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SnaKe Rag 2
SnaKe Rag 2
only a single chord line which outlines the basic harmonies. Here,
line would show whether Oliver and his musicians were able to handle
;,1'
inverted chords or whether they were content with simple root basses.
ensemble yet attempted. For this transcription, Pyke used the Genett
PART 1
Structural
g)
division
Intro ('A') 'A 1 ":S" x2 (last B bars • A'
of 'A')
Instrumentation Tuttiltrps·ltrb trb. Tutultrb.l'Tuttii tr'Os.r trb. Tuttil trns.1 tr'o.
1 1 r 1
1 1 1 1 1 1 1 r
Number of 4 [ 2 1 2 12 1 2 , 2
moasures 6 :2: 41212 12 1 2 1 2
1 1 1 1 l , 1 • 1
1 1 l , 1 1 1 • _____ r __ _
____ JL
Key F:_I-_____ l ___ _ ______l _____ L___ _ ______ ____ _____ __
PART II
Structural "A 1 , 'A 2, 1 'A 2, 1 'A 2,
division 'A • f Il 'A , Il Tag
Number of 14 ,
14' 1 2 16 14 1 2 16 2 16 Il 2
measures
Key
•
Bb: _________ -L _____________ ______ •1______ L ______ -U _____ _____ ______ _______
,
Q ,.-
90
of "Snake Rag", are the two measure trumpet duets occurring in the
the break measures appear. Evident1y, these breaks are the melody
chosen for the Okeh recording, .Oliver was able to have the band
! The trumpet duet breaks ln Part II of the Okeh version difter great1y
t
i
(
-, 16
1 Included on the tape recordinff which this thesis.
-
91
,.. , from those recorded for Genett., The fol10wing example il1ustrates
....-
the difference between the breaks in the two versions of "Snake Rag."
b
Ex., 31. Solo and duet breaks from two
versions: of "Snake Rag .. "
A = Genett version: B = Okeh version
-=-g
au 1E! lit1 JJID 1JP4<;
::!:-...
!(
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92
a musical rapport such as this rarely exists even in the most inti-
mate "classical" chamber music. Very few musicians have ever been
18
able to achieve the unit y evidenced by these performances.
in detail the styles and interplay of each of the "front line" (lead)
more or less the same notes for each repetition of the main themes.
The trumpets play the melody in thirds, the clarinet " noodles" over
the lead, and the trombone outlines the basic triads, occasiona11y
take place. Oliver and Armstrong play more inde pendent lines than
. they did in Part l, the latter crossing his teacher' s lines to sound
1 as the leader of the ensemble •. In Part II, the c1artnetist suddenly
i' p1ays in a-. more 1inear. fashion than was CO!D!Don for jazz musicians
1
1 of the time. From measure 57 to measure 82, the trombonist p1ays
a triadic ostinato,
j j
t.' similar that only very experienced critics are able to distinguish
"
20
which parts are actually by Oliver anè which are by Armstrong.
c.
Many other excellent New Orleans bands, both Negro and
21
recorded duringthe mid 19205. Since, however, Oliver's music
,
1 21
Due to the appearance of two anthologies of early New
Orleans bands, the jazz scholar has an excellent opportunity to
hear lesser known organizations. The arthologies are: The Sound
of New Orleans, Columbia (record No. C3L30) and New Orleans Jazz:
1
!
The 'Twenties, Po1kways (record No. RBF 203). See a150: Samuel 5.
Charters, Jazz New Orleans An Index to the Negro Musicians
f
1 or Nev Orleans, revised edition (Hew York, 1963).
! (
178
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