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Abstract
Clifford Brown tends to incorporate the larger-scale structural qualities of the original melody into his solos. In this paper, the third take of Brown’s 1953 Paris version of I Can Dream, Can’t I? is considered from a middleground perspective. This solo most clearly shows an important structural feature of Brown’s conception. This conception revolves around B4 (the Kopfton) as a centrally prolonged pitch, occasionally reinforced by its octave images. The Kopfton fundamentally governs how the song is heard, and how Brown then interprets that structure in his solos at the middleground.