27) On The Run
On The Run.
My personal interest in this project is to have an equal artistic encounter.
I am curious about how our two musical traditions can come together.
And in this interest I also want to try a piece that comes from a more improvised modern jazz context.
On The Run was originally written for a jazz band with bass, drums, piano and horns.
In the original version it lives of the drive that the rhythm has. It lives of the possibility of free tonality that the modern instruments we use have.
You can listen to a recording we did earlier on with a jazz band here:
https://soundcloud.com/laia-genc-liaisontonique/on-the-run-liaisontonique
The experiment I wanted to try was, if it is possible to transfer a tune like that from a modern jazz context to our special duo. If there are ways to arrange an interesting version.
The tune is not written in a tonality, though it evokes the impression in the beginning to maybe be e-minorish, bluesy.
Throughout the solo the idea is "Time No Changes". So there would be a certain groove setting, harmonic wise you are free to play what you want.
This tune finally did not work out particularly well in our duo so far. You can listen to the recording from our loft concert on this link:
First of all it was clear that Thaung Htike would not play the composed melody. It just does not fit his instrument.
So we decided to have an open improvisation part in the beginning of the piece with little quotes from the composition that I would bring in. We wanted to establish the tempo during this improvisation, which was meant to be a dialogue between piano and drum circle.
At a certain moment I would then decide to play the theme once. Then we would end the tune. It should be a short version of the tune. To integrate the color of modern jazz into our program.
Thaung Htike would accompany me more or less throughout the theme, playing this driving rhythm we established on his drums all the time.
The requirement I gave him for the theme was to play eights notes all the time, he was free to choose which concrete tones.
There are different reasons why I think it didn't work well.
1) I didn't play the theme of the piece good enough myself. It is difficult to play, I always have to practice this theme. On the day before I had another absorbing concert with another project. I had to travel back in the morning, then we recorded some tunes with Thaung Htike in the studio. So I could not play through the theme again before the concert.
2) For the beginning we were still insecure about where our improvisation should develop to. Now I think it should start out of nothing. I like Thaung Htike´s approach starting with one note, then building up. I was directly offering some quote and more input. By now I think the intro should be completely free and after the improvised part comes the power of the theme. I like for example the place around 0:25-0:38 and 0:59-1:22 when everything is very playful. I could also imagine to bring in my voice as a third color.
3) When we were setting the rhythm we had communications problems. We were not finding the same timing well enough. Although at places Thaung Htike place a great timing and phrasing i.e. 1:28 I don't get well into the rhythm. So it is still a constant timing search. We are unstable, getting permanently faster and slower, trying to react to the other.
At 1:48 I start the theme.
3) We were insecure about the free parts in it.
4) Thaung Htike didn't feel his role of playing a freely created rhythm to accompany me made any sense.
5) Our way to end the tune are the bars 38/39 in repetition. Then I give a cue for the last bar.
What I can find in it: Free improvisation. Are there some interesting moments?
Is it worth trying this piece again? Or would I say by now, it is inappropriate for this duo?
Can I imagine to add my voice to the beginning free improv part as a color? Or try another bow, for example start with the drums and voice, then add piano. Build up. On cue have a short break. Attaca start again, but now I play the theme right away until the end, with Thaung Htikes eigth notes.
I keep this link as an inspiration, maybe the very beginning can start a bit similar. I like the the change between the hms and strong has for the voice. Why not. As a starting point and then I can develop more freely and follow the ideas of that moment.
http://v.youku.com/v_show/id_XNTAyOTk5MDY0.html
My personal interest in this project is to have an equal artistic encounter.
I am curious about how our two musical traditions can come together.
And in this interest I also want to try a piece that comes from a more improvised modern jazz context.
On The Run was originally written for a jazz band with bass, drums, piano and horns.
In the original version it lives of the drive that the rhythm has. It lives of the possibility of free tonality that the modern instruments we use have.
You can listen to a recording we did earlier on with a jazz band here:
https://soundcloud.com/laia-genc-liaisontonique/on-the-run-liaisontonique
The experiment I wanted to try was, if it is possible to transfer a tune like that from a modern jazz context to our special duo. If there are ways to arrange an interesting version.
The tune is not written in a tonality, though it evokes the impression in the beginning to maybe be e-minorish, bluesy.
Throughout the solo the idea is "Time No Changes". So there would be a certain groove setting, harmonic wise you are free to play what you want.
This tune finally did not work out particularly well in our duo so far. You can listen to the recording from our loft concert on this link:
First of all it was clear that Thaung Htike would not play the composed melody. It just does not fit his instrument.
So we decided to have an open improvisation part in the beginning of the piece with little quotes from the composition that I would bring in. We wanted to establish the tempo during this improvisation, which was meant to be a dialogue between piano and drum circle.
At a certain moment I would then decide to play the theme once. Then we would end the tune. It should be a short version of the tune. To integrate the color of modern jazz into our program.
Thaung Htike would accompany me more or less throughout the theme, playing this driving rhythm we established on his drums all the time.
The requirement I gave him for the theme was to play eights notes all the time, he was free to choose which concrete tones.
There are different reasons why I think it didn't work well.
1) I didn't play the theme of the piece good enough myself. It is difficult to play, I always have to practice this theme. On the day before I had another absorbing concert with another project. I had to travel back in the morning, then we recorded some tunes with Thaung Htike in the studio. So I could not play through the theme again before the concert.
2) For the beginning we were still insecure about where our improvisation should develop to. Now I think it should start out of nothing. I like Thaung Htike´s approach starting with one note, then building up. I was directly offering some quote and more input. By now I think the intro should be completely free and after the improvised part comes the power of the theme. I like for example the place around 0:25-0:38 and 0:59-1:22 when everything is very playful. I could also imagine to bring in my voice as a third color.
3) When we were setting the rhythm we had communications problems. We were not finding the same timing well enough. Although at places Thaung Htike place a great timing and phrasing i.e. 1:28 I don't get well into the rhythm. So it is still a constant timing search. We are unstable, getting permanently faster and slower, trying to react to the other.
At 1:48 I start the theme.
3) We were insecure about the free parts in it.
4) Thaung Htike didn't feel his role of playing a freely created rhythm to accompany me made any sense.
5) Our way to end the tune are the bars 38/39 in repetition. Then I give a cue for the last bar.
What I can find in it: Free improvisation. Are there some interesting moments?
Is it worth trying this piece again? Or would I say by now, it is inappropriate for this duo?
Can I imagine to add my voice to the beginning free improv part as a color? Or try another bow, for example start with the drums and voice, then add piano. Build up. On cue have a short break. Attaca start again, but now I play the theme right away until the end, with Thaung Htikes eigth notes.
I keep this link as an inspiration, maybe the very beginning can start a bit similar. I like the the change between the hms and strong has for the voice. Why not. As a starting point and then I can develop more freely and follow the ideas of that moment.
http://v.youku.com/v_show/id_XNTAyOTk5MDY0.html
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