In Cherry Pink and Apple Blossom White, there are two main musical ideas, but I want to discuss the percussion beforehand. The percussion lays down the foundation for the other instrument timbres to build on top of. There is some sort of drum that drives the piece forward with a constant “ticking” sound, as if it is keeping time and rhythm. The other constant percussion sound scratchy and rattling maracas that never cease. There also seems to be two piano melodies that loop continuously as to provide a base for the other instruments.
The first idea, Idea A, begins the piece with a beautiful and bold trumpet melody. The first piano melody can be heard. Its fluid movement creates a smooth background that meshes everything together. This idea continues until 0:34, where Idea B takes over. The difference is the melody that the trumpet plays. Compared to the first one, the trumpets are toned down almost like a pause in the action. This gives variety to the piece and grants the first idea some time to settle in. Idea B is brief as it only lasts from 0:34 to 0:49, where Idea A takes back the spotlight.
Now there is an interesting segment that is neither Idea A nor Idea B which occurs at 1:02. The first change is the piano melody changes from smooth to bouncy and disconnected. I consider this part of the piece an “improvised section”, something very common in jazz music, which is also what I would classify this piece as. From 1:06-1:13, there is a crescendo until the tension is released by the trumpet entering. There is a lot of freedom during this section for performers to showcase their abilities. Each instrument is given a time in the spotlight. The trumpet is given its time from 1:13-1:43, the flute comes in at 1:44-2:06, and lastly the drums are given a chance to go wild from 2:14-2:58. Short bursts of trumpet interjections appear starting at 2:31-2:58 to keep the interest of the listener. The addition of this freeform section adds variety by changing the form from A-B-A-A-B-A to A-B-A-C-A-B-A.
Idea A returns after the improvisational interlude at 3:02-3:32. The piano melody goes back to what it originally was, bringing all of the different instruments together like a glue. Idea B also has a short return from 3:32-3:51. From there, Idea A comes back and finishes the song. This piece achieves variety by switching from Idea A and Idea B to keep the attention of the listener. However, this A-B-A format also gives a sense of unity and familiarity that doesn’t scare away the listener. This unity is also achieved throughout with similar pitch throughout the piece, meaning most of the pitch is in the middle and not on the extreme ends. This piece gives me the connotation of a dance hall, where the loose and freeform jazz provides a place for carefree dancing and fun, and I would think this is its exact purpose. I believe this piece was made to just let loose and enjoy yourselves.