Dizzy Gillespie

First you learn your instrument. Then you learn music.

Then you forget both of those and just blow.

The term vehicle was first proposed in jazz by trumpeter Dizzy Gillespie as a near synonym for tune, describing the improviser’s use of the tune as a machine on which he rides during his improvisation. In this studio, jazz is the “vehicle” for generating structured architectural space.

architects and music

..there are three things this civilization will be remembered for 2,000 years from now: the Constitution, jazz music and baseball. Theyʼre the three most beautifully designed things this civilization has produced.

Gerald Early, Director, African & Afro-American Studies Washington University, St. Louis

architecture frozen music

I call architecture frozen music.

Architecture is "frozen music"… Really there is something in this; the tone of mind produced by architecture approaches the effect of music.

Johann Wolfgang von Goethe, 1829.

Hegel once said 'architecture is frozen music'

Architecture is music in space, as it were a frozen music.

Friedrich Wilhelm Joseph von Schelling

Architecture in general is frozen music. Friedrich Nietzsche

architecture frozen music

if architecture is frozen music, then music is liquid architecture.

Christopher Janney DJ Spooky Greg Lynn

a symphony is an edifice of sound

Frank Lloyd Wright 1867-1959 Johannes Brahms 1833-1897Ludwig van Beethoven 1770 -1827

Rudolph & Wright were pianists

Like a Frank Lloyd Wright, Paul Rudolph possessed a rare ability to conceptualize architectural space, and he became a master of its handling. Both architects had been raised as musicians in their early years, and their work can be thought of in such musical terms as rhythm and harmony, theme and variation, proportion, balance, and composition. There is a lyrical quality to their work, in the ways that they played the ebb and flow of space, enclosure and openness, movement and stasis. Each was acutely aware of spatial experience and the opportunity for beauty and composition.

Joseph King, Paul Rudolph The Florida Houses

Le Corbusier and jazz

Le Corbusier and Josephine Baker at a costume party on board the Julius Caesar, 1929. Le Corbusier was forever dressing up as a clown or convict at such parties.Charles Jencks, in his book The Tragic View of Architecture, states, Le Corbusier found…in the hot jazz of Louis Armstrong, 'implacable exactitude', 'mathematics, equilibrium on a tightrope' and all the masculine virtues of the machine. He describes a particularly moving encounter with the black singer Josephine Baker, whom he met while traveling to South America in 1929: 'In a variety show, Josephine Baker sang "Baby" with such an intense and dramatic sensibility that I was moved to tears. There is in this American…music a lyrical "contemporary" mass so invincible that I could see the foundation of a new sentiment of music capable of being the expression of the new epoch and also capable of classifying its European origins as stone-age - just as has happened with the new architecture. A page turns. A new exploitation arises. Pure music…

We who love architecture and recognize it as the great sense of structure in whatever is—music, painting, sculpture, or life itself—we must somehow act as intermediaries—maybe missionaries.

-Frank Lloyd Wright

Le Corbusier: La mer Dizzy GillespiePablo Picasso: Three Musicians

musical prodigy: Libeskind

Born in 1946 in Poland, Daniel Libeskind first studied music in Lodz and continued his musical education through the America-Israel Cultural Foundation Fellowship in Israel and then New York. On moving to America in 1960 he became interested in architecture via his involvement in mathematics and painting.

He became a virtuoso performer, then left music to study architecture.

a machine for producing gods

architecture and music telling stories

Renzo Piano on architectureʼs ability to sing

Santiago Calatrava on architecture as slow music

telling a story

telling a story

mapping music

Paul Klee: Mapping rhythm

mapping music: J.S. Bach Three Part Movement

mapping musical events: Etienne-Jules Marey

record of two airs (A & B) played on the keyboard of a harmonium.

mapping movement: diagrams by Etienne-Jules Marey 1830-1904

mapping movement: diagrams by Etienne-Jules Marey

chronographic record of the periods of contact of the feet of a man executing various paces.

Etienne-Jules Marey

Eadweard Muybridge "Photographic Investigation" 1879

man jumping and Duchampʼs Nude Descending the Staircase

Hall of Fame pitcher, Tom Seaver

Time Sweep - Rounding First - Jimmy Piersall

Connie Mack Stadium, Philadelphia - April 13, 1954

ADLV Workshop: demonstrating the principle of tension

Paul Klee - miraculous pendulum

Le Corbusier modulor

...Le Corbusier was formulating his theory of a new architecture and beginning to incorporate it into his buildings. It was not until his later work that he began to incorporate ideas of musical proportion, composition, and synthesis into his built works. The development of the modolor as a new system of proportion based upon the human body may be seen as an extension of similar systems of proportion within the realm of the mathematical/scientific analogy between various art forms. His work as a painter and sculptor undoubtedly provided insight into compositional methods of these arts and their subsequent application in architecture, as can be seen in the analysis of his paintings and buildings…

Yolanda ColeFrozen Music: The Origin and Development of the Synesthetic

Concept in Art

Le Corbusier - Modulor

Sensitive Chaos: mapping water and air

organ note increasing in volume

the shape of sound from different instruments

well bowed violin badly bowed violin flute french horn

Le Corbusier - Iannix Xenakis - La Tourette

lester leaps in chorus analysis

stage 01: is an interpretive analysis and distillation of the underlying structural and thematic components of a masterpiece jazz composition.

formal consistency - establishing rules and sub-rules.hierarchy - relationship of primary, secondary, tertiary, quaternary. variation on a theme - constants and variables.

Count Basie (piano)Buck Clayton (trumpet)Dickie Wells (trombone) Lester Young (tenor sax)Freddy Green (guitar)Walter Page (bass)Jo Jones (drums)

arrangement chart

CHORUS 1

CHORUS 2

8 8 8 8

8 8 8 8

4

ensemble melody

vehicle

first

stated rhythm section ensemble melody

bass /drums

tenor sax solo

A1 A2 B A3

A1 A2 B A3

piano solo

CHORUS 3

CHORUS 4

CHORUS 5

2

4 4 4 4 4 4 4 4

3 5 3 5 8 3 5

2 time

2 time

6 stop-time

6 stop-time

8 time

6 stop-time time

tenor sax piano piano tenor sax piano tenor sax piano

ens. ens. ens. piano piano tenor sax tenor sax

tenor sax solo

A1 A2 B A3

A1 A2 B A3

A1 A2 B A3

tenor sax

CHORUS 6 3 5 3 5 8 3 5 ensemble bass bass

time

bass ens.

A1 A2 B A3

ens.

INTRODUCTION

A1-section A2-section

chorus structure

B-section A3-section

vehicle

A1-section A2-section

chorus structure

B-section A3-section

vehicle

A1-section A2-section

chorus structure

B-section A3-section

vehicle

A1-section A2-section

chorus structure

B-section A3-section

vehicle

A1-section A2-section

chorus structure

B-section A3-section

vehicle

Vehicle type: standard (an original melody, but borrows its chord progress from the standard, I Got Rhythm).Formal structure: AABA (each section is 8 measures or bars long); length of selection: 4 measure intro + 192 measures.

8 8 8 84

A1 A2 B A3before

4

after

time

chorus analysis format

8 8 8 84

A1 A2 B A3before

4

after

time

1

parker solos

2

b-sections

gillespie solos

3

trade of fours: p-gintro codatrade of fours: r-p-g

4 5

rhythm connectors

rich solos

6

Leap Frog - mutli-track analysis

Leap Frog - mutli-track analysis

1

parker solos

2

b-sections

gillespie solos

3

trade of fours: p-gintro codatrade of fours: r-p-g

4 5

rhythm connectors

rich solos

6

student examples

4 5

-equally distributed segments that make up the ensemble-has increased by one dimension-b section has more breaks within each solo, but equal playing time for each player

-most intense area shown by darkest areas

-rectangles indicate general height of the section on the graph-all even on the bottom except the breaks, which align with the center of the first solo in chorus 4

-each instrument is on a separate track, with extension lines to show relationships between each track-mostly 4/4 pattern, where each instrument plays for 4 beats-helps identify when the players vary from the general 4/4 pattern

“Leap Frog”-chorus 4

TRUMPET

DRUMS

PIANO

SAX

A2A1 B A3

0 3 6 9 12 15 18 21 24 27-30 4 8 12 16 20 24 28 32 36-4

A1 A2 B A3

A1 - Section A2 - Section A3 - SectionB - Section

Original Sound Graph- Provides Reference To Other Diagrams

Instrument Breakdown - Entire Chorus Is Broken Down To Show Specifically Which Instrument Is Playing At Any Second

Ideal Breakdown - Breakdown Of Instruments Based On An Idea Of The Ideal Location Of Transitions Of Instruments

Time Comparison - Graphical Representation Of Song Timing. Top Graph Showing Time In Seconds. Bottom Graph Showing Time In Beats.

Numerical Timing In SecondsNumerical Timing In BeatsChorus Structure BreakdownIdeal Instrument Breakdown

Last Four Beats Of Chorus III

First Four Beats Of Chorus V

Graphical Analysis Of Chorus IV

Song Flow - Generalized Movement Of Song Broken Down Into Three DegreesOf Intensity

P

R

G

Referrence Sample

Consistancy: seperation of instrumentsand then broken where the slightest

pauses occur in the music.

Intensity: the louder or more intensemoments are represented darder and

less intense fades more into white.

Music is broken into seperate instrumentsand the color is taken out to put more

emphasis on the relation rather than the instrument.

Previous piece mirrored over itselfto show a volume in Parker’s music.

Mirrored over the opposite sideto show volume in Gillespie’s music.

Combination of the two previousto show the relationship between the

two and how they are very similar to each other.

1 2 2 3 4 4 5

PARKER SANDS

source: Prof. Neiman 01_01_LF_Chart

01:58 02:28

BEFORE AFTER2A1A B A3

PARKERDIZZYMONKRUSSELLRICH

Dizzy introducesChorus 6

Monk chimes in,helping to carrythe vehicle

Russell walksalong in the background

Rich kicks off the sixth Chorus with a4-measure solo (1) with a taste oftriplet feel at the end

Parker leaps in with an innovativesolo statement

Rich’s solo consists of the same riff (2) twice in a row

Dizzy punches the highest note of the chorus and then spits outthree short riffs

Rich’s solo is a new twomeasure rhythm, but once again done twice

Parker follows with a similarpattern to Rich’s: he took a 2measure solo and repeated itHe had some breaks like Dizzy

Rich comes back to the triplets, butthey are twice the speed this time

Russell playes through Rich’s solo

Dizzy concludes his with a chaotic, chromatic flow from high to low

Rich concludesthe chorus andthe song withfour beats onthe snare, a shortroll, and two kickson the bass pedal

DIZZYRICHPARKER

*black dots symbolize Monk striking the keys (gray area is resonation)*white dots symbolize breaks

highlights where the soloists overlap the marked measure

W E D N E S D A Y , A U G U S T 2 9 , 2 0 0 7

02.01 chorus analysis

Applying concepts discussed in today's pinup and lecture, graphically

analyze one chorus of Lester Leaps In. The analysis must consider

four measures before and after the chorus. Distill major underlying

musical structures by looking for any event in the chorus that can be

quantified or described in terms of relationships, numbers, ratios,

positions, locations and zones, etc. The diagrams should be multi-tracked as a series of diagrams that includes text, captions or keys.

chorus arrangement diagram (file can be opened and manipulated in

Illustrator)

example analysis diagram based on jazz composition Leap Frog.

format/media: use Illustrator; print on 8.5" x 11" sheets.

due: Friday. Aug. 31. pinned up at the beginning of studio.

A B O U T M E

BENNETT R. NEIMAN

LUBBOCK, TX

VIEW MY COMPLETE PROFILE

L I N K S

ben.net ttu site

texas tech college of architecture

formZ resource page

P R E V I O U S P O S T S

02.01 chorus analysis

01.01 listening observation analysis

00.01 the jazz studio

A R C H I V E S

j a z z s t u d i o 0 7

F A L L S E M E S T E R 2 0 0 7

Dizzy Gillespie - Well, be-bop! - Down Beat, 1947

swing the velocity of celebration