An analysis of the music of Gil Evans (and others)
Gil's arrangement of Gone, Gone, Gone from the Gershwin opera Porgy and Bess is a beautiful short mood piece that evokes the sadness and vocal quality of the original. This post will just look at a couple of examples of the orchestration in the ensemble parts of the piece. General observations Form and Rhythm Gil … Continue reading Orchestration #7 – Gone, Gone, Gone
This is the third post about the harmony in Gil’s magnificent arrangement of My Ship. This post will cover the harmony in the double time swing feel section of the bridge. Some clarification of terms is necessary first: Target chord – The chord that was aimed toward in the harmonisation. The target chord usually occurs … Continue reading Harmony #6 – My Ship C
This is the second post about the harmony in the A section of Gil's magnificent arrangement of My Ship. Some clarification of terms is necessary first: Target chord – The chord that was aimed toward in the harmonisation. The target chord usually occurs at a melodically or rhythmically important point in the bar and can … Continue reading Harmony #6 – My Ship B
An excellent analysis of My Ship can be found online already. In the following harmonic analysis of the first A section of My Ship, I have categorized the functions of each chord to show how, and maybe why, Gil has inserted all the wonderful new chords into what is otherwise a simple starting harmony. As … Continue reading Harmony #6 – My Ship A
Gil Evan’s was well known for his ability to take fragments of melody or harmony and make an entirely new piece from them. Some of his arrangements became so different from their original that the term re-composition becomes more appropriate. Wait Till You See Her from the album Quiet Nights however, is a case where Gil … Continue reading Re-composition #4 – Wait Till You See Her
This post is a continuation of an analysis of Concierto de Aranjuez. Be sure to read the first post if you haven't already, the basic differences in the arrangement are discussed there. Rodrigo's original from figure B The Cor Anglais returns as the strings and Guitar supply the accompaniment. The Guitar provides the forward momentum … Continue reading Re-composition #3 – Concierto de Aranjuez B
This post is a continuation of some earlier posts about the ensemble harmonies in Boplicity. Check out them out here and here. An interesting feature of this section (like the part before it) is that it is entirely new to the piece. The shout chorus does resemble some parts from the original harmony in the … Continue reading Harmony #5 – Boplicity Shout Chorus
