Variations In Jazz

By: J. McManus

Most of the time, music in an ensemble is played and kept to a strict tempo, defined by the maestro, so that all the instrumentalists can play in time. They follow what’s written in ink: every dotted crotchet or semiquaver is played exactly as indicated by the composer, following the exact dynamic and rhythmic markings on the page. However, this method is outdated. Since the romantic period and the popularization of rubato, contemporary performers have had more freedom to perform the score according to their own interpretation – if they feel the need to slow down or speed up in a certain section, they are encouraged to do so and effectively put their own spin on it. This concept of impromptu modification in a piece underwent great modernization in the 20th century, when jazz, syncopation and improvisation went mainstream. 

Have you ever wondered why you often see “take 7” or “take 2” next to the name of a jazz piece? No, these takes are not strictly a part of the title and instead quite literally indicate the take number of the recording. In vocal pieces, like “While My Lady Sleeps (take 10)” by Chet Baker, several renditions have been recorded in the studio, each with slight modifications that differ based on the interpretation in the moment. Additionally, this version of improv applies beyond vocal pieces. In an instrumental jazz ensemble, you usually work with a set group of 7th chords, and whatever melodic instrument is playing gets to solo as they wish within the given key. This adds another level of authenticity and harmony to each performance, since they’ll never be exactly the same each time. The creative freedom is overwhelming – when you have nothing to guide you except a chord sheet, a key, and a tempo (defined by the drummer in most jazz jams), the possibilities are endless. 

Sometimes, even the accompanying instruments don’t follow a chord sheet. Modal interchange is an excellent way to add tension and confuse the listener a bit – a chord that’s completely out of the key creates the opportunity to modulate or explore a mode, also warning other instrumentalists that a key change is happening. A way for a vocalist to accompany this change inconspicuously is by scatting that has a natural tendency to run loose. Ornamentation can also change the mood of a song completely. Acciaccaturas, runs, slides, trills, and other forms of musical interpretation add the singer’s own flair to the song, engaging the audience and allowing for greater expression. 
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In my eyes, that is the art of imperfection. Our goal in music isn’t to replicate the score exactly; it is to convey the composer’s emotion in our own voice, making minute decisions in the form of alterations that have the power to change the entire emotive composition of a song. You want to show the audience how you feel, and the way in which you do that will make you connect to the song in a more meaningful way - a mood change that the public can feel. If perfection means coloring plainly inside the lines, then let’s embrace imperfection. Change a note or two and immerse yourself fully in the expression of the song.