Відео

My quick take: the key is the unusual roles. The melody starts out in the bass, it's so deep because it's so slow, and the harmony has to serve as melody because you need to keep it flowing. It's an inversion of melody and harmony. Until the bass melody turns into part of the harmony as usual starting in measure five when he adds a conventional upper register melody but keeps the pace

Good analysis ! Thanks ☺️

Arranged by violin&bassoon and piano,please😢 Thank you so much!😊

Beautiful!

This is so helpful, thank you so much for being this generous! I can’t believe we live in a time where very qualified people upload whatever they know best to the internet and everyone gets to see and appreciate their work (and learn from it). Thanks again!

I’m afraid that my simple question won’t be disturbing you after 12 years since this video was uploaded. Is there any possibility for the coda to be analyzed in various modal progression? If not, how one can compose such passage? Only by his/her ear and high level of musicality? Thank you in advance 😊

5:07 the sound looks like a speed note

Beautiful work! Who are the musicians? What are their names?

Bravo, Bravo! ENCORE!! So lucky I got to hear this in person, woooot!!! So proud of you, DBT!!!

Bravissimo!!

In bar 19, could the final note be a Bb instead of Db?

Very good work, congratulations! I would like to have the pdf, is it possible, is it available? Thanks

Thank you so much.

He arranged Jobim's Wave album, did you know?

This feels nostalgic but in the best way possible i like it

Thanks for sheet music!❤

For me, as an intro it fails. Too many layers of sound, and it just mushes togehter. A more useful exercise for me would be to see you take a tune, and go through the process of creating a conventional accompaniment, and then using the same tune, doing a quartal structured acompaniment. One of the problems with jazz in general is that it's often eliptical -- you have in interpolate a lot of 'what isn't played'

Lennie was light years ahead. Frightening in many ways. Even today confined to the margins of many written jazz histories. Cursed with the meaningless epithet ‘cool’. I read Miles’ autobiography (with Quincy Troupe) recently. Miles tended to be blinkered by the race issue. I understand his anger. Miles was a paradox. In the same pages that he lambastes the Metronome All Stars (Lennie’s line ‘No Figs’ based on Miles’ ‘Donna Lee’ was superb) as white players on the dollar trail, Miles shows extraordinary tenderness towards the 19yo Jackie McClean then struggling, like Miles, with a heroine habit. I have Lennie’s Capitol sextet recordings. On the back cover Miles is cited as commending ‘Intuition’ and ‘Digression’, the two surviving ‘free’ takes (thanks to Symphony Sid) as genuine free jazz. Miles seems quite bitter in his autobiography. He dismisses Konitz’ 1951 ‘Hibeck’, ‘Ezzthetic’, ‘Odjenar’ sides, in which he played, as ‘mediocre’. Those Konitz dates were way ahead of anything Miles was doing at the time. The Birth of the Cool was fine as a studio project. Awful live. Konitz’ 1951 takes were way ahead of Birth of the Cool, of which Konitz was a regular. The Konitz dates also included ‘Duet for Alto Saxophone and Guitar’ and another Konitz/Billy Bauer duet, ‘Indian Summer’. It would take at least 5 years for Miles to record something of comparable standard. I’m not interested in the race thing. I understand why Miles was upset about it (read his formative years growing up in St. Louis). But Konitz, although a personnel friend of Bird, had developed a unique way of playing modern alto without having assimilated Bird. And Tristano, as early as 1946, had escaped bebop’s orbit. I love bebop when played well. But too many pretenders just lick their way through the bebop anthems.

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I can easily imagine this being played as a clarinet quartet as well.

What a difference between yesterday musicians and of present ?? Earth to Saturn ??

Shocking how good these people were. They created at first hand. Big numbers. Till these days

Stunning!

Bellissimo!!! quello che cercavo! perchè sono principiante. Dove posso trovare lo spartito con questi accordi, per favore?? grazie Claudio

Clearly Gmajor and Bmajor seem to be acceptable....are there keys that are just too jarring?

are there keys that work "well" together and some that just don't?

Beautiful!, great job!!.

I feel like I'm looking into the future. I like the instrumentation, and the long notes, overlapping. It seems like a genre all its own; not a string quartet in any way. I don't see the title as matching, but then again I don't know the composer. Maybe a title like 'Far things I See.' Above all its modern and for our time.

Amazing!

bravo!!

Straight tone. One vibrato can throw it off, or just out of tune. Not as easy to play as it looks.

Just stunning! Txs for posting🙏🏻❤️🌈

4:50 Bar 57 where the bass mimics bar 54 and by doing so creates such unique passing chords, due to the stark shift in harmonic rhythm. - amazing

This gentleman spent a career making artists sound great. Thankfully he has left a collection of his own greatness.

"I wanted to push myself as far as possible in terms of what I could make the player and instrument do." 😄 I like that!

So many musical worlds explored in only 13 minutes! The section at 77 was my favorite.

What’s the name of the piece?

Also Emerson lake and Palmer's Tarkus comes to mind.

this is just fine, I hope you will continue to replenish the saxophone repertoire)

so lucky to have performed this. So much love for you all. Thank you DBT

I know it's been 12 years, but this is insanely well done and very very useful. Thank you

I keep returning to your brilliant analyses. Would you consider doing more? your analyses are masterworks.

This was such an honor to sing.

Can I use this for my acapella group?

David, I have spent years studying your brilliant analyses and I keep returning to them.I always feel I'm in paradise while studying your work.Thank you again,Peter.

This is and was such a gift to sing! Thank you so much!!🎶🤍

So glad to have heard this live, amazing work! The two measures starting at "3" are my favorite chord progression.

insane

What an excellent soli! Thank you for sharing this detailed analysis.

Wow. I had a playlist going in the background, and I had to stop what I was doing to see the name of this piece.