A completely white icon indicates transposition options, which include: Original, 1 Semitone, 2 Semitones, 3 Semitones, -1 Semitone, -2 Semitones, and -3 Semitones.įor example, if a song's original key is C, selecting 1 Semitone will transpose it to C#. To check, look for the "notes" icon at the bottom of the viewer. We highly recommend verifying transposition availability before completing your purchase. While a majority of our scores support transposition, there are exceptions. However, if the feature is unavailable for that particular score, the "notes" icon will appear grayed out. If the piece is eligible for transposition, a range of semitone options will be displayed. “Flamenco Sketches” is a series of five scales, each to be played as long as the soloist wishes until he has completed the series.To transpose "Blue In Green", simply click on the "notes" icon located at the bottom of the viewer. “All Blues” is a 6/8 12-measure blues form that produces its mood through only a few modal changes and Miles Davis’ free melodic conception. “Blue in Green” is a 10-measure circular form following a 4-measure introduction, and played by soloists in various augmentation and diminution of time values. “Freddie Freeloader” is a 12-measure blues form given new personality by effective melodic and rhythmic simplicity. The group had never played these pieces prior to the recordings and I think without exception the first complete performance of each was a “take.”Īlthough it is not uncommon for a jazz musician to be expected to improvise on new material at a recording session, the character of these pieces represents a particular challenge.īriefly, the formal character of the five settings are: “So What” is a simple figure based on 16 measures of one scale, 8 of another and 8 more of the first, following a piano and bass introduction in free rhythmic style. Therefore, you will hear something close to pure spontaneity in these performances. Miles conceived these settings only hours before the recording dates and arrived with sketches which indicated to the group what was to be played. Miles Davis presents here frameworks which are exquisite in their simplicity and yet contain all that is necessary to stimulate performance with sure reference to the primary conception. This most difficult problem, I think, is beautifully met and solved on this recording.Īs the painter needs his framework of parchment, the improvising musical group needs its framework in time. Aside from the weighty technical problem of collective coherent thinking, there is the very human, even social need for sympathy from all members to bend for the common result. Group improvisation is a further challenge. This conviction that direct deed is the most meaningful reflection, I believe, has prompted the evolution of the extremely severe and unique disciplines of the jazz or improvising musician. The resulting pictures lack the complex composition and textures of ordinary painting, but it is said that those who see well find something captured that escapes explanation. These artists must practice a particular discipline, that of allowing the idea to express itself in communication with their hands in such a direct way that deliberation cannot interfere. He must paint on a thin stretched parchment with a special brush and black water paint in such a way that an unnatural or interrupted stroke will destroy the line or break through the parchment. There is a Japanese visual art in which the artist is forced to be spontaneous.
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