Music Investigation: Unit 3
SAC 1 – Investigation
version 4
In this area of study, students select and describe a Focus Area and research
issues relevant to performance practice in that Focus Area. They use aural
comprehension, music theory and general musicianship knowledge and skills
as they listen critically to recordings of performances and examine relevant
texts including musical scores. Students research and analyse, aurally and
visually, a sample of music works that includes works selected for
performance, as well as other works that are representative of the Focus Area,
to gain a broad understanding of stylistic and structural characteristics. They
develop knowledge of performance practices used by leading practitioners
associated with the Focus Area. They also develop knowledge of relevant
influences on the works that are representative of the Focus Area. Students use
appropriate music terminology and language to describe and discuss
characteristics of selected works. VCAA Study Design
SAC 1 (Outcome 1 – Investigation) is divided into four key sections
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examination of two musical scores (particular attention paid to the identification of
performance techniques)
examination of harmonic and tonal characteristics and conventions of the focus area
listening/visual reviews of recorded performances (particular attention paid to the
execution of identified performance techniques)
contextual/historical issues relevant to the focus area
Prior to the formal SAC assessment, to be undertaken in class, the ‘Investigation Workbook’
must be submitted at regular intervals to be determined during the semester.
The formal assessment will be conducted in three parts


submission of the semester workbook (S/N assessment)
a written test to be completed in class (45 minute session) (50% SAC assessment)
oral presentation (20 minutes) of key issues from each ‘key section’ of the workbook
(50% SAC assessment)
The Investigation SAC assessment is entered into the VASS system as a score out of 20.
Students should keep in mind the following excerpt from the VCAA Assessment Handbook
with regard to the standard of work required achieved to achieve a score 17-20 for the task;
An informed and perceptive description of the Focus Area. Highly detailed
analysis of selected works demonstrates sophisticated understanding of
pertinent characteristics of the music enhanced by a wide range of highly
relevant music examples and insightful annotations. Very well chosen contextual
information insightfully highlights specific, relevant influences and their impact
on the Focus Area, selected works and associated performance conventions and
practices. Provides an articulate, considered and critical discussion of the impact
of these influences and the application of relevant performance practices and
conventions in performance of works. A sophisticated and articulate use of
highly relevant music terminology and language.
Key Terms, Definitions and Scope of Task
Music Investigation Unit 3/4 requires students to narrow/focus their field of musical
development. In selecting a focused area of musical interest to study students are
expected to demonstrate an advanced depth of understanding (critically, from a
performance perspective). Crucially, this is in contrast to the breadth of study desired
in Music Performance Unit 3/4.
Performance conventions are the manner in which performance techniques are
executed by the majority of expert performers within a chosen music style.
Expert performers create interpretation through their use and manipulation of
performance techniques. Every aspect of sound production, on any instrument, can be
thought of as a performance technique (accent/articulation, type of tone, use of pedal,
phrasing, dynamic level, vibrato etc…)
In Music Investigation you are seeking to demonstrate a deep level of understanding
for the interpretation of repertoire (using performance conventions/performance
techniques) contained within your Focus Area.
It is essential to always keep in mind that research undertaken in Outcome 1 should be
relevant to performance practices contained within the Focus Area. While
facts/issues/debate outside this brief may be of personal interest they essentially fall
outside the bounds of this study.
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Development of the Focus Area statement
Discuss/describe/develop your areas of performance interest. What do you enjoy performing?
(Over the course of the semester these should develop/change/grow). Discuss/analyse
developments in your ‘areas of interest’ (use entry dates [journal style] to show your
development over an extended period of time).
My key area of interest is jazz improvisation in the style of 1950s/60s ‘Hard Bop’. For many
years I have enjoyed improvising over tunes that are typically based around a blues
progression, with altered chord/harmony additions. Essentially Hard Bop is a modern jazz
style, with the exclusion of too many chords and the fast tempo that typifies Bebop. While Hard
Bop repertoire is not usually harmonically complex (compared to other forms of modern jazz)
the challenge as a performer is to include/create harmonic complexity with the execution of
creative ideas, incorporating scale/chord extensions and blues references. Developing your
‘own style’ or ‘sound’ is also central to becoming a legitimate jazz improviser.
Name the style/s contained in your Focus Area. If your Focus Area contains elements from a
number of styles discuss the weighting of each towards the overall/end product.
While frequently an issue of debate, the Hard Bop style can be described as (depending on the
particular repertoire examined) a form of modern jazz (post Bebop) with blues influences (in
the chord progression and improvisation but not usually the melody). The style is slower/more
relaxed than Bebop (its predecessor). Hard Bop also typically incorporates a groovy/hip
element and can be performed with more ‘aggression’, from a funky jazz perspective. The
head can also incorporate ‘quasi’ latin/bossa rhythms from the drums (Art Blakey, Dexter
Gordon..).
http://www.jazzhothouse.com/2009/02/musical-definition-of-hard-bop.html describes as follows-
Hard bop was a mid-1950s extension of bebop that emphasized roots of jazz (namely,
the blues) while incorporating elements of R&B and gospel….
For the style/s listed above identify stylistic characteristics (performance techniques) that are
contained/contribute to the focus area. The list should be as exhaustive as possible. This is a
core task (most important) within this ‘Development of the Focus Area statement’ section.
From an improvisation perspective the stylistic characteristics or performance techniques
included in the focus area include –
reference to the blues scale in improvisations,
use of altered notes/chord tones in improvisations
strong tone and often aggressive phrasing approach
The style arguably takes the laid back perspective of ‘cool jazz’, some phrasing from blues and
R & B with elements of the more complex scale structures of Bebop.
From a harmonic perspective Hard Bop is (can be) relatively straight forward, commonly an
altered blues type form, or, based around 32 bar progressions (AABA). Hard Bop typically
contains less harmonic modulation than Bebop.
From an accompaniment perspective –
BASS - walking bass lines during solos, riff based bass lines during the head, bass solos not as
common as other modern jazz styles
PIANO - ‘comped’ piano lines during solos with extensive use of chord additions/alterations,
repetitive accompaniment riffs (notated) during the head
DRUMS – frequently a quasi latin/bossa feel during the head, heavy swing during solos, often a
slightly aggressive/funky feel
It should be noted that Hard Bop (certainly from the perspective of Lee Morgan) was
considered a more commercial form of jazz than ‘cool’ or Bebop. Incorporated in the
performance of the style is a heavy swing and heavy articulation. Typically performed at
medium tempos.
The Focus Statement should have a maximum of 300 words. The Focus Statement must
develop and become refined over time. It should ‘tighten-up’ as issues become clearer,
repertoire selection becomes finalised and most importantly the core performance techniques
become more prominent following rehearsal, practise and instrumental lessons.
The focus of interest for my recital program will be works/tunes composed and recorded by
Lee Morgan. Morgan’s career spanned the early 1950s through to his premature death in
1972. Within the recital program I intend to demonstrate a comprehensive selection of
Morgan’s compositions that display both his technical prowess and identifiable performance
style. Specifically, the recital program will demonstrate a depth of understanding in terms of
inclusion of blues references and the use of altered notes within improvisation that incorporate
the strong performance character that typified the hard bop trumpet improvisations of Lee
Morgan. Over his 20 year career Morgan’s style evolved from obvious early Clifford
Brown/Dizzy Gillespie influences to the development of his own strong performance character.
It is intended the recital program will be presented in chronological order showing the
evolution of this legendary performer.
Focus Area taxonomy
Identify and discuss the focus area in the form of a taxonomy. At every opportunity relate your
discussion to the core performance techniques (PT) you are going to study throughout the
year.
Melody
Harmony
Duration
 Melodies are performed with heavy swing (PT) (from a modern jazz
perspective) phrasing (assisted by the medium tempo).
 Generally very playable tunes, in that the tempo is usually medium, scored
in the middle register, not composed with a technical focus but rather
emphasis on hip, bluesy phrasing (PT) (in the head)
 As in all modern jazz the melody (head) is a vehicle to the improvised
section of the work/recording/performance
 Often contains repetition, with ‘hook’ phrases (PT)
While on the ‘printed page’ the chord progressions of Hard Bop tunes seem
typically uncomplicated the interpretation (PT) during performance is
considerably more complex. The keyboardist would, in every instance,
perform countless substitutions in the ‘comping’ style. This aspect of the
harmony draws heavily from the frequency of chord changes used in Bebop
and the harmonic complexity of Cool Jazz.
While the overwhelming majority of Hard Bop tunes are scored in 4/4 time
Lee Morgan did use 3/4 in several compositions, particularly in the middle of
his career. Compound time signatures, ‘odd time’ or changing time
signatures were uncommon in Hard Bop.
Structure
 In keeping with the jazz tradition, the most prominent aspect to structure
is - intro (short vamp section), head x 2, solos, head x 1, tag-ending.
 Within a composition the structure/form usually presents itself one of two
ways- either as an AABA (show tune) derivative or an altered blues
progression (sometimes with a bridge). The blues in its traditional 12 bar
form did not feature in Hard Bop
Tone
 The tone used by instrumentalists is very similar to that used in other
Texture
forms of modern jazz. It could be argued that in Hard Bop the aggressive
nature of the style encouraged horn players to use a brighter, harsher tone
(PT) (Freddie Hubbard, Dexter Gordon, Hank Mobley). Drummers were also
considered to have used are more accented attack, affecting their tone (Art
Blakey).
 The ‘frontline’ typically perform the head in unison creating a blended
tone, usually trumpet and tenor sax (sometimes trombone also used). The
development of an identifiable unique/personal tone is a goal of every jazz
musician, not in a prescribed manner but rather with the intent of
developing a tonal character that could be aurally recognised by the
audience/other musicians
The typical texture of Hard Bop is predictable and without significant
elements of contrast. From a ‘dynamic range’ perspective the sound/tone
colours are clearly layered, particularly within the rhythm section – Bass at
the bottom, piano in the middle (not venturing the range of the bass) and the
brightness of the drums at the top (the bass drum and ‘toms’ are rarely used
in this setting).
In terms of arrangement/orchestration contributing to texture, the
possibilities are varied depending on repertoire. Commonly, during the head
texture can be lighter with performers finding ‘space’ within the layered
texture. During the improvised section texture can become heavier (more
full) as instruments perform with increased tonal intensity, rhythmic
complexity and harmonic density.
Instrumentation Drums, acoustic bass, piano, trumpet, tenor sax, trombone was the most
common line-up used in Hard Bop. On occasion an alto sax was also
included.
Use of
technology
Being a ‘live’ music the use of technology was minimal in all forms of
modern jazz during the 1950s/60s. While the use of individual microphones
was typical during performance, ‘overdubs’ and tape edits were not used
during recording sessions.
Idiomatic
performance
techniques (PT)
Improvisation was a common feature for all performers of Hard Bop.
Drums - swing patters, quasi latin feels, incorporating more funky
interpretations of swing (elements of R&B but not rock), spontaneously
feeding/responding to rhythmic ideas presented from the ensemble during
performance
Piano – comping, where the keyboardist takes the given chord progression
(often fairly uncomplicated) and spontaneously incorporates his/her own
substitutions, voicings and performs them in an improvised rhythmic fashion
in accompaniment to the frontline (or the keyboardist’s right hand if the
keyboardist is ‘taking a solo’). The pianist is also typically required to
perform fills/phrases between lyric lines in the head (performed by
trumpet/tenor sax typically)
Bass – typically performs a riff or noted lines during the head section of the
arrangement. During the improvised section the bassist is required to ‘walk’
and work with the keyboardist re substitutions, pedalling etc…
Horns – Horn players must be able to fluently perform the head and
improvise over the solo section chord progression (typically the same
progression as that used during the head).
Trumpet – Idiomatic techniques include – execute semiquaver runs (PT),
gliss (PT), swing phrasing (PT), fluently use a wide range (PT), develop unique
sound/phrasing, blues sensibility (PT), etc…
other….
Examination of musical scores
Examine/analyse musical scores from the intended recital program.
Be sure to address- Work 1 – ‘Candy’ (recorded 1957)
http://www.youtube.com/watch?v=lLUQpKqlk4U&feature=relateed
Candy
Structure/form
Candy is in AABA song form (each section 8 bars long). Morgan’s
improvisation is over 3 repetitions of the form.
Performance
conventions relevant
to the score. This is
the core portion of
this section – identify
the performance
techniques (PT) you
are studying in the
works you analyse.
At times there is a playful like approach to Morgan’s phrasing which
can be seen on the score (and heard in the recording). He begins the
solo with a bouncy rhythmic displacement type figure (PT) which last
six bars. A similar almost humorous figure can be heard in bars 8-11
in the third chorus.
Not evident on the score is Morgan’s use of heavy accent (PT)
throughout the improvisation. The accent is not used in any
particularly consistent manner but is rather used almost randomly to
punctuate drive and intensity in the solo line, despite the light bouncy
feel of the accompaniment.
Relevant music
terminology/music
language
Morgan uses numerous notes that are ‘outside’ the given harmony
(altered notes) (PT). In playing ‘outside’ Morgan creates tension
against the given harmonic accompaniment. He does not appear to be
using any concept of substitutions but rather, in keeping with many
performers of his ilk (Coltrane, Hubbard etc…), forces his great
melodic lines to function against any given chord progression (PT).
Morgan uses heavy swing phrasing (modern jazz) (PT) throughout the
solo. This is where quavers are performed in an approximation of
triplet subdivision, with a crotchet and quaver grouping. This is not
formally shown on the score although I have annotated it above the
metronome marking.
Stylistic features. This
relates to the
execution of
performance
techniques to create
expert interpretation.
Stylistic feature of the improvisation include – numerous scale runs
(PT), arpeggiated phrasing going up and down the given chord (PT),
use of triplets (PT), moves into the upper register of the trumpet (PT),
a feeling of momentum is created through sitting up on the beat of
the quaver phrasing (PT).
Despite its technical difficulty (mostly caused by the tempo) Morgan
makes the phrasing sound very relaxed and effortless to perform (PT).
Harmonic and tonal
features
Despite his frequent use of pitches outside the given harmony Morgan
clearly guides the listener through the chord progression with
phrasing that unmistakably outlines the changing harmony,
particularly into the B section (PT).
Where does the selected work sit within the Focus Area?
Candy was recorded during the early period of Morgan’s career. Morgan was still very
influenced by his friend Clifford Brown, who he regularly ‘practiced with’ (Morgan suggested
they were not lessons but more of a mentoring situation). During this period Morgan was also
heavily influenced by Dizzy Gillespie who he had worked with (in Gillespie’s Big Band) since he
was 18. The influence of Bebop is very evident in Candy as there is much emphasis on scale
runs, long phrases, the use of altered scale tones and the typical fast tempo.
Identify and discuss instances where the nominated scores support the accepted conventions
of the style/genre (be sure to address each element of music).
Discuss instances where the nominated scores challenge, or present differences to,
conventions presumed to be inherent in the nominated style (for example - structural
conventions, harmonic and tonal conventions etc… [address all elements of music])
Identify key issues for practicing/rehearsing the nominated scores (short and long term). Core
question – your response must relate to specific performance techniques being used to create
expert interpretation (in keeping with the performance conventions used by elite performers).
DEPTH, DEPTH, DEPTH.
Short Term – In order to perform the transcription of Candy much work must be undertaken to
learn, almost from memory, the numerous choruses of quaver based phrases. This required
building music reading skills and stamina. Once the notes are learnt work can begin rehearsing
along with the original recording using ‘The Amazing SlowDowner’ (software). This will help
greatly with capturing Morgan’s phrasing style (PT). Once Candy can be performed at close to
the original tempo rehearsals can begin with a live band.
Long Term – The ‘end goal’ of performing a tune like Candy is being able to improvise over the
tune, creating your own interpretation of the work. This begins with improvising over basic
blues forms (at slower tempos in easy keys), graduating to more complex chord progressions,
and increasing the tempo (in keeping with Bebop).
Work 2 - The Sidewinder (recorded 1963)
The Sidewinder can be heard at
http://www.youtube.com/watch?v=mMpfCRXgoSw
Structure/form
The structure is a double length, altered blues from in Eb (concert).
The structure follows – I7/F7 (8 bars), IV7/Bb7 (4 bars), I7/F7 (4 bars),
ii/Gm (4 bars), I7/F7 (4 bars). Aside from the double length form the
most prominent feature of the form is the ii substitute in place of a V7
(2 bars) IV (2 bars). The form follows the same chord progression as
that used for the head (melody).
Performance
conventions relevant
to the score. This is
the core portion of
this section – identify
the performance
techniques you are
studying in the works
you analyse.
In keeping with more commercial forms of modern jazz the solo is
over only three repeats of the tunes form.
In keeping with much of Morgan’s work in his latter years the
phrasing is short with regular pauses between strong melodic
phrases.
Something that makes this type of improvisation style accessible to a
wider audience is the strong reference to the root and the constant
strong resolution/reference to chord changes (PT). The chordal
movement is very obvious and strong (PT).
Relevant music
terminology/music
language
Hip phrasing, hot phrases, blues licks,
Stylistic features. This
relates to the
execution of
performance
techniques to create
expert interpretation.
The stylistic features of Morgan’s ‘commercial period’ are certainly
evident in the Sidewinder solo – emphasis on chord/scale tones, note
bends (PT), staccato attacks (PT) (creating rhythmic interplay with
rhythm section), grace notes (PT), the use of altered scale tones
(particular when moving to the following chord change) (PT), alternate
fingering rhythmic figures (PT), semiquaver triplet figures (often
performed as a ‘lip curl’ gliss type phrase) (PT), strong blues influence
(PT), making the chord changes very obvious to the listener (PT),
repetition of phrases (PT)
Harmonic and tonal
features
A prominent feature of the melodic lines contained in the solo is the
extensive use of blues based phrases (PT), not so much the #4, but
certainly the b3 being alternated with the maj3. The b7 is also used,
the maj7 not used (PT).
Where does the selected work sit within the Focus Area?
The Sidewinder was recorded during a period that could be described as the third phase of
Morgan’s career. At this time he was focusing on writing and performing tunes that had
incorporated a commercial appeal. The tunes were ‘catchy’, hip and typically over an altered
blues form. They were performed with a harder edge, incorporating blues influences. While
they were certainly not dance tunes they endeavoured to combine the key elements of Hard
Bop with broad appeal.
Identify and discuss instances where the nominated scores support the accepted conventions
of the style/genre (be sure to address each element of music).
The Sidewinder
Discuss instances where the nominated scores challenge, or present differences to,
conventions presumed to be inherent in the nominated style (for example - structural
conventions, harmonic and tonal conventions etc… [address all elements of music])
The Sidewinder
Identify key issues for practicing/rehearsing the nominated scores (short and long term). Core
question – your response must relate to specific performance techniques being used to create
expert interpretation (in keeping with the performance conventions used by elite performers).
DEPTH, DEPTH, DEPTH.
Work 2 – The Sidewinder
Short Term – The short term goals for preparing The Sidewinder are very similar to that of
Candy.
Long term – Again the long term goal of performing The Sidewinder is to improvise over the
tunes chord progression (not perform a transcription). Perhaps a key difference with The
Sidewinder is to attempt to create your own unique improvising character, incorporating blues,
bop and cool elements.
Listening/visual reviews of recorded performances
Identify/compile a playlist/discography of significant performances that are central to the
focus area. This should include both CD recordings and performances available on
YouTube/Internet.
Lee Morgan Indeed (from his first recording session 1956) http://www.youtube.com/watch?v=FSvbNDVd2mc
Moanin’ with Art Blakey 1958
http://www.youtube.com/watch?v=2je_TvW549E
Interview about the Sidewinder recording session
http://www.youtube.com/watch?v=JMtvXd6TKUw&feature=fvst
Yes I can, No you can’t
http://www.youtube.com/watch?v=m8kIj_ZfpTc
Include http links to at least four video performances – In analysing each performance you
must identify all core performance techniques (presumably these will be largely the same as
those included in your Focus Area statement).
Contextual/historical issues relevant to the Focus Area
Compile a list of early influences relevant to the Focus Area. Identify and discuss the
relevance/importance of key figures in the early development of the nominated Focus Area.
These ‘figures’ may be outside the boundary of the actual recital program. If performance
techniques that were developing/evolving are present in these early influences be sure to
identify them as a priority.
Dizzy Gillespie was certainly a key influence on Morgan in the early part of his career. Living in
Philadelphia Morgan was also influenced by the touring musicians that travelled through his
town. Dizzy was Morgan’s first break into the ‘big league’. In Dizzy’s Big Band Morgan became
well know for his feature on one of Dizzy’s own feature tunes – A Night In Tunisia
(http://www.youtube.com/watch?v=RvzrzZE2WwU )
Art Blakey was also a key figure in Morgan’s career performing on the band firstly during 195x195x and then again several years later (dates here).
Identify and discuss two significant works that are precursors to the area of investigation. The
identification of emerging performance techniques should be viewed as a priority.
Miles Davis – Walkin
Compile, and provide a brief description, of related styles. These styles may be musically
related, be from a similar period, have been in opposition to each other etc….
Similarity/differences in the execution of core performance techniques should be viewed as a
priority here.
Bebop
Cool Jazz
Blues
R&B
Hard Bop
Identify and discuss leading performers/composers relevant to the Focus Area. Include a
detailed discussion of leading practitioners (and their interpretation of performance
conventions) of your chosen instrument.
Horace Silver
Art Blakey
Benny Golson
Hank Mobley
Identify issues that might influence the interpretation of works selected for performance in the
recital program
A key issue for the recital program will be the amount of transcribed material that gets
performed against the amount of actual improvised material. While improvising over the recital
program presents a challenge in itself, to do so with homage to Lee Morgan takes the degree
of difficulty to a much a higher level.
As Lee Morgan was such a forceful player endurance will also be a key issue in ‘pumping it out’
for 25 minutes Lee Morgan style.
Being able to demonstrate Morgan’s harmonic understanding/character in improvisation will
also be very difficult. Using numerous #5’s and other substitute/alternate note selections to
capture his sound will be difficult without directly quoting his licks in a transcription style
performance.
Build a discussion of relevant historical/cultural context issues relevant to the Focus Area.
How/did/do these issues impact the performance of works contained in the recital program.
From early in his career Morgan demonstrated a desire to be popular or appeal to a broader
audience than the standard Bebop audience. Later in his career several of his compositions
were targeted at broadening his appeal to a wider audience. This saw blues influences
prominent in many of his most ‘famous’ recordings. During the highpoints of his career
Morgan could not be described as an introspective soloist/composer (as Miles certainly quickly
became).
While not necessarily relevant to the performance of Morgan’s works it should be noted that all
of the live performance links included in this document show Morgan performing to totally
white audiences (they don’t appear to be a typical jazz audience!).
Discuss how the performance Focus Area has evolved/changed over time. Is/was the Focus
Area affected by commercial trends, other issues. Where does the selected Focus Area sit
within the broader musical spectrum or historical positioning of the style. Be sure to clearly
identify the evolution or emergence of performance techniques over the extended period of
time.
As identified, in the middle phase of his career Morgan was endeavouring to compose and
record works (within each album) that were going to have some level of commercial success.
Certainly during the heavy drug addiction portion of his career, which was probably at least
half of it (in the middle), he relied on the revenue from recordings and royalties to sustain
himself. Morgan had long periods (months) were he did not perform live.
In terms of Hard Bops broader place in the spectrum of jazz history the style does arguably not
sit as prominently as it should. The style is certainly alive today in contemporary jazz in that its
influence is prominent in the host of jazz performers that endeavour to attract the broader
appeal of the CD purchasing public. Certainly the work of …..Mike Brecker,
Identify and discuss two significant later works that were influenced by the focus area.