Abstract
SUMMARY
Bags' Groove was recorded the 24th December 1954 by Miles Davis, trumpet, Milt Jackson, vibraphone, Thelonius Monk, piano, Percy Health, bass, and Kenny Clarke, drums. The number was recorded twice (in two takes) , and both takes have been released, on the LP " Bags' Groove" Prestige 7109, and the LP " Miles Davis and the Modem Jazz Giants" , Prestige 7650.
l) The present article begins with a general form description of the two takes of Bags' Groove.
2) It goes on to a general characterization of Davis's improvisations in both takes: a description of phrase types, types of phrasing (ways of playing), scale basis, melody, the relationship between melody and harmony base, and finally the melodic material.
3) The main section of the article gives an analysis of Davis's playing in take l. The starting-point of the work on take l was the experience of an improvised music of very high quality - clearly better than take 2. It is the aim of the analysis to explain how this quality is founded on the mu.sical structure.
a) The analysis of Davis's first solo (nine choruses) shows that its form takes a highly consequent course, based on two musical motives. The first four choruses are dominated by a motive (A) which undergoes deve10pment by variation, while a second motive (B) plays an inferior role. In the folIowing four choruses the two motives change roles, B being developed while A is less important. The final (ninth) chorus) is a synthesis of the two motives, one taking over the characteristic features of the other and vice versa.
b) An investigation of the melody shows how the melodic phrases are linked together, forming larger continuities; the solo is here described as a sequence of 2-i2+2+2+l choruses.
c) An analysis of the ambitus of the solo, i.e. the interval distance between the highest and the lowest notes in each single four-bar period, shows a distinct development from a small tone-compass in the opening chorus to a maximum range in the final chorus.
d) An analysis of the final notes of each musical ~hrase shows that all phrases in the first four choruses end on one of the notes of the F 7 chord; in the folIowing choruses other final notes are added. As in the case of the motive analysis, this analysis shows the first four choruses to constitute a separate section.
e) A final examination of each single four-bar period with regard to initial upbeat, downbeat or pause, shows that the period openings form a consequent pattern.
Taken together, the analyses reveal the fact that Davis's nine blues choruses are structured with amazing consequence, apparent in the general form as well as in the detail s of several simultaneous form sections: an intuitively and rationally shaped musical unit y in which nothing is left to chance.
4) To the analysis of the first solo is added an analysis of the form and musical material of the second solo.
Bags' Groove was recorded the 24th December 1954 by Miles Davis, trumpet, Milt Jackson, vibraphone, Thelonius Monk, piano, Percy Health, bass, and Kenny Clarke, drums. The number was recorded twice (in two takes) , and both takes have been released, on the LP " Bags' Groove" Prestige 7109, and the LP " Miles Davis and the Modem Jazz Giants" , Prestige 7650.
l) The present article begins with a general form description of the two takes of Bags' Groove.
2) It goes on to a general characterization of Davis's improvisations in both takes: a description of phrase types, types of phrasing (ways of playing), scale basis, melody, the relationship between melody and harmony base, and finally the melodic material.
3) The main section of the article gives an analysis of Davis's playing in take l. The starting-point of the work on take l was the experience of an improvised music of very high quality - clearly better than take 2. It is the aim of the analysis to explain how this quality is founded on the mu.sical structure.
a) The analysis of Davis's first solo (nine choruses) shows that its form takes a highly consequent course, based on two musical motives. The first four choruses are dominated by a motive (A) which undergoes deve10pment by variation, while a second motive (B) plays an inferior role. In the folIowing four choruses the two motives change roles, B being developed while A is less important. The final (ninth) chorus) is a synthesis of the two motives, one taking over the characteristic features of the other and vice versa.
b) An investigation of the melody shows how the melodic phrases are linked together, forming larger continuities; the solo is here described as a sequence of 2-i2+2+2+l choruses.
c) An analysis of the ambitus of the solo, i.e. the interval distance between the highest and the lowest notes in each single four-bar period, shows a distinct development from a small tone-compass in the opening chorus to a maximum range in the final chorus.
d) An analysis of the final notes of each musical ~hrase shows that all phrases in the first four choruses end on one of the notes of the F 7 chord; in the folIowing choruses other final notes are added. As in the case of the motive analysis, this analysis shows the first four choruses to constitute a separate section.
e) A final examination of each single four-bar period with regard to initial upbeat, downbeat or pause, shows that the period openings form a consequent pattern.
Taken together, the analyses reveal the fact that Davis's nine blues choruses are structured with amazing consequence, apparent in the general form as well as in the detail s of several simultaneous form sections: an intuitively and rationally shaped musical unit y in which nothing is left to chance.
4) To the analysis of the first solo is added an analysis of the form and musical material of the second solo.
| Bidragets oversatte titel | Miles Davis: Bags' Groove take 1 24.12.54 |
|---|---|
| Originalsprog | Dansk |
| Titel | Musik & Forskning 3 1977 |
| Redaktører | Jens Brincker |
| Antal sider | 37 |
| Vol/bind | 3 |
| Udgivelsessted | Copenhagen |
| Forlag | Akademisk Forlag |
| Publikationsdato | 2 jan. 1977 |
| Sider | 141-177 |
| ISBN (Trykt) | 87-500-1734-9 |
| Status | Udgivet - 2 jan. 1977 |
| Navn | Musik & Forskning |
|---|