Tabular Analysis SW7 Davis

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  • Created on: 22-06-11 10:10
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Musical Feature Notes
Dynamics The piece experiences a subdued. Generally it is mf (moderately loud)
throughout, although the trumpet improvisation experiences slight
changes at times.
Ensemble plays quieter when a soloist is playing.
In the intro, parts are played quietly, with a rather breathy tone in the
The melody in the Head (1) soars effortlessly over the rest of the band,
making it stand out in particular.
Rhythm The rhythm is swung ­ relating to the context.
Dotted rhythms from bar 15 onwards, and then throughout the piece
enhance this swung rhythm that prevails throughout the piece.
Bars 4188: Cobb keeps time on the ride cymbal, and uses a highlight
syncopated and unpredictable snare hit, keeping some rhythmic
interest throughout.
Adderley has a rhythmic quality to his soloing, placing strong accents
on the beats in bars 93140.
Coltrane (bar 145192), uses a combination of different phrase lengths
in different places of the bar, emphasising an idea of natural speech.
Structure All Blues is based on the 12bar blues theme that was common with
jazz music at the time.
The set work has an intro, followed by a head (the main melodic line).
There are four improvised solos, followed by the head again.
The intro is eight bars long, made up of two far bar phrases.
A muted trumpet for 12 bars introduces the Head after the intro. It
lasts 32 bars in all, and is followed by intro 2, repetition of the theme,
and then intro 2 again.
The four solo sections each feature a different instrument: Trumpet,
Alto Sax, Tenor sax and finally piano. All these solos are improvised.
The first three solos last for 48 bars, whilst the piano only lasts for 24
The head comes back after this, playing the 12bar theme followed by
intro two, twice!
All Blues finishes with a twelve bar outro, fading out to finish.
Context Miles Davis viewed jazz differently ­ his work completely changed the
image of jazz.
He didn't like constant change in chords, but preferred improvised
solos ­ that too he preferred a slower harmonic rhythm so the soloist
could develop their melody.
The music is inspired by an array of jazz genres, including bebop, New
Orleans Jazz. Use of swung rhythms is common, especially from the
1930s, and influence of big band of the 1920/30s was seen.
The piece compiles of improvisation using a tuneful melody.
Often played in the lower register of an instrument.
The piece was based on scales rather than chords so let the musician
improvise freely.
Harmony Use of the sevenths in chords for example the G7.
We also find the use of the sharpened nine, which means augmented
ninth, which sometimes adds onto the G7. This gives a very `jazzy'
feel to the piece.
There is a use of blue notes, which highlights the jazz feel of the
Arjun Paliwal 11P

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Davis bases his solo on modal themes, which is very different to the
background, which is based on scales or chords.
Both Davis and Adderley use chromatic notes, which strongly
contrasts the use of scales in the background, but emphasises the G7
and C7 chords, as well as blue notes.
Melody The `head' is the main melodic line that is usually introduced at the
beginning of the piece.
The main melody is first heard in bars 920.…read more


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