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					ISSUES IN JAZZ: A LISTENING AND STUDY CHART
TITLE OF PIECE Summertime COMPOSER: Gershwin / Gil STYLE/S: Evans Symphonic / Cool LEADER: Miles Davis IMPORTANT SOLOISTS: Same as above
MEDIUM:
TIMBRE/S

FUNCTION OR PURPOSE: Listening / Recording

IMPORTANT DATE/S: Recorded August 15, 1958

TRACK FORM: TIMINGS/ NUMBERS INTRO
OFTEN SET BY THE FORM HEAD BRIDGE SOLOS SOLI TUTTI-SHOUT OUT-CODA

TEMPO

EMOTIONAL MELODY:
SENTIMENT

HARMONY:
MAJOR MINOR MODAL BLUES RHYTHM CHANGES

RHYTHM:
DIXIE SWING BOP SHUFFLE FUNKY FREE LATIN ROCK LAID-BACK VIRTUOSIC

TEXTURE:
COMMUNICATION INTERACTION BACKGROUNDS POLYPHONIC HOMOPHONIC POLY/CROSS RHYTHMS (HETEROPHONY

PHYSICAL
INTENT

INSTRUMENTATION

DYNAMICS

AND

RANGE PHRASING CONTOUR IMPROVISATION MELODIC VS ARPEGIATTED VOCAL VS INSTRUMENTAL IDEAS

UNIQUE TRAITS:
PERSONAL, IDENTIFIABLE OR PECULIAR MANNERS OF PLAYING

OTHER MUSICAL ISSUES:
IMPORTANT SEMINAL DEVELOPMENTS

SOCIETAL/ CULTURAL ISSUES:
RACIAL ETHNIC POLITICAL ECONOMIC RELIGIOUS NATIONALISTIC WORLD/GLOBAL IMPLICATIONS

CHORDS:
VOICINGS IMPRESSIONISTIC EXTENSIONS SUBSTITUTIONS

ORCHESTRATION

LISTENER REACTION

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16-bar song form Muted trumpet improvisation

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Muted Trumpet with backing small symphonic jazz band, the orchestration is so that the only persistent things heard easily are the muted trumpet and steady ride cymbal and rim of the drum set

The tempo is medium and the dynamic is generally soft with the trumpet being the most prominent thing heard.

This piece is certainly jazz for a Sunday afternoon – it has a bluesy cool feeling and makes one thing of sipping lemonade on a hot late summer afternoon.

The melody is in the higher range for Miles’ typical solo, but stays generally in mid-range. The phrasing is flawlessly executed both maintaining the continuity of the melody and improvisation.

The harmonies come in the background orchestrations of Gil Evans, not in the piano, and the harmonies is based on a repeated ostinato – some interesting unusual chords are heard for this tune, but nothing brash.

The rhythm is completely laid back and almost unnoticeable. It features a steady ride cymbal with the rim on beat 2.

The texture is quite simple – Miles in front, drums second, and orchestrated instruments sound almost in the distance. The balance creates a wonderful mood. Miles and the orchestration are doing a sort of call and response with each other.

The muted trumpet sound is quintessential Miles Davis with the tone and concept of soloing.

This is an important development of using such a large group of instruments in this style, and also no piano usage for harmony.

This was a breakthrough reworking of the song with Gil Evans and Miles collaborating to produce a wonderfully original sound.

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posted:7/8/2009
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