Introduction
Composer: Kath
Key: G minor
Meter: mostly 4/4
Lead vocal: Terry Kath
Form: verse 1, verse 2, interlude, trombone solo in slower tempo, trumpet solo in even slower tempo, guitar solo at original fast tempo, horn section feature over same form as guitar solo, verse 3.
Instrumentation: trumpet, tenor sax, trombone, electric guitar, electric organ, bass, drums, one voice.
Overall form and style: "Introduction" opens Chicago's first album by showcasing nearly everything this band can do in a beautifully planned song with an expansive form reminiscent of the prog rock forms of "Siberian Khatru" or "Robbery, Assault, and Battery". Basically, there are two verses, an interlude with several tempo and style changes, then the final verse. Among the many formal oddities present on this album is the lack of a discernible chorus on this and several other songs. Chicago in the early days did not stick too strictly to pop song conventions, and in fact often deliberately subverted them. After the second verse, the tempo remains the same but switches to a jazz waltz and the chord progression becomes very unsteady, constantly changing. After a sudden stop, the tempo is half as fast and the style calmer for the trombone solo. An even slower, more relaxed section follows for a trumpet solo. Following that, an exciting accelerando brings us back to the original tempo for a blistering guitar solo. Chicago then pulls a neat arranging trick which they would use quite a few times: having an arranged horn section feature in place of an improvised solo. Over the same form as the guitar solo, there is a high energy feature for the horn section. A drum solo leads us back for a third verse. An abbreviated form of the interlude brings us to a crashing, dissonant final chord.
The feel of most of the piece is gritty, driving rock. Especially given the length of “Introduction” (nearly seven minutes), the changes in style to jazz waltz and two slower tempos prevent the piece from becoming repetitive. It’s a long tune that doesn’t sound long.
Melody and harmony: A modal approach to both harmony and melody reigns supreme for this song. Most of the verse is over a G minor chord, with a few other minor / dorian chords at the end. The modal nature of the tune means that G is not emphasized too much as the tonic, and in fact the end of each verse seems to resolve to F minor at the words “Let us work on you”.
The verse is sixteen bars long, and bars 9-12 are the only ones change from the steady G minor mode of the rest. The progression of those 4 bars is:
Bb- Ab- F- F-
| / / / / | / / / / | / / / / | / / / / |
The D-flat which sounds like a blue note in the melody is actually harmonized by the Bb minor chord. Though this isn't a blues progression or form, the descending whole step motion in the 9th and 10th bars give a loose impression of the blues.
The interlude is very harmonically unstable, with the chords and tonal center changing quickly. The progression seems like it is always about to arrive, but never quite does, building quite a bit of tension which is released when the tempo drops for the brass solos. The first part of the interlude is a fancy rhythmic figure in asymmetrical time signatures probably best notated as 7/8 bars interspersed with 6/8 bars. A quick 3/4 section follows with a jazz waltz beat, during which a slow melody unfolds in dotted half notes. This melody is basically a four measure pattern, repeated first getting gradually higher, then coming back down. It is not quite a sequence, but is sequence-like, in that each four bars has a similar, but not identical, melodic shape.
The trombone solo is again modal, with the chord changing every four measures and each change being dorian. The trumpet solo introduces, at last, more tonal harmony before modal changes return, sped up, for the guitar solo and horn feature. The changes for the guitar solo and horn feature (they are played over the same form) are all minor 7th / dorian chords, and always change either by moving up a minor third or a half step until the very final change back to the first chord, which moves DOWN a half step. The final chord of the piece sounds like some kind of dissonant B-flat altered chord, but its analysis is elusive. There’s clearly a B-flat power chord in the guitar and bass, but the rest of the chord spells out, top to bottom, B natural, B-flat, G, F-sharp, E-flat. Chicago, employing a little set theory, has used the same pattern of minor thirds and half steps that organized the solo changes to create a dissonant final chord.
The trumpet solo uses different harmonic language than the rest of the piece. First of all, the key is G major rather than the prevailing key of G minor. The chords also move more quickly than in the modal sections. Even so, the trumpet solo doesn't have much in the way of solid cadences, instead stepping up and down the scale with progressions like I ii iii IV iii ii I. There are some chromatic changes, including the Ab chords and the E dominant 7ths over a B-flat bass note to keep the section from becoming too diatonic. As the trumpet solo finishes, the key center begins moving around - first it's G, then A-flat, then G-flat, then it settles on F minor, just like the end of each verse. Also just like the end of each verse, the F minor leaps up to G minor, which is where the guitar solo starts.
If you use the published Chicago fake book to work out this piece, watch out, because there are mistakes. Near the end of the trumpet solo, the book shows A-7 Abmaj7 Gmaj7. However, that Ab chord is actually an altered dominant, making that cadence a more predictable ii - tritone sub - I. The next few bars have a few chords printed as C9, which are not dominant chords but just major chords. This goes for any fake book, but always check the chords yourself!
Melodically, the voice mostly sticks to minor pentatonic, but has a few blue notes as well at the end of the verse. I should note, however, that the blue notes are in fact harmonized into the chords. Terry starts each verse all the way up on G, high in his range, a note he can really belt with an aggressive shout. The range of the melody descends from there and ends on F, a ninth lower, at the end of each verse.
Arrangement: The piece is a rather complex arrangement, with its frequently shifting styles. The overall assembly of the piece is beautifully efficient, with only the interlude before the trombone solo seeming to ramble a bit long. Each section is new and unexpected but sounds thoroughly natural and organic, and they are connected by smart transitions into a surprisingly cohesive whole. To this end, the various sections are usually connected somehow. The 4/4 groove changes to 3/4 but remains the same tempo. The trombone solo is exactly half the speed of the previous tempo, and its first chord resolves from the previous one. The guitar solo and horn feature use the original fast tempo but the chord progression is similar to that of the trombone solo. The trumpet solo ends harmonically just like the verses end. And all of the sections with changing tempos start with a G chord - usually minor, but major for the start of the trumpet solo. All this keeps the piece a cohesive whole.
The instrumental arrangement here deserves a mention, especially the horn section. No horn section on record sounds anything like Chicago's. They were constantly being used in unique and interesting ways rather than the occasional dull whole notes or random bips and baps. Here, they play behind the verses almost as part of the rhythm section, as if they were the lead guitar. The trumpet and saxophone play behind the trombone solo as if responding. And the horn feature later in the piece deserves a huge amount of credit. Realize that not only is the wind section feature totally alien to rock music (saxophone solis in jazz orchestras probably being the closest relative), this one has to FOLLOW a guitar solo by Terry Kath, one of the most electrifying guitarists ever to pick up an instrument. And it works. The feature is played with impeccable accuracy. Every dynamic shading, every nuance of attack and release is played with excitement and played together. There are horn sections with technically better players, but I don't know of any horn section on record that played better as a unit. The horn feature roars along over a sea of grungy guitar and crashing cymbals, unique and new. Wind players, in rock or jazz, tend to be discussed only as soloists, and the incredible ensemble ability of these three needs to be recognized.
Other notes: Notice the restraint of the two brass players during their solos. Both James Pankow (trombone) and Lee Loughnane (trumpet) were more than capable of playing solos with lots of fast and high notes. For example, check out their solos on the looser jam "The Approaching Storm" from Chicago III. The fact that they play these solos with tact and grace turns them into part of the composition instead of just a chance to show off.
Notice a conceptual nuance which will be developed over the course of the album: the trombone and trumpet each have a solo, but are in completely separate settings.
Check out the last crashing chord for a fine example of how careful Chicago’s writers were with the horn section: normally, in this kind of horn section, the trumpet would be the highest voice, sax in the middle, and trombone the lowest. On this last chord, the tenor sax takes the top note and the trumpet plays a half-step lower. Why? I’m not sure, but probably for the tone color. Wind ranges offer so many different types of tone color, and it’s nice to hear them used.
PM
Key: G minor
Meter: mostly 4/4
Lead vocal: Terry Kath
Form: verse 1, verse 2, interlude, trombone solo in slower tempo, trumpet solo in even slower tempo, guitar solo at original fast tempo, horn section feature over same form as guitar solo, verse 3.
Instrumentation: trumpet, tenor sax, trombone, electric guitar, electric organ, bass, drums, one voice.
Overall form and style: "Introduction" opens Chicago's first album by showcasing nearly everything this band can do in a beautifully planned song with an expansive form reminiscent of the prog rock forms of "Siberian Khatru" or "Robbery, Assault, and Battery". Basically, there are two verses, an interlude with several tempo and style changes, then the final verse. Among the many formal oddities present on this album is the lack of a discernible chorus on this and several other songs. Chicago in the early days did not stick too strictly to pop song conventions, and in fact often deliberately subverted them. After the second verse, the tempo remains the same but switches to a jazz waltz and the chord progression becomes very unsteady, constantly changing. After a sudden stop, the tempo is half as fast and the style calmer for the trombone solo. An even slower, more relaxed section follows for a trumpet solo. Following that, an exciting accelerando brings us back to the original tempo for a blistering guitar solo. Chicago then pulls a neat arranging trick which they would use quite a few times: having an arranged horn section feature in place of an improvised solo. Over the same form as the guitar solo, there is a high energy feature for the horn section. A drum solo leads us back for a third verse. An abbreviated form of the interlude brings us to a crashing, dissonant final chord.
The feel of most of the piece is gritty, driving rock. Especially given the length of “Introduction” (nearly seven minutes), the changes in style to jazz waltz and two slower tempos prevent the piece from becoming repetitive. It’s a long tune that doesn’t sound long.
Melody and harmony: A modal approach to both harmony and melody reigns supreme for this song. Most of the verse is over a G minor chord, with a few other minor / dorian chords at the end. The modal nature of the tune means that G is not emphasized too much as the tonic, and in fact the end of each verse seems to resolve to F minor at the words “Let us work on you”.
The verse is sixteen bars long, and bars 9-12 are the only ones change from the steady G minor mode of the rest. The progression of those 4 bars is:
Bb- Ab- F- F-
| / / / / | / / / / | / / / / | / / / / |
The D-flat which sounds like a blue note in the melody is actually harmonized by the Bb minor chord. Though this isn't a blues progression or form, the descending whole step motion in the 9th and 10th bars give a loose impression of the blues.
The interlude is very harmonically unstable, with the chords and tonal center changing quickly. The progression seems like it is always about to arrive, but never quite does, building quite a bit of tension which is released when the tempo drops for the brass solos. The first part of the interlude is a fancy rhythmic figure in asymmetrical time signatures probably best notated as 7/8 bars interspersed with 6/8 bars. A quick 3/4 section follows with a jazz waltz beat, during which a slow melody unfolds in dotted half notes. This melody is basically a four measure pattern, repeated first getting gradually higher, then coming back down. It is not quite a sequence, but is sequence-like, in that each four bars has a similar, but not identical, melodic shape.
The trombone solo is again modal, with the chord changing every four measures and each change being dorian. The trumpet solo introduces, at last, more tonal harmony before modal changes return, sped up, for the guitar solo and horn feature. The changes for the guitar solo and horn feature (they are played over the same form) are all minor 7th / dorian chords, and always change either by moving up a minor third or a half step until the very final change back to the first chord, which moves DOWN a half step. The final chord of the piece sounds like some kind of dissonant B-flat altered chord, but its analysis is elusive. There’s clearly a B-flat power chord in the guitar and bass, but the rest of the chord spells out, top to bottom, B natural, B-flat, G, F-sharp, E-flat. Chicago, employing a little set theory, has used the same pattern of minor thirds and half steps that organized the solo changes to create a dissonant final chord.
The trumpet solo uses different harmonic language than the rest of the piece. First of all, the key is G major rather than the prevailing key of G minor. The chords also move more quickly than in the modal sections. Even so, the trumpet solo doesn't have much in the way of solid cadences, instead stepping up and down the scale with progressions like I ii iii IV iii ii I. There are some chromatic changes, including the Ab chords and the E dominant 7ths over a B-flat bass note to keep the section from becoming too diatonic. As the trumpet solo finishes, the key center begins moving around - first it's G, then A-flat, then G-flat, then it settles on F minor, just like the end of each verse. Also just like the end of each verse, the F minor leaps up to G minor, which is where the guitar solo starts.
If you use the published Chicago fake book to work out this piece, watch out, because there are mistakes. Near the end of the trumpet solo, the book shows A-7 Abmaj7 Gmaj7. However, that Ab chord is actually an altered dominant, making that cadence a more predictable ii - tritone sub - I. The next few bars have a few chords printed as C9, which are not dominant chords but just major chords. This goes for any fake book, but always check the chords yourself!
Melodically, the voice mostly sticks to minor pentatonic, but has a few blue notes as well at the end of the verse. I should note, however, that the blue notes are in fact harmonized into the chords. Terry starts each verse all the way up on G, high in his range, a note he can really belt with an aggressive shout. The range of the melody descends from there and ends on F, a ninth lower, at the end of each verse.
Arrangement: The piece is a rather complex arrangement, with its frequently shifting styles. The overall assembly of the piece is beautifully efficient, with only the interlude before the trombone solo seeming to ramble a bit long. Each section is new and unexpected but sounds thoroughly natural and organic, and they are connected by smart transitions into a surprisingly cohesive whole. To this end, the various sections are usually connected somehow. The 4/4 groove changes to 3/4 but remains the same tempo. The trombone solo is exactly half the speed of the previous tempo, and its first chord resolves from the previous one. The guitar solo and horn feature use the original fast tempo but the chord progression is similar to that of the trombone solo. The trumpet solo ends harmonically just like the verses end. And all of the sections with changing tempos start with a G chord - usually minor, but major for the start of the trumpet solo. All this keeps the piece a cohesive whole.
The instrumental arrangement here deserves a mention, especially the horn section. No horn section on record sounds anything like Chicago's. They were constantly being used in unique and interesting ways rather than the occasional dull whole notes or random bips and baps. Here, they play behind the verses almost as part of the rhythm section, as if they were the lead guitar. The trumpet and saxophone play behind the trombone solo as if responding. And the horn feature later in the piece deserves a huge amount of credit. Realize that not only is the wind section feature totally alien to rock music (saxophone solis in jazz orchestras probably being the closest relative), this one has to FOLLOW a guitar solo by Terry Kath, one of the most electrifying guitarists ever to pick up an instrument. And it works. The feature is played with impeccable accuracy. Every dynamic shading, every nuance of attack and release is played with excitement and played together. There are horn sections with technically better players, but I don't know of any horn section on record that played better as a unit. The horn feature roars along over a sea of grungy guitar and crashing cymbals, unique and new. Wind players, in rock or jazz, tend to be discussed only as soloists, and the incredible ensemble ability of these three needs to be recognized.
Other notes: Notice the restraint of the two brass players during their solos. Both James Pankow (trombone) and Lee Loughnane (trumpet) were more than capable of playing solos with lots of fast and high notes. For example, check out their solos on the looser jam "The Approaching Storm" from Chicago III. The fact that they play these solos with tact and grace turns them into part of the composition instead of just a chance to show off.
Notice a conceptual nuance which will be developed over the course of the album: the trombone and trumpet each have a solo, but are in completely separate settings.
Check out the last crashing chord for a fine example of how careful Chicago’s writers were with the horn section: normally, in this kind of horn section, the trumpet would be the highest voice, sax in the middle, and trombone the lowest. On this last chord, the tenor sax takes the top note and the trumpet plays a half-step lower. Why? I’m not sure, but probably for the tone color. Wind ranges offer so many different types of tone color, and it’s nice to hear them used.
PM
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