IN THE CURRENT:
SUITE FOR LARGE JAZZ ENSEMBLE
MICHAEL DOWNES
A THESIS SUBMITTED TO THE FACULTY OF GRADUATE STUDIES
IN PARTIAL FULFILLMENT OF THE REQUIREMENTS
FOR THE DEGREE OF
MASTER OF ARTS
GRADUATE PROGRAM IN MUSIC
YORK UNIVERSITY
TORONTO, ONTARIO, CANADA
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In the Current is a jazz suite comprised of five interrelated movements. It is scored for three woodwinds, four brass, acoustic bass, guitar, vibraphone, drums and percussion. Part I of the accompanying thesis examines the unique aesthetics, styles and techniques of Gil Evans and Maria Schneider in order to give the historical context of the suite. Part II is a detailed analysis of In the Current that includes a discussion of the compositional process and the materials that lend the suite cohesion.
The suite incorporates linear harmonic concepts, counterpoint, development and variation as formal constructs, improvisation integrated with composed material, asymmetrical time signatures, metric modulation and other elements associated with contemporary jazz composition.
Several of the meanings or connotations of the play-on-words In the Current bear significance to the thesis and to the conceptualization of the music. The idea of the flow of a river and its tributaries metaphorically representing the intersections and collective direction of music from past to present is of particular importance. In the Current is both new and linked to the past through the influence of Evans and Schneider. V ACKNOWLEDGEMENTS
I would like to express my deepest gratitude to the many people who have helped me realize this project. My wife Sanja and our daughters Ana and Zoe are a constant source of joy, inspiration and perspective. Attempting to write a thesis with a young family has presented special challenges (to say the least). Without Sanja's unflagging support this work would never have been possible. My supervisor David Mott has provided me with invaluable wisdom and direction, and it has been my privilege to seek his advice in musical and other matters. My advisor Michael Coghlan is an inspirational person and an astounding fountain of knowledge. Their encouraging approach and great musicianship will continue to influence me well beyond the scope of this thesis. Tere
Tilban-Rios is the backbone of the graduate music program. I can't imagine how I would have completed all of the required steps leading to the submission of this thesis without her care and guidance. Thanks to the following: Professors Barry Elmes, William
Westcott and my classmates, who all stimulated new and interesting ideas in my approach to composition, Denny Christianson, Joe Kertes and the administration at
Humber College who have afforded me the time and support to pursue this project, Ron
Davis, Andrew Scott and Jack Chambers for their advice and suggestions, and my parents for all of their support. The many great musicians with whom I have had the honour to play have deeply impacted everything I do musically. Thanks to the masters upon whose shoulders we stand - in this project notably Gil Evans and Maria Schneider for their musical vision and mastery. Finally, thanks to God for each and every day. vi CONTENTS
LIST OF FIGURES viii
INTRODUCTION 1
PART I. GIL EVANS AND MARIA SCHNEIDER: SOUND INNOVATIONS
Chapter 1. The Individualism of Gil Evans 5
Chapter 2. Maria Schneider 29
PART II. ANALYSIS OF IN THE CURRENT
Chapter 3. Compositional Process
1. In the Flow and in the Now.. 44
2. Conceptual Process .....46
Chapter 4. Analysis of the Music
1. Instrumentation 49
2. Motivic connections and thematic development 53
3. Harmonic language 74
4. Rhythmic structure 78
5. Improvisation and composition 83
6. Formal structure 83
7. Score format 91
CONCLUSION 92 Vll
BIBLIOGRAPHY 96
DISCOGRAPHY 99
SCORES 102
PART III. IN THE CURRENT SCORE
I. "In the Current" 105
II. "Parallel Streams" 131
III. "Re-emerging Linear Tones" 156
IV. "Still Waters Run Deep" 177
V. "Rexurrents" 193 viii LIST OF FIGURES
Chapter 1. The Individualism of Gil Evans
Figure 1.1a - "Arab Dance" (mm. 44-48) 9 Figure Lib - "Arab Dance" (mm 49-53) 10 Figure 1.2a - "Arab Dance" modulation (mm. 134-38) 11 Figure 1.2b - "Arab Dance" modulation (mm. 139-41) 12 Figure 1.3 - "Donna Lee" shout chorus 15 Figure 1.4 - "Moon Dreams" (mm. 42-45) 18 Figure 1.5a - "My Ship" (mm. 1-4) 22 Figure 1.5b - "My Ship" (mm. 5-8) 23 Figure 1.6 - "Buzzard Song" 24 Figure 1.7 - "La Nevada" modal voicings 26 Figure 1.8 - "Zee Zee" (mm. 1-2) 27
Chapter 2. Maria Schneider
Figure 2.1 - "Evanescence" (mm. 19-26) 32 Figure 2.2a- "Night Watchmen" formal structure page 1 34 Figure 2.2b - "Night Watchmen" formal structure page 2 35 Figure 2.3 - "Hang Gliding" (mm. 9-16) 37 Figure 2.4 - "Last Season" (mm. 41-48) 38 Figure 2.5 - "GumbaBlue" (mm. 80-84) 39 Figure 2.6 - "Hang Gliding" (mm. 502-09) 39 Figure 2.7 - "Night Watchmen" (mm. 30-37) 41
Chapter 4. Analysis of the Music
Figure 4.1 - "Still Waters Run Deep" voicing (mm. 43-44) 51 Figure 4.2 - "In the Current" orchestration (mm. 10-13) 52 Figure 4.3 - "Re-emerging Linear Tones" french horn part (mm. 47-50) 52 Figure 4.4 - "In the Current" fourth motive (m. 3) 53 Figure 4.5 - "In the Current" fourth motive (mm. 10-11) 54 Figure 4.6 - "In the Current" fourth motive (mm. 16-17) 54 Figure 4.7 - "Parallel Streams" fourth motive (mm. 53-56) 55 Figure 4.8 - "In the Current" fourth motive chord structure (m. 10) 55 Figure 4.9 - "Still Waters Run Deep" fourth motive (mm. 35-37) 56 Figure 4.10 - F Augmented scale 56 Figure 4.11 - "In the Current" Augmented scale motive (mm. 30-33) 57 Figure 4.12 - "In the Current" Augmented scale motive (mm. 9-12) 57 ix Figure 4.13 - "Re-emerging Linear Tones" Augmented scale motive (mm. 6-15) 58 Figure 4.14 - "Re-emerging Linear Tones" Augmented scale motive (mm. 54-79) 59 Figure 4.15 - "Rexurrents" Augmented scale motive (mm. 44-49) 60 Figure 4.16 - "Still Waters Run Deep" Augmented scale motive (m. 38) 60 Figure 4.17 - "Parallel Streams" Augmented scale motive (mm. 69-92) 61 Figure 4.18 - "In the Current" Phrygian motive (mm. 5-6) 62 Figure 4.19 - "In the Current" Phrygian motive (mm. 18-19) 62 Figure 4.20 - "In the Current" Phrygian motive (mm. 41-42) 63 Figure 4.21 - "Re-emerging Linear Tones" Phrygian motive (mm. 29-32)..... 63 Figure 4.22 - "Rexurrents" Phrygian motive (mm. 1-7) 64 Figure 4.23 - Phrygian motive harmonic implications 64 Figure 4.24 - "Rexurrents" Phrygian motive (mm. 72-75). 65 Figure 4.25 - "Rexurrents" Phrygian motive (mm. 173-176) 65 Figure 4.26 - "In the Current" hemiola motive (mm. 30-34) 66 Figure 4.27 - "Parallel Streams" hemiola motive (mm. 53-56) 66 Figure 4.28 - "Parallel Streams" hemiola motive (mm. 99-102) 66 Figure 4.29 - "Re-emerging Linear Tones" hemiola motive (mm. 87-94) 67 Figure 4.30 - "Rexurrents" hemiola motive (mm. 139-145) 68 Figure 4.31 - "Rexurrents" hemiola motive (mm. 148-151) 69 Figure 4.32 - "In the Current" dotted quarter/eighth-note motive (mm. 10-11) 70 Figure 4.33 - "In the Current" dotted quarter/eighth-note motive (mm. 28-31) 71 Figure 4.34 - "In the Current" dotted quarter/eighth-note motive (mm. 70-73) 71 Figure 4.35 - "In the Current" dotted quarter/eighth-note motive (mm. 138-140) 72 Figure 4.36 - "Parallel Streams" dotted quarter/eighth-note motive (mm. 37-40) 72 Figure 4.37 - "Re-emerging L. T." dotted quarter/eighth-note motive (mm. 115-118) 73 Figure 4.38 - "Rexurrents" dotted quarter/eighth-note motive (mm. 1-7) 74 Figure 4.39 - "In the Current" modal approach/chord structures (mm. 1-2) 75 Figure 4.40 - "Parallel Streams" modal approach/chord structures (mm. 89-92) 75 Figure 4.41 - "Some Circles" chord structures 76 Figure 4.42 - "Still Waters Run Deep" contrapuntal approach (mm. 35-38) 77 Figure 4.43 - "In the Current" intervallic structure (m. 139) 78 Figure 4.44 - "Parallel Streams" mixed meters (mm. 53-70) 80 Figure 4.45 - "Rexurrents" metric modulation (mm. 72-75) ...81 Figure 4.46 - "Rexurrents" metric modulation (mm. 68-92) 82 Figure 4.47 - "In the Current" formal structure 86 Figure 4.48 - "Parallel Streams" formal structure 87 Figure 4.49 - "Re-emerging Linear Tones" formal structure 88 Figure 4.50 - "Still Waters Run Deep" formal structure 89 Figure 4.51 - "Rexurrents" formal structure 90 1 INTRODUCTION
In the Current is a jazz suite for three woodwinds, four brass, acoustic bass,
guitar, vibraphone, drums and percussion. The total performance time is approximately
thirty minutes. It is divided into five continuous movements: I."In the Current,"
II.'Tarallel Streams," III."Re-emerging Linear Tones," IV."Still Waters Run Deep" and
V."Re:currents."
The unique aesthetics, styles, and techniques of Gil Evans and Maria Schneider
have inspired and influenced In the Current. Their music is of exceptional artistry and it
embodies the most compelling large ensemble writing in the history of jazz.
Part I of this essay gives the historical context of In the Current, exploring the
music of Gil Evans and Maria Schneider. Part II offers insight into my compositional
process and gives a detailed analysis of the suite.
The music of both Evans and Schneider represents a set of ideals that have
influenced my own work as a composer. They have both assimilated the music of the past
and music of other styles and cultures and developed their own unique voices. Several
important biographies of Evans, including Larry Hicock's Castles Made of Sound: The
Story of Gil Evans, Raymond Horrick's Gil Evans and Stephanie Stein Crease's Gil
Evans: Out of the Cool: His Life and Music highlight his voracious study of jazz, western
art music, flamenco and other music. At the same time, he constantly explored new
sounds. Lew Soloff states, "The difference between Gil and somebody who establishes a
style and just plays in that style is that Gil was always looking to see what he could do 2 with the sound of today... Gil always wanted to have the sound of Now Music, as he would put it."1 Schneider has written an extensive body of original works and she includes arrangements of jazz standards in her repertoire.2 Her music draws on influences from western art music, popular music, jazz and the music of other cultures. Their music has great depth because both have drawn extensively from the past and from music outside of jazz to create something unique and current.
Their music can be generalized as intricate, subtle, uncluttered and often
"orchestral" in nature. Lloyd Peterson, author of Music and the Creative Spirit:
Innovators in Jazz, Improvisation, and the Avant Garde, describes the music of
Schneider: "Imagine a musical ballet of gentle raindrops in distinct textural shapes and colors, a visual soundscape tapestry of dense, complex melodies-imagine a gorgeous, sensuous rainbow of sound."3
The works of Evans and Schneider achieve a careful balance of composition and improvisation. Evans became less dependent on written arrangements with his bands of the 1970s and 80s, yet his music and that of Schneider masterfully integrate improvised passages with written material to maintain the structural integrity of the arrangements.
Their attention to detail is evident in their extensive body of work. Their aesthetics and
1. Larry Hicock, Castles Made of Sound: The Story of Gil Evans (Cambridge, MA: Da Capo Press, 2002), 195.
2. For example, her recording Live at the Jazz Standard includes arrangements of "Days of Wine and Roses," "My Ideal," "Over the Rainbow" and other jazz standards.
3. Lloyd Peterson, Music and the Creative Spirit: Innovators in Jazz, Improvisation, and the Avant Garde (Oxford: The Scarecrow Press, 2006), 261. 3 musical artistry influenced In the Current. I incorporated stylistic features and techniques of both Evans and Schneider. These will be discussed in the analysis of the suite.
The title of the suite is an intentional play-on-words. It alludes to, among other meanings, an involvement with that which is new, being in the present moment, the flow of ideas, and a course or direction. These concepts will be discussed later in relation to my compositional process. The idea of the flow of a river and its tributaries metaphorically representing the intersections and collective direction of music cross- culturally, cross-stylistically and from the past and present was also inspired by the title.
Jazz itself has numerous "tributaries," and the musical output of Evans and Schneider represents a particularly important convergence with my work as a composer.
It is difficult to analyze one's own work. In this essay, I attempt to explain the music. It is my hope, however, that the text will serve the music rather than the inverse.
In The Painted Word (1974), Wolfe argues that Modern Art has gone astray-that the text that accompanies a painting is considered more important than the painting itself. He ironically states, "Not 'seeing is believing', you ninny, but 'believing is seeing,' for
Modern Art has become completely literary: the paintings and other works exist only to illustrate the text."4
4. Tom Wolfe, The Painted Word (New York: Farrar, Straus and Giroux, 1975), 7. 4
PART I. GIL EVANS AND MARIA SCHNEIDER:
SOUND INNOVATIONS 5 Chapter 1. The Individualism of Gil Evans
First of all, I think what we call jazz will some day be measured and identified as the most important music of the twentieth century -just because of its influence, its power, its innovative qualities, its cultural connections, the method, the complexity, the artistic achievement, the highly technical and psychological requirements for musicians....when the truth be told, he [Gil Evans] will be one of the important musicians of the twentieth century - period. Kenny Burrell5
Gil Evans's importance to jazz has yet to be fully realized. Miles Davis wrote: "He should have lived someplace other than this country. If he had, he would have been recognized as the national treasure that he was."6 Due to the importance of improvisation in jazz, the performer/improviser is usually given the most attention. Although a fine pianist, Evans was more active as an arranger and composer than as a performer. Evans's musical output, however, constitutes major contributions, developments and innovations in jazz.
Evans's interest in sound was a primary force throughout his career, and the result was a change in the sound of jazz itself. Evans commented, "sound is the thing that's the most important to me of all the components of music."7 His music has had a widespread impact on jazz composers since the 1950s. His influence can be heard in the music of
Wayne Shorter, Kenny Wheeler, Vince Mendoza, Bob Brookmeyer, Maria Schneider and
5. Hicock, Castles Made of Sound, 237.
6. Miles Davis with Quincy Troupe, Miles: The Autobiography (New York: Touchstone, 1989), 387.
7. Stephanie Stein Crease, Gil Evans: Out of the Cool: His Life and Music (Chicago: A Cappella Books, 2002), 146. 6 many other important jazz composers. The work of Maria Schneider will be examined later.
Evans was born in Toronto on May 13,1912 and died in Mexico on March 20,
1988. His lifetime spans such major developments in jazz as swing, bebop, cool jazz, hard bop, free jazz and jazz-rock fusion. He was directly involved in all of these developments.
It is worth noting how Evans learned to orchestrate. He did not have any formal training in music, but instead spent much of his time studying scores and copying arrangements from recordings. He said: I copied records. I copied them. I wrote them down note for note. That's how I learned. I started with Louis Armstrong, as far as getting a feel for the music. I got my feeling for music from Louis Armstrong. I bought every record he ever made from the time I started buying records in 1927.1 learned arranging and the orchestration more from people like Fletcher and Duke and Don Redman and Gene Gifford and from the Casa Loma Orchestra.8
While in his early twenties and living in Stockton, California, he gained first-hand experience by leading his own bands. They played arrangements he had transcribed, including the solos. He was already establishing a unique approach to orchestration. His musicians doubled on various instruments including flutes, oboes and English horns.
Stephanie Stein Crease, an Evans biographer, describes his unique scoring: "His use of woodwinds in a dance band context was almost unheard of at the time. Twenty years later, Gil's scoring for these instruments in a jazz setting was still considered unique and
8. Wayne Enstice and Paul Rubin, Jazz Spoken Here: Conversations with Twenty-Two Musicians, (Baton Rouge: Louisiana State University Press, 1992), 149. 7 helped comprise his signature sound and texture."9 Another important facet of his early arranging style is pointed out by Stein Crease: "Even in 1932, Gil veered from the sectional writing (brass versus saxes) that was almost standard among dance bands at that time. He ferreted out every orchestral combination he could from his musicians."10
Evans came to prominence, particularly among musicians, as an arranger for the
Claude Thornhill Orchestra. Thornhill's band featured a unique orchestral sound, due to the instrumentation and Thornhill's own conception of sound. The instrumentation included a reed section of four to seven saxophonists doubling on clarinet, a brass section of trumpets, trombones and french horns, and a rhythm section. Evans's assimilation of music inside and outside of jazz is apparent in his work with Thornhill. The band incorporated western art music repertoire into their library, including Evans's arrangements of "Troubadour" from Modest Mussorgsky's Pictures at an Exhibition and
"Arabian Dance" from Pyotr Il'yich Tchaikovsky's The Nutcracker. The influence of
Duke Ellington can also be heard in Evans's arrangements. Ellington's sound went beyond the typical parameters of style of many of the dance bands of the period, including those led by Paul Whiteman and Artie Shaw.
Evans's attention to detail of orchestration and harmonic content is apparent in his arrangement entitled "Arab Dance" for the Thornhill orchestra. Figures 1.1a, 1.1b, 1.2a
9. Stein Crease, Out of the Cool, 12
10. ,12. 8 and 1.2b compare two similar sections of the same arrangement.11 The material in figure
1.2a and b occurs later and is a modulation of the material found in figure 1.1a and b.
Rather than simply transposing all the parts up a half-step, Evans alters the rhythms, the harmony (including the bass line), the voicings in the trombones and trumpets, and the french horn parts. For example, a comparison of measure 48 (figure 1.1a) with measure
138 (figure 1.2a) reveals several differences. These differences include a melodic line
7 7 played by the french horns in the latter and a harmonic alteration; D /G (V of G) in
7 7 measure 48 becomes A (1,11' of At) in measure 138.
11. Gil Evans, The Gil Evans Collection: 15 Study and Sketch Scores from Gil's Manuscripts (Milwaukee, WI: Hal Leonard Corporation, 1996), 59 and 69. Fig. 1.1a: "Arab Dance" (mm. 44-48)
D7/G 10 Fig. 1.1b: "Arab Dance" (mm. 49-53)
1 HI ffi jJ « I J « J y ' ^j \,i ip •rg" 11 Fig. 1.2a: "Arab Dance" modulation (mm. 134-38) 12 Fig. 1.2b: "Arab Dance" modulation (mm. 139-41)
Hornl 2
Tptl 2 3
Bone 1 ,."f n T p f pf f ;t ft 2
It was during his tenure with the Thornhill band that Evans began to develop new ideas that would lead to innovations in jazz orchestration. He convinced Thornhill to augment the instrumentation in his band to include tuba, french horns, trumpets, trombones, saxophones doubling on clarinets and rhythm section. Evans also expanded the harmonic vocabulary of jazz. John Carisi stated, "Gil was known for ...fat, close, harmony chords, with that very smoky timbre. That came from Claude, and Claude got it
12. Hicock, Castles Made of Sound, 37. 13 from Debussy and Ravel. What Claude did, which Gil took a little further was a kind of very close, French impressionist harmony." Gunther Schuller commented, "the sound of the two French horns and the tuba, which Gil Evans knew so well how to use, just transformed that band, and therefore a certain aspect of jazz, into some whole new sound that no one had ever heard of before... he's doing some things that are really reaching out toward this territory of Schoenberg and Stravinsky and Bartok and Ravel."14 Evans's highly-detailed writing was pointed out by Red Rodney: "when you're playing a harmony part, it's just that - it's a harmony part. But yet Gil had a knack of writing so that even the second and third trumpets had beautiful melody to them... everything he did had great beauty to it, and great melodic content, and wonderful substance."15
When Evans moved into an apartment on 55 Street in New York in 1947, he began assimilating the sound and conception of bebop. His arrangements for Thornhill's band reflect the influence of Charlie Parker, Dizzy Gillespie, Bud Powell and the other musicians who were playing nightly on 52nd Street. The Thomhill band recorded Evans's arrangements of Tadd Dameron's "Robbin's Nest", Miles Davis's "Donna Lee" and
Charlie Parker's "Thriving on a Riff and "Yardbird Suite." Evans captured the spontaneity of improvisation that characterizes bebop in his arrangements.
His assimilation of the sound of bebop is apparent in his arrangement of "Donna
Lee." Figure 1.3 shows Evans's grasp of the rhythmic, harmonic and melodic language of
13. Hicock, Castles Made of Sound, 38.
14. , Castles Made of Sound, 42.
15. , Castles Made of Sound, 39. 14 bebop. It is a reduction of the "shout chorus." It is intended to illustrate the melodic contour, rhythmic syncopation and advanced harmonic substitutions that Evans conceived. Davis borrowed the harmonic progression for "Donna Lee" from Ballard
MacDonald and James Hanley's "Back Home in Indiana." Evans's arrangement of
"Donna Lee" begins with a piano solo in the key of F, which is the original key of "Back
Home in Indiana." He then modulates to the key of A|>, the key in which Davis wrote
"Donna Lee". Evans alters the harmonic progression in the shout chorus. The original chords used by Davis are shown above, and Evans's harmonic substitutions are shown below. 15 Fig. 1.3: "Donna Lee" shout chorus
(Miles Davis) A^MA7 F7 Bb7 6 07 (Gil Evans) Al> B^MI7 B At Bt7 ¥ £ Uh^i h l&L j^j-jTOifl* »^| ps \
7 BtMl7 El- Ab EI-MI7 At7 E/F E7(tt9)E|)7(tl9)p7(Jt9)D|,7(l9) gj.9
21 £ i £=ssz a te^ as ^ 3 IN ^J Jti '•* •*
DbMA9 Gb13 Al. 9 13 p7tf>9) D^MA Gt At s 5 Jiflr * n j^^-T^rajj-in^frte
7 9 Bb BI»MI7 E^ ) 7 Bb7 BbMI7 Eb H J^ff^r |>^^ryy^i |i ipJ y[f ^JJ'CJJJ'irEi r
AbMA7 AI»MA7
Evans was one of the central figures in creating the sound of "cool jazz." His apartment on 55th Street was an informal meeting place for a large number of musicians, some of whom began discussing musical alternatives to bebop. A nucleus of composers 16 including George Russell, John Carisi, Gerry Mulligan, Miles Davis, John Lewis and
Evans were interested in finding a balance between written and improvised material.
They wanted to preserve the spontaneity of bebop while placing the improvisations in a structured compositional environment. George Russell stated, "everyone wants to preserve the intuitive nature of jazz, even the composer.... He wants his written lines to sound as intuitive as possible, no matter how much organization is behind them."16
Discussions between Evans and Gerry Mulligan, both arrangers for the Claude Thornhill
Orchestra, led to the idea of using the sound and concept of Thornhill's band in a smaller group context.
Miles Davis saw the potential in such a group, and he put together a nonet that eventually recorded the historic and influential The Birth of the Cool. The nonet differed substantially from the small-group bebop ensembles that prevailed. It was a larger ensemble that emphasized the importance of the writers rather than just the improvisers.
Evans influenced the choice of instrumentation for the group. The instrumentation included trumpet, french horn, trombone, tuba, alto sax, baritone sax, bass, drums and piano. Thornhill's band had introduced the use of tuba as a melodic instrument and had featured french horns, rare in a jazz context at the time. Evans wrote two of the recorded arrangements on The Birth of the Cool. One of them, an arrangement of Johnny Mercer's and Chummy MacGregor's "Moon Dreams," is almost entirely written, with the exception of a short improvised passage played by Gerry Mulligan.
16. Stein Crease, Out of the Cool, 138. 17 Evans's arrangement is contrapuntal in nature. Figure 1.4 illustrates the descending voices, the held note in the alto part and the contrary bass motion within his arrangement.17 His writing is complex in comparison with much of the jazz writing of the period, including that of the other arrangers on the recording. The baritone saxophone and tuba play melodically rich roles. Evans uses the high register of the alto saxophone to beautiful effect.
17. Miles Davis, Birth of the Cool: Scores from the Original Parts (Milwaukee: Hal Leonard, 2002), 113. 18 Fig. 1.4: "Moon Dreams" (mm. 42-45)
poco a poco dim. to end
Alto
Bari
Tpt.
Horn
ffTff ff Tbn. m s^m mm WtrrV ff
Tuba
Bass
Dr.
The Birth of the Cool influenced a great number of jazz musicians who began incorporating chamber music ideais into a jazz setting. Dave Brubeck (who studied with 19 Arnold Schoenberg and Darius Milhaud), Stan Getz, Lee Konitz, Chet Baker and The
Modern Jazz Quartet were all part of this movement. Conversely, western art music composers such as Igor Stravinsky and Leonard Bernstein had written works influenced by jazz, such as the "Ebony Concerto" or "Prelude, Fugue and Riffs." Gunther Schuller, whose background encompassed both jazz and western art music, had played french horn on The Birth of the Cool. The cross-fertilization of jazz and western art music led him to coin the term "Third Stream," which he defined as the fusion of the two styles. Jazz composers of the 1950s attempted to amalgamate, to varying degrees of success, stylistic
features of the two musical worlds. The issues surrounding their conciliation seem remote
in 2008. Western art music techniques have long been successfully integrated into jazz.
Schuller wrote the following in 1996:
The world of music in the 1950s was still for the most part divided among sharply defined lines of musicians who, on the jazz side could not (or preferred not to) read music...while on the "classical" side musicians could not improvise, could not swing...Today these erstwhile separate worlds have come together, have cross-fertilized, in variously overlapping ways, and learned much from each other. A rare pioneer on the frontiers of jazz, such as Scott LaFaro, Bill Evans, Eric Dolphy, who in those days had both the "chops" and the ears to deal with these new musical fusions, has been replaced by a whole generation of younger performing and creative talents, for whom those old stylistic and conceptual boundaries have long since disappeared.1
The collaborations of Miles Davis and Gil Evans had, and continue to have, a far-
reaching impact. Miles Ahead, recorded in 1957, was the first of what would become a
series of recordings for Columbia Records that paired the two. These recordings continue
to influence jazz composers. Evans's writing altered the conceptions and usage of
18. Gunther Schuller, The Birth of the Third Stream (Columbia CK 64929 compact disc, 1996), liner notes. 20 harmony, counterpoint, timbre and texture in jazz writing. In Davis, Evans found a unique timbre and voice; in Evans, Davis found the perfect sound to frame his conception and style.
Producer George Avakian gave Evans free artistic license to envision arrangements for Miles Ahead within the context of featuring Davis. Once again, Evans's choice of instruments was innovative. He chose a nineteen-piece band with five trumpets, three tenor trombones, bass trombone, two french horns, tuba, alto saxophone, bass clarinet, two additional woodwinds (doubling on flute, clarinet, bass clarinet and oboe), bass and drums. Only a minority of the arrangements include piano. This instrumentation, particularly the saxophone section doubles, french horns, tuba and exclusion of piano, was atypical to that point in jazz. It allowed Evans to achieve unusual tonal colours.
He continued to expand the harmonic vocabulary of jazz. His harmonic language borrowed from Ravel, Debussy, and other western art music composers, as Evans himself stated.19 His attention to detail is also apparent in his arrangement. Jazz critic Bill
Matthieu wrote, "The mind reels at the intricacy of his orchestration and developmental techniques. His scores are so careful, so formally well-constructed, so mindful of tradition that you feel the originals should be preserved under glass in a Florentine museum."20
Another of Evans's innovations on Miles Ahead is the formal structure of the recording. Each piece is tied together by segue, creating the feeling of an extended
19. Steve Lajoie, Gil Evans and Miles Davis: Historic Collaborations: An Analysis of Selected Gil Evans Works 1957-1962 (Germany: Advance Music, 2003), 12.
20. Raymond Horricks, Gil Evans (New York: Hippocrene Books, 1984), 28. 21 concerto for Davis. Although Evans only composed two of the pieces on Miles Ahead, he wrote a significant amount of new material based on the original composers' tunes.
This concept is referred to as "re-composition." In his exhaustive treatise of the
Davis/Evans collaborations, author Steve Lajoie states, "the difference, then, between a recomposition and an arrangement is that a recomposition uses portions of a musical source for transformation and development, whereas an arrangement attempts to preserve the essentials of the source in a different medium."21 He further argues that a significant amount of material written by Evans constitutes re-composition, and therefore new and original material. Although this argument is beyond the scope of this paper, the point is that Evans's arrangements contain both new and re-conceptualized thematic material.
Figures 1.5a and 1.5b show the intro that Evans composed for Kurt Weill and Ira
Gershwin's "My Ship" on Miles Ahead.22 He uses both the lower and upper range of the bass clarinet to achieve a unique sound. The dissonances and resolutions of the ascending bass clarinet line along with the descending triads (see the piano part) and a static bass pedal on the dominant demonstrate a skillful contrapuntal style.
21. LaJoie, Gil Evans and Miles Davis, 19.
22. Evans, The Gil Evans Collection, 122. 22 Fig. 1.5a: "My Ship" (mm. 1-4)
Concert score
J-56
P 23 Fig. 1.5b: "My Ship" (mm. 5-8)
In the next Davis/Evans recording collaboration, Evans arranged George
Gershwin's and DuBose Heyward's opera Porgy and Bess. He contributed a significant amount of new material, including his own composition "Gone Gone Gone." In addition, he changed the original order of songs, creating a new cohesive whole. Figure 1.6 shows a score reduction of an excerpt from "Buzzard Song." Evans uses the unique combination of double bass and tuba to play the unison melodic line shown in the bass clef staff. The notes in the treble clef staff are played by flutes, trombones and french horns. The material is entirely composed by Evans and not found in the original version.
Fig. 1.6: "Buzzard Song"
m W^i^iM i- bite g§^= i& *&pp ff
in f= W TlgS i ,Jp nJiiJ^jbj 'h •TJJJJn PP P
Sketches of Spain, the collaborative effort between Evans and Davis recorded in
1959-60, had a tremendous influence on the sound and conception of jazz. Evans
synthesized elements of Spanish orchestral and folk music with elements of jazz. He re- 25 orchestrated and re-conceptualized Joaquin Rodrigo's "Concierto de Aranjuez" and
Manuel de Falla's "Will o1 the Wisp." The recording includes his original compositions
"The Pan Piper," "Saeta," "Solea" and "Song for Our Country." Themes were borrowed
or inspired by Evans's study of flamenco music. He used formal structures new to jazz
and used improvisation sparingly, creating a subtle orchestral sound in a jazz context.
Evans continued to expand his palette of instruments. The instrumentation of "Will o' the
Wisp" from Sketches of Spain includes solo trumpet, oboe 1, clarinets 2 and 3, bass
clarinet 4, bassoon 5, horns in F 1-3, trumpets 1-4, trombone 1, bass trombone 2, tuba,
harp, string bass, drum set, maracas and castanets.24
His recordings as a leader, including Gil Evans and Ten, Great Jazz Standards,
New bottle, Old Wine, Out of the Cool and The Individualism of Gil Evans are both
steeped in the past and new. In New bottle, Old Wine, for example, Evans creates new
settings for Jelly Roll Morton's "King Porter Stomp" (originally recorded in 1923) and Lil
Hardin's "Struttin' with some Barbecue." In discussing Out of the Cool, author Larry
Hicock writes, "Out of the Cool frames a decade of innovative Gil Evans music. Like
Birth of the Cool, this album signaled the emergence of a new direction. Once again, the
changes came not through an outright rejection of things past but rather through their
rye evolution and their integration with new ideas."
23. Evans uses material from the Adagio movement of Rodrigo's original three-movement concerto for guitar and orchestra.
24. Miles Davis and Gil Evans, The Complete Columbia Studio Recordings (Sony Music Entertainment 67397, 1996) liner notes, 18.
25. Hicock, Castles Made of Sound, 118. 26 Evans's composition "La Nevada," recorded on Out of the Cool, uses a modal approach. The use of modes as a harmonic and melodic device came to particular prominence in jazz with the Miles Davis recording Kind of Blue. Author Ashley Kahn states, "jazzmen of the fifties - in the spirit typified by Miles's music library visits - sought out new and unusual modal patterns beyond the usual major and minor scales."26
The modal voicings used in "La Nevada" are shown in Figure 1.7. The voicings occur in the harmonic context of G minor as stated by bass, piano and guitar. The chords are all derived from the G Dorian scale.
Fig. 1.7: "La Nevada" modal voicings
Fl. Tpt. m -i- H yi- ii ^ *^t Tbns. F if f F tffff Tenor samx ^s
Evans's orchestrations and use of timbre and texture are perhaps the most striking
elements of his writing. Later in his life he claimed:
Colors...that's [my] thing - the pure and simple tonality of an instrument, and the one-of-a-kind colors that different people can produce - like the sound of Miles Davis's
26. Ashley Kahn, Kind of Blue: The Making of the Miles Davis Masterpiece (New York: Da Capo Press, 2000), 70. 27 trumpet compared to Louis Armstrong's. Then there are the colors you get by blending certain instruments together. That's what "voicing" is, basically, like when you mix a french horn and a tuba with a couple of electric guitars and a harp."27
His composition "Zee Zee," written in the 1970s, is more advanced than his earlier work. In particular, it is harmonically and rhythmically more complex. The chords are a series of triads over bass notes. This treatment of harmony is referred to as "slash- chord harmony" by jazz musicians. Evans had previously written in time signatures of
3/4,4/4 or 6/4, but "Zee Zee" is in 5/4. Figure 1.8 is an excerpt from "Zee Zee." Chord symbols have been added to illustrate his use of slash chord harmony.
Fig. 1.8: "Zee Zee" (mm. 1-2)
DMI/G El-MI/D DMI/G Et/A E/Bl> F/B E/Bl> E^/A (El>/D) Slowly a» i ^ i ^ 3 Flutes f ^ y i 3 Flutes mfm V V 3 Trumpets «» >£ its. ^m ^ ^i in Horn »/ Trombone m: Tenor sax SI 9 ^^ Tuba
27. Hicock, Castles Made of Sound, xi. Throughout his career, Evans s work remained both rooted in the past and current. Like other jazz innovators, including Miles Davis and John Coltrane, he constantly grew as an artist. In fascinating contrast, Evans began arranging music before the swing era and near the end of his life was arranging music for pop star Sting. Of
Evans, Sting said, "new things don't stop occurring to you if you're in the right frame of mind. He [Gil] really was a great archetype. He was the youngest old man I've ever
28. Hicock, Castles Made of Sound, 265. 29 Chapter 2. Maria Schneider
The work of Maria Schneider is well known to present day jazz musicians and listeners. Even though the influence of Gil Evans is apparent in her music, she has established herself as a distinct composer in her own right. She has incorporated elements of Evans's music and made them a part of her own musical conception. In an interview with Fred Sturm, Schneider states, "the first time I heard Gil's music, it touched the place in me that so rarely gets stirred. I loved the subtlety. I loved how deeply expressive it was. It had all the soft shifts in orchestration of classical music with the spontaneous exchange of ideas and rhythmical aspects of jazz. It made me see that I could bring my worlds of music together, too."29
Schneider became an assistant to Gil Evans in 1985 after completing graduate studies at the Eastman School of Music. This allowed her the opportunity to observe
Evans's methodology. She recounts, "one time I observed him sitting at the keyboard playing a three-note cluster over and over softly for a very long time as if to absorb it to be sure it was right. Suddenly he handed me the manuscript, not as if he resigned himself to those notes but as if, after weighing every aspect of that sonority, he knew for sure it
was right."30 After Evans's death, she conducted the Gil Evans Orchestra in several
concerts featuring music from the Miles Davis/Gil Evans collaborations.
29. Maria Schneider, Evanescence: Complete Scores (Germany: Universal Edition, 1998), vi.
30. , Evanescence, vii. 30 Schneider's instrumentation of choice is the jazz orchestra. The Maria
Schneider Orchestra consists of what is now considered standard instrumentation for a large jazz orchestra: two alto saxophones, two tenor saxophones, baritone saxophone (all woodwinds double on flutes, clarinet, soprano sax, etc.), four trumpets, four trombones, guitar, piano, bass and drums, Several of her scores, such as "Cerulean Skies" and "Aires de Lando," take advantage of additional instruments including accordion, voice and percussion.
Her music is gentle and subtle. By way of her lush voicings, she uses the ensemble to create sophisticated textures. Her orchestrations often include cross-sectional writing and a contrapuntal approach. An "airy," ambient feel is central to her compositional conception for the orchestra, similar to the open feel of Evans's writing.
Her own approach is revealed in her comment about Evans: "Gil's music is filled with detail - but detail that feels airy and uncluttered, arrived at by the gracefulness of the simplest solution. He and his music are so gentle yet so direct." In a video interview with her drummer Clarence Penn, she states, "my music will play itself without drums.
The role that I need a drummer to play is sometimes time, but I really need a drummer to add more than just keeping us together. Clarence has a way of breathing all sorts of air into the music..."32
31. Schneider, Evanescence, vii. 32. ArtistShare, "The Live Project: Live at the Jazz Standard Participant," ArtistShare, https://www.artistshare.corn/home/user_account2.aspx?artistID=l&projectID=7&productlD=750&selectio n=l&$alesTypeID=6&headerTx=participant+offers (accessed March 20, 2008). 31 Figure 2.1 is an excerpt from her composition "Evanescence." This excerpt illustrates her cross-sectional writing, contrapuntal approach and her use of space. The tenor saxophone 1, flugelhorn 1, trombone 4, piano and guitar parts have rests throughout the excerpt.33
33. Schneider, Evanescence, 42. Fig. 2.1: "Evanescence" (mm. 19-26)
Flugelhom
Schneider is adept at handling extended forms. The formal structures of many of
Schneider's compositions do not adhere to common models in jazz such as "AABA- 33 solos-AABA." Many of her compositions develop through variation of thematic material. "Hang Gliding," for example, is constructed from evolving variations on an initial melodic motive. "Night Watchmen" is another of her compositions that develops from an initial melodic motive, although it is more conventional in its formal structure than "Hang Gliding." "Night Watchmen" is the second movement of Schneider's suite
"Scenes from Childhood," commissioned by the Monterey Jazz Festival.34 In this movement she skillfully creates melodic phrases of varying lengths that overlap the more conventional eight and sixteen-measure harmonic groupings. Even though these harmonic groupings are generally symmetrical, the chord structures are subtly and constantly varied. When she uses repetition, she re-orchestrates the material. For example, the last sixteen measures are a repeat of the melodic material from the rubato introduction. However, unlike the introduction, she juxtaposes the melodic material with a rhythm section groove. Figures 2.2a and 2.2b show the formal structure of "Night
Watchmen." They are not intended as a comprehensive analysis of the movement, but rather an overview of one of Schneider's extended forms.
In figure 2.2, note that row (1) = sub-structures, (2) = primary structural events,
(3) = pertinent information and (4) - key centres. The key centres are a simplification of the actual chord structures. They are shown to help delineate the form. As previously stated, the melodic phrases often overlap the harmonic form.
34. Maria Schneider, Scenes from Childhood: 2. Night Watchmen (New York: MSF Music, 1996). 34 Fig. 2.2a: "Night Watchmen" formal structure page 1
D m [ 14 (1) motive stated, repeated (a a1 a3) re-orchestrated and varied (a a1 a2) (2) introduction introduction introduction (3) rubato rubato tempo begins (4) B minor d] QLI QO
melody 1 (A) melody 1 variation (A1) mel. 1 development (B) (phrase starts 2nd m.) B minor B minor A minor
46 54 62
6 + 2 measure figure "x" mel. 1 dev. (B1) mel. 1 dev. (B2) development variation of 3 8 and melodic variation melodic fragments fragment of melody 1 overlaps harm, structure lead to solo A|> minor G minor B minor
78 94
tenor sax solo
B minor A minor A|? minor
102 110 142
sax solo continues (interlude) (repeat, to 78) . background figures sax solo ends G minor B minor B minor 35 Fig. 2.2b: "Night Watchmen" formal structure page 2
150 158 166
trumpet solo (32 measures) B minor A minor At minor
174 182 198
backgrounds enter backgrounds cont. G minor B minor A minor
206 | 214 | 224
6 + 2 measure figure "x" •> (end of solo) repetition/variation of mm. 22-37 backgrounds cont. with (10 measures help (A) and (A1) fragments of mel.l set up modulation) At minor G minor C minor-modulation
240 248 256
rep./var. of mm. 38-45 rep./var. of mm. rep./var. of mm. 54- 46-53 61 (B) (B1) (B2) Bt minor A minor At minor
| 264 | 266 | 272
(a a1 a2) repetition (a a a ) repetition sax and tpt. trading of mm. 1-6 of mm. 7-13 (16 measures) rhythm section rhythm section continues time feel continues time feel B minor 36 Her compositions are generally of extended duration, with much of the material being composed (as opposed to short compositions with extended improvisations).35
Improvisation plays an integral role in her compositions. However, the improvisations are woven into the arrangements as important components of the formal structures.
Many of Schneider's compositions reflect experiences in her life. In the liner notes for her Sky Blue recording, she describes how "Cerulean Skies" was inspired by her love ofbirding:
In the first days of writing, I also stumbled upon the gentle piano, accordion and guitar textures you hear at the start. In them, I felt the quivering of tree branches and moist forest air with birds appearing one by one. It didn't take long to realize that the excitement I feel when birding (in Central Park, especially during spring migration) was making itself heard. The piece follows the course of my imagination while watching these creatures.36
Many of Schneider's compositions make use of asymmetrical time signatures or mixed meters. These rhythmic techniques have been used by western art music composers for nearly a century and were explored in the 1950s by the Dave Brubeck
Quartet. The use of asymmetrical time signatures and mixed meters has gained widespread use in jazz since the 1980s by jazz groups such as the Wynton Marsalis
Quartet, the Dan Weiss Trio, the Dave Holland Quintet and Avishai Cohen's bands.
35. The following are running times of some of her compositions: "Dissolution" (running time 20:48) and "Hang Gliding" (13:20) from her recording Allegresse, "El Viento" (11:17) from Coming About, "Buleria, Solea y Rumba" (18:24) from Concert in the Garden and "Cerulean Skies" (21:57) from Sky Blue.
36. Maria Schneider Orchestra, Sky Blue (Artist Share AS0065 compact disc, 2007), liner notes. 37 Figures 2.3 and 2.4 are examples of Schneider's use of these techniques. Figure 2.3 is an excerpt of the piano part from "Hang Gliding."37
Fig. 2.3: "Hang Gliding" (mm. 9-16)
^pppwii PPP wm Piano
•nM i i d i i ^ PED. * PED. *
jw ±%y. ^m uj, jp J;:ibi> i>J»J i^a .^•'j I I sz 3EEE i PED. * PED. *
Figure 2.4 is an excerpt of the piano part from "Last Season."
37. Maria Schneider, "Hang Gliding" (New York: MSF Music, 1999), 2.
38. Schneider, Evanescence, 273-74. 38 Fig. 2.4: "Last Season" (mm. 41-48)
Piano U\>^~> W ,«a ggimmg -»- dp?
I I 1 ^ mm xf>-
UJ* i>C mm mW ^ ^=t ^m
Another rhythmic technique used by Schneider is the hemiola. Examples of this include "three-over-four" and "four-over-three" rhythms. Figure 2.5 shows the "three- over-four" hemiola. It suggests triple time (three beats) within the 4/4 time signature. The figures are played by saxophones, trumpets and trombones behind the trumpet solo in
"Gumba Blue."39
39. Schneider, Evanescence, 98. 39 Fig. 2.5: "Gumba Blue" (mm. 80-84)
i v &' a & £ V ^ £~ m tr-
PC Hi w-
Figure 2.6 shows the "four-over-three" hemiola. It suggests both duple and quadruple time (two or four beats) within the 3/4 time signature. The figures are played by the saxophone section in "Hang Gliding."40
Fig. 2.6: "Hang Gliding" (mm. 502-09)
Sop1 \>P' #•' DC Sop 2 ^—p. s £ Ten1 Esg ^ Ten 2 m
Bari >H FT r P £—£ l=i ^
40. Schneider, "Hang Gliding," 33. Her harmonic language draws from both functional and "post-functional" harmonic concepts. In the previous figure 2.2 the harmony is generalized into key
centres. The harmonic motion in "Night Watchmen" is in fact far more complex. Figure
2.7 shows the chord structures that Schneider writes over a B pedal in the bass. This example illustrates her use of fourths and minor seconds within many of the chord structures, her use of density and dissonance, and her use of chromaticism to create complex harmonic motion over a static bass pedal. The chords indicated in the bass part are part of Schneider's score.41
41. Schneider, "Night Watchmen," 5. 41 Fig. 2.7: "Night Watchmen" (mm. 30-37)
Hk ttiufo id?,g^*g~ fc g ..f: .£ Gtr. 1- rever^^ s tf
^ 35:= ^^ w J j jJW pp Pno. 3=1
BMI BMI (DVB) Bass ^jyyy ^ I ^ ^ ^ ylyyyyl /// /
•t; i. Cd f fi
D/B DVB C/B V: ////| / S S / • \ / / / / \S / / / 42 Like Evans, Schneider has created a distinctive sound that synthesizes elements of jazz, western art music, popular and cross-cultural music. Compositions such as
"Buleria, Solea y Rumba" and "Aires de Lando" feature the cajon drum and borrow from flamenco and Peruvian music. "The Pretty Road" borrows from elements of popular music. All of her music is skillfully crafted and full of spirit. As Schneider stated, "to me, the music is as important as what is being passed through the music. And the music is this conduit for something else deeper. And I don't make music just to make music; I make music to communicate something."42
42. Peterson, Music and the Creative Spirit, 263. 43
PART II. ANALYSIS OF IN THE CURRENT 44 Chapter 3. Compositional Process
1. In the Flow and in the Now
"The most beautiful thing we can experience is the mysterious. It is the source of all true art and science." Albert Einstein43
Evans and Schneider are both highly-skilled composers and orchestrators, yet their music transcends issues of technique. The soundscapes that they have created find commonality in textural intricacy, openness and emotional expression.
The ideals and conception of sound represented in the music of Evans and
Schneider have intrigued and inspired me. Even though these served as inspiration, a conscious effort was made to avoid composing music "in the style" of the two composers.
Instead, In the Current reflects and communicates my own life experiences while being influenced by the aesthetics, styles and techniques of Evans and Schneider. As previously discussed, both Evans and Schneider have strong roots in the past and have created music that is uniquely their own.
Individualism is vital in jazz; most of the major figures were innovators. Wayne
Shorter said, "we have the gift of life, but... what kind of gift can we give back to life?
...The one thing... that we can give is originality."44 Or, as Duke Ellington eloquently put
43. Mark Booth (Editor), What I Believe: 13 Eminent People of Our Time Argue for Their Philosophy of Life (New York: Crossroad Publishing, 1984), 27.
44. Wayne Shorter, Wayne Shorter: Live in Paris, DVD, directed by Marie-Pierre Jaury (Paris: Arte France/Pointe du Jour France, 2004). 45 it: "I don't play jazz, I play Duke Ellington."45 In his book Free Play, Stephen
Nachmanovitch states, "the creative process is a spiritual path. This adventure is about us, about the deep self, the composer in all of us, about originality, meaning not that which is all new, but that which is fully and originally ourselves."46
The idea of expressing one's own experiences is not only important to the composer's end-product but to the compositional process. The title In the Current is significant relative to the compositional process. "Current" is defined as "a course or direction" and "now passing; of the present time."47 In context of the compositional process, I interpret these meanings as "flow" and "now." "Flow" refers to the flow of creativity, the flow of impulses traveling through the body and mind, the "stream of consciousness" and the structural direction of the music itself. "Now" refers to the importance of inhabiting the present moment. This state of being "in the flow" and "in the now"48 has been described by many artists. Glenn Gould used the term "ecstasy" to describe the state of "merging of self with the innerness of the music."49 Fred Hersch depicts being in that state while performing: "at that moment, the music was happening.
Everything just fell into place in my hands and in my head. I felt I was expressing
45. This a commonly quoted phrase in jazz culture.
46. Stephen Nachmanovitch, Free Play: Improvisation in Life and Art (New York: Jeremy P. Tarcher/Putnam, 1990), 13.
47. A.S.Hornby with A.P. Cowie (General Editors), Oxford Advanced Learner's Dictionary of Current English (Oxford: Oxford University Press, 1974), 212.
48. This state is also commonly referred to as being "in the zone."
49. John McGreevy (Editor), Glenn Gould Variations: Glenn Gould by Himself and His Friends (Toronto: Macmillan of Canada, 1983), 195. something with everything I played. When I'm playing well, there's a certain freedom of just being able to do anything, really."50 My process of composing involves a state of relaxed intensity and concentration that is similar to that described in Zen in the Art of
Archery: "when you come to the lessons in the future...you must collect yourselves on your way here. Focus your minds on what happens in the practice-hall. Walk past everything without noticing it, as if there were only one thing in the world that is important and real, and that is archery!"51
2. Conceptual Process
Several artistic goals served as conscious and unconscious guides throughout the realization of In the Current. I wished to explore contrapuntal writing in a jazz context and the timbres inherent in the large ensemble, to find an effective balance between composed and improvised elements, to treat the harmonic language in a linear rather than vertical manner and to investigate less-common models of formal construction. A conscious effort was made to establish cohesiveness and interconnectivity within the suite. Each of these topics will be discussed in chapter four.
The majority of this suite was written during a three-week period in the Canadian
Shield. The setting was ideal for me to conceptualize the musical material. Evans spoke
50. Paul Berliner, Thinking In Jazz: The Infinite Art of Improvisation (Chicago: Chicago UP, 1994), 217.
51. Eugen Herrigel, Zen in the Art of Archery (Toronto: Random House, 1981), 34. 47 of the necessity to take time to formulate an aural conception before writing. In an interview with Raymond Horricks, he states, "sometimes it takes a long time to get the concept of the sound you want - you know, to get it in your mind. Or the pacing of the music. But once it's firmly in your mind it comes out very fast."52
The first movement of the suite was inspired by various interpretations of the title.
While the suite was never intended to be programmatic, the quick tempo and melodic lines of this movement were influenced in particular by the beauty and energy of fast- paced river currents and shifting patterns of water and sunlight.
The idea of correlated streams of thought converging into a whole greater than its parts characterizes the second movement "Parallel Streams." The main melodic theme came to me while improvising on piano and the repeated melodic figure used in the latter portion of the movement came to me unexpectedly while canoeing. I discovered later that these two streams of thought were intrinsically connected. The movement is intended to flow along peacefully, with each new melodic statement growing out of the previous material.
The title of the third movement is an anagram derived from Gil Evan's birth name
Ian Ernest Gilmore Green. Perhaps more than any other movement in this suite, "Re- emerging Linear Tones" integrates specific stylistic features and orchestration techniques used by Evans in his collaborations with Miles Davis.
The inspiration for the fourth movement "Still Waters Run Deep" came from standing on the shore of a quiet lake at dawn. I felt that the lake held more potent energy
52. Hicock, Castles Made of Sound, 58. 48 than it revealed. Rabindranath Tagore wrote, "Not hammer-strokes, but dance of the water sings the pebbles into perfection." This piece is dedicated to the memory of my father who, in his gentle way, taught me to appreciate the depth of nature.
The title of the fifth and final movement, like all of the titles, is a play-on-words.
"Re:currents" recapitulates previous thematic material but presents it in a new manner. In a metaphorical sense, I envision the music as having flowed downstream, transforming into something new while being linked to what has come before it.
53. Rabindranath Tagore, The One and the Many, (Calgary: Bayeux Arts, 1997), 66. 49 Chapter 4. Analysis of the Music
1. Instrumentation
In the Current is scored for twelve instrumentalists. This situates it between the small jazz group and the jazz orchestra. The small jazz group format was codified in the
1920s by such groups as Jelly Morton and His Red Hot Peppers54 and Louis Armstrong's
Hot Five and Hot Seven. The format commonly ranges from trios to septets and includes
such groups as the Benny Goodman Trio, the Charlie Parker Quintet, the John Coltrane
Quartet and the Miles Davis quintets and sextets. The conventional jazz orchestra format
of four to five reeds, four trombones, four to five trumpets and rhythm section was
established in the 1940s by such ensembles as Woody Herman's Thundering Herd and the
Stan Kenton Orchestra. Groups in the middle ground between the small jazz group and
the jazz orchestra include the Miles Davis nonet (Birth of the Cool), the Gerry Mulligan
Tentet, the Rob McConnell Tentet, the Gil Evans and Ten ensemble and early big bands
such as the Benny Goodman band and the Fletcher Henderson Band. Henderson's band
included eight horns and a four-piece rhythm section.
The choice of instruments for In the Current bears close resemblance to the Davis
nonet and to the Gil Evans and Ten ensemble. Davis's group included trumpet
(flugelhorn), french horn, trombone, tuba, alto saxophone, baritone saxophone, piano,
acoustic bass and drums. Evans's group included two trumpets, french horn, trombone,
bass trombone, soprano saxophone, alto saxophone, bassoon, piano, acoustic bass and
54. Morton's group included trumpet, clarinet, trombone, piano, acoustic bass, banjo and drums. 50 drums. In the Current includes trumpet (flugelhorn), french horn, trombone, tuba, saxophone I (soprano saxophone, alto saxophone, flute and bass clarinet), saxophone II
(soprano saxophone, tenor saxophone and flute), baritone saxophone, guitar, vibraphone
(marimba), acoustic bass, drum set and percussion.
I chose trumpet, french horn, trombone and tuba to achieve a cohesive brass section sound and to take advantage of the unique timbres of the instruments. The various woodwinds provide a large palette of tonal colours while also giving a unified sectional sound. The guitar and vibraphone are used sparingly for harmonic support and for desired effects. For example, the marimba part in "Parallel Streams" is integral to that arrangement. I chose guitar and vibraphone rather than piano primarily to avoid the sonic weight that piano can potentially bring to an ensemble. Bass, drums and percussion provide the rhythmic and harmonic foundation to the group while offering a wide variety of timbres. The acoustic bass parts include arco and pizzicato passages. The drum part includes the use of mallets, blastix, brushes and other devices. The percussion part includes triangle, congas, shakers, dumbek, shells and other sonic effects. All of the instruments chosen for In the Current are acoustic with the exception of electric guitar.
The purpose is to take advantage of the rich overtones of acoustic instruments.
The instrumentation presented some challenges. The use of acoustic bass, baritone saxophone and tuba (all "low-end" instruments) has potential for sonic muddiness.
To solve this challenge, the tuba and baritone saxophone occasionally alternate (see measures 23-38 of the "Still Waters Run Deep" score for example). At other times they are voiced in distinct frequencies. In figure 4.1 below (shown in concert pitch), the 51 acoustic bass is voiced below the tuba and baritone saxophone. Acoustic bass provides the root, tuba provides the fourth and baritone saxophone provides the flat-seventh of the
B suspended sonority.
Fig. 4.1: "Still Waters Run Deep" voicing (mm. 43-44)
7 fadd13\ B sus\add10/ C/F« £ i A r t
^ f f
flute acoustic bass tuba baritone saxophone
Another challenge inherent to this instrumentation is the balance among the brass instruments. The french horn is generally less audible relative to trumpet, trombone or tuba. To compensate, the horn is sometimes voiced above the trombone and tuba. Less occasionally it is voiced above the trumpet. Figure 4.2 illustrates a brass voicing that includes, from top to bottom, french horn, trumpet, trombone then tuba. 52 Fig. 4.2: "In the Current" orchestration (mm. 10-13)
10
At other times the french horn maintains its own melodic identity distinct from the other brass instruments and woodwinds. Figure 4.3 is an excerpt from "Re-emerging
Linear Tones" illustrating this melodic independence.
Fig. 4.3: "Re-emerging Linear Tones" french horn part (mm. 47-50)
french horn part
The flutes are generally quieter than the other instruments. This was solved by orchestrating the instruments, including the flutes, in appropriate ranges and with dynamic indications to achieve a blend. Although the instrumentation presented some challenges, the rich textural nuances available far outweighed any orchestration concerns. 53 2. Motivic connections and thematic development
It was my aim to interrelate the five movements of In the Current using melodic, harmonic, rhythmic, formal and textural motives. The motives presented in the first forty- eight measures constitute the majority of material that is consequently varied and developed throughout the suite. Each movement is intended to "emerge" as seamlessly as possible from the previous movement and to grow organically out of the previous material. In performance, there is no pause between movements. The suite should be perceived as one continuous piece in five parts. Selected examples of the primary motives are discussed below.
Fourth motive
The fourth motive is introduced in measure 3 of "In the Current" and subsequently developed and varied throughout the suite. Figure 4.4 shows consecutive perfect fourths beginning on beat three.
Fig. 4.4: "In the Current" fourth motive (m. 3) 54 The fourth motive recurs with variation in the saxophone melody in measures
10-11 of the same movement. The arrow indicates the connection of the G and C on beats four and five of measure 10 to the F on the "and" of two in measure 11.
Fig. 4.5: "In the Current" fourth motive (mm. 10-11)
The motive is restated in a varied form in measures 16-17 of "In the Current" as shown in figure 4.6.
Fig. 4.6: "In the Current" fourth motive (mm. 16-17)
£. y bB: f^ » ^ i
The fourth motive generates melodic and harmonic material throughout the other movements. Examples include the trombone part in measures 63-66 of "Parallel
Streams," the french horn part in measure 58 of "Re-emerging Linear Tones," the flute part in measures 35-50 of "Still Waters Run Deep" and the tenor saxophone part in 55 measures 22-28 of "Recurrents." Figure 4.7 shows the fourth motive as played by trumpet, alto saxophone and trombone in measures 53-56 of "Parallel Streams."
Fig. 4.7: "Parallel Streams" fourth motive (mm. 53-56)
h h |H PZ*ips i 'T r 'T V * *' H^T" \ w ^ff
The fourth motive is used harmonically. The chord played by the brass and guitar in measure 10 of "In the Current" is a disguised fourth voicing. By shifting the E|> down an octave as in figure 4.8, the voicing is seen as a series of fourths.
Fig. 4.8: "In the Current" fourth motive chord structure (m. 10)
£ # Q5=
o- ^^ 17-TT- 56 Figure 4.9 is an excerpt from "Still Waters Run Deep." Some notes have been shifted by an octave from the score to once again demonstrate that the chords are made up of consecutive fourths.
Fig. 4.9: "Still Waters Run Deep" fourth motive (mm. 35-37)
3Z* b it d >r- mm^ 3E= *g=gr ""t v 'i£
¥*wm,
Augmented scale motive
The Augmented scale shown in figure 4.10 below is developed and varied throughout the suite.
Fig. 4.10: F Augmented scale w=mi 57 Figure 4.11 shows the first occurrence of melodic material derived from the
Augmented scale. G# and C# are enharmonically spelled.
Fig. 4.11: "In the Current" Augmented scale motive (mm. 30-33)
m£ C ir pypf ^p J^ njp ^
The intervallic structure inherent to this scale becomes pivotal to measures 9-12 of "Parallel Streams," as illustrated in figure 4.12 below. Both parts are written for C flutes.
Fig. 4.12: "In the Current" Augmented scale motive (mm. 9-12)
frg^ ^ wzm n-r-rrr
fei [' fU.Jij]: li* ^ HI
The first theme of "Re-emerging Linear Tones" consists largely of the notes found in an F Augmented scale. Figure 4.13 shows an excerpt of the theme. 58 Fig. 4.13: "Re-emerging Linear Tones" Augmented scale motive (mm. 6-15)
fl TT-f w=a
SEE M
With the exception of a single note (the G natural circled below) the second theme in "Re-emerging Linear Tones" consists entirely of notes from an F Augmented scale.
Figure 4.14 shows the theme played by trumpet. 59 Fig. 4.14: "Re-emerging Linear Tones" Augmented scale motive (mm. 54-79)
\- i Mfyf -[^^ 3=E
xx: ^ U \\' ^ "T
— 3. 3=5 W a
f • ^ f? > * J'|L,l- Jl ^ hsm • J \ «- 7* =5=^ P F^ lUif pvf.§v upgP •©-
Fragments of C and G Augmented scales are used in the bass/tenor soli in
"Re:currents." The fragments are indicated in figure 4.15. Fig. 4.15: "Re:currents" Augmented scale motive (mm. 44-49)
C Augmented scale ' G Aug. scale fragment £ £k£ P *l> fe iot Hi ^ fe* G (El>) Augmented scale C Aug. scale fragment #—tut ^ fefe ^ (1|J- U
The Augmented scale motive is present in harmonic contexts. The first cadence point of the theme is an E major-seventh #5 chord. This chord contains an augmented triad with an added seventh. This chord is shown in figure 4.16.
Fig. 4.16: "Still Waters Run Deep" Augmented scale motive (m. 38)
m itj- «s
5ni 61 The bass solo in "Parallel Streams" features a chord progression based on the
Augmented scale melodic motive. The relationship of the key centers C minor, E minor and Al> minor is by the interval of a major third. In addition, the C minor, E minor and A|> minor chords all move down by the interval of a major third to a |?VI major-seventh chord. The chord progression is shown in figure 4.17.
Fig. 4.17: "Parallel Streams" Augmented scale motive (mm. 69-92)
59I Bass solo 7 CMI Ah-'MA V: t / *f / / 1 / / / / 1 / / '' >' I y >' y y
AMI11 k) y y y y I y y y y \ y y y y \ y y y y
7 1MI Cr-• MA ") y y y y I y y y y I y y y y I y y y y
11 DtMi ^ J: / / / /\/ y y y I y y y y I y y y y
Ah'M l Ef;M.AJ »J: y y y y l y y y y I y y y y I y y y r
FMI11 y / / / / i / / A / / / / =/ y y ,E 62 Phrygian motive
The Phrygian sound is first introduced in measures 5-6 of "In the Current." It is subsequently developed in melodic and harmonic form. Both forms will be discussed.
Figure 4.18 shows the Phrygian tetrachord stated melodically by trumpet and trombone.
Fig. 4.18: "In the Current" Phrygian motive (mm. 5-6)
Tetrachord ascending descending
The Phrygian tetrachord is used melodically in various harmonic contexts. Figure
4.19 shows the tetrachord used over an E[> suspended sonority.
Fig. 4.19: "In the Current" Phrygian motive (mm. 18-19) 63 The Phrygian tetrachord recurs in the "bridge" section of "In the Current," as shown in figure 4.20.
Fig. 4.20: "In the Current" Phrygian motive (mm. 41-42)
m 3Efe j-£r J'J
The Phrygian tetrachord is used in the first theme of "Re-emerging Linear Tones,"
stated by trumpet. The tetrachord can be seen in figure 4.21.
Fig. 4.21: "Re-emerging Linear Tones" Phrygian motive (mm. 29-32)
fUJ- J
In other instances, notes are derived from the Phrygian scale. This is the case in measures
1-7 of "Rexurrents," as shown in figure 4.22. All of the notes are derived from the G
Phrygian scale. 64 Fig. 4.22: "Re:currents" Phrygian motive (mm. 1-7)
= I v *->— XT TW § •* •&
The Phrygian motive is developed harmonically. Although not explicitly stated, the chord symbol in fig. 4.23 carries implications of the Phrygian scale. This is a common convention used by contemporary jazz improvisers.
Fig. 4.23: Phrygian motive harmonic implications
D7susW H ^m TJ- FP
This harmonic version of the Phrygian motive is used throughout the suite.
Examples in "In the Current" include measures 5-6, measure 13, measures 41-42,
measure 60 and the harmonic basis for the tenor saxophone solo. Other examples can be
found in measure 40 (CVB|>), measure 48 (EUD) and measures 76-77 of "Still Waters
Run Deep" and throughout "Rercurrents." Figure 4.24 shows the Phrygian motive used
harmonically in measures 72-75 of "Re:currents." 65 Fig. 4.24: "Re:currents" Phrygian motive (mm. 72-75)
D7sus
The "shout chorus" of "Re:currents" uses the Phrygian motive both melodically and harmonically as shown below in figure 4.25.
Fig. 4.25: "Re:currents" Phrygian motive (mm. 173-176)
ijir P*ffr ^^ P w •3- Q 13(1.9) : ^» • '; a,' /' ,< ,< s s s ' 1C* f ^
Hemiola motive
Rhythmic motives introduced in the first movement are developed and varied throughout the suite. One such motive is the hemiola motive. This motive juxtaposes patterns of groups of three within an underlying four-beat pulse or patterns of groups of
four within an underlying three-beat pulse. This is a common musical device and is used 66 extensively by Gil Evans and Maria Schneider. The following figures show occurrences of the hemiola motive throughout In the Current.
Fig. 4.26: "In the Current" hemiola motive (patterns of three-over-four) (mm. 30-
34)
j- J J |J iJ f if P^P['^JH]|»- p|vi,j^=
Fig. 4.27: "Parallel Streams" hemiola motive (patterns of three-over-four and four-
over-three) (mm. 53-56) % fj JY' M'rjr'ry '* ^>Jtr' lr|a H.YY
Fig. 4.28: "Parallel Streams" hemiola motive (pattern of four-over-three) (mm. 99-
102)
Figure 4.29 shows a portion of the score of "Re-emerging Linear Tones." The
example illustrates the use of the hemiola motive stated by saxophone 2, baritone 67 saxophone, trombone and tuba. The motive is used as a background figure for the trumpet solo.
Fig. 4.29: "Re-emerging Linear Tones" hemiola motive (pattern of three-over-four)
(mm. 87-94)
- p I i - | f j =
mf IJ—J— cresc.
tacet 1st X A * •_„,,<* A tiff i-™ •' nj—
V V V V V mf cresc.
tacet 1st * A A A M* A ft tf _ _8f_ frfr
mf cresc.
13 111 7 EM/*" A * FfM G7© CM/** D © El>MA7 Fjtauo GM/*" D/Al> ' 6 Trumpet
tacet 1: tx w ;,».,,—(._l',:,'., TH—iH (ty* IH mf tlJ J cresc.
tacet1 tx A A |A , A l.| A kf I ^
mf cresc.
tacetl IX , A A * A .,* A A A J-— %' ft 1 *Tl ^ tf =- *S ' F ' F •mf cresc.
0 1 7 DM/*" G * ' £7(19) F'GO »JM c (!i) Di>MA Eaug FM/*" C/Fft
«lf 68 Figures 4.30 and 4.31 show the use of the motive once again in background figures for solos.
Fig. 4.30: "Rercurrents" hemiola motive (pattern of six-over-four) (mm. 139-145)
Bb^C*10) B^P*10' C'iu.C"10) Db7®
AftJ"*10' AW*"10' BbW8*10' B7(.1) Fig. 4.31: "Rercurrents" hemiola motive (pattern of three-over-four) (mm. 148-
151)
Percussion solo
ZEES 3^2 3js m ZEES
Dotted quarter/eighth-note motive
A dotted quarter/eighth-note "Charleston" rhythmic figure is used as a motive throughout the suite. Figure 4.32 illustrates select occurrences of the motive in measures
10-11 of the first movement. 70 Fig. 4.32: "In the Current" dotted quarter/eighth-note motive (mm. 10-11)
hoi Double X
w j Soprano] tacetlstX
Double X Cross-stick, h hat and bass drum —J3 ,i ,n~,i
Double X J Triangle 71 The motive occurs in various forms. Figure 4.33 illustrates a variation of the motive. The notes D and C in measure 28 are perceived as of secondary importance to the
G on beat one and the lower G on the "and" of two.
Fig. 4.33: "In the Current" dotted quarter/eighth-note motive (mm. 28-31)
W ^
Figure 4.34 shows the motive as used in the bass line for the saxophone solo in
"In the Current."
Fig. 4.34: "In the Current" dotted quarter/eighth-note motive (mm. 70-73)
')' I » K ^5 ^ -&• mm
Measures 138-39 of "In the Current" bring together the two important rhythmic motives (the three-over-four and dotted quarter/eighth-note motives). Figure 4.35 shows how they are used in the final melodic statement of the movement. Fig. 4.35: "In the Current" dotted quarter/eighth-note motive (mm. 138-140)
!>«r• 1-T8 . f
/•j/.
The dotted quarter/eighth-note motive is used in other movements as shown in figures 4.36 and 4.37.
Fig. 4.36: "Parallel Streams" dotted quarter/eighth-note motive (mm. 37-40)
m )• J>J^uiJ-Y<\ j i3j.j)juY rt~r'^^ 73 Fig. 4.37: "Re-emerging Linear Tones" dotted quarter/eighth-note motive (mm.
115-118)
115 Bass clarinet
tacetlstX
Hjffl i y .
mp
cup mute tacet 1st X 74 The motive is found in the introduction to "Rexurrents." The guitar part is shown below.
Fig. 4.38: "Rercurrents" dotted quarter/eighth-note motive (mm. 1-7)
# XT TW
3. Harmonic language
The harmonic content of the suite is influenced by such jazz composers as Kenny
Wheeler, Wayne Shorter, Vince Mendoza, Keith Jarrett, Maria Schneider and Gil Evans.
It is also informed by my familiarity with the harmonic language of jazz standards, including songs by George Gershwin, Irving Berlin, Cole Porter, Duke Ellington and
Billy Strayhorn.
The introduction to the suite (measures 1-9 "In the Current") uses a modal approach. This approach was previously discussed. Figure 4.39 shows a reduction of the first two measures of "In the Current." Chord structures using the intervals of major and minor seconds are used to create a specific desired sonority. 75 Fig. 4.39: "In the Current" modal approach/chord structures (mm. 1-2)
/C\ aza ffi ^\ ^^ « -^N^W « iF i^tfff iH tJT This modal approach with chord structures based on intervals of major and minor seconds is used in various instances in the suite. Figure 4.40 is an example. It shows a reduction of the background chord structures used during the bass solo in "Parallel
Streams."
Fig. 4.40: "Parallel Streams" modal approach/chord structures (mm. 89-92)
mwm l n^isuB t t'l^jj 2 iVf if£ 33
» • ^t# * m \- u.. i^r il ~ — jl \hr. m =m - Hf? r r r # r—r r 76 The use of chord structures based on intervals of major and minor seconds is evident in some of Maria Schneider's work. Figure 4.41 is an excerpt from her composition "Some Circles."55
Fig. 4.41: "Some Circles" chord structures (mm. 39-40)
U-\ « y !i ^|E tTjz&±: \H m W& 0;HF: f:
The harmonic content of the suite was often arrived at by using a linear rather than vertical approach. Bass lines were conceived primarily as melodies rather than as the roots of vertical chord structures. The melodic motion of the bass line in "Re-emerging
Linear Tones" was arrived at through contrapuntal interaction with the melody stated by trumpet. In turn, the chord progression was dictated by the melodic motion of the bass line.
"Still Waters Run Deep" features a linear and contrapuntal approach to harmony.
The bass line is a melody based on accented appoggiaturas. I intentionally chose chord
structures above the bass line that would allow it to operate in a linear fashion.
Manipulation of the harmonic content plays a central role in this movement. Figure 4.42
55. Maria Schneider, Evanescence, 130. 77 is a score reduction illustrating the contrapuntal interaction of the bass line, melody and other voices.
Fig. 4.42: "Still Waters Run Deep" contrapuntal approach (mm. 35-38)
l\ I,MJ.'J ^ ^.•PZIh^ J
ffi? 3Z2 ^ Pr ttMH*:
J m \?M 'M r'r r 3ZZ2
The Phrygian mode is another element of the harmonic language of the suite. It was previously discussed under the heading "motivic connections and thematic development." I also explored the idea of deriving chords from intervallic structures.
Figure 4.43 illustrates a chord that would be difficult to label using a conventional chord symbol. The chord includes three instances of the interval of a major seventh. 78 Fig. 4.43: "In the Current" intervallic structure (m. 139) n
4. Rhythmic structure
Rhythm plays a pivotal role in the suite. As previously discussed, a number of important rhythmic motives pervade the suite. On a larger scale, the tempi and rhythmic feels of the individual movements are integral to the balance, shape, flow and cohesion of the entire suite.
The tempos of the movements were carefully chosen. The suite is introduced with a brief rubato statement, followed by a shift to a faster tempo in straight-eighths (J =
200). The feel of the second movement differs significantly from the first, principally due to the use of mixed meters and a repetitive pattern stated by the dumbek. The tempo indication for the second movement is J = 170. The third movement is in swing feel at J =
102 for the introductory theme (measures 7-44) and J = 114 for the remainder. The fourth movement features two semi-rubato sections (measures 1-34 and 67-84) along with a theme and solo at a "ballad" tempo (J = 60). The tempo indication of the final movement is J = 230. This movement features a half-time section along with metric modulations.
These will be discussed later. The gradual deceleration of the quarter-note pulse from the second to fourth movements is intentional. In movement five, the return to a tempo similar to that of the first movement is intended to strengthen the sense of a recapitulation.
Time signatures are explored throughout the suite. The first movement alternates the time signatures 7/4 and 4/4. This foreshadows the use of both symmetrical and asymmetrical time signatures in subsequent movements. The second movement features mixed meters of 5/4 and 7/4 along with measures of 3/4 and 4/4. Figure 4.44 shows an excerpt from the second movement to illustrate the use of mixed meters. 80 Fig. 4.44: "Parallel Streams" mixed meters (mm. 53-70)
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s »«- -6* i # iz: ^P 3=£3E S i¥^ ,-- # £
g P^ is J- ¥• n J
ZJC f^dnc *» ^JT » *JJf w=*
&EC m^•o- f=*= m/
The third movement begins in 3/4 and changes to 4/4. The fourth movement is predominantly in 4/4, but includes measures of 2/4 and 3/4. The fifth and final movement is entirely in 4/4 with a section in half-time. "Metric modulation" is one of the prominent 81 features of the half-time section. Metric modulation involves a perceptual shift in the beat value and grouping although the tempo and time signature remain the same. In this case I explore two distinct layers (or steps) of metric modulation. The first layer involves a shift in perception from four-beat groupings to three-beat groupings. The brackets
(these are not found in the score) in Figure 4.45 indicate the three-beat groupings within the 4/4 time signature. In this example the eighth note is considered a beat.
Fig. 4.45: "Re:currents" metric modulation (mm. 72-75)
7 b9 13(b9) D suS( > D , , | | i—— —i i 1 i 1 r 1 CtC. ^^
The second layer of this metric modulation involves joining four of the three-beat groupings into one entity. This creates a new four-beat grouping that is juxtaposed over the original 4/4 time signature. Figure 4.46 shows the bass part, with brackets over the four-beat groupings, as indicated in the score. The drums play the same rhythmic groupings as the bass to strengthen the perception of the superimposed four-beat grouping. The figures that occur in measures 72-74 are reiterated at twice the speed in measures 80-82 and at half the speed in measures 88-89. Fig. 4.46: "Re:currents" metric modulation (mm. 68-92)
Half time BkW*'10'
5^ -©- 68 D7sus Ab7sus(add1°) ™ •* 76 or B«) B 13(1.9) £\.%* • £fi fy-mj|jflpf^^ 80 e=* Bt7sus mo - s^ 7 t9 D sus( > p 13(1,9) Ab7sus(add1°) I**- •&*- ^^ s am 88 £ 83 5. Improvisation and composition Finding an effective balance between composed and improvised material was one of the most difficult challenges in conceptualizing this suite. Improvisation is one of the most important elements of jazz. Pieces that consist of composed material with merely cursory solos are usually unsatisfying to the jazz performer or educated jazz listener. Conversely, pieces featuring extensive improvisation and little written material may lack structural integrity or textural interest. Improvisation plays a vital textural role in the suite. I decided to incorporate extended improvisatory passages within the context of a controlled environment. Most movements feature only one or two soloists who improvise over fixed sections of music. In only a few cases is the form left undetermined. In this manner the balance and flow of the individual movements and the suite in its entirety are not compromised. At the same time, each improviser is allotted enough time to make more than a merely perfunctory statement. 6. Formal structure In designating In the Current a "suite for large jazz ensemble," it became part of a formal construct that is difficult to define or categorize. The Harvard Dictionary of Music defines a suite as "an important instrumental form of baroque music, consisting of a 84 number of movements, each in the character of a dance and all in the same key."56 For example, in each of Bach's 6 Suitenfur Violoncello Solo, the movements begin and end in the same key. Their formal construction is primarily binary. They relate to dance rhythms (such as Courante, Allemande and Gigue). They are also linked through thematic material. A thorough study of the suite as a form is beyond the scope of this paper. However, it is evident that the jazz suite as a form lacks any such specific principles as defines the baroque suite. For example, Duke Ellington's Far East Suite and Black, Brown and Beige, Oscar Peterson's Canadiana Suite and Trail of Dreams, Terence Blanchard's The Malcolm XJazz Suite, Ibrahim Abdullah's African Suite for Trio and String Orchestra, Wynton Marsalis's Blood on the Fields, Vince Mendoza's Bachianas Suite, Phil Nimmons's The Atlantic Suite, Kenny Wheeler's Gnu High and Sweet Suite, Keith Jarrett's Luminessence and Survivor Suite and Miles Davis's Miles Ahead all vary widely in their formal constructs. This presents a unique challenge to the jazz composer interested in exploring extended forms. For In the Current I chose to use formal constructs based on variation and development rather than reiteration. For example, "Re:currents" is in four distinct sections. The first section features a bass and saxophone soli. The second section features a guitar solo over harmonic material borrowed from the first movement. The third section features a percussion solo. The fourth section is a "shout chorus" integrating a new theme 56. Willi Apel (editor), Harvard Dictionary of Music (Cambridge: The Belknap Press of Harvard University Press, 1972), 814. 85 with a modified recapitulation of one of the themes from "In the Current." This form develops and evolves in the manner of many of Schneider's compositions. An overview of the formal construction of each of the movements is shown in figures 4.47 to 4.51. The significant time signatures and tempo indications are indicated. Themes are numbered and other elements significant to form are indicated. 86 Fig. 4.47: "In the Current" formal structure n un 10 (second time) Theme 1 Theme 2 (saxes) and 4 introduction 7 (bass & baritone sax) Theme 1 4 rubato 4 J = 200 saxes in unison octaves 28 50 UD bridge Theme 2 and interlude 4 melody Theme 1 saxes in fourths 74 98 sax solo continues tenor sax solo with Theme 2 motive 112 140 sax solo continues with Theme 2 motive transitional chord and fifths in bass to movement two 87 Fig. 4.48: "Parallel Streams" formal structure 1~1 13 5 7 introduction transition section 4 4 J =170 |37 45 53 Theme 3 (A) Theme 3 (A1) Theme 3 (B) mixed meters 69 99 103 | alto sax solo 5 7 bass solo 3 transition marimba pattern 4 4 109 142 145 alto sax solo continues alto sax solo ends with marimba pattern b.g. figures end transition to and background figures marimba pattern movement three continues 88 Fig. 4.49: "Re-emerging Linear Tones" formal structure D T\ 45 Theme 4 3 introduction (trumpet) 4 interlude 4 rubato J =102 4 J = 114 55 79 87 Theme 5 trumpet solo over trumpet solo over (trumpet) interlude Theme 5 chord prog. TTT1 133 Theme 6 transition to (tuba and bass clarinet) movement four 89 Fig. 4.50: "Still Waters Run Deep" formal structure T~| 35 Chorale 1 Theme 7 (A B A1) transition 3 4 (no rhythm section) (flute & soprano sax) 4 rubato 4 4 J = 60 mixed meters 51 67 85 tenor sax solo over Chorale 2 Theme 7 (B A2) Theme 7 chord prog. (no rhythm section) (flute & soprano sax) ~94\ transition to movement five 90 Fig. 4.51: "Retcurrents" formal structure D 64 Theme 8 transition introduction (bass & tenor sax soli) tutti unison figure a J = 230 68 100 146 guitar solo over variation of Theme 1 guitar solo continues transition chord prog. with background figures tutti unison figure b half-time with half-time ends metric modulations 148 169 percussion solo Theme 9 with background figures (shout chorus) 169 (2^nur time ) 211 Theme 9 and Theme 2 variation final chord 91 Score format The score format for In the Current is based on a model adopted by a number of present-day jazz composers, including Vince Mendoza and Maria Schneider. This model has no key signatures in the score or parts even though both are transposed. This does not imply that the music is atonal. Even though most of their music is tonal, the chromatic nature of many of their melodies and their extensive use of non-functional harmony warrant this approach, making the scores and parts easier to read. The rationale is that a part with both a key signature and numerous accidentals is more difficult to read than a part with accidentals and no key signature. CONCLUSION The works of both Gil Evans and Maria Schneider constitute pinnacles of artistic achievement in the catalogue of music for large jazz ensemble. A study of their work, including specific musical examples, revealed aspects of their aesthetics, styles and techniques. An analysis of In the Current illustrated its compositional structure and its connections to the ideologies of Evans and Schneider. These and further connections can be summarized. The instrumentation of In the Current is closely tied to the instrumentation of the Birth of the Cool nonet and the Gil Evans and Ten group. The twelve-piece ensemble that constitutes the suite is smaller in size than the Maria Schneider Orchestra. However, the cross-sectional approach to orchestration and the small-group feel of many of Schneider's compositions is similar to In the Current. The harmonic language of In the Current is influenced by the harmonic innovations of Evans and Schneider. Minor and major second or fourth chord structures, an emphasis on linear motion and a modal approach are several of the harmonic aspects that link the suite to these composers. The chord qualities and progressions they choose are essential to the atmosphere and emotional content of their works. This link of harmony to the atmosphere and mood is an important facet of my own work. As previously discussed, one of my aims was to explore contrapuntal writing in a jazz context. The examples of Evans and Schneider in conjunction with the techniques of twentieth-century composers such as Stravinsky, Bela Bartok and Arnold Schoenberg provided inspiration for my approach. Achieving a balance between improvised and composed elements was a major consideration in the conception of the suite. The compositions and arrangements of both Evans and Schneider weave improvisation into carefully designed forms. Schneider's compositions often feature lengthy single improvisations within the framework of the composed material. Evans also frequently features one or two soloists, such as in his arrangements for Miles Davis, Kenny Burrell and his own ensembles. In doing so, Schneider and Evans allow the soloist(s) to make a substantial contribution to the overall effect of each piece. Similarly, the movements of In the Current feature one or two soloists within the texture of each composition. The use of motivic development and variation as a formal construct plays a large role in many of Schneider's compositions. The cohesion of Evans's works can be attributed to his skill in constructing arrangements from a minimal amount of motivic material. As previously discussed, a number of motives serve to interconnect the five movements of In the Current. In addition, the formal constructions of many of the movements are based on development and variation. Evans and Schneider have studied and therefore incorporated into their music elements of western art music, popular music, folk music and music from other cultures. Evans synthesized elements of flamenco and Spanish orchestral and folk music for Miles Davis's Sketches of Spain. His affinity for popular music is evidenced in his recording Gil Evans Plays the Music ofJimi Hendrix. Schneider's compositions such as "Pretty Road," 94 "Aires de Lando" and "Buleria, Solea y Rumba" reflect her interest in music outside of jazz. In the Current is influenced and informed by many styles of music. It attempts to amalgamate jazz ideals with features such as western art music techniques, Cuban tumbao patterns and ideas from popular music. In the Current incorporates rhythmic elements such as asymmetrical time signatures, mixed meters, hemiolas and metric modulation. All of these are found extensively in Schneider's compositions and occasionally in Evans's compositions. "Re- emerging Linear Tones" is influenced by Evans's rhythmic treatment of "Buzzard Song." The intro in 3/4 is followed by a shift to 4/4 in both. The use of hemiolas implying three- over-four is also found in both. The rhythmic languages of the two composers are informed in part by the conventions of their time. Schneider's first recording as a leader was released in 1994 and Evans began writing for radio broadcasts in the 1930s. Although advanced rhythmic concepts such as metric modulation were used much earlier by western art music composers and by a small number of jazz musicians, they have only been accepted into mainstream jazz vocabulary since Wynton Marsalis's Standard Time Vol. 1 was released in 1987. It is natural that Schneider's rhythmic language would incorporate these and other advanced concepts. Further research into the rhythmic language that links and separates the two would reveal further important insights. Gil Evans adopted new ideas and sounds throughout his career and in doing so revolutionized jazz. His innovations continue to influence composers, arrangers and performers. Maria Schneider's work is informed by Evans and embodies contemporary harmonic, melodic, textural, formal and rhythmic ideals. She also continues to expand the 95 vocabulary of jazz. The following passage, originally written about language, has a potent applicability to music: "[music] is perpetually in flux: it is a living stream, shifting, changing, receiving new strength from a thousand tributaries, losing old forms in the backwaters of time."57 If the idea of a river and its tributaries metaphorically representing the intersections and collective direction of music cross-culturally, cross-stylistically and from the past and present is accepted, then the tributaries of Evans and Schneider form part of the past, present and future of jazz. 56. William Strunk Jr. and E.B. White, The Elements of Style (New York: The Macmillan Company, 1959), 69.1 have substituted "music" for "the language." 96 BIBLIOGRAPHY Apel, Willi (Editor). Harvard Dictionary of Music. Cambridge: The Belknap Press of Harvard University Press, 1972. ArtistShare. "The Live Project: Live at the Jazz Standard Participant." 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Berkeley: University of California Press, 1993. Grove, Dick. Arranging Concepts Complete. Van Nuys, CA: Alfred Publishing, 1985. Hentoff, Nat and Albert J. McCarthy. Jazz: New Perspectives on the History of Jazz by Twelve of the World's Foremost Jazz Critics and Scholars. New York: Da Capo Press, 1959. Herrigel, Eugen. Zen in the Art of Archery. Toronto: Random House, 1981. 97 Hicock, Larry. Castles Made of Sound: The Story of Gil Evans. Cambridge, MA: Da Capo Press, 2002. Hornby, A.S. with A.P. Cowie (General Editors). Oxford Advanced Learner's Dictionary of Current English. Oxford: Oxford University Press, 1974. Horricks, Raymond. Gil Evans. New York: Hippocrene Books, 1984. Kahn, Ashley. Kind of Blue: The Making of the Miles Davis Masterpiece. New York: Da Capo Press, 2000. Lajoie, Steve. Gil Evans and Miles Davis: Historic Collaborations: An Analysis of Selected Gil Evans Works 1957-1962. Germany: Advance Music, 2003. LaRue, Jan. Guidelines for Style Analysis. New York: W.W. Norton and Company, 1970. MacDonald, Malcolm. Schoenberg. London: J.M. Dent & Sons, 1976. McGreevy, John (Editor). Glenn Gould Variations: Glenn Gould by Himself and His Friends. Toronto: Macmillan of Canada, 1983. Nachmanovitch, Stephen. Free Play: Improvisation in Life and Art. New York: Jeremy P. Tarcher/Putnam, 1990. Owen, Harold. Modal and Tonal Counterpoint From Josquin to Stravinsky. Belmont, CA: Schirmer, 1992. Peterson, Lloyd. Music and the Creative Spirit: Innovators in Jazz, Improvisation, and the Avant Garde. Oxford: The Scarecrow Press, 2006. Piston, Walter. Counterpoint. New York: W.W. Norton and Company, 1947. Riddle, Nelson. Arranged by Nelson Riddle. Miami: Warner Bros., 1985. Sales, Grover. Jazz: America's Classical Music. Englewood Cliffs, New Jersey: Prentice- Hall, 1984. Schoenberg, Arnold. Fundamentals of Musical Composition: edited by Gerald Strang and Leonard Stein. London: Faber and Faber, 1967. Shorter, Wayne. Wayne Shorter: Live in Paris. DVD. Directed by Marie-Pierre Jaury. Paris: Arte France/Pointe du Jour France, 2004. 98 Stein Crease, Stephanie. Gil Evans: Out of the Cool: His Life and Music. Chicago: A Cappella Books, 2002. Strunk, William Jr. and E.B. White. The Elements of Style. New York: The Macmillan Company, 1959. Tagore, Rabindranath. The One and the Many: translations by William Radice and Ketaki Kushari Dyson. Calgary: Bayeux Arts, 1997. Wellesz, Egon (translation W.H. Kerridge). Arnold Schonberg. New York: Da Capo Press, 1969. Wingell, Richard J. Writing About Music: An Introductory Guide. Englewood Cliffs, New Jersey: Prentice-Hall, 1990. Wolfe, Tom. The Painted Word. New York: Farrar, Straus and Giroux, 1975. Wright, Rayburn. Inside the Score. Delevan, NY: Kendor Music, 1982. DISCOGRAPHY Babitt, Feldman, Mosko, Alexander and Cage. None but the lonely flute. Dorothy Stone, flute. New World Records 80456-2 compact disc, 1994. Bartok, Bela. String Quartets (Complete). Vermeer Quartet. Naxos 8.557543-44 compact disc, 2005. Blanchard, Terence. The Malcolm XJazz Suite. Columbia CK 53599 compact disc, 1993. Burrell, Kenny. Guitar Forms. Verve 825576-2 compact disc, 1985. Carter, Elliot. Chamber music for winds. Ensemble contrasts. CPO 999 453-2 compact disc, 1998. Copland, Aaron. The Music of America. Cincinnati Pops Orchestra directed by Erich Kunzel. Telarc CD-80339 compact disc, 1995. Davis, Miles. Birth of the cool. Capitol Jazz CDP 7 92862 2 compact disc, 1989. Davis, Miles and Gil Evans. The Complete Columbia Studio Recordings. Sony Music Entertainment 67397 (set of 6 compact discs), 1996. Ebony Band conducted by Gunther Schuller. City of Glass. Channel Crossings CCS 6394 compact disc, 1994. Ellington, Duke. The Duke Ellington Carnegie Hall Concerts, January 1943. Prestige 2PCD-34004-2 two compact disc set, 1977. Evans, Gil. Blues in Orbit. Enja R279611 compact disc, 1985. . Gil Evans & Ten. Prestige OJCCD-346-2 compact disc, 1957. . Great Jazz Standards. CDP74 6856-2 compact disc, 1990. . Live at the Public Theater, New York, 1980, Vol. 1. Evidence 22089 compact disc, 1992. . Out of the Cool. Impulse 254 615-2 compact disc, 1987. . Priestess. Antilles 422-826770-2 compact disc, 1983. . Svengali. ACT 9207-2 compact disc, 1993. . The Individualism of Gil Evans. Verve 833 804-2 compact disc, 1988. Evans, Gil and Julian "Cannonball" Adderley. New Bottle, Old Wine. EMI/Manhattan CDP 746855 2 compact disc, 1988. Gershwin, Bernstein, Copland. The American Connection: Royal Philharmonic Orchestra conducted by Carl Davis. Centurion Music 6169 3-compact disc set, 2000. Goodman, Benny. Collector's Edition: Compositions and Collaborations: Bartok, Bernstein, Copland, Gould, Stravinsky. CBS Masterworks MK 42227 compact disc, 1986. Hugh Fraser and the Vancouver Ensemble of Jazz Improvisation. VEJINOW! Unity 114 compact disc, 1990. Ibrahim, Abdullah. African Suite for Trio and String Orchestra. Justin Time JTR 8472-2 compact disc, 1999. Jamal, Ahmad. Chamber Music of the New Jazz. Verve B0002682-02 compact disc, 2004. Kenton, Stan. The Stan Kenton Story (compilation). Proper Records Properbox 13 4- compact disc set, 2000. MacDonald, James. French Horn Sans Frontieres. ALOFT 0412 compact disc, 2004. Maria Schneider Jazz Orchestra. Coming About. Enja ENJ-9069 2 compact disc, 1996. . Evanescence. Enja ENJ-9048 2 compact disc, 1994. Maria Schneider Orchestra. Concert in the Garden. Maria Schneider 0001 compact disc, 2004. . Live at the Jazz Standard: Days of Wine and Roses. Artist Share 0017 compact disc, 2000. . Sky Blue. Artist Share AS0065 compact disc, 2007. Marsalis, Wynton. Blood on the Fields. Columbia CXK 57694 3 compact disc set, 1997. 101 . Standard Time Volume 1. Columbia CM 40461 Mini Disc, 1987. Mendoza, Vince. Epiphany. London Symphony Orchestra. A Michael Watt Production MWPCD2 compact disc, 2004. Mingus, Charlie. The Black Saint and the Sinner Lady. MCA/Impulse! MCAD-5649 JVC-462 compact disc, 1986. Mott, David. The Sky Ringing in An Empty Bell. York Artists Signature Series compact disc, no date. New World Symphony conducted by Michael Tilson Thomas. New World Jazz. BMG 09026-68798-2 compact disc, 1998. Nimmons, Phil. The Atlantic Suite: Suite PEL Tributes. Sackville Sk2CD 5003 two compact disc set, 1996. Oscar Peterson Trio. Canadiana Suite. PolyGram/Limelight 422 818 841-2 compact disc, 1965. Schonberg, Arnold. Verklarte Nacht: Kammersymphonie Nr. 2. The Chamber Orchestra of Europe directed by Heinz Holliger. Teldec 9031-77314-2 compact disc, 1992. Schuller, Gunther. Cage, Carter, Babbitt, Schuller. Chicago Symphony Orchestra directed by James Levine. Deutsche Grammophon 431 698-2 compact disc, 1994. . Of Reminiscences and Reflections. New World Records 80492-2 compact disc, 1995. . Jumpin' in the Future. GM Recordings GM3010CD compact disc, 1988. . The Birth of the Third Stream. Columbia CK 64929 compact disc, 1996. Shostakovitch, Dmitri. Symphony No. 11, Op. 103: Jazz Suite No. I, Jazz Suite No. 2 directed by Mariss Jansons. EMI 7243 5 55601 2 4 compact disc, 1997. True North Brass. Strong and Free. Opening Day Recordings ODR 9320 compact disc, 2000. Zuk, Zbigniew. Horn dessous. Katowice Radio Symphony Orchestra - Dir. Zdzislaw Szostak. Zuk Records 070379 compact disc, 1994. 102 SCORES Bach, J.S. 371 Vierstimmige Chorale. Wiesbaden, Germany: Breitkopf & Hartel, no date. Bartok, Bela. String Quartets Nos. 1 and 2. Mineola, NY: Dover Publications, 2004. Beethoven, Ludwig Van. Complete String Quartets. New York: Dover Publications, 1970. Davis, Miles. Birth of the Cool: Scores from the Original Parts. Milwaukee: Hal Leonard Corporation, 2002. Debussy, Claude and Maurice Ravel. String Quartets by Debussy and Ravel. New York: Dover Publications, 1986. Ellington, Duke. Caravan. Miami: Warner Bros. Publications, 1997. . In a Mellow Tone. Miami: Warner Bros. Publications, 1998. Evans, Gil. The Gil Evans Collection: 15 Study and Sketch Scores from Gil's Manuscripts. Milwaukee, WI: Hal Leonard Corporation, 1996. Gardner, John and Simon Harris. A Cappella-An Anthology of Unaccompanied Choral Music From Seven Centuries. Oxford: Oxford University Press, 1992. Schneider, Maria. Evanescence: Complete Scores. Germany: Universal Edition, 1998. . Hang Gliding. New York: MSF Music, 1999. . Scenes From Childhood: 2. Night Watchmen. New York: MSF Music, 1996. Wheeler, Kenny. Collected Works on ECM. Germany: Universal Edition, 1997. 103 PART III. IN THE CURRENT SCORES IN THE CURRENT: JAZZ SUITE FOR LARGE ENSEMBLE by MICHAEL DOWNES 2008 TRANSPOSED SCORE Instruments: Woodwind I (alto saxophone, soprano saxophone, C flute, bass clarinet) Woodwind II (tenor saxophone, soprano saxophone, C flute) Baritone saxophone Trumpet (flugelhorn) French horn in F Trombone Tuba Acoustic bass Drum set Percussion Guitar Vibraphone I. In the Current Mike Downes Trumpet floor torn roll To sticks Mallets (on cymbals) Mallets on toms rm rm, J j \ .rm rm.;• h n. .1 n j-m.i J * ,n. 106 In the Current Straight 8th's(J-c 100) (J-c.200) [To] Double X Drums set up time Tpt. Drums set up time ~ifi°^ ~^= 'F.'iil'jry^ i Cl'HUlj J LLJ. Double X Bass/bari soli [Triangle I Drums sat up time J 1JJ ff 107 In the Current \>4T iH» •" m \,f n A ,i ,n~i ,,i n 108 In the Current w- 109 In the Current *5W13 5 w= ?m -j— —J- 110 In the Current 111 In the Current 112 In the Current F 2/A AU&> GlB> G/El> 113 In the Current 114 In the Current *f $A ,i n~\ j ,n A ,i n~± Triangle 115 In the Current 116 In the Current i»/ 3/S y& ^-^zz%\- ' W' U-^i^S^§ r 117 In the Current bl**: ^ 118 In the Current G7.u.M j j J. k rni-j .j ijsi J i hi- \ Congas[ iff 119 in the Current Tenor sax solo G7«.M Tenor sax solo Tenor sax sob Tenor sax solo 120 In the Current Q 13(19) D.S. In the Current Continue solo (over these fifths) A7»W Tpt. G7.u. In the Current Ul3(t9) Tpc. G W Q13(k9) 123 In the Current 124 In the Current G7«.<*> GWts» 125 In the Current U13»9) Tpt- G »M Q13(k9) 126 In the Current Continue solo (over these fifths! «/ Tpt. Tpt. up octave 2nd X Tpt up octave 2nd X 127 In the Current 128 In the Current 129 In the Current 130 In the Current 131 II. Parallel Streams Transposed score Mike Downes (J = c. 170) 132 Parallel Streams Tpt. 133 Parallel Streams Cup mute T|K. R^ m mf 134 Parallel Streams Parallel Streams HO 3 limes _ 136 Parallel Streams 137 Parallel Streams 'Ha—Jr I'^L1 ''r'1'rlii]: jjr'''iL-^rJ'^---Jr i''4 n^ r» 138 Parallel Streams ^Ms - tfrii.Lflrrjug — J'rr?,i_ji^rntlru ^jri:ri_jg^Egg 139 Parallel Streams 140 Parallel Streams 141 Parallel Streams 7 5 EMA7«"> FM7 EI.2/G Gb/At Gt *. EMA* ' 7 7 EMAWD FMI 0>2lG G\>IA\>_ GK» EMA <*> Parallel Streams FM,7 Eba/G GWAI. GKu. BMA7"1" AW"' F«7 D7(il) D.S. 143 Parallel Streams m Parallel Streams AM,11 145 Parallel Streams 146 Parallel Streams 11 At>MI FM1 147 Parallel Streams subilop f 148 Parallel Streams 149 Parallel Streams Alto solo begins (sneak in) m 8 1101 7 Light cymbal fills Percussion keeps time Start soft and build stowty 150 Parallel Streams 7 (a Start soft and build stowty J JJJ J J . J J J JJ. 151 Parallel Streams cm 7 ,0) 8 110 1 E »l* A»u.4/B A.U.4/C &> EW * ' A.u»4/BA.U.4/C Bl» E'J*"" A»WBA». >• J>* J ... J. J- J J ,. >• k J ... J. J. J >• >* J „• J. J. J J ,.*• >> J ,. J. J. J J 152 Parallel Streams 1 10 m 110 E^"™" A»u.4/BA»u,4/C Bl> EW" ' A.U»«/BA.U.4/C Bl> EW** ' A»u.4/BA»u,4/C Bl> Tpt. up octave >• J>u ... J. j, j j ,.>• JH j „. J.—±- •I- h J „. J. J, 153 Parallel Streams 10 7 (Md10) 7 10 ,27 E^C" ' A«,.4/BA.u.4/C Bl> E .u» A.u»4/BA.u,4/C B\> E .u.(*" > A.u,4/B i- J>* J ,-J. J* J J »,..*• .to J ... J. J. J J ,.>• Jnj .. J. J- 154 Parallel Streams Wind down solo Parallel Streams 156 Re-emerging Linear Tones Transposed score Mike Dowries Trumpet Solo tpt. Arco Bass mf Brush roll ] Brushes j Solo tpt. Drum Set H mf Shaker Solo tpt. r r T 1 Percussion ii M |j i i 1 , i j J | ' -1 p 1* j i \\i p \\ p 1 iqf 157 Re-emerging Linear Tones 158 Re-emerging Linear Tones 159 Re-emerging Linear Tones cont shaker 160 Re-emerging Linear Tones com. fills and time Re-emerging Linear Tones Bass sets time To soprano Bass sets time «e fc Bass sets time Swung Tpl. Bass sets time Bass sets time 162 Re-emerging Linear Tones Tpl. i ^J ,* 7 .h J, ,i 7 J* J ,1 7 JW J, ,1 7 J> J ,1 7^7 J, i 7 .hj ,> 7 >7 J, ,> 7 JlJ ,* 7 J>7 J, ,> 7 Ji J ,j 7 .h 7 J, / 163 Re-emerging Linear Tones Tpl. 164 Re-emerging Linear Tones 165 Re-emerging Linear Tones & < Tpl. «£ 7 8 (M5 7 11 1) AbMA '" ' AM, » A/F C/F8 Ab/G F/Gtt AMA " ' B°* Db 166 Re-emerging Linear Tones 167 Re-emerging Linear Tones I 7 J1 J ,1 1 .h J. •> if J>J ,) 1 J^^L / 168 Re-emerging Linear Tones »jr" 169 Re-emerging Linear Tones Tpt. £7(k9) F7(5I) BW»1 C7(!D D^MA7 E«, FM^« C/Ftt A A J>> .> 7 1>> 7 J>, (8D»4V (sDi^d my z^iv iV Mais feiira sauoi jeaun 6u!6jauia-aa OLl 171 Re-emerging Linear Tones 172 Re-emerging Linear Tones i £* -$£ To bass clarinet M 173 Re-emerging Linear Tones Tpt. 174 Re-emerging Linear Tones \£ IR J-sJU 7 JU i jjj sj> J i$ , JM —1 > 7 i>> 7 J>.) 7 JU JLJL J 7 J), J„ J>, 175 Re-emerging Linear Tones T|». Re-emerging Linear Tones Hold over into next movement 177 IV. Still Waters Run Deep Transposed score Mike Dowries Flugelhom a tempo Vff chimes - mbato 178 Still Waters Run Deep 179 Still Waters Run Deep 180 Still Waters Run Deep 181 Still Waters Run Deep 182 Still Waters Run Deep EW CMIJ Al.13*11' GI-MA7™ EHA7"11' A/B EMA7 Still Waters Run Deep 184 Still Waters Run Deep Tpt. Dt/B D7(!?) AM,7, FSM,74 Eb/D D!>13*1> CMI7 AW" G.u,« G 185 Still Waters Run Deep 7 7 7 11 7 7 FH, 4 DM, 4 B^^AW") GbMA " ' B/Ctt FttMA *** GMIT. CM, , Db/C Db/B El*,7, CM,7, Ab0*1)GU7« EMA7*"11) A/B EMA7**) FM,! DM,!, Cb/Bl. A°*1' «83 T« 7 7 13 1 7 7 Eh* , CM, , Al. * ' GI-MA ™ EMA ™ A/B FMI4 DMI4 •TU \n, , f ttf 8; 186 Still Waters Run Deep Tpc 110 GMA7"") EMAW &°, BW* ) C/Fjt Db/B 7 GMA7*1) EMA'W EM B'»« C/Fjt Dt/B D ® 187 Still Waters Run Deep 131 7 AMI! F(t«,J EWD D!- ""' CM, At»W G.u.4 G AM,7, F8M.5 0>ID D^"n) CM? AW1) G»..4 G 188 Still Waters Run Deep 189 Still Waters Run Deep Tpl. cymbal swells (tpl. part) DrS: ~H 190 Still Waters Run Deep BUS© C/F8 BWffiS) C/F(t J j Tp j ,J Jn | t ,j/ j j 41 ri r ' lr[_;"'»]j''-J ''' i '' t ' " '' ^^ — / j J.I j J l i J H •' J r i 'i i II '' '' ' ' 1 ''•'•'•' 191 Still Waters Run Deep Tpi. mVf T Db/B D'di) AM,7, F«MI74 E1./D Db13*1' CM,7 AI-MA7™ AMI11 Bl>6 G2/B Db/B D7® AMI7. Fltwi EWD Db13*"' CM,7 AI>M^ AM,11 Bl>6 G2/B J J^J. J J>J, 192 Still Waters Run Deep AM? A^MA7*11' G.U.4 G 193 V. Re:currents Transposed score Mike Dowries (J = c.230) j Tenor | Trumpet fljf 194 Reicurrents Tpl. Play time (straight eighths) mf 195 Rexurrents Tp>- 196 Re:currents mi »• .!»k-+. • Tpt. 197 Reicurrents ••frfrr rr r -| -i • M^rrftfi'ff'fffff^irr^ry Pere, 198 Re.currents Tpl. i ~ * +>£ g #u e~g- * k»- 199 Rexurrents 200 Re:currents s»- Tpt. »:- rh* rP r f f rf r f r P r^r i. rh* r P r f f if T f Pi p j> pj>r riT—, 201 Rexurrents j»^pffiy l m\im , . | —*• (ftp p r ^r "T^^fr tfYppfrfrfr |0y "''[''ff "!*'« J iJi|J J "LIT Tpl. J. Jh Rexurrents Tpl. Je_S Unison horn line Unison horn line 203 Re:currents I*i8| Half time To soprano Half time p7 (V9) (rhythm section) C7tu8(«WlO) Tptso(o J." J> J J J J. J. > Tpt. Half time Play time with bass (each pattern becomes a new 4) Sparse fills and floaty Play time with bass (each pattern becomes a new 4) Sparse fills and floaty 204 Reicurrents Bl-'.usl8*'10) I J J i> J- • J. J> J Tpt. Q13(k8) M-W"10' Q13(k8) Al>7.»<8*,10> 205 Rexurrents tin n n n ,n n n n .n n n n Q7JUB(a*«0) Tpl. BbW""10) g 13(H)) BIB Bftu.^10' 206 Re:currents E7«»IIS> £13(19) 207 Rexurrents 10 BbW"" ) D*(%) Tpl. AkW"*10' AkW8*110) BK» 208 Rexurrents |l00| Double-time (original tempo) Double-time (original tempo) Double-time (original tempo) BbW*"10* Double-time (original tempo) Play time (straight eighths) *• * >.... * J i J) J Double-time (original tempo) J 7 i> J 209 Rexurrents Tpl. 110 D7.Jk9> 0130.9) AkW* ' D7.^ Q13(t9) AbW*'10' J i it J 7 Jh J 210 Rexurrente Bit) B13 Re:currents Tpl. 7 a f10 7 Bt .u.< * > D «»M Bt-U*"10' D7.u.M J n—iL J i J> 212 Rexurrents Tpl. Q13(V9) AftJ""10) Q13(k9) AbW"10' 213 Re:currents B'ff) g13fr9) B^W"10) J 7 J> ,. J 1 J> ... 214 Reicurrents D« D'»W Q 13(19) J 1 j> ,. J 1 J> 215 Rexurrents A^J**110) AW"*10' BbU-"10' B'(i!) Al-W""10' AWaa,0> BbW*110' B'(!t) J 7 $ J J J 7 Jh ,-. , J 7 J> J ,J J. J> J 7 J> J , J J 1 J> ,. ., J 7 J> J , J J, J* 216 Rexurrents 0pen Q Percussion solo 217 Rexurrents J156J On cue ff ff 218 Rexurrents Tpl. 219 Reicurrents 220 Rexurrents / 221 Rexurrents Tpl, jrr-y Tf . i.^'rrt »i ^^fiffVn itjj^ Q 13(19) I J J J J" J 222 Re:currents Tpl. m W 9 B\%) B13fr8) Bl> .u y/w / \/y/—/-\t-vr crir Wffiy^ y y y y y y y 223 Rexurrents D7«-W» Q13fr9) 224 Reicurrents Tpl. I OT' M l._L J.- -J>7 ^j ,7 m J- J^.JXL 225 Re.currents ff—'- 226 Rexurrents