!
PRM-502 CREATIVE MUSICIANSHIP
Pat Metheny: Artist Presentation and Stylistical Analysis by Tommaso Varvello
!
!
Introduction Metheny was born in Lee's Summit, Missouri, on August 12, 1954. Since his debut on the jazz scene with his first album "Bright Size Life" (1976) he's been considered one of the most influential and respected jazz guitarist in the world. Throughout the years, Metheny has managed to create his own voice in the jazz world, blending together elements of bebop, classic and contemporary jazz, latin jazz, world music and jazz fusion to create a unique and fascinating sound. He's been writing music and working as a solo artist, with the "Pat Metheny Group" and a number of duos, trios, side projects and collaborations. For this assignment, I chose to transcribe the solos from "Bright Size Life", title track of the eponymous album,"Have You Heard", opening track to "Letter From Home" (1989), and "Jaco", from the "Pat Metheny Group" album (1978). I chose "Bright Size Life" because being one of Metheny's early works it contains a lot of Metheny's signature soloing ideas and melodic/harmonic approaches to composing and soloing. "Have You Heard" was chosen because to me it's a perfect example on how Metheny has blended elements of bebop and typical jazz motifs and approaches to soloing into his own compositions. Finally, "Jaco" was chosen as a prime example of Metheny's pentatonic use in jazz. The solo transcriptions and lead sheets of the tunes tunes can be found as appendices to this essay. The tracks attached as MP3s have been edited to start where the transcribed examples happen. Improvisational and soloing style The first feature that is evident in Metheny's soloing is the use of chord tones and chord extensions while soloing through changes. As with all of the great improvisers, landing on chord tones when the backing harmony changes during your solo is invaluable, and Metheny is a master of this, utilizing chord tones to empower his lines and melodic phrases. This is evident in both "Bright Size Life" and "Have You 2 PRM 502 - Creative Musicianship !
Tommaso Varvello
!
Heard". In "Bright Size Life" we see Metheny landing on thirds or fifths of the chord in bars 5, 11, 13, 17, 19, 21, 29, 31, 37, 45, 48, 49, 52, 55, 61, 63, 64. He also chooses chord extensions such as 9s and 11s, as seen in bars 1, 3, 7, 11, 33, 59. Also, many times he uses a technique called delayed resolution: he resolves the line on a chord tone not on beat one (see bars 7, 11, 17, 19, 27, 41).
Chord tone soloing in "Bright Size Life" In "Jaco", the most melodic lines all feature strong chord tone resolutions. In bars 11-12, Metheny follows the chord changes by landing on the major 3rd and major 7th of Abmaj7 (bar 11), and then resolves to Gm7 on the "and" of beat 2 of bar 12, by landing on a D (the 5th of Gm). In bars 25-26, Metheny emphasizes Ab lydian by playing between the 5th and the #11 (bar 25), then resolving to the minor 3rd of Gm on beat 2 of bar 26.
Chord tone soloing in "Jaco" Another key feature of Metheny's soloing style is the use of melodic motifs. He often chooses to repeat the same intervallic phrase, moving it laterally across the fretboard to create a sense of repetition and continuity in the solo. In "Bright Size Life", a prime example can be found in bars 1-2. Here Metheny uses a lateral thirds pattern ascending across the neck, creating tension and momentum that is released in bar 3 by landing on the major 9th of the new chord. Another example can be found in bars 40-41: Metheny uses a rapid semiquaver pattern outlining A-GF#m-Em triads (derived from the harmonized D ionian scale) while descending 3 PRM 502 - Creative Musicianship
Tommaso Varvello
!
across the neck until landing on the fifth of G on beat 3 of bar 41. Other examples can be found in bars 17 to 19 (repeated mixolydian motifs) and bars 49 to 51 (repeated mixolydian double stop lines).
Melodic motif in "Bright Size Life" (bars 1-2) In "Have You Heard", this device is evident in bars 43 to 48. Here Metheny chooses to create repetition by playing a Cm pattern outlining R, 9, b3 and 11 of the chord; then develops that pattern by moving it through the modulation in C#m, concluding the line with a descending pattern of R, 3 and in some cases b9 through F#, E, D#, C# and B triads (a stepwise descending cascade that hints at whole tone harmony). Other examples can be found in "Have You Heard" in bars 55-58 and 77-79. In both these passages Metheny moves the same pattern laterally across the neck, ascending quickly while building momentum in the solo. Both patterns move mostly stepwise (ex. E-F#-G#-A#-B in bars 55-56) and are comprised of fifth/sixth interval jumps.
Use of motifs in "Have You Heard" 4 PRM 502 - Creative Musicianship !
Tommaso Varvello
!
In "Jaco", this technique is used in bars 8-9: Metheny plays a Cm pentatonic intervallic line in bar 8, followed by a sequence in Ab lydian in bar 9, building tension until the release comes in bar 11, with a highly melodic line.
Melodic sequences in "Jaco" (bars 8-9) Another example can be found in bars 27-28: Metheny plays a four note ascending sequence in Ab lydian displaced across the bars, with a lazy, behind the beat feel.
Melodic sequence in "Jaco" The use of repetition in Metheny's soloing is also evident in his choice of rhythms: "Have You Heard" showcases some excellent examples. Most of the solo is made of semiquaver patterns and lines; towards the end of the solo, Metheny builds up tension by utilizing repeated rhythmical figures, such as the crotchet triplet figure in bars 65-66-67, the quaver triplet heavy figure in bars 70-71 and a quaver-semiquaver sequence in bars 82-83.
5 PRM 502 - Creative Musicianship
Tommaso Varvello
!
Rhythmical motif in "Have You Heard" Scale choices Metheny is a master in chord scales relationships and changing scales and modes according to the harmony, but the thing that to me is really fascinating is how well he "disguises" scale changes inside his highly melodic and flowing soloing technique. Metheny makes wide use of major and minor pentatonic scales, utilizing pentatonic substitutions and hybrid pentatonic patterns to fit the harmony and create the desired effect. In "Bright Size Life", a prime example is bars 9 to 12: Metheny uses a D major pentatonic framework to outline the G lydian tonality, before resolving to Bb lydian in bar 11; then, he uses a hybrid Dm/Bm pentatonic ascending line to resolve into the fifth of D in bar 13. He repeats the same concepts in bars 25 to 28: over the same chord changes, he outlines D major pentatonic in bars 25-26, resolves to Bb lydian in bar 27 and uses an ascending Dm pentatonic triplet line in bar 28, resolving to the fifth of D in bar 29. Other pentatonic lines can be found in bars 32-33 (D major pentatonic), 35-36 (Gm pentatonic descending line) and bars 44 to 48 (D major pentatonic).
Pentatonic soloing in "Bright Size Life" (bars 25-28) In "Have You Heard", a perfect example can be found right at the start of the solo: from bars 1 to 7, Metheny alternates between Cm pentatonic (bars 1-4), Fm pentatonic (bars 5-6) and Cm again in bar 7. Other examples can be found in bar 26 6 PRM 502 - Creative Musicianship !
Tommaso Varvello
!
(descending Gm pentatonic), bars 33 to 35 (Gm pentatonic), bar 39 (hint at Abm pentatonic), bars 51-52 (C#m pentatonic), bar 64 (descending C#m pentatonic) and bars 84 to 89 (multiple C#m pentatonic ideas).
Pentatonic line in "Have You Heard" Jaco is definitely the most "pentatonic" solo out of the three: the structure of the solo all revolves around the Cm pentatonic scale. However, Metheny goes well beyond the classic pentatonic use, choosing to phrase and inflect the scale in a unique and highly personal way. Some key pentatonic lines are featured in bars 5 to 8 (the lines share a pentatonic framework), bar 16 (Metheny uses an ascending C#m pentatonic line to build tension at the end of the turnaround and into the second chorus of the solo), bar 20 (Cm pentatonic sextuplet sequence) and bars 21-22 (ascending pentatonic line).
Pentatonic lines in "Jaco" Another key feature of Metheny's soloing is the use of chromatic notes both as approach notes, using enclosures or linking shapes through lateral chromatic shifts. All of these device build tension and contribute to the overall effect and delivery of the solos. "Bright Size Life" is a more melodic and less hectic solo than "Have You 7 PRM 502 - Creative Musicianship
Tommaso Varvello
!
Heard", hence incorporating less of these concepts. However, they're still included as tools to build interest, such as bars 3-4 (slidey chromatic approach tones), bar 20 (ascending chromatic line to create tension, resolving into the 3rd of A7 in bar 21) and bars 28 and 35-36 (use of pentatonic sequences implying outside notes). "Have You Heard" is a perfect example of Metheny's masterful use of chromaticism. Heavily influenced by bebop, the whole solo is a canvas for Metheny's lines busy with outside notes and chromatic embellishments. Use of enclosures is evident in bar 14 beat 1 (Gb-E-F), bar 24 beat 1 (D-B-C), bar 36 beat 4 (E-G-Gb), bar 54 beat 4 (D#-F#-E), bar 58 beat 3-4 (A-G-G# and G#-F#-G) and bar 59 beats 2-3 (F-D#-E and E-C#-D#). Metheny makes large use of repeated lateral chromatic shifts, as shown by bar 9 beat 3 (Eb-C-D-B), bar 10 beat 2-3 (F-Db-E-C-Eb-B), bar 13 beat 3 (Eb-C-D-B), bar 17 beat 2-3 (B-G-Bb-Gb-A-F-Ab-G), and more in bars 25, 39, 53, 76. These shifts are usually played while outlining a sequence of major or minor thirds. The solo also features some lines implying straight parts of the chromatic scale, such as bars 15, 20-21, 23, 25, 31, 42-43, 54, 75, 76, 80.
Use of chromaticism in "Have You Heard"
8 PRM 502 - Creative Musicianship !
Tommaso Varvello
!
Metheny also likes using altered scales over dominant chords, as shown by the lines in "Have You Heard" in bars 22, 32, 54 and 76.
G# altered scale line in "Have You Heard" (bar 54) Phrasing and technical considerations Most of Metheny's signature sound, apart from his gear, comes from the way he phrases his lines during his solos. The most characteristic feature of Metheny's phrasing is definitely his use of slides. He uses them to give vocal quality to some of his melodic lines, and are present in almost all of Metheny's compositions. "Bright Size Life" is a perfect example: the solo is not too hectic and this allows Metheny to beautifully phrase almost each line with the addition of slides. Some examples are bars 1 to 3, that feature slides into notes as well as slides out, bars 17 to 19, that again feature different types of slides, and bars 29-30, that show Metheny's phrasing over an emotional melodic line.
Use of slides in "Bright Size Life" "Have You Heard" also features some of these ideas, mainly evident in bars 50-51 (slides outlining E major/C#m pentatonic), bars 55-56 (ascending slides while 9 PRM 502 - Creative Musicianship
Tommaso Varvello
!
playing a repeated pattern), bars 65-66 and 82-83 (lateral approach slides) and bars 87-88 (C#m pentatonic slides).
Ascending sequence featuring slides in "Have You Heard" Metheny's phrasing in "Jaco" features slides mostly as an embellishment of pentatonic lines, as demonstrated in bar 3, bar 19 (repeated riff using a b5-4-b3 movement in Cm pentatonic), bars 21-22 and 29. Another interesting use of slides can be found in bar 25: Metheny adds tension to the line by sliding out of a note into another (C to B), without picking it. This results in a second note which is much lower in volume but can still be heard, giving more character and originality to the line.
Slide example from "Jaco" Making large use of pentatonic scales, Metheny also makes often use of double stops, as featured in the bar 43 to 51 sequence in "Bright Size Life", where he uses sixth intervals and pentatonic double stops. Metheny's Gear Choices In regards to gear, Metheny's most used guitar is a Gibson ES-175 along with his signature Ibanez PM20 and PM100 models. He was a pioneer in the use of the Roland GR-300 synth guitar, from which he obtains his signature saxophone-like 10 PRM 502 - Creative Musicianship !
Tommaso Varvello
!
lead sound, and he's incorporated acoustic guitars, 12-string electric guitars, the 42string Pikasso custom guitar as well as a multi instrument project called the "Orchestrion" in many of his works. Recommended Discography Bright Size Life - 1976 Watercolors - 1977 Secret Story - 1992 With the Pat Metheny Group Pat Metheny Group - 1978 Offramp - 1982 Travels - 1983 Still Life Talking - 1987 Letter From Home - 1989 We Live Here - 1995 Trio Question and Answer - 1989
Bibliography Pat Metheny, 2000. Pat Metheny Songbook: Lead Sheets. Edition. Hal Leonard.
Word count: 2098 11 PRM 502 - Creative Musicianship
Tommaso Varvello
APPENDICES
