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).