kenny garrett's solo from xyzstandard of language kenny garrett · 2019. 1. 17. ·...

Seth Carper 2014

Kenny Garrett’s Solo on “XYZ”

From Standard of Language

On his 2003 Warner Bros. release Standard of Language, Kenny Garrett

proves that playing firery post-‐‑bop lines and making beautiful melodies need not be

mutually exclusive. Garrett exemplifies this on his composition “XYZ.” The chord

changes rely heavily on minor sonorities, but include a few brighter major seventh

chords to break up the darker sounds. Likewise, Garrett sings out

Pentatonic Material

Garrett makes ample use of pentatonic scales throughout this solo. Some

passages contain obvious choices such as mm. 35-‐‑37 and 59-‐‑61, using A minor

pentatonic over an Am7 chord.

Fig. 2: mm. 35-‐‑37, 59-‐‑61

There are some less direct associations with Garrett’s pentatonic

superimpositions. For example, over the Ebmaj7(#11) Garrett favors using the F

Alto Saxophone

C minor Emphasis on b5

Amin7q=240 1

2 3 4 5 6

7 8 9

Gmin7

C7b9

10 11 12 13

FŒ„Š7(#11)

14 15 16 17

E¨Œ„Š7(#11)

F Pentatonic

E¨Œ„Š7(#11)

18 19 20 21

Dmin Eb/D DminEb/D

Emphasis on #1122 23 24 25

Dmin Eb/D Dmin Eb/D

26 27 28 29

Amin7 2

30 31 32 33

Dmin Pentatonic

Amin7

Amin Pentatonic34 35 36 37

XYZ

Kenny GarrettKenny Garrett's Solo from Standard of Language

0:55

3

Gmin7

C Pentatonic38 39 40 41

FŒ„Š7(#11)

42 43 44 45

E¨Œ„Š7(#11)

Dmin Pentatonic

E¨Œ„Š7(#11)

46 47 48 49

Dmin Eb/D DminEb/D

50 51 52 53

Dmin

Dalt. scale

Eb/D DminEb/D

54 55 56 57

Amin7

Amin Pentatonic

Amin7

58 59 60 61

62 63 64 65Gmin7

66 67 68 69

FŒ„Š7(#11)

70 71 72 73

motive from m.25

3

3

3 3

3 3

Alto Saxophone

2

major and D minor pentatonic scales, both of which emphasize the upper extensions

of the chord quality. The chord immediately following the Ebmaj7(#11) is a Dmin7,

so the use of the D minor pentatonic strengthens the modal flavor of the solo with

the common tones.

Fig. 3: F major & D minor pentatonic over Ebmaj7(#11)

mm. 19-‐‑21 F

mm. 47-‐‑49 D

mm. 75-‐‑76 F

mm. 102-‐‑105 D

In mm. 41-‐‑42 and 96-‐‑100 Garrett uses the C pentatonic scale as common

tone material between the Gmin7 and Fmaj7(#11), again adding to the modal sound

of the solo.

Alto Saxophone


Amin7q=240 1

2 3 4 5 6

7 8 9

Gmin7

C7b9

10 11 12 13

FŒ„Š7(#11)

14 15 16 17

E¨Œ„Š7(#11)

F Pentatonic

E¨Œ„Š7(#11)

18 19 20 21

Dmin Eb/D DminEb/D

Emphasis on #1122 23 24 25

Dmin Eb/D Dmin Eb/D

26 27 28 29

Amin7 2

30 31 32 33

Dmin Pentatonic

Amin7


XYZ


0:55

3

Gmin7


FŒ„Š7(#11)

42 43 44 45

E¨Œ„Š7(#11)

Dmin Pentatonic

E¨Œ„Š7(#11)

46 47 48 49

Dmin Eb/D DminEb/D

50 51 52 53

Dmin

Dalt. scale

Eb/D DminEb/D

54 55 56 57

Amin7

Amin Pentatonic

Amin7

58 59 60 61

62 63 64 65Gmin7

66 67 68 69

FŒ„Š7(#11)

70 71 72 73

motive from m.25

3

3

3 3

3 3

Alto Saxophone

2

E¨Œ„Š7(#11)

F Pentatonic74 75 76 77Dmin Eb/D Dmin

Eb/D

78 79 80 81DminEb/D Dmin Eb/D

82 83 84 85

Amin7

86 87 88 89

90 91 92 93

G‹


FŒ„Š7(#11)

98 99 100 101

ala Coltrane

E¨Œ„Š7(#11)

sim.102 103 104 105

D‹ Eb/D D‹ Eb/D

106 107 108 109

3

rushed

3 3 3 3

Alto Saxophone

3

E¨Œ„Š7(#11)

F Pentatonic74 75 76 77Dmin Eb/D Dmin

Eb/D

78 79 80 81DminEb/D Dmin Eb/D

82 83 84 85

Amin7

86 87 88 89

90 91 92 93

G‹


FŒ„Š7(#11)

98 99 100 101

ala Coltrane

E¨Œ„Š7(#11)

sim.102 103 104 105

D‹ Eb/D D‹ Eb/D

106 107 108 109

3

rushed

3 3 3 3

Alto Saxophone

3

Fig. 4: C pentatonic over Gmin7 & Fmaj7(#11)

At the end of the solo, Garret employs a classic Coltrane modal device,

utilizing a four-‐‑note cell of the D minor pentatonic scale over a pedal point of D in

the bass. He begins the line over the Ebmaj7(#11) shown above, and repeats the

cell numerous times over the D pedal, allowing the upper notes to produce

overtones. Garrett concludes the riff with a diatonic pattern descending through the

D minor pentatonic scale.

Fix 5: D minor pentatonic cell and diatonic pattern

Gmin7

38 39

C Pentatonic

Gmin7 FŒ„Š7(#11)

40 41 42 43

E¨Œ„Š7(#11)

Dmin Pentatonic

E¨Œ„Š7(#11)

44 45 46 47 48

Dmin Eb/D DminEb/D

49 50 51 52 53

Dmin

Dalt. scale

Eb/D DminEb/D

54 55 56 57

Amin7

Amin Pentatonic

Amin7

58 59 60 61

62 63 64 65

Gmin7

66 67 68 69

3

3

3 3

Alto Saxophone

2

FŒ„Š7(#11)

70 71 72 73

E¨Œ„Š7(#11)

F Pentatonic74 75 76 77

Dmin Eb/D DminEb/D

78 79 80 81Dmin

Eb/D Dmin Eb/D

82 83 84 85

Amin7

86 87 88 89

90 91 92 93

G‹

94 95G‹

C Pentatonic

FŒ„Š7(#11)

96 97 98 99 100

101

3 3

3

Alto Saxophone

3

ala Coltrane

E¨Œ„Š7(#11)

sim.102 103 104 105

D‹ Eb/D D‹ Eb/D

106 107 108 109D‹ Eb/D

Dmin Pentatonic

D‹

110 111 112

Eb/D A‹7

113 114 115

rushed

3 3 3 3

Alto Saxophone

4

ala Coltrane

E¨Œ„Š7(#11)

sim.102 103 104 105

D‹ Eb/D D‹ Eb/D

106 107 108 109D‹

110Eb/D

Dmin Pentatonic

D‹ Eb/D

111 112 113

A‹7

114 115

rushed

3 3 3 3

Alto Saxophone

4

Motives and Non-‐‑Diatonic Pitch Relationships

Kenny Garrett is known for playing dissonant pitches on strong beats for

uncomfortably long durations. In this solo he begins with a strong sustained Eb

over the initial Am7, emphasizing the b5 (or #11) of the chord. This could be a

superimposed C minor sound or an extension of the Eb/D harmony from the end of

the previous chorus. He resolves the Eb by m. 4, but because of the strength of the

sequenced motive, the whole four measures sound just like a natural part of the

progression.

Fig. 6 mm. 1-‐‑4

Another use of the #11 sound on a minor 7th chord occurs in mm. 25-‐‑28 (Fig.

7). Here Garrett begins his motive on a G# over the D pedal point. He resolves the

tension up to an A in m. 29, transposing the motive for the impending Amin7. Once

again the strength of the motive carries the dissonance as Garrett sequences the

idea down in mm. 29-‐‑33 (Fig. 8).

Fig. 7: mm. 25-‐‑28

Alto Saxophone


Amin7q=240 1

2 3 4 5 6

7 8 9

Gmin7

C7b9

10 11 12 13

FŒ„Š7(#11)

14 15 16 17

E¨Œ„Š7(#11)

F Pentatonic

E¨Œ„Š7(#11)

18 19 20 21

Dmin Eb/D DminEb/D

Emphasis on #1122 23 24 25

Dmin Eb/D Dmin Eb/D

26 27 28 29

Amin7 2

30 31 32 33

Dmin Pentatonic

Amin7


XYZ


0:55

3

Alto Saxophone


Amin7q=240 1

2 3 4 5 6

7 8 9

Gmin7

C7b9

10 11 12 13

FŒ„Š7(#11)

14 15 16 17

E¨Œ„Š7(#11)

F Pentatonic

E¨Œ„Š7(#11)

18 19 20 21

Dmin Eb/D Dmin

22 23 24

Eb/D

Emphasis on #11

Dmin Eb/D Dmin

25 26 27 28

Eb/D

29

XYZ


0:55

3

Fig. 8: Resolved tension and sequence

Garrett departs from the idea for a few measures but returns to the motive in a less

dissonant form in mm. 38-‐‑40, and with a brief abstracted form in mm. 42-‐‑44 (Fig. 9).

Fig. 9

Measures 57-‐‑58 are an example of a classic Kenny Garrett lick. After running

up a D altered scale in mm. 54-‐‑55, Garrett plays a descending chromatic scale with

lower chromatic neighbors to each scale tone, linking the following pentatonic

pattern with a bebop lick.

Fig. 10: Chromatic descent

The most striking use of a strong dissonant pitch within a motive occurs in

mm. 83-‐‑85. In the middle of a screaming chromatic ascent, Garrett lands on a G#,

again emphasizing the #11 over the Dmin-‐‑Eb/D pedal. He resolves to the A just

Alto Saxophone


Amin7q=240 1

2 3 4 5 6

7 8 9

Gmin7

C7b9

10 11 12 13

FŒ„Š7(#11)

14 15 16 17

E¨Œ„Š7(#11)

F Pentatonic

E¨Œ„Š7(#11)

18 19 20 21

Dmin Eb/D Dmin

22 23 24

Eb/D

Emphasis on #11

Dmin Eb/D Dmin

25 26 27 28

Eb/D Amin7

29 30 31 32 33

Dmin Pentatonic

Amin7


XYZ


0:55

3

Gmin7

C Pentatonic38 39 40


41 42 43

E¨Œ„Š7(#11)

Dmin Pentatonic

E¨Œ„Š7(#11)

44 45 46 47 48

Dmin Eb/D DminEb/D

49 50 51 52 53

Dmin

Dalt. scale

Eb/D DminEb/D

54 55 56 57

Amin7

Amin Pentatonic

Amin7

58 59 60 61

62 63 64 65

Gmin7

66 67 68 69

3

3

3 3

Alto Saxophone

2

Gmin7



41 42 43

E¨Œ„Š7(#11)

Dmin Pentatonic

E¨Œ„Š7(#11)

44 45 46 47 48

Dmin Eb/D DminEb/D

49 50 51 52 53

Dmin

Dalt. scale

Eb/D DminEb/D

54 55 56 57

Amin7

Amin Pentatonic

Amin7

58 59 60 61

62 63 64 65

Gmin7

66 67 68 69

motive from m.25

3

3

3 3

Alto Saxophone

2Gmin7



41 42 43

E¨Œ„Š7(#11)

Dmin Pentatonic

E¨Œ„Š7(#11)

44 45 46 47 48

Dmin Eb/D DminEb/D

49 50 51 52 53

Dmin

Dalt. scale

Eb/D Dmin

Chromatic Descent

Eb/DAmin7 Bebop

54 55 56 57 58

Amin7

59 60 61

62 63 64 65

Gmin7

66 67 68 69

motive from m.25

3

3

3 3

Alto Saxophone

2

prior to the chord change, but with shifting substituted harmonies in the rhythm

section, Garrett’s resolution is effectively turned into a dissonance.

Fig. 11: mm. 83-‐‑85

Rhythm and Solo Arc

Garrett’s rhythm is one of the most important aspects of this solo is also the

hardest to accurately notate. He uses slower rhythmic values to help pace the

development of the solo from the beginning. He tends to play less rhythmically

intense passages over the first 16 bars of the form, gradually introducing more

syncopation or harder driving lines in the last 4-‐‑8 measures preceding the D pedal.

Remarkably the most memorable part of the solo, utilizes some of the most

sustained rhythmic values and repetition (mm.66-‐‑97). It is also interesting that

these measures contain the peak of the solo arc. This arc is contrary to many solos,

rhythmically speaking, as it “slows down” at the peak. The fastest rhythmic activity

comes at the end of the arc, mm. 102-‐‑113, almost spiraling to the end. The rhythmic

tension and release, along with the tessitura, dynamics, and density from the

rhythm section, help support the unconventional build. His ability to bend the rules

of pitch and rhythm is one of the reasons Kenny Garrett has become such an

important voice in modern jazz.

FŒ„Š7(#11)

70 71 72 73

E¨Œ„Š7(#11)

F Pentatonic74 75 76 77

Dmin Eb/D DminEb/D

78 79 80 81Dmin

Eb/D Dmin Eb/D

82 83 84 85

Amin7

86 87 88 89

90 91 92 93

G‹

94 95G‹

C Pentatonic

FŒ„Š7(#11)

96 97 98 99 100

101

3 3

3

Alto Saxophone

3

kenny garrett's solo from xyzstandard of language kenny garrett · 2019. 1. 17. ·...

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