ss

contains. In Part II of his thesis, Pyke transcribed all of. the

born (wind instrument) parts. This was not easy, since the

sound of most early acoustic recordings is so "low-fi". The entire

rhythm section however, is represented in his transcriptions by

only a single chord line which outlines the basic harmonies. Here,

Pyke should have. included the bass Hne, aince as in "classical"

music, its function is very important. Inclusion of the bass line

would show at a glance whether the trombonist merely doubles the

bass, and whether the bass instrument functions as a melodic, harmonie

or rhythmic member of the ensemble. Also, inclusion of the bass

line would show whether Oliver and his musicians were able to handle
;,1'
inverted chords or whether they were content with simple root basses.

1 have included Pyke's transcription of "Snake Rag" in this

l3
paper not only to illustrate other elements of New Orleans jazz, but
·,'1
as an example of one of the most complete transcriptions of a jazz

ensemble yet attempted. For this transcription, Pyke used the Genett

version which was recorded in Richmond, Indiana, on April 6, 1923.

The overall formal design of the piece, as recorded in this

14"
version, resembles that ot some ragtime compositions. The following

example illustrates the main outlines ot "Snake Rai'.15

13The complete transcription appears in Appendix 1.

14
Included on the tape recording vhich accompanies this thesis.

error of analysis in this transcrintion

(: ls that he failed to realize that in oeasure 57, a nev part begins
ln the key or Db major, not a "bridge" as he has indicated in the
score.
 a.
Ex. 31. Formal division of "Snake Rag" - Genett version

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

. Instrumentation Tutti 1 clar.

, (trb. ost1nato):
Tutti
1
Tutti
,,
Tuttil trops. 1 Tutti Il Tutti

Number of 14 ,
14' 1 2 16 14 1 2 16 2 16 Il 2
measures

Key
•
Bb: _________ -L _____________ ______ •1______ L ______ -U _____ _____ ______ _______

,
Q ,.-
 90

Among the most remarkable moments in Oliver's performance

of "Snake Rag", are the two measure trumpet duets occurring in the

breaks of the tune. In Part l, Oliver and Armstrong play descending

chromatic scales harmonized at the interval of a fourth, each time

the break measures appear. Evident1y, these breaks are the melody

-notes which Oliver "wrote" into his composition. In Part II however,

î
1
l
1
the trumpet breaks are very different - meaning that they were worked i
out before hand or improvised.at the moment. ,1
1
As in the case of "Mabe1's Dream ll
, Oliver made more than !
1

one recording of "Snake Rag". This second version was recorded by

1
16 -.i
Okeh in Chicago on June 22, 1923.. Except for a new banjoist, i
1
Bud Scott (1890-1949\ the personnel of the band remained the same.
1
However, there are some striking differences between this and the j
ear1ier version recorded for Genett. Since a brighter tempo was

chosen for the Okeh recording, .Oliver was able to have the band

repeat section B ot Part 1 and add another 16 measure chorus to

t Part II. While detai1s of the ensemble's performance differ, the
t trumpet and trombone breaks in Part 1 are identical in both versions.
1 Hovever, the breaks in Part II of the Okeh version differ consider-
11
1 ab1y trom those in the Specifica1ly, in the Okeh

version, Johnny Dodds, the c1arinetist, p1ays an arppegiated solo

1 break in contrast to the sustalned note held on the prevlous recording.

! 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<;
::!:-...

The duets recorded for OHeh are more comp1ex rhythmlcally,

and contain more blue;notes than the earlier improvisations. Again,
one must the question: were these breaks worked out before
the performance or vere they improvised at the moment? In an undocu-
mented interviev published in Hear Me Talkin' To Ya, Armstrong
reveals the mystery of performing the trumpet duets by recalling that

When 1 joined the band on second trumpet 1 made

the seventh member. Those vere some thrill1ng days
!
j of my lire that 1 shall never forget. 1 came to work
i the next night. Dur1ng my first night on the job,
.! vhile th1ngs vere going down: irr order, King and 1
1
!, stumbled upon: a little something that no tvo other
trumpeters together ever thought of. While the band
vas just swinging, the King vould lean over to me,
mov1ng his valves on hi's trumpet, make notes, the
1 Dotes that he vas going to make vhen the break in the
1
t tune came. Iid listen, and at the same tiae, Iid be
i figuring my second to his lead. the break

!(
1
[
i
!
1

1
 92

would come, l'd have my part blend right along vith

his. The crowd would go mad over it!17

Judging from the results of the breaks on these recordings,

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.

Pyke's transcription of "Snake Rag" enables one to study

in detail the styles and interplay of each of the "front line" (lead)

instruments. Part 1 is AlI of the instruments play

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

moving in stepwise motion. In Part II, some interesting changes

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,

17Nat Shapiro and Nat Hentoff, Hear Me Ta1kin' to Ta (New

York, 1955), p. 104. This book is an excellent source of comments
by jazz musicians on their music. However, none of the excerpts are
documented as to the original source.

1BAmong other famous pairs in jazz are: Bix BiederbecKe

1931) and Frank Trumbauer (1910-1956); Charlie Parker (1920-1955)
and Dizzy Gillespie (1917), J. J. Johnson (1924) and Kai Yinding (1922);
Omette Coleman (1930) and Don Cherry (1936).
 93
(. Ex. 32. Trombone ostinato from "Snake Rag."
" ','
....
\ \, '

j j

which contributes to the cohesiveness of the performance. 19

Due to othe rich contrapuntal interplay and the inferior

accoustical recording process used for Oliver's band, it is difficult

to assess Armstrong's contributions in but tae most obvious

circumstances. The styles and tones of both trumpeters were so

t.' similar that only very experienced critics are able to distinguish
"
20
which parts are actually by Oliver anè which are by Armstrong.

As shown in the transcriptions by Schuller and Pyke, and

as evidencedOby analysis of other recordings, Oliver and Armstrong

greatly exceed the improvisational variety produced by the other

musicians. However, since these recordings represent a group effort,

an exceedingly individual contribution by any of the other members

would have been out of place here.

. 19The playso "vamp" or "riff" in both

versions of "Snake Rag," indicatinp. that certain portions
of thls tune vere set or "arranged" vhile others vere
lmprovised.

. 20See Martin Williams, King Oliver (London, 1960), p. 52,

"An Interim Note on Oliverts Playing."
 94

c.
Many other excellent New Orleans bands, both Negro and
21
recorded duringthe mid 19205. Since, however, Oliver's music

representsthe height of the c1assic New Orleans style, 1 have chosen

to draw only from recorded examples of the Creole Jazz' Band to

il1ustrate the various aspects of this style.

,
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

SNAKE MG KING OLIVER

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