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Steven Strunk
257
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r--- 3 --"
'i~~~~~~L~~~~ - - L.~~
'r
, B maj7 GC maj7.
Fmaj7
I~~~~~l a? A maj
, Cmaj7 Emaj7
All
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"Litha" by Chick Corea, from Chick Corea Collection (Hal Leonard Corp., 1994),
114. (Original "A" given here as "maj 7")
1
Dmaj7
I
10
C#mi7
I
12
34
Bmaj7
I
Bbm
15 16 17118 19 20121122
Ebmaj7 Cmaj7
Table 1
for chromatic third relationships involving major seventh chords. For example, the first harmonic movement in "Tones for Joan's Bones" takes
place between major seventh chords on I and bVI (Example la).3 This is
followed in mm. 17-22 by three pairs of major seventh chords related by
an ascending minor third (bracketed in Example lb). These last progressions are nonfunctional, and represent part of a general trend toward
increasing use of nonfunctional progressions in jazz at that time. As
another example, the opening progression of "Litha" consists of chromatic third relationships between pairs of major seventh chords related
by a descending minor third (bracketed in Table 1).4 This interest in juxtaposing major seventh chords that are in a chromatic third relation carries through into Corea's approach to "Night and Day."
The original version of "Night and Day" exhibits chromatic thirdrelated triads, I and bIII, throughout the bridge. These are routinely
played as major seventh chords in jazz performances, and constitute the
only two harmonies in the bridge. There is another potential chromatic
third relationship between the bVI chord of m. 1 and the I of m. 3. However, this bVI enters as part of a chromatic passing-tone bass line originating in the verse. This line leads through bVI to V, which then progresses to I. Although emphasis is given to the bVI, it must clearly be seen
as subordinate to the V-I progression that it essentially decorates. In his
performance of the Al and A1' sections, Chick Corea omits the V chord
in the progression bVI-V-I, so that the juxtaposed major seventh chords
on bVI and I are the only harmonies in those sections, in a manner analogous to the treatment of bIII and I in the bridge.5 As he makes no substantive change in the chromatically descending sections, his performance consists of three sections featuring chromatic third relations
(bVI-I or bIII-I), each followed by a section featuring chromatic descent
to a cadence-a striking revision of the tonal structure.
The bVI and bIII chords are, of course, derived by mixture from the
tonic minor key. The very old, perhaps legendary, association of the major
key with brightness and the minor with darkness can be illustrated typically by Donald Francis Tovey's discussion of the psychological effects
of key relationships:
259
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The characters of key-relationships are solid facts [sic] ... To move from
a major tonic to the relations of its tonic minor, such [as] bIII and bVI, is
to pass into deep and warm shadow. Such modulations form characteristic purple patches .. .6
For those who experience these effects, it may be that the juxtaposition
of these "dark" and "bright" chords reflects the juxtaposition of "night"
and "day" in the title.
In replacing 6VI-V-I with bVI-I, Chick Corea may have followed the
path of European composers in their attempt to replace the dominanttonic axis with a plagal axis, as described by Deborah Stein in her discussion of late-nineteenth-century harmonic developments:
[T]he development of the tonal system reached a plateau wherein the
tonic-dominant axis was so commonplace that it could be replaced by
new, equivalent structures ... alternative cadence patterns and structural
designs had to replace the powerful but now too predictable tonic-dominant relationship ... the substitution of the subdominant for the dominant
is predicated upon the retention of the traditional function of the dominant
of the dominant, that is, to replace the dominant-tonic axis with what
could be called a plagal axis.7
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%.O
^f f' F 5 : ' -^fff
f P.;
cresc.
T T_71
-i -_71tJo
C.-, ^,
. 4 5j
I 6~~~~~b
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(a)
A I
26!L.27
k. , hb2
A276.
25
24
I
29 Lr.
{ I+ $ Fr 7 r rt- I 7 r I ' - 7 1
l( , . f^1s r tIrt I r ~
24
25
26
27
28
29
30
31
Example 4
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\O
-I
---
-I
---
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A 4-22:[0247]
o .
^-rm; i g rrFd rr
fr--- (
y.^'-
-'
Example 6
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differently, not on the down beat, but on the fourth quarter of m. 4, and is
emphasis on the notes of the C-minor triad, suggests the opening key of
"Summer Night." At C enters the first subdominant minor representative
chord, Dbmajor (bVII) with added sixth Bb moving to seventh Cb at D,
culminating in an arpeggiated Db dominant ninth chord. This subdominant minor representative progresses to tonic minor at E, corresponding
with the key of the coda of "Summer Night." At C also is bracketed the
first statement of the pentatonic scale, set class 5-35:[02479], which is
the source of many of the voicings and melodic patterns of the whole performance. At E another flourish, this one slower and in a higher register,
provides an initial ascent to BL2 through a tonic minor triad. The last
notes of this unit, marked with a bracket, form the head motive of "Summer Night, " presented here in EL minor. The final move from F2 to Eb2 at
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the last measures of "Summer Night," subdominant minor (Ab minor) and
tonic minor (Eb minor), sound at A and B, respectively. The bass implies
subdominant-tonic movement from B through C, ending on the root of
bVII, while the piano plays pentatonic formations suggesting iv at C, and
soon introducing Db, suggesting the bVII dominant ninth which is fully
realized at E. The pentatonic scale, set class 5-35:[02479] and its subsets,
particularly 4-22:[0247], also play an important role in the transition.
Some of these sets are marked in Examples 7, 8, and 9. The flourish at D
corresponds with that of Example 6 at C. The section closes on a stable
Db structure (a form of 4-22) corresponding with those that opened and
closed Example 6, and with the closing of the next section at L. In this
next section, beginning at F, the first literal components of "Night and
Day" enter: the repeated BL1 at G, J, and K; and the bVI voicing at H and
its close relative iv, at J. The major tonic is affirmed at I and L.
Up to this point in the transition, the primary focus has been on the
movement from subdominant minor chords to tonic major, based on the
A1 sections of "Night and Day." The next part of the transition introduces
the A2 "chromatic descent" section by an improvised variation on it which
is transcribed in Example 8a. The voice leading reduction in Example 8b
shows this to be a harmonic movement from I to V involving two descending linear progressions from 5 to 2. This improvisation corresponds literally with section A2 of "Night and Day" only in measures 1 and 4-5,
where the bass line and some of the harmonies match those of A2.16
The last part of the transition, which sets the tempo for the choruses
to follow, consists of four variations on the first phrase of "Night and
Day," which is given in Example 9a. Example 9b is a transcription of the
passage. The elements of "Night and Day" that are preserved in the variations are the linear progression 5-4-3 and, to an increasing extent, the
ordered set of seven pitches of which the original phrase consists (see Ex.
9a). In the first variation, mm. 1-4 (Ex. 9b), the S-4-3 line may be seen
on the upper staff, which is the transcription, while on an analytical staff
attached below may be seen the ordered pitch series and some of the pentatonic subsets which are so important to the aural effect of the transition.
The second variation, mm. 5-8, exhibits the S-4-3 line, but only the corresponding order numbers of the pitch series: 1, 4, and 7. The series of
descending fourths, marked as set class 4-23:[0257] in mm. 2-3, is balanced by a series of ascending fourths, marked as set class 5-35:[02479]
in mm. 7-8. The two motions form a model for a pattern of movement
which develops through the choruses. The third variation, mm. 9-12, has
only 5-4 without 3, but contains a transposition (T3) of order numbers 3
through 7 of the pitch series. The fourth variation, mm. 13-16, brings the
transition to an end by slowing the melodic motion and presenting all of
the notes of the "Night and Day" theme except for the repeats of the Bb.
Of the pentatonic subsets, 4-22: [0247] occurs most frequently.
266
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Pno
Bas
l'!
5-35:(02479J
z4-22:[0247j
fi
tiw l l l WSr F 1t -
P00/%-4.Q 6-JL J
3 __3 53 5-35:102479]
., rn I-m F nomr-ir
KJ_
Pno
3 CIA
$6b Y 6cm I LU OL
Pno
Example 7
The coda (Example 10) is approximately 22 measures long, with the
tempo becoming indefinite in m. 19. The melodic line begins with a S-3
motion stated in m. 1, 3, 5, and 7; this is extended to ?-5-3-2-1 (4-22:
[0247]) in mm. 9-10 and 11-12, but the harmony does not come to rest:
the 2-1 line is always supported by a subdominant minor chord, continuing unresolved in the repetitions of 2-1 in mm. 17-21. The final melodic
motion is b6-5 in an inner voice. The accompanying chords alternate
throughout between forms of subdominant minor and tonic major. Given
267
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00
4I
C~
C4
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(a))
(a
a) (D 3O~ c_ Pi_
1.-3
*
iA
s.33:|024791
3-6:1024
2:10
A I - 1* 1 a - . a 1
4-23:[02571
Example 9
269
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(a)
CODA
- ,- I I I I ,
12ll3 2 185z3 14
IS^.J^ ^ > 16 17 18
Vlr 7 2 J | - J1 . J4
19
20
21
4ib;._ tPWJ72JJ-1
22
Example lOa
270
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mm.
1-9
10-21
21
22
Example 10b
their constant presence, it may be that the two most basic thematic
sources for this performance are the set 4-22 and the melodic resolution
of b6 to S. Perhaps to stress its motivic importance, the dyad [BL, Cb] is
emphasized harmonically throughout the coda, particularly beginning in
m. 12 in the piano. The bass begins a recurring trill on [BL, Cb] in m. 9
(not shown). The tonic resolution in m. 22 (before the addition of the
overtone-like F' and A1 in the piano) corresponds in structure with the
forms of 4-22: [0247] that opened the performance and served as cadential sonorities in the introduction and the transition (Examples 6 and 7).
One can also see traversing the coda a descending melodic line which
was stated in mm. 5-6 of the second part of the transition: BL-G-F-(EL)-
Cb-(BL) (see Example 10b). This line also features the two thematic
sources mentioned above. It lies at the surface in the transition, but in the
middleground in the coda. The Bb-G segment is presented every two measures through m. 9. The F repeatedly resolves to EL beginning at m. 10,
but gains independence in mm. 15-22, moving to CL twice in m. 21. The
final Bb2 of the transition, shown as BL2 in Example 9b, does not really
resolve the CL which ends Example 8a, as it is nearly two octaves distant,
has no consonant support, and starts a new part of the transition. The Bb
in the coda at m. 22, however, does complete the resolution of Cb in the
same register and to a stable tonic structure. In a sense, then, the Cb of the
transition has been held in suspense until the final chord of the coda.
In summary, the introduction, transition, and coda are linked by numerous harmonic and motivic factors, mostly derived from "Night and
Day." These links produce a performance that is not just a medley of two
songs, but an artistically organized compositional expression.
Within the choruses, numerous small motives, many of which are subsets of 4-22:[0247] emphasize descending fifths or descending thirds.
These are displayed in Example 11. (In the examples from the choruses,
the chorus numbers are listed at the left of each staff and corresponding
choruses 1 and 2 are mainly descending fifths; those from later choruses
add descending thirds. All of these can easily be seen to be groups of subsets of 4-22.
271
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h
-
C-_
r-
a-
K:N
Q% q
R
t:"
QL-
Mt
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)
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-M6
Ps4LH,
I-
rv
al
NO
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Ch 1-2
nr $-P
48
A I
ChI
16
Ch. 3-4 47
Ch.
Ch.5
Ch.
16
,,
20
20
Ch.
Ch.7
Ch.7
37
16
19
Ch. 7 36
273
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choruses 4-6, the intensity again increases: chorus 4 has 5 motions, chorus 5 has 11, and chorus 6 has 14. The final chorus, although containing
13 motions, spaces them in a much more relaxed and expansive way than
chorus 6, leading to the winding-down of the coda. Therefore the timing
and spacing of these linear motions create a sense of increased tension
through choruses 1-3, with a release of tension at the start of chorus 4,
274
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h.
^i';^r^^^ ^ ^ f
Ch
40
^ I J-J r rf r L
Ch4
Ch
40
b~~ hi D7 Ir "
Example 13
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Ch.6
-l.
1r
?3--I3
CI6
Ch.7
l1
40
t66 1 I $ I
40
Example 13 (cont
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(a)
mCh
14
Cbi 3 29 nf tfl- f
CIL
Cb
13
34
Cb.
45
h,~,~ -Irrr
Example 14
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(b)
Ch.
37
h .- 2J J 476J
Ch.
47
Example 14 (continued)
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Al
A2
Al'
A2
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 3
C3
A'O.
1CI
Cl
El
C3El
LI
Et
BGB'---
Cb
'.
C\Cl'
El
Dl--
C2
C2 BP __ / \ - \ \
Cl -ED Ep-' D O\D/ .... EE' 0 G B F F
C3
Cl
Cl
BOl
G
F
D_
Bl
Gl'
El
Clo
Dl'
GOClAl'
C2
/G0
Cl
Al
C3
5l
C
Cl
...
C2
A-
E0
B/
,F"
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D'
EbD
Er-'
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C3
C2
GD
-Br--E
C31
Cl
'BtsCt
D'
6C2/CP
C
"G
Bl
Bl
DE
/G'
El9F
BlP
BI,
Et
'FE
,,
\\D
Bt
DiB
B'
Bl
Cl
E
El'
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 3
Example 15
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280
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NOTES
I would like to thank David Kelley for preparing the musical examples.
1. ECM Records LP: 827 769-1; CD: 827 769-2.
2. Harry Warren, music; Al Dubin, lyrics, "Summer Night" (M. Witmark & Sons,
1936).
3. Chick Corea, "Tones for Joan's Bones" (Litha Music Co., 1966).
4. Chick Corea, "Litha" (Litha Music Co., 1967).
5. In one case, Corea plays bII major seventh as an appoggiatura to I. This is not quite
about possible errors. I have transcribed the piano part of the whole perfo
but only part of it is included in the examples for this article.
14. The bass line does correspond closely to that illustrated in Example 8 belo
the transition between "Summer Night" and "Night and Day."
15. A version of "Summer Night" in a 1950s fake book gave it in 4/4 time b
in C minor, moving to Elmajor, with no coda.
16. But see note 14 above.
281
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