A METHOD TO APPROACH JAZZ GUITAR IN THE STYLES OF

KURT ROSENWINKEL, BEN MONDER AND

GILAD HEKSELMAN

PONGSIRI KAJORNVAEKIN

A THEMATIC PAPER SUBMITTED IN PARTIAL FULFILLMENT

OF THE REQUIREMENTS FOR
THE DEGREE OF MASTER OF ARTS (MUSIC)
FACULTY OF GRADUATE STUDIES
MAHIDOL UNIVERSITY
2011

COPYRIGHT OF MAHIDOL UNIVERSITY

 iii

ACKNOWLEDGEMENTS

The achievement of the “Graduate guitar: A method to approach jazz

guitar in the styles of Kurt Rosenwinkel, Ben Monder and Gilad Hekselman” would
not have been completely successful with out the help and support from manny people.
I would like to thank: Dr. Paul Cesarczyk, Dr. Christopher Schaub, Dr. Anothai
Nitibhon , Assoc. Prof. Kovit Kantasiri, Mr. Darin Pantoomkomol, Mr. Krit
Buranavitayawut, Mr. Noppadol Tirataradol, Mr. Teerapoj Plitakul and Mr. Kom
Wongsawat, Mr.Podchara Kumchaiskul for every comments and suggestions that
helped this thematic paper.
I would like to thanks all staffs at College of Music, Mahidol University.
I would like to thanks to my family for given me the best chances for
everything with plenty of loves and cares.
Finally, I would like to thank all of my friends who’s always be there for
me and helping me all the time. Thank you very much.

Pongsiri Kajornvaekin
Fac. of Grad. Studies, Mahidol Univ. Thematic Paper / iv

A METHOD TO APPROACH JAZZ GUITAR IN THE STYLES OF KURT

ROSENWINKEL, BEN MONDER AND GILAD HEKSELMAN

PONGSIRI KAJORNVAEKIN 4937864 MSMS/M

M.A. (MUSIC)

THEMATIC PAPER ADVISORY COMMITTEE: PAUL CESARCZYK, D.M.

CHRISTOPHER SCHAUB, D.M.

ABSTRACT
The purposes of this thematic paper were to study and present the
dominant feature in jazz improvisation which is based on the standard jazz songs
played by Ben Monder, Kurt Rosenwinkel and Gilad Hekselman, three modern jazz
guitarists. This study was done via the analysis of their improvisation, as well as by
examining major influences in their playing. This analysis was further used to design
improvisation exercises based on the ideas of three guitarists. The studies were made
using the following music:
1. I’ll Be Seeing You by Ben Monder Composed by Irving Kahal and
Sammy Fain
2. When Will The Blues Leave by Gilad Hekselman Composed by
Oenette Coleman
3. How Deep Is The Ocean by Kurt Rosenwinkel Composed by Irving
Berlin
In attempting to create these three guitarists’ improvisation exercises, it
was found that the main features that characterize their playing include tritone
substitution, interval, pentatonic, triad, arrpegio, rhythmic displacement and quartal
harmony based on chord progression from standard jazz songs. It was also found that
the created exercises can be useful for improving technical skills, as well as enhancing
the understanding of the three guitarists’ improvisations. The main factor that affects
the playing of the three guitarists is getting the influencing idea of integrating the
prominent point of other musical instruments with guitar playing.

KEY WORDS: A METHOD TO APPROACH JAZZ GUITAR IN THE STYLES OF

KURT ROSENWINKEL / BEN MONDER AND GILAD
HEKSELMAN

81 pages
Fac. of Grad. Studies, Mahidol Univ. Thematic Paper / v

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ก   Kurt Rosenwinkel, Ben Monder + Gilad Hekselman
A METHOD TO APPROACH JAZZ GUITAR IN THE STYLES OF KURT ROSENWINKEL,
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2. When Will The Blues Leave by Gilad Hekselman Composed by Oenette
Coleman
3. How Deep Is The Ocean by Kurt Rosenwinkel Composed by Irving Berlin
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pentatonic, triad, arrpegio, rhythmic displacement + quartal harmony A\Y`DORSMก

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 vi

CONTENTS

Page
ACKNOWLEDGEMENTS iii
ABSTRACT (ENGLISH) iv
ABSTRACT (THAI) v
CHAPTER I INTRODUCTION
1.1 Background 1
1.2 Objectives 2
1.3 Expectation 2
1.4 Scope of the study 2
CHAPTER II REVIEW OF RELATED LITERATURE
2.1 Early Jazz 4
2.2 Swing 5
2.3 Bebop 8
2.4 Cool Jazz 9
2.5 Hard Bop 10
2.6 Jazz-Rock Fusion 12
2.7 1970s-1990s Jazz Guitar 13
CHAPTER III METHODOLOGY CREATING NEW EXERCISES
BASED ON THE ANALYSIS
3.1 Data Collection 15
3.2 Data Analysis 16
3.3 Data Integration and selection 16
3.4 Data Transformation 16
3.5 Conceptual Framework 17
CHAPTER IV THE LIFE AND MUSIC OF KURT ROSENWINKEL,
BEN MONDER AND GILAD HEKSELMAN
4.1 Kurt Rosenwinkel Biography and Influence 18
 vii

CONTENTS (cont.)

Page
4.2 Gilad Hekselman Biography and Influence 20
4.3 Ben Monder Biography and Influence 22
4.4 Song and solo Analysis 24
4.5 Improvisation Analysis of three guitarist 28
CHAPTER V THE NEW EXERCISES
5.1 Jazz line from the three guitarist 44
5.2 Harmonic Device 49
5.3 Melodic Device 55
5.4 Rhythmic Device 60
5.5 Tone Color 62
CHAPTER VI CONCLUSION – RESULTS OF THE STUDY AND 65
IDEAS FOR FURTHER RESEARCH
BIBLIOGRAPHY 67
APPENDIX 69
BIOGRAPHY 81
Fac. of Grad. Studies, Mahidol Univ. M.A. (Music) / 1

CHAPTER I
INTRODUCTION

1.1 Background
At the present jazz guitarists have various playing methods and
improvisations that contribute many interesting and differently sounding musical
styles. The jazz world is filled with guitarists with excellent ability, both musically and
technically. For the purpose of this study the guitarist Kurt Rosenwinkel was chosen
for the enormous variety in his techniques and playing methods.

After Pat Metheny, John Scofield and Bill Frisell - three guitarists who have
the most influence in the 1990s - Kurt Rosenwinkel is considered a guitarist who is the
model and main influence on contemporary guitar playing for both his playing methods
and also sound adjustment, including an original conception for improvisation. In addition
to Kurt Rosenwinkel, Ben Monder and Gilad Hekselman are another two guitarists who
are widely acknowledged in the jazz world at the present time. Their playing methods and
improvisations will also be a part of this study.

Main target of this research is to analyze the improvisation methods of

these three guitarists. In addition a practicing method and a number of exercises from
the improvisation methods of these three guitarists has been prepared as part of this
research. The analysis is based on the selection of jazz standard songs which has been
recorded by all three guitarists. The songs are chord progression types and well-known
and recognized among jazz musicians and students. It is hoped that the following
research will make it possible for other interested jazz musicians to understand and
think about the music of these guitarists more fully.
Pongsiri Kajornvaekin Introduction / 2

1.2 Objectives
1.2.1 To analyze the improvisation methods of the selected three guitarists.
1.2.2 To create exercises for practicing improvisation in their individual
styles.
1.2.3 To study their biographies in order to better understand their musical
influences.

1.3 Expectations
1.3.1 To develop a better understanding of the improvisation concepts of
three selected guitarists.
1.3.2 To develop exercises for practicing the styles of the selected
guitarists.
1.3.3 To contribute a guideline of studying these improvisation methods,
not only for the guitar but also for other instruments.

1.4 Scope of the study

The scope of this study is to create an analysis of three guitarist’s approach
to jazz standards and blues song based on the individual melodic, harmonic and
rhythmic devices of each musician. The selected songs are jazz standards and Blues
songs which have a clear form of chord progression. This will make it easy to analyze
and apply both in standard jazz and also modern jazz styled song’s playing. An
additional part of this study is to analyze the influences of Kurt Rosenwinkel, Ben
Monder and Gilad Hekselman and how they have shaped the improvisational methods
of all three guitarists individually.

The following three songs have been chosen:

1.4.1 How Deep Is The Ocean

Composed by Irving Berlin
Played by Kurt Rosenwinkel
Fac. of Grad. Studies, Mahidol Univ. M.A. (Music) / 3

Album title Kurt Rosenwinkel / Intuit

1.4.2 I’ll Be Seeing You

Composed By Irving Kahal and Sammy Fain
Played by Ben Monder
Album title Joshua Douglas Smith / Unstuck In Time

1.4.2 When Will The Blues Leave

Composed by Ornette Coleman
Played by Gilad Hekselman
Album title Gilad Hekselman / Splitlife
Pongsiri Kajornvaekin Review of Related Literature / 4

CHAPTER II
REVIEW OF RELATED LITERATURE

Brief History of Jazz Guitar

2.1 Eddie Lang, Lonnie Johnson (Early Jazz 1880- 1930)

Band performing at the beginning of jazz age, music instruments functioned

within a structure of two groups in the following way;
1) Melody is played by lead section where the main instruments included
the trumpet, clarinet trombone and saxophone among other instruments.
2) Rhythm Section functions as accompaniment to the melody section giving
rhythm, and function chord playing (Harmony) to the band. In this section the traditional
instruments include guitar, banjo, tuba, bass saxophone, string bass, piano and drums.

The performance of band music was complex. It was not necessary to have
all the instruments. The Guitar and Banjo functioned as harmony instruments, together
with keeping rhythm to the band at the same time. The choice of instruments gave
each band a unique characteristic. There are banjo and guitar in some bands, but there
is only either of them in some bands. At the beginning of age, banjo was quite much
popular to the band because it can create the louder sound than guitar. But after that
time, around year 1920, guitar became much popular for playing in the band gradually,
since guitar makers achieved a louder sound for it. In 1923 the acoustic archtop guitar
was produced and became a legend of jazz guitar construction. The same is true of the
Gibson L5, which was used widely by many guitarists such as Eddie Lang and other
guitarists in that age and in later times. From year 1930 and afterwards the guitar
became a main music instrument for accompanying with rhythm instead of banjo. This
was due to the fact that the guitar can make voicing chord variously and more complex
and also has a wider range than the banjo.1

1
Henry Martin and Keith Waters, Jazz: The First 100 Years (Thomson Schirmer, 2006 ), 49.
Fac. of Grad. Studies, Mahidol Univ. M.A. (Music) / 5

Though the guitar could now create a louder musical voice when
compared with wind and brass instruments music instrument as horn instrument its
sound was still very soft. Therefore most guitarists still mainly played chords and kept
the rhythm going for the band or chord and only rarely taking short chord solos.
However, there were two guitarists from this time - Eddie Lang (1902-1933) and
Lonnie Johnson (1899-1970) - who were the initiators of guitar solo playing in the
form of single line. The playing styles of both of them are moderately different.
Lonnie Johnson’s playing inclined to Blues style, but Eddie Lang’s playing style came
from classical music’s concept possibly because he also played classical violin before.
Because of his classical background his playing technique and lines in solo playing
were clearer and cleaner than Lonnie Johnson’s.
Eddie Lang had a chance to work with many popular jazz musicians, for
example,King Oliver and Paul Whiteman. Most of his recorded music productions
were playedwith JoeVenuti, the violin player. Moreover, he also had his music
productions with Bix Beiderbecke as well. For Lonnie Johnson, he had chance to
record on albums by LouisArmstrong and Duke Ellington.2

2.2 Freddie Green, Django Reinhardt, Charlie Christian (Swing

1930-1940)

During the swing age the guitar began to have a bigger role and function in
the jazz band. There were two key guitarists who made the guitar amore outstanding
solo playing instrument approaching the more traditional solo instruments such as the
horns and piano.
Django Reinhardt(1910-1953) was a Belgian gypsy guitarist but he mostly
lived in France. He was highly respected by many American guitarists of this period
because of his techniques in guitar playing which included speed, originality and
aunique vibrato characteristic. Django’s three finger of the left hand were disabled,
due to a fire incident from his teenage years. Django Reinhardt’s originality was that
he applied gypsy styled music to mix with jazz music in a unique and successful way.

2
Mark C. Gridley, Jazz styles History & Analysis (Pearson Education, 2006), 81.
Pongsiri Kajornvaekin Review of Related Literature / 6

Many of his compositions became jazz standard songs until today including songs
such as Nuages and Minor Swing. In the studio Django Reinhardt had chance to work
and record music with famous musicians such as Duke Ellington, Louis Armstrong
and Coleman Hawkins. Most importantly various albums of music were recorded by
him in collaboration with Stephan Grapelli, the jazz violin player. Because of his
playing and recording Django became a well - known person and had a big influence
on guitar playing all over the world.3
Charlie Christian (1916-1942). In 1930 the construction of archtop guitars
began to include the innovation of the pick-up. This made the guitar an electric
instrument for the first time and allowed it to compete in volume with the rest of the
other instruments including the horns and the piano. Charlie Christian was the initiator
of jazz guitarist who started playing the electric guitar with the amplifier device, because
of his desire to create a voice level of guitar playing as a wind instrument. The
improvisation characteristics of Charlie Christian were that he used long single note
lines, had swing, and used phrasing in his solos, which was an influence from his model,
Lester Young, the important tenor saxphone player of that age. He stared being well
known and famous by playing in very famous bands of that time including the Benny
Goodman Big Band. Furthermore, Charlie Christian joined jam session with many
musicians like Dizzie Gillespie, Charlie Parker, Thelonius Monk, Kenny Clarke at
Minton’s Club, where Bebop music originated. Charlie Christian is recognized as a jazz
musician who developed jazz music’s form from swing age into the bebop’s style.4
Charlie Christian’s guitar playing influenced almost all jazz guitarists
during this period of time before the coming of jazz-rock age including Wes
Montgomery the 60s guitarist who is seen as the main influence for new-aged guitarist
at the present time.5
Both Christian and Reinhardt have their uniquely outstanding playing styles.
The following number list compares their styles based on technique and musicality;
1. Charlie Christian’s solo speed is quite stable and consistent but the
solospeed of Django Reinhardt is not sure and hard to guess.

3
Mark C. Gridley, Jazz styles History & Analysis (Pearson Education, 2006), 104.
4
All About Jazz, “Charlie Christian@All about Jazz”, All About Jazz.
http://www.allaboutjazz.com/php/musician.php?id=5699.
5
Mark C. Gridley, Jazz styles History & Analysis (Pearson Education, 2006), 104.
Fac. of Grad. Studies, Mahidol Univ. M.A. (Music) / 7

2. Charlie Christian’s line solo characteristic is similar to a wind

instrument while Django Reinhardt’s line was influenced by piano playing.
3. In most of Charlie Christian’s performances a hollow body guitar was
used with an amplifier while Django Reinhardt used a hollow body guitar without
amplification.
4. The tone of Charlie Christian’s guitar playing is fat and soft while
Django Reinhard’s voice tone is sharp and having distinct metal string sound.
5. Charlie Christian himself developed through and was influenced by
Blues music, but Django Reinhard developed from gypsy music and French
composers in Impressionist era such as Maurice Ravel and Claude Debussy.
6. The solo line characteristics of Charlie Christian usually depends on
eighth-note rhythmic, while note as triplet and sixteenth-note are usually used in
Django Reinhard’s improvisations.
7. Vibrato technique was rarely used in Charlie Christian’s guitar playing,
but Django Reinhard used vibrato technique as the main part in his playing.6

During the swing age the guitar also had an important role functioning as
part of the rhythm section in the Big Band. Freddie Green (1911-1987), the guitarist
for Count Basie big band developed an outstanding style and accompaniment method.
It’s unique characteristics are as follows;
1. The chord playing elements are close and consistent continually with
swing feel’s drive.
2. Guitar’s voice is acoustic and not played with amplifier.
3. Playing is coordinated harmoniously with drum and bass instrument.7

6
Mark C. Gridley, Jazz styles History & Analysis (Pearson Education, 2006), 104
7
Mark C. Gridley, Jazz styles History & Analysis (Pearson Education, 2006), 135
Pongsiri Kajornvaekin Review of Related Literature / 8

2.3 Tal Farlow (Bebop early 1940s – middle 1950s)

During the bebop age, the size of the performing band became smaller. For
examples Trio, Quartet, Quintet styled bands were popular and concentrated on
capability and independence to Play used improvisations by all the instruments of the
band. The guitar in bebop age did not function only as Rhythm Section any more but
also as a solo instrument as well. Bebop music style was developed and started by
saxophone and trumpet players. Not so long from that time, the players of other music
instrument were affected by their influence and absorbed bebop style in playing
methods and styles. Tal Farlow, Jimmy Raney, Barney Kessel were the most
important guitarists in this era and started to be well known at the ending period of
1940s until the beginning of the 1950s.8
Tal Farlow was born on June 7th, 1921, his full name is Talmage Holt
Farlow. He was a guitarist who connected the style of the swing aged Charlie
Christian to guitarists in the Hard bop age like Wes Montgomery and other guitarists
until the present. Tal Farlow started playing guitar when he was 20 years old. He was
self-educated and learned by transcribing solos from songs played by Charlie Christian
on Benny Goodman’s albums.9
Tal Farlow’s playing style was influenced by Charlie Christian and also
Line and sentences characteristic of wind instruments in Bebop age. Moreover, his
guitar playing technique is full of quickness, having his particular technique in finger
using, for instance, the mixing Alternate fingering style with Economy picking style,
the spreading of left hand fingers to be wider than normal finger, fast shifting of his
left hand to various of guitar’s neck positions giving him the nickname “The
Octopus”. For the equipment, Tal Farlow used the Gibson Es 350 guitar, P-90 model
of Pickup like Charlie Christian’s style and GA-type combo model of Gibson
amplifier.10
Tal Farlow started to be well known in Jazz music’s world in 1950s with
performances with Buddy DeFranco, Artie Shaw and Red Norvo Trio. Next, he was
persuaded by Norman Granz (a very influential producer in the Jazz music world) to

8
Mark C. Gridley, Jazz styles History & Analysis (Pearson Education, 2006), 162b.
9
Classic Jazz Guitar.com, “The Guitarist Tal Farlow”, Classic Jazz Guitar.
http://www.classicjazzguitar.com/artists/artists_page.jsp?artist=13.
10
Wolf Marshall, Best of Jazz Guitar (Hal Leonard, 2000), 96.
Fac. of Grad. Studies, Mahidol Univ. M.A. (Music) / 9

make his own album with Verve Records, a leading music production company. Then,
Tal recorded more than 30 albums of his own, mostly produced between the years
1952-1960.11

2.4 Jim Hall (Cool Jazz late 1940s)

The cool jazz age, which was originated by West Coast musicians, there
were an outstanding guitarist who had a unique playing style and improvisation
method and has influenced modern guitarists from the middle of 1960s until present.
He is seen as the first guitarist after Charlie Christian’s age who was different and
changed the concept of guitar playing in jazz music.12
Jim Hall was born on December 4th, 1930 at Buffalo, New York. He grew
up at Cleveland and graduated from Cleveland Institute of Music. In year 1955 he
started to be much more well known, when he worked with Chico Hamilton Quintet
and Jimmy Giuffre Trio both famous musicians from Los Angeles. Subsequently, in
1959 by Sonny Rollins’s invitation, Jim Hall moved to New York, to work and record
As his collaborator. Also, there were many artists whom Jim worked with and had
produced many musical albums in jazz music’s history, such as Paul Desmond, Bill
Evans, Ron Carter, John Lewis and Ornette Coleman, including many his own albums.
Until present, he has brought a new generation of musicians to explore new ways of
playing jazz music as Chris Potter, Bill Frisell, Pat Metheny, Joe Lovano and Dave
Holland.13
Jim Hall’s playing method and improvisation was very different from
guitarists during his time. Thematic development was emphasized in his
improvisations including the concept that line using or bebop’s pattern or stimulating
speed’s technique. His improvisation were like composing a new song. In his solo
playing, there usually were theme or main idea in each chorus. That idea will be then
extended in various patterns, texturally, harmonically and rhythmically. Theequipment
that he used at the beginning of his career was the Gibson ES-175 guitar, P-90 styled

11
Wolf Marshall, Best of Jazz Guitar (Hal Leonard, 2000), 95.
12
Mark C. Gridley, Jazz styles History & Analysis (Pearson Education, 2006), 198.
13
Wolf Marshall, Best of Jazz Guitar (Hal Leonard, 2000), 8.
Pongsiri Kajornvaekin Review of Related Literature / 10

pickup with amp Gibson GA-50. At the present time, he uses Sadowsky Jim Hall’s
model guitar with polytone amp.14

2.5 Wes Montgomery (Hard Bop 1950s)

At the beginning of 1950s, Hardbop music or as some may call Postbop
music began to be popular. This kind of music was based on Bebop style. The
influences of Blues, Soul and Gospel style were brought to be mixed with Bebop. The
difference from Bebop music can be summarized in the following ways;
1. Line or Pattern for improvising is easier than Bebop lines.
2. Drum player plays dexterously and enthusiastically.
3. Total sound’s characteristics are raw, concentrating and darker.
4. The characteristic of chords progression in each song is more original
than Bebop style of music with chords progression from pop music often used.
5. The musician plays with front-toward thrusting emotion, including firm
and concentrating swing feel.
6. The comping by pianists make rhythm and chord voicings more
various.15

In the Hard Bop era there were the important guitarists as Grant Green and
Kenny Burrell. Most importantly Wes Montgomery, a guitarist after Charlie
Christian’s age, was the main influence to almost all guitarist in subsequent styles,
including to famous jazz guitarists at the present time such as George Benson, Pat
Matrino, Pat Metheny, Peter Bernstien and Larry Coryell, also other styles of guitarists
as Carlos Santana, Jimi Hendrix, Eric Johnson and Joe Satriani.
Wes Montgomery was born on March 6th, 1925 in Indianapolis,
Indiana.He started playing guitar after being impressed after listening to Charlie
Christian’s playing. He learned method of guitar playing by himself by listening and
transcribing solos from Charlie Christian’s records. After that he developed his unique
style. Wes started being much more well known when he had chance to play and

14
Wolf Marshall, Best of Jazz Guitar (Hal Leonard, 2000), 9
15
Mark C. Gridley, Jazz styles History & Analysis (Pearson Education, 2006), 208.
Fac. of Grad. Studies, Mahidol Univ. M.A. (Music) / 11

record in the band of Lionel Hampton, the popular vibraphone player of that
era.Afterwards, Wes was introduced by Cannonball Adderly, the alto saxophone
player to sign a contract with Riverside Records. Later, Wes made debut of various
albums under Riverside, which made him very well known.16
Wes Montgomery’s unique voice came from a distinctive playing method.
Instead of using a pick, he fingered using his thumb which resulted in a soften- thick,
round and warm voice. His fingering techniques were fingering downward by thumb
(called downstrokes) which he used for single notes line. For octaves and chords
playing he used a mix of downstrokes and upstrokes. In his improvising style blues
and Bebop music influence were mixed in his line solo. The concept to improvised,
Wes developed solo playing from an easy idea before creating tension to various
choruses in order to go to climax in solo playing. For instance, he usually starts by
creating lines from a single note and uses that line to play in octave style and
summarizing by using solos in chords. Moreover, Wes Montgomery also has varied
rhythmic ideas in improvising. He usually develops from easy rhythmic idea, to
complicated rhythmic idea. This was seen as a model and key influence in guitar
playing of modern jazz guitarists in subsequent eras. 17
At the same time, there were many outstanding guitarists, who being a part
in jazz’s history and influenced on later age of guitarists. Both traditional guitarists,
based on and developed from Bebop music. These included Joe Pass(1929-1994) and
Herb Ellis(1921-2010) which both of whom had chance to play with Oscar Peterson’s
band at different times. Other important guitar personalities of this time include Grant
Green (1935-1979) and Kenny Burrell (1931-present), and 7 string-guitarist George
van Eps(1913-1998).

16
William Bay, Wes Montgomery The Early Years (Mel Bay, 1995), 5.
17
Wolf Marshall, Best of Jazz Guitar (Hal Leonard, 2000), 112.
Pongsiri Kajornvaekin Review of Related Literature / 12

2.6 Jazz-Rock Fusion 1970s John Mclaughlin

During the 1960-1970s, rock music became the main current of music that
was most popular with audiences. There were popular artists who were the idols to a
new generation of musicians in many bands, for example, Jimmy Hendrix, The
Beatles, Eric Clapton, Carlos Santana and Led Zeppelin. Rock music also influenced
many Jazz musicians, such as Miles Davis, Joe Zawinul, Jaco Pastorius as well as
guitarists Larry Coryell, John Mclaughin and Pat Metheny.18
John Mclaughlin was born on January 4th, 1942 at Doncaster, South
Yorkshire, England. At the end of 1950s, he played in rock and jazz band in England
before he became well known in American music’s world starting in the years 1969-
1971. At this time, John had a chance to play to Lifetime band, the fusion style-band
of Tony Williams, the drum player. Moreover, he was persuaded by Miles Davis to
join the band and record on many albums, especially “In a Silent Way” and “Bitches
Brew” albums which were the symbol of change to fusion jazz style. Furthermore,
John Mclaughlin established his own band called “Mahavishnu Orchestra”. He
recorded for many albums, especially Birds of Fire’s album in 1973 which reached the
15th rank of pop song in Billbord’s record sale chart. At that time most jazz albums
did not reach higher than 200th rank. The characteristic guitar voice of John
Mclaughlin is different from more traditional jazz guitarists. It is not soft and warm
but firm and John uses metal string played with amp, in rock guitarist style. Also, wah-
wah and phase shifter of effects were used in his playing. Playing method and
improvising are also different from traditional jazz guitarist’s characteristic like
Charlie Christian and Wes Montgomery whose syncopation styles develop from swing
feel which is easy to listen to and relaxing. John’s syncopation style inclined to rock
and he usually uses sixteenth notes line solo and long line. Rhythmic and melodic
concept of John Mclaughlin were affected by Indian classical music and John
Coltrane’s influence as opposed to the more characteristic of bebop style used
generally by traditional guitarists.19

18
Mark C. Gridley, Jazz styles History & Analysis (Pearson Education, 2006), 334.
19
Mark C. Gridley, Jazz styles History & Analysis (Pearson Education, 2006), 347.
Fac. of Grad. Studies, Mahidol Univ. M.A. (Music) / 13

For equipment, John Mclaughlin mostly uses solid body type of guitar.
The guitar which was his unique symbol at the beginning of his career was the Gibson
EDS-1275, the double neck guitar type, being the same model used by Jimmy Page, a
guitarist of Led Zeppelin’s rock band. John uses amp Marshall 100-watt with it. Now,
John Mclaughlin uses and is the endorser of Godin guitars.20

2.7 1970s-1990s Jazz Guitar

Since the 1970s until the present, there were many capable jazz guitarists
who are not mentioned in this study. Their unique musical voice is important and
includes the such personalities such as George Benson (1943-present) who followed
and developed his playing from Wes Montgomery’s style. In addition there were Pat
Martino (1944-present) a guitarist who has greatly affected many contemporary
guitarists. Darek Bailey(1930-2005) an English guitarist, whose music performance
was in Avant-Garde jazz’s style. Other important guitarists include those who
experienced music playing by listening to Miles Davis’s band like John Scofield and
Mike Stern. Besides, the guitarist who has unique technique in legato playing, and
influenced on many modern jazz guitarists at the present time, like Allan
Holdworth(1946-Present). Also, a group of guitarists from ECM records company
have a unique sound and composition characteristics by bringing other styles of music
such as classic, country etc. to be mixed with jazz music.These musicians include
Ralph Towner, John Abercrombie, Bill Cornors, Treje Rypdal, Bill Frisell and Egberto
Gismonti. However, the widely known and most successful guitarist at the moment,
seems to be Pat Metheny, who has influenced modern jazz music both by his guitar
playing and composition.21
Pat Metheny was born on August 12th, 1954 in Kansas City, United States
of America. During 1974-1977, after he was invited to play and record to Gary
Burton’s band, Pat became being well known. At the same time, in 1976 he had his
own first album, “Bright Size Life” under ECM records as part of a trio band. The

20
John Mclaughlin.com, “Equipments: Stage Setup”, johnmclaughlin.com.
http://www.johnmclaughlin.com/.
21
Prommin Soonthornsantik, Jazzseen Magazine(Jazz seen co.,ltd 2004), 29.
Pongsiri Kajornvaekin Review of Related Literature / 14

music performances that made him well known and widely famous was the band
named “Pat Metheny Group” in collaboration with the pianist Lyle Mays. The first
album debut was made in year 1978, under the title “Pat Metheny Group” through the
ECM records company. Afterwards, his music production has always been successful,
he won 17 Grammy awards including 10 awards for the Pat Metheny Group.22
The characteristic of guitar’s voice of Pat Metheny is soft, plump, based on
mainstream guitar’s voice like Wes Montgomery and Jim Hall, but having the
differences ; which are dark and having more of the character of electric tone, than
mainstream type of jazz archtop’s guitar voice. Moreover, Pat usually plays guitar
with delay and reverb included guitar synthesizer effects. For Pat Metheny’s
characteristic of playing method and improvisation deemed there was all forms of
Modern Jazz Guitarist’s characteristic, such as the technique and speed in his
outstanding guitar skill’s playing, including the creating of beautiful and unique
melodic line. Also, there were, various rhythmic idea, the characteristic of across the
bar line phrasing sentence, and one more of outstanding feature in Pat’s line solo is
having much of legato.23
For equipment, Pat Metheny used hollow body typed guitar, Gibson ES175
model, for his beginning time. Pat used flatwound string, and nearly closed tone knob
was used while playing. However, at the present, he uses hollow body typed Ibanez Pat
Metheny’s Model of guitar, and the string he uses was changed to be roundwound
string. Reverb, delay, Lexicon’s chorus of effects were played for his guitar’s voice,
with Digitech guitar preamp and also Acoustic 134 amplifier were used.24

22
Pat Metheny.com, ”press kit: pat metheny: biography”, patmetheny.com.
http://www.patmetheny.com/biography.cfm?artistid=1.
23
Wolf Marshall, Best of Jazz Guitar (Hal Leonard, 2000), 63.
24
Wolf Marshall, Best of Jazz Guitar (Hal Leonard, 2000), 64.
Fac. of Grad. Studies, Mahidol Univ. M.A. (Music) / 15

CHAPTER III
METHODOLOGY CREATING NEW EXERCISES BASED
ON THE ANALYSIS

The important target of this research is to create the practicing methods,

included the new exercises created from the improvisation’s analysis of these three
guitarists. The researcher had proceeded as the following steps;

- Data Collection
- Data Analysis
- Data Integration and selection
- Data Transformation

3.1 Data Collection

In this research, the researcher had divided knowledge related to the
analysis into 2 large topics as follows;
First topic is knowledge relating to Jazz’s history, included these three
guitarists related history. Second topic is musical knowledge to be used for analyzing
and comprehending with respect to Improvisation Method of these three guitarists. In
the information ‘s gathering then were from various sources, for instance, books,
interviews, articles, recording of private lesson and Master class and solo transcription.
All obtained informations were related to theory for jazz improvisation and history of
jazz and biographies.

The sources of the documents are as follows:

3.1.1 Music Library, college of Music, Mahidol University
3.1.2 Music Library, Faculty of Music, Silpakorn University
3.1.3 Internet data bases.
3.1.4 Books and documents.
Pongsiri Kajornvaekin Methodology Creating New Exercises Based on The Analysis / 16

3.1.5 Encyclopedias.
3.1.6 Recordings
3.1.7 Liner Notes.

3.2 Data Analysis

After collecting information from all sources, then the researcher
proceeded the analysis, which the main topics are classified as follows;
3.2.1 History and musical affected influences of Kurt Rosenwinkel, Ben
Monder and Gilad Hekselman.In order to understand the origin, background and the
affected influences in guitar playing.
3.2.2 Solo transcription and analysis by solo’s transcription and making
improvisation’s analysis. The research topics were divided as solo development,
harmonic devices, melodic device, rhythmic devices and tone color.
3.2.3 Analyze the selected songs’ details, by studying their tempo, key,
song structure, style and chord progression.

3.3 Data Integration and selection

After the information was analyzed, the analyzed data will be then used to
making synthesis to be new exercises and also interesting practicing methods. The
researcher had selected the matters and, topics were classified as follows;
3.3.1 Interesting jazz line of three guitarists.
3.3.2 Harmonic device exercises.
3.3.3 Melodic device exercises.
3.3.4 Rhythmic device exercises.
3.3.5 Tone color (Chord and Interval) exercises

3.4 Data Transformation

Data Transformation implicate compiling and prioritizing the knowledge
to allot in categories and to create new exercises.
Fac. of Grad. Studies, Mahidol Univ. M.A. (Music) / 17

3.5 Conceptual Framework

Pongsiri Kajornvaekin The Life And Music Of Kurt Rosenwinkel, Ben Monder And Gilad Hekselman / 18

CHAPTER IV
THE LIFE AND MUSIC OF KURT ROSENWINKEL,
BEN MONDER AND GILAD HEKSELMAN

4.1 Kurt Rosenwinkel Biography and Influence

Kurt Rosenwinkel was born on October 28th, 1970 at Philadelphia. He

grew up in a musical family. His mother was a classical pianist and his father was an
architect and a pianist who was skilful but he mostly played it as his hobby. When
Kurt was nine years old he started playing on the piano both as a solo instrument and
also in a band.Kurt started playing guitar when he was around 12 years old. His first
learned songs in the style of Rock and Roll like the Beatles but also including Hard
Rock styled songs like Led Zepplin and Progressive Rock styled songs like Rush.His
first experience with jazz music was while listening to the local radio station. During
his High School years he often joined local such as Bootsie Barnes, Tony Williams
(alto saxophone), Eddie Green, Al Jackson, Mike Boone and Byron Landham at a jazz
club named Blue Note.1

In 1988 he moved to Boston to study at the Berklee College of Music.

After two and a half years of studying he was persuaded to play to Gary Burton’s band
which he did between 1991-1992. At the same time, Kurt moved to New York and this
gave him a chance to work and record with Paul Motian’s Electric Bebop Band, and
also with the famous musicians in New York like Mark Tuner, Seamus Blake, Brian
Blade and Tim Hagans. During that time, he played at famous jazz clubs in the city,
especially Small’s jazz club, where he had chance to play music there regularly.2

1
John Kelman, Kurt Rosenwinkel: Latitude(June 20, 2005), All about jazz.com.
http://www.allaboutjazz.com/php/article.php?id=18028&pg=1.
2
Brandon Bernstein and Matthew Warnock, Kurt Rosenwinkel Trio East Coast Love Affair Guitar
Transciptions (Mel Bay Publication, 2009), 5.
Fac. of Grad. Studies, Mahidol Univ. M.A. (Music) / 19

In 1995 he won a Composers Award from National Endowment for the

Arts. Later in 1996, he made his first album debut under Fresh Sound New Talent a
Spanish recording company. The album’s name was “East Coast Love Affair”, in form
of Trio band. Most songs on the album were standard songs, there were only some
songs that were original composition. Next, in 1999 he made his album debut under
Criss Cross the Dutch jazz music records company. This album’s name was Intuit and
all songs in the album were standards. Kurt had his opportunity to sign a contract with
the famous jazz music records company Verve Records. In 2000, the debut of “The
Enemies of Energy”, his original composition styled album was made.This made him
being well known and acknowledged much more widely. From that time, under Verve
records company, he recorded three more albums; The Next Step (2001), Heartcore
(2003) and Deep Song (2005). After the termination of contract under Verve Records,
he produced the record of “The Remedy: Live at the Village Vanguard 2008” Live
Concert’s album under Wommusic, the recording company that he himself
established. Also, the latest album, “Kurt Rosenwinkel Standard Trio Reflection
2009”, a recording of standards with his trio setting.3

According to “Interview Between Kurt Rosenwinkel and Fred Jung” on

WKCR, the New York radio station on August 15th, 2008, Kurt has stated that he has
had many influences in his music.

He said that his playing was influenced by Jazz pianists like Keith Jarrett,
Bud Powell and Elmo Hope, by guitarists like Allan Holdsworth, Grant Green, Jim
Hall, George Van Epps, Kevin Eubanks, Pat Metheny and Bill Frisell, including rock
guitarists like Alex Lifeson and Jimmy Page. In addition to the pianists and guitarists
who are Kurt’s main influence, he was influenced also by woodwind instrumentalists
including saxophone players like Charlie Parker, Ornette Coleman, and John Coltrane.
During his education at Berklee, Kurt studied and transcribed John Coltrane’s solo, for
instance, in the songs of Satellite, Oleo and Airegin included Giant Steps.

3
Kurt Rosenwinkel, Kurt Rosenwinkel Compositions, (Mel Bay Publication, 2006), 79.
Pongsiri Kajornvaekin The Life And Music Of Kurt Rosenwinkel, Ben Monder And Gilad Hekselman / 20

Kurt also mentioned that he tried to mix the playing styles of Allan
Holdsworth, Grant Green, Keith Jarrett, Bud Powell and Elmo Hope to his playing
style. He especially combined Allan Holdsworth’s idea of single-note lines with Keith
Jarrett’s chordal approach ideas, and adjusted it to use as his style.4

By looking at his style, we can see that the mixing of the outstanding
characteristic of each music instrument was in Kurt Rosenwinkel’s playing style. For
example, the combination of harmonic and melodic playing and the characteristic
sound which can be achieved by guitar effects such as overdrive delay, including to
pattern of phrasing in improvising and saxophone styled legato line.

Nowadays, Kurt Rosenwinkel is highly esteemed in Jazz music world, and

he is seen as an heir to the guitar legends such asPat Metheny, John Scofield and Bill
Frisell.He plays with his band in many cities and countries throughout the world. Kurt
and his family live in Berlin, Germany, where he is a professor of jazz and
guitar/Ensemble direction at the Jazz Institute Berlin since the winter semester
2007/08.5

4.2 Gilad Hekselman Biography and Influence

Gilad Hekselman was born on February 3rd, 1983 in Israel. He started
playing and studying piano when he was 6 years old. Then he changed to playing the
guitar when he was 9 years old. When he was fifteen he began to study at the Thelma
Yellin School of Arts in Israel and graduated in the field of Jazz music when he was
18 years old. Later, in 2004, he got a scholarship from the America Israel Cultural
Foundation to have further study at The New School for Jazz and Contemporary music
in New York in 2005 while still studying at the New School he was awarded the first
prize from the Gibson Montreux International Guitar Competition. He has played in
some of the most famous Jazz clubs in New York such as Blue Note, The Jazz
Gallery, Smalls, 55 Bar, Dizzy's Club, Minton's Playhouse, and Fat Cat. He has
4
Fred Jung , “A Fireside Chat with Kurt Rosenwinkel”, Jazzweekly.com.
http://www.jazzweekly.com/interviews/rosenwinkel.htm
5
Jazztimes, Artists Kurt Rosenwinkel, Jazztimes.com
http://jazztimes.com/guides/artists/2538-kurt-rosenwinkel
Fac. of Grad. Studies, Mahidol Univ. M.A. (Music) / 21

played and recorded with artists such as Gretchen Parlato, Chris Potter, Reuben
Rogers, Ari Hoenig, Joe Martin, Jeff 'Tain' Watts, Jonathan Blake, Anat Cohen and
Avishai Cohen. He has participated in many Jazz Festivals including the Montreux
Jazz Festival, Duke Ellington Jazz Festival, San Francisco Jazz Festival and Tel Aviv
Jazz Festival.6

In 2006, Gilad made his album debut under Smalls Records called
“SplitLife” in a Trio with Joe Martin the base player and Ari Hoenig the drummer. His
second album was recorded by LateSet Records in 2009 and is called “Word
Unspoken”. This album is a Quartet recording with Joe Martin on Bass Marcus
Gilmore on Drums and Joel Frahm on Saxophone.Furthermore, he had recorded to
many famous musicians in New York, for instance, Ari Hoenig, in Bert’s
Playground’s album (Dreyfus Records) in year 2008, Anat cohen in Notes From The
West Village’s album (Anzic) in 2008.7

Gilad Hekselman’s guitar playing is mostly influenced not only by other

guitarists but wind instruments and piano. He is influenced by Mark Turner (part of a
new generation of saxophone players) and also by the young pianist Brad Mehldau.

In his rhythmic playing he has been affected by Ari Hoenig, a drum player
with whom Gilad himself had opportunity to study at New School. As already stated
he has also recorded albums with Ari Hoenig8.

From the literature review, it can be noticed that Gilad Hekselman’s playing
method has been heavily influenced by the piano particularly his harmonic playing. His
methods of voicing chord and comping were much influenced by piano, and he was
influenced on the matter of line solo by wind instruments such as the saxophone. When
these are mixed with the rhythmic concept in his improvisation it is clear that he is
among the most versatile and important young jazz guitarists working today.

6
Aicf.org, “Music Artist bio:Gilad Hekselman”, aicf.org.
http://www.aicf.org/artists/music/gilad-hekselman?l
7
Gilad Hekselman.com, “Biography”, giladhekselman.com
http://www.giladhekselman.com/html/about.php
8
The Jewish Week.com, “36 under 36 2009: Gilad Hekselman, 26”, thejewishweek.com.
http://www.thejewishweek.com/special_sections/36_under_36/36_under_36_2009_gilad_hekselman_26
Pongsiri Kajornvaekin The Life And Music Of Kurt Rosenwinkel, Ben Monder And Gilad Hekselman / 22

4.3 Ben Monder Biography and Influence

Ben Monder is a guitarist who has a unique voice and has unique
personality in guitar playing. He is particularly known as a sideman on many
recordings. Ben Monder was born in 1962 in New York City. He entered the world of
music by studying violin because his father loved to listen to classical music and
playing violin as his hobby. Soon afterwards Ben changed to playing guitar because he
preferred the instrument to playing the violin. Ben Monder graduated in the field of
music at Queens College and University of Miami. In 1984 he returned to New York
and began playing in R&B bands for parties and wedding ceremonies.Most of his Jazz
work was done on the side and at home since he was not yet a well-known jazz
musician. In 1986, he was invited by Jack McDuff, a Jazz organ player to join The
Heatin’ System band. So, he traveled with the band on a tour to many places around
the country. Also he had a chance to play his music in Vienna, Austria. During this
time he began performing more often and his techniques and methods were developed
in detail.9

In 1991 Ben recorded alongside the legendary bassist Marc Johnson on the
Right Brain Patrol album This made Ben famous and more widely well known.He had
his opportunity to work with many popular musicians including Paul Montian, Lee
Konitz, a saxophone player, Toots Theilemanns, David Liebman and Maria Schneider.
He has recorded as a side man to other musicians on more than 90 albums. He has
recorded four of his own albums, which are Flux (1995), Dust (1997) and Excavation
(2000). His latest album is named “Oceana” and was released in 2005 under
Sunnyside. Additionally as a jazz educator Ben has created many jazz clinics and
workshops in many countries around the world. During 2002 to 2005 he had taught
guitar playing at New England Conservatory as well.10

9
All About Jazz, “Ben Monder”, All About Jazz.com.
http://www.allaboutjazz.com/php/musician.php?id=9502
10
Ben Monder.com, ”Ben Moder Biography”, Ben Monder .com.
http://www.benmonder.com/bio.html
Fac. of Grad. Studies, Mahidol Univ. M.A. (Music) / 23

Like other guitarists in his generation Ben Monder has been influence
heavily by Rock music. According to an interview given to Phil DiPietro at
allaboutjazz.com January 2002.

His interest in jazz grew by listening to Jim Hall’s music.Ben Monder said
that in his childhood time, he loved to listen rock and roll music band as The Beatles,
included rock guitarists like Jimie Hendrix, Jeff Beck and Eric Clapton. He also listened
to many rock bands that played on the radio in the 70s. Furthermore, he himself listened
to Jazz guitarists like Jim Hall, who was a main influence in his playing, including to his
impression of learning with John Stowell, his first guitar teacher.11

According to interview between Ben Monder and Paul Olson sourced from
the website allaboutjazz.com February 6, 2006 it is clear that in addition to guitarists,
he was also influenced by musical instruments such as the Saxophone, and music from
the twentieth-century.

He said that John Coltrane, the saxophone player was one of his main
influences. For a period of time Ben said that he listened only to John Coltrane’s
albums, trying to transcribe them and play along. Other influences include Wayne
Shorter, a saxophone player and Egberto Gismonti, a Brazillian pianist, guitarist and
composer. Finally, 20th century contemporary composers have also been an influence.
He started by listening to Bela Bartok and later Elliott Carter, Gyorgy Ligeti and
Milton Babbitt.12

11
All About Jazz, “A Look into the World of Ben Monder”, All About Jazz.com.
http://www.allaboutjazz.com/iviews/bmonder.htm
12
All About Jazz, “ Ben Monder: Surprise from Cohesion”, All About Jazz.com.
http://www.allaboutjazz.com/php/article.php?id=20477
Pongsiri Kajornvaekin The Life And Music Of Kurt Rosenwinkel, Ben Monder And Gilad Hekselman / 24

4.4 Song and Solo Analysis

4.4.1 Ben Monder

Title of composition: I’ll be Seeing You Again

Solo by: Ben Monder

Leader or Sideman: Sideman

Composition by: Irving Kahal, Sammy Fain

Artist: Joshua Douglas Smith

Album: Unstuck In Time

Record Company: Steeplechase

Date of Released: October 26, 2004

Personnel: Joshua Douglas Smith (Tenor Saxophone), Ben Monder(Guitar), Ron

McClure(Bass), Billy Hart(Drums)

Arrangement: The song I’ll be Seeing You Again is a jazz standard song, having A B
type of song form, being in key Ebmajor. This version is from Unstuck in Time’s
album of Joshua Douglas Smith. This is a Quartet recording, with medium swing
rhythm, with the Melody was played by Saxophone (Head in) and using long 3 chorus
of Solo (00:44), followed by long 3 chorus of Guitar Solo (02:51). Afterwards, (04:57)
Saxophone played alternately with Drums, 8 bars for each (Trade8), more of 3chorus
and finally is Saxophone playing for Ending Melody (Head out), total song length is
8.02 minutes.

Solo Development
- Ben Monder’s solo development for this song uses mainly eight-tone in
the solo playing and the first chorus was started with using long eight-note line. Also
of interest is the use of a rhythmic displacement idea.
Fac. of Grad. Studies, Mahidol Univ. M.A. (Music) / 25

- Later, in the second chorus, there is more variety in note value. Triplets
are used to extend the sentence of eight-note lines, and also having more of
syncopation’s characteristics.
- Tension is created by having more syncopation in the second chorus
- The solo’s playing will be ended by eight-note line’s characteristic with
low voice note.

4.4.2 Gilad Hekselman

Title of composition: When Will The Blues Leave

Solo by: Gilad Hekselman

Leader or Sideman: Leader

Composition by: Ornette Coleman

Artist: Gilad Hekselman

Album: Split Life

Record Company: Smalls Record

Date of Released: September 12, 2006

Personnel: Gilad Hekselman(Guitar), Joe Martin(Bass), Ari Hoenig(Drums)

Arrangement: The song of “When Will The Blues Leave” is a Blues song form. In
one chorus, there are 12 bars, using Jazz Blues chord progression characteristics. This
version is brought from Split Life’s album of Gilad Hekselman, by having Trio form
of band performing, having Guitar, Bass, Drums of musical instruments were played
in “medium up swing” form of rhythm, started by guitar’s playing in Melody (00:01)
and in solo (00:26), followed by Bass solo (2.07). Afterward, the guitar and drum were
played alternately (Trade 12), finally Ending Melody was played by guitar. The total
length is 5.56 minute.
Pongsiri Kajornvaekin The Life And Music Of Kurt Rosenwinkel, Ben Monder And Gilad Hekselman / 26

Solo Development
- In the 1st and 2nd Chorus, the characteristic of short Motive was used,
giving the solo more space
- In the 3rd Chorus, interest is created by creative use of syncopation. The
son’s melody was used to develop the solo playing
- In the 4th chorus, longer Bebop line form of eight-note line is used.
- Using chords solo to create Dynamic and Tension in the 5th chorus, the
7th chorus and the 8th chorus.
- The blues scale is used to end the solo

4.4.3 Kurt Rosenwinkel

Title of composition: How Deep Is The Ocean

Solo by: Kurt Rosenwinkel

Leader or Sideman: Leader

Composition by: Irving Berlin

Artist: Kurt Rosenwinkel

Album: Intuit

Record Company: Criss Cross

Date of Released: February 12, 1999

Personnel: Kurt Rosenwinkel(Guitar), Joe Martin(Bass), Michael Kanan(Piano),

Tim Pleasant(Drums)

Arrangement: The song, How Deep Is The Ocean, is of jazz standard which has A B
song form with 32 Bars. It is separated into A 16 bars and B 16 bars and is in Key C
minor. This version originates from Kurt Rosenwinkel's album, Intuit. Its
characteristic is a blend of Quartet, comprising of Piano, Guitar, Bass, Drums and is
played on the rhythm of medium swing by having an Intro of 8 bars where the Bass is
played in pedal note D. The guitar is played in chord G7 altered and then in Melody
(00:11) followed by a Solo (00:52) 4 choruses in length. After that, there is a Piano
Fac. of Grad. Studies, Mahidol Univ. M.A. (Music) / 27

solo (03.29), 3 choruses in length, followed by a Bass solo (05.25), 2 choruses in

length, and then Guitar and Piano alternatively playing with Drums at 8 bars per time
(Trade8), another 2 choruses and finally there is the guitar played in Melody. The total
length of the song is 9.5 minutes.

Solo Development
- The 1st chorus begins with the characteristic of a eight note line.
However, there is appropriate exception, space, where the sound level isn't so high.
- The 2nd chorus has the characteristic of more syncopation than previous
with the playing of the chord in order to build interest in the solo. In addition, there is
still the characteristic in a long scale pattern using varied note values, such as eight-
note triplet and sixteen-note developing diverse rhythmic ideas.
- From the end of the 2nd chorus until the beginning of the 3rd chorus,
notes are played at a high sound level to reach a peak in the solo. Notes played at a
high sound level are used again in the middle and end of the 3rd chorus and between
the chorus which uses an interesting long scale pattern in regards to rhythmic idea.
- In the 4th chorus, Kurt Rosenwinkel leads with a solo blending interval
to build an intriguing harmony used with a harmonious single note line, ending in a
solo. The quote melody of the song blends with the bebop line idea.
Pongsiri Kajornvaekin The Life And Music Of Kurt Rosenwinkel, Ben Monder And Gilad Hekselman / 28

4.5 Improvisation Analysis of Three Guitarist

The researcher has analyzed from the improvisation of all three guitarists
and attempts to distinguish the idea connected to them, and the idea where the playing
form is different, and so to see the overall picture. Moreover, the researcher
distinguishes what is often found in the playing of the modern jazz guitarist by
separation into different titles. The research found as follows:

4.5.1 Harmonic Device

4.5.2 Melodic Device
4.5.3 Rhythmic Device
4.5.4 Tone Color

4.5.1 Harmonic Device

Tritone substitution

There is usage of chord dominant to become augmented 4th interval

instead of chord dominant as previous (Tritone substitution). For example, chord G7
which can be used as chord Db7. In regards to Db7, there is a note which is important
to chord G7 comprising of notes F andB(Cb).

In addition, jazz guitarists popularly use Tritone substitution in the

character of II-V, such as Dm7-G7 changing to Abm7-Db7 instead.

Also, the type of chords can be changed instead

Fac. of Grad. Studies, Mahidol Univ. M.A. (Music) / 29

Or

Tritone substitution is the common idea of the three guitarists used but in a
different method. The characteristic of Ben Monder which is used begins with
thinking in a long Bb7 (see details as titled, Long chord substitution), using Emaj7
instead of chord Bb7 and E lydian scale played in bar 6-8.

In bar 48, Arrpegio is used in Elydian scale played on chord Fm7-Bb7

In bar 31-32, E Lydian is used alongside with D# pentatonic minor where

E Lydian is used on chord Bb7

Gilad Hekselman has a method of using Tritone substitution in a different

form; such as in bar 8-10 where Ab triad is used instead of chord D7 and Gb triad
instead of chord C7.
Pongsiri Kajornvaekin The Life And Music Of Kurt Rosenwinkel, Ben Monder And Gilad Hekselman / 30

In addition, in bar 60, Gilad Hekselman uses Db triad on Gm7 chord

(thought as G7) to lead to C7 chord.

There is usage of Ebm7-Ab7 on Am7- D7 by the characteristic of Eb

minor pentatonic scale in bar 19-20

Used Dbm7-Gb7 played as substitution on Gm7-C7 in bar 21-22

Also, the characteristic of the Pentatonic scale by using B major

pentatonic, so thinking from chord B7 being played on chord F7 in bar 14-15.

Kurt Rosenwinkel occasionally uses tritone substitution by using the

characteristic of triad as in the usage of Db triad on G7 in bar 2.

Played E triad on Bb7 in bar 8

Fac. of Grad. Studies, Mahidol Univ. M.A. (Music) / 31

Long Chord Substitution Idea

The guitar solos of Ben Monder and Gilad Hekselman when playing in the
trio form have no other chordal instruments to assist playing the chord. Therefore,
allowing Ben Monder and Gilad Hekselman the opportunity of more freedom in
thinking of harmony or chord substitution in solo. The idea of Monder and Hekselman
often used is in the usage of chord dominant 7 on varied chord progressions; such as in
Monder's solo in Bar 21-22 using Bb7 altered on chord progression as IIm7-V7 with
use of the method, chromatic, entering altered note of Bb7 as in #11, b9, b13.

The usage of the idea of chord Bb7#11 on chord progression as I-VI-II-V

by emphasizing note #11 of Bb7 in bar 14-16.

The usage of the idea of chord F7 on chord progression Fm7 – Dm7b5-

G7- Cm7- F7

The playing of Gilad Hekselman also uses long chord substitution idea in
bar 49-52. This is thought as the characteristic of chord F7 by using F as pedal note,
and by changing varied tensions as in b9,#11,b13,#9 in order to find chord Bb7.
Pongsiri Kajornvaekin The Life And Music Of Kurt Rosenwinkel, Ben Monder And Gilad Hekselman / 32

In bar 73-76, it is thought as F7 blended with varied tension in order to

lead to Bb7 chord.

However, Kurt Rosenwinkel has piano playing as accompaniment in

between his solo, but he also has a different method thinking in long chord idea; such
as in bar 25-28 and the use of scale F natural minor bar 25 in order to lead to Fm7
chord in bar 27.

In bar 81-82, Rosenwinkel uses triad build from C melodic minor scale
and played long on chord Im-IIm7b5-V7.

There usage of triad and arrpegio developed from C melodic minor scale
and played on chord Im-IIm7b5-V7.

4.5.2 Melodic Device

The excellent characteristics of the three guitarists and new generation of
jazz guitarists are their interesting development of melodic line through melodic
device; such as in the characteristic of Interval as 4th, 5th or of triad and arrpegio
including pentatonic scale, etc.
Fac. of Grad. Studies, Mahidol Univ. M.A. (Music) / 33

Intervalic
The characteristic of the Intervalic Idea is building a line from varied
intervals in scales which may be one interval. For example, the line which is built
from the 4th interval.

or a melodic line which is built from one group interval, as in groups 4th, 2nd and 3rd
intervals.

We find, therefore, that the playing of Ben Monder Gilad Hekselman, as in

the solos of Ben Monder in bar 44-45 by building a Melodic line with the use of 4th,
2nd and 3rd Intervals blended together.

In bar 75-76 melodic line created from 4th, 2nd and 3rd Interval

In bar 79 Ben Monder used 2nd and 4th interval to created interested
melodic line.
Pongsiri Kajornvaekin The Life And Music Of Kurt Rosenwinkel, Ben Monder And Gilad Hekselman / 34

At the time of Hekselman's play, there is use of Melodic Device as

Interval; such as in bar 38-39 using 4th, 3rd and 2nd intervals to created melodic line.

bar 61-62 created melodic line from 3rd, 2nd and 4th interval

used 5th, 4th and 2nd interval to created interested melodic line in bar 63-64

Triad and Arrpegio

Another type of melodic device found in Ben Monder and Gilad
Hekselman playing and in particular Kurt Rosenwinkel's is the build up of a melodic
line from triad and arrpegio that is from varied scales and modes; such as in the
beginning of Kurt Rosenwinkel's solos in bar 1-2 which leads to arrpegio in C natural
minor scale mixed with Db triad developed into a melodic line.

In bar 6-8, he uses triad built from C natural minor scale (bar 6-7) mixed
with triad that is from Bb altered scale (bar 8).
Fac. of Grad. Studies, Mahidol Univ. M.A. (Music) / 35

There is usage of G triad that is from C harmonic minor scale in building a

melodic line in bar 17.

and in bar 60 a melodic line from Abm triad, Bbm triad and Cb augmented triad which
come from Ab melodic minor scale.

This leads to the use of triad and arrpegio built from B Lydian dominant
scale and used in bar 77-78.

In bar 81-82, Kurt Rosenwinkel uses triad built from C melodic minor
scale and played as an interesting pattern.

A similar idea previous to this was using just triad blended with arrpegio
from C melodic minor scale in bar 97-98.
Pongsiri Kajornvaekin The Life And Music Of Kurt Rosenwinkel, Ben Monder And Gilad Hekselman / 36

Besides only Rosenwinkel, it was also found that Hekselman used Melodic
Device as Triad and Arrpegio in bar7-10 leading to triad from varied scales to build an
interesting melodic line.

In bar 43 and 45, Arrpegio is used to assist the building of a more

intriguing melodic line.

This leads to triad from F major scale and Db major scale mixed together
to build a Melodic line in bar 59-60

In bar 63-64, F7b5 arrpegio is used to build an interesting melodic line

Included in Ben Monder's playing there is also the use of triad found in bar
22-23. This leads to G minor traid connected to F major triad in building a
melodic line.
Fac. of Grad. Studies, Mahidol Univ. M.A. (Music) / 37

In bar 33-34, there is a melodic device as triad being used as in F major

triad to build an interesting melodic line.

Pentatonic
In Gilad Hekselman and Ben Monder's play, it was found that there is the
use of a pentatonic scale to build a melodic line. For example, in Ben Monder's solos
in bar 32 leading to Eb a minor pentatonic being used.

Used C minor pentatonic scale  E major pentatonic scale in bar 44-46

In bar75, Monder uses C minor pentatonic to blend with the characteristic

of Interval to make an intriguing melodic line.

In Gilad Hekselman's play, there is a melodic device as pentatonic also

used in bar 15 and Ab minor pentatonic to build a melodic line.
Pongsiri Kajornvaekin The Life And Music Of Kurt Rosenwinkel, Ben Monder And Gilad Hekselman / 38

In bar18, a melodic line is built by using F minor pentatonic

and Eb minor pentatonic in bar 19-20 extending the melodic line in bar18.

Bebop Line
One thing often found in Kurt Rosenwinkel and Gilad Hekselman's play is
the use of a line which has a Bebop characteristic in the idea

Gilad Hekselman

Bar 31-35

Bar 42-46

Bar 56-60

Bar 80-82
Fac. of Grad. Studies, Mahidol Univ. M.A. (Music) / 39

Kurt Rosenwinkel

Bar 57-58

Bar 94-95

Bar 127-128

Ben Monder

Bar 90-91

4.5.3 Rhythmic device

Ryhthmic displacement
The interesting use of the three guitarist's rhythmic developed from
rhythmic or main motive Also, to use the method of moving at the beginning of
rhythmic or motive (rhythmic displacement)

It was found that the playing of Ben Monder’s in bar14-19 used rhythmic
displacement mixed with develop motive, as in motive fragmentation and motive
extension.
Pongsiri Kajornvaekin The Life And Music Of Kurt Rosenwinkel, Ben Monder And Gilad Hekselman / 40

In bar 57-59, he uses rhythmic displacement mixed with motive variation.

From Gilad Hekselman’s solo bar 6-10. He uses rhythmic displacement

and motive extension idea.

bar 48-52 Gilad Hekselman uses rhythmic displacement and motive fragmentation

Also, in bar 72-76, he uses the rhythmic displacement idea blended with
motive extension moving the main rhythmic motive.

It was also found that Rosenwinkel's play in bar 28-32 used rhythmic
displacement and motive extension to extend main rhythmic.
Fac. of Grad. Studies, Mahidol Univ. M.A. (Music) / 41

Rhythmic variation by note value

Moreover, there is another type of rhythmic idea which the three men use
to build variety. Improvisation is rhythmic variation by note value, as in beginning
main rhythmic motive with the characteristic of eight-note and bringing rhythmic
motive changing to quarter-note triple or eight-note triplet.

Therefore, it was found that in the playing of Ben Monder's in bar 49-55 that
changed the note value of the main rhythmic motive from eight-note to quarter-note triplet.

Moreover, in the playing of Gilad Hekselman's, also, there is frequent use

of the melody from the song When Will The Blues Leave in the solos by using idea
rhythmic variation by note value in bars 11-12.

and bar 24-29

Pongsiri Kajornvaekin The Life And Music Of Kurt Rosenwinkel, Ben Monder And Gilad Hekselman / 42

In Kurt Rosenwinkel’s play in bar 28-30, there is a mix of rhythmic

variation by note value rhythmic displacement idea in improvisation.

4.5.4 Tone Color

Another thing which the three guitarist commonly use to build tension in
the solos is to use chords to develop interest. This is regardless to whether it be in the
characteristic chord comprised of notes to become the 4th interval or the characteristic
of triad including that of interval. It was found that in the playing of Monder’s in bar
58-59 the characteristic of quartal harmony or 4th chord was brought in to be used

In bar 65-70 there is the characteristic of chord solo by using quartal

th
harmony (4 chord)

As for Gilad Hekselman, he uses the method of building tone color by

using different chords as in long chord F7 and pedal note F in high pitch. This is done
by using varied tensions as b9,#11,b13,#9 to find chord Bb7.
Fac. of Grad. Studies, Mahidol Univ. M.A. (Music) / 43

However, in the playing of bar 73-76 there is the use of interval for tension
of chord F7 altered to build interest in the solos.

Chords as in quartal harmony (4th chord) are also brought in to be used in

bar 85-86.

In Rosenwinkel's play, it was found that there is the common use of chord
as triad in building tone color. Also, in bar 54-55, the playing is in the characteristic of
syncopation.

It was found that there is use of quartal harmony (4th chord), interval and
triad mixed together in bar 106-109.
Pongsiri Kajornvaekin The New Exercises / 44

CHAPTER V
THE NEW EXERCISES

From the transcribed and researched improvisation of Ben Monder, Gilad

Hekselman and Kurt Rosenwinkel, many interesting musical aspects became evident
to the researcher. They are aspects that ought to be brought to practice in order to
develop the style of playing a form of modern jazz guitar. A study and analysis of their
playing is the main focus of this research.
Therefore, the researcher has built practice exercises originating from
improvisation devices and improvisation ideas derived from the research into the line
solos of the three guitarists. This has been completed by separation into the following
titles:

5.1 Jazz line from the three guitarist

5.2 Harmonic device exercises
5.3 Melodic device exercises
5.4 Rhythmic device exercises
5.5 Tone color (quartal harmony) exercises

The student ought to know fundamental jazz playing - including basic jazz
theory – before attempting these exercises in order to simplify their practice and
understanding.

5.1 Jazz line from the three guitarist

There are many practice methods for learning jazz. The first of which, a
popular one, is bringing in a group of melodic lines from modifying chord
progression, or as it is often called, 'jazz line'. Other names include: lick, pattern and
formula etc... The practice of jazz line is the same as learning vocabulary where the
Fac. of Grad. Studies, Mahidol Univ. M.A. (Music) / 45

student is able to understand and hear the language of jazz more quickly. However, the
aim of practicing the jazz line is not only learning to imitate or copy and paste, but
also to be able to listen to the melodic line and the characteristic of the shape of the
notes. This includes the rhythmic idea from the jazz line that is brought into the
practice in order to develop the type of personal play by jazz line. This is brought into
the practice modifying in the transcribed solos of the three guitarists, therefore making
the learning simpler.
In regards to the method of practicing the jazz line, it should first
commence with slow tempo. The practice should also be played on appropriate chord
progression up to, and including, all 12 keys. The key may be changed in the
characteristic of cycles of fourth, whole step or the random key. From that the student
should play every tempo, from slow to fast. The practice of jazz line should include
rhythms both through swing feel and straight eight feel.

5.1.1 Ben Monder jazz line

Ex. 1: Jazz line 1 can be brought in for chord progression such as II-V-I or V-I in key
Eb major

Ex. 2: Jazz line 2 can use in II-V-I chord progression in key Eb major

Ex. 3: Jazz line 3 can use with II-V-I in key F minor

Also, modify it to use with II-V-I in key F major

Pongsiri Kajornvaekin The New Exercises / 46

Ex. 4: Jazz line 4 can use with chord progression II-V-I minor in key C minor

Ex. 5: Jazz line 5 with chord progression II-V-I key Eb major

Ex. 6: Jazz line 6 for chord progression II-V-I key Eb major

Ex. 7: Jazz line 7 for chord progression I-VI-II-V key Eb major

Ex. 8: Jazz line 8 for chord progression II-V-I key C minor

5.1.2 Gilad Hekselman Jazz line

Ex. 1: Jazz line 1 for chord progression II-V-I key Fmajor

Fac. of Grad. Studies, Mahidol Univ. M.A. (Music) / 47

Ex. 2: Jazz line 2 for chord progression V-I key Bmajor

Ex. 3: Jazz line 3 for chord progression II-V-I key Fmajor

Ex. 4: Jazz line 4 for chord progression II-V-I key G minor

Ex. 5: Jazz line 5 for chord progression II-V-I7 key F major

Ex. 6: Jazz line 6 for chord progression II-V-I key F major

Ex. 7: Jazz line 7 for F7#11 chord

Ex. 8: Jazz line 8 for chord progression I-VI-II-V key F major

Ex. 9: Jazz line 9 for chord progression II-V-I key F major

Pongsiri Kajornvaekin The New Exercises / 48

5.1.3 Kurt Rosenwinkel Jazz line

Ex. 1: Jazz line 1 for chord progression I-V-I key C minor

Ex. 2: Jazz line 2 for chord progression V-I key Eb major

Ex. 3: Jazz line 3 for chord progression II- V-I key C minor

Ex. 4: Jazz line 4 for chord progression II- V-I key C minor

Ex. 5: Jazz line 5 for B7 chord

Ex. 6: Jazz line 6 for chord progression I-V-I key C minor

Ex. 7: Jazz line 7 for chord progression II- V-I key Eb major
Fac. of Grad. Studies, Mahidol Univ. M.A. (Music) / 49

Ex. 8: Jazz line 8 for Cm chord

Ex. 9: Jazz line 9 for chord progression II- V-I key C minor

5.2 Harmonic Device Exercises: Tritone substitution

From the research into the solos of the three guitarists, it was found that
one harmonic idea that the guitarists commonly use is tritone substitution. In this
technique jazz musicians usually have their own individual form of method. During
the first practice they use a harmonic device. The idea of Ben Monder is to think in the
characteristics of a major7 chord which comes from tritone substitution instead of on
the dominant chord. Then, play in the form of the Lydian scale, such as:

Exercise 1:
This exercise focuses on harmony by practicing scales using the Lydian
scale in a chord tritone substitution. There should also be ongoing practice of the
characteristics of the scales (look for the nearest when changing each scale).
Pongsiri Kajornvaekin The New Exercises / 50

This exercise can be repeated in the following method by using the

metronome and in slow tempo for the best results:
Fac. of Grad. Studies, Mahidol Univ. M.A. (Music) / 51

Exercise 2:
The second exercise is an extension of the first but with ongoing practice
of the characteristics established in the first exercise and with the use of the quarter
note. It is important to look for the nearest fingering when changing the arpeggio.

Use chord progression simultaneously in the ongoing practice of the

characteristics of eight-note arpeggio.

Practice chord progression II-V-I changing keys in characteristics of cycle of

4th with metronome in slow tempo in order to achieve good fundamental understanding:
Pongsiri Kajornvaekin The New Exercises / 52

The student can also practice scales and arpeggios mixed together: such as
II-V-I key C progression using D Dorian- Abmaj7 arpeggio- C major scale or Dm7
arpeggio- A-flat Lydian- Cmaj7 arpeggio.

Gilad Hekselman also uses Tritone substitution in the form of chord II-V
using Abm7-Db7 instead of Dm7-G7 in order to reach chord Cmaj7. For example:

Substitute by

Exercises 3:
Ongoing practice of arpeggio and scales on chord progressions that are
given after practicing improvisation on chord progression simultaneously.
Fac. of Grad. Studies, Mahidol Univ. M.A. (Music) / 53

In addition, Gilad Hekselman and Kurt Rosenwinkel use triads in playing

tritone substitution.

Or they raise interest by thinking of tritone substitution using Ab triad in

order to reach G7.
Pongsiri Kajornvaekin The New Exercises / 54

Exercise 4:
Practice in the form of scale and triad order that is given. After that,
practice improvisation in scale and triad order simultaneously.
Fac. of Grad. Studies, Mahidol Univ. M.A. (Music) / 55

5.3 Melodic devices

Interval
In practicing the build up of melodic line from interval at basic level for
guitarists, practice ought first to be completed down the scale in every interval. This
should be done first in order to remember the sound and characteristic of each interval.
Next, practice by selecting an interesting group of interval to practice on the scale

Exercise 1.1: Practice group of 4th and 2nd , 3rd interval in C major scale by practicing
both ascending and descending. This exercise should be repeated in all
the twelve keys.
Pongsiri Kajornvaekin The New Exercises / 56

Exercise 1.2: Practice group of 4th and 2nd, 3rd interval in C melodic minor scale by
practicing both ascending and descending. Then, change key and next
all the 12 keys.

Exercise 2.1: Practice group of 2nd and 5th, 2nd interval in C major scale by practicing
both ascending and descending. Then, change key and next all the 12 keys.

Exercise 2.2: Practice group of 2nd and 5th, 2nd interval in C melodic minor scale by
practicing both ascending and descending. Then, change key and next
all the 12 keys.

Exercise 3.1: Practice group of 6th and 2nd, 3rd interval in C major scale by practicing
both ascending and descending. Then, change key and next all the 12
keys.
Fac. of Grad. Studies, Mahidol Univ. M.A. (Music) / 57

Exercise 3.2: Practice group of 6th and 2nd, 3rd interval in C melodic minor scale by
practicing both ascending and descending. Then, change key and next
all the 12 keys.

Exercise 4.1: Practice group of 5th and 4th, 2nd interval in C major scale by practicing both
ascending and descending. Then, change key and next all the 12 keys.

Exercise 4.2: Practice group of 5th and 4th, 2nd interval in C melodic minor scale by
practicing both ascending and descending. Then, change key and next
all the 12 keys.

Exercise 5.1: Practice building melodic line from interval as chord progression as
II-V-I key C major and bring change to key and all the 12 keys.

Exercise 5.2: Practice building melodic line from interval as chord progression as
II-V-I key C major and bring change to key and all the 12 keys.
Pongsiri Kajornvaekin The New Exercises / 58

Triad and Arpeggio

One more melodic device found common in the playing of jazz guitarists
is the use of triad and arpeggio, in the characteristic chord progression or characteristic
thinking in substitution on varied chord progression. Basic practice should be started
with triad and arpeggio that is from major scale with all keys. After, practice in
melodic minor with all keys.

Exercise 1.1: Bring in triad to be played on chord progression as II-V-I by

characteristic ongoing practice of triad. Also use triad to build from
scale as D Dorian- G altered (A flat melodic minor) – C major scale.
Next, practice all keys.

Exercise 1.2:

Exercise 2.1: Bring in arpeggio to be played on chord progression as II-V-I by

characteristic ongoing practice of triad. Also use arpeggio to build from
scale as D Dorian- G altered (A flat melodic minor) – C major scale.
Next, practice all keys.
Fac. of Grad. Studies, Mahidol Univ. M.A. (Music) / 59

Exercise 2.2:

Pentatonic scales

Exercise 1.1: Bring in pentatonic major or pentatonic minor (according to the student
preference) to be practiced repeatedly in the characteristic of scale,
change key as whole step and change key every 1 bar by limiting the
beats as quarter-note. This is done by trying to change the nearest notes
when changing keys.

Exercise 1.2: Change the notes value to eight-note and practice both characteristics
simultaneously.

Exercise 1.3: Practice in the form of scale order that is given and practice the note
value as quarter-note and eight-note.

Exercise 1.4: Repeatedly practice the scale in scale order that is given. Change the
key in the cycle of 4th and practice the note value as quarter-note and
eight-note.
Pongsiri Kajornvaekin The New Exercises / 60

In addition the student can bring in practice of other characteristics of

changing keys, like the cycle of 5th or minor 3rd.

5.4 Rhythmic Devices

Rhythmic displacement

Exercise 1.1: Play melody song Blue Monk in original form and use the metronome
in 4/4 time while accenting the first beat.

Exercise 1.2: Play melody song Blue Monk by using rhythmic displacement start on
beat 2 in random bars use the metronome in 4/4 time while accenting
the first beat.
Fac. of Grad. Studies, Mahidol Univ. M.A. (Music) / 61

Exercise 1.3: Play melody song Blue Monk by using rhythmic displacement start on
beat 3 in random bars and use the metronome in 4/4 time while
accenting the first beat..

Exercise 1.3: Play melody song Blue Monk by using rhythmic displacement skipping
1 beat every bar and use the metronome in 4/4 time while accenting the
first beat..
Pongsiri Kajornvaekin The New Exercises / 62

Exercise 1.4: Play melody song Blue Monk by using rhythmic displacement skipping
2 beat every bar and use the metronome in 4/4 time while accenting the
first beat..

5.5 Tone color

Quartal harmony (three notes voicing)

Exercise 1.1: Practice 4th chord (three notes voicing) that is built from C major scale
by playing the note value as half-note and opening metronome click
that beats 2 and 4.

Exercise 1.2: Practice 4th chord (three notes voicing) that is built from C major scale
by playing the note value as half-note and opening metronome click
that beats 2 and 4.

Exercise 1.3: Practice 4th chord (three notes voicing) that is built from C major scale
by playing the note value as half-note and opening metronome click
that beats 2 and 4.
Fac. of Grad. Studies, Mahidol Univ. M.A. (Music) / 63

Practice other modes in major scale and transpose 12 keys, and raise the
note value to quarter-note and eight-note in order.

Exercise 1.4: Practice 4th chord (three notes voicing) that is built from C melodic
minor scale by playing the note value as half-note and opening
metronome click that beats 2 and 4.

Exercise 1.5: Practice 4th chord (three notes voicing) that is built from C melodic
minor scale by playing the note value as half-note and opening
metronome click that beats 2 and 4.

Exercise 1.6: Practice 4th chord (three notes voicing) that is built from C melodic
minor scale by playing the note value as half-note and opening
metronome click that beats 2 and 4.

Practice other modes in melodic minor scale and transpose 12 keys, and raise the note
value to quarter-note and eight-note in order.

Quartal harmony (four notes voicing)

Exercise 2.1: Practice 4th chord (four notes voicing) that is built from C major scale
by playing the note value as half-note and opening metronome click
that beats 2 and 4.
Pongsiri Kajornvaekin The New Exercises / 64

Exercise 2.2: Practice 4th chord (four notes voicing) that is built from C major scale
by playing the note value as half-note and opening metronome click
that beats 2 and 4.

Exercise 2.3: Practice 4th chord (four notes voicing) that is built from C major scale
by playing the note value as half-note and opening metronome click
that beats 2 and 4.

Practice other modes in Major scale and transpose 12 keys, and raise the
note value to quarter-note and eight-note in order.

Exercise 2.4: Practice 4th chord (four notes voicing) that is built from C melodic
minor scale by playing the note value as half-note and opening
metronome click that beats 2 and 4.

Exercise 2.5: Practice 4th chord (four notes voicing) that is built from C melodic
minor scale by playing the note value as half-note and opening
metronome click that beats 2 and 4.

Exercise 2.6: Practice 4th chord (four notes voicing) that is built from C melodic
minor scale by playing the note value as half-note and opening
metronome click that beats 2 and 4.

Practice other modes in melodic minor scale and transpose 12 keys, and
raise the note value to quarter-note and eight-note in order.
Fac. of Grad. Studies, Mahidol Univ. M.A. (Music) / 65

CHAPTER VI
CONCLUSION - RESULTS OF THE STUDY AND
IDEAS FOR FURTHER RESEARCH

The research of Kurt Rosenwinkel, Ben Monder and Gilad Hekselman’s

improvisation to create the practice can be summarized as follows:

- Summarize the musical influences of Kurt Rosenwinkel, Ben Monder

and Gilad Hekselman
- The implementation of improvisation by Kurt Rosenwinkel, Ben
Monder and Gilad Hekselman to new exercises
- Suggestions

6.1 Summarize the music influences of Kurt Rosenwinkel, Ben Monder

and Gilad Hekselman
The analysis of the songs played ny the three guitarists that were a part of
this project revealed that they are heavily influenced by instruments other than the
guitar. For example, Kurt Rosenwinke tries to bring the outstanding characteristic in
playing method of musical instrument like piano and saxophone and mix them with
guitar playing. Doing this he has the pianist, like Keith Jarrett and the saxophone
player, like John Coltrane as a major influence in his playing. Ben Monder was also
influenced by saxophone players like John Coltrane, Wayane Shorter, and twentieth-
century music. Besides being influenced by other guitarists Gilad Hekselman is also
influenced in his playing by pianists, saxophone players and drummers such as Brad
Mehldau (piano), Mark Turner (saxophone) and Ari Hoenig (drums).
Pongsiri Kajornvaekin Conclusion - Results of the Study and Ideas for Further Research / 66

6.2 The integrate the improvisation of these three guitarist to new

exercises
This study found that the improvisations of Monder, Hekselman and
Rosenwinkel can be applied to create new excercises for the study of the jazz guitar.
The first topic analyzed was the harmonic device of tritone substitution and long chord
substitution, which each of them uses in various patterns and in a personal way. The
second topic analyzed the melodic methods of playing and found that all three
guitarists use triad, arpeggio and bebop line ideas in playing solos. In addition the
study also found the use of intervallic and pentatonic modes in playing of Ben Monder
and Gilad Hekselman. The third topic was the use rhythmic devices and found that all
three guitarists used rhythmic displacement and rhythmic variation by note value that
are interesting. The final topic is tone color and discovered that all three musicians
used quartal harmony (4th chord), triads and intervals to create various tone color.
To create the exercise, the idea from transcription and analyzing in playing
of all three guitarists was brought. That idea was put forth to apply and adjust new
exercises that connected to the topics analyzed but that were also divided from
analysis in order to make them easy to understand.

6.3 Suggestions
In this research, the writer has analyzed and created exercises in order to
understand the improvisation ideas of three leading jazz guitarists. This is just one
method in many methods that could be applied to understand and study the playing of
these three guitarists. The researcher has made a suggestion for students interested in
these three guitarists’ playing: It is possible and necessary to study the songs and
improvisations of all three guitarists and make connections about the musical ideas
that all three musicians have in common. This goal can be accomplished through the
main idea of this study which is the implementation of skill through the use of
exercises that show clearly that the commonalities between guitarists are important to
master and understand. This research and exercise practice was only experimented on
the researcher himself and not on other students. For anyone interested in developing
the ideas in this research can also apply them to their playing.
Fac. of Grad. Studies, Mahidol Univ. M.A. (Music) / 67

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com/html/about.php (accessed November 1, 2010)
Jazztimes, Artists Kurt Rosenwinkel, Jazztimes.com http://jazztimes.com/guides/
artists/2538-kurt-rosenwinkel (accessed November 5, 2010)
Fac. of Grad. Studies, Mahidol Univ. M.A. (Music) / 69

APPENDIX
Pongsiri Kajornvaekin Appendix / 70

Solo transcription of:

• I’ll Be Seeing You by Ben Monder

• When Will The Blues Leave by Gilad Hekselman

• How Deep Is The Ocean by Kurt Rosenwinkel

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Fac. of Grad. Studies, Mahidol Univ. M.A. (Music) / 81

BIOGRAPHY

NAME Pongsiri Kajornvaekin

DATE OF BIRTH 27 February 1980

PLACE OF BIRTH Chiang Mai, Thailand

INSTITUTION ATTENDED College of Music Mahidol University,

1999 - 2002
Bachelor of Arts (Music)

HOME ADDRESS 8, Tambol Haiya, Amphur Muang

Chiang Mai, Thailand, 5000