Search Results for phrase

Example 12. Verses 4–6. The I 6 chord in m. 20 is eliminated in the second phrase, perhaps to accommodate the new melody; cr = cross-related F♯/F; the zigzag dotted line shows the splice by which the third musical phrase is different from the second, where D replaces the expected F. More

Example 6. Ruth Brown, “It's All for You” (1951). ABB´ poetic form and 7,6,5 phrase rhythm, with interior rhymes in the A line (underlined) and refrain fragments, labeled r, in the B lines. (a) Third verse (1:14). (b) Second verse (0:37). More

Figure 2. (a) The slow phrase in thirds from “Ornette,” at sounding pitch. (b) The slow phrase in thirds (0:06–0:10) from “Congeniality” by Ornette Coleman, off of the 1959 album The Shape of Jazz to Come , also at sounding pitch. The players in both transcriptions are indicated by initials: RM More

Figure 5. Phrase structure and hypermetric analysis of Grupo Niche's “Cali pachanguero.” More

Figure 5. Phrase structure and hypermetric analysis of Grupo Niche's “Cali pachanguero.” More

Figure 4. Parallel dance cadences mark the ends of the Vordersatz phrases, mm. 126, 137. More

Example 14. Ruth Brown, “Mend Your Ways” (1953, by Leroy Kirkland and Lincoln Chase), fourth verse (1:26). AB/CD/R(E/F) poetic form and 8,8,7 phrase rhythm. The second phrase replicates the “Caldonia”-like phrase structure and rhyme placement of the first. More

Example 5. Howlin' Wolf, “(Well) That's All Right” (1952), third verse (1:23). (a) ABR—or AA/BB/R—poetic form and 7,7,5 phrase rhythm. (b) Hypothetical version with 5,5,5 phrase rhythm. More

Example 15. Ray Charles, “Lonely Avenue” (1956, by Doc Pomus). AB/R(CD/EFr) poetic form and 8,8,6 phrase rhythm. The “Caldonia”-like opening is transposed to the second phrase and the vocal responses fuse with the caesuras. More

Example 16. Little Richard, “Tutti Frutti” (1955, Richard Penniman and Dorothy LaBostrie). AB/AB/CD poetic form and 7,7,8 phrase rhythm. The last phrase is “Caldonia”-like, with tonic harmony, a break, and rhymes in positions 4 and 8. More

Example 4. Fats Domino, “She's My Baby” (1950, by Antoine Domino and Dave Bartholomew). (a) AAB poetic form and 7,7,7 phrase rhythm with textual extensions shown with dotted underlines. (b) Hypothetical version with 5,5,5 phrase rhythm and no textual extensions. More