[Dixielandjazz] Dogfight???

[Jim O'Briant]

[NOTE: I sent this reply earlier today, but inadvertently sent it only to
John McClernan and not to the entire DJML. Here it is for everyone's
edification, education, amusement or derision..]

 

I wrote:

 

> > In American marches, the term "Dogfight" has a different meaning. 

> > It refers to a interlude in the TRIO section, often characterized by 

> > a "call and response" -- 4 measures in the bass instruments, with an 

> > answer from treble instruments, the same again (often in a different 

> > r elative key), and then a few measures leading into the reprise of

> the TRIO section....

 

John McClernan replied:

 

> And since a quantity of dixieland standards transmogrified from 

> marches (and quadrilles, et alia), Jim's parallel is spot on.

 

However the usage in marches is very different in the two situations.

 

In marches, the "dogfight" or "break strain" or "interlude" occurs most
often between the first and second playing of the TRIO strain, and again
between the second and third playing of the TRIO strain. The best known
example is probably in Sousa's "The Stars and Stripes Forever" --

 

* First statement of TRIO (softly, without piccolo obbligato)

* Dogfight (loud, beginning with descending figure in low brass and ending
with return to TRIO)

* Second Statement of TRIO (softly, different bass rhythm, with piccolo
obbligato)

* Dogfight again (as before, but often with a rallentando at the end of the
dogfight)

* Third statement of TRIO (loudly, with prominent trombone counter-melody)

 

This is different from the usage that Rick Jolley attributes to Bob Schultz.
This was using the term "dogfight" to describe the final one or two or three
ensemble choruses in a Trad Jazz performance, where all front line players
are improvising at the same time. 

 

In another message, Rickz wrote:

 

> A dogfight is not "every man for himself"  Everyone knows their place, 

> and they improvise within that space. i.e. Trombone is playing a 

> baritone part, and knows how to do that, etc.

 

Precisely. If it were "every man for himself," everyone would be trying to
out-do the other players in terms of volume, lots of notes, high notes, etc,
and the result would be less than pleasant. In a good ensemble chorus,
everyone knows his role, everyone listens, everyone does his best to
complement and enhance what others are playing, and the result is excellent
improvised counterpoint.

 

Jim O'Briant

Gilroy, CA

Tuba & Leader, The Zinfandel Stompers