Pat Metheny's "Have You Heard" Big Band Score Analysis

"Have You Heard"
Composed by Pat Metheny
Arranged by Bon Curnow
as recorded on Letter From Home (Geffen) by the Pat Metheny Group

Original Recording
“Have You Heard” is one of the many compositions written by contemporary jazz guitar prodigy, Pat Metheny. The original recording was released on the Pat Metheny Group’s 1989 studio album, Letter from Home, which combines Brazilian and rock elements in to jazz. “Have You Heard” was first recorded with a sextet, and included various world percussion instruments, many of them over-dubbed in. Besides Metheny’s lightning fast and highly distinguishable guitar playing, the P.M.G. recording of “Have You Heard” features a trumpet solo played by Lyle Mays, along with tenor saxophone, pipes, and marimba. The song employs a strong Latin-rock feel, which should not be abandoned when played by a big band. The melody is written in 7/4 meter, which changes to 4/4 for the solos. Metheny does this to make his composition more unpredictable to the listener.

Big Band Arrangement
“Have You Heard,” was arranged for a big band by Bob Curnow, who transcribed it directly off of the original studio recording before arranging it. The instrumentation for Curnow’s arrangement includes five saxophones, four trumpets, four trombones, and a rhythm section consisting of piano, guitar, bass, and drums. Clarinets can be substituted for saxophones, and flugelhorns for trumpet. I prefer saxophones and trumpet, but either will work. The melody is slightly re-harmonized from the original, and is written with ¾ and 4/4 meters alternating each measure; the nine bar introduction uses the same meter changes. There are two places in the melody where there is one measure meter change to 5/4 (bars 16 and 51). I will conduct those measures in a 3-2 beat pattern. Curnow also adds in 12-14 bar phrases of 4/4 to help build the melody in certain places (bars 22-35, and 56-70), something not done on the original. There is a long crescendo from measures 78-86. For other specifics, follow my conducting and/or read the suggestion page written by the arranger (I will provide a copy to everyone).

Soloists
A major element to this arrangement is the solo section. Curnow recommends two soloists, each soloing over the 44 measure chorus twice (in 4/4). As Curnow explains, the chorus consists of 44 measures broken down into two twelve bars blues, followed by and eight bar interlude, and then one more twelve bar blues. I do not like this, and instead will use the first twelve bar blues as one chorus, that can be repeated as long as the soloist chooses. Each soloist will play an improvised solo for as many twelve bar choruses as they choose, and I will use the eight bar interlude between soloists, piano can fill during that time. This is done so both experienced and inexperienced improvisers can take a solo. Many young or non-professional jazz players do not have enough jazz vocabulary to improvise for 44 measures. The solo section is a simple C minor blues. A C minor blues scale or C Dorian scale will work for improvising. I will let each soloist run free but watch very closely and interpret what he or she is trying to do. Then I will conduct the rest of the ensemble to what ever the soloist is doing, so that soloist can be accompanied in way that will make their solo sound the best it possibly can. I will use a standard 4/4 pattern to do this. I would like the soloist to cue me with a head nod at the turn-around of the last chorus he or she decides to take (8th measure of 12 bar blues, on the A flat #11), so I can prep the ensemble for the eight bar interlude. I will do this by keeping my left hand raised in the air over the turn-around, and then use my left hand to prep the down beat on the first measure of the eight bar interlude. After the solos are concluded we will go into the eight bar interlude (look for second ending) before the transition from measures 174-181, then returning to the melody (head). Look for a long crescendo that will end at measure 121. Follow the conductor closely from measure 121 to the end (24 bars).

Conducting Issues
The most important step in learning how to play a new jazz standard or arrangement is to listen to the song first, before playing a single note. I will play the original Pat Metheny Group recording before doing anything else.
Other issues and/or problems that may occur will most likely be during the transitions between soloists, and again going back to the melody. I would rehearse those separate areas until they are perfect.
Any problems with the rhythms during melody, I would stop the group and have that section clap it. I may also “mouth” the correct rhythm the next time through.

Clip
A Youtube clip of Metheny plays his original arrangement:
http://www.youtube.com/watch?v=ApI-zA6suXE

References
Levine, Mark. Sherman Music Co (1995)
The Jazz Theory Book

Labuta, Joseph A. Pearson Prentice Hall (2004, 1982)
Basic Conducting Techniques, Fifth Edition

Methent, Pat-Composer, Curnow, Bob-Arranger. PAT METHENY MUSIC CORP (1989)
Sierra Music Publications (1990)
"Have You Heard" Full Score