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Turning the Odds in My Favor

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Turning the Odds in My Favor Course: BA 1002 Degree Project, Master, Jazz, 30 credits 2021 Degree of Master in Music, 120 credits Department of Jazz Supervisor: Klas Nevrin Jan Alexander Turning the Odds in My Favor Exploring Non-Isochronous Meters Through Composition and Practice Written reflection within an independent, artistic work This independent, artistic work is documented in KMH’s digital archive. Abstract This thesis discloses my exploration of non-isochronous meters through composition and practice. During my two-year studies at the Royal College of Music in Stockholm, I explored different unevenly divided time signatures by practicing them in various ways, producing transcriptions, compositions and arrangements. The main purpose of this project was to further my knowledge and skills within these time signatures and thereby expand my horizon on perceiving, conceptualizing, composing and playing them. My endeavors culminated in seven original compositions, arranged for a jazz sextet, which I rehearsed and performed with an ensemble. During the process of composing, arranging, practicing and rehearsing, I gained a lot of articulated knowledge as well as embodied knowledge of the idiosyncrasies of various non- isochronous meters and different ways to perceive and play them. Keywords: non-isochronous meters, irregular meters, odd meters, time signatures, jazz, composition, arranging, improvisation i Contents List of Figures ......................................................................................................................... iii Acknowledgements .................................................................................................................. 1 Introduction.............................................................................................................................. 2 1. Non-Isochronous Meters in Jazz: A Brief Introduction ....................................................... 5 2. Preparations ....................................................................................................................... 11 2.1. Explorative Practicing ............................................................................................... 11 2.2. Working Ensemble .................................................................................................... 17 2.3. Contextualization: Creating an Inventory ................................................................. 18 2.4. Transcribing Arrangements ....................................................................................... 19 2.5. Documentation .......................................................................................................... 24 2.6. Study Sessions ........................................................................................................... 25 3. Master’s Project ................................................................................................................. 26 3.1. Instrumentation and Musicians ................................................................................. 26 3.2. Composing and Arranging ........................................................................................ 27 3.3. Practicing Subdivisions ............................................................................................. 36 3.4. Rehearsals ................................................................................................................. 40 3.5. Exam Concert ............................................................................................................ 42 4. Conclusions ........................................................................................................................ 44 Reference List ........................................................................................................................ 47 Appendix 1: Compositions .................................................................................................... 50 Meandering ...................................................................................................................... 50 Sorrows ............................................................................................................................ 56 Recollection ..................................................................................................................... 63 Perseverance ..................................................................................................................... 65 Change ............................................................................................................................. 68 New Horizon (Interlude) .................................................................................................. 75 Tribe ................................................................................................................................. 76 Appendix 2: Transcriptions (Excerpts) .................................................................................. 78 Future Reflection .............................................................................................................. 78 Retold ............................................................................................................................... 82 Appendix 3: Further Sources of Inspiration ........................................................................... 85 ii List of Figures Figure 1: "Jelly's Da Beener", Excerpt Bassline (Transcription) ...................................................... 7 Figure 2: "Jelly's Da Beener", Transcription Excerpt Melody With Left Hand Chords ................... 7 Figure 3: "Jelly's Da Beener", Transcription Excerpt, Notated in 7/8 .............................................. 8 Figure 4: "Still Play", Melody (Transcription), Excerpt #1 .............................................................. 8 Figure 5: "Still Play", Melody (Transcription), Excerpt #2 .............................................................. 9 Figure 6: "Spiral", Excerpt Transcription of Left-Hand Ostinato ................................................... 10 Figure 7: "Long Journey", Bassline ................................................................................................ 11 Figure 8: Possible Placements of One Eighth Note in a 5/4 Bar ..................................................... 12 Figure 9: Possible Placements of Two Eighth Notes in a 5/4 Bar .................................................. 12 Figure 10: “Long Journey”, Bassline With Displaced Groups of Four, Foot Tapping Half Notes . 13 Figure 11: Variations of Displaced Groups of Four in a 5/4 Bar .................................................... 14 Figure 12: Examples of Displaced Groups of Three, Five and Seven in a 5/4 Bar ......................... 14 Figure 13: Examples of Displaced Groups of Four With a Predetermined Direction of Melody ... 15 Figure 14: Example of Displaced Groups of Four With Defined Intervals (Second and a Fourth) 15 Figure 15: Example of Displaced Groups of Four With Predetermined Fingering ........................ 15 Figure 16: „All The Things You Are“ in 7/4, Improvisation Over Dotted Quarter Notes .............. 18 Figure 17: "Retold", Piano Ostinato ............................................................................................... 20 Figure 18: "Retold", Drumbeat ....................................................................................................... 20 Figure 19: "Retold", Interlude, Guitar and Piano Excerpt .............................................................. 21 Figure 20: "Retold", Excerpt Drums, Bar 23+24 ............................................................................ 21 Figure 21: "Future Reflection", Transcription Excerpt Bar 1-4 ...................................................... 22 Figure 22: "Future Reflection", Transcription Excerpt, Bar 16 to 20 ............................................. 23 Figure 23: "Future Reflection", Transcription Excerpt Alto Sax and Trumpet, Bar 49 to 53 ......... 23 Figure 24: 5/8 Transitioning to 5/4 ................................................................................................. 28 Figure 25: “Meandering”, Excerpt Bassline Drum Loop ................................................................ 29 Figure 26: “Sorrows”, Excerpt Rhodes Part (Bar 4 to 6) ................................................................ 29 Figure 27: "Sorrows", Excerpt Vocals, Alto Saxophone and Guitar, Bar 10 to 12 ......................... 30 Figure 28: “Recollection”, Theme .................................................................................................. 31 Figure 29: “Perseverance”, Excerpt Piano Part (Bar 19 to 21) ....................................................... 32 Figure 30: “Change”, Drumbeat ..................................................................................................... 32 Figure 31: "Change", Excerpt Melody, Bar 29 to 34 ...................................................................... 33 Figure 32: “New Horizon”, Different Rhythmic Parts .................................................................... 34 Figure 33: "Tribe", Bassline ........................................................................................................... 35 Figure 34: "Sorrows", Rhodes Ostinato With Quarter Note-Based Subdivision ............................ 36 Figure 35: "Sorrows", Rhodes Ostinato With Eighth Note-Based Subdivision .............................
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