This article addresses the analytical fault line between Schenkerian and Salzerian approaches to tonal jazz through an analysis of a Brad Mehldau improvisation on “All the Things You Are.” Special attention is given to the usage of common tones, which often work against the resolving tendencies of unstable chord tones but create their own large-scale structure. The essay engages with work of Fred Lerdahl and is informed by my model, Stable Norms and Salient Deviations (SNSD).
HTML version of the article, which includes audio examples, is available here: https://www.esm.rochester.edu/integral/36-2023/pellegrin/