“Possible Paths”

Abstract

"I now understand improvisation as the real-time yet pre-heard-and even practiced-choice among possible paths that elaborate a pre-existing structure, using familiar patterns and their familiar combinations and embellishments. "-Steve Larson (2005, 272) Introduction [1.1] Charlie Parker was a master improviser. His extraordinary oeuvre carries an implicit question: how did he do it? How did he create such well-crafted melodies in the very act of performance? This is "the problem of improvisation"-a problem for both the improviser and the analyst. (1) Inspired by the epigraph from Steve Larson, this paper posits one kind of solution for Parker's improvisations on the twelve-bar blues. I suggest that Parker developed two different sets of "possible paths" through the blues: phrase structures, to solve the problem of how to place phrases against a fixed meter; and melodic paths, to solve the problem of creating coherent melodies against a fixed harmonic structure. I call these paths schemata of phrasing and melody. ABSTRACT: This paper proposes a schematic approach to analyzing Charlie Parker's improvisations on the twelve-bar blues. Schemata are pre-learned, recurring solutions to the problems of high-speed improvisation. Phrasing schemata solve the meter problem: they are templates for the chorus-level organization of phrases. Parker employs five phrasing schemata, each of which organizes the blues' twelve measures differently. Melodic schemata solve the harmony problem: they are stepwise paths that Parker follows in the two different "Zones" of the blues' harmonic structure. Drawing on a small repertory of versatile schemata in both domains, Parker can compose intricate, varied melodies in the act of performance. After presenting the schemata, the paper concludes with a schematic analysis of a three-chorus solo.