![]() ![]() What this tells me is that he is interested in expressing this change at the two most important formal points in the tune (the top of the head and the beginning of the bridge) in order to get some momentum at the start of those sections, but once that change is repeated in the second and third A sections it doesn’t carry the same impact so he is happy to leave it and work with other changes. Interestingly, on the repeat of the first A and during the last A (bars 10 and 26), he doesn’t play so strongly over this change. The main point of interest in this tune is the tritone shifts in root notes that occur in bar 2 of the A section and bar 2 of the bridge (in my transcription those are bars 2 and 18).
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