w > Ó b > œ U b U Œ b. Tbns. 3 & 4 Horns 1 & 2 > Tbns. 1 & 2 U Ó Œ b œ

Transcription

1 Interetingly, Gil grand-ta ketch or I Don t Wanna Be Kied ho that he rote melodic idea or Mile to play in meaure 65 through 68 and 7 through 76 Gil trancried and arranged thee idea (and everal o the enemle paage that ollo) rom Ahmad amal 1955 verion o I Don t Wanna Be Kied 2 Gil placement o thee phrae created a call-and-repone eect eteen ritten and improvied paage, hich ere oth played y Mile Careul attention to Mile tone in the recording reveal that he played the ritten paage live (that i, in the original recording eion), ut overdued the improvied paage (ee alo chaap, in Davi and Evan, 1996, pp 170, 178, and 182) The ull enemle dominate the lat 6 meaure; Mile only play in meaure 89 through 96 Meaure 111 and 112 eature the retrograde orm o the 12-tone pyramid heard at the eginning o The Meaning o the Blue (ee igure 4) igure 4 Meaure 111 and 112 o I Don t Wanna Be Kied (retrograde orm o the 12- tone pyramid at the eginning o The Meaning o the Blue) Tpt U U Tpt 2 Tpt 4 5 U U Tn 4 Horn 1 2 Tn 1 2 U U B Cl; Tua 2 amal verion, milaeled Medley, can e heard in amal (1955) 0 Gil Evan Mile Davi

2 QUIET NIGHT Hitory o the roect Gil and Mile ourth and inal large-enemle alum proect i entitled Quiet Night The proect a egun in 1962, hen oa nova an ohoot o the Brazilian ama a ecoming popular in the United tate (Chamer, 1985, p 4) Record companie aced ith a declining azz market a potential ale in azz-ama alum 8 It i unclear hether the idea or the alum a Columia or Gil and Mile The original liner note imply that it a Gil and Mile Thi i certainly plauile, a Mile alay had a reputation or playing only the muic he anted to play Otenily then, the concept o Quiet Night a to apply Gil orchetrational palette and Mile tone and improviatory ailitie to oa nova muic Thi a only partially accomplihed: only hal o the ix large-enemle piece in the alum are oa nova The alum a recorded on uly 25, uly 27, Augut 1, and Novemer 6, 1962 (chaap, in Davi and Evan, 1996, pp ) In thee our eion, Gil and Mile recorded ut over 20 minute o muic (not including reected take) When Columia Record iued the alum in 1964, they augmented the large-enemle muic ith an April 196 recording o ummer Night that eature a hort-lived Mile Davi quartet o Wet Coat muician Critical Repone to the Alum It i diicult to gauge the initial repone to Quiet Night Over the pat thirty year, hoever, it ha een criticized heavily It eem that the et revie it got a y critic eonard eather in Don Beat magazine He gave it our out o a poile ive tar A portion o hi revie ollo: Thi i a curiou and not entirely atiying alum The Evan tone-color cornucopia, though inevitaly le tartlingly reh in it impact today than in 1957, make a uperackdrop or Davi; yet on the hole the matter o thee perormance all ar elo the level o the manner erhap the mot ucceul track, meaured y the yardtick o earlier Davi-Evan collaoration and the mood they created, i Once upon a ummertime The Evan lair i alo in ull loom on ong No 1, though thi i not the et track or Mile Caveat emptor department: the entire alum oer le than 27 minute o muic (eather, 1964a, p 24) Although hi revie i not a cathing indictment o the alum, eather recognized that Quiet Night i not up to the tandard that Gil and Mile et in Mile Ahead, orgy and Be, and ketche o pain 8 Chamer (1985) tated: Time magazine reported at the eginning o 196 that there ere at leat orty oa nova alum on the market (p 4) 46 Gil Evan Mile Davi

3 igure 6 Vocal melody rom Manuel de alla The Three-Cornered Hat ued y Gil Evan a thematic material in Blue or alo 1 Cl in a [A Clar] Canto [Melody] Viole [Viola] B p p (Muta in Ÿ~~~~~~~~~~~~ i [Change to B Clarinet]) π piena voce, ma lontano [ull voice, ut ditant] or la no - che can - ta el cu - co Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ π colla voce [ith voice] Canto Viole Ad - vir - tien - do a lo ca - a - do Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ B que Canto n n Viole B co - rran ien lo ce - rro - o Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ que el Canto n Viole B dia - lo e - tá de - ve - la - do! perdendoi [dying aay] Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Copyright 1921 y Cheter Muic td International copyright ecured All right reerved Reprinted y ermiion Analyi o BUE OR ABO 71

4 Middle Dimenion ound The irt module (meaure A through 24) eature an intereting ound characteritic: herea in other element the module i clearly diviile into three eight-meaure ection, 18 here it can e perceived a orehadoing the 12-meaure egment that appear in the econd module Thi perception reult ecaue the texture in meaure A through 12 eature Mile lügelhorn over enemle pad, herea meaure 1 through 24 eature homorhythmic enemle phrae ith occaional counterpoint It i alo poile to perceive the eight-meaure ection in thi element The ull-enemle accompaniment to Mile in meaure 7 and 8 contrat ith the much oter oodind, horn, and tua accompaniment that egin in meaure 9 A dierent type o contrat occur eteen the econd and third eight-meaure ection: the harmonized enemle igure o meaure 1 through 16 contrat ith the motly union material o meaure 17 through 20 A general vie o the econd module (meaure 25 through 52) ho it to e a erie o homorhythmic enemle paage ramed y to-meaure Mile Davi troll Thi module contain to 12-ar egment (eginning in meaure 29 and 41), each o hich eature prolonged ue o a ingle texture (ee igure 7) In the irt egment, a comination o lute, irt horn, and cup-muted irt tromone play the lead voice in union igure 7 Notational atraction o the textural rhythm o Blue or alo An eighth note repreent one meaure o a textural comination; a quarter note, to meaure; a hal note, our; and a hole note, eight The encloed numer correpond to meaure numer in the core A, 1 r r 9 17 r arue principle o modular equivalency ( , p 15) applie here: the litener generalize the length o the irt (nine-meaure) ection to eight meaure ecaue the olloing ection are eight meaure long urther evidence or thi can e een in igure 5, in hich the idth o each ection repreent it relative temporal length Notice that the nine-meaure ection laeled A1 i horter than the ection laeled 9 74 Gil Evan Mile Davi

5 igure 8 Concert key ketch o Blue or alo ith tyle analyi timeline Blue or alo Concert Key Analyi Compoed y Gil Evan (1956) Arranged y Gil Evan (1957) Trancription y teve aoie (1997) ketch Ad-i Tempo (Ruato) Doneat 1 A 4 4 U U Mile Alto lute U n - Ba Clarinet 1 A n (virato) (virato) ~~~~~ ~~~~~~~~ - n U n U U l Hn 1 Hn 2 Tn 1 (Tn in hat mute) Tn 2 4 U Tn B Tn 4 Tua Ba (Arco) U Melodic Contruction h am Harmonic Detail A G TR (Dorian) 1 Harmonic Rhythm and unctional Analyi g: i Contour Rhythm (5) Articulation and Dynamic Textural Rhythm urace Rhythm Continuum (Ruato) Dynamic Contour Analyi o BUE OR ABO 77

6 ketch 5 Doneat 2 Mile - - n Alto lute Ba Clarinet U U U All int gli except Mile Ba o ~~~~~~~~~ ~~~~~~~~~~ U ~~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~ Doneat Mile Tpt 1-4 U lute U ~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~ ~~~~~~~~~~~~ ~~~~~~~~~~~~~ igure 8, page 2 U Alto lute U Hn á 2 Tn 1- in hat n Tn 4 in hat Tua BCl Ba In Tempo Doneat 4 n n n n n q Ba = tem don = 60 Top = lute Bottom = Alto l Tpt 5 in Harmon tem ext acceldecel n n n Mile n n p n M C H D 5 m G TR Ḋ [ ] G 1 H R A i V 7[ ] T I 1 C R (5) A D T T R R Cont (In tempo) D C 78 Gil Evan Mile Davi

7 igure 8, page ketch 9 Hn 2 B lute A ax Hn 1 A l B Cl Tua Mile n Top note = Tpt 1 in hat, Tpt 5 in Harmon, lute Tpt 2 in hat A l Tpt in hat Hn 1 Tpt 4 in hat Hn 2 Tn 1- in hat mute Tn 4 in hat, Tua, B Cl Ba M C 1a H D 9 G TR G TR D G TR G TR D G TR G TR D G TR G TR D H R A i i64 i i64 i i64 i i64 C R (5) A D T R R Cont D C Analyi o BUE OR ABO 79

8 igure 8, page 4 ketch 1 n n Tn 1- in hat mute n - - n - n n Tpt 1-4 out on eat Tpt 5 lute A l Hn Hn 1 +Alto ẇ p B Tn 4 in hat, Tua, B Cl Ba - - n - Ba Clarinet B Tn 4 in hat, Tua, Ba M C H D 1 1 G 9 C( add 1) 9 9 A 9 7 ( +11 E 9 (+11) 9 ) G TR 6 9 E 9 D 7 ( 9) H R A i 9 V vii ( 1) 9 vii VII 7 ( ) 9 iị 9 VI 9(+11) i VII 6 9 V II 9V 7( 9) C R (5) A D T T T R t R Cont D C 80 Gil Evan Mile Davi

9 igure 8, page 5 ketch 17 Tua C Ba Tn 4 in hat mute Mile 5 Tpt in Cup Mute; in union ith A ax, lute B Cl - n 16th ing ^ +Hn n n n Tn 1- in cup mute (Hn out) (Tua out) Divii: Mile, Tpt 1, l Tpt 2, A l Tpt 4 5 Alto ax B Clar Ba ^ - - BTn 4 in hat + Ba - - M C T1a T1 hm H D 17 G TR C 9 G TR G 7 G 7 B B C 9 A H R A i iv i i 7 V 7 iv 9 iv C R (D5) A D T T R R (More active) (Thematic rhythm) Cont (Doule-time eel) D C Analyi o BUE OR ABO 81

10 igure 8, page 6 21 Mile, Tpt 1, lute Tpt 2, Alto lute Tpt 4 5 Alto ax Ç Mile out Tpt, l and A ax in union n Tpt 1-4 div lute in 8ve A x Tpt 5 n p ketch Tn 1- in cup mute n n n n nn (Div) p Ba B Tn 4 in hat mute Ba Clarinet + Ba n n M C T1c H D H R A 21 A 7 (+11) C 9 G (add 9) II 7 (+11) 9 (add 9) iv i E 9 vi 9 T (Atonal counterpoint) (Atonal counterpoint) 7 ( ) B 9 C 7 VI 7 ( ) II 4 2 (Tritone utitution or V7V to V) C R A D T T R R (e active) Cont (ingle time) (Ba and Drum out) D C 82 Gil Evan Mile Davi

11 igure 8, page 7 25 Mile on lügelhorn (Improvied) ay ack In Time uito ketch Ba Tpt (Open) ^ ƒ lute Alto l B Clar ^ - ^ - Tn 1- in cup mute ~ M C (ocu on improviation) T2am hm T2m H D 25 B TR E 7 B 7 B 7 ( u4 9 ) B 7 B 7 ( u4 9 ) H R A B : I IV 7 İ 7 I7 ( u4 9 ) İ 7 [ HR+ 6] I7 ( u4 9 ) [ HR+ 6] C R A D T T R R (Thematic rhythm) Cont (Ba and Drum re-enter) (Doule-time eelyncopated atin) D C Analyi o BUE OR ABO 8

12 igure 8, page 8 ketch 29 Tua D Quietly p l, Hn 1 Tn 1 A l, Hn 2 Tn A ax Tn 2 (Tn in cup mute) p +B Cl Tn 4 Tn 2 cro n Moan! ~~~~~~ p p Ba BCl + Tn4 n Ba n B Cl, B Tn 4, Ba M C 2am 2 H D 29 B 7 9 B B 7 9 (u4) C B B B C B + B B1 H R A İ 7 T I ED V 9 İ 7 V 9(u4) 4 ii 2 V + V IV 1 C R A D t l T R R (e active) Cont (ingle time) D C 84 Gil Evan Mile Davi

13 igure 8, page 9 ketch l, Hn 1, Tn 1 in cup mute A l, Hn 2, Tn 2 in cup mute Alto ax, Tn in cup mute B Tn 4 in hat B Clar n n ^ ^ Tua B Cl dl Tua B Cl Ba n M C 2c H D E 7 (add1) E 9 (+11) 9 ( 1) B 7 ( u4 9 ) C 7 (add 11) C 7 (+11) B1 H R A IV 7 (add1) 9 (+11) IV V 9 ( 1) İ 7 ( u4 9 ) ii 7 (add 11) II 7 (+11) V IV 1 T C R A D t t l l T R R Cont D C Analyi o BUE OR ABO 85

14 igure 8, page 10 ketch 7 B Tn 4 in hat B Clar Tua lute Alto lute Hn 1, Tn 1 Hn 2, Tn 2 Aax, Tn Ba (Tn in cup) n n lute Alto lute ƒ Tpt (1, 5, 2,, 4) apple Hn 1 Hn 2 A ax B Tn 4 (open) B Clar ƒ n n apple M C 2d hm H D 7 E 7 (add1) Ḋ1 C 7 (add 11) 7 (+11) B B TR OC H R A IV 7 (add1) II 1ii ii 7 (add 11) II 7 (+11) İ V OC C R A D t t T R R Cont t (yncopated atin) D C 86 Gil Evan Mile Davi

15 igure 8, page 11 ketch E 41 A ax Tn 1 Hn 1 Tn 2 Hn 2 Tn Tn 4 (Open) Doule-time ing eel - Moan! n Ba Clarinet = tem don ~~~~ ~ ~ +Tua (5th voice) Mile (Improvied) Hn 2 dl Tn 2 Hn 1 dl Tn 4 A ax Tn 1 Hn 1 Tn 2 Hn 2 Tn B Cl Tn 4 Tua out +Tua (virato) ~~~~~~~~ Tn 4, Tua, B Cl Alto ax Hn 1 Tn 1 Hn 2 Tn 2 Tn Ba (Improvied through m 50) N n M C 2'a 2' H D 41 G B 9 7 A ø7 9 G o 7 ( 9) 9 9 B 7 E 7 B 7 B 7 A ø7 C 7 9 B 7 9 B 7 B 7 E 9 H R A İ vii 7 IV o 6 5 IV 7 I 7 II V 9 T C R A D l T R R (More active) l (e active) Cont (Doule-time eel) l (ingle time) D C Analyi o BUE OR ABO 87

16 igure 8, page 12 ketch ~~ 45 ingle Time Mile A ax Hn 1 Tn 1 Hn 2 Tn 2 Tn B Clar, B Tn 4 Tua (union) n ß (Tua 8va) ^ n apple n - n A ax Tn 1 Hn 1 Tn 2 Hn 2, Tn B Cl, Tn 4 (Tua out) +Tua A ax Hn 1 Tn 1 Hn 2 Tn 2 Tn B Tn 4 B Cl Tua nn n Ba n M C 2'c H D 45 E 9 E 9 E 9 B B 7 7 A ø7 B 9 B 7 7 A 7 9 G 7 ( 9) Dø7 H R A IV 9 9 II IV IV 9 I 7 V 7 ( 9) ii ii ø7 ii C R A D t T R R (More active) l (e active) Cont D C 88 Gil Evan Mile Davi

17 igure 8, page 1 ketch 49 A ax Tn 1 Hn 1 Tn 2 Tn Hn 2 B Cl, Tn 4, Tua Ba (Improvied) n n n p ~~ (mear) ^ (A ritten) n n n Tromone 1- Ba Clarinet M C (ocu on improviation) hm H D 49 C ø7 B 7 (+11) B B D E E o B H R A ii ø7 II 7 (+11) I I t 6 IV +ivo I 6 4 l C R A D T R R Cont t (yncopated atin) D C Analyi o BUE OR ABO 89

18 igure 8, page 14 ketch 5 Tn 1- B Clar B Tn 4 Tua [Due to a tape plice, the mater take accelerate to 72 eat per minute here] (Gli) ~ Ba Tpt 1, lute, Tpt 5 in Harmon mute Tpt 2 Alto lute Tpt Tpt 4 ^ n n n B Cl dl Tn n n T 1 T 2, Hn 1 T, Hn 2 ƒ Ç ƒ 4 n n 4 B p Cl ƒ Ç ƒ A ax Tn 1-4 Mile (Improvied) apple n n lute n Hn B Cl B Tn 4 Tua (All Tn into hat) (Improvied) M C H D 5 'a hm B 7 A 9A 7 B 6 B 7 ' hm C 7 B 9 B 6 E 7 1 E 7 7 ( 9 1) K'a B1 H R A : i 7 vii 9 T i 6 i 9 IV 4 2 V 7 ( 1) 9 B : I 1 C R A D () T T R R T (Gradually more active) (More active) (e active) Cont (t) (ingle time) D C 90 Gil Evan Mile Davi

19 igure 8, page Mile (Improvied) - - ketch B Cl, Hn, B Tn Tua B Tn 4 Tua l, A l Tn 1- in hat Ba (Improvied) M C K' (ocu on improviation) H D 57 E1 B E D D H R A IV 1 İ T IV iii IIii C R A D T R R Cont D C Analyi o BUE OR ABO 91

20 igure 8, page Mile (Improvied) n n n - - ketch Alto ax Hn 1, 2 Tn 2, in hat ^ lute A l B Cl A ax Hn 1 Hn 2 Tn 1-4 in hat (Gli) ^ - ~ Ba (a ritten) n n M C T2am hm T2m H D 61 C 7 B 7 B 7 ( u4 9 ) B 7 B 7 ( u4 9 )A H R A ii V 7 İ 7 T I7 ( u4 9 ) [ HR+ 6] İ I2 ( u4 9 ) [ HR+ 6] C R A D T T R R (Thematic rhythm) Cont t (yncopated atin) D C 92 Gil Evan Mile Davi

21 igure 8, page G Doule-time ing eel Mile (Improvied) ketch n lute (Harmony) Tpt 1 A l (Melody) Tpt 2-5 ~ ~ ~ Moan! A ax, T 1 Hn 1, T 2 Hn 2, T B Tn 4 B Clar Ba n +Tua (5th voice) Hn 2 dl Tn 2 Hn 1 dl Tn 4 ~~~~~~ Tua out; other a 65 +Tua Alto Hn 1, T 1 Hn 2, T 2 Tn n B Tn 4, Tua, B Cl M C 2'a 2' H D 65 B 7 B 7 A ø7 B 9 7 G o 7 ( 9) 9 9 E 7 B 7 B 7 A ø7 B 9 C 7 B B 9 E 9 H R A İ vii 7 IV o 6 5 IV 7 I 7 T İ 9 II 9V C R A D T T T T R R (More active) l (e active) Cont (Doule-time eel) l (ingle time) D C Analyi o BUE OR ABO 9

22 tep To: Open itening The olloing characteritic ere noted in everal open litening: The opening tatement o Ne Rhuma i poerul Hard, yncopated ra chord alternate ith oter paage played y Mile (on lügelhorn) and oodind The A ection make ue o to alternating chord and requent top-time aul Chamer improvie inging phrae in hi top-time a reak The B ection are harmonized richly, and azz ing eeling i trongly evident in each o them The enemle comping in the B ection contriute to their trong rhythmic drive and provide counterpoint Thi contrat ith the homophony o the top-time A ection The accompaniment ri heard at the eginning o Mile improvied olo i repeated in variou timral and regitral comination Thee comination range rom ray to delicate in character The call and repone eteen Mile and thi ri i ell alanced; Mile keep hi improvied phrae rie and doe not dominate the enemle, nor doe the ri ditract the litener rom Mile idea At meaure 11, the tring a change to a alking approach The groove o thi ection i deep; it releae the rhythmic tenion that uilt through the top-time ection The polytonal ra climax toard the end i trong and eective The alking a pattern i interrupted riely at meaure 161, ut reume in meaure 16 The piece end ith a recapitulation o the opening tatement 114 Gil Evan Mile Davi

23 tep Three: yntax arge Dimenion ound In Ne Rhuma, a in all the piece in Mile Ahead, Gil made ue o an enemle o lügelhorn (played y Mile), alto axophone, to oodind (lute and ooe in Ne Rhuma), a clarinet, to horn in, ive trumpet, three tromone, a tromone, tua, tring a, and drum et Hi preerred timral comination include: lügelhorn harmonized y lute, alto axophone, and horn; one horn, three tromone, and tua (or to horn, to hat-muted tromone, and tua) imulating azz-piano-tyle comping; alto axophone harmonized y to horn, to hat-muted tromone, and a clarinet; Harmon-muted trumpet douled y lute, ooe, a clarinet, and alto axophone; and our tromone and tua A in Blue or alo, Gil ued the tutti enemle ith open trumpet only at point o dynamic climax Harmony Although Ne Rhuma appear to e in the key o C maor, it i a modal piece in C Mixolydian It A ection alternate eteen one-meaure occurrence o C maor and G minor eventh chord There i no occurrence o a traditional V7 chord in any o the A ection; G minor i the preerred dominant chord At many point, Gil utitute a C dominant eventh chord or the tonic maor chord In thi ene, the tonic chord o Ne Rhuma i imilar to that ound in the 12-ar lue progreion: it i a dominant eventh chord in the tonic poition Gil made ue o expanded tonality in Ne Rhuma The piece egin and end in the ame key, and there i dicernile unctional harmony throughout Hoever, Gil alo ued harmony or color He requently utituted the minor orm o a chord or the dominant orm (ee the dicuion aove) and ued chromatically altered ninth, eleventh, and thirteenth in dominant eventh chord Gil orchetrated Ray Craord guitar comping rom meaure 17 through 2 and 41 through 48 He alo orchetrated Ahmad amal comping rom meaure through 40 In thi cae, Gil added a igniicant amount o inner-voice movement and chromatic alteration to amal original harmonie Melody The range o Ne Rhuma lie eteen G and C 6 The teitura i in the middle o that range, eteen C 4 and C 5 Ne Rhuma i very ri oriented Mot o the ri ued in it are related rhythmically to the opening motive Throughout the piece, there i a great deal o call and repone eteen compoed melodie played y the enemle and melodie improvied y Mile Gil and Mile are reponile or aout 5% o the melodic material in thi verion o the piece The primary theme o Ne Rhuma, heard in meaure 1 through 16, a compoed y Ahmad amal The econd theme, played y Mile in meaure 17 through 2, a alo compoed y amal The ackground ri in thi egment a adapted y Gil rom Ray Craord guitar comping in the original recording Analyi o NEW RHUMBA 115

24 igure 11 Notational atraction o the textural rhythm o Ne Rhuma An eighth note repreent one meaure o a textural comination; a quarter note, to meaure; a hal note, our; and a hole note, eight The encloed numer correpond to meaure numer in the core Analyi o NEW RHUMBA 119

25 Harmony The eential harmonic motion o the B ection o Ne Rhuma i a circle-o-ith progreion that move in one-meaure increment rom G minor eventh to G dominant eventh (ee igure 12) Thi progreion provide the greatet amount o harmonic motion in the piece Vieed in comparion ith urrounding A ection, it clariie hape Gil harmonized each o the ive B ection dierently Thoe that egin in meaure and 65 are the mot complicated, making extenive ue o dominant eventh chord ith chromatically altered ninth, eleventh, andor thirteenth, and tritone utitution (ee igure 12) Gil harmonic variation on the A ection conirm the exitence o a tructural plan containing our large module The irt module (meaure 1 through 48) conit o onemeaure alternation o a C maor or dominant ith a G minor chord In the econd module (meaure 49 through 112), Gil make greater ue o paing chord Each melody note o each A-ection ri i harmonized ith a dierent chord 1 In the third module (meaure 11 through 176), Gil return to the one-meaure alternation eteen C and G minor, ut thi time the amiguity o the C chord i greater than ever He reely mixe it dominant and maor orm, a characteritic o the lue (compare meaure 11 and 115) Mile improviation doe not clariy thi amiguity He eem to have dran hi improviation rom the C Mixolydian mode, ut ithout delineating each chord change a orehadoing o hi modal innovation In meaure 121 and 125, he play a B over Gil amiguou C chord Elehere in hi improviation, he avoid playing any type o B over C chord The inal module (meaure 177 through 19) i a recapitulation o the irt 16 meaure o the irt module ith a one-meaure extenion to accommodate the inal cadence Gil requently anticipated chord change y a hal eat, ut he varied the requency o thi throughout the piece A comparion o hi ue o harmonic anticipation in each B ection yield intereting reult In the B ection that egin in meaure, almot every chord i anticipated He treated meaure 65 through 72 imilarly, ut notice the exception in meaure 72: the lat chord i not anticipated (Thi ound like a delay ater the many anticipation) Only aout hal o the chord in meaure 97 through 104 are anticipated In the lat B ection (meaure 161 through 168), every chord i anticipated y a hal eat The total eect i one o a great deal o anticipation, a gradual decreae in it level over the next three B ection, and a inal increae to the greatet requency o anticipation in the piece 1 Interetingly, depite the increae in urace harmonic activity, the eential harmony o thee A ection can e reduced to a tatic C Mixolydian tonality 120 Gil Evan Mile Davi

26 igure 12 Gil Evan ive harmonization o the B ection o Ne Rhuma ketch Harmonic Detail C Hn 1 Tn ^ G 9 G 9 A G 9 B C 1 C 7( 1 9 ) 9 B 9 ( 1) n E 7( + 9 1) B 7( 1 9 ) ketch E lute Ooe B Cl Horn 65 Open Tn Ba n n n Open Tpt Tua dl Tn 4 ^ ^ Harmonic Detail G 9 C 1 C 7( 1 9 ) 7 (1) 9 B 7( 1) 9 B 9 E 7 ( 9) ketch Harmonic Detail G Open Tpt n 97 Tn 1- Tn 4 and Tua Ba (tem don) G 9 A 7 B 6 C 1 C 7( 1 9 ) 7 B 9 n (a2) (Tn 4Tua div) B 9 (u4) B 7 ( 9) ketch Harmonic Detail I 129 G 7 Horn 1, Tn 1- Ba B Tn 4 Tn 4 C 7 ( 1) B1 ( 9) ketch Harmonic Detail K 161 Tn Alto ax Ba Cl Tua (tem up) Ba (tem don) C 9 (u4) n Tua dl Tn 4 C 1 ( u4) 9 C 7 ( 1 9 ) (add 9) 7-7 E 7 (+9) Analyi o NEW RHUMBA 121

27 Tale 4 our evel o hraing in Meaure 1 through 16 o Ne Rhuma HRAE ENGTH One Meaure To Meaure our Meaure Eight Meaure 1 E 2 B E 4 B 5 E 6 B 7 E 8 B Motive Variation Motive Variation Motive Variation Motive Variation Bra (Motive egin on C 6 ) A ection lügelhorn Woodind (Motive egin on C 5 ) MEAURE NUMBER 9 E 10 B 11 E 12 B Bra (Motive egin on C 6 ) 1 E 14 B lgww (C 5 ) A ection (modiied) 15 E Bra (C 6 ) (Inconitent) 16 B Note: The ymol E and B denote enemle and a, repectively One-meaure phrae are perceived y ocuing on the quick alternation eteen the enemle and a To-meaure phrae are perceived hen comparing the original motive and it uequent a ill ith the varied orm o the motive and it uequent a ill our-meaure phrae reult rom change in orchetration and regitral placement Eight-meaure phrae can e perceived ecaue meaure 9 through 16 are a virtual repetition o meaure 1 through 8 Gil harmonization o the melody in meaure 5, 7, and 1 i noteorthy ecaue it contain a harmonic line voiced aove the melody line A he did in a imilar paage in Blue or alo, Gil averted potential conuion over hich voice i the melody y aigning the melody to lügelhorn and the top harmonic voice to lute Becaue the lute i naturally oter, it i heard a a harmonic voice that provide timral color Mile opening phrae in meaure 169 i o pecial interet ecaue it a the lat phrae that Mile improvied in the mater take recording o May 2, 1957 (In eence, he let the lat even meaure o hi olo uninihed) The equence o thi phrae a recorded at the overduing eion on Augut 22 Muically, the tranition i eamle ecaue o Mile keen ue o melodic development The tranition i only noticeale rom a technological viepoint: Mile lügelhorn move lightly in the tereo pectrum at the tranition rom mater-take to overdued material The ive-note phrae that lead into meaure 177 a adapted rom Ahmad amal original recording o Ne Rhuma Mile ued it, either literally or in light variation, each time he played the piece throughout hi career inally, Gil rhythmically augmented the lat to note o the piece In Ahmad amal verion, they occur on the econd and third eat o meaure 192 In Gil verion, they occur on eat three o meaure 192 and eat one o meaure 19, repectively Gil ue o augmentation eem to trengthen the inality o thee to note Analyi o NEW RHUMBA 177

28 Counterpoint A hort paage o contrapuntal activity occur in meaure 149 through 152 In meaure 149 and 150, one horn and three tromone utain a chord hile piccolo, ooe, a clarinet, and alto axophone egin a our-meaure phrae o more rhythmic material In meaure 151 and 152, the phrae continue over another utained chord, no played y the our oodind plu to horn and a tromone Change in the amount o contrapuntal activity contriute to the orard motion o Ne Rhuma In meaure, 65, 97, 149, and 161, increae in contrapuntal activity contriute to motion In meaure 41, 7, 105, 15, and 169, motion i produced y decreae in contrapuntal activity Contrapuntal activity alo contriute to hape: the ame increae and decreae in contrapuntal activity that provide a ene o motion alo act a delineator o hape Rhythm Cloe aural attention to the mater take o Ne Rhuma reveal that the third eat o meaure 48 a deleted in the plicing proce Thi eat i miing only in the mater take, and i preent in all other releaed take The our-impact rhythmic motive that egin Ne Rhuma i ued in varied orm throughout the irt hal o the piece (ee igure 14) Beginning in meaure 17, only the three mot prominent impact o the motive are ued, and the lat impact i utained Interetingly, thi decreae in the numer o impact coincide ith the eginning o Mile lügelhorn improviation Beginning in meaure 45, the lat note i no longer utained Rhythmically, thi i the mot eential orm o the motive A ive-impact variation o the motive i preented eginning in meaure 49 It i related to the motive y the placement o it lat to impact Thi change in preentation o the motive (rom our impact to three-ith-utain to three-ithout-utain to ive) orm a type o rhythmic decrecendo-then-crecendo throughout the irt hal o the piece igure 14 Variation o the rhythmic motive in Ne Rhuma Gil Evan Mile Davi

29 igure 2 Will o the Wip, ro Tool graph o dynamic hape The encloed numer correpond to meaure numer in the core Harmony Will o the Wip make ue o expanded tonality A uiquitou B Aeolian chord deine the tonal center, ut alo provide color and motion y it ocillation eteen to quartal voicing Other harmonic equence that provide color include that o meaure 1 through 8, hich contain everal chromatic paing chord, and the uperimpoition o the Dorian mode that egin in meaure 14, 21, 29, 7, 44, and 52 In meaure 66 an otinato egin that make ue o eight o the telve chromatic tone Mile improviation over thi otinato make ue o all 12 tone The piece doe not diolve completely into atonality, hoever, a a B pedal tone perit to the end Will o the Wip contain our groth module, ut thee are only dicerned partially in the element o harmony in large dimenion The paing chord o meaure 1 through 8 uide in meaure 9, at hich point an otinato o ocillating quartal voicing egin, leaving open the poiility that modular change i occurring our-meaure ection that make ue o only the iv chord interrupt the B Aeolian mode in meaure 24 and 47, uggeting that ome type o ormal change may e taking place at thee point Thee poiilitie ill e conirmed or denied in other element The tonal hit in meaure 66 i the mot deinite harmonic contriutor to modular change It delineate the eginning o the inal module o the piece The comination o ocillating quartal voicing and alternating modal paage (in thi cae, eteen B Aeolian and E Dorian) make Will o the Wip omehat reminicent o Mile modal compoition o What, rom hi Kind o Blue alum (Davi, ) In thi light, Will o the Wip may e vieed a Gil urther incorporating modal concept into hi large-enemle riting, and thu extending hi modal experiment in orgy and Be (ee the dicuion o It Ain t Necearily o and I ove You, orgy in Chapter II) 246 Gil Evan Mile Davi

30 Melody The melody o Will o the Wip conit o our theme: an introductory theme (irt expoed in meaure 1), a contrapuntal and accompanimental theme (irt expoed in meaure 9), a primary theme (irt expoed in meaure 1), and a econdary theme (irt expoed in meaure 24) The introductory theme a compoed y Gil A rie verion o it erve a an interlude in meaure 62 through 65 The primary and econdary theme ere compoed y Manuel de alla Gil maintained alla 1924 ormal order o to AABA vere (in hich A i the primary theme and B i the econdary theme), although he hortened proportionately the amount o time eteen them Gil changed the rhythmic context o the to theme y chooing a loer tempo and a dierent accenting pattern than alla He added everal pitche to the econdary theme, and altered the length o it anacrui He alo extended the inal tatement o the primary theme y repeating a truncated verion o it lat phrae in meaure 57 through 59 The contrapuntal and accompanimental theme (ee igure 24) a compoed y Gil, and i related motivically to the introduction o alla 1924 verion (ee igure 25) In Gil verion, thi theme occur a an otinato (ith occaional variation) throughout each A ection A chromatic variation o the contrapuntal and accompanimental theme alo unction a an otinato eginning in meaure 66 Both otinato are excellent example o recompoition a practiced y Gil: he developed the harmonic, melodic, and rhythmic eature o a mall portion o Will o the Wip into a ne idea (the contrapuntal and accompanimental theme), rom hich he then developed another variation 56 igure 24 Gil Evan contrapuntal and accompanimental theme in Will o the Wip Thi i related motivically to alla introduction The recompoitional proce decried i uggeted y the muic and conirmed y Gil ketch Recall rom the Hitorical Background dicuion that he compoed many otinato, mot o hich he did not ue Analyi o WI O THE WI 247

31 igure 25 The irt to meaure o the introduction to alla 1924 verion o Will o the Wip Thi phrae recur everal time throughout the piece 8 Celli (divii) pizz 8 Celli (divii) olo p Viola irt violin econd violin +Viola +Bae Viola The thematic content o Will o the Wip ugget the exitence o our groth module The irt module (meaure 1 through 12) contain introductory material and the irt occurrence o the contrapuntal and accompanimental theme Thi theme i the melodic ocu in meaure 9 through 12; it erve a accompanimental material eginning in meaure 1 The econd module (meaure 1 through 5) contain the primary and econdary theme, repectively, in AABA orm The third module (meaure 6 through 61) i imilar to the econd, except that the overdued trumpet part i introduced The ourth module (meaure 62 through 84) contain a repetition o the irt our meaure o the introduction, olloed y a our-meaure variation on the contrapuntal and accompanimental theme A trumpet improviation ollo the variation, irt draing upon the B Dorian mode, ut oon ecoming more chromatic The melodic range o Will o the Wip i rom D 4 to C 6 The teitura occupie the middle and upper portion o that range, rom B 4 to B 5 Dierence in range help to delineate the our groth module: the range o the irt module pan a minor ixth (rom B 4 to G 5 ); the econd module iden to an octave (B 4 to B 5 ); the third i imilar to the econd, ut the overdued trumpet part encompae a perect telth ( 4 to C 6 ); the ourth module alo pan a telth, ut lightly loer (D 4 to A 5 ) 248 Gil Evan Mile Davi

32 Counterpoint Will o the Wip egin in to-part counterpoint and gradually increae in denity to ive part in meaure 70 (8% o the ay through the piece) The contrapuntal texture continue in ive part through meaure 80, ater hich it quickly thin to to voice There are three or more contrapuntal part in over 75% o the ork Contrapuntal activity in Will o the Wip conirm the exitence o our groth module The irt module (meaure 1 through 12) egin in to-part counterpoint, then increae to three part in meaure 5 The econd module (meaure 1 through 5) alternate eteen to- and three-part counterpoint, ith three part prevailing or 61% o the module The third module (meaure 6 through 61) alternate eteen our and three part, ith our-part counterpoint prevailing over 80% o the time The increaed denity i due primarily to the addition o Mile overdued improviation More than 50% o the ourth module (meaure 62 through 84) i in ive-part texture Thi module egin in to part, increae to our part in meaure 66, i in ive part in meaure 70 through 80, and decreae to to part over it lat our meaure Rhythm Will o the Wip conit o 84 meaure o 2 time It i perormed at a tempo o 71 eat per minute Eighth note occur inrequently, ut are alay ung They comine ith drummer immy Co ruh pattern to provide the piece ith an undercurrent o doule-time ing eeling A dicued in the Hitorical Background ection, there i no deinitive record o Gil choice o meter or Will o the Wip Hoever, a plauile model o hi thought proce can e deduced rom hi ketch and the recording (ee igure 26) alla compoed the piece in 8 time 57 Gil ketch clearly ho that he douled alla value, eentially changing the meter to 4 time (although he did not actually make thi notation; ee the ta laeled tep 1 in igure 26) reumaly, he did thi to make the ork eaier to read or the azz oriented tudio muician ho ere to perorm it A noted in the Hitorical Background ection, Gil racketed everal meaure in pair in hi ketch The author aume that he intended to change the meter to 64 time, each ne meaure o 64 eing a compoite o to o the old 4 meaure (ee the ta laeled tep 2 in igure 26) Gil changed the underlying rhythm o Will o the Wip rom a altz to a olero Both rhythm can e notated in 64 time: the altz a to dotted-hal-note eat per meaure; the olero a three hal-note eat per meaure (ee the ta laeled tep in igure 26) Becaue o the triple meter o the olero, hoever, the author ha notated the ork in 2 time (ee the ta laeled Evan in igure 26) With the knoledge at hand, it i not poile to dicern hether Gil made thi converion to 2 time He may have notated the ork in All dicuion o alla notation herein are aed on the pulihed verion o hi 1924 core Analyi o WI O THE WI 249

33 Gil choice o tempo i intereting Mathematically, hi tempo o 71 eat per minute may not eem that dierent rom alla peciied 69 eat per minute A maor dierence i realized, hoever, hen one take metric notation into account: note that alla peciied 69 dotted quarter note per minute in 8 time (ee the ta laeled alla in igure 26), herea Gil verion move at 71 hal note per minute in 2 time (ee the ta laeled Evan in igure 26) Eentially, the melody in Gil verion move at to third o the tempo o alla original igure 26 A plauile model o Gil Evan thought proce in electing a meter or Will o the Wip In each example, donard tem indicate the aic pule and upard tem indicate the udiviion that create rhythmic eeling alla 8 alla' original meter and rhythm e e e e e e e e e e e e tep 1 4 alla' value douled; ame rhythm tep Change o metric notation; ame rhythm tep 6 4 ame meter; change to olero rhythm Evan 2 Change o metric notation emphaize triple meter The our groth module are not delineated a trongly in rhythm a they are in melody and counterpoint The irt module (meaure 1 through 12) i characterized y paage in hich tring a and percuion are tacet Thee intrument play continuouly in the econd and third module The ourth module (meaure 62 through 84) egin ith another paage in hich tring a and percuion are tacet Beide thee change in rhythm-ection activity, no other rhythmic qualitie ditinguih any o the our module 250 Gil Evan Mile Davi

34 Groth roce The model o our groth module i conirmed mot trongly in the element o ound, melody, and counterpoint In the element o ound, groth module are ditinguihed more y their repective predominant texture than y dierence in their numer or rate o textural change The irt module (meaure 1 through 12) eature the ooe-led oodind choir and the only ue o open trumpet in the ork The econd and third module (meaure 1 through 5 and 6 through 61, repectively) eature the trio o Harmon-muted trumpet, horn, and aoon, a ell a continuou rhythm-ection activity The third module i ditinguihed rom the econd, hoever, y the preence o Mile overdued trumpet improviation and added harp tone The ourth module (meaure 62 through 84) egin ith the oodind comination o the irt module and ithout a and percuion It cloe ith a Mile Davi improviation that i accompanied y oodind, horn, and hat-muted tromone, tua, and harp Module three and our are the only conecutive module that contrat igniicantly in their numer or rate o textural change (ee igure 27) igure 27 Notational atraction o the textural rhythm o Will o the Wip An eighth note repreent one meaure o a textural comination; a quarter note, to meaure; a hal note, our; a hole note, eight; and a doule-hole note, ixteen The encloed numer correpond to meaure numer in the core W There are no igniicant harmonic change at the eginning or ending point o each module The eginning o the otinato in meaure 9 erve more a a haringer o modular change to come (in meaure 1) than a an actual delineator Converely, the tonal hit in meaure 66 conirm the modular change that take place in meaure 62 Analyi o WI O THE WI 251

35 Melodic and contrapuntal contriution to groth ere dicued earlier in large dimenion The irt module (meaure 1 through 12) conit o introductory material and the irt occurrence o the contrapuntal and accompanimental theme The econd and third module (meaure 1 through 5 and 6 through 61, repectively) eature the primary and econdary theme The third module i ditinguihed y the overdued trumpet part and a conequent increae in contrapuntal denity The ourth module (meaure 62 through 84) eature a repetition o the irt our meaure o the introduction and a chromatic variation on the contrapuntal and accompanimental theme, hich eventually accompanie a Mile Davi trumpet improviation Thi module alo eature the greatet contrapuntal denity o the ork Rhythmically, the our module are only delineated partially, and only y change in rhythm-ection activity The irt and ourth module oth contain opening paage in hich tring a and percuion are tacet There are no uch paage at any point in the econd or third module 252 Gil Evan Mile Davi

36 Middle Dimenion ound The irt module (meaure 1 through 12) eature extenive ue o oodind and horn It alo eature the only ue o open trumpet in Will o the Wip Dynamically, it i a relatively quiet module that i punctuated ut eore it midpoint y open trumpet 58 The econd module (meaure 1 through 5) eature the trumpet-horn-aoon trio in all ut our meaure The module i in AABA orm, ut the ection are o omehat irregular length (even, our, our, and eight meaure, repectively) The A ection all egin ith the trio accompanied y ooe, clarinet, and a clarinet The B ection eature Mile trumpet accompanied y viratole clarinet and ra The tutti enemle ith traight-muted trumpet play toard the end o the irt A ection Dynamically, the B ection i oter than any o the three A ection (ee igure 27) The third module (meaure 6 through 61) eature Mile overdued trumpet improviation throughout The overdu actually egin in meaure 2, ut i not perceived y the litener a an overdu until Mile melody track re-enter at the anacrui to meaure 6 The module i in AABA orm, ith ection o irregular length (even, our, our, and eleven meaure, repectively) The A ection all egin ith the trumpet-horn-aoon trio accompanied y harp, ooe, clarinet, and a clarinet The B ection eature Mile trumpet accompanied y viratole clarinet and ra The tutti enemle ith traight-muted trumpet play toard the end o the irt and ourth A ection Dynamically, the B ection i oter than any o the three A ection (ee igure 27) The ourth module (meaure 62 through 84) i the only module that eature the prolonged ue o a ingle texture (ee igure 27) rom meaure 66 to the end, Mile i accompanied y an enemle o clarinet, a clarinet, horn, tromone, tua, harp (hich ade out our meaure eore the end), and rhythm ection Dynamically, thi module eature a penetrating Mile Davi improviation that i ramed y ot enemle paage 58 Although the oodind part are marked orte, they ound igniicantly oter than the open ra in meaure 5 and 6, hich are marked at the ame dynamic level It i evident in the recording that the oodind are playing orceully It might e aid that oth choir play their repective part ith the ame degree o repiratory orce, ut the onic reult dier Thi dierence can e een in igure 21 Analyi o WI O THE WI 25

37 Harmony The irt module (meaure 1 through 12) conit o to ection The irt o thee (meaure 1 through 8) i in the B Aeolian mode, and eature numerou chromatic neighoring chord The Aeolian mode i implied y the uperimpoition o the VI maor-eventh chord over a B pedal tone (ee the Harmonic Detail and unctional Analyi timeline o igure 28) The econd ection (meaure 9 through 12) etalihe the modal otinato that ecome the thematic underpinning or mot o the remainder o the piece There are no chromatic neighoring chord in thi ection The paing E in the variation o the otinato in meaure 11 i the only note in thi ection that doe not elong to the B Aeolian mode The econd module (meaure 1 through 5) i in AABA orm The A ection are in the B Aeolian mode and make ue o the otinato egun in meaure 9 The variation o the otinato irt heard in meaure 11 recur in meaure 18 and There are everal melodic and harmonic occurrence o G in each A ection Although thee eem to indicate hit to the Dorian mode, the underlying otinato remain in the Aeolian mode throughout or thi reaon, the paage that ue G are laeled Dorian uperimpoed in igure 28 The B ection eature an open E chord throughout Thi chord ha no third; only a root, perect ith, and maor ninth A minor eventh occur in the melody, implying either a minor- or dominant-ninth chord Becaue o the prevailing B Aeolian mode, and the conequent memory o G-natural in the ear o the litener, thi chord i analyzed a E minor ninth 254 Gil Evan Mile Davi

38 igure 28 Concert key ketch o Will o the Wip ith tyle analyi timeline Will o' the Wip Concert Key Analyi Compoed y Manuel de alla (1915; revied 1924) Recompoed y Gil Evan (eruary 1960) Trancried y teve aoie (1995; revied 1997) ketch 1 2 Ooe 1 Cl 2 B Cl 4 2 Bolero (eighth note ing) n Horn 1 h n = 71 n n n n Melodic Contruction Harmonic Detail Harmonic Rhythm and unctional Analyi 1 Oaxm h G 7 B ED VI 7 i ED A 7 G 7 II 7 VI VI l 7 Oay A 7 G 7 Ox II 7 VI VI 7 7 chord A G A G 7 chord IIVI IIVI VI VI Oym GA G VIIVI IIVI VIIVI VI VI Contour Rhythm (G5; through meaure 8) Articulation and Dynamic Textural Rhythm urace Rhythm Continuum (Ba, Drum and ercuion tacet) Dynamic Contour Analyi o WI O THE WI 255

39 Concert core A recorded y Mile Davi and Gil Evan on March 10, 1960, in Ne York Availale in The Complete Columia tudio Recording (onycolumia 6797) Originally releaed in ketche o pain (1960) Will o' the Wip Compoed y Manuel de alla (1915; revied 1924) Recompoed y Gil Evan (eruary 1960) Trancried y teve aoie (1995; revied 1997) Mile (Trumpet) Mile (Overdu) Ooe 1 Clarinet 2 Clarinet Ba Clarinet 4 Baoon Bolero (Eighth Note ing) In Harmon mute ithout tem n h = 71 n n n n n 1t Horn in 2nd Horn in rd Horn in Trumpet 1 Trumpet 2 Trumpet Trumpet Tromone 1 Ba Tn Tua 2 Harp tring Ba t 2 izzicato (have o ready or later) Drum et 2 Maraca 2 2 Catanet Copyright 1924, 1990 Cheter Muic td Trancried and Reprinted y ermiion o G chirmer, Inc oo Cheter Muic td Trancription copyright 1995 y teve aoie All right reerved ull core WI O THE WI 97

40 Mile Ooe 1 Cl 2 Cl BCl 4 Bn n n n ƒ ƒ ƒ ƒ Hn 1 Hn 2 Hn Tpt 1 Tpt 2 Tpt Tpt 4 Tn 1 BTn n n n n Inert traight mute Inert traight mute Inert traight mute Inert traight mute ƒ ƒ ƒ Tua Harp 5 Ba Dr Mar Cat t Bruhe on D 98 Gil Evan Mile Davi

41 Mile Ooe 1 Cl 2 Cl BCl 4 Bn 5 Hn 1 Hn 2 Hn (In Harmon mute ithout tem) Tpt 1 Tpt 2 9 Tpt Tpt 4 Tn 1 BTn 2 9 Tua Harp 9 (until letter E) Ba t Dr Mar Cat ull core WI O THE WI 99

42 Mile A1 - - ~~~~~~ Ooe 1 Cl 2 Cl BCl 4 Bn 5 Hn ~~~~~~ - ~~~~~~ Hn 2 Hn Tpt 1 Tpt 2 Tpt Tpt 4 Tn 1 BTn (In traight mute) (In traight mute) (In traight mute) (In traight mute) Tua Harp 1 Ba t Dr Mar Cat 400 Gil Evan Mile Davi

43 Mile Ooe 1 Cl Cl BCl 4 Bn 5 Hn 1 Hn 2 Hn 17 Tpt 1 Tpt 2 Tpt 17 Tpt 4 Tn 1 BTn 2 17 Tua Harp 17 Ba t Dr Mar Cat ull core WI O THE WI 401

44 Mile A2 - - ~~~~~~ Ooe 1 Cl 2 Cl BCl 4 Bn 5 Hn ~~~~~~ - ~~~~~~ Hn 2 Hn 20 Tpt 1 Tpt 2 20 Tpt Remove traight mute Tpt 4 Tn 1 BTn 2 20 Tua Harp 20 Ba t Dr Mar Cat 402 Gil Evan Mile Davi

45 Mile B ~ ~ Ooe Cl 2 Cl BCl 4 Bn 5 Hn 1 Hn No virato No virato No virato Hn Tpt 1 Tpt 2 24 Tpt Tpt 4 (Open) No virato p Tn 1 BTn 2 Tua 24 No virato p p No virato - - -, Harp 24 Ba Dr t Mar Cat ull core WI O THE WI 40

46 Mile A - - ~~~~~~ Ooe 1 Cl 2 Cl BCl 4 Bn 5 Hn ~~~~~~ - ~~~~~~ Hn 2 Hn 28 Tpt 1 Tpt 2 28 Tpt Inert traight mute Tpt 4 Tn 1 BTn 2 28 Tua Harp 28 Ba t Dr Mar Cat 404 Gil Evan Mile Davi

47 Mile Overdu 2 (Trumpet in Harmon mute ithout tem) B (Improvied) DOR Ooe 1 Cl 2 2 Cl BCl 4 Bn 5 Hn 1 Hn 2 Hn 2 Tpt 1 Tpt 2 2 Tpt Tpt 4 Tn 1 BTn 2 2 Tua p Harp 2 Ba t Dr Mar Cat ull core WI O THE WI 405

48 Mile Overdu 6 C1 - - ~~~~~~ Ooe 1 Cl 2 Cl BCl 4 Bn 5 Hn ~~~~~~ - ~~~~~~ Hn 2 Hn Tpt 1 Tpt 2 Tpt Tpt 4 Tn 1 BTn (In traight mute) Tua Harp 6 Ba t Dr Mar Cat 406 Gil Evan Mile Davi

49 ing Ride-Cymal attern i notated in igure 29 Thi pattern i uually varied pontaneouly, epecially y thoe playing pot-1940 azz tyle igure 0 i a commonly ued horthand notation o the ame pattern igure 29 The ing ride-cymal pattern 4 4 igure 0 The ing ride-cymal pattern in horthand notation 4 4 Tritone utitution i an alteration requently made y azz muician to dominanteventh or econdary dominant-eventh chord that reolve y circle-o-ith motion The root o the dominant-eventh chord i moved y a tritone, hile it third and eventh retain their voice-leading unction Color tone (ninth, eleventh, and thirteenth) may or may not e altered chromatically a part o the utitution proce In igure 1, the ii minor 7 to V7 to I Maor 7 progreion ecome ii minor 7 to II7 to I Maor 7 ater moving the original root y a tritone Note that the third o the V7 chord i the eventh o the II7 chord and, converely, that the eventh o the V7 chord i the third o the II7 chord igure 1 Tritone utitution or the V chord in the ii-v-i progreion in C maor ii 7 V 7 I 7 ii 7 II 7 I 7 Trancription i the act o ixing in notated orm muic or hich no ritten core exit (Tucker, , p 121) Trancription can e decriptive (that i, attempting to denote every muically interpreted event o a perormance), precriptive (attempting to duplicate the compoer original core ithout any additional interpretive marking), or a comination o the to 426 Gil Evan Mile Davi

50 Telve-ar lue progreion i a harmonic equence compoed o three unctional chord: tonic, u-dominant, and dominant (ee igure 2) It i unique in that all three o thee chord are dominant-eventh chord, rather than the traditional maor chord ound in the tonic and u-dominant poition in European claical muic Oten, the progreion i varied and emellihed y adding or utituting chord (ee igure or one example) In thee emellihed orm, hoever, mot o the aic harmonic tructure (ee igure 2) uually remain A lengthier dicuion o the hitory o the progreion and it variation can e ound in Kerneld ( a) igure 2 The aic harmonic tructure o the 12-ar lue progreion I 4 IV I V I igure A common, harmonically emellihed verion o the 12-ar lue progreion I 4 IV I iiiv VIV IV + iv o 7 I iiii Vii ii V I Vii ii V Deinition 427