[JRJ 2.

1 (2008) 55-82] (print) ISSN 1753-8637

doi:10.1558/jazz.v2i1.55 (online) ISSN 1753-8645

From blues to Latin just

in time:
A rhythmic analysis of ‘Unit Seven’
Eduardo Lopes
Senior Lecturer at the Department of Music at the University of Evora, Portugal
el@uevora.pt

Abstract
Just in Time (Lopes 2003) is an empirically devised rhythmic analytic model which
assesses the operation and qualities of rhythm and metre, and their interaction with other
parameters. This paper will investigate the operation of the durational parameters in the
jazz standard ‘Unit Seven’ by Sam Jones, as performed by the Wes Montgomery Quartet
(Verve 823-448-2, 1984). This piece was chosen for two basic reasons. First, its position as
mainstream jazz allows an assessment of the rhythmic operation in a highly kinetic genre.
Second, it includes a section in binary metre which provides different metric contexts in
the same piece, therefore broadening the spectrum of the analysis. The consistent use
of particular rhythmic constructions supports the arguments concerning the importance
of the durational parameters in the kinetic quality and structural definition of a piece,
while the assessment of the ongoing dialogue between pitch and durational parameters
demonstrates the importance of the durational structure of music.

Keywords: jazz analysis; music theory; rhythm and metre

Introduction
Many musicians (whether composers, performers, or writers) see rhythm as
the most fundamental and indispensable element of music. Paradoxically,
traditional music theory relegates the durational parameters of music
(rhythm and metre) to a second plan, generally seeking to understand
them in relation to pitch structure. In order for us to better comprehend the
previous we need to look at what is today so-called traditional music theory.
Some of the most influential music theorists of the twentieth century (such as
Schenker and Schoenberg), derived form, structural sense, and ultimately
meaning from music; for these theorists, the unity of a musical masterpiece
reflected a superior state of existence. This Absolute idealistic perfection
separated music from the real world, and created a conscious boundary
between the two (Cook 1998). But most important is that the criticism
produced by those writings has been interpreted as closely linked to canon

© Equinox Publishing Ltd 2008, Unit 6, The Village, 101 Amies Street, London SW11 2JW.