Improvising for Solo Jazz Guitar A Whole-instrument Approach to Integrating Single-line and Polyphonic Concepts. James Marcus Sherlock Dip. Mus Performance, Queensland Conservatorium Submitted in partial fulfilment of the degree of Master of Music Conservatorium of Music Tasmanian College of the Arts University of Tasmania October 2017 Declaration This exegesis contains the results of research carried out at the University of Tasmania, Conservatorium of Music between 2013 and 2017. It contains no material that, to my knowledge, has been accepted for a degree or diploma by the University or any other institution, except by way of background information that is duly acknowledged in the exegesis. I declare that this exegesis is my own work and contains no material previously published or written by another person except where clear acknowledgement or reference has been made in the text. This exegesis may be made available for loan and limited copying in accordance with the Copyright Act 1968. ii Table of Contents Acknowledgements……………………………………………………….iii List of Figures ............................................................................................ iv List of Audio Excerpts ............................................................................... vi Abstract .................................................................................................... viii Preface ....................................................................................................... ix Chapter 1: Literature Review ...................................................................... 1 Broad Focus Works .................................................................................................... 1 Guitar-Specific Method Books .................................................................................. 4 Non-Guitar Specific Sources ..................................................................................... 9 Recordings: Guitar in Ensemble Format ................................................................. 11 Recordings: Solo Guitar ........................................................................................... 14 Recordings: Other Instruments ................................................................................ 17 Chapter 2: Methodology ........................................................................... 21 Chapter 3: Key Improvising Concepts in Solo Performance .................... 24 Melodic Chords/Harmonic Melodies ....................................................................... 25 Integration of Melodic and Chordal Playing ........................................................... 32 Rhythmic Drive and Clarity, Forward Motion and Time Feel ................................ 37 Deep Understanding of the Material ........................................................................ 44 Chapter 4: Creating Variety in Improvised Solo Guitar Performance ...... 46 Rhythmic Variety ..................................................................................................... 47 Variety of Repertoire ............................................................................................... 55 Variety of articulation and tonal variation ............................................................... 58 Chapter 5: Recital Three-New Developments and Refinement of Core Concepts .................................................................................................... 64 Chapter 6: Conclusion ............................................................................... 72 Bibliography ............................................................................................. 78 Discography .............................................................................................. 80 Appendix 1: Video Recordings of Recital Performances Recital One 24th February 2015 Recital Two 27th August 2015 Recital Three 22nd November 2016 Appendix 2: Audio Excerpts iii Acknowledgements I would like to take this opportunity to thank my supervisors, Dr Glen Hodges and Dr Nick Haywood for taking on this project and for their invaluable help throughout. I would also like to acknowledge the vital input of Dr Anne-Marie Forbes. Also thanks to Caleb Miller, Robert Rule and the other staff members from UTAS for their help in the preparation and recording of the recitals. iv List of Figures Figure 1 Peter Bernstein: Chord Voicings Figure 2 Wynton Kelly: Freddie Freeloader (Excerpt) Figure 3 Wynton Kelly: Guitar Reduction Figure 4 Sonny Rollins/Charlie Parker/Sonny Stitt (Excerpt) Figure 5 Dewey Square (Recital One Excerpt) Figure 6 Wes Montgomery: Gone with the Wind (Excerpt) Figure 7 Fried Bananas (Recital One Excerpt) Figure 8 Never Let Me Go (Recital One Excerpt) Figure 9 Kenny Burrell: Chitlins Con Carne (Excerpt) Figure 10 Kurt Rosenwinkel: Lazy Bird (Excerpt) Figure 11 Fried Bananas (Recital One Excerpt) Figure 12 Peri’s Scope (Recital One Excerpt) Figure 13 Domestic Arts (Recital One Excerpt) Figure 14 Moose the Mooche (Lead Sheet) Figure 15 Brown/Coltrane/Parker/Rollins (Excerpt) Figure 16 Fried Bananas (Recital One Excerpt) Figure 17 Domestic Arts (Recital One Excerpt) Figure 18 Domestic Arts (Recital One Excerpt) Figure 19 Watermark (Recital One Excerpt) Figure 20 Autumn in New York (Recital Two Excerpt) Figure 21 What is this Thing Called Love? (Recital Two Excerpt) v Figure 22 Lullaby of the Leaves (Recital Two Excerpt) Figure 23 Comparison Table Figure 24 Micro-Rhythm Examples Figure 25 Get Out of Town (Recital Three Excerpt) Figure 26 Bluesette (Recital Three Excerpt) Figure 27 Con Alma (Recital Three Excerpt) Figure 28 Here’s That Rainy Day (Recital Three Excerpt) Figure 29 Con Alma (Recital Three Excerpt) vi List of Audio Excerpts Ex 1 Dewey Square (a) Ex 2 Fried Bananas (a) Ex 3 Never Let Me Go Ex 4 Fried Bananas (b) Ex 5 Peri’s Scope Ex 6 Domestic Arts (a) Ex 7 Fried Bananas (c) Ex 8 Domestic Arts (a) Ex 9 Domestic Arts (b) Ex 10 Watermark Ex 11 Autumn in New York Ex 12 What is This Thing Called Love? Ex 13 Lullaby of the Leaves Ex 14 Wrapped Around Your Finger (a) Ex 15 Wrapped Around Your Finger (b) Ex 16 Conception Ex 17 Dewey Square (b) Ex 18 Wrapped Around Your Finger (c) Ex 19 Wrapped Around Your Finger (d) Ex 20 What is This Thing Called Love? (b) Ex 21 Wrapped Around Your Finger (e) vii Ex 22 Autumn in New York (b) Ex 23 Get Out of Town (a) Ex 24 Bluesette Ex 25 Get Out of Town (b) Ex 26 Get Out of Town (c) Ex 27 Get Out of Town (d) Ex 28 Get Out of Town (e) Ex 29 Get Out of Town (f) Ex 30 Get Out of Town (g) Ex 31 Con Alma (a) Ex 32 Here’s That Rainy Day Ex 33 Con Alma (b) viii Abstract Historically within the jazz idiom, the guitar has predominantly functioned within ensembles of various sizes. A focus of this study is an investigation into the guitarist’s potential to improvise completely unaccompanied, without the rhythmic security of drums or the harmonic and structural security of bass or piano. This requires not only a solid grounding in harmony, rhythm, and melody but also should incorporate integration of the melodic and accompaniment roles. This integration of roles is the key focus of this study. In jazz, the piano is the instrument most well- known for solo performance due to the obvious advantages of being able to play left and right hands independently. The guitar by comparison initially appears to have limited possibilities when played solo. This work seeks to find solutions for this problem as developed in my own practice through performance and reflective and investigative analysis; solutions that take advantage of the guitar’s unique characteristics. The outcomes of this research will be documented in a folio of three recorded solo performance recitals and an accompanying exegesis outlining the key findings based on analysis of these performances. The findings will outline solutions to the problems associated with solo guitar performance and address the integration of chordal and melodic playing as well as vital rhythmic, melodic, harmonic and textural concepts. ix Preface Improvising solo guitar is difficult, the guitar “falls between the cracks” of being a chordal instrument and a melodic instrument. The guitarist does not have the potential harmonic palette available to a pianist or the voice-like quality and melodic weight of the saxophone or trumpet. The guitar does have however, its own inherent expressive melodic qualities and a unique chordal language that makes it ideal for solo improvised performance, despite the apparent restrictions. The challenge in solving these problems in a musical way, that allows the performer freedom of expression, whilst providing the listener with a complete and varied experience is the focus of this study. My unique style of jazz guitar playing, based on a conceptual approach developed over many years, has led me to investigate a question that has become ubiquitous in the field. “Why do jazz improvisers on guitar separate and compartmentalize their chordal and melodic thinking?” My experience has been that the more I can integrate these aspects of my playing the more successful I can be as both a solo improviser and as an ensemble member, especially in situations where the guitar is providing the harmonic and chordal texture. x Guitarists have historically tended to favour or pragmatically fulfil one of two roles. The approaches can loosely be termed “chordal” or “melodic”. In popular and rock/blues music styles these roles are often referred to as “rhythm” and “lead”,