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Extra resources for Annual Review of Jazz Studies, Volume 14
Clar solo w/ orch based on mm. 21–24 Tutti based on Thm A (a) Saxes in unison Reeds and piano Rall. to cadence. Tutti paraphrase on Theme C. d (Theme A var) Theme C4 Interlude 4 Coda (= Thm C) 7 mod 16 4 5 5 Cmaj mod A maj A maj 203 211 226 242 246 A maj Ellington and Symphonic Jazz 31 While Creole Rhapsody was certainly a “seed” for Ellington’s later extended works, the four-part Reminiscing in Tempo represents Ellington’s first transformation of symphonic jazz episodic form. Again, however, this framework has been overlooked in the work’s critical reception.
Muted trpt solo. Theme followed by an extension in unison reeds. Straight repeat of mm. ” Reeds/trpts → improvised alto sax solo. Trombones → bari sax solo → reeds. MOTIVIC. Piano solo (rhythm section out) Improv piano solo w/ brass organ-style accomp & rhythm. NON-MOTIVIC. Piano solo (rhythm section out) End PART II PART III. Piano solo with references to Theme B. Tutti on melody w/ rhythm. 3 mm. of Theme B and segues into Thm A. Variation of Theme A in tutti texture D major. Clar solo. MOTIVIC.
F major. Trbn solo cont. D major. = 108. Call and response between trbn solo and trpts/reeds. Religioso. = 76. ” 55 65 75 8 115 121 Interlude = Development Theme A4 Interlude, pt. a 40 6 12 133 143 Interlude, pt. b Trbn Solo, pt. A 10 10 153 [brass] 4 157 [trpts soli] 8 165 180 Tbn solo cont. Trbn solo, pt. B = Theme C (32-bar song) 15 8 (A1) 8 (A2) 8 (B) 7 (A3) 211 Coda + Transition 6 Note: Performance markings are based on the Black, Brown and Beige score reconstruction by Maurice Peress (1999).