During this semester, I have had the privilege to learn and play with many different musicians here at Lehman College, including Mr. Allan Molnar and his Jazz Ensemble. He welcomed me as an unofficial member and this past month I have watched them rehearse to perform an instrumental jazz composition called Blue Bossa by Kenny Dorham. The style or genre of this song is called Bossa Nova which is a mix of Samba and Hard Bop Jazz. Blue Bossa is a jazz standard comprised mainly of II, V, I progressions and is played in either a minor or a major key. In this piece, the two keys are not relative major or minor keys. The form might be described as ABCB since the second four measures and the fourth four measures are identical. The 3rd four measures could be called the bridge since it is played in a different key. Blue Bossa was played in C minor. The piece starts of with  the bass guitar and the drums. The bass line is playing around the II, V, and, I chord. The drums are playing the bossa nova which is a style of drumming typically used in the Jazz with a Latin influence. I often use this style of drumming myself in the Latin Jazz ensemble. It isn’t played as aggressively as other drum patterns would be.  The rim click simulates the click of a clave. The hi-hat simulates the shaker. 8th notes can also be played with a brush instead of a drum stick to further simulate a shaker. The piano follows to decorate the rhythm with minor chords and its arpeggios to break it down. The trumpet comes in next with the main melody or theme of the song. The first time around it gives more of a staccato sound, but then when it repeats, the trumpet stretches out the notes more the second time to more of a legato sound with some fills for the remaining count in the measure. The trumpet continues to improvise during the solo with different variations of the main theme. A low saxophone comes in after and eventually picks up the pace with a quick solo playing in what sounds like 32nd notes with ties. The piano solo comes in after which is my favorite solo of the piece. I feel like it decorated the tune and fit extremely with all the chord progressions. Lastly, the bass solo follows and all other instruments except percussion stop playing. The drums keep the rhythm while the piano throws in some high pitch chords to decorate the bass solo. The main trumpet theme played with trumpet returns closing out the piece. I enjoyed watching this performance and personally enjoy listening to Blue Bossa as well as playing along to it. It is a jazz standard and is a good song to play along with because it is played at a moderate tempo and is good for beginners and musicians who want to practice this style of music. It is a good song for beginners to practice with improvisation over chord changes because it’s slow and has an easy to follow harmony.

Icelandic composer Jóhann Jóhannsson performed his Drone Mass with ACME, the American Contemporary Music Ensemble, and Theatre of Voices. This performance was held at Duke University and was conducted by Donato Cabrera. Drone Mass is a contemporary oratorio with eight movements sung by a vocal ensemble (TOV) accompanied by a string quartet (ACME). The string quartet had one cellist, two violinists, and one violist. The vocal ensemble had two sopranos, one mezzo, one alto, two tenors, and two bass. The movements included a drone produced either by Jóhannsson’s modular synthesizer or by voices and instruments that would mimic the sound of a drone. Jóhannsson’s drone would often produce a deep, rumbling effect. Most, if not all, of the movements were in a natural minor key or mode. The vocalists used limited vibrato and would often continue without rest, producing a haunting or hypnotic effect. The hymn they sang was a series of vowels inspired by Gnostic texts from the Nag Hammadi Library.

In the first movement, voices alternated the theme in F# natural minor. Strings accompanied with a rhythmic bass and then strings played the theme with the voices, and then returned to rhythmic bass, all ending on I⁷.

The second movements showcased the importance all of voices and instruments. The voices sang vowels on the beat. As the strings and voices alternated in similar repeated themes, never resting together, so it began to sound like a fugue.

The third movement had the first appearance of the drone. A low drone tone on E faded in. Bass sang alongside the drone, then the tenors. Strings slurred in an upward motion producing a very sharp sound like faint squeaking in the background. Then the strings repeated an E natural minor arpeggio as the altos alternated tones of E minors with different vowels. The tenors and bass repeated a syncopated bass rhythm as the drone faded out.

In the fourth movement the bass sang alone, slurring tones in a downward motion and would rest. The cellist slurred tones up and down, pushing hard on the bow, creating a tense, unpleasant sound. The other strings joined in doing the same creating dissonant tones. The bass, tenors, and alto repeated this slurring theme with “Ahs.” The voices then called out and answered with the theme several times, in a crescendo.

The fifth movement was in B minor. One violin repeated a simple 4-note motif and then the cello joined for harmony. The second violin played the theme in sync with the first violin. The violins would gradually go in and out of sync while the cello played its own theme. The voices sang vowels on the tones of B minor.

The sixth movement was more about the dynamics. Voices sing vowels in F major as strings sustain tones for the bass. The violins repeated a melancholy theme in F major. All crescendo then one by one the voices and instruments very gradually decrescendo.

In the seventh movement, the drone fades in on D. Individual voices would take turns connecting one interval to create the melody. The deep, rumbling drone bent in and out of D, becoming more rough and thick before it faded out.

The final movement was in E minor. The voices sounded together in an improvisational way in which no rhythm could be heard. The voices alternated sustained tones from the key of E minor. One voice singing a high A# created an unexpected texture. The cello created a drone effect but would slur in a downward motion from B, scaling down a major third, and then a perfect fifth. Voices in tutti repeated this slur, creating more tension, and suddenly ended on the lone cello on G, slurring down to E, to B, then down to E. This would repeat as violins created an unpleasant high pitch sound. The strings alternated in downward slurring. Voices layered on more texture and dissonance by alternated the same slurring motion but beginning on different tones. One by one the voices would call out different tones of the chromatic scale. The voices fade out and the piece ended as the high pitch strings faded out.

Jóhannsson’s Drone Mass was moving with a sense of stillness and mystery. The vocalists were very good but not as virtuosic as I would expect in a work so vocally focused. This work catered to my love of vocal music from the Baroque era. The drone added foundation and an ancient sound to an otherwise modern work. Jóhannsson is better recognized for his original scores for the films, The Theory of Everything (2014) and Arrival (2016).

https://www.youtube.com/watch?v=xF77Y1JLScc

Original Funky Town from the 1980’s

It was a Friday night heading downtown as I was transferring to a different train. I overheard a live music performance. I follow the sound and found the live performance group. The group was performing on the upper level of the 34th Street–Herald Square. Infuse with the crowded and train noises the group perform a higher pitch. The logic allows the instrument pierce through the ambient sounds. Their name is Lucky Chops and they are a brass instruments group. Chops consist of tuba, trombone, trumpet, tenor saxophones, baritone saxophones, and drummer. The group was performing a cover of Funkytown by Lipps Inc compose in the 1980s. The original song instrument was hi-hat cymbal, electronic guitar and majorities were digital interface sounds. The transition from original instrument to brass group and 1 drummer was astounding. The group did not use distinctive instruments from the original track. However, was able to still perform distinctively to the original. The baritone saxophones player started out solo with repeated melodies. Soon after it was joined by the other. The drummer serves as a drone melody. While the trumpet has the most distinctive sound because it has a higher pitch. The tuba, trombone, tenor saxophones, and baritone saxophones synchronize with each other as they play repeated melodies. Proceeded by distinctive high pitch sound of the trumpet. The baritone saxophones player went back to a quick solo which provided a bass sound. As he played he is dancing to each of the notes. Doctor B from my chorus class inform me that performer from vocalist to wind-related instrument utilize several of body movement to produce more sound rather than just standing still. The baritone saxophones not only entertain the audiences with his in sync dancing. He was able to produce more wind force from his lungs. At 1:10 Tenor saxophones player call out “Here we go, 1,2,3” which signal the group to fuege the chorus. Tenor saxophones is very distinctive during chorus because of assorts of melodies. The melodies range from low to high pitch notes. The notes seem to transition from sixteen notes to whole notes. The music transitional at the 2:00 time mark. It forefront the tenor saxophones and baritone saxophones playing a 3 noted repeated melodies. While the drummer played hi-hat along with each notes of the saxophones. At the 2:16 mark the band played a called and responds styles. The trumpet would play alternating melody at a high pitch. While on the second beat the saxophones would ostinato. I would consider this piece to be ternary form because I hear 3 distinctive talea. Not only has the performance sounded live because it was played in front of me but the location of the station provided reverb. The reverb allows notes to be more sustaining and constant. In the video, it shows the band transition into another piece. However, during my event the group stops after Funky Town. Overall, it was a great learning experience. I was able to hear a brass band converting a non-piece into brass band format. The group was able to utilize the original motif and replicate it with brass instruments that are recognizable to the audience. Hearing music is one thing but seeing a live performance is another thing. I was able to see the performance in synch with the music. They were moving their feet and body to each down or up beats. Theatrically people that often vibe with their piece are comfortable with it or practice extensively. Each performance was not stiff and express body language as they played. They were not triggered or distracted by the audience noise and train noise. Lucky Chops are a fine definition of “live performance” because their performance extends beyond notes that could be read on staff paper. I recommend people check out their website for their next appearance. The group sometimes pops up in New York City. However, at the moment they are touring different part of the world.

Official Website: http://www.luckychops.com/

Lucky Chops Fuky Town Cover