It ain't necessarily so - Miles Davis and Gil Evans Brief Contextual overview and key points on each section 4.5 / 5 based on 2 ratings ? MusicASAll boards Created by: ellie gCreated on: 19-05-12 20:03 Context It's ain't necessarily so is taken from Porgy and Bess They wrote a studio album together using music from the opera Porgy and Bess It was recorded in New York by Columbia records It is part of a jazz genre called cool jazz 1 of 7 Structure Intro - Bm Chorus 1 (AABA) - Gm Chorus 2 (AABA) - Gm Chorus 3 (AABA) - Gm Chorus 4 (AAAA) - Gm 2 of 7 Introduction 9 bars long slow tempo begins with a paraphrase of "I Got Plenty of Nothing" High trumpet register Trombone plays chromatically ascending minims drums played with brush last 3 bars move in step over Bm7 and Am7 last chord (D F Ab C) is replaced by a dominant 7th chord 3 of 7 Chorus 1 A section Paraphrase made up of fregments seperated by silences Intervals of 5ths and aug 4ths A section Similar paraphrase style chordal riffs on horns and trombones playing rising triads push rhymths give monentum and add to the swing style B section More rhythmic ghost notes, fall offs and paraphrases used accompaniment plays rising chromatic chords which crescendo rich woodwind chords trumpets added when solo drops out cymbol used to accent syncopation A section Solo closer to the original accompaniment more prominant trombones add rich harmony through vibrato 4 of 7 Chorus 2 A sections (4 + 5) - Solo is longer with fewer silences rhythmic, smoothing towards the end incresed range accompaniment the same as A3 with different rhythms B section Chords play legato ascending mininms bass drum provdies dramatic break between the chords Bass moves alternatively descending over 4ths and 5ths complex harmonies build upto a final dissonant chord A section Texure reduces to trumpet and rhythms section with quiet bass brass is displaced causing uncertainty 5 of 7 Chorus 3 A section - style of A6 continues A section - original accompanying riff is used, later inverted diminuendo in accompaniment playing pp B section Band dramatically return playing a triplet rhythm band moves in contrary motion stopping at a 4 beat silence before moving in the same direction ascending scale from B2 is used with accompaniment only for horns and trombones so Davis isn't hidden trumpets enter on a Gm chord with a high G A section - same as A1 6 of 7 Chorus 4 A Section - A sense of recpaitulation repeating A2 with original melody and accompanyment A section - Varied horn riffs reverting two bars before A12 A section Thinner texture no heavy brass horns play quietly dynamics reduce to pp in rhythm section A Section Davis plays final descending scale on D final section based on A repeated double bass ends on G to end suspense. 7 of 7
Comments
Report
Report