Lesson 1

An analysis of the improvisational style of Pat Metheny

The playing style of Pat Metheny contains all the attributes of a great, seasoned jazz
artist. His great harmonic sense, impeccable time and rhythm feel and his propelling
energy and spirit in his playing all come together in every note he plays, however, the
elements that distinguish his unique sound and recognizable “voice” lie in his
approach to phrasing and articulation on the guitar and his use signature melodic cells.

Also, Metheny has his own unique vocabulary of melodic cells (personal clichés) that
are evident in all of his solos. These ‘signature cells’ which I call “Metheny-isms” are
recognizable melodic, intervallic and rhythmic designs which Metheny adapts to suit
the given harmony, although he sometimes ignores the underlying harmony and plays
his “Metheny-isms” even when they “conflict’ with the given harmony. They do not
sound incorrect because, in themselves, these cells are strong and cohesive ideas.

Phrasing and Articulation.

Metheny does not ‘pick’ every note instead he uses a legato approach often
‘hammering-on’ and pulling-off notes in his right hand. This is a more ‘horn-like’
approach that creates a sense of ‘breathe’ in the line. He has a ‘signature’ way of
treating a group of four eighth-notes. He would often pick, pick, slur, and pick a
group of four eighth-notes as in figure 1.

Most often there would be a half step between the second and third note (as in
figure1). One can hear evidence of this approach in the two-bar pick ups to his solo in
‘All the things you are’. (refer to transcription: measure 1 and 2).

Licks:
Apart from his Metheny-isms, Metheny does play some signature licks. His most
common lick is a II-V-I lick (figure 2). On the ‘Question & Answer’ recording, he
plays this lick twice. Once in ‘All the things you are’ and once in ‘Old Folks’.

© Mageshen Naidoo
“Metheny-isms”
From the lick in figure 2, we gain insight in many Metheny-isms.
Figure 3 is a common Metheny- ism. This occurs in his solo on ‘Solar’ (refer to
transcription) in measure 4, beats 3 & 4 and measure 5, beats 1 & 2.
Notice this idea also, adapted in the II-V-I lick (figure 2) in beats 3 & 4 of the II
chord, and in each of the four-note groups of the I chord (Ab major).

Metheny plays another common rhythmic figure. (figure 4).

It evolves into a melodic cell as in figure 5 and figure 6.

Figure 7 is a very recognizable chromatic Metheny-ism. It can be heard on almost

any up-tempo solo.

© Mageshen Naidoo
Figure 8 is based on a minor pentatonic figure Metheny plays usually in the
decending form. He plays this chromatically and/or adapts it diatonically to create
tension in his solos. This may be heard on ‘All the things you are’. See Figure 9.

Figure 10 is an augmented triad shape which Metheny often slides either

chromatically or in thirds.
This can be heard on ‘Solar’ (refer to transcription) on the Fmaj7 chord in measure
41.

© Mageshen Naidoo