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Melody
an improvisation.
employment of the blues scale, blues tetrachords, blues riffs, and blue
the Montgomerian style. Wes does not commonly use a blues scale in
3
and riffs that derive from the scale. Moreover, when the melody is
considered in its large dimension- that is, across entire sections of the
eight measures of the solo (example 1, last A) that are relevant to our
development gives the listener the impression that Wes is not actually
thinking in terms of scales, or even using a select scale for that matter.
capable.
the Eb blues scale (root, b3, 4, b5, 5, b7- Eb, Gb Ab, A, Bb, Db) and
comprises three disparate cells that may also exist separately in solos.
The different cells a, b, and c are frequently employed randomly but
different permutations.
6 Ibid., 75.
6
7
Blues Tetrachords
The blues scale as used in jazz really divides into two identical
tetrachords that are kept quite disjunct, that is to say, one or the other
is used but generally not both. One of the most common blues
7
example 3. This blues cell (or fragment) is constructed using the lower
tetrachord of the scale, starting on the flatted fifth (b5) degree and
downwards to the root through the fourth and third degree of the
blues scale. This occurs frequently because the dominant and tonic are
the actual magnetic poles of the blue notes. The transcriptions further
8
demonstrate that Montgomery often slurs the first three notes of this
8 André Hodeir, Jazz: Its Evolution and Essence, trans. David Noakes (New York:
Grove Press, 1956), 155.
9
10
tetrachord (ex.4) comprises the root, flatted third, fourth, fifth of the
9 For entire a-cells refer to Movin’ Along m.29; Mean to Me m.31; in retrograde:
Movin’ Along m.20; Cariba m.42 Mean to Me m.31, etc.
10 Refer to Movin’ Along, last beat of m.30.
14
15
which is usually played with a glissando from the first note to the
second. It is precisely this minor third interval (“blue third”) and the
accented glissando that imbue this cell with its distinctly bluesy
quality. The second note of the cell is always the highest pitch of the
12
11 Refer to Cariba m.21, 63-65; Pretty Blue m.35, 42; Ninth chorus (first six
measures) of Blue n’ Boogie, the c-cell is used as principal thematic material. In the
twelfth chorus, it is used in retrograde as a reiterated riff figure. It is not uncommon
to find widespread use of these cells in compositions based on the blues form, or in
other tunes with simple harmonic backgrounds. Such forms enable Montgomery to
manipulate the diverse permutations of blues cells and tetrachords more freely
without being preoccupied by complex chord changes.
12 Paul Oliver, Max Harrison, and William Bolcom, The New Grove: Gospel, Blues and
Jazz (New York: W.W. Norton & Company, 1986), 72-73. The blues is strongly
associated with guitar playing, and its inflections and shadings, such as grace notes
and glissandos, are achieved easily on this instrument.
16
17
style. 13
He employs this technique in much the same way when
second type, the call is stated in octaves and the response in block
chords. Wes will often create the illusion of two soloists by playing the
15
often referred to as a riff. It can be argued that within this riff there is
17
a call-and-response pattern. 18
exclusively employs notes of the F blues scale (F, Ab, Bb, B, C, Eb) to
create the riff. When the melodic content of the riff pattern is analyzed
13 Gunther Schuller, Early Jazz: It’s Roots and Musical Development (New York:
Oxford University Press, Inc. 1968), 27. This technique, common to much jazz and
African music, is perpetuated primarily in the blues and to some extent in spirituals.
14 De Stefano, op. cit.
15 Montgomery’s solo on Naptown Blues (Verve V/V6-8714) demonstrates these
various techniques. However, it was not included in the transcriptions because it was
recorded in 1965 after the demise of Riverside. See Sokolow for full transcription.
16 De Stefano, op. cit.
17 J. Bradford Robinson, “Riff” in The New Grove Dictionary of Jazz, ed. Barry
Kernfeld, 2 vols. (New York: MacMillan Press Limited, 1988), 2:379. The riff is defined
as a short melodic ostinato, usually two or four bars long, which may either be
repeated intact (strict riff) or varied to accommodate an underlying harmonic
pattern. The riff is thought to derive from the repetitive call-and-response patterns of
West African music, and appeared prominently in black-American music from the
earliest times.
18 Schuller, op. cit., 28.
18
call-and-response patterns are built around the blues scale and its
scale and its various constituents such as tetrachords and cells are
The Riff
his profound affinity for the blues idiom. The riff came to the fore in
country, “the Texas blues tradition particularly being one of the oldest
indigenous traditions and probably much older than the New Orleans
Southwestern blues into modern jazz, was one of the greatest riff-tune
became an end in itself, losing its original function and its freshness, and assuming
finally a robot-like routinization.”
22 Comping is an abbreviated term regularly employed in the jazz lingo that is
synonymous with “accompanying.” It is most frequently applied to the harmonic
backgrounds of piano or guitar.
20
21
the subsequent chorus. The riffs appear to be short main ideas that
such as Blue n’ Boogie (ex.7), Montgomery will often reiterate the riff
for the first eight measures and supplement the remaining four
scale. Since in jazz there is more than one pentatonic scale available
23
23 Some of these analyzed solos are not from the Riverside sessions:
Montgomeryland Funk (Pacific Jazz CDP 7 94475 2); D-Natural Blues “Monterey
Blues” (Fantasy 8052), m.42. In Here’s That Rainy Day (Verve 8625) Montgomery
employs the pentatonic scale built on the fifth of major seventh chords four times. A
total of seven pentatonic scales are employed throughout the 34-measure chorus
(m.2, 5, 6, 13, 14, 17, 34).
22
material.
In Pretty Blue (ex.8) Wes uses Fb pentatonic scale (Fb, Gb, Ab,
Cb, Db) extending over both the Db7 and Gb7 harmonic backgrounds.
On Db7 he plays the root, fifth, eleventh and raised ninth (#9)- a
pentatonic scale built on the raised ninth (#9) of the chord. Over the 25
Gb7 he plays the root, fifth, seventh (the ninth is not used), and
chord. This single pentatonic scale (Fb) is played and heard intelligibly
24 Mark E. Boling, The Jazz Theory Workbook, ed. Jerry Coker, 2nd ed. (Rottenburg N,
W. Germany: Advance Music, 1993), 54.
25 Dan Haerle, The Jazz Language (Lebanon, IN: Studio 224, 1980), 42. Haerle’s chart
lists several applications of the pentatonic scale to different families of chords.
23
24
Diminished Scale
half steps. As was the case with the pentatonic scale, the diminished
26
musical phrase, but never across entire sub-sections of the form. The
and its compass does not exceed two measures. Wes naturally utilizes
27
the scale’s pitches will provide the root, 3, 5, b7, b9, #9, #11, and 13.
26 Boling, op. cit., 51. Because the diminished scale is symmetrically constructed,
only three diminished scales exist. The scale may either begin with a half step or a
whole step depending on its application.
27 Refer to S.O.S. (RLP-9434) m.6, 38; Au Privave (RLP 355) m.22; D-Natural Blues
“Monterey Blues” (Fantasy 8052) m.13; Klactoveedsedstene m.58, West Coast Blues
2nd chorus m.19-20. (Jazzland OJC-146)
28 This is evidenced on another version of Four on Six (Affinity AFF 13- recorded live
in Paris, March 27, 1965). In the second chorus m.11-12, Wes improvises a
diminished scale over the Gm7 harmonic background. The scale is not usually a
good choice for minor chords, however, Montgomery resolves the tension
immediately in the following measures by using more appropriate pitches.
25
26
of Wes’ vocabulary. Not only does Montgomery use the identical scale
29
and pattern in these examples, but also slurs and articulates the
Ex.9b The Way You Look Tonight (2nd chorus, bridge m.13-14)
29 David Baker, How To Play Bebop vol.1 (Van Nuys, CA: Alfred Publishing Company,
Inc., 1987), 45. Baker includes this particular diminished pattern as one of the
twenty-six most employed “Public Domain Diminished Patterns” of Bebop.
27
28
29
this particular mode. This lydian dominant motif has a distinctive and
improvisations.
30 Boling, op. cit., 47. As used in jazz improvisation, the term “melodic minor” refers
to the ascending form of the scale. Unlike the traditional melodic minor, the
ascending melodic minor (1 2 b3 4 5 6 7), sometimes called Real Melodic Minor or
Jazz Melodic Minor, does not have a different descending form.
30
31
The motif illustrated in example 10a comprises all of the pitches in the
Wes; the root-Bb, the seventh-Ab, and the sharp eleventh- E. In effect, 31
these are the select pitches that imbue this motif with its distinct
31 Blue n’ Boogie 2nd chorus m.5-6, Wes employs the same three notes on a Bb7
chord.
32 Ibid., 47. Boling illustrates the placement of the modes of the melodic minor scale
within five chord types.
32
statement:
33 Barry Kernfeld, “Improvisation” in The New Grove Dictionary of Jazz, ed. Barry
Kernfeld, 2 vols. (New York: MacMillan Press Limited, 1988), 1:556.
34 Norman Mongan, The History of The Guitar in Jazz (New York: Oak Publications,
1983), 163.
35 Some excellent samples of paraphrase improvisation displaying the six basic
elements include: Round Midnight, Yesterdays (RLP-1156), Besame Mucho (RLP-
9459), Summertime (CDP7 94475 2), If You Could See Me Now (Verve 68633), and
The Way You Look Tonight (RLP 9494).
33
(1) The Blues Tinge: Blue notes, blues tetrachords or cells are added to
Motivic Improvisation
musical fragments and the various ways in which they are combined
Wes’ sense for form extending itself into his melodies within select
Montgomery’s solo on Satin Doll is built for the most part, on the
progressions inherent in both the A section and the bridge. This type of
harmonic substitutions. 43
The transcriptions reveal widespread use of
extent, to the very nature of the guitar itself. Melodic patterns can be
41 Ibid.
42 Jerry Coker, Listening to Jazz (Englewood Cliffs, NJ: Prentice-Hall, Inc., 1978), 32.
43 Also refer to Airegin m.29-32; West Coast Blues m.27-32, 41-44, 62-63, 151-154,
168-174.
36
37
(b’) while motive (a) is also used in measure five with a short two-note
extension. Both motives (a) and (b) are sequenced and transposed up
coherent melodic solos. The late jazz guitarist Emily Remler was
play exactly like Montgomery and was so loyal that she rejected all
his solos.” 45
This proficiency is clearly exhibited by the seemingly
44 In Satin Doll Montgomery employs other similar major seventh structures (in
sequence and retrograde) at m.13-14 and 25-30, contrasting them with more linear
and chromatic block chord melodies in sequence at m.33-37 and 41-44.
45 Adrian Ingram, Wes Montgomery (Gateshead: Ashley Mark Publishing Co., 1985),
65.
38
improvisation.
This solo has been analyzed aurally and the findings have been
in this solo are intrinsically diverse and once a motive has been stated
measure one and nine. Each new chorus is customarily delineated with
third column (Main Motives), these block chords are used more often
Table 15 - Lolita
meas.
-extension
(n) rhythmic
40
eight, the second in measures nine through twelve, and the third in
measure sections where the motives are developed. In the last and
conclusive chorus Wes does not develop any main motives but uses
Formulaic Improvisation 47
47 This is a concept borrowed from the studies of epic poetry and Western
ecclesiastical chant. The pioneering research of Milman Parry and his student Albert
B. Lord on the oral transmission of epic poetry and formulaic analysis has been
particularly important. See Milman Parry’s The Making of Homeric Verse: The
Collected Papers of Milman Parry, ed. Adam Parry (Oxford: Clarendon Press, 1971)
and Albert B. Lord’s The Singer of Tales (Cambridge, Mass.: Harvard University Press,
1960; New York: Atheneum, 1965, 1974).
48 Kernfeld, op. cit., 556.
41
interpolated with other cells to form continuous melodic lines. Thus far,
such as the diminished pattern (ex.9a and 9b), the lydian motif
(ex.10a, 10b), the idiomatic blues phrase (ex.2a, 2b), and essentially
coherent whole.” 51
The ensuing examples clearly reveal how
three basic formulas that are used extensively and are audibly
phrases, and the a pattern, one of the most employed formulas, often
melodic coherence. 55
House. Instead, Wes will frequently rely and build upon the continuity
tempos where jagged and acutely angular single-note lines are slurred
53 See also Full House : pattern b fragmented m.19-20; pattern a fragmented m.20-
21, 27-28; Cariba : pattern b m.11; pattern a m.20-21.
54 Compare m.17-19 with 53-55 in Airegin. It is the same basic formula employed on
a recurring harmonic background, with slight rhythmic alterations and melodic
interpolations.
55 Robert Van Der Bliek, “Wes Montgomery: A Study of Coherence in Jazz
Improvisation” (M.F.A. thesis, York University, 1987). This study has been published
in article form in Jazzforschung/Jazz Research, vol.23 (1991). Van Der Bliek has
examined some of the means by which Wes Montgomery established coherence in
his improvisations. His study comprises analyses of six solos recorded for the
Riverside label during the period 1960-62, four of which include alternate takes. Van
Der Bliek’s analytical priority has been to explore Montgomery’s specific choices with
respect to connections between “main ideas,” means of organization, and ways of
dealing with particular problems or constraints in a small selection of solos. His
study, unlike ours, does not attempt to draw specific conclusions about the
fundamental features of Montgomery’s improvisational style, his idiosyncratic
techniques and favorite devices.
56 Ibid., 98-100.
57 Refer to Cottontail, Airegin (m.1-56), Dearly Beloved (Boss Guitar, RLP 9459).
45
the sound quality of the line but on the other hand, effectively
is somewhat easier to play fast on the higher strings of the guitar since
the lower strings also requires that the wrist of the left hand be more
arched and the fingers extended, thus slightly reducing motor
instrument.
convulsive with rapid ascents and descents transpiring within the span
of one or two measures. West Coast Blues (m.1-95) on the other hand,
these scale degrees on the first beat of a measure, as the top note of
ninth degree are highlighted on minor seventh chords, and the ninth
measure 48. 63
63 The same highlighted intervals are utilized at m.34-37 over the Eb7-D7-Bb7
progression.
50
the melodic line. The melodic tension created through this device is
resolution and tonal stability over the diatonically more linear and
contrasting line played over F7. The brackets in example 14 show that
over the basic continuous 4/4 pulse of the rhythm section. Other
time. 65
players like John Coltrane and Freddie Hubbard into a technique for
64 Refer aurally to m.4-5 of the second chorus of Naptown Blues (Goin’ Out of My
Head, Verve 8642). This is an “outside” passage in which Wes plays two minor and
two major arpeggios: C#minor to B major immediately followed by a similar pattern,
C minor to Bb major, and A diminished. This is all played over the tonic F7 chord,
moving to the Bb7. Similarly, a 3/8 cross-rhythm is generated over the basic 4/4
pulse. Also refer to Four on Six (RLP 9320), m.69-71; Four on Six (Smokin’ At The Half
Note, Verve 68633) first chorus, m.9-10; If You Could See Me Now (Verve 68633),
m.23.
65 For an example of this device in double time refer to If You Could See Me Now,
m.1-24.
66 Boling, op. cit., 100.
67 Coker, Listening to Jazz, op. cit., 54-55. The soloists can treat each chord as
though it were a scale, mode, or a whole key area, greatly expanding on the older
54
Miles Davis and John Coltrane and had learnt the art of side-slipping,
Coltrane.” 68
Thus, it is highly probable that Wes’ use of consecutive
triads in parallel motion, was an idiosyncratic interpretation of the
Like many jazz performers, Wes uses a large number of triadic and
arpeggios are based on various chord form fingerings that are easily
applies major and minor triad chord forms to play rapid triplet riffs, and
Ex.15
Sokolow has also observed that Montgomery uses these triad forms to
“play nearly all the rapid-fire triplets in the single-note solos.” The a 71
Concluding Remarks