![]() It has been popularized by Nina Simone‘s adaptation from her first album, Little Girl Blue.Įdward D. Bess has a lover, Crown, who is abusive and continually seduces her. The duet occurs in act 2, scene 3, Catfish Row, where Porgy promises Bess that he will protect her. They recorded the song on volume 2 of the album Selections from George Gershwin’s Folk Opera Porgy and Bess in 1942. It was performed in the opera’s premiere in 1935 and on Broadway the same year by Anne Brown and Todd Duncan. “ I Loves You, Porgy” is a duet from the 1935 opera Porgy and Bess with music by George Gershwin and lyrics by Ira Gershwin. The compositional exploration and elaboration of the subdivisions utilises both methodologies East and West.Bill Evans “I Loves You, Porgy” (Complete Transcription) with sheet music download. ![]() In turn this pedagogical instrument also functions as musical works encompassing a minimalist aesthetic, the score of which becomes the basis for compositional elaboration, creating a musical portfolio in eight movements, one for each subdivision investigated. ![]() Having generated the source codes, through the use of a newly developed rhythmic musical language and a multidisciplinary research design, this study has innovated a pedagogical instrument to facilitate the learning of rhythmic phrasing utilising methodologies represented by two of the great rhythmic musical traditions in existence today: The Carnatic tradition of South India and the Western tradition of Jazz. In order to catalogue all possible note groupings or source codes within subdivisions from 8th to 36th notes, it explores the use of lingual musical language. It investigates this topic by making use of concepts and rhythmic devices used in the South Indian tradition of konnokol and syncopation as applied in the Western jazz tradition. This study is an exploration into the source codes or building blocks that commonly enable rhythmic phrasing across musical traditions using pulse. The pivotal points of this performance-based exegesis are where the discoveries of the varied facets of research are applied, all of which stipulated the foundation of my research.įor thousands of year’s music has played a pivotal role in human cultures, rhythm being a primordial means through which music is expressed. The facets of this journey led inevitably to its conclusion, being the effects of my studies on the three performances and the CD release. This list was used and examined as a practical application guide, a structure for personal exploration, including expansions of concepts that are discussed throughout this exegesis. The transcriptions, analysis and review culminated in a methodical list of varied approaches, techniques, relationships and developments on electric bass connecting to rhythm, counterpoint, improvisation, interpretation, phrasing and polyrhythm, all of which are outlined in a glossary overview. The personal findings of my journey determined the direction of the CD compositions and consequently, the performed works. This journey of intense audio investigation, practice, transcription, associations and research alignment forms the most substantial portion of the selection procedure and review. This procedure was to gain archetypal works worthy of demonstration of this period of jazz and the electric bass. Integral to the performances and exegesis research was the audio examination phase and the meticulous inspection of works and literature encompassing 1970 through to the twenty-first century. It reveals shifts between explanation and action, discussion and personal reflection, and credits broader considerations. The narrative is grounded in my lived experiences and research. To develop these broad considerations, I constructed a semi-autoethnographic narrative that focuses on my creative practices, processes and discoveries as an electric bassist. The CD recording represents the outcome of a five-year research process and a musical and personal journey to New York City to rehearse and record the CD with Omar Hakim, Mike Mainieri, Rachel Z and other well-known jazz exponents. The electric jazz period post-1970 was an exploratory time when composers began merging other music styles and genres with jazz in the search for new ideas and concepts. It is an investigation that examines my journey, through the CD recording, three performances, transcription, analysis and research, utilising some pivotal contemporary jazz composers and electric bassists from the late twentieth century. This exegesis is tied to the CD, ‘Portrait of New York’ – an assortment of inventive musical compositions to explore diversity in electric jazz after 1970, and three multi-faceted live performances focused on electric bass from that period.
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