Adam Roberts Music

Whew…just made it

Adam — Thu, 03 May 2012 16:09:18 +0000

Ladies and gentleman, rock and roll:

Powerpoint 10: Fusion II: Jazz Rock (Chapter 17)

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Rock History Final

Adam — Thu, 03 May 2012 15:11:29 +0000

This last test will differ from the typical multiple choice final. Instead, you’ll just answer the following 3-part question as completely as possible.

Select Elvis, The Beatles or another artist/band you feel is the most significant to the history of Rock music in the US.
Discuss the reasons for your choice musically, historically and socially.
Defend why your choice is better than Elvis, The Beatles or both if you chose someone else.

Answers will be graded on completeness, quality of argument and historical accuracy. You don’t have to win the argument to recieve a good score, but the argument needs to be plausible and well thought out. Please type the paper and submit it on the day of the final (regular class time on Monday). If you choose, you may hand-write it in class, but you’ll be limited to completing the paper by 7:00pm. Why put yourself through the time limit?

Any questions? If you don’t mind them being public, please post them in the comments here so others can learn from your clarifications. Otherwise, email or use the contact button above.

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Powerpoint 9 and the Final Exam Study Guide

Adam — Tue, 01 May 2012 15:59:55 +0000

Here’s the Powerpoint for Jazz’s most controversial era, Free Jazz

Powerpoint 9: The Avant Garde (Chapter 15)

And the study guide for the final exam:

Spring 2012 Final Exam Review

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Paul Desmond plays “Take Five”

Adam — Sat, 28 Apr 2012 16:55:08 +0000

Here’s a very famous solo from Paul Desmond, being played with Dave Brubeck. I know this one is a cliche, and that there’s many purists who scoff at the idea of this tune, but I love Desmond and had this solo in my archives, so why not? Right?

I actually picked this one years ago for the Arizona School for the Arts Showcase event (our MEGA, end-of-the-year concert). Our pit orchestra played this behind the Ballet. The arrangement we purchased left a lot to be desired so I rewrote it and added a Basie-esque harmonization of Desmond’s solo to give the sax players something interesting to do.

A little analysis

The solo is very short, and as this album really represented jazz’s first significant adventure into odd meter, it doesn’t stretch very far rhythmically. Much more interesting is Desmond’s use of articulation and sequence.

Let’s look at articulation first.

Desmond doesn’t follow the “traditional” bebop articulation pattern of tonguing primarily off beats and accented notes. Instead, he appears to ad-lib his articulations based on the shape of his line. Note the opening phrase of the head. He semi-ghosts the first two notes, accents the 3rd and possibly the fourth. The chromatic part of the lick has a slur from the downbeat to a dramatic staccato, and then all the remaining notes are tongued. This gives his line a dramatic and very unique percussiveness that, to my ear, transforms the lick. The tune loses much of its personality and life when the details Desmond added are missing. As with any solo, take time to match the recording for all the style elements that are tough to represent on paper.

I’ve seen this solo written out a few times in books…they tend to oversimplify some of the more surprising note choices by assuming he is simply playing in thirds on most of the pseudo-arpeggios. Note that most of the shapes are based on a C-6 (concert Eb-6) chord, and a strong emphasis of the note F (concert Ab). To my ear, the F implies an F7 and a mild suspension.

My favorite moment is the phrase from measure 49 to 56. Its a nice rising sequence and it really plays of the bright color of the major 6 of the Dorian scale.

Happy shedding!