9408445
Descrição
Criado por Harry Lewis
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Criado por Harry Lewis
mais de 9 anos atrás
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|
Courtney Pine - Back in the Day
- Background information
- One of the most successful British
jazz musicians of modern era
- Uses modern popular styles in fusion with
American jazz elements
- 'Lady Day' pays tribute to two great 20th century jazz
performers - Billie Holiday and John Coltrane
- Hip-hop used in this album; indicative of
Pine's more recent works
- e.g rap and turntables
- e.g rap and turntables
- Pine is a multi-instrumentalist and
mixed the album himself
- One of the most successful British
jazz musicians of modern era
- Inner State of Mind
- Structure
- Instrumental intro - distorted sample of
guitar music, one bar a cappella vocal phrase;
saxophone instrumentation
- Vocal section - voice enters with
main theme; rhythmic brass
ensemble chords
- Rap section with short improvised
saxophone links
- Second vocal section - varied vocals
which dissolve into scat singing
- Second rap - improvisation on flute before
saxophone return, occasional vocal
phrases, homorhythmic tutti link
- Third vocal section - further varied versions of
'Summertime'; long rising saxophone glissando
- Outro - long improvisation on soprano saxophone
- Instrumental intro - distorted sample of
guitar music, one bar a cappella vocal phrase;
saxophone instrumentation
- Harmony
- As in most jazz, chords based on sevenths
- Introduction alternates on two chords - Cm7 and Dm7
- They don't support the key; harmony is less functional
- They don't support the key; harmony is less functional
- Introduction alternates on two chords - Cm7 and Dm7
- First vocal section begins with just melody and bass (no chords)
- Fuller harmony returns with C7(#9) chord - common in jazz and blues, can be
interpreted as seventh chord with blue note flat third and raised third on top
- Top D# notated as Eb
- Top D# notated as Eb
- When chord sequence returns it
is C to F with 9th, 11th and 13th
extensions (common in jazz)
- This continues over second rap
- This continues over second rap
- Fuller harmony returns with C7(#9) chord - common in jazz and blues, can be
interpreted as seventh chord with blue note flat third and raised third on top
- During instrumental section there are pentatonic guitar riffs
- As in most jazz, chords based on sevenths
- Tonality
- Based on Dorian mode transposed to C,
which features minor third and minor
seventh (flat third and flat seventh)
- All notes are diatonic on the mode, except for blue not Gb
- Based on Dorian mode transposed to C,
which features minor third and minor
seventh (flat third and flat seventh)
- Structure
- Lady Day
- Structure
- Intro - turntable effects lead to fast
tempo rock thythm and scat vocals
- Verse 1 - short improvised
saxophone fills between phrases
- Verse 2 - has same music (strophic form), with additional
backing vocals; saxophone phrases includes lip vibrato
- Lip vibrato is wobbling pitch with
lips rather than breath
- Lip vibrato is wobbling pitch with
lips rather than breath
- Sax solo - pitch bend technique; very high tessitura; chromatic
scales; short slides; ends with rapid descending chromatic scale
- Coda - singer improvises; sax provides
counterpoint at much lower tessitura
- Verse repeated
- Intro - turntable effects lead to fast
tempo rock thythm and scat vocals
- Harmony
- Based roughly on 12-bar blues structure
- Standard - 4 bars I, 2 bars IV, 2
bars I, 1 bar V, 1 bar IV, 2 bars I
- Lady Day - 8 bars I, 4 bars
IV, 4 bars I, 1 bar V, 1 bar IV
- Chorus then uses chords
not in the original structure
- Standard - 4 bars I, 2 bars IV, 2
bars I, 1 bar V, 1 bar IV, 2 bars I
- 12-bar blues chords are extended (C7#9) etc.
- Harmony altered during sax solo to form new four-chord sequence
featuring Eb9 (Eb7 with F on top) and G+7 (G7 chord with aug. 5th)
- During coda whole tonality shifts up a semitone and back down again,
before falling into IV (F) V (G) I (C) with ninths ostinato
- Based roughly on 12-bar blues structure
- Structure
- Love and Affection
- Structure
- Beginning - rubato time with no percussion; silence for 2.5 beats;
rock rhythms start and bass riff (gently syncopated starts)
- Main section - bass riff continues with vocal phrases
- Middle eight with changed harmonies
- Main section 2 - bass riff returns with hook on
version of title words; new four bar link with
descending harmonies
- Sax solo begins with
crescendo on long note
- Title hook returns over bass riff; texture
becomes more polyphonic; voice and saxophone
improvise over rhythm section chords
- New descending synthesised string section
passage; sax solo joins in with free improvisation
- Beginning - rubato time with no percussion; silence for 2.5 beats;
rock rhythms start and bass riff (gently syncopated starts)
- Harmony and tonality
- Beginning - harmony relatively free; moving around chords contained
in E scale but never E itself; rising bass line E-G#-A-B riff; with
alterations such as slash chord on G# and added fourth on E
- After this harmony is relatively functional
- After this harmony is relatively functional
- Middle eight - contrasting section starting with subdominant A; as with most
middle eights dominant is last chord which leads back to tonic
- Main section 2 - four bar link where harmonies descend
chromatically; voice has range of blue notes
- Backing singers end song on paused
tonic chord (three-part)
- Beginning - harmony relatively free; moving around chords contained
in E scale but never E itself; rising bass line E-G#-A-B riff; with
alterations such as slash chord on G# and added fourth on E
- Structure
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