By Evan Spring
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Extra resources for Annual Review of Jazz Studies, Volume 14
Such confrontational numbers as “Uncle Tom’s Cabin Is a Drive-In Now” openly signified on previously negative entertainment practices, but these numbers were meant to be entertaining and not didactic. As the show’s primary composers, Ellington and Strayhorn similarly employed musical arrangements and stage revue conventions that came directly out of interwar Harlem musical theater traditions. ” This latter work was Boola, the aborted project that gave birth to BB&B. Like Jump for Joy, BB&B refashions Ellington’s musical roots in Harlem entertainment traditions and big band jazz for a new type of artistic statement.
As shown in Table 3e, Blue Belles is built from an elastic, three-theme episodic form based on modifications of 32- and 12-bar strains. In a manner akin to Grofé’s late-1920s concert works, the 1943 Blue Belles arrangement involves a variety of sophisticated compositional devices for manipulating episodic boundaries to create larger structural forms. Ellington had initially explored most of these resources in his first “extended” composition, the 1931 Creole Rhapsody. ” In response, Ellington “went out and wrote Creole Rhapsody” overnight.
1 [variation] 4 16 12 E maj E maj A maj 137 Theme A3 35 A /E m 168 Coda 6 E min PART I. Orch and clar. Orch w/ clar obbligato Cadenza-like piano solo Piano solo Clar solo with orch Trpt solo with orch Orch with alto sax obbligato On harmony of mm. 17–24 Orch w/ alto sax obbligato PART II. Piano solo. Reharmonized Thm A(a). 2, harmony Orchestra interlude Trombone duet Trumpet duet. Melodic var. 1. Instrumentation changes each 8 mm. 6-beat snare drum pattern with 2beat brass response based on end of Theme A (a) (of m.
Annual Review of Jazz Studies, Volume 14 by Evan Spring