Django Reinhardt’s solo on Flèche d’Or
Transcription and analysis of Django Reinhardt’s solo on his own composition, Flèche d’Or. The structural and harmonic aspects of this work, recorded in 1952, show great similarities with Milestones (1958) by Miles Davis, a well-known work generally accepted as the first example of the so called mod...
| Autores: | , |
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| Tipo de recurso: | artículo |
| Estado: | Versión publicada |
| Fecha de publicación: | 2014 |
| País: | Brasil |
| Institución: | Universidade Federal de Minas Gerais (UFMG) |
| Repositorio: | Per Musi |
| Idioma: | portugués |
| OAI Identifier: | oai:periodicos.ufmg.br:article/38498 |
| Acceso en línea: | https://periodicos.ufmg.br/index.php/permusi/article/view/38498 |
| Access Level: | acceso abierto |
| Palabra clave: | Django Reinhardt and Miles Davis History of bebop and modal jazz Jazz guitar solo, Jazz in France Django Reinhard e Miles Davis História do bebop e jazz modal Solo de guitarra no jazz Jazz na França Django Reinhard y Miles Davis Historia del bebop y del jazz modal Los solos de guitarra en el jazz El jazz en Francia |
| Sumario: | Transcription and analysis of Django Reinhardt’s solo on his own composition, Flèche d’Or. The structural and harmonic aspects of this work, recorded in 1952, show great similarities with Milestones (1958) by Miles Davis, a well-known work generally accepted as the first example of the so called modal jazz. This article also presents a transcription of the accents and displaced rhythms performed by the drummer Pierre Lemarchand, in order to demonstrate a measure mistake that could be caused by the recent novelty of this kind of musical form in jazz. The analysis of the solo reveals an “outside” approach by Django as far as the harmony and rhythm are concerned. |
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