circumspect
(for Archie Shepp)
DOWNLOAD one PDF per clef or transposition
Opening Loop (for everyone)
Concert
G (alto flute)
Bass Clef
Alto Clef
Bb
Eb
Guitar Extras 1 – Alternate Bass Thread
Guitar Extras 2 – Rhythm Section Elaboration
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AUDIO MODELS
(Tacky Sounding MIDI Simulations)
with Notes
The word “circumspect” is defined as watchful and discreet, but its literal meaning is to look around, which is the sense I had in mind, This started out from musing over moving forward & backward in time, if not, in sequence—or maybe the tensions & feelings of rushing ahead & pulling back.
How this was invoked was by marking 3 pulses (rush) relative to 4 followed by 5 pulses (drag) relative to that same 4.
I set up a core matrix (a source pattern) consisting of 4 pitches repeated like this:
And, yes, I was thinking about my Gnawa friends…
Then, I found a bass pattern that coincides in pitch (a transparency) with the core matrix:
This is block A (or 1)—4 measures.
circumspect builds 3 blocks in an ABCB cycle.
The B block (or 2) expands A in the middle by inserting this figure in between the first 4 pitches (as threes) and the last 4 (as fives), expanding this section to 8 measures.
The C block (3) does the same thing inserting this figure and expands to a 12 measure block.
So, there’s an expansion & contraction, 4/8/12/8—4/8/12/8—ABCB—etc. throughout the cycle, a sort of breathing that edges just a bit of uncertainty as to where one is in the cycle.
This, by the way, is Line 1 on the downloadable 5 stave chart and anchors in the bass. This is the sound of the complete cycle. The bass voice states the pattern. The treble voice traverses the same pitch cycle but as steady half notes.
Line 2 somewhat emulates Archie Shepp’s sound, especially during the 60s with Roswell in the band (I love their sound). When Line 2 hits the same pulse as line 1 (bass) the pitch is a unison except in Block C where these coincidences alternate between perfect 4ths & major 3rds (a refracted, oblique reference to diatonic resolutions to elicit a bop aroma). Here’s the sound of Lines 1 & 2 together:
Line 3 counters Line 1, kind of emulating a snare bouncing around a walking bass pulse:
Line 4 is not directly related to Lines 1 or 2 but to Line 3:
Likewise, Line 5 poses a counterline to Line 4 without any anchoring in the other lines:
BEFORE the complete cycle sets in motion, an Opening Loop expands on the Block 1 sound:
This is Block 1 looped with all voices:
Block 2 with all voices:
Block 3 with all voices:
Complete Cycle with all voices:
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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
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conducting signals
PITCH
CONTINUITY