... first five measures of the B section, beginning at measure 17, Miles uses this same technique of emphasizing the tonic to declare the key change to F dorian. In measure 23, he sets up an anticipation of the return to E dorian with the chromatic interplay of Eb and E. However, in this last A section of chorus one, beginning in measure 25, he places less emphasis on tonic E than before and uses, instead, a B on the phrase endings, serving as a smoother transition to the new polytonal sound (D major over E minor) of chorus two. Chorus two is also distinguished by a rhythmic change from the moving eighth note line of chorus one B section to a triadic line marked by half and whole notes. Measures 41-47 are similar in style to measures 1-4. Measure 48, like measure 56, is just another example of a Miles ...

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