Blue In Green

Introduction:

Welcome to this lesson where we delve into the timeless masterpiece of jazz, “Blue in Green”, from the iconic album “Kind of Blue” by the legendary Miles Davis. This album, recorded on March 02 1959 and released on August 17 1959, stands as a landmark in the history of jazz, and “Blue in Green” encapsulates its essence with unparalleled beauty and innovation. Through this lesson, we’ll explore what makes this song and album so unique, as well as their significant place in the annals of jazz history.
 
“Blue in Green” is a composition that exemplifies the sublime artistry of Miles Davis and his ensemble. This piece stands out for its hauntingly emotive melody, ethereal harmonies, and improvisational depth. What sets “Blue in Green” apart is its minimalist yet profoundly expressive nature, which allows each note to resonate with poignant clarity.
 
“Kind of Blue” itself is a revolutionary album that redefined the jazz landscape. Davis, along with an ensemble of exceptional musicians including John Coltrane, Bill Evans, Cannonball Adderley, Paul Chambers, and Jimmy Cobb, embarked on a daring exploration of modal jazz, a departure from the more conventional chord-based improvisation. This shift liberated the musicians, enabling them to explore new melodic and harmonic possibilities with unprecedented freedom and spontaneity.
 
In the broader context of jazz history, “Kind of Blue” is often regarded as one of the greatest jazz albums ever recorded. Its influence extends far beyond the realm of music, shaping the very essence of what jazz represents – innovation, improvisation, and artistic authenticity. The album’s impact is evident in its lasting legacy, inspiring generations of musicians across various genres and serving as a timeless reference point for jazz aficionados worldwide.
 
As we delve deeper into “Blue in Green” and its parent album “Kind of Blue,” we’ll unravel the nuances of their compositions, explore the improvisational techniques employed by the musicians, and examine their enduring significance in the evolution of jazz. Through this exploration, we aim to gain a deeper appreciation for the genius of Miles Davis and his collaborators, and understand why their contributions continue to resonate with audiences decades after their inception. So, let’s embark on this journey into the heart of jazz, where “Blue in Green” awaits to enchant and inspire us anew.
 

Modal or tonal?

While this album introduces modal improvisation, “Blue in Green” is not a real modal tune but a tonal composition with a modal treatment, specially from the piano voicing by Bill Evans as we will see in the transcription.
 
First, let’s briefly remind ourselves what is the difference between tonality and modality.
 
Tonal jazz and modal jazz represent two distinct approaches to harmony and improvisation within the genre.
 

Tonal Jazz:

– Also known as chordal jazz, is characterized by its reliance on chord progressions and functional harmony.
– In tonal jazz, musicians typically improvise melodies over a series of chord changes around a tonal center.
– The harmony in tonal jazz is based on a hierarchy of chords within a key, with chord progressions typically following established patterns such as ii-V-I.
 

Modal Jazz:

– On the other hand, emphasizes the use of musical modes rather than traditional chord progressions.
– In modal jazz, musicians often play over extended periods of a single chord or a static harmonic structure, focusing on modes rather than chord changes.
– This approach allows for greater freedom in improvisation, as musicians are not bound by the constraints of traditional chord progressions.
– Modal jazz often features a more spacious and open sound, with an emphasis on exploration and mood.
– “Kind of Blue” by Miles Davis is a quintessential example of modal jazz, where tracks like “So What” and “Flamenco Sketches” use modal frameworks to facilitate creative improvisation.
 
In essence, tonal jazz revolves around chord progressions and functional harmony, while modal jazz emphasizes the use of modes and a more open harmonic approach, allowing for greater freedom and exploration in improvisation.
 

Specificities of "Blue in Green":

The form

The form of this tune is very peculiar short form of 10 bars. The piano introduction uses the harmonic progression starting on the third bar but going twice as fast (see transcription). 

Miles exposes the theme twice, before Bill Evans takes the first solo with the harmonic progression going twice as fast. Coltrane takes a solo on the same form and then Bill Evans takes a second solo (!) with the form going again twice as fast, Paul Chambers implying the double tempo while Jimmy Cobb stays on the ballad tempo.

Miles Davis plays the head out with the regular tempo and metric before Bill Evans plays it again at double speed.

 

The melody

Interestingly, the melody is mainly based on the D minor natural scale, or the aeolian mode, with a hint of melodic and harmonic minor. Another important detail is that the melody is almost exclusively based on tensions, while most of the time the melodic architecture will be based on chord tones.

Video lessons:

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3 comments on “Blue In Green”

  1. Christian
    Christian says:

    Bonjour Alex. Je suis enfin parvenu à accéder aux documents sur Blue in Green. Je trouve ta démarche d’improvisation très intéressante et surtout très progressive. Ce travail par étapes est de nature à m’aider à comprendre comment improviser en restant dans l’harmonie du standard.

    • Alex Terrier
      Alex Terrier says:

      Merci beaucoup Christian pour ton retour! Je suis ravi que tu aies trouvé les documents sur Blue in Green utiles et que la pédagogie de JVL résonne avec toi.

      N’hésite pas à me faire part de tes prochaines expériences avec ce standard ou à poser des questions si tu rencontres des difficultés. Je suis là pour t’accompagner dans ton apprentissage.

      Keep swinging!

  2. Alex Terrier
    Alex Terrier says:

    Practice playing the melody + the roots, then the melody + roots + harmony:

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