Miles Davis-Trumpet (1)

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<p>LES A STEP-BY-STEP BREAKDOWN OF THE TRUMPET STYLES AND TECHNIQUES OF A JAZZ INNOVATOR</p><p>CONTENTS Page Title CD Track 5 Introduction 8 The Recording 9 Autumn Leaves 1 12 Billie's Bounce (Bill's Bounce) 2 14 Bitches Brew 3 17 Boplicity (Be Bop Lives) 4 19 Bye Bye Blackbird 5 21 E.S.P. 6 25 Freddie Freeloader 7 27 Jeru 8 30 Milestones 9 33 My Funny Valentine 10 35 So What 11 37 Stella by Starlight 12 39 Trumpet Notation Legend</p><p>AUTUMN LEAVES (Somethin' Else, 1958) English lyric by Johnny Mercer French lyric by Jacques Prevert Music by Joseph Kosma The reissued 1958 Cannonball Adderley album, Somethin' Else, features an all- star lineup including Miles Davis, Hank Jones, Sam Jones, and Art Blakey. The first track "Autumn Leaves" certainly "leaves" the listener enthralled and mystified by the Man with the Horn's tasteful and deeply expressive playing. One can almost hear Kind of Blue com- ing just around the corner. Miles's articulation, phrasing, and tone practically require a new notational system to accurately portray the numerous subtle nuances. As you read through the accompany- ing transcription of this timeless jazz standard, take careful note of the many varying artic- ulations employed by Mr. Davis. Armed with a Harmon mute, likely his most recognizable accoutrement (besides the afro and wah-wah pedal of his seventies excursions-see "Bitches Brew"), his mournful tone is lightly embellished with the tasteful use of vibrato, lip bends, gentle decrescendos, surprising accents, and an overall timbre manipulation that goes from thin and shrill to thick and breathy. His phrases are interspersed with an ample usage of space, allowing the groove to breathe and flow, and his very laidback rhythmic feel almost drags behind by a full beat at times, yet still feels right, and only adds to the cool groove of his post-bop brilliance. The bass and piano begin with an A Dorian-derived intro vamp with alternating long and short notes setting the character of the head. Miles begins the journey with the ensemble harmonizing a whole-note arch into the head. Notice the subterranean quality of the 13th in measure 16. This perfect note choice also includes a slight bend that serves to darken the eerie timbre while creating a tension that is released soon after. As Miles returns to the melody with a short, accented 3rd on the downbeat of measure 18, he returns to the long-short alternation style with staccato diatonic notes in measure 19 followed by slurred sixteenth-note contours in measures 20-22. As they "head" into the B section, notice the large amount of contrast provided by Miles with his relatively long legato phrase in measures 25-27, followed by more long and short alternations in mea- sures 29-31. Dynamics play a large role as the head closes; check out measure 31 with its octave leap on the root note (G), giving the listener a nice slap in the face as Miles takes us up to forte, until the kindly decrescendo starting in measure 39 moves us into the solo. Miles's solo starts at measure 42 with notes from C major pentatonic (C-D-E- G-A) and includes an anticipation of Fmaj7 in measure 44. Notice how he hangs on the E note over the chord changes in measures 41-45, a distinctive Miles convention. Following this E on its little adventure as a morphing chord tone, we can see that it goes from 5th to 9th to 13th to 3rd to 7th. The 13th is again featured over the Am7 in mea- sure 48, and the 11th gets all of measure 50. The 11th is again targeted in measure 58 and, after a pinched to the minor 3rd of A minor is anticipated in measure 59. Beat 3 of measure 62 through measure 64 draws again from C major pentatonic. Lip bends ornament measures 66-67, and laid-back phrasing plus short/long articulations are heard in measures 68-69. The groove is resumed at the end with the quarter notes of measures 70-71. Intro Laid-back Jazz Groove = 110 1 Full Band N.C. 1 (Bass and Piano) Play 4 times Trp. w/ Harmon mute mp 1947, 1950 (Renewed) ENOCH ET CIE Sole Selling Agent for U.S. and Canada: MORLEY MUSIC CO., by agreement with ENOCH ET CIE All Rights Reserved 9</p><p>A Head Dm7 G7 12 mf Fmaj7 Bm7b5 E7 17 Cmaj7 Am7 Dm7 G7 Cmaj7 21 *Played behind the beat. Fmaj7 Bm7b5 26 E7 Am7 B 26 Bm7b5 E7 Am7 Dm7 G7 30 Cmaj7 Fmaj7 *Played behind the beat. 34 Bm7b5 E7 Am7 37 Bm7b5 E7 Am7 10</p><p>Solo Dm7 G7 41 Cmaj7 45 Fmaj7 Bm7b5 E7 Am7 mp A7 Dm7 G7 49 Cmaj7 3 53 Fmaj7 Bm7b5 E7 Am7 mf Bm7b5 E7 Am7 57 mp Dm7 G7 Cmaj7 61 mf Fmaj7 Bm7b5 E7 Am7 65 mf 69 Bm7b5 E7 Am7 11</p><p>BILLIE'S BOUNCE (BILL'S BOUNCE) (Young Miles, Volume 1, 1945) By Charlie Parker his five-decade career in the 1940's playing with and Parker's learning from of Miles the greatest began jazz musicians in history. He was a member of Charlie group some 1945-48, during which time he performed primarily with the likes of Dizzy Gillespie, a from Max Roach, and "Bird" himself. Together they recorded this version of "Billie's Bounce," bebop blues in G (F concert). This collaboration with "Bird" and Dizzy also created oppor- tunities for young Miles to jam with many other incredible players, including Thelonious Monk, Coleman Hawkins, and Bud Powell, to name a few. Miles undeniably learned a lot during this period and later went on to often surround himself with monster players-a trend that continued throughout his entire career. The catchy head to this jazz classic contains the requisite long-short articulations often associated with bebop. Listen for the triplet flips (or turns) added in on the second and fourth passes through the head. These occur within the syncopated motif (G-E-G) occurring at the start and end of the head, measures 1-4 and 11-12. The legato flip is punctuated with a nice staccato "bop" on the G, almost literally enunciating the genre. In measure 15 of the solo Miles switches from #9 (b3) to major 3rd. There is a sim- ilar device in measure 17 (suspended 4th alternating with major 3rd). A and (a tritone leap to) are featured in measure 22. In measure 23 there is a repeating figure (b5 to with an expressive crescendo, which overlaps into the start of the second chorus. Note the half-step device again (3rd to sus4th, 9th to #9) in measure 25. Measure 23 also marks the start of Miles's use of an even-eighth-note feel, which he continues to employ for the rest of the solo. This creates a subtle but poignant change in his phrasing style, separat- ing the solo into two distinct sections. The syncopated idea in measures 27-28 goes across the bar line arriving on beat 2. In measure 30, D7 is implied for a strong back to G7 in measure 31 (even though the chord for measure 30 is C7). Measure 32 features an implied substitution-B7 to E7. 2 Full Band Head Medium Swing G7 C7 G7 4 C7 7 G7 Bm7 E7 Am7 12 Copyright All Rights for the World excluding International the 1945 U.S. Copyright (Renewed Controlled Secured and 1973) Administered All Atlantic Music by Corp. Screen Gems-EMI Music Inc. Rights Reserved</p><p>To Coda D7 10 Bm7 E7 Am7 D7 (1st and 3rd times only) Solo 1st Chorus 13 G6 G6 16 C13#11 19 G6 Am7 22 D7#9 G D7 mp f 2nd Chorus 25 G6 C7 G6 28 G7 G7 E7b9 Am7 D7b9 32 D.S. al Coda Coda (take repeat) G G6 35 mf 13</p><p>BITCHES BREW (Bitches Brew, 1969) By Miles Davis "Bitches" ushered in a decade of experimentation was at the in forefront which jazz, of Released in 1970, music were freely combined. Typically, Miles lead their bands rock, Latin, and funk as were his sidemen, many of whom went on to own the (Herbie new Hancock, movement, Wayne Shorter, Chick Corea, and John McLaughlin). approach to direction in music involved a much different performance his and The new Miles shaped this new and colorful landscape by often directing while still retain- ses- improvisation. with call-and-response tactics, telling his players to mimic his lines and sions their own individual voices. Gone were the traditional jazz forms heads, and now dis- ing replaced with thick funk grooves and polyphonic improvisation. The swirling chaos for sonance that ensued was anchored by deep, repetitive rhythm and vague tonal centers the players to dance around in limitless improvisation. Indeed free jazz had already been explored extensively in the '60s, but Miles managed yet again to make it an accessible place to visit, instead of an unpleasant one. Miles takes a much different approach to tone and technique in this realm as well. Notice the highly dramatic changes in dynamics and articulation that he employs through- out. Volume swells occur almost constantly, marked with wailing legato lines and short, shrill accents. Completely absent is his trademark vibrato, here replaced with a banshee wail that gradually undulates in pitch. Rhythm becomes more crucial than pitch for a mix of funk and non-Western harmony. This title cut finds Miles in an electronic environment including echo, wah wah, electric keyboards, and guitar. His rubato introduction opens with repeated notes (Ds, many of which are a quarter tone flat) alternating with high Bbs that bend up. It also involves shifts from major to minor (F# to and use of the to invoke D natural minor). After a funky bass ostinato (repeated line) is established, Miles returns with some of the previous ideas and devices. In addition, there are suggestions of C major (measures 6-7), (measures 9-10), the supertonic chord) E major (beat 1, measure 15), C# major (beat 2, measure 15), B major (beat 3, measure 17), Bb minor (measure 20) and major (measure 27). Several more minor/major shifts occur in measures 10, 18, 20, 27-29, and 40. In measure 40, the blues are invoked with the #9th, 3rd, and a targeted 65th (Ab) on beat 3. There is a D minor outline in measure 45. The run in measures 49-50 reinforces the solo's D Aeolian preoccupation on the way to more 3rd, and #9th blue notes. Another section's run in measures 58-59 conjures Bb major (with chromatic passing tones). At the in close, a bluesy D minor motif in measure 61 is inverted and recast in D Lydian measure 62, returning to its original form at the end of the phrase in measure 63. Intro Quasi Rubato 3 Full Band 1 (Ensemble) N.C.(D) Trp. w/ echo ff (Ensemble) ff 14 All Rights Copyright 1969 Jazz Horn Music Administered International by Sony/ATV Music Publishing, Secured Renewed 8 Music Square West, Nashville. Copyright Copyright</p><p>Solo Jazz Rock (Bass) D C# C C# 2 N.C.(D) Trp. 6 mp 11 ff 15 18 mf mf 22 mp 26 30 be mp mf 33 mf 15</p><p>37 40 44 48 ff 3 51 mf 55 58 be mp 6 60 Fade ou Open Vamp mf mf mf 16</p><p>BOPLICITY (BE BOP LIVES) (Birth of the Cool, 1949) By Miles Davis and Gil Evans "Boplicity" (recorded in 1949) was released on the influential 1957 Miles Davis LP, Birth of the Cool. It is one of a series of nonet arrangements by Gil Evans and also fea- tures Gerry Mulligan (baritone sax) and John Lewis (piano), among notable others. The solo at measure 34 starts in the second measure of the AABA form with D major scale material for Am7/D (D9sus4). Straight away he uses an even-eighth-note feel, establishing an individuality to his phrasing that stands out well against the head and the rest of the ensemble. He alternates between a swing and straight feel throughout the solo, all the while coloring with his exquisite breathy-but-light tone. There is a nice ii-V-I in C using the #5 and b9 (for G7) in the second half of measure 36. Miles descends chromati- cally into, and through, the Abmaj7 on beat 1, measure 39. He continues with a D Lydian b7 (tritone substitution) treatment and finishes the measure with encircling (upper and lower) chromatic neighbors into the major 7th of G at the downbeat of measure 40. More use of chromatic neighbors follows, as the lower E# precedes another major 7th (into beat 4), and the suspended 4th (C) sets up the 3rd (B) at the downbeat of measure 41. After another in C in measure 44, Miles stays with C over the on beat 3 of measure 45. In measure 46, E7 gets a b9 treatment (F on the "and" of beat 3). Notice the encircling chromatic neighbors setting up the Ab (3rd of E7). A Gsus4 configuration (for Am7) plus a lower chromatic neighbor (A#) to the 13th (B) of D7 work through measure 47 to arrive at the 9th of G major in measure 48. The entire two-measure sequence (measures 47-48) can be interpreted as G major with use of a #9 (the A#) and a Bsus4 outline (extractable from G major) to finish. A Head Moderately = 134 ( 4 Full Band 1 N.C. 4 7 11 14 Copyright 1949 Jazz Horn Music and Bopper Spock Suns Music Copyright Renewed All Rights on behalf of Jazz Horn Music Administered by Sony/ATV Music Publishing, 8 Music Square West, Nashville, TN 37203 International Copyright Secured All Rights Reserved 17</p><p>21 3 A 25 28 3 Solo G Am7 31 even eighths 3 f 3 Dm7 #5 Cmaj7 C6 35 3 3 Am7 Abmaj7 G 38 even eighths G 41 Am7 D7b9 G Em9 Dm9 #5 C G E7 45 even eighths Am7 D7b9 G D.S. al Coda even eighths 3 Coda 49 53 18</p><p>BYE BYE BLACKBIRD ('Round About Midnight, 1955) from PETE KELLY'S BLUES Lyric by Mort Dixon Music by Ray Henderson Miles's very personal and distinctive Harmon mute playing is showcased here, along with laid-back phrasing and unique articulation choices. His elegant vibrato is ever- present in this tune, often very subtle, light, and expressive. Notice how it usually arrives at the tail end of held tones, a gentle whisper as the blackbird disappears from view. The solo starts with a descending E minor arpeggio idea (measures 9-13) and continues with a focused C# (9th of Bm7) becoming the 13th of E7. Measure 18 gets an anticipated A minor treatment, and all the notes in measures 21-23 are derived from G major (with bluesy #9 grace notes). The G major treatment continues, superimposed over the chords of measures 25-26, but the E diminished half step/whole step scale contains all the notes of measures 27-28. There is more G blues in measures 33-35, utilizing a #9 grace note and also the major 3rd, in measure 33, shifting to the 4th (C), and 5th (D) in measure 34. A prominent suspended 4th resolves to the major 3rd in measure 38, and the final two measures of the first chorus are all derived from Gmaj7. Head Medium Swing J= 122 5 Full Band Gmaj7 Bm7 E7 Am7 w/ Harmon mute Solo D7 Gmaj7 Gmaj7 6 mf 11 Bm7 E7 Am7 D7 Am7 D7 Am7 16 20 D7 Am7 D7 Gmaj7 E7 Bm7 E7 Bm7 25 All extended term administered by Fred Ahlert Music Corporation on behalf behalf of of Olde Ray Henderson Clover Leaf Music Copyright 1926 (Renewed 1953) rights All for rights the for the extended term administered by Ray Henderson Music Reserved on International Copyright Secured All Rights 19</p><p>Cm7 F7 Am7 D7 Am7 29 mf Bm7b5 E7 Gmaj7 33 mf Gmaj7 Am7 D7 D7 Am7 37 mf 41 Gmaj7 45 Bm7 E7 Am7 D7 49 Am7 D7 Am7 D7 3 53 Am7 D7 Gmaj7 Bm7 E7 57 Bm7 E7 mf 61 Am7 D7 Cm7 F7 Am7 D7 3 3 3 65 Gmaj7 Bm7b5 E7 69 Am7 D7 Gmaj7 Am7 D7 20</p><p>E.S.P. (E.S.P., 1965) By Wayne Shorter Miles recorded "E.S.P." on the 1965 LP of the same name. The LP contained orig- like this interesting tune, by the group's saxophonist Wayne Shorter, which utilizes perfect 4th intervals and chromatic harmonic movement. The rhythm section was Herbie Hancock, Tony Williams, and Ron Carter. The chord progression of "E.S.P." shifts by half-step increments, creating a very chromatic-based feel. Add to that a blistering tempo of 284 bpm, and you've got an elixir undulating tone flurries, which Miles shapes in many varied and interesting ways. It's also a treat to hear him play so fast, since his typical vehicle of improvisation involves a laid-back feel within medium to slow tempos. The articulations are interesting here, as always; note his tonguing choices within the eighth-note runs throughout-sometimes fully slurred, while others include random tonguing attacks, and yet elsewhere he'll add in the occasional staccato interruption. The chromatic tone choices mixed with these expressive articulations create a frantic speech-like quality. Measures 21-36 utilize the F# symmetrical diminished (half step/whole step ascending) scale featuring a recurring and displaced four-note idea. A tritone substitute treatment occurs in measure 36. In measure 39 a short reference to the opening idea leads to playful alterations between the #9th (b3rd) and major 3rd in measure 40. Interlocking upper and lower chromatic neighbors cascade through measures 51 and 52, causing another b3rd to major 3rd shift over the Gmaj7 in measure 52. The F major scale is superimposed in measures 53-54, anticipating the harmony of measures 59-60. In measure 62, Bm (the iii chord) is superimposed with its tritone-related F scale preceding by two beats in measure 65. Another major 3rd to b3rd switch occurs in mea- sure 70, and F Lydian (F-G-A-B-C-D-E) appears in measure 75. In measures 85-89 Miles again uses a four-note idea for F#7 and Gmaj7. He returns to his original (opening) four-note idea in measures 93-94, this time for the progression. The III chord, B major, is again suggested for A7 in beats 3 and 4 of measure 98 (yielding the 13th and and the (Eb) of D7 is anticipated in measure 99. There is a G major substitute (for F:7) in measure 101 and a Bb substitute (for Gmaj7) in measures 102-104. In measure 115, an F6 flourish leads up dramatically to the 13th (E#) of Head Fast Swing = 284 6 Full Band 1 Gmaj7 mf 5 E7#9 F#7#9 Gmaj7 Fmaj7 Fmaj7 1. 13 Am Em Copyright 1965 MIYAKO MUSIC Copyright Renewed All Rights Administered by IRVING MUSIC, INC. All Rights Reserved Used by Permission 21</p><p>2. Eb7#11 Am Ebm Gmaj7 17 Solo 21 F#7#9 Gmaj7 mf 25 F#7#9 Fmaj7 E7 F7 29 F#7 Gmaj7 Em7 A7 33 Am7 G#7 F#7#9 37 Gmaj7 mf F#7#9 41 Fmaj7 5 ff E7 F7 F#7 45 Gmaj7 # 22</p><p>Eb7 D7 G7 (G#7) Gmaj7 49 2nd Chorus F#7#9 Gmaj7 53 mp 57 F#7#9 Fmaj7 mp E7 F7 61 Gmaj7 mf Em7 A7 Am7 G#7 65 F#7#9 Gmaj7 69 73 F#7#9 Fmaj7 Gmaj7 E7 F7 77 G#7 Gmaj7 Eb7 Am7 81 23</p><p>Gmaj7 F#7#9 85 mf mf F#7#9 Fmaj7 89 93 E7 F7 F#7 Gmaj7 Em7 A7 Am7 97 100 D7 F#7#9 Gmaj7 F#7#9 Fmaj7 104 108 E7 F7 F#7 Gmaj7 Eb7 D.C. and Fade out D7 G#7 112 Gmaj7 b ff 24</p><p>FREDDIE of Blue, FREELOADER (Kind 1959) By Miles Davis "Freddie blues Freeloader," in which the from last the 1959 landmark recording, Kind of Blue, is (concert Bb) two measures of the form have instead a 12-bar ing to the I (tonic) chord. This is Miles at the peak of his cool jazz period, of return- all-star lineup of John blues Coltrane, Cannonball Adderley, Bill Evans, Paul Chambers, playing with his Jimmy Cobb. His feel is impeccable here, and sheathed brilliantly within this and form. Subtle blues inflections are everywhere; check out his tasteful use of jazz and vibrato. Also pay heed to his masterful control of the swing feel. Sometimes scoops, the falls, feel is in full "swing," yet elsewhere he reverts to a completely even-eighth-note rhythm style. Somewhere in between these two extremes he also manages to sit way back on the beat without creating too much of a dragging effect. Miles's solo makes good use of space (measures 16, 23, 30-31, etc.) as well as his very particular mixed (long/short) articulation approach. The melodic tritone from the 67th to the major 3rd in measure 20 is a signature motif in this solo. Notice the outline of the upper portion of in measure 26 (b7th, 9th, #11th, and 13th) via an arpeggio. There is an anticipation of the F7 in measure 32. Notice the pinched tone (with scoop) on the first beat of measure 36 and the modal arpeggio (C Mixolydian) into mea- sure 40 (yields the 4th, F, on beat 1). In measure 42, the 3rd to 7th motif returns, as well as in measure 44. An anticipa- tion of C7 in measure 45 is followed by a large space in measures 46-47. In measure 48, there is a G major to C major superimposition for the G7 chord, and in measure 49 there is a corresponding F major to Bb major (I to IV) treatment for F7. Miles anticipates the C7 in measure 52 a measure early by means of an F blues riff that contains the notes of C Mixolydian and yields the 13th (A) of C7 in measure 52-deceptive- ly simple! More tritone motifs (measures 56 and 57) and an anticipation of F7 (measure 59) occur, followed by another outline (measures 61-62) to close the fourth chorus. 7 Full Band Head Moderately = 1 F7 1. G7 F7 Bb7 C7 Solo 2. C7 13 F7 C7 C7 F7 18 Copyright 1959 Renewed Jazz Horn Music 37203 All Rights Administered Sony/ATV Copyright Music Copyright Publishing, Secured 8 All Music Rights Square Reserved West, Nashville, TN 25</p><p>Bb7 F7 G7 23 even eighths C7 28 even eighths mf 32 F5 C7 mf 36 G7 F7 Bb7 even eighths C7 even eighths- 40 44 F7 C7 mf 48 G7 F7 Bb7 be C7 52 56 F7 60 G7 F7 Bb7 C7 26</p><p>JERU (Birth of the Cool, 1949) By Gerry Mulligan "Jeru" is another Gil Evans-arranged nonet track from the Birth of the Cool LP. The a mixed-meter bridge and an irregular measure count (e.g., an extra mea- sure in the section of the AABA form), but the solo form is a more standard thirty-two measures in 4/4 time. Miles starts his solo with an after-beat climb up F Mixolydian C-D-Eb) in measure 38. Characteristically, he leaves space (measures 42-43) and fin- first eight-measure section with an oscillating figure in F major (root and 2nd). two-note idea is extended into the start (measure 46) of the next eight-measure sec- tion. Most of those eight measures (measures 46-53) are from the F Mixolydian scale, with some use of the (Db) in measures 47 and 52. In the bridge he starts with a high, Dizzy-like spurt (measure 54) and uses the B diminished half step/whole step scale for the B7 chord change (measure 55). The two-note idea returns in measures 56 and 57, and measure 61 is handled like C7 with use of the and The F Lydian mode (F-G-A-B-C-D-E) starts the final eight-measure section (measure 62), and F major promptly ensues through measure 64. The B half step/whole step scale is again used for B7 in measure 66 (in fact, for the entire progres- sion). Measure 67 gets a Bb major treatment with chromatic passing tones, and the final two solo measures are derived from F major (with a Gm7 to C7 riff at the end). A Head 8 Full Band Medium Swing = 180 F Cm B7 Bb A7b9 Dm7 G7 #5 C#7b5 F#m7b5 B7b5 Bbm6 E7#9 Gm7 F Cm B7 7 F7#9 F#7#9 Gm7 Emaj7 G7 Gm7 C#7b5 10 Bb b9 Dm7 F#7#9 E7#9 13 F#m7b5 B7b5 Bbm6 MUSIC CORP. 27 (Renewed 1982) Used by Permission 1954 All</p><p>B Emaj7#9 Cm7 C#m7 Dm7 Ebmaj7 Cm7 F#m7 Emaj7 16 Gm7 be Dmaj7 #5 Amaj7 Bb6 C6 19 C#maj7 B13 Bbm7 Em7 Eb7#9 Am7b5 Ab7 24 f A 28 F#m7 F#7 F Cm B7 Bb mf 31 Dm7 G7 Gm7 C#7b5 F#m7b5 B7b5 34 Bbm6 E7#9 F7#9 F#7#9 Gm7 Solo 37 Emaj7 Gmaj7 Am7 G#m7#5 F7 B7b5 Bb7 A+7 f 40 Dm7 G+7 Gm7 F#9b5 F#m7b5 B7 28</p><p>B°7 Bbmaj7 Am7 Abm7 43 Gm7 F#m7b5 B7b5 Cm7 Bb7 A+7 46 Dm7 G7 mp mf 3 F#9b5 49 Gm7 F#m7b5 B7 Bb B°7 Am7 Abm7 Gm7 F#7 Cm7 F#m7 B7 52 3 56 Bb Bbm7 Em7 A7 Am7 Abm7 Gm7 F#7 59 3 62 F Bb7 A+7 Dm7 G+7 Gm7 F#9b5 66 F#m7b5 B7 Bb B°7 Am7 Abm7 3 Cm7 Bb 69 Gm7 F#m7b5 F Abm7 Gm7 F#7 Dm7 Gm7 Bbm7 Am7 73 rit. mp 29</p><p>MILESTONES (Milestones, 1958) By Miles Davis Miles recorded this title cut on his 1958 LP with John Coltrane, Cannonball Adderley, Red Garland, Paul Chambers, and Philly Joe Jones. Miles's light tone is a signature sound of the "cool" style; also, his phrasing is very relaxed. Notice the frequent appearance of quarter-note triplet rhythms (measures 50-58) and short note articulations (measure 58). There is nice use of the #11 in measures 46-47 via a partial B major chord) scale. E Mixolydian the prominent mode of the tune, is anticipated in measure 64. In measures 73-80, Miles outlines the upper extensions (9, 11, and 13) of D9sus4 and then comes down through the chord tones of Gmaj9 (9, 7, 5, 3). Here he also begins a series of half-valve scoops on the high B notes, jarring the listener to attention before descending back to the quieter legato phrasings. The 13th (B) is featured in measures 81-83 with a lower chromatic neighbor pivot tone (A#). There is an interesting F Lydian substitution in measures 85-86. In mea- sures 89-101, the laid back phrasing (for the B minor bridge) has a free, almost dream- like, quality. Check out the half-valving he does in measure 91, adding an eerie timbre to the proceedings. The eighth-note groove is restored in measures 103-104, and there is a final laid back phrase in measures 110-111. A Head 9 Full Band Fast Swing J=252 1 Am B 6 Gmaj7 N.C.(Bm) 11 17 A 23 Am 28 Gmaj7 30 All Rights Reserved 1948 (Renewed 1976) SCREEN GEMS-EMI MUSIC INC. International Copyright Secured Used by Permission</p><p>Solo 33 D9sus4 37 Gmaj7 7 mp 41 D9sus4 45 Gmaj7 mf 49 Bm9 mf 3 53 mp 57 3 3 mp mf 61 65 D9sus4 # Gmaj7 69 31</p><p>73 D9sus4 Gmaj7 77 mp D9sus4 81 85 Gmaj7 mf 89 Bm9 * Half-valve 3 93 97 mp 101 mp 105 D9sus4 mf 110 Gmaj7 D9sus4 Fade out mp 32</p><p>MY FUNNY Valentine, VALENTINE (My Funny 1965) BABES IN ARMS by Lorenz Hart Music by Richard Rodgers Miles recorded "My Funny Valentine" several times, including the 1965 LP of Carter, and Tony Williams, plus George Coleman on tenor sax. name. That recording featured the elite rhythm section of Herbie Hancock, Ron the The head is both a deconstruction and embellishment of the Richard Rodgers melody. After an initial thematic statement (measures 1-4), runs and spurts interact with fragments of the original melodic material (measures 5-8 and 11-12). The bridge is cially rhapsodic, deviating almost completely from the theme. The final section of the espe- 32- measure (AABA plus extension) form refers to the melody in measures 25-26, and again in measures 31-32 (albeit with a fragment from the bridge's theme). The closing cadenza contains an implied chord pro- gression from the high Eb to the F at the first fermata. Stylistically, Miles uses a fat, breathy tone throughout, with little vibrato. Dynamics play a big role in his expression, as well as a large amount of legato slurring. There are numerous valve scoops, including a subtle emboucher plop in measure 21. Miles exhibits great control and restraint in measure 25 as he scoops up to the high D note while retain- ing an even volume-a difficult feat for any trumpet player when considering the need for ample breath support in the higher range and the inevitable increase in volume that occurs as a result. A Head 10 Full Band Ballad = 62 1 Dm7 Bb7 A7 Dm7 mp 4 G7 Bbmaj7 7 Gm7 Em7b A7 Dm7 G7 Bb7 A7 Dm7 10 mf Am7 D7 Gm7 Bbmaj7 Bm7 E7 13 mf Copyright 1937 (Renewed) by Controlled Chappell by & Co. Williamson Music and Term in the U.S. Rights for Extended Renewal Corp. o/b/o The Estate Of Lorenz Reserved Hart 33 the International WB Music Copyright Secured All Rights</p><p>B C7 Fmaj7 Gm7 Am7 Gm7 16 mp Fmaj7 Gm7 Am7 Gm7 Fmaj7 Em7b5 A7 19 b mf Dm7 Db7 Cm7 F7 Em7b5 A7 22 mf mp mf A Dm7 Bb7 A7 Dm7 25 G7 Bbmaj7 Em7b5 A7 Dm7 Db7 28 Cm7 F7 Bbmaj7 Am7 G#07 32 Cadenza Rubato Gm7 C7 34 mf A Tempo 35 F Bb F Bb F Bb F Bb F 36 Bb Fmaj7 rit. mp 34</p><p>WHAT (Kind of Blue, 1959) By Miles Davis 1959 Kind Specifically, two modes, D Dorian is a hallmark of The modal of Blue approach recording. in the composition and solos of "So What" pitch), fill a 32-measure form, in which the latter mode occupies and the bridge Dorian (measures (concert 17-24). Miles starts 6th, CI, makes working its first five-note melodic idea through the first five response for- After bassist his solo Paul Chambers a states the head in a call and (group) (measure 30). appears in measure 37 and reverts Dorian The raised (major) 7th appearance in the sixth measure of the first measures. chorus mode's normal in measure 39. In measures 41-42 Miles suggests Eb to the Dorian and major 7 alternate playfully in measure 47, and Em7 mode is major triads (with passing The tones), both of which can be extracted from the F major Dorian and Ab anticipated in the second half of measure 48. 11 Full Band Head Medium Swing = 140 (Bass) N.C.(Em7) * Key signature denotes E Dorian. mf 9 N.C.(Fm7) 13 17 N.C.(Em7) Copyright 1959 Jazz Horn Music Renewed TN 37203 All Rights Administered Sony/ATV Copyright Music Copyright Publishing, Secured 8 All Music Rights Square Reserved West, Nashville, 35</p><p>21 Solo 25 Em7 29 33 Em7 mf 37 41 Fm7 44 47 Em7 mf 50 54 Repeat and fade 36</p><p>STELLA 1958) BY STARLIGHT (58 the Paramount Picture THE UNINVITED by Ned Washington Music by Victor Young Although not recorded is here, Miles's interpretation of "Stella by Starlight" on the album the also worth checking out. In that version, after an initial Cmaj7 (tonic) three-note start, opening run proceeds chromatically to the first note of Victor famous melody. The rubato theme proceeds with space and some embellishment, and theme advances in half time (two measures for every measure chord change). In this recording, from the 58 Miles album, Miles uses a Harmon mute throughout, and states the head quietly with many subtle touches. Here we see him employ a variety of characteristic techniques. In measures 3 and 11, slight bends are added to the held tones, warped just enough to add a touch of character to the pitches. Scoops and falls are used generously; note the exaggerated scoop to C in measure 4 followed by a long con- trolled fall into the A of measure 5. This moment is accentuated by the volume swell he adds to the phrase. Vibrato is also used liberally, yet with much subtlety, often coloring only the tail ends of tones. Miles starts his solo proper at measure 33 with a trill constructed with the first two notes (C and B) from the tune's melody and extends the idea through three measures (measures 33-35), slowing it down by half in measure 37. Measure 42 gets a B7 treatment with and #9 into Em7 (V-i harmonic motion). Measure 45 climbs up chromatically, and then measure 46 continues diatonically (E minor) to the #5th of B7. There is an F: major outline in measure 50, which yields the 13th 3rd (C#), and b9th (A: or Bb) of A. Head Medium Swing = 128 12 Full Band F#m7b5 B7 Dm7 G7 1 w/ Harmon mute mf mp 5 Gm7 C7 Fmaj7 Bb7 mp Cmaj7 F#m7b5 B7 Em7 A7 13 Dm7 G7 B7 17 A7 Dm7 21 Bb7 Cmaj7 Copyright 1946 (Renewed 1973, 1974) by Famous Reserved Music LLC 37 International Copyright Secured All Rights</p><p>Em7b5 A7 F#m7b5 B7 25 mf mp 29 Dm7b5 G7 Cmaj7 Solo F#m7b5 B7 33 mp 35 Dm7 G7 Gm7 38 C7 Fmaj7 Bb7 Cmaj7 mp mp F#m7b5 B7 Em7 A7 42 mf 45 Gmaj7 F#m7b5 B7 Bm7b5 E7 mp 49 A7 Dm7 53 Bb7 Cmaj7 57 F#m7b5 Em7b5 A7 mp f 61 Dm7b5 G7 Cmaj7 rit. 38</p><p>Trumpet Notation Legend Vibrato Waver the pitch with the emboucher or by shaking the instru- ment lightly. Vibrato can be wide or narrow, rapid or slow. Bend & Start the note on pitch, lower it momentarily, then return to original pitch. Fall At the end of the note let the pitch fall off. Falls may be exe- cuted with the emboucher or the fingers or a combination of both. Falls can be short or long. Scoop Slide into the note from below pitch. Scoops can be executed with the emboucher or the fingers or a combination of both. Doit Slide the pitch upwards at the end of the note. Plop Slide down to a note from above slightly before the note is to be played. Plops can be short or long. Glissando Slide from one note to the next smoothly. Glissandos may be executed with the emboucher or the fingers or a combination of both. Often called a turn, the flip is executed by quickly playing a note Flip above the original note (usually a step or half step), returning to the original note and then proceeding to the next written note. 39</p>