In Keith Waters’ progressive analysis on The Studio Recordings of the Miles Davis Quintet: 1965-68, he gives examples of analytical strategies related to the quintet’s studio recordings compositions and improvisations. Waters focuses on a set of studio recordings, calling attention to details in the music through description and transcriptions in argue for another way of hearing the music. Throughout, Waters distinctively displays the collaborative element of the group’s ongoing musical motives during improvisation. The interactions between each player during the transition of each passage, gives way to the combined musical practice, in which one improvised solo evolves to the next. Waters demonstrates how the Quintet’s recordings embrace the group’s connection between hard bop and avant-garde. The combining of these two genres played a huge role in the definitive influence of the Quintet’s music. Waters also explores various improvisational and accompaniment techniques through the use of motives, structure and form in improvisation. …show more content…
These concepts include: modal and scalar organization, continuity and phrase overlap, meter (including hypermeter), metrical conflict, motivic analysis, group interactions and avant- garde (free form). Motivic analysis plays a major aspect in Waters analysis of the Quintet’s solos and compositions. He states that rather than finding ways to help the players hear individual concepts during the flow of improvisation, his focus is more on the consistency and unity in improvisation. Waters indentifies a significant understanding to the group’s interaction and their abandonment of form, hypermeter and metrical conflict in improvisation. Waters speaks on techniques stretching harmonic rhythm, the shifting of accents to create musical ambiguity, metrical conflict, and the creation of formal