Studio Recordings of the Miles Davis Quintet, 1965-68 by Waters Keith;

Author:Waters, Keith;
Language: eng
Format: epub
Publisher: Oxford University Press, USA
Published: 2011-11-15T00:00:00+00:00

Several of Carter’s mm. 13–16 sequential ideas heighten the metrical ambiguity. During Davis’s eighth chorus, Carter states a consistent rhythmic pattern each measure of quarter note, dotted-quarter, and dotted-quarter. Despite this consistency, something extraordinary occurs. While Carter’s rhythmic pattern consists of three pitches each measure, the melodic sequence is a four-pitch one that moves down by step. This four-note pattern appears three times during mm. 13–16. It begins with F (m. 13), E (m. 14), and D (m. 15). The final statement that begins with D transposes the motive down a step but alters the intervals of the final two pitches. This four-note pitch sequence challenges the underlying 4/4 metric regularity. It begins on the downbeat of m. 13, on beat 2 of m. 14, and beat 3.5 of m. 15. As a result of Carter’s underlying rhythmic pattern, the first motive occupies 5 beats, while the second and third occupy 5½ beats.

During Shorter’s solo, Carter’s most overt use of sequence occurs during mm. 13–16 of Shorter’s seventh chorus. Note that here Carter employs an ascending minor third sequence during each of the four measures (B–D–E–G). Rather than continuing the sequence into B at the top of the form, Carter instead delays the arrival of B by two beats.

These examples reveal sequence as a general strategy during mm. 13–16 of the head and selected choruses. Even when Carter’s sequences challenge the underlying meter, such as during Davis’s first and eighth choruses, the sequence and the metrical conflict conclude at the beginning of the next chorus, making evident the top of the form.

But twice during Hancock’s solo, Carter’s sequences mask rather than clarify the top of the form. In both instances, Carter’s sequential ideas spill over into the next chorus, and as a result heighten the formal ambiguity. Both times, rather than arriving on B at m. 1, Carter’s sequences continue those begun during the previous 4 bars. For example, at mm. 13–16 of Hancock’s third chorus, Carter’s accompaniment establishes a four-note pattern that moves sequentially down in whole steps, B (downbeat of m. 13), A (m. 14), G/F (m. 15), and E (m. 16). But rather than abandoning the sequence at the top of the form, Carter continues the sequence another four measures into Hancock’s fourth chorus, with D (downbeat of m. 1) C (m. 2) and B (m. 3), and A (m. 4). (Measures 2–4 of his fourth chorus are included toward the bottom of example 4.8.) This tactic effectively camouflages the top of the form.

A similar strategy takes place between Hancock’s final two choruses. Again, Carter establishes a four-note pattern that descends (B–A–G–F) on downbeats of mm. 13–16. Here, however, Carter breaks the consistent pattern of descending whole steps with the half-step motion from G–F (mm. 15–16). Carter advances the pattern 3 bars into the next chorus (E–E–D). The sequence alternates descending whole and half steps, but the four-note idea that occurs each measure is unmistakable. (Measures 2–3 of Hancock’s ninth chorus appear at the bottom of example 4.

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