Gilad Hekselman Nobody Else but Me

Gilad Hekselman on

Nobody Else But Me

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Transcription and Analysis by Jeff McGregor

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Melody References in Gilad Hekselman’s solo on “Nobody Else But Me” One of the many strengths of Gilad Hekselman’s solo on Jerome Kern’s “Nobody Else But Me” is his creative and inventive references to the melody of the song. The following examines instances where Hekselman references the melody and considers how it functions in the overall development of his solo.

Analysis Melody references bring back a part of the melody, often varied from how it was first played. These references can range from recalling just a single note to an entire section of the melody. In Example 1, Hekselman ends his line with a reference to the first note of the melody: Example 1

Example 2 provides a similar instance: Example 2

Example 3 refers to m. 29-321 of the melody. Hekselman emphasizes notes from the melody (the F in the second measure and the B in the fourth measure), but he also recalls the phrase structure and melodic contour of the melody. Both the melody and Hekselman’s solo use a pair of two-measure phrases, and in both instances the second phrase seems to answer the first. This is a more complex reference and reveals the depth of Hekselman’s understanding of the song. Example 3

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order to best understand these examples, the reader should have a lead sheet of the melody for reference.

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Examples 4 and 5 both recall m. 33-36 of the melody although they do so in different ways. This section of the melody encircles the sixth scale degree with upper and lower neighbor notes against a chromatically ascending bass line. Example 4 does the same thing except this time using the ninth scale degree. Example 4

Example 5 starts the reference earlier and arrives at a rhythmic variation of the melody based entirely on the sixth scale degree. Example 5

Example 6 is a rhythmically and melodically varied version of m.17-25 from the melody and is the longest and clearest reference in the solo. Example 6

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These six examples illustrate the variety of ways a soloist can connect back to the melody; they also illustrate the different possible functions of melody references. Short returns like Examples 1 and 2 function to briefly recall something familiar within the development of something new. Examples 3 and 4 do the same thing, but in a more extended and deliberate way. Example 5 is best understood by considering what comes before it. The preceding section to Example 5 is the solo’s highest point of rhythmic and melodic tension. The reference to the melody functions to release this tension and create a moment of stability. The long reference in Example 6 functions to signal the conclusion of the solo as Hekselman begins to wind down his last chorus. All in all, the melody consistently proves to be a strong and flexible musical resource.

Application There are no hard and fast rules about how to refer to a melody and Hekselman’s solo demonstrates some of the variety these references can take. Nevertheless, all good references begin with a deep and secure knowledge of the melody. Here are a few ways to help develop your knowledge of a melody: Be able to sing the melody. Try to be familiar with the lyrics. Learn the melody in different keys. Find recordings by singers. Notice the different ways different singers and instrumentalists phrase the melody. Find different ways to play the same phrase. The more you study the melody, the more you will be able to use it when you improvise. One of the most important things is to not forget about the melody once you get to your solo. Hekselman could easily just improvise over the changes without any reference to the melody. However, as his solo illustrates, the melody is a powerful improvisational springboard. It propels his solo forward and functions to create a more compelling and cohesive musical statement.

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