says you wes montgomery analysis

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  • 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

  • 4

    AlbumInformation

  • 5

    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

  • 6

    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.

  • 7

    SaysYouACompositionBySamJonesStructuralOverview

    OutHead/Ending(A+Ending,13bars)

    ContinuationOfGuitarSolo/Tag(1xB,8bars)

    BassSolo(1xAABA,32bars)

    PianoSolo(2xAABA,64bars)

    GuitarSolo(3xAABA,96bars)

    InHead(AABA,32bars)

    Intro(2bars)

  • 8

    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)

    GuitarSolo Chorus2A1.2(bars6774) A2.2(bars7582) B1.2(bars8390) A3.2(bars9198)

    GuitarSolo Chorus1A1.1(bars3542) A2.1(bars4350) B1.1(bars5158) A3.1(bars5966)

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

    Introbars12

  • 9

    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).

  • 10

    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.

  • 11

    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

  • 12

    Wesusesarpeggio ideasover thevery lastBsection (bars227234) tobringthetunebacktothehead.

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

  • 13

    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.

  • 14

    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

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

  • 15

    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 seq