Tristano

Chapter 26 provides an analysis of Lennie Tristano’s “Line Up.” Based on this analysis,specific elements of his style of improvisation are codified

n the 1950s Tristano employed an advanced concept in jazz improvisation called side-slipping, or outside playing, which creates a form of temporary bitonality when chromatic harmony is superimposed over the standard harmonic progressions. Tristano intensified his use of counterpoint, polyrhythm, and chromaticism in the 1960s, evidenced by his solo piano improvisations recorded on Atlantic in 1961, in which he achieved maximum freedom within the confines of the structural model by superimposing different rhythmic, harmonic, and phrase structures. These recordings also exhibit relentless rhythmic drive and emotional depth and power.A charismatic teacher and multi-instrumentalist, Tristano taught students of various instruments and singers for more than 30 years. Generally credited as one of the first to teach jazz improvisation, he was as innovative as a teacher as he was a musician. Significant elements of his teaching include his belief in feeling as the basis of expression and the importance of developing the ear