Jazz musicians and their contributions to the Genre

Scott Joplin

Scott Joplin is often called the “King of Ragtime” in the music world thanks to his 44 ragtime pieces, one
ragtime ballet, and two operas. The elements of the ragtime style are quintessential to Joplin’s music,
akin to chromaticism and the music of Chopin. The hallmark of ragtime music is its syncopated melodies
(usually in the right hand) over a steady accompaniment (usually in the left hand). For example, in Maple
Leaf Rag, which is in 2/4 time, the driving melody that is predominantly in sixteenth notes is heavily
syncopated. Some performers opt to accent the left hand octaves that fall on the ‘and’ of beat 2, further
emphasising the syncopation. The left hand maintains a steady accompaniment in eighth notes. The
piece is laid out in 4 distinct sections – typical of ragtime pieces - each 8 measures in length and with
repeats. The driving force of the melody is unrelenting all the way to the last measure.

Although famous for his upbeat and catchy ragtime pieces, Joplin also wrote more lyrical pieces found in
his operas and in the piano piece, Solace, a Mexican Serenade. Written in 2/4 time, the melody is
simple, calm and syncopated, while the left hand maintains a habanera rhythm, which is a dotted eighth
followed by a sixteenth and then two eighth notes.

Ella Fitzgerald

Ella Fitzgerald left a legacy in the musical world with her incredible voice that was flexible, versatile and
impressively accurate. In the song Summertime from Gershwin’s Porgy and Bess sung with Louis
Armstrong, she portrays the lyrics “summertime, and the livin’ is easy” with her sultry voice, which is
highlighted by her effortless vibrato and legato that evokes a hot, summer day. The rhythm is also free
and gives an improvised feel which is an essential element to the jazz style.

Her versatility and skill can be heard in Billy Strayhorn s ‘Take The A-Train’ where she shows a sweeter
side of her voice compared to in Summertime. The swung rhythms of the jazz style are in full display in
the melody which is peppered with chromaticism. In the song, she also sings the melody in a cross
rhythm with the orchestra, such as in the line “soon you will be on Sugar Hill in Harlem”. After singing
the piece through (the form is AABA), she employs a style of singing called scat, whereby wordless or
nonsense syllables are sung in an improvisatory style.

Bill Evans

Perhaps an antithesis to Oscar Peterson’s trademark fast, rhythmic and virtuosic playing style, Bill Evans’
greatest contribution to the jazz genre was his unmistakable lyrical style with lush harmonies and
voicings that often created a dreamy atmosphere. His classical upbringing is evident in his harmonies
which are expanded to include 9ths, 11ths and 13ths and a variety of flattened and sharpened notes. He
was deliberate about performing, often practicing sections repeatedly, much like a pianist would
practice a classical piece repeatedly and note for note from the page. One of his most famous
compositions is Waltz for Debbie which is in F major. In one rendition by the Bill Evans Trio, the piece
starts as a waltz and after the return of the chorus, quizzically turns into a swing in 4/4 time. The song
features a simple melody of falling 5ths followed by a stepwise movement. The B section modulates to
the mediant, A major, with a mostly stepwise melody. Though simple in composition, the real delight to
the listener is when the soloists expand on the themes via improvisation. The chords played with the left
hand on the piano feature Bill’s signature expanded harmonies, and swinging melody with speckles of
modes in the right hand. He also frequently plays scales in chords with the right hand.

A different mood is evoked in Blue and Green, which was written by Miles Davis and Bill Evans. Again,
the melody is very simple in structure, using mostly dotted half notes, quarter notes and a few eighths
notes in its basic form. The accompanying chords feature major and minor 7ths, sharp 9ths, and sharp
11ths. The melancholic and ‘blue’ mood of the piece is evoked by the jazz harmonies and because the
piece doesn’t seem to ever properly cadence (while piece has two occurrences of an A7 to Dm authentic
cadence, the piece eventually reaches a Dm7 but with a minor dominant Am7 preceding it) which makes
the music sound endlessly unresolved. Dorian, Lydian and Mixolydian modes are also present in the
work. On the version with the Miles Davis Trio, Evans plays an intro and then Davis states the theme.
Evans follows with a melodic solo, followed by a saxophone solo by John Coltrane. Evans performs a
short bridge before Miles restates the theme, while Evans ends the piece with a coda.