Analyzing Jazz Tunes

[Guidelines to a class I teach at the New School Jazz Program]

So often in jazz, we take the tune for granted. We know we like a given tune, often for it’s changes, and we have fun playing the head in unison with others. But underneath, we’re really interested in the solos--our own and everyone else’s.

Often, the great standards we use as vehicles for our own improvisation are perfectly-composed gems. A lesson in economy, song form is so short (compared to a symphonic movement, for example) that every idea in it must be sculpted with great awareness. This holds true for tunes by jazz heroes like Miles or Monk, as well as beloved “Tin Pan Alley” writers like Gershwin and Berlin. These composers have so much craft and their tunes flow so smoothly, that it’s all too easy to just let the head flow by, assuming it will “speak for itself." And it does.

But suppose we go deeper? Suppose we ask “how did the composer come up with these themes and why did s/he develop them in exactly these ways?” Why do I dig it so much when it gets to this phrase? Indeed, in the great tunes, every note counts. The rhythm counts and yes, the harmonies count. When we probe further, even the rests count.

Here we assume you’ve studied Theory I & II where roman numerals are used for the chords, and scale degrees for the melody. At this stage we leave those out to delve deeper layers of motives & how they "travel." We’ll ask why a certain upward leap feels so exciting or how a slowly climbing passage carries such suspense. Not just identifying the "container” (ie. this is the 1st motive) we will trace the very the content, beat by beat. In class we will explore the following areas. What do you think they mean?:

Main melodic motives (What gives them their character, how do they become so memorable?)

Melodic countour (Moving up and down, long-tones, leaps, scalewise, etc. What is the shape of the long line and how does it express itself?)

Where does the tune peak? (In 1 clear place or several?)

What is the form?

What is its rhythmic life? (Does it swing at the bridge? Is it mellow but building?)

How do the harmonies express themselves? (What is the harmonic language? A very different question from what roman numerals show the functions of the chords.)

What is the origin of the tune? What was its era? What kind of mood was originally intended? What were the cultural/social circumstances of the writers? How did this music speak to their times? If there’s a lyric, what is the ‘marriage’ like - does it move in ‘parallel’ or ‘opposition’ to the music?

NEXT STEP: The above examinings will lead us to adapting a tune. First we honor what it says on its own terms. Then we find our own point of view, taking liberties and getting creative. You can be utterly true to the tune or use only fragments to suggest it. (Think of how little melody Miles plays on “My Funny Valentine” …yet one knows it’s that tune, all along).