If you like the vibe of “Venus Di Mildew”, check out “Far Away Lands.” This album really focuses on swing and motivic development. You can hear the use of various bebop scales, pentatonics, blues, etc. Note the use of call and response and overall ensemble interaction.
http://youtu.be/8XM87o2bt-U
As discussed in class, check out this recording of “Venus Di Mildew” as played by Hank Mobley. Note the song was actually written by Wayne Shorter.
http://youtu.be/q_9-9a41Pns
Personnel
- Hank Mobley — tenor saxophone
- Curtis Fuller — trombone
- Lee Morgan — trumpet
- McCoy Tyner — piano
- Bob Cranshaw — bass
- Billy Higgins — drums
Posted by Logan Miller
Here is a video of Snarky Puppy performing “Lingus” in one take. I’m sure some of you have seen this, but if not, this is a band of students and graduates from the University of North Texas – Denton. I thought this video had lots of interesting elements, in terms of arranging for so many musicians. I really like the suspensions that are in the horns around 2:38. Additionally, Cory Henry takes a keyboard solo at 4:18 that just isn’t right. Hope you enjoy!
Analyzing I’m Old Fashioned by Mercer and Kern is a great starting point for understanding how composers can make modifications to fundamental chord progression to yield interesting results. system one consists of four chords commonly referred to as a I-vi-ii-V turnaround. Cyclic by nature, it creates a roundabout cadence that temporarily works its way through the relative minor before returning to the tonic chord. Note the use of the tertiary dominant chord on scaled degree sis.
The four chord is used over the tonic to support the melody (Bb) at the beginning of the second system. it resolves to the tonic major seventh chord, then moves towards the relative minor key (D-) via the corresponding ii-V progression E-7b5 – A7. Arriving in D-minor in the next system, we now notice that the composer creates a series of ii-V progressions (D-7 to G7) temporarily borrowed from the key of C major (which is the dominant of F major) before returning to the key of F major in a scalar fashion. in the fifth system, there is a return to a modified treatment of the opening motif which then modulates to the key of A major (note again the use of the ii-V in the fourth measure).
Once in the key of A major, the melody and chords move diatonically up the major scale before using the leading tone to the subdominant of F major to return to the parent key, F. Finally, there is a return to the original melody and a concluding development that utilizes the same rhythmic motives of the opening section of the tune. note that the harmony moves temporarily to the four chord and then cycle back to the tonic chord, even using a pedal C to temporarily suspect the final cadence.
Meanwhile, here is a live performance of “I’m Old Fashioned” performed by Sadao Wantanabe. Ironically, they play t in the key of Ab (as I mentioned in class today).
Welcome to the MUS 245 Jazz Theory blog. Here you will find information about the course including the syllabus and course outline. Students will also be required to make a weekly video post and commentary on the topic of the week. other resource materials will also be posted here. please be sure to visit the blog regularly to stay informed about items of interest.
