MUSIC 212:
CD Guide

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Table of Contents:





  1. AABA

    Of the 105 selections on the SCCJ, no fewer than 37 are in the standard 32-bar AABA form. In each of these cases, the melodic/harmonic content of the "B" section, or "bridge," contrasts with the melodic/harmonic content of the "A" section. (Of course, improvisers usually disregard the original melody, basing their improvisation solely on the underlying chord progression.)

    The overall rhetorical structure is that of:
    Astatement
    Arepetition
    Bcontrast
    Areturn

    I have organized these examples of AABA form into two broad categories: popular songs and original compositions.


  2. Blues

    There are seventeen examples of performances in the 12-bar blues form on the SCCJ. Straightforward examples will be listed here first, followed by examples with some idiosyncrisy or other.

    I/4, "Lost Your Head Blues" (Bessie Smith)
    PLAY | PAUSE/RESUME | STOP | EJECT
    intro     :00       
    Chorus 1  :11      2   :44
    3       1:17       4   1:49      5    2:22
    
    I/5, "Dippermouth Blues" (King Oliver)
    PLAY | PAUSE/RESUME | STOP | EJECT
    intro  :00        Chorus 1    :05       2     :21       
           3 (stop-time) :37      4    :53       5    1:10           
           6   1:26               7   1:42       8    1:58
           9   2:14
    
    I/7, "Dead Man Blues" (Jelly Roll Morton)
    PLAY | PAUSE/RESUME | STOP | EJECT
    intro (block chord texture)                            :00
    collective improvisation                1              :14  
    clarinet solo)                          2              :38  
    trumpet solo          3       1:00      4             1:22
    clarinet trio--block chord texture      5             1:45
    clarinet trio + trombone obbligato      6             2:07
    collective improvisation                7             2:29     
    coda                                                  2:52
    
    I/11, "Blue Horizon" (Sidney Bechet)
    PLAY | PAUSE/RESUME | STOP | EJECT
    Chorus 1    :00       2     :43       3   1:26      
           4   2:09       5    2:52       6   3:36
    
    I/17, "West End Blues" (Louis Armstrong)
    PLAY | PAUSE/RESUME | STOP | EJECT
    intro                                         :00
    Chorus 1 (trumpet solo)                       :16
           2 (trombone solo)                      :50
           3 (clarinet/voice in call/response)   1:25
           4 (piano solo)                        1:59
           5 (ensemble w/trumpet lead)           2:33
    
    II/6, "Honky Tonk Train" (Meade Lux Lewis)
    PLAY | PAUSE/RESUME | STOP | EJECT
    Chorus    1     :02       2     :20       3   :37       4     :54       
              5    1:11       6    1:28       7  1:45       8    2:02           
              9    2:19      10    2:36
    
    II/24, "Breakfast Feud" (Benny Goodman/Charlie Christian)
    PLAY | PAUSE/RESUME | STOP | EJECT
    Chorus 1                 :00      "send-off riffs"/electric guitar solo    
           2                 :14      guitar solo
           3                 :27      "send-off riffs"/guitar solo
           4                 :41      guitar solo                   
           5                 :54      "send-off riffs"/guitar solo
           6                1:08      guitar solo
           7                1:21      "send-off riffs"/guitar solo               
           8                1:35      guitar solo
           9                1:48      "send-off riffs"/guitar solo              
          10                2:02      guitar solo    
          11 (incomplete)   2:15:     "send-off riffs"---fade
    
    III/4, "Ko Ko" (Duke Ellington)
    PLAY | PAUSE/RESUME | STOP | EJECT
    intro (pedal point) :00
    Chorus    1         :13       2        :32       3         :50      
              4        1:08       5       1:27       6        1:45          
              7        2:04
              coda (pedal point)  2:22
    
    III/19, "Parker's Mood" (Charlie Parker)
    PLAY | PAUSE/RESUME | STOP | EJECT
    intro               :00
    alto sax solo       Chorus 1       :16        2        :52
    piano solo                 3       1:29
    alto sax solo              4       2:07
    coda                               2:46
    
    IV/6, "Misterioso" (Thelonious Monk)
    PLAY | PAUSE/RESUME | STOP | EJECT
    intro               :00
    Chorus 1 (head)     :11          2 (vibes)    :46
           3 (piano)   1:23          4           2:00
           5 (head)    2:40
    
    IV/9, "Bags Groove" (Thelonious Monk)
    PLAY | PAUSE/RESUME | STOP | EJECT
    Chorus 1   :00       2    :18       3   :37       4   :56            
           5  1:15       6   1:33       7  1:52       8  2:11      9   2:29
    
    V/I, "Blue 7" (Sonny Rollins)
    PLAY | PAUSE/RESUME | STOP | EJECT
    This extended performance features no fewer than thirty-one blues choruses. Note that the drummer (Max Roach) adheres strictly to the 12-bar blues form during his extended drum solo.
    intro: walking bass 1    :02       2    :24
    head                     :45
    1st tenor sax solo  1    1:07      2   1:28      3  1:50
                        4    2:11      5   2:33
    1st piano solo      1    2:54      2   3:16      3  3:37
    drum solo (with     1    3:59      2   4:20      3  4:41 
    tenor sax lead-in)  4    5:02      5   5:23      6  5:43    7  6:03
    2nd tenor sax solo  1    6:22      2   6:43      3  7:04    4  7:25
                        5    7:46
    2nd piano solo      1    8:08
    [8-bar extension--walking bass]
    walking bass        1    8:38      2   8:59
    trading fours (tenor sax/drums)    1   9:21      2   9:41
    3rd tenor sax solo  1   10:02      2  10:23      3  10:45
    
    I/3, "St. Louis Blues" (Bessie Smith)
    PLAY | PAUSE/RESUME | STOP | EJECT
    This old-fashioned version of the blues fuses the 12-bar blues form to the verse/chorus format of early 20th-century popular song. The verse (here, the section beginning "St. Louis woman with your diamond rings") is not in blues form, although the chorus ("I got the St. Louis blues") is.
    1    :04       2   :48
    verse                         1:31
    chorus                        2:26
    
    III/3, "Diminuendo and Crescendo in Blue" (Duke Ellington)
    PLAY | PAUSE/RESUME | STOP | EJECT
    This extended composition has several idiosyncrisies. First of all, it is divided into two portions ("Diminuendo in Blue," "Crescendo in Blue"). Second, many of the blues choruses are of irregular length (as noted below). Third, different blues choruses are often in different keys (as noted by an "*" in the chart). Finally, the style of the opening is designed to keep the listener off-balance by playing around with conventions of big-band blues style. You will probably find "Crescendo" considerably more easy to follow than "Diminuendo."
    "Diminuendo":
         Chorus    1         :00       2        :15
         transition*         :30
         Chorus    3         :35       4        :49       5*     1:04     
                   6*       1:19       7*      1:34       8      1:50
                   9        2:05      10       2:20 
    coda      2:35
    *=modulation (change of key)
    	
    "Crescendo":
         Chorus    1         2:45      2        3:02
               N.B.: Choruses 1 & 2 are each 14 bars long
         Chorus    3         3:20      4        3:35      5         3:50     
                   6         4:04      7        4:19
               N.B.: Chorus 7 is 10 bars long
         Chorus    8         4:32      9        4:46     10         5:01     
                  11         5:16     12       5:31
    coda      5:43
    
    III/20, "Fantasy on Frankie and Johnny" (Errol Garner)
    PLAY | PAUSE/RESUME | STOP | EJECT
    While most of this piece falls into blues form (as does the folk tune it is based on, "Frankie and Johnny"), there are several stretches (the intro, :00-:43, the interlude, 1:26-1:37, and the coda, 2:43-end) that fall outside of both the 12-bar form and the blues harmonic scheme.
    intro                :00
    Chorus         1     :43       2   1:04
    interlude           1:26
    Chorus         3    1:37       4*  1:59      5*   2:21 
    coda                2:43
    * = modulation to a new key
    
    IV/13, "Haitian Fight Song" (Charles Mingus)
    PLAY | PAUSE/RESUME | STOP | EJECT
    The opening of "Haitian Fight song" is not in blues form, but the sections for solo improvisation are. Each of the solo instruments except the bass (trombone, piano, alto sax) are alloted 5 blues choruses apiece, some of which are in stop-time, some of which are in double-time. The bass goes on for seven choruses, the last few of which are monophonic.
    intro (bass solo, free rhythm)      :00
    bass ostinato                       :50
    riffs (ensemble)                   1:10
    trombone solo: 
         Chorus    1             2:12      2    2:25      3 (double-time)  2:44
                   4 (stop-time) 3:02      5    3:22
    piano solo:
         Chorus    1    3:41      2    4:01      3 (stop-time)  4:20        
    	       4    4:40      5    5:00
    alto sax solo:
         Chorus    1             5:19      2    5:39      3 (double-time)  5:58
                   4 (stop-time) 6:15      5    6:36
    bass solo:
         Chorus    1    6:55      2    7:14      3  7:34      4   7:53      
                   5    8:13      6    8:32      7  8:49
    free rhythm    9:07
    bass ostinato  9:53
    riffs (ensemble)    10:25          
    
    V/2, "West Coast Blues" (Wes Montgomery)
    PLAY | PAUSE/RESUME | STOP | EJECT
    This is a blues in the unusual meter of 6/4. Each measure is 6 beats long, or a double count of 3.
    Chorus 1 (head)     :00
    guitar solo
    Chorus    1     :29       2    :57       3  1:26      4    1:54      
              5    2:23       6   2:52       7  3:20      8    3:48          
              9   4:16
    Chorus 10 (head)     4:45
    coda                 5:14
    
  3. Other Forms

    ABAC 32-bar form An alternative to the AABA structure for a 32-bar form is one that can be diagrammed as ABAC. Whereas the AABA form may be thought of as: statement (A), repetition (A), contrast (B), return (A), the ABAC form has the following general structure:

    A (8 bars)statement
    B ( " )continuation
    A ( " )statement
    C ( " )different continuation

    This form is sometimes diagrammed as AA', where the A (16- bars) corresponds to AB of ABAC form (statement + continuation), and the A' (16 bars) corresponds to AC (statement + different continuation).

    1. with vocal
      I/20, "I Gotta Right to Sing the Blues" (Louis Armstrong)
      PLAY | PAUSE/RESUME | STOP | EJECT
      opening chorus (vocal)
      A    :09       B    :26       A    :43       C    :59
      Chorus 2 (half-chorus: AB only)        1:15
      Chorus 3 (trumpet solo)                1:48 
      
      II/12, "You'd Be So Nice to Come Home To" (Ella Fitzgerald)
      PLAY | PAUSE/RESUME | STOP | EJECT
      opening chorus (vocal)
      A    :11       B    :21       A    :31       C    :41
      Chorus 2 (vocal chorus, with trumpet send-off riff)   :52    
      Chorus 3 (vocal chorus)     1:32
      coda      2:08
      
    2. instrumental
      I/14, "Potato Head Blues" (Louis Armstrong)
      PLAY | PAUSE/RESUME | STOP | EJECT
      In addition to the ABAC form, this example also has a 16-bar verse as an interlude (at 0:43).
      opening chorus: 
      A    :00       B    :11       A    :22       C    :32
      verse                                   :43
      Chorus 2 (clarinet solo)               1:05
      transition (banjo)                     1:49
      Chorus 3 (trumpet solo, stop-time)     1:54
      Chorus 4 (incomplete: AC only)         2:37
      
      I/15, "Struttin' With Some Barbecue" (Louis Armstrong)
      PLAY | PAUSE/RESUME | STOP | EJECT
      opening chorus
      A    :14       B    :24       A    :34       C    :44
      Chorus 2 (clarinet solo/trombone solo)  :54
      Chorus 3 (trumpet solo)                1:33
      Chorus 4 (ensemble)                    2:15
      
      I/16, "Hotter Than That" (Louis Armstrong)
      PLAY | PAUSE/RESUME | STOP | EJECT
      N.B.: see diagram, McCalla p. 29
      opening chorus
      A    :09       B    :18       A    :27       C     :36
      Chorus 2 (clarinet solo)                           :45
      Chorus 3 (scat-singing)                           1:21     
      interlude: call/response, voice/acoustic guitar   1:54     
      Chorus 4 (trombone solo/ensemble)                 2:18
      
      I/21, "Singin' the Blues" (Frankie Trumbauer/Bix Beiderbecke)
      PLAY | PAUSE/RESUME | STOP | EJECT
      opening chorus (sax solo)
      A    :07       B    :21       A    :34       C    :49
      Chorus 2 (cornet solo)                 1:03
      Chorus 3 (ensemble, + clarinet solo)   2:00
      
      II/2, "Wrapping it Up" (Fletcher Henderson)
      PLAY | PAUSE/RESUME | STOP | EJECT
      Chorus 1 (riffs, call/response) 
      A    :09       B    :19       A    :28       C    :38
      Chorus 2 (alto sax solo)               :48
           Chorus 3
           A    trumpet solo                  1:25
           B    block chord riffs             1:34
           AC   trumpet solo                  1:43
      Chorus 4
           A    riffs, call/response          2:03
           B    clarinet solo                 2:13
           A    sax section, block chords     2:22
           C    ensemble, block chords        2:31
      
      III/7, "In a Mellotone" (Duke Ellington)
      PLAY | PAUSE/RESUME | STOP | EJECT
      Chorus 1 (riffs, call/response)
           A    :14       B    :29       A    :44       C      :59
      Chorus 2 (trumpet solo)                1:13
           (trumpet in call/response with sax section, 1:28-2:12)
      Chorus 3 (alto sax solo, preceded by "send-off" riffs)  2:13
      
      IV/12, "Summertime" (Miles Davis/Gil Evans)
      PLAY | PAUSE/RESUME | STOP | EJECT
      opening chorus
           A    :00       B    :09       A    :18       C    :27
      Chorus 2  :36       3  1:11      4   1:46      5    2:21
      
      III/14, "Embraceable You" (Charlie Parker)
      PLAY | PAUSE/RESUME | STOP | EJECT
      intro     :00
      A    :13       B    :40       A    1:08      C    1:37
      
      III/15, "Embraceable You" (Charlie Parker)
      PLAY | PAUSE/RESUME | STOP | EJECT
      intro     :00
      A    :11       B    :35       A    1:01      C    1:27
      
    3. March/Ragtime form

      Many early jazz pieces are organized into 16-bar units called "strains." (McCalla describes this kind of form as "sectional" and "additive": see p. 11.) A typical format is AABBACCDD (as shown below), but variants are common.

      Aopening strain
      A(repeated)
      Bcontrasting strain
      B(repeated)
      Areturn of opening strain
      Cnew strain, "trio," usually in new key
      C(repeated)
      Dnew strain
      D(repeated)

      I/1, "Maple Leaf Rag" (Scott Joplin, piano roll)
      PLAY | PAUSE/RESUME | STOP | EJECT
      A      :00        A     :23       
      B      :45        B    1:07
      A     1:29
      C     1:50        C    2:12      
      D     2:34        D    2:56
      
      I/2, "Maple Leaf Rag" (Jelly Roll Morton)
      PLAY | PAUSE/RESUME | STOP | EJECT
      Intro     :00
      A         :12       
      B         :34       
      A         :55       
      C        1:17      C    1:38      
      D        1:59      D    2:19
      
      I/6, "Black Bottom Stomp" (Jelly Roll Morton)
      PLAY | PAUSE/RESUME | STOP | EJECT
      see diagram, McCalla, p. 22
      Intro     :00
      A1   :07       A2   :22       A3   :37       
      trans     :57       
      B1   :56       B2   1:15      B3   1:33      B4        1:51  
      B5   2:10      B6   2:29      B7   2:48
      
      I/8, "Grandpa's Spells" (Jelly Roll Morton)
      PLAY | PAUSE/RESUME | STOP | EJECT
      see diagram, McCalla, p. 14
      intro     :00
      A         :04       A     :23
      B         :41       B     :59
      A        1:17
      C        1:35       C    1:54      C    2:13      C    2:31     
      coda     2:49
      
      I/9, "King Porter Stomp" (Jelly Roll Morton)
      PLAY | PAUSE/RESUME | STOP | EJECT
      intro          :00
      A     :05       A     :26
      B     :47       B    1:08
      interlude     1:29
      C    1:34       C    1:56      C    2:16      C    2:37
      
      I/12, "Carolina Shout" (James P. Johnson)
      PLAY | PAUSE/RESUME | STOP | EJECT
      intro      :00
      A          :05       A     :24
      B          :43       B    1:02      B    1:21
      C         1:40
      D         1:58
      C         2:16
      coda      2:34 
      
    4. form: AA'BA (i.e., second A somewhat different from 1st A)
      II/5, "I Ain't Got Nobody"
      PLAY | PAUSE/RESUME | STOP | EJECT
      Chorus 1
           A     :11      A'    :33      B     :54      A    1:15
      Chorus 2
           A    1:36      A'   1:58      B    2:20      A    2:41
      
      II/16, "Rockin' Chair"
      PLAY | PAUSE/RESUME | STOP | EJECT
      Chorus 1
           A    :21       A'   :42       B    1:03      A    1:25
      Chorus 2 (half-chorus: BA only)
                                         B    1:47      A    2:09 
      
    5. 16-bar AABA
      IV/15, "Pent-Up House"
      PLAY | PAUSE/RESUME | STOP | EJECT
      This is a 16-bar tune that happens to fall into the AABA pattern. Each section, therefore, is only four bars long. Perhaps because of this, after the piano solo the lead instruments "trade twos" instead of "fours."
      opening chorus (head):
           A    :01       A    :06       B    :11       A    :15
      head (repeated)               :20
      trumpet solo
           Chorus 1   :40       2   :59      3   1:19
                  4  1:38       5  1:58      6   2:19
      tenor sax solo
           Chorus 1  2:39       2  2:59      3   3:20
                  4  3:40       5  4:01      6   4:22
      piano solo
           Chorus 1  4:43       2    5:04
      "trading twos" (tenor sax/drums/trumpets/drums)
           Chorus 1  5:24       2    5:44
      drum solo
           Chorus 1  6:04       2    6:25
      head                           6:45
      head (repeated)                7:06
      
    6. other forms
      IV/14, "Django"
      PLAY | PAUSE/RESUME | STOP | EJECT
      This is a 32-bar form, but divided into the asymmetrical pattern AABA'C. Each "A" section is six bars, while the "A'" is four; "B" and "C" have eight bars each. It is easy to tell the "B" section by its distinctive pedal point, and the "C" section by its jumpy, syncopated bass line.
      intro     :00
      Chorus 1 (vibes solo)
           A    :36       A    :44       B    :53    A' 1:04      C    1:09  
      Chorus 2
           A    1:20      A    1:28      B    1:36   A' 1:47      C    1:53  
      Chorus 3
           A    2:04      A    2:12      B    2:20   A' 2:31      C    2:37
      interlude      2:48
      Chorus 4 (piano solo)
           A    2:53      A    3:02      B    3:10   A' 3:21      C    3:27  
      Chorus 5
           A    3:38      A    3:46      B    3:55   A' 4:06      C    4:12
      intro     4:29 
      
      V/4, "Blue in Green"
      PLAY | PAUSE/RESUME | STOP | EJECT
      A 10-bar form that McCalla describes as "circular," since there is no clear harmonic resting point at the end of the form. This performance also features an unusual rhythmic arrangement. At the outset, the 10-bar chorus unfolds at the leisurely pace of four slow beats per bar. After two full choruses, the chorus is compressed to two beats per bar, and then to one beat per bar. The process is then reversed, and the piece ends as it began.
      slow
           1    :00       2   :35
      twice as fast
           1    1:12      2   1:30      3  1:49      4   2:07      5   2:25      
      twice again as fast
           1    2:43      2   2:52      3  3:01      4   3:10
      half as fast
           1    3:19      2   3:39      3  3:38
      half again as fast (original pace)
           1    4:19
      coda      4:59
      
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