To follow-up on my post about Gil Evans’ piece Blues for Pablo (Blues for Pablo True to Form), I confess I’m guilty of petty theft. In a few bars of a new piece, Gaslight, which I performed with my Tentet last week, I used Gil’s idea, his sound from four bars of his piece. Please see my earlier post for a full explanation of how Gil expresses tension and resolution in these measures. Here’s a quick summary: In M. 13 Gil creates a striking dissonance between the brass and ww’s above, and the tuba, bass bone and bass clarinet below. Harmonic tension resolves by M. 16, as the triadic and classical voicing style of M. 13 moves to a more to open modern jazz style. Four short bars become a “mini-cell” containing drama and movement, and while Gil’s treatment is much more intense and dramatic than mine, the sound and concept are the same.
I also poached the shape of Gil’s low melody as it moves up against the Bbmi chord.
My four stolen bars start at 5 after letter B.
I believe it was Stravinsky who said “steal from the best”. I think I got away with it, but I hope I didn’t go too far; judge for yourself.
Excerpt from Gaslight as performed last week by my Tentet, mp3 and score:
Excerpt from Gil Evans’ Blues for Pablo M 13-16, mp3 and score reduction: