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An analysis of six original Latin jazz compositionsand arrangementsRuben CabanFlorida International University

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FLORIDA INTERNATIONAL UNIVERSITY

Miami, Florida

AN ANALYSIS OF SIX ORIGINAL LATIN JAZZ COMPOSITIONS AND

ARRANGEMENTS

A thesis submitted in partial fulfillment of the

requirements for the degree of

MASTER OF MUSIC

by

Ruben Caban

2011

To: Dean Brian ShrinerCollege of Architecture and the Arts

This thesis, written by Ruben Caban, and entitled An Analysis of Six Original Latin JazzCompositions and Arrangements, having been approved in respect to style andintellectual content, is referred to you for judgment.

We have read this thesis and recommend that it be approved:

Karen Fuller

Mike Orta

G&ry Ca pbell, Major Professor

Date of Defense: March 7, 2011

The thesis of Ruben Caban is approved.

Dean Brian SarinerCollege of Architecture and the Arts

Interim Dean Kevin O'SheaUniversity Graduate School

Florida International University, 2011

ii

DEDICATION

I would like to dedicate this work to my late friend and esteemed colleague Chris

O'Farril.

iii

ABSTRACT OF THE THESIS

AN ANALYSIS OF SIX ORIGINAL LATIN JAZZ COMPOSITIONS AND

ARRANGEMENTS

by

Ruben Caban

Florida International University, 2011

Miami, Florida

Professor Gary Campbell, Major Professor

The purpose of this thesis is to examine the cross-cultural fusion of jazz harmony and

Afro Caribbean rhythms. These six compositions were chosen for the composers

Master's recital to demonstrate how his writing technique was influenced by his cultural

and musical experience during his years of study and performance in the United States

and abroad. The instrumentation was chosen to exemplify the fusion of the traditional

percussive sounds of Latin music with jazz harmony, melody and improvisation. It is

important to note that even though one of the compositions, E.T., is not written in a Latin

style, it was nonetheless the product of a Puerto Rican composer, and it exemplifies his

influences as a cross-cultural composer and soloist. Scores of the six musical works are

provided in an Appendix, and a live recording of the recital is included.

iv

TABLE OF CONTENTS

CHAPTER PAGE

INTRDUCTION ................................................................................................................. 1

THAT ONE TUNE ............................................................................................................. 2

E.T ....................................................................................................................................... 5

STRUTIN' TO A GROOVE ............................................................................................... 7

SAIL AWAY ...................................................................................................................... 8

INVITATION ................................................................................................................... 10

SHAFTS OF SARCASM .................................................................................................. 12

CONCLUSION ................................................................................................................. 13

REFERENCES .................................................................................................................. 14

APPENDIX ....................................................................................................................... 15

v

LIST OF FIGURES

FIGURE PAGE

That One Tune

Example 1-1: Melodic motif .......................................................................................... 2

Example 1-2: 3-2 Son Clave............................................................................................... 3

Example 1-3: 2-3 Son Clave............................................................................................ 3

Example 1-4: Piano and bass 3-2 Montuno .................................................................... 4

E.T.

Example 2-1: Triad Pairs ............................................................................................... 6

Example 2-1: Beat displacement...................................................................................... 6

Strutn' To A Groove

Example 3-1: 6/8 Clave................................................................................................... 7

Example 3-2: Bb Blues progression................................................................................. 7

Sail Away

Example 4-1: Harmonic progression in C....................................................................... 9

Example 4-2: Harmonic progression in Eb..................................................................... 9

Invitation

Example 5-1: Score adaptation..................................................................................... 11

Shafts Of Sarcasm

Example 6-1: Basic 12-Bar Blues progression in F .................................................... 12

Example 6-2: Progression used for Shafts of Sarcasm.................................................. 13

vi

INTRODUCTION

The fusion of Latin music and jazz has played an important role in the development of

jazz as we know it today. In order to better comprehend the compositions being

performed, it is important to understand how this fusion came to be. Even though

historical records are limited or nonexistent, we do know that during the late 1800s the

first influence of Latin music was brought to New Orleans by Mexican brass bands such

as the 8 th Regiment Mexican Cavalry Band, which played danzas and mazurkas at the

World Industrial Cotton Centennial Exposition, predating the first jazz recordings of the

Original Dixie Land Jazz Band. Jellyroll Morton referred to this early rhythmic influence

on early ragtime as the"Thtin Tingd .1

Although Latin musies syncopated rhythms were absorbed by early ragtime pianists,

Latin music in its traditional form was not popularized among mainstream United States

listeners until Don Azpiazds 1937 performance in New York's Palace Theater of'The

Peanut Vendor" This event introduced the American public to traditional Afro-Caribbean

rhythms and instruments. The term Afro-Caribbean is used loosely in the following

analysis to describe the percussive sounds of Cuban and Puerto Rican heritage.

Throughout the 40s and 50s, jazz legend Dizzy Gillespie joined forces with various

Cuban musicians such as composer Mario Bauza and band leader Chano Pozo to create

the Cubop movement, an innovative fusion of jazz and Afro-Caribbean rhythms that

incorporated bebop style lines alongside traditional Cuban rhythms into a Big Band

setting. Pianist Eddie Palmieri made his contributions to the genre with his 1993 record

Palmas, which brought about the instrumental and arranging style that fused popular

'Roberts, 1.

1

Afro-Caribbean dance music, (Salsa), with jazz harmony. 2 It was this instrumental

model, together with aspects of traditional swing, funk and hard bop, that were used in

the composition and arrangement of the works presented here.

These six pieces provide examples of the different ways this fusion can be achieved.

Four of the pieces; That One Tune, Strut'n To A Groove, E. T. and Shafts of Sarcasm are

original compositions. Sail Away by Tom Harrel and Invitation by Bronislaw Kaper were

arranged and adapted specifically for this performance. The following is an in depth

analysis of these works, focusing on the melodic, harmonic structure and rhythmic

concepts used in their construction.

THAT ONE TUNE

The opening number is an original composition entitled That One Tune. This song has

a 32-bar head and was written in AABA form. (In jazz, the melody is often referred to as

the head.) This one is set in the key of D minor, since the repeated A section of the head

clearly outlines a D minor triad in second inversion: the fifth (A), the flattened third (F)

and root (D), combine to form a motif.

7 - 0_ D-

5 3 1 12 3 b6 5 3 1

Example 1-1: Melodic motif

This motif is complemented by a series of two descending ii-V progressions, first in D

minor (E-7 b5, A7b9) then in C major (D-11, G7b9). These give a sense of forward

2 Roberts, 224.

2

motion before landing on a bVI- IV7- V7 (BbMaj7- G7#I1- A7b9) turnaround back to

the tonal center of D minor.

The B section, also referred to as the bridge or release, brings out a lighter harmonic

color by traveling to F Major, the relative major of the key. The harmony travels back to

the D minor A section via a reoccurring, pivoting altered chord (A7b9). It is during this

section that the rhythmic aspects of Afro-Caribbean music come into play.

In Afro-Caribbean rhythms the Son Clave is a two- bar, reversible passage, most

commonly conceived in 4/4 that serves as a compositional guide.

Example 1-2: 3-2 Son Clave

When reversed the 3-2 Clave becomes a 2-3 Clave.

Example 1-3: 2-3 Son Clave

This is usually played by clave sticks or woodblock and is always conceptually present,

even when it is not being literally played by any instrument. It is common for modern

composers to take creative liberties with its use, but the clave remains a compositional

guide: the melody can be rhythmically identical to the clave or simply land on only a few

of the five strokes of the clave. 3

The presence of both Afro-Caribbean and swing aspects are apparent from the

beginning of this composition. The introduction is scored for tutti (horns, piano and bass)

3 Sheller, 13.

3

in which the rhythm section establishes a 3-2 Son Clave. The song abruptly changes to a

walking bass to set up the A section as swing.

At the end of the A section's second iteration, a two beat percussion send-off takes the

tune to the bridge where the trombone takes the melody. Here the song conveys the

impression of a cheerful, danceable Salsa, in contrast to the prevailing minor sound in the

A section. The soloists improvise over the form as it oscillates between the swing

characteristic feel of the A sections and the Salsa style of the B section. This switch to

salsa calls for a multiple array of rhythms, besides the clave, played by the traditional

Afro-Caribbean percussion section, the piano and the bass. This style of playing is

commonly referred to as montuno.

Montuno, also known by musicians as guajeo or tumbao, consists of a series of

ostinatos played by the piano and bass, supported by the polyrhythm played in the

percussion section. Below is a piano and bass montuno in 3-2 clave:

Piano -

Bass

Claves

3 part of clave 2 part of clave 3 part of clave 2 part of clave

Example 1-4: Piano and bass 3-2 Montuno

4

Since That One Tune does not have soli, it relies heavily on the journey in which the

live improvisations take the listener through its multicultural form. This is a theme

carried on by the next composition.

E.T.

E.T. is a jazz-rock fusion piece that switches between a harbop shuffle style and a

funk feel. It was composed as an improvisational vehicle using a 32-bar head with an

ABCA form. Harmonically, this piece simply travels through the different harmonic

qualities of C minor and C diminished. Due to the abrupt modulations throughout the

form, the key signature is left in the key of C and accidentals were used to notate any

alteration.

The melody dictates the harmony by making use of the harmonic qualities of C

harmonic minor (C- Major7 b6). After a direct modulation to a relative minor (Eb-

Maj7b6), the head travels through a pair of descending minor ii-V7 progressions. It is

here where the melody brings out an angular texture with the use of triad pairs.

Triad pairs are a collection of six note clusters. In this composition they are two major

triads a whole step apart. They were derived from the melodic minor parent scale of each

chord in the ii-V7 progression. For example: modally, an E-7b5 chord is the sixth degree

of a G melodic minor scale. If we build triads using the harmonic structure of the G

melodic minor scale we find that the fourth (C) and fifth degree (D) build two major

triads. By inverting the triads and using neighboring tones (NT), one can create different

textures of sound as illustrated below by scale degree:

5

23 E 0 479

5 3 1 NT135 NT135NT 5 3 1NT 135 NT5 3 1 5 3 1 5 3 1

Example 2-1: Triad Pairs

While the trumpet, trombone and tenor saxophone are playing the triad pairs in

straight eighth notes in 4/4, the rhythm section is displacing the beat with a syncopated

line that gives a contrasting aura of 3/4. This use of beat displacement in the ensemble

clearly notates the Afro-Caribbean influence and how it can be fused with concepts of

jazz harmony.

r8. __ _ _ __ _ __ _ _

~r. S______

6.0 VW

KEYS A YY r '7f I I I OE I V I I Ifi f o e o

De.IR I I V I II1 '

Example 2-2: Beat displacement

6

After this angular sequence, the piece abruptly modulates again, this time to a C

diminished chord. The modulations gradually bring out darker qualities of the same tonal

root of C until we reach the down beat of the bridge. At this point all harmonic

instruments drop out while the style switches to a heavy funk feel. The melody seems to

echo between the three horns and the feedback of the electric guitar before recapitulating

the last A section of the form.

STRUT'N TO A GROOVE

Afro-Cuban, Blues and a double time feel montuno are fused together in Strut'n To A

Groove. Switching between three rhythmic styles sets a mood of tension and release. This

is more apparent in the switch between the intense Afro-Cuban section and the aloof

swing section. The listener must pay close attention to the traditional nuances of each

genre as the performers navigate through the form.

Afro-Cuban music is a hybrid of African sacred music in 6/8.4 This polyrhythmic style

has its own clave to serve as the compositional guide. This implied pulse is played over

4/4 triplets in the melody:

Example 3-1: 6/8 Clave

The first form of this composition is a deceptive 12-bar, Bb blues in Afro-Cuban

style. The harmony does not follow a common blues progression of:

Bb7j Bb7 Bb7 Bb7 Eb7 Eb7j Bb7I G7 C-71 F71 Bb7j Bb7I17 IV7 17 VI7 ii7 V7 17

Example 3-2: Bb Blues progression

4 Mauleon-Santana, 2.

7

Instead it switches prematurely on the fourth bar of the form to the IV chord for one

measure and bounces back to the tonal center of Bb7#9. The style abruptly switches to

swing for two measures and falls back into the Afro-Cuban feel.

The mixing around of styles and harmonic progressions does not end there. The

harmony switches to a more common 12-bar blues progression and the rhythm section

switches to a swing style. This is played only on the first chorus of every soloist.

Beginning on the second chorus, the rhythm section switches to a double time 3-2

montuno. As the soloist burns through the up tempo style, the rhythm section sends him

off with a four bar Afro-Cuban tag. This takes the form back to the original swinging

blues progression and the next soloist.

SAIL AWAY

Tom Harrel (b. 1946) has gained notoriety both as a trumpet player and composer.

Born in Urbana, Illinois and raised in the west coast, he had the privilege to tour as a

sideman in Big Bands such as Stan Kenton, Woody Herman, and Horace Silver during

the late 60s and Early 70s. While in New York during the late 70s and 80s, he played

with Bill Evans, Cecil Payne, the Lee Konitz Nonet and the Phil Woods Quintet. Even

though he lives in a constant battle with schizophrenia, he has successfully led his own

groups both live and in the studio.5 Sail Away, originally recorded in a bossa noval style,

is one of his many compositions. In order to keep the stylistic theme of Afro-Caribbean

music, this piece is interpreted in a bolero style.

5 Yanow, Allmusic.com.

8

A bolero is ballad which derives from a Cuban style of romantic singing known as

trova6. In instrumental ensembles, the percussion section maintains a slow tempo tumbao

while the piano and bass improvise an accompaniment using the phrasing of the melody

and the harmonic structure as a guide.

In Sail Away, the melody and harmony are intertwined in a dance around five different

tonal centers. Tom Harrel makes use of transitional chord progressions to move through

the keys of C Major, Eb Major, G Major, E Major and A Major. He utilizes a iii-VI7-ii-

V7-I- vi progression to announce the key of C Major:

E- 749 -0 +/450/ A-i-r

3 -, 1-3-,

iii VI7 ii V7 I vi

Example 4-1: Harmonic progression in C

In the C section he uses the same iii-V17-ii-V-I-vi progression in Eb to bring on this

brief tonal center.

Q-7 C79 F- p02/86 847/Eb C- E/86

25 b ^~' bb'bb bb

iii VI7 ii V7 I vi

Example 4-2: Harmonic progression in Eb

6 Mauleon-Santana, 65.

9

By the down beat of the D section it modulates once more through a minor ii-V

progression into the key of G Major.

From here the piece modulates again up a fourth using the same ii-V- I method of

modulation to the key of E Major. The tension is increased by modulating once more, in

the same manner, up a fourth to the key of A Major before releasing back to the original

melodic and harmonic statement in the key of C via a bVII- VI- ii-V- I progression.

INVITATION

Polish composer Bronislaw Kaper (Feb. 5, 1902-April 26 1983) is responsible for

some of the most memorable film scores in the Hollywood film industry from the 1930s

through the 1960s. Invitation was originally composed for the MGM film "A Life of Her

Own" in 1950. It was used once more by MGM Studios in 1952 in another film entitled

"Invitation". The piece has become a jazz standard over the years and recorded by

numerous jazz musicians. This particular arrangement is an adaptation of a four trombone

arrangement by Les Sebina. It was changed from a straight ahead swing style to the more

percussive Afro-Caribbean feel of Salsa. The arrangement was also re-harmonized for

trumpet, trombone and Baritone Saxophone.

The word salsa literally means sauce in Spanish. It is a mixture of condiments or

"spice". The musical genre of Salsa music is described by Gerard Sheller as:

"Salsa is the New York sound, developed primarily by Puerto Rican New Yorkers,

known as Nuyoricans or Neoyoricans. The genesis of the music reflects several

sometimes contradicting attitudes: a desire to forge roots in Cuban music, an interest in

10

adopting the musical lexicons of jazz and rock, and an often politically motivated wish to

create a pan-Latin American music."7

This salsa adaptation of Invitation has a 48 bar form. Since it was transposed a whole step

up from its original key of C minor, it now lays in D minor. It makes a modulation a

minor third up to F minor before pivoting to the bridge in the key of Db Major. Here,

Kaper uses a series of descending ii-V-I progressions a whole step apart to navigate

through the different tonal centers that the melody outlines.

The Soli is one chorus of a Les Sebina original statement. In order to make this section

fit to this musical genre, the score was adapted with a more elaborate percussion chart in

2-3 clave. Furthermore, the percussion section is provided with detailed instructions on

how to split the hits and accents between the conga, bongo and timbales:

ble bu A

7S eler 3.bbA b1L, 1

TIr.TO.

-r.

F-7 fl 7&i i C74LT

A

SASA

Q~ 6-J LiV

CONGA +- SON, VEEP TIMENiM& FILL A

De. of of t f

Example 5-1: Score adaptation

7Sheller, 3.

11

SHAFTS OF SARCASM

During the late 1950s and 1960s, Rhythm and Blues musicians began using traditional

Afro-Caribbean instruments such as congas and bongos in their recordings. Bo Diddley's

1955 recording of I'm A Man, and Get It Together by James Brown are examples of this

incorporation.! Young salsa musicians of the time wanted to reach a wider public so they

fused the bluesy harmony of jazz and non-Hispanic, inner-city music together with

traditional Afro-Caribbean rhythms. They borrowed elements of jazz harmony by adding

the upper extensions of diatonic chords with alterations and voicing in fourths. This style

of arranging is still used by modern salsa arrangers.

"Although salsa songwriters continue to write melodies consisting of little more than

tonic, subdominant and dominant chords, the arrangers enrich the chords by adding other

intervals."9

Shafts of Sarcasm is an original composition in a straight forward Latin Bugalu style.

The melody is written over an F blues progression with an I7-I7-V7-bVI7-I7 (F7-F7-

C7-C#7-I) turnaround instead of the more common 17-V17-ii7-V7-I7 (F7-D7-G-7-

C7-F7) turnaround of traditional blues.

F71 F71 F71 F71 Bb7| Bb7 F71 D71 G-7| C71 F71 F71117 IV7 17 VI7 ii7 V7 17

Example 6-1: Basic 12-Bar Blues progression in F

S Mauleon-Santana, 77.

9 Sheller, 9.

12

F71 F71 F71 F71 Bb7 Bb7 F71 F7 I C71 Db7 F71 F71117 IV7 17 V7 bVI7 17

Example 6-2: Progression used for Shafts of Sarcasm

The Soli consists of two choruses of blues. The first chorus is an original statement by

the composer. While the second chorus quotes trumpeter Nat Adderley's solo in Jive

Samba, from the Latin Cool album released by Fania Records in 2001. The rhythm

section sets a fun mood with a son montuno in 2-3 clave.It is adorned with busy bongo

feels in the introduction and between the soli section and recapitulation of the melody.

CONCLUSION

The fusion of Afro-Caribbean rhythms with jazz harmony plays an integral part in the

constant evolution of jazz. Latin Music influenced the birth of jazz and now jazz is

returning the favor by lending its harmonic vocabulary to its long time relative. As

Globalization continues in this age of communication, we can only hope for new ideas

and influences from around the world. The recital exemplifies the multi-cultural marriage

of jazz and Latin music as experienced by the composer.

13

REFERENCES

Burlingame, Sandra."Kaper, Branislowri'Naxos Music Library.http://fiu.naxosmusiclibrary.com.ezproxy.fiu.edu/jazz/composer/btm.asp?composerid=22546 (Accessed January 4, 2011).

Campbell, Gary. Connecting Jazz Theory. Milwaukee, WI: Hudson Publishing Inc.,1998.

Gerard, Charley and Marty Sheller. Salsa: The Rhythm of Latin Music. Crown Point, IN:White Cliffs Media Company, 1989.

Mauleon-Santana, Rebeca. 101 Montunos. Petaluma, CA: Sher Music, 1999.

Roberts, John Storm. Latin Jazz: The First of the Fusions, 1880's to Today. New York:Schirmer Books, 1999.

Yanow, Scott."Tom Harrel Biography'. All Music.com,http://www.allmusic.com/artist/tom-harrell-p84276(Accessed January 4, 2011).

14

Appendix: Scores

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