A Level Music: 'Black and Tan Fantasy' by Duke Ellington
- Created by: ChloeGerrard
- Created on: 07-06-14 16:33
View mindmap
- Black and Tan Fantasy by Duke Ellington and Bubber Miley
- Background
- 'Jungle Style'
- Ellington wrote to players' strengths
- Recorded 1927.
- Black and Tan refers to Cotton Club where black and white people came together but in a segregated way.
- Fantasy that one day racial integration may be possible
- Resources
- Piano, trumpets, trombone, saxophones, banjo, bass and drums.
- 3 main sections of orchestra:
- 2) Brass
- 3) Rhythm Section
- 1) Reeds
- Jungle Style
- Heavy drums
- Dark saxophone textures
- Growling of plunger-muted trumpet
- Tonality
- Begins and ends in Bb MINOR, yet...
- ...Bb MAJOR: bars 13-87
- Metre
- Quadruple time
- Medium/slow tempo
- Rhythm
- Opening: serious. Constant crotchet accented chords.
- Saxophone solo: triplets and syncopated, swung quavers
- Trumpet solo: bar 29: complex rhythms. Triplet crotchets, 'long' upbeat dotted crotchets: bars 36, 40 and 42.
- Cross-Phrasing: bars 17-18, 25-26.
- Piano solo: crotchet movement in bass, quaver/ semiquaver movement in treble, swung rhythms and syncopation: bars 63-64.
- Swung, except in CODA
- Harmony
- 12 bar blues
- Diatonic and functional enhanced by 'blues' in melody and pitch bends
- Piece progresses: advanced chromatic harmony
- 7th chords, secondary dominant chords and substitution chords
- Cycle of 5ths - Bb to Gb: bars 19, 20
- Parallel harmonic movement: bars 27-28
- CODA: repeated plagal cadences - unusual for jazz
- Texture
- Intro & CODA: parallel 6ths (trumpet and trombone)and low sustained chordal accompaniment
- Chorus 1,2,5,6: melody dominated homophony
- Chrous 4: piano texture: 'stride' bass and wide leaps
- Structure
- Head arrangement: chord progression that provides pattern of chords (changes) that players keep in heads and improvise with
- 12 bar blues played 6 times
- 1st and 2nd seperated by indepedent 16 bar section
- Intro/Chorus 1, Interlude, Chorus 2, 3, 4, 5, 6, CODA
- Chorus 1: trumpet and trombone in parallel 6ths, Interlude - saxophones, Choruses 2 and 3 - trumpet solo, Chorus 4 - piano solo, Chorus 5 - trombone solo, Chorus 6, another trumpet solo
- CODA: quotes Chopin's Funeral March - pessimistic final comment
- Intro: adaptation of popular ballad, 'The Holy City' by Stephen Adams.
- Rhythm augmented and tonality changed to minor.
- Major 3rd of B maj becomes bluesy minor 3rd.
- Improvised: bars 29-84
- Melody
- Saxophone interlude melody: whole tone scale: bars 13, 14
- Then moves to conjunct and broken chordal movement
- Trumpet solo: bluesy notes that clash with diatonic Bb maj harmony
- E.g. minor 3rds & 7ths: bars 33 and 48
- Dissonance: bar 41
- Covers 2 octaves
- Second solo: restricted range, trills and repeated notes
- Piano solo: begins on long anacrusis. Unaccompanied solo = greater freedom.
- Melody mostly diatonic with some chromatic passing notes (not on beat - less effect).
- Both hands = wide range
- Trombone solo: high in pitch, smaller range of 10th
- Blue 3rds: bar 74
- Horse Whinny: bars 72 and 73
- Unusual CODA for jazz - rallentando over repeated plagal cadences
- Saxophone interlude melody: whole tone scale: bars 13, 14
- Background
Comments
No comments have yet been made