AABA Form

I. Thousands of songs, standards, are in this form. Most of the ones that aren't are in ABAC, a closely related structure. 32-measures of 4/4 time, with each phrase being 8 measures long.

II. The B section is commonly known as the Bridge; usually features a key change.

III. Counting it out.

IV. Example: Body and Soul.

V. Contrast with Blues. Longer, more harmonically complex, more melodically varied.

The Blues

I. Basic structure

A. 12 measures.
B. Harmonic structure I / IV I / V VI I

II. Varieties

A. Bessie Smith
B. Lester Young
C. Charlie Parker and Thelonious Monk
D. B.B. King
E. Ornette Coleman and John Coltrane

Rhythm

I. General considerations

A. There isn't just one jazz rhythm.
B. Some rhythms will seem "unjazzlike" to some listeners. Who's to say?
C. Still, some say it don't mean a thing if it ain't got that swing.

II. Swing

A. Even quarter notes (walking bass)
B. Accents on 2 and 4 (high-hat click--compare contrast to backbeat in rock)
C. "Swung" 8th-notes / variations on the timing
D. Does it swing or not?
E. Swung 16ths in Hip Hop

III. Tempo

A. Medium tempo
B. Fast
C. Slow

IV. Straight 8ths.

A. Latin: the clave
B. Rock / fusion
C. Does jazz have to use swung 8ths to swing?

V. Listening test

A.
B.
C.
D.
E.

Improvisation

I. General consideration

A. The compositon does matter
B. Favorite structures: 12-bar blues / AABA / ABAC
C. The idea of "standards"
D. Not all jazz is equally improvised.
E. Improvisation is not the opposite of structure or of planning, does not imply formlessness.

II. Performativity

A. Jazz a performer's art
B. zero degree of improvisation can still be jazz-like

III. Types of improvisation.

A. Melodic statement of theme.
B. embellishment or ornamentation
C. Melodic paraphrase
D. blowing over the changes / licks and clichés
E. "free jazz"

IV. Structure of a solo

A. Telling a story
B. Beginnings
C. Endings
D. development and climax
E. compare contrast with classical styles

V. Examples of improvisers

A. Stan Getz and Lester Young
B. drum applications: Max Roach
C. Art Tatum and the ornamental style

Introduction to the course (January 14)

I. Course (structure)

A. Syllabus
B. Lectures
C. Readings and written assignments
D. Supplements: field trips / lecture series
E. Final Project

II. Course (substance)

A. The music itself
B. Writing
C. Researching
D. Visual culture
E. How to be intelligent

III. Jazz is a universe

A. Jazz borders on other kinds of music
B. A hybrid music, and lends itself to other hybrids
C. The meanings of the music change over time, cannot be fixed
D. Can be intellectual or emotional
E. Can be harsh, dissonant, / or sweet and mellow

IV. Jazz takes place in particular place and time.

A. An American music.
B. An African-American music
C. Rhythm
D. Sonority
E. Improvisation

V. Listening.

A. Resources. Where to find recordings / broadcasts of jazz.
B. Active listening. Jazz is not background music.
C. How to? We will discuss particular techniques for listening.
D. "Big ears." Why it is important to listen to a huge variety of music.
E. Verbalizing your responses.