Part 1

Project 1: Your Practice so far

Exercise 1.0 Looking Back to Move Forward

I was asked to reflect on the progress I’ve made throughout all the courses. To start with this exercise, I moved back to my very first Assignment “Wild Dance” (https://dianaslearninglog.com/revision/) . Comparing it with more recent work, I noticed that I’ve made a huge progress in terms of my workflow.

What are the most significant changes or developments you can identify? These could be improved technical skills, changes in outlook, taste or approach, or something else.

As mentioned above, I think one of the more outstanding developments I made was creating a good workflow, I have different ways of approaching writing a piece, which I am also able to use for genres that I’m not particularly interested in. Furthermore, I got a much better understanding of the importance of sound colour, before starting my studies, I was always much more focussed on harmonic structures and almost didn’t pay any attention towards orchestration.

Are there any areas you’ve avoided focussing on? These could be types of assignment, styles, or even instruments.

Even though it was covered briefly right at the beginning of the course, I still feel I haven’t payed much attention to percussive instruments, this is also a topic I would like to do more research about within the coming course. Otherwise, I feel the course has offered me a wide spectrum of different topics, most of which were interesting to work with.

What subject areas or topics have you been most comfortable or happy with? Why do you think this might be?

As I’m really interested in music theory, I liked some of the exercises where I was able to combine creative work with some given concepts of a harmonic outline. These exercises where always challenging, but being able to work somewhat independently, I think they were incredibly helpful for me to find my own compositional style.

Are there any subject areas which you are very interested in, but aren’t represented in your work so far?

The course so far has mainly focussed on Classical music. Over the past few years, I got really interested in Jazz and would have liked to spend some more time on the topic.

Regarding the works you’ve identified as your most successful, what is it about these which distinguishes them from the rest?

The pieces I think I’ve been most successful with were probably Classical Jazz (https://dianaslearninglog.com/classical-jazz/), A Nightingale sang in Berkeley Square (https://dianaslearninglog.com/assignment-1-4/) and A short radio or TV signature tune (https://dianaslearninglog.com/assignment-4-5/). All three have in common, that I was given a rough outline for an idea, but was also able to bring in my personal style, going over the pieces and the reflections, I noticed that I really enjoyed writing them. Furthermore, I liked exploring the different textures that where created with different sets of instruments.

Is there anything which surprises you looking back over this work?

I was actually surprised on how well I remember the pieces, even though I wrote some of them a few years back. Furthermore, coming back to a point above, I’m positively amazed about the progress I’ve made over the course.

Exercise 1.1. Next steps

With reference to the aspects of your work you have identified as areas for development, what skills and/or knowledge do you need to develop to improve your overall practice?

Generally, as mentioned above, I should put some focus on percussion instruments, not only how to write for them but also how to use them efficiently within different kinds of musical arrangements. As I wasn’t able to explore writing techniques for a Jazz band arrangement, I would like to do some more research on that topic too. As I am planning to record the music as well, I would also be interested in finding out more about making proper recordings in a studio.

Are there any aspects of your work which you can identify as the things you’re most interested in or passionate about pursuing? Do these align with your current skill-set? If not, what skills or knowledge would you need to develop?

Over the course I got really interested in arrangements, especially for small ensembles as well as writing music for the piano. In terms of the small ensembles, I would like to know more about the instruments I’m using, as well as modern technical possibilities to alternate a sound (sound pedals for an e-guitar for example).

Project 2: Looking forward

Exercise 1.2. The Possibilities

Part 1 – goal set for musical portfolio

I want to rearrange Classical pieces for a Jazz ensemble
- I want to understand the role for each used instrument/of the singer in the ensemble in order to use them efficiently
- I want the performers to have room to improvise/communicate with their instrument.

Moving forward with the course I might come across some more goals I want to achieve, thus, I will come back to this project and add a few more.

Part 2 – Mind map of the goals above

Research Point 1A: Contextual Study

Spending some time to look at musicians who also arranged Classical music for Jazz ensembles, I often came across the name Jaques Loussier.

He is known as one of the most successful jazz pianists in Europe, and even though he rearranged several pieces for his trio, the most popular ones are the Jazz version of several pieces from Bach. (Shipton, 2004). Apart from these, I also tried to explore other rearrangements from him.

The following entries can also be found in my listening log.

Bolero

Original Composer:Maurice Ravel
Year of composition: 1928
Arrangement: Jaques Loussier trio (1999)
Instruments: Piano, Double Bass, Drums
Performers: Jaques Loussier, Pierre Michelot, Christian Garros

The piece starts very lightly, but with all three instruments involved from the beginning.

As to be expected, the piano plays the main melody, whilst the bass and drum set accompany more rhythmically. After the first presentation of the main motif, the piano starts to throw in some improvised parts within the breaks.

Slowly, those improvised insertions start to expand and are used more frequently, nonetheless the piece stays very close to the original for about 3 minutes. As a walking bass section starts, the other instruments make room for the bass to expand, with the piano only suggesting an outline of the melody and the drum set creating a very soft accompaniment.

Gradually, the piano moves more in the centre of attention again and as the piece progresses it slowly becomesharder to recocnise the ground structure of the original Bolero.

After an improvised section, the piano moves back to the original main theme, played in octaves and with a stronger accompaniment, presumably to represent the rising application of instruments within the original piece. After a short bass solo, the main section can be heard again, this time the piano also doubles the bass line. Another repetition can be heard after a short drum solo section.

I was surprised, that Loussier used the whole 16 minutes of the piece for this arrangement. Due to the variety between the main parts and the approach towards the original piece by using power-chords and octaves, the piece stayed interesting throughout.

Air on a G string

Original Composer: J.S.Bach
Year of composition: around 1723
Arrangement: Jaques Loussier trio (1999)
Instruments: Piano, Double Bass, Drums
Performers: Jaques Loussier, Pierre Michelot, Christian Garros

The piece starts off with a soft intro- section on all three instruments, all just played very softly. A sequence of descending chords leads towards the first motif known from the original piece. The right hand if the piano plays the main melody whilst the bass keeps up communication in form of a question-answer motif. Over the piece the mood gets slightly darker, more tension chords and rapidly changing time signatures are used before the piece ends on a softly played major chord.

Winter (first movement)

Original Composer: A. Vivaldi
Year of composition: 1725
Arrangement: Jaques Loussier trio (1999)
Instruments: Piano, Double Bass, Drums
Performers: Jaques Loussier, Pierre Michelot, Christian Garros

The piece starts softly again with a few tension chords, slowly adding more notes to contribute in the chord structure. In comparison to the original, the beginning section is started really slowly until it partially seems to explode in rapidly played sections by all the instruments.

When the intro section is heard for the second time, it is played slightly slower and an improvised part on a pedal point can be heard. Comparing it to the pieces above, this was the first one, where the drummer played a short section which sounded more like R&B instead of Jazz, with accents on the 1st and 3rd best, which created a welcome change.

Overall, I enjoyed the variety of tensions and tempo changes within this piece.

Toccata and fugue in D-minor

Original Composer: A. Vivaldi
Year of composition: between 1704 and 1750s
Arrangement: Jaques Loussier trio (1999)
Instruments: Piano, Double Bass, Drums
Performers: Jaques Loussier, Pierre Michelot, Christian Garros

The beginning of the piece is fairly similar to the original piece. Nonetheless, shortly after the first section the other instruments join in as well, from which point on the piece generally gets mire jazzier, playing with different styles. After a short improvised section, a walking bass line starts, accompanied by a dotted rhythm, creating a “swinging” style. I was amazed how close Loussier stayed to the original piece with this arrangement, mainly only making a few adjustments in articulation and tempo changes.

Hiromi -Beethoven Sonata No. 8

Original Composer: L.v. Beethoven
Year of composition: 1798
Arrangement: The Trio Project
Instruments: Piano, Double Bass, Drums
Performers: Hiromi Uehara, Anthony Jackson, Steve Smith

The piece starts in the exact same way as the original, nonetheless, after a few bars, a bass and and drum set enter and create a slow blues. The melody is only played slowly, sometimes in a counter movement with the bass line. To add some variety within my compositions, I will definitely move back to this one as an orientation point, as I really enjoyed the slow relaxed style.

Exercise 1.3. Blue sky thinking

Part 1

I was asked how I would realize and present my ideas if I had unlimited time and resources. Staying with the idea of writing for a Jazz ensemble I would probably do the following. From the experience I’ve had so far my ideas can be realized in form of an album, or several, each dedicated to one era or one composer. I am planning on doing more research on how to record properly and how to work with the right equipment. Furthermore, if possible, I would organize some live events, not in a huge setting, but for smaller occasions, it would be great to be able to have my music performed.

Part 2

In terms of presenting my work, I was initially thinking about scores. Nonetheless, if I’m able to record my music, I would be very interested in putting audio tracks or even videos from a live performance on my blog as well as other social media forums which I’ve already worked with. (Youtube/Spotify/Soundcloud)

Exercise 1.4. Unit Goals

Comparing the existing ideas to Learning Outcomes:

Produce convincing musical products that communicate your intentions, using accomplished techniques in complex and unfamiliar environments, with minimal supervision from your tutor.

For this learning outcome I will mainly focus on my practical work, paying attention towards the right notation for each instrument. The “unfamiliar environments” will probably be to write for the rhythm section, the use of pedals as well as the process of recording the music.

Demonstrate comprehensive knowledge of your area of specialisation and be able to situate your own work within a larger context of practice in your field.

As mentioned above, I think I will have a thorough look into recording properly, as I mostly focussed on notation so far. Furthermore, this point also correlates with the other course part I’m currently working on “Contextual studies”, where I’m planning on comparing Jazz piano music with music from the Classical era. As I will spend some time doing research about Jazz harmonisation, this will also contribute towards my compositions.

Transform theoretical concepts and ideas into musical forms and integrate them into your work. Critically review your own work and evaluate it against desired outcomes.

For this, I will need to focus on which pieces I want to rearrange, I’m generally planning on using a wide variety of composers and epochs. Furthermore, I also want to create variety within my music and will try to focus on different aspects of Jazz music, e.g. Swing, Bebop, Latin, or smooth Jazz.

Demonstrate management, leadership and communication skills and have deployed them during the negotiation and production of the final body of work with your tutor and third parties.

As I’m planning to talk to performers and, if possible, arrange a small event, I will have to communicate with several musicians and organisations.

Project 1.3. The shape of things to come

I found this exercise slightly difficult as I already have a vision on how my portfolio will look like. Nonetheless, I will still try to gather some more ideas, at I might find some useful aspects in the other ones.

My first idea would be to write several short pieces, ranging from 2 to 5 minutes, using ideas from Classical music. The original pieces here don’t have to have the same length as the Jazz pieces, as I’m planning to only use certain memorable aspects from the Classical piece. As I want to give the performers some room for improvisation, I will partially use slash notation, unless I want to reuse and underline specific aspects from the Classical piece. These pieces will be presented in form of notation, and possibly a recording.
The second option would be to use one larger piece and rearrange and reharmonize it systematically, so that most of the original features don’t get “lost” within the new context. This could be realized with Ravel’s Bolero for example, or a movement from a symphony. As this is a more direct and clear approach, I will have to use more precise notation for the performers.
The third option would move in the opposite direction from the one above. The aim would be to almost completely play without any guided notation. Here, I might be able to reduce a Classical piece towards its “harmonic skeleton”, and only leave the players with some chord changes, this will open some more room for improvisations, and might also create new ideas. I would present those pieces in form of a lead sheet with chords as well as a live recording of a performance.

Research Point 1B: From Page to Stage

Finding options for publicly presenting my work:

Generally, if not limited to stage performance, there are several options to publish music. In terms of distribution over the internet, I already managed to create and extend an artist’s profile over several platforms, such as Spotify, Youtube and Soundcloud.

Nonetheless, even though I already have some on-stage experience, I never had my own music played live.

Some of the ways to get to organize a live-event are listed below:

Even though it may not be the most official way, I noticed and also read on several platforms, that it always helps to know people involved in stage performance. This can either be musicians, owners of music clubs/cafés or organizers. Just reaching out to a few of those contacts, might be helpful to
As I’m often in several live-music-related locations I already know a few places, which would be suitable for a possible event.
Obviously, it is also possible to book an event room, not made for specific occasions and try to promote an upcoming concert.

In preparation for the points above, it’s probably important to already have a few demos to demonstrate the level and abilities of the band. I would also have to think of, if not provided, how to get some of the heavier instruments (e.g. drums and piano) to the stage.

As I’m planning to write for a smaller ensemble, with a ranging from 3 to 7 musicians, and, if possible, using a few smaller pieces to fill half an hour or more with music, I think it is definitely possible to take my musical ideas to stage. Fortunately, I’m already in contact with several musicians, especially in the Rock and Jazz scene, which is ideal for the kind of music I’m writing for the event.

Nonetheless, as I’m planning to start rehearsals at the beginning of next year, I still have to look for a room to use, and I also don’t know yet the full amount of all the instruments I will be able to use. Thus, I’m also not writing every piece for all instruments that might be available to me.

1.6. From imagination to intention

Considering that there will still be changes during the process, I was asked to use one of the already existing ideas and develop them further, answering the following questions:

What are the specific ideas or topics which the work will be based on?

As already mentioned, the pieces will be based on Classical music, either restricted to a composer, a piece, an era, or with a wider range, covering several musical eras.

If there are multiple pieces, how will they relate to each other?

As I want to use several subgenres of jazz, this as well as the relation to an originally classical piece of music, will combine the pieces.

How will the work be presented?

Depending on the context, eventually in form of a performance, and hopefully some recordings, which I’m hoping to publish at some point. Beforehand, I will work on the presentation of the notation for the pieces.

Is there a set order to the pieces or are they independent?

Even though the pieces will also work independently, my aim, is to create a good variety. Depending on how the pieces turn out, it would be great to create a “tension arc”. Ideally, I want to start with a upbeat, bright sounding piece, moving onto calmer pieces and back up to brighter ones at the end. I’d also have to consider the instrumentation, I won’t be using all instruments for all pieces and wouldn’t want the performers to run up and down the stage in between the pieces.

What would be an ideal performance context for the works?

Ideally, we would be able to play in a Jazz club/bar or some sort of event room with some instruments already provided.

Exercise 1.7. Getting from Here to There

A rough timeline for the project:

Ideally, I want to finish this course within the next year. I already started to work on some pieces, and have a few sketches ready to present. Furthermore, I was also already able to gather some musicians, and if they are all able to participate I would have a good amount of instruments in addition to two or three singers.

For the next few months, I am planning to create more sketches or even complete most of the pieces. I would like to be able to send them out to the performers, so that they can look through it before the first rehearsals. Nonetheless, some pieces might only be finished or completed during the rehearsals. Within the summer or early autumn of next year, I would like to have completed the Assessment.

In terms of the major piece, I’m not planning anything specifically yet, in case I have the room to only use a larger amount of smaller pieces only.

So a rough layout of my schedule would be the following:

Month 1: Start unit (June/July 2023)
- Month 2: Planning/Practical work (thinking about which styles and which pieces I want to use)
- Month 3: Assignment 1 (end of September 2023)/Practical Work (Writing some sketches and listening to a few pieces related to my work)
- Month 4: Feedback/Continue Practical work & Listening Log entries
- Month 5: Submission of a few minor pieces, Assignment 2 (End of November 2023)
- Month 6: Feedback/ Continue practical work
- Month 7: Star the first few rehearsals/Finish sketches, Assignment 3 (End of January 2024)
- Month 8: Feedback, Rehearsals, complete all sketches, create order of pieces, and looking out for possibilities to perform on stage.
- Month 9: Rehearsals, possible corrections in notations for the performers. Assignment 4, (End of March 2024)
- Month 10: Rehearsals
- Month 11: Rehearsals, if possible, recordings of finished pieces.
- Month 12: Feedback, Rehearsals, final polish on the pieces. Assignment 5, (End of June 2024)
- Month 13, 14/15: Rehearsals and live event.

1.8. Project Management

A more detailed idea:

I was asked to look at the schedule from above in more detailed. I find it slightly difficult to complete this task, as I find it hard to schedule everything so detailed, especially if I don’t know yet how my workflow will be within the next few months. As a point of orientation, I’m fairly certain, that the plan laid out in Project 1.7. will be sufficient. I’m mainly aiming to focus on writing music until the end of the year and complete the sketches over the course of the first few months of next year.

References:

Shipton, A. (2004). Handful of keys: Conversations with thirty Jazz pianists. New York: Routledge.