Play Along: On Green Dolphin Street (Jazz)- Miles Davis Standards vol. 49 (partition gratuite à télécharger)
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Yiruma – First Love – River Flows In You | Yiruma – First Love – River Flows In You | |
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Yiruma – Piano Album BOOK | Yiruma – Piano Album BOOK | |
Yiruma – River Flows In You | ||
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Yiruma Be My First | ||
Yiruma Because I Love You | ||
Yiruma Dream A Little Dream Of Me Piano Solo | ||
Yiruma First Love Piano Solo | ||
Yiruma Kiss The Rain | ||
Yiruma May Be | ||
Yiruma Poem | ||
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Yiruma River Flows In You Piano Solo | ||
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Yiruma The Collection | ||
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Yoimachigusa Evening Primrose Ohno Tadasuke | ||
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Yoshimata, Ryo Between Calm And Passion | ||
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Your Song – Elton John (Musescore File).mscz | ||
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Yugo Kanno – Jolynes Theme Stone Ocean Piano Solo | ||
Yuhki Kuramoto – Piano solo Collection | ||
Yuhki Kuramoto A Scene Of La Seine | ||
Yuhki Kuramoto A Winter Story | ||
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Yuhki Kuramoto Romance | ||
Yuja Wang Mozart’s Turkish March From Sonata No. 11 As Per Volodos Fazil Say Arr. | ||
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Yukie Nishimura Best composition Vol 2 Japanese New Age music | Best composition Vol 2 Yukie Nishimura 112 Japanese New Age music | |
Yukie Nishimura Best composition Vol 3 Japanese New Age music | Best composition Vol 3 Yukie Nishimura 111 Japanese New Age music | |
Yukie Nishimura Letter | ||
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Yuriko Nakamura Comme Ce Jour Piano | ||
Yuriko Nakamura Legend | ||
Yves Montand Livre D’or | Yves Montand Livre D’or | |
Zappa, Frank 200 Motels The Suites Full score | ||
Zappa, Frank and the Mothers of Invention The Complete Guide (Book) | ||
Zaz Songbook | Zaz Songbook | |
Zelda Ocarina Of Time Song Of Storms By Koji Kondo (Piano Solo) | ||
Zelda – Breath of the Wild – Fairy Fountain | ||
Zelda – Breath of the Wild – Flight Range | ||
Zelda – Breath of the Wild – Mipha’s Theme | ||
Zelda – Breath of the Wild – Revali’s Theme | ||
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Zelda – Dungeon Theme | ||
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Zelda – Ocarina Of Time – Zeldas Lullaby | ||
Zelda – Saria | ||
Zelda – The Light World | ||
Zelda – The Lost Woods | ||
Zelda – The Triforce | ||
Zelda -The Legend Of Zelda (Main Theme)by Koji Kondo | ||
Zelda Medley Piano Solo arr. | ||
Zelda The Legend Of Zelda Great Fairy Fountain (Piano Etude) Erik Correll | ||
Zombies Songbook Music From The Disney Channel Original Movie | Zombies Songbook Music From The Disney Channel Original Movie | |
Zubin Mehta – La partitura della mia vita (Biografia) Italiano | ||
ZZ Top Greatest Hits | ZZ Top Greatest Hits | |
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On Green Dolphin Street (Jazz Standard)
‘On Green Dolphin Street’ (à l’origine intitulé ‘Green Dolphin Street’) était la chanson composée pour le film Green Dolphin Street, qui était basé sur un roman du même nom d’Elizabeth Goudge (1944) sur deux sœurs d’origine anglaise qui tombent amoureux. du même homme et les troubles conséquents qui en résultent… appelons cela « coïncidence ».
Quant à sa popularité, ce n’est pas que la chanson ait reçu les clameurs du public, mais que les musiciens de jazz l’aient adoptée pour sa séquence d’accords attrayante, qui alterne huit mesures d’une pédale tonique (statique) et huit autres mesures d’une progression harmonique avec un mouvement typique mais vif entre les fondamentaux.
Malgré tout, la chanson est devenue populaire parmi les musiciens de jazz, à la suite de la version enregistrée par Miles Davis en 1958 avec John Coltrane, Canonball Adderley, Bill Evans, Paul Chambers et Jimmy Cobb.
Rares étaient les artistes qui avaient interprété la pièce auparavant, mais la version qui a probablement servi de référence à Miles Davis était celle enregistrée deux ans plus tôt par le pianiste Ahmad Jamal, dont le répertoire était une source d’inspiration pour Davis à cette époque. .
D’autre part, Bronislaw Kaper était un prodige musical qui a étudié le droit et la musique dans sa Pologne natale avant de déménager à Berlin pour poursuivre la musique. Il compose pour des films allemands, mais alors que l’antisémitisme augmente, il s’installe à Paris en 1933. Là, il est découvert par Louis B. Mayer, qui l’engage pour les studios MGM.
De 1936 à 1940, il écrit des chansons pour des films : « Tomorrow Is Another Day », « Cosi Cosa » ou « A Day at the Races » (1937) et « A Night at the Opera » (1935) des Marx Brothers. Mais c’est en 1947 que la bande originale de Kaper pour Green Dolphin Street produit un classique du jazz : « On Green Dolphin Street ».
Kaper a remporté un Oscar pour Lili, qui contenait la chanson ‘Hi-Lili Hi-Lo’, et deux Golden Globes pour la meilleure chanson pour ‘Mutiny on the Bounty’ et ‘A Life of Her Own’.
Avec Webster également comme parolier, Kaper écrivit ‘Invitation’ (1952), qui deviendra un standard de jazz encore fréquemment enregistré aujourd’hui et dont je devrai également vous parler un jour.
Paroles (en anglais)
Lover, one lovely day
Love came, planning to stay
Green Dolphin Street supplied the setting
The setting for nights beyond forgetting
Through these moments apart
Memories live in my heart
When I recall the love I found on
I could kiss the ground on Green Dolphin Street
Lover, one lovely day
Love came, planning to stay
Green Dolphin Street supplied the setting
The setting for nights beyond forgetting
And through these moments apart
Memories live in my heart
When I recall the love I found on
I could kiss the ground on Green Dolphin Street
*Version d’Ella Fitzgerad & Joe Pass.
Analyse Musicale.
Le sujet a la forme ABAC, nous analyserons chaque section séparément en utilisant la même procédure.
La section A ne contient qu’un accord D/C dominant (D7), qui se résout en Db/C (DbMaj7) un demi-ton plus bas. Bien que les graves ne soient pas dans le fondamental, le cryptage et l’analyse s’effectuent de la même manière.
Nous avons des accords simples et des fins de chaîne: CMaj7, Cm7 et Db/C (DbMaj7). Du fait de la prédominance de l’accord CMaj7, dans les deux premières et deux dernières mesures, il est possible de penser que le rythme harmonique est TDDT avec deux mesures par fonction. Ce qui correspond à DbMaj7 agissant en tant que dominant étant un échange modal bIIMaj7, qui remplace V7; qui, à son tour, précéderait le D7 en tant que V7/V.
L’accord Cm7 sera un accord d’échange de mode avec une fonction tonique mineure, de sorte que bien qu’il ne soit pas plus tendu, la tension harmonique commence déjà à croître dans la partie la moins faible de la zone dominante.
Ainsi, en attribuant sa fonction tonale à chaque accord, on formalise :
Quant à la section B, on retrouve deux progressions majeures II-VI, et une dominante optionnelle comme ‘tourner autour’.
Les accords simples et les terminaisons de chaîne sont: CMaj7 et EbMaj7. Le rythme harmonique est évident dans la mesure où il est TDTD à deux mesures par fonction. Il serait possible de tomber dans l’erreur de penser que EbMaj7 est le bIIIMaj7, et à son tour que Fm7 et Bb7 sont le IVm7 et le bVII7 ; tous d’échange modal.
Mais normalement, chaque fois qu’une chaîne complète de II-VI et ainsi de suite apparaît si clairement dans le rythme harmonique, elle sera traitée comme une modulation extra-tonale imposant la tonalité de Mib Majeur.
Formalisation:
Dans la section C, nous trouvons deux cadences de IIm7b5-V7-Im7, et une chaîne plus longue avec deux dominantes et leurs secondes mineures enchaînées. Aussi, un II-V de ‘tourner autour’.
Les accords simples sont Dm7, Am7 et CMaj7, tous appartenant à C Major, mais les accords non diatoniques E7, F#m7b5, B7 et A7 apparaissent. Quant au E7, il n’y a aucun problème à le considérer comme le V/VI. Cependant, nous ne considérerons pas F#m7b5 et B7 comme l’échange modal #IVm7b5 et V/III.
Au lieu de cela, nous nous concentrerons sur la ligne de basse descendante qui se produit avec la progression Dm7-Dm/C-Bm7b5. Dans la tonalité de la mineur, il sert à enchaîner le IVm7 avec le IIm7b5, puis avec le V7 et le Im7. Nous voyons qu’il se répète ensuite en imitant le motif avec Am7-Am/GF#m7b5, puis se résout également avec B7 et Em7. De telle sorte que nous considérerons que la progression a été répétée dans une autre tonalité.
Par contre, il est aisé de voir que Em7-A7-Dm7-G7-CMaj7 respecte la formalisation IIIm7-V/II-IIm7-G7-IMaj7. On pourrait dire que dans la troisième mesure, il est modulé en mi mineur au moyen de l’accord pivot Am7, qui est Im7 de la mineur (ou VIm7 de do majeur) et à son tour IVm7 de mi mineur. Il est également modulé jusqu’à la tonalité de départ de la cinquième mesure avec l’accord pivot Em7, qui est Im7 de mi mineur et IIIm7 de do majeur.
Le rythme harmonique venant de la section A induit les deux mesures de dominante par fonction. Cependant, la modulation en mi mineur oblige à la diviser en une mesure par fonction, et cela fonctionne ainsi jusqu’à la fin de la section. Si le « retournement » n’est pas joué, la prédominance des zones est équilibrée, s’il est joué, il est restitué au début du nouveau refrain.
Formalisation de la dernière section :
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