Line Starts to the Right...
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An open letter from Alice Russell. June 21, 2011, Brookline, Massachusetts. 1. DO NOT make insulting, mean spirited remarks about anyone or their work; there are a plethora of sites where you can rant unfettered. If you attack someone personally, your comments will be removed. You can post it, but I'm not paying for it. Go elsewhere, and let those artists who are actually interested in discussion and learning have the floor. 2. There will be NO posting of or links to copyrighted material without permission of the copyright owner. That's the law. And if you respect the work of people who make meaningful contributions, you should have no problem following this policy. 3. I appreciate many of the postings from so many of you. Please don't feel you have to spend your time "defending" the LCC to those who come here with the express purpose of disproving it. George worked for decades to disprove it himself; if you know his music, there's no question that it has gravity. And a final word: George was famous for his refusal to lower his standards in all areas of his life, no matter the cost. He twice refused concerts of his music at Lincoln Center Jazz because of their early position on what was authentically jazz. So save any speculation about the level of him as an artist and a man. The quotes on our websites were not written by George; they were written by critics/writers/scholars/fans over many years. Sincerely, Alice
An open letter from Alice Russell. June 21, 2011, Brookline, Massachusetts. 1. DO NOT make insulting, mean spirited remarks about anyone or their work; there are a plethora of sites where you can rant unfettered. If you attack someone personally, your comments will be removed. You can post it, but I'm not paying for it. Go elsewhere, and let those artists who are actually interested in discussion and learning have the floor. 2. There will be NO posting of or links to copyrighted material without permission of the copyright owner. That's the law. And if you respect the work of people who make meaningful contributions, you should have no problem following this policy. 3. I appreciate many of the postings from so many of you. Please don't feel you have to spend your time "defending" the LCC to those who come here with the express purpose of disproving it. George worked for decades to disprove it himself; if you know his music, there's no question that it has gravity. And a final word: George was famous for his refusal to lower his standards in all areas of his life, no matter the cost. He twice refused concerts of his music at Lincoln Center Jazz because of their early position on what was authentically jazz. So save any speculation about the level of him as an artist and a man. The quotes on our websites were not written by George; they were written by critics/writers/scholars/fans over many years. Sincerely, Alice
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chespernevins
- Posts: 368
- Joined: Sat Sep 16, 2006 7:34 am
This doesn't quite count because it was written back in December and many of you have seen this, but for those who haven't:
http://jayplay.com/sounds/OpenLetter_chespernevins.JPG
This could be seen as an entirely vertical melody all within the 9 tone order of the prevailing lydian key of the moment.
I do agree with ML that this whole discussion could get a lot deeper if we got into musical examples. But I haven't been much help in this regard either.
Perhaps even 8 bar examples could be very useful in illustrating and sharing - it may not always have to be a finished piece that we have to feel is our defining masterpiece... I have a couple of examples like this I've been doing lately. Or it could even be a recording of some improvisation that illustrates a point....
I really do have to get writing notation electronically. I'm on Windows. Any recommendations on a favorite free and easy to use app?
http://jayplay.com/sounds/OpenLetter_chespernevins.JPG
This could be seen as an entirely vertical melody all within the 9 tone order of the prevailing lydian key of the moment.
I do agree with ML that this whole discussion could get a lot deeper if we got into musical examples. But I haven't been much help in this regard either.
Perhaps even 8 bar examples could be very useful in illustrating and sharing - it may not always have to be a finished piece that we have to feel is our defining masterpiece... I have a couple of examples like this I've been doing lately. Or it could even be a recording of some improvisation that illustrates a point....
I really do have to get writing notation electronically. I'm on Windows. Any recommendations on a favorite free and easy to use app?
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chespernevins
- Posts: 368
- Joined: Sat Sep 16, 2006 7:34 am
I like Hermeto, and I like the Melodica, so I ran across this humble but beautiful performance:
http://youtube.com/watch?v=kwM7J4L2A6Y
check out the first theme (right from the beginning). Don't you think this is a great illustration of what we've been talking about with CMGs?
j
http://youtube.com/watch?v=kwM7J4L2A6Y
check out the first theme (right from the beginning). Don't you think this is a great illustration of what we've been talking about with CMGs?
j
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chespernevins
- Posts: 368
- Joined: Sat Sep 16, 2006 7:34 am
The 16th note pulse is consistent. Metric modulation comes later along with mod of central pitch. I'm trying to make sure it 'grooves' in its own sweet way. Thanks.motherlode wrote:Yes, cute and DIFFICULT. I had it played at steady tempo, but if it had changed tempo with each meter...it could get very tough. The bar has been raised at this site, and it's partly your fault. GOOD.
10 {The artist formerly known as Bb}
I don't know how to notate a traveling pause, but I'm thinking of doing some 'operation' on A2.
Tempi starts quarter = 120 and stays proportionately so. No metric modulations on this part. If you pat your foot at 120 it actually swings.
The more I listen to the "B" section the less I like it. (except for the West Side Story quote that showed up quite by accident. I'm trying to hint at coming attractions in the expo, right now I'm taking a bit of a break to try to play this puppy on bass. Playing a C blues scale, i.e., 6-Z47 over the thing is fun.
Tempi starts quarter = 120 and stays proportionately so. No metric modulations on this part. If you pat your foot at 120 it actually swings.
The more I listen to the "B" section the less I like it. (except for the West Side Story quote that showed up quite by accident. I'm trying to hint at coming attractions in the expo, right now I'm taking a bit of a break to try to play this puppy on bass. Playing a C blues scale, i.e., 6-Z47 over the thing is fun.
10 {The artist formerly known as Bb}
Thanks. A traveling pause was the intent. Just adding another beat to the bar wasn't happening.motherlode wrote:the "traveling pause" looks just like the fermata on paper. Except the music isn't just held like the fermata. It's a SLOW DOWN on one note usually follow by a tempo change or to express some deep emotion, etc..someone (conductor) must drop the beat (cue) to allow the music to proceed.
10 {The artist formerly known as Bb}
Hm. yeah, those chords after the West Side Story quote gotta go. That's what I get for ignoring the muse and just manipulating a row. The repeat of the A phrase is gonna get some some counterpoint. I'll listen to Aleucha for inspiration. This is an interesting process you got going here, Mom. (May I call you Mom for short?) It moves one on. I have a tendency, when it comes to original stuff, to hit a wall and put the score aside permanently. This way I am compelled to fix things.
(No one has commented on my Giant Steps chart, proof of the inherent mercy of the human race.)
Again, Thanks.
(No one has commented on my Giant Steps chart, proof of the inherent mercy of the human race.)
Again, Thanks.
10 {The artist formerly known as Bb}