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Melodies an Gross a Thesis Submitted M Partial THE RHYIHMICNATUREOFBILL EVANS1] 'MELODIES by A. N. GROSS S.M»S,TheL.„iv„s„yo(liritlshCcilBmb.5js87 A THESIS SUBMITTED M PARTIAL FULFILLMENT- OF m THE FACULTY OF GRADUATE STUDIES (School of Music) We accept this thesis as conforming to the required standard THE UNIVERSITY OF BRITISH COLUMBIA August 1991 © A. N. Gross, 1991 In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and study. I further agree that permission for extensive copying of this thesis for scholariy purposes may be granted by -the head of my department or by his or her representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. (Signature) Department The University of British Columbia Vancouver, Canada Date b/Hl DE-6 (2/88) s-k v-- .v.. t.:-..^^.-^.!-:.———,-... r.-.^— r.^—— —- ABSTRACT Jazz composers and scholars have praised Anerican pianist Bill (William John) Evans as a superior improviser. But oddly, considering the renown gained by Evans, his music is only recently being analyzed in any theoretical detail. An essential aspect of Evans' style, in my opinion, is his ability to satisfy the harmonic obligationsof the theme and, at the same time, establish a maximum degree of rhythmic contrast with the metrical pattern of the original harmonic succession. This paper examines the rhythmic relationship of Evans' melodies to the chord changes over various timespans of the theme and its variations. A method of accent analysis is developed to describe this relation and is applied to excerpts firm two of his solos with a distinct bebop character. According to the provided criteria, this analytical method defines the strongest melodic accents ("points of emphasis") in the melodic accent pattern in relation to the different chordal accents generated by the theme's haiiixjuaicprogressions and to a lesser extent by the interpolated snhsiimips thai together constitute the hypermetrical accent pattern. In comparing these accent patterns and the accent processes of "coincidence", "synchronization", "cross-accent", and "rnnvpxppncR" thev artimlate. we determine some of the techniques Evans uses to crea te rhythmic contrast between the theme and its variations. On the grounds of this studyt one may conclude that the rhythmic structures of melody shown to be in "Peri's Scope" and "Beautiful Love" are characteristic of Evans' improvisations, especially in the early stages of his career. Hence, one may use this type of analysis to investigate the improvisational styles of Evans' predecessors: innovators such as Charlie Parker and Bud l'owell. and those ol'same of his contemporaries, such as the pianist Red Garland. Finally, the original concepts, terms, and processes identified by this method of accent analysis may help the jazz student to recognize the possible relations of melodic pitches to underlying chords during the course of performance. It seems likely, then, that this type of analysis can form the basis for a pedagogical method that has a distincdy rhythmic-harmonic aspect, an aspect that deserves more attention in jazz education. Ill LIST OF EXAMPLES 1.1. Blowing Pattern for "Peri's Scope" theme i 1.2. Various levels of pulse in the metrical and hypermetrical structure; "Peri's Scope" theme; ard variations, hypermeasure 1 (measures 1-2) 6 1.3. Various levels of pulse in the metrical and hypermetrical structure; "Beautiful Love" theme and variations, hypermeasure 1 (measures 1-4). .. 7 1.4. Various levels of pulse in the metrical and hypermetrical structure; "Waltz for Debby" theme and variations, hypermeasure 1 (measures 1 -4) 8 1.5. The hypermetrical accent on hyperbeat 1; standard falling fifth progression............. 9 1.6. The hypermetrical secondary accent on hyperbeat 3: "Peri's Scope" theme, HM 1 10 1.7. The tonic accent (TA); "Peri's Scope" theme, hypermeasures 2-3 12 1.8. The melody in relation to the hypermetrical accents; "Beautiful Love" theme, measures 16-32 13 1.9.Different hypermetrical accent patterns in the corresponding hypermeasures of the theme and its variation; "Peri's Scope" first chorus, hypermeasures 2-3 14 1.10.The tritone substitute; "Peri's Scope" first chorus, hypermeasure 3 16 1.11.The dynamic accent; "Peri's Scope" second chorus, measure 5........................... 18 1.12.The contour accent (a) on a heightened ione;.(b) on a lowered tone; "Peri's Scope" second chorus (with pickup).. .„•..; 19 1.13.The accent of retardation; "Peri's Scope" fifst chorus, hypermeasure l...................„... 20 1.14(a). Coincident melodic and chordal attacks; "Beautiful Love" theme, measures 16-21...... 22 1.14(b). Coincident melodic attacks and chordal accents; "Beautiful Love" theme and variation, hypermeasure 5 24 1.14(c). Contiguous timespans organized by blowing-pattern chords in a two-bar hypermeasure of the variation..... 26 1.15(a). Ranges of transition for the chord-change accent.............................;............... 27 iv 1.15(b). Chord-change tone as a chord tone that breaks with the melodic pattern associated with the previous chord ...;. 28 1.16. Unambiguous type of chord-change tone in a common bebop melodic pattern 29 1.17(a). Chord-change tone in a common bebop melodic pattern . 30 1.17(b). Melodic reduction showing corresponding voice leading.... 30 1.18(a). Chord-change tone in a common bebop melodic pattern 31 1.18(b). Melodic reduction showing corresponding voice leading 31 1.19.Chord-change tone in a suffixed voice leading pattern; "Peri's Scope" second chorus, measures 2-5. 32 1.20. The mouvic chord-change tone; "Beautiful Love" first chorus (measures 24-25) 33 1.21. Chord-change tone as a member of the substituted harmony; "Peri's Scope" first chorus, hypermeasure 1.. 34 1.22(a). Chord-change tones as members of the next extended blowing-pattern harmony; "Peri's Scope" first chorus, hypermeasures 2-3 35 1.22(b). Chord-change tone as a member of the next extended blowing-pattern harmony; "Beautiful Love" first chorus, measures 26-27. 35 1.23(a). Blowing pattern and original melody for "Speak Low" theme, measures 1-16.... 37 1.23(b). Range of transition a chord-change tone in a 4/1 hypermeter 38 1.24(a). The contracteiUrange of transition; "Beautiful Love'"' first chorus, measures 27-29...... 39 1.24(b). Spccial consideration for a chord-change tone in the preceding range of transition. 41 J .25.Assessing the chord-change tone; "Peri's Scope" second chorus, measures 3-5............. 42 1.26(a). Common bebop melodic pattern 43 1.26(b). Melodic reduction showing con'esponding voice leading and melodic-goal tone........ 43 1.27(a). The melodic-goal tone; "Peri's Scope" second chorus, measures 4-7..................... 44 1.27(b). Melodic reduction showing corresponding voice-leading pattern and melodic-goal tone. 45 1.28.Relations of strong melodic accents to hyperbeats; "Peri's Scope" theme, measures M.... 47 1.29.Comparison between accent patterns; "Peri's Scope" theme and second chorus, hypermeasure 1. 49 1.30. Summary of accent relations; "Peri's Scope" theme and second chorus, HM's 1-2... 50 1.31.Accent convergence in the hypermeter; "Peri's Scope" second chorus, measures 1-7 52 1.32(a). Synchronized chord-change tones and hyperbeats; "SpeakLow" A-l section, measures 8-16 53 1.32(b). Synchronized chord-change tones in the hypermeter, Sonny Clark's solo in first variation of "Speak Low", measures 8-16 54 1.32(c). Varied location of chord-change tones in the hypermeter, Bill Evans' solo in first variation of "Speak Low", measures 8-16 55 2.1. Accent analysis; "Peri's Scope" theme, measures 1-8 (including pickup)...... 58 2.2. Weights of points of melodic emphasis, chordal accents, and combined accents (on the hyperbeats); "Peri's Scope" theme, hypermeasure 1.. 60 2.3. Melodic reduction; "Peri's Scope" theme, measures 3-4 61 2.4. Weights of points of melodic emphasis, chordal accents, and combined accents (on the hyperbeats); "Peri's Scope" theme, hypermeasures 1-2.. 62 2.5. Weights of points of melodic emphasis, chordal accents, and combined accents (on the hyperbeats); "Peri's Scope" theme, hypermeasures 2-3 63 2.6. Weights of points of melodic emphasis, chordal accents, and combined accents (on the hyperbeats); "Peri's Scope" theme, hypermeasures 1-4 64 2.7. Accent analysis; "Peri's Scope" first chorus (including pickup), measures 1-9.... 66 2.8(a).Reauction of common bebop melodic pattern 69 2.8(b).Reduction of Evans' melody; "Peri's Scope" first chorus, measure 2.......... 69 2.9. Weights of points of melodic emphasis, chordal accents, and combined accents (on the hyperbeats); "Peri's Scope" first chorus, hypermeasure 1;:..';;. 70 2.10(a). Standard bebop riff (melodic pattern)........ 71 2.10(b). Melodic reduction of Evans' melody; "Peri's Scope" first chorus, measures 3-4........ 71 vi 2.11.Weights of points of melodic emphasis, chordal accents, and combined accents (onthe hyperbeats); "Peri's Scope" first chorus, hypermeasure 2 . 73 2.12.Melodic reduction; "Peri's Scope" first chorus, measures 1-6 75 2.13.Weights of points of melodic emphasis, chordal accents, and combined accents (on the hyperbeats); "Peri's Scope" first chorus, hypermeasure 3 ..76 2.14.Accented high-points; "Peri's Scope" first chorus, measures 7-9 ..77 2.15.Summary of accent relations between "Peri's Scope" theme and first chorus, hypermeasures 1-4 78 2.16.Accent analysis; "Peri's Scope" second chorus, measures 1-8 (including pickup).... 82 2.17.Weights of points of melodic emphasis, chordal accents, and combined accents (on the hyperbeats); "Peri's Scope" second chorus, hypermeasure 1 ..........84 2.18.
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