“James” – dedicated to James Taylor – is a great example of Metheny’s melodic style. Many chord inversions and syncopated rhythms make this a challenging song to learn for the intermediate to advanced guitar player.
Harmonic Architecture
Most of the chords used in this arrangement are Drop2 and Drop3 chords. These are standard seventh chords where the structure is “dropped” to create a more functional voicing for the guitar neck.
Fluid Chord Connections
To prepare for the step-wise chord movement in “James”, practice all seventh chords of a key up and down the neck. In D-Major, this exercise makes your chord connections more fluid.
Rhythmic Schematic
In the first four bars, three out of four rhythms are off the beat. These accents are typical for Jazz and Latin music. It is essential to practice the rhythms independently of the chord shapes first to master the syncopated “grid”.
Named after a cold wind in Southern Brazil, “Minuano” represents Metheny’s sophisticated use of compound meters. The song relies on a driving 6/8 rhythm that utilizes a “three-over-two” polyrhythmic feel.
Chord-Melody Strategy
- Triad Superimposition: The piece frequently uses triads (Major, Minor, Augmented) over a static bass pedal—a classic Metheny tool to create a “floating” harmonic landscape.
- Slash Chords: Mastery of triads over unrelated bass notes (e.g., A/B or Bb/C) is required to capture the wide-open harmonic texture.
- Polyrhythm: The synchronization of parts during key moments adds a unique tension that defines the Pat Metheny Group sound.
This piece, often played with Jim Hall, highlights the acoustic, folk-influenced side of Metheny’s Latin writing. It relies heavily on open-string resonance mixed with jazz-standard harmony.
Technical Focus
- Inverted Picking Flow: To achieve Pat’s fluid sound, focus on hammer-ons and slurs. Only upbeats are typically attacked with a downstroke.
- Rhythmic Displacement: Like “James”, this song uses anticipated plucking where chord changes occur slightly before the downbeat to create forward motion.
- Nylon String Texture: Emulate the Bossa “whisper” by keeping a soft right-hand attack and holding the pick with the round end for a full, thick sound.
Recorded with Charlie Haden, this ballad showcases Metheny’s ability to use Spanish-Phrygian colors within a jazz context. It is traditionally played in 3/4 time.
Harmonic Analysis
- Minor Tonic Tension: The song circles around i-iv-V movements, typically in the key of G Major/E Minor.
- Drop3 Voicings: Use Drop3 shapes to provide a deep bass foundation while keeping the melody clear on the top strings.
- Rubato Phrasing: Unlike the tight grid of “James”, this song requires a loose feel. Practice the melody with slight delays against the pulse to heighten the emotional impact.