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Appendix A: Glossary of Terms and Notations

Terms

Accentuation. Phrases can be beginning-, end-, un-, or double-accented. These names reflect where

metrical accents fall within the phrase. When naming the accentuation of a phrase, it

is only necessary to consider beats at the level of meter referred to by the phrase-type:

four-bar downbeats for 4-phrases, two-bar downbeats for 2-phrases, etc. For example, a

beginning-accented 4-phrase overlaps one four-bar downbeat at or near its beginning;

an end-accented 4-phrase overlaps one four-bar downbeat at or near its end; an un-

accented 4-phrase overlaps nofour-bar downbeats; and a double-accented 4-phrase

overlaps two four-bar downbeats, one at or near its beginning, and one at or near its

end. Phrases are normatively beginning-accented.

Anacrusis. The portion of a beginning- or double-accented phrase before its first hypermetrical

downbeat.

Arrangement. The set of choruses and any additional material used in a particular realization.

Typical arrangements include an opening statement of the theme; a series of variation

choruses, during which players take turns improvising over the harmony and meter of

the scheme; and a closing statement of the theme. Typical additions are an

introduction, coda, or interludes between choruses.

Chorus. One cycle of a scheme. Most performances include multiple choruses.

Combined phrase. A coherent segment of melody that does not occupy a metrical time-span, but

rather a combination of two smaller metrical time-spans, because it straddles a

hypermetrical downbeat. Named according to the metrical time-spans that it occupies,

e.g., 4+2, 2+1, etc.

Formula.A segment of melody that is part of a musicians or styles basic vocabulary, and that

blends with its surrounding context. Distinct from a motive.

Grouping structure. The organization of the melodic surface into a hierarchy of phrases.

Jazz. In this dissertation, jazz refers to that subset of all jazz in which performance depends on

the realizationof a scheme, usually involving improvisation. This characterizes most jazz


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Appendix A: Glossary of Terms and Notations 223

of the 1940s and 50s, and the lingua francastyle of jazz that forms the basis of jazz

pedagogy.

Meter. A regular pattern of strong and weak beats, superimposed on the musical surface by the

listener on the basis of informed expectation. These beats form a hierarchy spanning

multiple levels, designated by the beats time-span at that level: quarter-note level,

half-note level, etc. Hypermeter and hypermeasure refer to levels above the

measure-level, e.g. the two-measure or four-measure level.

Motive.A melodic figure that is short, contextually distinct, and repeated. Distinct from a

formula.

Phrase. Except in the case of the combined phrase, a phrase is a coherent segment or set of

segments that occupies a metrical time span.

1-phrase. A phrase that occupies a measure.

2-phrase. a two-bar hypermeasure of the scheme.

4-phrase. a four-bar hypermeasure of the scheme.

8-phrase. an eight-bar hypermeasure of the scheme.

Phrase overlap. The situation that results when a pair of successive phrases are linked together by

a shared note on a hypermetrical downbeat, called a pivot note, which both ends the

first phrase and begins the second.

Phrase rhythm. The interaction ofgroupingstructureand meter. When grouping structure supportsmeter, phrase rhythm is in a state of consonance; when they disagree, phrase rhythm is

in a state of dissonance.

Pivot note. See phrase overlap.

Prefix. A short, closed segment, generally less than a measure in length, that begins a 4-phrase.

Sounds like it sets up or leads to the following segment.

Prosody. The pattern of measure-level metrical accents that a segment overlaps. Shown with

numbers that indicate the strengths of the accents. For example, a phrase that overlaps

a four-bar downbeat, one-bar downbeat, and then a two-bar downbeat, has the prosody

[412], generally shortened to [42]. Dashes show the overlap of half-note beats at the

beginning or end of a phrase, e.g. [-42].

Realization. The instantiation of a schemein performance, usually containing multiple choruses.

A realization involves three distinct layers: the original scheme; any modifications to


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the scheme used for the particular performance and retained in every chorus; and one-

off modifications to the scheme improvised or implemented by one performer, or

spontaneously coordinated among an ensemble through non-verbal cues.

Rhyme.Correspondence between the prosodyof different phrases. End-rhyme means that two

phrases end at the same point within a metrical time-span, e.g. beat II.1 of a

hypermeasure; beginning-rhyme means they begin at the same point. Can be

reinforced by rhythm or melody, but these are not strictly necessary for rhyme. When

plausible, rhyming phrases ought to be grouped together into the same larger phrase.

Scheme. The basis for a jazz improvisation, consisting of a metrical-harmonic outline, and often

a melody. Performed as a realization.

Segmentation. The division of a melody into discrete segments, often forming a hierarchy in

which smaller segments form larger segments. Depends primarily on four criteria: IOI

(inter-onset-interval), strong beat, large melodic interval, and continuity or

discontinuity of motive.

Suffix. A short, closed segment, generally less than a measure in length, that ends a 4-phrase, the

remainder of which is a single long segment. Sounds like an afterthought to the

preceding segment.

Tactus. According to Lerdahl and Jackendoff (1983), the level of beats that is conducted and

with which one most naturally coordinates foot-tapping and dance steps (71). Ideallybetween 60 and 120 beats per minute (London 2004: 2930). In jazz, generally the

quarter-note. Jazz is notable for the freedom with which performers may divide the

tactus, into unequal (swing) eighth-notes, triplets, and sixteenth-notes, often within a

single phrase.

Tactus-shift. When the tactus seems to move from one metrical level to another during

performance. In jazz, this most often occurs at slow tempos, when the tactus seems to

shift from the quarter-note to the eighth-note level (double-time feel).

Tail. The portion of an end- or double-accented phrase after its last hypermetrical downbeat.

Theme. The schemes melody. Not to be confused with scheme.


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Notations

Prosody Prosody w/ phrase overlap Prosody w/ phrase combination

1-phrase 2-phrase, beginning 2-phrase, ending

Before a two-bar downbeat: Before a two-bar downbeat:

After a two-bar downbeat: After a two-bar downbeat:

4-phrase, beginning 4-phrase, ending Prefix/suffix

Before a four-bar downbeat: Before a four-bar downbeat:

After a four-bar downbeat: After a four-bar downbeat:

8-phrase, beginning 8-phrase, ending

Before an eight-bar downbeat: Before an eight-bar downbeat:

After an eight-bar downbeat: After an eight-bar downbeat:

Pivot note (phrase overlap) Beginning or end of a combined phrase

The bracket at the beginning of a combined phrase

indicates the time-span occupied by the first portion

of the combined phrase; the bracket at the end

similarly indicates the time-span occupied by the last

portion.

421-2421 2421


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226

Appendix B: Transcriptions and Analyses

Table ofContents

Chapter 3: Thirty-Two-Bar AABA

Davis, Oleo {7} p. 227

Parker, Moose the Mooche {18} 229

Parker, Yardbird Suite {20} 230

Parker, Dewey Square {21} 231

Powell, Wail {28} 232

Chapter 4: Thirty-Two-Bar ABAC

Getz, Pennies From Heaven {16} 234

Parker, Ornithology {19} 238

Evans, My Romance {14} 242

Chapter 5: Twelve-Bar Blues

Parker, Chi Chi {24} 245

Adderley, Freddie Freeloader {1} 247

Rollins, Tenor Madness {30} 249

Chapter 6: Metrically Atypical Schemes

Rollins, Airegin {29} 252

Evans, Witchcraft {10} 255

Brown, Ill Remember April {4} 257

Chapter 7: Extensions

Coltrane, My Favorite Things {6} 259


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Transcriptions and Analyses for Chapter 3 (AABA) 227

Oleo

By Miles Davis

Copyright 1959 JAZZ HORN MUSIC CORP.

Copyright Renewed

All Rights Controlled and Administered by SONGS OF UNIVERSAL, INC.

All Rights Reserved Used by Permission


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Wail

By Earl Bud Powell

Copyright 1953 (Renewed 1981) EMI LONGITUDE MUSIC

All Rights Reserved International Copyright Secured Used by Permission


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Transcriptions and Analyses for Chapter 4 (ABAC) 234

Pennies From Heaven

From PENNIES FROM HEAVEN

Words by John Burke

Music by Arthur Johnston

Copyright 1936 by Chappell & Co.

Copyright Renewed

International Copyright Secured All Rights Reserved


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My Romance

From JUMBO

Words by Lorenz Hart

Music by Richard Rodgers

Copyright 1935 by Williamson Music and Lorenz Hart Publishing Co.

Copyright Renewed

All Rights in the United States Administered by Williamson Music

All Rights outside the United States Admin. by UniversalPolyGram Intl Pub., Inc.



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Transcriptions and Analyses for Chapter 5 (Twelve-Bar Blues) 245


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Freddie Freeloader

By Miles Davis

Copyright 1955 JAZZ HORN MUSIC CORP.

Copyright Renewed

All Rights Controlled and Administered by SONGS OF UNIVERSAL, INC.



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Transcriptions and Analyses for Chapter 6 (Metrically Atypical Schemes) 252

Airegin

By Sonny Rollins

Copyright 1963 Prestige Music

Copyright Renewed



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Witchcraft

Music by Cy Coleman

Lyrics by Carolyn Leigh

Copyright 1957 MORLEY MUSIC CO.

Copyright Renewed and Assigned to MORLEY MUSIC CO. and NOTABLE MUSIC CO., INC.

All Rights for NOTABLE MUSIC CO., INC. Administered by CHYSALIS MUSIC



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Transcription and Analysis for Chapter 7 (Some Pedagogical and Analytical Extensions) 259

My Favorite Things

From THE SOUND OF MUSIC

Lyrics by Oscar Hammerstein II

Music by Richard Rodgers

Copyright 1959 by Richard Rodgers and Oscar Hammerstein II

Copyright Renewed

WILLIAMSON MUSIC owner of publication and allied rights throughout the world



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Transcription and Analysis for Chapter 7 (Some Pedagogical and Analytical Extensions) 260

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