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 1 st Chorus Including Pick Up (A1.1, P01 P03) 33 2 nd Chorus (A1.2, P12 P15) 35 3 rd Chorus (A1.3, P27 P30) 37 1 st Chorus (A2.1, P04 P06) 39 2 nd Chorus (A2.2, P16 P18) 40 3 rd Chorus (A2.3, P31 P33) 41 1 st Chorus (A3.1, P10 P11) 42 2 nd Chorus (A3.2, P23 P26) 43 3 rd Chorus (A3.3, P38 P42) 44 1 st Chorus (B1.1, P07 P08) 45 2 nd Chorus (B1.2, P19 P22) 46 3 rd 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
Album Information 4
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 5
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. 6
Says You A Composition By Sam Jones Structural Overview Intro (2 bars) In Head (A A B A, 32 bars) Guitar Solo (3x A A B A, 96 bars) Piano Solo (2x A A B A, 64 bars) Bass Solo (1x A A B A, 32 bars) Continuation Of Guitar Solo / Tag (1x B, 8 bars) Out Head/Ending (A + Ending, 13 bars) 7
For easy understanding about detailed information in this essay and references about particular form parts, all sections in this tune are labelled as follows: Intro bars 1 2 In Head A 1 (bars 3 10) A 2 (bars 11 18) B 1 (bars 19 26) A 3 (bars 27 34) Guitar Solo Chorus 1 A 1.1 (bars 35 42) A 2.1 (bars 43 50) B 1.1 (bars 51 58) A 3.1 (bars 59 66) Guitar Solo Chorus 2 A 1.2 (bars 67 74) A 2.2 (bars 75 82) B 1.2 (bars 83 90) A 3.2 (bars 91 98) Guitar Solo Chorus 3 A 1.3 (bars 99 106) A 2.3 (bars 107 114) B 1.3 (bars 115 122) A 3.3 (bars 123 130) bars 131 194 Piano Solo will not be analysed in this essay bars 195 226 Bass Solo will not be analysed in this essay Continuation Of Guitar Solo B 1.4 (bars 227 234) Out Head / Ending A 3.4 (bars 235 247) 8
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). 9
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. 10
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. beginning of 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. 11
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). 12
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 Aim 7 Di 7 Bim 7 Ei 7 Cm 7 F 7 *1 Dim 7 Gi 7 Eim 7 Ai 7 Fm 7 Bi 7 Gm 7 C 7 Secondary II V Dm 7 G 7 Em 7 A 7 *2 F#m 7 B 7 Gm 7 C 7 Am 7 D 7 Bm 7 E 7 C#m 7 F# 7 Scale Chords C maj7 Dm 7 Em 7 F maj7 G 7 Am 7 Bm 7( í 5) Scale Degree I II III IV V VI VII Chords in bolt are used in Says You. *1: F 7 is used in two different ways in this tune. It is used as a substitute dominant chord, but also as a modal interchange chord IV 7, 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 Em 7 is not used as a diatonic chord. Instead the chord Em 7(b5) is used. It functions primarily as the related II chord of the secondary dominant chord A 7 (V 7 / II ). Its origin, yet, is from C Mixolydian and therefore can also be seen as a modal interchange chord. 13
The first A section commences with the tonic chord C in bar 3. F 7 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 Em 7(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 A 7 in bar 6, the substitute dominant chord B b 7 is interpolated. The secondary dominant chord A 7 then resolves as expected to the II chord of the key in bar 7. The primary II V progression Dm 7 G 7 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 Dm 7. The primary dominant s tritone substitute chord D b 7 replaces G 7 and leads back to the tonic chord in the second A section. I (SubV 7 / III ) MI (SubV 7 / VI ) V 7 / II IIm 7 (V 7 ) (V 7 / VI ) V 7 / II IIm 7 SubV 7 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 G 7 (bar 16) resolves as expected to the tonic chord C maj7 in bar 17. I (SubV 7 / III ) MI (SubV 7 / VI ) V 7 / II IIm 7 V 7 I maj7 14
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 IVm 7 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 Am 7 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 Dm 7 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. (V 7 / IV ) (SubV 7 / VI ) (SubV 7 / V ) IIm 7 V 7 The last A section is identical to the second A section with the exception of the very last bar (bar 34). The dominant chord G 7 leads back to the top of the form which serves as the beginning of Wes guitar solo. I (SubV 7 / III ) MI (SubV 7 / VI ) V 7 / II IIm 7 V 7 I maj7 V 7sus4 15
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, G 7 does not resolve to C maj7. This resolution is delayed by a turnaround of four bars (bars 241 244). The dominant III chord E 7 in bar 241 functions as the secondary dominant with an expected resolution to Am 7. Instead an altered dominant chord, functioning as a secondary dominant is used (bar 242) to resolve expectedly to the diatonic II chord Dm 7 in bar 243. It forms a primary II V with G 7 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 C maj7 in bar 247. I (SubV 7 / III ) MI (SubV 7 / VI ) V 7 / II IIm 7 V 7 V 7 / VI V 7 / II IIm 7 V 7 I maj7 IIm 7 V 7sus4 I maj7 16
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. Theme 1 Theme 2 AN AN TN C Triad Dm Triad C Triad Chordal Answer Am Triad Theme 2 M1 Am Triad F maj7 C Triad TN 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 Dm 9 sound. It is rhythmically varied as it uses longer note values, rests and syncopation. The second half (bar 7 8) starts with an F maj7 arpeggio fragment, followed by a C Major triad resulting in a G 7(13) sound. It exclusively uses eighth notes. Theme 2 finishes with an anticipated root note (TN) of the target chord E 7 in bar 9. Bar 7 is called M1 as it forms a motif, which Wes uses in his solo in different variations. 17
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 C maj7 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 AN AN TN C Triad Dm Triad C Triad Chordal Answer Am Triad M1 Theme 3 Am Triad F maj7 Am Triad C maj7 Fragment TN 18
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 (Gm 9 ) is followed by short answer, which targets the root note of the second chord (C 13 ), 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. Theme 4 Theme 4 (sequenced, down a whole tone) One note, rhythmic motif (M2) Answer (M3) Theme 4 (sequenced, down 2 whole tones) Theme 5 Summary Melodic Analysis: AN 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. 19
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. 20
Note Density In the following graphic one can see the change of note density in the different sections during the course of the solo. 70 60 50 40 30 20 10 0 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 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. 21
Here is a graphic which displays the use of chromaticisms and non diatonic notes within the sections. 14 12 10 8 6 4 2 0 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 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%). 600 500 400 300 200 100 0 1st Chorus 2nd Chorus 3rd Chorus Total Other Notes 156 140 145 441 Key Note 'C' 25 32 40 97 22
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). nadir 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. 7 Great Octave 6 5 4 3 2 1 0 1st Chorus 2nd Chorus 3rd Chorus 23
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. 60 Small Octave 50 40 30 20 10 0 1st Chorus 2nd Chorus 3rd 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. 40 2 Line Octave 35 30 25 20 15 10 5 0 1st Chorus 2nd Chorus 3rd Chorus 24
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 ). apex The overall range of the solo is exactly three octaves: from the Great G to g. 1 st 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 e b to the Great A in A1.1 and from B to the Great G (nadir) in A2.1. e b b C A1.1 A2.1 B1.1 A3.1 Great A Great G (nadir) 25
2 nd 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 A b. C C A1.2 A2.2 B1.2 A3.2 Great Ab 3 rd 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. G (apex) C A1.3 A2.3 B1.3 A3.3 26
Here is a graphic which displays all three choruses in comparison: 1 st Chorus 2 nd Chorus 3 rd Chorus apex C A1 A2 B1 A3 nadir 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. 27
A3 / A1.1 Phrase 01 i 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 28
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 A3.2 P24 A3.2 Phrase 25 A3.2 Phrase 26 29
A1.3 Phrase 27 A1.3 Phrase 28 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 A3.3 P38 A3.3 Phrase 39 A3.3 Phrase 40 A3.3 Phrase 41 A3.3 Phrase 42 30
B1.4 Phrase 43 B1.4 Phrase 44 B1.4 P45 B1.4 Phrase 45 B1.4 Phrase 46 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. C Major F Lydian Dominant E Locrian B b Lydian Dominant A Mixolydian D Dorian G Mixolydian E Mixo (b9/b13) A Mixo (b9/b13) D Dorian D b Lydian Dominant For the second and last A section the primary scale for last two bars is C Major. G Dorian C Mixolydian F Dorian B b Mixolydian E b Dorian A b Mixolydian D Dorian G Mixolydian 31
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 (5 th bar of A sections) M2 and M3 (1 st bar and 2 nd bar of B section): M1 M2 M3 Throughout the analysis variations will be labelled M1.1, M1.2, M2.1, etc. 32
Analysis 1 st 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 F maj7 arpeggio, one of Wes trademarks. The pick up ends on the And of four on the 4 th degree of G 7, 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. Apex of 1 st chorus A Cr Cr/ET Cr/ET F maj7 Arpeggio susp. A3 / A1.1 Phrase 01 i p4 p4 M1.1 PN DA DA A M2.1 M3.1, F9 sound E Locrian / Bb Lydian Dominant A7(#9) or Am7 A3 / A1.1 P01 A1.1 Phrase 02 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 A 13. Over the F 7 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 (A 13 in bar 38) as an A 7(#9) or Am 7 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 9 th degree in Bb but also the #9 in A 7 (or b3 in Am 7 ). 33
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. IR Leap: p4 D Dorian G Bebop Dom. PN M3.2 G Mixolydian A1.1 Phrase 03 A2.1 Phrase 04 34
2 nd 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 6 th 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 G 7sus4 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 5 th interval within the phrase. After a strong resolution on beat 1, with the 5 th of the tonic chord the phrase continues with another C Major scale segment, this time starting on the 5 th 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 4 th. The very last note (b b ) anticipates the upcoming Em 7(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. Leap: #5 Cr/PT C Major scale G Mixolydian (b13) + Cr A3.1 / A1.2 Phrase 12 Leap: p8 Em Arpeggio p4 IR PN Cr #11 13 b13 A C Major scale (M1.4) F Lydian Dominant A Bb Lyd. Dom. + Cr A 7(b13) M2.3 A3.1 / A1.2 Phrase 12 A1.2 Phrase 13 A1.2 P14 Phrase 13: Similar to the first A section Wes uses only a few notes to describe the sound of the chord B b 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 5 th degree of the chord A 7 and its primary function within the scale is used, which is A Mixolydian (b13). 35
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 5 th degree of the A 7 chord as well as the 9 th degree of the Dm 7 chord. PN Bm 7(b5) Arpeggio Leap: p4 Leap: #5 M2.3 DCHR G Mixo (E Dorian) A Mixolydian F Major triad Db 9 PT A1.2 P14 A1.2 Phrase 15 Phrase 15: The following phrase again contains scalar and arpeggio ideas. Bar 72 starts with a double chromatic approach, followed by a Bm 7(b5) arpeggio creating a G Mixolydian sound. The connection to the following bar is again created by a leap of a descending perfect 4 th interval. In bar 73, Wes plays a descending A Mixolydian scale and therefore creates a more Dorian sound instead of a dominant E 7. The phrase finishes with an F Major triad over a Dm 7 chord, creating a D Dorian sound which is followed by two notes, spelling a D b 9 chord and a passing tone (PT) which resolves in the 5 th degree of the target chord C in bar 75. 36
3 rd 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). Cr/PT Cr/PT C Major scale F Lydian Dominant E Locrian Bb Lydian Dominant A Mixolydian (b9/b13) A1.3 Phrase 27 A1.3 Phrase 28 Phrase 28: Phrase 28 consists of straight forward scale passages. The ascending E Locrian and B b 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. 37
Phrase 29: Wes begins phrase 29 with a repeated C maj7(#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). Leap: b7 Leap: #4 Leaps: p5/p4 Leap: p5 Cr/PT C maj7(#5) Arpeggio B maj7(#5) arp. / M1.8 E 9sus4 E 7(#9) A 7(alt) A 7 D Dorian Db Mixo (b9/#9/b13) A1.3 Phrase 29 A1.3 / A2.3 Phrase 30 C maj7 arpeggio A1.3 / A2.3 P30 F Dominant 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 E sus sound, continues with E 7(#9), which is followed by an altered A 7 and a plain A 7 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 D b 7(#9) sound, which after another leap resolves into a bar of C maj9 which includes another ascending Wes Montgomery trademark arpeggio. The phrase finishes with the b7 and 5 th over F 7. 38
1 st 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 5 th in bar 45. The phrase ends with a one beat anticipation of the chord B b 13. C Major scale A1.1 Phrase 03 A2.1 Phrase 04 Leap: #5 Leap: p5 Em triad 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 D Dorian G Mixol (b9/#9/b13) Gaug triad C maj7 arpeggio A2.1 Phrase 06 B1.1 Phrase 07 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 5 th to resolve in the next bar (bar 49) with a C maj7 arpeggio. 39
2 nd Chorus A2.2 Phrase 16: Phrase 16 is a straight forward F Lydian Dominant scale, starting on the 3 rd of the chord, 2 ½ beats early in bar 75. Phrase 17: The ascending B b 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. F#m 7 arp. F Lydian Dominant scale Bb Lyd. Dom. A Mixolydian (b9/b13) A2.2 Phrase 16 A2.2 Phrase 17. Leap: p4 Cr/PT Cr/PT D Mixolydian G Mixolydian (b9/#9/b13) M3.4 A2.2 P17 A2.2 Phrase 18 B1.2 P19 Phrase 18: Again, Wes uses the Mixolydian (b9/#9/b13) scale over the primary dominant chord G 7 (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. 40
3 rd 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 C maj7 arpeggio followed by a fragmented descending F maj7 arpeggio, creating the sound of B b Mixolydian in bar 109 and A 7(#9) in bar 110. b3 Cr/PT 2 6 5 5 #9 M2.6 A1.3 / A2.3 P30 A2.3 Phrase 31 A2.3 P32 A M2.6 M2.7 / D Dorian G Mixolydian C Major triad A2.3 P32 A2.3 Phrase 33 B1.3 Phrase 34 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. 41
1 st Chorus A3.1 Phrase 10: The 10 th phrase of the solo implies an F sus sound as Wes refrains from using the third of the chord. Instead he plays the 4 th degree twice (bar 60). In bar 61 he finishes the phrase with yet another rhythmic and intervallic transformation of M1 (M1.3). F sus M1.3 DA M4 B1.1 / A3.1 P09 A3.1 Phrase 10 A3.1 Phrase 11.1 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 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). 42
2 nd 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 5 th 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. Leap: p5 M2.4 M1.7 A M2.5 M3.7 / A 7(alt) Cm Blues A3.2 Phrase 23 A3.2 Phrase 24 Appoggiatura (Cm Blues) Cm Blues scale appoggiatura c A3.2 P24 A3.2 Phrase 25 A3.2 Phrase 26 Phrase 25: Phrase 25 is a basic C Minor Blues lick, creating an appoggiatura towards the targeted b7 of G 7 (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 G 7 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. 43
3 rd 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. M1.10 susp. B1.3 Phrase 36 B1.3 Phrase 37 A3.3 Phrase 38 Leap: p8 Leap: p5 Cm Blues app. M2.8 A diminished triad A3.3 P38 A3.3 Phrase 39 A3.3 Phrase 40 Leap: p4 M2.9 M2.10 M2.11 Cm Pentatonic A3.3 Phrase 41 A3.3 Phrase 42 Phrase 40: Instead of continuing with the C Minor Blues idea, he decides to use an A Diminished triad over the dominant A 7 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. 44
1 st 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 Gm 9 chord by using pivot notes (PN) that work over both chords: C maj7 and Gm 9. Starting the phrase on the 9 th degree of the II chord in a II V progression is a typical characteristic in his playing. Over Gm 9 in bar 51 he then connects two arpeggios (Gm 9 and A 7 ) in a triplet rhythm while also using anticipations (A). In the next bar he plays another triplet based Gm 7 arpeggio and concludes with another anticipation which is followed by the next pivot note (PN). Again it is the 9 th degree of the following II chord Fm 9 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 Fm 9 arpeggio is also triplet based but descends before it ascends after an anticipated root note (A). He concludes phrase 08 with a Cm 7 arpeggio, used as a variation of M1 (M1.2), which he connects with a leap of a perfect 5 th to the previous bar. PN/9 PN PN/9 A2.1 Phrase 06 B1.1 Phrase 07 Bb maj7 arp. A A 7 arp. A Gm7 arp. PN/9 Fm9 arp. A Fm9 arp. Cm7/Cm Blues M1.2 B1.1 P07 B1.1 Phrase 08 B1.1 P08 B1.1 / A3.1 Phrase 09 45
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 A b 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 Bm 7(b5) arpeggio over the primary dominant chord G 7 (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. A Ab Mixolydian DCHR D Dorian Cr/PT ET ET Bm 7(b5) arp. B1.1 P08 B1.1 / A3.1 Phrase 09 M2.2 C Major triad B1.1 / A3.1 P09 A3.1 Phrase 10 A3.1 Phrase 11.1 2 nd Chorus B1.2 Phrase 19: The first phrase in the B section of the second chorus also starts on the 9 th degree of the II chord Gm 9 (bar 82). It is also anticipated and part of a varied motif M2 (M2.4) and leads with a descending Dm 7 arpeggio into the related V chord C 7 (bar 83). An intervallic and rhythmic transformation of M1 (M1.5) in bar 84 finishes the phrase. Wes uses a leap of a perfect 4 th to connect the bars. A/9 A2.2 P17 A2.2 Phrase 18 B1.2 P19 Leap: p4 M2.4 Dm7 arp. C Major triad M1.5 B1.2 P19 B1.2 Phrase 20 46
Phrase 20: The second phrase in B1.2 (bars 85 86) consists of a descending Fm 9 arpeggio, also starting on the 9 th degree of the chord in the rhythm of M3 (M3.5), and a descending Cm 7 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. Leap: p4 Leap: p5 9 M3.5 Fm 9 arp. M1.6 Cm 7 or Cm Pent/Blues B1.2 P19 B1.2 Phrase 20 Leap: #4 Eb Dorian / Ab Mixolydian ET 9 M3.6 Dm 9 arp. PN/A G Diminished ½ Whole B1.2 Phrase 21 B1.2 Phrase 22 Phrase 21: Phrase 21 (bars 87 88) is a straight forward played A b 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 9 th degree of the II chord, again. It is composed of a Dm 9 arpeggio with an omitted b7 th 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. 47
3 rd 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 pickup 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 B b Mixolydian. PN/9 PN PN/9 B1.3 Phrase 34 Leap: p8 Leap: p4 apex Leap: p4 Bb maj7 arp. Cr/PUN Gm 7 arp. A C Mixolydian A rhythmic displ. sequence of bars 114 115 M1.9 Bb Mixolydian B1.3 P34 B1.3 Phrase 35 Leap: p4 9 Eb Dorian Ab Mixolydian PUN D Dorian E Major triad B1.3 Phrase 36 B1.3 Phrase 37 A3.3 Phrase 38 Phrase 36: After a leap of a perfect fourth the 36 th phrase descends with a straight forward played E b Dorian/A b 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 G 7 chord by two full beats and gives it a G Diminished ½ wholetone sound. 48
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 9 th degree of the Gm 9 chord (bar 226), continues with a G Dorian scale passage, ascends with a Gm 7 arpeggio (bar 227), which is followed by an Em 7(b5) arpeggio over C 7 (bar 228) and a descending F Major triad. Phrase 44: He then leaps up a perfect fifth to start his next phrase on the 9 th degree of the Fm 9 chord (bar 229). A descending F Dorian scale leaps at the end into a final motivic variation of M1 (M1.11, bar 230). Leap: p4 9 G Dorian Gm 7 arp. Em 7(b5) arp. F Maj. Triad 9 F Dorian M1.11 A/PN B1.4 Phrase 43 B1.4 Phrase 44 B1.4 P45 i Leap: b7 Leap: #4 M3.8 Ebm 7 arp. A/PN Ebm 9(11) arp. 9 Cr Dm 9 arp. B1.4 Phrase 45 B1.4 Phrase 46 Phrase 45: The second last phrase of the tune begins with an anticipation (A/PN) of the root note of the Ebm 9 chord and uses an ascending E b m 7 arpeggio to conclude the development of M3 (M3.8). After a big leap down, another anticipation of the same note e b (A/PN) is the starting point of the same arpeggio, only extended by its 9 th and 11 th degree and played in double time. Phrase 46: He concludes his tag with a descending Dm 9 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 Dm 9 chord. 5 bars of space lead back to the very last A section and ending of the tune. 49
Intervallic Range Of Phrases Most of the phrases are ranging between one and two octaves. The following graphic shows four different categories: 2 octaves or more between 1 & 2 octaves less than 1 octave 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. apex B1.3 P34 B1.3 Phrase 35 B1.3 Phrase 36 B1.3 Phrase 37 A3.3 Phrase 38 50
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 Call: Lyrical Line Response: Motivic Idea (three consecutive motifs) 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 (extended by a one bar line) 51
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 Call: Short Line Response: Motivic Idea b) Chorus 2, A2.2, bar 79 (call) and bar 80 (response): Phrase 18 Call: Short Line Response: Motivic Idea 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: Two Consecutive Lines Response: Motivic Idea + Tag 52
b) Chorus 3, B1.3, bars 114 117 (call) and bar 118 (response): Phrase 34 and Phrase 35 Call: Two Consecutive Lines Response: Motivic Idea 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 Call: Two Consecutive Motifs Response: Two Consecutive Motifs b) Chorus 2, A3.2, bars 91 92 (call) and bars 93 94 (response): Phrase 23 and Phrase 24 Call: Two Consecutive Motifs Response: Two Consecutive Motifs 53
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 54
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: Starting Points Ending Points Beat 1 Beat 1 4% 15% 20% 7% 13% 24% 15% 2% Beat 1 + Beat 2 Beat 2 + Beat 3 Beat 3 + Beat 4 Beat 4 + 30% 11% 9% 24% 13% 7% 2% 4% Beat 1 + Beat 2 Beat 2 + Beat 3 Beat 3 + Beat 4 Beat 4 + 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), 55
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. 56
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: Length Of Phrases 10 beats or more 8 beats or more 4 beats or more 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), 57