The bass begins walking again, with Chambers climbing above the instrument's usual range.Ģ:57 B – The trumpet plays a descending melody over the first half of the B-section, pairing it with a rising melody in the second half. Evans comps on the piano with close-voiced, dissonant chords.Ģ:43 A – Davis returns to melodic phrases, with Evans playing less dissonant chords. On the bass, Chambers alternates between the D root and other notes of the mode. Davis chooses some chromatic notes, which are not part of the Dorian mode, in his last phrase, transitioning into the third A-section.Ģ:14 A – Back in D Dorian, Davis' playing becomes more spare.Ģ:29 A – Davis begins the second chorus of his solo by exploring an arpeggio, the notes of a chord, instead of his more melodic phrases earlier in his solo. Davis plays with some of his notes slightly behind the beat, adding to the solo's laid-back feel.ġ:46 A – The solo continues in the same style.Ģ:00 B – The song shifts into Eb Dorian, and the trumpet solo becomes a little busier, with Davis playing series of eighth notes with fewer gaps. Jimmy Cobb plays a swing rhythm on the ride cymbal. Bill Evans plays accompanying chords on the piano, at times playing in the gaps in the trumpet melody and at other times playing in the same rhythms. Miles Davis plays a 1-bar solo break over a drum fill at 1:31.ġ:32 A – Miles Davis begins soloing on the trumpet, leaving plenty of room between his notes for a listener to hear Paul Chambers' walking bass line. The horns reinforce the upper notes of the piano chords for the first three responses. The mode for the B-section is Eb Dorian (Eb F Gb Ab Bb C Db Eb).ġ:16 A – A return to the original key of D Dorian. The saxophones and trumpet reinforce the piano chords for the first three responses. The mode for the A-sections is D Dorian (D E F G A B C D).Ġ:49 A – The bass melody and piano chords repeat, with the trumpet and two saxophones doubling the top three notes of the first three piano responses.ġ:02 B – The A-section is repeated, but the melody and chords are all transposed up a semitone. Jimmy Cobb begins swinging along lightly on the cymbals. The chords are mostly composed of a stack of perfect fourths, giving them a very open sound. The piano then plays a series of chords in free time, which the bass answers with its own free-time melody.Ġ:35 A – Bass plays four similar melodic calls, each answered by two piano chords. 0:00 – Bass plays three-note calls, to each of which the piano responds with two chords.Ġ:15 – Bass and piano play a melody in unison.
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