That Jazz - Monkey Max Music and File Download

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Part I: All That Jazz: A Tour of the Basics
Examining the 32-bar format
Besides 12 bars, another familiar structure in jazz is the 32-bar format of
many standards — songs written in the ’30s and ’40s by popular composers
that were adopted by jazz musicians who used their catchy melodies and
smart chord changes as a basis for improvisation. (See “Just Wingin’ It:
Methods of Improv” later in this chapter for details about melodies, chords,
and improvisation.) Songs that became popular among jazz musicians
include “I Got Rhythm,” “I Thought About You,” “Over the Rainbow,” and
“Stella By Starlight.”
Most 32-bar standards are divided into four 8-bar sections, in a form known
as AABA: three similar A sections, and a B section in the middle in which the
melody and chords change. Within an 8-bar section, every bar has four beats.
Dramatically, the sections tell a story or run through a range of emotions.
As originally written, some 32-bar songs have introductions or lead-ups, and
many also have a coda — a short extension on the end that wraps up the
song. Most jazz players, however, compress standards into 32-bar form.
Here’s how the form works:
� The musical theme, or primary melody, is stated in the first A section.
� The second A is a variation that includes the second verse of lyrics.
� The B section provides contrast by introducing a new segment of
melody (and, in songs with lyrics, a line that somehow reflects on the
mood or theme of the piece). In a short story or novel, this would be
the point where the action peaks, where the story reaches its dramatic
climax, where the hero comes face to face with his or her ultimate
challenge.
� After overcoming that challenge, or in music, after that musical high
point is attained, the final A section provides resolution, or, if you want,
a (usually) happy ending. Its structure is similar to those of the first two
A sections.
In summary, then, the 32-bar structure looks like this:
A statement
A repetition
B contrast
A return