Pat Metheny Songbook: Lead Sheets (Guitar Book)

448 Pages·2000·3.4 MB·English

by  Pat Metheny

THE COMPLETE COLL ECTION - 167 COMPOSITIONS
Music by Pat Metheny, Pal Metheny and Lyle Mays, and other collabo rations
from his entire discography.
HAL-LEONARD'
C OR PO RATI O N
For all works conlaioad herein:
COIl'Iing.
Unauthorized arranging, adapting. recording or public perbrmance is an infringement 01 copyright
Inlringers are liable under '1'1& law
Visit Hal 190nard Online al
www.hIIlleonard.eom
www.patmethe n'lIn)up·<:orn

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Pat Metheny is quite simply one of the
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most irnportanl voices in the history of
Jazz. I lis unique approach to the guit,lr
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and his writing skills have
incn~dible
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produced a significant body or work that
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places him arnong the major musical
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figures of our lime. II's hard 10 think
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of many arLists, Jazz otherwise,
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who have had the longevity, the
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creative prowess, the
continued
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person']l character, and the drive to
push the boundaries of music forward
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so successfully.
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Metheny is a true pionepr, researcher,
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dnd musical visionary whose relentless
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Sf.''-Hch for creative challenge has been
,
,
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and continues to be a hallmark of his
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career. [hi., book spans 25 years of his
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music-music that will cerlainly be
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valued for its innovation, (rcshm-''-,s, and
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beauty for generations to corne.
·The hlilors
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ensembles, electric and acoustic instruments, and
at Metheny was born in Kansas City on
large orchestras, with settings ranging from
August 12, 1954. Raised in a musical family,
modern jazz to rock to classical to ballet.
Metheny began playing trumpet at the age
of 8, then switched to guitar at age 12. By the age
As well as being an accomplished musician,
of 15, he was working regularly with the best jazz
Metheny has also participated in the academic
musicians in Kansas City, receiving valuable on
arena as a music educator. At 18, he was the
the-bandstand experience at an unusually young
youngest teacher ever at the University of Miami.
age. In 1974, Metheny burst onto the international
At 19, he became the youngest teacher ever at the
jazz scene. O ver the
Berklee College of Music. where he also received
course of his three-year
an honorary doctorate some twenty years later
stint with vibraphone
(1996). Metheny has taught music workshops all
great Gary Burton, the
over the world, from the Dutch Royal
young Missouri native
Conservatory, to the Thelonius Monk Institute of
already displayed his
Jazz, to cl inics in Asia and South America. He has
soo n - to - become
also been a true musical pioneer in the realm of
trademarked playing
electronic music, being one of the very first jazz
style, which blended
musicians to treat the synthesizer as a serious
the loose and flexible
musical instrument. Years before the invention of
articulation custom
MIDI technology, Metheny was using the
arily reserved for horn
Synclavier as a composing tool. He has likewise
players w ith an ad
been instrumental in the development of several
vanced rhythmic and harmonic sensibil ity- a
new kinds of guitars such as the soprano acoustic
way of playing and improvising that was modern
guitar, the 42-string Pikasso guitar, Ibanez's PM-
in conception but grounded deeply in the jazz
100 jazz gu itar, and a variety of other
tradition of melody, swing, and the blues. With
custom instruments.
the release of his first album, Bright Size Life
It is one thing to attain popularity as a musician,
(1976), he reinvented the traditional Njazz guitar"
but it is another to receive the kind of acclaim
sound for a new generation of players.
Metheny has garnered from critics and peers.
Throughout his career, Pat Metheny has
Over the years, Metheny has won countless
continued to redefine the genre by utilizing
polls as "Best Jazz Gu itarist"_ and innumerable
new technology and constantly working to
awards, including three gold records for (Still Life)
evolve the improvisational and sonic potential of
Talking, Letter from Home, and Secret Story. He
his instrument.
has also won twelve Grammy Awards, including
Metheny's versatility is almost nearly without peer
an unprecedented seven consecutive wins for
among instrumentalists. Over the years, he has
seven consecutive albums. Metheny has spent
performed with artists as diverse as Steve Reich,
most of his life on tour, averaging 120-240 shows
Qrncl1e Coleman, Herbie Hancock, )oni Mitchell,
a year since 1974. At the lime of this writing, he
Milton Nascimento, and David Bowie. He has
continues to be one of the brightest stars of the
been part of a writing team with keyboardist Lyle
jazz community, dedicating lime to both his own
Mays for more than twenty years-an association
projects and those of emerging artists and
that has been compared to the Lennon/McCartney
established veterans alike, helping them to reach
,
and Ellington/Strayhorn partnerships by critics
their audience as well as realizing their own
and listeners alike. Metheny's body of work
artistic visions.
includes compositions for solo guitar, small
5
I
Pat Metheny Recordings
2000 _ TRIO~-OO 1m _ A MAP OF THE WORLD 1m _ 11M ItALL & PAT MHHENY
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1984 - FIRST ClRClF l'8J _REJ01CING 1 '83 _ TRAVELS 1982 _ OHRIIMP
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8
OTHER COLLABORATIVE ORKS
Michael Brecker, Time Is of the Essence, 1999
Jim Hall, By Arrangement, 1996
Kenny Garrett, Pursuance: The Music of John Coltrane, 1996
M ichael Brecker, Tales from the Hudson, 1996
Marc Johnson's Bass Desires, The Sound of Summer Running, 1996
Tony W illiams, Wilderness, 1996
Abbey Lincoln, A Turtle's Dream, 1995
Bruce Hornsby, Hoi House, 1995
Roy Haynes, Te Vou, 1994
Milton Nascimento, Angelus, 1994
Trilok Gurtu, Crazy Saints, 1993
Bruce Hornsby, Harbor Lights, 1993
Joshua Redman, Wish, 1993
Pat Metheny, Stone Free: A Tribute to jim; Hendrix, 1993
Akiko Yano, Love Ufe, 1993
Gary Thomas, Till We Have Faces, 1992
Pat Metheny, Toys (Movie Soundtrack), 1992
Pat Metheny Group, More Travels (Video), 1992
DeJohnette!Hancock/HolJand!Metheny, In Concert (Video), 1991
Jack DeJohnette, Parallel Realities, 1990
Gary Burton, Reunion, 1990
Toninho Horta, Moonstone, 1989
Akiko Yano, Welcome Back, 1989
Steve Reich, Electric Counterpoint- Pat Metheny, 1989
M ichael Brecker, M ichael Brecker, 1987
Mike Metheny, Day In- Night Out, 1986
Bob Moses, The Story of Moses, 1986
leila Pinheiro, O lho Nu, 1986
Pat Metheny, Twice in a Ufetime (Filmscore), 1985
M ilton Nascimento, fncolllros f Despedidas, 1984
Jerry Goldsmith, U nder Fire (Soundtrack), 1983
Toninho Horta, Toninho Horta, 1980
Joni Mitchell, Shadows and Ught, 1980
Gary Burton Quartet with Eberhard Weber, Passengers, t 977
Gary Burton, Dreams 50 Real, 1975
Gary Burton Quintet with Eberhard Weber, Ring, 1974
Paul Bley, Jaco, 1974
9
I
PAT METHENY
I
A Timeli"e of Guitar
I
Innovations and Advancements
Develops a unique way of mixing an
extremely advanced and sophisticated sense
Develops the use of pure pitch-to-synthesis playing via
of the traditional jazz language with the
the interface for the Synclavier guitar, which he helped
country-influenced or elements
NAmericana~
develop (later heard as a lead voice for the first time on
that reflect his own Midwestern roots. Dozens I
NOaulton LeeN During this same period, Pat begins
).
of other artists are inspired to reexamine their
using the Synclavier itself, triggered from the guilar, as a
own roots.
~heartland·
composing tool, pre-dating MIDI by several years.
Is the first to extensively use electric 12-slring
guitars in odd tunings in a jazz selling, first in
songs like Nights Dream- with Brings the use of nylon-string guitar played with a
~Midwestern ~~
the Gary Burton quintet, and later in plectrum to a new and highly effective level of melodic
·kefire~
and "San Lorenzo.H development on songs such as HFarmer's Trusr and
"If I Could" and later with the album Beyond the
Missouri Sky.
Is the first to introduce the jazz public to
what is now known as the ·chorused" sound,
Develops the soprano mini·guitar
using digital delay lines and multiple
with loonez, an electric guitar tuned
amplifiers, probably the single most imitated
up an octave, heard on the song
sound in jazz guitar of the seventies, eighties,
Is the first to introduce the use of the
"letter from Home:
and nineties.
guitar synth (Roland GR-300)
effectively in an improvisational
Is the first to employ the use of various types
environment. Pat was the only major
Develops a set of instruments that
of specialty acoustic guitars (sometimes in
jazz guitarist to seriously commit to
practically consist of a new branch on the
odd tunings) in a jazz aesthetic. Songs like
the exploration of synthesis on the
guitar tree. Pat approaches Canadian
"Phase Dance" (1977) and "Suei'io Con
instrument and has nol abandoned il
luthier , linda Manzer with some
Mexico" brought the sound of a Nashville
to this day. His pioneering work in
innovative ideas of what the guitar itself
tuning to a jazz seUing. The songs "New
that area has resulted in a fully
could actually be. Among the instruments
Chautauqua" and "Folk Songs #1 " showed
realized way of using Ihat
introduced by Metheny and made for him
the kind of rhythmic energy associated
technology so that it blends the
by Manzer to his specs are the acoustic
with heavy rhythmic "strumming'" merging
traditional with the present ("Are
sitar/guitar ("Tears of Rain"'), the soprano
with an almost bebop rhythmic aesthetic
You Going With Me?: ·Song for
acoustic guitar ("A Map of the World"),
in an unprecedented and extremely
Bilbao," "Endangered Species").
and an assortment of tiples, miniatures,
influential way.
and multi-strung guitars. Their crowning
collaboration has to be the 42-string
Is the first to use multiple guitars onstage, using
Pikasso guitar, an instrument that has
stands of his own invention, switching
nearly the range of the piano with a
effortlessly between several guitars in the
timbre previously unheard in jazz (or any
course of a single song to explore the textural
other genre for that mailer), requiring a
l)QSsibilities of what the instrument can offer a
totally guitar technique developed
jazz ensemble in a fresh new light. fIC\.. ..
by Metheny (Minto the
Dream~)_
10