Pat Metheny and Lyle Mays The First Circle: transcription and analysis STUART GREENBAUM Submitted in partial fulfilment of the requirements of the degree of Master of Music (composition) March 1992 Faculty of Music The University of Melbourne TABLE OF CONTENTS Page Introduction 1 Chapter 1: Transcribing the metrical scheme 3 Chapter 2: Alternative notation of polymetric elements 7 Chapter 3: Hierarchy of rhythmic elements 12 Chapter 4: Harmonic structures 21 Chapter 5: Analytical conclusions 28 Chapter 6: Stylistic context 30 Bibliography 34 Tables 35 Chart 42 Appendix: The First Circle - transcription INTRODUCTION The First Circle is the title track from the 1984 album released by the Pat Metheny Group. No score was available to this piece at the time of writing and it is probable that The First Circle was not performed from a full score, although Metheny and co-composer Lyle Mays are known to write out specific individual parts for most of their compositions.1 In addition, the available literature relating to this piece was mainly restricted to magazine interviews and record reviews, shedding little or no light on its composition or analysis. For instance, the review that appeared in Down Beat magazine in January 1985 gives the album a five-star rating but describes the title piece only in poetic terms.2 This study will, however, make use of secondary sources relating to transcription, notation, structural function and analysis. While The First Circle has been composed and recorded by musicians best known for their work in jazz, it does not necessarily conform to mainstream jazz styles; hence, the use of traditional terminology such as ‘exposition’ and ‘recapitulation’ in this study. This in itself is a contentious issue, since the piece does not easily fit within traditional classical forms either. These and other traditional terms, however, provide an immediate connection that is helpful in defining points of rhythmic segmentation. It is not intended that their use should automatically imply the operation of other factors, such as classical tonality. The following study seeks to treat The First Circle aside of historical models in order to gain a fresh perspective of the piece ‘as heard’. This study is focussed on the rhythmic and metrical elements, because they have been developed to a greater degree than any other parameters. Harmonic structures will also be discussed along with some stylistic context. The first chapter of this study will outline the approach to transcribing the recording into a clear metrical framework and will be followed by the alternative possibilities (Chapter Two). The piece will then be divided up into its constituent rhythmic elements (Chapter Three) resulting in a chart that will become the basis for considering the function of the relative rhythmic levels within the whole structure. This focus will be seen to provide a deeper relevance to the overall structure. Chapter Four will consider harmonic structures and how these relate to 1 Roberts, Jim ‘Interview with Pat Metheny’ in Down Beat, pg.17, Vol.56, No.8; Chicago; 1989. 2 Roberts, Jim ‘First Circle’, record review in Down Beat, pg.29, Vol.52, No.1; Chicago; 1985. 1 the metrical framework. Chapter Five will present some comparison with selected works to place The First Circle in a stylistic context. Some musical examples have been included in the course of the text. It is suggested, however, that the chapters be read in conjunction with referral to the transcription and Chart no.1, as well as listening to the music itself. 2 CHAPTER 1 Transcribing the metrical scheme When making any transcription, it is important to point out that there is often more than one possible notation for a given passage. A bar in 3/4 may be written out in 3/2 or 3/8 at double or half the tempo for 3/4; stylistically, 3/2 has a slow pulse just as 3/8 has a faster pulse. By implication, there must also be an area of ambiguity dividing 3/4 and 3/8 where the tempo is such that the music could justifiably be written out in either metre. There is no single definitive system of notation, only clear notation which may be achieved through more than one solution. In choosing between possible metres, one must consider not only the tempo but also the variety of rhythmic values being used and their implied accent grouping. The first beat of a bar has a natural accent as do (to a lesser extent) the subsequent strong beats implied by the particular metre. A suitable time signature will reduce excessive beams, dots and ties just as a suitable clef will keep the amount of ledger lines to a minimum. This ‘suitability’ may not improve the actual work but will make it clearer and therefore quicker to learn for the performer or analyst. Finding a suitable metre can be further complicated when compound rhythms are involved. This is the case with the opening of The First Circle, which starts with a hand–clapping pattern. The pattern comprises identical units (I have initially chosen quavers based on the above criteria) which are either claps or rests. While there is never more than one rest at a time, there are sometimes two claps in a row. From the first clap until the first entry of the steel string guitar, there are 65 units or quavers (see Ex. No.1). Ex. No.1 œ œ‰œ‰œ œ‰œ‰œ‰œ œ‰œ œ‰œ‰œ‰œ œ‰œ‰œ œ‰œ‰œ J J J J J J J J J J J J J J J J J J J J ‰ œ œ‰œ œ‰œ‰œ‰œ œ‰œ‰œ œ‰œ‰œ‰œ œ‰œ œ‰œ‰œ J J J J J J J J J J J J J J J J J J J Once these 65 quavers are notated as either claps or rests, the next task is to is to find a point of recurrence, where what has been is repeated (and to determine whether the pattern keeps on repeating until the end of the chosen section or if it changes again after some initial repeat). 3 From this can be found a pattern of 22 quavers (see Ex. No.2) which is repeated three times with the guitar overlapping the final quaver. Ex. No.2 . œ œ‰œ‰œ œ‰œ‰œ‰œ œ‰œ œ‰œ‰œ‰ . J J J J J J J J J J J J J . Rather than notate this in 22/8 (which is not impossible but somewhat awkward) the 22–quaver cycle can be divided up into more than one bar. The only symmetrical division of the 22–quaver cycle (two bars of 11/8) seems unlikely as the ‘clap and rest’ formation of the 1st bar of 11/8 bears little resemblance to the 2nd (see Ex. No.3). Ex. No.3 1 11 œ œ‰œ‰œ œ‰œ‰œ 8 J J J J J J J 2 ‰ œ œ‰œ œ‰œ‰œ‰ J J J J J J If a criterion is established that each bar must start on a clap and have the next rest as its last beat, then a pattern can be created which is comprised of groups of 2 or 3 quavers thus: 3+2+3+2+2+3+3+2+2. This pattern is appropriate and is used throughout the piece. The guitar, however, does not enter on the last quaver of the third clapping pattern, but in the first quaver of the fourth pattern. This means that the clapping pattern (and therefore the whole piece) starts with a quaver rest and each subsequent bar of clapping (within the compound metre 22/8) will start with a rest followed by either one or two claps (see Ex. No.4). Ex. No.4 228 . ‰ œ œ ‰ œ ‰ œ œ ‰ œ ‰ œ ‰ œ œ ‰ œ œ ‰ œ ‰ œ . This divides the 22 quaver pattern into nine groups; five groups of 2 quavers and four groups of 3 quavers. Between the grouping of 2 or 3 quavers and the pattern of 22 quavers, the pattern can be organised into bars in a number of ways. The first option could be to have four bars of 5/8 followed by a bar of 2/8 (see Ex. No.5). This would emphasize the joining together of a group of 2 quavers with a group of 3 quavers as such: (3+2) (3+2) (2+3) (3+2) (2). 4 Ex. No.5 85 . ‰ œ œ ‰ œ ‰ œ œ ‰ œ ‰ œ ‰ œ œ ‰ œ œ ‰ œ 82 ‰ œ . Note that the third bar is an inversion of the first, second and fourth bars whereas the fifth bar does not complete the third bar. This metrical organisation, however, proves to be unsatisfactory, because there are melodic entries in the voice starting on the 13th quaver (of 22) which would emphasize the middle of the third bar of 5/8 (2+3) in an unlikely manner. A more satisfactory grouping would be to take one bar of 12/8 followed by one bar of 10/8, then the 22–quaver pattern will be divided up as such: (3+2+3+2+2) (3+3+2+2), (see Ex. No.6). Ex. No.6 128 . ‰ œ œ ‰ œ ‰ œ œ ‰ œ ‰ œ 108 ‰ œ œ ‰ œ œ ‰ œ ‰ œ . This grouping is more satisfactory in showing the melodic phrasing of the pattern as well as making structural sense from a purely rhythmical point of view. It is interesting to note that the second bar (10/8) is derived from the first bar (12/8) merely omitting the first grouping of 2 quavers from the first bar (see Ex.