a last minute collaboration with Jack Anderson

2024 Phil - Harmonic Weeklybeats - 2024 12 The - Deepest - Void

Overview

This piece was influenced by Kenny Wheeler, in particular his composition ‘Mark Time’ to which I allude in the title. It also features a 12/8 time signature reflecting that of “Mark Time”. It modulates every three bars in the Head, in reference to the ‘Modulating Modality’ in the title. The piece is in a Modal Free Jazz style. Influences include “Flamenco Sketches” by Miles Davis, and
“Peace Piece” both of which have frequent modulation.

Form and Structure

The piece is a long form, through composed 21 bar form with an intro of two bars. It transitions through a variety of modes and has seven sections, each of three bars, which all make use of a
different mode.

Intro - Chorus - Solos - Chorus Out

Harmonic Derivation

The piece transitions through the modes from Phrygian in a random order.

• Bars 1-3: G# Phrygian.
• Bars 4-6: C# Phrygian.
• Bars 7-9: A Aeolian.
• Bars 10-12: G# Phrygian.
• Bars 13-15: D Dorian
• Bars 16-18: E-flat Aeolian.
• Bars 19-21: C Lydian.

Phrase Structure

A(3-5), B(6-8), C(9-11), D(12-14), E(15-17), F(18-20), G(21-23).

Melodic Style

The melody is in the mid register and is characterised by step-wise motion with the odd intermittent leap. The Phrygian mode in G# from bars 3 - 5 and 12 - 14 and in the Intro allude to Flamenco music, a further reference to Miles Davis’ “Flamenco Sketches”. Scalic runs in the key of C Lydian are featured in the last three bars.
Finally, there is rhythmic repetition, for example the rhythm of bar 19 replicates that of bar 5 and also bar 11 replicates that of bar 23.

Notes on Recording

Violin, Piano, Double Bass.
Unison presentation of tune, free solos over form.

Marking Modulating Modality Piano Violin Bass

I am a composer/arranger for screen, experimental sonic artist and multi-instrumentalist, playing piano, organ and double bass across jazz, classical and  pop genres.

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