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Music - Behind The Tunes
- First Tune
The first tune, ‘THE PURPOSE”, I wrote in the mid
1990’s while living in New Jersey. The tune is straight from the Bebop
tradition with my angular approach to melody. The melody creates an
ambiguous situation over the harmonies, letting us know that the
potential of any purpose is all around. The melody notes of the first
two measures, which are over an Eb chord, start with the third of the
chord going to the flat seventh, going on to the third an octave higher
before resolving down to the major seventh, and ending the two measures
with a pickup note that leads to the next two measures and happens to
be the flat ninth of the Eb chord it is over. This signifies the
steadfast attitude any purpose encourages. In the next two measures the
melody outlines the II- V7 beneath it, Ab-7 to Db7, giving sight to the
possibilities our time encounters. Then it’s back to Eb for another two
measures and the purpose remains before going on to G-7 and C7. Back to
Eb one more time before going on to C#-7 and F#7 and resolving to B and
Bb to B and Bb each for one measure. The control of our time is now in
hand, we use all possibilities to fuel our vision. This whole section
repeats with a tag of an additional B to Bb phrase. But it is “THE
PERPOSE” itself which is central, represented here by the return to the
Eb tonal center. The next section is a chromatic style Bebop line over
Eb and D7 chords each for one measure for the next 16 measures. This
now embodies the full realization of our diligence. Our control is all
encompassing, as we freely travel between the purpose itself and
outward for inspiration. With no reason to hold back, the “PURPOSE” of
our time will be what we ascribe to it.
- Second Tune
The second tune, “RELENTLESS”, I wrote in the mid 1980’s while studying
at The New England Conservatory of Music in Boston. The backdrop for
the tune is soldiers from the turn of the twentieth century, in
columns, on the march. Deliberate and devoted to their purpose.
The tune starts with a repeating bass line that shifts back and forth
between the tonal centers of G and F. This bass line continues through
the whole tune. The melody has the tonal center of E. The tune is in
4/4 time with a triplet feel. The intro through the first guitar solo
shows this unwavering purposefulness. The following drum solo indicates
the seemingly everyday attitude of the soldiers even in the face of the
unknown. Out of the drum solo enters the guitar into the embellished
melody in an intense tremolo picking echoing the constant of machine
gun fire. The bass stays true as the soldiers march on as all hell
breaks loose in a guitar attack of octaves and open strings. Out of the
chaos comes the undaunted, steady rhythm of the soldiers as they march
on as one. The guitar reveals the intensity with power chords, strong
harmonies and open strings. All leading to a final explosion as the air
is filled with brightness and sound which overcome all sense of
reality.
- Third Tune
The third tune, “SHACKLETON”, is named for the great explorer Ernest
Shackleton. In 1914, he and his crew of twenty seven, set sail for the
South Atlantic in pursuit of the last great prize in the history of
exploration; the crossing on foot of the Antarctic continent.
The tune starts with a frenzied intro, symbolic of the intense nature
of the quest. The melody enters with a tonal center of E, while the
four measure bass line, with a tonal center of F, repeats throughout
the section. The melody is transposed to Ab and then Bb signifying the
journey as the crew deals with the mounting adversity. The melody
resolves back to the frenzied intro climaxing the incredible strength
of their spirit and all they had endured. After being stranded on the
ice for twenty months and incredibly finding their way back, the end
vamp resolves back to the tonal center of E as the story sails through
the ages as the greatest feat of exploration, navigation and survival
in modern times.
- Forth Tune
The fourth tune, “SCUFFLE”, reveals the possibilities the events of our
lives offers us. The opening intro calls to our daily theme of
existence. The 4-bar melody in the ‘A’ section, which is repeated, is
supported by a repeating two measure bass ostinato which depicts the
daily sameness that is a person’s life. The tonality of this section,
‘G’, is stagnant, enforcing that sameness. The 4-bar melody of the ‘B’
section, which is also repeated, is supported by harmonies that move to
and from any central tonal center. And in this section the bass now
plays a walking line that moves us from event to event in our daily
dealings.
The scuffle of life is revealed. The solo section affords us the
opportunity for personal interpretation. Following the bass solo, the
guitar and bass start together in unison but soon part ways as the
guitar plays the notes of the line in a reverse order. When the melody
returns, it is now embellished, modulated and extended. The symbolism
is clear, the dealings of the events in a person’s life can be left as
they are, and in that way commonplace. But once the events are
realized, the scuffle seems no more. We can handle what comes our way.
And the ease with which we deal with the commonplace, we can now
embellish and enjoy.
- Fifth Tune
The fifth tune, ”SOMETHING ELSE”, expresses the
idea that the meaning of the emotion can often change due to different
surroundings. Just as words can have different meanings depending on
the situation in which they’re used, so too musical notes will be
affected in much the same way. In the first section, which is eight
measures long, the melody is made up of a three note figure which
repeats within a two measure phrasing. As the melody repeats, the
supporting harmonies change, as do their tonal centers, also in two
measure phrasing. The character of the three note motif is changed due
to the supporting harmonies. This section is repeated. The ‘B’ section
expresses the same logic, though the motif here is just two notes which
moves up as the harmonies resolve down, again in two measure phrasing.
What is the same, can be different. The phenomenon of emotion is
relative. It functions from the point of view through which it is
perceived. And the emotion of the point of view will be directly
influenced by the surroundings of the moment. So what else is it? You
tell me.
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