Says You Wes Montgomery Analysis

TranscriptionMusicAnalysisEssay

SAYSYOUComposedbySamJonesAsplayedbyWesMontgomeryOnMovinAlongTranscribedbyMathiasBaumannBAJPYear301/04/2012

TableofcontentsAlbumInformation 4Introduction 6SaysYouACompositionBySamJones 7 StructuralOverview 7

StructuralAnalysis 9HarmonicAnalysis 13

MelodicAnalysis 17SaysYouBebop,WesMontgomeryStyle 20 StructureOfTheSoloAndItsDynamicProfile 20

NoteDensity 21NoteChoiceInGeneral 21PitchContourAndDensityOfRegisters 23

PhrasesInTheSolo 27Phrasing 31

Melodic&HarmonicContentOfPhrases 31UseOfMotifs 32

Analysis 33

1stChorusIncludingPickUp(A1.1,P01P03) 332ndChorus(A1.2,P12P15) 353rdChorus(A1.3,P27P30) 371stChorus(A2.1,P04P06) 392ndChorus(A2.2,P16P18) 403rdChorus(A2.3,P31P33) 411stChorus(A3.1,P10P11) 422ndChorus(A3.2,P23P26) 433rdChorus(A3.3,P38P42) 441stChorus(B1.1,P07P08) 452ndChorus(B1.2,P19P22) 463rdChorus(B1.3,P34P37) 48Tag(B1.4,P43P46) 49

IntervallicRangeOfPhrases 50

PhraseConstruction 51 PhraseDevelopment 54 RhythmicContent 55 StartingPointsAndEndingPoints 55 PhraseLength 57 UseOfSpaceAndRests 59 UseOfNoteValues 62 ColouristicAspects 64Conclusions 65

MotivicDevelopmentAndWesVocabulary 65 Summary 66 FinalConclusion 67Glossary 68Sources 69

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AlbumInformation

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TrackList:

1. Movin'Along(WesMontgomery)5:40TaggieMusicCo./OrpheumMusicBMI

2. TuneUp(MilesDavis)4:27PrestigeMusicBMI

3. TuneUp(MilesDavis)4:39PrestigeMusicBMI,AlternateTake,Take9

4. I Don't Stand a Ghost of a Chance with You (Victor Young, NedWashington,BingCrosby)5:02MillsMusic,Inc./VictorYoungPublishing,Inc.ASCAP

5. Sandu(CliffordBrown)3:23SlowDancingMusicBMI

6. Body and Soul (Edward Heyman, Robert Sour, Frank Eyton, JohnnyGreen)7:19WarnerBrothersMusicASCAP

7. BodyandSoul(Heyman,Sour,Eyton,Green)11:17WarnerBrothersMusicASCAP,AlternateTake,Take2

8. SoDoIt!(WesMontgomery)6:05Taggie/OrpheumBMI

9. SaysYou(SamJones)4:59OrpheumBMI

OntheoriginalLPrecordingtracks3and7arenotincluded.ThealbumwasrecordedOctober12,1960inLosAngeles.RecordingEngineer:WallyHeider,UnitedRecordingStudiosProducedbyOrrinKeepnewsCoverDesignbyKenDeardoff,CoverPhotographsbyWilliamClaxtonRecordLabel:RiversideRecords,TenthandParkerBerkeley,CA94710JamesClayTenorSaxophone,FluteWesMontgomeryGuitarVictorFeldmanPianoSamJonesBassLouisHayesDrums

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IntroductionWesMontgomery isaverynaturaland soulfulplayer,mainlybecauseofhisinabilitytoreadchordsoranykindofmusicnotation.Asaresulthedevelopedagoodearwhichmadehimoneofhistorysgreatmusicians.Toanalyse thesolo of someonewho does not have any theory background and thereforemostlikelydoesnotreallyknowwhatheisdoingseemstobepointless.Butletusaskthequestionwheredowederivealltheoreticalknowledgefrom?All assumptions, rules and all theory arebasedon scientificexploration andfacts.Beforemusic theorywaselaborated therewasmusic.Otherwise therewould have been nothing to establish rules for. The analysis of a solo istherefore very important if one wants to explore the style and sound of aparticularmusician.For me, learning to know how a natural player like Wes approaches lines,phrasesandawholesolojustbyear ismost interesting.Theonlywaytofindoutistoanalysehisplaying.ThisessaywilldepictanalyticalaspectsofhissoloofSamJonescompositionSaysYou,recordedOctober12,1960onthealbumMovinAlong.Itwillalsolookatparallelsinothersolosandestablishsomebasicfactsabouthisplayingstyle.Pleasenote:As this isa transcriptionofaguitar solo,allnotesare transposed forguitar,which means one octave above concert range. In the analysis notes aredescribedinconcert,althoughthenotationistransposed.

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SaysYouACompositionBySamJonesStructuralOverview

OutHead/Ending(A+Ending,13bars)

ContinuationOfGuitarSolo/Tag(1xB,8bars)

BassSolo(1xAABA,32bars)

PianoSolo(2xAABA,64bars)

GuitarSolo(3xAABA,96bars)

InHead(AABA,32bars)

Intro(2bars)

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Foreasyunderstandingaboutdetailedinformationinthisessayandreferencesaboutparticularformparts,allsectionsinthistunearelabelledasfollows:

OutHead/EndingA3.4(bars235247)

ContinuationOfGuitarSoloB1.4(bars227234)

BassSolobars195226 willnotbeanalysedinthisessay

PianoSolobars131194 willnotbeanalysedinthisessay

GuitarSolo Chorus3A1.3(bars99106) A2.3(bars107114) B1.3(bars115122) A3.3(bars123130)



InHeadA1(bars310) A2(bars1118) B1(bars1926) A3(bars2734)

Introbars12

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StructuralAnalysisSays You is a typical 32bar AABA Jazz standard. The arrangement of thisrecordingbeginswithashorttwobardrumintroductionbyLouisHayes.

Afterthe introductionVictorFeldmanandWesMontgomeryplaythemelodyofthefirstAsection(bars310) inacallandresponsemanner.Thesection iseightbarslong.Itcontainsthreestructuralelements:

1) astartingphrase(bars34)2) achordalresponseand(bars56)3) afinishingphrase(bars68).

Wesstartswithtrademarkoctaves inthefirsttwobarsoftheAsection(bars34), then switches toblock chords in (bars56)and continueswitha singlenote line (bars68).There isnomelodyplayed in the lasttwobarsoftheAsection,whichfinisheswithaturnaround(bars910).

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The second Asection (bars 1118) is very similar to the first Asection. Thestartingphrase isplayedasasinglenote line insteadofoctaves (bars1112).ThechordalresponseisplayedexactlyasinthefirstAsection(bars1314)buttheendingofthesecondphrase(bars1416)isdifferent.Thissectionfinishesonthetonicchord,whichisplayedfortwobars(bars1718).

TheBsection(bars1926)featuresthecomposerwiththebassonthemelody,whichispickedupinthelastbarofthesecondAsection(bar18).WhiletheAsections are based on a call and response ideawith alternating eighthnotelines,chordsandmelodicspace,theBsectionisrhythmicallymoredense,yetmelodicallysimpler.ThemelodyisbasedonaonenoterhythmicfigurewhichissequencedthroughdescendingIIVprogressions.

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FeldmanandMontgomerycompsparsely inthebackground,continuingtheircallandresponseideas.

The lastAsection (bars 2734) is identical to the secondAsectionwith theexceptionofthe lasttwobars (bars3334)whicharethestartofWesguitarsolo.

Theguitarsolo(bars33131)whichisthreechoruseslongfollowsaftertheInHeadandstartsinthesecondlastbarofthelastAsection(bar33).VictorFeldmancontinueswithapianosoloovertwofullforms(bars131194).The last solo isplayedbySam Jonesonbass forone chorus (bars195226),onlyaccompaniedbyLouisHayesondrums.

beginningofguitarsolo

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Wesusesarpeggio ideasover thevery lastBsection (bars227234) tobringthetunebacktothehead.

The lastAsection (bars235242),which is identical to the secondAsectionandleadstotheendingofthesong(bars243247).

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HarmonicAnalysisTobeabletodrawconclusionsonWesinterpretationofSaysYouitisusefultoanalysetheharmoniccontentofthetuneitself.Theoverallkeyof SaysYou isCMajor. It staysmainlywithin thekeyor itsharmonicuniverse.HarmonicuniverseinCMajoranditsuseinSaysYou:Substitute

IIV Aim7Di7 Bim7Ei7 Cm7F7*1 Dim7Gi7 Eim7Ai7 Fm7Bi7 Gm7C7Secondary

IIV Dm7G7 Em7A7*2 F#m7B7 Gm7C7 Am7D7 Bm7E7 C#m7F#7

ScaleChords Cmaj7 Dm7 Em7 Fmaj7 G7 Am7 Bm7( 5)ScaleDegree I II III IV V VI VII

ChordsinboltareusedinSaysYou.*1:F7isusedintwodifferentwaysinthistune.Itisusedasasubstitutedominantchord,butalsoasamodalinterchangechordIV7,whichderivesfromeitherCDorianorfromCBlues.ItsuseasasubstitutedominantwillresultinaLydianDominantsoundwhereasitsuseasamodal interchangechordfromCDorianorCBlueswillresultinaMixolydiansound.Wesperceivesitbothways,aswewillseelaterinthisessay.*2Em7 is not used as a diatonic chord. Instead the chord Em7(b5) is used. ItfunctionsprimarilyastherelatedIIchordofthesecondarydominantchordA7(V7/II).Itsorigin,yet,isfromCMixolydianandthereforecanalsobeseenasamodalinterchangechord.

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The first Asection commences with the tonic chord C in bar 3. F7 in thefollowingbaristhesubstitutedominantwithanexpectedresolutiontotheIIIchordEm. Itsresolution,though, isdeceptiveas it isgoingtoEm7(b5) inbar5,whichisamodalinterchangechordfromCMixolydianandpartofasecondaryIIVprogression.BeforegoingtoitsrelatedVchordA7inbar6,thesubstitutedominant chord Bb7 is interpolated. The secondary dominant chord A7 thenresolves as expected to the II chord of the key in bar 7. The primary IIVprogressionDm7G7inbars7and8doesnotresolve.InsteadavariationofaIIIVIIIV turnaround isused inbars9and10.The IIIchord isdominantandfunctionsas thesecondarydominantof theVIchordwhich isalsodominantand therefore the secondary dominant of the II chord Dm7. The primarydominantstritonesubstitutechordDb7replacesG7andleadsbacktothetonicchordinthesecondAsection.

The secondAsection isharmonicallyvery similar to the firstAsection.Onlythe lasttwobars (bars1718)aredifferent.ThistimethedominantchordG7(bar16)resolvesasexpectedtothetonicchordCmaj7inbar17.

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

IIm7(V7) (V7/VI) V7/II IIm7SubV7

IIm7V7 Imaj7


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TheBsectionconsistsexclusivelyofconsecutivedescending IIVprogressionsandcanbeanalysedasasequenceofdominants.StillallchordsarepartoftheharmonicuniverseinCMajor.ThesequencestartswithasecondaryIIVprogressionoftheIVchord(bars1920). It resolvesdeceptively to the IVm7 chord (bar21),which is the startingpointofthenextIIV,thistimeasubstituteprogression(bars2122).Expectedresolution to the VI chord Am7 does not happen. Instead the sequencecontinues with another substitute IIV progression (bars 2324) with aresolutiontotheVchordofthekey(bar26).Theresolution,though,isdelayedbyonebarasthediatonicchordDm7isinterpolatedinbar25toformafinal,primaryIIVprogressioninthebridge.ThisleadsbacktothetonicchordinthelastAsection.

ThelastAsectionisidenticaltothesecondAsectionwiththeexceptionoftheverylastbar(bar34).ThedominantchordG7leadsbacktothetopoftheformwhichservesasthebeginningofWesguitarsolo.

(V7/IV) (SubV7/VI)

(SubV7/V) IIm7 V7


IIm7V7 Imaj7 V7sus4

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TheverylastAsectionofthetunestartsthesamewayasthesecondAsectionand is identical to it until bar 240. Then,G7 does not resolve to Cmaj7. Thisresolution is delayed by a turnaround of four bars (bars 241244). ThedominantIIIchordE7inbar241functionsasthesecondarydominantwithanexpectedresolutiontoAm7.Insteadanaltereddominantchord,functioningasasecondarydominantisused(bar242)toresolveexpectedlytothediatonicIIchordDm7 inbar243. It formsaprimary IIVwithG7 inbar244. Insteadofendingthesonginthenextbaronthetonicchord,anotherIIVprogressionistaggedon(bars245246)tofinallybringthetunetoanendonthetonicchordCmaj7inbar247.


IIm7V7 V7/VI V7/II

IIm7V7Imaj7 IIm7 V7sus4 Imaj7

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MelodicAnalysisInorder toanalyseWessolowith reference to themelodyof SaysYouwewillnowhavealookatthemelodiccontentofthecomposition.All Asections start with a twobar, eighthnote bebop phrase, which ispredominantly in the keyofC.Over the tonic chordC inbar3 themelodicmaterial isexclusivelyderived from theCMajorBebop scale,composedofadescendingCMajor triadwhich isconnectedbyanapproachnote (AN) toadescendingDMinortriad.ThesecondbaroftheAsection(bar4)startswithachromaticapproachnote(AN)and thencontinueswithanotherdescendingCMajor triad, followedbyfurthernotesoftheFDominantBebopscaleandtargetingananticipatedrootnote E of the first chord in the next bar (TN). Together with the chordalanswer(bars56)bars3to6formthefirsttheme(Theme1)ofthetune.

ThemelodyoftheAsectionfinishesonatwoandahalfbarphrase(bars68),forming a second theme (Theme 2). It exclusively contains notes of the CMajor scale. The first half (bars 67) is composed of an ascending anddescendingAMinortriadresultinginaDm9sound.Itisrhythmicallyvariedasituseslongernotevalues,restsandsyncopation.Thesecondhalf(bar78)startswithanFmaj7arpeggiofragment,followedbyaCMajortriadresultinginaG7(13)sound.Itexclusivelyuseseighthnotes.Theme2finisheswithananticipatedrootnote(TN)ofthetargetchordE7inbar9.Bar7 is called M1 as it forms a motif, which Wes uses in his solo in differentvariations.

AN AN TN

Theme1 Theme2

Theme2

CTriad DmTriad CTriad ChordalAnswer AmTriad

AmTriad Fmaj7 CTriad TN

M1

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ThesecondASectionisstructurallythesameasthefirstAsection.Themelodyfinishesdifferentlyinbar16.InsteadoftheCMajortriad,anAmtriadisusedandthemelodyconcludeswithaCmaj7arpeggiofragmenttargetingthenoteC(TN)whichanticipates the tonic chord inbar17,giving themelodya strongpoint of resolution. Because of the different endings Theme 2 is thereforereplacedbyTheme3.ThelastASection(A3)ismelodicallyidenticalwiththesecondASection(A2).

Theme1 Theme3

Theme3

CTriad DmTriad CTriad ChordalAnswer AmTriadAN AN TN

AmTriad Fmaj7AmTriad Cmaj7Fragment

TN

M1

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TheBSection introducesanew thematic idea.Aonenote,onebar rhythmicmotif (M2), built on the ninth of the chord first chord (Gm9) is followed byshortanswer,which targets therootnoteof thesecondchord (C13), formingTheme4(bars1920).Theanswer iscalledM3as itwillalsoappear later inthesoloindifferentvariations.The same theme is repeated, sequenced by awhole tone (bars 2122), andthen sequenced again (bars 2324). The BSection ends on another typicaleighthnotebebopline(bars2526,Theme5),predominantlyinCMajor,usedwithascalarapproach.Italsofinishesontherootnoteofthechord.

SummaryMelodicAnalysis:The melody contains diatonic triadic arpeggios, with the occasional use ofchromaticapproachnotes.Scalarpassages refer to theCMajor, theCMajorBebop and the FDominant Bebop scale. Predominantly eighthnote beboplinesarealteredwithsyncopatedsimplerhythmicfiguresandmotifs,creatingaconversationwithin.

Theme4 Theme4(sequenced,downawholetone)

Theme4(sequenced,down2wholetones) Theme5

Onenote,rhythmicmotif(M2)Answer(M3)

AN

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SaysYouBebop,WesMontgomeryStyleStructureOfTheSoloAndItsDynamicProfileWesMontgomeryssoloofSaysYouisthreechoruseslongwithaneightbarsolotagovertheBSectionbeforegoingtothefinalASection.ThefirstchorusofWesMontgomeryssolobeginswithhigherpitchednotesatthe start of the sections leading to lower registers towards the end of thesections.Amixofbluesandbebopphraseswithclearbreathingspacecreatesaconversationwithin,whichcanbeseenasthedevelopmentofthecallandresponse ideas in the inhead. The Bsection ismore playful and conveys amorebouncing feeldue toquicklyascendinganddescendingarpeggio ideaswith lessspace inbetweenphrases.The firstchorus finishes inabluesywaywithlessbusylines.The second chorus introduces longerphraseswith less space. This gives thesolomoredensityandraisestheintensitylevel.ThelastAsection,again,usesbluesyideasbutclearlydoesnotevokeafeelingofclosure.A third chorus concludes Montgomerys solo with extended harmonic andmelodic content. Smaller subdivisionsand slightly louderdynamicsbring theimprovisationto itspeak inthe lastbridgeofthesoloafterwhichthe lastAsectionfinisheswithamixofsinglenoteandharmonicblueslines.The rhythmsectioncompscarefullyduring the firstchorusbutcomplementsthesoloist.Feldmanusesmidrangedvoicings,playedwithstaccatoandalmostnosustain,andchangestoahigherregisteratthestartofthe lastAsection,bringingitbackdownforthenextchoruswhichheplaysinasimilarwaywiththeexceptionofstayinginmidregister.Thebasswalksthroughoutandfollowsthe soloists intensity level by adjusting his lines in register, going higher formore intensephrasesand loweratstrongresolutionpoints.LouisHayesusesbrushesfortheentirepiece,providingasteadyfourfeelgroove.Hemarksthetransitionsbetweenthesectionsandstarts interactingshortlyduringthe lastAsectionof the first chorusofWes solo. In the second chorushe interactsregularlybutatparticularchosenpoints,whichraisesthesoloto itsclimax inthelastchorus.ApartfromtheBsection,whenbothFeldmanandHayes leavea lotofspaceforthesoloist,thelastchorusisplayedataveryhighintensitylevel.Thepianois a lot busier and uses only high registered chords while the drummerincreaseshisplaying,aswell.

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NoteDensity

Inthefollowinggraphiconecanseethechangeofnotedensityinthedifferentsectionsduringthecourseofthesolo.

With regards to the intensity level and reference to the note density Wesbuildsuphissolograduallyduringthefirstthreesectionsofthefirstchorus(A1.1B1.1).HebringsitdowninthelastAsection(A3.1).Thefirstthreesectionsofthesecondchorus(A1.2B1.2)stayatamediumlevelofnotedensity.Again,heplayslessinthelastAsection(A3.2)Thelastchorusisfullofcontrasts.Hestartswithahighintensitylevel(A3.1),dropsitrightdowninthesecondAsection(A3.2)andraisesittothepeakinthebridge(B1.3),beforebringingitrightdowntothelevelhestartedattheverybeginning.NoteChoiceInGeneralAdifferentobservationcanbemadeby lookingatthechoiceofnotesduringthe solo in general. The peak of intensity with regards to tension andchromaticisms is placed at the start of the third chorus. The tension levelalwaysraisesattheendofeachchorus.WhilethenotedensityincreasesintheBsectionstensionsareused less.This leadstotheconclusionthatwhenWesplays more notes, he refers to diatonic notes rather than tensions orchromaticisms.

0

10

20

30

40

50

60

70

A1.1 A2.1 B1.1 A3.1 A1.2 A2.2 B1.2 A3.2 A1.3 A2.3 B1.3 A3.3

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Here is a graphicwhich displays the use of chromaticisms and nondiatonicnoteswithinthesections.

Another interesting fact aboutWes note choices is that the key note C isplayedatotalof97timesthroughoutthesolo,whichis18%ofallnotes.Inthefirstchorusherefers25timestothekeynote(13.8%ofallnotesplayedwithinthefirstchorus), inthesecondchorus32times(18.6%)and inthe lastchorus40times(21.6%).

0

2

4

6

8

10

12

14

A1.1 A2.1 B1.1 A3.1 A1.2 A2.2 B1.2 A3.2 A1.3 A2.3 B1.3 A3.3

0

100

200

300

400

500

600

1stChorus 2ndChorus 3rdChorus TotalOtherNotes 156 140 145 441KeyNote'C' 25 32 40 97

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Tosumup,wecanseethatalthoughheiscreatingmoretensioninthelastchorusofhissolohealsorefersalotmoretothekeycentreC.

PitchContourAndDensityOfRegistersWhen looking at the pitch contour of the solo there are some interestingdevelopmentstonotice.Firstofalltheoverallintervallicrangeisverysimilarinallthreechoruses.Yettherearesubtledifferences inthedevelopmentofthesolo.Inthefirstchorusheplaysthelowestnote(nadir)ofhissolowhichisinthesecondAsectioninbar48(G).

In total there areonlyeighthnotesplayed in the greatoctave in theentiresolo.Sixoftheseareplayed inthefirstchorus,two inthesecondchorusandnoneinthelastchorusofsolo.

0

1

2

3

4

5

6

7

1stChorus 2ndChorus 3rdChorus

GreatOctave

nadir

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Inthesmalloctavethedensityofnotesgoesfrom55notesinthefirstchorusover43notesinthesecondchorusto39notesinthelastchorus.

Theoppositedevelopmentcanbeseeninthehighregister.Inthefirstchorusheplays11notes inthesecondoctave,thesecondchoruscontains17noteswithin the secondoctave and in the third chorus there are 38notes in thisregister.

0

10

20

30

40

50

60


SmallOctave

0

5

10

15

20

25

30

35

40


2LineOctave

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It is thereforeveryobviousthathepurposelydevelopshissolo froma lowerrangedensityinthefirstchorustoahigherrangedensityinthelastchorus.Thisissupportedbythefactthattheapexofhissoloisplacedinthethirdandlastchorus.Itisinbar118,thefourthbaroftheBsection(g).

Theoverallrangeofthesoloisexactlythreeoctaves:fromtheGreatGtog.1stChorusInthefollowinggraphicthepitchcontourofthefirstchorusisshown.Wecansee that he consistently changes his direction in his phrases. Anotherinteresting aspect is that he frequently refers to the key note C, especiallymiddleC (c).Hedoesnotdescend tovery lownotes in theBsection (B1.1)andthe lastAsection(A3.1)whereasthefirsttwoAsectioncoverquiteabigrange: fromeb to theGreatA inA1.1and fromB to theGreatG (nadir) inA2.1.

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

apex

GreatAGreatG(nadir)

C

ebb

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2ndChorusThe second chorus reveals similar aspects of his playingwith regards to hisomnidirectionalplayingstyle.ButthistimehestaysclosetomiddleCduringthe firstand lastAsections (A1.2andA3.2).Notes inahigher range canbefound in the secondAand theBsection (A2.2andB1.2).Theonly timeheusesabigrangeinhisphrasingisintheBsection:fromctotheGreatAb.

3rdChorusThe third chorus is in essence the same as the second chorus.While allAsections evolve in between middle C and c the Bsection covers a biggerrange,alsoleadingtothepeakofthesolo:g.Asalreadymentioned,thelowerregisterisrarelyusedinthischorus.

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

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

C

C

Great Ab

G(apex)

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Hereisagraphicwhichdisplaysallthreechorusesincomparison: 1stChorus2ndChorus

3rdChorus

Themain two aspectswhich canbederived from the comparison are

thatfirstofallthesecondandthirdAsectionareverysimilarincontourandrange,andsecondlytheAsectioninthefirstchorusofsolo,aswellastheBsectioninthesecondandthirdchorususeamuchbiggerrangethanallothersections.

Thenadirisplacedinthefirstchorus,whereastheapexisplayedinthelastchorus.

PhrasesInTheSoloAfter lookingat thegeneraloutlineof the solo,wewillnowhaveadetailedlook at the phrases.Here is the transcribed solo in its entiretywith all thephraseslabelledinchronologicalorderforeasyreference.

A1 A2 B1 A3

nadir

apex

C

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A3/A1.1 Phrase01

A3/A1.1P01 A1.1Phrase02

A1.1Phrase03 A2.1Phrase04

A2.1P04 A2.1 Phrase05

A2.1Phrase06 B1.1Phrase07

B1.1P07 B1.1 Phrase08

B1.1P08 B1.1/A3.1Phrase09

B1.1/A3.1P09 A3.1Phrase10 A3.1Phrase11.1

A3.1P11.1A3.1P11.2A3.1P11.3 A3.1 P11.4 A3.1/A1.2 Phrase12

i

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A3.1/A1.2Phrase12 A1.2 Phrase13 A1.2 P14

A1.2P14 A1.2Phrase15

A1.2P15 A2.2Phrase16 A2.2 Phrase17

A2.2P17 A2.2Phrase18 B1.2 P19


B1.2Phrase21 B1.2 Phrase22

A3.2Phrase23 A3.2 Phrase24

A3.2P24 A3.2Phrase25 A3.2 Phrase26

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A1.3Phrase29 A1.3/A2.3 Phrase30

A1.3/A2.3P30 A2.3 Phrase31 A2.3 P32

A2.3P32 A2.3Phrase33 B1.3Phrase34


B1.3Phrase36 B1.3 Phrase37 A3.3Phrase38

A3.3P38 A3.3 Phrase39 A3.3Phrase40


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MelodicAndHarmonicContentOfPhrasesTobeabletoanalyseMontgomerysinterpretationofthetuneitisimportanttoknowwhattheprimaryscalechoicesforthechordprogressionsare.

ForthesecondandlastAsectiontheprimaryscaleforlasttwobarsisCMajor.

B1.4Phrase43 B1.4 Phrase44 B1.4 P45

B1.4Phrase45 B1.4 Phrase46

CMajor FLydianDominant ELocrianBbLydianDominant

AMixolydian

DDorianDbLydianDominant

EMixoAMixo(b9/b13)(b9/b13)

GMixolydianDDorian

DDorian GMixolydian

BbMixolydianFDorianGDorian

EbDorian AbMixolydian

CMixolydian

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UseOfMotifs:Beforewecontinue,wearegoingtohaveaquicklookatWesmotivicandthematicinspirationsagain.HeusesthreedifferentmotivicideasfromthemelodyintheInHead:M1(5thbarofAsections) M2andM3(1stbarand2ndbarofBsection):

ThroughouttheanalysisvariationswillbelabelledM1.1,M1.2,M2.1,etc.

M1M2 M3

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Analysis1stChorusIncludingPickUpA1.1Phrase01:In bar 33, a CMajor scale pattern with chromaticisms is used. The firstchromatic note is a chromatic approach, the other two chromaticisms areescapetones(ET).Theessentialsoundinbar34isGMixolydian,whichisbasedonatripletFmaj7arpeggio,oneofWestrademarks.ThepickupendsontheAndoffouronthe4thdegreeofG7,whichcreatesasuspension,becoming the rootnoteof thetonicchordinthefirstbaroftheupcomingAsection.ThisisadeviceWesusesa fewtimes inhissolo.The firstbar (bar35)ofA1.1containsa2notemotif(M2.1) which is derived from the onenote motif in the Bsection of themelody.

Phrase02:ThesecondphrasestartswithavariationofM3(M3.1)andreflectsthebasicsoundof thechordswith theuseofchord tonesandavailable tensionswiththe exception of the target chord A13. Over the F7 chord Wes uses asymmetrical shape consisting of twoperfect 4thswhich are connectedby awholetone.Heeitherhearsthelastchordoftheprogression(A13inbar38)asanA7(#9)orAm7ashechoosestoplaythenote C,anticipatedbya fullbeat.Bars7and8formavariationofmotifM1(M1.1).To linkchordsheoftenuses socalled pivotnotes (PN),whichareavailabletensionsorchordtonesinbothchords.InthiscasetheCisthe9thdegreeinBbbutalsothe#9inA7(orb3inAm7).

p4p4M1.1

CrCr/ETCr/ETFmaj7Arpeggiosusp.A3/A1.1Phrase01

M2.1 M3.1,F9sound ELocrian/BbLydianDominantA7(#9)orAm7A3/A1.1P01 A1.1Phrase02

PNi

A

DADA A

Apexof1stchorus

34

Phrase03:The third phrase beginswith straight forward played scale fragments of DDorianandGBebopDominantwiththeinclusionofanindirectresolution(IR)inbar40.Aleapofaperfectfourthinconjunctionwiththeuseofapivotnote(PN)connectsbars40and41.ThephrasefinishesonavariationofM3.M3.2isanintervallictransformationoftheinitialmotif.

DDorianGBebopDom. |M3.2| GMixolydianA1.1Phrase03 A2.1Phrase04

PN

IR Leap:p4

35

2ndChorusA1.2Phrase12:Phrase12beginsinthesecondlastbarofthelastAsectioninthefirstchorus(A3.1).ACMajorscale idea,startingon the6thdegreeof thescale,picksupthe phrase in bar 65. In the following bar (bar 66) the primary MixolydiansoundofthedominantchordG7sus4ischangedintoaMixolydian(b13)soundtocreatemore tension leading to the firstAsectionof thenext chorus (A1.2).Additionaltensioniscreatedbyanascendingleapofanaugmented5thintervalwithinthephrase.Afterastrongresolutiononbeat1,withthe5thofthetonicchord the phrase continues with another CMajor scale segment, this timestarting on the 5th degree of the scale. Bar 67 is a rhythmic and intervallictransformedmotif M1 (M1.4). The phrase ends with an FLydian Dominantsound, being the result of scalar passages followed by a descending EmArpeggio, which includes a leap of a perfect 4th. The very last note (bb)anticipatestheupcomingEm7(b5)chordinbar69.This is one of two phrases (phrase 01 being the other one) connecting twoadjacentchoruses.Itisalsothesecondlongestphraseofthesolo,takingup15beatsover4bars.

Phrase13:SimilartothefirstAsectionWesusesonlyafewnotestodescribethesoundofthechordBb13.Herehe includesachromaticapproachandthe#11ofthechord(bar69).Inthenextbar(bar70)anindirectresolution(IR)targetsthe5thdegreeofthechordA7anditsprimaryfunctionwithinthescaleisused,whichisAMixolydian(b13).

CMajorscale(M1.4)FLydianDominant A BbLyd.Dom.+CrA7(b13)M2.3A3.1/A1.2 Phrase12 A1.2 Phrase13 A1.2 P14

Cr#1113b13A

Leap:p8 EmArpeggio

p4 IRPN

CMajorscaleGMixolydian(b13)+CrA3.1/A1.2Phrase12 Cr/PT

Leap:#5

36

Phrase14:Phrase14(M2.3)isamodifiedsegmentationofM1andcommencesinbar70with an anticipation (A)on the Andof four. Thisnote (e) also serves as apivotnote(PN)asitisthe5thdegreeoftheA7chordaswellasthe9thdegreeoftheDm7chord.

Phrase15:The followingphrase again contains scalar and arpeggio ideas.Bar72 startswithadoublechromaticapproach,followedbyaBm7(b5)arpeggiocreatingaGMixolydian sound.The connection to the followingbar isagain createdbyaleapofadescendingperfect4thinterval.Inbar73,WesplaysadescendingAMixolydian scale and therefore creates a more Dorian sound instead of adominant E7. The phrase finishes with an FMajor triad over a Dm7 chord,creatingaDDoriansoundwhichisfollowedbytwonotes,spellingaDb9chordandapassingtone(PT)whichresolvesinthe5thdegreeofthetargetchordCinbar75.

Bm7(b5)Arpeggio PN

M2.3 DCHRGMixo |(EDorian)AMixolydian|FMajortriadDb9PTA1.2P14 A1.2Phrase15

Leap:p4 Leap:#5

37

3rdChorusA1.3Phrase27:Thethirdchorus isnotconnectedtotheendofthesecondchorus.Wesdoesnotuseapickuptointerlinkthesectionsandchoruses.Yetheusesthesameideatostartthechorus.HestartsitwithascalarpassageofCMajor,thistimestartingon thenoteGon the Andofbeatone (bar99). It is followedbyadescendingFLydianDominantscalepatternwiththe inclusionofachromaticpassingtone(Cr/PT).

Phrase28:Phrase28consistsofstraightforwardscalepassages.TheascendingELocrianandBbLydianDominant scale in bar 101 is extended into thenext bar (bar102)anddescendsafterachromaticpassingtone (Cr/PT)asanAMixolydian(b9/b13)scale.ThephrasealsostartsontheAndofbeatone.

CMajorscaleFLydianDominant ELocrianBbLydianDominantAMixolydian(b9/b13)A1.3Phrase27 A1.3 Phrase28

Cr/PTCr/PT

38

Phrase29:Wes begins phrase 29 with a repeated Cmaj7(#5) arpeggio (bar 103), whichcreates aDLydianDominant soundover the II chord. Thephrase continueswith a rhythmic and intervallic transformedmotif ofM1 (M1.8) in bar 104which is, at the same time, the continuation of the descending maj7(#5)arpeggioonlyasemitone lower.The twobarsareagainconnectedbya leap(b7).

Phrase30:The last phrase ofA1.3 contains a lot of harmonic andmelodic devices.Hechangesthesoundofalldominantchords,evenwithinthespaceoftwobeats.Inbar105hestartswithanEsussound,continueswithE7(#9),whichisfollowedby an altered A7 and a plain A7 sound. The use of two consecutive leapsconnectsbar106tothechainofdominantchords.AdescendingDorianscalepassageincludingachromaticpassingtone(Cr/PT)inbar106continueswithatenseDb7(#9)sound,whichafteranotherleapresolvesintoabarofCmaj9whichincludesanotherascendingWesMontgomerytrademarkarpeggio.Thephrasefinisheswiththeb7and5thoverF7.

Cmaj7(#5)Arpeggio|Bmaj7(#5)arp./M1.8|E9sus4E7(#9)A7(alt)A7DDorianDbMixo(b9/#9/b13)A1.3Phrase29 A1.3/A2.3Phrase30

Cmaj7arpeggio |FDominantA1.3/A2.3P30

Leap:b7 Leap:#4Leaps:p5/p4Leap:p5

Cr/PT

39

1stChorusA2.1ThesecondAsection ineachofthethreechorusesrevealssimilaraspectsofWesplayingstyle.Phrase04:The beginning of the fourth phrase (bar 4243) is the exact same as thebeginningofphrase27 inA1.3,with theexception that inA2.1 it starts twobeatsearlier.Thecontinuationofthephrase (bar44) isdifferentbutreflectsan FLydianDominant sound, aswell. It contains an inverted descending EMinortriadwhichleapsintoitsresolutionbyaperfect5thinbar45.ThephraseendswithaonebeatanticipationofthechordBb13.

Phrase05:Phrase 05 is an intervallic transformationofmotifM3. It is therefore calledM3.3.ItcreatesanAMixolydian(b13)sound.Phrase06:AtypicalWesMontgomerybebopphraseconcludesthesecondAsection.TheDDorianscaleinbar47descendsintoaGMixolydian(b9/#9/b13)scalewhichat theendusesaGaugmented triad toendon the lowestnoteof the solo(nadir)and then leapsupbyaperfect5th to resolve in thenextbar (bar49)withaCmaj7arpeggio.

Leap:#5 Leap:p5 Emtriad

DDorianGMixol(b9/#9/b13)Gaugtriad|Cmaj7arpeggio|A2.1Phrase06 B1.1Phrase07

CMajorscaleA1.1Phrase03 A2.1Phrase04

CMajorscale FLydianDominantA M3.3,AMixo(b13)A2.1P04 A2.1Phrase05

Nadir Leap:p5

Cr/PT Cr/PT

40

2ndChorusA2.2Phrase16:Phrase16 isastraightforwardFLydianDominantscale,startingonthe3rdofthechord,2beatsearlyinbar75.Phrase17:TheascendingBbLydianDominantscaleinbar77continueswithadescendingAMixolydian(b9/b13)scaleinbar78andfinishesinbar79withanascendingF#m7arpeggio,whichitselfcreatesaDMixolydiansound.

Phrase18:Again,WesusestheMixolydian(b9/#9/b13)scaleovertheprimarydominantchordG7 (bar80)with the inclusionof chromaticpassing tones (Cr/PT).Theendofthephrase(bar81)representsanothervariationoftheinitialmotifM3.

DMixolydian GMixolydian(b9/#9/b13) |M3.4|A2.2P17 A2.2Phrase18 B1.2P19

FLydianDominantscale BbLyd.Dom.AMixolydian(b9/b13) A2.2Phrase16 A2.2Phrase17 .Leap:p4

F#m7arp.

Cr/PTCr/PT

41

3rdChorusA2.3WhileinallothersectionsWesusescertainscalesincludingchromaticpassingtones,thissectionisentirelyinthekeyofC,withnoalterednotes.Phrase31:This phrase could be interpreted as a fragmented ascending Cmaj7 arpeggiofollowedbyafragmenteddescendingFmaj7arpeggio,creatingthesoundofBbMixolydianinbar109andA7(#9)inbar110.

Phrase32:Phrase32 isanothervariationofmotifM2(M2.6).It isrhythmicallydisplacedandfragmented,butusesthesamepitchesasM2.1inbar35.Phrase33:BecausethewholesectionisinCMajor,theIIchordinbar111isDDorianandusesa fragmentationofM2 (M2.7).TheVchord inbar112 isGMixolydian.The phrase ends with an ascending, anticipated CMajor triad. Althoughmelodicallysimple,therhythmismoreintenseandsyncopated.

M2.6 M2.7/DDorian|GMixolydian|CMajortriadA2.3P32 A2.3Phrase33 B1.3Phrase34

b3Cr/PT2655#9 M2.6A1.3/A2.3P30 A2.3 Phrase31 A2.3 P32

A

42

1stChorusA3.1Phrase10:The10thphraseofthesoloimpliesanFsussoundasWesrefrainsfromusingthethirdofthechord.Insteadheplaysthe4thdegreetwice(bar60).Inbar61hefinishesthephrasewithyetanotherrhythmicandintervallictransformationofM1(M1.3).

Phrase11.111.4:Phrase segments 11.1 to 11.4 (bars 6265) introduce a new twonotemotif(M4), based on delayed attacks (DA) with resolutions on beat one. Phrasesegment11.2 istheexactrepetitionofphrasesegment11.1,whereasphrasesegment11.3 isrhythmicallydisplacedand intervallicallytransformed (M4.1).The last segment (11.4) is an exact sequence of phrase segment 11.1,modulateddownawholetone(M4.2).

M4 DAM4 DAM4.1DAM4.2A3.1P11.1A3.1P11.2A3.1P11.3 A3.1P11.4 A3.1/A1.2Phrase12

Fsus|M1.3 DAM4B1.1/A3.1P09 A3.1 Phrase10 A3.1Phrase11.1

43

2ndChorusA3.2HereisanotherexamplewhereWesusesonlyonescaletoplayoveranentiresection. In A3.2 he applies the CMinor Blues scale to create a bluesyatmospherewithtension,aswellasrelease.Phrase23:Wesstartswithaonenotemotifidea,generatedfromM2(M2.4,bar91).Thesecond half of the phrase consists of a rhythmic displaced intervallictransformationofM1(M1.7).A leapofaperfect5thconnectsphrase23withananticipation(A)tothenextphrase.Phrase24:A variation of M2 (M2.5) continued by a rhythmic displaced and intervallictransformedM3 (M3.7) servesas thebasis forphrase24.TheapplicationoftheCMinorBluesscaleresultsinanAAlteredsound.

Phrase25:Phrase25 isabasicCMinorBlues lick,creatinganappoggiaturatowardsthetargetedb7ofG7(bars9697).TocreatemoretensionheendsontheminorthirdoftheCMinorBluesscale,whichistheb13ofthedominantG7chord.Phrase26:Another straight forward played CMinor Blues scale, followed by a furtherappoggiatura leading intothekeynotecconcludesthethirdAsectionofthesecondchorus.AgainWeshearsasussoundover thedominantchordasheholdsthekeynoteforafullbeat.

Appoggiatura(CmBlues) CmBluesscale appoggiaturacA3.2P24 A3.2Phrase25 A3.2Phrase26

M2.4 |M1.7 AM2.5 |M3.7/A7(alt)CmBluesA3.2 Phrase23 A3.2 Phrase24

Leap:p5

44

3rdChorusA3.3TheverylastAsectionisalsobasedonabluesyapproach.Withtheexceptionofonebar(bar126)WesusestheCMinorBluesscalefortheentiresection.Phrase38:Phrase38(bars122123)isarhythmicdisplacedandtransformedvariationofM1 (M1.10) followed by a descending CMinor Blues scalewith an insertedappoggiatura(app.).Anoctaveleapconnectsphrase38withphrase39.Phrase39:AbluesyinterpretationofM2(M2.8,bars124125)createsphrase39.

Phrase40:Instead of continuingwith the CMinor Blues idea, he decides to use anADiminished triad over the dominantA7 chord in bar 126. This creates anAAlteredsound,whichbuildsupanotherleveloftensiontowardstheendofthesolo.Phrase41Phrase42:Phrase41,aswellas the startofphrase42, is theconclusionof themotivicdevelopmentofmotifM2(M2.9,M2.10,M2.11bars127129).Thevery lastbarof theactualsolo finisheswithanotherCMinorPentatonicscaleidea.WestargetsthemajorthirdofthetonicchordConbeatoneofthefirstbarofA1afterraisingthetensionwithanotherleap.

M2.9|M2.10 M2.11CmPentatonicA3.3Phrase41 A3.3Phrase42

CmBluesapp. M2.8 AdiminishedtriadA3.3P38A3.3Phrase39 A3.3Phrase40

M1.10susp.B1.3Phrase36 B1.3Phrase37 A3.3Phrase38

Leap:p8 Leap:p5

Leap:p4

45

1stChorusB1.1Phrase07:Thestartofphrase9(bar50) isanotherexampleofWesuseof ideasofthemelody.ThefourthbarineachAsectionstartsattheexactsameplaceinthebarandusestheexactfirsttwonotes(aandc).Anotherelementtopointoutis that he already anticipates theGm9 chord by using pivot notes (PN) thatworkoverbothchords:Cmaj7andGm9.Startingthephraseonthe9thdegreeofthe IIchord ina IIVprogression isatypicalcharacteristic inhisplaying.OverGm9inbar51hethenconnectstwoarpeggios(Gm9andA7)inatripletrhythmwhilealsousinganticipations(A).InthenextbarheplaysanothertripletbasedGm7arpeggioandconcludeswithanotheranticipationwhichisfollowedbythenextpivotnote(PN).Againitisthe9thdegreeofthefollowingIIchordFm9inbar53.Phrase08:Thistimehestartshisphrase inthesameplaceofthebar (the Andofbeatthree)butwithalongernote.ThefollowingFm9arpeggioisalsotripletbasedbutdescendsbeforeitascendsafterananticipatedrootnote(A).Heconcludesphrase08with aCm7 arpeggio,used as a variationofM1 (M1.2),whichheconnectswithaleapofaperfect5thtothepreviousbar.

B1.1P08 B1.1/A3.1 Phrase09

Bbmaj7arp.AA7arp.AGm7arp.PN/9Fm9arp.AFm9arp.Cm7/CmBluesM1.2B1.1P07 B1.1 Phrase08

PN/9PNPN/9A2.1Phrase06 B1.1Phrase07

46

Phrase09:ThelastphraseofthefirstBsection(B1.1)isthelongestphraseinthesolo.Itisplayedover5barsandmeasuresupto16beatsintotal.ItstartsonananticipationwithtwoadjacentscalarpassagesinAbMixolydianandDDorian (bars5557)withthe inclusionofadoublechromaticapproach(DCHR), chromatic passing tones (Cr/PT) and escape tones (ET). The phraseends with a Bm7(b5) arpeggio over the primary dominant chord G7 (bar 58)followedbyanascendingCMajortriad,implyingavariationofM2(M2.2).bar55isanintervallictransformationofM2.1.Bothmotifstargetthekeynotec.

2ndChorusB1.2Phrase19:The firstphrase in theBsectionof the second chorus also startson the9thdegreeofthe IIchordGm9(bar82). It isalsoanticipatedandpartofavariedmotifM2(M2.4)andleadswithadescendingDm7arpeggiointotherelatedVchordC7(bar83).An intervallicandrhythmictransformationofM1(M1.5) inbar84finishesthephrase.Wesusesaleapofaperfect4thtoconnectthebars.

M2.4|Dm7arp.|CMajortriadM1.5B1.2P19 B1.2 Phrase20

A/9A2.2P17 A2.2Phrase18 B1.2P19

M2.2CMajortriadB1.1/A3.1P09 A3.1Phrase10 A3.1Phrase11.1

AAbMixolydianDCHRDDorianCr/PTETET|Bm7(b5)arp.|B1.1P08 B1.1/A3.1 Phrase09

Leap:p4

47

Phrase20:ThesecondphraseinB1.2(bars8586)consistsofadescendingFm9arpeggio,alsostartingonthe9thdegreeofthechordintherhythmofM3(M3.5),andadescendingCm7arpeggiowiththeminorthirdomitted,beingamodified ideaofM1(M1.6).Notehowheconnectsthetwobars,aswellasthetwophrases(phrase19and20)withaleapagain.

Phrase21:Phrase21(bars8788)isastraightforwardplayedAbMixolydianscale,whichisinterruptedinthemiddlebyanescapetone(ET).Phrase22:The lastphraseofB1.2 (bars8990) startson the9thdegreeof the II chord,again.ItiscomposedofaDm9arpeggiowithanomittedb7thwhichleadsintothenextbarwithananticipatedpivotnote(PN/A).ItsfinishisanascendingGDiminishedwholetonescalewithaleapofanaugmentedfourthattheend.

EbDorian/AbMixolydianET9M3.6Dm9arp.PN/AGDiminishedWholeB1.2Phrase21 B1.2Phrase22

9M3.5Fm9arp.|M1.6Cm7orCmPent/BluesB1.2P19 B1.2 Phrase20

Leap:p4 Leap:p5

Leap:#4

48

3rdChorusB1.3B1.3isinitsessenceverymuchaliketoB1.1.Phrase34:Phrase34commencestheexactsamewayphrase07starts.Achromaticpickup note (PUN) in bar 115 lets the phrase continue to ascend instead ofdescend. The descending part follows in bar 116 with a CMixolydian scalepattern.Phrase35:Wes leapsdownaperfectoctavetocontinuewiththesame idea.Arhythmicdisplacedsequenceofbars114and115culminate intheclimaxoftheentiresolo.Afteryetanother leapheplacestheapex inbar118,which itselfstartsanothervariationofM1.(M1.9)inBbMixolydian.

Phrase36:After a leap of a perfect fourth the 36th phrase descends with a straightforwardplayedEbDorian/AbMixolydianscale.Phrase37:ThelastphraseoftheB1.3beginswithapickupnote(PUN)ontheanticipatedAndoffour,continueswithanascendingDDorianscale,endinginanEMajortriad,whichleapsuptoe.TheEMajortriadanticipatestheG7chordbytwofullbeatsandgivesitaGDiminishedwholetonesound.

9EbDorianAbMixolydianPUNDDorian|EMajortriad|B1.3Phrase36 B1.3Phrase37 A3.3Phrase38

Bbmaj7arp.Cr/PUNGm7arp.|ACMixolydian|Arhythmicdispl.sequenceofbars114115|M1.9BbMixolydianB1.3P34 B1.3Phrase35

PN/9PNPN/9 B1.3Phrase34

Leap:p8Leap:p4apexLeap:p4

Leap:p4

49

TagB1.4Phrase43:TheverylastBsectionofthetuneisplayedasatagofWessolo.Hestartshisconclusiononthe9thdegreeoftheGm9chord(bar226),continueswithaGDorianscalepassage,ascendswithaGm7arpeggio(bar227),whichisfollowedbyanEm7(b5)arpeggiooverC7(bar228)andadescendingFMajortriad.Phrase44:Hethenleapsupaperfectfifthtostarthisnextphraseonthe9thdegreeoftheFm9chord(bar229).AdescendingFDorianscale leapsattheend intoafinalmotivicvariationofM1(M1.11,bar230).

Phrase45:Thesecond lastphraseof the tunebeginswithananticipation (A/PN)of therootnoteoftheEbm9chordandusesanascendingEbm7arpeggiotoconcludethedevelopmentofM3(M3.8).Afterabigleapdown,anotheranticipationofthe same note eb (A/PN) is the starting point of the same arpeggio, onlyextendedbyits9thand11thdegreeandplayedindoubletime.Phrase46:HeconcludeshistagwithadescendingDm9arpeggio(bar233)which insteadof the b7 uses a chromaticism (Cr) to leap down an augmented fourth andfinishontherootnoteoftheDm9chord.5barsofspaceleadbacktotheverylastAsectionandendingofthetune.

9GDorian|Gm7arp.||Em7(b5)arp.|FMaj.Triad9FDorianM1.11A/PNB1.4Phrase43 B1.4Phrase44 B1.4P45

M3.8Ebm7arp.A/PNEbm9(11)arp.9CrDm9arp.B1.4Phrase45 B1.4Phrase46

i

Leap:p4

Leap:b7

Leap:#4

50

IntervallicRangeOfPhrasesMostofthephrasesarerangingbetweenoneandtwooctaves.Thefollowinggraphicshowsfourdifferentcategories:

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

1. Phrase352. Phrase363. Phrase37

Theyareallpartofthesamesection(B1.3),ofwhichphrase36alsocontainstheapexofthesolo.

2octavesormore

between1&2octaves

lessthan1octave

B1.3P34 B1.3Phrase35

B1.3Phrase36 B1.3Phrase37 A3.3Phrase38

apex

51

PhraseConstructionWesusesvariouswaysofconstructinghisphrases.Themaintwo ingredientsofhisphrasesare lyrical linesandmotivic ideasanddevelopment.Thesinglenote linescanvary in lengthwhereasthemotifsareusuallyonebar long,butcouldberhythmicallydisplaced.Hisbluesystyleofplaying ismostevident inhis innerdialoguewhich iscausedbycallandresponse ideasthroughoutthesolo.Hereareafewexamples:

1) PhraseConstruction1:Atwobarlyricallinefollowedbyamotivicanswer.a) PickupbarsofA3,bars3334(call)intothefirstchorusofsoloA1.1,

bars3538(response):Phrase01

b) Chorus1,A3.1,bars6566(call)intothesecondchorusA1.2,bars67

68(response):Phrase12

Call:LyricalLine

Response:MotivicIdea(threeconsecutivemotifs)

Call:LyricalLine

Response:MotivicIdea(extendedbyaonebarline)

52

2) PhraseConstruction2:Ashortlinefollowedbyamotivicanswer.a) Chorus1,A3.1,bar60(call)andbar61(response):Phrase10

b) Chorus2,A2.2,bar79(call)andbar80(response):Phrase18

3) PhraseConstruction3:Alonglyricallineorconsecutivelinesfollowedbymotivicanswer.a) Chorus1,B1.1,bars5053(call)andbars5455(response):Phrase07

andPhrase08

Call:ShortLineResponse:MotivicIdea

Call:ShortLineResponse:MotivicIdea

Call:TwoConsecutiveLinesResponse:MotivicIdea+Tag

53

b) Chorus3,B1.3,bars114117(call)andbar118(response):Phrase34andPhrase35

4) PhraseConstruction4:Consecutivemotivicideas.a) Chorus2,B1.2,bars8384(call)andbars8586(response):Phrase19

andPhrase20

b) Chorus2,A3.2,bars9192(call)andbars9394(response):Phrase23

andPhrase24

Call:TwoConsecutiveLinesResponse:MotivicIdea

Call:TwoConsecutiveMotifsResponse:TwoConsecutiveMotifs

Call:TwoConsecutiveMotifsResponse:TwoConsecutiveMotifs

54

PhraseDevelopmentAnother significantdeviceWeswould refer to is the ideaof takingaphraseandapplyitsrhythmic,melodiccontentoritsshapeagainatalaterstageinasimilarplace.Inmostcaseshewouldthendisplacethephraserhythmicallyorchangeitsshapeormelodiccontent.Herearesomeexamples:

a) Chorus1,A2.1Phrase04(bars4749)

andChorus2,A1.2Phrase15(bars7274)

b) Chorus1,B1.1Phrases07and08

andChorus3,B1.3Phrases34and35

55

RhythmicContentThisparagraph showsMontgomerys rhythmicapproacheswhich include thestartingandendingpointsofphrases,thephraselength,theuseofnotevaluesandtheuseofspaceandrests.StartingPoints/EndingPointsWesstartsandfinishesphraseswithoutanyexceptiononallbeatsandonalloffbeats.The followinggraphicsshowhowmany timeshestartsorendshisphrasesonwhichbeat:

He varies his starting and end points a lot. A closer look reveals that hefrequentlystartsorendstwoadjacentphrasesinthesameplace.Mostofthetimehestartshisphrasesonbeat1or4+.Themajorityofphrasesendonbeat4or3+.Themost significant startingpoint isbeat1as itclearlymarks the startofasection.Heusesthisonlyfourtimes:

Inbar91,thefirstbarofA3.2(phrase23),

24%

15%

2%13%7%

15%

4%

20%

StartingPointsBeat1Beat1+Beat2Beat2+Beat3Beat3+Beat4Beat4+

9%

13%2%4%

7%

24%

30%

11%

EndingPointsBeat1Beat1+Beat2Beat2+Beat3Beat3+Beat4Beat4+

56

Inbar127(phrase41)andbar129(phrase42),thefourthandsixthbarofA3.3,and

Inbar233,thesecondlastbarofthetagB1.4(phrase46).

Themost significant ending point is also beat 1, as it creates the strongestpointofresolution.Intheentiresolothisonlyhappensfourtimes,butactuallyonlytwiceonthetonicchord:

Inbars63,64and65(phrases11.111.4),withtheresolutioninbar65beingthestrongestofthethreeand

Inbar131(phrase42),whichistheveryendofhissolo.

All significant starting and ending points are chosen to be in importantstructuralpartsof the soloand the tune.Theyare the lastAsectionsof thesecondandthirdchorus,aswellastheendofthetagB1.4.Intheverylastphrase(phrase42,bars129131)Wesusesthestartingpointonbeat1and theendingpointonbeat1,aswell.Thisshowsastrongsenseofstructureandthecapabilityofcreatingacoherentandperfectend.

57

PhraseLengthThe lengthofphrases isdifferentnearlyallthetime.Here isagraphicwhichshowsthedifferentlengthsofphrasescategorisedinto:phrasesover10beats,8beats,4beatsorlessthan4beats:

Themajorityofphrasesaremidlengthphrasesbetween8and12beats.Shortphrasesareusedtocreatetensionortoplaymotivically.Shortphrasesappearforexamplein:

Bars4546ofA2.1(phrase5),

Bars6265ofA3.1(phrase11.111.4),


LengthOfPhrases10beatsormore

8beatsormore

4beatsormore

lessthan4beats

58


Bars109110ofA2.3(phrase31)andbars11011ofA2.3(phrase32),

Bar126ofA3.3(phrase40),

Bar233ofB1.4(phrase46),

Long phrases usually are played to interlink sections or choruses.Nearly allsectionsareconnectedbyalongphrase.TheonlytwotimesWesdoesnotplayaphrasetolinksectionsorchorusesarebothinthesecondchorus:

1. fromtheBsection(B1.2)intothelastAsection(A3.2)and

2. fromthelastAsection(A3.2)intothefirstAsectionofthethirdchorus

(A1.3).

Inbothcasesheendsaneightbarphraseonbeat4.Bothphrasesalsocontainahighdegreeoftension.

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UseOfSpaceAndRestsWesisanexcellentuserofspaceandreststocreateinterest,tension,releaseandbreathingspace.After long lineswithahighdensityofnoteshealways leavesbreathingspaceof fourbeatsormore. Ifnot,heplaysmotivicallywiththeuseof longnotes,restsandsyncopations.Hereareafewexamplesofhimusingspaceafterlongandbusyphrases:

1. Chorus1,A1.1,bars4142


3. Chorus2,A2.2,bar77andChorus2,A2.2,bars8182

|space|

|space|

|space|

|space|

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UseOfNoteValuesWes uses a big catalogue of different note values. His predominant use ofeighthnotelinesisdiversifiedbytheinclusionofquarternotes,dottedquarternotes,halfnotes,wholenotesand tiednotes. Insertionsof sixteenthnotes,eighthnotetripletsandsixteenthnotetripletshelphimtovaryand intensifyhisphrasing.Withreferencetothemelodyofthesonghemainlyplayseighthnotelines.Heinsertstripletsorsixteenthnotesifhewantsmoreintensityinhisplayingortobuilduptension.Ithappensusuallyinlongerphrases.OneofWestrademarksis the combinationofarpeggios,mostlymaj7,with triplets.He refers to thisdeviceinnearlyeverysolo.Hereareafewexamples:


2. Chorus1,B1.1,bars5153


4. Chorus3,B1.3,bars115117

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5. Tag,B1.4,bars226233

Dottedquarternotes areusually applied in amotivic context. Examples aregivenbelow:

1. Chorus1,A1.1,bar3536

2. Chorus1,A3.1,bar59

Long note values are used at points of rest or in a motivic context. Someexamplesareshownhere:


M2.1|M3.1

M2.2|

M1.1|

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ColouristicAspectsWesmaintechniquesare:

Predominantlylegatolines, pulloffsforappoggiaturasandscalarsixteenthnotepassages, sweepsoverarpeggios, shortslidesinthebluesyphrases, accentuationsinsyncopatedmotivicparts,aswellas staccatoplayednotesattheendofaphraseorinamotiviccontext.

He employs colouristic aspects like slides, accents or staccato to emphasiseimportantnoteswhicharemostofthetimetargetnotesorthestartingnoteofaphraseoramotif.Pulloffsand sweepsare typical technicaldeviceswhichareusedbymanyguitariststoplayfastlinesandarpeggios.HemostcertainlylearnedthesetechniquesbyplayingCharlieChristianssolos.

M2.5,pointofrest|M1.7|M2.6||

M2.10,|M2.11|M2.12,pointofrest|

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ConclusionsMotivicDevelopmentAndWesVocabularyWesMontgomerysstyleofplayingisverymuchreflectedinthissolo.Heusesmanydevicestocreateawellstructuredanddiversified interpretationofthetuneSaysYou.Threemainmotifsofthemelody,whichhevariesinmanyways,arethebasisforhisimprovisationtoconstantlyreferbacktothetune.Throughout the solo M1 appears in 11, M2 in 12 and M3 in 8 differentvariations.Itisveryinterestingthathefinisheshisopeningtwophrases(bars3338)withnearlyalldevicesheusesthroughoutthesolo:Heusesdelayedattacks,anticipation, tripletmaj7arpeggio,eighthnote line,syncopation, intervallic leaps,pivotnotes, suspensions, chromaticisms,bluesandheevenintroducesallthreemotifsalready.

A

p4p4M1.1

CrCr/ETCr/ETFmaj7Arpeggiosusp.A3/A1.1Phrase01

M2.1 M3.1,F9sound/CmBluesELocrian/BbLydianDominantA7(#9)orAm7A3/A1.1P01 A1.1Phrase02

PNiDADA A

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SummaryHereisashortsummaryoftheimportantaspectsofWessoloonSaysYou.

Suspensionsareusedthreetimes:1. Thefirsttimeintheexampleabove,tolinktheInHeadwiththefirst

chorusofsolo(bars3435),2. Thesecondtime inthethirdchorusto linktheBsection(B1.3)with

thelastAsection(A3.3),3. The third time to lead to the last fourbarsof the tag (B1.4)before

goingtotheOutHead. Wes uses leaps either to connect bars, phrases or sectionswith each

other. In the detailed analysis we have seen plenty of examples. Hisfavouriteintervalinthissoloistheperfectfourth.

Pivotnotesarealsousedtoconnectphrasesandbars. Arpeggios are mainly played in the Bsections in conjunction with an

eighth note triplet rhythm. From time to time he also plays triadicfigures.

Anticipations and delayed attacks are predominant at the start of aphrase(ontheAndoffour)ortoresolveaphrasehalfabeatearly(orlate).

The anticipation of changes bymore than one beat is a devicewhichresults of his influence by Charlie Christian, who was known for thisconcept. The same reason applies for Wes use of triadic shapes,arpeggiosandchromaticpassingtones.

InallBsectionshestartsmostofhisphrasesonthe9thdegreeoftheIIchord,usuallyanticipated.Thisisacommonmethod,whichhealsousesinothersolos.

Naturally,Wesisaverybluesyplayer,whichiswhyhelikestogeneraliseentire sections by playing the CMinor Blues scale or the CMinorPentatonicscale.Hedoes it inthethirdAsectionofthesecondchorusand the third chorus (with the exception of bar 126).Occasionally hehintsattheBluesscalewithinthesolo.AnothergeneralisationhappensinthesecondAsectionofthethirdchorus,whereheonlyplayspitchesoftheCMajorscale(withtheexceptionofonenote(Ebinbar108).TheonlytimehedoesnotusetheBluessoundinthethirdAsectioniswhenheconnectsthefirstandthesecondchorus.

OndominantchordshelikestoapplytheMixolydian(b9/#9/b13)scale,whichwasusedduring theBebopperiodbefore theAltered scalewasknownof.AsWestranscribedmanyCharlieChristiansoloshewasusedto this sound for dominant chords. However he also uses the other

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Dominantscalesinhisplaying:Mixolydian,LydianDominant,Mixolydian(b9), Mixolydian (b13), DominantBebop, Altered and Diminished Whole.

OneinterestingfactisthatovertheBb7chordshelikestoplayvariationsofmotifM1.Intheentiresolohedoesitfivetimes.

OvertonicchordsheeitherplaysCMajorscaleideas,motivicvariationsontherootnoteorCMinorBlues.

The contour of his phrasing is very colourful. Wes lines are mostlymultidirectional,unlesshereferstotheonenotemotivic ideafromthemelody of the bridge. His changing ascending and descending lyricallineswithvariationsonresolutionspointsconveysafeelingofan innerdialogue. A lot of variety can be heard when it comes to theseconversations within. It could be a statement which is followed by amotivic answer or a sequence of linear statements which will beansweredby amotifmuch later. Sometimeshe alsouses consecutivemotifstocreatecallandresponse ideas. Ingeneralthough,hisphrasesareconstructedofalyricalline(call)whichisfollowedbyamotivicidea(response).

Hestructureshissolowellandalwaysplaysofthemelody. Ifwe take all analytical aspects into consideration it is very clear that

Wes raises the overall intensity level from the start to the very end.EspeciallythelastBsectionrevealstheplacementofthepeakofhissoloatastrategicallyimportantpoint.

FinalConclusionConclusively,thesolocanbeseenasawellbalancedmixtureoflyricaldiatoniceighthnote lineswith a strong reference to the actualmelody of the tunethrough motivic development. Additionally, Bebop phrases as well as Bluesbased interpretationofentiresectionsarealsomainfeatures inthesolo.It isextremelydiverseandsuperblywellstructured.Hisability tostart lines inasimilarwayand theapplicationofvarioussoundfacetsatsignificantpointsofthesolorevealthatheexactlyknowswhathe isdoingandwhereheis,evenatatempoof206beatsperminute.Alltheabovementioned aspects of his playing, amongst others, are the result of playingeverything by ear. It shows that listening is one of the most importantingredients if not the most important in Jazz improvisation and evenbeyond.

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GlossaryA Anticipation: An onthebeat note is attacked a half beat or a

wholebeatearly.DA DelayedAttack:Anonthebeatnote isattackedahalfbeatora

wholebeatlate.Cr Chromaticism:Anondiatonicnotewhich is insertedtogenerate

smoothmovementofsemitonesbetweenscaletones.PN PivotNote:Anotewhichistiedoverthebarlineandisdiatonicto

bothkeysofthemomentofeitherofthetwobars.DCHR Double Chromatic Approach: Two notes of short and equal

durationmovebyconsecutivehalfstepstoatargetnote.PT PassingTone:aninsertednotewhichgeneratesstepwisemotion.IR Indirect Resolution: Two notes of short and equal duration

approachthetargetnotebyastepfromaboveorbelow.ET Escape Tones: Escape Tones interrupt the up or downward

movement of amelody bymoving in the opposite direction bystep and then leap to catchup to the flowof the ascendingordescendingmelody.

Susp. Suspension:Theprolongingofoneormoretonesofachordintoafollowingchordtocreateatemporarydissonance.Usuallyitisthe4thdegreeofadominantchordwhich isheldoverandbecomestherootnoteofthenextchord.

App. Appoggiatura: a small grace note melodically adjacent to aprincipal note and played simultaneously with or immediatelybeforeit.

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

Theme Athemeisamelodyorportionofamelodythatrecursinatune.M1 Motif1: the firstmotifof the tune.Amotif is a shortmelodic

fragmentorasmallgroupofconsecutivenotes.M2.2 Motif2.2:thesecondvariationofthesecondmotif.MotivicTransformationMotifscanbetransformedintwobasicways:intervallicallyandrhythmically.Intervallictransformationusesthesamerhythmbutdifferentpitcheswhereasrhythmictransformationusesthesamepitchesbutdifferentrhythm.

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SequencesAmotifwhich istransposedtoadifferentkey iscalledsequence.Asequencecan be diatonic or exact. A diatonic sequence stays in the overall key andadaptsthekeysignatureofthetune,whereasanexactsequenceadaptstothekeyofthemoment.Mixolydian(b9/#9/b13)Beforethealteredscalewasamodetoplayoverdominantchords,BebopJazzmusiciansusedtoplaytheMixolydian(b9/#9/b13)scale.ThisisprobablywhyWesstillhearditatthetimeofthesolo.OctaveNamingSystem

Sources TheChordScaleTheorybyBarryNettlesandRichardGraf JazzComposition,TheoryandPracticebyTedPease http://www.thefrezedictionary.com http://www.music.vt.edu/musicdictionary

Documents

Says You Wes Montgomery Analysis