Rephrasing, 187–88, 194, 219, 586
Representation. See Music representation
Reputation, 45, 47, 49–50, 52–54, 416, 473, 478, 483, 821n.29. See also Networking
Research methodology, 3–5, 7–9, 12–15; interviews and, 5–7, 8; musical transcriptions, 11–12, 507–511, 793n.21; as participant observer, 9–11
Rest fragmentation, as transformational procedure, 188
Rests, as compositional device, 104, 144, 156–57, 188, 190, 209, 212, 214, 229, 233, 235–36, 238, 245–47, 265, 316, 353, 365–66, 370–71, 373, 404, 422, 586, 607, 617, 709, 800n.12. See also Breaks; Space, compositional use of; Laying out
Rhames, Arthur, 2, 6, 16, 25, 34, 40, 73, 103–4, 116, 121, 122, 127, 138, 142–43, 150, 154, 203, 249, 275, 276, 467; musical development of, 25, 34
Rhetorical games, 257–58, 804n.23
Rhythm, 146–47; accentuation and, 127–28, 148–49, 156, 166, 182, 216, 318, 325–27, 329, 332–33, 358, 364; applying theory and, 152–54, 159; arrangements and, 294, 297–303, 307–12, 344–45; articulation and, 130, 147, 150, 156–57; audience and, 406, 456, 464, 465, 467, 469; backbeat, 148–49, 152, 312; bass accompaniment and, 315–20, 323; beat interpretation, 127, 147–48, 150–52, 154, 176, 245, 327, 351–52, 396–97, 413, 424–26, 788n.1; beat subdivision, 127, 152–54, 231, 316, 318, 327, 336–37, 354, 788nn.13, 14; body and, 149, 151–52, 154–58, 208, 324–25, 350–51, 367, 406, 430, 460, 788n.7; church and, 25, 29, 149; displacement, 156, 174, 186, 188–89, 211–12, 239, 271, 323, 380, 402–3; double time, 157, 246, 254, 277, 300, 354, 376, 400, 405, 491; doubling and, 325; drum accompaniment and, 324–32; emotion and, 147, 152–53, 203, 208, 260, 329, 349–50, 359, 391–92, 406, 445; evaluation of solos and, 42, 244–47, 254, 260, 263, 265, 269–70, 283; form and harmonic, 63, 74, 81, 84–85, 87, 90–91, 134, 154, 179, 224–25, 318, 325, 328–30, 335, 352, 372–73, 375; free, 158, 171, 193, 297, 307, 309, 373, 377, 430; group interplay and, 349–60, 362–68, 370–78, 384–85, 440, 442–43, 445, 657; group interplay evaluation and, 330–31, 352, 367, 388–91, 395–98, 402–13, 420–26, 428, 434–36, 461; jazz idioms and, 122, 132–33, 135, 325–29, 332, 336–39, 341, 406–7; learners’ representations of, 28, 30; meter and, 29–30, 90–91, 135, 147–50, 176, 188–89, 198, 224, 294–95, 298, 306–7, 309–10, 315–17, 329, 336–37, 344, 355, 366, 377, 407, 464; metronome sense, 152; musical personality and, 127, 129, 134–35, 139, 331–32, 334–36, 342, 368, 419, 442, 460, 487; notation and, 158, 514; outlining and, 188; pedagogy/transmission and, 37, 109, 129, 139–42, 149–50, 158, 264, 329–31, 333, 350, 423–24; piano accompanment and, 332–36; polymeter, 148–49, 153–54, 156, 236, 245, 317, 332, 378, 407; polyrhythms, 135, 139, 153, 245, 328–29, 334, 337, 341, 347, 353, 355–56, 366, 378, 402, 406, 410, 412, 420, 423, 501; recordings and, 106, 355, 475–76; rephrasing, 187–88, 194, 219, 323, 793n.23, 796n.7, 803n.1, 805n.26, 806n.45; repertory and, 297, 344–45, 368; rhythmic counterpoint, 147, 149–50, 153–54, 156, 281, 318, 328, 344, 354, 356, 359, 374, 390; rhythmic density, 267, 325, 327–32, 334–35, 354–55, 371–73; rhythmic embellishment, 69, 156, 165, 229, 325, 355; rhythmic ostinatos, 132–33, 194, 328, 354; solo improvisation and, 146, 152, 157–58, 172, 174–75, 187, 195, 198, 214, 219, 231, 235–38, 266–67; syncopation, 128, 148–49, 153–56, 244, 258, 300, 316, 325–27, 330, 334, 336–37, 402, 408, 803n.1; speech, 68–69, 91, 107, 157, 266, 367, 468, 787n.37; stoptime, 300, 310, 315, 377; swing and, 132, 139, 147–49, 152, 154, 182, 190–91, 198, 231, 244–45, 258, 297, 316, 320, 361, 366, 373, 586, 594, 709, 710, 730, 796n.18; tension and release, 148, 153, 156, 198, 327–28, 373–74; time-feel(ing), 139, 147, 150–52, 316, 318, 326, 337, 356, 361, 367, 373; time keeping, 44, 127, 133, 135, 150, 316, 326, 328–29, 334, 349–50, 353, 373, 375–76, 406; turning the beat around, 188, 374, 380–82, 412; vocabulary patterns and, 109, 139, 150, 154, 158, 182–83, 227, 230, 327–30, 334, 370–71, 789n.20; world music influences and, 490–91, 500–501. See also African music; Latin American music; Phrasing; Tempo; Timing
Rhythm and blues, 65, 501. See also Soul music
“Rhythm” bridge, 78, 87, 194, 199–200, 779n.35
Rhythm section: arrangements and, 294, 297–303, 307–12, 344–45, 811n.23; accommodation/power relations and, 418–31, 434–38; bass accompaniment and, 130, 315–24, 786n.17, 810n.1; challenges in different bands, 442–46; different idioms, 336–39, 357, 420–21; drum accompaniment, 324–32; evaluation, 387–408, 413–15, 816n.3, 817n.11; group interplay, 365–86; group stylistic fusion, 339–41, 812n.30; improvisation within the groove, 353–57; individual stylists, 342–43, 357, 812n.36; instrumentation, 345–47, 812n.39; jam sessions, 42; piano accompaniment, 332–36, 811n.23; repertory and, 343–45; responses to criticism, 409–11, 817n.11; solo conventions and, 230–33, 254–55, 259, 279–80, 343–45, 354–55, 398–99; soloists and, 358–63, 813n.8; striking a groove and, 349–52. See also Group interplay; Structural markers
Richmond, Dannie, 136–38, 808n.15
Richmond, Mike, 365
Ride cymbal, 106, 298, 324–26, 328, 330–32, 341, 350–51, 355, 358, 617, 620, 622, 626, 627, 678, 689, 690, 728, 729
Riffs, 6, 102, 104, 109, 113, 132, 156, 161, 190, 228–29, 234, 237, 273, 293, 296, 300, 305, 307, 313, 328, 346, 366, 368, 375, 383, 478, 691, 797n.25, 808n.10, 817n.5
Riley, Ben, 364, 420
Rim shot, 253, 325, 331, 796n.18, 815n.39
Ring shout, 68, 776n.13
Rinzler, Paul, 817n.11
Rip–up, 67–68, 216, 228
Risk, improvisation and, 42, 105, 210, 218–19, 267, 269, 272–73, 289, 327, 378–79, 466, 806n.41
Roach, Max, 23, 25, 27, 29, 39–40, 49, 53, 58, 91–92, 106, 121, 124, 127, 134, 138, 139, 142, 171, 192, 196, 247, 248, 255, 259, 293, 297–99, 303, 308, 311, 315, 326, 327, 331–32, 336, 339, 342–43, 346, 351, 368, 381–83, 397, 399, 409–10, 417–19, 438–39, 442–43, 451, 474, 481–82, 487, 488, 501, 620, 624, 780n.44, 786n.30, 814n.22; musical development of, 23, 25, 27, 29
Road life, 438–39, 449, 454–55, 469, 480, 503, 822n.36; instruments and, 455, 818n.2
Robinson, Jimmy, 25, 54, 75, 103, 143, 173, 204, 249, 255, 272, 293, 301, 357, 375, 397, 413, 433, 462
Roché, Betty, 130
“Rocking Chair,” 98
Rock music, 31, 33, 55, 320, 338, 344, 431, 441, 470, 481. See also Funk; Fusion, as jazz rock
Rodney, Red, 31, 50, 101, 136, 226, 229, 268, 273, 276–79, 319, 339, 420, 454, 458, 485
Rogovin, Bobby, 33, 57, 120, 138, 173–74, 189, 206, 217, 254, 258, 260, 274, 387–88, 453–54
Rollins, Sonny, 78, 91, 103, 127, 136, 138, 236, 276, 292, 363, 374, 669, 769n.6, 797n.19, 806n.38, 814n.22
Rosoff, Sophia, 117–18
“Round Midnight,” 88, 226, 777n.18
Rouse, Charlie, 103, 234, 390
Rowles, Jimmy, 789n.23, 803n.1
“Ruby, My Dear,” 91
Rumba, 297
Russell, Curly, 607
Russell, George, 129
Russell, Pee Wee, 782n.13, 805n.27, 806n.39, 814n.21
Russell, Ross, 822n.41
Russell, Snookum, 290–91
Samba, 297, 344
Sanders, Pharaoh, 100, 299, 354, 363, 365, 418
Sargent, Winthrop, 775n.2, 790n.25, 803n.8
Saves. See Musical saves
Sawyer, Keith, 13, 798n.39
Saxophone/saxophonists, 26, 32, 39, 43–44, 51, 107, 125, 139–40, 191, 210, 278, 283, 292, 297, 785n.10. See also Reed section
Scales, 28, 46, 66, 110, 128, 133, 136, 139, 146, 161–69, 171, 175, 180, 182, 197–98, 205, 207, 211, 213, 215–16, 224, 228, 232, 234–35, 248, 260, 263, 265, 318, 321, 789n.24, 790nn.25, 34, 792n.17; melody evaluation and, 248–49, 251–52, 260, 266. See also Blues scales; Horizontal concept; Linear concept; Modal jazz
Scat singing, 66, 91, 103, 109, 125–26, 130, 140, 179, 181, 187, 209, 254, 358–59, 385, 460, 471, 479
Schillinger House, 167. See also Berklee School of Music
Schillinger Sys
tem of Musical Composition, 167
Schneider, Josh, 46, 78–79, 164, 168, 174, 180, 184, 197, 247, 251, 396
Schools (public), 25–27, 34, 37, 42, 56, 72–73, 97–98, 255, 259, 771n.3.
Schuller, Gunther, 4, 13–14, 488, 769n.6, 780n.47, 798n.35, 802n.28, 803n.8
Scores: recordings as, 58, 111, 138; live performances as, 112, 355, 358, 369; written music as, 26–27, 290, 302, 304. See also Arrangements
Scott, Bud, 788n.7
Scott, Tony, 783n.20
Screamers, 278–79, 472
Segal, Joe, 48, 453
Segues, musical, 218, 295–96, 462, 586, 591, 678; narrative, 295–96, 468, 808n.8
Sensuality, jazz and, 256–58, 389, 415, 469, 800n.5, 819n.11. See also Love, jazz and
Sequencers, 292, 445
Sequences, 194, 208, 228–29, 234, 239, 263–64, 266
“September Song,” 99, 231
Set–up figures, 328, 364, 811n.18
Shadowing, 111
Shake, 67, 216
Shakti, 386, 490
Shankar, 386, 490
Shapiro, Nat, 4
Shavers, Charlie, 96
Shaw, Woody, 163, 165, 228, 261
Sheet music, 75, 88–90, 98. See also Arrangements; Lead sheets
Sheet music demonstrators, 75, 108, 779n.26
Shipton, Alyn, 130, 315–16, 786nn.17–18, 810n.1
“Shoe Shine Boy,” 782n.17, 796n.12
Shorter, Wayne, 340, 343, 422, 438
Shout patterns, 102, 328, 346, 355. See also Riffs
“Shulie–A–Bop,” 385
Sickler, Don, 38, 44, 128, 240, 241, 269, 399–401
Sideman, 47, 437, 463, 478
Signature patterns, 103, 129–30, 162, 196, 229, 275, 322, 331, 342, 594, 654, 711
Signifying, 257, 804n.23, 824n.14. See also Intertexuality; Musical quotations
Silver, Horace, 90–91, 245, 274, 293, 302–4, 315, 334, 372
Simmons, Norman, 360
Simone, Nina, 771n.6
Sims, Zoot, 782n.13
“Sing, Sing, Sing,” 786n.29
Singers, 69, 82, 101, 103, 125–26, 128, 130, 135, 139, 157, 209, 283, 293, 304, 345, 368, 384–85, 444–45, 473; stage presence and, 459–62 Singing, 22, 24–25, 27, 29–30, 32, 40, 45, 66, 72, 92–93, 95–97, 109–10, 154, 171–72, 179, 202, 218, 247–48, 301, 305–6, 358, 388, 458, 502; improvisation as, 175, 180–81, 196, 792n.16; with instruments, 108–9, 171, 180, 204, 255, 261, 284, 792n.16; as model for creations, 247–48. See also Scat singing; Vocalese
Singing mind, 180–81, 189, 191–92, 208–9, 248, 217, 263, 792n.16; the body and, 189–91, 794nn.27–28
“Singin’ the Blues,” 781n.9
Singleton, Zutty, 50
Sitting in, 44–46, 53, 71, 81, 111, 298, 442, 457, 472, 819n.18
Sixteenth Street Baptist Church, 487
“Sketches of Spain,” 204
Slap–bass technique, 130, 315
Slavery, 256–57, 259
Sloboda, John A., 13, 795n.4
Small’s Paradise Club, 43
Smear, 69, 306
Smith, Bessie, 803n.8
Smith, Buster (“Professor”), 280
Smith, Floyd, 330–31
Smith, Gregory Eugene, 13, 791n.9
Smith, Jabbo, 91, 140, 281
Smith, Joe, 108, 111
Snare drum, 298, 324–31, 346, 355, 475, 813n.7
Sock cymbal. See Hi–hat
“Softly, as in a Morning Sunrise,” 507, 510, 588–89, 689–92
Solos, 63, 70, 775n.2; analysis of, 95, 97, 104–5; on bass, 107, 130–31; early efforts, 176–80, 792n.12; on drums, 106, 134–35, 332; etiquette, 294; harmony and, 159–61, 171, 173–74, 231–32; improvisation drills and, 171–75; improvisation/precomposition and, 240–42, 802nn.30–32, 803n.33; intensities of invention, 495–96; melody, 172, 231; model solos, 95–101, 109, 111–12, 204, 239–41, 267, 269, 400, 425, 475, 781n.9, 782n.17, 802nn.28, 30; opportunities in bands and, 443; overlapping solos, 375, 463; performance history of compositions and, 204–5; on piano, 131–33; published model solos, 97–98, 104; simultaneous solos, 295, 332, 338, 501; as source of new compositions, 241, 267; strategies for individual compositions and, 230–40, 801nn.19, 25, 802nn.26, 28. See also Chorus designs; Evaluation (soloing ability); Form (harmonic); Improvisation; Music theory and analysis
Song texts. See Lyrics
Soul, 255. See also Emotion; Spirituality
Soul focal points, 467
Soul music, 23, 29, 32, 34, 338, 456
Soul of Mbira, The (Berliner), 6
Sound (group), 291, 296–97, 341–42, 354, 443–44; recordings and, 473, 476–77, 479, 481–82. See also Acoustics
Sound (personal), 31, 67–68, 107–8, 117, 125–27, 135–36, 139–41, 261–62, 274–75, 277, 297, 343, 419, 465, 473. See also Timbre
Sound engineers, 451, 473, 475–76
Soundies, 108
Sound mix, 451–52, 473, 476
Sound of Music, The, 308–9
Sound players, 261–62
Soundscape, jazz and, 22, 370, 487–89, 503
Sound system, 450–52
“So What,” 90, 233, 422
Space, compositional use of, 144, 157, 201–2, 233, 245, 335, 354, 363, 366, 370–71, 376, 404–5, 586. See also Rests; Laying out
Spellman, A. B., 4
Spirituality, 29–30, 149, 218, 255, 257, 391–94, 432, 446, 452, 468, 480, 491, 772n.10, 824n.23
Spirituals, 24, 63, 257, 500. See Church, influence of
Spontaneity, 1–2, 240–41, 268–73, 272, 806n.45. See also Improvisation, misconceptions of
St. Cyr, Johnny, 305, 469, 809n.35, 811n.23, 817n.1
Stage bands, 26
Stage presence, 26, 40, 311, 459–62, 472, 501
Standards, as part of jazz repertory, 63–65, 80, 87, 89, 91, 223, 226–27, 275, 293, 304, 320, 340, 402, 428, 458, 472, 775n.1
“Star–Crossed Lovers,” 231
“Star Dust,” 802n.28
“Stella by Starlight,” 340
Step progressions, 86, 90, 197–98, 262, 306, 527, 573, 711, 728
Stewart, Rex, 111, 240, 772n.2, 819n.17
Stewart, Slam, 131, 181
Stitt, Sonny, 127, 295, 369, 426
“Stockholm Sweetenin” 781n.9
Stoptime, 300, 310, 315, 377
Storytelling, improvisation as, 200–205, 218, 233, 249, 255, 364, 588, 593–95, 797n.25; effect of instruments on, 209–10; evaluation and, 262–64, 265–67, 806nn.38–39; mistakes in, 210–16, 798n.35; theoretical models and, 207–8; trials and, 205–10
Stride piano, 132–33, 778n.22
String bass. See Bass
Stringer, AI, 320
“String of Pearls,” 98
Stroll, 311, 435
Structural markers, 298–99, 319, 325, 328–31, 335, 356, 358, 372, 375, 622, 624–27, 629, 631, 678, 679, 689, 691, 692, 778n.20, 792n.14, 811nn.18, 19, 814n.25
Study sessions, 37–39, 46, 73, 90
Stumble, 322
Style periods. See Idioms (jazz)
Style (personal), 144, 252, 274, 284–85; jazz idioms and, 278–81. See also Instrumental techniques, idiosyncratic; Musical personality
Sub-soloing, 359–60
Substitutions (harmonic). See Chord substitutions
Substitutions (melodic), 69, 168, 184, 186–87, 212, 218, 240, 324, 561, 564. See also Pitch substitutions
Substitutions (rhythmic), 141, 187–88, 316
Sudnow, David, 108–9, 253, 780n.3, 783n.25, 792nn.13, 16, 803n.6, 806n.37
Sufi groups, 498
“Sugarfoot Stomp,” 781n.9, 802n.28
Suite, 303, 312, 385
Sullivan, Ira, 339, 454, 457–58, 466–67
“Sunday,” 782n.13
Super Sax, 781n.9
Swain, Alan, 110, 246–47, 251
Swallow, Steve, 337
Sweet Basil, 377, 380
“Sweet Georgia Brown;” 555
Swing (aes
thetic): evaluation and 139, 198, 244–45, 282, 331, 343, 349, 388, 399, 406, 460, 710, 730, 789n.16, 796n.18, 797n.19, 815n.26, 822n.37; technical features of, 132, 147, 152, 182, 244, 297, 303, 316, 320, 352, 442, 586, 594, 709, 797n.19, 815n.26
Swing (idiom), 24, 103, 108, 122, 123, 130–33, 256, 291, 315, 325–26, 339, 374, 477, 785n.3, 807n.54, 815n.26
Synthesizer, 292, 339, 450
Tablature representations of music, 28, 72, 81, 92, 108, 110, 113–14, 176, 783n.23, 792n.13
Tag, 296, 306, 437
Take, 237, 239–40, 271, 383, 473, 475
“Take Me Out to the Ball Game,” 258
“Take the ‘A’ Train,” 130
Talent, 13, 31, 35, 38, 45, 50, 116, 268–69, 282–83, 304, 417, 446, 454, 500, 503, 806n.41, 820n.22. See also Evaluation (group interplay); Evaluation (soloing ability); Virtuosity
Tana, Akira, 32, 141, 151, 172, 263, 330–32, 337–38, 343, 350, 351, 362–66, 372–73, 381, 382, 395, 397, 404, 416, 420, 435, 441–42, 478–79
Tap dancers, 132, 152, 788n.11
Tape recorders, 40, 96, 100, 109, 112, 169, 227, 292, 386
Taste, 26, 35, 65, 69, 101, 106, 183, 244, 249, 253–55, 261, 281, 284, 292, 335, 374, 387, 403, 418, 420, 456, 458, 460, 477, 481, 483, 495, 503. See also Aesthetics; Creativity; Evaluation (group interplay); Evaluation (soloing ability)
Tatum, Art, 104, 123, 133, 270, 278, 281, 402
Taylor, Art (Arthur), 124, 421
Taylor, Billy, 57, 786n.30, 812n.39
Taylor, Cecil, 133, 275, 334, 339
Tchicai, John, 796n.13
Teachers. See Harris, Barry, workshops with; Mentors
Technical Studies (Clarke), 182
Techniques, instrumental. See Instrumental techniques
Technology: amplification, 131, 316, 347, 350, 397, 450–51, 508; jazz practices and, 23, 75, 96, 108, 241, 292, 347, 350, 445, 508, 771n.3, 786n.17, 810n.1; of recording studios, 473–76, 820n.23. See also Radios; Record players; Tape recorders
Television, 23, 37, 303, 488, 500
Temperley, Joe, 394
Tempo: body and, 209, 279, 788nn.10, 11, 14; competition and, 53, 90, 377–78; compositions’ character, 231–33, 294, 307–9, 344, 608; demands of jazz, 86, 115, 158, 212, 325, 789n.24; evaluation and, 260, 269–70, 283–84; extramusical influences and, 91; in group interplay, 311, 352, 354, 368, 380, 437, 442–43, 465; jazz idioms and, 132, 151, 162, 329, 340; learning methods and, 170, 238, 350; musical personality and, 103, 244, 332, 445, 500; performance problems, 180, 400, 426, 434–35; record re-mastering and, 106, 481. See also Beat
Thinking in Jazz Page 103