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NOTES ON HARMONY IN WAYNE SHORTER'S COMPOSITIONS, 1964-67

NOTES ON HARMONY IN WAYNE SHORTER'S COMPOSITIONS, 1964-67 Table 1. Referenced Compositions by Wayne Shorter, 1964–67 Year Composition Recording “Armageddon” “Black Nile” “Night Dreamer” “Virgo” “Deluge” “Juju” “Mahjong” “Yes and No” (“Yes or No”) “Fee-Fi-Fo-Fum” “Speak No Evil” “Wild Flower” “Witch Hunt” Wayne Shorter, Night Dreamer (Blue Note BCT 84173) Wayne Shorter, Juju (Liberty BST/4BN 84182) Wayne Shorter, Speak No Evil (Blue Note BLP 4104/BST) “E.S.P.” “Iris” “El Gaucho” “Footprints” Miles Davis, E.S.P. (Columbia 46863, CS9150/CL2350) Wayne Shorter, Adam’s Apple (Blue Note BST 4BN 84232) Miles Davis, Miles Smiles (Columbia 48849, CS9401/ CL2350) Wayne Shorter, Schizophrenia (Blue Note BST 84297) Miles Davis, Sorcerer (Columbia 52974, CL2732) Miles Davis, Nefertiti (Columbia 46113, CS9594) “Orbits” “Miyako” “Prince of Darkness” “Fall” “Nefertiti”* “Pinocchio”* *No direct reference to “Nefertiti” or “Pinocchio” is made in this article, although they were studied and contribute to generalizations. as they relate to the individual compositions discussed. Of course, the first task that must be accomplished in any study of harmony in a body of work is to determine what those harmonies are. This is a particular challenge in this case, since the harmonies of Shorter’s compositions are even more variable than in most jazz and popular tunes. On recordings, chords change at times in http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Journal of Music Theory Duke University Press

NOTES ON HARMONY IN WAYNE SHORTER'S COMPOSITIONS, 1964-67

Journal of Music Theory , Volume 49 (2) – Jan 1, 2005

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Publisher
Duke University Press
Copyright
Copyright 2005 by Yale University
ISSN
0022-2909
eISSN
1941-7497
DOI
10.1215/00222909-010
Publisher site
See Article on Publisher Site

Abstract

Table 1. Referenced Compositions by Wayne Shorter, 1964–67 Year Composition Recording “Armageddon” “Black Nile” “Night Dreamer” “Virgo” “Deluge” “Juju” “Mahjong” “Yes and No” (“Yes or No”) “Fee-Fi-Fo-Fum” “Speak No Evil” “Wild Flower” “Witch Hunt” Wayne Shorter, Night Dreamer (Blue Note BCT 84173) Wayne Shorter, Juju (Liberty BST/4BN 84182) Wayne Shorter, Speak No Evil (Blue Note BLP 4104/BST) “E.S.P.” “Iris” “El Gaucho” “Footprints” Miles Davis, E.S.P. (Columbia 46863, CS9150/CL2350) Wayne Shorter, Adam’s Apple (Blue Note BST 4BN 84232) Miles Davis, Miles Smiles (Columbia 48849, CS9401/ CL2350) Wayne Shorter, Schizophrenia (Blue Note BST 84297) Miles Davis, Sorcerer (Columbia 52974, CL2732) Miles Davis, Nefertiti (Columbia 46113, CS9594) “Orbits” “Miyako” “Prince of Darkness” “Fall” “Nefertiti”* “Pinocchio”* *No direct reference to “Nefertiti” or “Pinocchio” is made in this article, although they were studied and contribute to generalizations. as they relate to the individual compositions discussed. Of course, the first task that must be accomplished in any study of harmony in a body of work is to determine what those harmonies are. This is a particular challenge in this case, since the harmonies of Shorter’s compositions are even more variable than in most jazz and popular tunes. On recordings, chords change at times in

Journal

Journal of Music TheoryDuke University Press

Published: Jan 1, 2005

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