WE SHALL OVERCOME
(for Mohsen Mahdawi, Rep. Al Green, and, and, and…)
We Shall Overcome redistributes parts of the melody into 4 blocks for specific instruments (I usually try to avoid this, but not this time…)
Pattern 1 is our reference signal, belonging most to the guitars. For the GUITARS, there are two contrasting loops. We have 3 guitars. Don’t play the same. It’s possible to loop a single line as all vertically aligned measures are interchangeable. Think about the way guitars function in a lot of the late 20th century “pop” music in Congo, Zimbabwe, sometimes even in Fela & elsewhere in the Afroverse.
TROMBONES, who are here emulating the sound of Ugandan “trumpet” ensembles, may or may not sound better an octave lower than written, but we’ll have to see.
DOWNLOAD (by clef & instrument)
TWO DIFFERENT PAGES:
Pattern 1 + Individual Parts
PATTERN 1
Concert
Bass Clef
Alto Clef
Bb
Eb
F
INDIVIDUAL PARTS
Trumpet
Horn
Trombone 1
Trombone 2
Flute
G Alto Flute
Soprano Saxophone
Baritone Saxophone
Clarinet
Bass Clarinet 1
Bass Clarinet 2
Bassoon
Guitar
Violin/Viola
Contrabass + Drums
AUDIO MODELS
Patterns 1 + 2 (trombones)
Patterns 1 + 3 (Low Woodwinds)
Patterns 1 + 4 (Trumpet + Horn + Soprano)
\\/\////\\/\\/ \\\\/\\\ ///\///\ /\//\/
FOR EVERYONE:
Conducting Signals — DOWNLOAD PDF
NOTES
These interfaces are usually designed so that we’re often playing all or parts of lines in pitch & rhythm unison, & when that’s happening, the improvisational element comes in the delivery of timbre.
We’re playing toward an ensemble sound & blend, but that sound can be collectively reinflected with an unlimited potential for subtle variation.
1. Any pitch can be played in any octave.
2. Use as much timbral variety as you can in addition to your standard & personal sound.
Bowed Strings: include pizzicato, vibrato, sans vibrato, sul ponticello, sul tasto, harmonics …
Guitars: include near bridge, muted string, harmonics, bottleneck slide, electronic alterations …
Brass: every mute you got + half valve…
3. Each line accents features in the other lines. Listen for them.
4. Silence is as important as any sound. Silences should be accented. As this is a large ensemble leaving notes out (& laying out) may half of the time be your most important contribution.
5. > Accent the silences. When you stop sounding, make that change as audibly clear as you can.
5. Short or stacatto tones make space & help create a sforzando effect ensemblewise.
7. Leave out a lot of notes to taste, somebody else will play them.
8. Possible alternative voicings on conducted cue:
A. Play everything on one Single Pitch.
B. Play with a sound of Indefinite Pitch to get a percussion effect.
C. Thicken: play within a whole step of the notated pitch.
9. Some other developmental cues:
A. Loop a single line.
B. Crosscut: Play every other measure, or phrase, or line, or repeat.
C. Prune: Don’t play all the notes; leave some (or a lot) out.
D. Change Pitch as you hear it.
E. Local Development: Improvised elaboration of material.
F. Open Development: Follow your ear & whatever’s happening.
ONE MORE THING: with limited rehearsal time, and the material when played all together being kind of tricky — plus it’s all about hearing anyway, there are some supplementary audio tracks here for those of who’d appreciate that.
Download Notes (the same text as above) in PDF format for Printing
>>>>>>>>><<<<<<<<<<
conducting signals
[ezcol_1third]
PITCH
[/ezcol_1third] [ezcol_1third]
CONTINUITY
[/ezcol_1third] [ezcol_1third_end]