In baseball, a pitcher uses a variety of different pitches to get batters to miss hitting the ball. With a curveball, the ball appears to be in one place and suddenly moves, possibly to the batter’s dismay.
The element of surprise can be effective in music too. Not necessarily random change, but in taking chances both rhythmically and harmonically. Sometimes the composition presents that itself. The main section for improvising in this week’s tune, “Curveball,” is an 8-bar section where the chords change each measure. Harmonically, they are more related to modes in my mind, both from the major and melodic minor scales. Harmonies are changing quickly here, although repeating in a pattern. The trick is create a line or texture that uses the notes in common between them. In this case, John and I start out trading a set number of bars then eventually it dissolves into more of a polyphonic texture.
To me this song is a little darker in mood, mainly due to the harmonic tension perhaps, somewhat ECM-ish for these shorter, grayer days.
The composition this week was originally arranged for solo piano -- that is every note written out as in most classical music. Rearranging it, and adapting to a lead sheet form went pretty smoothly and I’m happy with this recorded version. It is more open, breathes, and has a greater range of dynamics. Stylistically, the inspiration comes more from Brahms than Bebop. More theme and variations than free form improvising. Harmonically was trying to achieve a balance between consonance and dissonance. Even a Major 7th chord (usually consonant sound arranged in 3rds) can be rearranged so the interval structure creates more dissonant sound (minor 2nds, 5ths.) After all, intervals are the building blocks of chords. Maybe these are subtle harmonic changes but one that can quite effective I think.
I have named various compositions for months of the year. For me April represents the change that occurs from winter to spring. The change that is always constant.
On Friday, November 13th, Strange Love Live aired an episode featuring Duo Chronicles. They came over with bins of equipment, including multiple cameras, lighting, and even a Tricaster, creating a beautiful show including four performances and a short interview segment.
On December 19th, Clay and I will be volunteering on 30 Hour Day, a 30-hour telethon benefiting charities in Oregon, including the Oregon Food Bank, Toys for Tots, and Free Geek.
We haven’t set a specific time that we’ll be appearing yet, but keep an eye on the blog here at duochronicles.com -- we’ll post more information as we get it.
Postmodern? is a tune written in the 32 bar AABA song form. The chord changes are loosely based on Charlie Parker’s, “Little Suede Shoes” (A section) and “Confirmation” (B section). A common approach in the bebop era was to write new melodies on existing chord changes of popular songs of the day. These new tunes were referred to as a contra-fact. One example of this is Parker’s “Donna Lee”, which uses the chord changes to “Back Home in Indiana”. To me, Parker and bebop are as important to jazz vernacular as JS Bach is to Western classical music. My students probably get tired of me talking about the Omnibook (transcriptions of Charlie Parker) and Bach’s Well-Tempered Clavier or Inventions. Both innovators, their music remains fresh to this day and beyond. I tried to employ a more angular sound in the melody (use of 4ths for example) and harmony (melodic minor modes) over this tried-and-true song form.
