Tag: instrumental

Leveret | Cotillion

Leveret is a collaboration among three of England’s most prominent traditional folk musicians. From the band’s site: “Andy Cutting, Sam Sweeney and Rob Harbron are each regarded as exceptional performers and masters of their instruments.  Together their performances combine consummate musicianship, compelling delivery and captivating spontaneity.  Leveret’s music is not arranged in the conventional sense and instead they rely on mutual trust, listening and responding.  Their playing is relaxed and natural, drawing audiences in and inviting them to share in music making that is truly spontaneous and yet deeply timeless … Leveret’s music is firmly rooted in the English tradition but sounds fresh and new” … the trio’s “trademark groove, energy and intuitive playing” lands them in the territory of “finest tunesmiths in the folk field.”

The subtleties of which instrument is leading and which are following, the seasoned communication among the member of the trio, and the rock-solid time throughout are among the most noticeable features of this live performance of “Cotillion” (2022). The smooth and subtly shifting textures among the melodeon, concertina, and fiddle are quite hypnotic, making the modulation up a fourth (2:40) all the more impactful.

Shelby Flint | Cast Your Fate to the Wind

In 1962, pianist Vince Guaraldi created that rare thing, a hit jazz instrumental, “Cast Your Fate to the Wind”, which reached #22 on the Billboard chart. The recording won a 1963 Grammy for Best Original Jazz Composition. A few years later, Guaraldi enshrined himself in American popular culture as the composer of the songs for the Peanuts TV specials.

On their first date, lyricist Carel Werber went with her future husband Frank, then manager for the Kingston Trio, to a club in Sausalito, where Guaraldi played the song for her. She loved it, and wrote the lyrics during trips over the Golden Gate Bridge.

Singer Shelby Flint had her own Billboard #22 hit, “Angel on My Shoulder”, which she wrote, in 1962. Her vocal version of Guaraldi’s song was released in 1966, reaching #61 on the Billboard charts.

The song starts in Db major, with a modulation to D in the instrumental section at 0:51, closing with another half-step shift up at 1:14. The verse then resumes in D-flat.

Here’s Guaraldi’s instrumental original:

ALDA | Fen-Fire Polska

From the website of Finnish traditional acoustic trio Alda: “The story of ALDA started in January 2018 on a late night at a folk music festival somewhere outside Helsinki, Finland. We had all met and heard each other play before, but never really had the opportunity to play tunes together – until now. It turned into a five-hour wild mayhem of energy, grooves, improvisations, crazy harmonies, and lots and lots of tunes …

ALDA was born in the aftermath of that session. – ‘We have to do this again!’ we thought to ourselves. So, we started composing and working on new music for the combination of saxophone, violin, and piano. The music that we have created is, just as its musicians, deeply rooted in the rich musical traditions of Finland and Sweden, based on traditional types of tunes such as polskas, polkas, schottisches, and waltzes … The energy of that first session is ever-present in what we do. Even as a band we regularly get together for sessions to remind ourselves why we fell in love with playing together in the first place.”

After a start in Bb major, the 2021 tune “Fen-Fire Polska” morphs into G major at 2:59, then reverts to the original key at 3:51, never losing its strong 3/4 drive.

please click on the image to hear the tune!

Frédéric Chopin | Prelude in C Minor, Opus 28 #20 (“Funeral March”)

“Chopin’s preludes are compositions of an order entirely apart. They are not only, as the title might make one think, pieces destined to be played in the guise of introductions to other pieces; they are poetic preludes, analogous to those of a great contemporary poet, who cradles the soul in golden dreams, and elevates it to the regions of the ideal,” (ChopinMusic.net). In 1841, this high praise was the assessment of Chopin’s contemporary, fellow pianist/composer and close colleague Franz Liszt.

The Prelude in C Minor (Op. 28 #20), published in 1839, moves through many key areas, but begins and ends at the same point. The dense accidentals throughout tell the tale. ChopinMusic.net continues: “It is known that Chopin studied thoroughly the works of Bach before writing his preludes. He admired a lot the perfection of form and harmony in Bach’s music. In spite of this example, however, Chopin created something completely new. Originally the French word prélude means nothing more than ‘introduction,’ but in this form Chopin let the 24 preludes develop into independent pieces of music.”

Brad Mehldau | New York State of Mind

In spring 2020, jazz pianist Brad Mehldau released a suite of tunes inspired by the opening months of the COVID-19 crisis. “Locked down in the Netherlands, (he) decided to compose a 12-part cycle that reflects his response to our new normal,” (Downbeat). “Don’t come looking for Mehldau’s long, lustrous improvisations—or even short ones, though there might be some light embellishments here and there. This is a composer’s work. If its bite-size pieces are easily digestible, so are its penetrating melodies. Like the thinned-out harmonies, they emphasize the isolation at the heart of both the work and the context. Well, that and the pure strangeness … Billy Joel’s “New York State Of Mind” and Jerome Kern’s “Look For The Silver Lining” find new reservoirs of heartbreak.”

On his Bandcamp page, Mehldau released these liner notes for the Suite: ” … a musical snapshot of life the last month in the world in which we’ve all found ourselves. I’ve tried to portray on the piano some experiences and feelings that are both new and common to many of us. I’ve pointed to some of the strong feelings that have arisen the past month or more … a bittersweet gut pain that has hit me several times out of the blue when I think back on how things were even just a few months ago, and how long ago and for away that seems now … Billy Joel’s ‘New York State of Mind,’ a song I’ve loved since I was nine years old, is a love letter to a city that I’ve called home for years and that I’m away from now. I know lots of people there and miss them terribly and I know how much that great city hurts right now.”

Like Joel’s original, Mehldau’s cover grows most sentimental during its softly stated middle section. Although the tune is in C major overall, the midsection (1:10 – 1:43) is a parade of ii-V progressions through multiple keys whose eventual destination is back home to the original key. During the piece’s closing bars, a distant echo of the iconic main theme of Gershwin’s “Rhapsody in Blue” somehow boosts the NYC quotient even further.

Michael Lucke’s wonderful transcription of Mehldau’s solo is featured on this video.

Royksopp | Royksopp Forever

From MotD reader and first-time contributor Max Willard comes the track “Royksopp Forever” (2009) by the Norwegian electronica duo Royksopp.

The duo’s album The Invitable End (2014) was widely considered to be the duo’s swan song; quite a few years of radio silence followed. In a 2022 Billboard interview, the duo describe their return: “The current scene is, luckily, a lot of things. That hasn’t changed for us. Some people look at the scene as music that crosses over, because electronic dance music became pop at some stage in the last 10 years … On the flip side, because it’s so saturated with music, there is a lot of crap as well. I have to be blunt and state the obvious. But as far as electronic music goes, for example, the genre of traditional rock was proclaimed “dead.” Those kinds of statements are so redundant. It’s just not as prominent, but it’s obviously still there. It’s just shifted a bit. Electronic music is now mainstream pop music. It’s just a little shift, but nothing really dies. It just becomes a bit more specialized and disappears and reappears. I like those shifting trends.”

Max’s take: “I think this modulation merits consideration because the entire song builds to the moment of key inflection.” After starting in D minor, the track transitions at 3:10 to a behemoth E major/A minor vamp, repeating onward to the end as it fades and shapeshifts.

Gustav Mahler | Symphony #6 in A Minor, Movement 1

From the memoirs of Austro-Bohemian composer Gustav Mahler’s wife Alma (UtahSymphony.org), on the topic of the Sixth Symphony:

“No other work came so directly from [Mahler’s] heart as this one. We both cried . . . So deeply did we feel this music and what it foretold us. The Sixth is his most personal work and is also a prophetic one. In Kindertotenlieder and in the Sixth, he musically anticipated his life. He, too, received three blows from fate, and the last felled him. But at the time, he was cheerful and conscious of the greatness of his work; he was a tree in full leaf and flower.

In this passage from her 1940 memoirs, Alma Mahler suggests that autobiographical meaning informs the content of her husband’s Sixth Symphony, and on many levels, her words ring true. Gustav Mahler did, in fact, suffer “three blows from fate” in 1907: he felt it necessary to resign from his conducting post in Vienna, his eldest child Anna Maria succumbed to scarlet fever, and a doctor discovered the heart defect that would ultimately end the composer’s life. However, none of these incidents had transpired when Mahler penned Symphony no. 6 (in 1906). Alma’s memoirs, therefore, correctly interpret this symphony as something foreshadowing events yet to come.”

After the movement starts in a brooding A minor, 1:53 brings a gentle woodwind chorale, then another wide-ranging section with full orchestra. At 2:54, a surprisingly lighthearted but brief section in F major sounds almost like a passage from a composition for children. The simplicity of the textures doesn’t last, but the tonality does manage to endure for a quite some time before more transitions appear.

Jean-Baptiste “Toots” Thielemans | Undecided

Jean-Baptiste “Toots” Thielemans, “the Belgian-American musician who cut a singular path as a jazz harmonica player … began his professional career as a guitar player (and added the ability to whistle a line above it), but inspired by the mid-20th century innovations of Charlie Parker and Dizzy Gillespie, he returned to the chromatic harmonica and developed a bebop-influenced technique on it,” (NPR). “He performed and recorded widely with his bebop heroes and many other stars of postwar jazz, and his tune ‘Bluesette’ quickly became a jazz standard. His work also graces many film and television scores.”

Later in his career, “Thielemans became a first-call studio musician for top arrangers like Quincy Jones. His harmonica graced the theme song for Sesame Street and the score for the movie Midnight Cowboy. And that’s his whistling in the commercial jingle for Old Spice toiletries. Jazz remained his first love; even toward the end of his career, he would begin every morning with practice on the complex changes to John Coltrane’s ‘Giant Steps.’ … He was named a National Endowment for the Arts Jazz Master in the U.S., and a baron by the king of Belgium. He only retired from performing at the age of 92.” He passed away in 2016 at the age of 94.

His performance on “Undecided,” a 1939 standard by Charles Shavers, would have been remarkable for any other harmonica player — but it was utterly routine for Thielemans. His technique on the instrument broke through to entirely new levels of speed and agility. The groove drops out for a break just before the half-step modulation at 1:18. As if that weren’t enough, the second half of the video showcases Toots’ famous guitar-and-whistling skills!

Antonin Dvorak | Symphony #9 in E minor (“New World”), Op. 95

Former Baltimore Symphony conductor Marin Alsop wrote for NPR of ” … Dvorak’s melodic gifts, as well as his ability to spin a seemingly infinite number of variations on a tune. This, combined with Dvorak’s Bohemian heritage, results in music unlike any other composer’s. Symphony No. 9 is nicknamed New World because Dvorak wrote it during the time he spent in the U.S. in the 1890s. His experiences in America (including his discovery of African-American and Native-American melodies) and his longing for home color his music with mixed emotions. There’s both a yearning that simmers and an air of innocence.”

The piece is often considered to be one of the most popular of all symphonies. Astronaut Neil Armstrong took a recording of the New World Symphony along during the Apollo 11 mission, the first Moon landing, in 1969. (WRTI.org).

Among the more prominent of the piece’s many modulations is a shift from E minor to G# minor at 7:12.

Nickel Creek | Stumptown

“Mandolinist-singer Chris Thile, guitarist-singer Sean Watkins, and fiddler-singer Sara Watkins recorded their self-titled debut for Sugar Hill in 2000,” (AcousticMusic.com). “The band had a lot going for it. Its members were young, spunky, and nice to look at on CMT; they were good musicians and singers, and brought a youthful edge to a music that seldom reached a youthful market. Indeed, the most surprising thing about Nickel Creek was that three, young with-it teenagers would choose to play anything resembling bluegrass, and that they, as Alison Krauss had some years earlier, were able to make acoustic music seem kind of cool.

The band’s third album, Why Should the Fire Die? (2005), (is) an intense, innovative album … Detractors will argue that Nickel Creek has strayed far from the traditional bluegrass path, but even the group’s first and most conservative effort wasn’t traditional. The problem with traditional-progressive conflicts is that they don’t tell you much about the quality of the music itself. Quite possibly, Nickel Creek doesn’t even qualify—at this point—as traditional, progressive, or any other kind of bluegrass. They are, however, an exciting band because they’ve brought new elements into acoustic music, giving it a potent injection of youthful vigor.”

After a starting in E major, a shift to G major is in effect from 1:02 – 1:18, where the band hiccups back into the original key.