Answer

Bebop: Bikini Analysis

1. The order of solos in this piece is: Gordon, Bunn, Callender, and Thompson (at end). The piece takes the AABA form. It features an initial A-section consisting of a typical theme of 12-bar minor blues. It also contains an 8-bar improvised bridge making up a mixture of songform .

The A theme is played once at the start and is not repeated at the end.

Counter numbers:

8-,4-,2-, 1-bar exchanges

2. The piece is based on a strong music dance rhythmical foundation. In its basic, it features a solo-bass starting off and repeating a 2-bar phrase that works to the effect of accentuating contextual off-beats. Its middle 8 bars open up for solo before the rhythm section grows faint and disappears to usher in piano and drums.
3. Choruses

The choruses taken by respective soloists are as shown below:

This piece is a 44-bar hybrid AABA song form in which each A section is a 12-bar blues chord progression, while the B section (the bridge) is a standard 8-bar section. The choruses are as follows:

First chorus: 00:11 to 01:00

Second chorus: 00:24 to 01:14

Third chorus:  00.38 to 01:28

Fourth chorus: 00: 47 to 1.37

Fifth chorus: 01.50 to 02:44

Sixth chorus: 02:04 to 02:57

4. Impression

Overall, this piece is characteristic of Dexter’s early compositions, which undoubtedly showed great influence from Dexter’s mentor, Lester Young (Evensmo, 2019; Havers, 2015). One way this influence is apparent is in terms of melody lines construction. While the style of these bebop soloist bears great resemblance to many a swing soloist, there is a notable difference is the frequent and extensive use of riffs, notably a signature of Lester. The emphasis on the melody line’s 9^th, major 7^th, and 6^th is particularly notable. Like many other bebop style pieces, contextual melodies seem to be more singable, with less alterations and broken chords. The melodies have strong and appreciable rhythmical profiles, achieved by carefully and artistically balancing off-beat accentuations with on-the-beat tones.

5. Generally speaking, this band would have performed for a live audience in a gospel atmosphere. While this audience would be active and as such participate, such participation would be of such nature that it allows the musicians to retain command of the performance.