This is a melodically minimalistic trio I wrote many years ago, but this version has a microtonal (just intonation) treatment, with a 224EDO custom tonality system I defined in Dorico: both the Mixed Sagittal accidentals on a few notes and in the key signature; and the playback, which is excellent given this is fully computer-realized.
The brainstorm inspired by a question on the Xenharmonic Alliance, I decided to create a simple chorale where the scale tones are derived exclusively from wolf intervals: the wolf fifth with its extra syntonic comma, and the wolf octave with its Pythagorean comma. The result here, treating both commas as the same, as they’re only about 2 cents different, is pretty twangy, at least. Although, I note that it’s impossible to avoid some essentially ‘consonant’ intervals in spots.
My approach to teaching private lessons covers a wide range of topics. Music is a doorway to many different disciplines besides literal performance, and I think it’s important to show students how deep the rabbit holes extend, metaphorically speaking. Inspiring people can’t involve just showing what they’re already capable of grasping, but shining spotlights on deep ideas that expand on our understanding of our universe. Relevant topics include:
– Classical coaching; helping students understand how to effectively practice and be aware of what they’re doing.
– Understand perception and our relationship to music; how the ear is imperfect; how microphones, speakers, and the process of delivering music (even live music) alters it.
– Lots and lots of deep listening to great music, both live and recorded; emphasis on exposure to many different genres and approaches. Seeing what is possible.
– Understanding correct mechanics of physically handling their instrument.
– Awareness of history; knowing where music comes from and where it might go in the future. Not just literally who played what, but cultural contexts; changes in technology; how music in different realms is related.
– Mathematics in music.
– Strong encouragement to participate in lots of kinds of musical ensembles. Music is a community activity and is best experienced with others.
I’m a big band jazz connoisseur. I love playing the music, and I love checking out others. Here follows those I believe are of the highest musical level and well-worth giving attention to, updated as I see fit:
bill holman: a view from the side
The Bill Holman Band: Brilliant Corners
Bob Curnow’s L.A. Big Band: The Music Of Pat Metheny And Lyle Mays
The Bob Florence Limited Edition: With All The Bells And Whistles
The Count Basie Orchestra Live At El Morocco
Darcy James Argue’s Secret Society: Infernal Machines
Frank Sinatra: Sinatra At The Sands
iTiempo Latino! – The Airmen Of Note
Maria Schneider Orchestra: The Thompson Fields
Ray Charles + Count Basie Orchestra: Ray Sings Basie Swings
Stan Kenton: Contemporary Concepts
Steve Weist: Excalibur
The Vanguard Jazz Orchestra: Up From The Skies
I found more files in the digital heap, and separated this live concert into tracks. I remember this concert; it was in a grade school gymnasium in Luxembourg and as you can hear, those kids were fantastic. Probably one of the best, most energetic audiences I’ve ever played for.
Exposition 1: Good afternoon boys and girls
Exposition 2: What are solos
Exposition 3: When Gavin didn’t have grey hair
Dewdrops On Leaves
Exposition 4: Olivier being French
Mack The Knife
Exposition 5: Kerry introcudes Mr. Truffles
C Jam Blues (Head Chart)
Exposition 6: Gavin introduces the old man
That Old Black Magic
Exposition 7: Pedro introduces everyone and closing comments
Every once in a while, it can be pretty fun to indulge in a bit of nostalgia and look through some of my old files . . . and look what popped up:
This is a live recording from my SHAPE International Band days of a NATO Jazz Orchestra concert, featuring yours truly on trombone solo. I don’t remember where or when it was. This recording, being live, and sounding like a feed off a sound board, is of course chock full of warts, made worse by the sound engineer obviously using our first tune to set sound levels (you can hear him adjusting as the tune progresses) . . . but we had a pretty darn good band, and in my humble opinion the composition turned out pretty well. This was originally written for Jim Finlayson, a trombonist and friend I knew before I joined the military back in the 2000s.