Well, we made it. 52 weeks later, we’ve put up a new video every single Tuesday. Every week, a new arrangement, a new recording, a new video, and most of the time, a new composition altogether.
Most people’s reaction to me mentioning that we’re finishing the project is that they can’t believe it’s been a year already. In some ways, I agree — it doesn’t seem like that long ago that Clay and I were first trying to figure out what we wanted to do with this series and how we wanted to make it happen. On the other hand, I’ve learned so much, written so much, and spent so much time uploading and editing video that it really does seem like a year has gone by.
Now that we’re finishing up, I can already tell that I’m going to miss doing this. Getting the chance to record new music this regularly has been a pleasure. Learning how to play better as a duo has been a great learning experience — something that will carry through to other projects as well. In fact, I think that there were plenty of lessons from this project that I’ll be putting to use later, whether they are technical things like how to best compress a video to make it look good on YouTube or more metaphysical things like musical interaction with just two voices.
For the last video, we decided that for the first time, instead of presenting a new piece, we wanted to bring back some of the music from past videos. Each choice has a bit of a metaphorical reasoning.
Part I is a piece called Chrysalis, which was from week one of the project. At that point, Clay and I had barely figured out what we were doing, especially in the technical sense. The original was recorded with one camera, no sound equipment besides the mic on the camera, and the editing was done with iMovie. We thought it would be fitting to go back and redo the piece with all of our technical and production advancements, as well as with a new musical direction. If you really want to get metaphorical with the title, you could look at the project emerging from the chrysalis over time and growing.
Part II is Clay’s composition Always April. Ever since we recorded it, I’ve felt like this piece well represents the musical goals of the project. It’s certainly jazz-related, although not in a typical swing fashion. It’s focused on a beautiful melody, with the type of chord changes that we both tend to gravitate towards when writing. The title also seemed to fit for a piece about the middle section of a year-long project.
Finally, we transition into Part III — a composition of mine called One Foot Forward. We chose this because of the upbeat energy the piece has, and once again, the metaphorical meaning of the title — we’re finishing this project, but we both have one foot forward into the next already.
Try to make it through all 10 minutes — we’re proud of the last installment that we’ve done. If you’ve been watching since the beginning, you may enjoy seeing the different directions we take the pieces. If you’re relatively new to the project, this should give a good glimpse into what we’ve done for the past year.
Thanks so much, new fans and old, for watching!
“Aurora” is an attempt to do something new in the Duo Chronicles project — a way to use some techniques that we haven’t yet explored in the 48 previous tunes.
The song is based on a simple melody (in fact, the sheet music we used had the temporary title “Simple Melody”) with an equally simple harmonic underpinning. If one wanted to analyze it from a jazz point of view, the form is derived from the blues, although you might not realize it without stretching your ears a bit.
The first track we recorded was acoustic piano and flute, but we layered on quite a few other instruments to fill out the sound, including piccolo, alto saxophone, bass clarinet, and electronic keyboard (playing a celeste type of sound).
If you listen carefully to the opening sound, when the screen fades to white, the chord that sounds like a synthesizer is actually a technique that Clay suggested that we record after we happened upon it by mistake while warming up. The chord is actually made by recording the resonance inside the piano made by playing saxophone pointed towards the piano while holding down the sustain pedal. It took quite a bit of audio editing to make it audible in the mix, but I think it was worth it for the interesting texture.
Quadrivium — from Latin, meaning “a crossroads. A place where four roads meet”
This composition is a modern choral of sorts, with four clarinet parts playing what might be more traditional sung in four part harmony, or played on an organ. My inspiration came from the fabulous ECM recordings of saxophonist Jan Garbarek improvising over the top of the incredible four-part vocal group called the Hilliard Ensemble. But, unlike their work, which sticks to very authentic early-music compositions, I chose to write a new piece with some modern twists thrown in.
Clay gets to play the part of Jan, using the melodica’s bright sound to cut through the darker sonority of the clarinets and bass clarinets below him. Most of his part is improvised, with a short melodic hook that happens once in the middle and once at the end.
This week continues my trend of writing pieces that were influenced by specific writers or compositions. “Another Noon” was heavily influenced by a piece called “Hi Noon” by Justin Morell, a guitarist that I’ve been playing with in the Damian Erskine Project. Justin’s composition uses a set of drop-two voicings (I’m not going to go into the theory here, but the technique leads to chords that cover a wide range and have a fairly open sound to them) that sound rather melodic on their own, with another melody that seems to float on top of it.
For my composition, I employed the same technique of drop-two voicings with an additional melody, and then filled out some of the inside parts using a woodwind choir made up of flute, soprano sax, alto sax, and bass clarinet. The result is a simple but lush harmonic foundation for the piece — so simple, that you might not even notice that it’s in 7/4 at first.
In the second half of the composition, the piano part gets rhythmically and harmonically more intense, while the woodwind parts turn to more long, held-out notes than the melodic phrases they were playing earlier. On top of that, we added a second piano track that has no written part — it’s a sort of abstract solo on top of everything going on with the woodwind and piano ostinato figures.
Seventeen weeks to go and we still have plenty of ideas we’re looking forward to trying out.
When I was thinking of possible titles for this piece of music, flow is a word that kept coming to mind. Flow, in how it relates to water and also the flow of information or knowledge. By definition the word cascade fits perfectly. One of the definitions for cascade is: “a small waterfall, typically one of several that fall in stages down a steep slope.” I imagine this slope might be slippery as well. The flow of water is also linear, like a live music performance. There is no going back. Each decision leads to the next musical moment. The flow of water is a also seamless in a way that makes time seem irrelevant.
A four-part chorale-like section bookends this piece. I was imagining a 20th century version of a Bach chorale if you will. Instead of a vocal choir, I orchestrated for soprano saxophone, flute, tenor saxophone and bass clarinet. John adeptly creates this woodwind choir through overdubbing. in fact, I think this is his Duo Chronicles debut on bass clarinet. Such a cool sound.