polycyclic comprovisation

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phase, doubt and joy, and who lies at the centre of all my cycles. It is to her and our ...... on classical instruments (1/ oboe, cor anglais, soprano and alto saxophones, 2/ cello, 3/ piano) and incorporates the ...... Ode Records SBJ005. 2015. CD.
POLYCYCLIC COMPROVISATION Volume I: Exegesis

Trevor Coleman

Portfolio, Recordings and Exegesis Submitted in fulfillment of the requirements of the degree of Doctor of Musical Arts University of Otago, Dunedin, New Zealand

I hereby declare that this submission is my own work and has not been submitted for a degree or diploma in any university. To the best of my knowledge and belief, it contains no material previously published or written by another person except where due reference has been made in the thesis itself.

Trevor Coleman, June 2016

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Abstract The majority of western art, jazz, popular and indeed most music of the world is positioned within a mono-metric system. Furthermore, multiples of ‘4’ often predominate in musical structures, particularly in popular music, whether in subdivisions of a 4/4 metre or in groupings of units that constitute form. Examples of bi-metricism, however, have existed from Renaissance Spanish dance music through to contemporary metal, but compositions of any genre comprising of three simultaneous metres from beginning to end remain rare. This research, in tandem with the creative portfolio, presents an investigation into a formalization process concerning the design of three-part polymetre. It is an attempt to overcome challenges presented in rhythmic and harmonic displacement of recurring motivic cycles of differing lengths. These cycles are layered over polymetric structures while aspiring toward an apparent simplicity within a complex web of “cycles-within-cycles-within-cycles” (Fink 2005, p47). Consequently, this body of work concerns more frequent application of irregular metres. It asks, for example, how a 3/4-4/4-7/4 polymetric piece can be constructed so that, at all points of its eighty-four beat timeline, it synchronizes or ‘grooves’1 as congruously as its monometric predecessors. This research also investigates how harmonic changes are affected over parallel bars of varying lengths and how musicians cope with unfamiliar realignment of reference points. I use the term comprovisation, an elision of composition and improvisation, in order to establish how this juxtaposition works. It is a relatively new term used to characterize the interrelationships between premeditated material and real-time spontaneity in a music context. The virtually uncharted field of ‘polycyclic comprovisation’ fosters the act of improvisation upon composed cyclic motifs in varying but complementary time signatures that occur and interact simultaneously. Through comprehensive investigation of theoretical precedents and musical analysis of the accompanying scores and four CDs of my compositions, I will examine the inner-workings and performance issues surrounding polycyclic design and improvisation within three broadly defined genres, while advocating well-constructed form as a prerequisite to successfully navigating complex structures. 3

Acknowledgements There are many who, over the three year journey of this project, in a myriad of ways, have influenced, encouraged and supported me – to all of you my deepest gratitude. An extra round of applause though must be given to the following friends and colleagues: Anthony Ritchie, my primary supervisor, who has consistently and tirelesssly offered insightful and invaluable guidance on all aspects of the work; my supervisor Rob Burns whose encouragement and infallible ‘red pen’ has insured this exegesis is a respectable document; University of Otago for providing the framework and funding; wind instrumentalist extraodinaire, Nick Cornish, for his musicianship and friendship over the years and monumental performances on all three albums; cellist Heleen Du Plessis, who also donated her patience, persistence, spirit and stunning performances; vocalists Beata Bocek and Abigail Knudson who both so bravely and passionately embraced the unknown; tenor saxophonists Mike Schweizer and Craig Walters for their warm and enigmatic inventiveness; percussionists Alfonso Rios and Rafael García Fontaiña who brought fire to the mix; Roman Beilharz for his exceptional mastering skills and unwavering support; Muneer Abdul Fataah for introducing me to the world of polycycles; for our musical legacy from Bach through to Miles Davis, and from all corners of the earth; S. N. Goenka for vipassana meditation; Suhari Mommsen-Bohm for Hakomi and deep personal insights; and my parents for making this all possible. Lastly, but primarily, to my wife Ika, whose loving support has been with me through every phase, doubt and joy, and who lies at the centre of all my cycles. It is to her and our precious daughters, Larissa and Stella, that I dedicate this work.

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Volume I: Exegesis

Table of Contents ABSTRACT ............................................................................................................................. 3 ACKNOWLEDGEMENTS ....................................................................................................... 4 TABLE OF CONTENTS .......................................................................................................... 5 LIST OF FIGURES ................................................................................................................ 11 CHAPTER 1: INTRODUCTION ............................................................................................. 14 1.1 DEFINING POLYCYCLES ............................................................................................... 14 1.2 DEFINING COMPROVISATION ...................................................................................... 16 1.3 MY MUSICAL BACKGROUND ........................................................................................ 18 1.4 METHODOLOGY............................................................................................................. 20 1.4.1 EXEGESIS STYLE ............................................................................................................ 20 1.4.2 RESEARCH DESIGN ......................................................................................................... 21 1.5 CHAPTER SUMMARY .................................................................................................... 26 CHAPTER 2: THEORETICAL FOUNDATIONS AND LITERATURE REVIEW.................... 27 2.1 COMPROVISATION: ....................................................................................................... 27 2.1.1 COMPOSITION: ................................................................................................................ 29 2.1.2 IMPROVISATION:.............................................................................................................. 31 2.1.3 COMPOSITION, PRE- AND POST-IMPROVISATION: .............................................................. 34 2.2 METRE / POLYMETRE / INTERLOCKING PATTERNS ................................................. 35

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2.2.1 METRE ........................................................................................................................... 35 2.2.2 POLYMETRE ................................................................................................................... 37 2.2.3 INTERLOCKING PATTERNS, ADHERENCE TO FORM AND THE ASPIRATION TOWARD ‘INTELLIGENT SIMPLICITY’ ......................................................................................................... 43 2.3 ETHNOMUSICOLOGICAL PERSPECTIVE .................................................................... 45 2.3.1 INDIAN MUSIC ................................................................................................................. 45 2.3.2 GAMELAN MUSIC ............................................................................................................ 47 2.3.3 AFRICAN MUSIC .............................................................................................................. 49 2.4 MINIMALISM / METAMODERNISM ................................................................................ 51 2.4.1 MINIMALISM .................................................................................................................... 51 2.4.2 NEW COMPLEXITY AND METAMODERNISM ........................................................................ 53 2.5 JAZZ AND THE COMPROVISATIONAL SPECTRUM .................................................... 55 2.5.1 ORGANIZING COMPOSED ELEMENTS FOR IMPROVISATION ALONG THE COMPROVISATIONAL SPECTRUM .............................................................................................................................. 57 2.6 COMPUTER / STUDIO COMPOSER .............................................................................. 61 CHAPTER 3: POLYCYCLIC CHAMBER MUSIC ANALYSIS .............................................. 66 POLYCYCLE 11: ‘POLYSPIRALS’ (PORTFOLIO P101; BLUE CD TRACK 8)..................... 70 INTRODUCTION AND OBJECTIVES .............................................................................................. 70 ANALYSIS OF MUSIC ................................................................................................................. 72 ROLE OF IMPROVISATION ......................................................................................................... 77 PERFORMANCE EXPERIENCE .................................................................................................... 79 CONCLUSION ........................................................................................................................... 81 POLYCYCLE 4: ‘POLYFUGUE’ (PORTFOLIO P51; BLUE CD TRACK 4) ........................... 81 INTRODUCTION AND OBJECTIVES .............................................................................................. 81 ANALYSIS OF MUSIC ................................................................................................................. 82 ROLE OF IMPROVISATION ......................................................................................................... 87 PERFORMANCE EXPERIENCE .................................................................................................... 89

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CONCLUSION ........................................................................................................................... 90 POLYCYCLE 7: ‘POLYFOLKBAROQUE’ (PORTFOLIO P76; BLUE CD TRACK 6) ............ 90 INTRODUCTION AND OBJECTIVES .............................................................................................. 90 MUSIC ANALYSIS ...................................................................................................................... 90 ROLE OF IMPROVISATION ......................................................................................................... 95 PERFORMANCE EXPERIENCE .................................................................................................... 95 CONCLUSION ........................................................................................................................... 95 POLYCYCLE 10: ‘POLYKARMA’ (PORTFOLIO P119; BLUE CD TRACK 9) ....................... 96 INTRODUCTION AND AIMS ......................................................................................................... 96 MUSIC ANALYSIS ...................................................................................................................... 96 ROLE OF IMPROVISATION ....................................................................................................... 100 PERFORMANCE EXPERIENCE .................................................................................................. 101 CONCLUSION ......................................................................................................................... 101 POLYCYCLE 5: ‘POLYANATOLIA’ (PORTFOLIO P6; BLUE CD TRACK 1) ...................... 102 INTRODUCTION AND AIMS ....................................................................................................... 102 MUSIC ANALYSIS .................................................................................................................... 102 ROLE OF IMPROVISATION ....................................................................................................... 106 PERFORMANCE EXPERIENCE .................................................................................................. 106 CONCLUSION ......................................................................................................................... 108 POLYCYCLE 12: ‘POLYROOTS’ (PORTFOLIO P127 AND BLACK CD) ........................... 109 INTRODUCTION AND AIMS ....................................................................................................... 109 MUSICAL ANALYSIS ................................................................................................................ 109 ROLE OF IMPROVISATION ....................................................................................................... 114 PERFORMANCE EXPERIENCE .................................................................................................. 114 CONCLUSION ......................................................................................................................... 115 CHAPTER 4: POLYCYCLIC JAZZ MUSIC ANALYSIS ..................................................... 116 POLYCYCLE 13: ‘POLYPHASIC’ (PORTFOLIO P173; RED CD TRACK 4) ...................... 118 INTRODUCTION AND AIMS ....................................................................................................... 118

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MUSICAL ANALYSIS ................................................................................................................ 119 ROLE OF IMPROVISATION ....................................................................................................... 124 PERFORMANCE EXPERIENCE .................................................................................................. 125 CONCLUSION ......................................................................................................................... 126 POLYCYCLE 11: ‘POLYBRUBECK’ (PORTFOLIO P198; RED CD TRACK 7) .................. 126 INTRODUCTION AND AIMS ....................................................................................................... 126 MUSICAL ANALYSIS ................................................................................................................ 126 ROLE OF IMPROVISATION ....................................................................................................... 130 PERFORMANCE EXPERIENCE .................................................................................................. 130 CONCLUSION ......................................................................................................................... 131 POLYCYCLE 14: ‘ADDICTION TO LIFE’ (PORTFOLIO P163; RED CD TRACK 3) ........... 131 INTRODUCTION AND AIMS ....................................................................................................... 131 MUSICAL ANALYSIS ................................................................................................................ 131 ROLE OF IMPROVISATION ....................................................................................................... 135 PERFORMANCE EXPERIENCE .................................................................................................. 137 CONCLUSION ......................................................................................................................... 137 POLYCYCLE 18: ‘POLYMORPHISM’ (PORTFOLIO P216; RED CD TRACK 9) ................ 137 INTRODUCTION AND AIMS ....................................................................................................... 138 MUSICAL ANALYSIS ................................................................................................................ 138 ROLE OF IMPROVISATION ....................................................................................................... 142 PERFORMANCE EXPERIENCE .................................................................................................. 144 CONCLUSION AND REMAINING WORKS ........................................................................ 144 01 - POLYNATION (PORTFOLIO P140; RED CD TRACK 1) ........................................................ 144 02 - POLYPSYCLIC (PORTFOLIO P155; RED CD TRACK 2) ....................................................... 145 05 - POLYCENTRIC (PORTFOLIO P183; RED CD TRACK 5) ...................................................... 145 06 - POLYINTEGRATE (PORTFOLIO P187; RED CD TRACK 6) ................................................... 146 08 - POLYGONE (PORTFOLIO P211; RED CD TRACK 8) ........................................................... 146 10 - THE SOUND OF JAZZ (PORTFOLIO P225; RED CD TRACK 10) ........................................... 146 POLYCYCLE 15: ‘STAY WITH ME’ (RED CD TRACK 11) ................................................. 147

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INTRODUCTION AND AIMS ....................................................................................................... 147 MUSICAL ANALYSIS ................................................................................................................ 147 POLYCYCLE 15: STAY WITH ME (INSTRUMENTAL) ................................................................... 149 CONCLUSION ......................................................................................................................... 149 CHAPTER 5: POLYCYCLIC WORLD MUSIC ANALYSIS ................................................. 150 01 - POLYNATION .................................................................................................................. 152 02 - DESIRE ........................................................................................................................... 153 03 - FALAZAFALA .................................................................................................................. 153 04 - ONE MOMENT ................................................................................................................. 154 05 - POLYANATOLIA ............................................................................................................... 154 06 - IN MY ROOM ................................................................................................................... 154 07 - UNTOUCHABLE ............................................................................................................... 155 08 - CZEKAM (WAITING) ......................................................................................................... 155 09 - FATHER'S HOME ............................................................................................................. 156 10 - TOUCH ........................................................................................................................... 156 CHAPTER 6: CONCLUSION .............................................................................................. 158 1. COMPROVISATION: BALANCE BETWEEN COMPOSITION AND IMPROVISATION .......................... 159 2. POLYMETRE VERSUS MONO-METRE AND THE IMPLICATION ON NOTATION ............................. 159 3. IMPROVISATION VERSUS POST-IMPROVISATION STUDIO MANIPULATIONS .............................. 162 4. BALANCE BETWEEN PROCESS AND INTUITION ...................................................................... 163 5. COMPLEXITY VERSUS SIMPLICITY........................................................................................ 163 REFERENCES .................................................................................................................... 166 DISCOGRAPHY .................................................................................................................. 173 APPENDIX A ....................................................................................................................... 174 POLYCYCLES AND FUGUES .................................................................................................... 174 APPENDIX B ....................................................................................................................... 176 REPEATING OURSELVES ......................................................................................................... 176 APPENDIX C ....................................................................................................................... 178

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INTUITION, PERCEPTION AND PERFORMANCE ......................................................................... 178 APPENDIX D ....................................................................................................................... 181 WIDER RESONANCE............................................................................................................... 181 APPENDIX E ....................................................................................................................... 185 SUBJECT2CHANGE: SUSTAINING FLUIDITY IN STUDIO MANIPULATIONS OF A POLYMETRIC JAZZ FUSION COMPROVISATION ...................................................................................................... 185

APPENDIX F ....................................................................................................................... 197 INTERVIEW WITH NIK BÄRTSCH............................................................................................... 197 APPENDIX G ....................................................................................................................... 200 LYRICS FOR ‘POLYCYCLIC WORLD MUSIC’ ALBUM...................................................... 200 FALA ZA FALA (WAVE BY WAVE) ............................................................................................. 200 ONE MOMENT........................................................................................................................ 201 IN MY ROOM.......................................................................................................................... 202 CZEKAM ................................................................................................................................ 204 FATHERS HOME / OJCOWSKI DOM ........................................................................................... 205 APPENDIX H ....................................................................................................................... 208 269 POLYCYCLIC COMBINATIONS ........................................................................................... 208 NOTES................................................................................................................................. 234 VOLUME II: COMPOSITION PORTFOLIO ......................................................................... 237

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List of Figures Figure 1: Polycyclic Combinations .......................................................................................... 22 Figure 2: Genres of Improvisation (Zack 2000, p232) ............................................................ 56 Figure 3: PolySpirals in LogicProX ......................................................................................... 68 Figure 4: PolyAnatolia Mother Cycles .................................................................................... 69 Figure 5: Lilburn Blue-rehearsal marking ............................................................................... 70 Figure 6: Polycyclic Combination #29 .................................................................................... 71 Figure 7: Escher's Relativity .................................................................................................... 71 Figure 8: PolySpirals: bars 5-6................................................................................................ 72 Figure 9: PolySpirals: bars 9-10.............................................................................................. 72 Figure 10: PolySpirals: MC1 ................................................................................................... 73 Figure 11: PolySpirals: MC4 p14 ............................................................................................ 74 Figure 12: PolySpirals: MC1c p4 ............................................................................................ 74 Figure 13: PolySpirals: '1st landing' ....................................................................................... 75 Figure 14: PolySpirals: MC2, p4 ............................................................................................. 75 Figure 15: PolySpirals: MC3 ................................................................................................... 76 Figure 16: PolySpirals: MC4 ................................................................................................... 77 Figure 17: PolySpirals: Ending ............................................................................................... 77 Figure 18: PolySpirals: piano improvisation p1 ...................................................................... 78 Figure 19: Polycyclic Combination #25 .................................................................................. 82 Figure 20: PolyFugue MC1a ................................................................................................... 82 Figure 21: PolyFugue MC1b ................................................................................................... 83 Figure 22: PolyFugue MC1c .................................................................................................... 84 Figure 23: PolyFugue MC2a ................................................................................................... 84 Figure 24: PolyFugue MC2b ................................................................................................... 85 Figure 25: PolyFugue: MC5 .................................................................................................... 86 Figure 26: PolyFugue: MC6 .................................................................................................... 86 Figure 27: PolyFugue: MC11 .................................................................................................. 87 Figure 28: PolyFugue: MC3 piano .......................................................................................... 87 Figure 29: PolyFugue: MC6 improvisation ............................................................................. 88 Figure 30: Polycyclic Combination 19 .................................................................................... 91 Figure 31: PolyFolkBaroque: MC1 ......................................................................................... 91 Figure 32: PolyFolkBaroque: MC2 ......................................................................................... 91 Figure 33: PolyFolkBaroque: MC4 ........................................................................................ 92 Figure 34: PolyFolkBaroque: MC7 ......................................................................................... 92 11

Figure 35: PolyFolkBaroque: MC9 ......................................................................................... 93 Figure 36: PolyFolkBaroque: MC12 ....................................................................................... 93 Figure 37: PolyFolkBaroque: MC15-16 .................................................................................. 94 Figure 38: PolyFolkBaroque: MC18 ....................................................................................... 94 Figure 39: Polycyclic Combination #24 .................................................................................. 96 Figure 40: PolyKarma: MC2 ................................................................................................... 97 Figure 41: PolyKarma: MC3 ................................................................................................... 99 Figure 42: PolyKarma: MC7 ................................................................................................. 100 Figure 43: PolyKarma: MC9 ................................................................................................. 100 Figure 44: Polycyclic Combination #79 ................................................................................ 102 Figure 45: PolyAnatolia: MC1............................................................................................... 103 Figure 46: PolyAnatolia: MC6............................................................................................... 103 Figure 47: PolyAnatolia: MC7............................................................................................... 104 Figure 48: B Phrygian dominant and E harmonic minor scales ........................................... 104 Figure 49: PolyAnatolia: MC22............................................................................................. 105 Figure 50: PolyAnatolia: MC24............................................................................................. 105 Figure 51: PolyAnatolia: MC25............................................................................................. 106 Figure 52: PolyAnatolia: MC9 3/4 ........................................................................................ 107 Figure 53: PolyAnatolia: MC9 polymetric notation .............................................................. 107 Figure 54: PolyAnatolia: MC9 6/8 and 3/4 ........................................................................... 108 Figure 55: PolyRoots: Introduction ....................................................................................... 111 Figure 56: PolyRoots: MC1a ................................................................................................. 111 Figure 57: PolyRoots: MC1b ................................................................................................. 112 Figure 58: PolyRoots: MC2a ................................................................................................. 112 Figure 59: PolyRoots: MC2b ................................................................................................. 113 Figure 60: PolyRoots: MC5 ................................................................................................... 113 Figure 61: Polycyclic Combination #28 ................................................................................ 120 Figure 62: PolyPhasic: piano and trumpet ............................................................................ 121 Figure 63: PolyPhasic: bass .................................................................................................. 122 Figure 64: PolyPhasic: tenor sax ........................................................................................... 122 Figure 65: PolyPhasic: 3/4 vs 5/4 .......................................................................................... 123 Figure 66: PolyPhasic: bass and drums ................................................................................ 123 Figure 67: Polycyclic Combination #29 ................................................................................ 127 Figure 68: PolyBrubeck: Intro 1 ............................................................................................ 127 Figure 69: PolyBrubeck: theme ............................................................................................. 128 Figure 70: PolyBrubeck: bridge............................................................................................. 129 Figure 71: Polycyclic Combination #27 ................................................................................ 132

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Figure 72: PC14: drums......................................................................................................... 132 Figure 73: PC14: bass&drums .............................................................................................. 133 Figure 74: PC14: epiano ........................................................................................................ 133 Figure 75: PC14: ensemble head ........................................................................................... 134 Figure 76: Polycyclic Combination #31 ................................................................................ 138 Figure 77: PolyMorphism: bass & drums introduction ......................................................... 139 Figure 78: PolyMorphism: ensemble excerpt ........................................................................ 140 Figure 79: PolyMorphism modes in Eb ................................................................................. 141 Figure 80: PolyMorphism modes in Ab ................................................................................. 141 Figure 81: PolyMorphism modes in C ................................................................................... 142 Figure 82: PolyMorphism: improvisation sections ................................................................ 143 Figure 83: Polycyclic Combination #24 ................................................................................ 147

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Chapter 1: Introduction The mixture of composition, improvisation and chance is exactly what life on this planet is all about. Piero Scaruffi (1999, p1)

This submission consists of two Volumes and four CDs: Vol. 1 is an exegesis; Vol. 2 is a portfolio of scores; three CD albums entitled Polycyclic Chamber Music (Blue CD), Polycyclic Jazz (Red CD) and Polycyclic World Music (Green CD)2; one data CD (Black CD) containing extra compositions and a video. All four CDs will be referred to by their respective colours. The written work presented here will provide theoretical background and analysis to the creative submissions. Both the exegesis and the creative work have ‘polycyclic comprovisation’ as a central focus. This term will be explained in the introduction and explored in detail throughout the exegesis. Included in this chapter is an outline of my musical background, the exegesis style and research design.

1.1 Defining Polycycles Polycycles in this context implies the simultaneous presence of musical motifs of different lengths. While polycyclic comprovisation suggests the application of improvisation upon a cyclic framework, both terms can naturally function and be described individually and independently. I prefer to incorporate the term polycycles rather than polymetres as cycles imply a more flexible method in the notation and performance of repeating rhythmic frameworks, whereas metres tend to fix the units within time signatures. Moreover, since polycycles may also exist outside of or within short metric units, the term embraces a more encompassing and expansive description than does polymetres. However, much of the work discussed here involves polymetres as the primary underpinning of a musical structure. Firstly, it is important to distinguish here the often-misinterpreted distinction between polymetre and polyrhythm. Whereas polymetre is the simultaneous employment of two or more metric frameworks, or time signatures, polyrhythm is referring to two or more different 14

rhythmic patterns within the same time signature. Related terms such as ‘multi-metre’ and ‘bimetre’ will be examined in a more in-depth discussion of metre and polymetre in chapter two. The earliest documented evidence of polymetres dates back to the Renaissance when, for example, Spanish dance music used double time signatures. Mozart engaged three onstage ensembles for the ballroom scene, end of act one, in Don Giovanni to play in different metres in order to accompany each principal character.3 This technique, known as “imbroglio”, was used by Stravinsky in his ballet Petrouchka in scenes descriptive of simultaneous uncoordinated action. Polymetres have come more to the fore in twentieth century music. Charles Ives uses contrapuntal polymetre in the second movement of Three Places in New England (composed 1903-14), where, upon the meeting of two marching bands, each plays similar marching tunes at the same time, although they play in different tempos. Implicit polymetry is to be heard in George Gershwin’s ‘I Got Rhythm’ where the melody implies 2 bar phrases of 3/4 over the rhythm section playing 4/4 for the same duration. Similarly, in Bill Evan’s jazz composition ‘Five’, the melody has an implied 5/4 meter over a 4/4 rhythm section who play the same harmonic progression as ‘I Got Rhythm’ - characteristic of the tradition in jazz of borrowing and referencing. In my work with the Choreographishes Theater Freiburg (1992-2000), I composed a 5/8 - 4/4 polycycle, ‘Il Matrimonio’4, to reflect two separate dances on stage depicting a wedding ceremony during a dance/theatre version of Fellini’s La Strada. A live drum pattern in 5/8 synchronizes with pre-recorded medieval vocal samples of the same metre. After eight bars the melody begins in 4/4 (although it often implies a 3/4 slow waltz feel) for a duration of thirty bars at which point the 5/8 pattern has completed forty-eight cycles. Within the form, eight bars of 5/8 equal five bars of 4/4, meaning the two patterns share the same ‘downbeat’ six times in thirty bars, providing reassuring points of reference for the performers. As will become increasingly evident in the music analysis sections, mathematical equations make up the essential underpinnings of my polycyclic compositions. My film composing work since year 2000, comprising of over one hundred film scores, contains countless understated examples of polycycles, which I have used to provide flexible multi-layers of meaning appropriate for many dramatic situations.

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In analysis of a composition of mine for Jazz fusion group ‘subject2change’, Robert Burns (2011) writes:

Coleman’s compositions often feature a compositional technique that involves layered mixtures of metres he refers to as polycycles…[the rhythm section] continue the opening A section in 4/4 metre over a ten-bar cycle while the [brass] introduce a unison motif in 7/4 (p73).

There are a number of examples of polymetres within rock music. Frank Zappa almost satirizes the use of polymetre in his introduction to ‘Toads Of The Short Forest’: At this very moment on stage we have drummer A playing in 7/8, drummer B playing in 3/4, the bass playing in 3/4, the organ playing in 5/8, the tambourine playing in 3/4, and the alto sax blowing his nose (Zappa 1970).

‘Touch And Go’ was a hit single by The Cars, in which the drums and bass play in 5/4, while the synthesizer, guitar and vocals play in 4/4 during the verses. Equally, Swedish metal band, Meshuggah, make “frequent use of polymetres, with unconventionally-timed rhythm figures cycling over a 4/4 base”5 (Pieslak 2007, p220). In proportion to the vast body of existing music, the use of polymetre remains more the exception than the rule, particularly regarding the systematic utilization of three-part polymetres. This research aims to advocate for more exploration into the potential of polycyclic composition and improvisation.

1.2 Defining Comprovisation The term comprovisation is an amalgamation of composition and improvisation. It is a relatively recent and infrequently employed term that describes the interrelationships between premeditated material and real-time spontaneity in a music context. Online searches for the term ‘comprovisation’ result in a modest number of recordings, performances, academic and non-academic literature that have embraced this terminology. Described as “a celebration and

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exploration of the interface where composition and improvisation meet” (Thomas 2005, p1) it is not a term in common use. Earliest references date back to the 1980s when Lawrence Butch Morris is credited with inventing a “style of organized group improvisation that's been dubbed ‘Comprovisation’” (Kelsey 2016, p1). According to Kelsey, Morris coined the term ‘conduction’ to describe his conducting technique or “shaping an improvised performance by using hand signals” (Ibid.). In the accompanying notes to his CD, Possible Worlds, trumpeter Markus Stockhausen writes: "The idea was to create a unique kind of music that is neither totally improvised nor composed. 'Comprovisation' was the word that came to my mind” (1995). On pianist Richie Beirach’s album Crossing Over the biographical notes mention “Comprovisation - the close cooperation between composition and improvisation” as one of the “core issues of his 48 career years” (2008). There would appear to be several attempts at definition but no single, substantiated claim to the invention of the term comprovisation. In 1989 the group Triangulation led by John Wolf Brennan “developed his personal style of ‘comprovisation’” (Brennan 2016, p1). Virgil Moorefield was also credited with the term for his work of the mid 1990s, described as a “confident compromise between composition and improvisation” (Ross 1996, p1). More recently, improvisational groups in Seattle propose another variation on the term as "‘co-comprovisations’ [that] feature spontaneous co-composition, performance, and recording of a completed work on the first take”6. Regardless of whoever is responsible for the word comprovisation or when it was invented, it is indisputable that some form of relationship between composition and improvisation is evident in the vast majority of the world’s music, from pre-historic times to present day. One might argue that ‘pure’ composition, a pre-determined music that holds no allowance for performer contingency beyond interpretation of fixed notes such as in western art music, is a departure from normal practice. The topic of comprovisation and its relevance to my work will be further discussed in chapter two. For the purpose of this exegesis, ‘polycyclic comprovisation’ is defined as improvisation upon a polycyclic composition. My interest in polycyclic concepts dates back to the early 1990s while practice in improvisation can be traced to my childhood. A brief summary of my musical background is of relevance to the research topic. 17

1.3 My Musical Background Music education, formal and informal, on piano and trumpet, was at the centre of my upbringing. Although improvisation has always been an integral part of my music making since early childhood, it was not until the age of seventeen that I heard my first Miles Davis recording. Upon hearing Miles Davis’s Kind of Blue, I was transfixed and transported to a new world of possibilities and resolved to study the mechanics of the music in the country of its birth. While I was studying at Berklee College of Music in Boston Miles Davis played his first ‘come-back’ concert (1980) after a hiatus of six years. As an impressionable twenty year old in attendance, I was overwhelmed with the live power of this music, its ever-present inventiveness and drive toward what seemed like a knife edge of precarious existence, yet the musicians displayed a skilled confidence, under the watchful presence of a great master. Performing music at this level of crafted spontaneity became my ultimate goal. After studying and practicing the techniques of jazz music for a number of years, and upon relocating to Germany, I was in a position to perform my own jazz compositions with three other highly skilled and creative musicians under the name of the ‘Trevor Coleman Group’ (1985-93). During this time I also came in contact with improvisation upon complex polycyclic structures while collaborating for four years (1990-93) with colleague and mentor Muneer Abdul Fataah from New York, then based in Freiburg, Germany. During the 1980s he codeveloped these concepts with drummer Doug Hammond and saxophonist Steve Coleman, who continued development parallel to Fataah in the 1990s. Coleman (Steve) has dubbed them ‘overlapping cycles’ (further examined in the metre / polymetre section in chapter two). The challenge of attempting to navigate the complex structures of Fataah’s compositions was at once frustrating and liberating - frustration with continually getting ‘lost’ in the form, then, as I became more familiar with the structures, an intense sense of liberation that I had not experienced playing more conventional jazz. I began my own compositional forays into polycyclic composition and improvisation at this time. For my bi-metric piece ‘The Sense of no Sense’7 (1991) the drums and bass play 16 bars of 5/4 while the piano and vocals play 20 bars of 4/4 of a 12-bar blues form. Consequently

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both metres coincide, then continue together in 4/4, at bar 9 of the second form, or dominant chord, which acts as a fitting and welcome ‘release’ point. As previously stated, in addition to jazz music, I continued experimenting with bi-metric forms throughout the 1990s as resident composer/performer for the Choreographisches Theatre Freiburg followed by my documentary film scoring work (2000-12). My first attempt at a ‘tri-metric’ (3-part) polymetric form was performed by the jazz fusion group “subject2change”8 in Dunedin, New Zealand (2002). The bass held a cyclic pattern in 3/4 while the drums played a repeating pattern in 5/4, creating an extended but rhythmic groove. Meanwhile the saxophone and piano played the theme in 4/4. After 60 beats, or 20 3/4 bars, 12 5/4 bars and 15 4/4 bars respectively, the group would coincide on a shared ‘one’ or downbeat. This framework was continued during the soloing sections and required considerable concentration. What came as an intriguing and encouraging surprise was the physical response from the audience. Despite the unusual concept, the floor was immediately full with vigorous dancing upon beginning the piece. Upon interviewing a number of the dancers, they could not pinpoint the polymetric component but seemed to react to the composite effect of the interlocking cycles and resulting energy. This experience further fueled my growing conviction that, if this polymetric approach was conceived competently, it could broaden the rhythmic possibilities considerably for groove based music and expand on the exciting and potentially liberating effect I had first experienced with Muneer Abdul Fataah in the early 1990s. Although having enjoyed a very successful twelve years in the television and film industry (2000-12), my enthusiasm for film scoring was waning. Having felt I was beginning to exhaust the musical possibilities within this medium and that the numerous compromises were taking their toll, I was ready to undertake a new direction. I was eager to dedicate myself full-time to the exploration and realization of the potential inherent in my long held interest in polycyclic comprovisation. Due to various limitations previously, especially time, I had the sense I had only scratched the surface of possibilities and that with a systematic approach that is demanded in an academic environment I would have no trouble filling the three years of a DMA in order to bring these concepts to form. The composition, performance and production of three CDs in three broadly defined genres are designed to provide ample illustration of these potentialities. Furthermore, the commitment to explaining the processes in an academic thesis provides rigorous context for this underexplored territory. 19

1.4 Methodology 1.4.1 Exegesis Style The formal recognition of practice-led research was established in the 1990s whereby higher research degree candidates in art, design and media submit creative works alongside an exegesis for examination. In the ensuing years various exegesis models have been proposed and experimented with by students and supervisors to varying degrees of endorsement within academic institutions. A connective model for the practice-led research exegesis was proposed by Hamilton and Jaaniste based on extensive analysis of the form and content of a large sample of submitted exegeses. They identified persistent patterns in content and structure: Besides an introduction and conclusion, this pattern includes three main parts, which can be summarized as situating concepts (conceptual definitions and theories); precedents of practice (traditions and exemplars in the field); and researcher's creative practice (the creative process, the artifacts produced and their value as research) (2010, p31).

Of these three main parts, the first two will be incorporated into the section ‘Theoretical Foundations and Literature Review’ in chapter two of this exegesis. The ‘researcher’s creative practice’ will be demonstrated in the music analysis sections, chapters three to five. Before proceeding with an account of my research design it is pertinent to understand how my choice of exegesis style is linked to the research topic. The connective model maintains “academic objectivity, by providing a contextual framework for the practice, and personal reflexivity, by providing commentary on the creative practice” (Hamilton and Jaaniste 2010, p32). The connective model combines two distinct approaches, the context and commentary, as identified by Milech and Schilo (2004). Whereas for the context model “the exegesis performs the role of a contextualizing text” (Hamilton and Jaaniste 2010, p37) the commentary model “is a personal, self-reflexive account by the researcher who speaks as an insider and who draws on what they uniquely know and have experienced in relation to their creative works and processes” (p38). 20

It is necessary to combine these two approaches in a coherent manner because the commentary model “does not connect the research project and creative practice to the wider fields that precede or surround them… therefore cannot substantiate a case for advances of the field that might have been made through the research” (Ibid). The creative practice in both models “is disconnected from the field of research in which it is situated” (Ibid). The connective model offers a solution in that the context model is adopted for the ‘situating concepts’ and ‘precedents of practice’ aspects of the exegesis while the commentary model for the ‘researchers creative practice’ section. Therefore the context and commentary models are integrated to “overtly connect the creative practice and its processes with its broader theoretical and practical contexts” (p39). The researcher is required to “adopt a duality of subject positions and a polyvocality” (p40). This ‘polyvocality’ and hybrid genre of writing is well suited to my practice-led research on ‘polycyclic comprovisation’. The combination of “dual orientation and multiple perspectives, as well as a polyphony of voices” (p42) succinctly mirrors the process of composing and performing polycyclic music while simultaneously providing a connective integrated model for my research.

1.4.2 Research Design In this section I will outline the process undertaken in my investigation of polycyclic comprovisational concepts and realization of the composed works. Ongoing examination and collating of diverse contemporary scholarship throughout the duration of the research provided a significant quantity and quality of contextual material to futher situate my work within a more expansive perspective. Before any composition could be purposefully undertaken it was necessary to ‘map’ out all possible combinations of time signatures in tri-metre groupings. For clarification, an example of a tri-metre grouping would be a composition that incororates the metres 3/4, 4/4 and 5/4 simultaneously. Firstly, all feasible metres needed to be identified. These included 3/8, 5/8, 6/8, 7/8,11/8,13/8, 2/4, 3/4, 4/4, 5/4, 7/4, 11/4, 13/4 – a total of thirteen. To avoid any overly redundant doublings of metres 9/8, 15/8, 6/4, 9/4, 15/4 were omitted. In these cases they were considered divisable by smaller values. The exceptions to this criteria were 6/8 and 4/4 being 21

commonly used metres in their own right. A mathematical process which excluded the ‘redundant doublings’ (such as 2/4 and 4/4) resulted in 364 total combinations. Further culling of combinations subjectively considered too impractical to execute reduced the total to 269. Terminology was established and tri-metres, or bi-metres for that matter, came under the umbrella term ‘polycycles’. This term suggests a certain flexibility to allow the use of cycles to exist beyond metrical systems. Another term central to this mathematical base is ‘Mother Cycle’ (MC) which is the total number of beats produced by a polycycle. For example, a 3/4, 4/4, 5/4 polycycle will create a sum of 60 beats (before all three metres have a downbeat at start of a common bar): 20 bars 3/4; 15 bars 4/4 and 12 bars 5/4. The range of Mother Cycles extends from the smallest at 30 beats (e.g. 2/4, 3/4, 5/4) to the largest at 2002 beats (e.g. 7/8, 11/8, 13/4). It was further deemed practical to categorize the Mother Cycles into three different levels of complexity: Level I = MC less than 150 beats; Level II = MC between 150 and 350 beats; Level III = MC more than 350 beats. Figure 1 illustrates an analysis of the first polycycle of the table:

Figure 1: Polycyclic Combinations

(For the complete table of ‘Polycyclic Combinations’ refer to Appendix H).

My intention was to predominatly utilize the smaller, and easier, Mother Cycles from Level I or II being, arguably, the first known experiments of this nature. This is particularly applicable when testing the efficacy of the polycycles with human musicians and their inherent limitations on acoustic instruments, which was the intention of the study from the outset. Experiments with computer music and Level III Mother Cycles is a potentially informative study but, again, not within the parameters of this research.

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A powerful and flexible sequencing system for composing, recording and editing was an essential aspect of the music organization. I chose Logic Pro X on the basis of my familiarity with the programme, and its ability to fulfill a multiple of requirements. Integral to the research design was adapting the technology to serve a polycyclic foundation. For example, the ability to quickly change between the three metres to frequently compare the different ‘viewpoints’ was required. Furthermore, as the compositional process evolved and I decided upon notating the music in three different metres (further discussed in the music analysis chapters three to five), considerable experimentation was called for to ‘trick’ Logic into cooperating in this uncharted field (discussed in more detail in chapter three). Eventually, however, it would become necessary to convert selected Logic files into Sibelius (notation software) to create a more professional score. The cornerstone of my compositional approach is experimentation through recorded improvisation followed by critical and instinctive selection of motivic materials for development. This method also seemed particularly germane to the sphere of comprovisation. Three different stages along the comprovisational spectrum (as discussed in detail in chapter 2.5) parallel to the three nominated genres required three distinct methodological and philosophical settings to be established. The first album was composed for three performers on classical instruments (1/ oboe, cor anglais, soprano and alto saxophones, 2/ cello, 3/ piano) and incorporates the most fully notated scores. I have called this album Polycyclic Chamber Music (or ‘Chamber’ for simplicity) and it lies at the more compositional end of the spectrum (Vol 2, pp6-139, and the ‘Blue CD’). The principal objective of this project was to focus on polycyclic compositional design. Improvisation by the participating musicians would be minimal or optional. This solution meant that classically trained musicians who might not be confident improvisers could then choose a ‘notated improvisation’ option where applicable. The main comprovisational challenge then for this project would be composing via improvisation within a polymetric structure while maintaining compositional articulacy. Further challenges would need to be addressed in the actual performance of the music including polymetric notation. The second album, Polycyclic Jazz Music (or ‘Jazz’), would be a fitting medium to explore the middle area along the comprovisational spectrum that delineates a more proportionate relationship between composition and improvisation (Vol 2, pp140-236, and the ‘Red CD’). By employing myself initially as ‘test subject’ I would ‘sit in the chair’ of each instrument 23

and compose and improvise within each instruments respective metre. The goal was to create a structure that would be resonably comfortable to perform within the traditions of jazz modality while implanted in a very unfamiliar metric concept - a framework at once highly challenging but adhering enough to idiomatic norms as to encourage a natural sense of groove and improvisational stimulation. It was assumed that the compositions would evolve and change with the additional participation of the invited improvising musicians. The scores should be less prescriptive, reflecting jazz notational conventions for composed and improvisational sections. Thirdly, the Polycyclic World Music (or ‘World’) project ventures into the more improvised end of the spectrum by introducing a context in which a vocalist had complete freedom to improvise without pre-conceived directions over pre-recorded cyclic motifs. (‘Green CD’ - no scores were created for this project. Lyrics are contained in appendix G). These cyclic motifs were adapted from the ‘chamber’ project compostions to provide a bed of music more consistent with ‘world’ music practices. Post-improvisation compositional techniques (see chapter 2.6) were utilized to develop fully fledged recordings. The research interest here was to observe how a freely improvising musician would respond to a polycyclic situation. In this scenario notation is not applicable. Once the music from all three projects was sufficiently composed, musicians were invited to a series of recording sessions. Interviews regarding their experiences during these sessions were also documented in order to ascertain any performance issues surrounding this method. The recordings then received additional manipulation during the mixing procedure in preparation for mastering and CD production. These final editing phases also served to increase the transparency of these complex pieces. At all stages of the research an account of the process has been kept for inclusion in the music analysis sections. Included for further clarification on performing with polycycles is a proposed graded approach, from a performer’s point of view. This description will be be referenced at various stages of the exegesis. Performing Polycycles: •

Level I: learning your notated (‘fixed’) cycle (your ‘identifying signature’)



Level II: extemporizing/improvising with your notated cycle (variations upon your ‘identifying signature’) 24



Level III: listening to/absorbing a second performer’s cycle while simultaneously playing/improvising on your own cycle (acknowledging another ‘identifying signature’)



Level IV: responding/interacting with another performer’s cycle while maintaining the integrity of your own cycle. (Cross-fertilisation of ‘identifying signatures’) This process is repeated with the other cycle(s)



Level V: absorbing a third performer’s cycle while simultaneously performing your cycle and maintaining awareness of the second performance cycle.



Level VI: responding/interacting with the third performer’s cycle while simultaneously performing your cycle and maintaining awareness of the second performers cycle.



Level VII: responding/interacting with two other cycles while maintaining the integrity of your own cycle. At this level, full polycyclic improvisation has been achieved.

There is a sense of optimal balance between maintaining the integrity (strength) of one’s individual identifying signature and receptivity and utilization of others identifying signatures. An extra dimension to performing in relation to fixed cycles is the element of free improvisation over no fixed cycle, by an additional performer(s). The improviser(s) may draw upon materials presented by the ‘cyclists’ or introduce a fresh counterpoint based on a new identifying signature. A definition of the terms in this context will assist in the interpretation of ‘performing polycycles’. •

Cycle: a sound pattern normally between three and thirteen beats.



Identifying signature: a performer’s fixed sound pattern.



Absorbing: comprehending and assimilating another performer’s cycle.



Interacting: contributing and responding to stimuli from another performer’s performance.



Integrity: the state of being whole and undivided.



Cross-fertilization: the exchange of ideas.



Maintaining awareness: sustained conscious recognition.

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Musical Analysis Analysis of the music through examination of the included scores and recordings will illuminate the technical functioning of polycyclic design alongside application of improvisation, performance experiences and conclusions drawn from the process. The ‘chamber’, ‘jazz’ and ‘world’ music albums have been allocated separate chapters in order to scrutinize their particular idiosyncratic elements in relation to the research topic.

1.5 Chapter Summary It is hoped that the reader at this point will have a firm introductory background to the concept of polycyclic comprovisation and the intentions of this research. The musical analysis of the Polycyclic Chamber, Polycyclic Jazz and Polycyclic World albums will be covered in the chapters three, four and five respectively. Chapter six concludes the exegesis by comparing the findings of the research with the intentions, outlining the contributions to the field and proposing further potentialities for related research. The aim of chapter two however, is to delve more deeply and broadly into the understanding of polycyclic and comprovisational concepts, and where they are situated in context, through examination and discussion of relevant contemporary and historical literature.

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Chapter 2: Theoretical Foundations and Literature Review Through the relationships that are established in the course of the performance we are empowered not only to learn about the pattern and our relation to it but actually to experience it in all its complexities, in a way that words never allow us to do...

Mark Abel (2014, p9)

This chapter will examine a carefully selected body of literature that most exemplifies the theoretical foundations underscoring polycyclic comprovisation. How my work is situated within these theories will be addressed through discussions around comprovisation, the multifaceted aspects of metre, ethnomusicological comparisons, minimalism and metamodernism, jazz and the role of studio in contemporary composition. An investigation surrounding perception, intuition and the wider societal resonance of the themes presented here is included in appendix C and D to advance a broader context.

2.1 Comprovisation: Among academic publications, the most extensive discussion on the subject of comprovisation is presented in Michael Dale’s thesis: What Is Comprovisation? (2008) in which he explores the “middle ground between the poles we usually term ‘composition’ and ‘improvisation’” (p5). He argues that although the terms may imply “pure or idealized polar opposites” (Ibid), they are in fact inseparable. Even the most ‘composed’ (i.e., written-down, through-composed, and/or predetermined) music has some elements of free and flexible interpretation; and even the most spontaneous improvised creations often have… a ‘compositional’ coherence, integrity, or intention (Ibid).

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His focus is on comprovisation as “a spectrum of music-creation methods that arrive at both a relatively high degree of compositional...and a relatively high degree of performer agency, freedom, spontaneity, and flexibility” (Ibid). His intention is to examine some “general operating principals” of comprovisation and the various methods of “organizing a comprovisational musical space” (Ibid). It is firstly helpful to be clear on the definition of terms according to Dale: •

composition: one person predetermines as much as possible what a piece of music is going to be.



comprovisation: one or more people predetermine only some of what a piece of music is going to be; the rest is determined at the moment of performance or execution.



improvisation: one or more people predetermine nothing of what a piece of music is going to be; it is determined at the moment of performance or execution (p6).

Dale also outlines their “corresponding characteristics of identity and variability”: •

composition: can be repeated exactly… and maintain a recognizable identity.



comprovisation: can be repeated with greater or lesser degrees of variability and maintain a recognizable identity.



improvisation: cannot be repeated exactly (p7).

One of Dale’s interviewees, Chris Brown lists many music styles including classical music, new music, traditional jazz, Indian classical music, rock, Flamenco and other Romani musics and most of the world’s other folk traditions as already arising in essence from a symbiotic and inseparable combination of compositional and improvisational means, then we could say that basically almost all of the music that has ever been made is comprovisation.…it is always a mixture of predetermined arrangement or structure and spontaneous elaboration, invention, and/or interpretation (p7).

Roscoe Mitchel, another of Dale’s interviewees, considers improvisation, at its best, can be regarded as composition, or defined as “everybody’s a composer” (p8). 28

I would suggest there is an additional layer of coalescence within this comprovisational spectrum: post-improvisation manipulation of recorded material further blurs any perceived boundaries between composition and improvisation. Implementation of compositional skills upon another’s improvised performance contributes to, and complicates, the notion of shared ownership of the music. How this functions, technically and collaboratively, will be expanded upon in the ‘studio composer’ section (2.6) of this chapter, and in chapters four and five when analyzing my ‘jazz’ and ‘world’ albums. Many of the great European classical composers were also well-known improvisers, for example Bach, Beethoven, Vogler, Mozart, Paganini, Chopin, Liszt, Widor and Franck. Dale posits that “we may reasonably assume then that many of the materials for their compositions were arrived at through improvisational explorations; later honed, shaped and arranged into developed compositional forms, expanding out of the models of their time” (p9). In my own work, comprovisational procedures are utilized in numerous ways expressing a ‘polyvocality’ of roles. These roles, either independently or inter-dependently, include that of composer, performer, improviser, producer and facilitator. It is of interest to monitor these roles at various points along the composition/improvisation spectrum. Complexity is particularly intensified when these activities are placed in a polycyclic environment. Contemporary comprovisational practices have a more diverse set of techniques to draw upon than previously, predominantly as a result of technology. These practices and their consequences will be further examined in upcoming sections. Firstly, in order to better understand the function, meaning and background of the term ‘comprovisation’ it is pertinent to look more closely at its constituent components.

2.1.1 Composition:

I want to find the music, not to compose it. (Johnson 1999, p1)

Let the music do what it wants to do. (Feldman, cited in Johnson 1999, p1)

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In the previous section the relationship between composition and improvisation was described in terms of one person predetermining the content of the music compared to it being determined at the moment of execution (Dale 2008, p6), and the degrees of fusion between these two apparent polarities. Similarly, in this section I am concerned with exploring an aspect of the act of composing itself that indicates an apparent duality of positions. There is a potential internalized tension between strict adherence to a pre-conceived logic and allowing the music to “do what it wants to do” (Feldman, cited in Johnson 1999, p1) from the point of view of the composer during the actual process of composing. The American minimalist composer, Tom Johnson poses a philosophical conundrum: “To what extent have musicians really discovered a natural music, derived from absolutes like 3:2, and to what extent did they simply make it up?” (2004, p2). Johnson’s teacher, Morton Feldman, was against “allowing musical choices to be made by an exterior logic”. (Johnson 2004, p2) His position was to painstakingly choose very gradually “between all the possibilities that arose” and by “standing aside, trying to hear what the music wanted, trying to let the music compose itself” rather than imposing the criteria "What do I want?" (Ibid.). Whether it is possible to observe music that you are creating in such objective terms is questionable, as is the notion of music ‘self-unfolding’ and that the composer can arbitrate between notes and chords without agency. Steven David Gisby (2009) expresses the other side of the compositional coin. In contrast to Feldman, Gisby initially chose to work within an ‘exterior logic’ but discovered that “the processes were too strict and I'd left myself with no room to move. On reflection, I felt I'd made all of the decisions before the piece had begun” (p28). There is a question of balance suggested here that I have to continually address when composing over a process based system. To what degree should the process determine the outcome? At which point does the composer ‘step in’ to re-direct the course of the music and from what criteria is such a decision made? These choices are in the realm of individual aesthetic, or as Gisby states, “…using a process to determine the destination without it determining how I am to get there” (p29). Tom Johnson admits that his piece The Chord Catalogue “is really just a list” (2004, p4). The 8178 possible chords in one octave are performed “in a logical sequence, rather than being composed, and the main concern of the piece is to remain open to all sounds, all harmonies” (Ibid.). Even though each chord “has something just a little special about it” (Ibid.), the mind-numbing effect of meagre 30

compositional variety becomes evident in a videoed performance by Nicholas Horvath of Johnson’s The Chord Catalogue when the single audience member on camera frequently yawns, then appears to fall asleep, despite Horvath’s overtly graceful hand movements9. An analogous circumstance would be if I were to perform all 269 polycyclic combinations (as described on p20 in chapter 1.4.2 and listed in appendix H) as a series of single pulse notes on the piano. Even with some variation of pitch, the result would quickly become tedious. My intention is to create the perception of simplicity out of complexity through combining creative instinct with compositional skill. Gisby arrives at a similar sense of symmetry and concludes his thesis with a succinct summary of his aesthetic findings: For me, these pieces represent a search for balance: of the premeditated and the instinctive, the personal and the impersonal, the possible and the impossible, the intricate and the simple, of form and of the journey and the destination. (2009, p32)

To some, the keyword in working with processes is ‘perceptible’: “I am interested in perceptible processes. I want to be able to hear the process happening throughout the sounding music” (Reich 2002, p34). In contrast to these perceptible processes, my polycyclic structures are more likely ‘disguised’ – easily recognisable melodic elements are developed through traditional compositional techniques of variation which may distract from the underlying processes. The process component functions more subliminally. The overarching effect is rather the ‘illusion’ of simplicity. Achieving a perception of simplicity over a complex polycyclic base will however assist in the avoidance of the music becoming simplistic.

2.1.2 Improvisation:

The art of thinking and performing music simultaneously (Grove 1954)

Exploration through improvisation is the cornerstone of my approach to music creation. 31

The literature concerning improvisation exists in vast quantities so I will discuss only a few definitions from established practitioners and their relevance to this context. Perhaps the most concise definition is attributed to Steve Lacy who, when spontaneously asked to describe in fifteen seconds the difference between composition and improvisation, stated “In fifteen seconds the difference … is that in composition you have all the time you want to decide what to say in fifteen seconds, while in improvisation you have fifteen seconds” (Bailey 1993, p81). His answer lasted exactly fifteen seconds. Improvisation, by Derek Bailey (1993), is one of the most highly acclaimed studies on the subject. He advocates improvisation as a natural act in no need of argument and justification. It exists because it meets the creative appetite that is a natural part of being a performing musician and because it invites complete involvement, to a degree otherwise unobtainable, in the act of music-making (p142).

George Lewis (2002) identifies improvised music in terms of a “social location” …inhabited by a considerable number of present-day musicians, coming from diverse cultural backgrounds and musical practices, who have chosen to make improvisation a central part of their musical discourse. Individual improvisers are now able to reference an intercultural establishment of techniques, styles, aesthetic attitudes, antecedents, and networks of cultural and social practice (p234).

The ideal interaction between these musicians is described as “multi-dominance” (Lewis 2000) and as an “African-American aesthetic by which individuals articulate their own perspectives yet remain aware of the group dynamic, ensuring that others are able to do so as well” (Borgo 2005, p17). Lewis (2002) also contends that, from an Afrological perspective, improvisation is possible “only through discipline, defined as technical knowledge of music theory and of one's instrument as well as thorough attention to the background, history, and culture of one's music” (p238). In order to earn the title of improviser Paul Stapleton (2013) argues that a musician participates in “a form of music making that is shaped by certain rules and expectations, tacit or otherwise” (p7) and that “both the sonic and extra-sonic results of an improvisation form an account which is inescapably tied to its context” (p8). For an improvisation to be a success 32

T. Carl Whitmer (1934) believes it depends on a continuing flow of ideas, not hindered by any sense of right or wrong, and offers the following statements: Don’t look forward to a finished complete entity, the idea must always be kept in a state of flux. An error may be only an unintentional rightness. Do not be afraid of being wrong; just afraid of being uninteresting (p36).

Sebastian Lexer (2010) discusses qualities that are fundamental to improvisation: To escape uniformity through ceaseless investigation, to preserve progress through continuous exploration and to feel the freedom to strive to be different is to be capable of one’s own potentiality (pp41-42).

The above quotations have been selected in relation to my own improvisational work and are also of significance in a polycyclic comprovisational setting. When creating a comprovisational model it is critical that the complexity of structure does not interfere with improvisation as a “natural part of being a performing musician” and really does invite unimpeded complete involvement as Bailey suggests (1993, p.xii). This equally applies when incorporating “diverse cultural backgrounds and musical practices” and establishing a sense of “social location” (Lewis 2002, p234). The musicians who play on my recordings stem from a multiple of nationalities and musical backgrounds. An appropriately designed structure enables a “multi-dominance” (Lewis 2000) to thrive and potentially even be strengthened through additional layers of complexity. The ability to successfully navigate such systems requires an exceptional level of musicianship in the areas outlined above by Lewis, Stapleton, Whitmer and Lexer. Stapleton (2013) further states that “musical improvisation can be understood as the real-time manipulation of sonic memories, or the restructuring and honing of past materials and interactions” (p6). On the contrary, I would stress the importance of avoiding merely regurgitating and reconfiguring memorized material. To avoid potential predictabilities and facilitate a more original outcome, I am advocating the conception of an unfamiliar (polycyclic) yet instinctual (based on conventions) framework for improvisation. 33

Finally, in reference to the value of improvisation and experimentation within the realms of academic research, my colleagues Bendrups and Burns (2011) state: Our involvement with Subject2Change has provided both of us with a way of aligning our performative and investigative selves within a collaborative and interactive context. The result of this process is the development of new musical outputs, employing and deploying performance techniques and sound elements in unusual and innovative ways. Sometimes different styles (or languages) will complement each other and sometimes they won’t, but experimentation allows for the opportunity of new kinds of combinations and discussions to be attempted and for new music to be created (p67).

2.1.3 Composition, pre- and post-improvisation: To conclude this section I outline the two approaches to comprovisation on which I am concentrating in this research that can be simply defined as ‘composition, pre- and postimprovisation.’ Pre-improvisation composition: At the pre-performance or recording stage, the composer notates or otherwise indicates the fixed material for each performer. Improvisation is then employed at the discretion of the musician during performance. For further discussion I will return to this form of comprovisation, with examples, in the section: Jazz and the Comprovisational Spectrum (2.5).

Post-improvisation composition: As the name suggests, post-improvisation composition involves the manipulation of recorded improvisations in post-production utilizing traditional compositional approaches to organize the material. This topic will be examined in the section: Computer / Studio Composer (2.6).

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2.2 Metre / Polymetre / Interlocking Patterns

‘Well, we feel for several pulses’. That was my revelatory moment, gained from an acupuncturist checking my vital signs. Steve Coleman (Blumenfeld 2013)

Rhythm is [life's] answer to chaos. Deleuze and Guattari (cited in Abel 2014, p100)

2.2.1 Metre In order to adequately address the literature and multiple theoretical facets surrounding the topic of metre I have divided the discussion into three parts: metre, polymetre, and interlocking patterns. As stated in the introduction, most of the music discussed in this body of work involves polymetres as the primary underpinning of structure. Preliminary to examining polymetre however, it is necessary to examine the multi-faceted topic of metre. What is of prime importance in my work is the perception of metre, and particularly how this functions when more than one is in operation simultaneously. For the purpose of clarity and economy I will confine the discussion to music containing an identifiable pulse - excluding such works where metre is indicated purely for the convenience of the performers, having otherwise no direct influence on the music, as practiced by many avant-garde Western art music composers. Firstly, despite ‘metre’ being a commonly known term, clarification is nonetheless paramount before advancing further. What is metre? Martin Clayton (2000) maintains that “metre, along with tempo and rhythm itself, is one of the core concepts we use to describe rhythmic phenomena” (p28) and “has often been described by musicologists… as a grouping of beats for the purpose of measuring time” (Ibid.). He continues by describing metre as existing “when two or more continuous streams of pulsation are perceived to interact” (p41). The ability to recognize metre is dependent on “the extent of the perceptual present” (p42) - i.e. 35

pulses not likely separated by a duration longer than two to three seconds - “and the ability to comprehend recurring patterns as single Gestalts” (p42). The question becomes which of these ‘two or more continuous streams of pulsation’ is nominated as the ‘beat’ and “how do we decide whether a grouping of 2, 3, or 4 beats is enough to specify a metre, or whether a higher level grouping (of 6, 8, 12, or 16 perhaps) is also metrically significant?” (p30). If, as Clayton states, “metre and its representation is in fact a complex area in Western music theory” (p29) and further, if there is inconsistency surrounding the determination of a metric unit, then how much more difficult is it to reliably determine a polymetric construct? A broader understanding and definition of metre is then perhaps potentially informative. Mieczyslaw Kolinski proposes a connection between metre and Gestalt psychology (1959). He describes metre “as a background against which the rhythmic surface is perceived” (cited in Clayton 2000, p30). Metre then, according to this view “is a kind of reference grid which profoundly influences the perception and cognition of rhythm” (p30). Jay Dowling and Dane Harwood (1986) further clarify this: “The dual structure of underlying beat and superimposed rhythm is fundamental to the cognitive organization of music...” (p186). By pairing the “image of metre as a background or framework for rhythm” with the theory of interacting pulse streams “we have the beginnings of a concept of metre of wide applicability” (Clayton 2005, p31). By applying such a wide ‘concept of metre’ to a complex metric model more latitude is directed to the interpretation of how to perceive a multitude of pulse streams. There are other scenarios in which a simplistic interpretation of metre becomes inappropriate. Simha Arom (1989) prefers the term “isoperiodicity” when describing Central African polyrhythm as consisting of “a web of interlocking, periodic rhythmic patterns, organized around a single primary pulse level” (Clayton 2000, p31). Because, according to Arom, this organization contains only one pulse level, “and no regular ‘accentual matrix’”, it therefore “cannot be described as a type of metre” (p31). Polycyclic music may be also better imagined in terms of interlocking periodic patterns, perceived on a single pulse level, and on a more biorhythmic rather than metric basis. “Life is rhythmic,” as Mark Abel (2014) explains, “its myriad rhythms arising from the milieu that are centered on every living thing (sic)” (p100). Further argument for the limitations of metre as an organizational container of rhythms can be interpreted in his statements: “productive rhythm has nothing to do with reproductive meter” (p101) and “there is a clear tendency that the attempt to do justice musically to the temporal multiplicity of life results instead in conveying non-worldliness” (p102). 36

Abel believes that because “meter has become so deeply entrenched in Western musical culture… it requires an effort of will to appreciate music which is organized differently” (p86). He advocates expanding consciousness “beyond its body's limited perspective to perceive other durations, and beyond that to intuit time itself” (p98). Deleuze and Guattari (1988) propose two other kinds of temporality in counter-position: “Chronos: the time of measure that situates things and persons, develops a form, and determines a subject” (cited in Abel 2014, p98). They regard the “temporality of Chronos [as] related to the ‘plane of organization and development’” (p99). Its antithesis, Aeon, is described as “a floating time against pulsed time or tempo” (p98). Clear parallels are evident in these descriptions to polycyclic design (Chronos) and its comprovisational relationship to the ‘element of free improvisation over no fixed cycle’ (Aeon) as outlined previously in the ‘Performing Polycycles’ part of the methodology section (1.4). It is understood then that “metrical interpretation depends on the identification of key musical parameters” and that “it is possible for a single piece of music to be interpreted metrically in more than one way” (Clayton 2000, p33). These parameters may include “patterns of intensity or duration, the repetition of melodic or harmonic features, or something else” (Ibid.) indicating there are numerous ways that “listeners tend to choose one possible metric interpretation rather than another” (Ibid.). I contend that in my compositions presented here, participating musicians and listeners alike are confronted with unique challenges in identifying integrated multiple metres. It is not a matter of preference how the rhythmic frameworks are perceived, for a musical work may be appreciated on a number of levels, but of interest as to what degree the comprehension is either cognitively constructed or intuitively internalized, or some combination thereof.

2.2.2 Polymetre If metre is able to be interpreted in more than one way, as intimated in the previous section, the issue becomes compounded when attempting to perceive polymetric constructs. As with metre, in order to better understand the intricacies surrounding polymetre, it is advantageous to take a multi-pronged approach. Saxophonist and composer Steve Coleman suggests that there are primordial reasons why the attraction to more complex notions of rhythm exist. Like the music he prefers, “the body I live in is polyrhythmic. Like a musician freed from the 37

tyranny of a steady 4/4 beat, I enjoy the sublime freedom of being kept alive by pulses that never merely keep straight time” (cited in Blumenfeld 2013). Performing music of this complexity requires certain qualities in musicians “who don’t have preconceived notions and, maybe more important, can focus on broader concepts that then give rise to the music - on life, really” (Ibid.).The connection to our primordiality, our myriad bodily pulses, is perhaps prerequisite to “opening up to the music, of feeling it and internalizing it which is a very different mode of understanding. Feeling music is not stressed in the way that it should be” (Ibid.). Consequently, while difficult to measure, another duality presents itself here as previously suggested: comprehension of polymetric structures on a cognitive versus an intuitive level, and of what import this distinction has on the perception of such music. An extensive and invaluable source of theory and historical precedence around this question is embodied in Toward a General Theory of Polymetre by Eve Poudrier (2008). She states that a “polymetric structure can be loosely defined as a musical texture in which rhythmic components can be traced back to at least two simultaneous meters, each of which involves at least two beat levels” (p27). She also concedes that “it is unclear how listeners and performers deal with [polymetric perception], and whether it is possible to cognitively establish and maintain different beats simultaneously without integrating them into a single metric framework” (p1). In terms of “experimentation with various types of rhythmic organization in the music of the twentieth century” Poudrier lists modernist composers such as Igor Stravinsky, Charles Ives, Conlon Nancarrow, and György Ligeti who incorporated polymetre as a structural device (p27). The issue around “perceptibility of contrasting layers” (p41) was evident for example with the composer Elliott Carter who manifested this concern in his use of character-patterns: [the] “association of intervals, metronomic speeds, polyrhythms and rhythmic characters used to dramatize the musical personalities of instruments and instrumental groups and to make clear the stratification of texture” (Ibid.). According to Carter’s writings and comments “it becomes evident that the composer not only believes that these structures are perceptible at least on some level, but also that their perception plays an important formal and expressive role in his music” (p98). In apparent contradiction, Justin London (2004) asserts that from a psychological perspective, “there is no such thing as polymeter” (p50). Although “meter is an important organizational element for music's temporal fabric … it conditions the experience of all the participants involved in the creation of a musical object (i.e., the composers, performers, and listeners)” 38

(p57). [But] “it is not at all clear how the mind processes accentual cues, and whether it can actually differentiate between metric and phenomenological accents” (p59). Hence, according to this theory, even if the participants are conditioned to perceive music in the form of a ‘musical object’ (or metre), they will not be adequately prepared to perceive multiple metered layers simultaneously. Poudrier proposes therefore that “a generalized theory of polymeter necessarily presupposes a theory of meter that is flexible enough to accommodate various musical styles and practices; it can neither be ethnocentric nor universalistic” (2008, p57). In the following statement, Poudrier suggests taking a broader view with regard to perception of rhythmic structures that unfold over longer stretches of time:

The most attractive and palpable effect of a long-range polyrhythm is the patterned movement of its competing pulsations, that is, its proximity cycle. While a long-range polyrhythm might not be perceivable as a numerical entity, it is hypothesized that the listener will hear (or feel) the tension produced by the out-of-phase cycles and will become increasingly aware of the cycles moving toward and away from each other, and that these convergence and divergence phases will provide a sense of expectation (p97).

What may serve as a structural aid in polymetric perception, and possible resolution for a ‘sense of expectation’, is the notion of coincidence points. These “can be formally defined as the co-occurrence of two pulsations from contrasting pulse streams; usually, coincidence points are considered only when they are realized (i.e., they correspond to actual sounded events)” (p76)10. Poudrier takes into account these supplementary suppositions and expands on her original polymetric structure definition as “a multileveled polyrhythmic compound with at least two concurrent rhythmic strands…in which durational events can be traced back to contrasting pulse streams” (p130). Furthermore, Poudrier extends the investigation of the interaction of rhythmic layers, defining them as: “mensural determinacy, subpulse and event density, nestedness, proximity, and polycyclic spectrum” (p131). The emerging polymetric structures from these rhythmic layers can be categorized into three reasonably predictable behaviors:

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(1) integrated, in which competing pulse streams are assimilated by a single metrical projection, (2) polarized, in which one of the pulse streams is dominant and the other provides cross-accentuation, and (3) balanced, in which two or more concurrent pulse streams achieve metrical significance. …these idealized categories offer a conceptual model that is expressive of a listener's experience and, as such, contribute to render the polyrhythmic processes more intelligible, both as compositional and perceptual products (p131).

All three of these succinctly described behaviors apply to my compositions at varying points including frequently shifting roles between the pulse streams. A certain ‘blurring’ of the borders among the three behaviors is more pronounced once improvisation plays a role. Parallels can be drawn between these behaviors and my ‘Performing Polycycles’ model as outlined in the methodology section on page 24.

Central to my research and the topic of polymetric perception is the role of notation. Whereas Poudrier asserts that “the bar-measure allows the performer(s) to conceptualize how the parts work together and is not meant to translate automatically into a performed accentual structure” (p137), I argue that, at least in my compositional approach, the accentual structure takes precedence and therefore needs to be notated accordingly. This reflects an ongoing debate between notating polymetre in the same metre for all players, which may facilitate ease of synchronization in performance, versus notation in separate metres, which may better support the intended phrasing of rhythmic and melodic motifs. In the latter case the initial comprehension of how the parts fit together will be more difficult, lacking a common regular ‘down-beat’. Over time however, this will be overcome in the same way any piece is learnt as the reference points in relation to the other parts become more familiar. The mono-metric notation stance maintains there is no inherent difference in the outcome. In my experience a performer will phrase differently according to placement of bar-line, after which, on some level the musician will place emphasis. Additionally, reading the phrasing within context of its intended metre, reinforces the integrity of that individual part, which, combined with the other parts similarly invested, will increase the pertinacity of the whole. The score for ‘PolySpirals’ (Vol 2, p101) illustrates this claim and is further substantiated in the recorded performance. Here, there is a distinct rendering not only of the individual ‘down-beats’ of the 3/4, 5/4 and 11/4 bars respectively, but also in the sub-groupings within the metres. For 40

example, 5/4 is phrased as 3+2/4 and 11/4 as 3+3+3+2/4 and the musicians phrase these notated sub-groupings accordingly. This approach further supports Poudrier’s notion of “a multileveled polyrhythmic compound…in which durational events can be traced back to contrasting pulse streams” (p130). In designing a polymetric experiment Poudrier posed three questions that are particularly applicable to the musical analysis sections of this thesis where they will be further examined: 1. What is the relative degree of mensural determinacy of each rhythmic layer and how does it change when layers are combined? 2. What are some of the musical parameters that influence participants' (poly)metric interpretation? 3. To what extent are participants able to follow competing metrical frameworks and how is this ability supported or hampered by various factors, including musical training and experience? (p217).

The subject of entrainment must also be an integral part of any discussion around polymetric perception. Entrainment indicates how a musician or listener aligns his or herself with one or several periodic pulses and involves mental/physical activities such as oscillatory brain activity, attention, expectations, or motor activity11. This broad topic unfortunately cannot be included in this exegesis due to limited space, but may be addressed in a subsequent publication. Three very contrasting examples of polymetricism in twentieth century music illustrate how this technique can operate. Firstly, in the slow movement of “Kammermusik Nr 2”, Hindemith uses two different metres, 3/8 for the ensemble and 4/4 for the piano, meaning they share the same bar line every eight bars of the 3/8 or three bars of 4/4.12 Many such examples of short period bi-metricism exist, whether notated mono or bi-metrically. My work differs from these examples in that I am creating a notated tri-metric polymetre as the essential foundation for an entire composition. Secondly, in jazz, a bi-metric example is documented in a version of ‘Someday my prince will come’13 performed by the Dave Brubeck Quartet in 196714 and in which drummer Joe Morello plays in 4/4 time while the other performers remain in the original 3/4 throughout the piece. In this case the standard thirty-two bar form of 3/4 neatly equals twenty-four bars of 4/4, or subdivided by four bars of 3/4 equalling three of 4/4. The effect is quite subtle, if somewhat unconventional. According to Brubeck’s biographer, Fred Hall, the public’s 41

response was approval, as the piece “pleased the ear and teased the intellect” (cited in Kraus 2013, p46). In my jazz composition ‘PC11-PolyBrubeck’ (Vol 2, p198), I imagine an extension on Brubeck’s work with irregular metres and impose 11/4 and 3/4 metres over a 5/4 drum pattern similar to that played by Morello in ‘Take Five’. Thirdly, in the arena of electronic music, Morton Subotnick (Fantinatto 2014) describes his experiment in polycycles: On Silver Apples Of The Moon [1967] I had 2 16 position sequencers and an 8. I set the 16 [patch] to 16 and the 2nd 16 [patch] to 15 and the 8 [patch] to 7 and you have to multiply 15 by 16 before you get a duplicate so I could make a sequence of 16 x 15 x 7 that would run… and I would improvise with that till I got something that would just play for, you know, 3 minutes, and blow my mind out (1:01:38).

I am, however, endeavoring to formalize the mathematical underpinnings of polymetric structures and their rhythmic, harmonic and melodic consequences and challenges as confronted by human musicians.

Drawing the theme of polymetre to a conclusion I return to the apparent duality expressed at the beginning of this section regarding cognitive versus intuitive comprehension of polymetric structures. It would now seem evident that a coalescence of these two positions is not only effectual but a necessary precondition for the perception, navigation, performance and improvisation upon complex polymetric structures. This stance is supported in comments from and about Steve Coleman when discussing “circular and highly complex polymetric patterns” (Jost 2003, p377) quoted here at length due to their relevance to this work:

These rhythms are generated by overlapping rhythmic (-tonal) cycles of various, often “odd” (5, 7, 9 … beats) lengths interlocking like gear wheels in a very complex way.15 The cycles are so long and their interaction is so complex that they appear unpredictable nevertheless well organized and grooving to the listener (Pfleiderer 2006, p284).

In order to communicate freely and expressively within these textures, the musicians must be able to hear these contrasting rhythms simultaneously and that is challenging16 (Iyer 1996).

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The various 'paths of possibilities' have been studied, worked out, analyzed and internalized, after which the mind and body have been trained to respond by reflex to the dynamic configurations as they develop in real time. … A finely tuned and constantly adjusting balance needs to be developed where one can respond in reflex to the changing musical conditions (Coleman 2015a).

But the multilayered rhythmic-tonal textures heighten the possibilities for improvised interactivity (Iyer 1996).

2.2.3 Interlocking Patterns, adherence to form and the aspiration toward ‘intelligent simplicity’ Among contemporary practitioners actively composing and performing in a field similar to mine is the Swiss composer and pianist Nik Bärtsch17. Together with his groups Ronin and Mobile they perform composed “interlocking rhythms and shifting patterns dependent on great precision, [creating] a sound of tightly controlled power” (Gisby 2009, p30). Consequently, they demonstrate a broader interpretation of metre, polymetre and polycycles. Philosophically, according to Bärtsch, “in body and mind, as well as in the outside world, exist millions of interesting and interlocking ideas, concepts, and possibilities” (Bärtsch 2003). Reductive strategies18 play a role in relation to his own musical theories and practices he writes: “The reductive process treats the material with careful economy, while simultaneously liberating, enlivening, and deepening it” (Ibid.). He also talks about reducing material to its fundamental, while being wary of “awkward simplicity [that] lacks tension the tension of intelligent simplicity is the ironic conflict between self-negation and selfawareness” (Ibid.). In fact, he states that “simplicity is often more complex than complexity” (Ibid.). In more technical terms Bärtsch describes his ‘modules’ as “composed and combinable musical molecule[s]” (2002). These modules may be seen as “through-composed musical building blocks, enlivened by the realization and interpretation of the live ensemble in that moment” (Ibid.).

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In an interview conducted exclusively for this exegesis Bärtsch offers insights into his processes and experiences that provide interesting parallels to my own work, summarized here, (Bärtsch’s own words in quotation marks) and printed in full in appendix E. In common with my own background, Bärtsch’s earlier rhythmic influences straddle a wide selection of world music, jazz and classical, citing “rhythm and beat balances in Romanian folk music, jazz, Brazilian, Cuban and also African music but also in the classical music of Bartok, Stravinsky, Scriabin, Gershwin.” He later became interested in the music of “Ligeti, Morton Feldman, Steve Reich, Lennie Tristano (Turkish Mambo), Joe Zawinul and Steve Coleman.” The interlocking rhythms of funk music were also influential, as in the music of James Brown and The Meters. Bärtsch believes that the “musical strategies like pattern repetition, rhythmic flow (groove, swing etc.) and formal cycling” that he employs in his own music “are basic ideas that are inherently already existing since music exists.” There is a sense of physicality and formality in his music: “this physical movement aspect is very important for me although I am also very much attracted by formal questions (resulting patterns, mirror patterns, palindrome patterns, etc.).” It is important for him that the initial compositional idea has the “capacity to move and communicate.” Bärtsch also shares my desire to create ‘simplicity out of complexity’, reflected in his next compositional step: “invent the context and try to simplify all relevant parameters to make a complex piece sound and flow ‘simple’ and sensual (also for the players).” Although the resulting composition is “fixed like in a classical score” there is an allowance for new developments and refinements over time through performance: “understanding my own music better in the spiral process of going forward to the roots...” In contrast to my perceived necessity to notate polymetrically Bärtsch will “usually notate in the main meter but show with a visual bracket in the score all the other meter length[s].” His musicians are required to “sensually know all the patterns and cycles” because he believes it is “essential that a player does not intellectually play the patterns but [should] flow very naturally and with the capacity to ‘see between the patterns’.” In this way “even more dimensional pattern interlockings and cycles can become very organic.” Again, similar to my aims for the listener, Bärtsch tries to offer a “sensual and direct musical impact for non-musicologists and very intuitive listeners. The complexity of the music should not shine on the surface but glow in the depth of a musical composition and performance.”

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The commonality between our approaches lies in the complexity of interlocking rhythmic levels, adherence to form and the aspiration toward ‘intelligent simplicity’, although where our developmental paths begin to diverge is nested in the degrees of systematic application. While Bärtsch achieves a sublime and restrained economy of complex combinations of ideas (‘reductions to basics’), I tend to include, embrace and invite the more unpredictable contingencies of music making. In my work, accepting elements of risk-taking, randomness, variability, negotiating the unknown and confronting the potential of chaos, are vital ingredients when representing and navigating life’s complexities.

2.3 Ethnomusicological Perspective It is of relevance to the research topic to consider a culturally and musically wider perspective than that of western practices. The study of any particular world music is a vast undertaking involving multiple thematic approaches and discussions. The goal here is not an attempt to augment that existing body of knowledge but rather to extricate and extrapolate meanings applicable to the themes of this research. In this sub-chapter I will focus on music from India, Indonesia and Africa that demonstrates similarity with my polycyclic comprovisational approach to music creation preceded by brief functional explanations of key relevant terms.

2.3.1 Indian Music Tala, or cyclically recurring patterns, represent a quantative organisation of beats, and are central to Indian classical music. In his study Time in Indian Music Martin Clayton (2000) writes about the “nature and function of metre, … the way rhythmic patterns are generated from or assimilated to metrical structure [and] the contributions of metre … to large-scale organization” (pp4-5). The resemblance to polymetric structural organization becomes immediately evident and worthy of further investigation to determine any other parallel precedents. Western music practices do not readlily prepare musicians and listeners for absorbing long range rhythmic forms. A tal, with its rhythmic sequences that can be as long as 108 beats, can

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be incomprehensible for Western listeners yet, according to Joachim Berendt (1987), “the Indian ear is constantly aware of where the saran [beat one of a tal cycle] falls ... as easily as if it were simple 4/4 or 6/8 time” (p202). Philosophical importance is attached to time measurement in Indian music: “time is boundless and it is impossible to have knowledge of it. It has to be divided into segments in order to be perceived” (Clayton 2000, p13). A tal, consists of a number of avart (the common term for a metric unit, which translates as `cycle' or `period'), which in turn are “made up of a certain number of smaller time units (nurtras)” (p43). The length of the avart, or cycle, can vary from under two seconds to more than a minute, and therefore the corresponding perceptibility of these cycles can range from easily distinguishable to cognitively inconceivable. In the latter case “cyclicity is a concept rather than a percept: it cannot be directly perceived in music” (p71). A comparison could be drawn between this description of form in Indian music and my polycyclic combinations in which a ‘Mother Cycle’ is the total number of beats of a polymetric construction, and equates in its function to that of a tal. A tal, although not a polymetric construct as such, is however the sum of a number of cycles (“as long as 108 beats”) or avant, which similarly create a long form rhythmic sequence. As previously suggested by Berendt (1987), the difference may also concern the degree to which these long-range forms are perceived within the respective cultures. Also of comparative significance is the use of improvisation. By the thirteenth century the Indian tal system “shifted from a set of complex modular formal structures … to an integrated system designed to facilitate improvisation over a repeated rhythmic cycle” (Rowell 1992, p192). It is perhaps appropriate to infer that the tendency toward improvisation over complex structures could be seen as a shared instinct among a diversity of cultures. Clayton (2000) elaborates upon this apparent predisposition:

The musical significance of a feeling of cyclicity is that it encourages and supports a highly organized form of improvisation, the main structural pivot of which is the sum at the end of each cycle. A soloist may begin a section of development or improvisation at any point (depending on the genre), but the way it ends - synchronized with the tal cycle - is much more significant (p73).

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In terms of the potential benefits of comparative studies in rhythmic organisation and the implicit advocacy for polycyclic comprovisation, Clayton proposes that

the findings of Indian music studies enhance those of other ethnomusicological studies, and help us move to more sophisticated ideas of rhythmic organization in general. Study of Indian rhythm must contribute to the development of general theoretical models of rhythmic organization (p27).

By examining and expanding upon such polycyclic practices, within and outside of my own cultural inheritance, there is an added weight of relevancy to the pursuit. The following two ethnomusicological examples give further credence to this position.

2.3.2 Gamelan Music In continuing a comparative study of cyclical forms in world music, further challenges in perception versus conception are presented in Andrew Clay McGraw’s (2008) research into Balinese Gamelan music. Similar to Indian tal, Gamelan structural forms engage a wide variation of cyclic durations. Of the approximately fifteen traditional Balinese gongan forms (the largest sections of Balinese musical compositions marked by the largest of the gongs: gong ageng), the variation of length and tempo ranges from two to 512 beats and between approximately 38 to 280 bpm [beats per minute]. The resulting duration can take between one second for an up-tempo piece to an excess of four minutes in the case of extended forms (p8). Again, gongan, as with metre to a lesser extent, illustrate a central theme outlined here: the two different phenomena known as “perception, bound to the limits of short-term memory and conception, based on longer-term memory” (p8). Putting cultural differences in perception aside for the moment:

…empirical research has suggested that the upper bounds for musical meter should be confined by the limits of short-term memory (suggesting that meter can only be perceived as such if its contents are, as it were, available to the mind all at once) and thus should lie between 100ms to 6s, depending on context (London 2002, p529).

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Traditionally, most Balinese gongan are realized well outside of this boundary (McGraw 2008, p8) and encompass a larger phenomenal range than meter; “like tal, gongan is a broader concept of which meter is an aspect” (p9). Functioning as a bridge between perceiving and conceiving however, conceptual metric hierarchy is regarded as a “culturally learned way of stretching the capacity of immediate memory” (p8), i.e. providing a pedagogic dimension, which applies to short and long form:

The kinds of relationships that adhere between texture, tempo, choreography, subdivision markers etc. and the overall gong form are similar between both short gongan (which fit the cognitive definition of meter) and expanded, conceptual, gongan (p8).

Similar to aspects of short and long-term temporality perception, the notion of implicit understanding plays a role in cultural interpretation. In western music, in particular jazz and popular forms, the semantically charged terms ‘groove’ ‘swing’, ‘feel’ and ‘time’ describe implicitly understood “participatory discrepancies”19 with regard to rhythm and correlate to similarly unquantafiable terms found in Balinese music: ‘rasa’ (feeling), ‘ombak’ (wave) and ‘selah’ (timing) (p9). What does become apparent is that “meter is caught up between the peculiarities of human perception and conception and the difficulties theorists encounter in disentangling these two modes of knowing” (p17). The empirical research on the limits of metrical perception becomes challenged when examining Balinese gongan and would arguably become even more variable with complex polymetric constructions. Also of significance is the inability of cycles in Balinese gongan to conform as repetitive objects as may be otherwise suggested by some Western notational examples that use repeat signs. McGraw argues that, “conceptually, Balinese metrical forms seem cyclical because any instance shares structural, architectural features with subsequent music, yet the experience of the two instances cannot be literally the same” (p6). Similarly, any of my own ‘comprovised’ music employing cyclic forms poses further perceptual complexities due to additional levels of ‘disguise’ in relation to the original object. The repetition of the original cycle may take on variations over time, so much as to render familiarity with the initial object tenuous. Nevertheless, it is my intention that the form upon which these cycles is based ideally retains its conceptual integrity, even if it is imperceptible.

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2.3.3 African Music The relevancy of African music to this research is revealed in an ongoing debate around polyrhythm versus polymetre or, indeed, non-metre. In my introductory chapter, polyrhythm is generically described as two or more different rhythmic patterns within the same time signature, whereas polymetre is the simultaneous employment of two of more metric frameworks. Firstly, therefore, I will outline a brief discussion of polyrhythm in relation to its prevalence in African music and its contribution to the fabric of society. Fundamental to SubSaharan African music traditions in general is the rhythmic relationship of three-against-two (3:2), or six-against-four (6:4), also known as a vertical hemiola. Master drummer and scholar C.K. Ladzekpo (1995b) prefers the term ‘cross rhythm’ and extends the aforementioned definition of polyrhythm as the “simultaneous use of contrasting rhythmic patterns within the same scheme of accents or meter” (Ladzekpo 1995a). In Anlo-Ewe cultural understanding, cross rhythm is regarded as “a highly developed systematic interplay of varying rhythmic motions simulating the dynamics of contrasting moments or emotional stress phenomena likely to occur in actual human existence” (Ibid.). This societal connection and advocacy beyond simply the pleasure of music making is elaborated upon by Ladzekpo:

…cross-rhythmic figures are embodied in the art of dance-drumming as mind-nurturing exercises to modify the expression of the inherent potential of the human thought in meeting the challenges of life. The premise is that by rightly instituting the mind in coping with these simulated emotional stress phenomena, intrepidity is achieved (Ladzekpo 1995a).

Furthermore, from the Anlo-Ewe viewpoint, “intrepidness, or resolute fearlessness, is an extraordinary strength of mind. It raises the mind above the troubles, disorders, and emotions…” (Ibid.). For the practitioners of this music, it would thus be reasonable to assume that their motivations for music making have little to do with whether the term ‘polyrhythmic’ or ‘polymetric’ is used to describe their rhythmic structures. Among Western theorists however, there is considerable debate around this question. Proponents for the applicability of polymetric notation argue that “African music uses two or more metrical frameworks simultaneously” (Waterman 1951). Gehard Kubrik (1969) regards “simultaneously performed cycles of

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different periodic lengths as an example of polymeter” (p213), while John Chernoff (1979) argues that African music “cannot be notated without assigning different meters to the different instruments of the ensemble” (p43) and his notational transcriptions reflect this position. Conversely, Abel believes that, logically, “polymetricality must be an impossibility” (2014, p83). If, according to Abel, a single metre cannot be applied to all parts of the music, the music is not metrical. He states: “Meter is a standard that requires universality to be meaningful” (p83). Arom, takes this argument a step further, stating that the term polymetre should only be employed in cases of “the simultaneous unfolding of several parts in a single work at different tempos so as not to be reducible to a single metrum” (1991, p205). In this instance the ability for the composite music to be represented metrically is quite impractical, and is found in relatively rare instances in works by composers such as Charles Ives or Elliot Carter. By this definition, if any shared elements of common rhythmic organization exist, the composition must be polyrhythmic rather than polymetric (Ibid.). By extension, “African music, with its common pulse units and reference pulse, clearly falls into [the category of polyrhythm]” (Abel 2014, pp83-84). Precisely formulated, a more appropriate descriptor would be ‘non-metric’ which, circuitously, reinforces the term already presented in the previous section on metre (2.2.1): ‘isoperiodicity’, which means “a web of interlocking, periodic rhythmic patterns, organized around a single primary pulse level” (Arom 1991). Rather than dismissing polymetricism as an ‘impossiblility’, it may be more judicious to consider the concept in terms of appropriateness and applicability. In the example of African music a case has been presented that the term ‘non-metre’ most appropriately encapsulates the rhythmic organisation. Consequently, I always argue that there are cases where polymetric representation is appropriate, and, far from being logically impossible, is empirically the more common-sense and preferable option.

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2.4 Minimalism / Metamodernism Aspects of my work here may be traced back to numerous points along the lineage of Western art music; for example a theoretical interpretive case can be made for connections between Bach’s fugue structures with that of polycyclism (see Appendix A: Polycycles and Fugues). I have chosen however, within this limited setting, to focus on conceptual movements of the late twentieth and early twenty-first centuries.

2.4.1 Minimalism

Art works and plays on the fringes between repetition and innovation. Music tolerates, invites, and even exploits reiteration—we desire both to predict and to be surprised. Hollis Taylor (2010)

One of the characterizing elements of minimalist music is the frequent repetition of motifs, or cycles, within the context of a regular pulse. It is therefore pertinent to examine concepts surrounding minimalism in relation to my work with ‘comprovised polycycles’. Composers such as La Monte Young, Terry Riley, Steve Reich, and Philip Glass are famously associated with the origins and development of minimal music. Originating in San Francisco and Downtown New York in the 1960s, it was initially viewed as a form of experimental music called the “New York Hypnotic School” (Strickland 1992, pp114-16). Distinctive characteristics of the style include a steady pulse, diatonic harmony, periods of stasis or gradual transformation and repetition of musical phrases. Other features include pieces that sustain endless circles and a technique called phase shifting or phasing. Steve Reich’s composition ‘Drumming’ (1971), is an example of ‘phasing’ in which 2 identical melodic patterns gradually fall out of sync. “Phasing is accomplished by periodically inserting an extra note into the phrase of one of the two players playing the same repeated phrase, thus shifting the phase by a single beat at a time, rather than gradually” (Reich 2007). A ‘locking point’ is when the patterns fall back into sync - equivalent to beginning a new ‘Mother Cycle’ in my

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polycyclic structures. Michael Tilson Thomas describes Reich’s Music for 18 Musicians (1976) as like "hovering …in musical space, considering many aspects of itself before moving onto something else” (2007). In Robert Fink’s expansive work, Repeating Ourselves: American Minimal Music as Cultural Practice (2005) he states that “minimalist art and music have usually been considered part of that… countercultural critique of consumption as meaningless repetition” (pX). Fink draws multi-faceted meanings about repetition in culture by presupposing there is not only “one innate subjective drive to repeat always, everywhere, … [but] many different ways that our repetitive subjectivity is constituted, over and over, within the multiple, complex webs of material culture we weave” (p6). For an unabridged conceptual discussion on ‘Repeating Ourselves’ refer to appendix B. It may suffice to regard minimalist structural practices as representing “the power to impose discursive coherence and structure on needs that would otherwise remain disorganized and inchoate” (Fink 2005, p96). The aspiration of my polycyclic comprovisational practice expands upon Fink’s assertion that “no genre of art music is more concerned with interpenetrated extremes of temporality than pulse-pattern minimalism” (p104). Among the minimalists, Terry Riley may have been more amenable to the potentialities of performer agency:

Riley's loose musical framework obviously has more to do with the improvisatory pragmatics of jazz, and it is true that [generally] the overall shape of a jazz performance… is arrived at democratically by group consensus. Still, jazz musicians are judged not by their ability to stay in the collective groove, which is taken for granted, but by their solo improvisatory prowess (p89).

It is the notion of performer agency, the freedom to spontaneously interact with various levels of the composition, and other musicians, that differentiates the premise of most minimal music from my comprovisational approach. In section 2.5 of this chapter, I will explore the various stages along the comprovisational spectrum and the influence of jazz music on my work. First though, a discussion of two other contemporary movements is pertinent.

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2.4.2 New Complexity and Metamodernism Comparable parallels can be encountered in recent theories within the realm of Western art music. ‘New Complexity’ is described by Christopher Fox (2001) as a term from the 1980s applied to composers who seek a "complex, multi-layered interplay of evolutionary processes occurring simultaneously within every dimension of the musical material" (Fox 2001). The similarity to polycyclic comprovisation, at least in the theoretical description, is immediately apparent. Where it differs to my compositional approach is in the dimension of tonality: new complexity is often associated with dissonance, atonalism and abstraction, requiring very complex musical notation. Stylistically, my work is perhaps more allied with some of the aesthetics of metamodernism. Metamodernism has been described as an "extension of and challenge to modernism and postmodernism" with the aim to "transcend, fracture, subvert, circumvent, interrogate and disrupt, hijack and appropriate modernity and postmodernity" (Okediji 1999, p33) and its sensibility "can be conceived of as a kind of informed naivety, a pragmatic idealism" (Vermeulen 2010, p3). The return of a Romantic sensibility is one characteristic of the movement, embodying feeling and the balancing of "ironic detachment with sincere engagement" (Kunze 2014, p17). Vincent Meelberg confronts this theme by asking questions fraught with interpretive difficulties:

Is beauty the new avant-garde? What if I want to compose something that is simply beautiful? Am I allowed to do this, or … will people frown upon me and my music, perhaps doubt my sincere intentions, and conclude that neither me nor my music can be taken seriously? (2014, p1)

He suggests that strict adherence to a system kills spontaneity and offers an alternative: “I could decide to disregard the system and follow my intuition. The consequence, however, would be that I could no longer use the system as a justification of my compositional choices” (p3). A possible antidote would be building intuition into the musical system, allowing ‘beautiful’ choices while remaining self-consistent. Another potential problem, apart from imposing restrictive compositional systems on the composer, is that of alienation of the audience. Michel Foucault (1985) observes that “contemporary music … has attained a

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degree of complexity which makes it inaccessible” and that the “use of compositional systems favour logic and justification over the music result…” (p6). Foucault further argues that “contemporary music, by trying to make each of its elements a unique event, makes any grasp or recognition by the listener difficult” (p6). In response, Meelburg offers justification and defense of this position by suggesting that “striving for alienation or complexity in music might be necessary in order to further musical development, to redefine musical boundaries” (2014, p4). The continued relevancy or endurance of any music could be framed within the question: which compositions are still being performed or listened to today? Which pieces are best classified as experiments only relevant to their time period and which are those that have accessed a certain universal musicality that transcends time and trends? In this context, this position is not necessarily out of line with Theodor Adorno's view on music: “Musical composition implies looking for singular musical truths” (1973, p142). In defence of beauty and simplicity in modern Western art music Josiah Fisk (1994) asserts that the art of composition has been “…languishing for decades in the ivory tower, stifled by complexity and intellectualism. Now it has been freed, its emotions have been rekindled, and it has been restored to the ordinary folk who are its rightful owners” (p408). A balanced view of this perspective would be that a compositional process may be co-determined by intuition in the form of controlled processes in which initial rules and goals are set by the composer who lets them evolve naturally, or ‘germinate’. My polycyclic comprovisations embrace this process both in their inception through intuitive improvisation based on a polycyclic form, and in their manifestation in performance, also interweaving spontaneous musical choices within a compositional context. Dutch composer Jacob ter Veldhuis admits: “I pepper my music with sugar” and considers his music as a “statement against an inflated urge for dissonance in music that has existed during the last forty years” (2001, p1). Meelburg believes that Ter Veldhuis “presents sonic beauty without any postmodern irony [and] seems genuinely sincere in his desire to create beautiful music” (2014, p7). Another interpretive difficulty lies in the subjectivity of the word ‘beauty’. Meelburg continues by admitting “[his] attempts [at beauty] may be fallible” and places the onus on the receiver: “It is up to you to decide if it sounds beautiful to you, too, and what to think of this beauty” (Ibid.). Training in composition generally advances the implementation of discipline over compositional decision-making. This may include how subjective notions such as ‘beauty’ are assimilated into a personal sense of integrity. It is, therefore, also instinctual for 54

the composer to apply constraint and maintain conceptual context so that the essential music (‘singular musical truths’) avoids becoming obscured by irrelevancies. Principally, the composer owns all preliminary judgments, while all subsequent external responses exist in a separate, indefinable realm.

2.5 Jazz and the Comprovisational Spectrum

“Don't call it jazz, man - that's some made-up word, it's social music” -Miles Davis (cited in Cheadle 2016)

Any attempt at defining jazz is an often discussed but essentially ineffectual pursuit that proves ever more elusive as jazz continues its ever widening reach, assimilating and crossfertilizing across any and every genre. However, there is much to garner from some general operating principles of jazz as a music that characteristically embodies a fluid relationship between composition and improvisation. It is this ideally fluid relationship that is vital to my comprovisational work in tandem with polycyclic design, especially in the realm of jazz. According to Derek Bailey (1993) “there is no doubt that the single most important contribution to the revitalization of improvisation in Western music in the 20th century is jazz” (p48). He goes on to describe “improvisation in conventional jazz as being based on tunes in time.”

The simple mechanics are that the improvisation is derived from the melody, scales and arpeggios associated with a harmonic sequence of set length played in regular time. This vehicle is invariably one of the usual popular song forms or blues (of the strict 12 bar kind) (Ibid.).

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In jazz, the balance between composed and improvisational elements varies enormously throughout the various stages of its development from ‘New Orleans’ to ‘Free Jazz’, and in accordance with the personal choice of the practitioners. While improvisation is grounded in forms and memory, each improviser must determine to what extent they want to improvise within those forms, with those forms, or outside those forms (Weick 1998, p548)

Michael Zack (2000) articulates in musical and metaphorical terms the ‘comprovisational spectrum’ (i.e. the ‘line’ between polarities of strict composition and free improvisation), using classical music and jazz styles as points of reference along the spectrum:

Figure 2: Genres of Improvisation (Zack 2000, p232)

It is important to mark the difference between aleatoric music and improvisation in the context of debates between ‘classical’ composers of the mid-twentieth century and jazz musicians of the bebop and post-bebop eras, as outlined by George Lewis (2002) in his study of Eurological and Afrological perspectives. John Cage’s dismissal of jazz music is well documented and implied when he states that "improvisation is generally playing what you know" and "doesn't lead you into a new experience" (Kostelanetz 1987, p223). In twentieth century Western art music, the term ‘improvisation’ is often bypassed and substituted with “indeterminacy” or “chance music” (Welch 2010). This does not generally sit well with musicians who embrace improvisation and the element of ‘choice’ as depicted by Earle Brown: 56

Aleatory is a word that Boulez used… it is which means throwing of dice and so forth. It’s really chance, and I am vehemently against considering improvisation as chance music… Cage was literally flipping coins to decide which sound event was to follow which sound event and that was to remove his choice… and it was also not to allow the musician any choice either… I prefer that such ‘ordering’ should come about in this intuitive-conscious manner spontaneously during each performance (cited in Bailey 1993, p56).

In an interview, Fred Frith was asked his opinion of the “value of composing or organizing pieces that have room for the agency and input of improvisers” (Dale 2008, p10). He argues that the pieces “will always be alive, and [that] they will always respond to the exigencies of the moment at which they are performed” (Ibid.). A well comprovised piece will “allow as much freedom of invention and variation as possible, so that the piece will function as a living organism” (Ibid.). Improvisation may also contribute advantages in the process of composing. According to Mildred Portney Chase (1988) improvising can help a composer to open "channels of his musical stream of consciousness . . . being utterly permissive, he may open at the deepest levels those passages to the musical persona that are buried underneath all that he consciously knows" (p90). This aspect of composing in real time promotes a vital immediacy in the music that can be later organized to suit the structural contingencies.

2.5.1 Organizing Composed Elements for Improvisation along the Comprovisational Spectrum The three CD albums accompanying this exegesis are conceptually aligned with various points along the ‘comprovisational spectrum’, the significance of which will now be discussed and incorporated here in more detail. A vital component of this research is exploring the ways in which a fertile balance between composition and improvisation can be achieved. Accordingly, the organization of composed material intended for improvisation is key. By examining various possible strategies along the ‘comprovisational spectrum’, beginning on the side that veers more towards composition, the goals of my work may be better illuminated.

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At the ‘far left’ beginning point of the spectrum lies fully notated music, devoid of improvisation, or that which is normally the domain of ‘classical’ music. Alternatively, Roscoe Mitchell utilizes ‘scored improvisation,’ as one way for a composer to “integrate improvisation inside of their music” by actually “giving the improviser the materials that are going to be improvised” (Dale 2008, p11). It requires the performer to very sensitively improvise an interpretation of those materials. The next step in the spectrum asks the performer to bring life to the piece not only through interpretation but also by compositionally developing and arranging the composed materials. He/she may use such devices as: sequence, transposition, inversion/retrograde, additive/subtractive process, etc. “They will [sometimes] also be responsible for building the larger form: motives into phrases, phrases into periods, periods into sections, and sections into a piece” (p12). It is also important to calculate into the organization the reality that “we’re all different, and we have different training and backgrounds, different awareness… Always being ready to change and adapt the material while keeping the basic goals in sight...” (Fred Frith cited in Dale 2008, p13). My Polycyclic Chamber Music album straddles these initial steps of the spectrum in that most of the material is notated but options are provided for various degrees of improvisation as described above. The optional aspect also caters to musicians of ‘different training and backgrounds’ and for whom improvisation may be either an intimidating or inviting prospect. The practice in jazz of improvising upon composed harmonic structures (e.g. jazz standards) spans the mid-section of the spectrum. Here, I argue that my Polycyclic Jazz album is well positioned, maintaining an overall balance between the two polarities. If we now cross the midpoint on the comprovisational spectrum, we enter an arena where a vehicle for improvisation is created that will “allow performers to freely choose their moment-to-moment vocabulary and material without specific, notated suggestions from the composer...choosing an overarching form, a mood or atmosphere, or a mode of interaction, in which to operate…” (Dale 2008, p16). In this situation the kind of compositional devices employed are games, graphic scores, conducting (or ‘conduction’) and, instructions, among others. Fred Frith recommends “introducing some form of restriction, in order to limit the possible options (and therefore outcomes) while maintaining the autonomy of individual players to choose their material” (Ibid). The third CD of my trilogy, Polycyclic World Music,

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or One Moment, presents a situation where an improvising vocalist is invited to spontaneously record her responses to pre-recorded polycyclic material. In some cases no direction is given and the vocalist freely improvises in an unidentifiable ‘language’ whereas in other instances, lyrics are proposed but only at the moment of recording, with minimal stylistic or other indications. This approach also corresponds to the completely ‘free’ improvisation end of the comprovisation spectrum where the composer has minimal input, but will still influence the outcome of the piece. For example, in Stockhausen’s ‘Intensität’ from Aus den Sieben Tagen, the total information available to the players is: for ensemble INTENSITY play single sounds with such dedication until you feel the warmth that radiates from you play on and sustain it as long as you can (Stockhausen 1968, p11) Hugh Davies, who worked closely with Stockhausen, notes: No direct coordination between the players is mentioned.… Everything happens intuitively – one need not be fully conscious of what one is playing, one ‘becomes the music’.… the structural indications in the score… at least will make the result completely different from the free improvisation (cited in Bailey 1993, p80).

At this juncture, the question needs to be asked: “within this breathtaking freedom, what is the value of structure?” (Dale 2008, p20). At the far end of the comprovisational spectrum the ‘composer’ is regarded at best as ‘dispensable’. Free open form improvisation exponent, Evan Parker, comments:

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I’m suggesting that if anyone in the production of a music event is dispensable, it is the scoremaker, or the ‘composer’ as he is often called. My ‘ideal music’ is played by groups of musicians who choose one another’s company and who improvise freely in relation to the precise emotional, acoustic, psychological and other less tangible atmosphere conditions in effect at the time the music is played (cited in Bailey 1993, p81).

Opinions in favour of some degree of structure suggest that this leads to a greater degree of freedom than free improvisation. Steve Adams believes that composition - “or some kind of structuring of improvisation - is what will keep it from being just following your habitual patterns, so that it becomes an entirely predictable exercise” (cited in Dale 2008, p20). Because we can easily become trapped in habit, it is “freedom that can bind us” (Dale 2008, p21) while, conversely, it is “structure that can work to loosen us from these habits, by forcing us to explore a variety of things we may have resisted, or been unconscious of” (Ibid.). For some composers, the emphasis inclines toward the social aspect of improvisation. John Zorn’s “aim is not, as is usually the case, the realization of a preordained result through improvisation, but the stimulation, or the releasing, of the network of relationships possible between a group of players” (Bailey 1993, p76). The personality mix is also vitally important for Zorn when choosing musicians for his ‘game’ pieces - as opposed to choosing ‘instruments’: You need people who are aggressive, you need people who are docile, you need people with a sense of humour, you need people who are ass holes…it’s more the people themselves that are important. I basically create a small society and everybody finds their own position in that society. It really becomes like a psychodrama.…Those are all valid positions to be in in the society that exists on stage when these pieces happen (cited in Bailey 1993, pp77-78).

At this point, a summary of some comprovisational principles and goals is useful. Dale provides an aesthetic checklist for successful comprovisation:

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“1) a balance of structure and freedom was achieved, and a piece that is a fluidly changing, living organism was created; and 2) the outcomes represented a collective composition effort.”

Comprovisation demands a living, breathing, heightened energy from all participants at the moment of its manifestation, and yet it still allows for a ‘composer’ to work with structures, musical or extra-musical entities or avenues, that interest him or her… [Comprovisation] allows the possibility of rejoining a living thread of communication, of dynamic interaction, of human give-and- take, of having a dialogue instead of listening to a monologue we have already memorized (Dale 2008, p25).

It is this dialogue between the composer, or the pre-given material, and the cocomposer/improviser and their spontaneous creations in response to structure that lies at the comprovisational heart of the work presented here. Additionally, how the dialogue is expressed along various points of the comprovisational spectrum finds parallel articulation in the three CD recordings.

2.6 Computer / Studio Composer Adding ‘studio’ as a prefix to the ‘composer’ label generates a more fitting description of many contemporary music creators. As will be discussed in this section, the role of the recording studio, and the computer at its operational centre, has become indispensable to the process and outcomes of modern composition. Additionally, there are numerous compositional practices that were not realizable before technological advances of recent times; from sequencer as initial sketchpad through to the ramifications of the composer doubling as producer, performer, sound engineer, sound designer, post-production mixer - the computer and recording studio are integral participants. It could be argued that all of the above roles create a certain compositional feedback loop, considerably expanding the traditional repertoire and definition of what constitutes a composer. These considerations are inseparable from my evolution and identity as a composer, as is evident in my creative methods and output. 61

In addition, the role of the studio in post-improvisation composition is particularly integral to the topic of comprovisation. Post-improvisation composition involves the manipulation of recorded improvisations utilizing compositional techniques: editing of existing form, isolation and re-mixing/combining of phrases, extracting elements for use in different locations, addition (overdubbing) of further material and application of sound-transforming studio devices. These are examples of technological tools available to the composer that, working in tandem with the composer’s musicality and compositional skills, contribute to the process of realizing a recorded comprovisation. Contemporary literature substantiates and expounds upon the ideas mentioned so far. Michael Hannan (2006) in his paper, Interrogating Comprovisation as Practice-led Research, writes:

‘Comprovisation’ is a term I have adopted to describe my practice of making new compositions from recordings of improvised material… Although the comprovisation practice has random and intuitive elements, I contend that it is likely to produce new knowledge … and that it is grounded in the tacit knowledge of professional compositional craft. (p1).

Markus Stockhausen cites his father (Karlheinz) and Miles Davis as his principal models when devising his comprovisational approach for the recording of Possible Worlds (Stockhausen 1995). In a similar method to those used by Teo Macero and Miles Davis with tape edits producing tracks from the seminal Bitches Brew sessions of 197020, the improvisations were performed first and the compositional elements incorporated later. Included in the portfolio recordings is my composition “subject2change#21” (‘Black CD’) which embraces this process. Additionally, my essay entitled Subject2change: sustaining fluidity in studio manipulations of a polymetric jazz fusion comprovisation (Coleman 2015b, pp27-34) contains a musical analysis of the composition and description of the enveloping contextual issues (see appendix E). Apart from compositional expertise, the level of success of any ‘studio manipulation’ is dependent on the functionality of the studio and the competency of its operator. The studio composer is attracted to this ‘other-world’ because he or she can exercise “all-encompassing creative control [and] command over even the most infinitesimal nuance of timbre and gesture, [and] control over the sound of the sonic space in which the music sits” (Jost 2003, 62

p377). There are a multitude of sonic possibilities available - from manipulation of individual instruments and sounds to their positioning in shared space - and not being bound by the properties of a live acoustic room, the studio can engender an “aurally enhanced, stereo-field or sonic stage to create an almost hyper-musical experience for the listener” (Logan 2013, p7). Simon Frith (1996b) argues against perceiving such a product in terms of artificiality or dislocation:

I listen to records in the full knowledge that what I hear is something that never existed, that never could exist, as a ‘performance’, something happening, in a single time and space; nevertheless, it is happening, in a single time and space: it is thus a performance and I hear it as one (p211).

Considering the knowledge and skill required to realize the full potentialities of a studio, and the arguably infinite nuances available, there is an inclination to regard the “studio as an instrument” (Tremblay 2012, p1) with which a relationship evolves over time. Intrinsically linked to the recording processes undertaken in my research is another aspect of the relationship between improvisation and composition articulated in a studio context. Dr. Pierre Alexandre Tremblay (2012) focuses on the “grey zone between studio composition and performance practice” (p3) and asks how to “capture improvisations… within the environment of the composition studio, whilst maintaining gestural freshness” as well as “how to deal with improvisation's inherent imperfection …within the studio, where deferredtime would allow their refinement to near-perfect results by taking the time and means to improve them” (Ibid.). Tremblay refers to “the cross-over point of both worlds: the exploration of the back-and-forth process between improvisational performance on one hand, and its editing and further transformation as a studio composer on the other hand” (Ibid.). He stresses the “desire to capture the interaction and the tensions between the two opposite approaches to the studio” (Ibid.). Justifications for the use of improvisation span from giving music back its spontaneity to “dealing with the humanity of imperfection and risk” (p4). Apart from a fundamental mastery of the instrument, importance is placed on “a state of flow, a heightened awareness of the moment, of letting go of intentions… where the instrument is rehearsed to the point of disappearance during the performance” (p5).

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The issue of deception in studio practices however, is contentious. The common practice of editing studio sessions of improvised music toward a near-perfect result meets disapproval with those practitioners “considering it as a betrayal of the ethic of improvisation” (Ibid.). Ted Gioia (1987) coined the expressions ‘the Aesthetic of Perfection' and ‘the Aesthetic of Imperfection’ to reflect these two apparent extremes. The former, where the edited ‘perfect’ end result justifies any means, is compared to the latter that “takes a stance towards transparency, and the accurate capture of a given moment, including all of its quirks and imperfections, as a testimony of its reality” (Tremblay 2012, p5). There is also a middle path. There is on one hand, a recognition of what the performer was intending to achieve, but missed the mark. In this case, a correction of the recognised intention therefore corrects an unintended and undesirable mistake, while (if possible) retaining the surrounding live, spontaneous energy of the attempt. It is this particular endeavour that, arguably, makes it attractively human. On the other hand there are ‘mistakes’ or performance ‘discrepancies’ that add a desirable (subjective of course) character to the music, and are therefore retained for the benefit of the witnessing listener. All decisions serve a clear goal: what does the producer want the listener to hear? How is the music best served? I would suggest that dogmatic approaches are unhelpful under these circumstances. Tremblay eloquently portrays this concept as highlighting “certain features that were inspiring, or needed a little help: one could call this empirical studio orchestration of a fixed improvisation” (p11). Andy Hamilton (2003) proposes that many practitioners are positioned between these two extremes, “with all shades of hybrid practices… where these parallel approaches cross-pollinate to offer interesting crossover proposals” (cited in Tremblay 2012, p5). Tremblay continues by describing “this generation [as] embracing the polymorphic human experience, the richness of the shades of grey between the predictable extremes” (p7). Furthermore, these dualities are “embraced as a potent, dynamic system in perpetual dialogue” (p8).

In summary, studios are unique, like musical instruments, and the ensuing relationship that necessarily and inevitably develops between composer and studio promotes and supports mastery of functionality, gestural flow and creative control.

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Consequently, for my recordings, there were a number of sound reasons for choosing to record predominantly in my own studio, or occasionally in non-studio envrionments, rather than in recording studios that, while offering a higher level of technical equipment and expertise, lacked other vital ingredients upon which I place more importance. Primarily, I know my own studio intimately, so well that the technology has become the ‘silent partner’ in the background, ready to capture and support human creativity without hinderence. The environmental considerations impact on the performances – my studio houses large windows and a view of the ocean, while acoustically balanced with insulation enhancing materials. Also, musicians enjoy being in this space. It is an unpressured, encouraging and positive environment and the musicians and I work together in the same room, in which I am best able to ‘read’ the constantly shifting energy of the session and adapt accordingly. Fluidity is supported in this environment, as Tremblay (2012) states:

Brainstorming is kept as a fluid process … and this swiftness is a key element to keep the music alive, with a sense of performance to it. Critical improvisational practice allows that immediacy of judgment over different versions, [with] the ability to reproduce and improve gestures. (p13)

In order to further explore the subjective nature of intuition and perception in the context of musical performance, I have included an additional review of selected literature in appendix C. Similarly, although on the periphery of my research topic, a discussion surrounding the socio-dynamic attributes that polycyclic comprovisational practices imply is included in appendix D to provide a broader context.

In conclusion, chapter two has explored the theoretical foundations and literature deemed most relevant to this study, within the boundaries and protocols of a doctoral exegesis. In order to fully penetrate the relationship of the accompanying portfolio works to these foundations and precedents, the following three chapters are devoted to their musical analysis, encompassing discoveries and inherent consequences of the topic of polycyclic comprovisation.

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Chapter 3: Polycyclic Chamber Music Analysis Asked to explain a difficult étude, Schumann sat down and played it a second time. Schumann's actions suggest that music is best articulated and understood purely in the domain of its own sounding.

Paul Stapleton (2013, p3)

…it is not so much the themes or the motifs themselves that carry significance, but their transformation and elaboration in a process of continuous development… a genuine unfolding of musical material. Mark Abel (2014, p155)

The purpose of the Polycyclic Chamber Music project is to explore and examine the process of composing upon polymetrically constructed forms in a contemporary classical chamber music setting, and its resulting outcome in the form of performances, recordings and scores (see Vol 2 and ‘Blue CD’). Additionally, investigation extends into spontaneous interaction with the composed material through improvisation. I will analyze six of the ten works on this chamber music album. Each analysis is partitioned into five topics per composition: • Introduction and objectives • Analysis of music • Role of improvisation • Performance experience • Conclusion The chamber music is written for a trio, and recorded by the following musicians: • Nick Cornish - Wind instruments (oboe, cor anglais, soprano and alto saxophones)

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• Heleen Du Plessis - Cello • Trevor Coleman - Piano

Beyond performing the music, Cornish and Du Plessis were asked to provide input on various levels pertaining to their experiences during the recording process which provided invaluable insight into the effectiveness of this research undertaking. As a performing participant, I will include my own experiences in this regard. All recording took place in my studio and I acted as the sound engineer and producer. Live performances of two of the compositions were performed by the above trio (Peninsula Trio), and the NZTrio: Justine Cormack, violinist; Ashley Brown, cellist; Sarah Watkins, pianist21, as part of the Lilburn Composition Competition in 2015. A video recording of the latter is included on the ‘Black CD’. The final work presented in this section entitled ‘PC12-PolyRoots’ is for choir and included on the ‘Black CD’.

Before examing the individual works, some background information on the notational method is of relevance because of its overall influence on the evolution of the compositions as well as aiding the comprehension of the scores. In the early stages of experimentation with polymetric notation within the sequencer software programme Logic Pro X22, there seemed no obvious method to create multiple concurrent time signatures - i.e. the programme was not designed to accommodate this. Repeated attempts to bypass this limitation lead to creating a system in which, by ‘hiding’ the bar lines, individual ones could be ‘drawn’ in according to the appropriate metre. This worked best when the global metre was set to the longest available. Although proving an imperfect solution and laborious task, it provided the opportunity to view, test and fine-tune the resulting score in its proposed polymetric reality. Figure 3 illustrates a less-than-ideal notational presentation of ‘PolySpirals’ in which, among other issues, the ‘rests’ are not displayed correctly:

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Figure 3: PolySpirals in LogicProX

The individual instrument parts needed to be of a quality fitting the expectations of professional classical musicians, while simultaneously understanding that, being at an experimental stage, the music and notation would be subject to frequent change in response to the performers’ experiences. For the chamber music notation, it was considered necessary to produce the final scores in ‘Sibelius’23 for a professional presentation, where similar reconfiguration of the programme was necessary to display polymetre correctly. ‘Logic’ notation worked sufficiently however for the requirements of the ‘Jazz’ and ‘World’ projects. Further atypical notational conventions were necessary for rehearsal situations. For example, rehearsal reference points: bar numbers cannot be used - the number for each individual part will always be different from the other parts due to the different time signatures. For rehearsal purposes, each ‘Mother Cycle’ is determined with a double bar line and indicated with the anagram MC plus consecutive numbering, e.g. MC1, MC2 etc. The beginning of any MC should be the only logical place from which to begin during a rehearsal, being the only places where all parts begin on the first beat of the bar. Here, a 5/4 – 6/8 bi-metric illustration shows how every 15 quarter-note and 30 eighth-note beats (5/4 x3 and 6/8 x5) the next MC is designated:

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Figure 4: PolyAnatolia Mother Cycles

Occasionally however, judiciously placed rehearsal cues within the MC are sometimes necessary. This means at least one instrument will find these ‘subMC-cues’ not on the first beat of a bar, as is customary. While initially somewhat awkward, it functions as the most viable option. In ‘Lilburn Blue’ the ‘F’ rehearsal marking denotes a new section that falls within a MC and coincides with the 2nd beat of 3/4 for the cello:

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Figure 5: Lilburn Blue-rehearsal marking

The delineation of the MC sections also aids in an understanding of the form for musician and analyst alike. In addition, various sections may also be marked (where applicable): exposition, development and recapitulation. An introduction, interlude and coda may also be included. The above points will be further illustrated in various configurations in the following analyses.

Polycycle 11: ‘PolySpirals’ (Vol 2 p101; Blue CD Track 8)

Introduction and objectives

A great deal of the subject matter considered in ‘PolySpirals’ is generally transferable to the other polycyclic chamber pieces. Therefore, considerably more detail is examined in this composition which then becomes representative of the other pieces. The analysis of compositions following this one will only discuss features distinctive to those pieces. The objective in ‘PolySpirals’ was to create a composition based around identifiable repeating cycles that evolve and vary over time. Conceptually, this description has similarities to processes in minimalism – although in this case the aim is to place the motifs in a consistently polymetric structure to negotiate the resulting issues and potentialities in comparison to 70

mono-metric minimalism. The three metres chosen for this experiment are 3/4, 5/4 and 11/4 (Polycyclic Combination #29) resulting in a 165 beat ‘Mother Cycle’ (MC):

Figure 6: Polycyclic Combination #29

If presented as programme music, ‘PolySpirals’ utilizes an image for inspiration. The ‘Spirals' in the title refers to unending spiral staircases, as portrayed in“Escher's Relativity” (1953):

Figure 7: Escher's Relativity

The idea was to create a series of very slowly ascending cycles, that overlap in such a way as to disguise where one starts and one ends, so that the overall effect is one of ascension. Additionally, I have created a 'narrative' that loosely generates the musical form – this will also guide and inform the analysis of the music. These programmatic comments on the 71

progress of the music will appear in italics at the start of sections.

Analysis of music

There is an introductory meditation at 'ground floor' that also contains some anticipation of the journey ahead. A low pedal ‘C’ establishes the ground tone (the pianist strikes the lowest C string inside the piano in 11/4 phrasing), upon which the cor anglais plays an elongated melody in fourths in a slow motion anticipation of the main cyclic motif with some agitation in the right hand piano figures. Rubato misterioso describes the style and tone.

Figure 8: PolySpirals: bars 5-6

The piano then states the main motif in 11/4 that also establishes the tempo - the impetus to begin the climb. The phrasing is 3+3+3+2 while the tonality is centered on a hybrid C major/minor scale:

Figure 9: PolySpirals: bars 9-10

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At ‘Mother Cycle 1’ (MC1) the cello begins its ascending 3x 3/4 scale over two octaves followed by cor anglais imitating the cello but over two bars of 5/4. The cor anglais phrasing is 3+2/5, tying in with the predominant ‘three feel’ of the cello and piano motifs, although all parts continue in rhythmic fluctuation between their main pulse emphases. Here, the listener is presented the choice of three metric orientations, or alternatively, a metrically unspecified hybrid of all three:

Figure 10: PolySpirals: MC1

The trio begins their slow ascension up the staircase. As the backbone of this type of music design (polycyclic composition) is very much about relationships - the strength of the individual in a coherent group context - much 'give and take' is required between the individual parts. To avoid an incoherent constant iteration of lines that doggedly state only their own agenda with no regard to the other counterpoints, reductive compositional devices are employed to create enough transparency to build a coherent overall statement where the individual components can be clearly delineated. Although the cycles are consistent in their reference and adherence to the original statements, they undergo increasingly varied transformation as the piece progresses. The following example from MC4, shortly before the end, illustrates motivic variants such as inversion, fragmentation, harmonization as well as rhythmic and melodic variation:

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Figure 11: PolySpirals: MC4 p14

Along the way each expresses a monologue/commentary that is distinctly different from the regular patterns. These 'solo' sections provide opportunity for more featured individual expression:

Figure 12: PolySpirals: MC1c p4

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After one MC (165 beats = 55x 3/4; 33x 5/4; 15x 11/4) has been completed, they simultaneously reach the first landing where they catch their breath for one 11/4 bar:

Figure 13: PolySpirals: '1st landing'

The climb then continues in their individual metres with an overall modulation a whole-tone higher where MC2 follows the same format as MC1, except the register is now higher and the cycles and solos become somewhat more animated and abstracted.

Figure 14: PolySpirals: MC2, p4

When they all reach the second landing they again sustain one 11/4 bar. Now that they are up in the clouds they are free to explore their surroundings (MC3), bringing some of the experiences of their journey into the commentary.

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The first low tone from the piano might represent the distant ground floor - now so threateningly far beneath them. If the notated version of the improvisation is used, (see ‘role of improvisation’ below) then it lasts approximately one MC:

Figure 15: PolySpirals: MC3

After a one bar motivic cue from the piano, MC4 begins and describes the hurried descent back to ground floor. The motifs are almost exactly the same as before except that the pitches are reversed, so now, instead of ascending, they descend. Even the 'solos' are mostly reversed in pitch. The trio is keen to get back home:

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Figure 16: PolySpirals: MC4

The final section (back on ground floor) recalls the opening meditation, this time with more animated musical commentaries that are (ideally) improvised in the piano cadenza:

Figure 17: PolySpirals: Ending

There is no real sense of resolution, rather a mixed response to what has transpired.

Role of improvisation

As with all the other polycyclic chamber music compositions, notated alternatives to improvisation are provided. These pieces should be accessible to classically trained musicians

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for whom improvisational instruction and experience has been non-existent or underdeveloped. Musicians who are comfortable with improvisation however, are encouraged to explore the opportunities offered in the compositions that invite improvisation to various degrees. In all my experiences working with optional improvisation in more ‘classical’ settings, an arguably additional layer of engagement, excitement and sense of co-creation is infused into the composition, the performers, and the audience. In ‘PolySpirals’, the first improvisation opportunity arises for the piano in the introduction.

Figure 18: PolySpirals: piano improvisation p1

By indicating the manner and characteristic through notated examples, improvisation is, as stated earlier, integrated inside of the composition by “giving the improviser the materials that are going to be improvised” (Dale 2008, p11). The various ‘solo’ vignettes are also notated improvisations as illustrated in figure 12. However, although originally these solos were intended as optional improvisations, it became evident that it is too difficult to ‘hold the form’ in this context. The notated ‘solos’ however retain their improvisational quality. The point being made here relates to the importance of providing the improviser a conducive musical habitat within which to express spontaneous ideas freely. If the improviser is simultaneously required to unnaturally ‘count’ time rather than at a more subliminal level rely on audio references and cues contained within the form, a potential strain on the freedom of the improviser can occur – a hindrance to achieving a so-called ‘sense of flow’. Consequently, this may be counterintuitive and undermine the desired spontaneous effect. In this case, a notated improvisation will likely best achieve the desired outcome. Notated improvisation in this instance refers to the transcription of an improvisation by the composer. The musical ‘habitat’ for group improvisation at MC3 (see figure 15) however, contains suitable ingredients to support a ‘sense of flow’ for the musicians. For example, the players are not

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required to ‘hold form’ through adherence to a common pulse – i.e. the timing is free. As indicated in the accompanying performance notes, they should draw upon the motivic material presented up until this point for their improvisations. Even without this indication, it is generally expected that experienced improvisers would be musically inclined to refer to preceding material in order to create a continuum and sense of context. Further impetus for the generation of material is also to be anticipated in the interaction between the musicians, as they mutually respond to each other’s stimuli. From personal experience, most group improvisations arrive at a conclusion through instinctive concensus (assuming that is the desired outcome); that is, a mutual sense of completion. Similar to the introduction, the final section invites the pianist to improvise using motivic guides and verbal indications (refer to Figure 18).

Performance experience

The first experiment in performing polycyclic compositions was conducted early in the research process. In a rehearsal, three compositions – PC1, PC2 and PC3 (not included here) – were trialed by Cornish, Du Plessis and myself. Basic synchronicity was achieved at varying levels of success, but it became evident that a very considerable amount of rehearsal would be necessary to bring nine of these demanding polycyclic pieces to a level acceptable for a professional recording. Considering the time contraints of the participants and the voluntary nature of the project, a more expedient approach was required. I would first record the piano parts then overdub the cello and wind instruments. While not common practice for chamber music, the advantage was the level of precision that could be achieved and perhaps more surprisingly, an overall sense of cohesion and fluidity of performance. My primary goal was to create a professional representation of the compositions in order to effectively present the value of this work. As a consequence, this process also created a conducive platform for monitoring the various issues arising in performance, in particular from the point of view of the individual practitioner. Further considerations concerning group performance were also examined outside of the recording studio, in the form of two live performances. Generally speaking, three reasonably consistent observations are worth mentioning at this point. 79

Firstly, recording in a controlled studio environment meant the musicians were able to receive exactly the headphone mix most beneficial to their performance requirements. Interestingly, both Cornish and Du Plessis stated similar needs. They preferred to hear mostly the piano and click track for intonation and timing purposes in relative balance with their own sound. Conversely they wanted a very minimal presence of the other ‘melody’ instrument as this seemed to be more distracting than helpful in maintaining the strongest sense of identity. However, even at a low volume, the other melody instrument subjectively seemed to inform the performance on an emotional level when present, although in ways that are difficult to quantify. This would indicate that certain understood qualities of group cohesion are also quite evident in this process. The second observation has some similarity to the first. Whereas by reducing anything in the headphone mix that might be considered distracting, the same premise applied to notation. My initial approach was to provide the instrumental part with the two other instruments represented on smaller staves for synchronization assistance. Having reference to the other parts would help the players in maintaining the correct place in the form, especially in this unfamiliar format presented in polymetre. The preference of both musicians proved otherwise: they wanted only their own lines present with occasional references to other lines during rests. As predicted, over time they were able to detect more aspects of the companion parts whilst performing their own, but initially it proved necessary to remove any interference to concentrating on their own identifying role. The third observation, also concerning notation, is somewhat less consistent, but prevalent enough to give weight to a central hypothesis presented earlier. I stated my conviction that a performer will phrase differently according to placement of bar-line, after which, on some level the musician will place emphasis. Additionally, reading the phrasing within context of its intended metre, reinforces the integrity of that individual part, which, combined with the other parts similarly invested, will increase the pertinacity of the whole. Du Plessis, Cornish and I confirmed the validity of this theory in our distinct rendering of the metre ‘downbeats’ as well their sub-groupings (eg. 3+2/5). By ‘rendering’ I am referring to either a distinctly audible emphasis of the ‘downbeat’, or a perceptible gravitation toward and away from the ‘downbeat’ in the phrasing, as is common practice. While polymetric notation is not always the most suitable option, as will be seen in ‘PolyAnatolia’, tightly woven phrase/metre relationships as found throughout ‘PolySpirals’ benefit from the similar pendulum-like 80

momentum that appropriate metre allocation provides. When combined, these ‘pendulums’ create perpetually deflecting orientations, and result in a complex whole strengthened by the sum of its parts.

Conclusion

‘PolySpirals’ is the most ‘cyclic’ sounding of all the pieces, and adheres strictly to a process while simultaneously disguising the fact. Contributing to this deflection from recognizable process is frequent use of fragmentation which simultaneously supports compositional transparency, an important attribute when addressing increased complexity of structure. In this piece, metric orientation on a composite level is diffused, offering broader alternatives in perceptual location. Free (or emulated free) improvisation offers respite to the incessant forward striving of pulsed cycles, and an alternative view of the compositional material. The method of notation impacts on the effectiveness of pulse driven cycles, and is arguably more vital amid increased metric complexity. As previously stated, most experiences and points made in the analysis of ‘PolySpirals’ are generally transferable to all the polycyclic chamber music compositions.

Polycycle 4: ‘PolyFugue’ (Vol 2 p51; Blue CD Track 4)

Introduction and objectives

I was keen to explore the problems and potentialities when incorporating a fugue-like compositional approach within the context of polycyclic design. I imagined polycyclic writing providing a setting compatible with fugue style: the statement and development of the same motivic phrase at varying entry points according to an overall scheme. This concept would be further challenged with the incorporation and navigation of shifting tonal centres and 81

harmonic progressions in a polymetric setting. Additionally, the premise that there is an added musical dimension of value in notating in three different time signatures was worthy of pursuing over a number of different kinds of compositions (comprovisations), and measured through performance outcomes. Equally, the question was also how to incorporate improvisation in this context.

Analysis of music

‘PolyFugue’ presents a consistent tri-metre environment from beginning till end with the exception of the last MC (11) when all parts are notated in 4/4. Polycyclic combination number twenty-five was chosen:

Figure 19: Polycyclic Combination #25

The oboe is in 7/4, phrased 4+3/4; the cello in 6/4, phrased 4+2/4; the piano in 4/4. The single theme integral to the entire piece is introduced first by the piano beginning in G minor (figure 20). Due to the frequent harmonic shifts away from the opening tonal centre no key signatures were utilized.

Figure 20: PolyFugue MC1a

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The second iteration of the theme, also piano only, is transposed a minor third lower to E minor now with harmonic accompaniment:

Figure 21: PolyFugue MC1b

The third iteration begins on piano now a further minor third lower in Db minor but played one octave higher to free up the lower register for the cello entry. The cellist plays an altered version of the theme appropriate to her time scheme and harmonic reality, bringing both cello and piano to the end of MC1.

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Figure 22: PolyFugue MC1c

The oboe joins in at MC2, similarly altering the timing and harmony of the theme to suit his metric requirements. Here, the tonal centre is transposed down yet another minor third to Bb minor to complete the four tonal areas that equally divide the octave (G, E, Db and Bb). Note also that the phrasing/metre division is supported by accentuating the relevant beats on each part:

Figure 23: PolyFugue MC2a

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From this point on modifications, variations and abstractions to the theme develop while continuing the cyclic progression through the four key centres. The cello also employs some stylistically appropriate octave accompaniment figures:

Figure 24: PolyFugue MC2b

MC5 marks a transition passage of relative harmonic stasis – a full MC in Fm dorian prepares for the upcoming optionally improvised or notated modal improvisation:

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Figure 25: PolyFugue: MC5

At MC6, in both notated and improvised settings, the mode of G dorian offers a harmonically stable and alternative position from which to continue exploring thematic variations:

Figure 26: PolyFugue: MC6

MC10 delineates the end of the modal improvisations and the recapitulation of the opening fugal theme. At the end of one full tonal cycle (G, E, Db and Bb) the theme is performed in unison and mono-metrically (MC11) – a unified celebratory statement:

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Figure 27: PolyFugue: MC11

Role of improvisation

The question of how to incorporate improvisation here presented similar issues as in ‘PolySpirals’. Whereas conditions for improvisation for the musicians during the exposition in ‘PolySpirals’ was considered unfavourable, the possiblities in ‘PolyFugue’ are potentially inviting for a suitably trained musician. Chord symbols identifying the harmony are provided throughout the exposition and recapitulation as an aid for pianists who may want to interpret and make variations on the notated harmony (as prescribed in the accompanying performance notes). This is encouraged in the context and spirit of 'comprovisation':

Figure 28: PolyFugue: MC3 piano

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Another similarity is the role of the middle section for optional improvisation that offers an alternative platform to explore the thematic material. Here, a suitable selection of melodic and harmonic material for improvisational use is provided. In most scenarios, full freedom of choice has a potential to be overwhelming and leave too much up to chance - asking too much of many musicians, with high variance in levels of success. In ‘PolyFugue’ I provide material for a ‘point of departure’: ‘motivic indications as departure point for improvisation in G minor, maintaining (individual) cycle’ as well as a central scale on which to base the inventions:

Figure 29: PolyFugue: MC6 improvisation

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Performance experience

The headphone mix and polymetric notational considerations as described in ‘PolySpirals’ found identical application here. An additional theme around notation arose however. This was the issue of how to strike the right balance between providing dynamic and expression markings, and my preference to having the musicians mostly self-determine in this regard. Self-determination has two potential advantages: Firstly, the musicians need to actively try to be conscious of the overall sound and respond appropriately and spontaneously at any given moment with volume fluctuations, expressiveness and mannerisms of playing. I think this encourages awareness of the relationship the part has to the whole, especially when having to concentrate on one’s own individual time signature in a polymetric setting. This ‘dual’ thinking between attention to the self and the group is probably more challenging in this polymetric/cyclic style of composition in comparison to ‘mono-metric’ music, and necessitates a highly active engagement. Secondly, I am not at ease notating performance directions (e.g. phrasing and bowing markings, note lengths, volume indications etcetera) when I am not an exponent of that instrument. I may have a reasonable theoretical understanding of the mechanics of instruments but this will, in no way, come close to the infinite nuances an expert performer can offer. In a small ensemble setting at least, this freedom can be well applied, relying on the players’ own input into performance directions. Discussions with Du Plessis highlighted that, for her as an interpreter, there is a certain ideal balance between being given enough direction and opportunity for individual contribution providing a necessary clarity and confidence, while promoting significant personal engagement. Initial experiments in improvisation indicated a high level of engagement among the musicians and an acknowledgement that the suggested motivic and harmonic material provided a sense of security upon which to exercise spontaneity. For my own experience as a pianist more at ease within the jazz idiom rather than classical traditions, reading chord symbols alleviated the stress of precise note reading and execution, while providing interpretative and improvisational potentialities.

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Conclusion Creating a fugue-like composition in a harmonically fluid polymetric setting requires much ‘give and take’ in manipulating the melodic material. It also requires an enhanced adherence to both the integrity of individual phrasing and the composite sonic picture. A delicate balance is therefore constantly negotiated between individual and group; a circumstance that promotes a sharpened interpersonal awareness, magnified in a polycyclic environment.

Polycycle 7: ‘PolyFolkBaroque’ (Vol 2 p76; Blue CD Track 6)

Introduction and objectives As the title suggests, two music styles have been addressed simultaneously in a polycyclic manner. The folk influence is derived from Balkan dance rhythms in 11/4 performed by oboe and piano, while the cello delivers baroque-like lines in 5/4. Essentially, the piece is expressed bi-metrically (in contrast to the previous tri-metre compositions), although the oboe may play an optional improvisation freely in a 2/4 orientation over the 11/4 and 5/4 patterns. Because of the intensity of the 5/4 cello lines, which are followed by the note-rich 11/4 Balkan melodies, I decided a bi-metric structure contributed sufficient complexity for the overall composition.

Music analysis

The nominated ‘polycyclic combination’ is number nineteen:

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Figure 30: Polycyclic Combination 19

Because this piece operates bi-metrically (5/4 and 11/4) the MC length is halved from 110 to 55 beats, consisting of eleven 5/4 and five 11/4 bars. The cello begins with her baroque-like figures phrased almost like a waltz with two extra beats establishing a clear A major tonality:

Figure 31: PolyFolkBaroque: MC1

The oboe and piano add punctuations every eleven beats starting at MC2, establishing their 11/4 counter-metre felt as 4/2 plus 3/4 (indicated by half bar lines):

Figure 32: PolyFolkBaroque: MC2

At MC3 a slowly unfolding anthem-like melody in 11/4 reveals itself as an elongated version of the upcoming piano folk melody at MC7, and is occasionally harmonically adjusted to fit 91

the cello harmony, as are the chordal punctuations, illustrated here at MC4:

Figure 33: PolyFolkBaroque: MC4

MC7 marks the beginning of the folk-based section. The piano states the theme already introduced at MC4 (see figure 33) now in the folk dance inspired context. The cello switches to a half-time pulse in 5/2 providing an accompanying rhythmic figure based on the previous baroque lines, but with reduction and repetition:

Figure 34: PolyFolkBaroque: MC7

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The oboe improvises (notated or freely) over this scheme. At MC9 the tonal centre shifts to G minor while the rhythmic pulse moves to 2/2, 3/4, 2/2 – another common Balkan dance rhythmic pattern:

Figure 35: PolyFolkBaroque: MC9

This format continues, modulating through E and F minor until MC11 where a departure from the bi-metric structure is introduced and the piano plays a (notated or freely) improvised solo, commenting on previously stated material. MC12 introduces a simultaneous recapitulation of both the baroque and folk themes but in an extremely fragmented state that only very gradually becomes apparent. In order to make synchronization possible the theme notes not to be played are cued in small print, i.e., they are ‘imagined’:

Figure 36: PolyFolkBaroque: MC12

This technique gives opportunity for the listener to alternate between to the two different counterpoints that, presented all at once would have been quite chaotic. By MC15 the entire counterpoint between the 5/4 cello baroque and 11/4 piano and oboe folk melodies has been

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revealed. MC16 sees a return to the opening format for the final section:

Figure 37: PolyFolkBaroque: MC15-16

Both counterpoints increase in intensity and crescendo to a final synchronous high point:

Figure 38: PolyFolkBaroque: MC18

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Role of improvisation

Two opportunities for improvisation are proposed for oboe and piano. The optionally improvised solo in F# minor for oboe starting after MC7, invites the soloist to reduce his sense of metre to a simple 2/4 pulse and freely respond to either of the rhythmic streams or an almagamation of both. In this way, there is no necessity for him to count or adhere to the structure. It is assumed that the key changes will be heard rather than read in order to maximize the focus on spontaneity, and the cue to end will be simply be because the others have stopped. At this point, at MC11, the piano is unhindered by any synchronization or harmonic considerations other than rendering improvised solo reflections appropriate to the context.

Performance experience

The steadiness in the design and performance of the pulse patterns are important if the players are to maintain and synchronize their separate identities within the structure. Du Plessis was encouraged to infuse her 5/4 cello phrases with a subtle sense of ‘swing’ that resulted in a more natural momentum, in turn promoting a relaxed rendering of the oboe and piano lines. It was evident that the separate metric notations assisted this sense of flow.

Conclusion

The particular significance of this piece is how two very distinct and different stylistic elements are able to combine meaningfully and how the bi-metric approach supported this delineation and combination. Through simplicity of line, and adherence to roles, I have attempted to create as much clarity as possible. Even though this piece is ‘only’ bi-cyclic, it is still challenging enough to digest for both players and audience alike.

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Polycycle 10: ‘PolyKarma’ (Vol 2 p119; Blue CD Track 9)

Introduction and aims Based on a simple repeating melodic idea, ‘PolyKarma’ is securely grounded in Eb major and employs a descending bass line – one that has been used very emotively since Bach (e.g. “Air on a G string”) or even earlier. I have deliberately and unreservedly capitalized on the emotive quality of this universally recurring chord progression. This stems partly from my film scoring work and earlier involvement in pop music, where certain musical references carry a particular emotional significance. Starting from this familiar emotional base I intended to explore how the simultaneous use of differing metres could extend this vocabulary beyond its existing mono-metric foundation. In this context, the ‘Coda’ serves as an abandonment, or breaking away from the ‘comfort’ of established norms, encouraging alternative possibilities for exploration.

Music analysis In keeping with the theme of ‘simplicity’ I chose the most fundamental of polycyclic combinations, 3/4, 4/4 and 5/4 for cor anglais, piano and cello respectively:

Figure 39: Polycyclic Combination #24

The theme in 4/4 is consistently maintained by the piano while counter-lines and their variations are represented in the cello then cor anglais parts in 5/4 and 3/4 respectively. This polymetric aspect disperses the rhythmic and harmonic regularity of the main theme:

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Figure 40: PolyKarma: MC2

In contrast to other compositions here, the ‘Mother Cycles’ in ‘PolyKarma’ play a distinctly background role. Although the three separate metres remain constant throughout the piece until the last iteration of the main theme (when the oboe switches to 4/4 to perform in unison with the piano), the primary driver of the perceptual structure is the piano chord progression and melody as illustrated above in figure 40. The organic symmetry of the piano phrasing does not fit the 15x 4/4 (=60 beats) MC structure and so, in this case, takes precedence in governing the overall format. Therefore, the background MC structure acts a subsidiary substructure to encourage motivic development in the oboe and cello parts beyond normal mono-metric practices. The following describes the format of the piano governing structure and MC substructure:

Introduction: 9 bars (8 bar phrase plus 1 ‘pause’ bar) of ‘Piano Melody A’.

Piano Melody A1: 8 bars (ends on a G minor [III] chord) (start of MC1) Piano Melody A2: 8 bars (ends on a Ab major [IV] chord) (MC2 = bar 8; or, 15x 4/4) Piano Melody A3: 9 bars (ends on a Bb dominant [V7] chord); 8 bar phrase plus 1 ‘pause’ bar 97

Piano Melody A1: 8 bars (ends on a G minor [III] chord) (MC3 = bar 6) Piano Melody A2: 8 bars (ends on a Ab major [IV] chord) Piano Melody A3: 9 bars (ends on a Bb dominant [V7] chord); 8 bar phrase plus 1 ‘pause’ bar; (MC4 = bar 5)

Interlude:

15 bars; piano plays inversions of main phrase (ends on a Bb dominant [V7] chord); (MC5 = bar 11)

Piano Melody A1: 8 bars (ends on a G minor [III] chord) Piano Melody A2: 8 bars (ends on a Ab major [IV] chord) (MC6 = bar 3) Piano Melody A3: 9 bars (ends on a Bb dominant [V7] chord); 8 bar phrase plus 1 ‘pause’ bar

Coda 1:

30 bars multi-tonal section over C rhythmic pedal on cello (or optional open length group improvisation); (MC7 and 8)

Coda 2:

Final statement of piano main phrase (MC9)

The correlation between the piano governing structure and MC substructure has been organized so that they do in fact synchronize at two critical points: Coda 1 and 2. Coda 1 marks the departure from the pre-existing Eb tonality. Coda 2 is the point where all three parts co-incide to finish the piece (in the notated version):

Until Coda 1 = 90 bars x4/4 (piano); 120 bars x3/4 (c.a.); 72 bars x5/4 (cello) = 360 beats total. 360 beats ÷ 60 beats (1x MC) = 6x MC. At Coda 1 = MC7.

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Until Coda 2 = 120 bars x4/4 (piano); 160 bars x3/4 (c.a.); 96 bars x5/4 (cello) = 480 beats total. 480 beats ÷ 60 beats (1x MC) = 8x MC. At Coda 2 = MC9.

The consistent structural symmetry and harmonic stability (Eb major) provided by the piano up until Coda 1 supports a platform upon which the oboe and cello can exercise motivic development in adherence to their individual metres, resulting in alternative counterpoints to that of a mono-metric system. Figure 41 illustrates an example of the interweaving motivic development and counterpoint between the cor anglais and cello:

Figure 41: PolyKarma: MC3

The Coda introduces a departure from this scheme harmonically, structurally and conceptually, with allowance for varying degrees of improvisation:

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Figure 42: PolyKarma: MC7

On completion of this section the piano states a final, distant reiteration of the opening phrase:

Figure 43: PolyKarma: MC9

Role of improvisation The improvisational coda-like section at MC7 functions as a multi-leveled release from the preceding ‘conventional’ tonality. Flexibility of approach is encouraged: one, two or all three instruments may choose either free or notated improvisation – any combination will function. For example, on the accompanying recording only the cor anglais has departed somewhat from the notation. Conversely, during live performances our trio performs relatively free improvised versions – beginning by quoting from the written score then progressing toward increasing freedom of expression.

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Performance experience This piece has proved the easiest of all the chamber polycycles to perform, both in the studio and live performance situations. Although it could conceivably be globally notated in 4/4, once again the musicians acknowledged that they were able to embrace their metrically appropriate phrasing with increasing confidence as the unfamiliarity of polymetricism was gradually overcome. There was a perceptible increase in excitement in both the musicians and audience during the live improvisational section. When later interviewed on the perceptibility of the various metres, several audience members responded that there was a sense of something ‘unusual’ happening, but were too consumed by the overall effect of the music to be distracted by it. Both Du Plessis and Cornish reported a marked sense of liberation from conforming to structure during the ‘free’ improvisation section. Arguably, the level of liberation is relative to the preceding level of complexity and conformity.

Conclusion Why did I choose this particular polycyclic combination when it does not significantly correlate to the governing structure? The aesthetic nature of this composition required a sense of ease of performance – it was therefore advisable to support this ease with a ‘simple’ polymetric structure while simultaneously “extending the [musical] vocabulary beyond its existing mono-metric foundation” (from the introduction of this analysis). The relative ease of performance in a live setting confirmed this supposition. Continuing the practice of exploring how polycyclic structures can influence idiomatic conventions, ‘PolyKarma’ offers a new perspective on a common reference. This practice maintains that emotional attachment to an idea can be extended over a more complex environment while promoting a broader palette of possibilities.

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Polycycle 5: ‘PolyAnatolia’ (Vol 2 p6; Blue CD Track 1)

Introduction and aims

For the final composition under analysis within the chamber music category, I have chosen an Anatolian inspired setting – the rhythmic and melodic elements in ‘PolyAnatolia’ are typical of music from this region – expanded into a polycyclic context. However, the main point for examination here relates to practicality of notation. Whereas one of the central notions around polycyclic design in music is the benefits of polymetric notation, there are situations where the exception may apply: ‘PolyAnatolia’ provides a good example. Firstly, an overview of the composition will provide background to this issue.

Music analysis

The polycyclic design behind this piece, now well disguised by simplified notation, is still manifest in the individual phrasings:

Soprano Sax Piano

Cello

Figure 44: Polycyclic Combination #79

The simplified notation now places the music in either 6/8 or 3/4. Therefore, every five bars the MC markings still indicate common downbeats but more practically, within this notation method, they function best as rehearsal markers. Figure 45 illustrates the opening 6/8 rhythmic underlay of the piano and the central three-note thematic motif also played on the soprano saxophone emulating the ‘duduk’ (an ancient double-reed woodwind flute indigenous

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to Armenia), but phrased in 5/8, creating an ‘offset’ positioning of the melody that avoids predictable rhythmic phrasing and supports an individual identity:

Figure 45: PolyAnatolia: MC1

The cello figures are phrased here in 3 groupings of 5/4 within 5 bars of 3/4 notation, coinciding with the piano every 5 bars of 6/8:

Figure 46: PolyAnatolia: MC6

The following example illustrates more pronounced 5/8 oboe phrasing within the 6/8 notation, 5/4 cello phrasing within 3/4 notation and how all three parts link together for one MC:

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Figure 47: PolyAnatolia: MC7

The ideas are developed over similar structure and style throughout the piece. The tonality is based exclusively on the B phrygian dominant scale, common in music from this region of the world, from which the root notes for the chords in the next section at MC22 are derived. Now centered in E minor, the B phrygian dominant scale becomes E harmonic minor, although retaining the same notes:

Figure 48: B Phrygian dominant and E harmonic minor scales

At MC22 the trio synchronize metrically in 6/8 including optional repeats for improvisation. The root notes of the chords (highlighted) are derived from the above (figure 48) B phrygian dominant/E harmonic minor scale maintaining a tonal relationship to the previous section:

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Figure 49: PolyAnatolia: MC22

The next section (MC24) changes the mood to one of aggressive animation, working the diminished apeggio of the central scale with unison chromaticism now in 3/4 metre:

Figure 50: PolyAnatolia: MC24

MC25 reintroduces increasingly fragmented versions of the opening material, with phrasings compliant to each individual (virtual) metre, decreasing in volume until the final, barely audible statement:

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Figure 51: PolyAnatolia: MC25

Role of improvisation

The chord symbols included for all players from MC22-24 (see figure 49) are to be used as harmonic guides should the musicians optionally decide to repeat this section for solos in the tradition of jazz improvisation. The number of repeats is at the collective discretion of the players, although it is the responsibility of the pianist to cue the next section (MC24). This improvisation over chord changes as practiced in a jazz context offers a two-sided opportunity: (1) for classical musicians wanting to explore this art, and (2) for jazz musicians wanting to apply their craft within a more ‘classical’ setting.

Performance experience

The original score was first notated mono-metrically in 3/4, then polymetrically in 5/8, 6/8 and 5/4, then finally in a combined 6/8, 3/4 solution. The evolution of the process highlights the difficulties around the notion of appropriate notation. In short, there are polymetric situations when notating polymetrically is not appropriate. Sacrifices made by not notating in the metre that is best suited to the individual phrasing is made up for in ease of ensemble playing - a decision based on practicality over polymetric ‘correctness’. The first example illustrates the attempt in 3/4: 106

Figure 52: PolyAnatolia: MC9 3/4

While appropriate enough for the quarter note emphasis of the cello part, the notation is misleading for the desired 6/8 motion of the piano, and 3+2/8 of the sax. When laid out polymetrically the appropriate motion is individually correct but synchronicity between the players is rendered extremely difficult because of the awkward rhythmic relationship between the 6/8 piano and 5/4 cello/sax (sax being written as two groupings of 5/8 into 5/4):

Figure 53: PolyAnatolia: MC9 polymetric notation

Performance experience confirmed the unnecessarily difficult timing issue. The solution, or compromise, was reached with 3/4 notation for cello and 6/8 for piano and sax. Mutual alignment through common bar length was achieved while expression of individual phrasings was practicable. Comparison with the previous two versions (see figures 52 and 53) demonstrates that this new hybrid version (see figure 54) is a preferable option. 107

Figure 54: PolyAnatolia: MC9 6/8 and 3/4

Another aspect of ensemble playing of which I became conscious during the process of polycyclic design was a certain inherent and habitual inclination among musicians toward unifying moments. For example, frequent arrival at the same downbeat, or playing in unison – attributes not naturally occurring among differing metres. Hence, in PolyAnatolia the decision was made to include a mono-metric section (MC22) and a unison ensemble experience (MC24) (see figures 49 and 50 respectively). These synchronic junctures provide release from and contrast to the intrinsic tension contained in polycyclic passages.

Conclusion

The issue surrounding whether or not to notate polymetrically is more dependent on circumstance rather than any fixed theoretical position. For the most part, these chamber music compositions have employed less challenging polycyclic combinations in which individually notated metres have demonstrated certain advantages in musicality. Live performances have also substantiated this position: musicians’ feedback concerning ‘Lilburn Blue’, as performed by the NZTrio, suggested there was no difficulty performing this bimetric composition and the integrity of the (notated) 3/4 cello motion against the triplet 4/4 metre of the piano induced the desired expansion of metric orientation (Vol 2 p39 and video

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file on the ‘Black CD’). As the polycyclic combinations become more difficult however, the argument for monometric notation may become more applicable, as the case of ‘PolyAnatolia’ implies.

Polycycle 12: ‘PolyRoots’ (Vol 2 p127 and Black CD)

Introduction and aims As an addendum to the analysis of selected chamber works I have included a composition for mixed choir. The aim of creating a polycyclically designed song form for a capella voices is to create an extra set of circumstances and challenges apart from those present in the small ensemble instrumental setting. Considering these potential difficulties I decided to work with a simple foundation: a standard song form with uncomplicated tonality and rhythm as a framework upon which three metres would be applied. An important aspect was to devise the parts in an organic manner so as to promote maximum facilitation for live performance. The music style is pliable enough to be suitable for choirs from differing backgrounds: classically trained ones through to gospel choirs, vocal groups from various ethnicities, genders and demographics. For many years I have admired the polyphonic singing of Bayaka24 Pygmy tribes and, although their approach to music-making differs considerably to my western styled polycyclic methods, there are some similarities in the sonic outcomes. A further aspect of complexity is the application of lyrics when dispersed over a polymeric construct.

Musical Analysis

Similar to ‘PolyKarma’, the more elementary 3/4, 4/4 and 5/4 metric combination (refer to figure 39) was chosen for this first foray into polycyclic vocal writing. The choir is split into 109

three sub-choirs which each remain in their distinct metre for the duration of the piece, each maintaining the integrity of the song form, but within their individual metric contexts. Therefore, broadly speaking, the duration of the song is longer for the 5/4 version than for the 4/4 version, which is in turn longer than the 3/4. The mathematical design is coordinated so that each sub-choir naturally resolves on the last line of the song simultaneously - the first and only time within the piece that all 3 choirs sing in unison. Consequently the sub-choir singing in 5/4 begin the song, the 4/4 group enter after the 2nd phrase, and the 3/4 group enter half way through the 3rd phrase of the 4/4 group and 4th phrase of the 5/4 group. During the song therefore, a multiplicity of phasing of lines occurs with occasional synchronicity between two of the three choirs due to their differing ‘speeds’. Before illustrating these relationships through score excerpts a dissection of the fundamental mathematical equation is pertinent. The actual song length, not including introduction and final sustained note, is 300 beats. This equates to 60 bars of 5/4, 75 bars of 4/4 and 100 bars of 3/4. Within this form, five sections of 60 beats each delineate the ‘Mother Cycles’, each containing 12 bars of 5/4, 15 bars of 4/4 and 20 bars of 3/4. This means at the beginning of each MC the first beat of the bar is shared, but does not reflect any other aspect of synchronicity between the choirs as they continue their individual unfolding of the song. Although the key could easily be transposed to suit a particular situation, the key of Bb seemed to set a comfortable range for this version of mixed male and female voices. The full choir firmly establishes this tonality, and pulse, in the introduction:

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Figure 55: PolyRoots: Introduction

The bass drum and woodblocks provide a time-keeping function, assisting the 5/4 and 3/4 choirs respectively, alongside a single beat style of conducting. At MC1 a soloist affiliated with female choir 1 states the first two phrases alone in 5/4. As the verse of the song was originally mono-metrically conceived in 9/4, phrased as 5/4 plus 4/4, the rhythm in this setting requires the least adjustment of the three metres:

Figure 56: PolyRoots: MC1a

The beginning of the song form in 4/4 comes at the end of the second 5/4 phrase, and although it is by definition is phrased slightly more compactly, an individual rhythmic 111

integrity is maintained:

Figure 57: PolyRoots: MC1b

By MC2 the 5/4 and 4/4 counterpoint between the two soloists has been identified and is now ready for the third iteration to emerge in an even more compact form:

Figure 58: PolyRoots: MC2a

Each sub-choir follows a verse-chorus-verse-extended chorus format. When the 5/4 soloist begins her second half of the chorus a chant-like mantra is introduced by the female choir 1

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and the male choir, both also in 5/4, which is continued by the latter throughout the remainder of the piece:

Figure 59: PolyRoots: MC2b

At the point where all sub-choirs reach the extended second chorus they each further subdivide into three-part harmony, increasing the overlapping intensity:

Figure 60: PolyRoots: MC5

Another dimension, absent in the instrumental works, is of the impact of polymetres on lyrics. In this case, the lyrics are continually expressing imagery connected to the notion of ‘roots’ in the first verse through nature metaphors, the second verse envisions 'home/house/town', while the choruses repeat the one line: 'feel the roots' with the tag: 'then Uncle Sam has got no 113

show'. If it were a 'storytelling' lyrical content unfolding over verses, it could be quite confusing, even irritating, to have narratives manifesting in an overlapping manner. Because the lyrics of 'PolyRoots' are different descriptions of the same message throughout, the overlapping words can be digested simultaneously as various expressions affirming the same thing thus offering the listener a choice to follow one choir at a time or an amalgamation of two or all three. Supporting this relative clarity of message are the repetitive, familiar, melodic diatonic phrases and simple rhythm.

Role of improvisation

From MC5 the female solo vocalist is at liberty to add improvised phrases in the style of gospel choirs as demonstrated by Abigail Knudson on the audio track (Black CD), generating increased intensity and conviction of the underlying message.

Performance experience

Choir rehearsals toward a concert of this work have been scheduled for after this exegesis goes to print so empirical experience is as yet based on the included recorded version that was performed by one female vocalist (Abigail Knudson) singing all the female choir parts and one male vocalist (myself). For Knudson, the requirements were similar to those of Cornish and Du Plessis for the instrumental recordings: the parallel parts were perceived as distracting therefore excluded or minimalized in the headphone mix – only a quarter note pulse, a piano guide track and any pre-recorded vocals in the same metre were present. Although I initially conducted Knudson in the relevant metre, eventually she was able to feel the phrasing of each part naturally. This experience indicates that it would be astute to first rehearse the individual sub-choirs separately until a natural sense of rhythm is achieved rather than counted. Only through a consistent confidence of each individual identifying role can the synchrony of the whole be successful. In support of this position, polymetric notation was the obvious option.

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Conclusion

Polymetric design provided a conducive platform for a three-dimensional interpretation of a song via implementation of three simultaneous time signatures. The original lyrical content and song form remained comprehensible within the widened aural complexity that a polycyclic approach offers.

This completes the chapter on polycyclic chamber and vocal music. While the emphasis here has been on the design of notated polycyclic constructs with optional or limited improvisational input, the following chapter will explore similar themes in a stylistically contrasting setting. The broadly defined tradition of jazz music will by its nature incorporate improvisation more extensively while presenting a unique set of challenges for polycyclic concepts.

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Chapter 4: Polycyclic Jazz Music Analysis …it’s all about the artist’s intent. If the artist intends the creation to be jazz, then it must be! This puts the control where it should be: in the hands of the creator of the work. (Fleeger 2016)

The globalization of jazz is inspiring ever more cross-genre hybrid musics, rendering a definition of the word ‘jazz’ more elusive than ever. (Denson 2013, p30)

Continuing in a similar analytical framework as chapter three, the Polycyclic Jazz project also aims to explore and examine the process of composing and improvising upon polymetrically constructed forms, but in a broadly defined contemporary jazz setting. The resulting outcomes in the form of scores and recordings (Vol 2 pp140-234 and ‘Red CD’) will be the main area of focus. Four of the ten included tracks in this category will be analysed, being chosen as the most consistent tri-metric illustrations, each featuring a particular topic for consideration, and generally representing issues encountered across the entire project. The final two tracks on the album, although relevant to this chapter, are more appropriately labeled ‘Neo Soul’ in terms of style. Due to its unique properties, the vocal version of the song ‘Stay With Me’ will also undergo musical analysis. The same five topics per composition as in the previous chapter will be employed as analytical sub-headings: • Introduction and objectives • Analysis of music • Role of improvisation • Performance experience 116

• Conclusion The music was fundamentally conceived for a standard jazz quartet: sax, piano, bass and drums. Trumpet and congas also feature on three of the twelve tracks, as do vocals on eight, plus occasional use of electronic sounds and atmospheres. The musicians performing on the recordings are:

Abigail Knudson, vocals on tracks 1, 2, 3, 5, 6, 8, 10 and 11; Nick Cornish, soprano and alto saxophones on tracks 1, 3, 5 and 7; Mike Schweizer, tenor saxophone on tracks 2, 4, 6, 8, 9 and 10; Craig Walters, tenor saxophone on tracks 11 and 12; Alfonso Rios, congas on tracks 1, 5 and 6; Trevor Coleman, all other instruments on all tracks.

All the musicians were invited to offer feedback during the recording process. As a performing participant I will include my own experiences in this regard. Recording locations apart from my studio included Sydney (Craig Walters), Freiburg (Mike Schweizer) and various locales in Germany and Spain utilizing my mobile recording equipment. In a similar method to the ‘classical’ recordings, in which recording parts separately was found to produce the most streamlined and musically advantageous outcomes, the extensive rehearsal requirements for the ‘jazz’ project were soon identified as beyond what I could reasonably expect on a volunteer basis. Additionally, the autonomy of recording the rhythm section parts myself (piano, bass and drums) allowed for extensive experimentation, precision of performance, and observation of multiple approaches and viewpoints culminating in a version of the music that represents a very personalized interpretation of how a polycyclic jazz rhythm section playing can function. A further consequence of this personalized approach toward the included body of work is the level of ownership of the musical output – any improvisations or extemporizations performed by myself upon the written material may be evaluated as supplementary spontaneous composition. This definition applies then to all piano, bass, drum and trumpet components of the recordings, and where this does not apply, concerns all vocal, saxophone and conga 117

improvised performances. In these cases my compostional input is in the influence I had over the improvisations via the musical structure, giving musical directions and post-improvisation application of compositional decisions through audio editing. Additionally, as a consequence of my personal ‘laboratory’ experiments in conjunction with the experiences gained working with the invited soloists, these compositions are now mature enough for live ensemble performance. A final note on notation: the ‘jazz’ scores are for analysis purposes only, as they serve no practical function within the convention of conductor-less small group jazz performance. Jazz musicians require only the fundamental notational information appropriate to fulfilling and referencing the structured aspect of their particular role – the rest to be realized spontaneously, as illustrated on the Polycyclic Jazz recordings.

Polycycle 13: ‘PolyPhasic’ (Vol 2 p173; Red CD Track 4) … (of an electrical device) simultaneously using several alternating currents of the same voltage and frequency but with different phases.

(Oxford Dictionary of English 2015, p7060)

Introduction and aims

‘PolyPhasic’ was the first intentional attempt to compose a consistent tri-metric piece in a jazz format and can be considered an ‘entry-level’ composition suitable for a first time excursion into polycyclic jazz performance. Generally speaking, the aim is to create polycyclic structures that are ‘playable’ in a jazz context - that fit within the idiom, and are also designed in such a way as to inspire improvising musicians to be innovative and interactive, with a likely satisfying outcome. Because this polycyclic method is a very new experience for the majority of musicians, even

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very skilled ones, it is important to create structures that will function in a live situation, and be inspiring to play. One way to foster confidence in new territory is to incorporate a certain amount of familiarity in the motivic elements. By working with rhythmic and harmonic structures that are well established in the jazz repertoire, the unsettling effect of their displacement in unfamiliar patterns through polycyclic relationships is mitigated. The ‘testing’ is done first of all by playing all the combinations of cycles against each other myself, checking that the groove and structure feels natural and organic. The structure is optimally designed so that at any point in the relationship of the cycles, they will habitually synchronize in a meaningful way. Where harmonic changes are involved, the procedure becomes more complex. Due to shifting timing relationships, chord patterns will change at different junctures, so they need to be compatible at any point. Also as a general case, in instances of tri-metric design, two members of the quartet will typically be assigned a shared metre. Lastly, in relation to the overarching form presented here, Michel Imberty states in his study The Stylistic Perception of a Musical Work:

It is easy to assume that for the average [Western] listener every musical work has something like an exposition, a development, a recapitulation, or a succession from idea A to idea B with an obligatory return to idea A. This structure … has been sustained for over three centuries of tonal music… (1993, p35)

This scheme has been widely imported into jazz music, but replacing ‘expositiondevelopment- recapitualtion’ with the terms: ‘head - solos - head’. In keeping with the merits of familiarity in polycyclic design, I have embraced this format in all of the jazz pieces under analysis.

Musical analysis

As mentioned above, given the idiom, it has been important to maintain the viewpoint of an 119

improvising player, instrument-appropriate, within the jazz traditions and multitude of codes that combine to make a piece attractive to jazz performers. This is, of course, what a jazz composer would naturally consider, but given the polycyclic design and its additional complexity, I have found it particularly prudent to include enough idiomatic familiarity as an anchor to a potentially very unfamiliar format. In this light, 'PolyPhasic’ is an apt example of achieving simplicity and economy out of complexity. It is a level one polycycle utilizing 3/4 (piano, trumpet), 5/4 (bass, tenor sax, trumpet), and 7/4 (drums):

Figure 61: Polycyclic Combination #28

A short introduction serves the purpose of establishing the tempo, drum groove and bass motif. Three bars of the 7/4 drums equals 7 bars of 3/4 rest for the piano while the bass, by starting on the second beat, can set up two times two bar phrases in 5/4 equaling 20 beats. This system allows everybody to start the ‘head’ on the same first beat of the bar. The head is based on an extended blues form in A minor. For comparison purposes here is a standard blues format in 4/4:

I (chord) x4 (bars); IV x2; I x2; V x1; IV x1; I x1; V x1

The challenge was to retain as much as possible the essence of this form – being so ingrained in a musician’s and listener’s experience – while modifying it to suit the metric needs of each instrument. Beginning with the piano and trumpet in 3/4, the question was how to allocate this quintessential 12 bar 4/4 form over 35 bars of 3/4. By doubling the number of bars on each chord it was possible to maintain the general format up until bar 24:

I x8; IV x4; I x4; V x2; IV x2; I x4

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To account for the remaining 11 bars an extended ‘turnaround’ (preparing to repeat) was added:

V x2; IV x2; I x2; V x2; I x1; IV x1; I x1

The relatively minor adjustment to the familiar allows for a reasonably straightforward absorption of the form by the musician. The melody also adheres to the blues form and is based on one simple waltz-like repeating phrase with variations. Figure 56 illustrates the piano form and melody in ‘lead sheet’ (melody and chords only) format:

Figure 62: PolyPhasic: piano and trumpet

The 21 bars in 5/4 for acoustic bass and tenor sax receive a somewhat less symmetrical treatment, but still logical enough in relation to a blues form for natural absorption:

I x5; IV x2; I x3; V x1; IV x1; I x3; V x1; IV x1; I x4 121

Both also play a repeating 2 bar melodic pattern in symmetry with their particular form. Acoustic bass:

Figure 63: PolyPhasic: bass

Tenor sax:

Figure 64: PolyPhasic: tenor sax

As a consequence of their metric differences, the 3/4 and 5/4 players experience the chord changes out of sync with each other, and that further complicates any shared sense of reference normally taken for granted in mono-metric music. For example, the 3/4 part moves to the IV chord one beat before the 5/4 part, which then moves back to the I chord one beat before the 3/4 part. This ‘poly-phasing’ continues at varying degrees throughout the form:

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Figure 65: PolyPhasic: 3/4 vs 5/4

The drummer, being exempt from the harmonic changes, maintains the 7/4 bar groove, subdivided into 3/4 and 4/4, for 15 bars. A vital relationship in any groove-based music is that of bass and bass drum and their ability to lock into a shared pattern. When this synchronization is displaced because of differing metres, the alternative result still needs to fulfill a similar function – that is, no matter at what point in the form, the bass and bass drum need to have a sense of ‘meeting’, albeit of a nature different to the norm. Figure 66 illustrates the 7/4 (3/4 - 4/4) drum pattern and an excerpt of how the bass drum and bass interlock in constantly shifting points of reference:

Figure 66: PolyPhasic: bass and drums

Once all the parts are put together it becomes apparent that the simplicity of the individual phrases is offset by the complexity of the amalgamation. However, as the recording

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illustrates, what appears in theory to portray an unnecessarily awkward exercise can result in a satisfyingly functional outcome if sufficient attention is paid to the integrity of the individual components and their ability to meaningfully interlock at any given point. Beyond the functional, a potential for an increased range of inter-relational interactivity manifests, particularly once improvisation is involved. As indicated in the introduction above, ‘PolyPhasic’ embraces a ‘head – solos – head’ form. More specifically, the following illustration outlines the format as performed on the recording.

• Introduction: bass and drums • Head 1: piano, bass and drums • Head 2: trumpet, tenor sax, piano, bass and drums • Solo Form 1: tenor sax solo • Solo Form 2: tenor sax solo • Solo Form 3: piano solo • Solo Form 4: bass solo • Head 3: trumpet (3/4 and 5/4), tenor sax, piano, bass and drums

Role of improvisation

It is expected, consistent with jazz protocols, that, as individuals and in group interaction, more risk-taking (risk of losing the form or rhythm) is exercised during the improvised sections - balancing adherence to form with spontaneous experimentation in an unusual circumstance (i.e. playing in differing time frames). During the experimentation stages, I have trialed risk-taking on each individual part, to gain experience in each metre, and to check in real time that each part is not only playable, but also conducive to playing ‘on the edge’. When reading from lead sheets (melody and chord changes only with minimal indication of arrangement), convention leaves it up to the group or group leader to decide the soloing order that may vary on each performance. Traditionally the ‘horns’ go first, followed by piano (or guitar), bass then drums (the latter two more optionally). 124

On my recording, the tenor sax (Schweizer) takes the first solo (1’42”) for two ‘choruses’ (forms), and it is expected he should solo in reference to his 5/4 metre. Schweizer begins his solo playing with variations on the head motif, adding occasional flourishes, then gradually increasing in abstraction away from the original idea, all the while adhering to the 5/4 form as stated on bass. The bass instinctively continues to state his original motifs with minimal fragmentation so as to provide solidarity for the tenor. Similarly, the drums hold steady 7/4 time throughout, occasionally ‘commenting’ on various stimuli, or resting. The piano continues in his 3/4 form and has enough harmonic and rhythmic opportunities for considerable amounts of variation. The 3/4 form is held during the piano solo (3’16”) while the bass exercises freer interpretation in 5/4 in preparation for his solo (4’02”) until the return to the last head (4’48”).

Performance experience

From the perspective of rhythm section playing, my experience was as predicted: the learning of any individual part initially required ‘blocking’ out the other two. As an exercise, I tried performing one part while becoming gradually conscious of one other part, then slowly assimilating both other parts. This involved walking a fragile line: too much attention away from my own ‘identity’ risked losing my place; too little, risked missing the sense of liberation and excitement of participating in a complex whole, and the potential interactivity. This was a delicate balance. While these competing calls upon attention are applicable to any performance situation, they become even more demanding, and arguably more rewarding, in a polycyclic setting. Schweizer offered a fresh perspective. Performing the head with minimal rehearsal required counting the quarter note rests between the phrases in 5/4. However, soloing in 5/4 was more intuitive as he was able to rely on the bass part for timing and harmonic change cues (coupled with an instinctive navigation of the blues form) rather than ‘counting’, and allow himself a relatively ‘unthinking’ space from which to freely innovate.

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Conclusion

Navigating issues presented in polycyclic jazz practice can be summarized as questions of balance: of familiarity and unfamiliarity; of natural playing idioms and dislocation; between personal and group identity; of place-holding and risk-taking; of convention and breaking the rules; of simplicity and complexity. A number of analytical themes relating to polycyclic jazz composition, performance and improvisation were examined in ‘PolyPhasic’ of which much is applicable to the following pieces. To avoid repetition, ongoing analysis will concentrate on topics more particular to the track in question, where, unless otherwise stated, the ‘PolyPhasic’ experiences will be assumed.

Polycycle 11: ‘PolyBrubeck’ (Vol 2 p198; Red CD Track 7) [Brubeck’s] rhythmic and metric compositional techniques forged a trail for continued exposure and development in the rhythmic vitality of jazz. (Kraus 2013, p16)

Introduction and aims

As the name suggests, this piece is a dedication to Dave Brubeck and his use of asymmetrical time signatures in a jazz context. ‘PolyBrubeck’ aspires to expand upon this practice by engaging three asymmetrical metres simultaneously and consistently.

Musical analysis

‘PolyBrubeck’ requires 165 beats for all three metres to complete a level II rated ‘Mother Cycle’: 126

Figure 67: Polycyclic Combination #29

Soprano sax (Cornish) plays in 3/4; electric piano (epiano) and bass in 11/4 and drums in 5/4. Starting from their individual entry points, each part holds its particular metre for the duration of the piece including solos. Similar to ‘PolyPhasic’ the introductory section sees staggered entries providing opportunity to fully establish the 5/4 drums and 11/4 epiano and bass parts and correlations. The 40 beats of ‘Intro 1’ (see the score and recording) are designed to present four two-bar phrases of drums and two phrases of ebass in 11/4. Therefore, the bass begins his motif on the 4th beat of the 4th bar of drums, or beat 19 of ‘Intro 1’, to fit two 11/4 bars into the 40 beat scheme:

Figure 68: PolyBrubeck: Intro 1

The drum rhythm references the iconic Desmond/Brubeck composition, ‘Take 5’, which can be analyzed using dance terminology as combining a (jazz) waltz with a two-step.25 In my piece, the jazz waltz aspect is the ‘glue’ that sustains the shifting rhythmic relationship between the different asymmetrical meters: 3/4, 5/4 and 11/4 (phrased as 3x 3/4 + 2/4). The ‘two-step’ also occurs at the end of the 11/4 metre. 127

‘Intro 2’ reveals the full relationship between the 5/4 drums and 11/4 epiano and bass for a duration of 55 (5x 11) beats (see below). The first mother cycle begins when the 3/4 soprano sax joins in at the ‘theme’ which requires the full 165 beats to complete:

Figure 69: PolyBrubeck: theme

The 165 beat mother cycle, or head, is divided into three sections of 55 beats. The first section maintains the harmonic progression as illustrated above in figure 69 - a variation on the ubiquitous opening chords to ‘I Got Rhythm’, commonly known as ‘rhythm changes’: I major7 - VIm7 - IIm7 – V7. In this case, the bass plays Im7, bIIImaj7 (alluding to a tri-tone substitution for VIm7), IIm7b5, V7b5 (both common alterations for minor keys). The epiano applies more modern substitutions for the II-V chords.

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The second and third sections harmonically descend the whole tone scale - two 11/4 bars on each tone: Bb, Ab, Gb, E and D. Each key centre also suggests tri-tone substitutions of the ‘rhythm changes’: I - bIII - II - bII, and all use extended dominant chords:

Figure 70: PolyBrubeck: bridge

For the solos and recapitulation of the theme, the same MC harmonic and rhythmic system is adhered to. A coda section vamps on the opening chords until the end. The recorded version follows this structure: •

Introduction 1 (00:00)



Introduction 2 (00:14)



Theme 1 (00:34)



Sax solo – 1x MC (01:32)



Epiano solo – 1x MC (02:30)



Ebass solo – 1st section of MC (03:28)



Drum solo – 2nd and 3rd sections of MC (03:47)



Theme 2 – (04:26)



Coda, group soloing – 1x MC (05:24)



End – (06:22)

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Role of improvisation Although the score of PolyBrubeck specifies that the saxophone solos in his 3/4 metre, this is expected to be loosely interpreted. The waltz like feeling of the head would likely inform the soloing style without needing to strictly adhere to it, allowing more freedom to respond to stimuli from the other parts. Furthermore, rather than rely on counting bars, the soloist could take aural cues for the changes of tonal centres. Contrastingly, the epiano may rely on the shared metre with the bass for maintaining his place within the structure and taking a more abstract approach to the timing, as is evident on the recording. The reiterative quality of the drum phrase should promote an ingrained sense of metric identity at the point of improvisation. Upon reaching the coda section, sufficient fluidity should be achieved to facilitate group interactivity.

Performance experience In terms of rhythm section playing, the bi-metricism of ‘PolyBrubeck’ (11/4 for both epiano and bass; 5/4 for drums) is perceptively less demanding than, for example, the tri-metricism of the ‘PolyPhasic’ (see previous analysis) rhythm section (3/4 piano; 5/4 bass; 7/4 drums). The role of the rhythm section is to provide a solid rhythmic and harmonic foundation but this function becomes increasingly challenged the less mono-metric the central system becomes. From another perspective, once a sense of groove has been achieved, a polymetrically driven rhythm section appears to offer a richer and more varied set of stimuli for the development of compositional ideas and improvised responses. This became evident as my confidence performing the various instrumental parts grew: a sense of increased options when constructing the theme and soloing from the different ‘chairs’. Cornish also took inspiration from the varying 3/4 impetuses from the rhythm section for his solo.

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Conclusion

Brubeck was among the early adopters of metrically challenging work in a jazz context. As these concepts were further developed by succeeding generations of musicians, it would seem a logical extension to expand these possibilities polymetrically. ‘PolyBrubeck’ has presented an example of extending Brubeck’s use of asymmetrical metres a stage further by combining them tri-metrically and confronting the implicit harmonic and structural challenges.

Polycycle 14: ‘Addiction to Life’ (Vol 2 p163; Red CD Track 3)

Introduction and aims Originally entitled ‘PolyAdict’, it was a play on the word ‘polyadic’, “involving three or more quantities, elements, or individuals” (Oxford Dictionary of English 2015, p7051), then with the inclusion of lyrics and improvising vocalist it became ‘Addiction to Life’ (PC14). The ‘three or more elements’ refers to the tri-metric interactive scheme, again consistent throughout its execution. Whereas the previous two examples included harmonic changes, PC14 centres on one chord and the musicians are not necessarily bound to the 156 beat ‘Mother Cycle’. The objective was to create a more open structure in the style of ‘In a Silent Way’ by Miles Davis and to observe how musicians would adapt this approach to a polymetric setting. Additionally, another layer was introduced via freely improvised vocals with lyrics to explore possibilities beyond the metrical structure.

Musical analysis

This is another level II combination that allocates 3/4 to soprano saxophone (Cornish), trumpet and bass, 4/4 to electric piano (epiano) and 13/4 to the drums:

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Figure 71: Polycyclic Combination #27

The improvising vocalist (Knudson) introduces another concept, that of metric ‘wild card’. Instead of adopting one metre I informed her that she was at liberty at any point to reference any or none of the metres. Her improvisations included lyrics, the implications of which will be discussed in the ‘role of improvisation’ section below. As with the previous pieces the drums establish the tempo before the first MC commences. The rhythm implies a hybrid jazz waltz (ride cymbal) and 12/8 blues feel (bass drum) but with an added beat: 13/4 becomes phrased as 3x 3/4 + 4/4. The hi-hat holds a steady ‘off beat’ that becomes an ‘on-beat’ every second bar due to the odd number metre:

Figure 72: PC14: drums

Figure 73 illustrates the bass also playing a blues-like drone pattern phrased in 12/4, or 4 x 3/4. The first bass and drums iteration synchronizes in the usual way until the 2nd bar when the drums are 1 beat behind, then 2 beats behind in the 3rd bar and so on due to the ‘extra’ beat 13 of the drum part. This apparent dislocation continues for the full 156 beat MC when measured as 12 beats x 13 beats until they once again ‘synchronize’. As described in the ‘PolyPhasic’ analysis, this vital locking of bass and bass drum can still be achieved with differing metres when there is enough ‘common ground’ among the constantly shifting points of reference:

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Figure 73: PC14: bass&drums

Meanwhile the epiano overlays and cultivates contrasting 4/4 funk motifs around E7#9, also in reference to ‘In a Silent Way’. This 7th chord with a raised 9th (or minor 3rd) has a history in funk based jazz, and suggests a certain voicing: E and B in the bass with G#, D, and G natural overlaid:

Figure 74: PC14: epiano

A full MC is devoted to establishing the epiano, bass and drum relationships then repeated with the added brass melody in 3/4. Figure 75 illustrates an excerpt of how all four parts interconnect:

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Figure 75: PC14: ensemble head

As so much music adheres to combinations of four beat patterns, much of the phrasing here is designed to accommodate this custom, encouraging musicians to play instinctively rather count their way through the form. For example, the brass and bass in their shared 3/4 meter are arranged as: • 4 bars of 3/4 repeated 4x = 16 bars (double bar line) • These 16 bars are repeated 3x = 48 bars • Plus 1 extra phrase of 4 bars = 52 bars. 52 bars of 3/4 = 156 beats

Similarly, the epiano part in 4/4 is subdivided into intuitive groupings to accumulate 39 bars: • 4 bars of 4/4 repeated 3x = 12 bars (double bar line) • These 12 bars are repeated 3x = 36 bars • Plus 1 extra phrase of 3 bars = 39 bars. 39 bars of 4/4 = 156 beats

These last phrases in both metres also function as ‘turnarounds’ in preparation to repeat the form. Additional points of reference occur for the 3/4 and 4/4 metres when they share a common downbeat every 12 beats. 134

The drums benefit from symmetry of exactly 12 bars of 13/4 – i.e. he can instinctively feel 4 bar groupings that are played three times. How these various sub-cycles function within the overall form give weight to applying the term ‘polycyclic’ rather than ‘polymetric’. Polymetre does not account for the myriad of ways the long form may be subdivided and, in addition, polycycles may also function in a more randomized way, independent of polymetric divisions, as is evident in Knudsons’ singing (refer to the audio track).

Role of improvisation

After the second time through the MC, the ensemble has two options: continue adhering to the MC structure for soloing and eventually repeating the head or, abandon the adherence to structure altogether and treat improvisation as an ongoing conversation, continuing the multimetric style, but less strictly. A third possibility is the intention to hold the structure then, upon discovering it has become unhinged, embrace the precariousness of the situation adjusting the improvisational approach accordingly. Ultimately, the only difference between this path and the previous one is in intentionality. On the recording I have opted for the first option in order to explore improvisational possibilities within the set form. In this instance we have adopted a group soloing style, or, as Josef Zawinul famously stated: “we never solo, we always solo” (1971). The seemingly static single chord (E7#9) base is harmonically broad enough for the superimposition of many other modalities that come naturally to a contemporary jazz musician. For example when the melody instrument imposes an F minor blues scale it sits well in relation to the ambiguous E7#9 tonality: (F) = flat 9, (Ab) = major 3rd, (Bb) = flat 5, (B) = 5th, (C) = augmented 5th. The Eb, while not belonging to the home tonality, creates a biting dissonance that has been prepared by the F minor blues context. In jazz terminology the #9 of E7 becomes G natural (or F double sharp!) - i.e. the natural 9th of the scale is sharpened. It also implies that the b9 (F) is to be used, but not the natural 9 (F#). Ultimately however, as is idiomatically customary, the composer merely suggests a harmonic pathway; the musical interpretation and style of execution is entirely at the discretion of the improviser. 135

Apart from, or in tandem with, the instrumental improvisations, another layer of meaning was imposed through the process and result of adding improvised vocals with lyrics I had especially composed. I was curious to introduce a level to the structure that was positioned beyond its polymetric confines. By writing lyrics (see the score for complete text) that reflected the established mood, and by encouraging a completely free interpretation – harmonically, melodically and rhythmically – a new perspective on the composition might present itself. The instrumental version of the music suggested to me a state of stasis (one chord) with myriad possibilities (superimposed modalities) over a slightly sinister undertone (the major-minor tension of the E7#9 chord and bass drone) inspiring similar poetic imagery: After the big sleep and before the big leap caught in a twilight zone The dawning of our own addiction to life (excerpt from ‘Addiction to Life’)

Knudson freely improvised three complete versions based on the lyrics more or less in chronological order with some repetitions. Some phrases were identified as worthy of highlighting through repetition and additional harmonization. For example, at 05:04 on the recording I invited Knudson to repeat and harmonize (overdub) this phrase: Mother Earth is singing and groaning

Post-improvisation editing (selection of phrases from the vocal improvisations) further abstracted the poetic narrative from its original form, becoming more a series of semiconnected images and commentary on the surrounding music. The criteria for post-composing Knudson’s improvised performances was completely intuitive; existing, like her performance, in a contrasting musical spectrum outside of the prescribed (MC) structure.

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Performance experience

In my own experience of recording the rhythm section parts, performing without harmonic changes led to a quicker state of intellectual transcendence whereby full attention could be placed on spontaneity rather than awareness of form. The relative simplicity of rhythm further facilitated ease of maintaining the individual identities of the instrumental roles. For Cornish, the parallel metric anchor of the bass gave more referential support compared to ‘PolyBrubeck’ where he was alone in his 3/4 metre. Given a choice of metres, performers will, generally speaking, and unsurprisingly, gravitate to a 4/4 option when available, in my observation. In apparent need of an anchor, Knudson focused on the 4/4 metre supported by epiano. Once centered in a place of perceived security Knudson displayed an unrestrained creative response to the stimuli, or “exemplification of aesthetic judgement in action here and now” (Peters 2012, p7).

Conclusion Similar to the sense of extension upon historical precedents suggested in ‘PolyBrubeck’, ‘Addiction to Life’ draws from concepts explored in seminal albums by Miles Davis, Weather Report and the participating and surrounding musicians and social environment. In keeping with the ethos of pushing boundaries, well-crafted polycyclic settings appear to promote rather than hinder unshackled striving beyond that what is comfortable or predictable.

Polycycle 18: ‘PolyMorphism’ (Vol 2 p216; Red CD Track 9) Polymorphism: The occurrence of something in several different forms. Computing: a feature of a programming language that allows routines to use variables of different types at different times.

(Oxford Dictionary of English 2015, p7057)

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Introduction and aims The objective here was to expand the polycyclic complexity initiated in ‘PolyPhasic’ by composing and improvising upon a blues form at a higher level of difficulty (level II) – a further pushing of observational boundaries. An additional degree of complexity is introduced in the form of polymodality between two metres.

Musical analysis In contrast to ‘PolyPhasic’ this piece is at a more advanced level of performance particularly due to its long form and corresponding relational disparities between the metres. Here, arranged for instrumental jazz quartet, the tenor sax (Schweizer) and bass play in 7/4, the piano in 11/4 and drums in 3/4:

Figure 76: Polycyclic Combination #31

Numerous similarities between the two compositions are evident however: the consistency of a tri-metric structure; instrumentation; engaging familiarity in the motivic elements; working with rhythmic and harmonic structures that are well established in the jazz repertoire, namely the blues form; chord changes that are not synchronized. The complete 231 beat ‘Mother Cycle’ is divided into three repeating sub-cycles of 77 beats each. One sub-cycle completes the bi-metric relationship between 7/4 and 11/4 (7x11), or one blues form as played by sax, bass (7/4) and piano (11/4). The drums in 3/4 do not divide equally into 77 (or 154) beats, and require the full 231 beats, or three sub-cycles, to share the 138

same downbeat (one) as the other two. In practice, however, this position is arguably the easiest of all three to maintain: the drummer needs only to perform a jazz waltz groove throughout. Consequently, the completion of the MC on drums is a relatively self-activating event, (i.e. it will occur without conscious performer agency) allowing wide-ranging freedom to interact intuitively with the other metres. On my recorded version, however, I have set up stylistically indicative 4 bar phrases, the drummer is free to create his own jazz waltz-like style. Again, the introduction is left to the drums and bass, 21x 3/4 and 9x 7/4 respectively. Figure 77 illustrates the bass motif in 7/4 joining the drum pattern in 3/4. Also here the bass and bass drum relationship includes enough ‘common ground’, the swing feel functioning as additional rhythmic glue:

Figure 77: PolyMorphism: bass & drums introduction

The bass continues his 7/4 motif throughout his 11 bar modified I - IV - I plus turnaround blues form: Bb7 (I) x4 (bars); Eb7 (IV) x2; Bb7 (I) x2; G7 (VI) x1; Gb7 (bVI) x1; B7 (bII) x1.

The piano’s 7-bar blues form also requires modification suitable for his 11/4 metre, tonality and turnaround: Gm7b9 (I) x3; Cm9b9 (IV) x1; Gm7b9 (I) x1; Dm9 (V) x1; Gb7#11 (#VII) x1.

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The saxophone contributes a 7/4 counter-line – a variation on the bass motif – on the second sub-cycle. Figure 78 illustrates an excerpt of the melodic, harmonic and rhythmic relationships between all four parts:

Figure 78: PolyMorphism: ensemble excerpt

Although the bass (and sax) and piano are allocated different chords, their relationship is best framed as polymodality rather than bitonality. The harmonic implications can be seen as two modes within the same keys, shown here in approximate temporal relation (for a graphic illustration of the sub-cycle see figure 82 below):

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Bass & sax: Bb7 Piano:

Eb7 -

Bb7 -

G7 - Gb7 - B7;

Gm7b9 (phrygian) – Cm7b9(phrygian) - Gm7b9 - Dm7 - Gb7.

Illustrated here are the tonal relationships between the modes: Gm7b9 and Bb7 as phrygian and mixolydian modes in Eb;

Figure 79: PolyMorphism modes in Eb

Cm7b9 and Eb7 as phrygian and mixolydian modes in Ab;

Figure 80: PolyMorphism modes in Ab

Dm7 and G7 as dorian and mixolydian modes in C;

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Figure 81: PolyMorphism modes in C

Gb7 and B7 as independent mixolydian modes or functioning as tri-tone substitutions of II7 - V7 (C7 - F7) leading back to Bb as the tonal centre.

The differences in tonal orientation enhance the already distinct identities produced as a result of contrasting metric systems, which in turn dictate variations on placement of chord changes. Assisted by the familiarity of the blues harmonic scheme, digesting the two out-of-phase schemes simultaneously is well within the realm of cognizance, and, over time, becomes sublimated by the musicians similar to assimilating (subliminal memorizing) any form. The third sub-cycle introduces the first ‘chorus’ of the sax solo after which the ensemble has completed one ‘Mother Cycle’.

Role of improvisation The sax solo continues for another three sub-cycles, or blues forms, to complete another ‘Mother Cycle’, and designating a metrically simultaneous and suitable place in which to begin the piano solo, similarly lasting three sub-cycles or one ‘Mother Cycle’. Another aspect explored in this design is that of fragmentation. During the last ‘chorus’ of the piano solo the group is directed to gradually fragment, or deconstruct the sense of melody, harmony and rhythm in preparation of an abandonment of the constraints of form and pulse.

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Figure 82 illustrates the chord changes for the solo section (identical to the head), free improvisation and start of drum solo: Tenor sax in 7/4:

Piano in 11/4:

Bass in 7/4: Drums in 3/4:

Figure 82: PolyMorphism: improvisation sections

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Within the context of a composition, it can be reasonably expected that the musicians will continue with whatever motivic residue has manifested at this point, and coherently develop the material within this relatively free environment. It is also anticipated that this will provide relief and contrast to the steadily pulsating drive of the piece thus far. In order to bring back the prescribed form, the drummer initiates a solo based on the introduction, (omitted on my recording) followed by two more statements of the theme (two sub-cycles) and one more semi-improvised form to culminate in the arrival of the last shared ‘one’: the final chord.

Performance experience The performance and improvisational experience to a large degree replicated that of ‘PolyPhasic’ albeit at a more challenging level.

Conclusion and remaining works This analysis concludes the examination of the music within the jazz category. While the essence of the work most pertinent to this research topic has been embodied in the analysis of these four works, the remaining six polycyclic jazz compositions offer supplementary variations on the themes presented here. Although the limited capacity of this exegesis excludes further extensive analysis, complementary scrutiny of the other jazz works will augment the existing concepts. The reader is encouraged to refer to the relevant recordings and scores with these bullet points in mind. (Note: the recordings are based on the original scores but in the process of interpretation and editing have undergone variations):

01 - PolyNation (Vol 2 p140; Red CD Track 1) •

Varied use of multiple metres over a long form with tempo and metric changes



Use of vocalizing26



Addition of congas in a separate time scheme

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Incorporation of recorded street ambiences, village children singing and synthesis

Note: An alternative version for comparison, also entitled ‘01 – PolyNation’, is on the Polycyclic World Music album (Green CD Track 1). The title reflects the cross-pollinating features of polycyclic design as one would also expect to encounter from a diverse gathering of collaborating cultures.

02 - PolyPsyclic (Vol 2 p155; Red CD Track 2) •

A song based head with lyrics adapted from a poem by W. B. Yeats



Two distinct improvisation sections of open length and form



The only piece with versions across all three albums - refer to tracks ‘03 PolyAmorous’ (chamber) and ‘06 - In my Room’ (world) for stylistic comparison

Upon reading Yeat’s Who Goes With Fergus I was particularly inspired by the words “love’s bitter mystery” and how fitting the mood was to the original title of my piece: ‘PolyAmorous’. The new title (PolyPsyclic) came as a result of re-versioning the poem as lyrics with Knudson’s vocal abilities in mind (lyrics: Vol 2 p156).

05 - PolyCentric (Vol 2 p183; Red CD Track 5) •

Using the same 5/4 drum groove and polymetric scheme as ‘PolyBrubeck’



Addition of congas and conga solo in 5/4



Use of vocalizing



Adherence to AABC form

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06 - PolyIntegrate (Vol 2 p187; Red CD Track 6) •

Use of vocal melodic narrative – during the head and improvisation choruses the vocalist embeds commentary (based on my written lyrics) on the topic of refugees, interwoven with and between instrumental phrases

08 - PolyGone (Vol 2 p211; Red CD Track 8) •

An atmospheric open form piece informed by the lyrical imagery of the vocal lines (again based on my written lyrics)

10 - The Sound of Jazz (Vol 2 p225; Red CD Track 10) •

A poetic dedication to jazz music using a 4/4-7/4 bi-metric structure based on a poem of mine. The recitation of the poem inspired a significant interpretive departure from the original score although retained the harmonic structure and some melodic elements.

The design and composition of overarching tri-metric music in a jazz setting still appears to be a new endeavor at the time of writing. The work presented in this chapter and album attempts to advance concrete possibilities for how this approach can work practically and aesthetically. The design work has also necessitated much experimentation to ensure that the pieces are not only ‘performable’, but contain identifiable and tested ingredients that promote inspired improvisation and interaction as befitting a jazz context. Viewed from a more sociological perspective, Fink posits:

…that individual will and social consensus are compatible - indeed, that the new progressive society requires the actions of imaginative, risk-taking agents, while those agents in turn rely on the approval of a supportive environment. It is largely tonality's cause-and-effect qualities that weave these potentially antagonistic forces together into a single coherent trajectory, so that we experience as virtually inevitable both the exuberance of the solos and the periodic arrivals at consensus. Even if it proves difficult (if not impossible) to implement in the real world, this is still one of our most cherished models of social interaction. (2005, p52)

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Polycycle 15: ‘Stay With Me’ (Red CD Track 11)

Introduction and aims As an addendum to this chapter ‘Stay With Me’ is included as a polycyclic song form that, while stylistically falling outside of the three genres of this project, is best placed here with its ‘Neo Soul’ leanings and improvisational dimensions. It examines the consequences when a tri-metric format is applied to a song form, and how the rhythmic and harmonic phrasing can maintain an appropriate coherence. It also proposes to investigate the potential broadening of musical scope a polycyclic approach may offer this idiom. Furthermore, by superimposing a content-related hymn (‘Abide with Me’) at three points within the structure of the song, I aspired to extra breadth of expression through hybridization.

Musical analysis

A simple tri-metric combination was determined most appropriate for this experiment:

Figure 83: Polycyclic Combination #24

5/4: vocal soloist, choir (Knudson), piano and tenor saxes (Walters); 4/4: choir (Knudson) and drums; 3/4: bass. There is no complete score available as it is not intended for public performance in this form – the timing indications reference the track ‘11 - Stay with me’.

INTRODUCTION (00:00-00:47): the song opens with a choir statement and piano accompaniment of the hymn ‘Abide with me’ in 4/4 with my adapted lyrics that represent a 147

supra-reality – “a different kind of reality than what is apparent” (Burt 1994, p7). The message of this supra-reality - “stay with me” - is a contrasting reality to the ‘lost love’ contained in the lyrical body of the song until the end where both realities find accord (see Vol. 2, p234). Similarly, this supra-reality is mirrored musically, being superimposed within the song structure as further described below. Rather than arrange the choir parts myself, Knudson was invited to spontaneously sing the harmonies, drawing upon her innate abilities from years of church choir singing. I believe this improvisational approach was more effective in supporting a supra-reality effect than that of a pre-meditated method.

CHORUS I (00:47-01:17): the first chorus of my original song with 8 bars of 5/4 (40 beats), vocal and piano only. The piano introduces the central motif for the song in A minor.

VERSE I (01:17-01:47): the first verse maintains the same 5/4 scheme with added bass in 3/4. Although the two metres sync every 5x3 or 3x5 bars, it requires 3 of these 40 beat sections for the bass to begin a section again on the same downbeat, or 3x 40 beats equals 120 beats, which is then divisible by 3. In practice, because the bass rhythm is so consistent, it acquires an internal logic within the superstructure.

BRIDGE I (01:47-02:16): the choir accompanies the bridge section in 5/4, also 40 beats long with a change in chord progression. A 10 bar 4/4 bass drum pulse (=40 beats) is introduced in preparation for the upcoming full drum kit entry.

SAX SOLO (02:16- 03:15): two verse structures underpin the sax solo. The drums now play a full groove in 4/4 with piano continuing in 5/4 and bass in 3/4. On the 5th bar of the 4/4 metre the choir superimpose another adapted verse of ‘Abide with me’ in 4/4 for the remaining 16 bars of the solo section.

CHORUS II (03:15- 03:45): the second chorus continues in the same tri-metric system.

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VERSE II (03:45- 04:14): the second verse introduces a three-part sax choir in 5/4 that, along with the choir, increases the intensity and underscores the sense of hope in the lyrics.

BRIDGE II (04:14- 04:44): the second bridge continues to build on the momentum from Verse II.

CHORUS II&III (04:44- 05:44): the last two choruses build in intensity with interspersed sax soloing and background lines, choir ‘shouts’ (“you’re here to stay”) and more animated playing. The ‘Abide with me’ choir re-enters (05:29) as an additional layer leading into the final hymn statement (05:44). At this point the sense of both lyrical messages, as with the music, is united: “stay with me” / “you’re here to stay”.

Polycycle 15: Stay With Me (Instrumental) Walters’s tenor sax improvisations amounted to a wealth of usable material beyond the available scope of ‘Stay With Me’. I was inspired to create an instrumental version of the song featuring Walters and modified toward a jazz-fusion style - refer to track ‘12 - Stay With Me (Instrumental)’. The melodic construction was composed (post improvisation composition) from fragments of Walters’ improvisation.

Conclusion

Both versions of ‘Stay With Me’ illustrate within a popular song form the potential of utilizing polycyclic structures and comprovisational practices. The inference therefore implies that use of more complex structures, such as those presented in these last two chapters, need not be restricted to the domain of so called ‘art music’ – the potentialities arguably extend beyond into other genres and styles of music not explored thus far. In this vein, the following chapter examines the implications of polycyclic design and free improvisational approaches on a very broadly defined notion of ‘World Music’.

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Chapter 5: Polycyclic World Music Analysis Spontaneity is present to the extent that someone can rise above and change the way they act in a system. Quite on their own they can leap out of a rutted path into a new, less worn one. It is a miracle. (Williams 1991, p50) ... at the moment genre is dead. It's multigenre - that's [what's] new... (Slater 2009, p54)

This chapter investigates how motivic ideas from the Polycyclic Chamber Music project undergo transformation of meaning in a stylistically new setting. Additionally, it is a study of spontaneity at the free end of the comprovisational spectrum (see chapter 2.5: ‘Jazz and the Comprovisational Spectrum’). It is a collaboration with a vocalist from eastern European folk traditions, who was invited to freely improvise over pre-existing musical material adapted from the aforementioned ‘chamber’ project. A further dimension emerges through the implementation of percussion recorded in the south of Spain. No scores were created for this project as the material was either generated through improvisation or imported from the chamber music recordings of which the resulting Polycyclic World Music album (Green CD) is the complete manifestation; i.e. live performance of the music is not intended. Composition components are evident in the form of re-versioning of the chamber music and assimilating edited elements of improvisations. In terms of adherence to style, my goal with this collaboration was to create a music that sits within the realms of contemporary folk genres (world music in the broadest sense) but on closer inspection contains a complex hybrid of influences and polycyclic elements. This project offered a suitable platform to explore how polycyclic concepts might extend beyond ‘chamber’ and ‘jazz’ modalities into a notation-less oral music tradition that would also accommodate a dimension of free improvisation.

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The process for the creation of the Polycyclic World Music album was as follows: 1. Excerpts from the ‘chamber’ recordings were adapted, augmented and re-arranged as music ‘beds’ upon which the vocalist and percussionist could improvise. 2. The performers spontaneously (without rehearsal) improvised to these tracks and all takes were recorded. 3. All the recordings were then edited (post-improvisation composition) to form the final recorded versions.

The musicians performing on the recordings are:

Beata Bocek - vocals; Nick Cornish - oboe, cor anglais, soprano and alto saxophones; Heleen Du Plessis - cello; Rafael García Fontaiña - percussion; Trevor Coleman – piano, basses, percussion, samples, programming.

Beata Bocek is a singer/instrumentalist/songwriter from the Czech Republic whose improvisational contributions are central to this project. She is an exponent of folk music from her area and draws upon her regional, national and ancestral Polish languages in her performances27. The vocal recording sessions took place over two three day periods in November 2013 and February 2014 at my studio while Bocek was touring through New Zealand. As the decision to work together was spontaneous, I assembled material from the chamber music project deemed most appropriate to this setting with little premeditation. This set the tone and course of a comprovisational approach that promoted an expeditious exchange and capture of free improvisations and editing decisions resulting in ten recorded tracks. Although not an experienced improviser, Bocek needed very little coaxing to draw upon her wealth of musical history and repertoire, and space was given for her to freely experiment over several takes of the same piece. She often incorporated ‘sounds’ from her languages, rather than actual lyrics, allowing listeners opportunity to imagine their own narrative. This approach also aligns her 151

voice more to that of an instrument. At the conclusion of each take, some feedback and suggestions were exchanged, including implementing overdubbing techniques. One aspect I identified for most pieces were certain ‘catch phrases’ that I encouraged her to repeat and harmonize (overdub), sometimes resulting in very dense textures. Whereas the polycyclic instrumental parts were often in ‘odd’ meters, Bocek, similar to Knudson in the ‘jazz’ project, naturally veered toward ideas in 4/4, or occasionally 3/4. At times, this created an additional cyclic level indicating that improvising over different cycles seemed to pose no difficulty. Rafael García Fontaiña is an acclaimed percussionist from Cádiz, Spain28. I was interested to draw upon the multiple influences present in his region - flamenco, (and its Indian roots), Latin American and North African in particular. During a five hour session at ‘La Bodega Estudio’ in Jerez, Spain, Fontaiña overdubbed a variety of percussion instruments in a collaborative exchange with myself as producer and arranger. Similar to the approach with Bocek, Fontaiña was provided with the pre-recorded tracks (now with Bocek’s vocals) upon which he should freely improvise with minimal direction. The decision as to which takes to include on the recording was left to the editing process. The following audio track analysis (refer to the ‘Green CD’) outlines how the multi-metric and stylistically diverse elements are fused to create a coherent whole. The focus in these analyses is on how free improvisation works in a polycyclic environment, and implications from this for future creative work (CD track timings in parentheses).

01 - PolyNation Originally composed for the ‘chamber’ music project entitled Triadthalon (for its athletic use of triads on the piano), it was abandoned then re-versioned as ‘PolyNation’ in a jazz context see chapter four. It is from the unrealized chamber version that the motivic material was drawn as a setting for Bocek to freely improvise an unspecified ‘language’, or vocalization, and all melodic elements in unpremeditated response to the music. Generally speaking no more than three takes of improvisation were recorded for any given track to maximize spontaneity, and, in this respect, it was not uncommon that the first take produced the most adopted material. The polycyclic aspect of ‘PolyNation’ is introduced as a 2 bar phrase in 4/4 on oboe then 152

doubled with piano triads but in a 7/4 scheme - i.e. one beat shorter than the 8 beat oboe phrase – that continue as a ‘bi-cycle’ together. A variation of the motif is then overlaid and cycled by cello (00:15) although as a 4 bar phrase in 6/4, doubled on bass from the second iteration (00:22). As frequently described in the previous two chapters, this results in constantly shifting relationships and reference points. Maracas join the 4/4 oboe metre (00:23) - a framework intuitively appropriated by Fontaiña as he gradually staggers the percussion entries. Similarly Bocek gravitates her phrases into 4/4 groupings (00:25). A primary idea (or ‘chorus’) (01:14) was identified by mutual intuitive recognition of something ‘extra-ordinary’ and harmonized and repeated to enhance its ‘hook’ stature. To avoid an overabundance of shifting motivic activity at any one point, the various cycles ‘step’ in and out, while remaining integral to their individual symmetry.

02 - Desire This piece is derived from ‘02- PolyEmbryonic’ (Polycyclic Chamber Music) and, while adopting the basic metric and motivic scheme, the comparison ends there, as it does with most of the pieces. The overlaid vocal style (again in an unspecified ‘language’), Middle Eastern, Balkan and flamenco rhythms serve to create an indefinable hybrid of influences. The opening (00:00-00:36) establishes the original metric and motivic relationships as performed on the ‘chamber’ version: piano in 7/4, cello in 3/4 and oboe in 4/4 - the latter two falling away once the vocals enter at 00:33. Here, Bocek avoids adopting any noticeable metric position while weaving phrases around the 7/4 piano pattern until 01:22, after the percussion have firmly superimposed a 4/4 pulsation. There is a return to the chamber music at 01:44 with a key shift from A minor to Bb minor after which there is a mixed build up to the first ‘chorus’ at 02:25. For the multi-layered choir effect here I encouraged Bocek to adopt the clustered harmonic style of Le Mystère des Voix Bulgares29. ‘Desire’ continues building in intensity until the end section (04:35) that tapers off with a mix of ‘chamber’ and vocal cyclic interactions.

03 - FalaZaFala The modal section of ‘PolyFugue’ was adapted as a foundation for Boceks’ wistful 153

improvised lyrics in Polish (see p200 in appendix G) and performance of ‘Fala za fala’, translated as ‘Wave by wave’. A simple 4/4 - 6/4 relationship between piano and cello underscores the vocal, again phrasing in 4/4, along with tablas and bass drum. The finger cymbals are in 3/4 while the oboe maintains a nuanced 7/4 framework. ‘Chorus’ sections were identified and harmonized at 01:29 and 02:41.

04 - One Moment ‘One Moment’ is based on an unrealized chamber composition, originally entitled ‘PolyOrbits’, reflecting a notion of rotating cycles of different dimensions. The central figure is the piano motif in 11/4, while the entries of alto flute in 5/4 and pizzicato cello in 7/4 only occasionally come into auditory ‘view’. Bocek was given lyrics of mine depicting a series of significant moments through nature imagery (refer to p201 in appendix G) and invited to improvise the narrative over the ever evolving form. The result became a song form superimposed over a structure of independent trajectory emphasizing an apparent coincidence of synchronous events.

05 - PolyAnatolia The foundational polycyclic elements were imported from the chamber music version and became transformed into an epic Levantine themed meditation. With the addition of geographically indicative vocals and percussion ‘PolyAnatolia’ is more ambitious in its postimprovisation construction and dimensions. Bocek intuitively adopted the existing B phrygian dominant modality inspiring a timeless expansiveness with her long phrases and repeated harmonized mantra-like motifs.

06 - In My Room This is the only composition represented across all three albums. It retains similarity of construction but undergoes transformation of meaning in the varying contexts. From the instrumental chamber music (‘PolyAmorous’) to the T. S. Eliot-based jazz iteration 154

(‘PolyPsyclic’), ‘In My Room’ is a very intimate portrayal of tentative human connection. By performing only one improvised take, Bocek created for herself an appropriate tentativeness, needing to navigate very carefully the challenging and unrehearsed harmonic changes, simultaneously unfolding the meaning of my lyrics (refer to p202 in appendix G) in response to musical stimuli. This piece is an exception in that the adopted musical structure has remained relatively intact. Furthermore, rather than importing the material from the ‘chamber’ recordings (‘PolyAmorous’), the music derived from the ‘jazz’ version (‘PolyPsyclic’) (refer to the relevant scores and recordings). For ‘In My Room’, the tenor sax melody and improvisation was removed to create more space for Bocek’s slowly unfolding performance of the lyrical narrative over the entire piece.

07 - Untouchable This piece is derived from a reduced and simplified excerpt from ‘PolyGenesis’ to produce a subtle cyclic ‘bed’ upon which three independently improvised vocal takes are retained and interwoven in a simultaneous dialogue. Although this was not intended at the outset, the three parallel lines of vocalization, partly due to the harmonic stability, coincidentally manifested in an unforeseen counterpoint necessitating minimal editing.

08 - Czekam (Waiting) The suspended augmented fourth harmony of the omnipresent triplet piano motif reflects the sense of waiting portrayed in Boceks spontaneously created lyrics in Polish (refer to p204 in appendix G). The music ideas come from ‘PolyJuggler’ and retain the A-B-A form, or the imagery of waiting-animation-waiting as suggested by the lyrics. The animated middle section (02:31-04:26) is established by percussion, bass then alto sax in 4/4. The bass switches to 7/4 at 03:01 and, together with the piano, play 4 bar modulating cycles in 5ths, each cycle starting a 4th lower. The sax simultaneously continues his 4 bar phrase in 4/4 constantly modifying the tonality to fit that of the piano. Concurrently Bocek synchronizes a repeating phrase with the percussion in 4/4 culminating in a relentlessly complex rhythmic and harmonic montage. After a brief pause at 03:38 the scheme continues for a piano solo, 155

building in intensity again until 04:26 where a return to the ‘waiting’ section is signaled by the original piano motif.

09 - Father's Home This composition follows an A-B-A format, or more descriptively put, permanence/home – impermanence/exploration – return to home. The opening music is adapted from the piano improvisation in ‘PolyFolkBaroque’ while Bocek sings the Polish folk song ‘Ojcowski Dom’, or Father’s Home, by Jan Kubisz (refer to p205 in appendix G), describing a place of belonging. The hybridized result serves as an introductory platform from which the middle section (01:08-04:05) can depart and explore less familiar territory, both musically and symbolically. Polycycling, multi-metred percussion patterns underpin the oud motif in 11/4 (01:15) that is joined by a pizzicato cello counter-line in 5/2. Various configurations of this scheme (also from ‘PolyFolkBaroque’) continue as Bocek recites a poem of mine about interconnectivity and fragility in free form, providing commentary and alternative perspective to the complex metric relations. (04:05) heralds a return to the contrasting notion of permanency in ‘Father’s Home’ as Bocek completes ‘Ojcowski dom’.

10 - Touch ‘PolyKarma’, also the final track on the ‘Polycyclcic Chamber Music’ album, provides a bimetric musical habitat for another of Bocek’s improvisations in an ‘unspecified language’. Here, the chamber music structure has been left intact but excludes the coda section and cor anglais part. Bocek’s improvised vocal performances embraced multiple yet unspecific styles from which three takes were edited into one coherent melodic development. The clustered vocal layers beginning at 03:18 are once again reminiscent of the Le Mystère des Voix Bulgares choral style as the chamber and folk elements traverse various combinations of coalescence resulting in an indefinable hybrid.

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Perhaps more than any other form of cultural production, improvisation requires personal risk in often unpredictable circumstances.

(Stapleton 2013, p9)

If we speak and try to give an account from this place, we will not be irresponsible, or, if we are, we will surely be forgiven.

(Butler 2005, p136)

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Chapter 6: Conclusion

Optimization – finding the most efficient model in complex systems (Anthony 2016)

This final chapter will review the aims, and outcomes, of the work presented in this exegesis, accompanying portfolio and recordings. The purpose of the study was to investigate issues concerning the design of three-part polymetre within a composition. This included overcoming challenges presented in rhythmic and harmonic displacement of recurring motivic cycles of differing lengths. It also focused on how musicians cope with unfamiliar realignment of reference points. In addition to navigating polycyclic compositions, the research also examined the integration of improvisation upon these structures thereby endorsing the term ‘comprovisation’. This integration of polycyclic design and improvisation has been expressed and demonstrated across three broadly defined genres, and advocates well-constructed form as a prerequisite for successful navigation of complex structures. The term ‘optimization’ best describes the core aim, and conclusion, for the compositional design aspect of this research. Designing the most efficient models of polycyclic structure lies at the foundation of this project, upon which successful compositional and improvisational (comprovisational) pursuits may be realized. The notion of optimal balance can be applied as an overriding principal for many of the composition and performance issues presented here. For example: familiarity and unfamiliarity, natural playing idioms and dislocation; between personal and group identity; place-holding and risk-taking; convention and breaking the rules; and simplicity and complexity. This principal of balance underscores the concluding points for this chapter, presented under five headings: 1. Comprovisation: balance between composition and improvisation. 2. Polymetre versus mono-metre and the implication for notation. 3. Improvisation versus post-improvisation studio manipulations. 4. Balance between process and intuition. 158

5. Complexity versus simplicity. These five topics will be followed by my final concluding thoughts.

1. Comprovisation: balance between composition and improvisation An important consideration in creating a balance between composition and improvisation was this: that the degree of complexity in the structure does not interfere with improvisation being a natural function of a performing musician. Based on this understanding, particular care was required to achieve this optimal balance within the increased complexity of polycyclic design. However, when sufficient attention was paid to the integrity of individual cyclic components and their ability to meaningfully interlock at any given point, the potential for an increased range of inter-relational interactivity became evident in polycyclic structures. I would argue that, by definition, these potentialities lie beyond that which mono-metric systems normally provide, particularly once improvisation was involved. I have endeavored to create such systems that maximize performer agency - the requisite freedom to spontaneously interact with the various levels of polymetric composition, and with other musicians. Balance has also been a factor in the process of music creation, between adherence to a premeditated structure and a willingness to challenge those structural boundaries. In order to stimulate musical material outside the realms of existing memorized repertoire, whether in my own compositional process, improvised performance or that of others, I have encouraged the more unpredictable contingencies of music making: accepting elements of risk-taking, randomness, variability, negotiating the unknown and confronting the potential of chaos. Whereas in the ‘chamber’ project the focus was more on compositional design, the ‘jazz’ and ‘world’ projects have promoted fluidity of relationship between composition and improvisation. Regardless of which locus on the ‘comprovisational spectrum’ was involved, the flow of reciprocity and correlation between structure and spontaneity has proven a vital component. Further research and experimentation is required in order to extensively test these concepts in live, group performance settings.

2. Polymetre versus mono-metre and the implication on notation Considerable attention was placed on the appropriateness, and justification, of polymetricism 159

over mono-metricism in the theoretical and analysis chapters, and now correspondingly in the conclusion. From a perceptional perspective, it became evident that inconsistencies surrounding the determination of a metric unit are compounded with polymetric constructs. An additional layer of complexity arose with the duality of cognitive versus intuitive comprehension of these structures. Two questions arose: 1/ what degree of importance should be placed on each of these two positions, or the balance between them, and 2/ whether this would impact on the practical relevancy of polymetricism versus mono-metricism. Regarding polymetrical perception, three possibilities have been established: an integrated system in which a single metrical assumption is derived from competing pulse streams (monometricism); a polarized relationship between a dominant pulse stream and one that provides cross-accentuation (also perceived mono-metrically); and, a balanced position in which each pulse stream achieves an individual metrical identity (polymetricism). It is the latter, and the aspect of balance between metric identities that has been crucial to successful polycyclic design – the possibility of consciously identifying each of the three metres as three equal entities, equally robust in their identity and role within the system. In my view, based on experiential observation, this fundamental balance transcends any distinction between cognitive or intuitive comprehension. The ability to consciously follow competing metrical frameworks is dependent on various factors such as the participants’ level of musical training and experience. However, the level of cognizance does not impact on the validity and proficiency of the structure itself. It is arguably more astute to consider this cognitive/intuitive duality, and polymetricism itself, in terms of appropriateness and applicability. For example, in African music (refer to chapter 2.3), the rhythmic organization is often most adequately encapsulated with the term ‘non-metre’. Correspondingly, although my compositions here may be perceived non-metrically, there are cases for the appropriateness of polymetric representation. In ‘PolyPhasic’, as one example (refer to chapter 4), there was the intention that the tenor saxophone and bass should consciously articulate the ‘head’ section in 5/4 and continue using the framework for improvisations. Likewise, the piano should consistently maintain the motion of 3/4 while the drums pulsate in 7/4. Performance experience bore out the validity of the intention. As a result, there is the clearly perceptual possibility, with sufficient training, to audibly follow each individual metre via its instrumental representation and expression, because of the strength and clarity of its individual expression. Further, with increased concentration and experience, the potential to track two of these individual metres

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simultaneously is within the realm of cognizant possibility. Comprehending the conscious amalgamation of all three metres, in my experience, requires rapid and constant leaps of attention between all participating parts. Although this does not constitute simultaneous absorption, it does allow the possibility to catch glimpses of the composite sonic picture. Alternatively, an intuitive, non-metric perception of the synergetic whole provides a bountiful and diverse musical experience greater than the sum of its polycyclic parts without metrical cognizance as was experienced in the ‘world music’ project. It was this synergetic whole that motivated the vocalist to experiment outside the norms of her existing repertoire. Her responses were founded on intuition, having purposely not been given sufficient time to develop a cognitive understanding of the metrical components. Therefore, over the course of the research, I observed that openness to the appropriate application of cognizance, intuition, or combination thereof, was an effectual constituent for the perception, navigation, performance and improvisation upon complex polymetric structures. Based on my empirical experience, appropriateness of polymetric representation also applies to the notation thereof. I have argued that in the notation of pulsed polymetric music, at least in my compositional approach, the accentual structure takes precedence over other notational considerations and therefore needs to be notated accordingly. The argument for notating polymetric music in the same metre for all players revolves around the facilitation of synchronization in performance. Conversely, the case for notating in separate metres better supports the intended phrasing of rhythmic and melodic motifs. Here, again, empirical experience demonstrated that musicians’ initial comprehension of how the individual parts integrated proved more difficult due to the lack of a common regular ‘down-beat’. However, this was overcome in the same way any new music is sublimated: the familiarity of the relationship of pivotal reference points between the parts gradually increased over time. Proponents of mono-metric notation of polymetre maintain there is no detectable difference in the outcome. In my experience, the performer phrases differently according to placement of bar-line, after which, on some level the musician will place emphasis. Additionally, reading the phrasing within context of its intended metre, reinforces the integrity of that individual part, which, combined with the other parts similarly invested, increases the effectiveness of the whole. There are exceptions to the appropriateness of polymetric notation as was evident

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in the case of ‘PolyAnatolia’ (refer to chapter 3), in which the pragmatism of a simpler notational method outweighed the overly difficult synchronization issues in reading individual metres. As a general rule however, tightly woven phrase/metre relationships as can be found throughout ‘PolySpirals’ (chapter3) for example, benefit from the pendulum like momentum that appropriate metre allocation provides. When combined, these ‘pendulums’ create perpetually deflecting orientations which, to once again appropriate an old adage, result in a complex whole strengthened by the sum of its parts.

3. Improvisation versus post-improvisation studio manipulations Finding a balance between two aesthetics - that of imperfection and perfection - has been an important goal of this research and mirrors the intermediary aspirations of other dualities presented here. This study has examined issues surrounding the manipulation of recorded improvisations utilizing compositional techniques. Whereas improvisation celebrates spontaneity complete with its accompanying ‘imperfections’, post-improvisation composition re-arranges and manipulates the improvisation toward a more ‘perfect’ result. My approach has avoided any dogma connected to these different approaches, rather adopting a middle path. Decision-making has been based on the questions: How is the music best served? What do I want the listener to hear? For example, all three freely improvised vocal takes on ‘Touch’ (track 10 on the Polycyclic World Music (‘Green’) album and chapter 5) each contained powerful performances but it was determined, through editing, that a fourth version utilizing post-improvisation composition constituted a definitive expression, superior to any one single take. In this instance, the editing decisions were mutually agreed upon between Bocek (the vocalist) and myself, undertaken immediately after the vocal performances. The intention of the improvised performances within that time frame was expeditiously extended into the editing process thereby retaining the residual atmosphere. Similarly, the harmonization via overdubbing was performed without hesitation. Applying the reflective judgment of the composer to the immediate expression of the improviser ideally results in the best of both worlds, and a compelling crossover between them.

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4. Balance between process and intuition All of my compositions represented here are based on varying degrees of premeditated process. The process has taken the form of strict adherence to set polymetric, and often harmonic, structures. Within these parameters I have taken an intuitive, improvisational approach to music creation, aiming for an aesthetic balance between process and intuition. In contrast to the more perceptible processes of minimalism (for example), my polycyclic structures are less detectable - the melodic elements are developed using traditional compositional techniques of variation, in effect distracting from the underlying processes. The process component functions more subliminally. The overarching purpose of the music is not to showcase polycyclic design - although this aspect is available on closer inspection - but rather to achieve a perception, or illusion, of relative simplicity over a complex system. For example ‘PolySpirals’ is the most ‘cyclic’ sounding of all the ‘chamber’ pieces (refer to chapter 3), and adheres strictly to a polymetric and harmonic process yet simultaneously disguises the fact. In this piece, through motivic invention, metric orientation on a composite level is diffused, offering broader alternatives in perceptual location.

5. Complexity versus simplicity My intention with all three of the albums was to create the perception of simplicity out of an underlying complexity through combining creative instinct with compositional skill. Given the polycyclic design of the compositions and their inherent complexities I have often found it prudent to include idiomatic familiarity as an anchor to a potentially very unfamiliar format - idiomatic familiarity in the form of paradigmatic motifs and instinctual frameworks based on conventions and merged with the unfamiliarity of polycyclic structures. Examples of paradigmatic motifs encased in polycyclic environments are: the blues-like bass drone and typical piano funk chords in ‘Addiction To Life’; the ‘Take 5’ drum beat and I-VI-II-V chord progression in ‘PolyBrubeck’; the use of folk song in ‘Father's Home’; the Phrygian dominant mode of ‘PolyAnatolia’; the fugue style of ‘PolyFugue’; the ubiquitous chord progression of ‘PolyKarma’. Instinctual frameworks include: the blues forms of ‘PolyPhasic’ and ‘PolyMorphism’; the open form single chord approach of Miles Davis’s ‘In A Silent Way’ as imported into ‘Addiction To Life’; the Balkan dance rhythms in ‘PolyFolkBaroque’ and ‘Father's Home’. 163

The merit of this simplicity/complexity and familiar/unfamiliar duality and fusion becomes apparent once all the parts are put together: the simplicity of the individual phrases is offset by the complexity of the amalgamation creating an intelligible yet expanded dimension of potentiality. By examining and expanding upon polycyclic practices as found in centuries-old sophisticated musical practices that validate time-tested relevance and universality, within and outside of my own cultural inheritance, there is an added weight of relevancy to the music presented in this body of work.

During the course of this research the challenges and performance implications surrounding polycyclic comprovisation have been scrutinized, not only in practical terms, but also in the realm of aesthetic value. Far from being a purely intellectual exercise, the aim has been to create an ‘accessible’ music, conceptually complex, but manifested in relative simplicity. Reactions and feedback from listeners from a variety of backgrounds have often expressed surprise at the musicality of the result in comparison to the perceived over-intellectualization of the theoretical description. Although this response applied to all three principal genres encountered here, the ‘chamber’ and ‘world’ music albums were generally regarded as easier to digest than the ‘jazz’ project. There is an inherent danger of information overload with music of this nature, and although every care was taken to keep the competing musical elements as transparent as possible, the results - the ‘jazz’ examples in particular - will always demand a enhanced investment of attention. Musicians undertaking performance of this music also require an enhanced adherence to both the integrity of individual phrasing and the composite sonic picture. A delicate balance is therefore constantly negotiated between individual and group; a circumstance that promotes a sharpened interpersonal awareness, magnified in a polycyclic environment. The potentialities of the concepts presented here not only extend into genres and styles of music not explored thus far, but into wider reaching societal implications (refer to appendix D).

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At the outset of this project (year 2013), to the best of my knowledge, there appeared to be no evidence of composition employing three simultaneous metres from beginning to end. At the conclusion of this study year (2016), my intervening body of work seems to account for the first endeavor of this practice. Identifying all possible polycyclic combinations (see appendix H) was the foundational undertaking of this project. Of the 269 listed tri-metric combinations, only eleven have been utilized (some more than once) for the thirty-four included compositions suggesting plentiful scope for further, and more complex, polymetric exploration.

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Appendix A Polycycles and Fugues As an addendum to the topic of polycyclic concepts in relation to Western art music in chapter two (2.4), the following segment offers an interpretive supposition. In terms of creating a multi-levelled but ordered complexity with polycycles, a parallel can be drawn to Bach’s fugal compositions. John Drummond (2011) suggests that “the ordered complexity of the universe can be accurately reflected, and thereby explained and understood, in the form of fugal compositions” (p30). Drummond’s description of the fugal process and its reflection of universal order could as readily apply to the composition of and improvisation upon polycycles (also considering Bach’s considerable improvisational skills) as outlined in the methodology chapter. Parallel possibilities are presented here alongside Drummond’s description (my additions concerning polycycles are in italics): … to reflect order, there must be one single theme (statement of polycycle #1) underpinning all the fugues; to reflect complexity, the fugues must utilise all the possible formats and dimensions possible with that theme…presenting this theme in several independent lines of music, at different pitches. (improvisation upon polycycle #1) The order in which the theme appears in successive voices is a variable factor. (improvisation upon polycycle #1) This provides a multilevelled complexity. Secondary material will need to be developed to go with these multi-level statements of the theme. (statement of and improvisation upon polycycle #2) Additional themes can be introduced. (statement of and improvisation upon polycycle #3 etc) These elements will give Bach two primary dimensions of complexity: the dimension of time, as the theme and its companions are developed over time, and the dimension of simultaneity, that is, the textural relationship between the constituent lines of music. (the synchronicity and counterpoint between various statements of and improvisation upon polycyclic motifs) Further, fugue may shift from one key to another, as if passing into a parallel dimension (refer to the shifting key areas in my composition ‘PolyFugue’ in Vol 2 and “Polycyclic Chamber Music” CD). Bach will be exploring what today’s science describes as the ‘multiverse’ (p31).

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In the music analysis chapters of this exegesis, I illustrate how a contrapuntal comprovisational approach reflects the preceding description, utilizing improvised motivic development within a polycyclic form, achieving a complex yet coherent multi-leveled music. Complex systems must strike an uneasy and ever-changing balance between the exploration of new ideas or territories and the exploitation of strategies, devices, and practices that have already been integrated into the system (17).

Through the investigation of new fields and forms of artistic expression that are based upon a “bedrock of existing knowledge” (Downes 2011, p43), new processes can be developed culminating in new discoveries. My polycyclic comprovisation model of new music creation, in combination with other comprovisational methods and sound artistic practices, endeavours to establish a new methodology.

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Appendix B Repeating ourselves As an addendum to the sub-chapter on Minimalism in chapter two (2.4.1), the following segment widens the discussion conceptually and positions its relevance to my polycyclic work. In Robert Fink’s expansive work, Repeating Ourselves: American Minimal Music as Cultural Practice (2005) he states that “minimalist art and music have usually been considered part of that… countercultural critique of consumption as meaningless repetition” (pX). Fink draws multi-faceted meanings about repetition in culture by presupposing there is not only “one innate subjective drive to repeat always, everywhere, … [but] many different ways that our repetitive subjectivity is constituted, over and over, within the multiple, complex webs of material culture we weave” (p6). Further, we should contemplate “how complex and multivariate our experience of that repetition might be” (p8). Although some accounts of minimalist practice are “suffused with a gentle Orientalist longing, [because] Eastern culture quiets the vain striving of the modern Western compositional soul through its repetitiondrenched otherness” (pp13-14), Fink maintains that “in Western musical culture repetitive practice is indeed an industrial concept” (p15). He also contends that it is “a legacy of the nineteenth-century need to rationalize and systematize the mass production of musicality” (p15). Fink’s quest is this: “We repeated ourselves into this culture. We may be able to repeat ourselves out” (p22). It could be argued that twenty-first century music and indeed society in general is already well on this path through increasing cyclic diversity and parallels of complex interactivity. Fink states that minimalists “use the simplest of musical materials, combined and recombined in intricate ways” (p27) and, by definition, this is “linked to an uniquely female sexuality, and thus to patterns more diffuse, fluid, cyclic, and holistic than the straight-line teleology of the phallus” (p37). Nevertheless, minimalist structures could be criticized as a collection of 'lego' building blocks, all easily definable and categorized; where do you find levels of the nonmathematical quarter, eighth, sixteenth and triplet neat little pockets of construction? It would seem that a more representative sonic picture of ‘holistic’ life would need to include the non176

measurable and non-definable. Furthermore, discussions on countercultural critique often seem trapped in a binary value belief system: good = subversion to the status quo: bad = the status quo. Is it essential to place music in a sociological framework? Can it exist outside such a framework? What is the alternative; reflection of some innate nature that transcends sociological context? It may suffice to regard minimalist structural practices as representing “the power to impose discursive coherence and structure on needs that would otherwise remain disorganized and inchoate” (Fink 2005, p96). The aspiration of my polycyclic comprovisational practice expands upon Fink’s assertion that “no genre of art music is more concerned with interpenetrated extremes of temporality than pulse-pattern minimalism” (p104). In response to Fink’s claim that "minimalism today represents a critical reaction to the condition of humanity in a complex and uncontrolled society” (p158), I would suggest that, more accurately, it represents a reflection of the condition of humanity in a complex and controlled society.

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Appendix C Intuition, Perception and Performance Eventually, the conscious mind gives up noting the process and merges with the experience. The body vibrates with the beat and the mind gives itself over, opening up to whatever imagery is offered. -Robert Fink (2005, p133)

This segment is an additional subject for the literature review chapter (two) discussing the role of intuition in relation to perception and musical performance. Béla Bartók appeared to possess faith, if not in the perception of the listener, at least in the existence of such perception when expressing his desire to “let my music speak for itself”30 (cited in Lendvai 1991, p96). In comparison, Liszt was more cautious - appealing to those "with ears to hear" the symbolic elements in his Hungarian Rhapsodies (1885) while conversely “Varèse placed no trust whatsoever in the ear of the audience, having concluded that people are only capable of listening with their memory” (Ouellette 1966, p67). Furthermore, Bartók's aesthetic approach seems to embrace the idea of ‘organic’ and intuition in the unfolding of form. Bratuz (2013, p1) states that artists such as “Brancusi, Klee, and Moore…considered [Bartók's] ‘miniature masterpieces’ of nature to be not only sources of inspiration, but veritable models of construction”. Greenwood adds that: . . .with a profound insight into the fundamental principles of growth and form . . . And behind this conscious disciplined experience lie the fructifying powers of intuition and emotion, the product also of complex natural forces, which enter into and unite with the former to produce the miracle of personal expression in art (1974, p9).

Intuitive powers are an essential asset for musicians who are, according to Eve Poudrier, (2008) “especially skilled at using various forms of selective attention, for example, tracking changes in an ensemble while performing their own part” (p216). Polycyclic music performance, particularly when incorporating improvisation, could

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conceivably draw parallels to Immanuel Kant’s three “maxims of common human understanding”: 1. To think for oneself 2. To think from the standpoint of everyone else 3. Always to think consistently (Kant 1952, p102)

By correlating these maxims to my ‘performing polycycles’ levels as illustrated in my methodology section in chapter one, the relationship becomes more explicit. Thinking for oneself is critical in sustaining the requirement of the first two levels where the performer learns and begins improvising his ‘identifying signature’. As the practitioner progresses through levels III to VII and absorbs the other identifying signatures, the ability to think from the standpoint of everyone else (‘while simultaneously playing/improvising on your own cycle’) becomes increasingly crucial. By level VII (‘full polycyclic improvisation’) the polycyclic performer/improviser has learnt to think consistently, achieving an ‘optimal balance between maintaining the integrity (strength) of one’s individual identifying signature and receptivity and utilization of others identifying signatures. With regard to ‘letting go of intentions’, or achieving a ‘state of flow’, it would appear paradoxical that ‘thinking consistently’ and entering a state of non-thinking, as considered ideal for improvisation, can co-exist. Fink (2005) tackles this apparent contradiction with the advice: “We must make some effort, but we must forget ourselves in the effort we make" (p43). The particulars that initially occupy the conscious mind - mastery of one’s instrument and familiarity with the musical material – need to be transcended, or embedded in cellular memory31, to allow the requisite ‘headroom’ its spontaneous expressive latitude. As Gary Peters (2012) states, improvisation is “characterized by disengagement rather than the engagement (political, ethical, spiritual) one normally associates with this world” (p5). The word ‘tensionless’, according to Steve Savage, (2006) is befitting when describing the ideal “unintentional musical performance” (p2). The question becomes: “So how do those of us who are involved in the translation from performances into recordings assist in uncovering the musical ‘language of truth’?”32 (Ibid.). Savage considers that “a lack of self-consciousness goes a long way toward an outstanding musical performance” (p3). For example, when a 179

musician first sets up to perform in my own studio, I will customarily ask them to play to the track while I ‘get a level’ - the musician is unaware that I am recording their warm-up. This ‘trick’ very often produces the most flowing and uncritical performances of the entire session – any sense of pressure is removed. Without exception, participants have responded positively to the experiment upon hearing the result. Negus and Pickering (2002) seem to corroborate this finding, stating: “musicians are often surprised at what they create and often only retrospectively comprehend what they were attempting to articulate” (p184), while Savage (2006) contends that both the terms ‘unconscious’ and ‘intuitive’ “may be considered close relatives to the idea of the unintentional performance” (p8). As testament to its creative potency, Peters (2012) places improvisation “at the heart of the work's unfolding [and] as the most intense demonstration of human resolve in the face, not of adversity, but contingency” (p6). The act of spontaneously interacting with the contingencies of comprovised music, compounded by a complex, cyclic and ever-changing environment, could be viewed as representative of navigating contemporary society in general. The wider resonance of polycyclic comprovisational practices is discussed in appendix D.

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Appendix D Wider Resonance We’re always looking at the many layers, not just for defining things, but for the truth of things. It’s been our mandate to complicate things, and we like that. We feel that life is a very nuanced, complex experience… Everything is in motion and people’s decision making is shifting with the stakes. Simon Barry (2013)

On a broader scale, considering “sound structure as social structure” (Feld 1984, p383) or “music as metaphor for social processes” (Monson 1999, p32), “layered musical processes” can be “conceived as analogous for overlapping social and cultural processes” (p46). I therefore argue that these fluid and overlapping cycles, and their composite synchronicity, mirror an ever-increasingly complex social, ethnic and political landscape of modern global society when expanded in a polycyclic context. Although difficult to quantify, and outside the scope of this research, the wider resonance (i.e. beyond purely musical considerations) of the socio-dynamic attributes that polycyclic comprovisational practices imply are nevertheless important to acknowledge. An awareness of the potential for the translation of comprovisational/improvisational concepts to other interpersonal relationships will, in turn, assist in informing the music on a philosophical level, and, in all probability, enhance the purpose of the undertaking. According to David Such and Nazir Ali Jairazbhoy “music is symbolic and reflects the conceptual structures and organization of a community” (1982). Simon Frith further argues that music is in a singular position, as an experimental, aesthetic and social process, to articulate “in itself an understanding of both group relations and individuality, on the basis of which ethical codes and social ideologies are understood” (1996a). Christopher Small states that “the sound relations of a musical performance stand in metaphorical form for ideal human relationships as imagined by the participants” (1997, p129). Here, he moves the comparison beyond the symbolic toward a potentially more utopian dimension. Music is, for Small,

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…not only a metaphor, but also a way of transcending [society's] otherwise unspoken and unexamined assumptions. Art can reveal to us new modes of perception and feeling which jolt us out of our habitual ways; it can make us aware of possibilities of alternative societies whose existence is not yet (1977, p2).

Succinctly put, music has the “ability to escape the bounds of simply reflecting what is, and point towards what might be” (Peters 2012, p12). David Borgo (2005) augments this discourse examining complex group dynamics of creativity in relation to musical improvisation. He argues that “an extreme reliance on centralized organization and centralized metaphors in the past has led to a situation in which many people are unwilling or unable to imagine systems organizing in a decentralized fashion” (p25). What has become apparent in much of contemporary music is that it is not always easy or possible to determine to what extent a particular piece of music is derived from a pre-conceived (i.e. centralized) system and how much is manifested in the ‘making’ (decentralized). Borge finds it particularly encouraging that “creativity is increasingly being viewed as a web of network interactions operating on all scales, reflecting individual, social, cultural, and historical dimensions” (p20). He also proposes that “there are many compelling reasons to view artistic behavior not as some special kind of activity cut off from the rest of human behavior but rather as much an adaptation to the environment as any other human activity.” Indeed, music may “serve the function of breaking up entrenched orientations, weakening and frustrating our ‘tyrannous drive to order,’ so that humans are better able to deal with change, complexity, and chaos” (p27). Improvising musicians willingly “engage the unforeseen” and “offer the experience of disorientation” (p28). The very abstract nature of music removes any direct biological concern for survival, which makes it “especially well suited to testing out aspects of social interaction” (p21). The tendency of music to produce multiple meanings “endows us with the multipurpose and adaptive cognitive capacities that make us human” (p30). Music has the ability to explore social interaction, and rehearse processes that can assist in achieving cognitive flexibility. Borge suggests that:

Two of the hottest current topics for organizational design are the sciences of complexity

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and jazz music. Both domains emphasize adaptation, perpetual novelty, the value of variety and experimentation, and the potential of decentralized and overlapping authority in ways that are increasingly being viewed as beneficial for economic and political discourse (p21).

In recent times there is a shift away from “emphasizing discipline in organizations to emphasizing their flexible, adaptive, and dispersed nature” (p21). Karl Weick posits in ‘Organization Science’ that jazz music’s “emphasis on pitting acquired skills and precomposed materials against unanticipated ideas or unprogrammed opportunities, options, or hazards can offset conventional organizational tendencies towards control, formalization, and routine” (1998). Jazz and classical musician Dominic Alldis has recognized that “business organizations worldwide are facing the same dilemma: how to balance the need for strategic alignment and a corporate hierarchy with the desire to foster autonomy, creativity and individual responsibility” (2016). He offers high profile “leadership development, creativity and teambuilding events…using the metaphor of music” (Ibid.) for corporate entities that are “embracing the need for innovation, flexibility and adaptability within a fast-moving global economy” (Ibid.). Alldis advocates the “dynamic musical world of jazz” as a medium and “excellent illustration of this new corporate environment” (Ibid.). In his presentations participants “listen and observe how jazz musicians improvise and innovate within clearly defined structures, take risks, embrace change, value diversity, rotate leadership and build on each other’s ideas in performance” (Ibid.). This is followed up with “an interactive discussion about how the creative flexibility of jazz musicians provides an excellent model for today's business leaders” (Ibid.). One branch of Alldis’s courses in particular focuses on the comprovisational aspect, i.e. structure versus improvisation, by counterpoising the two contrasting worlds of classical music and jazz.

The classical environment is represented by a string quartet: a formalised musical group striving for technical precision, emotional intensity and excellence in performance. The jazz environment is represented by a jazz quartet: four musicians engaged in a process of experimentation and risk-taking, enjoying a spontaneous musical dialogue that engenders a rich flow of creative ideas (Ibid.).

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Alldis questions and explores themes through carefully crafted and facilitated exercises for both quartets, individually and together. He asks:

• How are these two musical worlds similar and how are they different? • How can they co-exist, collaborate and learn from each other? • How can business organizations embrace the best of both cultures? (Ibid.).

Testimonials underscore the effectiveness of these seminars, from modern IT companies such as ‘ebay’ and ‘google’ through to traditional banks 33: “our managers began to shift their mindset, seeing leadership through a jazz lens, as improvisation, collaboration and flexibility, not just through a traditional orchestral lens, as "conducting" a team...” 34 Danish jazz pianist and composer Niels Lan Doky similarly advocates the value of improvisation beyond the world of music in his (unpublished) book and lectures entitled: “IMPROVISATION – in music, at work and in life”35. In the future, according to management consultant Drew Hansen, “unless it changes, capitalism will starve humanity by 2050” (Hansen 2016). In another testimony to the importance of the wider lessons to be garnered from improvisation upon complex musical structures, Hanson predicts “the hierarchical organization of modern corporations will give way to networks or communities that make collaboration paramount. Many options for more fluid, agile management structures could take hold” (Ibid.). In my own work, it is the aspect of dialogue between the composer, or the pre-given material, and the co-composer/improviser, and their spontaneous creations in response to the structure, that contributes a vital ingredient to my music. It arguably also represents a reflection of a vibrant co-dependent social system.

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Appendix E

Subject2change: sustaining fluidity in studio manipulations of a polymetric jazz fusion comprovisation Journal article published in “Into The Mix, People, Places, Processes”: International Association for the Study of Popular Music (Australia/New Zealand Branch) no. 2015

I Introduction

In December 2013, the Dunedin jazz fusion ensemble, ‘Subject2change’ - in which I am a performing member - convened for a five hour recording session of improvised performance. We introduced minimal musical sketches as platforms for exploration by the band’s musicians, all of who have varying musical backgrounds. The following weeks were devoted to post-production that included the selection and editing of recordings, additional overdubs and manipulation of sound and mixing. Feedback from group members was invited for the preliminary mixes, and absorbed to varying degrees by the producer (myself) into the final mix. Questions, challenges and contradictions arose during the process, such as how to arrange the participants in the recording space to maximize a ‘live’ performing environment versus minimizing sound ‘leakage’ between instruments. Equally, the question arose concerning how to strike a creative balance between any pre-designed musical material that can be adequately rehearsed in minutes, and yet be stimulating enough to inspire further exploration without potential hindrance to ‘musical flow’ caused by excessive complexity or pre-meditation. A further issue that became apparent was the frequent adjournment to the control room for listening to playbacks. Would this pause in performance be disruptive to the dynamic concentration of energy? This paper addresses issues such as how and when to identify an emerging pattern of style that will inform subsequent decision-making toward producing a concept album, how to

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identify ‘usable’ sections of improvisations (at post-production stage), and how to seamlessly edit chronologically disparate excerpts into a compositionally convincing arc. Thus, this paper investigates the challenge for the producer to sustain a sense of fluidity of process, and outcome, using the example of the evolution of one track – ‘subject2change#21’ – from the aforementioned sessions. The polymetric basis for this piece furthermore places this multilayered approach to music production in relatively under explored territory within popular music categories. An audio recording of ‘subject2change#21’ is available for listening/download at: https://soundcloud.com/colemanta/subject2change21.

When creating and performing music I am acutely aware of the complexities, infinite possibilities and combinations that are continually subject to change. I am simultaneously aware that there is a certain order to all things, including even chaos. I endeavor therefore to integrate that sense of order, and natural flow, into my compositional design, and reflect an ever-present complexity. Polycyclic designed music provides a platform that, for me, more adequately creates a space for complex expression than does monocyclic, or mono-metric based music. I employ the term ‘polycyclic comprovisation’ as it most succinctly describes my approach to music creation. Comprovisation is an elision of composition and improvisation - a relatively new term to characterize the interrelationships between premeditated material and real-time spontaneity in a music context. So polycyclic comprovisation involves improvisation upon composed cyclic motifs of varying lengths that occur and interact simultaneously. Comprovisation also applies to the post-production of recorded improvisations that exercise compositional methods to integrate diverse material. This paper explores challenges and successes as it charts the evolution of a polymetric jazz fusion comprovisation, the subsequent studio manipulations, as well as consequences on an interpersonal level. Polymetre: Firstly, one needs to consider additional terminologies. Eve Poudrier defines metre “most generally as the organizational patterns of time for musical events to which the 186

composers/performers/listeners attune, either individually or collectively.” (2008: 59). She goes on to suggest that “polymetric structure can be loosely defined as a musical texture in which rhythmic components can be traced back to at least two simultaneous meters” (27) Why do I prefer the term polycyclic over polymetric? Whereas polymetre refers only to bars and beats, polycyclism is a more open term that may include various subdivisions of form and is not necessarily defined by metre. Brian Robison “proposes the concept of ‘polycycle’ to refer to concurrent cycles of similar or contrasting musical elements” (1999: 47). For this discussion, however, the term polymetre is adequate.

Improvisation: The questions that arise here are concerned with balance between structure and spontaneity, or, as Steven Gisby puts it: “balance of the premeditated and the instinctive, the personal and the impersonal …the intricate and the simple, of form and of the journey and the destination” (2009: 32). The available spectrum of improvisation ranges from the highly structured to the completely free. At the more structured end of this spectrum composers such as Roscoe Mitchell utilize ‘scored improvisation,’ as one way for a composer to “integrate improvisation inside of their music” by actually “giving the improviser the materials that are going to be improvised” (in Dale 2008: 11). At the other end of this spectrum – referred to as ‘free improvisation’ - the ‘composer’ is regarded as dispensable. Of particular relevance here is jazz fusion group Weather Report’s ethos: “We always solo, we never solo” (Zawinul 1971) or a “constant exchange between the musicians rather than a string of solos” (Buzby 2004). Other vital processes in improvisation include “listening, reacting, augmenting and creating” (Holmes 2002).

Fluidity: In this context, I argue that it implies the sustaining of spontaneity, trust in 'gut feeling' or intuition, and the sense of flow that often comes with first impressions. Conversely, it is recognizing and acknowledging when fluidity has been compromised - the ability to disengage when necessary from the 'stuck' feeling once the first impressions have become obscured. 187

In the following sections, I will examine how these terms and concepts apply to the process under study here, but firstly I will provide some background to the players on the recording stage.

II Background

Subject2change is a jazz fusion group formed in 2001. The change that the band has subjected itself to refers to changes in personnel and instrumentation, the embracing of multiple music styles over a jazz context (jazz fusion), and the high percentage of free improvisatory elements. A consistent trademark of the various configurations of musicians has been the diversity of musical backgrounds, experience and personal tastes - ranging from jazz, classical, Latin American, funk, rock, drum’n’bass - and various hybridities. An interesting question posed here is: to what degree does such diversity enrich the collective, and/or to what extent do the differences hinder a sense of commonality? To date, Subject2change has produced three albums, each representing different facets of stylistic emphasis: the first album (Subject2change #1) (2008) comprised mostly of my compositions, mixed in style with adherence to form and more conventional use of soloing. The second release, (Soundtracks and Inventions) (2009) was a departure from composition, celebrated free improvisation and represented unedited takes with the bare minimum of premeditated concepts. The second CD of this double CD set featured tuned percussion virtuoso, Pedro Carneiro and was recorded in a studio before a live audience. Encouraged by the positive outcomes of the second album, it was decided to devote one day of recording to "see what happens", or to quote Morton Feldman: "Let the music do what it wants to do” (Johnson 1991: 1). That is, virtually no prior discussion apart from bringing some music ‘sketches' to the session. As the music presented here is the culmination of the group’s previous experiences (collectively and individually), our own personal histories surrounding this process is of relevance to the creative result. As Paul Stapleton states: “acts of invention in improvisation do not appear ex nihilo, but rather are formed from a complex array of cultural and personal experiences” (2006: 168). Similarly, George Lewis “strongly suggests that 188

improvisation is directly shaped by personal narratives that are not only sonic in nature” (Stapleton 2006: 168). Simon Frith (1996) also argues that: …music, as an experimental, social and aesthetic process, is in a unique position to [articulate] in itself an understanding of both group relations and individuality, on the basis of which ethical codes and social ideologies are understood (in Stapleton 2006: 171)

III The Session

The aim of the session was to record a number of improvisations, some of which were based on musical ‘sketches’ contributed by guitarist, David Harrison and myself. As faculty of the Otago University music department, we were eligible to utilise its professional recording studio and sound engineer. During the five-hour session, we recorded eight separate ‘pieces’ - including ‘subject2change#21’ - of which seven tracks manifested on the album Artiste (2015). The physical setup of the musicians and their instruments presented a dichotomy: close enough in proximity to maximise natural communication versus enough separation to isolate the instruments during recording, allowing more editing flexibility in post-production. A compromise was necessary. Musicians were distributed around the large sound stage with good line of sight, and the players’ monitoring was enhanced with headphones when necessary. A sense of flow between musicians was somewhat maintained while some separation in sound was achieved. The band consisted of a guitarist, keyboard player (myself, also doubling on trumpet), bassist and drummer plus a trombonist - the saxophonist was unavailable but was scheduled to overdub his contribution at a later date.

Another issue, one where opinion was divided, was when and how often the participants should adjourn to the control room to listen to the recordings. One view was that through monitoring the recording, the next take would be better informed despite the majority view being that the creative flow was disrupted by the interruptions. A further variable element,

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one that lies at the conceptual core of improvisation, was how much pre-meditated material was to be drawn upon during improvisation? Clearly, our agreed mandate lay at the 'freer' end of the aforementioned improvisational spectrum, but the notion of providing a motivic sketch - perhaps two or three figures on an otherwise blank canvas - had been agreed in advance. For my contribution, in keeping with my compositional method, I was enthusiastic to apply a polycyclic model. The complex time signature work of Dave Brubeck had long been an influence on my own music. Amy Kraus maintains that “[h]is rhythmic and metric compositional techniques forged a trail for continued exposure and development in the rhythmic vitality of jazz” (2013: 16). Brubeck was arguably the first among jazz musicians to employ polymetric form as Kraus continues: The composition ‘Someday My Prince Will Come’ (1937) moved even further into uncharted rhythmic territory. Morello (drums) plays in 4/4 time while Wright (bass) plays in 3/4 and the other two members of the Quartet play in 4 or 3. Despite the strange combination of meters, the public’s response was approval, as the piece ‘pleased the ear and teased the intellect,’ according to Brubeck’s biographer, Fred Hall. (2013: 11).

Given the time restraints, a three-part polymetre seemed impractical for our situation, but a ‘bi-metre’, i.e. comprising of two concurrent metres, could work, especially as we had some previous experience in this area, as illustrated in figure 1.

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figure 1:

The keyboard and bass are playing in 11/4, subdivided into 3 phrases of 3/4 plus 2/4 while the drums play a 5/4 beat subdivided as 3/4 plus 2/4. I use the term ‘mother cycle’ to describe the aggregate form: in this case, it will take 5 bars of 11/4, or 11 bars of 5/4 to complete one ‘mother cycle’ of 55 beats. In order to perform these cycles with some fluidity, some prior rehearsal would have been helpful. Nevertheless, any ‘discomfort’ experienced led to some interesting outcomes that will be analysed in the next section.

At the conclusion of the session an informal exchange ensued regarding the next steps. There was a general sense that some interesting material had eventuated over all the recordings, and was overall stylistically different to the previous albums. Having recently returned from Europe, where I was impressed with the sophistication of some of the ‘canned’ music emanating from cafes, my first impressions of our recordings suggested a potential album that could be loosely described as ‘alternative cafe music’. I made the offer to edit and produce 'my' version of the tracks, i.e. manipulate the recordings as opposed to leaving them in their raw, original form. I do not think I was aware enough at the time of a certain scepticism among some of the musicians toward this approach. If it sounds good, then it will be acceptable, was my view. It is difficult, if not impossible, to explain musical concepts with words - my long experience with film music as evidence - and the proof needs to be in the audio ‘pudding’. Of consequence here is the issue of consent and trust: the clear mandate to 191

re-configure any individual’s creation. At this time, I became aware of some other issues, the first one concerning the degree of sole authority the producer should take in post-production, and, is a verbal description such as ‘alternative cafe music’ perhaps too vague to convey any clear meaning? Further, what impact will the re-configuring of any individual’s improvised contributions have on his or her sense of ‘ownership’? This converges on the topic of intellectual property and the controversial question of to what degree improvisation can be quantified as composition – a topic however, that lies beyond the scope of this paper. Referencing Paul Stapleton again on the sensitive nature of improvising: Such acts are not without risks, for performers and listeners alike. Personal narratives and social norms are revealed as fragile and contingent, while newly acquired yet equally provisional knowledges critique and revitalise traditions and beliefs. Perhaps more than any other form of cultural production, improvisation requires personal risk in often unpredictable circumstances. (2006: 169).

IV Studio Manipulations

I began the post-improvisation production process a few weeks later. This delay was beneficial in achieving that ‘first impressions’ effect and enthusiasm for embarking upon something new, in the isolation of my home studio. My first impressions of the track in question here - ‘subject2change#21’ - was that, in its original form, it was something of a jumble; messy, overplayed and insecure in its execution of the bi-metric groove. Underneath the chaos however, I could identify some interesting textures and melodic phrases. In order to create a satisfying outcome, it seemed essential to make editing decisions based on sound compositional principles, and not be influenced by anticipated sensitivities of the people involved. I felt this would diminish not only the authenticity of the mix, but also its flow and transparency. Based on the strength of the material available in the track ‘subject2change#21’, I decided to impose a recognisable form through extensive editing, and depicted in figure 2.

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figure 2:

I investigated a ‘HEAD – IMPROVISATION – HEAD’ (to use jazz terminology) overall form, by highlighting thematic material at the beginning and returning to it at the end after two distinct improvisation sections. The thematic sections are sustained bi-metrically, i.e. 11/4 plus 5/4, which eventually gravitates to the less demanding 5/4 mono-metre that underpins “Open Improv#1”. This eventually further evolves - or devolves - to the even more secure and familiar 4/4 pulse of “Open Improv#2”. This would tend to indicate there was a natural pull toward familiar territory in response to the less familiar or less comfortable. In the case of “Open Improv#1” the 5/4 metre was perceived during the actual improvisation session as a more secure basis on which to achieve a sense of ‘being on the same page (bar)’ than was 11/4. The pull toward the even more familiar grounding of 4/4 must have been irresistible as evidenced in “Open Improv#2”. Further investigation of this tendency would be of interest but is again outside of the scope of this paper.

Another challenge concerned the inclusion of the missing sixth member. Overdubbing the saxophonist introduced a level that would not have been possible during the initial recording session. The thematic fragments spontaneously played by the guitarist could now be doubled and developed on soprano sax, giving rise to a strong sense of theme. This technique of doubling an improvised melodic line would not have been conceivable at the spontaneous moment of its conception. Additionally, space was created for an improvised saxophone solo during "Open Improv#2” - space that was originally not there. The overall effect is that the piece now sounded significantly more composed, and arranged, than was the case at the original session, whereas the saxophone part was integrated in such a way to create the 193

illusion of having been present for the initial group recording. Although this seemingly ‘dislocated’ act of improvising over an existing improvisation would indicate a somewhat unnatural one-sided flow, the same pillars of “listening, reacting, augmenting and creating” (Holmes, 2002) still held sway here, suggesting authenticity need not be in question.

Apart from further studio manipulation, such as correcting timing issues as well as general sound enhancement, another dimension to the piece was discovered ‘accidentally’. I stumbled across some vocal samples in my sound library and intuitively sensed they had a connection to this track. They alluded to a sensuous otherworldly texture inspiring a new working title,

‘out of body, out of mind’, and provided perhaps ‘a gateway for the uninitiated’. Returning to the ‘alternative cafe music’ foundation for this album, and its implied invitation to an audience not necessarily drawn to jazz fusion, the added spoken words widened the horizons of the music's reach. I was however, convinced at the time that my comrades would disapprove of this addition, but that was not an issue at this stage of the process. I was relatively satisfied I had achieved my objective as stated above: synchronised with order, and with natural flow, and reflected an ever present complexity.

V Feedback / Final Mix

With the completion of my version of these recordings, it was time to return to the reality of the project being a collective entity. A drawn out, difficult process followed in balancing my original vision with incorporating an extremely diverse range of feedback while attempting to ‘sustain fluidity in studio manipulations of a polymetric jazz fusion comprovisation’ as I stated above. Again, the project demonstrated the adage, ‘don't mix by committee’. This extends out to a wider conundrum: is leadership necessary or is collective decision-making more relevant to this form of creativity? After weeks of engagement with the project and subsequent confusion resulting from the feedback, it was time to recognise and acknowledge that my own fluidity had been compromised, and indicated the necessity to disengage. The talent and patience of an independent sound mixer was engaged who could apply fresh and unbiased ears to the 194

project. The question now arose: was this new role one of producer or of sound engineer or some combination thereof. The former role was evident on his first mix of the stems. This approach was moving in a very different direction and, with a newly acquired sense of reownership, I requested a mix that essentially kept my original instrument balances intact, while infusing the sound with a pristine clarity that I was not able to achieve. All of this was conducted from different sides of the planet while I travelled in Europe. Eventually, as a group, we achieved a consensus, of sorts.

IV Conclusion

I have posed a number of questions that lead to the following conclusions: every performance, particularly when involving improvisation, is subject to change - what applies to one event may not be applicable on another occasion even with the same performers in the same room. Yet, it is pertinent to accent the wisdom of pre-creating the most conducive environment possible, including: compatibility of the musicians (diversity versus commonality); how they are placed in the recording space; agreement on the purpose, procedure and any pre-meditated music sketches, and whether they necessitate any prior rehearsal; obtaining consent from all participants before manipulating their input; agreement on which kind of decision-making format best suits the group and project, whether producer with sole authority or democratic collectivism or a clearly defined hybrid. Although the ‘original vision’ may undergo transformation due to process, there is, however, a sound rationale attached to maintaining loyalty to the core original concept. Regarding the process of the evolution of ‘subject2change#21’, assuming the position of producer with sole authority afforded a conducive platform for sustaining fluidity during the studio manipulations of the improvised material. The oversight of this assumption however, is that this position was performed without a clear mandate from fellow band members resulting in adverse interpersonal consequences during the final stages of production when ‘committee’ participation was invited. Naturally, the next comprovised session will present its own unique set of unpredictable challenges, inspirations and complexities, but perhaps, in more general terms, we may consider sustaining fluidity by reminding ourselves of some basics: good

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contemplation, good communication, and the ability to embrace the situation as it presents itself, encourage change to unfold in an organic manner and, above all, trust in first impressions.

Bibliography

Buzby, Pat. Interview: “Miroslav Vitous’ Infinite Search for Universal Syncopations” http://www.jambands.com/features/2004/01/29/miroslav-vitous-infinite-search-foruniversal-syncopations, 2004 Dale, Michael. "What Is Comprovisation?", Thesis, Degree of Master of Arts in Composition, Mills College, 2008 Frith, S. "Music and identity". In Stuart Hall & Paul Du Gay (Eds.), Questions of cultural identity (pp. 108–127). London: Sage. 1996 Gisby, Steven David. "In Order and out of Time: Compositions Exploring Processes, Polymeters and Balance.", PhD Thesis, Brunel University, 2010 Holmes, Thom. “Electronic and Experimental Music”, 2nd Ed. New York: Routledge, 2002 Johnson, Tom. "Explaining My Music: Keywords." http://kalvos.org/johness4.html, 1999 Kraus, Amy. "The Rhythmic Experimentation of Dave Brubeck." Music 532, 2013 Poudrier, Eve. "Toward a General Theory of Polymeter: Polymetric Potential and Realization in Elliott Carter's Solo and Chamber Instrumental Works after 1980." Ph.D., City University of New York, 2008 Robison, Brian. "Carmen Arcadiae Mechanicae Perpetuum: Towards a Methodology for Analyzing Harrison Birtwistle's Music Since 1977” D.M.A., Cornell University, 1999 Stapleton, Paul. "Autobiography and Invention: Towards a Critical Understanding of Identity, Dialogue and Resistance in Improvised Musics." Contemporary Music Review 32, no. 2-03 (2013/06/01 2013): 165-74. Zawinul, Joseph. Liner notes of Weather Report’s “Weather Report” album, 1971

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Appendix F Interview with Nik Bärtsch

The following is the full transcript of an email interview with Swiss composer and pianist Nik Bärtsch in addendum to chapter 2.2.3. The replies were received on the 8th of April, 2016.

1/ How did you become interested in composing with repeating interlocking patterns? Could you mention any composers and influences that have contributed to your interest in this work? I always was interested in rhythms, already as a child. Later I learned a lot about rhythm and beat balances in Romanian folk music, Jazz, Brazilian, Cuban and also African music but also in the „classical“ music of Bartok, Stravinsky, Scriabin, Gershwin and as a teenager then later in the music of Ligeti, Morton Feldman, Steve Reich, Lennie Tristano (Turkish Mambo), Joe Zawinul and Steve Coleman. Also in the Funk music of James Browns bands and others like The Meters interlocking rhythms play an important part. Finally I can not name any main influence since I started very early (already as kids) together with my drummer colleague Kaspar Rast to experiment on our own with odd meters and interlocking patterns, later also with cycles. Today I think, that musical strategies like pattern repetition, rhythmic flow (groove, swing etc.) and formal cycling are basic ideas that are inherently already existing since music exists. Of course the way how they are used and developed varies very much but the „ownership“ of these ideas can not be located but are more music related themselves anyway. Explicit pattern work you find for example in Bachs music all over the place in several formats.I finally developed my own modular way of treating all these influences.

2/ Can you outline your process when composing in this style? I often have a rhythmic idea while I walk or experiment on the piano or drum, sometimes also a conceptual idea on the desk. Strawinsky said that a composer preludes like an animal is sniffing for food and he said that the hands are finding things that the mind are not. This physical movement aspect is very important for me although I am also very much attracted by 197

formal questions (resulting patterns, mirror patterns, palindrome patterns, etc.). After having an idea, I have a close look to it and listen to its capacity „to move and communicate“. Then I invent the context and try to simplify all relevant parameters to make a complex piece sound and flow „simple“ and sensual (also for the players). Then I make a self played computer version and an detailed, exact classical score with out written voices including drums. Then I rehearse with the band, then we play the tunes on our Mondays concerts, then on tour, then we record them (to just show the process with the working bands). Pieces can change/develop in the work with the bands (sometimes even in their arrangements). Live experience with the patterns, pattern relations and with the cycles is very important to get to know them and to feel them naturally.

3/ Is there any degree of co-composing (collaboration) during rehearsals with your musicians? If so, to what extent, or, are your compositions already fixed in advance? As mentioned many compositions are clearly fixed like in a classical score. But new arrangements and developments can happen - in the process with the band but also in myself through understanding my own music better in the spiral process of going forward to the roots...

4/ Do you always notate the patterns within one metre or do you have examples of 2 or 3 metres notated simultaneously? In what ways has your notational method evolved in accordance with your experiences in performance, if at all? I usually notate in the main meter but show with a visual bracket in the score all the other meter length. My experience is, that a player needs to sensually know all the patterns and cycles (and the so called „buoys“ and „within buoys“ when the meet) and the spacial feeling of a pattern topography. It’s essential that a player does not intellectually play the patterns but with extension and flow very naturally and with the capacity to „see between the patterns“. Like this, even more dimensional pattern interlockings and cycles can become very organic.

5/ Can you describe any issues, particularly in synchronicity, when rehearsing your compositions with musicians? On average, how much rehearsal time is required for a piece to reach performance readiness? 198

This varies very much. Some pieces work very soon, others need years of training and sometimes we even can play them only after having explored newer pieces. It’s a constant process… usually we work on a piece till its recording about two years.

6/ Finally, do you have any comments regards how audiences perceive/respond to your music? That’s of course very individual but we try to also offer a sensual and direct musical impact for non-musicologists and very intuitive listeners. The complexity of the music should not shine on the surface but glow in the depth of a musical composition and performance.

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Appendix G

Lyrics for ‘Polycyclic World Music’ album

Fala za fala (Wave by wave) Lyrics by Beata Bocek

(English translation from Polish by Beata Bocek and Trevor Coleman)

Verse 1: wiem, ze znasz moje sny

I know you know my dreams

ogladasz moje zdjecia

by the way you look at my photos

znasz je na spamiec

like you know them by heart

bo kochasz moj usmiech

and how you love my smile

opowiadasz mi o nich

then you tell me about it

{Jak czynia Cie szczesliwym}

and how it makes you happy

{A ja usmiecham sie do Ciebie}

and then I smile at you

Chorus: Moze bedzie slonce zachodzic

Maybe the sun will go down

Moze bedzie fala za fala

Maybe it will be wave by wave

Moze bedzie morze przychodzic

Maybe the sea will arrive

Verse 2: A w oceanie bedziemy plywac

And when we swim in the ocean

Slowa takie jakie sa, mam na sercu,

Words upon my heart,

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mam na glowie, mam w sercu

in my head, then in my heart

Moga zdac mi sie, ze sda dla mie stworzone as if they were only meant for me - Repeat ChorusAle, ale wiem ze odchodzisz

but I know you are leaving

Juz nieprzyjdziesz do mie

and you will not visit my shore, anymore

Tylko fala za fala

Only wave by wave

One Moment Lyrics by Trevor Coleman A clear blue night on the wooded plain the moon is near and far My bow is arched and arrow aimed I shoot a falling star

A blinking eye is all it takes to see One moment here is all it takes to be

I drift across the open sea horizon rainbow gold I cast the spell of a sailors dream embrace a love untold

A blinking eye is all it takes to see 201

One moment here is all it takes to be

I gaze upon the fire light that warms the heart so dear The mystery of fleeting life stills in a vision clear

A blinking eye is all it takes to see One moment here is all it takes to be

In My Room Lyrics by Trevor Coleman

In my room glorious sameness Playpen bars Fortified saneness

In my room yellow oasis Soft cell padding Rectangular playfulness

From my room I greet you From my sanctum 202

I see you

From your room You touch mine Your safe surround Looks much like mine

The corners merge in cautious curves Where borders meet on delicate nerves

I reach across a probing touch a breath of skin A hint of much, more

Unhook the latch The playdoor swings Our rooms are bigger Than the ones we were in

In my room Across from yours one moment we shared one moment we shared

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Czekam Lyrics by Beata Bocek

(English translation from Polish by Beata Bocek and Trevor Coleman)

Daleko na wyspie, czekam aż popisze swój biały papier On a far away island, I am waiting to cover my white paper with signs Daleko na wyspach, czekam aż popisze swój pusty biały papier On far away islands, I am waiting to cover my empty white paper By stał się kolorowym I wish it to be colourful Takim jakim ja chcę że by był The way I wish it to be Takich pełnych snów kolorowych mych Full of my colourful dreams Słowa na mym białym papierze pokażą mi, w którą strone iść And words on my white paper that will show me where to go

Daleko na wyspie, czekam aż przelecę na dalszą wyspe On a faraway island, I am waiting to fly to another island

Daleko na wyspach, czekam aż przelecę na dalsze wyspy On faraway islands, I am waiting to fly to other islands Czekam, czekam, lecę, czekam, lecę, lecę I am waiting, I am waiting, I fly, I fly

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Father’s home / Ojcowski dom Lyrics by Jan Kubisz and Trevor Coleman

(English translation from Polish by Beata Bocek and Trevor Coleman)

Ojcowski dom to istny raj Father’s home, it’s like eden Dar Ojca Niebieskiego It is a gift from god Chociaż byś przeszedł cały świat Even if you travel the whole wide world Nie znajdziesz piękniejszego You will not find a more beautiful home

There's a house on a street There's a street in a village The village has a name and it's known in the town

There's a town on a hill There's a hill on the land The land has a name and it's known over the river

There's a river runs through It divides and it joins The river has a name And it's known over the sea 205

The sea has a rock There's a rock in a sea The sea has a name And it's known by many

There are many in the city and most of the town Everyone in the village will see the wall tumble down

There are seven in the street There are four in the house There are two in the room in the middle there is one

The one has a name and it's known by many and many have a name and it's known by one

There are many in the city and most of the town Everyone in the village will see the wall tumble down

A gdy ci przyjdzie wynijść stąd

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And when you have to leave from here I odejść w świat daleki and travel far away Ojcowski dom dziecino miej Father’s home, will stay W pamięci swej na wieki with you forever

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Appendix H 269 Polycyclic Combinations

The following chart contains the complete table of 269 polycyclic combinations considered within the realm of relative practicality. The headings for each column are coded as: PC = Polycycle;

TS = Time Signature;

Div(ision) = 1/8 or 1/4 note beats;

MC = Mother Cycle;

Level (of difficulty) = I, II or III:

I = less than 150 beats (MC); II = 150-350 beats; III = greater than 350 beats; √ = tested

PC#

TS#1

TS#2

TS# 3

1

3

5

7



8

8

8

35x*

21x

15x

2

3

5

11



8

8

8

55x

33x

15x

3

3

5

13



8

8

8

65x

39x

15x

4

3

7

11



8

8

8

77x

33x

21x

3

7

13

5

MC

Div Level

105

8

I

165

8

II

195

8

II

231

8

II

*e.g.: 35x 3/8 = 105 beats

208



6 √

8

8

8

91x

39x

21x

3

11

13

8

8

8

143x

39x

33x

7

5

6

7



8

8

8

42x

35x

30x

5

6

11

8 √

8

8

8

66x

55x

30x

9

5

6

13



8

8

8

78x

65x

30x

5

7

11

10 √

8

8

8

77x

55x

35x

11

5

7

13



8

8

8

91x

65x

35x

5

11

13

12 √

8

8

8

143x

65x

55x

13

7

11

13



8

8

8

143x

91x

77x

2

3

5

14 √

4

4

4

15x

10x

6x

15

2

3

7



4

4

4

21x

14x

6x

273

8

II

429

8

III

210

8

II

330

8

II

390

8

III

385

8

III

455

8

III

715

8

III

1001

8

III

30

4

I

42

4

I

209

16

2

3

11



4

4

4

33x

22x

6x

17

2

3

13



4

4

4

39x

26x

6x

18

2

5

7



4

4

4

35x

14x

10x

19

2

5

11



4

4

4

55x

22x

10x

20

2

5

13



4

4

4

65x

26x

10x

21

2

7

11



4

4

4

77x

22x

14x

22

2

7

13



4

4

4

91

26

14x

23

2

11

13



4

4

4

143x

26x

22x

24

3

4

5



4

4

4

20x

15x

12x

25

3

4

7



4

4

4

28x

21x

12x

26

3

4

11



4

4

4

44x

33x

12x

66

4

I

78

4

I

70

4

I

110

4

I

130

4

I

154

4

II

182

4

II

286

4

II

60

4

I

84

4

I

132

4

I

210

27

3

4

13



4

4

4

52x

39x

12x

28

3

5

7



4

4

4

35x

21x

15x

29

3

5

11



4

4

4

55x

33x

15x

30

3

5

13



4

4

4

65x

39x

15x

31

3

7

11



4

4

4

77x

33x

21x

32

3

7

13



4

4

4

91x

39x

21x

33

3

11

13



4

4

4

143x

39x

33x

34

4

5

7



4

4

4

35x

28x

20x

35

4

5

11



4

4

4

55x

44x

20x

36

4

5

13



4

4

4

65x

65x

20x

37

4

7

11



4

4

4

156

4

II

105

4

I

165

4

II

195

4

II

231

4

II

273

4

II

429

4

III

140

4

I

220

4

II

260

4

II

211

77x

44x

28x

38

4

7

13



4

4

4

91x

52x

28x

39

4

11

13



4

4

4

143x

52x

44x

40

5

7

11



4

4

4

77x

55x

35x

41

5

7

13



4

4

4

91x

65x

35x

42

5

11

13



4

4

4

143x

65x

55x

43

7

11

13



4

4

4

143x

91x

77x

3

5

2

8

8

4

20x

12x

15x

3

5

3

8

8

4

20x

12x

10x

3

5

4

8

8

4

40x

24x

15x

3

5

5

8

8

4

30x

18x

9x

3

5

6

44

45

46

47

48

308

4

II

364

4

III

572

4

III

385

4

III

455

4

III

715

4

III

1001

4

III

60

8

I

60

8

I

120

8

I

90

8

I

212

49

50

51

52

53

54

55

56

57

58

8

8

4

20x

12x

5x

3

5

7

8

8

4

70x

42x

15x

3

5

11

8

8

4

110

66x

15x

3

5

13

8

8

4

130x

78x

15x

3

7

2

8

8

4

28x

12x

21x

3

7

3

8

8

4

42x

18x

21x

3

7

4

8

8

4

56x

24x

21x

3

7

5

8

8

4

70x

30x

21x

3

7

6

8

8

4

28x

12x

7x

3

7

7

8

8

4

14x

6x

3x

3

7

11

8

8

4

154x

66x

21x

60

8

I

210

8

II

330

8

II

390

8

II

84

8

I

126

8

I

168

8

II

210

8

II

84

8

I

42

8

I

462

8

III

213

59

60

61

62

63

64

65

66

67

68

69

3

7

13

8

8

4

182x

78x

21x

3

11

2

8

8

4

44x

12x

33x

3

11

3

8

8

4

22x

6x

11x

3

11

4

8

8

4

88x

24x

33x

3

11

5

8

8

4

110x

30x

33x

3

11

6

8

8

4

44x

12x

11x

3

11

7

8

8

4

154x

42x

33x

3

11

11

8

8

4

44x

12x

6x

3

11

13

8

8

4

286x

78x

33x

3

13

2

8

8

4

52x

12x

39x

3

13

3

8

8

4

26x

6x

13x

546

8

III

132

8

I

66

8

I

264

8

II

330

8

II

132

8

I

462

8

III

132

8

I

858

8

III

156

8

II

78

8

I

214

70

3

13

4

8

8

4

104x

24x

39x

3

13

5

8

8

4

130x

30x

78x

3

13

6

8

8

4

52x

12x

13x

3

13

7

8

8

4

182x

42x

39x

3

13

11

8

8

4

286x

66x

39x

3

13

13

8

8

4

52x

12x

6x

5

6

2

8

8

4

12x

10x

15x

5

6

3

8

8

4

6x

5x

5x

5

6

4

8

8

4

24x

20x

15x

79

5

6

5



8

8

4

6x

5x

3x

5

6

6

8

8

4

71

72

73

74

75

76

77

78

80

312

8

II

390

8

II

156

8

II

546

8

III

858

8

III

156

8

II

60

8

I

30

8

I

120

8

I

30

8

I

215

81

82

83

84

85

86

87

88

89

90

91

12x

10x

5x

5

6

7

8

8

4

42x

35x

15x

5

6

11

8

8

4

66x

55x

15x

5

6

13

8

8

4

78x

65x

15x

5

7

2

8

8

4

28x

20x

35x

5

7

3

8

8

4

42x

30x

35x

5

7

4

8

8

4

56x

40x

35x

5

7

5

8

8

4

14x

10x

7x

5

7

6

8

8

4

84x

60x

35x

5

7

7

8

8

4

14x

10x

5x

5

7

11

8

8

4

154x

110x

35x

5

7

13

60

8

I

210

8

II

330

8

II

390

8

III

140

8

I

210

8

II

280

8

II

70

8

I

420

8

III

70

8

I

770

8

III

216

92

93

94

95

96

97

98

99

100

101

8

8

4

182x

130x

35x

5

11

2

8

8

4

42x

20x

55x

5

11

3

8

8

4

66x

30x

55x

5

11

4

8

8

4

88x

40x

55x

5

11

5

8

8

4

22x

10x

11x

5

11

7

8

8

4

154x

70x

55x

5

11

11

8

8

4

22x

10x

5x

5

11

13

8

8

4

286x

130x

55x

5

13

2

8

8

4

52x

20x

65x

5

13

3

8

8

4

78x

30x

65x

5

13

4

8

8

4

104x

40x

65x

910

8

III

220

8

II

330

8

II

440

8

III

110

8

I

770

8

III

110

8

I

1430

8

III

260

8

II

390

8

III

520

8

III

217

102

103

104

105

106

107

108

109

110

111

112

5

13

5

8

8

4

26x

10x

26x

5

13

6

8

8

4

156x

60x

65x

5

13

7

8

8

4

182x

70x

65x

5

13

11

8

8

4

286x

110

65x

5

13

13

8

8

4

26

10x

5x

6

7

2

8

8

4

14x

12x

21x

6

7

3

8

8

4

7x

6x

7x

6

7

4

8

8

4

28x

24x

21x

6

7

5

8

8

4

35x

30x

21x

6

7

6

8

8

4

14x

12x

7x

6

7

7

8

8

4

7x

6x

3x

130

8

I

780

8

III

910

8

III

1430

8

III

130

8

I

84

8

I

42

8

I

168

8

II

210

8

II

84

8

I

42

8

I

218

113

114

115

116

117

118

119

120

121

122

123

6

7

11

8

8

4

77x

66x

21x

6

7

13

8

8

4

91x

78x

42x

6

11

2

8

8

4

22x

12x

33x

6

11

3

8

8

4

11x

6x

11x

6

11

4

8

8

4

44x

24x

33x

6

11

5

8

8

4

55x

30x

33x

6

11

6

8

8

4

22x

12x

11x

6

11

7

8

8

4

77x

42x

66x

6

11

11

8

8

4

11x

6x

3x

6

11

13

8

8

4

143x

78x

66x

7

11

2

8

8

4

462

8

III

546

8

III

132

8

I

66

8

I

264

8

II

330

8

II

132

8

I

462

8

III

66

8

I

858

8

III

219

124

125

126

127

128

129

130

131

132

133

134

44x

28x

77x

7

11

3

8

8

4

66x

42x

77x

7

11

4

8

8

4

88x

56x

77x

7

11

5

8

8

4

110x

70x

77x

7

11

6

8

8

4

132x

84x

77x

7

11

7

8

8

4

22x

14x

11x

7

11

11

8

8

4

22x

14x

7x

7

11

13

8

8

4

286x

182x

77x

7

13

2

8

8

4

52x

28x

91x

7

13

3

8

8

4

78x

42x

91x

7

13

4

8

8

4

104x

56x

91x

7

13

5

308

8

II

462

8

III

616

8

III

770x

8

III

924

8

III

154

8

II

154

8

I

2002

8

III

364

8

II

546

8

III

728

8

III

220

135

136

137

138

139

140

141

142

143

144

8

8

4

130x

70x

91x

7

13

6

8

8

4

156x

84x

91x

7

13

7

8

8

4

26x

14x

13x

7

13

11

8

8

4

286x

154x

91x

7

13

13

8

8

4

26x

14x

7x

11

13

2

8

8

4

52x

44x

143x

11

13

3

8

8

4

78x

66x

143x

11

13

4

8

8

4

104

88x

143x

11

13

5

8

8

4

130

110x

143x

11

13

6

8

8

4

156x

132x

143x

11

13

7

8

8

4

182x

154x

143x

910

8

III

1092

8

III

182

8

II

2002

8

III

182

8

II

572

8

III

858

8

III

1144

8

III

1430

8

III

1716

8

III

2002

8

III

221

145

146

147

148

149

150

151

152

153

154

155

11

13

11

8

8

4

26x

22x

13x

11

13

13

8

8

4

26x

22x

11x

3

2

3

8

4

4

8x

6x

4x

3

2

5

8

4

4

20x

15x

6x

3

2

7

8

4

4

28x

21x

6x

3

2

11

8

4

4

44x

33x

6x

3

2

13

8

4

4

104x

78x

12x

3

3

4

8

4

4

24x

12x

9x

3

3

5

8

4

4

10x

5x

3x

3

3

7

8

4

4

14x

7x

3x

3

3

11

8

4

4

22x

11x

3x

286

8

II

286

8

II

24

8

I

60

8

I

84

8

I

132

8

I

312

8

II

72

8

I

30

8

I

42

8

I

66

8

I

222

156

157

158

159

160

161

162

163

164

165

166

3

3

13

8

4

4

26x

13x

3x

3

4

5

8

4

4

40x

15x

12x

3

4

7

8

4

4

56x

21x

12x

3

4

11

8

4

4

88x

33x

12x

3

4

13

8

4

4

104x

78x

12x

3

5

6

8

4

4

20x

6x

5x

3

5

7

8

4

4

70x

21x

15x

3

5

11

8

4

4

110x

33x

15x

3

5

13

8

4

4

130x

39x

15x

3

7

11

8

4

4

154x

33x

21x

3

7

13

8

4

4

78

8

I

120

8

I

336

8

II

264

8

II

312

8

II

60

8

I

210

8

II

330

8

II

390

8

III

462

8

III

223

167

168

169

170

171

172

173

174

175

176

177

182x

39x

21x

3

11

13

8

4

4

286x

39x

33x

5

2

3

8

4

4

24x

15x

20x

5

2

5

8

4

4

8x

10x

4x

5

2

7

8

4

4

28x

35x

10x

5

2

11

8

4

4

44x

55x

20x

5

2

13

8

4

4

52x

65x

20x

5

3

4

8

4

4

24x

20x

15x

5

3

5

8

4

4

30x

25x

15x

5

3

7

8

4

4

42x

35x

15x

5

3

11

8

4

4

66x

55x

15x

5

3

13

546

8

III

858

8

III

120

8

I

40

8

I

140

8

I

220

8

II

260

8

II

120

8

I

150

8

I

210

8

II

330

8

II

224

178

179

180

181

182

183

184

185

186

187

8

4

4

78x

65x

15x

5

4

5

8

4

4

8x

5x

4x

5

4

7

8

4

4

56x

35x

20x

5

4

11

8

4

4

88x

55x

20x

5

4

13

8

4

4

104x

65x

20x

5

5

7

8

4

4

14x

7x

5x

5

5

11

8

4

4

22x

11x

5x

5

5

13

8

4

4

52x

26x

10x

5

7

11

8

4

4

154x

55x

35x

5

7

13

8

4

4

182x

65x

35x

5

11

13

8

4

4

286x

65x

55x

390

8

III

40

8

I

280

8

II

440

8

III

520

8

III

70

8

I

110

8

I

260

8

II

770

8

III

910

8

III

1430

8

III

225

188

189

190

191

192

193

194

195

196

197

198

6

2

3

8

4

4

2x

3x

2x

6

2

5

8

4

4

10x

15x

6x

6

2

7

8

4

4

13x

21x

6x

6

2

11

8

4

4

22x

33x

6x

6

2

13

8

4

4

26x

39x

6x

6

3

4

8

4

4

4x

4x

3x

6

3

5

8

4

4

5x

5x

3x

6

3

7

8

4

4

7x

7x

3x

6

3

11

8

4

4

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233

Notes Abstract 1

Prögler, J. A. ‘Searching For Swing: Participatory Discrepancies in the Jazz Rhythm Section’. Ethnomusicology, vol. 39, no. 2, 1995, pp.21–54. Chapter 1.1 2

For online referencing of the CDs consult: http://www.trevorcoleman.co.nz accessed April 12th 2016. The publicly released versions of the CDs are entitled PolyKarma (Polycyclic Chamber Music), PolyNation (Polycyclic Jazz) and One Moment (Polycyclic World Music). 3

http://america.pink/don-giovanni_1294597.html accessed February 24th 2016

4

http://trevorcoleman.bandcamp.com/track/il-matrimonio accessed February 24th 2016

5

For example: Meshuggah. 1995. Destroy Erase Improve. Compact Disc. Nuclear Blast America NBA 1683 6874-2. In particular the track: “New Millenium Cyanide Christ”. Chapter 1.2 6

Encyclopedia, World Heritage. 2016. Music of Seattle 2016 [cited February 24th 2016]. Available from http://iphonelibrary.net/article/WHEBN0008345281/Music of Seattle. accessed June 18th 2016 7

http://trevorcoleman.bandcamp.com/track/the-sense-of-no-sense accessed February 24th 2016 8

Further information on the philosophical and practical ethos of ‘subject2change’ is contained in the article ‘Subject2change: sustaining fluidity in studio manipulations of a polymetric jazz fusion comprovisation’ located in appendix E. Chapter 2.1.1 9

https://www.youtube.com/watch?v=tKTyGvJ9gl0 accessed February 25th 2016

10

An example of this can be found in my included portfolio composition PC11-PolySpirals (see chapter three). The polymetric scheme is 3/4, 5/4 and 11/4 meaning all parts only coincide every 165 beats during which the participants experience various ‘convergent and divergent’ phases, providing a sense of expectation. This expectation is resolved at a sounded coincidence point on the 166th beat where all parts converge on a sustained chord for one mono-metric bar before continuing on with the next ‘Mother Cycle’. In addition to coincidence points there are other musical elements that can reinforce the perception of polymetre and the independence of superimposed rhythmic layers. These

234

include register, articulations, dynamics and intervals (Poudrier 2008, p180) also evident in ‘PolySpirals’. 11

Jones, 1976, 2009; Large & Jones, 1999; London, 2004; Nozaradan, Peretz, Missal, & Mouraux, 2011 12

http://www.naxos.com/mainsite/blurbs_reviews.asp?item_code=8.57320102&catNum=573201&filetype=About%20this%20Recording&language=English accessed June 18th 2016 13

‘Someday my prince will come’, composed by Frank Churchill and Larry Morey (1937).

14

Their Last Time Out. Dave Brubeck Quartet. Sony ASIN: B005JC1YR2. 1974. LP

15

Drummer Sean Rickman explained: „It’s like a clock where certain wheels go this way, another one goes that way etc.” (DVD-documentary „Elements of One“ by Eve-Marie Breglia). See also: Vijay Iyer, Steve Coleman, M-Base, and Music Collectivism, Part 4. MBase: Some musical elaborations 16

Guitarist Nelson Veras said about Coleman’s music: “It’s pretty high music, a kind of music you have to practise a lot because there are a lot of different layers in the music happening at the same time. It’s very easy to get lost, but it’s a very interesting, very personal kind of music.” – Drummer Dafnis Prieto said about Coleman’s music: “It is difficult, very challenging for the musicians to play it. You have to develop certain skills to play. … Of course it’s very complex music.” – both: Interview, November 14, 2004, Meldola, Italy, CultTV Chapter 2.2.2 17

http://www.nikbaertsch.com accessed June 18th 2016

18

Evans Tristian. 2016. Shared Meanings in the Film Music of Philip Glass: Music, Multimedia and Postminimalism, Routledge, p96 Chapter 2.3.2 19

Prögler, J. A. ‘Searching For Swing: Participatory Discrepancies in the Jazz Rhythm Section’. Ethnomusicology, vol. 39, no. 2, 1995, pp.21–54. Chapter 2.6 20

Davis, Miles. Bitches Brew. Columbia Records. ASIN: B00000J7SS. 1970. LP

21

http://www.nztrio.com accessed May 18th 2016

22

http://www.apple.com/nz/logic-pro/ accessed April 4th 2016

235

23

http://www.avid.com/en/sibelius accessed March 16th 2016

24

The Aka call themselves Baaka (which means Aka people) and their language Aka. In the Lobaye region, these become Bayaka and Yaka due to epenthesis whenever there is no consonant starting a syllable. (Duke, 2001, Aka as a Contact Language.) Chapter 4 25

http://www.scientificamerican.com/article/uncommon-time-dave-brubeck/ accessed June 18th 2016 26

“vocalese,” this arranging technique has a long history, with Duke Ellington employing it as early as the 1930s. It is heard frequently in contemporary jazz as arrangers seek to discover new sonorities through utilizing the vocalist as a member of the horn section. (Stapleton 2013, p9) Chapter 5 27

for more background refer to Bocek’s website: www.beatabocek.com/en/ accessed June 18th 2016 28

for more background refer to www.fotolog.com/albakagarrapata/39881401/ accessed June 18th 2016 29

http://www.themysteryofthebulgarianvoices.com accessed June 18th 2016

Chapter 6 30

Q.v. Béla Bartók and Zoltán Kodály, eds., Corpus Musicae Popularis Hungaricae, 6 vols. (Budapest: Akadémiai Kiadó, 1951-73) 31

https://weilerpsiblog.wordpress.com/2011/03/14/cellular-memory-phenomenon-explainedconsciousness-beyond-the-brain/ accessed June 18th 2016 32

Benjamin, Walter. “The Task of the Translator.” Walter Benjamin: Illuminations. Ed. Hannah Arendt. New York: Schocken Books, 1969. 69–82. 33

http://www.musicandmanagement.com/testimonials.html accessed June 18th 2016

34

Mark Jenner, Talent Organisation and Development, Barclays Bank PLC

35

http://www.nielslandoky.com/wp/lectures/ accessed June 18th 2016

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Volume II:

Composition Portfolio

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POLYCYCLIC COMPROVISATION

Volume II: Composition Portfolio

Trevor Coleman

Portfolio, Recordings and Exegesis Submitted in fulfillment of the requirements of the degree of Doctor of Musical Arts University of Otago, Dunedin, New Zealand

1

Volume II: Composition Portfolio

Table of Contents: SCORES: POLYCYCLIC CHAMBER MUSIC 1-(PC5) POLYANATOLIA ........................................................................................................ 6 2-(PC2) POLYEMBRYONIC .................................................................................................. 15 3A-(PC8) POLYAMOROUS ................................................................................................... 28 3B-(PC8) LILBURN BLUE ..................................................................................................... 39 4-(PC4) POLYFUGUE ........................................................................................................... 51 5-(PC6) POLYJUGGLER ....................................................................................................... 65 6-(PC7) POLYFOLKBAROQUE ............................................................................................ 76 7-(PC1) POLYGENESIS ........................................................................................................ 89 8-(PC11) POLYSPIRALS..................................................................................................... 101 9-(PC10) POLYKARMA ....................................................................................................... 119 10-(PC12) POLYROOTS ..................................................................................................... 127

POLYCYCLIC JAZZ 1-(PC3) POLYNATION ........................................................................................................ 140 2-(PC8) POLYPSYCLIC ...................................................................................................... 155

2

3-(PC14) ADDICTION TO LIFE ........................................................................................... 163 4-(PC13) POLYPHASIC ...................................................................................................... 173 5-(PC11) POLYCENTRIC .................................................................................................... 183 6-(PC17) POLYINTEGRATE ............................................................................................... 187 7-(PC11) POLYBRUBECK .................................................................................................. 198 8-(PC16) POLYGONE ......................................................................................................... 211 9-(PC18) POLYMORPHISM ................................................................................................ 216 10-(PC19) THE SOUND OF JAZZ....................................................................................... 225 11-(PC15) STAY WITH ME (LYRICS) ................................................................................. 234

LIST OF RECORDINGS – FOUR CDS: (REFER TO INCLUDED CDS)

POLYCYCLIC CHAMBER MUSIC (BLUE CD) TRACK: 1-(PC5) POLYANATOLIA 2-(PC2) POLYEMBRYONIC 3-(PC8) POLYAMOROUS 4-(PC4) POLYFUGUE

3

5-(PC6) POLYJUGGLER 6-(PC7) POLYFOLKBAROQUE 7-(PC1) POLYGENESIS 8-(PC11) POLYSPIRALS 9-(PC10) POLYKARMA

POLYCYCLIC JAZZ (RED CD) TRACK: 1-(PC3) POLYNATION 2-(PC8) POLYPSYCLIC 3-(PC14) ADDICTION TO LIFE 4-(PC13) POLYPHASIC 5-(PC11) POLYCENTRIC 6-(PC17) POLYINTEGRATE 7-(PC11) POLYBRUBECK 8-(PC16) POLYGONE 9-(PC18) POLYMORPHISM 10-(PC19) THE SOUND OF JAZZ 11-(PC15) STAY WITH ME 12-(PC15) STAY WITH ME (INSTRUMENTAL)

4

POLYCYCLIC WORLD MUSIC (GREEN CD) TRACK: 1-(PC3) POLYNATION 2-(PC2) DESIRE 3-(PC4) FALAZAFALA 4-(PC9) ONEMOMENT 5-(PC5) POLYANATOLIA 6-(PC8) IN MY ROOM 7-(PC1) UNTOUCHABLE 8-(PC6) CZEKAM (WAITING) 9-(PC7) FATHER'S HOME 10-(PC10) TOUCH

EXTRAS (BLACK DATA CD) (PLAY IN COMPUTER) -(PC12) POLYROOTS (.AIF) -SUBJECT2CHANGE#21 (.AIF) -(PC8) LILBURN BLUE – VIDEO (.MP4)

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Polycycle #5:

PolyAnatolia - for Soprano Sax, Cello & Piano -

Trevor Coleman

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Polycycle #2:

PolyEmbryonic - for Oboe, Cello & Piano -

Trevor Coleman

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Polycycle #8:

PolyAmorous - for Cor Anglais, Cello & Piano -

Trevor Coleman

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Polycycle #8:

Lilburn Blue - for Violin, Cello & Piano -

Trevor Coleman

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Polycycle #8 ‘Lilburn Blue’ for Violin, Cello and Piano composed by Trevor Coleman Programme notes: Background ‘Lilburn Blue’ has been influenced by the more introspective side of Lilburn’s work, in particular his earlier piano pieces, and, more specifically, “From the Port Hills”. Similarities to the modulating triads therein are heard in the opening bars of “Lilburn Blue”. My composition is part of a series of works based on polycyclic design. In this more simple example the ambiguous 4/4-12/8 piano foundation is offset by the Cello in a clear 3/4 framework and notated accordingly. The other works in this series are generally designed with 3 simultaneous meters. As Douglas Lilburn stated to Jack Body in an interview: “design…is intrinsic to the piece”. Performance notes For the improvisation section beginning 1 bar before ‘D1’, the Cello and Violin are to improvise slow evolving harmonics as indicated to achieve a sustained ethereal-like atmosphere, rather chord-like than with sliding notes, for an approximate duration of 20 seconds. The entry of the piano will determine the end of the free timing section. Trevor Coleman Sun, Aug 9, 2015

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Polycycle #4:

PolyFugue - for Oboe, Cello & Piano -

Trevor Coleman

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Polycycle #6:

PolyJuggler - for Alto Saxophone, Cello & Piano -

Trevor Coleman

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Polycycle #7:

PolyFolkBaroque - for Alto Saxophone, Cello & Piano -

Trevor Coleman

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Polycycle #1:

PolyGenesis - for Oboe, Cello & Piano -

Trevor Coleman

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Polycycle #11:

PolySpirals - for Cor Anglais, Cello & Piano -

Trevor Coleman

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Polycycle #10:

PolyKarma - for Cor Anglais, Cello & Piano -

Trevor Coleman

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Polycycle #12:

‘PolyRoots’ - for solo vocal, mixed choir & percussion -

Trevor Coleman 127

Performance notes: For many years I've been an admirer of the polyphonic singing of Bayaka Pygmy tribes and was inspired by their vocalizing while composing ‘PolyRoots’. Stylistically, this composition is pliable enough to be suitable for choirs from differing backgrounds: classically trained through to gospel choirs, vocal groups from various ethnicities, genders and demographics. “Polycycle”, or polymetre, refers to the three simultaneously performed metres in this piece. The choir is split into three sub-choirs who each sing the same song in their respective metres (3/4, 4/4 and 5/4) for the duration of the piece, each maintaining the integrity of the song form, but within their metric context. Therefore, the duration of the song is longer for the 5/4 version than for the 4/4 version, which is in turn longer than those in 3/4. Consequently the sub-choir singing in 5/4 begins the song, followed by the 4/4 then the 3/4 groups. The structure is coordinated so that each sub-choir naturally resolves on the last line of the song simultaneously - the first and only time within the piece that all three choirs sing in unison. During the song therefore, a multitude of phasing of lines occurs with occasional synchronicity between two of the three choirs due to their differing ‘speeds’. All three choirs share the same ‘downbeat’ (one) only every 60 beats - 12 bars of 5/4, 15 bars of 4/4 and 20 bars of 3/4 – and each of these 5 60 beat sections are called “Mother Cycles”. On the score they are notated as MC1, MC2 etc, and are intended as rehearsal markings. Two choir members may perform the bass drum and woodblock parts while they sing. The lyrics express the importance of maintaining a connection to a sense of ‘roots’, through nature metaphors or the notion of ‘home’, as protection against destructive influences (Uncle Sam).

The stage and part allocation:

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conductor After the first three fermata bars, the conducting style should be single quarter note beats (R.H) with cueing of entries and dynamics (L.H.) as per usual. As far as I am aware, this is the first consistently tri-metric choir composition in existence. Enjoy!

Trevor Coleman, 2016, [email protected]

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Polycycle #3:

PolyNation - for Jazz Quartet -

Trevor Coleman

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12

152

'PolyPlanet'

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13

153

'PolyPlanet'

&

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14

154

Polycycle #8:

PolyPsyclic - for Jazz Quartet and Vocalist -

Trevor Coleman

155

Polycycle#8:

PolyPsyclic

lyrics by Trevor Coleman based on a poem by W.B.Yeats Who will drive you now? And pierce the deepest dark and woven shade And dance upon the shore Young soul, lift up your eyes Brood not hopes and fears And no more turn aside, the psycle’s mood Embrace love’s mystery For change is preordained And rules your shadowed world, enlightened mind and wandering path

Original W.B.Yeats Poem Who Goes With Fergus Who will go drive with Fergus now, And pierce the deep wood’s woven shade, And dance upon the level shore? Young man, lift up your russet brow, And lift your tender eyelids, maid, And brood on hopes and fear no more. And no more turn aside and brood Upon love’s bitter mystery; For Fergus rules the brazen cars, And rules the shadows of the wood, And the white breast of the dim sea And all dishevelled wandering stars.

156

Vocal

Polycycle #8 'PolyPsyclic'

. =80 4 \ ” \ &

&

.

,

O,

young

& ,

fears -

brace -

.

.

DE

love's

And

! O. O. and

lift

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wand- ring path

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ry -

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3

and pierce the deep-est dark -

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up your eyes

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B1

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3 DDE ! . . .

.

& O,

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,

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Who -

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& .

legato

A1

Trevor Coleman

No more

pre- or-

! O. O. en-

.

light- ened

P. . . .

dained -

O,

mind

O. .

turn a- side and brood on

1

157

Trevor Coleman

'PolyPsyclic'

.

& O.

po-

ly-

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.

.

psy-

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cle's

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rules your wand- ring path and mi-nd -

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now -

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and

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the

And

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change

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group soloing

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2

158

Polycycle #8 'Juxtaposition Blues'

- PolyPsyclic -

PC271b-4434128

Trevor Coleman

. =80

\ &\

Piano R

Piano

û $,

A1,2&5

BO F

7

Fm

3 . . 3. . . O3. . O . % . O.

& ,

GO F

7

Fm

3 . O. 3 O . O . 3. O O . . %. . .

&

BO F

7

Fm

-

BO F

2nd time: RH improvise

GO F

7

Fm

O. $ . O 3. O . O . 3. . . O3. . -#

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7

3 . . 3. 3 . O. O . . O . . .

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Piano L

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3

.

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BO F

D

7

Fm

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3 . . 3. O . . O3. . O . . .

1

159

'Juxtaposition Blues' Trevor Coleman

&

O,

7#11

-

7#11

Emaj

Amaj E

O. 3 3 O. O. 3 % . O. O. . . P. P. & -

D

7

Edim

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7

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B1

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7

3 . P. . .

continue RH improvise

BO-

maj7

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3

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7b5

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B

2

160

'Juxtaposition Blues' Trevor Coleman

.

& %

D

. z

C

fine

3 P. Q . Q . Q. .

continue RH improvisation

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3. . . . 3 . O O.

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A3&4

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RH piano solo

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(sax)

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$

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$

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on cue

3

3

O. . . O O O ... ... ... O .. .. .. GO F

7

Fm

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3

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.

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7

Fm

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3

3

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3

... .

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3

... O .. -. O .. -7

Fm

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3

161

'Juxtaposition Blues' Trevor Coleman

3

3

3

& O . . . O .. .. .. O O .. .. .. O . . . GO F

%

O .... .... .... O O ... --BO F

7

Fm

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3

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7

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7

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B2

F

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3

..... .. . . . .

7#9

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3

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...

.

OQ O ... ... ... --

(bass solo)

3

7

. 3

O ... --BO-

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P ... ... ... . . . .

E

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--

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3

3

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3

3

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RH improvise as before -play 2nd time only-

† û al fine . . Q Q ,,, , 7b5

B

, 162

Polycycle #14:

Addiction to Life - for Jazz Quartet and Improvised Vocals -

Trevor Coleman

163

Addiction to Life

Lyrics: Trevor Coleman

Wind whistling through an iron windmill Gather in your skins Cuddle and Muddle mingle the exposed flesh frost bites, and simmers a great weight ready to dissipate After the big sleep and before the big leap caught in a twilight zone The dawning of our own addiction to life White flakes of frozen thought linger then disappear a momentary flash a recurring idea We, the controllers and controlled, are moving forward It is nature, the very first word Now the wind whistles a higher pitch and triggers an eerie overtone Icy reverberation around the iron windmill

164

whispered strands from memory glands like scattered sounds reflect the first tone Mother Earth is singing and groaning turning a polycycle returning to a beginning After the big sleep and before the big leap caught in a twilight zone The dawning of our own addiction to life

165

Score

. =190 Sopr.Sax

ePiano

Ac.Bass

Drums

Polycycle#14: Addiction 'PolyAdict'to Life

Trevor Coleman

-for Jazz Quartet and improvised vocals- (see lyric sheet)

Y[ & \ Y\[ & % Y\[ % Y\[ ( Y\[ .0

.0 0

0 .

0 # 0 0 . 0 # 0 0 .0 # . .0 0 # 0 0 .0 . . 0" " " . 0 "" 0 " " 3

Interpret freely in jazz waltz style

0

ê 0 .0 0 "" .

& &

% % ( .0 0

.0

0 .0

0# .

0 0 . 0# 0 ""

0 0 .0 # . .0 0 # .0 . " " " .0 " " 3

0 0

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ê 0 . 0# "" .

0

1

166

Score

&

D

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D

1st time Tacit

4

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7#9

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&

D D

%D %D 0 ( . 0

D

(improvisations over E7#9)

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D

Play opening chord on every repeat

4 4

&

Trevor Coleman

Polycycle#14: 'PolyAdict'

D

.

.0 0

D D

.

.0

.

D D

.

0 .0

.

0# 0 0 .0

0 .

. . .

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D

D

D

D

D

D

D

F

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D

D

D

D

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D

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D

D

D

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ê 0 . 0# 0 "" .

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167

Score

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D

D

D

D

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D

Q. P. .

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Trevor Coleman

Polycycle#14: 'PolyAdict'

.

0 .0

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Q.

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D

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D

D

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D D

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168

Score

D

&

D

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D

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D

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D D D

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D

0 # 0 0 . 0 # 0 0 .0 # . .0 0 # .0 . . 0" " " . "" 0 " "

0 .

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Trevor Coleman

Polycycle#14: 'PolyAdict'

.

0 0 0

.

. 0# ""

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.

0 0 .0 #. .0 .0 . " " " " "

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0 0 0

0

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D

D

Q. D

E

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D

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169

Score

D

& Q -# &

% .

E

%

D

.

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Trevor Coleman

Polycycle#14: 'PolyAdict'

D D

0 ( . 0

D

D

D

D ! . . . .

O. . .

.

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0# .0

0 . D D

-

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D

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D

D

O ....

D D

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.

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D

.

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E

O O ... ! E . D Q.

D

! . . . D P. .

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0 0 0 P.

D P .. Q.

D

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D

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D

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.

. Q.

ê 0 . 0# "" .

0

5

170

Score

&

D

.

& ..

D

D

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D

D

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0 . D

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.

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D

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D

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Trevor Coleman

Polycycle#14: 'PolyAdict'

0 0 0

.

0

.

.

ê 0 .0 0 "" .

.

D

D

D

D

D

D

D

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E .

! P. . P. .

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0

ê . 0# "" .

0

6

171

Score

D

& &

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D

D

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( .0 .0 0 &

Trevor Coleman

Polycycle#14: 'PolyAdict'

.

.0

D

.

0# .0

0 0 D

....

! . . . . .

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P.

D D

D D

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O O .. .

D

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Q.

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.

.

D

.

. .

D D

.

.

0 .0

0# 0 0 . 0# . 0 ""

.

D

D

D

E # .. . Q . P . . "" O. . . D .

.

. 0 # 0 .0 . .0 #. .0 .0 # 0 0 0 0 "" 0 " """"

D

. .

-

ê 0 .0 0 "" .

0

D

.

D

D

D

.. . ! D E Q QQ ...

D

.

D

D

0 0 .0 # . .0 .0 . " " " " "

.. .

Q QQ ... .

0# 0 0 .0

! Q QQ ... ! Q Q .. Q.

.# ..##

P P ..## P .# .

.0 0

O0

.. . .. .

$ $ $ $

ê . 0# 0 $ "" .

repeat ad lib for group improvisations based on composed material. End on sustained 1st beat of form

7

172

Polycycle #13:

PolyPhasic - for Jazz Quintet -

Trevor Coleman

173

Score

Polycycle#13: 'PolyPhasic'

. =135

- for Jazz Quintet Intro

Trumpet

Tenor Sax

&

& Ac.Bass

D

%5

&41 &

Piano

. .

4.

.

(Ac. Bass)

E

. "

.

. . .

. . .

.

. .

.

E

. "

7 4

%1 D

5 4

4

. E . . . . . "

. . . . . . .

. E . . . . "

(open)

$3

& .

.

.

.

.

.

.

.

D D

%.

$ $ $

. . . . . . .

D D

(fill) D D 0 0 0 0 0 0 0 0 0 0 . . . ( . . E . D E . D " "

$

9

Am

4

& &

.

HiHat 1 0 0 0 0 0 0 0 0 0 0 0 0 0 1 . . . . . ( 47 .0 .0 rim .E0 .0 .D0 0 E0 .0 .D0 0 .E0 .0 .D0 . . E . D E . D E . D BD " " " " " "

Drums

%

Trevor Coleman

-

9

Am

& ) 3 4

. . 9

Am

----

---

! . .

Play 2nd time only (use harmon mute)

9

Am

.

.#

Play 2nd time only

.

... .

...

..## .#

.# .. ##

. E . . . . . "

. .

. .. " ! ... .

. .

.

. ..

... .

. D

...

... .

. . . .

( indication only - ad lib for solo section )

$

0 0 .E0 0 .D0 0 E0 0 .D0 0 . . . . " "

1 .E0 0 .D0 . "

174

'PolyPhasic'

& & )

D

& --

& --% . (

E ! . . . .

D

D

. Q.

-

.

.

-

. . .

. .

.. .

.

. .

.

---

0 0 .E0 0 .D0 0 E0 0 0 .D0 0 0 . . . . " "

E

9

O. -

.

&

.

& )

. . . . . . 9 Dm P .. .. O O .. -. . O . -

&

.. O O .. P . O . Q --

%. . E . . " ( .0 .0 .E0 .0 .D0 "

. ....

.. O O .. P . O. P -

Dm

&

Trevor Coleman

9

Dm

9

P .. .

. . "

1 .E0 0 0 .D0 . "

.

0 E0 0 .D0 0 .E0 0 .D0 1 . . " " 2

. . . .

P --- ### - #

. .

0 0 .E0 0 .D0 0 E0 0 .D0 0 .E0 0 .D0 1 . . . . . " " "

.

P P .. Q.

O O O ...

. . . . .

. . .

P ....

D

O O ... P P --# -- ##

--

.

-#

Q.

---

.

. E . . . . O. . " Dm

.. .

-

. .

E ... ... " E ! . . Q .. .. .

.

0 0 .E0 0 . . . "

-# . .

D

D

D

----####

P PQ -# -- ##

. . . . .

D

E ! . . . D

D

D

D

D

D

1 .D0 0 E0 0 .D0 0 .E0 0 .D0 . . " " 175

'PolyPhasic'

.

& . O. 9

Am

& . . . . ) 9 Am .. Q O .. -& . Q. P& .. O O .. -. 9O . P %

Am

.

( .0

P .. . P .. .

. . . . E . "

. . . .

P .# .# .#

D . & . . . . O. ) ... ... -. . & -

D

%.

D

.. . .. O . .

E

7

7

.

P .. Q.

P .. Q.

( .0 .0 .E0 .0 .D0 0 E0 .0 " "

-

9 Dm

. P. . .

O O OO ....

D -

O OP ...

P -Q-

E ! Q. . . . . . E

7#9

--

7#9

9 Dm

. O. . .

1 .D0 0 .E0 0 .D0 . " 3

.

D

D

-- ## --#

--- ### - #

E

Q.

D . . . .

-

0 .E0 0 .D0 0 E0 0 .D0 0 .E0 0 .D0 1 . . . . " " " D

D

-#

. . . . . .

O.

& ---

.. . " ! .. .

..## .#

.

& -

! . .

P .#

Trevor Coleman

D

D D

D

E

Q. Q Q ..

D

Q QQ ...

.. .. .. .

9

Am

.

.

Q.

-

9

Am

O O ...

.

7#9

.. .

E

P P ....

1 .E0 0 .D0 . " .

E ! . . . . . . . . 9

....

.

E . . "

. . . .

0 0 .E0 0 .D0 0 E0 0 .D0 0 . . . . " "

.

! Q.

7#9

...

P PQ ... . . E . . "

O. O .. O OP ...

. .

Am

P ---

P P ----

9

Am

.. .

.. .

. E . . . . "

0 0 .E0 0 .D0 0 E0 0 .D0 0 .E0 0 .D0 1 . . . . . " " "

176

'PolyPhasic'

& .#

! . .

& . )

. . . .

..## & .#

.. . " ! ... .

& .# ..## %.

D

-#

.. .

... .

D

D

E . "

E ! . . .

. .

D

--- ### - #

. . . . . . .

D

D

& Q. & )

-

Q .. & . & Q. Q ..

--

Q P --

% E .! Q . (

E ! . P.

-

D

0 0 . .

7#9

9

Dm

7#9

. . . .

.

.

9

Am

Q.

E ! .

E . P .. .. O .. " P. . O . D .. .. O O .. . . P. 9 Dm . E . . . . . "

0 0 .E0 0 .D0 0 E0 0 .D0 0 .E0 0 .D0 1 . . . . . " " " 4

.# .

7#9

O.

P-

.

-

E

.

9

Am

.# ..# .#

-

E

7

. . . . Q. .

7#9

P .. .

PP P P --P PQ ---

. . E . . "

. .

1 ( .0 .0 .E0 .0 .D0 0 E0 .0 .D0 0 .E0 .0 .D0 " " " D

E

E ... O O O ... " E ! .. O O .. . O.

D

-# --# -#

Trevor Coleman

---

P .. Q.

P -Q-

E

.

7

. . . .

1 .E0 0 .D0 0 E0 0 .D0 0 .E0 0 .D0 . . . " " " . . "

.#

... . " ! .. .

..## .#

9

Am

. . . .

-

.. .

.# ..##

... ### . # 9 . . Am . .

... .

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! . .

.. .. " ! ... .

.

. . . . .. ..

... .

E

7#9

...

Q ...

. . . .

0 0 .E0 0 .D0 0 E0 0 .D0 0 .E0 0 .D0 1 . . . . . " " " 177

'PolyPhasic'

E ! . Q.

D

& -

E ! . . .

& )

9

Am

. .

-#

& -# -# -#

. Q. .

%. . .

9

& 54 .

. .

9

Am

& . . . ) 9

Am

& --3 4--% % (

9

Am

(no mute)

. . .

-

... . ...

..## .# .# .. ##

. E . . . . . "

. . . . .. " .... "

D

%

0 .E0 0 .D0 1 . "

.D0

ON CUE (after last solo)

Am

D

. . . E . "

.

( .0 .0 .E0 .0 .D0 0 E0 .0 " "

D

. .. ....

D

D

D

D

. .. . ...

----

. . . . . .

0 0 .E0 0 .D0 0 E0 0 .D0 0 .E0 0 .D0 1 . . . . . " " "

.

-

-

.

DA

.. .

Q .. .

.

.

.

.

0 0 . .

-#

9

E

Am

--

$

!$ O.)

(

$

--- ### - # --- ###

(fill) 0.E 0 .0 0 D . "

.

. (O . )

repeat ad lib for solos

. .

$ $ D D

$

-

. .

.

-

. .

.

E

.. O O .. P . O. P .. --.

0 0 .E0 0 .D0 0 E0 0 0 .D0 0 0 . . . . " "

5

-

. . Q . . -#

E ! . . . .

D

Am

-

E . . O. . "

D

9

E ! . Q.

DA

9

Am

E ! .. O O .. P P .. .. D

# & --- ##

Trevor Coleman

. . "

1 .E0 0 0 .D0 . " 178

'PolyPhasic'

D

& . . . & . . ) ... . & . .. % . % . (

.

----

O O ... O O O ...

. . . .

0 0 .E0 0 .D0 0 . . . "

. . . .

& . & . )

.. . & " . . % E Q ." %

D

. . . .

E

.. . ...

.

.

( .0

----#### P PQ -# -- ##

P P --# -- ## P --- ### -#

. . . .

1 E0 .0 .D0 0 .E0 .0 .D0 " "

D

D

. . . . .

E . . O. "

9

.

.. O O .. . O .

E ! . . . D D D

D D

. . E . . "

9

9

Am

.

.. . .. .

. . . -

Q OQ ... P --O OO ... P --9

Am

D

0 .E0 0 .D0 0 E0 0 .D0 0 .E0 0 .D0 1 . . . . " " " 6

.

0 .

9

P PQ ...

9

. E . . O. . . . "

. . . .

-

Am

P ....

0 E0 0 .D0 0 .E0 0 .D0 1 . . " "

Am

. .

.

. . . . . 9 Dm P .. -. P .. P -. QDm

0 0 .E0 0 .D0 . . . " .

.

Dm

.. O O .. . O. . .

D

. . . . .

.

. . . .

.

D

Trevor Coleman 9 Dm

P .. . P .. .

. . . . E . "

. . . .

P .# .# .# ..## .#

.. . " .. . "

D D

.. .

.. O . .

. . . . . .

0 .E0 0 .D0 0 E0 0 .D0 0 .E0 0 .D0 1 . . . . " " "

179

'PolyPhasic'

& & )

-

(

. . . D .

E

D

D D

D

Q. Q Q ..

.. .. & .. %.

E .... O O ...

... P PQ ...

. E . . %. "

! . . . O. O .. O OP ...

. .

( .0 .0 .E0 .0 .D0 0 E0 .0 " "

! Q.

7#9

.. . P P ....

.

1 .E0 0 .D0 . "

9

Am

. . .

.

. . . . .

.

9

9

Am

P --P P ----

9

.. . .. .

Dm

D

7

. Q. P. P. 9

Dm

D

. P. . .

O O OO ....

D -

--

O O .. P.

7

P -Q-

E ! Q. . . . . . E

7#9

9

. O. . . Dm

0 0 .E0 0 .D0 0 E0 0 .D0 0 .E0 0 .D0 1 . . . . . " " "

.

Am

D

D . . . . . O. ... ... -. . P .. P .. ---Q. Q. E

.

E

9

7

. . . . O. .

E . . "

. . . .

E O. . O. "

E

! Q. .

Q QQ ...

D

0 0 .E0 0 .D0 0 E0 0 .D0 0 . . . . " "

& & )

E

D

-# & --- ## -- ### % -# % .

D

. . . .

Trevor Coleman

..## .# .# ..##

. . . . . . . . .. . ..." . "

.. . . ...

D

D

D

D

-# --# -# ----####

E . . . " E ! . . . D D

Am

.

1 .D0 0 .E0 0 .D0 . "

0 0 .E0 0 .D0 0 E0 0 .D0 0 .E0 0 .D0 1 . . . . . " " "

. E . . . . "

7

. . . . . . .

D

D

180

'PolyPhasic'

E

& . . & . . ) E ... & " .. E % . " %

. .

( .0 .0

E

-

.

E

O. O O ..

9

7#9

P .. .

P P -Q-

P .. Q.

. . E . . "

.

--P -Q-

E

7

Q .. . Q Q ...

9

9

& . . . . ) 9 Am ... .# .# . & .. # " . # . # .. % ...## " 9

.

... . .. .

-

..## .# .# ..##

. . Am . E . . % . . . " (

.. .. " . . .. "

. . . .

.. .. ....

E

. . . .

0 0 .E0 0 .D0 0 E0 0 .D0 0 .E0 0 .D0 1 . . . . . " " "

8

E . P .. " P. .. D .

. E . . . . . " 9

.

O O ... O OP ...

... .. .

! .

Dm

E ! . . .

7#9

... Q ...

7#9

Q P --

. P. . .

-

--

D

E

. . . .

0 0 .E0 0 .D0 0 E0 0 .D0 0 .E0 0 .D0 1 . . . . . " " "

Am

Am

9

Dm

E ! Q. .

. . . .

E O. "

. . . .

-

1 .E0 0 .D0 0 E0 0 .D0 0 .E0 0 .D0 . . . " " "

& . O. . . .

Dm

-

7

. . . . Q. .

PP P P ---

O OO ...

7

. . . . Q. .

-

.

Trevor Coleman

----

E ! . . . D

-#

.

9

Am

E ! .. O O .. P P .. .. . Q. .

. . . 0 0 .E0 0 .D0 0 E0 0 . . . . " "

.

.D0

D D

. . . E . " 0 .E0 0 .D0 1 . "

181

'PolyPhasic'

& . & ) & .. . % .

%.

.

DA

Q .. . .

.

É ,

,

.

,

.

9

9

Am

Am

--

--- ### - # --- ###

-

0

É,

ΩΩΩ É,, ,

É & ΩΩ ,,, Ω,

. . Q . . -#

( .0 .0 .E0 .0 .0 "

Trevor Coleman

D

D D

(fill)

É , É1

D D D D D D

9

182

Polycycle #11:

PolyCentric - for Jazz Quartet -

Trevor Coleman

183

Polycycle #11b

PC029b-3454114

E. Piano

. =170

] &\

PolyBrubeck - PolyCentric -

2 ”

Drums intro

% ]\

%

2 ”

$ [\ $ [\

O. O. .

E ! Z E ! $ $ [\ O. E ! O. E ! O . . \ O . . . O. Q. P. O. . ... P. ... .. . E ! D Q .. .. . .

E ! Z\ $ $ [\ O. E ! . . O. Q. . . . . . F

7

Z\

Z [ \ O& \ . O. . O. O. O- O. O. O% Z\ [ &\

DO

7

[\

.. O. P. .

(no repeat on D.S.)

% [\

$

*MC = Mother Cycle:

AO

EO G

7

Fm

$

O -#

EO

7

Cm

F

D O maj

7

7

G

7

D Z \ Z\

Q . Q . -# . O. P. 7

Emaj

[\

7

Gmaj

7

Z\

G

7

D E ! E !E !E ! . O. . . .

D D E ! Z [ ! \ . . O. \ . .# O . .

EO

7

Cm

D E !E ! D D Z\ D . . O. . .

Z\ repeat D 3x $ MC1* D $ [\ ! . O .# . O O ..

(on D.S. repeat 5x)

[ E & \ . O . . . .! O - # % [\

û $ $ [\ E ! .. -. -

Z\

{11} (Bass) 4

E .! . .. ..

D

&

Trevor Coleman

B O sus

EO

7

7

Fm

\ \ O. O . . .

.

E ! D O . P . . . . .

Z\ . [\ O -# . . .

Q. . Q. . . Q.

7b5

\\

Am

Z\

B O maj

7

G

[\

7#9

D O maj

7

7

Amaj

3/4 x 55bars; 5/4 x 33bars; 11/4 x 15bars

1

184

Trevor Coleman

PolyBrubeck

& %

D Z\ [\ ! . O. O. O . .# O . .

7

Fmaj

D O maj

7

Z\

& O. . . . . A

7b5

D

% 0#

0 0 "

Z\ Z\

Sax Solo

[ $ D & \ .. .. . . MC2

% [\ $

[\

-#

7#9

7

Fm

.. .

6

.. .. . .

E O ma

D E ! E ! E ! E ! Z\ [\ E !E ! . . . . O. O. . O. . . . . B O sus

EO

7

Z\

DO

7

7

Cm B O

Cm

[\ 0 #

0 0 "

ù [\ O . # ! Z\ . . . . . O. . . . . . . . O. . . . . O. . To Coda

(no chord.........)

[\ Z\ ! # O . . . . . O . . . . . . .. O . . . . . O. . . D

.. .

7#11

.. .. . .

D

13

Z repeat 5x $ $ [ E ! \ O .. .. \ . .. -. O.

.. .

7#5

EO D O

6

Z\ E ! $ $ [\ O. O. E . O . . O . . . . . " O. . . . . . Q. . P. O . . . . . . MC3 Piano Solo 5x 3 1 $ $[ D E .! . E ! D Z\ repeat D Z\ ” $ $ [\ ” \ & .. .. Q .. .. .. O . . O . Cm

E O ma

7#11

% &

% &

%

O. O. .

G

7

$ $ [\ O. E ! . E ! Z\ . . . O. Q. . . . Z\

7

F

A

7

G

7#5

G EO DO

E D

Z \

Csus

Dm

[\ [ \

7

Dm

Z \ Z\

EO

F

7

[ \ [\

3 ”

G

7

Gm

7

FA

Cm

7

repeat 5x

Z\

1 ”

Z\ Z \

Dm

$ [\$

A

7

BO

7

F

[\ [ \

7

Gm

Z \ Z\

7b5

Bm

2

185

Trevor Coleman

PolyBrubeck

\ &\ % \\ [ &\ % [\ Z &\ % Z\

A

[\

7#9

[\

E O maj

7

EO

7

7

7

Bmaj

[ \

7

Gmaj

7b5

Dm Dm C B

[\ 0 # 0 0 "

. . .. .

Z &\

Z\

. . .

E

MC4

$ [\

$ Z\ Z\

3 ”

Bass Solo

3 ”

7

7

Z \ Z\

% . . . . Z\ . . $ [\ .

...

O. O.

7

[\

7

Gm

[\

Z\

7

Amaj

7

Csus

Z\

7

Cmaj

F

[ .# ! \ . . . . . . . . . . . . (no chord.........)

[\ ! . # . . . . . . . . . . . .

1 $ $[ Z\ ” \

Drum Solo

! .# . . . .

repeat 5x

. . . . . . ...

1 $ $[ Z\ ” \ . # .! . . . . . . . . . . ...

$ [\ ! .# . . . . . . . . . . ... . . . repeat 8x Z $ [\ .# ! %\ . . . . . . . . . . ... . . . † û al Coda ù Coda Z $[ & . . . . . \ . . \ O --## -- ##

G O maj

E O maj

E O maj

7#9

0# 0 0 "

Z $[ & . . ... \ . . . \ %

$

---### - #

P. O. O. . 3

O.

Z\

[\ ! # . . . . . . . . . . . .

Z [ .# ! \ . . \ . . . . . . . . .

Z [ | \ O .. .. $ \ O --# .. .. -- ### repeat 5x

---### - #

Z $ [\ . . . . . . Q. \ . . . Q.

| -#

186

Polycycle #17:

PolyIntegrate - for Jazz Quintet and Vocalist -

Trevor Coleman

187

PC17 PolyIntegrate

Lyrics by Trevor Coleman

People are leaving boarding the boat dark waters forced exodus

No going forward No going back No good-byes No bon voyage

Hope seeker branded by the stigma of victimhood No place on solid ground To be stranded from the land of the living and left by the wayside ————— People arriving leaving the boat safe landing soft integrate

188

Navigate future include the past say farewell greet new home

Hope seeker founded on a network of soul support Earth is a common ground To be called forth to the land of the living and polyintegrated

189

Polycycle#17: 'PolyIntegrate'

Polymetric Score

T. Coleman

for Voice & Jazz Quintet

. =140

Intro

Vocal

& 44

Trumpet (C)

& 44

Tenor Sax (C)

& 44 )

Piano

& 44

%4 4

%5

Acoustic Bass

4

D D

D

D

0 ë0 30 0 0 0 3. 0. 0 0 30 0 0 0. 0 0 0 30 0 ê0. ë0 3. . . 0 0 0 3 3. . ( 4 . " . .. . . . . . . . . .. . . . . . . .. 4 " Drums & Percussion

(conga)

(12/8 afro beat style: swing 8s)

ê0. 3 ë0 30 0 0 ê0 3. . . . . .. .

190

T. Coleman

PC17-PolyIntegrate

& & & ) &

% %

7

8s E swing ! D . . .

Fm

.

E !D .

.

.

E ! D . . . .

.

.

0 ë0 30 0 0 0 3. 0. 0 0 30 0 0 0. 0 0 0 30 0 ê0. ë0 3. . . 0 0 0 3 3. . .. . ( .". . . . . . . . .. . . . . . . .. "

û

[A]

&

Theme

1. People are

7 Fm

3

à. à. O à.

2. People ar -

7

& & ) &

%

Fm

3

7

Fm

à. - #

ri - ving

gO à. O à. à.

à. O - #

. .O.

. -#

7

-

. O -#

-

3 O. O. .

-

3

à. à. à.

leaving the

3

à. O à. à.

2

boat

D

O -#

boat

D

-#

O -#

. O 3. .

-#

. 3. .

.

.

ê0. 3 ë0 30 0 0 ê0 3. . . . . .. .

3 O à. . à. à

O . .3 O . . E !D O. . . O. . . . . . M 0 ë0 30 0 0 0 3. 0. 0 0 30 0 0 0. 0 0 0 30 0 ê0. ë0 .3 . . 0 0 0 3 3. . .. . .". . . .. . . . .. . . . . . . .. "

Fm

. 3 3 % O . EO .O . . . E . . O . . . (

-

-

3

h

boarding the

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.0

13

G

!! Q. . 0

.

0

.

! . O. . QP .... ..

13

.

0 .

.

3 O . .3 . O . P . O. 13

G

Q PP ....

D

.0 0

.0

G

0 0

D

Q Q QP ..... ..

13

0 0

D

BO

! . O.

D

13

A

!! A . P.

E#

.

BO

# P P PO -----# ### # O -- #

O. . Q. P. D

3 O . 3. . . O .3 O . P . O. O. P. O. O. O. D

D D

! ! Q . Q Q .... ..... E Q. # .#

BO

E

0 . .

D

GO

& O. O O .... % O. . O.

0 .

13

& --- ## O O -# -# # % O-# O-#

(

! . .

13

B

. Q. .

AO

%

E . E "

.

& O.

D D

O.

0

D

13

B

13

O.

D

. O. .

. .

P. P.

.

13

!! G . P. 0 .

... . . . . 0 0

0

6

204

PolyBrubeck Trevor Coleman

P . O 3. O . P . O . O . O . D & GO

13

& O .. O O ... % O. O. % (

& &

13

O. 0. .

D

-

7#9

E

7#9

0

(

13

O-

D 7b9

-

D

GO

7b9

7#9

O --- ### - # D- # -#

O OO ---#- ### -# O-#

.

O.

GOD

7b9

7b9

G

D D

7#9

E

!D O.

E

!D .

D D E !D E E !D & O O .. . O O ... P P .. . . Q. Q. D E E E E E % . O. . O. . P. O ." . . " 7#9" 7#9 " 7#9 "7#9 E O DD E F E % . E E E P. E . " P. O â. â. " " â â â" â (

D

D

F

7#9

7#9

O. . . F

D

0 0 0 0 0 .0 0 0 0 .0 0. . . 0 . . 0 . . 0 .

& Q. P. EO

D D

# P P PO ---# -#- ## OO -- ##

D D

G

E

.

E ! D E ! D . . . O.

13

G

AO

13

A

D

-- ## RQ -- ## % -# -- ## %

D

D

Q Q Q ..... PP ..

D D

13

D

A

P. O. . Q. P-

AO

D D

GO

13

D . O. P.

7b9

P O ---O-# -# F

7#9

7#9

D

D

O.

F

7#9

7#9

O O ...

D

..

E ! . .

.

0 .0 0 . 0

EO

D

D D

. O.

.

D D

E

9

G

-# O-#

F

.

GO

O.

7#9

D

D

D

D

. . 7#9

E

. Q .. ..

13

D D

D D

O-

13

. O. â 0â .0 .0 . 0 .0 . 0 0 Q. Q. EO

7#9

D D

O OP ...

D D

.. .

OO .. OO ..

E . . D E ! EO Q. O. . " â.

7#9

FD

9

13

P ----

7#9

7#9

E

7

DO

F

O OO ---#- ###

! E ! E ! Solos $ Cm Q. O. P. . (. ) 7#9

-

O- # O --- ### D- # -#

0 0 0 0 0 .0 0 0 . 0 . . 0 . .

E !D O O .. P. E D

13

G

7#9

E

P. . D

..

7b9

E

13

G

D D . Q ..

--## Q -# -# -- ##

GO

7#9

7#9

E

Q PP --PP --

D D

. O- . O- Q.

.0 .0 0. 0 .0 0 0 . . 0 . 0

Repeat ad lib for solos

E Omaj

7#11

Q

EO

F F ! $ .. O .. (O ... ) . Repeat ad lib for solos Q. P . E $ O. . O. ( .) O . . O. . 7#11 b5 b5 " 7#9 9 7#9 " 9 O E Omaj Dm7 G7 Cm D D EOE O. E O. P. E O. $ O. " " " Repeat ad lib with same groove for solos "â 1 â â â â 2

0 0 D E 1 E 1 E 1 E 1 E 1 E 1 E 1 " " " " " " " 0 fill........................................................

D

1 E

1 "

Cm

$

E

Repeat ad lib with same groove for solos

7

205

PolyBrubeck Trevor Coleman

& &

##

##

##

%

##

##

##

%

##

(

3

## ##

% (

% (

9

DO

C

BO

DO

C

10

13

13

13

##

(in approx. relation to piano chords)

BO

13

%

%

8

7

6

5

7#9

&

&

4

##

BO

&

&

##

11

1

13

13

BO

13

DO

C

13

BO

13

DO

C

B

13

B

2

B

AO

B

13

5

13

A

13

13

A

4

7#9

13

AO

B

13

AO

B

13

BO

A

13

BO

A

13

13

6

13

GO

7#9

13

13

3

AO AO

13

7

13

13

13

GO

A

13

GO

A

13

BO

G

13

BO

G

13

13

8

9

13

13

10

13

AO

G

13

AO

G

13

13

13

13

11

8

206

PolyBrubeck Trevor Coleman

7#9

& &

% %

E GO

A

GO

A

13

13

(

& &

% %

13

AO

F

13

AO

F

13

13

1

13

7#9

E

7#9

E

7#9

GO

F

7#9

GO

F

#9

G

#9

G

7#9

7#9

D

7#9

D

F

F

7#9

7#9

EO

7#9

7#9

E

EO

7#9

7#9

E

8

7#9

D

9

&

##

%

##

F

F

7#9

7#9

7#9

E

7#9

E

P.

EO

7#9

E

#9

$

EO

$ $

7#9

$

$

D

7#9

E

GO

F

7#9

GO

F

#9

#9

G

9

D D

E FQ EO F

E Omaj

Dm7

7#11

9

. O.

E Omaj

7#11

Cm

#9

7

EO. E ! . O. " . P. O. . . O-

Cm

#9

6

END Theme (on cue)

b5

b5

G7

continue with same groove 1

2

continue with same groove

E ! E O. . E . E O. . E P. . ! . Q . . P . . Q . P .# O . " " " " ##

##

3

7#9

G

5

7#9

11

10

P -# & . . O. O. . . %

7#9

D

#9

4

3

2

D

(

(

13

##

4

5

6

##

7

9

207

PolyBrubeck Trevor Coleman

D

& -#

E . O. E P. . . E Q. Q. . . E O. . O. P. E P. D . Q. P. . O. " " " " " P.

&

%

& &

% % (

& &

% % (

##

##

##

##

% (

##

8

. . O.

##

Q. O. P-

9

10

O. D

Q. O. P. D Q. . Q. .

BO

13

DO

C

BO

13

DO

C

13

13

13

13

1

D

AO

B

AO

B

13

5

B

BO

13

13

BO

13

13

BO

A

13

BO

A

13

13

6

DO

C

DO

C

13

13

AO

13

13

AO

13

13

7

13

13

A

13

13

A

4

. Q. . P. O. . Q. P. O. . Q. .

13

. O3. . Q. O. Q. 3

3

2

P .# . . . O . . D 13

B

11

B

B

D E !D E !E ! P. . . . O. .

13

13

BO

G

BO

G

13

13

8

13

13

9

10

208

PolyBrubeck Trevor Coleman

& Q.

GO

&

%

&

3 O . 3. . . O 3. O . P . O. O. P. O. O. O. D

D

13

13

13

13

A

13

G

11

10

P . O 3. O . P . O . O . O . D 13

&

%

13

%

13

A

GO

13

A

(

13

G

AO

13

GO

3 O . 3. . O . P . O.

AO

13

A

GO

% (

D

D D . O. D D E ! E ! O. . P. O. . O. O . P . . . O. . O. P. . . P. O. AO

F

AO

F

13

13

1

13

7#9

E

13

7#9

GO

F

7#9

GO

F

7#9

E

#9

G

#9

#9

4

3

2

#9

G

E P. . E Q. D . E P. E ! . E Q. P. E O ." . . E ! E . O. O. & . Q. " P. Q. P. P. O. . " O. P. . " " O. P. " 7#9

&

E

%

7#9

E

% (

5

7#9

GO

F

GO

F

#9

G

7#9

#9

G

6

7#9

#9

D

F

7#9

#9

D

7#9

F

7#9

EO

7#9

EO

E

8

7

7#9

E

7#9

7#9

9

11

209

PolyBrubeck Trevor Coleman

CODA

. P. D . Q. P. . D D E . O. . $( , ) Q . P . O . O . & " . Free 7#9

&

% %

D

7#9

D

(

F

F

7#9

7#9

E

7#9

$ $

EO

7#9

7#9

E

Meter 9 Cm

Repeat ad lib until cue to END 7#11 E FQ EO F E Omaj

Repeat ad lib until cue to END

E Omaj

7#11

9

$ Cm

$

11

10

&

EO

7#9

7

Cm

b5

Dm7

Repeat ad lib until cue to END 1

2

&

##

##

##

%

##

##

##

%

(

##

3

5

&

%

##

$

##

$

$

##

% 10

##

$

11

8

7

6

$

&

(

##

4

b5

G7

END (on cue)

,

9

Cm

,#

.

O ,,,,

,# ,# ,# ,#

Cm

, ## ,

... .

,

,#

.

, , 1

9

9

1

. . D

D

1 1 1 1 0. . fill.....

12

210

Polycycle #16:

PolyGone - for Jazz Quartet and Vocalist -

Trevor Coleman

211

PC16 - PolyGone

Lyrics by Trevor Coleman

shifting shapes and figurines altered states and realities holy cross and trinity a buddha smile serenity a mother cries a child is born a delicate balance is formed an alien can travel time a temporal breach, a subtle sign crystal ball in a honey comb a modulating polygone shifting shapes and figurines altered states and realities holy cross and trinity two soldiers greet, a truce in fire re-align the line that trips the wire crystal ball in a honey comb a modulating polygone

212

Polycycle#16: 'PolyGone'

Polymetric Score

. =100

for Jazz Quartet Intro

Bb Tenor Sax

E

& ! )4 . 4

D

Piano

& &

T. Coleman

D

. Q. Ö

(Tango style)

E ! . .

E .. .. . . "

%D

Bass

.

.. .. .. . . .

--

4 4

. Q. Ö

D D E

E O ... "

-# --##

--

! . Q Ö. .

.. . . . .. ..

O OO ...

-# --##

E ! . .

.

E .. .. . . "

--

--

D D

. Q. Ö

E

O. . E O .. .. "

--

E .. .. . . "

O --

--

E ! . .

! . Q . Ö.

.

.. .. .. . . .

--

--

4 4

%D

Drums

& . Q. Ö ) -## & --#

E

E ! . ! D E ! . P. . Q . Ö. E O ... "

O OO ...

& -# --## %

.. .. .. . . .

--

E ! .

-# --##

--

. Q. Ö

E ... "

D D

-# --##

--

D

%. . .

0

! .

E O ... "

-## & --# & -# --##

E

.#

. . Q.

O OO ...

.

. Q. Ö

.. .. . .

--

E .. .

. Q. . .

.. .

.#

! .

. . Q.

. .. .

--

.. .

.

.

.. . . .

.

0 5 5 . . . . .11 0 0 . . 0 . . 0 F . 0 . . . . . 4 .

5

D

E

(Latin feel)

5 4

(Songo feel)

(woodblock)

& . Q. Ö )

%

.

E .. .. . . "

%

D D

. Q. Ö

û Theme

(4+4+3)

! . .

E

--

. . .#

.. . "

.

.. .

. . .

. Q. Ö

D

E

-# --##

-# --## .

. Q. . .

. "

.

. Q. E

O .. .

.#

0 0 0 F. 0 . 0 0 . . 0 . . 0 0 0 0 . . 0 . . 0 F. 0 . . . . . . . .. . . . . . . . . . . . 1

. O O ... " . 0

. 213

& Q. ) .. . & & --

% .

! . .

E

Ö.

.. .

.. .

.

.

.

--

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% 0 . . 0 . . 0 F. 0 . 0 . . . . . . & . Q. Ö )

D

E#

& -& --

%.

E .. .. "

. . .

.. .

. . # .

. . P. Q. "" E

.. . " F !! E .. .

. .

Q.

. . Q.

.# 0

. . .

0

. . P. Q. ""

! E# .

-# --# -#

E ... ... . . "

-#

E

. Q. Ö

E O O .... "

O OO ...

.

.

--

.

0 0 0 0 . . . . . . . .

. . . .

.

0

.. .

.. .

.

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--

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& . Q. Ö ) -## & ---## & -# --## % .#

P. Q. D

.

D . . Q.

.

.

. .

% F. 0 . 0 0 . . 0 . . 0 . . . . .

Q . Ö.

E

E .. .. .. .. " ..## .# . .

.#

! . .

.

... ### .#

! .. .. . .

. . Q.

.

E

E .... .... "

O O OO ....

. P P ...

. .

.. .

.... "

.

0 0 0 0 0F 0 . . . . . . . . . . .

2

.

D

.

! OO .. O.

.. .. . P.

-#

0 0 . . 0 . . 0 0 0 0 . . 0 . . 0 F. 0 . 0 %0 . . 0 F. 0 . . . . . . . . . . . . . . E ! . .

.. .

D

..## .#

.#

E .. . "

.

0 0 0 0 . . .F. . . . . . . . .

. Q. Ö

.

E .... --# - ## . --# "

,, ,

....

. .

.

E ! . .

. Q. Ö

Q.

! . . .

E

Ö.

. Q. Ö

....

E ... .

.. .. .. . . . . Q. . . .

0

! .

.. .

0 . . 0 . . 0 . . .

! . .

E

.. .

. . .#

F Q. Q. . . Q. .. . " F

O OO ...

E O OO ... " D

. .

.

0 0 0 F. 0 . . . . . . . .. .

214

! . .

E

& Q. . Ö )

E . . ... ... " & .# .# .# &

% %

0

0

.

& . ..

% .

. . . E

& . Q. Ö ) . & ...

.. ### .. #

.

! .. .. .. .# . . . ..## . Q. . . . .#

. .

.

... .

.. .

.# ..##

.

.#

. Q. Ö

. ... "

. ... .. .

.. . . Q.

.

0 0 0 . . . . .

0

0

To Coda ù

! . FQ. . Q. P. Q. . Q. .. .

O .. . !! E E# .. O OO ... . . . .

.#

. O O ..

E

! . .

0 % 0 . . 0 . . 0 0 0 . . . . . . . Open Form Group Improvisation

& )

..## .#

.... E#

! . .

.. .

!! F .. .. .. . . .

. 0

Ö.

FQ. . Q. P. .

.

O OO ...

. . .

! . . .

.... .... "

! .. .. . .

. Q. . .

. Q .#

On Cue: † al Coda

.

%0 . . 0 .

-#

.

.#

... .. . .

CODA

Q.

..## .#

! .. . . . Q.

E

. Q. Ö

....

E

Variations on Groove for Free Improvisation in 11/4

Polycycle = 4/4 - 5/4 - 11/4:

ù

. . ... ... "

Ö.

.... "

.

.

.. ### .. # .. . .#

.. .

.

.

. ... " .

0 0 0F 0 0 . . . . . . . . . . ..

.

0 . . 0 F. 0 . 0 0 . . . . . . . .

Variations on Groove and Tonality for Free Improvisation in 5/4

.

... .

! . .

E

Ö.

.#

.... "

. .

Free improvisation in 4/4

&

..## .#

0

.

.. ## .#

E

.

0 0 . . . F. . . . E

Q.

! OO .. O.

E

Freely improvise on theme material and tonality in 4/4

& %

. . .

E

---- ###

F . Q. P. . ! . .

-# --##

.#

. . Q. . . .

.

0 . . 0 F. 0 . 0 0 . . . . . . . E ....

. Q. . .

! . ! .. .

. .. ## .# .. .

. Q .#

.

É

. Q.

,

| . . .

,

| .... ,,,, | " ... ,,, . ,

0 . . 0 F . 0 . 0 0 |0 . . . . .

0

Tenor Sax & Piano = 4/4; Bass = 5/4; Drums & Percussion = 11/4

3

215

Polycycle #18:

PolyMorphism - for Jazz Quartet -

Trevor Coleman

216

Polycycle#18: 'PolyMorphism'

Polymetric Score

Trevor Coleman

-for Jazz Quartet-

. =180 Tenor Sax(C)

& )

Swing

7 4

& 74

Piano

%7

4

%

Ac. Bass

7(3+4) 4 Jazz Waltz Feel

ê0 ê0 ( 3 . . . 0. .0 0 0. . 0 0 0 . 0. .0 0 0. 0 . 0 . 0 .0 0. . .0 0 0. .0 0 0. . 0 0 0 . 0. .0 4 0 0 0 0 0 0 0 0 0

Drums

(notation indication only)

& ) &

%

BO % O . . E .! .

(

7

(8va is optional)

O 8va . . . . .

.

0 0. 0 ê0 0 . 0 .0 0. .0 0 0 . 0 . 0 . 0

E ! O. . . .

D

D

0 0 0 . 0 0 0 0. 0 ê0 .0 0 0. . 0 0 0. . 0 .

E ! O. . . .

O. . . . .

.

D

D

8va

0 . 0 .0 0. .0 0 0 . 0 . 0

.0 0 0. . 0

& ) &

% % O . . E .! . (

D

D

0 0 0 . 0 0 0 0. 0 ê0 0 . 0 .0 0 0. . 0 . 0

E ! . O 8va . . . . . . O. . 0.

.

.0 0 0 .0 0 0. 0 0 0 . . 0 . 0 . 0

E ! # O. . . -

0 0 0 0. 0 ê0 0 . 0 .0 0. .0 0 . 0 0. . 0 . 0 217

[A] û B O7

& )

7b9

Gm E ! D .

.

BO % . E O.

! . .

&

11 (3+3+3+2) 4 ..

% O ..

E .... "

7

0 .

(

.0 0

0 0.

. .

8va

& )

( 0. . 0 0 EO

7

& ) O.

D O. O. O.

&

O . . % E O ... E ... D " " EO % O. O. E 7

( 0

.

0.

O. O. O. O.

D

E .... E .... " "

0 0 .

. . "

.

0 0 0 0. .

O. O. O. D

.

. 0 0 0 0. .

! . . O 8va . . . .

% O. . E

E .... "

. .

0 0 0 . 0

D & . . E O .... D % D "

D

E .... D "

O. . .

O.

0.

O.

O ....

.

.

0 0

D

ê0 .

E

! . .

0

D

O ....

O. 0 0

.

E

.0

0.

D

.

. 0 .0 0

0.

-

! D .

.

! . .

D

E .... D "

.0 0

.

.. E O .. "

.0 0

.0 0

D

D

D

D

. . D

0

E .... D " D

0 0 .

.0 0 0. 0

0 0 . 0

D O. O.

. O. . O. . . . . . . . . D .. .. .. D E .. E .. D E .. D " " "

O. O. E . " .

.

.0 0 0 . 0

O. O.

7b9

.

D

D

.

D

O. . . . P ... E .... E .... . " "

0 .0 0. 0

.

E

....

Cm . O. . O. .

O. . . . . ê0 0 .

O ----

D

D

0 0 0 0. 0 0. . 0

ê0 .

0 0

0 .

O ....

----

.

O.

D

O. O. O.

D

.

D

(1st time, leave out [A] section, but play on D.S.)

E O .... "

D

O. O. O.

D

O. O. O.

0 0 .

. . .

.0 0

0 0.

D

0 . 0

0

0

. 0 0 0. .

2

218

BO O. O. D D D O. & . ) 7b9 Gm D O. . . & . . . O --O .... E .... E .... D E .... % " " " 7

BO % . O. 7

0

(

0.

7

& )

E

! . .

O.

. .

8va

0 ê0 0 . 0 0 . 0

G

... .

&

% E ... E ... E " " 7 G % . E ! . . .

D

.0 0.

D P . P . P. P. D

& )

8va

. . .

O . O . % E O O ... E P ... " "

( 0.

7

E .

.

.0 0

7

&

B %.

... .

... E ... E ... . . . " " "

( 0 . 0 .0 0. . .0 0 0. 0 0 B

Q. E .0 . 0

O OO ....

0

D

E OP .... E OP .... " "

! . . 0 .

.0 0 0 . 0 .

D

... E ... . . " " .

0 0.

E OP .... ---"

. Q. Q. Q. 8va

.0 0

0

0.

7

D

E O P O ... "

GO

7

0 0

O.

0

.

.

0.

DO O O ---

7#11

.. .

D

D

O ....

E 0

D

D

7#11

E O O OP .... " 8va

.

. 0 0 0 0. .

7

! D .

.

BO E O. .

! . .

O ....

.

0 0 0 . 0

7

E .... "

0 0 0 0. .

ê0 .

D

E OP .... E OP .... E OP .... " " " ê0 0 .

0 0

7b9

Gm E

E P ... "

O .. ..

O. O. O. . 0.

9

Dm ....

0 0 0 0. 0 0. . 0

.

GO O ... O.

! . .

O. O ...

D

D

0 0 O-

D

.

D

D

0 . 0

O.

O [B] B

O O ----

D

0

GO O. P. O.

O. .

.0 0

! . .

E

.

O.

O. O. O.

D

E O .... E .... D " "

D

.

. .

O.

O. O. O.

. .

E .... D "

O 8va . . .

0. 0 ê0 0 . 0 0 . 0

. .

.0 0.

.

. 0 0

.0

D

E .... " . .0 . 0

0

3

219

&

.. % E O .. " % ( & ) &

O.

.

0 .

D

O ----

E

! . .

.0 0

O. O. O.

0 0.

.

.. % ..

O ....

E .... D "

! . .

.

E

(

.

0 0 0 0

& .

% O. O. E

0

0 . 0 0 0 0. .

. . D

D

. 0 0 0. .

. .

D

D

D

0. 0 0

D

O. O.

ê0 0 .

O.

EO

O.

. E

0 0

0.

. D

D

0 0

.0 0.

E

.0

7

.

.0 0

0

D

.

.0 0 0 . 0 .

O --BO O. .

O.

.

D

0 .

! . .

0

O.

D

D

O ....

.

.

0 .

.0 0 0

D

D 7b9

Cm . O. . O. .

O ....

D

.

. .

.

.0 0

0 0.

-

Gm O. . .

O .... E

7b9

.

.0 . 0

----

. . "

BO O. O. O. 7

0.

O. O. O.

D O . O . O.

7

D

. 0 .0 0

E .... D "

D O. O.

E .... E .... " "

! . . O 8va . . . .

E O O .... "

.. E .. D "

.

E O .... D "

EO O. O.

ê0 0 . .

. . .

.

D

O. O. O. O.

D

0 ê0 0 0 .

7

E .... D "

-# 0

.

0.

D

. . .. .. E .. E .. D " "

. "

D

. 0 0 0 0. 0 0. . 0

. O. . O.

O ... % E ." D

( 0

.

.

D

D

-

D

% O.

& )

0 . 0

D

O. . . . P ... E .... E .... . " "

D

E ! D .

D

0.

O. O. O.

D

& O. O. O. O . )

0 0 0

. D

D

D . . E .... E .... D E .... " " " .

O 8va . . .

.0 0 0. 0

0 . 0

. .

.

0 0 . 0 0 0. .

4

220

&

( & ) &

0

0.

O.

! . .

E

.

O.

ê0 0 .

0 0

P. O.

DO O O ---

D

O. . % E O P .. .. "

GO O. E

O.

7#11

O.

( 0 [C]

& ) &

% %

D

D

7

%

7

O ....

! . .

O.

.

. 0 0

.0

8va

O-

.

D

D

O. O ...

Dm ....

0.

9

7#11

.0 0 0. . 0

D

B

E O O OP .... E OP .... E OP .... E OP .... " " " " 8va

.

O. O. O. . 0 0 .

.0 0

.

0 0.

.

Sax Solo

Q. Q. Q.

E O O O .... E OP .... " "

B .

0 0

7

Q. E 0 0

O OO ....

D

! . . .

7

( 0. . .0 0 0

0. 0 ê0 0 .

0

D

. Q. Q. Q. 8va

0 0 0 0. . EO

7

ê0 .

0. 0 0

D

.

.

.

D

... E ... . . " "

E

.

To Coda

.

ù

O O ----

E OP .... E OP .... E OP .... ---" " " .

.

0 . 0 .0 0

7b9

Cm

(Phrygian)

BO

... . "

E Q. . Q. . Q. "

7b9

Gm

....

0 0 0 . 0 0 0 0. .

7

.

O .. ..

D

. . E ... E ... E ... E ... E " " " " 7 G 8va E ! . . . . . . .

.0 0 0 . 0 . D

P. P. P. P.

D

... .

E P ... "

D

. . -

GO O ... O.

. 0 .0 0. .0 . 0 0

BO

D

E O .... E .... D " "

% D %

O. O. O.

D

O.

& O. O. ) O.

7

G

(Phrygian)

EO

7

continue with same groove

continue with same groove

5

221

BO

7

& )

%

7

B

7

O $B

7 repeat for solos

Sax Solo x3,

&

%

GO

7

G

DO

(Phrygian)

Dm

BO

7

GO

7#11 7#11

9

7b9

Gm

$

7

B

O $ B

7

7

$

(

BO

EO

7

7

& )

on last repeat of piano solo group begins 'fragmenting'

&

7b9

7b9

% %

7b9

$ Gm

GO

7

G

Piano Solo x3

Gm

Cm EO

BO

7

(walking bass on piano solo)

7

( 7

& ) &

% % (

G

GO

7

B

DO

7

$ $

GO

7#11 7#11

9

Dm

7

G

GO

7

$ $

Group Improvisation

7

etc, continue in 3/4

$ $

ê0 . . . $ $

(every 3rd repeat)

$

7 $ 4

$ $ B

$

open length

free form

$ $

Drum Solo

ê0 . . .

6

222

& ) &

%

BO .E !. D O. . 7

%

D

O.

.E !. D .

(8va is optional)

D

. E ! . O. . . . . 8va

O.

( D.S. al Coda

& ) &

ù

CODA

7b9

Gm

% % O . . E .! . D

D

8va E ! . O. . . . . . . O. .

E ! D O. . . .

D

7 BO

D O. O. O. D O . O . & . O. ) O.

B O E ! O 8va . . . . . O. . . . 7

0.

(

(Phrygian)

.

.0 0 0 .0 0 0. 0 0 0 . . 0 . 0 . 0

BO O. O. 7

D

E ! O. D O. O.

O.

D

.

&

% % O . . E .! . (

D

D

0 0 0 0. 0 ê0 0 . 0 .0 0. .0 0 . 0 0. . 0 . 0

E ! . . O 8va . . . . . . O. . 0 .

.

0 0 0 . 0 0 0 0. .0 0 0. . 0 0 0. .

E ! O. . . .

D

D

0 ê0 0 . 0 .0 0. .0 0 0 .0 0 . 0 . 0 0 . 0

7

223

EO

7

D O. O. .

& O. O. O. ) O.

O.

D

&

D

O. O. O. O.

O. O. O.

D

.

7b9

7b9

%

Cm

E OO . E . . O. . . . . % O. " 7

.

D O. O. O. D & O. O. O. . ) O.

D

%

Dm

&

Gm

(Phrygian)

O. E . . "

O.

0 0 0 . 0 0 0 0. 0 ê0 0 . . 0 0. . 0 .

0 ( .

D

7

D

D

. P. . P. .

.

7

7#11

B

7

& ) .

Q.

Q.

Q.

E

Q. "

.

E ! . . . .

Q.

.

8va

. . . . .

Q.

| Q-

GO E ! O. O. . .

7

B % . Q.

( 0

.

.

E 0 0

! . .0

.

8va

.

Q.

0.

.0 0

0

.

Q. ê0

. O. O. O. OGO

7#11

Q.

O-

.

.

.

8va

. O. O. O. -

ê .0 0 0. 0 0 0 . 0 0 0 0. 0 0 . 0 0 0. . 0 .

BO ,#

7

|, # ,# ,#

&

%

.

7

0 0 0 . 0 0 0 0. 0 ê0 0 . 0 .0 0. .0 0 0 .0 0 0. . 0 . 0 . 0 0. . 0 . 0

( .0 0 0. 0

D

DO G

D

(Phrygian)

0 . 0 0 0 0. 0 ê0 0 . 0 .0 0. . 0. . 0 . 0

GO

7

D

D

7

0 .0 0. .0 0 0 .0 0 0. 0 0 . 0 . 0 . 0 0

G

D

8va BO E ! . . O. . . . . O. .

9

% O . . E .! .

-

D

.

.. .

|# O ,,,# ,#

....

| O ,#

.

|# 4

4

Polycycle#18 = 3/4, 7/4, 11/4:Drums = 3/4; Sax & Bass = 7/4; Piano = 11/4 Mother Cycle = 231 beats, or Form x3

8

224

Polycycle #19:

The Sound of Jazz - for Jazz Quartet -

Trevor Coleman

225

The Sound of Jazz

by Trevor Coleman

It swings like Ellington sings like a mockingbird grooves like a steamboat and flies like Charlie P Grateful as a spiritual eternal as a prelude burns like bebop cool like Miles D Blue like an evergreen Rondo a la Turk Return to Forever immortal like Billie H It breaths like an overtone organic like a dream as blessed as a child and sad as a blues queen As humble as silence and sits like a raga committed like Coltrane and bold like a saga The sound of Jazz at every tone and layer the beat of heart rhythm that rhymes like a prayer

226

Polycycle#19: 'PolyHymnia' T Polycycle#19: The Sound of Jazz

Polymetric SCORE

. =100

Funk

û

F

7b9

& 44 ) 7b9

Tenor Sax (C)

F

4 3

%7

3

3

3

F

7b9

D

E#

!! O. .

1st time tacit, play on D.S.

.O. . O.

E Om

7

% E#

3

.O. . O.

3

3

D

O... 3

3

3

E#

3

E Om

!! O. O.

7

D

3

. . O. . O. . . . .

O.O.

D

-

O.

E#

3

D

3

3

. O.

.

3

O.

. O.

. . O. . . . . . .

O.O.

E# O . O. "" â03 ë0 ë0 ë0 4â0 ë0 ë0 ë0 1ê0 ë0 2â0 ë0 ë0 ë0 â03 ë0 ë0 ë0 â04 ë0 ë0 ë0 â01 ë0 ë0 ê02 # . . . . . .. . . .. . . .# . . . . . .. . .

E D !! O. O. .

G O maj

9

& , ) O 9 G maj & ,

D

3

% O. O.

(

O...

3

O.

G O maj

9

O. . ê0 ë0 .

1

D

3

D

3

O. . D

.

. .

E#

3

3

3

.

. .

!! O . .#

.

O. O. . O.

O.

O. D

3

D

O. . .

3

1 â0 ë0 ë0 ë0 â03 ë0 ë0 ë0 â04 ë0 ë0 ë0 â01 ë0 ë0 ê02 # êë . .. . . .. . . .# . 0 0 . .. . . . . . 2

O. . .

1

ë0 ë0 2â0 ë0 ë0 .. . . .

3

3

O.

3

ê0 ë0 . 1

O.

ë0 ë0 2â0 ë0 ë0 . .. . .

3

O.

.

3

O. O.

3

D

E#

O.

-

3

O. .

D

E#

3

.

!! .

ë0 â03 ë0 ë0 ë0 4â0 ë0 ë0 ë0 . . . . ..

-

3

ë0 . .

. O.

O.

.

3 ! . O . O . O.O. . . . . O.

O.

D

!!O . . D O.

. O.

O.

O. . .

3

!! E . ..

3

O. . .

. . . O. . . . . E#

.

E#

1 â01 ë0 ë0 ê02 # ê0 ë0 ë0 ë0 2â0 ë0 ë0 ë0 . . .# . ... . . . . . . . .

(feel = 4+4+2 beats)

7 E Om

% O.

%

3

D

O... -

!! 4. . . O. 1st time tacit, play on D.S. 1 ê0 ë0 ë0 ë0 2â0 ë0 ë0 ë0 â03 ë0 ë0 ë0 4â0 ë0 ë0 ë0 1ê0 ë0 2â0 ë0 ë0 ë0 â03 ë0 ë0 ë0 â04 ë0 ë0 ë0 ... . . . . . ... . . .. ( 54 . . . .. . . . .

Drums

(

D

O...

O. O. % O. . . . O. . P. . . . O. . O. . . . . . . . O. . . P. . . . . . . . .

Bass

&

D

(on D.S. R.H. doubles L.H. 8va instead of melody)

&4

Piano

& )

T. Coleman

D

O . . P .# P . .

. "" . â03 ë0 ë0 ë0 4â0 ë0 ë0 ë0 1ê0 ë0 . . . . . .

A

7b9

.

â0 ë0 ë0 ë0 .. . .

2

227

'PolyHymnia'

& )

A

7b9

A

7b9

.Q. . P.

.#

D

E#

! P. Q. ! P. Q.

P.

O.

3

5

.

O.

E#

!! E D . ..

.

.

5

.

P. O. . . O. . . .# .Q. . P. 3 3 O . 3. . 3. . .3 . 3 ! O . 3. . 3. . 3. . 3 ! . 3. . 3. % O. . . . . . . . . . . . . . . . &

% D (

E#

!! . .

.

â03 ë0 ë0 ë0 â04 ë0 ë0 ë0 â01 ë0 ë0 ê02 # . . .. . . .# . . . . . .

C

7b9

O. .

& -# ) 7b9 C

O. . & -# O. 3 3 3 3 % . . . . . O. . . P. . . % O .# ( & ) &

â01 ë0 .

F F

7b9

..

C

ë0 ê02 # . . .# .

7b9

D

ê . 0 . .

1

D

E#

ë0 ë0 ë0 2â0 ë0 ... . .

ê0 .

1

!! . .#

ë0 ë0 ë0 2â0 ë0 ë0 .. . . .

3

% O. .

3

.

. .

.

O. .

ë0 ë0 . .

O. . . O. . . 3

.

P. .

.

..

ë0 . .

â03 ë0 ë0 ë0 4â0 ë0 ë0 ë0 . . . . 3

1st time enter here: E# O . % D . "" O . 1st time enter here: 1 ê0 ë0 ë0 ë0 2â0 ë0 ë0 ë0 â03 ë0 ë0 ë0 4â0 ë0 ë0 ë0 . ( . .. . . . .. . . .

. .. 3

O. . . . O. . .. O . 3. . 3. O . 3. O . 3. . . . .

!! D . . .

O. . .

3

D

O. . . . O.

E#

!! .

. â03 ë0 ë0 ë0 4â0 ë0 ë0 ë0 1ê0 ë0 2â0 ë0 ë0 ë0 . . . . . .. . . .

O. . . -

7b9 (on D.S. R.H. doubles L.H. 16va instead of melody)

D

3

D

D O. . . O. . . 3 3 3 3 O. . . . O. . O. . . . . . D

E#

!! O . . D O.

ê0 ë0 2â0 ë0 ë0 ë0 â03 ë0 ë0 ë0 â04 ë0 ë0 ë0 . ... . . .. . . . .

1

2

!! .

E#

ê0 ë0 2â0 ë0 ë0 ë0 â03 ë0 ë0 ë0 â04 ë0 ë0 ë0 . . .. . . .. . .. .

1

D

-#

-# O . 3. .

D

. 3. O . 3. P . . . . D

E#

â03 ë0 ë0 ë0 â04 ë0 ë0 ë0 â01 ë0 ë0 . . .. . . .. .

F

7b9

!! . . E . ê02 # . .# . .

.O. . O.

O.

3

3

.O. . O. .O. . O. 3

. . O. . P. . . . .

E# O . D . "" O . 1 â01 ë0 ë0 ê02 # ê0 ë0 ë0 ë0 2â0 ë0 . . .# . ... . . . . . .

ë0 ë0 . . 228

'PolyHymnia'

E Om

7

& )

E

O. "

.

7 E Om

O.

E O. & "

.

% E#

E Om

3

% O. O.

( & ) &

3

. .

O.

!! O. O.

.

7

O.

O.

3

.

O.

3

3

.

3

O. . O. . . . D

E#

O. "" â03 ë0 ë0 ë0 4â0 ë0 ë0 ë0 1ê0 ë0 2â0 ë0 ë0 ë0 . . . . . .. . . . O maj9

-G -

9

3

3

O .# O .#

O. O. 3 "

3

% O. O. O. . . . . . O. . . . G O maj

9

% (

O.

ê0 ë0 .

1

7b9

O .# A

D

O3.

O.

3

O.

E#

!! O . E . .

3

O.

.

-

.

.

-

.

3

D

O.

â03 ë0 ë0 ë0 â04 ë0 ë0 ë0 â01 ë0 . . .. . ..

.O. .

.#

.O. . .O. .

.# .#

. . "

& ) A 7b9 O .# & O .#

.

...-

3

E#

ë0 ê02 # . . .# . . .

3

D

. .

3

E# O . "" .

(

!! . .#

A

..

7b9

D

â03 ë0 ë0 ë0 â04 ë0 ë0 ë0 â01 ë0 ë0 ê02 # . . .. . . .# . . .. . .

E# ê0 .

1

3

D D

3

. O. . O.

.

O .#

!! . E D . .

ë0 ë0 ë0 2â0 ë0 .. . . .

. "

E#

ë0 ë0 2â0 ë0 ë0 . .. . .

E#

!! O . P .#

.

ë0 â03 ë0 ë0 ë0 4â0 ë0 ë0 ë0 . . . . ..

3

3

O. O. O. . O. . P. 3 ! P. O. . . 3

D

E#

. . .

O . 3.

!! . .

ë0 ë0 â03 ë0 ë0 ë0 4â0 ë0 ë0 ë0 . . . . ..

3

ê0 ë0 . 1

D

3

. O. "" . O . 1 ê0 ë0 ë0 ë0 2â0 ë0 ë0 ë0 â03 ë0 ë0 ë0 4â0 ë0 ë0 ë0 1ê0 ë0 . ... . . . . . . .. . . . .

O .# . . . . . . . # O . . . . . . . . " " 3 3 3 3 3 3 3 3 O. . . . . . .. . . . . . ! % O. . . . . . . . . . % E#

D

E !! . O. .

O . O . O . 3. O . . . . O. . . . 3

â0 ë0 ë0 ë0 â03 ë0 ë0 ë0 â04 ë0 ë0 ë0 â01 ë0 ë0 ê02 # . .. . . .. . . .# . .. . . . 2

3

D

3 O. ! O. . . O. . . . O. . . O. . O. O. O. . . . O. . .

O.

O. "

O .#

G O maj

O.

-

.

-

. 3. .

.

. 3. D

D

â0 ë0 ë0 ë0 .. . .

2

D D

.

.

E#

3

! .

!! O.

ê0 ë0 2â0 ë0 ë0 ë0 â03 ë0 ë0 ë0 â04 ë0 ë0 ë0 . ... . . .. . .. .

1

229

'PolyHymnia'

C

7b9

O .#

. . "

O.

. O. .

& ) C7b9 O .# . . O. . O. . O .# . . O . . O. . & " O . 3 .3 O . 3 . 3 O . 3 O .3 ! 3 3 .. .. .. % . . . .O . . . P . . . . . %C E D .

E # !! . O .# . .

-

-

7b9

E # !! . E O. .

D

-

O .3 .3 O .3 P . .. .. .. D

2 â01 ë0 ë0 ê02 # 1ê0 ë0 ë0 ë0 2â0 ë0 ë0 ë0 â03 ë0 ë0 ë0 4â0 ë0 ë0 ë0 1ê0 ë0 â âE . . .# . . . . . . . . . . .. . . .. . . . . .

(

& ) & . 3. . 3. . 3. . 3. % . . . .

,

-

. 3. . 3. . 3. . 3. . . . .

. 3.

, ,

-

7b9

Em

3

E # !! .O. 4

-

,

, E m7b9 ,

. 3. . 3. . 3. . 3. . . . .

7b9

Em

.

.

.

.

.

1 2 1 2 3 4 E . . ê0.##. ê0 (ride) 0. . â0. 0 . â0 . 0 . â0 0 . . . . . ..

-#

-

. 3. . 3. . 3. . . . .

D

To Coda

-# -#

ù

D

.. . . "

D

3

.# . . . O .# . . . 1 ê0 0 2â0 0 â03 0 â04 0 â01 0 ê02 0 1ê0 0 2â0 0 â03 0 4â0 0 1ê0 0 2â0 0 â03 0 â04 0 â01 0 ê02 0 . . .. ... . ... . . . . . ... . . .. .. . . ( . ... . .. . .. .. . . . . . . . ... . %

& ) &

.

.

$F

7b9

.

.

.

.

.

F %$ F %$

7

E Om

7b9

7b9

-

E Om

repeat for solos

4

$

.

7

D

E#

!! O0 0

D

E#

continue in similar style with weight on beats 1,4 &7

!! 0 0 0O0 1 ê0 ë0 ë0 ë0 2â0 ë0 ë0 ë0 â03 ë0 ë0 ë0 4â0 ë0 ë0 ë0 1ê0 ë0 2â0 ë0 ë0 ë0 â03 ë0 ë0 ë0 â04 ë0 ë0 ë0 $ . .... . . .. ( . .. . . . .. . . . . . . . 4

D

E Om ! E # !!O 0 D E # ! D E# ! ! 0 7

O0

O 0 O 0O 0

â01 ë0 ë0 ê02 # (freely interpret groove) . . .# . . . .

O0O00

ED E #

O0 ""

230

'PolyHymnia'

G O maj

A

G O maj

A

9

& ) &

% % (

9

G O maj

9

F

&

%

F

! % 0 0 D E # 0!

& ) &

%

C

7b9

7b9

C

7b9

7b9

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Polycycle#19 = 4/4, 5/4, 7/4:

4/4 = Sax & Piano; 7/4 = Bass; 5/4 = Drums

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233

Stay With Me

Lyrics by Trevor Coleman

(based on the lyrics to ‘Abide With Me’ by Henry F. Lyte)

Come to me fast falls the evening sun when the darkness deepens oh love stay with me When all help fails and all my friends have gone help me be faithful too and stay with me Oh graceful day, how sweet you are how blue your sky flies by shadows creeping slowly and glory fades away changing all the surfaces of all the things we know only you stay the same so please stay with me I need your love your presence every day only your grace can keep the dark at bay who else but you can guide and set me free through the clouds and sunshine oh love, stay with me

234

All This Time

Lyrics by Trevor Coleman

All this time I thought you were gone no messages, no sound of return Now I hear you’ve been here all along hiding out, in the shadows of time We faced our fears and trusted in pain a reminder of, how much we gained We talked in rhymes and laughed on a beat all the while, riding on a dream Then one day after one more broken heart the change came on, and your eyes looked away Coming home to a hallway of emptiness all sign of you, remained as a memory

All this time I thought you were gone no messages, no sound of return Now I hear, you’ve been waiting all along hiding out, in the shadows of time

235

Does this mean that hope is a key? and after all, what is lost can still be found I pray for peace and the wisdom to see the inner-sense of what’s meant to be Underneath the hurt alongside the pain a beauty shared, and long years of growing up And now we’re here a crossroad in our story we can hold the form, embrace the rhyme and reason All this time I thought you were gone and now I hear, you may want to stay you may want to stay All this time, you were never gone and now I know, you’re here to stay you’re here to stay

236