Frank Zappa's musical language

Frank Zappa's musical language

A study of the music of Frank Zappa

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ABSOLUTELY FREE: COMPLEXITIES

1. Plastic people

More than on his debut album Zappa could show his composing skills on the second album "Absolutely Free". Here we get to what Zappa would do quite often in his music, namely changing themes, meters and tempi within a song. Next are various examples. The first is "Plastic people", that exists in two versions. On stage he usually used Richard Berry's "Louie Louie" for the music with his own lyrics sung over it (see "Plastic people" and "Ruthy Ruthy" on YCDTOSA Vol. I, as well as on "The mystery disc"). "Louie Louie" is something everybody can follow, also when you don't know the original, because anyone recognizes the I-IV-V progression (in Mixolydian). He included it in his concert playlist for ten years. For the "Absolutely free" album version of 1967 however, he wrote his own music. The "Louie Louie" progression only gets quoted once right at the beginning. In the two sections below we have meter and tempo changes as well as four themes (my midi editor can't do tempo changes, other than by tricks; here I had to cut the example in two sections).

Plastic people, section #1 (midi file).
Plastic people, section #2 (midi file).

Plastic people (transcription).

The transcribed section contains:
- bars 1-8: main theme 4/4 in G Mixolydian. The chord progression is either I-VII or I-IV-VII.
- bars 9-12: intermediary theme in a slower tempo. The scales start to change, but there are no clear key notes in these bars. The progression in rock terms is B-C-Am, followed by F-Em-C or Am7 if you want to include the A by the bass for the last chord.
- bars 13-16: the song now continues instrumentally. The key becomes D Mixolydian. The meter changes to 6/8, lasting just as long as the previous 4/4, thus a tempo change via a fixed relation. You could also still notate it in 4/4 with triplets all the time.
- bars 17-21: this instrumental interlude now continues with a progression in parallel octaves. It's still in D Mixolydian, using both 9/8 and 6/8 as a meter.
- bars 22 etc.: return to the main theme in the original tempo.

2-4. The duke of prunes - Amnesia vivace

The origins of "The duke of prunes" lie in the "Run home, slow" movie. I'm dealing with this song in the Orchestra favorites section. Zappa would once more return to this composition in 1975. Examples from all three versions are present. On "Absolutely free" the theme from "The duke of prunes" gets played twice, with "Amnesia vivace" as an interlude between these two executions. The return of the theme as track 4 gets called "The duke of prunes regains his chops", to be more precise. The version on "Absolutely free" is the only one with lyrics.

5. Call any vegetable

Zappa would include a live version of "Call any vegetable" in his "Just another band from L.A." album from 1971. The opening of this song is included in the corresponding section of my study. The 1971 version has extra themes to it. It does include a solo, but not as extensively as on "Absolutely free", where the following track can be seen as the solo belonging to it.

6. Invocation & ritual dance of the young pumpkin

The "Invocation & ritual dance of the young pumpkin" is a quite long instrumental interlude, played between two sung movements from the "Call any vegetable" sequence on "Absolutely free". The interlude starts with an easily recognizable example of a melody applying changing tempos and metres:
- Bar 1: tempo I in 4/4. The key is C# Dorian with the accompanying chord progression I-IV-III-IV. The bass gives a C# pedal, while the flute moves over the chords via triplets.
- Bars 5-22: a single melody in 3/4 and 2/4 (a quote from "Jupiter" from "The planets" by Gustav Holst). It starts slowly in tempo II and keeps accelerating all through.
- Bars 23 etc.: tempo III in 4/4. The key has become E Dorian.
At this point - where the third tempo remains stable as tempo III - a vamp begins with the guitar first playing a chord progression for four bars and next soloing. After a while the flute quits vamping and starts soloing as well, thus forming a duet with the guitar.

Invocation & ritual dance of the young pumpkin, opening (midi file).

Invocation & ritual dance of the young pumpkin, opening (transcription).

Zappa would seldom play such duets again. The ones with Jean-Luc Ponty and his son Dweezil are the best known other examples. The interlude would be played similarly on the "Freaks and motherfu*#@%!" bootleg from 1970 (see the Fillmore East 1970 section for "solo from Call any vegetable"). The official live version from 1971 on "Just another band from L.A." has a short instrumental interlude, using a different melody and vamp, though the idea of an acceleration returns. During 1970-1 Zappa used just the single "Call any vegetable" title for covering the whole, instead of the sequence of three songs.

7. Soft sell conclusion

Like "The duke of prunes", "Call any vegetable" appears on "Absoluty free" in the shape of a little sequence of three tracks. The later live versions from 1970-71 would list this sequence as just one track. With "Soft sell conclusion" some of the material from "Call any vegetable" returns as a coda for this sequence.

8-9. Big leg Emma - Why don'tcha do me right

These two titles were orginally released as a single in 1967 and got included in the CD re-release of "Absoluty free" as bonus tracks. "Big leg Emma" is a tradional blues song, that Zappa first released on his "Zappa in New York" album from 1977. I'm briefly indicating the blues pattern in my Bongo fury section. "Why don'tcha do me right" is a third version of this song. I'm describing all three versions of this title in the Paul Buff section.

10. America drinks

"America drinks" and "America drinks and goes home" are variations upon each other. The notes of the main melody are mostly the same, but the rhythmic set up is quite different. The first one is very irregular with many syncopic phrases. What's confusing listening to it, is the deliberate inequality between the parts regarding their timing. When it's done emphatically I also show it in the transcription (like bar 1, the difference between the bass and the singers, or bar 8-9, the difference between the two singers). But there are also minor inequalities at various points where this isn't notated specifically. It's utterly bizarre to perform a song in this manner. The melody itself is rather complicated. Bars 1-7 contain an entirely chromatic movement. The chord progression is Gm-Gb-F. From bar 8 onwards you can recognize parts of changing scales without clear key notes. The bass mostly supports the melody, but in bars as numbers 15-16 it's going its own way.
In "America drinks and goes home" the rhythm is more normalised towards swing time (the score of this version is included in the FZ Songbook Vol. I). It's remindful of cocktail lounge bars, with a singer and a little jazz combo. The singer is addressing himself to individual members in the audience that he knows personally. There's the talking of the people in the bar and the sound of a cash register all through this song. As it comes to the title and the atmosphere this song can be considered to be social criticism upon the habit of people to get drunk in the evening. Zappa himself played a couple of months in a lounge band - as the guitar player of Joe Perrino and the mellotones in 1961 - and came to hate it. Regarding the music it's more taking lounge music a step further than a parody upon it.

America drinks, opening (midi file).
America drinks, 1:19 through 1:29 (midi file).

America drinks, opening (transcription).
America drinks, 1:19 through 1:29 (transcription).

Art TrippAt point 1:19 of "America drinks" this song jumps overnight into a section of Vaudeville music, in all probability played at double speed on record. It's an example of polyrhythms. The first theme is in 4/8, the second one in 3/4. Through both meters the bass is playing a repeated figure in 8/8, subdivided as 3/8 plus 5/8 (as indicated in the transcription). The bass is immediately starting this figure during the pick up notes of the lead melody. It needs a good sense of timing with only the ticking of the eighth notes by the drums to keep everything equal.
Doing such polyrhythms became part of the routines the Mothers did during improvisations. Zappa would direct such improvisations via special hand indications. He would do the normal baton type conducting, but the Mothers had also developed a set of hand symbols for specific purposes. An easy one to understand for the public was pointing a finger up to hit a high note and a fist drawn down to play a low note. For the polyrhythms Zappa would for instance hold five fingers up pushing it forward two times to indicate to someone to play in 5/8 in this tempo (as One-two, One-two-three). To the right Art Tripp indicating 5/8 as Zappa would do it, taken from the Frank Zappa and the Mothers of Invention in the 1960s DVD (Sexy Intellectual Productions, 2008). See 1h:23m through 1h:26m on this DVD for this topic. Someone else could be playing in 4/4 at the same time, thus you can create something as what's going on during the second half of "Toad of the short forest" on "Weasels ripped my flesh", where Zappa is explaining to the audience in what meters the various band members are playing.

11. Status back baby

All through his career Zappa had a collection of unreleased compositions in stock, that could stay there for years before being released on albums. Some songs only got released postumely via ZFT releases. "Status back baby" was originally intended for the "I was a teen-age maltshop" opera. I'm dealing with the two available versions of this title in the Mystery disc-Projects section. They have the same lead melody, but the manner the accompaniment is handled, goes pretty differently.

12-13. Uncle Bernie's farm - Son of Suzy Creamcheese

"Uncle Bernie's farm" and "Son of Suzy Creamcheese" are the two more accessible songs from "Absolutely free". "Uncle Bernie's farm" has two repeated themes and two side-themes, next to a small intro. The repeated ones are in A Dorian and D Mixolydian. The score of "Son of Suzy Creamcheese" can be found in the "Frank Zappa Songbook vol. I", pages 65-68. This song also has a regular two-themes structure, each theme being repeated a couple of times (no side-themes this time). Both themes are brief, causing the song to be short too. The sample from below is the second theme with one bar in 4/4, followed by another one in 9/8.

Son of Suzy Creamcheese, theme two (score).

Harmonically this piece is written as a chord progression with the bass being part of these chords, thus without pedal notes. Theme one begins suggesting A Mixolydian. Theme two ends more clearly in E minor with a classical type of coda: IV-V-I. The song ends with an instrumental variation upon this theme two with the 9/8 bar being split up into three augmenting bars, 4/8 + 5/8 + 6/8. It's followed by a final bar with only a chord, functioning as a desceptive cadence. It's an Asus2 chord. Instead of confirming the E minor tail from theme two once more, it jumps back to the A Mixolydian tonality of theme one.

14. Brown shoes don't make it

"Brown shoes don't make it" has become a classical Zappa song, because it's such an elaborate example of Zappa's habit to bring different styles together in one song. The song has a multitude of themes, which are played after each other in a medley-like way, where the changes from one theme to another are abrupt, but without losing an overall structural idea. Most sections use various scales, but without a clear use of keynotes. "Brown shoes don't make it" has appeared on CD in two versions: the original studio recording and a life version, which has appeared on "Tinsel Town Rebellion". The latter was released in 1981, but this version for stage performance must have been in use much longer, because it's the version that Ian Underwood has transcribed in "The Frank Zappa Songbook vol. I" of 1973. The differences between the two versions are mostly in the instrumental passages.

General structure with starting time indication:

a) 0:00. Opening with a rock 'n roll riff in F sharp Dorian with the chord progression I 7th - IV 5th.

Brown shoes don't make it, opening (midi file).

Brown shoes don't make it, riff (notes).

b) 0:20. The riff changes overnight into a section with straight rhythms in a 4/4 movement. It starts with a sequence that is chromatically repeated instead of within a key. Thus the key changes with every bar using a different scale (the 5 bars "tv dinner by the pool" till "he's a bummer"). The scales, when taken as major, are in following order C, D flat, C, B flat and A. With "smile at every ugly..." we get to one of the tempo changes in the song.

Brown shoes don't make it, opening melody (notes).

c) 0:52. Back to the rock 'n roll riff.

d) 1:22. Section with straight rhythms in a 3/4 movement. The scales keep changing and in three bars the melody gets atonal ("On a rug ... and drool").

e) 2:07. This section is followed by a larger atonal intermezzo. The references to modern music on "Absolutely Free" have often been mentioned, most notably a quotation of one of the opening motifs from Stravinsky's "Petrushka", that can be heard in the middle of "Status Back Baby". This part is a reference to serialism with the twelve-note string of the "Waltz for guitar" from the Zappa's teens section being re-used. In this case it's not a strict 12-note piece anymore however, because the string is used with a lot of liberty and additional notes. Below is an example of the re-use of this string. In the Songbook it's notated a minor second higher than in the "Waltz for guitar" and the first "Absolutely free" recording.

Brown shoes don't make it, opening of the atonal intermezzo (midi file).

Brown shoes don't make it, fragment (notes).

(In the first edition of this study, the "Waltz for guitar" example wasn't included nor had I noticed the similarity. I gave some examples of the returning C, F sharp, C sharp plus D, and A flat movement, which turns out to be 9-12 and 1 of the string).

f) 3:03. After the intermezzo starts a block with themes in various swinging rhythms.

g) 6:06. Back to the straight rhythm in a 4/4 movement. The bars "tv dinner by the pool, I'm so glad I finished school" are repeated, indicating the coming closure of the song.

h) 6:45. Instrumental coda.

Zappa often liked to bring changes in a sudden way, not only during a song but also from one song to another, where instead of the usual fading out or playing of a closing chord at the end of a song, he just cut it off and let the next song begin without any pause between the songs. For the song's instrumentation Zappa uses different groups of amplified and acoustical instruments. He called this combination of instruments his electronically amplified orchestra. He continued to do so in his career, the band including at least six members and sometimes more than ten. These bands are using various combinations of amplified and acoustical instruments, differing from time to time. Next to a drummer the band almost always included a percussionist. The latter not only for additional rhythm, but also with an explicit role for playing melodies.

15. America drinks and goes home

The score of "America drinks and goes home" can be found in the "Frank Zappa Songbook vol. I", pages 62-63. It's a variation upon track 10, that I've described above. Zappa himself has referred to this song as using the II-V-I progression, a progression he claimed to dislike. Only very roughly this progression can be recognized. The song modulates all the time and it can only be interpreted as II-V-I when you're allowed to skip chords or add different chords, at least in the piano reduction from the Songbook. In the Real Frank Zappa book he calls this progression a hateful rule from harmony classes. Personally I think Zappa is both being unfair to the quality of his own song as to the intentions of (traditional) harmony. See also "Babette" from the YCDTOSA section. That one is a simple love song, that one might try to explain away as a parody. But there's a large number of easy going love songs in Zappa's catalogue, by himself or as covers. In my opinion too many to call these parodies.

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