MelodyasMotive:AnAnalysisofWayneShorter’sImprovisationalApproachon“Fee-Fi-Fo-Fum”and“InfantEyes”ByJoelLinscheid Overthecourseofhismorethansixty-yearcareer,WayneShorterhas

earnedareputationasoneofthemostuniqueandinnovativemusiciansinjazz

history.Heisrenownednotonlyasasaxophonist,butalsoasacomposer.Inboth

arenas,Shorterexhibitsanindividualstylethathaslongsethimapartfromhis

contemporaries.Shorter’smusicalstyleisoftendescribedasbeingequallyinformed

byasenseoftraditionandinnovation.TrumpeterNicholasPaytondescribed

ShorterinDownbeatmagazineas“modernbutrootedatthesametime.”1

Shorter’scomplexstyleisapparentonhis1964album,SpeakNoEvil.2

RecordedjustthreemonthsafterShorterleftArtBlakey’sJazzMessengersand

joinedMilesDavis’s“SecondQuintet,”thealbumexhibitstheinfluenceofbothpast

andfuture.Inhisimprovisationalandcompositionalstyle,Shorterdemonstratesa

strongfoundationofthebluesandtraditionalconventionsofbebop,butalsoan

increasinglymodernstylethatfavorsmotivicdevelopmentandsmootherlines.Also

evidentthroughouttheentirealbumisastrongsenseofunitybetweenShorter’s

improvisedsolosandthecompositionsthemselves.InhisanalysisofSpeakNoEvil,

1DanOuelletteandTedPanken,“MyFavoriteBlueNoteAlbum,”Downbeat,March2009,28.2WayneShorter,SpeakNoEvil.BlueNoteRecords84194,recordedDecember24,1964.

StuartNicholsonwrites,“Whatwasstrikingabouthisworkwasahighlydeveloped

senseofmelodicconstructionwithinhissolos.Often,hisimprovisationsappeared

aslogicalextensionsofhiscompositions…3

SaxophonistDavidSanchezofferssimilarcommentaryonthealbum,notingthat:

“On“Fee-Fi-Fo-Fum,”“SpeakNoEvil”and“InfantEyes,”Wayneisn’tplayingthechanges,butplaysaroundthecomposition—he’screativewithinthecomposition,distinctfromalotofotherBlueNoterecordingsoftheperiodonwhich,generallyspeaking,peoplewouldimproviseonthechangesoncetheheadorthemewasover.”4

Thiscommentarywillserveasaframeworkforthefollowinganalysisoftwo

ofWayneShorter’ssolosfromSpeakNoEvil,on“InfantEyes”and“Fee-Fi-Fo-Fum.”

TheanalysiswilldemonstratehowShorterreliesonmelodiccontentfromhis

compositionsasthemotivicfoundationforhisimprovisedsolos.Theexamples

discussedwillillustratehowhedrawsinspirationfromthemelodyinavarietyof

ways,including:directquotesofmelody,useofmelodicfragmentsanddevelopment

ofmotivicelements,andimitationofmelodicphrasecontours.Additionally,

considerationwillbegiventohowShortermorebroadlyreflectsthecompositional

elementsin“Fee-Fi-Fo-Fum”throughhisuseoflong-rangelinearmotionand

contrastingstylisticsections.

3StuartNicholson,TheEssentialJazzRecords:Volume2,(LondonandNewYork:MansellPublishingLimited,2000),332.4DanOuelletteandTedPanken,“MyFavoriteBlueNoteAlbum,”Downbeat,March2009,28.

I.“InfantEyes”(Melody)

Shorter’scomposition“InfantEyes”isconstructedinaunique27-measure

ABAform,comprisedofthree9-measurephrases.Themelodyissimple,madeupof

arepeatingphrasestructurethatincludesapick-uptoahalfnote,followedbythree

eighthnotes.Withinthemelodyto“InfantEyes,”threemotiveshavebeenidentified,

showninExample1.5

Example1:Motivesin“InfantEyes”Melody,mm.1-4

MotiveaisclassifiedbroadlyasShorter’suseoftheintervalofthethird,

whichoccursfrequentlythroughoutthecomposition.Whiletheintervalofathirdis

commonintonalmusicanditsrepetitiondoesn’talwaysconstituteamotive,it

seemstobemoreimportanttothemelodicstructureof“InfantEyes”andtherefore

isworthnoting.Asseenintheaboveexample,thepointsofrestwithinthemelody

areoftenathirdapart,andserveasmelodicpointsofarrival.Inthissense,the

intervalholdsmelodicsignificance,ratherthanbeingusedinatriadicmannerto

outlinetheharmony.

5Foramotivicanalysisofthefullmelody,seeAppendixA

Shortercontraststhelongnotesin“InfantEyes”withmotiveb,arecurring

setofthreeeighthnotes.Theeighthnotesbalancethephrase,connectingthelong

notesandprovidingforwardmotiontothenextpointofarrival.Thedescending

three-notemotiveisfurtherdevelopedinShorter’ssolo,describedlater.

Finally,motivecisthelargemelodicleap,mostoftenofanoctave,that

occursthroughoutthemelody.Thelargeleapsalsoseemtoofferbalancetothe

melodyline,therestofwhichtypicallymovesbystepwisemotionorinthirds.

Shorter’smelodicconstructionadherestotypicalconventions,ashefollowseach

largeleapwithmelodicmovementintheoppositedirection.

II.“InfantEyes”(Solo)

Afterstatingthemelody,Shorterimprovisesonechorus,inwhichhe

referencesanddevelopsthemotivesfoundinthemelody.Asindicatedaboveinthe

commentarybySanchezandNicholson,Shorter’sapproachtotheimprovisationon

“InfantEyes”isrootedinthemelody,notinanefforttocreatenew,unrelated

contentbasedontheharmony.6

AsseeninExample2,beginninginmeasure10,ratherthanimprovisinga

newmelodybasedonthechordprogression,Shorteressentiallyembellishesthe

existingmelody.Whilehisimprovisedembellishmentsobscurethisfacttothe

casuallistener,thecomparisonshowsthathisimprovisedlinecontinuestoclosely

followthemelodyfrommm.10-27.

6ForatranscriptionofShorter’sentiresoloon“InfantEyes,”seeAppendixB.

Example2:ComparisonofMelodyandShorter’sImprovisationon“InfantEyes”(mm.10-27)

Inadditiontoitscloserelationshiptotheoriginalmelody,Shorter’s

improvisedsoloalsoexhibitsfurtherdevelopmentofthemotivesestablishedinthe

theme.7Example3(below)showsmeasures1-9ofShorter’ssolo.Unlikethelater

7FormotivicanalysisofShorter’sentiresoloon“InfantEyes,”seeAppendixC.

section(seenabove),Shorterdoesn’texplicitlyquotethemelodyinthefirstA

section,butdoesreferenceeachofthethreemotivesidentifiedinExample1.

Example3:MotivicanalysisofWayneShorter’ssoloon“InfantEyes”(mm.1-9)

Shorter’sreferencetomotivea(theintervalofathird)islessexplicitthanin

themelody,butispresentnonetheless.Heendseachofhisphraseswiththe

interval,firstdescendingfromBbtoG,thenascendingfromBbtoD.Inm.4,Shorter

transformsthe3-notedescendinglinefromm.4ofthemelodyintoarepetitionof

threedescendingchromatic3-notegestures.Hecontinuesthemotiveintomeasure

6,whereitoccurstwicemore.Finally,inmeasures6and8,Shorterdrawsonmotive

cfromthemelody,beginningeachofthephraseswithlargemelodicleaps,followed

bylinearmovementintheoppositedirection.

EvenasShorterstaysclosertotheoriginalmelodyinthelasttwosectionsof

hissolo,hisembellishmentstendtobebasedonthesethreemotives.Inmeasure14

(Example4),Shorterembellishestheoriginalmelodybyoscillatingbetweenthe

mainpitch,C#,andA#,referencingmotivea.

Example4:UseofmotiveainShorter’ssoloon“InfantEyes”(m.14)

Fivemeasureslater,Shorterreferencesmotivecbyincludingfourseparate

octaveleapsinhisphrasebetweenmeasures19and22(seeExample5).Notably,

eachoftheoctaveleapsisplayedonanotethatispartoftheoriginalmelody(see

Example2aboveforcomparison).

Example5:UseofmotivecinShorter’ssoloon“InfantEyes”(m.19)

Shorter’suseofmotivesfromthemelodyasfurtherembellishmentsofthe

melodiclineunderscoresthewayinwhichhetreatstheimprovisationasa

developmentofthemaintheme,ratherthananopportunitytocreatenew,

unrelatedmelodiesoverthechordprogression.Itisimportanttonote,however,

thatShorter’sapproachisbynomeansa“simpler”one.Hisabilitytosubtly

transformthemelodyinwaysthatarenottriteorpredictableisextraordinary—the

connectionsbetweenthesoloandmelodyareoftenonlyrecognizablethrough

analysis.

III.“Fee-Fi-Fo-Fum”(Melody)

AswithmanyofthecompositionsonSpeakNoEvil,“Fee-Fi-Fo-Fum”exhibits

ablendofmodernandtraditionalelements.Like“InfantEyes,”thepieceisinABA

form,butisconstructedoftypical8-measurephrases.8TheAsectionscontains

moremodal,chromaticharmony,whiletheBsectionexhibitsamoretraditional

approach,imitatingtheharmonicmovementofablues.9Shortermirrorsthis

contrastingapproachbetweentraditionalandcontemporarystylesinhissolo--

shiftingbetweenchromatic,harmonicallyambiguousplayingandsimpler,blues-

basedvocabulary.10

While“Fee-Fi-Fo-Fum”doesn’tcontainthesametypeofclearmelodic

motivesas“InfantEyes,”itdoeshaveadistinctmelodiccontour,whichShorteruses

motivicallyinhisimprovisation.AsshowninExample6a,theopeningtwomeasures

(repeatedwithvariationinmm.5-6)containadescendingline,followedbyand

ascendinglineinthelasttwomeasuresofthephrase.Thefirsttwomeasuresseem

tobemostsignificanttoShorter,andserveasthefoundationfordevelopmentinhis

solo.

Example6a:Fee-Fi-Fo-FumMelody(mm.1-4)

8Foraleadsheetof“Fee-Fi-Fo-Fum,”seeAppendixD.9ForamoreindepthanalysisoftheharmonicstructureofFee-Fi-Fo-Fum,seeStevenStrunk,“NotesonHarmonyinWayneShorter'sCompositions,1964-67,”JournalofMusicTheory49,no.2(Fall2005):301-332.10ForfulltranscriptionofShorter’ssoloon“Fee-Fi-Fo-Fum,”seeAppendixE.

TheopeningphraseiscontrastedintheBsection,wherethephrasebegins

withupwardchromaticmotionfollowedbydescendingmotion(Example6b).

Example6b:Fee-Fi-Fo-FumMelody(mm.9-12)

IV.“Fee-Fi-Fo-Fum”(Solo)

Asin“InfantEyes,”Shorterdirectlyquotesthemelodyseveraltimesinhis

soloon“Fee-Fi-Fo-Fum.”Threetimes,hereferencestheopeningtwomeasuresof

themelody.AsshowninExamples7aand7b,Shorterplaysthelinewithonlyslight

alterationinthelast4measuresofbothimprovisedchoruses,insertingitatthe

sameplaceintheformthatitoccursinthemelody.

Example7a:ComparisonofMelodyandWayneShorter’sSoloon“Fee-Fi-Fo-Fum”(mm.21-22)

Example7b:ComparisonofMelodyandWayneShorter’sSoloon“Fee-Fi-Fo-Fum”(mm.45-47)

However,amoreuniqueinstanceoccursinmm.18-19ofShorter’sfirst

chorus(Example7c),wherehetakesthesamemelodicline,butplacesitone

measurelaterthanwhereitshouldoccurintheform.Inordertoaccountforthe

shiftinharmony,Shorteraddsseveralchromaticpassingtonestotheline.Thoughit

maynotinitiallybeapparenttothelistener,theconnectiontothemelodyisclear.

Example7c:ComparisonofMelodyandWayneShorter’sSoloon“Fee-Fi-Fo-Fum”(mm.17-20)

Inadditiontodirectlyquotingtheinitialmelodyphrase,Shorteralsodraws

inspirationfromthegeneralmelodiccontourofthemelody.Example8showsa

graphicrepresentationofthephrasecontoursinthefirstpartofShorter’ssolo.11

ThoughShorterdoesn’texplicitlyquotethemelodyinthese12measuresofhissolo,

thegraphicillustrateshowhisphrasesclearlymirrorthedescendingcontourofthe

initialphraseofthecomposition.

Example8:MelodicContourofShorter’ssoloonFee-Fi-Fo-Fum(mm.1-12)

DuringtheBsection,Shorterprovidescontrast,playingascendingshapes

thatmimictheupwardmotionoftheinitialphraseofthebridge(seeExample8b).

Example8b:MelodicContourofShorter’ssoloonFee-Fi-Fo-Fum(mm.13-16)

11ForanillustrationofthephrasecontourofShorter’sentiresolo,seeAppendixF.

V.Large-ScaleAnalysisof“Fee-Fi-Fo-Fum”

WhiletheprecedinganalysishaslargelyfocusedonspecificwaysShorter

drawsonthemelodyinhisimprovisation,therearealsotwomoregeneralways

thathemirrorsthecompositioninhisimprovisation,andcreatesasenseoflarge-

scaleunityin“Fee-Fi-Fo-Fum.”

First,Shorterexhibitsacompositionalapproachtohissolo,alternating

stylisticandthematicapproachestodenotedifferentsectionswithinthesolos.The

resultisthatthebroaderstructureofShorter’simprovisationreflectsthe

juxtapositionofcontrastingelementsfoundinthecompositionitself.Whilethe

stylisticsectionssometimesalignwithsignificantpointsintheformalstructureof

thecomposition,theydon’tfollowaclearpattern,givingthesoloaseparate

structureofitsown.Asdiscussedabove,Shorter’sfirstchorusisprimarily

constructedoflong,smooth,descendingphrases.Atthebeginningofthesecond

chorus,Shorterchangescoursedramatically—shiftingtofragmented16thlines(see

Example9a).

Example9a:WayneShorter’sSoloon“Fee-Fi-Fo-Fum”(mm.21-26)

Shortercontinuesthe16thnotelinesthroughtheAsection,thenreturnsto

themorelyricalapproachinmm.33-36.Hebeginsarapidrepetitionofthree-note

gesturesinmeasure37,continuingthismotiveuntilmeasure45,wherehereturns

tothepreviousapproachandreferencesthemelodytoendhissolo(asshownin

Example9b).

Example9b:WayneShorter’sSoloon“Fee-Fi-Fo-Fum”(mm.41-49)

Thesecondlarge-scaleelementpresentinShorter’ssoloisasenseoflong-

rangelinearmotion.Asdiscussedabove,Shorterusesthegeneralcontourofthe

melodicphraseasinspirationforthephraseshapesinhisimprovisation.Inthefirst

chorus,heplaysprimarilydescendinglines,contrastedonlybrieflyonthebridge.

However,inseveralinstances,withinthelargerphrasecontour,thereismore

concrete,stepwiselinearmotionpresent.Thisdemonstratesthatevenwhile

improvising,Shorterisimplyingclearlinearprogressions,notsimplyplayingan

abstractphraseshapesoroutlinesoftheharmony.

Shorter’ssenseoflineisapparentinthefirstphraseofhissolo.Asshownin

thelinearreductionbelow(Example10a),heisclearlystructuringhisimprovised

linearoundthedescendingstepwisemotionfromCtoGb.

Example10a:LinearMotioninShorter’ssoloon“Fee-Fi-Fo-Fum”(mm.1-3)

Inmeasure13,Shorterplaysamoreintervallicline,basedon3rdsand4ths.

Herepeatsthislinetwice,movingupinregistereachtime.AsseeninExample10b

below,whiletheshapeitselfismoreangular,underlyingitisaclearlinear

progressionthatmovesfromEbuptoBb,thenresolvesdowntoAnatural(which

wasenclosedbytheAbandBbprecedingit).

Example10b:LinearMotioninShorter’ssoloon“Fee-Fi-Fo-Fum”(mm.13-16)

VI.Conclusion

Astheprecedinganalysisof“InfantEyes”and“Fee-Fi-Fo-Fum”illustrates,

WayneShorter’simprovisationalstyleisrootedinaconnectiontoanddevelopment

ofthecompositiononwhichheisimprovising.Shortermaintainsaconnectionto

thewrittenmelodyinmultipleways:throughdirectusedofmelodiccontent,

developmentofmotivicelements,andimitationofphrasecontour.Additionally,his

playingreflectsacompositionalstructuralapproachthroughuseofcontrasting

improvisationalstylesanddemonstratesanawarenessoflong-rangelinearmotion.

Initially,Shorter’sapproachmaynotseemallthatunusual.Afterall,

improvisationisoftenfirsttaughtandattemptedthroughtheframeworkof“theme

andvariation.”Afundamentalconnectiontothewrittenmelodywouldseem

foundationaltothatapproach.However,Shorter’sstylisticapproachdiffersfrom

manyoftheotherprominentimprovisersin1964.Thestylisticinfluenceofthe

beboperameantthatmostimprovisersofthegenerationwereplayinghighly

involved,complexsolosthatwerelargelymeanttooutlinetheharmonyofthe

compositionanddemonstrateahighlevelofvirtuosity.Shorter’sapproachdiffered,

asjazzhistorianMarkGridleynotes,writing:

“Shorterplayedlinesofsmoothercontoursthanthoseofmosthardbopsaxophonists.Hisworkdidnothaveasmanyabruptstartsandstops,orthebobbingupanddownthattypifiedbop…Shorterbroughtanoutstandinggiftformelodytohissolos.Listeningtohimimproviseislikelookingovertheshoulderofacomposerasheinventsanddevelopsthemes.12

Ascanbeseenthroughanalysisof“InfantEyes”and“Fee-Fi-Fo-Fum,”itis

Shorter’sclearsenseofmelodyasthemotivicfoundationofhisimprovisationsthat

madehimsouniqueandinfluential.

12MarkGridley.JazzStyles:HistoryandAnalysis.(UpperSaddleRiver,NewJersey:PearsonEducation,2006),234.

BibliographyArtistTranscriptionSeries:TheNewBestofWayneShorter.Milwualkee,WI:Hal

Leonard,2018.Gridley,Mark.JazzStyles:HistoryandAnalysis.(UpperSaddleRiver,NewJersey: PearsonEducation,2006).Nicholson,Stuart.TheEssentialJazzRecords:Volume2,(LondonandNewYork: MansellPublishingLimited,2000),332.Ouellette,DanandTedPanken.“MyFavoriteBlueNoteAlbum,”Downbeat,March 2009,28.

Shorter,Wayne,SpeakNoEvil.BlueNoteRecords84194,recordedDecember24, 1964.StevenStrunk,“NotesonHarmonyinWayneShorter'sCompositions,1964-67,” JournalofMusicTheory49,no.2(Fall2005):301-332.AccessedMarch3, 2018.http://www.jstor.org/stable/27639402

& 44 ˙1 ˙ œ œ œ œ .˙b œ ˙ œ œ œ œb .˙b œ

&5 ˙b œ œb œb œG bmaj7

.˙ œbF7sus

˙b œ œ œb œE bmin7

wbB b7sus

&9 .˙ œb œbB b7#5(#9)

˙b œ œ œ œbE bmaj7

.˙# œ œ#Emaj7

˙ œ œ œ œE bmaj9#11

&13 .˙# œ#Emaj7

˙# œ œ# œ# œBmaj7

.˙b œbB b7sus

˙b œ œb œb œA bmin7

&17 wbE b7sus

.˙ œD7b9

˙ œ œ œ œGmin7

.˙b œFmin7

&21 ˙ œ œ œ œbE bmaj7

.˙b œA7#9

˙b œ œb œb œG bmaj7

.˙ œbF7sus

&25 ˙b œ œb œb œE bmin7

wbB b7sus

.˙ ŒB b7

Infant Eyes by Wayne ShorterMelody with Motivic Analysis

©

a

bb

c

AppendixA

& 44 Œ ‰ Jœ œ œ œ œb œ œ3 3

Gm in7

Œ ‰ œ œ œb œ œ œ œ3 3

Fm in7

Jœb .œ ÓE bm aj7

Œ ‰ œ œb œ œb œ œ œ œbA7

&5 .˙ ŒG bm aj7

Œ œ œ œb œb œ œ œb3

F7sus

œb œ œb œb œ œ œ œ œE bm in7

œb œb œb œ œ Œ œ œb3

B b7sus

&9 œ œb œb œ œb œb œ œb œb œ œb œb3

B b7#5(#9) ˙b Œ ‰ œ œbE bm aj7 ˙b œ .œ œbEm aj7

Jœ .œ .œ JœE bm aj9#11

&13 ˙b Œ ‰ JœbEm aj7 œb .œ œb œ .œ œ œ œ œ œ3

Bm aj7

Jœb .œ Œ œ œB b7sus œb œb œb œ œ œb œ œb œb3

3

A bm in7

&17 œ œb .œ œb œ ‰ . RœE b7sus

Jœ œ Jœb Jœ .œD7b9

˙ .œ JœGm in7

œb .œb œ ÓFm in7

&21 œ œ œ œ œ œ œ œ œb3

E bm aj7 .˙b ‰ . RœA7#9

œb œb œb .œ œn œ œ œb œ œ3

G bm aj7

œN œb œ Œ œ œ œb œ3

F7sus

&25œb œ œ œb œb ‰ Jœb œ œ œ œ œb

3

E bm in7

Jœb .œb ˙B b7sus .œ Jœb œ œ œ œ œ œb3

B b7.˙ Œ

Gm in7

WayneShorter'sSoloonInfantEyesAs published in "The New Best of Wayne Shorter: Artist Transcriptions"

(Hal Leonard: 2004)

©

AppendixB

& 44 Œ ‰ Jœ œ œ œ œb œ œ3 3

Œ ‰ œ œ œb œ œ œ œ3 3

Jœb .œ Ó Œ ‰ œ œb œ œb œ œ œ œb

&5 .˙ Œ Œ œ œ œ œb œ œ œb3

œb œ œb œb œ œ œ œ œ œb œb œb œ œ Œ œ œb3

&9 œ œb œb œ œb œb œ œb œb œ œb œb3

˙b Œ ‰ œ œb ˙b œ .œ œb Jœ .œ .œ Jœ

&13 ˙b Œ ‰ Jœb œb .œ œb œ .œ œ œ œ œ œ3

Jœb .œ Œ œ œ œb œb œb œ œ œb œ œb œb3

3

&17 œ œb .œ œb œ ‰ . Rœ Jœ œ Jœb Jœ .œ ˙ .œ Jœ œb .œb œ Ó

&21 œ œ œ œ œ œ œ œ œb3

.˙b ‰ . Rœ œb œb œb .œ œn œ œ œb œ œ3 œN œb œ Œ œ œ œb œ3

&25œb œ œ œb œb ‰ Jœb œ œ œ œ œb

3

Jœb .œb ˙ .œ Jœb œ œ œ œ œ œb3

.˙ Œ© Joel Linscheid

Wayne Shorter's Solo on Infant EyesMotivic Analysis

Wayne Shorter's Solo on Infant EyesMotivic Analysis

AppendixC

& 441 ˙ œ œ œ œ œE b7#4 D7(#9)

q = 112

.œ jœb ˙Gm in A bm aj

˙b .œn jœBm aj D7

.˙ œ œ œb3Dm in G7

&5 ‰ œ œ œ .œ jœE b7#4 D7(#9)

.œ jœb .œ jœbGm in A bm aj

.œ jœ .œ jœC7b9 F7

.˙ œœb œœbB b7

&9 ˙̇ ˙̇bbE b7

œœb œœb œœn œœ œœ œœbb œœ ˙̇ œœb œœbB b7

Ó Œ œœb œœb

&13 ˙̇ ˙̇bbE b7

œœb œœb œœn œœ œœ œœbb œœ ˙̇ œœb œœB bm in E b7

Ó Œ œ œ œb3Am in D7

&17 ˙ œ œ œ œ œE b7#4 D7(#9)

.œ jœb ˙Gm in A bm aj

˙b .œn jœBm aj D7

.˙ œ œ œb3Dm in G7

&21 ‰ œ œ œ .œ jœE b7#4 D7(#9)

.œ jœb Œ œœ##D bm aj C7b9 Bm aj

wwBm aj

..˙̇ Œ

Fee-Fi-Fo-FumWayne Shorter

©

AppendixD

& 44 Œ ‰ œ œ .œ Jœ3

E b7#4 D7(#9)1 œ œ .œb JœGmin A bmaj œb œ œb œb œb œb œb œb œ œb Œ

3

3

Bmaj D7

Ó ‰ .œDmin G7

&5 œ œb œ œb œn œb œ œ œ œb œb œb œb3

E b7#4 D7(#9)

œb œ ‰ Œ ÓGmin A bmaj

Œ ‰ Jœb œ œb œ œb œ œbC7b9 F7

œ œb œ œ œb ÓB b7~ ~

&9 ‰ Jœb œb .œb ˙E b7 ˙ ˙b œb œ œb œB b7œ œb œ œb œ ‰ jœb

&13 œ œb œb œ œb ‰ JœE b7

œb œb œ œ œ ‰ Jœb œb œb œb œ œ œb ŒB bmin E b7 œ œ œ œ# œb œ œ

Amin D7

&17 œ œb Œ ÓE b7#4 D7(#9)

Œ ‰ Jœ œb œ œ#Gmin A bmaj œN œb œ œ œbBmaj D7

Ó Œ ‰ JœbDmin G7

&21 œ œ œ œ œ3

E b7#4 D7(#9)

˙ œb ŒD bmaj C7b9

Œ œb œn ÓBmaj

∑

&25 ‰ œ œ Œ œ œ œb ≈ ‰ . RœE b7#4 D7(#9)

2

œ œ ‰ ‰ œ œb œb œb œ œ Jœb ‰Gmin A bmaj

&27 Œ œb œn œb œ# œ œ œ œb œ œa œ œ œBmaj D7

œ œ œ œ œ œ œ œ œ œ œ œ œb œ œ œ#Dmin G7

WayneShorter'sSoloonFee-Fi-Fo-FumAppendix E

+

+

TranscribedbyJoelLinscheid

&29 Ó œ œœ œ œ œ# œb œ œE b7#4 D7(#9)

Œ œb œ ‰ œb œ œb œ ‰ œb œ œb3

Gmin A bmaj

&31 œ œ œb œ œb œb œb œb œb œ œ# œ œ œn œb œC7b9 F7

œ œœbb œœbb œœ ŒB b7

&33 œb .œb œ ˙E b7 .˙ œb œ œ .œb œ œb .œ ŒB b7

∑

&37 œb œb ≈ œ œ œ ‰ œ œ œ ≈ ‰ . RœE b7 œb œb ‰ ≈ œ œ œ ‰ œ œ Rœ ‰ .

&39 ≈ œ œb œb ‰ Jœrœ œ ≈ œ rœ œ ≈

B bmin E b7‰ Jœ

rœb JœN ‰ œ rœ œ ≈ œ œ œAmin D7

&41 ≈ œ œb œb ‰ œ œ Rœ ≈ ‰ œ œ œ ≈E b7#4 D7(#9)

‰ œ œb ‰ ‰ œ œ ‰ œ œ3 3

Gmin A bmajœ œ œ œ œ œBmaj D7 œ œ Œ Ó

Dmin G7

&45 ‰ œ œ œ .œ JœbE b7#4 D7(#9)

œ œb ‰ ‰ Jœ œ œbD bmaj C7b9 Bmajw .˙ œ œb œ ‰ Œ Ó

2

& 441

&5

&9

&13

&17

&21

&25

Wayne Shorter's Solo on Fee-Fi-Fo-FumIllustration of Phrase Contour

© Joel Linscheid

AppendixF

&29

&33

&37

&41

&45

2

+