On the website ‘Bill Plake Music: Clearer Thinking for Better Performance,’ there is a great explanation for why we transcribe. I’ve copied it below so that, as an audience member, you might understand what we are trying to accomplish with the work that led to this evening’s program.
In the study of jazz (as well as many other improvisational music disciplines) transcription of improvised solos is standard practice. Jazz is often described as being a “language”, and one of the best ways to learn this language is through listening and transcribing.
There are various skills you develop from transcribing solos. Many teachers of improvisation have their students transcribe solos to learn this so-called jazz language, as well as to give them a chance to build a vocabulary of useful “licks” that can be practiced in all 12 keys and applied to chord changes, tunes, etc. … It’s also a great way to improve technique, as you most likely will be confronted with sequences of notes that just don’t fit easily into what you’re used to playing. And, of course, it’s a great lesson in jazz harmony as you analyze what the soloist has played.
But I think the most valuable skill you gain when you transcribe a solo (and the number one reason why you should do it) is that you learn how to listen in a deep way. Deep listening. You see, when you transcribe an improvised solo, you’re listening to more than just the pitches being played. You’re listening to tone color, attack, dynamics, articulation, tempo/rhythmic play and more, as it unfolds in the real time environment of the recording.
But you’re not just addressing the musical elements separately, as I’ve listed above. You’re also going deep into the mind of the artist. It’s almost as if you’re attempting to embody his/her experience in creating the solo. You’re learning to hear and reproduce sounds that musical notation could never fully or accurately express. You’re learning to actually understand and speak the language.
Each note has meaning. Each inflection has weight. Every element the improviser has chosen is related to every other element. And all this is happening as a whole experience of communication and response between the soloist and the rest of the ensemble. And you’re right in the middle of that experience.
Of course, you vastly improve your ear for discerning pitch and rhythm. The more you transcribe, the easier it becomes. This is true largely because you are able to hear, understand and retain more in your working memory. And that translates into huge gains in your own playing. You go from a more self-conscious, intellectual approach to improvising, to one in which you trust your muse and follow your ears. When you transcribe, you’re developing the ability to listen at a high level of consciousness, learning to pay great attention to detail, and cultivating your musical imagination.
… Above all, enjoy yourself. By learning to listen deeply and reproduce sounds and rhythms in such a specific way, you’ll broaden your musical expression, become clearer as to who you are as an artist, and teach yourself to trust your ears. Best wishes! -Bill Plake Program
The Things We Did Last Summer ...... Sammy Cahn (1913-1993) / Jule Styne (1905-1994) Arranged by Kerry Marsh This is a transcription from Emilie Claire-Barlow’s album Like a Lover (2006).
Those Clouds Are Heavy, You Dig? ...... Kurt Elling (1967-) Adapted from a story by Rainer Maria Rilke (1875-1926) Malene Hundley, Kurt Elling solo This is a transcription of the song from Kurt Elling’s album, Close Your Eyes (1995). That album’s arrangement was based on the song, Audrey, from the 1954 recording Brubeck Time (1954). Elling’s lyric is based on the short story, How the Thimble Came to Be God, by German philosopher, RM Rilke.
Once upon a time a cloud (a little cloud) gathered her friends together and began to say, aloud, "Friends, we can't find God. Isn't it odd?" And they all agreed it was very odd, indeed, to blow about the sky like a brainless seed. "Something's really gone awry when older clouds oversimplify when they say that it's just another day. It's imperative we be somewhat more truly demonstrative in becoming provocative. Our parents neglect God, it's true - all their world is askew. They go about bickering and scheme of possessing things as though they own us, too, and own all that we do. Yet they can't understand just how foolish it is to build a house on sinking sand. And when we cry they say, "Oh my! You'll grow out of it soon and start singing a grown-up tune.'" So the clouds made a vow, since the grown-ups had lost God, somehow. They would pick something out that would keep them aware that they could take with them anywhere (like a lock of hair, or a pear) - not an animal, or too big. So the little ones looked around and up and down and in and out and came up with a list: They had a feather, erasers and string pen knives and pencils and pieces of things that they found in their pockets to spare (and which they began to compare). But the shiniest object (when looking them over) the thimble was brightest and so they decided the thimble was rightest for taking along and for knowing God was staying long and in their every day. They knew where to find their peace of mind playing a game of tag or 'fame' they simply had to call out the thimble's name. Then, one day, the smallest cloud took a big fall and dropped the thimble from her hand. And God turned to sand. Just then, a wise old woman cloud happened along and she asked the little cloud, "What's wrong?" And the little cloud replied, "God's gone." But the older cloud knew right away, so she said to the little one, "Here's your thimble. I found it today."
Email Special / Airmail Special ...... Benny Goodman (1909-1986) Arranged by Melbourne Grey Melissa Gren, Ella Fitzgerald solo This is a mix of an arrangement called Email Special based on Benny Goodman’s Airmail Special. The scat solo in the middle is a transcription of Ella’s 1952 recording.
Too Late Now ...... Burton Lane (1912-1997) Arranged by Dave Barduhn
How High the Moon ...... Nancy Hamilton (1908-1985) / Morgan Lewis (1906-1968) Svetlana Bilous, Dianne Reeves and Ella Fitzgerald Solos This is a transcription of Ella’s first recording of How High the Moon on her album, Lullabies of Birdland (1947). It was the first take of the first time she recorded the song.
Doxy ...... Sonny Rollins (1930-)
Solo Presentation Medley Mack the Knife ...... Kurt Weill (1900-1950) Cheyan Nelson I’ve Got My Mojo Working ...... Muddy Water (1913-1983) Dennis DeMille Straight No Chaser ...... Thelonius Monk (1917-1982) Gabriela Morris Let’s Call the Whole Thing Off ...... George (1898-1937) and Ira (1896-1983) Gershwin Helen Adams Blues Presentation Medley Bags Groove ...... Milt Jackson (1923-1999) Billie’s Bounce ...... Charlie Parker (1920-1955) Blues in the Closet ...... Oscar Pettiford (1922-1960) Now’s the Time ...... Charlie Parker (1920-1955)
The Vocal Jazz blues presentation includes four different blues melodies and a transcription of a blues solo. It was chosen as an exercise for the students to engage with jazz rhythms without using words so that they could learn to capture the correct sound of swing and melodic phrasing without being concerned with which syllables or words to use. After practicing the selections without defined syllables and words some of the students chose to write or find lyrics. The bags groove lyric was added in the final stage by the director to give the students an example of how to incorporate historical facts or ideas to configure a lyric that works in the syllabic puzzle.
Haven’t We Met ...... Kenny Rankin (1940-2009) John Ruediger, Emilie Claire Barlow vocal solo & Chase Sanborn Trumpet Solo This is a transcription of Kenny Rankin’s composition from Emilie Claire-Barlow’s album Haven’t We Met (2009), including a transcription of the Chase Sanborn trumpet solo.
Confirmation ...... Charlie Parker (1920-1955) Arranged by Kerry Marsh Carmyn Parks, Manhattan Transfer Lyric Kerry Marsh wrote an arrangement based on the song written by Charlie Parker 1946. Carmyn will be singing the lyric from (The Word of) Confirmation on the Manhattan Transfer album Mecca for Moderns (1981) in the solo space of the Kerry Marsh arrangement.
I’m here to just confirm what I’ve been really always sayin’ about Modern Jazz. It’s the savior of the nation. And, I’ll believe it if you do, too—the rhythm and blues.
Like Bird (when he thought of this melody) the message (he played it on his horn) Was a steady confirmation that he’d discovered the sound that makes the music be free.
This may sound unstable, but I know I’m able to concentrate in song to you. My lyrics may go fast sometimes a word may get past folks, but so I keep it swingin’. I know I got to stay true. So, like the Bird, I’m gonna say that jazz is always a happiness groove. So, come on and I’ll confirm it. ‘Cause take it from Bird that I heard it’s a word of Confirmation. Resolution ...... John Coltrane (1926-1967) / Lyrics by Kurt Elling (1967-) John Ruediger, Kurt Elling Solo This is a transcription of the song from Kurt Elling’s album Man Up in the Air (2003). The Kurt Elling recording was an arrangement of the original John Coltrane recording on the album A Love Supreme (1965) for which Elling wrote a lyric (below).
God - king above all other gods - lead us now, so we can walk wherein the prophets said that we would trod. Buddha - tell a sutra like a spell - teach us well to answer silence with the calling of bells. Allah - bring us to a good alarm - subjugate our wills to answer you like a mighty arm. Elohim is a pillar of light in the dark and leading all his people to light (for He's the king of the fire). He brings the fire into everything that's living on earth, in the sun, in the stars. Take a spark of it / deep within you / put it to the test / it will do the rest / I confess / It will be like climbing up Mount Everest / I can't express the view from there / but it's for you to follow through. Lama - show the Power's bright array - bless the climb, and settle peace upon the universe's dark display. And Jesus - remember every promise made. Present yourself in the middle of the prayers that we say. Vishnu - preserve us all along the way. Keep us clear of the final thunderbolt of the judgement day. Hear me. Hear what I / what I ask for today / Fathers. Way off at the far leftern shelf of the world - up in a house right on the edge of everything Where the time is tumbling in a vortex / the nexus of timetable tides / in the final Lighthouse at shining earth's ending / at the spinning of the finishing of sweeping time Driving silence like a stampeding careening wash in charging advance / digging the sound Of passing everything away into the secret of eternity's pivot dance / breaking down crashing doorways / Bashing through dream place / smash, unlash, efface / Everything goes to the open mouth of Kali-ma / where the vault of heaven opens A witness as lonely as forgotten tears keeps up a vigil watching all - even light - go out. One witness / one child digging the slaving wheel of meat spitting out - taking up Everything / by the roots / pulling out the lot of what has passed into the past, like a dream. She knows what is gone - gone over - everyone that is done and unbegun and starting / From the super-microcosmic no bug all the way to super-huge galactic suns. And she knows / The beginning is coming in the sweep at the end of all. Even gods have passed over, away. Then one day the shadow of a priest on the horizon appeared. He wasn't taken up into the swirling. He walked with purpose all the while digging his heels into the bedrock like a man. But as he came into view the witness saw his eyes were crying. Tears like blood fell to earth / as he watched heaven disappear in the void - up the drain into the paraboloid / realizing it all / everything / everywhere / into his eyes / seeing that all / he had beloved went out of itself and away / here in this last ever surge of a day tearing all meaning away. And to the witness's indifference he had this to say: "I know about birth. I know about death, and how the light goes out of men - the life departing - powerless giving it up. But in the vast indifference I invent a deeper meaning: "I'm the one who will say, use the will every day or go mad trying. Go to war against the impotent side of living. "Use every power you're given to stand and act like a man. "And pray every day to every god. Strike the bowl of heaven and the ringing will become a law. "Build bridges where you need to go. Bring the fire of enlightenment here to life below. "Speak mercy to the things you meet. Listen up to hear the whispering of the blood you bleed. "Stay awake - no mistake - dance the dream awake. And awake."
Esperanto ...... Vince Mendoza (1961-) / Kurt Elling (1967-) Arranged by Kerry Marsh This is a transcription of the song from Kurt Elling’s album, Live in Chicago (2000). The Kurt Elling recording was an arrangement of the original Vince Mendoza recording, Esperança, from the Vince Mendoza recording, Epiphany (1997).
There's a secret that never dies - like a song of hidden meanings that we never apprehend. There are questions just as old as time and the answers that come never quite make amends. Even so, when you look at time you can get a subtle feeling of the way it ought to be. Take a good look at your own real life and you'll see if you want what you've gotten to be. It's a hope, a sign, a measure of quiet rapture - of love and what may come after. It's let-ting go, and letting no answer be an answer. How did smoke learn how to fly? - Where do birds go off to die? Why does coal sleep in darkness? - Do dreams live in apart-ness? Is a number forever? - where's the soul of the water? How old is old November? - No one here can remember. If I die, where does time go? - Do the bees feel ver-ti-go? To get love - is there potion? - Or is love on-ly mo-tion Holy lift, holy reading - holy gift, holy needing. Holy sound, holy waiting - holy spark a-ni-ma-ting holy food, holy breathing - holy light in-ter-wea-ving. Holy night, holy hand-write - holy flight, holy in-sight: holy sun, holy brother - holy moon, holy mother. Holy dream, holy vision - holy scheme, holy mission: holy one to a-no-ther - holy me, holy other. Holy lives, holy blending - holy start, holy ending.
Take the A-Train ...... Charlie Parker (1920-1955) Taylor Anzivino, Ella Fitzgerald Solo This is a transcription of the song from Ella Fitzgerald’s 1952 recording.
Next Year, Baby ...... Jamie Cullum (1979-) Arranged by Melbourne Grey This is a transcription of the song from Jamie Cullum’s album, Catching Tales (2005), including the horn lines.
Next year things are gonna change. Gonna drink less beer and start all over again. Gonna read more books. Gonna keep up with the news. Gonna learn how to cook and spend less money on shoes. I’ll pay my bills on time. File my mail away, everyday. Only drink the finest wine and call my Gran every Sunday. Resolutions, baby, they come and go. Will I do any of these things? The answer’s probably, “no.” But if there's one thing I must do, despite my greatest fears, I'm gonna say to you how I've felt all of these years. Next year, next year, next year I gonna tell you, how I feel.
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Fly like an Eagle, Steve Miller fans.
EWU Collegians Vocal Jazz
Kristina Ploeger-Hekmatpanah, Director Davis Hill, piano and graduate student; Josh Bozich, bass; Austin Davis, drums
Taylor Anzivino Johnathon Harding Alex Maine Kimberly Regis Svetlana Bilous Kendall Herrmann Emma McLaughlin Grace Rowe Bella Garcia y Lauer Malene Hundley Carmyn Parks Christian Skok Melissa Gren Chyrsten Jacobs Brandon Quam
EWU Vocal Jazz
Rachel Bade-McMurphy, Director Davis Hill, piano and graduate student; Josh Bozich, bass; Austin Davis, drums
Helen Adams Dennis DeMille Gabriela Morris Cheyan Nelson There is a lot going on for students in the
Voice Area at EWU! Here’s what happened this academic year: Thursday, October 18, 2018 Vocal Jazz Solo Night Tuesday, October 30th Halloween Hootenanny: Vocal Vices Friday, November 9th Opera Pastiche 7:30pm MBRH “Working: The Musical” in the Theatre Department Nov. 9, 10, 11, 15, 16, 17 Tuesday, November 20th EWU Orchestra Concert with Symphonic Choir - Vivaldi Gloria Tuesday, November 27th EWU Orchestra and Symphonic Choir Concert at Lourdes Cathedral Thursday, November 29th Jazz Night with CJO, Rep Jazz, Lab Jazz, VJ II, & Collegians Friday, November 30th EWU Choral Concert at Central Lutheran Church. Sat & Sun, January 19th-20th, 2019 Performance at the Fox of Rachmaninoff The Bells with Spokane Symphony and Spokane Symphony Chorale Friday, January 25th Helena High School choirs visited from Helena, MT Wednesday, January 30 Vocal Jazz Solo Night Friday, February 1st Chiawana HS Chamber Choir visited from Pasco, WA Friday, March 1st Jazz Night with CJO, Rep Jazz, Lab Jazz, VJ II, & Collegians Friday, March 2nd Musical Theater Competition Friday, March 8th 2nd Annual Opera Scenes Spectacular 7:30pm MBRH Friday, March 15th EWU Choral Concert, The Circles of Our Lives Cheney Congregational Friday, April 5th Out of Darkness Performance by the Voice Faculty 7:30pm MBRH Tuesday, April 23rd Jazz Extravaganza with LCHS, Ferris and U-High at Ferris Saturday, May 4th Jazz Dialogue Vocal Invitational @ EWU with Moses Lake High School Jazz Choir from Moses Lake, WA and Rogers HS from Spokane, WA Tuesday, May 7th Spokane Falls Community College Chamber Choir from Spokane, WA Friday, May 17th Sedro Wooley HS Choir from Sedro Wooley, WA Wed-Fri, May 22-24th Symphonic Choir and Opera Workshop on Tour to the Tri-Cities EWU Symphonic Choir went and did exchanges with McLoughlin MS (Pasco), Kamiakin HS (Kennewick), Richland HS (Richland), Kennewick HS (Kennewick), Chiawana HS (Pasco), Chief Joseph MS (Richland), and did an evening concert at Columbia Basin College with CBC’s Chamber Choir. They also had clinics with Reginald Unterseher and David Cazier Thursday, May 30th EWU @ the Fox, Soloists, Choirs, Orchestras, and Bands Friday, May 31st Columbia Jr. High Choir from Fife, WA visited Monday, June 3rd EWU Choirs A Wise Woman Once Said at St. Stephen’s Episcopal Church Thursday, June 6th Opera Workshop Sings the Standards! 4pm Room 216 MBRH Friday, June 7th Vocal Jazz Transcription Night 7:30pm MBRH Thanks to … Dr. Mary Cullinan, Dr. Scott Gordan, Dr. Pete Porter, Dr. Brian Donahue, Tara Moses, Bekah Bray, Dr. Jonathan Middleton and Colleen Hegney for all of their work with and support of the Music Department … EWU’s incredible voice area professors: Dr. Abbigail Coté, Steve Mortier, Scott Rednour, Dr. Sheila Sloan and Susan Windham for working with all of the applied voice students who are valued members in these ensembles … Victoria Dreher, for setting up, running, and tearing down live sound for tonight … the entire EWU Music Department faculty and staff for all of their hard work with the numerous musicians performing tonight … Josh Bozich, Cheney Public Schools Music Teacher, who spends so much time supporting EWU … the many teachers, family members, and friends that have made all of our musical lives possible
Thank you so much for
supporting these artists tonight!
Upcoming Events in the Music Building Recital Hall Saturday, June 8th, 2019 – 1pm Evan Jarms’ Senior Voice Recital free Saturday, June 8th, 2019 – 4pm James Marshall’s Senior Viola Recital free Saturday, June 8th, 2019 – 6pm Justin Weeks’ Senior Saxophone Recital free Sunday, June 9th, 2019 – 3pm Tim Gales’ Graduate Cello Recital free