 34: Phrase 34 commences the exact same way phrase 07 starts. A chromatic pick‐up note (PUN) in bar 115 lets the phrase continue to ascend instead of descend. The descending part follows in bar 116 with a C‐Mixolydian scale pattern. Phrase 35: Wes leaps down a perfect octave to continue with the same idea. A rhythmic displaced sequence of bars 114 and 115 culminate in the climax of the entire solo. After yet another leap he places the apex in bar 118, which itself starts another variation of M1. (M1.9) in Bb ‐Mixolydian.

Phrase 36: After a leap of a perfect fourth the 36th phrase descends with a straight forward played Eb‐Dorian/Ab‐Mixolydian scale. Phrase 37: The last phrase of the B1.3 begins with a pick‐up note (PUN) on the anticipated ‘And’ of four, continues with an ascending D‐Dorian scale, ending in an E‐Major triad, which leaps up to e’’. The E‐Major triad anticipates the G7 chord by two full beats and gives it a G‐Diminished ½‐wholetone sound.

9 Eb‐Dorian Ab‐Mixolydian PUN D‐Dorian |‐‐‐‐E‐Major triad ‐‐‐‐‐‐‐‐‐‐| B1.3 – Phrase 36 B1.3 – Phrase 37 A3.3 – Phrase 38

Bbmaj7 arp. Cr/PUN Gm7 arp. |A ‐‐‐ C‐Mixolydian ‐‐‐‐‐‐‐‐‐‐‐ |A ‐‐ rhythmic displ. sequence of bars 114‐115 ‐‐‐| M1.9 Bb Mixolydian B1.3 – P34 B1.3 – Phrase 35

PN/9 PN PN/9 B1.3 – Phrase 34

Leap: p8 Leap: p4 apex Leap: p4

Leap: p4

49

Tag – B1.4 Phrase 43: The very last B‐section of the tune is played as a tag of Wes’ solo. He starts his conclusion on the 9th degree of the Gm9 chord (bar 226), continues with a G‐Dorian scale passage, ascends with a Gm7 arpeggio (bar 227), which is followed by an Em7(b5) arpeggio over C7 (bar 228) and a descending F‐Major triad. Phrase 44: He then leaps up a perfect fifth to start his next phrase on the 9th degree of the Fm9 chord (bar 229). A descending F‐Dorian scale leaps at the end into a final motivic variation of M1 (M1.11, bar 230).

Phrase 45: The second last phrase of the tune begins with an anticipation (A/PN) of the root note of the Ebm9 chord and uses an ascending Ebm

7 arpeggio to conclude the development of M3 (M3.8). After a big leap down, another anticipation of the same note eb (A/PN) is the starting point of the same arpeggio, only extended by its 9th and 11th degree and played in double time. Phrase 46: He concludes his tag with a descending Dm9 arpeggio (bar 233) which instead of the b7 uses a chromaticism (Cr) to leap down an augmented fourth and finish on the root note of the Dm9 chord. 5 bars of space lead back to the very last A‐section and ending of the tune.

9 G‐Dorian |‐ Gm7 arp.‐| |‐Em7(b5) arp.‐| F‐Maj. Triad 9 F‐Dorian M1.11 A/PN B1.4 – Phrase 43 B1.4 – Phrase 44 B1.4 – P45

M3.8 Ebm7 arp. A/PN Ebm9(11) arp. 9 Cr Dm9 arp. B1.4 – Phrase 45 B1.4 – Phrase 46

i

Leap: p4

Leap: b7

Leap: #4

50

Intervallic Range Of Phrases Most of the phrases are ranging between one and two octaves. The following graphic shows four different categories:

There are only three phrases in total, which use a range of two octaves or more:

1. Phrase 35 2. Phrase 36 3. Phrase 37

They are all part of the same section (B1.3), of which phrase 36 also contains the apex of the solo.

2 octaves or more

between 1 & 2 octaves

less than 1 octave

B1.3 – P34 B1.3 – Phrase 35

B1.3 – Phrase 36 B1.3 – Phrase 37 A3.3 – Phrase 38

apex

51

Phrase Construction Wes uses various ways of constructing his phrases. The main two ingredients of his phrases are lyrical lines and motivic ideas and development. The single note lines can vary in length whereas the motifs are usually one bar long, but could be rhythmically displaced. His bluesy style of playing is most evident in his inner dialogue which is caused by call and response ideas throughout the solo. Here are a few examples:

1) Phrase Construction 1: A two‐bar lyrical line followed by a motivic answer. a) Pick‐up bars of A3, bars 33‐34 (call) into the first chorus of solo A1.1,

bars 35‐38 (response): Phrase 01

b) Chorus 1, A3.1, bars 65‐66 (call) into the second chorus A1.2, bars 67‐

68 (response): Phrase 12

Call: Lyrical Line

Response: Motivic Idea (three consecutive motifs)

Call: Lyrical Line

Response: Motivic Idea (extended by a one‐bar line)

52

2) Phrase Construction 2: A short line followed by a motivic answer. a) Chorus 1, A3.1, bar 60 (call) and bar 61 (response): Phrase 10

b) Chorus 2, A2.2, bar 79 (call) and bar 80 (response): Phrase 18

3) Phrase Construction 3: A long lyrical line or consecutive lines followed by motivic answer. a) Chorus 1, B1.1, bars 50‐53 (call) and bars 54‐55 (response): Phrase 07

and Phrase 08

Call: Short Line Response: Motivic Idea

Call: Short Line Response: Motivic Idea

Call: Two Consecutive Lines Response: Motivic Idea + Tag

53

b) Chorus 3, B1.3, bars 114‐117 (call) and bar 118 (response): Phrase 34 and Phrase 35

4) Phrase Construction 4: Consecutive motivic ideas. a) Chorus 2, B1.2, bars 83‐84 (call) and bars 85‐86 (response): Phrase 19

and Phrase 20

b) Chorus 2, A3.2, bars 91‐92 (call) and bars 93‐94 (response): Phrase 23

and Phrase 24

Call: Two Consecutive Lines Response: Motivic Idea

Call: Two Consecutive Motifs Response: Two Consecutive Motifs

Call: Two Consecutive Motifs Response: Two Consecutive Motifs

54

Phrase Development Another significant device Wes would refer to is the idea of taking a phrase and apply its rhythmic, melodic content or its shape again at a later stage in a similar place. In most cases he would then displace the phrase rhythmically or change its shape or melodic content. Here are some examples:

a) Chorus 1, A2.1 – Phrase 04 (bars 47‐49)

and Chorus 2, A1.2 – Phrase 15 (bars 72‐74)

b) Chorus 1, B1.1 – Phrases 07 and 08

and Chorus 3, B1.3 – Phrases 34 and 35

55

Rhythmic Content This paragraph shows Montgomery’s rhythmic approaches which include the starting and ending points of phrases, the phrase length, the use of note values and the use of space and rests. Starting Points / Ending Points Wes starts and finishes phrases without any exception on all beats and on all off‐beats. The following graphics show how many times he starts or ends his phrases on which beat:

He varies his starting and end points a lot. A closer look reveals that he frequently starts or ends two adjacent phrases in the same place. Most of the time he starts his phrases on beat 1 or 4+. The majority of phrases end on beat 4 or 3+. The most significant starting point is beat 1 as it clearly marks the start of a section. He uses this only four times: In bar 91, the first bar of A3.2 (phrase 23),

24%

15%

2%13%7%

15%

4%

20%

Starting Points

Beat 1

Beat 1 +

Beat 2

Beat 2 +

Beat 3

Beat 3 +

Beat 4

Beat 4 +

9%

13%

2%

4%7%

24%

30%

11%

Ending Points

Beat 1

Beat 1 +

Beat 2

Beat 2 +

Beat 3

Beat 3 +

Beat 4

Beat 4 +

56

In bar 127 (phrase 41) and bar 129 (phrase 42), the fourth and sixth bar of A3.3, and

In bar 233, the second last bar of the tag B1.4 (phrase 46).

The most significant ending point is also beat 1, as it creates the strongest point of resolution. In the entire solo this only happens four times, but actually only twice on the tonic chord: In bars 63, 64 and 65 (phrases 11.1‐11.4), with the resolution in bar 65

being the strongest of the three and

In bar 131 (phrase 42), which is the very end of his solo.

All significant starting and ending points are chosen to be in important structural parts of the solo and the tune. They are the last A‐sections of the second and third chorus, as well as the end of the tag B1.4. In the very last phrase (phrase 42, bars 129‐131) Wes uses the starting point on beat 1 and the ending point on beat 1, as well. This shows a strong sense of structure and the capability of creating a coherent and perfect end.

57

Phrase Length The length of phrases is different nearly all the time. Here is a graphic which shows the different lengths of phrases categorised into: phrases over 10 beats, 8 beats, 4 beats or less than 4 beats:

The majority of phrases are mid‐length phrases between 8 and 12 beats. Short phrases are used to create tension or to play motivically. Short phrases appear for example in: Bars 45‐46 of A2.1 (phrase 5),

Bars 62‐65 of A3.1 (phrase 11.1‐11.4),

Bars 70‐71 of A1.2 (phrase 14),

Length Of Phrases

10 beats or more

8 beats or more

4 beats or more

less than 4 beats

58

Bars 95‐96 of A3.2 (phrase 25),

Bars 109‐110 of A2.3 (phrase 31) and bars 110‐11 of A2.3 (phrase 32),

Bar 126 of A3.3 (phrase 40),

Bar 233 of B1.4 (phrase 46),

Long phrases usually are played to interlink sections or choruses. Nearly all sections are connected by a long phrase. The only two times Wes does not play a phrase to link sections or choruses are both in the second chorus:

1. from the B‐section (B1.2) into the last A‐section (A3.2) and

2. from the last A‐section (A3.2) into the first A‐section of the third chorus

(A1.3).

In both cases he ends an eight‐bar phrase on beat 4. Both phrases also contain a high degree of tension.

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Use Of Space And Rests Wes is an excellent user of space and rests to create interest, tension, release and breathing space. After long lines with a high density of notes he always leaves breathing space of four beats or more. If not, he plays motivically with the use of long notes, rests and syncopations. Here are a few examples of him using space after long and busy phrases:

1. Chorus 1, A1.1, bars 41‐42

2. Chorus 1, A2.1, bars 49‐50

3. Chorus 2, A2.2, bar 77 and Chorus 2, A2.2, bars 81‐82

|‐‐‐‐space‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐|

|‐‐‐‐space‐‐‐‐‐‐‐‐‐|

|‐‐‐‐space‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐|

|‐‐‐‐space‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐|

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4. Chorus 3, A2.3, bars 108‐109

5. Tag, B1.4, bars 233‐234

Here are a few examples where Wes uses motifs and/or syncopated rhythms to change the pace of playing:

1. Chorus 1, A2.1, bars 45‐46

|‐‐‐‐space‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐|

|‐‐‐‐space‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐|

|‐‐‐‐long note, motivic playing‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐|

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2. Chorus 1, A3.1, bars 59‐62

3. Chorus 2, A3.2, bars 91‐94

4. Chorus 3, A3.3, bars 124‐126

|‐‐‐‐syncopation, long notes, motivic playing‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐|

|‐‐‐‐long notes, motivic playing, syncopations ‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐|

|‐‐‐‐long notes, motivic playing, syncopations, space ‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐|

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Use Of Note Values Wes uses a big catalogue of different note values. His predominant use of eighth note lines is diversified by the inclusion of quarter notes, dotted quarter notes, half notes, whole notes and tied notes. Insertions of sixteenth notes, eighth note triplets and sixteenth note triplets help him to vary and intensify his phrasing. With reference to the melody of the song he mainly plays eighth note lines. He inserts triplets or sixteenth notes if he wants more intensity in his playing or to build up tension. It happens usually in longer phrases. One of Wes’ trademarks is the combination of arpeggios, mostly maj7, with triplets. He refers to this device in nearly every solo. Here are a few examples:

1. Chorus 1, A2.1, bars 47‐49

2. Chorus 1, B1.1, bars 51‐53

3. Chorus 2, A2.2, bars 79‐80

4. Chorus 3, B1.3, bars 115‐117

‐‐‐‐‐‐‐

‐‐‐‐‐‐‐‐‐‐‐ ‐‐‐‐‐‐‐‐‐‐ ‐‐‐‐‐‐‐‐‐‐ ‐‐‐‐‐‐‐‐‐‐‐‐ ‐‐‐‐‐‐‐‐‐

‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐

‐‐‐‐‐‐‐‐‐‐‐ ‐‐‐‐‐‐‐‐‐‐‐ ‐‐‐‐‐‐‐‐‐‐‐ ‐‐‐‐‐‐‐‐‐‐‐

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5. Tag, B1.4, bars 226‐233

Dotted quarter notes are usually applied in a motivic context. Examples are given below:

1. Chorus 1, A1.1, bar 35‐36

2. Chorus 1, A3.1, bar 59

Long note values are used at points of rest or in a motivic context. Some examples are shown here:

1. Chorus 1, A1.1, bars 37‐38

‐‐‐‐‐‐‐‐‐ ‐‐‐‐

‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐ ‐‐‐‐‐‐‐‐‐‐‐‐

M2.1‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐ | M3.1‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐

M2.2‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐|

M1.1‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐|

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2. Chorus 2, A3.2, bars 91‐92

3. Chorus 3, A3.3, bars 127‐129

Colouristic Aspects Wes’ main techniques are: Predominantly legato lines, pull‐offs for appoggiaturas and scalar sixteenth note passages, sweeps over arpeggios, short slides in the bluesy phrases, accentuations in syncopated motivic parts, as well as staccato played notes at the end of a phrase or in a motivic context.

He employs colouristic aspects like slides, accents or staccato to emphasise important notes which are most of the time target notes or the starting note of a phrase or a motif. Pull‐offs and sweeps are typical technical devices which are used by many guitarists to play fast lines and arpeggios. He most certainly learned these techniques by playing Charlie Christian’s solos.

M2.5, point of rest‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐|‐‐‐‐‐‐‐‐‐‐M1.7‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐|‐‐‐‐‐‐‐‐‐‐‐‐‐M2.6‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐||

M2.10, ‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐|‐‐‐‐‐‐‐‐‐‐M2.11‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐|‐M2.12, point of rest‐‐‐‐‐‐‐‐‐‐‐‐|

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Conclusions

Motivic Development And Wes’ Vocabulary Wes Montgomery’s style of playing is very much reflected in this solo. He uses many devices to create a well structured and diversified interpretation of the tune ‘Says You’. Three main motifs of the melody, which he varies in many ways, are the basis for his improvisation to constantly refer back to the tune. Throughout the solo M1 appears in 11, M2 in 12 and M3 in 8 different variations. It is very interesting that he finishes his opening two phrases (bars 33‐38) with nearly all devices he uses throughout the solo: He uses delayed attacks, anticipation, triplet maj7 arpeggio, eighth note line, syncopation, intervallic leaps, pivot notes, suspensions, chromaticisms, blues and he even introduces all three motifs already.

A

p4 p4 M1.1

Cr Cr/ET Cr/ET Fmaj7 – Arpeggio susp. A3 / A1.1 – Phrase 01

M2.1 M3.1, F9 sound/Cm Blues E‐Locrian / Bb‐Lydian Dominant A7(#9) or Am7 A3 / A1.1 – P01 A1.1 – Phrase 02

PN i DA DA A

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Summary Here is a short summary of the important aspects of Wes’ solo on ‘Says You’. Suspensions are used three times:

1. The first time in the example above, to link the In‐Head with the first chorus of solo (bars 34‐35),

2. The second time in the third chorus to link the B‐section (B1.3) with the last A‐section (A3.3),

3. The third time to lead to the last four bars of the tag (B1.4) before going to the Out‐Head.

Wes uses leaps either to connect bars, phrases or sections with each other. In the detailed analysis we have seen plenty of examples. His favourite interval in this solo is the perfect fourth.

Pivot notes are also used to connect phrases and bars. Arpeggios are mainly played in the B‐sections in conjunction with an

eighth note triplet rhythm. From time to time he also plays triadic figures.

Anticipations and delayed attacks are predominant at the start of a phrase (on the ‘And’ of four) or to resolve a phrase half a beat early (or late).

The anticipation of changes by more than one beat is a device which results of his influence by Charlie Christian, who was known for this concept. The same reason applies for Wes’ use of triadic shapes, arpeggios and chromatic passing tones.

In all B‐sections he starts most of his phrases on the 9th degree of the II chord, usually anticipated. This is a common method, which he also uses in other solos.

Naturally, Wes is a very bluesy player, which is why he likes to generalise entire sections by playing the C‐Minor Blues scale or the C‐Minor Pentatonic scale. He does it in the third A‐section of the second chorus and the third chorus (with the exception of bar 126). Occasionally he hints at the Blues scale within the solo. Another generalisation happens in the second A‐section of the third chorus, where he only plays pitches of the C‐Major scale (with the exception of one note (Eb in bar 108). The only time he does not use the Blues sound in the third A‐section is when he connects the first and the second chorus.

On dominant chords he likes to apply the Mixolydian (b9/#9/b13) scale, which was used during the Bebop period before the Altered scale was known of. As Wes transcribed many Charlie Christian solos he was used to this sound for dominant chords. However he also uses the other

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Dominant scales in his playing: Mixolydian, Lydian‐Dominant, Mixolydian (b9), Mixolydian (b13), Dominant‐Bebop, Altered and Diminished ½‐Whole.

One interesting fact is that over the Bb7 chords he likes to play variations

of motif M1. In the entire solo he does it five times. Over tonic chords he either plays C‐Major scale ideas, motivic variations

on the root note or C‐Minor Blues. The contour of his phrasing is very colourful. Wes’ lines are mostly

multidirectional, unless he refers to the one‐note motivic idea from the melody of the bridge. His changing ascending and descending lyrical lines with variations on resolutions points conveys a feeling of an inner dialogue. A lot of variety can be heard when it comes to these conversations within. It could be a statement which is followed by a motivic answer or a sequence of linear statements which will be answered by a motif much later. Sometimes he also uses consecutive motifs to create call and response ideas. In general though, his phrases are constructed of a lyrical line (call) which is followed by a motivic idea (response).

He structures his solo well and always plays of the melody. If we take all analytical aspects into consideration it is very clear that

Wes raises the overall intensity level from the start to the very end. Especially the last B‐section reveals the placement of the peak of his solo at a strategically important point.

Final Conclusion Conclusively, the solo can be seen as a well balanced mixture of lyrical diatonic eighth‐note lines with a strong reference to the actual melody of the tune through motivic development. Additionally, Bebop phrases as well as Blues based interpretation of entire sections are also main features in the solo. It is extremely diverse and superbly well structured. His ability to start lines in a similar way and the application of various sound facets at significant points of the solo reveal that he exactly knows what he is doing and where he is, even at a tempo of 206 beats per minute. All the above mentioned aspects of his playing, amongst others, are the result of playing everything by ear. It shows that listening is one of the most important ingredients ‐ if not the most important ‐ in Jazz improvisation and even beyond.

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Glossary A Anticipation: An on‐the‐beat note is attacked a half beat or a

whole beat early. DA Delayed Attack: An on‐the‐beat note is attacked a half beat or a

whole beat late. Cr Chromaticism: A non‐diatonic note which is inserted to generate

smooth movement of semitones between scale tones. PN Pivot Note: A note which is tied over the bar line and is diatonic to

both keys of the moment of either of the two bars. DCHR Double Chromatic Approach: Two notes of short and equal

duration move by consecutive half steps to a target note. PT Passing Tone: an inserted note which generates stepwise motion. IR Indirect Resolution: Two notes of short and equal duration

approach the target note by a step from above or below. ET Escape Tones: Escape Tones interrupt the up‐ or downward

movement of a melody by moving in the opposite direction by step and then leap to catch up to the flow of the ascending or descending melody.

Susp. Suspension: The prolonging of one or more tones of a chord into a following chord to create a temporary dissonance. Usually it is the 4th degree of a dominant chord which is held over and becomes the root note of the next chord.

App. Appoggiatura: a small grace note melodically adjacent to a principal note and played simultaneously with or immediately before it.

A1.3 Names of sections: Letter and 1st digit = Section, 2nd digit = Chorus.

Theme A theme is a melody or portion of a melody that recurs in a tune. M1 Motif 1: the first motif of the tune. A motif is a short melodic

fragment or a small group of consecutive notes. M2.2 Motif 2.2: the second variation of the second motif. Motivic Transformation Motifs can be transformed in two basic ways: intervallically and rhythmically. Intervallic transformation uses the same rhythm but different pitches whereas rhythmic transformation uses the same pitches but different rhythm.

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Sequences A motif which is transposed to a different key is called sequence. A sequence can be diatonic or exact. A diatonic sequence stays in the overall key and adapts the key signature of the tune, whereas an exact sequence adapts to the key of the moment. Mixolydian (b9/#9/b13) Before the altered scale was a mode to play over dominant chords, Bebop Jazz musicians used to play the Mixolydian (b9/#9/b13) scale. This is probably why Wes still heard it at the time of the solo. Octave Naming System

Sources

The Chord Scale Theory by Barry Nettles and Richard Graf

Jazz Composition, Theory and Practice by Ted Pease

http://www.thefrezedictionary.com

http://www.music.vt.edu/musicdictionary

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