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Analysis of two performance Pieces

Autumn leaves

Opening (section A)
Starts with muted trumpet playing melody and piano.
Piano uses broken and block, jazz chords (13ths, 9ths). The piano in
this section is based on the Wyntm Masalis version of autumn
leaves.
The trumpet plays small dynamic crests in each phrase, but it
mostly soft due to mute.
Trumpeter is aiming at a round long note, using mainly legato and
slurring and emphasising the pauses at the end of sections.
This section is to be played in a free metre. (lead by the trumpet)
All this creates a respectful peaceful mood.

Section 2 (section A + B)
Secton A
Section A is repeated.
Starts with terrace dynamics, as well as a strict moderato tempo.
Trumpet melody becomes much strict, using mainly legato, with the
last note of phrases cut short.
This creates contrast in both tone and articulation but contrast in
sections.
Piano plays short block chord jabs in-between trumpet phrases.
This section is played relatively loud (fm)

Section B
Section b is based on the original Milles Davis version.
Tempo and dynamics stay the same.
Trumpet plays smoother phrases, using predominantly legato
articulation.
This entire section creates contrast to the section before.

Section 3
Section three is the chad baker solo transcription of 1974.
This section is a touch slower than previous sections.
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This section is to be played as a moderately soft volume (mp).

The trumpet plays mainly legato and slurring throughout the solo.
Near the end of the piece there are two phrases in which there are
very high notes to be played. not: trumpet is to be warmed up
before attempting these notes.
The pianos change in harmony helps create a different mood.

Section 4
Section 4 is my own solo which predominantly changes each time I
play it.
This section is to be played a bit louder than the previous section.
This section is to be played at the same tempo as the previous
section.
my improvisation Is based on the B minor sale and the B minor
pentatonic scale.
The piano in the section platys a walking bassline in the left hand
while playing a predominantly block chord accompaniment in the
right hand.
A variety of articulation is used in this section.

Section 5
Section five is based on the final section of the Mills Davis version.
This section is a
This section is a little slower again but has a strict metre.
Legato and slurring are the main articulation used in this section,
but the trumpet should focus on holding the last note of each
phrases as long as possible.
The piano uses a lot of 5th chords which are reflected in the trumpet
melody as well.

Coda
The coda is comprised of one phrase repeated 3 times.
The end of each phrase is closed by a descending one bar run
that alter nates between a full close and half close cadence.
The ending run of each phrase is also played alternatively by the
trumpet and then the piano and both to finish.
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Bebop
Section 1
In section one both the trumpet and piano come in at the same
time, playing in a relatively fast tempo of 195bpm.
The trumpet melody is based on the roots of the chords as well as
some stepwise movement.
The beginning is to be played relatively loud.
The trumpet should be aiming for playing short precise and in tight
phrases.
The piano in this section is playing a predominantly block chord
accompaniment.
The second part of the beginning is an ascending a descending run
comprising of 6 bars of consistent quaver movement. This run is
played with back tonging (bebop slurring) on the trumpet.
The dynamics vary throughout the run.

Section 2
Section 2 is a 2 phrase section that is repeated twice. the phrase is
an ascending sequence that starts soft and gradually gets louder as
the phrase ascends. At the end of the first phrase there is fast trill
that ends on a half close cadence. The second phrase has the same
ascending start but the ending trill ends on a full close cadence
The tempo is to stay strict throughout this section.
The piano in this section follows the ascending theme with block
chords on the piano.
The piano also plays in parallel to the trumpet in regards to
dynamics.
The trumpet uses mainly uses legato, throughout but slurring the
fast trill at the end of each phrase

Section 3
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Section 3 contrasts the previous section because it is a descending

phrase rather than ascending.
The start of each phrase starts very high so trumpet should be well
warmed up before attempting these notes. (this is why I play this
piece second)
The dynamics also directly contrast that on the previous section by
starting loud and getting softer as the phrase descends.
(diminuendo)
The piano again follows the ascending motive of this section with
block chords.
The piano also plays in parallel to the trumpet in regards to
dynamics.
After the two first high notes of each phrase the trumpet returns
back to back tonging for the rest of the phrase.

Solo
The solo much like autumn leaves changes every time I play it.
The solo is predominantly based on the A minor scale as well as the
A minor pentatonic.
There are some things I like to do during this section, I like to have
on part where I go up in to the trumpets high register for 2 or 4 bars.
I also have some pre prepared lick I like to add in.
The tempo stays consistent throughout this section.
The dynamics in this section vary depending on the trumpet
phrases.
The piano accompaniment changes throughout the section.

After the solo the piece returns to section 2 and then into section three
before returning back to section 1. At the end of section 1 there is a pause
on a half close cadence and then a 2 note ending that resolves to a full
close cadence.
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