In The Mood- Glen Miller

1. In The Mood- Glen Miller Context and analysis- based on original released record

2. Context • “In the Mood”- based on an old jazz riff, passed around bands- notably “Hot and Anxious” by Fletcher Henderson • Joe Garland created a new arrangement using the riff and named the tune. • The arrangement in the recording has 2 built in solo sections, including one of the famous “Tenor Battles” between Tex Benke and Al Klinke. The other is a 16 bar trumpet solo by Clyde Hurley. • This leads into the famous “Fade away” section- a model of suspense and dynamics • Miller was able to control the ending as he chose- Miller directed the drummer to hit a cowbell to bring the band roaring back in loudly after a quiet section

3. Structure • Intro-8 bars • A section-12 bar blues- repeated • B section-16 bars (8 bar phrase repeated) • Tenor solo “battle” over B section chords-16 bars • 4 bar break • Trumpet solo over B section-16 bars • 2 bar break • A section- once only • 2 bar chromatic break with trombone long note- piano • A section • 2 bar chromatic break with trombone long note-piano • A section –forte • 8 bar Coda built on chromatic break rising in pitch over trombone pedal-ends on main riff with dramatic crescendo.

4. Key Features • Call and response between sax/wind and brass section • Use of 6th common in harmony on major chords • Masterful use of varied dynamics • Smooth Articulation of each Section working as one unit • Use of accents • Highly syncopated

5. Intro • Mainly Unison • Call and answer • Highly syncopated- creates excitement at start • Harmony on stabs in second part • Stabs grouped in 3’s- push on 3rd one creates drive • One note repeated on off-beats • Chromatic motif

6. Harmony • Blues in A section • Mainly II-V-I repeated in B section, with bIII diminished chord on answering stabs • Use of sixths and ninths on major chords • Voicings on riff move up arpeggio shape (including 6th) • Close voicings- 2nds common, minor and major • Use of diminished shapes as passing chords (colour) • Individual voices in responses moving mainly by semi-tone (smooth section effect) • Voicings (how notes are spaced) are crucial- notes that you think would clash work because of where they are placed in pitch eg.end bar 24- Cm7 has Eb (3rd) and F(11th)in trombones but interval large so it works • Baritone/trombone long notes used to great effect • Harmonic anticipation- last quaver of bar push eg bar 8

7. Texture • Homophonic • Call and response between sax/wind and brass section used throughout • Rich texture created by many voices harmonised • Sax/wind and trumpets/trombones used as 2 distinct sections • Rhythm section provide constant bed

8. Melody • Main Riff mainly arpeggio based following chord shapes • B section 2 bar riff contrasts- smoother • Mainly Harmonised • Main riff uses displaced quavers- hemiola-3 against 2 • Use of repeated notes in melody on root while harmony moves underneath at end A section

9. Rhythm • Highly swung feel • Walking bass • Highly syncopated • Heavy use of articulation- accents on syncopated beats • Use of displaced quavers-3 against 2-hemiolas