walkingshoes paper

7/23/2019 WalkingShoes Paper

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Walkin Shoes:

Arrangement by Marty Paich

Jess Dez Garca

Jazz Compositional Styles

Prof. Bill irchner!ctober "# "$%&


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'able of Contents

%. (ntro)*ction &

". Analysis

a. +orm ,

b. Melo)y -

c. armony /

&. Score %$

,. Bibliography "%

"


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Introduction

01al2ing Shoes0 is an original composition by Gerry M*lligan that 3as recor)e)

3ith the same gro*p as 04ights At the '*rntable0 in %56" by the original Gerry M*lligan

7*artet. In an unpublished oral biography recorded in 1995, Mulligan

discusses the writing of Walkin Shoes

I re!e!ber the "rst thing that I wrote for hi! was #erycontrapuntal$ I was trying to do a thing that built anense!ble sound out of unison contrapuntal lines andbuilt up to a nice ense!ble chorus$ Stan didn%t reallylike it, so he said if I rewrote it, he would take it$ So Idid$ I took it and put the tune Walkin Shoes& on the

"rst part, and used the out chorus fro! the piece thatwas there 'and had been re(ected), and that was allright$ *+ine, p$-5.

'he arrangement being analyze) in this paper is from the alb*m 8Art Pepper 9 :le;ens original

0Mo;e0# 'helonio*s Mon2?s 0>@o*n) Mi)night0# orace Sil;er>s 8!p*s )e +*n2


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Form of the Arrangement

81al2ing Shoes< is constr*cte) on a thirtyt3o bar AABA set of chor) changes b*t li2e

many other arrangements from the 8Birth of the Cool< alb*m it is not simply a hea)#

chor*ses# an) hea). 'he o;erall form incl*)es fo*r chor*ses pl*s the intro an) an eten)e)

fo*r bars en)ing. 'he intro is fo*r bars of a 3ritten bass line. 'he A part starts in the pic2

*p to bar 6# 3here the melo)y starts. 'he A is )i;i)e) into phrases of eight bars an) the

bri)ge starts at bar "% an) contin*es to bar "/. (n the last A section# the melo)y is a

;ariation of the melo)y fo*n) in the first A section. 'he secon) chor*s starts in bar & 3ith

the first alto solo. (n the secon) A section there are some bac2gro*n) fig*res in bars ,6,-

an) ,56$. At the bri)ge in bar fiftythree# the secon) alto an) secon) tr*mpet play a

bac2gro*n) an) the tenor saophone# trombone one an) t3o# an) piano play a )escen)ent

bac2gro*n) melo)y in half notes. (n bar -% to bar -/# the last A section of the solo chor*s

en)s 3ith only the first alto playing 3ith the rhythm section. (n bar -5# the ban) plays the

first fo*r bars as a sho*t chor*s follo3e) by a fo*r bar solo by the first alto. 'he net fo*r

bar sho*t chor*s starting at bar is a *ote from Gerry M*lligan>s composition 8Jer*s ;ersions. (n the first chor*s of the piece#

the melo)y is mostly playe) in *nisonocta;es *ntil bar 5 3here there is a harmonization of

the three eight note moti;e.

(n the secon) A section# the first alto ta2es the melo)y an) the ban) plays

bac2gro*n) fig*res. 'he Bri)ge is a contrast to the A section 3ith a harmonize)

co*nterpoint line on the brass section an) the piano# 3ith the ree) section playing the

melo)y in *nisonocta;es.

'he melo)y is harmonize) in the last A section. (t is first playe) by the ree) section

an) then at bar &%# it is ta2en by the brass section.

'he range of the melo)y is =*st one octa;e from :b & to :b ,.

'he ma=ority is compose) of small scalitstic motifs. 'he melo)y starts 3ith a

)escen)ent scale on the pic2 *p of the first bar.

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(t can be inferre) that there is a line 3hich hits the first beat of e;ery bar an) this

forms the frame3or2 of the melo)y. Hsee fig*re%I

A secon) line is pro)*ce) by the high notes of the melo)y. 'his line is har) to hear

in the recor)ing b*t it ma2es the melo)y to lea) into the anticipation of bar - an) then the

net three bars of resol*tion. Hsee fig*re "I

Both lines lea) into the fo*rth bar that is resol;e) on a pic2 *p in the fifth bar *sing

a similar motif. (t is then follo3e) by a retrogra)e# or ascen)ant# motif# 3hich hits the D on

the sith bar at the most tense point in the A section. !;er the bri)ge there is more space in

bet3een motifs an) a ne3 rhythmic fig*re# t3o gro*ps of triplets# creates a contrast 3ith

the rhythms of the A section. Bars %6 an) %- are a reeposition of the ascen)ant an)

)escen)ent motifs. Bar %6 3o*l) be hear) as a *estion# an ascen)ant motif that en)s the

bri)ge. 'herefore# the )escen)ent motif on the pic2 *p to Bar se;enteen creates as ans3er

effect to the pre;io*s *estion# as 3ell as starting the melo)y of the last A section. Hsee

fig*re &I

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(n bars "%# ""# an) "& there is a ;ariation of the original A section that 3or2s as an

en)ing. (t is a simple b*t ;ery effecti;e melo)y an) most of it is shape) in con=*nct

motion. (t is constr*cte) 3ith clear )efine) ascen)ant an) )escen)ent moti;es that create an

o;erall feeling of motion# as the title says the melo)y recreates a so*n) effect of 3al2ing.


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Harmony

'he arrangement starts 3ith a s*ccession of homophonic Hocta;esI an) harmonize)

parts. 'he harmonize) parts are *se) to finish at the en) of the m*sical phrases in the A

section. (n the secon) A section# the lea) alto ta2es the melo)y an) the ban) harmonizes

bac2gro*n) fig*res in bloc2 harmony emphasizing the notes of the melo)y 3ith chor)

position in;ersions. +or eample# on the thir) beat of bar %,# the alto has the b# 3hich is

)o*ble) by tr*mpet an) the first an) secon) trombone.

(n the bri)ge# there are t3o co*nterpoint lines that mo;e against the melo)y in half

notes. 'he french horn plays one line an) the secon) co*nterpoint line is harmonize) by

parallel siths on the trombones# 3hich are )o*ble) on the piano. 'he *se of contrary

motion is noticeable in bet3een the french horn line an) the trombonepiano line.

'he last eight bars of the bri)ge are the most comple part of the arrangement. 'he

brass section plays a co*nterpoint line 3ith parallel minor thir)s in bet3een the secon)

trombone# first trombone# french horn an) secon) tr*mpet an) a ma=or fo*rth bet3een the

secon) tr*mpet an) first tr*mpet. 'his co*nterpoint harmonize) line so*n)s li2e a thic2

3all of so*n) in contrast to the simplicity of the melo)y that is playe) by the ree) section.

(n bar &%# the brass section plays the melo)y an) the ree) section plays a co*nterpoint line

of octa;es an) *nisons that ta2e *s thro*gh bars &" to &, 3here the 3hole ban) harmonizes

the melo)y.

D*ring the solo# the ban) plays bloc2 harmony bac2gro*n)s. (n the bri)ge of the

solo# the co*nterpoint lines are 3o;en into t3o big gro*ps co*nterpoint lines one# t3o# an)

three an) co*nterpoints fo*r an) fi;e Hsee bars 6& K -$I. 'he last A section of the solo is

playe) only by the lea) alto an) the rhythm section.

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(n bar -5 the ban) plays a fo*r bar harmonize) sho*t chor*s 3itho*t the french

horn# follo3e) by a fo*r bar solo by the first alto. (n bar # there is another sho*t chor*s#

3hich is a *ote of Gerry M*lligan>s composition 8Jer*< from 8Birth of Cools recor)ing# perhaps

in an effort to )isting*ish the *otation from the original start of 8Jer*


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Bibliography

+ine, /ichard Sa!uel$ The Birth Of Jeru: Gerry Mulligans Early

Composing/Arranging Career (1!"#1"$%&0ccessed ctober 1, -12$http)r*m.lib.*m).e)*bitstream%5$&%%%&-%+ineL*m)L$%%:L%%-5".p)f

Paich# Marty. Walkin Shoes. %56&. 4e3 For2 'he Jazz Eines +o*n)ation (nc. "$%%. Print.

%$
http://drum.lib.umd.edu/bitstream/1903/11136/1/Fine_umd_0117E_11692.pdfhttp://drum.lib.umd.edu/bitstream/1903/11136/1/Fine_umd_0117E_11692.pdf

walkingshoes paper

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