This simple half-step relationship, to me, seems very vocal and conversational. At measure 4 he ends on C# at the end of measure 3 into 4. In measure 1, his first phrase begins and ends on C. Kenny begins with a wonderful melody outlining a C triad over the Dm7-G7 progression in which he resolves with a nice 7-3 (D-C#), with that jump up to A to finish the thought he began with in measure 4 over the Em-A7. There are times I almost hear a conversation taking place between two people. Kenny has constructed a solo of phrases that speak to each other in several call and response moments in both contour of the melody and relationship of pitch. It is hard to identify one single lick that stands out because each phrase appears to be connected to either the phase before or the phrase after. In Kenny’s one chorus (Jimmy gets five), he builds that perfect arc in his solo, steadily rising to a climax over half-way through, and coming back down slightly to let Jimmy have room to build as well. He has a natural gift of blending elements of the blues with bebop vocabulary. Kenny’s sense of time and swing is completely in the pocket. There are so many great aspect of this solo. After listening to it (and transcribing it again) recently I was able to finally hear how coherent this one chorus was and how beautifully he built it from beginning to end. I was turned on to this solo while in undergrad and was asked to transcribe it for an assignment, but I don’t know if truly understood what Kenny had done until recently. In 1957 Kenny began to work with Jimmy Smith on and off and can be found on some of Jimmy’s most classic Blue Note albums including Midnight Special, Back At The Chicken Shack, and The Sermon. Kenny was one of many great jazz artists to come out of Detroit in the 1950’s including Tommy Flanagan, Paul Chambers, and the Jones brothers, Hank, Thad, and Elvin. He graduated from Wayne State University with a BA in Music Composition and Theory. Kenny Burrell was born into a musical family in Detroit, MI in 1931 and began playing guitar in his early teens. This side was one that stood out for me from the moment I heard it. Kenny recorded “Satin Doll” with organist Jimmy Smith on the album Organ Grinder Swing, on Verve records in June 1965. For me, I was always drawn to the albums with guitarist Kenny Burrell. Jimmy Smith recorded with many fine guitarist including Quentin Warren, Eddie McFadden, and even Grant Green and Wes Montgomery in his classic Hard Bop Organ Trios and all are swinging sessions. ** Single print order can either print or save as PDF.How do we create a fantastic solo in just 32-bars? One that builds with each passing bar, while at the same time connecting phrases so seamlessly you’d swear someone was telling you a great story? I believe I found the answers in Kenny Burrell’s one chorus solo over “Satin Doll.” If "play" button icon is greye unfortunately this score does not contain playback functionality. Simply click the icon and if further key options appear then apperantly this sheet music is transposable.Īlso, sadly not all music notes are playable. In order to check if 'Wes' Tune' can be transposed to various keys, check "notes" icon at the bottom of viewer as shown in the picture below. * Not all our sheet music are transposable. When this song was released on it was originally published in the key of. Be careful to transpose first then print (or save as PDF). If your desired notes are transposable, you will be able to transpose them after purchase. If you selected -1 Semitone for score originally in C, transposition into B would be made. This means if the composers started the song in original key of the score is C, 1 Semitone means transposition into C#. If it is completely white simply click on it and the following options will appear: Original, 1 Semitione, 2 Semitnoes, 3 Semitones, -1 Semitone, -2 Semitones, -3 Semitones. You can do this by checking the bottom of the viewer where a "notes" icon is presented.
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#Wes montgomery transcriptions pdf download
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