Django Reinhardt Resources

Django Reinhardt with guitar, smoking cigaretteThis is a revision of a page I (Warren) published years ago. It’s almost laughable now, how thin the list originally was. In the intervening time, a Gypsy Jazz Explosion has occurred world-wide, and there are many Django Reinhardt resources available for free or pay, with Django festivals and workshops going on all over the world. Here are links to a “curated” set of resources for learning and enjoying – feel free to send more for inclusion in future posts via our Contact page.

YouTube

Nothing beats personal instruction – after all, only a live teacher who really knows what she/he is doing can observe your playing and make observations (the effect can be multiplied if you take lessons from someone you regularly jam with, as they have many opportunities to observe you).  However, there are many parts of the world where GJ instruction is hard to find.

There are so many free lessons and other Django Reinhardt resources on YouTube that it may be hard to know which ones to watch first. Many of the free lessons are “teasers” for paid products, but they often have much value. I would especially recommend checking out free videos by Christiaan Von Hemert, Joscho Stephan, Paulus Schaefer, Robin Nolan, Denis Chang, and Yaakov Hoter, and also visiting the web sites of your favorites to check out their for-sale lessons. The competition is kind of fierce, so the quality is often quite high!

Facebook Groups

I highly recommend Gypsy Swing NYC (although NYC-centric, there are many guitar players from throughout the world there).

Festivals/Workshops

The mother of all Django festivals is the renowned Festival Django Reinhardt, held less than an hour south of Paris in late June of every year. The “real” action is in the campgrounds, primarily at Samoreau, where many true gypsy players jam all night, every night.

Django In June is held on the Smith College campus in Northhampton, MA every June, and is typically attended by several hundred guitarists from all around the world. If you are in the eastern US, you must stop here!

Djangofest Northwest, another institution that has been around for quite awhile, is another key stop on the Django world tour.

Other Resources

Try a Google search for “Ben Givan transcriptions” – he has transcribed quite a few Django solos!

 

Gypsy Jazz Ornaments

In an earlier article, “Are You Learning Or Just Copying”, I advanced the idea that ornaments are essential elements of any style, and that copying ornaments from records and applying them to new situations is a great way of evoking the feel of a style.

This observation applies especially to jazz in the style of Django Reinhardt, who utilized ornaments called “enclosures” extensively. In a previous article, we analyzed and reapplied a Wes Montgomery ornament. In this article, we’ll give the same treatment to what I call a variant or two as encountered on recordings. (Turn: An ornament consisting of four or five notes that move up and down ‘around’ a given pitch, using that pitch as a tonal center. It is often referred to as an enclosure.). The first turn is a grace note triplet preceding a “target note” (C, in the following example), like in the first measure of this example:

The second measure shows how the turn is more typically extended and resolved (by continuing the chromatic motion for one more step up, and then continuing with whatever the melody needs to do); so the actual turn is really 5 notes: 3 grace notes and 2 eighth notes.

In practice, Grappelli tends to really play the first triplet as grace notes, while Reinhardt is more likely to steal more time from the preceding note.

For instance, in the version of “Nuages” on Django Reinhardt: Verve Jazz Masters 38, Grappelli plays the third and fourth phrases like this:

In this case, the A in the third measure is preceded by three grace notes (not shown): Bb – B – Bb.

Here’s another example of the trill, from the beginning of Night and Day’s head, from the same CD. This time Django is playing:

In this case, the three grace notes have been expanded to take up a full beat (I’m exaggerating, and the true timing is somewhere between these two extremes). But the form remains the same: it’s a turn leading to the G on the fourth beat of the second measure, and then the chromaticism is extended, as the turn continues down to the Gb and back up to the G in the last measure.

Either way, the chromaticism in the turn, totally contemptuous of the key signature, is a large part of what gives it “gypsy” flavor. A more classical turn might keep the same kind of rhythm and shape, but would more likely use notes within the key signature.

So how do you integrate this into your playing?

First of all, a great type of chord progression to use this on would be a gypsy-type version of that old standard, “Bei Mir Bist Du Schein”. This song is, in it’s simplest form, a 3-chord song consisting of just Am, Dm and E7. However, we’ll jazz it up by substituting a progression involving m6 chords for the Am, and adding an F7 at the end of the form just to spruce up the turnaround. Here’s how the chords go in the A section:

| Am6 Bm6 | C6 Bm6 | Am6 Bm6 | C6 Bm6 |

| E7 | E7 | Am |  F7 E7 |

Try improvising over that, starting each phrase with the turn starting on various notes. Which starting notes work the best? (my favorites are E, A and C in that order – the notes of the root chord, even when the other chords are sounding). See what you can come up with! And then try integrating the turn into the middle  of phrases – that’s when the chromaticism really comes alive.

Learning From Scott LaFaro

The Legendary Scott LaFaro album coverIMPORTANT NOTE: This article on Scott LaFaro is authored by Jeff Addicott (not Warren Sirota as the software insists on listing)

Once, during my final semester at music school, I was chatting with one of the instructors, and he told me how he was constantly disappointed by the fact that not one of his students had done anywhere near enough listening to records. He went on a rant about how some people couldn’t even tell the difference between Jack DiJohnette and Peter Erskine.

Then I made an awkward confession: I don’t know who Peter Erskine is.

The instructor dropped his jaw, then he turned around and walked off, shaking his head with disgust.

Ouch. (What can I say? I wasn’t very hip to Weather Report yet. I’m still not, actually; shame on me. But at least I know who Peter Erskine is, now.)

After the rush of finals and recitals was over, I made a very distinct point of getting my hands on as many records as I could… and listening to them a lot! Thus, my formal music education had ended and my real music education began.

On my bass teacher’s strong advice, one of the CDs I picked up was The Bill Evans Trio: Sunday at the Village Vanguard. (Riverside OJCCD-140) I popped it in my CD player and I’ve never been the same since!

I was immediately taken by the unique bass style of Scott LaFaro. His approach was so revolutionary, so free and yet so graceful. The bass was no longer merely part of the floor for the lead player to dance upon. The bass was out there dancing alongside the piano! Check out the following example from the beginning of Gloria’s Step (a fantastic song written by: his truly), take 2:

SF take 2c.gif (4058 bytes)

Click here for a MIDI file of this example

Click here for a MIDI file of this example complete with piano melody

Notice how Scott constantly changes his line on a whim, from syncopated shots to whole notes to rapid-fire triplet fills to playing 2’s. His line is highly interactive with the piano part. He advances to fill in spaces left open by the piano, then retreats to allow the piano to resume the lead melody. Even during the piano solo, Scott is constantly stirring things up in the background, never quite settling down to the traditional 4 quarter notes to a bar. Amazingly, he manages to do this without disrupting the other players or distracting the listener from Bill Evans’ impeccable piano solo. (Speaking of solos, Scott was definitely no slouch in that department! His solos throughout the record are well worth a good listen.)

One of the fantastic things about CD reissues is the bonus tracks they throw in. On this particular reissue, they include alternate takes on no less than 4 different tunes! This can provide you with a lot of insight as to how this incarnation of the Bill Evans Trio used to function. Check out the beginning of Gloria’s Step, take 3:

SF take 3.gif (5134 bytes)

Click here to hear a MIDI file of this example

Click here to hear a MIDI file of this example complete with piano melody

How about bars 5-9!! My brain hurts.

Compare take 3 with take 2, and notice how different the two are! The fills are all different, and they come in different places. Even the syncopated shots that make up part of the song structure are varied. Bear in mind that these changes did not evolve over a period of months. Takes 2 and 3 occurred on the same day! Scott really kept those new ideas coming.

For me, comparing these two takes gets to the very essence of how Jazz music needs to be played. Nothing should ever be bolted down; you should always be incorporating new ideas and responding to the energy of the moment.

I learned as much from transcribing these examples as I did from 2 years of music school. I can hear its influence on me every time I play. So can other musicians. And what we have printed here is just the tip of the iceberg. I’d give you the music for the rest of the 2 tracks… but why should I have all the fun?

Whenever any performer goes out on a limb, he or she needs to be able to trust the other performers to back him/her up. The Bill Evans Trio you hear on this recording had been working and evolving together for two years, and they came to epitomize the notion of trust with their unique style of interplay. (Tragically, this was the last time they played together before Scott LaFaro was killed in a car crash.)

If you haven’t had the opportunity to play jazz with this type of freedom and interaction, I hope you do soon. There’s nothing quite like it.

A word of caution: this approach to bass line construction isn’t appropriate for every occasion. Your fellow performers have to be open and receptive to what you are doing, and they have to be capable of responding in kind. And of course, the reverse applies, as well! You should probably NOT attempt that polyrhythmic flurry of notes from take 3 with people you haven’t played with much. Especially not on a gig!

Before you start LaFaroizing your bass lines on every jazz tune, you always need to consider the context of the musical situation. Some music styles are not compatible with overtly vigorous bass experimentation. Insensitive overplaying is an excellent way to put yourself on the bottom of everyone’s list and stop gigging fast. (Don’t make it happen to you!)

Interestingly, I find that copping some of the Scott LaFaro approach has actually helped to prepare me for situations when I need to play more simply. I think that one plays quarter notes better when one chooses to, instead of simply doing so for lack of any other ideas. Nowadays, I keep my part real basic when I decide that it’s the best choice (as opposed to the only choice).

Of course, anyone who has seriously listened to Ray Brown or Ron Carter knows that quarter note walking bass is a lifelong fine art unto itself. And if you listen to a lot of ‘40s and ‘50s New Orleans R&B, it will actually make you crave the playing of gloriously, fabulously simple bass parts.

But that’s another column…

Jeff Addicott

Jeff Addicott is one of Southern Oregon’s busiest freelance musicians. He studied popular music performance at Mount Royal College in Calgary, Alberta before moving to Oregon in 1996. He currently performs with a wide variety of artists, including: Sage Meadows, The Muskadine Blues Quartet, Modern Prometheus, Salsa Brava, Gayle Wilson, The Djangoholics, The Blue Notes, Q&A, The Wild Goose Chase Trio, Paul Turnipseed, Danielle Kelly and The Sultans.

In addition to his busy music schedule, Jeff is also a full-time glassblower.

Our Fragile Egos

Q: How many guitarists does it take to change a lightbulb?

A: 50 – 1 to change the bulb, and 49 to stand around and say, “I can do that”.

A subscriber to Woodsheddin’ recently wrote to me and expressed how he was so awed by some of the guitarists that he admired that it was depressing to him, causing him to despair of ever achieving great heights. It was easy for me to identify with this feeling, because I’ve felt that way myself – more frequently than I care to admit. I think we’ve all been there at one time or another.

I responded that there are few truths that help you understand and accept your place in the musical “pecking order”, such as it is, as follows:

  1. There are always quite a few people who are a lot better than you in some really impressive manner. There are a lot of other people out there. Even when just a small percentage are obviously gifted with immense talent, that adds up to quite a few people. In other words, you can be truly fantastic and still not be in the top 100 talented people or groups – even in a niche genre!
  2. Even if your talent and skills aren’t the scary, mind-boggling type (yet) – as in Jimi Hendrix, Celine Dion, Art Tatum, etc. – your creations can still have artistic value. What does that mean? To me it means that sometimes people really enjoy what I play or sing. Sometimes it just means that I enjoy what I make, although I have to say that appreciation in isolation can feel empty.
    And you might be more unique than you think. Sometimes there are a few tricks you know that most people don’t. In any case, you can always “be you” better than anybody else can (yes, of course it’s a cliché, but that doesn’t make it wrong). Discovering just what this means might be a lifelong search. It might be more about personality, or songwriting, than about technical instrumental wizardry per se. And the world may or may not appear to be vitally interested in the theater of “you”, but you should be.
  3. Commercial success in music isn’t strongly correlated with talent and skill. A considerable level of talent and skill are usually prerequisites for success, but once you’re past the basics, many other factors help determine the outcome: ambition, appearance, resources, contacts, background, age and being in the right place at the right time. For instance (warning: cynicism alert!), if you’re a gorgeous (male or female) singer with incredible pipes, living in LA and aged 17-25, your chances for superstardom might be decent. The rest of us would do well to be happy with other dreams.
  4. Just because you’re not famous, it doesn’t mean you’re not good. Popular music tastes are fashions. Your own tastes are your own tastes, regardless of fashion. Sometimes the two things coincide, you’re in the right place at the right time, and your skills are at the right level to benefit. Then, it’s BINGO. Many of us (such as myself) have tastes that are unlikely ever to coincide with the popular imagination. We just have to appreciate and live with that fact.
  5. Even if you’re not good – or you don’t think you’re good – you can still enjoy the learning process and playing with other people. The satisfaction that you derive from the process of getting together and making music with others can be immense at any level of accomplishment.
  6. When you start out, you can’t expect to be very good. As you play more, you get better. You almost can’t avoid it, as long as you keep playing.
  7. You set your own values. I don’t play to filled arenas, or even large concert halls. But I do play out. And for me, if at least some people can derive a unique kind of joy from my playing – and they do, at least on occasion – that is sufficient.

Mind-Bending Upstroke Exercises

If you’re like me, you’ve never paid that much attention to upstrokes. Like many flatpick-wielding guitarists, I’ve concentrated on alternating picking technique for most of my playing life. And that makes sense – it is certainly the most versatile, general purpose technique that there is. You also probably have a smattering of downstroke-based ascending arpeggios in your repertoire (see example 1). If this is all you’ve done, you’ve ignored perhaps 30% of your picking potential. These exercises will start you on the road towards harnessing that potential.

Example 1:

wpe1.jpg (8878 bytes)

What I’ve found, though, as I’ve delved into the guitar techniques of Django Reinhardt and Jim Hall, are systematic exploitations of the technique known as “sweep picking.” This refers to the technique of eliminating the inefficiencies that alternating picking imposes on you when you change strings. The simplest case: if you were to play two notes in succession on adjacent strings, sweep picking would dictate that you sound both notes with the same direction stroke, while alternate picking would make you move that pick a lot more  (example 2).

Example 2:

wpe2.jpg (12874 bytes)

Sweep picking is not universally applicable – there are many riffs which don’t lend themselves to this technique – but there are some passages that are virtually impossible to play at full speed without it. The basic principle of sweep picking is to put an odd number of notes on each string – typically 1 or 3, as in example 3. Note that having an even (2) number of notes on the top string facilitates the change of pick direction.

Example 3:

wpe3.jpg (16608 bytes)

In order to fully integrate sweep picking into your playing, your upstrokes must become as powerful, controlled and fluid as your downstrokes. Example 4 will go a long way towards making that happen if you are sure to accent the first note of each triplet and play the other two softly, regardless of where the up and down strokes fall.

Example 4 is

  • the key to basic phrasing flexibility
  • much longer than it looks (you need to repeat the pattern about 6 times before the cycle is complete)
  • both devilishly complicated and quite simple
  • not a finger-twister at all, but quite a mind-twister

(Okay, look – maybe it’s easy for you. Then you’re beyond this column. It wasn’t easy for me at first.)

Let’s explain it before playing it. On the surface, the structure is simple: you start out by playing 3 adjacent notes on the 5th string, then move the same pattern up to the 4th, then up to the 3rd, then to the 2nd, “sweeping” the transition from each string to the next with successive downstrokes. You continue this pattern to the 1st string, but only play two notes in order to facilitate a change of direction from ascending to descending. At this point, we start sweeping with upstrokes bridging adjacent strings instead of downstroke. At this point, the accents start to diverge from the note crossings, and you have to mentally track both, emphasizing the first note of each beat (which, in this measure, happens to fall on a downstroke) while being careful to cross strings with un-emphasized upstrokes. This pattern continues down to the 6th string, where two notes are played and the direction reverses again. The G# in measure 3 is usually where I lose it if I’m not paying enough attention – maintaining the correct accents throughout that second ascent, where all the accents occur on upstrokes, can be a challenge. And the challenge continues. Since the string crossings, stroke direction and the emphasis are all moving “out of phase” with one another, this exercise gives you the raw technique that you’ll need to play a wide variety of phrasings using optimal patterns of up-and-down strokes.

It seems complicated. And yet, once you grasp the pattern, it’s really easy to remember and play any time, during any warmup.

Example 4:

wpe4.jpg (47814 bytes) etc.

(continue pattern until exhausted)

Example 5 is a straightforward arpeggio exercise that uses both up and down strokes. Example 6 is a 4-string variation.

Example 5:

wpe5.jpg (23341 bytes)

run it up and down the fretboard, translate the shape to all other sets of 3 adjacent strings.

 

Example 6:

wpe7.jpg (29813 bytes)etc.

When you’ve mastered these exercises at swift speeds, you’ll have all the technique essentials to play blazing-fast swept licks.

Practice Tips: Pushing past your physical limits

 

Suppose you have a melodic phrase (or any other kind of passage) that you’re trying to learn that is giving you trouble. I’ve encountered plenty of these transcribing Django Reinhardt guitar parts with SlowGold. Figuring out what notes he’s playing is only half the battle for me – the man just plays so darn fast. So it’s a lot of work to actually get those phrases under my less-than-light-speed fingers. But I’m trying, and gradually succeeding. I feel the effort is worthwhile. Not only is my dexterity improving, but I’m getting a whole bunch of new shapes and habits into the “muscle memory” (more about this later) of my hands, which is where they have to be in order to be useful when I play on the gig or with other people.

Start Slow, Be Patient With Yourself, and Trust Your Body

You probably already know that the first step in learning a new passage is to play it along with a metronome set to a really slow speed (well, sometimes you have to stumble through the passage a few times before you can even do that – if even playing the passage at a really slow metronome setting is too difficult, see the section on Isolation below). You should hunt for the highest metronome setting at which you can play the passage comfortably, with good tone, and without errors several times in a row. Once you’ve found that setting, increase it a notch or two, until you have a setting which is just on the edge of your ability. You should be able to play the passage if you really concentrate and try.

Play the passage over and over again at this “edge of your ability” speed – for 5 to 15 minutes is what I usually do. If it’s physically painful in any way, stop immediately and pick it up again in a few hours or the next day. What usually happens for me is the opposite, however; the “edge speed” becomes comfortable fairly quickly, and I notch up the metronome further.

One note about metronome “notches” – if you’re playing a passage with one note per metronome beat, you may have to go several settings higher on the device before you notice much of a difference. On the other hand, if you’re playing 16th notes (4 per click), then a single metronome notch up might make a significant difference in difficulty.

You’ll probably notice that the very first time you try to play a passage with the metronome you may have to play it very slowly; yet, after the passage gets “into your hands” you’ll be able to make a big jump in speed. This phenomenon is known in some circles as muscle memory, and is indicative that your nerve pathways have actually been reprogrammed by your repetitive activity to take over some of the control from your conscious mental process. This is a good thing. A large part of the point of practice is, in my opinion, to reprogram the neural pathways.

This phenomenon will undoubtedly be evident the day after your first session with a new riff. You’ll set the metronome at a comfortable setting, and it will be significantly higher than the initial setting. You will be much more comfortable with the passage, to a degree that may surprise you.

Increasing your physical dexterity simply requires patience and repetition. You can’t force your pathways to learn any faster than they want to. Others may learn faster than you, but it’s not your fault, as long as you put in the time. Your body is your body, not their body, and there’s nothing you can do about that. Don’t try to play a passage much faster than your abilities dictate in an attempt to break over a hurdle – it’s just not gonna happen, and you’ll be wasting your time and increasing your frustration. And take breaks – 15 minutes is a really long time to work on a single passage and should be the absolute upper limit. Several short sessions each day are probably superior to one long one.

Above all, have faith. Follow this program and improvement is inevitable. It may not be at the pace you desire, but it will occur. Just keep at it.

Keep A Practice Log

I like to make note of the metronome settings and the date next to each passage I’m working on. This helps me track my progress. Click here for a free practice log template that you can print out and use.

Put Variety Into Your Practice Sessions

Don’t just practice one riff. It’s boring. Music is supposed to be fun, remember? In fact, don’t just practice riffs. Depending on the time you have available, try to increase your musical abilities in many areas. Set aside some time each day or week to write or create something. Learn new tunes. Study music theory and ear training books. Learn new riffs from records (using SlowGold, of course). Create new riffs based on ones you know. Everything you do to increase your physical and mental skills is valuable.

Don’t Be Afraid Of Backtracking

Some day you will notice that, although you’ve gradually goosed up the metronome to a pretty nice clip, what you’re playing is sounding sloppy or inadequate in some way. So bring the metronome back down and start re-practicing the passage with the higher standards that you’ve subconsciously developed in mind. It’s a good thing. Don’t try to rush your development. After all, when do you have to have this process done by? Never! (at least in most cases). It’s a Zen thing.

Observe Yourself

Listen carefully to what you’re playing. Is your tone good throughout? Where are the awkward points (this will bring us to Isolation, below)? Could you be fingering the passage in a more efficient manner? Are you sitting with proper posture? Are you holding tension that doesn’t need to be there in your hand? In your jaw? Any such tension detracts from your performance by sending bodily energy into unproductive and restrictive uses.

I have found that, with guitar parts, where I put my attention can make a huge difference – and in surprising ways. Some passages that I thought were tricky because of my right hand ended up being easier to play when I focussed on my left hand during practice, and vice versa! I still don’t understand it, except as an indication that sometimes my own beliefs as to what are the stumbling blocks may not be accurate. Weird.

Play With Your Eyes Closed

You may have to slow down the metronome considerably to do this, but it really is liberating not to have to look at your hands while you’re playing.

Isolation

In this troubled and fragmented world, you’d think that the last thing you’d want more of is isolation. But, in fact, isolation is a tremendously valuable tool for musicians trying to increase their physical skills.

I’ll be discussing two forms of isolation– the isolation and smoothing of trouble spots in difficult phrases (for all musicians) and left/right hand isolation for guitarists.

If you’re having difficulty with a phrase, try and identify the trouble spots. If they’re not obvious, just break the phrase in half and see which half is harder to play than the other. Keep breaking it up into smaller fragments and practicing them individually.

Once you’ve mastered a fragment of the phrase, the next step is to master the approach and exit from the fragment. Add a couple of notes before the fragment. Does it get harder? If so, practice the new, enlarged fragment for a while before adding more notes. You may have to slow down in order to incorporate the new part. Then add notes at the end. Continue this process until you’ve mastered the phrase.

Guitarists, and possibly other musicians, should also experiment with left/right hand isolation. My Django studies have forced me to develop a form of picking known as “sweep picking” in the right hand, in both ascending and descending patterns (left-handed guitarists: reverse everything I say in the next couple of paragraphs). I’m quite used to and facile with “alternating picking”, which is where the pick goes down for one note and up for the next. In contrast, in sweep picking, notes on adjacent strings are played with the same direction of pick motion.

This is a major shift for me. Normally, I’m fairly unconscious about my right hand, focussing attention instead on the left. But recently, I’ve found it very helpful to practice the right hand parts of the run only. I pick as though I’m playing the phrase, but I simply hold my left hand over the strings, damping them, instead of actually fretting the notes. After a few run-throughs in this manner, I usually have a much better handle on the piece.

Practice Everywhere

You do not have to be at your instrument in order to practice! Whenever you’re bored (but not while you’re driving a vehicle or operating heavy machinery – this is an intense exercise), visualize your fingers (and/or hands and feet) doing exactly what they would be doing if you were at your instrument. Start slowly and precisely, and then ramp up the speed – but never lose the precision of your vision! You’ll be amazed at how much of your physical difficulty may stem from an inadequate mental concept of the passage, and how much difference it can make in your playing.

It’s a Zen Thing

Don’t always be pushing the speed. In fact, it’s a good idea to settle in at a tempo just under your peak speed and play the passage over and over, concentrating on reaching a state of focused relaxation while the tone gets cleaner and cleaner. Do it for five minutes and let the tension seep out of your muscles.

In Conclusion

So, those are my practice tips for this issue of Woodsheddin’. If you have more of your own, e-mail them to wsirota@worldwidewoodshed.com and I’ll include them in a future issue, credited to you. Thanks for reading and playing!

Working Out Chords

Dave McKenna’s Rose Room

by Dr. Joel Simpson

Dave McKenna’s music has a special quality of reassurance. All the elements in his playing-lines, rhythm, dynamics, harmony-work together to create a warm feeling that we are in capable hands, that we can relax and be borne up by the music. Everything develops organically, even the surprises: key changes and tempo changes. It’s this overriding quality which draws the ear in, inviting us to give our state of consciousness over to this master of rhythmic strength and subtlety, of organic growth, of buoyant unexpected turns.

As a self-sufficient solo style, McKenna’s is one of the most effective and appealing. His left hand, with its strong assertion of the 4/4 beat, is a perfect foil for the rhythmic variety of his right hand, including the slight pushing and pulling of the beat. His melodic sense in the right hand is infallible: perfectly logical, often singable, and therefore needless of pyrotechnics. In the rare case of his use of a double-time run, it is a necessary one, often serving to finish off a phrase by bridging a large intervallic gap in a short time. The more you learn of his style, the more you will be assured of satisfying your audiences at a deep level,

of drawing them into your music with the confidence that they will be well taken care of.

For all of McKenna’s appeal and popularity, there is a virtual absence transcribed material of his available in published form. Part of that is due to the artist himself. McKenna is so particular about his sound that he frowns on transcriptions and methods which would claim to impart his style.

But with the caveat that any printed transcription is necessarily only part of the story, we present one here.

The original performance was on a Yamaha Disklavier in New York, and the only recording made at that time was a MIDI one. This I transcribed both by listening and by watching the screen of my Opcode Vision program. In this article I will point out a number of the salient features of McKenna’s style and sound, both those that appear on the page and those that don’t.

The Elements of Style

The features that make McKenna’s solo style so good are for the most part features that will enhance any piano style, solo or ensemble. Globally there are four basic principles:

  1. Volume: Keep the right hand about 1-2 levels louder than the left hand, unless there is some specific emphasis on a left-hand element. This presumes that you can create four to five distinct levels of volume in your playing.
  2. Line shape: Balance long phrases with shorter ones, and anticipatory phrases with consequential ones. Anticipatory phrases are those which lead up to a target note falling on an important beat, usually the first beat of an odd-numbered measure. Consequential phrases are those which flow out from those beats. See below for examples from the score.
    A balance between these two creates a flowing call-and-response texture, much more nuanced than the literal call and response found in traditional blues. If you are aware of these factors then your sense of balance between long and short phrases will be more solid. Occasional play a stentorian quarter-note-beat phrase for contrast.
  3. Rhythmic nuance: use anticipation and delays to lend weight to your lines. The right-hand comp chords invariably fall on the “ands,” the anticipatory eighth-note beats. This pushes the music forward and adds a kind of “bouncing” eighth-note effect, filling in eighth-note beats but making them come from different places, making for a textural continuity but with distinctive shape.
  4. Left hand: When strumming, vary the chord somehow (change chord, chord voicing or chord inversion) every two beats.

Although McKenna is famous for his “three-handed” playing, in which he somehow manages to play a walking bass in the left hand, a melodic line in the right and comp in the middle, he seemed to spend more time in our session playing in a left had “strumming” style. This is both easier to execute and harmonically richer, if less subtle. The “Rose Room” performance transcribed here features strumming virtually throughout, with some occasional forays into stride.

In order to maintain interest McKenna usually changes chord voicing every two beats, that is twice a measure, even if the chord stays the same.  He’ll alter the voicing or even just the inversion. This produces a very energetic effect, even at medium and slow tempos.

A Close Reading

Click here to view transcription

Here are some notes on the score, including a close examination of the second half of the first chorus to illustrate the organic quality of McKenna’s improvising style.

  1. Notice how quickly McKenna abandons the melody. He’s varying the still recognizable melodic phrase in m. 6, briefly strays from it until m. 13, but that’s the last we hear of it until the second half of the last chorus.
  2. The phrase that begins on the “and” of three in m. 15 and extends to the end of m. 17 is a perfect example of a phrase balancing anticipation with consequence. Its fulcrum is the Bb at the beginning of m. 17, the beginning of the second half of the form, a very important beat. The 11 notes preceding it are the preparation or anticipation, the seven notes following it are consequence, out-flow. Notice how McKenna follows it with two short phrases: a response, and then a response to the response, mm. 18 through beat 1 of m. 20.
  3. Immediately after this, still in m. 20 are six notes of an anticipatory phrase leading to the down beat in m. 21 (the half-way point of the first half of the last half of the chorus), an Eb. This is followed by a measureful of a consequential phrase, which in the next measure turns into an anticipatory phrase leading to the Db, played on the “and” of four of that measure (22), which itself anticipates the downbeat of m. 23. The four melody notes in m. 23 form a  consequential phrase from that note.
  4. The melody notes of m. 24 constitute both the response to the previous melodic material and a kind of pre-echo or detached anticipation of the assertive phrase which begins on beat 1 of m. 25. This is a perfect example of clear, discreet development, consisting of three four-note phrases starting in m. 23 and culminating in m. 25. The energy build-up is palpable, so that the short, 3-note response phrase that follows serves to release the built-up energy.
  5. The three-measure phrase which follows brings the energy of the second half of the first chorus to its highest point. It is the climax of the section and therefore of the entire chorus. Structurally it falls in the perfect place: the third four-measure section of this 16-measure unit. Look for chorus climaxes in this position.

It begins with an anticipatory section of 6 notes in m. 26 leading to the downbeat of m. 27. This is followed by a longer consequential phrase whose energy peaks on its highest note, the Gb at the beginning of m. 28. This is also the highest note in the 16-measure section, and the phrase is the purest pyramidal (rising/falling) phrase in the section. All these factors emphasize this phase as the climax of the section. The short phrase that follows in m. 29 is part of the “falling action” or concluding gesture of the chorus.

We chose to include the third chorus both because of its appealing bluesy content and its particular beauty. The same principles of organic development apply, and they should come clear to you as you study the chorus and contrast its structure with that of the first chorus.

These two choruses present a fair sample of McKenna’s developmental devices in their “purest” or simplest form: the medium is the eighth-note phrase. The only triplet is ornamental (penultimate measure of the third chorus). There are no double-time passages. When he does use double time, McKenna does it very judiciously, as a kind of energy escape valve after a build-up through eighth-note phrases.

We are not far from what Schoenberg called “developing variation” when describing Brahms’ composing style. A conscious awareness of how this works in McKenna’s playing plus learning his solo can be of enormous value in lending that solid quality of reassurance to your own playing.

About the author:

Dr. Joel Simpson plays jazz piano and sings funny songs in the New York area, having lived and performed in New Orleans for the past 27 years. He is the author of Blues By You-the Direct Route to Piano Improvisation (Hal Leonard), and the producer of Dick Hyman’s Century of Jazz Piano CD-ROM.

Dave McKenna’s latest solo recording is Easy Street on Concord. It features a medley of “street”-related tunes.

Wes Montgomery – The King of Octaves

Album cover art, Jimmy & Wes The Dynamic DuoThis has been the summer of Wes Montgomery for me and my guitar style. I recently was reminded of his great album with B3 master Jimmy Smith, Jimmy & Wes The Dynamic Duo. It inspired me to go order this CD, which I’d heard on vinyl years ago but never bought before.

I picked up my guitar this morning, and, undecided about what to work on, I put the CD in the computer, fired up SlowGold, and decided I’d work on the head of Road Song, here called O.G.D. (apparently the recording engineer’s abbreviation for “Organ, Guitar, Drums”), for an upcoming gig. It’s a great, memorable, foot-tapping line, and played entirely in octaves, so it affords some good practice.

Octave playing can be one of the most powerful techniques in the arsenal of any guitar (or, I imagine, keyboard) player. Its main virtues are that it both enhances the tone and restrains the speed of melodic passages.

Yes, you read me right. I believe that restraining the speed of melodic passages is often a virtue. Now, I certainly have nothing against lightning-fast playing, but it’s just one of many types of playing that you can employ. And, you know, impressing other guitar players is not the same thing as pleasing an audience – in my experience, audiences usually react more positively to slow or medium-tempo melodic concepts than they do to virtuosic displays (although you’ve gotta give ’em the occasional fireworks just to show ’em you can, eh?)

Which brings us around to Wes Montgomery. Wes got kind of a “sellout” reputation in the late 60s for making the best-selling records of his career (A Day in the Life and others) with strings and other sweeteners. And, it’s true, those records are not be among his most satisfying from a jazz fan’s standpoint. But he had a right (a legitimate artistic right, not just a legal right or commercially-justified right) to address the desires of a different audience, and that doesn’t in any way diminish his other work.

At any rate, it was The Thumb that made Wes Montgomery famous in the first place. But what was so great about The Thumb? Surely, it was not just the technical prowess involved, but the fact that it made such sweet and melodic statements.

One way any non-wind player can improve the melodicism of his/her playing is to sing along (softly, most probably) while soloing. This will force your solos to mimic phrasings that suit the ultimate instrument, the human voice. It is a remarkably effective means to better phrasing that is often missed.

But when you slow down your playing from superhuman to human tempos, single-line guitar can sound thin. That’s why octaves are so cool. You can fatten up your sound in a very pleasing way, while still keeping your focus on melody (you can fatten up your sound with other intervals, of course, but they’ll tend to move you in a more harmonic thinking pattern rather than a melodic. Nothing wrong with that – it’s just different).

Of course, what’s critical in octaves is learning to move your thumb correctly, in order to get the right tone. You can try it with a pick, and that does work for some things, but the traditional tone comes only from flesh on metal.

When I started trying to play octaves, I approached them as a classical guitarist would, either by stroking two strings with the side of my thumb, or by using the thumb and another finger to play the octave. This second approach is pretty non-traditional in the jazz world, but I find it works really well in some cases when the mix seems to demand more clarity and less attitude from my octaves. On the other hand, stroking the strings with the side of the thumb doesn’t seem to work at all well.

Some months ago, though, I happened upon a clue (in an issue of Guitar Player), which was to try and see a video of Wes Montgomery to check out the way he played with the flat of his thumb. After quite a bit of hunting I was able to locate a copy of Legends of Jazz Guitar Vol 01 at amazon.com. This has several great cuts of Wes, intermixed with Joe Pass, Barney Kessel, and Herb Ellis (the video manufacturers cleverly spread their rare Wes material over 3 tapes to entice you to buy all three).

Watching the way Wes Montgomery uses his thumb has liberated mine, but I’ve had to move from emulation to experimentation in order to advance. I don’t hold my hand exactly the way he does because my hand is different than his. Sometimes I curl a couple of fingers under the first string as an anchor, while sometimes I splay all my fingers and fling my thumb up and down with wrist action. I try many different angles of attack – it’s all fair game.

Click on the link below for a transcriptions of the start of Wes Montgomery’s solo on the famous “Road Song”, as it appears on The Dynamic Duo. This cut was an alternate take, not released on the original vinyl version of this record. The take that this is an alternate of appears on a different album: The Further Adventures of Jimmy And Wes. Are you confused yet? Well there’s more. The originally-released, (non-alternate) take also appears on Impressions: The Verve Jazz Sides, a 2-disk collection of some of his most burning material.

At any rate, it’s really instructive to listen to BOTH solos, to hear what the differences and similarities are. The “non-alternate” take seems to have protean (earlier and simpler) versions of some of the licks transcribed here.

Here’s a transcription of the first two A sections of Wes Montgomery’s solo on Road Song
Notation with commentary
Tab

Are You Learning Or Just Copying?

Spending as much time as I do – enjoyable time, to be sure – transcribing and playing along with the solos by my musical idols of the moment, I sometimes have to stop and question whether I am making the best use of the (unfortunately) limited time I have for practicing.

To begin with, there is always the question of whether I should be writing instead of learning. The answer to that may well be “yes”, but I don’t seem to be in a writing mood these days – being a software developer and editor of Woodsheddin’ rarely leaves me with enough concentration for writing. But learning solos and licks is something I can do whenever I have a spare hour.

OK, but what do you do with those licks? Well, to be sure, I use them literally in performance as I play “Night and Day” a la Django or “Road Song” a la Wes. And you get several pure benefits just from doing the work of transcribing and practicing up to speed. The act of transcription extends your musical vocabulary. I often come away with a sense of “I didn’t know you could get away with that” after transcribing some killer-sounding passage that completely violates whatever harmonic logic I’ve absorbed through the years. It’s a liberating feeling, like being given permission to go beyond the world of formal rules about what’s right and wrong, and to play in the world of pure imagination. Even if emulating someone playing from that place doesn’t get you there, it reminds you that the place and the feeling exist.

Emulation is also great for your chops. Getting your fingers to move in patterns that are unfamiliar, often at challenging speeds, expands your physical capabilities and breaks you out of ruts. If your muscles evolve to where they are comfortable moving like Wes Montgomery (or Art Tatum or John Coltrane or Jimi Hendrix), then your spontaneous improvising is likely to drift in those directions on occasion. A gradual process of integrating new sounds and new approaches with your own playing style is bound to occur if you just play the new riffs enough and naturally listen more carefully to everything as you get deeper into one thing.

This article is about what we can do to consciously accelerate that kind of integration.

Mainly the process involves actually thinking about what I’m doing and, in a practice situation, extracting the essence of a riff (i.e., answering the question, “just what is it about this passage that appeals to me so much?”), and applying it in a new context. Well, gosh, this is suspiciously like work. And, in fact, it is work, but the rewards are substantial and lasting.

Let’s look at two examples for now: two little fragments of riffs, one from Wes and one from Django (also used by violinist Stephane Grappelli).

Interestingly enough, both of the examples that I am drawn to look at are essentially ornaments – ways of hitting a particular note that involve “beating around the bush” a little bit by trilling or slurring the adjoining notes before settling into the target. As all classical players know, ornaments are key elements of various musical styles. The way you play the ornament around a single note can determine whether you’re playing in a Renaissance, Baroque or Classical style – or, in our case, whether you sound like a bluesman or a gypsy.

Look at the first ornament, taken from the first turnaround of Wes’ Montgomery’s solo on Road Song, from the CD Jimmy & Wes, The Dynamic Duo (click here for more about the CD and the solo), shown here (the song is in Gm):

I was drawn to thinking about this element simply because it feels so good to play. If you’re playing in a jazz context, throwing this riff in just says “blues”. So, the question is, where does it work best? When should you use it?

Being the brute-force kind of experimenter guy that I am, I figured the best way to approach this would be to put a major and minor blues progression onto tape (well, actually I used an Echoplex, but that’s just ’cause it was convenient), to play phrases involving the ornament on top of it, and to see what works. And I made it even simpler for myself: I just played the first five notes (together with the grace note at the start). The phrase eventually, as I tried to apply it, got even shorter, until I was using just the first three notes (plus the grace note).

What I learned is simple: this sounds great practically in any part of a blues progression, major or minor, as long as you start on the fourth degree of the scale. So, in a Gm progression, start the trill on a C. In E, start in on A.

Oh yeah, there’s one other thing to keep in mind – although it’s great, during practice, to play the ornament a zillion times, wherever it fits (or even where it doesn’t fit), you should use it far more sparingly when actually performing. If you sneak it in a few times (or even just once!) in an evening, it can add a bit of spice without becoming a cliche.

By the way, another key stylistic element of Wes’ playing that I discovered while transcribing and analyzing is the fact that he almost always uses a half-note interval when sliding into an octave from below – almost never a whole step or other interval. And he does quite a bit of this sliding.