WEBVTT 00:00:00.000 --> 00:00:02.450 align:middle line:84% The following content is provided under a Creative 00:00:02.450 --> 00:00:03.630 align:middle line:90% Commons license. 00:00:03.630 --> 00:00:06.050 align:middle line:84% Your support will help MIT OpenCourseWare 00:00:06.050 --> 00:00:09.870 align:middle line:84% continue to offer high-quality educational resources for free. 00:00:09.870 --> 00:00:12.620 align:middle line:84% To make a donation or to view additional materials 00:00:12.620 --> 00:00:15.170 align:middle line:84% from hundreds of MIT courses, visit 00:00:15.170 --> 00:00:17.270 align:middle line:90% MITOpenCourseWare@ocw.mit.edu. 00:00:17.270 --> 00:00:20.060 align:middle line:90% 00:00:20.060 --> 00:00:22.400 align:middle line:84% MARK HARVEY: I'll begin by just saying a little bit 00:00:22.400 --> 00:00:25.980 align:middle line:84% about modal music, which is what we're talking about 00:00:25.980 --> 00:00:27.782 align:middle line:84% and also George Russell, and then I'm 00:00:27.782 --> 00:00:29.240 align:middle line:84% going to talk about a piece of mine 00:00:29.240 --> 00:00:31.640 align:middle line:84% if there's time enough for it, all of which 00:00:31.640 --> 00:00:35.900 align:middle line:84% use the modal concept and all of which 00:00:35.900 --> 00:00:37.980 align:middle line:90% are examples of extended form. 00:00:37.980 --> 00:00:40.460 align:middle line:84% Some of you have had some of my other classes, 00:00:40.460 --> 00:00:41.990 align:middle line:84% you may have remembered me talking 00:00:41.990 --> 00:00:43.580 align:middle line:90% about this to some extent. 00:00:43.580 --> 00:00:49.670 align:middle line:84% Extended form is what's used in jazz to mean larger structure. 00:00:49.670 --> 00:00:52.310 align:middle line:84% When we talk about form in jazz, we usually 00:00:52.310 --> 00:00:58.820 align:middle line:84% mean 12-bar blues, 32-bar song, form shorter formats. 00:00:58.820 --> 00:01:01.770 align:middle line:84% Extended form, even though it uses the word form, 00:01:01.770 --> 00:01:03.810 align:middle line:84% it really should say extended structure, 00:01:03.810 --> 00:01:06.870 align:middle line:84% but nobody says that, so they all say extended form. 00:01:06.870 --> 00:01:10.920 align:middle line:84% And this came into being, as many things 00:01:10.920 --> 00:01:12.330 align:middle line:90% did, with Duke Ellington. 00:01:12.330 --> 00:01:14.190 align:middle line:84% He was always there ahead of everybody else. 00:01:14.190 --> 00:01:17.610 align:middle line:84% 1931, "Creole Rhapsody" is the first extended form 00:01:17.610 --> 00:01:19.560 align:middle line:90% piece in jazz, 6 minutes. 00:01:19.560 --> 00:01:22.260 align:middle line:84% Doesn't sound like much, but the thing was, 00:01:22.260 --> 00:01:24.760 align:middle line:84% recordings could only go 3 minutes. 00:01:24.760 --> 00:01:27.480 align:middle line:84% And so Ellington was always very creative as well as 00:01:27.480 --> 00:01:28.470 align:middle line:90% very clever. 00:01:28.470 --> 00:01:31.132 align:middle line:84% So he figured out if you put a piece 00:01:31.132 --> 00:01:32.590 align:middle line:84% and then you had a companion piece, 00:01:32.590 --> 00:01:35.140 align:middle line:84% you'd have to flip the record over to hear the whole piece. 00:01:35.140 --> 00:01:38.850 align:middle line:84% So it's a six-minute piece, "Creole Rhapsody." 00:01:38.850 --> 00:01:42.180 align:middle line:84% Then we talked about 1943, Black, Brown & Beige. 00:01:42.180 --> 00:01:44.980 align:middle line:84% That's a really extended piece, 45 minutes long. 00:01:44.980 --> 00:01:47.190 align:middle line:84% You remember, we talked about "Come Sunday" from that 00:01:47.190 --> 00:01:49.110 align:middle line:84% and talked about the whole scope of the piece. 00:01:49.110 --> 00:01:52.050 align:middle line:90% So those were the precursors. 00:01:52.050 --> 00:01:54.900 align:middle line:84% Then you get the things like "Cubana Be-Cubana Bop," 00:01:54.900 --> 00:01:56.940 align:middle line:84% which is also by George Russell with Dizzy 00:01:56.940 --> 00:01:59.490 align:middle line:90% Gillespie in the late 1940s. 00:01:59.490 --> 00:02:01.870 align:middle line:84% And then we have these pieces here, 00:02:01.870 --> 00:02:03.510 align:middle line:84% which I'm going to talk about and play, 00:02:03.510 --> 00:02:06.600 align:middle line:84% "All About Rosie" and African Game, by George Russell, 00:02:06.600 --> 00:02:09.449 align:middle line:84% and let's say if I get time, my own piece, "The Secret." 00:02:09.449 --> 00:02:12.630 align:middle line:84% Now, the commonalities here are that these are all 00:02:12.630 --> 00:02:14.310 align:middle line:90% extended form pieces. 00:02:14.310 --> 00:02:18.030 align:middle line:84% They're all relatively long pieces. 00:02:18.030 --> 00:02:21.990 align:middle line:84% "All about Rosie" is 10 minutes, but it sounds, in fact, 00:02:21.990 --> 00:02:25.470 align:middle line:84% like it's longer than it is, it's so dense. 00:02:25.470 --> 00:02:27.700 align:middle line:84% Living time, I believe is about 40 minutes. 00:02:27.700 --> 00:02:28.950 align:middle line:90% I'll say something about that. 00:02:28.950 --> 00:02:31.650 align:middle line:84% African Game is about 40 minutes. 00:02:31.650 --> 00:02:34.960 align:middle line:84% My piece is about, anywhere from 15 to 18, 00:02:34.960 --> 00:02:39.375 align:middle line:84% depending on the length of the solos and that kind of thing. 00:02:39.375 --> 00:02:41.000 align:middle line:84% Another thing that's common about these 00:02:41.000 --> 00:02:43.110 align:middle line:84% is that these were all commissioned works, 00:02:43.110 --> 00:02:45.000 align:middle line:84% and that's another phenomenon that 00:02:45.000 --> 00:02:48.600 align:middle line:84% started to come into being in about the 1950s, which 00:02:48.600 --> 00:02:51.240 align:middle line:84% is that, just as with classical music, 00:02:51.240 --> 00:02:55.110 align:middle line:84% you sometimes have people being given a grant, composer given 00:02:55.110 --> 00:02:58.590 align:middle line:84% a grant, and the idea is you will then create music 00:02:58.590 --> 00:02:59.520 align:middle line:90% based on this. 00:02:59.520 --> 00:03:01.900 align:middle line:84% It frees you up, in other words, from doing other things, 00:03:01.900 --> 00:03:03.730 align:middle line:84% so you can concentrate on your composer. 00:03:03.730 --> 00:03:05.880 align:middle line:90% Very rare in jazz. 00:03:05.880 --> 00:03:09.390 align:middle line:84% In 1957, "All About Rosie," the first piece 00:03:09.390 --> 00:03:11.400 align:middle line:84% we're going to talk about, was a product 00:03:11.400 --> 00:03:14.040 align:middle line:84% of the Brandeis Festival of the Arts, which 00:03:14.040 --> 00:03:16.590 align:middle line:84% was something organized by Gunther Schuller, a name. 00:03:16.590 --> 00:03:18.090 align:middle line:84% I hope you're all familiar with, one 00:03:18.090 --> 00:03:22.110 align:middle line:84% of our great composers and really, scholars of music, 00:03:22.110 --> 00:03:28.350 align:middle line:84% frequent advocate and player on both jazz and classical things. 00:03:28.350 --> 00:03:31.410 align:middle line:84% And Schuller got the idea that if he commissioned-- 00:03:31.410 --> 00:03:34.080 align:middle line:84% this was the time of third stream music, the fusion 00:03:34.080 --> 00:03:35.010 align:middle line:90% of jazz and classical. 00:03:35.010 --> 00:03:38.100 align:middle line:84% He got the idea that if you commissioned three 00:03:38.100 --> 00:03:40.500 align:middle line:84% classical composers, himself being one of them, 00:03:40.500 --> 00:03:42.030 align:middle line:84% and three jazz composers, it might 00:03:42.030 --> 00:03:43.980 align:middle line:84% be an interesting program, and it was, 00:03:43.980 --> 00:03:46.290 align:middle line:90% of some very distinct pieces. 00:03:46.290 --> 00:03:48.340 align:middle line:84% Every piece was different from the other one, 00:03:48.340 --> 00:03:50.730 align:middle line:84% and the piece that George Russell wrote 00:03:50.730 --> 00:03:53.435 align:middle line:84% has become a classic, and that's what we're going to look at. 00:03:53.435 --> 00:03:55.560 align:middle line:84% Before we get into this, I want to say a little bit 00:03:55.560 --> 00:04:04.080 align:middle line:84% about the modal approach, and there's 00:04:04.080 --> 00:04:07.290 align:middle line:84% some of you, may be three or four who had the jazz 00:04:07.290 --> 00:04:08.430 align:middle line:90% composition course. 00:04:08.430 --> 00:04:10.980 align:middle line:84% I don't think we did this in the jazz harmony and arranging, 00:04:10.980 --> 00:04:14.190 align:middle line:84% but in the jazz composing, so you may 00:04:14.190 --> 00:04:15.900 align:middle line:90% remember some of these things. 00:04:15.900 --> 00:04:17.579 align:middle line:84% George Russell, in addition to being 00:04:17.579 --> 00:04:19.950 align:middle line:84% one of our premier composers, was also 00:04:19.950 --> 00:04:23.790 align:middle line:90% a theorist, is also a theorist. 00:04:23.790 --> 00:04:28.980 align:middle line:84% And in 1953, he published something 00:04:28.980 --> 00:04:33.120 align:middle line:90% that's called the Lydian-- 00:04:33.120 --> 00:04:35.040 align:middle line:90% after the Lydian mode-- 00:04:35.040 --> 00:04:39.010 align:middle line:84% Lydian Chromatic Concept of Tonal Organization. 00:04:39.010 --> 00:04:42.570 align:middle line:84% It's very catchy, Lydian Chromatic Concept 00:04:42.570 --> 00:04:44.790 align:middle line:90% of Tonal Organization. 00:04:44.790 --> 00:04:48.150 align:middle line:84% Some of you have heard me in other courses 00:04:48.150 --> 00:04:51.990 align:middle line:84% mention the ECU, which I call the expanded 00:04:51.990 --> 00:04:56.970 align:middle line:84% chromatic universe, which is my shorthand for both the Lydian 00:04:56.970 --> 00:04:58.590 align:middle line:84% Chromatic Concept plus everything 00:04:58.590 --> 00:05:00.510 align:middle line:90% that's happened since bebop. 00:05:00.510 --> 00:05:03.150 align:middle line:84% Let me just come clean and say I was a student of George 00:05:03.150 --> 00:05:05.100 align:middle line:84% Russell, so some of this has just 00:05:05.100 --> 00:05:08.400 align:middle line:90% been ingrained in my thinking. 00:05:08.400 --> 00:05:11.530 align:middle line:84% This is a very complicated theory. 00:05:11.530 --> 00:05:14.067 align:middle line:84% We have the book that was published many years ago 00:05:14.067 --> 00:05:15.900 align:middle line:84% in our library, if you want to look at this, 00:05:15.900 --> 00:05:17.880 align:middle line:90% but it takes a lot of study. 00:05:17.880 --> 00:05:22.260 align:middle line:84% It involves the Lydian scale, which George Russell believed 00:05:22.260 --> 00:05:25.830 align:middle line:84% with the scale that most clearly expressed 00:05:25.830 --> 00:05:28.380 align:middle line:90% the sound of a major chord. 00:05:28.380 --> 00:05:40.010 align:middle line:84% What that means is for him, if you had the chord C, to him, 00:05:40.010 --> 00:05:42.440 align:middle line:84% raised fourth or we would say flat 5 00:05:42.440 --> 00:05:45.980 align:middle line:84% and jazz is the scale that most clearly expresses that. 00:05:45.980 --> 00:05:48.450 align:middle line:84% Many people wouldn't hear it that way. 00:05:48.450 --> 00:05:51.200 align:middle line:84% But if you're a jazz person, if you've come out 00:05:51.200 --> 00:05:53.210 align:middle line:84% of Dizzy Gillespie and Charlie Parker, 00:05:53.210 --> 00:05:54.950 align:middle line:90% this makes a lot of sense. 00:05:54.950 --> 00:05:57.350 align:middle line:84% In any case, his whole theory is based 00:05:57.350 --> 00:06:00.350 align:middle line:84% on what he calls parent scales and/or modes 00:06:00.350 --> 00:06:03.290 align:middle line:84% and auxiliary, ones that are related to them. 00:06:03.290 --> 00:06:07.890 align:middle line:84% It's basically a pan modal and a pan tonal system, 00:06:07.890 --> 00:06:11.180 align:middle line:84% which means once you understand what the parent scale 00:06:11.180 --> 00:06:15.140 align:middle line:84% or mode is, virtually, any other mode or scale 00:06:15.140 --> 00:06:18.070 align:middle line:84% is possible to be related to that. 00:06:18.070 --> 00:06:20.390 align:middle line:84% So it's almost like a relativity theory, 00:06:20.390 --> 00:06:23.480 align:middle line:84% but it's very different than Schoenberg's relativity theory 00:06:23.480 --> 00:06:25.490 align:middle line:84% of 12-tone music, because it's still based 00:06:25.490 --> 00:06:28.100 align:middle line:90% in a tonal center of some. 00:06:28.100 --> 00:06:30.170 align:middle line:90% Let me put that here too. 00:06:30.170 --> 00:06:35.030 align:middle line:84% The tonal center is very much part of African music, 00:06:35.030 --> 00:06:37.740 align:middle line:84% very much part of African-American music, 00:06:37.740 --> 00:06:45.440 align:middle line:84% and along with that, goes the idea 00:06:45.440 --> 00:06:49.020 align:middle line:84% of centric melody, a melody that centers around a tone. 00:06:49.020 --> 00:06:53.480 align:middle line:84% So if you have F as your centering tone, 00:06:53.480 --> 00:06:59.460 align:middle line:84% you can go below it, you can go above it, and come back to it. 00:06:59.460 --> 00:07:01.850 align:middle line:84% And what we have there is a pentatonic scale 00:07:01.850 --> 00:07:04.700 align:middle line:84% in F, the major mode of the pentatonic scale, 00:07:04.700 --> 00:07:06.960 align:middle line:90% but F is the centering tone. 00:07:06.960 --> 00:07:10.970 align:middle line:84% And over and over again, you hear melodic fragments 00:07:10.970 --> 00:07:13.460 align:middle line:84% in African music, in African-American music, 00:07:13.460 --> 00:07:17.150 align:middle line:84% in the blues, and jazz that function this way, 00:07:17.150 --> 00:07:19.020 align:middle line:84% but it's a particular way of thinking. 00:07:19.020 --> 00:07:21.680 align:middle line:84% So we don't necessarily think of F as the tonic, 00:07:21.680 --> 00:07:25.580 align:middle line:84% we think of it as the tonal center, and in this concept, 00:07:25.580 --> 00:07:29.180 align:middle line:84% you can have several tonal centers at the same time, which 00:07:29.180 --> 00:07:32.960 align:middle line:84% gives you a sense of pan modality or pan tonality. 00:07:32.960 --> 00:07:35.510 align:middle line:84% Russell is also the one, as far as I can tell, 00:07:35.510 --> 00:07:38.000 align:middle line:84% who basically came up with the terms 00:07:38.000 --> 00:07:40.610 align:middle line:84% inside and outside, which we use commonly. 00:07:40.610 --> 00:07:42.410 align:middle line:90% Musicians use this all the time. 00:07:42.410 --> 00:07:44.670 align:middle line:84% If you're playing more conservatively, 00:07:44.670 --> 00:07:46.170 align:middle line:90% you say you're playing inside. 00:07:46.170 --> 00:07:49.470 align:middle line:84% If you begin to stretch things, play with additional tones, 00:07:49.470 --> 00:07:50.400 align:middle line:90% extensions, whatever. 00:07:50.400 --> 00:07:51.930 align:middle line:84% People say always playing outside. 00:07:51.930 --> 00:07:54.210 align:middle line:84% If you play really outside, they say 00:07:54.210 --> 00:07:56.850 align:middle line:84% you're playing in an avant garde manner or you're crazy 00:07:56.850 --> 00:07:59.580 align:middle line:90% or something else. 00:07:59.580 --> 00:08:01.440 align:middle line:90% Inside and outside. 00:08:01.440 --> 00:08:04.260 align:middle line:84% Vertical form is a way of thinking 00:08:04.260 --> 00:08:06.540 align:middle line:90% about how you structure things. 00:08:06.540 --> 00:08:09.630 align:middle line:84% Vertical form is Russell's conception, 00:08:09.630 --> 00:08:14.850 align:middle line:84% but it's basically an African conception, meaning polyphony 00:08:14.850 --> 00:08:18.730 align:middle line:84% and polyrhythm, several layers of things going on. 00:08:18.730 --> 00:08:21.240 align:middle line:84% If you think about what you know about jazz 00:08:21.240 --> 00:08:24.450 align:middle line:84% and the history of it, you know that that went away 00:08:24.450 --> 00:08:27.930 align:middle line:84% with New Orleans, the whole idea of polyphony and polyrhythm. 00:08:27.930 --> 00:08:32.130 align:middle line:84% And one of the other byproducts of the post bebop era 00:08:32.130 --> 00:08:35.309 align:middle line:84% was that many more people began to be writers, 00:08:35.309 --> 00:08:36.840 align:middle line:90% began to be composers. 00:08:36.840 --> 00:08:38.820 align:middle line:84% And so with that, they were looking 00:08:38.820 --> 00:08:43.320 align:middle line:84% for more interesting ways, things to explore, 00:08:43.320 --> 00:08:46.950 align:middle line:84% things to do with the music that hadn't been there before. 00:08:46.950 --> 00:08:49.790 align:middle line:84% I want to read something from those readings 00:08:49.790 --> 00:08:51.540 align:middle line:84% that I had mentioned to you the other day, 00:08:51.540 --> 00:08:53.460 align:middle line:84% the ones that are on reserve, and I 00:08:53.460 --> 00:08:55.230 align:middle line:90% have the call number for that. 00:08:55.230 --> 00:08:56.490 align:middle line:90% I can give that to you. 00:08:56.490 --> 00:08:59.850 align:middle line:84% There is three articles under the name of Dom Cerulli, who 00:08:59.850 --> 00:09:02.190 align:middle line:84% was the editor of this collection, 00:09:02.190 --> 00:09:05.100 align:middle line:84% and the last of these, I think is actually 00:09:05.100 --> 00:09:08.053 align:middle line:84% maybe the first in my packet, but it's the last in the book 00:09:08.053 --> 00:09:08.970 align:middle line:90% that I took this from. 00:09:08.970 --> 00:09:11.080 align:middle line:84% It's called "Where Do We Go From Here?" 00:09:11.080 --> 00:09:14.460 align:middle line:90% And this is about 1959 or 1960. 00:09:14.460 --> 00:09:16.290 align:middle line:84% It's an interview with George Russell. 00:09:16.290 --> 00:09:23.640 align:middle line:84% And he says, "I think the core of the problem today 00:09:23.640 --> 00:09:26.760 align:middle line:84% is simply that there are too many writers without enough 00:09:26.760 --> 00:09:30.240 align:middle line:84% melodic equipment to influence the soloist." 00:09:30.240 --> 00:09:32.715 align:middle line:84% He's talking about the interface between the soloist 00:09:32.715 --> 00:09:33.340 align:middle line:90% and the writer. 00:09:33.340 --> 00:09:35.730 align:middle line:84% If you think back to bebop, Charlie Parker 00:09:35.730 --> 00:09:37.920 align:middle line:90% was a great melodist. 00:09:37.920 --> 00:09:40.800 align:middle line:90% He improvised magnificently. 00:09:40.800 --> 00:09:43.770 align:middle line:84% His tunes sound like his improvisations. 00:09:43.770 --> 00:09:47.560 align:middle line:84% His tunes then spur you to improvise in that manner. 00:09:47.560 --> 00:09:50.940 align:middle line:90% This is what he's talking about. 00:09:50.940 --> 00:09:52.440 align:middle line:84% And then he says this, which I think 00:09:52.440 --> 00:09:56.160 align:middle line:84% is really interesting, "What's going to happen in the future?" 00:09:56.160 --> 00:09:56.970 align:middle line:90% he's being asked. 00:09:56.970 --> 00:10:01.110 align:middle line:84% "It's going to be a pan rhythmic, pan tonal age. 00:10:01.110 --> 00:10:05.010 align:middle line:84% I think jazz will bypass atonality because jazz actually 00:10:05.010 --> 00:10:07.560 align:middle line:84% has its roots in folk music, and folk music 00:10:07.560 --> 00:10:11.280 align:middle line:84% is scale based, and atonality negates the scale. 00:10:11.280 --> 00:10:13.460 align:middle line:84% I think jazz will be intensely chromatic." 00:10:13.460 --> 00:10:18.110 align:middle line:90% 00:10:18.110 --> 00:10:20.180 align:middle line:84% "This will be called pan tonality, 00:10:20.180 --> 00:10:23.390 align:middle line:84% where the basic folk nature of scales is preserved, 00:10:23.390 --> 00:10:26.240 align:middle line:84% and yet because we can use any number of scales 00:10:26.240 --> 00:10:29.450 align:middle line:84% or you can be in any number of tonalities at once, 00:10:29.450 --> 00:10:32.660 align:middle line:84% it also creates a very chromatic kind of feeling. 00:10:32.660 --> 00:10:36.770 align:middle line:84% So it's like being atonal with a big Bill Broonzy sound. 00:10:36.770 --> 00:10:38.570 align:middle line:90% You can retain the funk." 00:10:38.570 --> 00:10:40.110 align:middle line:90% I like that. 00:10:40.110 --> 00:10:46.190 align:middle line:84% So this is an article that was derived from an interview 00:10:46.190 --> 00:10:49.940 align:middle line:84% that Russell did about 1959 or 1960. 00:10:49.940 --> 00:10:53.660 align:middle line:84% It's unspecified, but the book came out in 1960. 00:10:53.660 --> 00:10:57.380 align:middle line:84% This piece is from a couple of years earlier, 00:10:57.380 --> 00:11:02.300 align:middle line:84% and my own feeling is that this piece, "All About Rosie," 00:11:02.300 --> 00:11:05.690 align:middle line:84% is the musical expression of what he 00:11:05.690 --> 00:11:07.400 align:middle line:90% said, what I just read to you. 00:11:07.400 --> 00:11:09.770 align:middle line:84% In other words, he has the theoretical side, 00:11:09.770 --> 00:11:13.070 align:middle line:84% the philosophical side, this piece expresses it, 00:11:13.070 --> 00:11:17.470 align:middle line:84% I think, in musical terms very, very well. 00:11:17.470 --> 00:11:19.410 align:middle line:90% So let's take a look at this. 00:11:19.410 --> 00:11:22.380 align:middle line:84% I've given you the first of two handouts, three handouts, 00:11:22.380 --> 00:11:24.000 align:middle line:90% actually, I'm going to give you. 00:11:24.000 --> 00:11:32.000 align:middle line:84% And if you will look at on page 1 of this, it says intro 00:11:32.000 --> 00:11:34.970 align:middle line:84% and then it says trumpet, you'll notice 00:11:34.970 --> 00:11:37.910 align:middle line:84% these are almost exactly the notes that I wrote on the board 00:11:37.910 --> 00:11:40.040 align:middle line:84% here for the pentatonic scale in F, 00:11:40.040 --> 00:11:44.960 align:middle line:84% except it's got a little more rhythmic inflection. 00:11:44.960 --> 00:11:47.330 align:middle line:84% You'll notice there's a little phrase that dips down 00:11:47.330 --> 00:11:48.740 align:middle line:90% in the horn and tenor sax. 00:11:48.740 --> 00:11:51.350 align:middle line:84% This is an ensemble that was put together 00:11:51.350 --> 00:11:53.000 align:middle line:84% at this Brandeis Festival that happened 00:11:53.000 --> 00:11:54.900 align:middle line:84% to have French horn, bassoon, a couple 00:11:54.900 --> 00:11:57.500 align:middle line:84% of interesting instruments, not a full big band, 00:11:57.500 --> 00:11:59.330 align:middle line:90% but about a 12-piece group. 00:11:59.330 --> 00:12:02.630 align:middle line:84% And then you'll notice there's another place where 00:12:02.630 --> 00:12:03.680 align:middle line:90% it says trombone. 00:12:03.680 --> 00:12:04.760 align:middle line:90% Does everybody see this? 00:12:04.760 --> 00:12:06.170 align:middle line:90% This is all in the first system. 00:12:06.170 --> 00:12:10.670 align:middle line:84% These are the two phrases that basically make this up. 00:12:10.670 --> 00:12:15.200 align:middle line:84% The term Rosie comes from a children's game song 00:12:15.200 --> 00:12:18.050 align:middle line:84% from Alabama, African-American children's game song 00:12:18.050 --> 00:12:20.540 align:middle line:90% called, "Rosie, Little Rosie." 00:12:20.540 --> 00:12:24.350 align:middle line:84% And so what he's done is take a folk melody-- 00:12:24.350 --> 00:12:27.590 align:middle line:84% Russell is African-American-- take a folk melody 00:12:27.590 --> 00:12:31.550 align:middle line:84% from his own tradition, his own heritage, and begin with that. 00:12:31.550 --> 00:12:33.725 align:middle line:84% Let me just play this, so you have it in your ears. 00:12:33.725 --> 00:12:36.180 align:middle line:90% 00:12:36.180 --> 00:12:37.555 align:middle line:84% And there's a little pickup note. 00:12:37.555 --> 00:12:40.260 align:middle line:90% [MUSIC] 00:12:40.260 --> 00:12:43.642 align:middle line:90% 00:12:43.642 --> 00:12:44.475 align:middle line:90% That's the response. 00:12:44.475 --> 00:12:47.940 align:middle line:90% [MUSIC] 00:12:47.940 --> 00:12:48.857 align:middle line:90% 00:12:48.857 --> 00:12:49.815 align:middle line:90% Let me play that again. 00:12:49.815 --> 00:12:52.006 align:middle line:90% [MUSIC] 00:12:52.006 --> 00:12:56.230 align:middle line:90% 00:12:56.230 --> 00:12:57.490 align:middle line:90% Centric melody. 00:12:57.490 --> 00:13:00.250 align:middle line:84% Centers around the F, which is the tonal center. 00:13:00.250 --> 00:13:04.270 align:middle line:90% Very nice kind of a little idea. 00:13:04.270 --> 00:13:07.650 align:middle line:84% What do you notice about this right away 00:13:07.650 --> 00:13:09.400 align:middle line:84% that's a little bit different than the way 00:13:09.400 --> 00:13:12.460 align:middle line:84% we would normally think of these phrases, especially 00:13:12.460 --> 00:13:15.310 align:middle line:90% folk-type phrases? 00:13:15.310 --> 00:13:17.020 align:middle line:84% Just what I've talked about so far. 00:13:17.020 --> 00:13:23.038 align:middle line:90% 00:13:23.038 --> 00:13:24.783 align:middle line:84% AUDIENCE: Can you say that one more time? 00:13:24.783 --> 00:13:26.700 align:middle line:84% MARK HARVEY: Given what you know about the way 00:13:26.700 --> 00:13:29.700 align:middle line:84% folk phrases usually work in folk music, 00:13:29.700 --> 00:13:31.200 align:middle line:90% what's different about this? 00:13:31.200 --> 00:13:35.444 align:middle line:90% 00:13:35.444 --> 00:13:37.416 align:middle line:90% AUDIENCE: Just another root. 00:13:37.416 --> 00:13:40.374 align:middle line:90% 00:13:40.374 --> 00:13:42.250 align:middle line:84% MARK HARVEY: Well, the second one does. 00:13:42.250 --> 00:13:44.515 align:middle line:84% The first one doesn't, but it ends on the third. 00:13:44.515 --> 00:13:45.303 align:middle line:90% AUDIENCE: Time. 00:13:45.303 --> 00:13:46.189 align:middle line:90% MARK HARVEY: Hm? 00:13:46.189 --> 00:13:48.410 align:middle line:84% AUDIENCE: Sounds like [INAUDIBLE].. 00:13:48.410 --> 00:13:51.426 align:middle line:90% 00:13:51.426 --> 00:13:53.883 align:middle line:84% It doesn't wait till the downbeat. 00:13:53.883 --> 00:13:54.765 align:middle line:90% [INAUDIBLE] 00:13:54.765 --> 00:13:56.050 align:middle line:90% MARK HARVEY: Say that again. 00:13:56.050 --> 00:13:57.520 align:middle line:84% AUDIENCE: It doesn't wait till the downbeat. 00:13:57.520 --> 00:13:58.895 align:middle line:84% It doesn't wait till the downbeat 00:13:58.895 --> 00:14:03.353 align:middle line:90% of whichever bar [INAUDIBLE]. 00:14:03.353 --> 00:14:04.520 align:middle line:90% It comes in halfway through. 00:14:04.520 --> 00:14:05.360 align:middle line:90% MARK HARVEY: OK. 00:14:05.360 --> 00:14:08.330 align:middle line:84% So normally, we would think of two bar phrases. 00:14:08.330 --> 00:14:11.240 align:middle line:90% Badu, dut, dut, dut, dut, dut. 00:14:11.240 --> 00:14:13.280 align:middle line:84% Badat, dut, dut, dut, dut, dut, dut. 00:14:13.280 --> 00:14:15.500 align:middle line:84% That's the convention, very symmetrical, 00:14:15.500 --> 00:14:16.760 align:middle line:90% even in a lot of folk music. 00:14:16.760 --> 00:14:21.710 align:middle line:84% So he's compressing this, and he puts that response in, 00:14:21.710 --> 00:14:23.995 align:middle line:84% which is not a bad thing to do, but sometimes you 00:14:23.995 --> 00:14:26.120 align:middle line:84% would say, well, maybe that response would hold out 00:14:26.120 --> 00:14:27.830 align:middle line:90% through the bar, which it does. 00:14:27.830 --> 00:14:30.585 align:middle line:84% But then you'd wait for badat, dut, dut, dut, de, dut, dut, 00:14:30.585 --> 00:14:31.710 align:middle line:90% dut, the wait a little bit. 00:14:31.710 --> 00:14:33.980 align:middle line:84% So he's got all of this compressed into five 00:14:33.980 --> 00:14:37.260 align:middle line:90% bars, which is kind of unusual. 00:14:37.260 --> 00:14:42.680 align:middle line:84% So this follows through this first section. 00:14:42.680 --> 00:14:45.200 align:middle line:84% This is in three movements, by the way, "All About Rosie," 00:14:45.200 --> 00:14:49.370 align:middle line:84% and the whole first movement, he uses this five-bar phrase, 00:14:49.370 --> 00:14:51.860 align:middle line:84% which is very atypical for this period. 00:14:51.860 --> 00:14:53.390 align:middle line:90% He uses that a lot. 00:14:53.390 --> 00:14:56.180 align:middle line:84% You'll see at bar 6, which is the second time 00:14:56.180 --> 00:14:59.180 align:middle line:84% of the five-bar phrase, it does the same kind of thing. 00:14:59.180 --> 00:15:01.850 align:middle line:84% The response is just slightly different. 00:15:01.850 --> 00:15:05.970 align:middle line:84% When we go to letter A what happens with the basic melody? 00:15:05.970 --> 00:15:11.640 align:middle line:90% 00:15:11.640 --> 00:15:13.260 align:middle line:90% Flute and alto sax have it now. 00:15:13.260 --> 00:15:14.700 align:middle line:90% What do you notice happening? 00:15:14.700 --> 00:15:20.745 align:middle line:90% 00:15:20.745 --> 00:15:23.686 align:middle line:84% AUDIENCE: The response is similar. 00:15:23.686 --> 00:15:26.056 align:middle line:90% MARK HARVEY: How so? 00:15:26.056 --> 00:15:28.220 align:middle line:84% AUDIENCE: They're holding notes instead 00:15:28.220 --> 00:15:33.610 align:middle line:84% of having some melodic interest, like the trombone is doing F3. 00:15:33.610 --> 00:15:35.300 align:middle line:90% MARK HARVEY: OK. 00:15:35.300 --> 00:15:38.495 align:middle line:84% And what about flute and alto sax right a letter A? 00:15:38.495 --> 00:15:41.180 align:middle line:84% AUDIENCE: It's a little more interesting 00:15:41.180 --> 00:15:50.045 align:middle line:84% that here in bar 1, just fourth quarters notes, and at A, just 00:15:50.045 --> 00:15:53.226 align:middle line:84% running the eighth note out into a tight quarter, sort 00:15:53.226 --> 00:15:56.860 align:middle line:90% of changing the time around. 00:15:56.860 --> 00:15:58.690 align:middle line:84% MARK HARVEY: OK, a little rhythmic change. 00:15:58.690 --> 00:16:00.040 align:middle line:90% And what about the second bar? 00:16:00.040 --> 00:16:03.735 align:middle line:90% 00:16:03.735 --> 00:16:05.570 align:middle line:84% AUDIENCE: Is that just A flat, it goes up. 00:16:05.570 --> 00:16:07.070 align:middle line:84% MARK HARVEY: It goes up to the beat. 00:16:07.070 --> 00:16:10.610 align:middle line:84% So we've added a note, and that's also, 00:16:10.610 --> 00:16:12.770 align:middle line:84% in fact, it adds the B flat and the A, 00:16:12.770 --> 00:16:14.640 align:middle line:90% and then the A gets held out. 00:16:14.640 --> 00:16:20.220 align:middle line:84% So this is what I call an elaboration and an elongation. 00:16:20.220 --> 00:16:22.940 align:middle line:84% So it's no longer, badu, dut, dut, dut, dut, dut, dut, 00:16:22.940 --> 00:16:24.500 align:middle line:90% it's now-- 00:16:24.500 --> 00:16:26.420 align:middle line:84% and it's an extra pickup note-- bada, 00:16:26.420 --> 00:16:30.710 align:middle line:84% da instead of badat, du, du, du, du, du, it's now, 00:16:30.710 --> 00:16:34.610 align:middle line:84% bada, du, du, du, du, du, du, de, da, 00:16:34.610 --> 00:16:36.290 align:middle line:90% and then it holds that out. 00:16:36.290 --> 00:16:39.260 align:middle line:84% The same way that the response, which you noted, is elongated. 00:16:39.260 --> 00:16:40.980 align:middle line:84% So everything right away, in other words, 00:16:40.980 --> 00:16:42.830 align:middle line:84% we're only 10 bars into the tune, 00:16:42.830 --> 00:16:44.660 align:middle line:84% and right away, he's messing with things. 00:16:44.660 --> 00:16:48.320 align:middle line:84% He's doing a very jazz thing, which is to paraphrase. 00:16:48.320 --> 00:16:51.650 align:middle line:84% If you were an improviser, you would paraphrase. 00:16:51.650 --> 00:16:54.920 align:middle line:84% So in other words, he's trying to think, as a composer, 00:16:54.920 --> 00:16:57.350 align:middle line:84% he's trying to think like an improviser. 00:16:57.350 --> 00:16:59.330 align:middle line:84% And as you've heard me say many times, 00:16:59.330 --> 00:17:01.670 align:middle line:90% an improviser is a composer. 00:17:01.670 --> 00:17:04.829 align:middle line:84% So he's really trying to do what he said in that article, which 00:17:04.829 --> 00:17:08.760 align:middle line:84% is to keep this balance and in fact, to keep a intuitive 00:17:08.760 --> 00:17:09.869 align:middle line:90% relationship. 00:17:09.869 --> 00:17:13.440 align:middle line:84% If we go down to where it says letter A, number 21, 00:17:13.440 --> 00:17:16.260 align:middle line:84% it's those three single staves at the bottom, the third one 00:17:16.260 --> 00:17:17.970 align:middle line:90% up. 00:17:17.970 --> 00:17:26.829 align:middle line:84% We've got a similar rhythmic pattern, but at the very end, 00:17:26.829 --> 00:17:32.070 align:middle line:84% you'll notice it goes F, A flat, A natural. 00:17:32.070 --> 00:17:33.690 align:middle line:90% What's that? 00:17:33.690 --> 00:17:35.685 align:middle line:84% What is that bringing into the mix? 00:17:35.685 --> 00:17:40.100 align:middle line:90% 00:17:40.100 --> 00:17:45.148 align:middle line:84% If we're using a tonal center of F, what's that bringing in? 00:17:45.148 --> 00:17:46.270 align:middle line:90% AUDIENCE: Minor. 00:17:46.270 --> 00:17:51.710 align:middle line:84% MARK HARVEY: Minor and major, which we call-- 00:17:51.710 --> 00:17:52.460 align:middle line:90% AUDIENCE: Quality. 00:17:52.460 --> 00:17:54.675 align:middle line:84% MARK HARVEY: Quality change, in which we call-- 00:17:54.675 --> 00:17:57.365 align:middle line:90% 00:17:57.365 --> 00:17:58.736 align:middle line:90% AUDIENCE: Modal. 00:17:58.736 --> 00:18:02.670 align:middle line:84% MARK HARVEY: Partially modal, partially-- 00:18:02.670 --> 00:18:03.540 align:middle line:90% AUDIENCE: Chromatic. 00:18:03.540 --> 00:18:04.560 align:middle line:90% MARK HARVEY: Right. 00:18:04.560 --> 00:18:08.880 align:middle line:84% Partially-- in the blues, think blues. 00:18:08.880 --> 00:18:10.215 align:middle line:90% AUDIENCE: Pentatonic. 00:18:10.215 --> 00:18:14.680 align:middle line:84% MARK HARVEY: Yeah, but big Bill Broonzy retains the funk, 00:18:14.680 --> 00:18:15.610 align:middle line:90% but he's complex. 00:18:15.610 --> 00:18:17.305 align:middle line:90% What do we call this? 00:18:17.305 --> 00:18:20.440 align:middle line:84% If the tonal center is F and we have 00:18:20.440 --> 00:18:22.210 align:middle line:90% both A flat and A natural-- 00:18:22.210 --> 00:18:24.770 align:middle line:90% AUDIENCE: Atonal? 00:18:24.770 --> 00:18:26.783 align:middle line:84% MARK HARVEY: Yeah, we can say all that. 00:18:26.783 --> 00:18:27.700 align:middle line:90% There's a simpler way. 00:18:27.700 --> 00:18:30.580 align:middle line:90% It's the ambiguity of the third. 00:18:30.580 --> 00:18:31.270 align:middle line:90% Remember that? 00:18:31.270 --> 00:18:34.670 align:middle line:84% We talked about the blues, it's the ambiguous third degree. 00:18:34.670 --> 00:18:37.030 align:middle line:84% Third degree tells you major or minor. 00:18:37.030 --> 00:18:39.160 align:middle line:84% Here, you've got both, one after the other. 00:18:39.160 --> 00:18:41.590 align:middle line:84% You could have them right together like Thelonious Monk. 00:18:41.590 --> 00:18:43.450 align:middle line:84% You could have one on top of the other 00:18:43.450 --> 00:18:47.260 align:middle line:84% if it was a chord, which would be a sharp 9. 00:18:47.260 --> 00:18:49.960 align:middle line:84% But this is the first time it's been introduced is 00:18:49.960 --> 00:18:52.630 align:middle line:90% this little flat, third idea. 00:18:52.630 --> 00:18:54.370 align:middle line:90% This is a folk form. 00:18:54.370 --> 00:18:57.310 align:middle line:84% A folk form is not necessarily the blues, 00:18:57.310 --> 00:19:00.790 align:middle line:84% but if you go way back, you know that all 00:19:00.790 --> 00:19:04.330 align:middle line:84% of that folk music from the African-American experience 00:19:04.330 --> 00:19:06.670 align:middle line:90% goes into the blues. 00:19:06.670 --> 00:19:09.100 align:middle line:84% So this is very much a part of that. 00:19:09.100 --> 00:19:10.850 align:middle line:90% This is based on a folk tune. 00:19:10.850 --> 00:19:14.180 align:middle line:84% He's giving you already a little complicated, a little complex 00:19:14.180 --> 00:19:16.512 align:middle line:84% composers maneuver, five bar phrases all this stuff, 00:19:16.512 --> 00:19:18.470 align:middle line:84% but now all of a sudden, he's put in the blues. 00:19:18.470 --> 00:19:21.650 align:middle line:84% So he's taking us a little bit on a journey 00:19:21.650 --> 00:19:22.830 align:middle line:90% is what's going on. 00:19:22.830 --> 00:19:24.238 align:middle line:84% If you look at letter B, which is 00:19:24.238 --> 00:19:26.030 align:middle line:84% the second line from the bottom, now, we've 00:19:26.030 --> 00:19:27.960 align:middle line:84% got almost exactly the same thing, 00:19:27.960 --> 00:19:29.690 align:middle line:90% except it's up a whole step. 00:19:29.690 --> 00:19:32.430 align:middle line:84% He's changing the modal relationship. 00:19:32.430 --> 00:19:36.060 align:middle line:84% And if we get to C, we've got a little riff-like figure. 00:19:36.060 --> 00:19:37.970 align:middle line:84% But this little riff-like figure with that 00:19:37.970 --> 00:19:40.880 align:middle line:84% A flat, G flat, A flat, A natural, 00:19:40.880 --> 00:19:44.390 align:middle line:84% there's, again, that bluesy idea, but this little riff-like 00:19:44.390 --> 00:19:46.490 align:middle line:84% figure, is also, you can trace that 00:19:46.490 --> 00:19:48.870 align:middle line:84% as being related to what's right above it. 00:19:48.870 --> 00:19:53.819 align:middle line:84% If you look up there at letter B, bada, du, da, da, da, da, 00:19:53.819 --> 00:19:54.725 align:middle line:90% da, da. 00:19:54.725 --> 00:19:55.838 align:middle line:90% Da, da, da, da. 00:19:55.838 --> 00:19:56.630 align:middle line:90% What's that rhythm? 00:19:56.630 --> 00:19:58.088 align:middle line:90% Da, da, da, da. 00:19:58.088 --> 00:20:00.650 align:middle line:84% Da, da, da, da, and he's got that same rhythm here 00:20:00.650 --> 00:20:01.520 align:middle line:90% in this riff. 00:20:01.520 --> 00:20:04.710 align:middle line:84% Da, da, da, da, except he comes in a little ahead of time. 00:20:04.710 --> 00:20:07.040 align:middle line:90% So this is what a composer does. 00:20:07.040 --> 00:20:10.430 align:middle line:84% A composer thinks about the elements, 00:20:10.430 --> 00:20:12.080 align:middle line:84% you could call them the variables, 00:20:12.080 --> 00:20:15.050 align:middle line:84% and how you can manipulate those, how you can extend them, 00:20:15.050 --> 00:20:17.870 align:middle line:84% how you can use them in different facets. 00:20:17.870 --> 00:20:20.277 align:middle line:84% We're all composers, so this is the kind of thing 00:20:20.277 --> 00:20:21.860 align:middle line:84% we want to start to be thinking about. 00:20:21.860 --> 00:20:24.830 align:middle line:84% You've seen this in different of the people we've looked at, 00:20:24.830 --> 00:20:31.340 align:middle line:84% of the composers we looked at, but this example of using this 00:20:31.340 --> 00:20:32.960 align:middle line:84% is particularly interesting in terms 00:20:32.960 --> 00:20:35.960 align:middle line:84% of the melody, the rhythm, and to some extent, 00:20:35.960 --> 00:20:38.420 align:middle line:84% the modal aspect of what's going on. 00:20:38.420 --> 00:20:42.150 align:middle line:84% If you'll turn the page just for a second, 00:20:42.150 --> 00:20:44.250 align:middle line:84% now we've got kind of an interesting thing. 00:20:44.250 --> 00:20:48.020 align:middle line:84% I think, which is that it goes into 3, 2. 00:20:48.020 --> 00:20:50.120 align:middle line:84% He alternates time signatures here, 00:20:50.120 --> 00:20:53.790 align:middle line:84% goes for cut time for a while, then he goes into 3. 00:20:53.790 --> 00:20:55.490 align:middle line:84% And if you look at that trombone, 00:20:55.490 --> 00:20:59.570 align:middle line:84% it's, again, almost exactly with the pentatonic based 00:20:59.570 --> 00:21:02.390 align:middle line:90% on F, the tonal center of F. 00:21:02.390 --> 00:21:04.190 align:middle line:84% When it goes to the end of the page 00:21:04.190 --> 00:21:08.030 align:middle line:84% and goes into the next system, he's 00:21:08.030 --> 00:21:13.880 align:middle line:84% going up to a B flat and down to an F. 00:21:13.880 --> 00:21:17.300 align:middle line:84% And then it goes into a descending chromatic line, 00:21:17.300 --> 00:21:20.390 align:middle line:84% and the chromatic line in the piano is coming up. 00:21:20.390 --> 00:21:23.540 align:middle line:84% So it's almost as if we've got this blues idea, 00:21:23.540 --> 00:21:25.670 align:middle line:84% we've got this little folk form idea, 00:21:25.670 --> 00:21:28.160 align:middle line:84% and then in the middle of this, he 00:21:28.160 --> 00:21:32.460 align:middle line:84% gives you a further elaboration with a chromatic movement, 00:21:32.460 --> 00:21:34.400 align:middle line:84% which really mixes everything up from where 00:21:34.400 --> 00:21:36.260 align:middle line:90% it had been originally. 00:21:36.260 --> 00:21:38.930 align:middle line:84% D is another little facet that happens, 00:21:38.930 --> 00:21:42.140 align:middle line:84% a little line that goes up and splits into a chord. 00:21:42.140 --> 00:21:45.530 align:middle line:84% And the bottom stiff system there with the trombone 00:21:45.530 --> 00:21:50.330 align:middle line:84% is yet in another key center, the key center of C and even 00:21:50.330 --> 00:21:55.820 align:middle line:84% further, elaboration and elongated if you look at that. 00:21:55.820 --> 00:21:58.020 align:middle line:84% Because it's stretching out in 3, 2 time. 00:21:58.020 --> 00:21:59.900 align:middle line:84% Everybody see that, what's going on? 00:21:59.900 --> 00:22:02.900 align:middle line:84% So he's still using the motif, in other words, 00:22:02.900 --> 00:22:06.770 align:middle line:84% but he's really changing it around. 00:22:06.770 --> 00:22:09.830 align:middle line:84% The last two pages, I've given you just a little bit of score 00:22:09.830 --> 00:22:12.970 align:middle line:84% just so you can see, transposed score. 00:22:12.970 --> 00:22:17.350 align:middle line:84% And we've got, again, this melody in its elaborated form 00:22:17.350 --> 00:22:18.310 align:middle line:90% at the top. 00:22:18.310 --> 00:22:20.920 align:middle line:84% In the bassoon and in the guitar, 00:22:20.920 --> 00:22:23.513 align:middle line:84% we start to get now linear fragments, little 00:22:23.513 --> 00:22:24.430 align:middle line:90% eighth note fragments. 00:22:24.430 --> 00:22:27.070 align:middle line:84% They start out small, and then they 00:22:27.070 --> 00:22:30.700 align:middle line:90% begin to get more connected. 00:22:30.700 --> 00:22:33.160 align:middle line:84% And when you turn over the page, there's 00:22:33.160 --> 00:22:36.980 align:middle line:84% even a little more of a interesting phrase, 00:22:36.980 --> 00:22:39.783 align:middle line:84% a little interesting rhythm, some more eighth notes. 00:22:39.783 --> 00:22:41.200 align:middle line:84% And this eighth note pattern, then 00:22:41.200 --> 00:22:44.540 align:middle line:84% is going to come in quite a bit in this particular piece. 00:22:44.540 --> 00:22:50.380 align:middle line:84% So what we've got, and this is not an easy piece to follow, 00:22:50.380 --> 00:22:52.090 align:middle line:84% but I've tried to break it down with some 00:22:52.090 --> 00:22:53.630 align:middle line:90% of these essential elements. 00:22:53.630 --> 00:22:55.060 align:middle line:90% So what you want to listen for-- 00:22:55.060 --> 00:22:56.602 align:middle line:84% I'm going to play the first movement, 00:22:56.602 --> 00:22:58.760 align:middle line:84% and it's going to go by like that. 00:22:58.760 --> 00:23:00.580 align:middle line:84% And you're not going to really be 00:23:00.580 --> 00:23:03.490 align:middle line:84% able to watch too much, although you can try to. 00:23:03.490 --> 00:23:07.810 align:middle line:84% And so the trick would be if you want to try to watch is, 00:23:07.810 --> 00:23:10.745 align:middle line:84% the first page, when you get to letter B, 00:23:10.745 --> 00:23:12.870 align:middle line:84% you'll hear it, because that's when the eighth note 00:23:12.870 --> 00:23:13.680 align:middle line:90% stuff comes in. 00:23:13.680 --> 00:23:16.890 align:middle line:84% You might just want to, actually, flip over to page 3, 00:23:16.890 --> 00:23:19.780 align:middle line:84% which is where you get the score for just two pages. 00:23:19.780 --> 00:23:22.680 align:middle line:84% So if you want to try this, you can, but what you want to do 00:23:22.680 --> 00:23:24.232 align:middle line:90% is focus your ears. 00:23:24.232 --> 00:23:26.190 align:middle line:84% Because you're going to mainly be hearing badu, 00:23:26.190 --> 00:23:28.140 align:middle line:90% da, da, da, da, dat. 00:23:28.140 --> 00:23:33.302 align:middle line:84% Badu, da, da, ba, de, bada, da, da, de, du, da, ba, de, da, 00:23:33.302 --> 00:23:35.010 align:middle line:84% that elaboration of those kind of things, 00:23:35.010 --> 00:23:36.450 align:middle line:90% plus all of this other. 00:23:36.450 --> 00:23:38.730 align:middle line:84% But it's not going to be that simple. 00:23:38.730 --> 00:23:40.380 align:middle line:84% What I've just been singing, what 00:23:40.380 --> 00:23:43.410 align:middle line:84% I've got on this page right now sounds like a nice, little folk 00:23:43.410 --> 00:23:44.130 align:middle line:90% tune. 00:23:44.130 --> 00:23:48.143 align:middle line:84% But when we get the extra modal things going on, 00:23:48.143 --> 00:23:50.310 align:middle line:84% particularly, with some things going on in the bass, 00:23:50.310 --> 00:23:52.780 align:middle line:84% it's going to sound like a whole different world. 00:23:52.780 --> 00:23:54.870 align:middle line:84% So let's see what we can do to hang on to this, 00:23:54.870 --> 00:23:57.370 align:middle line:84% and then maybe we can talk just a little bit about this one. 00:23:57.370 --> 00:24:05.252 align:middle line:90% 00:24:05.252 --> 00:24:06.585 align:middle line:90% Anybody able to follow anything? 00:24:06.585 --> 00:24:07.050 align:middle line:90% 00:24:07.050 --> 00:24:08.175 align:middle line:90% AUDIENCE: In the beginning. 00:24:08.175 --> 00:24:13.550 align:middle line:84% MARK HARVEY: Yeah, after that, it's all bets are off. 00:24:13.550 --> 00:24:15.990 align:middle line:84% This is a very complicated piece. 00:24:15.990 --> 00:24:18.090 align:middle line:84% AUDIENCE: Are they improvising or [INAUDIBLE]?? 00:24:18.090 --> 00:24:18.930 align:middle line:90% MARK HARVEY: Totally written. 00:24:18.930 --> 00:24:21.180 align:middle line:84% AUDIENCE: So it just sounds like they're improvising. 00:24:21.180 --> 00:24:23.370 align:middle line:84% MARK HARVEY: Yeah, that's the same thing with Ellington. 00:24:23.370 --> 00:24:24.828 align:middle line:84% Remember I mentioned how Ellington, 00:24:24.828 --> 00:24:26.670 align:middle line:84% it came to light a few years ago, 00:24:26.670 --> 00:24:29.580 align:middle line:84% that Ellington, in fact, had written some of the solos 00:24:29.580 --> 00:24:32.100 align:middle line:84% that everyone had assumed were improvised. 00:24:32.100 --> 00:24:35.100 align:middle line:84% But if you can write something that sounds like it's 00:24:35.100 --> 00:24:37.840 align:middle line:90% improvised, that's pretty good. 00:24:37.840 --> 00:24:41.340 align:middle line:84% And so the point of Russell's compositional method, 00:24:41.340 --> 00:24:43.050 align:middle line:84% as I alluded to in that article I read 00:24:43.050 --> 00:24:47.220 align:middle line:84% is, you want to keep the nature of improvisation, 00:24:47.220 --> 00:24:49.590 align:middle line:84% you want to keep that feeling, that emotional quality, 00:24:49.590 --> 00:24:50.460 align:middle line:90% that spontaneity. 00:24:50.460 --> 00:24:54.880 align:middle line:84% But if you can do that within a written, notated framework, 00:24:54.880 --> 00:24:56.880 align:middle line:84% that's pretty good, and that's what's happening. 00:24:56.880 --> 00:24:58.755 align:middle line:84% When you get those baba, dooby, dooby, dooby, 00:24:58.755 --> 00:25:00.210 align:middle line:90% de, your Charlie Parker land. 00:25:00.210 --> 00:25:02.730 align:middle line:84% You're talking that kind of fleet, eighth note 00:25:02.730 --> 00:25:05.380 align:middle line:84% kind of thing that we heard with Parker or other of the bebop 00:25:05.380 --> 00:25:06.220 align:middle line:90% improvisers. 00:25:06.220 --> 00:25:08.020 align:middle line:90% But this is all worked out. 00:25:08.020 --> 00:25:09.880 align:middle line:84% It's all very carefully worked out 00:25:09.880 --> 00:25:12.790 align:middle line:90% in a very interesting fabric. 00:25:12.790 --> 00:25:16.600 align:middle line:84% Could you hear that ba, ba, da, da, that little riff 00:25:16.600 --> 00:25:18.820 align:middle line:84% down at the bottom C, ba, ba, da, da. 00:25:18.820 --> 00:25:21.010 align:middle line:84% Ba, ba, da-- it comes in again, and it 00:25:21.010 --> 00:25:23.170 align:middle line:84% sounds like it's fresh because it's 00:25:23.170 --> 00:25:25.930 align:middle line:84% a different little fragment, but it's still 00:25:25.930 --> 00:25:28.520 align:middle line:90% related to what's going on. 00:25:28.520 --> 00:25:32.110 align:middle line:84% And some of that elaboration of the melody, 00:25:32.110 --> 00:25:34.240 align:middle line:84% you can get as you listen, but there's so 00:25:34.240 --> 00:25:35.393 align:middle line:90% many other things going on. 00:25:35.393 --> 00:25:37.810 align:middle line:84% Something I didn't point out, which, hopefully, you heard, 00:25:37.810 --> 00:25:39.850 align:middle line:84% the letter A down in the bass line, 00:25:39.850 --> 00:25:42.260 align:middle line:84% you've got this half note motion. 00:25:42.260 --> 00:25:45.740 align:middle line:84% Boom, boom, boom, boom, boom, boom, boom. 00:25:45.740 --> 00:25:47.282 align:middle line:84% That's almost like another game song. 00:25:47.282 --> 00:25:49.115 align:middle line:84% I mean, this could be the kind of thing kids 00:25:49.115 --> 00:25:50.740 align:middle line:84% would just make up on the playground. 00:25:50.740 --> 00:25:58.000 align:middle line:84% If you look at that, of the four notes, D, G, C, and then F, 00:25:58.000 --> 00:26:00.820 align:middle line:84% this is sort of circle of fifth, but it winds up on F. 00:26:00.820 --> 00:26:04.210 align:middle line:84% It's almost like that's the target for those notes. 00:26:04.210 --> 00:26:07.110 align:middle line:84% That's outlining a little bit of the tonal center, 00:26:07.110 --> 00:26:08.998 align:middle line:84% but it's not doing it in a convenient way, 00:26:08.998 --> 00:26:11.290 align:middle line:84% and it's something you really have to pay attention to. 00:26:11.290 --> 00:26:13.170 align:middle line:84% Then a little bit later it shifts, 00:26:13.170 --> 00:26:16.680 align:middle line:84% and it becomes something like D flat, A flat. 00:26:16.680 --> 00:26:18.670 align:middle line:84% It goes into a different kind of a realm. 00:26:18.670 --> 00:26:21.060 align:middle line:84% So it's he's changing up the modal 00:26:21.060 --> 00:26:23.890 align:middle line:84% relationships, in other words, is what's happening here. 00:26:23.890 --> 00:26:27.480 align:middle line:84% So we have the full score for this in the library, 00:26:27.480 --> 00:26:30.510 align:middle line:84% and I invite you to check this out with the recording 00:26:30.510 --> 00:26:32.760 align:middle line:84% that we have there, because there's 00:26:32.760 --> 00:26:33.990 align:middle line:90% a lot you can get out of it. 00:26:33.990 --> 00:26:35.970 align:middle line:84% I'm going to give you a fuller analysis 00:26:35.970 --> 00:26:38.590 align:middle line:90% at the end of the period. 00:26:38.590 --> 00:26:42.450 align:middle line:84% Now, I want to give you another little bit of paper. 00:26:42.450 --> 00:26:45.390 align:middle line:90% This is the second movement. 00:26:45.390 --> 00:26:48.180 align:middle line:84% Let me just give each person a thing, because it's a packet. 00:26:48.180 --> 00:26:54.480 align:middle line:90% 00:26:54.480 --> 00:26:58.260 align:middle line:84% The full score is in transposed form. 00:26:58.260 --> 00:27:01.050 align:middle line:84% This is a concert score, which I did just 00:27:01.050 --> 00:27:05.920 align:middle line:90% to try to make some sense of it. 00:27:05.920 --> 00:27:09.850 align:middle line:84% Just looking at this briefly, anything 00:27:09.850 --> 00:27:12.130 align:middle line:84% come to mind about what's going on here? 00:27:12.130 --> 00:27:19.510 align:middle line:90% 00:27:19.510 --> 00:27:22.140 align:middle line:90% This is very slow. 00:27:22.140 --> 00:27:22.770 align:middle line:90% Thank goodness. 00:27:22.770 --> 00:27:26.590 align:middle line:90% 00:27:26.590 --> 00:27:28.380 align:middle line:84% Take a look at the tenor sax part, 00:27:28.380 --> 00:27:34.080 align:middle line:84% particularly at the first bar and the third bar. 00:27:34.080 --> 00:27:39.220 align:middle line:90% 00:27:39.220 --> 00:27:41.090 align:middle line:90% AUDIENCE: The palindrome. 00:27:41.090 --> 00:27:41.965 align:middle line:90% MARK HARVEY: Meaning? 00:27:41.965 --> 00:27:46.675 align:middle line:84% AUDIENCE: It's doing the reverse of what you did earlier. 00:27:46.675 --> 00:27:49.090 align:middle line:84% MARK HARVEY: Sort of, triplets and then 00:27:49.090 --> 00:27:51.250 align:middle line:84% triplets, except that it's a faster triplet, 00:27:51.250 --> 00:27:55.930 align:middle line:84% but that's a pretty good assessment, particularly 00:27:55.930 --> 00:27:58.240 align:middle line:84% if you looked at bar 2 and bar 3, 00:27:58.240 --> 00:28:01.840 align:middle line:90% and that would be a lot closer. 00:28:01.840 --> 00:28:05.620 align:middle line:84% What's going on at bar 1 in the tenor sax part right at A? 00:28:05.620 --> 00:28:11.100 align:middle line:90% 00:28:11.100 --> 00:28:14.055 align:middle line:84% Anything similar to what we saw in the first movement motif? 00:28:14.055 --> 00:28:18.960 align:middle line:90% 00:28:18.960 --> 00:28:21.106 align:middle line:90% Any pitches the same? 00:28:21.106 --> 00:28:22.761 align:middle line:90% AUDIENCE: The first. 00:28:22.761 --> 00:28:23.703 align:middle line:90% MARK HARVEY: Hm? 00:28:23.703 --> 00:28:25.587 align:middle line:84% AUDIENCE: The first two [INAUDIBLE].. 00:28:25.587 --> 00:28:27.410 align:middle line:84% MARK HARVEY: The first two, the C sharp 00:28:27.410 --> 00:28:31.250 align:middle line:84% and the D. Except now, the phrase doesn't go up, 00:28:31.250 --> 00:28:33.150 align:middle line:90% it goes down. 00:28:33.150 --> 00:28:35.480 align:middle line:84% So he's doing a little manipulation here. 00:28:35.480 --> 00:28:38.480 align:middle line:84% He's using some of the same tones from that first phrase, 00:28:38.480 --> 00:28:41.340 align:middle line:84% but he's put it in a different field, a triplet field. 00:28:41.340 --> 00:28:46.195 align:middle line:84% And instead of bada, da, he's going bada, da, like that. 00:28:46.195 --> 00:28:49.910 align:middle line:84% Bada, ba, da, de, ba, which is an old-time blues 00:28:49.910 --> 00:28:52.340 align:middle line:84% lick that everybody has heard a million times. 00:28:52.340 --> 00:28:56.600 align:middle line:84% But he's almost shifted us into D minor now or to a D 00:28:56.600 --> 00:29:00.140 align:middle line:84% pentatonic maybe, because D seems to be a focal point, 00:29:00.140 --> 00:29:04.520 align:middle line:84% and when you get to that third bar, significant pitches, 00:29:04.520 --> 00:29:07.160 align:middle line:84% there are A flat and A natural again. 00:29:07.160 --> 00:29:11.060 align:middle line:84% So there's that flat third, natural third relation, 00:29:11.060 --> 00:29:13.310 align:middle line:84% but now, he's really messing with our minds 00:29:13.310 --> 00:29:15.050 align:middle line:84% because we don't know if we're really 00:29:15.050 --> 00:29:18.110 align:middle line:84% in a D minor sound or an F major sound. 00:29:18.110 --> 00:29:20.850 align:middle line:84% And you can have both, and you can go back and forth, 00:29:20.850 --> 00:29:25.010 align:middle line:84% so this is a little bit of what's happening here. 00:29:25.010 --> 00:29:28.050 align:middle line:84% If you look at the piano part-- this is Bill Evans 00:29:28.050 --> 00:29:29.460 align:middle line:90% on the piano, by the way-- 00:29:29.460 --> 00:29:35.290 align:middle line:84% the piano part has very definitely a D to an A flat, 00:29:35.290 --> 00:29:37.440 align:middle line:90% which is a tritone, as you know. 00:29:37.440 --> 00:29:41.040 align:middle line:84% And if we're thinking with a tonal center of D right there, 00:29:41.040 --> 00:29:43.050 align:middle line:90% that becomes the flat 5. 00:29:43.050 --> 00:29:44.860 align:middle line:90% Is everybody with me on this? 00:29:44.860 --> 00:29:48.750 align:middle line:84% So you've got, again, a bebop idea, but you've 00:29:48.750 --> 00:29:53.760 align:middle line:84% also got Russell's notion within the Lydian mode, which 00:29:53.760 --> 00:29:56.610 align:middle line:84% is where you have the raised fourth or the flatted fifth, 00:29:56.610 --> 00:30:00.360 align:middle line:84% so you've got a little bit of that brought in. 00:30:00.360 --> 00:30:03.300 align:middle line:84% It's a very interesting kind of a piece. 00:30:03.300 --> 00:30:09.780 align:middle line:84% If you look at the bassoon part, take a look at the bassoon part 00:30:09.780 --> 00:30:12.300 align:middle line:84% and at the bass part, bass part is the second one 00:30:12.300 --> 00:30:15.180 align:middle line:84% up from the bottom, what does that mode seem to be? 00:30:15.180 --> 00:30:22.913 align:middle line:90% 00:30:22.913 --> 00:30:24.705 align:middle line:84% AUDIENCE: Where it says in the second part? 00:30:24.705 --> 00:30:28.760 align:middle line:84% MARK HARVEY: The bass part and the bassoon part. 00:30:28.760 --> 00:30:32.270 align:middle line:84% The last bar and a half of that page 1. 00:30:32.270 --> 00:30:35.456 align:middle line:90% 00:30:35.456 --> 00:30:37.400 align:middle line:90% AUDIENCE: [INAUDIBLE]. 00:30:37.400 --> 00:30:38.440 align:middle line:90% MARK HARVEY: Hm? 00:30:38.440 --> 00:30:38.970 align:middle line:90% AUDIENCE: [INAUDIBLE]. 00:30:38.970 --> 00:30:39.762 align:middle line:90% MARK HARVEY: Which? 00:30:39.762 --> 00:30:42.090 align:middle line:90% AUDIENCE: [INAUDIBLE]. 00:30:42.090 --> 00:30:44.310 align:middle line:84% MARK HARVEY: Right, but just as it's laid out, 00:30:44.310 --> 00:30:45.270 align:middle line:90% what does it look like? 00:30:45.270 --> 00:30:51.126 align:middle line:90% 00:30:51.126 --> 00:30:52.590 align:middle line:90% AUDIENCE: [INAUDIBLE]. 00:30:52.590 --> 00:30:58.721 align:middle line:90% 00:30:58.721 --> 00:31:02.610 align:middle line:84% MARK HARVEY: If you just spell those notes right out, 00:31:02.610 --> 00:31:05.070 align:middle line:84% the bottom one might very well be the tonal center. 00:31:05.070 --> 00:31:06.030 align:middle line:90% What is that? 00:31:06.030 --> 00:31:07.798 align:middle line:90% AUDIENCE: E flat pentatonic. 00:31:07.798 --> 00:31:12.200 align:middle line:84% MARK HARVEY: E flat pentatonic in the minor mode. 00:31:12.200 --> 00:31:14.750 align:middle line:84% If we start off with something that's 00:31:14.750 --> 00:31:19.850 align:middle line:84% a lot like a D pentatonic in the minor mode, 00:31:19.850 --> 00:31:24.440 align:middle line:84% we get that reinforced by the piano part, 00:31:24.440 --> 00:31:26.960 align:middle line:84% then we've got an E flat pentatonic 00:31:26.960 --> 00:31:29.990 align:middle line:90% in the bass and the bassoon. 00:31:29.990 --> 00:31:32.660 align:middle line:84% What is the piano doing by the time it gets 00:31:32.660 --> 00:31:34.070 align:middle line:90% to the last bar and a half? 00:31:34.070 --> 00:31:39.750 align:middle line:90% 00:31:39.750 --> 00:31:52.340 align:middle line:90% It's not E flat, and it's not D. 00:31:52.340 --> 00:31:56.470 align:middle line:84% Well, I think it looks a lot like a C pentatonic. 00:31:56.470 --> 00:31:59.390 align:middle line:84% It's coming up out of the third measure. 00:31:59.390 --> 00:32:03.350 align:middle line:84% It's got notes that would be part of the C in the minor mode 00:32:03.350 --> 00:32:04.430 align:middle line:90% pentatonic. 00:32:04.430 --> 00:32:05.420 align:middle line:90% It goes up. 00:32:05.420 --> 00:32:07.820 align:middle line:90% It hits kind of that G, G flat. 00:32:07.820 --> 00:32:09.470 align:middle line:90% That's a five, flat five. 00:32:09.470 --> 00:32:13.520 align:middle line:84% Comes down maybe more of a major idea of C. 00:32:13.520 --> 00:32:16.400 align:middle line:84% The point is there's at least three modalities going on 00:32:16.400 --> 00:32:20.180 align:middle line:84% in this four bars, first four bars of this. 00:32:20.180 --> 00:32:26.440 align:middle line:84% And this is what exactly is meant by a pan modal approach. 00:32:26.440 --> 00:32:31.390 align:middle line:84% The next page, you can look at this more on your own, 00:32:31.390 --> 00:32:37.330 align:middle line:84% it seems to me the top voice, which is flute now, 00:32:37.330 --> 00:32:39.100 align:middle line:90% has got the E flat pentatonic. 00:32:39.100 --> 00:32:42.610 align:middle line:84% Again, the tenor seems to have more of an F pentatonic 00:32:42.610 --> 00:32:45.820 align:middle line:84% with that flat third, natural third. 00:32:45.820 --> 00:32:50.980 align:middle line:84% And again, we've got some things referring more to a D center 00:32:50.980 --> 00:32:51.620 align:middle line:90% below. 00:32:51.620 --> 00:32:57.076 align:middle line:84% And if you look at bar four, where it says letter B, 00:32:57.076 --> 00:33:01.465 align:middle line:84% the alto comes in right with the basic motif again. 00:33:01.465 --> 00:33:05.380 align:middle line:84% Boo, doo, doo, doo, and then he goes up doo, doo, doo, 00:33:05.380 --> 00:33:07.690 align:middle line:84% a little rhythmic differentiation, 00:33:07.690 --> 00:33:10.030 align:middle line:84% but it's basically the same idea. 00:33:10.030 --> 00:33:13.060 align:middle line:84% If you keep going with this page 3, 00:33:13.060 --> 00:33:16.670 align:middle line:84% the alto states the melody again, 00:33:16.670 --> 00:33:18.460 align:middle line:84% with a little bit of differentiation 00:33:18.460 --> 00:33:19.795 align:middle line:90% from what we had before. 00:33:19.795 --> 00:33:23.790 align:middle line:90% 00:33:23.790 --> 00:33:27.540 align:middle line:84% The base has been walking, now, the base 00:33:27.540 --> 00:33:30.990 align:middle line:84% is doing another ostinato effect. 00:33:30.990 --> 00:33:33.840 align:middle line:84% If you look down in the bass department F, 00:33:33.840 --> 00:33:38.830 align:middle line:90% B flat, G, C, and so forth. 00:33:38.830 --> 00:33:42.570 align:middle line:84% And then I put a little inset there, 00:33:42.570 --> 00:33:47.400 align:middle line:84% and the little inset shows now that the alto and the tenor 00:33:47.400 --> 00:33:50.820 align:middle line:84% are going to be playing the original melody with just 00:33:50.820 --> 00:33:56.880 align:middle line:84% a little different rhythmic, but now, it's D and B natural, 00:33:56.880 --> 00:33:58.800 align:middle line:84% I'm just giving you the harmonization. 00:33:58.800 --> 00:34:03.840 align:middle line:84% F and D, F and D, D and B natural, then all of a sudden, 00:34:03.840 --> 00:34:06.570 align:middle line:90% it goes to a B flat. 00:34:06.570 --> 00:34:11.699 align:middle line:84% Well, this starts to seem a lot like G as a tonal center, 00:34:11.699 --> 00:34:15.929 align:middle line:84% with that flat three and natural three idea, 00:34:15.929 --> 00:34:20.429 align:middle line:84% almost like a 1 to 4 of the blues idea. 00:34:20.429 --> 00:34:23.620 align:middle line:84% Except we know that a lot of the early blues 00:34:23.620 --> 00:34:27.250 align:middle line:84% were not necessarily 12 bars, they could very well 00:34:27.250 --> 00:34:28.810 align:middle line:90% have been eight bars. 00:34:28.810 --> 00:34:31.960 align:middle line:84% And a lot of times, they never went to the 5 chord. 00:34:31.960 --> 00:34:35.409 align:middle line:84% They just went back and forth the 1 chord and the 4 chord. 00:34:35.409 --> 00:34:38.000 align:middle line:90% So Russell is a very smart man. 00:34:38.000 --> 00:34:40.070 align:middle line:90% He knows all about this stuff. 00:34:40.070 --> 00:34:43.750 align:middle line:84% And so it's almost like here's this super sophisticated piece, 00:34:43.750 --> 00:34:47.440 align:middle line:84% and he's saying, yeah, but this goes way, way back. 00:34:47.440 --> 00:34:51.100 align:middle line:84% This is what I'm going to be using for my basic way 00:34:51.100 --> 00:34:52.690 align:middle line:90% this works. 00:34:52.690 --> 00:34:54.170 align:middle line:90% This is my interpretation. 00:34:54.170 --> 00:34:56.295 align:middle line:84% I don't know if this is what he was thinking about, 00:34:56.295 --> 00:34:59.650 align:middle line:84% but it seems to make sense from one point of view. 00:34:59.650 --> 00:35:02.110 align:middle line:84% I'm going to play this it goes by very slowly. 00:35:02.110 --> 00:35:04.860 align:middle line:84% You're going to hear the eight-bar configuration. 00:35:04.860 --> 00:35:07.180 align:middle line:84% There's a little interlude, and then it comes back 00:35:07.180 --> 00:35:10.390 align:middle line:84% and it's 8 bars, with the melody right there, the harmonization. 00:35:10.390 --> 00:35:14.050 align:middle line:84% Second time, they keep playing a second line, 00:35:14.050 --> 00:35:15.850 align:middle line:90% a second melody line adds in. 00:35:15.850 --> 00:35:18.070 align:middle line:84% The third time, a third melody line 00:35:18.070 --> 00:35:19.570 align:middle line:84% adds in, just like Charles Mingus 00:35:19.570 --> 00:35:23.860 align:middle line:84% would do, layering or vertical form, as Russell would say. 00:35:23.860 --> 00:35:25.063 align:middle line:90% So let's listen to this. 00:35:25.063 --> 00:35:26.230 align:middle line:90% This is the second movement. 00:35:26.230 --> 00:35:29.200 align:middle line:84% You can follow along, at least the first couple pages there. 00:35:29.200 --> 00:35:36.890 align:middle line:90% 00:35:36.890 --> 00:35:41.540 align:middle line:84% So the strangest blues you'll ever hear, but it's a blues, 00:35:41.540 --> 00:35:45.360 align:middle line:84% and it's super sophisticated all at the same time. 00:35:45.360 --> 00:35:46.860 align:middle line:90% It's really a marvelous piece. 00:35:46.860 --> 00:35:50.270 align:middle line:84% So I'm going to suggest that you listen to this again 00:35:50.270 --> 00:35:52.740 align:middle line:90% so you can make more of it. 00:35:52.740 --> 00:35:57.230 align:middle line:84% And to help you do that, I've got a little analysis 00:35:57.230 --> 00:35:58.380 align:middle line:90% that I did the other day. 00:35:58.380 --> 00:36:01.740 align:middle line:84% I've always been wanting to try to figure this piece out, 00:36:01.740 --> 00:36:03.800 align:middle line:84% so I took this opportunity to make my effort. 00:36:03.800 --> 00:36:08.260 align:middle line:84% You may have other things that you come across, 00:36:08.260 --> 00:36:16.880 align:middle line:84% but this is basically, some of the notion of the structure. 00:36:16.880 --> 00:36:19.520 align:middle line:84% And I'm not advocating that everyone go out and try 00:36:19.520 --> 00:36:22.400 align:middle line:84% to do this, but I'm just offering this 00:36:22.400 --> 00:36:24.290 align:middle line:84% as some examples of the kinds of things 00:36:24.290 --> 00:36:29.150 align:middle line:84% you might want to think about with some rhythmic and melodic 00:36:29.150 --> 00:36:35.510 align:middle line:84% and perhaps, scalar resources to work with. 00:36:35.510 --> 00:36:40.340 align:middle line:84% I want to jump ahead now to a piece that 00:36:40.340 --> 00:36:44.510 align:middle line:90% came for Russell in 1983. 00:36:44.510 --> 00:36:47.820 align:middle line:84% This one had been the only, as far as I can tell, 00:36:47.820 --> 00:36:51.530 align:middle line:84% this had been the only American commission to him 00:36:51.530 --> 00:36:53.450 align:middle line:90% up to this point in time. 00:36:53.450 --> 00:36:57.440 align:middle line:84% The United States is a very, unfortunately, 00:36:57.440 --> 00:36:59.375 align:middle line:84% took a long time, shall we say, to catch up 00:36:59.375 --> 00:37:00.500 align:middle line:90% with the rest of the world. 00:37:00.500 --> 00:37:03.350 align:middle line:84% European countries have been supporting jazz musicians 00:37:03.350 --> 00:37:05.372 align:middle line:84% for at least a number of years before this, 00:37:05.372 --> 00:37:07.580 align:middle line:84% in terms of giving them commissions and other things, 00:37:07.580 --> 00:37:10.040 align:middle line:84% but Russell got this one at Brandeis. 00:37:10.040 --> 00:37:14.100 align:middle line:84% 1972, Bill Evans, who appears on the third movement of "Rosie," 00:37:14.100 --> 00:37:18.000 align:middle line:84% which we didn't hear, fantastic piano solo, with Columbia 00:37:18.000 --> 00:37:20.170 align:middle line:84% Records, commissioned this piece, 00:37:20.170 --> 00:37:22.110 align:middle line:90% which is called "Living Time." 00:37:22.110 --> 00:37:24.420 align:middle line:84% I think we have this in the library. 00:37:24.420 --> 00:37:26.100 align:middle line:84% And this was the way, if you remember, 00:37:26.100 --> 00:37:29.310 align:middle line:84% this is how Gil Evans got the commissions from Miles Davis 00:37:29.310 --> 00:37:31.500 align:middle line:84% to make those scores that we heard last time. 00:37:31.500 --> 00:37:33.150 align:middle line:84% He got them from the record company. 00:37:33.150 --> 00:37:35.850 align:middle line:84% Columbia was the leader of the pack at that point. 00:37:35.850 --> 00:37:37.600 align:middle line:84% They had the money to be able to do that. 00:37:37.600 --> 00:37:42.480 align:middle line:84% That's how jazz was positioned, as in the commercial field. 00:37:42.480 --> 00:37:46.890 align:middle line:84% 1983, the African Game was commissioned 00:37:46.890 --> 00:37:51.050 align:middle line:84% by a nonprofit group that I was directing at the time, 00:37:51.050 --> 00:37:52.800 align:middle line:90% so I feel very proud of this. 00:37:52.800 --> 00:37:55.710 align:middle line:84% We were able to commission with the State Arts Council, which 00:37:55.710 --> 00:37:57.180 align:middle line:84% had just come into a lot of money, 00:37:57.180 --> 00:37:59.440 align:middle line:84% so we were happy to relieve them of it, 00:37:59.440 --> 00:38:02.790 align:middle line:84% and pass it along to George and a lot of musicians. 00:38:02.790 --> 00:38:04.920 align:middle line:84% We were able to commission this, and this 00:38:04.920 --> 00:38:08.100 align:middle line:84% was only the third in a line of US commissions 00:38:08.100 --> 00:38:09.360 align:middle line:90% at this point in time. 00:38:09.360 --> 00:38:10.890 align:middle line:90% This is a 40-minute work. 00:38:10.890 --> 00:38:13.130 align:middle line:84% We're not going to even try this, 00:38:13.130 --> 00:38:15.530 align:middle line:84% but I do want to touch on a couple of things 00:38:15.530 --> 00:38:18.680 align:middle line:84% and point out that both of these are in the library. 00:38:18.680 --> 00:38:21.110 align:middle line:90% They're on our syllabus. 00:38:21.110 --> 00:38:23.150 align:middle line:84% Before I get into this any more, I 00:38:23.150 --> 00:38:24.720 align:middle line:90% want to play the first movement. 00:38:24.720 --> 00:38:25.890 align:middle line:90% This is a 40-minute piece. 00:38:25.890 --> 00:38:29.270 align:middle line:84% It's in nine movements, or what he calls events. 00:38:29.270 --> 00:38:32.300 align:middle line:84% And I want you to tell me, if you can, what instrument 00:38:32.300 --> 00:38:35.000 align:middle line:84% or what is the source for the sound you 00:38:35.000 --> 00:38:35.960 align:middle line:90% hear at the beginning. 00:38:35.960 --> 00:38:37.900 align:middle line:90% It's a very interesting sound. 00:38:37.900 --> 00:38:43.920 align:middle line:90% 00:38:43.920 --> 00:38:45.235 align:middle line:90% Anybody figure out that sound? 00:38:45.235 --> 00:38:46.860 align:middle line:84% At first, the sound you actually heard, 00:38:46.860 --> 00:38:49.470 align:middle line:84% the whirring sound is actually correct. 00:38:49.470 --> 00:38:50.820 align:middle line:90% That's not the malfunction. 00:38:50.820 --> 00:38:52.237 align:middle line:84% Anybody figured out what that was? 00:38:52.237 --> 00:38:56.466 align:middle line:90% 00:38:56.466 --> 00:38:59.050 align:middle line:84% AUDIENCE: Sounds like something being plucked. 00:38:59.050 --> 00:39:00.975 align:middle line:84% MARK HARVEY: Something being plucked. 00:39:00.975 --> 00:39:02.367 align:middle line:84% AUDIENCE: Oh, the whirring sound. 00:39:02.367 --> 00:39:03.450 align:middle line:90% AUDIENCE: Is that a drill? 00:39:03.450 --> 00:39:05.250 align:middle line:84% AUDIENCE: [INAUDIBLE] notes, I guess. 00:39:05.250 --> 00:39:05.970 align:middle line:90% MARK HARVEY: What's that? 00:39:05.970 --> 00:39:06.928 align:middle line:90% AUDIENCE: It's a drill. 00:39:06.928 --> 00:39:09.710 align:middle line:90% MARK HARVEY: A drill? 00:39:09.710 --> 00:39:12.869 align:middle line:90% I suppose it's like a drill. 00:39:12.869 --> 00:39:14.801 align:middle line:90% AUDIENCE: It's not a drill. 00:39:14.801 --> 00:39:18.665 align:middle line:90% 00:39:18.665 --> 00:39:23.510 align:middle line:84% MARK HARVEY: Several electric pencil sharpeners. 00:39:23.510 --> 00:39:29.520 align:middle line:84% And I was playing on this, and several of the people, 00:39:29.520 --> 00:39:31.228 align:middle line:84% I didn't have one, had pencil sharpeners. 00:39:31.228 --> 00:39:33.270 align:middle line:84% And I can't remember if they were battery powered 00:39:33.270 --> 00:39:33.860 align:middle line:90% or plugged in. 00:39:33.860 --> 00:39:35.600 align:middle line:84% But anyway, this was the beginning. 00:39:35.600 --> 00:39:38.480 align:middle line:84% And this piece, which is called the African Game, 00:39:38.480 --> 00:39:42.590 align:middle line:84% he takes off from the fact that the first fossil evidence 00:39:42.590 --> 00:39:46.790 align:middle line:84% of mankind was found by Professor Leakey in Kenya. 00:39:46.790 --> 00:39:50.630 align:middle line:84% And so, as George Russell puts it, we're all Africans. 00:39:50.630 --> 00:39:53.150 align:middle line:84% And so what happened after this, what 00:39:53.150 --> 00:39:55.080 align:middle line:84% was the story of evolution, in other words. 00:39:55.080 --> 00:39:57.320 align:middle line:84% So in 40 minutes and 9 events, he 00:39:57.320 --> 00:40:00.350 align:middle line:84% attempted to trace the history, the story of evolution, 00:40:00.350 --> 00:40:03.350 align:middle line:84% and for some reason, decided that pencil sharpeners gave 00:40:03.350 --> 00:40:06.530 align:middle line:84% a particularly primal sound, I guess. 00:40:06.530 --> 00:40:08.660 align:middle line:84% If this would work, which it doesn't, you 00:40:08.660 --> 00:40:11.540 align:middle line:84% would hear very small, little sounds 00:40:11.540 --> 00:40:14.240 align:middle line:84% come in with electric bass and guitar and some other things, 00:40:14.240 --> 00:40:19.380 align:middle line:84% gradually coalescing toward maybe a more unified, 00:40:19.380 --> 00:40:22.800 align:middle line:84% organized life form if you want to follow that analogy. 00:40:22.800 --> 00:40:26.520 align:middle line:84% But it's a really very interesting way 00:40:26.520 --> 00:40:29.070 align:middle line:84% to begin this whole piece, which winds 00:40:29.070 --> 00:40:31.710 align:middle line:84% up later after many perambulations, 00:40:31.710 --> 00:40:33.390 align:middle line:84% you can hear this in the library, 00:40:33.390 --> 00:40:38.070 align:middle line:84% with a very heavy funk underlay and almost all 00:40:38.070 --> 00:40:41.700 align:middle line:84% of the previous motives and ideas brought back. 00:40:41.700 --> 00:40:44.280 align:middle line:84% I'm just going to try it just to see if this is not totally 00:40:44.280 --> 00:40:49.140 align:middle line:84% jinxed, just to see if we can maybe go to the last one 00:40:49.140 --> 00:40:50.265 align:middle line:90% here and see what happens. 00:40:50.265 --> 00:40:56.880 align:middle line:90% 00:40:56.880 --> 00:40:59.960 align:middle line:84% So hopefully, that'll pique your interest to hear more of that. 00:40:59.960 --> 00:41:03.120 align:middle line:84% Again, vertical form, layered, all kinds of things, 00:41:03.120 --> 00:41:04.890 align:middle line:84% and if you heard the whole entire piece, 00:41:04.890 --> 00:41:08.190 align:middle line:84% you would identify some of those melodic and rhythmic fragments. 00:41:08.190 --> 00:41:10.760 align:middle line:84% Part of the problem with playing in a piece 00:41:10.760 --> 00:41:14.120 align:middle line:84% that George Russell writes is that he started out 00:41:14.120 --> 00:41:15.140 align:middle line:90% as a drummer. 00:41:15.140 --> 00:41:18.560 align:middle line:84% So he has no mercy with writing rhythmic patterns 00:41:18.560 --> 00:41:20.810 align:middle line:84% for everybody, including this had 00:41:20.810 --> 00:41:26.120 align:middle line:84% a five-piece Afro-Cuban drum ensemble, called the bata 00:41:26.120 --> 00:41:27.150 align:middle line:90% ensemble. 00:41:27.150 --> 00:41:30.050 align:middle line:84% And so they were going at it with drums and brake drums 00:41:30.050 --> 00:41:31.413 align:middle line:90% and everything. 00:41:31.413 --> 00:41:33.080 align:middle line:84% the Main drummer was Keith Copeland, who 00:41:33.080 --> 00:41:34.622 align:middle line:84% was a wonderful player and just about 00:41:34.622 --> 00:41:36.890 align:middle line:84% this time was playing with the Basie Band 00:41:36.890 --> 00:41:40.460 align:middle line:84% and a whole bunch of people, and it was a monster, partially 00:41:40.460 --> 00:41:43.220 align:middle line:84% because it was a commissioned work, 00:41:43.220 --> 00:41:47.900 align:middle line:84% and the State was spreading the wealth to us musicians. 00:41:47.900 --> 00:41:50.900 align:middle line:90% We had seven days of rehearsal. 00:41:50.900 --> 00:41:51.980 align:middle line:90% You don't get this. 00:41:51.980 --> 00:41:53.690 align:middle line:84% You just don't get this, seven days 00:41:53.690 --> 00:41:58.460 align:middle line:84% in a row of rehearsal, good section of each day, 00:41:58.460 --> 00:42:01.280 align:middle line:84% and then what you heard was the recording 00:42:01.280 --> 00:42:03.800 align:middle line:84% of the live performance, the premiere performance. 00:42:03.800 --> 00:42:07.320 align:middle line:84% The only thing they did at the studio came out on Blue Note 00:42:07.320 --> 00:42:08.270 align:middle line:90% was Grammy nominated. 00:42:08.270 --> 00:42:10.520 align:middle line:84% The only thing they did was repair, not repair, 00:42:10.520 --> 00:42:13.760 align:middle line:84% but add and fix a couple of synthesizer parts. 00:42:13.760 --> 00:42:19.070 align:middle line:84% Not bad for something that came out of Massachusetts, out 00:42:19.070 --> 00:42:22.460 align:middle line:84% of, essentially, a local grassroots organization 00:42:22.460 --> 00:42:24.830 align:middle line:84% and shows the value of having commissions. 00:42:24.830 --> 00:42:27.740 align:middle line:84% And so if you ever get involved in addition, or whatever, 00:42:27.740 --> 00:42:30.320 align:middle line:84% musical things you do with community groups that 00:42:30.320 --> 00:42:33.740 align:middle line:84% can help to sponsor and foster the arts, 00:42:33.740 --> 00:42:36.902 align:middle line:84% please do that, because these kinds of things can happen. 00:42:36.902 --> 00:42:39.110 align:middle line:84% Now, I want to spend the last little bit just talking 00:42:39.110 --> 00:42:40.700 align:middle line:90% about this piece of mine. 00:42:40.700 --> 00:42:43.160 align:middle line:90% This is called "The Seeker." 00:42:43.160 --> 00:42:47.300 align:middle line:84% This was a commission from the John Coltrane Memorial Concert. 00:42:47.300 --> 00:42:49.310 align:middle line:84% You may know of this it happens every fall. 00:42:49.310 --> 00:42:52.130 align:middle line:84% It's the longest running celebration 00:42:52.130 --> 00:42:55.250 align:middle line:84% of Coltrane's legacy in the United States 00:42:55.250 --> 00:42:57.600 align:middle line:84% actually, any place in the world. 00:42:57.600 --> 00:43:04.200 align:middle line:84% And it's a concert that most often 00:43:04.200 --> 00:43:06.540 align:middle line:84% has a fairly large ensemble gathered 00:43:06.540 --> 00:43:07.740 align:middle line:90% to pay tribute to Trane. 00:43:07.740 --> 00:43:09.390 align:middle line:84% They usually break into small groups, 00:43:09.390 --> 00:43:12.150 align:middle line:84% and then there's usually some full band pieces. 00:43:12.150 --> 00:43:16.890 align:middle line:84% And so in 1994, I was asked to write a piece for the full band 00:43:16.890 --> 00:43:19.920 align:middle line:84% called "The Seeker," which was my tribute to Coltrane, 00:43:19.920 --> 00:43:26.220 align:middle line:84% and this is an interesting connection here 00:43:26.220 --> 00:43:30.390 align:middle line:84% because both Miles Davis and Coltrane were deeply influenced 00:43:30.390 --> 00:43:33.120 align:middle line:90% by George Russell's theories. 00:43:33.120 --> 00:43:36.990 align:middle line:84% And so to be able to repay a debt to Coltrane 00:43:36.990 --> 00:43:39.420 align:middle line:84% and to some extent, using some influences 00:43:39.420 --> 00:43:42.450 align:middle line:84% that I may have gleaned from George Russell 00:43:42.450 --> 00:43:46.140 align:middle line:84% was a nice thing to be able to do. 00:43:46.140 --> 00:43:49.950 align:middle line:84% I don't claim to be anywhere near the level of brilliance 00:43:49.950 --> 00:43:51.480 align:middle line:84% that George Russell is, but I had 00:43:51.480 --> 00:43:53.310 align:middle line:84% my own means and my own approach, 00:43:53.310 --> 00:43:55.770 align:middle line:84% and this is what we should all strive for as composers. 00:43:55.770 --> 00:43:59.340 align:middle line:84% We don't want to necessary eerily copy anybody 00:43:59.340 --> 00:44:00.420 align:middle line:90% that we hear outright. 00:44:00.420 --> 00:44:02.710 align:middle line:84% You can always learn from people. 00:44:02.710 --> 00:44:06.095 align:middle line:84% So in this piece, I'll show you just a little bit 00:44:06.095 --> 00:44:07.470 align:middle line:84% at the beginning, the first thing 00:44:07.470 --> 00:44:11.730 align:middle line:84% I want to show you is the drum part on page 6. 00:44:11.730 --> 00:44:13.140 align:middle line:90% Don't do this. 00:44:13.140 --> 00:44:15.490 align:middle line:90% It's too complicated. 00:44:15.490 --> 00:44:18.450 align:middle line:84% I may have told this story to some other classes, 00:44:18.450 --> 00:44:20.610 align:middle line:84% you may have heard this, when I got to the session, 00:44:20.610 --> 00:44:21.660 align:middle line:90% we had three drummers. 00:44:21.660 --> 00:44:26.310 align:middle line:84% A set drummer was a fantastic player, and he looked at this 00:44:26.310 --> 00:44:27.870 align:middle line:84% and he looked at me, and his gaze 00:44:27.870 --> 00:44:32.850 align:middle line:84% kept getting more and more consternation and almost evil. 00:44:32.850 --> 00:44:35.340 align:middle line:84% And then now, we're good friends I should say, 00:44:35.340 --> 00:44:37.480 align:middle line:84% but it was like, well, what do you want? 00:44:37.480 --> 00:44:39.000 align:middle line:84% I said, well, this is just a guide. 00:44:39.000 --> 00:44:40.667 align:middle line:84% It's just a guide to what you should do. 00:44:40.667 --> 00:44:42.990 align:middle line:84% And finally, we had three or four rehearsals for this, 00:44:42.990 --> 00:44:44.550 align:middle line:84% finally, about the second rehearsal, 00:44:44.550 --> 00:44:46.560 align:middle line:84% he and I finally got a meeting of minds, 00:44:46.560 --> 00:44:48.870 align:middle line:84% and then I said just do your own thing. 00:44:48.870 --> 00:44:51.390 align:middle line:84% That was the key, and it was brilliant. 00:44:51.390 --> 00:44:54.000 align:middle line:84% So don't overwrite for the drummer. 00:44:54.000 --> 00:44:56.790 align:middle line:84% Kurt, I see Kurt laughing, and he knows 00:44:56.790 --> 00:44:58.130 align:middle line:90% being a drummer what this is. 00:44:58.130 --> 00:45:00.380 align:middle line:84% But the other part of getting a commission 00:45:00.380 --> 00:45:03.500 align:middle line:84% is you feel you have to step up, and everything has to be, 00:45:03.500 --> 00:45:05.550 align:middle line:84% oh, well, I better write a drum part, 00:45:05.550 --> 00:45:08.677 align:middle line:84% so it looks good on paper, but if I ever play this again, 00:45:08.677 --> 00:45:10.760 align:middle line:84% I would always tell the drummer do your own thing. 00:45:10.760 --> 00:45:13.130 align:middle line:84% In any case, the important thing is 00:45:13.130 --> 00:45:15.380 align:middle line:84% what's going on in the contra bass line, which 00:45:15.380 --> 00:45:18.650 align:middle line:84% is the third line up from the bottom, 00:45:18.650 --> 00:45:22.130 align:middle line:84% and this is, again, a pentatonic usage-- 00:45:22.130 --> 00:45:23.030 align:middle line:90% bum, bum. 00:45:23.030 --> 00:45:24.350 align:middle line:90% Bum, bum, bum, bum. 00:45:24.350 --> 00:45:25.110 align:middle line:90% Bum, bum. 00:45:25.110 --> 00:45:27.110 align:middle line:90% Bum, bum, bum bum bum bum. 00:45:27.110 --> 00:45:29.000 align:middle line:84% Bum, bum, bum, bum, bum, bum, bum. 00:45:29.000 --> 00:45:29.930 align:middle line:90% Bum, bum. 00:45:29.930 --> 00:45:31.550 align:middle line:90% Bum, bum, bum, bum, bum, bum. 00:45:31.550 --> 00:45:35.690 align:middle line:84% It's an eight-bar phrase that sounds like a kind of a riff 00:45:35.690 --> 00:45:38.180 align:middle line:84% but in fact, it's the first melody. 00:45:38.180 --> 00:45:40.820 align:middle line:84% And then on top of that comes the melody you 00:45:40.820 --> 00:45:45.110 align:middle line:84% see above it voiced in sort of a modal cluster form, 00:45:45.110 --> 00:45:47.300 align:middle line:90% you'll hear this. 00:45:47.300 --> 00:45:50.630 align:middle line:84% And then the first three pages give you 00:45:50.630 --> 00:45:53.960 align:middle line:84% the riff, which is doubled in bass trombone and tuba. 00:45:53.960 --> 00:45:56.300 align:middle line:84% The upper horns have the melodic idea, which 00:45:56.300 --> 00:45:58.800 align:middle line:90% is a kind of a pan tonal idea. 00:45:58.800 --> 00:46:04.900 align:middle line:84% It doesn't exactly link up with the G minor pentatonic thing. 00:46:04.900 --> 00:46:10.050 align:middle line:84% And then that tightens up, meaning that the eight-bar riff 00:46:10.050 --> 00:46:11.760 align:middle line:90% becomes a four-bar riff. 00:46:11.760 --> 00:46:14.640 align:middle line:84% It becomes compressed, and I have 00:46:14.640 --> 00:46:16.470 align:middle line:84% some part of this that we'll play so you 00:46:16.470 --> 00:46:18.720 align:middle line:90% can hear where that happens. 00:46:18.720 --> 00:46:23.370 align:middle line:84% The very beginning of the piece, because Coltrane, as you know, 00:46:23.370 --> 00:46:26.250 align:middle line:84% played both soprano and tenor sax is 00:46:26.250 --> 00:46:30.180 align:middle line:84% a little duo for a soprano sax player and a tenor sax player, 00:46:30.180 --> 00:46:32.160 align:middle line:84% sort of pay tribute to those two sides 00:46:32.160 --> 00:46:33.420 align:middle line:90% of Coltrane's personality. 00:46:33.420 --> 00:46:35.190 align:middle line:84% And there's a little melodic motif 00:46:35.190 --> 00:46:36.690 align:middle line:90% that they trade off and on. 00:46:36.690 --> 00:46:39.460 align:middle line:84% It starts with drums, and then it goes into this, 00:46:39.460 --> 00:46:41.320 align:middle line:84% and then there's some chorale type thing, 00:46:41.320 --> 00:46:44.550 align:middle line:90% and then we hit the riff. 00:46:44.550 --> 00:46:46.840 align:middle line:84% So let's hear the first part of it, 00:46:46.840 --> 00:46:49.965 align:middle line:84% and you can hear what's going to be going on with this. 00:46:49.965 --> 00:46:52.765 align:middle line:90% [MARK HARVEY, "THE SEEKER"] 00:46:52.765 --> 00:50:12.628 align:middle line:90% 00:50:12.628 --> 00:50:14.670 align:middle line:84% Staying longer than I thought to get to that part 00:50:14.670 --> 00:50:18.463 align:middle line:84% where the bottom riff compresses the four bars, 00:50:18.463 --> 00:50:19.380 align:middle line:90% but you can hear this. 00:50:19.380 --> 00:50:23.170 align:middle line:84% We have the recording on the reserve for the course. 00:50:23.170 --> 00:50:24.990 align:middle line:84% Now, if you want to just flip ahead, we've 00:50:24.990 --> 00:50:26.580 align:middle line:84% had those few pages, now, we're going 00:50:26.580 --> 00:50:28.350 align:middle line:84% to go toward the end of the piece. 00:50:28.350 --> 00:50:31.740 align:middle line:84% And you'll notice that the riff, or the vamp in the bottom 00:50:31.740 --> 00:50:33.340 align:middle line:90% is a lot more complicated. 00:50:33.340 --> 00:50:37.140 align:middle line:84% It's a multi-meter vamp, which means it goes bar a five, 00:50:37.140 --> 00:50:40.380 align:middle line:84% bar a four, bar a five, bar of six. 00:50:40.380 --> 00:50:42.420 align:middle line:90% Why did I write this? 00:50:42.420 --> 00:50:44.820 align:middle line:84% No one in their right mind would do this, 00:50:44.820 --> 00:50:48.540 align:middle line:84% but this is how I heard it, and I know with a couple of you, 00:50:48.540 --> 00:50:50.312 align:middle line:84% we've had some rhythmic issues, and I've 00:50:50.312 --> 00:50:52.020 align:middle line:84% tried to straighten it out and try to say 00:50:52.020 --> 00:50:53.640 align:middle line:90% make it as simple as you can. 00:50:53.640 --> 00:50:55.740 align:middle line:84% It turns out that this is the simplest 00:50:55.740 --> 00:50:57.990 align:middle line:84% way I could communicate what I wanted 00:50:57.990 --> 00:51:00.630 align:middle line:84% with this particular thing, and what 00:51:00.630 --> 00:51:04.080 align:middle line:84% came to be the practice whenever we play this with my band 00:51:04.080 --> 00:51:06.780 align:middle line:84% and with this band and we didn't do it this first time, 00:51:06.780 --> 00:51:11.470 align:middle line:84% but I've evolved into this was, I simply clap the whole pattern 00:51:11.470 --> 00:51:12.850 align:middle line:90% one time. 00:51:12.850 --> 00:51:14.570 align:middle line:90% Let's clap it together. 00:51:14.570 --> 00:51:15.445 align:middle line:90% Let me do it first. 00:51:15.445 --> 00:51:25.730 align:middle line:90% 00:51:25.730 --> 00:51:26.230 align:middle line:90% Come on. 00:51:26.230 --> 00:51:35.610 align:middle line:90% 00:51:35.610 --> 00:51:36.480 align:middle line:90% Simple, right? 00:51:36.480 --> 00:51:38.520 align:middle line:84% Now, all you have to do is aim for the downbeat, 00:51:38.520 --> 00:51:39.480 align:middle line:90% and you're all set. 00:51:39.480 --> 00:51:43.263 align:middle line:84% That became the vamp underneath, and then 00:51:43.263 --> 00:51:45.180 align:middle line:84% you'll see that the melody that comes in there 00:51:45.180 --> 00:51:47.790 align:middle line:84% is exactly the same as the melody the first time, 00:51:47.790 --> 00:51:51.160 align:middle line:84% except that it says, well, it should say-- 00:51:51.160 --> 00:51:53.940 align:middle line:84% would say this, but we're on the beginning of the page-- 00:51:53.940 --> 00:51:56.020 align:middle line:90% half as slow. 00:51:56.020 --> 00:51:59.980 align:middle line:84% So that vamp is going by, the melody comes in half is slow, 00:51:59.980 --> 00:52:02.250 align:middle line:84% so now, I'm messing with the rhythmical idea. 00:52:02.250 --> 00:52:04.200 align:middle line:84% And then we get to the last two pages, 00:52:04.200 --> 00:52:08.070 align:middle line:84% and it goes to this just simple triads, which 00:52:08.070 --> 00:52:11.250 align:middle line:84% seem to always make a big effect, and then the last page, 00:52:11.250 --> 00:52:12.660 align:middle line:90% we slow it down again. 00:52:12.660 --> 00:52:17.760 align:middle line:84% And you'll see at the very end in soprano 3 and in soprano 1, 00:52:17.760 --> 00:52:22.260 align:middle line:84% they have the opening motif just like the soloist started out 00:52:22.260 --> 00:52:24.940 align:middle line:84% with at the beginning is just a kind of a conclusion. 00:52:24.940 --> 00:52:26.850 align:middle line:84% So let's see if we can get to the end of this 00:52:26.850 --> 00:52:29.295 align:middle line:84% just for the sake of hearing how this works out. 00:52:29.295 --> 00:52:32.634 align:middle line:90% 00:52:32.634 --> 00:52:35.628 align:middle line:90% [MARK HARVEY, "THE SEEKER"] 00:52:35.628 --> 00:58:15.420 align:middle line:90% 00:58:15.420 --> 00:58:17.820 align:middle line:84% So that's what you can do with modes, 00:58:17.820 --> 00:58:20.340 align:middle line:84% a simple pentatonic scale, and put it 00:58:20.340 --> 00:58:24.630 align:middle line:84% through all those permutations, add some structural thinking 00:58:24.630 --> 00:58:26.100 align:middle line:84% about how to put things together, 00:58:26.100 --> 00:58:29.100 align:middle line:84% and you come up with three completely different pieces 00:58:29.100 --> 00:58:31.170 align:middle line:84% that we've heard this afternoon, but they're all 00:58:31.170 --> 00:58:34.560 align:middle line:84% using this basic approach with one 00:58:34.560 --> 00:58:36.780 align:middle line:84% or another of these elements applied. 00:58:36.780 --> 00:58:38.603 align:middle line:84% And again, I'm not suggesting everybody 00:58:38.603 --> 00:58:40.770 align:middle line:84% run out and try to do this, you might hurt yourself. 00:58:40.770 --> 00:58:45.030 align:middle line:84% But if something in here strikes a chord, 00:58:45.030 --> 00:58:48.028 align:middle line:84% no pun intended, and if you say to yourself, 00:58:48.028 --> 00:58:50.070 align:middle line:84% well, I'd like to incorporate that in some things 00:58:50.070 --> 00:58:53.730 align:middle line:84% I'm thinking about, then these are some examples of how 00:58:53.730 --> 00:58:55.290 align:middle line:90% that might be useful. 00:58:55.290 --> 00:58:57.658 align:middle line:84% Does anybody have any questions or comments 00:58:57.658 --> 00:58:58.950 align:middle line:90% at the end of this whole thing? 00:58:58.950 --> 00:58:59.700 align:middle line:90% Yeah. 00:58:59.700 --> 00:59:01.500 align:middle line:84% AUDIENCE: My question is, when you 00:59:01.500 --> 00:59:03.840 align:middle line:84% were talking at the beginning of class 00:59:03.840 --> 00:59:09.420 align:middle line:84% about writing a melody to help with player improvising, 00:59:09.420 --> 00:59:11.280 align:middle line:90% how does that work exactly? 00:59:11.280 --> 00:59:13.680 align:middle line:84% Because you have a tune like "I Got Rhythm," 00:59:13.680 --> 00:59:16.270 align:middle line:84% which is varied by all sorts of people who improvise, 00:59:16.270 --> 00:59:18.700 align:middle line:90% and it's a simple tune enough. 00:59:18.700 --> 00:59:22.330 align:middle line:84% So what do you mean by writing, composing, [INAUDIBLE]?? 00:59:22.330 --> 00:59:26.140 align:middle line:84% MARK HARVEY: Well, like Charlie Parker with "Anthropology," 00:59:26.140 --> 00:59:30.580 align:middle line:84% which is based on that, if you play "Anthropology" based on 00:59:30.580 --> 00:59:34.090 align:middle line:84% "I Got Rhythm," it's likely that at least the first eight 00:59:34.090 --> 00:59:36.250 align:middle line:84% bars of your soloing as an improviser 00:59:36.250 --> 00:59:38.380 align:middle line:84% is going to be somewhat related to what you've just 00:59:38.380 --> 00:59:40.360 align:middle line:90% heard and played as the melody. 00:59:40.360 --> 00:59:42.070 align:middle line:84% And if you're really paying attention, 00:59:42.070 --> 00:59:44.170 align:middle line:84% which some people are and some people don't, some people just 00:59:44.170 --> 00:59:45.500 align:middle line:90% go off and do their own thing. 00:59:45.500 --> 00:59:47.350 align:middle line:84% But if you're paying attention to that tune, 00:59:47.350 --> 00:59:49.540 align:middle line:84% you'll probably incorporate some of the intervals, 00:59:49.540 --> 00:59:53.260 align:middle line:84% maybe some of the rhythmic ideas that are coming out of it. 00:59:53.260 --> 00:59:55.810 align:middle line:84% In this piece we just heard, you heard at the end, 00:59:55.810 --> 00:59:57.460 align:middle line:84% the improviser is playing exactly what 00:59:57.460 --> 01:00:00.115 align:middle line:84% they had played at the beginning-- ba, de, ba, da, 01:00:00.115 --> 01:00:03.730 align:middle line:84% da-- a little melodic idea with certain intervals. 01:00:03.730 --> 01:00:05.860 align:middle line:84% A good improviser on this kind of music 01:00:05.860 --> 01:00:07.908 align:middle line:84% will pay attention to that and will say, oh, 01:00:07.908 --> 01:00:08.950 align:middle line:90% what are those intervals? 01:00:08.950 --> 01:00:12.310 align:middle line:84% Let me work with those, at least as a basis 01:00:12.310 --> 01:00:13.390 align:middle line:90% for what I'm going to do. 01:00:13.390 --> 01:00:15.880 align:middle line:84% So that's partly what I'm talking about. 01:00:15.880 --> 01:00:17.650 align:middle line:84% That's usually up to the improviser. 01:00:17.650 --> 01:00:19.180 align:middle line:84% What George Russell is talking about 01:00:19.180 --> 01:00:22.720 align:middle line:84% is trying to make a composed line 01:00:22.720 --> 01:00:26.140 align:middle line:84% sound as if it were improvised, to give it 01:00:26.140 --> 01:00:27.580 align:middle line:84% that kind of spontaneous quality. 01:00:27.580 --> 01:00:30.410 align:middle line:90% That's a good trick. 01:00:30.410 --> 01:00:31.598 align:middle line:90% Most of us are searching. 01:00:31.598 --> 01:00:33.140 align:middle line:84% I don't claim to have ever done that, 01:00:33.140 --> 01:00:34.700 align:middle line:90% but we're searching for that. 01:00:34.700 --> 01:00:37.830 align:middle line:84% That's what we all try to do to come up with that level. 01:00:37.830 --> 01:00:40.290 align:middle line:84% And so it's a constant, but if you have that question, 01:00:40.290 --> 01:00:42.698 align:middle line:84% that's a great question to have in mind. 01:00:42.698 --> 01:00:43.490 align:middle line:90% Keep working at it. 01:00:43.490 --> 01:00:44.120 align:middle line:90% Anybody else? 01:00:44.120 --> 01:00:46.320 align:middle line:90% Any other-- 01:00:46.320 --> 01:00:46.820 align:middle line:90% OK. 01:00:46.820 --> 01:00:52.810 align:middle line:84% Well, thank you for letting me expose you to this music. 01:00:52.810 --> 01:00:54.560 align:middle line:84% Everything that's here is on the syllabus. 01:00:54.560 --> 01:00:57.200 align:middle line:84% The recording of my piece is from a commercially available 01:00:57.200 --> 01:00:58.678 align:middle line:84% recording, which is much cleaner. 01:00:58.678 --> 01:00:59.720 align:middle line:90% We took it to the studio. 01:00:59.720 --> 01:01:01.430 align:middle line:84% This is live from the Regattabar, 01:01:01.430 --> 01:01:04.070 align:middle line:84% so you get whatever you got that night. 01:01:04.070 --> 01:01:07.520 align:middle line:84% On Thursday, my friend and colleague, Bill Lowe, 01:01:07.520 --> 01:01:11.880 align:middle line:84% will be here who's a real expert on bebop and Afro-Cuban music. 01:01:11.880 --> 01:01:14.440 align:middle line:84% He's going to be doing a concert in a couple of weeks 01:01:14.440 --> 01:01:18.740 align:middle line:84% at Bunker Hill Community College with Cecil Bridgewater 01:01:18.740 --> 01:01:20.150 align:middle line:90% doing music of Dizzy Gillespie. 01:01:20.150 --> 01:01:22.020 align:middle line:90% So this is a very nice tie-in. 01:01:22.020 --> 01:01:25.443 align:middle line:84% He'll be already thinking about and talking to you about music 01:01:25.443 --> 01:01:26.360 align:middle line:90% they'll be performing. 01:01:26.360 --> 01:01:28.080 align:middle line:90% So see you on Thursday. 01:01:28.080 --> 01:01:32.990 align:middle line:84% Don't forget these assignments that I'm eager to see, so see 01:01:32.990 --> 01:01:35.140 align:middle line:90% you later on Thursday. 01:01:35.140 --> 01:01:37.000 align:middle line:90%