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    WEE'" Tony Williams: Is of To

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    coo11
    The document analyzes and describes the harmonic structure and melodic elements of the jazz composition 'Pee Wee' by Tony Williams. It breaks down the piece into sections defined by chord progressions and modal shifts in the bassline. It also examines the top melody and how it relates to and contrasts with the bassline in various passages.

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    WEE'" Tony Williams: Is of To

    Uploaded by

    coo11
    37 views1 page
    The document analyzes and describes the harmonic structure and melodic elements of the jazz composition 'Pee Wee' by Tony Williams. It breaks down the piece into sections defined by chord progressions and modal shifts in the bassline. It also examines the top melody and how it relates to and contrasts with the bassline in various passages.

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    The document analyzes and describes the harmonic structure and melodic elements of the jazz composition 'Pee Wee' by Tony Williams. It breaks down the piece into sections defined by chord progressions and modal shifts in the bassline. It also examines the top melody and how it relates to and contrasts with the bassline in various passages.

    Copyright:

    © All Rights Reserved
    Download as PDF, TXT or read online from Scribd
    Download as pdf or txt
    37 views1 page

    WEE'" Tony Williams: Is of To

    Uploaded by

    coo11
    The document analyzes and describes the harmonic structure and melodic elements of the jazz composition 'Pee Wee' by Tony Williams. It breaks down the piece into sections defined by chord progressions and modal shifts in the bassline. It also examines the top melody and how it relates to and contrasts with the bassline in various passages.

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    © All Rights Reserved
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    of 1

    nAanoNlc CONTOUR

    3. PEE WEE'" TONY WILLIAMS


    This gentle waltz has symmetric harmonic rhythm and has a few areas o f quasi-Functional
    chord movement, which is typical of a composition that is rransitional From tonal to modal
    chromatic.

    Example 11-5:

    1 2 3
    1
    4 5 6 7 a 9
    I

    Pedal

    Lydian lonian Mixorydian Mixolydian b9 lonian Aeolian Lydian 12 Mixolydian Lydian #5


    h
    I1 u U

    Repose

    A. BASS MELODY

    CHORDS:
    1-3 repose area (pedal point)
    4-7 chromatic, Fairly slow transition area, increase oF tension
    8-10 repose area
    11-12 transirion with cycle of M h s
    13-14 repose area
    15-17 transition with signpost "boor occurs at all times, including improvisarion (see
    "Ru~h"and "Teru")
    18-19 last repose area
    19 resolves to first chord by modal shift wirh pedal point

    3.TOP MELODY

    CHORDS:
    1-2 common tone connection
    3-4 common tone
    5-7 chromatic melody upward
    8-10 inversion of 5-7
    11-13 sequence of 8-10
    13-14 common tone
    15-17 strong leap downward, cantrary motion to bass melody, a "hook" motif, a~ found in
    many compositions
    1) 7 7 S~ m~ m r Miles Davis 17-19 form of inversion of 15-17,a remm co starting place
    CoIurnbia CS 9532

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