Resolute Protector
Electric Guitar Quartet
Preview Score (PDF)
Interactive Score
Arrival & Exploration
Audio
Arrival & Exploration
Resolute Protector
L6 Helix Native Patches
Arrival & Exploration
Helix Native
“People engage in research from a variety of motives but, ultimately, the rigours of sustained academic research are driven by
a desire to address a problem, find things out, establish new insights.” (Nelson, 2013, p. 4).
“Many arts researchers do not commence a research project with the sense of a problem but with an
enthusiasm for practice – something which is exciting, something which may be unruly” (Haseman, 2006, 3).
These two ideals have been influential in my outlook and thinking with regards to the development of this practice research project and the completion of the musical composition Resolute Protector. I have generated new musical insight and understanding for myself, continued to develop personal skill on the guitar and I hope that other musicians can benefit from this experience via engagement with this website.
This project initially aimed to explore the use of improvisatory praxis as a compositional tool, (for the composer-performer) during the creation and formulation of musical material for musical composition within the programmatic tradition. Particular emphasis was placed on the exploration of existing improvisatory pathways and the development of methodologies and knowledge gained through engagement with these frameworks. However, the combined processes needed in order to complete this project have turned into so much more. I have been afforded the opportunity to fuse Jazz harmony (and praxis), with classical programmatic thought, brought to life with the musical sounds of Rock and Metal, culminating in the digital and online presentation of this musical composition and musical journey. In particular, the compositional process/methodology of combining a specific improvisatory pathway, extramusical narrative and a modern electric guitar sound has been pivotal in my ability to generate and extend musical material and in turn the completion of a cohesive and in depth musical composition.
The core programmatic idea for Resolute Protector was inspired by my (then) recently adopted Greyhound Wilma and our outdoor adventures together. The name Wilma emanates from Germanic willio meaning will and/or desire, and helm meaning helmet and/or protection; thus generating the idea of the Resolute Protector. The musical scenes within the composition have deliberately been given vague titles to allow the listener to explore their own ideas in relation to the title, musical content and their musical experience. This being said, my experiences of walking Wilma in a variety locations and ensuing interactions with the environment has played a large conceptual part during the compositional process. This leant slightly into the phenomenological study of structures of experience, consciousness and memory from my point view and the impact upon the compositional process.
Thank you for taking the time to engage with this composition and supporting website, I hope a new musical insight unfolds and develops for you!
All the best,
L. Kelly
Compositional Structure
Transition
Transition
Transition
Arrival & Exploration
The Rival &
The Hunt
Conflict
Unity
F#/Gb
A#/Bb
D
T.T
T.A
T.T
T.T
T.A
T.A
C
Major 3rd
E
Major 3rd
G# / Ab
Major 3rd
Figure 1.1
C
The compositional structure of this project has been conceptually and harmonically inspired by two key composers and their seminal works. The first is John Coltrane and his tune Giant Steps; the second is Modest Mussorgsky and his composition Pictures at an Exhibition. Resolute Protector is some-what the musical equivalent of a 'Netflix binge'; where the musical scenes equate to the different episodes within a TV series and the transitions replicating the tension between the episodes (the feeling of wanting to know what happens next as quickly as possible). This programmatic idea and structure is a sort of modern day take on Mussorgsky's Pictures at an Exhibition. In Mussorgsky's composition, the promenade theme highlights the walk between the paintings (similar to Resolute Protector's transitions) and the paintings themselves (Resolute Protectors musical scenes). Moving forward, figure 1.1 highlights the starting tonal centre for each musical scene within Resolute Protector; these scenes move up in major 3rds, with the first scene starting on C. This musical device is similar to the one found within John Coltranes Giant Steps, where the overarching harmonic major 3rd movement between B, G and Eb/D# is interspersed with major II - V - I's, this can be seen in figures 1.2 and 1.3. Additionally Resolute Protector incorporates a tritone shift between the musical scene and the following transition. Historically, this interval has been seen as dissonant and this dissonance is exploited within the Jazz idiom. A tritone substitution can be used as reharmonisation technique to generate increased tension and a chromatic resolution for dominant seventh chord resolving to the tonic. Finally, there is a tone difference between the transition and the following musical scene. This harmonic movement is one of four basic kinds of movement Coker, Casale, Campbell and Greene highlight in their book Patterns for Jazz for practice. This harmonic movement is less dissonant than the previous tritone movement, in turn dissipating musical tension as the new musical scene arrives.
Figure 1.2
Figure 1.3
Arrival & Exploration
Initial Idea
Scene
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Collection of Wilma.
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Investigating new environment.
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Struggles with sleep.
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Exploring new areas whilst walking; in particular, interacting with the reservoir/water and walking over a bridge.
Figure 2.1
Musical Parameters for Exploration
-
Contrafact, exploring and using the chord sequence from Eddie Vision and Miles Davis' Tune Up (as seen in figure 2.1 and 2.2) as a springboard for composition. This sequence was transposed to C to align with the compositional structure of the piece.
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Exploring chord-scale relationships.
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Linking musical fragments/melodic cells.
Figure 2.2
Vaartstra, B. (Learnjazzstandards.com)
Developed Insight & Reflection
As highlighted above, a key musical element of this musical scene lies with the harmonic structure garnered from adopting the chord changes found within the song Tune Up. This song makes clever use of descending four bar major II V I chord progressions interspersed with V I cadences. Arrival & Exploration starts with a sixteen bar introduction based around a repeated four bar major II V I chord progression. Section A and section B, section C and section D, section E and section F, and section G and Section H combine to utilise (and slightly modify at times) the 32 bar format of Tune Up. The major II V I cadential chord progression is one of the most common chord progressions found within jazz music, and as highlighted in figure 2.3 there are many improvisatory pathways available to the musician to navigate through this harmonic environment. These pathways combined with common melodic cells/patterns have been invaluable in generating material for this musical scene.
Figure 2.3
Figure 2.4
Bars 29 - 31
Figure 2.5
Bars 61 - 64
Figure 2.6
Bar 85
In figure 2.4, a two bar Am pentatonic (plus the 13th of Dm) melodic shape is sequenced over the Dm chord. A similarly sequenced Gm pentatonic (plus the 4th of Eb7) melodic idea follows over the Eb7 chord, leading into a AbMaj7 arpeggio over the AbMaj7 chord. To finish, a 1232 melodic cell from G Phrygian Dominant is used over the G7 chord to increase tension. Figure 2.5 highlights the use of repeated melodic patterns to generate tension throughout the four bar chord sequence. In part four, a 1232 pattern from D dorian is utilised over the Dm chord, this pattern is then shifted up a semitone creating a 1232 pattern from Eb mixolydian. A Eb pentatonic scale (utilising a 1235 melodic cell) is substituted over the Abmaj7 chord, highlighting the 5th, 13th, maj7th and 9th of this chord. Finally, a 3123 pattern generated from the G half/whole diminished scale is used to generate tension leading into the next bar. In parts one and two of Figure 2.6, the previously
highlighted idea of triad pairs in taken note further to create tetrad pairs. A Cmaj7 arpeggio is found in part one with a D7 arpeggio found in part two; combining these two arpeggios together generates all the notes found within a C lydian chord scale - C E G B / D F# A C = C D E F #G A B C. Alternatively, stacking the two, four note chords on top of each other (C E G B / D F# A C) generates the musical extensions of a 9th, #11 and 13th. Within the context of this piece, the close nature of these arpeggio voicing gives a crunchy, dissonant and almost circus-esqe quality to the sound.
Alongside the adopted chord progression and improvisatory pathways, another key area in the development of this musical scene was the utilisation of a musical storyboard. This ideal aided in the development and extension of musical material and the overall cohesion of this musical movement. Figure 2.7 highlights the conceptual stages of this movement. This compositional process will be kept mostly separate from the final product (I will not be including the musical storyboard as part of programmatic notes) as I would like the listeners and performers to explore the there own personal ideas in relation to the title of the musical scene and the music heard and played.
Figure 2.7
Musical Storyboard
Introduction - Owner Elation and excitement.
Section A - Driving to collection venue.
Section B - Meeting Wilma.
Section C - Wilma on high alert, excited, apprehensive, exploring down stairs.
Section D - Running upstairs and exploring, going into the garden.
Section E & F - Exploring new areas whilst walking; in particular, interacting with the
reservoir/water and walking over a bridge.
Section G & H - Struggles with sleep.
Conflict
Initial Idea
Scene
-
Bonfire night.
-
Fireworks and loud bangs for extended periods of time.
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Wilma distressed, hiding, panting.
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Wilma finally settles after fireworks.
Developed Insight & Reflection
Conflict is harmonically centred around the E half/whole diminished scale and explores the symmetrical nature of this scale alongside the musical structures found within it . E half/whole diminished contains the notes: E, F, G, G#, A#, B, C#, D, E and can be thought of intervallically as: 1, b9, #9, 3, #11, 5, 6, b7, 8. This scale is an improvisatory option when playing over altered dominant chords as it contains the altered extensions b9, #9 and #11(b5). The symmetrical nature of this scale arises as this scale is built on a repeating semitone, tone structure and results in minor 3rd symmetry. This symmetry effectively means that E, G, Bb and C# half/whole diminished are modes of each other and using any of these four scales (in context) will create the same musical sound. There are many unusual musical structures found within this scale when compared to a major scale and Conflict makes use of these available structures.
Figure 3.1 highlights the presence of multiple 7#9 chords found within the H/W diminished scale. Part three makes use of the E7#9 chord, part two transposes this shape up a minor 3rd to G7#9 and part one transposes this shape up a minor 3rd to Bb7#9.
Musical Parameters for Exploration
-
Extended chords generated through the use of polychords.
-
Diminished scale harmony.
Figure 3.1
Figure 3.2
Figure 3.3
These crunchy, overlapping, fast bursts of 7#9 chords represent the chaotic nature of multiple fireworks going off at variety closely linked locations. Figure 3.2 spotlights section E of this musical scene and how this section makes use of the model nature of this symmetrical scale (plus the temporary shift to G as the tonal hub). This section explores the diminished major 7 chords found within the scale and how different rooted versions of this chord bring out different extensions of the scale. In part 3, a B diminshed major 7th chord is played over a G bass (found in part 4), these combine together produce G, B, D, F, A#/Bb = G7#9. Over the same G root, part 3 (in bar 3) plays a D diminished major 7th chord, stacking these together we get G, D, F, Ab, C# = G7b9#11. This section, with its driving semiquaver bass line and angular chord stabs is representing the inner turmoil experienced by Wilma during bonfire night. Another interesting aspect of this scale is the presence of major and minor chords based off the same root. Within E H/W diminished scale, we have: E and Em, G and Gm, Bb and Bbm, Db and Dbm; alongside these chords, we also have: Ab, B, D and F diminished. Figure 3.3 highlights the interplay between the available major, minor and diminished chords with the section representing some light relief internally and externally for Wilma as the fireworks disapate.
In completing the this musical scene, I was also able to develop and solidify a practical way for me to play and visualise H/W diminished scales on the guitar. Figure 3.4 highlights the three shapes I settled upon, scale shape 1 is rooted on string 6, scale shape 2 rooted on string 5 and scale shape 3 rooted on the 4 string. One of the mains reasons for settling on these shapes was they all contained the same mini scale shape on strings 4,3,2,1 (as highlighted in red). I found this sped up the embedding of the scales in my playing but also offered the ability move quickly around the fretboard.
Figure 3.4
The Rival & The Hunt
Initial Idea
Scene
-
Wilma now confident in new surroundings (local park).
-
Barking, jumping, excited, on edge.
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Stalking, chasing, jumping and barking after other animals. i.e. squirrels.
Musical Parameters for Exploration
-
Modal scale choices.
-
Elongated chord changes.
Developed Insight & Reflection
The Rival and The Hunt has been inspired by the harmonic space and elongation of chord changes found within model pieces such as So What by Miles Davies (figure 4.1); combined with the premise that modes can be darker (create more tension) or brighter (create less tension) in nature as seen in figure 4.2. Figure 4.2 highlights this idea within a major key, whereas The Rival and The Hunt utilises this idea in the form a modal mixture - a static root (Ab) alongside modes of the same root shifting throughout the piece. This idea can be seen in the first 32 bars of the piece:
-
Bars 1 - 4 utilise Ab Ionian (Ab Bb C Db Eb F G Ab).
-
Bars 5 - 8 utilise Ab Lydian (Ab Bb C D Eb F G Ab).
-
Bars 9 - 12 utilise Ab Ionian.
-
Bars 13 - 16 utilises a combination of Ab Ionian and Ab Lydian.
-
Bars 17 - 20 utilise Ab Ionian.
-
Bars 21 - 24 utilise Ab Lydian Dominant (Ab Bb C D Eb F Gb Ab).
-
Bars 25 - 28 utilise Ab Dominant (Ab Bb C Db Eb F Gb Ab).
-
Bars 29 - 32 utilise Ab Ionian.
Selection and compositional use of the above modes has been informed by the extramusical narrative of this musical scene. The start of this scene explores the inner content found within in Wilma, whilst walking around the local park. In turn, brighter, less harmonically tense modes have been utilised to generate musical material. As the musical scene develops darker modes are introduced.
Figure 4.1
Figure 4.2
Rawlins, R., Bahha, N,A. (2005, p 24).
This compositional process is also highlighted by Frank Gamble as an excellent way of developing better a musical understanding of modes within a performance context. He posits that practicing modes within a single key, effectively makes all the modes sound the same as the first mode/parent scale. He suggests using a drone (lets say E) and then switching between different modes starting on the same note e.g E Lydian to E Locrian to E Phrygian Dominant to gain better aural and technical fluency of the modes in question.
Unity
Initial Idea
Scene
-
Wilma at ease with her new surrounding and lifestyle.
Developed Insight & Reflection
Unity aims to cap off this composition by highlighting Wilma's content, comfort and new found ease of life through the lens of the Lydian mode. As highlighted previously (within compositional structure section), the tonal hub for this musical scene is C, resulting in C Lydian. This mode contains the notes: C, D, E, F#, G, A, B, C and can be thought of intervallically as 1, 2 or 9, 3, #4 or #11, 5, 6 or 13, maj7, 8.
Much of the composed material originates from (the guitar friendly) major 7 drop 2 voicing technique (figure 5.1) and the available inversions; with (playable) alterations enacted upon these shapes to bring out the available extensions within the lydian scale. This idea can be seen within in the first four bars of the musical scene (figure 5.2); in beats 1 and 2 of part 1, shape 2 (found within in figure 5.3) is utilised to create the major 7 arpeggio, this then leads into a ten beat chord utilising shape 3 (also found within in figure 5.3). Bar 2, part 2 starts to make use of the alterations mentioned previously; the first chord swaps the E found within shape 2 (figure 5.3) for a D (9th), the B for a G and the G for an F# (maj7). The second chord swaps the G found within shape 1 (figure 5.3) for a F# (#11). This technique of swapping closely positioned chord tones for extensions is a great way for guitarists to increase the harmonic sophistication when comping.
Lastly, figure 5.4 highlights the morphing of a previous idea to fit within the C Lydian tonal hub. The original musical phrase can be found within the first musical scene Arrival & Exploration, where the first two bars originally contained F naturals to fit within D dorian and G Mixolydian underlying harmony.
Musical Parameters for Exploration
-
The Lydian mode/scale.
-
Drop 2 chord voicings and alterations.
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Morphing previous ideas to sit within the lydian soundscape.
Figure 5.1
D, Laukens (www.jazzguitar.be)
Figure 5.2
Figure 5.3
Figure 5.4
Transitions
As highlighted in the previous compositional structure section, the intention of the musical transitions was to generate tension between each musical scene. This musical tension was achieved through exploring an atonal sound-world, generated through experimentation, permutation, reduction and expansion of four note melodic cells (alongside changing time signatures) and brought to fruition through a minimalist framework.
The starting point for the generation of musical material can be found in figure 6.1. Figure 6.1 highlights three, four note tetrachords ... the X-cell, Y-cell and Z-cell. These cells were used in a multitude of ways during the compositional process; either manipulated into single note repeating patterns, repeated chord formations or a combination of both ideas. Figures 6.2, 6.3 and 6.4 highlight the starting tonal hub, time signatures and the location of each cell implemented within each musical part.
Figure 6.1
Openmusictheory.com
They also include score fragments showcasing the majority of resulting musical outcomes from this compositional process. The idea of a minimalist framework for these transitions was inspired by the composition Electric Counterpoint and in particular the 3rd movement Electric Counterpoint III. Fast; in which contemporary classical composer Steve Reich collaborated with Jazz guitar legend Pat Metheny to bring this musical work to life. The addition and subtraction of musical fragments found within Electric Counterpoint is one adopted within this musical section of Resolute Protetcor.
Figure 6.2
Transition 1 - F# tonal hub.
Time signature: 10/16, 9/16, 10/16, 18/16.
X CELL - F# G G# A - Part 1.
Y CELL - F# G# A# B# - Part 4.
Z CELL - F# G C C# - Part 2 / Part 3.
Transition 2 - Bb tonal hub.
Time signature: 6/8, 5/8, 6/8, 10/8.
X CELL - Bb B C Db - Part 3.
Y CELL - Bb C D E - Part 2.
Z CELL - Bb B Fb F - Part 1 / Part 4.
Figure 6.3
Figure 6.4
Transition 3 - D Tonal Hub.
Time signature: 4/4, 3/4, 4/4, 6/4.
X CELL - D Eb E F - Part 4.
Y CELL - D E F# G# - Part 1.
Z CELL - D Eb G# A - Part 2 / Part 3.
Recording Process
My recording chain during the creation Arrival & Exploration went as follows: 2020 M1 13inch MacBook Pro (16GB ) / SSL 2+ Audio Interface /
Logic Pro 10.7.6. / Helix Native. As seen in figure 7.1, my session was set up with four tracks for each of the four guitar parts, these fed into four guitar buses, which fed into a master bus, which fed into the stereo out. Each guitar track utilised the SSL Channel Strip 2 plugin alongside Line 6's Helix Native. The guitar buses made use of some SSL compression, with a selection of EQ, compression and limiting plugins assigned to the master bus and stereo out forming my mastering chain. The main reason for this digital recording set up was to afford myself the ability to experiment with different guitar sounds within Helix Native, rather than having to commit to, or record multiple takes of the same part using analogue gear. As part of the mixing process, I have tried present the audio as if you were listening to four guitarists in a live concert, this was achieved by panning the four guitars parts left to right as if the quartet was sitting in a semi-circle.
On reflection, I found the recording of Arrival & Exploration an intense and challenging process. Recording over six minutes of guitar (in this style), for each of the four different parts was a very time consuming process, and one I probably underestimated during this project. Moving forward, it would be beneficial to invest in a DAW controller, large external screen and studio monitors (rather than just headphones), to improve the efficiency of my recording set up. However, engaging in this process has had a definite positive steer on the sound world in which Resolute Protector sits. Being able to loop sections of material, whilst tweaking the modelled guitar sounds, across the four guitar parts is an option that would not be available just through producing the composition in a traditional score format. Long term, it would be beneficial to complete this process for all the movements of Resolute Protector and ultimately record this composition in a more traditional way using real amps, miked up and played loud!
Figure 7.1
Developed Fretboard Knowledge
A final and positive consequence of undertaking this project has been my personal development and improved ability to change between keys on the guitar, within a small section of the fretboard. I have generally mixed two note per string pentatonic shapes with the CAGED system, alongside three note per string scale shapes and the seven position system. These shapes and systems have aided my ability to move up and down the guitar neck in multiple keys, however I have never quite linked these quite so well across the fretboard ... until now! In combining M. Goodrick's six fret stretch idea (figure 8.1) and utilising five of the seven shapes (within the seven position system) twice, a semitone apart, I have developed system in which I can clearly see all twelve keys across the fretboard.
Figure 8.1
Goodrick, M. (1987, p 27).
Figure 8.2 highlights this idea (via the major scale), between frets three and eight of the guitar. The scale shapes coloured white and blue are the same shape, with the blue shape being one semitone higher. This is also true of the green and red coloured scale shapes, where the red scale shape is the same as the green shape also moved up one fret higher. Starting with the first column, the G major scale shape moves up one fret to become the vehicle to play Ab Major. A new shape (gold) is used for A major starting with the second finger, this swiftly moves into a new shape for Bb major and then this shape is moved up one fret to produce B major. This pattern duplicates with the scale shapes found within column two (A string roots). Finally, the twelve keys are completed by using the same scale shape for both F and F# major, as highlighted in column three (D String roots). This idea can the be transferred to different positions along the neck, giving access to different scale locations and registers.
I have personally found this developed system musically freeing and can see this system being adapted for the main minor scales and modes found within all of these scales.
E String Root - Major Scales
G Major / Ab Major / A Major
Bb Major / B Major
A String Root - Major Scales
C Major / Db Major / D Major
Eb Major / E Major
Figure 8.2
D String Root - Major Scales
F Major / F# Major
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