The basis and texture of Cool Jazz and Baroque compositions

The chord instruments provide the harmonic basis which the melody fits and in addition provide a basis for improvised solos.  The rhythmic instruments are especially necessary to keep a steady beat during improvised solo sections to keep some form in the piece while allowing the soloist to express themselves or their virtuosity through complex rhythms. The Basso Continuo can be heard as an integral part and basis of the ensemble in the second movement of the Brandenburg Conerto Affeuttoso:

Homophonically harmonized melodies exist in both styles:

Throughout Bach's compositions melodies are harmonized homophonically in the string section. Similarly the horn section plays this role in 'So What'. Throughout Cool Jazz simple homophony is evident in the tutti sections reflecting the simplicity of the style.[4]

In the pieces 'So What' and Bach's Brandenburg Concerto No. 5 this accompanying section is utilised as a integral part of the melodic structure of the pieces in contrast to their normal role. In 'So What' a bass motif begins the piece comparable to bass ostinatos frequently featured in Baroque composition.[1] Bach features the harpsichord as a solo instrument. In jazz pieces the rhythm section is often featured with improvised piano and percussion solos.[2]

Secondary Link – Instrumentation

While not a direct musical link the similar instrumentation utilised in both styles demonstrates the first musical link. In Baroque and Cool Jazz, compositions are structured with instrumental to provide a rhythmic and melodic basis. In jazz this is in the form of the 'rhythm section' usually consisting of a drum kit, bass instrument such as an electric bass or double bass and a piano or other chordal instrument. A similar section is evident in baroque music called the basso continuo also consisting of a bass instrument such as a cello or double bass and an instrument to play chords such as a harpsichord, guitar, lute or organ.[3] Not only do the styles share a common link with this instrument choice but the purpose of this section is similar. The basso continuo can be heard as an integral part and basis of the ensemble in the second movement of the Brandenburg Conerto Affeuttoso:

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[1]Kamien, R., 2008, Music: An Appreciation, McGraw Hill, New York, p.270
[2] ibid

[3] ibid, p.273

Improvisation

Musical improvisation is synonymous with the jazz style and very prevalent in Cool Jazz. Improvisation is also evident in Baroque music however as Bailey suggests, “The world of classical music provides an unlikely setting for improvisation."[1] In Miles Davis' "So What" the composition's structure and form makes it clear that improvisation is an integral part of the work.  The song begins and ends with a 32 bar chorus where a written melody is played however the rest of the song is made up of various improvisations. As can be seen in Miles Davis' recording on his album 'Birth of Cool' The written lines in the composition comprise only a small part of the song and the complexity of the of the music is far greater and developed in the improvise sections.

In the written chorus a 2 bar phrase is used and repeated with some  harmonization in the horn section to outline the chord structure.

 

Davis' composition gained huge popularity and from the mid-1950 into the seventies he ruled jazz.[1] throughout With simply a 4 bar motif the development of the song with improvisation is clearly the basis of its appeal and acclaim.

Improvisation played an important role throughout the early history of  Baroque music.[2] The accompaniment in Baroque music both in opera and was written with a figured bass which was intended to be improvised over.[3]The use of improvised ornamentation was also widespread in secular and sacred music.[4] As Lionel Salter suggests, “music as written down was only a kind of memory jogger,” as composers expected to perform their works they would allow the full extent of their ideas come out in their improvisation.[5]

The continuo had to provide rhythmic spur and its role extended well beyond filling out the harmony.[6] Bailey classifies the improvisation in Baroque music into two groups: embellishments with a single unchanging execution such as trills and other ornaments or improvisation on the melody with the use of passaggi (scalar patterns), arpeggios and imitation.[7] 

Bach’s Brandenburg Concerto no. 5 also relies on improvisation. In the first movement Allegro Bach's skill as a keyboard player is demonstrated in the harpsichord solo. As in jazz the soloist is the focus of the piece away from the tutti sections.[8] The piece also includes flute and violin soloists. These instruments present short melodic ideas with imitation between the two which can be seen in the beginning of the the third movement.

This reflects a level of communication between performers also seen in jazz music. In Baroque music cadenzas, ornamental figures and the use of figured bass also allow performers some degree of personalisation and improvisation from the composers basic instructions.[9] For example in the first movement of the Brandenburg Concerto No. 5 a long cadenza is featured by the Harpsichord:

The similarities in improvisation and soloists in both music styles can be compared through an analysis of the solo sections. 

Davis' solo is centered around a D minor pentatonic scale but also with uses D and E flat Dorian (in concert pitch) over the simple two chord D minor 7 and E flat minor 7 chord progression. He includes 9th and 11th notes of these chords occasionally within the solo. The chord progression allows Davis to improvise for long periods of time using one scale. This is closer to Baroque improvisation with the use of scalar patterns rather than following a changing chord chart.[11]  

Both in Baroque and Cool Jazz compositions improvisation plays a significant role. Cool Jazz compositions are centered around improvisation by solo instruments while Baroque improvisation occurs predominantly in the continuo section and sometimes through more subtle methods such as the use of embellishments. Jacques Charpemtier argues that with the appearance of fully written out music and scores after the Baroque period, “a musical work was no longer strictly musical,” compared to the compositions utilising improvisation in Baroque and Cool Jazz styles.

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[1] Collier, J.L., 1978, The Making of Jazz, Dell Publishing, New York, p.61

[2] Bailey, D., 1993, Improvisation: its nature and practice in music, Da Capo Press, UK, p. 108

[3] ibid

[4] ibid, p. 110

[5] ibid

[6] ibid, p.111

[7] ibid, p. 112

[8]http://www.stevekhan.com/sowhata.htm, Accessed 10/06/2011

[9]http://www.classicalnotes.net/classics2/brandenburg.htm, Accessed 9/06/2011

[10]Bailey, D., 1993, Improvisation: its nature and practice in music, Da Capo Press, UK, p. 113

[11] ibid