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MY "Back In The Day" by Courtney Pine (HARMONY/TONALITY ('…
MY "Back In The Day" by Courtney Pine
HARMONY/TONALITY
'Inner State Of Mind'
C dorian
Cm7 - Dm7 clearly outlines this
WL:
Stolen Moments
by Oliver Nelson
repetition
WL:
When You Get Back
by John Cleary - repetition: Gm - Fm7/Bb7 - Eb - Ahalfdim7/D7
Cm, F, Cm, F/C :|| C7#9, F7 (false relation creates dissonance)
C7#9, Eb9, Dhalfdim7, Db7
tritone sub of standard turnaround
WL:
Lady Bird
by Tadd Dameron
parallel quartal harmony & open fifths at homorhythmic link
WL:
So What
by Miles Davis
'Lady Day and (John Coltrane)
C mixolydian/minor (b3rd used extensively)
variation on 12 bar blues, including Gm7 - Fm7 - Bb13 - C7#9 - Gm7/F#m7 - Fm7
CONTRAST WL:
West End Blues
by Louis - less harmonic complexity (development of jazz)
Fm7 - Bb13 - C7#9 = backdoor cadence
WL:
There Will Never Be Another You
by Harry Warren - Abmaj7 - Abm7/Db7#11
WL:
Cherokee
by Ray Noble - Ebm7 - Ab7 - Bb6
Bm7 sidestep used for extra chromatic tension before Bbm7sus 4
WL:
You Do Something To Me
Eb6 - D7
F#m7 - B7 - Fm7 - Bb7
WL:
Well You Needn't
by Thelonius Monk
'Love & Affection'
C#m intro - then Emaj
intro chords: built on degrees of C#m scale
non-functional
BUT not extended
main sections use primary triads: E - A - Badd4
bridge chords: A - B - C#m - D#m - E - F# - G/A - B5
stepwise ascending triads
B5 had no 3rd
Em chord has Bb false relation (b5th)
TEXTURE
'Lady Day and (John Coltrane)'
essentially mel dom hom
riff
vocal and fills
horns playng close harmony
bvox with occasional // 5ths
'Inner State Of Mind'
free counterpoint deveops from b101 with voices & sax line
monophonic trill at close
much homophony
mel dom hom openng, with sax solo fills
WL:
Superstition
by Stevie Wonder
mel dom hom voice & chordal interjections
homophonic horns - 'so what' riff
'Love & Affection'
opening for voice w/ electric guitar
moves from mel dom hom to more complex polyphony
by the end; strings pentatonic line + vocal improv. + sax fills + gospel-style 'ooh-ooh' bvox
WL:
Isn't She Lovely
by Stevie Wonder
TEMPO, RHYTHM & METRE
'Inner State Of Mind'
crotchet = 114
steady drum machine except bar 62 beat 1
WL:
Uptown Funk
by Mark Ronson - 'stop, wait a minute'
homophonic chordal/parallel link
even quavers in Gershwin reference
CONTRAST WL:
Summertime
(Billie Holiday recording) - swung
typical syncopation, triplets, etc
'Lady Day and (John Coltrane)'
crotchet = 160
slow rubato from bar 119 in final section
WL:
Mahna de Carnaval
by Luiz Bonfa
highly syncopated piano riff
WL:
Cantaloupe Island
by Herbie Hancock
'Love & Affection'
4/4 crotchet = 86 ballad
opening 12 bars sung rubato - recit-type
WL:
Let's Call The Whole Thing Off
by Louis/Ella
bars 30-1: groove drops out to create more sustained effect
repetition of 'really love' creates X-rhythms
WL:
It Don't Mean A Thing
by Ellington
MELODY
'Inner State Of Mind'
'ISOM' motif
pentatonic, rising from Eb to C
WL:
Sonnymoon for Two
by Sonny Rollins
in 3rds on beat 2, then quartal (D-G-C)
WL: Sir Duke and Superstition by Stevie Wonder
scat - improv. vocals
WL: Ella on
How High The Moon
by Morgan Lewis - improv leading into
Ornithology
fragmentary sax solo, using many blues scale ideas, crush notes, pitch bends. etc
WL:
Birdland
by Weather Report - Michael Brecker's solo
WL:
St Thomas
by Sonny Rollins
vox begin narrow range, then expand to 11th
embelished version of 'Summertime' reference
WL:
mvt 3 from 'Brazilian Affair'
by Phil Woods - reference to Miles Davis'
7 Steps To Heaven
rap section uses pentatonic sax fill
2 bar bass riff = anchored on C (rises to F-F#-G then back to C)
WL:
The Chicken
by Jaco Pastorius
2nd rap section (not notated) has lyrical vox line drawing on verse material; contrasting rapid rap delivery
sax riff: b3 - nat3 - 5 - b7 -b3 - 1
WL: Tom Seals Band on
When You Get Back
by John Cleary
'Lady Day and (John Coltrane'
verse = balanced phrases
vox = generally conjunct
syllabic, but melosma at ends of phrases
mainly narrow tessitura
virtuosic sax solo
wide range
often in harmonics
much use of chromaticism
extended technique - multiphonics
horn riff: syncopated F-Eb in 6ths
WL:
So What
by Miles Davis
'Love & Affection'
'I am not in love...'
rising conjunct figures
ornamentation on 'love' - neighbour notes
then falling broken chord idea which is mirrored in triadic ascending idea in accompaniment
conjunct sq 'but with a lover'
range of a major 6th, expanding to 8ve at pentatonic melisma
bridge: prominent use of b3rd
strings recurring minor descending pentatonic line is introduced in final section
joined by refrain motif and new motif
refrain motif: 'just make love with affection'
new motif: conjunct sq 'sing me another love song, baby'
PERFORMING FORCES
'Lady Day and (John Coltrane)'
vocalist = soul singer Lynden David Hall
voices
backing vocals
keys
sax
close harmony horns
drum programm
news report dubbed of Stephen Lawrence (murdered in racial attack)
'Inner State Of Mind'
extraenous sounds = babbling voices
backing vox
tenor sax (actually sop...)
piano
drums - rock groove
rap
WL:
Mind's Eye
by Lucy Mae
'Love & Affection'
bass clarinet: chromatic gliss. to chord tones
tenor sax
high resister, extending into harmonic register
crackle at end replicates vintage vinyl sound
STRUCTURE
'Inner State of Mind'
intro: pentatonic 'ISOM' motf
verse 1: riff introduced
rap: sax fills
verse extended: riff, 'ISOM' motif, vox line, scat
rap: riff, female vox
link: 1 bar quartal homophonic
verse: riff & chords, broken chords, different vox line & scat
link: 'Rhapsody in Blue' glissando
instrumental: riff modified, motif
coda: riff & chords, scat, fades on sax trill
'Lady Day and (John Coltrane)
intro: background babble into static C7#9 harmony
verse 1: 12-bar variation
link
verse 2
instrumental - variation on v1 prog.
verse 1 repeated: leading into coda, based on repeating C7#9 - F9 - G9
free time coda
WL:
Manha de Carnaval
by Luiz Bonfa
'Love & Affection'
intro
link
intro material development
more development & introduction of refrain material
bridge
refrain
instrumental
refrain
outro