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Závěrečné Práce JANÁČKOVA AKADEMIE MÚZICKÝCH UMĚNÍ V BRNĚ Hudební fakulta Katedra jazzové interpretace Obor kytara Funkce a možnosti kytary v triu bez kontrabasu Bakalářská práce Autor práce: Mgr. Štefan Szabó Vedoucí práce/školitel: doc. MgA. Vilém Spilka Oponent práce: B. M. David Dorůžka Brno 2018 Bibliografický záznam SZABÓ, Štefan. Funkce a možnosti kytary v triu bez kontrabasu [Functions and possibilities of guitar in a trio without double bass]. Brno: Janáčkova akademie múzických umění v Brně, Hudební fakulta, Katedra jazzové interpretace, 2018. Vedoucí bakalářské práce doc. MgA. Vilém Spilka. Anotace Bakalářská práce Funkce a možnosti kytary v triu bez kontrabasu pojednává v úvodních kapitolách o vybraných hudebních seskupeních tohoto obsazení a k jejich přístupu a konceptu hraní bez kontrabasu. Závěrečná část práce se zaměřuje na konkrétní funkce a možnosti kytary (sólová hra a doprovod) z mého vlastního pohledu. Annotation The bachelor´s thesis Function and possibilities of guitar in trio without double bass focuses on selected musical groups of this type and their approach and concept of playing without the double bass. The latter part of the thesis addresses specific functions and options for the guitar (solo and accompaniment) from my point of view. Klíčová slova Kytara, bicí nástroje, saxofon, Bill Frisell. Lionel Loueke. Gilad Hekselman, Paul Motian, Jeff Ballard, jazzové trio, improvizace Keywords Guitar, drums, saxophone. Bill Frisell, Lionel Loueke, Gilad Hekselman, Paul Motian, Jeff Ballard, jazz Trio, improvisation Prohlášení Prohlašuji, že jsem předkládanou práci zpracoval samostatně a použil jen uvedené prameny a literaturu. V Brně, dne 13. května 2018 Štefan Szabó Poděkování Na tomto místě bych rád poděkoval vedoucímu mé práce doc. MgA. Vilému Spilkovi, za trpělivost a pomoc při upravování práce. Děkuji také svým rodičům za podporu při mých studiích a také pedagogům JAMU za cenné rady a zkušenosti během celého mého studia. Obsah ÚVOD ..................................................................................................................... 1 1 PŘESAHY V TRIOVÉM OBSAZENÍ .......................................................... 4 2 KYTAROVÉ TRIO BEZ BASY S DECHOVÝM NÁSTROJEM (ANALÝZA VYBRANÝCH SESKUPENÍ SE ZAMĚŘENÍM NA KYTARISTU) ........................................................................................................ 5 2.1 PAUL MOTIAN TRIO ...................................................................................... 6 2.1.1 BILL FRISELL A JEHO KYTAROVÁ HRA (V KONTEXTU TRIA PAULA MOTIANA) 8 2.2 JEFF BALLARD TRIO - TIME'S TALES (S OHLEDEM NA KYTAROVOU HRU LIONELA LOUEKEHO) ...........................................................................................12 2.3 JOHN RAYMOND A JEHO PROJEKT REAL FEELS (S OHLEDEM NA KYTAROVOU HRU GILADA HEKSELMANA) ................................................................................17 6 HRANÍ V TRIU BEZ KONTRABASU – POHLED ZVNITRA ......................20 7 ZÁVĚR ...............................................................................................................21 8 BIBLIOGRAFIE A JINÉ POUŽITÉ ZDROJE ...............................................22 9 PŘÍLOHY ..........................................................................................................23 Úvod Název předkládané bakalářské práce Funkce a možnosti kytary v triu bez kontrabasu napovídá, že se budeme věnovat aspektům méně tradičního triového uskupení. Důraz budeme klást na analýzu vybraných hudebních těles tohoto obsazení s detailnějším ohledem na roli kytary. V práci se budeme soustředit na tři vybrané uskupení, a to konkrétně Paul Motian Trio, Jeff Ballard Trio a Real Feels. Pro tento typ práce je při výběru analyzovaných seskupení možný různý přístup, avšak pro komplexnější obraz o dané problematice by byl nevyhnutelný vyšší počet analyzovaných uskupení a širší škála hudebních stylů. Takto důkladná analýza by ale vyžadovala práci výrazně většího rozměru. Jedním z hlavních důvodů výběru tohoto tématu byla skutečnost, že sám jako hudebník působím v triu bez kontrabasu, čímž se pro mě stává práce nesmírně obohacující. To ale platí oboustranně - celkovou problematiku dokážu analyzovat i na základě svých vlastních zkušeností. Druhým důvodem je, že téma nebylo relevantně zmapováno. Ve sféře odborné literatury se tato tematika nevyskytuje vůbec a mimo akademické pole nacházíme především novinářské články - recenze, kritiky a rozhovory. Zatímco hodnotící články publikované v populárně-naučných periodikách (jazzové časopisy), ale také na internetu, si zachovávají určitou kvalitativní úroveň, většina textů zveřejněných v masových médiích zaměřených na širokou veřejnost přistupuje k problematice zjednodušeně a povrchně. Z uvedených důvodů si kladu v této práci za cíl podrobněji přiblížit tvorbu vybraných uskupení s ohledem na funkce a možnosti kytary. Budu se snažit přijít na plusy a mínusy jednotlivých hráčů a také na klady a zápory hraní v takovém triovém obsazení celkově. 1 Stav bádání Jak jsme již výše uvedli v úvodu práce, relevantního analytického písemného materiálu k tématu a problematice kytary v triu bez kontrabasu je velmi málo. Hledali jsme v online archivu theses.cz vysokoškolské kvalifikační práce, kde nám byla nápomocná pouze práce Jakuba Tenglera Proměny hudby Paula Motiana během jeho kariéry. Nelze vyloučit fakt, že v zahraničí existuje podobná práce. Přístup k veškerým zahraničním pracím je totiž omezen. Hlavním zdrojem informací pro nás v případě analýzy byly zvukové a audiovizuální nahrávky. Zvukové nahrávky jsme čerpali hlavně ze streamingové služby iTunes a audiovizuální nahrávky většinou z internetové stránky YouTube anebo Vimeo, kde se nacházejí také rozhovory s umělci. Užitečné nám byly i oficiální webové stránky analyzovaných umělců. Čerpali jsme také z online stránek jazzových časopisů, ze kterých jmenujme např. allaboutjazz.com nebo www.jazzspeaks.org. 2 Metodologie / Metodologická východiska práce Hlavní výzkumnou otázkou mé práce je na základě vybraných uskupení zkoumat funkce, možnosti a role kytary v triu bez kontrabasu. K tomu samozřejmě patří zjistit výhody a nevýhody, popřípadě omezení hry v takovém uskupení. Za účelem dosažení stanovených cílů jsme použili několik výzkumných přístupů, pracovali jsme s metodou hloubkového rozhovoru, využili jsme interpretační i analytický přístup a rovněž rešerše v relevantních publicistických textech. Zabývali jsme se také hudebními nahrávkami i textovými prameny. 3 1 Přesahy v triovém obsazení V kontextu jazzové hudby je triové obsazení jedno z nejvíce skloňovaných malých uskupení. Již známým a zaběhnutým formátem je v jazzu například klavírní nebo kytarové trio, popř. trio s melodickým nástrojem, většinou s doprovodem kontrabasu a bicích nástrojů. Výjimku tvoří varhanní trio s kytarou a bicími nástroji, kde absentuje kontrabas, v tomto případě basové linky suplují varhany. Funkce kontrabasu je ve výše uvedených příkladech povětšinou doprovodná, tvoří rytmicko- harmonický základ celé kapely. Základní rysy kontrabasového doprovodu jsou half- time feel (půlové noty) a walking bass (čtvrťové noty), který drží celé trio pohromadě. Menší obsazení, hlavně trio nebo kvarteto, přinesly do jazzové improvizace možnosti větší interakce a komunikace jednotlivých hráčů mezi sebou. Tento princip intenzivní hudební interaktivity a kontrapunktického vedení hlasů mezi basou a bicími rozvíjel a přivedl k dokonalosti americký pianista Bill Evans, ze kterého čerpají moderní triová obsazení dosud. Na desce Explorations (Riverside, 1961) Motian témata interpretuje více nepravidelně a ve větší míře komunikuje s ostatními hudebníky. Bicí part se zde stává jakoby dalším melodickým hlasem. Postupem času, hlavně po éře bebopu a hard-bopu, hudebníci přirozeně začali experimentovat nejen s hudebním materiálem a zvukem, ale také s nejrůznějšími nástrojovými kombinacemi. Tento fakt se samozřejmě dotkl i tria a začaly vznikat různá nástrojová seskupení, která se ale do menších skupin klasifikují obtížně. Laicky řečeno, začal hrát každý s každým bez ohledu na to, jakou funkci daný hudební nástroj představoval v konvenčnějších seskupeních. Pro zajímavost uvádíme pár příkladů deklarující různorodost nástrojového propojování: - Red Norvo (vibrafon), Charles Mingus (kontrabas), Tal Farlow (kytara) - Jimmy Guiffre (saxofon), Jim Hall (gitara), Bob Brookmeyer (trombón) - Don Cherry (trubka), Collin Walcott (perkusie), Nana Vasconcelos (perkusie) - Sun Ra (piano), Coleman Hawkins (saxofon), Stuff Smith (housle) - Anthony Braxton (saxofon), Leroy Jenkins (housle), Wadada Leo Smith (trubka) 4 Z výše uvedených příkladů vyplývá, že do popředí se v těchto seskupeních dostává spíše hledání nových zvukových možností a nástrojových obsazení namísto využívání tradičních barevných vrstev. Takové netradiční seskupení nutí přemýšlet sólisty i doprovodné hráče jinak než v konvenčních jazzových formacích. V některých případech se hranice sólista – doprovodný hráč víceméně nebo zcela vytrácí a slyšíme rovnocenný rozhovor dvou nebo tří hráčů. V této netradiční triové sestavě hudebníci většinou prezentují své vlastní autorské kompozice, které jsou obvykle napsány pro konkrétní seskupení a hráče. Při nevšedních malých formacích, jako jsou tria a kvarteta, se často setkáváme s pojmem kolektivní improvizace – simultánní improvizace více hráčů najednou, se kterou se setkáváme hlavně ve free jazzu. Její počátky ale sahají již do dvacátých let 20. století, do New Orleanského stylu, jehož charakteristickým prvkem byla improvizace v duchu vytváření
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