I tralci e la vite

Feb 22, 2022 | PDF, Rhythm of Light

The Shoots and the Vine – Analysis

This piece has a solo harmonica introduction, which hints at the notes of the theme in a romantic tone. Exploiting the instrument’s various registers, it adds color to the introduction, before handing over to the alto sax for the theme. The drums start at letter A, using mixed beaters (a stick for the ride cymbal and a brush for the “shuffle” on the snare).

The initial exposition has an even eighths accompaniment, whilst the second part moves delicately to a swing rhythm (letter C).

The alto sax has the first solo (letter D), and begins with a relaxed even eighths accompaniment, before continuing over a 3/4 samba beat in double time (letter E).

At letter F the rhythm section abandons double time, and returns to marking the three quarter notes with a swing rhythm.

A new section begins at letter G, with the tempo changing from 92 to 132 quarter notes per minute.

The new beat sees the drums and the rest of the band trading 2s, before arriving at a section with a very energetic groove, with an unusual meter: a merengue in 3/4 (letter I). Here the drums have a very percussive role, and, together with the rhythm of the congas, they give a lot of momentum to the groove. The sound of the hi-hat recalls the rhythm of the guiro, which plays a 2 against 3 rhythmic cycle.

A trombone solo is followed by a piano solo, which falls into a more ethereal, even eighths atmosphere. As the piece builds gradually to its climax, the rhythm section enters with a background that turns into a double time samba (letters J & K). This ends at letter L, where a funk feeling takes the arrangement into a section where the different horn voices have an interesting layered effect. Initially the groove is in linear time, but later on it implodes into Latin (like a 3/4 songo, letters O & P).

The drums play eight transitional measures (four measures with a Latin mood and the remaining four measures with a swing feel, letter Q). The theme returns for 16 measures at letters R and S before the piece’s coda, played on a rhythmic wave comprising three 3/4 measures and one in 4/4 with a broken time feel (letter V). There is a soprano sax solo from letter V to letter X. At letter Y the drums interrupt with fills, before ending the composition with a brief ad lib on the last two fermatas.