KDLT has conducted more than 30 AARs

Chapter 26 provides an analysis of Lennie Tristano’s “Line Up.” Based on this analysis,specific elements of his style of improvisation are codified

Playing OutsideAlong with rhythmic displacement, playing outside of the underlying tonality is anotherhallmark feature of Tristano’s style of improvisation and results in his highly originalapproach to chromaticism. In “Line Up,” the use of chromaticism is pervasive, yet themanner in which Tristano controls it deserves attention. Just like his use of rhythmicdisplacements, Tristano’s use of chromaticism is elegant and logical. When his linestemporarily leave the underlying tonal area and venture into a chromatic space, they retainstrong melodic and harmonic identities and remain inside of the outside key areas. Figure26.3 compares two phrases from mm. 25–27 and 63–68.“LINE UP” 395

The expressiveness of the blues comes from the melodic inflections added to particularnotes. When we listen to various vocal or guitar renditions of the blues, these inflectionsare easily recognizable; they stand out because of their emotional charge and slightly “outof tune” sound. 1 The so-called blues scale approximates the sound of these pitchinflections by altering ^3, ^5, and ^7 of the major scale. Figure 9.3 illustrates the content ofthe blues scale and its derivation from the major scale.The blues scale is a six-note collection with the “blue” notes on ≤3, ≤5, and ≤7. Althoughthe presence of ≤7th suggests a chord–scale relationship with the dominant 7th chord,the use of the blues scale is not limited to this chord only. In the context of the bluesscale, the pitches ≤3 and ≤5 constitute expressive embellishments not bound by anyparticular harmonic function or chord type. The blues scale, then, is an androgynous

rhythmic displacement using different improvisationalstrategies, such as phrase displacement, metric displacement, manipulation of phraseaccents, and melodic interpolations. Phrase displacement occurs when the phrase is shiftedby a beat (or more) and creates a dissonance with the underlying harmonic and metricstructure. Probably the most effective use of this technique occurs in m. 77 where theline begins on beat 2 with a downward arpeggiation of the E major upper-structure triadover the structural B≤7 and is further emphasized with a strong accent on the first quarternote, EΩ4. The manipulation of phrase accents shifts regular metrical accents, therebycreating metric ambiguity. This technique occurs when the phrase temporarily rendersbeats 2 and 4 as beats 1 and 3. The phrase in mm. 159–160 illustrates these features.Notice how beat 4 in m. 159 influences the perception of beat 2 in the next measure.Metric displacement implies the use of cross rhythm to create a characteristic rhythmic joltand increase in tension within the phrase. The phrase in mm. 81–83 displays thesecharacteristics. The distribution of accents and phrase groupings in mm. 81–83 createsan interesting superimposition of 3/4, 3/8, 2/4, and 4/4 respectively. Notice how theuse of 3/8 influences the metric location of sub-phrases in 2/4 and 4/4 in mm. 82–83,and how the perception of the meter in the ensuing measures is constantly beingchallenged

Scales

Note the rhythmic displacement

When rhythmic repetition is combined with pitchrepetition, a distinguishing motivic “hook” usually emerges

fragmentation

taxation without representation

Mentioned this to someone who moved to Bushwick and kept saying "I wish more of Brooklyn was like this" with a rebuttal saying "this is why the people who made it attractive to you aren't here anymore" and got the "it's not my problem" shit. https://twitter.com/hollley/status/1641149981678530560. I think that's where being a "transplant" into a different place becomes violent - your presence IMMEDIATELY disrupts the environments you're in (and because of that, you have an obligation to minimize it as much as possible).

Mel Brooks

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