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‘changes. This isa method that works particulaely well in lrge ensemble situations. The workshop on Hackney Five in the next ‘hapter shows a variation on this and Patt Two of One Cow takes this mach further patterns instead of melodie lines, Here the counterpoint works however the five pat lined up. In other words, they do not need to be eo-on start of specific bat. This allows for much creativity and much welcome randomness in ther juxtaposition. ‘As we saw with Under The Pier, useful melodic wextural dey= ice can be developed by the improvised fragmenting of a specific melodic line over several choruses of a set structure. This can also bye effectively used wo allow a melodic line - perhaps a ballad ~ 0 temerge from hehind a soloist. With the lines of Down Another Road, fragments of any of the five lines can be played ~ bu in their place ithe structure ~ allowing the fall five line counterpoint 0 suradually merce th Unde The Per and Down Anoter Roa, thew wl W6rernilytein sorter ual acon paying rot of see acne yoo New Deal etc er ws Ronn ncn lo fe ued eva Dhaetretgteno spect acto play Gu expected wollen so BUN sige! vert evade mas rine cowie Bibeln sl cbc ee men oo cng ccs na thu Fou, where San Cee woe observed and eae Meee ce ses Goon ena wo Aapaaritbcacr tthe fn Miche One whee Go mm fedetdoucale phos nly «ied improve cul on ier n= Ces inereviosca b sped in cou ware Speii colours or ideas can be suggested such as “atmospheric noi- se, "low bucbling sounds” ete. Rhythm section players work ‘vel unde these insructions but they can also be applied to all ‘ther players who can be designated, told to play eercain parts, oF directed in and out during « performance. Ics also apparent chat there 6 specific colour to the sound of ewo or more players improvising together, a colour which incensifes if the players are ‘om the same instcument. The improvising can be fee, with no chords provided, or over a given set of chords, Controls can be fh as “bald prada 0 chmax oF “hag down", These controls may need to be specif yt ston payers an be srt work ax can be ven in Pare Fur of One Cove where ik 0 werk inc «wales and wome specie nore so ete a given Hp «epeci colour ocolsve improvising when fof large group are ivolved. Exciting reult cm be Ty the jstaposing ofa collectively improved secon pate which asin, canbe seen in are For of Callestive improvising can provide a shor, sharp solo over pain o a specie’ time frame, or ean fo provide specific devices uch asa “dark burbling” Bat Kites the volamerange and density wil ned tobe on. As Alec Wilder once said, “dynamics are necessary, of ‘tut not half so interesting to me as intensities. Anybody dnb forte ~ but lacs of ten the re uch Tvl ket bea aster of tent. te bigetc of ty life bave been a silence, somebody walking out of a whispered goodbye.” over iteration heeween what is composed and what it ued should abrays be of eoncem to those serous injrz, We have sen already that improvisation can exist, woul differen level the rhythm section soloing thefelyplayed melody in Neei sols paying on ‘improved arp oF sound a we shal see below with "wothiop on Ryoum. There is often in chiskind of wring 2 ion of thice main ass Lines canbe written as nota ta be ple exact Tine ean be writen to be ner Ty the plaers concerned, what we can eal emivimprovise, {ain alo e a featured solos, whose appeoach canbe ea: own oysee of inaccuracy, oly improvised ler The Per uses al tice ofthese approaches, often with ‘We jie materia Line one ia eypical bas line which works as ei ut can be ver effectively developed by a good payer, ine Aor fe est et a writen while ine 5-1 needs serimproviation AW ake it work, Line tvee and four can be effeive played as ‘yn a the original version but, ak we have sen, can also be sing Fagmenary improvising techniques. se coexisting eels ean be a useful source. They can be ‘velghed equally ~a soloist agains stab-chors oF unequally, 35 Ale Wildy some ae ‘eas ilstrated in Ryo avery fe pec with onary thinking existing a al Teves, This ves the fieedom to be very diferent from performance 10 taining what Whitey Ballet called “the sound of vil sil showing» degree of compiional cont. which refles a composers vison not ony the ‘of music being wed to depict a specific place or Hv of how jaze improvising can he dred and improvising conductor ion for Ryoan was Japanese arden ina temple hich const of 4 raked sand are on which fifteen iced. The viewer walks among these rocks but, be Hlvement of them a no Gime i he or she able to see petion of this, the sand is eepeesented by a Ho creat patterns, willy and lite fil. Their role isto is 10 lay down a carpet of sound, to create a back- Hh doy andthe sis. oud noe oc touch of ed ina carpet, be effective, but only if Sayan scone iy shows the idea ofthe rock. Ii writen in such a the whole melody only becomes apparent at the end. The Ahe melody ae played frely by one or more musicians. ‘us to the next motif when cued by the leader or in ‘he lines shouldbe played very broadly. Inthe soloist whose job iis to react 0 what he of “sun then playing on top ofthe carpet of sand, r= iat hose musics do and etn che sy he played the soloist has no chords no scales, no guidance the ld-sheet (whichis given transposed where neces ayers) Two diferent soloists are heaed on the CD. lronstrates thee levels of improvising the harmonic around a melodie shape; andthe main solo. shoul be musisally distinct, capable of complementing Yet being clearly eiferent from i The thy section ld provide the backround the saxes could pay in thei own time, and the guitarist coll be the ‘OF any other combination of instruments could be ‘simprowse from what is writen on the paper ced track $ yom sion on) ed track & Ryo eri 0) a7 ps tt {© 1996p ADVANCE MUSIC, ARighs Resved oe