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arrangements were played as written, i.e., with the first note three times as long as the second, the result would sound absurdly corny and could not possibly swing. The dotted-eighths-and-sixteenths notation system presumably was instituted because it it easier to read than the ternary division of the notes.
Hodges* style has undergone little or no fundamental change since he joined Ellington thirty years ago. Some of his contem­poraries have shown a stronger tendency through the years to absorb new ideas and incorporate them into their work. In Cole­man Hawkins today* for example, we hear a different personality from the volatile youngster who in the 1920s peppered his phrases with staccato notes, with long trains of dotted eighths and six­teenths, with "slap-tongue" effects on the reed. The veteran tenor