Compositionally, Seattle’s solo section is far simpler than those previously examined. This provides an opportunity to examine rhythmic devices used in a more open setting, contrasting the rhythmically complex improvisational frameworks discussed so far.
2.4.1 IMPROVISATIONAL FRAMEWORK
The framework for the bass solo on Seattle is very simple, comprising a Cmi to F7 vamp over two bars of 3/4 time, as shown in Figure 27. 106
FIGURE 27: SEATTLE BASS SOLO VAMP
2.4.2 AVISHAI COHEN’S BASS SOLO (1.33 – 2.21)
The bass solo is an important section in the development of this piece. After a solo piano introduction and sensitive melodic delivery by the ensemble Cohen’s solo begins loosely and open, building through a stronger rhythmic section towards its conclusion. The piece does not return to the melody following the solo – instead there is a very brief coda based on the same vamp before the piece ends. As the short first track on the album, this provides a fitting introduction to the aesthetic of the record and leads well into the more complex Chutzpan.
Many of the rhythms in the full transcription of this piece have been slightly approximated, particularly through the early sections of the solo. Cohen stretches these approximated rhythms using a very legato tone, affording his lines a loose, rubato-like feeling. This approach invokes a floating, melodic quality, creates small pockets of micro-tension in the rhythm, and contrasts the later part of the solo, which is strongly locked into the pulse. Cohen’s rubato-like phrasing may have been influenced by classical interpretations, with the push-and-pull of the line giving each note in these passages its own life and character. The whole first section from bars 1-21 is treated in this way, but the most notable moments are at bars 9-14 and 18-20.
RHYTHMIC ‘WIPES’
This juncture provides an ideal point at which to introduce the idea of a rhythmic ‘wipe’. Best be described as a sudden flourish that serves to delineate several ideas, or to change the texture of an improvisation, this device is a common feature of Cohen’s improvisations. These wipes are most likely spontaneous and intuitive – more of an aside or gesture than a truly practiced concept – but nonetheless they are deployed in a relatively consistent manner. In this solo, there is a rapid, scalic wipe that occurs at bars 23-25 (Figure 28). All material prior to this has the floating, rubato-like phrasing described above, whereas later lines contrast this feeling by predominantly locking into the rhythmic grid. The wipe provides an effective and dramatic delineation of these two approaches, and helps shape the solo towards its conclusion.
FIGURE 28: APPLICATION OF RHYTHMIC WIPE IN SEATTLE
EXPLOITATION OF SHORT METER
Much of the later part of Cohen’s solo is based on the ‘short 3’ meter. 107 Similarly to the exploitation of a long meter, as in Seven Seas, this diversifies phrasing options and helps break-up the rhythms used in odd-meters. In Seattle, Cohen uses the short 3 to invoke the sound of a 6/8 meter, as seen in Figure 29, which contrasts the piece’s general 3/4 feeling. Quavers grouped in threes and the recurring crotchet-quaver rhythm particularly imply the 6/8 meter.
FIGURE 29: EXCERPT OF THE USE OF THE ‘SHORT 3’ METER IN SEATTLE
107 Using the ‘short meter’ refers to playing phrases, often with a double-time feeling, that resolve more
according to half-bar groups in order to achieve more rhythmic diversity. For example, using the ‘short 3’ implies playing two 3/8 bars per bar of 3/4.
Cohen further develops the build towards the end of his solo by using a strong rhythm consisting of pairs of 8th-notes. Whilst not a cross-rhythm in the 3/4 meter, this idea suddenly and decisively contrasts the earlier invoked and maintained 6/8 (short) meter, and can possibly be considered to be a cross-rhythm to that meter. This line has been presented in Figure 30, rewritten in 6/8 to emphasize the apparent effect. 108 Combined with the ascending shape of the line, this five- bar passage creates tension and drive through to the strong resolution on the low C in bar 49.
FIGURE 30: TWO QUAVER CROSS-RHYTHM IN SEATTLE
Earlier, Cohen also used a loose interpretation of the 4-over-3 polyrhythm to create tension against the 3/4 meter. Examples of this dotted 8th-note rhythm occur at bars 2-3, 10 and 12-13.
2.4.3 SUMMARY OF DEVICES IN SEATTLE
Just as the form of Seven Seas allowed for the exploitation of the long 7, the simple 3/4 form of Seattle is conducive to the exploitation of the short 3 meter, leading to a feeling of 6/8. Long passages utilize this approach, contrasting the 3/4 melody section of the piece and giving the improvisation strong drive.
This solo also provides further evidence of the use of rubato-like phrasing. Cohen’s application here is much more widespread than Maestro’s on Seven Seas, particularly early on, providing striking contrast to the rhythmically precise approach that follows.
This solo also facilitates the introduction to rhythmic wipes. This device is a vastly contrasting gesture used to start, finish or otherwise delineate ideas within a solo, and is usually a throwaway- type idea.