Foundations for a New Mode of Expression in Modern Jazz Peter Bouffard (May 2004) Abstract

Transcription

1 Foundations for a Ne Mode of Expression in Modern azz Peter Bouffard (May 004) Purpose Astract The primary purpose of this doctoral thesis is to determine and examine factors and influences that laid the foundation for the modal expression on Miles Davis s Kind of Blue Both historical and analytical approaches are employed in order to address the issue in a comprehensive manner Modal theories, from medieval to modern, are discussed in order to estalish a clear understanding of the theoretical foundations of modal azz Interrelated relevant areas of study include Davis s contrasting antecedent compositional and improvisatory style, his association ith key individuals and their respective modal conceptions that may have influenced his modal tendencies, the music of certain Impressionist and Neo-Impressionist composers ho employed modal procedures, and Davis s affinity for certain non-western musical idioms that emrace distinct modal properties In order to understand its foundations, it is necessary to kno something aout the music on Kind of Blue To this end, a discussion regarding certain consequential historical prolems associated ith the recording is presented, and an analysis of the to quintessentially modal pieces from the recording is offered in an effort to delineate a numer of defining musical characteristics present in modal azz that go eyond conventional descriptions On a roader level, the folloing questions are considered: Is the usage of the lael modal azz appropriate and ho does the traditional Western European notion of modes and modality impact its meaning Can a case e made that modality is an inherent aspect of azz at some level In an effort to clarify these issues, the analytical conclusions of certain scholars and the fundamental tenets of various modern modal theories are presented Finally, oth classical and azz orks recorded prior to Kind of Blue are analytically examined in order to identify specific precedents and to test the validity of the term modal azz Conclusions While my analysis of So What and Flamenco Sketches verifies that these pieces may e appropriately used as the point of departure for discussions concerning modal azz, through historical accounts, it is clear that Miles Davis did not invent modal azz Rather, he as exposed to modal concepts through his interactions ith key individuals These relationships served to help the ne musical approach percolate My rief analytical discussion of Davis s contrasting antecedent eop style served to emphasize the innovative features of his ne mode of expression Though the term modal azz is not reconcilale ith traditional notions of modal identity, vieed through a more modern modal theoretical prism, most of the prolems voiced y Kernfeld and other individuals ith regard to the appropriateness of the lael can e dismissed To support this argument, modal concepts and practices from the Impressionist school are shon to e closely associated ith modal azz This investigation demonstrates that Davis s modal tendencies are related to, and in some respects founded upon, the distinctive modal quality found in the Flamenco melos, certain musics of Russia and its surrounding Eastern regions, and in the lues hich all share a numer of similar modal characteristics By ay of the lues, it is postulated that modal characteristics have played a significant role in azz since its inception providing further evidence to support the validity of the term modal azz Finally, to estalish clear foundational modal azz precedents, orks y classical composers specifically cited y Davis, in addition to azz orks recorded prior to Kind of Blue, are shon to include significant modal features similar to those defined in the analysis of So What and Flamenco Sketches

2 Ex Sargeant's Blues Scale Bouffard Appendix lue n n lue n 7 n n 4 n n 5 7 n 7 Ex 4 Common Melodic Cadences and Patterns in the Blues Cadences to the tonic Melodic movement centering around the tonic Cadences to the fifth degree Ex 5 Symmetrical Melodic Behavior of To Tetrachords n

3 Ex Ostinato of Chopin's "Berceuse" in D, Opus 57 8 Bouffard Appendix 8 8 Cont Ex 7 Ostinato of Satie's Gymnopédie No # # 4 # # 4 # # # # Cont Ex 8 Ostinato of Evans's "Peace Piece" 4 4 Cont

4 Ex Ravel's Concerto, F# minor pentatonic motive 7 7 # # 4 Bouffard Appendix r Ex 4 Ravel's Concerto, C lues over C maor/minor ostinato Solo Bassoon # # # # # # # # # 9 # # # # # # # # # # # # # # # # 0 # # Ex 5 Ravel's Concerto, maor/minor chords Violins # # # # # #

5 Ex Khachaturian's Concerto for Violin and Orchestra, II, mm -5 Bouffard Appendix 4 Unaccompanied Solo Bassoon E Phrygian/Lydian hyrid n Khachaturian's E Phrygian/Lydian hyrid # # # # # E flat Phrygian figuration Same scale on C sharp = Dorian ith minor/maor third (no fourth) # # # # Gapped Dorian ith minor/maor third on G n Ravel's gapped "Russian Dorian" Blues scale ith minor/maor third n # Spanish Phrygian ith minor/maor third n Ex 7 Khachaturian's Concerto, II, mm - Ex 8 Khachaturian's Toccata Final chord E/E! Same chord transposed up a semitone F/E F/E o o o ) guitar voicing Chord from Level 4 of "Flemenco Sketches" E! /D Oscillating chords in "ulien dans l ascenseur"

6 Ex 4 Ahmad amal's version of "Pavanne" Bouffard Appendix Transcried y P Bouffard Intro 4 Piano ad li "A" Section 9 - # - - # - "B" Section 5 DÈ A7 # # DÈ G7 # n DÈ # A7 # DÈ G7 n 9 F B # n # B! AÂ F # # 7 Fÿ Û Û Û - Û Fÿ Û Û Û - Û

7 Ex 4 amal's "Pavanne" cont Bouffard Appendix 4 "A" Section 4 Fÿ - # Fÿ - 57 "C" Section Fÿ - DÏ n n # E! Ï DÏ n Fÿ - n n x only BÍ B! Í ## n n n 5 AÎ n DÏ n n n n # n n # n E! Ï DÏ n BÍ B! Í ## n n n 9 AÎ n n D7 # n G "Interlude" 7 G Dorian 77 Guitar melody ad li Piano Bass B! ÿ Simile

8 Ex 4 amal's "Pavanne" cont Bouffard Appendix B! Dorian B! È CÈ D! ÿ CÈ Simile 89 9 FÏ ad li 97 AÏ C[ 0 Fÿ Û Û Û - Û Fÿ Û Û Û - Û Piano ad li "A" Section 09 Fÿ - # Fÿ - Fÿ - # Fÿ - Cont /Blues in F