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The Integration of Carnatic Rhythmic Devices into Contemporary Jazz Performance: A Framework for Improvisers. A dissertation comprising four CD recordings and exegesis Lyndon Robert Gray Thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy Elder Conservatorium of Music Faculty of Arts The University of Adelaide October 2017 Contents Abstract .................................................................................................................................. iii Declaration ............................................................................................................................. iv Acknowledgements ................................................................................................................ v List of Figures ........................................................................................................................ vi Part A: Sound Recordings Track Listing and Information for CDs ................................................................................. 1 Part B: Exegesis Introduction .......................................................................................................................... 6 Literature Review ................................................................................................................... 12 Exegesis ................................................................................................................................. 15 Chapter One: Moras Definition ............................................................................................................................... 18 Use in Contemporary Jazz ..................................................................................................... 19 Further Application ................................................................................................................ 21 Chapter Two: Gopucca Yati and Srotovaha Yati Definition ............................................................................................................................... 37 Use in Contemporary Jazz ..................................................................................................... 40 Further Application ................................................................................................................ 47 ii Chapter Three: Korvai Definition ............................................................................................................................... 58 Use in Contemporary Jazz ..................................................................................................... 59 Further Application ................................................................................................................ 68 Chapter Four: Nadai Definition ............................................................................................................................... 79 Use in Contemporary Jazz ..................................................................................................... 82 Further Application ................................................................................................................ 87 Chapter Five: Koraippu Definition ............................................................................................................................... 99 Use in Contemporary Jazz ..................................................................................................... 100 Further Application ................................................................................................................ 101 Conclusion ............................................................................................................................ 108 Bibliography ......................................................................................................................... 112 Appendix: Arrangements and Transcriptions .................................................................. 117 iii Abstract This performance-based dissertation explores the application in jazz of five rhythmic devices drawn from the Carnatic music tradition of South India. The study offers a framework for the incorporation into jazz performance, and the double bass in particular, of the five devices. Four CD recordings document the resultant performances by the author, a double bass player. The exegesis offers definitions for each device, and examples of their usage in pre-existing jazz contexts. The exegesis ultimately proposes a detailed methodology that incorporates original exercises intended to reinforce familiarity with the devices, and guidelines for ensemble rehearsal. iv Declaration I certify that this work contains no material which has been accepted for the award of any other degree or diploma in my name, in any university or other tertiary institution and, to the best of my knowledge and belief, contains no material previously published or written by another person, except where due reference has been made in the text. In addition, I certify that no part of this work will, in the future, be used in a submission in my name, for any other degree or diploma in any university or other tertiary institution without the prior approval of the University of Adelaide and where applicable, any partner institution responsible for the joint-award of this degree. I give consent to this copy of my thesis, when deposited in the University Library, being made available for loan and photocopying, subject to the provisions of the Copyright Act 1968. I also give permission for the digital version of my thesis to be made available on the web, via the University’s digital research repository, the Library Search and also through web search engines, unless permission has been granted by the University to restrict access for a period of time. Signed: Lyndon Robert Gray 26 / 10 / 2017 v Acknowledgments This study was guided and kept on course by the excellent and knowledgeable staff of the University of Adelaide, most prominently my supervisors Professor Mark Carroll and Bruce Hancock who were instrumental in bringing the project to fruition. I would also like to acknowledge the extra support of the extended post-graduate family, especially Professor Kimi Coaldrake and Professor Charles Bodman Rae who offered many insightful and encouraging words over the course of my study and improved the project through their contributions. Early on in the process I was fortunate enough to be find entry points into the topic through conversations with Adrian Sherriff, Sandy Evans and Toby Wren and I fully acknowledge their work being the inspiration for the project. The musicians who feature on the recordings deserve special mention as the project demanded more than a regular amount of rehearsal and I am forever grateful to have such amazing accompanists. Thanks to: Jason McMahon, Nick Pennington, Angus Mason, Josh Baldwin, Chris Martin, Julian Ferraretto and Pat Thiele. An extra special mention goes to pianist Ed Heddle who not only appears on the recordings but also spent countless hours with me practicing solkattu exercises and mastering some of the more pernicious passages in the repertoire. I would also like to thank my recording engineers, Jarrad Payne and Jamie Mensforth who were generous with their time and produced a splendid audio representation of the project. I would like to thank my partner Emily Tulloch for her tireless support, sage advice and tolerance of repetitive practice sessions. This thesis would not have been completed without her reassurance during times of mild panic and encouragement over the length of the project. My thanks also to my immediate family and the broader community of musicians who provided a consistent support which buoyed me through the rough moments of the study vi List of Figures Figure 1: Beat grouping of misra chapu tala Figure 2: Mora structure Figure 3: Mora from “The Sacred Cow's Tail”, CD1 Track 6 (0:50) Figure 4: Mora from “The Sacred Cow's Tail”, CD1 Track 6 (1:52) Figure 5: Mora 5a Figure 6: Examples of expressions of Mora 5a Figure 7: Mora from “Mora Blues”, CD2 Track 1 (1:00) Figure 8: Mora from “Mora Blues”, CD2 Track 1 (5:20) Figure 9: Mora from “Khanda Blue Suite”, CD2 Track 3 (11:26) Figure 10: Mora from “Khanda Blue Suite”, CD2 Track 3 (11:32) Figure 11: Mora from “Tisra Jati Triputa”, CD1 Track 2 (2:44) Figure 12: Mora converted to sub-mora Figure 13: Untreated mora from “Ignominy!”, CD3 Track 2 (2:38) Figure 14: Sub-mora from “Ignominy!”, CD3 Track 2 (2:38) Figure 15: Sub-mora from “Ignominy!”, CD3 Track 2 (1:33) Figure 16: Solo structure as presented to soloist within arrangement Figure 17: Long phrasing mora from “Mora Blues”, CD2 Track 1 (6:00) Figure 18: Mora from “Khanda Blue Suite”, CD2 Track 3 (7:08) Figure 19: Gopucca (orderly reduction) Figure 20: Gopucca phrase isolated Figure 21: Gopucca phrase from “Tongue and Groove”, CD1 Track 8 (0:02) Figure 22: Gopucca phrase from “Tisra Jati Triputa”, CD1 Track 2 (5:27) Figure 23: Gopucca phrase from “Tisra Jati Triputa”, CD1 Track 2 (5:38) Figure 24: Gopucca phrase from “Tisra Jati Triputa”, CD1 Track 2 (5:50) Figure 25: Srotovaha phrase from “Viv’s Bum Dance”, CD1 Track 5 (4:43) vii Figure 26: Isolated cells showing individual phrases Figure 27: Srotovaha phrase from "Viv's Bum Dance", CD1 Track 5 (2:50) Figure 28: Isolated cells showing individual phrases Figure 29: Original phrase and converted srotovaha phrase from “Ornithology”, CD2 Track 5
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