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Solar Miles Davis Analysis Essay

Date PostedUpdatedAuthorSubjectRepliesViews2018/03/062018/03/08motherlodeForm & Analysis059

Form & Analysis


Full Text: http://www.ibreathemusic.com/forums/showthread.php?21030-Form-amp-Analysis-Upon-A-Time



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2017/08/302017/08/30Ken ValentinoHurricane Harvey0468

Hurricane Harvey


Key of E, BPM 120



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2017/08/272017/08/27Tom RDolphy extrapolations0449

Dolphy extrapolations


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2017/07/302017/07/30Ken ValentinoTonal Number Library - Negative b7 vs Blue b70364

Tonal Number Library - Negative b7 vs Blue b7


See full discussion @ http://www.ibreathemusic.com/forums/showthread.php?19888-List-of-Tendencies/page4



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2017/07/292017/07/29Ken ValentinoBlue Tonal Numbers 2 6 3 7 +4 +50397

Blue Tonal Numbers 2 6 3 7 +4 +5


See discussion at http://www.ibreathemusic.com/forums/showthread.php?19888-List-of-Tendencies/page4



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2017/07/292017/07/29Ken ValentinoGb7#9 in Key of F 0487

Gb7#9 in Key of F


Chord on Motherlodes "Blue in Green" arrangement. Played as Positive then as Negative.



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2017/07/232017/07/23Ken ValentinoBlue Tonal Numbers b3 b20346

Blue Tonal Numbers b3 b2


Examples of a Blue b3 and perhaps a Double Blue b2. For more discussion:http://www.ibreathemusic.com/forums/showthread.php?19888-List-of-Tendencies/page4



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2017/07/202017/07/20Ken ValentinoBlue Tonal Numbers - Harmonics and Blue b7 b30278

Blue Tonal Numbers - Harmonics and Blue b7 b3


Blue Tonal Numbers are faced Positive so they can resolve, but because of their complexity they can easily resolve to other things. Harmonics are played first to hear the exact ratio.

1:7 2:7 3:7 4:7 5:7 6:7 8:7 and so on are all Blue Tonal Numbers. Standard 12 EDO tuning is used, but the perceived intonation should be slightly flatter.

Once a Blue Number is perceived then further connections can potentially become Blue Numbers. In this case a positive blue b3 is attached. The result being that you could have a resolved dom7(#9) as a Key Chord.

For more discussion: http://www.ibreathemusic.com/forums/showthread.php?19888-List-of-Tendencies/page2



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2017/07/162017/07/16Ken ValentinoPositive Tonal Numbers0325

Positive Tonal Numbers


2 3 5 6 and 7 are used throughout. The first focus is on +4 then +5 and finally b3, all as Positive Tonal Numbers. The only Tonic is "A" which is repeated and tested many times.

Disscussions about these examples are on the IBreathe Music Forum http://www.ibreathemusic.com/forums/showthread.php?19888-List-of-Tendencies/page2




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2008/11/112017/01/28EdByrneMy Funny Valentine111323

My Funny Valentine


My Funny Valentine


My Funny Valentine contains a basic line clich�: C, B, Bb, A, Ab, G. It is a way of creating a sense of movement over harmonic stasis (inactivity).

From the Real Book changes:


Cm:
|| i | iMA7 | i7 | i6 |

| bVI MA7 | iv7 | ii7-5 | v7-9 ||

|| i | iMA7 | i7 | i6 |

| bVI MA7 | iv7 | bvi6 | V7-9/bIII MA7 (becoming V7 in Eb)||

Eb (Relative Major):

|| I MA7 ii7 | iii7 ii7 | I MA7 ii7 | iii7 ii7 |

| I MA7 V7/vi | vi ii7/IV MA7 SubV7/IV MA7| IV MA7 |(in Cm) ii7-5 V7-9 ||

Cm:
|| i | iMA7 | i7 | i6 |

| bVI MA7 | ii7-5 V7-9 | i | SubV7#11/bVI MA7 V7-9/bVI MA7 |

|bVI MA7 | (in Eb) ii7 V7-9 | I6 | (in Cm) ii7-5 V7-9 ||


The tune has a 36-measure AA'BA'' form with a 4-measure extension at the end. It plays the traditional tonal game of toggling between the relative major and minor modes (closest of all modulations because they share the same key signature).

bVI is diatonic to C (pure) minor (bVI) in a straight-forward progression (the Bbm7 is a secondary ii7, progressing to A7 (SubV7 of Ab bVI).

The final passage is ambiguous in its transitory quality. It is not clear at this point which of the two related keys it is in (Cm or Eb major), a common quality of this traditional modal exchange (the device is as old as tonal music itself): Such tunes often purposely temporarily confuse the listener as to which key it is in. It is part of its charm.

Having already heard the key relationship between Cm and Eb, in retrospect the Ab chord in the final passage can be heard dually as both bVI in Cm--and--IV in Eb. It could be considered a pivot or dual function chord in a transitory modulation.

In either case it would (most diatonically) take an Ab Lydian scale, according to Berklee dogma.

The guidelines of modulation are general: usually around four measures; but that is affected by various contextual factors, such as tempo--and especially its context in the progression (qualitative emphasis), and more. It has to somehow last long enough or be placed in a prominent place in order to be perceived to actually change tonics.

In ascertaining this, I usually start with the melody rather than the progression. I solfegge the melody, which has its own tonal logic and tonal phrasing.

Those guys knew what they were doing and how to do it. They were steeped in traditional tonal formal devices: This is as old as the hills.

Most of what I said about relative key juxtapositions hold true also for the parallel major/minor relationship. The ultimate purpose is to keep the listener guessing: If it's either too predictable or too obscure, the listener is gone and the gig is up. Often the payoff is in the final phrase.

What, in the end, is a Picardy Third?

2016/06/262016/06/28jazzman1945Walking, counting and execution of swing time21559

Walking, counting and execution of swing time


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2016/06/252016/06/25jazzman1945Dolphin Dance-climax11370

Dolphin Dance-climax


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2016/04/212016/04/21jazzman1945Substitutions of subdominant01457

Substitutions of subdominant


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2016/03/312016/03/31Ken ValentinoI7(#9) vs a Coexisting bIII0946

I7(#9) vs a Coexisting bIII


The first file is showing a Coexisting Tonic on bIII, arrived at easier by playing bII beforehand.

The second file is a I7(#9). The "#9" sounds better treated with negative tendencies, bent sharp, played off beat etc.



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2016/03/252016/03/25johnmalloy1So what for motherlode comping added01174

So what for motherlode comping added


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2016/03/092016/03/09johnmalloy1So what for motherlode01017

So what for motherlode


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2016/02/222016/02/22jazzman1945Improvisation line line and harmonic lining11171

Improvisation line line and harmonic lining


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2016/01/052016/01/05jazzman1945Modal tunes comp11342

Modal tunes comp


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2015/11/022015/11/03john7alt and 7b9 diminished at same time, does it wo21325

7alt and 7b9 diminished at same time, does it wo


if a g7alt line is played over a g7b9 diminished chord, or vice versa does it still work. or a g myxolydian line over g7alt or g7b9 or vice versa, or g lydian dominant over g7 g7alt or g7b9 or g7sus. what im tryin to say is if the chord and the solo play two different versions of the same dom7, does it still work, and in that case, does it mean you can alter dom7 at your choosing, at your freedom for comping and soloing or do you play the dom 7 as it was written, would like to hear you guys view on this thanks again.

2015/04/122015/04/12jazzman1945Acoustic or digital?01280

Acoustic or digital?


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2014/09/172015/01/24Ken Valentino2 vs the b3 as a Reference Tone01319

2 vs the b3 as a Reference Tone


A weaker number (2 b7 b3 or 6) can work great as a coexisting Reference Tone. This example uses the same notes (A B C D D# and E) and the same Key of "A" both times, but creates different sounds by changing the Reference Tone.

Key - A
1 2 b3 4 TT 5

Reference Tone on 2 - B
b7 1 b2 b3 3 4





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2014/10/082014/10/08esquireBemsha Swing CDR02677

Bemsha Swing CDR


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2010/08/262014/10/01jazzman1945The method of Yuzef Kon23709

The method of Yuzef Kon


Improvisation in Phrygian Mode



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2014/09/282014/09/28Trompetista"Uptown" & "Downtown"02038

"Uptown" & "Downtown"


A couple of times I've heard the words "Uptown" & "Downtown" apparently referring to chord or note patterns used in transitions such as turnarounds, but have been unable to find any useful information. I'd greatly appreciate anyone who could shed some light on these. Thanks

2014/08/122014/08/12Ken ValentinoTurning the 6 into a Reference Tone01384

Turning the 6 into a Reference Tone


In this example the lower walking line just stays in the key of E. The second guitar part though goes back and forth from measuring off the key to instead measuring off different reference tones.

0:47 I know I have a reference tone on C# because the E note resolves into the F (b3 -->3).

1:26 Back on the key of E proving that it's still my 1 in that register.

1:35 Again on C# and even with a microtonal bend on the E.

2:24 A really tense E note proves that in that register the E isn't my 1. If I'm matching my theory to my ear then I'm hearing E as the b3 of C#.

Other reference tones happen occasionally in the example.



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2014/08/052014/08/12Ken ValentinoMajor Triad as 1 b3 b6, 1 4 6 and 1 3 501775

Major Triad as 1 b3 b6, 1 4 6 and 1 3 5


This is an example of using positive tendencies: repetition, starting with, ending with, on beat etc.. and melodic strategies to create a key. First is the key of E which should sound dark, next at 0:38 is the key of G which isn't as dark, but can have a little conflict. Then last is the normal key of C at 1:02. The only notes used are C E and G.



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2014/07/212014/07/21engelbachLove Me or Leave Me01646

Love Me or Leave Me


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2014/04/192014/04/20jazzman1945 Thoughts about Maj 6/911765

Thoughts about Maj 6/9


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2014/04/092014/04/09Beeboss4 by 501633

4 by 5


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2013/11/132013/11/14jay noremWhat Is It?11644

What Is It?


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2013/10/232013/10/23jazzman1945synthesis of jazz and Moroccan music'01814

synthesis of jazz and Moroccan music'


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2013/07/172013/07/19jazzman1945Arranging for 2 Horns12510

Arranging for 2 Horns


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2013/07/172013/07/17engelbachAlez Two-Trumpet Example01425

Alez Two-Trumpet Example


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2013/05/142013/05/14jazzman1945 Psychology of Rhythm02380

Psychology of Rhythm


Triplet feel in English - Satchmo



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2013/03/262013/03/26istanbullouHave a Good Time (is it really 7/4?)01680

Have a Good Time (is it really 7/4?)


I have been trying to play this number. The sheet music claims it is 7/4 (4/4 + 3/4) for the verse
and 4/4 for the chorus but I suggest the verse is far more complicated than that... maybe mainly
14/8 (4/8 + 6/8 + 4/8), with (3/8 + 4/8 + 3/8 + 4/8) at the turnaround.

Does anyone have any thoughts on this, and is the chorus really 4/4?

2013/03/172013/03/17JazzersiseMaria Schneider - Evanescence!02504

Maria Schneider - Evanescence!


Hey fellas,

I just wanted to know how to analyse a jazz piece. I've done it a few times for classical/romantic music, but I'm new to jazz.

I'm trying to do an analysis of Maria Schneider's 'Evanescence' piece (beautiful).
I'd like to know about rehearsal letters (distinguishing them is hard for me), any key changes, time signature changes (none that I'm aware of)., maybe a light harmonic analysis? I know that it is a tribute to Gil Evans and is also has some of his stylistic influences, but I can't really determine what those are...any help would be greatly appreciated!

http://www.youtube.com/watch?v=s34Oj_za7ZU there is the link



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2013/02/082013/02/08jazzman1945Can we consider this scale as variation of dim01677

Can we consider this scale as variation of dim


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2011/09/012011/09/02EdByrneThe Ultimate Transcription03129

The Ultimate Transcription


Miles' "So What" animated transcription. Very cool!

https://www.youtube.com/watch?v=FPv9-rWITrM




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2011/08/102011/08/22EdByrneMood Swings03023

Mood Swings


I sketched out this Impressionist chord succession, based roughly on Bb minor, but with non-functional harmonies as well, many years ago. Recently I revised it and made a 6-trombone loop, recorded on my Boss RC-50 super-looper, to blow over. I decided not to fix a theme, but to be free to improvise it each performance. Of course certain motives recur from performance to performance, but this procedure allows optimum freedom in the now--at least on some of my "mood" pieces. Actually, in performance I approach this as a kind of minor blues.

If anyone's interested, I will later offer a harmonic analysis tracing the (20th century) "French connection." I think, though, that in this case the inspiration was more from Coltrane (maybe "Naima") than directly from Ravel or Debussy.

Click below for the sound file. The rhythm part below has a second page, so you need to scroll for the bridge.



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2008/03/112011/08/20EdByrneConquistador02550

Conquistador


I revised this score and added a sound file below.

Here's a bitonal composition of a rather different sort. The melody is in parallel 3rds, creating the keys of Eb & G in the melody in the A section (1st 8mm). The melody is in D in the 2nd 8, while the harmony is in Eb (the primary key) throughout. In addition, this piece is "metrically-challenged."

Click below for sound; sorry for the midi rendering.




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2011/08/102011/08/10EdByrneMarabunta01618

Marabunta


Here's a new composition I wrote for my group, Latin Jazz Evolution: "Marabunta." It is another piece in which the 4/4 meter is convoluted. Otherwise it is a weird blues with some major chords.



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2011/08/082011/08/10EdByrneTriple Play01951

Triple Play


Hi,

Check out this piece that popped out this morning. Funny stuff. Audio at page bottom. You need to scroll to see the entire score. My apologies for the midi rendering.

Best,
Ed





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2011/03/232011/07/31engelbach"Beautiful Love" Rootless Chords18121

"Beautiful Love" Rootless Chords


"Beautiful Love" Rootless Chords PDF File



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2011/07/242011/07/24samitacatbody and soul03717

body and soul


I'm trying to figure out what is going on in Body and Soul , has anyone got anything they could share on this tune ??

2011/06/172011/06/17engelbachAutumn Leaves Solo Example05213

Autumn Leaves Solo Example


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2011/06/102011/06/10engelbach"Come Rain or Come Shine" Sheet Music Endings02865

"Come Rain or Come Shine" Sheet Music Endings


"Come Rain or Come Shine" Sheet Music Endings

In the original sheet music of CRCS, Arlen (or whoever wrote the arrangement) goes right into a turnaround on both the first and second endings. On the second ending, he adds a two-bar tag that ends on D major.





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2010/12/232011/05/30Geoff J9 Against 4 Theory Conundrum (Inquiry, Analyses,22424

9 Against 4 Theory Conundrum (Inquiry, Analyses,


Any input is appreciated. I have indexed the points & diagrams with letters numbers. Please title the reply as RE 9:4 or something like that, and index your answers consistent with how the inquiries were indexed.

I am stumped ! PDF ATTACHED



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2011/04/192011/05/11engelbach"Night and Day" Practice Solo03696

"Night and Day" Practice Solo


Practice solo of "Night and Day" in which I tried to analyze what I was doing ...



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2011/04/232011/04/23jazzman1945Fast playing in improvisation02969

Fast playing in improvisation


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2010/12/092011/01/23engelbachBird Solo on 'Confirmation13584

Bird Solo on 'Confirmation


This melody could not have been created following CS Theory.



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2011/01/232011/01/23jazzman1945How did you write your jazz tunes ?02353

How did you write your jazz tunes ?


Composing on text : Oh, I can always compose jazz tunes! I do it every morning.

Rhythm



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2010/12/292010/12/29engelbach"Moonlight in Vermont" Bossa Tenor Solo02590

"Moonlight in Vermont" Bossa Tenor Solo


A possible tenor solo for a section of a bossa version of "Moonlight in Vermont."



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2010/12/052010/12/29engelbachHalf-Dim with Natural 9 in Minor Key02350

Half-Dim with Natural 9 in Minor Key


It's perfectly fine to use a natural 9 over a II� and still preserve the feeling of a minor key. Context is everything. Play this passage with Eb instead of E natural over the D�. It works, but is to my ear less interesting.



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2010/12/202010/12/29engelbachSlash Chords/Polychords03391

Slash Chords/Polychords


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2010/12/032010/12/03engelbachHard Blues in F with Rootless Voicings02793

Hard Blues in F with Rootless Voicings


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2010/11/132010/11/13jazzman1945Jazz choral02358

Jazz choral


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2010/11/112010/11/11jazzman1945blues ex.02613

blues ex.


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2010/10/302010/10/30jazzman1945jazz rhythm modes03695

jazz rhythm modes


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2010/10/032010/10/03jazzman1945dorian - lydian03180

dorian - lydian


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2010/09/262010/09/26jazzman1945intonation01862

intonation


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2010/08/022010/09/12jazzman1945Quartal Chords03500

Quartal Chords


Modes and Melody - preparation



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2010/08/052010/08/05jazzman1945Mazel's System02229

Mazel's System


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2010/08/022010/08/02jazzman1945The first steps in improvisation - riffing.02977

The first steps in improvisation - riffing.


The easiest way to improvise - with riffing, he organizes the melodic line.



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2009/10/282010/03/01bgpKenny Garrett - Sing a Song of Song112489

Kenny Garrett - Sing a Song of Song


How do you think of this one from Kenny Garrett (just the A section, B only makes a brief appearance) - functional chords or no? 3 major chords, each a step apart, the bass outlines the triads, and the melody moves from A (over Esus) to G (E minor) over the D. Garrett plays all kinds of stuff over this - close to the melody, blues, and an eastern-sounding scale at the end (g#,a,b,c,e,f#).




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2010/01/162010/01/21randalljazzminor cadences03460

minor cadences


five guitar position studies, in the form of boppish ii - V - i cadences. the third of the first chord is placed twice on the first string, once each with the remaining notes toward the bridge and toward the nut. similarly for the second string. once only for the third string, with the remaining notes mostly toward the nut. some suggested left hand fingerings are indicated. sometimes an extension or one fret change of position is required.

slurs are not indicated (for cleanness of score), but are appropriate in several places, especially where a neighbor tone returns.

play each in all twelve keys, aim for the tempo appropriate for...say 'i hear a rhapsody' to 'cherokee'.





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2010/01/082010/01/08randalljazzfar wes guide tone lines02468

far wes guide tone lines


two sets, accidentals as marked (for the measure, per customary). if you can't find the changes, pm me.



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2009/06/232009/06/23EdByrneBemsha Reduced02806

(photo by Tom Marcello)

Chuck Wayne [Charles Jagelka 1923-1997] was a guitarist and teacher who helped bridge the swing era with the modernist bebop revolution of the mid-1940s. Wayne worked along 52nd Street and took part in recording sessions with Coleman Hawkins, Lester Young, Dizzy Gillespie, Barney Bigard and many others. He was a member of Woody Herman’s band and worked with George Shearing’s Quintet from 1949-52. Wayne toured and recorded with Tony Bennett in the 1950s and eventually became a staff musician for CBS television from 1959-71. He later taught at the Westchester Conservatory of Music and wrote four books on theory for jazz guitarists.

 

When the Music Division acquired the Chuck Wayne Collection last year, we were expecting to find the guitarist’s music scores, manuscripts, photographs, correspondence and other paperwork. There was one item, though, that proved somewhat startling;  an unpublished 10″ acetate disc of a  recording session from 1946.

(Larry Appelbaum, Diane Wayne)

While any unpublished recording by Chuck Wayne would be reason to celebrate, this disc documents part of a session in Oklahoma City and contained an intriguing original song by Wayne loosely based on the chord changes to How High the Moon. Wayne titled it Sonny, for the trumpeter Sonny Berman, who is heard on the recording with Wayne.

To hear Wayne and Berman together (they met in Woody Herman’s Orchestra) is a pleasure, but the revelation is that the tune Wayne called Sonny is remarkably similar to a song made famous years later by Miles Davis under the title Solar. With permission from Wayne’s wife Diane, here is an excerpt from the original acetate disc. The grooves are worn and the disc is quite noisy, but the melody is clear, especially to those who know the now famous jazz standard.

 

Wayne failed to register this song for copyright. Seventeen years after the recording of Sonny was made, Prestige Music Co., Inc. registered Solar for copyright. The copyright registration paperwork is dated Aug. 8, 1963 and shows the composer of the song as Miles Davis.

 

 

Wayne told people over the years that his song had been appropriated, and in fact The New Grove Dictionary of Jazz entry for Wayne states: “He performed and recorded with Woody Herman’s First Herd (May-December 1946), and while with Herman composed Sonny, which Miles Davis later appropriated and claimed as his own composition, under a new title, Solar.” This story has circulated for years but only a few have heard the song Sonny as recorded by Wayne and friends, at least not until now.