Conclusion

Cool jazz and Baroque styles come from different cultural and temporal backgrounds. They share  musical links of form, improvisation and texture despite their different backgrounds. Improvisation is an integral part of compositions in both styles . The form of the songs reflect this as in both styles support solo performers. The Basis of the ensembles in both styles are similar in their makeup and purpose. The similarities in the two styles are connected. The form, ensemble basis and use of improvisation are unique to other styles but share similar qualities with each other for to reflect different aspects of group and solo performers.

Biblography

Websites

http://www.robertkelleyphd.com/FiguredBass.pdf, Accessed 14/06/2011

http://www.robertkelleyphd.com/scaledegrharm.htm, Accessed 14/06/2011

http://community.middlebury.edu/~harris/MusicPapers/MusicAlive.htm, Accessed 10/06/2011

http://www.classicalnotes.net/classics2/brandenburg.html, Accessed 10/06/2011

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


Books 

Collier, J.L., 1978, The Making of Jazz, Dell Publishing, New York

Kamien, R., 2008, Music: An Appreciation, McGraw Hill, New York

Bailey, D., 1993, Improvisation: its nature and practice in music, Da Capo Press, UK

Carr, I., 1987, Jazz: The Essential Companion, Grafton Books, London

Scores

The Real Book, Hal Leonard, Accessed 20/06/2011

http://www.free-scores.com/download-sheet-music.php?pdf=21, Accessed 19/06/2011

Images

http://dles1.com/bassplayer/images/rhythm_section.jpg, Accessed 22/06/2011

http://imagecache2.allposters.com/images/pic/IMPO/MR868~Miles-Davis-Kind-of-Blue-Mood-Posters.jpg, Accessed 22/06/2011

http://www.orpheon.org/oldsite/Bildmaterial/VioloneNapoli.jpg, Accessed 22/06/2011

Video

http://www.youtube.com/watch?v=jIl8u8Xpu7o

http://www.youtube.com/watch?v=DEC8nqT6Rrk

http://www.youtube.com/watch?v=ljojjoBGLYw

Musical Form

The Form of Jazz and Baroque pieces are also similar in many ways. In these two songs the ritornello form typical of Baroque music is similar to the form. The opening melody played by the whole ensemble is referred to as the 'head' in jazz music while the opening theme in ritornello form reflects this stage of the music. In ritornello form this opening theme is returned to in different keys in part are in whole while in between there are sections expanding upon the melody sometimes featuring solo instruments. The original theme is returned to in the original key to conclude the piece.[2] Similarly the 'head' is played at the beginning and end of the piece and in between improvised solos usually occur based on the chords of the opening statement.

'So What' is built around a 32 bar structure with the first 16 bars in D minor with Dmin7 chords, 8 bars with Eb7 chords and a final 8 bars in Dmin7. This form repeats throughout the song and provides a simple chord structure for soloists to improvise over. As evident in the improvisation the melodic lines in the piece are based strongly around these chords. The changes in chords can be heard in the 'head' as the same motif is played in a different key and during the solo sections.

The simply solo section comprised of two chords can be seen at the bottom of the score

In the Brandenburg Concerto there is a strong motivic element as in the head of 'So What' and modulations can clearly be heard using the same motif. The two styles share a similar structure in this way however the key difference is that the development in Bach's composition in solo sections is based on these motifs while in jazz the chords are the basis and the use of motifs are simply a way of stating the chords. In this way the motifs in Baroque music can be compared to chords in jazz music. For example in the third movement of the Brandenburg Concerto No. 5 the two bar motif played at the beginning by the solo violin is the basis of the piece and is heard in many different forms throughout the piece.

Bach's Brandenburg Concerto also utilises a Concerto Grosso format where there is a contrast between the ripieno, the parts where the whole orchestra is involved, and the concertino where the soloists are featured. In contrast to cool jazz music the concertino sections are predominantly marked obligato in Bach's score meaning the parts must be played exactly as written. It is the Ripieno sections where the basso continuo part is written with figured bass that improvisation is most prevalent in Bach's work.

In both styles there is a clear distinction between tutti sections and solo sections. While there is a clear musical link the reasons for this are different as the Baroque style is conveying a contrast in force between the large orchestra and small soloist sections while in Cool Jazz the solo sections simply direct focus to the soloist and their musical skills.[4]

Secondary Link – Musical Notation

The musical notation used in both styles is an integral part of the form and conveys the performance practices of each style. In Baroque music a system of figured bass is used to indicate the chords to be played in the basso continuo. A bass note is noted on a staff while numbers are written beneath the staff to indicate to the performer what intervals above this note should be played.[1] In jazz music chord symbols are often  used in the rhythm section. For example in a bass line written with chord symbols the actual notes played and the rhythm is left up to the performer to reflect the chord and style of the song best. 

An example of figured bass from Bach's Brandenburg Concerto No. 5

Both music genres convey chords without traditional notation however the reasons for this are different. In the Baroque era musical notation as we know it today was a new development. The use of numbers was a simpler way for the composer to convey the essential part of the music to the performer, the chords. In jazz however the use of chord symbols in contrast to western art music of the same period reflects the focus on the performer and the interaction between ensemble members. In both styles the performer is allowed some degree of freedom.

 

[1] Collier, J.L., 1978, The Making of Jazz, Dell Publishing, New York, p. 54

[2] Bailey, D., 1993, Improvisation: its nature and practice in music, Da Capo Press, UK, p. 104

[3] ibid, p. 107

[4] Kamien, R., 2008, Music: An Appreciation, McGraw Hill, New York, p.261

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

Introduction

Baroque music and Cool Jazz come from different cultural backgrounds and were popular 300 years apart however they share numerous significant musical links. The Baroque musical culture from the 1650 to 1720 period has its roots in the western art music of Western Europe and displays the musical developments through the Middle Ages and renaissance periods in music. Cool Jazz however is from a completely contrasting culture. Jazz music has its roots in the fusion of African music with the popular early 20^th century music of the U.S.A. Cool jazz is a sub-genre of jazz predominantly from 1950 onwards characterized by its soft sounds and gentle tempos compared to preceding styles such as bebop.[1] In this investigation through the use of Johann Bach's "Brandenburg Concerto no. 5" and Miles Davis' "So What" the following musical links between the styles will be explored:

·         The basis and texture of Cool Jazz and Baroque compositions

·         The role of improvisation and soloists

·         The musical form utilised in compositions from each style



 

Clearly these composers come from different cultural backgrounds simply from their appearance however their compositions share many musical links



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[1] Kamien, R. Music: An Appreciation, 2008, McGraw Hill, New York, p. 254