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Seth Carper 2014
Kenny Garrett’s Solo on “XYZ”
From Standard of Language
On his 2003 Warner Bros. release Standard of Language, Kenny Garrett
proves that playing firery post-‐‑bop lines and making beautiful melodies need not be
mutually exclusive. Garrett exemplifies this on his composition “XYZ.” The chord
changes rely heavily on minor sonorities, but include a few brighter major seventh
chords to break up the darker sounds. Likewise, Garrett sings out
Pentatonic Material
Garrett makes ample use of pentatonic scales throughout this solo. Some
passages contain obvious choices such as mm. 35-‐‑37 and 59-‐‑61, using A minor
pentatonic over an Am7 chord.
Fig. 2: mm. 35-‐‑37, 59-‐‑61
There are some less direct associations with Garrett’s pentatonic
superimpositions. For example, over the Ebmaj7(#11) Garrett favors using the F
Alto Saxophone
C minor Emphasis on b5
Amin7q=240 1
2 3 4 5 6
7 8 9
Gmin7
C7b9
10 11 12 13
FŒ„Š7(#11)
14 15 16 17
E¨Œ„Š7(#11)
F Pentatonic
E¨Œ„Š7(#11)
18 19 20 21
Dmin Eb/D DminEb/D
Emphasis on #1122 23 24 25
Dmin Eb/D Dmin Eb/D
26 27 28 29
Amin7 2
30 31 32 33
Dmin Pentatonic
Amin7
Amin Pentatonic34 35 36 37
XYZ
Kenny GarrettKenny Garrett's Solo from Standard of Language
0:55
3
Gmin7
C Pentatonic38 39 40 41
FŒ„Š7(#11)
42 43 44 45
E¨Œ„Š7(#11)
Dmin Pentatonic
E¨Œ„Š7(#11)
46 47 48 49
Dmin Eb/D DminEb/D
50 51 52 53
Dmin
Dalt. scale
Eb/D DminEb/D
54 55 56 57
Amin7
Amin Pentatonic
Amin7
58 59 60 61
62 63 64 65Gmin7
66 67 68 69
FŒ„Š7(#11)
70 71 72 73
motive from m.25
3
3
3 3
3 3
Alto Saxophone
2
major and D minor pentatonic scales, both of which emphasize the upper extensions
of the chord quality. The chord immediately following the Ebmaj7(#11) is a Dmin7,
so the use of the D minor pentatonic strengthens the modal flavor of the solo with
the common tones.
Fig. 3: F major & D minor pentatonic over Ebmaj7(#11)
mm. 19-‐‑21 F
mm. 47-‐‑49 D
mm. 75-‐‑76 F
mm. 102-‐‑105 D
In mm. 41-‐‑42 and 96-‐‑100 Garrett uses the C pentatonic scale as common
tone material between the Gmin7 and Fmaj7(#11), again adding to the modal sound
of the solo.
Alto Saxophone
C minor Emphasis on b5
Amin7q=240 1
2 3 4 5 6
7 8 9
Gmin7
C7b9
10 11 12 13
FŒ„Š7(#11)
14 15 16 17
E¨Œ„Š7(#11)
F Pentatonic
E¨Œ„Š7(#11)
18 19 20 21
Dmin Eb/D DminEb/D
Emphasis on #1122 23 24 25
Dmin Eb/D Dmin Eb/D
26 27 28 29
Amin7 2
30 31 32 33
Dmin Pentatonic
Amin7
Amin Pentatonic34 35 36 37
XYZ
Kenny GarrettKenny Garrett's Solo from Standard of Language
0:55
3
Gmin7
C Pentatonic38 39 40 41
FŒ„Š7(#11)
42 43 44 45
E¨Œ„Š7(#11)
Dmin Pentatonic
E¨Œ„Š7(#11)
46 47 48 49
Dmin Eb/D DminEb/D
50 51 52 53
Dmin
Dalt. scale
Eb/D DminEb/D
54 55 56 57
Amin7
Amin Pentatonic
Amin7
58 59 60 61
62 63 64 65Gmin7
66 67 68 69
FŒ„Š7(#11)
70 71 72 73
motive from m.25
3
3
3 3
3 3
Alto Saxophone
2
E¨Œ„Š7(#11)
F Pentatonic74 75 76 77Dmin Eb/D Dmin Eb/D
78 79 80 81DminEb/D Dmin Eb/D
82 83 84 85
Amin7
86 87 88 89
90 91 92 93
G‹
C Pentatonic94 95 96 97
FŒ„Š7(#11)
98 99 100 101
ala Coltrane
E¨Œ„Š7(#11)
sim.102 103 104 105
D‹ Eb/D D‹ Eb/D
106 107 108 109
3
rushed
3 3 3 3
Alto Saxophone
3
E¨Œ„Š7(#11)
F Pentatonic74 75 76 77Dmin Eb/D Dmin Eb/D
78 79 80 81DminEb/D Dmin Eb/D
82 83 84 85
Amin7
86 87 88 89
90 91 92 93
G‹
C Pentatonic94 95 96 97
FŒ„Š7(#11)
98 99 100 101
ala Coltrane
E¨Œ„Š7(#11)
sim.102 103 104 105
D‹ Eb/D D‹ Eb/D
106 107 108 109
3
rushed
3 3 3 3
Alto Saxophone
3
Fig. 4: C pentatonic over Gmin7 & Fmaj7(#11)
At the end of the solo, Garret employs a classic Coltrane modal device,
utilizing a four-‐‑note cell of the D minor pentatonic scale over a pedal point of D in
the bass. He begins the line over the Ebmaj7(#11) shown above, and repeats the
cell numerous times over the D pedal, allowing the upper notes to produce
overtones. Garrett concludes the riff with a diatonic pattern descending through the
D minor pentatonic scale.
Fix 5: D minor pentatonic cell and diatonic pattern
Gmin7
38 39
C Pentatonic
Gmin7 FŒ„Š7(#11)
40 41 42 43
E¨Œ„Š7(#11)
Dmin Pentatonic
E¨Œ„Š7(#11)
44 45 46 47 48
Dmin Eb/D DminEb/D
49 50 51 52 53
Dmin
Dalt. scale
Eb/D DminEb/D
54 55 56 57
Amin7
Amin Pentatonic
Amin7
58 59 60 61
62 63 64 65
Gmin7
66 67 68 69
3
3
3 3
Alto Saxophone
2
FŒ„Š7(#11)
70 71 72 73
E¨Œ„Š7(#11)
F Pentatonic74 75 76 77
Dmin Eb/D Dmin Eb/D
78 79 80 81Dmin
Eb/D Dmin Eb/D
82 83 84 85
Amin7
86 87 88 89
90 91 92 93
G‹
94 95G‹
C Pentatonic
FŒ„Š7(#11)
96 97 98 99 100
101
3 3
3
Alto Saxophone
3
ala Coltrane
E¨Œ„Š7(#11)
sim.102 103 104 105
D‹ Eb/D D‹ Eb/D
106 107 108 109D‹ Eb/D
Dmin Pentatonic
D‹
110 111 112
Eb/D A‹7
113 114 115
rushed
3 3 3 3
Alto Saxophone
4
ala Coltrane
E¨Œ„Š7(#11)
sim.102 103 104 105
D‹ Eb/D D‹ Eb/D
106 107 108 109D‹
110Eb/D
Dmin Pentatonic
D‹ Eb/D
111 112 113
A‹7
114 115
rushed
3 3 3 3
Alto Saxophone
4
Motives and Non-‐‑Diatonic Pitch Relationships
Kenny Garrett is known for playing dissonant pitches on strong beats for
uncomfortably long durations. In this solo he begins with a strong sustained Eb
over the initial Am7, emphasizing the b5 (or #11) of the chord. This could be a
superimposed C minor sound or an extension of the Eb/D harmony from the end of
the previous chorus. He resolves the Eb by m. 4, but because of the strength of the
sequenced motive, the whole four measures sound just like a natural part of the
progression.
Fig. 6 mm. 1-‐‑4
Another use of the #11 sound on a minor 7th chord occurs in mm. 25-‐‑28 (Fig.
7). Here Garrett begins his motive on a G# over the D pedal point. He resolves the
tension up to an A in m. 29, transposing the motive for the impending Amin7. Once
again the strength of the motive carries the dissonance as Garrett sequences the
idea down in mm. 29-‐‑33 (Fig. 8).
Fig. 7: mm. 25-‐‑28
Alto Saxophone
C minor Emphasis on b5
Amin7q=240 1
2 3 4 5 6
7 8 9
Gmin7
C7b9
10 11 12 13
FŒ„Š7(#11)
14 15 16 17
E¨Œ„Š7(#11)
F Pentatonic
E¨Œ„Š7(#11)
18 19 20 21
Dmin Eb/D DminEb/D
Emphasis on #1122 23 24 25
Dmin Eb/D Dmin Eb/D
26 27 28 29
Amin7 2
30 31 32 33
Dmin Pentatonic
Amin7
Amin Pentatonic34 35 36 37
XYZ
Kenny GarrettKenny Garrett's Solo from Standard of Language
0:55
3
Alto Saxophone
C minor Emphasis on b5
Amin7q=240 1
2 3 4 5 6
7 8 9
Gmin7
C7b9
10 11 12 13
FŒ„Š7(#11)
14 15 16 17
E¨Œ„Š7(#11)
F Pentatonic
E¨Œ„Š7(#11)
18 19 20 21
Dmin Eb/D Dmin
22 23 24
Eb/D
Emphasis on #11
Dmin Eb/D Dmin
25 26 27 28
Eb/D
29
XYZ
Kenny GarrettKenny Garrett's Solo from Standard of Language
0:55
3
Fig. 8: Resolved tension and sequence
Garrett departs from the idea for a few measures but returns to the motive in a less
dissonant form in mm. 38-‐‑40, and with a brief abstracted form in mm. 42-‐‑44 (Fig. 9).
Fig. 9
Measures 57-‐‑58 are an example of a classic Kenny Garrett lick. After running
up a D altered scale in mm. 54-‐‑55, Garrett plays a descending chromatic scale with
lower chromatic neighbors to each scale tone, linking the following pentatonic
pattern with a bebop lick.
Fig. 10: Chromatic descent
The most striking use of a strong dissonant pitch within a motive occurs in
mm. 83-‐‑85. In the middle of a screaming chromatic ascent, Garrett lands on a G#,
again emphasizing the #11 over the Dmin-‐‑Eb/D pedal. He resolves to the A just
Alto Saxophone
C minor Emphasis on b5
Amin7q=240 1
2 3 4 5 6
7 8 9
Gmin7
C7b9
10 11 12 13
FŒ„Š7(#11)
14 15 16 17
E¨Œ„Š7(#11)
F Pentatonic
E¨Œ„Š7(#11)
18 19 20 21
Dmin Eb/D Dmin
22 23 24
Eb/D
Emphasis on #11
Dmin Eb/D Dmin
25 26 27 28
Eb/D Amin7
29 30 31 32 33
Dmin Pentatonic
Amin7
Amin Pentatonic34 35 36 37
XYZ
Kenny GarrettKenny Garrett's Solo from Standard of Language
0:55
3
Gmin7
C Pentatonic38 39 40
Gmin7 FŒ„Š7(#11)
41 42 43
E¨Œ„Š7(#11)
Dmin Pentatonic
E¨Œ„Š7(#11)
44 45 46 47 48
Dmin Eb/D DminEb/D
49 50 51 52 53
Dmin
Dalt. scale
Eb/D DminEb/D
54 55 56 57
Amin7
Amin Pentatonic
Amin7
58 59 60 61
62 63 64 65
Gmin7
66 67 68 69
3
3
3 3
Alto Saxophone
2
Gmin7
C Pentatonic38 39 40
Gmin7 FŒ„Š7(#11)
41 42 43
E¨Œ„Š7(#11)
Dmin Pentatonic
E¨Œ„Š7(#11)
44 45 46 47 48
Dmin Eb/D DminEb/D
49 50 51 52 53
Dmin
Dalt. scale
Eb/D DminEb/D
54 55 56 57
Amin7
Amin Pentatonic
Amin7
58 59 60 61
62 63 64 65
Gmin7
66 67 68 69
motive from m.25
3
3
3 3
Alto Saxophone
2Gmin7
C Pentatonic38 39 40
Gmin7 FŒ„Š7(#11)
41 42 43
E¨Œ„Š7(#11)
Dmin Pentatonic
E¨Œ„Š7(#11)
44 45 46 47 48
Dmin Eb/D DminEb/D
49 50 51 52 53
Dmin
Dalt. scale
Eb/D Dmin
Chromatic Descent
Eb/DAmin7 Bebop
54 55 56 57 58
Amin7
59 60 61
62 63 64 65
Gmin7
66 67 68 69
motive from m.25
3
3
3 3
Alto Saxophone
2
prior to the chord change, but with shifting substituted harmonies in the rhythm
section, Garrett’s resolution is effectively turned into a dissonance.
Fig. 11: mm. 83-‐‑85
Rhythm and Solo Arc
Garrett’s rhythm is one of the most important aspects of this solo is also the
hardest to accurately notate. He uses slower rhythmic values to help pace the
development of the solo from the beginning. He tends to play less rhythmically
intense passages over the first 16 bars of the form, gradually introducing more
syncopation or harder driving lines in the last 4-‐‑8 measures preceding the D pedal.
Remarkably the most memorable part of the solo, utilizes some of the most
sustained rhythmic values and repetition (mm.66-‐‑97). It is also interesting that
these measures contain the peak of the solo arc. This arc is contrary to many solos,
rhythmically speaking, as it “slows down” at the peak. The fastest rhythmic activity
comes at the end of the arc, mm. 102-‐‑113, almost spiraling to the end. The rhythmic
tension and release, along with the tessitura, dynamics, and density from the
rhythm section, help support the unconventional build. His ability to bend the rules
of pitch and rhythm is one of the reasons Kenny Garrett has become such an
important voice in modern jazz.
FŒ„Š7(#11)
70 71 72 73
E¨Œ„Š7(#11)
F Pentatonic74 75 76 77
Dmin Eb/D Dmin Eb/D
78 79 80 81Dmin
Eb/D Dmin Eb/D
82 83 84 85
Amin7
86 87 88 89
90 91 92 93
G‹
94 95G‹
C Pentatonic
FŒ„Š7(#11)
96 97 98 99 100
101
3 3
3
Alto Saxophone
3
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