e cd! - pere soto guitarist official...
TRANSCRIPT
125 Jazz tunes
“Fats” Waller (p. 10) 1. Ain’t Misbehavin’ 13 2. Honeysuckle Rose 17 3. Jitterbug Waltz 20 4. Black and Blue 25
Irving Berlin (p. 28)
5. Just In Time 30 6. The Best Thing For You Is Me 34 7. Blue Skies 39 8. How deep is the ocean 42
Cole Porter (p. 46)
9. Love For Sale 48 10. Every Time we say Goodbye 54 11. You’d be so nice to come home to 58 12. Just one of those things 62
Richard Rodgers (p. 66)
13. Spring is Here 68 14. My Favorite Things 74 15. My Funny Valentine 78 16. My Romance 82 17. Have you met miss Jones 86
Victor Young (p. 90)
18. When I Fall in Love 92 19. My Foolish Heart 96 20. Stella by Starlight 100 21. Beautiful Love 104
Harold Arlen (p. 108)
22. It’s Only a Paper Moon 111 23. I’ve Got The World On A String 114 24. Ill Wind 118 25. My shining hours 122 26. Over the Rainbow 126 27. A Sleepin’ bee 130
George Gershwin (p. 134)
28. Embraceable you 136 29. Someone To Watch Over Me 140 30. The Man I Love 144 31. Bess, You is My Woman Now 148
Duke Ellington (p. 154)
32. Sophisticated Lady 156 33. Prelude to kiss 160
Billie Strayhorn (p. 166)
34. Lush Life 170 35. Chelsea Bridge 175
Django Reinhardt (p. 178)
36. Nuages 182 37. Melodie au Crépuscule 186 38. Oriental Shuffle 190 39. Nuits de Ste- Germain des Prés 192
Charlie Parker (p. 196)
40. Dewey Squire 199 41. Quasimodo 202 42. Blomdido 206 43. Moose The Mooche 210
Thelonious Monk (p. 214) 44. Little rootie tootie 222 45. Ask me now 226 46. Ba-lue Bolivar Ba-lues-are 230 47. Four in One 234 48. Pannonica 238 49. ‘Round Midnight 242
Miles Davis (p. 252)
50. Nardis 255 51. Blue in Green 259
Dizzy Gillespie (p. 262)
52. Groovin’ high 264 53. Be Bop 268 54. Con alma 272
Bud Powell (p. 276)
55. Hallucinations 278 56. Budo 281 57. Bouncing with Bud 284 58. Webb city 289
Charles Mingus (p. 292)
59. Goodbye pork pie hat 294 60. Peggy's blue skylight 298 61. Duke Ellington sound of love 302 62. Re-incarnation of a Lovebird 306
Horace Silver (p. 310)
63. Peace 313 64. Nica’s Dream 316 65. Song for my Father 322 66. Pyramid 326 67. Lonely Women 330
Wes Montgomery (p. 334)
68. SOS 337 69. So Do It 342 70. Wes Coast Blues 346
John Coltrane (p. 350)
71. Giant stops 353 72. Like sonny 356 73. Naima 360 74. Countdown 364 75. Moment’s notice 367
Jimmy Van Heusen (p. 370)
76. Darn That Dream 378 77. I thought about you 381 78. Here's That Rainy Day 384
Bill Evans (p. 390)
79. Very early 394 80. Turn out the Stars 398 81. Interplay 403
Wayne Shorter (p. 406)
82. Yes or No 409 83. Witch Hunt 412 84. Nefertiti 418
Joe Henderson (p. 422)
85. Inner Urge 424 86. Punjab 428
Ornette Coleman (p. 432) 87. Broadway Blues 435 88. Turnaround 439
Michel Legrand (p. 442)
89. Watch What Happens 447 90. The Summer Knows 452 91. What are you doing the rest of your
life 456 92. You Must Believe In Spring 460
Woody Shaw (p. 466)
93. In Case You Haven’t Heard 468 94. Katrina Ballerina 471
Freddie Hubbard (p. 474)
95. Intrepid Fox 476 96. Red Clay 480 97. Up Jumped Spring 484
Sonny Rollins (p. 488)
98. Airegin 490 99. Vals Hot 494 100. Oleo 497
Benny Golson (p. 500)
101. Whisper Not 502 102. Stablesmates 506 103. I Remember Clifford 509 104. Killer Joe 515
Clifford Brown (p. 518)
105. Joy Spring 520 106. Daahoud 524 107. Jordu 528
Antonio Carlos Jobim (p. 523)
108. Alma de Zingaro 538 109. Luiza 542 110. Wave 546 111. Chega de Saudade 549 112. Triste 554
Lee Konitz (p. 558)
113. Sub-Conscious-Lee 560 114. Hi Beck 564
Frank Zappa (p. 568)
115. Blessed relief 570 116. Oh No 574 117. Peaches en regalia 578
Herbie Hancock (p. 584)
118. Eye of the Hurricane 586 119. Dolphin Dance 590
Chick Corea (p. 594)
120. Armando Rumba 596 121. Windows 600 122. Got a Match 604
Pat Metheny (p. 608)
123. James 612 124. Better Days Ahead 616 125. Bright Size Life 620
analisis by Pere Soto
section 1
Medium Ballad
IntroA
keycenter5
keycentersection 2
9
keycenter
1º modulation
13
keycenter
18
section 3
2º keycenter22
section 4
keycenterspivot chord
2º modulation
2º modulation
taste structure analisis
against very rich melody
m2, the smaller interval
original turnaround
26
44
44
&bbbb
sequence 1
answer1
s.d.=secundary dominant
subphrase 1
tonalitie Ab
rhythmic motif 1
phrase 1s
arpeggio
rhythmic motif 2
descending chro. melody
rhythmic motif 3
Form; AABA 2 sequences, 4 sections10 phrases, 4 subphrases3 II-V10 rhythmic motifs2 modulations
phrase 2
subphrase 1-2 repetition
Duke EllingtonSophisticated Lady
?bbbbsubstitution
modal interchange
VI7
s.d.F7¨9
chro. approach
©II-7B-7
II-B¨-7 B¨-^7B¨-7?
subphrase 2
descending chro. approach same quality chords.d.
G¨7¨VII7
F7VI7
E7¨VI7 V7
E¨7 A¨º7I^
A¨^7
&bbbbr. m.2
phrase 3
rhythmic motif 4 rhythmic motif 5 r. m.5
3
?bbbbs.d.
I7A¨7
VII7G7 G¨7
¨VII7r. m.3 var.
F7VI7
s.d.
II7B¨7
II-7B¨-7
II-V nº 1
V7E¨13
II-7C-7A¨^7
III-7?
D¨7IV7
&bbbbfi
chro. appr. melody
phrase 4
phrase 2 repetition
phrase 5
?bbbbAb mixolydian
A¨7II-V nº 2?
I7 V7F7¨9VI7
phrase 1 repetition
B¨-7 B¨-^7 B¨-7 ? G¨7 F7 E7 E¨7 A¨^7
&bbbbthis chord prepares the F7b9 dominant phrase 6
rhythmic motif 6
∑3
?bbbbA¨7G7G¨7F7 B¨7phrase 3 repetition diferent ending
B¨-7 E¨13I^A¨6
modal interchange
AØ7IIØ7
II-V nº 3
V7D7
&bbbbrhythmic motif 7
phrase 7
r. m.7
r. m.7 r. m.7 r. m.7
r. m.8 r. m.6
B
?bbbbsequence 2
I^subphrase 3
G^7VI-7E-7 A-7
II-7
more bluesy armonizationD7V7
subphrase 4
B-7G7
III-7 VI7E7¨9G©º7
II-7A-7
V7D7¨9
&bbbbphrase 8
rhythmic motif9
phrase 9 phrase 10
rhythmic motif10
D.S. al Coda
?bbbbI^
phrase 2 repetition
G^7 E-7VI-7
A-7II-7
V7 substitution of G7
V7D7
I^G^7
IIIº7Bº7
modal interchange
IV-C-7 ?
III-? I-?
II-7B¨-7?
IIØ7CØ7
II-V nº 4
V7F7¨9
&bbbbfi
G^7A¨^7
G7alt/D¨?!
I^A¨6 ∑
IIØ7CØ7
V7F7¨9
Ó™ œb ˙ œ œ œ œ œb œ œn œb œ ˙n œ œ œ œ
œ œn œb œ œ˙ œ œ œ œ œ œ œ ˙ œ ˙ ™ œ
wb ˙ œ œn œ œ œb œ œn œb œ ˙n œ œ œ œ
œ œn œb œ œ˙ œ œ œ œ œ œ œ ˙ œ
œ œ ˙ ™
‰ œn œn j œn œ œ œ œn œn œ# jœn œbJ œn ˙n ™ œn œ ˙b ™
‰ œn œn j œn œ œ œ œn œn œ# jœn œbJ œn œn œ œ œb œ œ œ œb œ œ œ œb
w
™™
™™
analisis by Pere Soto
tonality in Db
structure AABA, 32 barsd. s. =secondary dominant
whole tone step down
already from the beginning is searching for the "Tonal Center" that finally occurs at bar 6, 10.
arpeggio Bbmaj7
c.II-V : cycle of II-V
A
II-7
1/2 step down
V7 II-7 V7 II-7
1/2 step down
V7 II-7 V7 II-7 V7
1/2 step down
VI7 VI¨7
arpeggio Eb9
1.5
II7
1/2 step down
II¨7
1/2 step down
I^ II7 II-7 V7
™™
™™
2.8
III-7
tritone of Bb7
III¨7 II-7
tritone of Ab7
II¨7 II-7 V7
&
only 2 main rhythmic motifs !
sequences of 4 bars
8 phrases
phrase 1
rhythmic motif 1
melody line direction (1)
"head"
melody line direction (2)
melody line direction (3)phrase 2
momentary release point
Thelonius MonkAsk me now
sequence 1
sequence of 4 chords
c.II-V 1
arpeggio Cmaj7
G-7 C7 F©-7c.II-V 2
whole tone step down
B7c.II-V 3
F-7
sequence of 4 chords
B¨7 E-7c.II-V 4
A71/2 step down
whole tone step down
E¨-7
sequence of 2 chords
c.II-V 5
A¨7
sequence of 2 chords
d. s
B7(¨5)d. s
B¨7
&
phrase 3melody line direction (4)
9b7 5
3 3
9
rhythmic motif 2
9 1
melody line direction (5)
7 13 6 5
phrase 4
b7
melody line direction (6)
5 b31 5
13 #53 3
sequence 2
sequence of 2 chords
d. sE¨7 D7
d. s
Tonal Center
D¨^7sequence of 2 chords
E¨7d. s
II7 becomes II-7 V7
sequence of 2 chordsE¨-7
c.II-V 6A¨7
&cycle of 4ths phrase 4
b7 5
melody line direction (6)
b31 5
13 #5
final release point
3sequence of 4 chords
F-7 E7d. s
E¨-7 D7d. s
E¨-7c.II-V 7
A¨7 D¨^7
œ œ œ œ œjœ ™ œb œ œ œb œ
j œ ™ œb œb œ œ œ œn w
œ œb œb œ œ#j œ ™ œb œb œ œ œ œ œb œ œb œb œb œb œb œ œn
œ œb œb œb œb œb œb œb œb œ ™ œbj wb
Here instead of searching for the tonal center as happens in A, starts using II-V of the tonal center twice. That's not a coincidence, the tonal center has been set right before the B, so it needs to stay and reinforce it, but not too long, just 4 bars, keeping the general structure of the sequences.
substitution tritone of Bb7
11
II-7 V7 ID¨^
III-7 III¨-7 II-7 V7 ID¨^
15
here is a point where needs to change the mood of the bridge and get back to the original mood of the song,so Monk uses a mirror technique harmonization and changes one more time the direction of the melody back to the original, already expend 6 bars so it needs the next 2 bars for a turnaround. (so then keeps the classic 8 bars bridge)
turnaround
II-7
key center
FORM
V7
mirror
V7 II-7 II-7
special sequence of II-V melodic turnaround
V7
last A is identical to A2
II-7 V7
&
sequence 3rhythmic motif 1 inverted
melody line direction (7)
phrase 5
momentary release point 1 melody line direction (8)
phrase 6
momentary release point 2
B
E¨-7c.II-V 8
A¨7 ?
chromatic descending
F-7 E-7 E¨-7c.II-V 9
A¨7
&phrase 7
a mix of rhythmic motif 1 and 2 special momentary release point 3
phrase 8
melody line direction (9)melody line direction (10)
3
sequence 4
c.II-V 10
B¨-7
A
E¨7
B
í ™™
d. s
A
d. s
E¨7
î™™
B¨-7c.II-V 11
E¨-7 A¨7c.II-V 12
D¨-7 G¨7
œb œ œb œb œ ™ œJ wb œb œ œb œb œb ™ œn j wb
œb œ œ œb œ œ ™ œJ wb œb œb œb œb œ œb œœn œb œb œb œJ œ ™
Ask me now
2
analisis by Pere Soto
version from Jazz LTD Fake Book
d. s. =secondary dominant
3
™™
™™
version from "Thelonious Monk compositions" book
5
7
™™
™™
Monk Embellishment technique9
II7 V7 I^7
&bbb
A
tonality in Eb
sequence 1different version
Form Structure A(8b)A(8b)B(8b)A(8b)total 32 bars- 2 sequences- 5 sections- 3 modulations- 9 phrases- 5 rhythmic motifs- 6 II-V sequences
33 3 3
5
3
Thelonious Monk
q=150
Four in One
&bbb5 5 5 5
&bbbA phrase 1
answer 1
rhythmic motif 1
deep explosion energy feelmomentaneous release tension
rhythmic motif 2
minor 2nds( one of the most important
Monk's signature)
q=150
bbbsequence 1
section 1
E¨^I^7 VI7
D¨7©5
&bbbphrase 2
rhythmic motif 1
even more deep explosion energy feelmomentaneous release tension
rhythmic motif 2
bbbsection 2 VI7
C7©5
&bbbsection 3 rhythmic motif 3
final release point
∑
bbbs.d.
F7(¨9) B¨7 E¨^C7
2º ending
F-7 B¨7
œ œ œ# œ œ œ œ œ œ œ œ œ œ œ œn œœ œ œœb ˙
‰œ œn œ œ# œ œJ œ œ œ œ œ
œJ œ œ œ œ œœJ œ œ œ œ œ
œ œ œnœœb w
w
œ œ œ# œn œb œ œb œ œb œ œ# œ œn œb œ œn œœn œ œœ œœ Œ
≈œ œ œn œb œ œ
œ œ œ œ œ œœ œ œ œb œ œ œ œ œn œb œ œ œ œn
œœbb
˙<b>Ó Ó œ œ œ œ
œ œ ˙ Ó
13
II-7 V7 II-7 V7 II-7
17
II-7 II-7
the A section is a melodic world
Tension map of modulation map of sequence II
explosion of II-V
Ab
Eb
the B section is a harmonic world using II-V
E
A
Ab
Bb
&bbbsection 4
B
rhythmic motif 4
sequence 2phrase 3
r. m. 4 r. m. 4
major 2nds( one of the most important
Monk's signature)
3 3 3
bbb
1º modulation Ab
B¨-7II-V nº1
E¨7 B¨-7II-V nº2
E¨7half step up
B-7II-7
II-V nº3
V7E7
half step down
B¨-7II-V nº4
V7E¨7
&bbb2º modulation to Bb
phrase 4
rhythmic motif 5
r. m. 5 var.
3º modulation to E
phrase 5
rhythmic motif 2
bbbsection 5
C-7II-V nº5
V7F7©5
II-V nº6
F©-7chromatic descending half step
V7B7
V7B¨7
section 3
A
section 1
sequence 1
section 2
î™™
II-V nº1II-V nº2
II-V nº6
B
II-V nº4
II-V nº5
II-V nº3
‰ œbJ œ œ œœœœ œ œ œ œ œb œœœ œ œ œ œ œn œn œn œ œ œ œb œœ œb œb j œœn ™
™ Ó
‰ œJ œ œn œ œ œn œb œb Ó™ œ œn œ# œ œb œ œn œb œJ œ ™ Œ ≈ œn œ œ
Four in One
2
™™
™™
Fast Swing
notice that A is divided in 2 similar sections + 1 extra section
analisis by Pere SotoAABA
here creates tensionreleasing tension momentaneously A
can work as a D pedal . . . . . . . . . . . . . . . . . . .
V7 I momentaneous key center
™™
™™
final release point
1. 2.10
II- V7 I V7 I VI-
notice that B is divided in 2 similar sections melodic direction down 1 melodic cells B17
IIØ7 V7
melodic direction down 2melodic direction down 3
21
I- IV7 II-7
melodic direction down 427
V7 notice, less dissonance tensions I II-7 V7
&
3 momentaneous key center
rhythmic motif 1
phrase 1"head"
most important notes
the A is constructed based on long notes, creating a permament tensionthe B is constructed based on developping melodic ideas releasing the tension from A
rhythmic motif 1
answer 2phrase 2
Notice the A has 14 bars, and B 16 bars5 modulations4 tonalities, D,G,Bb,G-, Eb.notice that if you reorder these tonalities;(G, Bb, Eb) is part of Coltrane changes?!
rhythmic motif 1
responsephrase 3
Wayne ShorterYes or No
@
sequence 1
section1
D13sussection2
D^7
&short melodic motif
gradual descending melodic linerhythmic motif 1
rhythmic motif 13
II-V cycle nº1
1º modulation
A-7section3
the F,Eb notes implies key of Bb
D7 G^7
2º modulation
F72º momentaneous key centerB¨^7
momentaneous release point
E-7
&
rhythmic motif 2
phrase 4
11
melodic direction up 1
b5 b7
rhythmic motif 3
b9 5
inverse melodic motif 2
reduction direction melodic cell
3 b9rhythmic motif 3 variation
b13
II-V cycle nº2
sequence 2
AØ7section 1
3º modulation
D7¨9
&9
reduction direction melodic cell b7 5
rhythmic motif 3 reduction
b3 13
secundary dominant
b13
phrase 5
9 4th up from phrase 4
melodic direction up 2
b3 5 b7
G-7modal interchange
C13section 2
rhythmic motif 2
II-V cycle nº3F-9
4º modulation
&inverse melodic motif 2
3
melodic direction down 3
1 13 11 7 5 3 1 b7 5º modulation 11
phrase 6
B¨133º momentaneous key centerE¨^
II-V cycle nº4A-7 D7
Óœ œ œ
œ w w w ˙ œ œ œ œ# w w w ˙ œ œ# œœ
œ œœœœ œ# œ œ ™ œj œ œn œb œ w w w ˙ œ œ œœ w
˙ œb ™ œj ˙ ‰ œb ™ ˙ œ# ™ œb j ˙ ‰ œb ™
˙ ˙n ˙ œb ™ œj w ˙ ‰ œb ™ ˙ œb ™œJ ˙ ‰ œb ™
˙ œb ™ œj ˙ ‰ œb ™
˙ ˙b ˙ œb ™ œj w ˙ œ œ œœ
analisis by Pere Soto
Ab key center
Medium Swing
mf
5
3º 4º3º
4º
9
13
Coltrane changes sequence Ab, B, E
divinity
+ sophistication, ambiguous
human
&sequence 1
rhythmic motif 1
phrase 1answer 1
3
syncopation
#9
rhythmic motif 2
6 syncopations
37 5
rhythmic motif 3
b5
glimpse response 1
4syncopation
b9
r. m.3(b)
real response 1
4 rhythmic motifs
Form; 16 bars1 sequence, 4 sections
4 phrases5 tonalities
#5
phrase 2
syncopation
9
Wayne ShorterNefertiti
section 1
I^7A¨^7(©11)
Key center IV^7D¨^9(©11)
II-V nº1
IIØ7G-7(b5)
to F harmonic minor scalerelative minor of Ab
V7C7(áÁ)
deceptive cadenceBmaj7 instead of F-maj
&phrase 2
syncopation
3
ascending melodic direction
#11rhythmic motif 3
b6syncopation
b7
syncopation
#11
section 2
tritone subst. of FB^9I^7
B lydian scaleB^9(©11)
II-V nº2
IIØ7B¨-7(b5)
V7deceptive cadenceEmaj7 instead of Ab-maj
E¨7(áÁ)chromatic approach
to Ab harmonic minor scaleit seems returns to Abmaj7 the key center
&
phrase 3answer 23
syncopation Nefertiti 3 magic notes
rhythmic motif 4
3
triad chord
1 5
phrase 4
9
answer 2 extended
syncopationrhythmic motif 4
b9
rhythmic motif 43
triad chord
Nefertiti 3 magic notes
1 5
syncopationb5
#11
section 3
constant structures, same quality chord
E^7I^7
chromatic decending bass line
I^7D^7/A
tritone subs. of D7
A¨9(©11)su¨V7/VII I^7
4E('9)/F©
&7 #11
syncopation
final release point using two bars lack of melody (silence meditation?)
∑ ∑
ambiguous chord
V7E¨7(©11)
(IV7)
unexpected minor tonality,sophisticated cadence, like Nefertiti was?
section 4
I-^7B¨-^7
ambiguous pivot chord
(IV7)
E¨9(©11)V7
E^7 NefertitiB¨-^7
A¨^7(©11)
B^9
section 4
bar 15
5
rhythmic motif 4
triad chord
Nefertitimagic 3 notes
3
1
Œ ‰ œJ œ ™ œJ œb ™ œj œj œ œb j ˙b ™ œ œ ˙ ™ œ# œ#
˙<#> ™ œ# ˙ œ œ œb ˙ ™ œn w
Œ ‰ œ# j œ ™ œn j œ# œ œŒ Œ ‰ œbJ œ ™ œj œ# œ œ œb œ
˙ ™ œ# œ w
{
{
{
{
™™
™™
Med-Up Swing
analysis by Pere Soto
AABA A contains:- 7 phrases- 4 answers- 4 sections of 4 bars- total of 16 bars- 3 modulations- 4 key center zones
B contains:- 7 phrases- 4 responses (one for each answer!)- 4 sections of 4 bars- total of 16 bars- 3 modulations- 2 sections
sequence 1
F# locrian
section 2
5
F lydian
section 3
9
Eb lydian (#6)
section 4
polychord =
13
Db lydian
44
44
&
k.c.m.= key center momentaneous
containing:- 2 sequence- 6 sections
section 1
"head"answer 1
Key center G major scale zonephrase 1
*
Key center zones descending by major 2nd, C, Bb, Ab, starting bar 5
phrase 2
*
*3 notes cell on contrary motion
3 notes cell on ascending motion
bar 9
bar 1
down
up
up
up
A
Inner UrgeJoe Henderson
?VIIØ7F©Ø7(11)
IVØ7F^7b5
&
k.c.m C major scale zone
answer 2phrase 3
1º modulation
phrase 4
IV©Ø7?F^7b5 E^7b5
&
k.c.m Bb major scale zone
answer 3phrase 5
7 7
phrase 6
?IVØ7E¨^7b5
2º modulation
D^7b5chromatic aprox.
E¨^7b5 E¨^7b5 D^7b5E¨^7b5 B^7b5 D¨^7b5
&
k.c.m Ab major scale zone
answer 4
phrase 62 oct. range!
notice the lack of Eb, Bb, Ab, the alterations of Ab scale
phrase 72 oct. range!
?
3º modulation
D¨^7b5 IVØ7 CD¨;5
IIIIV
D¨^7âÁ;5
Œ ‰ œ# j œ œ œ œ œ ™ œ# j œ œ Œ Œ ‰ œ# j œ œ œ œ œ œ# œ œ Ó
+VJ V
™V™
VJ + +V V
‰VJ
Œ ‰ œn j œ œ œ œ œ ™ œj œ œ Œ Œ ‰ œj œ œ œ œ œ œ œ œ Ó
+VJ V
™V™
VJ + +V V
‰VJ
Œ ‰ œbJ œ œb œ œ œb ™ œj œ# j œ ™
Œ ‰ œbJ œ œb œ œ œb œ œ# œ œj œ œj
+ +VJ V
™ +V V V VJ V VJ
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sequence 2
Constant structures, same quality chords
17
section 5 minor 3rd down half step up minor 3rd down half step up
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section 6
21
So, we can see here a very formal plan of speeding up, even shaking the melodic line gradually!
symmetric harmonic sequence
Melodic structure
section 1, 2, 3
minor 3rd down
section 4
half step up
section 5
minor 3rd down
section 6
key center
&multiple consecutive modulations
response 1E pentatonic
chr. note
bebop phrase9 b9
I
1 9 7 9 3 #11 b7
response 27 6 5 3
7#11
I
5.
3
B
?
constant syncopationscontrasting the constant melodic line variations
IE^9 D¨^9
ID^9 B^9(©11)
&
response 3
7 Cmaj arpeggio
melodic direction
Amaj arpeggio7 Bb pentatonic
Bb13 arpeggio
response 413 #11 9 b7 5
Bb pentatonic #5
Coltrane conclusive motif9
I
79
7
3 5 3 3
?
A
bar 17E^9
constant rhythm motif
C^9I
bar 18
D¨^9
bar 19D^9
bar 20
IA^9
B^9(©11)
bar 21
wide intervals
C^9
end of constant structures
bar 22
A^9
bar 23
B
B¨13(©11)
bar 24
G^9
B¨13(©11)
bar 19, 20,21,22, start melody with the 7!that's not a coincidence!
G^9 F©Ø7(11)VIIØ7
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‰V™ + ‰
V™ + ‰
V™ + ‰
V™ +
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‰V™ + ‰
V™ + ‰
V™ + ‰
V™V™VJ
Inner Urge2
GNPLAY 10 CHORUSES (J = 158)
I "t'-l l-)GA AA BA
l.-...- "h ,l..CA+4
LL. Puniab
IGA
BY Joe Henderson
l -) l .-) I
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GW ,BA
Eol
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A7 AhA GA F7
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i - ) l -h lBA CA+4
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l. "I- IGA AAC_7IF
E7 F7
SOLOSEul
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DA BN BA AbA
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GA
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CA+4
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riI
CA+4
CopyrightO l!X4Johen Music
lltemational Copyright Securcd All Rights Reseped
12
™™
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analisis by Pere Soto
q=158
constant structures of maj7
5
I I
constant structures of maj7 thirds descending cycle
¨VI7 I IIØ
10
V7 I IV7 I
B15
I VII7 V7 I
19
&sequence 1
s.d.=secundary dominantTonalitie D
answer 1phrase 1Intro main concept groove
. >
phrase 2response 1
motivic repetition
.
Form; 4 bars intro18 bars A1(10b) A2(8b) 1 sequence, 4 sections1 modulationsseverals motivic repetitions4 key centers8 rhythmic motifs8 phrases1 II-V
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Joe HendersonPunjab
?section 1rhythmic motif 1
G^7 A^ B^ C^©4
r. m.1 rep.
G^7 A^ B^ C^©4
&
Theme
answer 2phrase 3
rhythmic motif 2
quintal voicings
. response 2phrase 4
r. m. 2
quartal voicings.
rhythmic motif 3
3 3A
?section 2
1º key center
D^minor third down
D^
asc.chr.approach
s.d.B¨7b9
susV7/V7
2º key center
B^minor third down
asc.chr.approach
s.d.G7©9 A¨^
3º key center
modulation nº 1
FØII-V nº 1
&<b>
<b>response 3
phrase 5 motivic repetition
r. m.4response 3
~~~~~~~~ .
?B¨7©4
deceptive cadencerhythmic motif 4
tritoneE6‚9©4
4º key center
momentaneous but the only one release point, (31/2 bars)
E6‚9©4desc.chr.approach
E6‚9E¨7b9A¨^
&
section 3
phrase 6
rhythmic motif 5answer 3
rhythmic motif 6
phrase 7
answer 4rhythmic motif 7
3
? A¨^3º key center
desc.chr.approach
s.d.
G7b9 G¨72º key centerB^
tritone
chr.approachE7IV7
F7susV/IV
&
rhythmic motif 8phrase 8
A7 A¨^ G^
3
F7
answer 1phrase 1
. >
?section 4
desc.chr.approach
¨V7susV/IV
¨V7susV/IV
C-7/Fnotice these last 2 bars are from the intro and has as turnaround functionality at the same time of a brief main concept groove reexposition
(section 1)
G^7 A^ B^ C^©4
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