An analysis of the music of Gil Evans (and others)
Here us part 2 of the interview with Steve Lajoie. Steve is the author of the excellent book ‘Gil Evans & Miles Davis: Historic Collaborations, 1957-1962’. I recommend getting a copy. https://youtu.be/ozUxZiAw6Jg Thank you to Steve for sharing his time and expertise.
I recently was fortunate enough to be able to interview Steve Lajoie over Zoom. Steve is the author of the excellent book 'Gil Evans & Miles Davis: Historic Collaborations, 1957-1962'. I recommend getting a copy. https://youtu.be/p7E388AThkc Thank you to Steve for sharing his time and expertise.
In this post I will analyze the melodies Gil has added to his wonderful arrangement of Robbin's Nest. Gil wrote this arrangement for the Claude Thornhill band and fully utilizes the band's skills of dynamic control, simmering intensity, and a muted but swinging style. Sound samples are at the bottom of the post. The original … Continue reading Melody #3 – Robbin’s Nest
This post is a continuation of the last few where I have discussed Gil's use of doubling and density throughout various ensemble textures. This post will focus on loud, bright passages. The audio examples can be found at the bottom of the post. Sorta Kinda - ensemble interjections This arrangement features massive contrasts in textures. … Continue reading Orchestration #12 – Density & Doublings D
This post continues on from the last couple. In this one I will be focusing on ensemble passages in a 'soft jump' style and their specific density and doublings.The audio examples can be found at the bottom of the post. Yardbird Suite - start of the head This enjoyable arrangement for the Claude Thornhill orchestra … Continue reading Orchestration #12 – Density & Doublings C
This post follows on from the previous re-post. It will focus on harmonized homophonic passages with a warm or rich texture. Doubling a line at the same pitch or at another octave is something Gil uses frequently in his work. Employing doubling can be an effective way to differentiate, or add weight to a melody … Continue reading Orchestration #12 – Density & Doublings B
This is a repost. It was one of the first posts on this blog. I have reposted as I will write a new post building on to this idea soon. Doublings in ensemble passages One of the most well know things about Gil's music is his use of texture and timbre. I'll keep this post … Continue reading Orchestration #1 – Density & Doublings (Repost)
This post is a continuation of the previous two about the harmony of Miles Ahead, they can be read here and here. Bar 25-29 End of the theme repeat In the first instance this phrase started with a Bbmajor9#11 recalling the influence of C mixolydian or F major. On the repeat he changes things by … Continue reading Harmony #8C – Miles Ahead
The video post was quite a lot of fun, but it misses some of the detail that I usually put into my analyses. So here is a closer look at some of the harmonies in Miles Ahead. As is noted in the video analysis, Miles Ahead utilizes a ambiguous harmonic language that mostly hovers between … Continue reading Harmony #8B – Miles Ahead
I thought I'd try a blog post in video form. Check it out below, and let me know what you think. https://youtu.be/KBicClva1S8
I recommend reading the first couple of posts about counterpoint before this one. They can be found here and here. I’ve borrowed this paragraph from Openmusictheory because I couldn’t have said it better myself: Counterpoint is the mediation of two or more musical lines into a meaningful and pleasing whole. In first-species counterpoint, we not … Continue reading Counterpoint #6 – More Bass Lines
This post the highlight some of the beautiful orchestration moments from the opening track of the Miles Davis & Gil Evans album Porgy and Bess. Initially the piece opens with a loud full tutti brassy sounds that gives way to a graceful and light piece that ends with a tuba melody. Audio examples at the … Continue reading Orchestration #11 – Buzzard Song
