Transcription

MusicAnalysisEssay

SAYSYOU

ComposedbySamJones
AsplayedbyWesMontgomery
OnMovinAlong

TranscribedbyMathiasBaumann

BAJPYear3
01/04/2012

Tableofcontents

AlbumInformation

Introduction

SaysYouACompositionBySamJones

StructuralOverview

StructuralAnalysis

HarmonicAnalysis

MelodicAnalysis

SaysYouBebop,WesMontgomeryStyle

StructureOfTheSoloAndItsDynamicProfile

NoteDensity

NoteChoiceInGeneral

PitchContourAndDensityOfRegisters

PhrasesInTheSolo

Phrasing

Melodic&HarmonicContentOfPhrases
UseOfMotifs

Analysis

st
1 ChorusIncludingPickUp(A1.1,P01P03)

2ndChorus(A1.2,P12P15)
rd

3 Chorus(A1.3,P27P30)
st

1 Chorus(A2.1,P04P06)
nd

2 Chorus(A2.2,P16P18)
rd

3 Chorus(A2.3,P31P33)
st

1 Chorus(A3.1,P10P11)
nd

2 Chorus(A3.2,P23P26)
rd

3 Chorus(A3.3,P38P42)
st

1 Chorus(B1.1,P07P08)
nd

2 Chorus(B1.2,P19P22)
rd

3 Chorus(B1.3,P34P37)
Tag(B1.4,P43P46)

7
9
13
17

20

20
21
21
23
27

31
31
32

33
33
35
37
39
40
41
42
43
44
45
46
48
49

IntervallicRangeOfPhrases

PhraseConstruction

50

51

54

55
55
57
59
62

64

65

65

66

67

68

69

PhraseDevelopment

RhythmicContent

StartingPointsAndEndingPoints

PhraseLength

UseOfSpaceAndRests

UseOfNoteValues

ColouristicAspects

Conclusions

MotivicDevelopmentAndWesVocabulary

Summary

FinalConclusion

Glossary

Sources

AlbumInformation

TrackList:

1. Movin'Along(WesMontgomery)5:40
TaggieMusicCo./OrpheumMusicBMI
2. TuneUp(MilesDavis)4:27
PrestigeMusicBMI
3. TuneUp(MilesDavis)4:39
PrestigeMusicBMI,AlternateTake,Take9
4. I Don't Stand a Ghost of a Chance with You (Victor Young, Ned
Washington,BingCrosby)5:02
MillsMusic,Inc./VictorYoungPublishing,Inc.ASCAP
5. Sandu(CliffordBrown)3:23
SlowDancingMusicBMI
6. Body and Soul (Edward Heyman, Robert Sour, Frank Eyton, Johnny
Green)7:19
WarnerBrothersMusicASCAP
7. BodyandSoul(Heyman,Sour,Eyton,Green)11:17
WarnerBrothersMusicASCAP,AlternateTake,Take2
8. SoDoIt!(WesMontgomery)6:05
Taggie/OrpheumBMI
9. SaysYou(SamJones)4:59
OrpheumBMI

OntheoriginalLPrecordingtracks3and7arenotincluded.
ThealbumwasrecordedOctober12,1960inLosAngeles.
RecordingEngineer:WallyHeider,UnitedRecordingStudios
ProducedbyOrrinKeepnews
CoverDesignbyKenDeardoff,CoverPhotographsbyWilliamClaxton
RecordLabel:RiversideRecords,TenthandParkerBerkeley,CA94710

JamesClayTenorSaxophone,Flute
WesMontgomeryGuitar
VictorFeldmanPiano
SamJonesBass
LouisHayesDrums

Introduction

Wes Montgomery is a very natural and soulful player, mainly because of his
inabilitytoreadchordsoranykindofmusicnotation.Asaresulthedeveloped
a good ear which made him one of historys great musicians. To analyse the
solo of someone who does not have any theory background and therefore
mostlikelydoesnotreallyknowwhatheisdoingseemstobepointless.Butlet
usaskthequestionwheredowederivealltheoreticalknowledgefrom?
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
particularmusician.
For me, learning to know how a natural player like Wes approaches lines,
phrasesandawholesolojustbyearismostinteresting.Theonlywaytofind
outistoanalysehisplaying.
ThisessaywilldepictanalyticalaspectsofhissoloofSamJonescomposition
SaysYou,recordedOctober12,1960onthealbumMovinAlong.Itwillalso
lookatparallelsinothersolosandestablishsomebasicfactsabouthisplaying
style.

Pleasenote:

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
describedinconcert,althoughthenotationistransposed.

SaysYouACompositionBySamJones

StructuralOverview

Intro(2bars)

InHead(AABA,32bars)

GuitarSolo(3xAABA,96bars)

PianoSolo(2xAABA,64bars)

BassSolo(1xAABA,32bars)

ContinuationOfGuitarSolo/Tag(1xB,8bars)

OutHead/Ending(A+Ending,13bars)

Foreasyunderstandingaboutdetailedinformationinthisessayandreferences
aboutparticularformparts,allsectionsinthistunearelabelledasfollows:

Intro
bars12

InHead
A1(bars310)

A2(bars1118)

B1(bars1926)

A3(bars2734)

GuitarSolo Chorus1
A1.1(bars3542)

A2.1(bars4350)

B1.1(bars5158)

A3.1(bars5966)

GuitarSolo Chorus2
A1.2(bars6774)

A2.2(bars7582)

B1.2(bars8390)

A3.2(bars9198)

GuitarSolo Chorus3
A1.3(bars99106)

A2.3(bars107114)

B1.3(bars115122)

A3.3(bars123130)

PianoSolo
bars131194

willnotbeanalysedinthisessay

BassSolo
bars195226

willnotbeanalysedinthisessay

ContinuationOfGuitarSolo
B1.4(bars227234)

OutHead/Ending
A3.4(bars235247)

StructuralAnalysis

Says You is a typical 32bar AABA Jazz standard. The arrangement of this
recordingbeginswithashorttwobardrumintroductionbyLouisHayes.

AftertheintroductionVictorFeldmanandWesMontgomeryplaythemelody
ofthefirstAsection(bars310)inacallandresponsemanner.Thesectionis
eightbarslong.Itcontainsthreestructuralelements:
1) astartingphrase(bars34)
2) achordalresponseand(bars56)
3) afinishingphrase(bars68).
WesstartswithtrademarkoctavesinthefirsttwobarsoftheAsection(bars
34), then switches to block chords in (bars 56) and continues with a single
note line (bars 68). There is no melody played in the last two bars of the A
section,whichfinisheswithaturnaround(bars910).

The second Asection (bars 1118) is very similar to the first Asection. The
startingphraseisplayedasasinglenotelineinsteadofoctaves(bars1112).
ThechordalresponseisplayedexactlyasinthefirstAsection(bars1314)but
theendingofthesecondphrase(bars1416)isdifferent.Thissectionfinishes
onthetonicchord,whichisplayedfortwobars(bars1718).

TheBsection(bars1926)featuresthecomposerwiththebassonthemelody,
whichispickedupinthelastbarofthesecondAsection(bar18).WhiletheA
sections are based on a call and response idea with alternating eighthnote
lines,chordsandmelodicspace,theBsectionisrhythmicallymoredense,yet
melodicallysimpler.Themelodyisbasedonaonenoterhythmicfigurewhich
issequencedthroughdescendingIIVprogressions.

10

FeldmanandMontgomerycompsparselyinthebackground,continuingtheir
callandresponseideas.

The last Asection (bars 2734) is identical to the second Asection with the
exceptionofthelasttwobars(bars3334)whicharethestartofWesguitar
solo.

Theguitarsolo(bars33131)whichisthreechoruseslongfollowsaftertheIn
HeadandstartsinthesecondlastbarofthelastAsection(bar33).

VictorFeldmancontinueswithapianosoloovertwofullforms(bars131194).
The last solo is played by Sam Jones on bass for one chorus (bars 195226),
onlyaccompaniedbyLouisHayesondrums.

beginningofguitarsolo

11

Wes uses arpeggio ideas over the very last Bsection (bars 227234) to bring
thetunebacktothehead.

The last Asection (bars 235242), which is identical to the second Asection
andleadstotheendingofthesong(bars243247).

12

HarmonicAnalysis

TobeabletodrawconclusionsonWesinterpretationofSaysYouitisuseful
toanalysetheharmoniccontentofthetuneitself.
The overall key of Says You is CMajor. It stays mainly within the key or its
harmonicuniverse.

HarmonicuniverseinCMajoranditsuseinSaysYou:

Substitute
IIV
Secondary
IIV
Scale
Chords
Scale
Degree

Aim7Di
7

Bim7Ei7

Dm7G7 Em7A7*2

Cm7F

7*1

Dim7Gi7

Eim7Ai7 Fm7Bi7

Gm7C7

F#m7B7

Gm7C7

Am7D7

Bm7E7

C#m7F#7

Cmaj7

Dm7

Em7

Fmaj7

G7

Am7

Bm7( 5)

II

III

IV

VI

VII

ChordsinboltareusedinSaysYou.

*1:
F7isusedintwodifferentwaysinthistune.Itisusedasasubstitutedominant
chord,butalsoasamodalinterchangechordIV7,whichderivesfromeitherC
DorianorfromCBlues.ItsuseasasubstitutedominantwillresultinaLydian
DominantsoundwhereasitsuseasamodalinterchangechordfromCDorian
orCBlueswillresultinaMixolydiansound.Wesperceivesitbothways,aswe
willseelaterinthisessay.

*2
Em7 is not used as a diatonic chord. Instead the chord Em7(b5) is used. It
functionsprimarilyastherelatedIIchordofthesecondarydominantchordA7
(V7/II).Itsorigin,yet,isfromCMixolydianandthereforecanalsobeseenasa
modalinterchangechord.

13

The first Asection commences with the tonic chord C in bar 3. F7 in the
followingbaristhesubstitutedominantwithanexpectedresolutiontotheIII
chordEm.Itsresolution,though,isdeceptiveasitisgoingtoEm7(b5)inbar5,
whichisamodalinterchangechordfromCMixolydianandpartofasecondary
IIVprogression.BeforegoingtoitsrelatedVchordA7inbar6,thesubstitute
dominant chord Bb7 is interpolated. The secondary dominant chord A7 then
resolves as expected to the II chord of the key in bar 7. The primary IIV
progressionDm7G7inbars7and8doesnotresolve.Insteadavariationofa
IIIVIIIV turnaround is used in bars 9 and 10. The III chord is dominant and
functions as the secondary dominant of the VI chord which is also dominant
and therefore the secondary dominant of the II chord Dm7. The primary
dominantstritonesubstitutechordDb7replacesG7andleadsbacktothetonic
chordinthesecondAsection.

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

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

The second Asection is harmonically very similar to the first Asection. Only
the lasttwobars(bars1718)aredifferent.ThistimethedominantchordG7
(bar16)resolvesasexpectedtothetonicchordCmaj7inbar17.

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

IIm7V7 Imaj7

14

TheBsectionconsistsexclusivelyofconsecutivedescendingIIVprogressions
andcanbeanalysedasasequenceofdominants.Stillallchordsarepartofthe
harmonicuniverseinCMajor.
ThesequencestartswithasecondaryIIVprogressionoftheIVchord(bars19
20). It resolves deceptively to the IVm7 chord (bar 21), which is the starting
pointofthenextIIV,thistimeasubstituteprogression(bars2122).Expected
resolution to the VI chord Am7 does not happen. Instead the sequence
continues with another substitute IIV progression (bars 2324) with a
resolutiontotheVchordofthekey(bar26).Theresolution,though,isdelayed
byonebarasthediatonicchordDm7isinterpolatedinbar25toformafinal,
primaryIIVprogressioninthebridge.Thisleadsbacktothetonicchordinthe
lastAsection.

(V7/IV)

(SubV7/VI)

(SubV7/V) IIm7

V7

ThelastAsectionisidenticaltothesecondAsectionwiththeexceptionofthe
verylastbar(bar34).ThedominantchordG7leadsbacktothetopoftheform
whichservesasthebeginningofWesguitarsolo.

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

IIm7V7 Imaj7 V7sus4

15

TheverylastAsectionofthetunestartsthesamewayasthesecondAsection
and is identical to it until bar 240. Then, G7 does not resolve to Cmaj7. This
resolution is delayed by a turnaround of four bars (bars 241244). The
dominantIIIchordE7inbar241functionsasthesecondarydominantwithan
expectedresolutiontoAm7.Insteadanaltereddominantchord,functioningas
asecondarydominantisused(bar242)toresolveexpectedlytothediatonicII
chord Dm7 in bar 243. It forms a primary IIV with G7 in bar 244. Instead of
endingthesonginthenextbaronthetonicchord,anotherIIVprogressionis
taggedon(bars245246)tofinallybringthetunetoanendonthetonicchord
Cmaj7inbar247.

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

IIm7V7 V7/VI V7/II

IIm7V7Imaj7 IIm7 V7sus4

16

Imaj7

MelodicAnalysis

In order to analyse Wes solo with reference to the melody of Says You we
willnowhavealookatthemelodiccontentofthecomposition.

All Asections start with a twobar, eighthnote 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 CMajorBebop scale, composed of a
descending CMajor triad which is connected by an approach note (AN) to a
descendingDMinortriad.
ThesecondbaroftheAsection(bar4)startswithachromaticapproachnote
(AN) and then continues with another descending CMajor triad, followed by
furthernotesoftheFDominantBebopscaleandtargetingananticipatedroot
note E of the first chord in the next bar (TN). Together with the chordal
answer(bars56)bars3to6formthefirsttheme(Theme1)ofthetune.

Theme1

AN
CTriad

AN

Theme2

TN

DmTriad CTriad

ChordalAnswer AmTriad

Theme2
M1

AmTriad F CTriad

ThemelodyoftheAsectionfinishesonatwoandahalfbarphrase(bars68),
forming a second theme (Theme 2). It exclusively contains notes of the C
Major scale. The first half (bars 67) is composed of an ascending and
descendingAMinortriadresultinginaDm9sound.Itisrhythmicallyvariedas
ituseslongernotevalues,restsandsyncopation.
Thesecondhalf(bar78)startswithanFmaj7arpeggiofragment,followedbya
CMajortriadresultinginaG7(13)sound.Itexclusivelyuseseighthnotes.Theme
2finisheswithananticipatedrootnote(TN)ofthetargetchordE7inbar9.Bar
7 is called M1 as it forms a motif, which Wes uses in his solo in different
variations.

TN

maj7

17

ThesecondASectionisstructurallythesameasthefirstAsection.Themelody
finishesdifferentlyinbar16.InsteadoftheCMajortriad,anAmtriadisused
andthemelodyconcludeswithaCmaj7arpeggiofragmenttargetingthenoteC
(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
replacedbyTheme3.ThelastASection(A3)ismelodicallyidenticalwiththe
secondASection(A2).

Theme1

AN
CTriad

AN
DmTriad CTriad

Theme3

TN
ChordalAnswer AmTriad

Theme3
M1

AmTriad

maj7

TN

AmTriad

maj7

Fragment

18

The BSection introduces a new thematic idea. A onenote, onebar rhythmic

motif (M2), built on the ninth of the chord first chord (Gm9) is followed by
short answer, which targets the root note of the second chord (C13), forming
Theme4(bars1920).TheansweriscalledM3asitwillalsoappearlaterin
thesoloindifferentvariations.
The same theme is repeated, sequenced by a whole tone (bars 2122), and
then sequenced again (bars 2324). The BSection ends on another typical
eighthnotebebopline(bars2526,Theme5),predominantlyinCMajor,used
withascalarapproach.Italsofinishesontherootnoteofthechord.

Theme4

Theme4(sequenced,downawholetone)

Onenote,rhythmicmotif(M2)Answer(M3)
Theme4(sequenced,down2wholetones)

AN

Theme5

SummaryMelodicAnalysis:

The melody contains diatonic triadic arpeggios, with the occasional use of
chromatic approach notes. Scalar passages refer to the CMajor, the CMajor
Bebop and the FDominant Bebop scale. Predominantly eighthnote bebop
linesarealteredwithsyncopatedsimplerhythmicfiguresandmotifs,creating
aconversationwithin.

19

SaysYouBebop,WesMontgomeryStyle

StructureOfTheSoloAndItsDynamicProfile

WesMontgomeryssoloofSaysYouisthreechoruseslongwithaneightbar
solotagovertheBSectionbeforegoingtothefinalASection.
ThefirstchorusofWesMontgomeryssolobeginswithhigherpitchednotesat
the start of the sections leading to lower registers towards the end of the
sections.Amixofbluesandbebopphraseswithclearbreathingspacecreates
aconversationwithin,which canbeseenasthe developmentof thecalland
response ideas in the inhead. The Bsection 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
withlessbusylines.
The second chorus introduces longer phrases with less space. This gives the
solomoredensityandraisestheintensitylevel.ThelastAsection,again,uses
bluesyideasbutclearlydoesnotevokeafeelingofclosure.
A third chorus concludes Montgomerys solo with extended harmonic and
melodic content. Smaller subdivisions and slightly louder dynamics bring the
improvisationtoits peakinthelastbridgeofthesoloafter whichthelastA
sectionfinisheswithamixofsinglenoteandharmonicblueslines.

The rhythm section comps carefully during the first chorus but complements
thesoloist.Feldmanusesmidrangedvoicings,playedwithstaccatoandalmost
nosustain,andchangestoahigherregisteratthestartofthelastAsection,
bringingitbackdownforthenextchoruswhichheplaysinasimilarwaywith
theexceptionofstayinginmidregister.Thebasswalksthroughoutandfollows
the soloists intensity level by adjusting his lines in register, going higher for
moreintensephrasesandloweratstrongresolutionpoints.LouisHayesuses
brushesfortheentirepiece,providingasteadyfourfeelgroove.Hemarksthe
transitionsbetween thesectionsandstartsinteractingshortlyduringthelast
Asection of the first chorus of Wes solo. In the second chorus he interacts
regularlybutatparticularchosenpoints,whichraisesthesolotoitsclimaxin
thelastchorus.
ApartfromtheBsection,whenbothFeldmanandHayesleavealotofspace
forthesoloist,thelastchorusisplayedataveryhighintensitylevel.Thepiano
is a lot busier and uses only high registered chords while the drummer
increaseshisplaying,aswell.

20

NoteDensity

Inthefollowinggraphiconecanseethechangeofnotedensityinthedifferent
sectionsduringthecourseofthesolo.

70
60
50
40
30
20
10
0
A1.1

A2.1

B1.1

A3.1

A1.2

A2.2

B1.2

A3.2

A1.3

A2.3

B1.3

A3.3

With regards to the intensity level and reference to the note density Wes
buildsuphissolograduallyduringthefirstthreesectionsofthefirstchorus(A
1.1B1.1).HebringsitdowninthelastAsection(A3.1).
Thefirstthreesectionsofthesecondchorus(A1.2B1.2)stayatamedium
levelofnotedensity.Again,heplayslessinthelastAsection(A3.2)
Thelastchorusisfullofcontrasts.Hestartswithahighintensitylevel(A3.1),
dropsitrightdowninthesecondAsection(A3.2)andraisesittothe
peakinthebridge(B1.3),beforebringingitrightdowntothelevelhestarted
attheverybeginning.

NoteChoiceInGeneral

Adifferentobservationcanbemadebylookingatthechoiceofnotesduring
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
alwaysraisesattheendofeachchorus.Whilethenotedensityincreasesinthe
Bsectionstensionsareusedless.ThisleadstotheconclusionthatwhenWes
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 nondiatonic

noteswithinthesections.

14
12
10
8
6
4
2
0
A1.1

A2.1

B1.1

A3.1

A1.2

A2.2

B1.2

A3.2

A1.3

A2.3

B1.3

A3.3

Another interesting fact about Wes note choices is that the key note C is
playedatotalof97timesthroughoutthesolo,whichis18%ofallnotes.
Inthefirstchorusherefers25timestothekeynote(13.8%ofallnotesplayed
withinthefirstchorus),inthesecondchorus32times(18.6%)andinthelast
chorus40times(21.6%).

600
500
400
300
200
100
0
OtherNotes

1stChorus
156

2ndChorus
140

3rdChorus
145

Total
441

KeyNote'C'

25

32

40

97

22

 Tosumup,wecanseethatalthoughheiscreatingmoretensioninthe
lastchorusofhissolohealsorefersalotmoretothekeycentreC.

PitchContourAndDensityOfRegisters

When looking at the pitch contour of the solo there are some interesting
developmentstonotice.Firstofalltheoverallintervallicrangeisverysimilarin
allthreechoruses.Yettherearesubtledifferencesinthedevelopmentofthe
solo.Inthefirstchorusheplaysthelowestnote(nadir)ofhissolowhichisin
thesecondAsectioninbar48(G).

nadir

In total there are only eighth notes played in the great octave in the entire
solo.Sixoftheseareplayedinthefirstchorus,twointhesecondchorusand
noneinthelastchorusofsolo.
GreatOctave
7
6
5
4
3
2
1
0
1stChorus

2ndChorus

23

3rdChorus

Inthesmalloctavethedensityofnotesgoesfrom55notesinthefirstchorus
over43notesinthesecondchorusto39notesinthelastchorus.

SmallOctave
60
50
40
30
20
10
0
1stChorus

2ndChorus

3rdChorus

Theoppositedevelopmentcanbeseeninthehighregister.Inthefirstchorus
heplays11notesinthesecondoctave,thesecondchoruscontains17notes
within the second octave and in the third chorus there are 38 notes in this
register.

2LineOctave
40
35
30
25
20
15
10
5
0
1stChorus

2ndChorus

24

3rdChorus

It is therefore very obvious that he purposely develops his solo from a lower
rangedensityinthefirstchorustoahigherrangedensityinthelastchorus.

Thisissupportedbythefactthattheapexofhissoloisplacedinthethirdand
lastchorus.Itisinbar118,thefourthbaroftheBsection(g).

Theoverallrangeofthesoloisexactlythreeoctaves:fromtheGreatGtog.

1stChorus

Inthefollowinggraphicthepitchcontourofthefirstchorusisshown.Wecan
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 Bsection (B1.1)
andthelastAsection(A3.1)whereasthefirsttwoAsectioncoverquiteabig
range: from eb to the Great A in A1.1 and from B to the Great G (nadir) in
A2.1.

apex

ebb

A1.1

A2.1

B1.1

A3.1

GreatAGreatG(nadir)

25

2ndChorus

The second chorus reveals similar aspects of his playing with regards to his
omnidirectionalplayingstyle.ButthistimehestaysclosetomiddleCduring
the first and last Asections (A1.2 and A3.2). Notes in a higher range can be
found in the second A and the Bsection (A2.2 and B1.2). The only time he
usesabigrangeinhisphrasingisintheBsection:fromctotheGreatAb.
C

C
A1.2

A2.2

B1.2

A3.2

Great Ab

3rdChorus

The third chorus is in essence the same as the second chorus. While all A
sections evolve in between middle C and c the Bsection covers a bigger
range,alsoleadingtothepeakofthesolo:g.Asalreadymentioned,thelower
registerisrarelyusedinthischorus.

G(apex)

C
A1.3

A2.3

B1.3

A3.3

26

Hereisagraphicwhichdisplaysallthreechorusesincomparison:

1stChorus
2ndChorus
3rdChorus

apex

C
A1

A2

B1

A3

nadir

The main two aspects which can be derived from the comparison are
thatfirstofallthesecondandthirdAsectionareverysimilarincontour
andrange,andsecondlytheAsectioninthefirstchorusofsolo,aswell
astheBsectioninthesecondandthirdchorususeamuchbiggerrange
thanallothersections.
Thenadirisplacedinthefirstchorus,whereastheapexisplayedinthe
lastchorus.

PhrasesInTheSolo

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
phraseslabelledinchronologicalorderforeasyreference.

27

A3/A1.1 Phrase01

A3/A1.1P01

A1.1Phrase03

A1.1Phrase02

A2.1P04

A2.1Phrase06

B1.1P07

A2.1Phrase04

A2.1 Phrase05

B1.1P08

B1.1/A3.1Phrase09

B1.1/A3.1P09

B1.1Phrase07

B1.1 Phrase08

A3.1Phrase10

A3.1P11.1A3.1P11.2A3.1P11.3

A3.1Phrase11.1

A3.1 P11.4

28

A3.1/A1.2 Phrase12

A3.1/A1.2Phrase12

A1.2P14

A1.2P15

A2.2Phrase16

A2.2Phrase18

A3.2P24 A3.2Phrase25

A1.2 P14

B1.2 P19

B1.2 Phrase20

B1.2 Phrase22

A3.2 Phrase24

A3.2 Phrase26

29

A2.2 Phrase17

B1.2Phrase21

A3.2Phrase23

A1.2 Phrase13

A1.2Phrase15

A2.2P17

B1.2P19

A1.3Phrase27

A1.3 Phrase28

A1.3Phrase29

A1.3/A2.3 Phrase30

A1.3/A2.3P30

A2.3 Phrase31

A2.3P32 A2.3Phrase33

B1.3P34 B1.3 Phrase35

B1.3Phrase36

A3.3Phrase41

A3.3 Phrase42

30

A2.3 P32

B1.3Phrase34

B1.3 Phrase37

A3.3P38 A3.3 Phrase39

A3.3Phrase38

A3.3Phrase40

B1.4Phrase43

B1.4Phrase45

B1.4 Phrase44

B1.4 P45

B1.4 Phrase46

MelodicAndHarmonicContentOfPhrases

TobeabletoanalyseMontgomerysinterpretationofthetuneitisimportant
toknowwhattheprimaryscalechoicesforthechordprogressionsare.

CMajor

FLydianDominant

ELocrianBbLydian
Dominant

AMixolydian

DDorian

GMixolydian

EMixoAMixo
(b9/b13)(b9/b13)

DDorianDbLydian
Dominant

ForthesecondandlastAsectiontheprimaryscaleforlasttwobarsisCMajor.

GDorian

CMixolydian

FDorian

BbMixolydian

EbDorian

AbMixolydian

DDorian

GMixolydian

31

UseOfMotifs:

Beforewecontinue,wearegoingtohaveaquicklookatWesmotivicand
thematicinspirationsagain.Heusesthreedifferentmotivicideasfromthe
melodyintheInHead:

M2andM3(1stbarand2ndbarofBsection):
M1(5thbarofAsections)

M1M2 M3

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

32

Analysis

1stChorusIncludingPickUpA1.1

Phrase01:
In bar 33, a CMajor scale pattern with chromaticisms is used. The first
chromatic note is a chromatic approach, the other two chromaticisms are
escapetones(ET).
Theessentialsoundinbar34isGMixolydian,whichisbasedonatripletFmaj7
arpeggio,oneofWestrademarks.ThepickupendsontheAndoffouronthe
4th degree of G7, which creates a suspension, becoming the root note of the
tonicchordinthefirstbaroftheupcomingAsection.ThisisadeviceWesuses
a few times in his solo. The first bar (bar 35) of A1.1 contains a 2note motif
(M2.1) which is derived from the onenote motif in the Bsection of the
melody.

Apexof1stchorus

A
CrCr/ETCr/ETF Arpeggiosusp.
A3/A1.1Phrase01
maj7

p4p4M1.1
PN

DADA

A
M2.1
M3.1,F9sound
ELocrian/BbLydianDominantA7(#9)orAm7
A3/A1.1P01
A1.1Phrase02

Phrase02:
ThesecondphrasestartswithavariationofM3(M3.1)andreflectsthebasic
sound of the chords with the use of chord tones and available tensions with
the exception of the target chord A13. Over the F7 chord Wes uses a
symmetrical shape consisting of two perfect 4ths which are connected by a
wholetone.Heeitherhearsthelastchordoftheprogression(A13inbar38)as
anA7(#9)orAm7ashechoosestoplaythenoteC,anticipatedbyafullbeat.
Bars7and8formavariationofmotifM1(M1.1).
To link chords he often uses so called pivot notes (PN), which are available
tensionsorchordtonesinbothchords.InthiscasetheCisthe9thdegreein
Bbbutalsothe#9inA7(orb3inAm7).

33

Phrase03:
The third phrase begins with straight forward played scale fragments of D
DorianandGBebopDominantwiththeinclusionofanindirectresolution(IR)
inbar40.Aleapofaperfectfourthinconjunctionwiththeuseofapivotnote
(PN)connectsbars40and41.ThephrasefinishesonavariationofM3.M3.2is
anintervallictransformationoftheinitialmotif.

IR

Leap:p4

PN
DDorianGBebopDom.
|M3.2|
A1.1Phrase03

34

GMixolydian
A2.1Phrase04

2ndChorusA1.2

Phrase12:
Phrase12beginsinthesecondlastbarofthelastAsectioninthefirstchorus
(A3.1). A CMajor scale idea, starting on the 6th degree of the scale, picks up
the phrase in bar 65. In the following bar (bar 66) the primary Mixolydian
soundofthedominantchordG7sus4ischangedintoaMixolydian(b13)soundto
create more tension leading to the first Asection of the next chorus (A1.2).
Additionaltensioniscreatedbyanascendingleapofanaugmented5thinterval
withinthephrase.Afterastrongresolutiononbeat1,withthe5thofthetonic
chord the phrase continues with another CMajor scale segment, this time
starting on the 5th degree of the scale. Bar 67 is a rhythmic and intervallic
transformed motif M1 (M1.4). The phrase ends with an FLydian Dominant
sound, being the result of scalar passages followed by a descending Em
Arpeggio, which includes a leap of a perfect 4th. The very last note (bb)
anticipatestheupcomingEm7(b5)chordinbar69.
This is one of two phrases (phrase 01 being the other one) connecting two
adjacentchoruses.Itisalsothesecondlongestphraseofthesolo,takingup15
beatsover4bars.

Leap:#5

Cr/PT
CMajorscaleGMixolydian(b13)+Cr

A3.1/A1.2Phrase12

Leap:p8

EmArpeggio

p4

CMajorscale(M1.4)FLydianDominant

A3.1/A1.2 Phrase12

IRPN

Cr#1113b13A
BbLyd.Dom.+CrA7(b13)M2.3
A1.2 Phrase13
A1.2 P14

Phrase13:
SimilartothefirstAsectionWesusesonlyafewnotestodescribethesound
of the chord Bb13. Here he includes a chromatic approach and the #11 of the
chord(bar69).Inthenextbar(bar70)anindirectresolution(IR)targetsthe5th
degreeofthechordA7anditsprimaryfunctionwithinthescaleisused,which
isAMixolydian(b13).

35

Phrase14:
Phrase14(M2.3)isamodifiedsegmentationofM1andcommencesinbar70
with an anticipation (A) on the And of four. This note (e) also serves as a
pivotnote(PN)asitisthe5thdegreeoftheA7chordaswellasthe9thdegree
oftheDm7chord.

PN

M2.3

A1.2P14

Bm7(b5)Arpeggio

Leap:p4

Leap:#5

DCHRGMixo
|(EDorian)AMixolydian|FMajortriadDb9PT
A1.2Phrase15

Phrase15:
The following phrase again contains scalar and arpeggio ideas. Bar 72 starts
withadoublechromaticapproach,followedbyaBm7(b5)arpeggiocreatingaG
Mixolydian sound. The connection to the following bar is again created by a
leapofadescendingperfect4thinterval.Inbar73,WesplaysadescendingA
Mixolydian scale and therefore creates a more Dorian sound instead of a
dominant E7. The phrase finishes with an FMajor triad over a Dm7 chord,
creatingaDDoriansoundwhichisfollowedbytwonotes,spellingaDb9chord
andapassingtone(PT)whichresolvesinthe5thdegreeofthetargetchordCin
bar75.

36

3rdChorusA1.3

Phrase27:
Thethirdchorusisnotconnectedtotheendofthesecondchorus.Wesdoes
notuseapickuptointerlinkthesectionsandchoruses.Yetheusesthesame
ideatostartthechorus.HestartsitwithascalarpassageofCMajor,thistime
starting on the note G on the And of beat one (bar 99). It is followed by a
descendingFLydianDominantscalepatternwiththeinclusionofachromatic
passingtone(Cr/PT).

Cr/PTCr/PT
CMajorscaleFLydianDominant
ELocrianBbLydianDominantAMixolydian(b9/b13)

A1.3Phrase27

A1.3 Phrase28

Phrase28:
Phrase28consistsofstraightforwardscalepassages.TheascendingELocrian
and BbLydian Dominant scale in bar 101 is extended into the next bar (bar
102)and descends afterachromatic passingtone(Cr/PT)asanAMixolydian
(b9/b13)scale.ThephrasealsostartsontheAndofbeatone.

37

Phrase29:
Wes begins phrase 29 with a repeated Cmaj7(#5) arpeggio (bar 103), which
creates a DLydian 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:#4Leaps:p5/p4Leap:p5

Cr/PT

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

A1.3/A2.3Phrase30

Cmaj7arpeggio
A1.3/A2.3P30

Phrase30:
The last phrase of A1.3 contains a lot of harmonic and melodic devices. He
changesthesoundofalldominantchords,evenwithinthespaceoftwobeats.
Inbar105hestartswithanEsussound,continueswithE7(#9),whichisfollowed
by an altered A7 and a plain A7 sound. The use of two consecutive leaps
connectsbar106tothechainofdominantchords.AdescendingDorianscale
passageincludingachromaticpassingtone(Cr/PT)inbar106continueswitha
tenseDb7(#9)sound,whichafteranotherleapresolvesintoabarofCmaj9which
includesanotherascendingWesMontgomerytrademarkarpeggio.Thephrase
finisheswiththeb7and5thoverF7.

|FDominant

38

1stChorusA2.1

ThesecondAsectionineach ofthethreechorusesrevealssimilaraspectsof
Wesplayingstyle.

Phrase04:
The beginning of the fourth phrase (bar 4243) 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 FLydian Dominant sound, as well. It contains an inverted descending E
Minortriadwhichleapsintoitsresolutionbyaperfect5thinbar45.Thephrase
endswithaonebeatanticipationofthechordBb13.

A1.1Phrase03

Leap:#5

Leap:p5

CMajorscale
A2.1Phrase04

Emtriad

CMajorscale

FLydianDominantA
A2.1P04
Nadir

M3.3,AMixo(b13)
A2.1Phrase05

Leap:p5

Cr/PT
Cr/PT
DDorianGMixol(b9/#9/b13)Gaugtriad|Cmaj7arpeggio|
A2.1Phrase06

B1.1Phrase07

Phrase05:
Phrase 05 is an intervallic transformation of motif M3. It is therefore called
M3.3.ItcreatesanAMixolydian(b13)sound.

Phrase06:
AtypicalWesMontgomerybebopphraseconcludesthesecondAsection.The
DDorianscaleinbar47descendsintoaGMixolydian(b9/#9/b13)scalewhich
at the end uses a Gaugmented triad to end on the lowest note of the solo
(nadir) and then leaps up by a perfect 5th to resolve in the next bar (bar 49)
withaCmaj7arpeggio.

39

2ndChorusA2.2

Phrase16:
Phrase16isastraightforwardFLydianDominantscale,startingonthe3rdof
thechord,2beatsearlyinbar75.

Phrase17:
TheascendingBbLydianDominantscaleinbar77continueswithadescending
AMixolydian(b9/b13)scaleinbar78andfinishesinbar79withanascending
F#m7arpeggio,whichitselfcreatesaDMixolydiansound.

FLydianDominantscale

A2.2Phrase16

.Leap:p4
7
F#m arp.

DMixolydian
A2.2P17

BbLyd.Dom.AMixolydian(b9/b13)
A2.2Phrase17

Cr/PTCr/PT
GMixolydian(b9/#9/b13)
|M3.4|
A2.2Phrase18

Phrase18:
Again,WesusestheMixolydian(b9/#9/b13)scaleovertheprimarydominant
chord G7 (bar 80) with the inclusion of chromatic passing tones (Cr/PT). The
endofthephrase(bar81)representsanothervariationoftheinitialmotifM3.

40

B1.2P19

3rdChorusA2.3

WhileinallothersectionsWesusescertainscalesincludingchromaticpassing
tones,thissectionisentirelyinthekeyofC,withnoalterednotes.

Phrase31:
This phrase could be interpreted as a fragmented ascending Cmaj7 arpeggio
followedbyafragmenteddescendingFmaj7arpeggio,creatingthesoundofBb
Mixolydianinbar109andA7(#9)inbar110.

A1.3/A2.3P30

b3Cr/PT2655#9
A2.3 Phrase31

A
M2.6
M2.7/DDorian|GMixolydian|CMajortriad
A2.3P32 A2.3Phrase33

M2.6
A2.3 P32

B1.3Phrase34

Phrase32:
Phrase32isanothervariationofmotifM2(M2.6).Itisrhythmicallydisplaced
andfragmented,butusesthesamepitchesasM2.1inbar35.

Phrase33:
BecausethewholesectionisinCMajor,theIIchordinbar111isDDorianand
uses a fragmentation of M2 (M2.7). The V chord in bar 112 is GMixolydian.
The phrase ends with an ascending, anticipated CMajor triad. Although
melodicallysimple,therhythmismoreintenseandsyncopated.

41

1stChorusA3.1

Phrase10:
The10thphraseofthesoloimpliesanFsussoundasWesrefrainsfromusingthe
thirdofthechord.Insteadheplaysthe4thdegreetwice(bar60).Inbar61he
finishesthephrasewithyetanotherrhythmicandintervallictransformationof
M1(M1.3).

B1.1/A3.1P09

Fsus|M1.3
A3.1 Phrase10

DAM4
A3.1Phrase11.1

A3.1/A1.2Phrase12

Phrase11.111.4:
Phrase segments 11.1 to 11.4 (bars 6265) introduce a new twonote motif
(M4), based on delayed attacks (DA) with resolutions on beat one. Phrase
segment11.2istheexactrepetitionofphrasesegment11.1,whereasphrase
segment11.3isrhythmicallydisplacedandintervallicallytransformed(M4.1).
The last segment (11.4) is an exact sequence of phrase segment 11.1,
modulateddownawholetone(M4.2).

M4

DAM4
DAM4.1DAM4.2
A3.1P11.1A3.1P11.2A3.1P11.3 A3.1P11.4

42

2ndChorusA3.2

HereisanotherexamplewhereWesusesonlyonescaletoplayoveranentire
section. In A3.2 he applies the CMinor Blues scale to create a bluesy
atmospherewithtension,aswellasrelease.

Phrase23:
Wesstartswithaonenotemotifidea,generatedfromM2(M2.4,bar91).The
second half of the phrase consists of a rhythmic displaced intervallic
transformationofM1(M1.7).Aleapofaperfect5thconnectsphrase23with
ananticipation(A)tothenextphrase.

Phrase24:
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
theCMinorBluesscaleresultsinanAAlteredsound.

Leap:p5

M2.4

|M1.7
A3.2 Phrase23

Appoggiatura(CmBlues)
A3.2P24 A3.2Phrase25

AM2.5

|M3.7/A7(alt)CmBlues
A3.2 Phrase24

CmBluesscale

appoggiaturac
A3.2Phrase26

Phrase25:
Phrase25isabasicCMinorBlueslick,creatinganappoggiaturatowardsthe
targetedb7ofG7(bars9697).Tocreatemoretensionheendsontheminor
thirdoftheCMinorBluesscale,whichistheb13ofthedominantG7chord.

Phrase26:
Another straight forward played CMinor Blues scale, followed by a further
appoggiaturaleadingintothekeynotecconcludesthethirdAsectionofthe
second chorus. Again Wes hears a sussound over the dominant chord as he
holdsthekeynoteforafullbeat.

43

3rdChorusA3.3

TheverylastAsectionisalsobasedonabluesyapproach.Withtheexception
ofonebar(bar126)WesusestheCMinorBluesscalefortheentiresection.

Phrase38:
Phrase38(bars122123)isarhythmicdisplacedandtransformedvariationof
M1 (M1.10) followed by a descending CMinor Blues scale with an inserted
appoggiatura(app.).Anoctaveleapconnectsphrase38withphrase39.

Phrase39:
AbluesyinterpretationofM2(M2.8,bars124125)createsphrase39.

B1.3Phrase36

B1.3Phrase37

Leap:p8

CmBluesapp.

M2.8

A3.3P38A3.3Phrase39

M1.10susp.
A3.3Phrase38

Leap:p5

Adiminishedtriad
A3.3Phrase40
Leap:p4

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

Phrase40:
Instead of continuing with the CMinor Blues idea, he decides to use an A
Diminished triad over the dominant A7 chord in bar 126. This creates an A
Alteredsound,whichbuildsupanotherleveloftensiontowardstheendofthe
solo.

Phrase41Phrase42:
Phrase 41, as well as the start of phrase 42, is the conclusion of the motivic
developmentofmotifM2(M2.9,M2.10,M2.11bars127129).
The very last bar of the actual solo finishes with another CMinor Pentatonic
scaleidea.WestargetsthemajorthirdofthetonicchordConbeatoneofthe
firstbarofA1afterraisingthetensionwithanotherleap.

44

1stChorusB1.1

Phrase07:
Thestartofphrase9(bar50)isanotherexampleofWesuseofideasofthe
melody.ThefourthbarineachAsectionstartsattheexactsameplaceinthe
barandusestheexactfirsttwonotes(aandc).Anotherelementtopointout
is that he already anticipates the Gm9 chord by using pivot notes (PN) that
workoverbothchords:Cmaj7andGm9.Startingthephraseonthe9thdegreeof
theIIchordinaIIVprogressionisatypicalcharacteristicinhisplaying.Over
Gm9inbar51hethenconnectstwoarpeggios(Gm9andA7)inatripletrhythm
whilealsousinganticipations(A).Inthenextbarheplaysanothertripletbased
Gm7arpeggioandconcludeswithanotheranticipationwhichisfollowedbythe
nextpivotnote(PN).Againitisthe9thdegreeofthefollowingIIchordFm9in
bar53.

Phrase08:
Thistimehestartshisphraseinthesameplaceofthebar(theAndofbeat
three)butwithalongernote.ThefollowingFm9arpeggioisalsotripletbased
butdescendsbeforeitascendsafterananticipatedrootnote(A).Heconcludes
phrase 08 with a Cm7 arpeggio, used as a variation of M1 (M1.2), which he
connectswithaleapofaperfect5thtothepreviousbar.

A2.1Phrase06

PN/9PNPN/9
B1.1Phrase07

Bbmaj7arp.AA7arp.AGm7arp.PN/9Fm9arp.AFm9arp.Cm7/CmBluesM1.2

B1.1 Phrase08
B1.1P07

B1.1P08

B1.1/A3.1 Phrase09

45

Phrase09:
ThelastphraseofthefirstBsection(B1.1)isthelongestphraseinthesolo.It
isplayedover5barsandmeasuresupto16beatsintotal.
ItstartsonananticipationwithtwoadjacentscalarpassagesinAbMixolydian
and DDorian(bars 5557)withtheinclusionofadoublechromatic approach
(DCHR), chromatic passing tones (Cr/PT) and escape tones (ET). The phrase
ends with a Bm7(b5) arpeggio over the primary dominant chord G7 (bar 58)
followedbyanascendingCMajortriad,implyingavariationofM2(M2.2).bar
55isanintervallictransformationofM2.1.Bothmotifstargetthekeynotec.

AAbMixolydianDCHRDDorianCr/PTETET|Bm7(b5)arp.|

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

M2.2CMajortriad
B1.1/A3.1P09

A3.1Phrase10

A3.1Phrase11.1

2ndChorusB1.2

Phrase19:
The first phrase in the Bsection of the second chorus also starts on the 9th
degreeoftheIIchordGm9 (bar82).Itisalsoanticipatedandpartofavaried
motifM2(M2.4)andleadswithadescendingDm7arpeggiointotherelatedV
chordC7(bar83).AnintervallicandrhythmictransformationofM1(M1.5)in
bar84finishesthephrase.Wesusesaleapofaperfect4thtoconnectthebars.

A2.2P17

A2.2Phrase18

A/9
B1.2P19

Leap:p4

M2.4|Dm7arp.|CMajortriadM1.5

B1.2P19

46

B1.2 Phrase20

Phrase20:
ThesecondphraseinB1.2(bars8586)consistsofadescendingFm9arpeggio,
alsostartingonthe9thdegreeofthechordintherhythmofM3(M3.5),anda
descendingCm7arpeggiowiththeminorthirdomitted,beingamodifiedidea
ofM1(M1.6).Notehowheconnectsthetwobars,aswellasthetwophrases
(phrase19and20)withaleapagain.

Leap:p4

B1.2P19

Leap:p5

9M3.5Fm9arp.|M1.6Cm7orCmPent/Blues
B1.2 Phrase20
Leap:#4

Phrase21:
Phrase21(bars8788)isastraightforwardplayedAbMixolydianscale,which
isinterruptedinthemiddlebyanescapetone(ET).

Phrase22:
The last phrase of B1.2 (bars 8990) starts on the 9th degree of the II chord,
again.ItiscomposedofaDm9arpeggiowithanomittedb7thwhichleadsinto
thenextbarwithananticipatedpivotnote(PN/A).ItsfinishisanascendingG
Diminishedwholetonescalewithaleapofanaugmentedfourthattheend.

EbDorian/AbMixolydianET9M3.6Dm9arp.PN/AGDiminishedWhole
B1.2Phrase21

B1.2Phrase22

47

3rdChorusB1.3

B1.3isinitsessenceverymuchaliketoB1.1.

Phrase34:
Phrase34commencestheexactsamewayphrase07starts.Achromaticpick
up note (PUN) in bar 115 lets the phrase continue to ascend instead of
descend. The descending part follows in bar 116 with a CMixolydian scale
pattern.

Phrase35:
Wesleapsdownaperfectoctavetocontinuewiththesameidea.Arhythmic
displacedsequenceofbars114and115culminateintheclimaxoftheentire
solo. After yet another leap he places the apex in bar 118, which itself starts
anothervariationofM1.(M1.9)inBbMixolydian.

PN/9PNPN/9
B1.3Phrase34

Leap:p8Leap:p4apexLeap:p4

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

Leap:p4

Phrase36:
After a leap of a perfect fourth the 36th phrase descends with a straight
forwardplayedEbDorian/AbMixolydianscale.

Phrase37:
ThelastphraseoftheB1.3beginswithapickupnote(PUN)ontheanticipated
Andoffour,continueswithanascendingDDorianscale,endinginanEMajor
triad,whichleapsuptoe.TheEMajortriadanticipatestheG7chordbytwo
fullbeatsandgivesitaGDiminishedwholetonesound.

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

48

TagB1.4

Phrase43:
TheverylastBsectionofthetuneisplayedasatagofWessolo.Hestartshis
conclusiononthe9thdegreeoftheGm9chord(bar226),continueswithaG
Dorianscalepassage,ascendswithaGm7arpeggio(bar227),whichisfollowed
byanEm7(b5)arpeggiooverC7(bar228)andadescendingFMajortriad.

Phrase44:
Hethenleapsupaperfectfifthtostarthisnextphraseonthe9thdegreeofthe
Fm9chord(bar229).AdescendingFDorianscaleleapsattheendintoafinal
motivicvariationofM1(M1.11,bar230).

Leap:p4

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

B1.4P45

Leap:b7

Leap:#4

Phrase45:
The second last phrase of the tune begins with an anticipation (A/PN) of the
rootnoteoftheEbm9chordandusesanascendingEbm7arpeggiotoconclude
thedevelopmentofM3(M3.8).Afterabigleapdown,anotheranticipationof
the same note eb (A/PN) is the starting point of the same arpeggio, only
extendedbyits9thand11thdegreeandplayedindoubletime.

Phrase46:
HeconcludeshistagwithadescendingDm9arpeggio(bar233)whichinstead
of the b7 uses a chromaticism (Cr) to leap down an augmented fourth and
finishontherootnoteoftheDm9chord.5barsofspaceleadbacktothevery
lastAsectionandendingofthetune.

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

49

IntervallicRangeOfPhrases

Mostofthephrasesarerangingbetweenoneandtwooctaves.Thefollowing
graphicshowsfourdifferentcategories:

2octavesor
more
between1&2
octaves
lessthan1
octave

There are only three phrases in total, which use a range of two octaves or
more:
1. Phrase35
2. Phrase36
3. Phrase37
Theyareallpartofthesamesection(B1.3),ofwhichphrase36alsocontains
theapexofthesolo.

apex

B1.3P34

B1.3Phrase35

B1.3Phrase36 B1.3Phrase37

50

A3.3Phrase38

PhraseConstruction

Wesusesvariouswaysofconstructing his phrases.Themaintwoingredients

ofhisphrasesarelyricallinesandmotivicideasanddevelopment.Thesingle
notelinescanvaryinlengthwhereasthemotifsareusuallyonebarlong,but
couldberhythmicallydisplaced.His bluesystyle ofplayingis mostevidentin
his inner dialogue which is caused by call and response ideas throughout the
solo.Hereareafewexamples:

1) PhraseConstruction1:
Atwobarlyricallinefollowedbyamotivicanswer.

a) PickupbarsofA3,bars3334(call)intothefirstchorusofsoloA1.1,
bars3538(response):Phrase01

Call:LyricalLine

Response:MotivicIdea(threeconsecutivemotifs)

b) Chorus1,A3.1,bars6566(call)intothesecondchorusA1.2,bars67
68(response):Phrase12

Call:LyricalLine

Response:MotivicIdea(extendedbyaonebarline)

51

2) PhraseConstruction2:
Ashortlinefollowedbyamotivicanswer.

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

Call:ShortLineResponse:MotivicIdea

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

Call:ShortLineResponse:MotivicIdea

3) PhraseConstruction3:
Alonglyricallineorconsecutivelinesfollowedbymotivicanswer.

a) Chorus1,B1.1,bars5053(call)andbars5455(response):Phrase07
andPhrase08

Call:TwoConsecutiveLinesResponse:MotivicIdea+Tag

52

b) Chorus3,B1.3,bars114117(call)andbar118(response):Phrase34
andPhrase35

Call:TwoConsecutiveLinesResponse:MotivicIdea

4) PhraseConstruction4:
Consecutivemotivicideas.

a) Chorus2,B1.2,bars8384(call)andbars8586(response):Phrase19
andPhrase20

Call:TwoConsecutiveMotifsResponse:TwoConsecutiveMotifs

b) Chorus2,A3.2,bars9192(call)andbars9394(response):Phrase23
andPhrase24

Call:TwoConsecutiveMotifsResponse:TwoConsecutiveMotifs

53

PhraseDevelopment

Another significant device Wes would refer to is the idea of taking a phrase
andapplyitsrhythmic,melodiccontentoritsshapeagainatalaterstageina
similarplace.Inmostcaseshewouldthendisplacethephraserhythmicallyor
changeitsshapeormelodiccontent.Herearesomeexamples:

a) Chorus1,A2.1Phrase04(bars4749)

andChorus2,A1.2Phrase15(bars7274)

b) Chorus1,B1.1Phrases07and08

andChorus3,B1.3Phrases34and35

54

RhythmicContent

This paragraph shows Montgomerys rhythmic approaches which include the

startingandendingpointsofphrases,thephraselength,theuseofnotevalues
andtheuseofspaceandrests.

StartingPoints/EndingPoints

Wesstartsandfinishesphraseswithoutanyexceptiononallbeatsandonall
offbeats. The following graphics show how many times he starts or ends his
phrasesonwhichbeat:

StartingPoints

EndingPoints
Beat1

Beat1

Beat1+
20%

24%

4%

Beat1+

11% 9%

Beat2
Beat2+

15%

15%

2%
4%

30%

Beat3

7%

Beat3+
7%

13%

2%

Beat2

13%

Beat2+
Beat3
Beat3+

24%

Beat4
Beat4+

Beat4
Beat4+

He varies his starting and end points a lot. A closer look reveals that he
frequentlystartsorendstwoadjacentphrasesinthesameplace.Mostofthe
timehestartshisphrasesonbeat1or4+.Themajorityofphrasesendonbeat
4or3+.

The most significant starting point is beat 1 as it clearly marks the start of a
section.Heusesthisonlyfourtimes:
Inbar91,thefirstbarofA3.2(phrase23),

55

 Inbar127(phrase41)andbar129(phrase42),thefourthandsixthbar
ofA3.3,and

Inbar233,thesecondlastbarofthetagB1.4(phrase46).

The most significant ending point is also beat 1, as it creates the strongest
pointofresolution.Intheentiresolothisonlyhappensfourtimes,butactually
onlytwiceonthetonicchord:
Inbars63,64and65(phrases11.111.4),withtheresolutioninbar65
beingthestrongestofthethreeand

Inbar131(phrase42),whichistheveryendofhissolo.

All significant starting and ending points are chosen to be in important

structural parts of the solo and the tune. They are the last Asections of the
secondandthirdchorus,aswellastheendofthetagB1.4.
Intheverylastphrase(phrase42,bars129131)Wesusesthestartingpointon
beat 1 and the ending point on beat 1, as well. This shows a strong sense of
structureandthecapabilityofcreatingacoherentandperfectend.

56

PhraseLength

The length of phrases is different nearly all the time. Here is a graphic which
showsthedifferentlengthsofphrasescategorisedinto:phrasesover10beats,
8beats,4beatsorlessthan4beats:

LengthOfPhrases
10beatsor
more
8beatsor
more
4beatsor
more
lessthan4
beats

Themajorityofphrasesaremidlengthphrasesbetween8and12beats.Short
phrasesareusedtocreatetensionortoplaymotivically.
Shortphrasesappearforexamplein:
Bars4546ofA2.1(phrase5),

Bars6265ofA3.1(phrase11.111.4),

Bars7071ofA1.2(phrase14),

57

 Bars9596ofA3.2(phrase25),

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

Bar126ofA3.3(phrase40),

Bar233ofB1.4(phrase46),

Long phrases usually are played to interlink sections or choruses. Nearly all
sectionsareconnectedbyalongphrase.TheonlytwotimesWesdoesnotplay
aphrasetolinksectionsorchorusesarebothinthesecondchorus:
1. fromtheBsection(B1.2)intothelastAsection(A3.2)and

2. fromthelastAsection(A3.2)intothefirstAsectionofthethirdchorus
(A1.3).

Inbothcasesheendsaneightbarphraseonbeat4.Bothphrasesalsocontain
ahighdegreeoftension.

58

UseOfSpaceAndRests

Wesisanexcellentuserofspaceandreststocreateinterest,tension,release
andbreathingspace.
Afterlonglineswithahighdensityofnoteshealwaysleavesbreathingspace
offourbeatsormore.Ifnot,heplays motivicallywiththe useoflongnotes,
restsandsyncopations.
Hereareafewexamplesofhimusingspaceafterlongandbusyphrases:
1. Chorus1,A1.1,bars4142

|space|

2. Chorus1,A2.1,bars4950

|space|

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

|space|

|space|

59

4. Chorus3,A2.3,bars108109

|space|

5. Tag,B1.4,bars233234

|space|

HereareafewexampleswhereWesusesmotifsand/orsyncopatedrhythms
tochangethepaceofplaying:
1. Chorus1,A2.1,bars4546

|longnote,motivicplaying|

60

2. Chorus1,A3.1,bars5962

|longnotes,motivicplaying,syncopations,space|

3. Chorus2,A3.2,bars9194

|longnotes,motivicplaying,syncopations|

4. Chorus3,A3.3,bars124126

|syncopation,longnotes,motivicplaying|

61

UseOfNoteValues

Wes uses a big catalogue of different note values. His predominant use of
eighthnotelinesisdiversifiedbytheinclusionofquarternotes,dottedquarter
notes, half notes, whole notes and tied notes. Insertions of sixteenth notes,
eighthnotetriplets andsixteenth notetripletshelphimtovaryandintensify
hisphrasing.

Withreferencetothemelodyofthesonghemainlyplayseighthnotelines.He
insertstripletsorsixteenthnotesifhewantsmoreintensityinhisplayingorto
builduptension.Ithappensusuallyinlongerphrases.OneofWestrademarks
is the combination of arpeggios, mostly maj7, with triplets. He refers to this
deviceinnearlyeverysolo.
Hereareafewexamples:
1. Chorus1,A2.1,bars4749

2. Chorus1,B1.1,bars5153

3. Chorus2,A2.2,bars7980

4. Chorus3,B1.3,bars115117

62


5. Tag,B1.4,bars226233

Dotted quarter notes are usually applied in a motivic context. Examples are
givenbelow:
1. Chorus1,A1.1,bar3536

M2.1|M3.1

2. Chorus1,A3.1,bar59

M2.2|

Long note values are used at points of rest or in a motivic context. Some
examplesareshownhere:
1. Chorus1,A1.1,bars3738

M1.1|

63

2. Chorus2,A3.2,bars9192

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

3. Chorus3,A3.3,bars127129

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

ColouristicAspects

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

He employs colouristic aspects like slides, accents or staccato to emphasise

importantnoteswhicharemostofthetimetargetnotesorthestartingnoteof
a phrase or a motif. Pulloffs and sweeps are typical technical devices which
areusedbymanyguitariststoplayfastlinesandarpeggios.Hemostcertainly
learnedthesetechniquesbyplayingCharlieChristianssolos.

64

Conclusions

MotivicDevelopmentAndWesVocabulary

WesMontgomerysstyleofplayingisverymuchreflectedinthissolo.Heuses
manydevicestocreateawellstructuredanddiversifiedinterpretationofthe
tuneSaysYou.
Threemainmotifsofthemelody,whichhevariesinmanyways,arethebasis
forhisimprovisationtoconstantlyreferbacktothetune.
Throughout the solo M1 appears in 11, M2 in 12 and M3 in 8 different
variations.
Itisveryinterestingthathefinisheshisopeningtwophrases(bars3338)with
nearlyalldevicesheusesthroughoutthesolo:
He uses delayed attacks, anticipation, triplet maj7 arpeggio, eighth note line,
syncopation, intervallic leaps, pivot notes, suspensions, chromaticisms, blues
andheevenintroducesallthreemotifsalready.

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

p4p4M1.1
PN

DADA
A
M2.1
M3.1,F9sound/CmBluesELocrian/BbLydianDominantA7(#9)orAm7
A3/A1.1P01
A1.1Phrase02

65

Summary

HereisashortsummaryoftheimportantaspectsofWessoloonSaysYou.
Suspensionsareusedthreetimes:
1. Thefirsttimeintheexampleabove,tolinktheInHeadwiththefirst
chorusofsolo(bars3435),
2. ThesecondtimeinthethirdchorustolinktheBsection(B1.3)with
thelastAsection(A3.3),
3. The third time to lead to the last four bars of the tag (B1.4) before
goingtotheOutHead.
Wes uses leaps either to connect bars, phrases or sections with each
other. In the detailed analysis we have seen plenty of examples. His
favouriteintervalinthissoloistheperfectfourth.
Pivotnotesarealsousedtoconnectphrasesandbars.
Arpeggios are mainly played in the Bsections in conjunction with an
eighth note triplet rhythm. From time to time he also plays triadic
figures.
Anticipations and delayed attacks are predominant at the start of a
phrase(ontheAndoffour)ortoresolveaphrasehalfabeatearly(or
late).
The anticipation of changes by more than one beat is a device which
results of his influence by Charlie Christian, who was known for this
concept. The same reason applies for Wes use of triadic shapes,
arpeggiosandchromaticpassingtones.
InallBsectionshestartsmostofhisphrasesonthe9thdegreeoftheII
chord,usuallyanticipated.Thisisacommonmethod,whichhealsouses
inothersolos.
Naturally,Wesisaverybluesyplayer,whichiswhyhelikestogeneralise
entire sections by playing the CMinor Blues scale or the CMinor
Pentatonicscale.HedoesitinthethirdAsectionofthesecondchorus
and the third chorus (with the exception of bar 126). Occasionally he
hintsattheBluesscalewithinthesolo.Anothergeneralisationhappens
inthesecondAsectionofthethirdchorus,whereheonlyplayspitches
oftheCMajorscale(withtheexceptionofonenote(Ebinbar108).The
onlytimehedoesnotusetheBluessoundinthethirdAsectioniswhen
heconnectsthefirstandthesecondchorus.
OndominantchordshelikestoapplytheMixolydian(b9/#9/b13)scale,
which was used during the Bebop period before the Altered scale was
knownof.AsWestranscribedmanyCharlieChristiansoloshewasused
to this sound for dominant chords. However he also uses the other
66

Dominantscalesinhisplaying:Mixolydian,LydianDominant,Mixolydian
(b9), Mixolydian (b13), DominantBebop, Altered and Diminished
Whole.
OneinterestingfactisthatovertheBb7chordshelikestoplayvariations
ofmotifM1.Intheentiresolohedoesitfivetimes.
OvertonicchordsheeitherplaysCMajorscaleideas,motivicvariations
ontherootnoteorCMinorBlues.
The contour of his phrasing is very colourful. Wes lines are mostly
multidirectional,unlesshereferstotheonenotemotivicideafromthe
melody of the bridge. His changing ascending and descending lyrical
lineswithvariationsonresolutionspointsconveysafeelingofaninner
dialogue. A lot of variety can be heard when it comes to these
conversations within. It could be a statement which is followed by a
motivic answer or a sequence of linear statements which will be
answered by a motif much later. Sometimes he also uses consecutive
motifstocreatecallandresponseideas.Ingeneralthough,hisphrases
areconstructedofalyricalline(call)whichisfollowedbyamotivicidea
(response).
Hestructureshissolowellandalwaysplaysofthemelody.
If we take all analytical aspects into consideration it is very clear that
Wes raises the overall intensity level from the start to the very end.
EspeciallythelastBsectionrevealstheplacementofthepeakofhissolo
atastrategicallyimportantpoint.

FinalConclusion

Conclusively,thesolocanbeseenasawellbalancedmixtureoflyricaldiatonic
eighthnote lines with a strong reference to the actual melody of the tune
through motivic development. Additionally, Bebop phrases as well as Blues
basedinterpretationofentiresectionsarealsomainfeaturesinthesolo.Itis
extremelydiverseandsuperblywellstructured.
His ability to start lines in a similar way and the application of various sound
facetsatsignificantpointsofthesolorevealthatheexactlyknowswhatheis
doingandwhereheis,evenatatempoof206beatsperminute.Alltheabove
mentioned aspects of his playing, amongst others, are the result of playing
everything by ear. It shows that listening is one of the most important
ingredients if not the most important in Jazz improvisation and even
beyond.

67

Glossary

A
DA
Cr
PN
DCHR
PT
IR
ET

Susp.

App.

A1.3
Theme
M1

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

wholebeatearly.
DelayedAttack:Anonthebeatnoteis attackedahalfbeator a
wholebeatlate.
Chromaticism:Anondiatonicnotewhichisinsertedtogenerate
smoothmovementofsemitonesbetweenscaletones.
PivotNote:Anotewhichistiedoverthebarlineandisdiatonicto
bothkeysofthemomentofeitherofthetwobars.
Double Chromatic Approach: Two notes of short and equal
durationmovebyconsecutivehalfstepstoatargetnote.
PassingTone:aninsertednotewhichgeneratesstepwisemotion.
Indirect Resolution: Two notes of short and equal duration
approachthetargetnotebyastepfromaboveorbelow.
Escape Tones: Escape Tones interrupt the up or downward
movement of a melody by moving in the opposite direction by
step and then leap to catch up to the flow of the ascending or
descendingmelody.
Suspension:Theprolongingofoneormoretonesofachordintoa
followingchordtocreateatemporarydissonance.Usuallyitisthe
4th degree of a dominant chord which is held over and becomes
therootnoteofthenextchord.
Appoggiatura: a small grace note melodically adjacent to a
principal note and played simultaneously with or immediately
beforeit.
Names of sections: Letter and 1st digit = Section, 2nd digit =
Chorus.
Athemeisamelodyorportionofamelodythatrecursinatune.
Motif 1: the first motif of the tune. A motif is a short melodic
fragmentorasmallgroupofconsecutivenotes.
Motif2.2:thesecondvariationofthesecondmotif.

M2.2

MotivicTransformation
Motifscanbetransformedintwobasicways:intervallicallyandrhythmically.
Intervallictransformationusesthesamerhythmbutdifferentpitcheswhereas
rhythmictransformationusesthesamepitchesbutdifferentrhythm.

68

Sequences
Amotifwhichistransposedtoadifferentkeyiscalledsequence.Asequence
can be diatonic or exact. A diatonic sequence stays in the overall key and
adaptsthekeysignatureofthetune,whereasanexactsequenceadaptstothe
keyofthemoment.

Mixolydian(b9/#9/b13)
Beforethealteredscalewasamodetoplayoverdominantchords,BebopJazz
musiciansusedtoplaytheMixolydian(b9/#9/b13)scale.Thisisprobablywhy
Wesstillhearditatthetimeofthesolo.

OctaveNamingSystem

Sources

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

69