Thinking in Jazz
Page 104
“Tenderly,” 258
Tension, harmonic. See Extension (harmonic)
Tension and release, 198, 258; harmonic, 63, 74, 81, 84, 86, 162–63, 174, 183, 197, 201–2, 211–12, 215, 223, 226, 250–51, 678, 711, 791n.9; melodic, 68, 172, 207, 257–58, 264, 266–67; melodic–harmonic, 660; rhythm section instruments and, 316–19, 328–29, 335, 340, 353–54, 356, 359, 365, 372–75, 379, 675, 691, 808n.10, 815n.26; rhythmic, 148, 153–54, 156, 188–89, 198, 245, 267, 327–29. See also Dissonance; Inside Playing; Musical saves; Outside playing; Structural markers
Terry, Clark, 122, 127, 232, 257
Tertian harmony, 91
Texture, 72, 125, 131–33, 233, 236, 285, 291, 315–16, 326, 334–36, 345, 354–55, 362–63, 371, 377, 387, 404–5, 409, 424, 500–501, 633, 676, 691, 709, 712, 812n.39; effects of performance venue on, 450
Theme, 63, 91, 196, 215, 231, 263, 318, 335, 777n.18, 794n.3, 796n.13, 806n.3, 814n.22; term as used by jazz players, 794n.2. See also Melody, playing off of; Motivic development
“There Will Never Be Another You,” 78
Thesaurus of Scales and Melodic Patterns (Slonimsky), 167, 790n.32
Third ear, 207, 243
Third Stream jazz, 292
“Tickle Toe,” 796n.12
Timbre: accompaniments and, 315, 318, 324, 326, 328; arrangements and, 296–97; African music and, 147–48; evaluation and, 249, 252, 277, 397; group interplay and, 346, 351, 367, 443; harmony and, 63; humor and, 257; influence of the voice, 181–82; instruments and, 107, 144–45; memory and, 230; model solos and, 97, 108; musical personality, 125–27, 134–36, 139–41, 491; recordings, 106; rendering compositions and, 67–68, 231; sound systems and, 451; transposition of patterns and, 116; varying the solo line and, 156, 187, 261–62, 267, 307, 470, 776nn.8–9, 783n.22, 806n.45. See also Sound (group); Sound (personal)
Time-feel(ing), 139, 147, 150–52, 316, 318, 326, 337, 356, 361, 367, 373, 407; group interplay changes in, 627, 676
Time-keeping, 44, 127, 133, 135, 150, 316, 326, 328–29, 334, 349–50, 353, 373, 375–76, 406, 617, 619, 624–27, 728
Timing, 71, 93, 97, 115, 154, 157, 177–78, 189, 349–52; group interplay problems in, 380–82, 395–96, 402–3, 412. See also Beat; Displacement (rhythmic); Groove
Timmons, Bobby, 307, 385
“Tiny’s Tempo,” 239
Tirro, Frank, 4, 779n.38
Toasts, 500
Tomlinson, Gary, 13
Tom-tom drums, 106, 134–35, 324, 327, 811n.11, 813n.7
Tone row, 313
Tonic (or resolution) function, 74, 81
Touch, 125, 139, 150, 178, 283, 342
Tough, Dave, 792n.12
“Tours of Manhattan,” 302, 312
Trade magazines, 37, 483. See also Down Beat; Metronome
Trading phrases, 51, 111, 188, 257, 293–94, 310, 330, 437, 467, 668–72, 814n.20. See Call and response patterns; Imitating ideas
Trane. See Coltrane, John
Transcriptions, music: analysis of, 104–5, 128, 141, 238, 252; interpretation of group interplay and, 507–11; limitations of, 98, 112, 158, 792n.17; as representations of accompaniments, 321; as representations of arrangements, 290, 304, 808n.19; as representations of solos, 97–98, 121, 784n.30, 785n.2; as representations of tunes, 66, 808n.19; research methodology and, 11–12, 507–11
Transformation, musical: group interplay and, 495–96; of harmonic structures, 84–92, 248, 679, 728, 792n.18; of model musical personality traits, 138–44; of theoretical materials, 161–69, 175, 216, 790n.32, 793n.19; of traditional musical materials, 280; of tunes, 65–71, 171–73, 223–25, 292, 303; of various structures into ideas, 182–83, 208; of vocabulary patterns, 10, 12, 102, 138–44, 173–74, 177, 184–91, 193–98, 205–6, 208–16, 237, 240, 263, 323, 327–28, 369–71, 622, 796n.10, 801n.19. See also Arrangements; Embellishment; Improvisation, precomposition and; Group interplay; Variation
Transposition, 66, 82–85, 97, 106, 110, 115–16, 141, 144–45, 170, 173–74, 177, 194, 212, 228, 264, 290, 292–93, 323, 380, 521, 527
Trap set, 324, 325. See also Drum set performance
Tremolo, 107, 128–29, 132, 140, 235
Tritone interval, 164, 194, 789n.24
Tristano, Lennie, 46, 152, 224, 227, 246, 281, 338, 340, 436, 803n.3, 823n.9
Trombone, 38, 46, 72, 140, 190–91, 291, 294
Trumbauer, Frankie, 140, 781n.9
Trumpet/trumpeters, 28, 43–44, 50, 57, 70–71, 106, 108, 114–15, 117–18, 123, 126, 135–37, 139–40, 191, 208–10, 216, 257, 260, 278–79, 281, 297, 794n.28
Trumpet piano style, 132, 140
Truncation, transformational device, 186–87
Tuba, 130, 325, 444, 810n.1
Tunes. See Compositions
“Tune-Up,” 104
Turnaround, 79, 85, 236, 328, 330, 380, 463, 811n.18. See also Chord insertions; Chord substitutions; Turnback
Turnback, 85, 321, 398. See also Chord insertion; Chord substitutions; Turnaround
Turning the beat around, 188, 374, 380–82, 412. See also Displacement
Turrentine, Stanley, 368
Turrentine, Tommy, 22, 37, 43–44, 52, 73, 84, 102, 103, 125, 138–39, 146, 154–57, 161, 164, 174, 176–77, 211, 217, 248, 258–60, 266–67, 276, 277, 281, 290, 291, 293, 296, 301–2, 312, 326, 342, 359, 361, 368, 375, 405–6, 458, 469, 472, 781n.9
“Tuxedo Junction,” 98, 103
Two chorus player, 270
Tyner, McCoy, 133, 163, 224, 274, 275, 299, 334, 335, 338, 354, 355, 368, 376, 631
Universality, 488–92, 498
Universities, 35, 55–57
Urbaniak, Michael, 373
Vamp patterns, 297, 344, 354, 399, 442, 501, 653
Vamp tunes. See Modal jazz
Variation: bass accompaniment and, 316, 318, 323–24, 428–29; the body and, 208–16; drum accompaniment and, 326–28, 344, 366, 627; harmonic structures and, 84–92, 109; inadvertent variants, 83, 141, 215, 230, 245; jazz vocabulary and, 102–3, 113, 141–45, 166, 168, 179, 186–89, 194–96, 207, 215–16, 220–21, 237–38, 263–64, 268, 271, 321, 327, 336, 357, 593, 594; lyrics and, 470; memory and, 230; piano accompaniment and, 332–33, 629; solos and, 107, 235, 237–38, 241; tunes and, 65–68, 69–71, 171–72, 231, 294–95, 478, 591, 710, 711, 777n.17. See also Improvisation, precomposition and
Vauchant, Leo, 784n.30
Vaudeville, 46, 461, 820n.23
Vaughan, Sarah, 125, 126, 130, 139, 284, 385, 445, 460, 504
Vehicles, 63–64, 70. See Compositions; Repertory
Venuti, Joe, 772n.9
Verbalizing mind, 207–8, 798n.31. See also Inner dialogue
Verse, 293–95, 775n.3
Vertical concept, 128, 134, 184, 197, 250, 277, 279, 317, 333, 729
Vibes (vibrations), 449, 452–53, 469, 819n.17
Vibrato, 67, 69, 107, 125, 132, 139, 204, 216, 261, 277, 279, 284, 297, 303, 322
Vibraphone, 37, 293, 811n.23
Videorecordings, 169, 770nn.11, 13
Village Gate, 209
Village Vanguard, 387, 453, 456, 457, 469, 470, 819n.17
Vincent, Clearance “Little Dad,” 811n.23
Vinson, Eddie, 280
Violence, jazz and, 430, 466, 818n.8
Virtuosity, 96, 125, 143–44, 186, 217, 227, 236, 239, 250, 282, 284, 332, 340, 454–55, 460, 469, 780n.47, 792n.17; recording technology and, 473. See also Musical saves
Visualizing mind, 217
Visual representations of music, 28, 38, 55, 64, 66, 71–75, 81, 87–88, 92–93, 97–98, 104–5, 108–10, 112–14, 150–54, 159–69, 171, 175–76, 178–80, 184, 201, 206, 220, 255, 304, 389, 403, 784n.32, 789n.22. See also Dreams; Metaphors for aspects of improvisation; Method books; Music theory and analysis; Notation; Scores, written music as; Thblature representations of music; Transcriptions
Vocabulary. See Jazz vocabulary
Vocalese, 40, 99–101, 141, 267
Vocalizations, 92; instrumental, 108, 126–27, 140, 228, 266–67, 278–79
/> Voicings. See Chord voicings
Waits, Freddie, 344
Walker, T. Bone, 771n.6
Walking bass, 131, 183, 297–98, 316, 319–20, 336, 344, 349–53, 365, 398, 408, 430, 434. See also Bass lines; Bass performance
Waller, Fats, 124, 132
Walton, Cedar, 118
Waltz, 91, 364–65
“Waltzing the Blues,” 91
Wang, Richard, 775n.2, 807n.54
Ware, Wilbur, 47, 260, 381, 426
“Warming Up a Riff.” 78
Washington, Kenny, 24, 50, 65, 106, 108, 109, 124, 177, 224, 293–95, 298–99, 308–9, 311, 322, 331, 340, 367, 410, 423–24, 438, 443, 461, 469
Waterman, Richard, 4, 789n.19
Webb, Chick, 308
Webster, Ben, 163
Webster, Freddie, 118, 261
Wells, Dicky, 299, 312
Wertico, Paul, 134–35, 151, 191, 202, 245, 253, 352, 358, 359, 393, 394, 403, 427, 445, 455, 463, 482, 502–3
Western classical music, 24–27, 32, 34, 39, 55, 58, 71, 73, 103, 107, 111, 116–18, 122, 131, 141, 143, 167–68, 209, 252, 261–62, 266, 303, 313, 324, 417, 437, 442, 464, 488, 501, 771n.4, 773n.16, 778n.22, 786n.15, 792n.18, 794nn.2–3. See also Music theory and analysis
Western style jazz, 122
Wettling, George, 822n.37
“What Is This Thing Called Love?” 812n.30
“What Love,” 257
“When.” 796n.12
“When Lights Are Low,” 88
“When the Saints Go Marching In.” 463
Whetsol, Artie, 257
Whistling, 95, 110
Whiteman, Paul, 122, 123
Whiteside, Abby, 117
Whitley, Abe, 38
Whitsell, Dick, 179
Whole–tone scale, 161–62, 280
Williams, Buster, 25, 31, 40–41, 47, 76, 107, 108, 182, 201, 218, 267, 268, 276, 319–20, 322, 340, 348, 350, 353–54, 356, 370, 373, 379, 390, 392, 422, 426, 445, 446, 468, 813n.3; musical development of, 25, 31
Williams, Charlie, 76
Williams, Cootie, 88
Williams, Joe, 504
Williams, Leroy, 44, 47, 58, 129, 139, 219, 299, 345, 350–52, 358, 363, 370, 381–83, 393, 399, 401, 403, 413, 414, 418, 426
Williams, Martin, 769n.6
Williams, Mary Lou, 281
Williams, Tony, 124, 134, 135, 330, 332, 341, 366, 407, 420, 422, 617, 622, 627, 676, 788n.10
Williams, Vea, 22, 24, 27, 139, 284, 360, 384, 404, 458, 459–61; musical development of, 22, 24, 27
Wilmer, Valerie, 821n.29
Wilson, Gerald, 49, 290–91
Wilson, Nancy, 304
Wilson, Olly, 467
Wilson, Shadow, 124
Wilson, Teddy, 123, 132
Winter, Paul, 487
Witmer, Robert, 778n.23, 781n.9, 802n.28, 820n.23
“W. K. Blues:” 591–92
Wolverines, 290
Woodshedding, 54, 115
Workman, Reggie, 607
Workshops, 10, 41, 56–57, 74, 109–10, 112, 164, 177, 199, 248–49
World music, jazz and, 34, 68–69, 92, 94, 147–48, 153, 204, 224–25, 233, 254, 292, 297–98, 324, 344, 349, 419–20, 489–91, 500––501
World Stage, 42
“Yamekraw,” 796n.12
“Yeah Man,” 781n.9
YeIlowjackets, 445
“You Are My Everything.” 309
“You Don’t Know What Love Is.” 195
“You Go to My Head,” 65
Young, Lamont, 176–77
Young,Lester, 13, 70, 121, 125, 128–29, 139–40, 153, 172, 201, 236, 247, 252, 253, 255, 268, 269, 275, 311, 312, 771n.3, 776n.8, 777n.18, 782n.17, 783n.22, 785nn.2, 10, 787n.37, 788n.1, 791nn.7, 9, 794n.28, 796n.12, 797n.19, 799n.4, 800nn.6, 12, 803n.3, 812n.36, 814n.25, 815n.38, 817nn.5, 9
“You Srepped out of a Dream:” 159
Zeitlin, Denny, 470, 818n.7, 819nn.13, 16