By Evan Spring
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Extra resources for Annual Review of Jazz Studies, Volume 14
Among symphonic jazz concert works of the late 1920s to early 1940s, this extensive motivic web of BB&B is unique, but it is also an extension of Ellington’s previous experiments with “motivic saturation” and the development idea. There are complications in choosing a hierarchical terminology for BB&B’s nested relationships between movements and internal sections and subsections. ” Ellington’s use of the term “theme” implies a more organic, through-composed movement form than is warranted in the nested, episodic design of BB&B.
In this movement of over 20 minutes, these three episodes are joined together through various transitional bridges, each of which is indebted to the hyperbolic, quasi-rhapsodic interludes of the symphonic jazz tradition. Specifically, Ellington’s interludes display prominent textural shifts (often involving a move from a big band texture to solo instruments); dramatic changes in tempo with added rubato phrasing; cadenza-like passages over whole-tone, diminished, or extended harmonies; fanfare-like introductory bridges; and other related “rhapsodic” musical effects.
This strain’s minor-key setting and various stylized figurations (particularly a frequent neighbor-note, triplet figure) lend a somewhat classicized air to its overall character. In the 1935 score, this touch of “classicism” is complemented with a newly composed, “modernistic” (and dramatic), whole-tone-based introduction. Tables 3a and 3b formally outline the 1926 and 1935 scores. Whereas each score invokes various novelty stylistic traits, neither displays a straightforward basis in contemporary, three-strain novelty form.
Annual Review of Jazz Studies, Volume 14 by Evan Spring