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OCR Jazz Set Work Louis Armstrong
Transcript of OCR Jazz Set Work Louis Armstrong
Hotter than that Jazz Set Works Melody Structure Chorus 2: Clarinet solo Chorus 1: Trumpet solo Chorus 3: Vocal Solo Chorus 4 Trombone Solo
and full ensemble The 32 bar chord pattern for each chorus is based on part of Tiger Rag, a standard for New Orleans players Clarinet and trombone drop out
Two-note syncopated upbeat at beginning of each four bar phrase
First full bar of each phrase is similar in rhythm
Most phrases extend over an octave ACCOMPANIMENT
Banjo & piano only
Comping by Lil Hardin - bass octaves in the left hand mostly alternating tonic/dominant, similar to the ‘oom-pah’ of the bass in a brass band.
Bass moves between registers after a few bars and the right hand chords also move to a higher register contributing to the variety of texture Break at the end of Chorus 2 introduces Armstrong’s singing for the first time
Piano drops leaving the banjo to comp and Lonnie Johnson improvising countermelodies on the guitar.
Scat singing – scat solos were very popular with the public.
His scat choruses were very much a planned part of the compositions.
The scat solo uses same qualities as heard in the trumpet solo of Chorus 1 – the first 16 bars have the same overall shape and he even imitates the trumpet rip to the high Bb previously heard.
He constantly uses smears, fall offs and vibrato.
Melody becomes smoother in the triplet section which contrasts the rhythmical opening of the vocal solo.
Second half of the solo = rhythmically remarkable. Sings a succession of 24 dotted crotchets, covering nine bars. This creates a polyrhythmic affect against the crotchet beat of the rhythm section. Accompaniment
4 bar piano solo provides a link to the final chorus.
Back to original mood and tempo of the piece.
Piano decorates harmony in the background – typical ragtime piano with an elaborate countermelody in the right hand register.
Armstrong back as main focus leading to the second half of the chorus with an unaccompanied ascending scale in straight quavers – chromatic to rising over an octave to a high Bb.
Strong finale with return of full band.
Dramatic sequence of stop time. Stop time = accompaniment plays short staccato chords, separated by silences which builds up the anticipation for the ending.
Trumpet solo uses the syncopated dotted crotchets from the scat solo (Chorus 3).
Avoidance of the full band ending that is expected – a return of the ideas explored during the duet section: call & response between trumpet and guitar.Reminiscent of the blues style dialogue previously heard – ends on a diminished chord which is both intriguing and inconclusive. ( Rhythm section remains silent as voice and guitar exchange two-bar phrases with each other – a call & response style.
Strong flavour of blues.
Beginning of each phrase, use of a variation of smears and microtonal inflections on the 3rd degree of the sclae (G or Gb).
The different tunings of G is a feature of their dialogue – exploits the expressive flexibility of blues tuning, compared to the western classical approach to intonation. Players Melody Structure Chorus 1 Chorus 2 Chorus 3 Guitar/Voice
Duet Chorus 4 The Players Trumpet/Vocal - Louis Armstrong
Trombone - Edward 'Kid Ory'
Clarinet - Johnny Dodds
Guitar - Lonnie Johnson
Piano - Lil Hardin
Banjo - Johnny St Cyr Armstrongs solo
Syncopated phrases extend over an octave
Broken Chords and Chromatic triplets Dodds' solo
First few bars crotchet beat
is emphasised then moves to swing quavers
Bluesier feel - first note uses a smear and
longer notes use expressive smear techniques
Begins in high clarino range
Bright tone/assertive/piercing in high register
Fast vibrato (typical of 1920s Jazz)/terminal vibrato Gradual ascent from Eb to Bb – when this is finally reached, there is a rip on the recording.
A Rip is a fast glissando through harmonic series.
Second half of solo is a more virtuosic pattern with less rests between phrases – use of broken chord figures and chromatic triplets.
Final phrase (bar 24) there is a sustained high G with a shake (lip trill). Trombone solo features
1st half (4 phrases of 4 bars each)
Use of slide with 3 techniques
*glissando up to a note
*fall-off at ends of notes
*slides between notes New Orleans polyphonic style – trumpet, clarinet and trombone improvising together: trumpet is syncopated, clarinet plays the countermelody, trombone plays a different countermelody & provides some bass notes in the texture, rhythm section continues to comp. Coda
Avoidance of the full band ending that is expected – a return of the ideas explored during the duet section: call & response between trumpet and guitar.Reminiscent of the blues style dialogue previously heard – ends on a diminished chord which is both intriguing and inconclusive.