Lesson 7 - Form (Continued)

Considerations of Form (Cont.):

Here are a few more typical progressions:

Score References & Musical Examples Using JABB:

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The operating principle for all of these examples is to delay the arrival of the final
dominant chord of the moment as long as possible and to work backwards from that
chord, selecting each chord so that it leads logically to the next one, taking into
consideration that the chords should accommodate the melody notes. Adjustments in
chord quality and tension tones (if any are added to the harmonic texture) are made so
that the inner voices move in the most logical and interesting ways. It is not only
important to work backwards, but also to become comfortable with that process, so that
it becomes second nature. Remember, we get to control the future.
Here is an example of a piece that is normally played with simple harmony, showing how
the insertion of substitute chords and the addition of connecting harmonies between
essential cadences can enliven the music and provide opportunity for variety in the bass
line.

Score References & Musical Examples Using JABB:

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Chord substitution patterns should connect with essential cadential arrivals of the
composition. There is some artistic leeway in determining where these arrivals might be,
but there must be enough of them to allow the composition to remain harmonically
recognizable. Once again, the work of Bill Evans provides bellwether examples, especially
in his many indelible re-harmonizations of standard tunes.
Becoming familiar with the harmonic possibilities of chord progressions and phrases can
be a long process, and it starts with knowing hundreds, maybe even thousands, of
American standard tunes, tunes from that unique period in the first half of the Twentieth
Century when a large population of composers who understood harmony and form were

all working in the same way using similar materials and techniques; composers like
George Gershwin, Duke Ellington, Harold Arlen, Fats Waller, vernon Duke, Cole Porter,
and hundreds of others. Only by knowing many songs and internalizing their melodies
and harmonies, can one gain an instinct for finding appropriate solutions to the formal
and harmonic questions that arise in the process of composing and arranging in the
jazz style.
Once a comfortable familiarity with traditional forms has been achieved, there are simple
steps that can be taken to enliven interest in the forms. Introductions, interludes and
endings can be added, sections can be extended or truncated, changes of rhythmic
texture and tempo can be made and modulations can occur. All of these result in
noticeable changes and make the trip through the form more interesting. Moving at one
speed in one direction for long periods becomes a soporific experience, and too many
interruptions and changes of texture and direction is equally frustrating, so the desired
result is to keep the piece moving forward with just enough variety to keep it interesting
and dramatic.
Heres an excerpt of a piece that has passages of rapid harmonic activity and forward
motion interspersed with moments of stillness. (This piece appears in its entirety in
chapter 10.) The form is ABA with occasional interludes. This excerpt begins with 4
measures of static harmony that introduces the tenor solo. This is in stark contrast with
the preceding exposition that is full of moving chords. After the tenor solos introductory
interlude, the first A section appears and the rhythm and harmony begin to move only to
be interrupted two measures later with an echo of the interlude, before allowing the
piece to proceed in its expected form. The real form is ABA-ABA, because the first 24measure chorus has a two-beat texture (with 6 measures of stasis in the bridge), and
the second chorus has a walking, four-beat rhythmic texture. This divides and delineates
the form texturally as well as harmonically and provides a dramatic shape to this part of
the piece even before the surface element of the improvised tenor solo is added.

Score References & Musical Examples Using JABB:

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The 24 measures that define the main ABA form for this piece were written first. The
harmonic activity of the A sections, chords moving by 4ths, by step, and by 3rds, are
contrasted with the stillness of the bridge, but by the time there have been two cycles
through the form, the overall impression of the music is still one of rapid and energetic
chord movement. In order to settle the music and produce a moment of calm before
launching into more cycles through the harmonic activity for the solos, it seemed a good
idea to insert an interlude, and a D major chord presented itself as the appropriate
sound. Only after noticing the salutary effect of that sound was it discovered that there
is a chord on every other chromatic root except D, so the D had to sound fresh! This kind
of discovery can be reassuring. At the end of the main part of the piece, when there
have been some 7 minutes of this complex activity, there is a drum break and a change
of tempo leading to a long coda in which the interlude chord takes over and becomes the
target sound to which the entire piece seems to lead. This plan evolved as the
arrangement was being written from the simple 24 measure lead sheet, and the ensuing
developmental details added immeasurably to the effective communication of the
musical idea; so much so that the piece now seems incomplete without them.
The opportunity to write a piece for the large forces of a big band were the inspiration for

developing the form, but large forces are not required in order to include interludes and
other enlivening elements.Here are two examples from the sextet arrangement in
example 8-3.

Score References & Musical Examples Using JABB:

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In this piece, based on the old standard Out of Nowhere, the Eb9 is the chord most
foreign to the key of the piece (G major). It appears twice in a prominent position in the
form, but it still seemed a good choice for the interlude.
Heres an ensemble send-off in the same arrangement that delays the entrance of the
first solo by a few measures.

Score References & Musical Examples Using JABB:

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In order to achieve successful communication of musical ideas, the progress of the piece
needs the coherence of a dramatically told story. The ideas are more abstract than those
expressed in spoken language, but they share similar characteristics. They must proceed
energetically and develop logically, one idea evolving from another. A balance between
forward motion and moments of relief is needed, as are breathing spaces, just like
conversation. More complex ideas take more time to absorb, so moments of simplicity
and diminished activity are particularly welcome after complicated passages.
Rubatos, passages in changing, conversational tempo are an underused element in jazz
arrangements, perhaps because they are so performer dependent. But arrangers who
make use of this technique will be rewarded with invigorating contrast when steady
tempo enters or reappears. Arrangers who write for singers need to explore this
tradition. Examples of song verses with accompaniments written by experienced
arrangers abound, and one can go back as far as the recitatives in Baroque Oratorio for
early examples of dramatically effective ways to handle this technique. Handels music
supplies an unerring template, and there are many fine recordings in which the dramatic
timing is well demonstrated. Exciting utterances need rapid delivery interspersed by
breathing spaces that allow the listener to absorb the idea. When this technique is well
done it can escape superficial notice while still adding interest to the music. Duke
Ellington and Bill Evans used this on occasion in the inside of forms as well as for
introductions and endings. Ellington used it in some arrangements of In A Sentimental
Mood, and Bill Evans continued that tradition in his interpretation of the piece. Evans
also used tempo changes effectively, abruptly slowing the last 8 measures of Lover
Man in order to emphasize emotional poignancy. Slowing and broadening an ending

emphasizes it more than increasing its speed.

Modulations are another useful developmental tool, and theres a good example of its
effective use in Count Basies classic arrangement of One Oclock Jump. Basie plays
introductory choruses (with the rhythm section) in the key of F making a sudden
modulation to Db within the space of 6 beats in order to bring in the band in the new
key. Modulations can be opportune when issues of range arise, and using them to refresh
the sound can suggest changes in instrumentation as well. They are effective when key
centers last long enough to be established before they are changed. Example 4-8
(above) is an unlikely candidate for effective modulation because its harmony moves so
rapidly that the ear lacks the chance to settle in one key long enough to appreciate
change to a new one.
Meter changes and metric modulations are also useful techniques. Earl Zindars beautiful
waltz, How My Heart Sings, has a meter change to 4/4 at the bridge. Bill Evans played
the solo section of Waltz for Debby and the final chorus in 4/4 as well.
Heres an example of a passage that could be written entirely in 4/4 but benefits from
the clarity and variety that results from changing meter to emphasize the rhythm.

Score References & Musical Examples Using JABB:

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Here is a metric modulation that increases the speed of the music creating a new tempo
in an exact relationship to the established tempo.

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These are some techniques for modifying standard forms and adding interest and
surprise. Used judiciously, they can enliven the musical narrative, provide relief from
predictability and hold the ears attention. They can help the composer/arranger tell an
intelligible story, an abstract one, but a story nonetheless.