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62 jazz
Bars 5-6 are on F—a change of key that might be likened to a short trip out of the front door of our home.
In bars 7-8 we are back in C—'home' again.
Bars 9-10 are in G—this is a different sort of trip, say one out of the back door this time.
Bars 11-12 take us finally home.
All this adds up to a musical sensation which, though not elaborate, is prolonged and varied enough to be satisfying. We choose our 'home' and give ourselves enough time to settle down in it. Then we make a trip in one direction to inspect the neighbourhood. We return home for lunch. We make a trip in the opposite direction to explore another part of the neighbourhood. And finally we return home to supper and bed.
How can we prolong this story to make a longer and still more satisfying art form?
Look at some absolutely simply musical diagrams. (Note, by the way, that these purely diagrammatic chord sequences have, in themselves, nothing to do with jazz style. They have deliberately had every ounce of musical meat trimmed off them in order that we may study the anatomy underneath).
Here we start with our home chord of C (a). Then we alternate it with the chord of G to make up our elementary 'home from home' phrase (h). Then we prolong the process by inserting one more new chord, that of F—between C and G. The bass line starts on C, overshoots the penultimate G by one note, climbs up on to G again, and sinks to a final rest on |
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