By Evan Spring
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Extra resources for Annual Review of Jazz Studies, Volume 14
Tutti based on Theme A (a). = 108. Trpt solo w/ orch based on mm. 17–20. Clar solo w/ orch based on mm. 21–24 Tutti based on Thm A (a) Saxes in unison Reeds and piano Rall. to cadence. Tutti paraphrase on Theme C. d (Theme A var) Theme C4 Interlude 4 Coda (= Thm C) 7 mod 16 4 5 5 Cmaj mod A maj A maj 203 211 226 242 246 A maj Ellington and Symphonic Jazz 31 While Creole Rhapsody was certainly a “seed” for Ellington’s later extended works, the four-part Reminiscing in Tempo represents Ellington’s first transformation of symphonic jazz episodic form.
37–54 of Example 6, the first 8 measures begin as a 4 + 4 bar, strain-style phrase. From m. 44, this phrase is briefly extended through varied riffing on the melodic material of mm. 43–44. Measures 47–48 begin as a variation on Motive B (mm. 37–38). This “call” is then sequenced down an octave in mm. 49–50 as a “response,” and subsequently truncated to a new 1-bar “call” phrase in m. 51. This truncated motive is in turn repeated an octave higher (the second “response”). Finally, there is a concluding 2-bar statement of this varied motive in mm.
The sketch materials are revealing on this matter. First, though “Rem. I” is written on the opening page, this title is in darker ink than the rest of the manuscript. In addition, the score materials are bipartite, with a through-composed score for Parts I–III forming one division, and Part IV forming the other. In the band parts, Part IV is written on a separate page. In the sketches, Part IV is on different paper. This evidence suggests that the divisions between parts were imposed by recording technology and that Part IV was created to fill out the fourth side of the recording.
Annual Review of Jazz Studies, Volume 14 by Evan Spring