Anatole

Give rhythm

Rates are in the music a succession of agreements. Rates are found in the majority of the Western musics.

Perfect rate

It consists in connecting an agreement of 5th degree to the agreement of first degree. Ex: G7 C. This rate has a conclusive sonority and finishes the majority of the traditional pieces and the pieces of blues. Imperfect rate is identical to perfect rate but one or more of its agreements was reversed. (see inversion of agreement).

The half gives rhythm

It consists in leaving the end of a piece on an agreement of 5th degree. An effect of waiting and suspension is then created.

Rate plagale

This rate is IV I. less conclusive than V I, this rate draws its name from the sacred music where this rate was very much used. It can have several alternatives (major minor - major major - minor minor - major minor…).

Broken rate

Consist has to modulate or " tonuler" while making from the agreement V to agreement VI.

The Neapolitan sixth

Perfect rate enriched by a Neapolitan sixth: IV V I is replaced by a bII/3 V I. Example: Db/F G C. Very employed at the time traditional.

II V I

II V I. standard Rate of the jazz, it is present in many pieces of jazz. II V I evolved/moved with time and one finds standards where rates make II V but do not conclude on I or of rates II I or V is guessed, felt but not played.

There exist many possible modifications of this rate with substitutions.

Example: Dm7 G7 CM7. If one substitutes V by his triton one has | Dm7 Db7 | CM7 or | Dm7 Abm7 Db7| CM7.

The Anatole

the Anatole is a harmonic groundwork (see the article Cadence (jazz) ) very much used in the “traditional” jazz but also adopted by the jazz be-bop. It begins agreements thereafter following: I - VI m - II m - V7 (in C: C - the minor - minor D - ground seventh), etc One finds this harmonic continuation in pieces of the years 1920 - 1930 such as I got rhythm , and in many topics of the period bebop, such Anthropology , Oleo , etc

In jazz a Anatole is called turns or turnaround.

Here its initial version: I-VI-II-V that one can vary with diatonic Substitutions, by ex: III-VI-II-V or I-IV-II-V or I-VI-IV-V or with tritonic substitutions: I-bIII-II-bII They are only some solutions there among others!

Form

The term Anatole is also sometimes used, in a widened direction, to indicate structure AABA. A great number of standards of jazz are built on this structure: 32 measurements divided into 4 segments of 8 measurements, of form has A' B has (the segment B being called “the bridge”, “bridge” or “middle share”).

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