Play Along: On Green Dolphin Street (Jazz)- Miles Davis Standards vol. 49 (partition gratuite à télécharger)
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(500) Days Of Summer Piano Theme ( Mychael Danna, Rob Simonsen) | (500) Days Of Summer Piano Theme ( Mychael Danna, Rob Simonsen) | |
10,000 Maniacs Because The Night Piano Solo sheet music | ||
100 Golden Standards The World’s Best Piano Arrangements by the greatest pianists of the Century | The World’s Best Piano Arrangements | |
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100 Most Beautiful Christmas Songs Easy Piano Vocal | 100 Most Beautiful Christmas Songs Easy Piano Vocal | |
100 Most Beautiful Christmas Songs Piano Vocal Guitar | 100 Most Beautiful Christmas Songs Piano Vocal Guitar | |
100 Must-Know Jazz Tunes with MP3 audio tracks to Play Along | 100 Must-Know Jazz Tune – C version | |
100 of the Best Movie Songs Ever! Piano Vocal Guitar | 100 best movie songs 1&100 best movie songs 2 | |
100 Of The Best Songs Ever For The Keyboard by Daniel Scott | 100 Of The Best Songs Ever For The Keyboard | |
100 Piano Solos (100 popular standards of today arr. by Frank Booth) with guitar chords | 100 piano solos 1 | |
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100 Songs For Kids – Easy Guitar Lyrics with Tablature | 100 Songs For Kids – Easy Guitar Lyrics | |
100 Tunes Every Musician Should Know Professional Chord Changes And Substitutions By Dick Hyman | 100 Tunes Every Musician Should Know Professional Chord Changes And Substitutions By Dick Hyman | |
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101 Mississippi Delta Blues Fingerpicking Licks Guitar and TAB by Larry McCabe | Larry McCabe – 101 Mississippi Delta Blues Fingerpicking Licks | |
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129 Easy Pieces For Piano Solo, also for beginners | 129 easy pieces for piano solo | |
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150 Best Songs For Acoustic Guitar | ||
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150 Of The Best Jazz Standards Ever | 150 Of The Best Jazz Standards Ever | |
150 Of The Most Beautiful Songs Ever 3rd Edition | 150 Of The Most Beautiful Songs Ever 3rd Edit1 and 150 Of The Most Beautiful Songs Ever 3rd Edit2 | |
16 Pop and Movies Hits Keyboard Piano Book (Mike Emerson) | 16 Pop and Movies Hits Keyboard Piano Book (Mike Emerson) | |
1600 Pennsylvania Avenue The Musical By Leonard Bernstein And Alan Jay Lerner Vocal Selections | ||
17 Moments of Spring – Mgnovenia (Mikael Tariverdiev) | ||
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262 Classic Piano Rags Various Composers | 262 Classic Piano Rags Various Composers | |
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28 Modern Jazz Trumpet Solos Book 2 | 28 Modern Jazz Trumpet Solos Book 2 | |
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30 Best Rock Guitar Songs Ever (Guitar TABs) | 30 Best Rock Guitar Songs Ever (Guitar TABs) | |
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36 Christmas Carols Songs | 36 christmas carols songs | |
38 Special Guitar Anthology Guitar Recorded Vers. with Tablature | 38 special guitar anthology | |
39 Progressive Solos For Classical Guitar (with Tablature) | 39 Progressive Solos For Classical Guitar | |
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500 Piano Intros For The Great Standards – Steinway | 500 piano intros | |
55 Country Classics (Voice, piano, Guitar) | 55 Country Classics (Voice, piano, Guitar) | |
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80 Most Requested LDS Songs (Mormon music) | 80 Most Requested LDS Songs (Mormon music) | |
88 Piano Classics For Beginners – David Dutkanicz | 88 Piano Classics For Beginners – David Dutkanicz | |
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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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After Hours For Solo Piano. Book 3 (Pam Wedgwood) | After Hours For Solo Piano. Book 3 (Pam Wedgwood) | |
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Alan Parsons Project – The Essential | Alan Parsons Project | |
Alan Parsons Project Gaudí Piano Vocal Guitar chords | Alan Parsons Project Gaudí Piano Vocal Guitar chords | |
Alan Silvestri – Avengers Infinity War Medley – Piano Solo | Alan Silvestri – Avengers Infinity War Medley – Piano Solo | |
Alan Silvestri – Contact Main Theme |
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