Developing Communication Wayne State Copy

7/30/2019 Developing Communication Wayne State Copy

1/95

Developing Communication and a Musical Vocabulary in Small-Group Jazz:

The Miles Davis Quintet, 1956

By

Alexander Graham

A RESEARCH PROJECT

Submitted to the College of Fine, Performing & Communication Arts

Wayne State University, Detroit, Michigan

In partial fulfillment of the requirements for the degree of

MASTER OF MUSIC IN JAZZ PERFORMANCE

April 20th, 2004


2/95

i

TABLE OF CONTENTS

Chapter Page

1. INTRODUCTION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Background Information 1

Problem Statement 2

Need for the Study 2

Subproblems 3

Research Questions 5

Basic Assumptions 6

Hypothesis 6

Scope of Study 7

Definition of Terms 8

Review of Literature 10

Methodology 13

2. LEARNING HOW TO LISTEN: MOVING FROM THE WRITTEN

TRADITION TO THE ORAL TRADITION . . . . . . . . . . . . .

Written Tradition vs. Oral Tradition 15

Music as language; Learning to Speak BeforeReading or Writing 15

Using Written Information to Teach from the

Oral Tradition 16

The AURAL Tradition; Teaching by Example 17

Recording Rehearsals and Critical Listening 17

3. ROLES AND FUNCTIONS IN A SMALL-GROUP JAZZ ENSEMBLE:

DEVELOPING A SHARED VOCABULARY . . . . . . . . . . . . . .

Playing the Role of the Leader: Count-offs,

Introductions, Playing the Melody and Endings 18


3/95

ii

Call and Response, Leaving Space and Sound

Signals 22

Leading the Rhythm Section 24

Chord Substitutions 25

Setting up Hits

The Drummer: Time, Timbre and the Overall

Dynamics of the Small Group 28

4. CONCLUSIONS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

What Worked and Didnt Work? 30

Where to Go Now? 31

APPENDIXES 32

TRACK LIST FOR SUPPLEMENTAL CD 89

BIBLIOGRAPHY 90


4/95

1

CHAPTER 1

INTRODUCTION

Background Information

Undergraduate jazz-performance degree programs have become increasingly

common in American universities over the last quarter of a century. Most of these

programs offer both big band and small-group jazz classes. However, although there is

an established pedagogy and repertoire for big band and many other jazz studies, a

unified and successful small-group pedagogy is virtually non-existent. In many cases,

students leave these programs without having gained the necessary skills and information

to help them succeed in small-group professional settings. And, because of an extensive

lack of continuity with small-group jazz pedagogy, students from different colleges

typically graduate with widely disparate types and levels of knowledge.

Jazz itself is a relatively young form of music and it follows that jazz education is

still in its early stages as well. Because jazz has traditionally been passed down in the

oral tradition, new methods of teaching and ways of thinking are needed to successfully

prepare undergraduate jazz students to play in a wide variety of small-group settings.

This research is an attempt to integrate the oral tradition into a structured and

formal educational environment. With respect to this tradition and by using specific


5/95

2

Miles Davis Quintet recordings from 1956 as models for study, a wide variety of types of

small-group jazz vocabulary will be taught to an undergraduate rhythm-section (piano,

bass and drums) over the course of a semester.

Problem Statement

This study will serve as a first step to creating a textbook for teaching

intermediate level, undergraduate college students how to play jazz in a small-group

setting. Partial transcriptions will be made of several Miles Davis Quintet recordings

from 1956 (Relaxin1andCookin2)and they will be broken down to show students how

to develop a working musical vocabulary and how to communicate in a highly

improvised environment.

Need for the Study

There is very little literature that attempts to teach the different aspects of small

group jazz at an intermediate or advanced level. Despite the many transcription books

available on the market, there are very few that lead to a wider understanding of group

vocabulary and improvised dynamics. Play-along recordings have become very

popular but do not address the areas that this study addresses. In fact, they teach people

1 Miles Davis Quintet. Relaxin. Prestige, PR7129, 1956. LP.2 Miles Davis Quintet. Cookin. Prestige, PR7094, 1956. LP.


6/95

3

how to play without live interaction with other musicians, the antithesis of teaching

people how to improvise within a group. There are many books by jazz educators

describing how they view the various roles of the different instruments in small-group

jazz, but not enough research that actually takes into account how the recognized masters

in jazz viewed and still view these roles.

Subproblems

The issues that will be researched in this study can be organized into three

primary categories;

1. What are the different elements of group vocabulary containedwithin the study and how will we define them?

2. Using the oral tradition as a guide, what methods will be used toteach this vocabulary?

3. How will we define the roles of the various members of the small-group jazz ensemble as they relate to performance?

The first question will be answered using two methods of research; Transcription

and analysis of the music in question followed by categorization of the elements into

groups defined by common jazz terminology and knowledge.

The methods used to teach via the oral tradition will be developed over the course

of the study and evaluated at the end of the research for their effectiveness.

Finally, the different roles of the small-group jazz ensemble will be determined

using transcription and analysis of the same Davis recordings as well as research into the

canon of historical and education literature on the subject. Of these roles, the first group


7/95

4

studied will be the horn players, which could include any woodwinds, brass or in fact

even some non-traditional jazz instruments, like the violin, that would be used in this

setting as a melodic voice. From the transcriptions and from listening to the recordings,

it will be seen how Davis counts-off the songs, directs the introductions, melodies and

endings to the songs and how he leaves space during his improvisations and melodic

statements to allow the other members of the band to fulfill their roles. The next aspect

of the group studied will be the role of the pianist. From the recordings, certain patterns

and tendencies will emerge in Red Garlands playing that will need to be transcribed and

organized. Introductions, endings, improvised hits and shout-choruses, comping styles,

rhythmic interaction with the drummer and harmonic/melodic interaction with the bass

will all be analyzed with an eye towards finding patterns and tendencies that contribute to

the success of the group. Studying Paul Chambers role as the bassist should yield

information of a similar nature. The research will not only look for specific material to

transcribe and organize but it will also attempt to give the reader information on the

bassists role in the group and on how, when and why he makes the decisions he makes.

The last individual instrument to be studied is the drums. The study will determine the

instances when the drummer is expected to lead any changes in the rhythmic-feel and

methods for accomplishing this. Examples from the transcription will be used to

illustrate how the drummer can control the overall dynamics of the group. As well, there

will be discussion about the drummers role in setting and holding the tempo for the rest

of the group and why the drummer is responsible for this function more than anyone else

in the group. Finally, several exercises will be developed that takes all of this

information into account. Exercises will not only be needed for the musicians to use on


8/95

5

an individual basis but will also be needed for the group to practice together for

maximum understanding and results.

Research Questions

As with analysis of most improvised music, the research must begin with

transcriptions. Partial five-part will be made from the aforementioned Miles Davis

Quintet recordings. From these transcriptions, several comprehensive lists will be made

using the questions raised in the subproblems as a guide. These lists will include

examples of when the horn player (usually Davis) plays the melody straight and when

he chooses to improvise. Also, it will include reoccurring drum patterns and the

corresponding terms that define them, reoccurring bass patterns and the corresponding

terms that define them and reoccurring rhythmic and harmonic patterns on piano and the

corresponding terms that define them. The piano list will include standard comping

figures behind the melody or soloist, shout-chorus figures and harmonic and melodic

patterns that define introductions and endings.

A final question that needs to be answered concerns the teachers and students that

will use this study to further their understanding. What level of knowledge and skill must

they already possess before engaging in the book? Also, what level should they be after

they have completed the exercises and thoroughly absorbed the material from this

research?


9/95

6

Assumptions

To a large degree, most of the assumptions made for this study are related to the need for

the study. It is assumed that the current state of small-group jazz pedagogy in colleges is

disorganized and non-unified in approach. The small amount of instructional literature

that does exist on the subject tends to be too broad and is more creative in its intent

than practical. As well, it focuses far too heavily on a more Euro-centric form of written

knowledge and fails to address the oral tradition aspect of jazz. It is because of these

factors that, in the overall sum of undergraduate jazz pedagogy, small-group jazz is one

of the weakest areas of study.

Hypotheses

It is hypothesized that transcribing and subsequently analyzing the myriad structural

elements of two Miles Davis Quintet recordings from 1956 will yield sufficient

information suitable for teaching small-group jazz to intermediate level undergraduate

college students for a period of no less than one semester.


10/95

7

Scope of the Study

Delimitations

Despite the existence of other relevant recordings of the same group, only songs

from the two previously mentioned recordings will be studied and analyzed (with one

exception)3. Although the subject of the study will be presented as a model for playing

small-group jazz, no effort will be made to prove that it is the best of several models

nor will a statement to that effect be made. Although full-score transcriptions will be

made during the research, only the pertinent examples used to demonstrate important

points and concepts are to be used in the final text. The study will also in no way try to

explain technical matters about the various instruments involved.

Limitations

All members of the 1956-Miles Davis Quintet are deceased making interviews

about specific research questions impossible. Also, preliminary research indicates that

existing interviews and other primary sources do not directly address most of the specific

questions that need to be answered.

3 Miles Davis Quintet, My Funny Valentine.My Funny Valentine. Transcribed by the author.Columbia,

CL 2306, 1964. CD


11/95

8

The transcriptions will potentially be limited by several factors. Sound quality

and lack of multi-track separation on the recordings will occasionally create indiscernible

moments. Also, literature on the research subject including transcriptions, analysis and

commentary is uncommon. Therefore, there will be little material to cross-reference this

research with.

Because the Miles Davis Quintet of 1956 did not have a guitarist, no information

will be gained and no conclusions will be made about the role of a guitarist in a small-

group jazz setting. This fact, while unavoidable, inevitably depreciates the

comprehensive value of the study as a text for all small-group jazz instruments.

Definition of Terms

For the purpose of this study, it will be helpful to clarify some terms that will be common

to some jazz musicians but not to all, and certainly not to those who might be less

experienced in the genre.

The term comping refers to the background figures that the rhythm section

players play behind the melodic statement or behind the individual soloists. A

rhythmic-feel or time-feel is the way that the rhythm-section approaches playing


12/95

9

time throughout a song. These terms refer only to the rhythmic aspect of what the bass

and drums are playing and do not deal with the melodic or harmonic aspects of the music.

For the purpose of this study, a small-group is defined as such if it contains between

four and ten musicians and has at least one horn or lead instrument. A count-off is

simply the act of the bandleader establishing a tempo and leading the group into the

beginning of a song. An ending refers to the specific devices jazz musicians employ to

construct a clear and concise ending to a song. An introduction refers to a usually

improvised section of music that precedes the first exposition of the main melodic

statement of a given song. A call-and-response figure is when one member of the

small-group plays a phrase that is then answered moments later by the rest of or part of

the other ensemble members. A musical-vocabulary is knowledge that is melodic,

harmonic, rhythmic and timbral in nature and is shared by the collective group. The term

time can have two meanings: the tempo of a song, as in keeping time, and also the

act of playing more simply in more of a supportive role, as in just playing time. The

rhythm-section, as defined in this study, is a sub-group of the larger ensemble and

consists only of the pianist, the bassist and the drummer. A solo occurs when one

member of the group improvises over the structure of the song while the other members

either stop playing or play supportively. Hits are moments, premeditated or

improvised, where the band (usually the rhythm section) simultaneously plays rhythmic

and melodic patterns together behind the melody or the soloist. A sound-signal is an

improvised cue played by one musician in the group to indicate a change. Play-along

recordings are recordings of rhythm sections comping the chords and forms to standard

jazz songs behind an imaginary soloist


13/95

10

Review of Literature

There are essentially four types of data that will be used in this study; the two

original recordings, the authors transcriptions and second-party transcriptions of the

recordings, literature that covers the Miles Davis Quintet from a historic perspective and

literature that specifically relates to small-group jazz pedagogy. Although there are no

transcriptions to review at this time, a review of the recordings provides much of the

same information, albeit with less detail.

The recordings Cookin andWorkin were both made for the Prestige label over

the course of two marathon-recording sessions in 1956. At the time, Miles Davis was

under contract to Prestige and owed the label four more LPs worth of music before he

could fully commit to his new and more lucrative contract with Columbia. Davis interest

in moving on to bigger and better things is one of the reasons why these LPs were

recorded in a hasty and casual manner. However, when these sessions are compared to

his more polished work for Columbia, their value as a model for small-jazz playing

becomes apparent. The musicians on these recordings are forced to improvise and

communicate on an extremely high level in order to compensate for the lack of formal

arrangements and preparation. This casual atmosphere is exactly the atmosphere that

professional and semi-professional jazz musicians encounter on a regular basis and it is


14/95

11

clear from these recordings that this group has mastered the art of making unprepared

music sound arranged and cohesive.

There is of course considerable literature available that covers the life and times

of Miles Davis including information about the musicians and history covered in this

research. The best source comes from the man himself. Miles, the Autobiography4

includes Davis own opinions about the quintet from 1956, the Prestige recordings and

the high regard that he holds for that group in comparison to other groups that he has led

before and since. Jack Chambers book Milestones: The Music and Times of Miles5

Davis details the kind of information missing from Davis autobiography. Specific

recording dates, Davis discography and other useful information is contained here.

The most relevant texts to this study are the various dissertations, theses and

instructional books. Although some of these studies seem to approach a similar

hypothesis to this research, there are key differences. Dr. Robert D. Hodsons

dissertation Interaction and Improvisation: Group Interplay in Jazz Performance6 raises

some of the same points with regards to the failure of small-group jazz pedagogy and the

need to better define the roles of the various parts of the group. However, it differs from

this study because it is more interested in providing Dr. Hodsons own opinions on the

roles within a small-group jazz ensemble rather than determining how the recognized

4 Miles Davis. Miles, the Autobiography/ Miles Davis with Quincy Troupe. New York: Simon and

Schuster, 1990.5 Jack Chambers. Milestones: The Music and Times of Miles Davis. New York: Quill William Morrow,

1983.


15/95

12

masters of the genre approached these same roles. Paul E. Rinzlers article Preliminary

Thoughts on Analyzing Musical Interaction Among Jazz Performers7 attempts to

organize the aspects of small-group playing into five different types of interaction: call

and response, fills, accenting the end of formal units, common motive and responding to

peaks of the soloist. Rinzlers study is more intent on analyzing the interaction between

the soloist and the rhythm section rather than looking at the more specific roles within the

specific instruments of the rhythm section. Hal Galpers book Jazz Piano Voicings by

Hal Galper8 offers helpful opinions not only on the different roles within the rhythm

section but also on jazz pedagogy and some of the problems discussed in the Need for the

Study section of this research. One comment that is particularly relevant refers to the

prevalence of play-along-recordings in jazz pedagogy:

A play-along record does not respond to a soloist and you will actually be

learning how to ignore a rhythm-section rather [sic] how to play with one.

Another useful textbook is The Art of Small Jazz Combo Playing9 by the jazz-piano great

Horace Silver. Silver not only played during the 1950s, he also played with Miles Davis

in a variety of settings. And this book, unlike any of the other texts covered here, is

spoken from the perspective of someone who is generally considered a master of small-

group jazz playing. Thinking in Jazz: The Infinite Art of Improvisation10 by Paul F.

6 Dr. Robert D. Hodson. Interaction and Improvisation: Group Interplay in Jazz Performance. Ph.D.

Dissertation, University of Wisconsin, Madison: 20007 Paul E. Rinzler Preliminary Thoughts on Analyzing Musical Interaction Among Jazz Performers. Annual

Review of Jazz Studies, vol. 4, 1988.8 Hal Galper. Jazz Piano Voicings by Hal Galper. Indiana: Jamey Aebersold, Date Unknown9 Horace Silver. The Art of Small Jazz Combo Playing. New York: Hal Leonard Corporation, 1995.10 Berliner, Paul F. Thinking in Jazz: The Infinite Art of Improvisation. Chicago: University of Chicago

Press, 1994.


16/95

13

Berliner is an excellent text that is filled with the perspectives of many of the 20 th

centurys most important jazz artists.

Methodology

Sources of Data

Several sources of data will be used in the research. Most importantly, five

partial, full-score transcriptions of some of the songs appearing on the two recordings

will be needed. Although no published transcriptions of these recordings are available,

independent sources will be sought to cross-reference with the authors own

transcriptions.

Another important source will be any available instructional books that attempt to

teach group dynamics, communication and developing a musical vocabulary in small-

group jazz. Several theses and dissertations on the subject will provide important

information that will either help to clarify some of the concepts being disseminated in the

research or provide examples of why this research is needed.

Treatment of Data


17/95

14

Transcriptions by the author will be analyzed to show consistencies and

tendencies between the recordings and second-party transcriptions will be compared with

the authors transcriptions for discrepancies. This will be done to ensure maximum

accuracy.

Instructional books, dissertations and thesis on the subject will be studied for

ideas similar to those expressed in this research to help establish the need for this study.

As well, the group exercises developed for this study will be practiced on an

undergraduate level ensemble and recorded on a weekly basis in an effort to ascertain

their effectiveness. These tapes will show how the group has advanced over the course of

one semester of study and will be used for future refinement of the exercises and goals of

this project.


18/95

15

CHAPTER 2

LEARNING HOW TO LISTEN: MOVING FROM THE WRITTEN TRADITION TOTHE ORAL TRADITION

Written Tradition vs. Oral Tradition

Most music students who attend college in the United States are products of the

Euro-centric, K-12 music education system that emphasizes learning from written notes.

And, although this knowledge is critical to the understanding of most music in the

modern era, including jazz, it too often gets in the way when we try to use this approach

as a primary method for teaching and learning jazz. Jazz (and other forms of music) is a

language unto itself. And because jazz is a highly improvised form of music, one must

be able to speak the language freely and intuitively without the aid of written notes. As

Paul F. Berliner states in his book Thinking in Jazz: The Infinite Art of Improvisation 11,

Just as children learn to speak their native language by imitating older

competent speakers, so young musicians learn to speak jazz by imitating seasoned

improvisers.

Music as language; Learning to Speak Before Reading or Writing

With this in mind, like learning to talk, jazz is a language that needs to be

understood intuitively before we learn to put it into an abstract form on paper.

11 Berliner, Paul F. Thinking in Jazz: The Infinite Art of Improvisation. Chicago: University of Chicago

Press, 1994.


19/95

16

Using this concept, ten tracks from the Miles Davis Quintet of 1956 were

provided to the three student members of one of the Wayne State Jazztets at the

beginning of the winter semester of the 2003-2004 academic year. The instructions were

for the students to listen to the material as frequently as possible with the hopes that they

would begin to intuitively absorb much of the material that we would be studying as the

semester progressed. As well, these recordings were used every week in class to

demonstrate the various concepts and vocabulary being studied. By doing this every

week, the students were consistently required to use their ears for analysis instead of

scores or other types of written music.

Using Written Information to Teach From the Oral Tradition

When first conceived, the intent of this research was to create a book that students

could use to develop their vocabulary and learn about their roles in a small group.

However well intended the motivations behind this concept are, the method is flawed and

is one of the major reasons behind the failure of small-group jazz pedagogy at the

intermediate and advanced levels. A book of this type would only be used to demonstrate

these concepts on paper and would once again fail to address the need for students to

learn using the oral tradition. However, after further research, it is clear that the

information gained in this research is valuable and should be used as a book for teachers

to use as a guide for teaching in the oral tradition. As such, this research constitutes the

beginning of a plan for a teacher to use in his approach to teaching the oral tradition from


20/95

17

written materials. The teacher can use the information to pose the right questions, but the

students should always be forced into finding answers by using their ears and intuitive

skills.

The AURAL Tradition; Teaching by Example

Another way of teaching in the oral tradition is by playing with the class as a way

of demonstrating ideas and concepts that are being learned and discussed. This method

of teaching proved critical to this research and there are many instances (many of them

included on the provided Supplemental CD) where it will be demonstrated to be very

effective. As with learning how to talk, the mind naturally gravitates towards imitation of

the voices around it, and the more good examples provided the ear the better.

Recording Rehearsals and Critical Listening

Recording rehearsals and classes is another effective method of using the ear to

analyze teaching methods and student progress. Critical listening can help uncover

aspects of the students playing that may not have been apparent during the performance.

Inadvertent tempo changes and other correctable bad habits are revealed as well as

positive developments that can be encouraged to happen more frequently. A total of

sixteen partial and complete audio recordings have been included in this research and

they serve as a good window into the development not only of the students but of the


21/95

18

teaching methods that guided them through the semester. These examples will be used in

the next two chapters to illustrate many of the points to be made.


22/95

18

CHAPTER 3

ROLES AND FUNCTIONS IN A SMALL-GROUP JAZZ ENSEMBLE:DEVELOPING A SHARED VOCABULARY

Playing the Role of the Leader: Count-offs, Introductions, Interpreting the Melody and

Endings

Of all of the roles in the small group, the role of leading is the most critical.

Obviously, this role can be filled by anyone in the group. However, we quite often find

ourselves in leaderless groups or sessions where there is no clear leader, and in these

instances, it usually falls on a horn player to take the reigns. This is because the horn

player is the most mobile and visible of the group and is free to move and talk during

other players solos. Also, by playing the melody, the horn player has the primary voice

in a given song and therefore the most power to interpret the music.

Count-offs

A great example of a good count-off is found at the beginning of If I Were a

Bell12. Davis snaps his fingers on two and four, and when the band enters, you can still

hear the snap, perfectly in time. As such, several elements of the count-off were

discussed in class.

Firstly, you can tell from this example that the band takes its time before entering

on the tune. By waiting, they give themselves time to acclimate and absorb the tempo

helping to ensure that everyone is starting on the same page. As well, a count-off will

12 Miles Davis Quintet. Relaxin. Prestige, PR7129, 1956. LP


23/95

19

often need a couple of measures to settle in to a consistent pace. Resting for a few

measures allows for this settling.

Secondly, on songs like Airegin13 which go back and forth between different

rhythmic feels, we discussed the importance of hearing the melody in your head as a

method of determining what tempo to count-off. The first out of three recordings of

Airegin (Track 1 from Supplemental CD) is a good example of the bands first attempts

at this, and the third recording (Track 14 from Supplemental CD) is a good example of

how the band improved its ability to start and keep the time through these changes of

rhythmic feel.

Introductions

A lot of attention was given to introductions this semester and introductions to

My Funny Valentine14, If I Were a Bell15 I Could Write Book16 and Airegin17

were all learned by ear from the Davis recordings, memorized and added to the groups

collective vocabulary.

With the My Funny Valentine intro, it was demonstrated that the intro was

derived from the theme from Country Gardens (Ex. #1) and it was shown how this

intro could be used as a generic introduction to other ballads.

13 Miles Davis Quintet. Cookin. Prestige, PR7094, 1956. LP.14 Miles Davis Quintet. Cookin. Prestige, PR7094, 1956. LP.15 Miles Davis Quintet. Relaxin. Prestige, PR7129, 1956. LP.16 Miles Davis Quintet. Relaxin. Prestige, PR7129, 1956. LP.17 Miles Davis Quintet. Cookin. Prestige, PR7094, 1956. LP.


24/95

20

Example #1

It was revealed to the students that the intro to If I Were a Bell was constructed

from the common church-bell melody that was originally derived from a Handel

Symphony (Appendix A). As with the Valentine intro, we worked on using this

intro as a generic intro to other medium tempo songs.

With the Airegin (Appendix C) intro, it was demonstrated by a recording of the

standard Lets Face the Music and Dance how this intro could be used as the

inspiration for an ending to a completely different arrangement.

Interpreting the Melody


25/95

21

The main focus on the study of melodic interpretation was Miles Davis

interpretation of My Funny Valentine. On this track, he takes the unusual step of

mostly ignoring the melody in favor of improvising over the chords. Although his

improvisations are sometimes highly abstract and soloistic, one thing remains consistent:

he repeatedly quotes from the original melody at key points in the structure to give the

listeners and fellow musicians a point of reference before departure (Ex. #2).

Example #2

Davis loves to abstract the melody of the song as a way of adding more texture and

movement to the overall structure. However, these occasional and brief visits back to the

Rodgers melody are important devices that help keep the music from losing its overall

continuity.

My Funny Valentine also worked as a good model for how to change time feels

and rhythmic feels in the middle of the form instead of exactly at the beginning or ends of

sections (Appendix E).

Endings

The most important aspect of endings discussed during the research was the need

to be as clear as possible when setting up a conclusion. Therefore, the discussion was not

just about endings to songs but also endings to extended tags, solos and other sections

that require a clear transition. A good example of this work is found on a recorded clip of

I Could Write a Book (Track 12 on Supplemental CD). During the extended tag at the


26/95

22

end of the piano solo, the pianist fails to look up to indicate that he is going on and it

causes enough confusion that the band has to stop. After discussing the need for

simplicity and clarity in these situations, the group listens to the Davis recordings to find

that despite their mastery, they were also keeping things simple for the sake of clarity in

these situations. A subsequent recording of If I Were a Bell which also has an

extended solo tag section reveals that the lesson has been taken to heart (Track 16 on

Supplemental CD).

Call and Response, Leaving Space and Sound Signals

Call and Response

The concept of call-and-response is an important one in jazz and each

instrument in the small group has its own role in its implementation. For the study of this

concept, two examples from My Funny Valentine (Examples #3 and #4) were used.

The first of these examples shows how Red Garland and Paul Chambers are able to use

this concept at the end of a melodic phrase and is also a great example of how Davis

would leave space in his melodic statements and improvisations. The second example

demonstrates how Red Garland and Philly Joe Jones (drums) can communicate in this

way with just rhythmic ideas on the snare drum as responses.


27/95

23

Example #3

Example #4

Having learned Blues by Five18, it was used as a vehicle for exploring the call-and-

response concept. The cassette recording of the tune (Track 3 on Supplemental CD)

demonstrates the band deliberately trying to initiate and respond to ideas posed by the

other members of the group.

Leaving Space

The concept of leaving space is closely related to the call-and-response ethos in

that it requires the performer to stop playing long enough to give the rest of the band a

chance to play a response to the previous idea. As mentioned previously, Example #3


28/95

24

represents an instance where Davis leaves two measures of space on the end of the first

A Section of the opening melodic statement of My Funny Valentine. Another good

example of leaving space comes during Davis solo on Blues by Five. Out of seven

total choruses, Davis only plays on the end of a chorus the last time thereby leaving

adequate space for the rhythm section to fill almost every time (Appendix D). His

approach to the melody is similar on If I Were a Bell and several instances of leaving

space are found in the opening statement (Appendix A).

Sound Signals

The term sound signal is borrowed from an article by Luca Bragalini19 and refers

to Davis use of cliches to signal the band to go into a new direction. The best examples

of this concept were covered previously in the discussion of endings and indeed the

clich type endings used by Davis, Coltrane and Garland at the ends of solo tags are a

form of sound signal. Further research on this concept will be done when the research

progresses to the 1964-Miles Davis Quintet where these signals were used more

frequently and in more of a sophisticated manner.

Leading the Rhythm Section

A fair amount of discussion gravitated towards the concept of the pianist as the

leader of the rhythm section. In this role, we used examples of Red Garlands trio

playing and how he would play strong phrases to lead the trio into different rhythmic and

harmonic sections of the songs (Ex. #5).

18 Miles Davis Quintet. Cookin. Prestige, PR7094, 1956. LP.


29/95

25

Example #5

The Wayne State Ensembles final recording of My Funny Valentine (Track 15

Supplemental CD) shows the pianists improvement in this area as he skillfully navigates

the trio through the different time feels and dynamics inherent in the arrangement without

losing the form.

Chord Substitutions

Some of the most important areas covered in this research were chord

substitutions. The three types of substitutions covered were:

1. Half-step above2. Half-step between and3. tri-tone substitutions

19 Bragalini, Luca.My Funny Valentine: The Disintegration of the Standard. Italy: Musica Jazz; Volume

53, no. 8/9, August/September, 1997.


30/95

26

These concepts were not only explored by examining the work of the Quintet, but

were also explored in practice in regards to how they could be used in relation to other

jazz standards already familiar to the students. In Example # 6, tenor saxophonist George

Coleman (a member of the 1964 quintet) plays a text-book half-step above substitution

followed by a tri-tone substitution before the bridge of My Funny Valentine.

Example #6

Having studied this in class, it also serves as an example of how a horn player can signal

the rhythm section to play these substitutions by playing obvious cliches that are easy to

hear. These concepts are put into practice on the standard Autumn Leaves (Track 2

from Supplemental CD) and the results are clear in the recording. One can hear the

pianist reacting more quickly every chorus to the half-step substitutions thrown at him.

Other great examples of these substitutions are found in Coltranes solo on Blues By

Five (discussion in Appendix D). They are put into practice on a generic blues by the

student ensemble (Track 4 on supplied recording). This includes several examples of the

half-step-between substitution. Another example of the half-step-between substitution

occurs during Coltranes solo on If I Were a Bell, and Track 6 of the CD supplement is

a recording of this substitution being demonstrated in class through the use of the

recording.


31/95

27

Setting up Hits

As is the case with chord substitutions, learning to set up hits within the rhythm

section is a critical way to arrange comping patterns during solos and to a lesser extent,

during melodic statements. For the purpose of studying this concept, comping patterns

from Blues by Five and Woody n You20 were learned and applied to the jazz

standard Have You Met Miss Jones.

The process began with take home assignment that required the pianist and

drummer to collect and write out as many reoccurring comping patterns in the Miles

Davis vocabulary covered to date (Appendixes K and L). In class, the figures from the

bridge of Woody n You and from a segment of Coltranes solo on Blues By Five

were applied to the bridge and A sections of Have You Met Miss Jones, respectively.

After making adjustments to the hits so that they would match the form of the new song,

the ensemble deliberately puts the hits into practice behind a tenor soloist who is reacting

and playing off of the figures (Tracks 7-10 of the Supplemental CD). The process at first

seems contrived to some of the students, but soon they are improvising these patterns and

variations on them in class and in other classes at school due to an increased sensibility to

the concept (see comments in Appendix J).

The Drummer: Time, Timbre and the Overall Dynamics of the Small Group

Time

One of the common misconceptions about the role of the drummer is that he/she

is solely responsible for setting and maintaining a given tempo. However, it must be

20 Miles Davis Quintet. Relaxin. Prestige, PR7129, 1956. LP.


32/95

28

accepted that if any one person has the majority of this responsibility over others, it is the

drummer. This concept was discussed in class at great length, and an excellent example

of the rest of the ensemble dragging the drummer down occurs on a recording of

Airegin (Track 1 Supplemental CD). On the recording, one can clearly hear the bassist

and pianist struggling to find the tempo and the tenor soloist succumbing to the new

tempo instead of pushing the eight note lines along with conviction. A conversation

about the performance ensues on the recording. Another track (Track 14 Supplemental

CD) shows considerable improvement on holding the tempo on the same song in a live

performance several weeks later. One of the main reasons for the improvement is the

drummers conviction to keep the tempo (without pushing too hard) despite what the rest

of the group is doing. The band responds well and keeps up with the challenge.

Timbre

Because the drummer cannot color the music by using the melodic or harmonic

devices available to everyone else, he must shape the overall timbre of a given song by

carefully choosing when to use sticks, brushes or mallets, when to switch cymbals and

indeed when to play at all. Using the Davis recordings as a guide, a lot of time was spent

on listening to and researching Philly Joe Jones method of approaching this role. An

excellent example of his growth can be heard on If I Were a Bell (Track 16 of the

Supplemental CD). On it, he successfully plays three different types of feels, starting

with a two-feel with brushes, moving to four-feel on the ride cymbal for the sax solo and

again changing to a variation of the same feel for the piano solo by adding a cross-stick

on four of every measure. Although this is somewhat contrived and indeed is a direct


33/95

29

imitation of the Davis recording, it helps to reinforce the concept by putting it into

practice.

Dynamics

Another important power wielded by the drummer is the ability to control the

overall dynamics and volume of the group. A big focus of this research was to show

where Jones would play simply and quietly, where he would play with more energy and

how he would get there. A good example of his ability to play simplistically is contained

in the 1st chorus of the melodic statement from If I Were a Bell. In it, he hardly plays

anything besides straight time (see Appendix A) and it works as a good lesson for

immature drummers who think that they need to always be involved with the give-and-

take of group improvisation.


34/95

30

CHAPTER 4

CONCLUSIONS

What Worked and What Didnt Work?

Despite the fact that this research project is but a small portion of a larger one,

valuable lessons were learned along the way that will have an impact on future research

in the same area.

The most critical lesson learned is that to teach in the oral tradition, the students

must also be forced to learn in the oral tradition. Although this sounds like an obvious

fact, it took some experience to come to this conclusion. When the semester began,

several materials were created for the purpose of the students to study at home and in

class. These materials (contained here as Appendixes A through G) were the results of

research on the Miles Davis Quintet and the intention was to pass this information on.

Although this was accomplished on some level, it failed to have maximum effect because

the students werent being forced to do the research themselves. In the end, a much more

successful approach was to give the students guided assignments that required them to do

their own research (through listening) and discussing and applying those results in class

during the weeks that followed (two of these assignments are contained here as

Appendixes K and L). The recordings made of Have You Met Miss Jones are a


35/95

31

testament to the success of this approach (tracks 7-10 of the supplemental CD). In light

of this success, a more refined curriculum complete with assignments for the entire

semester will be an important step to being more successful in future research.

Where to Go Now?

The long-term goal of this research is to develop a comprehensive strategy for

teaching small-group jazz not only to intermediate level students, but beginning and

advanced students as well. Lessons learned here will need to be clarified and distilled in

order to be more effectively taught in future educational settings.

In regards to material for study, a logical next step is to research the Miles Davis

Quintet recordings from the mid-1960s. These recordings are a direct link to the 1956

Quintet and are highlighted by advanced extensions of many of the same concepts

covered by the 1956 group21. As well, the concepts explored in these recordings

constitute the foundation of many contemporary jazz groups and ideologies and should

form an integral part of any undergraduate curriculum. The students involved in this

project have already agreed to participate in this next step and research will begin on this

subject in the fall, 2004 semester at Wayne State University (see Appendix M for their

comments on the semester and thoughts about the future).

21 Graham, Alexander. Metamorphosis: The Miles Davis Quintet and the Evolution of My Funny Valentine.

Research Paper. Wayne State University, Detroit, MI 2003.


36/95

32

Appendix A

If I Were a Bell, Map


37/95

&&&??

##

b

bb

ccc

cc

c

M. Davis

J. Coltrane

P. Chambers

J. Jones

R. Garland

wY Y

y y Y

w

. . W/ Brushes

&&&

??

##

b

bb

Bb Tpt.

T. Sx.

Bass

D. S.

Pno.

6 6

6

6

6

w

J

J

J j . j

G 7

y y . .

J . J

C 7

"If I Were a Bell" Map

Miles Davis Quintet, 1

Red Garland Begins with an intro that works on several levels. Firstly, it's a direct reto the classic bell-chime from one of Handel's symphonies. Also, it's an opportunity forChambers to play pedal tones on the V-Dominant chord, a common and effectve intro devicJones lays back and accentuates what's happening.


38/95

&&&?

?

#

#bb

b

Bb Tpt.

T. Sx.

Bass

D. S.

Pno.

11

. j 11

11

J J FMaj7

11 . jChambers fills in the space during the first pause in the melody

11

J

J |

J J

J J A m7(

b5)

#

J J D 7

&&&?

?

#

#bb

b

Bb Tpt.

T. Sx.

Bass

D. S.

Pno.

15

.

15

15

J J G

7

15 .

15

J J C

7

. J

J J F

Maj7

y y . .

J | BbMaj7

( ) J

This hit is the only time that Phillplays anything else but straight tthE opening melodic statement.


39/95

&&&?

?

#

#bb

b

Bb Tpt.

T. Sx.

Bass

D. S.

Pno.

19

19

19

FMaj7

19

19

y y . .

J E m7(b5) A 7(b9)

| | Dm7 Dm7/C

#

J | B m7(

b5) E 7(b9)

n

&&&?

?

#

#bb

b

Bb Tpt.

T. Sx.

Bass

D. S.

Pno.

23

#

23

23

. J AMaj7 DMaj9

23 . J

23

.

J

G

min7 C 7

b

J j . j

| G 7

. y y . .

J . J C 7

Garland connects the end of thefirst 'A' Section to the intro withthis one note figure


40/95

&

&?

?

#

bb

b

Bb Tpt.

Bass

D. S.

Pno.

27

. j

27

#

This is the first one-line figure Garland compsbehind the melody and he chooses his spot carefully...

FMaj7

27 . J

27

J

#

b...And Chambers once again fills in the space

J J

A m7(

b5)

#

J | D 7..# .

.

&&&?

?

#

#bb

b

Bb Tpt.

T. Sx.

Bass

D. S.

Pno.

31

. j

31

31

G

7

31 .

31

J | C

7

. J

FMaj7

y y . .

. # # #

| BbMaj7 Bdim7

n y J . This time, Philly plays the same hit bucontinues with time immediately afterwdue to the motion that the melody deman


41/95

&&

&??

##

bbb

Bb Tpt.

T. Sx.

Bass

D. S.

Pno.

35

.

35

35 | F Maj/c B

bM9

35

35

y

y

. .

J | A m7(b5) D 7(b9)

. J

G min7

.

J | C 7

FMaj7

&&&??

##

bbb

Bb Tpt.

T. Sx.

Bass

D. S.

Pno.

40

# #

40

40

40

40

w

3


42/95

38

Appendix B

Blues by Five, Sketch


43/95

&&

&?

?

bb

bb

bb

cc

cc

c

c

Tenor Sax.

Trumpet in Bb

Bass

Drum Set

Piano

q

.

F 13

..

.

b

b J

.

.. Jb nF

7(#9) Bb13 F 13

..

.

b

b J

.

.. Jb nF

7(#9) Bb13 F 13

b b

"Blues By Five" MapMiles Davis Quintet, 1956

39


44/95

&

&&

?

?

bb

bb

bb

T. Sx.

Bb Tpt.

Bass

D. S.

Pno.

4

4

4

bb

b n b n bF 7(#9)Bb

13 F 7(#9) Bb13 F 7(#9) Bb9

4

b b

4

.

bB

b13

# #

...bb J

.

..b Jb nB

b7(#9) Eb13 Bb13

...bb J

n..b Jb

Bb

7(#9)Eb13 F 13

b b n

"Blues By Five" Map2

40


45/95

&

&&

?

?

bb

bb

bb

T. Sx.

Bb Tpt.

Bass

D. S.

Pno.

8

8

8

bb

b n b n bF7(#9) Bb13 F 7(#9) Bb13 F 7(#9) Bb9

8

8

b

...bb J

"Blues By Five" Map 3

41


46/95

&

&&

?

?

bb

bb

bb

T. Sx.

Bb Tpt.

Bass

D. S.

Pno.

11

11

11

J 3

b n

11

11

Jb J

. Jb

"Blues By Five" Map4

42


47/95

43

Appendix C

Airegin, Sketch


48/95

&&&??

bbbbbbbb

bbbbbbbb

ccc

ccc

Tenor Sax.

Trumpet in Bb

Bass

Drum Set

Piano

q

(Intro)

j .

J

. J

jb .#

J

# .# J#

j .n

J

.n J

y y y>

y y y y >

y

&&&?

?

bbbbbbbb

bbbb

bbbb

T. Sx.

Bb Tpt.

Bass

D. S.

Pno.

5 5

5

jb .# J#

5

.# J#

5

y y y>

y y y y >

y

j . J

. J y y y

>y y y y

>y

jb .# J#

.# J# y y y

>y y y y

>y

Airegin

4


49/95

&&

&??

bbbb

bbbbbbbbbbbb

T. Sx.

Bb Tpt.

Bass

D. S.

Pno.

8

8

8 j .n J

8

.n J

8

y y y>

y y y y >

y

jb .# J# .# J#

y y y>

y y y y >

y

3

b 3

j . J . J

y y y>

y y y y >

y

&&

&??

bbbb

bbbb

bbbbbbbb

T. Sx.

Bb Tpt.

Bass

D. S.

Pno.

11

.# J#

11

11 jb .# J#

11

.# J#

11

y y y>

y y y y >

y

3

b 3

j .n J

.n J y y y

>y y y y

>y

. J

jb .# J#

.# J# y y y

>y y y y

>y

Airegin


50/95

&&

&??

bbbb

bbbbbbbbbbbb

T. Sx.

Bb Tpt.

Bass

D. S.

Pno.

143

b 3

14

14 j . J

14

. J

14

y y y>

y y y y >

y

.# J#

jb .# J# .# J#

y y y>

y y y y >

y

3

b 3

j .n J .n J

y y y>

y y y y >

y

&&

&??

bbbb

bbbb

bbbbbbbb

T. Sx.

Bb Tpt.

Bass

D. S.

Pno.

17

. J

17

17 jb .# J#

17

.# J#

17

y y y>

y y y y >

y

3

b 3

j . J

. J y y y

>y y y y

>y

.# J#

jb .# J#

.# J# y y y

>y y y y

>y

Airegin

4


51/95

&&

&??

bbbb

bbbbbbbbbbbb

T. Sx.

Bb Tpt.

Bass

D. S.

Pno.

203

b 3

20

20 j .n J

20

.n J

20

y y y>

y y y y >

y

. J

jb .# J# .# J#

y y y>

y y y y >

y

3

b 3

j . J . J

y y y>

y y y y >

y

&&

&??

bbbb

bbbb

bbbbbbbb

T. Sx.

Bb Tpt.

Bass

D. S.

Pno.

23

.# J#

23

23 jb .# J#

23

.# J#

23

y y y>

y y y y >

y

3

b 3

j .n J

.n J y y y

>y y y y

>y

. J

j

>

|.# J C 7#5#9

.# J

Airegin


52/95

&&

&??

bbbb

bbbbbbbbbbbb

T. Sx.

Bb Tpt.

Bass

D. S.

Pno.

26

3 b

26

3 b

26 n F min69

26

n

26

b >

b >

|>

| C 7#5

#9

j n j n

( )

wF min69

n wF 7(b9)

&&

&??

bbbb

bbbbbbbbbbbb

T. Sx.

Bb Tpt.

Bass

D. S.

Pno.

30 3

b n

30 3

b n

30 wBbmin69

30

30

b

b

|>

F 7#5#9

j n j n

n

ww

D min7

Airegin


53/95

&&&??

bbbb

bbbbbbbbbbbb

T. Sx.

Bb Tpt.

Bass

D. S.

Pno.

35

. > #

35

#

35

G

7

35

35

ww

CMaj7

#. > # n# # n

Dbmin7 Gb7

ww

BMaj7

&

&&??

bbbb

bbbbbbbbbbbb

T. Sx.

Bb Tpt.

Bass

D. S.

Pno.

39

. > n

39

n

39

Cmin7 F 7

39

39

ww

BbMaj7

n # n #

wbwb

Bbmin7

. >

Eb7

Airegin


54/95

&&&??

bbbb

bbbbbbbbbbbb

T. Sx.

Bb Tpt.

Bass

D. S.

Pno.

44

w

44

w

44

AbMaj7

44

44

w

ww

j . J . J

y y y

>y y y y

>y

w.

jb .# J# .# J#

y y y

>y y y y

>y

&

&&??

bbbb

bbbbbbbbbbbb

T. Sx.

Bb Tpt.

Bass

D. S.

Pno.

48

w

48

w

48

j .n J

48

.n J

48

y y y

>y y y y

>y

w . jb .# J# .# J#

y y y

>y y y y

>y

ww j . J . J

y y y

>y y y y

>y

Airegin


55/95

&&&??

bbbb

bbbbbbbbbbbb

T. Sx.

Bb Tpt.

Bass

D. S.

Pno.

51

w

51

w

51

jb .# J#

51

.# J#

51

y y y

>y y y y

>y

w

j .n J .n J

y y y

>y y y y

>y

jb .# J# .# J#

y y y

>y y y y

>y

ww

Bbmin7

&

&&??

bbbb

bbbbbbbbbbbb

T. Sx.

Bb Tpt.

Bass

D. S.

Pno.

55

. >

55

. >

55

Dmin7 G 7

55

55

. b Jb

. b Jb

C m7(b5)

n . - - #-n . - - #-

F 7(b9)

. J.

.J.

Bbmin7

Airegin


56/95

&&&??

bbbb

bbbbbbbbbbbb

..

..

..

..

..

..

T. Sx.

Bb Tpt.

Bass

D. S.

Pno.

59

. .b jn

59

. .b j

n59

Eb7(b9)

59

59

.

.

AbMaj7

G m7(b5) C 7b9

(Solo Section)

F min6

&

&&??

bbbb

bbbbbbbbbbbb

T. Sx.

Bb Tpt.

Bass

D. S.

Pno.

64

64

64

64

64

F7(b9)

Bbmin6

Airegin


57/95

&&&??

bbbb

bbbbbbbbbbbb

T. Sx.

Bb Tpt.

Bass

D. S.

Pno.

69

69

69

69

69

Dmin7

G7

CMaj7

Dbmin7 Gb7

&

&&??

bbbb

bbbbbbbbbbbb

T. Sx.

Bb Tpt.

Bass

D. S.

Pno.

74

74

74

B

Maj7

74

74

Cmin7 F 7

BbMaj7

n #

Bbmin7

Airegin

5


58/95

&&&??

bbbb

bbbbbbbbbbbb

T. Sx.

Bb Tpt.

Bass

D. S.

Pno.

79

79

79

Eb7

79

79

AbMaj7

G m7(b5) C 7b9

j . J . J

y y y

>y y y y

>y

&

&&??

bbbb

bbbbbbbbbbbb

T. Sx.

Bb Tpt.

Bass

D. S.

Pno.

83

83

83

jb .# J#

83

.# J#

83

y y y

>y y y y

>y

j .n J .n J

y y y

>y y y y

>y

jb .# J# .# J#

y y y

>y y y y

>y

Airegin


59/95

&&&??

bbbb

bbbbbbbbbbbb

T. Sx.

Bb Tpt.

Bass

D. S.

Pno.

86

86

86

j . J

86

. J

86

y y y

>y y y y

>y

jb .# J# .# J#

y y y

>y y y y

>y

j .n J .n J

y y y

>y y y y

>y

&

&&??

bbbb

bbbbbbbbbbbb

T. Sx.

Bb Tpt.

Bass

D. S.

Pno.

89

89

89

jb .# J#

89

.# J#

89

y y y

>y y y y

>y

Bbmin7

Dmin7 G 7

Cm7(b5)

F7(b9)

Airegin


60/95

&&&??

bbbb

bbbbbbbbbbbb

..

..

..

..

..

..

T. Sx.

Bb Tpt.

Bass

D. S.

Pno.

94

94

94

Bbmin7

94

94

Eb7(b9)

AbMaj7

Gm7(b5) C 7b9

Airegin

5


61/95

57

Appendix D

Listening Points for Blues by Five


62/95

58

Listening Points of Interest in Blues by Five

Tempo

Beginning to end; The tempo slows by almost 10 clicks (183-175). Does it

happen gradually? No, it mostly happens in the first couple of choruses. Thissettling is common when a tune starts without a count-off or with a very short

count-off that doesnt allow for a clear establishment of the tempo. The drummerhas the most power to control this and should subtly shift the tempo to a good

groove if thats where the music wants to go. However, once the tempo settles

somewhere, its also largely the drummers responsibility to keep it where it is.

Miles Solo (0:33-2:43)

1. During the first 8-bars of the solo, Miles leaves the ends of the four barphrases open for the rhythm section to comp in (0:33-0:43.)2. From the last 4 bars of the 1st chorus to the end of the next, he starts

playing two bar phrases that are related to each other, and leaving smaller

spaces to fill (0:44-1:04.)3. The following chorus returns to the four-bar phrases. This time, its for a

whole chorus and the phrases are intimately connected to each other in a

melodic fashion (1:06-1:21.) This melodic improvising gives the rhythm

section more material to work with, and Garland and Jones connect with

each other on the ends of the phrases.

4. The first four bars of the next chorus, Miles immediately starts playinghalf-bar figures (1:21-1:26.) Although it doesnt seem to inspire morecomping in the spaces, it sets the band up for the next time he tries. When

he does it again two choruses later, Philly is right on top of it with some

appropriate hits (1:53-2:03.) Actually, if you listen closely, you can hear

Garland reacting to Davis second half-bar figure at 1:23 (the first time hedoes it) with a quick imitation figure; Hes listening so closely that all he

needs is Davis to play it once and hes immediately on top of it.5. Out of Miles seven choruses, he only plays on the last bar of the form the

last time through. This works two ways; He always gives the rhythm

section a chance to set him up for the next chorus, and playing into the

next soloists first chorus is a Davis trademark that signals the band that

hes wrapping it up. You can hear Philly play his flourish here, anotherdevice that signals a new section in the music.

Coltranes Solo (2:43-4:34)

1. Coltranes phrasing is totally different than Davis: He plays during theends of many of the four-bar phrases, including the end of the first chorus.He then leaves the first two bars of the second chorus open. At the end of


63/95

59

the second chorus, he finally leaves some space and Garland and Jones

react with an off-beat figure.

2. This figure inspires Jones to continue into the next chorus with a standardcomping background that is a standard part of their vocabulary. However,

when Garland doesnt follow, Jones continues playing it lightly; Its now

a signal for Garland to be ready with the same figure on the next twochoruses (3:11-4:02.)

3. As with Davis solo, P.C. essentially plays nothing but straight time. At aslower tempo or a ballad, the bassist has considerably more rhythmic

freedom than in medium or up-tempo tunes. Chambers creative freedomcomes in the form of the notes he chooses and in playing over several

octaves on the instrument; otherwise, his role is rhythmic support. Its

worth noting that the opposite is usually true for the drummer.

4. Another difference between the interaction of soloist to Rhythm-section iswith chord-substitutions. Whereas Davis plays with the rhythm-section byleaving space for a response to his ideas, Coltrane answers his own

phrases and often plays chord substitutions. Through the course of thesolo, Garland becomes more adventurous and starts feeding Coltrane

substitution ideas with the hopes that he will either catch them as they are

played or get them the next time. A good example of this is on his last

two choruses (4:02-4:36.) Both times, They play a descending half-stepsubstitution on the seventh and eighth bars of the form. The first time,

Garland continues with a tri-tone sub back to the one in the tenth and

eleventh bars and Coltrane tries to adjust in mid-phrase.

Garlands Solo (4:35-5:56)

1.

Its very subtle, but Philly brings the volume on the ride cymbal down justa touch at the beginning of Garlands solo. When Coltrane was playing,

he could afford to play louder to compete with the saxophone, but not

anymore.

2. Garland is very much a right-handed, be-bop pianist; His left hand compsfor his right hand in much the same way it comps for the horn soloists; he

sets up repeating rhythmic figures, he finishes his own phrases with two

handed block chords, etc

3. Its worth noting that Garland does not finish his last chorus with all blockchords as he frequently does. This is for two reasons; he plays almost all

block chords while trading fours with Philly after the bass solo, and the

melody itself is played by him in block-chords, which means that blockchords during his solo will have no contrast to the melodic statement.

Chambers Solo (5:56-7:17)

1. Notice how Philly switches to brushes on the bass solo; he plays sticksinto the first bar to keep the flow happening, then drops out for a couple of


64/95

60

beats, all the while keeping the hi-hat going while he grabs his brushes.

The flow is never interrupted.

2. During the bass-solo, the communication is solely between the pianist andthe drummer. Throughout the bass solo here, you can hear Garland and

Jones constantly listening to each other and trying to set each other up for

the next hit. Sometimes, one will play a hit on one chorus and the otherwill play the hit in the same place the next chorus assuming that they were

given a cue. Sometimes, theyll hit things together without any cues.However, all of these hits come at the standard places; at the end of the

four bar phrases. Check out the chorus starting at 6:45; Garland plays athree-note hit at the end of the first four bars. Although Philly misses it

that time, he grabs it with Garland at the end of the second four-bar

phrase.


65/95

61

Appendix E

Listening Points for My Funny Valentine


66/95

62

Although the song starts in C minor, the originalMy Funny Valentine eventually ends

in the key of E-flat major. This simply means that it begins in its relative minor key. The

1956 recording begins in E-flat major with a light variation on the Percy Grainger song

Country Gardens, a is a nod to the famous 1951 recording ofLoverman by alto saxophone

giant Charlie Parker.

In the Parker recording, he uses the melodic fragment as a contrived coda to a ballad

(Loverman) that, likeMy Funny Valentine, begins in its relative minor key and ends on the

tonic. Its also worth noting that Miles Davis played with and idolized Charlie Parker in the

1940s, giving Red Garlands allusion to Country Gardens that much more relevance. The


67/95

63

melody to Country Gardens is simple, instantly recognizable and most importantly, firmly in

a major key.

On the 1956 recording, Red Garland starts the intro solo piano, but the rest of the trio

quickly joins him before the end of the second measure, in tempo. In 1956, the entire rhythm

section is always present and in tempo until the very end of the piece.

In this recording, he takes the unusual step of mostly ignoring the melody in favor of

improvising over the chords. He repeatedly quotes from the original melody at key points in

the structure to give the listeners and fellow musicians a point of reference before departure.

One can observe that Davis loves to abstract not only the melody but also the form of the song

as a way of adding more texture and movement to the overall structure. These occasional and

brief visits back to the Rodgers melody are important devices that help keep the music from

losing its overall continuity.


68/95

64

The interplay between Garland and Chambers at the end of the first A section is a

telling and perfect example of an improvised call-and-response figure that also exists later

in the piece.

This example works on many levels. Chambers not only rhythmically mimics Garlands

figure, he actually completes his phrase with melodic notes that logically extend and resolve

Garlands idea. This type of interaction occurs frequently, not just between Garland and

Chambers, but also between Garland and Jones.

As mentioned previously, the Miles Davis Quintet obscures the form and structure of

the songs as a way of enhancing the texture. One of the ways they accomplish this is by

changing the feel of the song in the middle of a section instead of at the beginning of a new

section which was, and still is, a more common approach. In the second A section of the

first chorus of the 1956 recording, the rhythm section plays double-time two measures before


69/95

65

the bridge comes. This acts as a signal to Davis, allowing him the chance to consider his

options well in advance of the bridge. In fact, Davis pauses completely for the two measures,

which allows Red Garland and the rhythm section maximum room to change the feel. When

Davis re-enters, his sound is fresh and appropriately changed for the new section.

There exist several instances of pedal-notes in this recording. Garland and

Chambers, masters of this device, made regular use of it. It occurs many times on the 1956

recording, and it is clearly a big force in shaping the way the song would be approached in

later years. Chambers uses this technique beneath Garlands introduction (see Example #2),

and later on the bridge behind the melody and again behind Garlands solo.


70/95

66

As seen in the next example, Chambers briefly suggests a C-minor tonic pedal on the last A

section of the 1st chorus of the1956 recording.


71/95

67

This recording transitions to the solo section at the end of the first completed chorus

by changing to double-time, which eventually carries over into the next chorus. The rhythm

section plays a 2-feel, double-time swing.

The rhythm section, usually cued by Chambers or Garland, takes control of when and how the

band will change feels from section to section. Also, one of the devices that Davis uses is to

continue improvising into the next chorus for at least two measures before relinquishing the

floor to the next soloist.


72/95

68

This is yet another example of the band obscuring the form, this time not by starting

something new in an unexpected place, but rather by ending in an unexpected place.

A beautiful example of a call-and-response figure is found here.


73/95

69

This idea of playing a phrase and patiently waiting for a response is one of the identifying

aspects of Davis sound. Another item of note about Garlands solo is his reference to

Country Gardens, this time a direct quote from Charlie ParkersLoverman (1951), which

happens mid-way through the bridge.


74/95

70

Appendix F

Vocabulary List for Jazztet, Winter, 2004


75/95

71

2/2/04


Tunes:

1. If I Were a Bell, F-Major2. Blues by Five, Bb-Major3. My Funny Valentine, C-Minor/Eb-MajorComping Patterns:

1. From Blues by Five, (4th and 5th choruses of Coltranes solo, starts at 3:30 ontrack).

1a. Variation. Discussed in class, which ends differently.

Introductions:

1. Intro from If I Were a Bell. (2-feel, med-swing intro)2. Intro from My Funny Valentine (Ballad intro)

All of the vocabulary should be learned in all of the keys and all of the tunes should belearned with chords and arrangements from the recordings.


76/95

72

Appendix G

Vocabulary List for Jazztet, Winter, 2004 #2


77/95

73

2/23/04


Tunes:

1. If I Were a Bell, F-Major2. Blues by Five, Bb-Major3. My Funny Valentine, C-Minor/Eb-Major4. Airegin, F-Minor/Db-Major5. I Could Write a Book, Eb-MajorComping Patterns:

1. From Blues by Five, (4th and 5th choruses of Coltranes solo, starts at 3:30 ontrack).1a. Variation. Discussed in class, which ends differently.

Introductions:

1. Intro from If I Were a Bell. (2-feel, med-swing intro)2. Intro from My Funny Valentine (Ballad intro)3. Intro from I Could Write a Book (Med-Up 3-6-2-5 Intro)4. Intro from Airegin (Can be used for other minor tunes.)Endings:

Tag Endings a. 1-6-2-5 tag with short ending on beat one of the 1-chord, from I Could

Write a Book.b. 1-6-2-5 tag with a short-long ending. It ends short on beat one of the

1-chord , but continues one cue to a final chord, usually altered as in this

case (If I Were a Bell.)

Intro Endings a. My Funny Valentine uses a rubato version of the intro as a basis for

the ending. This is a common device and is often used in ballads.

Short Endings a. The ending to Airegin is a common short-ending to up-tempobebop heads.

Feels:

Drums:

2-Feel


78/95

74

a. Brushes on snare, If I Were a Bell and bridge and piano solo from

My Funny Valentine.

b. Sticks on Hi-Hat, I Could Write a Book intro, melody and out-chorus.

4-Feel

a. Standard 4-feel on ride cymbal, If I Were a Bell solos, Blues ByFive melody and solos, Airegin, solos and melody (in-between the

pseudo-Moroccan feel.)b.

Combination Feel

a.

All of the vocabulary should be learned in all of the keys and all of the tunes should be

learned with chords and arrangements from the recordings.


79/95

75

Appendix H

Jazztet Journal, 1/21/04


80/95

76

Journal:

I discussed several things in class that have been running around in my head. I feel in a

way that I spilled everything out in one class and I need to find a way to pace myself.

Im giving them too much credit for knowing things and they would be OK if I spent theclass focusing on things that might seem too simplistic to me. Next week I need to get

more specific with what were trying to accomplish. I need to present some actual

vocabulary from the music, perhaps from Blues by Five and run them through a tune

making sure that they understand the given vocabulary and the way that it functions.

Before Monday, I need to think of a specific exercise that we can do that will help re-

enforce things like changing feel, cues, setting up the band (as Brian should learn how to

do). Talk to Brian and Sam about rushing and dynamics. Also, talk about the idea of

Shenkerian Analysis.

Conclusion:

There need to be more exercises that really get at the root of things and listening. One

exercise could be playing blues and having Brian figure out how to set up a new feel

every couple of choruses. Another could be my playing a phrase and Mark playing a

deliberate answer at the end of my phrases. Start with four-bar phrases, go to 2 bar

phrases, etcPractice different melodies with Sam and have him play things in the

cracks of the melodies. Practice hearing and learning without your instrument with Mark

and Sam with Red and P.C. solos on Blues by Five. Talk about the relationship of

learning how to talk as a baby with learning how to improvise. Point out the cueing

mistake by Philly at the end of the second to last chorus of fours; He ends in the right

place and sets it up but forgets that the melody has a pick-up note. Garland wouldnt feelcomfortable coming back in with the melody there so he continues playing fours for one

more chorus.

Assignment:

Learn the fours and out-head without writing it down. Do as much as possible in your

head.


81/95

77

Appendix I



82/95

78

Journal:

Today went fairly well with all of the students seeming to be responsive to my ideas and

directions. Some said it was currently their best class and that felt good. After talking

for a while about Blues by Five and running down my analysis point by point, weplayed it and it was the best that the band has felt since we started playing. Mark and

Brian started hooking-up but most importantly, they started to think about it and look ateach other and wait for cues. I didnt use any written musical examples this week, but I

think that it was a good thing. It made everyone use their ears more and got us out of thepages. One shift in focus from last week is that Ive decided that we will learn these

arrangements and not worry about developing other tunes. That might change, but for

now its good to have a focus and to have a structure that everyone can depend on

learning and knowing. Mark still didnt know If I Were a Bell by heart this week and it

hindered our progress. However, I will make it clear to them this week that they need tolearn and retain what were doing. I didnt give an assignment this week (besides

listening to My Funny Valentine) and I think that this remains a weak point of myteaching; the take home assignment. However, the in-class exercises worked

exceptionally well. I need to find a way to get them to work on this stuff at home. At the

end of class, I ran over ear-training stuff with them and I think that I got my point across.

Maybe I could give assignments that deal with memorizing solos? Maybe we could gobeyond just learning these arrangements? One thing that I should do is start a running list

of rhythm-section vocabulary learned and drill old and new stuff every week. One thing

that is really starting to make sense is with the roles of the bass player and drummer. I

see now that on slower tempos and ballads, the bass and piano are hooked up while the

drums and piano are hooked up on the medium and up-tempo things. This kind of thingwill really help in establishing roles for the band members.

Conclusion:

1. Bring a list of musical vocabulary next time.2. Devise a written vocabulary for the kinds of things Im talking about and clearly

define the terms. I.e. the term comping figure could be spilt into different

types; Sectional comping (like in Coltranes solo on Blues by Five), cued

comping, pianistic comping, etc Just find a way to organize and define things.

3. After defining these things, you can give more specific assignments i.e. Listento Blues by Five and indicate as many instances of x,y,z as you can. Give a

description of the event, the time on the track and measure # in the form.4. Next week, work with Sam and Mark on comping on ballads. Use similarexercises as this week between Mark and Brian.

5. Reinforce the semesters goals; Really learn these arrangements and tunes up anddown.


83/95

79

Appendix J



84/95

80

Journal:

Yesterdays class was definitely a success in many areas. One of the great results of class

yesterday was Brian and Mark hooking up with one of our vocabulary figures from

Blues by Five in Lab Band behind a trumpet solo on a Thad Jones blues arrangement.

Now I know that they see what Im going for with the idea of building a vocabulary andtheyre excited to be doing it.

As I planned with last weeks journal, I brought a list of our expanding musical

vocabulary to class this week. It was a good thing to do not only for the students but for

myself as well. It will help me to organize and define the different comping and

compositional elements were trying to develop.

The only assignment I gave this week was to learn Airegin and I now realize that well

be learning all of the tunes from the two records this semester. For now, I think that this

might be the best way to assign things. Firstly, I havent developed enough terminology

and vocabulary ideas to make concise assignments and secondly, I want them to get awayfrom the music and learning these tunes from the records is the best thing they can do for

that.

Conclusion:

1. Bring a new, updated list of musical vocabulary next time. Start picking throughBlues by Five for more reoccurring comping figures to add to the list. Also, pick

through all of the first three tunes for more added harmonic vocabulary for Mark

and Sam.


85/95

81

Appendix K

Brian Arnolds Breakdown of Comping Patterns from Several Miles Davis

Quintet Recordings


86/95


87/95


88/95

84

Appendix L

Brian Arnolds Breakdown of Comping Patterns from Several Miles Davis

Quintet Recordings


89/95


90/95


91/95

87

Appendix M

Student Interviews, 4/19/04


92/95

88

Drummer Brian Arnolds Thoughts on the Semester:

I never learned so much from doing what we did. We all knew this stuff, but its good to

talk about it to bring it out. I was aware of these elements in jazz on some level, but not

consciously until they wer

Developing Communication Wayne State Copy

Documents

Transcript of Developing Communication Wayne State Copy