Just for fun, I wrote out the qualities of the many "licks" in this Lee Morgan’s “I’m Old

Fashioned”
solo (on John Coltrane’s ‘Blue Train’) according the BBC's "6-shape Framework."
I am not suggesting these shapes were on Lee Morgan's mind, but they do provide (for me,
anyway) an effective perspective when learning them (and to some lesser but noticeable
degree, for transcribing them, as well).
Stylistic nuances notwithstanding, roughly 90% of Lee Morgan’s solo falls quite conveniently
within one or more of our six shapes. That is remarkable, no?
BBC Legend:

(1) Descending Lines on Chord Tones (w/w/o Octave Adjustment)

(2) Arpeggios from Chord Tones
(3) Arpeggios from Chord Tones with Octave Adjustments
(4) Triplets from Passing Tones
(5) Enclosures from Passing Tones
(6) Descending Arpeggios from Passing Tones

- Grace notes and implied notes are in brackets [ ]

m1
(3)
55151 5 [7] 1 5 m7 m7 m3
EbMaj7 Cm7

m2
(5) (5)
2 [2] r3 2 m7 1 2 m3 4 2 4 2 b3 3 5 2 b3 2 b2
Bb7

m3
(3) (5)
5 5 1 [3] 4 3 1 5 m7 [#4] 5 m3
EbMaj7 Cm7

m4
I4 111
Fm7 Bb7

m5
(5)
5633
EbMaj7

m6
(3)
3 5 [#2] 3 1
EbMaj7
m7
(3)
3 1 5 m7 6 1 3 5 4
D half-dim7

m8
(1) + (3)
r3 4 #4 5 #4 4 r3 5 7 b2 7 #7 1 b6 r3 1
G7b9
m9
(5)
3 2 #7 1 2 3 1
Cm7
[I realize this bar starts on a chord tone; but note the passing-tone enclosure]

m10
1 2 b3 4 #4 5 #5 6 #4 6 #4 6 #4 5
F7

m11
1 5 4 b3 5 b3 r7 5 b3 2 r7 1 2 b3 4 5 m7 6
Cm7

m12
3 5 [2] b3 1 7 b7 2 6 5 1 2 b3 4
F7

m13
5 b7 2 1 b7 6 1 6 #5 5 #4 4 3 b3 5
Fm7

m14
1 r6 b7 7 1 4 3
Gm7 C7

m15
b7 r3 4
Fm7

m16
6 m7 1 3 5 6 #4 5 4 3 m3 2 m3 2 b2 1 1 1 1 1
Bb7
m17
7 1 1 1 1 m7 m3 5
EbMaj7 Cm7

m18
m3 2 m7 1
Fm7 Bb7

m19

#5 6 1 1 1 1 1
EbMaj7

m20
4 r3 4 5 #6 b7 1 #6 4 5 6 b7 7 1 2 1 b7
A half-dim7 D7(b9)

m21
[2]-m3 7 5 2712 m2 [3 #3]-4 2
GMaj7 Am7

m22
Bm
[#2]-m3 #2 2 #1 r7 6 7 6 3 4 2 1 r7
Bm7 CMaj7

m23
(6)
642 [1]
D7 Edim

[This D7 – Edim – Fm7 makes for such an interesting sound, in part due to the unexpected movement
from Dominant 7th stepping a whole-step down to a Diminished triad *then* to a Minor 7th in the following
measure. Note also that Mr. Morgan does not actually play the ‘E’ root of this E Diminished chord, but
rests after playing it the beat prior]

m24
r4 5 2 b3 2 1 5 b3 2 b3 2 1 m3 3 m3 m2 m6 3 m3 m2 1 m7
Fm7 Bb7

m25
[7]-1 m3 [#4]-5 m3 m3
EbMaj7 Cm7
m26
44 111
Fm7 Bb7

m27
3 555
EbMaj7 Cm7

m28
[r3]-4 11
Fm7 Bb7

m29
5 [#5]-6 m7 m3
EbMaj7 Cm7

m30
2 5161
Fm Bb7
7

m31
455 1 m7 b7
EbMaj7 Cm7 Fm7

m32
6 5 6 m7 6 5 r4 5
Bb7

m33
[#4]-5 [7]-1 5 5
EbMaj7

m34
4 4 [r3]-4
FMin7

m35
1 1 5 r4 4
Bb7

m36
7
EbMaj7
[A personal note about this final note: I’ve been giving my father lessons on the Accordion, and I naturally throw in
a few comments about the music we all love so much, American Jazz. A couple months I shared with him how
common it is to play the Major 7th tone over a Major Tonic chord to end a song. I’m really looking forward to
demonstrating to him Mr. Morgan’s very common and therefore very beautiful resolution]