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CSullivan Oatts Analysis
CSullivan Oatts Analysis
direction in Oatts playing is unique. It makes his departures more clear than
if he incorporated chromaticism within a line moving in one direction. Oatts
frequently climbs to a register on the alto saxophone that speaks more
clearly than the lower, before navigating downwards and outside the
harmony. This use of range and contour are a couple of ways Oatts
improvisational voice is easily recognizable. Oatts goes on to use this
method in bars 22 and 25-26.
When analyzing Oattss use of chromaticism, it is clear that his note
choices are not random. Instead, used often as extended enclosures for
target notes of resolution. In the first bar of the solo, there are four notes
beginning on beat two that all surrounding the target on beat four, G (third).
Oatts plays two notes below and two above before landing on this note. This
method is seen again in bar nine and ten. In this instance, there are twelve
notes before landing on his target on beat one of bar 11. Chromatic
enclosures appear in bars 16, 23-24, and 26.