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Chick Corea Now He Sings

Chick Corea and Miroslav play solos on "Now He Sings, Now He Sobs". Corea's solo is long while Miroslav's is short. Corea's phrasing is clear while Miroslav's lacks a defined structure. Both display virtuosity while maintaining the swing rhythm. During Corea's solo, Miroslav provides harmonic support on bass. Hynes provides consistent percussion to define the rhythm. The solos exhibit free jazz techniques through experimentation and lack of clear structures.

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Meshack O Sindani
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424 views1 page

Chick Corea Now He Sings

Chick Corea and Miroslav play solos on "Now He Sings, Now He Sobs". Corea's solo is long while Miroslav's is short. Corea's phrasing is clear while Miroslav's lacks a defined structure. Both display virtuosity while maintaining the swing rhythm. During Corea's solo, Miroslav provides harmonic support on bass. Hynes provides consistent percussion to define the rhythm. The solos exhibit free jazz techniques through experimentation and lack of clear structures.

Uploaded by

Meshack O Sindani
Copyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
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Download as DOC, PDF, TXT or read online on Scribd
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Chick Corea, “Now He Sings, Now He Sobs”

Chick Corea’s solo plays from 00:01 to 04:35 while that of Miroslav begins at 04:36 and

ends at 05:30. The two solos have similarities and differences. First, Corea’s solos is long and

extensive while that of Miroslav is short and reserved. Corea’s phrasing is definite and has a clear

harmonic progression. The melodic material is clear and can be predictable. The rhythm is also

defined. In contrast, Miroslav’s section does not have a defined meter, and the phrasing

framework is different from that of Corea. There is no melody that can be linked to the harmonic

material played by Corea. Miroslav’s lines do not blend well with the chord changes in the song.

However, there is a great deal of virtuosity displayed by both performers and it is important to

mention that they do not abandon the swing rhythm in their passages.

During Corea’s solo, Miroslav provides harmonic support, as there are gaps during the

solo. The bass has played a vital role in filling in the gaps that exist within Corea’s solo. The

supportive role the bass provides during Corea’s solo enriches the texture of the music. The

walking bass during the solo moves with the swing rhythm and supports the drums in providing

rhythmic consistency in the piece. In most of Corea’s solo. Miroslav plays the downbeats. This

makes them sound like they are in a conversation. Miroslav’s solo did not sound more like a horn

player, but there are qualities in the solos that make it sound as such. The playing technique made

him have short notes such as those played by horn players during an improvisation. Hynes’s

drum section was consistent and provided the entire percussive accompaniment that defined the

rhythm and the tempo of the performance. Corea’s solo as well as Miroslav can be described to

be free jazz techniques as there is lots of experimentation and lack of clear structures and

arrangement. Free jazz is known for its experimental nature and atonality.

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