Jann Rutherford is still one of the most distinctive voices in Australian jazz.

Born in Dundin New Zealand in 1964, jann rutherford started learning the piano from the age of three. she studied classical music extstensively until 1984, and then gained a diploma in executant music from wellington polytechnic, majoring in jazz. Jann moved to sydney in 1989, and played in many different ensemble settings but also played fantastic solo. she died of cancer in 2003. Her main inuences from the classical world were bach and bartok she particularly liked bartok for his although his music was usually tonal he would rarely use the diatonic chords and scales. and from the jazz world bill evans. Bill evans music fused elements from jazz and classical music from the romantic period, his music showed a creative mastery of harmony and rhythm.

Pitch
the pitch material, especially in relatio Melody

 its in D major there are two melodies one separate melody for each section the different melodies help highlight when there is a change in the form. A at bar 9 the melody outlines a d major triad, expanding to the d octave, phrase 2 (bars 14-16) descending from g to the tonic, but modulates to b minor. bars 17-20 same as bars 1-4 but reharmonised. bars 21-24 same outline as bars 13-16 but this time into a perfect cadence to tonic. the range in this section is a high d in bar 19 to a middle c in bar 23, although in the chart i gave you, in bars 16 there are notes lower then the middle c, it is not part of the melody and is more of a embellishment on the 2 5 1 too G. the phrase lengths in section A are regular and symmetrical, you can see through the entire A section the phrase are grouped over four bars evenly, there are 4 phrases the phrases in section A do contain questions and answers, the rst phrase which is bars 9-12 is the question then the next phrase is the answer, the rst melodic phrase returns again, and then there is a different answer from the answer we heard before. for the answers the phrase are at slightly lower register, this creates an interesting contrast there is one sequential idea in the A section, in the musical cell idea at the the end of bar 9 and the beginning of bar 10 is found a tone up in bars 13 and 14. it is exactly the same rhythm value as well. the melody moves in conjunction which means steps (example of this is bar 9, but then will move in disconjunction (which means in leaps). For example look at into and arpegio which is built up in thirds (bar 10 there is a d arpegio) or a fourth. this makes the shape of the melody quite jagged B the question and answer is back in this section which creates a sense of unity throughout the piece. the question and the response are now in half the amount of time, this shows development of musical techniques. the rst phrase (the question) is from bars 25 to 26, and then the answer which is a embellished run over the d major in bars 27- 28. and then the question again in bars 29 to 30. the melodic contour of the B section is now descending, in contrast to the A section melody which was more up then down then up again (have a look a g 2 in your handouts) melody harmonised in 6ths, this means that the melody note is on the top (33-37) the range of section B is from the high f bar natural to the rst g above middle c. the reason it isnt the Bb at bar 37is that is the harmonisation and not the melody note.

Harmony The harmony is from the jazz idiom which itself incorporates aspects of 20th century classical harmony such as the harmonic language of debuusy and ravel. Examples of this are: 1.) her use of triads with added intervals like 7ths and 9ths, are reminiscent of one of her greatest inuences, Bill Evans. 2.) harmonic progressions where chords are not being used in their traditional diatonic notes of, for example, 5 to 1, but rather in parallel movement on chromatic shifts (example of this are progressions in thanks for the expresso. track 3 consonance and dissonance many of the chords have 7ths, 9ths added ect but at the end of section A the music nishes on just a d triad. A uses chords with added intervals e.g 7ths, 9ths 2nds ect throughout entire section besides the begining in the end, which have no extension and are simply d major chords. this creates a feeling of returning and safety. modulates to b minor at bar 15 but modulates back to d at bar 23 phrases 1 and 3 and 2 and 4 have the same basic outline but different harmonisations, because its in b minor not d major. there is a secondary dominant at bar 10, the secondary dominant is a D dominant 7 to a g major 7, this is seen at bar 15 in thanks for the expresso B bar 29 starts with 2 5 1 which is typical jazz and reects on jazz inuences The B section is now in G minor which is the tonic chord of the original key D, As they have a one ve relationship. this has a sequence of minor chords which and then into an 8 bar section on an A pedal point. this is when the music reaches the most sustained level of dissonance at the end of B where there is an A pedal point (which is a dominant pedal) with alternating A7 and Bb major 7 chords, , as a feature of her compositional style, is an improvisation for 8 bars. The dissonance is resolved with the return of the A section at the start of the solo section of the form. This is an example of how concepts of music work together to create structure and unity.

harmonic units built in intervals of 4ths instead of the customary 3rds, eg d minor voiced as

baitok uses 4ths structures, as for example in the mikrokosmos collection of piano music.

Structure
forms used are often closely derived from the forms typical of jazz standards, most notably the form AABA nut jann rutherford voices the forms as for example in expectation and track 3 as intro AAB coda. The forms she uses are often quite straight forward because a big feature of her compositional style is improvisation within a given framework of harmony. if the form is too intricate, it is too complex to play over freely, and could restrict the performer in his/her attempt to create melodic ow and unity.

Duration
tempo Expectations is in 4/4 time (simple quadruple) the piece is presto the tempo is constant bpm 224 metre use of syncopation in the harmony i.e placement of chords and in the melody- e.g many tied notes in the melody line across the barlines this creates contrast and adds drama, whilst it deliberately interrupts the musical ow the beat or pulse isometric (regular) it is very steady and strong because at the beginning of each bar on the 1 down beat there is bass note played, this note is the root of the chord. this bass note follows the most common metric accent where its the rst beat of each bar rhythm the overwhelming majority of note values used are quavers, which make up the melody. the note values are sustained the rhythm is strict but does not sound rigid because of the constant use of syncopation

Texture
the texture is homophonic as its melody with chords throughout overall the texure is thicker in the A section more so then the B section

Tone colour
the mood creates a sense of yearning, there is a large atmosphere around this piece even though its just one instrument, its because use large range of notes as she has harmonised the chords into tenths

Dynamics and expressive techniques

on the recording the she starts of forte and sustain that level of sound noticably until it drops to around mf at bar 32 which is just before the 6ths the change in dynamics is relatively sudden the dynamics are directly related to the piano playing soter or louder, its not related to texture as the left hand and right hands are constant through out and the left hand is doing the same concept which is tenths the overall feel of this piece is free and and relaxed