ANATOMY OF AN IMPROVISER: THE STYLE OF NAILOR AZEVEDO “PROVETA
Manuel Silveira Falleiros
2.2.2 Transcription and Analysis of the Solo in A Lenda do Abaeté
In this improvisation, as a strategy to create coherence and fluency in the musical discourse, we will observe the use of a compositional resource: motivic repetition that evokes a question-and-answer structure. This particular mode of thematic development can actually be understood as a relationship between antecedent and consequent:
The antecedent constitutes the first half of a classical thematic period. If the period spans four measures, the first two form the antecedent; if it spans eight, the first four do. The antecedent itself is divided into two parts. In the first, the original theme (or motive) is presented. In the second, the theme (or motive) from the first part is repeated, enriched with variant rhythmic and melodic elements that function as the embryonic variation for the consequent.
The antecedent may also be constructed through the presentation of the theme and its transposed repetition.⁸¹
Clearly, this definition pertains to more classical compositional structures. To apply it here, we must adapt it by relaxing the rules, bearing in mind that improvisation lacks the advantage of prior preparation and revision that composition affords.
Nevertheless, we can observe similar thematic groupings in pairs, often differentiated by transposition and rhythmic alteration. The motivic material is not always faithfully repeated, nor is transposition applied uniformly across all notes. This occurs because strict transposition and exact repetition tend to generate monotony in a solo; moreover, effective improvisation is characterized by a living melody that continuously adapts to the other musical elements present.
Below is the transcription of the solo in its complete version.
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In the first phrase of the solo, we can verify this type of procedure, created with the idea of antecedent (a) and consequent (b) as cited above:
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In the figure above, which shows the opening measures of the solo, we note that the reappearance (b) of the motive (a) is significantly transformed through rhythmic alteration and transposition, yet (b) still maintains a clear relationship with the initial motive (a).
The second excerpt below, spanning from the end of measure 10 onward, capitalizes on the phrase’s conclusion by presenting a short extension in varied form (b) that serves as a connective bridge to the following phrase. This type of resource—repurposing material from the end of one phrase to initiate the next, with the aim of strengthening inter-phrasal coherence—will be discussed further below.
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Thus, it is also structured in this manner:
Driven by the harmonic demands, an almost timbral coloration is created here: when passing through G♯ at the end of measure 12, and then at the end of measure 13 this G becomes natural, we are led to an effect of contrast between brilliance and opacity. The end of the phrase, with the appearance of longer note values, contributes to a fading effect, particularly if we consider the more prominent emergence of D at the end of measure 14 and beyond. On the saxophone, D is characteristically one of the notes with a comparatively more muted timbre. It is believed that this contributes to the effect because the instrument possesses an alternate fingering that corrects this timbral discrepancy; however, at this moment, Nailor deliberately does not employ it.
The excerpt below refers to measures 18 and 19:
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Above, we observe transposition and rhythmic anticipation (by a sixteenth note) as variation processes.
In the excerpt below, referring to measures 22 and 23, we note the variation in (b) through transposition:
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What we observe next in the solo is a technique frequently employed by improvisers seeking to generate tension and drive toward a climax: the repetition of small note groupings.
In this case, the effect is achieved through the increased frequency of D, as indicated by the graph directly below the staff. The phrase ends firmly and abruptly, without a conclusive character.
The excerpt below, spanning measures 29 to 32, presents a connection between motives (a) and (b) that is essentially scalar, serving as an ornamental bridge for the melodic leap between the end of (a) and the beginning of (b).
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The excerpt selected below does not strictly align with what has been presented thus far. However, we reference it for its ingenuity and its role in initiating the construction of the solo’s main climax. The motive, which appears in measure 34, is precisely a fragment played one measure earlier by the pianist. That is to say: Nailor seized upon a melodic fragment emerging in the piano accompaniment and repurposed it as a motivic cell to construct the climax of his solo.
Here, the intended effect is to superimpose an alternative rhythmic pulse over the one that had been established as the standard throughout the piece, which is more closely tied to the metric bar lines. This type of resource is widely used by improvisers in various ways; its effect is to create variety within a constant pulse.
Below is the excerpt of the solo’s main climax (3):
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Excerpt 1 can be considered a preparatory warm-up for the more agitated melodic motion of excerpt 2. According to Ernst Toch, melodies may exhibit this type of behavior: short, repetitive intervals followed by an independent motive. “[…] a preparatory figure comparable to the motion one makes when preparing to throw (something) […] or to leap.”⁸² Excerpt 3 presents an ascending motion initiated by short notes; as the line ascends toward the upper register, these notes become progressively longer and more legato. Following the climax, the melody (excerpt 4) moves toward dissolution through descending figures that gradually fragment and separate.
Generally, particularly in the excerpts presented earlier, the strategy for maintaining coherence between phrases is to repurpose the ending of one phrase as the motive for the next. In this way, distinct motives can share a common melodic segment.
We note that at the end of (b), the semitone passage repeats as the beginning of the next phrase, illustrating the resource mentioned above. The excerpt refers to the opening measures of the solo.
Below, we have another example of this technique:
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However, in this case, the fragment is not utilized in its entirety; only its first two notes (D and D♯) are employed to create the connection.
From measure 55 onward, we observe the repurposing of the phrase’s ending to construct a descending pattern that leads toward the solo’s conclusion. This pattern consists of an ascending third leap, followed by a descending fourth leap, and finally a descending second. Although it follows the same melodic contour, the pattern is not strictly faithful to the intervals at all times, as we can observe at the end of the third measure (57) in the excerpt below, where we find a fourth leap (C–F) instead of a third:
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Therefore, we have demonstrated the types of strategies Nailor employs to impart coherence and vitality to his improvised melodies. Some of them resemble compositional ideas, while others are well-established techniques in the improviser’s repertoire. Through this, we confirm that Nailor draws upon and adapts models originating from diverse areas of musical knowledge.