The Analysis of 'The Girl from Ipanema' is now complete. The purpose of carrying out this analysis was to reveal typical components of improvisation that Peterson uses. The piece is also a very famous example that uses the chord progression that I'am focussing on. Some of these components of improvisation can be used within my method. This way it helps build a critical framework.
To view the analysis with the images click this link- https://docs.google.com/viewer?a=v&pid=sites&srcid=ZGVmYXVsdGRvbWFpbnxsaXZpbmdzdG9ucGlhbm9sZXNzb25zfGd4OjY5Y2JmYzEyMDg0NDFlN2Y
The first transcription to be analysed is ‘The Girl from Ipanema’ by Oscar Peterson. (1963) This transcription uses the I-II-V-I chord progression and so is the same as that of what the proposer’s method is to use. It provides an accessible means of capturing one particular artists approach to improvisation and so aspects of this can be included in the proposer’s method.
In order to analyse the transcription, the analytical framework devised will be applied. The first stage of this concerns analysis of melodic content.
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. How the phrases, both rhythmically and melodically, relate as a whole can then be identified.
Peterson 1963
1. It is clear that in this transcription the improvised content is all contained within the right hand. The left hand consists entirely of chords which form the accompaniment.
2. The next stage concerns the identification of what scales and (or) chord tones are used for the improvisation. The first line consists of notes which are contained in the Db major scale with the exception of E natural.
First line of improvisation
The first C and the E marked with an * could be described as chromatic approach notes. They both precede notes that are a semi-tone away. (For example see Alldis 2003 p91) The second C marked with an * could be described as a target note. It is a crotchet and the four notes leading up to it are quavers. Also C is a very prominent note of the melody of ‘Girl from Ipanema’ in this key. (For example see Moehrke 2009 p35)
Second line of improvisation
The second line of the improvisation contains an example of chord tone improvisation. This starts at the last note of the first bar. The notes from this consist of quavers and form the chord of Am. It leads to an Cb crotchet which could be described as a target note. There are also two further examples of chromatic approach notes in bar two and three. In bar four all of the notes are from the Bb blues scale.
Third line
All of the notes in the third line are from the Bb blues scale with the exception of a C in the final bar.
Fourth Line
In the first bar of the fourth line there is an example of notes from a chromatic scale. Another example of Chromaticism occurs during bar two. In the third bar, Peterson once again uses the Db major pentatonic before including another example of chromaticism in the final bar.
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)
The first line consists mainly of quavers in a step-wise melodic motion. The general shape is that notes descend and then ascend within the range of a minor tenth. The first note of the solo is significant as it is the same note and note length as the first note of the melody of ‘The Girl from Ipanema’, in this key. In addition to this, Peterson uses three C’s during this line. C is a very prominent note of the melody from ‘The Girl from Ipanema’. There is an example of repeated note intervals. During the first bar, the last two quavers marked with an * are repeated in bar three.
During the second line, Peterson uses chord tones for the first time as opposed to just step-wise movement. The phrase from bar one to bar three starts high, then descends, then ascends before descending again. This is within a fairly narrow register of an augmented fifth. There is also a repeated chromatic movement. The * highlights the first example of chromatic movement.
During the third line, the majority of the notes are contained within a narrow high register. There are repeated patterns during the line. For example, there is a repeated semi-tone interval between the first two notes of the first bar, the first two notes of the second bar and the first two notes of the third bar. There is also a repeated fourth interval. For example, there is a fourth between the two notes during the second beat of bar one, between the third and fourth note of bar three, between the last two notes of bar three and between the third and fourth and fifth and sixth notes of the last bar. In addition, during the last bar Peterson once again uses chord tones.
During the fourth bar there are a few patterns observed. The first four quavers of the first bar ascend chromatically and the first four quavers of the third bar descend using whole tones. Throughout the bar Peterson uses a similar pattern of chromatic movement of notes followed by notes where no interval is less than a whole tone. There also is an emphasis placed on the note D which have been marked with an * .
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. How the phrases, both rhythmically and melodically, relate as a whole can then be identified.
During the first line there is syncopation introduced from the onset by means of the dotted crotchet where there is another example of at the start of bar four. Also, the two quavers at the end of the first bar are repeated again from the second beat of the third bar. This time though, the length of the second note is increased in length greatly. There is another example of rhythmic displacement at the end of bar four. Peterson also uses semi-quavers during bar two to provide a possible means of including a passing note.
During the second line there is a repeated minim. There is also a repeated pattern in rhythm between the last three notes of bar one and the last three notes of the fourth bar. At the same places the rhythm has also been displaced.
During the third bar there is a theme introduced during the first bar which is varied rhythmically during the second bar. The last two quavers of the second bar are first introduced by the last two notes of bar one. This happens again at the end of the third bar. The last bar consists just of quavers which contrast with the other bars during the line where there is a variety of note values.
During the fourth line there is the same repeated rhythm of quavers in bar one and bar two. In addition, the last note of bar one is a crotchet and in bar two, there is a crotchet rest on the last beat. The last note of the solo is a dotted crotchet as is the first note of the solo.
The final stage concerning the analysis of melodic content involves detailing how the phrases, both rhythmically and melodically, relate as a whole.
There are numerous patterns that can be observed through the analysis of melodic content of the entire solo. The last two notes of the first bar are suggested again by the last two notes of the first bar, second line. The interval of a perfect fourth is observed in both cases. In the first bar of the second line, instead of the last two notes being two quavers the first is a crotchet and the second a quaver. The two notes are suggested again during the first bar of the third line. This time the interval is a diminished fourth. The note values have increased again so this time there is two crotchets. In the first line, second bar, the first three notes, form a quaver followed by two semi-quavers. This pattern can also be observed during bar three of the third line and bar four of the fourth line. In all cases the same intervallic order of notes are used. The same rhythm that is introduced during bars three and four of the first line is then suggested again during bars three and four of the second line. This time instead of there being a tied dotted crotchet there is a dotted crotchet rest. The first three notes in the last bar of the second line also have the same intervallic order as that of the above bar. The same pattern of ascending quavers are observed in bar two of the first line and in bar two of the second line. There are also repeated triplets. Peterson mostly uses the Db major scale for the first and second line before using the Bb blues scale in the third line. Before returning to the Db major scale (bars three and four of last line) he includes two bars where chromaticism is used as a link (Bars one and two of the last line)
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)
As has been identified, the melodic content in ‘The Girl from Ipanema’ is all contained within the right hand. The left-hand therefore contains the accompaniment.
What can be noted is that all the chords in the left hand, during the first line are close voicings. This is identified by the notes in the chord all being within one octave. What can also be noted is that all the voicing’s are within a limited register. This way the voicings don’t intrude on the right hand part which forms the improvisation. The voicings also don’t intrude on the register where the Double bass is playing. In order to facilitate this, Peterson has to use various inversions of chords. He also uses rootless voicings for some of the chords. This could be because the double bassist takes care of the root notes. Another possible reason is that some of the time playing the root may create harmony that is too dense. Bar 3 of the below figure illustrates this. If the root note was added to the first chord then the arrangement of notes from bottom to top would be: G,C,Db,Eb and F. Chord substitutions are observed during the first line. The chord progression used for the melody is I-II-II-V-I. (For example see Peterson 1963) The chords during the first line are DbMAJ7, Eb13, Bb7AUG then Eb13. The Bb7AUG therefore takes the place of chord II. All the notes in Bb7AUG are a semi-tone higher than that of the preceding chord. Therefore this could be described as a chromatic alteration. (For example see Boyd 1997 p24)
During the second line, all of the chords are again close voicings. The Bb7AUG, again is included in bar three as a chromatic alteration. Also, Chord IV, which can be seen as the last chord in bar one and the only chord in bar two has been altered as the fifth interval of the chord has been raised a semi-tone. Therefore the chord is Ab7aug.
During the third bar, all of the chords are again close voicings. The Bb7AUG is included again.
During the fourth bar all the chords are again close voicings. Chord IV is once again included as an Ab7AUG as can be seen in the third chord of the first bar. In the second bar though, it is included as an Ab13. Peterson also doesn’t include the chromatic embellishment of the Bb7AUG this time.
When analysing the rhythm of the left hand as a whole, it can be noted that nearly all of the voicing’s are syncopated. It is significant that this improvisation was within an ensemble context and so Peterson keeps all of the voicings within a limited register where they don’t interfere with the register the double bass is playing.
A general framework for the analysis of the relationship between improvised melodic content and harmonic content that underpins it:
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.
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)
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)
On examining the relationship between melody and accompaniment in the first line, a key centre approach to improvisation can be seen.
The key is Db major and all the notes except from the last E natural is from the Db major scale. The melodic content also has harmonic implications. For example, the first note, Eb is the ninth of the chord and so extends the colour of the implied harmony in the left hand. The last note, E natural creates a semi-tone clash with the underlying harmony, Eb13 at that point.
During the second line Peterson continues to use a key centre approach which can be seen in the first and last bar. In bar two, the chord tones played in the right hand create a semi-tone clash with the chord in the left hand. The right hand chord tones form the chord of Am and the left hand chord is Ab7aug. Another example of playing a semi-tone out from the underlying harmony can be seen during bar three where the first note of the triplet, creates a clash in harmony before it is quickly resolved by the next note.
During the third line Peterson uses the Bb blues scale for the first three bars. As a result of this there is a semi-tone clash when the Fb is included in each of the three bars. In addition to this, using the Bb blues scale over the Db maj7 chord creates colour through the additional chord tones that are introduced. For example, Bb is the thirteenth and Eb is the ninth. During the last bar there is no harmonic clash between the right and left hand as all the chord tones used in the right hand are found in the Eb13 chord.
During the first bar of the last line, the first four notes ascend chromatically and therefore the E natural and the G natural are at odds with the Ebm9 chord. The last two bars, Peterson returns to a key centre approach by using the Db major scale over the three final chords. There is a pattern observed between the improvisation and the left hand in that the left hand chords often come on offbeat’s, causing the improvised content to be accentuated at these points. For example:
Conclusion
From the analysis of this transcription, several approaches to improvisation have been revealed. The use of patterns, both rhythmically and melodically, and the use of different registers, contribute to the solo having a sense of direction and melodic contour. How the harmony influences what scales or chord tones to use has been observed and the implications realised when melodic content of the right hand is at odds with harmonic content of the left hand.
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
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
No comments:
Post a Comment