Phrasing and Polyrhythm in Contemporary Jazz Guitar: A Portfolio of Recorded Performances and Exegesis Volume One Quentin Angus B.Mus. (Hons) 2008 (The University of Adelaide) M.Mus. 2012 (Purchase College Conservatorium of Music) Submitted in fulfilment of the requirements for the degree of Doctor of Philosophy Elder Conservatorium of Music Faculty of Humanities and Social Sciences The University of Adelaide January 2014 Table of Contents List of Figures ................................................................................................................... viii Abstract ..............................................................................................................................xii Declaration ........................................................................................................................ xiii Acknowledgments............................................................................................................. xv Introduction ......................................................................................................................... 1 Introduction ....................................................................................................................... 1 Thesis Structure and Key Terms ....................................................................................... 4 Theoretical Framework ...................................................................................................... 8 Literature Review ............................................................................................................ 10 Chapter One: Phrasing .................................................................................................... 14 Phrase Displacement ...................................................................................................... 14 Off Beat Syncopation ................................................................................................... 19 On/Off Phrasing ........................................................................................................... 24 Obscuring Hierarchical Structures ................................................................................... 30 Hierarchical Polyrhythms ................................................................................................. 34 General Asymmetry in Phrasing ...................................................................................... 37 Chapter One Summary ................................................................................................... 41 Chapter Two: Polyrhythm ................................................................................................. 42 Metric Modulation ............................................................................................................ 42 Compositional Metric Modulations ............................................................................... 43 Improvised Metric Modulations .................................................................................... 45 Implied Metric Modulations .......................................................................................... 47 Note Groupings ............................................................................................................... 57 Odd Groupings ............................................................................................................ 58 Mixing Groupings to Create Larger Structures ............................................................. 60 Augmentation and Diminution of Groupings ................................................................. 62 Tuplet Groupings ......................................................................................................... 66 Superimposing Other Meters ........................................................................................... 70 Superimposition Using On/Off Phrasing ...................................................................... 70 Superimposition Using a Rhythmic Motif ..................................................................... 76 Superimposition Through Phrase Structure ................................................................. 76 ii Multi-Layered Polyrhythms .............................................................................................. 80 The Grouping Structure of a Superimposed Meter ....................................................... 80 The Melodic Sequence of a Note Grouping ................................................................. 81 Augmentation and Diminution .......................................................................................... 86 Augmentation/Diminution of Note Values .................................................................... 87 Augmentation/Diminution of Note Groupings ............................................................... 90 Augmentation/Diminution of On/Off Phrasing .............................................................. 91 Augmentation/Diminution into a Polyrhythm ................................................................ 92 Augmentation/Diminution of Superimposed Meters ..................................................... 96 Chapter Two Summary .................................................................................................... 97 Chapter Three: Other Considerations .............................................................................. 98 Instrument Specific Explorations ..................................................................................... 98 Open Strings (Campanella) ......................................................................................... 99 Same note on an Adjacent String .............................................................................. 102 Polyphony ..................................................................................................................... 105 Devices Employed Over or Under a Melody .............................................................. 106 Devices Employed Over or Under an Ostinato .......................................................... 107 Devices Employed in Each Individual Line................................................................. 107 Where to Use the Devices ............................................................................................. 109 Reference Points ....................................................................................................... 110 Connection of Devices ............................................................................................... 114 Interaction.................................................................................................................. 115 Chapter Three Summary ............................................................................................... 117 Conclusion ...................................................................................................................... 118 Appendices ...................................................................................................................... 122 List of Appendices ......................................................................................................... 122 Appendix One: CD Recording Information .................................................................... 123 CD1: Retrieval Structure ................................................................................................ 123 CD2: Abercrombie and Hekselman Duets ..................................................................... 124 CD3: Perception ............................................................................................................ 124 CD4: Abercrombie and Hekselman Repertoire/Ari Hoenig Session ............................... 125 Disc One: Abercrombie and Hekselman Repertoire ................................................... 125 Disc Two: Ari Hoenig Session .................................................................................... 125 iii Appendix Two: Recorded Extracts of Hekselman Transcriptions ............................... 126 CD ................................................................................................................................. 126 Statement of Authorship ................................................................................................ 127 Track Listing .................................................................................................................. 128 Appendix Three: Glossary .............................................................................................. 129 Appendix Four: Practical Application List..................................................................... 132 Appendix Five: Edited Transcripts of Interviews .......................................................... 135 John Abercrombie ......................................................................................................... 135 Gilad Hekselman ........................................................................................................... 143 Ari Hoenig ..................................................................................................................... 148 Bibliography/Reference List ........................................................................................... 154 Table of Contents (Volume Two) The Submission Recordings .............................................................................................. 1 CD1: Retrieval Structure .................................................................................................... 1 CD2: Abercrombie and Hekselman Duets ......................................................................... 1 CD3: Perception ................................................................................................................ 2 CD4: Abercrombie and Hekselman Repertoire/Ari Hoenig Session ................................... 2 DIsc One: Abercrombie and Hekselman Repertoire ...................................................... 2 Disc Two: Ari Hoenig Session ........................................................................................ 2 Table of Contents (Volume Three) List of Figures (Volume Three) ........................................................................................... v Appendices .......................................................................................................................... 1 List of Appendices ............................................................................................................. 1 Appendix Six: Drum Legend .............................................................................................. 2 iv Appendix Seven: Transcriptions ........................................................................................ 3 Explanatory Notes ............................................................................................................. 3 Legend .............................................................................................................................. 4 List of Transcriptions Provided .......................................................................................... 7 Statement of Authorship .................................................................................................... 9 Gilad Hekselman ............................................................................................................. 10 Split Life .......................................................................................................................... 10 Purium ......................................................................................................................... 11 Hello Who Is It? ........................................................................................................... 17 My Ideal ....................................................................................................................... 21 I Fall In Love To Easily ................................................................................................ 24 Suite for Sweets .......................................................................................................... 28 When will the Blues Leave? ......................................................................................... 32 The Summer of Laughs and Tears .............................................................................. 35 I Should Care .............................................................................................................. 38 My Second Childhood ................................................................................................. 43 Statement of Authorship .................................................................................................. 46 Words Unspoken ............................................................................................................. 47 Ga'agua ....................................................................................................................... 48 New York Angels ......................................................................................................... 52 April In Paris ................................................................................................................ 58 Words Unspoken ......................................................................................................... 63 Countdown .................................................................................................................. 66 Someone to Watch Over Me ....................................................................................... 71 Yo Mama’s Blues ......................................................................................................... 74 Time After Time ........................................................................................................... 79 How Long Has This Been Going On ............................................................................ 83 Will The Song Ever End? ............................................................................................. 87 Statement of Authorship .................................................................................................. 90 Hearts Wide Open ........................................................................................................... 91 Hazelnut Eyes ............................................................................................................. 92 One More Song ........................................................................................................... 98 Flower ....................................................................................................................... 104 Brooze ....................................................................................................................... 108 Hearts Wide Open ..................................................................................................... 111 The Bucket Kicker ..................................................................................................... 114 Understanding ........................................................................................................... 119 Statement of Authorship ................................................................................................ 123 This Just In .................................................................................................................... 124 v Above ........................................................................................................................ 125 This Just In ................................................................................................................ 132 The Ghost of the North .............................................................................................. 137 March of the Sad Ones .............................................................................................. 138 Nothing Personal ....................................................................................................... 145 Eye in the Sky ........................................................................................................... 151 Dreamers................................................................................................................... 155 Bert's Playground (Hekselman Recordings as a Sideman) ............................................ 158 The Way You Look Tonight ....................................................................................... 159 John Abercrombie ......................................................................................................... 164 Straight Flight ................................................................................................................ 164 There is No Greater Love .......................................................................................... 165 Bessie's Blues ........................................................................................................... 170 In Your Own Sweet Way ............................................................................................ 179 Statement of Authorship ................................................................................................ 180 Lionel Loueke ................................................................................................................ 180 Original Compositions (Mel Bay Publications) ............................................................... 181 Farafina ..................................................................................................................... 182 Griot .......................................................................................................................... 189 Karibu ........................................................................................................................ 199 Full Band Transcriptions ................................................................................................ 206 When Will The Blues Leave? ..................................................................................... 206 Suite for Sweets ........................................................................................................ 208 I Should Care ............................................................................................................ 210 Hello Who Is It? ......................................................................................................... 212 Statement of Authorship ................................................................................................ 214 Polyphony DVD Transcriptions for Jazz Heaven ........................................................... 215 Appendix Eight: Lead Sheets of the Repertoire Performed ......................................... 232 List of Lead Sheets Provided ......................................................................................... 232 CD1: Retrieval Structure ................................................................................................ 234 Coltrane Matrix .......................................................................................................... 235 Retrieval Structure ..................................................................................................... 238 Level 21 ..................................................................................................................... 242 The Heights ............................................................................................................... 245 The First Fall ............................................................................................................. 247 Phrygia ...................................................................................................................... 248 Five Ahead ................................................................................................................ 250 What the Future Holds ............................................................................................... 252 Sentient ..................................................................................................................... 256 vi CD2: Abercrombie and Hekselman Duets ..................................................................... 258 Den Haag .................................................................................................................. 259 CD3: Perception ............................................................................................................ 261 Particular, Peculiar .................................................................................................... 262 Perception ................................................................................................................. 265 Nardis ........................................................................................................................ 269 Red and Yellow ......................................................................................................... 272 Chernobyl .................................................................................................................. 276 Restoration ................................................................................................................ 286 Den Haag .................................................................................................................. 291 Bounce ...................................................................................................................... 310 CD4: Abercrombie and Hekselman Repertoire/Ari Hoenig Session ............................... 313 Disc One: Abercrombie and Hekselman Repertoire ...................................................... 313 Countdown ................................................................................................................ 314 You Don't Know What Love Is ................................................................................... 316 The Bucket Kicker ..................................................................................................... 318 Ralph's Piano Waltz ................................................................................................... 320 All the Things You Are ............................................................................................... 323 Suite for Sweets (Guitar Part) .................................................................................... 324 Suite for Sweets (Lead Sheet) ................................................................................... 329 Yo Mamma's Blues .................................................................................................... 332 One More Song ......................................................................................................... 333 Disc Two: Ari Hoenig Session ....................................................................................... 337 Happy ........................................................................................................................ 338 How Deep Is The Ocean ........................................................................................... 343 Outro ......................................................................................................................... 345 Falling Guitar Part ...................................................................................................... 348 Falling Piano Part ...................................................................................................... 351 Falling Bass Part ....................................................................................................... 354 Dreamscape .............................................................................................................. 357 Juncture .................................................................................................................... 360 Appendix Nine: Transcriptions of my own Improvisations .......................................... 364 One More Song ............................................................................................................. 365 vii List of Figures Chapter One: Phrasing ..................................................................................................... 14 Phrase Displacement ...................................................................................................... 14 Figure 1.1 .................................................................................................................... 15 Figure 1.2 .................................................................................................................... 16 Figure 1.3 .................................................................................................................... 18 Off Beat Syncopation and On/Off Phrasing ..................................................................... 19 Figure 2.1 .................................................................................................................... 19 Figure 2.2 .................................................................................................................... 20 Figure 2.3 .................................................................................................................... 21 Figure 2.4 .................................................................................................................... 22 Figure 2.5 .................................................................................................................... 23 Figure 2.6 .................................................................................................................... 24 Figure 2.7 .................................................................................................................... 24 Figure 2.8 .................................................................................................................... 25 Figure 2.9 .................................................................................................................... 25 Figure 2.10 .................................................................................................................. 25 Figure 2.11 .................................................................................................................. 26 Figure 2.12 .................................................................................................................. 26 Figure 2.13 .................................................................................................................. 26 Figure 2.14 .................................................................................................................. 27 Figure 2.15 .................................................................................................................. 28 Figure 2.16 .................................................................................................................. 29 Figure 2.17 .................................................................................................................. 29 Obscuring Hierarchical Structures ................................................................................... 30 Figure 3.1 .................................................................................................................... 30 Figure 3.2 .................................................................................................................... 31 Figure 3.3 .................................................................................................................... 31 Figure 3.4 .................................................................................................................... 32 Hierarchical Polyrhythms ................................................................................................. 34 Figure 4.1 .................................................................................................................... 34 Figure 4.2 .................................................................................................................... 34 Figure 4.3 .................................................................................................................... 35 Figure 4.4 .................................................................................................................... 36 General Asymmetry in Phrasing ...................................................................................... 37 Figure 5.1 .................................................................................................................... 38 Figure 5.2 .................................................................................................................... 39 Figure 5.3 .................................................................................................................... 40 viii Chapter Two: Polyrhythm ................................................................................................. 42 Metric Modulation ............................................................................................................ 42 Figure 6.1 .................................................................................................................... 44 Figure 6.2 .................................................................................................................... 46 Figure 6.3 .................................................................................................................... 47 Figure 6.4 .................................................................................................................... 48 Figure 6.5 .................................................................................................................... 48 Figure 6.6 .................................................................................................................... 48 Figure 6.7 .................................................................................................................... 49 Figure 6.8 .................................................................................................................... 49 Figure 6.9 .................................................................................................................... 50 Figure 6.10 .................................................................................................................. 52 Figure 6.11 .................................................................................................................. 52 Figure 6.12 .................................................................................................................. 53 Figure 6.13 .................................................................................................................. 54 Figure 6.14 .................................................................................................................. 55 Note Groupings ............................................................................................................... 57 Figure 7.1 .................................................................................................................... 57 Figure 7.2 .................................................................................................................... 59 Figure 7.3 .................................................................................................................... 59 Figure 7.4 .................................................................................................................... 60 Figure 7.5 .................................................................................................................... 60 Figure 7.6 .................................................................................................................... 61 Figure 7.7 .................................................................................................................... 62 Figure 7.8 .................................................................................................................... 63 Figure 7.9 .................................................................................................................... 63 Figure 7.10 .................................................................................................................. 64 Figure 7.11 .................................................................................................................. 65 Figure 7.12 .................................................................................................................. 66 Figure 7.13 .................................................................................................................. 66 Figure 7.14 .................................................................................................................. 67 Figure 7.15 .................................................................................................................. 67 Figure 7.16 .................................................................................................................. 69 Superimposing Other Meters ........................................................................................... 70 Figure 8.1 .................................................................................................................... 71 Figure 8.2 .................................................................................................................... 71 Figure 8.3 .................................................................................................................... 72 Figure 8.4 .................................................................................................................... 72 Figure 8.5 .................................................................................................................... 73 ix Figure 8.6 .................................................................................................................... 74 Figure 8.7 .................................................................................................................... 76 Figure 8.8 .................................................................................................................... 76 Figure 8.9 .................................................................................................................... 77 Figure 8.10 .................................................................................................................. 77 Figure 8.11 .................................................................................................................. 78 Figure 8.12 .................................................................................................................. 79 Multi-Layered Polyrhythms .............................................................................................. 80 Figure 9.1 .................................................................................................................... 81 Figure 9.2 .................................................................................................................... 82 Figure 9.3 .................................................................................................................... 83 Figure 9.4 .................................................................................................................... 84 Figure 9.5 .................................................................................................................... 84 Figure 9.6 .................................................................................................................... 85 Augmentation and Diminution .......................................................................................... 86 Figure 10.1 .................................................................................................................. 87 Figure 10.2 .................................................................................................................. 87 Figure 10.3 .................................................................................................................. 89 Figure 10.4 .................................................................................................................. 90 Figure 10.5 .................................................................................................................. 91 Figure 10.6 .................................................................................................................. 92 Figure 10.7 .................................................................................................................. 93 Figure 10.8 .................................................................................................................. 94 Figure 10.9 .................................................................................................................. 94 Figure 10.10 ................................................................................................................ 95 Figure 10.11 ................................................................................................................ 95 Figure 10.12 ................................................................................................................ 96 Chapter Three: Other Considerations .............................................................................. 98 Instrument Specific Explorations ..................................................................................... 98 Figure 11.1 ................................................................................................................ 100 Figure 11.2 ................................................................................................................ 101 Figure 11.3 ................................................................................................................ 102 Figure 11.4 ................................................................................................................ 103 Figure 11.5 ................................................................................................................ 104 Polyphony ..................................................................................................................... 105 Figure 12.1 ................................................................................................................ 105 Figure 12.2 ................................................................................................................ 106 Figure 12.3 ................................................................................................................ 107 Figure 12.4 ................................................................................................................ 108 x