permeations gumvindaboloo
after the Shyam Brass Band
for Gregg Moore
DOWNLOAD one PDF per clef or transposition
Percussion
Concert
Bass Clef
Bb
Eb
Guitar Percussion
AUDIO MODELS
(Tacky Sounding MIDI Simulations)
Rough midi representation of possible patterns & motion
in permeations gumvindaboloo:
You already know gumbo sound. This is the source for some of the vindaloo: Shyam Brass Band, Jabalpur, India.
NOTES ON DESIGN STRUCTURE
Any line, any measure, in vertical alignment on the notated page here is interchangeable with any other..
The vindaloo branch of permeations gumvindaboloo operates as a “pure” transparency design, which is to say that all derived melodies, each intended to mark out a distinct rhythmic pattern, land in both pitch & metric unison with this core matrix:
permeations gumvindaboloo’s metric pattern interfaces a simultaneous 5 with 3 laid out in 15 pulses, notated here as quarter notes. This is the melody that identifies the 5 pulse:
And this identifies the 3 pulse:
This melody synthesizes the 5 & 3 together, voiced most often in the bass and/or bass drum:
This adds a 2+3 5/8 pattern to the mix:
The motivating bass line for the gumbo wing consists of all the pitch locations not included in line 5. The line’s sound was a surprise to me, but it nevertheless spelled G U M B O, for sure, such is as it is:
This rhythmic pattern is an extension of what’s implicit in a swinging take on two consecutive dotted quarter notes. It’s the basis for the interlude block:
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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
DEVELOPMENT