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the phrases over the first seven me:lStJtes are cOQtructtW Jromthe ~ blues scale: In-the eiafltbm.e;&5ur,e. be,ma!¢s' a transition to ImplY :the67+9SO~j~'6aseshiscoftstruction

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. blues5Cllrdit:oteasUt~ 'l(ji'and~'es back into

Bb blues over;the\t~~iid in measures 11 3ndr2~

11iistu~ ~al1l~ln.8b. We've avoided . using a key signai~/In the transcription because a bluescootlilfts mqre acddentals than aconventtons! k~y sign represents. Other noteworthy. examples of ~' tedmkal agility are hi~freq!l~sl1di(lgand liSe ofpuU' offs. The Jra!lleWork,continues with Seven choruses of;Garland andJooes "tnding fours," then Garial}d restates the "head" over two Choruses to end the tune,

The quintet oftenexpJored different textural combinations. Whether Miles and/or Trane were bIo~gor layi~gout, the ihythm section~on,tinuedtorendefhaRj.drivlngbcJp~ a trio, ·ant~ '.l>¥ the magnificent; 3ssertive playing of Paul Chambers.

tlge, 240(1). "Blues By Five"ls approximately ten minutes of 36 12·bar cycles (choruses). It begins with the rhythm section: Red Garlandpiano; Paul Chambers- bass, and ph illy Joe jones-drums, Garland states the "head" of the tune over two choruses. Then Miles takes an eight-chorus trumpet solo.john Coltrane on tenor sax takes a seven-chorus solo, Garland takes a five-chorus solo, then comes the bass solo over five choruses.

Chambers constructs his Ideas by using the notes from the blues scale: R, (2),b3, 3,4, .4,5. (6), b7/(b2, b6, 7 passing tones). You might consider the modern representation of the blues scale to employ all 12 pitches of the chromatic scale. As Charlie Parker once said, you can use all 12 tones In a tune, you just have to put them In the right place at the right time.

Chambers' sense of melody Is captivating.

When soloing, he usually creates two-to-threebar phrases compris.ing primarily eighth-notes. He occasionallyempl<>yS a four-l:Jar phrase-for example, measures 5'8 In his last solo chorus of "Blues By Five." On each chorus in this tune,

Blues By five-

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two eipths on a downbeat and upbeat like an eighth-note triplet with the first eighth having the value of the first two eighths of the triplet, and the second eighth the ,valae of the third eighth of the triplet. It'salso wssible to think of

• the ~rst two eighths 00 a downbeat and upbeat like a dotted eighth and sixteenth. This swing feel is generated In "Blues'By Five" by ",iles DavIs. Nontraditional blues; especially found In jazz, often contain progressions with ~atlons In the framework. "Blues By Five" uses a t 2·bar framework with the following progression:

e-1a7/S,7/ /al/ /.8b7/G"l+9/Cm7/F7/S,7 G!/Cm7F7!

The M!1es. OavIs ~lntet is considered one of~ finest groups in jazz history. In 19S6,they ~~ four IPs with the Prestige label. "Blues ~. five" was recorded on an album entitled C~'IPrestjge, 240531. It was later released on a two:r~d set entitled MiIe$ Davis-iPres-

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