Pub Date : 2019-08-29DOI: 10.1093/OSO/9780190604578.003.0005
K. Waters
The compositions of Booker Little, Joe Henderson, and Woody Shaw use characteristic harmonies of tonal jazz (major seventh, minor seventh, dominant seventh) that nevertheless progress in ways that do not always reflect earlier tonal jazz practices. Booker Little’s career, if short-lived, offered compositions with formal and harmonic ambiguity. His “We Speak” (Out Front) combines the faster harmonic rhythm of postbop jazz with slower harmonic rhythm characteristic of modal jazz, and his three-horn scoring reflects the manner in which Little negotiates both. Joe Henderson’s “Punjab” (In ’n Out) uses axis progressions in an 18-bar form with built-in metrical ambiguities. Woody Shaw’s “Beyond All Limits” (Larry Young, Unity) exhibits a melodic structure characterized by pentatonic and perfect fourth designs, appearing within an AABA form consisting of 14-bar A sections and a 12-bar B section.
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Pub Date : 2019-07-18DOI: 10.1093/oso/9780190604578.003.0006
K. Waters
The chapter supplies three areas for further inquiry into postbop composition: tonal vestiges that connect to earlier tonal jazz practices (through bass motion by descending fifth and descending half step); double axis progressions; and contrapuntal organization. It then describes the evolution of postbop jazz through the notion of schema—a prototype, exemplar, or conventional grammatical pattern. For example, the major third axis schema originally appeared within the constraints of tonal jazz conventions (“Smoke Gets in Your Eyes,” “Have You Met Miss Jones”), but once it penetrated to deeper levels of structure (John Coltrane, “Giant Steps”) it became an agent of syntactic change, giving postbop composers a potent point of departure to bypass tonal jazz frameworks.
本章提供了三个领域，以进一步探讨后波普作曲:调性痕迹，连接到早期的调性爵士实践(通过低音运动下降五和下降半步);双轴级数;对位组织。然后通过图式(原型、范例或常规语法模式)的概念描述后波普爵士乐的演变。例如，主要的第三轴图式最初是在调性爵士惯例的约束下出现的(“Smoke Gets in Your Eyes”，“Have You Met Miss Jones”)，但一旦它渗透到更深层次的结构中(约翰·科尔特兰的“Giant Steps”)，它就成为了句法变化的代理人，为后波普作曲家提供了一个绕过调性爵士框架的有力出发点。
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Pub Date : 2019-07-18DOI: 10.1093/oso/9780190604578.003.0001
K. Waters
Innovations in postbop jazz compositions of the 1960s occurred in several dimensions, in the areas of harmony, form, melody, and cadence. Postbop composers abandoned or muted many techniques of tonal jazz, the jazz standards and original compositions that defined small-group repertory through the 1950s: single-key orientation, schematic 32-bar frameworks (in AABA or ABAC forms, often with tonal cadences at the ends of constituent 8-bar sections), and tonal harmonic progressions. Attributes of postbop compositions rely on a series of family resemblances that include axis progressions (harmonic, melodic, or bass sequences by a single interval, such as major third or minor third); absence or suppression of functional harmonic progressions; common structure progressions; bass pedal points beneath shifting harmonies; and harmonic rhythm with chord changes every half-measure, measure, or every two measures. The last feature distinguishes postbop jazz from that of so-called modal jazz, which relies on a slower harmonic rhythm. One of the significant precedents for postbop jazz is to be found in John Coltrane’s 1959 composition “Giant Steps,” which provided potent alternatives to more conventional tonal designs.
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Pub Date : 2019-07-18DOI: 10.1093/oso/9780190604578.003.0003
Keith Waters
Hancock’s postbop composition provided some of the signature sounds of the 1960s. “King Cobra” (My Point of View) relies on both major third and minor third axis progressions, often using a slash-chord vocabulary; several devices at the end of the form enhance its tonal and formal ambiguity. “Dolphin Dance” (Maiden Voyage) maintains an even heightened sense of tonal and formal ambiguity. It begins with major third axis progressions embellished through harmonic substitutions and elaborations; despite local harmonic cadences and goals, the composition suppresses a single-key orientation. “Jessica” (Fat Albert Rotunda) relies on a perfect fifth axis progression in its skeletal melody, and its horn scoring reveals significant details of Hancock’s harmonic vocabulary and harmonic substitution techniques.
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Pub Date : 2019-07-18DOI: 10.1093/oso/9780190604578.003.0004
K. Waters
Chick Corea’s prolific compositional career began in the 1960s, even if he likely went on to greater acclaim in the 1970s with compositions such as “La Fiesta” and “Crystal Silence.” “Windows” (Inner Space) uses ascending perfect fifth progressions as a large-scale harmonic frame for the composition, although harmonic substitutions expand that frame, and the skeletal melody (often appearing on metrical downbeats) creates longer underlying lines. A comparison of the recording with Corea’s copyright deposit shows a degree of evolution in the composition, particularly through harmonic inversions and stepwise bass motion. “Inner Space” (Inner Space) uses a melodic major third axis progression (in the introduction and later in the composition), but particular harmonic substitutions suggest a second-order grammar in which the progressions do not shadow the melodic axis. As with many Corea compositions from the 1960s, a centrifugal harmonic progression closes with an expanded harmonic turnaround to return to the m. 1 harmony. Three versions of “Song of the Wind” (Complete “Is” Sessions, Joe Farrell Quartet, Piano Improvisations vol. 1) illustrate Corea’s move to a more complex harmonic language, using polychords and expanded pedal points. Despite stark differences between the more progressive harmonic language of “Song of the Wind” and his earlier “Windows,” a comparison of the melodic designs of both jazz waltzes indicates some overall structural similarities.
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