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2001 University

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South Carolina



Music Theory Jpectrum

THE

JOURN L

OF THE SOCIETY FOR

MUSIC

THEORY

Brian Alegant

EDITOR

Brian

HyerJ

REVIEWS EDITOR

EDITORI L

BO RD

Richard ass

Michael halin

ioseph

Dubiel

ynthia

olio

Nadine Hubbs

Harald Krebs

Justin London

iay

Rahn

Frank Samarotto

Janna Saslaw

David Smyth



c oyal Scam

The

Abstr

use

and Ironic B

op

ock Harmony

ofSteely

Dan

W LTER EV

E

RETT

Stee

ly

Dan

is

nominally a rock band, but their melodic idiosyncracies, rhythmic surfaces, and har

monic and voice-leading techniques are d irect descendants of early modern jazz, making theirs ar

guably the most tonally comp

lex

of any rock music with broad popularity. T his

ar

ticle illustrates

how the group's soph is ticated and enigmatic chord constructions, along wi th a mix of feigned,

obliqu

e,

and incongruous rurns

of

harmony, intensity the linear aspect of vo

ic

e-leading connections

in the experimental manner of the great bop musicians, and c

on

vey the band's penchant for the

re

condite and the ironic.

S

TE E

LY

D AN, led by co-composing keyboardist

Donal

d

Fagen and bassist/guitarist Walte r Becker, produced

eig

ht

gold or platinum albums and six to

p-tw

enty sin

gles during the years 1972- 80, dissolved for more than a

decade, rhen reunited for a 1993 tour and new top-ten col

lections in 2000 and 2003.

It

is

nominally a rock band, as its

fo

rm

s,

instrumentations, vocal production, rhythmic under

pinn

in

gs, and many of its harmonic pa

tt

erns emerged from

that world, and its records have typically bee n marketed f

or

a

rock audienc

e.

But the group's melodic idiosyncracies, busy

rhythm ic surface, and harmonic and voi ce-leading tech

niques are direct descendants

of

early modern

ja

zz, making

this corpus arguably the mOSt tonally complex

of

any

ro

ck

music with such broad popularity.

H aving m

et

as college stude

nt

s in 1967, Becker and

Fagen discovere

d a muruallove not of contemporaneous ac id

rock but of

Th

elonious M onk, M iles D avis,

Ch

arlie Parker,

John Coltran

e,

and Dave Brubeck,

all

of whose names are

dropped into the ly

rics

of various Steely D an songs. T heir

1974 album,

Pretzel Logic

includes performances of

Duk

e

2 01

Ellington's "Eas t St.

Lo

uis Toodle-oo" (the group s only cover

of

another's

co

mpo

si ti

on) and their own "Parker's Band"

(a

n

homage

to

the saxophonist's 1940s sides

fo

r Savoy), and a ref

erence

to

bebop in "

Monk

ey in Your So u ."

See

mingly mired

in the 1940s and early '50s, Becker and Fagen h

av

e expressed

neither interest in nor de

bt

to the jazz of O mette

Co

lema

n,

the modulating cycles

of

late Col tran

e,

the modal

scales

of

late Davis, the jazz-rock fus ion

of

John

Mc

Laughlin,

Weather Report or Frank Zappa, rhe emerging funk of

Ma

ynard Ferguson and H erbie

Han

cock, or light adult

contemporary artists such as D oc Severinse n. In the spirit of

Ellington, their session p

la

yers (

su

ch

as Mi

les D a

vi

s alumni

Wayne Shorter an d Vi ctor Feldma n) work from written par ts

composed spec

ifi

cally for them, b

ut

they would

als

o be given

free and sometimes expansive improvised solos those in

"H ome at Last" and "I

Got

the News" redolent

of

bop but

those in "T ime Out of M ind" and

"My

Rival" more reminis

cent of

Cou nt Bas

ie).

So whereas pop-rock musicians Carole

King, Bob Dylan, and the Beatles were st

ro

ng influences

upon their music , Steely D an formed itself around a jazz core.



2

MUSIC

THEO

RYSPECTRUM 26

(200

4)

02

The present essay dr

aws

from theo

ri

es of harmony and

vo ice leading for both rock mu s

ic

and jazz.

The

primary

purpose isto illustrate

how,

inmuch ofSteely Dan's music,

sophisticated,e

so

teric, enigmatic, andambiguouschordco n

structions ,along

with

amix ofde4beratc,feigned, oblique,

unexpected,and incongruous turns of harmony,

all

wo rk O

intensify and experimentwith the linear aspect of voice

leading connections, sometimes in the mannerof thegreat

bop musicians. Examples are selected from the 85 original

compositions released under the Steely Dan name.

2

After

outlini ngtherelevanceoftheliteraryno

ti

ons

of

abstruseness

and iro ny, I shall examine four ha

rm

onic topics: extended

and inflected chords; jazz-based and rock-based chordsub

stitu tions; transient modulations; and chords as agents of

voice

le

ad ing rather than harmonic function.Following this

overviewofSteely D

an's

harmonicstyle,I

exa

mi

ne

asingle

composition, "Babylon Sisters," in order to illustrate how

these fac torsarecombined forpoeticeffect .

POETIC GOALS OF STE ELY

DAN

Thestraig

ht-f

ac

ed BeckerandFagenare devoteesofthe

r

ec

ondit

e,

theinscrutable, andallmanneroftwistsinthecon

ve

ya

nce of meaning.

Their

obscure,

so

metimes witty, and

rhetoric

all

ymultileveled lyrics reflect

th

eir

sc

hoolboyreadings

Primary sourcts in jazz theory include

Co

ker1964and1975,Dean

Lewis 1996, Kurzdorfer 1996,La rson 1996 and 1998,Martin 1996a

and 1996b, Owens 1995, and Strunk 1979 and 1996. References in

rocktheoryinclude Burns 1999,and Everett 1997,1999a, 1999band

2001.

The coregroupdiscography is listedunderSteelyD an in References,

below. Keysolo albums produced by Becker andFagen during the

band's 1981-1993 hiatus are also given there.The twoentries for Hal

Leonardrepresentfairlyaccurate"complete"transcriptions

of

tenbest

known Steely D an tracks (1990) and fairly accurate reductions

of

63 songs

(1

995).

The

transcriptions accompanying this article were

basedontherecordings, withconsultationofthesetwosourcesplus

ex

amplesfoundinPear12002.

of

Allen Ginsberg,

K

urt Vonn

egu t, Terry So

uthern

,Josep

Heller,andWilliamBurroughs,whose surreal,violent ,an

depressing

Naked

Lunch

is

thesourceofthegroup'smonike

Th

edu

o's

"popnair"songt ~ t havebeencalled"cold,""mis

anthropic,"and "a

rc

h

;

sentiment is rarely apparent on th

surface ofanybuttheirearliestsongs.)The noir textual sty

aptlyportraysthesongs'darkthem

es

andcha

ra

cters.Perhap

thinking about his th en

-new

O dyssey

-in

spired "H ome

Last,"Fagenexpl

ai

nsina1977interviewthat:

it's more interesting towriteaboutsomebodywho 's in a

li f

e-or-dea

situation or having trouble in a relationship; it goes back to Gre

dram

theyd idn't writeabout people who are having a lot of fu

You've probablyneverread The Tragedy ofOzz.ie and Harriet by

Oed

d

R

ex

or whateverhisnamewas . 4

FollowingDylan,thetwolearnedtowrite

so

nglyricsaroun

the

fl

eet

in

g, disembodied images andemotions related to

topic, ratherthan inaccordancewith orthodoxlinearnarr

tives.

Of

theambiguityoftheirlyr

ics,

Fagensa

ys, W

edon

nece

ss

arily try to communicateanyspecific thing t the

li

tener. It 's moreor l

ess

us tryingt communicate animpre

sion, and the l

is

tener has the freedom to in terpret

as

h

wants."5Of cour

se

,hiswords are n

ot

al

ways to be take

quite at face value; in 1993 , he announced, "I'm into m

post-ironicphase

whichofcourse'wouldincludeirony

well. AndI'mnot talkingaboutthenewsincerity,ofcours

3 Critical

re

ceptionto themusicofSteeJyDan is bestdocumentedin th

albumrevie

ws

andoccasionalfeaturestoriesappearinginsuchperiod

calsas Down Beat Musician Guitar Playe r Rolling Stone M elody Make

Crawdaddy Village Voice j az z imes andjazz Magazine several

whichpublicationshave also run interviewswith theprincipals.A \'e

good bibliography can be found at <http:// two-wugs.netlsdlste

el

y

dan_bib.html>;seealso the"M etal Leg"topic-indexedbibliography

<http://ww

w.g

ranatino.

co

ml

sdresource/mldex.htm>.N umerous aud

interviews havebeenarchivedoninternetservers; one usefulindexwi

links is <http://www.broberg.pp. se.sd_interviews.htm>.

4 EarthNews1:21-1:40.

5 Sweet1994,82.

http://slidepdf.com/reader/full/ofOzz.ie


http://two-wugs.netlsdlsteely/














http://www.granatino.comlsdresource/mldex.htm













http://www.broberg.pp.se.sd_interviews.htm/















20

3

6

THE

ABSTRUSE AND

IRO

N

IC

BOP - ROCK HARMONY OF

STEELY

DA N

but rath er . the pseudo-new si

nc

ericy.,,6

Th

e notion of

irony

is

often key, fo r Becker and Fagen frequen tly employ

such devices as sarcasm (a characterization standing in direct

contradiction

to

what

is

meant), hyperbole (exaggeration to

the point of rendering the underlying facts impotent), and

liro tes (understateme

nt

through the negation of the oppo

site, as in the li

ne

, "You know she's no high climber"

to

sug

gest a woman headed

to

her end in "Do

It

Again"). At times,

subt

ex

ts are brought to the su rfa

ce

through sarcastic humor,

as in a line from "Reelin' in the

Years :

"You been tellin'

me

you're a genius since you were seventeen; in all the time I'

ve

known you I still don't know what you mean

,

At

other

s,

layers

of

text

see

m broken and disjointed , with important in

formation disguised or omitted entirely, rendering underly

ing meaning impressio nistic, obscure, or downright impene

trable. I hope to show how the superficial obfuscation

of

structure, and the contrast between the apparent and the

intended, are singularly approp

ri

ate musical vehicles for the

poetic aims of Becker and Fagen in Steely Dan.

"Brooklyn

O

wes the

Char

mer Under M e)," an ea rly

Dylan-i nfluenced Becker-Fagen composition from Steely

Dan

's

first album, illustrates the duo's approach

to

the musi

cal setting

of

th ei r central poetic interests. Th e first

of

its

three stanzas is shown in Example 1.

The

intent of this verse

se

ems indecipherable at

first-what

is the meaning of the re

frain (the repeated final line, ambiguously parenthesized for

the song's title

),

and what connects the four images that lead

up to it?

The

entire notion

is

abstruse, and

re

mains opaque

until one considers the first th ree li nes as a ser

ie

s of treasures,

and the "charmer" as a bellyaching Brooklyn apartment ten

ant living directly benea th the singer. Then , thin

gs

begin to

fall into place: "Brooklyn" is the subject of one long sentencej

the downstairs tenant, the "charmer,

is

the indirect objectj

and the ser ies in the first th r

ee

lines- a list of what Brooklyn

"ow

es

the tenan

t -mak

es up the direct object and th

us

ul

This quo te ap pears on

p.

17 of a booklet accompanying Steely Dan

1993.

A race

of

angels bound with one another,

A dish

of

dollars laid out for all to see,

A tower room at Eden Rock, his golf at noon

fo

r free

Brooklyn owes the charmer under me,

Brooklyn owes [he charmer under me.

EXAMPLE

I Brooklyn (Owes the Charmer Under

Mer

(Bec

ker -Fagen; composed c 1969, Can t Buy a Thrill [1972]),

verse 1 © 1970 by M C Music Publishing, A Division o

MC Inc. and Red Giant, Inc.

fills the transitive verb in a grammatically correct but oblique

way. Of cours

e,

one would likely come to this r

ea

ding only

after hearing t

he

composers' explanation: according to Wal ter

Becker, D onald Fagen on

ce

lived in a Brooklyn apartment

above an obnoxious neighbor who would regularly sit on his

stoop and shout about the indignities he was fo rced to suffer.

7

The singer's portrayal is multiply ironic: by using the word

"charmer," Fagen sarcastically presents the obnoxious behav

ior as an ingratiating manner or

as

one of casting a successful

spell, and he feigns sy

mp

athy wit h the complainer

by

sug

gesting what recompense is due in the mo

st

hyperbolic exag

gerations imaginable. Later verses suggest further desirable

amends, in

cl

uding "an evening with a movie queen," "a case

of a

ces

done up loose fo r dealing," and "a piece

of

island

cooling in the sea." And not only are the images the mselves

of

ridiculously high val u

e,

they are all described in an ironi

cally velveteen versification.

In "Brooklyn, musical irony has the charmer portrayed

with shrewd sweetness, in

th

e syrupy portamentos and

gradual swells of the pedal steel guitar, and in the slick pass

ing and neighbor chords of the refrain (see the "P " and "N"

designations between the staves of Example 2, s

ec

ond sys

tem), wh

ic

h resolve gently t

hr

ough the avoidance

of

any

7 Sweet 1994,50.



2 0

4

MUSIC T HEORY SPEC

TRUM

26 20 04)

V(fsr

overbearing dominant har mony. Y ~ t there is both an under

cutting tension from

th

e late-arriving tonic support for the

impatient primary tone and a strength of conviction in the

obstinate parallel fifths that descend to what should be V of

II

(s

upporting the vocal Cis at 0:4

1-4

3; see the 5-5-5 fig

ures between the staves of the second system), and in the

steadfast tonic pedals that underlie the inner-voice neighbor

motions

of

the

refrain's central message.

And

after the clearly

directed harmonic morion

of

the initial eight bars

(0: 18 -

36),

musical ambiguity threatens in the apparent interruptions

from the expected paths of wou

ld

-be applied dominant

sevenths on A (0:43) and on D (0:52), each insread followed

on

the surface by the announceme

nt of

the refrain's chord

over the C pedaLs

In both

cases, the promised resolutions

are dismissed

as

if insignifica

nt

, adding to the senses

of

im

propriety and incongruity suggested by the charmer's bold

alleged declarations. So in even this simple, early composi

tion, both the ab struse and ironic qualities of the poem are

given musical expression.

9

ST

EELY DAN'S A

PPRO

ACH

TO

HAR MON Y

Extended and nj lected Chords. Wherea

s a

number

of their

early efforts (such

as

"Brooklyn") are built up

on

basic inter

rupted 3-lines that are supported

by normal or just-about

normal half and authent

ic

cadences, a jazz-derived ambiva

lence to harmonic goals-especially when accompanied by

8

The

m

chord moving to F, which then resolves to the tonic C, illus

trates what 1 have called the

<;d

ouble-plagal" cadence (Everett 1999b,

32

3-26

), a voice-leading phenomenon involving a ser

ie

s of stepwise

descending neighbors that does not advance any harmon ic function.

This status is amplified by the tonic pedal underlying the entire chord

succession in th is refrain and is given

an

idiosyncratic

n.vist

through

its

role in the overall passing function governed by the chromatic descent

in the alto register, indicated by the S-shaped slur

in

Example 2.

9 Ever

ett

2001, 323, suggests how directedness of voice leading

is

used by

John Lennon to portray an ironic stance in "Nowhere Man."

0,18

0:27

j

;

l

A

L

I

s--

:

•

e

N

N

r

ace

N dish N

N

..--

-{

N

-..

:-

?--

.

•

<

7 7

7 7

I -------

P P

C

JV

JJ

V

II

Rtfrain

0:36 0;41

0:52

j

;

~

F

=

1

r

I

..

-

'(2:::::f ' -= '

P

p p N

tower

Brooklyn Broo

klyn

I ~ ;

5

: -

.

't

f "

P

N

:&

\ ; Ti J

d

~

- - - - I

:; r y

1

7 P 7 . - 7

\ , i

EXAMPLE 2. Voice- leading sketrh of "Brookl

yn

(Owes the

Charmer Under Mer (Becker-Fagen, composed c. 1969; Can 't

Buy a Thrill

[1

972])'

unexpected as

ymm

etries of phrase

rhythm-is

more typical

of

Steely Dan. 1O The verse

of

"Dirty Work [1972], for in

stance, concludes on 2over an unyielding supertonic, at best

IO

Such an effect

is

rare in the rock world, although John Lennon con

cludes rambling phrases with harmonically ambiguous

ca

dences in the

Beades' "A Day in the Li

fe"

(1967) and "Across the Universe" (1969).



T H E

ABSTRUSE

AND

IRO

N1 C BOP- ROCK

HARM

O NY

OF

ST EELY DAN

5

a vague substitute fo r an interrupted dominant function;

3:15

the smbbornness

of

II is matched thcre by a change from

212

to a measure

of

3/2, stammering with four "extra" repeated

;:

ighth

no

tes (0:49-51). T he verse consists thereby

of

phrases

of nine plus eight- and-a-half measures (0:23- 37 + 0:38-51),

"concluding" on : over II. T his musical standstill symbolizes

the singer 's paralyzing intern al conflict ( 1 foresee terr ib le

trouble and] st

ay

he

re

just the same") through paralJel musi

cal and poetic ambivalences.

But instead

of

focusing on the structural value of the

chordal roots

of

such cadential

pi

llars as V (or II ), ]

wi

sh to

examine the nature and treatment

of

that which is found

atop and in between them.

The

vertical aspect of the group's

harmony is of interest for its extended, modally inflected, ap

plied, and o

th

erwi

se

altered chord

s.

T hrough the course of

their

firs

t eight

al

bums,

co

lor

ful

and den

se

seventh,

ni

nth ,

eleventh , and thirteenth chords are progressively the rul

e,

with unadorned, unambiguous and n

aive

triads seldom

voiced in the last ve collection

s.

(T his o

th

erwise straight

line

of

progressive complexity

cu

rves to a degree with the

2003 album,

Everything

Must Go, which is frequently more

conventional than the albums that preceded it.) Th is quality

betrays a jazz heritage,

as

their

fin al

n

on-tr

iadic sonorities

tend to

avo

id the to

ni

c major-mi nor seve

nt

h chord common

t

rock. Jazz exampl

es

range from the simple major-seventh

chord end ing D

iz

zy Gi

ll

espie's "

Di

zzy's Busine

ss

[1956],

shown in

Example 3(a),

to

the tritone-heavy activity tha t

se

ttles into the final tonic thirteenth chord in

Le

nnie

Tristano's 1946 recording of ] Found a New Baby, tran

scribed as Examp

le

3(b).

Such den

se

extensions to the triad often provide motivic

material. T he chord with added sixth, for insta

nc e, is

hardly

innocent in "Black

Co

w" [1977],

al

though its initial appear

an

ce

is the only

fully

consonant simultaneity prese

nt

in the

song. H ere, the sixth scale degree, A

in

C major, is introduced

in a number of non-reso lving contexts involving

th

e open ing

tonic harmony,

th

en becomes the root of a surprising and

finge r-pointing

V,9 of

II (accen t

ed at

0:30 by the entrance

""

(

aJ

Dizzy Gillespie's recording o Dizzy's Business ( Wilkins,

Birks Works f ree. June

6,

1956j ,jinal sonority.

© 1956

by

Silhouette Musi

c

c/o

Qui

ncy

Jones Music Pub/.

2:40

r':'>

I

"

'-J.,...J

1

I\i

_ .ti,.. ,.

:

F, I

""

(b) Lennie Tristan os recording

of

J Found a

New

Baby

(Williams- Palm

er;

Volum e 1 [ree. probably Spring-Summer

1946}),

co

nclusion.

©

1925

Universal

MeA

Music Publishin

g,

a Division afUniversalStudios Inc.

EXAMPLE 3

of the long-sustaining b

acki

ng singers).

Th

e six

th

scale de

gree ultimately becom

es

the tonal ce

nt

er of the chorus at

1:03, where the

si

nger hits the lig

ht

of da

y,

breaking away

from both the narrative past and from the barroom lush for

whom he can care no longer. Such a gradual development

of

a non-tonic scale degree, in this case the sixth, is a common

"character-developing" gambi t in classical inst rum ental

styles (one mig

ht

trace the mamration of H through the

second movement of Mozart's piano sonata K. 576, for



2 6 MUSIC

THEORY

SPECTRUM 26

(2004)

instance), and is often linked to the growth of an idea in rhe

J

: JJ

ly

rics in

various popu la

r styles

trlYt; J

As a jab

at those

wh o ponder

rhe

nature of music

al

struc

tures, Becker and Fagen even christened one of their

fav

orite

constructions (the major-ninth chord whose ninth and tenth

were always to be voiced

as

major-second adjacencies) vari

ously as the

j.l

major, the Deus de M usica/' and M'Lords

Consonance, a sonority whose varied guitar voicings are

treated

to

several pages

of

tongue-in-cheek

ex

egesis

y

three

members

of

Steely

Dan

in an introduction to a late-1970s

song folio .

Ther

ein, the composers say, once you become

accustomed to this wholesome harmonic mindbath, you'll

soon find yourself sneaking seconds into minor seventh

chords and stacki ng fourths like a H indemith gone haywire

in Harlem .

12

Example 4(a) shows a guitar voicing of the

chord, from a C-major expansion within Aja ; Example 4(b)

shows the fl

vo

icing in the piano's opening sonority in the

same song . A favori te of pianist Fagen's, the fl chord domi

nates the keyboard part from Reelin' in the Years. As for

the stacked fo urths, they may have had in mind such a model

as O sc ar Peterson's performance of Milt Jackson's Bag's

Groove

,

excerpted in Example

S.

When ninth and eleventh chords are voiced with their

thi rds and fifths deemphasized, a bop

-r

elated polychord ef

fect takes place. Consider, for instance, the bridge

of

Pretzel

Logic, shown in Example

6,

where the bass roots support

se

emingly unrelated const

ru

ctions above. Sometimes stacked

fourths playa role, as in the appearances of A4 and Ds above

£2 at 0: 41 in the opening of the Pretzel Logic bridge. n

fact, slash-chord constructions (so named because jazz

shorthand notation has each upper-

vo

ice triad designation

I I Everett 2001, 226-29 discusses an interes tingly similar progressive

va

l

uation of the sixth scale degree from non-chord tone through chord

me

mber to to nic

lze

d area

in

the Bea tle s' I Should Have Known

Better.

l2

Warner Bros. Publications,

c. 1977.

(a) ' ija" (

Beck

er-Fagen; Aja

[1977]),

rhy thm guitar und

lead guitar solo

© 1977, 1978

by MeA Music Publis

Division ofMC l Inc .

Bo I,

(b) ' ill, (Becker-Fagen;

Aj

a

[1977}),

openi

ng

piano ch

1977, 1978 by MeA Music Publishing, A Division o

In c

EXAMPLE 4

followed by a slash separati

ng

it from th e unrelate

note) are a common pian

s

tic effe

ct of

Donald Fagen.

ample

6,

a pair

of

two separate tiers follows the

do

ub

the bass line, E-A-D-G , seems a separate entity fro

closely spaced apparent treble-register triads above,

progress by

roots

D E C DD

13 Significant strings of slash chords mark structural points in

F,id,y

[1975], ar (050-52), Jo'ie

[1

977],

046-1001)

and

World Man [1980], 1 : 4 6 ~ 2 : 0 0 ) . Such chords were the topic

o

published talk, Assessing 'Slash Chord'

Har

mony in Jazz-Rock

Toward a T heoretical Approach to the M

us ic

of Steely Dan, p

by

Paul S. Cart

er

at the

Mu

sic Theory Midwest meeting

a

University in 1999. Carter focus ed mostly on this effect in Jos

1t Again,» Gau cho, and Dr. \1..1u. It

may be

prudent to h

the facts that whereas slash-chord designations may well ref

co mposer-performer's notion of the identity of the simul



•

•

THE ABSTRUSE

AND IRONIC BOP-ROCK HARMOl'\T)' OF

STEELY DAN

20

7

J

l<

i

EXAMPL E

5.

Oscar Peterson's recording of Bag's Groove (}ac

kson Jazz

'

Ro

und Midnight free. December 15 01'

16,

1962J). © Rude j

\ J

usic.

0:41

,

.

,

wing eighth s

A ,

>i ( \

(\

i'K '(\

l

'

,

I I

y y

,

1 •

V

V

y y

Y

es

I'm

dy n (0

be a st

ar and make

them

laugh

; sound just like a rec - ord

on the

:

-

-

DIE

E/A

CID

DIG

, , , ,

•

Y Y Y Y

o·

vee

a

long time

a·

go

.

oh yeah.

,

,

'

V

. V

,

I

y Y

pho- 00 -

graph,

Tho

se

days are gone for- ev - e,.

:

EXAMPLE 6. "Pr

etzel Logic

(Becker

-F

agen

, P

re

tzel

Logic (1

974J), beginning ofbridg

e © 1974 by MCA

M

usic Publishing,

A Division

o

MCAlnc

Steely D an also mak

es

expressive use of altered chords,

jazz-flavo red.

14

V#9

is perhaps their favorite altered chor

d;

which are often forms of dominant harmony and are quite

one su ch so nority is given a mys terious texture in Rikki

Don't Lose

That

Number, given

as

Example 7(a) . But other

co

mpo nent parts, and that they conveniently symbolize the bifurcated

nature of the

se

sono

ri

ties, they do not always sugge st the shortest route

14

A brief surv

ey

of

ex

tended and altered dominants includes ma ny form

to an unders tanding of the chords ' function

s.

The funct

io ns

will

typi

defining ex

am

ples, such as: V·

3

in

The Royal Scam (1:40) and Third

cally be bound to the bass, or perhaps to a transcendental bass that is World Man (0:30); V·

9

in

Do

n

t Take Me Ali

ve

(0:00-07

);

V

l9n

in

not sounding at the moment, with th e to

ne

s abo

ve be

st evaluated for Rikki Don't Lose That N u m b e r ~ (L06-07), Night

By

i g h t ~ (2:49

(1 :1 6

-1

7); V

19115

their voice-leading and

col

or-creating roles. 52 ), Kid Charlemagne (0:00--10), and Josie in

http://slidepdf.com/reader/full/jazz-flavored.14










15

8

MUSIC THEORY

SPECTRUM

26 2004)

L02

But if you had a of hearl,

Rik -

ki

don't

lose

that num

E,

II

,

II

,

?

;

7

(a) Rikki Don 't Lo

se

Thai Number (Becker-Fagen; Pre

tz

el L

ogic [1

974j), lTansilion into

chorus.

©

9

74 by

MC

A Music Publishing, A

Division ofM CA

In

c

~

' Ia I: ' r

n

I

I

3: 1

. > ; ::

L;

v

(b) Throw Back the Little Ones (Becker-Fagen-Omartian; Katy Lied [1975j),

coda

. © 974 by MCA Music Publishing, A Division o

MCAlnc

EXAMPLE

7

scale degrees

are

alter

ed as

well; in fact,

th

e last

bar

of

extended root-po sition major triad s moving by step in paral

Example

7(

b) displa

ys

a polychord-like B-major triad atop lel motion migh t rec

all

such bop voicings as he

ard

in th

an

A

major tri ad of indetermina

te

function concluding the

opening

of

each cho

ru

s in Mo

nk's Iv

rood, excerpted in

co

da of

"

Thr

ow Back the Little Ones

.

In 'Throw Back," the Example 8(a

).

Donald Fagen

ha

s often talked

of

a fascina

chorus

e

nds clearly

in B, just

before this

example begins; pre

tion with H e

nr

y

Man

cini

s eter nn

and o

th

er jazz

viously, this cadence had fu nctioned as retransitional prepa derived commercial TV and movie th emes; this polychorda

ration fo r the succeeding

verse

that begins in E minor.

I5

he

ending reminds me

of

this literarure.

16

Consider,

for

exa

m

ple, the juicy

DM /

m

fin

al chord of Fred Steiner's Perry

Mason

Them

e

(a

piece quoted

in

another rock compos iti on

D

add

y Don't

Live in

Th

at

New York C

ity

No

Mo re

(0:47-4

8), FM

(103

6),

and "

My

Rival"

(2,11

); and

V

in "Any Majo< D ud, Will

Tell

Yo

u

(2,O -(l2).

between th e thi

rd

and raised fourth scale deg

ree

s for a particu1arl

David

Pearl

(2002, 33)

hears

a 13/'

11 chord

at

1:51 in Negative Girl.

Lydian quality, a sonority also fe atured in the chorus , 1:41-46.

H

is

voicing takes the major second of the chord and displays it

16

See Sweet 1994, 9 for a summary

of

Fagen's interest in Mancini.

http://slidepdf.com/reader/full/minor.I5







TH

E ABS

TR U

SE AN D I RON

IC

BOP-ROC K HAR M ONY OF ST

EEL

Y DAN

20

Frank Z appa's "Jezebel Boy," Broadway the H ard Way

[1988

))

, g

iv

en in Example 8( b). T he conclu

di

ng tritone over

the bas> (as heard in "

Thr

ow Back") is ano

th

er

favo

rite jazz

sonority. Lennie Tristano's wo

tk

in the 1940s has already

':

~

~

: 0

een noted in th

is

regard; see also the tritones above the b

as

s

0

in his re ndering of "Tea for Two ," excerpted in Exa mple 8(c),

and

th

e right-hand planing of whole-tone fo rmations that

descend to members of the expanded V

7

(or

to

their neigh

bori ng IV' c

hor

d) in his coda to

W

hat Is T hi s Th ing

Ca

ll

ed Lov

e/'

the begin

ni

ng

of

which

is

transcribed as

E

xa

mple 8(d) . 7

Jazz- and R ock-Based Chord Substitu tions. According to

Steven Strunk, substitute fu nctions

pr

eserve "the essential

lines of any progre

ss

ion in which the chord is involve d" but

alter other lines and provide substi t

ut

e roots f

or

novel col

oration

s.

18

T he

se

sub stitutions are rampant in Steely

Dan

,

and th

ey

often suggest iro ny by implying hypocritica

ll

y one

dir

ec

tion

but

effecting another; they may also carry an enig

mat ic quali ty

by

simply reduc

in

g the communicative power

of domina

nt

fu nction . One s

ub

stitution (that of ll fo r V) has

already been mentioned in co nnection

wi

th the vague

cadence in "Dirty Work."

Tr

itonc substitutions fo r the domi

na

nt

, thus domina

nt

s b

ui

lt on were pio neered in the

1940s by Dizzy G illespie. (T hey a

re

so-named becau

se

each

of the pair of major-minor

se

ve

nt

h chords whose roots

li

e a

rri tone apart share an enhar mon

ic

diminished fifth fo r the

other chord

's augmented fourth , with differing other chord

I7

Ste

ely

Dan

kn

ew Tris ta

no 's

work w

ell

. As an

ho

mage, Becker an d

Fagen took the pe n name Tristan Fabriani fo r

th

e

li

ner notes they wro te

for the

fir

st Ste

ely

Dan LP (See Sw

ee

t 1994, 47). Tristano's highly

di ssonan t tech

ni

que is disc

usse

d in Owe ns 1995 , 14 and 22. Trista

no

mentored tenor saxopho

ni

st

'<\Tayne

Mar

sh

,

wh

o,

with tenor saxophon

ist and

Aja

side man Pe

te

Christlie b, recorded the alb um

Apogee

co

produ

ced

by Becker and Fagen in 1978. T his

alb

um includes the tr

ac

k

"Rapunzel," a straight bop number co-written

by

Becker a

nd

Fag

en

.

Alto saxophonist P

hi

l Woods, a student of T ristano and a one-time

Monk colla

bo

rator,

pla

ys on Steely Dan

's

"

Dr

. Wu" [

1975

].

18 Strunk 1979,

15.

(a) The

o

nio

us

Mo nkS recording o "M onks M ood" (M onk; Th

Thelonious M onk Orchestra A t Town Hall [rec. February 2

19

59

}).

©

EmbaJJY M usic Corporatio

n.

~

(b) "Park Avenue Beat" (The Perry Mason Theme) Fre

Stei

ner, 1957

; © Polygram Internationa Publishing, ASCAP

jina

chords.

©

1957

A

spe

nfair Music

In

c

pecial A

cco

unt, cl

CBS Music Ope

ra

tions.

EXA MPLE 8

members substituting fo r each other.) Example 9 transcribe

the conclusion of "These

Fo

olish

Thing

s" as performed i

1945 by the Emmett Carls S

ex

tet, with Lennie Tristano o

piano and Earl Swope

so

loing on trombone; note the large

scale use here

of

the tritone (T

6)

application on the cadentia

V

7

as

we

ll

as the

Se

xtet's coming to

re

st on a maj or thirteent

chord. Tritone sub

stitutions for V

7

ar

e quite common in th

work of Steely

Da

n. As outlined in Example 10, the typica

major-minor sonority on (but jazzed up a bit wi th a

added six th) appears at the end of the A-minor verse of "

Ki

http://slidepdf.com/reader/full/orations.18








210 MUSIC THEORY SPECTRUM

26

(2004 )

2:48

Ak V

(c)

Lennie Tristano's recording

o

Tea

for

Two (Youmans-Caesar;

Volume

1

[rec.

wi

th the

Emm

e

tt

Car

ls

Sextet, probably in

May

1945}),

portion o fifth (Tristanos) chorus. © 1924 Irving Caesar Music Corp. ,

c/o

Warner Bros. Inc.

(d) Lennie Tristanos recording o What is This Thing Calhd Love (Porter; Volume

1 [re

c probably Spring-Summer

1946}),

beginn

coda. © 1929 Harms Inc

clo

Warn er Bros. Inc.

EXAMPLE 8 [continued]

Charlemagne, the result of a substitution of for the E7

that is

clearly the goal of the verse's passacaglia descent

pattern.

The

same

I r ?

with added sath

is

the cadential

dominant

as

A13 resolves to the tonic 7 (0:40-42) in

the verse

of

Home at Last [1977);

it

also forms the turn

around from the chorus G

91J5

moving

to

the tonicized

F tm7

at 1:00-01, illustrating the

s

lide on down ) in

Hey

Nine

teen [1980). Jazz pianist Armen Donelian finds that a

major-seventh chord built on

bII

often expresses do

minant

seventh function in bebop, even though the sonorities have

only one tone in common (rather than both members of the

major-minor's tritone), and Steely

Dan

uses this more arcane

voice-leading chord in a dramatic way

fo

r the retransition

from bridge to verse in «Barrytown.

19 Example 11(a)

sents the chords for the A-major refrain and the

bridge of that song, which returns to the tonic A fr

tonicization oHVI, F, through the major-nin th chord o

Example 11(b) illustrates the voice leading through the

and bass parts; the bright sweetne

ss

of the half-step re

tions, one involving a chromatic inflection, seems an

accompaniment

to

the cynical put-doW'll in the lyrics

process

of

common

-tone

modulation to F for the brid

also of inter

es t. As

shown in Example

11

(a

),

F

is

appro

by

an

A7

chord, which substitutes

fo

r V7

ofF

by recont

19

Donelian 1

996

,

23

5.



1

•

Tl

~ '0

r

~

THE AB S

TRU

SE

AND IRONI

CBOP

-ROC

K

HA

RMONYOF

ST

EELYDAN

t

EXAMPLE

9.

L

en

ni

e Tristan

o

recording

of

Th

ese Fo

olish Things (Straehey-Link-Marvell;

Vol

ume

1

free.

probably

Mayor

June

19

45

w ith

220

Trombone

A

~

I

f t

<>

n, II

VT6

the

Em

mett Carls Sextet)), beginning ofcod

a.

INTRO

Am

G

VERSE Whilethemusicplayedyouworkedbycandlelight;

m

3n

F

ThoseSanFran

ci sc

onights,youwere thebes tin town.

EXAMP LE

10

. K

id

Charlemagn

e"

(Becker-Fagen, The Royal

Scam

[1976)),

open ing

of

verse. ©

1976

by MCA Music

Publishing, A

Div ision ofMCA Inc.

alizing thethird(E) and fifth (G)of thatchord.Th esame

"III

7

;3"-I

relationship makes for a substitution-colored

au

thenticcadence in "NegativeGirl"[2003], asshowninEx

ample12, where

C 9 7

soundslikeV

of

{at 0:55-58).20

Substitution functions may be posited on

sc

ale degrees

ot

her than

V.

Con

si

der,for instance, Example

13

,apassage

from"Blues

Be

ach"

[2003].

Here, in atransition

al ap

proach

20

The

re

are "legitimate," pre-jazz precedents for justsuch conti

nu

ity

ch

all

enged tran

si

tio

n;

Brahm

s,

for instance- well kn own for his

u p f t ~ h

n i k

m p l o y s

amajor-minor seventh chord on III for

an

obliqu ecadential V-substituteinhis G-minorCapriccio,op.

116,

no. 3,

followingtheTrio'sseco

nd

ending.

to the dominant

of

C major (which

is

tonicized for a brie

instrument al interlude that preparesa return co the tonic

G major), a local VI7appears in a diaton ic form (Am ')

which is thenalteredthroughmixture fromtheminormode

(Ab

M7

), beforeanunusualchromaticchord(EM7) leads toan

unambiguous V{at 1:54)21 The E chord, nominallyamajo

triad,canbeheardas asu bstirutionfo rii

o7

(representing

a continuation of

the

modal mixture from the previous

chord),two

of

whosepitchclasses

=

andB

=

0

itconta ins.Thisharmonicreading

is

supportedbyachaino

descending

fi

fths (the enrire bridge, from

1:39

onwards)

whi ch mov

es

through (nearly) diaton

ic

forms

of

VIl

m7

_

IIIm7

_VIm7 before turning unabashedly chromatic.

Th i

s

fifth-progression that begins normally and becomesquite

exotic seems to exemplify a verse from another song from

Everything Must

Go,

"GreenBook"(2:42-3:01):

Ilike theneon, Ilovethemusic,anachronisticbutnice;

The

seam

less

segu

efrom fun tofever, it'sasweetdevice.

Naturally, the further one stra

ys

backwards along the

circle of fifths from V-I, themore the notion

of

harmonic

21 T his recalls

Bri

anWi lson's purpler patches (as in the Beach Boys

"Warmth of the Sun").See Harrison 1997fo ran

exp

erttr

ea

tment of

BrianWilson'schromaticharmony.

TNmptt

http://slidepdf.com/reader/full/0:55-58).20

http://slidepdf.com/reader/full/0:55-58).20



212 MUSIC HEORY SPECTRUM 26 2004)

REFR

n m

E D

~ r n

Bm'

E ll A

I

can sec by

what you ca

rry th

o

t you

co

me from Barrytown.

A'

BR

F Am ' m

o

'

In

the

beginning we re

call

tha t

the

world

was hur led

;

F Am

'

m

o

'

Barrytown people got

to

be from

an

other world .

A

a

) Barrytown (B

ec

ker- hagen;

composed

c.

1969,

Pretzel Logic [1974j), refrain and bridge. ©

1973

by

Me

Music Publish in

Division

ofMC

Inc.

and Red

Giant, Inc.

2:00 Vocal PartS

e : ~ : c

H

A9

A:

(b) Barrytown {Becker-Fagen, composed

c

1969; Pretzel L

ogic

{1974}),

voca

l and bass parts at retransiti

on.

© 1973 by MC M

Publishing, A D iv ision

ofMC Inc.

a

nd

Red Gia

nt

,

Inc.

EXAMPLE

n

substitution is subject

to

laws of diminishing returns. Pa s

mediant

for

tonic.

A

basic character

is ti

c

of

much roc

sages wit similar attributes might be less convincing har

the 1960s, the Mixolydian

b

VII was pio

ne

ered in

th

e

monically, especially when dealing with substitutions for

1950s

by

Bo Diddley, The Champs, Buddy H olly, and

heavily altered Of borrowed cho

rd s. It

is usually mo

re

to

th

e

Coasters.) Both of these substirutions

are

combined in

point to hear the submerged lin

es

that hold such progr

es

Steely Dan songs that feature subtonic-to-submediant

sions together, as with the chromatic descent to the foot of

dences. The chorus of Re elin' in the Yea rs illus

tra

tes. H

th

e dominant,

A Ab

= G -G,

in Blu

es

Beach

.

the subtonic G majo r

is

understood first (at 0:45)

as

Other Steely

Dan

chord substitutions come more from

Mixolydian dominant-substitute lower neighbor to

rock syntax than

fro

m jazz. Perhaps most common

are

the

to

ni

c, A, but then (1:07-12) passes down to the submed

Mixolydian VII

as

a stand-in for V7 and the use of the sub-

a deceptive sort

of

tonic

su

bstitute.

Th

e same pa

ir of

ne



THE

ABSTRUSE AND IRONIC BOP-ROCK HARMO

NY

OF STEELY DAN

. 13

el

F

C B ~

r

~

F

I r

g

F

9

If

W f

if=

wai

t,

smoke. stare in-

to

my Coke. It

's

hap· pen- ing

a

B ~ m 9

Gmll

C ~ 9

A,6

m

'

S m? ,

i-

t

I y-

g

~ ~ ~

g

e

f

I E

J

..

":I

-gain. I tell

my-

self that

it' s

o-

ver and done,

A-

men.

EX M

PLE

12. Negative Girl (Becker-Fagen; Two Against Nature [2000}), verse. © 2003

FREEJUNKET MUSI

C (ASCAP) I

ZEON

MUSI (ASCAP). Used by permission.

1:39 Bm7

Em'

*111

PgF

H I fd

ff'p

,

t

r

f f

@

We could rent a par- - a- nym-phic gJi- der.

my

hy-

po- thet- i- cal friend

1:47

A ~ M 7

1:54

.J.

Am'

G7#9

\ \

AJ

~

I I I

; 1; 1

J

~

1 f

I,; 4 ~

i

an

d we could sail

t

il

{he

bend-ing end.

(Sail, sail a-

way

til

the bend-ing end.}

~

EX MPLE 13. Blues Beach (Becker-Fagen;

Ev

erything Must

Go

[2003}), bridge. © 2003 FREE

JUNKET MUSI

(ASCAP) /

ZEON

MUSI (ASCAP). Used bypermission_

boring and

pa ss

ing

VIJ

functions is found in

Pearl of

the

areas in standards like Tea for Two and Star Eyes, bop

Qtarter [1973], Any Major Dude Will Tell You [1974],

pers laid the foundation for more progressive relationships

and Your Gold Teeth II [1975].

(such as those heard in Theloniolls Monk's Ruby

My

Dear ),

Transimt M odulations.

Strunk reports that Bop harmony which perhaps served

as

models for John Coltrane's Giant

. .

has at the foreground level a strong sense

of

forward mo

Steps in their

to

nal peregrination s.

23

Such

su

perficially aim

tion: ser

ies of

unstable chords seem to push forward toward

less

yet propulsive transient modulations, and even exercises

rela

ti

vely stable harmonic goals which often initiate further in progressive tonality, dominate certain Steely Dan songs.

progressive movement toward new goaIs. 22 Cutting their T hus, they represent our third topic, o

ne

fraught with ab

teeth on the ephemeral tonicizations of distantly-related

struse, feigned, and oblique implication

s.

Example 14 suggests

22 Strunk 19

79

,

7.

23 Hear Star Eyes on Parker

1991

and Ruby

My

Dear on Monk

1991.

http://slidepdf.com/reader/full/peregrinations.23








MUSIC THEORY SPECTRUM 26 2004)

0,15 0,22

214

,:

t m. 5

-

- I'--r-....../'--

F#m

:

I

VI7 V 1 ~

VI

7 V

4

- ;J?

D: V I,

EXA

MPLE '4. Voice-le

ading sketch of

The

Caves ofAltamira (Beck

er-Fagen;

The Royal Scam

[1976}),

verse.

a punning modulation that accompanies a deparrure in The

Caves of Altamira." At first (m. 6), the bass D 3 is a neighbor

to C#3

i

this fuct ional relationship is reversed in measure 8

at the tonicization

of

D, the submediant, the

re

sult of a

chromatic twist on a 4-3

re

solution.

The

arrival on D is very

brie

f,

however,

as

the phrase goes on to cadence in F# major.

A nd one won ders

what

knowledge of

Cathy

Berberian

inspired

th

e bridge

of

"You r Gold Teeth," sketched in Ex

ample

15,

which seems

to

begin in a

so

lid n but then hints

at weak transient tonicizations of

Db,

and F before the

home key

of

C minor

is

regained with the ensuing verse.

Th is seems a very deliberate

attempt

to celebrate incon

gruity, and perhaps results from the composers' hearing of

Berio or some other Berberian performance.

The instrumental bridge and coda of "King of the

World," reduced in Example 16, is tonally more secure, but

still its Aeolian,

V1-

,V1I-1 progress ions land once on E and

then on F, a demonstration

of

progressive tonality.

This

ca

dence tak

es

a pivotal role in an uplifting

so

ng-ending "truck,

driver's" modulati

on

from C major to D major in "

Any

World (That I'm Welcome To

)

[1975) (at 3:07- 08), where

the

of

t-heard , V1-1 V11

of

C major pivots as the latter chord

moves

as

,

V1

to ,

V1I-1 in

D , not unlike the way the Beatles'

"Being for the Benefit of Mr. Kite" jumps from circus ring

to

circus ring in moving from C minor to D minor and then

A

£0

£0 . '

Tobacco they grow in Peking;

A.

A'

B,

In the year of the locust you'll see a sad thing.

G

7

b

Even Cathy Berberian knows the re's one roulade she can' t sing

E,

A

,

F

Dumb luck, my friend, won't suck me in this time.

EXAMPLE IS- Your Gold Teeth (Becker-Fagen; Countdow

Ecstacy

[19

73}), bridge. ©

1973

by MCA M

usic

Pub lishin

Division

ofMCA

Inc .

to E minor.

24

Tonal centricity is also heavily challenge

much of

th

e highly experimental album Two Against Nat

The backing for Chris Potter's four -minute tenor sax

that conclud

es

the album-ending "West

of

H ollywood,"

The "truck-driver's modulation," which shifts the tonal center up a

'4

in countless pop

and

rock songs, is discussed in Everett 1997, 151,

18. Regarding "Mr. Kite ," see Everett 1999a, 110-11. The modul

is

referred to

as

the "pump-up

in

Ricci 2000, 130-32.

http://slidepdf.com/reader/full/minor.24






THE

ABSTRUSE N IRONIC

BOP

- ROCK

HA

RMONY

OF

STEELY

DAN

215

1:$9 DF: monophonic b c . i : o c

3:48 OJ D

add6

E C o,j

oadd6

C

G

add6

dd6

F I

F

D

&

I

2

I

•

J

Ie

r

r

Ip

r

IJ

F

j

I;

r

•

U

r

,

Ir

G

J r

l

L I

F

...

;

II

EXAM

PLE r

6

King ofthe Wodd (Becker-Fagen; Countdow n to Ecs tacy (1973J), interlude / coda © 973 by M CA M

usic

Pu

bl

ishing, A

D iv

is

ion ofMC

In

c

ex

am ple, wanders be

rvve

en

Gm

, Em, Bm, Dm, Par

ke r's

1951 r

ec

ording of L

ov

er Man as introdu

ce

d by

Fm, Am, Em , G, m, H m, and Gm chords without settling pianist John Lewis and bass ist Ray Brown, approache s the

in to any particular scale-degree functions. T he group's previ su pe rtonic harmony that opens the verse

wi

th two LIPs: a

ou

s effort,

Gaucho,

u

su

ally makes its tonal centers clear, but

5-8

alternation over a des

cent by fi

fth

s,

and a

7- 6

pattern

many

of

its son

gs

abandon tonal identities one afte r another ove r a chromatic stepwise descent . Four different linear in

with decadent impude

nc

e, after o

nly

the brief

es

t whiff of tervalli c patterns from the music of The1onious Monk ap

familiari

ty;

Glamour Pr

ofess

ion is a fine examp

le

.

pe ar in Example 18. E

ac

h feature s a chromatic descent

Chords aJ g

en

tJ

Voice Leadin

g

Before turning to an

ex

against some other sc

al

e: thr

ee

cas es h

ave

a diatonic descent

te

nded look at a

si

n

gle

Steely Dan song, Babylon Sister

s,

whe

rea

s the fourth, from

S

weet and Lo

vely,

is based on a

I shall summarize St

eel

y Dan's approach

to

both diatonic whole-tone descent. Steely Dan's many 'Ypes of LIPs are

and chroma

ti

c contrapuntal patterns and the func

ti

ons that

represented in

Ex

ample 19, which reduces the verse of

ar ise from highly idiosyncratic chromatic alterations

to

Rcelin' in the Years , the

firs

t phrase of the bridge of Pearl

voice -

le

ading chords. Linear intervallic patterns (or LIPs)

of the Quarter, and [he second verse

of

Monkey in Your

are heard frequently

in

Steely Dan compositions and

in

their Soul. In Reelin', the learned quality of the counterpoint

bop forbears

2 5

Exam

ple

17, the beginning

of

Charlie se

rves

as a poetic foil to the singer's reference s to academic

life ( The weekend at the co llege didn't turn out like you

planned; the things that pa

ss

for knowledge I can't under

25 The te rm Jjnear intervall ic pattern was coined by Allen Forte and is

stand ). Pearl is an ode to a New Orleans hooker with

discussed in Forte 197

9,363

- 76, and Forte and G

il

bert 1982, 83-102.

whom the singer is in love; its sequence based on parallel

LI

Ps are common in bop-one good example would be the bridge of

minor

te

nths and outer-voice parall

el six

ths seems to sugges t

Diz

zy

Gillespie's June 6, 1956, recording of Tour de Force (see

0:35-49 there. on Birks Works). LIPs common to bop and other

j

azz

a goal-directedne

ss

appropriate to the message it sends to

sty les, and the substitutions that make them highly unusuaJ , are d

is

Louise

by

way of a friend, Please make it clear when her day

cussed in

Cok

er 1975, 44, Strunk 1996 (especially useful are pp.

is done she got a place to go. Further illustrating the text, it

63

-68

), and Larson 1996, 152.

By

contrast, LIPs are far less common in

even cadences restfully with a stylized plag

al re

s

ol

ution of

most

fo

rms of rock and pop music o f the 1960

s,

whe

re

they a re largely

neighbor and p

ass

ing ton

es

. Its ch

ro

matic bas

is

involving

confined to bridge sections, as in Brenda Lee's Emotions (1960), T he

tritones

is

reminiscent

of

Mon

k's 'Round Midnight, shown

Chiffons's O ne Fine D

ay

(1 963), and Bob Dyla

n's

Nashville Sky line

in Example 18(c). Towards the end of the Monkey exam

Rag (1969). A rare rock composition featur

i n

g a LIP in its verse would

be the Rolling Stones's Lady Jan e

(1

966; see 0:45--0:5 1) , which is an

ple (at 1:25 ), a bebop-based LIP, which prepares di

ss

onant

attemp t to suggest an antique style. minor sevenths with consonant common-tone thirteenth s,

http://slidepdf.com/reader/full/featuri.ng








I

216

MUS

I C THEORY SPECTRUM 6 2 4

r

r

r

6 D b: V

7

of V

0 V1

V of

opening

VI

1

Piano I '-t' '

-

I

I

d

I

,,J

I

- -

<>

:

-

pi

7 . 6 7

J

I

....;. I

I

I

, J

r

I r

I I

I I

\,J

__

A

O

Sax

J

d

~ ~ r T

-

SE

QUENCE OF SEVEi \TH CHORDS IN DESCENDING FIFTH MOTIONS

EXA.MPLE 17. Charlie Parker s recording oJ Lover Ma

n

Davis- Ramirez-Sherman; Swedish Schnap

ps

+

free . Augwt 8

1951

} , int

tion.© 1941 UniversalMe Mus ic Pu

blishing

, a Division

of

Universal

Studios,

111c.

6

5

6

(a)

The/onious MonkS recording o skMe

Now

(Monk; G

enius o

Modern Music, Volum eTwo [ree.July 23, 1951]).

0:21

:ll

:l

-

E

:1 1: ,,: 'R J ~ d i r

"'I

:)); ::; X

5

6

5

6

5

6

(b) The/onious Monks recording o Bye

-

Ya

(Monk;The/onio sM onk Trio [rec. October 15, 1952J).

EXAMPLE 18



THE ABSTRUSE AND IRONIC

BOP

-ROCK HARMONY

OF ST EELY

DAN

21

7

03

4

~ : :

; :

~

o

\ o

c)

The/onious

Monk

s recording

of

'''Round

Midnight

(M onk-Williams-Hanighen;

Mi

sterioso

[ree.

August

7,

1958j).

,

~ ~

to

~

l

~

... ,+ ... ~ ... ...

[of

J

,

,

=

- -=

I.

'

I

I

,

-

,

:

-

I I

I

I

:

P4 IT

P4

IT

P4

IT

P4

n

(d) The/onious Monks recording Sweet

and

Lovely (Lemare-Arnheim-Tobia

s;

The/onious

Monk

Trio free. October 15, 1952j). ©Anne

Ra

chel Music

Corporation,

clo

Warner/Chappel

M

usic, Inc

EXAM PLE 18. [cont inued ]

appears among sustaining

sax

ophone lines over the stcpwise

matic sequence that

al

ternates minor-minor seventh chords

descending roots, F ~ - F and

E arr

iving on the

A-maj

or

with m

ajor

triads. T he trirone deg

rad

ations underline the

song's dominant.

nair contempt

in

the lyri

c's

characterization.

Th

e chord

end

A morc s

ophi

sticated bop-based sequence appears in ing the bridge prepar

es

the

V

9M

chord with which the verse

Example 20, which illustrates the btidge between the final

a

nd the ve rse -based solo) begins.'6

cadence

of

the chorus and Paul Griffin

's

piano solo in Sign

26 In

a

priva te conversation of

No

vember 1999, Steve Lar son pointed me

In S

tr

an

ge

The

LIP

is

heard

in

the retransitionallast two

to D izzy Gillespie's January 9, 1945, performance of

Ger

shw

in's

I

bars (beginning at 2:46), where a des

ce

nding-fifths sequence

Can't Get Started for

i

ts line

ar

intervallic pattern alternating rritones

is exploded by the bass- line alternation of rising pe

rf

ect

with perfect fifths (see

0:40-0:49 on

Gillespie 1997,

tr

ack 1), the basis

fourths with descending diminished fifths, producing a chro-

of t

he

sequence

in

S ign In Stranger.



2 18

MUSIC T HEORY

SPF:

CT RUl\'l 26 (Z

00

4 )

0:30

OJ7

,

I"

I

,

,

,

:

:

~

. - - ~

<>

-1<>

T7

~

<> <>

#

10 10 10

10

10

10

10 M6

M6 M6 m6

10 10

10 10

m3

m3

m3

m3

, -

- -

(a

)

R

eelin'in the Yean (B

ecker

-Fage

n;

Can 't Buy a Thrill [1972]), L P

model

fo r verse (

rh

ythm and register normali

zed),

0:59

, ,

I

I

:

,

OJ

:

:

CV l

\3

I,

4

.

,

I

"

I

,

"

<

- < > ~ , <>

I

I

:

...

4

-

(b)

Pearl of

the

Quarter (Becker-Fagen; Countdown to Ecstacy

[1973}),

bridge (rhythm normalized).

1:01

--- ,B

0

F ~ m

---,B

...?""'.....

f i l i i

I

UP

r

Ji J J i J

fP

,

r

In

fn

F

•

nr

Or

Won' t you tum (hat bebop down : I

can t

hear

my

hean

-

be

a

t. Where

s

that fal - - ba

ck

chord

I

found

, 7

0

7

A7

--- ,

-------,---.....,

, i l l ~

I -=j I

49

j\

J F

g IJ' J

r

IOti

J

)

r

'1

1

-

hon-ey.

don't

you

think it was wrong

to

in- ler-

rup,

my song?

I ' l

1:25

0

7

..-:::--J_ . ~ F ~ 7

r

l3

E7

Am G C

F7

(to

- :S .

~ l l i

d

~ ~

rrlr rUr

l£I f+Ff

r

r IV

f

r'

I(d.

pack my things and run so far from here:

good-bye dear. I f

ea

r lhe mon-key in your soul .

(c) Mon k

ey

in Your Soul (Becker-Fagen; Pretzel Logic [1974]), second

ve

rse with refrain,

©

1974 by MeA Music Publishing, A Division

MCA lnc

EXAMPLE

19



THE ABSTRUSE AN D

IRONIC

BOP - ROCK H ARMO NY OF

STEE

LY DAN

2t9

t

m/F

F

t l

0

7

B,7

Dm7

0 7ms G7

e

m'

:j(,

,

,

"

S\

1\

,

l T

I

T

V

-,

I

1 I 1

1 1

1

Love or leave

her,

yel- low fev

e"

sure,

it's all

in

the game.

And

who

ace you?

n

C IV V

P I

VI II V

A

2:46

em'

F

8

m'

I

E

EI

Am7

D

I

JUSt a

n- ath-

"

scur vy broth

eL

I ,

V V,l

EXAMPLE 20 Sign I n

Strang (Be

cker-

Fagen;

T

he

Royal

Scam

[1976j), bridge,

©

1976

by

MCA Music Publishing, A Division

rj'MCA

Inc.

In other cases, planing root-position triads or seventh

chords acquire passing function

s,

a common technique

in all

sorts of popular music, especially rock,27 A glance back at

Example 2 sugges

ts

that Brooklyn opens with root-position

passing seventh

h o r

filling

in

the bass-

li

ne gap stretching

from the neighboring IV' down to I (this particular passage

27 Jazz planing is discussed

in

Larson 1998,236, and Ru

ss

o 1968,282.

Cone (1974, 58), Westergaard (1 975 , 77), and Lewin (1987) describe

the

flow of

parallel roor·posi

ti

on tri

ad

s as doublings of a single part,

rather than

as

parallel-moving part

s,

in e

xa

mples from various

COntexts

throughout Western music. The same idea applies

in

much rock mus ic;

examples include the refrain of Jan and Dean's Dead Man 's Curve

(1964), the verse of Dylan's Like a Rolling Stone (1965 ), the final

ve

rse of

Otis Redding

's

Try a Little Tenderness (196

6;

see 2:41-2:59

there), and many later pentatonic-minor·

bas

ed rock songs.

is remini

sc

ent of the same descent in the retransition of Bob

D yl

an

's If Not for You," New

Morning

[1970]), As shown in

the first line

of Ex

ample 11(a) , the refr

ai

n

of

Barrytown

contains a similar stepwise mo tion from F#m down to Bm,

fi

lling in an

ex

pansion

of

II with pa

ss

ing root-position

chords. As shown

in

Example 21, an unusual non-diatonic

planing appears in an otherwise

G-

Mixolydian framework in

the chorus of the folk-styled With a Gun, whose parallel

major triads allow two su

cc

e

ssi

ve hearings of mi-contra-fa,

indicated by the diagonal lines in the reduction, their harsh

ness certainly appropriate given the text. A striking example

occurs

in

the

gu

it

ar

so

lo

of Rikki Don't L

os

e

That

Numbe

r

This song

's

verses are based upon a D-A

-E

double-plagal

progre

ss

ion, normally heard twice in a r

ow.

In

the solo,

the fi rst appearance is followed by

an

expanded version



220

MUSIC THEORY SPECTRUM 26 (2004)

0:31

Ipay the oth·er Iman with the Ipiece

him ly ' n'

in

the

id you

EXAMPLE

21.

With a Gun (Becker-Fagen; Pretzel L

ogi [1974]),

se ond halfofchorus.

© 1974

y MC Music Publishing, A Divis

MC ln

c

(3:05-22) that

fills

in the I

V-I

m

ot

ion with passing root

posi tion chords taken from the Phrygian scale: WlI

-IV

I I I -

M 7 - I ' . Passages such

as

these, and the

c

m7

_

Dm

7_

D m 7 vamp making up the well-known chorus

to

Do

It

Again [1972] (1:37+), pale

in

comparison with the

53

major triads presented in parallel motion in the coda of

Throw Back the Little Ones, the

en

ding

of

which was pre

sent

ed in Example 7(b), and with

Time Out

of

Mind

[1980], which consists ent irely

of

parallel root-position

chords. We saw earlier that linear intervallic patterns can

occur above chromatically descending bass linesj planing can

work the same

way,

as in the introduction

to

Peg, shown

in

Example 22. Here, as in Monkey in Your Soul, the chro

matic descent moves to the fifth scale degree.

Scale degrees characteristic

of

Mixolydian, Aeolian, and

Lydian modes are often attributes

of

chords useful for contra

puntal but not harmonic functions. More common to rock

than to jazz, such sonorities as the Mixolydian VII and the

Lydian

I I ~

are basic to Steely Dan.

28

As mentioned above, the

modally inflected

~ V I I

works

as

neighbor to I or

as

a passing

chord from to I, especially in the earlier albums.

The

coda

28

Strunk 1999, 9, no

tes

that the Mixolydian or Aeolian neighbor morion,

I-Wll-I, is rare in jazz, but this is a rock commonplace, and is

d i s ~

cusse

d

in

Bums 1999,217-18.

to King

of

the World/' given in Example 16, illustrate

application.

Her

e, E, which had been the tonal cent

the pr ior verse, is tonicized with the Aeolian progre

\f1I-I, a commonplace cadence in 1960s rock.

29

A

have already seen, the same cadence allows a modulati

F before the repeat. The same Aeolian cadence

is

co

with extended chords, { 7 - F 6 _ G in Bodisattva [1

(1 :09-

12).

The

Lydian inflection, a raised fourth scale

gree

in

a major supertonic chord that does not lead up

bur descends chromatically through in the subdomi

had been a hallmark

of

the BeatIes' early style. Conside

instance, the refrain

of

Yesterday,

in

Example 23(a), w

e v o ~ e s sort

of

a music-hall, barbershop-like chromaric

This effect lingers in Brooklyn/' shown in Example 2, w

the F 4

of

the refrain's D-major supertonic chord (at

melts i nto an F ~ 4 over the tonic pedal (follow the

register S-shaped slur). The descending Lydian fourth

degree has other, more complex , manifestations in the m

of

Steely Dan. Th e reduction in Example 23(b) shows

Z9 Earlier rock examples of t

he

~ A e o l i a n cadence are heard

in

Crystals's Uptown (1962); the Beatl

es's

P

S.

I Love You (1

\Vith

a Little Help From My

Friends (1967) and Lady

Mad

(1968); Stevie Wonder's "J Was Made to

Love

Hern (1967); an

Stones's Gimme Shelter (1969).



THE

ABSTRUSE

AN D IRONIC BOP- RO CK HARMONY OF ST EELY DAN

221

}

I I

r

,

,

. - ..

7 . ~

-

I

.

;Ut

#1

~ ~ :

#

r LM'

r

U f

:

v

(

N)

EXAMPLE 22

.

P

eg (Beclm-Fag

en

;

ja

{1

977J), introduction.

©

1977

by

MC

A Mus

ic

Publishin

g,

A

Di

v ision

of

M CA

In

c

the chorus

of

the

cy

nical Steely Dan song, Only a Fool

Would Say

Th

at, transfers the chromatic descent

of

this

progression into the bass , where the unexpected move from

wo uld-be

ap

pli

ed

leading rone FI,

to

F\, has an appropri

ately deRating effect. Note that, as in the wistful Yesterday,

bec

au

se the dominant is not achieved here, the third scale

degree is prolonged in the upper voice, perhaps an indication

that the fool 's dreams for world unity and freedom, ideals

elaborated upon in the verses, will of course never come to

fruition. O nly a Fool is from the group's first alb u

m;

the

same Lydian progression (charac

te ri

stic of many su

cc

ess ions

based on chromatic descents) appears

in

F majo r in the

title c

ut

of their last album before dissolving the group,

Gau

cho,

excerpted in Example 23(c) . H ere, however, the

JV chord into which the Lydian chord melts appears ov er

the fifth scale degree, and is thus co nsumed by it, forming

a Hindemith-in-Harlem Vll sonority charac teristic of the

group's late -seventies work. The poetic effect here is one of

imposed disappointment, related to the deRation noticed in

Only a Fo ol.

Perhaps Steely Dan's m

os

t original contribution

lies in

their

chromatica lly al

te

red passing and applied chord s. For exam

ple , the diminished- th ird chord (which behave s normally

in

some songs) is given a new fun ctional Mist in a transition in

Fire

in

the H ole/' where it c

an

be de

sc

ribed as the chord

of

the doubly augmented oct

av

e. It s occ urrence in Fire

ap

pears right after the do uble bar line in Example 24 (at 0 :42).

This sort

of

hearing adds a new color

to

the retransition of

Barrytown (shown previo

us

ly in Example l1(b)), where the

m

M9

chord can be heard as base d on a doub

ly

-augme nted

octave,

- B ~ 4

which resolves through chromatic inRection

to A

2

,.'o

The refrain of Steely D an's title song of the film,

ends on a V

i5

preceded by a normally resolving German

sixth (entering at 1:34).31

One al

so encounters augmented

sixt h sonoriti

es

that

reso

lve

to functions other than the

governing domin

an

t. Note the application of a French chord

(functionally considered to be an alte

re

d dominant

se

venth)

as neighboring sonority to an expanded tonic in Gillespie

's

performance of Yesterdays, as reduc ed in Example 25 (a).

In the re transition of

My

Rival [1980], the goal V of E is

locally tonicized with the progression

II

(dressed up as

CI - E'-G

-B

-D

I)-Ger

6 5 (with a major 9th

ab

ove the

ba

ss

substiruting for the third, spelled

G

F ~ - A at 2: 06)

30 Jazz scholar Jim Dapogny noted

in

a

Mar

ch, 199 9, communication th

at

the doubly-augmented octave is

co

mmon in expansions ofV7; think of

the

doned

-rhythm l

in

es

G-Gj-A-A -B o

ve

r

A

A G

in

the

introduction of a C-major Sousa march.

3I T h

is is

a common bop fu nction. Con side r, fo r instance,

Du

ke Jorda

n's

J ordu, as recorded by Dizzy Gillespie on April

7, 1957,

at 0:10 on

track 18 of Bir

ks

W

orks.

http://slidepdf.com/reader/full/1:34).31

http://slidepdf.com/reader/full/1:34).31



.

:

We got

I

I

heav-y

I

ro ll -ers, I

t1.

f i

think you

,..

,..

r

should know.

:

,

Try

a

, ,

gain

, ~

,

to mor

h

-

row.

~

7

222

MUSIC TH EORY SPECTRUM 26

(2004)

o

~ ~ r ~

4')

,

=-=

'h

p:

r 3&

'

F:

VI7

IW

IV

(a) Yesterday (McCartney; Help' [1965j), refrain.

0:48 0:52

0:56

... --_ ...._------ _...-.. .._--.. _-

-.

--- -.._---._---. -

-.

--.-- ---._-..

,

.......

. : : : : : : : :: : :: :

- -----

'bout

a

wor ld where all

is free. It juSt could- n' t be, and only

a fool would say

-

~

tatk- ;n

.-- --- ----_.--._-_._- -.

-

- -

"

f-

--

t

e II , (Vl IV)

I

(b) Voice- leading sketch of Only a Fool Would Say That Becker-

Fagen;

Can't Buy a Thrill [1972}), chorus . © 1972 by MC

Publishing, A Division of

MCA

Inc. and Red Giant,

Inc.

B ~ C

Ba

ss

:15

.--.----,

,

,

~

0

" "

,

'--3 : '

III,

lIB

IV

1

5usol

,

c) Gaucho (Becker-Fagen -Jarrett; Gaucho [1980}), verse cadence © 1980,1981 Zeon Music (ASCAP), Freejunket Mu

sic

(ASC

Cavelight Mus ic (BMI).

EXAM

PL

E

23



THE

A

BS

T RUSE AND IRONIC BOP-ROCK HARMONY OF STEELY

D N

J

0:42

0,]5 1

A

__

____

____ ____ _

L--- ---

--

-------. •

- ,

.

--

-·

-

--

-

·

--

.

,-

:

~

.

8

-T____..

7 ---

N N

W

Il

(a)

Cm? A .A7

A'.6

AI

A ~ m

B ~ / A ~

Gil

G

e m7

A,

l

:

I"

r

,

I I

I

7

r

Am

I

m

y-

se

lf or

j

ust

a

n-

other

fr

e

ak?

You

know

there

's fi

re

in the

:

, ,

~

"

I

I

r

r

hole and n

oth

-ing left

to u

rn

it

(b)

EX MPLE 4 . Fire in t he Hole (Becker-Fagen; Can't Buy a Thri

ll

[1972]), end ofverse into

choru

s. © 1972 by MC Music Publishing,

A D ivision

ofMC In

c. a

nd Red

Gia

nt

, Inc.

- v" (F#-E\-Gi-AI-Ci ) to a tonicized V II; (B-A-Ci sixth (m_ 6) moves to a V that is decorated in a way that sug

Dx-G-B). Even stranger is a passage from the title rrack

of

gests

an

enharmonic resolution on the surface that is soon

j

a, excerpted in Example 25(b). Here, at the end of the proved false. This German sixth, an A,' chord, acts as if its

chorus, a French-like

V4

/ 3 wirh a typically lowered fifth H, which sneaks into a false bass line as H is really a Di,

and an unusual major seventh is applied

to

the Neapolitan

with the resolution suggested in Example 25(d)32 Ex

instead of to the dominant. This abstruse event creates an ample 25(e

),

however, argues that the E-minor sonority may

appropriately exotic quality, and the offhand giving way

of

be an

ironic surface illusion:

it

stands in

for

a G-major domi

the tOnicized C to the true tornc, B, has an ironic quality nant harmony whose root is delaye d for nearly

four

bars ,

owing to the nested double use

of

lowered second scale de

gree to C

s

' then C

s

to

B,

). In the C-major ve

rse

of

32

Note

al

so the bop-

fa

vored tritone above the roo

t in

the

re

pe

ated

last

"Through

With

Buzz, shown as Example 25(c), a German

cho

rd

of Example 25(c).



MUSIC THEORY

SPE

CT RUM 26 (200 4)

4

0:15 0:17

o

# #

~

I

. a

u-

.g -0

D: J4

7

Fr.6 1< 7

a) R

educ

tion

of

Dizzy Gillespies

recordin

g

of

Yest

erd

ays

Kern-Harbach, Bir

ks

Wo

rks

[rec.]une

6,

1956J), opening.

I

G

7

E9

c '

~

i

sea

.

.

!

IT

A

+

ja,

~

when all my

dime

dan

-cin is

through

+ + +

Neapolitan to

nici

z ed

for

6 m

rn

.

\ U

.,

Fb

7

G9

G-

5

1

c·,

5

O

,

[ -

t

qqt

q4

ru

n to

"

~

you

~ ~

-r

IT

v

4

3

(b)

Aja (Becker-Fagen;

Aja

[1977J),

end

ofchorus. © 1977, 1978 by MeA Music Publishing

,A Division ofMCA

Inc.

E X M P L ~ 5

http://slidepdf.com/reader/full/toniciz.ed







.

Buzz.

,II

right, oh

yea

h uh

,

huh

:

J

:

:

THE

ABSTRUSE

ND

IRONIC BOP ROCK HARMONY OF STEELY

D N

225

:07

o

r

Em

Dm

m

~

.

c

,

I

I

,

---

•

: I

.

~

He

take

s a

ll

my

mon- ey;

you

know, I m

through

with

Bu

zz.

Ye

s,

I m

through

with

-

:

:

p.., . .

,

+

,.

+

C+

11

0

c

"

or ,

-,

,

-

=

I

l i _ .7_ . .7

-

!

(c) Through With Buzz (Becker-Fagen; Pretzel

Logic

[1974J),

reduction

ofverse. © 1974

by

MC Music Publishing, A Division ofMC

Inc.

6

,

....-

>

lr

-

I

"

q..

1 0

Em

(d)

Through

With

Buzz,

suggeste

d

surface

resolution

German sixth.

EXAMPLE

25 .

[continued]



226 MUSIC TH EO RY SPECTRUM 26 (2004)

11 12

13 14

--===

f - - - - - - - - - - - - - I

,

Q ~ ~ m

<

.:,

... .. ...

i _ _ I

Y i

\1

C:

Gerf V . t .

~ V I I 1.

e) Through Wi th Buzz,

j

expansion cadentia l dominant in verse.

EXAM PLE 25.

finally appearing whole in the second

half

of measure 11.

33

The

harmonic expansion is particularly noteworthy in that

the phrase rhythm reflects an odd combination of a three

measure verse (mm.

5-7),

answered

by

an eig

ht

-measure re

frain (mm. 8- 15) that fearures a subtle shift from common

time to cut time (m.

12

). Also interesting

is

the insistence on

F#,

a strong

coloring

of

both the song's introduc

ti

on

(n

ot

shown here) and the Lydian-inflected turnaround (

m.

15)

for the repeat, and which is perhaps the motivation

for

the

ironic interpolation of E minor and B minor, which grows

out of the G erman sixth's

F#.

(The

ambiguity is rectified

later in Buzz, in the retransition from the bridge, where the

German sixth moves (at 1:00) directly to a Vll chord.)

e interval

of

the augmented sixth can also be obscured

by additional

vo

ices and rhythmic shifts that detract from

33 This SO ft of omission

of

a root (in this cas

e,

a bass G

2

su pplanted by an

inner-voi

ce

E

)

happens to be a techniq

ue

attributed to Red Garland, a

3

bop pianist to whom Fagen had listened since his boyhood . See Coker

1975,4

0-41, for

Red Garland's pioneering of rootless voicings. Sweet

1994, 8,

states about

Fagen's knowledge of Garland tha t Fagen claims

to have bought a copy of

Gar

land's Jazz Junction at age eleven,

~ a n d

ever since I've tried to imitate his style.

[continu

ed]

the interval's natural intense clarity. We have already see

instance

of

this in ''Aja''; another example can

be

found in

re transition in Black

Cow/

' reduced in Example 26 . H

the A-major chorus-which , as you might recall, repres

the culmination of

blooming

of

the added sixth from a t

C-majo r

chord-return

s to C for the ensuing verse, with

bass moving from to C

3

(at 1:23) as an inner voice

B

4

-C;, thus resolving the augme nted sixth. However,

rich,

five

-note sonority

on

coupled with the suspen

of the B4 acro

ss

the arrival of the new root, C, nearly c

up the resolution of the dissonance. The abrupt unprep

modulation in Black Cow" depicts the command that

drinker get out

of

here and the ambiguity

of

the augmen

sixth resolution fits the illustration of the singer's enligh

ment in the bridge giving way to his lover's haze depi

once again

in

the ensuing verse.

BABYLON

SI

ST ERS >

In

the

5th

century B.C.,

Herod

otus

WTote

of Babylon

center of widely sanctioned prostirution. Ever since, the

has been a mythical

sy

mbol

fo

r corruption, excess luxury

empty pleasures, and a final destination for the exiled. Su



THE

ABSTRUSE AND IRONIC

BOP- ROC K

HAR

MONY

OF

ST

EEL

Y DAN

227

Chcrm

RU TOnJ ll'rm

VuJt

U9 1:23 1:33

.

.

..

-

.... ........ .

~ - ~ '

;.

: ; ; : : : :

.

t

rink yo ur big black cow and get

Olll of

here

,

T

T

A,

I

III13

.8

.6 CI N

.3

EXAMPLE 26 Voice

-leading sketch

of B lack

Cow (Becker-

Fagen;

Aja

[19

77}), transition to verse.

©

19

77,

975 y

MC

A Music

Publishing, A Division of

MCA

Inc.

decadent se tting is right in line with Steely

Da

n

's

preferred

imagery. \'Valter Becker said once in i

nt

erv

iew,

"I don't know

how many songs we've wr itten about whores-it must be

every other on

e. 34

Even through the veiled narrat.i

ve

ele

ments in "Babylon Sis te rs we find som

et

hing along the

lines of post-Herodotus myth.

The

song is presented as

Example 27, in a reliab le

if

incomplete piano/vocal reduc

tion.

On

e supportable reading of the song's lyrics declares it

to

be "the story [of] a man who has lost his sexual potency,

and who seeks

to

try to regain it by hiring a couple

of

exotic

prost itutes for a threesome." 5 Sexual matters

as

ide,

ex

cess

34

Sweet 1994, 144-45. This

is

somewhat

of an exa

ggeration, bur

we've

noted the topic of prostirution

in

"Pearl of the (hlarter ; "Here at the

\N

es

tern World" [1976] is anothe r obvious example.

Th

e

co

ver for

Can 't Buy a Thrill

fearur

es

a photograph

of six

so liciting streetwalkers.

In a larger sense, dehumanized sex, often with an element of danger

fa ntasy, is of interest

to

Steely Dan. Beyond the line, "Gettin' in bed

and curling up

wi

th a girlie magazine" ("Things I M iss the Most"

[2003]), Everything Must Go

featur

es

the

so ng,

"Pixeiee

n,

" which dehu

manizes the so-named spy-thriller starlet by fixa ting on her digitized

pixel make-up.

5 Sweet 1998, 64.

and corruption are palpab l

e,

with referen

ces

to the indulgent

drinking

of

"Kirschwa

sse

r from a shell" (mm.

26b-27b),

the

empty zing

of co

tton cand

y

(mm. 33c- 34c), and the singer

's

burni ng

of

bridges as he reaches "the poi

nt of

no return"

(mm.

36c

-42c).

Example

28

presents an outline of the song's form.

W hereas

Gaucho

was a no toriously difficult album to write,

record and mix (the entire process took over two

ye

ars), the

rhythm section

fo

r "Babylon Sisters," its lead track, was

recorded in only two takes.

36

All instruments were played by

hired session people. The rhythm team of Bernard Purdie

(drums) , Chuck Rain

ey

(electric bass), and

Don

Grolnick

(Fender Rhodes electr ic piano) was the same group that had

put down the fi rst s

ucce

ssful track, Kid Charlemagne," fol

lowing many aborted sessions for the Royal Scam album in

1975. Note the ominous quality of Rainey's double-stopped ,

open

fi

fths in the

so

ng's

in t

rod uction .

Th

ese are

not

the

36 See 1

99 4 9

9, 134, 141, 142,

145

for production det

ails.

Sweet

1998, 6

4,

notes that Fagen, Producer Gary

Ka

tz and Chief Engineer

Roger Nichols spent three weeks mixing th is recording, despite the

relative

sp ars

eness

of

its understat

ed final

texture.

http://slidepdf.com/reader/full/takes.36





MUSIC TH EOR Y SPE CTRUM 26 (2004)

28

BABYL

ON

SISTERS

Words and Mu

sic

by WALTER B

and DONA

LD

ModeratdY'low

(n =J J)

nm(add

F) E ~ m a d d

(no

3rd) 0

(flO

3Id)

(no

3Id) F1 (no 3rd)

A ~ m 7

--

m

..

sus4

-

"

•

I\ * -* <>.

,

'0

"

nif

,

:

V V '

,

... 7 ...

~

4

~

nm(add

F)

nm(add

F)

9

G ~ n o 3 r d )

C1(no 3rd)

. \ ~ ( n o

3rd) C ~ « 1 0 3Id) fI.(no 3Id)

~ m 7 - 5

Hmsus4

E ~ m

I

, 1 . .' £

...... .

,

ij

(add F) E ~ m (add F)

.

~ ~

~

.- , 47

,

~

~

'0

.

'-

"IT

Drive west on Suo- set

to

We'll jog with show folk on

Instrumental

J

h

~

~

7

.

Ib 7

...

*

-0-=

'

~ , ,J.

0=

.

-

~

*

EXAMPLE 27. Babylon Sis ters (Becker-Fagen; Gaucho [1980]), piano/vocal reduct ion.

©

1980 FREEJUN

KET

M USIC (AS

ZE ON

MU

SIC (ASCAP).

U d

by permission.



THE

ABST RUSE AND IRONIC BOP- RO CK HARMONY OF STEELY DAN

22

9

"

E ~ 9

~

mmap m·..

7

c·

.

7

l

"

~

or

~

'

~

~

'

or

Tum that jun- gle

mu-sic

down,

just un

til

we re

o

ut of

tOWIl.

This is

no

one- night

dri

nk

ki rsch-was-ser from a shell, San Fran- cis- co show and

te ll

. Well, I

should know

by

My friends say

no.

don t

~

,-,-.,

j j

0

v

~

~

~

~

r.B:

l

J

:

u

B ~ m 7

em'

~ m a p

u

I L

Om

WW

l L I.

stand. It s a real oc ca

no

w that it s jus t a spa

go for th

at

cot-ton can

sian.

SOl,

dy.

Close your eyes and you lt be there.

like II Sun-day in

T.

L

Son. you re play-j

ng wi

th fire.

~ J

It

s

ev- - ·ry- thing th ey say, the end

that it s c

he

a

p. bu

t it s

no

t

fr

cc, that m

Th

e kid

wi

ll

live and learn

as he

3ed)

39

E

7

-

5

B

maj

9

A 7 : ~

Dm

(no 3rd)

Dm

9

l

~ ~

~ ~

~

~

V ~

iI ...

... ~ # ' ~

... ~

of a pe

r- feet day.

di

s- tant lights

f om a cross the bay. (

not what I used to

be.

and that lov e·s

not a game

fo

r three. Bab

-y

-Ion sis-

ters,

shake it.

watch-es

his bridg-es burn

from the poin t

of

no re- tu

rn.

n I

r-- l _ 3---

~ ~

,

~

I

:

v

-

or

1 >

-

y

I

-

-

-

~

"

~

.,. .,.

E

XA

M PLE 27.

[

co

ntinued ]



MUSIC THEORY SPECTRUM 26 ( 20 04)

23°

'

m moj

\l

Dm(no Jrd)

Dm

ed)

c

9

m

A

.

~

I

Bab-y-lon sisters, shake ie So fine, so young,

tell

me

I'm the on - ly

one

~

I

•

.

,

F I

-

I

I I I

-

..e

...

J -_

't1c

,

.

..,

- .

~

n .

<>

I

Dm(no

ed )

c'

E1 no 3rdl

Cod

a

fF\. F\

m/m

~ / G ~

v

Here come t

ho

se San-ta An

-a

winds a

,

<>

II.

D

.S

a

l cd

6

m a j 7

F\g

Hm7

B m

9

mm

6

Bm(maj7) B m

7

-

5

H

ms,

us4 F' +

,

:

-gain.

ga in.

A .

,. b

.,

Wv

,

... ...

,y

r r

' -I' I'

-W

-

I'

'f'

V

Wv

\

,

:

EXAMPLE

27.

[continued]



THE AB

ST

RU

SE AN

D IR

ON IC BOP

-

ROCK

H A RMONY

OF STEELY

D

AN

23

1

C }da

Rrp<af

and alk

Jrd)

{1}

Dm{no 3rd)

Dm7

r{no 3rd)

Je

d

DIlI(no 3r

d

Dm

7

A

r r

I A

Ii.)

I

~

# :

I

I

:

u

:

4

I ' #':

-Jj

, I

C

ou

-

Dm(no 3r

Dm( no 3rd)

k

A ~ 9 + 1 1

Dm

..7

r( no 3rd)

E ~ n o

J rd)

, ,

..

_

A

A

,

got to shake

it,

ba-by, you got to shake it ,ba -b

y,

you got to

sh

ake

r-T

:

:

I

~ 1 t

.

' #':

I

:

:

E

XAM

PLE 2].

empty fifths of rock's power chords , but a synco pated jazzer's

foundation, such as t

he

chromatically related

fi

fths charac

terizing Henry Mancini's Pink Panther

Th

eme (1963), In

the intra,

th

e bass supports Grolnick's alternata tion of a

single-line melody wi th H indemith-gone-haywire-in-Harlem

fourths (

m.

6). The track's

ma

ny overdubs include three

more rhythm parts: Gro lnick

's

offbeat stac

ca

to Cla

vi

net

chords for verses (heard in the right channel), Crusher

Bennett's percuss ion (such

as

the bell tree that marks the

introduction's repeat at

m.

9

,0 :

17), and Steve Khan

's

unob

trus

ive

elect

ri

c

rh

ythm guitar (in the left channel), wh

ic

h at

fir

st doubles the bass and then the Rhodes chord

s, voi

cing

minor

u

9th chords with ninths and te

nth

s a step apart

[contin fd]

(mm , 7- 8, 14-1

6). Othe

r than vocals (Fagen's lead and a

chorus

of

s

ix),

the remainder

of th

e

ove

rdubs consists

of

reed-he

avy

winds (alto

sax

, tenor

sax,

clarinet, two bass

cl

ar

inets and fhigelhorn, scored by

Fa

gen and Rob Mounsey)

that enter at 0:31 in preparation for the

sa

ssy shake it

motto in measure 17, and Ran

dy

Brecker's

so lo

muted trum

pet (not tra

nsc

ribed) that enters behind the second ver

se

and has its own statement as a brief interlud

e.

Textur

es

are

te

lling: the dark opening

fi

fths predict the cho

ru

s's

vocal

octaves (mm. 42-43, at 1:23), aggressive yet empty like

th

e

hookers t

hey

would describe,

all

in cont

ras

t with the syrupy

siren-like thirds enticing, tell me I'm the only one (mm. 52

54, at 1:41

).

(Fagen is apparently taken in,

as

he's not tied

to



2)2

MUSIC THEORY SPECTRUM

26

(20 04 )

Mm.

Timings Formal function

1 - 22 0:00 - 0:44

Introduction

23a - 42

a/I

0:45 1:22 Firs(

Verse

4212 57 1:23 - 1:53

Choru

s

58a - 68a 1:53 - 2:14 Retra nsition

23b -

42b

l

2:15 - 2:52

Se

cond Verse

42

12

57 2:53 - 3:22 Chorus

58a - 63b

3:23 - 3:34

Abbreviated Retransition

23c - 31d l 3:35 - 3:50 Winds

Interlude

31d2

42c/l 3:51

- 4:12

Third Verse

42/2

57 4:13 - 4:42

Ch

o

ru

s

58b - 6

7e

4:43 - 5

:4

6

Coda

EXAMPLE 28. Formal sections

0/

Babylon S iste

rs

th e mast" for protection as he was in "

Home

at L as t"

[1977].)

"S isters" does not give up its tonal secrets easily, with am

biguity

on

various levels. A quick glance th rough the

sc

ore

finds a large number

of

heavily inflected and extended

chords full of non-resolving dissonances. T he favored

major" voicing is heard thrice in succession in measures

25

28, with conflicting scale-degree spellings such as G in one

chord and in another.

One

chromatic chord in the coda

(m. 65c) is a German diminished- third chord (w ith m over

G ~ , , with an added minor seventh above the bass. Both this

(a Me

sopotamian sixth?) and the gaudy French augmented

sixth chord

of

measu

re

14 act

as

common-tone embellish

ments of the roots of the triads that follow (rather than

providing any expected resolutions

).

Numerous sorts

ofN

ea

politan relationships include: a m chord of Hm in mm. 5

and 13 , the latter begging the French chord to take rhe liber

tine role o f ~ V suggested again in m. 63a; one tritone substi

tute for V' ofHwith a lowered fifth in m. 39, and another

tritone substitute

fo

r V

of

D in

m.

53; and various realiza

tions of serving as an upper neighbor to the ultimate

tonic, D minor, especially in the superficial man

if

estation in

the chorus, mm.

43-46. While

neither "slash" chord

LIPs play significant roles, there are, however, a fe

stances of planing,

as

in mm. 60-62a and in the bare

characterizing most

of

the coda. Related to this p

marion are the sassy "shake itl" escape cho rds in tro

in m. 13 and given more precise poetic meaning wi

lyric

in

m. 44.

T he

se

mysterious, orgiastic surface sounds blend in

appropriately ambiguous, seemingly unhealthy tonal

ture. There appears to be n.o conventional pivot or sm

transition between the co mpeting tonal centers of

and D minor; only the most abstruse transient modul

appear.

It

seems as i poetically corrupt non-harmonic

tionships are to guide the way, obfuscating the str ucr

well as the surface . Aside from opening away from the

the in troduction is not toO taxing on the ear;

bII

is a

giated in measures 3-5 , leading

to

the IV that

re

solve

gaily

to

the tonic in measure 7. Varied repetition helps

ify the pattern, and the introduction closes on the op

with suspended fourth

of

mm. 21- 22.

Fun

ctional inde

nacy characterize s much

of

the verse.

An

almost-di

chain

of

fifths in H minor descends G ~ , (m. 29)-C3 (mm

36 -F3 (m. 37, gaining momentum

as

a d

ominan

chord)-B>, (38)-m, (40), bur ir takes a while before

tones emerge from the imbricated passing motions be

them. The G. triad m

ay

be heard

to be

compose

d-o

the B>,-C -D' of mm. 23-27 and from the ve rse 's

3 3

B>, through A., (m. 28),

to

G . , (m. 29). ) It is difficul

to

identifY the function

of

cho rds, given the stubborn

nances above the bass notes, the upper-voice motion

can easily posit various imaginary continuo se ttings

many implied voices) and the imperceptible rhythmic

(b

oth

the rhyme sc hem e and the metric

patt

ernin

highly irregular) .

7

Ju

st

when the listener is given a

fo

37 T he imaginary continuo, a framework .) positing hcavLly i

voice-leading continu

ity,

was proposed in Rothste

in

199

1. Th

e c

has particular relevance for much of rock's instrumental techniqu

http://slidepdf.com/reader/full/irregular).37







THE

A BSTRUSE AND IRONIC BOP ROCK

HARMONY OF

ST EELY

DAN

by the tritone substitution-to-the

-t

onic in mm. 39- 40, the

rug is

pulled

aw

ay

: the

n

chord must

be

(ironically) reinter

preted as a root position Neapolitan that cadences firmly in

D

minor in m.

4 ~ a n o t h e r "seam less segue from

fun

to

fever. ,,38 The passage is also somewhat organized by rhyme

scheme

( say

day bay, fo llowed in all three verses) and

by a melodic sequence, although the latter degrades from a

step descent (mm.

37-38

and

39-40)

to a third descen t

(m m. 40/ 1 and 4211).

Dra

wn in by the "d istant lights

acr

oss the b

ay"

(m m.

40-42, first ve

rse ),

the singe r is pulled from the p

oi

nt

of no rehun

(s

am e

bars, third

verse) into rhe

exile

of

the

D

mino

r c

ho

rus, where the Sisters shake their wares. H ere

(as in mm 44-45 ), H is not a goal but only

an

enticing

neighbor, perhaps heard as a

(c

itone-s

ub

stitute for V

7

bu

t

more

likely

just a Phrygian coloration, or tonal warp,

The

rerransition at m. 68a brings the listener through the most

decadent chromatic slides to

v

m7 of (the ve r

se's

opening

cho rd); it also provides a hazard warnin

g:

herecome those

San

ta Ana

winds again. Such warm , dry nighttime winds,

with speeds

of

at least

25

knots and perhaps two-to-fo ur

times that, bring a high danger of fire and property damage,

a pertinent metaphor for the singer's moral meltdown. Such

conditions are, rightly or wrongly, associated with highly

aberrant behavior.

39

Despite several returns to minor, the

Sisters always manage to pull the singer back

to

D minor, in

which realm he fades hopelessly

away.

Feigned, oblique, incongruous; cold, misandu opic,

arc

h;

disembodied . the images and events of Babylon Sisters"

exemplify ll of these adjecti

ves

introduced in

th

is essay's

ope ning pages.

De

spite

all

of its nega

ti

ve attr

ib

utes, the art

38 The readermight

recall

a similar ronicizationonn ,which

thencont

in

ued to

the

l

arge

r-

scale

tonic,

in

Aja,

in E

xa

mpl

e

2S(b

).

39

A

ccording to theUn

i

versityof California

at L

osAngel es's Department

of Atmospher

ic

Sciences, "local legends

associate

the hot,

dry

(

Santa

Ana] winds

with homicides and

e

arthquakes." See http://vtVlw.atmos

.ucla .edul-fovelllASotherlmm5/SantaAnai

wind s.htmL

of

Stee

ly

D

an

is one that constantly

re

wa

rd

s t

he

attentive li

tener with new and sophisticated relationships and aids th

musician in developing a multi -leveled appreciation for th

art

of song in general. Becker and Fagen issued an invitatio

in

King

of

the World [1973]:

Ali l'vegot

to

say,

I'm

al

iv

e

and

feeling

fine.

Shouldyou come

myway,

you

can

sharemy

poisonwine.

T he drink, deliciously toxic, may sometimes seem to hav

been pressed of forbidden fruit, but it carries all the

tages, for without it

one

cou

ld

never see the glory of th

royal scam.

REFERENCES

Becker, Walte

r.

1994.

11 Tracks

of

Whack

Giant 24579.

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e

d.

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Dean- Le

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http://vtvlw.atmos/

http://www.broberg.pp.selsd_interviews.htm/







http://vtvlw.atmos/




MUSIC THEORY SPECTRUM 6

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VoL26 Issue 2 pp .201-236 ISSN 0195-616

7

electronic ISSN 1533-8339.

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2004 by The Society

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