INCLUDE CD!

(mp3, mp4)8

125 Jazz tunes

“Fats” Waller (p. 10) 1. Ain’t Misbehavin’ 13 2. Honeysuckle Rose 17 3. Jitterbug Waltz 20 4. Black and Blue 25

Irving Berlin (p. 28)

5. Just In Time 30 6. The Best Thing For You Is Me 34 7. Blue Skies 39 8. How deep is the ocean 42

Cole Porter (p. 46)

9. Love For Sale 48 10. Every Time we say Goodbye 54 11. You’d be so nice to come home to 58 12. Just one of those things 62

Richard Rodgers (p. 66)

13. Spring is Here 68 14. My Favorite Things 74 15. My Funny Valentine 78 16. My Romance 82 17. Have you met miss Jones 86

Victor Young (p. 90)

18. When I Fall in Love 92 19. My Foolish Heart 96 20. Stella by Starlight 100 21. Beautiful Love 104

Harold Arlen (p. 108)

22. It’s Only a Paper Moon 111 23. I’ve Got The World On A String 114 24. Ill Wind 118 25. My shining hours 122 26. Over the Rainbow 126 27. A Sleepin’ bee 130

George Gershwin (p. 134)

28. Embraceable you 136 29. Someone To Watch Over Me 140 30. The Man I Love 144 31. Bess, You is My Woman Now 148

Duke Ellington (p. 154)

32. Sophisticated Lady 156 33. Prelude to kiss 160

Billie Strayhorn (p. 166)

34. Lush Life 170 35. Chelsea Bridge 175

Django Reinhardt (p. 178)

36. Nuages 182 37. Melodie au Crépuscule 186 38. Oriental Shuffle 190 39. Nuits de Ste- Germain des Prés 192

Charlie Parker (p. 196)

40. Dewey Squire 199 41. Quasimodo 202 42. Blomdido 206 43. Moose The Mooche 210

Thelonious Monk (p. 214) 44. Little rootie tootie 222 45. Ask me now 226 46. Ba-lue Bolivar Ba-lues-are 230 47. Four in One 234 48. Pannonica 238 49. ‘Round Midnight 242

Miles Davis (p. 252)

50. Nardis 255 51. Blue in Green 259

Dizzy Gillespie (p. 262)

52. Groovin’ high 264 53. Be Bop 268 54. Con alma 272

Bud Powell (p. 276)

55. Hallucinations 278 56. Budo 281 57. Bouncing with Bud 284 58. Webb city 289

Charles Mingus (p. 292)

59. Goodbye pork pie hat 294 60. Peggy's blue skylight 298 61. Duke Ellington sound of love 302 62. Re-incarnation of a Lovebird 306

Horace Silver (p. 310)

63. Peace 313 64. Nica’s Dream 316 65. Song for my Father 322 66. Pyramid 326 67. Lonely Women 330

Wes Montgomery (p. 334)

68. SOS 337 69. So Do It 342 70. Wes Coast Blues 346

John Coltrane (p. 350)

71. Giant stops 353 72. Like sonny 356 73. Naima 360 74. Countdown 364 75. Moment’s notice 367

Jimmy Van Heusen (p. 370)

76. Darn That Dream 378 77. I thought about you 381 78. Here's That Rainy Day 384

Bill Evans (p. 390)

79. Very early 394 80. Turn out the Stars 398 81. Interplay 403

Wayne Shorter (p. 406)

82. Yes or No 409 83. Witch Hunt 412 84. Nefertiti 418

Joe Henderson (p. 422)

85. Inner Urge 424 86. Punjab 428

Ornette Coleman (p. 432) 87. Broadway Blues 435 88. Turnaround 439

Michel Legrand (p. 442)

89. Watch What Happens 447 90. The Summer Knows 452 91. What are you doing the rest of your

life 456 92. You Must Believe In Spring 460

Woody Shaw (p. 466)

93. In Case You Haven’t Heard 468 94. Katrina Ballerina 471

Freddie Hubbard (p. 474)

95. Intrepid Fox 476 96. Red Clay 480 97. Up Jumped Spring 484

Sonny Rollins (p. 488)

98. Airegin 490 99. Vals Hot 494 100. Oleo 497

Benny Golson (p. 500)

101. Whisper Not 502 102. Stablesmates 506 103. I Remember Clifford 509 104. Killer Joe 515

Clifford Brown (p. 518)

105. Joy Spring 520 106. Daahoud 524 107. Jordu 528

Antonio Carlos Jobim (p. 523)

108. Alma de Zingaro 538 109. Luiza 542 110. Wave 546 111. Chega de Saudade 549 112. Triste 554

Lee Konitz (p. 558)

113. Sub-Conscious-Lee 560 114. Hi Beck 564

Frank Zappa (p. 568)

115. Blessed relief 570 116. Oh No 574 117. Peaches en regalia 578

Herbie Hancock (p. 584)

118. Eye of the Hurricane 586 119. Dolphin Dance 590

Chick Corea (p. 594)

120. Armando Rumba 596 121. Windows 600 122. Got a Match 604

Pat Metheny (p. 608)

123. James 612 124. Better Days Ahead 616 125. Bright Size Life 620

DUKE ELLINGTON

Sophisticated Lady

analisis by Pere Soto

section 1

Medium Ballad

IntroA

keycenter5

keycentersection 2

9

keycenter

1º modulation

13

keycenter

18

section 3

2º keycenter22

section 4

keycenterspivot chord

2º modulation

2º modulation

taste structure analisis

against very rich melody

m2, the smaller interval

original turnaround

26

44

44

&bbbb

sequence 1

answer1

s.d.=secundary dominant

subphrase 1

tonalitie Ab

rhythmic motif 1

phrase 1s

arpeggio

rhythmic motif 2

descending chro. melody

rhythmic motif 3

Form; AABA 2 sequences, 4 sections10 phrases, 4 subphrases3 II-V10 rhythmic motifs2 modulations

phrase 2

subphrase 1-2 repetition

Duke EllingtonSophisticated Lady

?bbbbsubstitution

modal interchange

VI7

s.d.F7¨9

chro. approach

©II-7B-7

II-B¨-7 B¨-^7B¨-7?

subphrase 2

descending chro. approach same quality chords.d.

G¨7¨VII7

F7VI7

E7¨VI7 V7

E¨7 A¨º7I^

A¨^7

&bbbbr. m.2

phrase 3

rhythmic motif 4 rhythmic motif 5 r. m.5

3

?bbbbs.d.

I7A¨7

VII7G7 G¨7

¨VII7r. m.3 var.

F7VI7

s.d.

II7B¨7

II-7B¨-7

II-V nº 1

V7E¨13

II-7C-7A¨^7

III-7?

D¨7IV7

&bbbbfi

chro. appr. melody

phrase 4

phrase 2 repetition

phrase 5

?bbbbAb mixolydian

A¨7II-V nº 2?

I7 V7F7¨9VI7

phrase 1 repetition

B¨-7 B¨-^7 B¨-7 ? G¨7 F7 E7 E¨7 A¨^7

&bbbbthis chord prepares the F7b9 dominant phrase 6

rhythmic motif 6

∑3

?bbbbA¨7G7G¨7F7 B¨7phrase 3 repetition diferent ending

B¨-7 E¨13I^A¨6

modal interchange

AØ7IIØ7

II-V nº 3

V7D7

&bbbbrhythmic motif 7

phrase 7

r. m.7

r. m.7 r. m.7 r. m.7

r. m.8 r. m.6

B

?bbbbsequence 2

I^subphrase 3

G^7VI-7E-7 A-7

II-7

more bluesy armonizationD7V7

subphrase 4

B-7G7

III-7 VI7E7¨9G©º7

II-7A-7

V7D7¨9

&bbbbphrase 8

rhythmic motif9

phrase 9 phrase 10

rhythmic motif10

D.S. al Coda

?bbbbI^

phrase 2 repetition

G^7 E-7VI-7

A-7II-7

V7 substitution of G7

V7D7

I^G^7

IIIº7Bº7

modal interchange

IV-C-7 ?

III-? I-?

II-7B¨-7?

IIØ7CØ7

II-V nº 4

V7F7¨9

&bbbbfi

G^7A¨^7

G7alt/D¨?!

I^A¨6 ∑

IIØ7CØ7

V7F7¨9

Ó™ œb ˙ œ œ œ œ œb œ œn œb œ ˙n œ œ œ œ

œ œn œb œ œ˙ œ œ œ œ œ œ œ ˙ œ ˙ ™ œ

wb ˙ œ œn œ œ œb œ œn œb œ ˙n œ œ œ œ

œ œn œb œ œ˙ œ œ œ œ œ œ œ ˙ œ

œ œ ˙ ™

‰ œn œn j œn œ œ œ œn œn œ# jœn œbJ œn ˙n ™ œn œ ˙b ™

‰ œn œn j œn œ œ œ œn œn œ# jœn œbJ œn œn œ œ œb œ œ œ œb œ œ œ œb

w

Ask me now

™™

™™

analisis by Pere Soto

tonality in Db

structure AABA, 32 barsd. s. =secondary dominant

whole tone step down

already from the beginning is searching for the "Tonal Center" that finally occurs at bar 6, 10.

arpeggio Bbmaj7

c.II-V : cycle of II-V

A

II-7

1/2 step down

V7 II-7 V7 II-7

1/2 step down

V7 II-7 V7 II-7 V7

1/2 step down

VI7 VI¨7

arpeggio Eb9

1.5

II7

1/2 step down

II¨7

1/2 step down

I^ II7 II-7 V7

™™

™™

2.8

III-7

tritone of Bb7

III¨7 II-7

tritone of Ab7

II¨7 II-7 V7

&

only 2 main rhythmic motifs !

sequences of 4 bars

8 phrases

phrase 1

rhythmic motif 1

melody line direction (1)

"head"

melody line direction (2)

melody line direction (3)phrase 2

momentary release point

Thelonius MonkAsk me now

sequence 1

sequence of 4 chords

c.II-V 1

arpeggio Cmaj7

G-7 C7 F©-7c.II-V 2

whole tone step down

B7c.II-V 3

F-7

sequence of 4 chords

B¨7 E-7c.II-V 4

A71/2 step down

whole tone step down

E¨-7

sequence of 2 chords

c.II-V 5

A¨7

sequence of 2 chords

d. s

B7(¨5)d. s

B¨7

&

phrase 3melody line direction (4)

9b7 5

3 3

9

rhythmic motif 2

9 1

melody line direction (5)

7 13 6 5

phrase 4

b7

melody line direction (6)

5 b31 5

13 #53 3

sequence 2

sequence of 2 chords

d. sE¨7 D7

d. s

Tonal Center

D¨^7sequence of 2 chords

E¨7d. s

II7 becomes II-7 V7

sequence of 2 chordsE¨-7

c.II-V 6A¨7

&cycle of 4ths phrase 4

b7 5

melody line direction (6)

b31 5

13 #5

final release point

3sequence of 4 chords

F-7 E7d. s

E¨-7 D7d. s

E¨-7c.II-V 7

A¨7 D¨^7

œ œ œ œ œjœ ™ œb œ œ œb œ

j œ ™ œb œb œ œ œ œn w

œ œb œb œ œ#j œ ™ œb œb œ œ œ œ œb œ œb œb œb œb œb œ œn

œ œb œb œb œb œb œb œb œb œ ™ œbj wb

Here instead of searching for the tonal center as happens in A, starts using II-V of the tonal center twice. That's not a coincidence, the tonal center has been set right before the B, so it needs to stay and reinforce it, but not too long, just 4 bars, keeping the general structure of the sequences.

substitution tritone of Bb7

11

II-7 V7 ID¨^

III-7 III¨-7 II-7 V7 ID¨^

15

here is a point where needs to change the mood of the bridge and get back to the original mood of the song,so Monk uses a mirror technique harmonization and changes one more time the direction of the melody back to the original, already expend 6 bars so it needs the next 2 bars for a turnaround. (so then keeps the classic 8 bars bridge)

turnaround

II-7

key center

FORM

V7

mirror

V7 II-7 II-7

special sequence of II-V melodic turnaround

V7

last A is identical to A2

II-7 V7

&

sequence 3rhythmic motif 1 inverted

melody line direction (7)

phrase 5

momentary release point 1 melody line direction (8)

phrase 6

momentary release point 2

B

E¨-7c.II-V 8

A¨7 ?

chromatic descending

F-7 E-7 E¨-7c.II-V 9

A¨7

&phrase 7

a mix of rhythmic motif 1 and 2 special momentary release point 3

phrase 8

melody line direction (9)melody line direction (10)

3

sequence 4

c.II-V 10

B¨-7

A

E¨7

B

í ™™

d. s

A

d. s

E¨7

î™™

B¨-7c.II-V 11

E¨-7 A¨7c.II-V 12

D¨-7 G¨7

œb œ œb œb œ ™ œJ wb œb œ œb œb œb ™ œn j wb

œb œ œ œb œ œ ™ œJ wb œb œb œb œb œ œb œœn œb œb œb œJ œ ™

Ask me now

2

Four in One

analisis by Pere Soto

version from Jazz LTD Fake Book

d. s. =secondary dominant

3

™™

™™

version from "Thelonious Monk compositions" book

5

7

™™

™™

Monk Embellishment technique9

II7 V7 I^7

&bbb

A

tonality in Eb

sequence 1different version

Form Structure A(8b)A(8b)B(8b)A(8b)total 32 bars- 2 sequences- 5 sections- 3 modulations- 9 phrases- 5 rhythmic motifs- 6 II-V sequences

33 3 3

5

3

Thelonious Monk

q=150

Four in One

&bbb5 5 5 5

&bbbA phrase 1

answer 1

rhythmic motif 1

deep explosion energy feelmomentaneous release tension

rhythmic motif 2

minor 2nds( one of the most important

Monk's signature)

q=150

bbbsequence 1

section 1

E¨^I^7 VI7

D¨7©5

&bbbphrase 2

rhythmic motif 1

even more deep explosion energy feelmomentaneous release tension

rhythmic motif 2

bbbsection 2 VI7

C7©5

&bbbsection 3 rhythmic motif 3

final release point

∑

bbbs.d.

F7(¨9) B¨7 E¨^C7

2º ending

F-7 B¨7

œ œ œ# œ œ œ œ œ œ œ œ œ œ œ œn œœ œ œœb ˙

‰œ œn œ œ# œ œJ œ œ œ œ œ

œJ œ œ œ œ œœJ œ œ œ œ œ

œ œ œnœœb w

w

œ œ œ# œn œb œ œb œ œb œ œ# œ œn œb œ œn œœn œ œœ œœ Œ

≈œ œ œn œb œ œ

œ œ œ œ œ œœ œ œ œb œ œ œ œ œn œb œ œ œ œn

œœbb

˙<b>Ó Ó œ œ œ œ

œ œ ˙ Ó

13

II-7 V7 II-7 V7 II-7

17

II-7 II-7

the A section is a melodic world

Tension map of modulation map of sequence II

explosion of II-V

Ab

Eb

the B section is a harmonic world using II-V

E

A

Ab

Bb

&bbbsection 4

B

rhythmic motif 4

sequence 2phrase 3

r. m. 4 r. m. 4

major 2nds( one of the most important

Monk's signature)

3 3 3

bbb

1º modulation Ab

B¨-7II-V nº1

E¨7 B¨-7II-V nº2

E¨7half step up

B-7II-7

II-V nº3

V7E7

half step down

B¨-7II-V nº4

V7E¨7

&bbb2º modulation to Bb

phrase 4

rhythmic motif 5

r. m. 5 var.

3º modulation to E

phrase 5

rhythmic motif 2

bbbsection 5

C-7II-V nº5

V7F7©5

II-V nº6

F©-7chromatic descending half step

V7B7

V7B¨7

section 3

A

section 1

sequence 1

section 2

î™™

II-V nº1II-V nº2

II-V nº6

B

II-V nº4

II-V nº5

II-V nº3

‰ œbJ œ œ œœœœ œ œ œ œ œb œœœ œ œ œ œ œn œn œn œ œ œ œb œœ œb œb j œœn ™

™ Ó

‰ œJ œ œn œ œ œn œb œb Ó™ œ œn œ# œ œb œ œn œb œJ œ ™ Œ ≈ œn œ œ

Four in One

2

WAYNE SHORTER

Yes or No

™™

™™

Fast Swing

notice that A is divided in 2 similar sections + 1 extra section

analisis by Pere SotoAABA

here creates tensionreleasing tension momentaneously A

can work as a D pedal . . . . . . . . . . . . . . . . . . .

V7 I momentaneous key center

™™

™™

final release point

1. 2.10

II- V7 I V7 I VI-

notice that B is divided in 2 similar sections melodic direction down 1 melodic cells B17

IIØ7 V7

melodic direction down 2melodic direction down 3

21

I- IV7 II-7

melodic direction down 427

V7 notice, less dissonance tensions I II-7 V7

&

3 momentaneous key center

rhythmic motif 1

phrase 1"head"

most important notes

the A is constructed based on long notes, creating a permament tensionthe B is constructed based on developping melodic ideas releasing the tension from A

rhythmic motif 1

answer 2phrase 2

Notice the A has 14 bars, and B 16 bars5 modulations4 tonalities, D,G,Bb,G-, Eb.notice that if you reorder these tonalities;(G, Bb, Eb) is part of Coltrane changes?!

rhythmic motif 1

responsephrase 3

Wayne ShorterYes or No

@

sequence 1

section1

D13sussection2

D^7

&short melodic motif

gradual descending melodic linerhythmic motif 1

rhythmic motif 13

II-V cycle nº1

1º modulation

A-7section3

the F,Eb notes implies key of Bb

D7 G^7

2º modulation

F72º momentaneous key centerB¨^7

momentaneous release point

E-7

&

rhythmic motif 2

phrase 4

11

melodic direction up 1

b5 b7

rhythmic motif 3

b9 5

inverse melodic motif 2

reduction direction melodic cell

3 b9rhythmic motif 3 variation

b13

II-V cycle nº2

sequence 2

AØ7section 1

3º modulation

D7¨9

&9

reduction direction melodic cell b7 5

rhythmic motif 3 reduction

b3 13

secundary dominant

b13

phrase 5

9 4th up from phrase 4

melodic direction up 2

b3 5 b7

G-7modal interchange

C13section 2

rhythmic motif 2

II-V cycle nº3F-9

4º modulation

&inverse melodic motif 2

3

melodic direction down 3

1 13 11 7 5 3 1 b7 5º modulation 11

phrase 6

B¨133º momentaneous key centerE¨^

II-V cycle nº4A-7 D7

Óœ œ œ

œ w w w ˙ œ œ œ œ# w w w ˙ œ œ# œœ

œ œœœœ œ# œ œ ™ œj œ œn œb œ w w w ˙ œ œ œœ w

˙ œb ™ œj ˙ ‰ œb ™ ˙ œ# ™ œb j ˙ ‰ œb ™

˙ ˙n ˙ œb ™ œj w ˙ ‰ œb ™ ˙ œb ™œJ ˙ ‰ œb ™

˙ œb ™ œj ˙ ‰ œb ™

˙ ˙b ˙ œb ™ œj w ˙ œ œ œœ

Nefertiti

analisis by Pere Soto

Ab key center

Medium Swing

mf

5

3º 4º3º

4º

9

13

Coltrane changes sequence Ab, B, E

divinity

+ sophistication, ambiguous

human

&sequence 1

rhythmic motif 1

phrase 1answer 1

3

syncopation

#9

rhythmic motif 2

6 syncopations

37 5

rhythmic motif 3

b5

glimpse response 1

4syncopation

b9

r. m.3(b)

real response 1

4 rhythmic motifs

Form; 16 bars1 sequence, 4 sections

4 phrases5 tonalities

#5

phrase 2

syncopation

9

Wayne ShorterNefertiti

section 1

I^7A¨^7(©11)

Key center IV^7D¨^9(©11)

II-V nº1

IIØ7G-7(b5)

to F harmonic minor scalerelative minor of Ab

V7C7(áÁ)

deceptive cadenceBmaj7 instead of F-maj

&phrase 2

syncopation

3

ascending melodic direction

#11rhythmic motif 3

b6syncopation

b7

syncopation

#11

section 2

tritone subst. of FB^9I^7

B lydian scaleB^9(©11)

II-V nº2

IIØ7B¨-7(b5)

V7deceptive cadenceEmaj7 instead of Ab-maj

E¨7(áÁ)chromatic approach

to Ab harmonic minor scaleit seems returns to Abmaj7 the key center

&

phrase 3answer 23

syncopation Nefertiti 3 magic notes

rhythmic motif 4

3

triad chord

1 5

phrase 4

9

answer 2 extended

syncopationrhythmic motif 4

b9

rhythmic motif 43

triad chord

Nefertiti 3 magic notes

1 5

syncopationb5

#11

section 3

constant structures, same quality chord

E^7I^7

chromatic decending bass line

I^7D^7/A

tritone subs. of D7

A¨9(©11)su¨V7/VII I^7

4E('9)/F©

&7 #11

syncopation

final release point using two bars lack of melody (silence meditation?)

∑ ∑

ambiguous chord

V7E¨7(©11)

(IV7)

unexpected minor tonality,sophisticated cadence, like Nefertiti was?

section 4

I-^7B¨-^7

ambiguous pivot chord

(IV7)

E¨9(©11)V7

E^7 NefertitiB¨-^7

A¨^7(©11)

B^9

section 4

bar 15

5

rhythmic motif 4

triad chord

Nefertitimagic 3 notes

3

1

Œ ‰ œJ œ ™ œJ œb ™ œj œj œ œb j ˙b ™ œ œ ˙ ™ œ# œ#

˙<#> ™ œ# ˙ œ œ œb ˙ ™ œn w

Œ ‰ œ# j œ ™ œn j œ# œ œŒ Œ ‰ œbJ œ ™ œj œ# œ œ œb œ

˙ ™ œ# œ w

JOE HENDERSON

Inner Urge

{

{

{

{

™™

™™

Med-Up Swing

analysis by Pere Soto

AABA A contains:- 7 phrases- 4 answers- 4 sections of 4 bars- total of 16 bars- 3 modulations- 4 key center zones

B contains:- 7 phrases- 4 responses (one for each answer!)- 4 sections of 4 bars- total of 16 bars- 3 modulations- 2 sections

sequence 1

F# locrian

section 2

5

F lydian

section 3

9

Eb lydian (#6)

section 4

polychord =

13

Db lydian

44

44

&

k.c.m.= key center momentaneous

containing:- 2 sequence- 6 sections

section 1

"head"answer 1

Key center G major scale zonephrase 1

*

Key center zones descending by major 2nd, C, Bb, Ab, starting bar 5

phrase 2

*

*3 notes cell on contrary motion

3 notes cell on ascending motion

bar 9

bar 1

down

up

up

up

A

Inner UrgeJoe Henderson

?VIIØ7F©Ø7(11)

IVØ7F^7b5

&

k.c.m C major scale zone

answer 2phrase 3

1º modulation

phrase 4

IV©Ø7?F^7b5 E^7b5

&

k.c.m Bb major scale zone

answer 3phrase 5

7 7

phrase 6

?IVØ7E¨^7b5

2º modulation

D^7b5chromatic aprox.

E¨^7b5 E¨^7b5 D^7b5E¨^7b5 B^7b5 D¨^7b5

&

k.c.m Ab major scale zone

answer 4

phrase 62 oct. range!

notice the lack of Eb, Bb, Ab, the alterations of Ab scale

phrase 72 oct. range!

?

3º modulation

D¨^7b5 IVØ7 CD¨;5

IIIIV

D¨^7âÁ;5

Œ ‰ œ# j œ œ œ œ œ ™ œ# j œ œ Œ Œ ‰ œ# j œ œ œ œ œ œ# œ œ Ó

+VJ V

™V™

VJ + +V V

‰VJ

Œ ‰ œn j œ œ œ œ œ ™ œj œ œ Œ Œ ‰ œj œ œ œ œ œ œ œ œ Ó

+VJ V

™V™

VJ + +V V

‰VJ

Œ ‰ œbJ œ œb œ œ œb ™ œj œ# j œ ™

Œ ‰ œbJ œ œb œ œ œb œ œ# œ œj œ œj

+ +VJ V

™ +V V V VJ V VJ

œ ‰ œj œ œ œ œ œb ™ œJœJœ ™ œ

‰ œj œ œ œ œ œb œ œ œ‰œbJ ‰

œ#J

+VJ V

™VJ V

™ wV

‰VJ +

{

{

sequence 2

Constant structures, same quality chords

17

section 5 minor 3rd down half step up minor 3rd down half step up

™™

™™

section 6

21

So, we can see here a very formal plan of speeding up, even shaking the melodic line gradually!

symmetric harmonic sequence

Melodic structure

section 1, 2, 3

minor 3rd down

section 4

half step up

section 5

minor 3rd down

section 6

key center

&multiple consecutive modulations

response 1E pentatonic

chr. note

bebop phrase9 b9

I

1 9 7 9 3 #11 b7

response 27 6 5 3

7#11

I

5.

3

B

?

constant syncopationscontrasting the constant melodic line variations

IE^9 D¨^9

ID^9 B^9(©11)

&

response 3

7 Cmaj arpeggio

melodic direction

Amaj arpeggio7 Bb pentatonic

Bb13 arpeggio

response 413 #11 9 b7 5

Bb pentatonic #5

Coltrane conclusive motif9

I

79

7

3 5 3 3

?

A

bar 17E^9

constant rhythm motif

C^9I

bar 18

D¨^9

bar 19D^9

bar 20

IA^9

B^9(©11)

bar 21

wide intervals

C^9

end of constant structures

bar 22

A^9

bar 23

B

B¨13(©11)

bar 24

G^9

B¨13(©11)

bar 19, 20,21,22, start melody with the 7!that's not a coincidence!

G^9 F©Ø7(11)VIIØ7

œ<#> ™ œ#J œ œ# œ# œ œb œ œb œ œ œ œ œ œ œ# ™ œJ œ œ# œ# œJ œ# ‰ Œ œ#

‰V™ + ‰

V™ + ‰

V™ + ‰

V™ +

œ œœœœ œœœœœ œ# œ œ# œ# œ# ™œ œb œn œ œn œ œœ œb œ ™œ œb œœ

œ# œ ™ œ#Jœ œŒ

‰V™ + ‰

V™ + ‰

V™ + ‰

V™V™VJ

Inner Urge2

Punjab

GNPLAY 10 CHORUSES (J = 158)

I "t'-l l-)GA AA BA

l.-...- "h ,l..CA+4

LL. Puniab

IGA

BY Joe Henderson

l -) l .-) I

-/-* .

GW ,BA

Eol

NI, l - ,

AA

Gtbg

Eg*4

'y'o

J )^trE$ ni'r.blAha Ab^E$*4

11tt

e

A7 AhA GA F7

>?

i - ) l -h lBA CA+4

r' ' S

E$ nfibt

l. "I- IGA AAC_7IF

E7 F7

SOLOSEul

| 3"-------r

DA BN BA AbA

rd-AbA

$ cooeI

GA

hll'.--- I

AA]-.--1

BAl.-.t'

CA+4

t \ ll , - - l

AA

i it t

){. x.

GA

GA A^ BA C^++S

,1 --1 J.-.ttBA

riI

CA+4

CopyrightO l!X4Johen Music

lltemational Copyright Securcd All Rights Reseped

12

™™

™™

analisis by Pere Soto

q=158

constant structures of maj7

5

I I

constant structures of maj7 thirds descending cycle

¨VI7 I IIØ

10

V7 I IV7 I

B15

I VII7 V7 I

19

&sequence 1

s.d.=secundary dominantTonalitie D

answer 1phrase 1Intro main concept groove

. >

phrase 2response 1

motivic repetition

.

Form; 4 bars intro18 bars A1(10b) A2(8b) 1 sequence, 4 sections1 modulationsseverals motivic repetitions4 key centers8 rhythmic motifs8 phrases1 II-V

>

Joe HendersonPunjab

?section 1rhythmic motif 1

G^7 A^ B^ C^©4

r. m.1 rep.

G^7 A^ B^ C^©4

&

Theme

answer 2phrase 3

rhythmic motif 2

quintal voicings

. response 2phrase 4

r. m. 2

quartal voicings.

rhythmic motif 3

3 3A

?section 2

1º key center

D^minor third down

D^

asc.chr.approach

s.d.B¨7b9

susV7/V7

2º key center

B^minor third down

asc.chr.approach

s.d.G7©9 A¨^

3º key center

modulation nº 1

FØII-V nº 1

&<b>

<b>response 3

phrase 5 motivic repetition

r. m.4response 3

~~~~~~~~ .

?B¨7©4

deceptive cadencerhythmic motif 4

tritoneE6‚9©4

4º key center

momentaneous but the only one release point, (31/2 bars)

E6‚9©4desc.chr.approach

E6‚9E¨7b9A¨^

&

section 3

phrase 6

rhythmic motif 5answer 3

rhythmic motif 6

phrase 7

answer 4rhythmic motif 7

3

? A¨^3º key center

desc.chr.approach

s.d.

G7b9 G¨72º key centerB^

tritone

chr.approachE7IV7

F7susV/IV

&

rhythmic motif 8phrase 8

A7 A¨^ G^

3

F7

answer 1phrase 1

. >

?section 4

desc.chr.approach

¨V7susV/IV

¨V7susV/IV

C-7/Fnotice these last 2 bars are from the intro and has as turnaround functionality at the same time of a brief main concept groove reexposition

(section 1)

G^7 A^ B^ C^©4

œœ

œœ#‰œœ#j

œœ## œ

œ## œ

œ##

‰œœJ œœ

œœ#‰œœ#™

™

œ œ‰ œj œ# œ# œ# ‰ œj œ œ

‰ œ# ™

¿ ™ ¿j ¿ ¿ ¿j¿ ™ ¿j ¿ ™ ¿ ™ ¿j ¿ ¿ ¿j¿ ™ ¿j ¿ ™

Œœœ# œœ œœ#

œœ œœ# œœ ww Œœœbb œœbb œœb œœbb ‰ œœbb J œœbn ™

™ œœbbjœœn œœbb œœ w

™ œb œb

¿ ™ ¿j

˙Œ œœbb œœbb œœ## œœ##‰œœjœœ œœ œœ

‰œœ##j˙## œœ# œœ# œœ## œœ##

‰œœjœœ œœ œœ ww

¿ ™ ¿j

Œ ‰ œbJœb œb œ œ œn

œbŒ ‰

œJ œb œb œ ™ œbJœb œb œ œ# œb œb œb œb œ ™ œnJ

œ# œ œ ˙ œ Œ œœnn ™

™

œœbbj

œœœœ#

‰œœn#j

œœ## œ

œ## œ

œ##

‰œœJ œœ

œœ#

‰œœ#™

™

¿ ™ ¿j ¿ ¿ ¿j ¿ ™ ¿j ¿ ™