APPROACHING IMAGES: A Journey from Imagery to the Concrete
(2023)
author(s): Rui Braga Simões
published in: KC Research Portal
The piano is an instrument filled with endless possibilities, and an absurd amount of marvellous repertoire, but also has its downsides, namely its extremely complex mechanism: fingers activate a key, that moves a hammer, that hits a string. It’s a lot of steps from the moment you imagine a note and the moment you hear it, and the resulting sound isn’t always what we hope for. This instrument can be limited for the things that are asked from pianists, such as playing singing and legato lines. However, there are ways of getting over this limitation, and one of them is the use of Imagery, I.e., having a strong imagination of something else in order to do things that, in many occasions on a piano, are technically impossible.
In this artistic research I approach the concept of Musical Imagery and present an arrangement I made of Debussy’s Et la lune descend sur le temple qui fut (from the second book of Images) for piano and percussion quartet, exploring the imagery elements I use in my practice and explaining how I turned them into something concrete, through the use of new layers added by the chosen instruments.
The Voice in Arranging - Rethinking the role of vocalists in big bands and large ensembles
(2023)
author(s): Giulia Bättig
published in: KC Research Portal
This research explores how the voice can be used creatively in large ensembles and big
bands. It is structured in five parts, starting with an introduction explaining my interest and
personal connection to this topic. I then analyzed the work of composers and arrangers that
used vocalists in their large ensembles before me - for example Kenny Wheeler, John
Hollenbeck and Martin Fondse. There I looked at how they used vocalists in their works and
found that oftentimes, the voice still is used as a doubling part for the lead melody, but
seldomly is used as an independent part in the arrangements.
I then moved on to analyzing my own compositions I’ve written for a vocal section and large
ensemble. I saw that I unconsciously often used the same kind of arrangement style, and
drew a lot of conclusions for my future works out of this analysis. In part four, I compiled my
research of others and my own work into a small handbook of arranging tools for big band
and voice section. With this, I want to inspire other composers and arrangers to write for
vocalists in new and creative ways. After this, I concluded my research with a reflection and
conclusion in the last part.
In my presentation, I want to talk about my progress working with others and my own music,
and the conclusions I drew out of it, as well as showing some examples of my analysis and
the handbook I wrote.
Keith Jarrett: The Köln Concert, re-composition for a big ensemble
(2023)
author(s): Stefano Gullo
published in: KC Research Portal
As a composer, you are free to create, and often the melodic choices, the harmonic solutions are the result of something truly personal. The colors found within a piece are the representation of what the composer feels and wants to put on paper, he is free to express a concept without being bound by any kind of expectations or rules.
In this project, I am exploring the ways in which I can integrate and use Keith Jarrett’s improvisations as material for writinf for large jazz ensembles. To answer this question I learned about his life, his philosophy in music and how his musical style developed through the years, to get along with his musical idea and try to respect his first intention.
And to prepare myself for start writing the re-composition I analyzed the transcription of the Concert in Köln, seeing how he approached the improvisation and how he used the musical elements such as the construction of the melody, the use of the rhythm and the harmonic background; all elements that I used in my work.
The project demonstrates that even if is working on an improvisation, which offers such a varied material and is developed without an apparent fixed structure, it is possible to recreate compositions that have a coherence; also respecting the intention and the sound context that characterized that moment.
(cover art designed by Barbara Wojirsch, copyright believed to be owned by ECM).
The instrumental section singer - Implementing vocals in a 3 part horn arrangement
(2020)
author(s): Marit Eline van der Lei
published in: KC Research Portal
This research investigate how arrangers can use vocals as an addition to their horn arrangements. Through experimenting and literature research I will explore the role a voice can have as an autonomous part in a horn section with 2 other horns.
In this research I ask myself the question: How can I use voice to complement 3 part horn arrangements?
Using the most common horns in jazz, I make groupings of 2 horns paired up with the voice based on instrument information and range. We will play in different devisions and explore the influence that vowels will have on blending, opting for a homogeneous sound, where the voice is adopted in the section.
Expanding a Repertoire
(2020)
author(s): Louis van der Mespel
published in: KC Research Portal
This research investigates the means in which to successfully create an arrangement for a small ensemble, in this case, one with the instrumentation of Prokofiev’s quintet op.39. The approach involved a look into the obstacles and benefits of the instrumentation and how one could overcome and make use of these characteristics. Firstly, the relevance of such a research was discussed, contextualising the importance of arranging in general as well as demonstrating the potential of an uncommon ensemble. A further analysis of the arranging procedure follows, pin-pointing particular methods in creating effective textures, colours and nuances. This looks closely at how an ensemble of musicians can add a depth and conviction to conversational interplay through the subtle use of voice leading and accentuating timbral variety. With such a practical research, audio and visual examples are used to reinforce the analysis, conveying the effectiveness of the multitude of resources used and overall outcome of this arrangement. The research therefore argues the importance of arranging, encouraging musicians to explore repertoire and presenting it in a new light.
Adapting the marimba into Astor Piazzolla's music
(2016)
author(s): Yves Popow
published in: Codarts
It is common in the percussion world to play the music by Astor Piazzolla without being proficient in the Tango style. A lot of percussionists, including me, simply play the piano or guitar parts on the marimba without making any adjustments to the arrangement, because it sounds good to us and it is technically possible. By copying directly, we think we know about the style, but we are wrong. This issue can also be found in the marimba arrangements of Bach’s Cello Suites. In my opinion, one should research about styles of the compositions if they were not originally written for percussion. Otherwise one will never be as close as possible to the intended style, which is essential for a good performance.
Since Tango is about arranging, my goal is to find a suitable role for the marimba in the music of Astor Piazzolla that is as closely aligned to the stylistic traits of Tango as possible.
Gian Majidi Singing Journey
(last edited: 2021)
author(s): Gigi Gian
This exposition is in progress and its share status is: visible to all.
Who am I? Kuka minä olen? Do I have any answer for this? I do not know yet and maybe whole of this long trip will remain the same. Uncertainty will be the cause and the result.
Should I try to be someone else or something else? Can I do that? How? What's happened to me? Why I am here and now?
This is question which i am looking to give some answer. If I do not know who I am, how you want to know about me?
I give you some pictures and feelings to make you happy about me, to make you at ease about me. let's walk and recall some memories together.
I have been writing poems and novels, screenplays and theaters, I was writing about music and movies. I have been playing and acting. I have loved performances and always communicating with people.