Michael Schachter SMT Annual Meeting University of Michigan St. Louis, MO michael.schachter@gmail.com October 29, 2015

A Closer Look at Harmonic Prolongation in Jazz Performance Special Session: “What is Jazz Harmony?”

Example 1: Traditional “theme and variations” conception of jazz harmony (after Schenker [1935] 1979)

(Owens 1974, Strunk 1979, Martin 1996, Larson 2009) Example 2: Formal rhetoric in straight-ahead jazz

Head Solos Head “Exposition” “Development” “Recapitulation”/“Coda”

Example 3: Models of harmonic continuity in jazz

(a) “Local” (linking within and between choruses by subverting tonal closure)

(Owens 1974, Larson 2009, Martin 2011)

(b) “Global” (single overarching tonal plan)

HEAD HEAD SOLO

CHORUS SOLO

CHORUS

HEAD HEAD SOLO

(multi-chorus)

HEAD SOLO HEAD

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Example 4: The jazz standard “Autumn Leaves”

English Lyric by Johnny Mercer; French lyric by Jacques Prevert; Music by Joseph Kosma © 1947, 1950 (Renewed) ENOCH ET CIE; This arrangement © 2014 ENOCH ET CIE

Sole Selling Agent for US and Canada MORLEY MUSIC CO, by agreement with ENOCH ET CIE All Rights in the British Commonwealth, Eire and South Africa excluding Canada Administered

by PETER MAURICE MUSIC CO. LTD. All Rights Reserved

Reprinted by permission of Hal Leonard Corporation

Example 5: Melodic reduction of “Autumn Leaves” head (after Waters 2001-02)

Example 6: Avoiding tonal closure in “Autumn Leaves” (voice-leading reduction of mm.1–8)

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Example 7: Keith Jarrett Trio, “Autumn Leaves” (Keith Jarrett at the Blue Note, 1995) First head (two choruses) [4:21–5:41]

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Example 7 (continued)

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Example 7 (continued)

Example 8: Keith Jarrett’s harmonic plan for “Autumn Leaves” (Keith Jarrett at the Blue Note, 1995)

INTRO HEAD SOLOS HEAD JAM HEAD OUTRO

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Example 9: Prolongational procedures in Jarrett’s solo piano introduction to “Autumn Leaves” (Keith Jarrett at the Blue Note, 1995) [0:05–0:56]

Example 10: Keith Jarrett Trio, “Autumn Leaves” (Keith Jarrett at the Blue Note, 1995)

Transition from solo piano introduction into the head [4:08–4:22]

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Example 11: Voice-leading reduction of Jarrett’s solo piano introduction to “Autumn Leaves” (Keith Jarrett at the Blue Note, 1995) [0:05–4:08]

Example 12: Final head into coda, “Autumn Leaves” (Keith Jarrett at the Blue Note, 1995) [23:39–24:08]

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Example 12 (continued)

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Example 13: Modulation scheme of Teddy Wilson, “All of Me” (1946) (Simons/Marks)

Example 14: “On Green Dolphin Street,” mm. 9–16 (Kaper/Washington)

Example 15: Voice-leading reduction of George Shearing and Nancy Wilson, “On Green Dolphin Street”

(The Swinging’s Mutual, 1961)

Example 16: Bass reduction/modulation scheme of Tony Williams Trio, “On Green Dolphin Street”

(Young at Heart, 1988)

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Bibliography

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Kernfeld, Barry. 1983. “Two Coltranes.” Annual Review of Jazz Studies 2: 7-66.

Koch, Lawrence O. 1985. "The Jazz Composition/Arrangement." Annual Review of Jazz Studies 3: 181-192.

Larson, Steve. 2009. Analyzing Jazz: A Schenkerian Approach. Hillsdale, NY: Pendragon Press.

———. 1998. “Schenkerian Analysis of Modern Jazz: Questions about Method.” Music Theory Spectrum 20, no. 2: 209-41.

Martin, Henry. 1996. Charlie Parker and Thematic Improvisation. Lanham, MD: The Scarecrow Press.

———. 1988. “Jazz Harmony: A Syntactic Background.” Annual Review of Jazz Studies 4: 9–30.

———. 2011a. “More Than Just Guide Tones: Steve Larson's Analyzing Jazz: A Schenkerian Approach.” Journal of Jazz Studies 7, no. 1: 121–44.

———. 2011b. “Schenker and the Tonal Jazz Repertory.” Dutch Journal of Music Theory 16, no. 1: 1–20.

Mehldau, Brad. 1999. The Art of the Trio, Vol. 4. Liner notes. Warner Brothers CD 9362 47463-2.

Owens, Thomas. 1974. “Charlie Parker: Techniques of Improvisation.” PhD diss., UCLA.

Schenker, Heinrich. [1935] 1979. Free Composition. Trans. and ed. Ernst Oster. New York: Schirmer Books.

Schachter, Michael. Forthcoming. “‘Autumn Leaves’: Intricacies of Style in Keith Jarrett’s Approach to the Jazz Standard.” Indiana Theory Review.

Schuller, Gunther. 1958. “Sonny Rollins and the Challenge of Thematic Improvisation.” The Jazz Review 1 (Nov., 1958). Reprinted in Musings—The Musical Worlds of Gunther Schuller, 86–97. New York: Oxford University Press (1986).

Strunk, Steven. 1985. “Bebop Melodic Lines: Tonal Characteristics,” Annual Review of Jazz Studies 3: 97–120.

———. 1979. “The Harmony of Early Bop: A Layered Approach.” Journal of Jazz Studies 6, vol. 1: 4–53.

Waters, Keith. 2001–2. “Outside Forces: ‘Autumn Leaves’ in the 1960s.” Current Musicology 71–73: 276–302.

Williams, Kent. 1988. “Archetypical Schemata in Jazz Themes of the Bebop Era.” Annual Review of Jazz Studies 4: 49–74.

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