Shai Cohen*

The Language Of Modern Jazz Music KEYWORDS: GUAGUANCO; Afro Cuban Rumba The Guaguanco is an Afro Cuban rhythm which forms part of the rumba family that also comprises Yambu an Columbia. There are se!eral styles foun throu"hout Cuba with the most influential bein" the #$a!ana# %feature in this article& an #'atan(as# styles) The #'atan(as# style iffers in the interpretation of the supportin" rums* the tumbadora an segundo ma+e use of !ariations in which they #con!erse#) The rhythm is usually performe with three rums* tumbadora, segundo an quinto, a pair of har woo stic+s that mar+ the -./ rumba clave rhythm +nown as claves an a hollowe piece of bamboo playe with two stic+s calle cat. The names of the rums an stic+ parts !ary throu"hout Cuba) The role of the rums calls for the tumbadora an segundo to carry the rhythm while the quinto interacts between the lea sin"er, supportin" rums an bac+in" sin"ers utilisin" short phrases an at times #two or four bar patterns#) At a specifie point in the arran"ement the quinto is "i!en a #solo feature#) 0 ha the opportunity to stu y with master percussionists 'ilton Car ona an 1ohn Amira %amon" others& in 2ew Yor+ urin" my 3445 research tour an foun that the parts presente here are the most common in use to ay) The parts are written in -./ clave) 6erformance arran"ement: Start with claves, then low rum tumbadora %come in with an open tone on beat four&, mi le rum segundo %start with open tones on the #two si e of the cla!e#&, cat an finally the hi"h rum quinto. Con"a Key: O7 Open Tone 676alm 878in"ers S7Slap 979ass

Specially recommen e recor in"s featurin" Guaguanco are: Afro:Cuba* A 'usical Antholo"y Various Artists %Roun er CD3;<<& Cla!e y =ua"uanco Songs & Dances %>enophile =?CD 5;/-& Carlos Embale Conjunto Guaguanco %Areito ?D -5/< ?6& ?os 'u@eAuitos e 'atan(as B 6apin y Sus Rumberos Guaguanco %Antilla CD:CDC& ?os 'u@eAuitos e 'atan(as B 8ol+lore 'atancero O elos de nuevo %Eba isc E9 4;3-& ?os 'u@eAuitos De 'atan(as Congo Yambumba %Eba isc E9 4;35& !umba Caliente ""#$$ %Eba isc E9 4;;C& ?os 6apines %olero, !umba, Guaguanco, Salsa %'anopla 3;/5 ?6& Tito 6uente &uente 'n &ercussion %Tico 1'TS:35// ?6& Real Rumba 8rom Cuba Various Artists %Corason COCD 33;& 'on"o Santamaria Drums and c(ants )Faya FS CD& A*ro !oots %6resti"e 6CD:/5;3<:/& +, *rom t(e roots %Atlantic SD 3D/3?6& Carlos #6atato# Fal e( &atato -otico %RFC 33;/ ?6& +nderstanding .atin !( t(ms Vol / %?6F--G ?6& Aut(orit %?6F -4- ?6& !ead 0or 0redd %?6F 534 ?6&

A9STRACT: 0n the recor in" of H=iant StepsI in 34D;,1ohn Coltrane intro uce a new irection to the ?an"ua"e Of 'o ern 1a(() $e broa ene the strictness of the 9ebop, an reassesse the tonal ways of ma+in" melo ies) 0n !iew of the fin in"s that each of the tonal i ea can be playe with ifferent meanin"s)

! "n#roduc#ion
J3)3K The connection between classical tonal melo ies an early La(( is clear) 1a(( music embrace functional harmony as a maLor way of eMpressin" i eas, an the use of the tonic an ominant was the bo y an soul of the music) 0n the early ays of La((, impro!isation was base on the melo ies) When 9ebop arri!e at the scene, the mainstream of the players an composers use chromatic harmony an melo y as a central way of eMpressin" i eas, an tonality ha reache its limitation) Then, Symmetric $armony arri!e ) J3)/K Tonality use to enote the western system of music base on maLor an minor +eys an a series of chor s an notes relate to a central tonic note which etermines the +ey of a piece) Tonality can i!i e into two "roups accor in" to their +inetic potential: static tones an ynamic tones) 'elo ic pro"ression, which emanate from the "ra!itational force between co e of tonal system creates tonal tension) %<& The +ey to create melo ies in early La(( music was base on these tonal principles) J3)-K 0n or er to create more tension an release in the harmony, 9ebop music use Hcolor notesI) Altere upper eMtensions %li+e the Gth, N4th, b4th, N33th, 3-th, b3-th& on the ominant chor ) %$etero"eneous chor s& 8i"ure / ) 0n that way the melo y line soun e more chromatic than it i in the early ays of La(() The use of secon ary ominants, tri:sub:F chor , miMoN33 scale, altere ominant scale, relate 00:chor s, an all other substitution were the main component in the lan"ua"e of 9ebop) %-& The symmetric techniAue that was presente by Coltrane, intro uce a new linear way to implement tension an release, it was base on polytonality %more than one tonic at the same time&) %D& J3)5K The main concept is to mo!e between symmetric tonal centers) 0t causes an illusion of wan erin" between the present time an the past) The new melo y line, functions as a substitute to the ori"inal line

an the listeners are able to eMperience the tension that is bein" forme , between the tra itional harmony an the symmetric one) $owe!er the harmonic rhythm chan"es, an playin" lon" phrases mi"ht be too much for the listener to process) As a result, the best way to a!oi that stress, is to use the ternary form, a three:section form: A 9 A) The A parts are in the tra itional or bebop lan"ua"e %or somethin" else&, an the 9 section to employ the new symmetric approach) The form can be in any si(e, small or lar"e) )

$! %i&iding The Oc#a&e

J/)3K The symmetric $armony theory eals with i!i in" the octa!e into symmetric tonal centers) An

octa!e can split into the neMt cate"ory: %Chor s are spelle accor in" to common La(( terminolo"y& 3& C:8N:C /& C:E:=N:C -& C:Eb:=b:9bb%A&:C 5& C:D:E:8N:=N:AN:C C& C:CN:D:DN:E:8:8N:=:=N:A:AN:9:C 0n or er to form a tonal center, we nee to a is eMpan e ) 3& =G:C CNG:8N =G C /& =G:C 9G:E DNG:=N =G:C %8i"ure 3)& -& =G:C 9bG:Eb DbG:=b EG:A =G:C 5& =G:C AG:D 9G:E CNG:8N DNG:=N 8G:9b =G:C C& =G:C =NG:CN AG:D 9bG:Eb 9G:E CG:8 CNG:8N DG:= DNG:=N EG:A 8G:9b 8NG:9 =G:C Triton 'aLor Thir 'inor Thir Whole:tone Semitone the ominant before each chor so that the new succession

8i"ure 3) %9ase on 'aLor Thir &

J/)/K The new melo y is now a succession of linear chor s ) Accor in" to this metho , if a new melo y line is playe simultaneously with the ori"inal, it creates a new polytonal color) 6olytonality may be consi ere partly as an eMtension of contrapuntal practice : a sharpenini" of the e "es of in i!i ual lines : an partly as a form of tonal or"ani(ation) %4& phrase) A new harmonic entity is create ) J/)-K 0n the Coltrane metho , there is a chan"e in the succession or er wich is calle 6ermutation, % chan"e the seAuence of pitches an chor s&) The ori"inal line is: =G:C 9G:E EbG:Ab =G:C an ColtraneOs cycle alteres it =G:C EbG:Ab 9G:E =G:C %5& 0n 8i"ure / we can obser!e the ifferences between the chromatic lan"ua"e of the 9ebop an ColtraneOs cycle) The altere eMtensions that 0 use on the ominant are %N4th, b4th, NCth &) %-& The pre!ious harmony, always be"in from the same area that the symmetric melo y line starts, but they "o in separate ways an meet at the en of the musical

'igure $!

(! The Triad Come Ou# As A Ma)or me#hod

J-)3K When the harmony is simple, sometimes the melo ies are complicate , but when we eal with

complicate symmetric harmony, it is eMpecte that the tria will come out as a maLor metho of buil in" musical lan"ua"e) 'any twentieth century composers ha!e presuppose the theory that symmetry !ia repetition is important for clarity)%3& An in or er to emphasi(e that principle, Coltrane uses simple repetiton moti!es in his melo ies)

8i"ure -)

J-)/K 0n 8i"ure - we can notice that the use of the tria with an eMtra passin" note forms 5 swin"in" notes) An on the ominant there is a repetiti!e 9ebop moti!e) %This emphasi(es the connection between 9ebop an the new lan"ua"e&) 8reAuently, the new melo ies ma+e use of close inter!als that lea the notes one into another smoothly, so the melo y line cur!e is chan"in" up an own)

J-)-K 0n or er to eMpan the cycle, we can use a chromatic approach) 9ecause of the similarity between the ominant an tri:sub:F chor all ominant can be replace by the these substitutes) As a result, the new arran"ment of the chor s that is built on the maLor thir can be: C AG:Ab 8G:E DbG:C

8i"ure 5)

*! Changing chords +ua,i#ies

J5)3K The Auality of a chor %maLor, minor, ominant, iminishe , etc)& can be chan"e into another Auality) This can ra ically chan"e the atmosphere of a piece or a phrase) 8or eMample, we can ta+e the ominant Auality an apply it to the whole seAuence) The melo y line can match the first 5 bars of a HC 9luesI because it has a sustaine ominant soun )

8i"ure C)

J5)/K We can eMperience a symmetry chan"e in the chor s Auality) 8or eMample when the chor is 'aLor an the neMt iminishe )

8i"ure D)

J5)-K A seAuence that is bein" constructe from minor thir , e!elops into lon"er musical 6hrase because of i!ision the octa!e into 5 tonal centers) As a result we can lea!e behin the ominant an concentrate on the tonic) A possibility for the new phrase can be: C:Eb:=b:A%9bb&:C

8i"ure G)

J5)5K 0n the minor fiel , it is best to use minor structure) EMcept on the last ominant) %=G& 0n a symmetric minor mo!ement each chor has at list on note i entical to the neMt chor ) That stren"thens the harmony line) 8i"ure <)

-! The Crea#ion Of A Ne. Sca,es And Modes

JC)3K 9y applyin" the concepts liste , one is able to create new scales or mo es that can be play in any situation) %a"ainst any chor pro"ression&) The scales are lon"er than an octa!e, an one must maintain the or er of the nots) Yet one can chan"e the irection of the melo y line an contour) 8i"ure 4) create an interestin"

/! Gian# S#e0s and o#her

JD)3K The main feature of Coltrane chan"es is tonality mo!ement by maLor thir s) The pro"ression to H=iant StepsI is:

PP 1ma)2 DG P Gma)2 9bG P 3bma)2 P Gma)2 9bG P 3bma)2 8NG P 1ma)2 P 3bma)2 P AmG DG P Gma)2

P AmG DG P 8mG 9bG P CNmG 8NG

P P P

P 1ma)2

P 8mG

9bG P 3bma)2

P CNmG 8NG

PP

The first +ey center here is 1, then G, then 3b, an it continues to cycle throu"h these three +eys, which are a maLor thir apart) Coltrane was able to e!elop this i ea in many ways) 8or eMample, he use it as a substitute for an or inary ii:F pro"ression) The pro"ression to HCount ownI is loosely base on that to the 'iles Da!is composition HTune:upI) The latter tune be"ins with the four:measure pro"ression: P EmG P AG P DmaLG P DmaLG P

this pro"ression is a ii:F:0 pro"ression in D maLor) The first four bars of HCount ownI are:

P EmG 8G P 9bmaLG DbG P =bmaLG AG P DmaLG P

Coltrane starts with the same ii chor , an then mo ulates to the ominant se!enth chor one half step hi"her) 8rom there, he launches into the cycle of maLor thir s, "oin" from the +ey of 9b to =b an finally bac+s to D) The neMt four bars of the tune are i entical harmonically, eMcept they are base on an ii:F in the +ey of C* the neMt four bars are the same in the +ey of 9b) JD)/K An eMample that is eMamines the cycle on well:+nown son" H0 =ot RhythmI presente in fi"ure 3;) The basic chor pro"ress 0:F0:00:F has chan"e accor in"ly to the coltrane i ea)

'igure 4!

2! 5a,6ing u0 and do.n

JG)3K 0n the matriM that is presente beneath, we can ma+e chor s succession in any irection) 0f we eci e to "o in the !ertical irection we meet the minor thir , an if we "o in the hori(ontal we meet the maLor thir ) We can "o up an own an ma+e any chor s seAuences)

Chor succession matriM

Ab

'

%b

8N

1b

8N

Eb

Eb

Ab

$ere Are some possibility :

8i"ure 33

7! Chroma#ic diminished 8a##ern

J<)3K 6attern in music is re!eale in hori(ontal mo!ement, i)e), in the relationships of soun s in succession) %4& Diminishe chor are uniAue by ha!in" a symmetric structure) We can lin+ the minor thir s with - chromatic notes in a symmetric techniAue) The result is a new pattern that soun s !ery mo ernistic) The i ea of pattern carries with it the implication of re"ularity of esi"n pro uce by mechanical rather than ima"inati!e means, thou"h the artistic si"nificance of such or er mi"ht appear to be somewhat limite %4& but as fast it play the best it soun ) chor is presente e!ery two beats) %C& 0n fi"ure 3/ the iminishe

8i"ure 3/

9! Me,odies in 'our#hs
J4)3K Tria lac+s complete efinition if its thir is omitte , an the resultant inter!al, a perfect fifth in root position or a perfect fourth in in!ertion, has bare effect which soun asserti!e in en!ironment of classical harmony with its interplay of !arie inter!als) %4& Chor s which are intentionally constructe of inter!als of fourth or secon s, for eMpress purpose of Hbrea+in" freeI from functionality associate with it) %<& We can create a new melo y soun by usin" symmetric mo!ement of fourths) 0n each tonal center, we play a cycle of fourth or fourth Q secon s) 8i"ure 3-

4! Conc,usion

J3;)3K The i!ersity of the styles in 1a(( is reflecte in its many stylistic resources for creatin" melo ies) 0n the early ays of 1a(( the melo y was the bassis of impro!isin") When 9ebop arri!e , compleM harmony was the moti!e of the melo y lan"ua"e) Coltrane an his symmetric system, opene the oor to new concepts that su""este a theoretical framewor+ with a new philosophy) The a option of the new metho by youn" players emonstrates a "rowin" awareness to the re!olution that Coltrane create ) 0mpro!ise music usually e!elops in a wi e ran"e of ways) 0t is eMpecte that the youn" players, with the intention of ealin" with the new ?an"ua"e Of 'o ern 1a(( 'usic, woul create new i eas in the future) 0n my opinion, the preferable way is to fin an inte"rate techniAue that combines tra ition approach an inno!ation)