In The Mood- Glen Miller
Context and analysis- based on
original released record
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
Structure
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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 pedalends on main riff with dramatic crescendo.
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
Intro
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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
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
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
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
Rhythm
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Highly swung feel
Walking bass
Highly syncopated
Heavy use of articulation- accents on
syncopated beats
• Use of displaced quavers-3 against 2-hemiolas