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THE JAZZ BASS PERFORMANCE CHARACTERISTICS OF JIMMY GARRISON ON THE 1962 RECORDING COLTRANE
BY
MIKEL ALANN COMBS
SCHOLARLY ESSAY
Submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in Jazz in the Graduate College of the University of Illinois at Urbana-Champaign, 2018
Urbana, Illinois
Doctoral Committee:
Associate Professor Larry Gray, Chair and Research Director Professor Charles McNeill Assistant Professor Joel Spencer Professor Heinrich Taube
ABSTRACT
Jimmy Garrison was a composer and jazz bassist known best for his contributions to John
Coltrane’s seminal quartet with Elvin Jones and McCoy Tyner. The collective innovation of this group overshadowed Garrison’s significant expansion of jazz bass playing. Current discussions of jazz bass styles focus on soloing and bass line construction without accurately representing the historical narrative of jazz bass playing’s evolution and development. This dearth of specificity concerning the linear advancement and progression has diminished our understanding of
Garrison’s pivotal role in modern jazz bass playing. By concentrating on a selected work, this essay seeks to explicate Jimmy Garrison’s innovative and personal style while placing him in a central role in the development of jazz bass performance practice. This will be accomplished by examining musical choices Garrison made with the John Coltrane Quartet. This essay should also serve to foster future discussions and works about Jimmy Garrison’s influence on jazz bass performance practice and add to jazz history a detailed and valid account of an important innovator of jazz bass performance practice.
ii LIST OF MUSICAL EXAMPLES
Example 1 – Rhythmic elasticity. Out of This World……………………………………………8
Example 2 – Opening bass gesture with variations. Tunji……………………………………. 10
Example 3 – Rhythmic permutations within a phrase construct. Tunji mm. 45-56………….…11
Example 4 – Integration of harmony and original modal phrase construct variations. Tunji…...12
Example 5 – First four measures. Out of This World……………………………………...……13
Example 6 – Phrase construct rhythmic variations. Out of This World………………………...14
Example 7 – Form identifier. Tunji………………………………………………………….….15
Example 8a – Indication of early melody statement. Bass line. Inchworm……………………..16
Example 8b – Indication of early melody statement. Sax. Inchworm……..……………………17
Example 9 – Second early and actual melody statement gestures. Inchworm…….……………17
Example 10 – Four-bar repeating phrase. Inchworm……………………………..………….…18
Example 11 – Two-bar rhythmic gesture. Inchworm……………………………………...……19
Example 12 – Harmonic Vagueness. Soul Eyes…………………………………………...……21
Example 13 – Four-note harmonic statement. Out of This World………………………………22
Example 14 – First harmonic specificity. Out of This World………………………………...…23
Example 15 – Shifts between harmonic specificity and harmonic vagueness. Tunji…………...25
iii Example 16 – Idiomatic rhythmic devices in walking line. Big Nick………………………..…26
Example 17 – Idiomatic rhythmic devices in walking line. Miles Mode……………………….26
Examples 18a-c – Idiomatic device. Soul Eyes……...……………………………………….…26
Example 19 – Idiomatic jazz ending phrase………………………………………………….…27
Examples 20a-k – Up ‘Gainst The Wall idiomatic gestures……………………………..……..29
Example 21 – Quartal harmonic gesture within a phrase. Big Nick………………………….…31
Example 22 – Quartal harmonic gesture within a phrase. Miles Mode…………………….…...31
Example 23 – Double stop quartal harmonic gesture. Up ‘Gainst The Wall……………………32
Example 24 – Quartal harmonic gesture at bridge. Out of This World……………………..…..32
Example 25 – Quartal harmonic gesture within a phrase. Out of This World…………..………33
Example 26 – Quartal harmonic closing gesture. Out of This World………………………...…34
Example 27 – Tri-Tone substitution. Big Nick…………………………………………….……35
Example 28 – Tri-Tone substitution. Inchworm………………………….……………..………36
Example 29 – Tri-Tone substitution. Inchworm..……………………………….………………37
Example 30 – Tri-tone substitution synopsis. Inchworm.……………………….…………...…37
Example 31 – Chromaticism. Soul Eyes.…………………………………………………..……37
Example 32 – Chromatic passage in modal walking line. Miles Mode.……………………...…38
iv Example 33 – Upper register chromaticism. Miles Mode………………………………………38
Example 34 – Scalar Fragments. Up ‘Gainst The Wall………………….…………………...…39
Example 35 – Modal Mixture. Miles Mode…………………………………………………..…40
Example 36 – Modal Mixture. Miles Mode……………………………………………..………42
Example 37 – Tension Resolution. Miles Mode………………………………………...………43
Example 38 – Form Hiding. Big Nick……………….………………………………….………43
Example 39 – Delaying Tonic Resolution. Big Nick…………….…………………...…………44
Example 40 – Form Obfuscation. Out of This World……………………………...……………45
Example 41 – Repetitive set-up of harmonic expectation. Out of This World……….…………47
Example 42– Surprise modulation. Out of This World…………….………………...…………47
v TABLE OF CONTENTS
LIST OF MUSICAL EXAMPLES………………………………………………………………iii
CHAPTER 1: PROJECT BACKGROUND……………...………………….……………………1
CHAPTER 2: GENERAL MATERIAL AND CONSIDERATIONS…………………………….4
CHAPTER 3: RHYTHMIC CHARACTERISTICS…………………………………………….10
CHAPTER 4: CHARACTERISTICS OF STYLE-PITCH SELECTION………….…………...20
CHAPTER 5: HARMONIC/MELODIC CHARACTERISTICS………………………………..35
CHAPTER 6: ACCOMPANIMENT CHARACTERISTICS…………………………………...48
CHAPTER 7: CONCLUSION…………………………………………………………………..50
BIBLIOGRAPHY………………………………………………………………………………..52
APPENDIX A: TRANSCRIPTIONS OF JIMMY GARRISON’S BASS LINES FROM THE
SELECTED RECORDING “COLTRANE”………………………….………....53
APPENDIX B: SELECTED DISCOGRAPHY OF JIMMY GARRISON………………….…113
vi CHAPTER 1: PROJECT BACKGROUND
James Emory (Jimmy) Garrison was an American jazz double bassist born on March 3,
1934, in Miami, Florida and raised in Philadelphia, Pennsylvania. Before moving to New York in 1959 he worked with pianist Bobby Timmons and saxophonist Albert Heath. His Philadelphia jazz bass playing contemporaries at this time included Reggie Workman and Henry Grimes.
After arriving in New York in the late 1950s he worked with “Elvin Jones, Curtis Fuller and
Benny Golson, Tony Scott, Bill Evans, Lennie Tristano with Lee Konitz and Pete LaRoca, and
Stan Getz.”1 Best known for his tenure with John Coltrane’s famous quartet from 1961–1967
(working with Elvin Jones and McCoy Tyner), Jimmy Garrison has a wealth of recording and performance credits with other internationally recognized and heralded jazz luminaries including
Archie Shepp, Ornette Coleman, and Pharoah Sanders and was also a composer who contributed compositions to many recordings.2 His presence and participation in creating canonic recordings is well documented, but his contribution to jazz double bass playing is astonishingly neglected.
This will be the first in-depth study of Jimmy Garrison’s jazz bass performance practices.
By concentrating on a narrow range, this essay seeks to clarify Jimmy Garrison’s personal style and unique performance practices by offering a coherent analysis of his performance approaches.
This essay should also serve to foster future discussions and works about Jimmy Garrison’s contributions and influence and add to jazz studies a detailed account of an important figure in jazz bass performance.
1 Barry Kernfeld, “Garrison, Jimmy,” The New Grove Dictionary of Jazz, 2nd ed.. Grove Music Online. Oxford Music Online, (Oxford University Press), accessed September 13, 2015, http://www.oxfordmusiconline.com/subscriber/article/grove/music/J164400.
2 Chris Kelsey, “Artist Biography.” Accessed September 8, 2015, http://www.allmusic.com/artist/jimmy-garrison-mn0000853359. 1 His organic3 and supportive performance practices propelled and illuminated the artists he accompanied while he remained in the background. Garrison garnered attention supporting the biggest names in jazz during his career. He died in 1976 at the age of forty-two before he could capitalize on that experience and fully expound his personal contributions as a leader and important figure in jazz double bass playing. Add the collective innovation of the John Coltrane
Quartet and one can understand how Garrison’s individual contribution to jazz bass playing has been overshadowed by his aggregate associations and overlooked by scholars. Fortunately, the wealth of recordings in existence documenting his development and contributions as a jazz double bassist and composer number over one hundred and provide the materials necessary to conduct detailed studies of a luminary in jazz double bass playing.
The purpose of this essay is to examine the distinctive musical and performance practice choices that Jimmy Garrison made and will help to identify methods he employed on the selected work “Coltrane” while a member of the John Coltrane quartet. I have limited the scope of this essay to identifying general considerations of the musical, technical, and performance practices of Jimmy Garrison as a bassist during his tenure in the John Coltrane quartet with Elvin Jones and McCoy Tyner on the selected work “Coltrane.” In what may be a twist of irony, being that his solos are decidedly identifiable and indicative to Garrison, omitted from this essay is a detailed examination of Jimmy Garrison’s approach to bass solos. His long and often unaccompanied solos are also well documented on the aforementioned recordings and offer the listener an unfettered presentation of Garrison without the restraints of group interaction. One of the things that make Jimmy Garrison unique as a jazz bassist are his unaccompanied solos and
3 This term is explained in the General Material and Considerations section. 2 while that is beyond the scope of this essay those solos were unique for their harmonic elements, timbral variations, and compositional structures. They undoubtedly form an important aspect of his legacy and deserve a thorough examination apart from this essay. What will be examined are general considerations and group performance practices that will help define Jimmy Garrison’s bass playing by pointing out their consistency and implementation throughout the selected work and repertoire therein. I have categorized the information into the following general considerations: sound production, rhythmic concept, rhythmic, harmonic, and harmonic/melodic characteristics and idiomatic devices, and accompaniment tendencies.
3 CHAPTER 2: GENERAL MATERIAL AND CONSIDERATIONS
After listening to and sorting the approximately 306 individual recorded tracks with
Garrison, I came up with six very general working environments4: medium walking, medium ostinato, up, blues, ballad, and open/free.5 These environments address the general tempo and style/performance practices only. I then narrowed the track list to forty-two individual songs that offered multiple examples of the six working environments. From those forty-two choices, one album had all six: the 1962 Impulse! release, Coltrane. Each track on this recording represent one of the six categorized working environments with the exception that there is no truly free piece (as it is beyond the scope of this essay) but there is representative playing that foreshadows the Quartet’s later explorations into more “free form” performance. Another noteworthy aspect is that this recording offers what I consider to be appropriate examples of the common working environments and performance practices on the majority of the other recordings on which
Garrison is documented. The harmonic content of the recordings with Garrison from 1958–1960 was more bop and blues influenced. However, from 1961–1975 the harmonic content in
Garrison’s work shows a decided shift towards modal and free concepts, although after
Coltrane’s death in 1967 some of the harmonic content shifted back to what is reflective of
Garrison’s early recordings.
Garrison rose to prominence with this famous quartet and it is with them that he had the unique opportunity to develop specific performance practice approaches to jazz bass playing that supported the group effort. Further, this recording sits nicely in the middle of Garrison’s career
4 I am referring to a general rhythmic, harmonic, and melodic aesthetic in jazz performance practices. 5While there are many different manifestations of style content on the recordings these six appeared in an overwhelming majority. 4 after he has had time to develop his harmonic and rhythmic expansion and his role as a jazz bassist, and it documents the beginning of his tenure with the John Coltrane Quartet. This leaves room for future research into his performance practices to examine how he developed through his years with the John Coltrane Quartet and also to examine his involvement with the John
Coltrane Quartet. For this essay I will concentrate solely on the seven songs on this recording.
For my evaluation I have transcribed each bass line in its entirety and included them in the appendices for study and future scholarly reference. To examine the innovative environment of the John Coltrane quartet and Garrison’s unique performance practices the quintessential characteristic of Garrison’s sound and feel will be discussed first.
Sound
The immediately discernable characteristics of Jimmy Garrison were his sound/feel.
These two qualities are inextricably linked to every musician and are especially used to describe bassists and other rhythm section players more so than other instruments because these are the two most important aspects of a jazz bassist’s identity and success.
Garrison produced a large and resonant tone that formed a wide sound envelope and was
6 colored by the warm, natural, woody character of his bass and gut strings. A wide sound envelope can be described as a more resonant and richer sound with a more pronounced transient attack and a lengthier decay of the pitches. Bassists (Butch Warren, Sam Jones, Bob Cranshaw,
Ray Brown, et al.)7 who were also on recordings released around the time the selected work for this essay was released —1962— typically had modern basses with steel strings that could more
6 As opposed to steel strings, gut strings were made from the intestines of animals. 7 https://en.wikipedia.org/wiki/1962_in_jazz. 5 easily penetrate the sound of a quartet.8 This combination of modern basses and steel strings did not produce the warmth or wide sound envelope Garrison achieved. The main contributing factor to Garrison’s sound was likely because of the instrument: a larger, older bass more typically suited for orchestral bass sections, where a less focused sound dispersion was more desirable, so as to blend with the other instruments in the section rather than produce a singularly identifiable sound source. Similarly, the same bass sound would work well for swing era big bands where the bass needed to be felt —for horn section cohesiveness— more than heard, and to produce notes with longer sustains and slower decays. Having a large sound also allows the performer to use that as part of the general aesthetic. This means one can play two or three sustained notes and fill as much space as playing twice as many notes, again due to the ability of the instrument to produce a sound that literally moves more air than what was favorable at this time for use in small jazz ensembles. This enabled his sound to fully occupy the metric durations he played, as opposed to a quick, punchy attack and quick decay. The round and diffuse nature of his tone also allowed the bass to inhabit a larger portion of the total sonic image produced by the group.
Certainly, recording techniques and the use of natural reverberance of the recording studios added to the presence of the bass, but this quality is clearly a conscious decision and performance practice as Garrison’s large sound is consistently present on all of the documented recordings.
More significantly is that when playing with the other members of the John Coltrane
Quartet, a bassist would need to have a sound that could compete with the sizeable and commanding sonic presences of Elvin Jones, McCoy Tyner, and John Coltrane. A pointed and
8 Jeff Campbell, “Two Profiles in the Development of Jazz Bass Playing: A Study of Jimmy Blanton and Ron Carter.” Doctoral Thesis, University of Rochester, 2002, p. 56. 6 immediately penetrating sound would not likely provide the acoustic foundation needed by the combined sound mass of the John Coltrane quartet. Garrison’s sound was powerful and wide, not just from the instrument, but also because he was very physical when playing the bass.
Finesse was not lacking, as the sophistication of his other characteristics will show. The powerful sound of the bass and the necessity to play with physical aggression crosses over into his rhythmic concept.
Rhythmic Concept
Jimmy Garrison’s rhythmic concept and performance practice is inextricably linked to his collaboration with Elvin Jones in the John Coltrane Quartet. Both Jimmy Garrison9 and Elvin
Jones10 developed their distinctive styles during their shared time in the John Coltrane Quartet.
As Elvin Jones expanded and transformed jazz drumming and brought the drum set “into a greater musical prominence…[as to share the] dialogue with the horn(s) and other instruments”11
Garrison also occupied the role of an independent voice12 while still providing the rhythmic and harmonic support traditionally associated with jazz bass playing.13 This is not to say that
Garrison was dependent on Elvin Jones, since the core of their rhythmic synchronization was a mutual adherence to a consistency of tempos and interpreting time as “organizing the quarter-
9http://www.radioswissclassic.ch/de/musikdatenbank/musiker/135016fe963c2713bea6f76a4866f a2da15b2/biography?app=true. 10 Barry Elmes, “Elvin Jones: Defining His Essential Contributions to Jazz.” Master’s Thesis, York University, 2005, p. 49. 11 Elmes, p. 25. 12 Paul Berliner, Thinking in Jazz : The Infinite Art of Improvisation. Chicago Studies in Ethnomusicology. Chicago: University of Chicago Press, 1994, p. 131. 13 I’m referring here to the standard notion that jazz bassists provide a consistent rhythmic and fundamental harmonic accompaniment. 7 beat pulse into longer, more musical phrases” rather than a measure by measure subdivision of the quarter note.14 I have termed these longer, musical phrases time-phrase constructs.
The development of ideas to fill in these time-phrase constructs occurred in three main categories at “medium to bright tempos” while in the John Coltrane Quartet: blues, modal compositions, and standards.15
As was often the case, Coltrane would prefer a modal approach to playing standard repertoire unless playing ballads. The musical environment presented limited options on form constructions and harmonic elements. This provided Garrison and Jones the opportunity to create “more engaging”16 lines andOut phrases Of based This on mutuallyWorld developing concepts in the Quartet. My understanding of the organic feel generated by Jones and Garrison is a result of
E m7 themIntro bothb conceiving the time-phrase constructs as consistent frameworks where the internal b˙ bœ œ œ rhythms? 3 b (˙and. subdivisions) of each phrasebœ œ are. malleableb˙. and can be stretched or condensedbœ asœ is 1 4 2 3 4 ‰ appropriate17 but always returning to the down beat or point of emphasis other than beat one with fierce consistency. b˙ bœ bœ œ bœ ? b˙. œ. b˙. Œ bœ. 5 Below is a four6-bar phrase from the introduction7 of Out of8 This World that illustrates this elasticity of rhythmic ideas before returning to the main pulse established and shared by Jones b˙ bœ b˙ and? Garrison.bœ. The rhythmic notation approximatesbœ œ. btheœ. exact figuresœ being played but ebasilyœ œ. 9 ‰ Œ 10 11 J 12 characterizes the subtle variations of the rhythmic elasticity exemplified by Jones and Garrison. E m7 b . j bœ œ bœ bœ œ œ œ b œ ? b˙. bœ œ. b˙. 3 bœ œ 13 14 15 16 Example 1 – Rhythmic elasticity. Out of This World. Sax in b œ . b œ bœ bœ. ? b˙. œ bœ. œ bœ œ 17 18 J 19 J 20 J 14 Elmes, p. 27. 15 Elmes, p. 49. 16 Ibid. 17 . Mainly concerning musicalbœ considerations.bœ bœ œ bœ ? b˙. J œ b˙. J 3 ‰ œ 21 22 23 24 J 8
b˙ bœ œ œ bœ bœ ? b˙. œ. b˙. J 3 œ. 25 26 27 28
bœ b˙ bœ bœ œ œ bœ ? bœ. œ bœ œ. bœ. œ 29 J 30 31 J 32 This rhythmic variation and elasticity are as identifiable as Garrison’s sound and function as clear indications of his presence on a recording. His ability to maintain an independent voice in the quartet relies fundamentally on his sound and rhythmic concepts and performance practice thereof.
9 Tunji CHAPTER 3: RHYTHMIC CHARACTERISTICS
Within Garrison’s rhythmic concept and performance practice is the development of Fade In B 7sus
~ phrase constructs as previously discussed. Barry~ Elmes, a Canadian jazz drummer and scholar, œ œ œ ˙ ˙ ~ œ œ œ ˙ œ œ œ œ ? 4 #œ œ J #œ œ J #œ œ œ states1 4 in his thesis that1 œElvin. Jones “makes2 use of both three3 œ-.beat and five-beat4 figures in phrase construction.”18 He further states that Jones creates phrases by utilizing “an inventory of single- 2 2 bar? variations of the fundamental ride cymbal pattern.”19 Garrison also uses a similar rhythmic 5 «6 7 «8 concept when playing ostinatos. On Tunji, Garrison plays an initial four-bar phrase that Melody 2 2 immediately? displays a reworking or development in the second and fourth measures as shown 9 «10 11 «12 below.
B 7sus
~
~ ? œ ˙ œ ~ #œ œ œ œ œ ˙ œ #œ œ œ 13 œ. J 14 15œ. J 16 Example 2 – Opening bass gesture with variations. Tunji. ?The basicœ concept˙ of developingœ #œ rhythmicœ œ figuresœ withinœ phrase˙ constructœ s #isœ clearlyœ œ 17 œ. J 18 19œ. J 20 demonstrated in measure two and measure four of the above example by the simple addition of beat two in theœ fourth˙ measure.œ œHowever,œ œGarrison’s modelœ ˙ of rhythmicœ developmentœ œ isœ notœ ? J #œ œ œ J #œ œ œ œ exclusively21 œ. additive although22 that element is present.23œ. 24 œ
? œ ˙ œ #œ œ œ œ ˙ œ œ œ#œ. œ 25 œ. J 26 27œ. J 28
? œ ˙ œ #œ œ œ œ ˙ œ #œ œ œ œ. œ œ œ 29 œ. J 30 31œ. J 32 œ
18 Elmes, p. 74. 19 Elmes, p. 79. 10 Tunji B 7sus Sax Solo ? œ ˙ œ #œ œ œ œ œ œ ˙ œ #œ œ œ 33 œ. J 34 œ 35œ. J 36
? œ ˙ œ œ œ œ#œ. œ œ ˙ œ #œ œ œ œ œ 37 œ. J 38 39œ. J 40 œ On the second page of the Tunji bass line transcription are several more instances of Garrison further implementing2 rhythmic permutations. This twelve-bar segment occurs at the second half ? œ ˙ œ œ œ œ œ œ #œ œ 41 42 43 . J 44 of Tunji’s twenty-four«-bar form during theœ saxophone solo.
B 7sus ? œ ˙ œ #œ œ œ œ œ ˙ œ œ œ œ#œ. œ 45 œ. J 46 47œ. J 48
? œ ˙ œ #œ œ œ œ œ œ ˙ œ #œ œ œ œ œ 49 œ. J 50 3 3 51œ. J 52J J
? œ ˙ œ œ œ œ œ#œ. œ œ ˙ œ #œ œ œ 53 œ. J 54 55œ. J 56 Example 3 – Rhythmic permutations within a phrase construct. Tunji mm. 45-56. With thisœ example˙ noticeœ thatœ bœ everynœ œ otherbœ nœ measureœ bœ nœ is a differentœ ˙ rhythmicœ statementœ œ œ œ yetœ œ ? 3 3 3 57 œ. J 58 59œ. J 60 adheres to the overall phrase construct where the first measure is a fixed idea and the second measure is a single-bar variation much like Elvin Jones’s previously mentioned approach. This ? œ ˙ œ #œ œ œ œ ˙ œ œ œ œ #œ approach61 . byJ Garrison continues62 through the63 piece. andJ is presented64 in different configurations#œ œ nœ œ œ 3 contingent upon the soloist’s choice of harmonic support. 3 ? œ ˙ œ œ œ œ œ #œ œ œ œ ˙ œ #œ œ œ 65 J 66 œ 67 J 68 œ œ. 3 œ. œ œ œ
11 Tunji
? œ ˙ œ œ bœ. œ#œ. œ ˙ œ œ œ œ#œ. œ 69 œ. J 70 œ#œ. 71œ. J 72
? œ ˙ œ œ œ œ œ œ œ œ ˙ œ œ œ œ#œ. œ 73 œ. J 74 75œ. J 76 The harmonic elements of Garrison’s playing will be discussed in another chapter of this essay. In contrastœ ˙, however,œ andœ to showœ theœ intentions ofœ the˙ variationsœ withinœ œ phraseœ constructs, ? J #œ œ œ J #œ. œ consider77 œ. the following bass78 line transcription behind79œ. McCoy Tyner’s80 first solo chorus on Tunji.
B 7 Piano Solo ? œ ˙ œ œ œ œ#œ. œ œ ˙ œ œ œ #œ œ 81 œ. J 82 83œ. J 84
œ ˙ œ œ œ œ œ œ œ ˙ œ œbœ nœ œ œ œ. ? #œ œ #œ 3 85 œ. J 86 87œ. J 88
E7
? #œ œ 89 j 90 ‘ 91 ‘ 92 j #œ œ. œ ˙ œ. œ œ œ B 7 œ ˙ œ. œ œ œ œ ˙ œbœ nœ œ œ œ. œ ? #œ œ 3 93 œ. J 94 J #œ 95œ. J 96
F#7 E7 . . œbœnœ œ ? #œ œ œ œ #œ œ œ 3 œ. œ œ œ œ. œ œ œ #œ 97 J 98 J 99 J 100 J œ
B 7 A 7 G 7/D C 7 œ œ œ œ œ #œ œ œ œ œ ? œ j 3 œ œ 101 œ. J œœ 102 103 œ 104œ œ œ 3 œ. œ ˙ Example 4 – Integration of harmony and original modal phrase construct variations. Tunji.
More harmonic elements are introduced although Garrison’s ostinato performance practice of phrase constructs remains. The original phrase construct variations remain but only when playing over the original B7sus tonality maintained throughout the saxophone solo. (The solo form length is the same for saxophone and piano with one main difference. The harmony for the saxophone solo remains B7sus throughout).
12 The piano solo is played over a harmonized twenty-four bar blues form. For clarity the first two measures in the above example are part of a separate motivic sequence. Suffice to say that the first two measures are very similar to the third and fourth measures.
In Example 4 lines one, two, and four represent the same B7sus tonality that was heard in the saxophone solo. As a result of the introduction of more specific harmonic information during the piano solo the initial phrase construct is now interspersed among newer phrase constructs functioning more as structural indicators while Garrison switches into a more traditional, supportive role marked by a low E and settling into a simple, repetitive bass figure.
The rhythmic activity increases in the last line because the harmonic rhythm increases.
There is a chord change on every bar of that section. I will discuss similar examples throughout the recording “Coltrane” in a later section as they are tied more closely to harmonic activity than the phrase construct variations currently being discussed.
Another prominent example of Garrison’s developing segments of phrase constructs appears in the song Out of This World. The tune lasts just over fourteen minutes and, with few exceptions, Garrison stays consistentOut with Of the This initial fourWorld-bar pattern for the duration of the recording shown in example 5.
E m7 Intro b b˙ bœ œ œ ? 3 b˙. bœ œ. b˙. bœ œ 1 4 2 3 4 ‰ Example 5 – First four measures. Out of This World.
The following excerpb˙t, example b6œ, occurs during the first melodybœ statement.œ Thisb œsegment ? b˙. œ. b˙. Œ bœ. occurs5 at one minute and6 thirteen seconds into 7the recording and Garrison8 has already developed the bass line from the initial statement shown in example 5. Notice especially the rhythmic b˙ bœ b˙ ? bœ. bœ œ. bœ. œ bœ œ. 9 ‰ Œ 10 11 J 12
. j 13 bœ œ bœ bœ œ œ œ b œ ? b˙. bœ œ. b˙. 3 bœ œ 13 14 15 16
Sax in bœ. bœ bœ bœ. ? b˙. œ bœ. œ bœ œ 17 18 J 19 J 20 J
. bœ bœ bœ œ bœ ? b˙. œ b˙. J 3 œ 21 22 J 23 24 ‰ J
b˙ bœ bœ œ œ bœ ? b˙. œ. b˙. J 3 œ. 25 26 27 28
bœ b˙ bœ bœ œ œ bœ ? bœ. œ bœ œ. bœ. œ 29 J 30 31 J 32 Out Of This World development in every fourth measure. This is another clear use of the single-bar variations bœ bœ. bœ bœ bœ œ œ bœ œ previously? bœ. mentioned.œ œ bœ. œ 69 J 70 J 71 J 72
A2 E m7 b bœ bœ.. bœ bœ bœ œ œ bœ œ œ ? bœ. œ œ bœ. œ 73 J 74 R 75 J 76
bœ bœ œ œ bœ bœ œ œ bœ œ œ œ œ ? bœ. œ œ b˙. 3 77 J 78 79 80
bœ bœ.. bœ bœ œ œ œ bœ ? bœ. œ œ b˙. œ 81 J 82 R 83 84
bœ bœ. bœ bœ bœ bœ œ bœ ? bœ. œ œ bœ. œ 85 J 86 J 87 J 88
bœ bœ. bœ bœ bœ bœ bœ œ œ ? bœ. œ œ bœ. œ 89 J 90 J 91 J 92
bœ bœ.. bœ bœ bœ bœ bœ ? bœ. œ œ bœ. œ 93 J 94 R 95 J 96
bœ b˙ bœ bœ bœ œ œ bœ œ ? bœ. œ œ bœ. œ 97 J 98 99 J 100
bœ œ œ bœ bœ œ bœ œ bœ ? b˙. œ b˙. 101 102 103 104 Example 6 – Phrase construct rhythmic variations. Out of This World.
14 Tunji B 7sus Sax Solo ? œ ˙ œ #œ œ œ œ œ œ ˙ œ #œ œ œ 33 I œwould. positJ further 34that working in larger phraseœ 35œ constructs. J also allows36 Garrison to extend his ideas over longer periods of improvisation or open20 compositions.
?Garrison’sœ use˙ of rhythmœ whenœ œ playingœ#œ. ostinatosœ is moreœ closely˙ tiedœ to #hisœ partnershipœ œ œ withœ 37 œ. J 38 39œ. J 40 œ Elvin Jones than when walking. This is not to say that he is ever at times disconnected rhythmically from Jones.2 Rather, Garrison’s approach to rhythm when playing ostinatos is an ? œ ˙ œ œ œ œ œ œ #œ œ 41 «42 43œ. J 44 extension of his rhythmic connection with Elvin Jones and as a functional technique used to generate “more engaging”21 material in sparse harmonic or modal environments and to delineate ? œ ˙ œ #œ œ œ œ œ ˙ œ œ œ œ#œ. œ structures45 œ. ofJ the form. 46 47œ. J 48 Example 7 shows how Garrison uses a return to his originally stated phrase construct in Tunji to? delineate œa return˙ to theœ top#œ of theœ twentyœ œ -fourœ -bar form.œ This˙ excerptœ is# œthe lastœ fourœ œ measuresœ 49 œ. J 50 3 3 51œ. J 52J J of example 3.
B 7sus ? œ ˙ œ œ œ œ œ#œ. œ œ ˙ œ #œ œ œ 53 œ. J 54 55œ. J 56 Example 7 – Form identifier. Tunji.
The lastœ two˙ measurœes of theœ bœ abovenœ œ examplebœ nœ œ occurbœ nœ in the lastœ two˙ bars ofœ theœ saxophone’sœ œ œ œ œ ? 3 3 3 57 . J 58 59 . J 60 first chorusœ and that specific pattern is not used again untilœ the first measure of the final statement of the melody. Garrison also uses it five times in the original statement of the melody. œ ˙ œ œ œ œ œ ˙ œ œ œ œ ?Garrison does this in Out# œof Thisœ Worldœ again at measure three hundred thirty#œ-three. Here he 61 . J 62 63 . J 64 #œ œ nœ œ œ 3 repeats a two-bar phrase three times at the top of the form and thirty-two measures later, at the 3
22 beginning? ofœ the˙ second Aœ , œGarrisonœ œ œyet# œagainœ œ repeats a twoœ-bar˙ phrase fourœ #times.œ œ œ 65 J 66 œ 67 J 68 œ œ. 3 œ. œ œ œ
20 This refers to a playing style without predetermined form, phrase lengths, or harmonic specificity. 21 Elmes, p. 49. 22 The form of this song is AABA. The measure divisions are 32-40-32-40 respectively. 15 Inchworm F 7sus E 7sus F 7sus E 7sus b b When this secondb Aœ is signaledœ œ by Garrisonœ in measure three hundred sixty-five, Coltrane ? œ œ œ œ ¿ œ œ œ 33 34 35 bœ œ œ 36œ ¿ œ bœ also quotes the melody. Sixteen measures after that in measureœ œ three hundred eighty-one, the F 7sus E 7sus F 7sus E 7sus 23 b b saxophone drops out. It is at this point that Garrison repeats a four-bar phrase a total of four bœ œ œ œ œ œ œ œ times,? œalthough, as is characteristic,bœ œ somenœ of the measuresœ are variations of the first four. What is 37 œ œ nœ œ 38 œ 39 40
F 7sus E 7sus F 7sus E 7sus significant about this is that fromb the point that Coltrane stopped playing, the formb was also √ abandoned. This sixteen-bar phrase frombœ measuresœ threeb œhundredœ eighty-one to three hundred ? œ #œ œ œ œ bœ œ bœ œ œ œ œ œ œ œ 41 42 43 44 œ œ ninety-six functions as a holding pattern. When Tyner enters at measure three hundred ninety- F 7sus E 7sus F 7sus E 7sus b b seven with a single-note melodic gesture two things happen: the form resets and Garrison plays œ œ œ bœ œ œ œ ? œ œ œ nœ another45 strict (with the exception46 of one eighthœ note)47 patternbœ œ tob communicateœ œ nœ 48 theœ. beginningœ œ of
F 7sus E 7sus F 7sus E 7sus the form. b b œ œ œ œ œ œ œ œ œ ?In œanother example of œwhat œI characterizeœ œ as a œrhythmic figureœ muchœ more than a pitch-based 49 œ œ 50 œ 51 52 gesture,F 7su sGarrison uses a rhythmEic7 sfigureus to signal aFn7s uearlys return to the melodyE 7nearsus the b b œ beginning√ and ending of Inchworm. Presentedœ in exampleœ s 8œa andœ 8bbœ is aœ twelveœ -measureœ ? œ œ œ œ œ bœ œ œ œ œ nœ 53 54 55 56 portion approximately one and a half minutes into the song. A B C D E F 7sus E 7sus F 7sus E 7sus b b Early Melodic Statement In Sax œ œ œ ? œ œ œ bœ œ nœ œ œ œ œ nœ 57 58 œ œ 59 œ œ 60 œ ? œ œ #œ œ œ œ œ 3 F 7sus E 7sus c Fœ7susœ E 7sus Ó ∑ ∑ & b b 4 F 7sus E 7sus F 7sus E 7sus b b ? œ Early Melodicœ Statement in Sax nœ 61 bœ 62œ œ œ 63 bœ œ 64œ œ œ œ œ œ 3 Œ œ Œœ Œ Œ Œ Œ & 4 F 7sus œ E œ7sus œ œ œ œ F 7sus E 7sus œ bœ b œ bœ b Melody Statement F 7s3us Xs E 7sus F 7sus E 7sus bœ œ b b œ œ œ œ œ œ œ œ œ bœ œ œ œ Ÿ ? œ œ œ . œ j œ bœ j œ . 65 66 & .67 œ œ. œ 68 Œ. œ . œ œ œ œ œ œ œ œ œ œ œ ˙ Example 8a – Indication of early melody statemF 7sent.us Bass line. InchwormE 7sus . F 7sus E 7sus b b Actual Melodic Statement in Sax & œ Œ Œ œ Œ Œ œ œ œ œ Œ œ bœ œ bœ 23 A vernacular for when someone stops playing while the rest of the group continues. 16 & ∑ ∑ ∑ ∑
& ∑ ∑ ∑ ∑
& ∑ ∑ ∑ ∑
& ∑ ∑ ∑ ∑ Title
œ œ ? œ #œ œ œ œ 3 c œ œ Ó ∑ ∑ & 4
F 7sus E 7sus F 7sus E 7sus Early Melodic Statement in Sax b b 3 & 4 œ Œ Œ œ Œ Œ œ œ œ œ Œ Œ œ bœ œ bœ F 7sus E 7sus F 7sus E 7sus b b Ÿ j j & œ œ. œ Œ. œ œ œ œ œ œ œ œ œ œ œ œ ˙ F 7sus E 7sus F 7sus E 7sus b b Actual Melodic Statement in Sax & œ Œ Œ œ Œ Œ œ œ œ œ Œ Exampleœ 8b – Indication ofb œearly melody statement.œ Sax. Inchworm. bœ
It is clearly shown that when the actual melodic statement occurs Garrison returns to what is an& identical statement∑ to his opening vamp∑ at the beginning of∑ Inchworm. ∑
As not to be dismissed as a mistake or lapse in group communication this exchange happens again& as the saxophone∑ jumps back into∑ a melodic statement ∑one hundred and sixty ∑measures later in the song. During this exchange Garrison plays two gestures as shown in example 9. At the end of the song the final statement of the melody is then acknowledged by Garrison playing ∑ ∑ ∑ ∑ his& original gesture.
& ∑ ∑ ∑ ∑
Example 9 – Second early and actual melody statement gestures. Inchworm.
There are other occurrences of this characteristic use of rhythmic gestures to indicate sections that include repetition of a gesture perhaps to provide a point of repose within the tune where there is not one specifically written. These repetitive sections occur on this recording exclusively
17 Inchworm F 7sus E 7sus b œ œ œ œ bœ œ œ œ 2 ? œ œ bœ œ o213n Inchworm and Out of This World214 . I view these as techniques215 to alter, extend,«216 or adjust the
F 7sus E 7sus form. More detailed accounts willb be discussed in a later chapter. 2 ?Anœ example related to the immediate discussionœ nœ of the use of rhythmic gestures to indicate 217 œ œ bœ œ 218œ 219 «220 formF 7elementssus is found in measuresE 7su stwo hundred twenty-seven through two hundred thirty in b Inchworm.œ Garrisonœ œ playsœ a four-bar repeating figure for sixteen measures. Example2 10 ? œ bœ bœ œ œ œ 221 œ 222 œ 223 «224 illustrates this phrase. F 7sus E 7sus F 7sus E 7sus b b œ œ bœ œ œ œ bœ ? œ œ nœ œ œ œ œ 225 œ œ bœ œ 226œ 227 228
F 7sus E 7sus F 7sus E 7sus b b œ œ œ bœ œ œ œ œ œ bœ ? œ œ œ œ œ œ œ bœ 229 230 œ œ 231 232 Example 10 – Four-bar repeating phrase. Inchworm. F 7sus E 7sus F 7sus E 7sus b b Tœhere œare aœ few notes in the second half of this pattern that Garrisonbœ variesœ œ in someœ ofb œthe ? œ œ bœ œ œ œ œ œ œ œ œ repetitions233 , as is characteristic, 234but the overallœ gesture235 remains fully intact. One236 rhythmic
F 7sus E 7sus F 7sus E 7sus characteristic of Garrison’s to noteb is that he also played off the beat at times b(as opposed to on œ bœ nœ œ œ œ œ bœ œ the? beat or downbeatœ rhythmicœ emphasis)œ œ and this enhancedœ the rhythmicœ pulseœ withœ a bit more 237 238 œ 239 œ œ 240 forwardF 7sus motion. His bass line onE Tunji7sus is predominantlyF 7sus off the beat. This offE the7sus beat playing b b contributesœ œ heavilyœ b œto theœ songœ andœ it stands out among the other songs on the recording as ? œ œ œ œ œ œ 241 242 243 bœ 244nœ œ œ rhythmically distinct because of Garrison’s off the beat performanceœ practice.œ F 7sus E 7sus F 7sus E 7sus b b What follows is a twenty-four-barbœ sectionnœ with increasedœ œ œdynamicbœ œ intensity that Garrison œ ¿ ¿ œ œ œ shows? œ with added chromaticismbœ œ and rhythmic variation. After this section of elevated‰ J intensitybœ 245 œ œ bœ 246 247 248 Garrison introduces a new two-bar gesture in measures two hundred sixty-seven through two hundred eighty and repeats it seven times before the saxophone plays the final melody statement of the tune as discussed previously. Example 11 shows this gesture.
18 Inchworm F 7sus E 7sus F 7sus E 7sus b b ? œ œ œ œ œ œ œ œ nœ #œ 249 œ bœ œ nœ œ 250 œ œ 251 œ œ 252
F 7sus E 7sus F 7sus E 7sus b b nœ œ bœ œ nœ œ œ œ ? œ œ œ bœ nœ œ œ #œ œ œ œ œ 253 254 255 256
F 7sus E 7sus F 7sus E 7sus b b bœ ? œ œ œ œ bœ œ nœ œ œ nœ œ 257 258 œ œ 259 œ œ œ #œ 260œ nœ
F 7sus E 7sus F 7sus E 7sus b b ? œ œ œ œ œ œ œ œ œ œ œ 261 œ œ. bœ œ 262 œ 263 œ œ 264 œ
F 7sus E 7sus F 7sus E 7sus b b œ bœ œ bœ œ bœ œ. œ œ œ œ ? œ œ œ œ œ. œ œ œ œ bbœ œ 265 266 267 J 268 Example 11 – Two-bar rhythmic gesture. Inchworm. 2 The types of rhythmic interactions mentioned2 above are more prevalent in songs that have an ? 269 «270ostinato and/or repetitive271 rhythmic figure throu«272ghout the bass line, are not in the straight-ahead
style, and have very little harmonic guidelines. When walking or otherwise playing in a straight- 2 2 ? ahead fashion, Garrison typically employs rhythmic devices that simultaneously interact with 273 «274 275 «276 other aspects of his style characteristics. Communication is shown more through harmonic and
2 2 24 ? melodic devices. These instances operate closer to the edges of dynamic involvement and are 277 «278 279 «280 often coupled with rhythmic devices to communicate form elements and provide a contrast to F 7sus F 7sus E 7sus E 7sus b Melody Statement b Garrison’s more usual supportive25 role. œ. œ œ œ œ bœ œ œ œ ? œ. œ œ œ œ œ œ œ œ ‰ œ bœ œ 281 J 282 œ 283 œ œ J 284
24 Points of specific intensity or de-escalation. 25 Providing a consistent rhythmic and harmonic foundation. 19 CHAPTER 4: CHARACTERISTICS OF STYLE-PITCH SELECTION
A bassist’s first responsibility is to provide a strong rhythmic and harmonic foundation, both of which are hallmarks of Garrison’s overall characteristics as a bassist. To provide some contrast to his usual supportive role Garrison employs various performance practice devices to provide added support harmonically, melodically, and rhythmically while continuing to support the group as a whole by marking form and keeping time. That is to say as melody, harmony and rhythm were being stretched by Coltrane and the group, Garrison often found that playing foundational bass was the best solution, anchoring the others, but inevitably he also had many moments where he did the opposite. Before examining the combinations of devices and performance practices, further discussion of individual characteristics is necessary.
As with rhythmic communication there is also harmonic and melodic communication. These last two connected Garrison’s bass lines with Coltrane and Tyner, and so viewing the characteristics individually will answer the question of how Garrison responded to the unique approach to harmony and melody of both Coltrane and Tyner. Prominent harmonic devices used by Garrison were harmonic specificity and, inversely, harmonic vagueness. Similarly in use were idiomatic gestures26, harmonic substitution, pedal point, chromaticism, quartal harmony, and modal mixture.
Harmonic Specificity and Harmonic Vagueness
On the selected recording there are examples that demonstrate Garrison’s command of both harmonic specificity and harmonic vagueness and the territory in between. Harmonic specificity is a strong adherence to the prescribed harmony and his playing on Soul Eyes, Out of This World,
26 Common phrases in jazz bass playing. 20 and Tunji display this but Garrison’s approach allows a duality of harmonic specificity and vagueness. Harmonic vagueness is a performance characteristic where Garrison outlines the basic “shape” of the chord without clearly defining the quality. Typically, he will concentrate on roots and fifths or roots, fifths, and sevenths when a dominant chord sound is prescribed for the song. He does this equally on modal songs or songs with multiple chord changes.
Soul Eyes is perhaps the most “inside” playing of all the songs on the album and shows
Garrison playing phrases that are harmonically specific. At the same time, by keeping it foundational, he leaves room for Tyner and Coltrane to superimpose harmonic and melodic content by using chromatic approaches to fundamental chord tones such as the root and the fifth.
Doing so consistently leads the listener more to the fundamental chord tones than to the chromatic passing tones and give the overall impression of a either a suspended chord or a strong sense of the root note. In a sense, Garrison plays multipurpose lines to support the given Soul Eyes harmony and leave room for Coltrane and Tyner to freely apply their harmonic concepts.
Consider the first eight measures of Soul Eyes as shown in example 12. C m7 G 7( 9) C m7 F 7( 11) A b # ˙ ? œ œ bœnœ œ œbœnœ œ œbœ nœ ˙ bœ nœ 1 c ˙ 2 ˙ 3 3 4 œ œ 3 3
F m7 B 7alt G m7( 5) C 7( 9) b b b ? ˙ œ œ #œ œ b˙ ˙ ˙ œ œ œ œ 5 3 6 7 b˙ 8 œ œ 3
ExampleA maj7 12 – HarmonicA m7( 5Vagueness.) D 7( Soul9) Eyes. G maj7 D 7 b b b b Theb˙ standard bharmonyœ nœ overœ œ this#œ sectionœ is notated˙ above œeachœ correspondingnœ œ bœ œ measure.œ nœ bœ bEachœ ? bœ. J 3 œ. œnœ#œ 3 3 of9 the measures emphasize10 roots or roots and fifths. 11 Otherwise there is 12no real expression of G maj7 F m7 B 7 E maj7 D m7(b5) G 7( 9) chordb quality on Garrison’s part. Ib would argue bthat the sixteenth notes and eightb h note triplets œ ? b˙ ˙ œ œ nœ bœ œ œ œ œ b˙ bœ œ œ #œ œ œ bœ œ are13 mostly three-note14 cells functioning3 as chromatic15 approaches 16moreœ thanœ harmonic specificitybœ œ 3 3
C m7 G 7( 9) C m7 F 7( 11) B b # 21 ˙ œ œ bœ nœ ˙ œ œ ? 3 bœ nœ ˙ bœ nœ 17 ˙ 18˙ 19 20 œ œ 3 3
F m7 B 7alt G m7( 5) C 7( 9) b b b œ œ ? ˙ œ œ#œ œ bœ œ œ œ œ ˙ œ œ bœ œ œ œ œ 21 3 22 œ 3 23 bœ œ 24œ. bœ 3 J 3 A maj7 A m7( 5) D 7( 9) G m7( 5) C 7( 9) b b b b b bœ b˙ ˙ œ bœ œ œ ? ˙ œ œ œ œ J 3 œ nœ 25 26œ œ œ ˙ 27 bœ 28œ œ 3 3 3 3 J
F m7 B 7alt E maj7 D m7( 5) G 7( 9) b b b b ? ˙ œ œ bœ œ œbœ œ œ œ bœ œ œ œ œ œnœ bœ b˙ bœ ˙ 3 29 nœ 30bœ œ 3 31 3 32 3 3 Out Of This World
E m7 Intro b due to all of them being placed on weak beats. Moreover,b˙ these chromatic gestures provide baœ œ œ ? 3 b˙. bœ œ. b˙. ‰ bœ œ rhythmic element in the context1 4 of phrase construct2 variations and their placement3 is more 4 consistent with other end-of-phrase-variation examples previously discussed. b˙ bœ œ Garrison however displays? b˙ both. harmonic specificity andb œharmonicœ. bvagueness˙. on Out of bœ bœ. 5 6 7 8 Œ This World and Tunji. Out of This World begins harmonically vague butb develops˙ the full quality of E-flatbœ minor 7 b˙ ? bœ. bœ œ. bœ. œ bœ œ. 9 ‰ Œ 10 11 J 12 over the course of the recording. Consider this opening figure as shown in example 13.
E m7 b . j bœ œ bœ bœ œ œ œ b œ ? b˙. bœ œ. b˙. 3 bœ œ 13 14 15 16 Example 13 – Four-note harmonic statement. Out of This World. Sax in Specifically, Garrison plays only four notes: Eb-œflat,. B-flat,bœ A-flat, and F. The onlybœ bœ. ? b˙. J œ bœ. J œ bœ œ discernable quality from those17 notes while viewing18 E-flat as the root is an19 E-flat sus (add 2).27 20 J
McCoy Tyner’s first chord as he enters is a G-flat major triad. In relation to E-flat as the root . bœ bœ bœ œ bœ those notes are the minor third,? b ˙fifth,. and minor seventh degrees œof an E-flatb˙. minor 7 chord. J 3 œ 21 22 J 23 24 ‰ J Tyner’s second chord is a quartal28 voicing of B-flat, E-flat, and A-flat. In relation to E-flat as the root those notes are the fifth, root, and fourth.b ˙ Another anglebœ is that those notes representbœ a œ œ bœ ? b˙. œ. b˙. J 3 œ. 25 26 27 28 B-flat minor pentatonic scale which is a common and convincing choice for expressing the E-flat suspended sound, lending to more harmonic vagueness. Tyner then alternates these chords as his bœ b˙ bœ bœ œ œ bœ ? bœ. œ bœ œ. bœ. œ opening gesture and the harmonic29 result Jwith Garrison’s30 bass line is a rapid31 oscillationJ between 32
E-flat minor 7 and E-flat sus; a perfect juxtaposition of harmonic specificity and vagueness.29
27 An E-flat sus (add2) includes the root, fourth, and second. The presence of the fifth does not alter the harmonic quality. 28 Chords constructed using fourths as opposed to the more common tertian harmony which builds chords using thirds. 29 Vagueness in this context means no easily discerned minor or major quality. 22 Out Of This World
bœ bœ.. bœ bœ bœ.. bœ ?Asbœ Tyner. initiallyœ states the minor sevenœ th quality,bœ. Garrison’sœ first harmonically specificœ 33 J 34 R 35 J 36 R statement comes three measures before the first melodic statement shown in example 14. E m7 b bœ b˙ bœ bœ bœ œ œ bœ œ ? bœ. œ b œ bœ. œ œ 37 J 38 39 J 40 Example 14 – First harmonic specificity. Out of This World. A1 Melody Statement In the secondbœ measure ofb œthe.. aboveb exampleœ is a full andb clearœ statementb˙ of E-flat minor 7 ? bœ. J œ œ bœ. J œ bœ œ. with41 the root and then, simultaneously42 played,R the43 minor third and the minor44 seventh. The next time Garrison plays a D-flat is in measure eighty-eight. After this measure Garrison regularly bœ bœ.. bœ bœ bœ. bœ œ uses? Dbœ-.flat in his accompaniment.œ The nextœ occurrencebœ. of a G-flatœ is roughly three minutes and 45 J 46 R 47 J 48 J forty seconds into the song and is infrequently played by Garrison over the course of the .. recording. Thebœ majority ofbœ Garrison’sbœ bass line is a relentlessbœ reworkingbœ ofœ E-flat,œ Fœ, Ab-œflat, B- ? bœ. œ œ bœ. œ 49 J 50 R 51 J 52 flat, and D-flat. Incidentally, even though a D-flat 6/930 chord could be constructed with those notes, Garrison not once implies that harmony. bœ bœ.. bœ bœ œ œ bœ œ ? bœ. œ œ b˙. 53 For the majorityJ of the54 tune GarrisonR remains55 harmonically vague56 with his bass line in Out of
This World. As shown above he does outline the basic harmonic scheme of the tune, E-flat bœ bœ.. bœ bœ œ œ bœ œ minor? b œ7.. But, becauseœ he does so infrequently,œ it badds˙. to the harmonic vagueness but also 57 J 58 R 59 60 promotes a simultaneous interaction with harmonic specificity and harmonic vagueness.
Tunji, however,bœ offers baœ more.. distinguishablebœ comparisonbœ betweenb œharmonicœ œ specificitybœ œ and ? bœ. J œ R œ bœ. J œ harmonic61 vagueness. An62 example from Tunji has63 already been presented64 in example 4 when discussing how rhythmic phrase constructions were interspersed among added harmonic bœ bœ. bœ 2 elements.? bœ. Aside fromœ being a clear example ofœ Garrison’s use of rhythmic gestures example 4 is 65 J 66 J 67 «68 also a clear example of Garrison’s use of harmonic specificity and harmonic vagueness.
30 A 6/9 chord is spelled root, third, major sixth, ninth. 23 Near the end of the song and within the same twenty-four-bar form and under the same harmonic conditions Garrison plays a solo that could easily be described as simplistic because of his sparse use of linear and vertical melodicism. However, his shifts between harmonic specificity and harmonic vagueness are clearly delineated and are excellent demonstrations of this characteristic of Garrison’s harmonic approach. This is shown in example 15.
As with Garrison’s accompaniment during the piano solo, the lines with B7 as the harmony remain fairly close to the bass ostinato established at the beginning of the song. There continue to be permutations within phrase constructs and during this passage they appear to be extensions or further developments of the characteristic rhythmic and harmonic gestures Garrison used in example 4.
The third line in the example develops similarly to the first two lines where every other measure offers a chance to play a different permutation. Although Garrison does not do this in the first two lines, he increasingly builds rhythmic tension as the harmonic rhythm increases and his harmonic specificity increases as well. By the end of the passage Garrison outlines the major triad over the E7, A7, and C7. In fact, he defines a quality, major, only five times in the entire song and all instances occur in passages with increased harmonic rhythm.31 This relationship between rhythm and harmony is quintessential to understanding Garrison’s characteristic applications of rhythm during non-swing modal or sparse harmonic situations as it is through rhythm that Garrison communicates when harmonic content is minimal.
31 Measures 104, 122, 148, 150, 152. 24 Tunji B 7 E7
? œ œ. œ œ. œ œ#œ. #œ œ 105 œ. J J 106 J œ 107 j 108 j #œ œ. œ ˙ œ. œ œ œ B 7
? œ œ. œ œ. œ œ œ œ#œ œ œ bœ œ #œ #œ œ œ 109 œ. J J 110 J œ 111œ. J 112
E7 œ œ œ œ ? œ. œ œ œ œ œ œ œ œ #œ œ 113 114 115 116 œ #œ J œ œ œ. J œ œ œ œ B 7 œ œ. œ œ. œ œ œ œ œ œ. œ œ. œ œ œ œ œ ? J J J #œ J J J 3 117 œ. 118 œ 119œ. 120
F#7 E7 #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 œ œ#œ 121 122 123 124 œ
B 7 A 7 G 7/D C 7 œ œ œ ? j #œ#œ œ œ œ. œ 125 . 126 127 œ œ œ œ 128 œ. œ œ œ œ œ œ ˙ œ œ œ B 7 Bass & Drums œ ˙ œ œ œ œ œ œ ˙ œ bœ nœ œ œ ? 3 #œ. œ 129 œ. J 130 131œ. J 132
œ ˙ œ œ œ œ œ œ ˙ œ bœ nœ œ œ#œ ? 3 . #œ nœ. 133 œ. J 134 135œ. J 136
E7 œ œ œ ? œ. œ œ œ Œ ‰ œ œ œ œ œ. œ œ œ Œ ‰ œ œ œ œ #œ 137 J 138 J œ œ œ 139Tunji J 140 J œ #œ B 7 œ ˙ œ œ œ œ œ œ œ œ ˙ œbœ nœ œ œ œ œ ? #œ 3 141 œ. J 142 #œ 143œ. J 144
F#7 E7 œ #œ- ? #œ œ. œ- œ. #œ œ œ œ. œ œ œ #œ œ bœ nœ œ œ#œ 145 ‰ 146‰ 3 147‰ 148 #œ J J J œ œ B 7 A 7 G 7/D C 7 3 3 3 3 3 œ œ bœ œ œ œ œ œ œ œ ? J œ œ œ œ œ œ œ œ Œ œ œ œ œ œ œ 149 œ. 150 #œ œ œ œ 151 152œ 3 œ
ExampleB 7 15 – Shifts between harmonic specificity and harmonic vagueness. Tunji. Piano In 3 3 ?When walkingœ ˙ or when playingœ #œ in aœ straightœ -ahead styleœ Garrison’s˙ predominantœ #œ œ œrhythmœ isœ a 153 œ. J 154 155œ. J 156 quarter note pulse. This is not to imply that Garrison is somehow limited by his use of quarter
3 notes. To the contrary, he employs more characteristic harmonic devices in these situations.3 He ? œ ˙ œ #œ œ œ œ œ ˙ œ œ bœ œ #œ #œ nœ œ bœ also157 usesœ. idiomaticJ rhythmic158 devices in walking159œ .bass linesJ . These160 devices can fall under a more
E7 harmonically vague definition as their main function is structural as they often3 appear at 3the œ œ œ œ beginning? or end of structurally relevantœ partsœ of the form. œ œ œ œ œ#œ 161 j 162 163 j 164 #œ œ. œ ˙ œ œ œ. œ ˙ œ 3 B 7 3 3 ? œ ˙ œ #œ œ œ œ ¿ œ œ ˙ œ. œ œ œ 165 . J 166 #œ 167 . J 168 J œ œ œ œ œ 3 œ 25 F#7 E7 ? #œ. œ œ œ œ œ. #œ œ œ œ œ. œ œ œ œ œ. œ œ œ 169 J J J 170 J 171 J J J 172 J
N.C. Freely œ œ œ œ œ œ œ œ U ? œ œ œ œ œ #œ #œ œ œ œ nœ #œ 173 œ œ œ œ 174 175 176 177 w Big Nick G E7 A m7 D 7 G Bo C 7 C#o œ œ bœ bœ nœ #œ œ œ œ œ œ œ #œ œ œ œ œ œ œ ¿ 69 70 œ 71 72
A m7 E7 A m7 D 7 G E7 A m7 D 7 Miles√ Mode œ nœ œ œ bœ œ œ œ bœ œ œ #œ œ œ œ 73 74 œ 75 76 œ œ œ bœ œ ˙ œ #œ œ œ œ œ bœ ? œ #œ œ œG E7 A m7 D 7 G Bo C 7 C#o 141 œ 142 #œ 143œ 144 bœ #œ œ œ œ œ œ œ œ œ bœ œ œ œ 77 78 œ œ 79 80 œ œ œ œ œ œ œ œ ? #˙. #œ Œ Œ ‰. œA m7œ œ Eœ7 œ Aœm7œ œ D 7œ G E7 A m7 D 7 145 146 R 147 148 œ œ œ #œ œ œ œ œ œ œ 81 œ œ œ #œ œ 82 œ 83 84œ œ œ Drums Double x Feel & Piano Solo Soul Eyes œ œ œ ¿ C m7 œ G 7( 9) C m7 F 7( 11) A œ 7 m7 7 7 ? b #œ œ #œG E # #œA œ D #œ G B C C# 149 œ œ 150 œ #œ œ 151œ œ #œ 152 œ #œ o o œ bœ œ. œ œ œ œ ? œ bœ. œ œExample. œ œ 16 showsbœ Garrisonœœ œœ using aœ tripletœ œ dropnœ œandœ anœœ eightnœ œ -noteœ anticipationœ of proceeding œ 33 Piano Solo 34œ œ œ 35œ œ 36 œ 85 œ 86 œ 87 œ œ œ #œ 88œ œ beats in Big Nick and appears in the first two measures of the piano solo. œ F m7 œ B 7alt G m7( 5) C 7( 9) œ bœ ? œ œb #œ œ bœ #bœ œ œ #œ G E7 A m7 D 7 153 154 œ œ œA m7155#œ œE7 A m1567 D 7 Sax Solo End bœ œ œ bœ œ œ ? œ œ œ. œ œ #œ œ œ œ œ . œœ œ œ œ œ nœ. œ œ œ œ œ bœ œ œ œ œ œ œ œ 37 38 bœ. œ œ œ 39 œ œ œ 40œ œ œ œ œ œ œ œ œ œ 90 œ 91 92 œ 89 3 A maj7 nœ #œ Aœm7(b5) œ Dœ7( 9)bœ œ G# mœaj7 œ D 7 b ? Example 16 – bIdiomatic rhythmicG œdevices. Eœ7 in walkingb #œA m7 line. Big DNi7ck. G Bo C 7 C#o 157 158 159 #œ 160œ #œ œ #œ œ bœ . œ #œ œ œ œ #œ . œnœ œ œ ¿ #œ œ ? bœ bœ. œ œ œ œ nœ œ œExample 17, is fromœ #œ Garrison’sœœ œ œ bassœ lineœ in Milesœ Mode.bœb nœandœ œcontainsœ the sameœ gestureœ albeit 41 42 œ 43 œ œ œ 44œbœ œ œ œ œ œœ œ œ #œ œ j œ 93 94 95 œ. 96œ. ¿ #œ. with alterations to fit the circumstance. The circumstance in this example is the two measures J J G maj7 F m7 B 7 ˘ E maj7 D m7( 5) G 7( 9) bœ b ? b œ b œ #œ Aœ m7 E7 b A m7œ b D 7 #œ G E7 A m7 D 7 161 j 162 œ œ 163 œ nœ #œ 164œ nœ #œ . #œ œ œ œ œ Melody Statement bœ. bœ œœ œ precedingœ bœ œ anotherœ piano solo, measures one hundredœ sixty-seven and one hundred sixty-eight. ? bœ ¿ œ œ œ œ. œ œ œ bœ œ. œ œœ œ. œ œ #œ œ œ œ œ œnœ œ œ œ œ œ œ. œ 45 46 47 œ.bœœB. mœ ¿ 48˙ œ œ #œ #œ œ. J œ œ #œ 98œ 99 3 100 J Drums Double x Feel & Piano Solo Soul Eyes œ 97 J C m7 œ G 7( 9) #œ œ bœ C mA7 œ F 7( 11) œ œ œ bœ C m7 G 7( 9) B C m7 F 7( 11) œ G ¿ E7 # A m7 D 7œ G B C 7 C A b ? œ œ b o # ¿ #œ #œ o #o 165 œ 166œ 167 #œ nœ œ 168 bœ œ Example. 17 – Idiomatic rhythmicbœ œ devicesœ œ in walkingœ line.bœ Miles Mode. œ bœ œ œ ?œ. œœ. œœ œ œ œbœœ œ. œ . œ œ œœ œnœ œ bœœ.œœœ œ œ œ œ œœ œœ bœœnœ œ œ œ œ œ. œ œ ? bœ. œ œ49 œ œ bœ 50 œ œ œ œ œ 51 œ nœ #œ œ52.≈ œ. 3œ 3 œ œ œ œ 33 34 35œ 36 101 3 J 102 œ 103 J œ104˙ #˙ A strong example of Garrison’s use of variousSoul Eyes idiomatic devices to communicate parts of the F m7 B 7alt F m7 G m7( 5) B 7alt F m7 C#7œ( 9) G m7(b5) B 7alt C 7( 9) G m7( 5) œ œC 7( 9) b ? b #œb œ b œ b œ b #œ b œ œ b 169 J formœ appear170 s in#œ Soulœ Eyes. While171œ this occurrence#œ does172 not have a triplet drop it does have a œ. œ bœ œ bœ œœ œ#œ œ bœ bœœ œ œ bœœ bœœnœœœœbœ œœœœ. œ œ. œ œbœ. nœ œ œ œ ? œ œ œ. œ œ #œ ? œ œ œœ œ œ œ œ?œ œœ œ#.œ œ œ . œ 32 #œœ. œ œ. œ œ œ œ œ œ 53 œ œ œ. œ54. walkdown. œœœ œ fromnœ. the55 fiveœ to the one. The56 basicœœ. outlineœ b œof œthat devicebœ in the keyœ bœ of. C minor is œG, 37 38 bœ. 39 bœ69 40œ 70 71 bœ72 œ. œ œ #œ œ œ œ œ nœ #œ œ #œ œ œ #œ( ) ( ) ( ) ( ) A maj7 A m7( 5) A maj7 D 7( 9) GAmmaj77 b5 A Dm7aj79 D 337G m7 b5 A m7( 5) D 7(C97) 9 G maj7 D 7 b b b ?b œ F, E-flatb, D, C.b These examplesb can perhapsb b be viewed as idiomatic device cells and Garrison 173 b 174 175 176 b œ œ œ œ ¿ œ bœ bœ œ œ œ œ bœ œ nœ. œ œ œbœ#œ œ œ nœ bœ œ #œ œ œ.adaptsœnœbœ themœ œœ toœ theœb œperformanceœ œbœbœœœbnœ œ.environœ œ ment. Belowœ œ are theœ œn threeœœ. different uses ofbœ thisœbœ deviceœ , ? bœ. ? bœ. œ #3œ .?. bœ. #œœ .. bœ. nœ n#œœ. œ œ œ œ. œ 41 42 57 œ 4358 œ73 œ œ œ œ 44bœœ 59œ bœœ 74 œ nœœbœœ60 œ œ 75 76bœ œ œ examples 18a-c. G maj7 F m7 B F7m7 E maj7 B 7alt G maj7 E maj7 F m7 B 7 E maj7 b b b b Db m7(b5) b G 7( 9) D m7b( 5) b G 7( 9) D m7( 5) G 7( 9) b b b b b bœ. bœ œ œ œ bœ œ œ bœ œ œ œbœ bœœœ œ bœ œ œ bœ œ œbœ œ nœbœ ? bœ ¿ œ œ œ œ. ? œœ œ œœœ bœœ#œœœ. œ œ. œ?œ bœœ. œ œ b#œœœœ œœœœœœœ.œœnœœœœœ œ . œ nœ#œbœœ œœ.œœœ œ bœ bœ . nœ#œœ œœnœbœœ 45 46 61 œ. 47 62 œ.bœ œ77 48œ œ 63 bœ. 78 64 œ œ œœ 79 œ 80 œ œ œ bœ BalladEx. 18a Feel-Melody Statement 18b 18c– Idiomatic device. Soul Eyes. B C m7 G 7( 9) A C m7 C m7 G 7( 9) F 7( 11) C m7 F 7( 11) b # # Sax Soloo b B C m7 G 7( 9) C m7 F 7( 11) œ œ œo œ b # bœ œ bœ œ œ œ œ.bœ œ œ œ bœœ œbœbœ œ nœ œ bœ ? œ. œ œ œ œbœ œ. œ ?œ. bœ.œœœ œœ œ bœ. œ œ. œ ?œ. œ œ ≈ œ œ˙œ œ œ œ œœbœ œœ œ œœœ œ œœ œ œ ˙ ˙ œ nœ 49 œ 50 65 œ 51 œ 66 œ œ81 œ ˙ 52 67œ.≈ 82˙ œ 68 bœ œ83.˙ œ 84 œ œ 3 3
F m7 B 7alt G m7(b5) F mC7 7( 9) B 7alt G m7( 5) C 7( 9) b b b b b 32 bœ œ œ bœ œ Thisœ stepwise. motion from the five to the one is evident in the majorityœ bœ œ of recordedœ basslines ? œ œ œ œ#œ œ #œ œ œ . œ in? the˙ canonœ œœ of œjazz.œœœ #œ œ œb˙œ #œ œ. ˙ œ œ. 53 œ. 54 . œ œ œ 55 œ 33 56 œ bœ œ œ. œ œ nœ bœ 85 Example 18a contains an86 E naturalbœ but it is clear87 he is varying the3 ends88 of all 3three œexamplesœ and they all resolve to a C minor tonality. A maj7 A m7(b5) D 7( 9) G m7(b5) A maj7 C 7( 9) A m7( 5) D 7( 9) G m7( 5) C 7( 9) b b b b b b b b œ œ bœ 26 bœ œ œ nœ bœ œ #œ œ œ bœ œ nœ œ œ b˙ œ œ œ œ bœ nœ ? bœ. 3 œ. œ. œ œ œ #œ œ bœ. ? nœbœ b˙nœ. œ ˙ œ . bœnœ. #œ œ. œ. 57 58 59 89 60 œ 90 œ œ œ œ œ 91 œnœ bœ œnœ œ #œ œ 92
F m7 B 7alt E maj7 D m7F(bm5)7 G 7( 9) B 7alt E maj7 b b b b b œ bœ œ œ œ bœ bœ bw U U U ? œ œœ œ#œ œ. œ œ œ bœ œ œ œ œ œ œ?œ.˙œ œ #œ œ œœœ œœœbœbœ œ bw bw 61 œ. 62 63 bœ. 9364 3 94 95 96nw 97
A C m7 G 7( 9) C m7 F 7( 11) b # Sax Solo œo œ bœ œ œ œ œ. . bœ œ bœ œ œ bœ ? bœ. œ œ œ . œ œ. œ œ œ œ bœ œ œ œœ œ œ œ œ 65 œ 66 œ œ œ 67 ≈ œ 68 œ. œ The last half of each measure contains the walk down with a few variations. In the first example the walk down is G, F, E, D, C.34 The walk down in the second example is G, F, E-flat,
D, C and, in a minor key, represents the most common form.35 The third walk down example is
G, F, E-flat, D-flat, C. The characteristic of Garrison’s rhythmic approach to variations within phrase constructs applies equally in these three examples. These examples are a condensed form of the typical multi-bar phrases discussed before where the last measure was a single bar variation. In examples 18a, 18b, and 18c the last beat of the measure is the point of variation.
Garrison’s characteristic devices are commonly combined with one or more other characteristic devices. They are also embedded within his walking lines and ostinatos although they are used more when Garrison is walking.
Up ‘Gainst The Wall is a twelve-bar blues and contains the strongest instance of Garrison’s use of idiomatic phrases. In this song he plays the phrases consistently at the end of each twelve- bar section except for one. Consistent with the established characteristic of developing permutations within phrase constructs, Garrison again uses the last two bars of the blues form to develop this idiomatic phrase while simultaneously employing it as a form indicator.36 The idiomatic phrase itself is commonly used in jazz performance Titleto signal the end of a song and is specifically associated with the jazz standard Take The A Train by Billy Strayhorn. Example 19 shows the original phrase in C major. œ œ œ œ ? c œ œ œ #œ œ Ó ∑ ∑ Example 19 – Idiomatic jazz ending phrase.
5
? ∑ ∑ ∑ ∑ 34 The following downbeat after all these examples is C. 35 Perhaps this could be more commonly substantiated as a melodic gesture it nonetheless is a basic V-i commonly9 used descending cadential pattern. 36 With this gesture Garrison is signaling a return to the beginning of the twelve-bar cycle. ? ∑ ∑ ∑ ∑ 27
13 ? ∑ ∑ ∑ ∑
17 ? ∑ ∑ ∑ ∑
21 ? ∑ ∑ ∑ ∑
25 ? ∑ ∑ ∑ ∑
29 ? ∑ ∑ ∑ ∑ Presented below are all the idiomatic gestures Garrison uses in the last two bars of Up
‘Gainst The Wall as exercises 20 a-k.
The first example, 20a, may not immediately show its similarity to the original idiomatic gesture shown in example 19, but one of the key components, the minor sixth drop from the root to the major third is present on beat three of the example’s second measure. A fascinating aspect to these two measure phrase constructs with variations is the symmetry of their organization over the eleven total choruses of the tune. Garrison basically plays the first three iterations of the phrase where the most dramatic interval is a descending minor sixth. He then plays the next two phrases with some alterations to that intervallic leap. Example 20d is a common descending cadential phrase closely related to the original gesture. The alteration of the descending minor sixth is the stepwise motion to the tri-tone substitution where G-flat takes the place of C. The fifth example, 20e, simply displaces the octave of the first note therefore eliminating the minor sixth fall. Thus far the organization of the phrase variations could be represented as AAABC.
The sixth variation, 20f, sits in the center of the eleven choruses and is an application of quartal harmony characteristic of Garrison and will be discussed in a following chapter. The next three examples are all of the descending minor sixth variation. The last two, examples 20j and 20k, are also alterations of the original gesture. 20j has the same octave displacement as 20e with some chromaticism, another characteristic device of Garrison’s also to be discussed in a following section. The last example, 20k, has the same tri-tone substitution alteration as example
20d with one final difference from all the examples. Example 20k not only changes the descending minor sixth but has strategically placed dramatic drop of a minor seventh to finish the tune. As a whole the organization of these eleven variations can be characterized as
AAABCDAAABE.
28 Up ’Gainst The Wall
A 7 D 7 A 7 b b b bœ ? 4 bœ bœ. œ œ. b˙ œ. (œ) bœ nœ œ bœ 1 ˙ 2 b˙ œ 3 4 4 J J J J D 7 A 7 D 7 b Up ’Gainst Theb Wall b bœ n˙ bœ bœ ? b˙ œ. J bœ bœ bœ. ¿ b˙ œ bœ 5 6 7 ˙ J 8 A 7 D 7Up ’Gainst The WallA 7 B m7 b E 7 b A 7 b B m7 b E 7b A 7 b b b ¿ bœb bœ bœ ? 4bœbœ œ #œ œbœ. bœœ bœœ. bœ b˙ œ œ œ. œ (œ)bœ bœ nœ bœ œ bœ ? 4 1 ˙ œ2nbœ˙ bœ bœ œ 3 J 4 bœ. œ œ ? 9bœ J 10 3bJœ œ œ 11J b12œ nœ œ œœ. œ 33 nœ œ bœ 34nœ 35 ¿ œ #œ œ 36 nœ D 7 A 7 D 7 A 7b D 7 A 7 b b A 7 b D 7b A b7 b b b bœ n˙ bœ bœ bœ bœ ? b˙ œ. J bœ . bœ . bœ.nœ ¿bœ b˙nœ bœœ 5b?œ œ bœbœ. œ nœœ b6˙ œ œœ bœnœ bbœ˙ 7œ˙ œbœ œ 8 bœ bœ Nnœœ œ ? 13 ˙ 14 15 bœ J 16J bœ 37 J 38 J 39 40 B m7 E 7 Up ’Gainst TheA 7 Wall Db 7 b b A 7 D 7 B m7 E 7 A 7 D 7 b b b b A 7b D b7 b bœ œ œ #œ œ ¿ bœ bœ bœ bbœ œ bœ b b?œ bœ œ n˙œœnbœœ bbœœ bœAœ bœ Bœ œCbœ bnœœD. bœ bœ E bœ 9( ?)bœ œ. 10 3 œ nœœ bœ 11bœ œ œ bœœ. 12 . œ œœ.. œœ ?17 bœb˙ œJ 18 bœ œ 19˙ bœ ¿ b20œbœ nœ bœ nœ J ?33 bœ œ bœ 34nœ 35 ¿ œ #œ œ 36 J nœ 41 3 nnœœ bœ Example42 20a – Up ‘Gainst43 The Wall. J 44 A 7 D 7 A 7 Bb m7 bE 7 b A 7 B m7A b7 E 7 Db 7 A 7 Ab 7 b b b b b b . Up ’Gainst The Wall . nœ bœ nœ bœ ?B bmœb7œ œbœœbœœ.bœnœnnœœ œbbœ˙Ebbœ7œbœ œœ nœœAb˙ bœ AœB7œ œ œ bœ œ Nœ nœœ 13b?œ bb˙œ œ bœ œ 14 b? bœ œ œbœ bœ 15œ b#œœ œb bœœ bœœJC16œbœ œD bœ bœEœ nœ 3 ??21 J 22 ¿ c œ œJ bœ23 œ bœ œœ #œ œ Ó 24bœ ∑ ∑ & 37 38 39 nœ bœ œ40 œ 4 45 œ œ œ 46 bœ 47œ 48 nœ œ œ D 7 bœ Example( ) 20b –Up Up ’Gainst ‘Gainst The AThe Wall7 Wall. D 7 A 7 bœ Dbœ7 F 7sus œ A E7b 7œsus nœ nœ F 7sus bœ œ E 7sus ? B bm7 E 7 œ nœ bœ A 7 b nœ b b 69 A 7 D b7 D707 3bEarly Melodic Statement inA Sax7 71b A 7 72bœ D 7 ¿ Saxb Solobb b b b b b b nœ . bœœ nb˙œ œ bœ bœ . bœ ?Abœ7 bœ nœ œbœ Dœ7 3 œ bœ nœŒ bœbœŒ œAbœ7 Œbœ. Œ bœ .nœbœbœ bœœ Œ Œ 17?( bœb˙)œbœ J œ18 & 4œœ œ œ œnAœ bœ19˙Bœbœœœ bœœ œnœ¿ 20bbœœœ œ bœœ œ nbœœœJ œ ?25? b 26 b bœ œ 27 b œ œ œ œC 28bœbDœ nœbœJ œE ? 33 bœ nœ œ bœbœ 34?nœ œ œ œ œ 35 #œbœ¿ œ #œ œ J œ36 œ nœœ bœ 3 49 41 3 nœ œ nœc42 œ œ 43 œ bœ Ó 44 ∑ ∑ & nœ œ œ œ 50 F 7sus 51nœ E 7sœus 52F 7sus E 7sus 4 B m7 ExampleE 7 20c – Up ‘GainstA 7 Theb Wall. b Db 7 œ bœ bœ œb bœ nœ Abbœ7 œ bœ D b7œ œ bœ ? bœAb7 œ D 7 Fbœ7susUpœ ’Gainst The WallAb E7 7sus œ nœ Fb7œsusb nœ E 7sus 73D 7 B m7b 74E 7b A 7 75A 7 b b D 7 76 b Ÿ Bb m7b E 7 b Early Melodic Statementb in Sax b A 7 b b bœ œ œ bœ nœ bbœ œ bœœ œ œ j bœœ œb Œ. j œ ? bœ bœ nœœ nbœœ œ b&œbœ bbœœœ œœ. œ œ œ œ bœ œ œ bœ œbœbœœ œœ bœœ œnœ œ œ ˙ 21?Db7œbœ œ bœ œ ¿22 3œ œ nœœœ bœbœA 723œ bœ ¿œœœbœ #œbœ œœœ D 724 bbœœ bœ nœ 29?œ b œ œ (bœb)30œ ¿ œA œ Œ BœŒb b31œbœ œCbœ Œbœ DŒ œ b 32Ebœœ œ bœœ nœ œ Œ Œ ??37œ œbœ œ 38& F47sus 39 E 7sus œ œœ nœœ œ bFœ740bsuœs E 7susœ 45 bœbœ 46?bœ œ œ 47 #œb nœœ nœ 48 œ œ œbœ œ œ b 3 53 ? œ 54 Actualcœ Melodicœ Statementœ 55 inœ Sax bbœœ 56 Ó bœ nœ ∑œ bœ ∑ & A 7 D 7 nœ bœ A 7 nœ bœ ¿ 4 69 b 70bExampleœ 3nbœF 7su s20œ d – Up ‘Gainstbœ (œ71)E bThe7œsus Wallbœ . œ F727sus nœ œ œ E 7sus ?Sax Soloœ D 7 œ nœ b A 7 bœ œ œDb7œ œ b 77B m7A 7b œ bœ 78 E 7 D 7 F 7sus 79 AA77E 7susb 80 F 7sus b E 7sus b b œ Œ Œ b b Œ Œ œ œ œ b Ÿ Œ b A 7 bœ œ bD &7bœEarly Melodicœ n œStatementbœ in SaxA b7 œ bœ œ ? b(œbœb)œ nœ b œœœ œ bœœ.œ j œbbbœœ œbœŒœ. œ njœœ œbœœbœ nœbœ bœ œ bœbœ 25 B m7 bœ œ26&E 7 nœœ 27 A 7 œœ bœ œ 28 œ œ œ œbœ nœ œ b?œb bœ œ b3œ b bœ bœ œ œ ˙ ??41 œnœ bœ Aœœ &œ 4œn42œB œ Œ œCŒ œ œ43Dœ Œ EŒbœ œ 44œœ œ#œ œœ œ œ Œ Œ 49 œ bœ3 œ b?œ bœœ 50œœbœF 7sus bœ œ #œ œ51bœE 7œsus œ bœ œ nœ b Fœ527subsœ œ bœ E 7sus 3 57 ? bœnœ œ œ œ c 58 œ œbœœ œ nœ 59 nœbbœ bœœ Óœ nœ 60 bœœ ∑ nœ∑ bœb & 73 D 7 74 Actual Melodicn œStatementœ in75 SaxbAœ 7 76 D 7 4 nbœ œ œ œ F 7sus Ebbœ7sus F 7sus b E 7sus ? œB m7 œ œ ExampleEbœ7 œ 20Upœe ’Gainst –∑ Upœ ‘GainstnTheœ WallA Theb7 bœ Wall∑ . bœ nœ∑ œ œ b ∑ 81 A D7 7b F 7Dsus82&7 b E 7susAA7783 b œ Fb7œsus nœ D847 E 7sus B m7 b E 7 b b A 7 b b b Db 7 bEarlyœ b Melodicb&œ Statementbœœ in SaxŒœ ŒAœ 7 b œb œ Œ œ Œ D 7 bœœ œ œ Ÿœ Œ ?b bœ bœ œ bœnœ œ nœ ¿ bœœ bœ œnœ b j ¿ bœ jœ b œ bœ bœ 29 A 7bœ D 7 30 œœ œ. bœ Aœ731bbœœœ œ Œ.œ œ 32 bœ œbœ œb?œœb œ œ bœ (3bœ) bœ &bœ¿ bœ nœœ œœb bœœbbœœ œœ bnœœ bœ bœnœœ bœ œbœ bœœbœœ nœ œ œ ˙ ??45 œbœ bAœ &œ 4bœBbœ46nœœ Œœœ œCŒ Dœ 47œŒ œœEnœŒbœ nœœ œ 48 œœ œ œ bœn œ œŒ œ Œ ?61 53 bœœ œ 54bœ œ nœ bœœ55œ(œ)bœ œ bœ œ56 bœ œ œ œ 69 ? œ ? œ œ œ 62œœ3 #Fnœ7œsus bœœ œ bœ 63 E 7sus nœ œ 64 bbœœF 7susœ bœ bœœ œ ¿ 3 E 7sus 77 œ cbœ œ œ7078 & ∑ 79 71 Ó b œ œ∑ œ ∑ 8072 n∑œ∑ & œ b ∑ A 7 F 7sus D Actual7 Melodic StatementE 7sus inbœ Sax A 7 F 7sus bœ œ E 7sus 4 ? bœ Example 20bœf – Upœ b ‘GainstA 7 The Wall. b 85 7B m7b bœ 86 E 7b ∑ 87 Ab 7 ∑ 88 7 ∑ ∑ D7 œ œ œ7 & œ 7 b D AB bm7b F 7sus D Eb 7 E 7sus A A 7F 7sbus Eb 7sus b b b Œ Œ b Œ Œ b Ÿ Œ b Early Melodic Statement in Sax&b œ œ bœ b bœœ œ œ œ œ D 7bœ œ œ œ bœj œ Œ.A 7 j œ nœ bœœ D n7œ bœœ bœbœ b?œ bœœb & œ œbœ œ.nœnœ œ œ bœ œ œ œbœ œ œœb œ œ bœ ?49 œ bœ œœ 50œœ œ œ œ 51 œ œ 52 œ œbœ #œœ ˙œ ?57 nœ œ bœ œ bœ œ bœ bnœœ bœ œnœbœ bœ nœ bœbœœ ?65 bœœ œnœœ œ3 œ œ6658&bœ œ œ œ ∑ nœA67 bœ59 B œ∑ nœ 68bœ 60 ∑ nœ ∑ 73 ? & 4 œœ Œœ#Fœ774susŒ bœœ œœ œ œ œŒ En7œsus75Œœ bbœœ œ œ F 7sus œC 76 bœDœ3nœŒE 7suœs ŒEœ 81 c œ œ 82 Ó b bœ 83 ∑ œ bœ nœ ∑ 84 & b D 7 œ œ œActual Melodicb&œ Statementbœ in Sax∑ œ Ab7œ œ ∑ bDœ 7 4 ∑ œ bœ ∑ ? Abœb7 . œ œ b œD#œ7 œ nœ bA 7bœ œ b œ nœ œ#œ 89 b œ. F 7œsus œ œ œ 90ExampleEœ 7suœ s20g – Up ‘Gainst91 F 7s uThes œ Wallbœ . œ 92E 7sus D 7 F 7bsus E 7sus & b b ∑ AF 7s7us b 3 ∑Eb7œsus D 7 b ∑ ∑ b A 7 J Db 7 b A 7 b b Earlyb Melodic Statement in Sax& b œ Œ Œ œ nœ œ b œŒ œ Œ œ œ œ œ œ Œ B m7 œ Eœ 7 bœ Aœ 7 bœ œ œbœ bœ nbœŸœ bœ bœ nœ ?bbœœ œ œbœ œ b bœ∑ bœnœ œ b ∑bœ bœ œ ∑bœœbœbœ bœ ∑ ?533 bœœ bœ n54œj& œ nœœ Œ. bœ (œj55) œ œbœœœ œ bœœ œ 56 œ œ ? 61œ &œ Œ œ Œœœ. œ œ62bœŒ œŒ œœbœ 63œ œ œœ œ œ œ Œ 64 bœœŒœbœœ œ 77 &?4 œ bœœbœ bœ78 œ bœ œ∑79 ∑ œ œœ80 œœ œ ∑˙ ∑ 85 œbœœ œ œ86bœœ &?œ œ œœ 87 œ #œ œ bœ 88 bœ 3 ? B m7 œF 7susbœ œ E 7Ec7sus ∑ A bœFA7sAu7Bs 7 ∑ C ÓE 7suDs ∑ E∑ ∑∑ & 4 F 7suDs b7 E 7sus b&œ b ¿b bœ F 7sus b bEœ7sus nœ bbDœ7 œ œ B93m7 Actual Melodic Statementb 94E in 7Sax∑ nœ bœ A95∑7 bœ œ b ∑ 96 ∑ b7 & 7 7b b D b F 7sus Ab E 7sus DF 7sus E 7sus b œ Example 20h – Up ‘Gainstœ b b Theœ b bWallœ . œ Ÿ b œ b Ab7œbœ œ bœ œ D œ7bœEarlyœ nMelodicœ b Statementœ in SaxA 7 nœ bœ nœ bœœ ?b œ bœœ Œœj œ Œ Œb . œj Œœbœ Œ b œ œ bœœ nœ bœ œ #Œœ &œ?57nœ œœ&œ. œ œ œ œ 58 œœ ∑nœnœœ œœbœ œ 59bœœ œ∑ œ 60 œ∑ ∑ ? 65 œ œ œœ œœ bœ&66œbœ3œ œ œ bœ bœ67bœœ œbœ nœœ ˙ bœb68œ nœ œ œ œ bœ 81 ? bœ. œ œ œ œ 82b œ#œ œ nœœ Œ 83Œ bœ œ Œ Œ œ84 œ nœœ œ œ#œœ Œ Œ 89 Fb7susœ. œ œ E 790sus &&œ 4œ ∑ Fb7sœus 91 œbœœ ∑E 7susbœœ 92 ∑ bœ œ ∑ A 7 ¿ bœ b D 7 œ A3 7bœ bbœœb bœœ nœ bœ œbœ ?Actual Melodicb JStatementbœ in Sax& œ ∑ bbœœ œ n∑œ b œ œ œ œ∑ ∑ A97 7 œ œ D 7 98?œ F 7sus œ œ A 7 œ99 #Eœ7sus œ 100F 7sus E 7sus 3 b B m7 b E 7 c b A 7 b Ó ∑ b ∑ & 4 b b bœ nœ b œ œ bœ nœ bœ & D bœ7œ Œœ Œœ ∑ œ Œ Œ ∑ œ œ A 7œœ œ ∑bœ œ ŒD 7 ∑ bœ bœ Ÿ ? & bœ F 7sœus E 7œsus œ bœ F 7sus œ œ E 7sus 61œ b œ bœ œ 62bœ œ bœ j 63œ œb b .bœ j b64œ œb b 29 ? bœ œ bœbœ œ & Earlybœ Melodicœ œ œ∑ Statement. inœ Saxbœ œ Œ∑ œ œ bœ ∑ œ œ œ ∑ 85 ?œ œ bœ œ 86œ bœœ& œ 87 88 bœ œ œ œ œ ˙ 93 & 94 ¿∑bœ nœ bœbœ 95 ∑ œœA 7œ bœ nœ ∑ 96 ∑ D 7 F37sus nœ bœ E 7subs F 7sDus 7 E 7sus ? nœ b œ bœ nœ& 4 œ œ Œ Œ b œ Œbœ Œ bœnœœ œ bœ b œ Œ Œ 101D 7 œ 102 Actualœ Melodic StatementA in7 Sax103bœ nœ D 1047 œœ bœ & Ab 7 bœ œ∑ bœ œ∑ œ D 7 ∑bœ nœ ∑bœ œb A∑7 bœ bœ∑ œ n∑œ b bœ n∑œ œ bœ bœ b & b F 7sus b E 7sus F 7sus E 7sus ? Œ Œ b Œ Œ b Œ 65 & œ bœ œ œ œ œ œ ? bœ. œ œ œ œ bbœ#œ 66œ∑ œ nœ œ bœ bœb∑œ 67bœ bœ œ ∑ œ œ68nœ œb#œœ œ b∑œ bœ Ÿ 89 ? . œ œ œ ¿œ b&œ90 œ 91 œ œ bœ œ 92bœ nœ bœ œ b œ bœ œ œ œbœ njœ3 bœ bœ j 97 œ œJ 98œ& œ œ. 99 œ Œ. 100œ œ œ œ œ œ œ œ œ œ œ œ ˙ B m7 ∑ E 7 ∑ A 7∑ ∑ &b b F 7sus b E 7sus F 7sus E 7sus D 7 & ∑ ∑ A 7b ∑ D 7 ∑ b b &Actual Melodic∑ Statement in Sax b ∑ b ∑ ∑ bœ œ bœ œ bœ bœ ? œ bœ ¿ bœ bœ bœ œ bœ nœ bœ œ œ 93 ? nœ œ 94 nœ& œ nœnœŒbœ Œ95 œ œ œœ Œbœ Œ 96 œnœ œ œbœ œ Œ 101 œ bœ 102 œ 103 104œ & ∑ ∑ ∑ bœ nœ ∑ bœ bœ A 7 ∑ D 7 ∑ A 7 ∑ ∑ b & b & ∑ b ∑ ∑ ∑ bœ bœ bœ ? bœ ¿ bœ œ & œ ∑ nœ œ bœ ∑ bœ nœ ∑ bœ œ ∑ 97 œ œ 98œ bœ 99 100 & ∑ ∑ ∑ ∑ D 7 & ∑ A 7 ∑ D 7 ∑ ∑ b b b & ∑ œ ∑ ∑ ∑ ? nœ œ nœ œ nœ bœ bœ œ bœ nœ bœ 101 œ bœ 102 103 nœ 104œ bœ & ∑ ∑ ∑ ∑ & ∑ ∑ ∑ ∑
& ∑ ∑ ∑ ∑ Up ’Gainst The Wall B m7 E 7 A 7 b b b ? bœ œ bœ nœ œ bœ nœ œ bœ nœ bœ bœ bœ 105 106 107 œ bœ œ 108bœ œ nœ
A 7 D 7 A 7 Melodyb Statement b b bœ ? bœ. œ. b˙ bœ. nœ bœ nœ œ bœ œ 109 ˙ bœ 110b˙ nœ 111 112 ¿ J J Up ’Gainst The WallJ B m7 E 7 A 7 D 7 b b A 7 b D 7 b b b bœ œ bœ nœ œ bœ ? . bœ n˙ bœ nbœœ œbœ bœ nœ bœ bœ bbœœ nœ ? b105˙ œ J 106 bœ 107 bœ. œ ¿ b˙œ 108bœ œ œ nœ 113 114 115˙ J 116 A 7 D 7 A 7 B m7 b E 7 b A 7 b Melodyb Statement b b bœ b?œ œ œ bœbœnœ. bœ œ. b˙ bœ. nœ bœ nœ œ bœ œ ? 109 ˙ bœ 110œb˙nœ œ Up ’Gainstnœ 111 The Wall J 112bœ nœ œ #œ œ œ ¿ 117 118J bœ J119 œ œ bœ œ nœ 120 nœ B m7 E 7 œ bœ A 7 b D 7 b b A 7 D 7 A 7 b D 7 A 7 b b b bœ œ b b ? œ bœ nœ bœ bœnn˙œ œ bbœœ bnœœA bœ bœB bœ C Dbœ Ebœ nœ 105 ? œ. 106 bœ107 œ bœ. œ b108œ bœœ bœ œœ nœ ? 113 b˙ bœ. J 114 œ. b˙ 115˙bœ. œ œ¿ 116b˙ bœ 121 ˙ ¿ 122bExample˙ 20i – Up¿ ‘Gainst123 The Wall. 124 J A 7 J D 7 J A 7 J Melodyb StatementB m7 b E 7 b A 7 D 7 b b A 7 b D 7 b b b ? bœ œ bœ œ.œ bœ. nœ bœ nœœ œ bœ 109 bœ.œ bbœœ nœb˙ œ A nœ bB˙ œ œ œ bœ œ ¿ ?˙ 110 n˙ ? cnœb˙ œœ œ111 œ #œ C J 112D ÓbœEnœ œ #œ œn∑œ œ ∑ & 3 ? 117 nœ. Jbœ 118 Jbœ 119 bœœ.œ bœ œ nœ . 120 œ œ nœ nœ 4 125 b˙ 126 127œ˙ bœ ¿ 128bœ J Example 20j – Up ‘Gainst The Wall. J D 7 F 7sus A 7 E 7sus J D 7F 7sus E 7sus b A 7 D 7 Ab 7 b b b B m7 b E 7b Early Melodic Statement in SaxA b7 b bœ n˙ b bœ bœ b bœ nœ ? b˙ œ. J 3 œ Œ bœ Œ bœ.Œ ¿Œ b˙ bœœ œœœ bœœ U Œ Œ 113 Ab?œ œ nœ Bbœbœ. nœ 114œ b&œ 4œ œ. 115bb˙œ˙ œ œœ bœ. œ116 œ bœ œ ? 121 ˙ œ? C¿ 122b˙ Dœ œ œ #œ œE¿ œ123 œ bbœœ œ œ J 124 œ bœ 3 129 c œ œ bœ Ó nœJ b∑œ ∑ & J 130 F 7sus J 131 E 7sus F 7132sus bœ E 7su4s B m7 E 7 A 7 b œ œ b b D 7 Exampleb 20k – Up ‘Gainstb A 7 The Wall. D 7 b F 7sus E 7sus b F 7sus b E 7sus Ÿ Early Melodic Statement in Sax b b bœ œ œ bœ nœ bœ & œ œ. j œ Œ. j œ œ ? bœ œSpecificnnœ˙Uœ œ harmonicbU˙ devicesœ usedœ by Garrisonœ bœ n inœ œtheœ # œprecedingœ œ œœnœ exœnamplesœ œ are˙ tri-tone 117 ? j nœ. b1183œ nŒ˙ Œbœ ˙ 119 œŒ œ bœŒ bœœ. nœ 120 . œ œ nŒœ Œ œ ? 125 b˙ &œ 4 œ126œ F 7sus œ bœ 127˙ E 7sus œ¿ 128œ bœF 7œsus œ E 7sus Œ ‰ bœœ œ œ J n ˙ ˙ b J b ? c œ 133œ œ #œ œ substitutionœ 134ÓActual Melodic (20d Statement andbœ ∑20k) in Sax, chromaticism∑ œ (J&20j3), and quartalbœ harmonic gestures (20f). Other A 7 D 7 A 7 4 b B m7 F 7sus b E 7 E 7sus b A 7 F 7sus E 7sus b b b b b F 7sus E 7sus F 7sus E 7sus b harmonic& devicesœ Œ he Œuses to bbe discussedœ Œ Œare chord substitution,œ œ œŸ modal mixtureœ , andŒ pedal point. Early Melodic Statement in Sax œ j bœ j bœœ œ bœ Ubœ ? bœ œbœn.œ b&œ¿ œ bn˙œ œ. bœœœ. œ œ¿ œ b˙Œœ. bœœbœb.œœ œœœ œ œ œ œ œ bœ 121 ?˙ œ122 bœ œ123 37 124œ nœ œbœ œ ˙ 3 œ Œ 129Œ ŒJ Œ Unlike130 theœ numberœ J œ of double131 stopŒ perfectJŒ fourths132 often heard andbœ seen above, the quartal & 4 œ F 7sus E 7sus œ F 7sus E 7suœs œ œ œ b b D 7 bœ Actual Melodic Statement in Sax A 7 bœ D 7 F 7sus b E 7sus F 7sus ∑ b E 7sus ∑ b ∑ ∑ b harmonic& gesture shown in exampleb 20f is linear. In other instances, Garrison expresses a quartal & œn˙ Œ ŒbU˙ Uœ Œ Œ Ÿ œ œ œ nœœ Œ ? j œ nœ. j. bœœ harmonicjbœ œ conceptn˙ b œvertically˙ byb œplaying. œ simultaneous. œ pitchesœbœnœ a fourth apart. His use of quartal & œ œ. 125 ?b˙ Œ ‰ Œ bœJ œ126 n ˙ ˙127˙ œ ¿ 128bœ œ 133 œ œ œ œ 134œ œ œ œ œ œ ˙J J F 7sus E 7sus F 7sus E 7sus B m7 b harmony&E 7 may expres∑ s a harmonicA b7 connection∑ with Tyner∑ and Coltrane in the ∑same way that Actual Melodic Statementb in Sax b b ∑ ∑ ∑ ∑ & U & œ Œ ?Œ bœ œ nœ œbœ Œœ nœ rhythmicŒ bœ œ variationsbœœ œ œ withinœœ bphraseœ bœ œconstructsœ œŒ nœ expressesbœ a rhythmic connection with Jones. œ 129 bœ 130 œ 131 bœ 132 œ bœ Another& use ∑of a linear quartal harmony∑ gesture by Garrisonœ∑ occurs is Big∑ Nick. In Example & ∑ ∑ ∑ ∑ 21 the quartal gesture begins on beat three of measure forty-eight (shown below) and continues & ∑ ∑ U ∑U ∑ ? Œ ‰ jbœ œ bœ nn˙ ˙ 133 œ until& 134the downbeat∑ anticipation of measure∑ fifty-two. A difference∑ to note with∑ example 21 is ∑ ∑ ∑ ∑ & that the phrase ascends where the phrase in example 20f descends. Since both occur at the end of & ∑ ∑ ∑ ∑ phrases within the form of their respective tunes Garrison does not appear to show a preference & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ &
37 On stringed instruments this means playing two or more notes simultaneously. & ∑ ∑ ∑ ∑ 30 Big Nick G E7 A m7 D 7 G E7 A m7 D 7 œ œ bœ bœ œ œ œ bœ œ œ œ œ œ œ œ œ bœ ¿ ¿ nœ ¿ 33 34 35 ¿ 36
G E7 A m7 D 7 G Bo C 7 C#o œ œ œ nœ #œ œ œ œ œ œ œ œ œ Milesœ Mode œ œ œ œ 37 38 39 nœ œ #œ 40 œ
G √E7 A m7 D 7 G E7 A m7 D 7 nœ œ bœ œ œ nœ œ bœ œ Saxœ Solonœ œ bœ œ bœ ? # 38œ œ #œ nœ of ascending177 or descending quartal178 harmonic gestures179 at structural points.180 They are similar in œ œ œ œ #œ œ œ œ œ œ ¿ œ 42 œ œ #œ 43œ 44 œ œ that41 bothœ examples,œ 20fœ andœ 21, follow a scalar pattern played in fourths. #œ œ G E7œ œ A m7œ #œ D 7œ œ G B C 7 C ? œ bœ œ œo #œ œ œ#o 181 182 183 184 #œ œ œ œ #œ œ œ œ œ œ œ œ œ œ œ œ œ 45 46 47 œ œ #œ 48 œ œ œ bœ G ? E7 #œ A m7 #œD 7 œ G œ œ E#7œ A m7œ #œ D 7 185 œ #œ œ 186œ #œ 187 œ 188 œ œ œ #œ œ œ œ œ œ œ #œ 49 #œ 50œ 51 ¿ œ 52œ œ œ œ #œ œ œ œ Example? 21nœ – Quartalœ œ harmonicAœ nœ gesture within a phrase.œ bœ Bigœ Nickœ . #œ œ œ 189 190 191 192 #œ #œ G E7 A m7 D 7 G Bo C 7 C#o The œnext œexample œmay œbe indicative of a modular or formulaic concept when Garrison plays œ œ œ œ œ œ œ œ œ œ œ œ #œ œ 53 54 œ 55 œ œ œ #œ 56 œ œ quartal ?harmonic#œ œ gestures.œ Notice#œ in exampleœ 22 the same six notes are shiftedœ œ aheadœ byœ one 193 œ #œ 194 #œ 195 #œ œ 196 #œ A m7 Dœ7 G œ œ quarterG note. AlsoE7 notice that the two notes#œ preceding and theE three7 notesA mproceeding7 D 7 each #œ œ œ œ œ œ œ bœ nœ œ bœ œ œ œ œ œ phraseœ are the same. This certainly indicates the useœ ofœ ab œmelodicnœ # œcell andœ is# œalso œa variationœ 57 ? 58œ nœ #œ œ #œ 59 60 197 #œ œ #œ 198 199 200 withinG a phraseE7 construct. A m7 D 7 G B C 7 C B m o #o #œ œ œ œ œ bœ œ œ œ ? œœ œ #œ ¿ œœ #œ œ #œœ œœ œ œ œ œ œ œ #œ 201œ œ 62œ 202 #œ œ #œ 20363 204 64 #œ œ œ 61 œ G E7 A m7 D 7 G E7 A m7 D 7 œ #œ œ œ #œ œ œ œ #œ œ œ bœ ?œ œ œ #œ œ œ œ œ œ œ œ 205 œ œ 206œ 207 208 œ 65 œ 66 #œ 67 68 œ œ œ œ œ #œ œ ? œ œ #œ œ œ #œ œ œ œ #œ œ 209 210 œ 211#œ œ 212 #œ Example 22 – Quartal harmonic gesture within a phrase. Miles Mode.
38 Example 20f occurs in the last two bars of a twelve-bar blues form and Example 21 occurs in the last two measures of an eight-bar solo form. 31 Up ’Gainst The Wall B m7 E 7 A 7 b b b œ œ bœ œ bœ (bœ)bœ œ nœ ? œ nœ bœ œ bœ nœ nœ bœ œ 69 70 3 71 72bœ nœ ¿
A 7 D 7 A 7 b b b bœ bœ ? bœ œ œ bœ œ bœ bœ œ nœ bœ œ bœ œ nœ bœ bœ œ nœ 73 74 75 76
D 7 A 7 D 7 b b b œ ? œ œ bœ nœ œ nœ bœ (œ) bœ œ bœ œ œ bœ œ œ œ 77 œ bœ 78 79 80
B m7 E 7 A 7 b b b ? œ nœ œ œ œ œ œ bœ œ œ œ nœ bœ bœ bœ nœ œ œ 81 82 83 œ bœ nœ 84
A 7 D 7 A 7 b b b The following examples show the variety of ways Garrison uses quartal harmonicœ gesturesœ bœ as œ œ ? bœ bœ œ bœ œ bœ œ 85 œ œ bœ 86œ œ 87 88 double stops. D 7 A 7 D 7 b b b bœ ? bœ. œ œ œ œ bbœ#œ œ nœ œ bœbœ œ œ nœ œ#œ œ bœ 89 . œ œ œ œ 90 91 œ œ 92 b œ œ œ 3 bœ bœ Example 23 – Double stop quartal Jharmonic gesture. Up ‘Gainst The Wall. B m7 E 7 A 7 b b b Above in example 23 Garrison momentarily plays a vertical quartal harmonic gesture. This bœ œ bœ œ bœ bœ ? œ bœ ¿ bœ bœ nœ bœ œ œ is the only time on the 93selected recording that he94 plays doublen œstopb œfourths95 in œtheœ context of a 96
A 7 D 7 A 7 walking bass line and in thisb particular example his placementb and use of thisb device is more bœ bœ bœ likely associated with dynamic? and harmonicbœ Out¿ b œOf intensity Thisœ World as opposedœ to delineatingnœ œ thebœ form or a bœ nœ bœ œ 97 œ œ 98œ bœ 99 100 closing gesture of a phrase. D 7 . A 7 D 7 bœ bœ b bœ bœ bœb bœ b ? bœ. J bœ œ b˙ œ 249 Characteristically, Garrison’s250 use of doubleJ stop251 fourths more oftenbœ occu252 œr in straight eighth ? nœ œ nœ œ nœ bœ œ bœ nœ bœ 101 œ bœ 102 103 nœ 104œ bœ feel songs when he is playing more of an ostinato-type bass line. A clear demonstration of that is bœ bœ bœ. bœ bœ œ bœ the? openingbœ. bassJ line to Tunji as shownbœ in examplesœ b ˙2 and 3. More directed placements ofœ 253 254 J 255 256 vertical expressions of quartal harmony occur in Out of This World.
In the bass transcrbœ bœiption thebœ bridge. of the saxophone solo startsbœ on measurebœ twobœ hundred ? bœ. J bœ œ b˙ œ 257 258 J 259 260 sixty-one. It is here that Garrison plays the gesture shown in example 24. B E m7 b j j j j ? bœ. œ œ bœ œ œ bœ. œ œ bœ œ œ 261 b œ. œ œ 262‰ b œ œ œ 263b œ. œ œ 264‰ b œ œ œ Example 24 – Quartal harmonic gesture at bridge. Out of This World.
As bdiscussedœ. œ previously,bœ œ Garrisonbœ œ employsœ bœ various characteristicbœ bœ devicesbœ toœ identifybœ ? b œ. J bœ. J œ elements265 of the form. In the266 above example he uses 267a quartal harmonic gesture268 to mark the bridge of Out of This World during the saxophone solo. Also, as it is an ostinato-type figure it bœ œ bœ. bœ bœ bœ œ bœ œ bœ œ can? alsobœ .functionJ as a short pedal point.J This connectsbœ. the gestureJ in example 24 directly œto the 269 270 271 272
bœ bœ bœ. bœ œ bœ bœ bœ ? bœ. J b˙ 273 274 J 275 276 Œ 32
bœ œ œ bœ bœ œ œ ? ‰ bœ œ œ ‰ J bœ œ œ ‰ J 277 J 278 279 280
. bœ œ œ bœ œ bœ nœ bœ ? ‰ bœ œ œ bœ. J J 281 J 282 283 284 Out Of This World
bœ bœ bœ bœ bœ ? bœ. œ œ œ œ bœ. J bœ œ 465 J 466 467 468 B bœ bœ bœ bœ œ bœ ? bœ. œ nœ bœ b˙ œ 469 J 470 471 472
bœ bœ bœ bœ œ bœ ? bœ. œ œ œ œ b˙ ¿ 473 J 474 475 476
bœ bœ bœ bœ bœ œ bœ bœ ? Œ. J bœ Œ. b œ œ bœ 477 478 479 J 480
bœ bœ bœ bœ bœ bœ œ bœ bœ œ ? bbœ. œ bœ œ œ 481 J 482 483 484
bœ œ œ œ bœ nœ bœ. bœ œ œ bœ bœ actual? b œpedal. GarrisonJ plays on the bridge of Out of This Worldœ during the melodic statements at 485 486 487 J 488 the beginning and end of the song.39 A related examplebœ alsobœ occursœ œin Outb œof This World. Examplebœ 25b isœ duringbœ œthe pianoœ œ solo and ? b˙ b˙ 489 490 491 492 occurs in the last eight measures of the bridge, signaling the final A section.
E m7 b bœ œ œ bœ bœ œ b˙ œ bœ bœ œ ? b œ œ œ b œ b œ œ b ˙ œ b œ b œ œ 493 ‰ J 494‰ J 495 496‰ J
2 bbœ. bœ œ bœ ? . J bœ œ bœ 497 «498 499 500 Example 25 – Quartal harmonic gesture within a phrase. Out of This World.
This relates to example 24 as it also is placed in a structurally strategic part of the form. Both of these examples also show that Garrison’s use of double stop fourths is not exclusive to his accompaniment of either Coltrane or Tyner.
A final example showing a purely harmonic application of the characteristic quartal gesture occurs in the rubato codetta of Out of This World. Before looking at that it is important to reiterate that Garrison explicitly uses quartal gestures in every song on the selected recording.
Some of the most prominent have been discussed to show his variety of applications. Out of This
World is just over fourteen minutes and it stands to reason that there would be more instances of certain devices because of the duration and style hence the seemingly favored use of examples from this song.
39 Incidentally, Garrison uses the same repetition of the note A used to denote the bridge of the melodic statements during a solo interlude between the piano solo and the final melodic statement. 33 Example 26Out shows Of This a Worldunique use of a quartal device. It can be viewed as a combination of the
two types of quartal gestures Garrison. uses, linear and vertical, as it has single notes followed by bœ bœ bœ bœ œ bœ bœ bœ œ bœ ? bœ. bœ. J œ 825 J 826double¿ stops.¿ In essence827 it is a summationJ 828 of‰ that particular device. The quartal gesture shown
in example 26 is also a summation of sorts of the harmonic character of Out of This World. The bœ œ bœ. bœ 2 ? bœ. J first measure of the exampleœ shows the E-flat minor 7 tonality of the A sections and the last 829 830 J 831 «832 measure, when viewed enharmonically, show the A major tonality of the bridge. Rubato bœ bœ ? bœ. bœ œ œ b˙ bbœ bbœ 833 J 834 835 836n˙ Example 26 – Quartal harmonic closing gesture. Out of This World.
Mentioned earlier was Garrison’s use of pedals or pedal tones. The New Harvard Dictionary bœ œ bU˙ U ? bœ œ œ œ œ bœ b˙. 837 ˙. 838 of Music defines pedal point839 as “a sustained note in840 the lower register, occurring under changing
harmonies in the upper parts.”40 Ostinatos played by Garrison maintain a consistency underneath
changing harmonies in the saxophone and piano. It is therefore reasonable to view these as
related to pedal point. Examples 10 and 11 can also represent this interpretation of pedal points
of sorts. Commonly, the ostinato-style tunes lend themselves to the description of a sustained
lower register with a harmonically changing upper register relationship and, by definition, are an
expression of pedal point.
40 Don Michael Randel, The New Harvard Dictionary of Music. 2nd ed. Cambridge, Massachusetts: The Belknap Press of Harvard University Press, 1986, p. 617. 34 CHAPTER 5: HARMONIC/MELODIC CHARACTERISTICS
The remaining harmonic choices that are characteristic of Garrison, harmonic substitution, chromaticism, and modal mixture may also work as melodic characteristics. That is to say that phrases or gestures exhibiting these characteristics often depart from Garrison’s characteristic bass lines that are harmonically vague by design. Their sparse use also gives more emphasis because the listener does not get accustomed to hearing them and their implementation is easily noticed.
Garrison’s most used harmonic substitution is the tri-tone substitution. He uses this technique in Big Nick, Inchworm, Soul Eyes, and Up ‘Gainst The Wall. The following four examples show how Garrison uses the tri-tone substitution. Although the substitutions are not strict in that the third and seventh are interchangeable with roots a tri-tone apart, the characteristic of Garrison’s duality of harmonic specificity and vagueness play a role in his specific note choices. Big Nick G E7 A m7 D 7 G E7 A m7 D 7 œ bœ œ œ œ bœ œ œ œ œ œ œ œ œ œ bœ ¿ ¿ bœ nœ ¿ 33 34 35 ¿ 36
G E7 A m7 D 7 G Bo C 7 C#o nœ #œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 37 38 39 nœ œ #œ 40 œ Example 27 – Tri-Tone substitution. Big Nick. G E7 A m7 D 7 G E7 A m7 D 7 Sax Solo The four indicated measures in example 27 are the first four measures of an eight-bar solo œ œ œ œ #œ œ œ œ œ œ ¿ œ 42 œ œ #œ 43œ 44 œ œ form.41 Theœ second œindicatedœ œ measure of the example is the tri-tone substitution. It is replacing a G E7 A m7 D 7 G B C 7 C D7. As is characteristic of Garrison he does not necessarily spello out the entire chord but#o the œ œ œ œ #œ œ intentœ andœ gestureœ express just enough of theœ substitutionœ œ œ to be effective. Inœ that œsame measureœ 45 46 47 œ œ #œ 48 œ
McCoyG TynerE pla7 ys an AA-flatm7 7 followedD 7 by an AG-flat 7sus.E The7 notes GarrisonA m7 plays Din7 the œ œ œ œ œ #œ œ œ œ œ ¿ œ œ œ œ #œ œ 49œ #œ 50 51 œ 52 35
G E7 A m7 D 7 G Bo C 7 C#o œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ #œ œ 53 54 55 œ œ #œ 56 œ D 7 G E7 A m7 G E7 A m7 D 7 œ œ #œ œ bœ nœ #œ œ œ œ œ bœ œ œ œ œ œ œ œ 57 58 59 60
G E7 A m7 D 7 G Bo C 7 C#o œ œ bœ œ œ œ œ œ ¿ œ #œ œ œ œ œ œ œ #œ œ œ 62œ #œ 63 64 61 œ G E7 A m7 D 7 G E7 A m7 D 7 œ œ œ œ œ œ œ œ œ œ 65 œ 66 #œ 67 68 œ œ œ œ œ second measure can also be viewed as an A-flat minor and as having a pentatonic sound. Either way the harmonic gesture is what is ultimately heard and further supports Garrison’s performance characteristic of blending harmonic specificity and harmonic vagueness.
The tri-tone substitution in Inchworm is less obvious. One of the things that kept Garrison Inchworm fromF 7gettingsus in the way of the Epeople7sus he supported Fwas7sus his ability to slip in sophisticatedE 7sus b b harmonic and rhythmicbœ ideasœ withoutœ drawingœ attention to himself. Example 28 is characteristic ? œ œ œ œ ¿ œ œ œ 33 34 35 bœ œ œ 36œ ¿ œ bœ of that subtlety. œ œ F 7sus E 7sus F 7sus E 7sus b b bœ œ œ œ œ œ œ ? œ bœ œ nœ œ œ 37 œ œ nœ œ 38 œ 39 40 Example 28 – Tri-Tone substitution. Inchworm. F 7sus E 7sus F 7sus E 7sus b b Here√ Garrison substitutes a B minor tonality over an F major tonality. This substitution also bœ œ bœ œ ? œ #œ œ œ œ bœ œ bœ œ œ œ œ œ œ œ does41 not fully realize the B minor42 sound but is again43 characteristic of Garrison44 andœ his abilityœ to
F 7sus E 7sus F 7sus E 7sus subtlety imply a harmonic substitutionb or superimposition. This gesture couldb also be seen as a œ œ œ bœ œ œ œ whole? tone embellishment of the F majorœ œ tonality andœ in fact appears four times in Inchwormnœ . In 45 46 œ 47 bœ œ bœ œ nœ 48œ. œ œ
Garrison’sF 7sus performance characteristicE 7sus of mixing Fharmonic7sus specificity and harmonicE 7sus vagueness b b there is room for harmonic analysis but this gesture, I believe, is meant to be harmonicallyœ œ œ ? œ œ œ œ œ œ œ œ œ œ œ œ œ 49 50 œ œ 51 52 vague. œ œ F 7sus E 7sus F 7sus E 7sus b b In√ example 29, also from Inchworm he uses theœ tri-tone substitution, this time B Locrian41, to bœ œ œ œ œ œ bœ œ œ œ ? œ œ œ œ œ œ œ œ nœ acknowledge53 Coltrane’s quote 54of the melody. This55 is the same section that led56 into the early
F 7sus E 7sus F 7sus E 7sus melody statement and Garrison’sb reaction to that as shown in example 9. b œ œ œ ? œ œ œ b œ œ nœ œ œ œ œ nœ 57 58 œ œ 59 œ œ 60 œ
41 ConsideringF 7sus that the listener hasE 7heardsus the root F atF 7thesus beginning of the measureE 7sus and b b throughout the tune, a Locrian gesture is more likely to stand up under scrutiny. Further, because of the rhythmic division of the example, the B is played at the beginning of a gesture ? œ œ œ œ nœ that61 resolvesœ backœ toœ F. œCertainly,bœ 62 œanotherœ viewpoint63 couldœ beœ that ofbœ a chromaticœ 64œ leading tone but the placement and use of it by Garrison givesF 7weightsus to closer analysis.E 7su s F 7sus E 7sus Melody Statement b b 3 Xs 36 œ bœ œ œ œ œ œ œ œ bœ œ œ œ ? œ œ œ œ œ . œ bœ . 65 66 .67 œ 68 œ . Inchworm F 7sus E 7sus F 7sus E 7sus b b œ œ œ œ œ œ œ œ œ ? œ œ œ bœ œ œ œ bœ 177 178 œ œ 179 180
F 7sus E 7sus F 7sus E 7sus b b œ œ œ œ œ œ œ ? œ bœ 181 182 183 œ œ œ œ œ 184œ œ œ bœ F 7sus E 7sus F 7sus E 7sus b b œ œ œ œ œ œ œ œ œ ? œ œ œ œ nœ œ bœ 185 œ œ 186 œ 187 188
2 2 ? 189 «190 191 «192
F 7sus E 7sus F 7sus E 7sus b b œ œ œ œ bœ œ bœ nœ ? œ œ nœ œ 193 œ œ bœ nœ œ 194œ 195 196
F 7sus E 7sus F 7sus E 7sus b b œ œ œ œ œ œ œ œ ? œ œ Inchworm œ Nœ 197 198 œ 199 œ œ bœ œ œ 200œ F 7sus E 7sus F 7sus E 7sus b b F 7sus E 7sus F 7sus E 7sus b bœ bœ œ œ œ b bœ œ bœ œ œ ? œ ‰ œ bœœ œ œ œ œ bœ œ œ œ ? œ œ œ bœ œ 285 œœ œ J œ286 bœ œ œ 287 œ œœ œ 288 201 202 œ œ 203 204 œ œ F 7sus E 7sus F 7sus E 7sus b b F 7sus E 7sus F 7sus E 7sus b b œ œ œ œ bœ œ œ œ œ bœ ?œœ œ nœ √ œ nœ œ œ œ œ bœ œ ? œ œ œ œ 289 œ œ bœ œœ œ290œ œ œ œ bœ 291 œ œ 292 205 206 207 208
F 7sus E 7sus F 7sus E 7sus b 2 b 2 œ œ œ œ œ ?œ œ 293 œ «294 295 «296 ? œ œ œ œ nœ 209 210 211 œ3 bœ nœ œ 212œ F 7sus E 7sus F 7sus E 7sus Example 29 – Tri-Tone substitution.b Inchworm. b bœ ?Finally,œ œ theœ lastœ characteristicœ œ gestureœ œ in Inchwormœ is a combination of examples œ28 andnœ 29. 297 298 œ 299 œ œ bœ œ 300œ
HereF 7insu sexample 30, GarrisonE 7s uplayss both C-sharpF 7su sand C-natural giving a polymodalE 7sus synopsis of b b his tri-tone gesture. It alsoœ isœ not insignificantœ thatœ inœ theœ last sixœ measuresœ œ of œthe œrecording ? œ œ ¿ œ œ œ nœ 301 302 303 304 Garrison plays mixtureSoul of Eyes B minor and B Locrian tonalities. F m7 F 7Bsu7salt G m7( 5) E 7sus C 7( 9) b b b b Freely bœ œ œ bœ œ nœ bœ œ œ. bœ. nœ œ œ ? œ œ. ? œ #œœ. œœ. œ œ œ. œ bœ œ œ bœ. œ œ œ œ œ 69 305 70 œ œ nœ 71#œ 306œ nœ nœ 72 œ. 307nœ œ œ 308œ œ œ
A maj7 A m7( 5) D 7( 9) G maj7 D 7 b b b b bœ œ œ œ bœ. nœ œnœ. U bœ U ? bœ bœ. œ œ œ ? bœ.#œ œnœ #œœ œ œ œ œœ œ œ. œbœ œ œ#œ œ 73 309 74 . œ œ œ31075 76bœ œ 311 œ œ 312 . nœ J 3 n˙ n˙
G maj7 FExamplem7 30 – BTri7 -tone substitutionE maj7 synopsis.D m Inchworm.7( 5) G 7( 9) b b b b b bœ bœ œ œ Chromaticismœ œ bœ œ is œanother characteristicœ nœbœ device Garrison uses to add melodic and harmonic ? bœ œ œ œ.œ œ œ nœ bœ œ. œ bœ . nœ#œœ œœnœbœœ 77 78 œ 79 80 œ œ œ bœ emphasis to his accompaniments. Garrison will use chromaticism within the context of walking Ballad Feel-Melody Statement B C m7 G 7( 9) C m7 F 7( 11) therebyb giving the phrase a more melodic function.# Example 31 is from Soul Eyes and shows an ? ˙ œ œ nœ œ ˙ ˙ œ nœ 81 ˙ 82ascending˙ chromatic line sixbœ measures83˙ from the 84end. In an œotherwiseœ diatonic and inside 3 3
F m7 B 7alt G m7( 5) C 7( 9) performance,b Garrison’s use ofb chromaticism particularlyb near the end of the tune is somewhat outœ ofb character˙ with theœ. rest of the line butœ notbœ overstatedœ œ demonstrating his typical approach of ? ˙ œ œ œ#œ œ. #œ ˙ œ œ œnœ œ. 85 86 bœ 87 3 88 3 œ œ his subtle use of characteristic devices. A maj7 A m7(b5) D 7( 9) b b G m7( 5) C 7( 9) b b nœ ? b˙ b˙ œ ˙ œ . bœnœ. #œ œ. bœ œ. 89 90 œ œ œ œ œ 91 œnœ bœ œnœ œ #œ œ 92 Example 31 – Chromaticism. Soul Eyes. F m7 B 7alt E maj7 b b U U U ? ˙ œ œ œ bœ bw bw bw 93 3 94 95 96nw 97
37 Miles Mode √ ? nœ œ bœ œ œ nœ œ bœ œ œ nœ œ bœ œ bœ #œ œ #œ nœ 177 178 179 180
#œ œ œ œ œ #œ œ œ ? œ bœ œ œ #œ œ œ 181 182 183 184 #œ
In particular, modal style songs tend to have more pronounced chromatic passages than tunes ? #œ #œ œ #œ œ œ œ #œ bœ 185 œ #œ 186œ #œ 187œ œ œ 188 with more prescribed œharmonic content. In songs where a recurring harmonic pattern exists, or one that has changes42, chromaticism servesMiles more Mode of a traditional role as passing tones between #œ œ œ ? nœ œ œ Aœ nœ œ bœ œ œ #œ œ œ strong189 harmonic tones within190 the bass line construct.191 Nonetheless, instances192 of chromaticism#œ #œ œ #œ œ œ ? #œ œ œ #œ œ œ #œ œ can249 beœ found in# œall the song250sœ on #theœ selected recording.251 The four-bar example252 below, example 32?, show#sœ howœ Garrisonœ incorporates#œ chromaticœ passages into his characteristicaœ lly diatonicœ œ 193 œ #œ 194 œ #œ 195œ #œ œ œ 196 #œ 43 walking? œ linesbœ inœ modalœ contexts.#œ œ #œ #œ 253 B m 254 œ #œ 255 œ 256 œ œ œ #œ œ #œ œ #œ œ œ ? œ nœ #œ œ #œ œ bœ nœ 197 #œ œ #œ 198 199 200 Example 32 – Chromatic passageœ in# modalœ œ walkingbœ line.œ Miles Mode. ? #œ œ œ œ œ #œ 257 œ 258œ 259 260#œ œ Miles#œ Mode contains characteristic examples of Garrison playing chromatic passages#œ in the ? œ œ #œ œ œ #œ œ œ 201 202 #œ 203 œ 204œ #œ œ upper register. Example 33 shows œone of three upper register chromatic passages. This#œœ #œ œ œ bœ œ #œ œ œ ? œ #œ œ œ particular261 œ # œexample occursœ 262 during the piano solo and263 begins at measure two264 hundred sixty-five. œ #œ œ œ #œ œ bœ B m œ #œ œ œ œ ? œ œ #œ œ 205 √ œ 206 207 208 ? bœ nœ #œ œ bœ nœ #œ œ bœ œ #œ œ œ œ bœ œ #œ œ 265 266 267 268 #œ œ ? œ œ #œ œ œ #œ œ œ œ #œ œ 209 210 œ 211#œ œ 212 #œ (√) #œ #œ œ nœ #œ #œ œ ? nœ œ bœ œ #œ œ bœ œ #œ œ bœ 269 270 271 272 Example 33 – Upper register chromaticism. Miles Mode. Othernœ uses of upper register chromatic passages can be found in Big Nick, Inchworm, and, as ? . #œ œ œ œ #œ 273 œ œ œ #œ 274#œ œ 275œ #œ 276œ mentioned, the other two upper register passagesœ in Miles Modeœ .
? œ bœ œ œ œ #œ œ œ œ nœ #œ œ bœ 277 278 #œ 279œ #œ œ 280
42 Vernacular for multiple chords within a song. 43 Milesnœ Modeœ œ isb aœ modal tune in a B minor tonality. œ bœ nœ #œ ? œ #œ œ œ. #œ œ 281 282 #œ 283 œ œ 284 œ œ 38 Up ’Gainst The Wall
A 7 D 7 A 7 b b b bœ ? 4 bœ bœ. œ b˙ œ. œ b˙ œ. (œ) bœ nœ œ bœ 4 J 1 ˙ J 2 J 3 J 4 D 7 A 7 D 7 b b b bœ n˙ bœ bœ ? œ. bœ bœ bœ. œ bœ 5 b˙ J 6 7 ˙ ¿ 8 b˙ J B m7 E 7 A 7 b b b bœ œ œ #œ œ ¿ bœ bœ bœ bœ œ bœ ? œ nœ bœ bœ œ œ bœ. œ bœ œ 9 10 3 11 12 œ. œ Modal mixture is another characteristic device used by Garrison and, although applied less A 7 D 7 A 7 b b b that his other characteristic devices, is no less distinct. Circumstances where Garrison uses bœ ? bœ. nœ b˙ œ. nœ b˙ œ. nœ bœ nœ Nœ œ modal13 ˙ mixture are asJ a harmonic14 generalizationJ 15 of a phrase or toJ indicate16 a harmonic D 7 A 7 D 7 superimposition.b b b bœ n˙ bœ ?Inb ˙Up ‘Gainstœ. The WallJ Garrison usesb œsomebœ scalar fragmentsbœ. with¿ addedbœ. chromaticismœ œ. tobœ 17 18 19˙ J 20 J J express the I chord and the IV chord in a twelve-bar blues progression. In this case they are A- B m7 E 7 A 7 b b b flat seventh and D-flat seventh respectively. These two scalar fragments are used consecutively ? bœ œ œ bœ nœ bœ œ bœ œ œ bœ œ bœ œ bœ œ œ nœ 21 22 23 œ #œ œ 24 beginning in measure twenty-six. Example 34 shows this excerpt.
A 7 D 7 A 7 b b b Sax Solo œ bœ œ ? œ bœ nœ bœ œ nœ bœ bœ bœ œ nœ bœ bœ bœ œ bœ 25 26 27 œ 28
D 7 A 7 D 7 b b b œ bœ œ œ œ œ ? bœ œ nœ bœ ¿ ¿ bœ œ bœ bœ bœ 29 30 31 32 œ Example 34 – Scalar Fragments. Up ‘Gainst The Wall.
While the fragments are not presented in their complete scalar form, it can be deduced from their placement within the form of the song what scale Garrison may be considering. The first scale fragment occurs where the IV chord first occurs in the second measure of the example. As the scale descends it also outlines the harmonic change to the I chord in the third measure of the example. The E-natural at the end of the third measure is a chromatic passing tone unaffiliated
(a chromatic addition) with the scale being used.
In measures five and six of example 34 is the second scale fragment. It can be argued that this may be a section of the B-flat Melodic Minor scale44 but the use of that scale or its modes is
44 This is an Ionian scale with the third degree lowered by one half step. 39 not apparent throughout the transcription of this particular bass line. This example is relevant in that it combines several performance characteristics used by Garrison: harmonic specificity and harmonic vagueness, modal mixture.
Harmonic specificity and vagueness is achieved by avoiding roots on the downbeats of chord changes along with avoiding strong harmonic indicators. In this example Garrison avoids playing the dominant seventh chord tone on the IV chord which is a dominant seventh chord. He instead plays a major seventh chord tone. Measure thirty in the example shows Garrison playing a C natural as opposed to a C-flat over a D-flat dominant seventh chord. Therefore, the quality of the seventh is unclear. Miles Mode Garrison’s use of modalB m mixture in this example is not immediately noticeable but it could be Sax Solo viewed that he is using oneœ scale to expressœ the basicœ harmonicœ changes œof a twelve-bar blues.œ 45 œ ? #œ . J œ 33 œ œ œ œ 34œ œ 35 œ ˙ œ 36œ œ In this instance it would be a mixture of the major scale and dominant scale modalities.
More subtle but clearer examples of modal mixture occur in Miles Mode. Being that this is a ? œ œ bœ œ bœ œ œ #œ œ #œ œ #œ modal tune one would37 anticipate various tonalities38 superimposed#œ over39 the originalœ # harmonicœ 40œ #œ œ direction. In Miles Mode the harmony is B minor and Garrison stays in the tonality of B minor œ bœ nœ. œ œ œ bœ œ bœ œ œ 46 for the majority of the? songœ but alternateœ œ s between theœ Aeoliannœ œ and Dorian scales. Example 35 41 œ œ 42œ 43 44 > show the use of G and G-sharp in the same phrase. B m bœ nœ ? nœ œ #œ Nœ œ #œ œ #œ œ #œ 45 46 #œ 47 œ œ œ œ #œ 48 œ #œ Example 35 – Modal Mixture. Miles Mode.
#œ œ œ œ ? œ #œ œ œ œ #œ œ œ 49 œ œ 50bœ œ nœ 51œ 52 45 I’m referring to this harmonic progression with one symbol for each measure — I7-IV7- I7 - I7- IV7- IV7- I7- I7- ii7- V7 - I7- V7. 46 The Aeolian scale is the sixth mode of the Ionian and the Dorian scale is the second mode. œ œ œ The difference between? #theœ two scales#œ isn theœ sixthœ degree.œ # œIn the Dorianœ scaleœ the sixthœ degreebœ is œ #œ bœ a major sixth above53 the root. Aeolian has a sixth54 degree a minor sixth55 above the root. In B56 minor the different note would be G and G-sharp. 40 œ œ œ #œ ? œ >. #œ #œ œ #œ #œ 57 œ œ #œ 58 œ œ 59 œ œ 60#œ
œ œ œ #œ œ #œ œ #œ œ #œ œ #œ #œ œ œ #œ ? 61 62 63 64
œ œ #œ ? œ bœ œ œ #œ œ #œ œ œ #œ œ 65 66 67œ #œ 68 Again, notice the anacrusis B-flat on the downbeat before the root and the skip beat on the second eighth note of beat three in the first measure of the example. Also, there does not seem to be a preference indicated by Garrison as to the use of G or G-sharp when ascending or descending. It would be further revealing to examine Garrison’s note choices solely in Miles
Mode and Up ‘Gainst The Wall but unfortunately out of the scope of this essay. What is germane is that Garrison operates on a sophisticated harmonic level without disrupting the soloist while maintaining the general tonality by slightly altering a main or dominantly used mode. In Miles Mode it would likely be the B Aeolian scale because his use of the note G outweighs his use of the note G-sharp.
Looking a bit more into this characteristic, Garrison also introduced the note C during his bass solo in Miles Mode and then follows that with a very pronounced repetition of the note G and then outlining a G major triad for the next eight measures. Up to this point in the song
Garrison has played an equal amount of the notes G and G-sharp and the note C was played only three times. After this introduction of the note C in his bass solo, Garrison subtly implies a B
Phrygian scale.47 This would imply a relationship to the key of G major. Example 36 illustrates this feature.
47 This is the third mode of the Ionian scale. 41 Miles Mode
œ œ #œ œ œ œ bœ Aœ œ œ bœ ? œ œ œ œ #œ œ œ 285 286 287 288 #œ (Note: measures 289 – 292 have been deleted) B m Bass Solo ? œ . #œ œ. œ #œ. œ nœ. œ œ. #œ œ. 293 œ #œ 294 œ 295 J 296 œ œ. J . J J J J J J
? œ . #œ œ. œ #œ. œ nœ. œ œ. #œ œ. 297 œ nœ 298 œ 299 J 300 œ œ. J . J J J J J J
? 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 œ œ œ œ œ œ 301 302 303 304
œ œ œ œ œ œ œ œ œ œ œ œ œ ? œ œ œ œ œ œ ˙ œ. œ œ #œ 305 306 307 J 308 #œ Example 36 – Modal Mixture. Miles Mode. As mentioned Garrison outlines a G major triad in. his solo as well and. does not play a G- ? j . œ. . #œ. œ. œ #œ. œ œ œ œ #œ œ 309 ‰ #œ œ ‰ œ œ 310‰ œ ‰ 311 Œ ‰ J 312 sharp again. .until theJ end. where theJ very lastJ note he plays is G-sharp. While Garrison’s exact intensions are unknown this discussion fits with the earlier discussion about Garrison’s use of ? j . œ. . #œ œ. œ #œ. œ bœ nœ œ bœ œ #œ harmonic313 ‰ #œ specificity‰ œ andœ harmonic314‰ œ vagueness‰ and315 the‰ duality he was able316 to express. . œ. J . J J J One more modal mixture example is also in Miles Mode. In measure two hundred forty-four œ nœ œ œ #œ œ Garrison? J is shown brieflyJ playingJ the majorœ third, D-sharpJ , over aJ B minor tonality.J bœ 317 ‰ œ ‰ œ 318‰ œ ‰ J œ 319‰ œ ‰ œ 320‰ œ ‰ J œ Understandably, this would create tension which would need to be resolved and Garrison does so in measureœ two# œhundred œforty-five. In the transcriptionœ you# œcan see heœ repeats the root on beat ? J œ œ bœ œ bœ four321 of‰ measureœ twoœ hundredœ 322 œ forty-fourœ œ and beatœ 323 one ofœ measureœ œ two hundredœ 324œ fortyœ-five. He immediately follows the root with a minor third of the chord, the note D.
42 Miles Mode
bœ ? œ œ œ œ œ #œ œ 213 œ œ #œ 214#œ œ 215 #œ œ 216#œ Studio #œ Splice ?
? œ œ #œ œ #œ œ #œ #œ œ bœ #œ 217 œ 218œ #œ 219#œ œ 220
#œ œ œ ? œ œ bœ œ Aœ nœ œ#œ 221 222 223 œ #œ nœ 224œ #œ œ œ
nœ bœ œ œ ? œ œ œ #œ œ 225 œ #œ #œ 226bœ nœ œ #œ 227 œ 228 Big Nick A m7 E7 A m7 D 7 G E7 A m7 D 7 nœ #œ œ œ œ#œ œ œ œ bœ œ œ œ œ bœ nœ bœ œ œ œ bœ œ œ ?œ œ œ œ œ œ œ bœ ¿ ¿ bœ nœ ¿ #œ 229 230 231 232 33 34 35 ¿ 36
G E7 A m7 D 7 G Bo C 7 C#o œ bœ nœ œ œ œ œ nœ #œ ?œ œ œ. œ œ œœ #œ . œ #œ œ œ 233 œ œ œœ œ234#œ œ œ 235 œ œ œ œ œ œ 236 #œ 37 38 39 nœ œ #œ 40 œ
A m7 E7 A m7 D 7 G E7 A m7 D 7 Sax Solo œ bœ bœ nœ #œ œ #œ œ œ œ ? œ œ œœ œœ #œœ #œ œ œ œ œ œ œ ¿ œ 42 237œ œ œ #œ #43œœ 238 44 œ 239 œ 240 41 œ œ œ œ G E7 A m7 B m D 7 G Bo C 7 C#o œ œ œ #œ œ œ œ œ œ œ œ ? œ œ œ œ #œœ œ #œ œ œ œœ œ œ œ #œ 45 46 241 47 242 œ œ #œ #œ48 243 œ œ nœ 244#œ œ
A m7 E7 A m7 D 7 G E7 A m7 D 7 œ œ #œ œ œ œ bœ œ œ #œ œ ?œ œ œ #œ œ œ œ¿ nœ œ #œœ œ œ #œ œ œ #œ 49œ #œ 50 245 œ œ œ 51 246œ œ 52 247 248 Example 37 – Tension Resolution. Miles Mode. G E7 A m7 D 7 G Bo C 7 C#o œ œ œ œ These examples differ from harmonic superimposition as they imply modalities rather than œ œ œ œ œ œ œ œ œ œ œ œ #œ œ 53 54 œ 55 œ œ #œ 56 œ œ specific harmonies. Anotherœ characteristic Garrisonœ uses to manipulate the harmonic expectation D 7 A m7 E7 A m7 G E7 A m7 D 7 48 #œ œis alsoœ usedœ to# œdelay resolutionœ œ or hide the top of the form. It has the characteristics of both œ bœ nœ œ bœ œ œ œ œ œ œ modal and harmonic superimpœ osition but the function is more related to the form of the song. 57 58 59 60
G E7 A mExample7 3D87 shows GarrisonG using Ba modal mixtureC 7 to delayC the resolution of the tonic, in this o #o case, G, and to perhaps to obscure orœ atb leastœ blur the top of the solo form which is a repeated œ œ œ œ ¿ œ #œ œ œ œ œ œ œ œ œ #œ œ œ œ 62œ #œ 63 64 61 eight measure phrase. A m7 E7 A m7 D 7 G E7 A m7 D 7 œ œ œ œ œ œ œ œ œ œ œ œ 65 66œ #œ œ 67 œ 68 Example 38 – Form Hiding.œ Big Nick.
The above example is the first two measures in the eight-bar solo form. The first notes
Garrison played at the top of the form until this point have been either a G, D, or B. The
harmony of the song indicates a G major tonality and those three notes comprise the G major
triad. It is reasonable to assume that a resolution to G major would be expected then at the top of
the form in proceeding choruses.49 The example clearly shows Garrison playing an F-natural on
48 Each song on the selected recording has a predetermined number of measures for the melody statement and for the solo sections. Returning to the top of the form means to re-start the form at predetermined regular intervals. 49 This term refers to the solo section in its entirety. 43 the downbeat of measure one of the solo form. F-natural does not occur in G major and Garrison
waits until the end of the second measure in the example and of the form to state the tonic. He
does this again eight bars later at the top of the following chorus.
Example 39 is the first two measures of the solo form. This example also shows that
Garrison does not play the tonic, not counting the skip beat on the second eighth note of beat
three in the second measure of the example, until the third measure of the solo form. The full
transcription shows in measure seventy-seven that Garrison plays the tonic on the downbeat.
Also, on every subsequent solo chorus for the remainder of the song and the final two melody Big Nick statements Garrison plays the tonic, G, on the downbeat of the first measure of the form. This G E7 A m7 D 7 G Bo C 7 C#o œ œ œ œ bœ œ bœ nœ #œ œ œ œ œ indicatesœ #œ that theœ delayedœ œresolutionœ was deliberate and likely a¿ compositional technique to 69 70 œ 71 72 increase tension. A m7 E7 A m7 D 7 G E7 A m7 D 7 √ œ nœ œ œ bœ œ œ œ œ bœ œ œ #œ œ œ 73 74 œ 75 76 œ Example 39 – Delaying Tonic Resolution. Big Nick. G E7 A m7 D 7 G Bo C 7 C#o 50 This same characteristibcœ of delaying#œ resolution to the tonic appears in Miles Mode. In the œ œ œ œ œ œ œ œ bœ œ œ œ 77 78 transcriptionœ œ measures79 one hundred ninety-three80 throughœ twoœ hundredœ seventeen represent three
A m7 E7 A m7 D 7 G E7 A m7 D 7 choruses during the piano solo. As a reminder the solo chorus length in Miles Mode is eight œ œ œ œ measures.œ œ œ Examiningœ #œ the fullœ œ twentyœ -four measureœ œ segment showsœ that Garrison does play the 81 œ œ œ œ #œ 82 83 84 œ œ ¿ tonic. In fact, he plays the note B fourteen times in those twenty-four measures. However, he G E7 A m7 D 7 G Bo C 7 C#o œ placesœ theœ tonicœ in parts of each phrase that allow the melodic and linear continuity of the phrase œ œ œ œ œ œ œ œ œ œ œ œ œ œ 85 86 87 œ œ #œ 88 œ to develop more than to use the tonic to indicate tonality. Basically, the tonic does not occur at G E7 A m7 D 7 A m7 E7 structurallyA m7 importantD 7 pointSax Solos suchEnd as the downbeat and/or beginning of four-bar phrases. œ œ bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 90 œ 91 92 89 3 G E7 A m7 D 7 G Bo C 7 C#o #œ œ œ œ 50 The tonic in Miles Mode is #mostœ œ likely B. œ œ bœ nœ œ œ œ #œ œ j œ œ œ œ 94œ œ œ œ œ 95 . œ 96œ. #œ. œ 44 93 œ J ¿ J A m7 E7 A m7 D 7 G E7 A m7 D 7 Melody Statement œ . . ˙ œ #œ œ œ œ #œ œ. œ œ œ #œ œ ¿ 98 œ 99 3 J 100 J œ 97 J œ G E7 A m7 D 7 G Bo C 7 C#o œ œ œ œ œ bœnœ œ œ œ œ œ œ œ #œ œ. 3 3 œ . œ œ œ 101 3 J 102 œ 103 J œ104˙ #˙ In Up ‘Gainst The Wall as discussed before, Garrison indicates the top of the form by anticipating it each time with an idiomatic gesture that he develops. When the top of the form occurs, however, Garrison only plays the tonic, in this case A-flat, on the downbeat of the first measure of the twelve-bar form once in the entire song. He even ends the song with a tri-tone substitution of A-flat adding to the aural ambiguity or harmonic vagueness of the tonic.
Garrison uses other devices to obscure the form other than delaying resolution to the tonic.
Repetition and modulation are also used.
With repetition Garrison can set up false anticipations. Where Garrison chooses to interweave strict repetitive sections with his already described organic style is one of his Out Of This World characteristics and performance practices. In Inchworm he does this before the final statement of bœ œ bœ. bœ œ bœ œ bœ œ bœ the? melody.bœ. In JOut of This World he dovetails a repeatedbœ. fourJ bar phrase to subtly indicateœ the 213 214 J 215 216 end of the first A section and the beginning of the second A section. Example 40 indicates this four-measure repeat. Example 24 conveys the same strict repetition at a crucial juncture in the bœ bœ œ œ bœ. bœ œ bœ bœ œ bœ. ? bœ J bœ œ œ form217 although the intent is not218 to hide or blur the form219 but to show it clearly.220 J A2 E m7 b bœ bœ bœ. bœ bœ bœ bœ œ bœ ? . bœ. œ bœ. œ . 221 . J 222 J 223 J 224 . 1st X-Last four measures of A1. 2nd X-First four measures of A2 Example 40 – Form Obfuscation. Out of This World. bœ bœ bœ. œ bœ bœ bœ bœ bœ ?Modulationbœ. is a rare occurrence on thisJ recording andb˙ when it happens it is unambiguous and 225 J 226 227 228 refreshing. The three separate occurrences of modulation in Out of This World are during the melody statembentœ at the bridge whennœ Garrisonbœ pedals on the bnoteœ A. While they couldbœ beœ viewed ? bœ. J œ bœ bœ. œ bœ 229 230 231 J 232 primarily as pedal sections the harmonic effect, because of the repetition, does acclimate the ear to the notion that A is the new tonic, as opposed to the original E-flat. This is perhaps something bœ bœ ˙ bœ bœ bœ ? bœ. œ bœ bœ. J œ bœ 233 J 234 235 236
45 bœ bœ bœ bœ bœ bœ bœ ? bœ. œ bœ bœ. œ bœ 237 J 238 239 J 240
bœ bœ bœ œ bœ ? bœ. œ œ bœ. J bœ. J œ bœ 241 J 242 243 244
bœ bœ bœ. bœ bœ bœ œ bœ ? bœ. J œ b˙ œ 245 246 J 247 248 build into the arrangement as well and the harmonic change still reflects the larger notion of modulation because of Garrison’s note choices.
The second place a modulation occurs is during the piano solo in Tunji with the caveat being that the modulation is to the IV chord within a twenty-four-bar blues solo chorus. This normally would not be a surprise or blunt change in tonalities but the fact that the saxophone solo prior to the piano solo was over a static B7 harmony for each twenty-four-bar chorus, this change during the piano solo is a significant release of the melodic and harmonic tension built up during the saxophone solo. It is important to note that this is also the arrangement. This harmonic change was built into the composition as was the pedaling on the bridge in Out of This World.
With Garrison likely adhering to the song’s arrangement, the modulation to the IV chord in the first chorus of the piano solo might not seem as a surprise or have the result of blurring or somehow giving the effect of a form change. What he does behind the piano in the second chorus is what is of importance. Garrison modulates early to the IV chord in the third measure of the form as opposed to the fifth. This is the same treatment of setting up false expectations with repetitions. In this case the repetition is omitted in favor of a surprise modulation two measures earlier than expected.
46 Out Of This World
bœ bœ bœ bœ bœ ? bœ. œ œ œ œ bœ. J bœ œ 465 J 466 467 468 B bœ bœ bœ bœ œ bœ ? bœ. œ nœ bœ b˙ œ 469 J 470 471 472
bœ bœ bœ bœ œ bœ ? bœ. œ œ œ œ b˙ ¿ 473 J 474 475 476
bœ bœ bœ bœ bœ œ bœ bœ ? Œ. J bœ Œ. b œ œ bœ 477 478 479 J 480
. bœ bœ bœ bœ bœ bœ œ bœ bœ œ ? bbœ. œ bœ œ œ 481 J 482 483 484
bœ œ œ œ bœ nœ bœ. bœ œ œ bœ bœ ? bœ. J œ 485 486 487 J 488
In the last examplebœ , alsobœ in œOut œof This World, Garrison setsbœ up anb expectedœ return to the ? b˙ bœ b˙ bœ œ œ œ to489nic with a repetitive phrase490 shown in example 49141. 492
E m7 b bœ œ œ bœ bœ œ b˙ œ bœ bœ œ ? b œ œ œ b œ b œ œ b ˙ œ b œ b œ œ 493 ‰ J 494‰ J 495 496‰ J
2 bœ. bœ œ ? b œ. J bœ bœ œ bœ 497 «498 499 500 Example 41 – Repetitive set-up of harmonic expectation. Out of This World.
This excerpt occurs during the piano solo in the last eight bars of the bridge. Garrison plays this repetitive phrase and sets up an expectation of a return to the four-bar E-flat phrase similar to that shown in example 1.
Example 42 shows the first eight measures of the last A section immediately following the bridge, the last eight bars of which are indicated in example 41. Garrison does not return to the tonic and the expected four-bar phrase he plays throughout most of the song. Here and only here he modulates to what can aurally be perceived as the IV chord. Garrison also plays double stop fifths to introduce this new tonality adding weight to the change. This example is a combination of the previous examples where Garrison sets up an expectation through phrase repetition and hides, or does not necessarily overtly indicate a section of the form and a surprise modulation, at a crucial point in the form. Out Of This World E m7 A3 b bœ. œ œ œ œ b˙ œ œ œ œ ? b œ. œ œ bœ œ b ˙ œ bœ œ œ 501 J 502Œ 503 504‰ J
bœ. œ œ œ bœ œ œ œ bœ œ bœ œ bœ œ bœ ? b œ. œ œ œ b œ œ œ œ b œ œ œ œ b œ œ œ 505 J 506 507 508 Example 42– Surprise modulation. Out of This World. bœ bœ œ œ bœ œ bœ bœ bœ œ 47 ? bœ. œ b˙ 509 J 510 511 512
bœ bœ bœ œ bœ bœ ¿ bœ ? b˙ b˙ œ 513 514 515 516
bœ bœ œ œ bœ bœ bœ ¿ bœ ? b˙ b˙ œ 517 518 519 520
bœ œ bœ œ œ bœ bœ bœ ¿ bœ ? bœ. b˙ œ 521 J 522 523 524
bœ œ bœ œ œ bœ bœ œ bœ bœ œ ? bœ. J bœ œ bœ ‰ œ œ 525 526 3 527 J 528
bœ œ b˙ bœ bœ œ bœ bœ œ ? bœ. bœ. œ 529 J 530 531 J 532
bœ bœ bœ. bœ bœ bœ bœ œ ? bœ. œ bœ. bœ œ 533 J 534 J 535 J 536 CHAPTER 6: ACCOMPANIMENT CHARACTERISTICS
It cannot be overstated that all of the characteristics and devices discussed are within the context of accompaniment and performance practice. While Garrison provided an individual voice along with Jones, Tyner, and Coltrane he also synthesized their individual contributions of rhythm, harmony, and melody.
Garrison’s general tendencies when accompanying solos has three basic configurations: quartet with a saxophone solo, bass and drums with a saxophone solo, and bass and drums with a piano solo.
When the entire quartet is playing and the saxophone is the soloist, Garrison will play consistent, motivic based lines or ostinatos on straight eighth tunes. Here the bass is more of a fourth, independent voice in a functionally supportive role. Also, in this setting Garrison will use more rhythmic ideas.
When walking during saxophone solos and the full quartet is playing, Garrison tends towards a more supportive roll as is common in great jazz bass players. This means he plays mostly quarter notes while delineating the harmony and form with careful use chromaticism and rhythmic embellishments.
When the setting is bass, drums, and saxophone solo, Garrison increases his use of melodic and harmonic devices as well as form indications. His rhythmic communication with Jones also is more interactive. This is a natural change from the full quartet playing behind a saxophone solo where Garrison tends towards less independent interactions and plays a more supportive role. In a trio setting his interaction and activity increases as he assumes a more prominent role in the improvisations.
48 During piano solos with bass and drums accompanying, Garrison’s walking is even more linear than with a saxophone solo in a quartet setting and he uses less rhythmic devices. His harmonic choices are also more conservative. However, when the pianist is planing51 chords or playing chordal textures Garrison is more rhythmically interactive. In ostinato or straight eighth tunes he will typically play consistent, motivic based lines throughout the solo.
For soloists Garrison will use chromaticism mostly in walking lines, but will use harmonic substitutions in all settings of walking, ostinato, or straight eighth feels. Rhythmic interaction and modal mixture he seems to use most during ostinato based lines.
51 Chord planing, or parallel harmony, is when the intervallic structure of a chord is moved, usually chromatically, in parallel motion. Each note stays the same in relation to the next as the whole shape is moved up or down. This is common in McCoy Tyner’s playing. 49 CHAPTER 7: CONCLUSION
Garrison’s performance practices and devices outlined in this essay are keys to understanding his uniqueness as a jazz bassist. Garrison’s sound was distinct as his robust and resonant tone was decidedly different from his contemporaries who often had more focused and penetrating sounds.
The organic feel he was able to create with Elvin Jones was also a standout characteristic and departed from the common and traditional straight-ahead swing feel, again, that was preferred by his contemporaries. This is not to say that one is generally preferred over the other rather than a characteristic feel and approach to time that Garrison and Jones had the rare opportunity to develop together in the John Coltrane quartet.
An extension of that combined organic feel was the further development of time-phrase constructs that allowed Garrison to extend his rhythmic and harmonic concepts into consistent frameworks. These frameworks enabled Garrison to judiciously place rhythmic and harmonic variations and create elongated phrases that generate energy and interest while simultaneously providing functional and supportive bass lines.
Garrison would use rhythmic gestures to communicate when the harmonic landscape was sparse and also when harmonic elements increased. He would indicate parts of the form and connect rhythmically and harmonically with each member of the quartet whether expressing his support or adding an independent rhythmic voice to strengthen interaction or to increase tension.
His characteristic uses and placement of rhythmic ideas is indicative of his sublime musicality.
Each characteristic gesture was supportive and musically relevant and virtually never out of place or grandiose.
50 Harmonically, Garrison very often provided strong and clear harmonic support to the songs and soloists. When he did superimpose harmonic elements, he did so almost surreptitiously. His subtlety when inserting harmonic substitutions, mixing modal concepts, or briefly acknowledging a soloist’s or accompanist’s harmonic choice is another unique characteristic of
Garrison’s choices as a jazz bassist. While this is common in jazz bass playing it highlights one of his strongest characteristics; his strength as a supportive jazz bassist.
By examining choices he made as a jazz bassist, these devices and performance practices can inform the current generation of jazz bassists how to better interpret their role as a jazz bassist.
Garrison had the extraordinary opportunity to develop his approach and performance practices among great innovators in jazz — McCoy Tyner, Elvin Jones, and John Coltrane. Garrison’s role in this great quartet was forged by combining Jones’s rhythmic concepts and Tyner’s and
Coltrane’s melodic and harmonic concepts in with his own experiences and performance practices as a jazz bassist prior to joining the quartet. Those previous experiences and performance practices are well-documented on Garrison’s lengthy discography but it is his development as a jazz bassist in the John Coltrane Quartet with Jones and Tyner that define his legacy.
51 BIBLIOGRAPHY
Berliner, Paul. Thinking in Jazz : The Infinite Art of Improvisation. Chicago Studies in Ethnomusicology. Chicago: University of Chicago Press, 1994.
Campbell, Jeff. "Two Profiles in the Development of Jazz Bass Playing: A Study of Jimmy Blanton and Ron Carter." Doctoral Thesis, University of Rochester, 2002.
Coltrane, John, and John Coltrane Quartet. Coltrane. Universal City, Calif.: MCA Records/Impulse, 1980. sound recording, 1 sound disc : analog, 33 1/3 rpm ; 12 in., MCA-29011 MCA Records/Impulse.
Elmes, Barry. "Elvin Jones: Defining His Essential Contributions to Jazz." Master’s Thesis, York University, 2005.
Kelsey, Chris. "Artist Biography." http://www.allmusic.com/artist/jimmy-garrison- mn0000853359.
Kernfeld, Barry. Jimmy Garrison. In The New Grove Dictionary Of Jazz. Oxford: Oxford University Press.
"Jimmy Garrison." http://www.radioswissclassic.ch/de/musikdatenbank/musiker/135016fe963c2713bea6f76 a4866fa2da15b2/biography?app=true.
Randel, Don Michael. The New Harvard Dictionary of Music. 2nd ed. Cambridge, Massachusetts: The Belknap Press of Harvard University Press, 1986.
"1962 in Jazz." https://en.wikipedia.org/wiki/1962_in_jazz.
52 APPENDIX A: TRANSCRIPTIONS OF JIMMY GARRISON’S BASS LINES FROM THE SELECTED RECORDING “COLTRANE” Out Of This World
E m7 Intro b b˙ bœ œ œ ? 3 b˙. bœ œ. b˙. bœ œ 1 4 2 3 4 ‰
b˙ bœ œ ? b˙. bœ œ. b˙. bœ bœ. 5 6 7 8 Œ
b˙ bœ b˙ ? bœ. bœ œ. bœ. œ bœ œ. 9 ‰ Œ 10 11 J 12
. j bœ œ bœ bœ œ œ œ b œ ? b˙. bœ œ. b˙. 3 bœ œ 13 14 15 16
Sax in bœ. bœ bœ bœ. ? b˙. œ bœ. œ bœ œ 17 18 J 19 J 20 J
. bœ bœ bœ œ bœ ? b˙. œ b˙. J 3 œ 21 22 J 23 24 ‰ J
b˙ bœ bœ œ œ bœ ? b˙. œ. b˙. J 3 œ. 25 26 27 28
bœ b˙ bœ bœ œ œ bœ ? bœ. œ bœ œ. bœ. œ 29 J 30 31 J 32
53
Out Of This World
bœ bœ.. bœ bœ bœ.. bœ ? bœ. œ œ bœ. œ œ 33 J 34 R 35 J 36 R
bœ b˙ bœ bœ bœ œ œ bœ œ ? bœ. œ b œ bœ. œ œ 37 J 38 39 J 40
A1 Melody Statement bœ bœ.. bœ bœ b˙ ? bœ. œ œ bœ. œ bœ œ. 41 J 42 R 43 J 44
bœ bœ.. bœ bœ bœ. bœ œ ? bœ. œ œ bœ. œ 45 J 46 R 47 J 48 J
bœ bœ.. bœ bœ bœ œ œ œ bœ ? bœ. œ œ bœ. œ 49 J 50 R 51 J 52
bœ bœ.. bœ bœ œ œ bœ œ ? bœ. œ œ b˙. 53 J 54 R 55 56
bœ bœ.. bœ bœ œ œ bœ œ ? bœ. œ œ b˙. 57 J 58 R 59 60
bœ bœ.. bœ bœ bœ œ œ bœ œ ? bœ. œ œ bœ. œ 61 J 62 R 63 J 64
bœ bœ. bœ 2 ? bœ. œ œ 65 J 66 J 67 «68
54
Out Of This World
bœ bœ. bœ bœ bœ œ œ bœ œ ? bœ. œ œ bœ. œ 69 J 70 J 71 J 72
A2 bœ bœ.. bœ bœ bœ œ œ bœ œ œ ? bœ. œ œ bœ. œ 73 J 74 R 75 J 76
bœ bœ œ œ bœ bœ œ œ bœ œ œ œ œ ? bœ. œ œ b˙. 3 77 J 78 79 80
bœ bœ.. bœ bœ œ œ œ bœ ? bœ. œ œ b˙. œ 81 J 82 R 83 84
bœ bœ. bœ bœ bœ bœ œ bœ ? bœ. œ œ bœ. œ 85 J 86 J 87 J 88
bœ bœ. bœ bœ bœ bœ bœ œ œ ? bœ. œ œ bœ. œ 89 J 90 J 91 J 92
bœ bœ.. bœ bœ bœ bœ bœ ? bœ. œ œ bœ. œ 93 J 94 R 95 J 96
bœ b˙ bœ bœ bœ œ œ bœ œ ? bœ. œ œ bœ. œ 97 J 98 99 J 100
bœ œ œ bœ bœ œ bœ œ bœ ? b˙. œ b˙. 101 102 103 104
55
Out Of This World
b˙ bœ œ œ bœ œ ? b˙. bœ œ. b˙. 105 106 107 108
bœ bœ bœ bœ bœ bœ bœ bœ ? bœ. J œ bœ. J œ 109 110 Œ 111 112
Interlude bœ b˙ bœ bœ bœ œ ? bœ. œ bœ œ. b˙. 113 J 114 115 116
Straight b˙ bœ bœ œ bœ œ œ ? b˙. bœ œ. bœ. œ 117 118 119 J 120
B C m/A b˙. ? b˙. œ 121 122 123n˙. 124 œ œ
? œ 125 ˙. 126˙. 127˙. 128 œ œ
œ 2 ? ‰ bœ œ ‰ j bœ œ 129 J 130 œ 131 «132
bœ œ œ œ œ bœ bœ œ bœ bœ ? Œ œ œ ‰ J ‰ œ bœ nœ 133 134 135 J 136
bœ ? b˙. nœ n˙. œ bœ 137 138 œ 139 140 œ
56
Out Of This World
bœ ? œ bœ bœ 141 n˙. 142 œ 143˙. 144œ œ
? œ 145 ˙. 146˙. 147˙. 148œ œ
bœ ? bœ œ œ 149 Ó 150 Ó 151b˙. 152Œ Œ
A3 E m7 b bœ b˙ bœ bœ bœ bœ œ œ ? bœ. œ bœ. b˙. 153 J 154 155 156
bœ bœ. bœ bœ bœ bœ bœ œ œ ? bœ. œ œ bœ. œ 157 J 158 J 159 J 160
bœ b˙ bœ bœ b˙ ? bœ. œ œ. bœ. œ bœ œ. 161 J 162 163 J 164
b˙ bœ bœ bœ œ ? b˙. bœ œ. b˙. 165 166 167 168
bœ bœ. bœ bœ bœ bœ bœ ? bœ. œ J bœ œ. bœ. œ 169 J 170 171 J 172
b˙ bœ bœ bœ œ œ œ ? b˙. bœ œ. bœ. œ 173 174 175 J 176
57
Out Of This World
bœ bœ bœ. bœ œ bœ bœ ? bœ. bœ œ bœ. J œ 177 J 178 J 179 180
bœ bœ bœ œ œ bœ bœ bœ œ œ bœ bœ œ bœ œ ? bœ. œ bœ 181 J 182 183 184
bœ bœ œ bœ bœ bœ œ œ bœ bœ œ bœ œ b˙ ? bœ. bœ. 185 J 186 ‰ J 187 J 188
bœ œ œ œ bœ œ bœ œ bœ œ bœ bœ œ ? bœ. J bœ œ. bœ. 189 190 191 J 192
A1 Sax Solo œ œ bœ bœ œ bœ bœ bœ bœ bœ ? bœ. J œ bœ. J œ 193 194 195 196
bœ bœ bœ œ œ bœ bœ bœ bœ œ bœ ? bœ. J œ bœ. J 197 198 199 200
bœ œ bœ. bœ bœ œ bœ œ œ bœ ? bœ. J œ bœ. J 201 202 J 203 204
bœ œ bœ œ bœ œ œ bœ œ bœ ? bœ. œ œ œ bœ. J 205 J 206 207 208
bœ bœ bœ. bœ bœ bœ bœ œ œ œ ? bœ. œ bœ. bœ 209 J 210 J 211 J 212
58
Out Of This World
bœ œ bœ. bœ œ bœ œ bœ œ bœ ? bœ. J bœ. J œ 213 214 J 215 216
bœ bœ œ œ bœ. bœ œ bœ bœ œ bœ. ? bœ J bœ œ œ 217 218 219 220 J A2 bœ bœ bœ. bœ bœ bœ bœ œ bœ ? . bœ. œ bœ. œ . 221 . J 222 J 223 J 224 . 1st X-Last four measures of A1. 2nd X-First four measures of A2
bœ bœ bœ. œ bœ bœ bœ bœ bœ ? bœ. J b˙ 225 J 226 227 228
bœ nœ bœ bœ bœ œ ? bœ. J œ bœ bœ. œ bœ 229 230 231 J 232
bœ bœ ˙ bœ bœ bœ ? bœ. œ bœ bœ. J œ bœ 233 J 234 235 236
bœ bœ bœ bœ bœ bœ bœ ? bœ. œ bœ bœ. œ bœ 237 J 238 239 J 240
bœ bœ bœ œ bœ ? bœ. œ œ bœ. J bœ. J œ bœ 241 J 242 243 244
bœ bœ bœ. bœ bœ bœ œ bœ ? bœ. J œ b˙ œ 245 246 J 247 248
59
Out Of This World
bœ bœ bœ. bœ bœ bœ ? bœ. J bœ œ b˙ œ 249 250 J 251 252
bœ bœ bœ. bœ bœ œ bœ ? bœ. J bœ œ b˙ œ 253 254 J 255 256
bœ bœ bœ. bœ bœ bœ ? bœ. J bœ œ b˙ œ 257 258 J 259 260
B j j j j ? bœ. œ œ bœ œ œ bœ. œ œ bœ œ œ 261 b œ. œ œ 262‰ b œ œ œ 263b œ. œ œ 264‰ b œ œ œ
bœ. œ bœ œ bœ œ œ bœ bœ bœ bœ œ bœ ? b œ. bœ. œ 265 J 266 267 J 268
bœ œ bœ. bœ bœ bœ œ bœ œ bœ œ ? bœ. J J bœ. J œ 269 270 271 272
bœ bœ bœ. bœ œ bœ bœ bœ ? bœ. J b˙ 273 274 J 275 276 Œ
bœ œ œ bœ bœ œ œ ? ‰ bœ œ œ ‰ J bœ œ œ ‰ J 277 J 278 279 280
bœ œ œ. bœ œ bœ ? ‰ bœ œ œ bœ. J J bœ nœ 281 J 282 283 284
60
Out Of This World
bœ bœ bœ. bœ œ bœ œ bœ. bœ œ ? bœ. J bœ. J 285 286 J 287 288 J
bœ œ bœ. bœ œ bœ bœ œ bœ ? bœ. J b˙ œ 289 290 J 291 292
A3 bœ œ bœ bœ bœ bœ œ bœ œ œ bœ ? bœ. J bœ. J 293 294 295 296
bœ bœ bœ bœ bœ bœ œ bœ bœ œ œ œ ? bœ. J bœ. J 297 298 299 300
bœ bœ bœ bœ bœ bœ bœ ? bœ. J bœ. œ œ bœ œ 301 302 303 J 304
bœ œ bœ. bœ œ bœ bœ bœ œ bœ œ œ ? bœ. J bœ. J 305 306 J 307 308
bœ œ bœ bœ œ œ œ bœ bœ œ bœ œ œ ? bœ. J b˙ 309 310 311 312
œ œ bœ œ bœ bœ œ bœ bœ œ œ œ œ ? b˙ bœ. J 313 314 315 316
bœ bœ. bœ bœ bœ. ? bœ. œ œ b˙ bœ œ 317 J 318 J 319 320 J
61
Out Of This World
bœ bœ bœ. bœ bœ œ bœ œ œ ? bœ. J bœ œ b˙ 321 322 J 323 324
bœ bœ bœ. bœ bœ bœ bœ bœ bœ ? bœ. J œ bœ. 325 326 J 327 J 328
bœ bœ bœ. bœ bœ bœ œ œ bœ ? bœ. J œ b˙ 329 330 J 331 332
A1 bœ œ bœ œ 2 ? b˙ œ bœ 333 334 335 «336
bœ œ bœ œ bœ bœ ? b˙ œ bœ b˙ bœ œ 337 338 339 340
bœ bœ. bœ bœ ? b˙ bœ œ b˙ bœ œ 341 342 J 343 344
bœ bœ. bœ bœ ? b˙ bœ œ b˙ bœ œ 345 346 J 347 348
bœ œ bœ œ œ œ œ bœ œ bœ œ œ ? bœ. J bœ. œ bœ 349 350 351 J 352
bœ œ œ œ bœ œ bœ bœ œ œ œ ? bœ. œ œ bœ. J 353 J 354 355 356
62
Out Of This World
bœ bœ bœ œ œ bœ bœ bœ œ œ œ ? bœ. œ b˙ 357 J 358 359 360
bœ bœ bœ bœ œ œ bœ bœ bœ œ ? bœ. J b˙ œ 361 362 363 364
A2 bœ bœ bœ 2 ? bœ. œ bœ 365 J 366 367 «368
2 2 ? 369 «370 371 «372
bœ bœ bœ bœ bœ bœ bœ ? bœ. œ bœ. J bœ. œ bœ 373 J 374 375 J 376
bœ bœ bœ bœ bœ bœ œ bœ ? bœ. J œ bœ. J bœ. J œ 377 378 379 380
Departure From Form Sax Out/Piano In bœ b˙ ? bœ. œ œ bœ Œ bœ. œ œ bœ 381 J 382 383 J 384
bœ b˙ ? bœ. œ œ bœ Œ bœ. œ œ bœ 385 J 386 387 J 388
bœ bœ bœ œ ? bœ. œ œ bœ Œ bœ. œ œ bœ 389 J 390 391 J 392
63
Out Of This World
bœ œ ¿. bœ bœ œ bœ ? bœ. œ œ bœ bœ. J œ œ 393 J 394 395 396 A1 Form Resets Piano Solo bœ bœ. œ bœ bœ. œ œ ? bœ. œ œ bœ bœ. œ œ bœ 397 J 398 399 J 400
bœ bœ. œ bœ bœ bœ œ œ ? bœ. œ œ bœ bœ. J 401 J 402 403 404
bœ œ bœ bœ bœ ? bœ. œ œ bœ bœ. œ œ œ 405 J 406 407 J 408
bœ bœ bœ bœ bœ œ bœ ? bœ. œ œ bœ b˙ œ 409 J 410 411 412
bœ œ œ œ ¿ bœ œ 2 ? bœ. J 413 414 415 «416
bœ œ œ œ ¿ bœ œ bœ bœ œ bœ ? bœ. J b˙ œ 417 418 419 420
bœ œ œ œ ¿ bœ bœ œ œ œ ¿ bœ bœ ? bœ. J œ bœ. J 421 422 423 424
bœ œ œ œ b¿ bœ bœ bœ œ bœ ? bœ. J œ b˙ œ 425 426 427 428
64
Out Of This World A2 bœ œ œ œ 2 ? b˙ œ bœ 429 430 431 «432
bœ œ œ œ bœ œ bœ œ bœ ? b˙ œ bœ. J œ 433 434 435 436
bœ bœ bœ bœ bœ œ œ œ ¿ bœ ? bœ. œ bœ. J œ 437 J 438 439 440
bœ œ bœ bœ bœ bœ œ bœ bœ œ ? bœ. J bœ. J 441 442 443 444
bœ bœ œ ? bœ bœ œ œ bœ œ œ b˙ bœ œ 445 446‰ J 447 448
bœ œ œ bœ œ œ bœ bœ œ ? b œ œ œ b œ œ œ b˙ bœ œ 449 ‰ J 450‰ J 451 452
. bœ bœ œ. œ bœ bœ œ bœ bœ œ œ bœ ? bœ . R bœ. J œ 453 454‰ 455 456
. bœ bœ œ œ. b¿ bœ œ bœ bœ bœ ? bœ. b˙ œ 457 J 458 459 460
bœ œ. bœ ? bœ. œ œ œ œ.. R bœ. œ œ œ œ bœ 461 J 462 463 J 464
65
Out Of This World
bœ bœ bœ bœ bœ ? bœ. œ œ œ œ bœ. J bœ œ 465 J 466 467 468 B bœ bœ bœ bœ œ bœ ? bœ. œ nœ bœ b˙ œ 469 J 470 471 472
bœ bœ bœ bœ œ bœ ? bœ. œ œ œ œ b˙ ¿ 473 J 474 475 476
bœ bœ bœ bœ bœ œ bœ bœ ? Œ. J bœ Œ. b œ œ bœ 477 478 479 J 480
. bœ bœ bœ bœ bœ bœ œ bœ bœ œ ? bbœ. œ bœ œ œ 481 J 482 483 484
bœ œ œ œ bœ nœ bœ. bœ œ œ bœ bœ ? bœ. J œ 485 486 487 J 488
bœ bœ œ œ bœ bœ ? b˙ bœ b˙ bœ œ œ œ 489 490 491 492
bœ œ œ bœ bœ œ b˙ œ bœ bœ œ ? b œ œ œ b œ b œ œ b ˙ œ b œ b œ œ 493 ‰ J 494‰ J 495 496‰ J
2 bœ. bœ œ ? b œ. J bœ bœ œ bœ 497 «498 499 500
66
Out Of This World A3 bœ. œ œ œ œ b˙ œ œ œ œ ? b œ. œ œ bœ œ b ˙ œ bœ œ œ 501 J 502Œ 503 504‰ J
bœ. œ œ œ bœ œ œ œ bœ œ bœ œ bœ œ bœ ? b œ. œ œ œ b œ œ œ œ b œ œ œ œ b œ œ œ 505 J 506 507 508
bœ œ bœ bœ bœ bœ œ œ bœ œ ? bœ. œ b˙ 509 J 510 511 512
bœ bœ ? b˙ bœ bœ œ b˙ bœ ¿ bœ œ 513 514 515 516
bœ œ œ bœ ? b˙ bœ bœ b˙ bœ ¿ bœ œ 517 518 519 520
bœ œ bœ œ œ bœ bœ bœ ¿ bœ ? bœ. b˙ œ 521 J 522 523 524
bœ œ bœ œ œ bœ bœ œ bœ bœ œ ? bœ. J bœ œ bœ ‰ œ œ 525 526 3 527 J 528
bœ œ b˙ bœ bœ œ bœ bœ œ ? bœ. bœ. œ 529 J 530 531 J 532
bœ bœ bœ. bœ bœ bœ bœ œ ? bœ. œ bœ. bœ œ 533 J 534 J 535 J 536
67
Out Of This World Departure From Form Piano Out/Sax In bœ bœ bœ. bœ bœ bœ bœ œ ? bœ. œ bœ. bœ œ 537 J 538 J 539 J 540
bœ bœ bœ. bœ bœ bœ bœ bœ ? bœ. œ bœ. œ 541 J 542 J 543 J 544
bœ bœ. bœ bœ bœ bœ bœ ? b˙ œ bœ. J œ 545 546 J 547 548
bœ bœ. bœ bœ bœ bœ bœ ? b˙ œ bœ. œ 549 550 J 551 J 552
bœ bœ bœ œ œ bœ bœ bœ œ œ bœ œ ? bœ. œ bœ. J œ 553 J 554 555 556
bœ œ bœ œ œ 2 ? bœ. . 557 J 558 J 559 «560
bœ 2 ? bœ. bœ œ bœ œ 561 J 562 563 «564
bœ œ bœ œ bœ bœ œ ? .. bœ bœ . bœ œ bœ œ 565 R 566 567 J 568
bœ b˙ 2 ? . bœ bœ 569 Œ J 570 571 «572
68
Out Of This World
bœ ˙. bœ œ œ bœ œ ? bœ. bœ œ bœ. œ 573 J 574 575 J 576
bœ œ œ bœ œ œ bœ bœ ¿ bœ bœ ? bœ. œ bœ. œ 577 J 578 579 J 580
bœ bœ bœ œ bœ bœ bœ œ œ ¿ bœ ? bœ. œ œ b˙ 581 J 582 583 584
bœ bœ bœ bœ œ œ ? b˙ bœ œ b˙ bœ œ 585 586 587 588
bœ bœ œ œ œ bœ bœ œ bœ œ ? bœ œ bœ bœ œ bœ 589 590 591 592
bœ œ œ œ œ bœ ? bœ œ bœ œ œ œ bœ bœ bœ J bœ œ 593 594 595 596‰
bœ œ œ bœ. œ œ œ ? bœ. J œ 597 598 J 599n˙ œ 600œ œ
œ. œ 2 ? ‰ j 601 œ. J œ 602œ œ 603 «604
2 ? œ ‰ j j ‰ j 605 «606 607œ. J œ 608œ. œ œ
69
Out Of This World
. ? œ œ œ ‰ j 609 ˙ œ 610œ œ 611œ. J 612 œ œ œ
? œ 613 ˙ œ 614œ œ œ 615œ. J œ 616œ œ œ œ
. ? ≈ œ œ œ œ œ œ œ œ œ œ 617 ˙ œ 618 J 619œ. J 620
bœ bœ bœ œ bœ bœ bœ bœ bœ. bœ ? bœ. J bœ. J œ 621 622 623 624 J Form Resets A1 Melody Statment bœ œ bœ bœ œ œ bœ œ bœ. bœ ? bœ. œ bœ. œ 625 J 626 627 J 628 J
. bœ. bœ . bœ. bœ ? bœ. bœ œ œ bœ. bœ œ œ 629 J 630 J 631 J 632 J
bœ bœ œ bœ bœ œ bœ bœ œ bœ. bœ ? bœ. œ œ bœ. œ 633 J 634 635 J 636 J
bœ bœ œ bœ bœ bœ bœ œ bœ. bœ ? bœ. œ bœ. œ 637 J 638 639 J 640 J
bœ œ œ bœ bœ ? b˙ œ œ b˙ œ . œ 641 642‰ J 643 644Œ J
70
Out Of This World . bœ bœ bœ bœ bœ. bœ ? b˙ œ b˙ œ 645 646 647 648 J
. bœ bœ bœ bœ ? bœ. bœ œ œ bœ. bœ œ œ 649 J 650 651 J 652 ‰ J
bœ b˙ b˙ ? b˙ bœ bœ nœ 653 654 655Ó 656
A2 bœ œ œ œ bœ œ ? . bœ œ bœ bœ œ œ 657 Œ J 658 659 660 ‘
bœ bœ. œ œ bœ bœ. bœ ? bœ. œ bœ. œ œ 661 J 662 J 663 J 664 J
bœ bœ bœ ? bœ bœ bœ œ bœ bœ œ œ œ bœ bœ 665 666 667 668
bœ bœ œ œ bœ bœ bœ ? bœ. œ œ œ. œ bœ 669 J 670 671 J 672
bœ ˙ bœ œ œ œ œ bœ œ ? b˙ œ bœ œ 673 674 675 676
? b˙ bœ œ bœ œ œ œ bœ œ œ œ b˙ 677 678 679 680
71
Out Of This World
bœ bœ bœ bœ bœ ? œ. œ œ bœ. œ bœ. œ 681 J 682 683 J 684 J
bœ bœ bœ bœ bœ ? b˙ bœ œ b˙ bœ. J bœ 685 686 687 688
bœ bœ œ œ œ bœ ? ˙ bœ œ nœ bœ. œ 689 690 691 J 692
bœ bœ œ bœ bœ bœ bœ bœ œ bœ œ œ bœ ? bœ. bœ. œ 693 J 694 695 J 696
Interlude bœ bœ bœ bœ bœ. bœ ? b˙ œ bœ. œ J œ 697 698 699 J 700
bœ bœ bœ œ œ ? b˙ bœ œ bœ bœ bœ œ œ œ 701 702 703 704
bœ bœ bœ bœ bœ œ bœ œ. bœ ? bœ œ bœ. J œ 705 706 707 708 J
bœ bœ bœ bœ bœ bœ œ bœ bœ œ œ ? b˙ bœ. œ 709 710 711 J 712
B C m/A bœ bœ bœ bœ. ? b˙ bœ bœ œ b˙ bœ œ 713 714 715 716 J
72
Out Of This World
? œ œ œ œ œ 717 n˙. 718œ œ œ 719œ œ œ 720 œ œ
? œ œ 721 n˙ 722œ œ œ 723˙ 724˙ œ
œ ? œ œ œ œ œ 725 ˙ 726œ œ 727˙ 728 œ
? œ œ œ œ œ œ œ œ 729 œ 730 731˙ 732 œ
2 ? œ œ œ 733 ˙ 734 œ 735 «736
? œ œ œ œ œ ˙ œ 737 ˙. 738 œ 739 740
œ œ œ ? Œ Œ bœ 741 742 ˙ 743 œ 744œ ˙ A3 E m7 b bœ œ œ œ. bœ ? œ ˙ ˙. bœ. J bœ 745 746 747 748 J
bœ bœ bœ. bœ 2 ? bœ. J œ 749 750 J 751 «752
73
Out Of This World
bœ bœ bœ. bœ ? bœ. bœ œ œ bœ. bœ œ œ 753 J 754 ¿ 755 J 756 J
bœ bœ œ bœ bœ bœ bœ œ œ bœ ? bœ. J œ bœ. J J œ 757 758 759 760 ‰
bœ œ bœ bœ bœ . bœ ? bœ. J bœ œ œ bœ. J bœ bœ bœ œ 761 762 763 764 J
bœ bœ bœ bœ œ bœ bœ. bœ ? bœ. J bœ œ bœ. J bœ œ 765 766 767 768 J
bœ bœ bœ bœ bœ bœ. . œ ? bœ. J œ bœ. J bœ bœ œ 769 770 771 772 J
bœ bœ bœ bœ œ bœ ? bœ. J bœ œ œ b˙ bœ œ. œ 773 774 775 776 J
bœ bœ bœ bœ ¿ bœ œ ? bœ. J bœ œ bœ. bœ œ 777 778 779 J ¿ 780 ¿ ¿
bœ œ bœ œ bœ œ ? bœ. bœ œ œ bœ œ bœ. bœ œ J 781 J 782 783 J 784‰
Vamp Until Ending . bœ œ œ œ bœ. bœ ? bœ. œ œ ‰ J bœ. œ œ J œ 785 J 786 787 J 788
74
Out Of This World
bœ 2 ? b˙. . œ 789 790Œ J 791 «792
bœ bœ bœ bœ. ? b˙ bœ œ œ b˙ bœ œ 793 794 795 796 J
bœ bœ œ bœ bœ bœ bœ œ bœ. bœ ? bœ. œ bœ. œ 797 J 798 799 J 800 J
bœ bœ œ bœ bœ bœ bœ œ bœ. bœ ? bœ. œ bœ. œ 801 J 802 ¿ 803 J 804 J
bœ bœ bœ. ? b˙ ¿ bœ œ b˙ bœ bœ œ 805 806 807 808 J
bœ bœ bœ bœ œ bœ bœ. bœ ? bœ. œ œ b˙ œ 809 J 810 811 812 J
bœ bœ bœ bœ bœ bœ. bœ ? bœ. œ b˙ œ 813 J 814 815 816 J
bœ œ bœ bœ bœ œ bœ bœ bœ. bœ ? bœ. J œ œ bœ. œ 817 818 819 J 820 J
bœ bœ bœ bœ œ bœ bœ bœ. bœ ? bœ. œ bœ. œ 821 J 822 823 J 824 J
75
Out Of This World . bœ bœ bœ bœ œ bœ bœ bœ œ bœ ? bœ. bœ. J œ 825 J 826 ¿ ¿ 827 J 828‰
bœ œ bœ. bœ 2 ? bœ. J œ 829 830 J 831 «832
Rubato bœ bœ ? bœ. bœ œ œ b˙ bbœ bbœ 833 J 834 835 836n˙
bœ œ bU˙ U ? bœ œ œ œ œ bœ b˙. 837 ˙. 838 839 840
76
Soul Eyes
C m7 G 7( 9) C m7 F 7( 11) A b # bœnœ bœnœ ˙ ? œ œ œ œ œ œbœ nœ ˙ bœ nœ 1 c ˙ 2 ˙ 3 3 4 œ œ 3 3
F m7 B 7alt G m7( 5) C 7( 9) b b b œ ? ˙ œ œ #œ œ b˙ ˙ ˙ œ œ œ 5 3 6 7 b˙ 8 œ œ 3
A maj7 A m7( 5) D 7( 9) G maj7 D 7 b b b b b˙ bœ nœ œ œ #œ œ ˙ œ œnœ œ bœ œ œ nœ bœ bœ ? bœ. 3 . nœ#œ 3 3 9 J 10 œ œ 11 12
G maj7 F m7 B 7 E maj7 D m7( 5) G 7( 9) b b b b b œ ? b˙ ˙ œ œ nœ bœ œ œ œ œ b˙ bœ œ œ #œ œ œ bœ œ 13 14 3 15 16 œ œ bœ œ 3 3
C m7 G 7( 9) C m7 F 7( 11) B b # ˙ œ œ bœ nœ ˙ œ œ ? 3 bœ nœ ˙ bœ nœ 17 ˙ 18˙ 19 20 œ œ 3 3
F m7 B 7alt G m7( 5) C 7( 9) b b b œ œ ? ˙ œ œ#œ œ bœ œ œ œ œ ˙ œ œ bœ œ œ œ œ 21 3 22 œ 3 23 bœ œ 24œ. bœ 3 J 3 A maj7 A m7( 5) D 7( 9) G m7( 5) C 7( 9) b b b b b b˙ ˙ œ bœ œ bœ œ ? ˙ œ œ œ œ J 3 œ nœ 25 26œ œ œ ˙ 27 bœ 28œ œ 3 3 3 3 J
F m7 B 7alt E maj7 D m7( 5) G 7( 9) b b b b ? ˙ œ œ bœ œ œbœ œ œ œ bœ œ œ œ œ œnœ bœ b˙ bœ ˙ 3 29 nœ 30bœ œ 3 31 3 32 3 3
77
Drums Double x Feel & Piano Solo Soul Eyes C m7 G 7( 9) C m7 F 7( 11) A b # œ bœ œ. œ œ ? œ bœ. œ œ. œ œ bœ œ œ œ œ nœ œ œ nœ 33 34œ œ œ 35œ 36
F m7 B 7alt G m7( 5) C 7( 9) b b b bœ œ œ bœ œ œ ? œ œ œ. œ œ #œ œ œ œ œ . œ œ œ œ œ nœ. œ œ 37 38 bœ. œ œ œ 39 œ œ 40œ
A maj7 A m7( 5) D 7( 9) G maj7 D 7 b b b b œ bœ . œ #œ œ œ œ . nœ ¿ ? bœ bœ. œ œ œ œ nœ œ œ œ #œ œ œ œ œ œ . bœ 41 42 œ 43 44bœ œ œ œ
G maj7 F m7 B 7 E maj7 D m7( 5) G 7( 9) b b b b b bœ bœ œ œ œ bœ œ œ ? bœ . ¿ œ œ œ œ. œ bœ . œœ . œ#œ œ œ œ œ œnœ 45 46 œ œ47 œ œœ.bœ œ 48 œ œ œ œ
C m7 G 7( 9) C m7 F 7( 11) B b # œo œ bœ œ bœ œ œ œ œ bœ ? œ. œ œ œ œbœ . . œ œ œ bœ. œ œ œ œ œ œ œ 49 œ 50 œ œ œ œ 51 œ 52 ≈ œ. œ
F m7 B 7alt G m7( 5) C 7( 9) b b b bœ œ œ bœ œ œ ? œ œ œ œ#œ œ #œ œ œ . œ œ œ. œ œ œ œ 53 œ. 54 bœ. œ œ œ 55 œ 56 œ bœ œ
A maj7 A m7( 5) D 7( 9) G m7( 5) C 7( 9) b b b b b bœ œ œ nœ bœ œ #œ œ œ œ bœ œ nœ œ œ œ œ œ bœ œ œ ? bœ. 3 . . #œ . nœ. 57 58 œ œ œ œ œ œ 59 bœ nœbœ 60 œ
F m7 B 7alt E maj7 D m7( 5) G 7( 9) b b b b bœ œ œ œ bœ bœ ? œ œœ œ#œ œ œ. œ bœ œ œ œ œ œ œ . #œ œ œ œ œ œ bœ 61 œ. 62 œ œ 63 bœ. 64 œ œ œ œ
A C m7 G 7( 9) C m7 F 7( 11) b # Sax Solo œo œ bœ œ œ œ œ. bœ œ bœ œ œ bœ ? bœ. œ œ œ . œ œ. œ œ œ œ bœ œ œ œœ œ œ œ œ 65 œ 66 œ œ œ 67 ≈ œ 68 œ. œ
78
Soul Eyes F m7 B 7alt G m7( 5) C 7( 9) b b b bœ œ nœ bœ œ œ. bœ. nœ œ œ ? œ œ. bœ œ œ #œœ. . œ œ. œ œ bœ. œ œ œ œ œ 69 70 œœ 71 bœ 72 œ. œ
A maj7 A m7( 5) D 7( 9) G maj7 D 7 b b b b bœ œ œ œ bœ. nœ. bœ ? bœ bœ. œ œ œ bœ. nœ #œ œ œ œ œ œ. œbœ œ œ 73 74 œ œ œ 75 76bœ œ œ
G maj7 F m7 B 7 E maj7 D m7( 5) G 7( 9) b b b b b bœ bœ œ œ œ œ bœ œ œ œ nœbœ ? bœ œ œ œ.œ œ œ nœ bœ œ. œ bœ . nœ#œœ œœnœbœœ 77 78 œ 79 80 œ œ œ bœ Ballad Feel-Melody Statement B C m7 G 7( 9) C m7 F 7( 11) b # ? ˙ œ œ nœ œ ˙ ˙ œ nœ 81 ˙ 82˙ bœ 83˙ 84 œ œ 3 3
F m7 B 7alt G m7( 5) C 7( 9) b b b b˙ œ. œ bœ œ œ ? ˙ œ œ œ#œ œ œ. #œ ˙ œ œ œnœ œ. 85 86 bœ 87 3 88 3 œ œ
A maj7 A m7( 5) D 7( 9) G m7( 5) C 7( 9) b b b b b nœ ? b˙ b˙ œ ˙ œ . bœnœ. #œ œ. bœ œ. 89 90 œ œ œ œ œ 91 œnœ bœ œnœ œ #œ œ 92
F m7 B 7alt E maj7 b b U U U ? ˙ œ œ œ bœ bw bw bw 93 3 94 95 96nw 97
79
Inchworm
F 7sus E 7sus b 11 Xs (Sax Enters 9th X) œ œ œ œ. œ. œ œ œ œ bœ œ œ œ ? 3 ‰ œ œ . œ œ bœ œ . 4 1 œ. 2 œ bœ œ . 3 4 .
F 7sus E 7sus F 7sus E 7sus b 3 Xs b œ œ œ œ bœ œ œ œ ? œ œ œ . œ œ bœ œ . 5 œ œ bœ nœ œ 6 œ . 7 8 .
F 7sus E 7sus F 7sus E 7sus b b bœ œ. ? œ œ œ œ bœ œ nœ œ œ œ 9 œ œ bœ nœ œ 10œ 11 12 œ
F 7sus E 7sus F 7sus E 7sus b b œ bœ œ bœ œ ? œ œ œ œ bœ œ œ œ œ œ 13 œ œ 14 œ 15 16 œ
F 7sus E 7sus F 7sus E 7sus b b ? œ bœ œ bœ œ œ œ œ œ 17 œ œ bœ œ œ 18œ 19 œ œ bœ œ 20 œ
F 7sus E 7sus F 7sus E 7sus b b bœ œ œ ? œ œ œ bœ œ œ œ œ œ bœ œ œ œ œ 21 22 œ 23 24 œ œ
F 7sus E 7sus F 7sus E 7sus b b œ œ œ œ œ œ ? œ œ œ bœ œ œ œ bœ œ œ œ nœ 25 26 œ œ 27 œ 28
F 7sus E 7sus F 7sus E 7sus b b œ œ œ œ œ œ œ œ ? œ bœ œ œ nœ œ bœ bœ œ œ œ Aœ nœ 29 œ 30 31 32
80
Inchworm F 7sus E 7sus F 7sus E 7sus b b bœ œ œ œ œ ? œ œ œ œ ¿ œ œ ¿ 33 34 35 œ œ bœ œ œ 36œ œ bœ
F 7sus E 7sus F 7sus E 7sus b b œ bœ œ œ œ ? œ bœ œ nœ œ œ œ œ 37 œ œ nœ œ 38 œ 39 40
F 7sus E 7sus F 7sus E 7sus b b √ bœ œ bœ œ ? œ #œ œ œ œ bœ œ bœ œ œ œ œ œ œ œ 41 42 43 44 œ œ
F 7sus E 7sus F 7sus E 7sus b b œ œ œ bœ œ ? œ œ œ œ œ nœ 45 46 œ 47 bœ œ bœ œ nœ 48œ. œ œ
F 7sus E 7sus F 7sus E 7sus b b œ œ œ œ œ ? œ œ œ œ œ œ œ œ œ œ œ œ 49 œ œ 50 œ 51 52
F 7sus E 7sus F 7sus E 7sus b b √ œ œ œ œ œ bœ œ œ œ ? œ œ œ œ œ bœ œ œ œ œ nœ 53 54 55 56
F 7sus E 7sus F 7sus E 7sus b b œ œ œ ? œ œ œ bœ œ nœ œ œ œ œ nœ 57 58 œ œ 59 œ œ 60 œ
F 7sus E 7sus F 7sus E 7sus b b ? œ œ œ œ nœ 61 œ œ œ œ bœ 62œ œ 63 œ œ bœ œ 64œ F 7sus E 7sus F 7sus E 7sus b b 3 Xs Melody Statement œ bœ œ œ œ œ œ œ œ bœ œ œ œ ? œ œ œ œ œ . œ bœ . 65 66 .67 œ 68 œ .
81
Inchworm F 7sus F 7sus E 7sus E 7sus b Sax Solo b ? œ œ nœ œ bœ œ nœ bœ 69 œ œ bœ œ 70œ 71 œ œ œ œ 72 nœ
F 7sus E 7sus F 7sus E 7sus b b ? œ œ œ œ œ bœ œ œ œ œ œ bœ 73 œ œ 74 œ 75 œ œ 76 nœ
F 7sus E 7sus F 7sus E 7sus b b ? œ œ œ œ œ bœ œ œ œ œ œ bœ 77 œ œ 78 œ 79 œ œ 80 œ
F 7sus E 7sus F 7sus E 7sus b b ? œ œ œ œ œ bœ œ œ œ œ œ œ œ 81 œ œ 82 œ 83 œ œ 84
F 7sus E 7sus F 7sus E 7sus b b œ bœ nœ √ ? œ œ œ œ œ ¿ œ œ œ œ œ bœ œ bœ œ 85 86‰ J 87 88‰ J
F 7sus E 7sus F 7sus E 7sus b b œ œ œ bœ œ œ œ ? œ œ bœ œ œ œ bœ œ nœ 89 90 91 œ œ 92 œ
F 7sus E 7sus F 7sus E 7sus b b ? œ nœ œ œ œ 93 œ œ bœ œ nœ 94œ œ 95 œ œ 96#œ nœ
F 7sus E 7sus F 7sus E 7sus b b . ? œ œ œ œ œ nœ 97 œ 98 œ œ bœ œ 99 100 œ œ œ œ œ œ F 7sus E 7sus F 7sus E 7sus b b œ bœ œ œ œ œ œ œ œ ? œ œ œ œ œ œ bœ œ œ 101 102 103 œ 104 œ
82
Inchworm F 7sus E 7sus F 7sus E 7sus b b œ bœ œ bœ nœ ? œ œ œ nœ œ œ œ œ 105 œ œ bœ 106œ œ 107 108
F 7sus E 7sus F 7sus E 7sus b 3 Xs b 3 œ œ œ œ œ bœ œ œ ? ‰ œ œ œ . œ ‰ b œ œ œ . 109 œ œ bœ 110œ œ #œ .111 112 J .
F 7sus E 7sus F 7sus E 7sus b b bœ œ œ œ bœ œ ? œ œ œ œ bœ œ œ œ 113 œ œ bœ œ 114 œ 115 116
F 7sus E 7sus F 7sus E 7sus b b √ ? œ bœ œ nœ œ bœ œ bœ nœ bœ bœ œ œ œ œ œ œ œ nœ 117 118 119 120 œ
F 7sus E 7sus F 7sus E 7sus b b œ bœ œ œ œ œ œ œ bœ œ œ ? œ nœ œ œ ‰ b œ œ œ 121 122 123 œ œ bœ nœ œ 124 J
F 7sus E 7sus F 7sus E 7sus b b bœ œ œ ? œ bœ œ ‰ b œ œ œ œ œ œ œ œ bœ 125 œ œ 126 J 127 œ œ 128 œ
F 7sus E 7sus F 7sus E 7sus b b œ bœ Aœ bœ œ œ œ œ œ œ œ œ bœ ? œ œ œ œ œ œ œ œ 129 130 131 132
E 7sus F 7sus E 7sus F 7sus b Even b œ œ œ œ œ œ œ œ bœ œ œ œ bœ œ bœ œ œ ? œ œ 3 bœ 133 134 135 136
F 7sus E 7sus F 7sus E 7sus b b œ bœ œ œ œ bœ œ œ œ bœ nœ ? œ œ œ œ œ œ 137 138 œ œ 139 140
83
Inchworm F 7sus E 7sus F 7sus E 7sus b b œ nœ œ œ œ œ œ œ œ ? œ œ œ œ bœ œ bœ œ œ 141 142 œ œ 143 144
F 7sus E 7sus F 7sus E 7sus b b ? œ œ œ bœ œ œ œ œ bœ œ œ œ œ œ œ 145 146 œ 147 œ œ 148 œ
F 7sus E 7sus F 7sus E 7sus b b ? œ œ œ œ œ œ œ œ œ œ 149 œ œ 150 œ 151 œ œ 152 œ
F 7sus E 7sus F 7sus E 7sus b b œ œ œ œ œ œ ? œ œ œ bœ nœ bœ œ œ œ œ bœ bœ œ œ œ 153 154 155 156
F 7sus E 7sus F 7sus E 7sus b b œ œ œ œ bœ œ œ ? bœ œ œ œ nœ œ œ œ œ 157 158 œ œ 159 160
F 7sus E 7sus F 7sus E 7sus b b √ œ œ œ œ ? œ œ œ œ œ bœ œ bœ œ œ bœ œ œ J 161 162 163 ‰ 164
F 7sus E 7sus F 7sus E 7sus b b œ œ œ œ œ œ œ bœ œ œ œ œ ? œ œ œ œ œ 165 166 œ 167 œ œ 168
F 7sus E 7sus F 7sus E 7sus b b bœ œ œ œ œ œ œ œ œ œ œ ? œ œ œ œ œ œ bœ 169 170 œ œ 171 172
F 7sus E 7sus F 7sus E 7sus b b œ œ œ œ œ œ bœ œ ? œ œ œ œ œ œ œ bœ œ nœ œ nœ 173 174 175 œ œ 176 œ
84
Inchworm F 7sus E 7sus F 7sus E 7sus b b œ œ œ œ œ œ œ œ œ ? œ œ œ bœ œ œ œ bœ 177 178 œ œ 179 180
F 7sus E 7sus F 7sus E 7sus b b ? œ œ œ œ œ œ œ bœ œ 181 182 183œ œ œ œ œ œ 184œ bœ œ F 7sus E 7sus F 7sus E 7sus b b œ œ œ œ œ œ œ œ bœ œ ? œ œ œ œ nœ œ 185 œ œ 186 œ 187 188
2 2 ? 189 «190 191 «192
F 7sus E 7sus F 7sus E 7sus b b œ œ œ œ bœ œ bœ nœ ? œ œ nœ œ 193 œ œ bœ nœ œ 194œ 195 196
F 7sus E 7sus F 7sus E 7sus b b œ œ œ œ œ œ œ ? œ œ œ œ Nœ 197 198 œ 199 œ œ bœ œ œ 200œ
F 7sus E 7sus F 7sus E 7sus b b ? œ œ œ bœ œ œ œ œ œ œ œ bœ œ œ œ œ 201 202 œ œ 203 204 œ œ
F 7sus E 7sus F 7sus E 7sus b b œ bœ œ œ nœ √ ? œ œ œ œ œ œ œ œ œ bœ œ œ œ œ 205 206 207 208
F 7sus E 7sus F 7sus E 7sus b b œ œ œ œ œ œ œ œ ? œ œ œ œ nœ 209 210 211 œ3 bœ nœ œ 212œ
85
Inchworm F 7sus E 7sus b œ œ œ œ bœ œ œ œ 2 ? œ bœ 213 œ 214 œ 215 «216
F 7sus E 7sus b 2 ? œ œ nœ 217 œ œ bœ œ 218œ 219 «220
F 7sus E 7sus b œ œ œ œ bœ œ œ œ 2 ? œ bœ 221 œ 222 œ 223 «224
F 7sus E 7sus F 7sus E 7sus b b bœ œ œ œ bœ ? œ œ nœ œ œ œ œ œ œ 225 œ œ bœ œ 226œ 227 228
F 7sus E 7sus F 7sus E 7sus b b œ bœ œ œ œ bœ ? œ œ œ œ œ œ œ œ œ bœ œ œ 229 230 œ œ 231 232
F 7sus E 7sus F 7sus E 7sus b b œ œ œ œ œ œ bœ ? œ œ bœ œ œ œ œ œ œ bœ œ 233 234 œ œ 235 236
F 7sus E 7sus F 7sus E 7sus b b œ œ œ œ œ bœ œ bœ nœ ? œ œ œ œ œ œ œ œ 237 238 œ 239 œ œ 240
F 7sus E 7sus F 7sus E 7sus b b œ œ œ bœ œ œ œ œ œ ? œ œ œ œ œ 241 242 243 œ œ bœ 244nœ œ
F 7sus E 7sus F 7sus E 7sus b b bœ nœ œ œ œ bœ œ œ ? œ bœ œ œ ¿ ¿ œ ‰ J œ bœ 245 œ œ bœ 246 247 248
86
Inchworm F 7sus E 7sus F 7sus E 7sus b b ? œ œ œ œ œ œ œ œ nœ #œ 249 œ bœ œ nœ œ 250 œ œ 251 œ œ 252
F 7sus E 7sus F 7sus E 7sus b b nœ œ bœ œ nœ œ œ œ ? œ œ œ bœ nœ œ œ #œ œ œ œ œ 253 254 255 256
F 7sus E 7sus F 7sus E 7sus b b bœ ? œ œ œ œ bœ œ nœ œ œ nœ œ 257 258 œ œ 259 œ œ œ #œ 260œ nœ
F 7sus E 7sus F 7sus E 7sus b b ? œ œ œ œ œ œ œ œ œ œ œ 261 œ œ. bœ œ 262 œ 263 œ œ 264 œ
F 7sus E 7sus F 7sus E 7sus b b œ bœ œ bœ œ bœ œ. œ œ œ œ ? œ œ œ œ œ. œ œ œ œ bbœ œ 265 266 267 J 268
2 2 ? 269 «270 271 «272
2 2 ? 273 «274 275 «276
2 2 ? 277 «278 279 «280 F 7sus F 7sus E 7sus E 7sus b Melody Statement b œ. œ œ œ œ bœ œ œ œ ? œ. œ œ œ œ œ œ œ œ ‰ œ bœ œ 281 J 282 œ 283 œ œ J 284
87
Inchworm F 7sus E 7sus F 7sus E 7sus b b bœ œ œ œ bœ œ ? œ bœ ‰ œ bœ œ œ bœ œ œ bœ œ œ œ 285 œ œ J 286 287 œ œ 288 F 7sus E 7sus F 7sus E 7sus b b œ œ œ œ bœ œ œ œ ? œ œ nœ œ œ bœ œ 289 œ œ bœ œ 290œ 291 292
2 2 ? 293 «294 295 «296
F 7sus E 7sus F 7sus E 7sus b b bœ ? œ œ œ œ œ œ œ œ œ œ nœ 297 298 œ 299 œ œ bœ œ 300œ
F 7sus E 7sus F 7sus E 7sus b b œ œ œ œ œ œ œ œ œ œ œ ? œ œ ¿ œ œ œ nœ 301 302 303 304
F 7sus E 7sus b Freely ? œ œ 305 œ œ nœ #œ 306œ nœ nœ 307nœ œ œ 308œ œ œ
U U ? #œ œ œ nœ œ œ œ #œ œ 309 . 310 œ 311 312 . nœ J 3 n˙ n˙
88
Tunji
Fade In B 7sus
~
~ ? 4 œ œ #œ œ œ ˙ ˙ ~ #œ œ œ ˙ œ #œ œ œ 1 4 1 œ. J 2 3 œ. J 4
2 2 ? 5 «6 7 «8
Melody 2 2 ? 9 «10 11 «12
~
~ ? œ ˙ œ ~ #œ œ œ œ œ ˙ œ #œ œ œ 13 œ. J 14 15œ. J 16
? œ ˙ œ #œ œ œ œ œ ˙ œ #œ œ œ 17 œ. J 18 19œ. J 20
? œ ˙ œ #œ œ œ œ ˙ œ #œ œ œ œ œ 21 œ. J 22 23œ. J 24 œ
? œ ˙ œ #œ œ œ œ ˙ œ œ œ#œ. œ 25 œ. J 26 27œ. J 28
? œ ˙ œ #œ œ œ œ ˙ œ #œ œ œ œ. œ œ œ 29 œ. J 30 31œ. J 32 œ
89
Tunji B 7sus Sax Solo ? œ ˙ œ #œ œ œ œ œ œ ˙ œ #œ œ œ 33 œ. J 34 œ 35œ. J 36
? œ ˙ œ œ œ œ#œ. œ œ ˙ œ #œ œ œ œ œ 37 œ. J 38 39œ. J 40 œ
2 ? œ ˙ œ œ œ œ œ œ #œ œ 41 «42 43œ. J 44
? œ ˙ œ #œ œ œ œ œ ˙ œ œ œ œ#œ. œ 45 œ. J 46 47œ. J 48
? œ ˙ œ #œ œ œ œ œ œ ˙ œ #œ œ œ œ œ 49 œ. J 50 3 3 51œ. J 52J J
? œ ˙ œ œ œ œ œ#œ. œ œ ˙ œ #œ œ œ 53 œ. J 54 55œ. J 56
œ ˙ œ œ bœ nœ œ bœ nœ œ bœ nœ œ ˙ œ œ œ œ œ œ œ ? 3 3 3 57 œ. J 58 59œ. J 60
? œ ˙ œ #œ œ œ œ ˙ œ œ œ œ #œ 61 . J 62 63 . J 64 #œ œ nœ œ œ 3
3 œ ˙ œ œ œ œ œ ˙ œ ? J œ #œ œ œ œ J #œ œ œ œ 65 œ. 66 3 67œ. 68 œ œ œ
90
Tunji
? œ ˙ œ œ bœ. œ#œ. œ ˙ œ œ œ œ#œ. œ 69 œ. J 70 œ#œ. 71œ. J 72
? œ ˙ œ œ œ œ œ œ œ œ ˙ œ œ œ œ#œ. œ 73 œ. J 74 75œ. J 76
? œ ˙ œ #œ œ œ œ ˙ œ œ œ œ#œ. œ 77 œ. J 78 79œ. J 80
B 7 Piano Solo ? œ ˙ œ œ œ œ#œ. œ œ ˙ œ œ œ #œ œ 81 œ. J 82 83œ. J 84
œ ˙ œ œ œ œ œ œ œ ˙ œ œbœ nœ œ œ œ. ? #œ œ #œ 3 85 œ. J 86 87œ. J 88
E7
? #œ œ 89 j 90 91 92 j #œ œ. œ ˙ ‘ ‘ œ. œ œ œ B 7 œ ˙ œ. œ œ œ œ ˙ œbœ nœ œ œ œ. œ ? #œ œ 3 93 œ. J 94 J #œ 95œ. J 96
F#7 E7 . . œbœnœ œ ? #œ œ œ œ #œ œ œ 3 œ. œ œ œ œ. œ œ œ #œ 97 J 98 J 99 J 100 J œ
B 7 A 7 G 7/D C 7 œ œ œ œ œ #œ œ œ œ œ ? œ j 3 œ œ 101 œ. J œœ 102 103 œ 104œ œ œ 3 œ. œ ˙
91
Tunji B 7 E7 œ œ œ œ œ œ ? . . #œ. #œ œ 105 . J J 106 J 107 j 108 j #œ œ œ œ. œ ˙ œ. œ œ œ B 7
? œ œ. œ œ. œ œ œ œ#œ œ œ bœ œ #œ #œ œ œ 109 œ. J J 110 J œ 111œ. J 112
E7 œ œ œ œ ? œ. œ œ œ œ œ œ œ œ #œ œ 113 114 115 116 #œ J œ œ œ. J œ œ œ œ œ B 7 œ œ. œ œ. œ œ œ œ œ œ. œ œ. œ œ œ œ œ ? J J J #œ J J J 3 117 œ. 118 œ 119œ. 120
F#7 E7 #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 œ œ#œ 121 122 123 124 œ
B 7 A 7 G 7/D C 7 œ œ œ ? j #œ#œ œ œ œ. œ 125 . 126 127 œ œ œ œ 128 œ. œ œ œ œ œ œ ˙ œ œ œ B 7 Bass & Drums œ ˙ œ œ œ œ œ œ ˙ œ bœ nœ œ œ ? 3 #œ. œ 129 œ. J 130 131œ. J 132
œ ˙ œ œ œ œ œ œ ˙ œ bœ nœ œ œ#œ ? 3 . #œ nœ. 133 œ. J 134 135œ. J 136
E7 œ œ œ ? œ. œ œ œ Œ ‰ œ œ œ œ œ. œ œ œ Œ ‰ œ œ œ œ #œ 137 J 138 J œ œ œ 139 J 140 J œ #œ
92
Tunji B 7 œ ˙ œ œ œ œ œ œ œ œ ˙ œbœ nœ œ œ œ œ ? #œ 3 141 œ. J 142 #œ 143œ. J 144
F#7 E7 œ #œ- ? #œ œ. œ- œ. #œ œ œ œ. œ œ œ #œ œ bœ nœ œ œ#œ 145 ‰ 146‰ 3 147‰ 148 #œ J J J œ œ B 7 A 7 G 7/D C 7 3 3 3 3 3 œ œ bœ œ œ œ œ œ œ œ ? J œ œ œ œ œ œ œ œ Œ œ œ œ œ œ œ 149 œ. 150 #œ œ œ œ 151 152œ 3 œ
B 7 Piano In 3 3 ? œ ˙ œ #œ œ œ œ ˙ œ #œ œ œ œ œ 153 œ. J 154 155œ. J 156
3 3 ? œ ˙ œ #œ œ œ œ œ ˙ œ œ bœ œ #œ #œ nœ œ bœ 157 œ. J 158 159œ. J 160
E7 3 3 œ œ œ œ ? œ œ œ œ œ œ œ#œ 161 j 162 163 j 164 #œ œ. œ ˙ œ œ œ. œ ˙ œ 3 B 7 3 3 ? œ ˙ œ #œ œ œ œ ¿ œ œ ˙ œ. œ œ œ 165 . J 166 #œ 167 . J 168 J œ œ œ œ œ 3 œ
F#7 E7 ? #œ. œ œ œ œ œ. #œ œ œ œ œ. œ œ œ œ œ. œ œ œ 169 J J J 170 J 171 J J J 172 J
N.C. Freely œ œ œ U ? œ œ œ œ œ #œ œ œ œ œ œ #œ œ œ œ nœ #œ 173 œ œ œ œ 174 175 176 177 w
93
Miles Mode
Harmony is B Minor Throughout Solos
N.C. ? w #˙ 1 c w 2 3 #w 4 ˙
˙. œ œ ˙. ? ˙. œ œ ˙. #œ œ œ œ œ #œ #œ 5 6 7 ˙ 8 œ
B m œ ? #œ œ œ œ œ #œ #œ œ #œ œ œ œ bœ œ œ 9 œ œ œ 10 11 12
? œ #œ #œ œ (#œ) œ 13 œ bœ œ 14œ #œ œ 15œ œ #œ 16œ #œ nœ
œ œ œ ? bœ œ #œ œ #œ œ #œ œ œ œ œ bœ 17 œ 18 19 20
œ ? œ œ #œ œ œ #œ 21 #œ 22œ #œ œ 23œ œ bœ œ 24#œ #œ œ
N.C. ? w #˙ 25 w 26 27#w 28 ˙
˙ œ œ œ ˙ œ ? ˙. œ œ œ ˙. #œ œ œ œ #œ #œ 29 30 31 ˙ 32œ
94
Miles Mode B m Sax Solo œ œ œ œ œ œ œ ? #œ . J œ 33 œ œ œ œ 34œ œ 35 œ ˙ œ 36œ œ
? œ œ bœ œ bœ œ œ #œ œ #œ œ #œ 37 38 #œ 39 œ #œ 40œ #œ œ
œ œ œ bœ nœ. œ œ œ bœ œ bœ ? œ œ œ œ nœ œ 41 œ œ 42œ 43 44 >
? bœ nœ nœ œ #œ Nœ œ #œ œ #œ œ #œ 45 46 #œ 47 œ œ œ œ #œ 48 œ #œ
#œ œ œ œ ? œ #œ œ œ œ #œ œ œ 49 œ œ 50bœ œ nœ 51œ 52
œ œ œ ? #œ #œ nœ œ œ #œ œ œ œ bœ œ #œ bœ 53 54 55 56
œ œ œ #œ ? œ >. #œ #œ œ #œ #œ 57 œ œ #œ 58 œ œ 59 œ œ 60#œ
œ œ œ #œ œ #œ œ #œ œ #œ œ œ œ #œ ? #œ #œ 61 62 63 64
œ œ #œ ? œ bœ œ œ #œ œ #œ œ œ #œ œ 65 66 67œ #œ 68
95
Miles Mode
œ bœ nœ nœ ? œ œ #œ œ #œ œ #œ 69 œ œ 70#œ 71 œ œ 72 œ œ œ
? œ œ #œ #œ œ #œ #œ œ œ 73 œ œ 74 #œ œ 75œ œ #œ 76œ
œ ? #œ œ #œ œ œ œ #œ œ bœ œ #œ œ bœ 77 #œ œ 78 79 80
œ œ ? #œ #œ œ œ #œ œ œ œ œ œ œ #œ œ #œ œ œ 81 82 83œ œ œ œ 84
? œ œ #œ #œ nœ œ #œ œ #œ œ œ #œ #œ 85 œ 86 œ 87 œ œ 88
œ œ œ œ ? œ #œ œ œ. . #œ œ œ aœ œ ∑ 89 œ 90 91 (¿) 92
œ #œ œ œ œ ? œ . œ #œ œ . œ #œ #œ œ 93 œ œ 94 95 œ œ #œ 96œ #œ
? œ œ #œ œ œ #œ œ œ 97 œ œ #œ 98œ #œ 99œ œ #œ 100 œ #œ œ œ œ #œ nœ œ œ ? #œ œ œ œ œ œ 101 œ œ #œ 102œ 103 104
96
Miles Mode
#œ œ #œ ä ? . œ #œ œ #œ œ #œ #œ œ 105 œ œ 106 #œ 107 œ #œ œ 108
? œ œ bœ œ œ #œ œ #œ œ œ œ #œ œ #œ 109 110 œ #œ 111 œ 112
Piano Out œ œ ? œ #œ œ #œ œ #œ œ #œ 113 œ 114œ œ #œ 115œ œ #œ 116 œ œ
#œ œ œ nœ ? #œ œ œ bœ œ œ #œ œ œ #œ 117 œ œ 118 119 120
? œ #œ #œ œ œ œ œ #œ 121 œ œ #œ 122 123 124 #œ œ œ œ #œ #œ œ œ
œ œ #œ #œ œ œ œ ? #œ œ œ œ #œ nœ œ #œ 125 œ 126 127 128 œ
bœ nœ bœ bœ œ nœ œ bœ œ œ #œ œ #œ œ #œ ˙o œ ? 129 130 131 132
œ œ bœ ? #œ œ nœ #œ #œ nœ œ #œ 133 134 œ 135œ œ 136 œ #œ
œ ? ‰ ¿ #œ ‰ j #œ j #œ œ œ #œ 137 J #œ 138 ¿ œ #œ 139œ. #œ œ 140 #œ œ œ
97
Miles Mode
#œ œ ? œ œ bœ œ œ #œ œ œ ˙ œ œ œ œ bœ 141 œ 142 #œ 143œ 144
œ œ œ ? #˙. #œ œ Œ Œ ‰. œ œ œ œ œ œ œ œ œ œ 145 146 R 147 148
œ œ ? #œ œ #œ #œ œ #œ 149 œ œ 150 œ #œ œ 151œ œ #œ 152 œ #œ
Piano Solo ? œ œ œ #œ œ œ #œ œ œ œ #œ bœ 153 154 œ œ œ 155#œ œ 156
nœ #œ œ œ œ œ bœ œ ? œ #œ œ. œ #œ 157 158 159 #œ 160œ #œ œ #œ
˘ ? œ œ #œ œ œ #œ bœ 161 j 162 œ œ 163 œ nœ #œ 164œ nœ #œ œ. #œ œ œ œ œ
œ ? œ #œ œ bœ œ Aœ ¿ #œ œ œ œ bœ œ #œ 165 œ œ 166 167 ¿#œ nœ œ 168
? #œ œ #œ œ #œ œ œ œ 169 œ 170 #œ œ 171œ #œ 172œ œ. J œ œ bœ #œ œ œ #œ œ œ œ œ nœ #œ œ #œ ? œ œ 173 174 175 176
98
Miles Mode √ ? nœ œ bœ œ œ nœ œ bœ œ œ nœ œ bœ œ bœ #œ œ #œ nœ 177 178 179 180
#œ œ œ œ œ #œ œ œ ? œ bœ œ œ #œ œ œ 181 182 183 184 #œ
œ bœ ? #œ #œ œ œ œ #œ œ œ #œ 185 œ #œ œ 186œ #œ 187 œ 188
#œ œ œ ? nœ œ œ Aœ nœ œ bœ œ œ #œ œ œ 189 190 191 192 #œ #œ
? #œ œ œ #œ œ œ œ œ 193 œ #œ 194 œ #œ 195œ #œ œ œ 196 #œ
#œ œ #œ œ œ ? œ nœ #œ œ #œ œ bœ nœ 197 #œ œ #œ 198 199 200
#œ ? œ œ #œ œ œ #œ œ œ 201 202 œ #œ 203 œ 204œ #œ œ œ
œ œ #œ œ œ œ #œ œ œ bœ ? #œ œ #œ 205 œ œ œ œ 206 207 208
#œ œ ? œ œ #œ œ œ #œ œ œ œ #œ œ 209 210 œ 211#œ œ 212 #œ
99
Miles Mode
bœ ? œ œ œ œ œ #œ œ 213 œ œ #œ 214#œ œ 215 #œ œ 216#œ Studio #œ Splice ?
? œ œ #œ œ #œ œ #œ #œ œ bœ #œ 217 œ 218œ #œ 219#œ œ 220
œ ? œ #œ œ œ bœ œ Aœ nœ œ#œ 221 222 223 œ #œ nœ 224œ #œ œ œ
nœ bœ œ ? œ œ œ #œ œ œ 225 œ #œ #œ 226bœ nœ œ #œ 227 œ 228
œ œ #œ œ œ œ œ œ œ ? nœ #œ œ bœ nœ bœ #œ 229 230 231 232
œ bœ nœ ? . œ #œ . œ #œ œ 233 œ œ œ 234#œ œ 235 œ œ œ œ 236 #œ
#œ œ #œ œ œ ? œ #œ œ bœ œ bœ nœ 237 œ œ œ #œ 238 œ 239 240
œ œ ? œ #œ œ #œ œ 241 œ 242 #œ 243 œ œ œ œ nœ 244#œ œ #œ œ
œ ? #œ œ nœ #œ œ #œ œ œ bœ œ #œ 245 œ œ œ 246œ 247 248
100
Miles Mode
œ #œ œ œ ? #œ œ œ #œ œ œ #œ œ 249 œ #œ 250œ #œ 251 252
œ bœ ? œ œ #œ œ œ œ #œ #œ 253 254 #œ 255œ œ 256œ #œ œ
œ #œ œ bœ œ ? #œ œ œ œ œ #œ 257 œ 258œ 259 260#œ œ #œ
#œ #œ œ bœ #œ œ œ ? œ #œ œ œ œ œ 261 œ #œ œ 262 263 264
√ ? bœ nœ #œ œ bœ nœ #œ œ bœ œ #œ œ œ œ bœ œ #œ œ 265 266 267 268
(√) #œ #œ œ nœ #œ œ ? nœ œ bœ œ #œ #œ œ bœ œ #œ œ bœ 269 270 271 272
nœ ? . #œ œ œ œ #œ 273 œ œ œ #œ 274#œ œ œ 275œ œ #œ 276œ
œ bœ bœ ? œ œ œ #œ œ œ œ nœ #œ œ 277 278 #œ 279œ #œ œ 280
#œ ? nœ œ œ bœ œ #œ œ œ. #œ œ œ bœ nœ 281 282 #œ œ 283œ œ œ 284
101
Miles Mode
œ œ #œ œ œ œ bœ Aœ œ œ bœ ? œ œ œ œ #œ œ œ 285 286 287 288 #œ (Note: measures 289 – 292 have been deleted) Bass Solo ? œ œ œ. #œ œ. œ #œ. œ nœ. œ œ. #œ œ. œ 293 œ. J #œ. J 294 J J 295 J J 296 J J
? œ . #œ œ. œ #œ. œ nœ. œ œ. #œ œ. 297 œ nœ 298 œ 299 J 300 œ œ. J . J J J J J J
? 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 œ œ œ œ œ œ 301 302 303 304
œ œ œ œ œ œ ? œ œ œ œ œ œ œ œ œ œ œ ˙ œ. œ œ œ œ #œ 305 306 307 J 308 #œ
. . ? j . œ. . #œ. œ. œ #œ. œ œ œ œ #œ œ 309 ‰ #œ ‰ œ œ 310‰ œ ‰ 311 Œ ‰ 312 . œ. J . J J J
? j . œ. . #œ œ. œ #œ. œ bœ nœ œ bœ œ #œ 313 ‰ #œ ‰ œ œ 314‰ œ ‰ 315‰ 316 . œ. J . J J J
œ nœ œ œ #œ œ ? J J J œ J J J bœ 317 ‰ œ ‰ œ 318‰ œ ‰ J œ 319‰ œ ‰ œ 320‰ œ ‰ J œ
œ #œ œ œ #œ œ ? J œ œ bœ œ bœ 321 ‰ œ œ œ 322 œ œ œ œ 323 œ œ œ œ 324œ œ
102
Miles Mode
b˙ Aœ A˙ Aœ b˙ bœ b˙ bœ ? œ œ œ œ œ 325 326 327 328
? œ œ #œ œ œ œ œ œ œ 329 #œ œ œ 330œ #œ 331œ œ œ œ #œ œ 332 #œ. J
œ bœ œ . œ ? #œ œ ‰ œ #œ ‰ œ œ #œ ‰ œ œ J 333 œ J 334 J 335 #œ J 336œ
œ ˙ œ œ ˙ œ ? œ œ #>œ œ . . J œ œ œ J 337 338 œ 339 340 #œ.
œ ? ˙ œ œ #>œ œ œ j œ #œ nœ œ j 341 342 ‰ œ 343œ #œ œ 344 nœ. œ
N.C. Melody Statement ? œ. ˙. œ #˙ 345 ˙. œ 346 #œ. 347w 348 ˙
˙ œ w ? ˙. œ w #œ œ œ œ œ nœ #œ 349 350 351 ˙ 352 œ
B m ? #œ #œ œ bœ œ #œ œ 353 œ nœ #œ nœ 354œ nœ #œ 355œ œ 356
#œ #œ œ ? œ œ bœ œ Aœ nœ œ bœ œ œ #œ œ œ 357 358 359 360 #œ
103
Miles Mode
œ bœ ? #œ #œ œ #œ œ #œ œ 361 œ œ #œ 362nœ #œ 363œ œ œ œ 364
œ ? œ #œ œ œ bœ œ Aœ œ #œ œ œ #œ 365 366 367 œ #œ œ 368 œ
N.C. ? w #˙ 369 w 370 371#w 372 ˙
1/2 x ˙ œ œ œ ˙ œ œ ? ˙. œ œ œ ˙. #œ œ œ œ œ #œ œ 373 374 375 ˙ 376 œ
U No Time ? ‰ œ #œ œ Ó. œ #œ #œ Œ Ó 377 J œ ˙ 378 379
104
Big Nick
G E7 A m7 D 7 G E7 A m7 D 7 œ œ œ œ ? œ œ œ #œ œ. œ. J œ#œ œ œ œ œ #œ œ. œ œ 1 c 3 J 2 œ 3 3 J 4 œ œ 3 3 œ œ
G Bo C 7 C#o G E7 A m7 D 7 œ œ œ ˙ œ œ œ œ œ #œ 5 ˙ œ 6 ˙ 7 ˙ œ œ 8 œ
G E7 A m7 D 7 G E7 A m7 D 7 œ œ œ #œ œ œ œ. bœ nœ œ œ œ#œ œ. J œ 3 œ œ #œ œ œ œ 9 3 10 11 J 12 œ œ
G Bo C 7 C#o G E7 A m7 D 7 œ j ˙ ˙ œ œ #œ œ 13˙ œ. J 14œ. œ #˙ 15 16˙ G E7 A m7 D 7 G E7 A m7 D 7 Piano Solo œ œ nœ œ œ œ œ 17 œ 18œ œ œ 19 œ œ œ 20œ œ œ 3 œ œ œ G E7 A m7 D 7 G Bo C 7 C#o œ œ #œ œ œ œ œ œ œ œ œ œ œ œ œ œ 21 22 23 œ œ #œ 24 œ
G E7 A m7 D 7 G E7 A m7 D 7 œ œ œ œ œ œ œ nœ bœ œ œ œ #œ œ œ œ œ œ bœ œ 25 26 27 28 œ
G E7 A m7 D 7 G Bo C 7 C#o œ bœ œ œ nœ œ bœ nœ œ œ œ œ bœ œ œ #œ 29 œ 30 œbœ œ 31 32œ 3
105
Big Nick G E7 A m7 D 7 G E7 A m7 D 7 œ bœ œ œ œ bœ œ œ œ œ œ œ œ œ œ bœ ¿ ¿ bœ nœ ¿ 33 34 35 ¿ 36
G E7 A m7 D 7 G Bo C 7 C#o nœ #œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 37 38 39 nœ œ #œ 40 œ
G E7 A m7 D 7 G E7 A m7 D 7 Sax Solo œ œ œ œ #œ œ œ œ œ œ ¿ œ 42 œ œ #œ 43œ 44 œ œ 41 œ œ œ œ G E7 A m7 D 7 G Bo C 7 C#o œ œ œ #œ œ œ œ œ œ œ œ œ œ œ œ œ 45 46 47 œ œ #œ 48 œ
G E7 A m7 D 7 G E7 A m7 D 7 œ œ œ #œ œ œ œ œ œ œ ¿ œ œ œ œ #œ œ 49œ #œ 50 51 œ 52
G E7 A m7 D 7 G Bo C 7 C#o œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ #œ œ 53 54 55 œ œ #œ 56 œ A m7 D 7 G G E7 #œ E7 A m7 D 7 bœ nœ #œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ œ 57 58 59 60
G E7 A m7 D 7 G Bo C 7 C#o œ œ bœ œ œ œ œ œ ¿ œ #œ œ œ œ œ œ œ #œ œ œ 62œ #œ 63 64 61 œ G E7 A m7 D 7 G E7 A m7 D 7 œ œ œ œ œ œ œ œ œ œ 65 œ 66 #œ 67 68 œ œ œ œ œ
106
Big Nick G E7 A m7 D 7 G Bo C 7 C#o œ œ bœ bœ nœ #œ œ œ œ œ œ œ #œ œ œ œ œ œ œ ¿ 69 70 œ 71 72
G E7 A m7 D 7 G E7 A m7 D 7 √ œ nœ œ œ bœ œ œ œ bœ œ œ #œ œ œ œ 73 74 œ 75 76 œ
G E7 A m7 D 7 G Bo C 7 C#o bœ #œ œ œ œ œ œ œ œ œ bœ œ œ œ 77 78 œ œ 79 80 œ œ œ
G E7 A m7 D 7 G E7 A m7 D 7
œ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ 81 œ œ œ œ #œ 82 83 84 œ œ ¿
G E7 A m7 D 7 G Bo C 7 C#o œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 85 86 87 œ œ #œ 88 œ
G E7 A m7 D 7 G E7 A m7 D 7 Sax Solo End œ œ œ œ œ œ bœ œ œ œ œ œ œ œ œ œ œ œ 90 œ œ 91 92 œ 89 3 œ œ G E7 A m7 D 7 G Bo C 7 C#o #œ œ œ œ #œ œ œ œ bœ nœ œ œ œ #œ œ j œ œ œ œ 94œ œ œ œ œ 95 . œ 96œ. #œ. œ 93 œ J ¿ J G E7 A m7 D 7 G E7 A m7 D 7 Melody Statement œ . ˙ œ #œ œ œ œ #œ œ. œ. œ œ #œ œ ¿ 98 œ 99 3 J 100 J œ 97 J œ G E7 A m7 D 7 G Bo C 7 C#o œ œ œ œ œ bœnœ œ œ œ œ œ œ œ #œ œ. 3 3 œ . œ œ œ 101 3 J 102 œ 103 J œ104˙ #˙
107
Big Nick G E7 A m7 D 7 G E7 A m7 D 7 . œ . . œ. œ œ #œ œ œ œ #œ œ. œ œ œ #œ œ œ 106 œ 107 3 J 108 J œ 105 J J ˙ G E7 A m7 D 7 G Bo C 7 C#o . œ œ œ œ œ . œ œ œ#œ œ. J œ œ œ. œ œ. œ œ. œ œ 109 3 110 111 J J 112 J œ G E7 A m7 D 7 G U ˙ œ j ˙ 114 œ 115‰ œ œ 116 113 ˙ œ œ ˙ ˙
108
Up ’Gainst The Wall
A 7 D 7 A 7 b b b bœ ? 4 bœ bœ. œ œ. b˙ œ. (œ) bœ nœ œ bœ 1 ˙ 2 b˙ œ 3 4 4 J J J J D 7 A 7 D 7 b b b bœ n˙ bœ bœ ? b˙ œ. J bœ bœ bœ. ¿ b˙ œ bœ 5 6 7 ˙ J 8 B m7 E 7 A 7 b b b bœ œ œ #œ œ ¿ bœ bœ bœ bœ œ bœ ? œ nœ bœ bœ œ œ bœ. œ bœ œ 9 10 3 11 12 œ. œ
A 7 D 7 A 7 b b b bœ nœ bœ ? bœ. nœ b˙ œ. nœ b˙ œ. nœ Nœ œ 13 ˙ J 14 J 15 J 16 D 7 A 7 D 7 b b b bœ n˙ bœ bœ bœ ? b˙ œ. J bœ bœ. ¿ bœ. œ œ. 17 18 19˙ J 20 J J B m7 E 7 A 7 b b b ? bœ œ œ bœ nœ bœ œ bœ œ œ bœ œ bœ œ bœ œ œ nœ 21 22 23 œ #œ œ 24
A 7 D 7 A 7 b b b Sax Solo œ bœ œ ? œ bœ nœ bœ œ nœ bœ bœ bœ œ nœ bœ bœ bœ œ bœ 25 26 27 œ 28
D 7 A 7 D 7 b b b œ bœ œ œ œ œ ? bœ œ nœ bœ ¿ ¿ bœ œ bœ bœ bœ 29 30 31 32 œ
109
Up ’Gainst The Wall B m7 E 7 A 7 b b b ? bœ bœ œ œ bœ bœ nœ œ œ 33 nœ œ bœ 34nœ 35 ¿ œ #œ œ 36 nœ
A 7 D 7 A 7 b b b œ bœ œ ? bœ œ bœ œ œ bœ bœ œ bœ bœ œ bœ bœ bœ nœ 37 38 39 40
D 7 A 7 D 7 b b b (bœ) œ œ bœ œ nœ œ œ œ œ bœ nœ bœ ? bœ bœ œ bœ bœ nœ 41 3 nœ bœ 42 43 44
B m7 E 7 A 7 b b b bœ bœ œ nœ bœ bœ œ ? bœ ¿ bœ bœ œ bœ œ nœ bœ 45 46 47 48 œ œ nœ œ œ
A 7 D 7 A 7 b b b ? nœ œ bœ œ bœ bœ œ 49 nœ œ œ œ 50œ œ 51nœ œ œ 52
D 7 A 7 D 7 b b b œ nœ œ œ œ ? œ œ œ bœ bœ bœ œ bœ bœ bœ nœ 53 œ bœ 54 55 56
B m7 E 7 A 7 b b b bœ œ ? œ bœ œ œ œ œ bœ bœ nœ bœ œ #œ œ 57 58 nœ œ 59bœ œ 60
A 7 D 7 A 7 b b b bœ nœ œ œ bœ nœ bœ ? bœ œ bœ œ œ œ œ bœ bœ bœ 61 œ œ 62bœ 63 64
A 7 D 7 D 7 b b b bœ œ bœ œ œ bœ nœ bœ œ bœ bœ œ nœ bœ nœ œ bœ ? 65 66 67 68
110
Up ’Gainst The Wall B m7 E 7 A 7 b b b œ œ bœ œ bœ (bœ)bœ œ nœ ? œ nœ bœ œ bœ nœ nœ bœ œ 69 70 3 71 72bœ nœ ¿
A 7 D 7 A 7 b b b ? bœ œ œ bœ bœ œ bœ bœ œ nœ bœ œ bœ œ nœ bœ bœ œ bœ nœ 73 74 75 76
D 7 A 7 D 7 b b b bœ nœ œ œ bœ ? œ œ nœ bœ (œ) œ bœ œ œ bœ œ œ œ 77 œ bœ 78 79 80
B m7 E 7 A 7 b b b ? œ nœ œ œ œ œ œ bœ œ œ œ nœ bœ bœ bœ nœ œ œ 81 82 83 œ bœ nœ 84
A 7 D 7 A 7 b b b œ œ bœ œ œ ? bœ bœ œ bœ œ bœ œ 85 œ œ bœ 86œ œ 87 88
D 7 A 7 D 7 b b b bœ ? bœ. œ œ œ œ bbœ#œ œ nœ œ bœbœ œ œ nœ œ#œ œ bœ 89 b œ. œ œ 90 œ œ 91 œbœ bœ œ 92 J 3 B m7 E 7 A 7 b b b ? bœ œ bœ œ œ bœ bœ bœ bœ œ œ 93 94 ¿ bœ nœ bœ 95 œ œ bœ nœ 96
A 7 D 7 A 7 b b b bœ bœ bœ ? bœ ¿ bœ œ œ nœ œ bœ bœ nœ bœ œ 97 œ œ 98œ bœ 99 100
D 7 A 7 D 7 b b b œ ? nœ œ nœ œ nœ bœ bœ œ bœ nœ bœ 101 œ bœ 102 103 nœ 104œ bœ
111
Up ’Gainst The Wall B m7 E 7 A 7 b b b bœ œ ? œ bœ nœ bœ nœ œ bœ nœ bœ bœ bœ 105 106 107 œ bœ œ 108bœ œ nœ
A 7 D 7 A 7 Melodyb Statement b b bœ ? bœ. bœ b˙ œ. nœ b˙ bœ. nœ bœ nœ œ bœ œ ¿ 109 ˙ J 110 J 111 J 112 D 7 A 7 D 7 b b b bœ n˙ bœ ? œ. bœ bœ bœ. œ bœ nœ 113 b˙ J 114 115˙ ¿ 116b˙ J B m7 E 7 A 7 b b b bœ œ bœ ? œ bœ nœ œ nœ œ bœ œ nœ bœ nœ œ #œ œ œ nœ 117 118 bœ œ 119bœ œ œ 120
A 7 D 7 A 7 b b b bœ ? bœ. ¿ b˙ œ. ¿ b˙ bœ. œ œ bœ œ bœ 121 ˙ J 122 J 123 J 124 D 7 A 7 D 7 b b b n˙ b˙ ? b˙ nœ. bœ bœ. ¿ bœ. œ œ nœ nœ 125 J 126 127˙ J 128 J B m7 E 7 A 7 b b b U ? bœ œ nœ bœ œ nœ bœ œ bœ œ œ bœ bœ œ œ nœ bœ 129 130 131 132 œ œ bœ
U U ? jbœ œ bœ n˙ ˙ 133 Œ ‰ œ 134n ˙ ˙
112 APPENDIX B-SELECTED DISCOGRAPHY OF JIMMY GARRISON
The following discography represents the recordings that contain excellent examples of
Jimmy Garrison’s playing in a variety of ensembles and working environments. They are listed in chronological order based on the recording date.
Jones, J. Blues for Dracula [LP recording]. New York: Riverside RLP 12-282 (Recorded in New York, NY: September 17, 1958).
Fuller, C. Blues-ette [LP recording]. US: Savoy ST 13006 (Recorded May 21, 1959). Scott, T. I’ll Remember [LP recording]. US: Muse MR 5266 (Recorded August 1 and 9, 1959). Jones, J. Showcase [LP recording]. New York: Riverside 12-313 (Recorded in New York, NY: November, 1959).
Dorham, K. Jerome Kern Showboat [LP recording]. New York: Time Records S/2024 (Recorded New York, NY: December 9, 1960).
Massey, C. Blues To Coltrane [LP recording]. New York: Candid 9029 (Recorded in New York, NY: January 13, 1961).
Curson, T. Plenty of Horn [LP recording]. New York: Old Town Records OT LP 2003 (Recorded in New York, NY: April 11, 1961).
Carter, B. Further Explorations [LP recording]. US: Impulse! A-12 (Recorded November 13 and 15, 1961).
Coltrane, J. Ballads [LP recording]. US: Impulse! AS-32 (Recorded in Englewood Cliffs, NJ: December 21, 1961, September 18, 1962, November 13, 1962).
Coltrane, J. Duke Ellington and John Coltrane [LP recording]. US: Impulse! A-30 (Recorded in New York, NY: September 26, 1962).
Coltrane, J. John Coltrane and Johnny Hartman [LP recording]. US: Impulse! A-40 (Recorded in Englewood Cliffs, NJ: March 7, 1963).
Coltrane, J. Live at Birdland [LP recording]. US: Impulse! AS-50 (Recording in New York, NY: October 8, 1963, November 18, 1963).
Coltrane, J. Crescent [LP recording]. US: Impulse! AS-66 (Recorded on April 27 and June 1, 1964).
113 Tyner, M. McCoy Tyner Plays Ellington [LP recording]. US: Impulse! AS-79 (Recorded in Englewood Cliffs, NJ: December 2, 7, 8, 1964).
Coltrane, J. A Love Supreme [LP recording]. US: Impulse! A-77 (Recorded on December 9, 1964).
Coltrane, J. One Down, One Up (Live At The Half Note) [CD recording]. US: Impulse! B0002380-02 (Recorded in New York, NY: March 26 and May 7, 1965).
Coltrane, J. Transition [LP recording]. US: Impulse! AS-9195 (Recorded in Englewood Cliffs, NJ: May 26 and June 10, 1965).
Coltrane, J. Sun Ship [LP recording]. US: Impulse! AS-9211 (Recorded in New York, NY: August 26, 1965).
Coltrane, J. First Meditations (For Quartet) [LP recording]. US: Impulse! AS-9332 (Recorded in Englewood Cliffs, NJ: September 2, 1965).
Coltrane, J. Live In Seattle [LP recording]. US: Impulse! AS-9202-2 (Recorded in Seattle, WA on September 30, 1965).
Coltrane, J. Kulu Se Mama [LP recording]. US: Impulse! A-9106 (Recorded in Los Angeles, CA on October 14, 1965 and in Englewood Cliffs, NJ on June 16, 1965).
Coltrane, J. Meditations [LP recording]. US: Impulse! AS-9110 (Recorded in Englewood Cliffs, NJ: November 23, 1965).
Rollins, S. East Broadway Run Down [LP recording]. US: Impulse! A-9121 (Recorded on May 9, 1966).
Coltrane, J. Live at the Village Vanguard Again! [LP recording]. US: Impulse! AS-9124 (Recorded in New York, NY: May 28, 1966).
Coltrane, J. Stellar Regions [LP recording]. US: Impulse! IMP 169 (Recorded in Englewood Cliffs, NJ: February 15, 1967).
Coltrane, J. The Olatunji Concert: The Last Live Recording [CD recording]. US: Impulse! 314 589 120-2 (Recorded in New York, NY: April 23, 1967).
Jones, E. Puttin’ It Together [LP recording]. US: Blue Note BST 84282 (Recorded on April 8, 1968).
Coleman, O. Love Call [LP recording]. US: Blue Note BST-84356 (Recorded on April 29 and May 7, 1968).
114 Coltrane, A. A Monastic Trio [LP recording]. US: Impulse! AS-9156 (Recorded on June 6, 1968).
Jones, E. The Ultimate [LP recording]. US: Blue Note BST 84305 (Recorded in Englewood Cliffs, NJ: September 6, 1968).
Shepp, A. Attica Blues [LP recording]. US: Impulse! AS-9222 (Recorded in New York, NY: January 24, 25, and 26, 1972).
115