Sorcerer
Sorcerer
This chapter examines the musical composition of the album The Sorcerer by the Miles Davis Quintet. It considers the group's practice of placing complete or partial statements of the head's melody between or within solos. It discusses the singles “Vonetta”, “Prince of Darkness”, “Masqualero”, “Pee Wee”, and “Limbo”, analyzing their use of a syncopated harmonic progression which typically appears near the end of the composition's form. It considers how the feature operates as a compositional release, one that operates in the absence of standard bridge sections or harmonic turnarounds at the end of the repeating form. It also highlights Wayne Shorter's improvisation on “Vonetta”, and Miles Davis's and Herbie Hancock's improvisations to “Prince of Darkness.”
Keywords: harmonic structure, The Sorcerer, Miles Davis Quintet, syncopated harmonic progression, composition, Wayne Shorter, Miles Davis, Herbie Hancock
Oxford Scholarship Online requires a subscription or purchase to access the full text of books within the service. Public users can however freely search the site and view the abstracts and keywords for each book and chapter.
Please, subscribe or login to access full text content.
If you think you should have access to this title, please contact your librarian.
To troubleshoot, please check our FAQs , and if you can't find the answer there, please contact us .
