For me this style of arranging is sort of the meat and potatoes of jazz piano. The goal is to get a full sound on the instrument while at the same time not sacrificing the time feel with the technique required to play the arrangement. Obviously you can point out to me the fact that guys like Tatum or Phineas Newborn or James P. Johnson played exceedingly difficult passages at the piano and made them swing. In my arrangement for solo piano I'm offering a taste of the kind of harmony and voicings that those great pianists utilized as a basis from which they constructed more complex architectures. Aside from the basic triadic and seventh chord harmony (with appropriate altered extensions where necessary sprinkled in for flavor) is the use of the counter line. This is another essential aspect of arranging for piano in order to really use the instrument to it's fullest. Notice how the basic triplet rhythm is always propelling the harmony forward and the counter line is picking up the slack in the gaps in the melody. All great composers leave delicious gaps in their melodies. Most Ellington melodies have these wonderful places for us to add our little dreams to. In bar 8 I left out the triplet counter melody just for a little extra space and perhaps a good place for a foot tap or if you're Keith Jarrett (and I'm pretty sure he reads my blog) you can give the pedals a good kick! Have fun.
Wednesday, May 11, 2011
Monday, May 9, 2011
This was just so freaky I had to post it. Thanks to Ronan Guilfoyle for putting this up. I think it makes a poignant completion for my series entitled "Perspectives on Time. Watch how these metronomes are able to "listen" when they are able to feel the actual vibrations of each other.