‘Straight and Late’: Analytical Perspectives on Coltrane’s Time-feel
2020; Routledge; Volume: 12; Issue: 1 Linguagem: Inglês
10.1080/17494060.2020.1734051
ISSN1749-4079
Autores Tópico(s)Music Technology and Sound Studies
ResumoThis paper examines aspects of Coltrane’s rhythm by adopting a relatively simple model of expressive micro-timing (“time-feel”), wherein swing (the symmetry of the offbeat subdivision) is treated as a discrete parameter for each ensemble member and is kept distinct from latency – the relative micro-rhythmic placement of each player’s onbeats. The interaction of these two parameters is examined in the context of original analyses from Coltrane’s repertoire, with the micro-rhythmic placements of onsets in Coltrane’s ensemble visualized in linear, planar and – similar to those conceived by Charles Mingus11 Charles Mingus, Beneath the Underdog, reprint (Edinburgh: Canongate, 2011). and employed analytically by Fernando Benadon22 Fernando Benadon, “A Circular Plot for Rhythm Visualization and Analysis,” Music Theory Online 13, no. 3 (2007). – circular representations at the tactus level. Coltrane’s characteristically straight-and-late eighth feel33 Fernando Benadon, “Slicing the Beat: Jazz Eighth-Notes as Expressive Microrhythm,” Ethnomusicology 50, no. 1 (2006): 73–98. is here seen not just as a solution to creating a swung offbeat at high tempos, but as a dynamic expressive mechanism, with the ability to move from a high swing value to a behind-the-beat straight feel in varying consonance and friction with his ensemble’s onbeat and offbeat placement. This perspective offers novel analytical and pedagogical approaches, as well as an insight into an otherwise hidden facet of Coltrane’s virtuosity.
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