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The solo of 'Take the 'A' Train' uses the chord progression that I am focussing on- I-II-II-V-I. It is contrasting to that of 'The Girl from Ipanema' as it was recorded more than twenty years prior and so provides a very famous example from the swing period. As such, the features it uses are different. As with 'The Girl from Ipanema', the juestification for analysing the transcription is that it provides an accessible means of identifying and understanding a particular artists approach to improvisation. This then contributes to building a critical framework for the development of concepts within my method. The rationale for the inclusion of concepts is then provided as the analysis of transcriptions act as a reference for what different artists' approaches are.
Analysing ‘Take the ‘A’ Train’
The piano solo transcription of ‘Take the ‘A’ Train’, contrasts with that of ‘Girl from Ipanema’ as the left hand almost entirely consists of a walking bass line as opposed to the Peterson transcription which uses close voiced chords. As a result of this, the right hand of ‘Take the ‘A’ Train often includes fairly dense harmony as part of the improvisation. Being recorded in 1941, it also comes, during the swing period- more than twenty years earlier than Peterson’s recording of ‘The Girl from Ipanema’. It therefore represents a contrasting piece that still uses the same chord progression.
A general framework for analysis of melodic improvised content:
1. Identify from the notation, what content forms the improvisation and isolate this fromthe accompaniment.
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.
1. There is a 24 bar solo in ‘Take the ‘A’ Train’. It can be observed that the left- hand consists almost entirely of single notes that resemble a walking bass line. The right hand therefore comprises of the improvisation. What is a consistent feature is that most of the content in the right hand has been harmonized with the harmony following the same rhythm as the highest note. The highest note of the right hand therefore could be said represents the melody. For example:
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.
The solo starts in bar two of the first line. It can be observed that the notes are mostly from the C major pentatonic scale with the exception of the two grace notes and the Ab in bar four.
During the first bar of the second line chord tones from E7 can be observed before various inversions of Dm7 are used in the second and third bar. The inversions used are determined by what the melody note is.
During the first bar of the third line, all the notes are from the C major scale and have been harmonized in minor thirds. The rest of the line uses various inversions of chords depending on what the melody note is.
During the first bar of the fourth line there is a series of notes which move chromatically and have been harmonized in thirds.
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)
During the first line there is a recurring pattern of the notes, C and E, being used. This happens five times within the space of three bars. Ellington uses grace notes that are a semi-tone away from the target notes that follow them. This happens during the first bar. The Ab in bar three is a semitone away from G and A- notes that are both in the C major pentatonic scale. The first four notes of the second bar have the same shape as the four quavers in the first bar. The second group of quavers in both bars also have the same intervallic order.
During the second line the last three notes of the first bar comprise of the root, fifth and seventh of the E7 chord. The seventh, a D, creates a step-wise movement onto the melody note, C, of the next bar. In bar two, the first three inversions of the chord descend, before the next three inversions ascend. The last two chords, G9 and G7(b9) have E and F as the melody note. This has been already been suggested during bar two of the second line.
During the third line, first bar, it can be noted that there is an emphasis on notes B and D, which are played on all of the four beats. During the second bar there is decreasing intervals between each of the four melody notes. What is also apparent is that there is a D sharp introduced during at the third chord inversion of bar two. This is ahead of the D sharp being introduced as a melody note in the next chord. It is also significant because of the emphasis on D natural during bar one. During bars three and four, all the chord inversions are of C6 and so the A gives an additional layer of colour. Bar four follows the same ascending pattern as bar three. There is an additional inversion of the chord that uses E as the melody note which seems to act as a response to what is suggested in the preceding bar.
During the fourth line, bars one and two, the melody ascends using whole tones. From bar three to four, the notes continue ascending using the interval of a third each time.
The pattern of ascending notes concludes by means of the semibreve chord in bar two of the fifth line. The chord that precedes this has the melody note of F which provides a stepwise movement to the melody note of G seen in the target chord. During the third bar the G sharp is significant as it is a semi-tone higher than the G natural that can be seen in the target chord.
During the sixth line, the same intervals used in the first bar are once again used in the second. The major 7th of the chord, E, is the first note used both times. The E is then suggested again during the first note of the third bar where it is a semi-tone below F. From that point, another series of ascending notes in thirds starts.
During the first bar of the seventh line, the first triplet has the same intervallic order as the last triplet in the bar. The second triplet continues a pattern of thirds which was seen in the previous bar. Also, the major 7th interval introduced as the first note of the series of triplets during the previous line, recurs again as the last note of the series of triplets. During the next two bars the first four notes contain a phrase which is then repeated starting on a lower note during the second phrase and a lower note again during the third phrase.
During the last two bars of the solo, there is a continued pattern of ascending triplets in thirds. Unlike the previous examples, this time the first and last note of each triplet has been harmonized. This gives it a percussive quality which is enhanced by the crescendo at that point. The single notes in each triplet- D,F and A form a Dm triad. Bec From the second bar there is step-wise movement leading back into the chorus.
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.
During the first line of the solo the rhythm of the second phrase has been suggested in the first phrase. The dotted quaver which is the second note of the first bar has been used again as the first note of the second bar. The off beats are also accentuated at beats four and a half during the first and second bar. This enhances the effect of the rhythmic displacement.
During the second line of the solo, the dotted rhythm pattern that was introduced during the first line is suggested again at bar one. From bar two there are five quaver chords in a row that have been separated by quaver rests. These have all been accentuated resulting in a strong sense of rhythmic displacement. The two crotchets during the third bar act as a transition into the next line. They come on on-beats and so contrast with the syncopated chords which come before them.
During the third line of the solo, the dotted note pattern continues. Also, the syncopated quaver pattern introduced in the above line is continued in bar two of this line. In bar three, the last two chords are on-beat crotchets which were suggested at the last bar of the previous line. In addition, the phrase in the fourth bar of the third line could be described as a rhythmic variation of the preceding bar. Quavers are used in order to decrease the note lengths.
The first two bars of the fourth line again continue with the syncopated quaver pattern which has been included in the last two lines. The third bar, introduces a triplet pattern without the addition of quaver rests which creates a sense of momentum.
During the fifth line the triplet pattern leads to two on beat crotchets during beats three and four. This is a recurrence of what happens during lines two and three.
During the sixth line, the second bar could be described as a rhythmic variation on the preceding bar. The quaver rest which comes on the first beat of the first bar moves to beat two of the second bar. The first dotted crotchet chord of the first bar becomes a quaver in the next bar. The triplet pattern is continued in the third bar which once again gives a contrasting rhythm to the two syncopated bars which precede it.
During the seventh line in bars two and three, just as the melody follows a pattern, the same syncopated rhythm occurs three times.
During the seventh line, the ascending pattern of triplets is used to conclude the solo. It could also be said that the lengths of the notes decrease as it concludes. For example, the last chord of bar one is still part of a triplet, in bar two; two quavers are played on the first beat before the last chord of the solo is two and a half beats long.
The final stage concerns analysing how the phrases, both rhythmically and melodically relate as a whole.
There are several recurring patterns that can be observed during the solo section. The chords played at beats three and four of the bar are sometimes on the beat crotchets which act as a break to the syncopation which precede them. For example:
There is a repeated pattern of chords which are syncopated by the use of a quaver rest. For example, the first occurrence:
It is then suggested again here:
And here:
There are two passages where the melody is comprised of whole tones. The first time this occurs the melody ascends and the second time it descends. For example:
There are three examples of ascending triplets. Each time there is a tendency to play thirds. For example:
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)
1. The left hand part of ‘Take the ‘A’ Train’ consists almost entirely of a walking bass line which means that it can be regarded as accompaniment. It has already been discussed that the right hand often consists of the melody being harmonized by the lower notes in the right hand. For example:
It can be observed that all of the notes below the top note of the right hand are from the chord. Therefore, they could be described as part of the accompaniment as they contain the harmony implied by the chord symbols.
2.
Upon analysis of the first system a walking bass line consisting entirely of crotchets can be observed. It is apparent that nearly all of the notes are from the C major scale which establishes the tonal centre. The notes that are an exception to this are, the Ab in bar one of the solo and the C sharp in the last bar. These could be described as chromatic approach notes as they come at the last beat of the bar, preceding notes from the C major scale. The right hand during this line provides fairly sparse harmony as there is never more than two notes played together. Because of this there is sometimes one note of the chord omitted. For example, the first two notes in the right hand are C and E. The first note in the left hand is C. The chord symbol is C and so the G is omitted.
During the second system the left hand continues with the walking bass line. The second note of bars one and two could be described as a passing note. This is because they both link chord tones. From the second bar of the right hand, the full harmony implied by the chord symbol can be seen. This introduces a dense texture which contrasts with the sparse texture seen up to this point.
During the third system increased intervals can be seen in the first two bars of the left hand. Instead of a step-wise movement seen in the first two systems, the intervals of a third and fourth are used. At bar one of the right hand, the lower of the two notes increases the colour of the harmony. The chord is C and the lower notes are B and A- The major seventh and major sixth. From bar three the left hand, for the first time follows the exact shape of the right hand. The tonal centre of C is implied by the first C of the left hand, which is unaccompanied, at bar three.
During the fourth system, the first unaccompanied D of the left hand establishes the tonal centre before the left hand plays the same notes as the melody but an octave lower. The two notes of the right hand that come below the melody note in each chord therefore imply the harmony suggested by the chord symbol. At bar three it can be noted that all the notes are chord tones from Dm. The texture is however much sparser as the right hand consists of just single notes.
During the fifth system there are two examples of an octave interval in the left hand which reinforces what the chord is at these points. From where the chords in the right hand are re-introduced at the first bar, they all have a major second interval. This creates a dense texture which contrasts with the single note triplet pattern which preceded them.
During the fifth system all the notes in the left hand are chord tones from F major. This defines the chordal centre and the notes in the right hand produce the additional chord tones that are suggested by the chord symbol.
The bass line in the sixth system continues with playing solely, notes of the triad from which the chord is built.
The first note in the left hand of the seventh system is an unaccompanied D which is followed by the left hand following the shape of the right hand for the third time in the solo. Therefore this has become a pattern of the solo.
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)
As has been specified the chord progression used is: I-II-II-V-I. As the key is C major this results in the chords: C-D-Dm-G-C . Therefore any chords that are found that vary from this will be identified and analysis made on them.
There is an example of an altered chord seen in the G7(b9) in the third bar of the second line and in bar two of the third line. In both instances the ninth has been flattened which is amongst the most common alteration. (For example see Baerman p8 1998) Another common alteration seen in the solo is the augmented fifth. This often happens on the first chord II. It facilitates the use of the whole tone scale in the below examples:
The Db9 which is seen in the first bar of the fifth system fits the criteria for a substitute chord. (For example see Boyd 1997 p8)
The chords that precede this are: C –D7-Dm7-G13. These all fit within the I-II-II-V section of the chord progression. Instead of the next chord after G13 being C, there is a Db9- A semi-tone above C. This is also used at the concluding chord of the solo:
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)
The walking bass line arguably simulates that of what a double bass player would play within a ensemble context. Most of the time the bass line plays crotchets and so could be described as metronomic. This sometimes contrasts with right hand passages which are almost entirely syncopated. For example:
The bass line provides a means of enhancing the rhythmic delivery of the right hand. The last three crotchets come when there are rests during the right hand which aids this effect.
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)
During the first system of the solo, the C major scale is suggested in the left hand. This supports the right hand which largely plays the C pentatonic major. The last note of the first bar, an Ab, therefore creates some harmonic tension as it is a semi-tone out width both of the scales. The same note also occurs in the right hand during bar three.
During the second system of the solo, the first note of the left hand in bar two provides a harmonic foundation for the right hand chords. The note is D and all the chords in the right hand are inversions of Dm7. The E which is the second note of the left hand in this bar suggests the melody note of the right hand which follows it. This is also the case for the next two notes in the left hand. The G of the third bar is played just before the Dm7 chord in the right hand. It changes the colour of the chord and suggests a G11 chord. It also establishes a chordal centre of G ahead of the two last chords in the right hand which are rootless voicing’s.
In summary, through the analysis of ‘Take the ‘A’ Train’, several approaches to improvisation have been revealed. The solo first makes use of the major pentatonic scale to facilitate the use of target notes and provide an initial light, sparse texture. This then contrasts with the block chords which provide a dense and persuasive texture. The use of patterns, both rhythmic and melodic, has been observed which allow for ideas to relate and develop much like a composition does. The use of a walking bass line, imitating that of a double bass player, has been shown to provide a suitable rhythmic foundation for the improvisation by means of its consistency and metronomic qualities.
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