5. Double-time feel como proceso colectivo y como difuminador de la forma

5.1 Double-time feel como proceso colectivo

“Musicians typically use some sort of sound signals when they want the rhythm section to change the accompaniment in order to create a new mood. Davis had used this particular technique of arrangement since the 1950s – it allowed him to adopt a looser attitude towards the structure. During the Philharmonic Hall concert Davis uses two different kinds of sound signals:

Type A: short diatonic phrases of crotchets or quavers played in half time for one or two beats; these are full of swing, and their dynamic tends to the forte. Throughout the sound signal the rhythm section plays an accompaniment in 2 or 4 with a feeling of double-time. (See examples 1a, b, c, d, e.)


(a) “Stella by Starlight”: Davis theme, D section, measure 1 (1:53); (b) “Stella by Starlight”: Davis chorus I, B section, measure 8 (3:08); (c) “Stella by Starlight”: Davis chorus I, C section, measure 8 (3:58); (d) “My Funny Valentine”: Davis theme, A” section, measure 9 (2:45); (e) “I Thought About You”: Davis theme, A’ section, measure 3 (1:20)

Type B: short chromatic ascending (and sometimes descending) phrases in irregular ternary groups. These signals are typically used to change a basic pulse into double-time. If the music is already in double time, they mark a transition into a section of 4 beats accompaniment supported by a strong walking bass. (See examples 2a, b, c, d.)


(a) “Stella by Starlight”: Davis chorus I, D section, measure 8 (4:28); (b) “My Funny Valentine”: Davis theme, A” section, measure 7 (3:00); (c) “My Funny Valentine”: Davis chorus I, A’ section, measure 7 (5:23); (d) “I Thought About You”: chorus I , C section, measure 8 (2:17)”

Luca Bragalini (1997): “My Funny Valentine: The Disintegration of the Standard”, en Musica Jazz: Volume 53, no. 8/9 [August-September 1997], p. 52-55; y Volume 53, no. 10 [October 1997], p. 52-55); disponible online en http://www.plosin.com/milesahead/valentine.html

Sound Signals en “My Funny Valentine” (Miles Davis Quintet, 1957)


5.2 Double-time feel como difuminador formal


  • Supresión de A1 A2 en el tercer coro.
  • Inserción temática de B en los dos compases finales de A3 (primer coro, cc.39-40)
  • Extensión irregular de los solos (solo de trompeta se extiende dos compases iniciales del segundo solo, cc.41-42).
  • Gradación del efecto Double-time feel (la batería introduce el efecto dos compases antes del segundo coro, donde se suma el resto de la sección rítmica, cc.39-40).
  • Silencio (cc.85-87).

“It’s not the notes you play, it’s those you leave out” (Thelonious Monk)

Ted Gioia (2011): The History of Jazz (Oxford University Press), p.225.

5.2 Nota discográfica

El análisis de Luca Brangani se refiere a esta otra grabación (en vivo).

Miles Davis – My Funny Valentine. Miles Davis in Concert (1965), 1. My funny Valentine, (Columbia Records CS 9106). Miles Davis (trompeta), George Coleman (saxofón), Herbie Hancock (piano), Ron Carter (contrabajo), Tony Williams (batería).

6. Discografía y Bibliografía


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