Professional Documents
Culture Documents
PAT
METHENY:
TECHNIQUES
IN
IMPROVISATION
NOEL
THOMSON
A
THESIS
SUBMITTED
TO
THE
FACULTY
OF
GRADUATE
STUDIES
IN
PARTIAL
FULFILMENT
OF
THE
REQUIREMENTS
FOR
THE
DEGREE
OF
MASTER
OF
ARTS
GRADUATE
PROGRAM
IN
MUSIC
YORK
UNIVERSITY,
TORONTO,
ONTARIO
NOVEMBER
2014
©
NOEL
THOMSON,
2014
ii
Abstract
as source material, Metheny’s formulaic system is defined with consideration for
both analytical and pedagogical insight, with the aim of demonstrating the
practical application of formulaic concepts. This formulaic system is highly
nuanced and comprises a large portion of this study. Metheny’s process of
forming is covered, and prototypical and contemporary approaches to jazz
iii
3.3
Reductive
vs.
Processual
35
3.4
Formulaic
Analysis
38
3.5
Music
and
Meaning
39
3.6
Music
and
Cognition
43
3.7
Summary:
Contemporary
Outlooks
in
46
Musical
Analysis
Chapter
4
Jazz
Pedagogy
and
Analysis:
Elements
of
Style
50
4.1
Alternative
Analytical
Readings/Analytical
Overlap
51
4.2
Components
of
Style
53
4.3
Metheny’s
Elements
of
Style
56
Chapter
5
A
Formulaic
System
61
5.1
Metheny’s
Formulaic
Components
63
5.2
Formulaic
Categories
72
5.3
Formulaic
Species
74
Chapter
6
Enclosure
Chromaticism
Formulas
75
6.1
Enclosures:
(Species
A,
B,
C,
D,
E,
F
&
G)
76
6.2
Enclosures:
Patterns
of
Use
83
6.3
Enclosure
Chromaticism:
Conclusions
101
Chapter
7
Passing
Tone
Chromaticism
Formulas
102
7.1
Passing
Tone
Chormaticism:
Species
A
103
7.2
Passing
Tone
Chromaticism:
Species
B
104
7.3
Passing
Tone
Chromaticism:
Species
C
107
v
7.4
Passing
Tone
Chromaticism:
Species
D
109
7.5
Passing
Tone
Chromaticism:
Patterns
of
Use
109
7.6
Passing
Tone
Chromaticism:
Conclusions
111
Chapter
8
Dominant
Cadence
Formulas
112
8.1
Dominant
Cadence:
Species
A
113
8.2
Dominant
Cadence:
Species
B
116
8.3
Dominant
Cadence:
Species
C
118
8.4
Dominant
Cadence:
Patterns
of
Use
120
8.5
Dominant
Cadence:
Conclusions
126
Chapter
9
Melodic
Cliché
Formulas
128
9.1
Cliché:
Species
A
128
9.2
Cliché:
Species
B
130
9.3
Cliché:
Species
C
132
9.4
Cliché:
Species
D
132
9.5
Cliché:
Patterns
of
Use
133
9.6
Cliché:
Conclusions
137
Chapter
10
Pentatonic
Formulas
138
10.1
Pentatonic:
Species
A
139
10.2
Pentatonic:
Species
B
141
10.3
Pentatonic:
Species
C
142
10.4
Pentatonic:
Patterns
of
Use
143
vi
Fig.
17
–
24
193
Fig.
25
–
32
194
Fig.
33
–
34
195
Appendix
C
Formulaic
Categories
and
Species
196
Enclosure
Chromaticism
(Species
A,
B,
C,
D,
E,
F
&
G)
196
Passing
Tone
Chromaticism
(Species
A,
B,
C
&
D)
199
Dominant
Cadence
(Species
A,
B
&
C)
202
Cliché
(Species
A,
B,
C
&
D)
205
Pentatonic
(Species
A,
B,
C
&
D)
207
Motivic
(Species
A,
B
&
C)
209
Reharmonization
(Species
A,
B
&
C)
211
viii
Preface
One of the more influential jazz guitarists of recent times, Pat Metheny
has garnered more critical and commercial acclaim, measured in both album
sales and Grammy awards, than any other jazz guitarist of the period. This
ability to appeal to the casual listener as well as educated critics and his musical
peers makes his improvisational style a compelling object of study. Metheny is
improvisational vernacular that is uniquely his own. Yet despite the fact that
Metheny is recognized as a masterful improviser, few if any analytical or
pedagogical resources exist that explain his improvisation style in any great
demonstrative detail.
Jazz improvisation is at its best varied and complex, and carries an
essential element of oral transmission through which it translates coherence.
Because Metheny’s style is diverse, drawing upon many influences and an
intricate system of stylistic elements, I have found it relevant to research the
details of his musical process of forming as well as his philosophical approach to
music making to provide further insight. For many jazz performers, theoretical
knowledge is gained from internalizing principles learned during the process of
listening and transcribing recordings, and from the oral transmission of fellow
musicians.
ix
I have found it greatly beneficial to investigate and detail both historical
and contemporary approaches to jazz discourse through Chapters 2-‐3. This
information provides an informative survey of approaches to jazz analysis to
provide context for and help inform the approach taken to the discourse of jazz
improvisation in this study. The notion of a performer’s elements of style and
how this contributes to their idiosyncratic approach to improvisation is
discussed through Chapter 4, with reference to formal, oral, philosophical, and
improvisational individuality.
cannot be revealed without a detailed investigation of his complex formulaic
substantial portion of this work. The detailing of this formulaic system involves
a system of formulaic components, defined in Chapter 5. These formulaic
components combine to create formulaic species, which are organized into
formulaic categories through Chapters 6-‐12. Each formulaic species is defined
by its application in relation to the harmony and summarized with a recounting
of its quantifiable patterns of use. These detailed insights are meant to serve
both the analyst and performer alike, for both pedagogical and analytical
I have found through my research that improvisation for Metheny is a
goal. Beyond formulaic elements, the act of repetition and variation translates
into a highly motivic element of style, which is essential to the way Metheny
approach, as well as a structural component that acts to outline structures of
harmony and voice leading. Finally, I have conducted an analysis to Metheny’s
improvisation on “Son of Thirteen,” with an integrated approach that addresses
xi
Preamble
“Solar,” “Old Folks,” “Son of Thirteen,” and “Snova.” These improvisations serve
as the source material for the extraction of a formulaic system. Beginning my
discourse is an investigation of Metheny’s development as an improviser,
involving particular models for development, environmental factors and paths of
in conceptualizing and conveying musical meaning and is in many ways an
from theorists Gunther Schuller, Thomas Owens, Lawrence Gushee, and Henry
Martin. The techniques of these theorists are distinctly unique and have helped
to inform my approach. Henry Martin’s advocacy for the combining of
pedagogical and analytical discourse, as well as John Brownell’s critique of
processual versus reductive analysis are observed, as models for the analysis of
jazz improvisation as a distinctly dynamic process that is designed to benefit
both the listener and musician alike. Neuroscientist Daniel Levetin’s discussion
of reference and meaning in music through repetition and variation is detailed,
and
has
helped
to
inform
and
supplement
my
views
on
musical
coherence.
Steve
xii
encouragement for interdisciplinary collaboration is touched upon, and has also
influenced the inclusive and intentionally progressive nature of my approach.
There is an extensive focus given to Metheny’s formulaic system, as not
only is Metheny’s formulaic system intricate and complex, but it is absolutely
essential in establishing both the foundation for and many of the idiosyncrasies
transcribed improvisations “Solar,” “Old Folks,” “Son of Thirteen,” and “Snova,”
species and formulaic categories. These units of structure, from smallest to
largest respectively, build upon one another to form a systematic and organized
collection of formulaic species, belonging to one of seven categories: enclosure
formulas. Each formulaic category has an identifiable function for the purpose of
coherence. This functional aspect of the formulaic species helps to illustrate its
species is analyzed with respect to its component parts, frequency and patterns
relation to the harmony. Each species is comprised of formulaic components, of
which
I
have
uncovered
thirty-‐one
in
total,
possessing
an
adaptive
essential
xiii
structure. These smaller units of structure are combined and permutated in a
generative way that forms the basis of Metheny’s formulaic system.
xiv
For the object of study, four guitar improvisations have been transcribed
and notated; two from the album Question and Answer (1989): “Solar” and “Old
Folks,” and two from the album Day Trip (2005): “Son of Thirteen” and “Snova.”
Each of these albums presents Metheny’s improvisational style in its fully
developed form, but the concept for each album is unique. Question and Answer
features jazz standards and pieces of a less complex harmonic sensibility where
improvisers tend to take more liberties as their ability to execute voice leading in
the progression is already implied. Day Trip includes Metheny’s modern original
improvisations are equally as creative and compelling but act more to outline the
harmony. An up-‐tempo piece has been chosen from each album, with “Solar” at
250bpm, “Son of Thirteen” at 270bpm, and a mid-‐tempo piece has been chosen
from each album, with “Old Folks” at 120bpm and “Snova” at 134bpm. It will
make an interesting case study to observe change in Metheny’s use of formulas
over a 16-‐year period, his adjustments in the application of formulas given a
simple vs. more complex harmonic framework and considerations with respect
Chapter 1
The essential goal for providing a biographical sketch of guitarist Pat
Metheny is to provide a further window into his development as a jazz
improviser, or what Paul Berliner describes in his book Thinking in Jazz: The
Infinite Art of Improvisation (1994) as “the process of forming.” Berliner's book
prominent jazz musicians, and details the preparatory measures required to
develop great skill as an improviser. Additionally, Berliner chronicles the unique
representation and meaning within the mixed oral/written tradition of jazz.
What Berliner reveals is a lifetime of preparation behind the development
of a skilled improviser, and pertinent to that process of forming are early models
environment, and an unwavering commitment to music. A longtime friend and
colleague of Metheny, music producer Richard Niles conducted a series of
philosophy, compiled and published in his book The Pat Metheny Interviews
(2009). A comparative assessment of Berliner’s outline for development in the
2
enhanced by a strong musical presence within the household; family members
who have a strong appreciation for music or are themselves musical contribute
to the process of forming at the early stage of musical development. Metheny
was born in Lee’s Summit, Missouri in 1954. Metheny’s grandfather, father and
older brother were all accomplished trumpet players, his grandfather having
played briefly under John Philip Sousa and his older brother later becoming a
together – my grandfather, my dad and my brother … watching my brother
practice a lot … that was very formative and very important” (2009:8).
Record collections are also pivotal, as aspiring musicians build a strong
bond with particular recordings. For Metheny, The Beatles were his first great
recalls: “Right around 1963-‐64 … the guitar suddenly appeared in the panorama
of all things that a kid might be interested in … of wanting to make yourself
distinct from the world around you” (Niles 2009, 8). But it was a particular Miles
Davis quintet recording that sparked Metheny’s attraction to jazz: “My brother
brought home a record called Four and More, Miles Davis Live [1964] … I would
have to trace every early attraction to wanting to understand what jazz is to
something
in
that
quintet
…
it
was
fascinating
and
inviting
in
ways
that
I
had
3
never experienced before … and had an immediate resonance to me in terms of
what I was feeling in the culture” (Niles 2009, 10). The sheer depth of individual
and unified artistic expression within the Davis quintet appealed to Metheny on
both a musical and cultural level, and represented a musical, social and cultural
Finally, Metheny’s model for what he wished to accomplish more
specifically as an improvising guitarist came in the form of Wes Montgomery:
“There was one Wes record in particular called Smokin’ at the Half Note [1965] …
that record became an incredible touchstone for me” (Niles 2009, 14). For
and idiosyncratic, creating an aesthetic that made him instantly identifiable on
record. To Metheny, Montgomery encompassed “a sonic residue that pervades
all music, not just jazz … there are very few musicians who represent that kind of
human depth in their sound … to me Wes was the guitar equivalent of Miles
Davis in that sense” (Niles 2009, 14). Much like Metheny’s reaction to the music
of the Miles Davis Quintet, he notably defines the strength of his connection to
established
with
music
into
a
more
developed
skill
set.
Berliner
notes
that
4
traditionally, the church provided many future jazz musicians with their first
experience as performers; some churches handed out instruments during the
service to add intensity to the choir’s performance, with youngsters especially
encouraged by the older generation. Drummer Max Roach explains: “In church,
young musicians were judged on the basis of their ability to stir the
congregation’s feelings, rather than on the basis of their technical proficiency
alone” (Berliner 1994, 29). Roach’s early memories of music are notably tied to
the notion of communal acceptance from the older generation, and based on
qualitative musical attributes. Many students also received private lessons from
repertory, and in some cases elementary music theory and composition.
Metheny’s brother Mike recalls, “We were both very lucky to have a magnificent
music teacher … and the jazz and blues scene around Kansas City when Pat
became a teenager in the 1960’s was really vibrant and alive” (Niles 2009, 7).
Like Roach, Metheny was embraced by the older generation of jazz and
blues players in Kansas City, and as a teenager was constantly in a position to
participate in jam sessions and perform concerts with musicians much more
proficient and experienced than himself. Metheny recalls, “I was starting to
work gigs when I was fourteen around Kansas City, first with more what I would
call amateur-‐type musicians … but quickly after that, by the time I was fifteen,
with some of the best players in town” (Niles 2009, 22).
5
1. 3 – Competitive Environment
Great skill is often the product of a competitive environment, and school
systems traditionally offered an element of “healthy competition,” as most of the
strong musicians would attend a central high school with an influential band
director; often these band directors would be responsible for the development of
a line of prominent jazz musicians. For example: David Baker, the Montgomery
brothers, and the Hampton family, were all a product of the same band director
in Indianapolis. For Metheny, the first element of competition instead came from
within the family: “The key to everything would be my older brother Mike, who
was an amazing musician at a very young age … and really most of the attention
was rightly focused on his musical ability” (Niles 2009, 3). Later, in the early
stages of Metheny’s professional career, he became a member of Gary Burton’s
band. A professor at the Berklee College of Music in Boston, Burton has a long
history of helping cultivate the development of young guitar talents; among them
Metheny’s experience in Burton’s band is indicative of typical ear
training, theory, and performance pedagogy in the jazz tradition, with concepts
more often learned through the process of oral transmission and musical
concerning jazz theory and pedagogy traditionally did not exist, older and more
experienced musicians were absolutely central to the process of a jazz
musician’s development.
Berliner notes that a jazz musician’s level of commitment is often
informed by a sense of communal acceptance and rebellion; acceptance within
the musical community, and a rebellion against the social norms of middle-‐class
values. Embraced within the musical community of Kansas City, Metheny also
recalls the sense of rebellion as a source of motivation: "As much as rock and roll
might have offered me a window into rebellion against my parents, etc … it
offered me a far wider window to become interested in jazz. Because not only
could I rebel against all those people, but I could rebel against all my friends and
everyone else I knew in my little town in Missouri as well" (Niles 2009, 10).
Both social and musical factors influence interests, tastes and the
comprehension of learners, influencing their interpretations of jazz and shaping
their musical character. Naturally, the role of cultural milieu in the development
For Metheny, the global trends of popular culture, the shifting social and political
climate of the United States, the developments of expression that came with the
power of the civil rights movement, the immediate folk sensibilities of small-‐
town Lee’s Summit, and the more sophisticated urban sensibilities of Kansas
City, were all elements that shaped his formative years in the 1960’s, and have
remained strong pillars of Metheny’s style throughout his career. A colleague
and longtime admirer of Metheny’s music, bassist John Patitucci describes
Metheny’s style, referencing the mixture of these cultural elements as
idiosyncratic:
If
I
had
to
use
a
word
to
describe
Pat's
music
it
might
be
“heartland”
because
that's
where
he's
from.
It
reminds
me
of
Copland,
Americana
in
the
idealistic
sense
combined
with
Pat's
incredible
sophistication.
It's
got
all
the
natural
beauty
and
earthiness
of
the
Midwest
combined
with
a
profound
understanding
of
the
jazz
canon
and
vocabulary
(Niles
2009,
81).
1. 5 – Individualistic Dedication
Above all else, perhaps the most unifying characteristic of great jazz
practicing
and
performing
music
constantly
in
a
quest
for
further
self-‐
8
development. This sense of personal responsibility is a defining characteristic of
the jazz community, and a necessary initiative for artistic growth. For Berliner,
“The jazz community's educational system sets the students on paths of
development directly related to their goal: the creation of a unique
improvisational voice within the jazz tradition” (Berliner 1994, 59). The often
orally transmitted and informal course of learning makes a high level of
accompanying the developing jazz musician’s inquiries are often elusive or
unpublished. Metheny speaks about his relentless commitment to learning, and
the level of preparation he required in order to facilitate improvising at a high
level:
It
never
came
easy
for
me
…
I
went
through
a
stage
early
on,
which
was
actually
of
great
concern
to
my
parents.
I
used
to
practice
eight,
nine,
ten,
up
to
twelve
hours
a
day.
I
was
really
determined
to
find
out
as
much
as
I
could
about
music.
This
was
during
the
time
when
I
was
supposed
to
be
learning
how
to
read
and
write!
This
caused
me
to
be
nearly
illiterate
until
much
later
in
life
when
I
started
to
learn
other
things
(Niles
2009,
145).
developing an innovative approach to jazz guitar and a distinctive sonic
aesthetic. In doing so, Metheny has become one of the most influential and
popular jazz guitarists of the late 20th Century, garnering more commercial and
critical acclaim (in both album sales, Grammy Awards, various “best jazz
guitarist”
polls,
etc.)
than
any
other
guitarist
of
the
era.
Since
his
debut
album
as
9
a leader in 1975 with Bright Size Life, Metheny has developed an expansive
improvisational style that has included not only traditional bebop and blues
influences, but also elements of folk, latin, free-‐jazz, rock and popular music.
Much like the musical idols he held throughout his early development, Metheny
has succeeded in blurring the line between various stylistic boundaries,
distinctively blending and incorporating the sensibilities of disperse genres with
the complexities of modern jazz. This eclectic and versatile use of musical
vocabulary is perhaps one of the strengths of his popularity. Metheny’s ability to
speak to a broad spectrum of musical consumers has been realized through
1. 6 – Summary
development, performance opportunities, and the path of his commitment, his
process of forming should serve to provide notable insight toward the approach
Metheny takes in conceptualizing and conveying musical meaning. Music for
Metheny is defined in largely qualitative, conceptual terms, over a cerebral
approach. The communicative notion of reference and meaning through music,
music is investigated further in the later chapters of this study (see Chapter 3.4).
10
Chapter 2
As the academic study of jazz improvisation has progressed over the past
five-‐and-‐a-‐half decades, certain articles, books and studies have become relevant
for their analytical approach toward the perception of forces that create
coherence within a jazz improvisation and in many cases the aesthetic values by
which jazz improvisation is judged. As this study concentrates on musical
meaning within the improvisational style of guitarist Pat Metheny, it is
worthwhile to provide an investigation of the research methods of four key
analysts concerned with this field of research, namely: Gunther Schuller, Thomas
Owens, Lawrence Gushee and Henry Martin. Each of these analysts have
examined the structural elements that they perceive as creating the greatest
level of coherence within a given performer’s improvisational style, and in each
case has developed a characteristic theoretical focus and set of aesthetic values
for which to judge coherence in jazz improvisation, summarized below. The
methodology of these analysts provides both historical context and distinctive
templates for analytical discourse concerned with the study of jazz
improvisation. Each has influenced the analytical approach applied to this study
11
improvisation, Andre Hodier’s Jazz: It’s Evolution and Essence discusses the
notion of continuity of thought in the forming process of the improviser. Hodier
relates that the concept of “telling a good story” among improvisers recognizes
the value of sound development, with continuity of thought being vital to its
success. To illustrate this discussion of continuity, Hodier carries out an analysis
of a Fat’s Waller solo on “Keepin’ Out”, and later compares this analysis in
relation to the forming process of the solos of Art Tatum.
Through examining these musical attributes, Hodier aims to shed light on the
extent to which Waller’s improvisation is “worked out”, or in other words, pre-‐
rehearsed. Though acknowledging the futility of making an objective judgment
on an improviser’s internal thought process, Hodier states that an estimated
assumption can be made based on certain musical indications. Hodier arrives at
the conclusion that “Keepin’ Out” is not an organized composition, nor the
product of creative meditation, but the result of a crystallization of thought in
the course of successive improvisations, and therefore partly worked out. In
other words, Hodier believes Waller’s improvisation to be a rehearsed version of
that which the performer has developed having rehearsed or performed the
piece
often,
revising
details
of
the
performance
freely
according
to
his
12
spontaneous preference. To contrast Fats Waller’s approach, Hodier calls to
mention the solos of Art Tatum. Tatum’s solos, known to be largely pre-‐
composed compositions, are defined by Hodier as purely worked out. Though
Tatum holds a great gift for composition Hodier explains, he does not hold the
planned improvisation also has disadvantages in that it leads to a routine
manner of performance that favors security over the satisfaction of spontaneous
creation. In this scenario, the performer loses the essential creative passion of
spontaneous jazz performance, while listener the lacks the attraction of hearing
something fresh and new. Hodier acknowledges that one form of expression
does not exclude the other, and that sound development in the continuity of
thought trumps to what degree the improvisation uses a pre-‐planned forming
process. Consequently, a soloist must find a balance within the spectrum of
thought achieved through the successive practice of improvisation over a piece’s
framework, to arrive at a product that is passionately performed, holds sound
13
2. 2 – Gunther Schuller
A primary article on the analysis of jazz improvisation to achieve
attention in the field of jazz scholarship, Gunther Schuller’s essay “Sonny Rollins
and the Challenge of Thematic Improvisation” was published in The Jazz Review
analysis of his extended solo on the piece “Blue 7.” Schuller first recounts jazz’s
propelled the featured soloist to the forefront of the ensemble. Noting that over
been dictated by the central figures of the musical era in which they existed,
Schuller puts forth a list of figures that includes Louis Armstrong, Lester Young,
Charlie Parker, Miles Davis, and lastly Sonny Rollins. Schuller argues that prior
paraphrase referring to an embellishment or ornamentation of the melody, and
chorus referring to an improvisation based freely on the chord structure.
It is noteworthy that Schuller likens this dichotomy to the distinction of
composers and performers within the 16th to 18th century Western art music
(ornamentation) and “inventio” (free vibration). Schuller notes that beyond the
paraphrase or chorus style, Rollins succeeded in introducing a more progressive
approach
to
the
jazz
solo,
deemed
“thematic
improvisation”;
one
possessing
an
14
overall sense of structural unity throughout. Prior to this stylistic advancement,
Schuller argues that the jazz solo had largely suffered from a general lack of
cohesiveness and direction, and that exceptional solos of earlier periods had
held together as balanced compositions more by virtue of the performer’s
intuitive talents than for the conscious consideration of thematic or structural
Soul,” and Charlie Parker’s “Koko“ as exemplary in this regard, for example.
“stringing together of unrelated ideas” without relation to the melodic content of
the piece or a preceding improvisational idea, and to likely include quotations of
“irrelevant” melodic material. To Schuller, Rollins’ new thematic style signaled a
historical advancement in the method of jazz improvisation with the
sophistication of its approach. It represented the maturation of jazz
series of seemingly unrelated ideas, but to also include the “intellectual
properties of thematic and structural unity.” Tellingly, Schuller notes that just as
the history of Western classical music had developed from largely non-‐thematic
beginnings in the early middle ages to the great thematic masterpieces of the
classical era, so too does jazz give every indication of following a parallel course,
Schuller believes that by building on the paraphrase and chorus style
traditions
already
in
place
by
improvisers
such
as
Lester
Young
and
Charlie
15
application of developing and varying a main theme beyond just a secondary
motive or unrelated phrase (in other words, a theme that stems from the piece’s
melody or principal improvised chorus) establishes to Schuller the significance
of structure and logic in jazz improvisation. Based on these insights, Schuller’s
analytical methodology can be seen as primarily “motivic,” in that it is concerned
with how a performer’s application of motives creates coherence throughout an
improvisation; a view largely tied to the aesthetic values of traditional Western
2. 3 – Thomas Owens
dissertation “Charlie Parker: Techniques of Improvisation” is one that stands as
a landmark in the field of jazz scholarship for the breadth of its research and the
depth of its insight. Within the study, Owens establishes Parker’s
meticulously labeled motives and their variants, cataloguing them by their
frequency of use, harmonic implications, melodic length and structure, and their
most common keys. (Owens 1974, 17) Owens selects approximately 250
performances for transcription and study, organizing his analysis by key,
harmonic structure and tempo, focusing largely on Parker’s most-‐performed and
recorded
repertoire.
Out
of
Parker’s
known
recordings,
his
most
prominently
16
performed songs were based on the harmonic structure of the blues (175
recordings) and “rhythm changes” (147 recordings), and various pieces under
the genre of “popular song” (with approximately 10-‐25 recordings each) which
include “What is This Thing Called Love,” “How High the Moon,” “Easy to Love,”
“Out of Nowhere,” “Scrapple from the Apple,” “All the Things You Are,”
“Cherokee,” “Night in Tunisia,” and “Groovin’ High” (Owens 1974, 9).
The sheer quantity and variety of material that Owens draws upon in his
study allows him the ability to observe Parker’s style in a variety of playing
circumstances, from the tense atmosphere of the recording studio to bootlegged
recordings of informal jam sessions (Owens 1974, 10). Based on Parker’s use of
recorded work into an “early” and “mature” period, with Parker said to be fully
developed in his improvisational style by age 24. In reference to Parker’s
From
September
1944
through
December
1954
the
recordings
show
no
significant
changes
in
technique
or
conception,
and
only
a
few
subtle
shifts
in
motive
preferences
can
be
documented
during
the
ten-‐year
period
(Owens
1974,
5).
With 97 motives in total as variants of 64 motive groups, the length of Parker’s
motives varies between both shorter and more complete phrases. Short phrases
are commonly adaptable to a variety of harmonic contexts and are the most
frequently used motives, occurring in virtually every key and piece. Longer
less frequent. Additionally, most of Parker’s motives occur within a variety of
keys, but some are confined to just one or two pitch levels (Owens 1974, 17).
uninteresting, it is found to be intrinsically spontaneous, full of variety and
exciting (Owens 1974, 35). Here Owens further justifies Parker’s reliance on
motives:
Every
mature
jazz
musician
develops
a
repertory
of
motives
and
phrases
which
he
uses
in
the
course
of
his
improvisations.
His
“spontaneous”
performances
are
actually
pre-‐composed
to
some
extent.
Yet
the
master
player
will
seldom,
if
ever,
repeat
a
solo
verbatim.
(p.
17)
Each
new
chorus
provided
[Parker]
an
opportunity,
which
he
invariable
took,
to
arrange
his
stock
of
motives
in
a
different
order,
or
to
modify
a
motive
by
augmenting
or
diminishing
it,
by
displacing
it
metrically,
or
by
adding
or
subtracting
notes…no
one
could
create
totally
new
phrases
[at
200
beats
per
minute].
Many
of
the
components
of
those
phrases
must
be
at
the
fingertips
of
the
player
before
he
begins
if
he
is
to
play
coherent
music
(Owens
1974,
35).
Here Owens asserts the essential value of a formulaic system, highlighting the
demanding mental processes required for the conception of coherent ideas at
high tempos of improvisation, and places aesthetic value on the inherent
With insight into Parker’s “early” improvisational period, Owens calls to
our attention two solos on “The Jumpin’ Blues” that were recorded five months
apart and are largely the same; providing evidence that Parker may have pre-‐
composed
particular
solos
that
were
important
components
of
his
repertoire
at
18
the time, or specifically for recording session, in contrast to the constant
inventiveness of Parker’s mature period (Owens 1974, 42). Using reductive
Schenkerian analysis, Owens’ study finds little to no connection between the
improvisational content and the melodic content of each piece’s theme, nor a
prolonged sense of “thematic or structural unity” throughout. Owens does
improvisations, illustrating that coherence and continuity is achieved by the
arrival at similar chord tones through nested scalar descents, relying again on
Schenkerian analysis for these conclusions. Though Owens does not find motivic
improvisations, he does find that structural unity exists through the arrival at
background-‐level chord tones, and places aesthetic value on the creative ways
that Parker uses his formulaic system and nested scalar descents to arrive at
them.
2. 4 – Lawrence Gushee
Lawrence Gushee’s 1977 article “Lester Young’s Shoe Shine Boy” uniquely
focuses on the concept of jazz improvisation as “oral composition.” A leader in
the fields of both medieval music and jazz theory, Gushee is influenced by the
concepts of oral transmission first introduced by Albert Lord in his study of
Yugoslav epic singer-‐poets. Gushee values the transmission of musical ideas in
jazz,
where
one
has
recordings
to
show
how
ideas
develop
from
one
take
to
the
19
next, and believes that studies of jazz should contextualize each recording to the
whole of an artist’s body of music. He also states that if relevant, transcriptions
of the accompanying musicians and not just the solos may be illustrated to show
process. Gushee believes that as a great deal of the musical expression in the
jazz idiom is “oral,” in that it is carried on without the aid of musical notation, the
study of the transmission of musical ideas in jazz is worthwhile (Gushee 1977,
225).
Though owing some of his central concepts to Albert Lord, Gushee rejects
the specific definitions of transmission and socially defined value on which Lord
relies, believing that a rigid taxonomy between written and oral transmission
proves misleading in an analysis of the creative process as applied to jazz.
Gushee instead recommends versatility in his analytical style, in recognition of
the fact that different performers operate cognitive processes with fluctuating
levels of methodology, emphasis and control (Gushee 1977, 226). Furthermore,
There
is
no
commonly
accepted
method
of
jazz
analysis.
The
most
thorough
and
consistent
applications
of
analysis
to
date
are
those
of
Thomas
Owens
and
Gunther
Schuller
…
these
represent
in
my
opinion,
two
distinct
approaches
which
I
designate
‘formulaic’
and
‘motivic’
respectively
(Gushee
1977,
228).
237):
20
Value system: A criteria of logic, the aesthetic merit of the work.
logical requirements.
Value system: Structural aptitude, skill in the process of forming.
Semiotic: Meaning as given by the system of signs – as defined by the
Gushee advocates the eclectic mixture of these analytical approaches, as well as
decisions as to incoherence do not take into account such features as timbral
applied both to the sensibilities of the overall ensemble or to the individual
soloist.
With
regard
to
motivic
structural
attributes,
Gushee
sees
immediate
21
contrasting material at the same duration level as strong (Gushee 1977, 239).
More than any other analytical system however, Gushee chiefly uses the
“schematic” method to compartmentalize his analysis of Lester Young’s solo,
doing so with the components of technique, expressivity and logic. In simple
The
[soloist’s]
goal
is
to
demonstrate
“chops,
“soul”
and
“ideas”
…
while
these
need
not
be
used
[in
every
case
to]
separately
to
mark
off
one
part
of
a
solo
from
another,
or
used
in
the
service
of
a
rhetoric
corresponding
to
the
social
and
formal
articulations
of
a
solo,
I
believe
that
they
are
in
the
performances
of
“Shoe
Shine
Boy”
by
Lester
Young.
Within the overarching schematic focus, Gushee finds evidence of the use of
formulas, but makes the distinction between the use of a formula (a more or less
literal motive or phrase repetition), versus the use of a “formulaic system” (a
more generalized structure outline embracing many formulas) – stating that in
the case of a mature improviser, transformation and varied repetition is
assumed to be a fundamental forming process (Gushee 1977, 239). Additionally,
Gushee gives the distinction of “superformula” to that which is frequently
Throughout the study, Gushee makes clear his aim to address not only the
“what” and “how” of formulas in his analysis (ie. melodic structure and
harmonic function) but also the “why” – how the formulas function within the
forming
process.
For
example,
some
formulas
may
exist
as
a
means
to
allow
the
22
improviser time to consider what to play next. Relating back to Lord’s
discussion of the epic poet-‐singer, Gushee states in much the same way the jazz
improviser is comparatively “always thinking ahead and has perhaps already
forgotten what he’s playing while doing it,” an argument that holds particular
weight especially at high tempos and when dealing with complex harmonic
information (Gushee 1977, 248). Additionally, Gushee notes that factors such as
a decision to be less chance-‐taking and more technically conservative over the
desire to play something more adventurous and challenging, or the choice to
construct a more comprehensible sequence of ideas for the listener over
something more abstract may be at play in the composition of an improvisation.
In response to the analytical use of the term “motives,” Gushee believes it
to imply a shift in analytical focus from that of the oral to the composed, and
unprofitable as it refers to the performance as not one possible arrangement
among many but to the performance as a fixed creation – from the variations of a
basic form to the repetitions or transformations of a motive that make form
(Gushee 1977, 248). Though Gushee does acknowledge that intentional pre-‐
composed elements do exist in the oral poetic of jazz, he prefers to see Young’s
structural approach as more flexible. Consequently, Gushee sees Lester Young as
making use of a schematic “rhetorical plan” in his approach to improvisation,
1. An intelligible musical idea – to attract focus from the band to the
soloist.
23
performance.
Gushee states, “there is no reason why [the rhetorical plan] should be
complicated; after all, it only determines the course of musical events in a
general way, and over relatively long durations. Perhaps it is in this respect not
unlike the general thematic plan of the epic poet-‐singer, or the sequence of
movements in a [classical] concerto” (Gushee 1977, 251). Though there is an
overarching focus on a schematic rhetorical plan, Gushee believes that deeper
internal structural elements work to create further coherence in the
performance, contributing to the ability of the work to be notable and
aesthetically valued.
jazz analysis includes the excessive description of formulas in an overtly vertical
how the phrases work together to create a schematic system. Gushee states:
Gushee also makes note of incautious assumptions among analysts of what the
chord changes actually are, relying on a lead sheet or fake book rather than from
the rhythm section as actually recorded. Constantly referring to jazz
improvisation as “oral composition,” Gushee makes clear his belief that as jazz
improvisation is a distinctly oral-‐written tradition, the nature of its composition
quite often proceeds along several structural tracks at once, requiring multiple
angles of analysis to uncover what contributes to the profundity or coherence of
2. 5 – Henry Martin
Henry Martin’s analysis of Charlie Parker’s improvisational style in his
improvisational approach as one that is beyond simply formulaic attributes, and
deemed structurally “thematic.” Martin makes the case that more than simply a
stringing together of unrelated formulas, Parker’s solos are closely tied to the
What
is
slighted
in
Owens’
study
is
how
Parker
transcends
the
mechanical
application
of
formulas;
and
how
in
many
instances
their
effectives
lies
in
unexpected
motivic
connection
to
the
original
thematic
material…this
book,
then,
is
a
corrective,
redistributive
balance
of
Owen’s
assessment
(Martin
1996,
5).
25
material is largely the same (including the three categories of blues, rhythm
changes and popular standards), and uses an adapted Schenkerian-‐style method
of analysis. However, Martin prefers the use of the term “voice-‐leading” analysis
over “Schenkerian” analysis, as Schenker did not develop for or apply his
techniques to jazz, and because Martin’s analytical method is based on the voice-‐
leading and harmonic practices of bebop. Furthermore, Martin finds that a
single, definitive answer for Schenker’s highest level (background) of voice-‐
leading analysis as applied to the highly chromatic melodies of bebop
improvisation proves futile, due to the increased status of extended chord tones,
and the function of sevenths as consonances requiring no further resolution.
Instead, Martin prefers to base his analytical conclusions closer to the
The
criteria
for
a
pitch
to
be
“advanced”
to
a
more
background
level
are
unclear.
The
consonance-‐dissonance
requirement
that
often
suffices
at
the
foreground
is
simply
impossible
to
apply
unarbitrarily
to
high
levels
where
evidence
of
“support”
is
more
equivocal
(Martin
1996,
20).
The subjectivity and ambiguity of note significance is further increased as
applied to jazz, where perhaps only avoid-‐tones (non-‐triadic pitches that create
a minor ninth interval against a structural chord-‐tone) can be conclusively found
to hold less significance among other available diatonic pitches at a given time.
Regardless of these subjective and often vague qualifications for structural pitch
heirarchy, the function of individual notes can be classified perhaps more
objectively, with Martin seeing them as belonging to one of six categories:
-‐ Chord-‐Tones (notes that build the essential structure of the chord)
-‐ Passing Tones (notes moving stepwise from one chord tone to another)
-‐ Neighbour Tones (complete: leaves and returns to the same chord tone
step or leap, and approaches a different chord tone by leap or step)
-‐ Suspensions (chord tones acting to prolong a chord after its completion)
-‐ Anticipations (chord tones acting to anticipate a chord before it begins)
-‐ Appoggiaturas (notes that act to enclose around a chord tone, or that
begin a new phrase by approaching a chord tone by step or leap)
Despite the ambiguity and subjectivity of background structure in Schenkerian
voice-‐leading interpretations can in fact reveal some of the overall processes of
an
individual
piece:
27
For
the
power
of
voice-‐leading
analysis
lies
in
its
advocacy
of
harmony
as
primary
in
large-‐scale
tonal
progressions:
it
shows
how
tonal
compositions
are
unified
through
nested
harmonic
structures,
and
how
these
may
be
related
to
foreground
material
(Martin
1996,
21).
Martin argues that most relevantly, the issue of thematic relatedness
must be examined from the perspective of either the player or listener; either as
intentionally projected by the artist or inferred by the analyst (Martin 1996, 34).
Martin believes that a shift to the point of view of the listener proves profitable
to his study of thematic improvisation, as “what is important [to my study] with
respect to its structure is what can be heard and felt, not what was intended”
(Martin 1996, 36). Martin admits however, that “potential musical connections,
even cogent ones are numerous – theoretically even infinite – such plethora of
musical relatedness cannot possibly be at the conscious grasp of any musician,
however gifted” (Martin 1996, 36). On the other hand, Martin believes that
studies in the field of pedagogy or historiography are more suited to an
…
musicians
who
wish
to
improvise
well
naturally
would
like
insight
as
to
the
thought
processes
of
players
they
emulate.
And
certainly
most
of
us
would
like
to
know
what
highly
regarded
players
were
thinking
or
intending,
for
its
own
obvious
interest
(Martin
1996,
36).
of the listener and using an adapted Schenkerian-‐style approach to analysis,
finds evidence of many unifying features in Parker’s improvisations that tie them
large scale thematic elements of the piece’s melody on which they are based.
makes a case that the use of a formulaic system does not preclude a group of
29
Chapter 3
structural coherence and aesthetic value discussed in Chapter 2, discourse in
jazz improvisation can also be identified with regard to the function it serves: as
belonging to the sphere of either pedagogical, or analytical discourse. These
functional distinctions are observed by Henry Martin in his article “Jazz Theory:
An Overview” (1996) from the Annual Review of Jazz Studies. In the article,
In some cases, pedagogical and analytical discourse may overlap: a jazz theorist
may adopt an analytical point of view in order to establish elements of style in a
given artist, and then switch to a pedagogical point of view to show how the style
of that artist functions or may be emulated. Within Martin’s paper, the
proposition
of
some
unifying
principles
for
jazz
discourse
are
also
provided:
30
We
should
never
neglect
what
brought
us
to
jazz
itself:
the
music,
and
our
emotional
and
aesthetic
response
to
it
…
attempting
to
fathom
what
is
happening
sonically
to
the
extent
that
it
can
be
pinned
down
…
to
pursue
a
closer
scrutiny
of
how
jazz
works
as
music
(Martin
1996,
4).
music, and the qualitative meanings associated with what is being expressed and
felt in the music will be recognized in this study’s discourse. Qualitative
meanings can sometimes go unaccounted for in the theoretical discourse of jazz
improvisation, with aesthetic judged solely on their structural and quantifiable
features. In the excerpts of Schuller, Owens and Martin we observed in Chapter
principal rationale for a focus on quantitative attributes is understandable, being
that written elements can be convincingly defined as objective, with
defined as speculative. Yet much of what is internalized and indeed conveyed by
the practicing jazz musician is learned by the process of audiation: the process
More than simply the perception of sound, developed audiation includes
the necessary understanding of music to enable the conscious prediction of
patterns in unfamiliar music and sound, particularly important in the
performance practice of improvisation. In the distinctly oral/written tradition of
jazz
improvisation,
developing
musicians
learn
not
just
through
the
study
and
31
use of sheet music, but owe much of their development to the act of oral
-‐ The verbal explanation of conceptual elements and the musical
demonstration of jazz vernacular, by way of fellow musicians, who are
-‐ The imitation of performances from recordings – jazz musicians often
-‐ The development of unique and individual cognitive ideas, that
For Metheny, his development as an improviser had a great deal to do
with his emulation of the recordings of Wes Montgomery and the successive
cognitive ideas that lead to the development of his own improvisational voice.
Metheny recounts:
My
earliest
success
as
a
player,
around
Kansas
City
when
I
was
thirteen,
fourteen
years
old,
was
under
the
auspices
of
sounding
as
close
to
Wes
Montgomery
as
I
could
(Niles
2009:20).
The
way
Wes
was
playing
just
made
me
want
to
listen
to
it
again
and
again
and
again.
Through
that
process
of
listening
you
naturally
memorize
things;
you
memorize
not
only
what
Wes
or
Miles
[Davis]
was
playing
but
what
was
happening
underneath
them
and
around
them
…
really
understanding
a
few
records
kind
of
allows
you
a
window
into
the
[mechanics
of
jazz
as
a
whole]
(Niles
2009,
14).
32
[But]
wouldn't
it
be
better
to
look
at
Wes
and
say,
'Wow.
This
guy
found
a
way
of
playing
that
was
all
his
own'
…
Why
not
find
my
own
thing,
as
a
tribute
to
Wes
rather
than
the
overt
'Here's
some
octaves'
and
so
forth…then
there's
a
period
of
roughness
after
that
because
that
is
part
of
what
your
vocabulary
is,
but
it
was
a
worthy
moment
for
me
to
get
to
that
place
(Niles
2009,
21).
The study of written and quantifiable elements is simply one out of a
collection of pertinent non-‐written oral and cognitive details involved in the
process of forming for a jazz improviser. Yet, as many of these details are
transmission somewhat problematic for the jazz theorist. Martin relates his
It
can
be
argued
that
in
learning
to
play
by
ear,
a
player
internalizes
rules
in
the
broad
sense,
but
does
not
learn
terms
or
engage
in
the
linguistic
conventions
commonly
associated
with
those
rules.
Nor
can
such
a
player
develop
speculative
models
to
extend
musical
ideas
beyond
what
can
be
heard
informally
(Martin
1996,
5).
While addressing the need for a system of terms, Martin’s argument holds
the assumption that the jazz musician who learns orally is therefore verbally
were to learn to improvise purely through the imitation of musical recordings,
the
musician
would
then
lack
the
ability
to
verbally
articulate
musical
ideas
in
33
widely accepted terms, however this scenario is rarely if ever the case. More
often, a combination of oral transmission, the study of written elements, and the
emulation or transcription of recorded music will guide the development of the
improviser. Paul Berliner echoes this same sentiment in his book Thinking In
Traditionally,
jazz
musicians
have
learned
without
the
kind
of
support
provided
by
formal
educational
systems.
There
have
been
no
schools
or
universities
to
teach
improvisers
their
skills;
few
textbooks
to
aid
them.
Master
musicians,
however,
did
not
develop
their
skills
in
a
vacuum.
They
learned
within
their
own
professional
community
-‐
the
jazz
community
(Berliner
1994,
35).
Because much of the process in forming for the jazz improviser has historically
occurred outside the realm of institutionalized formal training, the verbal
articulations that illustrate musical meaning often do not belong to a
standardized system of terms in the purest sense. Martin asserts that “the
analyst aims to show how the music works in and of itself” (Martin 1996, 10), a
purely analytical stance that circumvents these oral elements. It is however in
the interests of this study that qualitative components are incorporated to
encompass the realm of jazz pedagogy, as pedagogy must reach beyond only
written elements.
3. 2 – Pedagogical Continuity
Yet, while there is no shortage of pedagogical studies in jazz, their quality
may
be
lacking,
as
Martin
states:
“What
the
field
[of
pedagogy]
most
urgently
34
needs is more articles and books discussing in musical detail either specific
musicians, stylistic periods, or bodies of repertory…what is most urgently
needed is a sense of continuity in the field” (Martin 1996, 13). It is the aim of
this study then, to provide a resource enhanced by the recognition of oral
approach. Outlining the difficulties in developing studies for jazz pedagogy in an
The notion that jazz musicians have been historically more focused on
directly applying theoretical ideas than publishing information about them is
one of the difficulties of an orally transmitted art form, and a primary motive for
the importance of pedagogical research in jazz. It would however, prove
misleading to approach jazz pedagogy primarily from the values of the Western
art music tradition, a largely non-‐oral art form. Even more so, many elements of
traditional classical technique prove non-‐applicable for the jazz musician. With
reference to Lawrence Gushee’s notion of jazz improvisation as a distinctly
study of the improvisational style of Pat Metheny acts to serve both analytical
and
pedagogical
functions
through
a
process
of
defining
aesthetics
in
not
only
35
their structural and quantifiable components, but also to address the qualitative
musical meanings that are expressed through oral transmission, from a uniquely
jazz-‐oriented perspective.
Just as the function of improvisational study is a matter of focus, John
Brownell in his 1994 Jazzforschung article “Analytical Models of Jazz
Improvisation” discusses in greater depth the object of study in jazz analysis,
regarding the treatment of the improvisation as chiefly “reductive” or
lies in the dual nature of its definition, being both an act and a product: “It is not
always clear just what is being discussed: is the activity a performance, a
words, are we discussing the record of the improvisation after it has been
completed? Brownell’s definition of improvisation as “performing music as an
something to be distinguished from composition; a distinct subset in fact:
composition processed in real-‐time. Would it then be valid to apply the
analytical methods developed within the context of pre-‐composed European art
music to the largely internal processes of improvisation? If improvisation is to
be
judged
by
the
same
structural-‐aesthetic
standards
of
composed
art
music
36
without the merits of its spontaneity accounted for, it is to undoubtedly fall short
of the carefully pre-‐composed art form by comparison. Jazz then, must be
judged by different standards. Brownell identifies four common goals and
attitudes often inferred by the jazz analyst, classifying these approaches as
Critical: To apply aesthetic value to structural features, with the subtle
context of legitimizing jazz within the realm of music scholarship – to be
comparably as complex, profound, and subtle as Western art music.
Though the common approach in jazz discourse has been to treat the
analysis of jazz improvisation as a subset of composed music, with the
transcribed solo as equivalent to the score (often with more of a “critical” or
understanding of improvisation inspired by Albert Lord’s studies of the
formulaic methodology of epic singer-‐poets, and have concentrated more on the
Brownell is an advocate of the processual model, and puts forth a
criticism deemed “notism”: the fixation on the object of analysis over the process
from which it is formed, arguing that what results from a “notist” analysis is a
frozen record of what is really a dynamic process. Brownell asserts that one of
the most prominently reductive forms of analysis in common practice is
Schenkerian analysis, a technique that serves primarily to define harmonic and
melodic structuralism to the neglect of several other significant attributes. A
reductive, notist perspective within the formulaic method of jazz analysis would
distinguishes its variants. However the formula, both in the literal and musical
sense, is not a specific arrangement of elements but is rather a form or template,
which is filled according to the needs of the moment. The process of identifying
a formulaic system is therefore a processual mode of analysis and is
fundamentally distinct.
38
3. 4 – Formulaic Analysis
techniques from the theory of western art music, Brownell contends that
processual models rely chiefly on paradigms derived from two non-‐musical
sources: literary theory and linguistics. In literary theory, the ability of
individual epic-‐poets to memorize extremely long passages of poetry was long
regarded as more the stuff of legend than a tangible performance practice. It
was not until Albert Lord’s literary-‐theory study The Singer of Tales (1960), that
mechanisms for the reproduction of epic poetry in a culture without writing
were made clear. Lord explained that the bard in the Serbo-‐Croation epic
tradition is constrained in his choice of words by customary patterns of meter,
syntax and sound, and as a result of these constraints, he tends to cast his most
common ideas in similar phrasing, deemed formulas. These formulas serve as
solutions to the problem of expressing a narrative within a particular set of
restraints and the added demands of a live performance. They may also serve as
the basis for the creation of unique expressions, as the singer can substitute key
words in a phrase and create entirely new phrases modeled on the pattern of his
formulas.
Improvisation” was directly influenced by Lord’s formulaic concept, and was the
first to apply the notion of formulaic devices to the discourse of jazz
improvisation.
Another
prominent
study
in
the
field
of
jazz
improvisation
to
be
39
influenced by Lord’s theory is Gregory Smith’s “Homer, Gregory, and Bill Evans?
The Theory of Formulaic Composition in the Context of Jazz Improvisation”
(1983), where Smith argues that the parallels between the creative process of
the oral epic poet and the improvising jazz musician are exact, with both
performers operating in the processual mode. For Smith, Lord’s work shifted
the focus from a literary analysis based solely on the content of epic poetry to a
theory based on the facts of oral composition. But while formulaic analysis
offers a more complete view of a complex activity, its use alone lacks addressing
something essential to both language and music, the problem of meaning.
Since both language and music are primarily forms of communication, the
social relationship between performer and listener is relevant. Though musical
communication has been an area of some concern for ethnomusicologists, it has
received little attention in the field of musical analysis or pedagogy. A primary
reason for this neglect may come from some inherent assumptions held by the
music theorist, assumptions which may illustrate a fundamental lack of what
and Daniel Greenblatt in “Miles Davis Meets Noam Chomsky: Some Observations
on Jazz Improvisation and Language Structure” propose an implicit hierarchy in
a
jazz
audience
based
on
the
musical
awareness
of
its
members;
the
authors
40
divide listeners into “inside” (those with knowledge of jazz music and style) and
“outside” (those with no special knowledge). The authors assert that:
The
rest
of
the
audience
–
the
outside
audience
–
really
do
not
hear
or
understand
improvised
solos.
For
the
outside
audience,
jazz
improvisation
does
not
have
structural
or
historical
meaning…they
have
no
sense
at
all
of
what
to
expect
from
a
solo
(Perlman
and
Greenblatt
1981,
181).
It is true that few members of the jazz club or concert hall audience have studied
music to the extent that the musician has – but does this make their
overlooks the fact that each member of the audience has undoubtedly been
surrounded by tonal music throughout their entire lives: they have listened to
the radio, been to performances, bought records, talked to others about music,
sung in a choir, played in a band, the list goes on. Simply because the listener
does not grasp a rapid course of notes one by one or comprehend the
movements of complex harmony does not make their perception of meaning
through music false or imperfect; if this were the case, jazz clubs and concert
These listeners simply understand what they hear in a more fundamental
way: they are following the arc of the melody, the mood of the harmony, the
vitality of the rhythm, the texture of the timbre, impacts of the dynamics,
recognitions of the form, and so on. This “non-‐expert” element of understanding
is
often
not
addressed
in
jazz
discourse,
but
jazz
music’s
incorporation
of
art-‐
41
music elements within an essentially informal-‐oral tradition makes it a strong
candidate for studies that acknowledge the expression of meaning between
performer and listener. This question of meaning through expression leads us
again to the study of language, where attempts have been made to find parallels
between musical elements and linguistics. The first logical step here might be to
observe the methodology developed for the analysis of poetry to the analysis of
music; in other words, the study of semantics. Yet, the same semantic
categorizations that apply to poetry do not apply to music. Lerdahl and
Jackendoff in “A Generative Theory of Tonal Music” contend that:
[Music’s
meaning
is]
in
no
sense
comparable
to
linguistic
meaning;
there
are
no
musical
phenomena
comparable
to
sense
and
reference
in
language,
or
to
such
semantic
judgments
as
synonymy,
analyticity,
and
entailment.
Likewise
there
are
no
substantive
parallels
between
elements
of
musical
structure
and
such
syntactic
categories
as
noun,
verb,
adjective,
preposition,
noun
phrase,
and
verb
phrase
(Lerdahl
and
Jackendoff
1983,
5-‐6).
Though formulas have semantic value for the epic poet, the same cannot
be said for the musical fragments identified by Thomas Owens or Gregory Smith.
Further attempts then, to define musical meaning were made through the search
of a set of universal principles that act to convey meaning. A fundamental idea in
structural linguistics, the concept of “deep structure” is the web of relationships
between grammatical units (the syntax) that underlies language, popularized by
Noam Chomsky and others. Music theorists quickly attempted to find parallels
for
deep
structure
within
musical
analysis,
most
notably
by
focusing
on
the
42
and foreground levels of structural organization. Yet, it can be argued that music
need not abide by such specific structural requirements to possess meaning.
Beneath
the
profusion
of
seemingly
disparate
styles,
it
was
argued,
lay
fundamental
absolute
principles,
which
governed
the
structure
and
development
of
music
everywhere…but
when
these
laws
were
not
discovered,
this
form
of
monism
was
discredited
and
went
out
of
fashion
(Meyer
1956,
49).
Yet
despite
this,
many
music
analysts
continue
to
place
emphasis
on
the
background structures that they believe to govern music’s meaning, often citing
Schenkerian-‐style analysis.
Another angle on the musical comparison to linguistics in practice is the
“well-‐formedness” criteria, or the aesthetics that “allow” music’s formation to be
meaningful. An example of this would include the rules of counterpoint and
functional harmony that dictated acceptable melodic and harmonic motion in
the Western Baroque-‐era art music of Bach and his contemporaries. Yet if one is
to compare music to linguistics in this sense, it can be seen that the structure of a
word is not the only criterion that creates its meaning: for example, a well-‐
formed word need not be meaningful – the construction “dorg” is well-‐formed in
that it follows the rules for word construction in English, but holds no
widespread meaning. Another combination of the same letters, “rgdo,” is neither
well-‐formed nor meaningful. Yet both of these words could conceivably hold
meaning;
one
need
only
read
the
post-‐modernist
literature
(see
Douglas
43
Coupland and others) or observe the Internet, to find that traditional semantics
have been altered in the modern era; as colloquial slang and vowel-‐less
acronyms become increasingly more widespread and pervasive. The rules that
define effective semantics in language no longer lie solely in the hands of
published literary professionals, and the “non-‐expert” linguist has gained greater
influence. Therefore, above semantics or the notion of aesthetic requirements,
the fundamental element in the perception of meaning through language is
simply that it possesses a referent: an attribute allowing it widespread
familiarity or contextualization. Consequently, some have argued that this same
Theorist Daniel Levitin in his book This Is Your Brain on Music presents an
understanding of music based on neuroscience, concerning himself with the way
the brain assigns meaning to music. Levitin finds that the brain is responsive to
Our
ability
to
make
sense
of
music
depends
on
experience,
and
on
neural
structures
that
can
learn
and
modify
themselves
with
each
new
song
we
hear,
and
with
each
new
listening
to
an
old
song.
Our
brains
learn
a
kind
of
musical
grammar
that
is
specific
to
the
music
of
our
culture,
just
as
we
learn
to
speak
the
language
of
our
culture
(Levitin
2006:
108).
44
Perhaps then, that just as in the perception of language, the fundamental
requirement for creating meaning through music is simply that it possesses a
“referent,” being that it holds representation tied to experience and familiarity.
To process music, starting at the purely physiological level, the brain manages to
membrane (the eardrum) through a process of feature extraction, followed by a
process of feature integration. First, specialized neural networks in the brain
environment, note durations and onset times through a process called “bottom-‐
independently of one another, and are the building block attributes for the
The brain then combines these basic elements to coalesce an integrated
processing.” The higher-‐level areas of our brain, mostly the frontal cortex, are
receiving a constant flow of information about what has been extracted so far,
to predict what will come next in the music. It is the setting up and subsequent
manipulating of expectations that is at the heart of music’s meaning; the source
of which can be a reaction to any number of the aforementioned “bottom-‐up”
elements. The manipulation of expectations to these elements can be
-‐ What has already come before in the piece of music we’re hearing
-‐ What we remember will come next if the music is familiar, based on
-‐ What we expect will come next if the genre or style is familiar, based
-‐ Any additional information we’ve been given, such as a summary of
the music we’ve read, visual or other sensory stimulus (Levitin 2006,
104)
How then, does music actually manifest into cognitive representations of
Music
then,
can
be
thought
of
as
a
type
of
perceptual
illusion
in
which
our
brain
imposes
structure
and
order
on
a
sequence
of
sounds.
Just
how
this
structure
leads
us
to
experience
emotional
reactions
is
part
of
the
mystery
of
music.
After
all,
we
don’t
get
all
weepy
eyed
when
we
experience
other
kinds
of
structure
in
our
lives,
such
as
a
balanced
checkbook
or
the
orderly
arrangement
of
first-‐aid
products
in
a
drugstore
(Levitin
2006,
109).
Levitin goes on to explain that in the brain the amygdala, long considered the
seat of emotion in mammals, sits adjacent to the hippocampus, long considered
the centre for memory storage and retrieval. Neurological studies have shown
that the amygdala is highly activated by experiences that trigger memories
holding a strong emotional component, and that much of our sensory
perceptions are bound to emotion through memory. Scent is widely accepted to
be
the
strongest
sense
tied
to
memory,
with
the
ability
to
evoke
memories
and
46
emotions associated with a particular smell. An image of a significant time or
place can trigger emotions tied to specific memories. And not least, the words
that comprise the language that we hear and read can provoke emotion through
a depiction of the human experience. Much like language, music is a readily
generative experience: in that one learns to recognize a system of identifiable
components through which to create a vast number of potential outcomes.
Music’s widely varied, multi-‐dimensional set of parameters act to create any
number of cognitive abstractions of structure and form in our minds, recognized
related to structure and form, often circumventing subjective and speculative
detail. Schenkerian analysis is, for example, one of the more reductive
within a piece of music, and value it accordingly. Nicholas Cook, in his article
“Schenker’s Theory of Music as Ethics” in The Journal of Musicology (1989),
reveals some of Schenker’s incentive behind his popular analytical methodology.
Cook details that in the original edition of Schenker’s Das Meisterwerk in der
Musik
(1925),
various
philosophical
or
political
views
were
closely
tied
to
his
47
insights into musical structure and performance. Schenker perceived there to be
The
audience
as
well
as
performers
…
plod
along
from
one
passage
to
the
next
with
the
laziest
of
ears
and
without
the
slightest
musical
imagination.
All
they
hear
is
the
constant
change
between
tonic
and
dominant,
cadence
and
cadence,
melodies,
themes,
repetitions,
pedal
point
(Cook
1989).
revisionist approach, as they are absent from Oswald Jonas’ 1954 edition of
foreground contrast in order to stress the large-‐scale continuity of the music; in
other words, the connections that he believed performers failed to acknowledge
or convey.
Alternative approaches to analysis have found success in the field of
music scholarship as well. Theorist Steve Larson in his article “Integrated Music
Maps and Models” in College Music Symposium (1995) details his view that the
study of music is achieved best when “integrated”: that is, the combining of
different ways of understanding musical relationships. Larson’s ways of musical
understanding include intellect (mind), visual (eyes), aural (ears), vocal (voice),
digital (fingers), emotional (heart), kinesthetic (body) and that to integrate two
or
more
of
these
ways
of
knowing
strengthens
one’s
understanding.
For
48
example: someone may know intellectually that the fourth and seventh scale
degrees are active tones that tend to resolve to the third and eighth degrees
respectively, and may also recognize these resolutions as an aural event.
However, until that person associates these two ways of knowing, the learning is
not integrated and thus the person would not be able to identify the resolution.
In integrating two ways of knowing, each form of understanding is strengthened
by the other (Larson 1995). In the same way, an element of musical structure
may be observed as more than purely one type of structure; what is deemed
structural or motivic may also be seen as melodic or formulaic, and the
acknowledgment of the structure as more than one type may only strengthen an
analytical understanding of it. Noted musicologist Bruno Nettl has also
potential of music research that embraces all levels of music education in his
Quarterly (Nettl 1974). As we observe, as an alternative to a more objective
approach, musical analysis may also be subjective: a prominent example of a
speculative study in jazz analysis is George Russell’s Lydian Chromatic Concept of
Tonal Organization, Volume One: The Art and Science of Tonal Gravity (2001).
Based on the theoretical concept of “tonal gravity,” Russell argues that the
Lydian mode, not the Ionian, is the true centre for harmonic resolution. Though
controversial,
Russell’s
unique
concept
managed
to
inspire
Miles
Davis,
John
49
Coltrane and countless others to experiment with different tonal centers, and
was a catalyst for the modal movement in jazz. Henry Martin has commented,
“One is hard pressed to think of any creative thought in music theory as having
as much power in jazz since. ” (1996:13). Bold in its assertion and admired for
its meticulousness, Russell’s theoretical study managed to make an indelible
impact on jazz history; the use of alternate tonal centers is arguably as much an
inherent attribute of contemporary jazz today as is functional harmony.
50
Chapter 4
may transmit musical meaning from performer/composer to listener by way of
approach. These attributes of a particular performer’s musical approach may be
termed “elements of style,” and a listener’s recognition of familiar musical
elements may be termed “style familiarity.” Elements of style are compiled
through the performer’s process of forming, a process that varies greatly from
one musician to another. In traditional Western art music traditions this
pedagogical process is deemed formal training, being that it is held in
however, the notion of pedagogy more often includes greater variances in
development and methodology, in an ongoing process that constantly shapes an
Paul Berliner (1994) has noted how in the early stages of development,
the methodology of a jazz performer often manifests itself in unique forms of
musical representation that may vary from musician to musician. Many jazz
musicians, particularly those with a deficiency in formal musical training, may
think of music in more graphic visualizations, by memorizing corresponding
finger
patterns
and
positions,
or
in
abstract
“shapes.”
Indeed,
the
use
of
a
51
conveying musical ideas. In fact, musical literacy has varied greatly among
virtuosic improvisers over time. Louis Armstrong was not known to be a prolific
sight-‐reader, but his sense of relative pitch was quite advanced, allowing him the
ability to reproduce the melody and bass accompaniment to a piece after a single
hearing (Berliner 1994, 28). With reference to varied processes of forming
The
varied
and
subtle
ways
in
which
a
music
culture
actually
shapes
the
sensibilities
and
skills
of
its
members
are
not
always
apparent
to
the
members
themselves
until
they
encounter
individuals
whose
backgrounds
differ
from
their
own
(Berliner
1994,
30).
This
is
a
worthwhile
consideration
for
the
jazz
analyst
as
well;
though
an
artist’s
conceptualization should not dictate a theorist’s style of analysis, a reflection on
the varied ways in which an improviser or composer conceptualizes their music
Often in musical analysis, a theorist may observe a musical component or
element of style in one representative or conceptual light and not another. The
analysis of a piece in a more notist style of analysis may lack the
acknowledgment of an alternative analytical reading or an area of analytical
overlap. For example, we can observe a disparity between Gunther Schuller’s
interpretations
of
Sonny
Rollins’
motivic
style
(in
his
The
Jazz
Review
paper
on
52
Rollins’ “Blue 7” solo, see Chapter 2), versus Rollins’ own self-‐proclaimed
reappear in similar or developed forms much later in the improvisation; the idea
being that they are employed to create a structure of logic not dissimilar to the
aesthetic values of Western art music traditions. However in a 2009 Q radio
interview with Jian Ghomeshi (CBC), Rollins elaborated on his conceptual
approach to improvisation, and where he strives to have his cognitive activity
focused:
I
want
to
be
connecting
to
the
subconscious
…
that’s
where
I
want
to
go…where
everything
is
blotted
out
and
where
creativity
happens.
To
get
there
I
practiced
–
I’m
a
prolific
practicer,
I
still
practice
everyday.
You
really
have
to
have
the
skills
–
then,
you
want
to
not
think
when
you’re
playing.
When
I
play
in
concert
sometimes
I
play
things
that
surprise
me
–
I
say,
‘Wow,
where
did
that
come
from,
how
did
I
think
of
that?’
It
brings
me
back
to
consciousness
for
a
moment,
when
I
realize
that
I’m
thinking.
But
in
general,
you
want
to
be
away
from
consciousness
(CBC,
2009).
evidence that his cognitive activity is focused on the moment at hand. Though
this does not discount long-‐term structural planning in his improvisation, his
desire for the evasion of conscious thought leaves additional conceptual
readings of musical components open to interpretation as well. While the
motivic connections and structural planning observed by Schuller in his
improvisations are one analytical reading, another could observe the phrases as
“formulaic”
or
idiosyncratic
elements
of
style;
the
characteristic
use
of
a
53
distinctive phrase favored by Rollins. Nonetheless, we can observe that an
alternative analytical reading or area of analytical overlap is perceivable, and
though not dictated by, it may be informed by the artist’s conceptualization.
Rollins is not the only jazz improviser to acknowledge the desire for
cognitive focus on the present moment. Drummer Max Roach also defined his
conceptual approach to improvisation as a response to the moment at hand,
After
you
initiate
the
solo,
one
phrase
determines
what
the
next
is
going
to
be.
From
the
first
note
that
you
hear,
you
are
responding
to
what
you’ve
just
played:
you
just
said
this
on
your
instrument,
and
now
that’s
a
constant.
What
follows
from
that?
And
so
on
and
so
forth.
And
finally,
let’s
wrap
it
up
so
that
everybody
understands
that
that’s
what
you’re
doing.
It’s
like
language:
you’re
talking,
you’re
speaking,
you’re
responding
to
yourself.
When
I
play,
it’s
like
having
a
conversation
with
myself
(Berliner,
1994:192).
Further, Max Roach has noted that not only does he observe a communication
with himself when he improvises, but also a communication with the
accompanying musicians in the ensemble, the audience, and notably his
“influences,” or the lineage of musicians that have influenced his elements of
style.
In visual art, the process of assimilating ideas from another artist’s work
is commonly referred to as “appropriation.” This process is much the same in
music,
as
musicians
transcribe
and
develop
elements
of
musical
vocabulary
from
54
other musicians in order to generate their own individual musical lexicon,
typically referred to as “musical borrowing.” In Metheny’s own words, his
musical output is broadly defined as an appropriation of many his favorite
musical attributes: whether that be the appropriation of a particular musician’s
Dictionary of Jazz has described three main approaches to improvisation in the
Schuller (1958)
1
The
aforementioned
approaches
to
improvisation
are
outlined
by
Gushee
(1977)
as
frameworks
for
analysis,
however
New
Grove
defines
them
through
a
pedagogical
lens.
55
The New Grove Dictionary elaborates that paraphrase improvisation grew out of
simple ornamental flourishes on the original melody of a piece’s theme (an early
approach to improvisation), but can also include allusions to recognizable
themes from other pieces. Formulaic improvisation (other terms: ideas, figures,
gestures, motifs, fragments, licks) is usually distinguished by rhythmic and
improvisation is achieved through the use of one or more (but never more than a
few) motifs that form the basis for a section of improvisation, that are then
Though some improvisers may favor the use of one of these approaches
more than another, it is more likely that a combination of these three approaches
spontaneous use of stylistic elements is also an area of concern. In the same
article, New Grove also cites the notion of risk and repetition as a fundamental
The
essence
of
improvisation
in
jazz
is
the
delicate
balance
between
spontaneous
invention
and
reference
to
the
familiar.
With
spontaneous
invention
comes
the
danger
of
loss
of
control
but
also
the
opportunity
for
creativity
of
a
high
order,
yet
without
reference
to
the
familiar,
paradoxically,
creativity
cannot
truly
be
valued.
In the process of experimentation, musicians learn to transform accidents into
creative
readjustments
of
the
improvisational
line.
Through
taking
risks,
jazz
56
spontaneous ingenuity. Yet the element of risk may vary greatly from
improviser to improviser. Charlie Parker’s performances based on the same
piece were often startlingly different, achieved through his varied use of
formulas. By contrast, Louis Armstrong often repeated many details of a solo in
different performances of the same piece. Yet, where his well-‐rehearsed
reiterations lack surprise, they maintain all other qualities of great melodic and
rhythmic improvisation. Returning to Hodier’s concept of continuity of thought,
a consideration of an improviser’s process of forming for becomes relevant when
making aesthetic observations. As we have observed, sound development and
coherence for an improviser can be achieved in various ways, ranging from
As Pat Metheny is the subject of my research, an investigation of his
The
ideal
result
is
to
walk
out
on
stage
warmed-‐up,
prepared,
and
ready
to
go
without
ever
having
‘thought’
of
any
particular
idea,
so
that
the
first
solo
of
the
first
tune
is
really
the
first
moment
of
the
day
that
I
am
fully
engaged
in
the
more
narrative
type
of
playing
that
I
aspire
to
(Metheny
2011).
57
This quote comes from Metheny’s book Pat Metheny: Guitar Etudes, in which
transcriptions of improvised scalar patterns and intervals as performed by
Metheny that mimic the unstructured and spontaneous quality of improvisation,
while avoiding any formulaic elements of style. The idea for Metheny when
warming up is to improvise abstract ideas in a variety of keys, and manipulate
their development through its “natural conclusion” to new ideas, over an
improvised harmonic framework. Because Metheny is so well-‐versed in specific,
standard, and generalized frameworks in the jazz idiom, he aims to avoid
practicing them prior to a performance so as to allow himself an unequivocal
element of risk, and to rid himself of the repetitive or unintentional structural
planning that inhibits the “narrative” style of improvisation he speaks of.
planning of the improvisation is not of primary concern. As Hodier in Jazz: It’s
Evolution and Essence discusses, the crystallization of thought over successive
performances on a piece will play a large part in the sound development of
rhetorical plan” might be another sufficient method to express this. Throughout
the course of an improvisation, musical events act to create overall continuity
and coherence. To develop this coherence, we can observe four large-‐scale
categories of musical events at work to create coherence in the improvisational
style
of
Pat
Metheny:
Melodic,
Structural,
Motivic,
and
Formulaic.
The
New
Grove
58
Dictionary of Jazz article “Improvisation” outlines three of these categories of
improvisation (see above), labeling the Melodic category as “Paraphrase” and
excluding the Structural category. We will expand upon these definitions to best
describe the way in which Metheny is observed to employ them.
a melodic theme), the Melodic category of improvisation is that which is
sophistication is often a mandate of the jazz vernacular, simple more
step-‐wise diatonic melodic content is an element of improvisation that
can also be used to great effect and is often overlooked. Metheny’s use of
the Melodic category adds accessibility to his improvisations and often
gives them a singable quality. In this category, an improviser may utilize
Structural: Structural improvisation is the use of arpeggiation to outline
category of improvisation is achieved through the dedicated practice and
Motivic: The manipulation of a melodic phrase (motive) that follows the
of melody makes the Motivic category the most readily generative, and
the most similar to the compositional techniques of European art music
traditions. As our brains crave structure and form, this generative
manipulation of melody acts to create memorable content by virtue of
inherent merits, outside the realm of style familiarity or a formulaic
approach.
Formulaic: Calling upon a diverse body of fragmentary ideas, it is the
them the most inclusive and versatile improvisational mode for study.
Metheny’s use of a formulaic system will receive the greatest attention for the
purposes of this study. The formulaic category’s distinguishable features and
elements of style. Thomas Owens (1974) asserts that a formulaic system is
necessary to allow for the conception of coherent ideas at high tempos of
improvisation, and it should be no secret that the consistent level of coherence
maintained
throughout
Metheny’s
improvisations
owes
much
of
its
fluency
to
60
formulaic elements of style. Formulaic systems also contain a myriad of
Furthermore, with the aim of this study as both analytical and pedagogical, the
analysis of Metheny’s use of formulas sheds light on not only on how they
contribute to overall coherence, but also their theoretical applications; providing
61
Chapter 5
A Formulaic System
approach that follows, we will define the musical considerations that unify a
collection of formulas into “formulaic categories”, grouped and defined by their
quantitative structural attributes and qualitative function they serve within an
and their variants, categorized based on primary structural attributes and
variants thereof. Finally, the smallest units, which we will identify as “formulaic
herein.
style is grounded in the vernacular of mainstream jazz concepts, with a flair for
spontaneity and free variation. This is a musical tradition that originated in the
late 1930’s with musicians like Coleman Hawkins, was established in the late
1940’s by Charlie Parker and his contemporaries, and further developed by
musicians like John Coltrane and Ornette Coleman in the 1950’s, Wayne Shorter
and Herbie Hancock in the 1960’s, Michael Brecker and Chick Corea in the
1970’s, and beyond. Jazz soloists such as these established and popularized
many of the customary elements of style that are still used in jazz improvisation
today
and
inform
the
melodic
devices
used
by
Pat
Metheny.
These
elements
of
62
style include the devies like melodic chromaticism through melodic enclosures
and passing tones, the establishment melodic vocabulary for harmonic cadences,
the application of structural devices like tertial seventh chord arpeggios and
triads, melodic devices based on both paraphrase or free variation, pentatonic
vocabulary evoking the aesthetic of blues and folk, the use of generative motivic
devices, and the use of melodic reharmonization inferring temporary alterations
to a theme’s harmonic framework. Each of these melodic devices are manifested
in the improvisational style of Pat Metheny, both at the formulaic component
level and formulaic species level, and ultimately inform the formulaic categories
Much as Owens or Martin depict Charlie Parker’s improvisational style as
style of Pat Metheny. It can be argued that in order to enable a high level of
elements of style that typify mainstream jazz vernacular, the development of a
formulaic system for jazz improvisers is essential. The development of this
formulaic system is for many performers a central part of what gives their style
much of its individuality and character. Pat Metheny’s formulas are uniquely his
own, largely acting to “avoid the cliché” while still keeping in line with
63
Pat Metheny’s formulaic elements of style are complex, and therefore it is
formulaic phrases are observed to be the sum of these smaller formulaic
components, and an examination of them will help prepare us for the more
complex “formulaic species” that lie in the chapters ahead. These formulaic
components are presented in their most distilled form, within the most
an additional consideration for guitarists to provide an understanding of how
these components are executed along the fretboard, and slur markings indicate
technical considerations of hammer-‐ons and pull-‐offs. We will continue to refer
to formulaic components with the term “figures” throughout this research. Each
formulaic component is named and described, with its formulaic application
4œ
Figure 1
C C
œ œ ‰ Ó œ œ œ ‰ Ó œ œ œJ ‰ Ó
&4
4 1 3 1
Figure 2 C C C
b3œ1:
Diatonic
œ œ J ‰ Ó b œ 2he
1œtarget
note
is
a
scale
‰ Ó b œ œtone,
approached
œ J ‰ Ó
Figure
enclosure.
1
T
& œ
4
from
a
scale
tone
above
and
below.
Figure 3 C C
&Œ j ‰ Œ Œ j ‰ ‰ ‰
œ #œ œ œ bœ œ
7 1 3
Figure 4 C C
& œ #œ j ‰ Œ j ‰ Œ
œ #œ œ œ bœ œ bœ œ
9 3
1 1 4
Figure 5 C
&œ j ‰ Œ
œ bœ bœ œ
Formulaic Components 64
4œ
Figure 1
C C
œ œ ‰ Ó œ œ œ ‰ Ó œ œ œJ ‰ Ó
&4
4 1 3 1
Formulaic Components
Figure 2 C C C
bœ bœ œ œ ‰ Ó œC b œ œJ ‰ Ó
& 4C œ œJ ‰ Ó
3 1 2 1
4œ
Figure 1
œ 3œ 1œ ‰ Ó œ œ œJ ‰ Ó
&4 œ œ ‰ Ó
1
4
C C
Figure 3
Formulaic Components
& Œ3 j enclosure.
Figure
C2:
Non-‐diatonic
‰ Œ
The
target
note
Œ
C is
a
scale
tone,
j ‰ ‰ ‰
œ
C
œ # œ œ b œ œ
Figure 2
1 &
b œ C œ 1œ ‰ Ó bœ œ œ ‰ Ó 3
1 2 1
œC b œ
œJ ‰ Ó
7
fJrom
a
non-‐diatonic
4C œ
Figureapproached
note
above
or
below.
œ œ œ ‰C Ó œ œ œJ ‰ Ó
&4 œ œ ‰ Ó
4 1 3 1
Figure 4 4
Figure 3
& Cœ # œ œ # œ œjFormulaic ‰ Œ Components C
œ b œ œ b œ œj
‰ Œ
Figure 2 9& 1ŒC 1 œ
j ‰ CŒ Œ3 C4 j ‰ ‰ ‰
œ # œ œ b œ œ
Figure 1 &
C b œ C œ 1œ ‰ Ó
3
bœ œ œ ‰ Ó 3
1 2 1
œC b œ œJ ‰ Ó
Figure 4 4& 4
Figure 5 7
C œ J
œ œ œ œ ‰ C jÓ ‰ œ œ œŒ ‰ Ó
&4 œ ‰ Ó
4 1 3 1
œ œ bœ b œŒ fragment.
œ
Uses
a
chromatic
J
3 11& 1C 3:
Chromatic
Figure Figure
jFormulaic
passing
‰ t2one
Components j ‰ pŒassing
œ # œ 2
œ # œ 1
œ C1
œ b œ œ b œ œ
Figure 62 9 1ŒC
C
&b3etween
j tones
‰ C Œon
an
uŒpbeat.
b œ 4 j ‰ ‰ ‰
C
œ
Figure
œ # œ œ
3
j ‰ ŒœC b œœ œ Ó ‰ Ó
note
two
1scale
CbÓœ C bœ
& 4 œ 1 œJ ‰ Óœ œ 1œ œ3 b œœ1 ‰ œ Ó 3
Figure 51 7 &
1 2 1
J
Figure
12 4 C œ œ œ ‰1 Ó 4 œ œ œ ‰ C jÓ ‰ œ œ œŒ ‰ Ó
Figure 4 4& 4
Cœ œ bœ bœ œ J
& œ #œ 2 œ #œ œ ‰ 2 Œ j ‰ Œ
Figure 7
œj b œ ‰ œ ŒCb œ œjÓ
Figure 3 11 1C 1 C1
6 9& C ÓŒC j
œ b œ ‰ œ Œ œ Œ 3œ ‰ ‰ ‰
& 13 4 j
C
œœ # œ 13 œ œ b œ
Figure 2
j ‰ Œ passing
CC 4:
Chromatic
passing
tone
sequence.
Figure 7 & C
Figure 8Figure
12 C
Uses
chromatic
Figure 4 4
œ b œ j
1 4
œ b œ j ‰ b œœŒ C œœ ‰
Figure 3 11& C
& 1œœin
a#
œscale
1 œ featuring
2 œ fragment
1 œ adjacent
b œ jŒ ‰ Œ
# œ œ b œ
16 1Ó
œ œj1b œ ‰ œ Œ2 œ Œ13œj ‰ Œ 4 j œ Ó‰ ‰ ‰
notes,
t wo
m a2
intervals.
Figure 6 9& 1ŒC
2
œ #œ 3 œ bœ œ
2
j ‰3 Œ
1
Figure 5 714 CÓ Ó
& œ œ œ bœ œC
1 2
jj ‰ Œ
CC
&œ
Figure 8
bb œœ4j
Figure 4 12
œ
œ b œ œ ‰ Œj ‰ Œ
1
Figure 7 & C
11& œ
2œ 1 œ ‰ 2 œŒ 1œ œ
b œ
1
œ #œ 2 # œ œ b œ œ
Figure 6 9 11CÓ
16
& 1œ bœ œ œ
2 1
j ‰ Œ Ó
œ
1
3 4
14& Ó
Figure 5Figure
C 5:
Descending
enclosure
c2hain.
Ejach
‰chromatic
Œ mÓ3
interval
acts
to
3
œ œ œ bœ œ
& œ the
next,
d1 escending
‰
j a
target
Œ
b œ
Figure 8 12 C
encircle
œ œ
ub œntil
reaching
j note.
4
Figure 7
11
& 1œ
C
2œ 1 bœ 2œ 1œ ‰ Œ
Figure 6 16& 1CÓ œ 1b œ œ 2 œ 1 œj ‰ Œ Ó
j ‰ Œ
2
&Ó
14 3
œ œ œ bœ
2
nœ
Ó
Figure 8 12 C
j
1 4
Figure 7
&œ C œ bœ œ œ ‰ Œ
1 j
& 1Ó
16 2 œ 1b œ œ 2
œ œ ‰ Œ Ó
14 3 2
Figure 8 C
œ bœ j ‰ Œ
&œ œ œ
16 1 2 1 2 1
Figure 3 7 C 1 C 3
&Œ
C
j ‰ Œ Œ
C
j ‰ ‰ ‰
œ #œ œ j ‰ Œ
Figure 4
œ bœ œ j ‰ Œ
7&
œ #œ 1 œ #œ œ œ b œ3 œ b œ œ 65
9
Figure 4 1C 1 3C 4
Figure 5
& œ #œ
C j ‰ Œ j ‰ Œ
œ #œ œ œ bœ œ‰ b œ œŒ
9&
1œ 3j
11
œ 1 bœ bœ œ 4
Figure 5 1C 2 1 2 1
Figure
C 6:
Diatonic
enclosure
featuring
an
ascending
chromatic
passing
Figure 6
&œ j ‰ Œ
Ó œ bœ bœ œj ‰ Œ Ó
11&fragment.
tone
1 2
œ1 œ œ2 b œ 1œ
12 C 1 4
Figure 6
&Ó j ‰ Œ Ó
Figure 7 C
œ œ œ bœ œj
12& Ó 1œ b4œ œ ‰ Œ Ó
œ œ
Figure 7 14 C 3 2
Figure 8
Ó
C
& 7:
Descending
œ chromatic
b œ œ pœassing
j ‰ Œ Ó
Figure
œjtone
fragment
to
enclosure.
‰ Œ
14& œ œ 3 bœ œ 2 œ
Figure 8 16 1C 2 1 2 1
œ bœ j ‰ Œ
&œ œ œ
16 1
1 2 1 2
Figure 8: Expanded ascending enclosure. In this example the target note
&Œ œ bœ nœ œ bœ j ‰ Œ Ó
17
œ œ
3 4
Figure 10 2 C Formulaic Components
&Ó ‰ j ‰ Œ Ó
Figure Figure
C 9:
Triad
arpeggiation
with
enclosures.
The
enclosures
are
œ œ œ
9
œ
19& Œ œ third
œ dFormulaic j ‰ Œ Ó
featured
2 on
the
b œ an3œnd
fifth
b2œegrees
œ 1 of
aœ
major
triad.
Components
Figure 11 17 CCma7 3 4
œC œ
Figure 9
œ j j ‰ ‰ ŒŒ ÓÓ
1 4
&&Œ œ œ
Figure 10
œ b œ‰ n œ œ bœœ œ œ
21& Ó
œ œ j œ‰ Œ Ó
17 3 œ 4 œ 3 œ1
Figure 12 19 CC
Figure 10 3 2 1
& œ ‰œ m j
œ
j‰ ‰ Œ Œ ÓÓ
C ma7
&1 œÓ 10:
4œœDescending
Figure 11
œ a2
b œœto
enclosure.
œ œ œ
23&1
Figure
œ œ œ œ œ œ j ‰ Œ Ó
19 3 œ2 2œ 1 1œ
Figure 13 21 C
Figure 11 C ma7 3 1
œ j ‰ ŒŒ ÓÓ
& œœ œ œœ œœ œ
1C
œœjj ‰‰
Figure 12 4
&œ œ œœ œœ
25& œ œ Œ Ó
21 1œ œ œ bœ œ 23 œ 1 œ
Figure 14 23 C 1
Figure 12 1C 2 1
&& œœ # œœ
œ
œœ nœ œ œ jj ‰‰ ŒŒ ÓÓ
Figure 13 C
œ œ bœ œ œ
27&1
23 1œ œ œ œ œ œ œœ 2 œ œj ‰ Œ Ó
2œ 1œ
1
15 25 1C
Figure13
Figure
C
1
2
Ó Œ ‰ Œ Ó !
& œ œ œœ œœ œ œ œ œjj ‰ Œ
Figure 14 C
&œ œ œ œ
29& œ #œ œ 1œ n œ 1œ œ œ œ j ‰ Œ Ó
25
Figure 16 27 11C 2 œ 1 œ
2 Formulaic Components
Figure 9 C
&Œ œ bœ nœ œ bœ j ‰ Œ Ó
17
œ œ 66
3 4
Figure 10 C
2 Formulaic Components
CÓ ‰
& œ j ‰ Œ Ó
œ Formulaic œ
Figure 9
19& Œ
œ j ‰ Œ Ó
2
œ bœ œ b2œ Components
nœ
Figure Figure
11 17
3
œ 1 œ
11:
Descending
pentatonic
run
to
diatonic
enclosure.
In
this
CC ma7
Cœ
Figure 9 3 4
œ œ ‰ Œ Ó
& Œ a
V
m ‰ Œ Ó
1 4
œ œ œ scale
outlines
j
& œ ajor
b œ pentatonic
nœ œ j a
Ima7
chord.
Figure 10
example
bœœ œ œ j œ‰
&Ó
1721 ‰
œ œ
Œ Ó
Figure1012 19 CC
3 4
œ 3
œ1
Figure 3 2 1
& Óœ œ ‰œ œœ b œœ œ j œj ‰ ‰ Œ Œ ÓÓ
Figure 11 2 C ma7 Formulaic Components
& œ œœ œ œ
1C
œ œ 3œ œ œ j ‰ ‰ ŒŒ Ó
Figure 9 4
19 &1Œ Ó
œ 2 1 1œ j
23
& œ bœ nœ œ bœ 3 œ œ
œ
2
Figure 13 21 C
Figure 11 C ma7
œ
17
œ
1
& Cœ œ œœ œœ œ œ jj ‰ ŒŒ chromatic
ÓÓ
Figure
12
Figure
4 A3scending
scale
fragment
1 C 12:
4
t o
descending
passing
Figure 10 &
œ œComponentsœ j ‰ Œ Ó
21&f1C œ œ
2 Formulaic
&œ
25
Ó œ ‰ œ b œ œ 23 œ j11 œ ‰ Œ Ó
tone
Figure 9
Figure 14 23 C
ragment
t o
e
œ
nclosure.
œ
œ 2 œ 1
&
1C
Œ œ j ‰ Œ Ó
Figure 12
œ œ bœ nœ
19
b œ œ j ‰ Œ ÓÓ
& 1œ œ4 3 œ œœ nœœ b œœ 4 œœ œ œœj ‰ Œ œ
3
Figure 11 &Cœma7 # œ
Figure 13 C 2 1
œ j ‰ Œ Ó
17
Figure 10 23&
27 1œ œ œ œ œ
&1 CCœ œ œ œ œ œœ œœ 22œ 11œj ‰ Œ Ó
œ œ
1315 25
Figure 14 & C
C
Ó ‰ j1 ‰ Œ Ó
Figure
Figure
œ
21 1 1
Ó Œ œ ‰ Œ Ó !
2
Figure 12 & C œ œ 3œœ œœ œ œ œ œj œ œ j ‰ Œ
3
& œ œ œ
19
œ œ 1œ n œ 1 œ 2 pœentatonic
œ j r‰un
to
Œ enclosure.
Ó
Figure 11 2529&Cœma7 # œ
Figure
13:
Ascending/descending
œ j ‰ Œ Ó
1
& 1œ 4œ œ œ œ bœ œ 2 œ œ œ
Figure 14 27 1Cœ œ
1 1
œ œ œ
Figure 16
&
23 1C
œ œ œ œ
2 1
j ‰ Œ Ó
Figure 13 21& C
C 2 1
œ œ Œ
& Œœ œ œŒ b œ œœ œ œœ 3 œ1 j ‰‰ Œ Œ Ó
Figure 15
32& Ó œ j !
27& 21 œ œ œ œœ œ œ œ œ œ
2 œ 1œj ‰ Œ Ó
œ
1C
œ œ œ
Figure 12
œ
j ‰ Œ Ó
29
Figure 16 &1C œ
1
œ
1
œ œ b œ
Figure 15 25 C
œ œ 2
œ
1
œ
23 1Ó Œ œ œ œ2 œ 1 œj ‰ ‰œ Œ Œ Œ Ó !
Figure
C 14:
Descending
chromatic
passing
tone
fragment
to
descending
&
Figure 14
Figure 13 & Cœ œ œ œ j
29& # œ run
œœto
e1œnclosure.
œn œ 1 œ
œ œ
pentatonic
œ œ
Figure 16 32 11
& œ œ 2œ œ œ œ œ 2
27 C
1j ‰ Œ Ó
œ œ
& 1œ Œ
œ 2 œ j ‰ œŒ
Figure 15 25 C
œ œ
1
CÓ Œ !
32&1
œ œ œ œ œ œ
Figure 14
œ
& œ # œ œ 1œ n œ 1 œ œ j ‰ Œ Ó
2
29
Figure 16 C œ œ
27 1
2 1
C 15:
Ascending/descending
major
scale
fragment
Œ(root,
ma2,
ma3,
Figure
&œ
Figure 15
œ œ œ œ
œŒ
Ó a3,
ma2,
&1m
œ œ œ œ œ œ œj ‰ Œ !
32
ma4,
2 root).
29 1 1
Figure 16 C
&œ œ Œ
œ œ œ œ
32
1 2
67
& œ œ œ
œ œ œ œ bœ
33 2 1
Figure 18
1
C
Ó 17:
Melodic
‰ scale
fragment
to
œtertial
œ ‰ Œ
TÓhe
p3hrase
œ œ arpeggio.
œ œ œ
Figure
minor
& j J
3
œ œ Formulaic
œ œ
Components
34 # œ œ
begins
Figure19
17 on
the
ma6
degree,
with
tertial
arpeggiation
beginning
on
the
m3
C m(ma7) 2
œ
Figure
&
C
œ
œŒ œœ œ œœ bœ œ
bœ jœ ‰ Œ Ó
1
&
degree.
33 œ bœ œ2 1 3
1 Formulaic Components
37 1
C 2
œ
Figure1817
œ œ œ œ œ J ‰ Œ Ó
Figure
Ó Œ
Figure 20 7
G
&
C m(ma7) 3
œ œ œ œ œ
&&œ œ œ œ‰ œ Œ
34
œ
œ
œ 1 œ œ œœ bœ j œ
39
33 1 2 1
Figure
Figure 21
19 C
œ
1 1 3
&Œ œ j ‰ Œ Ó
1 Formulaic Components
œ bœ
G 7Ñ9
Figure Figure
œ
C 18:
Ascending
root
position
V
major
triad
arpeggio
to
Ima7
bœ œ
Figure 18
1 jœ œ œ ‰ œ œ ‰Œ Œ
17
&
&7 bÓœ ‰œ j œ œ Ó
œ from
the
mJa6.
3
37 C m(ma7)
œ
2
œ
œfœragment
tœo
œscale
œ
arpeggio
Figure 20 34& #œ œ
from
the
ma7
œ œ
bœ 1
40 G
œ2
1
G 7œ( 9)
b œ2 œ ‰ Œ
& 1œC
Figure 22
Figure 19 33 œ œ
C
œ j
œ
2 1
œ œ ‰ bœ 1 œ
3
& & CÓŒ œ 3 b œ œ œ b œ œ œj ‰ Œ Œ ÓÓ
1 Formulaic Components
Figure 18 39 1
œ œ œ œJ ‰ Œ Ó
Figure 17
37& Ó ‰ j 2 2œ œ 1œ
Figure 21 41 CG m(ma7)
7Ñ9
œ œ œ
œ # œ œœ œ œ
& &GbGœ j C ‰œ Œœ
Figure 23 77alt
œœ bœ
Figure 20 34
1œ œ œ œb œroot
b œp2osition
1 œ2 2
33 ŒC 19:
Descending
2 ‰ to
Œc1hromatic
Œ Ó passing
& &17œ(b 9) 1 œ
Figure
œ 1œ ajor
m triad
40
Figure 19
œ œ j œ
Œ œ œ Cœ j ‰ Œ Ó
39& 1C œ 3 b œ
1 œ b œ1
22 43 G
œ
Figure 18
Figure
Figure 24 & CÓma7
tone
f
Figure 21 37 GÓ7Ñ9
ragment
t o
e‰
‰ j b œ œ œ 2 œœC 1œ œ œ œ J ‰ Œ Ó
nclosure.
Œ œ Ó
&
œ 2 œ œ
œ œŒœ œ
&Gb7œalt n œ œ2 b œ # œ
n œ ‰ b œjC œ b œ‰ œ œjŒ ‰ Œ
41
& Jœ
Figure 20 34 G 7
œ 3œ ‰ 4 Œ
Figure 23
Figure
&Œœ
19 4540 21C 1
1œ œ œ
21
b œœ b œ œ j Œ Ó
&
Figure 22 39& 1Œ7 (b 9) œ œ œ bœ œ 1
2
œ œ
1
œ j ‰ Œ Ó
43 G 1 b œ Cœ
&C ma7
Figure 21 37 G 7Ñ9
Ó ‰ b œ œ œ C Œ Ó
G 720:
Descending
root
position
II
mœinor
triad
2 1
41& b œ jœ b œ ‰ œ over
j Œ‰ Œ
Figure
Figure24
Figure
V7
chord.
Begins
œœ ‰ Œ
20
& b œ n œ b œ œ n œ œ b œ
J œ C ‰ œ Œ
2
Figure 23
45& 2
œ1 7 alt œ œ j
œ œ bœ bœ 1 œ
40 G
on
the
P5
of
I1Im
a2nd
resolves
to
1 2 a
ma3
oœ f
V7.
3 4
&GŒ Œ Ó
1
Figure 22 39 17 (b 9)
œ œ C œ
43&GÓ7Ñ9 ‰ bœ œ Œ Ó
œ 1 œ
Figure 21
41& Cbma7œ œ Cj ‰ Œ
œ2
Figure 24
œ œ
& b œ n œ 1 b œ n œ œJ ‰ 2Œ b1œ Cœ b œ œ œj ‰ Œ
Figure 23 7 alt
40 G 1
45&GŒ2
7 (b 9) œ 21œ b œ b œ Œ Ó
œ œ
Figure 22
œ
3 C 4
43& Ó ‰ bœ œ œ 1 œ Œ Ó
Figure 24 41 C ma7 2 C
& bœ nœ 1 bœ nœ œ ‰ Œ bœ j ‰ Œ
Figure 23
œ bœ
7 alt C
œ
G
J œ
œ œ2 œ œ bœ
Figure 19 33 1
1C
2
œ
3
Œ œ j ‰ Œ Ó
1
Figure 17 & œ 3 bœ œ bœ
Formulaic Components
œ
Figure 18 C
37& Ó
C m(ma7) ‰ j 2œ œ œ œ œ œ œJ ‰ Œ Ó 68
œ œ
#œ œ œ œ
1
34& G œ œ œ
b œ
Figure 20 7
œ œ œ œ
j 2 ‰ 1 Œ
2
&1œ
Figure 19 33 C
1 œ œ œ
œ œ œ j ‰ Œ
&Œ
Figure 18 39 1C
œ 3 bœ 1 œ bœ œ Ó
21 37 GÓ7Ñ9 ‰ j II
diminished
1œ oœver
œ œ
œ V7b9
J chord.
‰ Œ
BÓegins
on
the
& 21:
Descending
Figure Figure
œ œ œ 2œ œ
triad
#œ œ œ
& ob œf
IIdim
aœ2nd
‰ Œ
œ to
a
œma3
of
Vœj7b9.
Figure 20 34 G 7
‰ Œ
dim5
resolves
&œ
Figure 19 40 1C
1 œ œ 2œ j
Figure 22 39& 1Œ7 (b 9) œ œ œ bœ 1 œ œ
1
j ‰ Œ Ó
G b œ Cœ
& Ó7 ‰ bœ œ œ2 Œ Ó
Figure 21 37 G 7Ñ9
œ
1
Figure 20
41& b œ
G
œ j ‰ Œ
œ œ œ
2
Figure 23
40& G œ œ j ‰ Œ
œV7
altered
7 alt C
œ
1
Figure
2
39 1Œ7 ( 9)
2:
D œ œ bœ bœ 1
escending
2
d œ
ominant
1
s cale
fragment
(b9,
root,
m7),
&G
b
œ œ C œ Œ Ó
Figure 22 1 2
& b œ n œ 1 b œ 2n œ œJ ‰ 2Œ b1œ Cœ b œ œ œj ‰ Œ
Figure 23 7 alt
40 G 1
45&GŒ2
7 (b 9) œ 1œ b œ b œ 4Œ Ó
œ œ3 C œ
Figure 22
43& Ó ‰ bœ œ Œ Ó
œ 1 œ
Figure 24
41 C ma7 2 C
& b œ n œ 1 b œ n œ œJ ‰ Œ j ‰ Œ
Figure
23:
Expanded
descending
altered
dominant
fragment
(P5,
ma3,
#9,
b œ Cœ b œ œ
Figure 23 7 alt
G
œ
b9,
45& Œ2 m7),
œresolving
root,
1œ
2
b œto
tbhe
œ ma3
œ of
œI
3major.
œ 4Œ Ó
43 1
Figure 24 C ma7 C
& bœ nœ bœ nœ œ ‰ Œ bœ œ bœ j ‰ Œ
J œ œ
45 3
2 1 4
Figure 24: Chromatic passing tone sequence featuring two adjacent ma2
Figure 25 C
&Œ j
bœ bœ nœ bœ œ œ œ ‰ Œ Ó
47 3 1
4 1
Formulaic2 Components
Figure 26 C
Œ j ‰ Œ Ó
Figure 25 C 25:
E3nclosure
to
descending
chromatic
passing
tone
fragment
to
Figure
& #œ nœ #œ #œ nœ nœ œj
&49 Œ
enclosure.
bœ bœ nœ bœ
2
1 œ 2 œ 1 œ ‰ Œ Ó
47
Figure 27 G 7#5(#11) 1
œ
3
œ
2 1
œ œ #œ #œ
&œ C
Figure 26
&Œ j ‰ Œ Ó
3
œ bœ
51
Figure 28 C m(Ñ9) œ œ œ bœ œ
49
bœ
1 1
œ
2
œ
2
Figure 27 G& bœ
7#5(#11) bœ œ œ
#œ #œ œ œ
œ œ
52
&œ
Figure 29 G7
œ
3 2
&œ
51
œ œ œ
1 2
Figure 28 C m(Ñ9) œ
53
4 Formulaic Components
C
Figure 25
69
&Œ j
bœ bœ nœ bœ œ œ ‰ Œ Ó
œ
47 3 1 1
2
Figure 26 C
Formulaic Components j ‰
& Œ 26:
C#hromatic
Œ Ó
3
4
Figure
œ n œ #pœ assing
# œ tnone
œ fnragment
œ œ to
enclosure
chain.
Figure 25 49 C 2
1 2 1
&Œ j
œ œ‰ Œ œ Ó
G 7#5(#11)
bœ
Figure 27
b œ œn œ b œ# œ œ #œœ
&
47
œ 3
œ 1
2 1
51
Figure 26 C
j ‰
OŒbften
Figure 28 C m(Ñ9)
& Œ 27:
W#hole
œ aÓpplied
through
3
Figure
œ ntœone
#sœcale,
cn œhord
# œV7
Formulaic œœ
nœœapplication.
& bœ œ œ
4 Components
49 bœ 1 2 1
Figure 25 52 C 2
the
uGse
of
a ugmented
t riads
t o
a chieve
# 4
and
#5
scale
tones
on
over
a
&Œ j ‰ Œ œ Ó
Figure 27 7#5(#11)
G7 bœ bœ nœœ bœ #œ œ œ #œ œ œ œ œ
œœ
Figure 29
& œœ
3 2
& œ
1 2
dominant
47 chord.
3
1 œ 2 1
51
Figure 26 53 C
j1C ‰ œ Œ 1 2 Ó
4Figure 28 CCm(Ñ9) Formulaic Components
&CŒ
3 4
C
#œ nœ #œ #œ nœ nœ œ œ œ œb œ Ó
Figure 30
œ
& œb œ œ œ b œ Ó
& œ œ œ œœ1 2Ó œ 1
Figure 25
49
52 Œ
œ œ j
Figure 27 54&G17#5(#11)b1œ 2 b œ n œ 1b œ œ 1 œ2 œ ‰ Œ Ó
2
2 3 #1œ 2 œ œ
3 4
28 53& C m(Ñ9)
Figure minor
# œ tnonic
œ #cœhord,
n œ application
# œ this
nœ œ achieves
b2,
b3,
4,
5,
6
and
C œ4
Figure 30 49 C
b œ1 2
C 1
œ
1
œ
2
& œ œ œ œ
2
& œ œ œ
sbcale
b œ œ œ Ó
1
ma7
G 7#5(#11) t ones.
Ó Ó
Figure 27
52 œ œ œ # œ œ #
œ œ œ œ
&œ 7
54 œ œ
1G 1 2 1 1 2
Figure 29 51 3 4
œ
3 2
Figure 28 œ
&C m(Ñ9)
1
œ
2
œ œ œ
œ œ bœ
& bœ
53
bœ œ œ
œ
4
Figure 30 52 C C C
1
œ in
tœhis
Figure
729:
Descending
IV
triad
œto
ascending
V
triad,
œ example,
over
&Gœ1 œ œ 2 Ó Ó 2 Ó
1 2
Figure 29
œ œ œ3 œ
7
cœ1hord.
T1 œhe
2 IV
triad
a
V54& œ outlines
1 P
1 4,
œ m7
V7
œ scale
tones.
œ 2ma2
and
3 4
53
œ
4
Figure 30 C C C
œ
1
œ œ 1 œ2 Ó
&œ œ œ Ó
œ œ œ
Ó
œ
54
1 1 2 1 1 2
3 4
in
a
motivic
ascending
or
descending
sequence.
Notably,
the
third
note
in
70
4 Formulaic Components
Figure 25 C
&Œ bœ bœ nœ bœ j ‰ Œ Ó
œ
œ attack,
but
is
a
sustained
œ pick
each
47
phrase
3
is
not
played
1 with
a
new
2 1
4 Formulaic Components
Figure 26 C
continuation
3 of
the
first
note
of
the
phrase;
therefore
a
slur
marking
is
Figure 25
&Œ
C
#œ nœ #œ #œ nœ nœ j ‰ Œ Ó
Œ jœ ‰ Œ Ó
49&
applied
b œ b œ these
to
connect
n œ tb2wo
œ n1œotes.
2œ
In
fact,
œ1 the
note’s
attack
is
cleverly
Figure 27 47
G 7#5(#11) 3 1 1
œ œ the
second
note
of
2
produced
C
œ
œ #œ # œ pull-‐off”
on
the
guitar
with
a
“deadened
from
&œ
Figure 26
Œ j ‰ Œ Ó
3
51& #œ
nœ #œ #œ nœ nœ
the
phrase
with
the
third
Figure 28 49
or
fourth
finger.
œ
This
is
both
a
technical
C m(Ñ9) 2
1 2 1
bœ
& wœishing
to
œœ this
cœomponent
and
also
a
œ emulate
Figure 27 G 7#5(#11)
consideration
bœ œ
b œfor
guitarists
#œ
&œ
52 œ œ #œ
notable
51 G 7 demonstration
of
Metheny’s
thoughtful
ingenuity
with
which
he
Figure 29
œ
3 2
Figure 28
& œ1
C m(Ñ9)
œ
2
œ the
phrase
œ just
three
œ requires
crafts
his
formulas.
Since
53& œ œ b œ pick
strokes
for
a
bœ bœ œ œ
52 C
four-‐note
Figure 30 C
arpeggiated
phrase,
C tœo
it
allows
Metheny
4
perform
the
formula
G7 œ Ó œ 3 Ó
1
œ œ 1 œ2 Ó
Figure 29
& œ1 œ eœase
œ tempos.
œ œ œ
2
54&
with
gœ reater
œ
2
at
higher
œ œ
1 1 23
œ 1 1 2 4
53
CC œ
4
Figure 30
Figure 31 C C
& Œ œ Ó Ó
1
œ œ 1 œ2 Ó
& bœœ œ œ œ Ó œ œ œ
57 œ
54 2
1 1 2 1 1 2
3 4
Figure 32
C7
Figure
C 31:
Chromatic
approach
tone.
A
non-‐diatonic
note
on
a
downbeat
œ œ
3
& œ bœ nœ œ
Figure 31
j
Ó Œ ‰ j Œ1 Ó
#œ
&
58
acts
to
ornament
or
approach
1 4 1b œ œ
œ a
scale
tone.
57 2
1
Figure 32
C7
œ œ
3
& œ #œ
j bœ nœ œ
59 4 1 1
1
Figure 32: Chromatic descending cliché. A chromatic descent from ma6 to
P5
featuring
the
root
as
a
pedal
point,
in
this
example
over
a
V7
chord.
5
Formulaic Components
G 7 alt C
bœ
Figure 33
œ bœ bœ bœ Œ Ó
& œ bœ œ
59 2 1 4
4 2
œ
C ma7(#11)
œ œ
œ œ œ #œ œ œ
Figure 34
& œ œ œ Ó
61
3 1
71
G 7 alt
b œ substitute,
to
achieve
b13,
P5,
#11,
#9,
b9,
m7,
#11
G7alt
scale
tritone
Figure 33
œ bœ bœ bœ
& œ bœ
tones,
60 2resolving
through
1 enclosure.
4 4 2
œ
C ma7(#11)
œ œ
œ œ œ #œ œ œ
Figure 34
& œ œ œ Ó
61
3 1
Figure 34: Motivic P5 intervals, used in a diatonic sequence. In this
example, the sequence descends from the ma7 and ma3, to the ma2 and
P5 of Cma7#11, accessing each P5 interval and avoiding the dim5 interval
Many of these formulaic components are derivative in the sense that they are
components. Therefore, it follows that the assembly of Metheny’s formulaic
system builds its complexity through the sophisticated manipulation of these
fragmentary ideas. The creation of larger phrases deemed “formulaic species”
occurs as the sum of these component parts, and each of these melodic
fragments are commonly adapted, expanded and combined to create unique
variations. It should be noted that an alteration such as that of an enclosure
from diatonic to non-‐diatonic in a melodic line is an easily interchangeable and
minor
consideration.
This
adjustment
may
at
times
be
made
to
accommodate
a
72
fingering preference of Metheny’s in the midst of an improvisational line.
consideration, and therefore requires a degree of pre-‐planning for how it lays on
fingerboard of the guitar. The interval structure of formulas may also adapt to
the harmonic context (major vs. minor, etc.), and may begin and end at different
pitch levels when applied in context. Finally, the rhythmic placement of these
examples is not definitive; the pitch level, intervallic structure and rhythmic
5. 2 – Formulaic Categories
formulaic categories. These formulaic categories that will be the subject of
characteristics that unify the formulaic species within each category, and
provide some insight into their implications within the scope of a larger
coherence:
73
by the encircling of target notes, through the use of diatonic or non-‐
achieved by the addition of non-‐scale passing tones in the melodic line,
diminished, or whole tone scale phrases. Creates melodic tension and
5. Pentatonic Formulas: The application of the pentatonic scales to jazz-‐
based harmonic contexts. Often associated with the melodies of blues or
improviser, they are both easily identifiable and tangible for the listener.
Used to create melodic and rhythmic interest through consistent motivic
repetition.
Finally, each formulaic category is comprised of formulaic phrases of the
same type, deemed “formulaic species.” A formulaic species can be defined as the
centerpiece or focus, whose frequency of use warrants the acknowledgement of
it as such. This melodic centerpiece component may be expanded upon by the
addition of other formulaic components or species, and/or in combination with
75
Chapter Six
In this category, we may observe seven major formulaic species of
enclosures. As discussed in Chapter 5, the device of an enclosure is employed to
produce melodic sophistication through the generative encircling of target notes,
often prolonging the arrival of chord tones on downbeats. First, a definition of
the formulaic component that is the centerpiece of each species will be outlined:
Species B: Descending passing tone fragment to enclosure (fig. 7)
Species E: Enclosure to descending passing tone fragment to enclosure (fig. 25)
Species F: Chromatic passing tone fragment to enclosure chain (fig. 26)
Each of these formulaic phrases are excerpts taken from one of the four source
material Metheny improvisations: “Solar,” “Old Folks,” “Son of Thirteen” or
“Snova.” Their component parts, application, and relation to the harmony will be
defined. It should be noted that a formulaic component may begin in the midst of
a previous component, as some formulaic components begin with the same
interval structure as others end. This may be seen as an advantageous feature as
formulaic
improvisation
is
designed
to
flow
lucidly.
It
should
also
be
noted
that
76
some formulaic species make use of only one component, where most species
make use of combinations of multiple components. The formulaic species in
each formulaic category chapter recount each occurrence of their use within the
Enclosure Chromaticism
6.1
–
Enclosure
Chromaticism
(Species
SpeciesAA, ,
B,
B,
C,
C,
D,
ED,
,
FE
&&
G)
F
Species A F ma7
b 4 j œ
&bb 4 Œ ‰ Œ Ó
Solar: Bar 29
nœ œ œ œ œ œ
Fig. 16
Species B Enclosure Chromaticism
ejnclosure
C7 F ma7
bœ
ar
diatonic
Species A
Fma7
to
29
Solar: Bar ascending
F ma7scale
fragment
Fig. 7 (root,
ma2,
m3,
P5)
(fig.
16),
the
m3
scale
tone
Solar: Bar & bb 4 Œ
b b4 melodic
function
‰ j œ œ Œ Ó
œ n œ b œœin
place
œ oœf
the
œFma7
Species C F ma7
b
Species A, B, C, D & E
B b7 Eœbma7 b œ
&bb Ó
Species A +3 B & C
b Ó œ œ b œ Fig. œ 7œ œ œ œ œ bœ œ œ bœ
œ œ n œ b œ b œ œ œ œ b œj ‰
Solar: Bar 200
Species A 6
&
Solar: Bar 29
b F ma7
b n œ
b 4 j
Solar: Bar 5& b b F4ma7Œ Fig. 7 ‰
œ B16ar
œ 4:
Aœ
descending
œ œ Fig.chromatic
œ Fig.œ 8 Œpassing
Ó
Species C
nFig.
bb F ma7
10
œ b œ
Ex.
5 2–
Species
B
–
Solar:
tone
œ
Fig. 19
Species F
& b nœ œ F m7 œ
œ
œ
Fig. 16
b œ b œ œ œ bœ n œ b œ œ œ œ n œ b œ n œ f
F‰ ma7
Solar: Bar
Species B 53 10
&b b Fig. b Ó8 Œ bœ bœ
fragment
t o
n on-‐diatonic
e nclosure
f rom
t he
root
o f
C 7
t o
t he
m a3
o (fig.
œ 26 b œ œ b œbFig. 30 n œj b ‰ Œ b
C 7 F ma7
Ó J
Solar: Bar 4
Species A + B &b C Ó
& b B b7
3
bma7
œ œ b œ œFig.œ7 œ œ œ œ œ œ œ b œ œ œ
7).
Solar: Bar 200 EFig.
œ
E m7 Fig. 1A 7 DFig.ma7
b b œ n œ œ C 7 œ b œ b œ œ œ œ b œj ‰
n
31 Fig. 28
Species C 62 b b ÓC m7
Species E 6
Solar: Bar & œ G m7
b
&b b b b œ Fig.œ 7 œ œœ b Fig. œ n œ16 œ œ œ b œ n œ # œ
œ œ n œ œFig.œœ8 # œ # œ Œ Ó
13 F ma7
Solar: Bar 5
bœ œ
B b nœ
5
Species D +& œ
œ
Fig. 5 Fig. 27
œ b œ œ œ n œDbm7b5
Solar: Bar 53 F ma7 Fig. 25 F m7
Species E + A &b D Fig. 8
B &b Cb ÓE b m7 A b 7Œ œ b œ G 7b9œ œ C m7œ n œ b œ n œ ‰ b œ
10
A +& D bma7 bœ
Species
B b7 E bma7 œ b œ nEœbm7œ œ b œ n œ b œA b7
œ:
œAn
œD bma7 Jfrom
b œ œ b œ
Solar: Bar 106
b œ œ œ n œ œ œ œ œ œ n œ b œb28œ ‰ Œ Ó jn n b
œ
&b b b bÓ Ó œ‰ œ b œFig. œb œ7œ œFig.œ œ5 œ œ Fig.œ30b œ Fig. œ œ5 b œ œ œ œn œFig.
Solar: Bar 20016
Ex.
3
–
S pecies
C
–
S olar:
B ar
5 e xpanded
a scending
e nclosure
Species E & b nœ b œ J œ œ œ bœ ‰
6
the
m
Solar: a3
Bar 62to
the
P5
of
Fig.
C m7 Fma7
16 (fig.
8)
to
a
descending
Fig. 24root
Fig.p2osition
G m7 Fig. 25 F5
major
triad.
C7
b
Fig. 30 Fig.
B b b œ œ bœ nœ œ œ œ bœ nœ #œ
œ œ n œ Fœm7 œ # œ # œ Œ Ó
13 Fig. 7
Species D +&
Fig. 16
œ
Fig. 8
Fig. œ
25 b œ œ œFig.n œ5 b œ b œ œFig. œ27 œ œ b œ n œ
Solar: Bar 53 F ma7
b b Ó Œ nœ ‰ bœ bœ
&& Db
10
Species E + A
E b m7 A b 7 D bma7
J
b œ Fig. 30 Fig. 5
Solar: Bar 106 D m7b5 G 7b9 C m7
Fig. 7 Fig. 5
b j
Solar: Bar 4
3
&bb Ó œ bœ œ bœ nœ ‰ Œ Ó
Fig. 7
Species C 77
F ma7
b
Solar: Bar 5
œ bœ œ
& b b nœ œ œ œ
5
Fig. 8
E bma7 E b m7 A b7 D bma7
œœ œ
Species B, A, G & C
B b7
œ œ œ œ œ œ Chromaticism
œ œ b œ œEnclosure bœ œ œ bœ œ nœ bœ bœ œ
Solar: Bar 200
b j
6
&bb Ó œœ
Species A, B, C, D, E, F & nG œ œ bœ ‰
Fig. 7 Fig. 16 Fig. 10
Species A Fig. 8 Fig. 19
Species E& F ma7
29D
Ex.
b4b
b–
4Species
Solar: Bar
Œ B‰,
A,
G
j&
C
–
Solar:
Bar
200:
Aœ
descending
œ Œ chromatic
Ó
C m7 G m7 C7
& bb 4 œ œ œ
Solar: Bar 62
bœ
& b œ œ œ œ nnœœ œ œ œœ b œ n œ œ # œ n œ #œ Œ Ó
œ 7
o# f
œ Bb7
to
the
ma2
œ m
10
j ‰ Œ
C7 F ma7
b
Solar: Bar 4
&bb Ó œ bœ œ bœ n œ Ó
Species F
œ
of
Ebma7
(fig.
7),
to
an
enclosure
from
the
ma2
of
Ebma7
F m7to
ascending
scale
œ bœ œ œ nœ bœ bœ
F ma7
bb b Ó œ
3
œ dœiatonic
n œ b œ pnhrase
œ ‰ bœ bœ
Solar: Bar 53
œ œ n œ œ œ b œ œ
D
œ bmœ a3
Solar: Bar 106 E m7 A 7 D ma7
E bma7 E b m7 A b7 D bma7
œœ œ
Species B, A, G & C
B b 7(fig.
8),
to
a
descending
root
position
Ab
major
triad
to
chromatic
bb Ó œ œ b œ œ œ œ œ œ œ œ bœ œ œ bœ
suspended
Solar: Bar 200 Ab7
œ nœ bœ bœ œ j
nœ œ œ œ bœ ‰
Fig. 25
b
Fig. 24
&
Fig. 16 Fig. 2 Fig. 30 Fig. 5
6
passing
tone
fragment
from
the
root
to
m7
of
the
suspended
Ab7
(fig.
19).
Fig. 7 Fig. 16 Fig. 10
Fig. 8 Fig. 19
Species E & D.1
C m7 G m7 C7
b
Solar: Bar 62
bœ
& b b œ œ œ œ nœ œ œ œ bœ nœ œ #œ nœ #œ #œ Œ Ó
œ œ
10
Fig. 5
Fig. 25 Fig. 27
Species F
b œ nœ bœ bœ
œ œ œ nœ bœ nœ ‰ bœ
Solar: Bar 53
&bb Ó Œ
J bœ
13
the
P4
of
Cm7,
to
an
enclosure
to
descending
chromatic
passing
tone
fragment
Fig. 26 Fig. 1
Fig. 30 Fig. 31 Fig. 28
Fig. 25 Fig. 24
Fig. 16 Fig. 2 Fig. 30 Fig. 5
the
form
of
two
adjacent
descending/ascending
augmented
triads
(aug5,
ma3,
b œ bœ œ bœ j
& b b Ó Fig. 7 Fig. 16 œ 10 ‰Fig. 8 Œ
nFig. Ó
Fig. 19
Species F
œ bœ œ œ nœ bœ bœ œ œ
F ma7 Fig. 7 F m7
b œ œ nœ bœ nœ ‰ bœ bœ
Solar: Bar 53 10
& bb b Ó Œ
Species C F ma7
œ bœ œ J
& b b nœ œ œ
Solar: Bar 5 5
b b b b b D bma7
& bb b œ œ œœ œ œb œb œœ n œœ œ œ œœ œ œœ bœœ œn œ œ œb œ# œœ œn œ
Species A,Ex.
B& 13 C
6
–
Species
F
–
S olar:
B ar
53:
A
descending
chromatic
passing
tone
œ # œ #œ Œ Ó
B 7 E ma7 E m7 A 7
œ
Solar: Bar 200
o
dbescending
œ chain
œ
m27a2
b œonf
œFma7
n œ b œ mœ 7
of
fm7
œ to
btœhe
j‰
b Ó œ
6
E b m7motivic
A b7 bma7
Species E + A & D Fig. 7 Fig. 16 Fig. 10
œ bœ œ
Fig. 8 Fig. 19
œ
(fig.
Solar:2Bar
7),
to
a
Cm7
Dinterval
structure
D m7b5 (m3,
m7,
mC3,
m7root)
giving
m7,
P4,
œ n œ b œ œ œG m7 n œ œ b œ n œ b œ œ b œ œ œ Cœ 7œ n œ b œ œ
G 7b9
Species E 106
bb C m7 œ œ œ b œ œ nb
b b sÓcale
‰ tones
b œanticipating
the
Fm7
(fig.
30),
within
which
JŒ‰ aŒ n
ÓÓ n
Solar: Bar 6216
m7,
P5
F
m&
& b b œ œ œ œ n œ œ œ œFig.b œ25 n œ Fig.œ 24# œ n œ # œ
10
inor
Fig. 16 œ #œ
Fig. 2 œFig. 30 Fig. 5
enclosure
from
m7
to
ma6
Fig.o25
ccurs
(fig.
Fig.
1)
5 to
a
chromatic
Fig. 27 approach
tone
from
m6
Species F
œ bœ œ through
a
descending
œ œ nœ bœ bœ
Solar: Bar 53 F ma7 F m7
b œ œ œ nœ bœ nœ ‰ bœ
to
ma6
(fig.
13 31),
to
a
whole
tone
scale
application
&bb Ó Œ
J bœ
augmented
triad
(ma6,
P4,
dim2)
(fig.
28).
Fig. 26 Fig. 30 Fig. 1 Fig. 31 Fig. 28
E b m7 A b7 D bma7
Species A, E & D
œ bœnœ œ œbœnœbœ œ bœ œ
bb Ó ‰ œ œ œ b œ œ œ n œ b œ œ œ
D m7b5 G 7b9 C m7
Solar: Bar 106
œœ œœnœbœ œ ‰ Œ Ó nb
& b n
16
J
Fig. 25 Fig. 24
Fig. 16 Fig. 2 Fig. 30 Fig. 5
Ex. 7 – Species A, E & D – Solar: Bar 106: An enclosure from the ma7 of
Dbma7 to ascending scale fragment (root, ma2, ma3, escape tone m3, P4, P4,
ma6, ma7) (fig. 16), to an enclosure to descending chromatic passing tone
fragment from the ma7 of Dm7b5 to the #9 of G7b9 (fig. 25), to a descending
passing tone sequence from the #9 of G7b9 to the dim5 of Cm7 (fig. 24), to a an
enclosure from the dim5 to P4 of Cm7 (fig. 2), to a Dm7 motivic interval
structure (m3, m7, m3, root) giving P4, root, P4, ma2 C minor scale tones (fig.
30),
to
a
descending
enclosure
chain
from
P4
to
m3
(fig.
5).
79
2
Enclosures - Species A, B, C, D & E
œ D b7
œ bœ
Species A & G
œ œ œ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ
Old Folks: Bar 51 D m7
œ
C m7 F7
&b ! ‰ n
21
‰ # œj # œ œ œ œ œ #œ nœ œ œ œ œ
Son of Thirteen: Bar 99 B m(ma7) B ma7(#11)
Ex.
23 8
–
Species
A
&
G
–
Old
Folks:
Bar
51:
An
enclosure
from
the
ma2
of
œ œœb œœ œ œ b œ b œ œ œ n œ n œ œ
Old Folks: Bar 36 F7
D b 7to
ascending
scale
œ œ œ bœ
Species A &26G
enclosure
& b œÓ œ œ Œœ œ œ œ nœ œ œ œ
Old Folks: Barfrom
51 D m7 the
P4
of
Cm7
fragment
(m3,
F 7 P4,
P5,
m7)
(fig.
œ œ œ
C m7
b ! Fig. 8 œ ‰ Fig. 1œ b œ n
21
# œ n œ b œ b œ bœ œ nœ œ nœ œ œ
& bŒ n œ ‰ j # œ œ œ b œ œ œ# œ œn œ œ œ œ œ n
28
Son of Thirteen: Bar 99 B m(ma7)
#œ œ œ œ œJ ‰ Œ Ó
b b
23
& Fig. 25
Fig. 8 Fig. 9
Fig. 11 Fig. 5 Fig. 27
Species F & D Fig. 8
Fig. 16 Fig. 11
C # 7alt
œ
Son of Thirteen:
B & C Bar 251
B bma7 œ the
œ
Species
9
–œ
Sbpecies
œ œ œA
&b œ
Cb
–œ
Son
œ of
Thirteen:
bœ œBar
99:
An
enclosure
from
œ b œ n œ b œ
B m(ma7)
œ b œ n œ
Old Folks: Bar 36
œ œ bœ œ œ œ œ
F7
b f
na16œn
anticipated
& oFig.
28
to
the
aug4
10
Species A & C
j œ #œ nœ œ œ œ œ
Son of Thirteen: Bar
Fig. 25 99 B m(ma7)
Fig. 5 Fig. 25 B ma7(#11)
pentatonic
23 fragment
Fig. 8 (ma3,
ma2,
5 root)
Fig.g27
iving
Fig. Bma7#11
2 Fig. 11 scale
tones
Fig. 9
aug4,
ma3,
& Œ ‰ #œ #œ œ œ œ œ b œJ ‰ Œ Ó b
Fig. 11 Fig.
Species
SpeciesA,
F&C& DD
. œ
ma2
to
enclosure
resolving
bœ Œb œ ‰œ œ b œ
œ œ n œ
37
30& œ bœ œ œ b œ b œ œ œ nœ œ bœ œ
B m(ma7)
œ ‰ Œ Ó
Fig. 16
œ b œ n œ
Old Folks: Bar
œ œ œ
FFig.
7 16 B Fig.
œ bœ nœ œ bœ œ nœ
Fig. 8 Fig. 1
&D b Ó Œ
26
Fig. 26 Fig. 5
Species E &
Son of Thirteen: Bar 153 #
œ œ # œ œ n œ œ Fig.# 7œ œ n œ Fig.
F 7alt
œ œ œœ œœ Œ Ó
G ma7 Fig. 1
# œ
8 Fig. 1 Fig. 1
œ œ œ #œ # b
33
Species C, D& &E
Old Folks: Bar 45 G 7( #11) œ œ œ œ œ
Fig. 25 œ # œ
0
–
Species
B
&
C
–
Old
Folks:
Bar
36:
A
bdœescending
chromatic
# œ n œ œ # œ œ n œ b œ œ Fig.œ b2œFig. b œ 11œ œ œ œ bœ bœ œ nœ œ nœ œ
Ex.
28 1
Species A, C&
b nœ œ n
Fig. 5
b
&D
passing
t one
f ragment
r œ11 Fig.œ5 œ œ # œ Fig. 27œ b œ b œ œ œ b œ n œ n œ b œ Fig.
t o
enclosure
from
t he
root
of
F7
t o
t he
m a3
of
B bma7
(fig.
œ œ9 n œ b œ
Old Folks: Bar 47 C 7 B 7 (Em9)
. #œ nœ n
Fig. 25
D b Œ ‰ œ œœ nœ œ
37 Fig. 8
Species F &&
Fig.
œ ‰ Œ
Fig. 1
Ó
30
& J
œ œ bœ
œ œ œ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ
Old Folks: Bar 51 D m7
œ
D 7 C m7 F7
&b ! ‰ n
21
‰ # œj # œ œ œ œ œ #œ nœ œ œ œ œ
Son of Thirteen: Bar 99 B m(ma7) B ma7(#11)
&Œ bœ ‰ Œ Ó b
23
œ J
Fig. 8
7),
to
an
expanded
ascending
Fig. 16 enclosure
from
mFig.
a3
11to
P5
(fig.
8),
to
an
enclosure
B bma7 œ œ œ
Species B & C
2
Enclosures - Species A, B, Fig.
C, D25& E
Fig. 8 Fig. 9
D b7 œ œ
Fig. 11 Fig. 5 Fig. 27
œ œ œ bœ
Species A & G
œ œ œ œ œ œ œ œ b œ Cœ#7altaœscending
Species
Old F&
Folks: BarD51 D m7
œ
Species
œ Cœ,
D
&
E
–
Old
Folks:
Bœar
œ45:
An
expanded
C m7 F7
& bœ b œ œ œ b œ b œ œ ! ‰ n
Son of Thirteen:
21 Bar 251
Ex.
B1m(ma7)
1
–
œ bœ bœ œ œ nœ œ bœ œ
œ A‰
mŒajor
Ó
30
ŒG ma7 ‰ # œj # œ œ œ œ œ # œ n œ œ œ œ œ œ b œ ‰ Œ Ó
Fig.Bar
Son of Thirteen: 26 99 B m(ma7)Fig. 5 B ma7(#11)
pentatonic-‐based
run
(m6,
P5,
ma3,
root)
giving
m7,
ma6,
aug11,
ma2
G7#11
b
23
Species E & D
&
Son of Thirteen: Bar 153 F # 7alt
J
œ
scale
tones
(fig.
œ11),
#œ w œ nithin
œ œ which
# œ œaFig. œ œ œenclosure
chain
n
œdescending
8œ # œ œ # œ œ œ œ # œœœ œœœ Œ Ó b
33
begins
from
& Fig. 16 Fig. 11
bma72 Fig. 11
œ œ œ
aug4
Speciesto
Bm
& a3
C (fig.
5),
to
an
ascending
whole
tone
scale
fragment
(ma3,
aug4,
Fig. 25 Fig. 5
œ bœ bœ œ œ nœ nœ œ
Old Folks: Bar 36 BFig.
œ œ b œto
descending
F7
b Œ ‰ . œ œ œ œ œ œ œ # œ n œ Fig. # œ1 n œ n
37
fragment
&
Fig.
to
enclosure
chain
Fig. from
7 ma7
to
P5
(fig.
25),
to
a
G
major
root
position
Species C, D & E
Old Folks: Bar 45 G 7( #11) Fig. 16
Fig. 14
#œ #œ nœ œ #œ nœ œ œ œ œ bœ bœ œ nœ œ nœ œ
Fig. 1
œ bœ œ œ bœ bœ
triad
arpeggio
with
& b nœ n
28
œ
the
root.
Fig. 8 Fig. 25 Fig. 9
Fig. 11 Fig. 5 Fig. 27
Species F & D
C # 7alt
Son of Thirteen: Bar 251
œ bœ œ œ bœ bœ œ bœ bœ œ œ nœ œ bœ œ
œ
B m(ma7)
œ ‰ Œ Ó
30
& J
Fig. 26 Fig. 5
Species E & D
Son of Thirteen: Bar 153 #
œ œ #œ œ nœ œ
F 7alt
Ex.
33 12
–
Species
F
&
D
–
Son
of
Thirteen:
Bar
251:
A
descending
passing
#œ œ nœ œ #œ œ œ œ œ # œœœ œœœ Œ Ó
G ma7
& # œ b
œ œ œ
tone
fragment
from
the
P4
to
m3
to
a
lengthy
descending
enclosure
chain
from
Fig. 25 Fig. 5 Fig. 2 Fig. 11
the
Speciesma2
A, Co& f
BDm(ma7)
resolving
to
the
#9
of
the
C#7alt
chord
(fig,
26),
(fig.
5).
r œ œ bœ nœ nœ bœ œ œ nœ #œ bœ nœ
Old Folks: Bar 47 C 7
&b Œ ‰. œ œ œ œ œ œ œ #œ nœ œ œ bœ bœ n
37
œ œ œ
Son 81
B bma7 C # 7alt
Species B & C Bar 251
of Thirteen:
œ b œ œ œ b œ b œ œœ œ b œ b œ œ bœ nœ œ
Old Folks: Bar 36
œ
F7
n œ b œœ œ œ bn œ œ bœ n œœ œ ‰ Œ
B m(ma7)
b Ó Œ
26
& Ó
30
& J
Fig. 8 Fig. 1 Fig. 1 Fig. 1
Fig. 26 Fig. 5 Fig. 7
Species
SpeciesEC,&DD.2
F # 7alt
&E
7( #11)
Son
Old of Thirteen: Bar G153
œ œ #œ # œ #nœœ n œ œ # œ œ n œ # œ œ bœœ b œ œ b œ œ œ œ bœ œ
Folks: Bar 45
b œ n œŒ Ó œ b
G ma7
&& b n œ # œ œ n œ b œœ œ œ œ œ # œ
œ œ œ # œœ œœ œ n œ œ n
3328
r œ b œAn œn
neœnclosure
b œ œ C #7altto
descending
. œ œ œ œb œœ œ œ œœ# œ n œ œ b œœ b œ b œ œ œ nœ #œ bœ nœ
Old
SonFolks: Bar 47 CBar (Em9)
Ex.
37 13
–
Species
D
–
Son
of
Thirteen:
Bar
153:
of Thirteen: 7 251
& b œŒ b œ ‰ œ bœ œ œ nœ œ bœ œ n
œ b œ
B m(ma7)
chromatic
passing
tone
fragment
from
the
root
to
ma6
of
Gma7
(œfig.
‰ 25),
JFig. 5 Œ Ó
30
&
to
Fig. 16 Fig. 14
Fig. 8 Fig. 1
descending
Fig. 26
enclosure
cFig.
hain
5 from
aug5
to
aug4
(fig.
5),
to
a
non-‐diatonic
Species E & D
Son of Thirteen: Bar 153 F # 7alt
enclosure
œ œ #œ œ nœ œ
#œ œ nœ œ #œ œ œ œ œ
33 from
aug4
to
P5
(fig.
2),
to
a
descending
D
major
pentatonic
run
(fig.
# œœœ œœ Œ Ó
G ma7
& # œ b
11),
to
an
F#7alt
chord
structure.
œ œ œ œ
Fig. 25 Fig. 5 Fig. 2 Fig. 11
B b7
Species A, C & D
r œ œ bœ nœ nœ bœ œ œ nœ #œ bœ nœ
Old Folks: Bar 47 C 7 (Em9)
&b Œ ‰. œ œ œ œ œ œ œ #œ nœ œ œ bœ bœ n
37
Fig. 16 Fig. 14
Fig. 8 Fig. 1 Fig. 5
Ex.
14
–
Species
A,
C
&
D
–
Old
Folks:
Bar
12:
An
enclosure
to
ascending
scale fragment from the ma6 of C7 (fig. 16), to an expanded ascending enclosure
from root to ma2 (fig. 8), to an enclosure from the ma2 of C7 to the non-‐diatonic
m3 of Bb7 (fig. 1), to an ascending Bb Dorian scale fragment (m3, P4, P5, ma6,
m7), to the P4 of an anticipated Em9, to a descending chromatic passing tone
fragment from the P5 to P4 of Em9 to a dim2 to ma2 (fig. 14), to a descending
82
B b maj7( # 11)
Species G.1
œ œ œ
Son of Thirteen: F ma7(#11)
œ œ œ
& b œJ J nœ œ Œ
Bar 101 39
œ œ
Fig. 10
#œ
Species G & D
œ œ #œ
A ma7(#11)
œ nœ œ #œ.
Son of Thirteen:
Ex.
15
–
Species
G.1
–
Son
of
Thirteen:
Bar
101:
A
ma7
interval
from
the
C ma7(#11)
‰ J ‰ Ó
&
Bar 120
41
root
to
ma7
of
Bbma7#11
falls
to
the
ma6,
Enclosures before
- Species A, B,aC,
mDa2
& iEnterval
from
aug4
to
3
b
Species G.1
Son of Thirteen: B maj7( # 11)
Fig. 10 Fig. 5
œ œ œ œ œ
F ma7(#11)
ma3
to
enclosure
#
C 7sus from
ma3
to
the
P5
of
Fma7#11
(fig.
10),
before
a
tertial
˙
b œ œ J bœ œ nœ œ œ Œ
Species
Bar 101 G.2 39
& J œ #œ œ œ
C 7sus
œ
Son of Thirteen:
& #œ œ ‰ Œ
Bar 147
descent
43 down
a
F
major
root
position
triad.
Fig. 10 J
#œ
Species G & D Fig. 10
œ
A ma7(#11)
œ #œ nœ #œ.
C ma7(#11)
œ œ
Son of Thirteen:
J
&‰ ‰ Ó
Bar 120
41
Enclosures - Species A, B, C, D & E 3
b
Species G.1
Son of Thirteen: B maj7( # 11)
Fig. 10 Fig. 5
œ œ œ œ œ
F ma7(#11)
C # 7sus Bar
120:
A
descending
phrase
œ œ
& ˙b œJ œ J bœ œ nœ Œ
Bar 101 39
Species G.2
œ
C 7sus
œ
Son of Thirteen:
Ex.
16
–
Species
G
&
D
–
Son
of
Thirteen:
œ #œ œ
&a3
of
Ama7#11
leads
to
Fig. #œ œ ‰ Œ
Bar 147
a
d10iatonic
m2
interval
from
Jroot
to
ma7
to
43
from
the
m
#œ
Species G & D
œ
A ma7(#11) Fig. 10
œ #œ nœ #œ.
C ma7(#11)
œ œ
Son of Thirteen:
J
enclosure
from
m a7
(fig.
10),
beginning
a
descending
enclosure
chain
from
ma7
&‰ ‰ Ó
Bar 120
41
˙ C # 7sus
œ bœ
Species G.2 C 7sus
œ œ #œ œ
Son of Thirteen:
& #œ œ ‰ Œ
Bar 147
J
43
Fig. 10
Ex.
17
–
Species
G.2
–
Son
of
Thirteen:
Bar
147:
A
descending
phrase
from
the P4 of C7sus leads to a m2 interval from m7 to ma6 to enclosure from ma6 to
the P5 of C#7sus (fig. 10), to a tertial descent down a C# major root position
triad.
83
œ œ œ œ bœ œ j ‰ the
in
order
to
begin
to
use
them
effectively.
I
will
analyze
&œ Œ Formulaic
Ó
œ œ
23 1
Component
associated
with
each
Formulaic
2 Species,
1 and
describe
their
related
Figure 13 C
scale
tones
œand
œmelodic
tonalities,
&
œ j ‰ Œbeginning
œ functions
accordingly,
œ
Ó with
the
œ œ œ œ
25
1 1
simplest
Figure 14
or
mC ost
frequent
application
and
2 working
towards
the
most
complex
or
# œ œ œ
n œ
& œ application.
œ j ‰ Œ Ó
least
frequent
œ œ œ
27 1
2 1
Figure 15 C
&œ œ Œ
œ œ œ œ
32
1 2
Figure 16: Enclosure to ascending scale fragment. We will observe this
phrase in the jazz vernacular and not particularly exclusive to Metheny, being
that
it
consists
of
an
enclosure
followed
by
an
ascending
scale
fragment.
It
is
84
also the only component featured in this chapter that is purely diatonic. It is in
Metheny’s varied application of the component where we may find complexity
and insight:
Firstly,
the
most
simple
and
relatable
application
of
Species
A
begins
with
Enclosure Chromaticism
an
enclosure
of
the
root
of
a
ma7
Specieschord,
A,and
B, iC,
s
found
D, E,in
F t&
hree
G excerpts
of
the
Enclosure
EnclosureChromaticism
Chromaticism
Enclosure
Species A Chromaticism
F ma7
formulaic
Species
Species category:
A, A,
B, B,
C, C, D,D,
E, EF &
&FG
b 4 j
& b b F4ma7FŒma7 ‰ œ œ Œ Ó
Solar: Bar 29
nœ œ œ œ œ
Species A
Species A
b 4b 4
Solar: Bar 29
Species B nœ œ
j
C7 F ma7
b œ16 b œ œ b œ
Solar: Bar 4 3
Species B & b b CÓ 7 œ ‰ Œ
Fnma7 Ó
Fig.Fig. 16
Species
F ma7
enclosure
b
Solar: Bar 5 5of
the
root
of
an
Fig.
œ 7 bœ
F ma7
œ
Fig. 7 chord.
This
is
a
unique
example,
in
that
the
œ œ
5
b œ
Solar: Bar 5
melody
Solar: Bari5ncludes
a
m3
over
t he
m a7
c hord,
i n
a
b rief
r eharmonization.
In
this
& b nœ œ œ œ œ
Species A, & œ
5
b b b b D bma7
œ œ bœ œ œ œ œ œ œ œ œ œ bœ œ œ
B&C
example
t he
component
e xists
independently
a s
its
o wn
p hrase.
œ nœ bœ bœ œ
Solar: Bar 200 B 7 E ma7 E m7 A 7
Species A + B & C b j
Fig. 8
G &b Cb BÓb 7
œ bœ
A b 7n œ œ D bma7 œ œ bœ ‰
6 Fig. 8
A, & E bma7
œ E b m7
œ
b b7 Ó œFig.œœb7œœ b œ œ Fig.œ 16œ œ œœ œœ œœ œ œ œb œb œ œFig.œ b10œ Fig.œ 8œ n œ b œ Fig.
Species
Solar: BarB, 200
b b b b
b b œ 19œ j‰
œ œ œ œ
E ma7 E m7 A 7 D ma7
b n œ œ
6
Solar: Bar 200
& b œ œ œ œ b œ n œ b œ b œ œ œ œ b œj ‰œ b œ
B
Species E & b b Ó
6
C m7 Fig. 7 G m7 Fig. 10
nœ œ C7
Solar: Bar 62 Fig. 16
b bœ
Fig. 8 Fig. 19
& b b Fœma7 œ œ œ n œ œ œ œ b œ n œ œœ # œ n œ F m7 œ # œ # œ Œ Ó
10
Fig. 7 Fig. 16 Fig. 10
Species F Fig. 8 Fig. 19
œ b œ œG m7œ n œ b œ b œ œ C 7b œ n œ
b b b BÓ,
A,
G
&Œ
Fig. œ27xample,
œ œ n œthe
Solar: Bar
Species E& 53D10
& ‰ bœ bœ
C m7
b
Solar: Bar 62
b œ JÓ
Ex.
19
–
Species
G
(25
Solar:
Bar
200):
in
this
Fig. e component
Species F& b b œ œ n œ œ œ œ Œ
Fig. 5
œ
œ F ma7 n œ
b œ Fig.œ30# œFig.n œ1 F m7œ # œ # œ
œ chord,
œ and
iFig.
10
Fig. 25 œ b œ
Fig. 26
œ
Solar: Bar 53
b Fig. 5n œ b œ œ
begins
with
13 an
enclosure
of
the
root
of
an
Ebma7
s
p31receded
by
a
œ b œ œ b œ n œ
Fig. 28
œ b
Solar: Bar 53 26
E &b Db Ó Œ b nœ ‰ bœ bœ
1
Species A,&
J
13
E b m7 A b 7
b œ Fig.
Fig. D5 m7b5
n œ n œ b œ
Fig. 25 G 7b9 C m7
œ Cb œm7œ œ Fig.
Solar: Bar 106 D ma7
bbm7 A b7 œ œDœbma7 œ œ n œ
& b b Ó Fig. ‰ 16 b œ b œ ‰ Œ Ó nnb
Species A, E & D 16
n b
Fig. 25
16
& b b Fig. 16 Fig. 25 Fig. 24 Fig. 2 Fig. 30 Fig. 5 J ‰ Œ Ó n
Fig. 25 Fig. 24
Fig. 16 Fig. 2 Fig. 30 Fig. 5
85
Ex. 20 – Species A, E & D (Solar: Bar 106): in this example, the component begins
with
an
enclosure
of
the
root
of
a
Dbma7
chord,
and
begins
a
period
of
extended
2
phrasing.
Enclosures - Species A, B, C, D & E
œ
51 D m7related
and
Drbelatively
œ bœ
Species A & G
œ œ œ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ
Old Folks:A
Bar
second
simple
aCpplication
of
SFpecies
A
begins
œ
7 m7 7
b ! ‰ n
21
‰ # œj # œ œ œ œ œ #œ nœ œ œ œ œ
Son of Thirteen: Bar 99 B m(ma7) B ma7(#11)
&Œ bœ ‰ Œ Ó b
23
œ J
Fig. 8
Fig. 16 Fig. 11
Ex.
21
–
S26pecies
A
&
C
(Son
of
Thirteen:
Bar
99):
Here
the
component
bœegins
œwith
B bma7 œ
Species B & C
œ bœ bœ œ œ nœ nœ œ
Old Folks: Bar 36
œ œ bœ
F7
&b Ó Œ nœ œ
an
enclosure
of
the
root
of
Bm(ma7).
Only
the
m3
is
adapted
to
suit
the
Fig. 8 Fig. 1 Fig. 1 Fig. 1
Fig. 7
harmony,
Species C, D o
&therwise
E
#
the
essential
structure
is
identical.
The
component
acts
to
œ #œ nœ œ bœ œ œ œ bœ œ
Old Folks: Bar 45 G 7( 11)
#œ
& b npœhrase.
#œ œ nœ bœ œ œ bœ bœ œ bœ nœ œ nœ œ œ n
28
begin
a
larger
Fig. 8 Fig. 25 Fig. 9
A
third
application
Fig. 11 o f
S5pecies
Fig.
Fig. A
27
is
to
begin
with
an
enclosure
of
the
m3
of
Species F & D
C # 7alt
Son of Thirteen: Bar 251
‰ Œ Ó
30
& 51 D m7 D b7 œ F7 J
œ bœ
Species A & G
œ œ
œ œFig.œ 5œ œ œ œ œ œ œ œ bœ œ œ œ œ
Old Folks: Bar
œ
C m7
Db ! ‰ n
21
Species E &&
Fig. 26
.
Fig. 8
&C b
The
Œ essential
‰ œ œsœtructure
niœs
identical,
œ and
only
the
target
note
of
the
n
37 Fig.
œ œ œ
Cm7
chord.
B bma7
Species B&
œ b œ n œ
Old Folks: Bar 36
œ 8œ b œ Fig.œ1 bœ œ œ nœ œ Fig. 5
F7
& b Óchanged,
bŒeing
the
m3.
n œ
In
each
case,
the
component
begins
its
26
Fig. 16 Fig. 14
enclosure
has
Fig.
Fig. 1
phrase.
Fig. 7 Fig. 8 Fig. 1 Fig. 1
Species C, D & E
Old Folks: Bar 45 G 7( #11)
œ #œ #œ nœ œ bœ œ œ œ bœ œ
& b nœ #œ œ nœ bœ œ œ bœ bœ œ bœ nœ œ nœ œ œ n
28
C # 7alt
Son of Thirteen: Bar 251
œ bœ œ œ bœ bœ œ bœ bœ œ œ nœ œ bœ œ
œ
B m(ma7)
86
œ ‰ Œ Ó
30
& J
Fig. 26 Fig. 5
Species E & D
Son of Thirteen: Bar 153 F # 7alt
œ application
of
Species
A
is
to
begin
with
an
enclosure
of
the
m7
A
33fourth
œ #œ œ nœ œ #œ œ nœ œ #œ œ œ œ œ # œœœ œœ Œ Ó
G ma7
& # œ b
of
a
dom7
chord,
found
in
one
excerpt:
œ œ œ œ
Fig. 25 Fig. 5 Fig. 2 Fig. 11
B b7
Species A, C & D
r œ œ bœ nœ nœ bœ œ œ nœ #œ bœ nœ
Old Folks: Bar 47 C 7 (Em9)
&b Œ ‰. œ œ œ œ œ œ œ #œ nœ œ œ bœ bœ n
37
Fig. 16 Fig. 14
Fig. 8 Fig. 1 Fig. 5
Ex. 23 – Species A, C & D (Old Folks: Bar 47): Here the component begins with an
enclosure of the m7 of C7. In this particular example, an ascending pair of ma3
intervals interrupts the essential structure. However like many other examples
of Species A, the component marks the beginning of a larger phrase.
component Species A (Fig. 16) is the fact that the component is consistently used
as a starting point in a melodic phrase. In some cases the component stands on
its own as an independent phrase. Additionally, the component is applied in a
variety of contexts (ma7, m7, m(ma7) and dom7 chords), and the target note of
the initial enclosure is applied to a variety of chord tones (including the root, m3,
and m7). There is clear evidence that Metheny is adept in his use of Enclosure
Chromaticism’s Species A component, and favours its use as an initial phrase or
& œ #œ j ‰ Œ j ‰ Œ
œ #œ œ œ bœ œ bœ œ
9 3
1 1 4
Figure 5 C
87
&œ j ‰ Œ
œ bœ bœ œ
11 1
1 2 1 2
Figure 6 C
j
Species
B:
& Ó œ œ œ bœ œ
‰ Œ Ó
12 1 4
Figure 7 C
&Ó œ bœ j ‰ Œ Ó
œ œ œ
14 3 2
Figure 8 C
Figure
7:
Descending
chromatic
passing
jtone
fragment
to
enclosure.
We
&œ œ bœ œ œ ‰ Œ
16 1
will
observe
t2his
intervallic
1 arrangement
2 1 to
be
the
component’s
essential
structure.
Where Species A is a phrase common within the general jazz vernacular,
Enclosure Chromaticism component Species B (Fig. 7) is more idiosyncratic in its
essential form. Where many jazz improvisers may use simply a chromatic
interval below the target note to complete this component’s enclosure, Metheny
uses either a ma2 or m3 interval below the target note to add an idiosyncratic
sophistication to the component. An added bonus is the fact that the m3 interval
falls more readily under the hand on the guitar than its chromatic alternative,
Enclosure
which
involves
a
larger
four
Chromaticism
or
five-‐fret
stretch.
Species A, B, C, D, E, F & G
Firstly,
a
relatively
simple
use
of
the
Species
B
component
targets
an
Species A
enclosure
Solar: Bar 29 of
the
ma3
of
a
ma7
chord,
approached
from
the
root
of
a
dom7
chord,
F ma7
& b b b 44 Œ ‰ j œ œ Œ Ó
found
in
two
excerpts:
nœ œ œ œ œ
Fig. 16
Species B C7 F ma7
b œ bœ
Solar: Bar 4
&bb Ó œ bœ œ bœ nœ œ œ œ œ
3
Fig. 7
Fig. 8
Species C F ma7
b b B
(Solar:
& b nœ
œ Bar
4):
b œHere
the
œ Species
œB’s
enclosure
targets
the
ma3
œ
Solar: Bar 5
œ
Ex.
24
5 –
Species
E bma7 b b b
œ œ bœ œ œ œ œ œ œ œ œ œ bœ œ œ
Species B, A, G & C
B b7
b œ n œ œ œ n œ b œ b œ œ œ œ b œj ‰
Solar: Bar 200 E m7 A 7 D ma7
b œ
&bb Ó
6
&b ! ‰ n
21
Additionally,
Fig. the
16 component
is
followed
Fig.b 10y
component
Fig.
Species
16 C
(Fig.
8).
Note:
Species A & C
‰ # œj # œ œ œ œ œ #œ nœ œ œ œ œ
Son of Thirteen: Bar 99 B m(ma7) B ma7(#11)
the
root
23of
C7
can
conversely
be
observed
as
the
P5
of
Fma7,
as
the
use
of
this
&Œ œ bœ ‰ Œ Ó b
component
may
not
necessarily
warrant
the
presence
of
a
V7
Jchord.
Fig. 16
Enclosure
Fig. 8
Chromaticism
Fig. 11
& b Ó F ma7 Œ nœ œ
26
Species A
bbb 4 Œ
Solar: Bar 29
‰ j œ œ Œ Ó
Species C,&
D&E 4 nœ œ œ
Fig. 1
œ
Fig. 8 Fig. 1
œ
Fig. 1
Fig. 7
Old Folks: Bar 45 G 7( #11)
Ex.
25
–
28Species
Bœ
&
C
(Old
Fig. b œ B’s
enclosure
targets
the
#œ #œ nœ œ #œ nœ œ œ
œ b œ œ œ b œ b œ F ma7 œ œ b œ b œ œ n œ œ n œ œ œ
Folks:
Bar
36):
Here
Species
& b nCœ7 n
16
Species B
œ bœ œ œ bœ bœ œ bœ bœ œ œ nœ œ bœ œ
Species C B m(ma7)
bœ œ
F ma7
bb œ œ ‰ Œ
Solar: BarA
305second
application
of
Species
B
targets
an
enclosure
of
the
ma2
of
a
5
&& b n œ œ œ œ J œ Ó
ma7
chord,
Fig.
approached
26
from
the
m7
of
a
dom7
chord,
found
in
one
excerpt:
Fig. 8 Fig. 5
Species E & D
E bma7 b b b F # 7alt
œb œ # œ œ œœnbœœ œœ œ # œ œ œœn œœ œ #œœ œœ œœ b œ œ œ
Species B, A, G & C 153
B b7
Son of Thirteen: Bar
œ œ # œb œ n œ œ œ # œœn œ b œœœb œ Œœ œÓ œ b œj ‰b
Solar: Bar 200 G ma7 E m7 A 7 D ma7
œ œ
33
&&b b Ó œœ œ œ œ
6
ma2
of
Ebma7
from
the
m7
of
Bb7
(or
the
P4
of
Ebma7),
Fig. 16Fig. 25 Fig. 8 Fig. 5 Fig. 27 Fig. 14 Fig. 5
Fig. 1
Species F
œ bœ œ œ nœ bœ bœ œ œ
target
note
being
F ma7 a
ma2
below.
In
this
example,
the
component
F m7 precedes
Species
b œ œ nœ bœ nœ ‰ bœ bœ
Solar: Bar 53
6).
b b Ó
A
(Fig.
1& Œ
J
13
Species
B
(Fig.
7),
is
that
it
is
used
to
pFig.
recede
25
other
components,
namely
Fig. 16 Fig. 24 Fig. 2 Fig. 30 Fig. 5
Enclosure
Chromaticism
component
Species
C
(Fig.
8)
and
Species
A
(Fig.
16).
In
7 1 3
Figure 4 C C
& œ #œ j ‰ Œ j ‰ Œ
œ #œ œ œ bœ œ bœ œ 89
9
1 1 3 4
Figure 5 C
&œ j ‰ Œ
œ bœ bœ œ
11 1
1 2 1
that
sense,
wCe
could
label
Species
B
a2
‘prefix’
component,
rather
than
a
melodic
Figure 6
œ bœ j ‰ Œ
&œ œ œ
16 1
1 2 1 2
Figure 8: Expanded ascending enclosure. In this example the target note
and a ma2 below. We will observe this intervallic arrangement to be the
With Enclosure Chromaticism component Species C (Fig. 8), Metheny takes the
concept of a three-‐note enclosure and expands it to five notes. The concept of
expanding the number of notes in an enclosure is not unique to Metheny,
however the intervallic arrangement of the essential structure is. The interval of
a ma2 below preceding the target note avoids a typical chromatic arrangement
and adds idiosyncrasy. Species C’s intervallic structure also frees the hand to
descend positions linearly along the neck of the guitar, with the component
typically displacing the first finger from its preliminary note to the target note of
its enclosure.
Firstly, the most prominent application of Species C’s enclosure targets
the
P5
of
a
ma7
chord,
approached
from
the
ma3,
found
in
two
excerpts:
Solar: Bar 29 F ma7
b 4 j œ
&bb 4 Œ ‰
nœ œ œ œ œ œ Œ Ó
Fig. 16 90
Species B
j
Solar: Bar 4 C7 F ma7
b œ bœ
&bb Ó œ nœ ‰ Œ Ó
3
2
bœ
Fig. 7 Enclosures - Species A, B, C, D & E
SpeciesAC& G
D b7 œ œ
œ œ œ bœ
Species
œ
F ma7
œ œ
Solar: Bar Bar
5 51
bb œ œ œ œ b œ œ œ
Old Folks:
œ œ œ œ
C m7 F7
œ ! œ œ œ œœ b œ
D m7
& b b nœ
5
& ‰ œ n
21
Fig. Fig.
16 8 Fig. 10 Fig. 16
b7 B m(ma7) E bma7 E b m7 A b7 D bma7
Species A +
&BC& C
œ œ component’s
œ œ the
œ œ b œ Bar
5):
Here
œ bœ
Solar:
Son ofBar 200 BarB99
j œ œ œ œ # œ n œ œ œ œ œœ b œ œ œb œ n œ‰ b œŒb œ œÓ
Thirteen: B ma7(#11)
b j
Ex.
27
–
623Species
C
(Solar:
enclosure
targets
the
P5
& bŒ b Ó ‰ # œ # œ œ œ œ œ œ n œœ œ œ b œ ‰b
J major
triad.
of
Fma7,
approached
from
the
ma3,
followed
by
a
descending
Fig. 7 Fig. 16 Fig. 8 Fig. 8
Fig. 16 Fig. 11
Species D + B
Enclosureb Chromaticism
œ E, F & G œ œ œ
Species B 53
&C
œ bSpecies
œ œ œ A,
Solar: Bar F ma7 F m7
b n œ b œ œb œ
b œ œ œ œ n œ b œ n œ
& bb b Ó Ó Œ n œ ‰ bœ bœ
Old Folks:10Bar 36
œ œ bœ bœ œ œ nœ œ
F7 B ma7
B, C, D,
Œ nœ œ J
26
Species A
&
F ma7 Fig. 7 Fig. 5 Fig. 30 Fig. 5
b 4
Solar: Bar 29 Fig. 28Fig. 1
j œ G m7 œ C Œ7
Fig. 8 Fig. 1
&bb 4 Œ ‰ Ó
Fig. 1
œ
Species E Fig. 7
Solar: D & E C m7
BarC,62
nœ œ œ œ
b b b œ œBœ#
&
Species
Old Folks: Bar 45 G 7( #11)
œ b œ n œ Bœar
œ36):
C
(œSolar:
œ nœœb œthe
# œ Œ œ Ótargets
13
3 + A &b DFig. 8
the
P5
of
Bbma7,
approached
form
the
ma3.
It
is
Solar: Bar 4 Fig. 25 by
component
& b b Ó œ 5 b œ Fig.œ27
b œ n œ ‰ Œ Ó
Fig. 25 Fig. 9
b b b
Species E Fig. 11 Fig.
b œ
œ œ n(œFig.
œ œ b1œ)
n œobf
œtœhe
b œP5
fœrom
the
aug4.
D
œ œ œ œC #n7alt
Species &D
œbœ œ ‰ Œ Ó n b
Species
B
and
followed
by
an
enclosure
Species C & œ b Fbma7
b n
16
Son of Thirteen:
œ œ b œ J
b œ œ œ iFig.
œ application
bs
œan
œ œ n œ oœ f
btœhe
œP5
of
a
dom7
chord,
b25œenclosure
B m(ma7)
approached
Fig.f26
rom
the
m
Fig.a3,
5 found
in
one
excerpt:
Species E & D Fig. 8
Son of Thirteen: Bar 153 F # 7alt
œ œ # œ œ n œ œ # œ n œ œ œœ œ E bma7 E b m7 A b7 D bma7
Species B, A, G G&ma7
C
B b7
&b b Ó œ œ b œ œ œ œ œ œœ œ œœ # œ bœœ œœ œ# œb œœ œœ # œœœn œ b œœœœb œ Œ Ó j b
33
Solar: Bar 200
6
& Fig.b 25 n œœ œ œ œ œ bœ ‰
Fig. 5 Fig. 2 Fig. 11
Fig. 7 Fig. 16 Fig. 10
Species A, C & D Fig. 8 Fig. 19
r b œ n œ n œ bCœ7 œ
œ œthe
component’s
Species E& BarD47 C 7
œ n œ e# œnclosure
Old Folks:
œ œ # œ nBœ ar
œ 200):
b Œ B‰,
. A,
Gœ
&
Cœ
(œSolar:
œ b œ bH œ ere
bœ nœ n
C m7 G m7
&b œ bœœ
37
Solar: Bar 62
& b b œ œ œ œ nœ œ œ œ bœ nœ œ #œ nœ
Ex.
29
–
Species
œ œ #œ #œ Œ Ó
10
œ bœ œ œ nœ bœ bœ œ œ
identical
Solar: Bar 53and
only
the
chord
quality
is
altered;
in
this
context
the
component
acts
F ma7 F m7
b œ œ nœ bœ nœ ‰ bœ
&bb Ó Œ
to
outline
the
voice-‐leading
of
a
II-‐V-‐I
progression.
It
is
preceded
by
aJ
b œ
13
œ
G 7b9 C m7
œ b œ
Solar: Bar 106
b œ bœ œ n œ œ bœ ‰ Œ Ó nb
& b b Ó ‰œ œ J n
to
chromatic
16 p assing
t one
fragment
(Fig.
19).
Fig. 25 Fig. 24
Fig. 16 Fig. 2 Fig. 30 Fig. 5
&b ! ‰ œ n
Fig. 16 Fig. 10 Fig. 16
Species A & C
Son of Thirteen: Bar 99 B m(ma7) 91
‰ # œj # œ œ œ œ œ #œ nœ œ œ œ œ
B ma7(#11)
&Œ bœ ‰ Œ Ó b
23
œ
J
Fig. 8 Fig. 11
Fig. 16
b
œ œ œof
the
Species B & C
œ bœ bœ œ œ nœ nœ œ
Old Folks: Bar 36
œ œ bœ
B ma7
A
26third
and
Fm7 ore
complex
application
of
Species
C
is
an
enclosure
&b Ó Œ nœ œ
m7
of
a
dom7
chord,
approached
from
the
ma3,
found
in
one
excerpt:
Fig. 8 Fig. 1 Fig. 1 Fig. 1
Fig. 7
Species C, D & E
Old Folks: Bar 45 G 7( #11)
œ #œ #œ nœ œ bœ œ œ œ bœ œ
& b nœ #œ œ nœ bœ œ œ bœ bœ œ bœ nœ œ nœ œ œ n
28
C # 7altof
the
Son of Thirteen: Bar 251
œ bœ œ œ bœ bœ œ
Ex.
30
–
Species
B m(ma7) C,
D
&
E
(Old
Folks:
Bar
45):
In
this
application
œ bœ bœ œ œ nœ œ bœ œ
œ
J ‰ Œ the
Ó m7
30
& the
target
note
is
adjusted,
making
the
distance
between
component,
Fig. 26 Fig. 5
target
Species E n&
ote
D and
the
preliminary
ma3
a
larger
aug4
interval.
Other
than
this
Son of Thirteen: Bar 153 F # 7alt
œ œ # œ tœhe
n œ essential
œ # œ œsntructure
œ œ # œ œ iœs
iœdentical.
The
#cœœomponent
œœ Œ Óis
G ma7
œ b
33
& #œ œ œ œ œ
particular
interval,
œ
2
followed
bFig.
y
a25
descending
pentatonic
EnclosuresrFig.
Fig. 5 un
2 cFig.
omponent
- Species 11 (Fig.
A, B, C, D, E, F &1 G1).
Species
SpeciesA, C& GD
œ œ
D b7 bœ
A&
nœ bœ
r œ b œœ œ œ œ b œ n œ œ bœœ œœn œœ# œœ b œœ n œœ n
Old Folks: Bar 47 C 7
œ œ œ œ œ
A
37fourth
51 D m7complex
application
of
Species
CCm7
is
an
enclosure
F 7 of
an
aug4
that
œ # œ œ b œ
Old Folks: Bar
& b Œœ ‰ . œ œ œ œ œ œ n œ œ œ
& ab
ma7(#11)
chord,
approached
! ‰ n
21
B bma7(#11)
Species A & C
‰ # œj # œ œ œ œ œ #œ nœ œ œ œ œ
Son of Thirteen: Bar 99 B m(ma7)
&Œ bœ ‰ Œ Ó b
23
œ J
Fig. 8
Fig. 16 Fig. 11
B bma7 œ of
œ note
œ
Species B & C
œ bœ bœ œ œ nœ nœ œ
Old Folks: Bar 36
œ œ bœ
Ex.
31
–
S26pecies
A
&F
C7
(Son
of
Thirteen:
Bar
99):
The
first
note
and
target
&b Ó Œ nœ œ
the
phrase
are
adjusted,
making
the
distance
from
the
aug4
target
note
and
the
Fig. 8 Fig. 1 Fig. 1 Fig. 1
Fig. 7
preliminary
Species C, D & Em3
a
smaller
ma2
interval.
Otherwise,
the
essential
structure
is
#
œ #œ nœ œ bœ œ
Old Folks: Bar 45 G 7( 11)
# œ œis
# œpreceded
b ncœomponent
b œ A
cœomponent
œ n œ b œ œby
œa
bSœpecies
œ b œ b œ œ (n Fig.
œ aœnd
œ œ n 1œ 6)
n
28
identical.
&
The
Fig. 25
followed
by
aFig.
descending
8 Fig. 11pFig.
entatonic
5 Fig. run
27 component
(Fig.
11).
Fig. 9
Species F & D
complex
application
of
Species
C
is
an
enclosure
oCf
#t7alt
Son of Thirteen: Bar 251
A
fifth
he
ma2
of
a
œ bœ œ œ bœ bœ œ bœ bœ œ œ nœ œ bœ œ
œ
B m(ma7)
œ ‰ Œ Ó
30
# œ œ œ œ # œœ b
33
& œ
œ œ bœ bœ œ œ bœ bœ œ œ nœ œ bœ œ
œ ‰ Œ Ó
30
& J
Fig. 26 Fig. 5
Species E & D 92
Son of Thirteen: Bar 153 F # 7alt
œ œ #œ œ nœ œ
#œ œ nœ œ #œ œ œ œ œ œ œœ Œ Ó
G ma7
# œ œ œ œ # œœ b
33
& œ
Fig. 25 Fig. 5 Fig. 2 Fig. 11
B b7
Species A, C & D
r œ œ bœ nœ nœ bœ œ œ nœ #œ bœ nœ
Old Folks: Bar 47 C 7 (Em9)
&b Œ ‰. œ œ œ œ œ œ œ #œ nœ œ œ bœ bœ n
37
Fig. 16 Fig. 14
Fig. 8 Fig. 1 Fig. 5
Ex. 32 – Species A, C & D (Old Floks: Bar 47): The preliminary and target note of
the component are adjusted, making the interval between the ma2 target note
and the preliminary root note smaller. In addition to this, the note preceding the
target note is a semi-‐tone lower than the preliminary, unlike the essential
structure where this note is typically a semi-‐tone higher than the preliminary.
The component is preceded by Species A (Fig. 16), and followed by an enclosure
hands to descend positions along the neck of the guitar, and as such, each
example of the component is followed by a phrase at a lower pitch level, often a
descending component. In two instances, the Species C is followed by a
descending major triad (including Fig. 19), it is followed by a descending
pentatonic run (Fig. 11) twice, and followed by an enclosure (Fig. 1) that begins
at a lower pitch level twice. In addition, Species C is preceded by Species A (Fig.
16) twice, Species B (Fig. 7) twice, and Species G (Fig. 10) once. These excerpts
show definite patterns of use for Species C and other components that Metheny
has clearly practiced as preceding and following the phrase, allowing Metheny to
apply
them
to
the
varied
pitch
levels
and
harmonic
contexts
that
are
evident
in
Figure 2 C C C
bœ œ œ ‰ Ó
3
bœ œ œ ‰ Ó
1 2 1
œ b œ œJ ‰ Ó
& J
4
93
Figure 3 C C
&Œ j ‰ Œ Œ j ‰ ‰ ‰
œ #œ œ œ bœ œ
7 1 3
the
aFigure
bove
4 excerpts.
C C
j ‰ Œ j ‰ Œ
Species
D:
&
œ #œ œ #œ œ œ bœ œ bœ œ
9 3
1 1 4
Figure 5 C
&œ j ‰ Œ
œ bœ bœ œ
11
1 2 1 2 1
Figure 6 C
& j e‰xample,
Fig.
5:
ÓDescending
enclosure
chain.
In
this
Œ the
cÓhromatically
œ œ œ bœ œ
12
descending
target
notes
are
encircled
by
m3
intervals,
or
put
another
Figure 7
1 4
C
way,
œ baœ
ma2
below.
We
j will
&aÓpproached
from
‰ observe
œ Œ
œ
Ó to
be
the
this
œ
14 3 2
Species’
C
essential
structure.
Figure 8
œ ‰ takes
b œ Species
œD
(Fig.
5œ),
Metheny
Œ the
common
j
& œ Chromaticism
With
Enclosure
16 1 2 1 2 1
idea
of
a
descending
chromatic
enclosure
chain
and
once
again
personalizes
the
component by way of an idiosyncratic interval. In the jazz vernacular, a typical
each target note from a chromatic note below. In the case of Species D, the
enclosure chain generally features descending m3 intervals, with target notes
A preliminary and relatively simple application of Species D is from the
b bœ
& b b œ œ œ œ nœ œ œ œ bœ nœ œ #œ nœ #œ #œ Œ Ó
10
œ œ
Fig. 25 Fig. 5 Fig. 27
Species F 94
œ bœ œ œ nœ bœ bœ œ œ
Solar: Bar 5313 F ma7 F m7
b œ œ nœ bœ nœ ‰ bœ bœ
&bb Ó Œ
J
Fig. 26 Fig. 30 Fig. 1 Fig. 31 Fig. 28
E b m7 A b7 D bma7
2Species A, E & D
œ bœnœ œ œbœnœbœ œ bœ œ
bb Ó ‰ œ œ œ b œDœb7œ n œ bœœ œ œ
D m7b5
Solar: Bar 106 Enclosures - Species A,GB,
7b9
C, D &CEm7
œ œ Fœ7 œ n œ b œ œ ‰ Œ Ó n b
b œJœ œ b œ n
16
&
Species A & G
Old Folks: Bar 51 D m7
œ œ œ œ œ œ œ œ œ œ œ œ
œ œ œ
C m7
b œ
‰ 2 Fig.œ30 Fig. 5
&b ! Fig. 25 Fig. 24 Fig. n
21
Fig. 16
‰ #wœjith
œ œ # œaug4
n œ œon
œa
wœ eak
Son of Thirteen: Bar 99 B m(ma7) B ma7(#11)
& œ J
m3
on
beat
one.
Fig. 16
Fig. 8 Fig. 11
Enclosure Chromaticism
Bb œ œthe
œ aug4
Species B & C
œ bœ bœ œ œ nœ nœ œ
Old Folks: Bar 36
œ œ bœ
A
26second
and
F7
related
Species
application
A, B,of
C,
ma7
Species
D, E, FD
&
is
aG
descent
from
&b Ó Œ nœ œ
to
the
m
Species A a3
of
a
dom7(#11)
chord:
F ma7 Fig. 1
b 4
Solar: Bar 29 Fig. 8 Fig. 1 Fig. 1
j œ œ Œ
Fig. 7
&bb 4 Œ
Species C, D & E
Old Folks: Bar 45 G 7( #11)
‰
nœ œ œ œ œ
Ó
œ # œ # œ n œ œ Fig. 16 bœ œ œ œ bœ œ
b n œ #œ œ nœ bœ œ œ bœ bœ œ bœ nœ œ nœ œ œ n
28
Species B &
j ‰ Œ Fig. 9Ó
C7 F ma7
bb Ó
Solar: Bar 4
b œ b œ œ
Fig. 25
Species F & bœ nœ
Fig. 8
3 Fig. 11 Fig. 5 Fig. 27
&D
C #ug4
Son of Thirteen: Bar 251
œ Fbma7
œ œ œ bœ bœ œ
Ex.
34
–
Species
B m(ma7) C,
D
&
E
(Fig.
Old
7 Folks:
Bar
45):
In
this
case,
an
a 7alt scale
tone
Species C 30
œ bœ bœ œ œ nœ œ bœ œ œ
b upbeat
of
œ beat
two,
&tbhe
b œ the
non-‐diatonic
œ P4
occurs
oJn
‰beat
Œ three,
Ó
Solar: Bar 5
occurs
5 on
b 26n œ
& Fig. œ œ œ
Fig. 5
resolving
Species E & Dto
tFig.
he
8ma3
on
the
upbeat
of
beat
three,
and
prolongs
into
beat
four.
Son of Thirteen: Bar 153 F # 7alt
œ œ # œ œ n œ œ # œ œ n œ #œœ œ œ
E bma7 b A b7 b
œ œ b œ œ œ œ œ œ œ œ œ bœœ œœœ# œ œ œ œœ # œœœn œ œœœb œ Œ Ó j b
A, GG&ma7
Species B, 33 C
third
Bab7pplication
&b
Solar: BarA
200 of
Species
D
is
Etm7
o
be
preceded
bDy
ma7
Species
E
(Fig.
25),
6
& b b 25Ó œ bœ nœ œ bœ œ œ œ bœ ‰
continuing
the
descending
chromatic
Fig.
Fig. Fig. 5 movement.
2
Found
in
two
excerpts:
Fig. 11
Species A, C & D Fig. 7 Fig. 16 Fig. 10
Fig. 8 Fig. 19
r œ œ œ œ # œG m7 œ b œ b œ œ œ b œ n œ n œ bCœ7 œ œ n œ # œ b œ n œ
Old Folks:
Species E &Bar 47
D.1 C 7
b Œ ‰ . œ bœœ œ nœ œ n
37 C m7
&b
Solar: Bar 62
b
& œ b œ œ œ n œ œ œ œ bœ n œ œ # œ n œ œ Fig. # œ Œ Ó
œ 14# œ Fig. 5
10
b œ nœ bœ bœ
œ œ œ nœ bœ nœ ‰ bœ
Solar: Bar 53
Ex.
35
–
Species
E
&
D.1
(Solar:
&bb Ó Œ
J bœ
13
on
a
m3
chord
tone
over
a
Gm7
on
beat
one,
descending
chromatically
to
the
Fig. 26 Fig. 1
Fig. 30 Fig. 31 Fig. 28
b b C7
D bma7
œ bœnœ œ œbœnœbœ œ bœ œ
Species A, E & D
aug5
anticipating
the
chord
on
beat
three;
G a7b9ll
while
C m7continuing
the
chromatic
b Ó ‰ œ œ œ b œ œ œn œb œ œ œ
D m7b5
Solar: Bar 106 E m7 A 7
b œœ œœnœbœ œ ‰ Œ Ó nb
& b J n
16
Fig. 25 Fig. 24
Fig. 16 Fig. 2 Fig. 30 Fig. 5
Fig. 8 Fig. 1 Fig. 1 Fig. 1
Fig. 7
Species C, D & E
Old Folks: Bar 45 G 7( #11)
œ #œ #œ nœ œ b œ bœ œ bœ œ œ œ bœ bœ œ nœ œ nœ œ
95
b n œ # œ œ n œ b œ œ œ n
28
& œ
Fig. 8 Fig. 25 Fig. 9
Fig. 11 Fig. 5 Fig. 27
Species F & D
Son of Thirteen: Bar 251 #
Sœpecies
b œ E
(Fig.
25)
from
the
dim2
of
Cm7
begun
in
beat
three
of
bar
œ œ bœ bœ œ œ bœ bœ œ œ nœ œ bœ œ
C 7alt
descent
oBf
m(ma7)
œ ‰ Œ Ó
30
one. & J
Fig. 26 Fig. 5
Species E & D.2
F # 7alt
2Son of Thirteen: Bar 153
œ œ #œ œ nœ œ #œ œ nœ œ #œ œ œ œ œ
Enclosures - Species A, B, C, D, E, F & G
# œœœ F 7 œœ Œ Ó
G ma7
b
33
& œD b7 C m7# œ œ œ œ œ œ œ bœ
Species A & G
œ œ5
œ œ œ œ Fig. œ œ œ œ
œ œ
Old Folks: Bar 51 D m7
œ œ œ œ bœ
&b ! 2 Fig.œ11 ‰ n
21
Fig. 25 Fig.
B b7
Species A, C & D
E
&
Dr.2
(Son
of
Thirteen:
n œ bsœecond
œ bIœn
n œthis
œ excerpt
we
can
bœ œ œ nœ #œ bœ nœ
Old Folks: Bar 47Fig. 16 (Em9)
œ
C7 Fig. 10
Ex.
36
–
37Species
Bar
153):
œ œ œ œ œ œ #œ nœ œ œ bœ
Fig. 16
&
Species A & C
Œ 99‰ .B m(ma7)
b Bar B bma7(#11) n
j the
aug5
to
aug4
# œ on œver
œ a
m
Son of Thirteen:
œ œ œ
began
on
the
root
of
F 7Gma7
in
beat
on
of
Bbbma7
Species B & C
ar
one.
œ bœ nœ œ
Old Folks: Bar 36
œ
œ boœf
naœpplication
œ œ
biœs
a
lengthy
œ n œ descent
from
one
b Ó and
different
Œ
26
A
&
fourth
type
Fig. 8
Fig. 1 Fig. 1 Fig. 1
scale
tone
to
another,
and
like
Fig.the
7 previous
application,
it
continues
a
Species C, D & E
Old Folks: Bar 45 G 7( #11)
œ #œ #œ nœ œ #œ nœ œ bœ œ œ œ bœ bœ œ nœ œ nœ œ
œ bœ œ œ bœ bœ
descending
chromatic
movement;
this
time
of
a
descending
chromatic
passing
& b nœ n
28
œ
tone
fragment
to
enclosure,
or
Species
F
(Fig.
26).
Fig.
Found
25
in
one
excerpt:
Fig. 8 Fig. 9
Fig. 11 Fig. 5 Fig. 27
Species F & D
C # 7alt
Son of Thirteen: Bar 251
œ bœ œ œ bœ bœ œ bœ bœ œ œ nœ œ bœ œ
œ
B m(ma7)
œ ‰ Œ Ó
30
& J
Fig. 26 Fig. 5 Fig. 31
F # 7alt
Species E & D.2
œ œ #œ œ nœ œ
Son of Thirteen: Bar 153
#œ œ nœ œ #œ œ œ œ œ
Ex.
37
–
S33pecies
G ma7 F
&
D
(Son
of
Thirteen:
Bar
251):
Continuing
the
chromatic
# œœ œœ Œ Ó b
& # œ œ œ œ œ chain
œ enclosure
descent
of
Species
F
(Fig.26)
from
the
P4
of
Bm(ma7),
the
Fig. 25 Fig. 5 Fig. 2 Fig. 11
descends
from
b
Species A, C & D the
ma2
to
the
ma6,
to
eventually
resolve
not
by
enclosure
but
rcœhromatic
œ bœ nœ nœ bœ œ œ nœ #œ bœ nœ
œFig.
Old Folks: Bar 47 C 7 B 7 (Em9)
. œ œ œ # œ œ b œ b œ
&b Œ ‰ œ œœ nœ œ 31)
to
resolve
to
the
#9
n
37
C # 7alt
Son of Thirteen: Bar 251
œ bœ œ œ bœ bœ œ bœ bœ œ œ nœ œ bœ œ
96
œ
B m(ma7)
œ ‰ Œ Ó
30
& J
Fig. 26 Fig. 5
Species E & D
Son of Thirteen: Bar 153 F # 7alt
œ œ #œ œ nœ œ
A
33fifth
#œ œ nœ œ #œ œ œ œ œ
and
more
complex
application
of
Species
D
occurs
where
the
# œœœ œœœ Œ Ó
G ma7
& # œ b
œ œ œ
phrase
acts
to
anticipate
the
harmony
of
the
following
bar,
found
in
one
excerpt:
Fig. 25 Fig. 5 Fig. 2 Fig. 11
B b7
Species A, C & D
r œ œ bœ nœ nœ bœ œ œ nœ #œ bœ nœ
Old Folks: Bar 47 C 7 (Em9)
&b Œ ‰. œ œ œ œ œ œ œ #œ nœ œ œ bœ bœ n
37
Fig. 14
Fig. 16 Fig. 8 Fig. 1 Fig. 5
Ex. 38 – Species A, C & D (Old Folks: Bar 47): Anticipating an Em9 chord in the
following bar, the enclosure chain descends from the root of Em9, to resolve on
#œ
Species G & D
œ
A ma7(#11)
œ #œ nœ #œ.
C ma7(#11)
œ œ
Son of Thirteen:
J
&‰ ‰ Ó
Bar 120
41
Fig. 10 Fig. 5
˙ C # 7sus
œ bœ
Species G.2 C 7sus
œ œ #œ œ
Son of Thirteen:
Ex.
39
–
S pecies
G
&
D
(Son
of
Thirteen:
B ar
120):
In
this
excerpt,
Species
D
& #œ œ ‰ Œ
Bar 147
J
43
descends
from
the
ma7
chord
tone
of
Ama7(#11),
and
resolves
to
the
scale
tone
Fig. 10
It should be noted that in each excerpt, Species D is preceded by an
already descending phrase, therefore it can be said that Metheny prefers the use
of this component to extend an already descending improvisational line. There
are some patterns of use, where Species E precedes the component twice, and
Species F precedes the component once. In other cases, Species D is used to
connect
two
ideas
or
components.
Like
Species
B
and
C
before
it,
Species
D
is
97
melodically idiosyncratic through use of wider ma2 intervals preceding the
target note, and like Species B and C, allows the Enclosure formula to fall more
Figure 25 C
&Œ j
bœ bœ nœ bœ œ œ œ ‰ Œ Ó
47 3 1
2 1
Figure 26 C
œ œ œ bœ
Species A & G 2
œ œ œ œ œ œ œ œ œ œ# œ œ
fragment
to
enclosure,
with
2 the
target
nm7ote
approached
from
a
ma2
œ
Old Folks:
Figure 27Bar 51
œ œ œ
G 7#5(#11) D 7 C F7
œ b œ œ
œ essential
structure.
D m7
below.
51 Fig. 16
Fig. 10 Fig. 16
Species
E
Cof
C m(Ñ9)
FigureA28&
Species Enclosure
Chromaticism
is
an
expansion
of
Species
B,
being
œ bœ
‰ # œjb œ# œ œenclosure.
œœ œ œ
œ#Wœ e
n œwill
Son of Thirteen: Bar 99 B m(ma7) B ma7(#11)
& œ oœbserve
œ œ Species
œ
&by
Œbaœ
chromatic
œ b œ E‰ ’s
Œapplications
Ó b and
23
preceded
52 J
7
patterns
Figure 29 of
uGse:
Fig. 8
œ
Fig. 16 3 Fig. 11 2
Species B & C œ œ œ
& œ
1 2
œ B bma7 œ œ œwhere
œ œ b œ b œ œ œC n œ n4œ œ
Old Folks: Bar 36
œ œ bœ
A
26p53 reliminary
application
of
Species
E
occurs
over
a
dom7
chord,
F7
œ #œ #œ nœ œ bœ œ œ œ bœ œ
2 1 2
#œ œ nœ bœ œ œ bœ bœ œ
4
& b nœ bœ nœ œ nœ œ œ n
28
# œ œ œ œ œ œœ Œ Ó b
33
&
enclosure
reaches
the
essential
Fig. 25 structure.
Fig. 5 Fig. 2 Fig. 11
Species A, C & D
r œ œ bœ nœ nœ bœ œ œ nœ #œ bœ nœ
Old Folks: Bar 47 C 7
&b Œ ‰. œ œ œ œ œ œ œ #œ nœ œ œ bœ bœ n
37
! ‰ n
3 21
&
Fig. 7
Fig. 16
Species C F ma7
Fig. 10 Fig. 16 98
b Bar 99 B m(ma7) œ bœ B bma7(#11)
Species A &5 C
œ
Solar: Bar
23 b b n œ
# œ œn œ œ œ œ œ œ b œ ‰ œŒ
Son of Thirteen:
& j œ
5
Œ ‰
& Fig. 8 # œ # œ œ œ œ œ J Ó b
b b b b
œ œEœ
is
œone
that
is
followed
by
Species
D
(Fig.
Species B, A, G & C
B b 7 application
of
Species
Fig. 8 Fig. 11
b Ó Fœ7 œ b œ œ œ œ œ œ œ B bma7 b œ œ œ b œ œ œ n œ b œ b œ œœ œ œ j ‰
Fig. 16
Solar:
Species BA
&sCecond
Bar 200 E ma7 E m7 A 7 D ma7
b b
& œ b œ b œ œ œn œ n œ n œ œ œ œ bœ
Old Folks: Bar 36
5),
found
in
two
excerpts:
œ œ b œ
6
œ
& b Ó Fig. 7 Œ Fig. 16 nœ
26
Fig. 10
Fig. 8 Fig. 19
Species E & D.1 Fig. 1
C m7 Fig. 7 G m7 Fig. 8 Fig. 1 Fig. 1 C 7
bbb œ œ œ œ b œ n œ œ œ œ b œ n œ œ # œ n œ
Solar: Bar 62
& #œ Œ Ó
Species C, D & E
Old Folks: Bar 45 G 7( #11)
œ œ # œ
10
œ #œ #œ nœ œ œ bœ œ
& b nœ œ 5 œ b œ b œ Fig. 27 œ œ b œ b œ œ n œ œ n œ œ œ
Fig. 25# œ œ n œ b œFig. n
28
Species F
b œ nœ bœ bœ œ œ œ nœ bœ nœ ‰ bœ
Solar: Bar 53 Fig. 5 Fig. 27
Ex.
41
–
Species
E
&
DFig.
.1
11(Solar:
&bb Ó Œ bœ
Species F & D
J assing
13
C # 7alt
Son of Thirteen: Bar 251
a
chromatic
œ b œ œ œ bFig.
e nclosure
o
œ b26œ œ œ b œ bFig.
f
t he
root,
a nd
d escends
t hrough
a
chromatic
p
œ 30œ œFig.n œ1 œ b œ œFig. 31œ Fig. 28
B m(ma7)
J ‰ Œ Ó
30
Species A, E&& D
b to
the
b m3,
D bma7
œ bœnœ œ œbœnœbœ œ bœ œ
tone
fragment
before
continuing
wGith
7b9 Species
C m7 D.
bb Ó ‰ œ œ œFig.b œ5 œ œ n œ b œ œ œ
D m7b5
Solar: Bar 106 E m7 A 7
œœ œœnœbœ œ ‰ Œ Ó n b
Fig. 26
&
Species16E & D.2 b J n
Son of Thirteen: Bar 153 F # 7alt
œ œ #Fig. œ œ16n œ œ # œ œ n œ Fig. œ œFig.œ 24 Fig. 2 Fig. 30 Fig.
œ # œ œ œ œ # œœœ œœœ Œ Ó
G ma7
œ # œ b
33 25
&
5
b œ n œ tnhe
Ex.
42
–
37Species
E
&
Dr.2
(Solar:
Bar
153):
Over
a
Gœma7,
œ œ b œSpecies
œ œ nœ #œ bœ nœ
Old Folks: Bar 47 C 7 (Em9)
‰. œ œ œ œ œ œ œ #œ nœ œ œ bœ bœ
E
begins
with
&b Œ n
a
chromatic
enclosure
of
the
ma7,
and
descends
through
a
chromatic
passing
Fig. 16 Fig. 14 Fig. 5
Fig. 8 Fig. 1
tone fragment to the ma6. In a break from the essential structure, the rhythm
strays from straight eighth-‐notes, to a more syncopated one with rhythmic
A third application occurs over a m7b5 chord, where the target note of
b bœ
& b b œ œ œ œ nœ œ œ œ bœ nœ œ #œ nœ #œ #œ Œ Ó
10
œ œ
Fig. 25 Fig. 5 Fig. 27
Species F 99
œ bœ œ œ nœ bœ bœ œ œ
Solar: Bar 5313 F ma7 F m7
b œ œ nœ bœ nœ ‰ bœ bœ
&bb Ó Œ
J
Fig. 26 Fig. 30 Fig. 1 Fig. 31 Fig. 28
E b m7 A b7 D bma7
Species A, E & D
œ bœnœ œ œbœnœbœ œ bœ œ
bb Ó ‰ œ œ œ b œ œ œ n œ b œ œ œ
D m7b5 G 7b9 C m7
Solar: Bar 106
œœ œœnœbœ œ ‰ Œ Ó nb
& b n
16
J
Fig. 25 Fig. 24
Fig. 16 Fig. 2 Fig. 30 Fig. 5
Ex. 43 – Species A, E & D (Solar: Bar 106): Here Species E begins on the ma7 of
Dm7b5, and continues with a chromatic enclosure of the m7, followed by a
chromatic passing tone fragment to the m6. This is followed by an expanded
chromatic passing tone phrase that ends on the non-‐diatonic dim5 of Cm7 on
In each excerpt, Species E is preceded by an ascending phrase, providing
some evidence that Metheny favours the application of this component to change
directions
4 in
the
improvisational
line.
Formulaic
For
pComponents
atterns
of
use,
Species
D
follows
C two
excerpts.
Figure 25 E
in
Species
Œ j
&:
Species
F
bœ bœ nœ bœ œ œ œ ‰ Œ Ó
47 3 1 1
2
Figure 26 C
&Œ j ‰ Œ Ó
3
œ bœ œ œ œ bœ œ
49 1 2 1
2
Figure 27 G 7#5(#11)
Figure
26:
Chromatic
passing
t#one
œ œenclosure
# œ to
descending
œ fragment
&œ œ œ
chain.
51
C m(Ñ9)
Figure 28
bœ
Species
F
is
simply
a
combination
of
Species
B
and
Species
D,
combining
the
œ œ
& bœ bœ œ œ
chromatic
52 passing
tone
fragment
of
Species
B
as
a
prefix
to
the
enclosure
chain
Figure 29 G7
œ
3
of
Species
D1.
We
will
t2he
observe
the
component’s
2
applications
and
any
patterns
&œ œ œ œ œ
of
use:
53
œ
4
Figure 30 C C C
œ Ó œ Ó
1
œ œ 1 œ2 Ó
&œ œ œ œ œ œ
54
1 1 2 1 1 2
3 4
Figure 31 C
B bma7 œ œ œ
Species B & C
œ bœ bœ œ œ nœ nœ œ
Old Folks: Bar 36
œ œ bœ
F7
&b Ó Œ nœ œ
26
100
Fig. 7 Fig. 8 Fig. 1 Fig. 1 Fig. 1
Species C, D & E
Old Folks: Bar 45 G 7( #11)
œ # œ # œ n œ œ Enclosure bChromaticism bœ œ œ œ bœ œ
& b nœ #œ œ nœ bœ œ œ œ bœ œ bœ nœ œ nœ œ œ n
28
Species A, B, C, D, E & F
The
first
application
begins
on
the
P4
of
a
m(ma7)
chord:
Fig. 8 Fig. 25 Fig. 9
Fig. 11 Fig. 5 Fig. 27
Species
SpeciesAF & D F ma7
b 4
&œb bb œ 4 œŒ b œ ‰ n œj œ œ œ œ œ œ ŒC #7alt Ó
Solar:
Son ofBar 29
Thirteen: Bar 251
œ bœ œ œ bœ bœ œ œ nœ œ bœ œ
B m(ma7)
œ ‰ Œ Ó
30
Species B
& Fig. 16
J
j ‰ Œ
C7 F ma7
Species E & D b b Ó œ bœ œ bœ
Solar: Bar 4 3 Fig. 26
b n œ Ó
Fig. 5
&
Son of Thirteen: Bar 153 F # 7alt
œ œ #œ œ nœ œ #œ œ nœ #œ œ œ
Ex.
44
–
33Species
G ma7 F
&
D
(Son
of
Thirteen:
Bar
251):
Here
Species
F
begins
its
œ œ œ #œ # œœœ œœœ Œ Ó b
Fig. 7
b Œ ‰ . œ œœ n œ œœ n
37
œ bœ œ œ nœ bœ bœ œ œ
F ma7 F m7
b œ œ nœ bœ nœ ‰ bœ bœ
Solar: Bar 53 10
&bb Ó Œ
J
Fig. 26 Fig. 30 Fig. 1
Fig. 31 Fig. 28
Species E
Solar: Bar 62 C m7 G m7 C7
b F
(Solar:
bBœar
53):
Here
the
component
begins
on
the
ma2
of
&bb œ œ œ œ nœ œ œ œ bœ nœ œ #œ #œ #œ Œ Ó
Ex.
45
–
S13pecies
nœ œ œ
Fma7,
continues
its
descending
Fig. 25
enclosure
Fig. 5 chain
Fig.f27rom
the
root
and
resolves
to
the
E b m7 b7 m7
Dh
bma7
Species E + A & D
œ tDbhe
œ œ
bœ œ œ n œ œ b œ nœbœ œ bœ œ
m7b5
m7,
Solar:aBar
nticipating
106 the
A F armony
in
following
G 7b9
bar.
C m7
œ œœ œœnœbœ œ ‰ Œ Ó n b
bbb Ó ‰ œ œ œ b œ œ n œ J unique:
n one
16
&
Both
excerpts
of
Species
F
begin
on
scale
tones,
and
both
are
Fig. 25 Fig. 24
Fig. 16 Fig. 2 Fig. 30 Fig. 5
excerpt
features
an
elongated
chromatic
descent,
where
the
other
features
an
anticipation of harmony. In both excerpts, the component acts to begin the
phrase, and in both cases the component begins on a scale tone.
101
The definition of component parts, application, and relation to the
harmony is somewhat exhaustive, as enclosure chromaticism is the formulaic
Therefore, formulas don’t follow an “essential structure” as do formulas in
further formulaic categories, which we will observe in the following chapters.
Despite its complexity, enclosure chromaticism is one of the most fundamental
102
Chapter 7
In this category, we may observe four major formulaic species of passing
tones. As previously discussed, the device of passing tones are employed to
tones, often placed on up-‐beats. First, a definition of each formulaic species will
be outlined:
Species A: Passing tones within an ascending, then descending melodic contour.
Species D: Descending major triad to chromatic passing tone fragment (Fig. 19)
In each phrase that follows, the use chromatic passing tones are a focal
point, adding sophistication to the melodic line. Each species’ component parts,
application, and relation to the harmony will now be defined. To conclude at the
end of the chapter, we will observe unique features and frequency of use of
103
PassingSpecies
7.1
–
Passing
Tone
Chromaticism:
ToneA:
Chromaticism
Species A, B, C & D
Species A.1
b 4 #œ œ œ œ œ œ nœ
D m7b5 G 7b9 C m7
nœ bœ
Solar: Bar 60
œ
&bb 4 J ‰ Ó
Fig. 12 Fig. 31
bb b œ n œ œ œ n œ b œ œJ ‰ œ n œ œ œ n œ b œ œJ ‰ œ nœ œ œ bœ œ œ
Species A.2 C m7 G m7 C7
J ‰
Ex.
Solar: 46
Bar –
205
Species
A.1
–
Solar:
Bar:
60:
An
ascending
passing
tone
fragment
from
& b
3
the
ma3
to
dim5
to
b13
of
Dm7b5
(implying
D7alt)
to
a
descending
chromatic
Fig. 3
Passing Tone Chromaticism
œ # œ œ fœrom
n œ ntœhe
b œroot
œ œ n œ from
n œ of
œ G7b9
tœo
n aœ n
n œebnclosure
b œ mn7
œ to
the
ma3
Speciesœ A,œ B, C & D œ bœ
F ma7
b nnb
passing
6tone
fragment
Species A.1 &bb J ‰ Œ
of
Cm7
Bar(60
fig.
12),
Dthe
œ œ œ œ
m7b5ma3
acts
as
a
G
d7b9
ownbeat
chromatic
C m7 approach
tone
resolving
b 4 #œ œ nœ nœ bœ
Solar:
œ
&bb 4 ‰ Ó
Fig. 4 Fig. 2 Fig. 3 Fig. 2 Fig. 5
Species B.1
E b 9 (fig.
31).
J
to
Oldthe
m3
Baro40
f
Cm7
F
œ œ œ
b œ œ n œ œ n œ œJ
Folks:
&b Ó ! Œ n
3 3
œ
9
b œ
Fig. 12 Fig. 31
œ œ nœ œ œ bœ œ œ
œ œ nœ bœ œ œ nœ œ œ nœ bœ œ
Species A.2
b bœ nœ
C m7 G m7
J J ‰
Solar: Bar 205 Fig. 3
& b b J ‰ ‰
Fig. 31
3
Species B.2
œ
#œ œ œ œ #œ œ #œ œ nœ œ
G ma7
Son of Thirteen: Bar 152
& œ . C7
F 7alt
œJ œ n œ n œ b œ nFig.
11
Fig. 3
œ #œ œ 4 œ œ œFig.œ 25n œ n œ b œ œ n œ œ b œ b œ n œ
F ma7
b J ‰ Œ nnb
&bb
6
B bma7(#11)
Fig. 4
˙
œ # œ œ Fig. 2œ Fig.#3œ œFig. 2 Fig. 5
Species B.3
G ma74 œ
# œFig.
Son of Thirteen: Bar 171
Ó
13
Species B.1 &
E b9 3 œ
F
œ sequence
œ
œ œ
Old Folks: Bar 40
b Ó ! œ n œ n œ Œ n
3
b œ
Ex.
47
9 –
Species
A.2
–
Fig.
Solar:
Bar
205:
This
chromatic
passing
tone
Species B.4&
œ b œ œ Fig. 3
3 Fig. 3
J
G bma7(#11) œ bœ œ œ œ bœ œ bœ ‰
Son of Thirteen: Bar 196
b œ n œ
gradually
ascends
by
half-‐step
from
the
dim5
of
Fig. Cm7
31 to
the
root
note
of
the
C7
Ó ‰ b œ b œ œ b œ
& Bar 152 b œ b œ œ b œ J
15
Species B.2
n
bar
205-‐207,
tœhen
œcontinues
# œ œwith
an
œascending/descending
# œ œ n œ œ
G ma7
œ
Son of Thirteen:
& œ. #œ
chord
11(fig.
3)
Fi7alt
J
Fig. 3 Fig. 25
# œ œ œ #œ ‰
C ma7(#11) G ma7(#11)
chromatic
passing
4 208 tone
sequence
from
4 the
Fig. root
œ œ ‰ J J ‰
Son of Thirteen: Bar Fig.
B bma7(#11)
Fig.
& Ó ‰ # œ œ #œ œ œ ˙
œ
Species18B.3
the
m3
œ to
ma2
(fig.
7),
tœo
a
c#hromatic
œ
# œG ma7 œ Fig.œ18 # œ œ
Son of Thirteen:
enclosure
Bar 171
13 from
passing
tone
fragment
from
& Ó
Fig. 31
ma2
to
ma3
(fig.
3),
to
a
non-‐diatonic
enclosure
from
the
m3
to
aug4
of
Fma7
Fig. 3 Fig. 3
Species B.4
(fig.
Son of2Thirteen:
),
beginning
Bar 196 a
descending
enclosure
chain
from
aug4
to
ma3
(fig.5).
G bma7(#11) bœ œ œ œ bœ œ bœ
&Ó ‰ œ b œ b œ bœ œ bœ bœ nœ œ J ‰
bœ bœ
15
Fig. 3 Fig. 25
#œ œ ‰ œ œ œ
Species B.5
œ œ #œ œ œ
C ma7(#11) G ma7(#11)
‰ J J ‰
Son of Thirteen: Bar 208
&Ó ‰
œ #œ
œ #œ œ œ
18
Fig. 18 Fig. 31
Fig. 12 Fig. 31
œ n œ b œ œ n œ œ œ n œ b œ œ œ n œ œ œ b œ œ œ 104
Species A.2
b œ n œ œ œ
C m7 G m7
bb J J ‰
Solar: Bar 205
3
& b J ‰ ‰
Passing Tone Chromaticism
Fig. 3
Species A, B, C & D
œ #Dœm7b5œ œ n œ n œ b œ n œG 7b9 œ œ œ n œ n œ bCœm7 œ n œ œ b œ b œ n œ
C7
œ œ œ œ œœ n œ œ
F ma7
b nnb
Species A.1
nœ
Solar: Bar 60
& 4
7.2
–
Passing
S pecies
B
Fig. 5
J
Fig. 4 Fig. 2 Fig. 3 Fig. 2
b9
Species B.1 Fig. 12 Fig. 31
œ n œ b œ œœ n œ œœ œœ b œ œ œ F
œ n œ b œ œ n œ œ œ œ œ
Species
Old A.2Bar 40
Folks: E
b Ó b œ n œ œ ! œ œ n œ n Œ J n
C m7 G 3
b œ
3 m7
œ –œ
Solar:
œB#.1
œPassing œb œ40:
œ ATone
nœœ Bn œar
œ ndœiatonic
# aœ scending
œ œ # œpn œhrase,
œb œ tno
œ a
chromatic
œ
G ma7
Son of Thirteen: Bar C
152
nnb
F 7alt
bb 4 # œ œ œ œ œ œ œœ n œ# œ œ œ n œ ˙ b œ ‰ Ó
Solar: BarB.3
Species 60 Fig.D4m7b5 G 7b9 Fig. 2 Fig. 3 CFig. B ma7(#11)
& # œb 4 œ œ # œ
b
œJ œ Óœ
Species B.1
Son of Thirteen: Bar 171
approach
t one
Old Folks:13Bar 40 G ma7
from
a ug4
t o
P 5
( fig.
31)
b efore
a scending
F a
ma6
interval
to
the
œ œ
E 9
& b Ó ! œ n œ n œ Œ n
3
œ bœ
3
b J ‰ J ‰
Solar: Bar 205
b Bar J ‰
Species B.4
& bbma7(#11)
Species3B.2
œ œ œ # œ b œœ b œ n œ œœ #bœœ œ œœ œn œb œ œœ b œ ‰
Son
Son of
of Thirteen:
Thirteen: Bar 196
152 G ma7
J
15
11
œ
œ #œ œ nœ nœ bœ nœ œ œ œ nœ nœ bœ œ b nœ œ bœ bœ nœ
C7
œ
F ma7
B.3 b n
Fig. 4 Fig. 25 Fig. 3 Fig. 25
Fig. 4
& b Bar bBar208171 J
˙# œ œ ‰ œ ‰ œ Œ œ n b
6
œ
C G
œ # œ
ma7(#11)
œ
Ó# œFig. 4 ‰ # œ œ # œ Fig. œ 3 J J ‰
SonofofThirteen:
Son Thirteen:
œ2 Fig. Ó‰
Ex.
49
18–
S13pecies
B .2
–
S on
o f
T hirteen:
B phrase,
first
& œ
G ma7
& œ
Fig. 2 Fig. 5
b
Species B.1
3 œ œ œ
through
the
40P5
Ea9nd
bFig. 13
o3f
F7alt,
to
a
G
major
scale
3 F fragment
Fig. 31anticipating
the
œ œ
Old Folks: Bar 18
Fig.
Species B.4 b Ó ! œ n œ n œ Œ n
3 Fig.
œ b œ
b œ b œFig.n œ31 œ b œ œ œ œ b œ œ b œ ‰
Gma7
from
PBar r oot
featuring
a
chromatic
p assing
t one
G bma7(#11)
Son of Thirteen: 196
œ
enclosure
from
the
root
G ma7 chromatic
passing
tone
fragment
#œ œ œ œ #œ Fig. 3œ #Fig.
œ 25 œ n œ œ
Son of Thirteen: Bar 152
Species B.5&
œ.
F 7alt
J 25).
11
Fig.œ25# œ œ œ #œ œ ‰ œ œ œ
from
ma7
to
ma6
(fig.
C ma7(#11) G ma7(#11)
œ ‰ J J ‰
Son of Thirteen: Bar 208
Species B.3& Ó ‰ #œ œ #œ œ œ
Fig. 4
B bma7(#11)
18 Fig. 4
œ œ #œ œ ˙
# œG ma7 œ Fig.œ18 # œ œ
Son of Thirteen: Bar 171
Ó
13 Fig. 31
&
Fig. 3 Fig. 3
Species B.4
bœ œ bœ bœ nœ œ œ œ œ bœ œ bœ ‰
Ex.
50
15–
Species
B.3
–
Son
of
Thirteen:
Bar
171:
An
ascending
&Ó b œ‰ b œ
b œ bbœetween
the
ma2
and
ma3
degrees
of
Gma7
(fig.
3),
J to
a
œ
chromatic
passing
tone
Fig. 3 Fig. 25
#œ œ ‰ œ œ œ
Species B.5
œ œ #œ œ œ
C ma7(#11) G ma7(#11)
chromatic
Son of Thirteen:pBar
assing
208 tone
from
the
ma4
an
P5
degrees
of
Bb
major
anticipating
&Ó ‰ œ œ œ ‰ J J ‰
œ #œ #œ
18
œ
F ma7
& bb nnb
F 7alt
J J ‰ Œ
11
& b
6
# œ œF ˙
Fig. 4 Fig. 2 Fig. 3 Fig. 5
œ
Species B.3
Species
Son of Thirteen:
B.1
13
#œ
Bar 171
Old Folks: Bar 40 G ma7
b œ œ #œ œ 3 œ œ Óœ
& œ œ
E 9
& Ó
b ! œ n œ n œ Œ n
3
bœ
œ b œ œ Fig.Fig. J
9
Fig. 3 3 3 Fig. 31
Species B.4
Species B.2
b 152 œ bœ
Son of Thirteen: Bar 196
‰ # œ œ œ œb œ b œœ b œ# œ œ b œ b œ n œ œœ # œ œ œ œ œn œb œ œœ b œJ ‰
G ma7
Son of Thirteen: Bar
& Ӝ .
G ma7(#11)
F 7alt
bJœ b œ
15
11
#œœ # Aœ n
œœascending
œ # œ œphrase
œ ˙ œ œ
œ Bœar
œ196:
Species
SpeciesB.5
B.3
‰ featuring
C ma7(#11) GBma7(#11)
# œG ma7B.4
œ of
#Tœhirteen:
œ –
Son
J J a
Son
SonofofThirteen:
Thirteen:Bar
Bar208
171
Ó ‰ œ #œ œ œ Ó‰ ‰
Ex.
51
18–
S13pecies
&
& œ #œ
chromatic
passing
tone
Fig. 18
Fig. b3etween
the
m7
and
Fig. 3
root
of
Gma7(#11)
Fig. 31 (fig.
3),
to
an
Species B.4
bœ œ œ œ bœ œ bœ
enclosure
from
Son of Thirteen: Bar r
b
oot
to
ma7
to
descending
chromatic
passing
tone
fragment
from
196
& Ó ‰ b œ b œ bœ œ bœ bœ nœ œ J ‰
G ma7(#11)
œ
b œ eb nclosure
œ
15
ma7
to
ma6
to
diatonic
from
ma6
to
P5
(fig.
25).
Fig. 3 Fig. 25
#œ œ ‰ œ œ œ
Species B.5
œ œ #œ œ œ
C ma7(#11) G ma7(#11)
‰ J J ‰
Son of Thirteen: Bar 208
&Ó ‰
œ #œ
œ #œ œ œ
18
Fig. 18 Fig. 31
Ex. 52 – Species B.5 – Son of Thirteen: Bar 208: An ascending D major root
position triad (V) arpeggio to Gma7 arpeggio from ma7 to P5 to a G major scale
fragment
anticipating
Gma7#11
(fig.
18),
to
a
chromatic
approach
tone
from
m3
2
to
ma3
of
Gma7#11
(fig.
31),
ending
on
the
P5.
Passing Tones - Species A, B, C & D
Species B.6
œ #œ œ #œ œ bœ œ
Son of Thirteen: Bar 250
#œ.
B m(ma7)
#œ
& J ‰ Ó
21
Fig. 3
Species B.7
œ œAn
œ 2#50:
œ # œ œ Bœ
m‰elodic
# œascending
œ œminor
F ma7(#11)
Snova: Bar 44
&! œ #œ #œ J ‰ Œ
Ex.
53
23 –
Species
B.6
3 –
Son
of
Thirteen:
Bar
# œ
A ma7(#11)
œ # œ #œ œ# œ œ
scale
fragment,
to
an
ascending/descending
chromatic
passing
tone
from
the
m3
Fig. 24
Fig. 31 Fig. 18
œ œ œ b œ œ œ œ œ F 7sus
#
b œ n œ
Species B.8
713
of
b Bm(ma7)
(fig.
3G).
œ #œ œ œ #œ œ #œ #œ
to
P4
tBar
o
m
! œ bœ œ bœ œ bœ
7b9
Snova:
&Ó œ!Œ Ó b
25
A ma7
bœ
Fig. 18 Fig 4 Fig. 31 Fig. 7 Fig. 2 Fig. 11 Fig. 5
œ nœ bœ œ œ œ œ
Species C.1
Old Folks: Bar 22 E b 9
œ bœ bœ
A7
28
&b Ó œ œ bœ œ Œ
Fig. 14 Fig. 31 Fig. 21
œ œ œ
Species C.2
Old Folks: Bar 39 E b 9
30
&b Œ ‰. R bœ œ œ œ bœ œ œ œ Œ Ó n
2
Fig. 3
Species B.7
œ #œ œ œ ‰ œ œ
#œ œ #œ œ #œ
F ma7(#11)
Snova: Bar 44
&! # œ œ # œ J ‰ Œ
23 A ma7(#11) 3
œ #œ #œ #œ œ œ
Fig. 24
Fig. 31 Fig. 18
œ œ œ bœ œ F #7sus
b œ n œ œ œ
Species B.8
b œ œ #tœone
b œ œ 4# œ4:
œ A
chromatic
approach
œ #fœrom
G 7b9
# œ
Snova: Bar 71
Ex.
Ó ! b œ œ œ !Œ Ó b
2 54
25–
Species
B.7
–
Snova:
Bar
the
m3
to
b œ
A ma7
J
Old Folks:
ma3,
Bar
ma5)
&b Ó
& œ Ó Œ
2821
& b Œ # œ #‰œ.anticipating
& œ œ bœ œ œ Œ
œ œ # œ the
Fma7#11
Ó n
23 A ma7(#11)
30
from
the
ma2
œto
# œaug4
(fig.
24),
œending
on
the
ma3.
Fig. 724
Fig. 31 Fig. 18
œ œ b œ œF #m7 F #7sus
Species C.3
œ
œ #œ œ bœ nœ œ œ œ œ #œ œ #œ
Species B.8
bma7
Son of Thirteen: Bar 214
œ
! œ#bœœ œ b œœœ b œ b œ œ b œ œ
G 7b9
& Ó‰ ‰ # œ œÓ ! Œ Ó
Snova: Bar 71 A
b
B m7
&
32
25
bœ #œ.
Fig. 18 Fig 4 Fig. 31Fig.Fig.
3 7 Fig. 2 Fig. 11 Fig. 5
œ
B.8
–
Snova:
n œBar
b œ 71:
œ œroot
Species C.1
E b 9252
Species C.4
œ Aœn
ab œscending
œ position
œ œ
A7
#
C # 7alt bœ b œajor
œ triad
Old
SonFolks: Bar 22 Bar
œ
of Thirteen:
& bœ Ó œ b œ œ œ œ Œ
C maj7( 11)
b œ b œ œœ œ œ œ œ
Ex.
5285
–
Species
Eb
m
& œ
34
œ œ
Fig. 17
F # m7
Species C.2
C.5Bar 39 #E b 9
œ Rœ # œ nœœ œb œb œ œ œ
Species
Old Folks:
# œ œ
passing
tone
bFetween
the
m7
and
root
of
BGma7(#11)
7b9
(fig.
4),
to
a
chromatic
approach
b Œ . ‰ .
! b œ œ! bbœœ ! œb œ œ !œb œ Œœ œ Ó b œ b bnb
7
&
Snova:30Bar 42
& ‰
36
bœ
32
œ
root
of
Fsus
(œfig.
b 5œ ),
descending
œ œ œ down
œ
œ triad
giving
œ rœoot
pœ osition
b œ ab
œB
major
34
Fig. 4 Fig. 5
root,
ma6,
P4
F#7sus
scale
# m7
tones.
Fig. 17
#
œ œ #œ nœ œ bœ bœ
Species C.5
#œ œ.
F B ma7(#11)
bbb
F 7
Snova: Bar 42
& ‰ ! ! bœ ! bœ ! bœ œ œ bœ
36
3 3
Fig. 1 Fig. 3
Fig. 3
Species B.7
œ #œ œ #œ œ #œ œ œ ‰ œ œ
F ma7(#11)
Snova: Bar 44
& ! #œ œ # œ # œ J ‰ Œ107
23 A ma7(#11) 3
œ #œ #œ #œ œ œ
Fig. 24
Fig. 31 Fig. 18
œ œ œ b œ œ œ œ œ F 7sus
#
b œ n œ
Species B.8
A bma7
œ #œ œ œ #œ œ #œ #œ
Ó ! œ bœ œ bœ œ bœ
G 7b9
Snova: Bar 71
œ!Œ Ó b
2
&
25
b œ Chromaticism:
7.3
–
Passing
Tone
Passing Species
C
A, B, C & D
Tones - Species
Species B.6 Fig. 18 Fig 4 Fig. 31 Fig. 7 Fig. 2 Fig. 11 Fig. 5
# œ œ œn œ b#œœ œ œœ b œ# œ œ A 7b œ œ
Son of Thirteen: Bar 250
œ
Species C.1
22 E b 9
#œ. b œ œ œ b œ œ œ ‰ Óœ
B m(ma7)
J
Old Folks: Bar
&b Ó Œ
21 28
Species21C.3 # œ . Fig. 18 # œ
fragment
Fig. fBrom
m(ma7)ma6
to
P5
to
a
descending
Fig.ajor
run
(P5,
J F #7sus‰ Ó
31
& œ œfrom
œ b œ œ F # m7
b œ n œ œ œ
Species B.8
b
œ œ # œ
Son of Thirteen: Bar 214
œ œ #œ œ œ ‰# œ # œ Ó
& Ó‰ ! b œ œ#bœœ œ b œœœ b œ b œ œFig. 3b œ œ
G 7b9
ma3,
Snova: 32 m
Bara2,
71 root,
m 7)
t o
a
diatonic
e nclosure
t he
m 7
t o
t he
ma3
of
A7
(fig.
œ!Œ Ó b
B m7
A ma7
. 3F1),
25
Species B.7 # œ
œ 2# œFig.œ11#Fig. œ 5œ œ ‰ œ œ
14),
t o
a
chromatic
a pproach
t one
from
m 3
t o
m a3
( fig.
t o
a n
a scending
# œ
ma7(#11)
œ
Snova: Bar 44
# œ # œ J Œ
Fig 4 Fig. 31Fig.Fig. 3 7 Fig.
C.4 ! œ A 7 21),
resolving
to
the
‰root
Fig. 183
& œ n œ# Pœ b5,
œ m7,
b9
over
CAmaj7(
23 A ma7(#11)
Species
SpeciesC.1
œ
E b 9#252
œ œ # œ œmœa3,
g#iving
œ
œ œ b œ b œ Fig. 24 b œ œ œ œ œ œ
C#dim7
arpeggio
7
(# 11)
fig.
of
C # 7alt
Old
SonFolks: Bar
of Thirteen: 22 Bar
& œ œ b œ b œ œ
34
œ œ œ b œFig.œ 31
A7.
#
b œ n œ œ œ Fig.
Species B.8
Snova: Bar 71 A bma7
œ # œ œ œ œ # œ œ #œ #œ œ ! Œ Ó
F 7sus
bœ
Fig. 14 G 7b9 21
Ó ! b œ b œ œ b
Fig. 5
& œ œ
25 Fig. 4 Fig. 17
Old Folks: Bar 39 F #E7b 9 b œ #
F m7œ œ
Species C.2
œ œ nœ4œ Fig.
b# œŒ Fig.œ .18‰ . ‰ Rœ #Fig
Species C.5
œb œb œ31 œ Fig.
B ma7(#11)
& œb œ7 Fig.
œ! bb2œœ Fig.! œb11œ Fig. !œb5œ Œœ œ Ó b œ b bnb
Snova: Bar 42
!
30
& œ
36
œ 3 n œ Fig.b œ 3 œ3 œ b œ Fig. 7 œ œ œ
Species C.1
Old Folks: Bar 22 E b 9
A7
b œ b œ œ
b Bar Ó 214 œ Fœ#m7 Œ
Fig. 1
–
&
Species28C.3
Son of Thirteen:
œ # œ Fig.œ 14
Ex.
57
Species
B m7 C.2
–
Old
Folks:
Bar
39:
A
descending
P5
interval
from
ma6
to
Species C.3 œ œ b œ œ œ œ
Fig. 7
œ b œ œ F #m7 œ
C 7alt
Son of Thirteen:
‰
B m7
œ Fig.#4œ œFig. 5 ‰ Ó
& b œ œ bBœma7(#11)œ
32
.
Fig. 17
# m7
# # œ
œ . œ œ # œ n œ œ b œ Fig. 3 b œ
Species C.5
#œ
F
b b b
F 7
Snova: Bar 42
& ‰ ! ! bœ ! bœ ! bœ œ œ bœ
36
Species C.4
3 39:
A
descending
tertial
B
minor
phrase
œ
C maj7( # 11)
# œ P4,
Son of Thirteen: Bar 252
œ
3 3
Ex.
58
–
Species
C .3
1–
Old
Folks:
B ar
œ œ bœ œ œ œ
Fig. Fig.
bœ bœ œ œ œ œ
C 7alt
bbb
Snova: Bar 42
& ‰ ! ! bœ ! bœ ! bœ œ œ bœ
36
3 3
Fig. 1 Fig. 3
œ #œ #œ œ œ œ
Old Folks: Bar 39 E b 9
R œ b œ œ œ Fig.
&b Œ ‰. œ b œ œ œ #Œ Ó n
30 24
œ
Fig. 31 Fig. 18
œ œ b œ7 œ œ œ
œ Fig.
œ bœ nœ
Species B.8
Snova: Bar 71 A bma7
œ # œ œ œ #œ œ #œ
F 7sus
b œ
G 7b9
Species25C.3
Ó !
& B m7 b œ œ œ b œ b œ œ #
#œ œ ! Œ Ó b
108
Son of Thirteen: Bar 214
‰ œFig. 18
F m7
32
& # œ œ bFig œ
4 Fig. 31 Fig. 7 Fig. 2 Fig. 11 Fig. 5 ‰ Ó
œ bœ œ Aœ7 .
#
œ n œ b œ œ Fig. 3 œ œ œ
Species C.1
Old Folks: Bar 22 E b 9
œ b œ b œ œ b œ œ
&b Ó œ Œ
28
Species C.4
œ œ
C maj7( # 11)
C # 7alt
Son of Thirteen: Bar 252
œ œ bœ œ œ œ bœ bœ œ œ
œ œ œ œ
Fig. 14 Fig. 31 Fig. 21
&
34
œ œ
Species C.2
Old Folks: Bar 39 E b 9
œ n œ œ bBœar
252:
F m7
b œ phrase
b
F 7
Fig. 7
Snova: Bar 42
Ex.
59
‰ ! A!
bdœescending
!# b œ ! b œ C#
œ altered
bb
36 –
Species
& bœ œ bœ œ
3 3
#9,
b9,
32
root,
to
aFig. chromatic
Fig. 3 passing
tone
fragment
from
#œ .
an
enclosure
chain
from
m7
to
the
ma6
Fig.
of
C3ma7#11
(fig.
26)
to
a
diatonic
C
Species C.4
Son of sThirteen:
major
#
Bar 252 ma6,
ma7,
root,
ma2,
ma3
cale
fragment
to
# 11)
œ
tertial
arpeggio
ma3,
P5,
ma7,
œ
œ
C maj7(
œC 7alt œ b œ œ œ œ œ œ
& œ bœ bœ œ œ
34
ma2.
Fig. 4 Fig. 5
Fig. 17
F #7 F # m7
œ œ #œ nœ œ bœ bœ
Species C.5
#œ œ.
B ma7(#11)
bbb
Snova: Bar 42
& ‰ ! ! bœ ! bœ ! bœ œ œ bœ
36
3 3
Fig. 1 Fig. 3
Ex. 60 – Species C.5 – Snova: Bar 42: A diatonic enclosure from the ma2 to m3 of
F3m7 (fig.1), to a chromatic passing tone sequence from the aug4 to ma3
anticipating the Bma7#11 (fig. 3), to a Bma7#11 tertial-‐based descending phrase
109
b œ bœ œ œ nnn
Solar: Bar 83
&bb œ œ bœ
38
œ
Fig. 3 Fig. 19
Species D.2
Snova: Bar 73 F #7sus
#œ #œ œ. #œ œ
Ex.
6391
–
Species
D.1
–
Solar:
Bar
83:
Tones
œ œ #œ
A
chromatic
- Species A,pB,
assing
C & D tone
fragment
from
œ !
Passing
& b
œ bœ œ bœ 3
Species D.1
œ bœ
D ma7
ma3
Solar:aBar
nd
83ma2
(fig.
3),
to
a
descending
Ab
root
position
major
triad
to
chromatic
b œ œ nnn
&bb
Fig. 11
œ œ b œ
38 Fig. 19
œ (fig.
19).
passing
tone
fragment
from
P5
to
ma4
to
an
enclosure
from
P4
to
ma3
Fig. 3 Fig. 19
Species D.2
Snova: Bar 73 F #7sus
#œ #œ œ. #œ œ
œ ! œ œ #œ œ bœ
& œ bœ
39
Fig. 11 Fig. 19
Ex. 62 – Species D.2 – Snova: Bar 73: A descending B major root position triad
giving root, ma6, P4 F#7sus scale tones, to a descending B major pentatonic
based run (root, ma6, P5, ma3) giving F#7sus scale tones P4, ma2, root, ma6
within which begins an enclosure from root to m7 (fig. 11), to a descending
tertial arpeggio m7, P5, m3 to a chromatic passing tone fragment from m3 to
For each Formulaic Species of Passing Tone Chromaticism, we may draw
conclusions as to how their Formulaic Components are most prominently used,
based on the evidence compiled in this chapter. I will analyze the frequency that
passing
tones
are
used
between
individual
scale
tones,
to
examine
trends
in
their
110
application. I will begin with the passing tone between R-‐b2-‐2 and work
sequentially through to R-‐7b7, describing their related tonalities and melodic
functions accordingly.
7-‐b7-‐6
(Fig.
25):
B.2,
B.4
(Gma7,
Gbma7)
R-‐7-‐b7:
C.4
(C#7alt)
R-‐7-‐b7
resolving
to
m3
of
tonic:
A.1,
A.2
(G7b9
|
Cm7,
C7
|
Fma7)
R-‐7-‐b7
resolving
to
ma3
of
tonic:
C.5
(F#7
|
Bma7#11)
tone chromaticism, with 18 unique permutations and 21 unique applications.
For each permutation, the scale degree is accompanied by which Species it
belongs to, as well as the chord to which it applies. Chord symbols which are
cases, the permutation is found within a formulaic component (Fig. 18, Fig. 25).
Certain permutations are used over the identical or similar harmonic
Metheny’s use of passing tone chromaticism is also notable in his ability to
anticipate the harmony of the following bar within the last two beats of the
current bar, evidenced in Species B.1, B.2, B.7, notably all with an ascending
contour. Metheny is also impressively adept in his ability to place non-‐chord
tones on downbeats and resolve them within the flow of the melodic line.
Notably, the contour of descending, then ascending is vacant as a passing tone
chromaticism
species.
112
Chapter 8
Formulas to apply over perhaps the most common chord progression in jazz: the
II-‐V7-‐I. Metheny shows evidence of three main dominant cadence formula
Dominant Cadence A: The definitive feature of this formula is a diminished triad
descending from the dim5 to the root, which is preceded and followed by varied
components.
Dominant Cadence B: Descends the altered dominant scale stepwise featuring
Dominant Cadence C: Typified by an ascending diatonic phrase over the IIm7
chord, to an enclosure resolving to the ma3 of the V7 chord, followed by a large
The formulas’ component parts, application, and relation to the harmony are
defined below. To conclude at the end of the chapter, we will observe patterns
113
4 œœœ
Old Folks: Bar 35
&b 4 Ó Œ nœ R ! ‰ Œ Ó n
Fig. 12 Fig. 21 Fig. 7
Fig. 6
œ E 7b9œ œ E b7sus
œ œ b Bœ ar
! sœcale
n œ œfragment
. b œ boœn
Species A.2
œ Fœ olks:
œ 3œ 5:
œ Aœ n
ascending
b œ œ bbœegins
F ma7 B m7b5
Snova: Bar 55
&Ó Œ ! œ ! ! J
Ex.
63
–
4Species
A.1
–
Old
œ œœ œbœ bbb
œ#œ œ#œ nœ bœ œ œ œ ! œ ‰ Œ Ó
ma2
Snova: of
Bar
the
63 F7
Cm
7
&
diminished
Fig.
triad
24 in
root
Fig. 7 position
Fig. 12 over
F7
resolving
to
the
ma3
Fig. (28
fig.
21),
the
Fig. 21 Fig. 7
D bma7
Fig. 6
n œ b œ dnescent
œ œ the
octave
on
bœ œ the
b9
of
the
F7
œ #œ œ
Species A.4
œ Cadence
D m7b5 G 7b9 C m7
phrase
Solar: Barthen
119 follows
its
tertial
up
b ‰ œ ‰
&bb Ó Dominant
J
J ‰ Œ Ó
10
13 &
b b tÓhe
root
of
F7
to
the
ma3
of
Bbma7
œ(fig.
n œ 7).
‰ R ‰ Ó
Solar: Bar 167
enclosure
&
from
Fig. 12 Fig. 21 Fig. 7
Fig. 6
œ E 7b9œ œ
Fig. 21
E b7sus
Fig. 7 Fig. 2
D bma7
b œœ œ œ œ b œœ œn œ Dœm7b5œ n œ b œ !G 7b9 œ n œ œ C œm7 b œ . b œ b œ
Species A.2 F ma7 B m7b5
œ ! œ œ œ n œ b œ œ ! ŒJ Ó
SpeciesBar
Snova: A.655
& Ób b Œ Œ ‰ ! J
Solar: Bar4 179
& b
16
b
n œ b œ œ œ œ# œœ œ # œn œ œ # œn œ bn œœ b œ œ œ œ ! œ ‰ Œ Ó b œ b b
Species
Snova: Bar A.763 F m7
& bbb Ó
Ex.
Solar:64
Bar
–7
S43
pecies
A.2
–
Snova:
Bar
55:
An
ascending
scale
fragment
begins
on
the
&Fig. 24 œ
Fig. 28 œ œ
19
nœ bœ nœ bœ
Fig. 20
œ œ œ œ #œ œ
Species A.4 D m7b5 G 7b9 C m7
enclosure
b
Solar: Bar 119from
m6
to
dim5
(fig.
12),
beginning
a
descending
B
diminished
triad
‰ œ ‰
&bb Ó J
J ‰ Œ Ó
10
b œ œ nœ
&bb Ó ‰ Ó
Solar: Bar 167
13
tones
to
an
enclosure
from
the
#9
to
the
ma2
of
Eb7sus
(fig.
11),
to
an
ascending
Fig. 7 Fig. 21
Fig. 2
D bma7
Eb7sus
scale
fragment.
b œ œ œ œ n œ D m7b5œ n œ b œ G 7b9 œ
Species A.6
œ œ œ œ
C m7
b ‰ J
Solar: Bar 179
&bb Œ nœ Œ Ó
16
Fig. 24 Fig. 21
Species A.7 F m7 B b7
b nœ bœ œ #œ nœ nœ bœ bœ
Solar: Bar 43
&bb Ó œ œ œ œ
19
œ œ œ œ œ bœ œ œ bœ bœ œ
4 œ œ œ œ nœ œ œ bœ nœ œ ! ‰ Œ Ó
Old Folks: Bar 35
&b 4 Ó Œ R n
Fig. 12 Fig. 21 Fig. 7
Fig. 6
œ E 7b9œ
114
E b7sus
œ œ bœ œ œ œ œ ! œ œ nœ œ bœ œ bœ. bœ bœ
Species A.2
Snova: Bar 55
!œœ
F ma7 B m7b5
&Ó Œ œ ! ! J
4
nœ bœ nœ bœ œ œ #œ œ œ
Species A.4
œ
D m7b5 G 7b9 C m7
D bma7
Species A.5
œ bœ œ bœ œ n œ b œ œ Cadenceœ œ
‰ #œ
D m7b5 G 7b9 C m7
b Dominant œ œ nœ
Bbma7
(fig.
24
+
fig.
7),
to
an
ascending
Bb
major
scale
fragment
from
the
ma6
to
&bb Ó ‰ Ó
Solar: Bar 167
13
Species A
a
descending
chromatic
passing
Fig. 7 tone
from
Fig. t21
he
ma7
to
ma6
to
enclosure
from
the
B bma7
œ œ œ b œDœm7b5
Species A.1 Fig. 2
D bma7
bŒ œ œ œ(œfig.
œœb œn œb œ bœœaœ
descending
œ 7b9
œ n œ œ œ bBœœ
ndœCiminished
C m7 F7
nœ bœ œ œ #œ nœ nœ bœ bœ
Solar: Bar4 43
œ œ # œ œ # œ œ b œ n œ b œ œ œ ! œ ‰ Œ Ó bbb
m7
Snova:to
Bar
the
63m3
triad
giving
m3,
ma7,
7
& œ
P5
A
melodic
Fig.m 24inor
Fig. 7
scale
tFig.
ones
12
(fig.
28).
Fig. 28
Fig. 21 Fig. 6 Fig. 7
D bma7
nœ bœ nœ bœ œ œ œ œ #œ œ
Species A.4 D m7b5 G 7b9 C m7
b ‰ œ ‰
&bb Ó J ‰ Œ Ó
Solar: Bar 119
J
10
to
an
enclosure
featuring
an
ascending
chromatic
passing
tone
from
the
b9
of
Fig. 24 Fig. 21
G7b9
Speciesto
A.7 the
P5
Fom7
f
Cm7
(fig.
6).
B b7
b nœ bœ œ #œ nœ nœ bœ bœ
Solar: Bar 43
&bb Ó œ œ œ œ
19
Fig. 26 Fig. 20
œ b œ œ b œ œ œ n œ œ œ b œ œ œSpecies œœ œ j
œ œ # œ œ # œ œ b œ n œ b œ œ œ !b œ ‰ Œ Ó b b b
Snova: Bar 63 A
Species A.1 & œB ma7
7
œ œ œ œ œ b œ œ œFig. b œ œ œ n œ7 œ œ b œ n œ œ ! ‰ Œ Ó 115
C m7 F7
b 44b Ó b œ œFig.
Old Folks: Bar 35
Œ œ œ6 Fig. n
Fig. 24 Fig. 7 Fig. 12 Fig. 28
& C m7 R
21
nFig.
œ b12œ n œ b œ œFig.œ21 œ œ 7# œ œ
Species A.4 D ma7 D m7b5 G 7b9
bb b Ó
Solar: Bar 119
‰ œ ‰ J ‰ Œ Ó
Species A.2 &F ma7
Fig. 6 Fig.
œ E 7b9Jœ œ
10
E b7sus
Fig.œ7œ œ b œ œ Fig. œ ! Fig. œ6 n œ œ b œ œ b œ . b œ b œ
B m7b5
œ œ œ
Snova: Bar 55
Ó b Œ ! œ ! ! J
21
b b Ó œ œ n œ ‰
Solar: Bar 167
b
Fig. 12
& b Dominant Cadence
13
b œ œFig. œ œ
œ œœ nb œ œ œb œn œ b œ œ
œ Bœ12ar
Species A.1
œœn œ28the
Species A.6
n œœ7œ œfrom
DCma7 m7 F7
b 4
Old Folks: Bar 35
b Ó J
–
SŒ7olar:
œ œ ‰ Œa2
Œ oÓÓf
n
Solar: Bar 179 Fig. 24
& b 4
b Œ ‰ n œ
Ex.
67
–16
Species
A .5
Fig. 167:
A
d escending
& R
Fig.
b
n œ 12b œ pnFig. œ b œ œ œ œa7
of
Dbma7
to
Species A.4
œ œ # œ
D ma7 D m7b5 G 7b9 C m7
Dbma7
Solar: Bar f119
b bb Ó
eaturing
a
chromatic
Fig. assing
t one
s
‰
equence
œFig.‰6
f rom
t he
m
J ‰ Œ Ó
&
24 Fig. 21 Fig. 21 Fig. 7
E 7b9 J
B b 7œ
10
b
œ œ œ n œ œroot
position
bœ
œ7 tœbo
œbaœ
dœescending
! Fig. b œ œ ! b œJ . btœriad
Species
SpeciesA.2A.7 F ma7 F m7
2œ4),
œ
B m7b5 E 7sus
the
dim5
b
of
Dm7b5
(fig.
Fig.
œ n œ œ œ œ 21 D
diminished
Snova: Bar
Bar 55
Ó Œ ! œ # œ ! n œ b œ
Solar: 43
& b Ó œ
Fig. 6
Species A.5 & b D bma7 nœ b œ œ C m7 œ
4
œ œ descent
19
b
from
the
167dim5
resolving
t o
t he
m a3
o f
G 7b9
( fig.
2 1),
following
its
tertial
b Ó œ Fig.œ n20 œ ‰ A m7 ‰ Ó
Solar: Bar Fig. 12
œ œ b œ œ b œ œFig. œ
œ n œ7œ œ b œ œ œFig.œ œ21 œ œ # œ œ b œFig. j
B m7b5 E 7alt
up
t he
o ctave
w ith
a n
e nclosure
f rom
t he
b 9
o f
G 7b9
t o
t he
P 5
of
Cm7
(fig.
6).
œœ#œ n œ b œ œ ! œ ‰ Œ Ó bbb
œ
Snova: Bar 63
& œC m7
7 2
D bma7 œ
Fig. 7 b œ Fig. 12œ œ n œ œ
Fig.n 21
œ b œFig.œ6 Fig. 7 œ œ
Species A.6 D m7b5 G 7b9
b Œ ‰ J œ œ nœ
Solar: Bar 179 Fig. 24 Fig. 28
16
& b b b Œ Ó
n œ b œ n œFig.b 24 œ œ œ Fig. 21 œ œ # œ œ
Species A.4 D ma7 D m7b5 G 7b9 C m7
Solar: Bar 119
b bb Ó ‰ œ ‰ J ‰ Œ Ó
& J
10
Species A.7 F m7 b
B 7
bb b Ó n œ b œ œ œ # œ n œ phrase
n œ bœ
Solar:
Ex.
68
Bar
–
S43pecies
A .6
–
S olar:
Fig. 7 Bar
179:
Fig. A
d escending
21 Fig. 6 from
the
ma2
of
Species A.5 & D ma7 b b œ œC m7 œ
œ b œ œ
19
b
dim5
of
179
resolving
to
the
ma3
of
G7b9
(fig.
21),
following
its
tertial
descent
up
the
‰ J œ œ nœ
Solar: Bar
&bb Œ Œ Ó
16
octave
to
resolving
from
the
b9
of
G7b9
to
the
P5
of
Cm7.
Fig. 24 Fig. 21
Species A.7 F m7 B b7
b nœ bœ œ #œ nœ nœ bœ bœ
Solar: Bar 43
&bb Ó œ œ œ œ
19
Fig. 26
Fig. 20
Ex. 69 – Species A.7 – Solar: Bar 43: A chromatic passing tone fragment through a
descending enclosure chain from the ma7 of Fm7 to the ma2 of Bb7 (fig. 26), to a
descending root position F minor triad that resolves to the ma3 of Bb7 (fig. 20),
Dominant Cadence
8.2
–
Dominant
Cadence:
Species
B
Species B
Species B.1
b 4 œ bœ
D m7b5 G 7b9
œ œ œ
&bb 4 nœ
Solar: Bar 24
œ
Fig. 7
Species B.2 D bma7
œ b œ Bar
Dominant Cadence
D m7b5 G 7b9
&bb Ó œ j
œ œ Bœ b œ œ œ ‰ Œ Ó
Solar: Bar 71
Ex.
70
–2
Species
chromatic
passing
tone
œ
Species
fragment
Species B.1 from
the
m3
Fig.
of
7Dm7b5
to
Fig.
an
5enclosure
Fig. rGesolving
77b9 to
the
P5
of
G7b9
(fig.
b 4 œ bœ
D m7b5
œ œ
& b bb 4 # œ n œ œ n œ œ n œ b œ œ œ n œ bœœ nœ
Solar: Bar 24
œ
Species B.3 G m7 C7 F ma7
b Ó b œ œ b œ œ n œœ nnb
œ œ œ #œ Ó
Solar: Bar 147
b n œ
7),
descending
down
a
root
position
G
major
triad.
& bœ
5
Fig. 7
Species B.2 D bma7 Fig. 6
œ b œœ #œœ œ œ œ b œ
Fig. 7 D m7b5
Fig. 23 G 7b9
Fig. 7
bbb Ó œ .
Fig.C30
m7
œ œ œ œ œn œ œ b œ œ j‰ Œ Ó
Solar: Bar 71
& # œ œ
2
Species B.4 G m7
b œ œ
D 7b9
œ œ œ ‰ Œ Ó
&b ! n
Old Folks: Bar 24
J
9
Fig. 7 Fig. 7
Fig. 5
# œ n œ œ n œ œ n œ b œ œ
dœescending
Species B.3 G m7 Fig. C317 Dominant
Fig. 23 Cadence
F ma7
œ b œ
D m7b5 7G 7b9
b œ
Fig.
b Fig. 7 ! œ b œ b œ œ b
œ œ ‰ Œ (fig.
Ó 23),
n
Snova: Bar 70&
descending
G
a ltered
d ominant
p assage
( P5,
m a3,
# 9,
b 9)
o ver
G 7b9
œ œ œ bœ bœ œ bœ J œ
Species B.6 9 E 7 A ma7
Species B.2
13
& !Fig.R 31 pFig.
Œ D bma7 a‰
chromatic
m7b5 !
from
‰tChe
‰ Ó
m7Jroot
of
G7b9
to
œ Fig.
b œ 23œ œ œ b œ
D23 G 7b9
continuing
t hrough
assing
t one
fragment
b œ œ œ b œ Fœ 7sus œj ‰ Œ Ó
#
Snova: Bar 40& œb b Ó
Solar: Bar 71
Species B.52
from
the
m7
o#f
œGn7b9
œ œto
# œthe
m3
of
Cm7
(fig.
7r).
G 7b9
‰ Fig. !7 R œ b œ œ! ‰ Œ Ó
& œ # œ
an
enclosure
œ # œ
11
Fig. 7
Fig. 5
# œ n œ œFig.
n œ œ n œ b œ œ œ Fig. 7
Species B.3 G m7 C7 F ma7
Eb 7 n œ b œ b œ œ b œ œ A bma7
nœ nœ œ œ œ œ #œ Ó nnb
23
b
bb Ó
Solar: Bar 147
& œ bœ œ bœ œ b œ
Species B.65
‰ 6 ! RFig. 7 œ bœ bœ œ bœ ‰ œ ‰ Ó
&Œ Fig.!23
Snova: Bar 70
J
13
Fig. Fig. 7
D 7b9 œ . œ 23# œ œ
Fig. 30
Old Folks: Bar 24 # œ œ œ œ nœ
Species B.4 Fig. G m7
b ! b œ œ œ featuring
œ ‰ Œ an
aÓ scending
n
&
Ex.
72
–
9Species
B.3
–
Solar:
Bar
147:
A
diatonic
enclosure
J
Fig.t31
chromatic
passing
tone
from
he
bFig.
13
23to
m7
in
anticipation
of
C7
(fig.
6),
to
a
Species B.5 F #7sus
cœhromatic
# œ n œ œ f#ragment
G 7b9
‰ passing
! tone
œ œ b œ to
enclosure
rfrom
! ‰ mŒ7
to
PÓ5
(fig.
7),
Snova: Bar 40
descending
& R œ #œ œ #œ
11
&Œ ‰ ! R ! œ b œ ‰ œJ ‰ Ó
Snova: Bar 70
13
Fig. 23
Species B
Species B.1
b 4 œ bœ
D m7b5 G 7b9
œ œ œ
&bb 4 nœ
Solar: Bar 24
œ 117
Fig. 7
Species B.2 D bma7
œ bœ œ œ
D m7b5 G 7b9
b œ bœ œ œ
C m7
&bb Ó j‰ Œ Ó
Solar: Bar 71
œ bœ œ
œ œ of
the
C7
2
Dominant
to
a
chromatic
passing
tone
fragment
Fig. 7
from
the
Cadence
root
in
suspension
Fig. 7
Fig. 5
SpeciesF ma7
B
D m7b5 n œ n œ œ n œ b œ
#œ œ œ œ nœ bœ bœ œ bœ œ
Species B.3 G m7 C7
resolving
Solar: Bar 147to
the
m a3
of
Fma7
(fig.
7),
to
a
F
major
m otivic
interval
structure
(m3-‐
b nœ nœ œ œ œ œ #œ Ó nnb
& b bb 4Ó œ b œ
Species B.1
bœ
G 7b9
œ œ œ
5
œ œ œ n œG 7b9
Fig. 7
Bar 24 #Dœbma7
Species B.4 G m7
&bb Ó œ œ œ b œ œ J œj ‰ Œ Ó
Fig. 31 Fig. 23 Dominant Cadence œ
F #7sus
Species B.5 Fig. 7 Fig. 7
œ #œ nœ
G 7b9 Fig. 5
Species B
#‰œ n œ œ!n œ R œ n œ bœœ #œœ œ œn œ bbœœ b œœ # œ œ # œrn!œ ‰ Œ Ó
Snova: Bar
Species B.3 40
Ex.
73
–11
147
Species
B.4
–
Old
Folks:
Bar
24:
Beginning
with
a
ma7
leap
from
the
ma3
& b
G m7 C7 F ma7
b Ó œ b œ nnb
œ bœ nœ œ œ œ #œ Ó
œ
Solar: Bar
b n œ œ
Species B.1
& b 4 œ bœ
D m7b5 G 7b9
œ œ
5
&bb 4
Solar: Bar 24
to
the
#9
of
D7b9,
followed
by
Fig. 23a
chromatic
œ
Fig.a7pproach
tone
from
#9
to
ma3
(fig.
b A bma7 Fig. 30
œœR #bœœ œ œb œ
Fig. 6 Fig. 7 Fig. 23 Fig. 7
œ ! œ œ œ œn œb œ b œ œ b œ ‰ œJ ‰ Ó
œ.
Species B.6 E 7
Œ ‰ !
Snova: Bar 70 Fig. 7
Bar 24 D bma7
31),
to
B.4
a13
descending
D
altered
dominant
run
(root,
b13,
P5,
G3m7,
#9,
b9,
root,
m7)
& b #œ
Species
bœ œ œ œ ‰ Œ Ó
D 7b9
œ! b œ œ œ œ b œ n
Species
Old Folks: B.2 D m7b5 G 7b9
& bb Ó
C m7
œ œ œ b œ œ J œj ‰ Œ Ó
Solar: Bar9 71
& b
over
D7b9
resolving
on
the
m233
of
the
Gm7
(fig.
23).
2
œ
Fig.
Fig. 31 Fig. 23
F #7sus
Species B.5 Fig. 7 Fig. 7
œ
Fig. 5
#œ nœ
G 7b9
r
& b b Ó #‰œ n œ œ!n œ R œ n œ bœœ #œœ œ œn œ bbœœ b œœ #œœb œ œœ # œ n œ! ‰ Œ Ó
Snova: Bar
Species B.3 40 G m7 C7 F ma7
Solar: Bar11147
nnb
& b bœ nœ œ œ œ œ #œ Ó
5
Fig. 23 Fig. 7
E b7 A bma7 Fig. 30
œœR # bœœ œ œb œ
Fig. 6 Fig. 7 Fig. 23 Fig. 7
œ. œ œ bœ bœ œ bœ
Species B.6
Œ ‰ ! œ ! œ œ
œ nœ bœ œ œ ‰ J ‰ Ó
Snova:
74
Bar
–13
S70pecies
#œ
G m7
9 &
Species
Ex.
B.4 D 7b9 B.5
–
Old
Folks:
Bar
40:
A
chromatic
approach
tone
from
the
&b ! œ ‰ Œ Ó n
Old Folks: Bar 24
‰ ! R œ bœ œ #œ r
#œ ! ‰ Œ Ó
Snova: Bar 40
&
an
enclosure
resolving
to
the
root
of
F#7sus
(fig.
7).
œ
11
Fig. 23 Fig. 7
E b7 A bma7
œ bœ œ bœ œ œ bœ bœ
Species B.6
&Œ ‰ ! R ! œ b œ ‰ œJ ‰ Ó
Snova: Bar 70
13
Fig. 23
Ex. 75– Species B.6 – Snova: Bar 70: A descending Eb altered dominant phrase
(b13,
ma3,
P4,
b9,
root,
m7)
over
Eb7
resolving
to
the
ma3
of
Abma7
(fig.
23).
Species B.5 F #7sus
œ #œ nœ œ #œ
G 7b9
‰ ! R œ bœ œ #œ r
#œ ! ‰ Œ Ó
Snova: Bar 40
& œ
11
Fig. 23
Species B.7 C # 7alt
j
C m a7(#11)
œ œ bœ œ
Son of Thirteen:
Bar 253 15
& œ œ bœ bœ œ ‰ Œ Ó
Fig. 23 Fig. 5
Ex. 76 – Species B.7 – Son of Thirteen: Bar 253: A descending C# altered
dominant phrase (#9, b9, root, chromatic passing tone ma7, and m7) over C#7alt
(fig. 23), leads to a descending enclosure chain from m7 resolving to the ma6 of
Dominant Cadence
8.3
–
Dominant
Cadence:
Species
C
Species C
B b7 E bma7
œ
Species C.1 F m7
b 4 œ ‰ œ ‰ #œ ‰ œ ‰ bœ
&bb 4 ‰ œ ‰ œ œ œ œ œ
Solar: Bar 7
Fig. 6
E bma7 E b m7 A b7 D bma7
Fig. 22
œ
Species C.2
b b jC.1
& b œ ‰ –Œ
Solar:
b œ m3
œ onf
œFm7,
œ B‰ar
‰7:
A
scalar
ascent
‰ from
œthe
œ œ to
Óan
Solar: Bar 20
œ bœ
Ex.
77
–4
Species
œ œ
enclosure
featuring
an
ascending
chromatic
passing
tFig.
one
6 fragment
from
the
P5
B b7
Dominant Cadence œ
Species C.3 F m7
b œ œ œ
&bb Ó Œ œ nœ œ œ œC œ œ œ
œ n œSpecies Ó
Solar: Bar 30 to
the
ma3
of
Bb7
(fig.
6),
to
a
descending
altered
dominant
fragment
resolving
7
B b7 E bma7
bœ œ œ œ œ
F m7
from
Speciesthe
C.1b9
resolving
to
the
ma3
of
Ebma7
(fig.
22),
before
Fig.
jumping
a
m7
b 4 œb œ ‰D bma7
Fig. 16
& b b 4 ‰ œ ‰ œ œ E m7 ‰ œ ‰ # œA 7 ‰
Fig. 7 1
E bma7 b
Solar: Bar 7
j œ.
Species C.4
b œ œFig. bœ6 œ bœ œ œ œ œ œ ‰ Ó nnb
&bb Ó
interval
to
the
ma2.
Solar: Bar 69
10
œ b œ
E bma7 E b m7 A b7 D bma7
Fig. 22
bœ œ nœ œ œ Ó
Species C.2
bAbm7b5
b
j ‰ Fig. Œ œ ‰ ‰ œ œ D 7b9 ‰ œ œ
Solar: Bar 20 13
& œ œ œb œ
b œ n œ # œ œ œj b œ
Species C.54
b Ó Œ ! b œ n œ n œ œ Œ n
Old Folks: Bar 11
&
13
b
Fig. 6
œ
Species C.3 F m7 B 7
#œ #œ nœ œ #œ #œ nœ œœ‰ Œ Ó
& Ó from
Son of Thirteen:
15 Fig.c16
scalar
ascent
the
root
Fig.
to
P75
of
Ebm7,
ontinues
with
aFig.
n
e1nclosure
featuring
b b b b
the
P5
jof
œE. bm7
tœo
tœhe
ma3
Species C.4 E ma7 E m7 A 7 D ma7
b bchromatic
œ b œ œtone
b œfrom
nnb
Fig. 9
b Ó œ œ œ ‰ iÓn
Fig. 6 Fig. 30Fig. 26
œ œ bœ
Solar: Bar 69
&
an
ascending
10 passing
Fig. 13
œ #œ œ jbœ
Species C.5 A m7b5 D 7b9
&b Ó Œ ! bœ nœ nœ œ bœ nœ Œ n
Old Folks: Bar 11
13 œ
b 4 œ ‰ œ ‰ #œ ‰ œ ‰ bœ
&bb 4 ‰ œ ‰ œ œ œ œ œ
Solar: Bar 7
Fig. 6
E bma7 E b m7 A b7 D bma7
Fig. 22
œ
Species C.2
suspension
of
Ab7
(fig.
6),
b efore
j umping
a
m 6
interval
t o
t he
root
in
suspension
b j bœ œ nœ œ
&bb œ ‰ Œ œ ‰ ‰ œ œ bœ ‰ œ œ Ó
Solar: Bar 20
œ
4
of Ab7.
B b7
Fig. 6
Dominant Cadence œ
Species C.3 F m7
b œ œ œ œ
&bb Ó Œ œ nœ œ n œSpecies œ œ œ Ó
Solar: Bar 30
œ œ C
7
B b 7 Fig. 16 E bma7
œ
Species C.1 F m7
& 4 b b œ ‰ œ œ œ œ œ œ
Solar: Bar 7
œ.
Species C.4
Solar: Bar 69
bb b ÓC.3
–
Solar:
œ
œ Fig. 6 b œ œ b œ œ œ bœ j œ œ œ ‰ Ó nnb
&
Ex.
79
–10
Species
B ar
30:
A
descending
c hromatic
p assing
t one
œ
E bma7 E b m7 A b7 D bma7
Fig. 22
œ ontinuing
Species C.2
fragment
to
enclosure
from
13 the
P5
resolves
to
the
ma2
of
Fm7
(fig.
7),
c
bb m7b5j ‰ Œ œ ‰ ‰ ‰ œ œ œ œ nœ œ b œ
Fig.
œ œ œ bb œœ(fig.
œ
Species C.5
# œ
4 A D 7b9
! b œ n œ n œ œ Cadence nœ œ bœ
j
&b Ó Œ Œ n
Old Folks: Bar
with
an
13 e nclosure
Dominant f ragment
16),
continuing
w ith
a
tertial
b
Fig. 6
Species C
ascent
to
an
enclosure
from
the
PFig.
4
o16
f
Bb7
to
the
Fig.
ma3
(fig.
œ
21 1),
raising
a
m6
Species C.3 F m7 B 7
b b
b bbb Ó œ œ œŒ œ œœ œn œ œœ# œœ œ # œ œ œ œ œ œ œ œ œœ œ
2 Fig.
Ó œ
Solar: Bar 30
&
Species F m7 A 7alt B 7 E ma7 D m(ma7)
C.67C.1
n œ œ
Species
b 4 ‰ ‰ œ œ ‰ #
œ œ ‰ # #
œ œ n
‰ œ œ
œ # œ
‰ b
#œ œ n œ œ œœœ ‰ Œœ Ó
15 &
& Ób 4 œ
SonSolar: Bar 7 Bar 164
of Thirteen:
interval
t o
t he
root.
Fig. 7 Fig. 16 Fig. 1
E bma7 E b m7 A b7 bma722
A b7 œ .
Species C.4 Fig. 6 DFig.
bb Ó E bma7 œ D bœma7œ ‰ Óœ E b m7
bœ œ bœ œ œ j nnb
Fig. 6 Fig. 9 Fig. 26
œ
Fig. 30
b œ
Solar: Bar 69
& b j œ bœ
Species C.2
bœ œ nœ œ
10
& b b œ ‰ Œ œ ‰ ‰ œ œ œ bœ ‰ œ œ Ó
Solar: Bar 20
4
Fig. 13
œ n œm# œinor
sBcalar
œb
Species C.5 A m7b5 D 7b9
œ b œ Eb
œ b œ to
descending
Fig. 6
7j
Solar: Bar 30 b Ó Œ Bar
6! 9:
b œ An œn
naœscending
œŒ n
Old Folks: Bar 11
& b
Species C.3 F m7
Ex.
80
–13
Species
C.4
–
Solar:
œ œ œ
&bb Ó Œ
œ nœ œ
n œ œ œ Fig.œ 2 œ Fig.œ 21œ Ó
7
œ œ œ Aœ7altFig. 7
pentatonic
run
anticipates
Ebm7
to
an
enclosure
from
the
P4
to
the
m7
of
Ab7
Fig. 16
œ œ # œ œ
œ E bm7 # œ # œ œ #Aœb7n œ # œD bma7n œ
Fig. 1 œ
Species C.6 Fig. 16 D m(ma7)
Ó
E bma7 œ œa‰
first-‐
œ d# escending
œ
œ œ œ ‰ Ó Œ Ó nnb
SonSpecies
of Thirteen:
C.4 Bar 164
& .
(fig.
13),
15 raising
a
ma7
interval
to
the
ma6
of
Ab7,
before
bb Ó œ bœ œ bœ œ œ j œ
b œ
Solar: Bar 69
10
&
inversion
Ab
major
triad
over
Fig. 6the
Fig.
giving
9 ma2,
Fig.m
b œ P5
over
Fig.
œ 26a7,
Dbma7.
30
Fig. 13
œ #œ œ jbœ
Species C.5 A m7b5 D 7b9
&b Ó Œ ! bœ nœ nœ œ bœ nœ Œ n
Old Folks: Bar 11
13 œ
œ œ œ Aœ7alt
Fig. 16 Fig. 2 Fig. 21
œ œ œ #œ œ œ
D m(ma7)
Ex.
81
–15
Species
C.5
–
Old
Folks:
Bar
11:
#Aœn
# aœ scending
œ # œ n œ sœcale
Species C.6
Ó
Son of Thirteen: Bar 164
# œ # œfragment
nœ œ œb‰egins
Œ Ó from
&
the
melodic
minor-‐borrowed
Fig.m 6 a7
Fig.
through
9 mFig.
a2
26
of
Am7b5
tFig.
o
a
30
tertial
ascent
through
the
m7
and
b9
of
D7b9
(fig.
16),
to
a
non-‐diatonic
enclosure
from
the
P4
B b7
œ
Species C.3 F m7
b œ nœ œ œ œ œ œ œ œ œ œ
&bb Ó Œ œ nœ Ó
Solar: Bar 30
7
j œ.
Species C.4
b œ œ bœ œ bœ œ œ œ œ œ ‰ Ó nnb
&bb Ó
Solar: Bar 69
10
œ b œ
Fig. 13
œ jbœ
resolving
Species C.5 to
mAa3
m7b5(fig.
2),
to
a
diminished
triad
D 7b9 (giving
chord
tones
ma3,
P5
and
œ #œ
&b Ó Œ ! bœ nœ nœ œ bœ nœ Œ n
Old Folks: Bar 11
13 œ
b9)
(fig.
21).
œ œ œ Aœ7alt
Fig. 16 Fig. 2 Fig. 21
œ œ œ #œ œ #œ œ
D m(ma7)
#œ œ #œ nœ œ #œ #œ nœ
Species C.6
œœ‰ Œ Ó
&Ó
Son of Thirteen: Bar 164
15
Ex. 82 – Species C.6 – Son of Thirteen: Bar 164: A scalar descent from the root of
A7alt (through the m7, b6 and P5), to a diatonic enclosure featuring an
ascending passing tone fragment from P4 to ma3 (fig. 6), to a major triad
arpeggiation in root position with an enclosure around the root (fig. 9), to a
descending chromatic passing tone fragment to enclosure chain from root
resolving to the m3 of Dm(ma7) (fig. 26), to a motivic interval structure (m3-‐
Based on the evidence compiled in this chapter, we can observe patterns for
frequency of use and unique features for each formulaic species of dominant
cadence vocabulary. I will work through them from Species A to C.
Species A breaks down into component phrases, the heart of which is
consistently
based
on
a
descending
diminished
triad
followed
by
a
m6
or
ma6
121
interval. The phrases preceding and following the triad are varied with some
Begins With:
-‐ Descending chromatic passing tone to enclosure, preceding the descending
-‐ Ascending diatonic phrase over IIm7 chord, preceding the descending
-‐ Descending chromatic passing tone sequence to enclosure to begin, preceding
-‐ Descending chromatic passing tone sequence resolves to dim5 of the
-‐ Descending chromatic passing tone to descending enclosure chain resolves to
-‐ Descending root position diminished triad from the b9 to the P5 of the V7
chord, resolves by step to the ma3, then returns to the b9 with a ma6 interval:
-‐ Descending root position minor triad from ma2 to P5 of V7 chord, resolves by
-‐ Descending root position diminished triad b9 to P5 of V7, then jumps an octave
to
the
#9
of
the
dom7
by
way
of
a
ma13
interval:
A.2
122
-‐ Slight variation of diminished triad with a descending 2nd inversion minor
triad from dim5 to m7 of IIm7b5, before returning through a m6 interval to the
-‐ Ascending chromatic passing tone enclosure to descending chromatic passing
tone to enclosure resolving to the ma3 of Ima7: A.1
-‐ Ascending chromatic passing tone enclosure to descending chromatic passing
tone to enclosure resolving to the aug5 of V7. Then descends down a root
position augmented triad through the aug5, ma3, and root of the V7 chord before
-‐ Ascending chromatic passing tone enclosure resolving to the P5 of Im7: A.4
-‐ Resolves by step to the P5 of Im7: A.6
-‐ A descending E minor pentatonic run from the #9 of Edom7 including the b9
We can observe components to be favoured or more practiced, based on
their frequency of use. Other less frequent components are observed to be
variations of their essential form, or additive phrases that act to elongate the
archetype. It is notable that in each case an interval of a ma6 or m6 consistently
follows the diminished triad. There is variation through which Metheny resolves
each
formulaic
species,
and
we
may
see
this
as
a
theme
as
we
continue
our
123
observation of his improvisational tendencies. Because Metheny is adept with
enclosure and passing tone formulaic components, he is free to resolve these
Dominant Cadence formulas to a chord tone of the tonic triad lucidly and with
variety.
Species B is the application of a descending altered scale stepwise and
with passing tones, over a IIm-‐V7-‐I, a V7-‐I, or a bII7-‐I progression. There are
some patterns of use for phrases preceding the altered scale descent, starting
pitches for the descent, and how the altered scale descent resolves, which I will
Begins With:
-‐ Descending chromatic passing tone to enclosure from the m3 of IIm7b5
-‐ Ascending enclosure with chromatic passing tone to descending chromatic
passing tone to enclosure from m3 of IIm7 to the P5 of V7: B.3
-‐ Descending root position major triad from the P5 of V7: B.1
-‐ Descending altered scale beginning on the P5 of V7 (5, 3, #9, b9, R) resolving to
the m3 of Im7 via a chromatic passing tone to enclosure: B.2
-‐
Descending
altered
scale
beginning
on
the
P5
of
V7
(5,
3,
#9,
b9,
R)
resolving
to
124
the ma3 of Ima7 via a chromatic passing tone to enclosure: B.3
-‐ Descending altered scale beginning on the root of V7 (R, b13, 5, 3, #9, b9, R, b7),
-‐ Descending altered scale beginning on m7 of bII7 (b7, 5, #11, 3, #9, b9),
resolving through an enclosure from the b9 of bII7 to the root of I7sus: B.5
-‐ A typical 'cliche' descent from the ma3 of V7 (3, b9, R, b7), resolves by step to
-‐ Descending altered scale beginning on the #9 of bII7 (#9, b9, R, b7), resolving
to the ma6 of Ima7(#11) through a descending enclosure chain from the m7 of
bII7: B.7
We can observe that in three species (B.1, B.2, B.3), a chromatic passing
tone to enclosure component from the m3 of the IIm chord precedes the altered
scale descent. In two species (B.2, B.3), the descending altered scale begins with
a P5 and follows the identical interval structure. In Species B.3, the interval
structure is simply elongated, beginning on the root to include the root and b13.
Another recurring feature is the resolution to a ma3 (B.3, B.6) or a m3 (B.2, B.4)
of the Ima or Im chord. Notably, other starting pitches of the altered scale are
used as well, two occurring over the less common bII7-‐I progression, in which
125
Species C is the application of an ascending diatonic phrase over the IIm7
chord, followed by an enclosure with chromatic passing tone resolving to the
ma3 of V7, typically followed by a large ascending interval, over a IIm7-‐V7-‐I
progression. There are some patterns of use and some unique applications,
Begins With:
-‐ Ascending diatonic phrase beginning on the root of the IIm7 chord: C.2, C.3
-‐ Ascending diatonic phrase beginning on the root of the IIm7b5 chord: C.5
-‐ Ascending diatonic phrase beginning on the m3 of the IIm7 chord: C.1
-‐ Ascending diatonic phrase beginning on the P5 of the IIm7 chord: C.4
-‐ Enclosure with ascending chromatic passing tone resolving to the ma3 of V7:
-‐ Diatonic enclosure resolving to the ma3 of V7: C.3
-‐ Non-‐diatonic enclosure resolving to the ma3 of V7: C.5
-‐ Descending ma2 to enclosure resolving to the m7 of V7: C.4
-‐ Arpeggiated diminished triad over V7 outlining 3-‐5-‐b9 scale degrees: C.5
-‐ Arpeggiated major triad over V7 outlining 3-‐5-‐R scale degrees: C.6
We can observe that the diatonic phrase over the IIm7 chord shows
patterns of use, beginning on the root in three species (C.2, C.3, C.5), but making
use of the m3 and P5 as starting points as well. The ma3 is used as the target
note of an enclosure in all but one species (C.4), showing a clear pattern of use.
The recurrence of a large interval is evident, pre-‐existent as a motive in
Dominant Cadence Species A. Ma6 intervals complete the phrase in Species C.2
and C.3, m7 and ma7 intervals complete the phrases in Species C.1 and C.4
respectively. A new motive of an arpeggiated triad is evident in Species C.5 and
C.6.
Overall, Metheny is shown to use just three major archetypes of
Dominant Cadence Species. The IIm7-‐V7-‐I progression is among the most
common in jazz, and so it is interesting that Metheny should have so few
formulaic archetypes for which to approach this progression. Through an
observation of the transcriptions of Metheny’s improvisations in the appendices
of this study, it becomes evident that Metheny often uses fluid combinations of
opposition to the lengthier and more visibly pre-‐rehearsed vocabulary that
128
Chapter 9
Melodic Cliché formulas are phrases that are found to be popular among a
wide variety of jazz improvisers. Though the scope of this research does not
include quantifying their popularity or origin, most jazz researchers should find
these phrases to sound familiar. As an improviser, it seems that for Metheny a
goal is to “avoid the cliché,” however including a few carefully selected cliché
type phrases into his improvisations injects a distinctive style familiarity by way
relation to the harmony are defined below. To conclude at the end of the
chapter, we will observe unique features and patterns of use.
Clichés
9.1
–
Cliché:
Species
A
Formulas A, B, C & D
œ œ
Species A.1 D m7b5 G 7b9
b 4 œ
&bb 4 œ œ œ nœ
Solar: Bar 84
œ
Fig. 17
œ
Species A.2
œ
G 7b9
b nb
D m7b5
œ
&bb œ œ nœ
Solar:
Ex.
Bar–192
83
Species
A.1
–
Solar:
Bar
84:
An
Ab
melodic
minor
scale
fragment
begins
œ œ n
2
œ bœ œ œ
&b œ œ ! Œ
and
#9)
Bar
Old Folks: of
39
G7b9
(fig.
17).
3
œ
Fig. 17
#œ œ œ #œ œ œ œ nœ œ œ œ
A 7b9
œœœœœœœ œ
Species A.4 D m7
œ bbb
E m7b5(9)
œ œ #œ
&b bœ #œ nœ œ œ ‰ œœœ Œ Ó
Old Folks: Bar 49
4
#œ nœ œ œ bœ œ œ œ œ nœ œ œ œ œ ‰ œ Ó
F ma7 F m7
b nb
&bb Ó n
Solar: Bar 210
œ J
7
b 4 œ
&bb 4 œ œ œ nœ
Solar: Bar 84
œ
Fig. 17
Clichés
œ
Species A.2
œ
G 7b9
b nb
D m7b5
œ œ
Species A.1 Fig.D17m7b5 G 7b9
b 4 b œ
&bb 4 œ œ œœ œ nœ œ
Solar: Bar 84
œ
Species A.3 E 9
b œ œ œ
& b œ Fig. œ17 œ œ ! Œ
Ex.
Old 8 4
–
SBar
Folks:
3
pecies
39 A.2
–
Solar:
Bar
192:
An
Ab
melodic
minor
scale
fragment
begins
on
the
A.2
m3
of
Fig. m7b5 and
continues
as
a
Clichés
Dm7b5
tertial
Ga7b9rpeggio
(through
ma3,
P5,
m7
œ D m7œ
Species
b nb
D17
œ
& b b œœ œœ œ #A, nœ
Solar: Bar 192
œ œ œ n œ n
Formulas A 7b9 B, C & D
œ œ œ œ œ
Species A.4
# œ œ
2
œ œ œ b
E m7b5(9)
and
root)
œ m7b5 œ œ
of
49G7b9
(fig.
17).
Species A.1 & b Fig.D17 œ œ ‰ œGœ7b9œ œ # œ
bœ œ #œ nœ œ œ Œ Ó bb
Old Folks: Bar
œ œ
4
b 413E 9 b
œ œ œ Fig. 22
&39bFig. b 4 œ Fig. 16 Fig.œ 17 œœ31 Fig. œ nb17
Solar: Bar 84
œ
Species A.3
œ œ
Fig.
Fœm7 b œ E bma7
b œ ! œŒ
Old Folks: Bar
Species A.5
& œ œ n œ œ œ b œ œ
3 F ma7 B 7
b n œ # œ n œ œ œ b œG 7b9 œ œ œ œ n œ œ œ œ ‰ œ Ó
b œ nb
Fig. 17
bFig.b D17m7b5
Ó n
Solar: Bar 210
& œ J
7
œ
Species A.2
œ
b b E m7b5(9)Fig. 13œ œ Fig. 19œœ œ # œ n œ Fig. 17 œFig.œ œ21œ n œ œ œ D m7
nb
Solar: Bar 192
& 49 b œ œ n
Species A.4 A 7b9
œ œ
A.3
œ –œ
œOld
Folks:
Bar
œ A7 œ # œ mœinor
scale
fragment
œ bbb
&17b Fig. œ bœ œ #œ nœ œ œ ‰ œœœ Œ Ó
Old Folks: Bar
3 œ
Ex.
Species85
–B.1
4Species
œ œ the
œ œ œ œ #œ œ J
E m9 17
E b9
bFig. Óa3
‰through
Œ n
Old Folks: Bar
& œ œ of
EœFig.
œ
11
Species A.3
begins
o n
t he
m 13 of
Eb9
( aFig.
ug4,
31 PFig.5,
m
17a6)
b
12229ydian
dominant
œ œ
Fig. 16 Fig. 17
m7 b œ
b œF ma7 œ n œ œœ œ œFFig. B b7 E bma7
! œŒ
Old Folks: Bar 39
Species A.5
& b œ œ
3
b b b133 nœ #œ bœ nœ œ 1‰ 7).
œ Gœma7(fig.
nb
15
Ó F #m9 œ œ œ n œ œÓ n
and
Solar: continues
Bar 210 a s
a
t ertial
a rpeggio
( from
m 7,
m a2,
a ug4
t o
m a6)
&Bar œ œ b œ œ œ
Species B.2
# œ # œ œ J
7
Œ 13 ‰ J œ # œ Fig.
Fig. 17
Fig. 19 œ # œ œ 21
13
œ œ
A 7b9
œ œ œ œ
Species A.4
b œEœm9 œ œ œ œ Fig. œ œ #œ ‰ A7 œ # œ œ
œ œ Œ Ó bbb
Old Folks: Bar 49
œ œ œ 3 œ
& b œ # œ n œ œ
Species B.1
œ .
Son of Thirteen:
# œ # œ n œE bma7n œ
13 Fig. 16
‰
Species A.5 & B b7
Bar 96 16
n œ
Oœld
œFbolks:
œ n œ Bar
œ Gœ ma7œ œ G
minor
n
F ma7 F m7
b b œ4n9:
œ
Fig. 15
b
&Barb 133 Ó # # œ œ œ n dœescending
‰œÓ nb
œ # œ # œ œœ œ b œ œ œ œ œ
Solar: Bar 210
Ex.
Species 86
B.2
–7
Species
A .4
– An
ascending
to
J
Fig. 15 F m9 Fig. 5
Ó begins
Œ o13n
t‰he
Jm7
oFig. # œ Fig. œ 17 œ .m6,
d‰ im5)
Ó to
Son of Thirteen:
&run
# œ #Fig.œroot,
n œ m3,
13
pentatonic
Fig. f
E19 m7b5(9)
(through
21
Species B.1
3 œ œ
œ
A7
œ œ œ œ œ J
Bar 17 E m9 Fig. 15 Fig. 5
b œ Ó œ # œ ‰œ œœ œ œ #œ Œ n
Old Folks:
& œ
Species
an
e B.3
nclosure
t o
Bthe
m(ma7) P 4
( fig.
1 3),
t o
a
G
m elodic
m inor
s cale
f ragment
(through
P4,
#œ
11
œ #œ #œ nœ nœ.
Son of Thirteen:
&Ó Œ ‰ J # œ œ # œ m#inor
‰ Ó
Son of Thirteen: Bar
œ nœ œ.
approach
13 tone
(#9
to
ma3)
(fig.
31),
scale
fragment
from
œ #œ œ œ
Species B.3
œ œ œ #œ
B m(ma7)
œ #œ #œ nœ nœ.
Son of Thirteen:
‰
(fig.
17),
to
a
descending
altered
dominant
fragment
(with
b9
and
#9)
resolving
&
Bar 96 16
œ bœ œ œ
&b œ œ ! Œ
Old Folks: Bar 39
3
œ
Fig. 17 130
œ œ #œ œœ œ nœ œ œ œ
Species A.4 A 7b9
œœœœœœœ œ œ #œ
D m7
‰ œ œ œ œ #œ œ bbb
E m7b5(9)
&b bœ #œ nœ œ œ Œ Ó
Old Folks: Bar 49
4
#œ nœ œ œ bœ œ œ œ œ nœ œ œ œ œ ‰ œ Ó
F ma7 F m7
b nb
&bb Ó n
Solar: Bar 210
œ J
7
‰ œ œ œ œ œ #œ œ
œ J
E m9 3
&b Ó Œ n
Old Folks: Bar 17
Ex.
87
–11
Species
A .5
–
S olar:
B ar
210:
A n
a scending/descending
C
Lydian-‐based
Clichés
pentatonic
run
(ma6,
root,
ma6,
Fig. 15 aFormulas
ug4,
ma3)
A, B, tChe
&mD
from
a3
of
Fma7
gives
ma3,
P5,
F # m9
œ
Species B.2
#œ #œ œ
G ma7
‰ J # œ œ # œ # œ œn œ œ .œ ‰ œÓ
Bar 133D m7b5 G 7b9
Ób 4 Œ
Species
Son A.1
of Thirteen:
ma3,
a
n1384
on-‐diatonic
dim2,
and
ma7
scale
tones
to
an
enclosure
from
ma7
to
the
Solar: Bar
&
&bb 4 œ œ œ œ nœ
m7
of
Fm7
(fig.
1Fig.
3),
17to
a
tertial
Fig. 15 descent
down
Fig. a
r5oot
position
Ab
major
triad
œ œ #œ œ œ œ œ #œ
Species B.3 B m(ma7)
œ # œ # œ nœ n œ . œ
Son of A.2
Species Thirteen:
‰ nb
G 7b9
2 & b
giving
Bar 96Barm 7,
P5,
m3
chord
tones
to
a
chromatic
passing
tone
fragment
from
m3
to
D m7b5
b œ n œ œ
Solar: 16192
& b œ œ œ n
the
P5
of
Bb7
(fig.
19),
to
an
ascending
Ab
Melodic
Minor
scale
fragment
(ma6,
Fig. Fig.
15 17 Fig. 5
E b9
œ Pœ 5,
mœa6,
m7,
root,
b9
altered
Species A.3
œ œ
ma7,
root,
Barm 39a2,
m3)
from
the
P5
of
Bb7
giving
&b œ œ œ bœ ! Œ
Old Folks:
3
œ
dominant
scale
tones
(fig.
17),
to
a
tertial
arpeggio
through
a
Bdim
triad
giving
Fig. 17
œ œ #œ œ œ œ nœ œ œ œ
A 7b9
œ
Species A.4
#œ
b9,
m a3,
P5,
m a3
a ltered
dominant
scale
t ones
(fig.
21),
resolving
tDo
m7the
root
of
b œ œ œ œ œ œ bœ œ #œ nœ œ œ œ ‰ œ œ œ œ #œ œ bbb
E m7b5(9)
Œ Ó
Old Folks: Bar 49
&
4
b œ n œ œ ‰œÓ nb
& b œ œ bœ œ œ œ n
Solar: Bar 210
œ J
7
œ J
E m9 3
&b Ó ‰ Œ n
Old Folks: Bar 17
11
œ
Fig. 15
F # m9
œ
Species B.2
#œ
J Bar
#1œ7:
Aœn
#aœscending/descending
G ma7
œ #œ #œ nœ nœ.
Son of Thirteen:
arpeggiated
&
A
major
triad
over
A7
before
leaping
up
the
octave
to
the
P5.
‰
Bar 96 16
Fig. 15 Fig. 5
b œ œ n œ œ œ b œœ b œ œ œ
B b7 E bma7
& œ œ! œ œŒ
Species A.5 F ma7 F m7
bb Ó nœ #œ bœ nœ œ nb
3
œ J
7
# œ œ œ # œ A 7 œ # œ œ œ œ œ3n œœœ œœ œ
A 7b9
Species A.4 131
œ
Fig. 13 Fig. 17 Fig. 21 D m7
œ œ bbb
E m7b5(9) Fig. 19
b œ œ œ œ œ
bœ œ #œ nœ œ œ œ œ ‰ œ œ œ œ
œ Œ Ó
Old Folks: Bar 49
& 17
Species B.1
œ œ J
4 E m9
b Ó13 ‰ œ #œ Œ n
Old Folks: Bar
11
& Fig. Fig. 16 Fig. 17 Fig. 31 Fig. 17 œFig. 22
B b7 E bma7
nF #œm9 œ œ b œ n œ b œ œ œG ma7œ œ
Species A.5 F ma7 F m7
Fig. 15
b
b b 133Ó # œ n œ œ nœ œ ‰œÓ nb
œ œ n
Solar:
SpeciesBar
B.2210
& œ # œ # œ œ b
œ #œ œ œœ œ œ J Ó
7
Ó Œ ‰ J ‰
Son of Thirteen: Bar
& # œ 21n œ œ .
# œ Fig.
13
œ # œ E
œm
m(ma7)
‰
Ex.
Bar896 9
–16
Species
ajor
& Fig. 15
(4-‐3-‐2-‐R)
B.2 from
#m9
the
Fm 3
of
F#m9
(fig.
15),
to
a
descending
enclosure
G ma7 chain
œ #œ #œ œ
Species Fig. 15 Fig. 5
Ó Œ ‰ J #œ œ #œ #œ nœ ‰ Ó
Son of Thirteen: Bar 133
resolving
& œ.
13
the
ma2
of
Gma7
(fig.
5).
Fig. 15 Fig. 5
œ #œ œ œ
Species B.3
œ œ œ #œ
B m(ma7)
œ #œ #œ nœ nœ.
Son of Thirteen:
& ‰
Bar 96 16
Fig. 15 Fig. 5
Ex. 90 – Species B.3 – Son of Thirteen: Bar 96: An ascending/descending A major
scale fragment (R-‐2-‐3-‐4-‐3-‐2-‐R) beginning on the m7 of Bm(ma7) through m7,
root,
ma2,
m3
(fig.
15),
before
descending
to
the
P5
to
an
enclosure
chain
from
2
Clichés
P5
to
m3
(fig.
5).
G bma7(#11)
Species B.4
œ bœ œ bœ œ bœ bœ bœ œ
A ma7(#11)
& b˙ œ #œ #œ bbb
Son of Thirteen:
œ bœ œ #œ œ œ
Bar 111 18
FIg. 15 Fig. 1
Species C.1 E bma7 E b m7 A b7 D bma7
œ boœf
Tœhirteen:
b B.4
–
Son
œ œ bœ
b œ Bar
111:
An
œascending/descending
nnn
Solar: Bar 105
&bb Ó œ bœ œ ‰ J ‰ Œ Ó
Ex.
91
–21
Species
Db
‰ J J J œ
Son of Thirteen:
&Ó Œ Œ Ó b
before
Bar 122 a 24
diatonic
enclosure
from
ma7
to
the
P5
of
Ama7#11
(fig.
1),
before
œ œ b œ œ n œ œ œ3 b œ œ œ3
œ œœ œ
Species D.1 C7 E m9
j
&b ‰ œ œ œ J œ œ
3
Old Folks: Bar 15 G m7 #œ
Ó n
3
and
aug4.
27
FIg. 32 FIg. 2
A bma7
Species D.2 E b7 j œ œ bœ œ œ bœ œ. bœ bœ œ œ œœ œ
G 7b9
œ
& bœ œ ‰ J Œ Ó
Snova: Bar 38
30
FIg. 32
œ #œ ! œ #œ œ nœ œ œ œ #œ ! nœ œ ! œ œ œ œ
Species D.3 A 7sus D ma7 G 7sus C ma7
&Ó Œ ‰. R ! ! ! œ J ‰
Snova: Bar 61
33
FIg. 32
2
Clichés 132
G bma7(#11)
Species B.4
œ bœ œ bœ œ bœ bœ bœ œ
A ma7(#11)
b˙ œ #œ #œ bbb
Son of Thirteen:
& œ bœ œ #œ œ œ
Bar 111 18
9.3
–
Cliché:
Species
C
FIg. 15 Fig. 1
E bma7 E b m7 A b7 D bma7
2 C.1
Species Clichés
b œ bœ œ œ œ bœ ‰ Œ
bœ œ
bœ œ ‰ œ nnn
Solar: Bar 105
&bb Ó J Ó
21
G bma7(#11) FIg. 3
Species B.4
œ b œ œ b œ œœ b œœ b œ œb œ œœ œ
FIg. 29
bma7(#11)
A ma7(#11)
& b˙ œ œ œ #œ #œ bbb
Son of Thirteen:
Species C.2 B
œ œ # œ
Bar 111 18
b œ œ
G ma7(#11) F ma7(#11)
‰ J J J œ
Son of Thirteen:
&Ó Œ Œ Ó b
Ex.
Bar9122 2
–24
Species
C.1
–
Solar:
Bar
105:
A
descending
passing
tone
fragment
from
FIg. 15 Fig. 1
the
ma2
of
Ebma7
Species C.1 b
E ma7(fig.
3),
to
a
b
descending
b7 triad
to
Gb
(AIV)
D ba scending
Ab
triad
(V)
œ bœ œ
E m7 ma7
b b œ œ œ œ ‰ œœ œ nnn
FIg. 29
œ bœ ‰ Œ Ó
Solar: Bar 105
&bb Ó œ œ b bœ nœ œ œ bœ J œ œ œ œ
Species D.1
œ œ
C7 E m9
j
œ
21
œ
3
œ
G m7
# œroot
of
Db.
b ‰ œ Ó n
Old Folks:
over
Ab7
Bar
( 15 2
fig.
9),
resolving
3
t o
t he
J
3
&
3
27
FIg. 3 FIg. 29
B bma7(#11)
œ œ œ œ œ
2
Species C.2
œ
G ma7(#11) FIg. 32 Clichés FIg. F2 ma7(#11)
Œ œ œ ‰ b œ œ œ b œ œ .J b œ b œ
J J b œ
Son of Thirteen:
&Ó E b7 j
œ œ œ œŒ œ Ó b
Species
Bar 122D.2 24 A ma7 G 7b9
œ
& bœ œ ‰ J Œ Ó
Snova: Bar 38
G bma7(#11)
Species B.4 30
œ bœ œ b œ œ bœ bœ
FIg. 29 A ma7(#11)
œ # œ # œ bbb
& b˙
Son of Thirteen:
b œ
œ œ # œœ n œœ œ b œ œ œb nœœ œ
œ # œ œ
œ œ
Species
Bar 111D.1
œ b œ œœ œ œ
C7 E m9
j
œ
FIg. 32
œ
18 3
œ
Old Folks: Bar 15 G m7 #œ
&b ‰ œ œ J #œ ! œ œ œ œ œÓ n
3
œ œ nœ
3 3
Ex.
93
D.3
–27
Species
C.2
–
Son
Ao7sus
f
Thirteen:
Bar
1D22:
ma7 An
arpeggiated
G 7sus C
triad
(
CV)
ma7 begins
œ
Species
R #œ ! !œ J
&Ó Œ ‰. ! ! ! ‰
Snova: Bar 61 FIg. 15 Fig. 1
& j
J œ œ
Species D.2 G 7b9
œ
& bœ
resting
oœn
the
ma7
of
Fma7#11.
J
21 FIg. 32
‰ Œ Ó
Snova: Bar 38
29),
before
30
FIg. 3 FIg. 29
b
Species C.2
œ œ œ œ œ
B ma7(#11)
œ
G ma7(#11)
FIg. 32 F ma7(#11)
J # œ
J n œ œJ œ œ œ Œ œ œÓC ma7
Son of Thirteen:
Species
D
. R J ‰
&Ó Œ ‰ ! FIg. 29 ! !
9.4
–
Cliché:
33
œ œ b œ œ n œ œ œ3 b œ œ œ3
œ œœ œ
Species D.1 C 732 E m9
j
FIg.
œ œ œ
3
œ
Old Folks: Bar 15 G m7 #œ
b ‰ œ Ó n
3
27
& J
FIg. 32 FIg. 2
A bma7
Species D.2 E b7 j œ œ bœ œ œ bœ œ. bœ bœ œ œ
œ œ leads
to
a
œ
G 7b9
œ
b œ D.1
œ–
Old
Folks:
Bar
15:
An
ascending
‰scale
J fragment
Œ Ó
Snova: Bar 38
&
Ex.
94
–30
Species
descending
chromatic
FIg. passing
32 tone
fragment
on
the
ma6
of
C7
with
a
root
pedal
œ #œ ! œ #œ œ nœ œ œ œ #œ ! nœ œ ! œ œ œ œ
Species D.3 A 7sus D ma7 G 7sus C ma7
&Ó Œ ‰ . R ! enclosure
from
the
!P4
of
C7
t!o
the
œ root
oJf
E‰ m9
Snova: Bar 61
point
(fig.
33 32),
to
a
non-‐diatonic
previous
pedal
point
motive
with
the
exclusion
of
a
chromatic
passing
tone.
& b˙ œ bœ œ œœ b œœ b œ œb œ œœ œ œ œ œ #œ #œ bbb
œ œ # œ
Bar 111 18
b œ œ
G ma7(#11) F ma7(#11)
‰ J J J œ
Son of Thirteen:
&Ó Œ Œ Ó b
Bar 122 24
FIg. 15 Fig. 1
E bma7
b A b7 D bma7
Species C.1
133
œ bœ œ
E m7
&15b bG m7Ó #œ œ b b œ n œ œ œ3 b œ J œ œ
Species D.1
œœ œ
C7
œ
21
œ œ
& b ‰ œ FIg. 3 J œ œ Ó n
Old Folks: Bar 3
27
FIg. 29
B bma7(#11)
Species C.2
œ FIg.œ32 œ œ œ
œ
G ma7(#11) FIg. F2 ma7(#11)
œ ‰ b œ J œ Jœ b œ œ .J b œ b œ œ œœ œ œ Œ œ Ó
b
Son of Thirteen:
E b7
&Ó œŒ œ
j b
Species
Bar 122D.2
24 A ma7 G 7b9
& bœ œ ‰ J Œ Ó
Snova: Bar 38
30
FIg. 29
œ #œ œ
œ b œ œ3 n œ œ œ3
G 7susœœ œ œ œ C ma7
Species D.1
œ œ
C7 E m9
j
œ b œ
FIg. 32
œ œ # œ n œ œ
Old Folks: Bar 15 G m7
& b ‰ Dœ.2
–
Snova:
œ J #œ ! œ œ œ œ nœ œ œ Ó n
3 3
&Ó Œ ‰ . R ! ! FIg. 2 ! ‰
Snova: Bar 61
Ex.
95
–33
Species
B ar
38:
R aising
a
m a7
interval
FIg. 32
b
Species
of
Eb7
D.2 E ba
to
begin
œ œ
j œ cbhromatic
7
descending
œ œFIg.œ 32
b œpassing
œ . tbone
œ fragment
œ
bœ œ œœ œ
with
a
root
pedal
A ma7 G 7b9
b œ œ ‰ J Œ Ó
Snova: Bar 38
32),
to
a
diatonic
passage
resolving
on
the
root
on
G7b9.
FIg. 32
œ #œ ! œ #œ œ nœ œ œ œ #œ ! nœ œ ! œ œ œ œ
Species D.3 A 7sus D ma7 G 7sus C ma7
&Ó Œ ‰. R ! ! ! œ J ‰
Snova: Bar 61
33
FIg. 32
Ex. 96 – Species D.3 – Snova: Bar 61: An ascending scale fragment from the ma2
of A7sus, to a descending chromatic passing tone fragment from the ma6 with
pedal point P4 (fig. 32), to a tertial descent through ma2, ma7, P5 and ma3 of
Dma7, ending with a phrase motivically similar in contour to fig. 32.
Based on the evidence compiled in this chapter, we can observe patterns
for frequency of use and unique features for each formulaic species of cliché
vocabulary. We will work through them from Species A to D.
Species A
This cliché phrase (Fig. 17) is loosely based on the concept of the “Cry Me
a River” melodic pattern, where the first six notes of the aforementioned
various harmonic contexts to outline the harmony. Metheny inverts the cliché to
an ascending phrase and extends it, to include ma6 and ma7 melodic minor scale
are some unique applications and distinct patterns of use, which we will observe
below.
Begins With:
-‐ Ascending melodic minor scale fragment (6-‐7-‐R-‐2) of the melodic minor scale:
-‐ Enclosure around the root of the melodic minor scale: A.4(1)
-‐ Ascent through a tertial m(ma9) structure, from the m3 to the ma9: A.1, A.3,
A.4(1)
-‐ Ascent through a tertial dom7 structure, from the ma3 to the root: A.2, A.4(2)
-‐ Ascent through a tertial dom7(b9) structure, from the b9 to the P5: A.5
The ascent of the tertial m(ma9) structure is applied to three unique
Natural 2. The m(ma9) structure outlines Altered Dominant scale tones (3-‐b13-‐
R-‐#9) for G7b9 in Species A.1, Lydian Dominant scale tones (b7-‐9-‐#11-‐13) for
Eb9
in
Species
A.3,
and
Locrian
Natural
2
scale
tones
(b5-‐b7-‐9-‐11)
for
Em7b5(9)
135
in Species A.4(1). The tertial dom7 and dom7(b9) structures are applied to their
native harmonic contexts in Species A.2, Species A.4(2), and Species A.5.
Species B
This cliché phrase (Fig. 15) is a melodic scale fragment with the archetype
(R-‐2-‐3-‐4-‐3-‐2-‐R) that is a simple melodic gesture to both hear and perform on the
guitar. Metheny applies it to a few different harmonic contexts and with some
Begins With:
-‐ The component begins from the m7 degree, over the tonic VIm7 tonality, which
-‐ The component begins from the m7 degree, over a m(ma7) chord: B.3
-‐ The component begins with a descent from the m3 of a IIm7 chord, in a
-‐ The component begins from the P5 degree of a ma7(#11) chord: B.4
-‐ A descending enclosure chain from the P4 to m3 of the m(ma7) chord: B.3
-‐ A descending enclosure chain from the P4 of F#m9 resolving to the ma2 of
Gma7: B.2
136
We can observe that (Fig. 15) is applied by Metheny to a four distinct
harmonic contexts, namely Aeolian, Dorian, Lydian and Melodic Minor. In two
cases, Metheny follows (Fig. 15) with a descending enclosure chain (Fig. 5),
Species C
The cliché phrase (Fig. 29) is a common IV or V major triad application
over a IVma7 or V7 tonality. There is one example of use for each:
-‐ A descending IV major triad to ascending V major triad over a IIm7-‐V7-‐Ima7
Species D
This chromatic descending cliché phrase (Fig. 32) occurs over V7
-‐ A chromatic descent from the ma6 to P5 of the V7 of a IIm7-‐V7 progression,
-‐ A chromatic descent from the ma6 to P5 of the IV7 chord, featuring the root as
-‐ A chromatic descent from the ma6 to P5 of a V7 chord, featuring the P4 as an
137
greater canon of jazz vocabulary. While there are some patterns for use,
Metheny largely applies them to various harmonic contexts in an adaptive
nature.
138
Chapter 10
Pentatonic Formulas
Pentatonic scales are some of the most widely used in music. They can be
applied to virtually any style or genre, not the least of which includes jazz
tonalities to create unique scale tone combinations. There are three archetypes
of pentatonic application:
Species A: Descending pentatonic run to diatonic enclosure (Fig. 11).
Species C: Descending pentatonic run (Fig. 11) to an ornamentation featuring the
dim5 degree, to a chromatic passing tone to enclosure (Fig. 7).
Each formula’s component parts, application, and relation to the harmony are
defined below. To conclude at the end of the chapter, we will observe unique
139
Fig. 11 Fig. 31
E b9
Species A.2
b œ œ œ œBar
Pentatonics
Old Folks: Bar 38 B ma7
œ 5œ8:
œA
descending
Eb
major
rpentatonic
run
from
&b ‰ b œ œ b œA,n œB,œ Cb œ&œD œ ! ‰ Œ Ó n
Ex.
97
–
3Species
A.1
–
Solar:
Formulas
bm7 b
œ œ Fig. D bma7 ma2,
ma7,
ma6,
aug4,
ma3
(fig.
œ5 degrees
œ nœ bœ
A 7
the
ma2
A.1of
Dbma7
Ee vokes
Lydian
scale
œ
Fig. 11
j
œ
Species
b 4 C # 7sus œ œ œ œ # œ n œ œ nnb
D # 7alt
œ
& b b 4 Ó #œ
Solar:
SpeciesBar A.358
#œ. #œ
A 7sus
#œ œ œ œ œ
&Ó ‰ œ #œ
Son of Thirteen:
11),
before
a
chromatic
approach
tone
trill
between
the
m6
and
P5
(fig.
31).
Bar 148
J J œ
5
Fig. 11 Fig. 31
b9
Species A.2
œ œ œ B bma7
œ œ œ Pentatonics
Fig. 11 E Fig. 3
r
&b ‰ D # 7alt
œ œ œ #bœœ #œœ b œ n œ œ b œ œ œ ! ‰ Œ Ó n
Old Folks:
Species A.4Bar 38 D ma7 F 7alt
J œ œ
3
Son of Thirteen: Formulas A, B, C & D
Bar 150 8
&Ó Œ ‰œ œ bm711 A b7 œ #œ #œ œ. D bma7 ‰ Ó
œ œ œ n œ b œ j
E
œ œ œ œ
Species A.1 Fig. Fig. 5
b 4 # œ n œ œn n b
#7alt œ
C # 7sus
& b b 4 Ó #œ
Solar: BarA.3 58
œ
Species
# œ . # œ
A 7sus D
œ œ œ œ
Fig. 11
G bma7(#11)
b œ‰ b œ œ #b œJœ
Fig. 5
&Ó œ #œ
Son of Thirteen:
Ex.
Bar91488
–A.5
5Species
A.2
–
Old
Folks:
Bar
38:
A
descending
F
major
pentatonic
run
J œ
Species
bœ bœ bœ j
&Ó ‰ œ œ œ bœ nœ ‰ Ó
Son of Thirteen: Fig. 11 Fig. 31
bœ bœ
b9
œ œ œ b j
Bar
Species 194
A.2
11
œ œ œ
from
the
of
Bbma7
through
scale
degrees
ma3,
ma2,
ma7,
Fig. 11
œ ma6,
P5
(fig.
11),
to
an
E Fig. 3
r
œ œœ b#œœ œ# œb œ n œ œ b œ œ œ ! ‰ Œ Ó
Bar 38 B ma7
&b ‰ œ D # 7alt n
Old Folks:A.4
Species Fig. 11 D ma7 F 7alt
b œ
J œ
3
œ
Son of Thirteen:
&Ó Œ œ œ‰ œ
j from
œ œ # œ œ .
œ œ ‰ Ó
œ œ # œ œ # œ œ n œ œ # œœ
Species
enclosure
A.6
Bar 150 8 chain
Btma7(#11)
he
ma5
resolving
F ma7(#11) to
the
ma3
of
Eb9
(Efig.
m7 5).
œ
œ œ
Son of Thirteen:
Fig. 11
bœ Œ
Fig. 5
& C # 7sus D # 7alt
Bar 211
œ # œ nœ œ
14
Species A.3
# œ # œ . # œ
A 7sus
œ
Fig. 11
b
# œ œ
Fig. 5
&Ó b‰œ b œ œ Jb œ œ œ #œ
Son of Thirteen:
J œ œ
Species
148 5A.5 G ma7(#11)Fig. 11 Fig. 5
j
Bar
&Ó b œ b A bma7(#11)
œ œ œ b#œœ b#œœ b œ b œ ‰ œ œ œ b œ n œ ‰ Ó
Son of Thirteen:
Species A.7 #
œ
E 7( 9)
Barof194 j
11
œ œ œ œ œ
&œ œ œ œ œ œ b œ œ œJ ‰ Œ
Son Thirteen: C ma7(#11) Fig. 11 œ Fig. 3
# œ
Bar 254
œ œ
Species A.4 17 Fig. 11
œ œ Œ œ ‰œ J #œ #œ œ œ
D ma7 F 7alt
j A.3
–B
Sbma7(#11)
Son of Thirteen: D 7alt
&Ó # œ œ œn œ# œ œ # œ œ œ . œ œ ‰ Ó
Species A.6
Ex.
9 9
–
S pecies
on
of
Thirteen:
F ma7(#11)Bar
148:
A
descending
D
major
pentatonic
œ
œ œ œ
Bar 150 E m7
œ
Son of Thirteen: Fig. 11 Fig. 10
œ bœ Œ
8
#œ
Fig. 17
& œ #œ #œ
Bar 211A.8
Species
#œ œ #œ œ œ #œ #œ œ
14 A ma7(#11)
j ‰
run
Son of from
Thirteen: the
ma6
of
A7sus
Fig. through
ma6,
P5,
P4,
mFig. a2,
5 ma7
scale
degrees
to
œ. nœ
11
b
Bar 206
& bœ bœ œ bœ # œ # œ
20
Species A.5 G ma7(#11) Fig. 11 Fig. 5
j
b bma7(#11)through
degrees
œ œb œ œb œ# œb œ# œ b œ b œ ‰ œ œ œ b œ n œ ‰ Ó
#
&Ó
enclosure
Son
Species A.7 to
the
ma3
of
D#7alt
(fig.
of Thirteen: 1 1),
b efore
a
quartal
aAscent
œ
E 7( 9)
œ œ œ œ œ
j
&œ œ œ œ b œ œ œJ ‰ Œ
Bar
Son 194 11
of Thirteen: Fig.C11ma7(#11)
Fig. 11
œ
œ œ œ
Bar 254 17
ma3,
m7,
#9,
to
a
Fig. tertial
11 ascent
through
#9,
#11,
m7,
before
a
chromatic
passing
œ œ œ œ j B bma7(#11)
œ #œ œ nœ œ œ œ œ
Species A.6
œ 17
œ œ œ œ œ
Fig. 11
F ma7(#11) Fig. 10 E m7
œ
Son of Thirteen: Fig.
#œ
tone
fragment
Arma7(#11)
esolving
to
the
b13.
& œ #œ #œ #œ œ bœ Œ
Bar 211
Species A.8
œ œ #œ #œ œ j ‰
14
# œ
Son of Thirteen:
Bar 206 20
& Fig. 11 #œ #œ
Fig. 5 œ. nœ
b A bma7(#11)
œ œ
#
œ #œ #œ
Species A.7
œ
Fig. 11 E 7( 9)
œ œ œ œ œ
&œ œ œ œ œ œ b œ œ œJ ‰ Œ
Son of Thirteen: C ma7(#11) Fig. 11
œ
Bar 254 17
Fig. 11 Fig. 10
Fig. 17
œ #œ #œ
Species A.8
œ
A ma7(#11)
Son of Thirteen:
#œ œ #œ œ #œ #œ œ # œ # œj ‰
Bar 206 20
& œ. nœ
b
Species A.2
b œ œ œ
Old Folks: Bar 38 B ma7 œ œ Pentatonics E 9r
œ œ bœ œ nœ bœ
3
&b ‰ Formulasb A, œ B,œC & œD œ ! ‰ Œ Ó n
E b m711
b
œ œ Fig.œ 5 œ D bma7
n œ b œ
Species A.1 A 7
140
œ j
Fig.
b C4#7sus œ œD 7altœ œ
# œ n œ œnnb
# œ
& b b 4 Ó #œ
Species A.3
Solar: Bar 58
. œ
‰ Fig.# œJ11 # œ # œ # œ Fig. 31
A 7sus
œ œ œ œ
&Ó
Son of Thirteen:
Bar 148 5
J œ œ
E b9
B bma7 œ œ
œ
Species A.2
œ
Fig. 11 Fig. 3
œ œD ma7œ r F 7alt
b ‰D #7alt b œœ #œœb œ n œ œ b œ œ œ ! ‰ Œ Ó n
Old Folks: Bar 38
œ œ
Species A.4
& # œ
J œ
3
Son of Thirteen:
Bar 150 8
& Ó Fig. 11Œ ‰ Fig. 5
Pentatonics œ # œ #œ œ . ‰ Ó
C # 7sus
Formulas A, B, C &D #D
b7 11 œ #œ nœ œ
Species A.3
# œ b
# œ .œ œ œ D bma7 # œ
A 7sus 7alt
œ œ
Fig.
b
#
Fig. 5
& Ób 4 b œ‰ b œ œ bJœ Jœ œœ œjœ œ œ œ #œœ œ n œ b œ
Son of Thirteen: A
j
Species A.1 E m7
nb
Species148 A.5 G ma7(#11)
œ
Bar
b Ó
5
& Ób 4 b œ n
Solar:
Son ofBar 58
bœ bœ ‰ œ œ œ bœ nœ ‰ Ó
Thirteen:
& bœ bœ
Ex.
Bar1194 00
11 –
Species
A.4
–
Son
of
Thirteen:
Bar
150:
A
descending
E
mixolydian
j
œ
Fig. 11 Fig. 3
Df#rom
œ œ #œ #œ
Species A.4 Fig. 11 Fig. 11 F 7alt 31
Fig.
œ œœ Œœ œ œ œ‰ œ J
b
D ma7
pentatonic
run
mb a6
of
D ma7
t hrough
a ug4,
m a3,
m a2,
root
(fig.
11),
to
a
œœ # œ œ œ œn œ # œœ # œ œ œœ . œ ‰
Son of Thirteen: 7alt
j B bma7 B ma7(#11)
Ó Ó
Species A.6
A.2
& œ œ œ œœ
E 9
œ r
8 Bar 38œ
#bœ œ b œ n œ œ b œ œ œ ! ‰ Œ œ Óœ
Bar 150
Son Folks:
of Thirteen: F ma7(#11) E m7
&b ‰ n
Old
descending
&
enclosure
chain
resolving
to
the
P5
of
F7alt
(fig.
5).
bœ Œ
Bar 211 3
14
Fig. 11
G bma7(#11)
Fig. 5
bœ bœ œ bœ
Fig. 11Fig. 11 Fig. 5
D # 7alt b
Species A.5 Fig. 5
#
œ b#œœ .œb œ# œ bœœ
bj ‰
&Ó œ œ # œ b œœ n œ# œ ‰ Ón œ œ
E 7(# 9)
Species
Son A.3
of Thirteen:
œ b œ
Species A.7
# œ
A 7sus
œ
C 7sus
# œ # œ b
œ œ
A ma7(#11)
œ œ œ œ œ œ œ œ #œ œ bœ œ œ ‰
j
& œÓ œ œ œ‰
Son
Bar of
194 Thirteen:
11
Son of Thirteen: C ma7(#11)
J Œ
œ
& J œ œ œ J
Bar254
Bar 148 175
Fig. 11
œ œ B bma7(#11)
œ
j
œ œ œ œ œ
œ œ #œ œ #œ œ nœ œ œ
Species A.6 Fig. 11 Fig. 3
Fig.œ 17
œ œ
F ma7(#11)
Fig. 11 Fig. 10 E m7
Son of Thirteen:
D # 7alt
œ œ #œ #œ
Species
Ex.
A.4
1of01
–
Species
A.5
–
Son
of
Thirteen:
Bar
194:
A
descending
FD7alt b
major
& œ #œ #œ bœ Œ
Bar D ma7
Son211
J # œ œ œ œ# œ œ # œœ # œ # œ œj.
Species A.8
Thirteen: A ma7(#11)
Ó Œ # œ ‰ œ œ # œ # œ ‰ œÓ. ‰
14
&
Son
Barof150 Thirteen:
& nœ
8
pentatonic
Bar 206 20 run
from
Fig. the
11ma3
of
Gbma7#11
through
Fig. 5 ma2,
ma7,
ma6,
P5,
ma3
Fig. 11 E b 7(# 9) Fig. 5 A bma7(#11)
œ œ œ œ #œ #œ œ œ
Species A.7
b
œ
Fig. 11
œ œ œ b œ œ œJ ‰
Son of Thirteen: C ma7(#11)
& œ œ œ b bœ œ bœ bœ
scale
d egrees
t o
a n
enclosure
t o
t Fig.
he
r 11
oot
(fig.
11),
t o
a
descending
m3
interval
œ œ Œ
Species A.5 G ma7(#11)
j œ
Bar 254 17
&Ó bœ bœ ‰ œ œ œ bœ nœ ‰ Ó
Son of Thirteen:
bœ bœ j
Bar 194 11
from
ma2
to
ma7.
Fig. 11 Fig. 10 œ
Fig. 17 Fig. 11
œ ˙ #~~œ # œ B bma7(#11)
Species A.8
œ # œ œ œ # œ œ œ œ ##œœ œ# œn œ œ œ œ jœ ‰
A ma7(#11)
Son of Thirteen: j
Species A.6
Son of Thirteen: œ
& œ œ #œ œ #œ #œ œ œ œ. nœ
F ma7(#11) E m7
bœ Œ
Bar 206 20
&Fig. 11
Bar 211
14
Fig. 11
Fig. 11 Fig. 5
E b 7(# 9) A bma7(#11)
œ œ œ œ #œ #œ
Species A.7
œ œ œ œ œ œ
œ œ b œ œ œJ ‰ Œ
Son of Thirteen: C ma7(#11)
Ex.
Bar 1
&œ œ œ
02
17–
Species
A.6
–
Son
of
Thirteen:
Bar
211:
An
ascending
ma3
interval
from
œ
254
œ #œ #œ
Species A.8
œ
A ma7(#11)
ma3
Son oftThirteen:
hrough
m
#œ œ #œ œ #œ #œ œ # œ # œj ‰
a2,
ma7,
ma6,
P5
to
an
enclosure
to
the
ma7
of
Fma7#11
(fig.
11),
Bar 206 20
& œ. nœ
to
a
descending
Fig. 11 enclosure
chain
from
the
non-‐diatonic
aug5
to
the
P5
of
Em7
Fig. 11
(fig.
5),
to
a
G
major
arpeggio
through
chord
tones
P5,
m7
and
m3.
G bma7(#11) œ œ œ r
&b ‰ bœ bœ œ bœ bœ œ bœ nœ œ bœ œ œ ! ‰ Œ Ó n
Species A.5
j
3
&Ó b œ
Fig.b 5œ b œ b œ b œ ‰ œ œj œ œ bœ nœ ‰ Ó
Son of Thirteen:
Bar 194 11 Fig. 11
C # 7sus D # 7alt
Species
œ # œ n œ 141
œ
A.3
.
Fig. 11
# œ # œ # œ
A 7sus
Son of Thirteen:
œ œ
Ó œ ‰
b
# œ F ma7(#11) œ œ
œ œ # œ
j
œ œ Jœ œ # œ œ œ œn œ œœ œ œ
Species A.6
& œ #œ J œ œ œ
Son
Bar of
148Thirteen:
5
B ma7(#11) E m7
œ
Fig. 3 b œ Œ
&
Bar 211
14
Fig. 11
D # 7alt
œ œb # # œ # œ Fig. 5
Species A.4 D ma7 F 7alt
Fig. 11
Œ ‰ œ J œ E 7(œ 9) œ œ œ # œ A b#ma7(#11)
Son of Thirteen:
&Ó œ œ. ‰ Ó
Species A.7
Bar 150 8
œ œ œ # œ # œ œ œ œ œ b œ œ œJ ‰ Œ
Son of Thirteen: C ma7(#11)
&œ œ œ œFig.œ5
œ
Bar 254 17
Fig. 11
G bma7(#11)
b œ b œ œ b œ Fig. 11
Species A.5
j ‰
Fig. 10
b œ
Fig. 17
Ó b œ b œ œ ‰ Ó
Son of Thirteen:
& œ #œ #œ bœ œ œ œ bœ nœ
œ Bœar
b2œ 54:
Species
Bar 194A.8 A ma7(#11)
j
œ of
œThirteen:
11
–
S#on
# œ # œ A
#m
œ œ j
# œ # œ ‰ œfrom
Son of Thirteen:
Ex.
Bar 1 206
&
03
20–
Species
AFig.
.7
11 ajor
scale
fragment
. ntœhe
jœ œ B ma7(#11)
b
œ œ œma2
œ œ œascent
11 P5,
m#a7,
n œ (fig.
1œ7),
œ to
œa
descending
Species A.6
œ 11
œ œ œ œ œ
F ma7(#11) E m7
œ
ma6
Son ofoThirteen:
f
Cma7#11
Fig. to
a
tertial
ma3,
#œ
Fig.
& bœ Œ
Bar 211
14
B
minor-‐based
pentatonic
run
from
the
b13
of
Eb7#9
through
altered
scale
Fig. 11 Fig. 5
b7(# 9) b
œ œ œ œ #œ #œ œ œ
Species A.7
tones
2,
a
non-‐diatonic
mEa7,
P4,
#9,
Cbma7(#11) and
#11
(fig.
11),
to
Aama7(#11)
n
ascending
scale
œ œ œ b œ œ œJ ‰ Œ
Son of Thirteen:
& œ œ œ œ œ œ
œ
Bar 254 17
fragment
featuring
a
non-‐diatonic
dim2
over
Abma7#11.
Fig. 11 Fig. 10
Fig. 17
œ #œ #œ
Species A.8
œ
A ma7(#11)
Son of Thirteen:
#œ œ #œ œ #œ #œ œ # œ # œj ‰
Bar 206 20
& œ. nœ
Fig. 11 Fig. 11
Ex. 104 – Species A.8 – Son of Thirteen: Bar 206: An E major pentatonic run
descends from the ma2 of Ama7#11 through ma7, ma6 (fig. 11), to an enclosure
chain accessing the P5 (fig. 5), to a descending B major pentatonic run from the
aug4 of Ama7#11 through ma6, ma3, ma2 (fig. 11), ending on the ma7.
2
10.2
–
Pentatonic:
Species
B
Pentatonic
Species B.1
#œ #œ œ œ œ
Œ ‰ œ œ œ
Son of Thirteen: B m(ma7)
&Ó #œ #œ œ #œ œ œ œ œ œ #œ #œ Ó
Bar 99 22
J
Fig. 13
œ œ œ œ #œ
Species B.2
œ œ #œ œ œ
E m7 B m7
œ œ œ
Son of Thirteen: F ma7(#11)
‰ J œ #œ Œ Ó b
Ex.
105
–
Species
B.1
–
Son
of
Thirteen:
Bar
99:
A
B
minor
pentatonic
&
Bar 124 26
ascending/descending
Fig. 13 run
from
Fig. 31the
root
Fig.
of
B11m(ma7)
through
m3,
P4,
P5,
ma6
to
F
bœ
j œ œ œ œ œ nœ bœ bœ œ j œ.
Species C.1
J bœ œ nœ bœ
&b ‰ ! œ Ó
Old Folks:
Bar 31 29
bœ
Fig. 11 Fig. 7
j œ œ œ œ
œ œbœ œ œ
Species C.2
œ
œ œ
D m7
Œ ‰. R œ œ
A7
&b Ó œ œ bœ œ Ó
Old Folks:
bœ œ œ œ œ
Bar 43 31
142
2 Pentatonic
Species B.1
#œ #œ œ œ œ
an
enclosure
of Thirteen: fBrom
m3
to
ma2
(fig.
13),
to
rhythmically
repeated
m3
interval
Œ ‰ œ œ œ
Son
Ó #œ #œ œ #œ œ œ œ œ œ #œ #œ Ó
m(ma7)
&
Bar 99 22
between
ma2
and
ma7
bJefore
ending
on
the
P5.
Fig. 13
œ œ œ œ #œ
Species B.2
œ œ #œ œ œ
E m7 B m7
œ œ œ
Son of Thirteen: F ma7(#11)
Bar 124 26
& ‰ J œ #œ Œ Ó b
Fig. 13 Fig. 31 Fig. 11
F
bœ
j œ œ œ œ œ nœ bœ bœ œ j œ.
Species C.1
J bœ œ nœ bœ
&b ‰ ! œ Ó
Ex.
Old1Folks:
06
–
Species
B.2
–
Son
of
Thirteen:
Bar
124:
An
ascending/descending
G
Bar 31 29
bœ
major
pentatonic-‐based
Fig. 11 run
(root,
m3,
P4,
P5,
P4)
Fig.
begins
7 from
the
ma7
of
œ œ œ
œ œF
Lœ bydian
j
œ œ œ scale
tones
(fig.
13),
to
a
Species C.2
œ
œ œœ
D m7
œ œ œ bœ œ
A7
&b Ó Œ ‰. R Ó
Fma7#11
Old Folks: giving
ma7,
ma2,
ma3,
aug4,
ma3
bœ œ œ œ œ
Bar 43 31
2 Pentatonic
chromatic
approach
tone
from
tFig.
he
d
11
im2
of
Fma7#11
to
Fig. 7
the
m3
of
Em7
(fig.
31),
Species B.1
#œ #œ œ œ œ
to
Sonaof
dThirteen:
escending
D
major
pentatonic
run
(P5,
ma3,
ma2,
root,
ma6,
P5,
ma3)
from
&Ó Œ ‰ œ œ œ #œ #œ œ #œ œ œ œ œ œ #œ #œ Ó
B m(ma7)
Bar 99 22
J the
root,
m7,
root,
m7,
P5
(fig.
11).
the
ma2
of
Em7
through
Fig. 13
œ œ œ œ #œ
Species B.2
of Thirteen: F ma7(#11)
œ œ #œ œ œ
E m7 B m7
œ œ œ
Son
Bar 124 26
& ‰ J œ #œ Œ Ó b
10.3
–
Pentatonic:
Species
C
Fig. 13 Fig. 31 Fig. 11
F
bœ
j œ œ œ œ œ nœ bœ bœ œ j œ.
Species C.1
J bœ œ nœ bœ
&b ‰ ! œ Ó
Old Folks:
Bar 31 29
bœ
Fig. 11 Fig. 7
j œ œ œ œ
œ œbœ œ œ
Species C.2
œ
œ œ
D m7
Œ ‰. R œ œ
A7
&b Ó œ œ bœ œ Ó
Old Folks:
bœ œ œ œ œ
Ex.
1
Bar 43 31
07
–
S pecies
C.1
–
O ld
Folks:
Bar
31:
A
descending
F
minor
pentatonic
run
and dim5 before continuing its pentatonic descent (fig. 11), to a chromatic
passing tone fragment to enclosure from P5 resolving to ma3 (fig. 7), then
Œ ‰. R œ œ
A7
&b Ó œ œ bœ œ Ó
Old Folks:
bœ œ œ œ œ
Bar 43 31
Fig. 11 Fig. 7
Ex. 108 – Species C.2 – Old Folks: Bar 43: A ma7 interval from the m3 of Dm7 to
the ma7, begins a descending D minor pentatonic run interjected by a P4 to dim5
trill before continuing its descent (fig.11), to a chromatic passing tone fragment
to enclosure from P5 resolving to m3 (fig. 7), before a scalar ascent to P5.
Based on the evidence compiled in this chapter, we can observe patterns
for frequency of use and unique features for each formulaic species of pentatonic
vocabulary. We will work through them from Species A to C.
Species A
This pentatonic phrase (Fig. 11) is a descending legato run that is applied to
-‐ A descending V major pentatonic run, applied over a bVIIma7 chord: A.1
-‐ A descending V major-‐based pentatonic run with an added #11 scale tone, over
-‐
A
descending
I
major
pentatonic
run
over
a
IVma7
chord:
A.2,
A.5,
A.6
144
-‐ A descending IV major pentatonic run over a IVma7 chord, with a #4 alteration:
A.4
Species B
This ascending/descending pentatonic run to enclosure (Fig. 13) is applied to
-‐ A native minor pentatonic run over a m(ma7) chord, including a ma6 scale
tone: B.1
-‐ A V major pentatonic run over a IVma7#11 chord, followed by a descending
Species C
This descending pentatonic blues-‐based run is applied to two harmonic contexts:
-‐ A descending F minor pentatonic run beginning from the root of Fma and
-‐ A descending D minor pentatonic run beginning from the ma2 of Dm7 and
patterns
of
use
while
imposed
over
various
tonalities
to
create
unique
scale
tone
145
recognizable, it creates both a sense of style familiarity and a strong melodic
hook for the creation of memorable events within an improvisation.
146
Chapter 11
Motivic Formulas
Motivic formulas are those that repeat in similar and varied interval
structures throughout series of chord changes. There are three archetypes
Species B: An interval structure derived from the harmonic shell (3-‐7-‐3-‐R) (Fig.
30)
Each formula’s component parts, application, and relation to the harmony are
defined below; within their definitions are observed unique features and
147
Motivic
11.1
–
Motivic:
Species
A
Species A, B & C
œ nœ œ nœ #œ nœ œ. œ œ œ nœ #œ #œ nœ
Species A.1 C7 F ma7
b 4 œ œ
&bb 4 Ó ‰
Solar: Bar 88
J
Fig. 11 Fig. 11
B b7
Fig. 11 Fig. 11
œ nœ œ
b œ œ œ œ œ nœ œ bœ nœ
F m7
&bb Œ
4
&
Fig. 11 Fig. 11 Fig. 11
D bma7
bb n œ # œ n œ bœ nœ bœ œ œ œ
D m7b5 G 7b9
b œ bœ bœ nœ nœ bœ œ
8
&
Fig. 11 Fig. 11 Fig. 11
Fig. 23
B b7
j
Species B.1 F ma7 F m7
b b b œ bAœ.1
œ –
Snolar:
nœ Œ ‰ œ Cœ
mœ ajor
œ œBar
88:
A
descending
œ pœentatonic
œœœ
œ Ó motive
Solar: Bar 149
& bœ œ œ œ #œ œ
Ex.
109
10–
Species
nœ nœ
(P5,
ma3,
ma2,
Fig.
root)
7 in
Fig.
bar
3088
begins
diatonically
Fig. 30over
C7,
and
Fig. 30
E bma7 E b m7 A b7 D bma7 D m7b5 G 7b9
œ œ bœ œ œ œ œ bœ œ œ bœ œ œ œ œ œ œ œ œ œ œ
ascends/descends
the
& b b œ œ œj n œ œ œ œj œ n œ œ # œ œ œ œ n œ œ œ œJ ‰ Œ n n
18
&Ó Œ œ bœ œ bœ #œ #œ œ nœ nœ œ œ bœ œ œ Œ Ó
œ # œ n œ # œ œ # œ
21
œ
91
giving
scale
tones
P5,
ma2
and
a
non-‐diatonic
ma3
on
an
offbeat
passing
tone
Fig. 7 Fig. 30 Fig. 30 Fig. 30 Fig. 30
over
Fm7.
In
the
second
half
of
bar
92
an
E
major
pentatonic
structure
gives
b9,
m7, b13, #11 altered dominant scale tones over Bb7. An Eb minor interval
structure is adjusted to P5, m3, ma2, root in over Ebm7 in bar 93-‐94. In bar 96 a
Db
major
pentatonic
structure
gives
altered
dominant
scale
tones
before
an
b 4 œ nœ œ nœ #œ nœ œ. œ œ œ nœ #œ #œ nœ
&bb 4 Ó œ œ ‰
Solar: Bar 88
J
Fig. 11 Fig. 11
B b7
Fig. 11 Fig. 11 148
œ nœ œ
b œ œ œ œ œ nœ œ bœ nœ
F m7
&bb Œ
4
&bb ‰ Œ
through
P5,
mFig.
a3,
11
#9,
b9
(fig.23).
Fig. 11 Fig. 11
D bma7
bb n œ # œ n œ bœ nœ bœ œ œ œ
D m7b5 G 7b9
œ bœ bœ nœ nœ bœ œ
b
8
&
11.2
–
Motivic:
Fig.
Species
11
B
Fig. 11 Fig. 11
Fig. 23
B b7
j œ
Species B.1 F ma7 F m7
b nœ
& b b œ bœ œ bœ nœ œ œ œ œ #œ Œ ‰ œ œ œ nœ œ œ œ Ó œ œ œ nœ
Solar: Bar 149
10
b œ bœ œ œ
& b b œ œ œ bœ œ œ bœ œ œ œ œ œ œ bœ œ œ œ bœ œ œ œ œ œ œ œ œ œ œ œ
14
œ œ œ
G m7
bb œ œ nnn
C m7
& b œ œ œj n œ œ œ œj œ n œ œ #œ œ œ œ nœ œ œ œ ‰ Œ
18
J
Fig. 30 Fig. 30
F #7 F # m7
Fig. 30
F #7sus
Fig. 30
Species B.2 B ma7(#11)
& Ó B.1
Ex.
110
21–
Species
œ bœ œ bœ #œ b œpassing
tone
fragment
œ œ nœ œ #œ œ Œ Óto
œ nœ #œ œ œ œ #œ
enclosure
from
the
P5
Fig. to
7 ma3
Fig.
of
F30ma7
Fig.
(fig.
30 7),
to
Fig. a
m
30 otivic
Fig.i30nterval
structure
(ma3-‐ma7-‐ma3-‐root) that adapts to the voice leading of the chord changes (fig.
30). In bar 151 the structure consists of m3-‐m7-‐m3-‐ma7, in bar 152 the
structure consists of ma3-‐m7-‐ma3-‐root of Eb7 being the tritone-‐substitute of
Bb7, resolving to the ma3-‐ma7-‐ma3-‐root structure of Ebma7 in bar 153. A m3-‐
m7-‐m3-‐root structure anticipates Ebm7 in bar 153 before another D7 ma3-‐m7-‐
anticipating Dbma7 on bar 154. A root-‐P5-‐root-‐b13 structure in bar 156 over
G7b9 resolves to an Eb root-‐ma3-‐root-‐ma3 structure beginning on the last
upbeat
of
bar
154
that
outlines
the
m3
and
P5
of
Cm7.
From
here
a
chromatic
Fig. 11 Fig. 11 Fig. 11
Fig. 23
B b7
j œ
Species B.1 F ma7 F m7
b nœ
& b b œ bœ œ bœ nœ œ œ œ œ #œ Œ ‰ œ œ œ nœ œ œ œ Ó œ œ œ149
Solar: Bar 149
nœ
10
Fig. 7 Fig. 30 Fig. 30 Fig. 30
E bma7 E b m7 A b7 D bma7 D m7b5 G 7b9
b œ bœ œ œ
& b b œ œ œ bœ œ œ bœ œ œ œ œ œ œ bœ œ œ œ bœ œ œ œ œ œ œ œ œ œ œ œ
14
b œ œ nnn
F#ma7
(root-‐ma3-‐ma7-‐ma3),
C m7
& b b œ œ œj n œ œ œ œj œ n œ œ # œ œ œ œ n œ œ œ œ ‰ Œ
18
F #7 F # m7
Fig. 30
F #7sus
Fig. 30
Species B.2 B ma7(#11)
Œ œ bœ œ bœ #œ #œ œ nœ nœ œ œ bœ œ
Snova: Bar 74
&Ó œ
œ Œ Ó
#œ nœ #œ œ œ #œ
21
Ex. 111 – Species B.2 – Snova: Bar 74: A descending chromatic passing tone
fragment to enclosure from the m3 of F#7sus to the root (fig. 7), beginning a
œ œ œ œ œ œ
Species B.3
œ #œnœœ#œ nœ
A 7alt D m(ma7)
#œ œ #œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ #œ œ œ œ ‰ œ ‰ œ ‰ œ #œ
Son of Thirteen:
& J
Bar 177 24
Fig. 26
# œ
Fig. 30
œ œ œ
#œ œ œ œ œ #œ #œ #œ œ œ œ œ œ œ #œ #œ œ #œ
B m(ma7)
#œ
#œ œ #œ #œ œ #œ #œ œ œ
29
&
#œ #œ
Fig. 30
#œ #œ œ b
œ
#œ œ œ #œ œ #œ #œ œ œ #œ œ œ œ œ #œ œ #œ œ œ.
B ma7(#11)
œ b œœ ˙˙
& œ œ #œ ‰
33
J
G bma7(#11)
Species C.1
Species
œ. bœ. bœ œ.
j B.3
–
Son
of
Thirteen:
Bar
177:
A
descending
chromatic
passing
bœ ˙
Son of Thirteen: œ
b œ œ œ b œ œJ b œ . b œ . b œ ˙ Ó
J ‰ J of
A7alt
to
the
m3
of
JDm(ma7)
& to
enclosure
chain
from
the
root
Bar 107 38
tone
fragment
Fig. 34
(fig.
26),
begins
a
motivic
interval
structure
(m3-‐ma2-‐m3-‐root)
that
repeats
in
a
œ #œnœœ#œ nœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
Species B.3 A 7alt D m(ma7)
#œ ‰ ‰ #œ
Son of Thirteen:
& #œ œ œ #œ œ œ #œ œ J ‰
Bar 177 24 then
begins
with
(P5-‐P5-‐P5-‐m3),
then
moves
diatonically
through
the
structure
Fig. 26
B
melodic
minor
sBcale
w ith
30this
same
structure
step-‐wise
or
intervallically
#œ
Fig.
œ #œ œ œ #œ #œ
m(ma7)
&
through
bar
182-‐188
a
m elodic
d escent
from
t he
m
#œ
in
bar
189
rFig.
eaching
the
aug4
of
Bbma7#11
in
bar
190.
#œ
30
#œ #œ œ b
œ
#œ œ œ #œ œ #œ #œ œ œ #œ œ œ œ œ #œ œ #œ œ œ.
B ma7(#11)
œ œ œ ‰ b œœ ˙˙
33
& #œ
J
11.3
–
Motivic:
Species
C
Fig. 34
Ex. 112 – Species C.1 – Son of Thirteen: Bar 107: A series of P5 intervals
descending diatonically throughout bar 107-‐111 from the ma7 of Gbma7#11,
accessing every scale tone and avoiding the dim5 interval between root and
Motivic formulas help to add rhythmic and melodic continuity for short
periods of an improvisation, and truly create unique areas of interest within an
improvisation. Metheny uses them to great effect, lucidly adapting these interval
structures through a piece’s chord changes, allowing for great continuity in the
151
Chapter 12
Reharmonization Formulas
information beyond what the piece’s basic harmonic structure suggests. Each
formula’s component parts, application, and relation to the harmony are defined
below; within their definitions are observed unique features and patterns of use.
Outside
12.1
–
Reharmonization:
Species
A
Species A, B & C
b 4 œ nœ œ œ œ œ nœ œ œ bœ œ bœ bœ œ œ bœ œ
Species A.1 C m7 G m7 C7
b
& b 4 œ bœ bœ œ œ nœ œ œ bœ bœ nœ œ
Solar: Bar 37
bœ
Fig. 31 Fig. 7 Fig. 33 Fig. 6
Fig. 31 Fig. 26
Species A.2 C m7 G m7 C7
b n œAb.1
œ –œ
Solar:
Bar
37:
Chromatic
œ b œ œ approach
tones
embellish
the
&bb nœ nœ #œ œœ nœ œ œ bœ nœ œ #œ nœ #œ Œ Ó
Solar: Bar 61
Ex.
113
5–
Species
œ œ œ œ #œ
root
and
P4
of
Fig.
a
C33
minor
scale
run
over
Fig.
Cm7
25 (Fig.
fig.
2631),
before
Fig. 27 a
descending
E b m7 A b7 D bma7
b bœ œ œ bœ nœ œ œ nœ bœ bœ nœ nœ nœ
Species A.3 D m7b5 G 7b9
&bb ‰ j
œ ‰ Œ Ó
chromatic
approach
tone
fragment
to
enclosure
from
the
dim5
to
m3
in
bar
38
Solar: Bar 190
#œ œ
9
b bœ œ œ œ bœ œ
Species B.1 C m7 G m7
œ
œ nœ œ nœ œ œ bœ œ œ œ nœ œ nœ œ Œ
root,
P5)
which
as
the
tritone
substitute
(bV)
of
C7
gives
altered
dominant-‐based
&bb
Solar: Bar 133
œ
12
scale
tones
#9,
ma2,
b9,
m7,
b13,
#11
(fig.
33)
in
bar
38-‐39,
before
a
diatonic
Fig. 2 Fig. 11 Fig. 13 Fig. 11
Fig. 13
Species C.1 F ma7
b œ nb
enclosure
Solar: Bar 41 featuring
an
ascending
chromatic
passing
tone
fragment
between
the
& b b #œ nœ ‰ œ #œ
œ root
(fig.
6)
in
bar
39-‐40,
continuing
on
with
an
œ to
the
# œ # œ n œ # œ # œ œ
15
Œ œ b œ œ b œ n œ b œ b œ œ œ œ n œ œ œ b œ n œ œ # œ # œ œ Œ œ œœ n œœ
G7
descending
Old Folks: Bar 12chromatic
passing
tone
fragment
to
enclosure
chain
from
the
D 7b9
root.
&b Ó
3 3
b b œœ b œ œ
17
b 4 œ nœ œ œ œ œ nœ œ œ bœ œ bœ bœ œ œ bœ œ
C m7 G m7 C7
Species A.1
b
& b 4 œ bœ bœ œ œ nœ œ œ bœ bœ nœ œ
Solar: Bar 37
bœ
Fig. 31 Fig. 31 Fig. 7 Fig. 33 Fig. 6 Fig. 26
Species A.2 C m7 G m7 C7
b nœ bœ œ nœ
&bb nœ #œ œ œ œ œ bœ nœ œ œ œ bœ nœ œ #œ nœ #œ Œ Ó
Solar: Bar 61
œ œ œ #œ
5
Fig. 33 Fig. 27
Fig. 25 Fig. 26
E b m7 A b7 D bma7
133 ma6,
bdœim5
(œfig.
33)
in
bar
61,
to
an
ascending
C
Aeolian
run
that
leads
Species B.1 C m7 G m7
ma2,
m12a7,
b œ œ bœ œ œ œ bœ œ œ œ nœœ
&bb nœ œ nœ œ œ nœ œ œ Œ
Solar: Bar
Outside
Fig. 2 Fig. 11 Species A,
to
an
enclosure
from
a
dim2
to
a
descending
B & C passing
tone
fragment
chromatic
Fig. 13 Fig. 11
Fig. 13
in
bar
62-‐63,
to
a
C
whole
tone
scale-‐derived
descending
Cb
œaugmented
triad
to
Fig. 28
Fig. 31 Fig. 31 Fig. 7 Fig. 33 Fig. 6 Fig. 26
Species C.2
b Ó n œ b œŒ œ nœœb œ œ b œ n œ b œ œb œœ œb œœn œœ œn œœ œ œ œ b œ n œ œ # œ œ Œ œŒ œ Ón œœ
Species A.2 D C
7b9m7 G 7 G m7 C7
ascending
Old Folks: Bar D
12
augmented
triad
giving
root,
ma2,
ma3,
aug4,
aug5,
m7
scale
&
& bbb nœ #œ œ œ b œ n œ œ # œ n œ # œ œ # œ #b œb œœ b œœ œ
Solar: Bar 61 3 3
œ in
bar
63-‐64.
175
b bœ œ œ bœ nœ œ œ nœ bœ bœ nœ nœ nœ
Species A.3 D m7b5 G 7b9
&bb ‰ j
œ ‰ Œ Ó
Solar: Bar 190
#œ œ
9
Fig. 15 Fig. 33
Fig. 2 Fig. 8
bœ
b b A.3
œ –
œSolar:
Species B.1 C m7 G m7
œ3 b m œ 3
D 7b9
&b Ó Œ bœ nœ b œ n œ # œ # œ œ Œ œ œœ n œœ
33)
in
b17ar
191,
before
resolving
3
b b œœ b œ œ
Fig. 7 Fig. 27 Fig. 10 Fig. 9 Fig. 27
bœ
Fig. 31 Fig. 31 Fig. 7 Fig. 33 Fig. 6 Fig. 26
Species A.2 C m7 G m7 C7
b nœ bœ œ nœ
&bb nœ #œ œ œ œ œ bœ nœ œ œ œ bœ nœ œ #œ nœ # œ Œ Ó 153
Solar: Bar 61
# œ
œ œ
5
œ
Fig. 33 Fig. 25 Fig. 26 Fig. 27
E b m7 A b7 D bma7
b bœ œ œ bœ nœ œ œ nœ bœ bœ nœ nœ nœ
Species A.3 D m7b5 G 7b9
&bb ‰ j
œ ‰ Œ Ó
Solar: Bar 190
#œ œ
9
b bœ œ œ œ bœ œ
Species B.1 C m7 G m7
œ
&bb œ nœ œ nœ œ œ bœ œ œ œ nœ œ nœ œ Œ
Solar: Bar 133
œ
12
œ A,
D 7b9
œ b œgiving
b œSpecies
œ b œ nPœ 4,
œ n œm Bœ7,
&mC6
C
mœinor
scale
tones
to
an
œ bœ nœ
Old Folks: Bar 12
(ma3,
m17a2,
rboot,
Ó ma6,
Œ P5)
Œ œ nœ
& #œ #œ œ b b œœœ b œœ œœ
3 3
b 4 œ nœ œ œ œ œ nœ œ œ bœ œ bœ bœ œ œ bœ œ
Species A.1 C m7 G m7 C7
œ bœ bœ œ œ nœ œ œ bœ bœ nœ œ
enclosure
Solar: Bar 37 from
m6
to
P 5
(fig.
11),
b eginning
Fig. 10 an
ascending/descending
C
m
27 ajor
b
Fig. 27 Fig. 9
& b 4
Fig. 7 Fig.
b nœ bœ œ nœ
nœ #œ œ œ œ œ bœ nœ œ œ œ bœ nœ œ #œ nœ
tones
(fig.13)
in
bar
134,
back
to
a
Db
major
ascending/descending
pentatonic
&bb #œ #œ Œ Ó
Solar: Bar 61
œ œ
5
run
(root,
ma2,
root,
ma6)
giving
dim2,
m3,
dim2,
m7
C
m œ
inor
scale
degrees
(fig.
Fig. 33 Fig. 25 Fig. 26 Fig. 27
E b m7 A b7 D bma7
b bœ œ œ bœ nœ œ œ nœ bœ bœ nœ nœ nœ
Species A.3 D m7b5 G 7b9
j
13),
Solar: b efore
190 returning
to
a
descending
C
major
pentatonic
run
over
C7
in
bar
135
&bb ‰ œ ‰ Œ Ó
Bar
#œ œ
9
(fig.
11).
Fig. 15 Fig. 33
Fig. 2 Fig. 8
b bœ œ œ œ bœ œ
C m7 G m7
Species B.1
œ
&bb œ nœ œ nœ œ œ bœ œ œ œ nœ œ nœ œ Œ
Solar: Bar 133
œ
12
b œ #œ œ nb
& b b #œ nœ œ #œ #œ
‰ #œ #œ n
Solar: Bar 41
nœ œ
œ
15
Fig. 28
Species C.2
œ œ œ nœ œ œ
G7
b œ3 Db œescending/ascending
D 7b9
Ex.
117
17–
Species
C.1
–
Sœolar:
b œ œ Bar
41:
œ augmented
triads
Old Folks: Bar 12
&b Ó Œ bœ nœ b œ n œ # œ # œ œ Œ œ œœ n œœ
3
b b œœ b œ œ
give
(m3,
ma7,
P5)
(ma6,
Fig. 7
dim2,
Fig.
P4)
27 (P5,
Fig.m 103,
ma7)
Fig. (dim2,
9 P4,
ma6)
scale
Fig. 27 tones
œ
&bb œ nœ œ nœ œ œ bœ œ œ œ nœ œ nœ œ Œ
Solar: Bar 133
œ
12
b œ #œ œ nb
& b b #œ nœ œ #œ #œ
‰ #œ #œ n
Solar: Bar 41
nœ œ
œ
15
Fig. 28
Species C.2
Œ œ b œ œ b œ n œ b œ b œ œ œ œ n œ œ œ b œ n œ œ # œ # œ œ Œ œ œœ n œœ
D 7b9 G7
Old Folks: Bar 12
&b Ó
3 3
b b œœ b œ œ
17
Ex. 118 – Species C.2 – Old Folks: Bar 12: A descending chromatic passing tone
from the root of D7b9 to the ma3 of G7 (fig. 7), to a G whole tone scale fragment
(ma3, aug4 aug5, m7) over G7 (fig. 27), to a descending ma2 interval to
enclosure from the m7 to P5 (fig. 10), to a G major root position triad
arpeggiation featuring non-‐diatonic enclosures beginning on the P4 though the
ma3, P5, R (fig.9), to ascending augmented triads (ma3, aug5, root) (aug4, m7,
Reharmonization phrases stand out in an improvisation as they break away from
the piece’s basic harmonic structure, and create unique events that break up a
155
Chapter 13
formulaic system, we will observe how this formulaic system functions within
the larger context of an improvisation, on Metheny’s original composition “Son
of Thirteen.” For this analysis of Metheny’s improvisation on “Son of Thirteen,”
we will refer to page 175 of Appendix A. Referring to formulaic, melodic,
structural, and motivic categorizations, I will demonstrate the extent to which
Metheny’s use of these concepts establishes overall coherence. Beginning with
Section A1 of the improvisation, “Son of Thirteen” begins with a B melodic minor
phrase over Dm(ma7) through bar 88-‐92, in anticipation of the Bm(ma7)
harmony in bar 93. A blues phrase with a dim5 grace note typical of the blues
vernacular, bridges the first phrase to a descending P5 interval between
Bm(ma7)’s P5 and root. The Melodic Cliché Species B.3 formula follows in bar
94-‐95, to the Pentatonic Species B.1 formula in bar 95-‐96, establishing the first
motivic connection, as these two phrases are identical in ascending/descending
contour. The next phrase in bar 97-‐98 contains a repeating dotted-‐quarter note
figure, which is an elaboration on the two-‐beat figure phrase from bar 88-‐89,
P5 interval between ma2 and P5, recalling the descending P5 interval in bar 93,
for
a
third
motivic
connection.
The
Enclosure
Species
A
&
C
formula
in
bar
99-‐
156
100 resolves to the Enclosure Species G.1 formula over Bbma7#11 in bar 101
which, like the phrase on bar 99-‐100, ends with a descending phrase using a
tertial phrase of an F major root position triad in bar 102 over Fma7#11 leads to
an ascending tertial phrase of a C minor root position triad over Abma7#11, for a
fifth motivic connection. Another descending P5 interval between the aug4 and
ma7 of Ebma7#11 in bar 104 continues the P5 motivic theme, for a sixth motivic
connection. An ascending ma7#11 tertial phrase begins from root position in
bar 105-‐106, continuing the tertial motive from bar 103 with the same off-‐beat
rhythmic placement. The Motivic Species C.1 formula in bar 107-‐11 completes
the P5 interval motive with descending P5’s in three-‐beat figures, for a seventh
motivic connection. The Cliché Species B.4 formula in bar 111-‐112 leads to an
ascending pentatonic-‐based phrase in bar 113-‐114 over Ama7#11, which leads
& D formula in bar 120 resolves to a melodic phrase with a
becoming a motive. The Cliché Species C.2 formula in bar 122-‐124 over
Bbma7#11 has an identical contour to the motivic phrase in bar 121-‐122, as
does the Pentatonic Species B.2 formula in bar 124, and the following pentatonic
phrase in bar 125-‐126, to complete the motivic ascending/descending contour
sequence for an eighth motivic connection. A tertial ascent outlining F#m9 in
bar
127-‐130
with
off-‐beat
rhythmic
placements,
leads
to
a
step-‐wise
melodic
157
phrase in bar 130-‐133. The descending Cliché Species B.3 formula in bar 134
An extended period of motivic phrasing in D major through bar 135-‐145
begins Section B. Three phrases throughout bar 135-‐142 end with motivic
descending intervals (a ma3 in mm135-‐136, ma2 in bar 137-‐138, and P5 in bar
138-‐142) and each phrase is followed by a brief rhythmic pause, drawing a ninth
motivic connection. A four-‐note step-‐wise descending phrase in bar 143-‐144 is
followed by another four-‐note step-‐wise descending phrase at a lower pitch level
in bar 145-‐146, for a tenth motivic connection. In bar 148-‐149, the Enclosure
Species G.2 formula begins with a sustained note to a descending run to
enclosure, and this continues as a motive within the Pentatonic Species A.3
formula in bar 149 and the Pentatonic Species A.4 formula in bar 150-‐151, for an
eleventh motivic connection. It is also noteworthy that a tertial descent follows
the motivic phrase in bar 149, whereas a quartal ascent follows the motivic
phrase in bar 150. The Chromatic Passing Tone Species B.2 formula in bar 152
leads to the Enclosure Species E & D.2 formula in bar 153-‐156, ending with a
Section A2 begins with melodic notes followed by Dm(ma7) chord
structures in both bar 157 and bar 159, and a step-‐wise quarter-‐note triplet
melodic phrases in both bar 158 and bar 160 for a twelfth motivic sequence.
Continuous descending/ascending phrases in bar 160 and bar 161 follow the
same
contour
at
different
pitch
levels
for
a
thirteenth
motivic
event.
A
blues
158
phrase in bar 163-‐164 leads to a melodic phrase that ascends step-‐wise through
a sequence of chord changes in bar 165-‐167. A four-‐note step-‐wise descending
phrase in bar 168 begins a new motive, as the contour of this phrase is mirrored
in bar 169-‐170, in the first five notes of Chromatic Passing Tone Species B.3
formula in bar 171, in the melodic phrase in bar 173-‐174, and in the first five
notes of the Cadence Species C.6 formula in bar 174-‐175 for a fourteenth set of
motivic connections, and completes the first chorus of the improvisation.
The Motivic Species B.3 formula begins Section A1 as a three-‐beat figure
through bar 176-‐180 over Dm(ma7), then moves step-‐wise and intervallically
through Bm(ma7) in bar 181-‐187 for a fifteenth motivic event. Two pairs of
arpeggiated chord structures and rhythmic figures occur through a series of
chord changes in bar 189-‐192 for a sixteenth motivic event. The Pentatonic
Species A.5 formula in bar 194-‐196 leads to the Chromatic Passing Tone B.4
formula in bar 196-‐198 followed by a descending melodic phrase. An ascending
phrase in bar 200-‐201 leads to a motivic three-‐note three-‐beat figure in bar 202-‐
204, for a seventeenth motivic event. The Pentatonic Species A.8 formula then
descends in bar 205-‐207, followed by the ascending Chromatic Passing Tone
Species B.5 in bar 208-‐210. In bar 211-‐212, the Pentatonic Species A.6 formula
holds a descending run to enclosure that acts as a repeated motive in bar 213,
and again in the descending Chromatic Passing Tone Species C.3 formula in bar
214-‐215 (with a passing tone in place of the enclosure), for an eighteenth
quarter note rhythmic motive in bar 215-‐218, and a melodic and blues-‐based
Section B begins with a period of motivic phrasing through bar 223-‐234,
where a sustained note followed by a descending m3 interval in bar 224 informs
the sustained note and descending m3 interval in bar 125-‐126, and a dotted
quarter note rhythmic motive in bar 227 informs ascending chord structures in
bar 228 and bar 229 for a nineteenth motivic passage. In bar 231-‐234 phrases of
figures in bar 235-‐240, to an ascending/descending step-‐wise phrase ascending
Section A2 begins with a blues phrase in bar 244-‐245, leading to a
placement of notes plays off an alternating mix of on-‐beats and off-‐beats, for a
twenty-‐second motivic event. The Enclosure Species F & D formula follows in
bar 250-‐252, leading to a pair of motivic eighth-‐note phrases through a series of
chord changes in bar 253-‐256. The Cadence Species B.7 formula over C#7alt in
bar 253 descends to an enclosure in the same manner as the Pentatonic Species
A.7 formula over Eb7#9 in bar 255, and the ascending step-‐wise phrase over
Cma7#11 in bar 254 holds an identical interval structure to the first five notes of
the phrase in in bar 256, for a twenty-‐third motivic event. In bar 257-‐262, a
rhythmic
motive
is
used
as
chord
tones
are
selected
over
a
series
of
chord
160
bar 263-‐264 signal the end of the improvisation, leading to the chordal comping
161
Chapter 14
and components, has revealed insight into his improvisational forming process,
species, and an analysis of Metheny’s improvisation on “Son of Thirteen,” it is
variation. In an even more global sense, sound development through the
improvisation on “Son of Thirteen”, can be attributed to four key areas: style
framework for his improvisational style, as well as a system of identifiable
formulaic components adds a layer of complexity through the application of
idiosyncratic interval structures, beyond that which can be considered typical or
derivative
of
mainstream
jazz
vernacular.
While
genre
style
familiarity
is
162
established insofar as this formulaic system stems from mainstream jazz
concepts, Metheny’s use of a highly stylized system of components establishes
an artistic style familiarity that is uniquely particular to him as an improviser.
Style familiarity also is tied to what a listener subconsciously expects to hear
and how the artist reinforces or defies this, through both risk and repetition.
With an overly formulaic approach there is the danger of predictability, of not
fulfilling the listener’s desire for spontaneous or connected ideas, while
spontaneous creation accompanies the risk of loss of control. As creativity in
jazz improvisation is a balance of both spontaneous invention and reference to
the familiar, Metheny’s creative process can be valued for its nuanced approach
to style familiarity through a contrast of both formulaic depth and inventive
spontaneity.
This leads us to Metheny’s next area of improvisational strength: balance.
Metheny has appropriated a diverse collection of stylistic elements to comprise
his approach to improvisation. With regard to Metheny’s formulaic system, his
formulaic categories are well rounded, with no more than a handful of distinct
formulaic species. While the number of formulaic species within these
categories is not exhaustive, there is often a more comprehensive collection of
variants for each species. It is clear that Metheny prefers to focus on a tangible
number of formulaic species that he has great facility and control with, so that
they may be used in an adaptive and generative manner, allowing greater
practical consideration for balance in Metheny’s formulaic system, is the balance
between Metheny’s formulaic, motivic, melodic, and structural elements of style,
as these devices are also offered with a consistent regard for balance.
Within this balance of stylistic elements there is an observable structure
to the prolongation and segmentation of concise musical phrases and devices.
Metheny’s improvised phrase lengths often mirror the piece’s harmonic phrase
improvisation on “Son of Thirteen,” harmonic phrase lengths typically follow
structural patterns of eight, four, and two-‐bar phrase lengths. Connecting
fourth or eighth bar in a harmonic phrase length, to initiate a new idea on the
first or second bar of the following harmonic phrase. As such, Metheny’s
improvised melodic phrases are observed to be cohesive to harmonic phrase
lengths, acting to mark the structure and character of the piece upon which they
are performed. The segmentation of melodic devices is also evident within the
content of these harmonic phrases. A combination of formulaic and motivic
melodic content may mark one harmonic phrase length, while a mixture of
melodic and structural melodic content may mark another harmonic phrase
length. For example, in each chorus of “Son of Thirteen”, Metheny clearly
performs the first twelve bars of the ‘B Section’ in a distinctly melodic fashion
over
the
diatonic
harmonic
phrase
length,
marking
the
harmonic
rhythm’s
break
164
from shifting modal key centers to a temporarily functional harmonic sequence
would truly communicate to such a degree without their connectivity. Through
formulaic, motivic, structural, melodic devices and a regard for style familiarity,
connectivity through melodic ideas that are sound in their development and
inventive their spontaneity. The appropriation of these elements into a manner
that is effectively familiar, balanced, structured, and connected can not be
attributed to simply one principal; however a life-‐long respect and appreciation
certainly characteristics that have become clear through research of Metheny’s
process of forming and the investigation of his music. From the smallest
components to the broadest overview of Metheny’s three-‐tier formulaic system
and improvisational elements of style, there is a high order of detail,
thoughtfulness and resonant individuality that enables within the music a great
165
References
Books:
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Paul.
1994.
Thinking
in
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The
Infinite
Art
of
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University
of
Chicago
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Andre.
1956.
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Its
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and
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Barry.
1995.
What
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Listen
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New
Haven:
Yale
University
Press.
Lerdahl,
Fred
&
Jackendoff,
Ray.
1983.
A
Generative
Theory
of
Tonal
Music.
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Institute
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Technology.
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Henry.
1996.
Charlie
Parker
and
Thematic
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Maryland:
The
Scarecrow
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Leonard
B.
1956.
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and
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University
of
Chicago
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2001.
Lydian
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Fourth
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Articles:
Brownell,
John.
1994.
“Analytical
Models
of
Jazz
Improvisation,”
Jazzforschung,
xxvi:
9-‐29.
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Austria:
Akademische
Druck-‐
u.
Verlagsanstalt.
Cook,
Nicholas.
1989.
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Theory
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Music
as
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Journal
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Musicology
vii,
no.4:
415-‐39.
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University
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California
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Lawrence.
1977.
“Lester
Young’s
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224-‐254.
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1991.
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Steve.
1995.
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Learning
and
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Musicianship
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Menus,
Maps,
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Henry.
1996.
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166
Smith,
Gregory.
1983.
“Homer,
Gregory,
and
Bill
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Interviews:
Niles,
Richard.
2009.
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Pat
Metheny
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Hal
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Pat
Metheny
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Question
and
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Accessed,
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http://interact.patmetheny.com/qa/?selection=doc.
2
Discography
Metheny,
Pat.
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Question
and
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Sonny.
2008.
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Universal:
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168
Appendix A – Transcriptions
D bma7
(Quarter Note = c. 250)
b 4 œ bœ
D m7b5 G 7b9
œ œ œ bœ
&bb 4 œ œ ‰ bœ œ œ
˙ œ. bœ
C m7 G m7 C7
b j œ œ œ
j j
&bb œ œ ‰ œ œ œ ‰ J Ó J Ó œ bœ œ bœ
nœ œ
F ma7 F m7 B b7
b nœ œ Œ ‰bœ ‰nœ ‰ œ ‰ œ œ œ
& b b nœ œ bœ œ œ œ œ ‰ œ ‰#œ ‰ œ ‰ bœ
5
E bma7 E b m7 A b7 D bma7
œ bœ
D m7b5 G 7b9
b ‰ b œ ‰ œ b œ ‰ J ‰ œJ œ ‰ b œ œ œ œ n œ œ œ
&bb œ œ œ œ
9
œ œ œj œ œ . œ œ œ
C m7 G m7 C7
j
b œ ‰ œ ‰ œ Œ
œ œ œ
œ
&bb J Ó ‰ œ ‰ œ
13
J J
B b7
Œ ‰ n œj b œj ‰ œ
F ma7 F m7
b
& b b nœ ‰ Œ œ œ #œ
17
3 3
œ œ nœ ‰ œ œ nœ œ œ nœ œ œ œ œ œ œ
E bma7 E b m7 A b7 D bma7
œ œ bœ œ œ œ
D m7b5 G 7b9
b j
& b b œ ‰ Œ œ ‰ ‰ œ œ œ bœ ‰ œ œ bœ œ nœ œ Ó nœ œ
21
œ œ œ œ ‰ œJ Œ œ œ œ œ œ Ó
C m7 G m7 C7
b Œ œ œ œ bœ œ œ
&bb œ
25
Transcription by Noel Thomson
*Metheny’s
management
team,
The
Kurland
Associates,
has
authorized
all
included
transcriptions.
166
2 Solar
B b7
œ
F ma7 F m7
b œ œ
& b b œ ‰ n œj œ œ œ œ œ œ Œ Œ œ n œ œ n œ œ œ œ œ œ œ œ Ó
29
E bma7 E b m7 A b7 D bma7
œ œ œ bœ œ bœ œ bœ œ œ œ
D m7b5 G 7b9
b
&bb ! nœ bœ bœ œ Œ Œ nœ œ
33
b œ nœ œ œ œ œ nœ œ œ bœ œ bœ bœ œ
C m7 G m7 C7
œ bœ œ œ œ
b
& b bœ bœ bœ œ nœ œ œ bœ bœ nœ œ
37
B b7
œ œ nœ œ ‰ œ bœ œ œ #œ nœ nœ bœ
F ma7 F m7
b
& b b #œ nœ œ œ #œ #œ ‰ œ #œ nœ #œ #œ œ bœ
41
œœœ
E bma7 E b m7 A b7 D bma7
j œ. œ œ
D m7b5 G 7b9
b ‰ œ ‰ œ nœ œ
& b b ‰ nœ œ œ bœ bœ œ œ bœ Ó
45
œ œ
œ œ nœ
C m7 G m7 C7
b œ ‰ œ ‰ nœ œ œ
&bb œ œ œ œ œ Œ #œ #œ
49
B b7
œ bœ œ œ œ bœ œ œ œ œ bœ nœ
F ma7 F m7
b œ nœ nœ bœ œ ‰
& b b nœ Œ Œ ‰ bœ bœ Ó
53
J J
E bma7 E b m7 A b7 b
nœ œ œ œ b œ D ma7
b b b œ œ œ œ ‰ œJ œ nœ bœ #œ œ œ œ œ œ nœ œ
j
œœ
D m7b5 G 7b9
j
œœœ
œ œ
b Œ
57
&
Transcription by Noel Thomson
167
Solar 3
C m7 G m7 C7
b nœ bœ œ nœ
&bb nœ #œ œ œ œ œ œ bœ nœ œ œ œ bœ nœ œ #œ nœ œ #œ #œ Œ Ó
61
œ
B b7
nœ ‰ œ œ œ œœ‰œ‰œ‰œ ‰œ‰œ‰œœ
F ma7 F m7
b j
& b b Œ ‰ œJ ‰ œJ Œ
65
œ
J J J
E bma7 E b m7 A b7 D bma7
jœ.
œ œ ‰ œ bœ œ œ œ bœ œ
D m7b5 G 7b9
b b œ ‰ Œ œ œ bœ œ bœ œ
b œ œ œ œ bœ œ
69
& J œ bœ œ
œ œ ˙ #œ œ. nœ œ œ œ
j j
G m7 C7
œ œ œ œ œ
C m7
bb œ œ œ
& b œ œ ‰ œJ ‰ ‰ œ
73
B b7
œ œ bœ œ œ œ œ
bb œ b œ œ b œ n œ n œ b œ œ œ n œ œ œ œ œ ‰ œ œ œ œ n œ œ
F ma7 F m7
œœœ
& b
77
E bma7 E b m7 A b7 D bma7
bb b œ n œ œ b œ ‰ œ b œ œ œ œ b œ œ œ Œ œ bœ œ œ œœ
D m7b5 G 7b9
b œ œ bœ œ œ œ œ n œ œ
81
& œ
nœ ‰ bœ nœ bœ nœ bœ œ œ œ œ œ œ nœ œ
C m7 G m7 C7
b œ œ
&bb ‰ Ó
85
B b7
œ œ œ nœ #œ #œ œ nœ œ œ œ œ nœ œ bœ
bb œ œ # œ n œ œ .
F ma7 F m7
b ‰ n œ œ Œ œ nœ
89
& J
Transcription by Noel Thomson
168
4 Solar
E bma7 E b m7 A b7 D bma7
œœœ œ bœ œ
bœ œ œ œ nœ #œ nœ œ bœ nœ bœ bœ œ œ œ bœ nœ nœ bœ
D m7b5 G 7b9
b œ‰œ‰
&bb Œ œ
93
C m7 G m7 C7
b jj jj j j jj j
& b b œ œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ ‰ œ ‰nœ
97
B b7
j
F ma7 F m7
b j ‰ bœ œ œ
& b b ‰ nœ ‰ bœ nœ bœ nœ ‰ Œ ‰ bœ œ œ œ‰ Ó
101
œ œ œ
E bma7 E b m7 A b7 D bma7
œ œ œ bœ nœ œ œ bœ nœ bœ œ
D m7b5 G 7b9
bb œ b œ œ œ
bœ œ œ ‰ œ œ bœ œ œ n œ b œ
& b œ Œ
105
bœ
œ
bb b œ œ œ œ œ n œ b œ œ œ œ œ œ œ œ
C m7 G m7 C7
& b œ œ œ nœ bœ œ nœ œ œ œ bœ nœ œ bœ nœ
109
œœ
B b7
œ œ. œ n œj œ
œ œ œ œJ .
F ma7 F m7
j
b
nœ
&bb j j œ. J Œ
113
œ œ œ œ œ. J
nœ.
E bma7 E b m7 A b7 D bma7
œ nœ œ œ nœ œ œ œ bœ nœ œ nœ bœ nœ bœ œ œ
D m7b5 G 7b9
œ œ #œ
& b bb Œ ‰J‰J Ó ‰ œJ ‰
117
œ œ œ œ nœ œ œ
C m7
œ œ œ nœ œ œ nœ
C7
b œ œ n œ œ j
G m7
œ
&bb Œ J‰ Ó J ‰ Œ
121
by Noel Thomson
Transcription
169
Solar 5
B b7
b ‰ nœ ‰ bœ ‰ nœ ‰
œ nœ œ œ œ œj œ ˙ nœ #œ œ œ œ œ
F ma7 F m7
b
& b ‰ ‰ œ Œ
125
E bma7 E b m7 A b7 D bma7
œ œ bœ nœ œ œ bœ nœ bœ œ
D m7b5 G 7b9
bb b œ œ œ œ œ œ œ n œ b œ œ ‰ œ œ ‰ œ b œ œ œ n œ b œ œ
129
& bœ
b bœ œ œ œ bœ œ
C m7 G m7 C7
œ
&bb œ nœ œ nœ œ œ bœ œ œ œ nœ œ nœ Œ Œ œ bœ œ
133
œœ œ nœ œ
B b7
b bœ œ œ nœ œ œ œ œ œ nœ œ œ œ œ ‰ œ
Œ ‰ œJ n œ œ œ
F ma7 F m7
b
& b j Ó
137
œ œœœ
E bma7 E b m7 A b7 D bma7
b œ œ œ n œ œJ b œ œ n œ œ n œ b œ
D m7b5 G 7b9
bb œ œ œ œ œ œ œ b œ œ œ b œ œ œ n œ
& b bœ œ œ œ ‰
141
bœ
nœ œ
bb b œ œ n œ n œ n œ b œ b œ b œ œ n œ b œ n œ b œJ ‰ Œ œ b œ œ ‰ # œ œ n œ n œ b œ œ œ n œ b œ b œ
C m7 G m7 C7
145
&
B b7
j œ
F ma7 F m7
b nœ
& b b œ bœ œ bœ nœ œ œ œ œ #œ Œ ‰ œ ‰ œ nœ œ œ œ Ó œ œ œ nœ
149
b œ bœ œ œ
& b b œ œ œ bœ œ œ bœ œ œ œ œ œ œ bœ œ œ œ bœ œ œ œ œ œ œ œ œ œ œ œ
153
Transcription
by Noel Thomson
170
6 Solar
œ œ œ œ #œ œ œ
C m7 G m7 C7
b œ œ Œ œœ
& b b œ œ œj n œ œ œ œj œ n œ œ # œ œ œ œ n œ œ œ œJ ‰ Œ
157
œ B b7 œ œ œ bœ
œ‰œ
j
œ
#œ
bb b œ b œ n œ n œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ œ ‰
F ma7 F m7
‰ ‰ Ó
161
&
E bma7 E b m7 A b7 D bma7
bœ œ bœ œ œ bœ œ bœ œ
j
D m7b5 G 7b9
œœ œ
œ
b nœ bœ œ œ œ
&bb Œ Œ Œ Œ œ nœ
165
b #œ œ œ nœ bœ nœ œ œ œ œ œ
C m7 G m7 C7
&bb ‰ œ œ œ œœ œ j
œ œ nœ œ ‰ œ
169
B b7
j œ œ. œ œ œ œ.
F ma7 F m7
b . œ œ.
& b b ‰ n œ ‰ œ œ n œ œ n œ œ . n œJ œ J
173
J J
E bma7
œ œ. œ bœ. œ œ.
E b m7 A b7
b œ œ œ œ œ œ n œ D m7b5
D bma7
œ nœ bœ œ
bb b œJ . œJ œ
G 7b9
J J J J œ œ nœ
177
&
œ œ œ nœ œ œ œ œ
b œ Œ œ œ œ
C m7 G m7 C7
&bb Œ ‰ J Œ ‰ J Œ Œ
181
B b7
nœ œ bœ nœ œ œœ œ œ œ œ
F ma7 F m7
j
b #œ
Œ ‰ œ nœ œ Œ ‰J
&bb Œ Œ ‰J
185
J
Transcription by Noel Thomson
171
Solar 7
E bma7 E b m7 A b7 D bma7
œ ‰ œ œ œ bœ bœ œ œ bœ œ œ nœ bœ bœ nœ œœ
D m7b5 G 7b9
b œ nœ œ
&bb ‰ ‰ nœ nœ nœ #œ
œ œœœ
189
œœ œ nœ bœ
bb œ œ œ œ œ œ œ œ œœ œ nœ
C m7 G m7 C7
b Ó ‰ ‰ Ó nœ
193
&
B b7
œ nœ œ nœ œ bœ œ œ œ œ bœ œ
F ma7 F m7
b œ nœ œ œ œ œ nœ #œ nœ
&bb nœ œ œ nœ œ œ
197
E bma7 b b b
œ œ œ E œm7
b œœœœœ bœ œ œ bœ œ œ nœ bœ bœ œ œ nœ œ
A 7 D ma7 D m7b5 G 7b9
j
&bb nœ œ œ bœ ‰ œ œ œ œ nœ œ
201
œ bœ œ œ œ #œ œ œ nœ nœ bœ nœ
bb b œ n œ œ œ n œ b œ œJ ‰ œ n œ œ œ n œ b œ œJ ‰ œ n œ œ
C m7 G m7 C7
& b J‰
205
B b7
nœ œ nœ œ bœ bœ nœ œ œ œ
bb b œ œ œ œ n œ b œ œ
F ma7 F m7
nœ #œ bœ nœ œ
œ bœ œ œ œ œ œ nœ œ œ
209
&
E bma7 E b m7 A b7 D bma7
œ bœ œ œ œ œ
D m7b5 G 7b9
b œ œ ‰ J ‰ ‰ œ ‰ ‰bœ nœ bœ œ nœ œ œ
&bb ‰œÓ œ
213
œ
œ b ˙˙˙ b œœœ ... n œœ
C m7 G m7 C7
bbb ˙˙ ˙˙ n œœ Œ
217
& n˙ ˙ ˙ ˙ ˙ J
by Noel Thomson
Transcription
172
B E
œ œ œ œ œ œ
‰ b œœ ..
j
& b œœ œ J œœ
œ
5
J
D 7 ( b 9)
jA œ. œ œ j
7
j
J ‰ b œœ œœ ‰ # œœ œœ b œ ‰ nœ œ
#œ œ
&b
3
7
J
G m7 C7
œ œ œ œ œ ‰ œ œ œ œ œ œ3 œ œ œ œ œ œ
&b
3 3
A m7( 5) D 7 ( 9)
9
b b
œ œ3 œ œ #œ œ j bœ
bœ ! bœ nœ nœ œ bœ nœ œ bœ œ bœ
&b œ
11
G7
3 bœ œ œ œ nœ œ
& b nœ bœ œ bœ nœ œ #œ #œ œ Œ œ nœ
3
13
b b œœœ b œœ œœ
C7
œ œ œ j œ œ b œ œ3 n œ œ œ3 b œ
œ
&b ‰ œ œ œ
3 #œ
J
15
Transcription By Noel Thomson
173
Old Folks
2 {A2}
E m9 A7
œ œ œ #œ œ
œ œ3 œ œ œ œ œ œ œ œ #œ œ
3
& b ‰ œ J !
b7
17
jD m7œ j œ D C m7 F7
œ b œ œ œ œ œ3 œ
œ œ
œ b œœ .. œ œ bœ œ œ
&b J œ
bMaj7 b
19
B j œ œ E 9 j bœ
. œ nœ bœ œ œ
œ œ œ œ œ œ3 œ
œ œ
J bœ bœ
&b ! Œ œ
D 7 ( b 9) œ .
21
A7
œ œ œ œ œ #œ œ #œ œ œ œ
b œ b œ œ œ ! ! œ nœ bœ œ œ
&
23
G m7 C7
œ œ œ œ œ œ œj œ œ œ bœ
3 3
&b œ œ œ œ œ œ
3
J
A m7( b 5) D 7 ( b 9)
25
œ œ œ bœ œ3 œ
&b œ œ 3
œ bœ œ œ3 œ œ ‰
27
G m7 C7
j
n œœ œ j œœ b œj n œœ
bœ œ œ œ œ œ
J œ œ œ œ
&b J
29
F
bœ
j œ œ œ œ œ n œb œb œ œ
J bœ œ nœ bœ j œ. œ bœ œ œ
&b ‰ ! bœ œ Œ
31
By Noel Thomson
Transcription
174
Old Folks
b œ3 œ œ œ3 œ
Ÿ F Maj7 C 7#5 3
œ œ œ3 œ ! b œ œ ! œ n œ œ
&b œ œ ‰ #œ œ b œ
3 3 3
33
œ œ
œ œ œ œ œ bœ œ œ bœ bœ œ
C m7 F7
œ b œœ .. œ œ nœ œ œ bœ
& b J œ. Œ œ œ nœ
bMaj7
35
B œ œ œ œ œ œ œ
œ bœ bœ œ œ nœ nœ œ œ œ œ œ
& b œ ‰ bœ bœ nœ œ bœ œ
b9
37
œ œ œ œ œ
E
b œ œ 3
&b œ œ œ œ œ œ œ bœ œ
œ œ
Œ !
œ bœ œ
bœ œ nœ
39
#œ œ.
F A7 j3
œ œ œ œ œ œ œ œ œ3 # œ œ
œ
œ
& b œ n œ œJ ‰
3 3
J
41
D m7 j œ œ œ œ œ bœ
œ œ
œ
œ œœœ œ
&b œ bœ œ bœ œ œ œ œ Œ ‰ œœ
43
G 7( 11)
#
œ #œ #œ nœ œ #œ nœ bœ œ œ œ bœ bœ œ nœ
& b nœ œ bœ œ œ bœ bœ œ œ nœ œ œ
45
C7
r œ bœ nœ nœ bœ œ œ nœ #œ bœ nœ
&b Œ ‰. œ œ œ œ œ œ œ #œ nœ œ œ bœ bœ œ
47
Transcription By Noel Thomson
175
Old Folks
4
E m9 A
œ #œ œ œ œ nœ œ œ
7
{A2}
œ œœœ # œ œ œ
&b œ œ œ bœ œ #œ nœ œ œ œ ‰ œ œ œ œ #œ
b7
49
œ œ œ œ bœ
œ œ bœ œ œ œ œ
D m7 D C m7 F7
œ œ œ œ œ œ œ œ œ œ
&b ! ‰
51
bMaj7 b9
"
B E œ œ œ bœ œ œ
œ œ œ œ œ œ œ œ œ
&b œ
D 7 ( b 9)
53
œ œ bœ 3 œ
A7
œ3œ œ.
3
œ ! bœ œ bœ œ bœ
&b J J J œ œ œ œ
œ
55
G m7 C7
œ œ3 œ œ œ3 œ œ œ
œ ! œ œ J
&b œ ! œ œ
œ
‰
b œ( 5) D 7 ( b 9)
57
A m7 b
œ œ n œ3 œ œ œ œ3 b œ œ œ bœ œ
œ bœ œ œ n œ3 b œ
&b
59
Gœm7 " œ œ œ
C7
œ œ3
œ #œ
j
œ nœ
j œ œ
&b œ bœ
œ
61
F b œ œ3 œ œ b œ3 œ œ3 œ œ œj b œ œ b œ œ3 b œ œ œ3 œ œ n œ3 b œ
3
&b Œ ‰
63
E m7 A7
œ œ œ œ œ œ #œ œ. ˙
&b J
65
Transcription By Noel Thomson
176
œ #œ œ œ #œ. œ ˙
{A1} D m(Maj7)
œ
&c J Œ ‰ œJ œJ œ J w ‰ #œ œ œ œ œ œ nœ
B m(Maj7)
j #w w
& #œ. #œ ˙ Œ #œ #œ œ Œ ‰ # œJ œ œ œ #œ ˙
5
let ring
j j j j #œ
w
Œ # œ œ #œ œ
& Œ Œ #œ œ # # œœœ œœœ œœœ œœœ œœœ œœœ # # œœœ œœœ œœœ œœœ œ
b b b
j A Maj7(#11) j
œœ œ œj ˙
9
j j j
œ œ œj ˙
B Maj7(#11)
œ œ œj
E Maj7(#11)
˙
F Maj7(#11)
œœ œ œ bœ ˙
Œ ‰ b œ
œ
œ ‰ Œ Œ ‰ œœœ œœ ‰ Œ Œ ‰ b b œœœ œœœ ‰ Œ Œ ‰ b b œœœ œœœ ‰ Œ
& J J œ J J
J J J J
13
b
œ. j
G Maj7(#11)
œ ˙
Œ bœ
w bœ. œ œ bœ b œœ .. b œœ œœ b œœ
&Ó œ . b œJ œ b œ J J
17
Œ ‰ b œj ˙ b wœ . œ œ b œ b œœ w ˙˙ œ nœ bœ #œ
b ˙ œœ œ b ww
& ˙ J ˙
21
œ. #œ ˙
A Maj7(#11)
& J # œ . # œJ œ # œ # # # œœœœ .... œœœ œœœ œœœ œœœ# # œœœ ... # # œœœ œœœ
J J
25 let ring let E sustain
Transcription by Noel Thomson
177
#œ œ #œ #œ
2 Son of Thirteen
j b
j j j
œ œ œj ˙
29
œ œ œj ˙ j
œœ œ œj
C maj7(#11)
˙ œ œ œ #˙
G Maj7(#11) B Maj7(#11) F Maj7(#11)
œœ œœ # œœ œœ ‰ Œ Œ ‰ b œœœ œœ
& Œ ‰ œJ œ ‰Œ
J Œ ‰ œ œ œ ‰ Œ Œ ‰ œœœ œœ ‰ Œ
J J J J J J
#
33
# m7 # m7
41
let ring
Ÿ G Maj7 F
˙ œ # œ3 œ
E m7
˙ œ œ3 # œ ˙ F
œ
&˙ œ #œ œ œ
3
# m7 # m7
47
G Maj7 F E m7 F
#w j
w #œ ˙ œ. # ˙˙
let ring
Œ œœ . œœ ˙˙ œ
& Ó œœ
œ . J # œœ .. œ ˙ ˙ œ
# m7 #
51
Œ ˙ # œœ Œ # œ œ ˙ œ #œ ˙ œ3 œ
G Maj7 3 3 F E m7 F m7
#
3
˙
& Œ ‰ œœ ˙˙ œ œ Œ Œ
Œ œ Ó
55 J # #
C 7sus C 7sus A 7sus D 7alt
j
bw ˙ Œ #œ #œ w œ . œ œ œ œ
3
# œ # # ww
3
& Ó b œ .
‰ œ .. # w
œ # w
w Œ ‰ œ œ w
59
J
let ring
#7alt
Son of Thirteen
D Maj7 j
F 7alt G Maj7 3
# ˙ œ œ # ˙˙ # œ œ œ œ˙ . # œ œ œ w j œ
#œ œ
F
œœ œœ Ó œ
3
#œ ˙ b ˙˙ Ó #˙ # œœ .. œœ
& Œ œœ ˙˙ Ó œœ .. œœ œœ # # œœ
63
{A2} D m(Maj7)
#œ. œ w
œ ˙ Œ ‰ œJ œJ œ J Ó # œœœ .. œœœ ‰ # œ œ œ œ œ œ n œ
& J .
69 J
B m(Maj7)
# ¥¥
œ #œ
& #œ. j
#œ ˙ Œ #œ œ œ #œ. #œ œ #œ
J
#7alt b bMaj7#11
j
73
œ œ œj ˙ j
C C Maj7#11
˙ œ œ œj b ˙
E 7#9 A
j
œœ œœ œ œ bœ ˙ œœ œ œj
& Œ ‰ œ œ ‰ Œ Œ ‰ œ œ ‰ Œ J J Œ ‰ bœ
J J J J J J ‰ Œ
77
E Maj7#11 G add9
j j œ œ œ ˙
& #œ. #œ ˙ #œ.
#œ œ
œ
œ.
œ. J œ
œ.
J
81
b
let ring let ring
B Maj7#11
#œ œ œ #œ
& œœœ ... œ œ
J œ œ. œ ˙
J œœ .. œ œ
J œœ ˙˙
85
bœ. œ. œ ˙
let ring let ring
{A1} D m(Maj7)
#œ œ œ œ nœ #œ œ œ œ œ
j
#˙~ œ œ3 œ œ
œ
& J ‰ ‰ ‰ Œ ‰ J Ó Ó
89
B m(Maj7)
j
#œ œ ˙
œ œ #œ œ œ œ œ #œ œ
Cliche Species B.3
œ Pentatonic Species B.1
#œ
& #œ #œ nœ nœ. œ œ œ #œ œ œ œ #œ
J
93 Re: mm.94
Transcription
by Noel Thomson
179
Son of Thirteen
4
Enclosure Species A & C
Œ ‰ # œj # œ œ œ œ œ # œ n œ œ œ œ œ œ
Re: mm.93
& #œ œ #œ œ œ œ œ œ #œ #œ Ó
bMaj7#11 bMaj7#11
97
b
Re: mm.88-89
A E
œ œ. œ ˙
B Maj7#11 Enclosure Species G.1 F Maj7#11
œ œ œ œ œ œ
b
& J œ J nœ œ œ œ œ Œ ‰ œ b œJ œJ J J
101 Re: mm.102 Re: mm.93
Re: mm.100
bMaj7#11 œ. bœ. bœ
œ bœ
j
G
bœ j œ
bœ ˙ bœ
‰ b œj œj b œ œ œ
œ
&Œ J ‰
J
105 Re: mm.103-104 Re: mm.93
œ.
Motivic Species C.1
œ œ bœ œ bœ bœ.
J . bœ ˙ bœ bœ œ bœ œ bœ bœ bœ œ
& J J œ bœ
109
#œ œ œ #œ œ #œ œ #œ.
A Maj7#11 j
#œ œ #œ œ #œ. Œ œ #œ
œ
& œ #œ œ œ œ # œ J J J J œ J J
113
j
#œ. œ #œ #œ œ ˙ Enclosure Species G & D
#œ œ œ #œ nœ
œ
#œ œ œ œ œ œ œ œ #œ œ J J J œ œ
& ‰ J
117
bMaj7#11
3 œ œ œ œ Cliche
G Maj7#11 F Maj7#11
#œ œ
C Maj7#11 B
#œ. œ œ œ œ œ œ œ œSpecies C.2 Pentatonicœ Species
œ œ œ œ # B.2
œ
J J J J J J J œ ‰ J
&
121 Re: mm.121-122 Re: mm.121-122
E m7 B m7
œ œ #œ œ œ
& œ œ œ Œ ‰ j
#œ œ #œ
125 Re: mm.121-122
# m9 Son of Thirteen
œ #œ #œ œ
F 5
#œ œ œ
j j #˙
j j j j ‰ # œ œJ
œ œ # œ œJ œJ
œ
& œj œ # œ œ # œ J
127
˙ œ œ #œ #œ œ
Cliche Species B.3
. œœ œ # œ œ3 œ # œ œ3 œ
& #œ J ‰J #œ œ #œ #œ nœ
# m7 # m7
131
Ÿ G F E m7 F
Maj7
œ œ œ # œJ œJ œ . ‰ # œ œ œ œ œ œ œj œ
j
3
j ‰ # œj œ œ
& œ. J J œ ˙
# # m7
135 Re: mm.135-136
G Maj7 F m7 E m7 F
œ3 œ #œ œ œ œ œ3 œ œ # œ3 œ œ œ3 œ #œ j #˙
& œ # œ œ Œ
3 œ
j
J J Œ œ
# #
139 Re: mm.135-136
G Maj7 j # œ œ n œj F m7 E m7 F m7
œ œ œ # ˙ œ œ œ # œ œ3 œ œ œ œ œ # œ œ œ œ œj
J
&Œ ‰ Œ
# #
143 Re: mm.143-144
A 7sus
˙ Enclosure
C 7sus C 7sus D 7alt
œ b œSpecies
œ œ #œ œ
G.2
œ #œ nœ œ
.
Pentatonic Species A.3
#œ œ # œ # œ # œ œ œ # œ
& J J J œ œ œ œ #œ
147 Re: mm.147
D Maj7
œ #œ #œ
Pentatonic Species A.4
œ
F 7alt
œ #œ
Chromatic Passing Tone Species B.2
œ
& œ œ #œ #œ œ. #œ œ
J
#7alt
151 Re: mm.147
G Maj7 F
œ œ #œ œ nœ œ œœ Œ œ œ
Enclosure Species E & D
#œ œ nœ œ #œ œ œ œ œ œ
& # œ œ œ œ # œœ œ
153
Son of Thirteen
6
D m(Maj7)
{A2}
œ. j œ œ3 œ ˙ œ # œ œ3 # œ
& # œœœ œœœ œœœ Ó # œœœ Ó
157 Re: mm.157-158
B m(Maj7)
œ . # œ œ œ œj œ œ . œ # œ œ œj # œ ˙ n œ œ œ œ œ œ œ œ œ œ
j
& J J J J J J J J
# b bMaj7#11
161
Re: mm.161
C 7alt
œ
C Maj7 E 7#9
bœ œ œ œ bœ œ
A
œ œ #œ œ. œ œ
j
œ œ # œ
&J œ #œ œ
J
J J J
165
E Maj7#11 G Maj7#11
j
#˙ #œ œ
# # ˙˙ # # œœ .. # œœ œœ # œœ .. œ œ œœœ œ œ #œ œ œ #œ
Chromatic Passing Tone Species B.3
œ j
#œ
# œ
‰ J # œ
& J J
b
169 Re: mm.168 Re: mm.168
˙~ œ . œ œ
B Maj7#11 œ œ œ Aœ7alt Cadence Species
œ #œ #œ œ #œ nœ œ #œ #œ nœ œ
C.6
œ œ œ # œ
J Jœ œ
& J
173 Re: mm.168 Re: mm.168
{A1} D m(ma7) œ
Motivic Species B.3
œ œ œ œ
œ œ œ œ œ œ #œ œ œœœœ œ œ #œ œ œ œ ‰ œ‰ œ‰ œ #œ
& #œ œ J
177
B m(ma7)
#œ œ œ œ
#œ œ œ œ œ #œ #œ #œ œ œ œ œ œ œ #œ #œ œ #œ
# œ
#œ
œœ
& #œ œ #œ #œ œ #œ
181
#œ #œ #œ #œ œ œ
œ
œ #œ #œ œœ #œ œ #œ #œ œ œ #œ œ œ œ œ ‰ #œ œ #œ œ
&œ
185
Son of Thirteen
B
bma7(#11) F ma7(#11) A
bma7(#11) E
bma7(#11) 7
œ. bœ ˙
&
œ. b œœ ˙˙ œœ ˙˙ œ œ œ ˙ Œ b œœ
J J
b
189 Re: mm.189 Re: mm.191
G ma7(#11)
bœ bœ œ bœ
Pentatonic Species A.5
.
&Ó ‰ b b œœœ .. ˙˙
˙ b œ b œ b œ b œj ‰ œ j ‰ ‰
bœ œ œ œ bœ nœ bœ bœ œ
193
œ œœ
Chromatic Passing Tone Species B.4
j
bœ nœ œ bœ œ œ œ bœ œ bœ ‰ bœ
‰ b œJ b œJ ‰ Œ ‰ b œj b œ œ
& bœ bœ bœ œ bœ J
197
A ma7(#11)
œ #œ œ œ #œ #œ œ œ ‰ œ #œ œ œ œ œ
# œ œ ‰ # œJ ‰ œ # œJ ‰ ‰ œ
j
& # œ ‰ J ‰JJ‰
201 Three-Beat Figure
œ
j
#˙ nœ
j
#˙ œ #œ #œ Pentatonic Species A.8
& #œ œ #œ œ œ #œ #œ œ #œ j ‰ œ. nœ Ó ‰ œ
#œ œ #œ
205
C ma7(#11) G ma7(#11) b
œ ˙~ œ œ
B ma7(#11) F ma7(#11) Pentatonic Species A.6
œ # œ œ‰
Chromatic Passing Tone Species B.5
œ œ œ j
œ œ #œ œ nœ œ
œ œ # œ œ œ œ œ
& #œ œ œ ‰JJ‰ #œ
209
E m7 B m7
œ œ œ œ
Chromatic Passing Tone Species C.6
œ bœ #œ œ œ #œ œ bœ
& œ bœ œ
213 Re: mm.211-212 Re: mm.211-212
# m7 #œ œ œ
œ.
j
œ #œ.
F œ
j j œ . # œJ œ œ J
& #œ. œ œ #œ œ œ. J
215
Son of Thirteen
#œ. œ œ nœ
8
#œ
j
œ
j
œ
j
œ œ #œ œ œ œ œ #˙
j œ #œ
& J J ‰ Ó Ó ‰ J J ‰
219
G ma7(#11)
# m7 F E m7 F
# m7
Ÿ
œ #œ œ #˙ œ #œ j œ. j œ œ
#œ œ œ
J Œ œ œ3 œ œ œ œ
& œ
# m7
223 Re: mm.224
G ma7(#11) F
E m7 # m7
j #œ. œ ˙ œ # œœ .. œ ˙ F
&
œ J œ. #œ œ œ. J # www
J
#
Re: mm.227
# m7
227
G ma7(#11) F m7
œ ‰ œJ œ . # œ ‰ œ ‰ œ # œ œ œ ˙
F E m7
3 œ
œ œ #œ Œ #œ
j
& œ #œ ‰ J
231
C 7sus
#
C 7sus
Re: mm.231-232
#
D 7alt
bœ. j œ bœ ˙ œ. #œ œ œ œ œ œ
A 7sus
b œœ œœœ
œ b b b œœœ ... J b œœ ... J
& œ œ œ
235
J Re: mm.235-236
D ma7 F 7alt
#œ. œ œ ˙
&
# œœ
œ
œœ
œ # # œœœ ... J
J
239
#7alt
G ma7
œ. #œ œ œ œ. œ œ œ ! F
# œ n 3œ œ œ
#œ. J j #œ. œ œ œ
J #œ J œ
j
Ó
&
241
!
D m(ma7)
œ œ œ œ œ ‰ œ ‰ #œ
{A2}
œ œ œ œ
& Œ œœ Œ Œ œ œ œ œ ‰ ‰ ‰ œ
245 off-beat on-beat off-beat
by Noel Thomson
Transcription
184
Son of Thirteen
#œ œ #œ
B m(ma7) 9
œ # œ œ b œ œ œ bœ bœ œ œ bœ bœ œ œ nœ œ bœ œ
Enclosure Species F & D
‰ œ #œ #œ. #œ œ # œ
&‰ J ‰ J
249
# b b
A ma7(#11)
C 7alt C ma7(#11) E 7#9
œ œ œ
œ # œ
Pentatonic Species A.7
œ œ # œ œœœœ œ œ œ œ #œ
Cadence Species B.7
& œ bœ œ œ œ bœ bœ œ œ œ œ œ œ œ b œ
253 Re: mm.253-254
E ma7(#11) G ma7(#11)
j œ œ œ œ œ #œ. œ œ œ œ bœ
#œ. #œ œ œ œ œ
& J
257
b Re: mm.257-258
œ ˙
B ma7(#11) A 7alt
œ. œ œ œ œœ .. œœ œœ
j
b b ˙˙˙
œ
œ œ œ #œ. œ Œ œ Ó
œœ
& J J
#œ
261
D m(ma7)
{A1}
# # wwww ww
ww ! !
&
265
B m(ma7)
# # # www ww
ww
ww
ww
ww
ww
& # ww w w w
269
ww ww ww
& ww ww ww !
w w w
273
j
A madd9 A m(b6) A m9 A m(b6)
˙ œœœœ .... œœœ œœœ œœœ œœœ œœœ œœœ œœœ ˙˙˙
& c ˙˙˙ œ œ œœœ œœœ ˙˙˙
j œ œ œ œ œ œ œœ ˙˙ œ.
œœ œ ˙ œœ ..
A m7(b13)
œ œœ ˙˙ œœ j œ œœ œœ œœ œœ j
& ‰ œœ œ ˙ œ œ œ J J J J J œ
A1
Ó Œ Œ 3œ Œ ‰ j
œ œ ˙ œ
A m7 F/A G sus4 G/F
nœ. œ ˙
3
œ ˙ œœ .
j
&
bœ
J œœ œœ œœ œœ œ œ œ
Ó ‰ œ J J ‰ Œ ‰
. J ‰
E b Maj7 E b7sus E b7 A b Maj7
Ó œ Œ œ bœ œ œ œ œ bœ œ œ Œ b œ Œœ Œ œ
G 7(b913) G 7(b9b13)
œ. œ ˙ j
3
j
b b œœ ..
3
bœ
J œ œ œ
œ
J J
5
& œ J
J Ó ‰ Œ
F # m7 3
F # 7sus 4 F #7
Ó Œ #œ #œ œ #œ œ #œ nœ œ
B ma7(#11) A Maj7(#11)
j j
#˙ ˙ ˙ j
# œ œ œ
œ
# ˙ n œœ # œ # ˙˙
# #œ
#œ
œ œ
9
&
Œ ‰JŒ ‰J Œ 3 3
œ
B /E
j
J œ œ œ˙ . œ b œ˙ . œ ˙œ˙ œ
bœ
œ b ˙˙
13
& ˙ b˙
3
A bMaj7(#11) A b dim7
j j 3
A2
Œ ‰ Œ ‰
A add9(#11) F/A
œ. œ œ˙œœ # œœ # ˙œœ # œœ œ œ ˙œ œ œ œ œ œ œ ˙ b œ œœ œœ b œ œj
3 3
& # ˙˙˙
17
Ó ˙ Ó ‰ J J ‰
B m7 (b 5)
j j
E9
‰ œ œ œ ˙ œ œ œ œœ œ œ
j
G 7sus 4 G m7 C9 F Maj7#5 F Maj6
Ó . # œœœ . œœ
3
œ. œ ˙œ œ œ œ #œ œ œ
& ‰ œœœ ... œœ œœ ... b œœ ... œ
21
œ
J J Ó ‰ Ó Œ Œ
Transcribed by Noel Thomson
186
2 Snova
˙ j œ
b œœ œœ ˙˙ b œœ
b œ # ˙ œ # œ œœ . œ . œ œœ . œ # œ# # œœœ
& ‰ b œ œJ ˙
25
Œ Ó ‰ œ œJ œ . # œ œ Œ œ Œ
J
Bb 9 ()
B m7 b 5
j j
6 6 6
œ . œ j œ œ nœ œ
A 7sus D9 G 7sus C9 F 7sus E 7alt
œ. œœ œœ .. œœ .. œ œ œœœ œ
j
& œœ .. J œœœ . œœ J b œœ ... œœ œœ .. J œ
#œ
29
# œœ œœ .. . œœ œœ .. b œ b œœ œœ .. J
A1 A m7
œ ! œ œ ! œ œ bœ ! œ œ ! œ œ ! #œ œ œ œ œ œ
œ
33
&
œ œ ‰ œ œ œ œ œ œ ‰
F/A G 7sus G 7/F
œ œ œ œ œ j
&‰ œ œ ‰ ! œ œ
35
3 3 3
J
E bma7 E b7
œ œ œ œ bœ œ bœ œ
j œ œ bœ œ œ bœ
œ
& œj b œ œ J ‰
37
A bma7
œ. bœ bœ œ œ œ œ œ #œ nœ œ #œ
G 7b9
‰ J ‰ ! R œ bœ œ #œ
39
& œ
F #7sus F #7 F # m7
#œ œ. œ œ #œ nœ œ bœ
œ #œ
& #œ #œ ‰ #œ œ œ ! #œ #œ œ ‰
41
3 3
187
Snova
œ #œ
#œ œ #œ œ #œ
B ma7(#11) A ma7(#11)
bœ # œ
& ! ! bœ ! bœ ! bœ œ œ bœ ! œ
43
œ #œ #œ #œ œ œ #œ
3
E bma7(#11)
œ œ ‰ œ œ !œ
œ œ œ bœ œ ! œ ! œ ! œ ! #œ ! #œ ! œ ! œ
F ma7(#11) D ma7
45
& œ
B bma7(#11) A b 13
œ œ œ bœ œ. œ œ
G 7sus E 7b9
œ j j
œ œ
&! œ ! œ œ œ ! bœ œ œ ‰ ‰ œ œ. bœ œ
47
nœ œ
#œ nœ œ
3
œœ œœ j
#œ œœ œ #œ
A2 A add9
œ
œ œ œ œ œ Œ ‰ œ œ
49
&
3 3 3
A b dim7
œ œ œœ œœ j œ. œœ œœ œ œ œ œ œ œ
F/A
œ œ ‰ œ
œ. ! œ œ œ œœ ..
51
&
3
3
œ
G 7sus G m7 C7
! œ
j œ J ‰ bœ nœ œ œ œ
œ œ œ œ
53
& œ. œ œ. œ œ
#œ
œ œœœ œ œ E 7b9 œ
! œ œ nœ œ bœ
Fj ma7
œ œ œ bœ œ œ œ œ
B m7b5
œ
Œ !œ œ !
55
&
188
4 Snova
!
œ G~~li~~~
E b7sus A bma7/E b
bœ œ b œ œ bœ
ss.
bœ. bœ bœ œ bœ bœ œ " œ
F m7
57
œ " J J ‰
&
F #7sus B ma7/F #
#œ œ !
E ma7
#œ.
" œ #œ œ #œ. #œ #œ " œ œ
&Œ ‰. R " " " J ‰. R
59
#œ " œ #œ œ nœ œ œ œ #œ " nœ
œ œ œ C ma7
œ
"œ J ‰ œ
A 7sus D ma7 G 7sus
b
œ b œ œ œ b œ œ b œ B ma7n œ œ œ œ b œ
œ œ œ œ œœœ œ
F 7sus B m7b5 E 7alt
œ bœ nœ bœ œ
œ #œ œ #œ œœ"
63
&
œ j œ j œ
œ œ œ
A1
œ œ
#œ #œ
"
A m7
œ " œ " œ ‰ œJ œJ ‰ œ
&œ " œ " œ " "
65
~~~~~~
œ œ " œ #œ œ
œ œ œ œ œ œ #œ œ œ
j
j F/A j
"
G 7sus G 7/F
œ œ
œ " Œ "
67
&
E bma7 E b7
bœ œ œ œ nœ " œ œ œ bœ œ œ œ. œ bœ œ bœ œ œ bœ bœ
&" " " " "
69
189
Snova
5
A bma7
œ b œ n œ œ œ œ bœ œ œ œ œ #œ
œ œ #œ œ œ
G 7b9
bœ œ
& œ ‰ J ‰ ! bœ œ bœ œ bœ œ
71
F #7sus F #7 F # m7
#œ #œ œ. #œ œ
œ! œ œ #œ œ bœ œ #œ nœ bœ
bœ #œ œ œ nœ œ #œ œ œ nœ #œ œ œ œ
73
&
œ œ # œœ œœ œ
B ma7(#11) A ma7(#11)
#œ œ
œ #œ #œ #œ nœ œ #œ !
75
& #œ œ
E bma7(#11)
j j
F ma7(#11) D m7
œœ œœ œœ œœ œ œ œ œ œ b œœ œ œ
œ
œœ
œœ .. œ œœ
b œœ
b œ œ œ
77
& ‰ J
B bma7(#11) A b 13
j j
G 7sus E 7b9
œœ . œ œ œ œ œ œœ œ œ bœ œ bœ. œ œ
œœ . b b b œœœ œœ
œ
œœ
œ b œœ ...
b œœ œœ
& . J
79
J R
! ‰ Œ
A2
œ œ œ. #œ #œ œ œ
j #œ œ bœ
#œ œœ
A add9
J
œ œ œ A b dim7
œ œ œ œ œ œ œ œ
œ
F/A
& œœœ œœ œœ ‰ J ‰ ! !
83
œ œ 3
190
6 Snova
!G 7sus œ œ œ
œ œ b œœœ œœ
C7
#œ œ nœ œ œ œœ
G m7
j
#œ œ ‰ ‰ J J
85
& J
~~~~ ~
3
œœ œ œ œ œœ œœ œ œ œ œ.
œ œ
F ma7 B m7b5 E 7b9
œœ œ œ œœ œœ
J J J
87
&
E b7sus A bma7/E b
œ œ
b bb œœœ b b œœœ œœ œœ œœ œœ œ # # œœœ
F m7
œœ
œ b œœ b œœ œœ b b œœœ œœ .. nœ
89
& J œ.
J J J J
F #7sus B ma7/F #
#œ œ œ #œ œ #œ
E ma7
œ œ # # œœ œœ œœ
œ # œœ œœ # # # œœœ
& œœ œ œ # œ œ œ Œ
91
J J J J J J
œ
A 7sus
œ œ
D ma7
œ j œ
G 7sus
nœ œœ ..
C ma7
œœ # # œœœ œœ # œœœ
#œ
œœ
#œ
œ œ œ œœ ..
‰ J Œ ‰ J ‰
93
&
B bma7
œœ œ œœ œœ j
F 7sus B m7b5 E 7alt
b œ œœ œœ œœ œ œ
& b œJ
œœ œœ n n œœ œ œ
# # œœ œ œœ J n œœ
95
J œ œ
œ
A m7
œ.
& œœœ ... ‰ Ó
97
œ.
191
Appendix
B
–
Formulaic
Components
Formulaic Components
C C
4œ œ œ œ ‰ Ó œ œ œ ‰ Ó
Figure 1
&4 œ œ ‰ Ó
4 1 3 1
J
Figure 2 C C C
& b œ œ œJ ‰ Ó b œ 2œ œ ‰ Ó œ b œ œJ ‰ Ó
3 1 1
Figure 3 C C
&Œ j
œ #œ œ ‰ Œ Œ
œ bœ œ
j ‰ ‰ ‰
7 1 3
Figure 4 C C
j
& œ #œ œ #œ œ ‰ Œ œ bœ œ bœ œ
j ‰ Œ
9 3
1 1 4
Figure 5 C
&œ j ‰ Œ
œ bœ bœ œ
11 1
1 2 1 2
Figure 6 C
&Ó œ j ‰ Œ Ó
œ œ bœ nœ
12 1 4
Figure 7 C
&Ó œ bœ j ‰ Œ Ó
œ œ œ
14 3 2
Figure 8 C
œ bœ j ‰ Œ
&œ œ œ
16 1 2 1 2 1
192
2 Formulaic Components
Figure 9 C
&Œ œ bœ nœ œ bœ œ
j ‰ Œ Ó
17
œ
3 4
Figure 10 C
&Ó ‰ œ œ j ‰ Œ Ó
19
œ œ
3 2 1
Figure 11 C ma7
1
œ œ
4
œ œ j ‰ Œ Ó
& œ œ œ
21
œ œ
3 1
Figure 12 C
&œ œ œ œ œ bœ j ‰ Œ Ó
œ œ œ
23 1
2 1
Figure 13 C
&œ œ œ œ œ œ j ‰ Œ Ó
œ œ œ
25
1 2 1
Figure 14
C
&Œ œ bœ œ œ œ œ
j ‰ Œ Ó
27 1 œ
2 1
Figure 15 C
&Ó Œ œ œ œ œ œj ‰ Œ !
29 1
œ œ 1
Figure 16
C
&œ œ œ Œ
œ œ œ
32 1 2
193
3
Formulaic Components
Figure 17 C m(ma7)
& œ œ œ
œ œ œ œ bœ
33 2 1
1
C
œ ‰ Œ
œ œ œ œ œ
Figure 18
&Ó Œ J Ó
3
œ œ œ œ
34 œ œ
1
Figure 19 C
&Œ œ œ j ‰ Œ Ó
1
œ bœ œ bœ œ
37 2 1
G7
Figure 20
&œ œ j ‰ Œ
œ œ œ
39 1
1
Figure 21 G 7Ñ9
& bœ œ j ‰ Œ
œ œ œ
40 1
2 1
7 (b 9) C
Figure 22 G
&Ó ‰ bœ œ œ œ Œ Ó
41 2
7 alt C
G
œ
&Œ œ bœ Œ Ó
Figure 23
bœ
1
œ
2
œ œ
43 1
C ma7 C
Figure 24
& bœ nœ bœ nœ œ ‰ Œ bœ œ bœ j ‰ Œ
J œ œ
45 2 1 3 4
194
4 Formulaic Components
Figure 25 C
&Œ j
bœ bœ nœ bœ œ œ œ ‰ Œ Ó
47 3 1 1
2
Figure 26 C
&Œ j ‰ Œ Ó
3
œ bœ œ œ œ bœ œ
49 1 2 1
2
Figure 27 G 7#5(#11)
#œ #œ œ œ
&œ œ œ
51
Figure 28 C m(Ñ9)
œ œ bœ
& bœ bœ œ œ
52
Figure 29 G7
œ
3 2
&œ œ œ œ
1 2
œ
53
œ
4
Figure 30 C C C
œ Ó œ Ó
1
œ œ 1 œ2 Ó
&œ œ œ œ œ œ
54
1 1 2 1 1 2
3 4
Figure 31 C
& bœ Œ Ó
œ
57 2
Figure 32
C7
œ œ
3
& # œj œ bœ nœ œ
58 1 4 1 1
195
5
Formulaic Components
G 7 alt C
bœ
Figure 33
œ bœ bœ bœ Œ Ó
& œ bœ œ
59 2 1 4 4 2
œ
C ma7(#11)
œ œ
œ œ œ #œ œ œ
Figure 34
& œ œ œ Ó
61
3 1
196
b 4
Solar: Bar 29
&bb 4 Œ ‰ j œ œ Œ Ó
nœ œ œ œ œ
Fig. 16
Species B
j
C7 F ma7
b
Solar: Bar 4
3
&bb Ó œ bœ œ bœ nœ ‰ Œ Ó
Fig. 7
Species C F ma7
b œ bœ œ
Solar: Bar 5
& b b nœ œ œ œ
5
Fig. 8
b b b b
œ œ bœ œ œ œ œ œ œ œ œ œ bœ œ œ
Species B, A, G & C
B b7
b œ n œ œ œ n œ b œ b œ œ œ œ b œj ‰
Solar: Bar 200 E ma7 E m7 A 7 D ma7
b œ
&bb Ó
6
b
Solar: Bar 62
bœ
& b b œ œ œ œ nœ œ œ œ bœ nœ œ #œ nœ #œ #œ Œ Ó
œ œ
10
œ bœ œ œ nœ bœ bœ œ
F ma7 F m7
b œ œ œ nœ bœ nœ ‰ bœ
Solar: Bar 53
&bb Ó Œ
J bœ
13
b A b7 D bma7
œ bœnœ œ œbœnœbœ œ bœ œ
Species A, E & D
bb Ó ‰ œ œ œ b œ œ œ n œ b œ œ œ
D m7b5 G 7b9 C m7
Solar: Bar 106 E m7
œœ œœnœbœ œ ‰ Œ Ó nb
& b J n
16
Fig. 25 Fig. 24
Fig. 16 Fig. 2 Fig. 30 Fig. 5
197
2
Enclosures - Species A, B, C, D, E, F & G
œ œD b7
œ bœ
Species A & G
Old Folks: Bar 51 D m7
œ œ œ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ
C m7 F7
&b ! ‰ n
21
B bma7(#11)
Species A & C
‰ # œj # œ œ œ œ œ #œ nœ œ œ œ œ
Son of Thirteen: Bar 99 B m(ma7)
&Œ bœ ‰ Œ Ó b
23
œ J
Fig. 8 Fig. 11
Fig. 16
B bma7 œ œ œ
Species B & C
œ bœ bœ œ œ nœ nœ œ
Old Folks: Bar 36
œ œ bœ
F7
&b Ó Œ nœ œ
26
C # 7alt
Son of Thirteen: Bar 251
œ bœ œ œ bœ bœ œ bœ bœ œ œ nœ œ bœ œ
œ
B m(ma7)
œ ‰ Œ Ó
30
& J
Fig. 26 Fig. 5 Fig. 31
F # 7alt
Species E & D.2
œ œ #œ œ nœ œ
Son of Thirteen: Bar 153
#œ œ nœ œ #œ œ œ œ œ œ œœ Œ Ó b
G ma7
# œ œ œ œ # œœ
33
& œ
Fig. 25 Fig. 5 Fig. 2 Fig. 11
B b7
Species A, C & D
r œ œ bœ nœ nœ bœ œ œ nœ #œ bœ nœ
Old Folks: Bar 47 C 7 (Em9)
&b Œ ‰. œ œ œ œ œ œ œ #œ nœ œ œ bœ bœ n
37
Enclosures - Species A, B, C, D, E, F & G 3
B b maj7( # 11)
Species G.1
œ œ œ
Son of Thirteen: F ma7(#11)
œ œ œ
& b œJ J nœ œ Œ
Bar 101 39
œ œ
Fig. 10
#œ
Species G & D
œ
A ma7(#11)
œ #œ nœ #œ.
C ma7(#11)
œ œ
Son of Thirteen:
J
&‰ ‰ Ó
Bar 120
41
Fig. 10 Fig. 5
˙ C # 7sus
Species G.2
œ bœ
C 7sus
œ œ #œ
Son of Thirteen:
œ #œ œ ‰ Œ
Bar 147
& J
43
Fig. 10
199
b 4 #œ œ œ œ œ œ nœ
D m7b5 G 7b9 C m7
nœ bœ
Solar: Bar 60
œ
&bb 4 J ‰ Ó
Fig. 12 Fig. 31
b b œ n œ œ œ n œ b œ œJ ‰ œ n œ œ œ n œ b œ œJ ‰ œ nœ œ œ bœ œ œ
Species A.2 C m7 G m7
J ‰
Solar: Bar 205
3
b
& b
Fig. 3
œ #œ œ œ nœ nœ bœ nœ œ œ œ œ nœ nœ bœ œ nœ œ bœ bœ nœ
C7 F ma7
bb b J ‰ Œ nnb
6
&
Fig. 4 Fig. 2 Fig. 3 Fig. 2 Fig. 5
E b9
Species B.1
F
œ œ œ
œ nœ œ
Old Folks: Bar 40
&b Ó ! bœ œ nœ Œ n
3 3
œ b œ œ Fig. 3 J
9
Fig. 31
Species B.2
œ œ #œ œ œ #œ œ nœ œ
G ma7
œ
Son of Thirteen: Bar 152
& œ. #œ
F 7alt
J
11
Fig. 4 Fig. 25
B bma7(#11)
Fig. 4
œ #œ œ ˙
Species B.3
# œG ma7 œ
Son of Thirteen: Bar 171
œ #œ œ
Ó
13
&
Fig. 3 Fig. 3
Species B.4
G bma7(#11) bœ œ œ œ bœ œ bœ
Son of Thirteen: Bar 196
&Ó ‰ œ b œ b œ bœ œ bœ bœ nœ œ J ‰
bœ bœ
15
Fig. 3 Fig. 25
#œ œ ‰ œ œ œ
Species B.5
œ œ #œ œ œ
C ma7(#11) G ma7(#11)
‰ J J ‰
Son of Thirteen: Bar 208
&Ó ‰
œ #œ
œ #œ œ œ
18
Fig. 31
Fig. 18
200
œ #œ œ #œ œ bœ œ
Son of Thirteen: Bar 250
#œ.
B m(ma7)
#œ
& J ‰ Ó
21
Fig. 3
Species B.7
œ #œ œ #œ œ #œ œ œ ‰ œ œ
F ma7(#11)
Snova: Bar 44
& ! #œ œ # œ # œ J ‰ Œ
23 A ma7(#11) 3
œ #œ #œ #œ œ œ
Fig. 24
Fig. 31 Fig. 18
œ œ œ b œ œ œ œ œ F 7sus
#
b œ n œ
Species B.8
A bma7
œ #œ œ œ #œ œ #œ #œ
! œ bœ œ bœ œ bœ
G 7b9
Snova: Bar 71
&Ó œ!Œ Ó b
25
bœ
Fig. 18 Fig 4 Fig. 31 Fig. 7 Fig. 2 Fig. 11 Fig. 5
œ nœ bœ œ œ œ œ
Species C.1
Old Folks: Bar 22 E b 9
œ bœ bœ
A7
28
&b Ó œ œ bœ œ Œ
Fig. 14 Fig. 31 Fig. 21
œ œ œ
Species C.2
Old Folks: Bar 39 E b 9
30
&b Œ ‰. R bœ œ œ œ bœ œ œ œ Œ Ó n
Fig. 7
Species C.3
Son of Thirteen: Bar 214 F # m7
œ #œ
&‰ œ ‰ Ó
B m7
bœ
32
œ bœ œ #œ.
Fig. 3
Species C.4
C # 7alt
Son of Thirteen: Bar 252 C maj7( # 11)
œ œ
œ œ bœ œ œ œ
34
& œ œ œ bœ bœ œ œ œ
Fig. 4 Fig. 5
Fig. 17
F #7 F # m7
œ œ #œ nœ œ bœ bœ
Species C.5
#œ œ.
B ma7(#11)
bbb
Snova: Bar 42
& ‰ ! ! bœ ! bœ ! bœ œ œ bœ
36
3 3
Fig. 1 Fig. 3
201
b œ bœ œ œ nnn
Solar: Bar 83
&bb œ œ bœ
38
œ
Fig. 3 Fig. 19
Species D.2
Snova: Bar 73 F #7sus
#œ #œ œ. #œ œ
œ ! œ œ #œ œ bœ
& œ bœ
39
Fig. 11 Fig. 19
202
Dominant Cadence
Species A
B bma7
œ œ œ œ œ bœ œ œ bœ bœ
Species A.1
œ
œ œ œ œ nœ œ œ bœ nœ œ ! ‰ Œ Ó
C m7 F7
4
Old Folks: Bar 35
&b 4 Ó Œ R n
Fig. 12 Fig. 21 Fig. 7
Fig. 6
œ E 7b9œ b
œ œ bœ œ œ œ œ ! œ œ nœ œ bœ œ bœ. bœ bœ
Species A.2
!œœ
F ma7 B m7b5 E 7sus
Snova: Bar 55
&Ó Œ œ ! ! J
4
b ‰ œ ‰
&bb Ó J ‰ Œ Ó
Solar: Bar 119
J
10
D bma7
œ b œ œ b œD m7b5œ n œ b œ G 7b9
œ œ œ nœ œ
Species A.5
œ
‰ #œ
C m7
b
&bb Ó ‰ Ó
Solar: Bar 167
13
b ‰ J œ œ nœ
Solar: Bar 179
&bb Œ Œ Ó
16
Fig. 24 Fig. 21
Species A.7 F m7 B b7
b nœ bœ œ #œ nœ nœ bœ bœ
Solar: Bar 43
&bb Ó œ œ œ œ
19
Fig. 26 Fig. 20
203
Dominant Cadence
Species B
Species B.1
b 4 œ bœ
D m7b5 G 7b9
œ œ œ
&bb 4 nœ
Solar: Bar 24
œ
Fig. 7
Species B.2 D bma7
œ bœ œ œ
D m7b5 G 7b9
b œ bœ œ œ
C m7
&bb Ó j
œ ‰ Œ Ó
Solar: Bar 71
œ bœ œ
2
œ
Fig. 7 Fig. 7
Fig. 5
nœ œ
bb Ó # œ œ n œ n œ b œ œ œ n œ b œ b œ œ b œ œ n œ n œ œ
Species B.3 G m7 C7 F ma7
b nnb
œ œ œ #œ Ó
Solar: Bar 147
& bœ
5
&b ! œ ‰ Œ Ó n
Old Folks: Bar 24
J
9
Fig. 31 Fig. 23
Species B.5 F #7sus
œ #œ nœ œ #œ
G 7b9
‰ ! R œ bœ œ #œ r
#œ ! ‰ Œ Ó
Snova: Bar 40
& œ
11
Fig. 23 Fig. 7
E b7 A bma7
œ bœ œ bœ œ œ bœ bœ
Species B.6
&Œ ‰ ! R ! œ b œ ‰ œJ ‰ Ó
Snova: Bar 70
13
Fig. 23
Species B.7 C # 7alt
j
C m a7(#11)
œ œ bœ œ
Son of Thirteen:
Bar 253 15
& œ œ bœ bœ œ ‰ Œ Ó
Fig. 23 Fig. 5
204
Dominant Cadence
Species C
B b7 E bma7
œ
Species C.1 F m7
b 4 œ ‰ œ ‰ #œ ‰ œ ‰ bœ
&bb 4 ‰ œ ‰ œ œ œ œ œ
Solar: Bar 7
Fig. 6
E bma7 E b m7 A b7 D bma7
Fig. 22
œ
Species C.2
b j bœ œ nœ œ
&bb œ ‰ Œ œ ‰ ‰ œ œ bœ ‰ œ œ Ó
Solar: Bar 20
œ
4
B b7
Fig. 6
œ
Species C.3 F m7
b œ nœ œ œ œ œ œ œ œ œ œ
&bb Ó Œ œ nœ Ó
Solar: Bar 30
7
j œ.
Species C.4
b œ œ bœ œ bœ œ œ œ œ œ ‰ Ó nnb
&bb Ó
Solar: Bar 69
10
œ b œ
Fig. 13
œ #œ œ jbœ
Species C.5 A m7b5 D 7b9
&b Ó Œ ! bœ nœ nœ œ bœ nœ Œ n
Old Folks: Bar 11
13 œ
œ œ œ Aœ7alt
Fig. 16 Fig. 2 Fig. 21
œ œ œ #œ œ #œ œ
D m(ma7)
#œ œ #œ nœ œ #œ #œ nœ
Species C.6
œœ‰ Œ Ó
&Ó
Son of Thirteen: Bar 164
15
Clichés
Species A, B, C & D
œ œ
Species A.1 D m7b5 G 7b9
b 4 œ
&bb 4 œ œ œ nœ
Solar: Bar 84
œ
Fig. 17
œ
Species A.2
œ
G 7b9
b nnb
D m7b5
&bb œ œ nœ œ
Solar: Bar 192
2
œ œ
Fig. 17
E b9
œ œ œ
Species A.3
œ bœ œ œ
&b œ œ ! Œ
Old Folks: Bar 39
3
œ
Fig. 17
œ #œ œ œ nœ œ œ œ
œ #œ œ
A 7b9
œœœœœœ œ
Species A.4 D m7
œ bbb
E m7b5(9)
&b œ bœ œ #œ nœ œ œ ‰ œœœ œ #œ Œ Ó
Old Folks: Bar 49
4
b #œ nœ œ nnb
&bb Ó œ œ bœ œ œ œ œ œ n œ
Solar: Bar 210
J
7
œ J
E m9 3
&b Ó ‰ Œ n
Old Folks: Bar 17
11
œ
Fig. 15
F # m9
œ
Species B.2
#œ #œ œ #œ
G ma7
&Ó Œ ‰ J œ #œ #œ nœ ‰ Ó
Son of Thirteen: Bar 133
œ.
13
Fig. 15 Fig. 5
œ #œ œ œ
Species B.3
œ œ œ #œ
B m(ma7)
œ #œ #œ nœ nœ.
Son of Thirteen:
& ‰
Bar 96 16
Fig. 15 Fig. 5
206
2
Clichés
G bma7(#11)
Species B.4
œ bœ œ bœ œ bœ bœ bœ œ
A ma7(#11)
& b˙ œ #œ #œ bbb
Son of Thirteen:
œ bœ œ #œ œ œ
Bar 111 18
FIg. 15 Fig. 1
Species C.1 E bma7 E b m7 A b7 D bma7
b œ bœ œ œ œ
bœ œ
bœ œ ‰ œ
bœ ‰ Œ nnn
Solar: Bar 105
&bb Ó J Ó
21
FIg. 3 FIg. 29
B bma7(#11)
Species C.2
œ œ œ œ œ
œ
G ma7(#11) F ma7(#11)
‰ J J J œ
Son of Thirteen:
&Ó Œ Œ Ó b
Bar 122 24
FIg. 29
œ œ b œ œ n œ œ œ3 b œ œ œ3
œ œœ œ
Species D.1 C7 E m9
j
&b ‰ œ œ œ J œ œ
3
Old Folks: Bar 15 G m7 #œ
Ó n
3
27
FIg. 32 FIg. 2
A bma7
Species D.2 E b7 j œ œ bœ œ œ bœ œ. bœ bœ œ œ œœ œ
G 7b9
œ
& bœ œ ‰ J Œ Ó
Snova: Bar 38
30
FIg. 32
œ #œ ! œ #œ œ nœ œ œ œ #œ ! nœ œ ! œ œ œ œ
Species D.3 A 7sus D ma7 G 7sus C ma7
&Ó Œ ‰. R ! ! ! œ J ‰
Snova: Bar 61
33
FIg. 32
207
Pentatonics
Species A, B, C & D
E b m7 A b7 D bma7
œ œ œ œ
œ œ œ nœ bœ
j
œ
Species A.1
b 4 œ œ nnb
&bb 4 Ó
Solar: Bar 58
Fig. 11 Fig. 31
E b9
Species A.2
b œ œ œ œ
Old Folks: Bar 38 B ma7
œ œ œ r
3
&b ‰ bœ œ bœ nœ œ bœ œ œ ! ‰ Œ Ó n
Fig. 11 Fig. 5
C # 7sus D # 7alt
#œ nœ œ
#œ œ
Species A.3
‰ #œ #œ.
A 7sus
#œ œ œ œ œ # œ
&Ó
Son of Thirteen:
Bar 148 5
J J œ œ
Fig. 11 Fig. 3
D # 7alt
œ œ #œ #œ œ
Species A.4 D ma7 F 7alt
‰ J œ œ #œ #œ
Son of Thirteen:
Bar 150 8
&Ó Œ œ. ‰ Ó
Fig. 11
G bma7(#11)
Fig. 5
bœ bœ œ
Species A.5
bœ bœ bœ bœ j
&Ó b œ b œ ‰ œ œj œ œ bœ nœ ‰ Ó
Son of Thirteen:
Bar 194 11
Fig. 11
B bma7(#11)
˙ ~~ œ œ œ F ma7(#11) œ œ œ œ œ
j
œ œ #œ œ #œ œ nœ œ
Species A.6
Son of Thirteen: œ E m7
Bar 211
14
& œ bœ Œ
Fig. 11 Fig. 5
E b 7(# 9) A bma7(#11)
œ œ œ œ #œ #œ
Species A.7
œ œ œ œ œ œ
œ œ b œ œ œJ ‰ Œ
Son of Thirteen: C ma7(#11)
&œ œ œ
œ
Bar 254 17
Fig. 11 Fig. 10
Fig. 17
œ #œ #œ
Species A.8
œ
A ma7(#11)
Son of Thirteen:
#œ œ #œ œ #œ #œ œ # œ # œj ‰
Bar 206 20
& œ. nœ
Fig. 11 Fig. 11
208
2 Pentatonic
Species B.1
#œ #œ œ œ œ
Œ ‰ œ œ œ
Son of Thirteen: B m(ma7)
&Ó #œ #œ œ #œ œ œ œ œ œ #œ #œ Ó
Bar 99 22
J
Fig. 13
œ œ œ œ #œ
Species B.2
œ œ #œ œ œ
E m7 B m7
œ œ œ
Son of Thirteen: F ma7(#11)
Bar 124 26
& ‰ J œ #œ Œ Ó b
Fig. 13 Fig. 31 Fig. 11
F
bœ
j œ œ œ œ œ nœ bœ bœ œ j œ.
Species C.1
J bœ œ nœ bœ
&b ‰ ! œ Ó
Old Folks:
Bar 31 29
bœ
Fig. 11 Fig. 7
j œ œ œ œ
œ œbœ œ œ
Species C.2
œ
œ œ
D m7
Œ ‰. R œ œ
A7
&b Ó œ œ bœ œ Ó
Old Folks:
bœ œ œ œ œ
Bar 43 31
Fig. 11 Fig. 7
209
Motivic
Species A, B & C
œ nœ œ nœ #œ nœ œ. œ œ œ nœ #œ #œ nœ
Species A.1 C7 F ma7
b 4 œ œ
&bb 4 Ó ‰
Solar: Bar 88
J
Fig. 11 Fig. 11
B b7
Fig. 11 Fig. 11
œ nœ œ
b œ œ œ œ œ nœ œ bœ nœ
F m7
&bb Œ
4
b œ bœ bœ nœ nœ bœ œ
8
&
Fig. 11 Fig. 11 Fig. 11
Fig. 23
B b7
j œ
Species B.1 F ma7 F m7
b nœ
& b b œ bœ œ bœ nœ œ œ œ œ #œ Œ ‰ œ œ œ nœ œ œ œ Ó œ œ œ nœ
Solar: Bar 149
10
b œ bœ œ œ
& b b œ œ œ bœ œ œ bœ œ œ œ œ œ œ bœ œ œ œ bœ œ œ œ œ œ œ œ œ œ œ œ
14
œ œ œ
G m7
b œ œ nnn
C m7
& b b œ œ œj n œ œ œ œj œ n œ œ #œ œ œ œ nœ œ œ œ ‰ Œ
18
J
Fig. 30 Fig. 30
F #7 F # m7
Fig. 30
F #7sus
Fig. 30
Species B.2 B ma7(#11)
Œ œ bœ œ bœ #œ #œ œ nœ nœ œ œ bœ œ
Snova: Bar 74
&Ó œ
œ Œ Ó
#œ nœ #œ œ œ #œ
21
2
Motivic
œ #œnœœ#œ nœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
Species B.3 A 7alt D m(ma7)
#œ ‰ ‰ #œ
Son of Thirteen:
Bar 177 24
& #œ œ œ #œ œ œ #œ œ J ‰
Fig. 26
# œ B m(ma7) œ
Fig. 30
œ œ
#œ œ œ œ œ #œ #œ #œ œ œ œ œ œ œ #œ #œ œ #œ
# œ
#œ
œœ
#œ œ #œ #œ œ #œ
29
&
#œ #œ
Fig. 30
#œ #œ œ b
œ #œ œ #œ œ #œ #œ œ œ #œ œ œ œ œ #œ œ #œ œ œ.
B ma7(#11)
œ œ b œœ ˙˙
& œ #œ
œ ‰
33
Fig. 34
211
Reharmonization
Species A, B & C
œ œ œ nœ œ œ bœ œ bœ bœ œ œ bœ œ œ
Species A.1 C m7 G m7 C7
b 4 œ
& b b 4 œ nœ œ bœ bœ bœ œ nœ œ œ bœ bœ nœ œ
Solar: Bar 37
b nœ bœ œ nœ nœ bœ
&bb #œ œ œ œ œ œ nœ œ œ œ bœ nœ œ #œ nœ œ œ #œ #œ Œ Ó
Solar: Bar 61
5
bb ‰ b œ œ œ b œ n œ œ œ n œ b œ b œ n œ n œ n œ
Species A.3 D m7b5 G 7b9
b j
œ ‰ Œ Ó
Solar: Bar 190
& #œ œ
9
Fig. 15 Fig. 33
Fig. 2 Fig. 8
b bœ œ œ œ bœ œ
Species B.1 C m7 G m7
œ
&bb œ nœ œ nœ œ œ bœ œ œ œ nœ œ nœ œ Œ
Solar: Bar 133
œ
12
b œ #œ œ œ nnb
& b b #œ nœ #œ ‰ #œ #œ
Solar: Bar 41
œ œ #œ nœ
15
Fig. 28
Species C.2
œ
G7
Œ œ b œ œ b œ n œ b œ b œ œ œ n œ œ œ b œ n œ œ # œ # œ œ Œ b œœ œœ n œœœ
D 7b9
Old Folks: Bar 12
&b Ó
3 3
b œ bœ
17