Stop and Smell the Roses - A Honeysuckle Shape
The tune "Honeysuckle Rose" is a classic American Popular Song, composed by the great Fats Waller, with lyrics by Andy Razaf - first appearing in 1929
(almost a century ago!).
It's since been played, sung and recorded by untold numbers of vocalists and instrumentalists (both known and unknown) and their grannys (literally - so to speak).
Why? Because it's a great song with a simple, memorable, singable melody with hip lyrics (considered to be somewhat risqué at the time it was recorded).
The 5-note repeating melodic phrase of the tune's first three bars are iconic. It's become a standard melodic device for generations of improvisers and worth a closer peek.
(almost a century ago!).
It's since been played, sung and recorded by untold numbers of vocalists and instrumentalists (both known and unknown) and their grannys (literally - so to speak).
Why? Because it's a great song with a simple, memorable, singable melody with hip lyrics (considered to be somewhat risqué at the time it was recorded).
The 5-note repeating melodic phrase of the tune's first three bars are iconic. It's become a standard melodic device for generations of improvisers and worth a closer peek.
Ex. #1 shows the first 4-bars of the tune with the aforementioned "Honeysuckle" motif being stated in bars #1, 2 & 3, over a repeating ii-V7 per bar, in the key of C Major. Most sources have this in the original key of F Major, but I wound up putting this example in C, because well... I did.
When you look at it, the simplicity of this little 5-note melodic "hook" is both striking and satisfying at the same time. With the C Major numbered note placement being 5-4 (descending) then 6-1-3 (ascending - an A min triad) we're given a slick, simple and original way of expressing melody, tonality and rhythm - and worth repeating. This held true in 1929, 2025, and all times in between. Thank you, Fats!
Ex. #1 - The first 4 bars of "Honeysuckle Rose", transposed to C major.
When you look at it, the simplicity of this little 5-note melodic "hook" is both striking and satisfying at the same time. With the C Major numbered note placement being 5-4 (descending) then 6-1-3 (ascending - an A min triad) we're given a slick, simple and original way of expressing melody, tonality and rhythm - and worth repeating. This held true in 1929, 2025, and all times in between. Thank you, Fats!
Ex. #1 - The first 4 bars of "Honeysuckle Rose", transposed to C major.
As improvisers ourselves, we are naturally curious to see how we can mess with some of the beauty (or ugly) that has been so graciously handed down to us.
Case and point - Ex. #2. Using the same basic 5-note "Honeysuckle" shape, we can fashion something we might even dare to call our own. Looking at the first measure, the initial 5-notes are the same except for... the Ab, which has been lowered a half-step from the original in order to facilitate the melody in fitting with the D min7b5, an altered form of the original ii chord - the Ab in this case being the b5.
The extra D in the first measure belongs to the 6th mode of F Melodic Minor (D Locrian #2), from which D min7b5 is derived. The shape continues with a Bb (the #9 of G7alt) anticipated on the "and" of four, creating #9-b9 & 3-b13-1; the first two notes descending, with the latter three ascending in the form of a B Augmented triad. A slight variation in shape takes place in bar #3, with the 3rd and 4th notes changing places, relative to the original.
Ex. # - A 4-bar ii-V7-I with "Honeysuckle" shapes in bars 1, 2 and 3.
Case and point - Ex. #2. Using the same basic 5-note "Honeysuckle" shape, we can fashion something we might even dare to call our own. Looking at the first measure, the initial 5-notes are the same except for... the Ab, which has been lowered a half-step from the original in order to facilitate the melody in fitting with the D min7b5, an altered form of the original ii chord - the Ab in this case being the b5.
The extra D in the first measure belongs to the 6th mode of F Melodic Minor (D Locrian #2), from which D min7b5 is derived. The shape continues with a Bb (the #9 of G7alt) anticipated on the "and" of four, creating #9-b9 & 3-b13-1; the first two notes descending, with the latter three ascending in the form of a B Augmented triad. A slight variation in shape takes place in bar #3, with the 3rd and 4th notes changing places, relative to the original.
Ex. # - A 4-bar ii-V7-I with "Honeysuckle" shapes in bars 1, 2 and 3.
Like they say, you should occasionally "stop and smell the roses". If you agree, then add this short exercise / sequence to your collection of improvisational air-fresheners.
(sniff...) Ahhhhh!!
B. Stern
(sniff...) Ahhhhh!!
B. Stern
Related:
*** The Daily BoopaDoop - "LuLu's Back in Town" ***
*** "Airegin" - Six Short Etudes - First Eight of the First Ending ***
*** Joe Henderson's "Black Narcissus" - The Last Eight ***
*** The Daily BoopaDoop - "LuLu's Back in Town" ***
*** "Airegin" - Six Short Etudes - First Eight of the First Ending ***
*** Joe Henderson's "Black Narcissus" - The Last Eight ***
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