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Preliminary Remarks
An effective analysis of a performers improvisational style must take
into consideration the special characteristics of the music which make it a jazz
performance. In reality, jazz has the same variables as any Western music,
however, it has exploited some of these elements in distinctive ways. 1 The
music commands a style analysis of the full range of elements- rhythm,
melody, timbre, harmony, and form which must be considered within their
historical context.2
There is no commonly accepted coherent method of jazz analysis,
however, Lawrence Gushee has summarized four approaches or types
encountered in the jazz literature. These are motivic, formulaic, schematic,
and semiotic analysis:3
Motivic4 This type of analysis includes the demonstration of organic relations,
development, climactic (tension-release) structure, and logically connected
ideas. Its boundaries are the work (improvisation) itself.
1 Carol Louise Heen, Procedures for Style Analysis of Jazz: A Beginning Approach (Ph.D.
idiosyncratic
surface
features
of
Wes
Montgomerys
improvisational style.
5 Thomas Owens, Charlie Parker: Tehniques of Improvisation, 2 vols. (Ph.D. dissertation,
UCLA, 1974).
6 Alfons M. Dauer, Improvisation: Zur Technik der spontanen Gestaltung in Jazz,
Press, 1956).
8 Jan LaRue, Guidelines For Style Analysis (New York: W.W. Norton & Company, Inc., 1970).
9 Jerry Coker, The Jazz Idiom (Englewoods Cliffs, New Jersey: Prentice-Hall, Inc., 1975), 13.
10 David N. Baker, Jazz Pedagogy (Van Nuys, CA: Alfred Publishing Company, Inc., 1989),
66-67.
14
In his
guidelines Jan LaRue describes the five components used as the basis for style
analysis: melody, harmony, rhythm, sound, and growth (form). Each of these
elements will be used to investigate Wes Montgomerys improvisations in their
large, middle, and small dimensions as needed. The large dimension
11 The second edition (Harmonie Park Press, 1992) retains most of the original text intact.
12 There have already been successful attempts at incorporating LaRues procedures in the
style analysis of jazz. See Carol Louise Heens, Procedures for Style Analysis of Jazz: A
Beginning Approach (Ph.D. dissertation, University of Minnesota, 1981), and Robert
Jacksons Analysis of Jazz: A Method Combining Coker and LaRue. In C. Brown (ed.),
Proceedings of the Ninth NAJE National Convention (Vol. 2). Manhattan, Kansas: NAJE,
1982, 96.
13 Floyd K. Grave, Review: Jan LaRue, Guidelines for Style Analysis, The Journal Of
Relationship between Musical Works and Their Performances, The Journal of Musicology,
Vol. XI, No.2, (1993), 139. Bowen expresses quite clearly the difficulty in using notated
sources to establish the relationship between the musical work and its performances in the
field of jazz: ...it (jazz) so clearly demonstrates that even the most sophisticated scores do not
alone contain musical works and that performances of the same work can vary dramatically.
Jazz is still in the process of translation into written form, so there is little or no temptation
to confuse the score with the musical work. Also, while it is difficult to discuss objectively the
differences among the various performances of a Beethoven sonata, every performance of the
same musical work in jazz will actually differ in pitch content. Repeating an exact pitch
sequence is even considered cheating.
such quantities of observations that we will drown in our own data, a danger particularly
noticeable in computerized analysis.
18 Ibid.
within
comparative
standards,
the
imaginative
depth
of
his
19 Gunther Schuller, The Swing Era: The Development of Jazz, 1930-1945 (New York:
Oxford University Press, 1989), x. This monumental work by Schuller adheres totally to the
principle of comprehensive listening. His basic premise, which we have adopted, was to listen
to every recording of an artist, orchestra, or group that would come under discussion.
20 Ibid., 21-22.
blues
ballad
modal
standard
free
jazz original
bebop
Latin/Afro-Cuban/etc.
other (specify):
21 David N. Baker, The Jazz Style of John Coltrane (Miami: Studio 224, 1980), 34-37.
21b Professor Gordon Foote (McGill University) has noted that some of these transcriptions
were done by David Bakers graduate students and contain some errors.
22 Our definition of modern jazz includes all developing styles after 1940 (i.e. Bebop, Cool,
Tempo:
Key:
vibrato
slurs
rips
growls
glissandi
articulation (specify):
alternate fingerings
harmonics
other (specify):
Tessitura:
Scale preferences:
blues
pentatonic
chromatic
other(specify)
(a) II V7
Turnbacks
Cycles
(b) Melodic patterns
(c) Rhythmic patterns
d) Other formulae (I VI II V; III VI II V; half step
progression, etc.)
Performance Practice
Jerry Coker
folk-like
wide expressively
narrow expressively
riff-like
bluesy
bebop
quartal
other (specify):
24 Jerry Coker, The Jazz Idiom (Englewoods Cliffs, New Jersey: Prentice-Hall, Inc., 1975),
13.
10
74-76.
26 John Brownell, Analytical Models of Jazz Improvisation, Jazzforschung/Jazz Research,
Vol. 26 (1994), 10. Many scholars, notably Schuller (1958, 1964, 1968, 1984), Tirro (1967,
1974), Porter (1983, 1985), Stewart (1973, 1979) and Koch (1974) have treated transcriptions
of improvisations as compositions in their own right, as objects to which the conventional
methods of Western musical analysis may be applied.
27 Charles M.H. Keil, Motion and Feeling Through Music, Journal of Aesthetics and Art
11
therefore (so the theory goes), their product should not be evaluated by
the same aesthetic criteria as composed music.29
29 Ibid., 23.
30 Albert B. Lord, The Singers of Tales (Cambridge: Harvard University Press, 1960). Fred
Lerdahl and Ray Jackendoff, Toward a Formal Theory of Tonal Music, Journal of Music
Theory, Vol. 21 (1977), 111-171. Alan M. Perlman and Daniel Greenblatt, Miles Davis Meets
Noam Chomsky; Some Observations on Jazz Improvisation and Language Structure, In
Wendy Steiner, ed. The Sign in Music and Literature (Austin: University of Texas Press,
1981).
31 Brownell, op. cit., 23.
12
It will become apparent that the prevalent reductive model was used in
this study, since we treated the recordings of improvisation as objects or
products to which certain conventional methods of Western musical analysis
could be applied. This, of course, was done only to the extent where the
methods could be applied effectively and relevantly to jazz improvisation
without jeopardizing the analysis. The transcriptions, as imperfect as they
may be for the study of jazz, were only employed as intermediary visual
representations of the music on the recordings, and used principally to clarify
our analytical commentaries. It is evident that in our analyses of sound
(dynamic, texture, attack, intensity) and rhythm (swing, time-feel) we
reverted exclusively to the recordings, since transcriptions as objects cannot
adequately represent these elusive, but aesthetically indispensable elements
of jazz. This also explains the absence of musical transcriptions in the
analysis of sound (chapter 4) or in the analysis of Montgomerys time feel
(chapter 7).
32 Philip Alperson, On Musical Improvisation, Journal of Aesthetics and Art Criticism, Vol.
43 (1984), 17-29.