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1.) BIllie's Blues - pg. 342 (2 pts)

a. When Billie Holiday starts singing, how does the music change underneath her?

b. Google words that describe timbre, then use two of them to accurately describe Billie Holiday's voice:

c. Use two more of those words to describe the timbre of the solo clarinet at 1:21:

d. And two more to describe the timbre of the muted trumpet at 1:45:

e. This music was as likely to be danced to as it was to be just listened to. Do you hear it as a song for dancing or listening? Explain your answer:

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2. Take the A Train - pg. 345 (2 pts)

a. Which instruments are in this example that we haven't heard in any other music throughout this entire semester?

b. Describe the timbre of the muted trumpet (starting at :50):

c. In general, where does the trumpet player use the most vibrato (vibrating air)?

d. What is the texture at 2:04?

e. Describe the dynamics from 2:14 - until the end:

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3. Suite for Violin and Piano - pg. 350 (2 pts.)

a. Find a moment that sounds similar to European art music. Note the counter time, and explain why you chose this section:

b. Find a moment that sounds more influenced by blues or jazz. Note the counter time, and explain why you chose this section:

c. Do you find this example to more 'formal' or 'informal'? Defend your answer:

d. Give your opinion on this blend of classical and American vernacular styles:

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4. Rhapsody in Blue - pg. 355 (3 pts)

a. The clarinet at the very beginning does a glissando. Listen and describe what it sounds like:

b. Note the counter time when the pianist first begins to play:

c. In the first section you're required to listen to, find a section that looks like only a professional pianist could perform, and note the counter time:

d. At 4:06-ish, what do you think makes this trumpet sound weird and vibrate-y here? What is the performer doing to alter its sound?

e. Why do you think artists like Lang Lang show expression in their face? Does it distract you from the performance, or does it enhance it?

f. Describe the character/mood of the theme (starting at 11:48):

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5. Country Band March - pg. 360 (2 pts.)

a. After listening to the whole thing, please give me your impressions. This piece is out of the realm of ordinary classical music. Show me that you listened and have an opinion:

b. Now give me a reason why someone might write such a piece:

c. It is in the instructions for some of the musicians to play wrong notes or play out of tune. Can you find a spot in the music where you think this is happening? Note the counter time:

d. The quote in the book from Charles Ives is, "Stand up and take your dissonance like a man." After listening to this example, what do you think he means by this (also keep in mind that he said it over 100 years ago)?

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6. Appalachian Spring - pg. 364 (3 pts.)

a. Close your eyes for the first 1:20 or so. What do you imagine?

b. Which instrument plays solo at 1:37 - 1:45?

c. What about at 1:57 - 2:07?

d. How would you describe the harmony in this section?

e. Which instrument plays the main theme of Simple Gifts (17:05)

f. Of the 5 variations listed in the book, which variation is the most exciting, and why? (the counter times will be a bit off, but close)

g. Which of the variations sounds most 'pretty' or aesthetically 'beautiful', and why?

h. Describe what happens between about 18:50 - 18:56 in the example:

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7. Noche de jaranas - pg. 371 (2 pts.)

a. Which instrument is featured at 7:48 - 8:04?

b. Describe the overall mood/character of this movement:

c. How does the conductor convey the mood/character of the movement?

d. What do you think is the most important element of music in this example, and why?

e. Where do you think the dramatic climax of this movement is (counter time), and why?

 

 

1. Billie's Blues - Billie Holiday Bellies Blues started the Bellies holiday in the year 1936. The Holiday influenced jazz and pop music. She was given the nickname lady day by her music partner due to the swing bands that are associated with the soloist. She had a vocal style that was strongly inspired by jazz music through the manipulations of tempo and phrasings. Trumpets have been registered highly in the brass family, ranging from the piccolo trumpet to the bass trumpets with their pitches falling under the one octave standard of B? or C Trumpet. The song was accompanied by some dances because of the steady and changeable tempos which played very important skills in the musical performer by the bellies blues. 2. Take the A Train - Duke Ellington There was the use of piano composition by Duke Ellington, something that is unique from the composers. At 0:50, there was a unison melody with an oddly disjunctive line that was ready fits for the song composition, you take the A train. In general, the melody could answer the engagement of sycophant responses received from trumpets sections. At 2:14, the louder Duke Ellington responded to the next solo to dramatically raise the saxophones riffs. There was also a return of a section with a dissonance, “tolling" of different chords. By the end of the music, the Stray horn faded out and the section started to repeat more quietly until the discreet ending of the song. 3. Suite for Violin and Piano, 3rd movement - Still The solo violin is the most useful instrument that was used by Reena Esmail. Its lyrics resemble European art music because of Vijay Gupta’s gripping performance in terms of sounds, colours more so the expressions that arose simultaneously from the lyrics. It was the time of Eddie South's performance that indicated some of its influence in jazz music because the listeners are delighted. Base on this example, it is clear that this type of lyrics is formal because it inhabits the same architectural grandeur. However, there is much contemplation due to the mixtures with American vernacular. 4. Rhapsody in Blue - Gershwin In this baroque, there is the use of the piano as an instrumental device for the music record. The pianist started to play at 0:50. There are pianist intervals of 0:29 ritornello and 0.43 – solo 1 making the playing uniform and impressive. A professional pianist is expected to play at 0.50, 2.13, and 7.25 minutes. At each interval, he or she is required to adjust an increment of 0.2 minutes across all the intervals where the piano has been applied. At 4:06, the trumpets are pronounced at this stage since the song is found to be gaining momentum. The facial expression by Lang Lang did not interrupt the performance because it only involves the musical instrument and not the vocal sounds. The moods of the instrumentalists started to change when we're at 11:47 minutes of the performance. It’s occurred due to the changes of the time for each ritornello and the period taken for the solo played by the piano. 5. Country Band March According to his country band march, this can be said to be a marvellous parody because of its tune during the introductions of pandemonium at the end of the band. One can write such bands Ives’ have the country band features and impressive quotations such as the Battle cry for freedom. Some musicians have played out of tune because the Ives captures deliberately the occurrence of rhythm and intonations heard in the amateur performance resulting in raucous. According to my understanding of the song "stand up and take dissonance like a man "simply mean that people should come out and take their responsibilities without any complaint. 6. Appalachian Spring - Copland (pg. 364) Before the beginning of the song, one imagines a wedding ceremony, where the couples celebrate their love as indicated by the first 1:20 minutes. Violin I has played a major role in 1:37to 1:47 through the productions of the soprano. From 1:57 to 2:04 there are applications of the clarinet since it possessing high positions in terms of pitch. This makes the music become calm and flowing. At 17:05, piano dominated for a long time to moderate the bride to take space among her neighbour. The variation in this music is formal since it is altered and repeated. The best variations in this music have been rhythm variations because break up the steady pulse more so creating the syncopated of beats. From 18.50 to 18:56, there is a total break to indicate the end of the song. 7. Noche de jaranas (Night of Revelry) - Revueltas (pg. 371) The trumpet featured at 7:48 TO 8:04 to make the song sound marvellous. Generally in this score, it comprises quite several orchestras, instruments, and choral pieces like cues. They are used to time the beginning and endings at specific points to enhance some drama and the emotional impact of the scene. The conductor conveys the moods by writing down scores of composers, through guidance, collaboration with the film's director. The most important element concerning this is the sense that music takes the aspects of nationalism. At 5:67 is entitled to a lot of drama it has been designing to unobtrusively show up the story. LIS1 54 Revueltas: ork ru- n, is, ) 5:30 ol ?? Genre: Suite from film score Date: Film score, 1939; suite arrangement, 1961 Movements: 1. “Noche de los Mayas" "Noche de jaranas" ("Night of Revelry"), from La noche de los Mayas (The Night of the Mayas) 11, - II. “Noche de jaranas" III. "Noche de Yucatán" Performed by: Los Angeles Philharmonic, Esa-Pekka Salonen, conductor 2t le II: "Noche de jaranas" IV. “Noche de encantamiento" ("Night of Enchantment") 1- d What to Listen For n , Melody Short snippets of tune passed around the ensemble; a contrasting flowing melody in the central section. Texture Rhythm/ meter Homophony alternating with nonimita- tive polyphony. Form t Rondo-like. Highly syncopated; alternation between compound (6/8) and irregular (5/8, 10/8) meters. Harmony Expression Combines elements of a symphonic scherzo with Latin American son dance music. Tonal, with expanded chromaticism and unusual harmonic shifts. Performing Full orchestra with piano and Latin forces American percussion instruments. 2 0:00 A section-strings play the main rondo theme in thirds, accompanied by Latin American percussion, alternating irregularly between 5/8 and 6/8 meter: Toto ? 0:28 Piccolos join the ensemble. 0:45 Full orchestra, different timbres in dialogue with short melodic snippets; harmony is more unstable and unpredictable. 2:28 B section—a new metric pattern, 3+3+2 (8/8 meter), in trumpet and xylophone: P (con sord.) A slower, rising melodic idea in the French horns, then trumpets: 2:59 Quiet variant of the rhythmic idea in flutes and strings. 3:15 A'-modified return of the rondo theme, forte. So m.section_dynamic builds to fif in the most regular meter up to this point, 6/8; powerful melody in the brass 28 ?? and strings, with a cross-rhythm in the accompaniment: dynamics fade as if the ensemble were disappearing into the distance. 136 A"-a short transition in the low brass and percussion leads to the return of the opening rondo (5/8-6/8) theme; ff con brio Brief transition. 0.28 Variation 1 SOUNDS AMERICAN: IVES, COPLAND, AND MUSICAL NATIONALISM CHAPTER 59 365 056 Short, rhythmic transition. Variation 2 O 0:34 Oboe and bassoon present the tune; grows dissonant, with sforzando on third phrase played by all woodwinds. 0:59 Tune in violas in augmentation (steady rhythmic accompaniment continues); violins (in octaves) enter in second phrase, in canon with the violas (dissonance on the last note is marked with arrow): Violins 5 ? . Violas I 1:35 Transition. Variation 3 1:45 Trumpets and trombones, with swirling strings; loud brass section; then quieter in woodwinds. Variation 4 2:10 Woodwinds with a slower version of the tune. Variation 5 2:30 Full orchestra with majestic, homophonic statement; somewhat dissonant; fortissimo, then dies out. YourTurn TO EXPLORE Identify two musical works (songs or any other genre) that you consider to be self-consciously American: not only the text, but the music as well. What elements of each work project its American identity? What kind of America does each suggest- what kinds of individuals or attitudes or backgrounds does it include, and what kinds does it leave out? What parallels and contradictions can you find between the two different versions of "musical American-ness"? 364 PART 6 TWENTIETH-CENTURY MODERNISM LISTENING GUIDE 53 - 5:45 0:2 Copland: Appalachian Spring, excerpts 0: 0: Performed by: New York Philharmonic, Date: 1945 Leonard Bernstein, conductor 0: Genre: Ballet suite in seven sections What to Listen For SECTION 7 SECTION 1 Melody Theme with four phrases (a-a'-b-a"); later Melody Rising motive quietly unfolds, outlining a triad. variations use only parts of the tune. Rhythm/ meter aug Flowing duple meter, then tune in mentation (slower). Rhythm/ meter Very slow, tranquil; changing meter is imperceptible. Overlapping of chords (polychordal) pro- duces a gentle dissonance. 1 Moves between various keys. Harmony Harmony Form Theme and five variations, on a traditional Shaker song. 1 Texture Individual instruments are featured. Expression Timbre Introduces the characters; evokes a broad landscape at daybreak. Each variation changes tone colors; individual instruments are featured. 2 Expression Calm and flowing; majestic closing. 2 2:42 Section 1: Very slowly Low strings on a sustained pitch; solo clarinet, then flute with a rising motive: 0:00 Solo clarinet Solo flute fit 0:16 0:52 1:25 P Violin and flutes alternate the rising figure; harp punctuates; other instruments enter, creating dissonance. Violin in high range, with more movement; the rising figure is heard in various instruments. Solos in various woodwinds and trumpet. Solo oboe, then bassoon; descending motive. Clarinet with closing triad, over sustained harmony. 1:54 2:31 3:03 Section 7: Theme (Simple Gifts) and five variations Theme Solo clarinet with tune in four phrases (a-a'-b-a"), accompanied by harp (playing harmonics) and flute: 0:00 a a' P simply expressive b > a' sf mf A section repeated SOUNDS AMERICAN: IVES, COPLAND, AND MUSICAL NATIONALISM CHAPTER 59 3 1:51 Introduction. 2:03 March tune. 2:58 Oboe solo leads to new material. 2:38 Arkansas Traveler, then Semper fidelis / Battle Cry of Freedom; hint of Yankee Doodle. B' section, with a new closing section 3:05 Rhythmic, syncopated idea. A' section, with variations 3:19 March tune in a new key, with harsh "wrong note" dissonance in brass. 3:29 British Grenadiers march: ff 3:42 Brief transition, leads to return of the march theme. and even a march by John Philip Sousa (see Chapter 51). The main march theme we hear is most likely by Ives himself, but he weaves into it a highly complex mesh of other tunes, creating all manner of chaos. We hear polytonality and poly- rhythms as tunes collide and overlap. The songs cited are nostalgic ones for Ives, from his Protestant New England upbringing, but we also catch the playful side of the composer—who simulates the realism of an amateur band's performance along notes. You will recognize some of the tunes: London Bridge and Yankee vankee Doodle hit Doodle; My Old Kentucky Home (by Stephen Foster); and the Sousa march Semper fidelis. The work is not actually in a march form, but is rather a five-part sectional form that brings back the opening march theme in various guises. Ives is now considered especially visionary and progressive for having embraced vernacular (including commercial) music in his work. But most of his contempo. In His Own We source for artistic development. Rural folk traditions were thought to be more raries in the art- music sphere considered commercial music inadequate as a re- Transformed these traditions into a national sound was Aaron Copland. dosely linked to the American spirit, and the composer who most successfully your dissonance like 66 Stand up and t man. -Cha LISTENING GUIDE 52 B) 4:20 Ives: Country Band March Performed by: United States Marine Band, Timothy W. Foley, director Date: c. 1903 Genre: March, arranged for wind band What to Listen For Melody Forceful march theme, over which many well-known tunes occur; main march returns throughout. winds (piccolo, flutes, oboes, clarinets, Expression Humorous; the realism of amateur bands, nostalgic American tunes. Performing Large wind ensemble, including wood- forces bassoons, saxophones), brass (cornets, trumpets, French horns, trombones, baritones, tubas), and percussion (drums, cymbals, bells, triangle, xylophone). Rhythm/ meter Mostly duple, but with syncopation and triplets that disguise the meter. Harshly dissonant, polytonal. Sectional (A-B-A-B'-A'). Harmony Form A section Short introduction, with a chromatic descending line in the full ensemble, syncopated and shifting meters; a repeated-note transition. Main march tune in a regular duple meter, with on-beat and offbeat accents: 0:00 0:11 e 0:27 f Fleeting reference to London Bridge in trumpets and oboe. in woodwinds and saxophones, followed by repeated-note transition. Slower passage 0:33 0:45 Arkansas Traveler tune heard in trumpets and cornets, slightly offset rhythmically: M f bells up 0:55 Semper fidelis march by Sousa (trio), as cornet solo: ff bell up Battle Cry of Freedom heard simultaneously (followed by four-note hint of Yankee Doodle): 2 f 1:05 B section Lyrical oboe solo, followed by Marching Through Georgia in flute and piccolos: 1:28 Clear statement of London Bridge: f 1:44 My Old Kentucky Home, in slow triplets: f 356 PART 6 TWENTIETH-CENTURY MODERNISM ? ten. 1:01 3:09 3:44 Ritornello theme featuring a solo "wah-wah” mute trumpet, answered by the piano's tag motive: 0:47 1, ad 2 mf tranquillo Ritornello theme in full orchestra. 1:09 Piano solo builds on themes/motives introduced to this point, free and cadenza-like. 1:52 Ritornello theme in piano alternates with low woodwinds. 2:16 Piano solo builds again on themes/motives, with free tempo shifts. Ritornello theme in full orchestra. New: the broad train theme, led by trumpets in octaves and featuring flutter-tonguing (player's tongue is fluttered while blowing into the instrument): flutter lll ? a 4:29 Stride theme returns in full orchestra. 4:55 Tempo slows, solo clarinet is answered by a wah-wah trumpet. 5:18 New: the shuffle theme in full orchestra, played marcato: 3 6:17 7:58 8:10 8:35 10:50 P f marcato Piano solo builds on the stride theme, horns join with a countermelody. Ritornello theme in piano is followed by the tag motive. Ritornello theme heard quietly in oboes and bassoons, piano and strings support it with clear downbeats. Extended piano solo focusing on the shuffle theme. New: expansive love theme in strings and winds, with a chromatic countertheme first in brass, then piano: Andante moderato con espressione ro #p HP 12:33 14:21 op te e poput pH 15:15 15:46 te up Extended piano solo elaborates on the love theme, with virtuoso passagework. Brass joins piano in varying the love theme, building to ... Stride theme in full orchestra. Ritornello theme in full orchestra, piano answers with the tag motive. any differences >> Another Hearing The symphonic performance you just heard is by far the most performed setting. Now listen to the original 1924 jazz-band version (with Benjamin Grosvenor, piano soloist), and note you hear in the texture, instrumentation, and overall interpretation. Which version do you prefer, and why? symphony orchestra 51). As Gri arrano In order to make the Rhapsody sic, Grofé subsequently more medley Pan Alley hits. y like a piano emble, recurring stable re fanciful and unpredictable vir- owever, it also evokes the kind of dancehall that Gershwin would have associated with jazz performances of his Tin LISTENING GUIDE 51 Gershwin: Rhapsody in Blue ) 16:12 Date: Premiered 1924; reorchestrated by Ferde Grofé 1926, 1942 cenre: Concerto-like, a one-movement “rhapsody" What to Listen For Performed by: Philippe Entremont, piano, Philadelphia Orchestra, Eugene Ormandy, conductor Melody Form Rhythm/ meter Bluesy stepwise tunes alternate with more jagged and forceful disjunct ideas. Duple meter; extensive syncopation and rubato, especially in the solo piano cadenzas. Recurring themes and motives, some similarities to Baroque ritornello form. Expression Draws on ragtime, blues, and jazz conventions to create a lively dialogue between piano and orchestra. Performing Piano and jazz band, complemented with forces a full orchestra. Harmony Consonant and tonal overall, incorporat- ing the blues scale. Texture Homophony alternates with nonimitative polyphony; solo piano alternates with orchestra. 0:00 The opening clarinet solo, characterized by a unique glissando into the high range, leads into the ritornello theme: glissando 17 be mf p ? 0:35 Stride theme: chromatic, repeated notes heard first in the brass: 0:07 Ritornello theme: bluesy, syncopated melody; clarinet answered by low brass. poco ritardando 1. ??? ?? ???? ??? ???? ! continued on next page 350 PART 6 TWENTIETH-CENTURY MODERNISM LISTENING GUIDE 50 ) 2:07 Still: Suite for Violin and Piano, III Date: 1943 Performed by: Lynn Chang, violin; Vivian Taylor, piano Genre: Suite for violin and piano Movements: I. Majestically and vigorously (based on Richmond's Barthé’s African Dancer) II. Slowly and expressively (based on Sargent Johnson's Mother and Child) III. Rhythmically and humorously (based on Augusta Savage's Gamin) III: Rhythmically and humorously What to Listen For Melody Texture Mostly homophonic. Bluesy, short, syncopated ideas, with flat- ted third and seventh scale tones; ideas exchanged between violin and piano. Form Sectional form, with four- and eight- measure ideas; the opening returns frequently. Rhythm/ meter Quick 2/4 meter; rhythmic and highly syncopated, with chords played on the offbeats. Timbre Violin trills, glissandos, and double stops. Harmony Expression Modal, with blues chords; stride bass; Ostinatos. Playful and humorous; evokes image of cocky street kid depicted by sculpture. 0:00 0:05 Four-measure introduction in piano, with ostinato bass and offbeat chords. Violin enters with a syncopated line, a four-measure idea in fragments, with stride piano accompaniment: V fr mf 1:17 0:26 Rising line to a new syncopated violin idea, accompanied by a syncopated, more active piano part. 0:35 Low-range, repeated-note idea in violin, against a moving piano line. 0:45 Piano takes over low-range melody, with violin playing double stops. 0:56 Opening motive returns, varied, in violin; piano is more syncopated. 1:06 Humorous repeated-note exchange between piano and violin. Repeated-note idea is developed in violin. Opening motive returns in violin, includes glissando and more active piano accompaniment. 1:38 Recapitulation of opening, including the brief piano introduction. Coda, with rising violin line, then triumphant double-stop chords and glissando to the last chord. 1:27 1:59 favored blues as source material for his music, explaining that "they, unlike spiriti als, do not exhibit the influence of Caucasian music." The last movement of the suite (LG 50) zips along with a flashy and ied by L i ALT I ? - 346 FN ENTER SHIFT 0:50 CTRL ot PART 6 TWENTIETH-CENTURY MODERNISM 1 bend Chorus 2 (A-A-B-A) Ray Nance on muted trumpet, accompanied by saxophones and rhythm section; trumpet solo in the second phrase, with bent pitches: bend 1:35 Interlude—four measures, sustained accents as though in triple rather than quadruple meter. 1:41 Chorus 3 (A-A-B-A) A-saxophones play a version of main theme (four measures); followed by unmuted trumpet solo (Nance). 1:52 A-trumpet solo continues, with sustained chords in saxophones. 2:04 B?trumpet solo with countermelodies in saxophones and trombones; closes with a fanfare without rhythm accompaniment; punctuated by a cymbal crash. 2:14 A-original theme played by saxophones in a new key (E-flat); brass interjects, alternating with muted and open notes. 2:26 Coda-two repetitions of A (eight bars each), first mezzo piano, then softer, with a final closing saxophone riff. no endle Another Hearing Now compare our recording of this well-known tune with the cover featuring the famous jazz singer Ella Fitzgerald and two renowned trumpeters. What similarities do you hear between the two versions? What techniques are used to extend the cover performance? Describe how Fitzgerald's scat- singing makes her voice sound like an instrument. Which version do you prefer, and why? "What a write mu inspiration throbbing, vi KeyPoints . heritage. H American composers of the sought to define a unique tradit modernism. • The Harlem Renaissance was a cut in the 1920s and 30s that hi American contributio ormance by one of the renowned singers of the twen- tieth century (like Ella Fitzgerald or Louis Armstrong) or a more recent jazz singer. How does the singer's delivery of syncopation and blue notes and other elabora- tions compare with the one taken by Holiday in Billie's Blues? How do the instrumen- talists interact with the singer? How do any extended instrumental solos compare with the ones on our recording? If you find a video recording, what is the venue for the performance (concert hall, dance club?), and how is the performer interacting compare with those in other repertories we've been exploring? with the audience (and what is the audience response)? How does this performance LISTE ING GUIDE 49 » 2:54 Stray orn: Take the A Train, | by the Duke Ellington Orchestra Date: Recorded February 15, 1941 Genre: Big-band jazz Performed by: Blanton-Webster Band, Duke Ellington, director What to Listen For Melody Rhythm/ meter response exchanges between instruments. Disjunct, syncopated themes with call-and- Expression Animated movement with special jazz effects (bent notes, shakes, glissandos). Broad quadruple meter, at a moderate Timbre Big-band sound, with reed, brass, and tempo; syncopated rhythms, short riffs percussion sections. (repeated phrases). Performing Jazz big band (trumpets, trombones, saxo- Complex, advanced harmonies; chromatic; forces phones, piano, guitar, bass, drums); solo- modulates to another key. ists: Duke Ellington (piano), Ray Nance (trumpet). 32-bar song form (A-A-B-A) for each of three choruses, with introduction and coda. Harmony Form 0:00 Introduction four measures in the piano (Ellington), with a syncopated, chromatic motive. A-unison saxophones state the disjunct melody, in the key of C, with interjections from muted trumpets and trombones (eight bars), against a steady rhythm accompaniment: Chorus 1 (A-A-B-A) mf 07 A-repeated (eight bars). -contrasting episode in saxophones; syncopated melody with low brass and rhythm section. 0:39 A-saxophones restate main melody with a new rhythmic figure from the brass; rippling piano figures. continued on next page 342 PART 6 TWENTIETH-CENTURY MODERNISMO LISTENING GUIDE 48 Holiday: Billie's Blues ) 3: Data: Recorded 1936 SHARE har blues Cozy Cole, drums Performed by: Billie Holiday, vocal; Bunny Berigan, trumpet; Artie Shaw, clarinet; Joe Bushkin, piano; Dick McDonough, guitar; Pete Peterson, bass; Bree Listen For vishady Form meter Syncopated melodies with pitch inflec- cons, free improvisations. Slow tempo, 4/4 meter; steady rhythmic accompaniment under more complex, flexible solo lines. 12-bar blues (introduction and six cho- Expression Harmony ruses; choruses 2, 3, 6 are vocal). Laid-back feeling, different moods in the solos. Texture Repeated harmonic progressions for each chorus (I-IV-I-V-I). Polyphonic, with countermelodies against a solo voice or instrument. Performing Holiday, vocal, with trumpet, clarinet, forces piano, guitar, string bass, and drums. Text Chorus 2 is a typical blues text; the others are more free. 0:00 0:07 sbilo Hoone 0:32 Introduction (4 bars)—bass and piano. Chorus 1-ensemble (12 bars). Iov Chorus 2-vocal (12 bars): Lord, I love my man [repeated text line] But when he mistreats me ... Opening of first vocal chorus, showing syncopated line, with upward slide at the end: delay ---- _3_ 7 0:56 Lord, I love my man, tell 1:21 the world_ I do, 2:11 Chorus 3-vocal (12 bars): My man wouldn' gimme [new text without repeated lines] Chorus 4–solo clarinet improvisation (12 bars). 1:45 Chorus 5-solo trumpet improvisation (12 bars). Chorus 6vocal (12 bars): Some men like me. [new text without repeated lines] errer robilolon artno to boboda w EL on notes). In inn this performance, we hear Artie Shaw's creative clarinet improvis quality of tone). Holiday's song exemplifies the continuing connecti and reni becomes freer. In the vocal choruses, Holiday demonstrates her masterful rhyth- mic flexibility and talent for jazz embellishments (scoops and dips Berigan's earthy, "gutbucket" trumpet playing (disnl