I have now formulated a methodology to use for the analysis of transcriptions of improvisations which was task 1.1.3. It should be noted that the completed glossary of terms gives me a fully referenced resource to enable me to describe what the various components are of the improvisation. The analytical framework used has been built by refernece to other models of analysis.
Task 1.1.3- Formulate an appropriate analytical framework to analyse improvisations
The identified transcriptions that use the chord progression are
‘An analysis of Joe lovano’s tenor saxophone improvisation on
“Misterioso” by Thelonius Monk: an exercise in Multidimensional thematicism’ (Dahlke 2003) is a journal article which reveals methodologies for analysing improvisations. The author states ‘the goal of this analysis is to reveal Joe Lovano’s use of thematic relationships on four levels: 1) phrasing, 2) step-progression, 3) motives/formulas, and 4) harmonic implications’ (Dahlke 2003 p14) The author then states what ‘criteria’ is being used to analyse each of these areas. ‘The criteria used in the phrase analysis portion of chapter III are length of phrases, register of phrases, direction of phrases, duration of pitches in phrases, pitch content of phrases, metric placement of phrases, and the harmonic implications of phrases.’ (Dahlke 2003 p14) When considering how best to characterise different artists approach to phrasing, this is arguably a reliable model due to the attention paid to the individual components of phrases. A similar methodology can be found in ‘The Jazzomat project. Issues and methods for the automatic analysis of jazz improvisations’, where the author discusses what considerations have to be made when analysing improvised lines (Pfleiderer
Klaus Frieler N.D) ‘Of course, there are several musical dimensions to be investigated in improvised
melodic lines: first, their tonal and harmonic implications as well as their relation to the original melody and chords they are based on; then, the rhythmic features of the improvised lines including peculiarities like cross rhythms or those microrhythmic liberties that contribute to the overall “feel”, “swing” or “drive” of a solo’ (Pfleiderer, Frieler N.D P4) Within the context of the proposer’s method, several transcriptions of improvisations will be need to be analysed in order to understand different artists approach to the melodic content which forms the improvisation. A general framework for analysis of melodic content can be applied but as different artist’s approaches varies; a specific method of analysis for each transcription will need to be applied.
A general framework for analysis of melodic improvised content:
1. Identify from the notation, what content forms the improvisation.
2. Ascertain what scales and (or) chords are being used for the improvised content; therefore identifying the ‘tonal and harmonic implications’ (Pfleiderer, Frieler N.D P4) and ‘the pitch content of phrases’ (Dahlke 2003 p14). For example, particular modes, scales, or chord tones could be identified.
3. How the improviser uses these scales and(or) chord tones can then be identified. This involves isolating individual phrases to examine their shape and form. How the phrases relate as a whole can then be detailed and patterns identified. (For example see Dahlke 2003 p14) The definition of ‘phrase’ from the Oxford concise dictionary of music states: ‘Short section of a comp. Into which the mus. Whether vocal or instr., seems naturally to fall’. (Oxford 2007)
4. Aspects of rhythm of the improvised content can then be analysed which identifies: ‘metric placement of phrases’ (Dahlke 2003 p14) and ‘the rhythmic features of the improvised lines’. (Pfleiderer, Frieler N.D P4) This should enable identification of features such as rhythmic displacement, patterns in rhythm and rhythmic qualities which contribute to the overall feel of the improvisation.
Another article which deals with methods of analysis is Garry Potter’s ‘Analysing Improvised Jazz’. The author states that, ‘One early analytical tool would relate each pitch of a solo to the root of the chord in effect as that note is played.’ Potter thinks that it is, ‘Even more useful to show the relationship between a longer melodic passage and the underlying harmony than to deal with each note individually.’ (Potter 1992 p1)
A general framework for analysis of harmonic content:
1. Identify what content forms the accompaniment. As the improvised content has already been identified, the accompaniment should be what remains.
2. Describe the characteristics of the accompaniment. This involves identifying what intervals of the chord are being used in what hand and what the style of accompaniment is. For example, in some improvised transcriptions the accompaniment takes the form of a walking bass line with the rest of the chord filled out by the right hand. (For example see Take the A Train (Ellington 1941) In other transcriptions the accompaniment, in its entirety is in the form of close voiced chords in the left-hand. (For example see Peterson 1963)
3. Identify if there are any altered or substitute chords within the accompaniment. This is a very common component of jazz harmony. (For example see Boyd 1997 p8)
4. Identify and describe how the accompaniment provides a rhythmic foundation for the improvisation. For example, different considerations have to be made depending on the playing context. If the pianist is accompanied by drums and bass, then the rhythm is provided. If the pianist is a soloist then they have to provide a strong sense of rhythm. (For example see newjackswing21 2008)
A general framework for the analysis of the relationship between improvised melodic content and harmonic content that underpins it:
1. Identify and describe any chord-scale relationships that exist, ‘to show the relationship between a longer melodic passage... and the underlying harmony.’ (Potter 1992 p1) For example, particular modes are associated with particular chords and so examples of this could be found.
2. Identify and describe the ‘harmonic implications’ (Pfleiderer, Frieler N.D P4) of the improvised melodic content. For example, the improvised line may include tones that impact on the harmony. Sometimes scales are played which are a semi-tone out from the chord. (For example see Hussey, 2007, p5)
3. Identify and describe any patterns that exist between accompaniment and melodic content. ‘Which percentage of a repertoire of improvisations can be quantitatively characterised as consisting of repeated patterns or formulas’ (Pfleiderer, Frieler N.D P4)
After this stage a more specific framework for analysis can be used that is slightly adapted depending on the requirements of each transcription.
Specific methodological framework for analysis of transcriptions-
The Girl from Ipanema (Peterson 1963)
1. The improvised melodic content can be identified all in the right hand so this can easily be isolated.
2. Study the entirety of the improvised content to identify what scales and (or) chords are being used to improvise.
3. Identify and describe how Peterson uses the identified scales and (or) chords for improvisation.
4. Identify rhythmic features of the improvised content.
5. The identified accompaniment is all contained within the left hand so this is easily isolated.
6. Identify and describe the intervallic order of notes that the voicing’s use. For example, in the piece there are examples of close voicing’s and rootless voicing’s.
7. Identify and describe the alterations and substitutions that Peterson uses in the accompaniment.
8. Identify and describe how the accompaniment, by means of the rhythmic displacement, provides a rhythmic foundation for the improvisation.
9. Identify and describe the chord-scale relationships that exist throughout the solo.
10. Identify and describe the harmonic implications of the improvised content.
11. Identify and describe the observed patterns between the improvisation and accompaniment.
Desafinado (Jobin 1959)
1. The improvised melodic content can be identified all in the right hand so this can easily be isolated.
2. Study the entirety of the improvised content to identify what scales and (or) chords are being used to improvise.
3. Identify and describe how Jobin uses the identified scales and (or) chords for improvisation.
4. Identify rhythmic features of the improvised content.
5. The identified accompaniment is all contained within the left hand so this is easily isolated.
6. Identify and describe the intervallic order of notes that the voicing’s use. For example, in the piece there are examples of close voicing’s, rootless voicing’s and vamping.
7. Identify and describe the alterations and substitutions that Jobin uses in the accompaniment.
8. Identify and describe how the accompaniment, by means of the rhythmic displacement and repeated rhythmic patterns provides a rhythmic foundation for the improvisation.
9. Identify and describe the chord-scale relationships that exist throughout the solo.
10. Identify and describe the harmonic implications of the improvised content.
11. Identify and describe the observed patterns between the improvisation and accompaniment.
Take the ‘A’ Train (Ellington 1941)
1. Isolate the improvised melodic content from the left-hand walking bass-line and the chordal accompaniment in the right hand.
2. Study the entirety of the solo to determine what scales and chords are being used to improvise.
3. Identify and describe how Ellington makes much use of dense chords in the improvisation. Also identify how he uses scales to improvise
4. Identify and describe rhythmic features of the improvised content
5. The accompaniment for this piece is both contained in the left-hand, which contains a walking bass line, and in the right hand which often includes the full chord under the individual notes of the improvised line.
6. Identify and describe the nature of the walking bass line and how Ellington fills out the remainder of the accompaniment in the right hand.
7. Identify and describe the alterations that Ellington uses in the accompaniment.
8. Identify how the walking bass line provides a rhythmic foundation for improvisation and how the right hand chords contribute to this sense of rhythm.
9. Identify any chord-scale relationships that exist throughout the solo.
10. Identify the harmonic implications of having sections of the improvised solo being harmonized by block chords.
11. Identify the harmonic implications of the sections of the improvised solo that are comprised of melodic lines without any harmony other than the walking bass line.
References
Boyd,B.(1997)Jazz Chord Progressions, Hal Leonard
Dahlke,A.,2003. An analysis of Joe lovano’s tenor saxophone improvisation on “Misterioso” by Thelonius Monk: an exercise in Multidimensional thematicism. DOCTOR OF MUSICAL ARTS. University of North Texas
Hussey.C. Ed.,(2007).Great Jazz piano solos Book two,(Music scores), Wise publications.
Jobin.A(1963)Great Jazz Piano Solos Book 1,(Music scores), Wise publications
NewJacksWing,(1974) Oscar Peterson and Andre Previn,(Web Video), Available at http://www.youtube.com/watch? [Accessed 03/01/2012]
Pfleiderer, Frieler.,N.D. The Jazzomat project. Issues and methods for the automatic analysis of jazz improvisations. University of Hamburg, Institute for Musicology
Potter.G.,(1992)Analysing Improvised Jazz, College music symposium, 32, p143-160
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