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Threnody (For Martin Luther King JR.)

Threnody (For Martin Luther King JR.)

  • レーベル検索 Steve Brown
  • リリース 2014/04/14
  • ミュージックジャンル New Age
  • フォーマット CD
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価格: ¥1,465

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Steve Brown: Threnody (for Martin Luther King Jr.) Musicians: Joe Thompson - Soprano and tenor sax, keyboard; Greg Tardy - Tenor sax and clarinet; Mark Boling - guitars; Bill Swann - pianos; Rusty Holloway - Acoustic and electric bass; Steve Brown - Drums and percussion; Susan Shorr Brown - Solo piano Song Descriptions by the Composer Two Steps Behind - This song is played with a swing feel on the A sections and a modified bossa nova feel on the B and C sections with a form of AABAC. The A sections revolve around a two chord repetitive pattern with a fanfare-like melody that moves into a diatonic rising melody with accompanying chords. The B section has a melody built around one note with a wider ranging harmonic accompaniment that gets further into dissonance (with the melodic content gradually descending) until it resolves back into the A section once again. The C section has it's own melodic and chord movement (predominantly minor 7ths moving to suspended fourth chords -notice the contrapuntal bass line, by the way)) and both the A and C sections are melodically built from the phyrigian mode. The title refers to the composer's observations about his own somewhat delayed development Synchronized Fireflies - One of the more recent compositions, this song has 3 sections in the form of AA'BCC' and is in ¾ meter. Rhythmically, the A sections have a floating "one" feel, the B section has a swing feel, and the C sections have a straight eighth feel. Harmonically, the A sections are somewhat impressionistic and built out of extended diatonic chords; the B section is based on major 7th +11 chords; and the C sections are chromatic descending harmonies that hopefully somehow fit over a recurring two measure bass pattern based on the notes E and B that rhythmically resembles an afro-Cuban cowbell pattern . The title refers to a phenomenon that takes place for two weeks every June in the Smoky Mountains National Park, in which these magical flying creatures create a floating fairyland of light. Remembering Bill and Rocky - These songs were written in a day (unusual - for this composer at least!), were always intended to be heard together, and are, as the title describes, dedicated to two mentors of the composers whose recent losses he felt the need to respond to. The songs are somewhat hymn-like and folkloric in character. Both have simple melodies and harmonies (the first is stated twice with slightly more colorful harmonies the 2nd time), but with entirely different settings. The first melody is presented in a rustic and hymn-like setting as seems to befit it's character and the second melody is accompanied in a more atmospheric, broad, and active setting by arpeggios and scale-like glissandos on the piano and rolling cymbals and long expansive notes on the acoustic bass. The Sway of Her Hips -This was meant to be somewhat hypnotic dance music influenced by several Caribbean and African styles, chiefly Soukous, but filtered through a decidedly different sensibility. In the accompaniment parts, the composer tried to apply the idea of flowing interconnecting lines, each with it's own harmonic, textural, and tonal space. The form of the song is simple - there are no repeated sections per se, just a melody (and it's accompanying harmony part) that turns in on itself during it's progressive story line until the semi-resolution in the last two measures. Perhaps one interesting aspect of this tune is that although the melody and accompanying harmonic line are fairly clearly in Bb minor, the accompaniment uses very much predominately major chords and suspended fourth chords, and at the end of the form never really resolves in a traditional harmonic sense. Threnody - A solo piano through-composed version of this song was included as an additional track on the composer's otherwise improvisatory multi-instrumental CD 'Within'. The word 'Threnody' has the meaning of "a song of lamentation." It was written about the composer's feelings of loss and unfulfilled promise concerning (and is dedicated to) Martin Luther King Jr. The form is A/bridge/B/A/coda. The A sections have melodic and harmonic content that are quite chromatic with complex chord structures and with an overall minor tonality emphasized. The bridge is a series of three chords repeated and getting gradually stronger and more complex and acts as a transition to the next part of the song. The B sections are basically harmonic minor improvisation with chromatic movement harmonically and melodically over a pedal bass and eventually leads back to the A section. The coda represents some final thoughts. This jazz quintet version treats the A sections in a jazz ballad manner and the C sections in a double time improvisational and conversational manner. The solos are on the A and C sections before the final A section and coda are stated. The harmonies for the A section are fairly thick and complex (several polychords), while the C section is basically a drone on the notes C and G with a very chromatic melody and accompanying harmony. Dor L'Dor - The title translated from the Hebrew means 'generation to generation' and is the name of a family klezmer band of which the composer is a member (the composer has been known, by the way, to describe certain aspects of klezmer as 'Jewish circus music.' As klezmer has it's own genre and repertoire, it seemed a good challenge to try to contribute to this tradition, but also to try to extend the tradition somewhat in a new way. The song is in two parts, with the first part in a "middle eastern rhumba" rhythm and the second part in a fast hora/freilach rhythm. Both sections of melody and harmony are followed by a simple repetitive improvisation section with the second improvisation section also followed by a double time bass line that the drummer solos over, leading back to a reprise of the last phrase of the 2nd melody and the end of the piece. The melody and improvisations are based on the F harmonic minor scale (F, G, Ab, Bb, C, Db, E) and the G -4 harmonic minor scale (G, A, Bb, Db, D, Eb, F#), while the harmony includes many altered chords. A Road Less Traveled - This composition has a three-part form with the same melody in the A and C sections, but with both sections having different (and open) harmony (the A section is in a basic tonality of C and the 3rd part [C section] is in the basic tonality of F, but with no indication of a predominantly major or minor tonality). The B section consists of sequence of related, but also open, harmonies for the soloist to play with. The idea behind the melody itself is to move through a variety of modes and scales that get further and further away from the tonal center and the starting harmonic sequence and yet still make sense and have an integrated feeling to the whole. The last part of the melody seems more restful, like home; thus perhaps the metaphor of a journey came to mind. At different points during the melody and their accompanying settings, the melody seems to revolve around notes of the Ionian, Phyrigian, Lydian, Mixolydian, Aeolian, and Locrian modes. . And Then Hope - Actually written 2 years ago with a version recorded during the 'Within' sessions, the composer wasn't happy with the results and touched up a few harmonies and changed the tempo and the solo chords... and then we tried it again. There are three short sections, the first having a fair amount of harmonic movement and variety, the second section is melodically and harmonically based on the same mode used in the song 'Within' (Bb, B, D, Eb, F, Gb, Ab) - hopefully with different results, and the third section is based on a series of suspended fourth chords. Some have described this music as having a 70s fusion feel. Becky in Moonlight - Essentially a ballad in an AABBC form, the composer tried to express the visual atmospheric effect of moonlight on the human body, as well as on the environment, in musical terms. Both the A and B sections of the tune derive their color, and the sense of an image shimmering in reflection, both harmonically and melodically, from a series of Major 7th+11 chords and their related scales. The C section raises tension melodically and harmonically in a long arc and uses chromaticism, half diminished, and fully diminished chords, until descending slowly to a 'questioning' (not full) resolution. The solos are over the A and B sections. Outside Looking In - This song has 2 sections (the second section repeated for an ABB form), both built on a synthetic scale of the author's devising (the B section uses the same scale, but modulated). The melodic and harmonic choices, however, are different, and hopefully give a different-but-related perspective to the two sections of the tune. The title refers to the composer's feeling of being sometimes out of synch with the society and world around him. EXTRA TRACKS A School Day's Dreaming and Gymnopodie IV - Both songs were released on 'Within' in jazz quartet settings, although written originally as through-composed solo piano compositions. They were recorded that way some years ago by the composer's sister in law, Susan Shorr Brown, and are released here for the first time.

詳細

アーティスト: Steve Brown
タイトル: Threnody (For Martin Luther King JR.)
ジャンル: New Age
発売日: 2014/04/14
レーベル: CD Baby
フォーマット: CD
バーコード: 888295073363
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