Análisis Económico: Amenaza de Entrada, Costos de Transacción y Competencia Efectiva Transacción y Competencia Efectiva

! “Alice in Wonderland” provides another opportunity to gain insight into how Evans soloed over an opening that contains two ii-V-I progressions, each of which is the relative key of the other, as was the case in both “Autumn Leaves” and “Beautiful Love.” Here, the first ii-V-I progression is in C major, the global key, and the second ii-V-i

progression is in A minor, the relative minor.

! “Alice in Wonderland,” while maintaining the traditional AABA units of 32-bar song form, is actually notated in 64 measures. Thus, each section of the AABA form lasts for 16 measures rather than the more typical 8 measures. In addition, each A section unfolds as a 4 + 4 + 8 sentence. As we will see, Evans often uses this sentential structure as a formal unit in his improvised melodies as well. In addition, “Alice in Wonderland” also provides an opportunity to study Evans’s playing in 3/4.

! The opening melodic gesture of “Alice in Wonderland” outlines a descending arpeggio on the C major triad, from G5 to G4, over the first four measures of the tune. This unfolded triad also occurs at a larger level over the span of the first twelve measures of the tune. The two staves above the melody in Example 5.1 show these two levels of structure.

EXAMPLE 5.1: Structure of the melody of “Alice in Wonderland” 1

After this deeper-level arpeggio, shown in the upper staff in Example 5.1, the retained G moves to an upper neighbor A and back before a linear descent to C. While tonal closure on the C is achieved in the second and third A sections, as shown in Example 5.1, in the first A section the penultimate D jumps to G over CM7, thus resulting in a tonal motion to C major that is not completely tonally closed, mimicking an imperfect authentic cadence rather than articulating a perfect authentic cadence.

! As we will see, Evans used the descending 5-4-3-2-1 motion with upper neighbor 6 frequently in his solos on this tune as well, as we saw also in “Autumn Leaves” and “Beautiful Love.” Thus, it becomes difficult to say at all times whether this

(5)-6-5-4-3-2-1 scaffold exists as a paraphrase of a structure from this specific tune, as noted in the final measures in the top staff of Example 5.1, or whether Evans used it more as a cross-repertoire device, such that its use here is merely coincidental. In other words, we can consider the 5-6-5-4-3-2-1 construct as a structural motive adapted from the tune (thus tune-specific) or as a formula (occurring across the repertoire).

Evans’s “Alice in Wonderland”

! As noted above, “Alice in Wonderland” begins with a ii-V-I progression in C major, and continues with a ii-V-I progression in A minor. In both “Autumn Leaves” and “Beautiful Love,” Evans used a local 5-4-3-2-1 line to articulate such tonal areas. In “Alice in Wonderland,” he used both this 5-4-3-2-1 line as well as another approach. Both approaches are guided by the melody of the tune. However, rather than using an exact paraphrase, Evans took structural tones from the melody and used them as a

starting point for his solo. In this way, one might say that while Evans does not engage in an actual paraphrase, he does engage in a structural paraphrase.

! As noted above, the tune “Alice in Wonderland” opens with a G-to-G registral space, what one might call, relative to C major, a plagal register.2 _{In both of Evans’s} performances of “Alice in Wonderland” from the famous recording session of June 25, 1961, his last performance with the Scott LaFaro/Paul Motian trio, Evans’s improvised lines at the opening of each of the first two A sections of each chorus bear the same registral pillars as this space in the melody of the tune.

! For example, Evans initiates the opening of the solo in each performance with a motion from G4 up to G5, then adds a further motion up to C6, before moving back down to A4. The motion up to C6 is not in the tune here, although it does foreshadow the arpeggio in measures 9-12 of each A section, as shown above in Example 5.1.

EXAMPLE 5.2: Opening of Evans’s Solos on “Alice in Wonderland”

The culminating A4 substitutes for the lower G of this G-to-G-space, serving as the third of the final chord (FM7) rather than the ninth (the would-be G). In addition, the A4 provides an upper neighbor to the would-be G that comes as another structural

paraphrase, where the A functions as the upper neighbor and prefix to the G-F-E-D-C line that closes each 16-bar A section of the tune as played by Evans, as well as to the G-F-E- D-C line that Evans uses over the span of the A sections in his solos. Thus, the opening gesture here initiates a 5-6 motion (G-A) that will serve as the initiation of a longer 5-6-5-4-3-2-1 line in Evans’s solos.

! In these two performances, recorded on the same day, Evans used this framework for the opening of many of the A sections, as can be seen in Example 5.3.

EXAMPLE 5.3: Opening of A Sections in Evans’s Solos on “Alice in Wonderland”

Here, the ascent from G4 to G5 usually occurs through an arpeggio of the tonic triad (C major) with added sixth, G-A-C-E-G. In the first excerpt the arpeggio occurs once, while in the second excerpt it occurs twice, reiterating itself after the first ascent. In the third excerpt, the arpeggio begins on the structural downbeat of the section, rather than as a pickup. In the fourth and fifth excerpts, the opening G-to-G arpeggio has been omitted. In the former example, a lower-third neighbor A approaches the upper C peak tone, while in the latter, a low A4 displaces the opening G. In the sixth excerpt, the G-to-G ascent is an octave higher, without the additional ascent to C, while in the seventh excerpt, the

arpeggio begins on the structural downbeat, as in the third excerpt, but includes a chromatic passing tone as well as a 3:2 hemiola using quarter-note triplets. The quarter- note triplets also create a larger-level hemiola, since they divide the 3/4 meter into two- beat units.

! As can be seen here, Evans often used a G4-to-G5 range over the opening four- measure segment, with an upper extension to C6, which eventually falls back down to A4. While the goal of A at the end of the phrase occurs rather consistently in other phrases as well, as does the opening motion from G to C, the opening gesture from G at times takes another guise. Instead of a motion through the tonic added-sixth chord, Evans also used a 5-#4-4-3-2-1 line, a chromaticization of the 5-1 descent that Evans used in other solos as well as occurs in the melody of “Alice in Wonderland” at the end of the A sections.

EXAMPLE 5.4: Alternate Approach for A Sections of “Alice in Wonderland”

! The first of these two examples, however, omits scale degree 1, arpeggiating downward from the upper D in the second measure of the example to the lower B over a CM9 chord, but without sounding the root. Here, one may wish to infer a C on the