I can't tell what the whole original score would be like, whether now audible parts replaced written parts or whether parts got skipped. The Uncle Meat section gives an overview. Such divergence between the written scores and the album recordings happens all the time. keyboard: arpeggio chords, each played for two bars, subsequently A-Ab-B-C-E and A-A-B-C#-E. Present in the score, but not (fully) audible on record: The last E is part of a chord with also a Secondly the harmonies of my bar 1, played twice, were originally written Piece in 3/4 with one of my 12/8 bars coinciding with four bars in 3/4. First this shows that Zappa had notated this I included this example in 2005, but later on I came across samples from the original score. 'Your mouth' is more stable in this aspect, staying in C Dorian. In between the key note floats and the scales keep changing. The first five instrumental opening barsĭon't follow a regular scale at all, the last transcribed bar 6 is in E. 'For Calvin' is very flexible in its use of scales. The emperor Cleetus (track 3) leads the brass players, blowing a mystery horn. It illustrates Zappa's leaflet story about an army of instruments playersĪttacking another army of singers with notes. Two outtakes are included in this section.

Is Calvin Schenkel who drew the album front and back cover. There's no improvisation block in this song, but the instruments are playing freely around the lead melody. 'Your mouth' has just the lead melody prescribed, In between there's an interesting experimental improvisation block and a modernistic second composed block. 'For Calvin' begins with the main theme, prescribed for all, returning at the end. Of improvisation is handled differently in both songs. The same meter appears in 'Your mouth' from the previous section. 'The grand wazoo' opens with 'For Calvin', a gentle melody in 12/8. Despite of the quality of these albums, Zappa has not become well known as a jazz arranger. 'For Calvin' on the other hand is very versatile.

The 'It must be a camel' examples from the preceding sections. More like 'King Kong' than the modernistic 'Uncle Meat main title' and Several blocks are relatively stable in their use of keys. In full the bandīoth 1972 jazz albums have extended solos as well as largeĬomposed sections. 'The grand wazoo' can be more truly using a big band, a band with which Zappa also made a short tour. Sal Marquez for instance gets credited for 'many trumpets'ĭuring 'Big swifty'.

That this album can occasionally sound as a big band nevertheless is due to the frequent overdubbing.

For 'Waka/Jawaka' the set-up of the band is mostly like a smaller jazz combo. 'Waka-Jawaka' and 'The grand wazoo' were recorded during the same sessions.

The grand tour chords