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 1

The Effect of Outside Genres on

Techniques and Devices in Modern Jazz

Composition (1988-2008)

Thomas Botting

A thesis submitted to Massey University and Victoria University of

Wellington in fulfillment of the degree Master of Music (Performance)

New Zealand School of Music

2009

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Abstract

This is a study involving research, analysis and performance of music

composed by jazz artists in the last twenty years. The focus of this discussion will

be on the influence of several outside genres on the music of these jazz

composers. In particular it will examine transcriptions of works by composers

including Dave Holland, John Scofield, Hiromi Uehara, Nils Wogram, Christian

McBride, Bill Frisell, Kenny Garrett and Pat Metheny. The analysis of these

transcriptions will examine the devices the composers have used such as

counterpoint, harmony, rhythm, instrumentation, melody, time signatures, form et

al. and assess how any outside genres may have affected these devices.

Furthermore the analysed compositions will be performed in a recital setting, as

well as a portfolio of compositions written by myself using the techniques

gathered from my analysis.

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Acknowledgements

Many thanks to my supervisor Phil Broadhurst for his assistance and

guidance.

Very special thanks to my Bass tutor Alberto Santarelli for the hard work

he has put in teaching me over the past six years. I would not be half the

performer I am today without his tutorage.

Thanks to all the staff and students, past and present, of the New Zealand

School of Music Albany campus.

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The Effect of Outside Genres on Techniques and Devices in Modern Jazz Composition
(1988-2008) .................................................................................................................... 1
Abstract....................................................................................................................... 2
Acknowledgements ..................................................................................................... 3
Chapter 1: History ....................................................................................................... 7
Chapter 2: Kenny Garrett........................................................................................... 10
Voicings and Harmony ...................................................................................... 12
Melody .............................................................................................................. 14
Timbre............................................................................................................... 17
Chapter 3: Pat Metheny ............................................................................................. 20
Brazilian Music ..................................................................................................... 21
Timbre............................................................................................................... 23
Rhythm.............................................................................................................. 24
Harmony ........................................................................................................... 25
Pop Music ............................................................................................................. 27
Harmony ........................................................................................................... 27
Melody .............................................................................................................. 29
Rhythm.............................................................................................................. 30
Timbre............................................................................................................... 30
Chapter 4: The folk music of South-eastern Europe and its influence on Dave Holland
and Nils Wogram ...................................................................................................... 32
Section 1: Dave Holland........................................................................................ 32
Analysis: ‘Monterey Suite IV: Happy Jammy’, Overtime 2005.............................. 35
Rhythmic Feel ................................................................................................... 35
Time Signatures................................................................................................. 36
Ostinato ............................................................................................................. 38
Melody .............................................................................................................. 41
Counterpoint...................................................................................................... 43
Ties to ‘Free’ Jazz music ................................................................................... 46
Section 2: Nils Wogram......................................................................................... 47
Analysis: ‘The Myth’, Fahvergnügen, Nils Wogram ............................................. 47
Odd Meters........................................................................................................ 47
Ostinato ............................................................................................................. 50
Ties to ‘Free’ Jazz music ................................................................................... 52
Harmony ........................................................................................................... 53
Chapter 5: The influence of Electronic and Rock music on Hiromi Uehara and
Christian McBride ..................................................................................................... 54
Section 1: Hiromi Uehara ...................................................................................... 54
Analysis: ‘Return of Kung-Fu World Champion’, Spiral. ...................................... 55
Rhythm.............................................................................................................. 55
Timbre............................................................................................................... 57
Harmony ........................................................................................................... 58
Melody .............................................................................................................. 59
Section 2: Christian McBride................................................................................. 60

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Analysis: ‘Technicolour Nightmare’, Vertical Vision, Christian McBride Band. .... 60

Rock and Jazz-Rock Fusion................................................................................... 61
‘Riffs’................................................................................................................ 61
Feel ................................................................................................................... 62
Melody and Harmony ........................................................................................ 64
Timbre............................................................................................................... 65
Electronic Music ................................................................................................... 66
Chapter 6: American Roots Music............................................................................. 68
Section 1: John Scofield ........................................................................................ 68
Blues ................................................................................................................. 69
R’n’B, Soul and Funk........................................................................................ 69
Country/American Folk Song ............................................................................ 70
Gospel ............................................................................................................... 70
New Orleans...................................................................................................... 71
Section 2: Bill Frisell............................................................................................. 72
Blues ................................................................................................................. 73
Country/American Folk Song ............................................................................ 73
Chapter 7: Original Compositions ............................................................................. 75
Mosgiel ................................................................................................................. 75
Ostinato ............................................................................................................. 75
Instrumentation.................................................................................................. 77
Rhythm.............................................................................................................. 77
Counterpoint...................................................................................................... 77
Melody .............................................................................................................. 79
Meters ............................................................................................................... 79
Ties to ‘Free’ Jazz music ................................................................................... 80
The Hollyford........................................................................................................ 81
Melody .............................................................................................................. 81
Harmony ........................................................................................................... 81
Timbre............................................................................................................... 82
Three Streams........................................................................................................ 83
Harmony ........................................................................................................... 83
Rhythm.............................................................................................................. 86
Melody .............................................................................................................. 87
Glenorchy.............................................................................................................. 89
Instrumentation.................................................................................................. 89
Rhythmic Feel ................................................................................................... 90
Time Signatures................................................................................................. 90
Ostinato ............................................................................................................. 91
Counterpoint...................................................................................................... 92
Ties to ‘Free’ Jazz music ................................................................................... 94
Elevation ............................................................................................................... 95
Harmony ........................................................................................................... 95
Melody .............................................................................................................. 96

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Coltrane Influence ............................................................................................. 97

Nightcaps .............................................................................................................. 98
Timbre............................................................................................................... 98
Rhythm.............................................................................................................. 98
Harmony ......................................................................................................... 101
Electronic music rhythms ................................................................................ 102
Erewhon.............................................................................................................. 103
Rhythm............................................................................................................ 103
Harmony ......................................................................................................... 104
Melody ............................................................................................................ 104
Conclusions............................................................................................................. 106
Appendix 1: Transcriptions ..................................................................................... 107
Appendix 2: Original Compositions ........................................................................ 108
Bibliography ........................................................................................................... 109
Books .................................................................................................................. 110
Recordings .......................................................................................................... 112
Websites.............................................................................................................. 114

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Chapter 1: History

Jazz has always been influenced by other genres; this is the nature of the

music itself. First there was the amalgamation of African rhythms and melody, the

blues and western European harmony that birthed the music. Since its

conception, jazz has historically and categorically taken elements of other genres

and mixed them with its own. Jazz took Broadway show tunes and made them

into jazz standards. Juan Tizol inserted the ʻSpanish tingeʼ into the Duke Ellington

Orchestra with his compositions ʻCaravanʼ and ʻPerdidoʼ, thereby popularising an

amicable relationship between jazz and ʻLatinʼ music that continues to this day.

The Modern Jazz Quartet took aspects of classical and baroque music and

applied them to the jazz aesthetic. Charles Mingus further explored the African

aspects of jazz and used elements of the music of western Africa in much of his

work, culminating in the epic masterwork The Black Saint and the Sinner Lady.

Chick Corea has often incorporated elements of Spanish music into his work, as

can be observed in ʻLa Fiestaʼ or ʻSpainʼ. Miles Davis was instrumental in

bringing elements of rock music into the jazz mainstream and starting the jazz-

rock fusion craze. Herbie Hancockʼs Head Hunters group took ideas from soul,

funk and rhythm and blues artists such as Sly and the Family Stone, Parliament-

Funkadelic and James Brown and mixed them with jazz. John McLaughlin,

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among others, managed to successfully create a fusion between jazz and Indian

music.

These are just a few examples of the countless instances of outside

influences in jazz music. Obviously jazz is a musical style that is particularly well

suited to the incorporation of outside musical elements into its language. This is

because of the improvisatorial aspects fundamental to the genre. There is an

abundance of openness or ʻspaceʼ in jazz rhythm, harmony, melody and texture

that allows for the incorporation of outside genre elements. In this study we will

analyse modern jazz compositions in an effort to discern ways in which elements

of outside genres have been applied to the jazz genre.

There are two reasons for focusing on a specific period of ʻmodern jazzʼ.

The first is obvious. In the last twenty years the world has undergone significant

changes. The most important of these with regard to the amalgamation of

different musical genres is the advent of the Internet. This amazing invention has

opened the world up, communicatively speaking, and this has contributed no end

to the blending of different musical genres. Everything is available to you at the

click of a button; if you want to hear Chinese music, examples of it are instantly

available to you online. If you want to collaborate on a recording with an

Indonesian Gamelan player, it is possible to locate one online and email a

recording. They can then record their part and send it back to you. Consequently,

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there has recently been a rising influence of outside genres in jazz because they

are so much more accessible than they were in the past.

The other reason for limiting the scope of this research to music from the

last twenty years is how broad the subject matter would be if the entire history of

jazz influences were studied.

Obviously, this branch of research is a massive one. It would be

impossible to completely explore this avenue in one relatively small thesis. Hence

this work should not be treated as a complete guide to the influence of outside

genres on modern jazz composition; rather, it should be treated as an

introduction to the effects of said genres on modern jazz compositions. There is

certainly room for further research on the effects of each genre I have started

researching, and also on genres that I havenʼt included in my research, many of

which have had some impact on certain jazz compositions.

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Chapter 2: Kenny Garrett

It would be incorrect to state that Kenny Garrett is the first jazz musician to

incorporate Eastern influences into his compositional work. There have been

several instances throughout the history of jazz of Eastern-influenced sounds and

ideas being incorporated into the music. Duke Ellingtonʼs 1967 album The Far

East Suite is a great example of this. Dewey Redman made use of the Chinese

suomo, an oboe-like double-reeded traditional Chinese instrument. John Handy

made much-lauded landmark recordings with the great tabla player Ali Akbar

Khan. John Coltrane incorporated elements of both Indian music and Indian

spirituality into his later work and was in the process of beginning a long period of

tutorage with the famous sitar player and teacher Ravi Shankar. The Japanese

American jazz-rock fusion band Hiroshima successfully blended elements of

Japanese music, first with rhythm and blues and fusion, and later with a more

ʻsmooth jazzʼ sound. Anthony Brown, whose father was a Native

American/African American and mother was Japanese, is one of the musicians

most associated with the so-called Asian American jazz movement. His cross-

cultural ensemble Anthony Brownʼs Asian American Orchestra blends traditional

Japanese instruments and musical ideas with jazz, often reworking jazz

standards into a more Eastern sound. In the year 2000 the Orchestra was

nominated for a Grammy for Best Large Jazz Ensemble Performance for their

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incredible reworking of the aforementioned Far East Suite. John McLaughlinʼs

pioneering work with both the Mahavishnu Orchestra and Shakti still stands as

some of the most important and successful fusions of Eastern and Western

musical traditions. Yusuf Lateef has often incorporated various Eastern

influences into his music, from timbral choices such as bamboo flutes and shanai

to eastern scales. Obviously the exotic aspects of the music of the east have

caused it to become a popular choice of an outside genre to be applied to jazz.

However, it is correct to state that Garrett has recently begun to incorporate the

aforementioned influences into his work to an extent worthy of in depth study.

Garrettʼs interest in Asian music and culture began when he was eighteen,

when the Duke Ellington Orchestra, of which Garrett was a member at the time,

toured Japan. He was intrigued by the culture, an interest which was further

enhanced when he later returned as a member of Miles Davisʼs band. The

influence of Asian music in his compositional work has been steadily increasing

ever since, culminating in 2006ʼs Beyond The Wall.1

Garrett has been quoted as saying that on Beyond The Wall he wanted to

make a spiritual connection between African and Chinese culture.2 Garrett uses

a variety of musical approaches to help create this connection. Because he tends

to focus on one or two of these approaches per composition, it will be most

1
Richard C. Anderson, ‘Kenny Garrett Keeps Energy High’, available from
http://www.jazzreview.com/articledetails.cfm?ID=1426; accessed 26 May 2009.
2
‘Kenny Garrett: Beyond The Wall’, available from
http://www.nonesuch.com/albums/beyond-the-wall; accessed 26 May 2009.

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effective in this analysis to itemize the approaches and show examples of each

as opposed to trying to find all the approaches in one work.

Voicings and Harmony

One technique Garrett employs to apply the influence of Asian music to

his compositions is using voicings and harmony derived from and evoking

Chinese folk music. For example in Beyond The Wallʼs ʻKiss to the Skiesʼ the

Chinese influence is achieved by the way he voices both the piano part and the

melody. The piece starts with the piano playing a ʻbassʼ part in the left hand

voiced in fifths. The melody is played by alto saxophone and the pianoʼs right

hand, which includes a lower harmony to the melody voiced in fourths.

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Both fifths and fourths are common harmonies in Chinese music, as a result of its

use of the major pentatonic scale. If you were to play, for example, the C major

pentatonic ascending in thirds you would create the following intervals: Major

third, Perfect fourth, Perfect fourth, Perfect fourth, Perfect fourth.

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If you were to play the C major pentatonic ascending in fourths you would create

the following intervals: Perfect fifth, Perfect fifth, Minor sixth, Perfect fifth, Perfect

fifth.

The actual melody of ʻKiss to the Skiesʼ itself, however, is built around the

common western seven-note major scale (in this case, Db major). The implied

harmony created by the above piano voicings is also typical of a western

approach to harmony. The harmony in the ʻAʼ section illustrates this point well.

Here Garrett has written four bars of Bbmin9 followed by four bars of Gbmaj9#11.

This is basically a fleshed out version of the VImin to IV chord sequence, a

harmonic movement that is popular in western music, particularly in the pop

genre. This chord sequence is obviously one of Garrettʼs favourites, and can be

found in many of his compositions. For example, in the popular Garrett tune

ʻNovember 15ʼ from 1997ʼs Songbook, the first four bars not only feature this

chord sequence, they also feature it in the same key.

Melody

A common way in which Kenny Garrett applies his love of Chinese folk

music to the jazz aesthetic is by writing a Chinese-inspired melody and applying

it to rhythm and harmony influenced by the hard-hitting rhythm section of the

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John Coltrane Quartet (McCoy Tyner, Jimmy Garrison and Elvin Jones). The

fusing of these different elements predates Beyond the Wall by many years. The

influence of Coltraneʼs quartet-era approach to jazz has been evident in Garrettʼs

writing since exploring it in-depth on his 1996 recording Pursuance: The Music of

John Coltrane. In fact, the influence of Coltrane is felt constantly throughout

Beyond The Wall, and it is interesting to note that Garrett had originally planned

to fill the piano chair on the album with long-time Coltrane sideman McCoy Tyner

(this was prevented by a scheduling conflict).3 Besides the obvious timbral

similarities, there is a less tangible quality on this recording which is extremely

reminiscent of Coltrane: a sense of ʻspiritualityʼ. Beyond The Wall is steeped in

the type of ʻspiritual unleashingʼ so exemplified on many of Coltraneʼs later era

recordings including the seminal albums A Love Supreme and Ascension. It is

difficult to define an element such as ʻspiritualityʼ, but it is undoubtedly an aspect

that is present both in the aforementioned Coltrane work and Garrettʼs Beyond

the Wall album. This is especially evident in the first two tracks on Beyond the

Wall, ʻCallingʼ and ʻBeyond the Wallʼ. Spirituality is also an aspect of Eastern

culture that both Garrett and Coltrane have a devoted interest to.

Let us analyse an example of this melodic approach. The piece ʻQing

Wenʼ on Beyond The Wall is a prime example. After the rubato introduction, the

rhythm section starts a quasi-latin feel, then one and a half bars of stop-time is

3
John Kelman, ‘Beyond The Wall’, 25 August 2006, available from
http://www.allaboutjazz.com/php/article.php?id=22849; accessed 26 May 2009.

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played before the alto and tenor saxophones commence the melody. This

melody is extremely Chinese sounding in its melodic and rhythmic structure and

execution. Comprised entirely of notes from the C minor pentatonic scale, the

melody line evokes the perceived ʻsound of Chinaʼ to great effect.

The track ʻTsunami Songʼ, also from Beyond The Wall, features a slightly

different approach to the technique of applying a pentatonic-based melody to

more traditional jazz harmony. In this piece Garrett has chosen to write a melody

comprised entirely of notes from the G major/E minor pentatonic scale.

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Although there are no proper voiced chords as such, the harmony implied by the

combination of the moving piano part and the melody is more complex than the

melody alone would suggest. This is especially evident in bars 13 to 15. The

previous 12 bars feature harmony derived from an E minor key centre. In bar 13,

however, the bass note becomes an F natural, a radical departure from the

previous diatonic harmony. After analysing the melody notes and the moving

piano part we can see a G sus2 formed on top of an underlying F5 sound. Bar 14

contains a comparatively consonant G6/9 sound. Bar 15 again veers away from

the diatonic key centre. It seems consonant until beat 2, where the piano plays

an A major 3rd interval, or A and C#. If we put these three bars together in context

we can see a pattern; the overall sound is one of major triads ascending in tones,

starting from the minor 7th of the diatonic key centre.

Timbre

Another way in which we hear Chinese influence on Beyond the Wall is

with timbre. An example of this is heard on the track ʻRealisation: Marching

Toward the Lightʼ. This piece is built around a sample of a chant by a group of

Tibetan Monks, instantly creating a timbral landscape of China on which to build

the rest of the tune. The piece mostly consists of pianist Mulgrew Miller building

an emotional and evocative solo around the sampled chant reminiscent of the

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work of McCoy Tyner. Similarly, on ʻTsunami Songʼ, Garrett employs the use of

an Erhu (pronounced ʻar-hooʼ), a bowed instrument that is considered to be one

of the most prominent traditional Chinese instruments. Its timbre is very unique; it

is similar in many respects to the violin but produces quite a different sound. This

is due in part to the way the left hand fingers the two strings. Unlike the violin, the

left hand of an erhu player does not pull the string to touch the neck; it merely

touches the string to produce the sound. His use of the Erhu is accompanied in

this tune by violin, cello and harp. The harp is especially important in this context

as the sound of the plucking and the glissando flurries of notes are designed to

imitate the traditional Chinese zither, the Qin or Guqin. Although traditionally the

Qin was a solo instrument, being much too quiet to be performed in a group

context, technological advances in sound amplification have meant that the Qin

can now be performed not only in groups including other traditional Chinese

instruments, but also as a solo instrument in large concert halls. This rising of the

Qin from the studies of scholars to the forefront of traditional Chinese music has

meant that the Qinʼs unique timbre is now, through its use in various media, one

of the sounds we associate most with our idealised view of what Chinese music

sounds like.

Garrett also uses wordless vocals on four of the tracks on Beyond the

Wall. This technique is not typical of Chinese music per sé; but, placed in context

with the aforementioned Tibetan chant, it has the effect of calling forth musical

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images of China. On tracks three and four, ʻQing Wenʼ and ʻRealisation

(Marching Toward the Light)ʼ respectively, Garrett employs just one of these

vocalists, Nedelka Echols. On tracks six and eight, ʻKiss to the Skiesʼ and

ʻGwokaʼ respectively, he adds another five vocalists to Echols. These vocalists

merely provide another sound and texture to the music; they never add a new

particular melodic line or rhythmic idea, they just double lines that other

instruments are already playing. They do, however, add yet another Chinese

timbre to the music.

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Chapter 3: Pat Metheny

Pat Metheny is arguably one of the most important jazz musicians of the

last three decades. He has performed and recorded with an extremely diverse

array of musicians including Gary Burton, Herbie Hancock, Milton Nascimento,

Ornette Coleman and David Bowie. He has also won many awards including no

less than 17 Grammy Awards. He has taught at the Berklee College of Music

since the age of 19, making him the youngest teacher ever at the famous

institution.4

Before we begin our analysis of the influence of outside genres on

Methenyʼs composing, there are a few points to consider. The first regards

Methenyʼs compositional relationship with Lyle Mays. Many of the pieces and

examples we will be discussing are written in collaboration with Mays. For the

ease of reading this chapter I will just refer to all compositions as being written by

Metheny, whether or not they are co-written by Mays.

Another point to consider is the great influence of Ornette Coleman on

Methenyʼs compositions. While Colemanʼs influence is definitely a valid and real

one, and instrumental to understanding Metheny as a composer, for the

purposes of this study we will not be dedicating a great deal of focus to it. This is

because of the simple fact that Coleman operates within the jazz idiom; thus his

4
‘Pat Metheny Biography’, 2009, available from
http://www.patmetheny.com/biography.cfm?artistid=1; accessed 2 June 2009.

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influence cannot be said to be one of an outside genre. Nonetheless, there will

likely be some discussion of his work and influence because of its importance in

this context. It will be minimal, however, compared to the discussion of outside

genres.

In this chapter we will analyse the way in which Metheny applies aspects

of two influential genres to his compositions. The first section will focus on the

influence of Brazilian music on Methenyʼs writing. The second section will focus

on the influence of ʻpopʼ music on Methenyʼs writing.

Brazilian Music

The connection between ʻLatinʼ music and jazz has been a long and fruitful

one. Its origins can be traced back as far as 1914, when the Jazz Band Sagua

was founded in Sagua La Grande, Cuba.5 In the following few decades many

jazz bands were formed in Cuba but, for the most part, it seems these groups

focused mainly on trying to recreate American-style jazz. It wasnʼt until the 1940s

when the seminal bebop trumpeter Dizzy Gillespie met Cuban

5
Giro Radamés, Diccionario enciclopédico de la música en Cuba, La Habana, 2007, vol.
2 p. 261.

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trumpeter/saxophonist Mario Bauzá and percussionist Chano Pozo that a fusion

of elements from Afro-Cuban and jazz music was born.6

The next important step in the history of ʻLatin jazzʼ came in 1958 with

João Gilbertoʼs radical new approach to samba, first heard on his recording of

Chega de Saudade, a work composed by Antonio Carlos Jobim with lyrics by

Vinícius de Moraes. This new approach, later titled ʻbossa novaʼ, was about to

turn the world on end. Bossa nova was ʻa new type of samba in which the

genreʼs rhythmic complexity had been pared down to its bare essentials,

transformed into a different kind of beatʼ. It was ʻfull of unusual harmonies and

syncopations, all expressed with a sophisticated simplicityʼ.7 Since the inception

of this influential style, many jazz and Latin musicians have been striving to

create new ways to fuse the two genres of music, with many interesting results.

To focus on Pat Metheny simply for including the influence of Brazilian

music in his compositions would be foolish; many other composers have been

doing this for decades, to great effect. However, it is worth devoting study to the

way in which Metheny uses Brazilian elements in his compositions and the way

in which he successfully fuses these elements, not just with the jazz aspects of

his writing, but with the elements of popular or ʻpopʼ music he also adds into his

work.

6
Ed Morales, The Latin Beat: The Rhythms and Roots of Latin Music from Bossa Nova to
Salsa and Beyond, Da Capo Press, 2003, pp. 171-2.
7
Chris McGowan and Ricardo Pessanha, The Brazilian Sound: Samba, Bossa Nova, and
the popular music of Brazil, Philadelphia, Temple University Press, 1998, pp. 55-6.

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Timbre

One technique Metheny has used to add Brazilian influences into his

compositions is the use of Brazilian timbres in his recordings and performances.

Take, for example, ʻBetter Days Aheadʼ from 1988ʼs Letter From Home. One of

the sounds first noticed is the very unique sound of the cuíca, a Brazilian

percussion instrument. The cuíca is a drum with a membrane stretched across

one end and a bamboo rod attached to the membrane at a perpendicular angle,

running down the inside of the drum. Its unique sound is produced by the player

rubbing the bamboo rod with a wet cloth with one hand while his other hand

alters the pitch of the note by pressing against the membrane, adjusting the

tension. The instrument is prevalent in a lot of Brazilian music, especially in

samba, and is one of the most recognisable sounds associated with Brazil.

ʻBetter Days Aheadʼ also features other typical Brazilian percussion instruments

such as Agogô Bells, Pandiero and Caxixi.

Another timbre that Metheny uses to evoke Brazilian music is that of an

acoustic guitar. Returning to ʻBetter Days Aheadʼ, after the percussion

introduction a nylon string acoustic guitar can be heard behind Methenyʼs electric

guitar melody. The acoustic guitar is playing in the percussive style associated

with João Gilbertoʼs approach to samba and bossa nova.

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Rhythm

Methenyʼs Brazilian music influence can also be identified by the use of

Brazilian rhythms. Using the previous example of Letter From Homeʼs ʻBetter

Days Aheadʼ, let us analyse its rhythmic feel. ʻBetter Days Aheadʼ borrows its

rhythmic feel from one of Brazilʼs most famous and renowned types of music and

dance, namely the samba. In the previous section we talked about some of the

percussion instruments in ʻBetter Days Aheadʼ with regards to the timbral aspects

they communicate. It is also relevant to discuss these instruments in this section

as they are all integral parts of the overall rhythmic feel of samba. We can also

see the influence of samba rhythm in the bass part. As with most Brazilian music,

the accents in samba are on 1 and 3 in a double time feel. The bass player

usually plays the root and fifth of the chord on 1 and 3 respectively, with an

eighth note lead in to each. The eighth note is usually ghosted, being more of a

rhythmic feature of the groove than a melodic feature. Another important rhythmic

feature already discussed in the previous section is the acoustic guitar. This

particular style of guitar is not typical of samba; rather it is a style of guitar

generally credited to João Gilberto in an effort to recreate the samba groove as a

whole entity on one instrument, the acoustic nylon string guitar. This is where

Metheny starts to rhythmically blur the line between samba and bossa nova.

While the percussion rhythms and the general feel of the bass line are indicative

of samba, the style of guitar playing is more usual of the bossa nova genre.

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Another rhythmic aspect of the piece that is generally associated more with

bossa nova than samba is the chord rhythms and ʻhitsʼ. If we analyse the

relationship between the chord rhythms or hits and the melody rhythm we can

see the way in which both aspects fit together. Again, this approach is more

common in bossa nova than samba.

Harmony

Metheny has such widely varying approaches to harmony that it is difficult

to pinpoint one approach and label it as being typical. His harmonic ideas vary

from tune to tune; he is equally comfortable writing a blues based form as he is

writing a modal work or a piece filled with many slash chords or polychords.

However, in this section we are focusing on the influence of Brazilian and other

latin American musical styles on Methenyʼs work, so we will look at pieces that

exhibit harmonic ideas typical of these genres. As Methenyʼs main Brazilian

composer influences are Antonio Carlos Jobim and Milton Nascimento, it stands

to reason that when he applies Brazilian harmonic ideas to his work these ideas

will be similar to the harmonic ideas in Jobim and Nascimentoʼs work. What is

interesting to note is that Jobim and Nascimento have both been heavily

influenced by jazz harmony; this means that Metheny, a prominent jazz musician

and composer, has been influenced by Brazilian composers who have in turn

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been influenced by jazz composers. This begs the question: is Brazilian harmony

that has been influenced by jazz harmony any different from jazz harmony? The

key to the answer lies within the question itself; the fact that jazz harmony is only

an influence on these Brazilian composers indicates that they will have a different

approach to jazz harmony than a jazz musician would. One point in which jazz

and jazz-influenced Brazilian music differ with regards to harmony is the

relationship between melody and harmony. Jazz music tends to be composed

with more of an emphasis on the chords. This is because when the jazz

composer is writing a piece he is focusing on creating an interesting harmonic

framework for improvisation. For this reason, in certain cases a jazz composer

will create the chord sequence before the melody line. Creating a melody over

the harmonic sequence is relatively simple from a jazz composerʼs point of view,

in that a jazz composer is usually also a jazz performer and is therefore

accustomed to creating melodies over chord changes because of the

improvisational aspects of jazz. For the Brazilian composers, however, the

reverse seems to be true; melody comes before harmony. This is especially true

of Jobim and Nacimento, both of whom write songs as opposed to only

instrumental works and therefore have a huge compositional focus on melody. As

a result, certain harmonic movements in their works can seem strange or unusual

from a jazz composers point of view, eschewing the typical jazz landmarks such

as II-V-Iʼs and cycle of 4ths bass movement. McGowan and Pessenha state:

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Harmonically, bossa nova tunes included altered chords, inverted

chords and unusual harmonic progressions, as well as unexpected

melodic leaps and tonal shifts. Yet, as the bossa songwriters applied

complex chords, they were also taking out extraneous notes. The

effect was elegant and precise, deceptively simple, and low-key.8

This passage sums up beautifully the relationship between harmony and melody

in the bossa nova genre.

Pop Music

Methenyʼs third main influence, after Coleman and Brazilian music, is pop

music. This influence surfaces in Methenyʼs compositions in several ways.

Harmony

Much of the harmony in Methenyʼs compositions stems from pop music.

This is especially evident in his use of slash and polychords. The slash chord is a

common technique in both pop music and the pop-influenced jazz typical of many
8
Chris McGowan and Ricardo Pessanha, The Brazilian Sound: Samba, Bossa Nova, and
the popular music of Brazil, Philadelphia, Temple University Press, 1998, p. 58

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of the ʻECM styleʼ recordings. Metheny is particularly influenced by the work of

pop singer-songwriter James Taylor, for whom he wrote the piece ʻJamesʼ from

the Pat Metheny Groupʼs 1983 album Offramp.9 The application of slash chords

to jazz is not a new technique. In fact, there is an obvious use for slash chords

that is extremely important in both jazz and pop music. This use relates to bass

movement. This has been an important consideration of composers in both

idioms since their conception. An example of this is the jazz technique of tritone

substitutions. In its simplest form, this involves substituting the V dominant chord

in a II-V-I for a dominant chord a tritone (augmented 4th/ Diminished 5th) away,

thereby creating a descending chromatic bass movement from the II chord to the

I chord, passing through the substituted chord, a bII dominant. Another example

of this is the common pop music progression of a descending diatonic bass

movement from the I chord to the minor VI chord. This involves adding a slash

chord or inversion between the I and VI chords, usually a V chord in the upper-

structure, to create the required descending diatonic bass movement. In the key

of C, for example, the chord sequence would be as follows: C major, G/B, A

minor. This type of progression is common in pop music.

9
Dore Steinberg, KKSF Interview, ca. 1995, available at
http://hepcat1950.com/pmivkksf.html; accessed 2 June 2009.

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Melody

Melody is an important aspect of Methenyʼs compositions and many of his

melodies are pop-influenced. Take, for example, the melody of ʻHave You

Heard?ʼ from Letter From Home. The melody, apart from the Db in the third bar,

is comprised entirely of notes from the C natural minor (Aeolian)

scale.

The extraordinary thing to note in this tune is how the listener may not realise the

time signature is 7/4 because the melody is so pop-influenced, lyrical and easy to

remember. This is a technique of Methenyʼs that is apparent in much of his work.

Another great example from Letter From Home is the 0:57 long track ʻ45/8ʼ. The

title reflects the most unique aspect of this tune. Apart from the introduction

(which is seven bars of 3/4 followed by one bar of 4/4) it is a melodic section

consisting of 45 eighth notes. Despite this most unorthodox of meters the tune is

surprisingly accessible, thanks in a large part, again, to the melody.

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Rhythm

Another way that we can see the influence of pop music in Methenyʼs

writing is his use of rhythms derived from that genre. Often Metheny will write a

piece in what is generally referred to in the jazz idiom as a ʻstraight eighths feelʼ.

While that description may seem similar to that of a latin piece, the feels are quite

different. This kind of rhythm has been explored in-depth on many of the

landmark ECM records, to the point that the straight eighth feel weʼre discussing

is often referred to as an ʻECM grooveʼ. This feel has been influenced by pop

music, and we can see similarities between the feel and many examples of pop

music.

Timbre

One of the most obvious aspects of pop music that Metheny applies to his

compositions is the use of pop sounds and timbres. There are many examples of

this in his music throughout his recording career. It is most obvious in his work

with the Pat Metheny Group. In this setting pianist Lyle Mays often uses

keyboards and synthesizers, both of which are commonplace within the confines

of the pop music genre. Also present in a lot of the Pat Metheny Groupʼs work is

electric bass, an instrument that is more commonly associated with pop, funk and

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rock music than jazz. Metheny himself has explored in-depth the sonic

possibilities of the guitar, including using synthesizer guitars.

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Chapter 4: The folk music of South-eastern

Europe and its influence on Dave Holland

and Nils Wogram

Section 1: Dave Holland

It is quite a difficult task to discern from where Dave Holland plies his

compositional influences. This is because there are many types of music that

have obviously influenced Holland, and many of these types of music have been

in turn influenced by many other genres, so that, in analysing his body of work,

we may trace his compositional lineage back to many far flung roots. For

example, one of the defining qualities of Hollandʼs composing is his use of odd-

time meters, mixed meters and the rhythms he uses to navigate them. His use of

these time signatures and rhythms can be traced through several avenues back

to their source, which is the folk music of Eastern Europe or ʻBalkanʼ folk music.

Apart from this direct influence, there are also many other Balkan-

influenced musical styles that have had an obvious impact on his writing. One

example is the influence of 20th century ʻartʼ music composers such as Igor

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Stravinsky and Béla Bartók. Bartók, in particular, has been much lauded for his

application of the folk music of his native Hungary into his compositions. In fact,

his dedication to analytical study of folk musics made him one of the first true

ethnomusicologists.

Another example of a Balkan-influenced musical style that has had an

effect on Hollandʼs writing is the work of Dave Brubeck. Brubeckʼs many forays

into odd-time signature writing, specifically 1959ʼs Time Out, have had a

profound effect on not only jazz, but also many other forms of music. Time Outʼs

ʻBlue Rondo a la Turkʼ is a prime example of the influence of Balkan music on

Brubeckʼs writing. This piece features a melody in 9/8 time that borrows its

rhythmic structure from the Turkish zeybek dance. The zeybek is a traditional

dance of Turkey that is based around various subdivisions of 9 (9/2, 9/4, 9/8,

9/16). The bar of nine is usually subdivided into groupings of either 2+2+2+3 or,

alternatively, 3+2+2+2.10 In the case of ʻBlue Rondo a la Turkʼ, Brubeck chooses

the first of these two subdivisions. The melody has three bars of the

aforementioned subdivision followed by one bar of the subdivision 3+3+3. This

subdivision is more typical of a western European approach to 9/8.

One of the most important aspects of Hollandʼs compositional style is his

use of counterpoint. For much of his composing career, Holland has eschewed

the common approach to harmony within jazz in that he often forms groups

10
‘Zeybek dance’, available from http://en.wikipidea.org/wiki/Zeybek_dance; accessed
22 June 2009.

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without chordal accompanying instruments. This approach can be observed

throughout his career. Hollandʼs first album as a leader, 1973ʼs Conference of the

Birds features an instrumental line-up of bass, drums, and two ʻhornsʼ (Sam

Rivers and Anthony Braxton both switch between reed instruments and flute). He

has also worked extensively within the chord-less trio format of bass, drums and

saxophone. 1988ʼs Triplicate is a fine example of this, with Holland collaborating

with drummer Jack DeJohnette and alto saxophonist Steve Coleman. The Dave

Holland Quintet and the Dave Holland Big Band, his most recent touring and

recording groups, also feature a piano/guitar-less format. The sparing references

to traditional jazz harmony are provided in both instances by vibraphonist Steve

Nelson. So how does Holland manage to relate his conception of harmony to the

audience? He uses counterpoint extensively. The technique of using counterpoint

to imply harmony dates back to the baroque era of classical music and, most

notably in the work of Johann Sebastian Bach.

Let us analyse one of Hollandʼs works in order to observe the ways in

which he inserts the influence of the folk music of south-eastern Europe into his

jazz compositions.

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Analysis: ʻMonterey Suite IV: Happy Jammyʼ, Overtime

2005

In this section we will analyse ʻMonterey Suite IV: Happy Jammyʼ from the

Dave Holland Big Bandʼs 2005 album Overtime. This piece has been chosen

because it is a well-rounded example of the way Holland applies the influence of

outside genres to his music. As with the previous analyses, we will first focus

objectively on individual compositional tools in the work. For the purposes of this

study and the inherent space constraints, I have compressed the full big band

into a smaller ensemble consisting of alto and tenor saxophones, trumpet,

trombone, vibraphone, bass and drums.

Rhythmic Feel

As with many of Hollandʼs more recent compositions, ʻHappy Jammyʼ

features a rhythmic feel derived from funk and jazz-rock fusion influences. This is

most obvious in the drumming; for example, within the ʻwritten sectionsʼ of the

piece (i.e. not the solos) drummer Billy Kilson plays, for the most part, set written

drum beats. This is very typical of funk and fusion genres, whereas most jazz

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pieces have improvised drum parts. The influence of funk and jazz-rock fusion is

also apparent in the manner in which Kilson plays the drums. It is obvious from

the very sound of the drums that Kilson is striking the drum kit with a lot more

force than would be common in a jazz performance. It is common, however, for

this level of force and intensity to be applied to the drums in the funk and jazz-

rock fusion genres.

Time Signatures

The first thing we notice when listening to ʻHappy Jammyʼ is the irregular

rhythm, the result of one of Hollandʼs trademark odd meters. ʻHappy Jammyʼ, as

with many of Hollandʼs works, can be written in several different ways with regard

to time signatures; in this case, the implied time signature is 11/4. I have chosen

to write it in my transcription as a bar of 6/4 followed by a bar of 5/4, as this is the

subdivision outlined by the bass ostinato that permeates most of the work. The

bass figure consists of a six beat phrase that is then repeated with the omission

of the last two eighth notes.

As the bass figure is a six beat phrase followed by an almost identical five beat

phrase, we can surmise that Holland himself probably wrote the work as a bar of

6/4 followed by a bar of 5/4; as he is a bassist himself, it stands to reason that he

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would base the rhythmic structure of the work around the phrasing of his bass

ostinato.

It is interesting to note when analysing the rhythmic structure of ʻHappy

Jammyʼ the way in which the drum pattern works with the bass ostinato. Unlike

the bass figure, the drum pattern divides the eleven beats of the implied 11/4

meter into two bars of 4/4 followed by one bar of 3/4. The dotted barlines in the

example below outline this subdivision.

It can be seen here that the drum pattern consists of a four beat phrase that is

repeated once. The groove is then modified into a three beat phrase by playing

the bass and snare drum figure from the last two beats of the phrase twice as

fast, thereby fitting the last two beats of the four beat phrase into one beat.

Although both Holland and Kilson take liberties with these patterns, particularly in

the solo section, the fundamental rhythmic structures above form the backbone

of the entire work. Even in what we will refer to as section B, which occurs at

02:30, the basic rhythmic structure remains the same. The bass ostinato merely

shifts with the chords and the bass and snare drums play the same pattern, the

only change in the drum part being the replacement of the hi-hat on every eighth

note with the bell of the ride cymbal on every second eighth note.

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The only variance of this underpinning rhythmic structure is during the shout

chorus, in which phrases are layered on top of a repeated four bar melody played

in unison by bass and trombones while the drums fill around the melody hits.

Ostinato

Ostinato figures are an important and definitive aspect of Hollandʼs

composing style. ʻHappy Jammyʼ begins with a unison saxophone ostinato that

permeates most of the work.

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After the saxophone figure is repeated, Holland takes a lengthy open bass solo.

Near the end of the bass solo, the trombone section enters with a rhythmic

ostinato pattern functioning here as a background figure.

This figure becomes a recurring pattern throughout the piece. After concluding

his solo, Holland plays the ostinato bass figure we analysed in the ʻTime

Signaturesʼ section.

Note that the trombones continue their ostinato behind the bass figure. After the

bass figure is played twice, the saxophones enter, adding the introduction

ostinato to the bass and trombone figures.

After these two bars have been played twice, the saxophones and trombones

drop out and the melody is played over the continuing bass ostinato. We will

examine the melody line in greater detail in the next section, as in this part we

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are focused on the use of ostinato. On the original recording, the melody is

played by trumpets, one trombone and vibraphone but for the purposes of this

thesis I will show it played by the trumpets only in an effort to simplify the

analysis. The melody phrase fits over two bars of the implied 11/4 or two cycles

of the 6/4-5/4 subdivision and in this first exposition is played twice.

These 8 bars (or 4 bars of the implied 11/4) are then repeated with the addition of

both the saxophone and trombone ostinati.

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It is interesting to note how uncluttered Holland is able to make these four

separate parts sound, especially considering each partʼs intricacies. We will

examine the specific relationships between the different parts in the

ʻCounterpointʼ section.

Melody

Melody is an extremely important aspect of Hollandʼs compositional style.

He realises that, for many listeners, the unusual rhythms and odd meters he

favours are so far removed from their aural experience that they can be too

complex to handle. For this reason, Holland strives to create memorable ʻcatchyʼ

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melodic pathways through the intricate meters, and he succeeds wonderfully. A

good example of this is the saxophone ostinato in ʻHappy Jammyʼ. This is the first

phrase the listener hears and the repeated angular phrase effortlessly navigates

the odd meter and gives us a reference point throughout the work.

Another good example of Hollandʼs melodic strength is the trumpet melody

in what we will refer to as section A.

Here Holland uses repetition of phrase shapes and a melodic shape that

descends for two bars and rises in the next two bars to create a memorable

melody to draw the listener in. This melody is played four times before section B,

twice by itself and twice with the aforementioned saxophone and trombone

ostinati. This repetition of the melody helps to further ingrain it in the listenerʼs

ears.

We can observe another instance of Hollandʼs attention to melody in

section B. This section is based around a two bar saxophone melody.

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If we analyse these two bars we can see they have an almost identical rhythmic

structure, the only differences occurring in the last two beats of the first bar and

the last beat of the second. These two bars are repeated, then transposed down

a major 2nd (while the harmony is transposed up a minor 3rd), and then repeated

once more in their original form. Following this Holland inserts two bars of new

material, but even here the second bar replicates almost exactly the first, taking

the first bar and transposing it down a tone while dispensing with the last two

beats of the melody.

The original two bars follow this, ending section B. This continued use of

repetition of melody, rhythm and phrase shapes helps to draw the listener into

the work and creates anchor points for the ear within the odd meter and

contrapuntal ostinati.

Counterpoint

As stated earlier, Holland makes frequent and effective use of counterpoint

in his work. In ʻHappy Jammyʼ we can see many instances of this technique, the

first of which occurs at 02:09. Here, after the initial exposition of the section A

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trumpet melody, the introductory saxophone ostinato is played alongside the

trumpet phrase.

If we take a closer look at these four bars, we can see the way in which the two

melodies interweave. Almost the entire first saxophone phrase occurs during a

long note from the trumpets, as do the next two instances of the phrase. The next

two bars of the trumpet melody are a bit busier, yet Holland still manages to

make the two parts interlace instead of getting in the way of each other. The first

four notes of the first saxophone phrase occur during a long note from the

trumpets. The next part of the phrase occurs in tandem with a trumpet phrase,

but as they are both sixteenth note based melodies, they manage to work

together. The second half of this bar is almost exactly the same although the long

trumpet note is replaced with a rest. In the next bar, the first four notes of the

saxophone ostinato take place against the sixteenth note based part of the

trumpet melody. The next part of the saxophone phrase happens during a long

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note in the trumpet part, making this bar almost opposite to the previous one but

still creating an effective and uncluttered counterpoint.

It should also be noted the way the trombone ostinato fits with these two

contrapuntal melodies. Firstly, all the notes in the two bar phrase apart from one

are staccato. The short articulation combined with the fairly static note choice

helps keep this figure out of the way of the saxophone and trumpet melodies.

If we look closer we can observe the way the trombone figure interacts with the

other two phrases. First we will examine the relationship between the saxophone

ostinato and the trombone figure. The first trombone note occurs jointly with the

third note of the saxophone ostinato. As mentioned above, the short articulation

allows the trombone note to stay out of the way of the busier saxophone line. The

next trombone note occurs in the gap between the first two saxophone phrases,

and the third in the gap directly after the second saxophone phrase. In the next

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bar the first trombone note is placed at the same time as the start of the

saxophone phrase, the staccato articulation again giving the saxophone line

room to breathe. The next trombone note occurs between the last two notes of

the saxophone ostinato, concluding the (then repeated) two bar phrase.

Similarly, most of the notes in the trombone figure occur during rests or

long notes in the trumpet melody. There are a few exceptions, as in the end of

the first and third bars and the middle of bar two, but these either work alongside

the trumpet notes or are articulated short enough to not be in the way.

Ties to ʻFreeʼ Jazz music

In analysing examples of Hollandʼs compositions, ties to the ʻfree jazzʼ

genre can be found. Holland was one of the leading voices of this genre early in

his career. In fact, ʻConference of the Birdsʼ is generally considered to be one of

the masterworks of the jazz avant-garde. Although the more recent works in

Hollandʼs catalogue are of a much more ʻcommercialʼ jazz style, he still

incorporates avant-garde elements in his work. In ʻHappy Jammyʼ the influence of

a free approach to jazz is most obvious in the solo sections. Because Hollandʼs

big band line-up does not include a traditional chordal instrument, the solo

sections are much more open than usual. Many of the solo sections in Hollandʼs

recorded works border on free form; the only aspect of the tune that remains

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consistent is the meter. It is difficult to discern Hollandʼs written intentions without

copies of his original scores, but the most obvious approach would be that

Holland writes a tonality for the solo to be based around and then opens up the

harmony and form as the rhythm section and soloist see fit.

Section 2: Nils Wogram

Another jazz composer who has been influenced heavily by Balkan folk

music is German trombonist Nils Wogram. The author feels it is important to

include at least some analysis of Wogramʼs work in this area because of its many

similarities to Hollandʼs work, indicating similar compositional influences. Let us

analyse one of Wogramʼs works.

Analysis: ʻThe Mythʼ, Fahvergnügen, Nils Wogram

Odd Meters

Upon listening to the first few bars the listener is immediately struck by the

off-kilter rhythm and time signature. The first section, which is played four times,

is in 11/4 but is written as two bars of 4/4 and one bar of 3/4. As we have seen in

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our earlier analyses of complex time signatures, sometimes it is easier for

performance purposes to write said time signatures as several bars of

alternating, more usual, time signatures. As you can see in the below example,

the eighth note groupings within what will hereafter be called the ʻbig 11ʼ (this

indicates that the two bars of 4/4 and the single bar of 3/4 imply one ʻbig barʼ of

11/4) are quite unique.

If we ignore the ties and reduce the melody to its most basic subdivision (in this

case eighth notes) and consider the ʻgroupsʼ to be the sections of same notes,

we will come up with the following groupings: 3,4,5,3,4,3. This indicates a true

11/4 and not two bars of 11/8 because of the way the eighth notes are grouped; if

you were to write the ʻbig 11ʼ as two bars of 11/8, the third group of eighth notes

would cross the bar line and, while crossing the bar line is fairly common in

western music, it is uncommon in the Balkan approach to complex time

signatures (more common, for instance, would be the time signature 22/8). After

four bars of the ʻbig 11ʼ, Wogram changes time signature, as well as the eighth

note groupings, and changes the figure to two bars of 11/8. These two bars of

11/8, as with the ʻbig 11ʼ, are played four times.

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Now the eighth note groupings (ignoring ties) are as follows: 3,4,4 in both bars of

11/8. The rhythm in these two bars represents a very advanced application of

Balkan folk music elements to jazz. Often the tendency is to play Balkan

groupings with every eighth note in the bar (as seen in Brubeckʼs ʻBlue Rondo a

la Turkʼ); here, Wogram uses the tied notes to create a more intricate group of

rhythms. Following the (all together) 8 bars of 11/8 there is a drum break in what

Wogram has called on the score a ʻhalf time feelʼ, meaning that he really wants

the drum break to be played in 11/4 rather than 11/8. Drummer Jochen Rueckert

outlines this with the following brilliantly simple drum break:

The above drum break can be grouped into quarter notes and quarter note rests

thus: | 1 2 3 4 | R 2 3 4 | R 2 3 | where ʻRʼ denotes a rest and ʻ|ʼ denotes an

implied barline. As we can see, Rueckert has subdivided the half-time ʻbig 11ʼ

into two bars of 4/4 and one bar of 3/4 in the same manner as the introductory

phrase analysed earlier. Naturally, Rueckert could play a more complex drum

break, but given the context of the piece being in 11/8 time he has opted for a

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more simplistic approach, thereby easily setting the rest of the band up to come

in with the next melody section.

Ostinato

The use of ostinato patterns is another way in which Wogramʼs writing

echoes Hollandʼs. The first two sections (A1 and A2, respectively) are certainly

comprised of an ostinato pattern, even considering the aforementioned slight

rhythmic adjustments in A2.

In the next section Wogram has returned to 11/8 again. This section

features an Alto Saxophone and Trombone melody over a Bass ostinato voiced

in fifths.

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Although this section sounds extremely rhythmically difficult, upon closer

examination we can find that Wogram has based both the bass ostinato and the

melody line around the rhythmic grouping of the eighth notes in the previous

section of 11/8 (3,4,4). For example the bass ostinato rhythm consists of a dotted

quarter note followed by two lots of eighth notes tied to dotted quarter notes. This

rhythm outlines exactly the 3, 4, 4 eighth note grouping. Similarly, the Alto and

Trombone melody, although slightly more involved rhythmically and melodically

speaking, still outlines the aforementioned 3, 4, 4 eighth note grouping.

The next section, section C, also features an ostinato pattern. Here

Wogram returns again to the 11/4 meter and has created what appears to be a

new rhythmic ostinato played by the entire band.

On closer inspection, however, we can see that the rhythm at figure C is not new

at all; rather, it is just a half time rendering of the rhythmic structure from A2 (and

also the same as the drum break between A2 and B).

At figure D we can see one of Wogramʼs trademark compositional devices.

Here he inverts the voices from figure B, taking what was the bass ostinato and

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rewriting it for saxophone and trombone (albeit changed slightly harmonically)

and rewriting the melody from section B for bass.

This technique shows that ostinato patterns do not have to be relegated to bass

instruments alone.

Ties to ʻFreeʼ Jazz music

Wogramʼs compositions, like Hollandʼs, often exhibit aspects of ʻfreeʼ jazz

music. In ʻThe Mythʼ this influence is most prominent in the solo section; here

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Wogram has elected to write a free form solo in 11. This technique of opening

the soloist and rhythm section from harmony but keeping the rhythmic structure

the same is common in free jazz and free jazz influenced music.

Harmony

Although Wogram and Holland have very similar approaches towards

rhythm, their approaches to harmony differ dramatically. As stated previously,

both Wogram and Holland work extensively in chordless group formats, which,

for obvious reasons, require a radical approach to harmony. In the previous

section it was shown how Holland often uses counterpoint to outline harmonic

ideas. Wogram, however, uses counterpoint rarely. Instead, he outlines harmonic

ideas through guide tones and stacked intervals across the instruments. Because

there are only three melodic instruments (in his Root70 group at least) to create

stacked intervals with Wogram must use a less polyphonic approach to writing

than Holland, who has four melodic instruments at his disposal in his quintet and

many more in his big band, not to mention his use of the vibraphone which is

capable of playing four notes at once and is therefore more capable of conveying

harmonic ideas.

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Chapter 5: The influence of Electronic and

Rock music on Hiromi Uehara and Christian

McBride

In this chapter we will examine the effects of some more popular and

mainstream genres on jazz music. Pianist Hiromi Uehara and bassist Christian

McBride have been pioneering work in this field which is worthy of analysis.

Section 1: Hiromi Uehara

Japanese pianist Hiromi Uehara was ʻdiscoveredʼ by Chick Corea at the

age of 17 at a workshop Corea was conducting for Yamaha in Tokyo. After

hearing Uehara play, Corea invited her to perform some improvisations with him

at his concert the next night. In 1999 she moved to the United States of America

to study at Bostonʼs prestigious Berklee College of Music. By the time she

graduated, Uehara was already signed to Telarc Records, and she released her

debut album, Another Mind, in 2003. Ueharaʼs music is almost exclusively

characterised by an incredible level of technical virtuosity. The aspect of her

music that this chapter will focus on is her use of electronic music devices and

her application of these to the jazz idiom.

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Analysis: ʻReturn of Kung-Fu World Championʼ, Spiral.

Here we will examine the piece ʻReturn of Kung-Fu World Championʼ from

Ueharaʼs 2006 album Spiral, a fine example of the way Uehara applies elements

of electronic music and any other outside genres to her work in the jazz idiom.

The instrumentation for this work is as follows: Piano and synthesizer (both

played by Uehara), 6-string Bass Guitar (Tony Grey) and Drums (Martin

Valihora).

Rhythm

One way in which Uehara applies electronic music devices to her work is

through the use of rhythmic ideas associated with or derived from electronic

music. An example of an electronic music rhythm in ʻReturn of Kung-Fu World

Championʼ can be found in the synth solo at 6:42. Here Uehara has instructed

drummer Grey to play a typical ʻdrumʼnʼbassʼ drum groove, based around the

much-sampled breakbeat, the ʻamen breakʼ (more about this in the Christian

McBride section), the most widely used break in electronic music history. Here is

the basic drum groove that Grey plays, which is augmented as the solo

lengthens.

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This syncopated drum beat is a simplified version of the last two bars of the four-

bar amen break, as illustrated in this example:

As you can see, all of the notes in Greyʼs drum groove are present in the slightly

busier original amen break. As this is one of the most sampled breaks in the

history of electronic music, and is even responsible for birthing several subgenres

including jungle and drumʼnʼbass, we can see a direct correlation between this

aspect of Ueharaʼs work and electronic music.

Another way in which Uehara applies rhythmic elements of electronic music to

her work can be found when examining the interplay between her left and right

hands. Let us examine the synthesizer part at 1:10.

Although upon first examination the two hands appear to be playing completely

different figures, they are actually working together to play almost every sixteenth

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note in the bar (the only sixteenth note not played being the second). This

interwoven effect creates a sixteenth note rhythmic pulse that is very similar to

rhythms found in electronic music and is used extensively by Uehara in may of

her works.

Timbre

ʻReturn of Kung-Fu World Championʼ exhibits the use of synthesizers right

from the outset. The piece opens with Uehara playing eight rubato chords on her

synthesizer.

Synthesizers are prevalent in much electronic music and have become an

integral part of the genreʼs sound, and the use of them in this context immediately

connects Ueharaʼs music with the electronic music genre.

Another aspect of Ueharaʼs music that reflects the influence of electronic

music is the use of very low bass notes. Uehara is able to write bass parts that

are lower than most because Grey makes use of a six-string electric bass. Very

low bass notes are a common aspect of many types of electronic music, and sub-

bass ʻdropsʼ have even spread into more mainstream music. The term sub-bass

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refers to sounds from 90 Hz down to the lowest frequency able to be heard by the

human ear, which is around 20 Hz. The addition of a low B string to a bass guitar,

as is the case with six-string basses such as Greyʼs, extends the low range of the

instrument down to about 31 Hz as opposed to the usual lowest note being

around 41 Hz. On top of this extra range Grey also makes use of a Boss octave

pedal which ʻhas a certain setting that gives you that good sub bass and you can

get sort of a synthy sound…I use that for drum and bass kind of stuffʼ.11

Another way in which Greyʼs bass timbre helps to create a connection

between Ueharaʼs work and electronic music is with the use of tone altering

effects pedals. During the bass solo in ʻReturn of Kung-Fu World Championʼ Grey

uses a delay pedal. Delay is an effect present in many types of electronic music,

showing yet another connection between this music and Ueharaʼs work.

Harmony

One of the methods that Uehara employs to apply elements of electronic

music to her work is the application of electronic music approaches to harmony.

Electronic music typically eschews any traditional approaches to harmony in that

it does not often feature chords. Rather, harmony is often only implied by the

11
Keith White, ‘Interview With Hiromi’s Bassist, Tony Grey’, August 2006, available
from http://www.basssessions.com/aug06/Interview.html; accessed 14 July 2009.

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notes in the repeated riffs and figures. In fact, throughout the entire 9 minutes

and 43 seconds of ʻReturn of Kung-Fu World Championʼ Uehara plays chords in

only four places: the introduction, the drum solo, the synth solo and the last note.

Considering that Uehara still operates within the jazz idiom, this is a radical

departure from the harmonic language normally associated with jazz and

especially with jazz pianists. This clearly exhibits the influence that electronic

music has had on Ueharaʼs writing and playing.

Melody

The melodic language of electronic music consists mostly of simple riffs

derived from the minor pentatonic and blues scales. Uehara makes uses of this

approach to melody extensively in her writing. For example, the first melody

break in ʻReturn of Kung-Fu World Championʼ is made up of notes from the C

minor pentatonic scale.

This approach to melody also helps Uehara to convey an Asian influence to the

listener, an aspect of her life and work that she often utilises to great effect.

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Section 2: Christian McBride

Christian McBride is a rare breed of musician indeed. There are few artists

as chameleonic as he: artists able to blend so many influences, some of them

new and radical, with so much history of the music. Equally prolific on both the

upright and electric basses, McBrideʼs amazing musical journey began at age 9

when he began learning the electric bass. The acoustic bass followed two years

later. By the age of 18 McBride was invited to join Freddie Hubbardʼs band,

where he stayed for three years. McBride is now many artistsʼ first call for

engagements and has worked with many great musicians including Roy

Hargrove, Chick Corea, Sting, Carly Simon, Milt Jackson, George Duke, Uri

Caine and Pat Metheny. As well as being one of the worldʼs greatest bassists,

McBride is also an accomplished composer and has released seven albums as a

leader.

Analysis: ʻTechnicolour Nightmareʼ, Vertical Vision,

Christian McBride Band.

This piece exhibits many of the influences on Christian McBrideʼs writing. I

will divide the analysis into two parts, the first section looking at the influence of

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rock and jazz-rock fusion and the second examining the influence of electronic

music.

Rock and Jazz-Rock Fusion

ʻTechnicolour Nightmareʼ features many techniques derived from aspects

of rock and jazz-rock fusion music. We will look at a few ways in which McBride

applies this influence to the work.

ʻRiffsʼ

The first eight bars of ʻTechnicolour Nightmareʼ are made up of a repeated

ʻriffʼ that is extremely reminiscent of rock music.

This riff bears a resemblance to many rock music riffs. Let us examine, by way of

a comparison, the guitar and bass riff from ʻFreedomʼ by prominent rock group

Rage Against The Machine.

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By comparing these two riffs we can see certain similarities. In both cases the riff

is made up of notes from the D blues scale. There are also similarities between

the riffs with regards to form. In both examples the first bar contains the main riff

idea. The second bar features an extension of the first idea. The third bar repeats

the first idea and the fourth bar features another extension of the main idea.

Feel

Here we will continue to compare ʻTechnicolour Nightmareʼ to ʻFreedomʼ.

When listening to the introductions of both works a similarity in ʻfeelʼ can be

heard. This is partly due to the drum grooves. On both tunes the drummers play

a half-time feel drum beat typical of hard rock music. The basic idea of this

groove is shown below.

The half-time feel is created by placing the snare drum accents, or ʻbackbeatʼ, on

beat 3 of each bar. If this were a regular 4/4 drum groove there would be bass

drum accents on beats 1 and 3 and snare drum accents on beats 2 and 4. Both

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drummers make adjustments to this basic groove, adding bass drum accents that

lock in with certain accents within the riff. This technique is widely used in rock

music to help lock the instruments together and form a solid rhythmic pulse. Let

us examine the way in which both drummers add accents and how those accents

fit in with the respective riffs.

Technicolour Nightmare:

In this excerpt drummer Terreon Gully keeps the snare drum backbeat on beat 3

of each bar but augments the bass drum pattern to accent important parts of the

riff such as the hits on the last eighth note of the anacrusis and bars 2 and 4.

Freedom:

In this excerpt drummer Brad Wilk, like Gully, keeps the snare drum backbeat on

beat 3 of each bar and adds bass drum notes to important riff accents.

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Melody and Harmony

The melody line in ʻTechnicolour Nightmareʼ is typical of the jazz-rock

fusion genre. The tenor saxophone plays the melody, but the line is also present

in the keyboard part. The keyboard is playing a descending parallel chord voicing

with the same rhythm as the melody. In the first two bars the melody notes are

present at the top of the chord structure, while in the second two bars the melody

line can be found at the bottom of the chord structure. If we examine, for

example, the keyboard line in the melody, we immediately see the chromatic

parallelism of the chord shape; i.e. the same chord shape is moved up and down

in pitch.

This kind of chord movement plays against the more static harmony of the bass

line, creating new ʻimplied chordsʼ with every movement. This technique is often

used in jazz-rock fusion, and shows the influence that genre has had on

McBrideʼs writing.

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Timbre

There are certain timbral similarities between ʻTechnicolour Nightmareʼ

and rock music. The most obvious of these is the way in which Terreon Gully is

playing the drums. For this analysis two versions of ʻTechnicolour Nightmareʼ (the

original recording from the album Vertical Vision and a live version from the

album Live at Tonic.) were studied. Although the drumming is different on both

recordings, the opening sequences both use techniques common in rock music.

On the original recording Gully plays the introduction with open hi-hats, a

common technique in loud rock music. On the live recording Gully plays the hi-

hat part on a crash cymbal, another common rock drumming technique. In both

cases it is obvious that Gully is striking the drums and cymbals with a lot more

force than is common in jazz music, and this volume and power is another

connection between McBrideʼs work and rock music.

Another timbral similarity between ʻTechnicolour Nightmareʼ and rock

music can be found in the guitar part of the Vertical Vision version and the

keyboard part of the Live at Tonic version. In both cases the instruments use

distortion, whether via an amp or an effects pedal. This distorted sound has

become one of the most recognisable attributes of rock music ever since seminal

guitarist Jimi Hendrix began using it in his work in the 1960ʼs. Using this effect in

a jazz context creates a very definite connection between the two genres.

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Electronic Music

After the tenor saxophone solo, ʻTechnicolour Nightmareʼ undergoes a

radical change in rhythmic feel for the guitar solo. Specifically, the rhythm section

feel is typical of ʻdrumʼnʼbassʼ, a sub-genre of electronic music. Drummer Terreon

Gully plays what is known within electronic music circles as a ʻbreakbeatʼ. The

term breakbeat refers to a technique that began in the late 70s where DJs would

take drum breaks from old jazz and funk records and play them in a continuous

row or ʻloopʼ. The style of breakbeat that Gully plays is based around one of the

most popular and widely used breaks, the ʻamen breakʼ. The term ʻamen breakʼ

refers to a four bar drum break from The Winstonsʼ 1969 recording of ʻAmen,

Brotherʼ which has become one of the most widely used samples of all time. In

the drumʼnʼbass genre, a common approach to sampling the amen break is to

split the break up into its individual elements, such as bass drum, snare drum

and hi-hats. This allows the producer or DJ to play around with the rhythms and

change the placement of beats. Usually, the tempo will be increased substantially

as well. The sound of an up-tempo amen break is one of the most common

sounds associated with electronic music and is instantly recognisable; it is upon

this legacy that McBride builds the feel for the guitar solo in ʻTechnicolour

Nightmareʼ. Of course, this isnʼt a strict example of drumʼnʼbass because the

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performance is by a live band rather than sampled drum breaks. It is, however, a

fine example of a drumʼnʼbass influence in a jazz composition, and also of a jazz

performerʼs approach to playing drumʼnʼbass. This is demonstrated in the way

that Gully plays his amen break-influenced drum beat. Gully plays the much-

sampled beat in a manner in which you would expect a jazz musician to; with a

lot of emphasis on improvisation. Gully is constantly changing the groove, putting

accents in different places, playing drum fills, playing around with the rhythms

and so forth. These are similar ways in which we would expect a jazz drummer to

approach a funk-influenced tune or a latin-influenced tune.

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Chapter 6: American Roots Music

The connection between the guitar and many of the native musics of the

United States of America is an extremely important one. The guitar has been a

key instrument in many styles of American roots music, including the blues,

country and zydeco. This popularity was further increased by the invention of the

electric guitar and the guitar has since become one of the most popular

instruments in the entire world. In this chapter I will examine the influence of

American roots music on the compositional style of two of the most prominent

jazz guitarists in the world, John Scofield and Bill Frisell.

Section 1: John Scofield

There is a tendency within the jazz bourgeois to overlook John Scofield as

a composer; perhaps this is because his most popular works are also the most

commercial. It is all too easy to just listen to his soul and jazz-funk-influenced

work and dismiss it as derivative, yet there is much more to Scofield as a

composer. Scofieldʼs work consistently reflects the influence of American music

genres.

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Blues

Although historically jazz was formed from the blues, there has been

occurring in recent times a second wave of blues influence in jazz, especially with

regards to guitar players. This is because of the electric guitarʼs roots in the blues

tradition. Scofield certainly falls into this category; his improvising, sound and

composition each exhibit certain stylistic elements derived from the blues. In his

compositions this influence is manifested in a few different ways. One is the use

of the dominant 7 #9 chord, one of the most common chords in blues music. He

also often writes melodies that include the #9 and b5 intervals, which are

particularly bluesy sounding as a result of their derivation from the blues scale.

RʼnʼB, Soul and Funk

The influence of ʻsoulʼ music on John Scofieldʼs compositions is one of the

more obvious and widely acknowledged genres visible in his work. The influence

of soul music on Scofield has been important enough for him to dedicate an

entire record to the music of Ray Charles: 2005ʼs Thatʼs What I Say: John

Scofield Plays the Music of Ray Charles.

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Country/American Folk Song

Country or American folk music is another genre of American roots music

that has had a large influence on Scofieldʼs composing and playing. It can be

heard in his treatment of the acoustic guitar and harmonic structure of the tune

ʻLazyʼ from 1995ʼs Groove Elation. The influence of American folk music can also

be found in work as recent as 2005ʼs This Meets That. The work ʻDown Dʼ shows

much evidence of this influence, as does Scofieldʼs choice to include the popular

traditional American folk song ʻThe House of the Rising Sunʼ.

Gospel

There is much evidence in Scofieldʼs body of work to suggest the influence

of spiritual music on his composing, specifically African American gospel music.

This influence is most obvious in Scofieldʼs most recent album, March 2009ʼs

Piety Street. As the album title suggests, this recording is a compilation of various

gospel pieces, some old and some new but all based in the gospel tradition.

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New Orleans

In many of John Scofieldʼs works we can see a very discernible influence

of the music of New Orleans. Let us examine the piece ʻTwangʼ from 1992ʼs

Grace Under Pressure. ʻTwangʼ features a rhythmic feel derived from the New

Orleans parade music dubbed ʻsecond lineʼ. The term second line refers to a type

of parade unique to New Orleans. The second line parade is a descendant of the

cityʼs traditional jazz funeral parade. The ʻfirst lineʼ in the jazz funerals refers to

the people who are part of the hosting organisation, which would include

members of the deceasedʼs family, the hearse and a New Orleans brass band.

The second line is the group of people that follow; in the funerals they would be

mourning, in the Second Line parades they are the participants in what was

called a block party, which revelled in dancing and singing.

Because the music for these parades is provided by a brass marching

band, one of the most obvious aspects of the rhythmic feel is that there is no

drum kit as such. Instead there will be players for the individual instruments, the

marching snare drum and the marching bass drum. Consequently, there is a very

different approach to rhythm within the marching bands. The snare drum is a lot

busier than in music with a drum kit, and plays at least every eighth note in a bar,

usually with many double stroke rolls. A typical New Orleans second line-style

march rhythm lasts for two bars. The snare drum will typically ʻghostʼ all the

eighth notes, with major accents on beat one, the ʻandʼ of two, beat four, and

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beats two and three of the second bar. The tuba and bass drum will usually either

play the snare drum accents or every quarter note (sometimes called ʻfour on the

floorʼ). In ʻTwangʼ Scofield borrows this second line rhythm, although he changes

it slightly. ʻTwangʼ is in the time signature 6/4, so to fit the 8 beat New Orleans

march rhythm into 6 beats, he simply removes the last two beats of the rhythmic

phrase. There are many other tunes by Scofield that use the second line feel.

ʻChariotsʼ from 1991ʼs Meant To Be is a good example, as is ʻ7th Floorʼ from

1994ʼs Hand Jive, which is similar to ʻTwangʼ in that Scofield applies the Second

Line feel to an odd meter, in this case 7/4.

Section 2: Bill Frisell

Bill Frisell is one of the most unique guitarists in the world. Possessed of

an extremely original sound and approach, Frisellʼs work shows an affinity with

American music in all its many forms. His love of American music can be felt as

much in his own work as a composer as his many tributes to great American

composers, such as the album Have a Little Faith, in which Frisell tackles the

work of American composers including Aaron Copland, Charles Ives, John Philip

Sousa, Sonny Rollins, Bob Dylan and Madonna. In this section we will examine

some of the ways in which Frisell applies the influence of American roots music

to his work.

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Blues

As stated in the previous section, in recent times there has been a second

wave of blues influence in jazz. This is extremely evident in the work of Frisell,

and especially on his album Blues Dream. A tribute to the blues, country and

other American roots music, Blues Dream features many techniques and stylistic

devices derived from the blues. The title track, for example, features the use of

ʻslideʼ guitar, a popular technique in blues music. Frisell also uses the musical

technique of call and response throughout Blues Dream, a device that is one of

the foundations of blues music.

Country/American Folk Song

Frisellʼs music is heavily influenced by country music. Timbrally speaking,

Frisell uses a lot of sounds that relate to country music. For example, on the

Blues Dream album he enlists the help of multi-instrumentalist Greg Leisz who

plays steel guitar and mandolin, both of which are instruments commonly heard

in and associated with country music. Another way in which Frisell applies a

country music timbre to his work is his personal choice of guitars and effects

pedals. Frisell often uses a Fender Telecaster guitar, a guitar type that has an

association with country music, and also the blues, dating back to its first

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incarnation in 1949. Another way in which Frisell applies timbral qualities of

country music to his work is through the use of effects pedals. One sound he

uses to great effect is tremolo. The tremolo effect is a common sound in country

music, whether it is caused by a pedal or by a device fitted to the guitar itself. An

example of the latter is the ʻB-benderʼ, available on some models of the

telecaster, which ʻputs those great pedal steel licks at your fingertipsʼ.12

12
‘American Nashville B-bender Telecaster’, available from
http://www.fender.com/products/search.php?partno=0118342706; accessed 9th July 2009.

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Chapter 7: Original Compositions

To make sure that the techniques and devices I have discovered through

my analyses are valid, I have endeavoured to use them in my own compositions

to prove their effectiveness.

Mosgiel

With this tune I have tried to recreate the composing style of Dave

Holland. There are several methods that I have used to achieve this.

Ostinato

As has been observed in chapter 4, ostinato patterns, especially bass

lines, are an indispensable aspect of Hollandʼs composing style. He uses these

patterns to give accessibility to odd rhythms and meters. I have applied this

technique to this work. The tune begins with a 4-bar unison ostinato pattern

played by bass and trombone.

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Holland often doubles his bass ostinatos in the trombone part, as was seen in the

analysis of ʻHappy Jammyʼ. The four-bar ostinato is played twice and is then

joined by alto saxophone, which, apart from the last note, plays the same

rhythmic pattern a fifth above the existing ostinato.

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Instrumentation

With this tune I opted to follow Hollandʼs model of a two-horn quintet with

vibraphone replacing the usual chordal instruments, piano or guitar. The only

adjustment I made to Hollandʼs quintet line-up was to replace the tenor

saxophone with alto saxophone as I wished to have the higher note range at my

disposal.

Rhythm

When analysing ʻHappy Jammyʼ in chapter 4 it was seen that Holland

often uses contemporary funk or fusion-type rhythmic ideas and drum beats in

his works. I have also opted to use this approach.

Counterpoint

One of the most noticeable and important parts of Hollandʼs approach to

composition is his incorporation of the baroque idea of counterpoint into his work.

As this is a technique at the forefront of his art I decided to make use of it in my

composition also. At bar 13 the ʻmelodyʼ begins. This is a simple four bar phrase

based around the A Phrygian tonality that permeates most of the tune.

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The phrase is then repeated, with the addition of a contrapuntal phrase played by

the trombone.

As with Hollandʼs approach to counterpoint, there are instances where the

phrases line up with each other rhythmically and other instances where the lines

are playing against each other. Four bars later both phrases are played again

with the audition of a new phrase played by the vibraphone.

As with Hollandʼs work, in an effort to keep four independent phrases (including

the bass ostinato) uncluttered, the vibraphone part is a simpler rhythmic pattern

designed to keep out of the way of the other parts. All of these parts are laid over

the bass ostinato, which is also independent from the other parts, although

similar rhythmically to the alto saxophone melody.

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Melody

As was observed in chapter 4, a large part of the inspiration for Hollandʼs

melodic ideas comes from folk music. He tends to write simple, singable

melodies, often based around one scale or mode. I have used the same

approach in this tune. All of the melodic phrases in the A section are based

around an A Phrygian tonality. The phrases are simple and folk-influenced.

Meters

While on this particular tune I have opted not to use an odd meter, I have

instead used an odd rhythm within the common time signature of 4/4. For the

opening ostinato rhythm I have created a phrase based around dotted eighth

note values. This creates an implied 4 over 3 rhythmic idea and because of this a

feeling of two bars of 3/4 followed by one bar of 2/4 is created.

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Ties to ʻFreeʼ Jazz music

With this tune I also tried to make use of some of Hollandʼs free jazz

inspired techniques. This tune features a free form collective improvisation

section based around the tonality of A Phrygian. This section is intended to start

off quite diatonic and gradually disperse into atonality and free rhythm until the

next section is cued, which starts with a contrastingly diatonic F major pause

chord.

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The Hollyford

With this composition I have tried to insert the influence of Chinese folk

music into a modern jazz feel. I have opted for a less direct approach to

exhibiting this influence than the works analysed in chapter 2.

Melody

The main theme is (apart from one note) derived from the F minor

pentatonic.

As was seen in chapter 2, even a technique as simple as creating a pentatonic-

based melody can be very effective in evoking the sound of Chinese folk music.

Harmony

ʻThe Hollyfordʼ is based around a piano and bass motif consisting of a

unison ostinato between the bass and the pianoʼs left hand and a repeated three-

note chord in the pianos right hand consisting of intervals stacked in fourths.

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In chapter 2 it was observed that the two most common intervals in Chinese folk

music are the perfect fourth and the perfect fifth because of their prominence

within the major (and minor) pentatonic scales. This is why the right hand chord

is voiced in fourths. If we examine the bass and left hand ostinato we can see

that it is based around the perfect fifth interval, albeit in a staggered form. The

perfect fifths are moved up a minor triad, broadening the harmony while

continuing to evoke China.

Timbre

As stated earlier, with this particular composition I have opted for a subtle

approach to adding the influence of Chinese folk music. Therefore the only

timbral tie to the music of China that I have included is the incorporation of flute

into the work. Although the flute as we know it is vastly different to the bamboo

flutes used by Chinese folk musicians, the timbral aspects are similar enough to

create a similar effect in this context.

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Three Streams

With this composition I have attempted to recreate the compositional style

of Pat Metheny. Because Metheny has had a long and varied composing career I

have chosen to focus on the style of writing prevalent in the work of the Pat

Metheny Group.

Harmony

As was observed in chapter 3, many of Methenyʼs harmonic ideas are

derived from pop music. This is most obvious in his usage of slash chords and

triads. It was with this in mind that I created the harmony for ʻThree Streamsʼ.

This is already evident within the first four bars of the tune. The tune starts with a

two-chord rhythm section vamp. The first chord is a standard jazz chord, a

Bbmaj7. The second chord, however, is very unusual from a jazz viewpoint. The

chord is Eb5#11/Bb and would be voiced thus:

There are several reasons why this chord is strange to jazz harmony. One is

because of the intervals present in the voicing. The chord is essentially a Bbmaj7

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chord with a natural 4th or 11th. The natural 4th is generally considered to be an

avoid tone over a major 7th chord because of the clash the harmonic overtones

create. The reason I have chosen to use this chord and the reason it works in the

context of this tune can be seen at the start of the melody.

If we examine the guitar line in bar two we can see that it plays the upper

structure of the aforementioned voicing, which is echoed by the piano three beats

later. Because this is such a strong statement melodically I felt it would be

appropriate to create a chord using these three notes and to use that chord in the

opening vamp.

The pop music influence can also be seen in the harmony in bar 16 of the

melody. This bar features two simple triads, an Eb major triad for two beats and

an Fsus4 chord for two beats. As was discussed in chapter 3, triads are a

common way in which Metheny inserts pop music sounds into jazz works.

In bar 22 we can see another slash chord. This time the chord is an Fadd4/D,

another unconventional chord by jazz standards.

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As with the Eb5#11/Bb chord, this chord is again derived from the melody line

and its piano echo.

In bar 25 a more common slash chord can be seen. This time it is a Bb/C,

a slash chord that denotes a sus9 sound (in this case a Csus9).

This slash chord is one of Methenyʼs favourites and can be found in many of his

works, including ʻBright Size Lifeʼ and ʻOmaha Celebrationʼ, both from 1976ʼs

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Bright Size Life.13 The same slash chord shape can be seen three bars later in

bar 28, transposed down a tone.

Rhythm

For the piece ʻThree Streamsʼ I borrowed a rhythmic feel that can be found

in many Metheny works. It is an on-beat quasi-samba feel and can be found in

the tunes ʻHave You Heard?ʼ and as recently as throughout much of 2005ʼs

Grammy award-winning album The Way Up. The feel is definitely derived from

samba rhythm but is more modern and jazz-influenced. It is a much less obvious

application of Brazilian rhythms than a piece like ʻBetter Days Aheadʼ for

example. The feel typically features cross-stick snare drum on all four quarter

notes (if in 4/4 time) with a basically eighth note ride cymbal pattern and bass

drum accents that often line up with bass or melodic figures. In ʻThree Streamsʼ, I

13
These examples are especially notable because Bright Size Life was Metheny’s debut
album and the advent of these chords at such an early point in his composing career is
quite remarkable.

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have created an example bass line based around a typical samba groove. The

example drum part reflects this in the bass drum accents.

Obviously, this is still primarily a jazz work and both the bassist and drummer

would be expected to make alterations to these rhythms as appropriate.

Melody

As was observed in the analysis of ʻHave You Heardʼ in chapter 3,

Metheny places a great importance on melody in his compositions. In ʻThree

Streamsʼ I have based the melody around one repeated melodic figure diatonic to

the key centre of Bb major.

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This method of taking a diatonic figure and repeating it with variations is common

in Methenyʼs work and is effective in drawing the listener into the work and

establishing a melodic idea that will root itself in their mind.

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Glenorchy

As with ʻMosgielʼ, in this piece I have tried to recreate parts of the

compositional style of Dave Holland.

Instrumentation

One way in which I have managed to recreate Hollandʼs compositional

style is by writing ʻGlenorchyʼ for a similar instrumentation to some of his groups.

This piece features a line-up of Alto Saxophone, Trumpet, Trombone,

Vibraphone, Double Bass and Drums. This line-up can be thought of either as an

augmented version of Hollandʼs Quintet or a diminished version of his Big Band.

The addition of a third horn to the quintet line-up allows for more possibilities with

regard to counterpoint. The use of vibraphone helps to recreate Hollandʼs group

sound in two fundamental ways. The first is the most obvious; Holland uses

vibraphone in his quintet and big band so using them in my piece is immediately

reminiscent of Holland. The second is the freedom, harmonically speaking, that

having a vibraphone as the only ʻchordalʼ instrument allows.

89
 90

Rhythmic Feel

As was discovered in chapter 4, Holland often borrows the rhythmic

backbone of his work from funk and jazz-rock fusion. I have chosen to use this

technique in ʻGlenorchyʼ.

Time Signatures

In chapter 4 we discussed at length the influence of south-eastern

European folk music on Hollandʼs writing, specifically on his approach to rhythm

and time signatures. For ʻGlenorchyʼ, I have chosen to write two contrasting

sections in two different complex time signatures. The first section is in 13/4,

written for ease of reading as a bar of 7/4 followed by a bar of 6/4.

90
 91

The second section is in 11/4, written as two bars of 4/4 followed by one bar of

3/4, again for ease of reading.

Ostinato

In both of the above time signatures the odd meter is anchored by a bass

ostinato figure. This is a technique that Holland employs almost exclusively in his

odd meter work. The first bass ostinato is this:

The second bass ostinato is this:

91
 92

In both cases the bass line is a relatively simple line designed to provide a solid

rhythmic foundation for the rest of the instruments to work over.

Counterpoint

Counterpoint is one of the signature techniques of Hollandʼs composing

style and the way in which he creates many interweaving melodies over odd

meters is without parallel. In the piece ʻGlenorchyʼ I have endeavoured to

recreate this method of melodic writing. The first melody is played by alto

saxophone and is heavily influenced by folk music as with Hollandʼs work. The

melody is layered over the already existing bass ostinato and vibraphone chordal

figure.

These four bars are played twice and are then joined by the second melody,

played by the trumpet.

92
 93

The four bar figure is again played twice and then joined by the rhythmic

trombone figure from the introduction.

When creating a section of music such as this, where there are no less than five

independent rhythms happening at once, it is important to make sure the parts

keep out of each others way. If you observe carefully the interaction between the

alto saxophone and trumpet parts you can see that most of the eighth note

figures in each line occur when there is a longer note in the other line.

93
 94

Ties to ʻFreeʼ Jazz music

As stated earlier, there is a certain freedom that is given harmonically to a

group by using a vibraphone instead of piano or guitar. This is one way in which

ʻGlenorchyʼ has ties to ʻfreeʼ jazz music. Another can be seen at bar 26.

As you can see, I have chosen to create a solo section wherein both trumpet and

alto solo together. Collective improvisation such as this is a much used technique

within the ʻfreeʼ jazz genre and indeed can be heard on much of Hollandʼs work

including ʻLast Minute Manʼ and ʻFree For Allʼ, both from 2005ʼs Overtime.

94
 95

Elevation

As discussed earlier in the chapter, with the tune ʻThe Hollyfordʼ I wanted

to exhibit the influence of Chinese folk music on jazz in a more subtle way than

on Kenny Garrettʼs Beyond The Wall album. With the piece ʻElevationʼ I wanted

to create a work closer to Garrettʼs, with a much more direct and obvious Chinese

folk music influence. This was achieved with many different techniques.

Harmony

The influence of Chinese folk music can be heard from the very beginning

of ʻElevationʼ. The piece starts with a rhythmic piano figure featuring fifths in the

left hand and stacked fourths in the right hand.

As we have already seen, this technique is common in Garrettʼs work and is very

effective in recreating the sound of China. A more intricate expansion of this idea

can be found in the piano part at bar 48.

95
 96

The left hand is still voiced in fifths, but is moving around instead of staying static.

The right hand is no longer voiced in fourths, but the shapes have all (apart from

a few D naturals) been derived from the Ab major pentatonic scale.

Melody

As was noted in chapter 2, Garrett often makes use of the major and

minor pentatonic scales in his melodies. I have chosen to use this approach in

ʻElevationʼ as well. All the notes in the melody and its harmony part are from the

C minor pentatonic.

96
 97

As well as the main theme, there is a bass and alto saxophone background figure

behind the tenor saxophone solo that is also made up of notes from the C minor

pentatonic.

Coltrane Influence

When I was composing ʻElevationʼ I was endeavouring to not only exhibit

the influence of Chinese folk music, but also to also recreate some of the

Coltrane influence that so permeates Garrettʼs work. I achieved this by following

the melody, which is based around a half-time fusion feel, with an alto solo in a

double time swing feel. This section is an open solo based around a Cminor

tonality with the option to go anywhere harmonically speaking. This freedom and

the driving swing feel allow the soloist to reach for the ʻspiritual unleashingʼ

elements of Coltraneʼs later work.

97
 98

Nightcaps

With this piece I have tried to insert elements of Electronic music and Rock

into the jazz idiom in a manner similar to the analysed works by both Hiromi

Uehara and Christian McBride. I have used several of the techniques discovered

in my analyses of both artists to achieve this.

Timbre

As we discovered in our analysis of the work of Uehara, the use of

synthesizers in her pieces is integral to the incorporation of stylistic elements of

electronic music into the jazz idiom. In an effort to recreate Ueharaʼs

compositional style, I have chosen to use Synthesizer in ʻNightcapsʼ.

Rhythm

There are two main rhythmic feels in ʻNightcapsʼ. The first is a sixteenth

note funk feel. Funk has been an enormous influence on electronic music and is

prevalent in much of Uehara and McBrideʼs work. The piece starts with a left

hand synthesizer rhythmic idea based around a grouping of three sixteenth

notes. The bass and bass drum are added the second time the four bar section is

played.

98
 99

After these four bars the drumbeat comes in full and a synthesizer right hand

figure is added in the gaps between the bass notes, creating the ʻinterweavingʼ

effect discussed in chapter 5. This further enhances the sixteenth note pulse.

The sixteenth note idea is expanded again eight bars later with the addition of a

more intricately rhythmic bass figure.

99
 100

The second rhythmic feel in ʻNightcapsʼ is created from the basis of the three

sixteenth note grouping. The time signature changes to 3/4 with the three

sixteenth idea continuing, creating a 4 over 3 feel.

The 4 created from the 4 over 3 feel becomes the 4 quarter note pulse in the next

section, which is a Drumʼnʼbass feel.

Eventually the feel returns to the original sixteenth note groove. This change is

achieved by dividing the new quarter note pulse into three (eighth note triplets)

and eventually adding the last two beats of the original sixteenth note groove to

lead back into it. The synthesizer plays the same interweaving part from the first

feel, only this time in triplets.

100
 101

After eight bars of the above groove a 2/4 bar is added which contains the last

two beats of the original groove and then the piece returns to the original feel and

tempo.

This kind of metric modulation is common in Ueharaʼs work and can be observed

in the analysed work ʻReturn Of Kung-Fu World Championʼ.

Harmony

As we observed in our analysis of Ueharaʼs work, the presence of

electronic music means that a traditional jazz approach to harmony is more or

less nonexistent. Instead, the music is based around riffs and rhythms, as in

much rock music, including the analysed McBride work ʻTechnicolour Nightmareʼ.

I have utilised this same approach in ʻNightcapsʼ. The only chords are in the solo

sections and these are just implied chords derived from the riffs and are there

purely to give the soloist a point of reference.

101
 102

Electronic music rhythms

The second section of ʻNightcapsʼ, as previously discussed, is based

around a ʻdrumʼnʼbassʼ feel. Specifically, the drumbeat is derived from the much

sampled ʻamen breakʼ discussed in detail in chapter 5.

The bass line follows the rhythms of the drumʼnʼbass groove.

The effect is certainly one reminiscent of electronic music and definitely

reminiscent of the drumʼnʼbass genre.

102
 103

Erewhon

With this piece I have attempted to insert elements of American roots

music into the jazz idiom, recreating stylistic elements of the compositions of

John Scofield and Bill Frisell.

Rhythm

For the rhythmic feel of ʻErewhonʼ I have borrowed the basic idea of the

New Orleans second line feel and made some slight adjustments. As discussed

in chapter 6, the basic second line feel involves the following accents:

For this piece I have taken this basic idea and moved a few of the accents

slightly.

The effect is much the same, but more syncopated, giving a more rolling effect to

the rhythm.

103
 104

Harmony

ʻErewhonʼ consists of two contrasting sections. The first is a repeated

vamp section based around the above rhythm and features blues-influenced

dominant 7th chords.

The second section features harmony reminiscent of gospel and country music.

The chords are all diatonic to the key centre of E major, as can be observed in

the melody section below.

Melody

The melody of ʻErewhonʼ, as with the harmony, is heavily influenced by

country and gospel music. Both chords and melody are entirely diatonic to the

key centre and are easily remembered as the melodies in these genres often are.

104
 105

Of course, much of the influence of American roots music must be achieved by

the individual performer and his use of stylistic elements on the guitar such as

bends, open strings, effects pedals and vibrato.

105
 106

Conclusions

The object of this study has been to analyse the effect of outside genres

on modern jazz composition. The analysis has certainly been successful in this

respect. I have learned much about the impact outside genres can have on jazz

composition and the ways in which aspects of these genres can be applied. This

is evidenced in the way I was able to apply the same techniques and devices

effectively to my own compositions.

The research shows that there has been an increase in the instances of

jazz works influenced by outside genres in the last two decades. There has also

been an increase in the level of influence outside genres have been having on

these works, almost to the point where one could question whether the works can

be defined as ʻjazzʼ at all. Nevertheless, the musicians are unmistakably jazz

musicians and the work is unmistakably ʻjazzʼ in origin, rooted in the traditions yet

exploring new horizons.

This music is arguably some of the most interesting to be produced in the

last two decades and will hopefully continue to evolve and redefine the

boundaries of what is considered jazz for many years to come.

106
 107

Appendix 1: Transcriptions

107
 Kiss To The Skies Kenny Garrett
   
h = 100 Straight 8ths A

Transcribed by Thomas Botting



             

Alto Saxophone               
 
Tenor Saxophone         


  
     



     



              
  
 
         
Piano
       
        
 

   

 
 

       

  
       
       
Upright Bass  
    

 
 
Drums        

 
9 B



Alto Sax.     
  

   
   
      



Ten. Sax.     

  




  

            

    
  


 
  
               
 
      
Pno.
      
     
   

     
     

    

                

        
  
U. Bass      

Dr.           
2
 
17

 

Alto Sax.       

               

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Dr.       

    
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25
 



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 3
 
33 D



Alto Sax.       
    
             

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41



Alto Sax.     
  

   

  
        


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Dr.       
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49 E
Alto Sax.       
    
 

           

Ten. Sax.

























Solo
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Pno.
         
 
  
   
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F Solos
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57
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Ten. Sax.
              
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 5
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65
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Bbmin9 Bbmin9 Gb^9#11 Gb^9#11




 
   
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   Ebmin11
73


 

Db^/F Gb^9#11 Gb^9#11
 


   
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6
 

81
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Gb^9#11 Absus9 Ab9
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G Play in between solos

89 D.S. al Coda
  
































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Bbmin9 Bbmin9 Bbmin9 Bbmin9
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  Bbmin9 Bbmin9 Bbmin9 Bbmin9
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Bbmin9 Bbmin9 Bbmin9 Bbmin9
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 7
 Coda Vamp and Fade
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97






























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Dr.

 Tsunami Song Kenny Garrett
q = 100 Straight 8ths A Transcribed by Thomas Botting

        
Soprano Saxophone 
 
        
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 3
39
C Fills
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 Have You Heard? Pat Metheny
q = 150 Straight 8ths Transcribed by Thomas Botting
 
Electric Guitar    

      
      
 
    
      
 
                             
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Upright Bass             
                            

Drums 


  
A    
      
           
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Dr.                                 
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18
E. Gtr.        
    
  
 







   
 

   
Pno.             
           
  
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Dr.                                      


  
B

   
26
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E. Gtr.     
   
 
    



3
  

 



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31
  
2.
E. Gtr.   

        
    
      

     
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 3

  
39
E. Gtr.         
     
    
 







  
Pno.                       
           
  
   

        
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Dr. 


47
C Half time feel - sparse
    3
      
E. Gtr.                    
                                  
 
Ab/Bb G/Bb Db/Bb C/Bb Ab/Bb Ebº7/Bb Eb/Bb Bb Ab/Bb Bb
Pno.
 
Synth.             
          
U. Bass         
                                

Dr. 


D Guitar Solo
       
     
55
                                       
Cmin7 Fmin7 Cmin7 Ab7 G7 Cmin7
E. Gtr.    
      

                                             
Cmin7 Fmin7 Cmin7 Ab7 G7 Cmin7
Pno.     
      

                                             
Cmin7 Fmin7 Cmin7 Ab7 G7 Cmin7
Synth.     
       

                                             
Cmin7 Fmin7 Cmin7 Ab7 G7 Cmin7
U. Bass 
 
Dr.                                                     
4
67
                                 
 Bbsus7 Absus7 G7
E. Gtr.
                                 
 Bbsus7 Absus7 G7
Pno.
                                 
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Synth.
                               
U. Bass
  Bbsus7 Absus7 G7
Dr.
                               


75
                                                 
 Cmin7 Fmin7 Cmin7 Ab7 G7 Cmin7
E. Gtr.
                                                 

Cmin7 Fmin7 Cmin7 Ab7 G7 Cmin7
Pno.
                                                 
 Cmin7 Fmin7 Cmin7 Ab7 G7 Cmin7
Synth.
                                               
U. Bass
  Cmin7 Fmin7 Cmin7 Ab7 G7 Cmin7
Dr.
                                               


E
  Dbmin7
 
E. Gtr.             
87
                                         
Gbmin7 Dbmin7 A7 Ab7 Dbmin7
  Dbmin7
 
Pno.                                                        
Gbmin7 Dbmin7 A7 Ab7 Dbmin7
  Dbmin7
 
Synth.                                                        
Gbmin7 Dbmin7 A7 Ab7 Dbmin7
   Dbmin7
 
                                                  
Gbmin7 Dbmin7 A7 Ab7 Dbmin7
U. Bass
 
Dr.
                                                 
 5
99
                                 
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E. Gtr.
                                  
 Bsus7 Asus7 Ab7
Pno.
                                  
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Synth.
                               
U. Bass
  Bsus7 Asus7 Ab7
Dr.                                 


107
                                                 
 Dbmin7 Gbmin7 Dbmin7 A7 Ab7 Dbmin7
 
E. Gtr.
                                                  
 Dbmin7 Gbmin7 Dbmin7 A7 Ab7 Dbmin7
 
Pno.
                                                  
 Dbmin7 Gbmin7 Dbmin7 A7 Ab7 Dbmin7
 
Synth.
                                               
  Dbmin7 Gbmin7 Dbmin7 A7 Ab7 Dbmin7

U. Bass 
                                               

Dr.  


119 F

E. Gtr.  
A/B G#-/B



F#-/B E/B G/A F#-/A Asus2 D/A F/G E-/G F/G G G/A A



G/A

A






















 
   
                 
Pno. 
  

Synth.
                            
U. Bass
   A/B G#-/B F#-/B E/B G/A F#-/A E-/A D/A F/G E-/G F/G G G/A A G/A A
                            

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6
 
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128
   
2.

E. Gtr.           
   
 

 

     
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2.
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H
 
   
136
    

E. Gtr.        

 





        






    
  
     
Pno.
          
 
  
Pad
                     
      
Dmin9 Dmin9
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U. Bass    
   
   
Dr.                                                 
 7





   
 
  
           
               
E. Gtr.      
144
                 





     
 
   
 
Pno.      

         

          

         

      
 
       
 Dmin9 


Synth.          

  
  

Dmin9
  

                                  
         
     
       
U. Bass    
 
Dr.                                


    Dmin9
 
rit.
E. Gtr.    
148

 
 
 

    
  Amin7  Dmin9
Pno.      
      
 
Amin7


  Amin7  Dmin9
Synth.      
      
 
Amin7


    Amin7   
 Dmin9
 
   
Amin7
U. Bass  


   Dmin9
        

Dr. 




 q = 112 Straight 8ths

Monterey Suite IV: Happy Jammy Dave Holland

     Transcribed by Thomas Botting
        
     
          
     
  
Alto Saxophone           
Tenor Saxophone   
        
    
     
Trumpet in Bb           
 

        
Tenor Trombone     
 
        
Vibraphone     
          
Acoustic Bass     
                      
Basic drum groove
Drums                            
  

Open bass solo
  
A
   
6 Backgrounds on cue on cue
            
A. Sax.     
  
Ten. Sax.        
   
             
               
 
     
              

  

 
      

       
   
Tpt.     
   
     
  
  
 
                               
             
          
        
Tbn.                          
  
Vib.       
   
      
  
  
 
    
                             
G7#11 G7#11 G7#11 G7#11
            
   
         
     
A. Bass
  
                               
                                
        
Dr.            
2
    
14 B      
               
A. Sax.       
        
   
         
Ten. Sax.                
   
                 
    
     
               
Tpt.       


        


   
                
Tbn. 

                       
     
                       
         
 
Vib.       
       
G7#11 G7#11

                
    
       
      
A. Bass       
                      
Dr.                           

  
 
  
C
  
18
      
A. Sax.   

Ten. Sax.       
  
  
   
               
Tpt.       
                 
   

        
  
    
     
 
  
Tbn.    
 
   
    
          
 
Vib.          
         

            
 
   
               
G7#11 G7#11
         
                 

    
A. Bass
    
 
 

    
            
                   
   

Dr.             
 3
       
D      
A. Sax.     
22
               
     
         
   

Ten. Sax.      
           

       

      
        
       
                   
Tpt.     

   
                
    
     
              
Tbn.   
   
     
              
           
 
Vib.     
   
   
       
          
      
 
                       
G7#11 G7#11
    
              
  
A. Bass
     


     
             
                  
     
           
 
Dr.        

26 E
A. Sax.                                                

               
Ten. Sax.    

               

                 


  
Tpt.                        
                      

                              

   
Tbn.           
Bsus9 Bsus9
                          
    
Vib. 
                
Bsus9 Bsus9
          
                
A. Bass     
Bell               
Dr.                  
  

4

30
A. Sax.

            
  

                         

                
Ten. Sax.    
               
                  
     
Tpt.                                        

                          
 
    
Tbn.           
Dsus9 Bsus9
                          
    
Vib. 
        
        
Dsus9 Bsus9
        
              
A. Bass        
            
                 
 
Dr.     

34
A. Sax.          
                               
               
Ten. Sax.    
  
     
       
                  
     
Tpt.      

                            
                       
    

   
Tbn.          
Gsus9 Fsus9 Bsus9
                          
   
Vib.
               
Gsus9 Fsus9 Bsus9
  
 
 
        
A. Bass    
             
              
Dr.                   
 
 5
       
F      
A. Sax.    
38
               
     
         
   

Ten. Sax.      
          

       

      
       

       
                  
Tpt.    

   
                 
    
     
              
Tbn.   
   
     
             
          
 
Vib.     
   
   
       
          
      
 
                  
G7#11 G7#11
    
              

           
  
A. Bass
   
Hi-Hats            
                 
     
           
 
Dr.        
Open alto solo
Backgrounds on cue
  
G G7#11
   
42 G7#11
A. Sax.       

     

      

   
      
Ten. Sax.                              
     

  
               
          
Tpt.                                     
           
         
      
       
        
      
Tbn. 
     
              
 
  
        
  
Vib.       
  
  
   
                         
G7#11 G7#11
  
           
               
A. Bass
    
    
         
                    
Dr.                   
6 Alto solo continues
Backgroounds on cue
   
H G7#11
   
46 G7#11
                       
  
A. Sax.

Ten. Sax.     


                
             

   

         
  

          
   
          
Tpt.      
Tbn. 
      
      
  
                              
            
Vib.        
          
     
                       
G7#11 G7#11
          
            

 
A. Bass
         
   
      
                  
Dr.                         
 
Alto solo continues

50 I G7#11 G7#11
A. Sax.          

     

      

    

Ten. Sax.   
       
     
  
         
Tpt.     
    

     
Tbn.       
 
        
Vib.    
                         
G7#11 G7#11
       
       
    
A. Bass         
                       
Dr.                          
  

 7
Alto solo continues

54 J Bsus9 Bsus9
                         
    
A. Sax. 
     
Ten. Sax.            
          
                 


        
       
       
       

   
   
Tpt.
     
               

           
Tbn.     
   
   
  
                       
Vib.
                
            
Bsus9 Bsus9
   
A. Bass                    

         



Bell             
                
 
Dr.        

58 Dsus9 Bsus9
A. Sax.          

     

      

    

     
Ten. Sax.             
         
      
        
         
Tpt.                          
   
              
          

      
Tbn.     
   
   
  
            
Vib.        
  

     
  

   

 
  
Dsus9     
  Bsus9
            
        
        
    
A. Bass      
              
Dr.                  
  

8

62 Gsus9 Fsus9 Bsus9
                         
   
A. Sax.
      
Ten. Sax.          
        
              

 
          
                           


     

  
Tpt.
                  

         
Tbn.    
 
            
  
      
Vib.              
  
    
   
  

   


         
Gsus9 Fsus9 Bsus9
 
       
  
 
          
   
A. Bass       
   
            
                 

Dr.      
Alto solo continues

66 K G7#11 G7#11
A. Sax.          

     

      

   
Ten. Sax.   
       
  
        
Tpt.    


      
Tbn.    
G7#11 G7#11
                          
   
Vib.
                         
G7#11 G7#11
       
       
   
A. Bass    
    
Hi-Hats
                       
Dr.                       
 
 9
Drum break

70 L
       
A. Sax.    
Ten. Sax.   
       
  
    
Tpt.        

       
Tbn.    
 
       
Vib.   
       
A. Bass    
                                         
Dr.                                                     
  
M
  
74
      
A. Sax.   

Ten. Sax.     


      
  
   
Tpt.    
  
  
  
 
         
      
   
Tbn.                     
 
 
         
      
  
Vib.       
  
  
   
            
 
    
   
                   
  
 
A. Bass                 
 Fill around hits 
                                                        
  
Dr.
10
   
N
  
 
    
A. Sax.             
78
  
                            
 
  
    
Ten. Sax.          
  
    
  
             
                   
 2nd  time
 only        
 
      
Tpt.         
      
       
     
 
   
            
  
Tbn.                                     
2nd  time 
   
         
Vib.         
only
                      
              
               
 
     
  
          
               
      
A. Bass 
 Play more of a groovearound 
                                              
the hits
    
Dr.

82 O
A. Sax.                                                

               
Ten. Sax.    

               

                 


  
Tpt.                        
                      

                              

   
Tbn.           
Bsus9 Bsus9
                          
    
Vib. 
                
Bsus9 Bsus9
          
                
A. Bass     
Bell               
Dr.                  
  

 11

86
A. Sax.

            
  

                          

                
Ten. Sax.    
               
                  
     
Tpt.                                        

                          
 
    
Tbn.           
Dsus9 Bsus9
                          
    
Vib. 
        
        
Dsus9 Bsus9
        
              
A. Bass        
            
                 
 
Dr.     

90
A. Sax.          
                               
               
Ten. Sax.    
  
     
       
                  
     
Tpt.      

                            
                       
   

   
Tbn.          
Gsus9 Fsus9 Bsus9
                          
   
Vib.
               
Gsus9 Fsus9 Bsus9
  
 
 
        
A. Bass    
             
              
Dr.                  
 
12

94 P      
        
     
          
     
 
A. Sax.        
Ten. Sax.   
       
  
    
     
               
Tpt.      
        
   

       
Tbn.    
G7#11 G7#11
                          
   
Vib.
       
G7#11 G7#11

                
    
             
A. Bass         
                     
Dr.                              
 
  
Q
  
98
      
A. Sax.   

Ten. Sax.       
  
  
   
               
Tpt.       
                   
   
   
        
  
         
 
  
Tbn.    
 
   
    
          
 
Vib.          
         

              
 
   
               
G7#11 G7#11
         
                 

    
A. Bass
   



 

    
            
                   
   

Dr.             
 13
       
R      
A. Sax.    
102
               
     
         
   

Ten. Sax.      
          

       

      
       

       
                  
Tpt.    

   
                
    
     
              
Tbn.   
   
     
             
          
 
Vib.     
   
   
        
         
      
 
                  
G7#11 G7#11
    
              

           
  
A. Bass
   
             
                 
     
           
 
Dr.        
Alto/Basss/Drums group improov
  
S G7#11
   
106 G7#11
A. Sax.       

     

      

   

Ten. Sax.     


      
  
   
Tpt.    
  
  
  
Tbn. 
    
 
      
  
  
Vib.       
  
  
   
     
G7#11 G7#11
                          
  
A. Bass
 
Dr.           

     

      

     
14
Alto solos

110 T G7#11 G7#11
                         
   
A. Sax.
Ten. Sax.   
       
  
    
Tpt.        
                       
       
           



Tbn.      
    
G7#11 G7#11
                          
   
Vib.
                         
G7#11 G7#11
       
       
     
   
A. Bass

                     
Dr.                              


Alto solo continues
   
1. 2.
U   
         
114 G7#11 G7#11
    
A. Sax.        

     

          
   
     
Ten. Sax.   
                   
   
 
          
            
                  
                 
Tpt.              
                                  
           
Tbn.     
   
       
    
  
      
Vib.      

                            
                   
                  
             
G7#11 G7#11
     
         
   
A. Bass        
  
             
              
                         
Dr.                     
 
Return of Kung-Fu World Champion Hiromi Uehara
q = 130 16th note funk Transcribed by Thomas Botting

   

Piano
  



  


 






  









          
Synthesizer
  

   

 

Bass Guitar  


Drums




9 A

 

Pno.
         



       

 



    
                          
  
       
Synth.
 
         
 



       

                                                                       
Bass      
Dr.
                                               


17

         

                                    

               
Synth.
   
                 
                 
 
  
                     

                   
Bass          
Fill-----------------
     
            
Dr.




                  
2

24 B
 


Synth.
 
 
 
 
           









   





                
                 
 
Bass            
               
Dr.           



32




















           

Synth.
 





   


  






  
 
 
                  
Bass            
               
      
Dr.      











 

 

 




38

   
Synth.

 





 
             
         
    
      
Bass     
  

 

 

 
 
     
      
Dr.   
 3

43 C

                                             
   


     
Synth.



          



  
   


                                                                        
Bass

  
                     
                                                                  
  
Dr. 

 
D
 


   
51
           
   

                           

  
Synth.



                      

              
Bass
        

   
      
  
Dr.



                
55

Synth.  


       
              
     
          3 3 3

3



  


                           


Bass

           
       
    
Dr.



 
59

1.
Synth.  


   
    
 
      
    
 
      
    
 
    
  
    


    


               
  
     
Bass 

 
  
Dr.                          
4
63
     
                         
2.
                         
Synth.  
       
Bass                         
  
Dr.                       



67

  

Synth.



                                  
  
Bass    
                        
Dr.         
           


E Bass Solo
                                    
71
                                      
Pno.      
             


 


  
               
        
Synth.
                                   
Ebmin7 Ebmin7 Ebmin7 Ebmin7
Bass 
Dr.                                     


                                        
79
Pno.                           

Synth.   

                                   
Abmin7 Bbmin7 Gbmin7 Abmin7 Abmin7 Bbmin7 Gbmin7 Abmin7
Bass 
Dr.                                 
 5
                                    
87
Pno.                                                   

   
           
   
Synth.
                                
Ebmin7 Ebmin7 Ebmin7 Ebmin7
Bass

Dr.                                 


                                        
95
Pno.                           
                                
Abmin7 Bbmin7 Gbmin7 Abmin7 Abmin7 Bbmin7 Gbmin7 Abmin7
Bass

Dr.                                 







103

   

 

    
           
Pno.





   
 

    
           
Synth.
                               
Ebmin7 Ebmin7 Ebmin7 Ebmin7
 
Bass   





Dr.  
   
   
   
  


                                         
111
Pno.                          
                                   
Abmin7 Bbmin7 Gbmin7 Abmin7 Abmin7 Bbmin7 Gbmin7 Abmin7

Bass  
Dr.                                  

6
F

   
119

                                  



Synth.      

    


   


                                        
Bass

        
      
                  
                     
   
Dr.
        


G q. = 144
                   
     
123

        



Synth.
 



                    


                 
Bass

  
  

 





 

 
    
Dr.
          


                          
129

             



  
Synth.    
                          
       


        
Bass

    
  
  
        
  
      
Dr.
            



  
135

 
      

       
               
                         
Synth.


      

      
          
     



          

       
Bass

    
                     Fill--------------------------------------------
Dr.
                      
 
 7
H

145
  
Synth.     

 
   
      
 

 

      
  
    
          
   
   
  
    



       
Bass   
Half time feel
       





Dr.         


   
153
          
Synth.      
 

                        
Bass
   
  



    





   

       
Dr.         


  
161
 
   
Synth.     
 
   
      
              

      
 
 
     
 
    

   
    
Bass   
Dr.         





169
 
     
        
 
   
        
  

Synth.
        
    
 
   

    


  
  
Bass    



 
  
 Fill-------------------
Dr.         
8
    
I Synth Solo
     
177
                      
Ebmin11 Gb Cb^7#11 Bbmin7
Pno.
      




Double Solo on synth
 
     
Bass    
      
    
 




Dr.        


185
                          
Abmin7 Bbmin7 Cb^7#11 E7alt

Pno.
   

  




 
 
  
      

Bass      
Dr.         


193
                          
Ebmin11 Gb Cb^7#11 Bbmin7
Pno.   
   


    
       
Bass    
Dr.         



1. 2.
 
201
                          
  Abmin7 Db7 Gb Cb E7alt E7alt
   
  
Pno.
    
Synth.

                   

    
   

  
     


 

   

     


   
Bass
  
   


 

Dr.            
 9
213 J accel.
 

 
Synth.                  
                      
                     
                     
Bass   

















  
 
Dr.
        


219
   
Synth.       
 
                              
     
   
                          



Bass    














  
 
Dr.
         


225
   
    
 
                              
  
Synth.
       
Bass
     
                    
  















  
 
Dr.
         


231
   
       
 
                               
  
Synth.
 
Bass
       
 
                
  















  
 
Dr.
         
10
237

 
 

 
 
                              
   
Synth.
      


                     
Bass

   
  
  
    
  
    
Dr.            



243 K q.=168




                                                
        
   
  
Synth.






      

       


 


  
    
   
  

  

     
      


Bass

        
  
   

              
        
Dr.              



253 L q = 168






  
Synth.
 

 
    


                   
                    



Bass 
 
  
Dr. 




  
M Drum Solo

      
257







1. 2.
       
      

        
 
  
      

     

        

 
         
 
Synth.


                          

                               



                         

                           

  


Bass

  
Dr.                                       
 11

N Syynth Solo

266
                              
Eb^7
Synth.    
                                  
Gmin7 Eb^7
Bass 
 



                     
Dr.
        




274
                                
Cmin7 Eb^7 F
Synth.

                                 
Cmin7 Eb^7 F
Bass


Dr.



282 O q = 144

            

Pno.

        
 F     


Synth.
        
      
   
F
Bass
        

Dr.
        



289 P









                                                      
   
     
 
Synth.
   
               
    
  
     
  
 
  
   
   
          
         
   
    

Bass  
     
  



Dr.
                             
            
12

296 Q
       

   
Synth.
                                                 
           
      
   
                               
                         
 
Bass             
   
Dr.                   



304





















  



    
   
                   
Synth.
  
      

      
  


 
 
 
   
           
 
                                 
Bass  
 
 
 
 
 


           
Dr.     











   
 

   
 

  
 

 
 


310

    
                        
Synth.

 
      
        
    
              
       
    

    

              
Bass      
  

 

 

 
 
     

  

Dr. 
 13
315 R
    
     
                  
     
Synth.
          
               


                                      
Bass  
  

     

 

     

    
      
Dr.


                 
319

Synth.      
                               
          3 3 3

3



Bass

 
                              




   
Dr.       


323 S
  
                
Synth.
                              
Bass

       
 
         

              

          

      
                                  

Dr.          


   
       
   
326
       
    
 
          

                   


  
Synth.
     

                            
   
    
Bass     
                                         
    
Dr. 
 Technicolor Nightmare Christian McBride
q = 200 Rock A Transcribed by Thomas Botting
 

Tenor Saxophone

     
                            

                         
       
               
Keyboards
                                             
        
                                       
                             
Upright Bass
  


















                    
Drums
    
 
B Open Bass Solo
  
10 1st, 2nd, etc. Last time


Ten. Sax. 
  




D7#9 D7#9
     
















  

Kbd.
    
  D7#9 




















U. Bass
     
 




 



 





Dr.


























  
       
19 1st, 2nd, etc. Last time
 
Ten. Sax.

  
 
 
D7#9 D7#9

Kbd.   


















                             
U. Bass     
    

     

 




          

             
Dr.        
2

C
  
24


   


 
 


Ten. Sax.

 

 





   



 
  

 

 


 


 
Kbd.

  










U. Bass



Dr.
 

































32


   


 
  



Ten. Sax.

 

 


 

  
    

 

 


 


 
Kbd.











U. Bass





Dr.





































   
40



     
Ten. Sax. 

  

  




    


  


  


 
 
   

Kbd.











 
U. Bass






Dr.
































 
 3
D Open Tenor Solo
 D7#9 
  
 

48


















D7#9 1st, 2nd, etc. Last time
 

Ten. Sax.

 D7#9  

 


















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53 E

        

        
Ten. Sax.
                                        
    
  
                            

                            
      
         
Kbd.
                                              
         

                           

                               
U. Bass
       

  
 
 


 










 
      

 

Dr.     
61
       
Ten. Sax. 
D7#9 D7#9 D7#9 D7#9
Kbd. 

































































D7#9 D7#9 D7#9 D7#9
U. Bass
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4
  
F Open Keyboard Solo
      
69





1st, 2nd, etc. Last time
  
 

Ten. Sax.

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D7#9 D7#9
  
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74 G

        

        
Ten. Sax.
                                        
    
  
                            

                            
      
         
Kbd.
                                              
         

                           

                               
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Dr.     
82






























D7#9 Tenor Sax Fills D7#9 D7#9
Ten. Sax. 
D7#9 D7#9 D7#9 D7#9
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D7#9 D7#9 D7#9 D7#9
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 5
  
H Open Groove I Open Groove - Play riff last 2 times
       
90
         

Ten. Sax.

 D7#9  
 



 




Keys Fills














D7#9 D7#9 D7#9
























   







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Ten. Sax.   
98


   


 

 




 





   



 
  

 

 


 


 
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106


   


 

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114

 
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Ten. Sax.         
   
         
      
      
     
 
 
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1. 2.
Dr. 
  
123 K
Fouur Times
Ten. Sax.        
   

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D7#9 D7#9 D7#9 D7#9
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Dr.
























131
   
  
 
             
 
   
 

 
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 7
L
  
139

     

 
Ten. Sax.
                         
   
 

            
                      
     

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Dr.  
 


   

 q = 130 New Orleans (2nd Line)

Twang John Scofield
 
  
Transcribed by Thomas Botting
 
   
Tenor Saxophone

  

      
    
 
   

   
 
  
Electric Guitar     

 
 
   
              
  
               
     
 

 
           
   



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A
  
7



 


Ten. Sax. 
                   
   
 

 

         
      
E. Gtr.         
     

    
     
  

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B

11
             
 
          
     
          
Ten. Sax.

  
       
    
       
     
  
             
 
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2

15
Ten. Sax.    
                

      
   
 
       
    
 
      
         

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C
19



   
Ten. Sax.              
  
          


  
 
  
 

    
 

   
  
       
   
E. Gtr.
   
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D Tenor Solo
  



 
23






















E7 A7 E7 A7 E7 A7 E7 A7
Ten. Sax.  
   
























 
E7 A7 E7 A7 E7 A7 E7 A7
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E

27
 

   








 



 

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31






  




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F Guitar Solo
  
35

Ten. Sax.     
   
























 
A7 D7 A7 D7 A7 D7 A7 D7
E. Gtr.  
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A7  D7 A7  D7 A7  D7 A7  D7 
 
















   
 
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G
39



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H Drum Solo over Vamp
  
43
Ten. Sax.     
   
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47



 



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 5
J

51
             
 
          
       
        
Ten. Sax.
   
    
                  
    
      
     

E. Gtr.     
 
        

     

       
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55
Ten. Sax. 
 
              

      
     
 
      
     
 
    
          
 
E. Gtr. 

      

         
 
        
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K
59



Ten. Sax.                    
  
  
 



           
 



  
   
 



  
 

     
   
E. Gtr.
   
U. Bass      
     
     
     




Dr.   



















6

   2.
L
       


63 1.
Ten. Sax.                     
                   


 
  
  
   

E. Gtr.    
  
  
    

    
                   
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Dr.  




















 

 108

Appendix 2: Original Compositions

108
 Mosgiel by Thomas Botting
q = 130 straight fusion
       
 
                    
         
                              
                         
               
    
 

                  
                   
           
                            

 

  
A B
       
9
        
                          
                   
                   
           

   

   
  
 Aphrygian 
  















 
                                     
        

  
              

 
         
 
  















 
















 
 
To Coda
         
17
           
              

    
   
      
     
                      
  
                  


 





         

                        
                 
    
           
  














 



















Copyright Thomas Botting 2009
2
25 C

    
    
        
        
     
 

   
  
          
 
Fills Aphryg Fills Aphryg
 

























                                            
         



































33
   
 
    
     
     
     
     
   
          
                               
                        

  
      
      
      
     
            
           
      
           
   
                        
 

























D
   
 
41
   

   

 
   

   

   
F^7#11 F^7#11 Falt F^7#11 Fmin^7 Abalt

























F^7#11 F^7#11 Falt F^7#11 Fmin^7 Abalt
 

      

























Halftime feel

 3
 
Trombone solo
      
49
 
  
 
       E7






Amin7 Amin7 C^7 E&7 E7

























  
Amin7 Amin7 C^7 E&7 E7

     


























E
   
       
57
E7 Amin/E E/D Amin/D


























E7 Amin/E E/D Amin/D

























         
E7 Amin/E E/D Amin/D


























   
       
65
C&7 Amin/C F/C E Amin/E E7


























C&7 Amin/C F/C E Amin/E E7

























C&7 Amin/C F/C E Amin/E E7
     
   


























4
73 F

       
   
 
   
 
   
 
   
 
   
 
   
 
   

         
                               
       
       

                                        
 
                      

                       


























81

     
 
   
 
   
 
   
 
   
 
   
 
   
 
    

         
                               
        
       

                                        
                 
                       
             
            




























H Free collective improv
   
G

        







 
89









Aphrygian
     

        
           
                
          





Aphrygian
     
 
     












 Aphrygian  

  















  















 
Aphrygian
          
           
  



 
Aphrygian
       
 
     












    



 

 




























 5
Open
   
On Cue Open On Cue
97 I
On Cue

  
 








Aphrygian Aphrygian
  
   


  
 
Aphrygian Aphrygian








 
 
  
   
  
Fmaj9 Bbmaj7#11 Fmaj9

 






Aphrygian Aphrygian
 
   

  
 
Aphrygian Aphrygian
 







   

   
  


 






Slowly
    
J
        
102
 
         
   
    
           
     
  
 
   
      
F^7#11 F^7#11 Fmaj9 Fmaj9 Fmaj9 Fmaj9 Fmaj9
  















   
             
           
 
       
       
        
 March-like   

 















    



 
 
K
         
111 D.S. al Coda
  
        
    
     
 
    
     
           
           
           
 
         
  Aphrygian 
  















  
         
               
  
       

         
   

 
















6
115 L Ø Coda





 
 



 



 



 




   
 




  
  
  
  

                
   
   

  

  

  

 





            



























M
   
 
123


 
 

 
      
 




F^7#11 F^7#11 Falt F^7#11 Fmin^7 Abalt

























F^7#11 F^7#11 Falt F^7#11 Fmin^7 Abalt
 

      

























Half-time feel


 
      
131


  
 




  E7


Amin7 Amin7 C^7 E&7 E&7

























  
Amin7 Amin7 C^7 E&7 E7

     


























 7
N Trombone and alto solo
139 E7 Amin/E E/D Amin/D

























E7 Amin/E E/D Amin/D


























E7 Amin/E E/D Amin/D

























         
E7 Amin/E E/D Amin/D


























rit.

147 C&7 Amin/C F/C E Amin/E E7























C&7 Amin/C F/C E Amin/E E7
























C&7 Amin/C F/C E Amin/E E7






















C&7 Amin/C F/C E Amin/E E7
     
   























 The Hollyford
Open free form flute solo Thomas Botting
         
q = 138 straight C aeolian tonality
             
Flute   

Alto Saxophone    
    
 
       
  
    
Flugelhorn       
  
  
   
        
    
       

Tenor Trombone   
    
          
  
  

    
Piano
     
 


   
  
                 
 


  
Upright Bass   
  
        


    

        




Drums   


        
A
  
Fmin11 Cmin7b13 Fmin11 Cmin7b13

6
                     
          
Fl.   
 
    

         
      
Alto Sax.        
     
Flug.     
 

  
  
  


  
     
  
      

Tbn.   
          

      
   
  









 


    


      
Pno.
       




  
 
 

   
     

 

     
   
     
U. Bass      
   

 
 
Dr.
   
    















Copyright © Thomas Botting 2009
2

B
 
14
     
  

 

  
  


 

  
   
Fl.
 
        
Alto Sax.  

   

     
        
               
Flug.  

     
        

    
  
  


   
 
   

Tbn.       
  
   
       
      
Pno.
       
 
 
               
       

 
U. Bass 

   


   


   


    

                 

      

Dr.        




C
22 
Cmin7b13 Fmin11 Ab^9#11  
Cmin7b13 Fmin11 Ab^9#11

                     
        
Fl.       

     
 
Alto Sax.       
    
  

   
 
         
      
           
        
       
  
 
      
Flug.
   


      

     

Tbn.         

    
 
 
 
 
 
 
 


 
Pno.
             
        

  
          
U. Bass         

   
 
    
   
      
Dr.
             

 3

31 Db^9#11
             
 
Fl. 
    

 

Alto Sax. 
 
     

Flug. 
   
 



Tbn.  
Db^7#11 Db^7#11
          

     

  
        
Pno.

 
         
U. Bass  
           

Dr.



Solos on D, D, E
Backgrounds on cue
   
D Fmin11
       
35 Cmin7b13 Fmin11 Cmin7b13 Fmin11 Cmin7b13 Fmin11 Cmin7b13
Fl.    

     

    

     

    

     

    

   
   
     







 
          
 
         
   
Alto Sax.
      
  









          
 
      
   
Flug.









   
  
                  
   
Tbn.           
     
Fmin11 Cmin7b13 Fmin11 Cmin7b13 Fmin11 Cmin7b13 Fmin11 Cmin7b13
                                                 
      
Pno.
   



  
Fmin11 Cmin7b13 Fmin11 Cmin7b13 Fmin11 Cmin7b13 Fmin11 Cmin7b13
 













 








     
U. Bass 







    
                                             
      
Dr.

4
          
    
43 E^7#11 F#% G#min11 E^7#11 F#% G#min11 Cmin7b13 Eb^7 Fmin11 Ab^7#11 Cmin7b13 Eb^7 Fmin11 Ab^7#11
                                       
     
Fl.
   
  
     
 
           
Alto Sax.      
     
     
  
  
   



 
  
   


Flug.



        

              
Tbn.      
   
   

  
E^7#11 F#% G#min11 E^7#11 F#% G#min11 Cmin7b13 Eb^7 Fmin11 Ab^7#11 Cmin7b13 Eb^7 Fmin11 Ab^7#11
                                              
     
Pno.
     

     
E^7#11 F#% G#min11 E^7#11 F#% G#min11 Cmin7b13

Eb^7

Fmin11

Ab^7#11

Cmin7b13

Eb^7 Fmin11

Ab^7#11

    
   
    

      

  

U. Bass
   
Dr.
       

     

    

            

     

    

      


E Back too D for second soloo

51 Ab^7#11 Db^9#11
                  
 
Fl. 



 
   


 
Alto Sax. 
 
   




 
Flug. 





  

 
Tbn.  
Db^9#11
           
 
Pno.     



U. Bass
  
 

 

 

               
 
Dr.

 5
       
F
   
56
Fl.            
 
            
 
 

 
      
Db^7 Fmin7b13
Alto Sax.                       
      
  
    
Flug.             
                
        
                 
Tbn. 
    
  
 
 
      

      
   
  
 

Db^7#11 Db^7#11 Db^7#11 Db^7#11 Fmin7b13 Fmin7b13 Fmin7b13 Fmin7b13

       
   
      







   
     


 



 

   
   
   
Pno.
               
                   
         
     
     
     
    
 
         
      

   
    

     
U. Bass             

 
  
 
 
                                             
half time feel

      
Dr.



       

64
Fl.         
       
 
 

  
Ab^7#11 Ab^7#11
                      
 
Alto Sax.     
   

     
Flug.         
        
 
 
  
         
   

 
  

   

Tbn.     
 

 
Db^7#11 Ab^7#11 Ab^7#11 Ab^7#11 Ab^7#11

 
   
  












 


 
 

  
         
Pno.
    
              
 
  
 
 
 
 
   
        
    
 
       
              

  
        
U. Bass           
     
                                
    
Dr.

6
      
G Alto solo
  
70
      
Fl.       
    
Db^7 Db^7 Fmin7b13 Fmin7b13
                                       

Alto Sax.     
      

   
Flug.   
 
 
   
 
 
 

Tbn. 
     
        

      
  Db^7  Fmin7b13
  
     
   
Db^7
Fmin7b13
   
      







   
    


 



 

   
    
   
Pno.
               
                   
          
   
     
   
     Fmin7b13
 
       Db^7   
      

      Fmin7b13
    

     

Db^7
             
U. Bass
   
 
Dr.
       

     

    

            

     

    

    



       

78
   
Fl.       
  
Db^7 Ab^7#11 Ab^7#11
Alto Sax.                                     
 

   
     
Flug.  
  
 
 
  
   
 
  

   

Tbn.     
 Ab^7#11 

 
 Db^7
 
Ab^7#11
   
  










 


 
 

  
       
Pno.
     
             
 
  
 
  
 
 
   
     
    
 
   Db^7   
          

Ab^7#11
    Ab^7#11
     
  
U. Bass               
     
                                
    
Dr.

 7
     
H
   
Fmin11 Cmin7b13 Fmin11 Cmin7b13
 
84
                     
      
Fl.    
    
Alto Sax.                            

    
       
    

 
Flug.                          
    
       
                     
Tbn. 
      
 
      

       
   
        
                      
                             
                                   
          
Pno.
          
     
 

         
      
       

  

                       
         
         
     
U. Bass             
 
 


 
 
        






      
Dr.
          




I
   
92
         
   
 

   
  
 
 

   
   
Fl.
 
        
Alto Sax.        
       
              
               
Flug.                        
   
      
    
  
      
   

Tbn.       
  
        
      
     
      
     
      
     
     
Pno.
                                   
  
 
              
                           
   
 
U. Bass 
     
    

     
    

     
    

     
     
        






      
Dr.
          

8
           
J
     
  
100 Cmin7b13 Fmin11 Ab^9#11 Cmin7b13 Fmin11 Ab^9#11 Ab^9#11
                         
         
Fl.      
     
 
Alto Sax.        
      
   
      
 
         
      
Flug.              
                
        
    
 
                 
      

     

Tbn.         
         
                                               
                                      

Pno.
                  
                               
   
               
    
                     
U. Bass             
        
   









      

        
 
Dr.          




109 Db^9#11 rit.
             

Fl.

Alto Sax.      

  
  
Flug.        
   
  



Tbn. 
Db^9#11 Db^9#11

Db^9#11
       

    
         

Pno.

         

U. Bass 


Dr.
           
 Three Streams Thomas Botting
  
h = 85 Metheny Samba
Electric Guitar      
   Bb^7  
    
















Eb5#11/Bb
Piano 
    Bb^7     
 
     
    Eb5#11/Bb
   
Electric Bass        
 


 

  

  
Drums
A           
 
  

  

 
5
E. Gtr.         






























 Bb^7 Eb5#11/Bb Bb^7 Eb5#11/Bb Eb^7#11 Gmin7b13 Bb^7 Cmin11
Pno.  
       
    
Eb5#11/Bb     Bb^7
       
    Eb5#11/Bb
           Eb^7#11    Gmin7b13
          Cmin11
   

  
  Bb^7  
Bb^7
E. Bass      
Dr.










































  
      

15
  

  

E. Gtr.
 
 

  
Eb Fsus4

      







 
 
         
  

Pno.
          
   
 
Fsus4              
 
      Eb
         

    
E. Bass 
 
Dr.
























 
Copyright © Thomas Botting 2009
2
21 B    
                       
E. Gtr.    



















Gmin7 F'4/D Gmin7 Bb/C Eb Fsus4
Pno.   
     
                 Eb 
 
 Gmin7 F'4/D
   
Gmin7

Bb/C
   Fsus4 
E. Bass
            
Dr.





























 
 
  

               
 
28
E. Gtr.   
 
 
         
 Db^7#11 
          
Ab/Bb Ab/Bb Db^7#11
Pno.      
   
              Db^7#11        
                   
 
Ab/Bb   Ab/Bb  Db^7#11
E. Bass           



Dr.































C Solo Section C to E





36









































Bb^7 Eb5('#11)/Bb Bb^7 Eb5('#11)/Bb Eb^7#11 Gmin7b13 Bb^7 Cmin11
E. Gtr.   













































Bb^7 Eb5('#11)/Bb Bb^7 Eb5('#11)/Bb Eb^7#11 Gmin7b13 Bb^7 Cmin11
Pno.    
  




Bb^7





Eb5('#11)/Bb





Bb^7









Eb5('#11)/Bb









Eb^7#11





Gmin7b13





Bb^7





Cmin11





E. Bass 

Dr.













































47





































 Eb Fsus4 Bb^7#11 Bb^7#11 Bb^7#11 Bb^7#11
E. Gtr.





































 Eb Fsus4 Bb^7#11 Bb^7#11 Bb^7#11 Bb^7#11
Pno.
E. Bass
  Eb



Fsus4



Bb^7#11









Bb^7#11









Bb^7#11









Bb^7#11








Dr.





































 3
D
56






























Gmin7 F'4/D Gmin7 Bb/C Eb Fsus4
E. Gtr.






























Gmin7 F'4/D Gmin7 Bb/C Eb Fsus4
Pno.


 Gmin7



























F'4/D Gmin7 Bb/C Eb Fsus4
E. Bass
Dr.





























 
63


































Ab/Bb Ab/Bb Db^7#11 Db^7#11
E. Gtr. 
































 
Ab/Bb Ab/Bb Db^7#11 Db^7#11
Pno. 



 Ab/Bb






























 
Ab/Bb Db^7#11 Db^7#11
E. Bass 
































 
Dr.

          
  
  
E
71
       
E. Gtr.
     






























Bb^7 Eb5#11/Bb Bb^7 Eb5#11/Bb Eb^7#11 Gmin7b13 Bb^7 Cmin11



        
Pno.  
    
    
Eb5#11/Bb     Bb^7  Eb5#11/Bb     Eb^7#11   Gmin7b13     Bb^7     Cmin11
                      
       
  
  Bb^7   
E. Bass      
Dr.













































4
 
 



82
 

 

E. Gtr.
 

 Eb Fsus4
    


   


Pno.
        
Fsus4      
E. Bass
  Eb




 
  

   
 
Dr.





















F
   
87

E. Gtr. 


 














Gmin7 F'4/D Gmin7 Bb/C
Pno.  
 


 

 Gmin7 
F'4/D
 
Gmin7

Bb/C

E. Bass
     
Dr.


























  



93
  
E. Gtr. 


 Ab/Bb 
 



 
 Eb Fsus4


Ab/Bb

 

Pno.
Fsus4  Ab/Bb 

  Eb   Ab/Bb
 
E. Bass        
 
Dr.





















 5
Piano and guitar fills On cue
 

  
98 Db^7#11
















Ab/Bb Ab/Bb
E. Gtr.  
 

  
Db^7#11
















Ab/Bb Ab/Bb
Pno.   
     
Ab/Bb
  
   

Ab/Bb
  
    
   
E. Bass         
 
Dr.
 















  
 Glenorchy Thomas Botting
    
          
q = straight 8ths Open Bass Solo






Alto Saxophone   
      
Trumpet in Bb     
  






  
       

     
           
Tenor Trombone  
        
   
  

  
     
   
Vibraphone         
   
    







  

  
 




Upright Bass   
   
Drums
 
  






  
   
A B
                     
6





 

Alto Sax.   
   
Tpt.     






  






  
         
     

Tbn.            
   




     
   
     

  

             
Vib.       
  
     

   
       
      
               

    

      
     

   
U. Bass

   
          
   












  

























  
      
  
   
Dr.

2
   
C D
                                  
14

       
Alto Sax. 

   
                              
    
Tpt.       
                         

         
 
      
Tbn.      
       
    
Vib.        


 


         




 


   
    
          

  

       

  
 
   
  
  

U. Bass  
      
Dr.
 

























  


























        
  
E
       
22
      
Alto Sax.   
  
Tpt.       
  
  
    
      

  
      
Tbn.                
   
  
      
      
Vib.              
         
  
   
    
  
U. Bass        
              
 
  
     
Dr.
 


























 3
F Open Trumpet and Alto solo
   
    
  
26 Bb7#11 Bb7#11






















  
Alto Sax.
  
    
  
Bb7#11 Bb7#11
Tpt.



























        
      
 
  
Drop out and restart on cue
   
  
 

  
Tbn.          
    
Vib.             
Drop out and restart on cue
  
   
 
          
 
      
     
  
Bb7#11 Bb7#11
 

      
   
         
 
    

 

U. Bass
      
  
    
      











Dr.
           
 
   
G
                                            
32
  
    
Alto Sax. 
   
                                                    
2nd Time Only
          
Tpt.   
                              
       

  
      
Tbn.               
       

        

  
Vib.          
 
 
     
   
     
    
  
                                                         
U. Bass           
      
Dr.
 

























  


























        
4
H Open Trombone solo Open Trombone solo
Backgrounds last 2 times Backgrounds first 2 and last 2 times
   
          
40
                                            
        
Alto Sax.                

   
Tpt.                  
                           

                           
         
         
  
Cmin11 Cmin11 B^7#11 B^7#11
  

























  


























     
Tbn.
       
  
Cmin11 Cmin11 B^7#11 B^7#11
Vib.      

























  


























     
       






 












  
Cmin11 Cmin11 B^7#11 B^7#11
 







 












 













     
U. Bass
                           
               






  












  
                         
Dr.
 

































  
I
                
48
   
       

Alto Sax.         
  
             
             
    
 
   

Tpt.       
      
 
  
                       
Tbn.               
    
         
  
   
Vib.    
 
                    
  
U. Bass
 
   
   
  
  
Dr.
 































  
 5
   
J Open drum solo over vamp
      
52







Alto Sax.   
  
Tpt.    








  
            
  
Drop out and restart on cue
        
     
  
Tbn.          
    
Vib.            
Drop out and restart on cue
    
                         
     
  
Bb7#11 Bb7#11
 
 
      
               
    
   
U. Bass
  
Dr.
 



























  
  
K On Cue

         
58
    
Alto Sax.       
            
     
  

         
    
Tpt.                          
     
 
 
             
 
Tbn.     
        
  
    

Vib.           
    
                         
       
Bb7#11 Bb7#11

 
 
  
   
              

    
   
U. Bass

    
     
 
       
 






















  
Dr.


 Elevation Thomas Botting
   
     
q = 145 Straight fusion
Alto Sax    
   
         

Trumpet in Bb
    
    



















    
  
Piano
              
    
 

    Cmin11 
 
 
















2nd time only
Cmin11
Upright Bass
    
 
     
 
















2nd time only
Drums

  
5 A
 
A. Sax.   


 




         

Tpt.
              
 


      

 

Pno.     
               
    

       

 
 



















 











 



U. Bass
  Cmin11 Cmin11 Cmin11 Bbsus7 Ab^7#11 Fmin6 Fmin6 Galt7 Cmin11
     
Dr.

Copyright © Thomas Botting 2009

2

13 B
      
A. Sax.        


 
 
         

    

Tpt.
 
 
     

 
   




 
   
 

 

           
     
     
Pno.
                          
     
                                          
 
    

































U. Bass
  Cmin11 Cmin11 Cmin11 Cmin11

  
  
Dr.









 
21 To Coda
     
A. Sax.    


     

             

Tpt.
   
  

  
   
       






 

         
                
    
      
           
Pno.
          
                   
                   
 
          
  Cmin11 Bbsus7 Ab^7#11













 




















Fmin6 Fmin6 Galt7 Cmin11 Cmin11 Cmin11
U. Bass
       




  
Dr.




















 Open Alto Solo 3
C
Double Time Swing
  
   
 
29 Cmin11
A. Sax.















  
         

Tpt.
  Cmin11  
  
















Cmin11
    
Pno.
    
   Cmin11 
 

















Cmin11
U. Bass
 
Dr.
















 
D Original feel
33 Cmin11 Cmin11 Cmin11 Cmin11
 

































A. Sax.

         

Tpt.
                         
                    
              
Pno.
                          
          
                                 

          

































U. Bass
  Cmin11 Cmin11 Cmin11 Cmin11
   
Dr.




      
4
  
41 E
           
A. Sax.    


   
  
 

       
       

       
 
Tpt.
   
  
 


 


   
                      
   
           
    
Pno.     
                
   
      
 
                   
 
     

















 











 



U. Bass
  Cmin11 Cmin11 Cmin11 Bbsus7 Ab^7#11 Fmin6 Fmin11 Gsus Eb6

          
Dr.

















F Open Baass Solo
 
     
49 Backgrounds on cue
   
 
               

A. Sax.
 
    


   
Tpt.
      
            
 
    

      
  
   
     
   


   
   

     
 
Pno.
 
       
           
 

        
 
    Eb6





 







 







 







 



Eb6 Fmin7 Db^7 Db^7 Ebsus Fmin7 Db^7 Ebsus Cminb13 Fmin11 Gsus Eb6
U. Bass
                

































Halftime feel
Dr.

 5

 
57
    
 
                  

A. Sax.

  

 


 
  
     
Tpt.
          


 
   
  
    
   
    
    
    
   

 



Pno.
 
     
   
         
  
 
        


 



 



 



 


 
 

















Eb6 Fmin7 Db^7 Db^7 Ebsus Fmin7 Db^7 Ebsus Ab Fmin11 Gsus Eb6
U. Bass 
                
Dr.
































 
 
G Open Trumpet soloo
      
65
 
     
     
            

A. Sax.
 
   
Eb6 Eb6 Fmin7 Db^7 Db^7 Ebsus Fmin7 Db^7 Ebsus Cminb13 Fmin11 Gsus Eb6





   



























Tpt.
 
   

       
  
   
     
   


   
   

   
 
Pno.
 
       
           
 

        
 
   
     

 

 



  







    Db^7 Ebsus Cminb13 Fmin11 Gsus Eb6
U. Bass      
                
Dr.

































6

  
73 D.C. al Coda
  
     
 
   
A. Sax.
 
Eb6 Fmin7 Db^7 Db^7 Ebsus Fmin7 Db^7 Ebsus Ab Fmin11 Gsus Eb6













 
    
 




















Tpt.
  
  
 
  
     
 

 

  
 

  
 

Pno.
 
   
  
  
 
 
   
 

 



 


  
 
 

Eb6





 Db^7 Ebsus Ab Fmin11 Gsus Eb6
U. Bass    
       
  

Dr.

































H ØCodaa Alto and Trumpet fills
  
   
 

Cmin11 Cmin11

82



















1. 2.
A. Sax. 
  
    
 

Cmin11 Cmin11





















Tpt.
  

   




























   
 
Pno.
          
        
     


    
 






















Cmin11 Cmin11
U. Bass
 
 






















1. 2.
Dr.

 
Nightcaps Thomas Botting
 
   
q = 126 Funk
   
   

  
  
  
       
  
  
  
     
Synthesizer
      

    

  
  
  
       
  
  
  
     
2nd time only
  
5-string Bass Guitar
   
  2nd time only 

    
 
 
 





 
 
 
 
  
Drums
   

 
A
                          
5
         
Synth.
 
 
  
  

 
    

 
 


 

  
      
 
  
 

  
    
 
Bass   
 
 

  

  
  
   


 

   
Dr.








 
                                                     
9
       
        
  
  
  
      
Synth.
  
 
 
 
 
 
    
                             
Bass        
     
  
 

 
 

 
 
 

Dr.







Copyright © Thomas Botting 2009
 
2
 
  
13
   
    
Synth.

   
     

Bass                  
 
Dr.
   




 




 

17 B
                
Synth.
                
     

                
Bass
     
 
 
    
  
Dr.


21
                

Synth.
                  
     
                  
Bass
     
Dr.

 
3
 

                           
25
   
 
         
Synth.
      
       
            
  

 
Bass                         
   
       


 
 
      
Dr.






 

 
C Open Bass solo from C to D

  
29
   
         
       
                 
Synth.

     
              
   

 
Gmin7 Gmin7
Bass 















  
Dr.
 

















33

    
Synth.           
  
                         
            
F% Bb^7

















Bass

Dr.

















 
4


37 Back to C for more solos

         

 
 
 
      
Synth.
 
 
 
 
     
        

 
Dmin7 Gmin/F
Bass


















Dr.
















 

 
D
   
41

         
  

 

 
 
 
      
Synth.

     
    
 
     
   

 
Gmin7 Gmin7
Bass 















  
Dr.
 

















 
  
 

 

 

 
     
 

 

 

 
       
45
       
      
 
 
 
        
Synth.
 
 
 
 
  
   
    
     
  
    
  
         
Bass   

  

  

 
 

  

 
  
        
Dr.






 
 
5
49
       

Synth.
                   
















 
                   
Bass 















 
   





























 












Dr. 

      
  
53 E q=176 Drum'n'bass
       

















     



 
Synth.
 
   


      





 

  

    
 

 










Bass




















 






  








 
 
  

Dr.






  



  

  
F
     
61
   











  



























  



 
Synth.









       


  

 














Bass






















 





 
  



  



 

Dr.



 



 
 
6
G Open Synth solo from G to H
  
Back to G for more solo
  




 




69 Gmin7 F# Gmin7 F# Fmin7 Fmin7
























      
Synth.
 
       
        
   

Bass        
 
        
 
                              
  
Dr.   















  















 

    
H
   
77
   















   

                           

         
         

                                     

Synth.
     
    

















   
 
   



 
   
  
Bass   
 
                                  
       

 
 
  




      
Dr.



  





  

 
I
   
85
       

















          

   
 
 

Synth.
           

    
















       



           

   

Bass   
             
     
 
  



 
















  





start implying 8th note triplets
Dr.  
 
7
 
  
 

 

 

 

 

 

 

 
        
93 q=126 Original feel
3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3
       
          
Synth.
                 
    
        
Bass                 
 
Dr.
 















  






  
J
                                                             
98
   
   
  
  
  
  
       
  
  
  
     
Synth.
 
               
    
Bass                                                     
 
    
  
  
  
     
Dr.
 







 

102
                                                  
       
Synth.
 
  

  
  


         
 
 
  
   
 
  

  

   
Bass
             
 
 
  
 
  
  
 

   
  
Dr.









 
8
106
                

Synth.
                  
     
                  
Bass
     
Dr.


 
                      
110
   
     
               
Synth.

              
    
Bass          
 
           
Dr.
 









 

 
K Open drum solo over riff
  
114
   

           
Synth.
 
   
    

      

Bass
 
Dr.
 















 
 
9

L
   


118
               





















  


Synth.
  



 


























    









Bass   























     

 

Dr.


 

 2.
 





121 1. 
  




 


 















  

Synth.


 









 


     


  







 









 

Bass
  




 2.













 











1.
Dr.

 Guitar Intro Erewhon Thomas Botting


 
New Orleans q = 120


 


  
 
E7 E7/G# A7 B7 E7 E7/G# A7 C7


  
 


Band In

   
E7 E7/G# A7 B7 E7 E7/G# A7 C7

 

 
5

 




  



 

A E6 A6 F#min7 B7


9

          
          
[A7]
G#min7 C#min7 A6 B7

13

                  
      

B E6 A6 F#min7 B7

17

           
          
[A7] To Coda
G#min7 C#min7 A6 B7

  
21

           
             
Solo on A, B, C

  
C E7 E7/G#


 

 
25 A7 B7 E7 E7/G# A7 C7





  



 
Drum Solo on vamp D.S. al Coda

  
D E7 E7/G#


 

 
A7 B7 E7 E7/G# A7 C7

29





  



 
 Coda Open fills etc

 
E7 E7/G# A7 B7 E7 E7/G# A7 C7

 

  
 
33





  
 

1, 2, etc. Last time

 
E7 E7/G# A7 B7 E7 E7/G# A7 C7 E7 E7/G# A7

   

37




 



  
 




  
 

*Bracketed chords for solos Copyright © Thomas Botting 2009

 109

Bibliography

109
 110

Books

Burton, Kim. ʻMacedonia: Tricky Rhythmsʼ, in Simon Broughton, Mark Ellingham

and Richard Trillo (eds.). World Music Volume 1: Africa, Europe and the Middle

East. London: Rough Guides Ltd., 1999, pp. 202-6.

Cleary, David. ʻMeu Brasil Brasileiroʼ, in Simon Broughton and Mark Ellingham

(eds.). World Music Volume 2: Latin and North America, Caribbean, India, Asia

and Pacific. London: Rough Guides Ltd., 2000, pp. 332-49.

Farrell, Gerry. Indian Music and the West. Oxford and New York: Oxford

University Press, 1997.

Gioia, Ted. The History of Jazz. Oxford and New York: Oxford University Press,

1997.

James, Martin. State of Bass: Jungle: The Story So Far. London: Boxtree 1997.

Jones, Stephen. ʻThe East is Red…and Whiteʼ, in Simon Broughton and Mark

Ellingham (eds.). World Music Volume 2: Latin and North America, Caribbean,

India, Asia and Pacific. London: Rough Guides Ltd., 2000, pp. 33-43.

110
 111

McGowan, Chris and Pessanha, Ricardo. The Brazilian Sound: Samba, Bossa

Nova and the Popular Music of Brazil. Philadelphia: Temple University Press,

1998.

Morales, Ed. The Latin Beat: The Rhythms and Roots of Latin Music from Bossa

Nova to Salsa and Beyond. Da Capo Press, 2003.

111
 112

Recordings

Dave Holland Big Band. Overtime, 2005.

Frisell, Bill. Blues Dream, 2001.

Frisell, Bill. Have a Little Faith, 1992.

Frisell, Bill. This Land, 1994.

Garrett, Kenny. Beyond The Wall, 2006.

Hiromi. Spiral, 2006.

McBride, Christian. Vertical Vision, 2003.

McBride, Christian. Live at Tonic, 2006.

Pat Metheny Group. Letter From Home, 1989.

Root 70. Fahvergnügen, 2006.

Scofield, John. Grace Under Pressure, 1992.

112
 113

Scofield, John. This Meets That, 2005.

Scofield, John. Groove Elation, 1995.

Scofield, John. Meant to Be, 1991.

Scofield, John. Hand Jive, 1994.

Scofield, John. Piety Street, 2009.

Scofield, John. Thatʼs What I Say: John Scofield Plays the Music of Ray Charles,

2005.

113
 114

Websites

Anderson, Richard C. ʻKenny Garrett Keeps Energy Highʼ. Available from

http://www.jazzreview.com/articledetails.cfm?ID=1426. Accessed 26 May 2009.

Kelman, John. ʻBeyond the Wallʼ, 25 August 2006. Available from

http://www.allaboutjazz.com/php/article.php?id=22849. Accessed 26 May 2009.

ʻPat Metheny Biographyʼ, 2009. Available from

http://www.patmetheny.com/biography.cfm/artist=1. Accessed 2 June 2009.

ʻSongline/Tonefield Productions – Blues Dreamʼ. Available from

http://www.billfrisell.com/artists/Frisell/bio_link.html. Accessed 11 July 2009.

Steinberg, Dore. ʻKKSF Interviewʼ, 1995. Available at

http://hepcat1950.com/pmivkksf.html. Accessed 2 June 2009.

White, Keith. ʻInterview With Hiromiʼs Bassist, Tony Greyʼ, August 2006.

Available from http://www.basssessions.com/aug06/Interview.html. Accessed 14

July 2009.

114