Fwd: Re: [Harp-L] Miles Davis - Kind of Blue on the harp

["Winslow Yerxa" <winslowyerxa@xxxxxxxxx>]

Another important point about the chord progression in All Blues (by 
the way, this was far from being Miles' first recording; it's 
something like 10 years into his recording career, which started in 
the mid-'40s with Charlie Parker):

All Blues does not change chords from I to IV (G to C) like most 12-
bar blues. INSTEAD IT CHANGES MODE FROM MIXOLYDIAN TO DORIAN.

I use capital letters because many people do not pick up on this 
point, which is essential both to the character of this tune in 
particular and Miles' approach in general at that time.

So, where the initial G chord plays, the scale is the G mixolydian 
scale. Where the IV or C chord would normally come, the bass player 
does not go to C - he stays on G. The scale shifts to G dorian. G 
dorian is the same note set as C mixolydian, so this modal shift 
hints at changing to a C chord without actually doing so.

The first time the chord changes is when it finally goes to te V (D) 
chord in the ninth measure. Instead of going from V (D) to IV (C) as 
many non-jazz blues progressions will, it substitutes a move to Eb 
(bVI), then back to D (V) in the space that might otherwise be a C 
chord, before going back to the G chord.

If you're thinking of arranging the melody in harmonized lines, 
another important characterstic of that style is voicing in fourths. 
Instead of voicing the notes so that they add up to a triad that can 
be compacted into a stack of thirds (G = G-B-D, C = C-E-G, etc.) 
voice so that each voice is a fourth apart.

For instance, the first sustained note of the tune is B. 
Conventionally,  you could voice this with B on top, G, below that 
and maybe D below that. A more charqacteristic way would be to have B 
on top, then F, the C below that. A little later when the melody goes 
B-C-D-C-B, the notes under C and G and D, and under D the notes are A 
and E. Try moving this voicing up and down on a keyboard and you'll 
hear the effect it creates.

Having said all that, if you listen to the separate harmonized line 
that Coltrane and Cannonball play behind Miles' melody, it's voiced 
in thirds and not fourths (this may be what Larry was referring to in 
the arrangement he did for SPAH 98). Doesn't mean you shouldn't work 
with fourths anyway; it's something very important to explore in jazz 
from that period forward.

Winslow


--- In harp-l-archives@xxxxxxxxxxxxxxx, icemanle@... wrote:

This is a great tune. I transcribed the 3 horn parts and taught 2 of 
them to Joe Filisko and Grant Dermody. The three of us performed this 
song along with a rhythm section at the SPAH 98 Blues Blow Off, which 
is captured on the video set recorded that evening. This footage may 
give you some ideas or insight into "All Blues".
 
It's basically a 12 bar blues with a different time signature. When 
you get to the V chord, it is played as a +9 and modulates up and 
down 1/2 step (turning into a 9 chord on the modulation up only).
 
Studying Miles Davis will give you a wonderful music education.
 
The Iceman
 
-----Original Message-----
From: James <wasabileo@...>



Folks: I am sure everyone has heard Miles Davis 1st recordings: Kind 
of Blue. There are some incredible muted work that sounds like it 
could work on the harp. 
One tune: All Blues I have been working on some ideas but I dont have 
it yet. This is where the ideas and techniques of Richard Hunter, 
Robert Bonfiglio and Howard Levy have great application. 
Anyone have ideas" 
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