ANATOMY OF AN IMPROVISER: THE STYLE OF NAILOR AZEVEDO “PROVETA
Manuel Silveira Falleiros
2.2.1 Transcription and Analysis of the Introductory Solo to Só Louco
The compositions of Dorival Caymmi possess a highly particular structure, which imposes specific demands on improvisation in the same direction. Caymmi stated in interviews that the color of his harmony, achieved through the use of major sixths and sevenths in minor chords, as well as modulations uncommon at the time, “must be instinctive, because since childhood I believe sound must possess another beauty beyond the perfect chord.”⁷⁵
According to Nailor, this introductory solo is intended to articulate elements in dialogue with the original melody. Nailor demonstrates complete mastery of this skill. The material articulated is sometimes directly linked to the original, but more frequently consists of certain impressions evoked by the theme as a whole. For Nailor, if improvisation in the sense of variation does not occur solely in the literal field of notes, but rather in the impressions of the melody, these impressions evoke elements from his entire life experience, his knowledge, and his practical skills—and this, indeed, is tangible to us.
Nailor bases his improvised solo partly on the melodic motion of the original theme, as well as on its harmonic nuances, which he describes melodically. He also uses the theme’s primary motive as a starting point for melodic development. Alongside these techniques, Nailor relies on intuition, employing in his creative process the impressions the theme evokes in him. For these reasons, the solo exhibits a high level of complexity.
First, we will examine aspects of the original composition from which Nailor’s solo emerges.
This composition by Dorival Caymmi⁷⁶ was written in 1955, the year the composer settled in Rio de Janeiro, after also spending a few months in São Paulo, where he was frequently requested as a singer for radio and television programs. Consequently, this piece falls within the phase of his oeuvre known as the urban or carioca period. During this phase, the composer began writing in the samba-canção genre.
Although this composition features a freer, more rubato melodic character—as if notating a possible interpretive rendering of the melody—it possesses a highly coherent structure in both harmony and melody. Below is a brief analysis that will serve to identify, or map, the structures and regions⁷⁷ used in the construction of the introductory solo. Following is the score of Caymmi’s song Só Louco.
[Musical Score: Só Louco – Dorival Caymmi]
First, we must note that the number of measures in the piece is somewhat unusual for popular music: 17 measures for the theme, plus 2 measures as a coda. This results from a deliberate compositional choice: to compose according to intuition, following whatever arises in the mind. Since the creative flow is often unordered and difficult to absorb initially, it must subsequently pass through the mold of coherence, organized into a structure that enables comprehension of the work and thus facilitates communication of the musical idea to others.
Rather than taking the next logical step of adapting his composition to more established patterns, the composer pauses here, because even though the music does not follow a meter in multiples of four, it is already complete, containing everything the composer needed to convey. This is entirely deliberate, as the resulting effect is that of a very free melodic line, resembling the representation of an unpretentious, deeply personal song, creating an atmosphere of intimacy and reflection.
The lyrics of the song, in the same vein, suggest a reflection on and with one’s own heart:
Só louco, amou como eu amei,
Só louco, quis o bem que eu quis,
Ah, insensato coração,
Porque me fizeste sofrer?
Por que de amor para entender,
É preciso amar.
Porque… só louco.
In these lyrics, the first two stanzas present the protagonist’s drama. The next two stanzas pose a question directed to the heart, attempting to identify the reason for the suffering experienced. The answer comes from the heart in the following two stanzas, after which the lament returns, for if it is a matter of feeling, mere acknowledgment is insufficient to bring relief.
In his solo, Nailor corresponds to the composition by also presenting a highly free melodic contour, a rubato. His phrases emerge gently, like distant memories, and disappear in the same manner. The fact that the phrases average approximately ten seconds in duration allows us to group them and identify them as distinct units. Yet, like the composer, Nailor breaks free from strict metric constraints, exponentially enhancing the freedom of melodic development.
To achieve an effect of intimacy, much as bossa-nova vocalists did in their singing style, Nailor often reduces his dynamic level to near a whisper. This is intended to draw the listener closer, to the point of metaphorically entering his thoughts, his inner world.
Caymmi’s composition features a passing modulation from E♭ major to its relative minor, C minor, beginning at measure 8. The effect of this tonal color shift is that it occurs at the point of greatest intimacy in the lyrics: the moment of internal dialogue. Since minor tonality is generally associated with sadness, melancholy, darkness, etc., its use at this precise moment could not be more appropriate.
Nailor’s careful and constant use of dark dissonances in mysterious melodic motions within his solo reinforces this aspect of intimacy, discontent, and lament present in the song.
[Transcription Layout Note]
The transcription was divided and organized as follows: the numbers within brackets indicate the phrases. At the end of each phrase is the reference to its position in minutes and seconds. The notation was suggested by Nailor, as it best represents the conceptual idea of this solo.
The main motive of Dorival Caymmi’s composition also serves as the starting point for Nailor’s creation: [Musical Example: Original Motive]
According to Schoenberg,⁷⁸ the two basic methods of motivic development are repetition and variation. In repetition, the motive may be transposed to various scale degrees, or to other scales; certain notes may be altered provided the root is not lost; melodic intervals may be inverted; the rhythm and melodic contour are maintained, with minor alterations that do not corrupt its essential character.
In variation, the motive is developed more profoundly. The rhythm may undergo transposition—that is, its values may be proportionally increased or decreased, which we term augmentation and diminution. Rhythms may also be altered disproportionally; however, in all such cases, the melodic contour is typically maintained for obvious identificatory purposes. Melodic intervals may have their direction inverted (e.g., an ascending third becomes a descending third).
According to the rules outlined above, we can observe that, generally speaking, variation is merely the consequence of a more daring repetition. To clarify what we may broadly consider motivic development, we present point by point the types of modifications a motive may undergo: Regarding rhythm:
a) Symmetrical alteration of durations (augmentation, diminution),
b) Asymmetrical alteration of durations,
c) Displacement of internal accentuation,
d) Addition or omission of notes,
e) Displacement of its position within the measure.
Regarding melodic contour:
a) Transposition,
b) Modification of intervals and their direction,
c) Addition of notes or ornaments, omission of notes.
This main motive from the song’s theme appears, but in transformed guise: the melodic contour is preserved, yet its scalar and intervallic “clothing” is modified. Below are the excerpts indicating these occurrences and explaining the developmental procedures:
Phrase 1:
Sequence of developmental processes:
[Excerpt/Measure references]
In measure 1 above, we find the theme of the original composition, which will be used as the motive, transposed to the alto saxophone’s key, which matches the transcription. In measure 2, the rhythmic relationships undergo expansion through augmentation; the resulting relationships are asymmetrical but maintain a similar proportion. In measure 3, an intervallic expansion occurs, necessitated by the need to adapt the initial motive to the intervals of the scale governing the phrase from its onset:
[Scale Example]
We observe that, disregarding some passing tones, the melody of the entire first phrase of the solo is based on the use of the scale above (the Dominant-Diminished scale). This leads us to believe it was used in constructing phrase 1, and thus such intervallic alteration in the motive’s development was necessary to align it with the prevailing harmonic environment.
In measure 4 of the sequence, a note is added: a short F♯ functioning as a passing tone between the two principal notes.
A rhythmic displacement occurs, shifting the accentuation from the second to the first note.
The melodic contour of the motive is maintained throughout all phases of the developmental process.
Phrase 2:
Sequence of developmental processes:
Excerpt a:
In measure 1 above, we have the motive. In measure 2, an asymmetrical augmentation occurs; not all rhythms are proportionally increased, as seen in the final note, which is also constrained because it belongs to excerpt b. In measure 3, we observe an interval transposition (a perfect fourth upward) and a change in scale, as the appearance of F♯ indicates a shift in harmonic environment compared to the initial motive. In measure 4, two notes are added: one preceding the motive and another serving as a small ornament, an appoggiatura, to the principal note. The contour is maintained.
Excerpt b:
In this excerpt, only a rhythmic diminution is observed, compressing the motive between the other excerpts. Accentuation is preserved. The final note of excerpt a is the same as the initial note of b; it should be noted that this phrasing concatenation procedure is a skill typically practiced consciously.
Excerpt c:
In measure 2, two rhythmic alterations occur: the first is an asymmetrical diminution, and the second is a fermata effect notated on the final note. Additionally, rhythmic displacement shifts the accentuation. In measure 3, we note a transposition equivalent to a fourth and fifth downward, but also a scale alteration with the appearance of G♯. In measure 4, an intervallic expansion occurs: the final note moves even farther from the penultimate note, by an additional whole step upward, emphasizing the phrase’s suspensive quality. Moreover, due to the proximity created by the G♯, the final note rises as well to balance the relationship. Despite this, the contour remains intact.
Excerpt d:
In measure 2, a transposition occurs, almost entirely an octave lower, except for the last two notes, which are a seventh lower. In measure 3, a slight augmentation and rhythmic displacement shift the accentuation. In measure 4, the final notes rise respectively by a semitone and a whole tone. The contour is maintained.
Phrase 4:
Sequence of developmental processes:
Excerpt a:
In this excerpt, we find only rhythmic alterations: an asymmetrical diminution and a displacement that shift the accentuation.
Excerpt b:
In this excerpt, measure 2 features a transposition down an octave. Measure 3 shows an asymmetrical diminution with extension of the final note. Measure 4 includes the addition of a passing tone between the motive’s notes. The contour is preserved in both excerpts.
Phrase 7:
Sequence of developmental process:
In measure 2, we observe a transposition up a third. In measure 3, the augmentation process occurs, asymmetrical in this case. Finally, in measure 4, the interval between the penultimate and final notes expands by a whole tone. The contour undergoes no significant alterations.
Therefore, as we intended to demonstrate, Nailor employs elements of the original melody in composing this introductory solo, transforming them through variation. Nailor maintains a connection to the original melodic contour and creates complex variations and extensions upon it. He also retains a link to the original theme by citing it in transformed form within his solo, creating a counterpoint with the listener’s memory. This confirms his exceptionally high level of improvisational skill and demonstrates that his improvisational approach relies on the concept of variation previously presented.
While countless variation possibilities exist for a motive to create a melody, coherence does not rest solely on this fact. We must clarify the importance of the character assumed by the melodic line, which also confers coherence to the melody.
According to Ernst Toch,⁷⁹ the melodic line generally behaves according to certain patterns. Even the simplest melodic unit is formed by a sequence of sounds moving in ascending and descending directions. Toch states that what often determines a melody’s quality is a sinuous or wave-like contour, formed as a consequence of this motion. This contour gives life to the melody and is capable of constructing ideas of rest, agitation, and climax.
Furthermore, according to Toch, the melodic line, in its ascending and descending relationship, behaves in a compensatory manner regarding the intervals between notes: that is, a large ascending melodic leap is generally followed by a less extensive descending motion in more conjunct degrees, and vice versa. Schoenberg also provides a version of this concept:
“A well-balanced melody progresses in waves; that is, each elevation is compensated by a depression; it reaches the culminating point, or climax, through a series of smaller culminations, interrupted by retreats. Ascending motions are compensated by conjunct motions in the opposite direction.”⁸⁰
We observe the occurrence of this type of contour in phrase 1 of the solo in question: [Excerpt]
The phrase begins with an ascending stepwise motion and rests on D, then descends abruptly. Due to the excessively sharp descent, the line takes an upward direction again as a response to the previous drop.
In his book, Toch provides numerous examples of another pattern common to phrases: a special type of preparation preceding an ascending leap. According to Toch, this preparation figures as a concentration of energy before the great leap. The leap is followed by a softer descending retreat, in both intervals and rhythms. This is what we can verify in phrase 2, just above. The mordent-like shape indicates the preparation.
Phrase 3 behaves in exactly the same manner, but with a descending contour. [Excerpt]
The preparation, which in this case should supply energy for the leap, becomes overly extended and ultimately takes another direction. Here, the phrase’s energy dissipates like a spinning top losing its force.
In phrase 4, we find the same types of melodic behaviors described earlier. [Excerpt]
In phrase 5:
[Excerpt]
A brief note is warranted regarding a particular interpretive detail. In the second line of the preceding excerpt, a highly distinctive ornamentation by Nailor occurs. These wide leaps are related to an interpretive practice in choro that seeks to imitate two instruments playing together.
We verify that this effect has also been transcribed into pieces of the choro repertoire, for example, in the composition by Pixinguinha and Oswaldo Lacerda entitled Naquele Tempo: [Excerpt]
(The excerpt above is found at the end of the composition’s third part)
In phrase 6:
[Excerpt]
In phrase 7:
[Excerpt]
Therefore, as expected, we observe that Nailor, in constructing his improvised solo, bases himself on the idea of varying the original melody through the manipulation of a primary motive. We also note that his melodic line exhibits a contour that respects the principles describing a high-quality melody. Furthermore, Nailor transfers characteristic interpretive elements from choro into his solo.