My coursework for the Creative Musicianship module in ACM. An analysis of the soloing style of Pat Metheny through the examination of the solos on "Have You Heard", "Bright Size Life" and "…Full description
My coursework for the Creative Musicianship module in ACM. An analysis of the soloing style of Pat Metheny through the examination of the solos on "Have You Heard", "Bright Size Life" and "…Full description
Partitura da música "First Circle", de Pat Metheny. Não detenho qualquer direito pelo arquivo, que está disponível na internet.Descripción completa
Ejercicios calentamiento guitarraFull description
Pat methenyDescripción completa
Harmonic lessonDescripción completa
Ejercicios calentamiento guitarra
Lesson 1 An analysis of the improvisational style of Pat Metheny The playing style of Pat Metheny contains all the attributes of a great, seasoned jazz artist. His great harmonic sense, impeccable time and rhythm feel and his propelling energy and spirit in his playing all come together in every note he plays, however, the elements that distinguish his unique sound and recognizable “voice” lie in his approach to phrasing and articulation on the guitar and his use signature melodic cells. Also, Metheny has his own unique vocabulary of melodic cells (personal clichés) that are evident in all of his solos. These ‘signature cells’ which I call “Metheny-isms” are recognizable melodic, intervallic and rhythmic designs which Metheny adapts to suit the given harmony, although he sometimes ignores the underlying harmony and plays his “Metheny-isms” even when they “conflict’ with the given harmony. They do not sound incorrect because, in themselves, these cells are strong and cohesive ideas. Phrasing and Articulation. Metheny does not ‘pick’ every note instead he uses a legato approach often ‘hammering-on’ and pulling-off notes in his right hand. This is a more ‘horn-like’ approach that creates a sense of ‘breathe’ in the line. He has a ‘signature’ way of treating a group of four eighth-notes. He would often pick, pick, slur, and pick a group of four eighth-notes as in figure 1.
Most often there would be a half step between the second and third note (as in figure1). One can hear evidence of this approach in the two-bar pick ups to his solo in ‘All the things you are’. (refer to transcription: measure 1 and 2). Licks: Apart from his Metheny-isms, Metheny does play some signature licks. His most common lick is a II-V-I lick (figure 2). On the ‘Question & Answer’ recording, he plays this lick twice. Once in ‘All the things you are’ and once in ‘Old Folks’.
“Metheny-isms” From the lick in figure 2, we gain insight in many Metheny-isms. Figure 3 is a common Metheny- ism. This occurs in his solo on ‘Solar’ (refer to transcription) in measure 4, beats 3 & 4 and measure 5, beats 1 & 2. Notice this idea also, adapted in the II-V-I lick (figure 2) in beats 3 & 4 of the II chord, and in each of the four-note groups of the I chord (Ab major).
Metheny plays another common rhythmic figure. (figure 4).
It evolves into a melodic cell as in figure 5 and figure 6.
Figure 7 is a very recognizable chromatic Metheny-ism. It can be heard on almost any up-tempo solo.
Figure 8 is based on a minor pentatonic figure Metheny plays usually in the decending form. He plays this chromatically and/or adapts it diatonically to create tension in his solos. This may be heard on ‘All the things you are’. See Figure 9.
Figure 10 is an augmented triad shape which Metheny often slides either chromatically or in thirds. This can be heard on ‘Solar’ (refer to transcription) on the Fmaj7 chord in measure 41.
