Aux musiciens de formation classique, ces transcriptions permettront de découvrir la musique improvisée de l'intérieur. Aux musiciens de jazz, ces transcriptions permettront de pénétrer au c'ur de l''uvre d'un des pianistes de jazz les plus marquants de son époque à travers son premier album solo. Il s'attache aussi à lancer des passerelles entre les genres, offrant à deux univers assez étanches (La musique classique écrite et la musique jazz improvisée) un même support de travail. The article concludes by considering the cyclic features of Glasper’s music in relation to cyclic elements of postbop jazz.Cet ouvrage cherche avant tout à continuer un travail de mémoire et de constitution d'un patrimoine écrit de la musique improvisée. A cycle-based SLIDE transformation also efficiently models the voiceleading pathways that underlie typical collection shifts in Glasper’s vamps and across his song forms. Motions within single cyclic subsets capture many of Glasper’s characteristic diatonic chord progressions and accompanying melodic shapes. To elucidate these patterns, this article develops a transformational system using a construct with a rich history for modeling diatonic harmony: the ic3/4 dual interval cycle. Instead, recurring patterns of root and melodic motion both within and between diatonic collections form a common thread that runs throughout much of Glasper’s music. While his chord progressions often feature diatonic tertian harmonies and clear tonal centers, they frequently deemphasize familiar aspects of tonal jazz syntax. 1978) blends jazz with elements of R&B, hip-hop, neo-soul, and gospel. The music of modern jazz pianist Robert Glasper (b.
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