"The Telecasters"

Musical Analysis of The Telecasters

The Telecasters is a part of the Shakespearean Suite that dates stand from 1957, also known as Such Sweet Thunder. The Suite, a 12-part piece, generally is a set of collages that each portrays, musically, one of the known Shakespeare characters-like Othello (who appears in the title number), Cleopatra (in Half The Fun), Romeo and Juliet (in Star-crossed Lovers). The movement that I picked up for analysis, The Telecasters is not different from the other movements in this panorama:

The Telecasters, represents the Three Witches (three trombones) and Iago (Harry Carney). While the programmatic premise may be tongue-in-cheek, its opponent of two dark colors demonstrates the principles of Ellingtonian counterpoint.

Due to the scales of the paper, I am not going to discuss issues that concern the general style of Strayhorn and/or Ellington in an attempt to generalize aspects of compositional writing, since this type of psychoanalyze might probably need, as a back-up, more and pure(a) (in both quantitative and qualitative senses of these words) attempts of analysis and documentation of the way of those stylistic aspects in the composer(s)other repertoire.

In spite of that, however, whenever there are impinging tendencies that I feel should be mentioned, (and there are instead a few of those) I will try to create relevant connections, both to my previous knowledge of Ellington/ Strayhorn pieces, and not so surprisingly, to eastern modes that seem to be of greater influence in the music of

Strayhorn and Ellington in the later years of their careers. These connections are in the main intuitive, and nevertheless, I am presenting them here, with the hope that, the audial grasp of the music, as considerably as the logic I present regarding the organization of the openhanded structure in The Telecasters will become better and clearer in retrospect,

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