Frank Zappa's musical language

Frank Zappa's musical language

A study of the music of Frank Zappa

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Confined to a wheelchair at the beginning of 1972, Zappa returned to the idea of composing jazz music, that had worked out well on "Hot Rats". Meanwhile Flo and Eddie, with no new projects announced for them, left the group and started touring on their own. In the summer of 1972, as a sequel upon "Hot Rats", "Waka/Jawaka" was released first, to be followed by "The Grand Wazoo" at the end of this year. At this time Zappa worked with trained session musicians, who could read sheet music. The members of the band were given a book, being a set of a dozen of scores of the pieces they were expected to play. See fig. E from the booklet that comes along with the 2007 "Wazoo" release by the ZFT. Relatively much handwritten sheet music by Zappa himself from this period is circulating. There are a couple of samples and thumnails from the original scores included in this section and the following two. Apart from that Wolfgang Ludwig has transcribed much of the composed lead melodies from Zappa's jazz music in his study, using them frequently for his analysis.

1. Big swifty

The themes from "Big swifty", their structure and coherence get a lot of attention in the Ludwig study. Here are two points taken from his analysis of "Big swifty" concerning the use of metres and rhythms:

- Changes of metres as well as tempo changes are characteristic of the opening block. Given here are the first two themes that are using a 7/8 and 3/4 alternation. The Ludwig study, pages 92-97, gives an overview of all meters used and an explanation how Zappa could use meters and thematic/motif variations as a way of structuring a song. On top of that you've got tempo changes. The opening bar below is a F#-G movement, belonging to the key of F# Phrygian. The descant of the piano part also begins with a I-II alternation in this key, while the bass points more at E Dorian with the I chord. With the melody ending on E for the first two themes the general key tends more towards E Dorian. The outro part below is also in E Dorian.

Big swifty, opening bars (midi file).
Big swifty, piano part, opening bars (midi file).

Big swifty opening, first two themes of the opening (transcription).
Big swifty, piano part, opening bars (score).

Whereas the CD executions on "Waka/Jawaka" and "Make a jazz noise here" of this song could serve as an example of a melody that's played as a single melody or in parallels, the piano part for this composition shines a different light upon its construction. I only recently encountered it on the net. This piano part hasn't been actually used in any "Big swifty" performance, also not in the two versions on the ZFT releases. It's in Zappa's own handwriting and shows that at least at one point he had a harmonised version of "Big swifty" in mind. It changes the character of this piece significantly, making it move from jazz to modern music. The descant chords, apart from the arpeggios, form a normal 5th chords progressions. The bass chords however add extra notes not within these 5th chords, so the whole becomes a progression of enlarged chords. Most of the time relatively consonant, but in bars 9-10 and 13-14 the juxtaposition of F# and G in the bass make it dissonant. It's a further example that shows that Zappa's original scores often don't correspond one on one with what's on record. They can be different versions by themselves as well. It's also known that Zappa tried out his players to find out what they could maximally do and by doing so he also presented them compositions that crossed the line of what's doable. So there must be sheets with music that never has been performed at all and that could theoretically be premiered today via digital executions.

- During the outchorus a simultaneous use a two different tempi occurs beginning at 13:40. While the drummer keeps beating the tempo from the beginning of the outchorus, followed freely by the bass guitar, the brass holds back at a 2:3 tempo. The two tempi cause some polyrhythmic interaction between the brass and the rhythm section.

Big swifty outchorus, fragment (midi file).

Big swifty outchorus, fragment (transcription).

The transcription above contains two notational variants. In the booklet for the Wazoo tour (see the Wazoo section), Zappa talks about this outchorus as a "sort of a Prom Night orchestration which suspends the opening rhythmic structure over a straight 4/4 accompaniment". He further mentions that for this outchorus a "rhythmically deranged" guitar solo was also made use of, a solo that trumpet player Sal Marquez had transcribed and that should be present on the "Waka/Jawaka" album. So far I haven't been able to figure this out, but the fact that the opening material returns in the outchorus in a different set up is quite obvious.

2. Your mouth

The following examples are more stable in the use of their meters. "Your mouth" is in 12/8 and this example is in C Dorian. See the next section at "For Calvin" for a comparison of the element of improvisation during these two songs. Other than "For Calvin", "Your mouth" has just the melody prescribed, but this melody lasts all through. All instruments are playing freely around this theme. There's no improvisation block in this song.

Your mouth, section (midi file).

Your mouth, section (transcription).

Like "Hot rats", "Waka/Jawaka" and "The grand wazoo" are largely instrumental albums. "Your mouth" has lyrics like a regular popsong. The next track only at the beginning, as does "For Calvin", the only track on "The grand wazoo" with lyrics. During the 1972 fall tour with this jazz band, the lyrics were skipped altogether. A couple of tracks did originally or later on have lyrics, like "Penis dimension", the "New brown clouds" and "The grand wazoo" at the time it was called "Think it over". This shows that the presence of lyrics has little influence upon Zappa's musical writing styles. More about this in the Make a jazz noise here section at "Let's make the water turn black".

3. It just might be a one shot deal - Frog song

"It just might be a one shot deal" consists of three theme blocks with two intermezzi along the way. It structure goes as:

Beginning with most bars transcribed below:
0:00 Theme A. The song begins with a bass vamp of two bars with some improvised harmony over it. The singer begins in swing time 4/4. The key is E Mixolydian.
1:13 Theme B with vocals. The bass plays a melody of its own in G against the sung melody.
1:24 Intermezzo I. The song now continues chromatically as described in the text under the transcriptions of "It just might be a one shot deal" and "Frog song".
Remainder of the song:
1:47 Theme B with guitar solo.
3:18 Intermezzo II.
3:38 Theme C.

It just might be a one shot deal, opening (midi file).
Frog song, fragment (midi file).

It just might be a one shot deal/Frog song, opening (transcription).

Intermezzo I however moves on in a peculiar way. Zappa recorded an early rehearsal on an ordinary cassette tape (mono and dim sound), probably to get an impression of the result that far. The band had been studying the scores and was now playing through the parts with Zappa present in his wheelchair and a guitar on his lap to demonstrate things. They were already able to play the music at a demo level and what Zappa basically does is some extra explanation and sharpening the accuracy of the performance. The Zappa Family Trust has put the tape on CD as "Joe's domage", which includes this piece as the rehearsing of the "Frog song". It's not much of public interest the way it has been brought out. It would have been a lot better to help people follow the process by including the scores that Zappa had handed over in a booklet. Now you get only half of the picture, but it did help me out to get an idea of this intermezzo I (see the transcription for the details with Zappa counting through it). Straight from record and without any clue it's sort of a jigsaw puzzle. The photo to the right shows Zappa sitting in his wheelchair during a rehearsal session in 1972 (source: "Joe's domage" CD cover, copyright ZFT).

The transcription of this section from "But you should ..." onwards is based upon some indications given during a rehearsal session that Zappa put on tape. I'm still not positive about the correctness of the transcription here though. The final version is also not entirely identical to the early rehearsal version. The "Frog song" example above is is how I interpret the rehearsal of this section. The unit of timing as presented by Zappa remains the quarter note (one-two-three...) and the 16th note (be-bop). First the quarter notes are played as triplets. Here the Bb of "But" is strictly within the triplet, above no more. This Bb still falls within the previous meter and eight triplet notes follow in the next bar, notated above via a tempo change to triplet time. Then you get the be-bop figure, which ends with a note lasting 4/4.
Two little changes were made later on. The lyrics went from "... while it's happening" to "... what this might be", thus the D falls out, having one syllable less to play. "... While it's happening" now gets superimposed as spoken text. The second 4/4 appears to have been augmented to 5/4 with free percussion figures starting.

4. Waka/Jawaka

Both "Waka/Jawaka" and "Blessed relief", the closing numbers of the two CDs of this section, can be seen as variation pieces, where themes return several times in different set-ups. These two pieces can also be presented as modulation schemes, both for the written themes as for the soloing. Every couple of bars the bass pedal changes to a different note, causing a change of scale. "Waka/Jawaka" begins with theme I, stated twice in a different form. The theme itself can be seen as made up of two phrases, that can be interpreted as character variations upon each other. Not the whole melody gets varied upon, but some of its characteristics. For instance the rhythm of the first bar of both phrases goes identical. Both phrases lead to a held note at the end. For phrase one it's the highest note, while for phrase two it's the lowest note. The Ludwig study presents the lead melody on page 260 (first statement). The first example below begins with the second statement of the second phrase with the following set-up:
- staff 1: the lead melody played in the form of a series of chords involving three notes. Most chords are triads, but in bar 2 you also have a 7th chord and a stacked fourth.
- staff 2: a high pulsing fourth. Per beat you have three possible appearances of its rhythm, indicated as a, b and c in the example. The following order is consistantly a-b-c, thus by itself more as if in 3/4, while "Waka/Jawaka" is in 4/4 all through.
- staff 3 (bars 1-2) and staff 4 (bars 3-4): another pulsing combination in the same rhythm. Here it's a third, E-G# in bar 1, followed by C#-E in bars 2-4. In bar 4 this third gets interrupted twice by a fourth. As on "Hot rats", overdubbing is used to let a relatively small band sound as a big band.
- staff 3 of bar 3: some more harmonic enrichment, lightly audible in the background.
- staff 4 (bars 1-2) and staff 5 (bars 3-4): a repeated bass figure functions as counterpoint. For phrase 2 this figure is a variation upon the bass figure for phrase 1. The figure for phrase 1 keeps returning during the piece.

Waka/Jawaka, theme I - trumpet solo, transition (midi file).
Waka/Jawaka, guitar solo, opening (midi file).

Waka/Jawaka, theme I - trumpet solo, transition (transcription).
Waka/Jawaka, guitar solo, opening (transcription).

The general construction and the modulation scheme of "Waka/Jawaka" go as:
0:00-0:51: Theme I in A Lydian as described above. This theme is immediately followed by a long period of soloing, thus it takes while before we get back at another composed section.
0:51-1:41: Trumpet solo. The three pedal notes for the solos are F, A and G. Every couple of bars they alternate with each other. The scale used over these pedal notes is of the major type, rather than one specific scale. Mostly the Lydian scale from theme I returns, but players can also chose for major or Mixolydian. It can also happen that two scales happen simultaneously. As already mentioned above this is a returning feature in Zappa's music. One that complicates the analysis of his music. It's standard to identify scales, but Zappa's attitude towards scales is ambiguous. Frequently one is forced to listen to all individual notes, chords and bass line included, to be positive what scale the music is using during a specific period. Sal Marquez begins his trumpet solo in F major, as you can see and hear in the first example.
1:41-4:43: Keyboard solo. On one occasion you have F# as a pedal note in combination with a minor type of scale (2:47-2:57). In this context this F# can best be interpreted as a pedal substitution for A.
4:43-6:31: Guitar solo. This solo begins with Zappa chosing for A Mixolydian (bars 1-4 of the second example), followed by two bars in G Mixolydian. Next the band returns to the A Lydian key from theme I. This is first indicated by Don Preston on keyboards, who is alternating the E and G#m chords. At 5:22 the solo briefly turns over to A Dorian, first indicated by the Am chord by the accompanying guitar.
6:31-6:44: Theme II, in A Lydian for its first statement.
6:44-7:22: Theme III, made up of two phrases (in F and A Lydian respectivily). The first phrase is a single upwards moving melody, leading to phrase two at 7:12.
7:22-8:04: Drum solo.
8:04-9:07: Theme I returns.
9:07-9:19: Theme II, transposed down a major third. The pedal note switches from A to D, causing the scale to become D Dorian.

Waka/Jawaka, theme III, end (midi file).
Waka/Jawaka, theme IV, fragment (midi file).

Waka/Jawaka, theme III, end (transcription).
Waka/Jawaka, theme IV, fragment (transcription).

9:19-9:45: Theme IV. This theme is made up of two phrases that get repeated. The melody follows two different diatonic scales. The bass plays a D-E alternation during the first phrase and a D-C alternation during the second. In both cases the D is a chromatic note in relation to the scale of the melody and the harmony. Thus this D can better be taken as a passing-through note for the second bass note. It sets the key to E major for the first phrase and C Locrian for the second. The latter scale is an obscurity, in music in general and in Zappa's music as well. The accompanying chord progression is II-V and VI-V respectivily.
9:45-10:35: Theme II returns once more, now over a I-VII alternation in D Dorian.
10:35-11:19: Theme V in D major.

Waka/Jawaka, theme V, opening (midi file).

Waka/Jawaka, theme V, opening (transcription).

The third "Waka/Jawaka" example presents part of theme three. It contains the last two bars of its first phrase, an irregular upwards moving melody, leading to the sound blast of its second phrase (bars 3-6 of the example). Again Zappa is using overdubbing to let a smaller band sound as a big one. Over an improvised bass line you have two prescribed brass chord progressions, completed with a third melody for keyboard/guitar in staff 3. In staff 1 you mosty encounter the II, I and VI chords. Staff 2 is mostly a VI-I 7th alternation. The bars keep varying their rhythm, so the total sounding combination of notes keeps varying as well. Another example of Zappa using a scale as a harmonic field: all combinations of the seven scale-notes can turn up.
"Waka/Jawaka" ends in D major with the bass playing I-V-I-IV over a period of two bars, a variant upon a traditional cadence, fading out (the last example above). Again you have some ambiguity about the scale, because the C chord during beats 3-4 in bar 1 belongs to D Mixolydian, but for all other instances it's C sharp. Yet again Zappa is using a pulsing accompanying chord. This time it's rhythm is without a specific pattern, as there was during the first example. The notes of the chord aren't constant. It's D-add2 for bar 1 and beats 3-4 of bar 2. During beats 1-2 of the second bar it's Dsus4-add2.

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