Flashcards
DAVIS: 'All Blues'
Cards in this deck (20)
- 1DynamicsPiano trill begins pp to create a mysterious, suspensful mood. Saxes then also enter piano, also building atmosphere.
- 2DynamicsDynamics enhance phrasing (b.13) - swell in connection with legato tepwise movement. Same with altered chords - emphasising.
- 3Metre6/4 - sounds like a jazz waltz
- 4Rhythmoften uses triplet rhythm which has effect of upper mordent (e.g. b.11)
- 5Rhythmhead has long sustained notes - Davis moving against conventional bebop; allows rhythm section's rhythms to come through
- 6Rhythmpiano comp syncopated chords from start of tpt solo (b.41) - thickens texture
- 7Structurehead structure, separated by riff section/link - link gives piece space to breathe
- 8Structurevariation on 12 bar blues
- 9Structurestructure allows players to demonstrate virtuosity during longer solos (as per bebop)
- 10Melodyhead is reasonably conjunct but with leaps of maj 6th
- 11Structureover altered chords in tpt solo, Davis uses a diminished scale (T, ST, T, ST...) which adds complexity and interest
- 12Structuretenor sax solo: wide range, low to high runs, & repetitive trill ideas to contrast
- 13Instrumentation/TimbreDavis uses harmon mute with stem removed: "wah wah".
Doesn't use mute in solo - creates a brighter, more 'open' timbre. - 14Instrumentation/TimbreDrum 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. - 15TextureOver Gm7, tpt moves in line wih saxes homophonically/homorhythmically - texture sounds thicker (legato phrasing helps this too)
- 16Textureduring altered chords in head, piano trill drops out emphasising chord
trill returns 2 bars later, feeling more exposed due to homophonic frontline - 17Harmony/TonalityG mixolydian (b7th)- modal; creates tonality that's neither major nor minor
C mixolydian also used in tpt solo (Bbs over Gm7) - 18Harmony/Tonalitydissonant piano trill (A+E and F+G)
- 19Harmony/Tonalityaltered chords (e.g.D7#9) sound chromatic - the D & Eb used in that chord 'clash'
- 20Context-from album 'Kind Of Blue'
-written in 1959
-other musicians: Charlie Parker & Chet Baker
-other pieces by Davis: Freddie Freeloader, So What