Bunch of my Tunes

[Jakeweiser]

yeah so I was bored and figured that I would abuse this Freejazzinstitue.org and put lead sheets up there for anyone interested. Ed's been using it for it's intent and that's a good thing.

So what I have done is put lead sheets for all my myspace tunes (Follow, Returning There, John's Song and West Bows Key) as well as some tunes y'all have not heard and some that I'm working on. As well as the stuff I had done for Betty Carter Program etc.

just go to

http://www.freejazzinstitute.org/showposts.php?dept=analysis&topic=20070613135946_Jake_Hanlon

[EdByrne]

yeah so I was bored and figured that I would abuse this Freejazzinstitue.org and put lead sheets up there for anyone interested. Ed's been using it for it's intent and that's a good thing.

So what I have done is put lead sheets for all my myspace tunes (Follow, Returning There, John's Song and West Bows Key) as well as some tunes y'all have not heard and some that I'm working on. As well as the stuff I had done for Betty Carter Program etc.

just go to

http://www.freejazzinstitute.org/showposts.php?dept=analysis&topic=20070613135946_Jake_Hanlon

Jake,

This is great stuff! I'm gonna print it all out and play them at the piano. I'll get back to you.

Ed

PS: Can you add some more background regarding your process and thinking in developing each piece?

Would you mind putting up a link to where we can hear these recordings?

[Jakeweiser]

www.myspace.com/jakehanlonjazz will have, Follow, John's Song, West-Bows-Key and Returning There.

www.myspace.com/dancron will have Sometimes I Wonder, plus another tune I play on by a friend.

Subsequently

http://www.freejazzinstitute.org/showposts.php?dept=analysis&topic=20070613143258_Jake_Hanlon

My look at How Deep is the Ocean by looking at several scores including Berlin's original Piano arrangement.

[Jakeweiser]

you can hear Contemplations at

www.myspace.com/theeastwest

[EdByrne]

www.myspace.com/jakehanlonjazz will have, Follow, John's Song, West-Bows-Key and Returning There.

www.myspace.com/dancron will have Sometimes I Wonder, plus another tune I play on by a friend.

Subsequently

http://www.freejazzinstitute.org/showposts.php?dept=analysis&topic=20070613143258_Jake_Hanlon

My look at How Deep is the Ocean by looking at several scores including Berlin's original Piano arrangement.

Thanks Jake. I will check it all out.

You mention this site (www.FreeJazzInstitute.org) being a good place to refer people to. I agree; I sent a student there just today. I'm going to put a lot of different things up. I hope that everyone takes advantage of it, and posts their own ideas and compositions.

I'm told that the traffic has been increasing rapidly, too. I'm diggin it. Nice platform.

[thekid]

Awesome Jake.

Sometimes, I Wonder is SO COOL!

I definately dig it.

[heavyweather77]

Jake's a tune-writing machine with good gas mileage. I've always liked your tunes, dude.

[Jakeweiser]

PS: Can you add some more background regarding your process and thinking in developing each piece?

Would you mind putting up a link to where we can hear these recordings?

I guess I did not notice this question, nor the same question you put to me on the other page, and I apologize for that. I don't mind getting into some details and discussions about the tunes at all. I'll go in order.

In many pieces I write I use what I like to call "level of control". Sometimes there are many levels of control, ways to shape pieces that I find interesting and then from there fine tune it. Some tunes have no levels of control, but when I find that I give something to build off of then my melodic brain takes over and can create something of interest to me, if not anyone else.

West Bows Key was originally an idea based on 2 levels of control. One was I wanted to write a tune that was AABA with different time signatures in the B then the A. So I went with a 4 bridge and a 3 A sections. The second was I wanted a Bass movement of descending whole steps. I found the changes to be somewhat strange to improvise over therefore put the soloing over the bridge in 4, with the option of blowing in any time signature the improvisor desires. Some manifestations of the tune had solos in 4 and 3, solos with 8 bars in 4 and 8 bars in 3 for a combined 16 bar form, and blowing in 7/4 as well. Typically the solos are in 4 with a drum solo in 3 to make a smoother transition back to the head.

Contemplations had one level of control which was based off a harmonic lesson in composition when I was in undergrad based off the cycle of 4th's. Using te Lydian Chromatic idea that Lydian is now the first mode, I move from F lydian to one step away on the cycle or it's relative minor (meaning the next chord could be Clydian or A minor). Then it returns to either F lydian or it's relative minor. Each subsequent chord change moves one more step away from the home key and then back either major or minor (F to G back to F to D back to F to A back to F etc). This created a 12 bar harmonic progression, the melody then wrote itself.

Returning There had 1 level of control which was my realization that a mode could be accounted for by using 2 triads based off the IV and V of the parent key. For example, inthis piece the long Db/C sections are examples of C phrygian, the chords played by the rhythm section are alternating between the IV V of the parent key (Ab major) and the same for the Aeolian vamp (F and G triads). This created interesting pedal points to build the tune around. A sections wrote themselves.

John's Song 1 level of control was to write a melody something like Stella By Starlight, almost entirely in 1 diatonic key, in this tune there are 3 notes that are not diatonic to C minor (one repeats as the A section repeats). Plus I wanted something that had a nice baladish melody that had some surprises (the CM9 chord in bar 9, the BbM7+11 in bar 24)

Follow this tune just sort of happened. I had a draft I took to my teacher who suggested a few ideas which I did not use but turned into other ideas which was all I needed. I feel I need to write an introduction and coda to this piece still.

Nanook was a tune that I wanted to write something that had some challengng chord changes. it was built off the melody in the Db- Esus Gb- AbM section. I like this tune for blowing.

Sometimes, I Wonder, I wanted to write a tune that had different feels yet I didn't want to have a tune trapped into playing a set number of bars or form for blowing, only a straight section over one chordand a swung over another.

Path to Maud's, a study in Melodic Minor chords mostly but also I wanted to write something that had some curve balls in terms of changes (Am D7 AbM7 for example). The 3 section just happened in the way I was singing/hearing a melody in that area. The shots just made sense right away that it was part of how I heard the tune.

[EdByrne]

I guess I did not notice this question, nor the same question you put to me on the other page, and I apologize for that. I don't mind getting into some details and discussions about the tunes at all. I'll go in order.

In many pieces I write I use what I like to call "level of control". Sometimes there are many levels of control, ways to shape pieces that I find interesting and then from there fine tune it. Some tunes have no levels of control, but when I find that I give something to build off of then my melodic brain takes over and can create something of interest to me, if not anyone else.

West Bows Key was originally an idea based on 2 levels of control. One was I wanted to write a tune that was AABA with different time signatures in the B then the A. So I went with a 4 bridge and a 3 A sections. The second was I wanted a Bass movement of descending whole steps. I found the changes to be somewhat strange to improvise over therefore put the soloing over the bridge in 4, with the option of blowing in any time signature the improvisor desires. Some manifestations of the tune had solos in 4 and 3, solos with 8 bars in 4 and 8 bars in 3 for a combined 16 bar form, and blowing in 7/4 as well. Typically the solos are in 4 with a drum solo in 3 to make a smoother transition back to the head.

Contemplations had one level of control which was based off a harmonic lesson in composition when I was in undergrad based off the cycle of 4th's. Using te Lydian Chromatic idea that Lydian is now the first mode, I move from F lydian to one step away on the cycle or it's relative minor (meaning the next chord could be Clydian or A minor). Then it returns to either F lydian or it's relative minor. Each subsequent chord change moves one more step away from the home key and then back either major or minor (F to G back to F to D back to F to A back to F etc). This created a 12 bar harmonic progression, the melody then wrote itself.

Returning There had 1 level of control which was my realization that a mode could be accounted for by using 2 triads based off the IV and V of the parent key. For example, inthis piece the long Db/C sections are examples of C phrygian, the chords played by the rhythm section are alternating between the IV V of the parent key (Ab major) and the same for the Aeolian vamp (F and G triads). This created interesting pedal points to build the tune around. A sections wrote themselves.

John's Song 1 level of control was to write a melody something like Stella By Starlight, almost entirely in 1 diatonic key, in this tune there are 3 notes that are not diatonic to C minor (one repeats as the A section repeats). Plus I wanted something that had a nice baladish melody that had some surprises (the CM9 chord in bar 9, the BbM7+11 in bar 24)

Follow this tune just sort of happened. I had a draft I took to my teacher who suggested a few ideas which I did not use but turned into other ideas which was all I needed. I feel I need to write an introduction and coda to this piece still.

Nanook was a tune that I wanted to write something that had some challengng chord changes. it was built off the melody in the Db- Esus Gb- AbM section. I like this tune for blowing.

Sometimes, I Wonder, I wanted to write a tune that had different feels yet I didn't want to have a tune trapped into playing a set number of bars or form for blowing, only a straight section over one chordand a swung over another.

Path to Maud's, a study in Melodic Minor chords mostly but also I wanted to write something that had some curve balls in terms of changes (Am D7 AbM7 for example). The 3 section just happened in the way I was singing/hearing a melody in that area. The shots just made sense right away that it was part of how I heard the tune.

Thanks, Jake. Your "levels of control" reminds me of a statement that Stravinsky made to the effect that he couldn't even begin to compose before limiting himself to a very narrow idea.

This kind of descriptive phrase that you have written here, when cleaned up, can make for very interesting liner notes as well, I think; in spite of the fact that some will say that this is pedantic, I love it and think that many listeners will appreciate the information--in addition to interesting anecdotes about their origins and conception.

I very much like your advanced composition style: It's not unlike my approach.

BTW, I added a post to your "Autumn Leaves" thread in the freejazzinstitute. Please let us know if you dissagree or have more to add, since I'm feeling a bit like a sneak-thief, thinking that I added this stuff without your seeing it.

You're a MF, Jake: I hope that some day we will work together.

[Jakeweiser]

I'll take a look-see on the freejazz site shortly. Today is going to be a very musical day I think. I have the urge to really practice, which is a good thing.

I've always been a big fan of detailed liner notes on albums. I think when artists put out an album and just put 1 sheet of liner notes that thank their family/friends and list the tracks is boring, while I certainly understand the financial aspects of recording a CD, when the time comes for me to Record as a leader, I feel the urge to write or have someone with experience write for me good liner notes, which probably will be a combination of the two.

I really enjoy buying a new CD and sitting and reading the liner notes while I listen or after the first listen or on the way back from the store in the car/bus. Liner notes also could be excellent photographs from the recording session (ie John Abercrombie's new quartet CD has beautifully shot pictures of the band and I really just dig that, it connects your senses)

I think that putting something about each tune's conception is a great idea, although I would be careful to have it written without getting to deep into the jargin or extra-musical aspects of it for fear of alienating non-musicians. Although I'm sure that not to many non-musicians would buy my music at the start or if ever :)

If people still buy CD's these days.

[EdByrne]

I'll take a look-see on the freejazz site shortly. Today is going to be a very musical day I think. I have the urge to really practice, which is a good thing.

I've always been a big fan of detailed liner notes on albums. I think when artists put out an album and just put 1 sheet of liner notes that thank their family/friends and list the tracks is boring, while I certainly understand the financial aspects of recording a CD, when the time comes for me to Record as a leader, I feel the urge to write or have someone with experience write for me good liner notes, which probably will be a combination of the two.

I really enjoy buying a new CD and sitting and reading the liner notes while I listen or after the first listen or on the way back from the store in the car/bus. Liner notes also could be excellent photographs from the recording session (ie John Abercrombie's new quartet CD has beautifully shot pictures of the band and I really just dig that, it connects your senses)

I think that putting something about each tune's conception is a great idea, although I would be careful to have it written without getting to deep into the jargin or extra-musical aspects of it for fear of alienating non-musicians. Although I'm sure that not to many non-musicians would buy my music at the start or if ever :)

If people still buy CD's these days.

Jake, when the time comes I'll be happy to help write your liner notes, should you find that useful.

Meanwhile, do practice today while the inspiration is there; I'll do the same, before I head out to NYC for a few days.

Ed

[Jakeweiser]

1 Email to write, 1 lunch to make and then it's shed time.

Have fun in NYC Ed, and I'm sure I'll be in touch re liner notes. I'm sure someone with your experience not only musically but with the written word really could add to any album in all ways.

[engelbach]

Jake, very creative, adventurous tunes. I especially like the way you move between lyricism and unexpected tensions, viz. The Path to Maud's. Fun to play.

[engelbach]

Jake,

In the course of posting a couple more things at FreeJazzInstitute I revisited your tunes and played them all again. They gain from repeated exposure. I'd like to print them out and play a couple at a jam and maybe a gig.

—Jer

[Jakeweiser]

Jerry.

Feel free to play them with anyone you chose. It only gains me exposure and satisfaction from having skilled musicians enjoying my music.

Let me know how it all goes

[engelbach]

Jerry.

Feel free to play them with anyone you chose. It only gains me exposure and satisfaction from having skilled musicians enjoying my music.

Let me know how it all goes

Thanks, Jake.

Any chance that you have these files in a higher resolution than 72 dpi?

[Jakeweiser]

Jerry.

If you PM me your personal email address I can send you all the files in pdf or if you desire, Finale 2006 files

[engelbach]

Jerry.

If you PM me your personal email address I can send you all the files in pdf or if you desire, Finale 2006 files

Thanks, Jake. PDFs are better: less likely to get corrupted en route.

My email is no secret: jerry@engelbachmusic.com.