Abstract

The original lullaby melody from Brazilian folk repertoire is the unifying element that brings the development of the piece and its form together, from the first introduction of a fragment, to the climax, where it is finally played in its entirety. This article analyzes some of the compositional elements that were used in Lullaby #4, such as modal harmonies, pan-diatonic voicing textures, polychords, polyrhythmic structures, metric-modulations, jazz, pop, and Latin rhythmic influences, as well as odd meter treatments of traditional rhythms, cross-sectional and layered orchestrations, while also discussing featuring two improvised solos by members of the ensemble. The different elements of the piece are analyzed as they happen in real time, in order to match the video performance, and illustrate the piece’s organic development. Specific performance and conducting elements are also addressed as part of, as well as influencing the overall performance outcome.

 Keywords: Lullaby#4, big band, large ensemble, brazilian jazz

Abstract

The main purpose of the masterclass conducted the Sara Serpa Trio at Escola Superior de Música de Lisboa in October 17th, 2019, was to discuss the creative process behind the performance of voice, cello and saxophone trio. The masterclass focused on playing a selection of original compositions with emphasis on developing musical interaction. Sara Serpa (voice), Ingrid Laubrock (saxophone) and Erik Friedlander (cello) also discussed the sources of inspiration that frame the trio compositional and improvisational processes.

Keywords: composition, voice, rhythm, harmony, melody, interaction, improvisation, jazz

Abstract

The main purpose of the Masterclass held by jazz pianist Benny Lackner at Escola Superior de Música de Lisboa in October 24th, 2019, was to discuss and apply the concepts of composition, solo development, rhythmic clarity, polyrhythms, harmonic approaches, melodic lines, influences, interaction, and listening in the context of improvisation. 

The workshop focused on playing a selection of original songs and standards with emphasis on developing improvisational skills using polyrhythmic ideas, harmonic and melodic approaches that Lackner have worked on. Listening to other musicians and finding the balance between giving others enough room and having a strong presence without being overbearing was also one of the main topics of workshop. Benny Lackner also discussed his influences and showed a few examples of what has inspired him to write certain compositions.

Keywords: composition, solo development, rhythm, polyrhythm, harmony, melody, interaction, improvisation, jazz

Abstract

Este projecto de investigação artística tem como proposta a elaboração, documentação e análise de uma série de oito composições produzidas a partir do idiomatismo do violão. Foi realizada pesquisa e análise de obras de compositores violonistas que recorreram ao idiomatismo para a elaboração de suas peças, explorando as possibilidades idiomáticas do instrumento e suas possíveis relações com as técnicas de composição. Dos compositores que serviram de referência à elaboração do material original aqui produzido destacam-se Heitor Villa-Lobos, Dilermando Reis, Garoto e Guinga. Os elementos idiomáticos encontrados considerados mais significativos serviram de base para a construção das composições. O trabalho conta também com a análise das peças criadas, focando-se especialmente nos recursos idiomáticos aplicados.

Keywords: idiomatismo minstrumental, violão, guitarra, Heitor Villa-Lobos, composição, jazz