Originally Posted by
Jazzaluk
This is a very interesting analysis but as I think about it, it does not really surprise me. The problem is that the stats are out of context. It is like counting vowels used in a sentence. They are always there, but without context, it is a bit meaningless.
I would expect that the great beboppers statistically played more fundamental chord tones than not. In order to make a phrase sound "outside" the player must first prepare the listener with inside sounds. So, the effect of outside playing is more about contrast and context. Consistently hitting outside tones on the down beat will eliminate the option of creating contrasting phrases against the harmonic "pad" of the tune (not to mention that it would soon sound annoying). It is better to study when the bopper applies outside phrases rather than analyse how many outside notes are used.
Also, the lion's share of outside phrases will in fact hit an inside tone on the down beat. For example, it is possible to play a G7 phrase and a Galt phrase that target the 3rd and the root on the downbeats. The effect of playing an outside note on a downbeat will often create a an out-of-phase feeling that will cause a the listener to feel that the phrase is incomplete. It is a great device to create extended phrases and forward motion. but again it is best used to create surprise and contrast IMO. (this is intuitively obvious in improv when you feel that you must continue a line because it does not "feel" complete, even when you play inside the tonal center)
Anyway, I think if you counted the number of "outside phrases" in Bird's music, you would get a totally different picture.
Just some thoughts on this interesting analysis
Moffa Mithra
Today, 08:31 AM in For Sale