excerpt from the seminar: ". The improvisational style features the Big Band era of Johnny Hodges of 1940-1950 compared with Charlie Parker and the bebop era,"
Johnny "Rabbit" Hodges was on 25 July 1907 in Cambridge (MA) was born. As a child he played percussion and piano. At 14, he decided finally to the alto saxophone. He is in the Great Overall, self-taught.
acquaintance with Sydney Bechet was very important to him because this was his mentor and teacher. This does not mean that he has taken private lessons: As is common in the "learning-by-doing" jazz tradition, he learned his craft directly into the clubs in Bechet's supervision. Both played in 1925 in a quartet of Willie "The Lion" Smith in "Rhythm Club" in New York. On 28
May 1928, after he had been involved in less important groups, was taken up in the orchestra of Duke Ellington, where, apart from the interruption in the years 1951 -55, when he led his own orchestra, 40 years participated. Lewis Porter says of him: "From his first recording session with Ellington in 1928 he revealed Considerable authority and technical mastery, playing with a broad, sweeping tone and producing impressive florid runs, in the opinion of many, he soon became Ellington's most valuable soloist "[Porter 2002:259]
It is also known. . that Johnny Hodges of John Coltrane and Ben Webster was highly honored Hodges was admired for his perfect intonation and expressive nuances of many generations of saxophone players, and how Porter concludes: "The power of his playing derived from the majesty of his sound, his endless expressive vocabulary of ornaments, and the soulfulness of his melodic ideas "[Porter 2002:259]. Johnny Hodges belongs to Willie Smith and Benny Carter's most important Alto saxophonist of the so-called swing era.
his most important pieces are interpretations such as: "Things Is not What They Used to Be," "Do not get around much any more," "Passion Flower", "Jeeps blues", and "Hodge Podge", just to name the most famous. On 11
May 1970 died Hodges surprising in a Herzinfarkt.Duke Ellington expressed in the following way suddenly to his death: "Never the world's most highly animated showman or greatest stage personality, but a tone so beautiful it sometimes brought tears to the eyes - this was Johnny Hodges. This is Johnny Hodges. Because of this great loss, our band will never sound the same "[www.alphalink.com.au/ ~ michaelp / duke 's_eulogy.html]. understand
Historical background music
To the musical importance of Hodges, it is important to outline the main features of the historical backgrounds of jazz in the United States. We limit ourselves to the time that passes between 1940 and 1950. In the 1940s
meet each other different styles, some of which "completed", but are also forward-looking. As Final particularly true of the swing, are forward-looking, we find the Bepob who has weiterenlwickelt in Cubop of Dizzy Gillespie and the hard bop of Cannonball Adderley and the cool jazz, which has then been split into West and East Cost jazz and what John Coltrane founded the avant-garde.
The forties are often referred to in the literature as the bebop era, although not completely true, since in parallel, still was the swing era. It is, however, agreed that bebop was born in these years.
What makes this new style, is the extension of the chords in the composition and improvisation from the seventh to the thirteenth, faster harmonic rhythm, and a very high speed (often up to 200 beats per minute!), Which at that time very revolutionary was also placed high demands on technology. The most important figures in bebop are the alto player Charlie Parker, trumpeter Dizzy Gillespie, pianist Bud Powell, drummer Max Roach, and the guitarist Charlie Christian. Also
tenor saxophonist like Ben Webster and Coleman Hawkins in the jazz scene is still very present. The controversial pianist Thelonious Monk makes his first steps into the jazz world and shocked with its dissonant chords and "odd phrasing," as Mary Lou Williams once said [Kunzler 2002:879]
Miles Davis in the early 1940s is still an apprentice of bebop and a great admirer of Charlie Parker. Yet one would know that he will write history from the fifties: In the recordings with Charlie Parker was even his technical weakness in the Bebop, since he always plays a little behind the beat and to observe a clear trouble with the tempo.
The swing era is often associated with the famous words of Duke Ellington's composition in connection: "It do not mean a thing, if it is not got that swing", it means nothing if it does not swing ... This statement seems obvious, but it captured the essence of jazz: swing without feeling and phrasing, there is simply no jazz. When the golden age of swing era called the 1920s and 1940th Among the band leaders connect Duke Ellington, Earl Hines, Bob Crosby, Stan Kenton, Lionel Hampton, etc., out.
Two important passages that are later apprehended in connection with Hodges again originate from Jost's "social history of jazz in the USA". You sketch a picture of the then Big bands [Jost 1991:86].
"The jazz scene in the early 40s was dominated by the swing big bands. Small ensembles were formed informally in jam sessions or were collected in the short term for recordings." [Jost 1991:86].
The term "big band" refers to an orchestra that consists of at least ten musicians. It is divided into Rhythm, Reeds and Brass Section. The rhythm section consists of drums, bass, piano and / or guitar. The brass section consists of four trumpets and two to four trumpets, five saxophones, the Reeds are made in all four layers. The reed section changes frequently between clarinet and flute. The most important function of Lead and Lead Trumpet Alto adopted, which are of crucial importance for the swing and the intonation.
big band also meant a rise in the musical level of the individual musicians. In the early twenties musicians ever put together by ability, they often had not even read music but played by ear. In the forties, however, a professional know-how has been provided.
"The establishment of the big band as the dominant musical form of organization of the swing era was for the musicians, not without consequences Perfect Sight-play and sound-wise classification in a record group was in the Most orchestras of the time necessary condition, whereas the ability to improvise and the urge for creative self-expression were often secondary. "[Jost 1991:81].
In 1949, Miles Davis' recording" Birth of the cool. "He based this album is a new style, which then fifties in the years should be style icon.
basket analysis of Hodge's solos
The following analysis, the emphasis on melody and the structure and assembly of Solis. to dispense with a harmonic analysis, except for the Blues, had to, because the images in each case were too vague to be able to write out the bass line, and so close to the progression to. My transcriptions are available on request available from me.
Last Legs Blues
Since our first parsed with a piece of Blues, the "Last Legs Blues" begins, should be mentioned here just a few notes about Blues. In Blues, from the English "to feel blue, sad, depressed feeling, we understand today:
- Music of Black Americans of Southern
- A sad mood and inner attitude, a way of life
- a form of poetry with the AAB- scheme where each part is divided into four bars
- A harmonious scheme that simplifies consists of three dominant seventh chords, each from the tonic, the subdominant and the dominant, the following manner be divided into a twelve-bar blues scheme:
Blue Scheme in G:
G7 (T7) - C7 (SD7) - G7 (T7)-G7 (T7)
C7 (S7) - C7 (S7) - G7 (T7) - G7 (T7)
D7 (D7) - C7 (SD7) - G7 (T7) - D7 (D7)
Abbreviations: T: tonic, SD: subdominant, D: Dominant
The blues is the only genre in jazz, in which a dominant seventh assumes Tonikafunktion. Music and lyrics are closely linked. In the first four bars, the tonic is made with either a text or a melodic line with a statement. In the next four measures, the subdominant, the statement is repeated, if necessary, some varied. In the last four bars, where all affected areas in stages, focusing the harmonic tension that goes from the dominant to the subdominant, and eventually dissolves in the tonic.
Johnny Hodges' solo begins with an opening on the fourth beat. The rhythmic intensity is in the bar 5, so in the subdominant. An attempt was made the 5-6 bars on the PC slows down write out, I had to find that this was impossible, because those two bars of Hodges not with the beat together and were therefore difficult rhythmically are divisible.
is striking the double octave leap in bar 8 11 emphasizes the beat rhythmically Hodges and g with the tonic vibration. The solo ends at the root of the dominant.
The solo is limited to the short Blue scheme, which is a thematic and melodic development is not possible to do and much to be desired. The Blues namely a special place in the "jam sessions": There is the one species, the great freedom and Experiementiermöglichkeit because the dominant seventh chords stand by the tritone between the third and dominated all kinds of options and sounds that do not belong to the basic chord . The musician can season with these options, his melodic lines. Hodges points out, however, the first four bars of the tonic. The quarter break in the four-stroke you could also serve as a turning point see the next part. The second A section and B section, however, are intertwined. Hodges is working here with a lot of Double Time and formed a melodic arc that goes from the tonic of the first bar to the dominant. The solo ends at the root of the dominant. His statements are short and concise, it uses the limited number of cycles in full. Also speaking grammatically, these are a closed set.
Hodges does not work with unique patterns, which are further developed, but he improvised, especially with the blues scale. He also improvised chord based approach and use-notes within the chord, such as the subdominant of clock 10 to detect (Passage d "db" c ") is
characteristics.:
Artist: Johnny Hodges
name of the piece: Last Legs Blues - J. Hodges
Album: The Complete 1941-50 Small Group Sessions. Vol II
Label: Blue Moon
Recorded: Paris, 15 April 1950
leader or a sideman: Leader
Instrument: alto sax solo
:
Tune type:
Tempo: Quarter ± 104
clock: 4 / 4
Key: g?
stylistic devices / effects: Double-time, vibrato
Register: d '- d''
solo Development: Rhythmic development in bars 4-5, melodic development in the high frequency clock 8 with d''
Scales: Blues Scale Patterns
: No explicit use of patterns
General comment:
The solo is limited only to the Blue the short pattern, as you can to do a thematic and melodic development is not possible and anything left. Hodges is working here with a lot of Double Time and form a melodic arc that goes from the tonic of the first bar to the dominant. His statements are short and concise, it uses the limited number of cycles in full.
Hodges does not work with unique patterns, which are further developed, but he improvised, especially with the blues scale. He also improvised chord based approach and use-notes within the chord, such as can be seen in the clock 10 in the subdominant.
Run about
Our next play "Run About" is even more scarce, as Hodge's solo is limited to eight bars. Hodges shares the solo part with trumpet, trombone and clarinet. This was an improviser-practice that was often kept in big bands, and which was taken over by the New Orleans Jazz of the twenties. This gave the opportunity for each musician, albeit in a very limited scope to express themselves in improvisation.
starts again on his solo Hodges upbeat. Striking are his vibrato on the note B 'in bar 4 and the figure of triplet sixteenth notes to eighth, which is strongly reminiscent of the ornamentation practice of bebop (the recording is from 1950). No melodic game stands out particularly. It is
out that Hodges here strongly chordal improvising, because neither a single melodic line is still visible Approach Notes are used. It is observed that the melody always jumps from a minor third (bars 6-7), fourth (bars 3-4) or fifth (bars 2-3), makes. Nevertheless, his impressive solo, because he works with chordal fragments, which are concise melodic.
By simplicity here made a great impact, although allowing eight bars no solo development.
characteristics:
Artist: Johnny Hodges
title of the composition: Run about - J. Hodges
Album: The Complete 1941-50 Small Group Sessions. Vol II
Label: Blue Moon
Recorded: Paris, 20. April 1950
leader or a sideman: Leader
Instrument: alto sax solo
:
Tune type: AABA
Tempo: Quarter ± 124
clock: 4/4- *
key: * / -
stylistic devices / effects: Vibrato, strong sound
register: e '- d''
solo development: -
scales: -
Patterns: No explicit use of patterns
General comment:
It is striking that Hodges strongly chordal improvising here, because neither a single melodic line still visible Approach Notes is used. It is observed that the melody always jumps from a minor third (bars 6-7), fourth (bars 3-4) or fifth (bars 2-3), makes. Nevertheless, his impressive solo, because he works with chordal fragments, which make well again be heard and which are concise melodic.
Get that geet
The solo starts, you could almost say, traditionally, upbeat approach to the note # on a 'to h'. Hodges can improvise on the AA-part of the solo, so this piece is like the "run about", distributed to the winds. The first four-bar A-section is divided into two periods, or more phrases, each in the ratio of question and answer. The second A section is in this relationship, but the phrases are divided into a five-stroke engine and a three-stroke on.
In cycle 3 Hodges used the figure of the ornament with triplet sixteenth-eighth that was so popular in bebop. The same figure appears again in bar 8, as if to underline the solidarity with the previous period. Also, the octave leap g'-g "in the bar 7 to e'-e" repeatedly and recalls the question-answer relationship. The triplet figure, however, augmented, is included in bar 9, where the second A-section begins. The following is a short rising then descending passage mainly with triplets. When getting Hodges reached with the tone c '"the dramatic point of the solo, which he emphasizes with an intense vibrato. Then the line begins to descend.
In bar 14 Hodges used the figure the sixteenth to eighth, but in reverse order. Even here you could see a connection to the five-bar phrase: it is the diminution of character bar 9 Once again, observed that he improvised chordal.
Despite the brevity of the improvisation seems to have exactly the scheme of Hodges had in mind a conscious and planned allocation of periods to have. The first part contains the A-phrasing in balance, in the second A section, he moves the weight on the first slurs. Thus, the strength of this solo is the structuring of the phrase units.
characteristics:
Artist: Johnny Hodges
name of the piece: Get That geet - J. Hodges
Album: The Complete 1941-50 Small Group Sessions. Vol II
Label: Blue Moon
Recorded: Paris, 20 April 1950
leader or a sideman: Leader
Instrument: alto sax
Solo:
Tune type: AABA
Tempo: Quarter ± 168
clock: 4 / 4
Key: -
stylistic devices / effects: Vibrato
register: e '- c ''
solo Development: Improvised to AA
scales: -
Patterns: triplet sixteenth to eighth (in reverse order)
General comment:
seems, despite the brevity of improvisation here Hodges the scheme to have just had in mind and a deliberate allocation of periods (not in the classic sense) planned to have. Once again, he improvised, especially vertically.
are the first part of the A-Phasierungsbögen in balance, in the second A section, he moves the weight on the first arch phrasing. Thus, the strength of this solo is the structuring of the phrase units.
That's grand
This is a blues solo that is designed in contrast to the previous solos rhythmically varied.
The solo starts with an upbeat note triplet, which "aims to A7. This c #" c # on the third it forms by far with the approach of the note and then brings anbläst with the approach to the right intonation. This is a design element, the Hodges often used, and therefore in the "Hodge's Sound "is considered in more detail.
In cycle 2, he divides his time between the major third c #" and the minor third c ", which the characteristic sound of the" Blue Note "the fruit and the typical design principle of the blues too. The first Blue scheme (= 12 bars are) is divided into three slurs, divided in turn into four, three and five bars.
clock 5, the start of two Achtelstriolen with previous eighth-note rest. This opening is intended to point d ', the keynote of the fourth stage. Hodges again answered in the subdominant, as he again takes up rhythms that appear in the tonic. It can be seen here therefore shows the relationship between question and response that the first two slurs have. In the third, he takes the sum of the foregoing, in which he has enriched this part rhythmically and sixteenth sixteenths. Also in the musical message, the third part different from the first two, by setting the end point.
points in the second Blue Scheme Hodges the seventh g "of A7. The first four-stroke two strokes begins at bar 12 and ends on the second beat of bar 16th This four-strokes can be further divided into three sections will be separated by intervals of each other. It is interesting to see that Hodges is back in these four measures a compressed version of the Blues: The first phrase is the statement that confirmed with the second phrase, which begins on g ', is. The third section follows the "Resolution". He then used the same principle for the remaining eight measures. The bars 16-17 and 18-19 and remember the sounds of the varied Rhyhtmik her strongly of the bars 12-13 and 14-15.
Another design element that is particularly noticeable in the bar 12 used, he "laid back" technique: Up to and including measure 13 he draws his phrase literally backwards and pretend ternary rhythms.
used in this solo Hodges many creative means of characterizing the blues and make spicy: rhythmic variety, phrasing ternary, eighth and sixteenth, laid-back technique and sixteenth lines. Also formed and emphasizes individual notes, by calling it "dirty" play. On the heavy beats, he emphasizes the important notes in a chord, namely the third or seventh. Adds little to the fifth race of the chord at, except for the semi-reduced or diminished seventh chord.
characteristics:
Artist: Johnny Hodges
name of the piece: That's grand - J. Hodges
Album: The Complete 1941-50 Small Group Sessions. Vol II
Label: Blue Moon
Recorded: Paris, 20 April 1950
leader or a sideman: Leader
Instrument: alto sax solo
:
Tune type: Blues
Tempo: Quarter ± 88
clock: 4 / 4
Key: A
stylistic devices / effects: Double Time, vibration, Dirty Notes
Register: d'-d'''
solo development: Rather uniform, the SDT-range somewhat tense
scales: blues scale, Mixolydian
Patterns: On or descending chordal patterns
General comment: In this solo Hodges
used many creative means of characterizing the blues and make spicy: rhythmic variety, phrasing Ternary, eighth-and Sechzehntelstriolen, laid-back technique and sixteenth lines, and the use of Dirty Notes. On the heavy beats, he emphasizes the important notes in a chord, namely the third or seventh.
How I wish I was around
The first thing to notice about this transcription, the linearity of the melodies. Nowhere to flow into each other the lines as smooth as in the solo. In cycle 3, one can observe how Hodges used in its sixteenth line of an F-minor scale (Aeolian), and how it relates to the third beat of the sound f''chromatic approaches, in bars 5 and 7 are two big jumps to observed, a minor sixth and a major ninth. This Spünge not break the linearity, since they are held by each of the following courses in the balance. The balance is also favored by using descending thirds (bars 6 and 8).
This solo is characterized by its linearity, the was written out with the combination of jumps and thirds pattern to a balanced network.
characteristics:
Artist: Johnny Hodges
name of the piece "How I wish I was around - J. Hamilton -
Album: The Complete 1941-50 Small Group Sessions. Vol II
Label: Blue Moon
Recorded: Paris, 1 June 1950
leader or a sideman: Sideman
Instrument: alto sax
Solo:
Tune type: Ballade, AABA, vocal piece
Tempo: Quarter ± 58
clock: 4 / 4
Key: F-Minor
style funds / (?) effects: vibration, Slur effects
Register: c # '- f''
solo Development: solo on B
scales: extracts from Molto ladders, chromatic passages
Patterns: Thirds runs
General comment: This is one of the least
improvisations by Hodges, where the linearity is expressed. He works a lot with chromatic passages and with the combination of in thirds.
I met a guy
Hodges begins the solo with the intervals of the vocal text. The beginning of the vocal piece, namely the sentence "I met a guy," includes the major second intervals, and two consecutive minor thirds. He varies the rhythm, by integrating the first two intervals in an upbeat Achtelstriole. The vocal line begins, in contrast with upbeat eighth line. The vohergehende Example is one of the exceptions to this transcriptions by Hodges improvised linear. Here he is returning to its vertical Improvistationsart by greatly inspired the song. The solo is very simple, the melodies are singable. The rhythm is strongly emphasized, the whole solo has a percussive nature. The emphasis on rhythm is evident from the repetition of the same tone. This example occure in the bar 1 with the sound of a ', but also in the bar 13 g with the stress of Sound'.
is very striking the melodic pattern of a descending minor or major third (the chord is gender-specific) that is used throughout the improvisation. It is noticeable that it was primarily the low register for his Improvisation used. It seems as if the tenor saxophone and would imitate fullscall diagram whose tradition. Hodges has chosen in this case, simple melodies in order for it to emphasize the rhythm and the percussive nature of his improvisations. He improvised and vertical stresses root, third, fifth and seventh of the respective chords.
characteristics:
Artist: Johnny Hodges
name of the piece: I met a guy - J. Hodges
Album: The Complete 1941-50 Small Group Sessions. Vol II
Label: Blue Moon
Recorded: Paris, 1 June 1950
leader or a sideman: Sideman
Instrument: alto sax solo
:
Tune type: AABA
Tempo: Quarter ± 126
clock: key four quarters
: -
stylistic / Effects: Clear, simple rhythm
Register: A # - f #'', vowiegend low register solo
Development: No inflationary effects flowing, regular improvisation.
Scales: No, more vertical improvisation
Patterns: Rhythmic Patterns eighth with attached quarter, puntkierter district eighth and vice versa descending thirds
General comment:
Hodges has chosen in this case, simple melodies in order for the rhythm and the percussive nature his improvisation emphasizing. He improvised and vertical stresses the fundamental, the third, the fifth and seventh of each chord. Thus used He is no clear scale. A common pattern is the descending melodic major or minor third.
Tea for two
"Tea for Two" is the one "standard", known as cha-cha. On the recording of this piece is, however, played in swing style. This piece is also notably known for its Two-Five-One-movements.
If one considers only the score, you can see with the naked eye that the solo is designed fluently. Hodges again starts the solo on upbeat. In the overall picture, there is no clear highlights, with a possible increase in drama, but you see a wavy, regular network of eighth notes. Although in time 23, the solo with the c '"reached the melodic peaks, seems more a" get weight because Hodges emphasized that note in the solo several times.
is striking is that he the pattern of bar 1 to the beats 3 and 4 (eighth notes with eighth notes and quarter appended) repeatedly in the course of the solo brings. Good two-thirds of the solos are based on this character combination: In bar 6, this figure appears on the beat 1 and is repeated to the beat seventh Continue this pattern appears in measures 8, 12, 14, 18, 19 and 30
appears in bar 16 to develop the solo with the chromatic transition of the triplet and the following eighth player in a new direction to do. It seems that the Hodges solo on a high point wanted to. It had quite an intensification of the rhythmic solos can stattffinden. It can, however, are the design and abruptly goes back to the pattern that he had already used in bar 1. One reason for this decision, the Hodges has taken could be that he was here just get in the middle of the solo and it therefore little scope for development was available. At this point, the solo experiences a critical moment, the resumption of the pattern seems at this point a little monotonous. This clock actually a new development could take place. From bar 21, the solo takes at least a new drive, even if only on a rhythmic level: does the figure of Triplet added, which is also used as an ornament (as in bar 21).
appear in bars 25-26, a new pattern with the triplets, which he repeated in bars 27-28, is being pushed forward in time 27 of the pattern at once. Apart from these two patterns, uses the Hodges again and again, the solo is improvised chordal above all. It is striking that occur repeatedly jumps within the melody, as has happened in bars 10 (Quint leap h'-f # "), 13 (minor seventh g # 'f #") observed. To linear melodies is omitted here for the most part.
The strength of these solos is the use of patterns. The uniformity is also underlined by the rhythm, to the whole chorus is evenly distributed. Some relaxation is brought from the Achtelstriolen used in the second part of the solo. Despite the "crisis" conveys a sense of flux this solo.
characteristics:
Artist: Johnny Hodges
title of the composition: Tea for Two - Youmans-Caesar
Album: The Complete 1941-50 Small Group Sessions. Vol II
Label: Blue Moon
Recorded: Paris, 1 June 1950
leader or a sideman: Leader
Instrument: alto sax
Solo:
Tune type: chorus, 32 bars
Tempo: Key 4 / 4
:: Quarter ± 170
clock -
stylistic devices / effects: vibration
Register: d '- c''
Solo Development: Consistent
scales: -
Patterns: Rhythmic Patterns
General Comment: In this solo works
Hodges chordally above all. The strength of these solos is also in the use of patterns. The uniformity is also underlined by the rhythm, which is distributed regularly to the whole chorus. Some relaxation is brought from the Achtelstriolen used in the second part of the solo. Despite the "crisis" conveys a sense of flux this solo.
Perdido
This piece is based on the phrasing of the first arc of the piece, that is, bars 1-4. The pattern of the secondary-Terzketten in ascending or descending order is used throughout the Improvisation of Hodges. Again and again he repeated the same Terzintervalle what is observed in the bar 14 and 20.
A point increase is observed in measure 8, where Hodges a big jump from the register f 'to d' "makes. This passage is also marked by a strong vibrato. To the beat 14 beat 4 Hodges plays a pattern of formula 2-4 -4-b3, the 'begins. He answers with a similar pattern to the upbeat e' d to start, and the formula b2-2-5-b3-2 has. These two patterns are related as question and response to each other.
is the beat 17, the only passage to find the linear, or better on B (American name, corresponds to the H in the German language area) is scalar improvisation. In measure 21 Hodges works with chromaticism and Note-technology approach. For example, the a'-a # are understood 'to beat 4 of measure 21 as a dual approach to h' of clock 22nd
Hodges improvised almost exclusively with Terzketten, indicating again the vertical improvisational technique. The rhythm in the pulse level is very simple design, apart from the decorations in bars 5, 13 and 31 From bar 21, he interrupts the regularity of phrasing sheets that were symmetric to the point of contact if moved. Here it goes: between one and three strokes. Thus, most show contrasts in the phrasing level.
characteristics:
Artist: Johnny Hodges
title of the composition: Perdido - Ellington Tizol
Album: The Complete 1941-50 Small Group Sessions. Vol II
Label: Blue Moon
Recorded: Paris, 20 June 1950
leader or a sideman: Leader
Instrument: alto sax
Solo:
Tune type: AABA
Tempo: Quarter ± 170
clock: 4 / 4
Key: -
stylistic devices / effects: vibration
Register: d '- bb
''Solo Development: Development of basic pattern
scales: To a limited mass used
Patterns: Descending secondary-Terzpatterns, Terzpatterns
General comment:
Hodges improvised almost exclusively with Terzketten, again on the vertical improvisational technique points. The Rhyhtmik in the pulse level is very simple. The plane of the phrasing, however, is made somewhat more contrast. Here he changes frequently ie between one and three strokes.
In the shade of the apple tree
This is the only piece of the series that does not begin upbeat. The measures include a 50-10 for Hodges something unusually long phrasing sheet, which is designed with the Achtelstriolen chain. In bar 16
is aborted and the solo by the trumpet replaced, even if the intended tone d "on the continuation of the solo. This tone continues namely our ears, opens again the chorus beginning. Individual
chromatic passages are found in the bar 6 and the beginning of bar 12, otherwise he improvises mainly chordal. Rhythmically the piece is dominated by the Achtelstriolen, highlighted particularly in bars 5-6.
characteristics:
Artist: Johnny Hodges
name of the piece: The shade of the apple tree - Williams-Van Alstyne -
Album: The Complete 1941-50 Small Group Sessions. Vol II
Label: Blue Moon
Recorded: Paris, 20 June 1950
leader or a sideman: Leader
Instrument: alto sax solo
:
Tune type: AA form
Tempo: Quarter ± 120
clock: 4 / 4
Key: (?) -
stylistic devices / effects: vibration; Slurs
Register: d'-c'''
solo Development: Consistent
scales: -
Patterns -
General Comment: In this solo Hodges
plays one for him a little longer anything unusual phrasing arch, with the chain Achtelstriolen is designed. Apart from the abrupt termination of clock 16, the solo is in a uniform format. Besides individual
improvised chromatic passages he mainly chordal.
Mood Indigo
What this piece particularly striking, the deep position of the solo beginning on d '. The warm tone and the charming atmosphere to induce a strong reminder of a tenor saxophone solo by Coleman Hawkins and Lester Young. The solo
begins with a chromatic line in bar 1 to bar 2 is then deposited on the diminished seventh chord on C # 'to develop vertically.
more chromatic passages can be observed in measures 5, 8 and 10. Otherwise, the solo is designed fluently.
This piece works Hodges strongly with the paraphrasing of the topic, just as we have seen in the play "I met a guy," where the solo inspired by the vocal part. Impressive are the abundant ornamentation of the solo, the rhythm is up to the level of Zweiundreissigstel. The cycles 80-10 show a rich palette and Triolenrhythmen: We find and eighth Sechzehntelstriolen and Achtelstriolen which are divided into sixteenths (cycle 10). This passage dehalb is so impressive because it carries a large part of the Blue tradition in itself. Although this is a ballad, this part sounds very "bluesy".
As opposed to the rhythmic division, he is also facing percussive rhythms. In the bar 6 and 9 are the tones alternately h "and g" rhythmic stresses. Neither contrasting sections are still associated with increases in climax. The highest note of the solo is because h ', but as it often is exhibited not only repeated, it loses its position rather than climax summit.
This solo combines different stylistic elements: chromaticism, vertical improvisation, percussive passages and subtle rhythms.
characteristics:
Artist: Johnny Hodges
title of the composition: Mood Indigo - Bigard-Ellington-Hodges-Mills -
Album: The Complete 1941-50 Small Group Sessions. Vol II
Label: Blue Moon
Recorded: Paris, 20 June 1950
leader or a sideman: Leader
Instrument: alto sax
Solo:
Tune type: Ballade
Tempo: Quarter ± 72
clock: 4 / 4
Key: -
stylistic devices / effects: vibration, Slurs
Register: c ' -h''
solo Development: Consistent
scales: -
Patterns -
General comment:
This solo combines different stylistic elements: chromaticism, vertical improvisation, percussive passages and subtle rhythms.
In a mellowtone
The first four bars of this solo by triplet rhythms shaped, fade in time with the fourth It is striking that Hodges makes between octave leaps, which may be regarded as a change of register, such as in bars 2 and 6 In both places he takes up with the line that is by descending a minor third. There are also cracks that are chained and therefore receive a melodic significance, such as can be seen in time to 16th
begins after the "triplet" at the beginning a fairly continuous development of double-time chains. Impressive is the powerful sound that has the Hodges here, he is strongly reminiscent of the Soundästhethik of bebop.
The "Brake" (where the accompanying orchestra stops playing) of this piece was impossible to write out. Hodges has played a long line of sixteenth notes, but rhythm is extremely uncertain: he emphasizes not the beat, it sounds rather as if he would swim in his line and do not know exactly, should be long where he was. This was observed mainly in the slow version of record.
His sixteenth-lines consist of chordal groups as well as from economies of scale fragments. Time and again also jumps are like watching in bars 9 and 10, where occur alternately a descending seventh and fifth. Its lines are so not the same as the linear style, as Approach no notes exist, or if, chromatic lines are used only sporadically.
characteristics:
Artist: Johnny Hodges
name of the piece: In a mellowtone - Ellington, Gabler
Album: Johnny Hodges
Label: RcaVictor
Recorded: Chicago, 5 September 1940
leader or a sideman: Sideman
Instrument: alto sax
Solo:
Tune type: AABA
Tempo: Quarter ± 130
clock: 4 / 4
Key: (?) -
stylistic / Effects: Break, chromatic passages
Register: d'-c'''
solo Development: Linear arch with ascending and descending scales climax
: Doric on F, to A harmonic minor
Patterns: Descending seventh
General comment:
The impressively powerful sound reminiscent of the Soundästhethik of bebop. The Solo is designed rhythmically varied, it switches between ternary and binary rhythms. Particularly striking are the large jumps that he used either melodically but also to the linear guide. His sixteenth-lines consist of chordal groups, as well as fragments of scales, to observe said, is that his lines are not equivalent to the linear style.
Things is not what they used to be
And finally, we have again a blues in Bb (American name, corresponds to B in the German language area). This solo is designed amazingly simple, yet effective. All Blues is divided into four phrasing: The first two relate to each other in question-answer relationship. The three plays on the beat melodic pattern b3 Bb7-1-13-b3-9, in bars 3-4 on EB7 transmitted as 7-5-7-13, though rhythmically varied. In 8-9 clock is the conclusion which is to beat four in bar 9 resumed and expanded simultaneously.
What is striking in this solo, the use of options: In the bar 2 is c ", based on the Bb is the great None, used, and in line 6 is the same c" based on the Eb major thirteenth.
The use of options must be made aware of the improvisation, as a so-called "forbidden" option can destroy the sound of the chord, in other words, the note does not sound right. For general representation is here is a table set up that lists the five basic chord types of jazz, the possible options:
Maj7: CEGH, 1-3-5-M7; options: 9, # 11, 13, banned Options: 11, b13, b9
Dom7: CEGB, 1-3-5-7; Opt: 9, b9, # 9, # 11, 13, b13; verb. Opt: Depending on the combination
Moll7: C-Eb-GB, 1-b3-3-7; Opt: 9 (b9), 11, 13; verb. Options: b13
Halbverm7: C-Eb-Gb-B, 1-b3-b5-7; Opt: 9, 11, b 13; verb. Options: b9, 13, # 11
Verm7: C-Eb-GA, 1-b3-b5-b7: Opt: 9, 11, b13, M7; verb. Options: b9, # 11, 13
The general rule that the interval distance may be the options in terms of root, third and fifth, not less than a major ninth. The dominant has the largest range of options, as in jazz chord theory of this, due to the tritone between the major third and minor seventh, is very suspenseful. Because the tritone is a defining interval, it holds from tension, more options. Exciting options are those that are altered. The dominant has no "forbidden" options, it can include only certain combinations are used. The simultaneous use of large and excessive None is as forbidden, while a small minor ninth and thirteenth can be used simultaneously. The diminished seventh chord
has the special property that can be used as an option, the major seventh.
In this short explanation of the options that the subject only in passing. For this piece seems not to be the subject of great importance, as used in our case only two simple options, the ninth and the thirteenth are.
characteristics:
Artist: Johnny Hodges
title of the composition: Things Is not What They Used To Be - Mercer Ellington
Album: Johnny Hodges
Label: RcaVictor
Recorded: Hollywood, 3 July 1941
leader or a sideman: Leader
Instrument: alto sax
Solo:
Tune type: Blues
Tempo: Quarter ± 90
clock: 4 / 4
Key: Bb
stylistic devices / effects: vibration
Register: f '- the
''Solo Development: Descending climax, solo goes from high to low register
scale: none, emphasized how important notes of the chord root, third and seventh
Patterns in Bb: b3-1-13-b3-9. The similar scheme is used in Eb: 7-5-7-9-13. (The breakdown of the intervals is as follows: b3 = minor third, 1 = root, 13 = major sixth, 9 = large None, 7 = minor seventh, 5 = perfect fifth). The patterns are based on the melody
General comment: This
Solo is designed amazingly simple and is therefore very effective. He plays mainly with melodic patterns. All Blues is divided four slurs and what auffält in this solo is the use of options. Nevertheless, one must be cautious to suggest the use of options in a jazz context, theoretical, since we can not tell from the analysis for Hodges, as he consciously deal with them.
Hodge's style features
If you want to start trying to define the style of a musician, it is necessary to deal with the aesthetics of jazz.
Stephan Richter is in his dissertation, "At a PURELY of Jazz" to the following conclusion: "An aesthetic of jazz can not be written .(...) Who would have wanted to write, especially for an objective view of the knowledge of the three continents . be able to free himself from the tradition of the culture in which he / she is born, who would have even that knowledge and those skills fail, would be: too different is the uniformity of jazz, to different needs and aesthetics, which in .. Jazz calls its aesthetics anchored in knowledge about its individual aesthetics aesthetics
Thus, an aesthetic of jazz is written: as an individual, general view, as "take". Aesthetic of jazz as a whole attempt to fail has to go. (...)" [Richter 1995:293].
addition, the concept of aesthetic changes constantly, so that a present-trained jazz saxophonist has an entirely different aesthetic idea as just over sixty years, since the technology was highly developed in the areas of dexterity and sound. We content ourselves but with a "take-stick" collection of important features of the anszusehen more than one attempt to combine aesthetic characteristics of Hodges. The collection has been divided for clarity into four categories, namely structure,
phrasing, sound and Rhythm:
structure
- prelude Hilfiger start of Solis
- Mostly vertical (chordal) improvisation (as opposed to horizontal improvisation)
- are the main notes of the chords as root, third and seventh, especially at beginning of measure stresses
- are simple and twofold Approach Notes Running web of eighth notes
- - in smaller contexts
used balance of jumps and lines
- Patterns of ascending or descending thirds
- based on the vocal part or the subject as the basis for improvisation
- Hodges little works with growth and climax
- He often uses a single, limited register of 1 1 / 2 to 2 octaves
- The register of the saxophone is not fully utilized
- Seventh-octave or ninth jumps are always used
- No clear contrasts
- repeat interval patterns
- Limited dramatic development of the Solis
- is linearity rarely used
- sixteenth lines are of scalar and melodic fragments
composed
phrasing
- phrasing slur, symmetrical and asymmetrical divisions
- Predominant swing phrasing
Sound
- vibration to increase the drama
- Clean, open sound
- bends: Grind the notes up and down
- use of blue and Dirty Notes
- The use of unclean intonation as securities
- Use of bends
rhythm
- Rhyhtmische Patterns
- Rhythmic shifts of a pattern
- Percussive Improvisation
- repetition of notes to emphasize the rhythm
- using either simple or complex rhythms or combination of both
made from the above observations and considerations, we could see that Johnny Hodges a rather simple language, based on the chord and the melody and rarely goes into the plane of the options used.
The Big Band Swing moves improvisation in a more traditional framework. The swing was originally a dance music for the Maintenance of a wide audience is thought that did not necessarily have a musical background. Since the swing is functionally connected with the dance, can also be the reason why the improvisations are designed rather short, and should not necessarily be the soloist at the center, as is the case in bebop. To put it casually: The dancers were not interested in the solos, they were mostly good music for dancing, which was played in the ballrooms. The so-called sophisticated Jazz, known in the jargon of "Jazz Symphony" [Jost 1991:69] was, it was more designed for concert halls.
is generally determined Jost, that the situation of the Big Bands to the Great Depression have changed considerably. He says that having "the emotional climate in the country changed. The 20s in the years slowed in high gear-driven lifestyle is. The Merzahl the dance hall visitors began to stay away from the energy and intensity of jazz and turned to more sentimental and uncomplicated forms of expression. The safety and emotionalism that they (black Americans) in the brutal life devoid of the crisis, they found aesthetically disguised in the Sweet Music (...) [Jost 1991:73]. In addition, we must not underestimate the importance of swing music in America. Despite the racial problems that the U.S. engaged, was the swing music that all of America was: Virtually "all Americans listened and danced to swing music" [Jost 1991:77]. The so-called swing craze, the craze for swing captured people from different social strata. In the jazz scene could even be partially overcome the racial divide by working together, for example, could be related to black musicians in mixed bands, even if they still had to enter through the back door of the club.
literature
Forham John: The Big Book of Jazz, German edition, Munich 1993
Jost, Ekkerhard: social history of jazz in the USA, first edition, Frankfurt 1991
Kunzler, Martin: Johnny Hodges, in: Jazz Lexicon, Volume I-II, New Edition, Hamburg 2002
Polillo, Arrigo: Jazz, Nuova edizione di Franco aggiornata Fayenz, Milan 1997
Porter, Lewis: Johnny Hodges, in: New Grove Dictionary of Jazz, Vol II, Second Edition, Edited by Barry nuclear field, London 2002
Judge Stephan: On the aesthetics of jazz, European Academic Publishers, Munich 1995
Date
Rabbit Johnny Hodges, The Complete 1945-54 Small Group Sessions, Vol II, Blue Moon , 1995
Charlie Parker, Bird's best bop on Verve, PolyGram Records, 1995
Planet Jazz, Johnny Hodges, RcaVictor, 1997
web pages
www.alphalink.com.au/ ~ michaelp / biography.html
www.alphalink.com.au/ ~ michaelp / duke 's_eulogy.html
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