Score y parenergética es individuales del arreglo de Buddy Rich para Biga Band del reconocido tema Groovin' Hard
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The Shadow Academy is on the loose downtown, but the prom is tonight and, worse yet, you’ve got a make-up test tomorrow! But then nobody said things were simple at Hero High! Teenaged sup…Descrição completa
Groovin’ High https://www.youtube.com/watch?v=F1JUd0NFBIc
Groovin’ high (1945) is based on the 32 bar structure of ‘whispering’ which was an early 20’s hit by Paul Whitemans It is known as one of Gillespie’s hits First published in Gillespie’s 1945 album ‘Shaw ‘Nuff’ It was played by Gillespie’s sextet Personnel - Dizzy Gillespie (TR) with Charlie Ch arlie Parker (AS), Remo Palmieri (GT), Cozy Cole (DR), and Slam S lam Stewart (Bass) GROOVIN' HIGH in 1945 Ensemble stressing beats 2 and 4 rather than 1 and 3 which was used in swing Composed an intro which obscures the key of Eb major (6bar intro) The head would be played (2x16 bar) which contained co ntained sequences of his rapid, scalic melody through different harmonic levels The last section of the original whispering tune is cut and Gillespie creates a new 4 bar transition into the key of Db major This is used for Charlie parkers solo
Charlie Parker Develops the motif This is from the original melody This then leads into the next soloist, Slam Stewart who in this recording is considering to having a unique approach and is now considered a classic version of this recording Bebop often produced new styles of playing and Stewarts is a real hallmark The use of the bowing technique in a jazz setting is really not known of but Stewart uses it in his solo tastefully adding a new timbre to the overall sound. Stewart could also play and sing 2 octaves above what he was was playing which is truly unique After the bas solo there is a transition back into Eb major for Gillespie’s virtuosic performance After Gillespie, Palmieri solos on guitar This leads to a coda section which is typically unconventional half time ending with a spectacular high note by Gillespie The harmony is complex and he moves chromatically between chords E.G. G#-G-F#
The use of tri tone substitutions – in his transition to Db he substitutes the II Fm chord to B major He obscures the key at the beginning by starting in b major and then moving to c minor and then into eb which is the relative major of c minor. Movement being – I6-V-I- Eb The use of moving from unrelated keys is complex and a more modern approach from the previous styles of jazz e.g. Swing and this is why it is a typical bebop standard.
Musical analysis of “Groovin’ High” Original Key Eb major Form A-B-A-C Tonality Major throughout Movement Beginning with a descending major third, the melodic line arpeggiates wildly in both directions; several instances of chromatic embellishing tones Comments This is a “bebop” head loosely based on the chord progression of “ Whispering. “It is worthwhile to compare the two, as such a comparison illustrates the evolution of chord substitutions as applied to existing melodies, especially in its early stages. Most noteworthy is Gillespie’s use of the “ii7 -V” cadence. For instance, whereas his source tune went from tonic to the chord one-half step lower (in this case, Eb to D7), Gillespie precedes the subsequent chord with a minor seventh a tri-tone away (Eb - Am7 - D7), creating a “ii7 - V7/iii” cadence that resolves deceptively back to the tonic. He does this again in mm.7-8; whereas the original tune went from I - V7 (#7)/II (Eb- C7(#5)), Gillespie uses a minor 7th chord (Gm7). This type of substitution has become quite common among jazz players of the last half-century.
