an analysis of the improvisational techniques of gene harris
TRANSCRIPT
An Analysis of the Improvisational Techniques of Gene
Harris4-4-2018
An Analysis of the Improvisational Techniques of Gene Harris Gianni Bianchini Universidad San Francisco de Quito
DOI: https://doi.org/10.18122/univ_pres/8/boisestate
By Dr. Gianni Bianchini
• From the 1989 record Listen Here!.
Don't Be That Way (excerpt)
Gianni Bianchini
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Why I wrote this document
• Harris’s use of diatonic language in his improvisation
• The innate ability to generate energy throughout Harris’s solo
• Harris’s largely forgotten presence by many jazz fans and some jazz musicians.
Presenter
Presentation Notes
There were multiple reasons for me to compose this document. I have been listening to Gene Harris since I was a child and have always been captivated by his use of diatonic language in his improvisation along with his innate ability to create energy throughout his solos. As I continued to research Harris, I discovered that he was dismissed by many critics, has minimal literature written about his work and is largely forgotten by most jazz fans and even some jazz musicians when regarding the upper echelon of jazz pianists. All of these factors inspired me to write my dissertation about him. I hope by the end of this lecture will have will provided a greater appreciate for and understanding of Gene Harris’s improvisational prowess.
Analyzed Solo Transcriptions
• With The Three Sounds – “Between The Devil And The Deep Blue Sea,”
from the 1962 (released in 1986) record, Babe’s Blues.
– “My Heart Stood Still,” from the 1962 record Anita O’Day And The Three Sounds.
Presenter
Presentation Notes
-To accurately identify Harris’s improvisational techniques I have transcribed five solos. They are all found in the appendix of the document. The first two transcribed solos are from Harris’s work with a group containing childhood friend Bill Dowdy on drums and Andy Simpkins on bass called The Three Sounds (which was a group from 1956-1970). The two analyzed solos from Harris’s work with The Three sounds were both recorded in 1962. -The first transcription is Harris’s solo on “Between The Devil And The Deep Blue Sea” from the record Babe’s Blues.( this record wasn’t actually released until 1986, which is one of the many reasons that Harris’s growth was stifled in the public) -The second transcription is Harris’s solo on is “My Heart Stood Still” from the record Anita O’Day And The Three Sounds.
Analyzed Solo Transcriptions (continued )
• With Ray Brown – “Exactly Like You,” from the 1984 record Soular
Energy. – “Don’t Be That Way,” and “Blues For Jezebel”
both from the 1989 record Listen Here!.
Presenter
Presentation Notes
- The next three transcriptions occur over 20 years later and are from his work with Ray Brown in the 1980s. - The third transcribed solo is on the song “Exactly Like You” from the Ray Brown album Soular Energy recorded in 1984. -The last two transcribed solos in the document, “Don’t Be That Way and “Blues For Jezebel” come from the 1989 record Listen Here!
Musical Characteristics identified in Transcriptions
1. Melody: – Major Blues Scale – Minor Blues Scale – Combination Blues scale – Turn Down Figure
Presenter
Presentation Notes
After transcribing and analyzing theses five solos I have identified multiple musical characteristics that I have broken up into four different chapters, each containing several sub chapters.
Musical Characteristics identified in Transcriptions (continued)
2. Texture: – Octaves – Constant Note Figure – Tremolos – Glissandos
Presenter
Presentation Notes
The second musical characteristic trait will be Harris’s use of textures throughout his solos, particularly his use of octaves, a term I have label as the “constant note figure,” and Harris’s use of Tremolos
Musical Characteristics identified in Transcriptions (continued)
3. Harmony: – Suspensions – Dominant Quality for the Tonic – Scale Tone Dyads and Triads*
*Musical characteristics with asterisks will not be discussed in the lecture.
Presenter
Presentation Notes
The third chapter discussed in Harris’s musical characteristics is his use of harmony, specifically his use of Suspensions and Chord Quality Substitution.
Musical Characteristics identified in Transcriptions (continued)
4. Rhythm: – Repeated Triplet Motives – Placement Of Offbeat Eighth Note – Repeated Groups Of Eighth Notes*
*Musical characteristics with asterisks will not be discussed in the lecture.
Presenter
Presentation Notes
The final chapter of Harris’s musical characteristics is his use of rhythm, which will include his use of repeated triplet motives and his placement of the offbeat eighth note.
Biographical Sketch
Early Life and Influences
• Originally born Eugene Haire • From Benton Harbor Michigan • Attributes his upstairs neighbor, Baptist
Church, the Blues and Boogie Woogie as early musical influences.
Presenter
Presentation Notes
Gene Harris was originally born Eugene Haire in Benton Harbor, Michigan in 1933. -His early influences came from his upstairs neighbor, who was a local trumpet player and band leader, the Baptist church attended as a child, the blues, and Boogie Woogie. - - During his childhood Harris would become friends with Bill Dowdy. - Dowdy would become one of the founding members and the drummer for The Three Sounds for 10 years.
Time in the Military 1951-1953
• Served in the 82nd Airborne Band • Learned to read music from Wynton Kelly
Presenter
Presentation Notes
- After High School Dowdy and Harris joined the US army, but the two were placed in separate divisions. - Harris’s musical talented was quickly noticed and served in the 82nd airborne band. - While in the service, Harris met fellow jazz pianist Wynton Kelly, who taught Harris how to read music.
Forming The Three Sounds
• Harris and Dowdy were honorably discharged in 1954
• Both moved back to the Midwest • Formed The Three Sounds in 1956
Presenter
Presentation Notes
- Both Harris and Dowdy were honorably discharged in 1954. Dowdy moved to Chicago while Harris moved to Jackson, Michigan. Harris and Dowdy would play with multiple local bands over the next two years. Both would frequently meet in South Bend Indiana and talk about forming a group. Finally in 1956 Harris, Dowdy, and Bassist Andy Simpkins would form The Three Sounds. The group was originally called the Four Sounds because of the addition of a Tenor player, but after trying out different saxophonist, the group decided to stick to trio.
The Three Sounds 1956-1970
The Three Sounds 1956-1970
• Moved to Washington D.C. in 1957 • Moved to NYC in 1958 and signed with Blue
Note • Recorded 15 albums with Blue Note from
1958-1962
Presenter
Presentation Notes
The Three Sounds wound up moving to Washington D.C. in 1957 and the following year head north to New York City, and with the recommendation of jazz pianist Horace Silver, they were rewarded a recorded deal with Blue Note. Between 1958 and 1962 The Three Sounds would record 15 records with Blue Note. In addition to the Blue Note Label, The Three sounds also recorded with Verve, Mercury and Limelight.
The Three Sounds 1956-1970
• Popular with the public, But did receive negative press
“Gene Harris is a rather superior cocktail pianist (although I’d rather hear Tommy Flanagan or Hank Jones playing cocktail piano), a tinkler who resembles Les McCann with a marginally lighter touch. He’s just as boring.”
-Robert Wyatt Three Sounds, Melody Maker, October 24th, 1970,
34.
The Three Sounds 1956-1970
• Dowdy left the group in 1966 • Simpkins left the group in 1968 • The Three Sounds officially disbanded in 1970
Presenter
Presentation Notes
By 1966 financial strains had taken their toll on The Three Sounds. In the summer of 1966, Harris and Dowdy got into an argument about money that led to a physical confrontation and Dowdy left the group. Two years later Simpkins left the group to “play other music with different people.” By 1970 the group officially disbanded and Harris began to focus on his solo career.
Solo Career (1970-1976)
R&B/fusion grooves. • Lived in California and Denver before retiring
to Boise, Idaho in 1977.
Presenter
Presentation Notes
Harris had moved to California in 1967 and had begun experimenting with electronic instruments and rock/fusion grooves in his music. Although Harris received some success as a solo artist, he was largely discontented with his career and with the music he was making. After moving to Denver in 1976 for a year, Harris decided to retire in 1977 and relocate to Boise Idaho.
Retirement 1977-1981
• Brought out of retirement by Ray Brown and his experience playing at the Otter Crest Inn
Presenter
Presentation Notes
By 1981 Harris had grown restless by not playing music. Harris grew inspired to play again after a low-key performance at The Otter Crest Inn as well as being urged to play again by bassist Ray Brown.
Work with Ray Brown 1983-1992
• Toured and recorded as a member of the Ray Brown Trio
• Led the Philip Morris Superband
• Nominated for a Grammy in 1989 for The Gene Harris All Star Big Band Tribute to Count Basie
Presenter
Presentation Notes
Brown brought Harris out of retirement and the two began playing together until 1992. During the 9 years with Ray Brown, Harris recorded as multiple records, most under the name of Brown. However, Harris did record under his own name, led the Philip Morris Superband and receive a Grammy nomination for his album The Gene Harris All Star Big Band Tribute to Count Basie in 1989.
Late Career (1992-2000)
• Left The Ray Brown Trio in 1992 • Recorded mostly as leader until his death from
diabetes in 2000 • 43 years of recording • Appeared on 88 albums as a leader or a
sideman
Presenter
Presentation Notes
By 1992 Harris decided it was time for a change and left the Ray Brown Trio amicably and led his own group until his death from diabetes in 2000. - Harris’s legacy included 43 years of recording in addition to appearing on 88 albums as a leader or a sideman.
Musical Characteristics: Melody
1. Major Blues Scale 2. Minor Blues Scale 3. Combination Blues Scale 4. The Turn Down Figure
Presenter
Presentation Notes
Gene Harris Draws primarily on diatonic sources to create improvised melodies. In this lecture, I will discuss his uses of the major blues scale, the minor blues scale and the combination blue scale
Major Blues Scale
• The major blues scale - a hexatonic scale that consists of a major pentatonic scale with the addition of a flatted third scale degree.
• F Major Blues Scale:
Presentation Notes
The major blues scale is a hexatonic scale that consists of a major pentatonic scale with the addition of a flatted third scale degree. The flatted third scale degree gives the scale a “bluesy” flavor, which is a distinct sound of Harris’s playing. This scale is the one most often used by Harris in his improvisations. Below is an example of an F major Blues scale.
Major Blues Scale (continued)
Presenter
Presentation Notes
Harris often plays this scale in an ascending fashion. These two examples demonstrate two of Harris’s uses of the scale during his solo on “Exactly Like You:” - Harris also uses the major blues scale during the same solo in mm. 34-37, 42-45, 58-61, and 98-102.
Major Blues Scale (continued)
Presenter
Presentation Notes
Harris will often opening his soloing with a bluesy sounding sonority. Here Harris outlines the Major blues scale note for note in ascending fashion
Minor Blues Scale
• The minor blues scale - a hexatonic scale that consists of the minor pentatonic scale along with a raised fourth scale degree.
• Eb Minor Blues Scale
Minor Blues Scale (continued)
Presenter
Presentation Notes
As previously stated will often opening his soloing with a bluesy sounding sonority. Here Harris outlines the minor blues scale note for note.
Minor Blues Scale (continued)
• Blanketing- An improvisational technique by using one scale over multiple harmonies.
Presenter
Blanketing- An improvisational technique by using one scale over multiple harmonies. - Harris will often blanket using some kind of blues scale
Minor Blues Scale (continued)
“My Heart Stood Still”
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Combination Blues Scale major blues scale + minor blues scale = combination blues scale
Presenter
Presentation Notes
Another melodic device found in Gene Harris’s solos is the use of pitches from a scale I have labeled the “combination blues scale.” The combination blues scale combines elements from both the major blues scale and the minor blues scale. Each time Harris plays motives that draw pitches from both the major and minor blues scales, the combination of pitches differs slightly. 1,b3 and 5 found in both.
Combination Blues Scale (continued)
Presenter
Presentation Notes
This phrase combines pitches from both the Ab minor and Ab major blues scales. Including the grace note, there are nine different pitches found in the two measures. Of the nine pitches, three come exclusively from the Ab minor blues scale (Db, D, Gb), three come exclusively from the Ab major blues scale (F, C, Bb), and three are found in both blues scales (Ab, Cb, Eb,). The resultant combination scale is shown below.
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Combination Blues Scale (continued)
Presenter
Presentation Notes
Two pitches in the above example, G and G flat, are found in the Db minor blues scale. Two other pitches, Bb and Eb, are found in the Db major blues scale. The remaining three pitches, Ab, Db, and E, are found in both blues scales. The combination blues scale that is created by the pitches in this phrase is shown below.
Turn Down Figure
Presenter
Presentation Notes
In multiple solos, Harris uses a four-note motive that I have labeled the “turn down figure.” The motive consists of four pitches, often played in sixteenth notes, as follows: It is characterized by: diatonic upper neighbor that then returns to the original pitch. The final pitch of the motive is at the interval of second, third or a fourth below the original pitch. pitches used in the motive are largely diatonic to the chord being played. Unlike most of Harris's melodic vocabulary that comes from the Major or Minor Blues scale, the language in the turn down figure is derived from diatonic chord scales. This is a very common texture amongst pianist during the Bebop, Hardbop and soul jazz idiom. Red Garland, Oscar Peterson, Bud Powell
Turn Down Figure (continued)
Presenter
Presentation Notes
Here we find an example of Harris using the Turn down figure. Every example before returning to the starting pitch lands on the diatonic Upper Neighbor and works it way down diatonically the Eb major scale on down beats 3 & 4 of Measure 7 and beats 1,2 and 3 of Measure 8.
Turn Down Figure (continued)
Presenter
Presentation Notes
We find many other examples of the turn down figure throughout Harris’s playing but I would now like to focus on his variation of the turn down figure. In this example, Harris Is not using the upper neighbor tone as part of his turn down figure. Also instead of a 4 note grouping Harris plays this turn down figure in a 5 note grouping. How ever this is still quantified as a turn down figure because of it’s shape and texture within the music Similar Gesture.
Musical Characteristic: Texture
1. Octaves 2. Constant Note Figure 3. Tremolo 4. Glissando
Presenter
Presentation Notes
Glissandos will not be covered in the lecture for time purposes
Octaves
• Most common texture • Found in all five transcriptions • Often uses the major, minor or combination
blues scale in this texture
Presenter
Presentation Notes
Harris uses octaves extensively during all five of the solos discussed in this document. - It’s a trademark of his playing during Harris’s solo on “Blues For Jezebel,” his entire third, fourth and fifth choruses are played completely in octaves. When playing the octave texture, Harris often uses the minor blues scale, the major blues scale, or a combination blues scale.
Octaves (continued)
“Exactly Like You”
Presentation Notes
Harris does not blanket mm. 34-37 with a single major blues scale, but rather switches scales from an Eb major blues scale to an F major blues scale as the harmony moves from Eb7 to F7. The entire two and one half-measure phrase is repeated twice later in the same chorus, in mm. 43-45 and mm. 59-61.
Octaves (continued)
“Don’t Be That Way”
Presenter
Presentation Notes
As previously stated, octave textures are often found when Harris employs the minor blues scale. Harris uses all of the pitches in the Db minor blues scale
Constant Note Figure
Presentation Notes
The “constant note figure” is a term that I have coined to describe an important texture found in Gene Harris’s improvisations. - In this texture, Harris plays dyads in the right hand that have the same highest pitch. When the texture is employed, the lowest pitch of the dyad varies, creating a melody. Within a phrase, single pitches are often interspersed between the dyads. The pitch material that Harris employs when using this texture often comes from the blues scales
Constant Note Figure (continued)
Presenter
Presentation Notes
- occur over an F minor seventh chord. - Also, all uses of this texture are found in the final measure of a formal section of the song. Each example uses a different highest pitch in the dyad, and each example contains different melodic material. Although each example’s rhythm is slightly different, all three examples begin on beat one, and end with two eighth notes on beat two.
Constant Note Figure (continued)
• Measure 6 derived from the major blues scale • Measure 8 derived from the minor blues scale
From the solo “Don’t Be That Way”
Presenter
Presentation Notes
Used in the final measures of an eight-measure section of the form, just as he did during “Exactly Like You.” In m. 6, Harris uses descending notes from the major blues scale as the lowest pitch in the dyads. Although the texture remains the same in m. 8, Harris alters nearly every other aspect of the motive. Harris changes the rhythm of the second phrase, using quarter note triplets that begin after a rest on the downbeat. Melodically, Harris contrasts the Db major blues scale found in m. 6 with a Db minor blues scale in m. 8. Finally, unlike any of the preceding examples, in this example Harris uses an ascending melodic line.
Tremolo
Presenter
Presentation Notes
Oxford Dictionary of Music defines a tremolo as A rapid alteration between two notes Harris most often uses tremolos between 2 pitches an octave apart Tremolos are found in all 5 of Harris transcribed solos Tremolos range 1 to 4 beats and are not confined to portion of his solo or position in a phrase
Tremolo (continued)
Presentation Notes
- Harris approaches the tremolo with an ascending arpeggio, which allows the device to occur on Db, the highest pitch of the phrase. - He then descends from the Db on beat two of m. 20.
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Tremolo (continued)
Presentation Notes
The tremolo that begins in m. 28 lasts for three and one-half beats, significantly longer than the tremolos found in earlier examples. In riff-like fashion, each of the two tremolos found in this example occur at the end of the same four-note melodic phrase.
BFJ (29-33)
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Tremolo (continued)
Presenter
Presentation Notes
the only instance in the transcribed solos where Harris uses the tremolo texture with a four-note chord. Although a tremolo is defined as having only two pitches, the four-note chord tremolo is a jazz adaptation of the technique. Harris tremolos between the outer pitches of the chord, (B natural and Ab). At the same time, Harris sustains the middle pitches, D and F, throughout the duration of the chord. This is a common approach used by most jazz pianists when integrating the tremolo texture into a four-note chord. The five and one-half measure phrase in Example is part of an eight-measure transitional section used to set up Harris’s improvisation: This shout section emulates the sound of a big band
Devil (transitional Section)
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Glissandi
• Used to generate momentum
Presentation Notes
-not common, however was used by pianistncluding Art Tatum, Oscar Peterson and Nat King Cole. Not found in all solos. Used almost exculsivley in the later chorus of his solo Never found in first 2 chorus.
Glissandi (continued)
Presenter
Presentation Notes
Here are 2 examples how Harris’s uses the glissando to generate momentum between the trading sections. IN both example he trades with the drums on the same chorus. A unique Characteristic of Harris’s glissando are the Target note he almost always ends on.
Glissandi (continued)
Presenter
Presentation Notes
Has mentioned in the previous example, Harris is using the glissandos inbetween the trading sections. Also like the previous example he has a target note seleted at the end of the Glissando. This example is preceeded by another of harris’s melodic device the Turn Down Figure.
Musical Characteristics: Harmony
Presenter
Presentation Notes
The harmonic concepts that Gene Harris employs are directly influenced by his upbringing in the church and the blues. Harris does not use as much chromaticism and harmonic substitutions as many other great jazz pianists employ. However, Harris’s harmonic choices are an important component of his improvisations.
Suspended Chords
Presentation Notes
The third of the chord is replaced by the fourth They are normally placed at the end of the form Often approached by signature melodic language (major or minor blues scale)
Suspended Chords (continued)
Presenter
Presentation Notes
- In most performances of this song, a I-vi-ii-V or a iii-vi-ii-V turnaround would be found in mm. 63-64. In this case, Harris plays an Ab dominant pedal for the entire two measures with his left hand. With his right hand, Harris plays a Gb major chord, which creates an Ab9sus chord when sounded over the Ab root. Harris does not resolve the suspended fourth of the chord to the third of Ab9, instead prolonging the suspended sound throughout m. 64. Harris uses a similar dominant pedal device, with a suspended chord, at the end of his first chorus in mm. 31-32.
DBTW (M63-64)
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Suspended Chords (continued)
- Original ending on “Between The Devil And The Deep Blue Sea”
- Harris’s Ending on “Between The Devil And The Deep Blue Sea”
Presenter
Presentation Notes
- Instead of playing an Ab6 chord on the downbeat of m. 39, Harris plays a single note Ab in the right hand, with no chord in the left hand, and begins a dominant pedal in the left hand on the “and” of beat one. - Harris then plays an Eb9sus chord on beats two and three. - Once again, Harris does not resolve the suspended fourth of the Eb9sus chord to the third, prolonging the suspended chord sound.
Devil (M40)
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Dominant Quality for the Tonic
Presenter
Presentation Notes
Dominant Quality for the Tonic occurs when the root of the chord remains the same, while the quality of the chord is changed. As Harris nears the end of his solos, he often alters the quality of the tonic chord from a major to dominant. The use of a dominant quality for the tonic chord is an important feature of the harmonies of the blues progression. These substitutions normally occur at the beginning of a new section or phrase, and are evidenced by the left-hand voicings that Harris employs. The substitutions often appear when the right hand uses the octave texture discussed earlier
Dominant Quality for the Tonic (continued)
From the solo “Exactly Like You”
Presenter
Presentation Notes
In mm. 34-36, Harris changes the quality of the tonic Eb chord from its normal Eb6 to a Eb9. The Eb9 chords are decorated by E9 chords on beat two and the “and” of three which add chromaticism to the passage. In this Example Harris places a dominant chord on every melody note in the phrase.
Dominant Quality for the Tonic (continued)
“Between The Devil And The Deep Blue Sea”
Presenter
Presentation Notes
Measure 33 is the beginning of the last eight measures of Harris’s solo. - Once again, Harris changes the quality of the Ab tonic chord from major chord to a dominant 7th chord on the downbeat of m. 33, as well as on the “and” of four in m. 34.
Devil (M32-34)
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Musical Characteristics: Rhythm
1. Repeated Triplet Motives 2. Placement of Offbeat Eighth Note
Presenter
Presentation Notes
Harris uses repeated rhythmic figures to create and build momentum throughout his improvisations, which feature an energetic approach with a great deal of forward motion. his placement of the offbeat eighth note, which creates his individual swing rhythmic feel.
Repeated Triplet Motives
Presentation Notes
Repeated triplet motives are characterized by a repeated a two, three, or four-note motive, grouped in either quarter-note or eighth-note triplets, for multiple measures. - The melodic vocabulary associated with this rhythmic device usually conveys a blues feeling, as the flatted third scale degree is often present
Repeated Triplet Motives (continued)
Presenter
Presentation Notes
Melodically, Harris uses a portion of the Db major blues scale: the second degree, the flatted third scale degree, and the root. - This examples is laying far back which makes it difficult to accurately notate
Repeated Triplet Motives (continued)
Presenter
Presentation Notes
At nearly five measures in length, this is the longest use of repeated triplet motives found in the selected solos. Unlike the previous example which was a three note shape this example is a two note shape. Harris begins the repeated two-note motive on the second triplet of beat one in m. 23, and finishes the final two-note motive on the downbeat of m. 28. The use of a two-note melodic shape in triplet rhythm creates a cross rhythm that allows the Bb to be heard on beats two and four of each measure, while the Cb is heard on beats and one and three.
BFJ (m23-28)
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Placement Of The Offbeat Eighth Note
Harris has three general placements of the offbeat eighth note 1. 2:1 swing ratio 2. 3:1 swing ratio 3. 1:1 ratio (even)
Presenter
Presentation Notes
2:1 swing ratio (where the offbeat eighth note receives 33% of the total quarter note value) 3:1 swing ratio (where the offbeat eighth note receives 25% of the total quarter note value) 1:1 ratio ( even eighth notes)
Placement Of The Offbeat Eighth Note 2:1 swing ratio
2:1 swing ratio:
Presentation Notes
Written notation cannot effectively represent most offbeat eighth note placements; instead, the placements are more readily recognized aurally. Therefore, listening to the passages included as examples in this section is essential to understanding the placements Harris uses. This 2:1 ratio is Harris’s most common placement of the offbeat eighth note.
Placement Of The Offbeat Eighth Note 2:1 swing ratio (continued)
• 2:1 swing feel ratio. “Exactly Like You”
Presenter
Presentation Notes
This eighth note passage is an example of Harris’s use of the 2:1 ratio
ELY (m75-76)
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Placement Of The Offbeat Eighth Note 3:1 swing ratio
3:1 swing ratio:
Presentation Notes
Although the majority of eighth notes in Harris’s single note improvised melodies are executed at a swing ratio of 2:1, this ratio changes when Harris changes textures. Generally, when playing octaves, Harris’s swing feel will go from a 2:1 to a 3:1
Placement Of The Offbeat Eighth Note 3:1 swing ratio (continued)
“My Heart Stood Still”
Presentation Notes
The off beat eighth note in this example is only receiving 25% of the quarter not.
My Heat Stood Still
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Placement Of The Offbeat Eighth Note 1:1 ratio (even)
From the solo “Don’t Be That Way”
Presenter
Presentation Notes
There are a few instances in the solos examined in this document where Harris’s offbeat eighth note placement is halfway through the beat, resulting in a 1:1 ratio (also referred to as “even” eighth notes). These instances also occur in passages where the octave texture is used.
Conclusion
Presenter
Presentation Notes
- it is evident that Harris was a true master of the piano. Harris was able to take diatonic vocabulary, largely stemming from the blues, and use it to produce versatile and creative language. -Harris’s use of texture allowed him to convey his bluesy language in multiple facets Harmonically, the Blues and gospel music influenced Harris’s approach to his improvisations. suspended fourth chords are evidence of Harris’s Baptist church upbringing, and the harmonic influence of the blues can be found in his Dominant Quality for the Tonic. Rhytmically Harris’s use of repeated triplets throughout his solos brings energy to his music and his placement of the offbeat eighth note gives him a distinctive sound and swing feel in his playing.
Conclusion (continued)
“He plays textbooks runs, using flatted seventh and fifths, and ripples triplets on the high keys against a smoky low-tempo drag. It’s completely predictable, yet Harris makes it impossible to resist. He doesn’t pretend to seek new ground; rather, he trots out all the clichés.”
-Robert L. Doershuk 88: The Giants of Jazz Piano
“If you leave here with a smile on your face, remember that Gene Harris put it there.”
-Gene Harris
Gianni Bianchini
“Don’t Be That Way”
Why I wrote this document
Analyzed Solo Transcriptions
Musical Characteristics identified in Transcriptions (continued)
Musical Characteristics identified in Transcriptions (continued)
Musical Characteristics identified in Transcriptions (continued)
Biographical Sketch
Forming The Three Sounds
The Three Sounds 1956-1970
The Three Sounds1956-1970
The Three Sounds 1956-1970
The Three Sounds 1956-1970
Late Career (1992-2000)
Musical Characteristics: Melody
Major Blues Scale
Dominant Quality for the Tonic (continued)
Dominant Quality for the Tonic (continued)
Musical Characteristics: Rhythm
Repeated Triplet Motives
Placement Of The Offbeat Eighth Note 2:1 swing ratio
Placement Of The Offbeat Eighth Note 2:1 swing ratio (continued)
Placement Of The Offbeat Eighth Note 3:1 swing ratio
Placement Of The Offbeat Eighth Note 3:1 swing ratio (continued)
Placement Of The Offbeat Eighth Note 1:1 ratio (even)
Conclusion
An Analysis of the Improvisational Techniques of Gene Harris Gianni Bianchini Universidad San Francisco de Quito
DOI: https://doi.org/10.18122/univ_pres/8/boisestate
By Dr. Gianni Bianchini
• From the 1989 record Listen Here!.
Don't Be That Way (excerpt)
Gianni Bianchini
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Why I wrote this document
• Harris’s use of diatonic language in his improvisation
• The innate ability to generate energy throughout Harris’s solo
• Harris’s largely forgotten presence by many jazz fans and some jazz musicians.
Presenter
Presentation Notes
There were multiple reasons for me to compose this document. I have been listening to Gene Harris since I was a child and have always been captivated by his use of diatonic language in his improvisation along with his innate ability to create energy throughout his solos. As I continued to research Harris, I discovered that he was dismissed by many critics, has minimal literature written about his work and is largely forgotten by most jazz fans and even some jazz musicians when regarding the upper echelon of jazz pianists. All of these factors inspired me to write my dissertation about him. I hope by the end of this lecture will have will provided a greater appreciate for and understanding of Gene Harris’s improvisational prowess.
Analyzed Solo Transcriptions
• With The Three Sounds – “Between The Devil And The Deep Blue Sea,”
from the 1962 (released in 1986) record, Babe’s Blues.
– “My Heart Stood Still,” from the 1962 record Anita O’Day And The Three Sounds.
Presenter
Presentation Notes
-To accurately identify Harris’s improvisational techniques I have transcribed five solos. They are all found in the appendix of the document. The first two transcribed solos are from Harris’s work with a group containing childhood friend Bill Dowdy on drums and Andy Simpkins on bass called The Three Sounds (which was a group from 1956-1970). The two analyzed solos from Harris’s work with The Three sounds were both recorded in 1962. -The first transcription is Harris’s solo on “Between The Devil And The Deep Blue Sea” from the record Babe’s Blues.( this record wasn’t actually released until 1986, which is one of the many reasons that Harris’s growth was stifled in the public) -The second transcription is Harris’s solo on is “My Heart Stood Still” from the record Anita O’Day And The Three Sounds.
Analyzed Solo Transcriptions (continued )
• With Ray Brown – “Exactly Like You,” from the 1984 record Soular
Energy. – “Don’t Be That Way,” and “Blues For Jezebel”
both from the 1989 record Listen Here!.
Presenter
Presentation Notes
- The next three transcriptions occur over 20 years later and are from his work with Ray Brown in the 1980s. - The third transcribed solo is on the song “Exactly Like You” from the Ray Brown album Soular Energy recorded in 1984. -The last two transcribed solos in the document, “Don’t Be That Way and “Blues For Jezebel” come from the 1989 record Listen Here!
Musical Characteristics identified in Transcriptions
1. Melody: – Major Blues Scale – Minor Blues Scale – Combination Blues scale – Turn Down Figure
Presenter
Presentation Notes
After transcribing and analyzing theses five solos I have identified multiple musical characteristics that I have broken up into four different chapters, each containing several sub chapters.
Musical Characteristics identified in Transcriptions (continued)
2. Texture: – Octaves – Constant Note Figure – Tremolos – Glissandos
Presenter
Presentation Notes
The second musical characteristic trait will be Harris’s use of textures throughout his solos, particularly his use of octaves, a term I have label as the “constant note figure,” and Harris’s use of Tremolos
Musical Characteristics identified in Transcriptions (continued)
3. Harmony: – Suspensions – Dominant Quality for the Tonic – Scale Tone Dyads and Triads*
*Musical characteristics with asterisks will not be discussed in the lecture.
Presenter
Presentation Notes
The third chapter discussed in Harris’s musical characteristics is his use of harmony, specifically his use of Suspensions and Chord Quality Substitution.
Musical Characteristics identified in Transcriptions (continued)
4. Rhythm: – Repeated Triplet Motives – Placement Of Offbeat Eighth Note – Repeated Groups Of Eighth Notes*
*Musical characteristics with asterisks will not be discussed in the lecture.
Presenter
Presentation Notes
The final chapter of Harris’s musical characteristics is his use of rhythm, which will include his use of repeated triplet motives and his placement of the offbeat eighth note.
Biographical Sketch
Early Life and Influences
• Originally born Eugene Haire • From Benton Harbor Michigan • Attributes his upstairs neighbor, Baptist
Church, the Blues and Boogie Woogie as early musical influences.
Presenter
Presentation Notes
Gene Harris was originally born Eugene Haire in Benton Harbor, Michigan in 1933. -His early influences came from his upstairs neighbor, who was a local trumpet player and band leader, the Baptist church attended as a child, the blues, and Boogie Woogie. - - During his childhood Harris would become friends with Bill Dowdy. - Dowdy would become one of the founding members and the drummer for The Three Sounds for 10 years.
Time in the Military 1951-1953
• Served in the 82nd Airborne Band • Learned to read music from Wynton Kelly
Presenter
Presentation Notes
- After High School Dowdy and Harris joined the US army, but the two were placed in separate divisions. - Harris’s musical talented was quickly noticed and served in the 82nd airborne band. - While in the service, Harris met fellow jazz pianist Wynton Kelly, who taught Harris how to read music.
Forming The Three Sounds
• Harris and Dowdy were honorably discharged in 1954
• Both moved back to the Midwest • Formed The Three Sounds in 1956
Presenter
Presentation Notes
- Both Harris and Dowdy were honorably discharged in 1954. Dowdy moved to Chicago while Harris moved to Jackson, Michigan. Harris and Dowdy would play with multiple local bands over the next two years. Both would frequently meet in South Bend Indiana and talk about forming a group. Finally in 1956 Harris, Dowdy, and Bassist Andy Simpkins would form The Three Sounds. The group was originally called the Four Sounds because of the addition of a Tenor player, but after trying out different saxophonist, the group decided to stick to trio.
The Three Sounds 1956-1970
The Three Sounds 1956-1970
• Moved to Washington D.C. in 1957 • Moved to NYC in 1958 and signed with Blue
Note • Recorded 15 albums with Blue Note from
1958-1962
Presenter
Presentation Notes
The Three Sounds wound up moving to Washington D.C. in 1957 and the following year head north to New York City, and with the recommendation of jazz pianist Horace Silver, they were rewarded a recorded deal with Blue Note. Between 1958 and 1962 The Three Sounds would record 15 records with Blue Note. In addition to the Blue Note Label, The Three sounds also recorded with Verve, Mercury and Limelight.
The Three Sounds 1956-1970
• Popular with the public, But did receive negative press
“Gene Harris is a rather superior cocktail pianist (although I’d rather hear Tommy Flanagan or Hank Jones playing cocktail piano), a tinkler who resembles Les McCann with a marginally lighter touch. He’s just as boring.”
-Robert Wyatt Three Sounds, Melody Maker, October 24th, 1970,
34.
The Three Sounds 1956-1970
• Dowdy left the group in 1966 • Simpkins left the group in 1968 • The Three Sounds officially disbanded in 1970
Presenter
Presentation Notes
By 1966 financial strains had taken their toll on The Three Sounds. In the summer of 1966, Harris and Dowdy got into an argument about money that led to a physical confrontation and Dowdy left the group. Two years later Simpkins left the group to “play other music with different people.” By 1970 the group officially disbanded and Harris began to focus on his solo career.
Solo Career (1970-1976)
R&B/fusion grooves. • Lived in California and Denver before retiring
to Boise, Idaho in 1977.
Presenter
Presentation Notes
Harris had moved to California in 1967 and had begun experimenting with electronic instruments and rock/fusion grooves in his music. Although Harris received some success as a solo artist, he was largely discontented with his career and with the music he was making. After moving to Denver in 1976 for a year, Harris decided to retire in 1977 and relocate to Boise Idaho.
Retirement 1977-1981
• Brought out of retirement by Ray Brown and his experience playing at the Otter Crest Inn
Presenter
Presentation Notes
By 1981 Harris had grown restless by not playing music. Harris grew inspired to play again after a low-key performance at The Otter Crest Inn as well as being urged to play again by bassist Ray Brown.
Work with Ray Brown 1983-1992
• Toured and recorded as a member of the Ray Brown Trio
• Led the Philip Morris Superband
• Nominated for a Grammy in 1989 for The Gene Harris All Star Big Band Tribute to Count Basie
Presenter
Presentation Notes
Brown brought Harris out of retirement and the two began playing together until 1992. During the 9 years with Ray Brown, Harris recorded as multiple records, most under the name of Brown. However, Harris did record under his own name, led the Philip Morris Superband and receive a Grammy nomination for his album The Gene Harris All Star Big Band Tribute to Count Basie in 1989.
Late Career (1992-2000)
• Left The Ray Brown Trio in 1992 • Recorded mostly as leader until his death from
diabetes in 2000 • 43 years of recording • Appeared on 88 albums as a leader or a
sideman
Presenter
Presentation Notes
By 1992 Harris decided it was time for a change and left the Ray Brown Trio amicably and led his own group until his death from diabetes in 2000. - Harris’s legacy included 43 years of recording in addition to appearing on 88 albums as a leader or a sideman.
Musical Characteristics: Melody
1. Major Blues Scale 2. Minor Blues Scale 3. Combination Blues Scale 4. The Turn Down Figure
Presenter
Presentation Notes
Gene Harris Draws primarily on diatonic sources to create improvised melodies. In this lecture, I will discuss his uses of the major blues scale, the minor blues scale and the combination blue scale
Major Blues Scale
• The major blues scale - a hexatonic scale that consists of a major pentatonic scale with the addition of a flatted third scale degree.
• F Major Blues Scale:
Presentation Notes
The major blues scale is a hexatonic scale that consists of a major pentatonic scale with the addition of a flatted third scale degree. The flatted third scale degree gives the scale a “bluesy” flavor, which is a distinct sound of Harris’s playing. This scale is the one most often used by Harris in his improvisations. Below is an example of an F major Blues scale.
Major Blues Scale (continued)
Presenter
Presentation Notes
Harris often plays this scale in an ascending fashion. These two examples demonstrate two of Harris’s uses of the scale during his solo on “Exactly Like You:” - Harris also uses the major blues scale during the same solo in mm. 34-37, 42-45, 58-61, and 98-102.
Major Blues Scale (continued)
Presenter
Presentation Notes
Harris will often opening his soloing with a bluesy sounding sonority. Here Harris outlines the Major blues scale note for note in ascending fashion
Minor Blues Scale
• The minor blues scale - a hexatonic scale that consists of the minor pentatonic scale along with a raised fourth scale degree.
• Eb Minor Blues Scale
Minor Blues Scale (continued)
Presenter
Presentation Notes
As previously stated will often opening his soloing with a bluesy sounding sonority. Here Harris outlines the minor blues scale note for note.
Minor Blues Scale (continued)
• Blanketing- An improvisational technique by using one scale over multiple harmonies.
Presenter
Blanketing- An improvisational technique by using one scale over multiple harmonies. - Harris will often blanket using some kind of blues scale
Minor Blues Scale (continued)
“My Heart Stood Still”
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Combination Blues Scale major blues scale + minor blues scale = combination blues scale
Presenter
Presentation Notes
Another melodic device found in Gene Harris’s solos is the use of pitches from a scale I have labeled the “combination blues scale.” The combination blues scale combines elements from both the major blues scale and the minor blues scale. Each time Harris plays motives that draw pitches from both the major and minor blues scales, the combination of pitches differs slightly. 1,b3 and 5 found in both.
Combination Blues Scale (continued)
Presenter
Presentation Notes
This phrase combines pitches from both the Ab minor and Ab major blues scales. Including the grace note, there are nine different pitches found in the two measures. Of the nine pitches, three come exclusively from the Ab minor blues scale (Db, D, Gb), three come exclusively from the Ab major blues scale (F, C, Bb), and three are found in both blues scales (Ab, Cb, Eb,). The resultant combination scale is shown below.
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Combination Blues Scale (continued)
Presenter
Presentation Notes
Two pitches in the above example, G and G flat, are found in the Db minor blues scale. Two other pitches, Bb and Eb, are found in the Db major blues scale. The remaining three pitches, Ab, Db, and E, are found in both blues scales. The combination blues scale that is created by the pitches in this phrase is shown below.
Turn Down Figure
Presenter
Presentation Notes
In multiple solos, Harris uses a four-note motive that I have labeled the “turn down figure.” The motive consists of four pitches, often played in sixteenth notes, as follows: It is characterized by: diatonic upper neighbor that then returns to the original pitch. The final pitch of the motive is at the interval of second, third or a fourth below the original pitch. pitches used in the motive are largely diatonic to the chord being played. Unlike most of Harris's melodic vocabulary that comes from the Major or Minor Blues scale, the language in the turn down figure is derived from diatonic chord scales. This is a very common texture amongst pianist during the Bebop, Hardbop and soul jazz idiom. Red Garland, Oscar Peterson, Bud Powell
Turn Down Figure (continued)
Presenter
Presentation Notes
Here we find an example of Harris using the Turn down figure. Every example before returning to the starting pitch lands on the diatonic Upper Neighbor and works it way down diatonically the Eb major scale on down beats 3 & 4 of Measure 7 and beats 1,2 and 3 of Measure 8.
Turn Down Figure (continued)
Presenter
Presentation Notes
We find many other examples of the turn down figure throughout Harris’s playing but I would now like to focus on his variation of the turn down figure. In this example, Harris Is not using the upper neighbor tone as part of his turn down figure. Also instead of a 4 note grouping Harris plays this turn down figure in a 5 note grouping. How ever this is still quantified as a turn down figure because of it’s shape and texture within the music Similar Gesture.
Musical Characteristic: Texture
1. Octaves 2. Constant Note Figure 3. Tremolo 4. Glissando
Presenter
Presentation Notes
Glissandos will not be covered in the lecture for time purposes
Octaves
• Most common texture • Found in all five transcriptions • Often uses the major, minor or combination
blues scale in this texture
Presenter
Presentation Notes
Harris uses octaves extensively during all five of the solos discussed in this document. - It’s a trademark of his playing during Harris’s solo on “Blues For Jezebel,” his entire third, fourth and fifth choruses are played completely in octaves. When playing the octave texture, Harris often uses the minor blues scale, the major blues scale, or a combination blues scale.
Octaves (continued)
“Exactly Like You”
Presentation Notes
Harris does not blanket mm. 34-37 with a single major blues scale, but rather switches scales from an Eb major blues scale to an F major blues scale as the harmony moves from Eb7 to F7. The entire two and one half-measure phrase is repeated twice later in the same chorus, in mm. 43-45 and mm. 59-61.
Octaves (continued)
“Don’t Be That Way”
Presenter
Presentation Notes
As previously stated, octave textures are often found when Harris employs the minor blues scale. Harris uses all of the pitches in the Db minor blues scale
Constant Note Figure
Presentation Notes
The “constant note figure” is a term that I have coined to describe an important texture found in Gene Harris’s improvisations. - In this texture, Harris plays dyads in the right hand that have the same highest pitch. When the texture is employed, the lowest pitch of the dyad varies, creating a melody. Within a phrase, single pitches are often interspersed between the dyads. The pitch material that Harris employs when using this texture often comes from the blues scales
Constant Note Figure (continued)
Presenter
Presentation Notes
- occur over an F minor seventh chord. - Also, all uses of this texture are found in the final measure of a formal section of the song. Each example uses a different highest pitch in the dyad, and each example contains different melodic material. Although each example’s rhythm is slightly different, all three examples begin on beat one, and end with two eighth notes on beat two.
Constant Note Figure (continued)
• Measure 6 derived from the major blues scale • Measure 8 derived from the minor blues scale
From the solo “Don’t Be That Way”
Presenter
Presentation Notes
Used in the final measures of an eight-measure section of the form, just as he did during “Exactly Like You.” In m. 6, Harris uses descending notes from the major blues scale as the lowest pitch in the dyads. Although the texture remains the same in m. 8, Harris alters nearly every other aspect of the motive. Harris changes the rhythm of the second phrase, using quarter note triplets that begin after a rest on the downbeat. Melodically, Harris contrasts the Db major blues scale found in m. 6 with a Db minor blues scale in m. 8. Finally, unlike any of the preceding examples, in this example Harris uses an ascending melodic line.
Tremolo
Presenter
Presentation Notes
Oxford Dictionary of Music defines a tremolo as A rapid alteration between two notes Harris most often uses tremolos between 2 pitches an octave apart Tremolos are found in all 5 of Harris transcribed solos Tremolos range 1 to 4 beats and are not confined to portion of his solo or position in a phrase
Tremolo (continued)
Presentation Notes
- Harris approaches the tremolo with an ascending arpeggio, which allows the device to occur on Db, the highest pitch of the phrase. - He then descends from the Db on beat two of m. 20.
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Tremolo (continued)
Presentation Notes
The tremolo that begins in m. 28 lasts for three and one-half beats, significantly longer than the tremolos found in earlier examples. In riff-like fashion, each of the two tremolos found in this example occur at the end of the same four-note melodic phrase.
BFJ (29-33)
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Tremolo (continued)
Presenter
Presentation Notes
the only instance in the transcribed solos where Harris uses the tremolo texture with a four-note chord. Although a tremolo is defined as having only two pitches, the four-note chord tremolo is a jazz adaptation of the technique. Harris tremolos between the outer pitches of the chord, (B natural and Ab). At the same time, Harris sustains the middle pitches, D and F, throughout the duration of the chord. This is a common approach used by most jazz pianists when integrating the tremolo texture into a four-note chord. The five and one-half measure phrase in Example is part of an eight-measure transitional section used to set up Harris’s improvisation: This shout section emulates the sound of a big band
Devil (transitional Section)
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Glissandi
• Used to generate momentum
Presentation Notes
-not common, however was used by pianistncluding Art Tatum, Oscar Peterson and Nat King Cole. Not found in all solos. Used almost exculsivley in the later chorus of his solo Never found in first 2 chorus.
Glissandi (continued)
Presenter
Presentation Notes
Here are 2 examples how Harris’s uses the glissando to generate momentum between the trading sections. IN both example he trades with the drums on the same chorus. A unique Characteristic of Harris’s glissando are the Target note he almost always ends on.
Glissandi (continued)
Presenter
Presentation Notes
Has mentioned in the previous example, Harris is using the glissandos inbetween the trading sections. Also like the previous example he has a target note seleted at the end of the Glissando. This example is preceeded by another of harris’s melodic device the Turn Down Figure.
Musical Characteristics: Harmony
Presenter
Presentation Notes
The harmonic concepts that Gene Harris employs are directly influenced by his upbringing in the church and the blues. Harris does not use as much chromaticism and harmonic substitutions as many other great jazz pianists employ. However, Harris’s harmonic choices are an important component of his improvisations.
Suspended Chords
Presentation Notes
The third of the chord is replaced by the fourth They are normally placed at the end of the form Often approached by signature melodic language (major or minor blues scale)
Suspended Chords (continued)
Presenter
Presentation Notes
- In most performances of this song, a I-vi-ii-V or a iii-vi-ii-V turnaround would be found in mm. 63-64. In this case, Harris plays an Ab dominant pedal for the entire two measures with his left hand. With his right hand, Harris plays a Gb major chord, which creates an Ab9sus chord when sounded over the Ab root. Harris does not resolve the suspended fourth of the chord to the third of Ab9, instead prolonging the suspended sound throughout m. 64. Harris uses a similar dominant pedal device, with a suspended chord, at the end of his first chorus in mm. 31-32.
DBTW (M63-64)
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Suspended Chords (continued)
- Original ending on “Between The Devil And The Deep Blue Sea”
- Harris’s Ending on “Between The Devil And The Deep Blue Sea”
Presenter
Presentation Notes
- Instead of playing an Ab6 chord on the downbeat of m. 39, Harris plays a single note Ab in the right hand, with no chord in the left hand, and begins a dominant pedal in the left hand on the “and” of beat one. - Harris then plays an Eb9sus chord on beats two and three. - Once again, Harris does not resolve the suspended fourth of the Eb9sus chord to the third, prolonging the suspended chord sound.
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Dominant Quality for the Tonic
Presenter
Presentation Notes
Dominant Quality for the Tonic occurs when the root of the chord remains the same, while the quality of the chord is changed. As Harris nears the end of his solos, he often alters the quality of the tonic chord from a major to dominant. The use of a dominant quality for the tonic chord is an important feature of the harmonies of the blues progression. These substitutions normally occur at the beginning of a new section or phrase, and are evidenced by the left-hand voicings that Harris employs. The substitutions often appear when the right hand uses the octave texture discussed earlier
Dominant Quality for the Tonic (continued)
From the solo “Exactly Like You”
Presenter
Presentation Notes
In mm. 34-36, Harris changes the quality of the tonic Eb chord from its normal Eb6 to a Eb9. The Eb9 chords are decorated by E9 chords on beat two and the “and” of three which add chromaticism to the passage. In this Example Harris places a dominant chord on every melody note in the phrase.
Dominant Quality for the Tonic (continued)
“Between The Devil And The Deep Blue Sea”
Presenter
Presentation Notes
Measure 33 is the beginning of the last eight measures of Harris’s solo. - Once again, Harris changes the quality of the Ab tonic chord from major chord to a dominant 7th chord on the downbeat of m. 33, as well as on the “and” of four in m. 34.
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Musical Characteristics: Rhythm
1. Repeated Triplet Motives 2. Placement of Offbeat Eighth Note
Presenter
Presentation Notes
Harris uses repeated rhythmic figures to create and build momentum throughout his improvisations, which feature an energetic approach with a great deal of forward motion. his placement of the offbeat eighth note, which creates his individual swing rhythmic feel.
Repeated Triplet Motives
Presentation Notes
Repeated triplet motives are characterized by a repeated a two, three, or four-note motive, grouped in either quarter-note or eighth-note triplets, for multiple measures. - The melodic vocabulary associated with this rhythmic device usually conveys a blues feeling, as the flatted third scale degree is often present
Repeated Triplet Motives (continued)
Presenter
Presentation Notes
Melodically, Harris uses a portion of the Db major blues scale: the second degree, the flatted third scale degree, and the root. - This examples is laying far back which makes it difficult to accurately notate
Repeated Triplet Motives (continued)
Presenter
Presentation Notes
At nearly five measures in length, this is the longest use of repeated triplet motives found in the selected solos. Unlike the previous example which was a three note shape this example is a two note shape. Harris begins the repeated two-note motive on the second triplet of beat one in m. 23, and finishes the final two-note motive on the downbeat of m. 28. The use of a two-note melodic shape in triplet rhythm creates a cross rhythm that allows the Bb to be heard on beats two and four of each measure, while the Cb is heard on beats and one and three.
BFJ (m23-28)
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Placement Of The Offbeat Eighth Note
Harris has three general placements of the offbeat eighth note 1. 2:1 swing ratio 2. 3:1 swing ratio 3. 1:1 ratio (even)
Presenter
Presentation Notes
2:1 swing ratio (where the offbeat eighth note receives 33% of the total quarter note value) 3:1 swing ratio (where the offbeat eighth note receives 25% of the total quarter note value) 1:1 ratio ( even eighth notes)
Placement Of The Offbeat Eighth Note 2:1 swing ratio
2:1 swing ratio:
Presentation Notes
Written notation cannot effectively represent most offbeat eighth note placements; instead, the placements are more readily recognized aurally. Therefore, listening to the passages included as examples in this section is essential to understanding the placements Harris uses. This 2:1 ratio is Harris’s most common placement of the offbeat eighth note.
Placement Of The Offbeat Eighth Note 2:1 swing ratio (continued)
• 2:1 swing feel ratio. “Exactly Like You”
Presenter
Presentation Notes
This eighth note passage is an example of Harris’s use of the 2:1 ratio
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Placement Of The Offbeat Eighth Note 3:1 swing ratio
3:1 swing ratio:
Presentation Notes
Although the majority of eighth notes in Harris’s single note improvised melodies are executed at a swing ratio of 2:1, this ratio changes when Harris changes textures. Generally, when playing octaves, Harris’s swing feel will go from a 2:1 to a 3:1
Placement Of The Offbeat Eighth Note 3:1 swing ratio (continued)
“My Heart Stood Still”
Presentation Notes
The off beat eighth note in this example is only receiving 25% of the quarter not.
My Heat Stood Still
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Placement Of The Offbeat Eighth Note 1:1 ratio (even)
From the solo “Don’t Be That Way”
Presenter
Presentation Notes
There are a few instances in the solos examined in this document where Harris’s offbeat eighth note placement is halfway through the beat, resulting in a 1:1 ratio (also referred to as “even” eighth notes). These instances also occur in passages where the octave texture is used.
Conclusion
Presenter
Presentation Notes
- it is evident that Harris was a true master of the piano. Harris was able to take diatonic vocabulary, largely stemming from the blues, and use it to produce versatile and creative language. -Harris’s use of texture allowed him to convey his bluesy language in multiple facets Harmonically, the Blues and gospel music influenced Harris’s approach to his improvisations. suspended fourth chords are evidence of Harris’s Baptist church upbringing, and the harmonic influence of the blues can be found in his Dominant Quality for the Tonic. Rhytmically Harris’s use of repeated triplets throughout his solos brings energy to his music and his placement of the offbeat eighth note gives him a distinctive sound and swing feel in his playing.
Conclusion (continued)
“He plays textbooks runs, using flatted seventh and fifths, and ripples triplets on the high keys against a smoky low-tempo drag. It’s completely predictable, yet Harris makes it impossible to resist. He doesn’t pretend to seek new ground; rather, he trots out all the clichés.”
-Robert L. Doershuk 88: The Giants of Jazz Piano
“If you leave here with a smile on your face, remember that Gene Harris put it there.”
-Gene Harris
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“Don’t Be That Way”
Why I wrote this document
Analyzed Solo Transcriptions
Musical Characteristics identified in Transcriptions (continued)
Musical Characteristics identified in Transcriptions (continued)
Musical Characteristics identified in Transcriptions (continued)
Biographical Sketch
Forming The Three Sounds
The Three Sounds 1956-1970
The Three Sounds1956-1970
The Three Sounds 1956-1970
The Three Sounds 1956-1970
Late Career (1992-2000)
Musical Characteristics: Melody
Major Blues Scale
Dominant Quality for the Tonic (continued)
Dominant Quality for the Tonic (continued)
Musical Characteristics: Rhythm
Repeated Triplet Motives
Placement Of The Offbeat Eighth Note 2:1 swing ratio
Placement Of The Offbeat Eighth Note 2:1 swing ratio (continued)
Placement Of The Offbeat Eighth Note 3:1 swing ratio
Placement Of The Offbeat Eighth Note 3:1 swing ratio (continued)
Placement Of The Offbeat Eighth Note 1:1 ratio (even)
Conclusion