Cottontail: AABA Form

1st Chorus/Melody
A (8): Opening Chorus is The Melody played by the horns, I can not hear Duke on the
piano if he is in there. Melody is articulately stated.
A (8): Second A is the full band melody once again, repeating the tune in a clear AA
form.
B (8): The bridge is a harmony of the trumpets playing in unison over the rest of the band
before building into the final A
A (4): Instead of playing the melody on the final A there is a building shout chorus which
the band plays together before falling out to begin the Ben Webster solo to create a really
nice contrast.
2nd Chorus
A (8): The horns lay out for Webster to begin his solo over the rhythm section. He starts
very quiet in contrast to the big sound preceding him. He is motivic and using a lower
range on the saxophone to begin a place to build from.
A (8): Webster continues soloing over the rhythm section, now slightly increasing the
length and phrasing of his lines. Going into the bridge the horns usher in the chords to
start to build additional energy.
B (8): As Webster solos through the bridge the horns have synchronized hits they play to
add energy and better emphasize the chord changes of the bridge while he continues.
A (8): The horns cut out briefly while Webster continues his solo which is now increasing
in rhythmic complexity and line length. In this section the horns return to build energy
under Websters driving and still building solo.
3rd Chorus
A (8): In this A section Webster returns to a motivic idea though this one is much more
energetic. It climbs up in range in addition to the volume increasing as the motive builds
up the register. This is where you can most prevalently hear Websters growl in his
articulation
A (8): In the second A Webster pulls the energy back a bit, however in this chorus he
plays his longest tone yet. He holds out the long tone to build more contrast to the shorter
motive in the previous chapter
B (8):In the bridge Webster once again returns to motivic playing. This time the playing
is compounded by the horns returning in hits to spell out each of the four chords in the
bridge. Webster's motive playing this time descends in contrast to the rising motive in the
first

A (8):The horns once again fall out and Webster closes his solo with one more simple
motivic swinging phrase as a bow out at the end of a very well paced solo.
4th Chorus
A (8): This A section contains a shout chorus involving all the horns, it eludes to the
melody and is not overly complex. It serves as a sort of reset of the energy from
Websters clear solo to a simpler

A (8): The second A continues the horn shout chorus. This time higher in range and more
syncopated. The increased syncopation helps to further propel the energy of the tune
forward before quieting to another solo.
B (8): In this bridge the saxophone solos in a smooth gradual shaping over the chords that
Duke lays down on the downbeat of each chord. This is the first time Duke is so clearly
audible and adds a contrasting texture with the piano that has not yet been heard. It also
serves to foreshadow the upcoming piano solo.
A (8): In this final A section Duke finally solos and makes the most of his one
chords. In an almost stride form he heavily syncopates his left and right hands. He
strikes big chords ending on a long bass note that once again adds a texture and
energy with the piano that has not yet been heard.
5th Chorus
A (8): The full band enters back in to play a tightly pre composed shout chorus together.
It is busier than the previous hits and continues throughout the form.
A (8): The shout chorus continues building and the entire band stays involved, this will
lead to the longest period of the full band playing since the initial melody. It is continued
into the bridge for the first time.
B (8): The should chorus continues into the bridge now marking 3 sections of the full
band playing through the form. This gives a continued energy boost that has not existed
previously in the song.
A (8): The shout chorus has a repeated motive and has now carried through an entire
form, the motive helps drive the chorus forward and is heavily syncopated. Every one
continues in unison.
6th Chorus
A (8): The shout chorus continues into the 6th chorus, no longer in unison there are two
distinct rhythms playing against each other to heighten the energy further. They
compound to bring the energy level to a peak.
A (8):The two figures in the shout chorus are repeated here, keeping the energy at its
highest all song. It is a good example of how to further compound energy on top of what

seemed to be the peak in the 5th chorus. Considering this is the last chorus it is surprising
that they have not yet returned to the melody.
B (8): The shout chorus continues in unison into the bridge, bringing the energy back to
what will be the final section which will quickly take out the melody and end the tune,
the song is constantly going through energy changes at a high rate.
A (8): The energy level comes back to a mezzo forte feel as the band plays the melody in
unison one final time. Instead of playing melody in the entire AABA this final A section
gives a brief reminder of the foundation of the tune before going out on an abrupt long
note signaling the tunes finale.