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An Analysis of Selected Rhythmic, Harmonic and Melodic Devices Used in the Arrangement and Improvisation by Gwilym Simcock on the Way You Look Tonight (2007)

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An Analysis of Selected Rhythmic, Harmonic and Melodic Devices Used in the Arrangement and Improvisation by Gwilym Simcock on the Way You Look Tonight (2007) Edith Cowan University Research Online Theses : Honours Theses 2016 An analysis of selected rhythmic, harmonic and melodic devices used in the arrangement and improvisation by Gwilym Simcock on The Way You Look Tonight (2007) Brodie Stewart Edith Cowan University Follow this and additional works at: https://ro.ecu.edu.au/theses_hons Part of the Music Commons Recommended Citation Stewart, B. (2016). An analysis of selected rhythmic, harmonic and melodic devices used in the arrangement and improvisation by Gwilym Simcock on The Way You Look Tonight (2007). https://ro.ecu.edu.au/theses_hons/1493 This Thesis is posted at Research Online. https://ro.ecu.edu.au/theses_hons/1493 Edith Cowan University Copyright Warning You may print or download ONE copy of this document for the purpose of your own research or study. 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An analysis of selected rhythmic, harmonic and melodic devices used in the arrangement and improvisation by Gwilym Simcock on The Way You Look Tonight (2007) Brodie Stewart Western Australian Academy of Performing Arts Edith Cowan University This dissertation is submitted for the degree of Bachelor of Music Honours 2016 Supervisor: Nicholas Abbey Copyright Declaration I certify that this thesis does not, to the best of my knowledge and belief: (i) incorporate without acknowledgment any material previously submitted for a degree or diploma in any institution of higher degree or diploma in any institution of higher education; (ii) contain any material previously published or written by another person except where due reference is made in the text of this thesis; (iii) contain any defamatory material; (iv) contain any data that has not been collected in a manner consistent with ethics approval. Signed: Brodie Stewart 04/11/2016 This copy is the property of Edith Cowan University. However, the literary rights of the author must also be respected. If any passage from this thesis is quoted or closely paraphrased in a paper or written work prepared by the user, the source of the passage must be acknowledged in the work. If the user desires to publish a paper or written work containing passages copied or closely paraphrased from this thesis, which passages would in total constitute an infringing copy for the purpose of the Copyright Act, he or she must first obtain the written permission of the author to do so. i Acknowledgements I would like to thank to my supervisor, Nicholas Abbey, for all his time, patience, support, and guidance throughout this year. I would like to thank my teachers this year: Tom O’Halloran, Jamie Oehlers, Pete Jeavons, and Daniel Susnjar. Many thanks also to my year group, who have given incredible support and friendship. And a huge thanks to Gwilym Simcock for his amazing music. His compositions and playing inspired me to undertake this research in the first place, and continue to inspire me today. ii Abstract Gwilym Simcock, a seminal jazz pianist at the forefront of the European music scene, sees no boundaries between jazz and classical music. His debut album Perception (2007) received impressive critical acclaim, and has been considered a musical fingerprint of his various influences and composition style. This research pursues a deeper insight into the characteristics of his arranging and improvisational style by identifying notable devices used in the performance of The Way You Look Tonight, a well-known jazz standard that is featured on the album. The tune itself is has been reimagined as a modern-sounding arrangement centred on a rhythmic bass pattern in an odd meter, featuring extensive reharmonisations and virtuosic improvisations. The study aimed to demystify the specific devices used, and through musical transcription and analysis, prevalent techniques have been categorised to create a vocabulary of rhythmic, melodic and harmonic devices that could be employed when composing and improvising. The notable techniques include adaption to odd time signature, rhythmic super imposition, metric modulation, counterpoint, several reharmonisation techniques, and motivic development, complemented by various more typical jazz concepts. An interview was conducted with Simcock to further explore his approach to the concepts and techniques, adding fascinating insight into their conception and application. The findings uncovered in this paper contribute to knowledge on an excellent but as yet unstudied modern jazz musician, providing a list of devices that may be used by others to assimilate his techniques into their own playing, a high quality musical transcription of a seminal performance, and a transcript of an insightful and personal interview with the subject. iii Table of Contents Copyright Declaration ..................................................................................................................... i Acknowledgements ....................................................................................................................... ii Abstract ............................................................................................................................................. iii Table of Figures ............................................................................................................................. vii Table of Tables ................................................................................................................................. x Introduction ...................................................................................................................................... 1 Biography: Gwilym Simcock ................................................................................................... 1 Rationale ........................................................................................................................................ 2 Justification and Significance ................................................................................................. 3 Selection of the Tune, Scope, and Limitations .................................................................. 3 Aims and Research Questions ................................................................................................ 4 Chapter 1: Literature Review & Exploratory Discussion ................................................... 5 Existing Gwilym Simcock Resources .................................................................................... 5 Similar Research Into Other Jazz Artists ............................................................................ 6 Supplementary Jazz Theory and History Texts ................................................................ 7 Chapter 2: Methodology ................................................................................................................ 8 Methodology ................................................................................................................................. 8 Chapter 3: Rhythmic Analysis .................................................................................................. 10 Devices used in the arrangement ....................................................................................... 10 Adaption of 4/4 standard into complex time ........................................................................... 10 Superimposition of 5/4 over 7/4 .................................................................................................. 12 Metric modulation between 7/4 and 5/4 .................................................................................. 15 Across-the-barline phrasing and other shorter meters ....................................................... 17 iv Improvisation ........................................................................................................................... 18 Syncopation and over-the-barline phrasing ............................................................................. 18 Groupings ................................................................................................................................................. 20 Interlude improvisations ................................................................................................................... 21 Perceived stretching of time ............................................................................................................ 24 Long quaver and quaver triplet lines ........................................................................................... 26 Chapter 4: Harmonic
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