Stephen	
  McHale	
  
Master	
  of	
  Music	
  Candidate,	
  
Contemporary	
  Performance,	
  
Berklee	
  College	
  of	
  Music	
  –	
  Valencia	
  Campus	
  
Culminating	
  Experience	
  Final	
  Paper	
  
Soundcloud	
  Playlist	
  for	
  Musical	
  Examples	
  –	
  	
  
https://soundcloud.com/mchalestephen/sets/ce-­‐soundcloud	
  
	
  

1	
  –	
  INTRODUCTION	
  
1.1	
  –	
  Musical	
  Beginnings	
  
	
  	
  	
  	
  	
  My	
  name	
  is	
  Stephen	
  McHale,	
  I	
  am	
  a	
  guitarist	
  and	
  composer	
  from	
  Ireland.	
  I	
  
have	
  previously	
  studied	
  for	
  a	
  National	
  Diploma	
  in	
  Popular	
  Music	
  at	
  Ballyfermot	
  
College	
  of	
  Further	
  Education,	
  receiving	
  a	
  Distinction	
  grade,	
  as	
  well	
  as	
  a	
  Bachelor	
  
of	
  Arts	
  in	
  Jazz	
  Performance	
  from	
  Newpark	
  Music	
  Centre,	
  where	
  I	
  graduated	
  with	
  
First	
  Class	
  Honours.	
  	
  
	
  	
  	
  	
  	
  Despite	
  having	
  spent	
  four	
  years	
  studying	
  for	
  a	
  degree	
  in	
  Jazz	
  Performance,	
  
and	
  therefore	
  having	
  the	
  bulk	
  of	
  my	
  practice	
  and	
  learning	
  time	
  for	
  many	
  years	
  
devoted	
  to	
  jazz,	
  I	
  still	
  feel	
  a	
  disconnect	
  from	
  jazz	
  music	
  as	
  it	
  was	
  something	
  I	
  
came	
  to	
  later	
  in	
  my	
  development	
  as	
  a	
  musician.	
  The	
  sounds	
  that	
  initially	
  piqued	
  
my	
  musical	
  interests	
  are	
  the	
  contemporary	
  music	
  of	
  my	
  younger	
  years,	
  as	
  well	
  as	
  
the	
  older	
  rock	
  and	
  pop	
  music	
  that	
  was	
  played	
  in	
  my	
  house	
  growing	
  up.	
  	
  The	
  
explosion	
  of	
  Britpop	
  when	
  I	
  was	
  very	
  young	
  was	
  the	
  starting	
  point	
  for	
  the	
  

development	
  of	
  my	
  interest	
  in	
  music,	
  as	
  I	
  obsessively	
  listened	
  to	
  the	
  bands	
  of	
  the	
  
time,	
  Oasis,	
  Blur,	
  Pulp,	
  The	
  Stone	
  Roses,	
  and	
  then	
  sought	
  out	
  all	
  the	
  influences	
  
they	
  spoke	
  of	
  in	
  interviews,	
  Led	
  Zeppelin,	
  The	
  Beatles,	
  Jimi	
  Hendrix,	
  etc.	
  This	
  
process	
  of	
  searching	
  through	
  older	
  recordings	
  continued	
  and	
  eventually	
  led	
  me	
  
to	
  the	
  jazz	
  fusion	
  styles	
  of	
  The	
  Mahavishnu	
  Orchestra,	
  Jeff	
  Beck,	
  Weather	
  Report,	
  
Jaco	
  Pastorius,	
  etc.	
  It	
  wasn’t	
  until	
  I	
  began	
  my	
  Bachelor	
  in	
  Jazz	
  Performance	
  that	
  I	
  
really	
  began	
  to	
  listen	
  to	
  the	
  older	
  jazz	
  masters,	
  Miles	
  Davis,	
  Wes	
  Montgomery,	
  
Thelonious	
  Monk,	
  Wayne	
  Shorter.	
  	
  
	
  	
  	
  	
  	
  The	
  result	
  of	
  growing	
  up	
  in	
  an	
  environment	
  where	
  music	
  was	
  ubiquitous,	
  as	
  
many	
  members	
  of	
  my	
  family	
  work	
  in	
  the	
  Irish	
  music	
  industry,	
  as	
  well	
  as	
  having	
  
studied	
  music	
  in	
  the	
  popular	
  and	
  jazz	
  idioms,	
  coupled	
  with	
  the	
  fact	
  I	
  have	
  a	
  
personal	
  interest	
  in	
  a	
  very	
  broad	
  range	
  of	
  musical	
  styles,	
  has	
  meant	
  that	
  I	
  have	
  
found	
  myself	
  working	
  professionally	
  as	
  a	
  sideman	
  in	
  a	
  broad	
  variety	
  of	
  genres,	
  
having	
  to	
  be	
  competent,	
  knowledgeable,	
  and	
  comfortable	
  in	
  all	
  of	
  these	
  
scenarios.	
  	
  	
  

1.2	
  –	
  Focused	
  Eclecticism	
  
	
  	
  	
  	
  	
  Since	
  arriving	
  in	
  Valencia,	
  I	
  have	
  fully	
  realised	
  the	
  benefit	
  of	
  these	
  experiences,	
  
as	
  it	
  has	
  meant	
  I	
  have	
  been	
  able	
  to	
  continue	
  broadening	
  my	
  musical	
  horizons	
  
while	
  also	
  delighting	
  in	
  the	
  fact	
  that	
  I	
  can	
  partake	
  in	
  a	
  huge	
  volume	
  of	
  
performances/recordings	
  with	
  a	
  varied	
  collection	
  of	
  my	
  classmates	
  and	
  
professors.	
  The	
  continuous	
  flow	
  of	
  visiting	
  artists	
  to	
  Berklee	
  Valencia	
  has	
  also	
  
been	
  enlightening	
  in	
  terms	
  of	
  this	
  project,	
  the	
  knowledge	
  that	
  versatility	
  creates	
  
more	
  opportunities	
  for	
  me	
  to	
  play	
  with,	
  and	
  as	
  a	
  consequence,	
  learn	
  from,	
  the	
  
visiting	
  artists	
  drives	
  me	
  to	
  work	
  harder	
  at	
  ensuring	
  I	
  can	
  fit	
  into	
  as	
  many	
  

musical	
  scenarios	
  as	
  possible.	
  Of	
  course	
  this	
  approach	
  will	
  have	
  the	
  knock-­‐on	
  
effect	
  of	
  developing	
  my	
  professional	
  skills	
  with	
  a	
  view	
  to	
  a	
  successful	
  life	
  as	
  a	
  
musician	
  once	
  my	
  time	
  at	
  Berklee	
  Valencia	
  has	
  ended.	
  	
  
	
  	
  	
  	
  While	
  I	
  have	
  benefitted	
  from	
  and	
  enjoyed	
  these	
  opportunities	
  enormously,	
  I	
  
have	
  also	
  come	
  to	
  realise	
  the	
  importance	
  of	
  performing	
  and	
  recording	
  my	
  own	
  
compositions,	
  in	
  terms	
  of	
  finding	
  my	
  own	
  voice	
  as	
  an	
  instrumentalist,	
  the	
  
continuation	
  of	
  the	
  development	
  of	
  my	
  own	
  particular	
  style,	
  as	
  well	
  as	
  
maintaining	
  a	
  working	
  life	
  as	
  an	
  original	
  artist,	
  so	
  that	
  I	
  may	
  enjoy	
  the	
  benefits	
  of	
  
being	
  in	
  a	
  position	
  to	
  perform	
  the	
  music	
  of	
  other	
  people,	
  as	
  well	
  as	
  working	
  on	
  
my	
  own	
  material,	
  while	
  being	
  musically	
  challenged	
  in	
  a	
  varied	
  enough	
  fashion	
  
that	
  I	
  don’t	
  grow	
  jaded	
  with	
  either.	
  	
  

2	
  –	
  PROJECT	
  
2.1	
  -­‐	
  Project	
  
	
  	
  	
  	
  	
  In	
  this	
  sense,	
  there	
  is	
  a	
  conflict	
  between	
  the	
  music	
  that	
  I	
  first	
  loved	
  and	
  the	
  
music	
  I	
  study.	
  This	
  is	
  a	
  common	
  theme	
  among	
  contemporary	
  jazz	
  musicians,	
  as	
  
unlike	
  the	
  masters	
  of	
  the	
  genre	
  which	
  we	
  study,	
  i.e.,	
  Charlie	
  Parker,	
  John	
  
Coltrane,	
  Herbie	
  Hancock,	
  etc.,	
  most	
  of	
  us	
  did	
  not	
  grow	
  up	
  with	
  jazz	
  music	
  as	
  a	
  
regular	
  fixture	
  in	
  our	
  lives,	
  it	
  was	
  something	
  we	
  were	
  exposed	
  to	
  after	
  years	
  
spent	
  learning	
  to	
  play	
  the	
  music	
  that	
  surrounded	
  us	
  in	
  our	
  early	
  years,	
  be	
  it	
  rock,	
  
pop,	
  funk,	
  hip-­‐hop,	
  blues,	
  and	
  so	
  on.	
  	
  
	
  	
  	
  	
  	
  My	
  intention	
  for	
  this	
  project	
  is	
  to	
  compose,	
  record,	
  and	
  release	
  an	
  EP	
  of	
  
original	
  compositions	
  that	
  combine	
  my	
  initial	
  musical	
  influences	
  with	
  the	
  music	
  I	
  
have	
  been	
  studying	
  both	
  as	
  a	
  student	
  at	
  Berklee	
  Valencia	
  and	
  at	
  my	
  previous	
  

educational	
  institutes.	
  	
  This	
  will	
  be	
  combined	
  with	
  a	
  written	
  document	
  to	
  
analyse	
  and	
  justify	
  the	
  reasons	
  for	
  working	
  towards	
  this	
  goal,	
  also	
  containing	
  an	
  
analysis	
  of	
  the	
  compositions	
  themselves.	
  
	
  

2.2	
  –	
  Compositonal	
  Process	
  
	
  	
  	
  	
  	
  The	
  compositional	
  process	
  I	
  employed	
  in	
  the	
  writing	
  of	
  the	
  material	
  for	
  this	
  
EP	
  varied	
  slightly	
  from	
  piece	
  to	
  piece,	
  and	
  the	
  method	
  shall	
  be	
  gone	
  into	
  in	
  more	
  
depth	
  later	
  in	
  this	
  document,	
  but	
  the	
  general	
  system	
  remained	
  the	
  same	
  each	
  
time.	
  I	
  would	
  specifically	
  set	
  aside	
  a	
  time	
  slot	
  several	
  days	
  in	
  advance	
  of	
  when	
  I	
  
planned	
  to	
  compose,	
  this	
  would	
  mean	
  that	
  I	
  would	
  have	
  time	
  to	
  think	
  about	
  what	
  
my	
  intention	
  was	
  going	
  to	
  be	
  for	
  the	
  piece,	
  I	
  could	
  listen	
  to	
  music	
  and	
  consider	
  
whether	
  or	
  not	
  there	
  would	
  be	
  a	
  particular	
  piece	
  of	
  music,	
  or	
  many	
  different	
  
pieces,	
  that	
  were	
  going	
  to	
  influence	
  this	
  composition.	
  I	
  would	
  also	
  make	
  short	
  
recordings	
  of	
  any	
  ideas	
  that	
  came	
  to	
  me	
  in	
  the	
  days	
  leading	
  up	
  to	
  my	
  
composition	
  time.	
  This	
  mental	
  and	
  musical	
  preparation	
  with	
  composition	
  in	
  
mind	
  meant	
  that	
  I	
  never	
  had	
  to	
  approach	
  a	
  blank	
  page	
  and	
  begin	
  to	
  write	
  
without	
  any	
  direction	
  or	
  guidance,	
  it	
  made	
  the	
  process	
  quicker	
  and	
  helped	
  me	
  hit	
  
the	
  ground	
  running	
  each	
  time.	
  	
  
	
  	
  	
  	
  	
  Once	
  I	
  had	
  composed	
  all	
  the	
  parts	
  for	
  the	
  members	
  of	
  the	
  band	
  and	
  entered	
  
them	
  to	
  Finale,	
  I	
  would	
  organise	
  a	
  rehearsal	
  and	
  play	
  what	
  I	
  had	
  written	
  with	
  the	
  
musicians	
  in	
  my	
  group.	
  	
  Invariably,	
  the	
  first	
  playing	
  of	
  the	
  piece	
  would	
  bring	
  
issues	
  to	
  my	
  attention,	
  especially	
  in	
  terms	
  of	
  the	
  length	
  of	
  sections,	
  orchestration,	
  
and	
  dynamics.	
  I	
  would	
  decide	
  on	
  these	
  changes	
  in	
  the	
  rehearsal,	
  make	
  the	
  

adjustments	
  to	
  the	
  musicians’	
  parts,	
  and	
  then	
  hope	
  that	
  by	
  the	
  end	
  I	
  would	
  have	
  
an	
  arrangement	
  that	
  was	
  effective.	
  	
  
	
  	
  	
  	
  	
  After	
  making	
  a	
  recording	
  of	
  this	
  arrangement,	
  using	
  either	
  my	
  iPhone	
  or	
  
MBox,	
  I	
  would	
  bring	
  the	
  recording	
  to	
  Perico	
  Sambeat	
  during	
  his	
  scheduled	
  office	
  
hours,	
  play	
  the	
  composition	
  for	
  him	
  and	
  ask	
  for	
  his	
  opinion	
  on	
  all	
  aspects	
  of	
  the	
  
piece.	
  Perico	
  is	
  a	
  compositional	
  master,	
  particularly	
  of	
  the	
  contemporary	
  jazz	
  
genre,	
  and	
  his	
  observations	
  and	
  comments	
  were	
  invaluable	
  in	
  terms	
  of	
  working	
  
to	
  ensure	
  the	
  composition	
  be	
  of	
  the	
  highest	
  quality	
  possible.	
  I	
  would	
  take	
  notes	
  
at	
  these	
  sessions	
  and	
  then,	
  if	
  necessary,	
  make	
  changes	
  to	
  the	
  arrangement	
  and	
  
send	
  the	
  finished	
  parts	
  to	
  the	
  musicians	
  before	
  what	
  would	
  usually	
  be	
  a	
  second	
  
rehearsal,	
  but	
  occasionally,	
  due	
  to	
  time	
  constraints	
  and	
  lack	
  of	
  availability,	
  would	
  
be	
  a	
  recording	
  session.	
  	
  
	
  	
  	
  	
  	
  Due	
  to	
  the	
  fact	
  that	
  many	
  of	
  my	
  compositions	
  take	
  their	
  roots	
  from	
  a	
  wide	
  
variety	
  of	
  musical	
  influences,	
  the	
  harmony	
  employed	
  could	
  occasionally	
  be	
  an	
  
extreme	
  departure	
  from	
  the	
  style	
  of	
  chordal	
  progressions	
  I	
  am	
  familiar	
  with	
  
soloing	
  over.	
  For	
  this	
  reason	
  I	
  would	
  use	
  my	
  private	
  lesson	
  with	
  Israel	
  Sandoval	
  
to	
  ask	
  for	
  advice	
  on	
  how	
  to	
  approach	
  soloing	
  over	
  the	
  more	
  unusual	
  chords	
  and	
  
chord	
  changes.	
  This	
  led	
  to	
  an	
  accumulation	
  of	
  knowledge	
  regarding	
  artificial	
  
scales,	
  and	
  soloing	
  with	
  an	
  approach	
  that	
  incorporated	
  some	
  elements	
  of	
  
traditional	
  jazz	
  (bebop	
  scales	
  etc.),	
  as	
  well	
  as	
  the	
  more	
  unusual	
  sounds	
  and	
  
theory	
  of	
  the	
  artificially	
  constructed	
  scales,	
  limited	
  transposition	
  scales,	
  etc.	
  This	
  
information	
  helped	
  me	
  hugely	
  as	
  it	
  provided	
  me	
  with	
  a	
  new	
  arsenal	
  of	
  sounds	
  in	
  
my	
  improvisational	
  repertoire,	
  as	
  well	
  as	
  helping	
  me	
  to	
  be	
  comfortable	
  when	
  
asked	
  to	
  solo	
  over	
  more	
  complex	
  harmony.	
  	
  

	
  
	
  
2.3	
  –	
  Compositional	
  Aspirations	
  
	
  	
  	
  	
  	
  The	
  aspirations	
  I	
  have	
  in	
  terms	
  of	
  these	
  compositions	
  are	
  to	
  maintain	
  the	
  
listenability	
  and	
  occasionally	
  simplistic	
  melodicism	
  of	
  contemporary	
  popular	
  
music,	
  while	
  also	
  incorporating	
  the	
  improvisational	
  jazz	
  elements	
  that	
  provide	
  
an	
  opportunity	
  for	
  me	
  to	
  showcase	
  the	
  skills	
  I	
  have	
  been	
  working	
  on	
  for	
  the	
  past	
  
number	
  of	
  years,	
  and	
  particularly	
  the	
  skills	
  I	
  have	
  learned	
  during	
  my	
  time	
  at	
  
Berklee	
  Valencia.	
  	
  
	
  	
  	
  	
  	
  In	
  order	
  to	
  create	
  this	
  style	
  of	
  composition,	
  I	
  will	
  sometimes	
  specifically	
  
reference	
  material	
  from	
  some	
  of	
  the	
  contemporary	
  composers	
  that	
  have	
  
influenced	
  me,	
  using	
  stylistically	
  similar	
  chord	
  progressions	
  and	
  guitar	
  sounds,	
  
while	
  also	
  allowing	
  the	
  information	
  I	
  have	
  learned	
  while	
  studying	
  jazz	
  to	
  be	
  
prominent	
  throughout,	
  all	
  the	
  time	
  striving	
  to	
  ensure	
  the	
  influence	
  of	
  non-­‐jazz	
  
and	
  jazz	
  music	
  remain	
  noticeable	
  throughout.	
  	
  
	
  

2.3	
  –Why	
  This	
  Approach?	
  
	
  	
  	
  	
  	
  As	
  previously	
  mentioned,	
  the	
  idea	
  of	
  having	
  a	
  conflict	
  between	
  the	
  music	
  that	
  
initially	
  sparked	
  our	
  interest	
  and	
  the	
  music	
  we	
  study	
  is	
  a	
  common	
  theme	
  among	
  
contemporary	
  jazz	
  performers.	
  One	
  way	
  in	
  which	
  this	
  can	
  be	
  demonstrated	
  is	
  by	
  
the	
  large	
  number	
  of	
  successful	
  contemporary	
  jazz	
  composers	
  that	
  include	
  their	
  
own	
  arrangements	
  of	
  rock/pop/electronic	
  music	
  in	
  their	
  releases.	
  Some	
  
examples	
  of	
  jazz	
  musicians	
  of	
  today	
  covering	
  other	
  artists	
  include;	
  

•

Robert	
  Glasper	
  –	
  Smells	
  Like	
  Teen	
  Spirit	
  (Nirvana)	
  

•

The	
  Bad	
  Plus	
  –	
  Flim	
  (Aphex	
  Twin)	
  

•

Brad	
  Mehldau	
  –	
  Paranoid	
  Android	
  (Radiohead)	
  

•

Christian	
  Scott	
  –	
  The	
  Eraser	
  (Thom	
  Yorke)	
  

•

Vijay	
  Iyer	
  –	
  MmmHmm	
  (Flying	
  Lotus)	
  

•

Dave	
  Douglas	
  –	
  Unison	
  (Bjork)	
  

	
  	
  	
  	
  	
  Similarly	
  to	
  me,	
  I	
  believe	
  these	
  artists	
  have	
  a	
  desire	
  to	
  explore	
  contemporary	
  
music	
  they	
  enjoy	
  and	
  can	
  relate	
  to,	
  while	
  also	
  using	
  these	
  familiar	
  melodies	
  and	
  
chord	
  progressions	
  as	
  a	
  vehicle	
  for	
  demonstrating	
  their	
  improvisational	
  abilities.	
  
There	
  is	
  also	
  a	
  recognition	
  and	
  respect	
  from	
  these	
  artists	
  for	
  the	
  difficult	
  nature	
  
of	
  writing	
  high	
  quality,	
  yet	
  accessible	
  music.	
  The	
  difference	
  is	
  that	
  I	
  plan	
  to	
  keep	
  
this	
  ideal	
  prominent	
  but	
  through	
  original	
  compositions.	
  	
  
	
  	
  	
  	
  	
  Another	
  reason	
  this	
  approach	
  to	
  composing	
  and	
  performing	
  contemporary	
  
jazz	
  music	
  appeals	
  to	
  people	
  is	
  that	
  it	
  creates	
  the	
  possibility	
  for	
  a	
  wider	
  audience.	
  
The	
  general	
  public	
  can	
  easily	
  be	
  turned	
  off	
  by	
  the	
  prospect	
  of	
  listening	
  to	
  (and	
  
especially	
  paying	
  for)	
  jazz	
  music,	
  as	
  the	
  typical	
  association	
  is	
  with	
  dense,	
  
complicated	
  harmony	
  and	
  melody,	
  combined	
  with	
  long	
  solos	
  that	
  can	
  be	
  difficult	
  
to	
  comprehend	
  without	
  some	
  kind	
  of	
  musical	
  training.	
  Writing	
  and	
  performing	
  
with	
  more	
  accessibility	
  in	
  mind,	
  while	
  still	
  maintaining	
  artistic	
  integrity,	
  is	
  
beneficial	
  for	
  everyone	
  as	
  the	
  combination	
  of	
  high	
  level	
  musicianship	
  with	
  more	
  
easy	
  to	
  digest	
  chords	
  and	
  melodies,	
  will	
  create	
  the	
  likelihood	
  of	
  a	
  wider	
  interest	
  
in	
  live	
  performance	
  of	
  the	
  music,	
  as	
  well	
  as	
  more	
  potential	
  for	
  sales/downloads	
  
of	
  the	
  EP.	
  	
  	
  

	
  

2.4	
  -­‐	
  Expected	
  Outcomes	
  
	
  	
  	
  	
  	
  	
  The	
  main	
  expected	
  outcome	
  from	
  this	
  project	
  is	
  to	
  develop	
  my	
  skills	
  and	
  
knowledge	
  as	
  a	
  composer,	
  as	
  well	
  as	
  become	
  more	
  aware	
  of	
  what	
  it	
  is	
  that	
  
appeals	
  to	
  me	
  as	
  a	
  writer,	
  and	
  the	
  most	
  effective	
  ways	
  to	
  impart	
  my	
  musical	
  
tastes	
  into	
  a	
  body	
  of	
  work	
  that	
  can	
  have	
  all	
  the	
  qualities	
  I	
  previously	
  spoke	
  of,	
  
artistic	
  integrity,	
  musical	
  accessibility,	
  and	
  a	
  successful	
  combination	
  of	
  the	
  
improvisational	
  elements	
  of	
  jazz	
  with	
  the	
  influences	
  of	
  other	
  musical	
  genres.	
  	
  
	
  	
  	
  	
  	
  A	
  second	
  outcome	
  from	
  this	
  project	
  is	
  to	
  have	
  an	
  EP	
  that	
  will	
  be	
  available	
  for	
  
release	
  before	
  the	
  end	
  of	
  the	
  summer	
  2014	
  semester	
  at	
  Berklee	
  Valencia.	
  This	
  
proposed	
  outcome	
  has	
  been	
  aided	
  enormously	
  by	
  the	
  fact	
  that	
  I	
  was	
  signed	
  as	
  an	
  
artist	
  by	
  Disrupción	
  Records,	
  the	
  student-­‐run,	
  Berklee	
  Valencia	
  record	
  label.	
  This	
  
development	
  means	
  that	
  I	
  will	
  have	
  a	
  team	
  of	
  people	
  to	
  help	
  with	
  choosing	
  
platforms	
  to	
  release	
  the	
  EP,	
  as	
  well	
  as	
  in	
  promotion,	
  artwork,	
  and	
  creating	
  as	
  
much	
  interest	
  in	
  the	
  project	
  as	
  is	
  possible.	
  	
  
	
  

Compositional	
  Analysis	
  
1	
  –	
  “Lark”	
  
1.1	
  –	
  Initial	
  Intention	
  
	
  	
  	
  	
  	
  For	
  this	
  piece,	
  my	
  presence	
  at	
  Berklee	
  Valencia	
  was	
  a	
  huge	
  factor	
  in	
  
influencing	
  my	
  compositional	
  process.	
  The	
  diversity	
  of	
  the	
  student	
  body	
  at	
  
this	
  campus	
  means	
  that	
  musical	
  traditions	
  and	
  influences	
  are	
  plentiful	
  and	
  
wide-­‐ranging.	
  Many	
  of	
  the	
  students	
  here	
  display	
  the	
  influences	
  of	
  the	
  

traditional	
  music	
  of	
  their	
  country	
  quite	
  prominently	
  in	
  their	
  work,	
  or	
  at	
  least	
  
have	
  a	
  strong	
  awareness	
  and	
  knowledge	
  of	
  these	
  musical	
  roots.	
  	
  
	
  	
  	
  	
  	
  Despite	
  the	
  fact	
  that	
  members	
  of	
  my	
  family	
  work	
  specifically	
  with	
  
traditional	
  Irish	
  music,	
  and	
  the	
  fact	
  that	
  I	
  grew	
  up	
  in	
  an	
  area	
  where	
  live	
  
traditional	
  Irish	
  music	
  can	
  be	
  heard	
  in	
  many	
  venues	
  on	
  a	
  daily	
  basis,	
  I	
  have	
  
rarely,	
  in	
  fact	
  almost	
  never,	
  played	
  traditional	
  Irish	
  music	
  and	
  only	
  possess	
  
the	
  most	
  basic	
  knowledge	
  of	
  the	
  genre.	
  	
  	
  	
  
	
  	
  	
  	
  While	
  studying	
  at	
  Berklee	
  Valencia,	
  my	
  fellow	
  students	
  made	
  me	
  feel	
  like	
  I	
  
should	
  make	
  an	
  effort	
  to	
  be	
  much	
  more	
  aware	
  of	
  the	
  musical	
  heritage	
  of	
  my	
  
country,	
  and	
  therefore,	
  for	
  this	
  composition	
  I	
  decided	
  I	
  would	
  search	
  for	
  
some	
  elements	
  of	
  traditional	
  Irish	
  music	
  that	
  I	
  could	
  incorporate	
  into	
  my	
  
own	
  compositions,	
  both	
  in	
  order	
  to	
  provide	
  myself	
  with	
  a	
  fresh	
  approach	
  to	
  
composing,	
  as	
  well	
  as	
  increasing	
  my	
  own	
  knowledge	
  of	
  the	
  genre.	
  	
  	
  

	
  
1.2	
  -­‐	
  	
  Search	
  and	
  Solidification	
  of	
  Ideas	
  
	
  
	
  	
  	
  	
  	
  Once	
  the	
  decision	
  was	
  made	
  to	
  incorporate	
  traditional	
  Irish	
  melodies	
  with	
  
this	
  composition,	
  specific	
  recordings	
  were	
  chosen	
  as	
  a	
  starting	
  point.	
  I	
  
listened	
  to	
  albums	
  by	
  “The	
  Bothy	
  Band”,	
  as	
  well	
  as	
  “Planxty”,	
  and	
  many	
  
other	
  classic	
  recordings	
  of	
  Irish	
  traditional	
  music.	
  While	
  these	
  recordings	
  
were	
  exquisite	
  in	
  terms	
  of	
  their	
  music,	
  I	
  found	
  it	
  difficult	
  to	
  translate	
  the	
  
information	
  into	
  something	
  I	
  could	
  use	
  in	
  one	
  of	
  my	
  own	
  compositions.	
  
Because	
  of	
  this	
  I	
  chose	
  to	
  delve	
  into	
  a	
  slightly	
  more	
  modern	
  sound	
  and	
  began	
  
listening	
  to,	
  and	
  transcribing	
  sections	
  of,	
  an	
  album	
  titled	
  “The	
  Storm”	
  by	
  

Irish	
  traditional/fusion	
  band	
  “Moving	
  Hearts”.	
  I	
  instantly	
  found	
  that	
  while	
  
melodically,	
  the	
  information	
  was	
  sometimes	
  the	
  exact	
  same	
  as	
  in	
  the	
  
previous	
  recordings	
  I	
  had	
  listened	
  to,	
  I	
  felt	
  more	
  connected	
  to	
  the	
  music,	
  
most	
  likely	
  because	
  the	
  instrumentation	
  is	
  closer	
  to	
  what	
  I	
  intended	
  to	
  use,	
  ie	
  
electric	
  instruments,	
  drum	
  set,	
  etc.,	
  but	
  possibly	
  also	
  because	
  I	
  have	
  a	
  
personal	
  connection	
  to	
  the	
  group	
  as	
  one	
  of	
  my	
  former	
  teachers	
  is	
  the	
  
drummer.	
  	
  	
  
	
  	
  	
  	
  	
  I	
  was	
  instantly	
  astounded	
  at	
  the	
  melodic	
  wealth	
  on	
  offer	
  in	
  these	
  
recordings,	
  as	
  I	
  often	
  struggle	
  to	
  write	
  clear,	
  concise,	
  and	
  catchy	
  melodies,	
  to	
  
be	
  confronted	
  with	
  this	
  constantly	
  changing	
  yet	
  memorable	
  melodic	
  style	
  
made	
  quite	
  an	
  impression	
  on	
  me.	
  Also,	
  the	
  fact	
  that	
  they	
  achieve	
  a	
  high	
  level	
  
of	
  sophistication	
  with	
  their	
  melodies	
  while	
  never	
  straying	
  from	
  diatonic	
  
notes	
  played	
  over	
  very	
  simple	
  harmony	
  was	
  a	
  lesson	
  to	
  me	
  in	
  the	
  fact	
  that	
  
complexity	
  is	
  not	
  necessary	
  to	
  create	
  interest.	
  	
  Here	
  are	
  some	
  short	
  examples	
  
of	
  melodic	
  ideas	
  contained	
  within	
  one	
  track.	
  	
  
•

Soundcloud	
  Playlist	
  Track	
  1	
  Lark	
  –	
  Melodic	
  Wealth	
  

	
  	
  	
  	
  	
  Because	
  of	
  the	
  enormous	
  volume	
  of	
  material	
  on	
  offer	
  in	
  this	
  recording,	
  it	
  was	
  
apparent	
  that	
  the	
  scope	
  would	
  have	
  to	
  be	
  narrowed	
  to	
  just	
  focusing	
  on	
  one	
  track,	
  
and	
  even	
  then	
  on	
  a	
  very	
  small	
  portion	
  of	
  this	
  one	
  track.	
  	
  The	
  composition	
  that	
  
seemed	
  most	
  suitable	
  is	
  titled	
  “The	
  Lark”,	
  the	
  first	
  track	
  taken	
  from	
  the	
  album	
  
“The	
  Storm”.	
  	
  

1.3	
  –	
  The	
  Writing	
  Process	
  
	
  	
  	
  	
  	
  As	
  previously	
  stated	
  I	
  decided	
  that	
  in	
  order	
  to	
  begin	
  composing	
  with	
  the	
  
influence	
  of	
  this	
  track	
  in	
  mind,	
  I	
  would	
  need	
  to	
  focus	
  on	
  a	
  very	
  small	
  amount	
  of	
  

the	
  information	
  contained	
  within	
  it.	
  The	
  process	
  of	
  choosing	
  which	
  parts	
  to	
  use	
  
was	
  quite	
  simple,	
  two	
  very	
  small	
  melodic	
  ideas	
  that	
  had	
  a	
  very	
  strong	
  appeal	
  on	
  
first	
  listen	
  were	
  chosen,	
  and	
  working	
  with	
  these	
  ideas	
  in	
  order	
  to	
  create	
  an	
  A	
  and	
  
B	
  section	
  melody	
  for	
  the	
  piece	
  was	
  the	
  beginning	
  process	
  of	
  the	
  composition.	
  	
  
	
  	
  	
  	
  	
  Here	
  are	
  the	
  two	
  melodic	
  ideas	
  chosen	
  as	
  the	
  starting	
  point	
  for	
  the	
  
composition.	
  	
  
•

Soundcloud	
  Playlist	
  Track	
  2	
  Lark	
  –	
  Original	
  A	
  and	
  B	
  Section	
  

	
  	
  	
  	
  	
  After	
  transcribing	
  and	
  then	
  playing	
  the	
  first	
  example	
  a	
  few	
  times	
  on	
  my	
  
instrument,	
  I	
  stopped	
  playing	
  the	
  melody	
  exactly	
  as	
  it	
  was	
  on	
  the	
  recording	
  and	
  
let	
  myself	
  play	
  it	
  in	
  a	
  manner	
  that	
  felt	
  more	
  natural.	
  I	
  then	
  recorded	
  myself	
  
playing	
  this	
  new	
  version	
  of	
  the	
  melody	
  and	
  transcribed	
  what	
  I	
  was	
  playing.	
  The	
  
result	
  was	
  that	
  there	
  was	
  a	
  time	
  signature	
  change	
  from	
  4/4	
  to	
  5/4	
  in	
  bar	
  two	
  of	
  
the	
  melody,	
  and	
  also	
  some	
  notes	
  were	
  removed	
  from	
  the	
  end	
  of	
  the	
  original	
  
motif	
  because	
  it	
  seemed	
  that	
  playing	
  the	
  motif	
  in	
  it’s	
  entirety	
  sounded	
  too	
  
specifically	
  like	
  Irish	
  traditional	
  music	
  and	
  was	
  too	
  far	
  a	
  departure	
  from	
  the	
  
contemporary	
  jazz	
  style	
  that	
  was	
  desired.	
  As	
  well	
  as	
  this,	
  the	
  tempo	
  was	
  reduced	
  
to	
  make	
  the	
  melody	
  more	
  playable	
  and	
  also	
  let	
  the	
  tension	
  be	
  created	
  by	
  the	
  
chord/melody	
  combination,	
  as	
  well	
  as	
  the	
  stop-­‐time	
  hits,	
  rather	
  than	
  by	
  the	
  high	
  
tempo	
  of	
  the	
  composition.	
  	
  
	
  

	
  
	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  

	
  	
  	
  	
  	
  	
  On	
  listening	
  to	
  the	
  original	
  track	
  I	
  noticed	
  that	
  there	
  was	
  a	
  section	
  where	
  this	
  
melody	
  was	
  played	
  with	
  stop-­‐time	
  hits,	
  and	
  decided	
  that	
  using	
  this	
  idea	
  might	
  be	
  
a	
  very	
  effective	
  way	
  to	
  create	
  interesting	
  parts	
  for	
  the	
  band	
  to	
  perform	
  while	
  the	
  
melody	
  was	
  being	
  played.	
  In	
  order	
  to	
  decide	
  which	
  chords	
  to	
  use,	
  effective	
  
moments	
  to	
  place	
  the	
  hits	
  were	
  chosen,	
  then	
  different	
  chord	
  voicings	
  were	
  tried,	
  
placing	
  the	
  melody	
  note	
  on	
  top.	
  Aside	
  from	
  the	
  first	
  hit	
  on	
  beat	
  one	
  of	
  the	
  first	
  
bar,	
  all	
  the	
  hits	
  are	
  placed	
  on	
  the	
  last	
  note	
  of	
  each	
  short	
  melodic	
  phrase.	
  The	
  
chords	
  that	
  were	
  most	
  effective	
  to	
  be	
  placed	
  on	
  these	
  hits	
  were	
  Lydian	
  and	
  
Altered	
  voicings,	
  as	
  these	
  choices	
  kept	
  the	
  contemporary	
  jazz	
  feel	
  prominent,	
  
even	
  though	
  the	
  melody	
  itself	
  was	
  quite	
  simple.	
  	
  	
  	
  
	
  

	
  	
  

	
  	
  
	
  	
  	
  	
  	
  In	
  order	
  to	
  move	
  from	
  the	
  A	
  section	
  to	
  the	
  B,	
  the	
  melody	
  needed	
  some	
  kind	
  of	
  
tag,	
  or	
  repeated	
  figure,	
  to	
  make	
  it	
  seem	
  more	
  obviously	
  like	
  the	
  end	
  of	
  a	
  phrase.	
  
It	
  seemed	
  the	
  best	
  way	
  to	
  do	
  this	
  would	
  be	
  to	
  sequence	
  the	
  last	
  small	
  motif	
  of	
  the	
  
melodic	
  phrase	
  and	
  then	
  repeat	
  it	
  down	
  a	
  tone,	
  before	
  repeating	
  it	
  down	
  a	
  tone	
  
again,	
  finishing	
  with	
  a	
  rest	
  of	
  six	
  beats	
  before	
  changing	
  to	
  the	
  B	
  section.	
  The	
  rest	
  
lasting	
  six	
  beats	
  was	
  again	
  decided	
  by	
  listening	
  back	
  to	
  a	
  recording	
  of	
  myself	
  
playing	
  the	
  change	
  between	
  the	
  sections,	
  playing	
  what	
  came	
  naturally	
  and	
  then	
  

writing	
  it	
  down	
  after	
  the	
  fact.	
  Again,	
  Lydian	
  chords	
  were	
  the	
  most	
  effective	
  for	
  
each	
  hit	
  as	
  they	
  gave	
  me	
  the	
  modern,	
  open	
  feel	
  appropriate	
  to	
  the	
  piece.	
  	
  

	
  	
  	
  	
  	
  	
  	
  	
  

	
  
	
  

	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  Here	
  is	
  an	
  audio	
  sample	
  that	
  contains	
  the	
  melodic	
  idea	
  from	
  the	
  original	
  
recording,	
  followed	
  by	
  the	
  A	
  section	
  of	
  my	
  composition.	
  	
  
•

Soundcloud	
  Playlist	
  Track	
  3	
  Lark	
  –	
  A	
  Section	
  Melody	
  

	
  
	
  	
  	
  	
  	
  For	
  the	
  B	
  section	
  of	
  the	
  piece,	
  the	
  original	
  melody	
  was	
  used	
  almost	
  exactly	
  as	
  
on	
  the	
  original	
  recording,	
  the	
  only	
  difference	
  being	
  that	
  the	
  original	
  phrase	
  is	
  
four	
  bars	
  long,	
  whereas	
  in	
  the	
  composition	
  only	
  the	
  first	
  two	
  bars	
  of	
  the	
  melody	
  
are	
  repeated	
  rather	
  than	
  playing	
  the	
  third	
  and	
  fourth	
  bars,	
  thereby	
  creating	
  an	
  
effect	
  closer	
  to	
  an	
  ostinato	
  than	
  what	
  would	
  be	
  strictly	
  considered	
  a	
  melody.	
  The	
  
reason	
  this	
  was	
  done	
  was	
  that	
  the	
  two	
  bar	
  phrase	
  was	
  powerful	
  enough	
  by	
  itself	
  
to	
  warrant	
  being	
  repeated	
  without	
  variation.	
  To	
  complement	
  this	
  it	
  seemed	
  a	
  
rising	
  chromatic	
  chord	
  sequence	
  played	
  underneath	
  it	
  would	
  add	
  to	
  the	
  drama	
  
and	
  tension.	
  This	
  technique	
  of	
  combining	
  a	
  simple	
  melodic	
  idea	
  with	
  a	
  
chromatically	
  moving	
  chord	
  sequence	
  is	
  something	
  used	
  to	
  great	
  effect	
  by	
  Kurt	
  
Rosenwinkel,	
  particularly	
  on	
  his	
  composition	
  “Zhivago”.	
  Similarly	
  to	
  Kurt’s	
  
approach,	
  in	
  this	
  case	
  the	
  voicing	
  is	
  kept	
  the	
  same	
  and	
  the	
  bass	
  note	
  ascends	
  
chromatically,	
  and	
  due	
  to	
  the	
  repetition	
  of	
  notes	
  within	
  each	
  chord,	
  the	
  sound	
  

remains	
  aurally	
  cohesive.	
  Because	
  this	
  type	
  of	
  approach	
  is	
  very	
  guitar	
  driven	
  the	
  
melody	
  was	
  switched	
  to	
  the	
  piano,	
  which	
  also	
  helped	
  create	
  a	
  new	
  atmosphere	
  
for	
  the	
  new	
  section.	
  A	
  crescendo	
  spread	
  over	
  the	
  course	
  of	
  the	
  entire	
  B	
  section	
  
seemed	
  an	
  effective	
  method	
  to	
  capture	
  the	
  repetitive,	
  cyclic	
  feel	
  of	
  this	
  melody,	
  
while	
  also	
  maintaining	
  the	
  interest	
  of	
  the	
  audience.	
  	
  

	
  
	
  
	
  	
  	
  	
  	
  Here	
  is	
  an	
  audio	
  sample	
  of	
  the	
  original	
  melody,	
  followed	
  by	
  an	
  excerpt	
  of	
  the	
  B	
  
section	
  from	
  my	
  composition.	
  	
  
•

Soundcloud	
  Playlist	
  track	
  4	
  –	
  Lark	
  –	
  B	
  Section	
  Melody	
  

	
  	
  	
  	
  	
  After	
  the	
  B	
  Section	
  the	
  piece	
  returns	
  back	
  to	
  a	
  shortened	
  version	
  of	
  the	
  A	
  
Section,	
  this	
  time	
  playing	
  the	
  same	
  melody	
  but	
  going	
  straight	
  to	
  the	
  second	
  time	
  
ending.	
  The	
  melody	
  is	
  written	
  for	
  the	
  piano	
  part	
  to	
  add	
  some	
  extra	
  force	
  and	
  also	
  
create	
  a	
  different	
  texture	
  to	
  the	
  first	
  A	
  section,	
  as	
  the	
  audience	
  has	
  already	
  heard	
  
this	
  material.	
  	
  From	
  here	
  there	
  is	
  a	
  transition	
  to	
  the	
  first	
  solo,	
  and	
  in	
  order	
  to	
  
create	
  an	
  interesting	
  transition	
  to	
  the	
  solo	
  form,	
  the	
  first	
  note	
  of	
  the	
  solo	
  is	
  the	
  
last	
  note	
  in	
  the	
  melodic	
  sequence	
  the	
  audience	
  had	
  previously	
  heard.	
  This	
  is	
  an	
  
effective	
  way	
  of	
  showing	
  the	
  same,	
  or	
  at	
  least	
  similar,	
  information	
  while	
  also	
  
surprising	
  the	
  listener	
  with	
  a	
  new	
  development.	
  	
  

	
  
	
  	
  	
  	
  	
  As	
  there	
  had	
  been	
  a	
  lot	
  of	
  tension	
  built	
  in	
  each	
  section	
  of	
  the	
  composition	
  so	
  
far,	
  the	
  beginning	
  of	
  the	
  guitar	
  solo	
  needed	
  a	
  slightly	
  more	
  relaxed	
  feel	
  than	
  the	
  
previous	
  sections.	
  The	
  method	
  for	
  achieving	
  this	
  was	
  to	
  begin	
  the	
  solo	
  with	
  the	
  
same	
  chords	
  as	
  the	
  B	
  section	
  but	
  this	
  time,	
  play	
  each	
  chord	
  for	
  an	
  entire	
  bar,	
  
rather	
  than	
  just	
  two	
  beats.	
  This	
  achieved	
  the	
  necessary	
  effect	
  of	
  having	
  more	
  
space,	
  while	
  still	
  retaining	
  the	
  mood	
  created	
  in	
  the	
  previous	
  sections.	
  	
  

	
  
	
  
	
  	
  	
  	
  	
  The	
  next	
  section	
  of	
  the	
  solo	
  then	
  repeats	
  the	
  same	
  chords,	
  but	
  this	
  time	
  just	
  
for	
  two	
  beats	
  each.	
  After	
  this	
  the	
  solo	
  form	
  then	
  changes	
  to	
  chords	
  based	
  on	
  the	
  
A	
  section,	
  before	
  returning	
  to	
  the	
  chromatically	
  moving	
  chords,	
  this	
  time	
  
transposed	
  a	
  minor	
  3rd	
  up	
  from	
  where	
  they	
  originally	
  were,	
  once	
  again	
  with	
  the	
  
intention	
  presenting	
  similar	
  information	
  from	
  a	
  new	
  angle	
  in	
  order	
  to	
  maintain	
  
the	
  listener’s	
  interest.	
  This	
  desire	
  to	
  keep	
  the	
  listener’s	
  focus,	
  through	
  
transposition	
  and	
  compositional	
  surprises,	
  is	
  something	
  that	
  I	
  was	
  very	
  aware	
  of	
  
in	
  terms	
  of	
  my	
  initial	
  intention	
  of	
  keeping	
  the	
  contemporary	
  jazz	
  feel	
  of	
  the	
  piece	
  
while	
  still	
  having	
  the	
  listenability	
  of	
  which	
  I	
  spoke	
  earlier.	
  	
  
	
  	
  	
  	
  	
  To	
  end	
  the	
  guitar	
  solo	
  there	
  is	
  the	
  subtle	
  introduction	
  of	
  a	
  short	
  melodic	
  idea,	
  
played	
  just	
  once	
  by	
  the	
  guitar,	
  then	
  repeated	
  by	
  the	
  piano	
  as	
  part	
  of	
  the	
  
accompaniment.	
  This	
  melodic	
  phrase	
  is	
  then	
  played	
  very	
  loudly,	
  and	
  powerfully,	
  

by	
  the	
  entire	
  band	
  before	
  everyone	
  dropping	
  out	
  abruptly	
  to	
  begin	
  the	
  piano	
  
solo.	
  	
  

	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  

	
  

	
  	
  	
  	
  	
  
	
  	
  	
  	
  	
  The	
  piano	
  solo	
  begins	
  with	
  the	
  piano	
  playing	
  this	
  melodic	
  phrase	
  alone,	
  before	
  
then	
  playing	
  over	
  a	
  variation	
  on	
  the	
  A	
  section	
  chord	
  sequence.	
  I	
  purposely	
  wrote	
  
this	
  as	
  part	
  of	
  the	
  arrangement	
  as	
  I	
  knew	
  the	
  part	
  was	
  going	
  to	
  be	
  played	
  by	
  Piotr	
  
Orzechowski,	
  a	
  pianist	
  that	
  has	
  a	
  huge	
  amount	
  of	
  experience	
  and	
  skill	
  in	
  the	
  
discipline	
  of	
  solo	
  piano.	
  After	
  sixteen	
  bars	
  the	
  band	
  re-­‐enters.	
  The	
  final	
  section	
  of	
  
the	
  piano	
  solo	
  is	
  played	
  over	
  the	
  B	
  section	
  chords,	
  with	
  the	
  guitar	
  playing	
  the	
  B	
  
section	
  melody	
  while	
  the	
  piano	
  continues	
  to	
  solo.	
  This	
  again	
  is	
  a	
  repetition	
  of	
  
previously	
  heard	
  material	
  but	
  in	
  a	
  different	
  context;	
  melody	
  that	
  was	
  previously	
  
played	
  by	
  piano	
  is	
  now	
  played	
  by	
  guitar.	
  Similarly	
  to	
  the	
  end	
  of	
  the	
  guitar	
  solo,	
  
piano	
  solo	
  ends	
  with	
  the	
  entire	
  band	
  playing	
  a	
  melodic	
  motif	
  with	
  a	
  crescendo.	
  	
  
	
  	
  	
  	
  	
  Here	
  is	
  an	
  audio	
  sample	
  containing	
  the	
  beginning	
  of	
  the	
  guitar	
  solo,	
  transition	
  
to	
  the	
  piano	
  solo,	
  and	
  ending	
  of	
  the	
  piano	
  solo.	
  	
  
•

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  Solo	
  Transitions	
  

	
  	
  	
  	
  	
  After	
  the	
  piano	
  solo	
  there	
  is	
  an	
  entirely	
  new	
  section	
  that	
  ends	
  the	
  composition.	
  
For	
  the	
  section	
  I	
  very	
  much	
  displayed	
  the	
  influence	
  of	
  rock	
  music	
  on	
  my	
  
compositional	
  approach,	
  the	
  hits	
  played	
  by	
  piano	
  and	
  drums	
  take	
  their	
  influence	
  
from	
  the	
  Led	
  Zeppelin	
  composition	
  “Immigrant	
  Song”,	
  while	
  the	
  guitar	
  part,	
  
which	
  appears	
  after	
  four	
  bars,	
  takes	
  it’s	
  influence	
  from	
  the	
  extended	
  techniques	
  

used	
  by	
  Tom	
  Morello	
  of	
  the	
  group,	
  Rage	
  Against	
  The	
  Machine.	
  While	
  this	
  
section	
  is	
  very	
  different	
  from	
  what	
  preceded	
  it,	
  I	
  kept	
  some	
  reference	
  to	
  the	
  
previous	
  written	
  sections	
  by	
  having	
  the	
  bass	
  play	
  a	
  repeated	
  figure	
  that	
  is	
  
actually	
  the	
  first	
  five	
  notes	
  of	
  the	
  A	
  section	
  melody.	
  	
  Despite	
  the	
  rock	
  influence	
  
present	
  on	
  what	
  each	
  instrument	
  is	
  playing,	
  I	
  maintained	
  the	
  contemporary	
  jazz	
  
feel	
  by	
  having	
  the	
  piano	
  play	
  a	
  D7#9b13,	
  which	
  keeps	
  a	
  harmonic	
  density	
  more	
  
commonly	
  found	
  in	
  contemporary	
  jazz	
  than	
  rock.	
  	
  
	
  
	
  	
  	
  	
  	
  Here	
  is	
  a	
  short	
  excerpt	
  of	
  the	
  final	
  section	
  of	
  the	
  composition.	
  	
  
•

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  Section	
  

1.4	
  -­‐	
  Rehearsal	
  and	
  Adjustments	
  
	
  	
  	
  	
  	
  As	
  mentioned	
  earlier,	
  the	
  first	
  rehearsal	
  of	
  each	
  composition	
  usually	
  
highlighted	
  the	
  areas	
  that	
  needed	
  adjustment	
  in	
  terms	
  of	
  arrangement,	
  
orchestration	
  etc.	
  	
  
	
  	
  	
  	
  	
  The	
  first	
  issue	
  that	
  arose	
  was	
  that	
  the	
  drummer	
  had	
  initially	
  been	
  instructed	
  
to	
  play	
  through	
  the	
  hits	
  in	
  the	
  C	
  Section	
  of	
  the	
  melody,	
  while	
  the	
  rest	
  of	
  the	
  band	
  
continued	
  to	
  play	
  the	
  melody	
  in	
  the	
  same	
  manner	
  as	
  the	
  A	
  section.	
  It	
  was	
  quickly	
  
apparent	
  that	
  this	
  idea	
  didn’t	
  really	
  work,	
  as	
  the	
  rhythmic	
  complexity	
  of	
  what	
  
was	
  written	
  for	
  the	
  guitar,	
  bass,	
  and	
  piano,	
  did	
  not	
  lend	
  itself	
  to	
  having	
  a	
  more	
  
open	
  drum	
  feel	
  underneath	
  it.	
  The	
  support	
  provided	
  by	
  the	
  drums	
  playing	
  the	
  
same	
  rhythm	
  as	
  the	
  rest	
  of	
  the	
  ensemble	
  meant	
  there	
  was	
  a	
  much	
  more	
  stable	
  
and	
  coherent	
  feel	
  to	
  the	
  section.	
  Also,	
  during	
  the	
  rehearsal	
  the	
  drummer	
  was	
  
asked	
  to	
  play	
  a	
  constant	
  quarter	
  note	
  on	
  each	
  beat	
  in	
  order	
  to	
  help	
  the	
  rest	
  of	
  us	
  

to	
  play	
  our	
  parts,	
  but	
  this	
  would	
  not	
  be	
  necessary	
  in	
  the	
  recording	
  session,	
  as	
  we	
  
would	
  be	
  playing	
  to	
  a	
  click	
  track.	
  	
  
	
  	
  	
  	
  	
  After	
  listening	
  back	
  to	
  the	
  recording	
  the	
  decision	
  was	
  taken	
  to	
  change	
  the	
  
introduction	
  of	
  the	
  composition	
  completely.	
  Initially	
  it	
  was	
  written	
  that	
  the	
  
guitar	
  would	
  begin	
  the	
  piece	
  by	
  itself,	
  playing	
  the	
  first	
  phrase	
  of	
  the	
  A	
  section	
  
melody,	
  before	
  being	
  joined	
  by	
  the	
  band	
  for	
  the	
  melody.	
  However,	
  this	
  
introduction	
  was	
  too	
  brief,	
  and	
  also	
  it	
  meant	
  the	
  melody	
  was	
  being	
  played	
  too	
  
many	
  times	
  at	
  the	
  beginning	
  of	
  the	
  piece.	
  It	
  seemed	
  a	
  longer	
  introduction	
  was	
  
necessary,	
  something	
  that	
  would	
  ease	
  the	
  listener	
  into	
  the	
  composition.	
  In	
  order	
  
to	
  achieve	
  this	
  a	
  variation	
  on	
  the	
  B	
  Section	
  chords	
  was	
  played,	
  with	
  a	
  long	
  
crescendo	
  over	
  a	
  period	
  of	
  sixteen	
  bars.	
  The	
  first	
  three	
  chords	
  of	
  the	
  pattern	
  
were	
  used	
  rather	
  than	
  all	
  four	
  because	
  it	
  gave	
  the	
  section	
  more	
  space,	
  and	
  helped	
  
create	
  an	
  ethereal	
  yet	
  mildly	
  anxious	
  mood,	
  which	
  is	
  what	
  was	
  appropriate	
  to	
  
the	
  piece.	
  	
  

	
  
	
  	
  	
  	
  	
  Here	
  is	
  an	
  audio	
  sample	
  of	
  the	
  introduction	
  and	
  A	
  section	
  of	
  the	
  rehearsal	
  
recording.	
  	
  
•

Soundcloud	
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  Lark	
  Rehearsal	
  Intro	
  and	
  A	
  Section	
  

	
  	
  	
  	
  	
  After	
  listening	
  to	
  the	
  final	
  section	
  of	
  the	
  piece	
  it	
  seemed	
  that	
  while	
  the	
  guitar	
  
part	
  using	
  extended	
  techniques,	
  (playing	
  behind	
  the	
  nut,	
  artificial	
  harmonics,	
  lots	
  
of	
  distortion)was	
  interesting,	
  after	
  hearing	
  it	
  repeated	
  so	
  many	
  times	
  it	
  became	
  
mundane.	
  In	
  order	
  to	
  fix	
  this,	
  the	
  part	
  was	
  changed	
  to	
  have	
  four	
  bars	
  of	
  just	
  
rhythm	
  section	
  before	
  entering	
  with	
  the	
  guitar	
  part.	
  This	
  had	
  the	
  effect	
  of	
  easing	
  

the	
  listener	
  in	
  to	
  the	
  new	
  atmosphere	
  created	
  by	
  this	
  section,	
  as	
  well	
  as	
  meaning	
  
that	
  the	
  guitar	
  part	
  would	
  not	
  be	
  repeated	
  so	
  many	
  times	
  that	
  it	
  lost	
  it’s	
  
effectiveness.	
  	
  
	
  	
  	
  	
  	
  Another	
  change	
  that	
  I	
  felt	
  was	
  necessary	
  from	
  playing	
  the	
  composition	
  at	
  the	
  
first	
  rehearsal	
  was	
  to	
  change	
  the	
  piano	
  part	
  to	
  be	
  played	
  on	
  keyboard.	
  The	
  sound	
  
of	
  the	
  piano	
  didn’t	
  really	
  complement	
  the	
  modern,	
  distorted	
  guitar	
  sound,	
  and	
  it	
  
seemed	
  that	
  an	
  electric	
  piano,	
  possibly	
  a	
  Fender	
  Rhodes	
  sound,	
  would	
  be	
  more	
  
appropriate.	
  Also,	
  using	
  keyboard	
  over	
  piano	
  also	
  has	
  the	
  added	
  benefit	
  of	
  being	
  
much	
  faster	
  and	
  easier	
  to	
  set	
  up	
  in	
  the	
  recording	
  session.	
  As	
  our	
  recording	
  
sessions	
  were	
  just	
  three	
  hours	
  long,	
  every	
  opportunity	
  to	
  save	
  time	
  was	
  
welcome.	
  	
  

1.5	
  –	
  Collaborative	
  Advice	
  
	
  	
  	
  	
  	
  As	
  mentioned	
  previously,	
  after	
  doing	
  a	
  rehearsal	
  and	
  a	
  recording	
  I	
  would	
  
usually	
  take	
  the	
  recording	
  and	
  Finale	
  score	
  of	
  the	
  piece	
  to	
  Perico	
  Sambeat	
  during	
  
his	
  office	
  hours	
  taking	
  notes	
  and	
  what	
  opinions	
  he	
  had	
  on	
  the	
  composition,	
  being	
  
sure	
  to	
  consider	
  and	
  possibly	
  implement	
  them	
  before	
  the	
  next	
  rehearsal,	
  or	
  in	
  
this	
  case,	
  the	
  recording	
  session.	
  	
  
	
  	
  	
  	
  	
  The	
  first	
  thing	
  Perico	
  noticed	
  was	
  that	
  I	
  was	
  not	
  rhythmically	
  solid	
  when	
  
playing	
  the	
  A	
  section	
  melody,	
  I	
  was	
  tending	
  to	
  drag	
  slightly	
  and	
  not	
  be	
  tight	
  with	
  
what	
  the	
  rhythm	
  section	
  was	
  playing.	
  This	
  was	
  a	
  problem	
  that	
  was	
  easily	
  solved	
  
by	
  making	
  sure	
  I	
  took	
  the	
  time	
  to	
  work	
  on	
  the	
  melody	
  with	
  a	
  metronome	
  before	
  
going	
  to	
  the	
  recording	
  session.	
  	
  
	
  	
  	
  	
  	
  Secondly,	
  a	
  suggestion	
  was	
  made	
  regarding	
  the	
  beginning	
  of	
  the	
  guitar	
  solo.	
  As	
  
mentioned,	
  there	
  needed	
  to	
  be	
  a	
  release	
  from	
  all	
  the	
  tension	
  built	
  up	
  during	
  the	
  

melody,	
  and	
  to	
  achieve	
  this	
  I	
  began	
  the	
  guitar	
  solo	
  with	
  the	
  B	
  section	
  chords,	
  but	
  
this	
  time	
  played	
  for	
  a	
  bar	
  each	
  rather	
  than	
  two	
  beats.	
  	
  While	
  Perico	
  agreed	
  with	
  
the	
  intent	
  behind	
  this,	
  he	
  suggested	
  that	
  playing	
  these	
  chord	
  changes	
  for	
  just	
  
eight	
  bars	
  was	
  not	
  sufficient	
  for	
  creating	
  the	
  atmosphere	
  intended.	
  As	
  a	
  result	
  of	
  
this	
  advice	
  for	
  the	
  recording	
  the	
  beginning	
  of	
  the	
  guitar	
  solo	
  was	
  changed	
  to	
  have	
  
sixteen	
  bars	
  of	
  these	
  chord	
  changes	
  before	
  reverting	
  to	
  eight	
  bars	
  of	
  the	
  B	
  
section	
  changes.	
  He	
  also	
  suggested	
  that	
  the	
  rhythm	
  section	
  should	
  play	
  with	
  a	
  
more	
  open	
  feel	
  at	
  the	
  beginning	
  of	
  the	
  guitar	
  solo,	
  in	
  order	
  to	
  aid	
  the	
  creation	
  of	
  
the	
  specific	
  atmosphere	
  that	
  was	
  planned	
  for.	
  Here	
  is	
  an	
  audio	
  sample	
  of	
  the	
  
beginning	
  of	
  the	
  guitar	
  solo	
  taken	
  from	
  the	
  rehearsal	
  recording.	
  	
  
•

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  Rehearsal	
  -­‐	
  Beginning	
  of	
  Guitar	
  
Solo	
  

	
  	
  	
  	
  	
  Another	
  suggestion	
  made	
  was	
  that	
  the	
  drums	
  could	
  play	
  more	
  busily	
  and	
  with	
  
more	
  fills	
  for	
  the	
  final	
  section	
  of	
  the	
  piece.	
  However,	
  we	
  tried	
  this	
  quickly	
  before	
  
the	
  recording	
  session	
  began	
  and	
  found	
  that	
  it	
  was	
  not	
  very	
  effective,	
  as	
  there	
  was	
  
enough	
  interesting	
  information	
  happening	
  to	
  mean	
  that	
  the	
  most	
  effective	
  
method	
  for	
  the	
  drums	
  to	
  complement	
  the	
  other	
  instruments	
  was	
  to	
  play	
  a	
  very	
  
straightforward	
  backbeat,	
  providing	
  support	
  for	
  the	
  more	
  complex	
  parts	
  
happening	
  elsewhere.	
  It	
  was	
  also	
  suggested	
  that	
  a	
  rall	
  leading	
  to	
  the	
  last	
  hit	
  
would	
  be	
  worth	
  trying,	
  but	
  again,	
  this	
  was	
  tried	
  and	
  it	
  was	
  decided	
  that	
  keeping	
  
everything	
  tight	
  and	
  cohesive	
  was	
  the	
  most	
  effective	
  way	
  to	
  end	
  the	
  piece.	
  Here	
  
is	
  an	
  audio	
  sample,	
  taken	
  from	
  the	
  rehearsal	
  recording,	
  of	
  the	
  final	
  section	
  of	
  the	
  
composition.	
  	
  
•

Soundcloud	
  Playlist	
  –	
  Track	
  9	
  –	
  Lark	
  Rehearsal	
  –	
  End	
  Section	
  

	
  	
  	
  	
  	
  As	
  well	
  as	
  seeking	
  compositional	
  advice	
  from	
  Perico,	
  advice	
  was	
  also	
  sought	
  
on	
  soloing	
  over	
  the	
  changes	
  of	
  the	
  tune	
  from	
  my	
  private	
  lesson	
  instructor,	
  Israel	
  
Sandoval.	
  From	
  listening	
  to	
  the	
  recording	
  he	
  could	
  tell	
  I	
  was	
  struggling	
  with	
  
soloing	
  over	
  the	
  B	
  section	
  chords,	
  particularly	
  when	
  they	
  were	
  being	
  played	
  for	
  
just	
  two	
  bars	
  each.	
  In	
  order	
  to	
  help	
  with	
  this	
  we	
  talked	
  about	
  picking	
  exact	
  ideas	
  
to	
  work	
  on	
  for	
  this	
  section	
  to	
  ensure	
  the	
  solo	
  sounded	
  coherent	
  and	
  not	
  just	
  the	
  
fast,	
  random	
  jumble	
  of	
  notes	
  played	
  on	
  the	
  rehearsal	
  recording.	
  We	
  concluded	
  
that	
  the	
  sound	
  I	
  was	
  aiming	
  for	
  was	
  best	
  achieved	
  by	
  superimposing	
  pentatonic	
  
scales	
  over	
  each	
  of	
  the	
  chords,	
  so	
  for	
  Em	
  and	
  Fmaj7#11	
  I	
  would	
  play	
  Em	
  
pentatonic,	
  for	
  F#m11b13	
  and	
  Gmaj13	
  I	
  would	
  play	
  F#m	
  pentatonic.	
  These	
  scale	
  
choices	
  would	
  also	
  be	
  combined	
  with	
  the	
  addition	
  of	
  an	
  extra	
  note	
  or	
  two	
  in	
  
selected	
  places.	
  For	
  example	
  for	
  the	
  Fmaj7#11	
  chord	
  I	
  could	
  add	
  a	
  b9	
  to	
  Em	
  
pentatonic,	
  for	
  the	
  F#m11b13	
  I	
  added	
  a	
  b13	
  to	
  F#m	
  pentatonic,	
  and	
  for	
  the	
  
Gmaj13	
  I	
  once	
  again	
  added	
  a	
  b9	
  to	
  the	
  F#m	
  pentatonic.	
  	
  

1.6	
  –	
  Recording	
  
	
  	
  	
  	
  	
  The	
  recording	
  session	
  for	
  this	
  composition	
  was	
  from	
  20.00	
  –	
  23.00	
  on	
  the	
  13th	
  
February	
  2014	
  at	
  the	
  Ann	
  Kreis	
  Scoring	
  Stage,	
  Berklee	
  Valencia.	
  The	
  engineer	
  for	
  
the	
  session	
  was	
  Nick	
  Zeigler,	
  and	
  the	
  band	
  consisted	
  of	
  Daniel	
  Toledo	
  on	
  bass,	
  
Piotr	
  Orzechowski	
  on	
  piano,	
  Joshua	
  Wheatley	
  on	
  drums,	
  as	
  well	
  as	
  myself	
  on	
  
electric	
  guitar.	
  	
  
	
  	
  	
  	
  	
  The	
  session	
  schedule	
  was	
  planned	
  to	
  be;	
  
•

20.00-­‐21.00	
  –	
  Setup.	
  

•

21.00-­‐22.00	
  –	
  Record	
  multiple	
  takes	
  of	
  piece.	
  

•

22.00-­‐22.30	
  –	
  Record	
  guitar	
  overdubs.	
  	
  

•

22.30-­‐23.00	
  –	
  Tear	
  down	
  equipment.	
  	
  

	
  	
  	
  	
  	
  The	
  overdubs	
  in	
  question	
  were	
  necessary	
  because	
  I	
  had	
  found	
  in	
  rehearsal	
  
that	
  going	
  from	
  the	
  C	
  Section	
  melody	
  to	
  the	
  guitar	
  solo	
  was	
  very	
  difficult	
  to	
  
achieve	
  with	
  accuracy	
  in	
  terms	
  of	
  switching	
  on	
  and	
  off	
  pedals.	
  To	
  ensure	
  I	
  got	
  a	
  
neat	
  and	
  accurate	
  transition	
  between	
  sections	
  I	
  decided	
  to	
  not	
  play	
  the	
  C	
  Section	
  
melody	
  during	
  the	
  take	
  with	
  the	
  full	
  band,	
  and	
  just	
  enter	
  with	
  the	
  first	
  note	
  of	
  the	
  
solo,	
  overdubbing	
  the	
  melodic	
  part	
  later.	
  	
  
	
  	
  	
  	
  	
  The	
  microphones	
  to	
  be	
  used	
  for	
  the	
  session	
  were	
  decided	
  in	
  advance	
  by	
  Nick	
  
and	
  I	
  and	
  consisted	
  of;	
  
•

Guitar	
  –	
  SM57	
  +	
  Reyer	
  121	
  

•

Bass	
  –	
  D.I.	
  

•

Keyboards	
  –	
  D.I.	
  	
  

•

Drums	
  –	
  Kick	
  -­‐	
  AKG	
  D112,	
  Snare	
  -­‐	
  SM57,	
  Toms	
  -­‐	
  Sennheiser	
  421	
  
Overheads	
  –	
  KM	
  184	
  

	
  	
  	
  	
  All	
  of	
  these	
  microphones	
  were	
  ones	
  I	
  had	
  used	
  in	
  previous	
  sessions	
  that	
  I	
  had	
  
achieved	
  a	
  sound	
  I	
  was	
  happy	
  with.	
  Particularly	
  the	
  combination	
  of	
  both	
  the	
  
SM57	
  and	
  Reyer	
  121	
  on	
  the	
  guitar	
  is	
  something	
  I	
  have	
  found	
  to	
  be	
  very	
  effective	
  
in	
  terms	
  of	
  capturing	
  the	
  sound	
  I	
  desired.	
  	
  
	
  	
  	
  	
  	
  Below	
  is	
  a	
  picture	
  of	
  the	
  floor	
  plan	
  drawn	
  up	
  before	
  the	
  session.	
  Due	
  to	
  the	
  
fact	
  that	
  the	
  keyboards	
  and	
  bass	
  were	
  being	
  recorded	
  through	
  a	
  D.I.	
  the	
  set	
  up	
  
was	
  relatively	
  fast,	
  and	
  this	
  also	
  meant	
  that	
  we	
  could	
  all	
  record	
  in	
  the	
  same	
  room	
  
because	
  the	
  guitar	
  amp	
  would	
  be	
  placed	
  in	
  the	
  isolation	
  booth,	
  therefore	
  
eliminating	
  any	
  possibility	
  for	
  sound	
  bleeding	
  into	
  the	
  drum	
  microphones.	
  	
  

	
  
	
  
	
  

	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  Due	
  to	
  the	
  fastidiousness	
  of	
  Nick	
  and	
  I’s	
  pre-­‐production	
  organisational	
  
efforts,	
  the	
  plan	
  and	
  agenda	
  for	
  the	
  recording	
  was	
  extremely	
  clear	
  and	
  therefore	
  
went	
  very	
  smoothly.	
  The	
  schedule	
  was	
  maintained	
  and	
  we	
  had	
  ample	
  time	
  to	
  
record	
  several	
  takes	
  of	
  the	
  track,	
  as	
  well	
  as	
  do	
  the	
  guitar	
  overdub	
  of	
  which	
  I	
  
previously	
  spoke.	
  The	
  only	
  aspect	
  of	
  the	
  recording	
  I	
  was	
  unhappy	
  with	
  was	
  the	
  
guitar	
  part	
  over	
  the	
  end	
  section	
  of	
  the	
  composition.	
  I	
  felt	
  that	
  I	
  hadn’t	
  played	
  to	
  
the	
  part	
  with	
  a	
  level	
  of	
  accuracy	
  I	
  was	
  happy	
  with,	
  so	
  to	
  fix	
  this	
  I	
  booked	
  a	
  slot	
  in	
  
studio	
  A	
  and	
  overdubbed	
  this	
  section,	
  using	
  the	
  same	
  microphones.	
  	
  
	
  	
  	
  	
  	
  In	
  post-­‐production,	
  I	
  did	
  the	
  edits	
  of	
  the	
  takes	
  using	
  Pro	
  Tools,	
  the	
  track	
  was	
  
mixed	
  by	
  Ryan	
  Renteria,	
  and	
  mastered	
  by	
  Alan	
  Tishk.	
  The	
  only	
  issue	
  that	
  arose	
  
in	
  the	
  post	
  production	
  process	
  was	
  that	
  the	
  intent	
  of	
  having	
  the	
  keyboard	
  
melody	
  at	
  section	
  B	
  begin	
  very	
  quietly	
  and	
  increase	
  in	
  volume	
  over	
  the	
  course	
  of	
  
the	
  section	
  was	
  not	
  very	
  effective,	
  as	
  it	
  created	
  a	
  sense	
  of	
  uncertainty	
  as	
  to	
  what	
  
was	
  happening	
  at	
  the	
  start	
  of	
  the	
  section.	
  This	
  problem	
  was	
  easily	
  solved	
  by	
  
simply	
  raising	
  he	
  volume	
  of	
  the	
  keyboard	
  in	
  the	
  mix,	
  thereby	
  creating	
  a	
  more	
  
purposeful	
  feel	
  to	
  the	
  beginning	
  of	
  the	
  B	
  section.	
  	
  
	
  	
  	
  	
  	
  Here	
  is	
  the	
  audio	
  for	
  the	
  final	
  product	
  of	
  my	
  composition	
  “Lark”.	
  
•

Soundcloud	
  Playlist	
  –	
  Track	
  10	
  –	
  Lark	
  

1.7	
  –	
  Lessons	
  Learned	
  
	
  	
  	
  	
  	
  The	
  main	
  area	
  in	
  which	
  I	
  increased	
  my	
  knowledge	
  over	
  the	
  course	
  of	
  writing,	
  
rehearsing,	
  and	
  recording	
  this	
  piece	
  was	
  in	
  the	
  field	
  of	
  traditional	
  Irish	
  music.	
  
Studying	
  and	
  listening	
  to	
  the	
  recordings	
  before	
  I	
  began	
  to	
  write	
  was	
  extremely	
  
enlightening,	
  reinforcing	
  my	
  initial	
  feeling	
  that	
  it	
  is	
  important	
  for	
  me	
  to	
  make	
  
more	
  of	
  an	
  effort	
  to	
  increase	
  my	
  knowledge	
  in	
  terms	
  of	
  the	
  traditional	
  music	
  of	
  

my	
  country.	
  The	
  main	
  area	
  that	
  impressed	
  me	
  the	
  most	
  was	
  the	
  seemingly	
  
inexhaustible	
  supply	
  of	
  melodic	
  material	
  contained	
  within	
  each	
  track.	
  To	
  be	
  able	
  
to	
  continually	
  have	
  memorable,	
  interesting,	
  technically	
  demanding	
  melodies,	
  
while	
  never	
  really	
  straying	
  from	
  diatonic	
  note	
  choices	
  and	
  harmony,	
  is	
  
something	
  I	
  could	
  benefit	
  from	
  studying	
  more	
  of,	
  as	
  I	
  have	
  a	
  tendency	
  to	
  
overcomplicate	
  melodies	
  and	
  therefore	
  dilute	
  their	
  effectiveness.	
  The	
  time	
  I	
  
spent	
  researching	
  this	
  music	
  has	
  definitely	
  ensured	
  that	
  in	
  the	
  future	
  I	
  will	
  spend	
  
time	
  working	
  on	
  traditional	
  Irish	
  music,	
  both	
  in	
  order	
  to	
  have	
  a	
  better	
  
understanding	
  of	
  the	
  musical	
  heritage	
  of	
  my	
  country,	
  as	
  well	
  as	
  to	
  reap	
  the	
  
benefits	
  of	
  absorbing	
  some	
  of	
  it’s	
  musical	
  characteristics.	
  	
  
	
  	
  	
  	
  	
  Another	
  area	
  in	
  which	
  I	
  increased	
  my	
  knowledge	
  was	
  in	
  terms	
  of	
  the	
  use	
  of	
  
minor	
  pentatonic	
  scales	
  with	
  added	
  altered	
  notes.	
  Using	
  minor	
  pentatonics	
  over	
  
major	
  chords	
  is	
  an	
  approach	
  I	
  regularly	
  employ	
  in	
  both	
  composition	
  and	
  
improvising,	
  but	
  the	
  simple	
  idea	
  of	
  just	
  adding	
  one	
  or	
  two	
  notes	
  contained	
  within	
  
the	
  chord	
  of	
  the	
  moment	
  to	
  the	
  minor	
  pentatonic	
  scale	
  had	
  never	
  really	
  occurred	
  
to	
  me.	
  This	
  new	
  skill	
  has	
  given	
  me	
  a	
  new	
  sound	
  and	
  colour	
  to	
  use	
  for	
  both	
  my	
  
compositions	
  and	
  solos.	
  Whereas	
  previously	
  my	
  use	
  of	
  minor	
  pentatonics,	
  while	
  
being	
  a	
  sound	
  I	
  enjoy,	
  may	
  have	
  become	
  slightly	
  predictable	
  and	
  overused,	
  now	
  I	
  
have	
  been	
  provided	
  with	
  a	
  way	
  to	
  keep	
  the	
  sound	
  and	
  feel	
  that	
  I	
  enjoy	
  while	
  
adding	
  a	
  new	
  dimension	
  to	
  keep	
  both	
  the	
  listener,	
  and	
  myself,	
  interested.	
  	
  
	
  	
  	
  	
  	
  A	
  third	
  area	
  in	
  which	
  I	
  could	
  say	
  I	
  increased	
  my	
  learning	
  was	
  in	
  the	
  
compositional	
  approach	
  of	
  the	
  piece.	
  While	
  I	
  regularly	
  use	
  very	
  specific	
  
references	
  and	
  influences	
  when	
  I	
  compose,	
  I	
  had	
  never	
  specifically	
  focused	
  on	
  an	
  
existing	
  melody	
  and	
  then	
  altered	
  it	
  to	
  fit	
  my	
  compositional	
  needs.	
  This	
  is	
  

something	
  I	
  would	
  definitely	
  consider	
  doing	
  in	
  future	
  compositions,	
  as	
  it	
  was	
  a	
  
great	
  way	
  to	
  provide	
  myself	
  with	
  a	
  starting	
  point	
  for	
  ideas,	
  although	
  I	
  would	
  
have	
  to	
  be	
  careful	
  about	
  how	
  I	
  do	
  this	
  with	
  other	
  compositions.	
  Using	
  traditional	
  
melodies	
  is	
  perfectly	
  acceptable	
  because	
  they	
  are	
  all	
  in	
  the	
  public	
  domain	
  and	
  
not	
  under	
  copyright,	
  if	
  I	
  were	
  to	
  do	
  the	
  same	
  approach	
  for	
  copyrighted	
  material	
  I	
  
would	
  be	
  at	
  risk	
  of	
  entering	
  morally	
  dubious	
  territory,	
  as	
  I	
  would	
  not	
  be	
  
comfortable	
  with	
  the	
  idea	
  of	
  directly	
  copying	
  from	
  another	
  person’s	
  melodic	
  
work.	
  I	
  also	
  feel	
  that	
  this	
  approach	
  of	
  looking	
  at	
  a	
  previously	
  unfamiliar	
  style	
  of	
  
music	
  in	
  order	
  to	
  gain	
  compositional	
  ideas	
  is	
  a	
  great	
  way	
  to	
  introduce	
  oneself	
  to	
  
new	
  music,	
  instantly	
  applying	
  the	
  benefits	
  of	
  some	
  new	
  knowledge	
  to	
  your	
  own	
  
playing.	
  	
  

2	
  –	
  “Umbra”	
  
2.1	
  –	
  Initial	
  Intention	
  
	
  	
  	
  	
  	
  For	
  this	
  piece,	
  I	
  employed	
  the	
  musical	
  influence	
  of	
  one	
  of	
  my	
  former	
  
classmates	
  on	
  my	
  own	
  playing.	
  While	
  studying	
  for	
  my	
  undergraduate	
  degree,	
  I	
  
spent	
  four	
  years	
  in	
  the	
  same	
  class	
  as	
  fellow	
  Irish	
  guitarist,	
  Chris	
  Guilfoyle.	
  Chris	
  
is	
  an	
  extremely	
  skilled	
  composer	
  and	
  guitarist,	
  in	
  both	
  the	
  jazz	
  and	
  electronic	
  
music	
  idioms.	
  I	
  had	
  always	
  been	
  a	
  fan	
  of	
  his	
  compositional	
  style,	
  and	
  spending	
  
such	
  a	
  long	
  time	
  studying	
  in	
  the	
  same	
  composition	
  class,	
  I	
  am	
  quite	
  familiar	
  with	
  
his	
  approach.	
  I	
  decided	
  that	
  rather	
  than	
  be	
  envious	
  of	
  his	
  work,	
  I	
  would	
  be	
  better	
  
off	
  learning	
  from	
  his	
  style	
  and	
  applying	
  it	
  to	
  my	
  own	
  writing.	
  	
  
	
  	
  	
  	
  	
  I	
  decided	
  straight	
  away	
  that	
  although	
  I	
  wanted	
  Chris’	
  music	
  to	
  be	
  the	
  main	
  
influence	
  for	
  this	
  piece,	
  I	
  did	
  not	
  want	
  to	
  directly	
  use	
  any	
  of	
  his	
  written	
  material	
  
as	
  a	
  reference,	
  as	
  this	
  would	
  be	
  more	
  like	
  copying	
  rather	
  than	
  being	
  influenced	
  

by.	
  Instead,	
  I	
  just	
  tried	
  to	
  think	
  about	
  some	
  of	
  the	
  characteristics	
  of	
  his	
  work	
  and	
  
then	
  apply	
  it	
  to	
  the	
  piece	
  I	
  wished	
  to	
  write.	
  The	
  main	
  characteristics	
  were;	
  	
  
•

Dense	
  sounding,	
  unusual	
  chords.	
  

•

Complex	
  melodies.	
  

•

Use	
  of	
  guitar	
  effects	
  pedals.	
  

•

The	
  influence	
  of	
  electronic	
  music.	
  	
  

	
  	
  	
  	
  	
  With	
  these	
  influences	
  in	
  mind	
  I	
  set	
  out	
  to	
  write	
  a	
  piece	
  that	
  had	
  some	
  of	
  the	
  
characteristics	
  of	
  Chris’	
  work,	
  but	
  that	
  would	
  still	
  fit	
  with	
  my	
  own	
  musical	
  style.	
  	
  

2.2	
  –	
  The	
  Writing	
  Process	
  
	
  	
  	
  	
  	
  Before	
  beginning	
  the	
  piece	
  I	
  knew	
  that	
  I	
  wanted	
  to	
  write	
  this	
  composition	
  
with	
  a	
  groove	
  based	
  on	
  the	
  drum	
  and	
  bass	
  style	
  of	
  electronic	
  music.	
  This	
  is	
  an	
  
influence	
  taken	
  from	
  the	
  music	
  of	
  Chris	
  Guilfoyle,	
  but	
  as	
  well	
  as	
  that	
  it	
  is	
  a	
  style	
  
that	
  I	
  have	
  also	
  admired	
  many	
  times	
  in	
  the	
  work	
  of	
  Erik	
  Truffaz,	
  Jojo	
  Mayer,	
  and	
  
Aphex	
  Twin.	
  Knowing	
  the	
  rhythmic	
  style	
  of	
  the	
  piece	
  before	
  beginning	
  meant	
  
that	
  the	
  rest	
  of	
  the	
  material	
  could	
  be	
  written	
  using	
  what	
  is	
  commonly	
  found	
  in	
  
this	
  style;	
  relatively	
  slow	
  harmonic	
  rhythm,	
  chromatically	
  moving	
  basslines,	
  
tension	
  created	
  by	
  the	
  busyness	
  of	
  the	
  drum	
  feel,	
  etc.	
  	
  
	
  	
  	
  	
  	
  The	
  first	
  part	
  of	
  the	
  composition	
  that	
  I	
  began	
  working	
  on	
  was	
  the	
  chords	
  for	
  
the	
  A	
  section.	
  I	
  had	
  been	
  experimenting	
  with	
  the	
  idea	
  of	
  constant	
  structures	
  in	
  
guitar	
  voicings,	
  and	
  felt	
  this	
  was	
  the	
  perfect	
  opportunity	
  to	
  use	
  them.	
  The	
  idea	
  in	
  
question	
  was	
  to	
  begin	
  with	
  an	
  Fmaj13	
  voicing	
  and	
  then	
  shift	
  it	
  downward	
  by	
  a	
  
tone	
  each	
  time,	
  this	
  had	
  the	
  effect	
  of	
  having	
  an	
  initially	
  aurally	
  pleasant	
  chord	
  

that	
  became	
  darker	
  and	
  more	
  dissonant	
  each	
  time	
  it	
  moved.	
  The	
  resulting	
  chords	
  
were;	
  Fmaj13,	
  Ebmaj13b9,	
  Db69(addb9).	
  	
  
	
  	
  	
  	
  	
  Initially	
  it	
  seemed	
  that	
  having	
  a	
  three	
  chord	
  sequence	
  would	
  be	
  an	
  interesting	
  
way	
  of	
  creating	
  a	
  cyclic	
  feel	
  to	
  the	
  A	
  section,	
  but	
  after	
  playing	
  through	
  it	
  a	
  few	
  
times	
  it	
  became	
  apparent	
  that	
  the	
  density	
  of	
  the	
  chords	
  combined	
  with	
  this	
  cyclic	
  
feel	
  actually	
  made	
  the	
  sequence	
  quite	
  unpleasant	
  to	
  listen	
  to.	
  To	
  fix	
  this	
  one	
  extra	
  
chord	
  was	
  added,	
  keeping	
  the	
  same	
  structure	
  and	
  once	
  again	
  moving	
  down	
  a	
  
tone,	
  this	
  time	
  producing	
  a	
  Bm11	
  chord.	
  The	
  effect	
  of	
  having	
  an	
  aurally	
  pleasant	
  
chord	
  at	
  the	
  beginning	
  and	
  end	
  of	
  the	
  sequence	
  gave	
  it	
  a	
  sense	
  of	
  overall	
  balance	
  
and	
  relief	
  once	
  the	
  sequence	
  reached	
  the	
  fourth	
  chord.	
  	
  
	
  	
  	
  	
  	
  Here	
  is	
  an	
  audio	
  sample	
  of	
  the	
  A	
  section	
  chords,	
  as	
  played	
  at	
  the	
  introduction	
  
of	
  the	
  piece.	
  	
  
•

Soundcloud	
  Playlist	
  –	
  Track	
  11	
  –	
  Umbra	
  A	
  Section	
  Chords	
  

	
  	
  	
  	
  	
  It	
  had	
  been	
  decided	
  that	
  complex	
  melodies	
  were	
  one	
  of	
  the	
  influences	
  that	
  
should	
  be	
  channeled	
  so	
  a	
  technique	
  was	
  employed	
  described	
  to	
  us	
  in	
  a	
  
composition	
  masterclass	
  by	
  Berklee	
  Valencia	
  faculty	
  member,	
  Polo	
  Ortí.	
  Polo	
  
told	
  us	
  his	
  method	
  of	
  coming	
  up	
  with	
  melodies	
  was	
  to	
  solo	
  over	
  the	
  changes	
  and	
  
then	
  pick	
  out	
  the	
  parts	
  he	
  liked	
  and	
  use	
  them	
  as	
  a	
  melody.	
  This	
  is	
  an	
  effective	
  
method	
  for	
  creating	
  a	
  complex	
  melody	
  so	
  I	
  looped	
  the	
  chord	
  progression	
  on	
  a	
  
sequencer	
  and	
  then	
  recorded	
  myself	
  soloing	
  over	
  the	
  changes.	
  I	
  then	
  would	
  
listen	
  back	
  to	
  what	
  I	
  played,	
  choose	
  some	
  appropriate	
  and	
  effective	
  parts,	
  then	
  
solo	
  again,	
  this	
  time	
  keeping	
  whatever	
  I	
  liked	
  from	
  the	
  previous	
  take,	
  repeating	
  
this	
  process	
  until	
  there	
  was	
  a	
  full	
  A	
  Section	
  melody	
  written	
  down.	
  	
  
	
  

	
  	
  	
  	
  	
  Here	
  is	
  an	
  audio	
  sample	
  of	
  the	
  A	
  section	
  melody.	
  	
  
•

Soundcloud	
  Playlist	
  –	
  Track	
  12	
  –	
  Umbra	
  –	
  A	
  Section	
  

	
  	
  	
  	
  	
  For	
  the	
  B	
  Section,	
  in	
  order	
  to	
  provide	
  contrast,	
  as	
  well	
  as	
  a	
  relief	
  from	
  the	
  
busyness	
  of	
  the	
  A	
  Section,	
  I	
  decided	
  that	
  I	
  would	
  reverse	
  the	
  roles	
  of	
  the	
  
harmonic	
  and	
  melodic	
  instruments,	
  this	
  time	
  making	
  the	
  melody	
  extremely	
  
simple	
  and	
  increasing	
  the	
  amount	
  of	
  movement	
  in	
  the	
  chord	
  sequence.	
  	
  
	
  	
  	
  	
  	
  This	
  section	
  seemed	
  appropriate	
  to	
  introduce	
  chromatic	
  movement	
  in	
  the	
  
bass	
  line.	
  Slash	
  chords	
  were	
  used	
  to	
  achieve	
  this	
  movement	
  while	
  tensions	
  were	
  
added	
  to	
  the	
  voicings	
  to	
  create	
  the	
  necessary	
  harmonic	
  flavour.	
  	
  An	
  Eb	
  note	
  was	
  
kept	
  as	
  the	
  top	
  note	
  of	
  each	
  voicing,	
  so	
  that	
  although	
  the	
  chords	
  are	
  very	
  
different	
  and	
  not	
  necessarily	
  belonging	
  to	
  the	
  same	
  harmonic	
  universe,	
  there	
  is	
  a	
  
consistency	
  between	
  the	
  changes	
  as	
  the	
  top	
  note	
  keeps	
  all	
  the	
  chords	
  connected.	
  	
  

	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  

	
  

	
  	
  	
  	
  	
  The	
  plan	
  was	
  to	
  keep	
  the	
  B	
  Section	
  melody	
  extremely	
  simple,	
  in	
  order	
  to	
  this	
  I	
  
decided	
  on	
  just	
  a	
  two	
  note	
  motif	
  with	
  a	
  harmony	
  part	
  underneath	
  repeating	
  the	
  
Eb	
  note	
  common	
  to	
  all	
  the	
  chords.	
  The	
  simplicity	
  of	
  the	
  melody	
  of	
  this	
  section	
  is	
  
a	
  welcome	
  respite	
  from	
  the	
  freneticism	
  of	
  the	
  previous	
  section,	
  and	
  also	
  the	
  
space	
  created	
  by	
  having	
  a	
  static	
  melody	
  also	
  gives	
  the	
  rhythm	
  section	
  a	
  chance	
  to	
  
play	
  more	
  busily	
  and	
  create	
  new	
  ideas	
  of	
  interest	
  within	
  their	
  parts.	
  	
  
	
  	
  	
  	
  	
  Here	
  is	
  an	
  audio	
  sample	
  of	
  the	
  B	
  Section	
  of	
  the	
  piece.	
  	
  
•

Souncloud	
  Playlist	
  Track	
  13	
  –	
  Umbra	
  –	
  B	
  Section	
  

	
  	
  	
  	
  	
  After	
  repeating	
  the	
  A	
  and	
  B	
  sections,	
  it	
  seemed	
  that	
  there	
  needed	
  to	
  be	
  a	
  new	
  
segment	
  of	
  melodic	
  information	
  before	
  going	
  to	
  solos.	
  In	
  keeping	
  with	
  the	
  overall	
  
compositional	
  aspiration	
  of	
  maintaining	
  the	
  listenability	
  and	
  accessibility	
  of	
  the	
  
piece,	
  it	
  appeared	
  that	
  a	
  minor	
  pentatonic	
  based	
  melody	
  would	
  be	
  appropriate	
  as	
  
it	
  would	
  be	
  a	
  familiar	
  sound	
  to	
  the	
  listeners	
  ear,	
  as	
  well	
  as	
  being	
  a	
  middle	
  ground	
  
between	
  the	
  extreme	
  busyness	
  of	
  the	
  A	
  Section	
  and	
  the	
  melodic	
  simplicity	
  of	
  the	
  
B	
  Section.	
  	
  	
  
	
  	
  	
  	
  	
  With	
  this	
  in	
  mind	
  the	
  chords	
  were	
  worked	
  on	
  first,	
  choosing	
  to	
  maintain	
  the	
  
chromatic	
  bass	
  movement	
  of	
  the	
  B	
  Section,	
  this	
  time	
  with	
  slightly	
  different	
  chord	
  
tensions.	
  	
  

	
  	
  	
  	
  

	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  

	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  The	
  structure	
  of	
  these	
  chords	
  once	
  again	
  take	
  their	
  influence	
  from	
  the	
  
playing	
  of	
  Kurt	
  Rosenwinkel.	
  The	
  chord	
  is	
  constructed	
  by	
  playing	
  a	
  root,	
  third,	
  
and	
  an	
  open	
  G	
  string,	
  then	
  playing	
  a	
  bass	
  note	
  a	
  fourth	
  down	
  from	
  the	
  root	
  note.	
  
All	
  the	
  notes	
  aside	
  from	
  the	
  open	
  G	
  are	
  then	
  moved	
  down	
  a	
  semitone	
  for	
  the	
  
second	
  chord.	
  The	
  interval	
  of	
  a	
  fourth	
  at	
  the	
  bottom	
  of	
  the	
  chord,	
  combined	
  with	
  
the	
  interval	
  of	
  a	
  major	
  seventh	
  contained	
  within	
  the	
  rest	
  of	
  the	
  chord,	
  creates	
  a	
  
very	
  dark	
  and	
  relatively	
  dissonant	
  sound.	
  In	
  order	
  to	
  once	
  again	
  keep	
  coherence	
  
between	
  the	
  chords,	
  Eb	
  was	
  added	
  as	
  the	
  top	
  note	
  of	
  the	
  chord,	
  this	
  being	
  the	
  #9	
  
of	
  the	
  C	
  major	
  7th	
  chord	
  and	
  the	
  major	
  3rd	
  of	
  the	
  Bmaj	
  chord.	
  	
  

	
  	
  	
  	
  	
  Then	
  begins	
  the	
  first	
  solo,	
  which	
  is	
  played	
  by	
  guitar.	
  The	
  structure	
  of	
  this	
  is	
  
that	
  the	
  guitar	
  plays	
  over	
  the	
  first	
  sixteen	
  bars	
  of	
  the	
  A	
  Section,	
  which	
  is	
  
repeated,	
  then	
  followed	
  by	
  the	
  next	
  part	
  of	
  the	
  A	
  section,	
  played	
  for	
  sixteen	
  bars.	
  
As	
  a	
  written	
  section	
  between	
  the	
  first	
  and	
  second	
  solo,	
  the	
  third	
  melodic	
  section	
  
is	
  repeated,	
  played	
  by	
  both	
  piano	
  and	
  guitar,	
  this	
  time	
  with	
  the	
  guitar	
  playing	
  the	
  
part	
  a	
  fifth	
  above	
  the	
  piano.	
  	
  
	
  	
  	
  	
  	
  Here	
  is	
  an	
  audio	
  sample	
  of	
  the	
  end	
  of	
  the	
  guitar	
  solo,	
  going	
  into	
  the	
  melodic	
  
section	
  before	
  the	
  piano	
  solo.	
  	
  
•

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  End	
  of	
  Solo	
  

	
  	
  	
  	
  	
  For	
  the	
  beginning	
  of	
  the	
  piano	
  solo,	
  it	
  seemed	
  that	
  it	
  would	
  be	
  effective	
  to	
  
have	
  a	
  break	
  from	
  the	
  aggressiveness	
  of	
  the	
  rhythms	
  of	
  the	
  composition	
  up	
  to	
  
this	
  point,	
  so	
  the	
  guitar	
  and	
  bass	
  drop	
  out	
  while	
  the	
  drums	
  were	
  instructed	
  to	
  
play	
  a	
  less	
  busy	
  figure	
  than	
  in	
  the	
  previous	
  section.	
  The	
  piano	
  and	
  drums	
  play	
  
together	
  for	
  16	
  bars	
  before	
  being	
  rejoined	
  by	
  the	
  bass	
  and	
  returning	
  to	
  the	
  drum	
  
and	
  bass	
  influenced	
  groove	
  of	
  the	
  previous	
  sections.	
  The	
  chords	
  for	
  the	
  
beginning	
  of	
  the	
  piano	
  solo	
  are	
  taken	
  from	
  the	
  B	
  Section	
  of	
  the	
  piece,	
  then	
  after	
  
thirty-­‐two	
  bars	
  of	
  these	
  chords	
  the	
  guitar	
  re-­‐enters	
  with	
  a	
  melodic	
  line	
  while	
  the	
  
piano	
  continues	
  to	
  solo,	
  this	
  time	
  over	
  the	
  A	
  section	
  chords.	
  The	
  purpose	
  of	
  the	
  
guitar	
  melody	
  line	
  is	
  once	
  again	
  to	
  provide	
  a	
  variation	
  on	
  material	
  that	
  has	
  
already	
  been	
  heard,	
  while	
  also	
  surprising	
  the	
  listener	
  with	
  something	
  
unexpected.	
  	
  
	
  	
  	
  	
  	
  Here	
  is	
  an	
  audio	
  extract	
  of	
  the	
  beginning	
  of	
  the	
  piano	
  solo,	
  rejoining	
  of	
  the	
  
band,	
  and	
  introduction	
  of	
  guitar.	
  	
  
•

Souncloud	
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  –	
  Track	
  15	
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  Umbra	
  Piano	
  Solo	
  

	
  	
  	
  	
  	
  In	
  order	
  to	
  end	
  the	
  piece,	
  a	
  drum	
  solo	
  seemed	
  appropriate.	
  To	
  provide	
  an	
  
ostinato	
  for	
  the	
  drums	
  to	
  solo	
  over,	
  a	
  repeated	
  melodic	
  figure	
  was	
  developed	
  
over	
  the	
  chords	
  of	
  the	
  B	
  Section.	
  Similarly	
  to	
  the	
  B	
  Section	
  of	
  the	
  melody	
  the	
  
scale	
  used	
  to	
  create	
  the	
  melody	
  was	
  Eb	
  minor	
  pentatonic,	
  thereby	
  retaining	
  a	
  
similar	
  flavour	
  to	
  the	
  previously	
  heard	
  material	
  but	
  still	
  providing	
  the	
  listener	
  
with	
  something	
  new.	
  This	
  figure	
  is	
  repeated	
  until	
  a	
  cue	
  from	
  the	
  drummer,	
  with	
  
everybody	
  playing	
  a	
  hit	
  on	
  the	
  last	
  melody	
  note	
  of	
  the	
  phrase.	
  	
  
	
  	
  	
  	
  

	
  	
  	
  	
  	
  	
  	
  

	
  	
  	
  	
  	
  	
  

2.3	
  –	
  Rehearsal	
  and	
  Adjustments	
  
	
  	
  	
  	
  	
  The	
  first	
  rehearsal	
  of	
  this	
  piece	
  immediately	
  brought	
  about	
  one	
  extreme	
  
change	
  to	
  the	
  composition.	
  The	
  melody	
  was	
  initially	
  written	
  to	
  be	
  doubled	
  by	
  
saxophone	
  for	
  the	
  A	
  Section,	
  and	
  then	
  the	
  melody	
  was	
  to	
  be	
  divided	
  between	
  
guitar	
  and	
  saxophone	
  for	
  the	
  B	
  Section.	
  As	
  it	
  turned	
  out,	
  the	
  saxophonist	
  didn’t	
  
show	
  up	
  for	
  the	
  rehearsal.	
  While	
  this	
  seemed	
  to	
  be	
  a	
  problem	
  at	
  first,	
  it	
  turned	
  
out	
  to	
  be	
  quite	
  convenient	
  as	
  after	
  some	
  quick	
  adjustments	
  it	
  was	
  decided	
  that	
  
saxophone	
  was	
  not	
  necessary	
  for	
  the	
  composition.	
  	
  Firstly	
  it	
  was	
  decided	
  that	
  the	
  
melody	
  at	
  A	
  could	
  stand	
  by	
  itself	
  without	
  needing	
  to	
  be	
  doubled	
  by	
  piano,	
  then	
  
for	
  the	
  B	
  section	
  it	
  was	
  possible	
  for	
  the	
  guitar	
  to	
  play	
  both	
  the	
  parts	
  that	
  were	
  
written	
  for	
  saxophone	
  and	
  guitar.	
  This	
  turned	
  out	
  to	
  function	
  quite	
  well	
  as	
  for	
  

the	
  first	
  eight	
  bars	
  the	
  guitar	
  plays	
  the	
  two	
  note	
  melody,	
  before	
  adding	
  the	
  lower	
  
Eb	
  drone	
  that	
  was	
  intended	
  for	
  saxophone.	
  Here	
  is	
  the	
  resulting	
  melody	
  for	
  the	
  B	
  
Section,	
  With	
  the	
  guitar	
  playing	
  both	
  the	
  parts	
  written	
  for	
  guitar	
  and	
  saxophone.	
  	
  

	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  

	
  

	
  	
  	
  	
  Another	
  adjustment	
  to	
  be	
  made	
  involved	
  the	
  melodic	
  section	
  leading	
  in	
  to	
  the	
  
guitar	
  solo.	
  

	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  

	
  

	
  	
  	
  	
  	
  Initially	
  this	
  phrase	
  was	
  to	
  be	
  played	
  for	
  eight	
  bars	
  by	
  just	
  saxophone,	
  with	
  the	
  
keyboards	
  joining	
  for	
  the	
  repetition	
  of	
  these	
  eight	
  bars,	
  while	
  guitar	
  played	
  the	
  
chords.	
  In	
  the	
  rehearsal,	
  the	
  piano	
  took	
  the	
  first	
  eight	
  bars	
  of	
  the	
  melody	
  while	
  
the	
  guitar	
  played	
  chords	
  for	
  the	
  first	
  eight,	
  beginning	
  to	
  play	
  melody	
  for	
  the	
  
second	
  eight.	
  On	
  listening	
  back	
  to	
  the	
  rehearsal	
  recording,	
  it	
  was	
  apparent	
  that	
  
while	
  the	
  dense	
  and	
  dark	
  mood	
  created	
  by	
  these	
  specific	
  chord	
  voicings	
  was	
  very	
  
effective	
  when	
  played	
  by	
  just	
  guitar,	
  in	
  the	
  context	
  of	
  the	
  piece	
  it	
  didn’t	
  really	
  
work	
  as	
  they	
  created	
  an	
  excess	
  of	
  information	
  in	
  the	
  low	
  register,	
  cluttering	
  the	
  
overall	
  sound.	
  To	
  amend	
  this,	
  the	
  solution	
  was	
  to	
  have	
  the	
  piano	
  play	
  the	
  melody	
  
for	
  the	
  first	
  eight	
  bars	
  with	
  no	
  chords	
  behind	
  it	
  and	
  the	
  guitar	
  would	
  then	
  join	
  
playing	
  the	
  melody	
  for	
  the	
  next	
  eight	
  bars.	
  	
  	
  	
  

	
  	
  	
  	
  	
  Here	
  is	
  an	
  audio	
  sample	
  of	
  this	
  section	
  from	
  the	
  rehearsal	
  recording,	
  then	
  
from	
  the	
  final	
  product.	
  	
  
•

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  C	
  Section	
  Changes	
  

	
  
	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  The	
  final	
  aspect	
  of	
  the	
  piece	
  that	
  needed	
  to	
  be	
  changed	
  due	
  to	
  the	
  lack	
  of	
  a	
  
saxophone	
  was	
  the	
  end	
  section.	
  The	
  written	
  part	
  indicated	
  that	
  the	
  saxophone	
  
should	
  play	
  a	
  harmonization	
  a	
  fourth	
  above	
  the	
  melodic	
  line	
  written	
  for	
  guitar,	
  
instead	
  of	
  having	
  the	
  keyboard	
  play	
  this,	
  the	
  use	
  of	
  a	
  guitar	
  effects	
  pedal	
  was	
  
employed,	
  specifically	
  a	
  Digitech	
  Whammy,	
  as	
  this	
  can	
  be	
  programmed	
  to	
  
harmonise	
  a	
  fourth	
  above.	
  	
  
	
  	
  	
  	
  The	
  final	
  change	
  that	
  came	
  about	
  specifically	
  as	
  a	
  result	
  of	
  the	
  rehearsal	
  was	
  
regarding	
  the	
  drum	
  part.	
  The	
  score	
  had	
  indicated	
  that	
  for	
  the	
  first	
  sixteen	
  bars	
  of	
  
the	
  introduction	
  the	
  drums	
  should	
  fill	
  space,	
  mostly	
  using	
  cymbals,	
  playing	
  freely	
  
without	
  regard	
  to	
  the	
  tempo.	
  However,	
  while	
  following	
  these	
  instructions	
  in	
  the	
  
rehearsal,	
  the	
  drummer	
  played	
  a	
  short	
  phrase	
  of	
  rhythms	
  in	
  tempo	
  on	
  the	
  closed	
  
hi-­‐hat,	
  momentarily	
  creating	
  a	
  very	
  effective	
  accompaniment	
  for	
  the	
  guitar	
  part.	
  
Similarly,	
  for	
  the	
  first	
  sixteen	
  bars	
  of	
  the	
  piano	
  solo,	
  the	
  score	
  indicated	
  that	
  the	
  
drums	
  should	
  play	
  very	
  busily,	
  responding	
  to	
  what	
  the	
  piano	
  played,	
  almost	
  in	
  
the	
  form	
  of	
  a	
  dual	
  solo.	
  However,	
  upon	
  hearing	
  this	
  small	
  section	
  of	
  the	
  drums	
  
playing	
  this	
  closed	
  hi-­‐hat	
  rhythm	
  for	
  the	
  introduction,	
  it	
  was	
  instantly	
  apparent	
  
that	
  this	
  idea,	
  employed	
  for	
  the	
  entirety	
  of	
  each	
  of	
  those	
  separate	
  sections,	
  would	
  
be	
  much	
  more	
  effective	
  than	
  what	
  had	
  originally	
  been	
  written	
  for	
  the	
  drummer	
  
to	
  play.	
  	
  

	
  	
  	
  	
  	
  Here	
  is	
  an	
  audio	
  extract	
  of	
  the	
  beginning	
  of	
  the	
  piece	
  from	
  the	
  rehearsal	
  
recording,	
  followed	
  by	
  the	
  beginning	
  of	
  the	
  piece	
  from	
  the	
  final	
  product.	
  	
  
•

Soundcloud	
  Playlist	
  –	
  Umbra	
  –	
  Intro	
  Changes	
  	
  

	
  	
  

2.4	
  –	
  Collaborative	
  Advice	
  
	
  	
  	
  	
  	
  Upon	
  listening	
  to	
  the	
  rehearsal	
  recording	
  with	
  Perico	
  Sambeat,	
  he	
  remarked	
  
that	
  the	
  chords	
  when	
  played	
  by	
  the	
  keyboards	
  over	
  the	
  A	
  Section	
  clashed	
  with	
  
some	
  of	
  the	
  melody	
  notes.	
  This	
  appeared	
  to	
  be	
  true,	
  but	
  upon	
  investigation	
  it	
  
seemed	
  more	
  likely	
  that	
  the	
  instructions	
  given	
  to	
  the	
  piano	
  at	
  this	
  part	
  were	
  at	
  
the	
  root	
  of	
  the	
  issue.	
  As	
  the	
  chords	
  for	
  the	
  A	
  section	
  are	
  the	
  same	
  for	
  the	
  
introduction,	
  they	
  are	
  of	
  course	
  based	
  on	
  a	
  specific	
  guitar	
  voicing	
  making	
  up	
  a	
  
sequence	
  of;	
  
|	
  Fmaj13	
  |	
  Ebmaj13b9	
  |	
  Db69(addb9)|	
  Bm11	
  	
  	
  |	
  
	
  	
  	
  	
  	
  The	
  specific	
  guitar	
  voicings	
  were	
  written	
  in	
  the	
  piano	
  part	
  as	
  sample	
  voicings	
  
to	
  help	
  with	
  constructing	
  these	
  unusual	
  chords,	
  also	
  with	
  the	
  instructions	
  to	
  omit	
  
the	
  5th	
  during	
  any	
  comping.	
  	
  	
  

	
  
	
  	
  	
  	
  	
  	
  While	
  these	
  voicings	
  are	
  very	
  effective	
  on	
  guitar,	
  this	
  information	
  is	
  probably	
  
far	
  too	
  specific	
  and	
  limiting	
  to	
  give	
  to	
  a	
  pianist.	
  In	
  order	
  to	
  fix	
  the	
  problem	
  I	
  then	
  
studied	
  the	
  notes	
  contained	
  within	
  the	
  melody	
  and	
  realised	
  that	
  they	
  were	
  
almost	
  entirely	
  contained	
  within	
  the	
  Lydian	
  Augmented	
  scale	
  of	
  each	
  chord	
  they	
  

were	
  being	
  played	
  over.	
  This	
  meant	
  that	
  while	
  the	
  chords	
  for	
  the	
  introduction	
  
could	
  stay	
  as	
  specifically	
  intended	
  for	
  guitar,	
  for	
  the	
  melody	
  the	
  chords	
  for	
  piano	
  
could	
  be	
  written	
  as;	
  	
  
|Fmaj13#5	
  |	
  Ebmaj13#5	
  |	
  Dbmaj7#5	
  |	
  Bm11	
  |	
  
	
  	
  	
  	
  	
  This	
  eradicated	
  the	
  problem	
  that	
  was	
  noticed	
  regarding	
  the	
  clash	
  of	
  melody	
  
and	
  chord,	
  as	
  well	
  as	
  having	
  the	
  added	
  bonus	
  of	
  allowing	
  the	
  pianist	
  much	
  more	
  
freedom	
  of	
  expression,	
  as	
  indicated	
  in	
  the	
  following	
  recorded	
  material.	
  The	
  first	
  
excerpt	
  is	
  from	
  the	
  rehearsal	
  followed	
  by	
  the	
  finished	
  product.	
  	
  
•

Soundcloud	
  Playlist	
  –	
  Track	
  18	
  –	
  Umbra	
  –	
  Voicing	
  Changes	
  

	
  	
  	
  	
  	
  A	
  second	
  point	
  that	
  was	
  raised	
  in	
  this	
  meeting	
  was	
  there	
  was	
  possibly	
  too	
  
much	
  contrast	
  between	
  the	
  A	
  and	
  B	
  Section	
  melody,	
  Perico	
  suggesting	
  that	
  
perhaps	
  the	
  A	
  Section	
  melody	
  could	
  benefit	
  from	
  being	
  less	
  busy	
  and	
  the	
  B	
  
Section	
  could	
  have	
  more	
  movement	
  melodically.	
  This	
  was	
  a	
  suggestion	
  that	
  
made	
  sense	
  and	
  was	
  worth	
  considering,	
  but	
  due	
  to	
  time	
  constraints	
  before	
  the	
  
recording,	
  was	
  not	
  possible	
  to	
  investigate	
  fully.	
  However,	
  having	
  completed	
  the	
  
recording	
  with	
  the	
  melodies	
  in	
  this	
  manner,	
  it	
  seems	
  that	
  the	
  melodic	
  contrast	
  
between	
  the	
  sections	
  is	
  very	
  effective,	
  as	
  it	
  also	
  allows	
  room	
  for	
  more	
  contrast	
  
between	
  what	
  the	
  rhythm	
  section	
  is	
  playing	
  between	
  the	
  A	
  and	
  B	
  Sections,	
  which	
  
was	
  an	
  effective	
  way	
  of	
  both	
  maintaining	
  the	
  interest	
  of	
  the	
  listener,	
  as	
  well	
  as	
  
keeping	
  the	
  musicians	
  themselves	
  engaged.	
  	
  
	
  	
  	
  	
  	
  Having	
  gained	
  some	
  advice	
  on	
  the	
  compositional	
  aspect	
  of	
  the	
  piece	
  I	
  also	
  met	
  
with	
  Israel	
  Sandoval	
  to	
  discuss	
  the	
  scale	
  options	
  available	
  for	
  soloing	
  over	
  the	
  
tune,	
  particularly	
  over	
  the	
  A	
  section	
  chords.	
  As	
  has	
  been	
  previously	
  mentioned,	
  
the	
  chords	
  for	
  this	
  section	
  of	
  the	
  piece	
  are	
  unusual	
  and	
  as	
  a	
  consequence,	
  were	
  

quite	
  difficult	
  to	
  solo	
  comfortably	
  over.	
  Together,	
  Israel	
  and	
  I	
  investigated	
  what	
  
would	
  be	
  possible	
  options	
  for	
  each	
  chord,	
  also	
  with	
  the	
  aim	
  of	
  discovering	
  which	
  
options	
  blended	
  the	
  changes	
  together	
  with	
  most	
  cohesion,	
  while	
  also	
  being	
  
aware	
  of	
  what	
  would	
  be	
  a	
  logical	
  mental	
  process	
  for	
  changing	
  between	
  chords.	
  	
  	
  
	
  	
  	
  
	
  	
  	
  The	
  resulting	
  scale	
  chord	
  relationships	
  were;	
  	
  
•

Fmaj13	
  –	
  D	
  Minor	
  (all	
  variations	
  of,	
  Melodic,	
  Harmonic,	
  Natural	
  Minor)	
  

•

Ebmaj13b9	
  –	
  D,	
  Eb,	
  E,	
  A,	
  Bb,	
  B	
  –	
  Limited	
  Transposition	
  Scale	
  

•

Db69(addb9)	
  –	
  D,	
  E,	
  F,	
  Gb,	
  G	
  –	
  Limited	
  Transposition	
  Scale	
  

•

Bm11	
  –	
  Bb	
  Augmented	
  Scale	
  

	
  	
  	
  	
  	
  The	
  term	
  “Limited	
  Transposition	
  Scale,”	
  implies	
  a	
  scale	
  that	
  fulfills	
  specific	
  
criteria	
  with	
  regards	
  to	
  their	
  symmetry	
  and	
  their	
  interval	
  groups.	
  This	
  was	
  a	
  
concept	
  previously	
  unfamiliar	
  to	
  me,	
  and	
  was	
  very	
  effective	
  in	
  terms	
  of	
  creating	
  
new	
  ideas	
  for	
  soloing	
  over	
  these	
  chords,	
  and	
  for	
  soloing	
  in	
  general.	
  	
  
	
  	
  	
  	
  	
  As	
  it	
  turned	
  out,	
  because	
  of	
  the	
  changes	
  to	
  the	
  chordal	
  information	
  given	
  to	
  
the	
  keyboards,	
  these	
  scales	
  were	
  not	
  strictly	
  necessary	
  for	
  soloing	
  over	
  this	
  
section,	
  as	
  Lydian	
  Augmented	
  would	
  now	
  fit	
  each	
  chord.	
  However,	
  the	
  use	
  of	
  
these	
  scales	
  did	
  provide	
  an	
  extra	
  ingredient	
  to	
  employ	
  during	
  the	
  solo	
  which,	
  
when	
  combined	
  with	
  the	
  Lydian	
  Augmented	
  scales,	
  created	
  a	
  sound	
  that	
  was	
  
very	
  specific	
  to	
  this	
  piece	
  and	
  therefore	
  very	
  effective.	
  	
  
	
  
	
  
	
  

2.5	
  –	
  Recording	
  
	
  	
  	
  	
  	
  The	
  recording	
  session	
  for	
  “Umbra”	
  was	
  20.00-­‐23.00,	
  on	
  the	
  9th	
  April	
  2014	
  at	
  
the	
  Ann	
  Kreis	
  Scroing	
  Stage,	
  Berklee	
  Valencia.	
  The	
  engineer	
  for	
  the	
  session	
  was	
  
Alayna	
  Hughes,	
  and	
  the	
  band	
  consisted	
  of	
  Daniel	
  Toledo	
  on	
  electric	
  bass,	
  Piotr	
  
Orzechowski	
  on	
  keyboards,	
  Joshua	
  Wheatley	
  on	
  drums,	
  as	
  well	
  as	
  myself	
  on	
  
electric	
  guitar.	
  	
  
	
  	
  	
  	
  	
  
	
  The	
  session	
  schedule	
  was	
  planned	
  to	
  be;	
  
•

20.00-­‐21.00	
  –	
  Setup.	
  

•

21.00-­‐22.30	
  –	
  Record	
  multiple	
  takes	
  of	
  piece.	
  

•

22.30-­‐23.00	
  –	
  Tear	
  down	
  equipment.	
  	
  

	
  	
  	
  	
  	
  The	
  microphones	
  to	
  be	
  used	
  for	
  the	
  session	
  were	
  decided	
  in	
  advance	
  by	
  
Alayna	
  and	
  I	
  and	
  consisted	
  of;	
  
•

Guitar	
  –	
  SM57	
  +	
  Reyer	
  121	
  

•

Bass	
  –	
  D.I.	
  

•

Keyboards	
  –	
  D.I.	
  	
  

•

Drums	
  –	
  Kick	
  -­‐	
  AKG	
  D112,	
  Snare	
  -­‐	
  SM57,	
  Toms	
  -­‐	
  Sennheiser	
  421	
  
Overheads	
  –	
  KM	
  184	
  	
  

	
  	
  	
  	
  	
  Below	
  is	
  a	
  picture	
  of	
  the	
  floor	
  plan	
  for	
  the	
  session.	
  	
  

	
  	
  
	
  

	
  	
  	
  	
  	
  As	
  in	
  the	
  recording	
  session	
  written	
  about	
  in	
  the	
  previous	
  chapter,	
  the	
  effort	
  
that	
  went	
  into	
  the	
  pre-­‐production	
  and	
  organisation	
  process	
  meant	
  that	
  
everything	
  ran	
  smoothly	
  for	
  the	
  session,	
  ensuring	
  ample	
  time	
  was	
  available	
  for	
  
recording	
  enough	
  takes	
  until	
  a	
  satisfactory	
  product	
  was	
  a	
  certainty.	
  	
  
	
  	
  	
  	
  	
  	
  In	
  post-­‐production,	
  I	
  completed	
  the	
  edits	
  using	
  Pro	
  Tools,	
  the	
  mix	
  was	
  done	
  
by	
  Ryan	
  Renteria,	
  and	
  mastering	
  by	
  Alan	
  Tishk.	
  	
  
	
  	
  	
  	
  	
  As	
  the	
  recording	
  session	
  went	
  very	
  smoothly	
  and	
  the	
  arrangement	
  was	
  well	
  
prepared,	
  no	
  problems	
  arose	
  in	
  post	
  production,	
  the	
  only	
  difficulty	
  lay	
  in	
  
choosing	
  from	
  the	
  many	
  takes,	
  as	
  each	
  had	
  it’s	
  own	
  appeal.	
  	
  	
  
	
  	
  	
  	
  	
  Here	
  is	
  the	
  final	
  product	
  of	
  the	
  composition	
  “Umbra”.	
  
•

Soundcloud	
  Playlist	
  –	
  Track	
  19	
  -­‐	
  Umbra	
  

	
  
2.6	
  -­‐	
  Lessons	
  Learned	
  
	
  	
  	
  	
  	
  The	
  main	
  area	
  I	
  increased	
  my	
  knowledge	
  over	
  the	
  course	
  of	
  writing	
  and	
  
arranging	
  this	
  piece	
  was	
  in	
  the	
  field	
  of	
  chord-­‐scale	
  relationships.	
  Learning	
  about	
  
Limited	
  Transposition	
  scales	
  has	
  provided	
  an	
  area	
  for	
  intensive	
  further	
  study	
  in	
  
the	
  future,	
  while	
  also	
  immediately	
  granting	
  me	
  some	
  new	
  sounds	
  and	
  ideas	
  for	
  
my	
  improvisational	
  repertoire.	
  	
  
	
  	
  	
  	
  	
  The	
  second	
  area	
  in	
  which	
  I	
  could	
  say	
  I	
  learned,	
  was	
  with	
  regard	
  the	
  last	
  
minute	
  changing	
  of	
  the	
  ensemble	
  line	
  up.	
  While	
  initially	
  the	
  fact	
  that	
  the	
  
saxophonist	
  failed	
  to	
  show	
  up	
  for	
  a	
  rehearsal	
  was	
  a	
  great	
  source	
  of	
  irritation	
  to	
  
me,	
  in	
  the	
  end	
  the	
  composition	
  ended	
  up	
  being	
  much	
  more	
  effective	
  in	
  the	
  
quartet	
  format.	
  This	
  was	
  a	
  good	
  lesson	
  in	
  terms	
  of	
  not	
  assuming	
  the	
  worst	
  when	
  

presented	
  with	
  an	
  obstacle,	
  as	
  well	
  as	
  how	
  to	
  change	
  arrangements	
  quickly	
  and	
  
intuitively.	
  	
  
	
  	
  	
  	
  	
  Also,	
  I	
  learned	
  that	
  the	
  original	
  intent	
  for	
  the	
  composition	
  does	
  not	
  have	
  to	
  be	
  
maintained	
  in	
  order	
  to	
  end	
  with	
  a	
  satisfactory	
  product.	
  After	
  having	
  decided	
  that	
  
the	
  main	
  influence	
  for	
  the	
  piece	
  was	
  going	
  to	
  be	
  the	
  work	
  of	
  a	
  certain	
  composer,	
  
the	
  more	
  time	
  spent	
  on	
  the	
  composition,	
  the	
  less	
  this	
  seemed	
  relevant.	
  However,	
  
starting	
  with	
  an	
  obvious	
  intent	
  was	
  extremely	
  helpful	
  in	
  terms	
  of	
  speeding	
  up	
  
the	
  composing	
  process,	
  as	
  it	
  gave	
  the	
  beginning	
  stages	
  some	
  guidelines	
  to	
  follow	
  
and	
  an	
  immediate	
  focus,	
  which	
  was	
  helpful	
  in	
  terms	
  of	
  speeding	
  up	
  the	
  decision	
  
making	
  process.	
  	
  

3	
  –	
  “Dip”	
  
3.1	
  –	
  Initial	
  Intention	
  
	
  	
  	
  	
  	
  The	
  initial	
  intention	
  for	
  this	
  composition	
  was	
  to	
  build	
  a	
  piece	
  around	
  a	
  main	
  
idea	
  that	
  employed	
  the	
  use	
  of	
  extended	
  guitar	
  techniques.	
  	
  The	
  approach	
  of	
  using	
  
unusual	
  noises	
  and	
  textures	
  on	
  guitar	
  is	
  a	
  technique	
  that	
  takes	
  its	
  influence	
  from	
  
guitarists	
  such	
  as	
  Tom	
  Morello	
  and	
  Jeff	
  Beck.	
  The	
  use	
  of	
  harmonics,	
  bending	
  of	
  
notes	
  behind	
  the	
  nut	
  of	
  the	
  guitar,	
  as	
  well	
  as	
  playing	
  notes	
  behind	
  the	
  nut,	
  are	
  all	
  
approaches	
  that	
  I	
  regularly	
  apply	
  to	
  my	
  playing,	
  especially	
  when	
  performing	
  in	
  
the	
  hip-­‐hop	
  genre,	
  as	
  the	
  guitar	
  can	
  sometimes	
  be	
  in	
  the	
  position	
  of	
  replicating	
  a	
  
DJ/turntablist.	
  It	
  seemed	
  that	
  incorporating	
  these	
  techniques	
  into	
  an	
  original	
  
composition	
  would	
  be	
  an	
  effective	
  way	
  of	
  developing	
  my	
  own	
  voice	
  both	
  as	
  an	
  
instrumentalist	
  and	
  as	
  a	
  composer.	
  
	
  

3.2	
  –	
  The	
  Writing	
  Process	
  
	
  	
  	
  	
  	
  The	
  first	
  step	
  in	
  this	
  composition	
  was	
  to	
  come	
  up	
  with	
  the	
  extended	
  technique	
  
idea	
  that	
  would	
  be	
  the	
  main	
  hook,	
  or	
  focus,	
  of	
  the	
  piece.	
  This	
  was	
  an	
  extremely	
  
quick	
  process	
  because,	
  as	
  mentioned	
  before,	
  this	
  is	
  an	
  approach	
  I	
  regularly	
  take	
  
in	
  my	
  playing,	
  and	
  therefore	
  have	
  an	
  accumulation	
  of	
  ideas	
  to	
  draw	
  from.	
  Also,	
  
this	
  approach	
  to	
  guitar	
  playing	
  is	
  not	
  very	
  common	
  and	
  as	
  a	
  result	
  it	
  isn’t	
  
necessary	
  to	
  be	
  painstaking	
  in	
  terms	
  of	
  attempting	
  not	
  to	
  sound	
  to	
  derivative,	
  
most	
  of	
  the	
  sounds	
  attempted	
  have	
  a	
  character	
  that	
  is	
  particular	
  to	
  the	
  
composer.	
  After	
  a	
  short	
  time	
  trying	
  some	
  ideas,	
  the	
  phrase	
  was	
  finalised.	
  It	
  
employs	
  the	
  three	
  techniques	
  spoken	
  of	
  earlier,	
  harmonics,	
  bending	
  behind	
  the	
  
nut,	
  and	
  playing	
  behind	
  the	
  nut,	
  as	
  well	
  as	
  guitar	
  effects	
  pedals	
  in	
  the	
  form	
  of	
  
distortion	
  and	
  digital	
  delay.	
  	
  
	
  	
  	
  	
  	
  Here	
  is	
  an	
  audio	
  example	
  of	
  the	
  phrase	
  in	
  question.	
  	
  
•

Soundcloud	
  Playlist	
  –	
  Track	
  20	
  –	
  Dip	
  –	
  Extended	
  Techniques	
  

	
  	
  	
  	
  	
  Once	
  the	
  motif	
  was	
  finalised,	
  the	
  next	
  step	
  was	
  to	
  find	
  chords	
  to	
  complement	
  
it.	
  	
  Melodic	
  Minor	
  harmony	
  is	
  an	
  area	
  that	
  was	
  being	
  explored	
  at	
  that	
  time	
  in	
  my	
  
private	
  lesson	
  and	
  therefore	
  was	
  a	
  sound	
  that	
  was	
  very	
  present	
  in	
  my	
  playing	
  at	
  
the	
  time.	
  It	
  seemed	
  that	
  the	
  dark	
  character	
  of	
  a	
  major7#5	
  chord	
  would	
  be	
  the	
  
perfect	
  choice	
  to	
  complement	
  this	
  motif	
  and	
  because	
  the	
  motif	
  is	
  basically	
  atonal,	
  
any	
  combination	
  of	
  maj7#5	
  chords	
  was	
  possible.	
  After	
  many	
  varied	
  attempts	
  at	
  
different	
  combinations	
  and	
  durations	
  of	
  time	
  for	
  each	
  chord.	
  The	
  most	
  effective	
  

solution	
  was	
  to	
  play	
  Cmaj7#5	
  and	
  Ebmaj7#5	
  for	
  one	
  bar	
  each.

	
  
	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  Here	
  is	
  an	
  audio	
  example	
  of	
  the	
  guitar	
  motif	
  played	
  with	
  the	
  harmony.	
  	
  
•

Soundcloud	
  Playlist	
  –	
  Track	
  21	
  –	
  Dip	
  –	
  Motif	
  with	
  Chords	
  

	
  	
  	
  	
  	
  In	
  order	
  to	
  maintain	
  a	
  similar	
  atmosphere	
  for	
  the	
  introduction	
  and	
  the	
  
melody,	
  it	
  seemed	
  that	
  it	
  would	
  be	
  effective	
  to	
  use	
  the	
  same	
  chords,	
  but	
  change	
  
the	
  harmonic	
  rhythm	
  in	
  order	
  to	
  provide	
  a	
  slight	
  difference	
  to	
  what	
  had	
  
previously	
  been	
  heard.	
  	
  Therefore	
  the	
  chord	
  qualities	
  remained	
  the	
  same,	
  
Cmaj7#5	
  and	
  Ebmaj7#5,	
  but	
  this	
  time	
  they	
  are	
  played	
  for	
  two	
  bars	
  each.	
  	
  
	
  	
  	
  	
  	
  The	
  melody	
  itself	
  begins	
  with	
  a	
  four	
  bar	
  phrase;	
  	
  

	
  
	
  	
  	
  	
  	
  	
  The	
  last	
  bar	
  of	
  this	
  phrase	
  is	
  then	
  sequenced,	
  and	
  repeated	
  four	
  times	
  with	
  
small	
  ornamentations.	
  	
  

	
  
	
  	
  	
  	
  	
  To	
  end	
  the	
  phrase	
  the	
  first	
  two	
  bars	
  of	
  the	
  of	
  the	
  melody	
  are	
  repeated,	
  then	
  
only	
  the	
  first	
  two	
  notes	
  of	
  the	
  third	
  bar	
  are	
  repeated,	
  allowing	
  some	
  space	
  before	
  
the	
  introductory	
  motif	
  returns.	
  	
  

	
  	
  	
  	
  	
  	
  

	
  

The	
  intent	
  behind	
  the	
  construction	
  of	
  this	
  melody	
  was,	
  in	
  order	
  to	
  contrast	
  with	
  
what	
  had	
  preceded	
  it,	
  to	
  keep	
  it	
  simple	
  and	
  aurally	
  accessible,	
  while	
  the	
  fact	
  that	
  
the	
  repetition	
  of	
  the	
  first	
  phrase	
  is	
  not	
  concluded	
  in	
  the	
  same	
  fashion	
  as	
  the	
  first	
  
time	
  it	
  is	
  heard	
  may	
  be	
  an	
  effective	
  way	
  of	
  surprising	
  the	
  listener.	
  Also,	
  the	
  
melody	
  itself	
  is	
  not	
  necessarily	
  played	
  strictly	
  as	
  written,	
  artistic	
  license	
  is	
  
granted	
  in	
  terms	
  of	
  string	
  bends	
  and	
  articulation.	
  	
  
	
  	
  	
  	
  	
  Here	
  is	
  an	
  audio	
  extract	
  of	
  the	
  A	
  Section	
  melody.	
  	
  
•

Soundcloud	
  Playlist	
  –	
  Track	
  22	
  –	
  Dip	
  –	
  A	
  Section	
  Melody	
  

	
  	
  	
  	
  Following	
  the	
  melody	
  is	
  a	
  repetition	
  of	
  the	
  extended	
  techniques	
  of	
  the	
  
introduction,	
  this	
  time	
  with	
  second	
  half	
  of	
  the	
  phrase	
  played	
  first,	
  once	
  again	
  the	
  
intent	
  behind	
  this	
  was	
  written	
  with	
  the	
  intent	
  of	
  repeating	
  previously	
  heard	
  
material,	
  but	
  with	
  a	
  slight	
  change	
  to	
  hold	
  the	
  listener’s	
  interest.	
  While	
  writing,	
  it	
  
seemed	
  that	
  simply	
  repeating	
  the	
  information	
  heard	
  in	
  the	
  A	
  Section	
  melody	
  
needed	
  to	
  be	
  heard	
  again	
  before	
  any	
  new	
  material	
  was	
  introduced.	
  However,	
  
simply	
  repeating	
  the	
  melody	
  seemed	
  too	
  predictable,	
  so	
  the	
  most	
  effective	
  choice	
  
was	
  to	
  repeat	
  the	
  melody	
  except	
  play	
  a	
  segment	
  of	
  it,	
  a	
  few	
  variations	
  were	
  
attempted,	
  eventually	
  the	
  most	
  effective	
  method	
  seemed	
  to	
  be	
  to	
  play	
  bar	
  five-­‐
twelve	
  of	
  the	
  previously	
  heard	
  section.	
  	
  

	
  

	
  
	
  
	
  	
  	
  	
  	
  For	
  the	
  B	
  Section,	
  the	
  chords	
  were	
  the	
  first	
  element	
  of	
  the	
  section	
  to	
  be	
  
written.	
  	
  The	
  sound	
  of	
  a	
  Cmaj7/G	
  chord	
  when	
  played	
  on	
  guitar	
  using	
  of	
  the	
  open	
  
G,	
  B,	
  and	
  E	
  strings,	
  creates	
  a	
  light,	
  yet	
  unsettling	
  atmosphere	
  that	
  fitted	
  the	
  
composition	
  well.	
  	
  

	
  
	
  	
  	
  	
  	
  In	
  order	
  to	
  work	
  this	
  voicing	
  into	
  the	
  composition,	
  semi-­‐tonal	
  bass	
  movement	
  
was	
  employed,	
  once	
  again	
  with	
  the	
  influence	
  of	
  Kurt	
  Rosenwinkel’s	
  compositions	
  
in	
  mind.	
  The	
  bottom	
  three	
  notes	
  of	
  the	
  chord	
  can	
  be	
  moved	
  while	
  the	
  open	
  
strings	
  are	
  kept	
  the	
  same	
  for	
  each	
  voicing,	
  resulting	
  in	
  a	
  progression	
  of;	
  

	
  
	
  	
  	
  	
  	
  After	
  experimenting	
  with	
  different	
  places	
  on	
  the	
  fretboard	
  this	
  voicing	
  would	
  
work,	
  using	
  a	
  similar	
  pattern	
  starting	
  with	
  Bb	
  as	
  the	
  bass	
  note	
  proved	
  to	
  be	
  very	
  
effective.	
  However,	
  the	
  structure	
  of	
  the	
  chord	
  couldn’t	
  remain	
  the	
  same	
  for	
  each	
  
voicing	
  as	
  it	
  became	
  extremely	
  dissonant.	
  To	
  remedy	
  this	
  while	
  still	
  maintaining	
  
the	
  chromatic	
  movement,	
  the	
  structure	
  of	
  the	
  voicing	
  was	
  changed	
  slightly	
  in	
  
order	
  to	
  accommodate	
  the	
  use	
  of	
  open	
  strings.	
  The	
  resulting	
  progression	
  was;	
  

	
  
	
  	
  	
  	
  	
  At	
  the	
  time	
  of	
  writing	
  this	
  section,	
  the	
  actual	
  chordal	
  values	
  were	
  not	
  of	
  prime	
  
importance,	
  as	
  the	
  main	
  objective	
  was	
  to	
  create	
  the	
  necessary	
  atmosphere	
  and	
  
mood.	
  Considering	
  the	
  harmonic	
  content	
  of	
  these	
  voicings	
  only	
  became	
  a	
  
concern	
  when	
  writing	
  the	
  changes	
  for	
  solo	
  sections.	
  After	
  playing	
  the	
  
progression	
  a	
  few	
  times,	
  it	
  seemed	
  that	
  a	
  more	
  aurally	
  satisfying	
  way	
  for	
  it	
  to	
  be	
  
played	
  would	
  be	
  to	
  begin	
  with	
  the	
  section	
  starting	
  on	
  Bb,	
  playing	
  the	
  Cmaj7/G	
  
chord	
  on	
  what	
  would	
  be	
  bar	
  five	
  of	
  an	
  eight	
  bar	
  sequence.	
  	
  
	
  	
  	
  	
  	
  Melodically,	
  what	
  it	
  seemed	
  this	
  section	
  needed	
  was	
  a	
  repetitive	
  melodic	
  
figure	
  that	
  provided	
  contrast	
  with	
  all	
  the	
  chordal	
  movement.	
  After	
  exploring	
  
different	
  options,	
  what	
  was	
  very	
  effective	
  was	
  maintaining	
  the	
  same	
  top	
  note	
  of	
  
the	
  motif	
  throughout	
  the	
  entire	
  progression,	
  while	
  having	
  any	
  movement	
  kept	
  to	
  
the	
  lower	
  register	
  of	
  the	
  melody.	
  Despite	
  the	
  unusual	
  harmony	
  this	
  provided	
  a	
  
sense	
  of	
  connectedness	
  throughout	
  the	
  section.	
  After	
  deciding	
  on	
  an	
  initial	
  motif	
  
to	
  complement	
  the	
  first	
  chord,	
  motivic	
  transformation	
  was	
  applied,	
  keeping	
  the	
  
rhythm	
  the	
  same	
  but	
  changing	
  the	
  melody	
  notes	
  according	
  to	
  the	
  chord	
  of	
  the	
  
moment.	
  	
  

	
  
	
  	
  	
  	
  	
  	
  	
  	
  	
  The	
  most	
  effective	
  way	
  to	
  play	
  this	
  six	
  bar	
  phrase	
  seemed	
  to	
  be	
  to	
  play	
  with	
  
just	
  guitar	
  and	
  piano,	
  then	
  repeat	
  it	
  with	
  bass	
  and	
  drums,	
  playing	
  a	
  crescendo	
  
over	
  the	
  six	
  bars	
  before	
  resting	
  on	
  a	
  Fmaj7#11	
  chord.	
  A	
  repetition	
  of	
  the	
  initial	
  
guitar	
  introduction	
  seemed	
  appropriate	
  at	
  this	
  point,	
  but	
  in	
  order	
  not	
  to	
  present	
  

the	
  same	
  material	
  in	
  exactly	
  the	
  same	
  fashion,	
  beat	
  four	
  was	
  removed	
  from	
  the	
  
second	
  bar	
  of	
  the	
  phrase,	
  meaning	
  the	
  band	
  would	
  play	
  the	
  first	
  beat	
  of	
  the	
  solo	
  
section	
  earlier	
  than	
  the	
  listener	
  would	
  expect.	
  	
  
	
  	
  	
  	
  	
  Here	
  is	
  an	
  audio	
  sample	
  of	
  the	
  B	
  Section,	
  moving	
  into	
  the	
  first	
  solo	
  of	
  the	
  piece.	
  	
  
•

Soundcloud	
  Playlist	
  –	
  Track	
  22	
  –	
  Dip	
  –	
  B	
  Section	
  
For	
  the	
  guitar	
  solo,	
  the	
  first	
  section	
  uses	
  the	
  chords	
  found	
  in	
  the	
  A	
  Section	
  
melody,	
  with	
  the	
  simple	
  addition	
  of	
  a	
  D9#11	
  chord	
  to	
  provide	
  a	
  brief	
  
change	
  of	
  colour	
  from	
  the	
  constant	
  major7#5	
  voicings.	
  

	
  
	
  	
  	
  	
  	
  The	
  next	
  section	
  of	
  the	
  solo	
  uses	
  chords	
  from	
  the	
  B	
  Section,	
  and	
  
therefore	
  required	
  some	
  consideration	
  as	
  to	
  their	
  theoretical	
  makeup,	
  in	
  
order	
  to	
  provide	
  information	
  for	
  the	
  soloist.	
  Rather	
  than	
  just	
  use	
  the	
  B	
  
Section	
  in	
  it’s	
  entirety	
  for	
  the	
  solo,	
  what	
  seemed	
  to	
  be	
  more	
  effective	
  was	
  
to	
  do	
  a	
  slight	
  variation	
  on	
  the	
  first	
  half	
  of	
  this	
  section,	
  turning	
  it	
  into	
  a	
  four	
  
bar	
  phrase	
  rather	
  than	
  three,	
  partially	
  to	
  create	
  interest	
  for	
  the	
  listener,	
  
but	
  also	
  to	
  alleviate	
  some	
  pressure	
  on	
  the	
  soloist,	
  as	
  the	
  chords	
  
themselves	
  are	
  quite	
  complicated	
  without	
  having	
  to	
  consider	
  unusual	
  
form	
  lengths	
  too.	
  	
  

	
  

	
  	
  	
  	
  	
  The	
  above	
  chords	
  are	
  the	
  four	
  bar	
  sequence	
  that	
  were	
  chosen	
  as	
  a	
  
variation	
  on	
  the	
  B	
  Section	
  to	
  play	
  during	
  the	
  guitar	
  solo.	
  After	
  the	
  guitar	
  
solo	
  there	
  is	
  an	
  interlude,	
  which	
  shall	
  be	
  described	
  in	
  detail	
  later,	
  before	
  
the	
  beginning	
  of	
  the	
  piano	
  solo,	
  which	
  plays	
  over	
  the	
  same	
  chords	
  as	
  the	
  
guitar	
  solo,	
  but	
  with	
  the	
  order	
  reversed,	
  the	
  piano	
  beginning	
  with	
  the	
  
chromatically	
  moving	
  chords	
  based	
  on	
  the	
  B	
  section	
  melody,	
  then	
  moving	
  
onto	
  the	
  chords	
  based	
  on	
  the	
  A	
  Section.	
  	
  
	
  	
  	
  	
  	
  After	
  the	
  piano	
  solo	
  there	
  is	
  a	
  drum	
  feature	
  spread	
  over	
  a	
  twenty-­‐two	
  
bar	
  section.	
  The	
  musical	
  content	
  of	
  this	
  section	
  is	
  based	
  on	
  the	
  B	
  Section	
  
of	
  the	
  melody,	
  using	
  the	
  same	
  chords	
  but	
  introducing	
  a	
  new,	
  extremely	
  
simple	
  motif	
  on	
  the	
  keyboard.	
  The	
  section	
  begins	
  dynamically	
  low,	
  at	
  
piano,	
  gradually	
  increasing	
  in	
  volume	
  as	
  the	
  keyboard’s	
  written	
  part	
  
becomes	
  busier	
  in	
  tandem	
  with	
  the	
  drums.	
  For	
  the	
  end	
  of	
  the	
  section	
  the	
  
B	
  section	
  melody	
  is	
  re-­‐introduced	
  while	
  the	
  drums	
  continue	
  to	
  solo.	
  
Everybody	
  ends	
  the	
  solo	
  with	
  an	
  Fmaj7#11	
  chord,	
  held	
  for	
  two	
  bars,	
  
before	
  the	
  guitar	
  plays	
  the	
  phrase	
  from	
  the	
  introduction,	
  this	
  time	
  with	
  
the	
  entire	
  band	
  catching	
  the	
  last	
  hit	
  of	
  the	
  motif.	
  	
  
	
  	
  	
  	
  	
  Here	
  is	
  an	
  audio	
  sample	
  of	
  the	
  section	
  incorporating	
  the	
  drum	
  solo	
  and	
  
end	
  of	
  the	
  piece.	
  	
  
•

Soundcloud	
  Playlist	
  –	
  Track	
  23	
  –	
  Dip	
  –	
  End	
  Section	
  

3.3	
  –	
  Rehearsal	
  and	
  Adjustments	
  
	
  	
  	
  	
  	
  Rehearsal	
  of	
  this	
  piece	
  brought	
  about	
  a	
  dramatic	
  change	
  in	
  terms	
  of	
  the	
  
instrumentation	
  as	
  the	
  original	
  line-­‐up	
  was	
  to	
  include	
  cajón	
  and	
  tabla	
  rather	
  
than	
  drum	
  set.	
  However,	
  upon	
  rehearing	
  the	
  piece	
  it	
  became	
  apparent	
  that	
  

the	
  larger	
  orchestrational	
  palate	
  and	
  dynamic	
  capabilities	
  of	
  the	
  drum	
  set	
  
would	
  be	
  more	
  beneficial	
  to	
  the	
  piece.	
  	
  
	
  	
  	
  	
  	
  Also,	
  an	
  issue	
  that	
  I	
  hadn’t	
  considered	
  before	
  the	
  rehearsal	
  was	
  that	
  the	
  
fact	
  that	
  the	
  tabla	
  is	
  a	
  pitched	
  instrument	
  created	
  an	
  issue	
  because	
  of	
  the	
  
harmonic	
  density	
  of	
  the	
  piece.	
  The	
  fact	
  that	
  there	
  was	
  such	
  a	
  high	
  volume	
  of	
  
chord	
  changes,	
  as	
  well	
  as	
  the	
  fact	
  none	
  of	
  these	
  chords	
  belonged	
  to	
  the	
  same	
  
key	
  center	
  or	
  harmonic	
  universe,	
  meant	
  that	
  several	
  tabla	
  drums	
  would	
  have	
  
to	
  be	
  set	
  up	
  to	
  keep	
  up	
  with	
  the	
  harmony.	
  This	
  was	
  problematic	
  because	
  it	
  
meant	
  the	
  piece	
  was	
  quite	
  physically	
  uncomfortable	
  to	
  play	
  for	
  the	
  musician,	
  
while	
  also	
  meaning	
  that	
  as	
  the	
  specific	
  drum	
  was	
  constantly	
  changing	
  to	
  
accommodate	
  the	
  chords,	
  it	
  was	
  impossible	
  to	
  built	
  a	
  sense	
  of	
  continuity	
  
within	
  the	
  tabla	
  part	
  itself.	
  The	
  constant	
  changing	
  of	
  the	
  pattern	
  and	
  tone	
  was	
  
unfortunately	
  unavoidable,	
  quite	
  distracting,	
  and	
  not	
  in	
  keeping	
  with	
  what	
  
was	
  intended	
  for	
  the	
  piece.	
  Also,	
  without	
  the	
  tabla,	
  the	
  cajón	
  did	
  not	
  have	
  the	
  
ability	
  to	
  create	
  the	
  necessary	
  ethereal	
  atmosphere	
  required	
  for	
  the	
  B	
  Section	
  
melody	
  and	
  interlude	
  between	
  solos.	
  After	
  listening	
  back	
  to	
  the	
  recording	
  it	
  
was	
  quite	
  clear	
  that	
  a	
  drum	
  set	
  would	
  be	
  far	
  more	
  appropriate	
  to	
  the	
  piece.	
  	
  

3.	
  4	
  -­‐	
  Collaborative	
  Advice	
  
	
  	
  	
  	
  	
  	
  As	
  mentioned	
  earlier,	
  the	
  interlude	
  between	
  the	
  guitar	
  and	
  piano	
  solo	
  was	
  
something	
  that	
  would	
  be	
  talked	
  about	
  later	
  in	
  the	
  paper.	
  The	
  reason	
  for	
  this	
  
is	
  that	
  in	
  the	
  initial	
  writing	
  stages,	
  this	
  interlude	
  was	
  simply	
  a	
  repetition	
  of	
  
the	
  B	
  Section	
  melody.	
  However,	
  upon	
  listening	
  to	
  the	
  rehearsal	
  recording,	
  
Perico	
  suggested	
  that	
  perhaps	
  it	
  would	
  be	
  more	
  effective	
  to	
  compose	
  
something	
  new	
  here	
  rather	
  than	
  just	
  repeat	
  previously	
  heard	
  material.	
  This	
  

line	
  of	
  thought	
  is	
  very	
  much	
  in	
  keeping	
  with	
  what	
  I	
  usually	
  work	
  towards	
  in	
  a	
  
composition	
  and	
  therefore	
  I	
  tended	
  to	
  agree	
  with	
  him.	
  	
  
	
  	
  	
  	
  	
  The	
  intent	
  in	
  writing	
  this	
  section	
  was	
  to	
  create	
  something	
  new,	
  but	
  still	
  
relevant	
  to	
  what	
  had	
  preceded	
  it.	
  To	
  achieve	
  this,	
  voicings	
  from	
  the	
  B	
  section	
  
were	
  used,	
  but	
  with	
  a	
  different	
  harmonic	
  rhythm,	
  as	
  well	
  as	
  in	
  a	
  different	
  
order.	
  The	
  process	
  for	
  choosing	
  what	
  chords,	
  and	
  what	
  order,	
  was	
  simply	
  
done	
  through	
  trial	
  and	
  error,	
  mixing	
  and	
  matching	
  the	
  different	
  options	
  until	
  
a	
  selection	
  was	
  found.	
  	
  The	
  resulting	
  progression	
  was;	
  

	
  

	
  
	
  	
  	
  	
  	
  Melodically,	
  the	
  approach	
  was	
  similar	
  to	
  the	
  B	
  Section	
  of	
  the	
  piece,	
  using	
  a	
  
repeated	
  rhythm	
  while	
  changing	
  the	
  melody	
  notes.	
  	
  

	
  
	
  	
  	
  	
  	
  The	
  phrase	
  is	
  initially	
  played	
  by	
  the	
  keyboard	
  only,	
  before	
  being	
  joined	
  by	
  
the	
  bass,	
  which	
  plays	
  the	
  same	
  figure.	
  In	
  the	
  case	
  the	
  rhythm	
  played	
  by	
  the	
  
guitar	
  was	
  dictated	
  by	
  the	
  rhythm	
  of	
  the	
  melodic	
  figure,	
  the	
  chord	
  changing	
  
to	
  match	
  the	
  melodic	
  note	
  on	
  the	
  second	
  eighth	
  note	
  of	
  beat	
  two.	
  	
  
	
  	
  	
  	
  	
  Here	
  is	
  an	
  audio	
  sample	
  of	
  the	
  interlude	
  section.	
  	
  
•

Soundcloud	
  Playlist	
  –	
  Track	
  24	
  –	
  Dip	
  –	
  Interlude	
  

	
  	
  	
  	
  	
  	
  

3.5	
  –	
  Recording	
  
	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  The	
  recording	
  session	
  for	
  “Dip”	
  was	
  14.00-­‐17.00,	
  on	
  the	
  9th	
  April	
  2014	
  at	
  
the	
  Ann	
  Kreis	
  Scroing	
  Stage,	
  Berklee	
  Valencia.	
  The	
  engineer	
  for	
  the	
  session	
  was	
  
Matthew	
  Mazzone,	
  and	
  the	
  band	
  consisted	
  of	
  Daniel	
  Toledo	
  on	
  electric	
  bass,	
  
Ricardo	
  Curto	
  on	
  keyboards,	
  Mariano	
  Steimberg	
  on	
  drums,	
  as	
  well	
  as	
  myself	
  on	
  
electric	
  guitar.	
  	
  
	
  	
  	
  	
  The	
  session	
  schedule	
  was	
  planned	
  to	
  be;	
  
•

14.00-­‐15.00	
  –	
  Setup.	
  

•

15.00-­‐16.30	
  –	
  Record	
  multiple	
  takes	
  of	
  piece.	
  

•

16.30-­‐17.00	
  –	
  Tear	
  down	
  equipment.	
  	
  

	
  	
  	
  	
  	
  The	
  microphones	
  to	
  be	
  used	
  for	
  the	
  session	
  were	
  decided	
  in	
  advance	
  by	
  
Matthew	
  and	
  I	
  and	
  consisted	
  of;	
  
•

Guitar	
  –	
  SM57	
  +	
  Reyer	
  121	
  

•

Bass	
  –	
  D.I.	
  

•

Keyboards	
  –	
  D.I.	
  	
  

•

Drums	
  –	
  Kick	
  -­‐	
  AKG	
  D112,	
  Snare	
  -­‐	
  SM57,	
  Toms	
  -­‐	
  Sennheiser	
  421	
  
Overheads	
  –	
  KM	
  184	
  	
  

	
  	
  	
  	
  	
  Due	
  to	
  time	
  constraints	
  and	
  the	
  decision	
  to	
  change	
  from	
  using	
  tabla	
  and	
  cajón	
  
to	
  using	
  drumset,	
  the	
  recording	
  session	
  was	
  the	
  first	
  time	
  all	
  members	
  of	
  the	
  
group	
  had	
  played	
  the	
  composition	
  together.	
  This	
  meant	
  that	
  the	
  first	
  couple	
  of	
  
recorded	
  takes	
  of	
  the	
  piece	
  were	
  used	
  more	
  for	
  everyone	
  to	
  get	
  comfortable	
  with	
  
their	
  parts	
  and	
  with	
  each.	
  This	
  situation	
  was	
  not	
  ideal	
  and	
  quite	
  stressful,	
  

however,	
  the	
  playing	
  of	
  the	
  piece	
  came	
  together	
  quite	
  quickly	
  and	
  in	
  the	
  end	
  the	
  
recording	
  was	
  deemed	
  a	
  success.	
  
	
  	
  	
  	
  	
  After	
  the	
  recording	
  session	
  on	
  the	
  Scoring	
  Stage,	
  I	
  decided	
  that	
  I	
  wanted	
  to	
  use	
  
this	
  piece	
  as	
  an	
  opportunity	
  to	
  experiment	
  with	
  some	
  unusual	
  recording	
  
techniques.	
  Studio	
  A	
  was	
  booked	
  for	
  a	
  recording	
  session,	
  and	
  in	
  this	
  session	
  
several	
  guitar	
  takes	
  were	
  recorded	
  of	
  mostly	
  high	
  pitched	
  feedback	
  and	
  effect	
  
pedal	
  laden,	
  non-­‐diatonic	
  noise.	
  After	
  recording	
  all	
  these	
  different	
  sounds,	
  a	
  lot	
  
of	
  time	
  was	
  spent	
  in	
  Pro	
  Tools,	
  cutting	
  different	
  segments	
  of	
  these	
  recordings	
  
and	
  matching	
  them	
  together	
  to	
  create	
  atmospheric	
  sounds	
  to	
  complement	
  the	
  
sparseness	
  of	
  the	
  B	
  Section	
  melody,	
  the	
  interlude,	
  to	
  add	
  to	
  the	
  tension	
  created	
  
during	
  the	
  drum	
  solo,	
  and	
  also	
  the	
  very	
  last	
  note	
  of	
  the	
  piece.	
  	
  This	
  technique	
  of	
  
using	
  guitar	
  to	
  create	
  sounds	
  and	
  atmospheric	
  effects	
  not	
  usually	
  associated	
  with	
  
the	
  instrument	
  is	
  an	
  influence	
  taken	
  very	
  much	
  from	
  the	
  music	
  of	
  Radiohead,	
  
and	
  guitarist	
  Jeff	
  Beck.	
  	
  
	
  	
  	
  	
  	
  Here	
  is	
  an	
  audio	
  sample	
  of	
  some	
  of	
  the	
  use	
  of	
  atmospheric	
  noise	
  in	
  the	
  track.	
  	
  
•

Soundcloud	
  Playlist	
  –	
  Track	
  25	
  –	
  Dip	
  –	
  Sound	
  Effects	
  

3.6	
  –	
  Lessons	
  Learned	
  
	
  	
  	
  	
  	
  Making	
  a	
  conscious	
  decision	
  to	
  incorporate	
  information	
  from	
  my	
  private	
  
lesson	
  to	
  a	
  composition	
  was	
  extremely	
  beneficial.	
  Deciding	
  to	
  use	
  melodic	
  minor	
  
harmony	
  as	
  the	
  basis	
  for	
  the	
  main	
  melody	
  and	
  solo	
  section	
  meant	
  that	
  I	
  while	
  
composing	
  and	
  practicing	
  the	
  piece,	
  I	
  was	
  also	
  preparing	
  myself	
  for	
  material	
  
specific	
  to	
  my	
  lesson.	
  Aside	
  from	
  the	
  fact	
  that	
  this	
  had	
  the	
  benefit	
  of	
  aiding	
  the	
  
progress	
  of	
  my	
  classwork,	
  it	
  also	
  meant	
  that	
  I	
  was	
  continually	
  challenging	
  myself	
  
by	
  incorporating	
  what	
  was,	
  at	
  that	
  time,	
  unfamiliar	
  material	
  into	
  a	
  creation	
  that	
  

was	
  my	
  own.	
  Thereby	
  increasing	
  the	
  sonic	
  range	
  of	
  what	
  usually	
  comes	
  naturally	
  
to	
  me	
  as	
  a	
  composer.	
  	
  
	
  	
  	
  	
  	
  Another	
  area	
  in	
  which	
  learning	
  was	
  achieved	
  during	
  this	
  process	
  was	
  in	
  the	
  
field	
  of	
  recording	
  techniques.	
  As	
  the	
  session	
  for	
  overdubbing	
  the	
  guitar	
  effects	
  
was	
  after	
  the	
  main	
  session	
  on	
  the	
  scoring	
  stage,	
  I	
  engineered	
  the	
  overdubs	
  
myself.	
  This	
  put	
  me	
  in	
  the	
  position	
  of	
  having	
  complete	
  control	
  over	
  the	
  recording	
  
techniques	
  employed,	
  and	
  forced	
  me	
  to	
  confront	
  some	
  areas	
  of	
  my	
  expertise	
  
which	
  were	
  weak.	
  Increasing	
  skill	
  levels	
  in	
  this	
  area	
  will	
  be	
  extremely	
  
advantageous	
  for	
  the	
  future	
  as	
  it	
  will	
  enable	
  me	
  to	
  both	
  record	
  myself,	
  and	
  also	
  
increase	
  my	
  understanding	
  of	
  what	
  engineers	
  do,	
  with	
  the	
  additional	
  benefit	
  of	
  
being	
  better	
  able	
  to	
  articulate	
  my	
  needs	
  in	
  recording	
  situations.	
  	
  

Connecting	
  the	
  Compositions	
  
1.1–	
  Musical	
  Connections	
  
	
  	
  	
  	
  	
  While	
  writing	
  and	
  recording	
  the	
  above	
  pieces,	
  there	
  were	
  some	
  aspects	
  of	
  the	
  
compositions	
  that	
  were	
  approached	
  similarly	
  during	
  each.	
  	
  During	
  the	
  above	
  
analysis	
  it	
  was	
  regularly	
  demonstrated	
  that	
  there	
  was	
  intent	
  to	
  never	
  repeat	
  the	
  
same	
  material	
  in	
  exactly	
  the	
  same	
  way.	
  If	
  a	
  section	
  was	
  to	
  be	
  repeated,	
  methods	
  
of	
  achieving	
  this	
  included;	
  changing	
  the	
  instrument	
  playing	
  the	
  melody,	
  adding	
  
an	
  instrument	
  to	
  double	
  the	
  melody	
  or	
  repeated	
  part,	
  starting	
  the	
  repeated	
  part	
  
from	
  somewhere	
  other	
  than	
  what	
  was	
  previously	
  the	
  beginning,	
  changing	
  the	
  
role	
  of	
  an	
  instrument	
  from	
  melody	
  to	
  harmony	
  or	
  vice	
  versa.	
  The	
  intent	
  behind	
  
this	
  was	
  to	
  keep	
  the	
  attention	
  of	
  the	
  listener	
  by	
  circumventing	
  their	
  expectations,	
  
and	
  is	
  keeping	
  with	
  the	
  initial	
  aspiration	
  of	
  engaging	
  an	
  audience	
  with	
  influences	
  
of	
  pop/rock/funk	
  music	
  in	
  mind.	
  	
  

	
  	
  	
  	
  	
  Another	
  method	
  employed	
  in	
  the	
  construction	
  of	
  each	
  composition	
  was	
  the	
  
reversal	
  of	
  the	
  solo	
  forms.	
  In	
  each	
  case,	
  no	
  instrument	
  solos	
  over	
  exactly	
  the	
  
same	
  form,	
  it	
  was	
  always	
  a	
  reversal	
  of	
  the	
  structure	
  the	
  previous	
  instrument	
  had	
  
used	
  to	
  solo	
  over.	
  This	
  was	
  as	
  a	
  result	
  of	
  always	
  including	
  a	
  written	
  section	
  
between	
  the	
  solos,	
  usually	
  based	
  on	
  a	
  section	
  of	
  the	
  melody,	
  thereby	
  allowing	
  the	
  
next	
  solo	
  form	
  to	
  begin	
  from	
  the	
  subsequent	
  section	
  of	
  the	
  melody	
  while	
  still	
  
maintaining	
  aural	
  cohesion.	
  	
  
	
  	
  	
  	
  	
  The	
  use	
  of	
  pentatonics	
  for	
  constructing	
  melodies	
  was	
  also	
  an	
  element	
  
connecting	
  each	
  composition,	
  particularly	
  the	
  combination	
  of	
  minor	
  pentatonic	
  
scales	
  played	
  beginning	
  from	
  the	
  major	
  7th	
  of	
  a	
  major	
  chord.	
  This	
  chord/scale	
  
combination	
  results	
  in	
  the	
  inclusion	
  of	
  a	
  #11,	
  which	
  creates	
  an	
  open,	
  Lydian	
  
sound	
  while	
  still	
  retaining	
  the	
  accessible	
  melodicism	
  of	
  a	
  minor	
  pentatonic	
  scale.	
  
This	
  approach	
  for	
  creating	
  melodies	
  is	
  an	
  influence	
  directly	
  taken	
  from	
  the	
  music	
  
of	
  Wayne	
  Shorter,	
  particularly	
  the	
  albums,	
  “Juju”,	
  and	
  “Speak	
  No	
  Evil”.	
  	
  
	
  	
  	
  	
  	
  	
  Another	
  method	
  that	
  was	
  employed	
  in	
  each	
  composition	
  was	
  the	
  use	
  of	
  a	
  top	
  
note	
  connecting	
  a	
  series	
  of	
  quite	
  harmonically	
  complex	
  chords.	
  As	
  mentioned	
  
previously	
  many	
  of	
  the	
  more	
  unusual	
  chord	
  structures	
  took	
  their	
  influence	
  from	
  
the	
  music	
  of	
  Kurt	
  Rosenwinkel.	
  The	
  use	
  of	
  slash	
  chords	
  with	
  unusual	
  tensions,	
  b9	
  
played	
  on	
  major	
  chords	
  etc,	
  needed	
  to	
  be	
  offset	
  by	
  the	
  coherence	
  of	
  keeping	
  a	
  
constant	
  element	
  throughout,	
  the	
  use	
  of	
  a	
  static	
  top	
  note	
  throughout	
  complex	
  
harmonic	
  movement	
  was	
  extremely	
  effective	
  in	
  each	
  case	
  and	
  therefore	
  was	
  
employed	
  each	
  time	
  this	
  situation	
  arose.	
  	
  
	
  	
  	
  	
  	
  	
  	
  As	
  well	
  as	
  keeping	
  static	
  notes	
  on	
  top	
  of	
  moving	
  harmony,	
  another	
  technique	
  
employed	
  in	
  each	
  composition	
  that	
  takes	
  it’s	
  influence	
  from	
  the	
  music	
  of	
  Kurt	
  
Rosenwinkel,	
  is	
  the	
  use	
  of	
  chromatic	
  bass	
  movement.	
  This	
  is	
  an	
  excellent	
  

technique	
  for	
  any	
  situation	
  where	
  the	
  creation	
  of	
  tension	
  is	
  required	
  and	
  was	
  
used	
  extensively	
  in	
  each	
  composition.	
  	
  
	
  	
  	
  	
  	
  Although	
  there	
  were	
  many	
  elements	
  that	
  were	
  consciously	
  chosen	
  as	
  
compositional	
  techniques	
  prior	
  to	
  the	
  writing	
  of	
  each	
  piece,	
  there	
  were	
  also	
  
some	
  that	
  were	
  not	
  previously	
  planned,	
  but	
  became	
  apparent	
  after	
  the	
  analysis.	
  
One	
  very	
  obvious	
  example	
  of	
  this	
  was	
  the	
  fact	
  that	
  in	
  each	
  piece	
  the	
  A	
  section	
  
provides	
  the	
  main	
  melodic	
  content,	
  while	
  the	
  B	
  section	
  melody	
  is	
  closer	
  to	
  an	
  
ostinato	
  than	
  an	
  actual	
  melody	
  per	
  se.	
  This	
  is	
  demonstrable	
  in	
  all	
  three	
  of	
  the	
  
pieces	
  analysed	
  here,	
  and	
  while	
  it	
  was	
  not	
  a	
  technique	
  that	
  had	
  been	
  consciously	
  
adapted,	
  it	
  was	
  extremely	
  effective	
  in	
  each	
  piece	
  and	
  something	
  that	
  will	
  
certainly	
  be	
  consciously	
  explored,	
  put	
  into	
  use,	
  and	
  adapted	
  for	
  future	
  
compositions.	
  	
  
	
  	
  	
  	
  	
  	
  	
  A	
  non-­‐compositional	
  element	
  that	
  connects	
  each	
  of	
  these	
  pieces	
  is	
  the	
  sound	
  
of	
  the	
  electric	
  guitar.	
  This	
  is	
  something	
  that	
  was	
  consciously	
  worked	
  on	
  and	
  
tweaked	
  before	
  each	
  recording.	
  The	
  equipment	
  used	
  to	
  achieve	
  the	
  sound	
  for	
  the	
  
chordal,	
  or	
  non-­‐lead,	
  parts	
  is	
  an	
  MXR	
  Distrtion+	
  pedal,	
  combined	
  with	
  a	
  Boss	
  
DD6	
  Digital	
  delay.	
  The	
  lead	
  sound	
  again	
  used	
  the	
  Boss	
  DD6,	
  this	
  time	
  combined	
  
with	
  a	
  RAT	
  distortion	
  and	
  occasionally	
  a	
  Digitech	
  Whammy	
  pedal.	
  A	
  Fender	
  Hot	
  
Rod	
  Deluxe	
  was	
  the	
  amplifier	
  used	
  in	
  each	
  case.	
  While	
  not	
  a	
  compositional	
  
element	
  itself,	
  the	
  guitar	
  sound	
  is	
  almost	
  the	
  most	
  important	
  aspect	
  of	
  their	
  
connection.	
  The	
  sound	
  of	
  the	
  instrument	
  is	
  the	
  voice	
  of	
  the	
  composer	
  and	
  should	
  
be	
  recognisable	
  and	
  distinctive	
  throughout.	
  	
  

	
  
	
  

2.1	
  –	
  Aspirations	
  achieved?	
  
	
  	
  	
  	
  	
  As	
  mentioned	
  at	
  the	
  beginning	
  of	
  the	
  text,	
  there	
  were	
  a	
  number	
  of	
  aspirations	
  
for	
  these	
  compositions	
  prior	
  to	
  actually	
  writing	
  them,	
  including	
  creating	
  a	
  
listenability	
  and	
  melodic	
  accessibility	
  in	
  keeping	
  with	
  influences	
  from	
  the	
  
pop/rock/funk	
  world,	
  while	
  still	
  incorporating	
  the	
  improvisational	
  elements	
  of	
  
jazz	
  music.	
  	
  
	
  	
  	
  	
  	
  As	
  the	
  composer	
  and	
  performer	
  of	
  these	
  pieces	
  it	
  is	
  difficult	
  to	
  be	
  objective	
  
in	
  judging	
  whether	
  or	
  not	
  these	
  aspirations	
  were	
  achieved.	
  However,	
  after	
  
repeated	
  listening	
  it	
  does	
  seem	
  that	
  each	
  track	
  has	
  enough	
  elements	
  
associated	
  with	
  other	
  forms	
  of	
  music	
  to	
  hold	
  the	
  attention	
  of	
  listeners	
  that	
  
are	
  not	
  fans	
  of	
  jazz.	
  These	
  elements	
  include	
  many	
  of	
  the	
  compositional	
  
approaches	
  previously	
  spoken	
  of,	
  as	
  well	
  as	
  an	
  overall	
  sound	
  that	
  has	
  more	
  in	
  
common	
  with	
  rock	
  music	
  than	
  jazz.	
  	
  
	
  	
  	
  	
  	
  One	
  aspect	
  of	
  the	
  pieces	
  that	
  may	
  not	
  fit	
  with	
  the	
  intended	
  aesthetic	
  is	
  the	
  
length	
  of	
  the	
  compositions	
  themselves.	
  The	
  shortest	
  track	
  is	
  just	
  under	
  five	
  
minutes,	
  the	
  longest	
  is	
  closer	
  to	
  eight.	
  While	
  this	
  is	
  not	
  in	
  keeping	
  with	
  the	
  
influence	
  of	
  contemporary	
  popular	
  music,	
  it	
  may	
  not	
  necessarily	
  be	
  
considered	
  a	
  negative	
  outcome.	
  It	
  seems	
  that	
  while	
  it	
  is	
  important	
  to	
  consider	
  
the	
  listener	
  in	
  these	
  cases,	
  it	
  is	
  also	
  important	
  to	
  allow	
  the	
  musicians	
  time	
  
and	
  opportunity	
  to	
  express	
  themselves	
  during	
  solos.	
  Also,	
  an	
  awareness	
  of	
  
keeping	
  the	
  potential	
  reach	
  of	
  the	
  piece	
  as	
  strong	
  as	
  possible	
  should	
  not	
  be	
  
executed	
  at	
  the	
  expense	
  of	
  the	
  musical	
  quality.	
  	
  
	
  	
  	
  	
  	
  While	
  all	
  the	
  elements	
  stated	
  in	
  this	
  paper	
  were	
  considered	
  while	
  writing	
  
each	
  piece,	
  the	
  deciding	
  factor	
  was	
  always	
  the	
  musical	
  quality.	
  If	
  a	
  section	
  

seemed	
  like	
  it	
  needed	
  to	
  be	
  long,	
  or	
  if	
  unusual,	
  dissonant	
  harmony	
  was	
  the	
  
most	
  effective	
  option,	
  this	
  was	
  the	
  option	
  that	
  was	
  chosen.	
  Whether	
  or	
  not	
  
this	
  approach	
  was	
  the	
  correct	
  one	
  will	
  become	
  more	
  apparent	
  once	
  the	
  EP	
  is	
  
released,	
  and	
  direct	
  feedback	
  can	
  be	
  received	
  from	
  listeners	
  and	
  colleagues.	
  	
  

	
  
	
  
Final	
  Conclusions	
  
1.1	
  –	
  Lessons	
  Learned	
  
	
  	
  	
  	
  During	
  the	
  process	
  of	
  writing	
  and	
  recording	
  these	
  pieces	
  my	
  knowledge	
  
increased	
  in	
  numerous	
  areas,	
  all	
  of	
  which	
  have	
  been	
  previously	
  discussed	
  in	
  
the	
  conclusion	
  of	
  each	
  chapter.	
  The	
  areas	
  in	
  which	
  I	
  have	
  learned	
  extensively	
  
included;	
  chord/scale	
  relationships,	
  different	
  approaches	
  to	
  beginning	
  a	
  
composition,	
  recording	
  techniques,	
  time	
  management	
  with	
  regards	
  the	
  
writing	
  and	
  arrangement	
  of	
  charts,	
  etc.	
  However,	
  the	
  most	
  valuable	
  lesson	
  I	
  
gained	
  from	
  this	
  experience	
  was	
  the	
  realisation	
  of	
  how	
  important	
  writing,	
  
composing,	
  and	
  performing	
  my	
  own	
  work	
  is	
  to	
  me.	
  	
  
	
  	
  	
  	
  	
  Having	
  previously	
  spent	
  many	
  years	
  working	
  as	
  a	
  sideman,	
  as	
  well	
  as	
  
working	
  as	
  a	
  collaborative	
  writer	
  in	
  band	
  situations,	
  it	
  had	
  been	
  several	
  years	
  
since	
  I	
  had	
  the	
  time	
  to	
  work	
  on	
  material	
  that	
  was	
  entirely	
  self-­‐composed.	
  The	
  
realisation	
  of	
  how	
  much	
  I	
  enjoy	
  the	
  process	
  and	
  satisfaction	
  of	
  this	
  work	
  has	
  
been	
  a	
  revelation,	
  and	
  means	
  I	
  will	
  ensure	
  to	
  prioritise	
  this	
  in	
  the	
  future.	
  As	
  
mentioned	
  earlier	
  in	
  this	
  document,	
  the	
  ability	
  to	
  combine	
  a	
  working	
  life	
  that	
  

incorporates	
  both	
  the	
  playing	
  of	
  other	
  people’s	
  material	
  as	
  well	
  as	
  my	
  own	
  
will	
  ensure	
  that	
  I	
  stay	
  challenged	
  and	
  engaged	
  as	
  a	
  professional	
  musician.	
  	
  
	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  Also,	
  time	
  spent	
  working	
  on	
  my	
  own	
  compositions	
  is	
  invaluable	
  to	
  the	
  	
  	
  
expedient	
  growth	
  of	
  my	
  own	
  voice	
  as	
  an	
  instrumentalist.	
  While	
  this	
  is	
  
enormously	
  beneficial	
  to	
  me	
  in	
  terms	
  of	
  nurturing	
  my	
  growth	
  as	
  a	
  composer,	
  
it	
  also	
  has	
  the	
  added	
  benefit	
  of	
  making	
  my	
  approach	
  to	
  the	
  composed	
  music	
  
of	
  others	
  more	
  recognisably	
  my	
  own,	
  which	
  may	
  make	
  it	
  easier	
  to	
  find	
  work	
  
as	
  a	
  sideman	
  if	
  potential	
  employers	
  wish	
  to	
  have	
  this	
  particular	
  sound	
  on	
  
their	
  recorded	
  work.	
  	
  
	
  	
  	
  	
  	
  	
  	
  Another	
  element	
  that	
  changed	
  as	
  a	
  result	
  of	
  working	
  on	
  these	
  pieces	
  was	
  
the	
  realisation	
  of	
  how	
  important	
  it	
  is	
  to	
  incorporate	
  as	
  many	
  disciplines	
  as	
  
possible	
  into	
  your	
  practice	
  routine.	
  This	
  came	
  about	
  mostly	
  because	
  of	
  using	
  
elements	
  from	
  my	
  private	
  lesson	
  in	
  the	
  compositions,	
  which	
  made	
  me	
  realise	
  
the	
  time-­‐saving	
  and	
  accelerated	
  learning	
  benefits	
  of	
  this	
  technique.	
  Doing	
  
this	
  meant	
  that	
  I	
  was	
  incorporating	
  sounds	
  that	
  were	
  new	
  to	
  me	
  into	
  my	
  
compositions,	
  as	
  well	
  as	
  working	
  on	
  soloing	
  over	
  this	
  new	
  material,	
  all	
  while	
  
working	
  on	
  getting	
  a	
  composition	
  written.	
  I	
  noticed	
  the	
  speed	
  at	
  which	
  I	
  
became	
  familiar	
  with	
  new	
  material	
  greatly	
  increased	
  when	
  I	
  used	
  it	
  in	
  a	
  
composition	
  rather	
  than	
  just	
  practicing	
  separately	
  from	
  the	
  writing	
  process,	
  
and	
  this	
  is	
  definitely	
  a	
  new	
  aspect	
  to	
  my	
  practicing	
  technique	
  that	
  I	
  will	
  
continue	
  to	
  employ	
  in	
  the	
  future.	
  	
  	
  

1.2	
  –	
  Planning	
  Ahead	
  
	
  	
  	
  	
  	
  The	
  next	
  step	
  for	
  my	
  original	
  music	
  is	
  to	
  make	
  it	
  available	
  to	
  the	
  public.	
  As	
  I	
  
have	
  signed	
  as	
  an	
  artist	
  to	
  Disrupción	
  Records,	
  the	
  Berklee	
  Valencia	
  record	
  label,	
  

this	
  means	
  I	
  will	
  have	
  substantial	
  help	
  with	
  this	
  process.	
  The	
  plan	
  is	
  to	
  have	
  a	
  
digital	
  release	
  of	
  the	
  EP	
  on	
  many	
  platforms	
  in	
  summer	
  2014,	
  the	
  label	
  will	
  help	
  
in	
  terms	
  of	
  marketing,	
  promotion,	
  artwork,	
  etc.,	
  and	
  discussions	
  and	
  meetings	
  
regarding	
  this	
  process	
  are	
  ongoing.	
  	
  
	
  	
  	
  	
  	
  Upon	
  completing	
  the	
  Contemporary	
  Performance	
  program	
  at	
  Berklee	
  
Valencia,	
  I	
  will	
  be	
  embarking	
  on	
  a	
  tour	
  of	
  the	
  west	
  coast	
  of	
  the	
  United	
  States,	
  
followed	
  by	
  other	
  short	
  tours	
  in	
  Scotland,	
  Ireland,	
  Italy,	
  and	
  Spain,	
  this	
  time	
  
working	
  as	
  a	
  sideman.	
  	
  Following	
  the	
  completion	
  of	
  these	
  travels	
  I	
  will	
  be	
  
scheduling	
  a	
  physical	
  release	
  of	
  an	
  album	
  version	
  of	
  the	
  EP	
  in	
  November	
  2014,	
  in	
  
Dublin,	
  Ireland.	
  Following	
  the	
  physical	
  release	
  of	
  this	
  album,	
  booking	
  agents	
  for	
  
festivals	
  in	
  every	
  possible	
  area	
  of	
  the	
  globe	
  will	
  be	
  approached	
  with	
  a	
  view	
  to	
  
securing	
  dates	
  for	
  summer	
  2015.	
  During	
  this	
  time	
  I	
  will	
  be	
  working	
  as	
  a	
  sideman	
  
in	
  various	
  projects	
  mostly	
  based	
  in	
  Ireland,	
  while	
  also	
  beginning	
  work	
  on	
  
composing	
  for	
  the	
  follow	
  up	
  to	
  the	
  EP.	
  	
  
	
  
Link	
  to	
  free	
  download	
  of	
  EP;	
  
•

http://stephenmchale.bandcamp.com/releases