AN IMPROVISATIONAL STUDY FOCUSED ON RHYTHMIC ANALYSIS, EXAMINING MOTIF DEVELOPMENT, RHYTHMIC DISPLACEMENT, AND THE IMPLEMENTATION OF METRIC MODULATION IN WYNTON MARSALIS’S SOLO OF “APRIL IN PARIS” FROM THE ALBUM “MARSALIS STANDARD TIME VOLUME ONE”
2
Issued Date
2025-07-15
Resource Type
eISSN
2774132X
Scopus ID
2-s2.0-105021968574
Journal Title
Mahidol Music Journal
Volume
8
Issue
2
Start Page
303
End Page
322
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SCOPUS
Bibliographic Citation
Mahidol Music Journal Vol.8 No.2 (2025) , 303-322
Suggested Citation
Tanpensuk S. AN IMPROVISATIONAL STUDY FOCUSED ON RHYTHMIC ANALYSIS, EXAMINING MOTIF DEVELOPMENT, RHYTHMIC DISPLACEMENT, AND THE IMPLEMENTATION OF METRIC MODULATION IN WYNTON MARSALIS’S SOLO OF “APRIL IN PARIS” FROM THE ALBUM “MARSALIS STANDARD TIME VOLUME ONE”. Mahidol Music Journal Vol.8 No.2 (2025) , 303-322. 322. Retrieved from: https://repository.li.mahidol.ac.th/handle/123456789/113192
Title
AN IMPROVISATIONAL STUDY FOCUSED ON RHYTHMIC ANALYSIS, EXAMINING MOTIF DEVELOPMENT, RHYTHMIC DISPLACEMENT, AND THE IMPLEMENTATION OF METRIC MODULATION IN WYNTON MARSALIS’S SOLO OF “APRIL IN PARIS” FROM THE ALBUM “MARSALIS STANDARD TIME VOLUME ONE”
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Abstract
Background and Objectives: This research article analyzes the improvisation in the piece “April in Paris” by Wynton Marsalis, recognized as one of our time’s most influential jazz musicians and composers. His work “April in Paris” reflects his comprehension and skills in improvisation and complex arrangement through his integration of advanced techniques and deep understanding of jazz tradition. The melody features rhythmic patterns that use metric modulation alongside the main tempo of the piece. This creates a contemporary feel while blending traditional jazz elements. The song is interpreted from a fresh perspective, yet it retains the essence of the original swing style, which is characterized by an ABCD formal structure. However, the rhythmic choices for the melody player and the accompaniment have changed. In sections A, B and D of the melody, the accompaniment plays at a speed of 210 BPM and alternates back to a normal speed of 140 BPM in section C through metric modulation. Additionally, the melody changes the rhythm in section B, starting the motif on the first downbeat rather than the first upbeat. This technique is known as rhythmic displacement, which affects the overall rhythm of the work. The benefits of this study include gaining knowledge and understanding of various motif development techniques that can be applied in practice, understanding and being able to create one’s rhythmic displacement for improvisation, understanding and being able to construct metric modulation patterns, and distinguishing the tempo between the improviser and the accompanying performer during instances of rhythmic layering. Furthermore, these skills can help the performer maintain a consistent tempo when applying metric modulation techniques. The development of knowledge in improvisation also helps enhance understanding of different methods and techniques, leading to future training pathways. Additionally, it can inspire and guide new musicians in developing their styles and techniques and deepen their understanding of music theory for further research into various techniques applicable to improvisation and composition. Methods: The ideas and sources important for analyzing the improvisation in this piece are based on the principles of motif development outlined by Hal Crook. He described various methods of motif development, including extension, fragmentation, inversion, augmentation, diminution, and repetition, among others. Furthermore, this method enables the integration of multiple processes. Ted Pease’s work explains the concept of creating metric modulation as changing the tempo by substituting the lengths of notes about the original tempo. For instance, in the work analyzed here, the original tempo is set at 140 BPM, and the change in tempo occurs by using the length of the triplet quarter note, leading to a new tempo of 210 BPM. Playing the new tempo alongside the old tempo creates a situation in which the listener perceives and recognizes what is known as polyrhythm. The author studies and references these concepts regarding rhythmic displacement and the metric modulation process. The primary objective of this research article is to analyze the motif development and the creation of metric modulation in improvisation on the song “April in Paris” by Wynton Marsalis. The aim is to explore the techniques of motif development to study the processes used to modify and develop the motif from the song’s melody, such as extending note values, reducing the number of notes, and expanding the motif to understand the methods musicians use during improvisation. This article examines improvisational techniques that influence rhythm in different ways. It includes an analysis of symmetrical and asymmetrical note groupings, rhythmic displacement, and the concept of metric modulation as it applies to changing tempos. These techniques have significant implications for developing engaging forms of improvisation and for understanding ideas related to rhythmic layering. It also involves studying the relationship between the tempos of the improviser and the accompanist to comprehend the construction of complex rhythmic structures. The research begins with the author transcribing Marsalis’s performance in this work and categorizing the analysis points from the transcription. These points are classified, including motif development, rhythmic displacement, the application of metric modulation, and the polyrhythm, and then analyzed according to these categories. This research analyzes various forms of motif development, considering that the motif used have shifted rhythms, resulting in rhythmic displacement. Besides the impact of rhythmic displacement on the rhythm patterns, the article also studies the creation of metric modulation from the melody’s arrangement and Marsalis’s improvisation. However, in this article, there is no discussion of harmony; it focuses solely on the study of improvisational performance for the purpose of creating and developing phrases, with an emphasis on the rhythmic aspects. Results: The results reveal that motif development, rhythmic displacement, and the use of metric modulation to create overlapping tempos indicate several forms of motif development available for use. Employing motif development techniques in improvisation creates a continuous narrative, allowing listeners to grasp the intended communication. Moreover, rhythmic displacement can be clearly expressed when used in conjunction with motif development, as the first note of the motif determines the starting rhythm of the phrase. As the motif is developed, the number of notes and the rhythms can change, resulting in a shifting melody and the occurrence of rhythmic displacement. The metric modulation process becomes evident when improvisation is performed using the arrangement of melodic cells combined with the development of motifs sequentially into phrases, using a consistent note ratio. In Marsalis’s improvisation, this is the use of dotted eighth notes in a triplet. These dotted eighth notes in a triplet, at a tempo of 140 BPM, are equivalent to straight dotted eighth notes at a tempo where the quarter note equals 210 BPM. When improvisation in the style of metric modulation occurs, if the accompanying performers maintain the original tempo, it results in the superimposition of two tempos. This characteristic can create a complexity that makes the performance more interesting. Conclusions: The study of the improvisational process is a crucial aspect of jazz musicianship. It contributes to developing instrumental techniques and fosters a more profound understanding that can be practically applied. The improvisational approach employed by Wynton Marsalis in this work exemplifies the use of diverse rhythmic concepts, making it a valuable model for further study and application. This process can be categorized into two main areas: integrating these rhythmic ideas into the arrangement and their use in improvisation. In arranging new compositions, students may incorporate the concept of metric modulation into specific sections or throughout the entire piece to introduce novel rhythmic variations. Likewise, in the context of improvisation, this technique can be explored as a means of creative expression and rhythmic innovation.