Grant's Tune – Grant Green
Powered by a driving triplet-based groove, Grant's Tune is an iconic example of the mid-'60s Blue Note sound. A condensed score and horn parts are available for the sextet arrangement from the original recording, plus other arrangements and editions. Complete Minus You editions and tracks are available, as well as a 3 Guitar arrangement with individual Minus-You guitar tracks.
- Recording: Grant Green - Solid
- Recorded on: June 12, 1964
- Label: Blue Note (Blue Note LT 990)
- Concert Key: C minor
- Vocal Range: , to
- Style: Swing (medium)
- Alto Sax - James Spaulding
- Tenor Sax - Joe Henderson
- Guitar - Grant Green
- Piano - McCoy Tyner
- Bass - Bob Cranshaw
- Drums - Elvin Jones
Video
- Description
- Historical Notes
- Solos
- Piano Corner
- Bass Corner
- Drum Corner
- Guitar Corner
- Inside & Beyond
- Minus You
Grant's Tune is a classic example a distinctive mid-'60s style that's hard to place: it's not exactly modal, slightly bluesy but not exactly hard bop, and with a 12/8 groove that's sort of Latin, sort of swing. Whatever you might call it, this song's various ingredients combine to make something fascinating and well worth exploring.
This song is based on repeated rhythmic figures that really propel the groove forward. The chords generally pivot between a tonic and a fifth in each measure, on C minor in the A section (with D♭7 alternating with G7) and on E♭ major in the bridge—a modal E♭7 sound in which the V chord is B♭ minor. A descending sequence with hits filling in around the melody concludes each eight-measure section.
We have a condensed score, horn parts and a bass part for the original sextet arrangement. The guitar, alto sax, and tenor sax play the melody in unison at the beginning; in the last two measures of each section the guitar has the melody while the alto and tenor harmonize the rhythm section hits. The guitar, alto, and tenor are harmonized in triads on the bridge, with the guitar on top. The ending goes back to the bridge to vamp and fade out.
The print arrangement is available at HalLeonard.com.
This song is based on repeated rhythmic figures that really propel the groove forward. The chords generally pivot between a tonic and a fifth in each measure, on C minor in the A section (with D♭7 alternating with G7) and on E♭ major in the bridge—a modal E♭7 sound in which the V chord is B♭ minor. A descending sequence with hits filling in around the melody concludes each eight-measure section.
We have a condensed score, horn parts and a bass part for the original sextet arrangement. The guitar, alto sax, and tenor sax play the melody in unison at the beginning; in the last two measures of each section the guitar has the melody while the alto and tenor harmonize the rhythm section hits. The guitar, alto, and tenor are harmonized in triads on the bridge, with the guitar on top. The ending goes back to the bridge to vamp and fade out.
The print arrangement is available at HalLeonard.com.
"Solid" was recorded at the legendary Van Gelder Studio in Englewood Cliffs.
Recorded just about three weeks after Grant Green's iconic "Matador" album (which features the same powerhouse rhythm section of McCoy Tyner, Elvin Jones, and Bob Cranshaw) and sandwiched between two sessions that find Green with the tight-knit pairing of organist Big John Patton and drummer Ben Dixon, "Solid" is one of the hardest-hitting albums in Green's discography. Interestingly enough, much of the same material was first recorded, though never issued, at a session four months earlier, featuring a unique lineup with Green alongside John Gilmore, Bobby Hutcherson, Duke Pearson, Butch Warren, and Billy Higgins. Hutcherson and Pearson both played on Green's 1963 album "Idle Moments." After "Solid," Grant's next album as a leader was "Talkin' About"—check out Larry Young's Luny Tune from this session.
Recorded just about three weeks after Grant Green's iconic "Matador" album (which features the same powerhouse rhythm section of McCoy Tyner, Elvin Jones, and Bob Cranshaw) and sandwiched between two sessions that find Green with the tight-knit pairing of organist Big John Patton and drummer Ben Dixon, "Solid" is one of the hardest-hitting albums in Green's discography. Interestingly enough, much of the same material was first recorded, though never issued, at a session four months earlier, featuring a unique lineup with Green alongside John Gilmore, Bobby Hutcherson, Duke Pearson, Butch Warren, and Billy Higgins. Hutcherson and Pearson both played on Green's 1963 album "Idle Moments." After "Solid," Grant's next album as a leader was "Talkin' About"—check out Larry Young's Luny Tune from this session.
Amidst the fierce front line of James Spaulding and Joe Henderson, Grant Green more than holds his own, leading the ensemble through the melody of this powerful, modal-ish song and taking a driving solo atop of the rumbling, roaring rhythm section of McCoy Tyner, Bob Cranshaw and Elvin Jones. While Green obviously has a very different language than that of musicians most frequently associated with the pairing of Jones and Tyner, such as John Coltrane, Joe Henderson, or Wayne Shorter, it is important to realize that Green was the only guitarist to record with the pair in the 60s (though Wes Montgomery did tour with Coltrane's sextet in 1961) and one of only a handful who ever recorded with the pair, which serves as a testament to the power of Green's playing as well as to his reputation amongst his contemporaries.
Related Songs
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- Recording: Jeanfrançois Prins - Three Guitars Playing
- Recorded on: April 4, 2008
- Label: jazzleadsheets.com (JLS 1047)
- Concert Key: C minor
- Vocal Range: , to
- Style: Swing (medium)
- Guitars - Ben Cassorla and Jeanfrançois Prins
Video
- Description
- Historical Notes
- Solos
- Piano Corner
- Bass Corner
- Drum Corner
- Guitar Corner
- Inside & Beyond
- Minus You
This is a composition by the legendary jazz guitarist Grant Green, this time arranged for three guitars alone. Each part also has tablature notation.
Our audio excerpt starts with the intro (guitars 2 & 3 setting up the melody entrance for guitar 1). Our Full Score edition shows how the three parts fit together.
See the Guitar Corner tab for more details.
Our audio excerpt starts with the intro (guitars 2 & 3 setting up the melody entrance for guitar 1). Our Full Score edition shows how the three parts fit together.
See the Guitar Corner tab for more details.
This classic Grant Green composition was first recorded by Grant in 1964. Click on the first record jacket ("Solid") for details. As you see, we have several editions for you to check out. Also check out our other Easy "Three Guitar Arrangements.
Part of our "Three Guitars" series, this arrangement of Grant Green's Grant's Tune provides the perfect amount of challenge for beginner guitarists. With a melody part, bass/harmony part, and a comping part, guitarists can work several aspects of their playing within this single arrangement in addition to their reading abilities. The bass/harmony part (Part 2) in particular is both repetitive and highly active, making it a great, musical exercise in striking and keeping a groove going.
Tablature is provided for all parts of the arrangement except where comping and chord symbols are indicated.
If you are an inexperienced jazz guitarist, we'd recommend learning the Guitar 3 part first.
Individual part descriptions:
Guitar 3: The most challenging part of this is the first measure. It's the bass line from the original recording. As you'll see, this measure is played four times for the intro, and it's also your part for the Coda. Once you've got that measure together, and feel comfortable repeating it, learn the rest of the notes in the part. Now you are ready to play this part with the MP3 no Guitar 3 track.
Guitar 2: This lets you get your chordal comping together, with a few notes to learn (first ending, and again for second ending and the measure before the Coda). Try playing play this part with the MP3 no Guitar 2 track. Once playing with this track is comfortable, you can really check out your comping ability by comping for guitarist Bruce Acosta's melody and 2 solo chorus performance (play with the Minus You minus piano track in the Minus You edition.)
Guitar 1: This is the hardest of these three parts (Grant Green's melody). Once you've got it together, and feel comfortable playing it with the MP3 no Guitar 1 track, you're ready to replace guitarist Bruce Acosta on the Minus You minus Guitar 1 track, or play along with Grant Green on his original recorded track.
Tablature is provided for all parts of the arrangement except where comping and chord symbols are indicated.
If you are an inexperienced jazz guitarist, we'd recommend learning the Guitar 3 part first.
Individual part descriptions:
Guitar 3: The most challenging part of this is the first measure. It's the bass line from the original recording. As you'll see, this measure is played four times for the intro, and it's also your part for the Coda. Once you've got that measure together, and feel comfortable repeating it, learn the rest of the notes in the part. Now you are ready to play this part with the MP3 no Guitar 3 track.
Guitar 2: This lets you get your chordal comping together, with a few notes to learn (first ending, and again for second ending and the measure before the Coda). Try playing play this part with the MP3 no Guitar 2 track. Once playing with this track is comfortable, you can really check out your comping ability by comping for guitarist Bruce Acosta's melody and 2 solo chorus performance (play with the Minus You minus piano track in the Minus You edition.)
Guitar 1: This is the hardest of these three parts (Grant Green's melody). Once you've got it together, and feel comfortable playing it with the MP3 no Guitar 1 track, you're ready to replace guitarist Bruce Acosta on the Minus You minus Guitar 1 track, or play along with Grant Green on his original recorded track.
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- Recording: Bruce Acosta - Bruce Acosta Guitar Quartet
- Recorded on: July 29, 2019
- Label: jazzleadsheets.com (JLS 1049)
- Concert Key: C minor
- Vocal Range: , to
- Style: Swing (medium)
- Guitar - Bruce Acosta
- Piano - Cecilia Coleman
- Bass - Tim Givens
- Drums - Vince Cherico
Video
- Description
- Historical Notes
- Solos
- Piano Corner
- Bass Corner
- Drum Corner
- Guitar Corner
- Inside & Beyond
- Minus You
Our Minus You version of Grant's Tune is close to the tempo of the original recording. The intro is four measures rather than eight. The coda vamps the intro figure for eight measures, instead of fading out on the bridge vamp.
Vince Cherico plays a slightly different groove from Elvin Jones' on the "Solid" album, closer to a Latin 12/8 groove. It's notated in the Minus You drum part on the intro and coda, but drummers playing with the Minus Drums track can also try out Elvin's original groove.
The Minus You piano and bass parts have the intro and coda vamp written out. All three rhythm section parts show the melody as a cue throughout the head. The melody parts have the piano part on the intro and coda written as cues. If you're playing with the bass and drums only Minus You track, you can play the piano part in these places.
Vince Cherico plays a slightly different groove from Elvin Jones' on the "Solid" album, closer to a Latin 12/8 groove. It's notated in the Minus You drum part on the intro and coda, but drummers playing with the Minus Drums track can also try out Elvin's original groove.
The Minus You piano and bass parts have the intro and coda vamp written out. All three rhythm section parts show the melody as a cue throughout the head. The melody parts have the piano part on the intro and coda written as cues. If you're playing with the bass and drums only Minus You track, you can play the piano part in these places.
Guitarist Bruce Acosta spent a summer interning with jazzleadsheets.com & Second Floor Music. Don Sickler's aim for that summer was to make jazzleadsheets.com Guitar Corner a reality. Bruce was extremely helpful with that—as you can see—and along the way Bruce got to experience recording at the famous Van Gelder Recording Studio, playing along with one of our Minus Guitar tracks.
"Recording this project in the same studio that the original 'Solid' album was made in was a truly amazing opportunity. I begin the track by doubling the bass line before playing the melody as written. After soloing for two choruses, I restate the melody and double the bass line again for the coda.
"The biggest challenge I faced when playing along with Minus You track was definitely locking in with the band—this was great in terms of working on my feel and phrasing." - Bruce Acosta
"The biggest challenge I faced when playing along with Minus You track was definitely locking in with the band—this was great in terms of working on my feel and phrasing." - Bruce Acosta
clip complete mix
Format of the full track:
-- intro
-- melody
-- guitar solo 2 choruses
-- out melody
-- coda
clip minus melody
-- tacet for the intro (you can also double the Piano part or solo here)
-- play the melody
-- solo 2 choruses
-- play the out melody
-- tacet, double the Piano part, or solo for the coda
clip minus piano
-- count off sets up the intro
-- play the intro<
-- comp for the melody
-- comp for the guitar solo 2 choruses
-- comp for the out melody
-- play the coda
clip minus bass
-- count off sets up the intro
-- play figures for the intro
-- continue figures for the melody, guitar solo 2 choruses, out melody, coda
clip minus drums
-- count off sets up the intro
-- groove for the intro
-- continue figures for the melody, guitar solo 2 choruses, out melody, coda
clip Bass and Drums Only - This one is especially of interest to guitarists; the lack of a comping instrument means you can explore more chordal textures in your solo.
-- tacet for the intro (you can also play the Piano part or solo here)
-- play the melody
-- solo 2 choruses
-- play the out melody
-- tacet, play the Piano part, or solo for the coda
Format of the full track:
-- intro
-- melody
-- guitar solo 2 choruses
-- out melody
-- coda
clip minus melody
-- tacet for the intro (you can also double the Piano part or solo here)
-- play the melody
-- solo 2 choruses
-- play the out melody
-- tacet, double the Piano part, or solo for the coda
clip minus piano
-- count off sets up the intro
-- play the intro<
-- comp for the melody
-- comp for the guitar solo 2 choruses
-- comp for the out melody
-- play the coda
clip minus bass
-- count off sets up the intro
-- play figures for the intro
-- continue figures for the melody, guitar solo 2 choruses, out melody, coda
clip minus drums
-- count off sets up the intro
-- groove for the intro
-- continue figures for the melody, guitar solo 2 choruses, out melody, coda
clip Bass and Drums Only - This one is especially of interest to guitarists; the lack of a comping instrument means you can explore more chordal textures in your solo.
-- tacet for the intro (you can also play the Piano part or solo here)
-- play the melody
-- solo 2 choruses
-- play the out melody
-- tacet, play the Piano part, or solo for the coda
Related Songs
Email Send Grant's Tune to a friend
Send this page to a friend via email. Add your name or email in the first field. In the second, add one or more email addresses, separated by a comma.
Grant Green
June 6, 1935 – January 31, 1979
One of the most influential and important guitarists in jazz, Grant Green stood out for his exquisite melodic sense, deep rhythmic feel, and distinctive tone. Born into a musical household in St. Louis, Missouri, the guitarist grew up in a milieu of gospel and boogie-woogie. This early environment profoundly shaped Green's trajectory as a musician. Read more...
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