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MIDI

Live

COMPOSITION

IMPROVISATION

The first idea was to develop a set of three notes which would each one be amplified on a single chord. It came in mind, or it appeared workable, during an interpretation of "I remember Clifford" (Benny Golson), which contains, from the sixth measure on, the following structure : B on Bb7(b9), G on Eb, E and D on G7+9. After a few tests, it became : B on Bb7(b9), G flat on DM7, and D on G7+9. That made up the three first bars of the piece, the following ones having come in mind in a rather logical way, with the prospect of going back to the three first ones. The rhythm, as for it, came at the same time, and the 3/4 with a high tempo appeared better than all the possible indications of interpretation. The introduction, which does not appear on the score, was finalized by David Rechtman with a classical spirit. Composed for Jean-Yves Guyader, this piece is rather done to be interpreted by a saxophone tenor and a piano only, indeed by a piano alone.

The original improvisation grid contained two parts : the regular grid and the permutation. The regular grid, which corresponded to the harmonic structure of the piece, was the following :
Bb7(b9)/DM7/G7+9/F7(b9)
D7(b9)/GbM7/B7+9/AM7
AM7/G-7/G-7/F7(b9).
The permutation, which was meant to be played between two improvisations, and which was a minor blues taken from "Bluette" (Dave Brubeck), was the following :
C-7/F-7/C-7/C-7
F7/F7/C-7/C-7
Ab6/G7/F7/G7.
David Rechtman proposed a new harmonic structure, as well as a simplified improvisation grid, which is a simple alternation of two chords, and which is the current grid :
Bb13/GbM7.

MIDI

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COMPOSITION

IMPROVISATION

There was a time the author finalized a few pieces for another group than his own, among which "Worked air", a C blues, and "Cantrip", a piece quick to set up. The characteristic part of the melody of the first, associated with the splitting pattern of the second, gave a new melody. Since "Cantrip" was a 3/4 and that the new piece was going to be a 4/4, a transition was necessary, to go back to the body of the theme after the splitting pattern. The last line, as for it, was designed like a rise by group of three notes, out of step with the strong beats, and concluded with a quote of the transition. The piece contains also an introduction and an end, which do not appear on the score.

The improvisation grid is the theme grid : a F major blues, without any refinement. It is possible to use the F blues scale, but, because the blue notes give a minor impression, that contributes to destroy the major colour of the whole. It is better to choose the F dorian scale, with, on BbM, the Bb dorian scale.

MIDI

Live

COMPOSITION

IMPROVISATION

This piece was written in 2002, when our band [Pulsar] was not complete. A transitional stage favourable to soul-searching, and to the creation of new pieces.
Like all bossa themes, it is an invitation to share a soft moment, joyful and sensual. It is a music I particularly appreciate.

The structure has the traditional ABA shape. The first 16 bars are very quiet, and it encourages to take one's time with a hot and round tone, with a hint of melancholy. The first 8 bars of the bridge are a little more dynamic, while keeping the notes linked. The 8 last bars of the B part bring back to the appeasement, with the slow repetition of 3 notes, with this will that I so often find in the themes of Jobim; as if the note was each time "neither completely the same nor completely another one".

"PARTOTHEQUE"