It forms a stronger arrival on the extended downbeat. The accent on the last beat of the bear adds to the groove, even further developing the uneven meter. The next two beats is written as a dotted slur accompanied by a chromatic smear is a new musical idea in the piece. He then writes staccato for next three notes. For example, the opening phrase of the head, Desmond slurs the leading bar and the first two quavers of the next. Articulation refers to the musical performance technique that affects the transition or continuity on a single note, or between multiple notes or sounds. Instead of following the “traditional bebop articulation pattern” of tonguing which usually has off beats and accented notes, he ad-libs his own articulations based on the contour of the phrase. Desmond uses articulation to add taste to the melody. Structurally, the saxophone solo and the head are quite short and its odd meter doesn’t allow to stretch rhythmically. The catchy saxophone melody in particular is based on an E flat minor blues scale.
The piece modulates from E flat minor to its relative major, G flat major and modulates back when the improvisation and the two-chord vamp pattern restarts. This piece is based on blues, pentatonic and dorian minor scales. A notable harmonic pattern in this piece is a modulation in Part B. Take Five is also a harmonically catchy piece. From Bar 5, the rhythmic motif becomes a riff accompanying the saxophone head, or as in the score, the right hand of the piano. Riff is an ostinato phrase typically accompanying a solo improvisation and a head. As the tessitura of the left hand bass is lower, this detracts attention from the rhythmic pattern and becomes a riff and a repeated motive. It consists of two dotted rhythm within the space of 2 beats which definitely sets a “swing” and groove in the piece’s rhythmic mood.įrom the entry of the saxophone head, the left and right hand rhythmic beats of the piano is combined and played by the left hand only. However, the most effective groove in this piece is the leading anacrusis of the popular saxophone melody. As this offbeat note creates a dotted “swing” rhythm with the on-beat left hand bass, Desmond employs groove from the beginning of his piece. The first note of the piece, in the right hand of the piano, with a semiquaver that is played after a dotted quaver rest creates the first groove as instead of going on the beat or the regular quaver off-beat positions, Desmond has placed the note like a semiquaver in a crochet dotted rhythm. Groove can be found in various places in Take Five. A piece is normally classified as having a groove when it includes a “swing” rhythm and is a term to describe the cohesive rhythmic "feel" in a jazz context. This element can be linked the compositional device groove. An example of the rhythm can be found from Bar 1 with a semiquaver on edge of the 1st beat and short staccato crochet notes in beat 3 and 5. Rhythm is commonly associated as a regular, repeated pattern of sound varying the length of notes. With a slight emphasis on beat 1 and 4, this rhythm creates the base for the riff. The rhythm of the accompaniment is also a crucial element in the composition. The vamp always precedes the entry of the saxophone melody. This affects the solo part as their improvisation would be based on the two-chord vamp instead of the chorus section. A vamp is an accompaniment consisting of a succession of simple chords, in this case switching between E flat minor and B flat minor seventh chords. The tonic chord Im is played for the first four beats of the bar and the last bar is the special effect of a dominant seventh harmony variation, also being the extra differentiating beat to the ordinary 4/4 jazz pieces. The piece commences with the accompaniment playing Take Five’s special rhythm in a chord progression of Im to Vm7. Take Five is written in the key of E flat minor. Another significant compositional device is the repeated two-chord vamp.
0 kommentar(er)
