Volume 4 Bill Dobbins the contemporary J0ZZpianist A Comprehensive ch to Keyboard ImprovisationPREFACE This final volume of the series is both a continuation of the study of solo piano styles presented in Volume 3, and a representation of these styles as developed ‘by twenty-four of the most influential solo pianists from 1900 to the prosont. It consists primarily of a concert-length original composition, along with a brie! discussion of the theme and éach of the twenty-four variations. This format was inspired by pianist Dick Hyman’s recording, in’ which he piays the Thad Jones composition in the styles of about a dozen of the more prominent solo pianists from Scott Joplin to Cecil Taylor. By applying the stylistic approaches of different pianists to the same theme, one becomes aware of many subtlo yot evocative elements of each individual style. Such an experience might be compared to that of viewing paintings of the same landscape which were done by painters from many different stylistic traditions. In ‘either case, the experience yields unique insights, on many different levels of understanding, about both the object and the state from which it was perceived. The implications of these ideas led to the use of a "theme and variations" approach in the present volume, rather than the transcription of classic solo performances from recordings. Although such transcription is as invaluable a practice for the aspiting improviser as the reproduction of classic paintings is for the aspiring painter, it is really the type of work which is bost dono for one's: solf. Furthermore, the increasing availability of such transcriptions in published form clearly suggests the need of a more specialized and instructive approach ‘concluding the present series. ‘The original theme, which is used as the model for each vatiation, is based on the harmonic progression of the popular standard All of Me. This progression proved tn he not only interesting in itself, but alsa temarkably adaptable to all types of harmonic edification. In the variations which wore inspired by pianists who rarely used the 32-bar form (Meade Lux Lewis and Cecil Taylor, for example), the original melody or its motivic fragments were adapted to the particular forms and harmonic vocabulary which were customarily used by the particular’ pianist. ‘The selection of the twenty-four pianisis was a rather difficult task, and personal preference was sometimes an unavoidable factor in the final decisions. It is undeniable, however, that all the ianists represented hore have made an indelible impression on the evolution of solo piano Improvisation, as distinct trom the parallel tradition of pianists ‘within the small group and dig bandformats. Anyone who finds objectionable omissions in this regard is heartily encouraged to compose their own musical tributes to their personal keyboard favorites. I have avoided any detailed analysis of the musi since this work should be done by the individual student eocording to personal interest and need. The discographies and cassette should be helpful in relation to details of interpretation: articulation, phrasing, dynamics, etc. The performances on the cassetie’ should serve as a clear starting point, although most of the variations can be porformed successfully at tempos which are slower than those taken on the casseite performances. In general, steadiness of tempo and a convincing rhvthmic feelina are far more important than speed. A thorough familiarity with the recordings of a given pia may suggest further possibilities for interpretation. Excerpis from the variations may be practiced in al keys as a means of further internalizing the vocabulary. In this way the material will eventually become incorporated, on a subconscious level, into the studont’s own improvisations. In any event, ‘carelul listening is of the utmost importance. Indeed, the personality of each pianist represented here is conveyed at least as much by the minute details of interpretation as by the actual rhythmic, melodic and harmonic content. In general, twelve pre-1950 and twelve posi- 1950 pianists were selected, although no absolute chronological aivisian wae intanded. The first twolve pianists lead up to the so-called "bebop" siyl. The last twelve pianists represent important’ musical ‘contributions from bebop to the present. Each of the first twelve and last twelve variations was composed in a different key, so that each of the twelve keys is dealt with at least twice (several variations change keys alter the first chorus or two). In some cases, the chosen kay reflects a preference of the particularpianist. The main reason for such an approach, however, was simply to encourage the development of ‘equal facility in all keys. Common elements between Waller, Ellington, Tatum, Monk and Jimmy Rowles, Tatum, Hines and Wilson, Smith and Ellington, Corea and Beirach, etc., should make it clear that musical indiviudality is largely the result of the subconscious emphasis of some musical elements over others, rather than the self-conscious cultivation of originality for its own sake. A thourough study of Eurepaan keyboard music from Bach to the present would make such a fact even more obvious by illuminating the degree to which jazz harmony has evolved through the assimilation and transformation of European harmony, combined with the use of jazz rhythm and the melodic heritage of the blues. | have not included an “original” variation, since there would be too great a temptation 10 seli-consciously avoid vocabulary which was used in the other twenty-four variations. Furthermore, | prefer this volume to be simply a musical tribute to my porsonal sources of musical insiration, since Volume 3 is made up exclusively of my own compositions. | sincerely hope that this book may serve as a stimulus toward the furthor study of the solo piano tradition. | offer my deepest gratitude to the pianists whose work inspired this volume, and to all the pianists who have helped fo perpetuate this unique {radition of creative music. Although each piece contained here Is dedicated to a specific piani the most casual student of history should realize important creative developments are actually the result of many artists, often in different geographical locations, working along similar linos. Although few would dispute the importance of the pianists whose names have been included here, the significance of the work of the countless pianists whose names are seldom mentionad. or are forgotten, must also be acknowledged. Every creative musician is a channel through which the music manifosts, in infinite variety, that which words cannot express.to Barry Kiener, a student, friend, and marvelous pianist, of, the older masters of the jazz piano tradition Sihose lif and musical future was tragically ‘Inspired me to discover their music for myself tut short. His enthusiasm for, and emulation For such a gif, | will always be grateful. CONTENTS PREFACE ALLOF YOU: THEME... VARIATION | SCOTT JOPLIN VARIATION Il; JELLY ROLL MORTON... VARIATION Ill: JAMES P. JOHNSON VARIATION IV: WILLIE "THE LION" SMITH VARIATION V: EARLHINES VARIATION Vi: FATS WALLER VARIATION Vii: TEDDY WILSON VARIATION Vill: DUKE ELLINGTON VARIATION IX: ART TATUM. VARIATION X: MEADE LUX LEWIS VARIATION Xt: PETE JOHNSON VARIATION Xil: JIMMY YANCEY VARIATION Xill: THELONIOUS MONK... VARIATION XIV: BUD POWELL VARIATION XV: OSCAR PETERSON VARIATION XVI: ERROLL GARNER VARIATION XVII; LENNIE TRISTANO VARIATION XVIII; BILL EVANS VARIATION XIX: CLARE FISCHER: VARIATION XX: JIMMY ROWLES VARIATION XXI: CECILTAYLOR VARIATION XXII: CHICK COREA .. VARIATION XXill: KEITH JARRETT VARIATION XXIV: RIGHIE BEIRACH ‘CONCLUSION APPENDIX DISCOGRAFHY ABOUT THE AUTHOR,ALL OF YOU: THEME The first idea for @ theme title was Allot Them. The realization that these pianists still live through the medium of their music, however, made it clear that Allof You was more’ appropriate. The lyric, included below, is simply a vorbal attempt at expressing my gratitude to the many pianists whose Work inspifed. this BOOK. It need not be sung with the theme, but singing internally while playing may give tho molody a clearor meaning and create tho proper ide for the performance of the entire work. For further study, the melody may be analyzed in terms of motivic development and guide tone lines. For example, the first eight measures emphasize the decending line: c-b-bb-a-g-f, The more clearly the molody of the themo is undorstood, the moro clearly its relationship to the melodies of the subsequent variations will be perceived. By writing out the melody in all keys, the student may compare its original form to the many transformations found the variations. This will be particularly helpful in the study of variations 1, il, Ill, IV, X, Xl, XIl, XV, XVIL. XVIII. XI and XXII. in’ which the original melody is either paraphrased or merely alluded to. The harmonic setting of the theme is a simple fve- voice texture. The harmonic content should be thoroughly analyzed, so that the harmonic progression, voicings and texture of the theme can bo compared to those used in the variations. A study of voice leading in relation to the individual lines of the harmonic texture will also be of interest. The form of the theme is a 32-bar design, which may be divided into two 16-bar or four 8-bar phrases. These subdivisions indicate a phrase form ‘of AA! or ABAG, respectively. The first eight measures begin in C major and modulate to D minor (onic to supertonic). The second eight measures ‘modulate to A minor (relative minor), and end on G7, the dominant which resolves to C major (tonic). The third eight measures are identical to the first eight. ‘The last eight measures briefly imply the key of F major (subdominant) before the final retum to G major. The following lyric conveys some of my feelings toward all the great jazz pianists, whose ‘work is @ constant source of wonder end vitality. ALL OF YOU All of you, 'm hearing all of you, and if you only knew the joy you bring me. Thanks to you, when | hear music playing listening can touch my soul, like praying, All of you, ''m hearing all of you. Your songs are ever new, an inspiration. And life will always be more beautiful to me, when | remember all of you. © 1988 by Bill Dobbins used by permissionALL O} ad Ib. tempo YOU: SYLISTIC VARIATIONS ON AN ORIGINAL THEME by Bill Dobbins -4- évb og CHARLES COLIN, 15} S44, Now nk, NY 09 Intertional Copyright Seeree [AT Right ReeredVARIATION I: Scott Joplin was born on November 24, 1868 in Texarkana, Arkansas. He formed his first band in Chicago in 1893, and was inspired to begin writing his own ragtime compositions by the Chicago pianist Otis Saunders, He settled in Sedalia, Misso\ 1895, where his first rags were published by Jonathan Stark. They were 50 successful that Joplin soon became known as the "King of Ragtime", a title which io ofill undieputed. In 1900 he moved to St, Louis, where he worked as a pianist and director of Stark's opera company. Jopiin’s opera, Iteemonisha (1907) was never successfully performed during his lifetime, and there is still much debate about its merits as an extended musical work. It must be undersiood, however, that his interest in extended musical forms was’ largely discouraged by the prejudice and social attitudes which black American composers still encounter to some degree. Joplin followed Stark to New York in 1907, where he died on April 1, 1917. Although no actual recordings of Joplin'’s piano playing exist, the piano rolls he made give a fairly accurate idea of appropriate ragtime tempos, as well as the basic interpretation of the style. Improvisation in ragtime was generally limited to embellishment of the precomposed melodies and bass lines. By comparing Joplin’s version of Maple Leaf Rag. which can be heard in the Collection of Classic Jazz. with the published sheet music, a clear understanding of Jopiin’s style of ‘ornamentation may be achieved. In Variation | | have used only minimal ornamentation, so that each Pianist may add as little or as much as is comfortable. Rags were sometimes played without ornamentation, and most contemporary recordings of Joplin’s rags confine themselves to the printed page, whether or not such an approach is entirely authentic. The sixteenth notes in Variation | should be played evenly, as in a syncopated march, unlike the swing eighth notes of later styles. The form of this variation follows the moot common rag form, similar to that of many military marche: AAT BBA! CC DD. Ragtime actually evolved as a kind ‘of syncopated march, for which dance stops eventually evolved as well. As in the forms of many rags and marches, the C and D themes of this variation are heard in a key which is a perfect fourth higher than that of the A and B themes (tonic- subdominant relationship). The variation begins with a typical 4-bar introduction. This is followod by a 32-bar ‘A’ theme. which is based on the harmonic progression of SCOTT JOPLIN the original (All of You) theme. Within the overall form, this section functions as two 16-bar phrases: AA1. The second 16 measures end differontly from the frst 16. Tho melody is based on the inversion o! the original theme. There is also a reference to ‘Lassus Trombone, a popular rag influenced trombone piece by Henry Fillmore Thy repeated 10-dar ‘8’ theme Is in tne relatve minor key (F minor). It uses the rhythm from the second theme of Joplin’s Maple Leaf Rag, combined with a loose adaptation of the harmonic progression from the original theme to minor tonality. The harmonic rhythm is also cut in half, so that the complete harmonic progression is ‘stated in 16 measures instoad of 32, The last four measures of this section are reminiscent of Eubie Blake's ‘Charleston ag, also known as Sounds of Attica. The repeated 'B' theme is followed by a return of the 16. bar ‘A’ section. ‘A 4bar transition leads to the repeated 16-bar 'C theme, This section is also based on the harmonic Progression from the original theme. The harmonic thythm is cut in half, however, so that the entire progression Is siaied in 18 measures instead of 32. ‘The melody of this section is simply a rhythmically altered and melodically embellished variation of the ‘original theme. ‘The repeated 16-bar ‘D’ theme begins on the IV chord, like the final theme of Maple Leaf Rag. The Final four measures of this section return to 2 progression similar to that heard in the original theme. ‘A careful comparison of the harmonic progressions of the A and C sections of this variation to the harmonic progression of the original theme will prove interesting, as will harmonic analysis of the Progressions of the B and D themes. A thorough analysis of the voicings, voice leading, bass lines, motivic development, use of non-harmonic. tones and thythmic vocabulary will provide a deeper understanding of this idiom. ‘SELECTED JOPUN DISCOGRAPHY Music of Scott Joplin (piano rolls): Biograph 1019/4Q (2 records) 1916 Classic Solos: Biograph 10080 Ragtime Vol. 2: Biograph 1008QE Ragtime Vol. 3: Biograph 10100SCOTT JOPLIN Moderate Rag Tempo (J=80)ast fing: mp SP |] ana tine:lt tine P tndtneandtime:erese-VARIATION Il: JI Ferdinand Joseph LaMenthe, better known as Jelly Roll Morton, was born September 20, 1885 in Gulfport, Mississippi. Morton spent much of his early life in Now Orleans, where he was the most renowned of the many piano "professors" who could be heard in the bordellos of the legendary Storyville district. In the 1920's and 1930's he spent time in California, St. Louis, Memphis and Kansas City, and made numerous influential recordings in Chicago with his own band. Undor the name of Morton's Red Hot Peppers, this group was consistently the most well rehearsed and musically imaginative of all the early New Orleans style bands. Although Morton was most influential as a composer and bandleader, he was one of the few early jaz pianists whose style was based on true improvisation. In the alternate takes of many of the Red Hot Peppers recordings, Morton's solos are always completely different from one another. His playing was rough. but full of rhythmic eneray and ‘emotional vitality.” His piano style was more a recreation of a New Orleans jazz band on the piano than an easy duplication of conventional stride and ragtime techniques. The left hand part is full of syncopations and octave lines, suggesting the trombone and tuba lines heard in the early jazz bands. The right hand lines are much more hornlixe and melodically adventurous than those of most ragtime and stride pianists, suggesting the trumpet and clarinet lines of early jazz bands. Consequently, Morton may be viewod as a forerunner of Earl Hines, the most imaginative and rhythmically unprodictable of all the early jazz pianists. Morton died in Los Angeles, Califomia on July 10, 1941. With one exception, the form of Variation Il is similar to that of most rags. There is no ‘D’ theme, which is also a characteristic of Morton's rag influenced pieces. In place of the ‘D* theme, the ‘C’ theme is extended by a series of improvised choruses hhasedi on its harmonic progression. This adaptation of the rag form is typical of Morton's approach Variation Il bet a 4bar introduction, ending with a harmonic surprise. This is a typical Morton device, obviously designed to capture the listener's attention before the first theme is stated. Tne first 32-bar section is designed as two 16-bar Phrases (A A!) , and is based on the harmonic, JELLY ROLL MORTON progression of the original theme. The rhythm is Suggestive of the first theme of the Morton ‘composition The repeated 16-bar ‘B' theme uses what Morton called "ihe Spanish tinge", a calypso rhythm, in the left hand. The end of this theme suggests tho rofrain heard in Morton's composition Jelly Roll Blues. The 'B' theme is followed by a return to the second ‘A’ phrase (A'). The 'C' theme follows a 4-bar modulation from the opening key of E to the key of A. This theme condenses the harmonic progression of the ‘A’ theme to 16 measures by cutting the harmonic rhythm in half. The percussive left hand clusters used in this theme can be heard in Morton's recordings of % as early as 1924, predating Horace Silver's use of this technique by almost thirly years. The final section is typical of Morton's improvised choruses, and is based on the harmonic progression of the 'C’ theme. Notice that the left hand is really an integral part of the soio, and not simply a functional stride accompaniment. The unpredictable and ‘somewhat abrupt ending is also typical of Morton's freewheeling two-hanced style. ‘An analysis of the harmonic progressions of the ‘A’ and 'C' themes wili provide an interesting comparison to the progressions found in the original theme and the’A’ and ‘C’ themes of Vatlation |. Notice that the melodies of these themes paraphrase and ‘embellish the melody of the original theme without diceotly restating it. Tho techniques of paraphras: and embellishement are extremely useful in Improvisation as well. The more linear and syncopated bass lines might also be compared to the more conservative bass lines in Variation |. The ‘eighth notes in this variation should be played with @ swing feeling, as opposed to the even sixteenth notes in Variation I. ‘SELECTED MORTON DISCOGRAPHY The Immortal “Jolly Roll": Milestone 2003 1924-26 - Rare Piano Solos: Biograph 10040 1923-24: Milestone 47018 (2 records) Piano Classics 1923-24: Fokways 47 10-JELLY ROLL MORTON Moderate Stomp (d=9@) | | aleeVARIATION Ill: James P. Johnson, “father of stride piano", was bom in New Brunswick, New Jersey on February 1, 1891. His numerous’ classic stride compositions include Kaen Off the Grass, Carolina Shou! and You've Got o Bo Madamistis. Ho alco wrote popular songs such as Charleston and Qld Fashioned Lave, Johnson was also interested in extended compositional forms, and wrote symphonia music based on traditional black American themes. This aspect of his talent, unfortunately, received little encouragement or recognition from a society that could not yet accept black musicians as serious artists. Johnson, Willie “The Lion” Smith, Luckey Roberts ‘and the other lagendary stride pianists could be heard in night clubs, rent parties and informal “cutting contests” in new York between 1915 and 1935. the stride style was closely related to ragtime, but was played in a much more swinging manner and often at breakneck tempos. The melodic lines in stride pieces also exhibited a closer kinship to the blues, with frequent use of the traditional blue notes and half step crushed notes. This was particularly true in the music of Johnson and his most illustrious pupil, Thomas "Fats" Waller .lohnson died in New York on November 17, 1955, Variation Ill begins with a typical 4-bar intioduction. this is followed by a 20-bar ‘A’ theme, which is based on tho harmonic progression of tho original theme. Its use of cross-rhythn is feminiscent of Johnson's You've Got to Be Modernistic_. although the remainder of the piece ‘owes more to Carolina Shout. This theme condenses the original harmonic progression to 16 measures, but also adds a 4-measure tag. The blues like character of the tag is typical of Johnson's style. Once again tho original molody is clearly alluded to without being literally restated. The repeated 16-bar ‘B' theme. is based on a contrasting progression, but cloarly rofors. to tho JAMES P. JOHNSON ‘original theme in the last four measures. This theme is followed by a retum of the first theme, creating an ‘AABBA desgn. Tho 'C’ theme moves suddenly from the opening key of C to the key of F. It is based on the same progression as the ‘A’ theme, but without the 4-ber fag. Evan in this thema tha original (Al af You theme is alluded to, as in measures 5 and 6. ‘The repeated 'D’ theme is based on still another contrasting progression, but begins on the IV chord ‘@ manner reminiscent of the 4-bar tag from the theme. Tha overall form (AABBA CCD) is stil based on the tradiional reg ferm. Tho ending i a variation on the ending from Garolina Shout. contrast to Morton, Johnson's harmonic suprises {end to occur at the end of a piece rather than at the beginning, Comparison of the harmonic progressions of th and °C’ themes with that of the original theme wi again, be of considerable interest. A more thorough melodic and rhythmic analysis will provide a deeper understanding of this style ‘SELECTED JOHNSON DISCOGRAPHY New York Jazz: Stinson 21 1917-1921 - Rare Piano Rolls: Biograph 10030 Rare Piano Rolls, Vol. 2: Biograph 10090 The Original James P. Johnson: Folkways 2850 Striding in Dixieland (with Waller) Folkways 2816 Yamokraw: Folkways 2642 <15sJAMES P. JOHNSON Medium Stride (d=404) Futhos —~ $ TN, a: mf rhe Bva on 0.8.) oo rn ne AVARIATION IV: William Henry Joseph Berthol Bonaparte Bertholoff (Willie “The Lion’) Smith was born on November 25, 1897 in Goshen, New York. “The Lion" was the’ only member of the great New York stride olite whose performing career extended all the way into the 1970's. He was famous for the fat cigar, which ne was almost invariably chewing on, and for his exuberant and bombastic manner. In addition to the usual stride and tin pan alley repertoire, Smith composed many compositions during the 1930's which combine impressionistic, harmony and unusually inventive triadic melody harmonization with the basic elements of the stride style. Those compositions include Echoes of Spring, Bippling_Waters, Passionette, Fading Star, Morning Air and Goncentrating. Such pieces had a profound influence on the young Duke Ellington, who Smith befriended during Ellington's first years in New York. Their mutual admiration was reflected musically in Ellington's Portrait of the Lion, from the lete 1980's , and Smith's Portrait of the Duke, which was composed much later. “The Lion” died in New York on April 18, 1973. Variation IV was composed in a large two part design (ABA). the triadic sequence used in the introduction divides two octaves into three equal paris (C minor, E minor, G sharp minor). This type ‘of sequence was quite advanced for jazz and popular music of the 1930's, yot it is found repeatedly in ‘Smith's compositions from the period. The first theme is based on the harmonic progression from the original theme. The melody also emphasizes important notes heard in the molody of the original heme. The triplet feeling, commonly used in piano novelty pieces of the 1920's and 1930's, was often treated in a predictable or trite manner. Smith, however, developed unusual groupings, often beginning a series of triplet quarter notes on the second or fourth beat. This results in a surprising cross-rhythm which weaves across the bar lines, as in measures 8 thru 10 of the first theme. Tho chromatioism in measures 28 and 31 of this theme illustrates some of Smith's ideas which were later incorporated. by Ellington. The rhythmic WILLIE "THE LION" SMITH cadence in the final measure of this theme is one of ‘Smith’s most recognizable signatures. A 4-bar interlude, based on the introductory material, modulates from B major to E minor, the key of the second theme. The harmonic progression of this theme Is, once again, a rough translation into minor tonality of the harmonic progression heard in the original (All of You) theme. The marching triads in the left hand accompaniment illustrate another devico which Ellington doveloped later in his own way. In addition to the chromaticism found in Measures 9-10 and 13-14 of this theme, there are two sections which make use of contrary and independent movement in the lines below the main melody: measures 15-16 (which also dovolop the rhythmic signature from the end of the first theme) and measures 23-24. These sections illustrate stil more of the vocabulary which Ellington was to make further use of. The right hand triadic accompaniment in measures 25 thru 28 of this theme provides yet another such example. This second theme also ends with Smith's rhythmic signature, but it begins here ‘on beat one instead of beat two. The roprise of the firat theme inoorporatcs some variations from the original ‘A’ theme, as was also ‘common in Smith's solos. The two hand unison break at the beginning of the coda and the chords derived from the whole tone scale in measures 8-9 of the coda are typical examples. Ellington and Strayhorn later showed a particular fondness for whole tone sonorities. The final tag, which moves through the circle of fifths from F#7 to G before the final thythmic signature, illustrates additional harmonic, devices which Smith frequently used. One need only listen to the Ellington recordings of the late 1930's and early 1940's to appreciate the considerable influence which "The Lion" had on "The Duke". SELECTED SMITH DISCOGRAPHY Willie "The Lion” Smith: GNP Crescendo 9011 The Original Fouteen Plus Two - 1939 -1939: Commodore XFL 15775 Harlem Piano: Good Time Jazz 10035 224+ans) WILLIE “THE LION" SMITH ag) Se { mp ddieately wos (yrienlly 0 326VARIATION Earl Kenneth "Fatha” Hines was born on December 28, 1905 in Duquesne, Pennsylvania. His father was @ trumpet player, which may have influenced Hines to develop a homlike melodic siyle. His right hand melodic playing was even referred to as “trumpet style” by his contemporaries. In 1922 he moved to Chicago, where he later led a legendary band from 1928-1998 ‘at the renowned Grand Terrace Ballroom. This band included such musicians as Trummy Young and Budd Johnson and, after being reorganized by vocalist Billy Eckstine, young revolutionaries such as Charlie Parkor. Although Hines was extremely active as a solo planist and combo leader until his death in Oakland, California on April 22, 1983, some of his most acclaimed recordings were made with trumpeter Louis Armstrong in 1928 and during the late 1940's. Hines and Armstrong were the most advanced jazz soloists of the late 1920's, and their musical compatibility yielded many classic recorded performances. Hines’ style was so melodically advanced and rhythmically unpredictable, that he may be viewed as the first of a small pianistic elite which prepared the foundation for the later work of such revolutionary pianists as Thelonious Monk and Bud Powell. This elite should also include Teddy Wilson, Duke Ellington, Art Tatum and Nat *king" Cole (Cole is not included in this work, only because he rarely recorded or performed as a Solo pianist) Variation V begins with a typically surprising Hines introduction. The displaced accent of a har- monically distant chord in measure 2 is an effective device for getting the listener's attention. The theme is stated next, in a syncopated “trumpet style". Hines like other early jazz pianists, used the tremolo to imitate the vibrato which horn players char- acteristically used to add warmth to sustained notes. This piece, like most of the subsequent variations, is based on the simple chorus format rather than plahorate ragtime forms. By tho lato 1920's the blossoming repertoire from the American popular ‘song industry was being performed and recorded by jazz musicians. Most of this repertoire was based on simple song forms of thirty-two measures with AABA or ABAG (AA‘) formal designs. In most performances the statement of the theme would be followed, just as it is today, with a series of improvised variations based 'on the form and harmonic progression of the theme, The second chorus of this variation is typical of Hines’ imaginative improvising. Notice the cross- -27- EARL HINES rhythms in measures 5-6 and 25-27 of this chorus, and the effective use of contrary motion in measures 10 and 28. These examples illustrate Hines’ ability to come up with fresh variations on ideas heard in the Music of James P. Johnson and other earlior pianists. The break in measures 13-16 of this chorus exhibits a fearless abandon which was exclusively a Hines trademark until Art Tatum came along. The final chorus moves from the opening koy of G the to key of C. This chorus begins with a ‘stop time feeling which Hines and Armstrong were both fond of using. In order to create this rhythmic effect, the left hand plays sustained chords on beats two’ and four. This section is followed by a stride section which is somewhat rominiscont of Johnson and Prophotic of Waller. The sudden swiich from “stop time” to siride in moderately fast tempos can have an almost dizzying effect. The last eight measures of this variation begin with one of Hines' most forward looking innovations: advanced rhythmic displacement which completely obscures the underlying meter for Several measures. At about the moment when the listener suspects that the beat has been lost, it suddenly springs back into action. In his use of this device, Hines wae alroady anticipating later developments along similar lines by such influential groups as the Bill Evans trio and the Miles Davis quintet. ‘SELECTED HINES DISCOGRAPHY ‘Another Monday Date: Prestige 24043 (2 records) Comes In Handy: Audiophi 112 Earl "Fatha” Hines: Archive of Fok and Jazz Music 246E Earl Hines, Vol. 2: Archive of Folk and Jazz Music 922 Hines Does Hoagy: Audiophile 113, Louis Armstrong and Earl Hines: Columbia CL953, Louls Armstrong and Earl Hines: 1928: The Smithsonian Collection ROO2 (2 records) ‘A Monday Date: Milestone 2012 My Tribute to Louis: Audiophile 111 Solo Walk in Tokyo: Biograph 12055EARL HINES (d=104) raVARIATION VI: Thomas “Fats” Waller was born on May 21, 1904 in New York City. Although discouraged by his clergyman father, Waller became a professional pianist by tho ago of 15. He was the most ilustrious pupil of James P. Johnson. Because of his natural abilities as an ‘entertainer and comic, Waller's extraordianty pianist gifts often went tragically unnoticed. He write many classic stride pieces such as and Smashing Thirds, which conilnued the tradition of sucit Julisan classics as Sanne Shout 2nd ouve Golo be Madeensi |e also wrote many popular songs, i Honeysuckle Rose, Ain't Mi "and Keepin’ Out of Mischiet Naw. Although he was a real virtuoso, he also possessed some special pianistic talents. Those included the ability to swing powerfully at slow tempos, the ability 10 produce a clear singing tone., and the command of a wide range of dynamics which ‘were used for great dramatic effects. Waller cied on December 15, 1943 on a train from Los Angeles to Kansas City, shorily after appearing in the film Stormy Weather. Variation VI is @ study in tone production and swing. The dynamics and articulation markings should be stricly adharad ta. The overall form is, simply a 4-bar introduction, the 32-bar theme (based on the original theme and its harmonic progression), a second 32-bar chorus which is like ‘an improvised variation of the first, and a briet coda, ‘The surprising hamronic cadence in measures 2 and 3 is characteristic of Waller, and similar devices can also be heard in the playing of Art Tatum, an 32 FATS WALLER avowed Waller disciple. The full left hand chords, such as those in measures 9 and 10, were also an important Waller device, possibly having developed out of his love for the pipe organ. There are several brief quotes from Waller tunes in this variation: Keepin’ Qui of Mischief Now (measure 13 of the theme), wlitterbua Wallz (measures 17 and 18 of the second chorus) and (measure 21 of the second chorus). Tho broken lft hand figures, in measures 18 and 20 of the theme and elsewhere, arc reminiscent of The marchlike feeling in measures 9 and 10 of the second chorus and the solo left hand passages throughout are also typical of Waller's style. Notice the use of a 3/4 stride pattorn in measures 25-27 of the theme and the left hand rhythmic displacement in measure 29 of the second chorus. These illustrate Waller’s personal adaptation of devices which he leamed from James P. Johnson. ‘SELECTED DISCOGRAPHY Fats Waller in London: Swing SW-8442/3, (2 records) The Legendary Fats Waller: RCA CPL1-2904€ Live at the Yacht Club: Giants of Jazz GOJ 1029 Live", Vol. 2: Giants of Jazz GOJ 1035 Piano Solos (1929-1941): (2 records) Bluebird AXM2-5518FATS WALLER (j2it0)-36-VARIATION VII: Theodore Wilson was born on November 24, 1912 in Austin, Texas. After playing locally in Detroit during the late 1920s, he moved to Chicago in 1930, where he worked with many local and nationally known musicians, including Louis Armstrong. He moved to New York in 1993, and soon achieved wide recognition in the first racially integrated combos led by clarinetist Benny Goodman. His style was largely 2 combination of olomonts from Fats Wallor and Earl Hines. He was later influenced by Art Tatum as well. Wison's playing exhibited a remarkable balance of melodic inventiveness and rhythmic. sophistication. His most identifiable tradomark was a uniquo touch which combined light and delicate articulation with a precise and infectious swing feeling. If Earl Hines was the Beethoven of early jazz pianists, Teddy Wilson was its Mozart. Wilson died in 1986, after a long and fruitful carser as solo pianist and loador of his own trio. His influence can be heard on pianists ranging trom Nat “King” Gole to Dave McKenna. Variation Vil begins with a typical 8-bar introduction: harmonically clear, melodically attractive and rhythmically swinging. Many right hand figures in the statement of the theme, such as, those found in measures 23 and 24 of the theme, have their roots in the music of Fats Waller and Count Basie. The broken tenths in the left hand are a particularly effective Wilson device. Although, Wilson had long enough fingers to reach any tenth. intorval comfortably, he often used such a left hand accompaniment, since it complemented his light touch at bright tempos. It perfectly creates the illusion of a full stride accompaniment, since each beat of the pulse is being stated. The melodic chromaticism in the second and thi choruses is similar to that heard in the music of swing era saxophonists such as Coleman Hawkins, TEDDY WILSON Ben Webster, Don Byas and Lester Young. In fact, i Earl Hines played “trumpet style" piano, it could be qued that Teddy Wilson played "saxophone style" piano, using longer eighth note lines and a more legato approach to phrasing. Wilson's left hand was always searching for harmonic surprises, such as those heard in measures 15 and 16 of the second chorus. This aspect of Wilson's approach can be clearly heard in the playing of Hank Janos. The second chorus is, surprisingly, shortened by two measures. There is an elision from the final chord into a return of the introductory material This time, however, a clever Wilson inspired ‘modulation leads from the original key of D to the key of GP. The “stop time” section (measures 17-24 of this third chorus) creates a good deal of rhythmic suspense, giving a feeling of increased momentum to the final twenty measures of the piece, The bluesy feeling in bars 25-28 of the third chorus is, agait related to Waller and Basie. The tinal eight measures illustrate the kind of musically perfect ending of which Wison was a master. A detailed melodic and harmonic analysis of this variation, as well as a ‘comparison with the original theme, will provide a Much oeeper appreciation of tne beautitul subleties in Wilson's style. ‘SELECTED WILSON DISCOGRAPHY The Teddy Wilson Piano Solos: CBS (French) 62876 Teddy Wilson: GNP Crescendo 9014 Sunny Morning: Musicraft 2008 Teddy's Choice: Jazzology 86 Elegant Piano (with Marian McPartiand}: Halcyon 106 -37-TEDDY WILSON 21%) ——~, -— gee. Ta mpBve ‘7 \~, 42.VARIATION VIII: Edward Kennedy Ellington was born on April 29, 1899 in Washington, D.C... After Louis Armstrong, Ellington is considered by many to have been the single most influential musician in the history of jazz. His importance as a composer and bandleader s0 monumental that his contribution as a pianist olten overlooked. Like Jelly Roll Morton, Ellington's pianistic approach was orchestral and, conversely, his piano playing often yielded surprisingly effective material for orchestration. His imaginative tnadic melody harmonizations, for example, were effectively played by three trombones as well a: variety of mixed groupings (trumpet, clarinet and ‘trombone, etc.) Ellinton's harmonic influences ranged from the blues and Tin Pan Alley to european impressionism (probably inspired by Willie “The Lion” Smith). Although Ellington discovered no radically new harmonies, his application of a wide range of existing harmonies to a blues based melodic context was far ahead of everyone. This was as true al the time of his, death, May 24, 1974, as it was during his first creative peak in the late 1990's. Variation Vill explores two of the many sides of Ellington's musical personality. The first section (measures 1-35) illustrates his uso of impressionistic harmonies, as heard in his 1953 piano recordings. Appropriately titled “Piano Reflections", this LP contains such pieces as Melancholia and Reflections in D. These pieces were recorded several years before Bill Evans’ earliest recordings as a sideman, and 6 years before the legendary Miles Davis “Kind of Blue” session. In this opening section the melody of the original theme is stated in a completely unaltered form, but the substitute harmonies completely transform its character. The five voice harmonic texture in measures 2, 4, 16 and 29 is characteristic of Ellington's writing for five reeds. The three voice toxturo in meacuros 7 and 8 (the three voices above the left hand bass line) is characteristic of Ellington's harmonizations for his three trombones ‘as well as various mixed groupings of three horns. DUKE ELLINGTON The second section of this variation (measures 36- 71) illustrates olements of Ellington's blues style. Many of the harmonic structures found in this, section are, according to most arranging and jazz harmony texts, unjustifiable. The exposed minor ninth intervals and the voicings of dominant chords with the fourth or major seventh in the melody sound convincing, however, if the dissonant melody notes can be analyzed as tonic, dominant or blue notes in the key of the music. Ihe dissonant notes must also follow thair most natural tendency of resolution, so that the combination of a particular dissonance and lis resolution sounds convincing to the listener. In this variation such dissonances perfectly convey the bittersweet bluesy quality heard in certain Ellington iooes (come as early as Uptown Downbeat from the 1930's). Thelonious Monk developed an entire vocabulary from this single element of Ellington's rich tonal palette ‘This second section has an AABA form in which the ‘A’ sections are in G minor (the relative minor of the ‘opening key of B® major) and the 'B' section is a variation of a simple 12-bar blues In C minor (the subdominant of G minor). Notice the 3/4 stride pattern used in tho loft hand throughout tho 'B" section. Ellington is arguably the most successful jazz musician to date, in terms of giving familiar or conventional material a fresh, revitalized treatment ‘SELECTED ELLINGTON DSCOGRAPHY Carnegie Hall Concert - 1947: Prestige 24075 (2 records) ‘The Duke Ellington Small Bands: Fantasy F-9640 Money Jungle: Blue Note BT-85129 Tho Pianist: Fantasy 9462 Piano Reflections: Capital M-11058 1984: Piano Solos: Flutegrove FL8 43-DUKE ELLINGTON ad lib. tempO Bye oye,-48-VARIATION IX: ‘Art Tatum is the greatest virtuoso pianist in jazz history. His technique was so incredible that few pianists are even capable of a poor imitation. For this reason, his major influence has been in the area of renarmonizing standard tunes, a practice which has been continued by such diverse pianists as Hank Jones, Bill Evans, Clare Fischer and Richie Beirach. Tatum was born on October 13, 1910 in Toledo, Ohio. He was almost competely ‘blind, which may partially oxplain his doop tactile knowledge of tho keyboard and his imperturbable beat. Tatum's harmonic approach greatly influenced the most advanced swing era saxophoists as well, particularly Don Byas. Although Tatum led his own trio for periods during the 1950's, he was at his creative best playing solo plano, where his harmonic imagination could soar without the restraints of preplanned chord progressions or tho responsiblity of leading @ bass player through his unpredictable labyrinth of substitutions and temporary modulations. The solo recordings of the late 1940's, and 1950's aro particularly recommended. Tatum died on November 4, 1955 in Los Angeles , California. Variation IX is a two-chorus arrangement which illustrates many of Tatum's devices which were used frequently in ballads and slow swing tempos. The quick, temporary modulation to distant keys, such as in measure 3 of the introduction, is one of Talum's, most imitated devices. This device, however, had already been pioneered by Fats Waller. In fact, Tatum used to answer questions about his influences with, "Fats Waller! That's where | come from’. Complex left hand breaks, such as those measures 3 and 7 of the first chorus, and double- time phrases, as in measures 4 and 16 of the first chorus, are’ heard frequently in Tatum’s ballad playing. The sextuplet pattern which leads to a ‘complex descending run in measures 11 and 12 of the frst chorus Is anoller favors device. Although few can approach Tatum's speed, those who attempt to transcribe some of his lines (at half speed, for accuracy) may be surprised at how naturally they fall under the fingers, especially when the most comfortable fingering has been discovered. ART TATUM ‘Ascending runs which end on the highest ‘c’ were used at least once in many of Tatum's solos, as in measure 28 of the first chorus. Sometimes this note was completely outside the respective chord, functioning more like a percussive exclamation point. It is interesting to note that Ellington sometimes endad pieces by playing the lowast noto on the piano, whether or not it had any relation to the key of the music. Lines which traverse the entire keyboard (measures 30 and 31 of the first chorus) aro also hoard froquently in Tatum's recordings. The passage found two measures from the end of this Variation is especially tricky, but extremely effective. The only way to play this passage with ease is to side the thumb of the right hand from black to white keys, carefully coordinating this movement with the fourth and fifth fingers of the left hand. After some regular slow practice this passage should fool more and more natural to the hands. Harmonic interpolations such as those in measures 5 and 15-16 of the first chorus are found throughout this variation. These harmonic variations should be caretully analyzed and compared to their respective counterparts in the original theme. The extensive melodic ornamentation of basic chord tones. should also be analyzed. These aspects of the variation should yield many harmonic and melodic patterns which should be practiced in all keys, in order to thoroughly assimilate the musical vocabulary. SELECTED TATUMDISCOGRAPHY Solo Piano: Capitol M-11028 Masterpieces: MCA 4019 (2 records) Piano Starts Here: Columbia PC-9655E 20th Century Piano Genius: Emarcy 826129-1 At the Crescendo, Vol. 1: GNP Crescendo 9025 ‘At the Crescendo, Vol. 2: GNP Crescendo $026 -47-(deita) ART TA’ ba ‘TUM ave Gstraight 46th)VARIATION X: Meade Lux Lewis was born on September 4, 1905 in Chicago, Mlinois. Although he first studied violin, he eventually concentrated on the piano. He was first inspired by pianist Jimmy Yancey, but soon demon- sirated a more personal style in his famous Honky. Tonk Train Blues. Such influontial original piecos estabished Lewis as one of the leading exponents of boogie-woogie during the 1830's and 1940's. He sometimes teamed up with Albert Ammons and Pete Johnson for three-piano extravaganzas, both for recording sessions and “live concerts at Carnegie Hall, He moved to Los Angeles in 1941 and remained an active performer into the 1960's. He died in Minneapolis, Minnesota on June 7, 1964. Boogie-woogie, along with “rhythm and blues", greatly influenced the development of early “rock ‘n' roll” in the 1950's. The use of the simple 12-bar blues form and repetitive bass vamps were central elements in many early rock hits. Since Meade Lux Lewis was essentially a blues player, this variation is based on the simple 12-bar blues form rather than the 32-bar form of the original theme. The melodic material of this variation, however, is taken directly fram the melody of tho original thomo, especially tho ascending triad in the first measure. Atter a typical Lewis introduction, the left hand settles into the shuttle pattem heard on Lewis’ Honky. Tonk Train Blues. “In order to play this vamp convincingly the left wrist must be completely MEADE LEWIS relaxed. Slow practice of the left hand alone, and practice of the left and right hand parts separately, Tay be necessary in order to match the rocking pluse which Lewis consistently achieved. The left hand part must be leamed so thoroughly that it can be played without directing any conscious aitention towards the pattern or the 12-bar harmonic form ‘Once this has been accomplished, it will be much easier to concentrate on the rhythm and phrasing of the right hand. In general, the left hand should be slightly softor than the right hand. The two hands should sound completely independent, while clearly conveying the same inexorably swinging beat. The choruses in which triplet quarter notes or sixteenth notes are played in the right hand will probably be the most difficult to master, but practicing tho right and left hand parts separately should help. Listening to Lewis’ recordings Is also essential, in order to hear how it sounds when these indepandent rhythms are played with the appropriate feeling. This sty ‘so much fun to play that it is well worth tho time necessary for mastering the rhythmic independence between the hands. ‘SELECTED LEWIS DSCOGRAPHY Barrel House Piano: Archive of Folk and Jazz Music 268 E Meade Lux Lewis: Stinson 25 Boogie Woogie Trio (with Ammons and Johnson): Storyville 4008 -53-MEADE LEWIS (3852) 6 > ee ¢ “84“55:56ae “87VARIATION XI: Pete Johnson was born on March 24, 1904 in Kansas City, Missouri. He played drums in high School, but Switched 10 piano in 1922. One of the most prominent boogie-woogie pianists, he was heard during the 1930's with such well know band leaders as Harry James, and often teamed up with Moado Lux performances. He appeared frequently with blues singer Joe Tumer, and was also featured in Norman Granz’s famous "Jazz at the Philharmonic" tours in the 1950's. He died in Buffalo, New York on March 23, 1967. Variation XI is based on the simple 12-bar blues form. It begins with a series of tremolo chords which are characteristic of many boogie-woogie pianists. The tremolo effect, combined with the chromatic harmonic movement, builds tension which is resolved on the IV chord’ at the beginning of measure 5. The laft-hand figure used throughout the opening choruses was one of Johnson's favorite pattorns. Much of the melodic material in this variation is based on the ascending triad heard in the beginning of the original thema. In this variation the first two notes of the triad are pickup notes, while in Variation X they occur at the beginning of the first measure of each phrase. By transposing the melody of the original theme to the key of D8, the use of motives, 58 PETE JOHNSON from the original theme throughout this variation will be made clear. Alter five choruses of blues (including the repeat of the first chorus) the left hand begins playing a tom of broken octaves which came to be known as ight to the bar’. Swing music was characterized by four equal beats or quarter notes in each measure. By repeating each note in a four-beat bass line, forming a pattern of broken octaves, the "eight to the bart boogie-woogie feeling is created. This final 32- tar section is based on the harmonic progression of the original theme. The boogie-woogie bass line in “he left hand clearly states the root movement of the chords heard in this progression. The right hand plays a kind of improvised line based on both the harmonic progression and the melody of the original theme. A careful melodic analysis will reveal a clear relationship between the right-hand line of this section and the original All ot You melody. ‘SELECTED JOHNSON DISCOGRAPHY Boogie-Woogie Mood: MCA 1333 Pete's Blues: Savoy Jazz SJC-414 Boogie-Woogie Trio (with Lewis and Ammons): Storyville 4006PETE JOHNSON =332)-60-VARIATION XII: Born in 1894 in Chicago, Illinois, Jimmy Yancey was one of the pioneers of the boogie-woogie style. Entirely self-taught, he played at small clubs and rent parties while working, from 1925, as ‘groundskeeper for the Chicago White Sox at Comiskey Park. He recorded frequently during the late 1990's and 1940's after his composition Yancey Special had been made popular by Meade Lux Lewis and Bob Crosby. Ho died in Chicago on September 17, 1951. Variation XII is, once again, based on the 12-bar blues form. Instead of tremolo chords, a myth "send-off" is used to build tension which, again, resolves on the IV chord at the beginning of measure §. This variation uses more of the chromatic motives from the melody of the original theme, although the ascending triad is also heard from’time 10 time. Notice the development of this ascending triad throughout the second 12-bar chorus. ‘The left-hand pattem used here, one of Yancey's favorites, is actually a pianistic_adaptation of the jazz drummers ride beat: This rhythm was usually played on the hi-hat cymbals by swing drummers, and on the larger ride cymbals by drummers. of modern styles. This particular departure from the standard “eight to the bar” left hand is a unique feature of Yancey's style. In variations X-Xil_ there are many unusual melody-harmony relationships which result from the use of blue notes or important notes in the tonic key. These notes are sometimes used as melodic pedal points. In the fifth chorus of this variation such an Unusual relationship occurs in measures 5 and 6. JIMMY JANCEY The chord in the loft-hand accompaniment is a D chord of, as implied by the blues context, D7. The right-hand melodic figures, however, emphasize the notes G and G#, These notes are, traditionally, the only two notes which do not belong to a D7 chord, even as extensions or altered tones. They sound convincing for two reasons. First of all, they are simply the result of the repetition of the pattem which has already been heard for four measures over the A chord, in which they are clearly functional chord tones. Secondly, they become clearly functional chord tones again in measures 7 and 8, where the A chord retums. Their use in this context illustrates the basic musical relationship of ‘eonsonance, dissonance and resolution. Measures 1- 4 propare the dissonance by repetition. Measures 7 and 9 resolve the dissonance simply by continuing the melodic repetition as the harmony changes. The final 32-bar section applies Yancey's left- hand figure to the harmonic progression of the original theme. The 4-bar “send-off” was used by Yanoey in blues pieces such as Yancay Stomp, but it works effectively in this new contex! as well. One of Vancey's trademarks was that of ending every pioco on an £7 chord, regardless of the key of the music. The effect never fails to create a mixture of su and humor. ‘SELECTED YANCEY DISCOGRAPHY In the Baginning: Jazzology JCE-51 Jazz, Volume 10 - Boogie-Woogie, Jump and Kansas City:' Folkways 2810 -63-JIMMY JANCEYVARIATION XIII: Thelonious Sphere Monk was bom on October 10, 41917 in Rocky Mount, North Carolina, Along with Charlie Parker, Dizzy Gillespie and Kenny Clarko, Monk was one of the Principle innovators in the development of the 1940's jazz style which became known as bebop. Although he recorded with Coleman Hawkins, Parker, Gillespie and other renowned jazz artists, nls most significant work was done as the leader of his own small groups from the early 1950's through the mid 1970's. He is arguably the most important of all the bebop composers, his compositions being models of thematic development, rhythmic perfection and melodic clarity. His piano playing was both deep and humorous, often exhibiting elements of stride piano: which were ingeniously biended with the harmonic and rhythmic complexities of his own vocabulary. He died on Foburary 17, 1982 in Englewood, New Jersey. Monk pioneered many piano techniques which were subsequently used by contemporary classical composors. These include special uses of the damper pedal for echo effects, the individual release of sustained chord tones known as the “negative arpeggio", and the ability to create the illusion ot pitch bonding (tochnically impossible on the piano) his masterful use of dissonance and harmonic density as expressive tools is siill unsurpassed in creative music. Variation XIII makes use of many of Monk’s most effective devices. Harmonically, the uso of half stops and parallel sixth intervals is characteristic. Notice that the articulation of the accompaniment is often {quite independent from that of the melody. The use of triplet quarter notes, as in measures 7 and 8, often implies subtle cross-rhythms which obscure the bar lines in the flow of the music. This rhythmic effect influenced such diverse improvisers as Sonny Rollins and Bill Evans. The pitch bending effect is found in measure 4 and elsewhere. It is achieved by striking two keys which are a half step or whole stop THELONIOUS MONK apart. By suddenly releasing one of the keys, the pitch seems to bend up or down to the note which is sustained, The uso of the whole tone scale is another ‘of Monk's favorite sounds, as heard six moasures ‘rom the end and throughout the piece. ‘After stating the theme in a free tempo, the second chorus is played in a moderately slow stride tempo. Monk was fond of playing stride, especially in solo ballad performances. Much of this second chorus makes uso of a double-time feel in the right-hand lines. Unless marked otherwise, the phrases should be played in a somewhat detached manner, each note being separately articulated. The end of the second chorus returns to the free rhythmic feeling of the opening. The final cadenza makes use of the whole tone scale, double-time swing feel, and characteristic dissonances such as the half step and minor ninth. Careful harmonic analysis will clarify the harmonic contexis in which Monk tended to use certain dissonances. The use of cross-rhythm and rhythmic rhyming should also be noted. These subtle rhythmic devices give Monk's music a strong sense of rhythmic. continuity and cohesion. ‘SELECTEDMONK DISCOGRAPHY Alone in San Francisco: Riverside 6163 Pure Monk: Milestone 47004 (2 records) Piano Solos: Archive of Fok and Jazz Music 336 Solo Monk: Columbia PC-9149 Thelonious Himself: Fantasy OJO-254 "Round Midnight (with Gerry Mulligan): 47067 (2 records) Milestone -68- ‘THELONIOUS MONK ad lib. tempo Poe ap (d= d #705, . . ee es7 -69-ae. a 70-2d [ib.tempo_3 > e343 ShVARIATION XIV: Earl "Bud" Powoll was born on Soptomber 27, 1924 in New York Gity. He was a protege of Thelonious Monk, who befriended and encouraged him fas @ young musician in the New York of the 1940's. Powell was one of the few pianists to incorporate Monk's dense harmonies into his own style. While playing with the Gootie Williams orchestra in 1943, he convinced Williams to record Monk's composition, "Bound Midnicht, which became one of the most well iknow jazz compositions of that decade. While Monk's innovations were largely rhythmic and harmonic in nature, Powell was the master of the long melodic line. His ability to weave measure aftor measure of compelling and unpredictable melodies has yet to be surpassed. Tragically, Powell was plagued by recurring physical and mental breakdowns, which were possibly the long term results of a serious beating by police whon he was working with William's orchestra. In spite of this, however, the truly amazing recordings which were made beweeen 1947 and 1953 clearly established him as one of the greatest pianists in jaz history. He also composed several pieces which have become Jazz standards, including Hallucinations (also known as Budo) and A Parisian Throughfara. Powell died on July 31, 1968. Variation XIV begins wit a typical 8-bar Powell injoduction. The statement of the 32-bar theme illustrates the dense harmonies favored by Powell, which he often combined with interesting octave lines, in the left hand. Notice the frequent contrary motion between the harmonized melody and the octave bass line The statement of the 32-bar theme should be compared to the original theme in relation to both harmonic alterations and melodic similarities or differences. Tho use of eyncopations and latin rhythms (even though they are played with a jazz fealing) substantially alters the character of the original AlLof You melody, while still retaining its basic content. The frst chorus ends wih a rigni-nand break, which leads to an improvisatory second chorus. Notice the use of chromatic passing tones and fombollishmonts in this 2-bar break and throughout the remainder of this variation. The particular manner in which these and other nonharmonic tones are used is strongly characteristic of the bebop siyle. The implication of substitute chords in the right hand lines should also be noted. At the end of the 2- bar break, for example, the melodic line implies F7, the tritone substitute for B7 (V in E major). In the sixth measure of the second chorus tho right-hand line implies E7, while the left-nand is playing C7. This minor third substitution is also common in the BUD POWELL bebop style. Tho uso of half-diminished chords should also be carefully noted. In measure 5 of the second chorus, for example, the right-hand line implies E7 while the left-hand chord completes the G# half-diminished sound. This relationship between half-diminished chords and the dominant chords whose roots are a major third below is also an important one in the bebop vocabulary. The use of these and other relationships has been expertly, systematized for teaching purposes by pianist Barry whe ig the greatest living exponent of the music of Bud Powell and Thelonious Monk. In addition to the use of chromaticism, as discussed above, the use of motivic development should also be analyzed. It should also be notod that triplets are used rather frequently in order to vary the rhythmic flow of the right-hand lines. Many bebop players fall victim to the temptation to play nothing but unbroken strings of eighth notes or, in impliod double-time, sixteenth notes. This weakness was avoided by Parker, Powell and Gillespie, the greatest masters of this idiom. The final chorus alternates between "block chords” and single note lines in the right hand. This right- hand use of the "block chord" style was used by Powell in such campositians as Strictly Confidential Notice the use of diminished seventh chords in the harmonization of these right- hand block chord lines. The diminished seventh chord whose root is a halt step below that of the leftthand chord is frequently used to harmonize the passing tonos in the molodic, line. The melodic use of the diminished seventh chord throughout this variation should be noted, as in measures 7 and 8 of the second chorus. Following the return to the theme, the introductory material is repeated. The piece is concluded with a typical Powell coda, ending on a major seventh chord with an augmented eleventh. A thorough analysis of the rhythmic, melodic and harmonic elements of variations XilI and XIV will provide much insight into the musical dynamics of the babop style. ‘SELECTED POWELL DISCOGRAPHY The Amazing Bud Powell, Vol. 1: Blue Note 81503E. The Amazing Bud Powell, Vol. : Blue Note 81504E The Gonius of Bud Powell: Verve VE2-2506 (2 records) Inner Fires: Elektra/Musician E1-60030 Jazz at Massey Hall, Vol. 2: Fantasy OJC 111 Portrait of Thelonious: Odyssey PC-36805 -72-BUD POWELL78-VARIATION XV: OSCAR PETERSON Oscar Emmanuel Peterson was born on August 15, 1925 in Montreal, Quebec, Canada. A prodigious talent, he began studying the piano at the age of five. He led his own trio in Canada during the 1940's, and was heard frequently on various Canadian radio shows. Jazz impresario Norman Granz was largely responsible for launching Peterson's international career through the legendary ‘Jazz at the Philharmonic" concerts and tours. Although Peterson has been heard more frequently as the leader of his own trio, he is unanimously esteemed as one of the greatest solo pianists in the history of jazz. He has concentrated more on solo performing since the 1970's, and has also appeared frequently with symphony orchestras. Peterson possesses an astounding technique, and is arguably the sole heir to the unrivalled legacy of Art Tatum. He displays an almost fierce sense of swing, a melodic vocabulary which combines elements of bebop with the blues, an extraordinary command of the "block chord” or “locked hands" style of melody harmonization and a tasteful use of chromatic harmony. Phineas Newborn is anothor important pianist whuse style makes eyually effeutive use vf these elements. Since Variation IX (Art Tatum) was composed in a moderately slow swing tempo, Variation XV emphasizes elements which are charactoristic of Peterson's moderately fast tempos. This should give a broader view of the wide range of vocabulary which this branch of the jazz piano tradition is known for. The piece bogins with a typically upbeat Potorson introduction. The 92-bar theme is an intricate melodic line. It makes extensive use of triplet eighth notes in a manner which is quite characteristic of Peterson's moderately fast tempos. The use of the fight thumb on the black keys which fall on the beat in measure $ and 10 of the theme, and in measures 2 and 3 of the second ending, will facilitate the execution of these passages. Nolice that this complex melodic line emphasizes many of the important notes heard in the melody of the original theme, The second chorus develops this single note line over a left-hand bass line which continues the 2- beat feeling of the theme. This type of ‘accompaniment can provide an effective contrast to the more traditional stride or bebop left-hand styles, Note that the bass line clearly implies the harmonic progression by emphsizing the chord roots on the downbeats of measures in which there is a change of, harmony. A 2-bar break introduces a new texture: the two hands playing in unison with the left hand doubling the righthand line two octaves below. This texture, frequently used by Peterson, is continued through the first sixteen measures of ‘this chorus. The last sixtegn measures of the chorus develop a two-hand “block chorc” or “locked hand" texture. The right hand plays a melodic line which is harmonized with four-note close position chord voicings, while the loft hand doubles the right -hand melody one octave below. This technique was pioneered by Milt Buckner and was later popularized by George ‘Shearing. The nonharmonic tones in the melodic line of this passage are, for the most part, harmonized by chromatic parallel movement or by tho uso of Yiminished seventh churds, as viscussed previvusly in relation to Variation XIV. The fourth chorus altemates between a full two- hand harmonic texture and a brief interjection of the stride technique. The introduction is used in place of the final eight measures of this chorus, since their harmonic progressions are surprisingly similar. ‘The piece ends with a rhythmically tricky coda which makes the listener wait for the final cadence. ‘SELECTED PETERSONDSCOGRAPHY My Favorite Instrument: Pausa 7069 Tracks: VervelMPS 821849-1 Trio in Transit Emarcy EMS2-405 (2 records) -79-OSCAR PETERSON (d=t04) > > 2 > Giamne) a a = ee IL ; a c x-81- sa—__1VARIATION XVI: Erroll Louis Gamer was born on June 15, 1923 in Pittsburg, Pennsylvania. He was entirely solf- ‘aught, and began playing piano by ear at the age of three.’ He moved to New York in 1944, where he performed mostly in solo and trio formats, although he can be heard on several of Charlie Parker's recordings’ from the late 1940's. Garner was the first jazz artist ever signed by the famed impresario Sol Hurok, who developed his international career from’ 1956 until 1962. He recorded many original compositions, the most famous of which is Misty (1958). He died in New York Gity on January 2, 1977. Garner was one of the most unpredictable and inventive of all solo jazz pianists. Although he was heard most often in a trio format, his unique gilts were best suited 10 solo playing. His penchant for sudden modulations, harmonic twists and turns, the insertion of phrase extensions or pedal points, and other devices seemed constrained when working with a bassist. Garner was one of the few pianists who could actually play with equal facility in any key. His sophisticated musical wit and his emotional ebullience probably inspired the appropiate title of one of his greatest solo piano recordinas. Attemoon of Variation XVI begins with the kind of topsy-turvy introduction which left Garner's audiences spellbound. It sounds almost completely random at the beginning, but eventually leads into the theme in a manner which seoms both suprising and inevitable. The 32-bar theme is stated with a combination of Ccho’ds and octaves in the right hand, a texture which Gamer used in a somewhat orchestral manner. The left-hand accompaniment is a Garner trademark. It is actually a pianistic adaptation of the “rhythm guitar’ accompaniment style epitomized by Freddie Green in Count Basie’s orchesira. The occasional offbeat accents are Gamer's own modification of the technique, and they add an aggressive edge to the driving pulso. In moacure 9-16 of this first chorus, the left hand plays a variation of the 3/8 ‘cross-rhythm found in the introduction, alternating ERROLL GARNER bass octaves and mid-register chords in a kind of twisted stride style. Notice the cycle of fifth movement in the left hand in measures 31 and 22 of the first chorus. The final C7 chord, the tritone substitute for F#7, creates tension which is resolved ‘on the downbeat of the first measure in the second lines against the rhythm guitar style left hand. Note the humorous use of dissonance in measures 5 and 6 of this chorus and throughout the piece. The texture of the righthand line is thickened during the last twelve measures of this chorus, as in the first eight measures of the first chorus. The third chorus follows a sucden modulation from the key of B to the key of E>. At the beginning of chorus the left hand states the melodic material, ‘accompanied by right-hand tremolo chords. Garner was one of the few jazz pianists who frequontly used the left hand in such a melodic manner. After a second modulation from E® to G the second half of the opening theme is restated. Note that the 2/8 cross: mythm in the left hand begins on the second eighth rote of the first measure, instead of on the first beat of the measure as in measure 9 of the first chorus. In the bravura ending the left hand further develops the cycle of fifth pattern, as heard in measures 31 and 32 of the first chorus, before the final harmonic cadence. the variation ends on a highly energetic note. Bravura is, in fact, one of the most aptly descriptive words in relation to the musio of Erroll Garner. The sheer joyousness which he expressed in every note he played represents a true highlight in jazz piano history. ‘SELECTED GARNER DISCOGRAPHY Afternoon of An Elf: Mercury 826457-1 Early Erroll: Hall of Fame Jazz 610E Concert by the Sea: Columbia PC-9821E -86-ERROLL GARNER (d=92)- >VARIATION XVII: Leonard Joseph Tristano was born on March 19, 4919, in Chicago, Ilinois. Weak-sighted from birth, he was totally blind by 1927. During his early years he played clarinet as woll as piano, and even led his own dixieland group. He moved to New Yotk City in 1946. Tristano was one of the central figures in the "cool jazz" movement which developed during the late 1940's. His pupils included such Tenowneo Improvisers us allu saophoist Lee Konitz and tenor saxophoist Wame Marsh. Disillusioned by the increasing commercialism in jazz, ne rarely appeared in public after 1960, preferring to teach privately in his New York studio. He died in Jamaica, Queens, New York on November 18, 1978. ‘The major thrust of Tristano’s contribution was he development of the long melodic line. hornlike legato phrasing was insired by tenor saxophonist Lester Young, although he was also a great admirer of Charlie Parker. The influence of Tristano's phrasing can be heard clearly in the playing of later pianists, such as Herbie Hancock and Richio Boirach. Tristano was also heavily involved in the use of cross-rhythm (the superimposition of triple or compound meters over an underlying meter of 4/4) and displacement of the beat (the emplrais of weak beats in order to imply a displacement of the downbeat or sirong beats). Tristano developed these techniques to a level of subtlety and complexity which is still unsurpassed in jazz. His uso of chromatic melodic embellishment, even approaching an entire chord from the chord which les a half step above or below, anticipated the work of John Coltrane ‘and others by several years. The complex 32-bar melody which begins this variation emphasizes the important notes in the molody of the original theme. Cross-thythms of 3/4, 3/8, 6/4 and 7/4 aro used throughout the variation, as in the 3/4 cross-thythm in measures 4-4 of the first chorus. A clear example of rhythmic displacement is heard in measures 23-25 of the second chorus, where beals 2 and 4 are accented rather than 1 and 3. Elsewhere, the unpredictable placement of the accents and the varied phrase LENNIE TRISTANO lengths obscure the &-bar sections of the 32-bar form, giving the entire piece a feeling of constant expansion. The fourth chorus superimposes a 3/8 cross- rhythm in "block chord" texture above the walking bass line in the left hand. This builds rhythmic tension, which is resolved in the single note lines during tho first and second andings of this section. ‘The only two-hand chords in the entire variation are heard al the very end, giving a sense of finality to the concluding harmonic cadence. Tristano was 2 master at walking bass lines which were melodically independent from the right hand, He also imbued these lines with a deop and compelling quarter note pulse. The dynamic of both hands should rise and fall independently with the shapes of their individual lines, creating an almost hypnotic offect. In addition to the melodic chromaticism heard in bebop, Tristano liked to approach entire chords chromatically from above or below. In measures 17 ‘and 18 of the second chorus, for example, the right- hand une outlines APE for six beats before reselving down to GS, which the left hand implies throughout this section. If bobop developed an approach through which any note could be played against any chord, the music of Tristano and Coltrane developed an approach through which any chord could be played against any chord. The only qualification is that the resulting dissonance be resolved in a musically convincing manner. ‘SELECTED TRISTANO DISCOGRAPHY Manhattan: Elektra/Musician 6024-1 Requiem: 2-Atlantic SD2-7003 (2 records) Descent Into the Maelstrom Inner City 6002 The Lennie Tristano Quartet: 2-Atlantic SD-7006 (2 records) -92-LENNIE TRISTANO (d 2120)VARIATION XVIII: Wiliam John Evans was born on August 16, 1929, in Plainfield, New Jersey. He stucied piano, flute and violin before attending Southeastern Louisiana College, where he received a Bachelor of Music dearee in 1946. After moving to New york City he attended the Mannes College for three semesters in 1955 and 1956. During the early 1950's he worked with Red Mitchell and Mundell Lowe before serving in the ILS. Army. In 1954 ha worked and recorded with clarinetist Tony Scott. Evans achieved international acclaim as a member of the Miles Davis Sextet in 1958. His most influential contributions to jazz, however, were made as the leader of his own trio between 1959 and 1951. This trio also featured bassist Scott LaFaro and drummer Paul Motian. Unlike most former piano trios, in which the bass and drums played an obviously subordinate accompanimental role, Evans’ functioned as independent but musically related voices. This approach had its earliest origins in the Ahmad Jamal trio, particularly the group in the 1950's with bassist Israel Crosby and drummer Vernell Fournier. The contributions of both these trios had a profound influence on the developments in jazz during tho 1960's. This can he heard most Clearly in the recordings of the Miles Davis groups between 1956 and 1966, the recordings of the Charles Lloyd quartet uring the late 1960's, and the recordings of the trios lad by Chick Corea and Keith Jarrett from the 1970's to the present. Although Evans led many other trios right up until his death in New York on September 15, 1980, many view this first trio as the most musically inspired and innovative. Evans’ solo style exhibits a clear and economic harmonic approach which incorporates @ good deel of impressionistic sonorities. voicings and voice leading have been widely imitated, but his most significant musical contribution actually lies in the area of rhythmic and motivic development. He combined rhythmic olomonte from Tristano and Konitz with an almost poetic development of clear thematic motives. The resultant style is unusually convincing and captivating from the listener's point of view, and few have realized its potential as well as Evans. Variation XVIII is a jazz waltz, a rhythmic style in which Evans was a true master. The 8.bar BILL EVANS introduction is developed above a dominant pedal point. The melody, beginning in measures, transposes the third note of the original theme down fone octave. This gives a fresh character to the melody of this variation, while retaining a clear connection with the original theme. The sudden modulation fo the key of E in measures 14 and 15 of this first chorus makes the return to the key of E® in moasure 17 sound unexpectedly refreshing. The final two measures of tho original 32-bar form are extended, beginning in measure 31 of this chorus, by an 8:bar dominant pedal point. This extension, which is actually a development of the introduction, is added to the ond of each chorus. ‘The first three phrases of the second chorus all end with quarter notes on the beat. This creates a subtle feoling of rhythmic repetition or rhyming, which ‘connects the three phrases in a developmental sense. ‘This technique is one of the most absorbing aspects of Evans’ style, giving his improvisations a clearly poetic feeling. This variation modulates, from chorus to chorus, between the two keys of ED andG. Evans was fond of such modulations in third relationships, especially in his solo recordings. This technique gives the ‘music a feeling of continuous harmonic development. The unconventional impressionistic ending in this variation is typical of the endings of such Evans compositions as Very Early. SELECTED EVANS DISCOGRAPHY ‘Alone: Vorvo V6-8792 Alone Again: Fantasy 9542 Spring Leaves: 2-Milestone 47084 (2 records) The Second Trio: 2-Milesione 47046 (2 records) ‘The Tokyo Concert: Fantasy 9457 The Village Vanguard Sessions With Jim Hall: 2-Milestone 47002 (2 records) Intermodulation: Verve UMV-2106 -98-Ss BILL EVANS bd (obs >+103VARIATION XIX: Clare Fischer was born on October 22, 1928, in Durand, Michigan. He played cello, piano and woodwinds before studying composition with H. Owon Reed at Michigan State University, where he received ‘a Bachelor of Music degree in 1951 and a Master of ‘Music degree in 1955. He toured the U.S. and Europe ‘as musical director of the highly acclaimed vocal group, the Hi-Los from 1957-1962. His unique harmonic approach, heard already in the Hi-Los recordings, strongly ‘influenced Herbie Hancock and other young pianists and arrangers. He arranged and conducted. the Dizzy Gillespie recording A Portrait lington, which featured an innovative big band Instrumentation of reeds, french horns and low brass in which Gillespie (as soloist) was the only trumpeter. A similar ensemble was used in 1962 fer one of Fischor's most imaginative recordings, Extension, which also featured tenor saxophonist verty Coker. Fischer is still arguably the most harmoni sophisticated pianist and writor in jazz, His ability te combine elements of the blues and jazz traditions with such diverse influences as Ellington, Konitz, Shostakovitch and Stravinsky is truly phenomenal, particularly when the result is always frash and personal, never academic or contrived. One of the more striking aspects of Fischer's approach lies in the melodic beauty of the individual lines which create his harmonic textures. More than any jazz writer since Ellington, his approach to harmony seems to be based on the superimposition of interdependent lines rather than the predictable use of chord voicings in a purely vertical sense. This often results in a continuous feeling of strong forward motion, in which dissonances are rarely completely resolved. The first chorus of Variation XIX should be closely compared to the original theme, The basic harmonic progression is stil intact, but the colorful lines of the inner harmonic voices create a complotoly fresh impression. The first six measures ere superimposed above a tonic pedal point, which Fischer uses trequently in ballads and waltzes. In the final measure of the first chorus a suspenseful movement to E+ is approached by parallel triads below the sustained tonic note. This resolves to D ‘major at the beginning of the second chorus, but the CLARE FISCHER right-hand melody superimposes an ascending Ft triad above the D major chord. This gives a feeling of strong forward motion to the harmony, and sounds though the first few measures of the chorus are in the two keys of F# and D simultaneously. in the sixth measure of the chorus the major seventh of the B chord resolves down by a half step to the minor seveth, changing the chord quality from major to dominant before the resolution to E minor. This use ‘of the major to minor seventh resolution is similar to the resolution of the suspended fourth to the major third, and is just one of many harmonic subtleties to be found in Fischer's rich harmonic vocabulary. Notice that in measure 7 of this chorus the left hand descends to F* and D* just when the right hand resolves the F# triad to a G triad. This continues, once again, the feeling of hatmonic tension and forward motion. The remainder of the second chorus delves still deeper into the harmonic possiblities implied in the original theme. The rhythmic intricacies are reminiscent of Tristanto or Lee Konitz, but the harmonic implications range from Charlie Parker and Bud Powell to Bartok, Berg and Shostakovitch. Following the second chorus, the variation closes with @ new reharmonization of the second half of the theme. The use of chromatically parallel harmonic structures which move independently from the melody is reminiscent of Ellington and Strayhorn. The final measures superimpose the augmented triads of A, G*, G and FF, comprising all twelve tones of the chromatic scale. ' The twelfth tone, which is, intentionally omitted from the end of the right-hand line, is heard on the bottom of the left-hand chord. Since it is also the tonic note, its repetition would be Tedundant. This closing sonority encourages the continuation of the music in the imagination of the listener. ‘SELECTED FISCHER DISCOGRAPHY Jazz Song: Revelation 31 ‘Alone Togother: scovory DS-820 Duality: Discovery DS-807 Extension: Discovery DS-902 -104-CLARE FISCHER ad lib. tempoaaa ONS —— 5 3S OTS —3—SS _— a meee Oe ee Oe OT BE ibe og 3 cam = — ee 107-—] = ae —VARIATION XX: James George Rowles was born on August 19, 1918, in Spokane, Washington. He began formal piano studies in 1982. While attending Gonzaga Univeristy in 1937 and 1938 he played with various groups in Spokane and Seattle. Encouraged by Ben Webster, he worked in Los Angeles with such jazz artists as Slim and Slam, Lester Young and Billio Holiday. During the 1940's he worked with Benny Goodman, Woody Herman, Les Brown, Tommy Dorsey, Peggy Lee and Saran Vaughan. Since then he has perfomed and recorded with a wide variety of jazz greats, including Chariie Parker, Stan Getz, Chet Baker, Zoot Sims, Al Cohn and Benny Carter. Fowles’ encyclopedic knowledge of tunes 1s already legendary, making him one of the most sought alter accomparists in jazz. His solo style, though less well known, is truly unique. It blends elements from the entire ‘history of jazz with a perfect balance of warmth, emotional depth and dry humor. He swings, as strongly as Waller or Garner, uses dissonance as effectively as Ellington or Monk, and tastefully incorporates quotes or allusions to’ familiar popular and jazz classics into his own improvisations. Howles’ wryly numorous use ot dissonance provides the inspiration for the introduction to Variation XX. Such possible references to Ellington ‘and Monk can bo heard throughout the 32-bar theme as well, with a touch of Fats Waller in measures 7 and 8. Measures 22 and 23 of this first chorus suggest Ellington's Dont Get Around Much Anymore, while measures 31 and 32 recall the closing bass line from Strayhorn’s Take the *A* Train. Rowies' masterful use of quotes is never trite or crude, but always @ natural outgrowth of his free spirited imagination responding 1o the musical moment. ‘The introduction returns as an interlude between the first and second choruses. The dissonant low register chords played in a 9/6 cross-thythm at the JIMMY ROWLES beginning of the second chorus create a somewhat tormented mood, leading to the enthusiastic right- hand dissonances of the break in measures 9 and 10 of this second chorus. The cycle of Il-V progressions in measures 15 and 16 is typical Rowles trickery, using a common device in a surprisingly fresh manner. Measures 17 amd 18 of this chorus allude to the old standard » and the Gisjunct triplets in measure 20 Seem to laugh mockingly at the reference. The rhythm in measures 24-28 refers to the Duke Jordan classic, Jord. As a typical Rowles witicism, the final measure of thie chorus quotes Fats Waller's Keepin’ Qut of Mischio! Now at the very moment in which the music is ‘modulating from the key of BP to the key of F. The third chorus is typical of Rowles' approach to stride piano, combining elements of Fats Waller and ‘Teddy Wilson. Measure 9 quotes You and the Niah! and_the Music, followed by a whole tone passage in measure 13 which is reminiscent of Coltrane. The subtle shift to the key of G° in the left-hand line ,6 measures from the end , is another typical Rowles surprise. The humorous ending is both *Dukish" and “Monkish*. Rowlos roal genius is his mastory of a musical economy of moans. Nothing is overstated, Nothing is done for mere show or technical display. ke the music of Red Mitchell, Jimmy Rowles is as lose as you can get to pure content. ‘SELECTED ROWLES DISCOGRAPHY Grandpaws: Choice 1014 Jimmy Rowies Plays Duke Ellington and Billy Strayhom: Columbia FC 37639 Special Magic: Halcyon 110 We Could Make Such Beautiful Music Together: Xanadu 157 -109-JIMMY ROWLES aint=118-VARIATION XXI: Cecil Percival Taylor was born in New York City on March 15, 1993. He stucied piano at a young ago and atiended the New England Conservatory of Music for tive years. Before forming his own group, he worked with Johnny Hodges, Lawrence Brown and Hot Lips Page. He first gained critical acclaim through an extended engagement with his quartet at New York's Five Spot during the late 1950's . Although he has continued to lead small groups since than, including such musicians as Steve Lacy, Jimmy Lyons, Albert Ayler, Roswell Rudd, Sam Rivers and Sonny Murray, Taylor has also achieved wide recognition for his unique solo performances. Taylor's solo style is overwhelmingly athletic, repeating and extending motivic groups of single notes, dissonant cluster harmonies and dense chords, all with blinding speed and boundless physical and emotional energy. His music is often more reminiscent of the work of such avant-garde composers as Xenakis and Stockhdusen than of the jazz piano tradition. His uncompromising dedication to such a personal approach, however, has assured him @ prominent place in the world of improvised music, including jazz. Taylor's work has ben at least inspirational, it not strictly influential, for most jazz pianists who have chosen to pursue a less traditional approach to improvisation. This group of pianists certainly includes Paul Bley, whose trio and solo playing has strongly influenced the free playing of Chick Corea, Keith Jarrett and Richie Beirach. Variation XI treats the melody of the original theme as a tone row. By transposing the melody of the original theme to the key of G®, the use of this melody in Variation XX! should become clear. The highest pitch in any chord or contrapuntal texture is taken directly from this melody. As in some twelve fone music, however, groups of notes are repeated {reely, as long as they remain in the same sequence in which they appear in tne original_melogy. Through the use of this kind of repetition, one complete statement of the melody has been extended into a fully developed composition. The only sections which are not derived strictly from the original CECIL TAYLOR melody are the two cadenzas (at the bottom of the second page and at the end of the piece) and the third measure of the coda (actually a retrograde of the second and third chords in the piece). There are basically four textures used in this variation, all of which are prominent in Taylors music: the opening dissonant block chord texture. a two part texture in which the two individual lint have a mirror rolationship (measure §, for example), a variation of this texture in which each of the two lines is thickened through the use of chromatically parallel major seventh intervals (measure 2 of the second page, for example), and rapid groups of single notes (tho bottom of the socond, page, for example). There are four large sections of music, each of which is built from one of the 8-bar Phrases of the original melogy. Here, of course, they are stretched out to comprise much longer musical statements. In performing this variation the indicated tempo should be adhered to until the rhythmic relationships within each phrase are clearly understood. Each measure contains a varying number of beats and difforont rhythmic groupings. No moter ingications were used, however, since this disrupts the visual flow of the music. Since there are no other instuments with which to coordinate ensemble playing, meter signatures are essentially Unnecessary. Of course, a slower tempo may be used while learning the piece, as long as the same tempo is maintained throughout. Once the piece becomes more familiar, however, the rhythmic gestures should take precedence over a strict adherence to a steady tempg. The performance on the cassette tapo, as well as the suggested Taylor recordings which ave listed below, should be helpful for purposes of Interpretation. SELECTED TAYLOR DISCOGRAPHY Fly! Fly! Fly!, Pausa 7108 Garder 2-Hat Art 1993/94 (D) (2 records) Silent Tongues: Arista-Freedom AL 1005 115+2432) (even 6th’s) mF ah ci P cresc. accel. CECIL TAYLORPed.adin, SEF — =as fact O% improvise Gin) | loro 2 possible repeat | ad libsVARIATION XXII: do Anthony Corea was born on June 12, 1941, in Chelsea, Massachusetts. He bagan studying music at the age of 6, and his father, also a musician, helped in getting his first professional work, During the early and mid 1960's he worked with Mongo Santamaria, Willie Bobo, Herbie Mann and Blue Mitchell. He first achieved wide recognition in the groups of Stan Gotz and Milos Davis during the lato 1860's . Since then he has led many of his own groups, ranging from the avant-garde quartet, Crel,"'o Me rock-intluenced Rotum to Forever Although Corea has used a wide variety of elecironic keyboards, he has maintained an ongoing relationship with the acoustic piano, both in solo and small group settings. His solo style includes elements from the impressionistic composers. Bartok, the european avant-garde, Bill Evans and McCoy Tyner. Although Tyner has performed primarily in a combo rather than a solo piano setting, nis influence on Corea and other contemporary pianists is unmistakable. Corea, however, has applied Tyner's use of pentatonic scales ina melodic manner which is perfectly suited to the conventional harmonic progressions of standard tunes. Variation XXII begins with a free form introduction, setting up the context of tho pioce in a “siream of consciousness" manner. Motives which are heard later in the theme are introduced intially in this introduction. The melodic sequence in the last four measures of the introduction establishes the meter. The 32-bar theme emphasizes many of the important notes heard in the original “All of You" theme. The ascending fourth intervals, pentatonic scale fragments, eross-rhythms, sixth intervals and chromatic embellishments are all prominent elements in Corea’s vocabulary. Once this theme has become tamiiar, the indvidual motivic eas May be traced back to the introduction. ‘One of the most sirking aspocts of Coroa's style is, his ability to constantly provide attractive CHICK COREA contrasting material in order to keep the sound of the pentatonic scales fresh and interesting. Many players who have been heavily influenced by McCoy Tyner tend to play nothing but a continuous stream of pentatonic scales, usually in predictable rhythms of constant eighth notes. Corea uses the diminished scale and chromaticism from the bebop vocabulary to create a richly varied style in which pentatonic scales and fourth intervals are only two of covoral important elements. In measure 4 of the second chorus the melodic line chromatically embellishes the seventh of the D7 chord which begins measure 5. The right-hand line in measure § comes from the D half step-whole step diminished scale. In measures 6 and 7 of this chorus, chromatic passing tones are used between the root and augmented fifth of the D7 chord in the descending melodic line. These examples illustrate a few of the many possibilities for providing contrast to the predominantly pentatonic context. In measures 9-12 of the third chorus, chromatically parallel chords based on fourth intervals are used fo go outside of the basic harmonic Progression. Ihrough smooth voice leading, however, the phrase ends back inside the progression, with the G'3#11 chord in measure 13, of this chorus. In measures 13-16 two cross- thythms occur simultaneously: the right hand plays a 5/8 cross-rhythm while the left hand implies 3/8. The rhythmic tension is resolved at the beginning of measure 17. After returning to the theme, the variation ends with a brief coda which is typical of Corea’s soio style. ‘SELECTED COREA DISCOGRAPHY iano Improvisations, Volume 1: ECM 1014 1no Improvisations, Volume 2: ECM 1020 Now He Sings, Now He Sobs: Pacific Jazz LN-10057 Trio Music, Live in Europe: ECM 827769-1 -120-CHICK COREA (4=132) a,VARIATION XXIII: Keith Jarrett was born on May 8 1945, in Allentown, Pennsylvania. He began studying piano at the age of three, giving his first solo concert at the age of seven. He also played vibes, drums and soprano sax. While still in high school he toured with Fred Waring and the Pennsylvanians, with whom he was featured as a solo pianist. After a briof period at the Berklee School of Music, in Boston, he moved to New York City. He worked with Tony Scott, Roland Kirk and Art Blakey before joining the Charles Lloyd quartet in 1966. He gained wide international acclaim as a membor of Lloyc's quartet | touring extensively throughout North America, Europe and the Soviet Union. After working for a short time with Miles Davis in 1970 and 1971 he began to devote himselt completely to leading nis own band and performing as a solo pianist. Jarrett’ musical scope is, perhaps, the broadest in piano history, encompassing work with his own combos, completely improvised solo piano concerts and the performance of classical music, both as a solo pianist and as quest soloist with leading orchestras throughout the world. It is both impossible and pointless to define a “Keith Jarrett style". The single Crifying factor in all of hie ranaerod pariarmancas is his total involvement in the momentary process of musical creativity. Variation XXII focuses on one particular vocabulary which is heard often in Jarrett’s solo recordings. It has much in common with the piano music of Chopin, both in terms of the melocic and harmonic content and the economic approach to the piano which avoids the use of tochniquo for its own sake. The introduction explores several_ harmonic implications of the tonic note, while establishing a musical flow of 3-bar phrases in 3/4 time. The use of 3-bar rather than 2-bar units results in formal sections of 12 moasuros rather than 8 measures. The third phrase, however, seems te naturally develop into 15 measures. The final three measures of the theme becomes, through elision, the first three measures of an interlude between the KEITH JARRETT first and second choruses. This interlude begins like the introduction, but modulates to D and , finally, to B, ‘Tho second chorus develops melodic and rhythmic elements from the first chorus in a thapsodic manner which retains the original harmonic form while exploring its potential for chromatic ‘ambaliishment and variation. The final section ot this second chorus brings on a more contemplative mood in which the flow changes to 2-bar units. The final measures return to 3-bar units, implying the broken eighth note rhythm of the introduction. This variation uses few harmonic extensions, and the harmonic texture rarely becomes thicker than four voices. Interestingly, however, there are still many harmonic possibilities inherent in the progression of the original theme which are heard for the first time in this variation. It is often moro challenging to create something using a transparent and simple musical context than it is to create something in a context where almost anything is One of the most striking aspects of ability to express alativaly possible. Jarratt's ‘solo performances profound musical ctatomonts with 2 limited vocabulary. Of course, the I self imposed or, ideally, imposed by the music itso. This variation might be considered, as several of the Chopin etudes, as a study in tone production and legato phrasing. Jarrett’s ability to produce a truly singing tone and the illusion of pure legato phrasing easily rivals that of tho groatost classical pianists. Listening to some of the recordings suggested bolow should be helpful toward attaining a clear interpretative conception. ‘SELECTED JARRETT DISCOGRAPHY Facing You: ECM 1017 The Koln uncer, ECM 1004/05 (2 records) Solo Concerts: ECM 1035/7 (3 records) Staircase: ECM 1090 (2 records) -126-KEITH JARRETT (d=108) Somecshat freely) (even Bth n -127-(Ped, ad lib) -129VARIATION XXIV: Richard Beirach was bor on May 23, 1947, in Now York City. He began studying classical piano at the age of six, and also studied briefly with Lennie Tristano in 1964. He received a Bachelor of Misic degree in music theory from the Manhattan School of Music in 1972, and also attended the Berklee College ot Music for a year. He first gained critical acclaim ‘as a member of the Stan Getz quartet between 1972 ‘and 1973, and also workod with Jeromy Sioig, Lee Konitz, Freddie Hubbard, Chet Baker, John Scofield and John Abercrombie during the 1970's. Beirach's most important musical contributions, however, have come from his solo performances and from collaborations with saxophonist Dave Liebman The two have worked together in various mus combinations since the late 1960's. They have Performed and recorded extensively in two ‘cooperative small groups: Lookout Farm during the 1970's and Quest during the 1980's. They have also toured and recorded frequently in a duo setting, where their special musical rapport can, perhaps, be best appreciated. Variation XXIV emphasizes two of their favorite devices: pedal point and the use of polychords (or triads which are superimposed above foreign bass notes). The introduction establishes the "A" pedal point, using a rhythm similar to Bei composition, Pendulum. The melody of the “AIL of You" theme is then stated, bit the rhythm is completely altered. The initial melodic rhythm used here is also similar to the one heard in Pendulum. the important notes in the melody are harmonized with triads in @ manner which seems to create a feeling of harmonic motion above the pedal point During the second eight measures of the theme the pedal point is changed to an independent bass lino. During the third eight measure section of the theme the pedal point changes from "A" to "F#" (the relative minor of A major). The ropeated rhythm in the last four measures of the theme makes the last section feel completely natural, ‘even though it is nine measures long. Tho dovolopmont following the theme is divided into two large sections. The first section develops Tristano-like single note lines above the opening RICHIE BEIRACH vamp. The increasing melodic tension leads to a departure from the pedal point toward the middle of the fourth page. The first section cadences on a low "D":, but this resolution is immediately interrupted by tho dissonant loft-hand chord just before the double bar on this page. This tension leads to the second large section of the development, which uses symmetrical scales and chromatically parallol harmonies in a manner which continues to build the tension. The dimax is reached through a long passage based on contrary motion between the triadic structures in tho right hand and the octaves in the left hand. The vamp returns on "G**, and a slight amount of harmonic tension is maintained. The harmony is mos! completely resolved when the pedal point returns to “A‘, just belore the return 10 the theme. The coda begins with a deceptive resolution to a pedal "F". The piece never actually returns to the key of A major, although the final chord might be heard as an A augmented chord with the third in the bass. Notice that the final bass movement from *D* to "C* is the same bass movement which divided the two larae sections of development (third line on the fourth page) It is interesting to note the common vocabulary between this variation and Variation XIX (Clare Fischer). It should be clear by now that almost any vocabulary can be related to standard tunes and conventional harmonic progressions (as in Vatiation XIX) or used in a more open style, as was done in this variation. The determining factor is the artists intention. The only limitations aro those which are determined by the level of mastery which the artist has over his materials. The ideal occurs when there is no interference between conception, technique and ‘expression ‘SELECTED BEIRACH DISCOGRAPHY Hubris: ECM 1104 Breathing of Statues: Magenta MA-0202 Elm: ECM 1142 -133-RICHIE BEIRACH (d= 442)Gb, rap)mp a5. al coda,Prealy, asa cadenza eae eee Nee —, ne 15 Wa pa - = = —Ee- Pe of - a g #7 =—-F- —_ b= beCONCLUSION In concluding this final volume of the series, two points should be emphasized. First of all, a detailed analysis of each variation in this volume will be necessary in order to fully assimilate the vocabulary which has been presented. Melodic-harmonic relationships, chromatic embel-lishments, voice leading and’ motivic development should all be carefully studied. The harmonic progressions _in ifferent variations should be carefully analyzed and compared with the harmonic progression of the theme. For more complete assimilation, incividual phrases or even entire choruses may be practiced in all twelve keys. Finally, now that 2 glimpse of the vast range of possibilities within the jazz tradition has been provided, each student must explore these vocabularies for themselves. Students should begin transcribing, analyz-ing and memorizing solos of their own choosing in order to make the music their ‘own. If this book stimulates continued interest in the rich heritage of the solo jazz plano tradition, then it will corve a usoful purpose There has been an incredibly wide range of musical expression during the first century of this tradition. Let us hope that ‘an appreciation of what has been left to us by the ‘reat pianists of the past will continue to stimulate the creative imaginations of contemporary jazz pianists far into the future. -140-APPENDIX PUBLISHED SOLO JAZZ PIANO MUSIC Boogie Woogie Beat ‘The Genius of the Jazz Giants | Love a Piano Jazz, Blues, Boogie and Swing for Piano Leeds’ Eight to the Bar Play Them Rags The Ragtime Folio Styles of Famous 88ers COLLECTIONS MCA Music (New York) Tho Big 9 Music Corporation (New York) The Big 3 Music Corporation (New York) MCAMMills (Melville, Now York) Leeds Music Corporation (New York) Mills Music (New York) Maliose Music Corporation (New York) Leeds Music (New York) INDIVIDUAL ARTISTS Count Bacic's Piano Styles Sincerely, Eubie Blake Brubeck, Volume 1 and 2 The Jazz Compositions of John Coates, sr Chick Corea: Children’s Songs Chick Corea: New He Sings, Now He Sobs K.D,: Compositions by Kenny Dorham The Genius of Duke Elington Bill Evans Piano Solos Bil Evans Plays Eroll Garner Piano Solos The Erroll Garner Songbook (Volume 1 and 2) Dick Hyman: Etudes for Jazz Piano James P. Johnson: Piano Solos ‘Bregman, Vocco and Conn (New York) Marks Musie/Belwin Mills (Melville, New York) ‘Shawnee Press (Delaware Water Gap, Pennsylvania) Shawnoe Press (Delaware Water Gap, Pennsylvania) Warner Brothers (New York) Advance Music (Rottenburg am Neckar, West Germany) ‘Second Floor Music (New York) The Big 3 Music Corporation TRO (New York) TRO (New York) Criterion Music Corporation (New York) Cherry Lane Music Co., Inc. (Greenwich, Connecticut) Kondor Music, Inc. (Delevan, New York) Clarence Williams Music (New York) “144Billie Kyle: Blues Piano Solos Jolly Roll Morton: Collected Piano Music The Genius of Andre Previn Hazel Soott: Boogie Woogie Wille Srrith Folio of Modern Piano Solos Jazz Masters: Art Tatum Tho Genius of Art Tatum Bily Taylor: Plano Solos Lenrie Tristano: Piano Solos The Genius of Fats Weller The Genius of Teddy Wilson Leeds Music ‘Smithsonian Institute Press/G. Schirmer (New York) The Big 3 Music Corporation Robbins Music (New York) Robbins Music (New York) Consolidated Music Publishers (New York) The Big 3 Music Corporation Charles H. Hansen (New York) Charles H. Hansen (New York) The Big 3 Music Corporation (New York) The Big 3 Music Corporation (New York) -142-SELECTED DISCOGRAPHY This final discography includes curently available solo recordings by pianists who have not, otherwise, been represented in this book. These recordings Mike Abene - You Must Have Been A Beauliful Baby: Stash ST-249 ‘Muhal Richard Abrams - Afrisong: India Navigation IN-1058 Get Allon - Home Grown: Minor Music MM-004 PSI (D) Kenny Barron - Kenny Barron At The Piano: Xanadu 188 Borah Bergman - New Frontier: ‘Soul Note SN-1030 PSI bie Blake - Blues and Ragtime: Biograph 10110 Ran Blake - Tho Bluo Potato: Nilesione 9021 Paul Bley - Tango Palac Soul Note SN-1090 PSI Jaki Byard - To Thom-To Us: Soul Note N-1025 PS} ‘Alone And Live At The Deer Head: John Coates, Jr. Omnisound 1015 Stanley Cowoll - Musa-Ancestral Streams: Strata-East 19765 Bill Dobbins - Dedications: Omnisound 1036 Konny Drew - Everything | Love: SteepleChase SCS-1007 Mitchell Forman - Childhood Dreams: Soul Note SN-1050 PSI Davo Frishberg - Live At Vine St: Fantasy F-3638 Onaje Allan Gumbs - Onaje: SteepleChase 1069 ‘Al Haig - Piano Interpretations: Sea Breeze SB-1008 Roland Hanna - Swing Me No Waltzes: Storyville 4018 Andrew Hill - Faces Of Hope: Soul Note SN-1010 PSI ‘Ari Hodes - Down Home Blues: Jazzology JCE-74 Hank Jones - Solo Piano: Savoy Jazz SJL-1124 should provide yet another source of musical inspiration for aspiring jazz pianists Duke Jordan - Midnight Moonlight: SteepleChase SCS-1143, Roger Kellaway - Ain't Misbehavin’: Choice/Bainbridgo CRS-6833 ‘Art Lande - The Eccentricties of Earl Dant: 1750 Arch 1769 Dave McKenna - Giant Strides: Concord Jazz CJ-99 Marian McPartland - Willow Creek And Other Ballads: Concord Jazz CJ-272 Chuck Marohnic - Permutations: SteepleChaso SCS-1155 Mike Melillo - Red Record VP) And Well: 188 PSI Tete Montoliu - Boston Coneort: 2-SteepleChase SCS-1152/3 (2 records) Michel Petrucciani - Oracle's Destiny: Owt-032 PSI Paul Smith - The Art Tatum Touch: Outstanding 004 Martial Solal - Bluesine: ‘Soul Note SN-1060 PSI Frank Strazzer Glendale 6002 Relaxin’: Ralph Sutton - Off The Cutt: Audiophile 163. McCoy Tyner - Echoes Of A Friend: Milestone 9055 George Wallington - Virtuoso: Denon C38-7428 Cedar Walton - Piano Solos: Clean Cuts 704 Jessica Williams - Portraits: 2-Adelphi 5005 (2 records) Mary Lou Williams - History Of Jazz: Folkways 2860 Mixe Wofford - Afterthoughts: Discovery 784 Denny Zeitlin - Soundings: 1750 Arch 1770 143-ABOUT THE AUTHOR Bill Dobbins ic currently Associate Professor of Jazz Studies and Contemporary Media at tho Eastman School of Music in Rochester, New York. His musical background ranges from performances with Lucas Foss, Pierre Boulez and the Cleveland Orchestra to extended engagements as pianist with some of todays leading jazz artists. He has performed and recorded with Phil Woods, Red Mitchell, Al Cohn, Nick Brignola, John Svolivld and Dave Liebman. As composer and arranger he has wrllten special arrangements for Barry Harris, Red Mitchell, Eddie Daniels, Low Soloff, Dave Liebman, the ORF Big Band (Austrian Radio), the Tolvan Big Band (Malmo, ‘Sweden), the NDR Big Band (Hamburg Rado) and the National Jazz Ensemble. Most recently his composition Still the Blues (After All These Years) was recorded by Jim Pugh and Dave Taylor on The Pugh-Tavior Project (CD DMP 448). ‘As an author he has had many articles published by Down Beat, Music Educators and Jazz Educators Joumal. He is also the author of Jazz Awanging and Composing: A linear Approach. He has given arranging and improvisa-tion workshops throughout the U'S., Canada, France, West Germany, Austria, Spain and Denmark. He has per-formed throughout the U.S., Canada and Europe aS a solo pianist and as quest artist with high school and college jazz ensembles. BILL DOBBINS DISCOGRAPHY (CHAMBER MUSIC International Gaudeamus Competition 1972: Gaudeamus Foundation 72001 (Dutch) Tho Eastman Wind Ensemble Crest CBDNA-77-4 AS ASIDEMAN Gerry Niewood - Siow Hot Wind: A&M SP-3409 Tom Lells - “And In This Comer... Inner City 1090 Stove Harrow Quintet - Wish: Mark MJS 67584 Bil Goodwin - Solar Eneray: Omnigound Jazz N-1029 Hal Crook - Hello Heaven: Omnisound Jazz N-1039 ASALEADER Textures - The Bill Dobbins Jazz Orchestra: Advent 5003 Roads Traveled and Days Gone By: Mark MJS 57586 Dedications (solo piano): Omnisound Jazz N-1036 Where One Relaxes (with Red Mitchell): Omnisound Jazz N-104t Robert Schumann - Chamber Music: Vox Box SVBX 5111 ‘Alec Wilder - Seven Octet: Pantheon PRN-2031 Music from Eastman (Wilder, Blank): CRI SD 535 Nick Brignola Qaurtet - Signels...n From Somewhere: Discovery DS-893 ‘Steve Brown - Good Lines: Cafe L-731 Equinox Jazz Quintet Five Aces: Mosquito MOS 009 (French) Dave Liebman/Tolvan Big Band - Guided Dream: Dragon DRLP 120 (Swedish) The Bill Dobbins Quartet Live At Peabody's Cafe: North Coast Jazz NCJ-3 Glass Enclosure: Mark MJSS7614 Solar Energy: Mosquito MOS 008 (French) B.D: Equinox Jazz Enterprises 004 (French) -144-Methods by The Be-Bop Era Vols. 1, 2, 3 The Blues Modal and Contemporary Patties "Cookin" Modem Jazz Dusts Vol. 1 ‘Smokin’ Modern Jazz Duets Vol. 2 Berger: Contemporary Jazz Studies, Vols. 1, 2, 3, 4 Contemporary Jazz Rhythms Vol. 1 & 2 Contemporary Jazz Duets Bower: Encyclopedia ot improvisational Rhythms & Patter Chesky: Contemporary Jazz Rock Rhythms Advanced Jazz Rock Rhythms ‘Contomporary Jazz Fock Pattoms Vols. 1 & 2 Contemporary Keyboard Exercises Complete Coliechio: Nu-Art Technical Exercises Colin: ‘Complete Jazz Duets Duets for Cool Sounds Encyclopedia of Scales Davis: ‘Miles Davis Interpretations Deutsch: Lexicon of Symmetric Scales Improvisational Concepis and Jazz Patterns Dobbins: ‘The Contemporary Jazz Pianist, Vols. 1, 2, 3 Farmer: ‘and Structural improvisation S Guide to Creative Modal Jazz Interpretation ellin: Jazz Saxophone, Vols. 1, 2,3 Write for catalogue