8739957
Descripción
Fichas por jenny sclater, actualizado hace más de 1 año
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Creado por jenny sclater
hace más de 7 años
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| Pregunta | Respuesta |
| date | 1959 |
| background to jazz (3) and the piece (1) | modal jazz was a reaction against bebop bebop: fast and virtuosic modal: uncomplicated, improvisations based one modes album recorded with almost no rehearsal and no score |
| players (6(1)) | sextet frontline (instruments that have main melody/prominent solos): - Miles Davis on trumpet - Julian Adderley on alto sax - John Coltrane on tenor sax rhythm section (provide harmonic and rhythmic backing) - Bill Evans on piano - Paul Chambers - Jimmy Cobb |
| structure (4) | 12 bar blues progression repeated 19 times introduction → head → solos → links → coda tenor and alto sax/trumpet have 48 bar solos piano has 24 bar solo |
| instrumentation (5) | frontline and rhythm section snare drum played with brushes at the start trumpet played with a Harmon mute piano plays tremolo at the start of the piece pianist uses comping in the solos |
| rhythm, metre and tempo | 6/4 tempo is jazz waltz swung quavers → classic jazz technique frequent syncopation rhythmic displacement cross rhythms |
| melody (6) | improvised characterised by rising 6ths some chromatic notes blue notes (flattened 3rd, 5th or 7ths) mixolydian mode (white note scales) head: not improvised, mostly moves in step |
| trumpet solo (melody) (1) | mostly made up of short, syncopated motifs |
| alto sax solo (melody) (2) | uses quicker notes and a wider range; more virtuosic than trumpet solo |
| tenor sax solo (melody) (2) | fast scales and quick runs; also very virtuosic |
| piano solo (melody) (2) | calmer improvisation, simple melody that leads into a string of parallel chords |
| harmony and tonality (4) | based on 12-bar blues sequence: G7 G7 G7 G7 Gm7 Gm7 G7 G7 D7 Eb7/D7 F/G F/G6 in g major but with a flattened seventh (f natural) extended chords |
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