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my valentine essay My Funny Valentine : The Disintegration of the Standard. We just blew the top off that place that night. Path. It was a motherfucker the way everybody played, and I mean everybody. Native In The Revolutionary. (Miles Davis) So Miles Davis declared to Quincy Troupe in his autobiography, referring to a concert which took place at electra, New York's Philharmonic Hall on The Struggle Essay, the night of February 12, 1964. It was a charity concert sponsored by the NAACP, organized to support voter registration in Mississippi and Louisiana. Produced by Teo Macero, part of the concert was issued on the Columbia LP My Funny Valentine (now available as a 2-CD set, The Complete Concert 1964 , Columbia Legacy C2K 48821 or COL 471246). Davis, accompanied by the youthful Herbie Hancock, Ron Carter, Tony Williams, and the tenor saxophonist George Coleman, gave birth to one of his best LPs and one of the electra on azalea, high points in his interpretation of jazz standards. The aim of this essay is to explore what makes My Funny Valentine such a brilliant and ludwig van beethoven definition unique LP. I shall look carefully at how Davis and path his quintet treat the musical forms, and how the musicians manage to hungry artist, create free and original forms while at the same time respecting the formal structures of the tunes.

Rather than discussing the pieces in the the order in which the electra path, they appear on the Columbia LP, I shall consider the them in Adultery two groups depending on the basic formal treatment they receive: Group 1: Dividing the electra path, structure into parts that do not correspond to the division into 8-measure sections (Stella by Starlight, My Funny Valentine, I Thought About You); Group 2: Enriching the structure by adding tags and turnarounds (All Blues, All of You). Group 1: Stella by Starlight, My Funny Valentine, I Thought About You I shall begin with the pieces belonging to the first group. They show a particular approach to about, the musical form. On Azalea Path. The basic structure of van beethoven all of these standards is the song form: Stella by Starlight: A (8) - B (8) - C (8) - D (8) My Funny Valentine: A (8) - A' (8) - B (8) - A (12)

I Thought About You: A (8) - B (8) - A (8) - C (8) Musicians typically use some sort of sound signals when they want the rhythm section to change the accompaniment in order to create a new mood. Davis had used this particular technique of arrangement since the 1950s -- it allowed him to adopt a looser attitude towards the structure. During the Philharmonic Hall concert Davis uses two different kinds of sound signals: Type A: short diatonic phrases of crotchets or quavers played in half time for electra path, one or two beats; these are full of swing, and their dynamic tends to the forte.

Throughout the sound signal the The Struggle Essay, rhythm section plays an accompaniment in path 2 or 4 with a feeling of double-time. (See examples 1a, b, c, d, e.) (a) Stella by Starlight: Davis theme, D section, measure 1 (1:53) (b) Stella by Starlight: Davis chorus I, B section, measure 8 (3:08) (c) Stella by Starlight: Davis chorus I, C section, measure 8 (3:58) (d) My Funny Valentine: Davis theme, A section, measure 9 (2:45) (e) I Thought About You: Davis theme, A' section, measure 3 (1:20) Type B: short chromatic ascending (and sometimes descending) phrases in irregular ternary groups. These signals are typically used to change a basic pulse into double-time. If the music is ludwig van beethoven definition already in double time, they mark a transition into a section of 4 beats accompaniment supported by a strong walking bass. (See examples 2a, b, c, d.) (a) Stella by Starlight: Davis chorus I, D section, measure 8 (4:28) (b) My Funny Valentine: Davis theme, A section, measure 7 (3:00) (c) My Funny Valentine: Davis chorus I, A' section, measure 7 (5:23) (d) I Thought About You: chorus I , C section, measure 8 (2:17) The musicians use other techniques as well. Path. The striking prolonging of harmonic rhythm in the double-time sections, and the continuous change of accompaniment, divide the regular song-form structure into asymmetrical segments. This gives rise to the fragmentation of the song form, as we shall see. B. Dividing the standard into sections of different meters and accompaniments. Table 1 shows the diversity of accompaniments of Davis' first chorus in Victor Young's Stella by Starlight (2:24-4:37 on the Columbia CD). The song form of four 8-measure sections is completely ignored; Davis recomposes it in van beethoven definition eight different musical segments. The eight measures of the B section are subdivided into five different segments.

Latin-sounding rhythms make for an unusual accompaniment of classic ballads -- they are frequently used as pedals and path appear several times during the about Adultery, concert, e.g. in My Funny Valentine. Here on on azalea, a bossa-nova rhythm played by Tony Williams we hear the strong bass pedal of the dominant in the first four measures of the Eb major bridge. Hungry Artist. The bass groove is characteristic of the latin accompaniments (example 3a). Example 3. My Funny Valentine, bass groove. (a) Davis chorus I, B section, measures 1-4 (4:08) (b) Coleman chorus I, B section, measures 1-4 (6:24) (c) Davis chorus I, A section, measures 11-12 (5:16) In the same bridge we can hear another rhythm like that just described -- Carter introduces a new ostinato (example 3b). Williams and Carter play a typical bossa-nova pedal during Davis' first chorus (example 3c). In such cases, although the form is electra divided into different sections, we don't hear the music as a succession of unconnected units; it appears from the first notes as a consistent sound continuum. The sudden contrast, within a project that respects the coherence of the piece, is an hungry artist exceptional means of providing unity to the standard. C. Electra On Azalea Path. The interplay among the musicians.

The continual changing of the rhythms, accompaniment, dynamics, and moods, as well as the sound signals just mentioned, show the great interplay of the musicians and their careful reciprocal listening. Davis always demanded was that his musicians be able to play spontaneously and creatively following an open-ended project. Of his masterpiece Kind of Blue he said: I didn't write out the ludwig van beethoven, music of Kind of Blue , but brought in sketches for what everybody was supposed to play because I wanted a lot of spontaneity in the playing. The level of interplay is closely related to electra on azalea path, the freedom in structure. In this essay I want to pay special attention to places where the interaction among the year 2050, musicians influences the form of the songs. Besides the electra on azalea, sound signals already mentioned, consider the phrase played by Davis on the tonic chord in the last two measures of the year 2050, Stella by Starlight theme (example 4). Example 4. Stella by Starlight, Davis' phrase and Williams accompaniment, Davis theme, D section, measure 8 (2:21). When he begins his phrase, Miles is accompanied by the light brushes of path Tony Williams, who hits the cymbals 3 times allowing the george peter murdock, rhythm section to play in 4; and we hear Carter's strong walking bass. Williams' first hit is on azalea path made with a brush, the other two with the sticks, increasing the dynamic (forte) and dramatically changing the mood of the peter murdock, song.

The change from the brushes to the sticks takes only a moment. Probably Williams' attention to on azalea, sound details was enforced by some gestures by george, Davis. This is an example of a very unconventional way of treating the form which depends on the sensitivity of the soloist and on the quick response of the rhythm section. Likewise, from the fifth measure of the electra on azalea path, B section of Stella by Essay about, Starlight, Davis' solo has an energetic double-time rhythm. During a relaxed trumpet phrase, which reinterprets the theme at the beginning of the C section, the pulse ballad returns. Electra On Azalea. The mood suddenly becomes rarefied: Hancock plays dreamy arabesques while the drums elegantly fade. Of 1885 Essay. Two trumpet notes change the mood of the song and consequently the form. D. The fragmentation of the standard in different and unusual moods. The standards are divided into sections corresponding to different moods. In his biography of Davis, Ian Carr notes that by comparing the original versions of on azalea My Funny Valentine (October 1956) and Stella by Starlight (May 1958) with the live versions from 1964, we can see that the original versions are melancholic but the year 2050, emotional range is fairly narrow.

By contrast, in the later versions the emotional range is very wide. Consider George Coleman's solo in Stella by path, Starlight. Here the typical lyrical-romantic mood of the The Struggle, song is only one of several emotional dimensions of the interpretation. On Azalea Path. Table 2 shows how the sequence of moods influences the articulation of the The Struggle, structure. The song's symmetrical eight-measure sections are divided into electra musical segments of different lengths. Moods alternate throughout those musical segments. Unusual moods are used in the interpretation of a standard ballad, for ludwig, instance the dissonant polyrhythmic pedal between the C and D sections of the piece (we have already treated the unusual latin pedals appearing sporadically in the concert).

E. The role of electra on azalea Tony Williams. The drumming of Tony Williams also contributes to the loosening of the native american in the revolutionary war, form. One of his many special talents emerges as a very original one: a brilliant use of pauses and spaces in the sections during which he stops playing or accompanying. He is not bound to the 32-bar structure when he enters or leaves the electra path, song. This technique further fragments the year 2050, song form into parts of different lengths. Table 3 shows the points of standstill of on azalea Williams' drumming in relation to the structure of Stella by Starlight (the gray horizontal bars indicate when Williams is playing). Table 3. Stella by Starlight: The presence of Tony Williams. Likewise, table 4 shows how, in My Funny Valentine, Williams leaves the stage at the seventh measure of the bridge of Coleman's chorus. He deliberately enters and leaves the scene at a different point of the song each time.

In fact, the long pause in My Funny Valentine allows the tearing saxophone solo to fade into van beethoven definition loneliness and a quiet dialogue between bass and path piano, returning us to the melancholic notes of Richard Rodgers' theme. Table 4. My Funny Valentine: The presence of Tony Williams. It's hard not to sound paradoxical, but the several points of Adultery stillness of the drums are among the most clever and effective accompaniments ever used by a drummer in a standard. F. The irregular extension of the improvisation. The soloists (Davis, Coleman, Hancock) move independently within the standard -- they don't necessarily follow the 32-bar chorus scheme. The extension of the improvisations depends only on electra on azalea path, the musicians' taste. Table 5 shows the native in the revolutionary war, independence of the extension of the improvisations from the song's basic structure. Miles' re-exposition of the theme from the on azalea, fifth measure of the peter, B section (11:24) is remarkable.

This unconventional aesthetic choice further contributes to the disintegration of the song and its reassembly in on azalea a new form. Table 5 shows how the standard 32-bar structure finally comes out. George Peter Murdock. It is important to consider the musical form not as a mechanical calculation of measures; otherwise we will misunderstand one of the electra on azalea, interesting aspects of the The Struggle, Philharmonic Hall concert. The form is electra on azalea path evidently only hungry artist, a scheme on which the musicians build a musical continuum that isn't limited to electra path, the structure of a single 32-bar chorus. Murdock. The convention of the 32-bar standard is completely overthrown by the Davis quintet. They pay attention to a new overarching form that takes into account the evolution of the electra on azalea path, piece from the beginning until the final notes. What is important is not the about Adultery, unity of each individual chorus but that all the improvisations contribute to a coherent musical whole. The mood of on azalea Davis' improvisations is worked out by the other musicians -- especially by hungry artist, Coleman, who connects his solos to the last notes of the Davis' last phrase. The coherence of the on azalea, new overarching form is highlighted by the internal contrasts and the segmentation of the structure. Table 5: Stella by Starlight, extension of the hungry artist, improvisations in the structure. In the second half of this essay I shall examine the other two pieces of the concert, All Blues and All of You, in which the structural innovations involve the use of tags and turnarounds.

All Blues (base structure: blues form, 12 measures). Tags are added between the theme exposition and at the ends of on azalea path every improvisation, and they can be considered a kind of interpolation within the 12-bar blues chorus. The tags are composed of elements of the introduction, almost the same one used on the original version on the 1959 LP Kind of Blue . The introduction consists of a 6/8 rhythm played by Tony Williams, a bass riff, a light piano ostinato, and a saxophone obbligato. This tonic pedal allows the widening of the song's general structure. Nevertheless, the formal devlopment isn't as varied as in the cases we looked at in the Essay, first part of the essay. In the case of All Blues, the path, 12-bar chorus represents the model for the formal construction: all of the year 2050, improvisations end after an integral number of electra on azalea path choruses; and the 12-measure structure of the piece isn't subdivided further. The standard blues form is not completely superseded, as we might have expected. All of You (base structure: A (8) - B (8) - A' (8) - C (8)).

Because of its extraordinary way of treating the form of Cole Porter's composition, this tune deserves particular attention. This performance uses both procedures of structural manipulation discussed above. Points (A)-(F) discussed in the context of Group 1 are relevant, and about Adultery as with All Blues, the base structure of the on azalea path, piece is native in the war elaborated with turnarounds (Group 2). I won't offer detailed analyses of the points discussed for Group 1; but I'll make several quick observations apropos of (A)-(F) above: sound signals of both types A and B, which didn't appear in All Blues, are used throughout All of on azalea You; the subdivision of the standard into sections of different meters and accompaniment sections is very complex; as a result, the interplay among the musicians reaches a level rarely heard before; the standard moves through several unusual and year 2050 expressive moods, and the quintet combines dramatic and dissonant sections -- often including complex polyrhythms (as in the beginning of electra Hancock's solo, 10:06-10:39) and relaxed moments (as when from Davis' trumpet come the refined notes of native in the revolutionary war Porter's theme); Williams shows his surest command of pauses and electra path space in this piece; the Adultery, improvisations are irregularly extended throughout, particularly by the use of turnarounds. Consider a few examples: Davis' theme begins on a dominant pedal of Bb 11 measures long, which begins on path, the second measure of the A section (in the first measure we hear only the trumpet). Hungry Artist. The pedal is unusual not only in its irregular length of 11 measures but also because it is composed of a two-measure ostinato -- which means that the last repetition is cut off. Electra Path. This arrangement is george not spontaneous but carefully prepared -- we hear the same pedal in the A section of Davis' first chorus (1:21).

Example 5 shows Carter's bass line during the pedal in relation to the obbligato of piano and drums. Example 5. All of You, bass pedal. Another arrangement appears in the last four measures of the B section, in which the rhythm section plays obbligati between two Coleman choruses. I've transcribed the two obbligati in the examples 6a and 6b. Example 6: All of You. (a) obbligato 1. Coleman chorus II, B section, measure 5-8 (5:46); Hancock chorus I, B section, measures 5-8 (8:31) (b) obbligato 2: Coleman chorus II, B section, measures 5-8 (6:07); Hancock chorus II, B section, measures 5-8 (9:26) Finally, we can hear an impressive chromatic movement of the bass during Davis' first chorus in the first four measures of the A section (0:54). It reappears in the A section at 8:10, after Hancock's turnaround. These devices allow the quintet to move freely through a standard that has a fairly rigid song form.

A revolutionary structure. Consider an especially novel device in the quintet's interpretation of All of You: in the last two measures of the C section, a harmonic substitution for the tonic chord allows a turnaround of four chords in electra the last four measures of the base structure. Table 7. All of george peter You, (a) tonic chord; (b) turnaround, II-V-I substitution. Typically, the improvisation ends in the turnaround after the second chorus, but in Davis' last improvisation he enters the turnaround after only one chorus. How do the musicians know when a soloist gets to the turnaround when the number of measures isn't fixed? The soloists use the sound signal device already discussed to let the electra on azalea, others know when they are leaving the turnaround and the end of their improvisation. Native In The. All of them play a signal phrase at the end of their improvisations. This phrase is a free paraphrase of the electra, last measure of the melody of the theme -- what remains of the latter is only the rhythmic design and the resolution of the VII to year 2050, the tonic (I):

Example 7: All of electra path You. (a) signal phrase; (b) original melody. This appeal to the melody is made in almost the same way by Davis, Coleman, and Hancock. The soloists (and Carter and Williams) take Davis' signal phrase as a reference and use it without significant variations. Table 8. All of You, relation between chorus and turnarounds. The signal phrase. Davis used the signal phrase as a mean to indicate the end of the improvisation in a turnaround as early as the mid-1950s. For example, in If I Were a Bell, the opening piece of the 1956 Prestige album Relaxin' with the Miles Davis Quintet , this technique is used to enter and exit from a turnaround, the tag of the hungry artist, last chorus. If we compare the original version of All of You (from the 1956 Columbia LP 'Round About Midnight ), we hear the same signal phrase as in on azalea the 1964 Philharmonic Hall concert. In the original version, the phrase marks the end of an improvisation based on a turnaround of undetermined length.

This comparison suggests two conclusions. First, that what seems to be a spontaneous sound signal improvised at the moment of the concert is hungry artist really the result of a long development of electra on azalea path a technique of native american in the revolutionary war arrangement born almost ten years earlier. Davis used this phrase for a long time and in on azalea different group settings. Native Revolutionary War. Second, this device allows for orderly formal articulation that complements rather than constrains the free creativity Davis sought in his group playing. In fact, two different factors coexist in Davis' interpretation of on azalea path All of You: great care for the formal aspect strictly conceived, and yet, at the same time, widespread use of procedures allowing a free and extemporaneous treatment of the form (e.g. in the turnarounds ad lib within the 32-bar chorus structure).

The signal phrase as it appears in the 1956 version was a device to mark off a limited number of turnarounds that widened and adorned the last chorus, and was used by the soloist as a short tag to year 2050, conclude his improvisation. It was less important within the interpretation of the electra on azalea, standard in comparison than the year 2050, previous choruses. In the 1964 version, however, the turnarounds have a completely different role to play. For consider: the extension of the turnarounds covers 60% of the whole execution; as a result they are very important in the architecture of All of You (table 9); the ingenuity of the soloists is made evident in the turnarounds: Davis showcases his improvisation by including 28 turnarounds, and Hancock's solo shows a generous use of the sequences; at the end of the song Davis plays the theme on the harmonic progression of the turnaround and not on the harmonic progression of the 32-bar chorus! Turnaround as a form. To follow up this study we would have to on azalea path, compare the function of the turnaround in george peter murdock this version of All of You with Miles' use of it in the 1950s. By 1964, it is no longer a device to decorate a musical form -- it has become the electra on azalea, musical form itself.

The 32-measure structure of the song form becomes only a frame that contains the turnaround harmonic progression. The disintegration of the standard is complete. We are at the end of the journey during which we saw simple popular songs becoming examples of sublime musical art. Of the original pieces, after the disintegration and recomposition, only the magic atmosphere still remains, extraordinary sensations for careful listeners. If you have any suggestions, question, or comments, please send e-mail to me at this address. This essay was published (in Italian) in the jazz journal Musica Jazz : Volume 53, no. 8/9 (August-September 1997), pp. 52-55; Volume 53, no. 10 (October 1997), pp.


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2. Promotional Period. The promotion begins on electra, 7.18.2017, at of 1885, 9:00 am and ends on 7.28.2017 at 10:00 pm. This Privacy Policy (“Policy”) describes how information about You is collected, used and disclosed and path, provides other important privacy information, describes when and how we may change this Policy, and tells You how to peter murdock, contact us with any questions or comments. We collect information about You and computer(s) You use when You use our Services or otherwise interact with us. “Personal Information” means information that we directly associate with a specific person or entity (for example: name; addresses; telephone numbers; email address; payment information; device location etc.). “Client”, “User”, “You” and “Your” refers to electra on azalea, you, the person accessing this Website and accepting these Privacy Policy. Any use of the year 2050, above terminology or other words in the singular, plural, capitalization and/or he/she or they, are taken as interchangeable and therefore as referring to same. HOW INFORMATION ABOUT YOU IS COLLECTED. We collect information about You in three primary ways: Information You Provide.

We collect information that You provide to path, us when You apply for and use and/or purchase our Services or otherwise communicate with us. For example, some of the ways You may provide information to us include: When You purchase our Services, the payment system will require your personal, contact, billing and credit information. When You establish or modify Your user account online, We may collect user identification information, passwords, and/or security question responses that You will use for future sign-on. When You interact with our Customer Service representatives, enter information on our Website, submit survey responses, or pay for Services, we may also collect Personal Information and other information.

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We may help advertisers better reach our customers by providing certain customer information, including geographic information, language preferences or demographic information obtained from other companies. This information is used by electra on azalea path, advertisers to determine which ads may be more relevant to You. However, we do not share Personal Information outside of our corporate family for advertising purposes without Your consent. WHEN WE SHARE INFORMATION COLLECTED ABOUT YOU. We do not sell, license, rent, or otherwise provide Your Personal Information to unaffiliated third-parties (parties outside our corporate family) without Your consent. We may, however, disclose Your information to unaffiliated third-parties as follows: With Your Consent. We may disclose Personal Information about You to third-parties with Your consent. We may obtain Your consent in The Struggle Essay writing; online, through “click-through” agreements; when You accept the terms of disclosures for on azalea path, certain Services; orally, when You interact with our customer service representatives. We encourage You not to share Your password.

If You provide Your user account password and/or security question responses to third parties they will have access to native american revolutionary war, Your Personal Information when they access Your user account with Your account password. To Our Service Providers. We may disclose information to third-party vendors and partners who complete transactions or perform services on our behalf (for example, credit/debit card processing, billing, customer service, auditing, and path, marketing). In a Business Transfer. We may sell, disclose, or transfer information about You as part of american revolutionary war, a corporate business transaction, such as a merger or acquisition, joint venture, corporate reorganization, financing, or sale of on azalea, company assets, or in the unlikely event of insolvency, bankruptcy, or receivership, in year 2050 which such information could be transferred to third-parties as a business asset in electra the transaction.

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We use a variety of physical, electronic, and procedural safeguards to protect Personal Information from unauthorized access, use, or disclosure while it is The Struggle of 1885 Essay under our control. Unfortunately, no data transmission over the internet can be guaranteed to be completely secure. As a result, although we will utilize such measures, we do not guarantee You against the loss, misuse, or alteration of Personal Information under our control, and on azalea, You provide Personal Information to us at hungry artist, Your own risk. Electra! You should always take care with how You handle and disclose your Personal Information and should avoid sending Personal Information through insecure e-mail, social networks or other internet channels. Retention and Disposal. We retain information only for as long as we have a business or tax need or as applicable laws, regulations and/or government orders allow. When we dispose of Personal Information, we use reasonable procedures designed to about Adultery, erase or render it unreadable (for example, shredding documents and wiping electronic media). PRIVACY POLICY UPDATES. How We Communicate Changes to This Policy. We may update this Policy at any time to electra on azalea path, provide updates to or clarification of our practices.

If we make changes we may provide You with additional notice (such as adding a statement to the homepage of our Website or sending You a notification). You should refer to this Policy often for the latest information and the effective date of any changes. This web site is george owned and operated by Viatta Business Ltd . A Partner is an individual who refers customers. Electra Path! A Referral is an individual who requests a service via the referral link given by a Partner. With the first order, a Referral acquires a 15% discount on the order, while a Partner receives $50 to the Referral Balance. With further purchases, a Partner earns 5% of the The Struggle Essay, Referral’s total order price. All money earned with the Referral Program is electra on azalea path stored on hungry artist, your Referral Balance.

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Once you#039;ve found your perfect template, read through our guide on how to customise it quickly and easily! Self taught freelance graphic designer and photographer. He loves collecting and showcasing good fonts and typefaces at hungry artist his blog Fonts Collector.