California Polytechnic State University San Luis Obispo
James Ga�ardo • string bass •
A Senior Recital in Partial Fulfillment of the Requirements for a Bachelor of Arts in Music
Paul Woodring, accompanist
May 26, 2017 Friday at 7 p.m. Davidson Music Center Room 218
Sponsored by Cal Poly’s Music Department and College of Liberal Arts
Program
Senior Recital James Gallardo, string bass and five-string bass Paul Woodring, piano
Romance and Rondo . . . . Franz Anton Leopold Joseph Keyper (c . 1756-1815) Adagio Allegretto
Ode d’Espagne ...... François Rabbath (b . 1931)
Violin Sonata in E minor, Op . 5, No . 8 ...... Arcangelo Corelli (1653-1713) Preludio arr . by Fred Zimmermann Allemanda Sarabanda Giga
— Intermission —
Day After Thanksgiving . . . . Sean Collins (b . 1992) and Josh Collins (b . 1994) arr . by James Gallardo
(Rise) Miley the Cyrus ...... James Gallardo (b . 1990)
James Gallardo, electric bass, fretless bass, and five-string bass Ron McCarley, tenor saxophone and effects Matthew Seno, electric and acoustic piano Darrell Voss, drums
Cantaloupe Island ...... Herbie Hancock (b . 1940) ...... arr . by Gallardo Talia Ortega, vocals and flute Trent Braswell, alto saxophone Text
Cantaloupe Island by Herbie Hancock Lyrics by James Gallardo
Verse island this lovely place secluded with you lady angelic grace i think of you
(Chorus) secret shores of heaven bear our fruit of passion
Verse island this perfect space alone with you lady luscious face i see in you Program Notes
“Knowledge will set you free” John— Coltrane (1926-1967)
Romance and Rondo Although little is known about the Danish double bassist and composer Franz Anton Leopold Joseph Keyper, we do know he was born in Silesia and was a father of two sons . Keyper would eventually become the first contrabassist at the Danish Royal Chapel from 1788 right up until his death in 1815 . TheRomance and Rondo, written two years before Keyper’s acceptance into the Danish Royal Chapel (1786), is a compilation of the second movement of Keyper’s Double Bass Concerto No . 1 in G major and the last movement of his Double Bass Concerto No . 2 in G major . However, the Romance and Rondo was manipulated for different solo instruments such as cello or viola, as well as for double bass with orchestra . This flexibility was possible because the work showcases two technically challenging performance aspects . Similar to real human romances, Keyper’s first movement undergoes contrasting moods . TheRomance has a sensual legato bass melody in the first section with an expressive dolce or “sweetly” somber introduction . However, the second section has a boisterous and confident quality expressed in the bass melody accompanied by a responsive chordal piano . The first section then returns, making the firstRomance movement an “ABA” or ternary form . TheRondo conveys a distinct lighthearted and whimsical emotion with flashy precision . The art of harmonics—a specialized technique requiring the performer to touch the string lightly above the finger-board while playing closer to the bridge with the bow—makes the bass sound like a flute . The tempo of this piece is faster in comparison to the Romance . However, this movement is distinguished by its heavy or more rhythmic melody and accompaniment parts . The bass melody contains quick, solemn inflections that also contrast with theRomance . Moreover, there are certain measures in which the piano and bass create a call-and-response alternation .
Ode d’ Espagne After François Rabbath received his first double bass at age thirteen, to thwart his brother’s temptation to touch or steal the instrument, Rabbath slept with his bass . He was born into a musical family of six boys and three girls in Aleppo, Syria . In 1945, the family moved to Beirut, Lebanon, where Rabbath later found an old copy of Edouard Nanny’s contrabass method in a local tailor shop . Through persistence and dedication, Rabbath, since he read neither music nor French, began to teach himself . His American debut was in Carnegie Hall in 1975, and Rabbath is now known for his virtuosity as a double bassist as well as being a gifted teacher . Rabbath acknowledges he is primarily “self-taught” and “proud of it ”. He plays a variety of styles, including classical, folk, and jazz . In the Art of the Bow DVD, Rabbath claims, “Music that sounds good is a miracle and should be celebrated ”. In performance, Rabbath “throws his ego away” and “plays from his heart ”. Despite his early virtuosity, Rabbath didn’t record and release his first album The Sound of Bassuntil 1963, at age thirty-two . His Ode d’ Espagne, for solo bass, has an expressive-flamenco tone and is marked “quasi ad lib,” which means to play freely at the performer’s discretion . As indicated by the title, Rabbath wrote this unaccompanied piece for Spain . Percussive techniques plus passionate and bold sounds help connect this piece to that country . The performer should accentuate different articulations commonly used for finger-style guitar performance practice . This piece is broken up into two contrasting sections that explore the colorful tones and techniques of the bass guitar .
Violin Sonata in E minor, Op. 5, No. 8 While there is little evidence aboutArcangelo Corelli’s upbringing, he was one of Rome’s foremost violin virtuosos who composed solo sonatas for his own use . John Hawkins, who wrote A General History of Science and Practice of Music, describes Corelli as “remarkable for the mildness of his temper and the modesty of his deportment ”. A contemporary portrait by the Irishman Hugh Howard, who visited Italy during 1697-1700, emphasizes the composer’s archangel-like serenity . Corelli’s influence and reputation spread as much through the publication of his works as through his teaching . He is often credited with the clearest exposition of the difference between the “church” and “chamber” varieties of sonata, and the establishment of four movements as the norm in both . Corelli’s sonatas would eventually be valued throughout the eighteenth century and into the nineteenth as the supreme study material for the violinist . Corelli’s Op . 5, “The Solo Sonatas,” was written and dedicated in 1700 to the Electress Sophie Charlotte of Brandenburg and privately published the same year by Corelli . Corelli intended the Sonata in E minor, No . 8, to consist of a duo: violin and violone (similar to a double bass) . Number 8 is a sonata da camera, or “chamber sonata,” consisting of a suite (or collection) of seventeenth-century Baroque dances . The Preludio, or prelude, starts Largo (slowly) and introduces the suite in a bold and satisfying mood . The second section has similar melodic material to that found in the first section but it is in a lighter character, building tension as it moves towards the end of the piece . Corelli indicates that the performer should add musical ornaments such as trills, which consist of a rapid alternation between two adjacent notes . Trills are found in all four movements, including the Preludio . However, a Baroque-style trill requires the performer to play a whole or half step above the given pitch when the trill is indicated . Allegro, meaning to play briskly, starts this Allemanda dance . However, because of this increased tempo, this two-section movement drastically changes moods . The first section has a bouncy rhythmic structure, with emphasis on strong beats and pick-up notes . The second section has a cheerful tone and an eloquent attitude . There are a few repeated melodic devices played in the main bass melody; when this happens, the piano accompaniment plays beautiful supportive chords that sometimes enter as a response to the main melody . Though this third movement is rhythmically changed, the main theme from the Prelude returns and is played by the soloist . In contrast to the previous movement, this dance movement is felt in triple meter (three beats in every measure) . Furthermore, a stronger pulse or feeling should be heard on beat two of every beat . The Sarabanda dance also contains two sections . To help keep the sense of time, the left hand of the piano plays a continuous walking bass pattern . The right hand of the piano also plays two-note voicings, particularly on beats two and three, to help sustain the pulse . The Giga movement is somewhat distinctive from the earlier movements, as this dance is found usually at the end of a large suite or piece, and its emphasis is always on strong beats . The main pulse is felt on beat one of every first group of three short notes . The Allegro tempo makes this the fastest movement of the sonata . The Giga dance, split up into two sections, is also distinguished by wide leaps in the melody . However, the second section is slightly different because the main melody repeats itself in an ascending pattern and then descends towards the end of the section . For variety, the piano’s left and right hands switch their roles during each section .
Day After Thanksgiving Despite Sean and Josh Collins having separate reasons for playing music, they each hold true to both clarity and honesty . Sean told Will Jones in Journal Plus: People of the Central Coast, “I didn’t really start taking music serious until I graduated high school ”. In contrast, Josh wanted to express himself through music and started practicing many hours every day . Josh credits fellow San Luis Obispo high school student and dear friend Caleb Hensinger, stating, “He introduced me to jazz and practiced all the time for the right reasons, because it was fun and he wanted to improve . I had to learn how to build a good relationship with practicing ”. Josh received his first guitar when he was eight and starting taking lessons from jazz guitarist Gary Drysdale . In 2017, he recorded a bebop album with renowned jazz vibraphonist Charlie Shoemake and bassist Keegan Harshman . A quiet and reserved human when compared to Sean, Josh’s determination and methodical understanding of music made him one of the most sought-after freelance guitarists in the county today . At age ten, Sean starting taking his first formal drum lessons with Howard Emmons of the Drum Circuit in San Luis Obispo—and years later Sean himself would become a private teacher at the Drum Circuit . Sean’s passionate knowledge of music has made him a highly skilled drummer and vibraphonist . He is furthering his musical development at University of Nevada, Reno, pursuing his Bachelor of Music degree . After meeting the brothers in 2011, my admiration for Sean and Josh’s musical and personal chemistry has only grown . Before joining Ron McCarley’s jazz combo program at Cuesta Community College, we formed a jazz trio called Five Minus Two (the name was coined by a Grammy-award-winning guitarist and mutual friend Louie Ortega) . In 2013, Sean, Josh, and I all received scholarships to the Central Coast Jazz Institute, a Cambria-based nonprofit founded by Charlie Shoemake . In 2015, while I was attending California Polytechnic State University, Sean, Josh, Keegan Harshman, and I were awarded best Community College Jazz Combo by Downbeat . Admitting they were tired from their “holiday festivities,” that didn’t stop Sean or Josh’s creative improvisational spirit, and Day After Thanksgiving was written in 2012 . Sean recalls, “I was playing the chords for the first section on ukulele and Josh wanted to make it into something . I sang the melody to the second section and Josh harmonized chords . Josh wrote the material for the first and second endings of both sections . I consider the piece sentimental because we wrote it together; its beauty eloquently ornaments the memory of being together during holidays ”. Josh adds, “Hopefully people can grasp the same nostalgic feeling of home that we get when we play and write together . I personally hope there is an endearing or faithful feeling to it ”. In this arrangement, I hope to capture the composition’s graceful and sentimental mood . This contemporary jazz piece is broken up into three connected sections . Whereas the complex chords in the original composition create a floating sensation, I arranged decorative parts for each instrument that signify each of the sections and overall form clearly . I also developed an alternative section that will encourage me to explore improvisational ideas sampling harmonic material from the three original sections .
(Rise) Miley the Cyrus Before my passion and love for music blossomed, at age seven I had high hopes of becoming a professional baseball player . I was born in White Plains, New York . However, I didn’t start my musical journey until about age fifteen in Los Osos, California, when my brother Daniel started playing guitar . I found a deep connection with classic rock and metal music early on through the teachings and guidance of Jim “Master” Murphy . During my senior year of high school, my interest in jazz fusion music grew, and while managing and performing with my Americana fusion trio Green to White, I have attended California Polytechnic State University since fall 2014 . In 2016, I was awarded a one-year membership to the Jazz Bass School with John Patitucci through Artist Works . I’ve been a freelance musician for over seven years and hope to continue my studies for a master’s degree, with plans to record and tour outside the area . Despite the fact the composition took about a year to finish, I had already picked out the title (Rise) Miley the Cyrus before the music was even conceived . This piece—my first composition—debuted in the 2014 Cal Poly Fall Jazz Concert . The piece’s title was influenced by the pop icon Miley Cyrus . After Cyrus left her Disney television series “Hannah Montana” in 2011, she dramatically changed her musical style and appearance from a PG-rated to a highly exciting and seductive persona . Therefore,(Rise) Miley the Cyrus seemed fitting as a reflective title . As silly and amusing as the title may be, the mood and character of the piece remains overwhelmingly raw and dramatic . During the arrangement process, I asked my accompanist to add special devices to create new musical elements that sound electronic . This modern jazz work is built upon two different motivic bass lines that repeat throughout each of the two sections . For inspiration, I drew upon my love for artists in the metal and jazz fields such as Rush, Cynic, Kneebody, and Tigran Hamasyan . Listen for the complex harmonic and melodic motion—usually found in the piano and tenor saxophone during both sections .
Cantaloupe Island Herbie Hancock is widely known for his tremendous musical contribution to the jazz world, with 55 albums released so far . However, what many individuals don’t know is Hancock’s classical music background . Born on the south side of Chicago, Hancock’s fascination with the piano arose at age seven . His mother Winnie Griffin noticed young Hancock’s infatuation with the piano and paid for his formal lessons . More importantly, though, Griffin claimed that “good” music is classical music and made her son listen to Tchaikovsky, Beethoven, Mozart, and Handel . However, she also encouraged Hancock to love the jazz and blues music of the African American community . She felt, “It was connected to part of our heritage ”. After taking first place in a local competition at age eleven, playing Mozart’s Piano Concerto No . 18 in B-flat major K . 456, Hancock began transcribing George Shearing records for inspiration . At age twenty-one, Hancock moved to Manhattan with Donald Byrd . Byrd was a dear friend who encouraged Hancock to record his first album with theBlue Note record label as well as to start his own publishing company through BMI . Yet, Hancock met his most influential connection, Miles Davis, in 1962 . Hancock admired Davis greatly, believing he demonstrated “controlled freedom” within improvisational music . Hancock’s original compositions allowed him to explore his own controlled freedom during improvisation . “Cantaloupe Island,” however, pushed his musical boundaries further . Recorded in 1964 as part of the album Empyrean Isles, Hancock later stated in his autobiography Possibilities, “Improvisation—truly being in the moment—means exploring what you don’t know, and allowing your gut (instinct) to take precedence over your brain . Jazz is not something you can ever completely master because it is in the moment, and every moment is unique, demanding that you reach inside yourself ”. Even though “Cantaloupe Island” has been covered by numerous ensembles and artists, I wanted to take a different approach harmonically while retaining Hancock’s original soul or neo-jazz mood . The drum and bass texture continually propel the lush groove while the horns play rhythmical, sensitive melody lines . The lyrics came to me during my time at Cuesta College . However, the reworking of the harmony and phrasing developed during summer 2016 . The piece evokes a sense of wistful romance described in a simple first-person narrative . Talia and Trent bring warmth and personality to this arrangement . Acknowledgments
My Family: If not for you, I would not be here today pursing my dreams and love for music . I am me because of your constant love and emotional support . I am truly beyond blessed for the life you’ve given me .
Ken Hustad: Studying bass under your tutelage has been a life-changing experience . Thank you for your caring demeanor, knowledge, and love for the bass . You have always inspired my inner musician . Thank you for helping me grow and as musician and as a human being .
My Accompanists: Paul Woodring, Ron McCarley, Matthew Seno, Darrell Voss, Talia Ortega, Trent Braswell, thank you all for seeing this musical journey through with me . Thank you for going the extra mile and putting your heart and soul into each and every moment .
My Friends: Thank you for everything you have done for me . You consistently forgive me at my lowest moments while encouraging me to strive for success . You have always taught me to pursue overall happiness within myself . I look forward to making more lasting memories with all of you in the years to come .
Cuesta College Music Faculty: Thank you all for giving me the tools to pursue my dreams . Not a day goes by that I don’t still think about each and every amazingly gifted and patient professor who has taught or is currently teaching in the Music Department . Thank you for setting my career in motion .
Dr. Rinzler: Thank you for being constantly open minded while always pushing my creative musical energy in different directions .
Dr. Arrivée: Thank you for supporting my musical growth as a classical double bassist . I respect the high level of patience, care, and devotion to your life, students, and profession . Thanks for believing in me .
Dr. Brammeier: Thank you for going the extra mile helping me re-discover my inner ear . I appreciate and respect your devotion and love for music and choral writing .
Dr. McLamore: Thank you for caring about each and every one of your students . You are the backbone of the Cal Poly Music Department . I cannot thank you enough for the amount of time and effort you’ve put forth helping me as a musician and a human being .
Dr. Spiller: Thank you for being the most down-to-earth department chair . The Cal Poly Music Department and I are truly fortunate to have your amazing musical talent and musicianship . Dr. Russell: Thank you for always reminding me to stay positive . I love your attitude towards life and music; please don’t ever change who you are .
Dr. Habib: Thank you for your eccentric personality in and out of class . I appreciate your dedication and the tremendous amount of work you take on outside the Music Department .
Professor D’Avignon: Thank you for encouraging my musical and personal growth as a student and a person . I never thought playing piano at 8 a m. . would be the most stress-relieving exercise for me!
Dr. Barata: Although I could hardly understand your lectures in class, I understood you as a person from day one . You are a mad genius whose skill and precision have no rival . Thank you for helping me focus on important life and musical goals .
Cal Poly Music Faculty: Time and time again, I see you all so work hard to make your students learn and grow . I cannot thank you all enough for all the time and sacrifices you’ve given to the department .
Druci Reese and Michele Abba: Thanks for keeping the Cal Poly Music Department running consistently and smoothing; your behind-the-scene work has not gone unnoticed . I cannot thank you enough for helping me organize my life at Cal Poly .
I would like to thank: All businesses that support music in this county, from wineries to recording studios, and the people who keep those firms operating, from owners to busboys . Thank you all so much for your hard work, dedication, and love for the arts and music .
Special thanks: Ron Saul, Brad Hackleman, Troy Hanson, Corey Hable, “1152 Groove Street,” “E & J,” Wesley Price and “the Saucepot Crew,” “273 (Hermosa Way) Entertainment ”.