Often when we listen to music, we just instinctually enjoy it. Sometimes, though, it’s worth dissecting a song or other composition to figure out how it’s built.
Take the 1953 jazz standard “Satin Doll,” written by Duke Ellington and Billy Strayhorn, whose subtle structure rewards a close listening. As it happens, MIT Professor Emeritus Samuel Jay Keyser, a distinguished linguist and an avid trombonist on the side, has given the song careful scrutiny.
To Keyser, “Satin Doll” is a glittering example of what he calls the “same/except” construction in art. A basic rhyme, like “rent” and “tent,” is another example of this construction, given the shared rhyming sound and the different starting consonants.
In “Satin Doll,” Keyser observes, both the music and words feature a “same/except” structure. For instance, the rhythm of the first two bars of “Satin Doll” is the same as the second two bars,