..

UNIVERSITY OF CAPE TOWN

DEPARTMENT OF MUSIC

THE NEW SOUND

A TRANSCRIPTION AND ANALYSIS OF SELECTED SOLOS OF WOODY SHAW

DAVID LILLEY

SUPERVISOR: BRUCE CASSIDY

SEPTEMBER 2000

Thesis submitted in partial fulfilment of the requirements for the degree Masters in Music

The copyright of this thesis vests in the author. No quotation from it or information derived from it is to be published without full acknowledgement of the source. The thesis is to be used for private study or non-commercial research purposes only.

Published by the University of Cape Town (UCT) in terms of the non-exclusive license granted to UCT by the author.

Univers

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ABSTRACT

This work is in two parts. The first section consists of ten transcriptions of the

solos of the trumpet player Woody Shaw. These have been transcribed by

ear directly from the recordings. The second section of the work consists of

analyses of the transcriptions.

Woody Shaw remains one of the most harmonically progressive jazz trumpet

players today, years after his death. Like the great saxophone player John

Coltrane, he liked to superimpose tonalities of his own choosing over the

original tonality of the music.

By transcribing and analysing his solos, the author has demonstrated how he

does this. His melodic ideas can be seen together, as notes that spell out

certain harmonies or altered tones that are not specified in the original chord

structure. These can be often recognised as belonging to various pentatonic

scales from different tonalities.

By examining the transcriptions in analysed form, one can begin to see

patterns forming at specific points in the musical form. Woody Shaw employs

the concept of superimposed tonalities. By studying his methods, the student

can incorporate them in his or her own playing.

• I '

ACKNOWLEDGEMENTS

I would like to take this opportunity to thank Bruce Cassidy, jazz trumpeter,

EVI player and studio musician. Bruce has been my teacher, and is also the

finest jazz musician I have been privileged to know.

I would a.lso like to thank Resha Revishin and Hamsa Ie Roux for their

assistance in formatting and editing this document.

PREFACE

Woody Shaw is arguably the most important figure to emerge in jazz trumpet

history, harmonically speaking, since Clifford Brown or Miles Davis. In this

analysis of his solos, the author hopes to unlock some of the secrets of his

unusual and progressive style of playing. There are many transcription books

available on the market today, but none offer an in-depth explanation of what

concept the soloist was using at the time.

To understand his playing style, one needs to transcribe and see for oneself

the superimposition of different tonalities that he uses.

The author has chosen ten tunes for this purpose. These tunes were. chosen

because they all demonstrate his use of poly tonality very clearly. They are

also all good examples of his best playing. Several of the tunes are

standards and there are also a few blues tunes. The student can relate more

easily to these more familiar forms before looking at tunes such as 'The

Moontrane', an original Woody Shaw composition with unusual chord

changes.

CONTENTS

ABSTRACT

ACKNOWLEDGEMENTS ii

PREFACE iii

INTRODUCTION 1

HISTORY 2

GLOSSARY OF TERMS 7

TRANSCRIBED SOLOS Backstairs Blues 10 Gingerbread Boy 13 If I were a Bell 19 The Moontrane 22 Sandu 26 Sippin' at Bells 28 Solid 32 Steve's Blues 35 There will never be another you 37 You stepped out of a dream 40

METHOD OF ANALYSIS 44

ANALYSES Backstairs Blues 46 Gingerbread Boy 51 If I were a Bell 60 The M60ntrane 64 Sandu 69 Sippin' at Bells 72 Solid 78 Steve's Blues 82 There will never be another you 86 You stepped out of a dream 90

CONCLUSION 94

BIBLIOGRAPHY 95

IV

After two choruses I get tired of playing the changes ... I like to superimpose

harmonically. I like to play it deliberately in another key and resolve it. I

consider myself from the str~ight-ahead school of jazz. I'm able to handle any

kind of music, but I think that when jazz stops swinging, it's not jazz.

Woody Shaw 1

1 Eclipse - http://www.eclipse.netl-fitzgeralblakeylwoody.htm

HISTORY

Woody Shaw was born in Laurinburg, North Carolina on 24 December 1944.

He died on 10 May 1989.1 On the one hand Woody Shaw saw himself as a

straight-down-the-line bop trumpet player but on the other, he played in a

style that was and is to this day very progressive and unique amongst jazz

trumpet players. Woody Shaw bridged the gap between hard bop and the

avant-garde by respecting the tradition and playing with controlled freedom.2

Woody Shaw was born 20 years too early to hit the revival of mainstream jazz

that has been fronted by Wynton Marsalis. 3

In August 1970 when he was 25, Woody Shaw tied with Kenny Wheeler in the

'Talent deserving wider recognition' section in the Downbeat poll.4 In 1978

he was voted best trumpet player and Rosewood best jazz album in the

Downbeat poll. 5 Dizzy Gillespie said of him, "Woody Shaw is one of the voices

of the future".6

So why is there so much mystery surrounding this musician?

He never made a name for himself in the way that other trumpet players like

Miles Davis or Freddie Hubbard did, however Miles Davis said of him that he

was someone who did not sound like anyone else. In other words, he was

original. Freddie Hubbard even asked him to come and play on one of his

albums. If you listen to the recording of them playing Clifford Brown's Sandu it

is very obvious whose playing is the more progressive.

1 Ian Carr, Digby Fairweather, and Brian Priestley, Jazz: The Rough Guide (London: Penguin Books, 1995), 579. 2 Amazon.com- http://www.amazon.com/exec/obidosltslartist-biography/41158/1 04-32611012108444 3 Album sleeve of Woody Shaw, Solid, MCD 5329. 4 Album sleeve of Woody Shaw, In My Own Sweet Way, I OR CD 7003-2. 5 Eclipse - http://www.eclipse.netl-fitzgeralblakeylwoody.htm 6 Album sleeve of Woody Shaw, In My Own Sweet Way, I OR CD 7003-2.

Thus Woody Shaw is seen as a musician's musician. In South Africa it is hard

to find his albums on the shelf in record shops. He did not become famous but

if you mention his name to those who know, the effect is always the same; a

tone of reverence for a great player who paved the way for a more

contemporary approach to the horn harmonically. He can be regarded as the

Coltrane of the trumpet except that he never became famous like John

Coltrane.

His playing is a combination of two opposites. On the one hand, the vehicles

he chooses for his improvisation are mostly in the traditional bop mode, i.e.

his ensembles are traditionally acoustic, and the tunes are usually from the

standard jazz repertoire. A great deal of the time, he plays using lines that

are typical to bop players. However, it is in another area that his trump card

rests. As he has said himself earlier, "I like to play it deliberately in another

key and then resolve it".1 It is his artistry in playing in and also totally outside

the changes so effectively and so musically that makes him such a great

player. He said of himself, II I consfder myself to be one of the great trumpet

players because trumpet players try to imitate me now".2

Each of Woody Shaw's learning experiences gave him an increasing number

of tools to bring out his own individual sound. The more he absorbed, the

stronger his identity as a player became. He played with some of the world's

best jazz musicians, many of whom have been trendsetters in their own right.

He recorded and performed with artists including, Art Blakey, Horace Silver,

Chick Corea, Dexter Gordon, Freddie Hubbard, McCoy Tyner, Gil Evans,

Kenny Garrett, and Eric Dolphy, Larry Young, Jackie McLean, Herbie

Hancock, Joe Zawinul, Joe Henderson, Max Roach, Bobby Hutcherson, Bud

Powell, Kenny Clarke, Jonny Griffin, Joe Farrell, Elvin Jones, Cedar Walton,

Kenny Barron, Kirk Lightsey. Wayne Shorter, Sarah Vaughn, Scott Lafaro,

I Album sleeve of Woody Shaw, In My Own Sweet Way, I OR CD 7003-2. 2 Album sleeve of Woody Shaw, In My Own Sweet Way, I OR CD 7003-2.

3

Betty Carter, Hank Mobley, Kenny Dorham, Lou Donaldson and Stanley

Turrentine. 1

Woody Shaw's father sang in a gospel group, The Diamond Jubilee Singers.

Woody started on the bugle but changed to the trumpet at the age of 11. His

teacher, Jerry Ziering, gave him classical lessons and also introduced him to

the playing of jazz greats such as Dizzy Gillespie, Bix Beiderbecke and Bunny

Berrigan.2 He played with Brady Hodge's Newark based R&B orchestra and

worked with local acts such as Alan Jackson and the Jive Five while in high

school where he made the All City and All State orchestras in 1959.3 He

never graduated from high school, favouring learning his craft on the job.

Woody began to sit in with visiting guest stars, and at the age of 18, he toured

with Rufus Jones.4 Also at 18, he played with Latin jazz pioneer Willie Bobo

in Brooklyn at a club called the Blue Coronet along with Chick Corea and Joe

Farrel1.5

Using, as background, his influences of Clifford Brown and Freddie Hubbard,

he spent time with the reed player Eric Dolphy, who he claims opened his

vision to new harmonic possibilities. This was where he began to embark on

a musical journey that headed into unchartered waters. After gigging with

various bands he got his first big break playing with Dolphy.

Dolphy is quoted as saying, n I think of my music as tonal. I play notes that

would not ordinarily be said to be in a given key .... I hear other resolutions on

the basic harmonic patterns and I try to use them."s Woody Shaw said "Eric

helped me to find my own individual approach to playing trumpet. He taught

1 Album sleeve of Woody Shaw, In My Own Sweet Way, I OR CD 7003-2; Amazon.com­http://WNW.amazon.comlexeclobidosltslartist-biography/41158/1 04-32611 012108444; Ian Carr, Digby Fairweather, and Brian Priestley, Jazz: The Rough Guide (London: Penguin Books, 1995),579 - 580. 2 Ian Carr, Digby Fairweather, and Brian Priestley, Jazz: The Rough Guide (London: Penguin Books, 1995),579. 3 Eclipse - http://www.eclipse.netJ-fitzgera/blakey/lNOody.htm 4 Ian Carr, Digby Fairweather, and Brian Priestley, Jazz: The Rough Guide (London: Penguin Books, 1995),579. S Eclipse - http://www.eclipse.netJ-fitzgeralblakeylwoody.htm 6 Album sleeve of Eric Dolphy, Music Matador, LE Jp.,zz CD14

4-

me to play inside and outside at the same time".1 This quote is crucial in

understanding the music of Woody Shaw.

In 1964 he went to Paris with Bud Powell, Kenny Clarke, Johnny Griffin, Art

Taylor and Larry Young. He also played in Belgium and Germany before

returning to the States where he joined Horace Silver in 1965. In 1968-9 he

played with Max Roach, touring the Middle East and played at a festival in

Iran. From 1970 to 1972, he played with Joe Henderson and Gil Evans. In

1973, he joined Art Blakey and the Jazz Messengers before entering the West

Coast freelance scene where he played with Herbie Hancock. Art Blakey's

band the Jazz Messengers has hosted every major trumpet star in its long

history. In New York in 1974 he recorded Moontrane, his third album and

received favourable reviews. Miles Davis recommended him to Columbia

Records who signed him up. He continued to tour and play at festivals and

clubs with his own groups while forging a highly individual style composed of

playing inside and outside the chord changes. In 1985 he played at the

Camden festival in London with Joe Farrel1.2

Woody Shaw's own in11uences included Dizzy Gillespie, Miles Davis, Clifford

Brown, Booker Little, Donald Byrd, Lee Morgan, Freddie Hubbard, Eric

Dolphy and McCoy Tyner. He also drew on the work of European classical

composers particularly those who used pentatonics in their work such as

Debussy and more importantly, Kodaly. Woody Shaw was a spiritual man. He

liked Thai Chi and even wrote a composition for his teacher, Joshua.3

Woody suffered from retinitis pigmentosa, a vision defect that meant he could

hardly see at all towards the end of his life. However he had such good ears

that he could pick up a new tune in a few minutes.4 His poor eyesight caused

1 Ian Carr, Digby Fairweather, and Brian Priestley, Jazz: The Rough Guide (London: Penguin Books, 1995),579. 2 Ian Carr, Digby Fairweather, and Brian Priestley, Jazz: The Rough Guide (London: Penguin Books, 1995), 580. 3 Album sleeve of Woody Shaw, In My Own Sweet Way, I OR CD 7003-2. 4 Album sleeve of Woody Shaw, In My Own Sweet Way, I OR CD 7003-2.

5

him to fall underneath a subway train in New York in 1989. He djed three

months later of his injuries.1

He left behind many compositions, all of which are extremely progressive

harmonically, including Katrina Ballerina, Little Red's Fantasy, The Moontrane

and The Organ Grinder, to name a few.

His legacy lies in the fact that modern jazz trumpet players either tend to copy

the Clifford Brown school that includes Lee Morgan and Freddie Hubbard in

learning from the bop masters or, if they want to sound harmonically

progressive, they borrow from Woody Shaw. Today, 10 years after his death,

there has yet to be someone who has left such a lasting impression at the

progressive end of the modern jazz trumpet 'fraternity. His recordings are as

innovative today as they were ten years ago. There have been many who

have copied his style such as Roy Hargrove, but no one that has yet taken his

place as the new leader.

1 Ian Carr, Digby Fairweather, and Brian Priestley, Jazz: The Rough Guide (London: Penguin Books, 1995), 580.

1. Altered dominant scale a'

GLOSSARY OF TERMS

II~@ l vh; ~;,jiJ5J J I - II The altered dominant scale. It is used over a dominant 7 chord as it disPlays all the altered tones.

2. Alterations

0 .... ' Ci'

~9 f9 The alterations in a dominant chord are the 49,'9,fll,j,13. These are indicated below the altered tones by the number of the scale degree and the sign, f or ,.

3. Bebop cliche

II~ r rir r S ~ I rrirEE~FE ~ II ~ f f There are many different stylistic phrases in bebop that are commonly used among jazz players. Only 2 examples are given here.

4. Chromatic Enclosure

1 2 3

In approaching a note, in this example" e", the note may be preceded by an enclosure i.e. notes eIther side of it that enclose the note. Usted above are 3 examples.

S. Diminished scales

!I ~ %J,;~;;13 Sf; I j j,; Jpp j ; II Half step whole step. Dominant ,9,49,111.

Whole step half step. Dlmlnished chord.

7

6. Natural Minor scale Co-'

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7. Out of key directional approach

Q-' Co'

11$ f ,pftlefl ~,~ = II 15 The ~ and G# are not in the key of the tune ( F major). They approach the G which is a chord tone.

8. Pattern

~$ ,c4rr rEfr!PI bEE F r ~ II This example contains a 4 note grouping repeated 3 times.

9. Pentatonic scale

Major Minor

The C minor pentatonic scale contains the same notes as E; major penatonic. In analysis I look at the key of the moment. For example, if the key is C minor then C minor pentatonic is a more obvious choice than E. major pentatonic even though the notes of the scale are the same.

IO.Tritone Substitution.

0 ... 7 ~7 c,A7

II $ PC PEprp.~J,j J J I J ~ - II 19 - - - J

The notes of the above bar clearly imply a n - V progression a tritone away from the original chord changes. This is a common jazz reharmonisation.

The new chord changes would be AP -7 to D~7 to c.

II.Bebop family of scales c,7

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c,A7

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II j J~5p 13 ~i5 r n - minor Bebop scale

II

The recognizable feature of these scales is the semitone, for example between the ~7 and-,70r between ;3 and ~3 etc.

The tonal areas that Woody Shaw uses in his solos has been mapped out by grouping the notes in a particular tonality together under a curved line. This line is only used for this purpose and is not to be confused with a phrase marking. Thus lines denoting phrase or style have been deliberately left out to avid this particular ambiguity.

II

Backstairs Blues Woody Shaw

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43

METHOD OF ANALYSIS

The analysis on Woody Shaw's interpretation of selected jazz standards was

done by asking the following questions:

1. What scales do the notes form?

2. What chords do the notes outline if one puts them together?

3. What alterations do the notes highlight?

4. Do the notes form a pattern?

It is important to realise that there is more than one way to analyse any given

musical excerpt in jazz. If, for example, one looks at a 11- V - I progression in

C major that contains notes that are altered, one can either say that certain

notes are altered, or that the musician uses the altered dominant scale, or

perhaps that he uses a pentatonic scale that is not of the key of the moment.

All three would be correct.

In the ten selected tunes, Woody Shaw often superimposes different tonalities

over the existing chord changes. When this occurs, the clearest and most

useful way for a student to understand the concept behind the improvisation is

to look at the big picture. Thus, to describe a particular pentatonic over three

bars is a much more logical way to see a particular situation than to analyse

every single note in each bar.

This is probably the way that Woody Shaw himself would have seen a

particular musical situation. An overview of the tunes analy~ed shows the

student that Shaw uses tonalities superimposed on each other quite freely but

also by intention at specific points in the form to obtain a specific musical

effect. This is in opposition to for example the free improvisation of Ornette

Coleman where the superimpositions might occur at any point with less

intention.

Woody Shaw played outside the chord changes but in a clearly ordered and

structured way. For example, he knew that to obtain the alterations over a C7

chord he wanted, he only had to playa specific pentatonic. For example F

sharp minor pentatonic would yield the following alterations; flat 9, natural 7,

sharp 11. Different pentatonics would yield different alterations. Although it is

impossible to say exactly how Woody Shaw himself conceived his playing

style, there are clear patterns that enable one to see the structure underlying

his playing. He was definitely a chord player.

Important to note is that the inflections such as half valve, smears, ghosted

notes etc. that make up so much of jazz trumpet style have not been included.

This thesis is concentrating on the harmonic aspects of the music.

In any event it is the author's strongly held belief that to copy the style of

Woody Shaw's playing the student must obtain the original recording and

learn to imitate by ear. There is no other way. Trying to read inflections off a

written part is to try and put a classical 'frame of reference over Jazz music. It

will not fit.

4S

Backstairs Blues Woody Shaw

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G-7 13 15 16

•

C minor pentatonic tone

A7~9) 17 18

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f Q f r 'It I I, F; part of chromatic enclosure approach of~.

411

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~ is major 7 diatonic to V7 of C home key of C.

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Major 7 ~9 19

G minor pentatonic

~'7 ~'7 ~'7 ~ ... '7 ~'7 !61 62 63 64 1'-.,...... ....

" f L'r r f Fir ~r lEE r FEr E r I Ie E [~ [ r E!r I r r F;5; ~ 3 J I 4 note pattern descending in major 3rds 19 Chromatic

enclosure of G

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Harmonic anticipation of G7. ~9 19 G7 begins in bar 69.

;11 #9 in G7

Bar 72: G7 throughout

G~ is part of the bebop dominant scale in G7

4-75

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m is chromatic passing tone.

76

• A; is chromatic passing tone.

H3 ill f9 4 note pattern descending chromatically

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82

B major pentatonic. ~, A" andG, are diatonic to actual chord changes but are passing tones in key of B.

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G diminfshed sctJe G7 altered

Backstairs Blues Woody Shaw

Detailed analysis

Backstairs blues is a blues in C for the trumpet. The blues scale is a device often used by jazz players in this situation. Look at the similarity between the blues scale and the pentatonic scale as used by Woody Shaw in bar 13. 4 C Blues scale £1J

@J,J J iJ ij~ r C minor pentatonic scale

II J,J J J 'r: J4

4r PC Bar 13 -14

r ~

~ ill! it I 'F' ~ I F ~

I

By using the pentatonic scale of keys outside the key of the moment, Woody Shaw implies other key areas superimposed over the top of the original changes. For example, in bar 36, he uses a G minor pentatonic scale over a II - V progression, D minor - G7. Thus he implies a tonality of G minor. Using this pentatonic scale also gives the 19 in G7 (m).

G minor pentatonic scale 0 ... '7 G'7 Bar 36

..-•

II

II

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50

Gingerbread Boy Woody Shaw

Selected Choruses Fast blues

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th - - - I~ r r II Major 3rd

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C'7 A '7~9)

G major pentatonic D mnor :n::n G minor pentatonic

------___ --.!E::.!..:~ n~at~ura1~mi~no:!.....r _----- Chromatic

C'7

F -~'7

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bebop scale

0 .. 7

G7 altered C7 B major

Woody cliche C minor pentatonic

C minor pentatonic G minor pentatonic Diminished

C minor pentatonic

DRUM SOLO 74

- I

78

-

0 .. 7 ~7 72

V I r· V r He plays off the minor 3rd and the major 3rd of the home key. This is a popular theme in Woody's playing. Also on ~7 and\7.

75 76

- -

79 80

- -

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r 'E E II Ff to A forms a chromatic enclosure approach to G.

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I' r t j g'OI Wi];] n l F'r~g I G~ chromatic passing tone Enclosure

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113 DRUMS 115 116 If f f Ir , - - - I- I(

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I t fir 0 E r'r tr r r r l [til (e'l r [ uY tJ J J J J JP J II F# chromatic passing tone #7 Pattern descending Ff chromatic

passing tone

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125 ~, 126 ~r' 127 , (!' E~?III) A' (19)

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I'e I C - - - 1-A~ major AI major

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r PC 'C I,W ]i] J~C PEj Chet Baker lick in B~ minor from his solo on Autumn Leaves.

Original key is G minor See Chet Baker's solo on Autumn Leaves from the 'She Was Too Good To Me' album, bar 1.

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57

Gingerbread Boy Woody Shaw

Detailed analysis

One of Woody Shaw's favourite devices in his improvisation is the use of polytonality. This can be seen in two ways. The first is to play another tonality over the existing one in a way that, on paper, would look obviously as though it implies a different key area. It is always different to the listeneras opposed to the music reader as the listener can relate the various altered tones back to the original chord changes in some way or another. The listener hears the sounds together, and thus they make logical sense. To the uninitiated reader of the transcription, the note choices may appear strange at first. In essence, every note of the chromatic scale can be related back to the original chord changes in some form or another. Yesterdays "wrong notes" are the "hip" notes for the progressive musician today. In any event these techniques are not that new. Coltrane did it already, 40 years ago. For example to see how the chromatic scale relates to the original C major scale, see below.

~7

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3 3 411 5 H3 6 ~7 1 1

By playing foreign notes over the original chord changes in a very strong and obvious way, we can say that he is implying a different tonal area from the one originally stated by the chord changes. The listener however will hear all these sounds at once and thus assimilate them together as one sound. Since jazz is more about sound than what is written on paper, this makes sense.

Using pentatonics as a vehicle for implying polytonality is a technique shared by many saxophone players, notably those from the John Coltrane school of playing, such as Mike Brecker, Eric Dolphy, Jerry Bergonzi, Bob Berg and others. What makes Woody Shaw unusual is that there are not many trumpet players who use this technique. The trumpet, unlike the saxophone does not lend itself easily to lines that involve large skips and angular movemant. For example one will not see many arppegiated style lines in trumpet playing. The notes tend to be closer together. Woody Shaw was a major pioneer in this area.

/I

0 .. ' c.' •

D major Tonality------------------------

Measures 24-27:

To the listener, the notes that are outside of the original chord changes may appear as altered notes related to that key but to the performer and to the analyst, tbe pattern is quite clear. Woody Shaw uses D major as a key centre as spe out particularly by the D major pentatonic scale and tbe D major triad. Thus in a simplistic way, one could say that the whole of the above example is in D major.

If I were a bell Woody Shaw

G7 dominant bebop scale G7 altered dominant scale

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1'--0 -2

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D Major

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Bar 9: The B, is a chromatic approach. Bebop cliche.

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a Major m Major pentatonic

411

4

-

G Major

SA~7 12

'fI~·' /-Bar 12 has an PI against a ~ in the chord.

SA7 £7 16

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C7 sound over the E7using the C7 bebop dominant scale.

A'7 A ... ,(~6) N MajorO'

18

Bar 17 begins using a motif from Bar 18 is in N major the dominant 7th bebop scale in C. pentatonic over the Then over the 2nd half of the bar, minor II - V in G. he goes into AP major.

21 22

•

Q'7 C' ClaIM 2S 26

rt , - 1- ~ c!

A ... '7 07

23

QA' 27

!t

31

33

37

'7

C7 bebop cliche over A minor. Then the lick is tranposed and inverted into A minor.

C major pentatoznc ~s

S ... '7I~) 38

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A ... 7 07 34

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GA'

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Repeated pattern ascending in thirds ------------------- Breaks pattern

53

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If I were a bell Woody Shaw

Detailed analysis

In this tune, the section that stands out is bars 5- 8. Once again Woody Shaw uses pentatonics that take the tonal cent into areas not specified by the chord changes. Over the B-7~5 he uses a D major pentatonic which has a is against the ~S specified in the chord changes. Over the E7~9, he uses a C minor pentatonic which gives a ~13,i11,#9~9. Over the A7, he uses m major pentatonic and continues in this tonality all the way through the A minor chord. The D7 then returns to diatonicism.

S ... 7(~~) (7M) A7 A ... 7 07

II $ Qr r rt r r r r IfF r~ R~r r r I E~E~r r'F~r r F I ~rir~rF!J4JJ~11 Bars 5-8:

Dmajor C minor D dominant 7

D~ major ------------------

The Moontrane Woody Shaw

-E minor pentatonic Ff minor pentatonic

0 .. '7 £ .. '7 ~ .. '7 a .. '7 £ 0 .. '7 a '7

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F major Ff major pentatonic pentatonic

ca'7tffl) cAlitfll S-'7 9 3 10 11

F'R

JJJ n·,," Ir J '" J IJ J ,J ~ -- f11

0 .. '7 £ .. 7 ~ .. '7 a .. '7 £ 13 ~ ~ ~ P 14 P 15

If E Or G r rk I'f f'F'r r r r IF • -

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11~" tr U ~.g'j F major bebop scale

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'c:f I -a .. '7 C'7 16

1- CE'ECI

s .. '7(b6) £ '7~9)

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A-7 ~-7

142J n-

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0-7 37

~-7 22

1-

~-7 30

1-

c; anticipates harmony in next bar.

28

1-

32

F;minor ~A7tftt) 35 S-7 pentatonic

df f f IE M t-r Ct 36

C; anticipates harmony in the next bar.

-

S-7

-

a minor pentatonic E major E~ major C major pentatonic

0-7 £-7 45 3

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~-7 ~-7 46, _ IE Fe r

Harmony from previous bar

~

I

pentatonic

A major pentatonic

~A7 ~-7 ~7

'itt f 48

(ff!ffJ l--Bminor 3

3

pentatonic G major pentatonic

I!

-3 3 ~ chromatic passing tone

G major pentatonic 3 Lydian

Cf minor pentatonic G major pentatonic

S-'7 S-7 57~ __ _ 59 60

G major pentatonic B minor pentatonic

0-'7 ~-'7 f. 0-7 61 62 63 64

Dmajor

65 66 68

FI minor pentatonic

Ell minor key centre 3 3

73 3 74 75

F# minor pentatonic H3

81

89

3 C major pentatonic

C major pentatonic

0-7 93

C minor pentatonic

78

82

~-7 Q-7

Emajor ill pentatonic

E; minor pentatonic

91 92

C,7

¥ r tr EEt1 C major pentatonic

\7 3

B minor pentatonic

3 '11 C minor E major pentatonic anticipation

The Moontrane Woody Shaw

Detailed analysis

One of the favourite devices used by Woody Shaw is the pentatonic scale. This is what gives his playing that angular effect. The pentatonic scale can be seen in 2 ways: either in its major or minor form. The C minor pentatonic scale is the same scale as the a major pentatonic. In the example below one can see clearly how he moves in and out of tonal areas using the pentatonic scales.

He uses B minor pentatonic.here. This whole section from the C minor chord to the G minor is all B minor pentatonic. Over the C mino,r this scale gives ~9,b5 and over the G minor, it gives ~6,~S.

The effect of moving in and out of these various pentatonics creates very different tonal centres even if these are not those specified by the chord changes.

Sandu Woody Shaw

A-1

II $ @- IYr IYr 1 tjJ~iJ J,S J JJ F minor pentatonic scale opening

~1 S~1 ~1 ~-1 ~1 2 3 3 4

IIJ J ,. Jb~ir I'r ~ ,. Jp!J IJ J&}'r ll,JI: ~ ,. .op}'r

>..; I

~ ~ A~ 5 6 7 8

liF F ~5"'C I'C F ~ ,. OtiC reF r" ~itIJ" JOiJ.,J J I

Q-1 ~1 9 10

I }cJ J~,J I p}'r ~ F minor pentatonic

S~1

t~E+ r S~1 S~1

l~ 18

'f ~ - 1-I~

;7. He often swops between Major 7 and Dominant 7.

A-1 01 Q-1 ~1

i9

11 12

f & 1 C'[J r ~J iAj.J ~ ~ ~ II 3

~1

~r 'r 19

IF )r ~3 ~

Tritone substitution. F; -7 - B7.

A-1(~~) 01~) 20

if7s{f ~ .,. Q I

21

3 33 r-

-

A .. 7 23

D, Chromatic passing tone

ill Suggests G7 chord. Bebop cliche. B~ minor

3 Q .. 7

30

26

/- ,

B\ Implies diminished G, passing tone. D minor 3 chord common in bar 5 pentatonic of a blues.A and C act as enclosure.

a7 3 ._L

34

.,-Bebop minor

3 3 3 3

~'Z -p 1: - J5;nllnor scale 6 chromatic Ff7 key centre

passing tone pentatonic

Q .. 7 Co7 ~7 36 3 37

I rr:rfi~jPJII JJ ~ ~ ~ II 3

B major

a .. 7 28

,=

3 C minor pentatonic

3

A major pentatonic

35 A .. 7 07 _'1'- ~~L I .- ..-

-3 3 ....... 3

70

Sandu Woody Shaw

Detailed analysis

Below are the last 3 bars of the final chorus on Sandu. Notice the angular lines created by the use of pentatonics. By merely glancing at the extract one can see that the notes are foreign to the key of the moment or the home key of F. Woody Shaw uses a B~ minor pentatonic over the A minor to D7 progression.

~ 3 Co'

3 3 V 3 C major pentatonic

3

Bars 34-36: B~ minor pentatonic. C minor pentatonic

By looking at all the flats that he plays over the A minor to D7 proression, one can see that he is obviusly playing consistantly and intentionally a half step away from the original changes, i.e. in m minor over A minor.

Ii

II$QJ I ••

5

A .. 1 9

~A' 17

Sippin' at Bells Woody Shaw

~1 QA' 0,1 2 3

J1w J ,J tiLJ J. ;11

,J pJ

10

~ ... 1 18

7 8

Bar 6 anticipates the harmony of the next bar. Tonality of B minor superimposed over F7.

B~ c omatic passing tone to 13th of D7.

3 Triplet is a bebop cliche chromatic approach to the ~.

~1 S ... 1

',13

Bar 12 in A minor throughout. AI is a chromatic passing tone if one sees this bar as being in the superimposed key of A minor instead of changing to A;7.

~chromatic 3 passing tone

20 S, ... ,

~9

B minor continues into the next bar.

A .. ? C ? Q A .. ? Ap? 21 3 22 23 24

I$r JjJ4Jd]IJJJ);ccfjlr r J PI~:iOf ¥lll

25

29

37

IF

41

IJ

Bar 23: Woody Shaw cliche. Technically this demonstrates a key centre of C7 - anticipation of harmony in bar 26.

~13

27

A and Care non chord tones.

~? s~ s,~

r &tlU I~ J J J wr 13'l~r r f~rpr ~ j i 30

- 1-B minor pentatonic ~9 17 harmonic anticipation of the next bar.

Q

C7 implied over B minor

)J. D7 dominant bebop ~13 ~9

3 scale. ~13 ~9

Q6?

r J J tone

42 c. .. ? ~?

~ - -

p7

A minor over N7

Ap"? C,?

1l±2E J. II Dpmmor 7

D major over C7. Diatonic to home key. s .. ? S, .. ?

43 44

I ¥ k If r J J J J I P[ f ~r r J ,T) I

73

A-7 07 A-7 46 47 48

J J J J J iJ J J ~~3 ir ,rtt. -

GA7 ~ 7 &A7 A~ .. 7

i~ E Of fer r 11rdrr ~ drtl~ #elc L r I~~ ~r -

53

-

57

,fl G, chromatic 3 passing tone. Chromatic

~~ ~7 S~ 54 55

Ir C r'r r F r r IICC'roll' 3

G# non chord tone suggests A major.

3

DI chromatic passintg tone, bebop cliche.

Pattern

G 59

D IJ J J J r r H3

F# diminished anticipation

~s or,9

A-7 60

-

~A7 ~-7 ~ .. 7 S .. 7 S~ .. 7

II

II

65 ~ 66 67 ~68

Ii] J J r r E r I'[~[t'r jJ J,JIJ J J J trW 1'[ r~r'r J n ~ Chromatic,9 \7

D" F, chromatic enclosure approach tones

C7 over B minor

74

A .. '7 A~'7 72

/- "pr,rr r II Et Harmonic anticipation

73

3 -Chromatic approach triplet B~ harmonic anticipation H accented bebop cliche of next bar passing tone

Co .. '7 77 78

I; J ~ - 1-,9

A .. '7 0'7 ~ A .. '7 A~ '7 81 82 83 84

10 I ~ j Ir if 'rC Jf r ~ - II d I

Major 7 Lydian

~A'7

tr Co '7 ~A'7

~t j~-1 0~'7

85

~ ff7

~r ~t 1- - I- t I~ r I

Lydian Harmonic anticipation of Nminor

Pattern G major

75

A .. 7 C 7 Q A .. 7 A,7 93 94 95 96

1$ [Ir ErE r F r I r~r [r~J W I J J J J J J J J I J J~j J J j ~ J II f9 ~9 .'11 \7 ~5 \7 '11

II

Sippin' at Bells Detailed analysis Woody Shaw

Compare these three excerpts. The first one is taken from Sippin at Bells, bars 24 - 26. The second is from Gingerbread Boy at the beginning of the 7th chorus, and the third is from the opening of Solid, a blues. He uses exactly the same line. This is an often used Woody Shaw lick that is to be found on other recordings as well.

SIPPIN AT BELLS

Ap' ~6' C. ,

11$ ¢)- ~ ¥ J I ide F e,J j W ,W I J ),) J - -Bars 24-26:

He uses exactly the same line over very different chord changes. The idea of playing off the flat 7 against the natural 7 is a recurring theme in his playing, as is the same concept used on flat 3 or major 3.

Co'

I ,.5 E 'C t t C 'c r I 'f Bars 61-62

GINGERBREAD BOY

~,

,. -

SOUD

~, Co'

- -

~ .. , Co ,

II

II

- I tirkce,J·jJijJJJ,JJI 'r'rcr'r-r' JI'r'r'c1Ircr J ~ i

9

Bars 1-6

~,

1,.13 ddrlrf r r r bklrr b~ - - II Etc.

1"1

2

C .. 7 9 10

C,7 13r-\

C major B~ major

17

Solid Woody Shaw

3 4

C7 dominant bebop scale G altered dominant scale

~7

18

0 .. 7 11 12 -

N minor pentatonic FI p13 ~9 .11 Accented passing tone

~ .. 7 C,7

C,7 3 3 15 3 3

3 3 3 3 3

G min - C7 bebop scale (same scale)

3

~ and a non chor tones C7 bebop scale . hr . ~9 ~7

a minor pentatonic E andG in original tonality usmg a C omatic

step after starting on the 9th.

Co7 ~7 27 Co7 G ... 7 Co 7 25 26

S~t f F fiE I; ~t F~A'E~f E~ - I~ ! ~ ~ !

A~ minor pentatonic

2', ~7 ~G~O' Co7 £ ... 7(P~) A7~9) ~. l • __ 31 31 32

I ~

3 J _I I I !

~7 #1111

A~ minor pentatonic £ ... 7 G7 G7

35

run Pattern repeated

~13 ~9 All minor C7 al~ered pentatonic donunant scale

~ 7 Gp07 Co 7 £ ... 7(b~) A7~9) 41 42 43 44

IJ J J J J J J J IpJ~ J J.g J I~J:Z=% 1

C minor pentatonic

-

C minor pentatonic

0 .. 7

M minor pentatonic

\7 E minor pentatonic

53~ 'r-;-) , ~~. I _ ".IJ.~. 54 L ~ ••

I

I

51

£ .. 7

pentatonic F minor ~5 pentatonic

I~ M minor pentatonic

~ ..

55 56

L 1 I 'C/

0 .. 7 ~7 48

I

"'-----1" A~ minor pentatonic C minor A~ minor pentatonic C minor A~ minor Eminor

57

65

EJ

69

1-

pentatonic

0 .. 7

58 G! 7 STRAlGHl'

£ .. 7 0 .. 7 60

B maj.o __ r _--__

63

C minor pentatonic D~ major

G!p 0 7 C 7 £ .. 7(~~) A 7~9)

J 66

Ie r err 67 68

¥ E'FI J J J J j UP J 1- ~ ~EJ

0 .. 7 G!7 70

¥ gog I~ ¥ D l !~;~E £ .. 7 A 7

Chromatic passing tone

1

7J J j ] J ~ 72

Diatonic to home key of C

0 .. 7 ~7

- II

Solid Detailed analysis

Woody Shaw

Q-1 ~ ~ e1 ~1 Q~01

II$Q"~C t F~E~[ r~r l~r~!r'L r'r.[ Ek I~rrpr r~F II Bars 28 - 30

G .. 7 ~1 ~1 G~"1

14 t ~E't:'r r [ r r 1 ~r pst ~f ·0 hp If r Pf ~f ~f Pc ~C F II Bars 52 - 54

Compare these 2 examples taken from the same point in the tune in different choruses. Woody Shaw uses A~ minor pentatonic scale. This scale can also be described as B major pentatonic. It is exactly the same scale, just beginning on a different note. Thus he could be said to be playing a semitone away from the home key. Also of interest is where he does this in the tune. When there is a II - V progression seems to be a favourite point, such as this progression at the end of the first line of the blues. As you can see, he does the same thing each time he gets there.

3/

Steve's Blues 2

-"

i

(j7 5 6

ci minor pentatonic

A ... 7 S ... 7 £7 ~(~I. ~I 10 11

,.. --I I ~ I ,. ~9 -,r

II

Chromatic

Woody Shaw

0-7 (j 7 4

IJ :i91 ~JD !

Flats in altered dominnant scale

A ... 7 12 .. I -. AI chromatic passing tone

C minor pentatonic C; chromatic passing tone

13

17

21

G~ to Gt dominant bebop scale

Same pattern .

A ... 7

C!.7 14

(j7

Pattern ascending in major 3rds. Pattern overrules diatonicism

(j7 S ... 7(,6) 20

19 I~C~E , -

0-7

£7~9)

" E V I( , Same pattern

A-7 07 24

82.

G~ triad over G 7 G7 bebop scale D~ minor - G~. Tritone susti tu tion.

C,7 31

• 3

G~ chromatic scale passing tone Pattern in 4ths

fII #7 B7

overrules diatonicism

A-7 33 34

07 S-7 £ 7

¥ air r j r Iii L' A-7 07

36

IE! ~ - -If

G major

0-7 37 40

I~ A major A major

i~~~ i'r @~;r [m Ir~jPF~; PC ~~~ F r:~~F F ~ I

G minor pentatonic D~ maJ'or Chromatic enclosure of D B~ from G blues scale

A-7 07 S-7 £7 A-7 07 45 46 41 48

1@!3 Ir ~ II r ~ r ~ r r ~ r J k1L - -! ! !

G major

83

Co7

1$; ttl! r'k~rrr"C~bEr to E! r G7 bebop scale

53 -J l J

~key centre

A ... 7 07 S ... 7 57 58

icE"!I) 59

,P~jE PE~F f I ir !-D~ key centre

Q7 51

C' anticipation of '11 in C

0 ... 7 Q 7

:6 ~r~r FPrg'F ,dfl ~ min - G~7. Could be seenas tritone sustitution or as altered dominant.

- . B7

A-7 07 60

J J J J II EJ 1m r --11 anticipation ofG7 chord

0 ... 7

II$dr

Steve's Blues Detailed analysis

G7 ,. I " I

,. I

r

Woody Shaw

'r II

Notice the common notes in these two areas of the tune, both taken from the II-V I progression at the end of the 1st line of the blues. The 1st example is from the 3rd chorus, the other is from the 5 th chorus.

0 ... 7 G7

11~'l ~r r 'c F ~r PC ~§ II

Both the above excerpts are identical. This would lead the student to assume that this is something Woody Shaw has worked on. It is a II-V-I lick that he has obviously practiced.

2

IIEJ

6

10

IJ r 14

[ j.

18

~4' , -C ... ,

~'4' -

There will never be another you Woody Shaw

3

"

7

-11

1-

~4' £~?II!l II $ @, t ;,; r &11

e'Er E 3

4 r---3 ----, 5

CtlE~ir a ~ I['F [rr ~ I

C ... ,

-:a anticipation of C minor key centre in bar 8

11 ~9

15 16

C minor Ctminor pentatonic

pte erE! I -Out of key directional approach Jazz cliche

Chromatic passing tone to G altered dominant

19 20 21

0 ... 7

1$1; l -23

~ chromatIc passmg tone 19 ~9

1-Bebop minor scale

~A7 S~ 7 A ... 7 07(19) G!A7 ~ 7 ~A7 ~ 7

I~ ffEmfEf ~, ffl}'M iWUtUk ~JiJiJ~J dil ll

F major E major- - - - G~ major G minor G~ major _ _ __ Tntone substitution

A 7('"

rr4E:! I

3

0 ... 7 0 ... 7 ~ ... 7 ~7 39 40 41

- I' r F~ r C/7tr J ,J IJ J I 38

If; ~ -B to D forms an enclosure F; and G; suggest tritone approach to the C. substitution. B7- B~.

~A7 44 45

0 ... 7

B I J. U;21 ~ ~ -

Q 7(ftt) (l7(ftt) Q ... 7 ~ 7 46 47 48 49

Il ¥s~r'rr'tJIJJJ;Jr jJt~ HiErriIF'ctr'!&;J II 3 111 B~ is an anticipation of Tritone sustitution.

the harmony in the FI7 - F. next bar.

II~SO

54

58

FA' 51

- IF

0 .. 1 5S

Chromatic approach B~- A

59

FA' S~1 62 ~ 63

Fmajor

FA' 66

1113 J. II

¥

FA'

0 , 0 .. 1

C,- F

52 53

E a y ~ir "~ 1if]'F if] F

56

C;-

cI is an anticipation of the harmony in bar 33. It is also part of the D minor harmonic scale.

57

-

60

F

Tritone sustitution B7 - B;

61 S .. 1 £1

There will never be another you Woody Shaw

Detailed analysis ~A7 S~7 A-7 07{f9) ~-7 (! 7 ~A7 ~ 7

11$ @¥ ffrE fff 1 ~ ir'tfm I D'twr I ,JiJiJ,d mil F major E major G~ major G minor Gp major Tritone substitution

Compare the similarities between these 2 excerpts. They are both taken from the last line of the tune. Looking at the big picture, one can see use of similar superimposed key areas in the same places, just by noticing the areas with plenty of sharps and those using flats. The lines are devised from patterns created from the pentatonic scale.

Below are some examples of how one can create such lines from the pentatonic scale: .

~-7

1$ 1,] J 2ir [PC; II(PC E (r [prr II b (PC mir r r F IliJ J,) J L r Emil All the above patterns are derived from the C minor pentatonic scale as seen in the first bar. There are many possibilities in creating varied patterns using pentatonics.

'89

114 c.)-Bar 1 - 4 Lydian

5

You stepped out of a dream

3

- 1-E major F major

6,

Woody Shaw

8

I j r f r ref e I 'r 1-Enclosure F major Chromatic

F ; non chord tone

approach to F

9 10

Ie r ~ 'Q , IJJ ~ -

13 14

E minor harmony anticipated

OA' EpA' 17 18 1~~ FA

20

t) J "tS ]JJ ~r J -If'-I Lydian Fmajor

Repeated pattern

25

-G~major A major

£ .. 7 A 7 OA7 £ .. 7 A' 29 30 31 32

Ij J J J ~ J J J 1 J J r iJiW r ~J ~ 1- ~ ¥ Q 1 ~9 #11

OA'

,'~ I~r £~A7

33

'r 34 36

Ie 1- l r r ~E ~r ~ -I J

A .. 7 07 ~A7 41 J 42 43 44

I~ ¥ o~ t'enF Or F j~~t"lj J J~ J J,d j IJiD j J J :l 3 DELAYED - r ---

Chromatic enclosure D7 dominant of B\. Bebop cliche. bebop scale

~chromatic passing tone

C minor . 3 Minor bebop scale pentatonIc D major

-Anticipation of the harmony

56

iF ~;J i -

£07 58 A7(f9) 067 G!7(f1t) ~~ ... 7 S7

1'- Ie IT ~ r Ir~4k't1~r ISOt lei ¥ E urAl 9,2 J,D J J J £ ... 7 64

1-

067 67 £~67 ~.a 66 r IE

68 r -I- e • r ~ J -

DELAYED C major

C ... 7 ~ 7 S~67 69 ,~ 70 71 72

I ~ = r ~ ¥ Q I f ~r e IT F E it fir r r E1 I -

C12.

A-7 07 Ii 7 73 7f [~ 7S , iliA 76 -

14 ~ f ~ f E ,. niT l E r --J J;J 1 J j J~ r L ff 1 ir r E r fj J,J 1

S-7 £ 7 ~~ S~7 £~ A7 77 78

1 r'c E r J J J,l IJ Up - ,79f E [I'@ i,1ff,Jji) J I C minor E major pentatonic pentatonic

81 82 83

Cmajor

85

Iii] ~ -86

~7 0°7 ~7

~ j f ar S'U5- E E r5" i8

] flhr US C.-7

1-\7

E °7 A 7('" 047 ~7(ffl) 89 90 91 92 --FJ ,J J IJ 'tfF r I,J fJ - 1- ~ If P I

Chromatic enclosure ~9 approach to A\

F minor

97

I;.~ II

CONCLUS(ON

Note to the student:

It is hoped that this book has been in some way beneficial in developing your

own playing. It cannot be stressed enough how important it is to avoid merely

playing·these transcriptions from the written page.

The order of approach should be as follows:

1. Obtain the original recording and spend a lot of time listening to it.

2. Learn to play it by ear, copying his style and feel (sense of swing and

inflection)

3. Refer to the transcription only when you get into trouble If you have to

choose between the written notes and what you hear - trust your ear.

4. Find those lines on the recording that you relate to. Seek them in the

transcription and learn them in all keys so that you can absorb some of

these styles in your own playing.

I hope that these transcriptions and analyses help to unlock some of the

secrets in Woody Shaw's playing.

David Lilley

BIBLIOGRAPHY

Carr lan, Digby Fairweather, and Brian Priestley. Jazz: The Rough Guide. London: Penguin Books, 1995.

Album sleeves: Wr:xx1y Shaw, In My Own Sweet WeN, lOR CD 7003-2 (In + Out Records, 1989) Eric Dolphy, Music Matador, LE JAZZ CD14 (Charly Holdings Records, 1993) WoOOy Shaw, Solid, MCD 5329 (Muse Records, 1987)

Websites: Amazon.com - http://www.amazon.comIexeclobidos/ts/artist-biography/41158/104-32611012108444 Eclipse - http://www.eclipse.netl~frtzgeralblakey/woody.htm

The Transcribed Solos were taken from the follCTNing recordings of WoOOy Shaw on compact disc:

Album CatalQQue Original CD Code Recording Release

Date Date

Backstairs Homecoming Original 11-12112176 1998 Blues Liw at the Village C534650 CBS

Vanguard Columbia Records

Giogerbread BQV Homecoming Original 11-12112176 1998 Liw at the Village C534650 CBS Vanguard Columbia Records

If I were a bell Imagination MCD5338 24/6/87 1988 Muse Records

The Moontrane The Moontrance MCD5472 1964 1993 MuseR~rds

Sandu The best of BST 84121 1985 1989 Freddie Hubbard (Double Take)

Si!;!!;!i[]' at Bells In My Own Sweet IORCD 1987 1989 Way 7003-2 In + Out Records

Solid Solid MCD5329 1986 1987 Muse Records

Steve's Blues Imagination MCD5338 24/6/87 1988 Muse Records

There Will Never Be Solid MCD5329 1986 1987 Another You Muse Records

You St§;l~ Out of a Solid MCD5329 1986 1987 Dream Muse Records

Com!;!oser

Dexter Gordon

.1. Heath

F. Loesser

WoOOyShaw

Clifford Brown

Miles Davis

Sonny Rollins

Steve Turre

M. Gordon & H. Warren

N. Brown & G. Kahn