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Clave and Secondary Ragtime in the rhythmic transformations from Sweet Sue, Just You
to Toby

Matias Recharte

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Introduction
One of the most defining features of jazz music since its beginnings has been its rhythm.
Usually, jazz is portrayed as a binary synthesis of European harmony and African rhythm, just as
its practitioners have been both European and African in their genetical inheritance. The African
origins of these rhythms have been largely discussed in the literature on jazz and its cultural
patterns have been traced from the American South to Africa via the Caribbean. Usually, these
transmissions have been assumed to be ancient inheritances from an archaic past, transmitted
through the generations in a more or less linear fashion. More nuanced explanations for these
transmissions have highlighted the importance of the interactions between the mainland USA,
particularly New Orleans (the cradle of jazz) and the Caribbean. Also, authors such as Samuel
Floyd (1994) have conceived of rhythms as part of a bigger, more complex web of knowledge
transmitted orally within the African American community through rhymes, stories, songs and
dances.
The essential origins of jazz rhythm have been thoroughly analyzed and explored, but the
contingent and chaotic stories of the transformations of these rhythms through the history of jazz
have been less so. Clearly, there is a line of continuity that connects jazz rhythms to its roots in
the African past. But it is important, for the purposes of musical analysis, to understand how
these aural rhythms interacted with the mechanisms of written music and how they were used by
musicians to transform popular tunes.
I believe that there are two main devices that have been used to transform these melodies
through improvisation and through written arrangements: the clave and secondary ragtime. The
purpose of this essay is to explain these two terms and how they have been put to use in the
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rhythmic transformations of the tune Sweet Sue, Just You by Victor Young by both white and
black bands of the 1920s and early 30s. To achieve this, I will make use of transcriptions and
look for the possible interpretations of their rhythmic patterns through the perspective of clave
and secondary ragtime.

Sweet Sue, Just You

Victor Young composed Sweet Sue, Just You (lyrics by Will Harris) and it became his
first hit song in 1928. At the time, Young was living in Chicago and working as a musician in
Ted Fio Ricos band and as a freelance arranger for several bands in the city. The first printed
version features the young actress Sue Coleman in the cover, although it is not clear if it was
indeed written for her (Hishack, 2002). The published song consists of an AABA form with a
melodic gesture of four quarter notes and one half note. This gesture is an important structural
feature of the piece because it relates directly to the clave in its 2/3 orientation. The fact that the
second note of the group of five is the fifth of the upcoming chord, suggests that it is an
anticipation of the harmony, giving the up-beat a structural importance. The three remaining
notes on the first bar coincide first with the downbeat and then with the first two strokes of the
2/3 clave. The fact that this melody so strongly indicates the orientation of the clave is important
for the interpreter or improvisor in a context in which the rhythm section is playing continuous
quarter note beats, without a clear indication of the orientation of the clave.
This rhythmic gesture was not new at the time and was being used extensively by Louis
Armstrong and King Oliver before him in the Chicago South Side of the 1920s. It can be noted
in examples such as King Olivers Chimes Blues and on the stop time section of the famous
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Dipper Mouth Blues (only the last three of the group of five notes). Thomas Brothers (2014)
discusses Olivers and Armstrongs period at Lincoln Gardens and the group of white musicians
who would take lessons by watching them play and making annotations in their cuffs.
Important members of the white popular music scene in Chicago like Hoagy Charmichael and
Eddie Condon were some of these students. It is likely that Young was part of this group and
took musical ideas from Oliver and other New Orleans bands or that at least he heard their
recordings.
The hybrid origin of this piece and its structural inclusion of rhythmic principles from the
musicians of New Orleans made it possible for it to be interpreted in a variety of contexts, both
black and white, although their rhythmic treatments of the material varied considerably. The first
recordings of the tune were made by white dance orchestras such as Charley Straights and Sam
Lanin's early in 1928.

Clave
The term clave refers to a specific pattern found mostly in Cuban music and other
Caribbean musics. Clave can be considered to be part of a larger family of rhythmic patterns that
have been called time-lines in studies of West African music. The clave can be considered to be a
variation of the so called standard pattern which is recognized in African music studies as one of
the most ubiquitous (Agawu, 2006). We can call these patterns an ostinato because they are
repeated constantly without variation during the whole performance. In most West African
contexts, it is performed on an iron bell and in Cuban music in particular, it is often performed
on a set of two wooden sticks called claves. While the standard pattern has usually seven points
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of attack, the clave has only five and while the standard pattern is usually derived from a 12cycle, the clave is heard mostly in 16-cycle contexts (London, 2012).
The function of this rhythmic element is metric in its essence, it groups a set of four
tactuses1 together and creates two contrasting halves. This as a result of the of the 16-cycle nonisochronus (Ni) meter (London, 2012), that is, a cycle which is divided into unequal segments.
The clave subdivides the 16-cycle into five segments each of a different length, resulting in a set
of groupings <33424>. This way of subdividing the 16-cycle does not obey some of the metric
well-formedness rules explained by London but it does result from the possible transformations
of the more common (and well-formed) <22323> pattern of a 12-cycle Ni metre. Another
possibility to subdivide a 16-cycle that does follow the rules of well-formedness is the
secondary-ragtime pattern, which appears in ragtime sheet music as early as the XIX century
(Floyd & Reiser, 1984). This pattern subdivides the 16-cycle in a <33334> pattern, although it
does not always begin on the first beat of the measure.
My contention is that the secondary-ragtime pattern and the clave pattern interact in jazz
music in different ways. This is possible because in African American musical practice, the timeline is not constantly present in the musical surface. It is rather implied by the rhythms of
melodies, accompaniment and body percussion patterns performed by musicians and dancers.
But time-lines are not prescriptive patterns in that they do not necessarily prescribe which
rhythms are correct or incorrect. Just like meter, they are a perceptual guideline or framework,
they color our perception of different rhythmic patterns. Thus, a performer is free to perform any
kind of rhythm but it will be perceived within the framework of the time-line. A pattern that is
!1
In this essay I will refer to tactus as the main pulse as it is stepped by the dancers, which may at times be
different than the notated pulse, usually half. I will call the notated pulse beat in order to differentiate the two.

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consistent with the time-line will be heard as consonant, our expectations will be resolved;
whereas, a pattern that deviates from the time-line will be heard as dissonant and will generate
tension. This is very important for repetition because a two-beat rhythmic pattern like <332>
(sometimes called habanera) if repeated, will be heard as consonant the first time and dissonant
the second one, depending on how it interacts with the clave. Likewise, a simple off-beat
syncopation, when repeated, will sound alternatively consonant and then dissonant depending on
where the time-line starts.

Secondary Ragtime
On their work on the musical sources of ragtime music, Floyd and Reisser (1984) cite the
work of Don Knowlton (1929) as the source for the term secondary ragtime which he in turn
heard from a black guitar player to refer to the superposition of triple and duple organization of
subdivisions. This kind of rhythmic device can be found in early ragtime compositions by
authors such as Scott Joplin, Tom Turpin and Wilbur Sweatman and they consist of having the
left hand play a simple duple rhythm, subdividing the tactus into two equal parts, and the right
playing a sequence of three notes that repeats itself. A very clear example of this device is the
composition by W. Sweatman Down Home Rag. The accompaniment for the right hand is the
typical boom-chick pattern in 2/4 and the melody of the A strain is a sequence of the three notes
c-d-e repeated five times.

Fig. 2 Excerpt of Down Home Rag

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This example yields two possible interpretations of the basic rhythmic phrase, either we
consider the c notes to be the salient notes of the pattern, resulting in a <33334> organization, or
we consider the third e to be the salient notes, resulting in a <233332> organization. Secondary
ragtime, although it may function like the clave as a perceptual framework, can be considered to
be a device of rhythmic invention by which a three note phrase can be repeated over a binary
meter. If we take a generative approach to this device as recommended by Agawu (2006) we can
come up with many variations of the basic secondary ragtime pattern and indeed, we will find
them many times during the analysis of the Sweet Sue arrangements.

Early recordings
One of the first recordings of this tune was made by Charley Straights Orchestra, a white
orchestra of Chicago that played the Rainbow Gardens for many years. By the time he made this
recording he was already an accomplished band leader and in fact, these sessions for the
Brunswick label would have been his last as a leader. There is no information on either the
musicians or the arrangers for this session but we know that Straight was an accomplished
songwriter and pianist so the arrangement of Sweet Sue might well be his own.
The arrangement starts with an eight bar intro that uses the main melodic motive but
displaced, so that the four quarter notes fit within one 4/4 bar. The motive is displaced once in
the same key (repeating it but starting on the 2nd degree of the scale) and then it modulates one
half-step higher. This is followed by a chromatically ascending line on the guitar that already
suggests the rhythmic play of hot jazz. The vocals perform the first chorus and the vocalist
stays pretty close to the notated rhythms, occasionally diverting from them with a relaxed and
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laid-back feel. The background for this section is provided by the guitar and possibly the piano,
playing the chords on steady even quarters (although the 1 & 3 are slightly accented). The second
chorus is played by the trombone following the same rhythmic approach than the vocals: staying
close to the notated melody alternatively accentuating the downbeat or syncopating it. It is
accompanied by fairly straight responses by the (muted) brass section. The tactus is stated gently
by a quiet tuba. It is followed by a long modulatory interlude that takes the arrangement from Gb
for the trombone solo to E. During this interlude the dynamics and the intensity of the
accompaniment increase.
In this new key there is another instrumental chorus, this time alternating the melody
between the brass and reeds section. The rhythm for this chorus though, is slightly more
syncopated and the attacks are shorter and more percussive. The accompaniment becomes more
audible, clearly laying down the classic boom-chick rhythm. The first phrase, in bars 1-3 of the
transcription, is played by the reeds exactly as notated, and the brass respond with a short and
syncopated phrase (in classical call & response fashion). The second phrase is rhythmically
transformed by adding a four eight-note phrase and displaces the three quarter notes of moon up
high (bar 4) to coincide with the 3rd and 4th beats of that measure plus the downbeat of the next
(bar 5). The brass plays the second phrase (just you and sweet sue) and is answered by the
reeds in syncopated fashion with a phrase that starts on the 2nd beat (an important beat in the 2
side of the clave) followed by two displaced quarter notes and an eight note that fall into the
downbeat of the next bar (7). The B section is played closer to the notated version with long
tones and soft attacks. This sweet approach is reinforced by the accompaniment which
switches from playing every tactus to playing every two tactuses, creating a more relaxed and
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lyrical atmosphere for the bridge. The following A section is treated the same as the A. This is
followed by a short modulatory interlude into the key of A for the next chorus.
This time, the A section is played again by the brass and reeds section but the level of
hotness is increased by adding more layers of different timbres and syncopation. The brass
play the initial phrase and a muted horn plays a sustained high note on the 4th beat of measure
36, creating a slightly New Orleans polyphony effect. This is followed by two descending
groups of four eight notes (37), that increase the excitement of the arrangement. The usually
straight and sustained two notes of the second phrase are now replaced by a syncopated phrase
starting on the second beat (39) in the secondary-ragtime fashion but adding an eight note before
the downbeat of the second bar, thus orienting the listener towards it. This phrase is repeated four
times, slightly varied for the last two, in call & response fashion by the different sections. The
vocals return for the last bridge section and the accompaniment recedes to the more relaxed
version, with long notes extending for two tactuses on the tuba and backgrounds from the reeds.
This ends abruptly with an sforzando and a loud cymbal crash that takes us back to the hot
chorus feel for the last A.
This arrangement is a steady progression from sweet to hot rhythms. The song is
stated in the beginning and it is repeated through harmonic modulations by different voices in the
ensemble. First by a vocal-like tender trombone solo, then - after an ensemble passage which
modulates through different keys - by way of a more percussive and syncopated call and
response between the brass and reeds sections. The final modulation gives way to an almost New
Orleans-style polyphony in which different voices intersect and distort the melody through
syncopations and displacements. The vocal returns in the last bridge and brings back the memory
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of the sweet beginnings of the arrangement. But the hotness returns abruptly and the song
ends again with modulations and a fermata.
Other arrangements of the time like the one performed by Sam Lanins Orchestra are very
similar, some parts even identical. Ben Pollack and his Californians follows the same path,
although with a richer orchestration (including strings) and a less hot approach, favouring
instead textural and timbral contrasts. But all these arrangements are meant for dancing, probably
in the fox-trot style introduced by the Castles in the previous decade, or its later developments
like the quickstep. They all feature a steady and mid-ranged tempo, suitable for these styles of
dance. The tactus in all of them is around 110 bpm (beats per minute), although in the notation of
the melody, the beat would be represented by the half note, not the quarter note. This coincides
with the booms in the boom-chick rhythm which in turn coincides with the dancers feet in the
basic step. This tempo equates with an interval of 545 ms which, according to many studies of
rhythmic perception, fits right in the region called indifference interval, that is, an interval that is
considered neither long nor short (London, 2012: 31). All these arrangements feature as well the
same type of groove: they are in a pattern of two tactuses (booms), subdivided precisely in the
middle by two chicks. The phrasing of the instrumentation and the vocal as well fit into a more
or less regular and evenly subdivided duplet feel (1:1). This feeling of evenness is reinforced by
the faster lines of the reeds which subdivide the beat in even quadruplets (3:1).
Another interesting version to compare is that of the Paul Whiteman Orchestra, recorded
in New York in 1928. His arrangement, made by Ferde Grofe, is much richer in instrumentation
and rhythmical variety than previous versions. In fact, it is so filled with expressive timing,
fermatas and tempo changes that it must have been though not as a dance number but as a
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listening number. There is no steady, danceable time feel until after about a minute of
introduction. The first melody chorus is played by the muted trombones, accompanied by very
soft tuba and banjo in the classic two-beat boom-chick groove, again evenly subdivided. This is
followed by a modulatory interlude which in turn goes into a brief 4/4 double time groove
reminiscent of primitivist Indian music of the early XXth century. This is followed by one
sung chorus at about 72 bpm, considerably slower than the previous dance versions with only
piano and celeste playing a sort background figures with chromatically rich passages. This
section ends abruptly and is followed by a short interlude of muted brass playing in a much faster
tempo.
This little interlude is interesting because of what comes next, which is masterful
exposition by Bix Biderbecke of Louis Armstrongs cornet solo style. The arranger had to figure
out a way to progress from the sweet delivery of the melody (by vocalist Austin Young) and
the innocuous tempo, to the very hot and syncopated Beiderbecke solo at around 104 bpm,
much faster than the previous section. The solution was this interlude which, in classic modernist
fashion, suffers a process of metamorphosis before our very ears in a progression from short,
staccato half notes (e-flat)- played in three different octaves- to quarter notes and into a
syncopated phrase, strongly suggesting a 2/3 clave orientation and repeated twice. This
metamorphosis is important because it suggests a modernist positioning of hot rhythm as a
kind of futuristic sound, rooted in primitivist Nature but utterly modern and forward-looking.
This modern sound is faster, syncopated, improvised and unpredictable, it highlights the
inventiveness and creative of the individual . But it is also based on the clave as a device of
rhythmic orientation and perception and makes use of the secondary-ragtime as a rhythmic
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invention tool. We can see a clear

consonant clave figure in bar 21 of the
transcription:

It also makes use of secondary ragtime as a rhythmic invention tool for creating syncopated and
angular rhythms that contrast with the binary meter and the boom-chick regular rhythm of the
accompaniment. A clear example of this can be found in bar 31 of the transcription where the
rhythm of the phrase reveals the interactions between the regular pulse and one possible rotation
of the <33334> pattern, starting on the second half of the first beat:
Not only that, but the groove is slightly
swung, providing a stark contrast with
the previous, straighter sections of the
arrangement. The use of clave and secondary ragtime provide the tools for making such contrasts
even more salient. Not only that, but, as a result of the practice of improvisation, certain
rhythmic ideas may be accidentally performed in an rhythmically ambiguous way like in bar 27
of the transcription. How an improviser negotiates such mishaps and gets back into the groove is
also an audible trace of improvisation that makes up the rhythmic character of jazz music.
Clearly, this is not a dance number, but more of an artistic or modernist reinterpretation
of the popular song and, in my opinion, reflects the position of jazz within the mainstream of the
time and the predominant role of rhythm in creating its modern appeal. Rhythm, in this sense,
is used as a structural element and expressive element in the process of musical metamorphosis
between the sweet and the hot versions. Oddly, the inherent rhythmical possibilities of the
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original melody and its main rhythmic motive (derived from the practice of New Orleans in
Chicago) are not exploited in Whitemans arrangement. Perhaps this is due to the lack of
insiders knowledge of New York musicians with respect to the musicians of Chicago who had
been more exposed to these types of rhythmic practices. The result is that the hot solo in the
end has a novelty effect, a surprise that is completely disengaged from the rest of the
arrangement. In previous arrangements by the white bands of Chicago, these inherent
possibilities where indeed exploited within the arrangement, resulting in a more unified product.

Chick Webb and Bennie Moten

The only recorded evidence of the first arrangement of Sweet Sue as performed by a
black band can be found in the film After Seben. In this film, made in 1929, the Chick Webb
appears briefly at the end during what is stated to be a dance competition. Although the main
character, played by James Barton, is in black-face, the general derisive tones of minstrelsy are
completely overthrown on this scene. The dancers are indeed black couples performing what
many have declared to be the first filmed evidence of the Lindy Hop, a new and extravagant
dance style that emerged from urban black communities and became the driving force behind the
Swing Era . For these brief moments towards the end of the film, black people are not being
misrepresented by a white actor in blackface, they are in formal evening attire and are indeed
performing thoroughly modern and stylized dance steps at the best of their abilities. It is only at
the end that the black-face actor mocks the steps of the black dancers in a exaggerated manner, as
if to re-position the amazing elegance and ability of the dancers into their right place, at the
bottom of the social pyramid, without dignity or appreciation.
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But the ambiguity of the previous moment remains and because of the seriousness of
these brief passage within the derisive fifteen-minute film, one wonders if it is not indeed a
homage to these dancers and their dancing skills. Indeed, it is likely that this film was watched
with admiration by both black and white dancers at the time and that it helped spark the Lindy
Hop-craze across the USA. Indeed today, a simple Google search yields results within many
web-sites dedicated to the study and dissemination of swing dancing.
The band that plays behind these historic images is the Chick Webb Orchestra in its preSavoy Ballroom days. Because of the dance contest format of the film, which each couple
dancing one chorus and the next one being introduced, we cant hear the whole arrangement of
the tune. All we have are solo choruses that would most likely have been in the middle of the
performance. The piano introduces the rhythm by playing the five notes of the melodys motif, as
a que-in for the rest of the band that comes in, slightly faster than the previous arrangements at
116 bpm. The main difference between the two grooves however becomes apparent from the
beginning of the first chorus. The accompaniment made up of the piano and banjo play in the
usual boom-chick pattern most of the time, except for one crucial moment which comes almost
every two bars in which they play a single off-beat in the third beat of the second bar. The
placement of this single variation of the pattern is important for two reasons. First, it is located at
a special place within the two bar pattern structured by the clave, not necessarily coinciding with
it, but by grouping the accompaniment into two-bar phrases and making the second one more
off-beat or syncopated than the first. Second, the location of the off-beat accent within the beat is
important because it is not placed squarely in the middle as it was in previous versions. It is
placed so that it implies an unequal subdivision of the beat, closer to a triplet than a duplet
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subdivision. The reason for this is that the beat is being unevenly subdivided into one long and
one short subdivision (London, 2012). This is a structural more than an expressive element of the
meter because it is consistent in all instruments at all times, every time the beat is subdivided, it
is being done in a 2:1 ratio. During the transcribed solo, the third of the Sweet Sue choruses,
the triplet figure appears only once but the percussive and driving quality it is played with, and
the density (given the fast paced tempo) that it results in, makes it possible to state that this is the
underlying subdivision that provides the groove with its character. The consistency of this feature
is what gives the groove its particular kinetic feeling, a sort of forward momentum that is absent
from previous versions, being Bix Biderbeckes solo section the closest one.
The pieces of the arrangement that we get to hear are solos from the trumpet, the
trombone and another trumpet, backed by the rhythm section and the reeds playing mostly long
notes. The soloists make continuous use of the clave as well as secondary ragtime as a guideline
for their rhythmic inventions. Many phrases rhythmically emphasize important points of rest or
departure in the clave time line, for example, a phrase consisting of four quarter notes is repeated
twice during the solo and both times coinciding with the 2 side of the clave2 in bars 7 and 15.
Variations of this phrase occur more often and always on the 2 side as in bars 3, 9, 13, 19, 23 and
25. Secondary ragtime is used constantly as well, as a tool for rhythmic invention as, for
example, in bars 1 and 2 where it is used in the form of two eight notes followed by a rest,
starting on the fourth beat and repeated three times. This same type of grouping can be heard,
with some variation, in bars 4-5, 10-11 and also underlying a three bar phrase in 20-23. The
interactions between the use of secondary ragtime as an invention tool and clave as a framework

2 side refers to the bar which consists of two strokes and 3 side to the bar which consists of three

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for such rhythmic inventions give the rhythms of Sweet Sue, in this particular version, their
character.
As it is clear from the scenes of the movie After Seben this is dance music, specifically
played for the benefit of the dancers and their movements. The Bennie Moten Orchestras
version of the tune, renamed Toby, has the same character but it also features considerable
differences. For starters, the tactus is very fast, at around 155 bpm which would mean a notated
beat of 310 bpm per quarter note. The melody has been completely transformed from the original
both in terms of pitches and rhythms. It sounds closer to an orchestrated version of the hot
solos from the Chick Webb Orchestras version than an arrangement of Sweet Sue. Still, the
use of clave as an organizing principle and secondary ragtime as a tool for rhythmic invention
are present in the rhythms of the melody and the solos. Importantly, the orientation of the clave
remains the same, beginning with the 2 side. And the secondary ragtime patterns are used
profusely and could even be considered to be a supplementary time line pattern, organizing the
16-cycle into the sequence <33334>. This pattern is consistent with the first line played by the
horns, bars 1-5 of the transcription. Moreover, other instances of the secondary ragtime can be
found throughout the performance. One very clear example is provided by the piano solo played
on the two first AA of the fifth chorus. After four bars of a considerably square stride piano
solo, the pattern of eight consecutive dotted eight notes is played as octaves in the right hand (f),
starting on beat two, and against the steady stride pattern in the left.

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Another important instance of the secondary ragtime can be found one of the most
important riffs in the composition, played by the brass in the seventh chorus, this is a variant of
the secondary ragtime that we have seen before that has two attacks instead of one in each
sequence of three eight notes. It is interesting to note that this pattern begins in the same
placement within the bar as in the piano solos secondary ragtime we have seen before. But, it is
played in the 3 side of the clave, rather than the 2 side, creating a different effect. Nonetheless,
because of its two attack configuration, this secondary ragtime pattern also coincides with
important points of the clave.

Another principle that is common to music with clave, is the alternating of rhythmic
consonance and dissonance. One example of this can be found on bars 8-9 of the transcription
where the melody is played on the off-beat of every pulse in bar 8 and on the three downbeats
that begin in bar 9. All of these instances taken together start to form a picture of the importance
of these two rhythmic devices in the configuration of rhythmic inventions and working
frameworks within the jazz tradition.

Conclusions
From the moment of its composition, Sweet Sue, Just You by Victor Young was already
infused with some of the rhythmic elements of African American music. But their presence was
not clearly referenced or represented in the printed sheet music. The cover features a picture of a
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white, fashionable young woman from the 1920s and the title makes no reference to such
beginnings. Thus, the subsequent recorded versions of the tune chose to emphasize more or less
these rhythmic possibilities in their arrangements.
The early versions by mostly white bands of the 1920s like Charley Straights from
Chicago and Paul Whitemans from New York, show different levels of familiarity with African
American rhythms. While Straights version slowly builds up the level of hotness by adding
clave infused rhythms and secondary ragtime inventions with each chorus, Whitemans version is
alternatively sweet and modernisitic or abstract in its approach to rhythm. Its only relationship
to African American rhythms can be found in the last section, a hot melodic variation by
Biderbecke, showcasing all the characteristic elements, including clave and secondary ragtime.
Versions by black bands of the time are less easy to find, but the short sections from the
movie After Seben demonstrate the profusion of clave and secondary ragtime as working
principles in the rhythmic improvisations of the soloists. The original melody is nowhere to be
heard and the harmonies are kept simple and unambiguous, allowing the soloist to make use of a
limited amount of pitches and explore rhythmic variations. The rhythm section provide a clave
infused pattern of accompaniment and the soloist makes use of secondary ragtime as a source for
inventive rhythmic designs.
In the case of Toby by the Moten Orchestra, we find a totally obscured Sweet Sue,
much faster and without a trace of the original melody. In its place we find fast, intricate and
syncopated melodies and riffs that make continuous use of secondary ragtime and clave. These
two are clearly some of the tools in the composers and arrangers toolbox that allowed to

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thoroughly transform a sweet dance tune, originally meant for gentle fox-trotting, into a highly
energizing and hot vehicle for the acrobatics and fast paced steps of the new Lindy Hop.

Bibliography
1. Agawu, Kofi. 1996. Music Analysis versus Musical Hermeneutics. The American Journal
of Semiotics 13 (1/4): 924.
2. -. 2006. Structural Analysis or Cultural Analysis? Competing Perspectives on the
Standard Pattern of West African Rhythm. Journal of the American Musicological
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Jazz Studies GS5180 3.0

Matias Recharte 212793766

19. Young, Victor.1928 Sweet Sue, Just You. New York: Shapiro, Bernstein.

Discography and Filmography

20. Bennie Moten Orchestra, Toby. recorded December 13th, 1932. Victor (Vic 23384)
21. S. Jay Kaufman. 1929. After Seben. Video Clip. Accessed March 28th, 2015, YouTube,
https://www.youtube.com/watch?v=v_h43PGSfqws
22. Victor Young, Sweet Sue, Just You, Charley Straights Orchestra. Chicago, recorded in
1928. Brunswick (Br 3900). Video Clip. Accessed March 25th, 2015, YouTube,
https://www.youtube.com/watch?v=hwH9BoBbpxI
23. Victor Young, Sweet Sue, Just You, Paul Whiteman Orchestra. New York, recorded
September 18th, 1928. Columbia (Col 50103-D). Video Clip, Accessed March 25th,
2015, YouTube, https://www.youtube.com/watch?v=X2RpJBv0lFs
24. Victor Young, Sweet Sue, Just You, Sam Lanin and his Famous Players. New York,
recorded April 18th, 1928. OKeh records (OKeh 4103). Video Clip. Accessed March
25th, 2015, YouTube, https://www.youtube.com/watch?v=JBT1dS-_b4g

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