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Cantaloupe Island - Herbie Hancock” Workshop “Cantaloupe Island - Herbie Hancock” Ingmar Meissner 27. August 2012 1 Zur Entstehungsgeschichte Cantaloupe Island ist ein Jazzstandard von Herbie Hancock, der erstmals 1964 veröffentlicht wurde. Der Titel wird dem modalen Jazz zugeordnet und ist vom Funk beeinflusst. Er besteht aus nur drei verschiedenen Harmonien: f-Moll, Des-Dur und d-Moll als Septakkord. 1.1 Aufnahmen von Hancock Der Titel wurde erstmals im Jahr 1964 auf dem Album Empyrean Is- les (Blue Note) veröffentlicht und gehört – neben Aufnahmen wie Rockit (1983) und Watermelon Man (1962) – heute zu Hancocks wohl bekanntesten Stücken. Eingespielt wurde es in der Besetzung: Herbie Hancock (Klavier), Freddie Hubbard (Kornett), Ron Carter (Bass), Tony Williams (Schlagzeug). Mit Williams und Carter spielte Hancock seit 1963 bei Miles Davis (Miles in Antibes, Columbia, 1963); Die Aufnahme hat eine Länge von 5:30 Minuten. Mit Cantelope Island vom Funk-Fusion-Album Secrets (Columbia Re- cords, 1976) veröffentlichte Hancock später eine modifizierte Version von Cantaloupe Island. Herbie Hancock spielte dieses Stück seitdem in unzähligen Konzerten rund um den Globus mit verschiedenen Bandbesetzungen (siehe Videolinks). 1.2 Cantaloop von Us3 Die britische Band Us3 (auch unter Us3 featuring Rahsaan veröffentlicht) brachte den Titel 1993 unter dem Namen Cantaloop (Flip Fantasia) in ei- ner Hip-Hop-Version heraus. Über ein Sample des Pianoparts von Hancock wurde dabei ein Rap von Rahsaan Kelly und ein Trompetenpart von Ge- rard Persencer eingespielt. Produziert wurde der Titel, der dem Jazz-Rap bzw. Acid Jazz zugeordnet wird, von Geoff Wilkinson und Mel Simpson. 1 Eingeleitet wird der Titel mit einem Sample des Birdland-Ansagers Pee Wee Marquette, das ursprünglich auf Art Blakeys A Night at Birdland (Blue Note, 1954) zu hören war. (Quelle Wikipedia) Bis heute ist dieses Stück von einer ganzen Reihe Bands gecovert und neu aufgenommen worden und hat sich zu einem festen Bestandteil des Jazz Session Repertoires entwickelt. 2 Das Stück lernen 2.1 Die Melodie Da jeder in der Band die Melodie spielen können sollte(!), beginnen wir damit. Nach einer Einleitung (Intro) beginnt das eigentliche Thema, auch Head genannt. Am besten lernt man die Melodie nach dem Gehör durch wiederholtes Anhören der Referenzaufnahme. Dabei lernt man nicht nur die Melodie, sondern erhält gleich einen umfassenden Eindruck vom Stück. 1 Die folgenden Hinweise sollen ein wenig Hilfestellung leisten. Das Thema von Cantaloupe Island ist kurz, einfach gegliedert und be- steht im Prinzip nur aus zwei Phrasen, die jeweils wiederholt werden. Es eine gute Idee, sich zunächst einen Überblick über das Stück zu ver- schaffen und die Form des Themas zu klären. Die einzelnen Abschnitte lassen sich leicht erkennen. Sie sind kurz und durch Pausen (in der nur die Rhyth- musgruppe spielt) klar von einander getrennt. Darüber hinaus wechselt mit jedem Abschnitt die Harmonie. Genaues Hinhören ergibt: Das eigentliche Thema, das immer wiederholt wird, und über das im Anschluss improvisiert wird, hat eine Länge von 16 Takten und ist in 4 Abschnitte gegliedert. • Takt 1–4: Phrase 1 • Takt 5–8: Phrase 1 wird wiederholt • Takt 9–12: Phrase 2 (hat eine länge von 2 Takten und wird 2x gespielt) • Takt 13–16: Melodie Pause, man hört die Piano–Begleitfigur vom Intro Um die Töne der Melodie zu finden, ist es hilfreich, zu wissen, dass nur die Töne der f-moll Pentatonik verwendet werden. 1Noch besser verankert man die Melodie im Gedächtnis, wenn man sich die Melodie notiert, nachdem man sie gelernt. 2 4 4 4 4 14 34 4 5 7 8 Macht euch zunächst auf eurem Instrument klar, wo die Töne der f-moll Pentatonik zu finden sind. Spielt sie rauf und runter, in verschiedenen Arten, um euch Klang und Lage der Töne einzuprägen. 2 Jetzt sollte es nicht mehr so schwer sein, die Melodie nachzuspielen. Wer zur Kontrolle, ob er alles richtig gehört hat, eine notierte Fassung der Melo- die benutzen möchte, findet im Anhang Hinweise zu veröffentlichten Noten vom Stück. 2.2 Die Basslinie Die Bassfigur für dieses Stück ist sehr markant. 3 Es ist eine gute Idee, sie auch als Spieler eines Melodieinstruments spielen zu lernen. Der Wechsel der Bassfigur markiert sehr deutlich die Harmoniewechsel und hilft so, sich als Solist in der Form zu orientieren. þ þ þ þ þ þ þ þ þ þ Hinweis: Als Bassist hat man die Freiheit, die Bassfigur (im Laufe des Stückes) abzuwandeln und zu verändern. 2.3 Akkordschema (Chord Changes) Das Akkordschema ist für alle beteiligten Spieler aus verschiedenen Gründen interessant. Naheliegend ist, das Pianisten und Gitarristen (und alle son- stigen Harmonieinstrumente) das Akkordschema konkret mit Akkordgriffen (Voicings) darstellen und so für ein harmonisches Grundgerüst sorgen. Soli- sten wiederum können aus dem Akkordschema herleiten, welche Töne jeweils passen. Eigentlich logisch – alle Töne, die im Akkord erklingen, werden auch als Melodieton passen. Für Bassisten interessant sind zunächst vor allem die 2Jazzmusiker üben Tonleitern meist nicht in der Art, sie vom Grundton beginnend, über mehrere Oktaven rauf und runter zu spielen. Stattdessen benutzen sie verschiedene Muster (Pattern) und kurze Melodien, die sie systematisch versetzen. 3Vor allem auf den Referenzaufnahmen. 3 Grundtöne der Akkorde. Das Akkordschema lautet:4 • Intro: F-7, 4 Takte (kann offen, d.h. länger gespielt werden. Wichtig: Blickkontakt!) Die Form, die immer wiederholt wird, und als Grundlage für die Impro- visationen verwendet wird lautet: • 4 Takte F-7 | • 4 Takte Db7 | • 4 Takte D-7 | • 4 Takte F-7 | Weitere passende Töne findet man durch Probieren, nach Gehör oder ergeben sich durch Analyse der Akkordfolge. 2.3.1 Die Klavier Begleitfigur Typisch für dieses Stück ist die Pianofigur aus dem Intro. Sie kann auch verwendet werden, um den Solisten zu begleiten. Sie passt auch während des F-moll Teiles im Thema. b bb b b b b b b B b b b b b Für den Db7 Abschnitt wird sie leicht abgewandelt: 4F-7: sprich F moll sieben, Töne: f–as–c–es Db7: sprich Des Sieben, Töne des–f–as–ces (h) D-7: sprich D moll Sieben, Töne: d–f–a–c. 4 ( Für den D-moll 7 Teil passt folgendes Quartvoicing: K K Typisch für diese Stelle ist vor allem der Rhythmus. Akkordgriffe für die Linke Hand (Left Hand Voicings) Linke Hand Voicings können verwendet werden, wenn man sich während eines Klavier- solos selber begleiten will. Üblicherweise spielt man mit der rechten Hand Melodien und mit der linken Hand Akkorde. Hier einige Möglichkeiten, die man am besten wie Vokabeln5 auswendig lernt: • 3 stimmige Akkorde Fm7 D7 Dm7 Ð ÐÐ Ð ÐÐ Ð • 4 stimmige Akkorde 5Der Begriff ist nicht so weit hergeholt. Tatsächlich geht es darum, zu jedem Ak- kordsymbol möglichst viele verschiedene Möglichkeiten der Umsetzung zu sammeln. Die Akkordgriffe sind also eine Art Akkordvokabeln. 5 Fm7 D{7 Dm7 {{{ {{ • 3 stimmige Akkorde in Quarten (Quartvoicings) Fm7 D7 Dm7 ¿ 2.3.2 Gitarre Abwandlung der Klavier Begleitfigur für Gitarristen Fm7 , ,, , , , , , , , 8 6 6 6 6 5 7 8 7 5 6 8 10 8 6 7 5 D £ £ £ £ £ £ 8 6 6 6 6 6 4 6 8 6 4 6 8 9 8 6 £ £ £ £ £ £ Dm7 9 Ô Ô · 8 Ô5 Ô5 8 11 8 6 6 5 5 5 5 5 5 6 7 13 Fm £ £ £ £ £ £ 8 6 6 6 6 5 7 8 7 5 6 8 10 8 6 £ £ £ £ £ £ Man kann auch die Bassfigur einbauen, dann wird es allerdings kniffliger. Lasst gegebenfalls einen oder mehrere Töne weg, fangt dabei hinten im Takt an. Probiert aus, wieviel ihr von der Pianofigur umsetzen könnt. Fm7 8 D 7 5 8 Dm7 9 þ þ þ þ 8 þ þ Fm7 13 8 Voicings Anstatt die Pianofigur zu doppeln, können auch folgende Voi- cings verwendet werden: 7 Fm7 Fm7 D 7 Dm7 XX XX X iii viii X v L 8 Alternativ Das Strummingpattern sollte zum Schlagzeuggroove passen. Zum klassischen Groove der Hancock-Aufnahme aus den 60er Jahren passt z.B.: Fm7 @ @ @ @ @ @ @ @ @ @ 2.4 Rhythmus und Groove Dieses Stück funktioniert mit einer großen Bandbreite an Grooves. Im Prin- zip reicht schon jeder einfache 8tel basierter Rock Standard Rhythmus. Das Tempo variiert meist um 100 BpM (Viertel = 100). Wichtig für die Wirkung dieses Stückes, dass es den Mitspielern der Rhythmusgruppe gelingt, zusam- men eine überzeugende Groovetextur zu erzeugen. Hört euch verschiedene Versionen von diesem Stück an und lasst euch inspirieren. 2.5 Play-Along Aufnahmen Es empfiehlt sich, zum Üben Play-Along Aufnahmen zu verwenden. Es gibt eine ganze Reihe speziell zum Jazz (Rock und Pop) lernen geeignete Play- Alongs. 6 Zum Üben der Melodien und Improvisationen hat man die Ge- legenheit, mit einer (im Studio aufgenommenen) Rhythmusgruppe, meist bestehend aus Schlagzeug, Bass und Klavier zu spielen. Auch für Pianisten und Bassisten sind diese Aufnahme zum Probieren geeigntet, da sich der Klavier- und Basspart ausblenden lässt. 6Die bekanntesten Reihen sind die Aebersold und die Hal Leonard Jazz Play-Along Serie mit weit über 100 veröffentlichten Play-Along CDs. 8 3 Ideen zu Improvisation und Sologestaltung 3.1 Tonmaterial Als Ausgangsmaterial für eure Melodien passt der gleiche Tonvorrat, den ihr auch zum Spielen der Melodie benutzt habt: die F-moll Pentatonik. Wir ergänzen die Pentatonik noch um einen Ton und erhalten die F-moll Blues Tonleiter. 1 3 4 5 5 7 8 Macht euch zunächst in Ruhe mit dieser Tonleiter auf eurem Instrument vertraut, und probiert anschließend mit diesen Tönen zu einem Playalong zu spielen. Nehmt euch Zeit, die Wirkung jedes einzelnen Tones zu erforschen. Ihr werdet feststellen, das es sich schon um eine recht gute Auswahl handelt. Je nachdem, welche Harmonie gerade klingt, gibt es allerdings Töne, die mal mehr, mal weniger gut passen. Hier in Kürze ein paar Tipps: • Im f-moll Abschnitt hat der Ton H (in der Bluestonleiter) eher Leit- toncharakter und führt als Durchgangston entweder zum B oder zum C.
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