Appendix I - Lesson I-1

Lesson I-1: Adding a Guitar Solo to an Existing Arrangement

Writing a guitar part to an existing arrangement can be thought of as either a "glass half empty" or a "glass half full". Many of the decisions that you make have already been made for you: the key, tempo, parts for all the instruments except yours. But likewise, you have to live with them. Many guitarists that don't have your experience as a Mickey Baker graduate have cold chills when we talk about keys other than the "guitar friendly" keys, such as C, G, D, A, and E. But for you, the flat keys are old friends.

You receive a call from your friend that leads a small "big band" (jumbo shrimp?). They're playing a "Golden Oldies" show and their pianist has come down with chicken pox. How would you like to solo on the piano's bridge on your Spanish guitar? Your eyes glaze over and you can hardly believe your luck. You manage a "What's the tune?" "Tommy Dorsey's famous 1936 recording of 'I'm Getting Sentimental Over You.'"

Let's listen to it with an analytical ear, that is, asking questions that will pertain to the study of any tune. I'll give you the answers I came up with when I analyzed it:

What key(s) is it in? Are there modulations? In this case Tommy is playing in the key of D. As he has a sax group with him and the saxes are Bb instruments, they are reading in the key of E. Doesn't sound so bad to us guitarists that love that key, but to many sax players the sharp keys like A and E are torture. They are much more comfortable in Ab or Eb. Note in "I'm Getting Sentimental Over You" that Tommy and the boys don't change keys during the entire tune.
What kind of intro does it have? Tommy starts off with about a measure and a half of solo trombone. He doesn't add or create any additional intro. Instead, he chooses to lead with the opening phrase of the tune. Simple, right? That measure and a half of solo trombone is one of the most recognizable lead-in's in the history of popular music. Don't underestimate "simple".
What's the makeup of the tune and how many choruses are played? 2 1/2 - "I'm Getting Sentimental Over You" is an A1 - A2 - B - A2 with a tag. The tag is similar to the tag in "I Got Rhythm", VI - II - V - I. Tommy solos on his trombone through the entire 1st chorus. The second chorus features his sax section, or a hybrid horn/sax group playing in tight parallel 4-part harmony for the A1 and A2 parts. A piano solos on the B or Bridge section. The sax section returns for final A2 part of the 2nd chorus. Then Tommy returns with a trombone solo Bridge and A2 part to end the recording.
What ending does he use? He doesn't write a special ending, but rather plays the A2 tag in "ritardando", or slows down in the ending measures.
What is the makeup of the group? Trombone, Sax Section, Rhythm Guitar, Acoustic Bass, and piano are the only instruments I can make out for sure. I don't hear a drummer, but there could have been one in the session, only subdued and playing on the beat. The Sax Section could have been a hybrid with saxes and other horns.
What improvisations or solos were taken? Actually, none. The 2nd chorus by the sax section plays around the melody just as Mickey's Lessons 50, 51, and 52 taught us. The piano solo strayed even less from the melody than the sax section. If one isolated the 2nd chorus and played it to someone who knew the tune, but not this version, that person would immediately recognize it as "I'm Getting Sentimental Over You".

Note that we haven't transcribed a single note, but rather have analyzed the skeleton of the recording.

Perhaps you have some additional questions in your analysis? Tommy's formula was really pretty simple: 2 1/2 choruses, no special intro nor special ending; a 2nd chorus that was a variation on the theme and other instruments taking the lead. Tommy's virtuoso trombone playing highlights the performance of a beautiful melody. Nothing succeeds like success! Because this was a monster hit and 75 years later, folks still remember Tommy's incredible high C#'s on this recording, plus it transcended the borders that labels like "Jazz", "Easy Listening", "Country" have. I don't think I'm going out on a limb by saying that Tommy's formula worked.

We have to write a bridge that doesn't stray too far from the melody. Since your guitar is going to be soloing with just a bass and rhythm guitar, we can play some harmony along with melody. Here's my bridge solo. Note that I've used triplet arpeggios without straying from the melody (well, not very far anyway.)

Original Bridge to I'm Getting Sentimental Over You

Extra study: Select some famous recordings that you can write a "replacement" solo for another solo instrument. Swing recordings by the Dorsey's, Benny Goodman, Artie Shaw, Glenn Miller, etc. are wonderful candidates. Many of them have been transcribed so you don't have to do what I did with "I'm Getting Sentimental Over You" (transcribe the entire recording.) Find a solo chorus or bridge and write your part. Remember to use the key in which the piece was originally recorded. Once you do a couple, you'll have the confidence to write replacement parts for any score!

Remember to keep it fun!