Cannonball’Adderley’sSolo’on’“Toy”’throughoutthesoloinvarious!forms.!!Thefiguresare!likely!derived!fromthe!...
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Cannonball Adderley’s Solo on “Toy” Analysis by Seth Carper In 1961, Julian “Cannonball” Adderley recorded the album, Know What I Mean? (Riverside RLP433). Special guest and fellow Miles Davis alumni Bill Evans played piano. In a mix of worlds, a part of the rhythm section from the Modern Jazz Quartet, Percy Heath and Connie Kay, provided bass and drums respectively. The album is somewhat overlooked on many jazz lists, but serves as a perfect example of both Cannonball’s innate sense of melody, and the versatility of the rhythm section that matches Adderley’s sense of time and swing. One of the finest examples of these qualities on the record is the Clifford Jordan composition, “Toy.” Taking a cue from the title, Cannonball creates a playful, at times childlike, melody, while propelling the motion of the solo forward. He does this primarily through the use of motivic unity, rhythmic intensity driven by his impellent articulation, and the predominance of the interval of a third. Motives In “Toy,” as in many of his solos, Cannonball’s motivic development is derived from his opening statement. The initial motive contains two rhythmic figures. The first figure emphasizes the off beats with consecutive syncopations, and the second figure moves the emphasis to the downbeats. These figures recur
Transcript of Cannonball’Adderley’sSolo’on’“Toy”’throughoutthesoloinvarious!forms.!!Thefiguresare!likely!derived!fromthe!...
Cannonball Adderley’s Solo on “Toy”
Analysis by Seth Carper
In 1961, Julian “Cannonball” Adderley recorded the album, Know What I
Mean? (Riverside RLP-‐433). Special guest and fellow Miles Davis alumni Bill Evans
played piano. In a mix of worlds, a part of the rhythm section from the Modern Jazz
Quartet, Percy Heath and Connie Kay, provided bass and drums respectively. The
album is somewhat overlooked on many jazz lists, but serves as a perfect example of
both Cannonball’s innate sense of melody, and the versatility of the rhythm section
that matches Adderley’s sense of time and swing. One of the finest examples of
these qualities on the record is the Clifford Jordan composition, “Toy.” Taking a cue
from the title, Cannonball creates a playful, at times child-‐like, melody, while
propelling the motion of the solo forward. He does this primarily through the use of
motivic unity, rhythmic intensity driven by his impellent articulation, and the
predominance of the interval of a third.
Motives
In “Toy,” as in many of his solos, Cannonball’s motivic development is
derived from his opening statement. The initial motive contains two rhythmic
figures. The first figure emphasizes the off beats with consecutive syncopations, and
the second figure moves the emphasis to the downbeats. These figures recur
throughout the solo in various forms. The figures are likely derived from the
original melody shown in Figure 1. This first improvised motive (Fig. 2a) contains a
double syncopation followed by quarter notes on the beat. The syncopation is
played with a short, accented first note and longer, less accented second note. The
quarter notes are usually held full value, but the quarter notes on beats one and
three tend to be legato, while those on two and four tend to be the accented. This
articulation helps separate the two halves of the motive.
Figure 1: Original melody
Fig. 2 a-‐e: Opening Motive and subsequent occurrences.
a.
b.
c.
d.
9/14/2014 bbsherajrb402.png (530×750)
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B‹7/Eq=256
1 2 3 4
5 6 7 8B‹7/E
9 10 11 12 F©7(b9)
13 14 15 16B‹7 E7 AŒ„Š7 F©7
17 18 19 20B‹7 E7 B‹7 E7 AŒ„Š7
21 22 23 24B‹7 E7 B‹7 E7 B‹7
25 26 27 28 29E7 B‹7 E7 AŒ„Š7
30 31 32G©‹7(b5) C©7(b9) F©‹7 B7
33 34 35 36
E-flat Part
Clifford Jordan
ToyFrom: Know What I Mean?Riverside RLP-433
Cannonball Adderley's Solo
3
3 3
3 3 3
3
3 3
3
B‹7/Eq=256
1 2 3 4
5 6 7 8B‹7/E
9 10 11 12 F©7(b9)
13 14 15 16B‹7 E7 AŒ„Š7 F©7
17 18 19 20B‹7 E7 B‹7 E7 AŒ„Š7
21 22 23 24B‹7 E7 B‹7 E7 B‹7
25 26 27 28 29E7 B‹7 E7 AŒ„Š7
30 31 32G©‹7(b5) C©7(b9) F©‹7 B7
33 34 35 36
E-flat Part
Clifford Jordan
ToyFrom: Know What I Mean?Riverside RLP-433
Cannonball Adderley's Solo
3
3 3
3 3 3
3
3 3
3
D‹7 G7 C©‹7 F©7(b9) B‹7 E7
37 38 39 40B‹7/E
41 42 43 44
45 46 47 48B‹7/E
49 50 51 52 F©7(b9)
53 54 55 56
B‹7 E7 C©‹7 F©7(b9)
57 58 59 60
B‹7 E7 B‹7 C©7 AŒ„Š7
61 62 63 64B‹7/C©
65 66 67 68
69 70 71 72G©‹7 C©7(b9) F©‹7 B7
73 74 75 76
3
3 3
3
3
3
2
D‹7 E7 C©‹7 F©7(b9) B‹7 E7
77 78 79 80B‹7/E
81 82 83 84
85 86 87 88B‹7/E
89 90 91 92 93
94 95 96
B‹7 E7 C©‹7 F©7(b9)
97 98 99 100
B‹7 E7 B‹7 E7 AŒ„Š7
101 102 103 104B‹7 E7 B‹7 E7
105 106 107 108B‹7 E7 B‹7 E7 AŒ„Š7
109 110 111 112G©‹7(b5) C©7(b9) F©‹7 B7
113 114 115 116
3
3 3
3
e.
Long-‐term comment: in your lecture-‐recital document, these musical examples will
all have to be in the same font. No need to do anything about that here.
Variations of the motive consist of mostly syncopation or mostly quarter
notes. Other variations develop the complete figure. Measures 20, 128, and 130
(Figs. 3a, 3b, and 3c) are examples of using the double syncopation as a springboard
to eighth notes, which are sometimes followed by a quarter note. In mm. 25-‐27, in a
figure that could well be a quote of an existing children’s tune, he uses the quarter
notes without the syncopation, then transforming them into the syncopated figure
in mm. 27-‐28 (Fig. 3d). In mm. 50-‐52 Cannonball uses a single off beat syncopation
followed by consecutive quarter notes (Fig. 3e). Also, in a clever quote of Rogers
and Hart’s composition “Thou Swell,” Cannonball is able to use the common
rhythmic material to his advantage in mm. 41-‐46 (Fig. 3f).
Fig. 3 a-‐f: Variations of Motive 1
a.
b.
c.
d.
D‹7 E7 C©‹7 F©7(b9) B‹7 E7
77 78 79 80B‹7/E
81 82 83 84
85 86 87 88B‹7/E
89 90 91 92 93
94 95 96
B‹7 E7 C©‹7
97 98 99
F©7(b9) B‹7 E7
100 101 102
B‹7 E7 AŒ„Š7
103 104B‹7 E7 B‹7 E7
105 106 107 108B‹7 E7 B‹7 E7 AŒ„Š7
109 110 111 112
3
3 3
3
B‹7/Eq=256
1 2 3 4
5 6 7 8B‹7/E
9 10 11 12 F©7(b9)
13 14 15 16B‹7 E7 AŒ„Š7 F©7
17 18 19 20B‹7 E7 B‹7 E7 AŒ„Š7
21 22 23 24B‹7 E7 B‹7 E7 B‹7
25 26 27 28 29E7 B‹7 E7 AŒ„Š7
30 31 32G©‹7(b5) C©7(b9) F©‹7 B7
33 34 35 36
E-flat Part
Clifford Jordan
ToyFrom: Know What I Mean?Riverside RLP-433
Cannonball Adderley's Solo
3
3 3
3 3 3
3
3 3
3
D‹7 G7 C©‹7 F©7(b9) B‹7 E7
117 118 119 120B‹7/E
121 122 123 124
125 126 127 128
129 130 131
132 133 134 135
3
4D‹7 G7 C©‹7 F©7(b9) B‹7 E7
117 118 119 120B‹7/E
121 122 123 124
125 126 127 128
129 130 131
132 133 134 135
3
4
B‹7/Eq=256
1 2 3 4
5 6 7 8B‹7/E
9 10 11 12 F©7(b9)
13 14 15 16B‹7 E7 AŒ„Š7 F©7
17 18 19 20B‹7 E7 B‹7 E7 AŒ„Š7
21 22 23 24B‹7 E7 B‹7 E7 B‹7
25 26 27 28 29E7 B‹7 E7 AŒ„Š7
30 31 32G©‹7(b5) C©7(b9) F©‹7 B7
33 34 35 36
E-flat Part
Clifford Jordan
ToyFrom: Know What I Mean?Riverside RLP-433
Cannonball Adderley's Solo
3
3 3
3 3 3
3
3 3
3
e.
f.
Cannonball also extends the syncopation in a few instances. Two of these uses have
a larger scale significance that will be discussed later.
Fig. 4 a-‐c: Multiple consecutive syncopations derived from Motive 1
a.
b.
c.
D‹7 G7 C©‹7 F©7(b9) B‹7 E7
37 38 39 40B‹7/E
41 42 43 44 45 46
47 48B‹7/E
49 50 51 52 F©7(b9)
53 54 55 56
B‹7 E7 C©‹7 F©7(b9)
57 58 59 60
B‹7 E7 B‹7 C©7 AŒ„Š7
61 62 63 64B‹7/C©
65 66 67 68
69 70 71 72G©‹7 C©7(b9) F©‹7 B7
73 74 75 76
3
3 3
3
3
3
2
G©‹7(b5) C©7(b9) F©‹7 B7
33 34 35 36
D‹7 G7 C©‹7 F©7(b9)
37 38 39
B‹7 E7 B‹7/E
40 41 42 43 44 45 46
47 48B‹7/E
49 50 51 52 F©7(b9)
53 54 55 56
B‹7 E7 C©‹7 F©7(b9)
57 58 59 60
B‹7 E7 B‹7 C©7 AŒ„Š7
61 62 63 64B‹7/C©
65 66 67 68
69 70 71 72
3
3 3
3
3
2
D‹7 G7 C©‹7 F©7(b9) B‹7 E7
37 38 39 40B‹7/E
41 42 43 44
45 46 47 48B‹7/E
49 50 51 52 F©7(b9)
53 54 55 56
B‹7 E7 C©‹7 F©7(b9)
57 58 59 60
B‹7 E7 B‹7 C©7 AŒ„Š7
61 62 63 64B‹7/C©
65 66 67 68
69 70 71 72G©‹7 C©7(b9) F©‹7 B7
73 74 75 76
3
3 3
3
3
3
2
D‹7 G7 C©‹7 F©7(b9) B‹7 E7
37 38 39 40B‹7/E
41 42 43 44
45 46 47 48B‹7/E
49 50 51 52 F©7(b9)
53 54 55 56
B‹7 E7 C©‹7 F©7(b9)
57 58 59 60
B‹7 E7 B‹7 C©7 AŒ„Š7
61 62 63 64B‹7/C©
65 66 67 68
69 70 71 72G©‹7 C©7(b9) F©‹7 B7
73 74 75 76
3
3 3
3
3
3
2
D‹7 E7 C©‹7 F©7(b9) B‹7 E7
77 78 79 80B‹7/E
81 82 83 84
85 86 87 88B‹7/E
89 90 91 92 93
94 95 96
B‹7 E7 C©‹7 F©7(b9)
97 98 99 100
B‹7 E7 B‹7 E7 AŒ„Š7
101 102 103 104B‹7 E7 B‹7 E7
105 106 107 108B‹7 E7 B‹7 E7 AŒ„Š7
109 110 111 112G©‹7(b5) C©7(b9) F©‹7 B7
113 114 115 116
3
3 3
3
The other important information contained in the opening motive is the use
of the interval of a third. This third becomes a unifying element for all the other
material discussed here. It is used in sequential motion, repetition, as enclosures to
chord tones, within the variations of the first motive. According to Leonard
Bernstein’s research, the descending third is a commonly used interval in children’s
songs (Bernstein, 16), making it perfect for use in this context. The most notable use
in Cannonball’s solo is in the sequencing of descending thirds. Cannonball’s
articulation further sets the thirds apart from other material. His usual accentuation
on the off beats is replaced with a deliberate articulation on the downbeats. Figure
5 shows some of these sequences, including the connecting of thirds into diatonic
seventh chords in Figures 5e and 5f.
Fig. 5 a-‐f: Thirds
a.
b.
c.
d.
e.
B‹7/Eq=256
1 2 3 4
5 6 7 8B‹7/E
9 10 11 12 F©7(b9)
13 14 15 16B‹7 E7 AŒ„Š7 F©7
17 18 19 20B‹7 E7 B‹7 E7 AŒ„Š7
21 22 23 24B‹7 E7 B‹7 E7 B‹7
25 26 27 28 29E7 B‹7 E7 AŒ„Š7
30 31 32G©‹7(b5) C©7(b9) F©‹7 B7
33 34 35 36
E-flat Part
Clifford Jordan
ToyFrom: Know What I Mean?Riverside RLP-433
Cannonball Adderley's Solo
3
3 3
3 3 3
3
3 3
3
B‹7/Eq=256
1 2 3 4
5 6 7 8B‹7/E
9 10 11 12 F©7(b9)
13 14 15 16B‹7 E7 AŒ„Š7 F©7
17 18 19 20B‹7 E7 B‹7 E7 AŒ„Š7
21 22 23 24B‹7 E7 B‹7 E7 B‹7
25 26 27 28 29E7 B‹7 E7 AŒ„Š7
30 31 32G©‹7(b5) C©7(b9) F©‹7 B7
33 34 35 36
E-flat Part
Clifford Jordan
ToyFrom: Know What I Mean?Riverside RLP-433
Cannonball Adderley's Solo
3
3 3
3 3 3
3
3 3
3
D‹7 G7 C©‹7 F©7(b9) B‹7 E7
37 38 39 40B‹7/E
41 42 43 44
45 46 47 48B‹7/E
49 50 51 52 F©7(b9)
53 54 55 56
B‹7 E7 C©‹7 F©7(b9)
57 58 59 60
B‹7 E7 B‹7 C©7 AŒ„Š7
61 62 63 64B‹7/C©
65 66 67 68
69 70 71 72G©‹7 C©7(b9) F©‹7 B7
73 74 75 76
3
3 3
3
3
3
2
D‹7 G7 C©‹7 F©7(b9) B‹7 E7
37 38 39 40B‹7/E
41 42 43 44
45 46 47 48B‹7/E
49 50 51 52 F©7(b9)
53 54 55 56
B‹7 E7 C©‹7 F©7(b9)
57 58 59 60
B‹7 E7 B‹7 C©7 AŒ„Š7
61 62 63 64B‹7/C©
65 66 67 68
69 70 71 72G©‹7 C©7(b9) F©‹7 B7
73 74 75 76
3
3 3
3
3
3
2
D‹7 E7 C©‹7 F©7(b9) B‹7 E7
77 78 79 80B‹7/E
81 82
83 84 85
86 87 88B‹7/E
89 90 91 92 93
94 95 96
B‹7 E7 C©‹7 F©7(b9)
97 98 99 100
B‹7 E7 B‹7 E7 AŒ„Š7
101 102 103 104B‹7 E7 B‹7 E7
105 106 107 108B‹7 E7 B‹7 E7 AŒ„Š7
109 110 111 112
3
3 3
3
f.
Scales and Arpeggios
Unlike some of Cannonball’s earlier modal recordings, there is very little use
of scale running in this solo. The few examples present lean heavily on the A-‐major
scale, found in mm. 12-‐14, m. 25, and in mm. 54-‐56 with a chromatic passing tone
(related motivically to Fig. 12a-‐b). This scale is used as blanket material over
AMAJ7, Bmin7, and E7. Again, most of the time, these scales are presented in thirds
as in the examples above.
Fig. 6 a-‐c: Major Scales
a.
b.
c.
D‹7 E7 C©‹7 F©7(b9) B‹7 E7
77 78 79 80B‹7/E
81 82 83 84
85 86 87 88B‹7/E
89 90 91 92 93 94
95 96
B‹7 E7 C©‹7 F©7(b9)
97 98 99 100
B‹7 E7 B‹7 E7 AŒ„Š7
101 102 103 104B‹7 E7 B‹7 E7
105 106 107 108B‹7 E7 B‹7 E7 AŒ„Š7
109 110 111 112G©‹7(b5) C©7(b9) F©‹7 B7
113 114 115 116
3
3 3
3
B‹7/Eq=256
1 2 3 4
5 6 7 8
B‹7/E
9 10
11 12 13 14
F©7(b9)
15 16
B‹7 E7 AŒ„Š7 F©7
17 18 19 20
B‹7 E7 B‹7 E7 AŒ„Š7
21 22 23 24
B‹7 E7 B‹7 E7 B‹7
25 26 27 28 29
E-flat Part
Clifford Jordan
ToyFrom: Know What I Mean?Riverside RLP-433
Cannonball Adderley's Solo
3
3 3
3 3
3
3
B‹7/Eq=256
1 2 3 4
5 6 7 8B‹7/E
9 10 11 12 F©7(b9)
13 14 15 16B‹7 E7 AŒ„Š7 F©7
17 18 19 20B‹7 E7 B‹7 E7 AŒ„Š7
21 22 23 24B‹7 E7 B‹7 E7 B‹7
25 26 27 28 29E7 B‹7 E7 AŒ„Š7
30 31 32G©‹7(b5) C©7(b9) F©‹7 B7
33 34 35 36
E-flat Part
Clifford Jordan
ToyFrom: Know What I Mean?Riverside RLP-433
Cannonball Adderley's Solo
3
3 3
3 3 3
3
3 3
3
D‹7 G7 C©‹7 F©7(b9) B‹7 E7
37 38 39 40B‹7/E
41 42 43 44
45 46 47 48B‹7/E
49 50 51 52 F©7(b9)
53 54 55 56
B‹7 E7 C©‹7 F©7(b9)
57 58 59 60
B‹7 E7 B‹7 C©7 AŒ„Š7
61 62 63 64B‹7/C©
65 66 67 68
69 70 71 72G©‹7 C©7(b9) F©‹7 B7
73 74 75 76
3
3 3
3
3
3
2
There is only one occurrence of the bebop scale, rare for Cannonball, and it is a
fragment found in mm. 36-‐37, anticipating the D-‐7 G7.
Fig. 7: Bebop scale
Over the G#-‐7b5 to C#7b9, Cannonball uses both the blanket A Major scale in
m. 33, as well as C# Mixolydian scale in mm. 73-‐74, and F# melodic minor scale in
mm. 113-‐114. Each subsequent scale uses more of the color of F# minor. The latter
two scale uses are also played in the consecutive syncopations mentioned earlier,
used here over the same chord structures and with similar scale material.
Fig. 8 a-‐c: G#-‐7b5 to C#7b9
a.
b.
c.
G©‹7(b5) C©7(b9) F©‹7 B7 D‹7
33 34 35 36 37
G7 C©‹7 F©7(b9) B‹7 E7
38 39 40B‹7/E
41 42 43 44 45 46
47 48B‹7/E
49 50 51 52 F©7(b9)
53 54 55 56
B‹7 E7 C©‹7 F©7(b9)
57 58 59 60
B‹7 E7 B‹7 C©7 AŒ„Š7
61 62 63 64B‹7/C©
65 66 67 68
69 70 71 72
3
3 3
3
3
2
G©‹7(b5) C©7(b9) F©‹7 B7 D‹7
33 34 35 36 37
G7 C©‹7 F©7(b9) B‹7 E7
38 39 40B‹7/E
41 42 43 44 45 46
47 48B‹7/E
49 50 51 52 F©7(b9)
53 54 55 56
B‹7 E7 C©‹7 F©7(b9)
57 58 59 60
B‹7 E7 B‹7 C©7 AŒ„Š7
61 62 63 64B‹7/C©
65 66 67 68
69 70 71 72
3
3 3
3
3
2
G©‹7 C©7(b9) F©‹7 B7
73 74 75 76D‹7 E7 C©‹7 F©7(b9) B‹7 E7
77 78 79 80B‹7/E
81 82 83 84
85 86 87 88B‹7/E
89 90 91 92 93
94 95 96
B‹7 E7 C©‹7 F©7(b9)
97 98 99 100
B‹7 E7 B‹7 E7 AŒ„Š7
101 102 103 104B‹7 E7 B‹7 E7
105 106 107 108B‹7 E7 B‹7 E7 AŒ„Š7
109 110 111 112
3
3
3 3
3
G©‹7(b5) C©7(b9) F©‹7 B7
113 114 115 116
D‹7 G7 C©‹7 F©7(b9) B‹7 E7
117 118 119 120B‹7/E
121 122 123 124
125 126 127 128
129 130 131
132 133 134 135
3
4
What would a Cannonball Adderley solo be without the blues? In this solo, he
lays out the scale perfectly in mm. 67-‐68. What makes the scale sound so great in
this solo is his use of the blues scale over the Bm7/E, a Vsus sonority. He uses the
blues pentatonic scale against the same harmony 16 bars later.
Fig. 9 a-‐b: Blues Scale
a.
b.
Cannonball uses arpeggios often in the solo. He uses the Bm7 and E7 arpeggios
during the solo, though not always at the same time each chord is sounded in the
rhythm section. In mm. 21-‐22, Cannonball arpeggiates the E7 from the third over
the Bm7 chord, and arpeggiates Bm7 from the third (with a nice chromatic
approach) over the E7 chord.
Fig. 10: Bm7 & E7 from the 3rd
G©‹7(b5) C©7(b9) F©‹7 B7
33 34 35 36
D‹7 G7 C©‹7 F©7(b9) B‹7 E7
37 38 39 40B‹7/E
41 42 43 44 45 46
47 48B‹7/E
49 50 51 52 F©7(b9)
53 54 55 56
B‹7 E7 C©‹7 F©7(b9)
57 58 59 60
B‹7 E7 B‹7 C©7 AŒ„Š7
61 62 63 64B‹7/C©
65 66 67 68
69 70 71 72
3
3 3
3
3
2
G©‹7 C©7(b9) F©‹7 B7
73 74 75 76D‹7 E7 C©‹7 F©7(b9) B‹7 E7
77 78 79 80B‹7/E
81 82 83 84
85 86 87 88B‹7/E
89 90 91 92 93
94 95 96
B‹7 E7 C©‹7 F©7(b9)
97 98 99 100
B‹7 E7 B‹7 E7 AŒ„Š7
101 102 103 104B‹7 E7 B‹7 E7
105 106 107 108B‹7 E7 B‹7 E7 AŒ„Š7
109 110 111 112
3
3
3 3
3
B‹7/Eq=256
1 2 3 4
5 6 7 8B‹7/E
9 10 11
12 13 14F©7(b9)
15 16B‹7 E7 AŒ„Š7 F©7
17 18 19 20B‹7 E7 B‹7 E7 AŒ„Š7
21 22 23 24B‹7 E7 B‹7 E7 B‹7
25 26 27 28 29E7 B‹7 E7 AŒ„Š7
30 31 32
E-flat Part
Clifford Jordan
ToyFrom: Know What I Mean?Riverside RLP-433
Cannonball Adderley's Solo
3
3 3
3 3 3
3
3 3
3
Over the AMAJ7 chord, Adderley consistently uses a combination of
pentatonic scales and arpeggios, always with a lower neighbor approach, and also
always ascending. These passages always begin after a descending figure, and are
ghosted, making it difficult to hear exactly what is being played. These passages
serve both as resolution figures and connective material.
Fig. 11 a-‐c: AMAJ7 Motives
a.
b.
c.
Keep title of “Fig.” and figures on the same page.
Cannonball’s use of diatonic seventh chords can be found in many of his solos. In
this solo, the Bm7 is used most frequently as seen in previous examples above. The
culmination of his sequencing of thirds articulated on the beat and use of seventh
B‹7/Eq=256
1 2 3 4
5 6 7 8B‹7/E
9 10 11
12 13 14F©7(b9)
15 16B‹7 E7 AŒ„Š7 F©7
17 18 19 20B‹7 E7 B‹7 E7 AŒ„Š7
21 22 23 24B‹7 E7 B‹7 E7 B‹7
25 26 27 28 29E7 B‹7 E7 AŒ„Š7
30 31 32
E-flat Part
Clifford Jordan
ToyFrom: Know What I Mean?Riverside RLP-433
Cannonball Adderley's Solo
3
3 3
3 3 3
3
3 3
3
G©‹7(b5) C©7(b9) F©‹7 B7
33 34 35 36
D‹7 G7 C©‹7 F©7(b9) B‹7 E7
37 38 39 40B‹7/E
41 42 43 44 45 46
47 48B‹7/E
49 50 51 52 F©7(b9)
53 54 55 56
B‹7 E7 C©‹7 F©7(b9)
57 58 59 60
B‹7 E7 B‹7 C©7 AŒ„Š7
61 62 63 64B‹7/C©
65 66 67 68
69 70 71 72
3
3 3
3
3
2
G©‹7 C©7(b9) F©‹7 B7
73 74 75 76D‹7 E7 C©‹7 F©7(b9) B‹7 E7
77 78 79 80B‹7/E
81 82 83 84
85 86 87 88B‹7/E
89 90 91 92 93
94 95 96
B‹7 E7 C©‹7 F©7(b9)
97 98 99 100
B‹7 E7 B‹7 E7 AŒ„Š7
101 102 103 104B‹7 E7 B‹7 E7
105 106 107 108B‹7 E7 B‹7 E7 AŒ„Š7
109 110 111 112
3
3
3 3
3
chords occurs in mm. 83-‐85 in a beautifully swinging sequence of diatonic seventh
chords in a 6 over 8 cross rhythm. These measures lead to the peak of the solo, mm.
88-‐92, when Cannonball employs the F#m7 sound over built from the fifth of
Bm7/E, perhaps as a quote of Ferde Grofé’s “On the Trail.”
Figure 12 a-‐b: Diatonic 7th chords, F#m7 over Bm7/E
a.
b.
Non-‐Chord Tones
As shown is some of the previous examples, Cannonball uses chromatic
passing tones as a means of getting to a target pitch smoothly. Measures 15 and
118-‐119 use this technique, which serves as a nice set of bookends to the solo, and
are clear examples of a classic Charlie Parker device integrated into Cannonball’s
vocabulary.
Fig. 12 a-‐b: Chromatic passing tones
a.
D‹7 E7 C©‹7 F©7(b9) B‹7 E7
77 78 79 80B‹7/E
81 82
83 84 85
86 87 88B‹7/E
89 90 91 92 93
94 95 96
B‹7 E7 C©‹7 F©7(b9)
97 98 99 100
B‹7 E7 B‹7 E7 AŒ„Š7
101 102 103 104B‹7 E7 B‹7 E7
105 106 107 108B‹7 E7 B‹7 E7 AŒ„Š7
109 110 111 112
3
3 3
3
G©‹7 C©7(b9) F©‹7 B7
73 74 75 76D‹7 E7 C©‹7 F©7(b9) B‹7 E7
77 78 79 80B‹7/E
81 82 83 84
85 86 87
B‹7/E
88 89 90 91 92
93 94 95 96B‹7 E7 C©‹7 F©7(b9)
97 98 99 100B‹7 E7 B‹7 E7 AŒ„Š7
101 102 103 104B‹7 E7 B‹7 E7
105 106 107 108B‹7 E7 B‹7 E7 AŒ„Š7
109 110 111 112
3
3
3 3
3
B‹7/Eq=256
1 2 3 4
5 6 7 8B‹7/E
9 10 11 12 F©7(b9)
13 14 15 16B‹7 E7 AŒ„Š7 F©7
17 18 19 20B‹7 E7 B‹7 E7 AŒ„Š7
21 22 23 24B‹7 E7 B‹7 E7 B‹7
25 26 27 28 29E7 B‹7 E7 AŒ„Š7
30 31 32G©‹7(b5) C©7(b9) F©‹7 B7
33 34 35 36
E-flat Part
Clifford Jordan
ToyFrom: Know What I Mean?Riverside RLP-433
Cannonball Adderley's Solo
3
3 3
3 3 3
3
3 3
3
b.
Enclosures are an important part of any bebop vocabulary, and Cannonball uses
them extensively to embellish chord tones and to break up the diatonic sound of the
first motive and descending thirds material. Measures 29-‐30 provide a great
example of this technique, used over C#m7 to F#7b9. The following measure, m. 30,
also provides a nice alteration to the V7 chord with a superimposed Fm6 chord or
an outline of E7#5b9. Measure 31 is sequenced from m. 30, and is a classic
Cannonball lick.
Fig. 13
Measures 39-‐40 combine the enclosures with the syncopations, further disguising
the simplicity of the statement.
Fig. 14
D‹7 G7 C©‹7 F©7(b9) B‹7 E7
117 118 119 120B‹7/E
121 122 123 124
125 126 127 128
129 130 131
132 133 134 135
3
4
B‹7/Eq=256
1 2 3 4
5 6 7 8B‹7/E
9 10 11 12 F©7(b9)
13 14 15 16B‹7 E7 AŒ„Š7 F©7
17 18 19 20B‹7 E7 B‹7 E7 AŒ„Š7
21 22 23 24B‹7 E7 B‹7 E7
25 26 27 28B‹7 C©‹7 F©7(b9) B‹7 E7[äÁ]
29 30 31AŒ„Š7
32
E-flat Part
Clifford Jordan
ToyFrom: Know What I Mean?Riverside RLP-433
Cannonball Adderley's Solo
3
3 3
3 3 3
3
3
3
3
D‹7 G7 C©‹7 F©7(b9) B‹7 E7
37 38 39 40B‹7/E
41 42 43 44
45 46 47 48B‹7/E
49 50 51 52 F©7(b9)
53 54 55 56
B‹7 E7 C©‹7 F©7(b9)
57 58 59 60
B‹7 E7 B‹7 E7 AŒ„Š7
61 62 63 64B‹7/C©
65 66 67 68
69 70 71 72G©‹7 C©7(b9) F©‹7 B7
73 74 75 76
3
3 3
3
3
3
2
With the theme of children and simplicity in mind, Cannonball steers clear of
any substitutions, only implying a diatonic turnaround of C#m7 (or C#m7b5) to
F#7b9 over the Bm7 to E7 in m. 30 above, and also in mm. 95, 106, & 109-‐110.
Measure 106 also leads nicely into a near quote of “Honeysuckle Rose” in m. 107.
Fig. 14 a-‐c: Turnarounds
a.
b.
c.
Though not one of his more harmonically adventurous or technically dazzling
solos, Cannonball nonetheless amazes the listener on “Toy.” What he provides is a
wonderfully mature and swinging solo designed to accurately portray the theme of
the title, even within limited thematic and harmonic material.
G©‹7 C©7(b9) F©‹7 B7
73 74 75 76D‹7 E7 C©‹7 F©7(b9) B‹7 E7
77 78 79 80B‹7/E
81 82 83 84
85 86 87 88B‹7/E
89 90 91 92C©‹7(b5) F©7(b9)
93 94 95 96B‹7 E7 C©‹7 F©7(b9)
97 98 99 100B‹7 E7 B‹7 E7 AŒ„Š7
101 102 103 104B‹7 E7 C©‹7 F©7(b9) B‹7 E7
105 106 107 108C©‹7B‹7 E7
F©7(b9)B‹7 E7 AŒ„Š7
109 110 111 112
3
3
3 3
3
G©‹7 C©7(b9) F©‹7 B7
73 74 75 76D‹7 E7 C©‹7 F©7(b9) B‹7 E7
77 78 79 80B‹7/E
81 82 83 84
85 86 87 88B‹7/E
89 90 91 92C©‹7(b5) F©7(b9)
93 94 95 96B‹7 E7 C©‹7 F©7(b9)
97 98 99 100B‹7 E7 B‹7 E7 AŒ„Š7
101 102 103 104B‹7 E7 C©‹7 F©7(b9) B‹7 E7
105 106 107 108C©‹7B‹7 E7
F©7(b9)B‹7 E7 AŒ„Š7
109 110 111 112
3
3
3 3
3G©‹7 C©7(b9) F©‹7 B7
73 74 75 76D‹7 E7 C©‹7 F©7(b9) B‹7 E7
77 78 79 80B‹7/E
81 82 83 84
85 86 87 88B‹7/E
89 90 91 92C©‹7(b5) F©7(b9)
93 94 95 96B‹7 E7 C©‹7 F©7(b9)
97 98 99 100B‹7 E7 B‹7 E7 AŒ„Š7
101 102 103 104B‹7 E7 C©‹7 F©7(b9) B‹7 E7
105 106 107 108C©‹7B‹7 E7
F©7(b9)B‹7 E7 AŒ„Š7
109 110 111 112
3
3
3 3
3
Works Cited
Adderley, Cannonball. Know What I Mean? Riverside, RLP-‐443, 1961.
Bernstein, Leonard. The Unanswered Question: Six Talks at Harvard / Leonard
Bernstein. Harvard University Press, 1976.
