4262871
| Question | Answer |
| Dynamics | Piano trill begins pp to create a mysterious, suspensful mood. Saxes then also enter piano, also building atmosphere. |
| Dynamics | Dynamics enhance phrasing (b.13) - swell in connection with legato tepwise movement. Same with altered chords - emphasising. |
| Metre | 6/4 - sounds like a jazz waltz |
| Rhythm | often uses triplet rhythm which has effect of upper mordent (e.g. b.11) |
| Rhythm | head has long sustained notes - Davis moving against conventional bebop; allows rhythm section's rhythms to come through |
| Rhythm | piano comp syncopated chords from start of tpt solo (b.41) - thickens texture |
| Structure | head structure, separated by riff section/link - link gives piece space to breathe |
| Structure | variation on 12 bar blues |
| Structure | structure allows players to demonstrate virtuosity during longer solos (as per bebop) |
| Melody | head is reasonably conjunct but with leaps of maj 6th |
| Structure | over altered chords in tpt solo, Davis uses a diminished scale (T, ST, T, ST...) which adds complexity and interest |
| Structure | tenor sax solo: wide range, low to high runs, & repetitive trill ideas to contrast |
| Instrumentation/Timbre | Davis uses harmon mute with stem removed: "wah wah". Doesn't use mute in solo - creates a brighter, more 'open' timbre. |
| Instrumentation/Timbre | Drum kit uses snare with brushes during heads - sounds softer. Druing link before tpt solo, ride cymbal is used with sticks (gives clarity) which creates energy and excitement. |
| Texture | Over Gm7, tpt moves in line wih saxes homophonically/homorhythmically - texture sounds thicker (legato phrasing helps this too) |
| Texture | during altered chords in head, piano trill drops out emphasising chord trill returns 2 bars later, feeling more exposed due to homophonic frontline |
| Harmony/Tonality | G mixolydian (b7th)- modal; creates tonality that's neither major nor minor C mixolydian also used in tpt solo (Bbs over Gm7) |
| Harmony/Tonality | dissonant piano trill (A+E and F+G) |
| Harmony/Tonality | altered chords (e.g.D7#9) sound chromatic - the D & Eb used in that chord 'clash' |
| Context | -from album 'Kind Of Blue' -written in 1959 -other musicians: Charlie Parker & Chet Baker -other pieces by Davis: Freddie Freeloader, So What |
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