Structure: AABA. 16 Dmi7+8 Ebmi7+8 Dmi7. Played in relaxed tempo.
Compared with Adderley and Coltrane who took the harmonic approach consistenting with the chords, Davis and Evans ehmphasized lyricism and used more space between their ideas. Davis's sense of timing is very subtle, laying behind the beat at times and marking the center of the beat at others. And his melodic lines were characterized by his strong motives.
Solo: two notes-->next eight measures.
bars 13,24,63:harmonic minor scale
bars 24,48,56:upper extensions of the chords (sort kinds of incorporating two major adjacent scale)
bar 41: blues hint
一个被饺子兄称作划时代专辑的kind of blue，引述两个有意思的小故事：1、当时james brown的乐队的作曲人承认，因为miles davis的kind of blue 太红了,作曲的时候抄了kind of blue的so what, 就是简化一下;2、有个吉他手,solo被认为很有新意,人家问他,为什么这么有新意? 他说,我就什么都不听, 听了一年的kind of blue, 抄miles davis, 抄john coltrane 抄出来的。 多数人听MD的SOLO过耳就忘。
于是我们很自然地引出专业乐手，至少是玩过乐器的那些人和我们一般听听热闹的人对于音乐的理解和敏感程度问题。之后就是不同音乐家对同一作品的不同演绎的问题，于是我类比了古典音乐中不同片段的强弱处理都会有所不同的例子。当然，比起放荡的爵士乐来说，老实巴交务实的古典音乐中，“节奏的不同也只是体现在哪个音符偷偷地多给一口气延长一些而已，节拍是不变的。”
@微博好友，送歌给Ta！
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Compared with Adderley and Coltrane who took the harmonic approach consistenting with the chords, Davis and Evans ehmphasized lyricism and used more space between their ideas. Davis's sense of timing is very subtle, laying behind the beat at times and marking the center of the beat at others. And his melodic lines were characterized by his strong motives.
Solo: two notes-->next eight measures.
bars 13,24,63:harmonic minor scale
bars 24,48,56:upper extensions of the chords (sort kinds of incorporating two major adjacent scale)
bar 41: blues hint
于是我们很自然地引出专业乐手，至少是玩过乐器的那些人和我们一般听听热闹的人对于音乐的理解和敏感程度问题。之后就是不同音乐家对同一作品的不同演绎的问题，于是我类比了古典音乐中不同片段的强弱处理都会有所不同的例子。当然，比起放荡的爵士乐来说，老实巴交务实的古典音乐中，“节奏的不同也只是体现在哪个音符偷偷地多给一口气延长一些而已，节拍是不变的。”