It ain't necessarily so - Miles Davis and Gil Evans

Brief Contextual overview and key points on each section 

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  • Created by: ellie g
  • Created on: 19-05-12 20:03


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

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Intro - Bm

Chorus 1 (AABA) - Gm

Chorus 2 (AABA) - Gm

Chorus 3 (AABA) - Gm

Chorus 4  (AAAA) - Gm

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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

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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
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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
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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

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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.
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Esme Lonsdale



ellie g


You're welcome :-) 

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