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Edith Cowan University

Research Online
Theses : Honours Theses

2016

An analysis of selected rhythmic, harmonic and


melodic devices used in the arrangement and
improvisation by Gwilym Simcock on The Way
You Look Tonight (2007)
Brodie Stewart
Edith Cowan University

Recommended Citation
Stewart, B. (2016). An analysis of selected rhythmic, harmonic and melodic devices used in the arrangement and improvisation by Gwilym
Simcock on The Way You Look Tonight (2007). Retrieved from http://ro.ecu.edu.au/theses_hons/1493

This Thesis is posted at Research Online.


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An analysis of selected rhythmic,
harmonic and melodic devices used in
the arrangement and improvisation by
Gwilym Simcock on The Way You Look
Tonight (2007)

Brodie Stewart

Western Australian Academy of Performing Arts

Edith Cowan University

This dissertation is submitted for the degree of Bachelor of Music Honours

2016

Supervisor: Nicholas Abbey


Copyright Declaration

I certify that this thesis does not, to the best of my knowledge and belief:
(i) incorporate without acknowledgment any material previously submitted for
a degree or diploma in any institution of higher degree or diploma in any
institution of higher education;
(ii) contain any material previously published or written by another person
except where due reference is made in the text of this thesis;
(iii) contain any defamatory material;
(iv) contain any data that has not been collected in a manner consistent with
ethics approval.


Signed:




Brodie Stewart
04/11/2016

This copy is the property of Edith Cowan University. However, the literary rights of the
author must also be respected. If any passage from this thesis is quoted or closely
paraphrased in a paper or written work prepared by the user, the source of the passage
must be acknowledged in the work. If the user desires to publish a paper or written work
containing passages copied or closely paraphrased from this thesis, which passages would
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first obtain the written permission of the author to do so.

i
Acknowledgements

I would like to thank to my supervisor, Nicholas Abbey, for all his time, patience,
support, and guidance throughout this year.

I would like to thank my teachers this year: Tom O’Halloran, Jamie Oehlers, Pete
Jeavons, and Daniel Susnjar.

Many thanks also to my year group, who have given incredible support and friendship.

And a huge thanks to Gwilym Simcock for his amazing music. His compositions and
playing inspired me to undertake this research in the first place, and continue to inspire
me today.

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Abstract

Gwilym Simcock, a seminal jazz pianist at the forefront of the European music scene,
sees no boundaries between jazz and classical music. His debut album Perception (2007)
received impressive critical acclaim, and has been considered a musical fingerprint of
his various influences and composition style. This research pursues a deeper insight into
the characteristics of his arranging and improvisational style by identifying notable
devices used in the performance of The Way You Look Tonight, a well-known jazz
standard that is featured on the album.

The tune itself is has been reimagined as a modern-sounding arrangement


centred on a rhythmic bass pattern in an odd meter, featuring extensive
reharmonisations and virtuosic improvisations. The study aimed to demystify the
specific devices used, and through musical transcription and analysis, prevalent
techniques have been categorised to create a vocabulary of rhythmic, melodic and
harmonic devices that could be employed when composing and improvising. The
notable techniques include adaption to odd time signature, rhythmic super imposition,
metric modulation, counterpoint, several reharmonisation techniques, and motivic
development, complemented by various more typical jazz concepts. An interview was
conducted with Simcock to further explore his approach to the concepts and techniques,
adding fascinating insight into their conception and application.

The findings uncovered in this paper contribute to knowledge on an excellent


but as yet unstudied modern jazz musician, providing a list of devices that may be used
by others to assimilate his techniques into their own playing, a high quality musical
transcription of a seminal performance, and a transcript of an insightful and personal
interview with the subject.

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Table of Contents
Copyright Declaration ..................................................................................................................... i

Acknowledgements ....................................................................................................................... ii

Abstract ............................................................................................................................................. iii

Table of Figures ............................................................................................................................. vii

Table of Tables ................................................................................................................................. x

Introduction ...................................................................................................................................... 1

Biography: Gwilym Simcock ................................................................................................... 1

Rationale ........................................................................................................................................ 2

Justification and Significance ................................................................................................. 3

Selection of the Tune, Scope, and Limitations .................................................................. 3

Aims and Research Questions ................................................................................................ 4

Chapter 1: Literature Review & Exploratory Discussion ................................................... 5

Existing Gwilym Simcock Resources .................................................................................... 5

Similar Research Into Other Jazz Artists ............................................................................ 6

Supplementary Jazz Theory and History Texts ................................................................ 7

Chapter 2: Methodology ................................................................................................................ 8

Methodology ................................................................................................................................. 8

Chapter 3: Rhythmic Analysis .................................................................................................. 10

Devices used in the arrangement ....................................................................................... 10

Adaption of 4/4 standard into complex time ........................................................................... 10

Superimposition of 5/4 over 7/4 .................................................................................................. 12

Metric modulation between 7/4 and 5/4 .................................................................................. 15

Across-the-barline phrasing and other shorter meters ....................................................... 17

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Improvisation ........................................................................................................................... 18

Syncopation and over-the-barline phrasing ............................................................................. 18

Groupings ................................................................................................................................................. 20

Interlude improvisations ................................................................................................................... 21

Perceived stretching of time ............................................................................................................ 24

Long quaver and quaver triplet lines ........................................................................................... 26

Chapter 4: Harmonic Analysis .................................................................................................. 29

Devices used in the arrangement ....................................................................................... 29

The introduction/interludes/coda vamp tonal centre ......................................................... 29

Reharmonisation of the A sections ............................................................................................... 30

Reharmonisation of the B section ................................................................................................. 34

Solo form chord changes ................................................................................................................... 36

The solo vamp ........................................................................................................................................ 39

Devices used in the improvisation ..................................................................................... 40

Sideslipping ............................................................................................................................................. 40

Triadic soloing ....................................................................................................................................... 41

Pedal ........................................................................................................................................................... 43

Implied other chord changes ........................................................................................................... 44

Altered chords, alternate modes, and chromatic passing notes ...................................... 45

Chapter 5: Melodic Analysis ...................................................................................................... 47

Counterpoint ........................................................................................................................................... 47

Sequences ................................................................................................................................................. 48

Arpeggiation ........................................................................................................................................... 49

Motivic development ........................................................................................................................... 50

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Blues scale/pentatonics ..................................................................................................................... 51

Dominant 8-note scale ........................................................................................................................ 52

Chapter 6: Summary and Discussion of Results ................................................................. 54

Rhythmic devices ..................................................................................................................... 54

Harmonic devices .................................................................................................................... 56

Melodic devices ........................................................................................................................ 58

Discussion .................................................................................................................................. 58

Conclusion ...................................................................................................................................... 60

Reference List ................................................................................................................................ 61

Appendix A: Transcription of The Way You Look Tonight ............................................... 63

Appendix B: Transcript of Interview ..................................................................................... 86

Appendix C: Basic lead sheet for The Way You Look Tonight ...................................... 103

Appendix D: Arrangement lead sheet supplied by Gwilym Simcock ....................... 105

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Table of Figures

Figure 1: A bar of 4/4 and 3/4 combined to create a 7/4 clave ................................................. 11

Figure 2: Sample of original melody vs. arranged melody (A section) .................................... 11

Figure 3: The original melody vs. the arranged melody (B section) ......................................... 11

Figure 4: 7/4 vs. 5/4 superimposition ................................................................................................... 12

Figure 5: Sample bassline ............................................................................................................................ 12

Figure 6: First four bars of A section melody (bars 17 - 20) ........................................................ 13

Figure 7: Sample implied swing in the superimposed 5/4 time during the interlude (bars
51-54) ........................................................................................................................................................ 13

Figure 8: 16th note quintuplets grouped in sevens ......................................................................... 13

Figure 9: Quintuplets grouped in sevens broken down into a simpler approximation ... 14

Figure 10: The generalised concept of Marsalis's arrangement of Autumn Leaves (Kosma,
1945) .......................................................................................................................................................... 15

Figure 11: Metric modulation from 7/4 to 5/4 using superimposed rhythm as the pivot
...................................................................................................................................................................... 16

Figure 12: Metric modulation from the Interlude to the B section ........................................... 16

Figure 13: B section of the melody makes use of across-the-barline phrasing .................... 17

Figure 14: Last line of the A section ........................................................................................................ 18

Figure 15: Bars 61-63 demonstrating syncopation and over-the-barline phrasing .......... 19

Figure 16: Bars 222-225 demonstrating across the barline phrasing ..................................... 19

Figure 17: Bars 238-241 demonstrating syncopation .................................................................... 20

Figure 18: Bars 246-248 demonstrating a 5/8 grouping .............................................................. 20

Figure 19: Bars 236-237 demonstrating a 3/4 grouping .............................................................. 21

Figure 20: Bars 111-114 using groupings of three in the superimposed 5/4 meter ........ 22

Figure 21: Bars 121-124 further implies swing in the superimposed 5/4 meter .............. 23
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Figure 22: Bars 139-142 further implying swing, and employing the use of groupings . 23

Figure 23: Bars 143-145 employ time stretching, groupings, displacement, and
syncopation ............................................................................................................................................. 24

Figure 24: Bars 88-89 displaying an example of time stretching using tuplets ................... 25

Figure 25: The start of Simcock's solo (bars 59-60) makes use of time stretching ............ 25

Figure 26: Bars 70-72 displaying an example of time stretching ............................................... 26

Figure 27: Bars 76-79 consisting of longer consecutive quaver lines ...................................... 27

Figure 28: Bars 125-132 demonstrating consecutive quaver lines, evolving into
consecutive quaver triplets .............................................................................................................. 28

Figure 29: Sample figure of the introduction/interludes/coda vamp ..................................... 29

Figure 30: Bars 300-303 demonstrate an example of how Simcock creates harmonic
interest by moving a chord shape around ................................................................................. 30

Figure 31: Simcock's reharmonisation of the first A section (first four bars) ...................... 31

Figure 32: Simcock's reharmonisation of the first A section (last two bars) ........................ 32

Figure 33: Simcock's reharmonisation of the second A section (first four bars) ................ 33

Figure 34: Simcock's reharmonisation of the second A section (last two bars) .................. 33

Figure 35: Simcock's reharmonisation of the third A section (first four bars) .................... 34

Figure 36: Simcock's reharmonisation of the B section (first four bars) ................................ 35

Figure 37: Simcock's reharmonisation of the B section (last four bars) ................................. 36

Figure 38: Harmonic analysis of A1 solo changes ............................................................................. 37

Figure 39: Harmonic analysis of interlude solo changes ............................................................... 37

Figure 40: Harmonic analysis of A2 solo changes ............................................................................. 38

Figure 41: Harmonic analysis of A3 solo changes ............................................................................. 39

Figure 42: A sample of the solo vamp .................................................................................................... 39

Figure 43: Sideslipping in Bar 67 ............................................................................................................. 40

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Figure 44: Bar 112 shows an example of sideslipping .................................................................... 41

Figure 45: Bar 220 employing sideslipping ......................................................................................... 41

Figure 46: Bars 143-145 demonstrating triadic soloing over the E Lydian vamp .............. 42

Figure 47: Bars 222-225 demonstrating triadic soloing ................................................................ 42

Figure 48: Bars 238-241 utilising a pedal point ................................................................................ 43

Figure 49: Bars 250-253 utilising pedal points .................................................................................. 43

Figure 50: Bars 139-142 implying other chord changes over the E Lydian vamp ............. 44

Figure 51: Bars 214-215 implying other chord changes ............................................................... 45

Figure 52: Bars 78-79 showing altered V chord tonality ............................................................... 45

Figure 53: Bars 68-69 using the Phrygian mode ............................................................................... 45

Figure 54: Bar 88 displaying chromaticism ......................................................................................... 46

Figure 55: A four-bar improvised passage using counterpoint .................................................. 47

Figure 56: Bars 238-241 featuring two-part counterpoint ........................................................... 48

Figure 57: Bars 98-99 employing the technique of sequences ................................................... 48

Figure 58: Bars 208-209 shows an example of sequencing .......................................................... 48

Figure 59: Bars 65-66 using arpeggiation ............................................................................................ 49

Figure 60: Bars 92-93 demonstrating virtuosic arpeggiation ..................................................... 49

Figure 61: Bars 254-256 incorporating arpeggiation ..................................................................... 50

Figure 62: Bar 74 show a motif that Simcock uses again later .................................................... 50

Figure 63: Bars 98-99 show the developed motif ............................................................................. 50

Figure 64: Bars 94-95 showing another motif ................................................................................... 51

Figure 65: Bars 226-227 showing the developed motif ................................................................. 51

Figure 66: Simcock using pentatonics for six bars straight .......................................................... 52

Figure 67: In bar 64, Simcock uses the dominant - note scale ..................................................... 52

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Figure 68: Bars 84-85 using dominant 8-note scales ...................................................................... 53

Table of Tables

Table 1: Rhythmic devices ........................................................................................................................... 55

Table 2: Harmonic devices .......................................................................................................................... 57

Table 3: Melodic devices .............................................................................................................................. 58

x
Introduction

Gwilym Simcock, born 24th February 1981 (Chilton, 2004), is at the forefront of the
European music scene. A gifted pianist, French hornist, composer, and arranger,
Simcock sees no boundaries between jazz and classical music; his music is said to have a
“harmonic sophistication and subtle dovetailing of musical traditions” (Simcock).

Simcock’s debut album Perception (2007) received impressive critical acclaim,


and has been considered a ‘musical fingerprint’ of Simcock’s various influences and
composition style. This album features a well-known jazz standard entitled The Way You
Look Tonight (Kern, 1936), an arrangement that incorporates odd time signatures,
metric modulations, reharmonisations, as well as harmonic and rhythmic
superimpositions.

This research uncovers insight into some of the characteristics of Simcock’s


arranging and improvisational style by identifying notable devices used throughout this
recorded track. Through the analysis presented in Chapters 3, 4 and 5, these devices are
categorised into a vocabulary of rhythmic, melodic and harmonic devices that could be
employed by other jazz musicians in their composition and performance practices.

Biography: Gwilym Simcock

Born in North Wales, Simcock began piano lessons with his father at the age of four, and
by eight years of age he was studying piano, composition, and French horn at the Trinity
College of Music. In 1990, he was accepted into Chetham’s School of Music in
Manchester, majoring in classical piano (Chilton, 2004).

During his time at Chetham’s, Simcock was introduced to jazz by the former
Loose Tubes bassist and composer Steve Berry (Fordham, 2011). Regarding his
discovery of this new idiom, Simcock notes that:

I was already uneasy with the competitiveness of the classical world,


and being shut away alone in a practice room for hours at a time. I
could immediately hear that jazz was a communal music, and one with
a different take on what was right or wrong. (Fordham, 2011)

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His interest in jazz led him to study at the Royal Academy of Music in London, where he
attained a BMus degree with first class honours (Chilton, 2004), and has recently been
inducted as a Fellow of the Royal Academy of Music (FRAM) (Music, 2016).

The breadth of Simcock’s influences stretches from iconic jazz legends such as
Keith Jarrett (to whom he is often compared), Chick Corea, Jaco Pastorius, and Pat
Metheny, through to classical composers Maurice Ravel, Henri Dutilleux, Béla Bartók,
and Mark-Anthony Turnage (Simcock). But it’s not just jazz and classical where his
strengths lie; indeed, Simcock has worked in a wide variety of musical styles, also
including Latin, funk and pop (Chilton, 2004).

Simcock has graced the stage and studio with many well-respected jazz
musicians, including Kenny Wheeler, Dave Holland, Lee Konitz, Bob Mintzer, Tim
Garland, and Bobby McFerrin. He has also performed with the BBC Big Band and the
National Youth Jazz Orchestra on piano and French horn. (AllMusic; Chilton, 2004;
Simcock).

Simcock’s growing success as a leader has spanned various line-ups, ranging


from his trio to a 40-piece ensemble featuring a choir and chamber string orchestra. In
2006, Simcock began touring with his new quintet which featured Stan Sulzmann on
saxophone, John Parricelli on guitar, Phil Donkin on bass, and Martin France on drums
(AllMusic). It is with this band (plus Ben Bryant on percussion) that he recorded his
debut album Perception (2007) (BBC). In recent years, however, Simcock has become
known for his solo piano performances. His album entitled Good Days at Schloss Elmau
(2011) received critical acclaim, and has toured Europe and other parts of the world
such as Australia, the USA, Canada, China and Korea with his music (Simcock).

Rationale

The playing of Gwilym Simcock immediately resonated with me. The fluidity and clarity
of his playing is lyrical and melodic, with each note conveying a great sense of purpose.
There are beautiful crossovers between the worlds of classical and jazz: Simcock himself
acknowledges this blurring of idioms in his performances, describing in an interview
with Ian Patterson (2010) that his approach is simply “all just music” (para. 5) and that
he “had a classical music background but wanted to find a different angle. [He] was
introduced to jazz whilst [he] was still at classical music school and found an area which
is the one [he seems] to operate in now” (para. 7). This musical upbringing has parallels

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with my own, and as a result I feel a strong connection with the aesthetic of his
approach.

There are many aspects of Simcock’s playing that inspire me. Beyond his concept
of rhythm, harmony and melody, his sound and touch also drew me in, particularly via
his cantible approach to composing and improvising on the album Perception (2007). I
feel that his exquisite delivery of each note and phrase allows the core elements of the
music (rhythm, harmony, and melody) to shine in a way that is fascinating and
captivating both as a listener and as a musician. This intense personal interest makes
the performance practices of Simcock an ideal subject for my own research.

Justification and Significance

Simcock is a critically acclaimed performer with a wide audience of jazz and classical
fans. His playing proves to be an excellent subject for this study given his virtuosity and
his blurring of the lines between these idioms. This research contributes knowledge to
the currently limited literature on this acclaimed player through focus on his advanced
rhythmic, harmonic, and melodic concepts. In conjunction with the high quality musical
transcription and fascinating interview transcript available as part of the research, the
results of this analysis and interview will serve to educate other musicians on aspects of
Simcock’s approach and allow them to assimilate these techniques and concepts into
their own playing.

Selection of the Tune, Scope, and Limitations

The Way You Look Tonight (composed by Jerome Kern and lyrics by Dorothy Fields) has
been covered and reimagined numerous times by jazz vocalists and instrumentalists
alike. Simcock’s version is a complex arrangement showcasing the interesting and
personally appealing aspects of his compositional and improvisational abilities.

Whilst the research may seem inherently somewhat limited by focusing on only
one transcription, the performance that has been chosen for this topic is substantial, and
so the entire track’s piano part (including the arrangement and full piano solo) has been
transcribed and analysed in fine detail; a relatively lengthy and advanced undertaking
that has yielded interesting and applicable results. This method of enquiry has been

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successful in the past. For example, Foster’s thesis (2011) only focused on one Clare
Fischer transcription, but in great detail, leading to a series of interesting harmonic,
rhythmic, and structural findings. Additionally, the interview undertaken with Simcock
provides fruitful corroboration of the findings, leading to a deeper and insightful
understanding of his musical approach, significantly bolstering the integrity of the
study.

Further, examining a complex performance on a jazz standard such as The Way


You Look Tonight (rather than an original composition) provides a well-understood and
more general foundation for the analysis, and aids in exploring and generalising his
tendencies and concepts in a way that makes them most re-applicable to other
situations for a jazz musician.

Importantly, this study does not claim to be a longitudinal investigation of


Simcock’s overall style, but instead aims to illuminate novel aspects of his approach to
this specific performance, providing codified musical concepts for others to potentially
apply to their own arrangements and improvisational style. This presentation of
discreet devices for immersive practise is commonplace in jazz literature, such as Mark
Levine’s seminal text The Jazz Piano Book (1989).

Aims and Research Questions

The aim of this research is to gain a deeper insight into some of the characteristics of
Gwilym Simcock’s arranging and improvisational style by identifying notable devices
used throughout The Way You Look Tonight to create a vocabulary of various rhythmic,
harmonic, and melodic techniques that could be reapplied by a practicing jazz musician.
The primary questions driving the study are:

• What rhythmic, harmonic and melodic devices does Gwilym Simcock use in
creating his arrangement of The Way You Look Tonight?
• What rhythmic, harmonic and melodic devices does he use whilst improvising
on this arrangement?
• What interesting connections are there between the arrangement and
improvisational devices?

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Chapter 1: Literature Review & Exploratory Discussion

As is the case with many contemporary jazz artists, there is limited literature pertaining
to Gwilym Simcock and his playing despite his profile and virtuosity, making him an
ideal candidate for this research. Fortunately, despite this paucity in formal research,
there is plenty of relevant contextual material to frame this investigation. The review of
these sources is presented below as follows:

1. Existing knowledge on Gwilym Simcock


2. Similar research into other jazz artists, including pertinent
methodologies
3. Supplementary jazz theory and history texts

Existing Gwilym Simcock Resources

The majority of the extant material pertaining to Simcock is in the form of interviews,
biographies, and criticism; there are no dissertations, books, or journal articles available
that specifically discuss his musical techniques. Reviews of performances and albums
are also abundant, and whilst these are of varying relevance, some aspects of his playing
style are occasionally addressed.

Interviews with Simcock mostly focus on his life as a musician, development,


and his views on the current music scene. However, there are a few sources that delve
deeper into his sense of musicality. In an interview with Ian Patterson from All About
Jazz (2010), Simcock identifies harmony as the most appealing element of music to him,
stating that “out of the three elements of music, melody, rhythm and harmony the one
that really appeals to me is harmony, but that’s the thing people are least familiar with”
(para. 20). Simcock also discusses the concept of ‘clarity’ to help define accessibility to
people not used to jazz, elaborating that:

I guess you’re trying to find a way of playing music without selling out
which has its artistic integrity but which can appeal to as many people
as possible, so you’ve got to have a strong thread of melody which is
something people can really hang onto. (Patterson, 2010, para. 19)

Simcock views the bass as an integral aspect of his compositional approach. His
favouring of players with the ability to execute melodic lines adds a strong voice to the
ensemble that “as a composer [is] a great thing to work with” (Patterson, 2010, para.

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38). This really ties in with the strong melodic bassline in The Way You Look Tonight, a
core idea for this particular arrangement.

Similar Research Into Other Jazz Artists

The dissertations of Foster (2011), Minness (2013), and Laclair (2015), each undertake
paradigmatically similar transcription and analysis research focused on other renowned
jazz artists, and have been useful in distilling a methodology for this research.

Foster (2011) presents his results categorised and listed by device. He states
that it is not a bar-by-bar analysis, as this doesn’t allow for areas such as mood and
arrangement to be considered as a whole. Further to this, he presents the information in
a table that displays the devices uncovered and when they appear on a musical timeline.
A similar method will be adapted for the summary of results within this proposed
research.

Minness (2013) also categorises devices, and then explores each with musical
examples from transcriptions. He firstly identifies common techniques used by his
subject, and then analyses transcriptions from a compositional perspective to gain
insight into his use of these techniques. This method is effective in being able to identify
the key devices, and categorise them into rhythmic, harmonic, or melodic techniques.

Laclair (2015) follows a similar trend, also analysing by device. He uses a


method of displaying a passage of 4-8 bars across consecutive choruses to see if any
continuity or similar ideas occur.

Additionally, a dissertation by Stroessner (2016) provides an interesting


framework for stylistic analysis, an adaptation based heavily on a book entitled
Guidelines For Stylistic Analysis (LaRue, 2011). The foundation for his methodology is the
separation of music into five elements: sound, harmony, melody, rhythm, and form.
Similar to the design of this study’s analysis, he also dividing each of these components
into both composed and improvised descriptors. From here, the relationships within
each category can be explored.

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Supplementary Jazz Theory and History Texts

Seminal jazz piano theory texts available have proved useful for describing, notating,
and discussing particular techniques in the analysis phase of this research. The most
relevant of these are The Jazz Piano Book (1989) by Mark Levine, and Jazz Theory and
Practice (1993) by Richard Lawn and Jeffrey Hellmer.

Both books are of a similar nature, but cover slightly different topics. These
include, but are not limited to: voicings, walking bass, harmonisation of melodies,
substitutions, rhythms (e.g. displacement, syncopation etc.), and improvisation.

Although The Jazz Piano Book (Levine, 1989) covers some general theory, it
mostly tended to focus more on specific pianistic devices. This was by no means a
negative thing, however there are some devices that are not covered in this book and so
can’t be referenced. The major attraction for this staple text is that it provides a great
methodology that can be adapted for this research: it is a paper that documents specific
pianistic and jazz theory devices, and provides key musical examples of the device in
action, often from famous recordings. Methodology aside, the book was useful in
assisting with definitions of devices.

Jazz Theory and Practice (Lawn & Hellmer, 1993) provides a wider range of
general jazz devices that can be applied to all instruments. It covered broader topics in
finer detail such as substitutions, and scale theory. This text was incredibly useful in
determining names for specific reharmonisations during the analysis, and also some
definitions.

The nomenclature used in these texts have also provided a framework for how
this paper will present the findings, such as the use of standard jazz notations and chord
symbols to articulate harmonic devices.

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Chapter 2: Methodology

Methodology

This study follows a typical jazz research methodological paradigm. As discussed in the
literature review, there has been no investigation into Gwilym Simcock’s playing,
however similar research into other jazz artists is plentiful and has provided a
framework for this paper’s methodology.

Essentially, the process of this research involves investigating specific musical


devices used by Simcock by analysing a musical transcription of his performance. The
methods of study are:

1. A musical transcription of the entire track’s piano part (including the piano
solo) of The Way You Look Tonight.
• To gain a greater sense of Simcock’s playing characteristics on this tune,
the entire track’s piano part will be transcribed from beginning to end.
• The full transcription will be available in Appendix A: Transcription of
The Way You Look Tonight with pertinent excerpts presented in the
analysis to facilitate concise discussion of prevalent devices.
2. Analysis of the transcription for rhythmic, harmonic, and melodic devices,
borrowing aspects of analytical methodology from Minness (2013), Foster
(2011), Laclair (2015), Stroessner (2016), and Levine (1989):
• Foster’s (2011) approach to uncovering prevalent devices from a holistic
analysis of the transcription (rather than bar-by-bar analysis) provides a
clear framework, as does his use of tables to aid in presenting a concise
summary of the emergent techniques.
• Minness (2013) and Laclair (2015) also both focus on analysing their
musical excerpts by device, with musical examples given for each
instance of the device. Given the relatively broad scope of techniques
examined in this paper, analysis will focus on key examples only, with
other occurrences indicated by bar numbers of the full score.
• As mentioned, Stroessner’s (2016) idea of splitting material into
improvised and composed components and greatly affected the design of
the analysis.

8
• Levine (1989) has formed part of this research’s methodological
backbone, using the concept of a resource of useful devices that one
could read, practice, and employ whilst composing and improvising.
• The net result of these models is that prevalent musical devices have
been identified and presented with key musical examples used to
demonstrate each of the techniques.
o Devices have been categorised as rhythmic (Chapter 3),
harmonic (Chapter 4) or melodic (Chapter 5).
o This is further broken down into devices used in the
arrangement and those used in Simcock’s improvisation.
3. An interview was undertaken via Skype with Gwilym Simcock to explore ideas
emergent from the literature review and analysis of the transcribed material.
This process was carried out in line with the Edith Cowan University Ethics
Policy via an approved application through the System for Tracking Research
Ethics Applications and Monitoring (STREAM) portal. No harm to the participant
other than minor inconvenience of his time was anticipated nor eventuated.
Simcock’s responses have been worked into the discussion and the interview is
presented in full in Appendix B.
4. Draw conclusions and summarise prevalent devices (Chapter 6). Links
discovered between the use of devices in the arrangement and the solo are also
noted and discussed.

9
Chapter 3: Rhythmic Analysis

The investigation of Gwilym Simcock’s version of The Way You Look Tonight has
uncovered a number of interesting rhythmic devices used in the construction of the
arrangement and his improvisation. This section of the paper discusses these concepts
and key musical examples of their application.

Devices used in the arrangement

Adaption of 4/4 standard into complex time

Many jazz standards originated as old show tunes, and they have been played
repeatedly in a similar style over many years. Nowadays, it is a common motivation for
modern jazz musicians to find creative ways to reinterpret this ‘standard’ repertoire:
arranging a tune into an odd time signature can breathe new life into it and allow it to
take on a different character. A very brief list of notable examples of modern jazz artists
using this concept includes:

• Brad Mehldau: Alone Together (Dietz & Schwartz, 1932) [on Progression: That
Art of the Trio, Vol. 5 (2001)], It Might As Well Be Spring (Hammerstein II &
Rodgers, 1945) [on Introducing Brad Mehldau (1995)]
• Gerald Clayton: All The Things You Are (Kern, 1939) [on Bond: The Paris Sessions
(2011)]
• Robert Glasper: Beatrice (Rivers, 1964) [on In My Element (2007)]
• Joshua Redman: Summertime (Gershwin, 1934) [on Timeless Tales (For Changing
Times) (1998)]
• Troy Roberts: Stella By Starlight (Young, 1944) [on Secret Rhymes (2015)]

The melody of the tune is originally written in 4/4. As shown in Figure 2, Simcock’s
interpretation of the tune’s A section transfigures the melody into 7/4 by pairing two
4/4 bars from the original meter into a bar of 4/4 and a bar of 3/4 (Figure 1). This
condenses into 7/4 in what is conventionally known as a 4-3 clave, where clave refers to
a key rhythm the defines the rhythmic framework of a groove (Hagedorn, 2013).

10
{ ? bb
b ∑ nnn 44

4+ 3 7
4 + 4 V™ V™ 4
=
7
4+ + V™ V™

Figure 1: A bar of 4/4 and 3/4 combined to create a 7/4 clave


55

∑ ∑ ∑ ∑
This clave is featured most prominently in the bassist’s accompaniment during the solo
sections.
{ ∑ ∑ ∑ ∑


59
2
∑ ∑ ∑ ∑
A Original Melody
b 4 œ œ œ œ œ∑ œ œ œ 47
&b b 4 w ∑ w œ œ œ œ∑ w œ œ œ œ ∑w
{ A Arranged Melody
63 b 7 . .
& b b 4 œ Œ Ó œ Ó∑ œ œ. œ. œ œ ˙™ œ œ. œ œ œ ˙ ™ œ œ. œ. œJ œ œ. œ. œJ 44

2
A Original Melody
b 4 Figure 2: Sample of original melody vs. arranged melody (A section)
∑ ∑ œœ 7
{ &b b 4 w w œ œ œ œ w œ œ œ œ w œ œ œœœœ 4

B Original Melody
b 4 ˙ ˙ Melody
œ ˙ bœ ˙ b˙ w
˙ ˙ œ b˙ bœ w w
& bAb 4Arranged
The B section of the melody is adapted into a new time signature using the same
b 7 . . . . . . 4
& b b 4 œ Œ Ó œ Ó œ œ. œ. œ œ ˙™ œ œ. œ œ œ ˙ ™ œ œ œ œJ œ œ œ œJ 4
principle. Two 4/4 bars are condensed into a bar of 3/4 and a bar of 2/4, as shown in
b ˙ bœ w 5
& b b b˙ ˙ b˙ ˙ bœ œ ˙ bœ ˙ b˙ w w 4
Figure 3.
B Arranged Melody
Bb Original
5 Melody œ ˙™ ˙
& bbbb 44 ˙Œ ‰˙œJ œ ˙œ ˙œ œœbbœ˙ bœbœœ ˙ œ ‰ œ œbœ œ œ Œw ‰ œJbœw œ nœ5
& b4 . w œ ˙ bœ ˙ b˙ 4
b bŒ˙ bœ ˙œ œ œ bœnœ œ bœ œ ˙ j‰ œ
& bB b Arranged œMelody
˙ b˙ ™ Ó ‰ œ œbœ œ œ œ wŒ bœJ nœ ™ bœ œ œœnœ
J
b 5 b œ b œ œ ‰ œ œbœ œ œ Œ ‰ œ ˙œ nœ
œ ˙™ b œ
& b b 4 Œ ‰ œJ œ œ œ œ œ˙
J

43

bbb Figure 3: The original melody vs. the arranged melody (B section)
∑ nnn ∑ 5
&
31
4
bbb ∑ nnn ∑ 5
& 4

11
Superimposition of 5/4 over 7/4

Another central pillar of this arrangement is an aural illusion achieved through rhythmic
superimposition. This concept involves layering notes of a new rate over an original rate
without changing the pulse, often explained as ‘one rhythm over or against another’
(Lippi, 2008). In this arrangement, superimposition is used to suggest a swung 5/4 time
signature running concurrently with the underlying straight 7/4 pulse by juxtaposing
Analysis Figures
five equally spaced notes over the bar, as shown in Figure 4.
The Way You Look Tonight
From Perception (2007)
Fast modern jazz q = 260
7
4 V V V V V V V V V V V TransV
INTRO
b 7
{ &47b b V4 V ∑ V V V∑ V V ∑V

Bass 5 Add Drums 5
5 5 5
? bb 47 Figure 4: 7/4 vs. 5/4 superimposition
be
{ b ne e e be be e e be e ne
e e be be

Figure 5 displays a sample of how this superimposed 5/4 rhythm is adapted into the
arrangement’s feature bassline, used in the introduction, melody, interlude, and coda.
5
b
&b b ∑ ∑ ∑ Ó
5
5 5
? bb b œ œ œ bœ œ n œ œ œ bœ bœ bœ
{ 3 b n œ œ œ bœ bœ
7
4V V V V V V V V V V V V
Figure 5: Sample bassline

The A section melody is interpreted in 7/4 over the top of the superimposed 5/4
9 7
{ 4b + + + V™ V™ + + + V
bassline as shown in Figure 6. This creates a rhythmic disorientation for the listener by
& b b bw 3 ˙˙˙ ™™ 3

blurring the lines of which meter the arrangement is in. This superimposition also
bb ww w
ww nn

facilitates the metric modulation into the B section, which will be discussed later.
5 5
? bb bœ
{ b nœ œ œ bœ bœ œ œ bœ

11

∑12
3
b ‰ ‰ œj Œ
& b b ‰ bœ ™ œœ Ó
5
bb œœ ™™ œ œœ nn
> > 5 > > >
2
MELODY

A1
17
4 b . . . . .
&47b bb œ Œ Ó œ. Ó . œ œ. œ. œ œ ˙™ œ œ. œ œ.œ ˙ ™. j œ œ œ .œJ œ .œ œ. jœJ
& b b b n˙œ˙ ™™ 5 œ bœ œ œ ˙ ™ ˙˙ œ˙ œ œœœ ™™ œ n#œœœ™™ œ ˙˙ œ nœ
bb ˙ 5
? bb œ n œ˙™ bœ bœ nœ
˙ œ bœ nœ nœ bœ
œ œ
{{ b
? bb
b œ
œ

5 nœ nœ
œ5 5

bœ nœ bœ œ
nœ œ 5

œ
nœ nœ n œ

Figure 6: First four bars of A section melody (bars 17 - 20)


21 5
b ˙ j
&49b b œ ™ bœœ™™ œœ ™™ b œœ ™™ œœ œ˙ œ œœ n œ œ˙ œ ™ n ˙ œ™
b ˙
& b b ‰ ‰ œ ™ bœœ™™ œœ ™ b œœ ™ Jnœj œ œ œ œ œ™
™ ™ n ˙ œ™
During the interlude between the A sections, Simcock implies swing in the
? bb ‰ bœ ™ œ ˙ œ n œ ˙
{{ bœ ™ bœJj w
? bbb ‰ bœ ™ nœ ™ bœ ™ ˙™
superimposed 5/4 time, as shown in Figure 7, further abstracting away from the
nœ ™ bœ ™ bœ ™ j
b bœ w Analysis Figures ˙™
arrangement’s underlying meter.

Interlude
23 5
7 5 7
4bbbV V V V V
Interludew
V V 3 V V 3 j VŒ Œ ŒV3 j ŒV ∑ V V œ 4
& ˙˙˙ ™™™ ˙˙˙ ™™™ œœ .
51 bw
w nn5#3œœœ œœœ3n œ œ bbb3œœœ œœœ5 3 œœœ 5 . .
3 3 7
7
{{ 4& bVbb w V5 ˙ ™ V ˙ ™ V 5œ V j ‰ V j Œ
V Œ Œ
5 Vj Œ Ó ™ V ‰ V
5 j ‰‰ 4
? bb b ww œ bœ˙˙ b™™ œ5 bœ˙˙ ™™ œ œœ bnœn# œœœ œ bbbœœœ œœœ œœœ
b œ b œ nn# œ
œœ
b œ œ
bœ œ œ nœœ
n œ 5œ œ
5
b nœ œ
5
œ
5
œn œ 5
? bb
{ b n œ œ œ bœ bœ bœ œ œ bœ œ œ œ bœ bœ bœ œ œ bœ œ


A2
27 Figure 7: Sample implied swing in the superimposed 5/4 time during the interlude (bars 51-54)
.3 . . . j 5 . . j
55
bbb ˙ ™™ 53 j 5 3
. . 5 3
5

&& b ˙
b j ™ b œ j
œ˙Œ ™œœ œŒ œœÓ˙™bb˙˙˙ # œbnn˙œœ˙˙™™™œ œ œœbœ˙ ™˙˙œ Œ bbÓ˙œ˙ œœœœ ™ œœ œ#. œœœ™ œœ˙œœnœ
˙b˙bb™™œœœ œœbœ˙˙Œ˙ Œ . ™ . n œ™. ˙. .
˙™ œœ nn œœ œœ n œ bb œœ ˙œœ
Perceiving and physically executing two meters concurrently becomes difficult at fast
5 5
5 5 5 5
5
?b b5œ 5 bœ5
? b47b bVb œ œV bœVœ bœœ bVœ œbœVnœ Vœ œœ bVœ œ Vœ nœV œV œ œV bœ nbVœœ bœ V œ œœbVœ œ 47
{{ tempi like the one featured in this arrangement. For a 5/4 meter to be superimposed
b n œn œ
+ +

™ ™
bœ œ
+

+
n œ nœ
+ ™ ™

accurately, one would need to subdivide the bar of 7/4 into 16th note quintuplets, and
7+ 7
{ arrange them into groups of seven to create the five pulses, as shown in Figure 8.
31
4 V V V V 4
3 3
bbb ˙ œ j
59
& ™ ™ ™ n œ œ œ œ œ œ™ œ™
™ bœœ™ œœ ™ b œœ ™ œ ˙ œ œ n œ ˙ n ˙
œ
bbb ‰ œ œ Jj œ œ œ™
?& b ‰ œ œ
b œ
œ w
w ˙˙ ™ œ
{{ b7 b> œ ™ nœ ™ > n œ ™ nœ ™ >b3 œ w > 4:3 >˙ ™
?4 Vb V V V V V ŒV V V V V VÓV V V V V V V V V VÓ V V V V V V V V VŒ V V V V
b

b œ5 5 5 5 5 5 5
> 3 > 33 > 3 > >
7 Figure 8: 16th note quintuplets grouped in sevens
{ 4 V+ V V V V+ V V V V+ V V V V ™ V V V V V

V V™
3

13
6

∑ & bbb 44

∑ bbb 44
7 7
{ 4 V V V
5
V V V V V
5
V V 4

As this particular arrangement sits around 260 beats per minute, accurately subdividing
quintuplets into groups of seven is impractical. The illusion could instead be achieved in
several conceptually simpler ways.

7 One approach might be to approximate the pulses via more user-friendly and 7
common subdivisions. To do this, one could exploit the 4-3 clave of the bar by dividing
4V V V V V V V V V V V V V V 4
the first four beats into three (minim triplet), and the last three beats into two (dotted
7+ 7
+ + V™
crotchets), as shown in Figure 9.
{ 4 V™ + + + V™ V™ 4
3 3

7> > > > >


4 VVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVV
5 5 5 5 5 5 5
> 3 > 3
3 > 3 > >
7
{ 4 V+ V V V V+ V V V V+ V V V V ™ V V V V V
V V™
3

Figure 9: Quintuplets grouped in sevens broken down into a simpler approximation


6

∑ & bbb 44
The inaccuracy of these accents is negligible at fast tempi, and the perceived effect is a
b 4
{ ∑ bb 4
superimposed 5/4 meter (the treatment of the accents through the player’s articulation
further ‘sells’ the illusion of 5 equidistant beats to the listener).

Simcock himself corroborated this way of approaching the superimposition in


the interview, explaining that “you can sort of get an approximation of [the 5 over 7
superimposition] by doing four over three and then three over two,” which is “not a
million miles away from seven over five… obviously evened out a bit” (personal
communication, October 8, 2016).

Simcock also mentioned that the main inspiration for his own use of these
rhythmic concepts came from his bassist, Phil Donkin. He explained that Donkin was
“brilliant at ‘time’ things,” and encouraged him to “get [Simcock’s] stuff together”.
Simcock is a big believer in “trying to write stuff to improve” your skills as a musician,
and felt “it’s nice if you can write music that aids your own learning process” (personal
communication, October 8, 2016).

14
35

∑ 7
4
5
It was initially hypothesised that another way to feel this superimposition would
q=q
be to feel the bar in ‘one’ and access the various meters as subdivisions of the ‘bar pulse.’
7 5
4V V V V V 4V V V V V
Wynton Marsalis’s arrangement of Autumn Leaves (Kosma, 1945) [on Marsalis Standard
5
Time, Vol. 1 (1987)] employs this concept by using the downbeat as a consistent
reference point and having the rhythm section sequentially access various subdivisions
of the bar to imply different meters, giving the illusion that the tune is speeding up
38
4
(Figure 10).
∑ 4

C‹7 F7 B¨Œ„Š7 E¨Œ„Š7


4+ + + + + +
4 V V V V
3
A‹7(b5) D7 G‹ £

V V V V V V V V V V V V V V V V V V V V V V V V V V
5 6 7

Figure 10: The generalised concept of Marsalis's arrangement of Autumn Leaves (Kosma, 1945)
47

∑ & bbb 47

Whilst this approach is theoretically a reasonable way to conceptualise imposed meters,


? b 7
{ ∑ bb 4
Simcock expressed concern in the interview that it might be prone to rhythmic
inaccuracy, stating “there’s so much wiggle room within the metronome hits [playing
every downbeat] that I’m not sure that that would be as helpful as working on the
relationship between the two different times”. He also added that he spent a long time
practicing to be rhythmically as accurate as possible, and that “you can start with an
approximation of the four and the three, and the three and the two, and then that
eventually gets to the point where hopefully you are doing it sort of diligently” (personal
communication, October 8, 2016).

Metric modulation between 7/4 and 5/4

A metric modulation is a change to a new tempo via some mathematical relationship to


the original (Lippi, 2008). Simcock’s arrangement notably uses this concept to transition
from 7/4 to 5/4 in the B section of the melody, basing the modulation off the established
5-over-7 polyrhythm. Essentially, the superimposed 5/4 rhythm becomes the new
crotchet pulse, as shown generically in Figure 11.

15
35

∑ 7
4
5
q=q
7 5
4V V V V V 4V V V V V
5

Figure 11: Metric modulation from 7/4 to 5/4 using superimposed rhythm as the pivot


38

∑ ∑ ∑ ∑
Figure 12 shows Simcock’s actual realisation of this transition from the interlude into
the B section. ∑ ∑ ∑ ∑ 3
{

Interlude
33 5
3 3 3
5
3
42 & b
bb w ‰ jŒ Œ Œ œj Œ ∑ 5
bww ˙˙˙ ™™™ ˙˙˙ ™™™ œœœnn# œœœj œ bbbœœœ œœœ œœ
43
Interlude ∑ 5 ∑5 nœ ∑ 5 ∑5
33
?b bœ œ 5 5 bœ b œ 5
{{ bbb n œ œ œ bœ bœ œ bœ 3 ‰œ 3 n œ 3 j Œœ œŒ Œ 3 jbŒœ œ œ bœ œ 54
b
& b b ww ™ j ∑ 4
w ∑ ˙˙˙ ™™ ˙˙˙ ™™™ ∑œœœnn# œœœ œ bbbœœœ œœœ∑ œœœ ∑
5 5
nœ 5 5
? bb bœ œ bœ œ bœ 5
{ b nœ œ œ bœ bœ œ bœ œ nœ œ œ b œ b œ œ œ 4
46

5

Swing q = q
B
37 E¨‹11 EŒ„Š13(#11) ∑ E¨‹11 D13(b9)
{ b 5
& b b 4 Œ ‰ œJ œ œ œ œ bœ bœ œ ˙
Swing q = q
5


˙˙˙ bb b˙˙˙˙ ™™™
œ ‰ œ œbœœ œ œ ˙™ Œ ‰ J
œ bœ ˙œ nœ
B
b b˙˙˙˙˙ ™™™™ ˙ ˙ ˙ ™ œœœœœ bœœœœœ ˙˙˙˙˙™™™™™ b bœœœœœ bœœœ œœœ ™™™ œ ™
37
? bb 45 E¨‹7 GŒ„Š7(#11) EŒ„Š7(#11) E¨‹7 D13(b9)
{ bb 5 Œ ‰ œ œ œ œ œ bœ bœ ‰ J ‰ J ‰ J Œ œ ˙™ Œ ‰ J
bœ ˙œ nœ

b
& 4 b œ ˙ œ ‰ œ œbœœ œ Œ ‰ œJ
J ™
b˙˙˙˙˙ ™™™™ ˙˙˙ bb b˙˙˙˙ ™™™ œœœœœ bœœœœœ ˙˙˙˙˙™™™™™ bœœœœœ bœœœ œœœ ™™™ œ ™
Figure 12: Metric modulation from the Interlude to the B section
? bb 45 b ˙ ˙ ˙ ™ b
{ b ‰ ‰
J J ‰ J Œ Œ ‰ J

41 C©‹9 F©13(b9) B‹9 E13(#11)
. B¨‹7 A¨13(“4) A7(b9) D7[åÁ]
j
The reverse of principle is used to modulate from the B section back to the final A
b Œ bœ ˙ œ œ bœnœ œ bœœ ˙ 7
& b b b˙ œ œ ˙ b˙ ™ Ó
‰ œ ‰œœbœ œ œœ wŒ bœnœ ™ bœ œ œœnœ
J
4
J
section (the crotchet pulse of the B section becomes the superimposed 5/4 again).
œ ™
™ œ ˙
bœœœœ ™™ œœœœ F©7 # œ
œ ™
™ b n ˙
˙ ™
™ œ ™ b ˙ œ
? bb bbC©‹9
41 . Œ ‰##œœ ™™ nB¨7(#9)
˙˙ B‹7 E7(#11) ˙˙ ™™ A¨13(“4)
bœœ ™™ A7(b9)
n˙ b˙˙
œD7[åÁ] 7
Simcock was able to illuminate his thought process behind this, explaining that
™ Œ Ó ‰
{ bb J œ
& b b bŒ˙ bœ ˙œœ ˙ œ bœ˙ ™bœnœ bœœ ˙Ó
j
‰ œ ‰œœbœ œ œœ wŒ bœnœ ™ bœ œ œœnœ
J J
74
4
I’d work through the A sections and think about what to do in the
b œ
œ ™
™ œ
œ ˙ ## œœ
œ ™
™ bnn ˙˙
˙ ™
™ œ ™ b ˙ œ
bbœœœ ™™™ œœœ Œ ˙˙ Ó Œ ‰ # œ ™™ ˙ ™™ ‰bœœ ™™
? bb bridge. Do you just carry on doing more of the same or try to do n˙ œ b˙˙ 7
{ b
something a little bit different? Then it occurred to me that you could
J
just use the five as the new tempo. (Personal communication, October
4

8, 2016)
5


A3 Straight q=q
45
b 7 ™ j . .
& b b 4 bŒw œ ˙5 bnb˙˙˙ ™™™ œ˙ ™ œ bœ œ œ ˙™bb˙˙˙
16
A3 Straight q=q ˙™
45
j 5 . . 5 bœ bœ
? bbbbb 47 Œ ™ bœœ ˙ nœ bn˙œ ™ bœ œ b œ
{ & b bnwœ bn ˙˙ ™™ nœ˙ ™
˙™
œ b œ œ
5
œ ˙™bb˙˙˙
Across-the-barline phrasing and other shorter meters
3
Interlude
33 5 5
Across-the-barline phrasing is a simple concept that can significantly increase the aural
3 3 3 3
bbb ‰ j Œ Œ Œ j 5
& b ww ˙ ˙ ™™™ ˙˙ ™™™ œ
j
œn # œœ œ b bœœ œœ œœ Œ ∑ 4
complexity to the listener. In the B section, the melody frequently crosses the barline,
w ˙ ˙ œ n œ nœ b œ œ
5
œ
5 5 5
blurring the boundaries of the meter and briefly implying other time signatures. For
? bb b œ b œ b œ b œ b œ b œ b œ bœ 5
{ b nœ œ œ œ œ œ nœ œ œ œ
example, the melody in bars 37 and 38 (Figure 13) could theoretically be grouped into
œ œ 4

bars of 4/4 as indicated by Simcock’s phrasing.

5
Swing q = q
B
37 E¨‹11 EŒ„Š13(#11) E¨‹11 D13(b9)
b 5 œ ‰ œ œbœœ œ œ ˙™ bœ ˙œ nœ
& b b 4 Œ ‰ œJ œ œ œ œ bœ bœ œ ˙ Œ ‰ œJ
b ˙˙ ™™ ˙˙ bb b˙˙˙˙ ™™™ œœœ œœ ˙˙ ™™
œœ bœœœ ˙˙˙™™™ bœœœœœ bœœœ œœœ ™™™ œ ™
˙ ˙
? bb 45 b ˙ ™ ™ ˙ ˙
˙ ˙ ™
™ b
‰ J‰ J ‰ JŒ Œ ‰ J
{ b

41 C©‹9 F©13(b9) B‹9 E13(#11)


. B¨‹7 A¨13(“4) A7(b9) D7[åÁ]
b Œ bœ ˙ œ œ bœnœ œ bœœ ˙ j
& b b b˙ œ œ ˙ b˙ ™ Ó ‰ œ ‰œœbœ œ œœ wŒ bœnœ ™ bœ œ œœnœ 47
J J
œ ™™ œ ˙ ###œœœœ ™™™™ bnn˙˙˙˙ ™™™™ œœ ™™ bn˙˙ œœ b˙˙
? bb bbbœœœœ ™™™ œœœœ Œ ˙˙ Ó Œ ‰ ‰bœ ™ 7
{ b J 4

Figure 13: B section of the melody makes use of across-the-barline phrasing

In the last line of the A section, Simcock uses a repeating 3/8 (dotted crotchet) rhythm
5
A3 Straight q = q
to create a line that strongly targets an anticipation of bar 22. This is a feature that he
45
. .
b 7 Ϊ j
considers to be a “kick in the tune,” giving it a real sense of momentum at that specific
& b b 4 bw œ ˙ b˙ ™ œ œ bœ œ œ ˙™ ˙
bn ˙˙ ™™ ˙˙™™ bb˙˙
point, as shown in Figure 14, (personal communication, October 8, 2016). Simcock
5
further explained, “If you work backwards from that and you started on the second
?b 7 5
nœ bœ œ bœ bœ
{ b b 4 nœ bœ nœ bœ
quaver of the bar then you could do the dotted crotchets there.” He also pointed out that

5

anticipated chord is then held throughout the next bar, which he likes “having it let ring
on those… so when the drums come back in on the next bar it feels like it starts again”
(personal communication, October 8, 2016).

17
&b b œ Œ Ó œ Ó œ œ. œ. œ œ ˙™ œ œ. œ œ œ ˙ ™ œ œ œ œJ œ œ œ œJ
5 5
? bb œ œ bœ bœ œ bœ nœ nœ bœ
{ b œ nœ nœ nœ œ bœ nœ œ bœ œ nœ
5 5

21
b ˙ j
&b b bœœ™™ œœ ™™ œ œ œ œ ™ n ˙ œ™
œ™ b œœ ™™ œœ œ˙ œ nœ ˙
‰ J
? bb ‰ bœ ™ bœ ™ j
{ b nœ ™ bœ ™ bœ w ˙™

Figure 14: Last line of the A section

23
Interlude
5 5
3 3 3
b j jŒ ∑
As the top E flat at the start of bar 21 is the climax of the melody, according to Simcock,
b b
& b ww ˙˙ ™™ ™ Œ Œ Œ œ. œ.
™ ˙˙ ™
™ n # œœ œœ œ b b œœ œœ œœ œ
.
w ˙ ˙ n œ œ nœ b œ œ œ
the change in rhythm by using dotted crotchets facilitates momentum right through to
5 5 5 5
the anticipated chord. Simcock considers this held chord to be the point in which “the
? bb b œ b œ b œ b œ b œ œ œ bœ œ
{ b nœ œ œ b œ œ œ œ nœ
œœ b œ
left hand groove breaks where there’s most intensity to what’s happening,” allowing it
to “sort of [simmer] back down to… having the vamp in between the A sections”
(personal communication, October 8, 2016).
A2
27
. . . . . . j . . j
bb ˙ ™™ 5 œ˙œ nœ
& b ˙˙˙ ™™ b ˙˙ œ˙ ™œ œ œœ ˙™bb˙˙˙ bnn˙œ˙˙™™™œ bœ œœ ˙ ™˙˙ bb˙œ˙ œ œœœ ™™ œ n#œœœ™™ ˙
˙ ˙™ ˙
Improvisation 5 5
5 5
? bb œ œ bœ bœ œ nœ œ nœ5 œ nœ bœ
5
œ bœ
{ nœ nœ œ bœ
Syncopation and over-the-barline phrasing
b œ n œ nœ

One of Simcock’s most prevalent rhythmic tendencies whilst improvising is the use of
31

syncopation (stressing of the ‘off’ beats over the ‘on’ beats) (Lawn & Hellmer, 1993) and
b ˙ j
&b b bœœ™™ œœ ™™ œ œ œ œ™
œ™ b œœ ™™
nœœ œ˙
phrasing over the barline using ties, giving his lines forward momentum and implying a
œ nœ ˙ n ˙ œ™
‰ J
higher degree of complexity.
?b ‰ ™ b œœj w
w ˙˙ ™™
{ bb œ nœ ™ nœ ™ nœ ™ b œ w ˙™
The first instance of this technique begins in the second bar of his solo (bars 61-
63), as shown in Figure 15. The structure of the phrase obscures the downbeat of each
bar, creating interest for the listener via rhythmic tension and release, especially given
the odd meter.

18
œ ˙
?b ∑
{ bb

B¨13(“4) D¨7 C7 B7 B¨7


61 œbœ bœ œ œ bœ bœ œ œnœ œ nœ œ #œ nœ nœ bœ œ œ
b J J J J J J nœ ‰ nœ
&b b ∑ J
b ˙ ™ w n œ ™ # œ ™
bb˙˙˙ ™™™ nn˙˙˙˙ ™™™™ œœœœ #nn#œœœœ ™™™™ ˙˙˙˙ b œœ ™™ nœœ ™™
? bb ∑ bbww
w
{ b J

Figure 15: Bars 61-63 demonstrating syncopation and over-the-barline phrasing


64 B¨‹7 E¨7 A¨Œ„Š7 D¨7 œ
œ œ œ œ

b bœ bœ nœ bœ nœ œ b œ b œ
&b b œ #œ nœ bœ bœ n œ nœ œ œ œ b œ œ œ ‰ J
bbnœœœœ ™™™™ nœœœœ ™™™™ . ˙˙ ™™
Another example of over-the-barline phrasing occurs throughout bars 222-225 (Figure
n nœ ˙
˙ œ b
? bb Œ œ Ó œ Œ ˙™
{ b
16). Simcock plays an arpeggiated triad beginning on beat 5 of bar 222, and then moves
the cell chromatically upwards. The bottom and top note of the cell, generally, are held
by one extra quaver, delaying and syncopating the rhythm. Again, the downbeats are
disguised and forward momentum is created.
Interlude
66 E¨Œ„Š7/B¨ B¨13(“4)
b œ bœ j œ #œ œ
&b b ‰ J ‰ œ
œ J œ œ ‰ œ œ
œ œ œ b œ œ œ œ n œ n œ œ #œ nœ nœ
17
222 E¨/G A¨13(“4) A13(“4) œ B¨13(“4)
? b bœ nœ bœ œ bœ œ ∑ œ
{ &b b nœ bœ bœ bœj nœJ œ nœ nœ ∑
œ œ œ œJ
œ œ
J œ œ
b œ n œ œ
b ˙˙˙ ™™™ n n œœ.
œ œ œ ™™ nnœnœœœ.
? b n˙ ™ ˙ ™ Œ b œ ‰ œ™
{ 68 b E¨Œ„Š7/B¨
b b œ ” B¨13(“4) Œ Ó Ó Œ
œ b œ “ b œ œ œ b œ œ œ œ
bbb œ œ nœ nœ bœ œ bœ nœ œ œ œ œ bœ bœ ‰ J
&
˙˙˙ œœœ. œœœ C13(“4) b b˙˙˙ ™™ œœ ˙˙™™
224 E¨/G
˙ A¨13(“4)
œ b ™ E13(“4)
? bb ˙ œ œ Óœ nœ #œ œœ ‰ œJ Œ œ œ nœ œ œ œ ‰ J œ œ bœ œ
{ & b œ œ J J nœ nœ œ J J œ œ œ

? bb ∑ ∑
{ b

226 E¨/G Figure 16: Bars 222-225 demonstrating across the barline phrasing
A¨13(“4) A13(“4) B¨13(“4)
bb b˙ ˙ bœ œ œJ œ™ nœ nœ
nœ nœ œ #œ œ ‰ œ
& b Œ
J
w b œ
œ ™
™ œ
œ ™
™ n # w
w
? bb bwww bœœœ ™™ œœœ™™™ nn nww
Another significant example of syncopation occurs in bars 238-241, where the majority
w w Ó Œ
{ b
of the phrase is placed on offbeats, as shown in Figure 17. Other examples of
syncopation and over-the-barline phrasing can be found in bars 91-93, 214-215, 228-
228 E¨/G A¨13(“4) C13(“4) E13(“4)
230, 242-243, 251-253, and 255-256 (Appendix A).
b
b <n>˙ œ nœ nœ #œ œ œ ‰ .5
nœ œ œ jœ œ
& b #œ nœ œ œ nœ œ œ. œ. œ™ œ
nœ œ #œ œ nœ nœ œ .
œ. nœ œ œ œ ™ œ Œ
{ ? bb Ó
b ‰ #œJ nœ ‰ œ.
J
5

230 E¨/G
˙
A¨13(“4)
œ œ bœ œ
A13(“4)
# œ ™ œ™ œ ™ n œ. ™ B¨13(“4) œ19
b œ ‰ J
&b b bœ œ œ Œ Ó
˙˙ 3
bbœœœœ ™™™™ œœœ ™™™ n œœœ ™™™
˙˙˙˙˙
b n #ww n
b ˙ ˙˙ nn nwww b œ ™
? bb
b
œ™ Œ ‰ b œ™
& b E¨/G
236 A¨13(“4)
œ
nœ œ nœ C13(“4)
n œ #œ J J nœ. E13(“4) nœ J
& bbb ∑ nœ
nœœœœ ‰ œœ J
œ ‰ œJ ‰ nœ œ œ ‰ j ‰ œ

n
J
?b ∑ ‰ ‰ œœ ‰ J ∑
{{ bb
?b ∑
bb
n œœJ
nœœœ ‰ ‰
J
œ
œœœœ ‰ ∑
E¨/G A¨13(“4) A13(“4) B¨13(“4) E¨/G A¨13(“4) C13(“4) E13(“4)
238
b <n> œ b œ b œ œ œ œ œ bœ œ œ œ œ bœb œ œ œ œ œ
bœ bœœ A13(“4)
j j œbœ B¨13(“4) œœ œ J E¨/G bœ J C13(“4) J bœ J
& b b E¨/G
238 J bœbA¨13(“4)
œ œ œ b œ J œ œ A¨13(“4) b œ œ œ œ bœb œE13(“4) œœ œ
b <n>œbœ bœ bœ œ œ œ œ bœ œ J bœ b ˙ ™ œ J
& b b J bœbœ bœœ œj œj™œb ˙ ™ œ b˙ œb Jœ œJ ˙œ b œ ˙ J ˙ œ b˙ œ ™
? bb ∑ ‰˙ J J J b Jœ ˙ Jb˙ b˙ ™
{{
? bb ∑
b
b ‰ ˙ œ œ
J
™ b ˙ ™
b˙ J Jb œ œ ˙
J ˙ œ
J
Ϫ

242
E¨/G˙™ bFigure 17: Bars 238-241 demonstrating syncopation
œ A¨13(“4)
œ œ œ œ œ œ A13(“4)
˙ ™ b œ B¨13(“4)
œ œ œ œJ œ œœ
b E¨/G˙™
˙™ A¨13(“4)
b œ œ œ œ œ œ ‰ Jœ ˙ ™ b œ œ ˙™
A13(“4) B¨13(“4)
b œ œ œ œ œ œ Jœ
& b
242 b b
˙™ bœœ ‰ # œJ ˙ œ ˙™ œœœ ™™™ J œœ ™™ œJ
& b b b˙˙˙ ˙ b œœœ ™™™ œ n œ
œœœ nn nœœœ ˙˙˙ nn˙˙˙ ˙ # ˙
˙ n
bb œœ ™™ œœœ ™™™
bœœœ ™™
Groupings
? b ˙ œ # œ ˙ # ˙ œ ™ œœœ ™™
{{b b b˙˙˙
? bb ˙
b
˙
bbœœœœ ™™™ œœœœ nnnnœJœœœ ˙˙˙˙ nn˙˙˙˙
J
Playing notes repeatedly in specific odd groupings can temporarily imply for the listener
bb n œ œœœ ™™
™ œ œ ™™
E¨/G A¨13(“4) C13(“4)
“” n œ # œ nE13(“4)
the feeling of another time signature or tempo. These rhythms often cross the barline,
244 <b>
E¨/Gœ œ œ œ A¨13(“4)œ nœ n œ n œ n œ œ b œ C13(“4) œ
n œ “œ” œ œ œ œ#œ
E13(“4)
b
244 b b <b> œ œ œ œ œ œ nœ nœ nœ œ bœ nœ # œ n œ œ œ # œ œ bœ nœ
and resolve after a period of time.
& b œ œ nœ nœ n œ œ œ œ n œ œ bœ nœ
& b b b œj n ˙˙ ˙ n œ œ ™
™ n œ
nj ˙˙˙ ˙˙˙˙˙
œ
bbœn œœœ ‰ œœœœ™™™™ œ nnœœœ Œ œ Œ Œ ‰ nœœ ™™™
œ
? bb Simcock uses a 5/8 grouping (quavers grouped in fives), beginning on beat 5 of
œ
n ˙ ‰ œœœJ œœœœ™™™™ n nnœœœœ œœ ™™
{{ bœ
? bbb n˙˙˙˙ ˙˙˙˙ b b œ
bar 246, and continuing through to beat 3 of bar 248 (Figure 18).
b ‰ J ‰ œ Œ œ Œ Œ ‰ n œ™

246 :“E¨/G
; A¨13(“4)
b œ b œ n œ
A13(“4)
n œ œ
B¨13(“4)
œ œ œ
b E¨/G
b œ bœ œ œ œ œ A¨13(“4)b œ œ œ A13(“4) n œ nœ #œ œ B¨13(“4)
& b b :“; bœ bœ nœ œ œ
246 b œ n œ œ
bbb bbbœ˙˙ bœ œ œ œ œ bœbbbœœœ œœœ b œ b œ œ œnn œœ n œœœ n œ nœ ˙˙œ #œ œ nœ œœ œœ ˙˙œ œ œ
? bb b ˙
& Œ ‰ b œJ œ Œ ‰ nnœJœ œœ Œ ˙ œ nœ ˙
{ b bb ˙˙
? bb b ˙ Œ ‰ J
b œœ œœ
Œ ‰ J
nnœœ œœ
Œ
˙˙
˙
œœ œœ ˙˙
œ nœ ˙
{ b
E¨/G A¨13(“4) C13(“4) E13(“4)
19

248 b œ b œ bœ œ œ œ
bbb n œ #œ œ nœ œ bœ bœ œ bœ œ œ bœ nœ œ œ œ œ œ œ nœ
& nœ
b .
œ
œ œœ œ
œ bb œœ œ
œ œ
œ ˙˙˙
? b Œ ‰ nœœ œ Œ Œ œ Œ Œ œ Œ œ ˙
{ bb J

Figure 18: Bars 246-248 demonstrating a 5/8 grouping


250 E¨/G A¨13(“4) A13(“4) B¨13(“4)
b j œ bœ bœJ œ bœ œ œ œ œ œ œ œ nœ
& b b bbww œœ
bœœœœ œœœœ ™™™ n #œœœœ ™™™ œœœ ™™™ n œœ ™™™
Another example of Simcock improvising with odd groupings is in bars 236-237 (Figure
œ
? bb b œ ‰ œ™™ nn n œ ™ œ œ™ ™ bb œ œœ ™™ nœœœ
‰ ‰ ‰ ‰ J
19). In this example, the grouping is a rhythm in 3/4.
{ b nw œ
nw œ
252 E¨/G A¨13(“4) C13(“4) E13(“4)

b bœ œ
&b b bœ œ œ nœ œ œ œ œ œ nœ nœ nœ œ œ œ œ bœ œ bœ nœ #œ
n œœ œ n œ™ œœ œœ n œ ™ n œœ
? bb Œ ‰ œJ
n œ œœœ ‰ bbœœœ ™™™ œ œ œ™
‰ œ œœJ ‰n œœ ™™
b œ œ nœ nœœœ œœœ™™™
J
œœ ™™
Ϫ
{ b J
E¨/G A¨13(“4) A13(“4) B¨13(“4) E¨/G A¨13(“4)20
254
b
# œn œ œ œbœ n œn œ œ œnœ œn œ œ b œœœ n œ b œ œ œ b œ nœ œ ™ œ œ œ œ
& b b #œ œ bœ nœ œ œ œ‰ J ‰nœ ‰bœ‰ j nœ ‰œ ‰bœ ‰bœœ‰
J J #œ J J J J œ ™ œ œJnœ œJ
bbœœœ ™
œœœ ™™ bœœœœ œœœ œœ. n œœ œ b œ
nœ bœœœ
b nœ œ bœ bœ œ œ Œ
& b b nœ nœ bœ œ œ bœ œ ‰ J J J
œ ™™ b œœ
?b ∑ nbœœœ ™™ bœ Œ ∑
{ bb J

E¨/G A¨13(“4)
236 nœ œ œ nœ C13(“4)
n œ #œ
E13(“4)
nœ. œ
b œ œ ‰ nœj ‰ nœJ
&b b ∑ ‰ J ‰ J ‰ nœ
J
n œ
œ œ
œ
? bb ∑ nœœœ ‰ ‰ œœœ ‰
{ b J ∑

Figure 19: Bars 236-237 demonstrating a 3/4 grouping


238 E¨/G A¨13(“4) Aº7 B¨13(“4)
E¨/G A¨13(“4) C13(“4) b œE13(“4) œ
b
& b b J bœ bœ bœœ j j œbœ œœ œ J J œ
b <n>œbœ œ œ œ œ bœ bœJ œ œ œ œJbœ bœ œ œ œ J
œ
bœ œ œ
b ˙ ™ b˙ b œ œ ˙ b œ ˙ ˙ b˙ b˙™ œ™
Simcock makes extensive use of groupings as an improvisational technique, with other
? bb ∑ ‰˙ J
œ œ ™
J J J œ
{ J
examples occurring in bars 65-66, 69, 70-71, 84-85, 92-93, 98-99, 139-146, 205, and
b
251-253 (Appendix A).
E¨/G A¨13(“4) œ Aº7
242 ˙™ bœ œ œ œ œ œ ˙™ b œ œB¨13(“4)
œ œ œJ
œ œ
& bbb ˙™ bœ ‰ œJ ˙™ œ
J
Ϫ Ϫ Ϫ
Interlude improvisations
? bb b˙˙˙
˙ ˙
bbœœœœ ™™™
œ #œ ˙
œœœœ nnnnœœœœ ˙˙˙˙ nn#˙˙˙˙˙ bbnœœœœ ™™™™ œœœœ ™™™™
{ b J
A significant feature of the arrangement is the use of interlude vamps as improvisational
frameworks. Simcock lightly improvises in these sections during the first and third head,
E¨/G A¨13(“4) C13(“4) E13(“4)
244 <b> œ œ œ œ œ nœ “” #œ nœ œ
nœ nœ œbœ nœ œ œ nœ œ#œ
but during the second head (bridging the piano solo and bass solo) significantly deviates
&b b
b œ œ nœ nœ œ œ bœ nœ
away from the established part using a combination of devices.
b œj n ˙ ˙ n œœ œœ ™™ nn œœ
? bb n˙˙˙˙ ˙˙˙˙ ‰bbœœœ ‰ œœœ™™™ nœœœ Œ œ Œ Œ ‰ nœœœ ™™™
{ bThe first instance of this departure begins at bar 111 (Figure 20). Here, Simcock
J
implies heavy swing within the superimposed 5/4 meter. Within this superimposed
:“E¨/G
; A¨13(“4) Aº7 B¨13(“4)
meter, he does not intentionally outline the expected 3-2 clave, instead choosing to blur
246 b œ b œ bœ œ œ n œ n œ œ
n œ nœ #œ œ œ œ œ
b bœ œ œ
b b bœ œ œ bœ bœ œ
the downbeats further by seemingly grouping crotchets in threes. Simcock’s expresses
& nœ œ
b ˙˙ b œœ œœ
bb ˙ œ œ nnnœœœ œœœ œœ œœ ˙˙
it’s “quite fun with the five” as it “loses that middle post” when compared to a 4-3 clave
b ˙˙
? bb Œ ‰ J Œ ‰ J Œ ˙ œ nœ ˙
{
in seven (personal communication, October 8, 2016), and his avoidance of the 3-2 clave
b
here (which, as discussed, feels close to the 4-3 clave) further abstracts from this feeling
in line with that sentiment.

21
J J
? bb ‰ bœ ™ bœ ™ j Œ
{ b nœ ™ bœ ™ bœ w ˙

Interlude
5
111 . bœ. œ. n œ. 5
bb 3
œ œ nœ
Œ J nœ
3
nœ nœ nœj œ nœJ
& bbœœ bœJ Œ
b J J
œ. 3 3 3 3
œœ. nnn œœœ œœœ
? bb ∑ œ bb œœœ
ΠΠJ ΠΠJ
{ b
5 3
5
3

113 5 3
3
bbb #œ œ bœ 3 j nœ nœj #œ œ nœ œ nœ
3
œ bœj nœ bœ œ œj ‰ #œ œ œnœ
& J #œ J
3 3 3
5 3
œœ n œ n#œnœœ bœœœœ .
nœœ œœ
? bb Œ n œ œ J b œœœœ œœœœ bbœœœœ œœœœ
œ Œ J Œ Œ J Œ
{ b J
3 3
5
3 3
5
3
J

Figure 20: Bars 111-114 using groupings of three in the superimposed 5/4 meter
A2
115 . . j . . j
b 5 . . . . .
& b b ˙ b ˙˙ œ˙ œ œ œœ ˙™bb˙˙˙ b n˙œ˙ ™™œ bœ œœ ˙ ™ ˙˙ bb˙œ˙ œ œœ ™™ œ n#œœœ™™ œ˙˙œ nœ
™ œ
The next instance of interlude improvisation bridges the second A and B sections. Figure
b˙ ˙™™ n ˙™ ˙
21 shows Simcock again implying swing in the superimposed 5/4 meter. These four
5
5 5
5 5 5
bars are significantly more complex, as Simcock explores crotchet triplets, displacement,
? bb Œ œŒ bœ bœ œ nœ œ nœ œ
nœ nœ bœ œ
{ b nœ œ bœ œ
syncopation, and across-the-barline phrasing, with the resultant effect being a
nœ bœ

‘stretching of time’ (using subdivisions to create the illusion of changing tempo). The
feeling of the downbeat is exceptionally concealed, as Simcock makes no reference to
the clave or phrasing towards the downbeat.

The left hand ‘comping further adds to the rhythmic disjuncture by playing
mostly offbeats and filling the gaps between right hand phrases. Again, the left hand
makes no references to the clave or signposts any downbeats, additionally obscuring the
meter. Simcock’s improvised melody not only implies swing in the superimposed 5/4
meter, but also creates an added layer of complexity through the extreme juxtaposition
of rhythmic devices familiar to his 5/4 language that interact in unexpected ways with
the underlying meter.

22
? bb ‰ œ ™ œ w ˙˙ ™™
{ b nœ ™
nœ ™ nœ ™ bbœœ w
w ˙™

Interlude
121 5
b
3
j . bœ. œ.
5 œ. œ. œ.
& b b b ww Œ œ bœ
w .
bb œœœ b œœœ bb œœœ œœœ
3 œœ.
? bb œ
bœ Œ J Œ Œ J
{ b nœ œ œ
5 3
5
3

123 5 5
.
b .
&b b œ bœ œ nœ. œ. 3 3
‰ œ.
3
œ. œj
3 3 3
5
J œ. nœj #œ. j j
œ. œ œ. œ œ. n œ
j 4
3
3 .

? bb Œ b œJ Œ œ. œœœœ œœœœ œœœœ bbœœœœ œœœœ 5
Œ Œ Œ Œ
{ b
3
5
3
J
5
J
3
4

Figure 21: Bars 121-124 further implies swing in the superimposed 5/4 meter
5
Swing q = q
B
E¨‹7 GŒ„Š7(#11) EŒ„Š7(#11)
œ œ nœ œ
The last of the interlude improvisations before the bass solo is eight bars long, and for
125 b œ
b 5 œ b œ œ
&b b 4 bœ œ bœ bœ bœ
the purpose of analysis it has been split in half. Figure 22 displays the first four
œ œ œ bœ
œ
œ
œ bœ bb œœœ œœ œœ œœœ
measures at bars 139-142. Simcock again imposes 5/4 swing, and in bars 141 and 142
j j bœ œ œ
J ‰ œJ
? bb 45 ‰ œ ‰ œ Œ ‰ J Œ ‰ J Œ ‰ b
{
further increases the rhythmic interest by grouping the phrases in a 2-2-1 clave rather
b œ
than the expected 3-2 clave.
127
E¨‹7
n œ œ nœ D13(b9)
3 n œ bœ#œ œ œ
bb nœ bœ nœ œ œ
& b nœ œ œ œ œ nœ bœ œ nœ œ
12 3 3
<b>www
w bœœœ bœœœœ ˙˙˙˙ 3
œœœœ œœ
<b>
?Interlude
b w ‰ bbœœœJ
{ 139
bb
b b
& b b œœ Œ
5
Ó
#œ. nœ.
5
œ œ bœ œJ œ œ œ œ
J
œ . .
3 3
nn#œœœœœ n œ
bbnbœœœœ œ n œœœ.
? bb ∑ #n
Œ bbœœœœ Œ n œ

{ b
5 5

141 5 5
#œ œ nœ œ œ bœ nœ bœ nœ b œ bœ nœ bœ œ œ
b nœ #œJ nœ J #œ œJ J J
&b b J J J J ‰
3 3 3 3 3 3 3 3 3 3
#œ ™ n œ ™
? bb #nnn#˙˙˙˙˙ #nnnœœœœ ™™™™ bbnbœœœœ ™™™™ n œœœœœ ™™™™™
{ b Œ ‰ ‰ Œ ‰
5 5

Figure 22: Bars 139-142 further implying swing, and employing the use of groupings
5
143 5 3
b . #œ. . nœ. #œ. . 3 3
&b b œ nœ. œ nœ J ‰ nœ. bœ bœ œ bœ bœ œ. nœj
J . .
23
4 3 3
n˙˙ n œ
# œœ ˙˙
˙ n œ.
? bb n ˙ Ó Œ Œ Œ
{ b
5
5
3
Interlude
139 5
b
5
#œ. nœ. œ œ bœ œ œ œ œ
& b b b œœ Œ Ó J J œ
œ .
3 3

#nnn#œœœœœ bn œœœ.
n œœœ. œ
n
bb œœ
n bbœœœœ
In the next four bars, Simcock begins stretching the time using a combination of
? bb ∑ Œ Œ b œ œ
{ b
changing tuplet figures. Initially, the rate of the 4-over-3 superimposition leaves the
5 5

impression that the tempo has temporarily increased. The phrase is also grouped in
5 5
141
fours, beginning again on beat five of the superimposed 5/4 meter. From there, the
nœ œ bœ bœ
bb
& b #œ nœ #œJ #œ œ œ J œ J
nœ J J
nœ bœ nœ bœ nœ bœ œ
J J J ‰ œ
motif is displaced, beginning again on the second partial of the crotchet triplet that start
3 3 3 3
J 3 3 3
3 3 3
™ ™
on beat three of the superimposed 5/4 meter, and then on one-and of bar 145.
# œ ™
#nnnœœœœ ™™™ n œ ™ ™
? bb #nnn#˙˙˙˙˙ bbnbœœœœ ™™™ œ™
nœœœœ ™™™
Œ ‰ ‰ Œ ‰
{

b
5 5

143 5
5 3
b . #œ. . nœ. #œ. . 3 3
&b b œ nœ. œ nœ ‰ nœ. bœ bœ œ bœ œ. nœj
J J . bœ.
4 3 3
n˙˙
? bb n ˙
n œ
# œœ ˙˙˙ n œ.
Ó Œ Œ Œ
{ b
5
5
3

145
bb 5
. œ5 œj
& b œ œ œ ™ j œr œ œ
≈ j bœ
j
nœ. œ . œ. œ. œ. Œ Ó Ó Œ
bœ™ œ.
? bb Œ Œ Ó Œ Œ Œ Ó Œ Œ Ó Ó Œ
{ b
5 5
œ. &

Figure 23: Bars 143-145 employ time stretching, groupings, displacement, and syncopation

BASS SOLO
A1
Perceived stretching of time
148 E¨Œ„Š7 B¨13(“4)
w
D¨7
w C7
#nnœnœœœ F‹7 B¨7
b w ˙˙ ™™ œœœ Œ Ó Œ bw
w ‰ bœ ™™
&b b w
w ˙™ Ó ‰ JŒ Œ
#n#œœœœ nnn œœœœ ™™™

Simcock occasionally cycles through different tuplet divisions to give the perceived
. #
j .
Ϫ
effect of time slowing down and speeding up, as briefly introduced above. When used
b b œ ?
{ &b b w ˙˙ ™™ œœ Œ Ó Ó Œ w
w ‰ nœœ Œ Œ ∑ n œ
.
‰ b œ™
within a consecutive quaver line, such as bars 88-89 (Figure 24), the effect can be
w .
disorienting to the listener. The technique essentially follows the clave in concept, but
results in a much freer aural feeling of time, with the strength of the gradually widening
tuplet rates implying a tempo change. A repeated melodic shape used through these
subdivisions further enhances this effect.

24
{{ b b w # œ œ™ nnn œœœœ nœœ ™™ œœœ ™™™
? bb nb wœw ‰n œnœJ ‰ œ™ Ó 5 Œ # œ™
bb
49
b ˙ j
&b b ‰ œ™ bœœ™™ œœ ™™ b œœ ™™
nœ œ œ œ œ œ ™ n ˙ œ™
œJ ˙ œ nœ ˙
? A3 ‰ G7bœ ™
88 bb ™
bœB7(#11) j A7(#11) D¨7(#11) b œ n œ
{ b
&b b
b n œ b œ œ bœ
nœ ™ b œ ™
œ nœ bœ nœ bœ œb œ œ w
œ bœ
bœ œ
nœ nœ bœ
˙n™ œ b œ œ œ
œ
4 3
n b œœ ™™ œœ ˙˙ bn˙˙˙ ™™™ ## w
w n œœ. ™™ 4 œœ. ™™
? bb nœœ ™™ œœ ˙˙ w œ™
{ b J

Interlude G7[åÁ] C7 F‹7 D¨7(#11)
51 b˙ œ nFigure 24: Bars 88-89 displaying an example of time stretching using tuplets
œ 5 5
5
3
90
b ˙ œ b œ œ œ œ3 œ b œ 3 n3œ j n œ 3 j 3
b ‰ nœ b œ Œ Œ œ
Œ œ Œ Ó ™ ‰ ‰‰
&b b b w
b
& b w ˙˙Œ™™ ˙˙ ™™ j j
w ˙ ™ ˙ ™ œœœnn# œœœ œ bbbœœœ œœœ‰ J œœœ nœ nœ bœ bœ nbnœ# œœnœ bœ nœœ
nœ b w bœœœ. ™™ 5 nb œœœ. ™™ n œ
˙˙ 5 b˙˙˙ bœœœ 5 œ w
Simcock also begins his solo on the track with this technique (Figure 25). The
?b b b w
n w 5 bn b œ ™ bœ œ ™
{ b b n œ œ˙ œ bœ ˙bœ bœ n œœ œ bœ‰ J Œœ œ œ b œ b œ b œ œœ
complexity and effect of this line is heightened as it comes directly out of the
n œ œ
superimposed 5/4 meter of the interlude and leads into the original 7/4 tempo. Time
feels suspended, due to the rhythm section dropping out for this bar for Simcock’s solo
55
3
5
3 5 3 3
5 5
& b bœ œbb j Œ Œ Œ j Œ Ó™ jŒ Ó œ.
break. Whilst the rhythm section return on the downbeat of the A section, Simcock
œ. œ. œ. œ. œ.
bb œœ œœ œ œœ # œ œ œ bœ œ
nn œœ œœ n œ bb œœ œœ
avoids a clichéd beat one resolution by continuing the idea to maximise its effect.
5 5 5 5
? bb b œ b œ b œ b œ b œ
{ b nœ œ œ b œ œ œ œ œ b œ œ œ bœ œ

œ n œ

PIANO SOLO
A1
59 œ œ E¨Œ„Š7
3
b
&b b œ œ œ œ œ œ œ œ œ œ Œ
œ œ œ œ
3 4:3 ˙
?b Œ Ó Ó Œ ∑
{ bb œ

Figure 25: The start of Simcock's solo (bars 59-60) makes use of time stretching

Figure 26 shows another example of this device. The phrase grouped in minims
beginning at bar 70 seems to speed up at end of bar 71 due to the 4-over-3 tuplet, and
then again when the line develops into quavers.

25
6
A2
70 G7[åÁ] G¨Œ„Š7 F7 œ BŒ„Š7(#11) B¨‹7 E¨13(“4)
bb nœ n œ œ™ b œb œ
nœbœ ‰ J ‰ J J œ ™ Œnœnœnœ n œ #œ‰ œ
n œ œ
& b ‰ J J J nœ ‰bœj nœ œbœbœ ‰ œnœ
n˙ ™ 4 b œœ œœ.
? b n ˙˙ ™™ bbnœœœ œœœ bn˙˙
˙ bbœœœœœ œœœ
œœ Œ ‰ J Œ œ
{ bb Œ Œ Ó Ó Œ Œ ‰ J

Figure 26: Bars 70-72 displaying an example of time stretching

73 F‹7
3
D¨Œ„Š7
nœ bœ nœ
b . j nœ
&b b œ bœ nœ bœ bœ nœ nœ ‰ J ≈ R ‰
Long quaver and quaver triplet lines
œ œœ œœ
? bb Ó œ
‰ ‰ ‰ J Œ
Longer phrases of consecutive quaver lines are used by Simcock to contrast the shorter
{ b
rhythmic phrases, increasing tension and helping to avoid over-reliance on phrasing
within the established 4-3 clave, which is a common tendency when improvising in odd
meters such as this one. Simcock confirmed that he actively attempts to “blur the
74 C‹7 E¨13(“4) A¨Œ„Š7 A¨‹7
bb b œ œ œ™ œJ œ œ ‰ œ bœJ œ bœ œ œ
bœ œ œ œ œ bœ œ
barlines” and “[play] phrases, which are not just [the 4-3 clave in seven],” elaborating
& b œ
further that:
w # œ ™ œ ™ n œ ™ œ ™ .
œ œ
bww #nœœœ ™™™ œœœ™™™ b b œœ ™™ œœ ™™ bbœœ œœ
? bb w bœ ™ œ™ Œ ‰ J Œ
{ b
Trying to make longer phrase lengths, that’s something always I’ve
tried to… work hard to aspire to, because it’s a classic thing for all of us
with jazz; you just play a short phrase and then a different short
phrase, and then you move onto something else. (Personal
communication, October 8, 2016)
Interlude
He goes on to infer that he is “trying to do something which is a bit more overarching,
76 E¨Œ„Š7/B¨ B¨13(“4)
b
and has a longer forward form to it” with his rhythmic approach in pursuit of a freer
bb œ
& nœ œ œ œ œ œ œ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ
improvisational aesthetic in this odd meter. œ œ™ œ œ œ
?
bbb Ó Œ œ™ œ ‰ œJ ˙ œ
{ œ J
Figure 27 displays a four-bar phrase consisting of consecutive quaver lines that
J

avoids the 4-3 clave. The fluidity of the line evokes a Classical aesthetic (particularly
through the left hand counterpoint), building tension over the four bars before releasing
78 E¨Œ„Š7/B¨ B¨13(“4) œ b œ
b bœ œ œ œ b œ bœ œ œ œ œ œ œ bœ œ nœ bœ
& b b œ œ œ œ œ œ œ bœ œ nœ
into a fully harmonised resolution chord at the start of the B section.
œ bœ b œ b œ œ œ œ nœ œ
? bb ˙ œ œ œJ nœ œ
J J J J ‰
{ b

26
w nœœ ™™ œœ™™ bbœœ ™™ œœ™™ bœ
{ ? bb
b Œ ‰ œJ Œ

Interlude
10
76
119
E¨Œ„Š7/B¨ B¨13(“4)
.
& bbbbbb nœ˙ œ œ œ œ œ ™ œ ™œ œ œ ™ œnœjœ œ
& ‰ œ Œ bœœ™ œ œœ ™œ b œœ ™ œ œJ œ˙ œ œ œ œœœ nœœ œ œ˙œ œœ œ™ œ

œœ™ œ œ
J ™
? b
?b bb ‰ ™ Ó Œ ™ œ œ™ œ ‰bœœjœJ ˙
w œ œ œ ™
˙˙ ™ œ œ œ
{ bb œ nœ nœ ™ n œ ™ J bœ w
w ˙™ J

78 E¨Œ„Š7/B¨ B¨13(“4) œ b œ
b œ œ b œ bœ œ œ œ œ œ œ bœ œ
& bb œ œ œ œ œ œ œ b œ b œ œ œ nœ bœ nœ
Interlude
5 œ
œ œ œJ nœ œ3 j œJbœ.bœJ b œ bbœ. œ œœ. 5 œJ œJœ.n œ œ.
121
? bb ˙ œ. ‰
{ & b b ww
w
Œ œ
.
bb œœœ b œœœ bb œœœ œœœ
3 œ .
œœ
? bb
{ b n œ Figure 27: Bars 76-79 consisting of longer consecutive quaver lines
œ œ bœ Œ J Œ Œ J
5 3 3
5

Figure 28 takes the concept of longer consecutive quaver phrases a step further. The
123 5 5
.
b . bœ œ nœ. . 3 3
. 3 3 3 3
5
&b b œ œ j #œ ‰ œ œ. œj
phrase begins with a stream of quavers, before switching to quaver triplets in bar 128,
J œ. nœ . jœ j j 4
3
3
œ. œ . œ œ. n œ
which continue for almost three bars before returning to quavers again. Quaver triplets
.

? bb Œ b œJ Œ œ. œœœ œœœ œœœœ bbœœœœ œœœœ
œ œ
5
Œ Œ Œ Œ
can be considered as an extra gear, adding further intensity to the overarching phrase.
{ b J J 4
3 3 3
5 5

B Swing q = q
E¨‹7 GŒ„Š7(#11)
125
œ b œEŒ„Š7(#11)
œ œ nœ œ
b 5 œ bœ bœ bœ œ b œ
&b b 4 œ b œ
œ œ b œ œ œ bœ b œœ œœ œœ œœœ
b œ b œ œ œ œ
? bb 45 ‰ œj ‰ œj Œ ‰ J Œ ‰ J Œ ‰ J ‰ œJ
b
{ b œ

127
E¨‹7
n œ œ nœ D13(b9)
3 n œ bœ#œ œ œ
b nœ bœ nœ œ œ œ
&b b nœ œ œ œ œ nœ bœ œ nœ
<b>www
w bœœœ b œœœ ˙˙˙ 3
œœœ 3 3
œœœ
? bb <b> w œ ˙ œ ‰ b b œ œ
{ b J

27
11
C©‹7 F©7 B‹7 E7(#11)
129 <#> œ n œ b œ
n œ b œ b œ œ#œ œ œ œnœ 3 b œ bœbœ
b bœ œbœ nœ œnœ#œ œnœ #œ bœbœ b œ
&b b #œ œ
3 3 3 3 3 3 3 3 3
<b> œœœ b œœœ ˙˙˙ œœ n#nœœœœ ˙˙˙˙ œœ œœ ™

? bb <b><b> œœ bœ ˙ nœ ‰ J‰ # œ œ™
{ b J
3

B¨7(#9) A¨13(“4) A7(b9) D7[åÁ]


131 b œ n œ œ b œ n œ œ. n œ œ œ nœ #œ nœ
b nœ bœ œ œ bœ œ œ nœ 7
&b b ‰ nœ œ 4
3
nbbwww bœœœœ ™™™™ œœœœ œn œœ
? bb w Œ ‰ #œ œ. 7
{ b 4

Figure 28: Bars 125-132 demonstrating consecutive quaver lines, evolving into consecutive quaver
triplets
5
A3 Straight q = q

133
b 7 . .
& b b 4 bw ˙™
œ˙ ™ œ œ b ˙˙ œ ˙ œ bœ
Other examples of Simcock using extended phrases of consecutive quaver lines can be
n# ˙ ™
found in bars 81-84, 217-220, 232-234, and 244-246 (Appendix A).
5 5 bœ
? bb 47 b œ nœ b œ œ b œ bœ
{ b œ nœ nœ
5

135 . . . . . . j
b
& b b œ˙ ™ œ bœ œ œ ˙ ™ b ˙˙ œ œ ™ œj #œœ ™ œ ˙ œ nœ
n ˙™ b˙ b˙œ˙ œœ ™ n œ™ ˙
5
? bb nœ œ5 nœ œ bœ
œ nœ
{ b œ nœ 5

137
b ˙ j
& b b ‰ œ™ bœœ™™ œœ ™™ œ œ œ œ™
b œœ ™™ nœœ œ˙
œ nœ ˙ œJ n œ™
Ϫ
. Jj
? bb ‰ bœ ™ bœ ™ ˙˙ ™™
bœœ
{ b nœ ™ bœ ™ w
w

28
Chapter 4: Harmonic Analysis

Devices used in the arrangement


The Way You Look Tonight
From Perception (2007)
Jerome Kern
Fast modern jazz q = 260 Arr. Gwilym Simcock
The introduction/interludes/coda vamp tonal centre Transcribed by Brodie Stewart

INTRO
A central pillar of the arrangement is the vamp that makes up the introduction,
b 7
&b b 4 ∑ ∑ ∑ ∑
interludes, and coda. This vamp is an adaption of the last four measures of each A
{
section of the original tune, which features an instrumental interlude melody. Simcock
discusses the use of this material (unusually, he refers to this feature of the tune as the
Fast modern jazz q = 260
‘tag,’ where conventionally the last two bars of the form usually carry that title), saying
bb 7 ∑ ∑ ∑ ∑
& b4
that the tag is:
Bass Add Drums Add Piano
5 5 5 5
? bb 47 e e be be be e e be e e e be be be e
{ bMaybe a little bit unusual for a standard, having [the tag] there. So I
ne ne e be œ
guess that turning that tag [of the composition] into the… tag of the
[arrangement]… Basically… using the concept of it having a tag but
then changing it to the one that I wanted. (Personal communication,
October 8, 2016)

Essentially, the usual I-vi-ii-V interlude that usually occurs at the conclusion of the A
5
section melody has been adapted into a pedal-based idea that is used as a vamp and
&b b
b ∑ ∑ ∑ ∑
{
transition section at various points of the arrangement, creating a very different and
more modal aesthetic. The tonal centre is predominantly E Lydian (Figure 29), where E
is the flat two of Eb major, resulting a in a reharmonisation of the formerly tonic melody
5 3
note as the major 7
∑ th of the new chord. The last half of the two bar phrase adds a brief
b
&b b ∑ ∑ Ó Ó
nn# œœœ œ
moment of tension via a similar sideslipping idea, with the right hand outlining A major
5 5 5 5

and the left hand playing an F (implying F Lydian Augmented), creating a voicing that
? bb
{ b n œ œ œ bœ bœ bœ œ œ bœ œ n œ œ œ bœ bœ bœ œ œ bœ œ
wants to resolve downwards to the established E Lydian.

9 EŒ„Š13(#11)
b
& b b bw ˙˙˙ ™™ w ‰ j ‰ j ‰ j
bb ww ™ ww nn# œœœ n œ #œ
5 5
? bb bœ bœ bœ bœ
{ b nœ œ œ œ œ œ

Figure 29: Sample figure of the introduction/interludes/coda vamp

29
38
299

& bbb ∑
{
The vamp is of particular interest because it simultaneously acts as a point of rest
between the A and B sections and a point of slight tension due to the nature of the flat
two tonality: it in fact resolves strongly via sideslipping to both the Eb major and Eb
. .
b b œ ™ j Œ
& b œ nœ œ
n œœœ™™
minor tonalities of the A and B sections, respectively. bnœœœ
˙ b ˙˙ Œ
#˙ J
? b n˙ ˙ n œ ™
{ b bSimcock explores another approach during the coda vamp by moving around a
˙ œ™
Ϫ
major 7 (often with a ninth) chord, following the bassline in parallel to create a series of
13sus4 voicings over each note. The colour of this tonality provides harmonic interest to
the listener, particularly in the context of E Lydian.

300 EŒ„Š13(#11) 5
5 5 3 3 5
b j Œ Œ Œ #œj Œ
& b b b ˙˙ Ó Œ Œ Œ b nœœ nœ Œ Œ
˙ #nn#nœœœœœ bbnœœœœ bbb œœœœ nbnnœœœœœ
#n#œœœœ œœœœ n# œœœ n b œœ bb œœœ
. . . . .
5 5 5 5
? bb
{ b n œ œ œ bœ bœ bœ œ œ bœ œ n œ œ œ bœ bœ bœ œ œ bœ œ

Figure 30: Bars 300-303 demonstrate an example of how Simcock creates harmonic interest by
moving a chord shape around

Reharmonisation of the A sections


304
bb ∑
{& b
Simcock’s arrangement has undergone extensive reharmonisation. The core of this
aesthetic is based on the interaction between the new bassline and the melody, which
manifests in various ways in different sections of the tune. In each of the figures, the
D7
.
G7[åÁ]
.
C‹7 F7

standard chord changes have been placed on the top stave for comparison. The
bbb œ œ ™ j Œ
& œ˙ nœ ˙ œ
n œœ™™ n œ
b œœ Œ

reharmonised chord changes have been inferred through analysis of the bassline in
# ˙ J
? bb n˙ ˙
relation to the melody, and some extensions and alterations have been applied based on
n œ
œ™™ j bœ
{ b ˙ œ
what Simcock played during the Skype interview in explaining the new chord
œ

progression. Importantly though, Simcock mentioned during this demonstration that


“some of them don’t really translate into whole chords. Some of them were only
supposed to be passing linear things,” further corroborating his horizontal approach to
reimagining this section (personal communication, October 8, 2016).

The reharmonisation that occurs in these sections is dictated by the


contrapuntal interaction of the bassline and melody. Counterpoint is the combination of
different melodic lines that are related harmonically (‘vertically’) while still holding

30
some degree of ‘horizontal’ independence (Jackson, 2016). As Simcock described in the
interview, he likes “harmony being disguised in a horizontal way” (personal
communication, October 8, 2016). Inspiration for this style of arranging may have be
emergent from his classical upbringing.

The clearest example this device occurs is in the first A section of the melody
(Figure 31), where there is no chordal accompaniment. Here, Simcock uses two
independent lines; one playing the melody, and the other the bassline.
3


MELODY
A1
17 E¨Œ„Š7 C‹7 F‹7 B¨7 E¨Œ„Š7 C7 F‹7 B¨7
b
{&b b V V V V V V V V V V V V V V V V V V V V V V V V V V V V
µ
b . .
&b b œ Œ Ó œÓ
œ œ. œ. œ œ ˙™ œ œ. œ œ œ ˙ ™ œ œ. œ. œJ œ œ. œ. œJ
5 5
? bb œ œ bœ bœ œ bœ nœ nœ bœ œ œ
{ b œ nœ nœ nœ b œ nœ bœ œ n œ
5 5

Figure 31: Simcock's reharmonisation of the first A section (first four bars)

The melody and bassline interacting create a counterpoint line that results in interesting
tensions and a very different aesthetic to the ‘standard’ progression of the original.
Some harmony is implied by this counterpoint, although is not orchestrated this way
and were only intended as passing chords. Some of these chords have a clear
relationship to the original changes (such as an implied E7alt in bar 20), but in general it
the strength of the individual lines and their interaction that is the feature rather than
an obvious sequence of functional chords.

21 The last two bars of the A section (Figure 32) feature counterpoint in three
B¨‹7(„ˆˆ11) E¨7 A¨Œ„Š7 F‹7 B¨7
b
parts. In this example, the melody is the first (top) voice, a moving counter line in the
{&b b V V V V V V V V V V V V V V
second (middle) voice, and thirdly the bassline. In the interview, Simcock specifically
Cyclic

referenced this bar, saying that he likes those “little passing notes… [because] you get
(iii-VI [tritone sub]-II-V-I in Gb major)
Reharm.

tension and then release” (personal communication, October 8, 2016).


B¨‹7(„ˆˆ11) A7(#11) A¨Œ„Š7 D¨9 G¨Œ„Š7
b ˙ j
& b b ‰ œ ™ bœœ™™ œœ ™ b œœ ™ œ œ œ œ™
Looking at the chords inferred by this three-part harmony, Simcock has adapted
™ ™ œ
œJ ˙ œ œ nœ ˙ n ˙ œ™
a iii-VI-ii-V progression to harmonise the Eb melody note, leading cyclically towards the
? bb ‰ bœ ™ ™ j
{ b nœ ™ bœ ™ bœ bœ w ˙™
31
µ
b . . œ œ. œ. œ œ œ. œ. œJ
&b b œ Œ Ó œÓ
œ œ. œ. œ œ ˙™ œ œ. œ œ œ ˙ ™ J
5 5
? bb œ œ bœ bœ nœ œ bœ nœ nœ bœ œ œ
{ b œ nœ nœ b œ nœ bœ œ n œ
main point of interest of the phrase: the Gbmaj7 that has replaced the expected Abmaj7
5 5

resolution. Given the inherent strength of cyclic patterns, this extensive change does not
sound out of place but instead adds colour and harmonic momentum. The Gbmaj7 is
also considered a point of rest, allowing the interlude to have more of an impact.
Simcock feels that:

I like the idea of having a break in the bar… So it feels like you’ve
arrived… at a point when you get to that last note of the tune. As
opposed to that just being the end of the phrase. (Personal
communication, October 8, 2016)

21 B¨‹7(„ˆˆ11) E¨7 A¨Œ„Š7 F‹7 B¨7


bbb
{ & V V V V V V V V V V V V V V
Cyclic
(iii-VI [tritone sub]-II-V-I in Gb major)
Reharm.

B¨‹7(„ˆˆ11) A7(#11) A¨Œ„Š7 D¨9 G¨Œ„Š7


b ˙ j
&b b ‰ œ™ bœœ™™ œœ ™™ b œœ ™™ œœ œ˙ œ œ œ œ ™ n ˙ œ™
J œ nœ ˙
?b ‰ ™ bœ ™ j
{ b b bœ nœ ™ bœ ™ bœ w ˙™

Figure 32: Simcock's reharmonisation of the first A section (last two bars)

The first four bars of second A section are more significantly altered than the first
(Figure 33). The melody and bassline are orchestrated with chords, adding an extra
layer of complexity by often positioning the melody notes as more colourful extensions.

32
5
A2
27 E¨Œ„Š7 C‹7 F‹7 B¨7 E¨Œ„Š7 C7 F‹7 B¨7
b
{&b b V V V V V V V V V V V V VV VVVV V VV VVVV VVV
Modal Cyclic
Submediant Reharm. interchange Alteration
(vi) sub. (I-VI-II-V in mediant (III))
+ inversion

C‹9 EŒ„Š13 F(„ˆˆ9)/A B¨7[âÄ“4] G13(#11)


5 . . . . E13[âÄ] AŒ„Š7(#11)
. . jD7[âÀ] . . j
b œ œ nœ
& b b ˙˙˙˙ ™™™™ b ˙˙˙ œ˙ ™ œ œ œ œ ˙™bb˙˙˙ bœ
bnn˙œ˙˙™™™ œ œœ ˙ ™˙˙˙
œœœ
bb˙œ˙ œœ ™™ n#œœœ™™ ˙˙
˙™
5 5
5 5
? bb œ œ bœ bœ œ nœ œ nœ5 œ nœ b œ
5
œ bœ 5
{A2
27
b
b
E¨Œ„Š7

C‹7

F‹7 B¨7
œ b œ œ
E¨Œ„Š7 C7
nœ nœ
F‹7 B¨7

{ & b b VFigure 33: Simcock's reharmonisation of the second A section (first four bars)
VV V V V V V V V V V V V V V V V V V V V V V V V V V
Modal Cyclic
B¨‹7(„ˆˆ11) E¨7 A¨Œ„Š7 F‹7 B¨7

31 Submediant Reharm. interchange Alteration
(vi) sub (I-VI-II-V in mediant (III))
b + inversion
{&b b V V V V V V V V V V V V V V
The last two bars of this section mirror those of the first A section, albeit with slight
C‹9 EŒ„Š13 F(„ˆˆ9)/A B¨7[âÄ“4] G13(#11) . E13[âÄ] AŒ„Š7(#11)
. . jD7[âÀ] . . j
b 5 . .
Cyclic .
Reharm.

& b b ˙˙˙˙ ™™™
(VI-II-V in D major [tritone of original Ab])
alterations (Figure 34). The target chord is still Gbmaj7, although the three chords that
bœ œ œœ œ nœ
œ
b ˙˙˙ œ˙˙™™ œ œ œ œ ˙™bb˙˙˙ bnn˙œ˙˙™™™ œ œœ ˙ ™˙˙˙ bb˙œ˙ œœ ™™ n#œœœ™™ ˙˙
precede it suggest a VI-II-V turnaround in D major, the tritone of Abmaj7 (the original
B¨‹7(„ˆˆ11) B9 EŒ„Š7(#5) A9(#11) G¨Œ„Š7
5 5
b ˙ 5 5 j
chord).
& b b œ 5 œ œ ™ 5
{{ ?
bbb œ‰ œn™ œ bœbœbœ™ œ nœ œ ™ nœ b œœ ™ œ bœœ œ˙ nœ œœn œ ˙nœ nœœ bœn ˙ œ™œ bœ
™ œ ™ ™ nœ œ œ œ
Jj nœ

? b œ w ˙˙ ™™
b b ‰ œ ™ nœ ™ n œ ™ nœ ™ bbœœ w w ˙™
31 B¨‹7(„ˆˆ11) E¨7 A¨Œ„Š7 F‹7 B¨7
bbb
{ & V V V V V V V V V V V V V V
Cyclic
(VI-II-V in D major [tritone of original Ab]) Reharm.

B¨‹7(„ˆˆ11) B9 EŒ„Š7(#5) A9(#11) G¨Œ„Š7


b ˙ j
&b b ‰ œ™ bœœ™™ œœ ™™ œ œ œ œ™
b œœ ™™ nœœ œ˙ œ nœ ˙ n ˙ œ™
Jj
? bb ‰ œ ™ œ w ˙˙ ™™
{ b nœ ™ nœ ™ nœ ™ bbœœ w
w ˙™

Figure 34: Simcock's reharmonisation of the second A section (last two bars)

The third A section bears close resemblance to the previous A section in terms of texture
and harmonic choices, granting the listener with familiarity in a harmonically dense
arrangement. The last two bars are identical to the first A section; the harmonic choices
for the first four bars are outlined in Figure 35, below.

33
bbb ™ JŒ Ó Œ ‰ ‰
{ 4

Straight q=q
A3
45 E¨Œ„Š7 C‹7 F‹7 B¨7
bb 7
{& b 4 V V V V V V V V V V V V V V
Modal Modal
Mediant Alteration
interchange + alterations interchange
(III) sub.
+ inversion + inversion

G7½ C13[âÄ]/E F(„ˆˆ9)/A B¨7[âÄ“4]


b 7 ™ j . .
& b b 4 bŒw œ ˙
bnb˙˙˙ ™™™ œ˙ ™ œ bœ œ œ ˙™bb˙˙˙
˙™
5
? bb 47 5 bœ bœ
bœ nœ bœ œ bœ
{
8
b nœ nœ nœ
5

47 E¨Œ„Š7 C7 F‹7 B¨7


bb
{& b V V V V V V V V V V V V V V
Cyclic Reharm. Tritone
(I-VI in mediant (III)) sub.

G13(#11) . . E13[âÄ] E¨7(“4)/G. . j E7½ . . j


b œ œ nœ
& b b b n˙œ˙ ™™ œ bœ œ œ ˙ ™ ˙˙ bb˙œ˙
œ œ ™ œ #œœ ™ œ ˙
œ ™ n œ™ ˙
n ˙™ ˙
5
? bb nœ œ5 nœ œ bœ œ nœ
{ b œ nœ 5

Figure 35: Simcock's reharmonisation of the third A section (first four bars)

Reharmonisation of the B section

Traditionally, the tonality of the bridge modulates to Gb major. Simcock chooses instead
to diatonically substitute Gb major for its relative Eb minor, which coincidentally is the
tonic minor of the tune.

The chords in the first four bars of the B section have been simplified, resulting
in a greater sense of space that contrasts the density of the A section (Figure 36).

49 B¨‹7(„ˆˆ11) E¨7 A¨Œ„Š7 F‹7 B¨7


& bbb V V V V V V V V V V V V V V
{

B¨‹7(„ˆˆ11) A7(#11) A¨Œ„Š7 D¨9 G¨Œ„Š7 34


b ˙ j
&b b ‰ œ™ bœœ™™ œœ ™™ b œœ ™™ nœœ œ˙ œ œ œ œ ™ n ˙ œ™
J œ nœ ˙
? bb ‰ bœ ™ bœ ™ j
7
5

Swing q=q
B
37 G¨Œ„Š7 Gº7 A¨‹7 D¨7 G¨Œ„Š7 B¨‹7 Aº7 A¨‹7 D¨7
b 5
{ & b b 4 V V V VV V VV V V V V V V V V V V V V
Submediant Sideslip Submediant Sideslip
(vi) sub. (vi) sub.

E¨‹11 EŒ„Š13(#11) E¨‹11 D13(b9)


b 5 œ ˙™ bœ ˙œ nœ
& b b 4 Œ ‰ œJ œ œœ œ bœ bœ œ ˙ œ ‰ œ œbœ œ œ Œ ‰ œJ
˙˙ ™™ ˙˙ bb b˙˙˙˙ ™™™ œœœ œœ ˙™ bœœœœœ bœœœ ™ ™
b
˙ ˙ ™ ˙ ˙ ˙ ™ œ œ ˙˙˙˙™™™™ œœœ ™™ œ
{? bb 45 b ˙ ™
b
˙ ™ ‰ œJ ‰bœœJ b
‰ JŒ Œ ‰ J

41 Figure 36: Simcock's reharmonisation of the B section (first four bars)
G¨Œ„Š7 Gº7 A¨‹7 D¨13 G¨Œ„Š7 C¨Œ„Š7 F‹7(„ˆˆ11) B¨7
b 7

{&b b V V V VV V VV V V V V V V V V V V VV 4
Cyclic Mediant Submediant Cyclic
(iii-VI-ii-V in A major [tritone of Eb]) (iii) sub. (VI) sub. (II-V in mediant (III))

The Emaj13#11 in the second bar is sideslip used to reharmonise the diatonic melody in
the same way as the vamp. In the fourth bar, Simcock sideslips again, reharmonising the
C©‹9 F©13(b9) B‹9 . E13(#11) B¨‹7 A¨13(“4) A7(b9) D7[åÁ]
b œ
Œ bœ ˙ œ œ bœnœ bœ œ ˙ j w bœnœ bœ œ œ 47
& b b b˙ œ œ ˙ b˙ ™ Ó
‰ œ ‰ œ œbœ œ œ
Eb melody note from a fifth to a flat nine (in the D13b9 voicing). During a demonstration
œ Œ J ™ J œnœ
b bœœœœ ™™™™ œœœœ ˙˙ ###œœœœ ™™™™ bnn˙˙˙˙ ™™™™
of the tune in the interview, Simcock paused at this chord and explained that “if you’ve
b œœœ ™™™ bn˙˙ œœ b˙˙
7
? bb b œ ™ œ Œ ˙ Ó Œ ‰ ‰
{
got certain notes that are high points of the phrase, you know, crucial melodic notes of
b J
the phrase, trying to harmonise them in a way that they become a very fruity extension”
4

is something he actively pursues (personal communication, October 8, 2016). This


sideslip also functions as a pivot, as it is a tritone substituted V chord for the next bar.
5

Straight q = q
A3
Figure 37 shows the next four bars of the B section, which contain extensive but
E¨Œ„Š7 C‹7 F‹7 B¨7
45

bbb 7
more conventional reharmonisation. Interestingly, Simcock plays an Eb melody note,
{& 4 V V V V V V V V V V V V V V
which according to standard music theory is considered an ‘avoid’ note. Simcock
Modal Modal
Mediant Alteration
interchange + alterations interchange
(III) sub.
+ inversion + inversion
disagrees, proclaiming that “I quite like having those little tasty things in there that
G7½ C13[âÄ]/E F(„ˆˆ9)/A B¨7[âÄ“4]
sound a little bit odd like [plays a D# melody note on a Bm9 chord], you get that for a
b ™ j . .
b 7 Œ œ ˙
& b 4 bw ™™ œ˙ œ bœ œ œ ˙™bb˙˙˙
second, but it’s almost intangible because it passes so quickly” (personal
b b ˙˙
n ˙™ ˙™™
communication, October 8, 2016). Similar ‘avoid’ note tensions are also apparent in A
5
5
bœ bœ
? bb 47
sections.
b nœ bœ nœ b œ œ bœ


{ nœ nœ
5

35
b 5 bœ œ ˙™ œ bœ ˙œ nœ
& b b 4 Œ ‰ œJ œ œœ œ bœ œ ˙ œ ‰ œ œbœ œ œ Œ ‰ J
˙˙˙ ™™™ ˙˙˙ bb b˙˙˙˙ ™™™™ œœœœœ bœœœœœ ˙™
b
˙
? bb 45 b ˙ ™ ˙ ˙ ˙™ ˙˙˙˙™™™™ b
bœœœœœ bœœœ œœœ ™™™ œ ™
{ b ‰ J‰ J ‰ JŒ Œ ‰ J

41 G¨Œ„Š7 Gº7 A¨‹7 D¨13 G¨Œ„Š7 C¨Œ„Š7 F‹7(„ˆˆ11) B¨7


b 7
{&b b V V V VV V VV V V V V V V V V V V VV 4
Cyclic Mediant Submediant Cyclic
(iii-VI-ii-V in A major [tritone of Eb]) (iii) sub. (VI) sub. (II-V in mediant (III))

C©‹9 F©13(b9) B‹9 . E13(#11) B¨‹7 A¨13(“4) A7(b9) D7[åÁ]


b œ j
& b b bŒ˙ bœ ˙œ œ ˙ œ bœ˙ b™œnœ bœ œ ˙Ó ‰ œ ‰ œ œbœ œ œ œ wŒ bœnœ ™ bœ œ œœnœ 47
J J
b œœœ ™™™ œœœ ˙˙ ##œœœ ™™™ bnn˙˙˙ ™™™ œœœ ™™™ bn˙˙ œœ b˙˙
b œ ™
? bb b œ ™ œ Œ ˙ Óœ # œ ™ ˙ ™ b 7
{ b J Œ ‰ ‰ 4

Figure 37: Simcock's reharmonisation of the B section (last four bars)

Straight q=q
A3
Solo form chord changes
45 E¨Œ„Š7 C‹7 F‹7 B¨7
b 7
{&b b 4 V V V V V V V V V V V V V V
The solo chord changes the arrangement contrast the harmonic complexity and modern
Mediant
Modal Modal
interchange + alterations interchange Alteration
sound of the reinterpreted melody, bearing closer resemblance to the standard
(III) sub.
+ inversion + inversion

progression and creating a form that is more conventional to improvise on. Simcock did
G7½
j
C13[âÄ]/E F(„ˆˆ9)/A
. . B¨7[âÄ“4]
bb 7 Œ ™
provide a lead sheet of the changes (Appendix D), but this is an evolved chart (labelled
b
& 4 bw œ ˙ œ˙ ™ œ bœ œ œ ˙™bb˙˙˙
bnb˙˙˙ ™™™
˙™
Tidied 2014 in the filename), and thus often has discrepancies with recorded solo from
5
2007. Thus, the changes notated below are all derived from the analysis performed
? 7 5 bœ bœ
b b œ nœ b œ œ b œ
{ b b 4 nœ nœ nœ
earlier on the actual recording, unless otherwise specified. 5

A1 follows the standard changes reasonably closely (Figure 38), often


condensing two related chords into one (such as the combination of the ii-V to create a
Bb13sus4).

36
10
PIANO SOLO
A1
60 E¨Œ„Š7 C‹7 F‹7 B¨7 E¨Œ„Š7 C7 F‹7 B¨7
b
{&b b V V V V V V V V V V V V V V V V V V V V V V V V V V V V
Bb (V) Pedal Tritone Tritone
sub. of III sub.

E¨Œ„Š7/B¨ B¨13(“4) D¨7 C7 B7 B¨7


10
b
PIANO SOLO
{ & b b V VV V VVV V VVV V VV V VVVV VV V VV V VVV
A1
60 E¨Œ„Š7 C‹7 F‹7 B¨7 E¨Œ„Š7 C7 F‹7 B¨7
b
64 bB¨‹7(„ˆˆ11) E¨7 A¨Œ„Š7 F‹7 B¨7
{ & bb V V V V V V V V V V V V V V V V V V V V V V V V V V V V
{ & b b V V V Bb (V)
V PedalV V V Tritone
V V V V Tritone
V V V
sub. of III sub.
Common variation:
E¨Œ„Š7/B¨ B¨13(“4) D¨7 C7 B7 Backdoor V B¨7
bb B¨‹7 E¨7 A¨Œ„Š7 D¨7
{ & bbbb V V V V V V V V V V V V V V V V V V V V V V V V V V V V
{& V V V V V V V V V V V V V V

64 B¨‹7(„ˆˆ11) E¨7 A¨Œ„Š7 F‹7 B¨7
bb Figure 38: Harmonic analysis of A1 solo changes
{& b V V V V V V V V V V V V V V

Common variation:
Backdoor V
B¨‹7
Interlude E¨7 A¨Œ„Š7 D¨7
Similar to the first two bars of the A1, the interludes are reharmonised with a V pedal
b
66 b b E¨6 C‹7 F‹7 B¨7 E¨Œ„Š7 C‹7 F‹7 B¨7
{& V V V V V V V V V V V V V V
(Figure 39).
bbb
{& V V V V V V V V V V V V V V

E¨Œ„Š7/B¨ B¨13(“4)
bb
Interlude
b
{ & V V V V V V V V V V V V V V
66 E¨6 C‹7 F‹7 B¨7 E¨Œ„Š7 C‹7 F‹7 B¨7 E¨6 C‹7 F‹7 B¨7 E¨Œ„Š7 C‹7 F‹7 B¨7
bb
{ & b V V V V V VV V V V V V VV V V V V V VV V V V V V VV
Bb (V) Pedal
68 E¨6 C‹7 F‹7 B¨7 E¨Œ„Š7 C‹7 F‹7 B¨7
bbb V V V VB¨13(“4)
{ & bE¨Œ„Š7/B¨ V V V E¨Œ„Š7/B¨
V V V VB¨13(“4)
V V V
{ & b b V V V V V VV V V V V V VV V V V V V VV V V V V V VV

E¨Œ„Š7/B¨ B¨13(“4)
bb
{& b V V VFigure 39: Harmonic analysis of interlude solo changes
V V V V V V V V V V V
70
A2
E¨Œ„Š7 C‹7 F‹7 B¨7
bb
A2 sees a slight increase in the harmonic complexity, making use of tritone substitutions
{& b V V V V V V V V V V V V V V
and reharmonising I chords to iii chords (Figure 40).
D¨7 C7 F7 A¨‹7

& bbb V V V V V V V V V V V V V V
{

37
11

A2
70 E¨Œ„Š7 C‹7 F‹7 B¨7 E¨Œ„Š7 C7 F‹7 B¨7
& bbb V V V V V V V V V V V V V V V V V V V V V V V V V V V V
{
Tritone Modal Modal Common
iv minor
sub. of III interchange interchange variation

D¨7 C7 F7 A¨‹7 G‹7(b5) C7 F‹7 B¨7


bb
{& b V V V V V V V V V V V V V V V V V V V V V V V V V V V V

74 B¨‹7(„ˆˆ11) E¨7 A¨Œ„Š7 F‹7 B¨7


bbb
{ & V V V V V V V V V V V V V V
Tritone Modal Common variation:
sub. interchange Backdoor V

B¨‹7 A7 A¨13(“4) D¨7(“4)


b
{&b b V V V V V V V V V V V V V V

Figure 40: Harmonic analysis of A2 solo changes

The B section essentially follows the same changes as the B section in the head.
Interlude
76 E¨6 C‹7 F‹7 B¨7 E¨Œ„Š7 C‹7 F‹7 B¨7
bb V V V V V
{ & b A3 is of particular interest as it is harmonically more active. As outlined in
V V V V V V V V V
Figure 41, the root movement (and some voicing structures) are similar to that of A3 in
the head. Whilst some of these chord qualities have been varied slightly, the genesis of
E¨Œ„Š7/B¨ B¨13(“4)
the structural idea is clear.
b
bb
{& V V V V V V V V V V V V V V
The first two bars feature a series of parallel 7#11 chords, with Db7#11 being
the target. This chord, a dominant built from the bVII of the key, is a common substitute
78 E¨6 C‹7 F‹7 B¨7 E¨Œ„Š7 C‹7 A¨‹7 D¨7
for a V chord, and is used throughout the arrangement to approach the tonic resolution.
b
&b b V V V V V V V V V V V V V V
{
Simcock notes that parallel progressions such as this make for a useful springboard for
soloistic ideas:
E¨Œ„Š7/B¨ B¨13(“4)

{ & b Something that I’ve always really enjoyed in improvising is having a lot
bb V V V V V V V V V V V V V V
of chords to deal with. In fact, I almost enjoy that way more than if
you’re just on a one chord vamp or something, because it’s the way
that you navigate between the chords which is kind of fun. And trying
to create something horizontal over these very vertical things is
something I really – really enjoy that challenge. (Personal
communication, October 8, 2016)

38
13

A3
88 E¨Œ„Š7 C‹7 F‹7 B¨7 E¨Œ„Š7 C7 F‹7 B¨7
b
{&b b V V V V V V V V V V V V V V V V V V V V V V V V V V V V
Parallel 7#11 chords Mediant Modal
Mediant Alterations Alterations
(III) sub. interchange
(III) sub.
+ alterations
G7 B7(#11) A7(#11) D¨7(#11) G7½ C7½ F7½ B¨7½
b
{&b b V V V V V V V V V V V V V V V V V V V V V V V V V V V V

92 B¨‹7(„ˆˆ11) E¨7 A¨Œ„Š7 F‹7 B¨7


b
{&b b V V V V V V V V V V V V V V
Common variation:
Backdoor V
B¨‹7 E¨7 A¨Œ„Š7 D¨7
bbb
{ & V V V V V V V V V V V V V V

Figure 41: Harmonic analysis of A3 solo changes

The solo vamp

At the end of Simcock’s solo, a new vamp section occurs, which also forms the basis of a
second solo section after the bass solo. Figure 42 shows these chord changes lined up
against the standard interlude changes.


14

Interlude
94 E¨6 C‹7 F‹7 B¨7 E¨Œ„Š7 C‹7 F‹7 B¨7 E¨6 C‹7 F‹7 B¨7 E¨Œ„Š7 C‹7 F‹7 B¨7
bbb
{ & V V V V VVV V V V V VVV V V V V VVV V V V V VVV
E¨/G A¨13(“4) A13(“4) B¨13(“4) E¨/G A¨13(“4) C13(“4) E13(“4)
b
{&b b V V V V V V V V V V V V V V V V V V V V V V V V V V V V

Figure 42: A sample of the solo vamp

The use of suspensions is a notable characteristic of Simcock’s playing and arranging on


this tune, whereby he often replaces expected 7 chords with a 13sus4 voicing. The result
98 E¨6 C‹7 F‹7 B¨7 E¨Œ„Š7 C‹7 F‹7 B¨7
is a rich, colourful sound that creates forward momentum while feeling quite open,
b b
{& b V V V V V V V V V V V V V V

E¨/G A¨13(“4) A13(“4) B¨13(“4) 39


b œ œ
&b b œ œ œ bœ œ œJ œ nœJ nœ nœ œ nœ œ œ bœ œ œ œ œ œ œ œ
n œœœ.
bœœœœ ™™™™ ˙˙˙˙ b œœœ ™™™
bœœ ™
œœœ ™™™
œœ™™ n n # œœœ ˙˙˙
n nœœ ˙˙ bn œ
bœ œœœœ ™™™™
?
particularly to solo on (Levine, 1989, p. 23). Occasionally, he will also play G13sus4 in
place of the Eb/G to create a series of parallel 13sus4 chords.

Discussing the thinking behind the vamp, Simcock stated that he “quite [likes]
PIANO SOLO 5

finding a pedal point” that give you “a little bit of tension… so when it comes back
A1
60 E¨Œ„Š7 B¨13(“4) œ bœ bœ œ
around again it feels like you’ve arrived somewhere” (personal communication, October
3
b J J
&b b œ œ œ œ Œ ∑
8, 2016). It should be noted here the discrepancies between Simcock’s lead sheet and
œ œ ˙ b˙™ bb˙˙ ™™
the recorded track, most notably bar 4, which has a C13sus4 and an E13sus4 in place of
?b ∑ ∑ ˙™
{ bb
the Ao7 and Bbsus13 respectively. Simcock also always plays Ab13sus4 instead of
Abmaj, and A13sus4 instead of Ao7. On the lead sheet, it is clear that the Eb melody note
D¨7 C7 B7 B¨7
62 œ bœ bœ œ œ nœ œ nœ œ #œ nœ nœ bœ
that belongs to each chord is the pedal Simcock refers to. However, on the actual
bb J J J J œ œ nœ ‰ nœJ
& b
recording not every chord contains this pedal note in the left hand voicing (the right
nœ ™ # œ ™
bww n ˙˙ ™™ œœ # œ ™™ œ ™™ œ ™™
hand occasionally references it) – the genesis of the idea is still clear though, especially
?b b w w n ˙˙ ™™ œœ #nn œœœ ™™ ˙˙˙ ˙ bœ nœ
{ bb
given the implied Eb home tonality.
J

64 He further explained that he “[tries] to work on [that] with compositions, maybe


B¨‹7 E¨7 A¨Œ„Š7 D¨7 œ
œ œ œ œ
in small blocks like that, but also larger blocks,” as well as “ending the cycle so that you
bb b œ b œ nœ b œ œ œ b œ b œ ‰ J
& b nœ œ #œ nœ bœ bœ nœ œ œ b œ œ œ
n œ
feel like when you get back to the top again you’ve gone to a new place” (personal
nbbnœœœœ ™™™™ nœœœœ ™™™™ . ˙˙ œœ b ˙˙ ™™™

œ
communication, October 8, 2016).
? bb Œ Ó Œ ˙
{ b

Devices used in the improvisation


Interlude

Sideslipping
66 E¨Œ„Š7/B¨
b œ bœ j
&b b ‰ J œ ‰ œ
J œ œ ‰ œ œ œ œ œ
A technique that sees extensive use is sideslipping (temporarily shifting a phrase or
?b
voicing up or down a semitone to increase tension). In, Figure 43 Simcock using B minor

{ bb
pentatonic over a Bb13sus4 chord to achieve this effect.

67 B¨13(“4)

E¨Œ„Š7/B¨
œ nœ œ b œ b œ “œ”bœ
b nœ nœ œ œ œ nœ b œ œ bœ nœ œ
&b b b œ œ œ œ œ n œ n œ œ #œ ˙˙˙ œœœ. œœœ
˙ ˙ œ œ
? bb ∑ Ó ‰ œJ Œ
{ b

Figure 43: Sideslipping in Bar 67

40
œ nœ œ œ œ œ œ nœ œ œ
{ ? bb
b ‰ œJ ‰ J ‰ J ‰ J ‰ J ‰ J ‰ J

Bar 112 (Figure 44) shows an example of the use of the device in interlude. Here,
Simcock has momentarily shifted both the line and the voicing up a semitone.
E¨/G
:“; A¨13(“4) C13(“4) E13(“4)
216
œ œ œ. bœ œ œ bœ œ œ
16
b . ‰ bœJ
& b b bœ œ Ó Ó
Interlude bbœœœœ ™™™™ Sideslip
œœ œœ™™ ## œœ œœ
111 EŒ„Š13(#11)
? bb œ. œ Ó 5 Ón œ. Œ J nœ
J
œ ‰
J
b
& b b bbœœ bœJ Œ
œ.
{
3 b œ œ. bœ.
3
J
œ. nœ
Œ J nœ
3 3
5

J
3
nœ nœ nœj œ nœ
3
J
œœ. nnn œœœ œœœ
? bb ∑ œ bb œœœ
{ b ΠΠJ ΠΠJ

5 3 3
5
218 E¨/G A¨13(“4) A13(“4) B¨13(
bFigure 44: Bar 112 shows an example of sideslipping
œ b œ œ nœ #œ nœ œ #œ n œ œ nœ b œ œ œ
& b b œ œ
œ bœ œ œ nœ œ nœ

113
# œ .
œ .
œ
b œ ˙ n œ œ œ
bb ? bb Œ ∑ ‰ J ∑ n nœœœ œœœ bbœœœ
{& b
Figure 45 displays pertinent example: Simcock plays a melody, and sequences it up a
{b Ó Œ Ó
semitone, temporarily shifting outside of the key centre.
5
bbb #œ œ bœ 3 j nœ nœj #œ nœ œ nœ œ j 3 bœ 3 j ‰ 3
& J #œ œ b œ nœ J œ œ #œ œ œnœ
3 3 3
5 3
n œ n œ b .
œ œ
? bb Œ nnœœ220œœ
œE¨/G
œœ “”J Œ n#œœ Œ b œœœ œœœ œœœœ bbœœœœ œœœœ C13(“4) n œ
œ œ
A¨13(“4) E13(“
{ b J bb œ œ œ J œ ‰ œŒnœ. J nœ #œ #œ Jœ ‰ œ Œ œ bœ nœ œ nœ œ œ œb
3 & b 5
3 3 J 3
5
3 J
n œœ ™™ ™ n œœ œœ ™™ œœ ™™ # œœ.
œ
? bb nœœ ™™ œœœœœ œœœœœ ™™™ bœ œ™ œ™ ∑ nœ
{ b J J

Figure 45: Bar 220 employing sideslipping


A2
115
b
Other examples of this technique can be found in bars 63, 82, 211-212, and 244
{&b b ∑ ∑ ∑ ∑
(Appendix A).

. . j . . j
bb ˙ ™ 5 . . . . .
b œ˙ ™œ œ œœ ˙™bb˙˙˙ bnn˙œ˙˙™™™œ bœ œœ ˙ ™ ˙˙ œ œ œ œ˙œ nœ
Triadic soloing bb ˙
&
˙˙ ˙™ ˙ bb˙œ˙ œœ ™™ n#œœœ™™ ˙
5
The inherent harmonic strength of a triad can be an effective way to increase tension
5 5
5
?b œ
b b Œ œŒ bœ bœ nœ nœ œ nœ5 nœ bœ
5
œ œ
{
and create structured ‘outside’ lines, which are melodic phrases constructed of tones
œ œ bœnœ bœ
predominantly not contained within the established tonality. Simcock often achieves

this effect by outlining various triads (not necessarily related to the chord) through

41
141 5 5
#œ œ nœ œ œ bœ
nœ bœ b œ bœ nœ bœ œ œ
b nœ #œJ nœ J #œ œJ J J nœ
&b b J J 3J 3 J ‰ 3
3 3 3 3 3 3 3
n # œœ ™™™ bn œœ ™™™ ™
? b #nnn#˙˙˙˙˙ #n nœœœ ™™ bbn œœœ ™™ œœœœœ ™™™™
arpeggiation. In Figure 46, Simcock implies D major, A major, Gb major, Eb major, and
Œ ‰ ‰ Œ ‰ n
{ bb
Ab major triads over the interlude vamp (Emaj13#11).
5 5

143 5
5 3
b . #œ. . nœ. #œ. . 3 3 5
& b b œ nœ.
œ nœ ‰ nœ. bœ bœ œ bœ bœ œ. nœj œ œ ≈ j j œr œ œ
J J . . œ ™bœ ™ œ.
4 3 3
˙ n œ
# œœ ˙˙˙ .

? bb nn˙˙ Ó Œ Œ Œ Œ Œ Ó Œ
{ b
5
5
3 5

146 Figure 46: Bars 143-145 demonstrating triadic soloing over the E Lydian vamp
5
bb j .
b œ œ. œj œ œ. Œ Ó Ó Œ

& bœnœ
. . œ.

Similarly, at bars 222-225 (Figure 47) Simcock begins by outlining a Gb major triad
?b Œ Œ Ó Œ Œ Ó Ó Œ
{ bb
5
œ
(initially accessing ‘inside’ extensions of Ab13sus4) on beat 5 of bar 222, and climbs
.
&

upward chromatically. The combination of this strong harmonic idea with the
syncopated rhythm creates significant tension over these four bars. The Bb major triad
BASS SOLO
outlined over the C13sus4 returns the line to ‘inside’ extensions of the chord, resolving
A1
the idea.
148 E¨Œ„Š7 B¨13(“4) D¨7
w C7 n œ
w
B7
n œ B¨7
b w
&b b w
w
˙˙ ™™
˙™ œœœ Œ Ó Ó Œ bw
w ‰# nœœJ Œ Œ
# œ ‰ nbœœœ ™™™

# n œœ n n œœ ™™
. # œ
j .
œ ™ 17
bbb Œ Ó Ó Œ w ‰ b œ
œ Œ Œ ? ∑ ‰
nœ bœ ™
{ &
222

&b b
b
E¨/G ˙ ™ œ
w œœ A¨13(“4)
wbœ nœ bœ˙ ™ bœ œ.
wA13(“4) nœ
nœ bœ œ bœ bœj nœJ œ nœ nœ œ
B¨13(“4).
œ œ œJ œ œJ œ œ
. bœ . nœ œ
˙ ™
™ n œ ™ n œ
? bb nb˙˙˙˙ ™™™ n œœ œœ ™
Œ b œ ‰ œ™ nnœœ Œ Ó
œ
Ó Œ
{ b

224 E¨/G A¨13(“4) C13(“4) E13(“4)


b œ œ nœ #œ œ nœ
&b b œ œ œ J œ œ nœ œJ œ œ œ œ œ œ œ bœ œ
J nœ œ J
? bb ∑ ∑
{ b

226 E¨/G Figure 47: Bars 222-225 demonstrating triadic soloing


A¨13(“4) A13(“4) B¨13(“4)
b b˙ bœ œ œJ œ™
˙ nœ nœ
&b b Œ nœ nœ œ #œ œ ‰ œ
J
b w
w b œ
œ ™
™ œ
œ ™
™ n # w
w
? bb w ww bœœœ ™™ œœœ™™™ nn nww
Other examples of triadic soloing occur in bars 70-72, 122-124, 247-248, and 254-256
w Ó Œ
{ b
(Appendix A).

228 E¨/G A¨13(“4) C13(“4) E13(“4)


b œ nœ #œ nœ nœ œ #œ œ œ œ nœ ‰ .5 j
& b b <n>˙ œ œ. œ. nœ œ œ œ ™ œ œ œ
nœ œ. nœ œ œ œ ™ œ Œ 42
.
? bb Ó ‰ #œJ nœ nœ œ #œ œ nœ œ ‰ œ.
{ b
5
J
18
E¨/G A¨13(“4)
234
:“; #œ nœ b œA13(“4)
œ œ œ œ œ œ œB¨13(“4)

b b
b n œ œ b œ nœ b œ
b œ œ œ œ ‰ J J Jb œ œ œ Œ
&
Pedal


b œœ ™ b œœ
?b ∑ n œœ ™™ bœ Œ ∑
Pedal points are a useful way to increase the harmonic tension whilst creating a more
{b b J
open sound that lends itself well to playing with wider intervals. Bars 238-241 (Figure
48) show an example of this, where Simcock disregards the established changes and
E¨/G A¨13(“4)
236 nœ œ œ nœ C13(“4)
nœ .
E13(“4)
#œ ‰ œ ‰ nœ nœ
& b bb ∑
conceptualises the four bars as a pedal, improvising a long and engaging melodic line
‰ JJ nœ J
œ œ ‰ j ‰ nœ
J
mostly based on fourths that is a contrasting feature of the solo.
nœn œœœ
œ
œœœ
? bb ∑ œ ‰ ‰ œ ‰ ∑

{ b J

E¨/G A¨13(“4) A13(“4) B¨13(“4) E¨/G A¨13(“4) C13(“4) E13(“4)


238
œ œ œ œ bœ bœJ œ œ œ œbœ bœb œ œ œ œ œJ
b <n>œbœ
& b b J bœbœbœ bœœ œj j œbœ œœbœ œ œJ J J
œ
œ ˙ b œJ ˙ ˙ b˙™
œ ™ b ˙ ™ b˙ b œJ œb ˙ œ™
{ ? bb ∑
b ‰ ˙ œJ J J

242
E¨/G
˙™ b œ Figure 48: Bars 238-241 utilising a pedal point
A¨13(“4) œ
œ œ œ œ œ A13(“4)
˙™ b œ œB¨13(“4)
œ œ œ œ œ
bbb ˙™ bœ ‰ œ ˙™ J œ
& J J
œ™ œ ™ œ ™
bbnœœœœ ™™™™ œœœœ ™™™™ 19
b˙˙˙ ˙ œ #œ ˙ #˙
bbœœœœ ™™™ œœœœ nnnnœœœœ ˙˙˙˙ nn˙˙˙˙
A slightly different example occurs in bars 250-253 (Figure 49). Here, the notes Db and
? b ˙
{
248
b b E¨/G
b # œ
& b b E¨/G œ nœ œ A¨13(“4) bœ
b œ
A¨13(“4)
b œ œ œ œ
J C13(“4)
Eb are used as a pedal point, where a lower melody note is moved chromatically up and
n œ b œ b œ œ
bœ œ bœ œ œ œ œ œ
œC13(“4)
E13(“4)

down. This form of pedal point is combined with moving left hand harmony and across-
nœ E13(“4) œ nœ
244 <b> œ œ œ œ œ œ œ n œ n œ nœœ œ b œ bb œœ.n œ œ “” œœn œ # œ n œ œœ œ # œ˙ nœ
the-barline phrasing to create significant tension.
b œ œnœ œ nœ œ nbœœ œ œ œ ˙ œ bœ nœ
?
&bbbbb Œ ‰ œJ œ Œ Œ œ Œ Œ œ Œ œ ˙˙
{
? b n˙˙
b œj n ˙
˙˙
˙
˙˙˙˙ b b
n œœœ œœœ ™™™
œ œ œœ™ ™
nnnœœœœ
œ œ n
œœ ™™
Ϫ
{ bb ‰ J ‰ Œ Œ Œ ‰
250 E¨/G A¨13(“4) A13(“4) B¨13(“4)
b E¨/G A¨13(“4)bœ A13(“4)œ œ B¨13(“4)œ œ
& b b :“bb; wwbœ œ œœj œ b œbœb œ bJœ œœ œ n œ bnœœ n œ œ œ œ#œ œ
246 œ œ nœœ
bb bœ œ œ œ bœœ œ ™ # œ ™ nœ œ ™ œ nœ nœœœ ™™ œœœ
& b bœ
bbœœœœb œ ‰ œœœœœ™™™™ nnnnœœœœ ™™™ œœœœ™™™™ bbœœœ ™™™ n œ œ
? bb b ˙ ‰ n œ œ ‰ ‰ ˙˙ ‰ J
{{ b bn w˙ œ b œœ œœ nnœœ œœ ˙˙ œœ œœ
? bb nbw˙ Œ œ‰ J Œ ‰ J Œ ˙ œ nœ ˙
b
252 E¨/G A¨13(“4) C13(“4) E13(“4)

b œ
& b b bœ bœ œ œ nœ œ œ œ œ œ nœ nœ nœ œ œ œ œ bœ œ bœ nœ #œ
n œœœ œ n œ™ œœœ œœœ n œœ ™™ n œœœ
? bb Πn
‰ Jœ œœœ ‰ bbœœœ ™™™ ‰ œ œœJ ‰n œœ ™™
b œ nœ n
œœ œœ ™™
œ œ™
œœ ™™
Ϫ
{ b J J

Figure 49: Bars 250-253 utilising pedal points


E¨/G A¨13(“4) A13(“4) œ nB¨13(“4)
254 #œ nœ œ œ b œ n œ n œ œ œ nœ œ n œ œ b œ œ bœ œ œ
b b œ n œ œ œ œ œ
& b b #œ œ ‰ J ‰ nœJ ‰ bœ ‰#œj nœ ‰ œJ
. J Jœ
bbœœœ œœœ ™™™ œœœ œ
œ œ n œœ œJ
? bb Œ ‰ œ b œ ™ b œJ Œ ‰ œ œ ∑ œœ n
‰ J ‰

{ b J J
43

256 E¨/G A¨13(“4) C13(“4) E13(“4)


bbb ‰ bbœœ ‰ nœœ ‰ œ ™ œ œ œ œ bœ œ œ œ œ œ œ bœ
œ œ j
& J bœJ œ™ œ œ nœ œ bœ J œ
J J
Implied other chord changes

By implying other chord changes through juxtaposition, Simcock is able to create


structured tensions in both the comping and the solo line, in much the same way as non-
20
137
diatonic triad sequences are used. In Figure 50, Simcock implies A major, Ab major, Gb
bbb ∑ ∑
{&
major, Eb major, D major, A major, Ab major, and F minor over the top of the E Lydian
interlude vamp. Interestingly, some of these chords line up with the notes from the
bassline to create 13sus4 voicings. As Simcock has been shown to favour this type of
b ˙
bb ‰ j œ œ
voicing, this particular implied cycle might be typical of his broader improvisational
& ™ ™ ™ nœ œ œ œ™
œ œ
œ™ b œ™ œ ™ b œ ™ œ œJ ˙ œ nœ ˙ œJ n œ™
Ϫ
tendencies.
. j
? bb ‰ bœ ™ b œ ™ ˙˙ ™™
bœ w
{ b nœ ™ bœ ™ œ
w

Interlude
139 EŒ„Š13(#11) 5
b
5
#œ. nœ. œ œ bœ œ œ œ
& b b b œœ Œ Ó J J œ œ
œ 3 3
AŒ„Š9 A¨Œ„Š9 G¨Œ„Š9 E¨Œ„Š9
# œ. n œœ. b œœ n œ.
#nnnœœœœ nb
b œœ bœœœ nbœœœœ
{? bb ∑
b Œ b œ Œ
5 5

141 5 5
#œ œ nœ œ œ bœ nœ bœ nœ b œ bœ nœ bœ œ œ
b nœ #œJ nœ J #œ œJ J J
&b b J J 3J 3 J ‰ 3
3 3 3 3 3 3 3
DŒ„Š9(#11) AŒ„Š9 A¨Œ„Š9 F‹11
™ nœ ™
? bb #nnn#˙˙˙˙˙ #nnn#œœœœœ ™™™™ bbnbœœœœ ™™™™ n œœœœœ ™™™™™
Œ ‰ ‰ Œ ‰
{ b
5 5

Figure 50: Bars 139-142 implying other chord changes over the E Lydian vamp
143


b
{&b b ∑ ∑

In Figure 51, the hands are playing a third (plus two octaves) apart and outline F major,
Eb major, Db major, C major, A major, and Bb major over the established vamp changes.
5
5 3
b . #œ . . . nœ #œ. 3 . 3
&b b œ nœ. œ nœ ‰ nœ. bœ bœ œ bœ bœ œ. nœj

J J . .
4 3 3
n
? b n˙
˙˙ n œ
# œœ ˙˙˙ n œ.
{ bb Ó Œ Œ Œ
5 3
5

44
b . œ œ Œ ‰ J ‰ nœJ ‰ œJ ∑ Ó œ
& b b œ œ bœ Ó Œ ∑
G‹7(b5) C7
72
b n œœ. #œ œ j j nœ bœ . œ F‹7 n œ 3
œ n œ B¨7 nœ b œ n œ œ
? bbbb œ Œ ‰Ó J Ó nœŒ ‰ ∑bœ nœ œbœ ‰ œnœ. Œœ b‰œ nœ bJœ bœ nœ‰nœ n‰œ œ ∑ ‰ JÓ ≈ nRœ ‰
& b œ œ . j
# œ
{ b
b
? bb Œ ‰ bœœœ œœœ Œ ‰ J Œ œ
œ
œ œ
œ b œœ œœ. œ
œ
J J
œœ œœ
{ b E¨/G J Ó ‰ ‰ ‰ J Œ
PIANO A¨13(“4) A13(“4) B¨13(“4) 5
:“;SOLO
214
A1 n œ
b œ œ œ œ œ œ ‰ œ ‰ B¨13(“4) nœ ‰ œ ‰ #œ ‰ œ œ. œb œœ ‰ œnœ
& b bE¨Œ„Š7 œ ‰ œJ ‰ J3
60 J J J J œJ bœ J
b b b F œ Œ ∑ J J
& B¨‹7 œ œ œ œ A7 œ E¨ D¨ C A B¨
74
? b b œ œnœ œ™ œ œ œ œ œœ œ˙b œbœ A¨13(“4) œ
J œ b œ
œ œ nœ D¨7(“4)
J J œ œb ˙ œ™ œ. œ œ ‰ bœ
‰ ‰ J œ œ ‰ ‰ œ ‰ ‰ ‰ œ
bœ b˙˙ J™™™ œ œ
J b ˙ J
{{ &?bbbb
b w
bww w
J J
#n#œœ
œ ™




œ œ
œ ™


J
bnb œ
œ
œ ™



œœœ ™™™ b œœ.
b œ
œœ
œ œ

œ™ œ™ bœ ™ œ™ Œ bœ ‰ œJ Œ
Figure 51: Bars 214-215 implying other chord changes
?b
{
{
216 b b

&
62
bbb D¨7 œ b œ b œ ∑ œ C7 œ œ n œ
B7
œ # œ n œ
∑ B¨7

&b b
b J nœ J J n œ b œ œ œ nœ nœ
J ‰ J
Altered chords, alternate modes, and chromatic passing notes
E¨/G
:“;bww A¨13(“4) C13(“4) E13(“4) n œœ ™™ # œœ ™™
w n ˙ ™
™ œ . # œ ™ ˙
bb bbœ. w œ Ó
?Interlude n ˙ ˙
˙ ™™ bœ œ œ œ # n œœb™™œ ˙˙œ bœ œ œ ™ œ œnœ ™ œ œ
œ œn œ ™ œ ˙ b
These devices are common improvisational techniques used to depart from overly
{ b
& E¨Œ„Š7/B¨
76
Ó ‰ J J
B¨13(“4)
diatonic treatment of chords (especially dominants), and are not particularly specific to
bb œ b œœ ™™ œœ œœ™™ # œ œ
? bbb nœœ. œœ œÓ œ œ œÓ œ œœ Œœ œ œ bœœ ™™ œ œ Jœ œ œ œ #œnœœJ œ œœJœ ‰œ Œœ œ œŒ œ œ
&
Simcock. He occasionally makes use of alterations to V chords to contrast the often-
{{ b
? bb Ó B¨‹7 Œ œ œ ™E¨7 œ ‰ œ A¨Œ„Š7 ˙ œ œ D¨7 œ™ œ œ œ
written 13sus4 chord. Figure 52 shows an example where a contrapuntal Locrian mode
64 œ
bb bœ bœ nœ bœ nœ J J bœ œ œJ
&b b œ #œ nœ bœ bœ n œ nœ œ œ œ œ bœ œ œ bœ ‰ J œ œ
is used to create alterations over the Bb pedal.
218
n œ™ œ™ b ˙˙˙ ™™™
&? bbbb nbb œœœ ™™™ nœœœ ™™™ ∑ Œ nœœ. Ó ˙˙ œœ
Œ ∑
{78 bE¨Œ„Š7/B¨
{ b B¨13(“4) œ b œ
œ œ œ œ œ œ bœ œ nœ bœ
bbb œ œ œ œ b œ b œ œ œ œ œ bœ bœ nœ
& œ œ œ
E¨/G A¨13(“4) A13(“4) B¨13(“4)
b ˙œ b œ œ œ œ nœ œ n œ #œ b œ b œ œ b œ n œ œ nœ b œ œ n œ nœ œœ b œ n œ
#
?
& bbbbb œ œ bœ œ œ Jœ œ nœ nœ J J nœ J J ‰
{ ?Interlude
b Œ ‰
bœ ˙
J Ó Œ
# œ
nnnœœœœ œœœœ
œ.
Ó
b
.
œ
bœœœœ œœœœ

œ
Œ

{ 66 b E¨Œ„Š7/B¨
b J
Figure 52: Bars 78-79 showing altered V chord tonality
B¨13(“4)
b b ‰ œ b œ ‰ œ ‰ j nœ œ #œ œ
& b J œ J œ œ œ œ
œ œ œ b œ œ œ œ n œ n œ œ #œ n œ
Similarly, Simcock uses the Phrygian mode in Figure 53 to achieve a similar effect. These œ
two modes bring out different extensions over the Bb pedal, resulting in different
? bb ∑ ∑
{ b
aesthetic ‘colours’.

68 E¨Œ„Š7/B¨ b œ “”bœ B¨13(“4)


nœ œ b œ œ œ bœ œ œ œ œ œ
bbb œ œ nœ bœ œ bœ nœ œ œ b œ b œ ‰ J
&
.
˙
˙˙˙
˙ œ
œœœ
œ
œœœ
œ bbb˙˙˙ ™™™ œœ ˙˙™™
? bb Ó ‰ J Œ ‰ J
{ b

Figure 53: Bars 68-69 using the Phrygian mode

The chromatic scale is also used occasionally to link target melody notes, such as the E
to Ab shown in Figure 54.

45
b w # œ œ™ nnn œœœœ œœ ™™ œœœ ™™™
? b nb ww ‰ nœJ ‰ œ™ Ó Œ # œ™
{bb

A3
88 G7 B7(#11) A7(#11) D¨7(#11) b œ n œ
b nœ bœ œ bœ œ nœ bœ nœ bœ œ œ b œ œ œ nœ b œ œ œ
&b b œ bœ nœ nœ bœ
4 3
bœ™ œ ˙ bn˙˙˙ ™™™ ## w
w œœ. ™™ 4 œœ. ™™
? bb nnœœœ ™™™ œœœ ˙˙˙ w n œ™
{ b J

G7[åÁ] C7 F‹7 D¨7(#11)
œnœ b˙ Figure 54: Bar 88 displaying chromaticism
90 ˙ œ bœ œ œ œ œbœ nœ œ nœ
nœ bœ

b
&b b Œ ‰ J œ nœ nœ bœ bœ bœ nœ bœ nœ
˙˙ b˙˙˙ bœœœ œ bnwb w
w bœœœ. ™™ nb œœœ. ™™
Other examples of these techniques occur at bars 61, and 68-69, 82, 209, and 221-222
b w bnb Ϫ Ϫ
? bb ˙ ˙ n œ ‰ J Œ
{ b
(Appendix A).

46
70 œ nœ
bb nœ ‰ n œJ œ™ nœ bœ bœ b œ
‰ J ‰ J œ œ™ Œ nœ nœ

& b J J
4
n˙ ™ bbnœœœ œœ ˙
? bb n ˙˙ ™™ Œ Œ œ Ó bn˙˙ Ó Œ
{ b
Chapter 5: Melodic Analysis

Many of the major melodic devices used in the written passages were covered in the
72 B¨‹7 E¨13(“4) F‹7 D¨Œ„Š7
n œ #œ 3 nœ b œ n œR
harmonic analysis of the arrangement. Here, the melodic devices used in Simcock’s
b
&b b ‰ œ nœ ‰ bœj œbœ bœ ‰ œnœ œ. bœj nœ bœ bœ nœ nœ nœ ‰ J ≈ ‰
J nœ
improvisation will be discussed.
œ œ b œœ œœ. œœ œœ œœ
bœ œœœœ Œ œ
? bb Œ ‰ bœœœJ ‰ J Œ Ó ‰ ‰ ‰ J Œ
{
Counterpoint
b

In addition to its use in the arrangement, counterpoint is also a prevalent device within
Simcock’s improvisations. Figure 55 a two-part counterpoint improvised over the
C‹7 E¨13(“4) A¨Œ„Š7 A¨‹7
interlude. Initially, the right hand, whilst also a melodic phrase, outlines the harmony
74 b œ œ œ
b œ œ™ J œ œ b œ œ b œ œ œ œ
bœ œ œ
&b b ‰ J œ bœ œ
more clearly than the left. In the second half of the phrase, the right hand takes a little
. œ
bww
w #n#œœœœ ™™™™ œ™
œœœ™™™ bnbbœœœœ ™™™™ œœ ™™
œœ™™ bbœœœ œœ
more focus and plays more linearly. Overall, evolution of the scale from Eb Ionian to Bb
? bb w Œ ‰ œJ Œ
{
Locrian creates a semi-altered tension that releases into the Eb minor of the bridge.
b

Interlude
76 E¨Œ„Š7/B¨ B¨13(“4)
b
& b b nœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ
? bb Ó Œ œ ‰ œ ˙ œ œ œ™ œ œ œ
{ b œ œ ™ J J J

78 E¨Œ„Š7/B¨ B¨13(“4) œ b œ
b œ œ b œ bœ œ œ œ œ œ œ bœ œ nœ bœ
& b b œ œ œ
œ œ œ œ b œ b œ œ œ nœ
œ
? bb ˙ œ œ œJ nœ œ œJ bœJ b œ b œ œ œJ œJ n œ ‰
{ b

Figure 55: A four-bar improvised passage using counterpoint

Figure 56 shows another four-bar example of Simcock’s improvised counterpoint. Again,


the phrase begins with an idea in the right hand, before entering with the left. The line is
heavily syncopated, with the more rhythmically active left hand phrasing creating the
impression of three distinct answer phrases. Another occurrence of contrapuntal
improvisation occurs in bars 259-260.

47
& b J J nœ J
nœ œ
?b ∑ nœœœœ œœœœ
{ bb J ‰ ‰ ‰ ∑

8 E¨/G A¨13(“4) A13(“4) E¨7 B¨13(“4) E¨/G A¨Œ„Š7œ A¨13(“4) œ C13(“4)


238
92
B¨‹7
bbœ œ œ œ œ œ œbœ œ œœœ œœD¨7 œ bœœb œE13(“4) œœ œ
b <n> œ b œ bœ n œ œ bœ œ œ œ œ œ Jbœ J J bœ œ œ œ œJ
&&bbbbb œJ œbœœbœ œ bœœœœœjœ œj œ œœ œ J J Jœ
b œ ˙˙ . b˙™
190
? b œ œ
E¨/G A¨13(“4) œ œ
œ œ # nAº7# œ ™ b
œœ B¨13(“4) ˙ ™
b ˙ œ
œ ™
™ b œ œ ˙ n
E¨/Gœn œ
œ J ˙
A¨13(“4)
˙ ˙ C13(“4) bœ ˙
œn œ E13(“4) œœ œ ™ 15
b Ϸ
? bb b bœ Œ ‰ J J ‰ ‰ ˙ œ œ™ J J œ ˙
‰ Œ Ó Ó Œ ‰nœœœJ Œ Ó ‰ ŒJ ‰ Œ#œœ œJ .
{ &b b bœœœ Œ Ó Œ ‰ b œœj Œ ∑
- b œ
œ
‰‰ ‰ j ‰
b n œ œ
b
œœ b œ ™™ b œœœ
b
œ
œ
™ œ nœ
œ-œœ ™
bE¨/G - œ œœ. œœ ™™
Figure 56: Bars 238-241 featuring two-part counterpoint
? A¨13(“4)
j j A13(“4) ™ n œ
B¨13(“4) œ
242 bb ˙ Œ Ó Œb œ‰ Œ ∑ œ œ ‰ œ ‰ œ œ ˙ ∑ b œ Œ Ó œ Œ œ ‰ œ
{
&
bb b b ˙™
Interlude E¨/G
bœ- œ
A¨13(“4) œAº7 B¨13
b
nœ œœ J ˙™
œ ‰ J
E¨/G A¨13(“4)
œ œ œ
C13(“4) ™
J
E13(“4) ™
œ
J
194
94 b˙b˙˙˙ œ™ ˙bœjA¨13(“4)
E¨/G bœœœœ ™™™™ œ
œœœ nA13(“4)
n nn#œœœœœ ˙˙˙˙˙ nn#˙˙˙˙˙ nœœœœœ ™™™™
bB¨13(“4)
b
œ
œœœœ ™™™™
Sequences
? b ˙ ™ œ b œ
˙œ bbœœ Ó bœŒ œ∑ œJ #œ™œ ‰ nœ ™™ ŒJ nœŒ nÓœ nœŒ #‰œ œ œ‰ œ∑ bœ
{ &bbbbb ˙ ™
& n œœœ bb œœœœ ™™ nb œœœ b œœœ

bœ nœœœ #œnnn œœœœœ ™™™
nn b
˙˙ ™™™ œœœ b œœœ nœœ. ™ #™ ˙˙n™™œ. b œœ . œ.œ ™
Simcock makes extensive use of sequences (transposed repeated melodic figures that
? bb E¨/G b ˙ ˙ ™ b œ
œ œ Ó bA¨13(“4) bb œ
œ ™
™ nnœ n ™ ˙ ™ œ
œ œ ™
? œŒ ™ ∑ nœn œ‰ œœn n™™ ˙˙C13(“4) ™ Œ Ó Œ “b”œj ‰Œ Œ bnE13(“4) œ∑ ‰ œœJ ‰ Œn œ ™

{ 244bb bb <b>™ œ œ œ œ
give the effect of development within a musical phrase (DeVoto, 2016)). In Figure 57,
bbb > œ œ
˙ œ nœ n œ n œ . œ b œ œ. nœ n œ bœœ œ œ n œ # œ œ œ œ # œœ. œ bœ nœ
Simcock is shown to play the same melodic cell three times, each time ascending by a
& E¨/G
198 E¨/G
j n ˙ A¨13(“4) b œ n œ n œ nA¨13(“4)
œ Aº7
b œ.n œB¨13(“4) œ ™ œC13(“4) E¨/G
œ A¨13(“4) œ
E13(“4)E13(“4)
C13(“4)
semitone, creating a melodically strong line that also relates to the underlying chord
96 b œ œ ˙ œ œ
œ ™ nn œœ # œ œ™
&?bbbbbbbb bœnb˙nœ˙˙˙œ bŒœÓ ˙Œ˙˙˙ ‰ b œj Œ‰bb∑œœœJ ‰‰ ‰œJœœ™™™‰œj ‰Jbœ œnj‰œœœbœœJ n œŒ ŒÓœ Œ‰ ‰œJbœ‰œj ŒŒ J #œŒ œÓ n‰œ Œnnœœ‰™™#œ œ
{
progression. .
& b bb œœ
.
bbb œœœ-œ .
n œ
nbn œœœ b œœ œ.
œ
? bb bœœ Œ ÓbnbœŒœœœ‰ j Œ bbœœœ∑ ‰œœœ njnœ‰œœœ ™ œœœœ ™™™™ œ ŒnœÓœœœ Œ ‰ jn‰œœœ œœœœœœœœÓ œŒœœ‰n#œœ ™™
?
bb œœœ n œœ œœ
œ œ
.
n## œœœ ™™™

246b bb :“;
{ b E¨/G Ó œ-Œ A¨13(“4) ‰ J n‰œ Jœ A13(“4) œ. ‰bœ‰ J B¨13(“4) . ‰ J Œ
b œ b œ bœ œ œ n œ n œ n œ nœ #œ œ œ œ œ œ
b b œ bœ œ œ œ œ
&b b bœ bœ nœ œ œ
E¨/G A¨13(“4) A13(“4)
98
b bbœbb ˙˙˙ œ b bb œœœœ œœœœ
œ nœ n nnnnœœœœ œœœœ
œ ˙˙œ bœ B¨13(“4)
œ œ œœœnœœœ ˙˙˙œ œ œ
& b
? bbb SOLO b œ œ œ
Œ ‰ J J ŒJ ‰ J œ n œ Œ ˙œ œ œ
{ PIANO b
? bb ‰E¨/G
202 bbœœœœ ™™™™. ˙˙˙˙ A¨13(“4)
bœ˙ bœ bb
bœœœœ ™™™A13(“4)
œ ™ œ
œœœ ™™™ B¨13(“4) E¨/Gn n A¨13(“4)
œ™ .™
bœ bœ Œ ‰bœ˙ J bœ œœ œ. n. n
# œœœ ˙˙˙ C13(“4)
œ œ ˙˙
nœ .
bnbœœœœ E13(“4)

œœœœ ™™™™
{ b
& b bb Œ ‰ J‰œ™ Ó œ œ ‰œœ ‰ J‰ J œ œœœœbœ œ œ‰œj
n ˙˙ ™™™ J n w bn ˙˙ ™™ bœ
n ˙
˙ ™™ œœ bn œœ ˙˙ ™™ n # w w b ˙ w n ˙ ™ œ œ ˙ ™
? bb E¨/G nn˙˙˙ ™™™ œœœbb œœœ ˙˙˙™™™ A¨13(“4) nn nww w bb ˙˙ ™™ n œnnw wn œ nbœb ˙œ˙˙ ™™ œ œnn ˙˙˙˙ ™™™ E13(“4)
C13(“4)
w œœœœnœœ ˙˙™™
Figure 57: Bars 98-99 employing the technique of sequences
100
{

b b
& b b œ bœ œ nœ bœ b œ bœ œ œ bœ bœ nœ
n œ ™
œ œ œ œ œ œ nœ nœ. œ œ. nœ.
.
.
4 œ .
206 E¨/Gn b œ œ œ A¨13(“4) b œ
œ ™
™ œ
œ ™
™ A13(“4) n w
w B¨13(“4) n œ œ œ
? bb ‰ œJ Œ nœ Œ bœ ™ bœ œœ b™ œ œ œ wœ œ bœ œ bœ œ n w œ œ
In bars 208-209, Simcock sequences a ‘1-2-3-5’ melodic cell, as shown in Figure 58,
{ & <b>˙ b b œ œ œ œ œ œ Œ œ œ Œœ
œ bœ. œ. œ . 4
moving the structure up a tone and then a semitone. Other examples occur in bars 61-
b œ ™ n œ
œ œ
œ
? bb D7
102 ∑ G7[åÁ] C‹7 Œ F7 B¨13(“4) £ œ ‰ œ Œ
63, 211-212, 213-214, 220, and 246-248 (Appendix A).
‰ ∑ J
{ & b
b
bb bœ œ œ bœ ™
n ˙˙ n n ˙˙ bb œœ ™™A¨Œ„Š7
œ œ™ w w
w w ˙
˙
˙ ™˙ ™™™ w
w
w .w
Ó Œ
208 E¨/G
˙ b n œ
œ ™
™ C13(“4) 5 . œ œ. œ. œ.
œ.bœ E13(“4)
? bb # ˙ n˙˙ n œ ™ j b œ ™
nœ n œ œ œœ œ œ œ bœ œ nœ bœ bœ
{ & b œ œ œ œ nœ ™ nœ nœ œbœ. œ #œ.œ œ. bœ nœ.œ
n ˙˙
5
œœ
? bb Ó n˙˙˙ Ó Œ ∑ Œ ‰ b œ Œ
{ b J

Figure 58: Bars 208-209 shows an example of sequencing

48
w nœ ™ # œœ ™™™
? bb bbww
w nn˙˙˙˙ ™™™™ œœœœ #nn#œœœœ ™™™™ ˙˙˙˙ b œœ ™™ nœ
{ b J

Arpeggiation
64 B¨‹7 E¨7
b bœ bœ nœ bœ nœ œ #œ œ
&b b nœ bœ bœ n œ nœ œ
Tying in with the triadic soloing concept explored in the harmonic analysis, arpeggiated
b n œœ ™™ œœ ™™ nœœ.
? bb n b œœ ™™ nœœ ™™
melodies strongly outline harmony and display virtuosity, and are used frequently by
Œ Ó
{ b
Simcock.

Interlude

65 A¨Œ„Š7 D¨7 E¨Œ„Š7/B¨


œ œ œ œ œ
& bbb œ
œ bœ œ œ b œ b œ ‰ J ‰ œJ bœ œ ‰ œ œ œ ‰ œj œ œ œ œ
J
? bb ˙˙ œœ b ˙˙˙ ™™™
Œ ∑
{ b

Figure 59: Bars 65-66 using arpeggiation


67 B¨13(“4)
Figure 59 and Figure 60 demonstrate two instances, with the use of the Eb and Ebadd2
b nœ œ
#œ œ
&b b bœ #œ nœ
arpeggios, respectively. The second example is a particularly pianistic flourish, which at
œ œ œ œ nœ nœ œ
this tempo sounds rather virtuosic.
? bb ∑


{ b

8
92
B¨‹7 E¨7
b œ œ
A¨Œ„Š7œ
œ œ œ œ œ œ D¨7œ œ
b œ œ œ n œ œ œ œ œ J J œ œ œ
&b b œ œ œ œ œ
œœ # œ œ ™™ .

? bb œœ Œ ‰ œœJ ‰# nœœ ‰ ‰ œœ™ nœn œœœ ˙˙˙˙ n œœ œœ
‰ ‰ ‰ J Œ
{ b

Figure 60: Bars 92-93 demonstrating virtuosic arpeggiation

Interlude
94 E¨/G
˙ A¨13(“4) A13(“4) B¨13(“4)
b ˙ bœ œ œJ œ™ Œ nœ nœ nœ
#œ œ œ
Another notable use of the device occurs in bars 254-256 (Figure 61). Here, repetition is
œ bœ bœ nœ œ œ
&b b
also used in the first bar before each full arpeggio is played.
bb œœ ™™
œ ™ n n # ˙˙ ™™
˙ ™ œœœ. œœœ
? bb œ b œ ™ n n ˙ ˙ ™ Œ b ‰ J Œ
{ b ˙™
>
E¨/G
96 œ b œ n œ n œ nA¨13(“4)
œ b œ. œC13(“4) œ œ # œ
E13(“4)
bb bœ nœ b œ œ
b ‰ J ‰ J ‰ J n œ œ ‰ J ‰ J #œ œ nœ nœ #œ œ
&
œœ nb œœœ. œœœ n œœ œœ ™™ n œœœ œœœ œœœ œœœ
? bb Ó b b œ
n œ Œ b œ œ n œœ œœ ™™ nœœœœ
‰ J ‰ J ‰ ‰ J ‰ J Œ
{ b


œ 49
98 E¨/G A¨13(“4) A13(“4) B¨13(“4)
b bœ bœ œ œ
&b b œ œ œ bœ œ œJ œ nœJ nœ nœ œ nœ œ bœ œ œ œ œ œ
b œ ™™ œ™ œ™ n œ.
? b ‰bœœœ ™™ ˙˙˙˙ bbbœœœœ ™™™ œœœœ™™™™ nnnn#œœœœœ ˙˙˙˙˙ bnbœœœœ œœœœ ™™™™
Œ ‰ ‰

b œ
& b b bœ bœ œ œ nœ œ œ œ œ œ nœ nœ nœ œ œ œ œ bœ œ bœ nœ #œ
n œœ œ nb œœ ™™ œœ œœ n œ ™ n œœ
?b Œ ‰ œJ
n œ œœœ ‰ bœœ ™™ œ œ œ™
‰ œ œœJ ‰n œœ ™™
b œ œ nœ nœœœ œœœ™™™ œœ ™™
Ϫ
{ bb J J
E¨/G A¨13(“4) A13(“4) B¨13(“4) E¨/G A¨13(“4)
254 # œn œ œ œbœ n œn œ œ œnœ œn œ œ b œœ n œ b œ œ œ b œ nœ
b bœ nœ œ œ œ‰ œ‰nœ ‰bœ‰ j ‰œ ‰bœ ‰ œ‰œ ™ œœ œœ œ œ
& b b #œ œ J J J #œ nœJ J J bœJ œ ™ J nœ œJ
.
? bb Œ ‰ œœ
bb œœ œœœ ™™™ œœœ œœœ œœ n œœ œ b œ œœ
b œ ™ b œJ Œ ‰ œJ ∑ œ ‰ nœJ ‰J Œ Œ ‰b œœ Ó Œ
{ b J J

257 C13(“4) Figure 61: Bars 254-256 incorporating arpeggiation


E13(“4)
bb bœ œ œ œ œ œ œ j
b bœ œ

& bœ J œ œ
6 A2
œœœ ™™

Other instances of arpeggiation occur in bars 85-86, 121-124, 141-142, 210-214, 218-
8? bb D¨7 C7 F7 Œœ
{70
b ∑œ
n
B¨‹7
n œ œ™ E¨7 b œ b œ A¨Œ„Š7 n œ œ œ ‰ A¨‹7 D¨7 nœ
92 bb ‰ J nœ bœ ‰ bJœ œ ‰œ œJ œ œJ œœ™ œ œŒ œnœœ nœœ
219, 228-229, 233, and 247-248 (Appendix A).
& bb œ œ œ œ Jnœ œ œ œ œ œ œ
& b b n ˙œ™ œ œ J J 4
nD7˙˙ ™™ G7[åÁ] C‹7 F7
b œ œ
b nœœB¨13(“4) œ ™ œœ 5 n œ ˙ bn˙˙˙£
Œ œ. ™ . Ónœ.œ ˙.˙ . . n œœ.Ó5.
?
258 b b œ œ
œ Œ # œ .œ Œ.
{{ b bb œ œ œ œ # nœ
œ œ™
& bbbbb nœ œ Œœ œ‰ Jœ ™ ‰ œ™ ‰w ‰ œ œ ˙‰™ œ œ œw œ‰ œ ˙‰ ™œJ Œœ
?
Motivic development
Œ œ ˙ œ
n˙ n˙ œ™ .
? bb #˙˙ nn˙˙ bnœœ ™™ bnœœœ ™™™ œ Œ Ó œ œ œ œ œ œ
{
Throughout the improvisation, several key phrases are established and developed.
72
b
G‹7(b5) C7 5
F‹7 B¨7 5
These phrases – or motifs – are landmarks that tie the improvisation together, giving the
n œ
bb #œ ‰ œ nœ ‰ j . bœj nœ bœ bœ nœ nœ nœ ‰ b œJ ≈n œR ‰
3
b
&Interlude bœ nœ œ b œ b œ ‰ œ nœ œ nœ
listener familiar repeated figures to grasp onto. The idea presented in Figure 62 is one
J .
E¨/G œ A¨13(“4)
œ b œ
œ œ
œA13(“4) œœ B¨13(“4)
œœ œœ
? bb Œ˙ ‰ bbœ˙œœœ œœœœbœ Œ œ œ‰ Jœ™Œ œ
94
notable example, with a very similar line recurring in Figure 63. n œ #œ œ
{ & b J J Œ Ó nœ nœ ‰ ‰œ œ bœ ‰ J Œœ œ
bœ nœ

.
? bb bœ ™ bb œœœ ™™™ nnnn#˙˙˙˙˙ ™™™™ b œœœ œœœ
œ Œ ‰ J Œ
{ 74
b ˙™
>B¨‹7
Motif
A7
Motif restated
A¨13(“4) D¨7(“4)
b œ œ œ™ œ œ œ œ œ bœ œ œ
bœ C13(“4)
bb E¨/G Jn œ nA¨13(“4)
œ b œ. ‰ œ Jœ bœ œ E13(“4)
œ œ
& b
96
b œ œ b œ n œ œ nœ œ #œ œ bœ œ œ

‰ Jbnb œœœ‰ ™™™ J œœœœ™™™ ‰ . #œ
& bbb bbw
œww #n#œœœœ ™™™™ ‰œœœJ™™™ J ‰ bJ œœ œ nœœœnœ #œ œ
? bb w . œ™œ bœ ™ œ™ Œ n œbœ œ œ‰ œJ œŒ
{{ b
? bb Ó
b
œ
bnbœœœ
Œ
n b b
œ
œ
œœ
‰ J
œœœ nnœœœ œœœ ™™™ nœœœ
‰ œJ œ ™ œ
œœ œœ œœ œœ
‰ ‰ J ‰ J Œ

Figure 62: Bar 74 show a motif that Simcock uses again later

E¨/G A¨13(“4) A13(“4) B¨13(“4)


98Interlude
Motif reintroduced Motif developed Development sequenced Sequenced
bb bœ bœ nœ œ nœ œ œ bœ œ œ œ
œ œ œ bœ œ œJ œ nœJ nœB¨13(“4) œ œ œ
& bbE¨Œ„Š7/B¨
76
œ
& b b nœbbœœœ ™™ œ œ ˙œ œ b œœ ™™ œ œ œœ ™™ œ œ œ n œ# œœ ˙˙œ œ œ n œœ. œ œœœœ ™™™™ œ œ
˙ œ n œ œ ˙ œ bn œœ œ
? bb ‰ œœ ™™ ˙˙ bœbœœœ ™™ œ œœ™
œ ™™ œ
Œ ‰ n nœœJ ˙˙ œ b œœ ™ ‰
{{ ? bb b Ó
b Œ œ œ™ œ ‰ œJ ˙
J
œ

Figure 63: Bars 98-99 show the developed motif


œ œ œ
J

78 E¨Œ„Š7/B¨
E¨/G A¨13(“4)
B¨13(“4) œ b œ
œn œ œ œœ œ œ œ œE13(“4)
bœC13(“4)
100
b b œ œ œ b œ b œ œ œ œ œ b œn œ nœ œ œ bœnœ. œ nœ bœ. nœ.
& bb b œ œ œ œ œ
& b œ bœ œ nœ bœ b œ bœ œ œ bœ bœ nœ œ œ œ œ nœ œ œ nœ
b œ b œ œ œ œ n œ . .œ4 .
J J n œœœ œœœ ‰50
? b nbœœ ˙ œ œ œ n
b œ™œ œ
n œ ™ œ b
œœœ ™™™ J Jnnww œ
{ ? bbbb ‰ œJ Œ œ nœ Œ Jbœœ ™™ w
w Œ Œ
b
4
8
Another prime example is the motif that is established in bars 94-95 (Figure 64), which
B¨‹7 E¨7 A¨Œ„Š7œ œ œ D¨7
92
b œ œ bœ œ œ
œ nœ œ œ œ œ œ œ œ œ œ J œ œ œ
later returns in 226-227 (Figure 65). This motif is of particular interest as it is repeated
J
&b b œ œ œ œ œ
almost verbatim, at a much later point in the tune (in the second piano solo, in fact).
œœ ™™ .
bœœœ œœœœ ## œœ nœn œœ ˙˙˙ n œœ œœ
?b ‰ nœ ‰ ‰ œ™ ‰ œ
Other examples of motivic development can be found in bars 70-72, 202-205, 242-244,
J Œ ‰ ˙ ‰ ‰ J Œ
{222
bb
and 250-253 (Appendix A).
E¨/G œ A¨13(“4) A13(“4) B¨13(“4)
17

b bœ nœ bœ bœ œ
&b b nœ bœ œ bœ bœj nœJ œ nœ nœ œ œ œJ œ œJ œ œ
bœ nœ œ œ
Interlude˙ ™™ n .
œ n .
œ

? b nb˙˙˙˙ ™™™ Œ
nbœœœ

œœœ™™ nnœœœ
Œ Ó B¨13(“4)Ó Œ
{ 94
b b E¨/G
bb
˙
˙
A¨13(“4)
Motif

bœ œ œJ œ™
A13(“4)

Œ nœ nœ nœ #œ œ œ œ bœ bœ
&
224
b
E¨/G A¨13(“4) C13(“4) E13(“4)
nœ œ œ
b œ œ nœ #œ œ bnbœœœœ ™™™ nœnn #˙œ˙˙˙ ™™™ œ nœ œJ œ œ œ b œœœ. œ œ œœœœ bœ œ
? bbbb œ œ œ
& Jœ bœ ™ J nœ n ˙ ™ J Œ œ ‰ J Œ
{ ? bb
b ˙™
>
∑ ∑
{ 96
b
E¨/G
œ b œ n œFigure 64: Bars 94-95 showing another motif
A¨13(“4)
n œ n œ b œ. œ œ C13(“4)
œ œ # œ
E13(“4)

bb bœ nœ b œ ‰ J ‰ J ‰ J n œ œ J J #œ œ nœ
‰ B¨13(“4)
‰ nœ #œ œ
& b E¨/G A¨13(“4) A13(“4)
226 Motif restated . nMotif
œdeveloped
b b˙ b b˙œœœ bœ nbbœœœœœ œ œ™ œœ n œ œ ™ nœ œ
œ
œ n œœ œ œ ™
™ n œœnœ œ œ œœœ œœœ œœœ
? bb
& b bb Ó n œ Œ J‰ J ‰ J œ œ
Œ ™ œ ‰ ‰ nœJ œ #œ ‰œ J ‰ Œ œJ

{ ? bb w
b w
ww
w b œœ ™™
bœœœ ™™
Ϫ
œœœœ™™™™ nnnnww
#ww
w Ó Œ
{ 98
b
E¨/G
Motif reintroduced
A¨13(“4)
Motif developed
A13(“4)
Development sequenced
B¨13(“4)
Sequenced

œ œ bœ œ œ œ nœ nœ nœ œ nœ œ œ bœ œ œ œ œ œ œ
bbb bœ bœ œFigure 65: Bars 226-227 showing the developed motif
&
228 E¨/G A¨13(“4) J
J C13(“4) E13(“4)
œ
.
&
b b œ ™™ ˙ b œœ ™™ œœ ™™ œ n # œœ ˙˙ .5 nœœœ œ œj ™™ œ
? bbbb <n>‰˙bœœœ ™™ œ˙˙˙nœ #œ nbœbœnœœœ™™ œ #œœœœ™œ™™ œ Œ nœ œ‰nn ‰nœœœJ œ ˙˙˙ œ. nœ bnbœœœ œ‰™ œœœœ ™™ œ
{ b
Blues scale/pentatonics
? bb Ó ‰ J# œ nœ n œ œ #œ œ
nœ nœ œ ‰ œ
.
. œ. nœ. œ œ
œ™ œ Œ
{ b
Simcock often makes use of pentatonics and blues scales whilst improvising,
5
J

disregarding the chord changes in favour of a strong melodic idea. Levine (1989, p. 127)
230 E¨/G
E¨/G A¨13(“4)
A¨13(“4) A13(“4)
C13(“4) ™ . ™ B¨13(“4)E13(“4)œ nœ œ
bb ˙
100 œ œ bœ œ œœ n œ #œn™œ œ™
n œ œ œ œ Œœ Ó nœ. ‰. J.
states that the characteristics of pentatonics are that of air, space, and light; something
& bb b œ œ œ
n œ œ œ œ œ œ
& b b œ ˙bœ œ nœ˙ bœ3 b œ bœ œœ™ œ bœœ ™ b œ nœ œ.œœ ™™™ nœ
the ear enjoys. Additionally, they are technically rather simple to play, allowing the
b˙ ˙ b œ ™ œ ™ n # w
w n
? bb b ˙nb˙˙œœœ ˙˙˙ œ bœœ ™™b œœ ™™ œœ™™ n œœœ ™™™ nn nwnnw www n œ‰œœb. nbœœœ4™™œœœ.
execution of a virtuosic-sounding line with comparatively little effort. One potent
w Œ
{ ? bb ‰
bb J Œ
nœ Œ b œ ™ œ ™ w
example spans six bars (Figure 66), where he begins with a simple and short melodic
4
Œ Œ

statement and develops it to longer phrases.


E¨/Gœ .
232 œ n œ œ œ œ A¨13(“4) œ C13(“4)
“” E13(“4)
œ œ n œ b œ œ #œ
b œ œ nœ œ nœ bœ nœ œ œ œ
&b b œ œ œ œœ
n œœ ˙˙ ˙˙ ™™™ # œœ. ™™ œ™
?b Œ ‰ œJ ˙ Ó Œ ˙ Œ œœ ™
n ™ œœœ ™™™
{ bb

51
{ bb œ- nœ œ™ œ. bœ J œ œ.

PIANO SOLO
202 E¨/G. A¨13(“4) A13(“4). B¨13(“4) E¨/G
. . A¨13(“4) C13(“4) E13(“4)
b bœ˙ bœ œ™ bœ œ œbœ œ œbœ˙ bœ œœ
&b b Œ ‰ J‰ Ó ‰œ ‰ J‰ J œ œœœœbœ œ œ‰œj
n ˙ ™ J bœ
n ˙ ™™ œœ bn œœœ ˙˙˙ ™™™ n n # w b ˙ ™ n
w bb ˙˙˙ ™™™ nnww w n ˙
b ˙™ ™ n ˙™
? bb nn˙˙˙˙ ™™™ œœœbb œœ ˙˙™™ n nww w w bb ˙˙˙ ™™ nn ˙˙˙˙ ™™™
w œœœœœnœœœ ˙˙˙™™™
{ b

206 E¨/G A¨13(“4) A13(“4)


œ œ œ bœ œ B¨13(“4)
b œ b œ œ
bœ bœ œ œ œ œ œ œ œ
& b b <b>˙ œ bœ. bœ œ. œ œ œ .
bœ™ n œœœ œœ
{? bb ∑
b Œ ‰ ∑ ‰ œJ Œ

Figure 66: Simcock using pentatonics for six bars straight


208 E¨/G A¨Œ„Š7 C13(“4) E13(“4)
PIANO
b SOLO œ j nœ nœ #œ nœ nœ œ œ œ bœ œ œ bœ œ nœ bœ 5
b
&A1 b œ œ œ nœ ™ nœ œ œ b œ bœ
œ
60 E¨Œ„Š7
? bbb Ó n˙n ˙˙˙˙ 3
B¨13(“4) œ b œ bbœœœ œ
Ó Œ ∑ JŒ ‰ J Œ J
Examples of Simcock using pentatonics and blues scales are plentiful throughout the
{ & b bb œ œ œ œ Œ ∑
œ œ ˙
bbb˙˙˙˙ ™™™™
track, and can be found in bars 67, 74-75, 80-81, 90, 93, 98-99, 208-209, 217-218, 230,
? bb
235, 238-244, 246, 248, 250-252, and 257 (Appendix A).
∑ ∑
{ b


D¨7
62 œ b œ b œ œ C7
œ nœ œ nœ
B7
œ
#œ nœ nœ bœ œ œ
B¨7
Dominant 8-note scale
b J J J J nœ ‰ nœ
&b b J
™ # œ™
There are a few instances in the track where Simcock improvises using the dominant 8-
w n œ
? b bbww w nn˙˙˙˙ ™™™™ œœœœ #nn#œœœœ ™™™™ ˙˙˙˙ b œœ ™™ nœœ ™™
note scale (diminished half-whole). Of interest is that he tends to apply this scale over
{ bb J
both the ii and V chords in such chord sequences.

64 B¨‹7 E¨7 A¨Œ„Š7 D¨7 œ


b bœ bœ nœ bœ nœ b œ œ œ
&b b œ #œ nœ bœ bœ n œ nœ œ œ œ œ bœ œ œ bœ ‰ J œ œ
b n œœ ™™ œ™ b ˙˙˙ ™™™
? bb n b œœ ™™ nœœœ ™™™ Œ
nœœ.
Ó
˙˙ œœ
Œ
{ b

Figure 67: In bar 64, Simcock uses the dominant - note scale


Interlude
In Figure 67, it is used to blanket the ii-V in Ab major, and in similarly in bars 84 and 85,
66 E¨Œ„Š7/B¨ B¨13(“4)
b œ bœ j œ #œ œ
Simcock employs the scale over two sets of ii-V progressions (Figure 68), again
& b b ‰ J œ ‰ œJ œ œ ‰ œ œ œ œ œ œ #œ nœ

bœ œ œ œ œ nœ nœ
blanketing each time.
? bb ∑ ∑
{

b

œ œ52
E¨Œ„Š7/B¨
68
nœ œ b œ b œ “œ”bœ B¨13(“4)
œ œ bœ œ œ œ
bb b œ œ nœ b œ œ b œ nœ œ b œ b œ ‰ J
&
˙˙˙ œœœ. œœœ bbb˙˙˙ ™™™ œœ ˙˙™™
? bb ˙ ˙ œ œ œ
Ó ‰ J Œ ‰ J
E¨‹7 D‹7
82
b nœ bœ œ nœ œ œ nœ œ œ
&b b
œ bœ œ nœ bœ nœ bœ œ œ nœ nœ œ œ œ œœ
œ nœ œ
#n œœ n # œœ. bn œœ œœ ˙˙ n˙ œœ
? bb ‰ nœJ Œ n nœœ ‰bb œœœJ ‰ œœJ ˙˙ nn˙˙˙ œ
J Œ
{ b Ó ‰
C©‹7 F©7 B‹7 E7(#11)
84 n œ # œn œ œ b œn œ b œ n œ
œ bœ
b
&b b ‰ J ‰ J #œ ‰ nœJ nœ nœ ‰ #œ nœ bœ ‰ bœj ‰ œ bœ œ bœ
J J
#œ œœ œ b œ ™ œ ™ nnnœœ œœœ ™™™
œ #œœ œœ œœ ™™
? b ##nnœœœœ ‰ œœJ œœœ ‰b œ ™ ‰
Ϫ
œ™ ‰ J ‰ ‰# œJ ‰ œJ ‰ œ™
{ bb
B¨‹7 E¨7 A‹7 D7½

bœ œFigure 68: Bars 84-85 using dominant 8-note scales


86 “ ” nœbœ œ
b b œ œ œ œ nœ n œJ œ nœ bœ nœ bœ œ nœ nœ œ bœ œ œ.
&b b œ œ ‰ J ‰
# œœ œœ ™™ n œœ. ™™ œœ. ™™
n bww
w # nnn œœœ ™
?b b w ‰ nœJ ‰ œ™
œ
œ Œ # œ™ œ œ ™™

{ bb Ó

A3
88 G7 B7(#11) A7(#11) D¨7(#11) b œ n œ
nœ b œ œ œ
œ nœ bœ nœ bœ
b nœ bœ œ bœ œ œ b œ œ œ
&b b œ bœ nœ nœ b œ
4 3
bœ™ œ ˙ bn˙˙˙ ™™™ ## w
w œœ. ™™ 4 œœ. ™™
? bb nnœœœ ™™™ œœœ ˙˙˙ w n œ™
{ b J

G7½ C7½ F7½ B¨7½


œnœ b˙
œ bœ œ œ œ œbœ
bœ n œ
90 ˙ nœ œ

b
&b b Œ ‰ J œ nœ nœ bœ bœ bœ nœ bœ nœ
. .
b ˙˙˙ b˙˙˙˙ bœ œ bnwb w
w bnb bœœœœ ™™™ nb œœœœ ™™™
? bb nœœœ ‰ J Œ w
{ b

53
Chapter 6: Summary and Discussion of Results

This chapter consolidates the rhythmic, harmonic, and melodic devices that Simcock
used in his the arrangement and improvisation of The Way You Look Tonight, presenting
a summarised account of the prevalent techniques and discussing their use and the links
between their improvisational and arrangement applications.

Rhythmic devices

Arrangement

Adaption into A sections are transfigured into 7/4 by pairing two 4/4 bars from
complex time the original meter into a bar of 4/4 and a bar of 3/4.

B sections follow a similar idea by converting two 4/4 bars into


3/4 and 2/4, creating 5/4.

Superimposition A swung 5/4 time signature is juxtaposed over the underlying


straight 7/4. Achieved in practicality by conceptualising 3:4 and
2:3 to create the impression of five equidistant notes.

Metric modulation Used to transition from 7/4 to 5/4 in the B section of the melody
via the established 5-over-7 superimposition. The concept is
reversed to modulate back to 7/4.

Across-the-barline Anticipations in the melody during the bridge are achieved by the
phrasing and use of shorter meters, facilitating the crossing of barline
shorter meters abstracting away from expected clave figures. Dotted crotchets
and phrases in groups of four are recurring concepts.

Improvisation

Syncopation and One of Simcock’s most prevalent rhythmic tendencies whilst


over-the-barline improvising. Syncopation and phrasing over the barline with ties
phrasing gives his lines forward momentum and implies a higher degree of
complexity – especially in these odd meters – by obscuring the
downbeats, creating interest for the listener via rhythmic tension
and release.

54
Groupings 5/8 and 3/4 groupings are often used to temporarily imply the
feeling of another time signature or tempo and to further
enhance the approach to phrasing with longer lines independent
of bar divisions.

Complex rhythmic Within the superimposed meter, Simcock does not intentionally
ideas on interlude outline the expected 3-2 clave, instead choosing to conceal the
improvisations downbeats further using odd groupings, crotchet triplets,
displacement, syncopation, and across-the-barline phrasing, and
‘stretching of time’. There is an extreme juxtaposition of rhythmic
devices familiar to his 5/4 language that interact in unexpected
ways with the underlying 7/4 meter.

Perceived Different tuplet divisions are accessed in succession to give the


stretching of time perceived effect of time slowing down and speeding up.

Long quaver lines Used to contrast shorter rhythmic phrases, increasing tension
and helping to avoid over-reliance on phrasing within the
established 4-3 clave, which is a common tendency when
improvising in odd meters such as this one

Similar aspects

Superimposition The framework of superimposition established in the


arrangement provides Simcock with fruitful material to exploit
when improvising, creating additional interest through the
interaction of his 5/4 language with the underlying 7/4 pulse.

Across-the-barline Rhythmic devices used in both contexts serve to blur the barline
phrasing and avoid the clichéd claves of each meter. Simcock views this
rhythmic freedom as an important aspect of his approach to odd
meters.

Table 1: Rhythmic devices

55
Harmonic devices

Arrangement

Reimagined tonal Eschews the expected I-vi-ii-V progression of the original ‘tag’ to
centre for vamps create a modal and modern sounding pedal that acts as a point of
and interludes rest and a strong precursor to both the A and B sections of the
tune by reharmonising the tonic melody note as the major 7th of
the flat two (Emaj7#11) tonal centre.

Counterpoint Counterpoint defines much of the harmony for the A sections,


avoiding the conventional ‘vertical’ reharmonisation approach
and instead focusing on ‘horizontal’ harmony with passing linear
tensions, particularly within the first A.

Chordal The full chords of the A2, B, and A3 sections are extrapolated
reharmonisation from the counterpoint line to create a sequence of chords that
eschews obvious functionality in favour of a modern and angular
sounding aesthetic. This is achieved through the novel
combination of a variety of harmonisation techniques, including
some cyclic patterns and bitonality.

Solo chord Changes are simplified compared to the melody changes, bearing
changes closer resemblance to the original progression. Reharmonisation
is used more sparingly but with effect to create a form that
retains aspects of the colour established earlier on that is more
conventional to solo on.

Additional solo A four bar progression is established and repeated at the end of
vamp each solo, removing the boundary of form and allowing the
improvisations and aesthetic to become more open.

Improvisation

Sideslipping Improvised lines are sideslipped by semitones to increase


harmonic tension, typically using pentatonic lines to clearly
outline the shift.

Triadic Triads from various key centres are juxtaposed over the existing

56
chord changes using arpeggiation to create controlled tension.

Pedal Often used in conjunction with quartal harmonic ideas to create


harmonic tension and forward momentum, particularly over ii-V
progressions and at the ends of sections.

Implied other Similar to triadic ideas, Simcock occasionally implies other


chords chords to create controlled ‘outside’ lines.

Altered harmony Modes such as Locrian and Phrygian are used to move away from
diatonic treatment of chords, particularly over V and 13sus4.

Similar aspects

13sus4 voicings 13sus4 voicings are used extensively throughout the


arrangement. Such examples include the piano solo, particularly
the solo vamp, as well as general reharmonisation of the head.

Sideslipping Used in the B section as a reharmonisation tool, as well as whilst


improvising.

Pedal The interlude sections in both the head and the solo section
involve a pedal, as well as various points throughout the
arrangement (such as the first two bars of the piano solo).

Implied other Simcock often reharmonises with cyclic patterns in other key
chords centres (bitonality), and occasionally will imply other key
centres, particularly with the use of triads, during the
improvisation.

Table 2: Harmonic devices

57
Melodic devices

Improvisation

Counterpoint Two-part counterpoint used whilst improvising to build intensity


at the end of sections, achieved via one voice in each hand.

Sequences Melodic cells are sequenced to develop ideas.

Arpeggiation Similar to the triadic soloing device, arpeggios act as a clear way
to state harmonic choices, reinforce a melodic idea, and display
virtuosity.

Motivic Simcock’s reiteration of key melodic phrases throughout the


development track creates a sense of unity, familiarity, and development.

Blues scale and Comparatively effortless melodic choices bring a sense of air,
pentatonics space, and light to the listener, sounding virtuosic at tempo and
contrasting more scalar melodic choices.

Dominant 8-note Used occasionally to blanket ii-V progressions.


scale

Similar aspects

Counterpoint Counterpoint is such a pertinent feature to this arrangement,


particularly within the head. It is interesting to see Simcock use
counterpoint to create tension whilst soloing, as the technique
requires great skill to facilitate two independently improvised
lines.

Table 3: Melodic devices

Discussion

The above analysis has uncovered many useful rhythmic, harmonic, and melodic devices
that can be used not only for arranging jazz standards or improvising, but whilst
composing too. The two most significant features of the arrangement are the rhythmic
superimpositions and the contrapuntal lines. This gives the arrangement a sonic
identity, and can be immediately recognisable by these two devices alone.

58
While the contrapuntal bassline does follow some voice-leading conventions a
fair majority of it is randomised and not voice-led. This can be seen with the flow of the
line often being broken up from small voice-led intervals to larger, more obscure
intervals, causing the bassline to be rather angular. Combined with non-obvious
sequences of functional harmony, this gives the arrangement a modern sound, and
opens up the palette for harmonic choices. Mapping out harmony in such a ‘horizontal’
way is a method that Simcock confirmed using whilst arranging this tune.

Although a variety of harmonic devices were used when Simcock was


reharmonising this tune, analysis showed that some reharmonisations were actually
quite standard and closely related to the original changes, while others were simply just
harmonising melody notes to be an extension of an unrelated chord. Simcock actively
pursues the reharmonisation of chords in this way by looking for opportunities to make
the melody a “fruity extension” (personal communication, October 8, 2016).

Simcock feels that “out of the three elements of music, melody, rhythm and
harmony the one that really appeals to me is harmony, but that’s the thing people are
least familiar with” Patterson (2010, para. 20), and given how extensive this
reharmonisation is this is not a surprising sentiment.

Interestingly, Simcock mentioned that he struggled a lot with rhythmic feel


because of his classical background, saying that there’s “such a difference with the way
that you [would] approach it as a classical musician and as a jazz musician. So that was
always the thing that I had to work really hard on” (personal communication, October 8,
2016). He often finds himself practicing away from his instrument, and using that time
to do lots of tapping and focusing on practicing rhythmic concepts. Simcock further
added that the piano is essentially “a percussive instrument… Obviously there’s more
elements to it, but that percussive side of it is something that you can practice away
from the instrument” (personal communication, October 8, 2016). This stated desire to
use composition to further one’s skills, coupled with the motivation from his bassist,
Phil Donkin, served as the inspiration for using many of these rhythmic devices to create
this complex and engaging arrangement.

59
Conclusion

Modern jazz musicians are often searching for ways to reinterpret the much-loved
standard repertoire of yesteryear. Through analysis of Gwilym Simcock’s fresh
arrangement and virtuosic performance of The Way You Look Tonight, this research has
uncovered a vocabulary of rhythmic, harmonic, and melodic devices, as summarised in
Chapter 6, that can be applied directly to arranging, composing, and improvisation.

The aims of the research were certainly met, with many interesting devices
identified and demystified. In particular, the amazingly generous responses from
Simcock himself have added depth to the empirical analysis, enhanced the findings, and
provided a huge amount of inspiration to me.

Due to the relatively limited scope of this research, plenty of avenues have
emerged to build on the findings of this foundational study. Further research
opportunities include:

• Analysing other recordings to gain a more holistic appreciation of


Simcock’s overall style;
• Undertaking practice-led research to reapply the emergent concepts in
arrangement and improvisation;
• Exploring the music of Phil Donkin (Simcock’s bassist, who was the
primary source of inspiration for this rhythmically complex
arrangement) to gain greater insight into other music that utilises
similar advanced rhythmic concepts;
• Exploring in further detail Simcock’s ability to improvise over ostinatos,
through research into the group The Impossible Gentlemen, of which
Simcock is a part.

Gwilym Simcock is an acclaimed and virtuosic musician who has provided great
inspiration to me as a practitioner. It is hoped that the knowledge presented here
through the findings of the paper, musical transcription, and transcript of a very
insightful interview will be of as much value to other appreciators of his work and to the
wider jazz community as they have to me.

60
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simcock
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https://www.britannica.com/art/counterpoint-music
Kern, J. (1936). The Way You Look Tonight [Recorded by Gwilym Simcock]. On
Perception [CD]. London, England: Basho Records. (2007).
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Bridge" by Sonny Rollins. (Doctorate of Musical Arts), Five Towns College.
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Heights, Michigan: Harmonie Park Press.
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Lippi, J. (2008). Time Travels: Modern Rhythm Section Techniques as Employed by
Ari Hoenig. (M.M Degree in Jazz Studies), SUNY Purchase College, New
York.
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Cowan University, Perth, WA.

61
Music, R. A. o. (2016). 2016 Honours are announced. Retrieved from
https://www.ram.ac.uk/about-us/news/2016-honours-are-announced
Patterson, I. (2010). Gwilym Simcock: It's All Just Music. All About Jazz. Retrieved
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simcock-by-ian-patterson.php
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62
Appendix A: Transcription of The Way You Look Tonight

The Way You Look Tonight


From Perception (2007)
Jerome Kern
Fast modern jazz q = 260 Arr. Gwilym Simcock
Transcribed by Brodie Stewart

INTRO
b 7
&b b 4 ∑ ∑ ∑ ∑
Bass Add Drums Add Piano
5 5 5 5
? bb 47 be be
{ b ne e e be be e e be e ne
e e be be e e be œ

5
5 3
b
&b b ∑ ∑ ∑ Ó Ó
nn# œœœ n œ œ
5 5 5 5
? bb b œ b œ b œ b œ b œ
{ b nœ œ œ b œ œ œ œ nœ œ œ b œ œ œ bœ œ

9
b
& b b bw ˙˙˙ ™™ w ‰ j ‰ j ‰ j
bb ww ™ ww nn# œœœ n œ #œ
5 5
? bb bœ bœ bœ bœ
{ b nœ œ œ œ œ œ

11
3 3
b Œ œj Œ j
& b b ‰ bœ ™ œœœ
Ó ∑ j bœ bœ
bb œœ ™™ œœ nn# œœœ ™™™ nœ
5 5
? bb bœ bœ bœ bœ
{ b nœ œ œ œ œ œ

13
3
b Œ ∑ j
& b b bÓw ™ ‰ œœ ‰ œœ ‰Œ ∑
bb ww œœJ nn# œœ. œ œ ™bbbœœœ www œ œ
5
n œ
. 5
5 5
?b
{ b b n œ œ œ bœ bœ bœ œ œ bœ œ nœ œ œ bœ bœ bœ œ 63
œ bœ œ
2
MELODY

A1
17
b . . œ ™ . œ. œ œ œ. œ. œ
&b b œ Œ Ó œ œ œ
œ . . œ ˙™ œÓ
œ œ
. œ œ ˙ œ œ
J J
5 5
? bb œ œ bœ bœ œ bœ nœ nœ bœ
{ b œ nœ nœ nœ œ bœ nœ œ bœ œ
5 5 nœ
21
b ˙ j
&b b ‰ œ™ bœœ™™ œœ ™™ b œœ ™™ œœ œ˙ œ œ œ œ ™ n ˙ œ™
J œ nœ ˙
? bb ‰ bœ ™ bœ ™ j
{ b nœ ™ bœ ™ bœ w ˙™

Interlude
23 5
5 3 3 3
b jŒ Œ Œ jŒ ∑
& b b b ww ˙˙˙ ™™™ ˙˙˙ ™™™ b œ œ œœœ œ. œ. œ.
w nn# œœœ œœœ n œ œ bb œœ œœ
5 5 5 5
? bb b œ
{ b œ
b n œ œ œ bœ œ œ bœ œ œ œ bœ bœ bœ œ œ bœ œ

A2
27
5 . . . . . . j . . j
b ˙˙˙ ™™™ œ˙œ nœ
&b b ˙ ™ b ˙˙˙ œ˙ ™œ œ œœ ˙™bb˙˙˙ bnn˙œ˙˙™™™œ bœ œœ ˙ ™˙˙ bb˙œ˙ œ œœœ ™™ œ n#œœœ™™ ˙
˙™ ˙
5 5
5 5
? bb œ œ bœ bœ œ nœ œ nœ5 œ nœ bœ
5
œ bœ
{
31
b nœ nœ œ bœ œ nœ nœ

b ˙ j
&b b ‰ œ™ bœœ™™ œœ ™™ œ œ œ œ ™ n ˙ œ™
b œœ ™™ nœœ œ˙
œ nœ ˙
Jj
? bb ‰ œ ™ œ w ˙˙ ™™
bbœœ
{ b nœ ™ w
nœ ™ nœ ™ w ˙ ™ 64
3
Interlude
33 5 5
3 3 3 3
bb ‰ j Œ Œ Œ jŒ ∑ 5
& b b ww ˙ ˙ ™™™ ˙˙ ™™™ œœ j b œ œ œ 4
w ˙ ˙ œ nn# œœœ n œ œ bb œœ œœ œœ
5 5 5 5
? bb b œ b œ b œ b œ b œ 5
{ b nœ œ œ b œ œ œ b œ œ œ bœ œ 4
œ nœ œ œ

5
Swing q = q
B
37 E¨‹11 EŒ„Š13(#11) E¨‹11 D13(b9)
b 5
& b b 4 Œ ‰ œJ œ œ œ œ bœ bœ œ ˙ œ ‰ œ œbœœ œ œ ˙™ Œ ‰ J
œ bœ ˙œ nœ
b ˙ ™ œ
b˙˙˙˙˙ ™™™™ ˙
˙˙˙ bb ˙˙˙ ™™™
˙ œœœœ bœœœœœ ˙˙˙˙˙™™™™™ bœœœœœ b œœœ œœœ ™™™ œ ™
? bb 45 b ˙ ™ ‰ J‰ J b
‰ JŒ Œ ‰ J
{ b

41 C©‹9 F©13(b9) B‹9 E13(#11)


. B¨‹7 A¨13(“4) A7(b9) D7[åÁ]
bb bŒ˙ bœ ˙œ œ œ bœnœ œ bœœ ˙ j ‰œ
& b œ ˙ b˙ ™ ‰ œ œbœ œ œœ wŒ bœnœ ™ bœ œ œœnœ 47
Ó J J
b œœœ ™™™ œœœ ˙˙ ##œœœ ™™™ bnn˙˙˙ ™™™ œœœ ™™™ bn˙˙ œœ b˙˙
b œ ™
? bb b œ ™ œ Œ ˙ Óœ # œ ™ ˙ ™ b 7
{ b J Œ ‰ ‰ 4

5
A3 Straight q=q
45
b 7 ™ j . .
& b b 4 bŒw œ ˙
bnb˙˙˙ ™™™ œ˙ ™ œ bœ œ œ ˙™bb˙˙˙
˙™
5
? bb 47 5 bœ bœ
bœ nœ bœ œ bœ
{ b n œ nœ nœ
5
65
4
47 . . . . j . . j
b œ œ œ œ œ nœ
& b b b n˙œ˙ ™™ œ bœ œ œ ˙ ™˙
˙˙
œ
bb˙˙
œ
œœ ™™ n#œœ™™ ˙˙
n ˙™
5
? bb nœ œ5 nœ œ bœ
œ nœ
{ b

œ nœ

5

49
b ˙ j
&b b ‰ œ™ bœœ™™ œœ ™™ œ œ œ œ ™ n ˙ œ™
b œœ ™™ nœœ œ˙
œ nœ ˙
J
?b ‰ ™ bœ ™ j
{ bb bœ nœ ™ bœ ™ bœ w ˙™

Interlude
51 5 5
5 3
3 3 3 3 3
b j Œ Œ Œ j Œ Ó™
& b b b ww ˙˙˙ ™™™ ˙˙˙ ™™™

œœœnn# œœœj œ bbbœœœ œœœ œœœ ‰ j ‰‰
w nn# œœœ n œ œ

5 5 5 5
? bb b œ b œ
{ b n œ œ œ bœ bœ œ œ bœ œ nœ œ œ
bœ bœ œ œ bœ
œ

55 5 5
3 3 5 3 3 5
b j j ™ j .
& b b bœ œ Œ Œ Œ œ Œ Ó b œ œ
Œ Ó œ
. œ. œ œ. œ. œ.
bb œœ œœ œœ # œ œ œ
nn œœ œœ n œ bb œœ œœ
5 5 5 5
? bb b œ b œ b œ b œ b œ b œ b œ œ œ bœ œ
{ b nœ œ œ œ œ œ nœ œ œ

59 œ
b œ œ œ
&b b œ œ
œ œ œ œ
3 4:3

? bb Œ Ó Ó Œ
{ b œ 66
PIANO SOLO 5

A1
60 E¨Œ„Š7 B¨13(“4) œ bœ bœ œ
3
b J J
&b b œ œ œ œ Œ ∑
œ
bbb˙˙˙˙ ™™™™
œ ˙
? bb ∑ ∑
{ b

D¨7
62 œ b œ b œ œ C7
œ nœ œ nœ
B7
œ #œ nœ nœ bœ œ œ
B¨7
b J J J J nœ ‰ nœ
&b b J
w ™
n œœ ™ # œœ ™™
? bb bb ww
w nn˙˙˙˙ ™™™™ œ
œ # œ ™
™ ˙
œœ #nn œœœ ™™ ˙˙˙ b œ™ nœ ™
{ b J

64 B¨‹7 E¨7 A¨Œ„Š7 D¨7 œ


b bœ bœ nœ bœ nœ b œ œ œ
&b b œ #œ nœ bœ bœ n œ nœ œ œ œ
œ bœ œ œ b œ ‰ J œ œ
nbbnœœœœ ™™™™ œœœ ™™™
nœœ. ˙˙ œœ b ˙˙˙ ™™™
? bb n œ™ Œ Ó Œ
{ b

Interlude
66 E¨Œ„Š7/B¨ B¨13(“4)
bb ‰ œ bœ ‰ œ j œ #œ œ
& b ‰
J œ J œ œ œ œ œ œ œ bœ #œ nœ nœ
œ
œ œ œ nœ n œ œ
? bb ∑ ∑
{ b

68 E¨Œ„Š7/B¨ b œ ” B¨13(“4)
œ b œ “ b œ œ œ bœ œ œ œ œ œ
b œ œ nœ nœ bœ œ bœ nœ œ œ bœ bœ ‰ J
&b b
˙˙˙ œœœ. œœœ b b˙˙˙ ™™ œœ ˙˙™™
˙ œœ b ™
? bb ˙ Ó ‰ œJ Œ ‰ J
{ b 67
6 A2
70 D¨7 n œ C7 F7 œ nœ A¨‹7
b n œ œ™ nœ b œ bœ b œ œ œ™ nœ
&b b ‰ J
J ‰ J ‰ J J Œ nœ nœ
4
nn ˙˙ ™™ bbnœœœ œœ n˙˙
? bb ˙ ™ Œ Œ œ Ó b˙ Ó Œ
{ b

72 G‹7(b5) C7 F‹7 B¨7


b n œ #œ œ 3 nœ b œJ n œR
b
& b ‰ J nœ ‰ bœj nœ œbœ bœ ‰ œnœ œ. bœj nœ bœ bœ nœ nœ nœ ‰ ≈ ‰
œ œ b œœ œœ. œœ œœ œœ
? bb Œ ‰ bbœœœœ œœœœ Œ ‰ J Œ
œ
Ó ‰ ‰ ‰ J Œ
{ b J

B¨‹7
74 b œ œ œ™ œ A7 œ œ œ bœ A¨13(“4) œ
D¨7(“4)
bœ œ œ bœ œ œ œ
b J
&b b ‰ J œ bœ œ œ
.
? bb w
bwww #n#œœœœ ™™™™ œ
œ ™

œœ™™ bn œ
œ ™

bbœœ ™™
œ
œ ™

œœ™™ bb
œ
œ
œ
œœ
{ b Œ ‰ œJ Œ

Interlude
76 E¨Œ„Š7/B¨ B¨13(“4)
b
& b b nœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ
? bb Ó œ œ ˙ œ œ œ™ œ œ œ
{ b Œ œ œ ™ ‰
J J J

78 E¨Œ„Š7/B¨ B¨13(“4) œ b œ
b œ œ b œ b œ œ œ œ œ œ œ bœ œ nœ bœ
b œ œ
& b b œ œ œ œ œ œ œ bœ œ nœ
˙ œ œ nœ œ œ b œ b œ bœ œ œ œ nœ œ
? bb œ J J J J ‰
{ b J
68
B 7
80 E¨‹7 EŒ„Š7
œ œ “” œ œ œ œ œ œ
b œ. œ œ œ™ œ™ Œ œ œ œ œ
&b b Ó
œœ ™™ œœ ™™
bw
w œœ™™ bbwb w
w Ϫ
? bb wb ww Ϫ w Ϫ
{
82
b
E¨‹7 œ œ nœ œ D‹7
n œ b œ œ n œ œ
b œ bœ œ nœ bœ nœ bœ œ œ nœ nœ œ œ œ œœ
&b b œ nœ œ
#n œœ n # œœ .
n œ n n œœ bbbœn œœœœ œœœœ ˙˙˙˙ nn
n ˙˙˙
˙ œ œœ
? bb ‰ J Œ ‰ ‰ Ó ‰ J Œ
{ b
C©‹7
J J

84 n œ # œn œ œ b œ n œ b œ F©7n œ œ B‹7 E7(#11)



b
&b b ‰ J ‰ J #œ ‰ nœJ nœ nœ ‰ #œJ nœ bœ ‰ bœj ‰ œ bœ œ bœ
J
#œ œœœ œœœ bb œœ ™™ œœ ™™ nnnœœœ œœœ ™™™ #œœœ œœœ œœœ™™™
? bb ##nnœœœœ œ
‰ J œ ‰ ‰ œ™ ‰ J ‰ #
‰ J ‰ J ‰
{ b
B¨‹7 E¨7 A‹7 D7½
86 “ ” n œ n œ b œ œ
b b œ bœ œ œ œ œ nœ J œ nœ bœ nœ bœ œ nœ nœ œ bœ œ œ.
&b b œ œ ‰ J ‰
w # œœ œœ ™™ n œ nœœœ. ™™™ .™
œ
n
? bb b w
b ww # n œ œ™
nn œœ
œ # œ ™ œœ ™™™
œ
{ b ‰ J ‰ Ó Œ

A3
88 G7 B7(#11) A7(#11) D¨7(#11)
b œ bœ nœ
b nœ bœ œ bœ
&b b œ nœ bœ nœ bœ œ œ œ bœ bœ œ nœ nœ bœ œ nœ œ œ
b œœ ™™ ™™™ 4 3 . 4
œœ. ™™
n œœ ™™
œœ ˙˙ b ˙˙ ##w
w
n
? bb nœ ™ œ ™ œœ ˙˙ n˙ w œ™
{ b J

G7½ C7½ F7½ B¨7½


œnœ b˙
œ bœ œ œ œ œbœ
bœ n œ
90 ˙ n œ œ œ nœ bœ
b nœ
&b b Œ ‰ J nœ bœ bœ nœ bœ nœ
. .
b ˙˙˙ b˙˙˙˙ bœœœ œ bnwb w
w
w bnb bœœœœ ™™™ nb œœœœ ™™™
? bb nœ ‰ J Œ
{ b 69
8
92
B¨‹7
b œ
E¨7
œ
A¨Œ„Š7œ
œ œ œ œ œ œ D¨7
œ œ
bb œ œ œ œ n œ œ œ œ œ J J œ œ œ
& b œ
œ œ œ
bœœœ œœœ ## œœ
œ
œœ ™™ n n œœ ˙˙˙
œ n œœ. œœ
? bb Œ ‰ J ‰ n œ ‰ ‰ œ™ ‰ œ ˙ ‰ ‰ J Œ
{ b

Interlude
94 E¨/G
˙ A¨13(“4) A13(“4) B¨13(“4)
b
&b b
˙ bœ œ œJ œ™ Œ nœ nœ nœ
#œ œ œ
œ bœ bœ nœ œ œ
œœœ ™™™ .
bb nnnn#˙˙˙˙˙ ™™™™ œ
œ œœœ
? bb
{ b ˙™
œ bœ ™ Œ bœ ‰ J Œ
>
E¨/G
96 œ b œ n œ n œ nA¨13(“4)
œ b œ. œC13(“4) œ nœ œ #œ
E13(“4)
b œ œ
b bœ nœ J ‰ J ‰ J œ ‰ J ‰ J #œ œ nœ nœ #œ œ
&b b ‰
nb œœœ. œœœ
bnbœœœœ nnœœœ œœœ ™™™ nœœœ n œœœ œœœ œœœ œœœ
? bb
{ b Ó Œ bœ ‰ œ
J ‰ J œ œ ™ œ ‰ ‰ J ‰ J Œ

98 E¨/G A¨13(“4) A13(“4) B¨13(“4)


b bœ bœ
&b b œ œ œ bœ œ œJ œ nœJ nœ nœ œ nœ œ œ bœ œ œ œ œ œ œ œ
n .
œ
bbœœœ ™™™ ˙
˙˙˙ b œ
œ ™
™ œ
œ ™
™ n # œ
œ ˙
˙ œ
bnbœœœ œœœœ ™™™™
? bb ‰ œ ™ bbœœœ ™™ œœœ™™™ nn nœœœ ˙˙˙
{ b Œ ‰ J ‰

100
E¨/G A¨13(“4) C13(“4) E13(“4)
n œ œ œ
b œ n œ œ n œ œ œ œ œ œ nœ.
& b b œ bœ œ nœ bœ b œ bœ œ œ bœ b œ n œ nœ œ. œ. nœ.
bbœœœ ™™™ n œœœ ™™™ n w n œœœ. 4œœœ.
? bb ‰nbœœœJ Œ
œ nœ
ΠϪ n w w
w Œ Œ
{ b
4

102 D7 G7[åÁ] C‹7 F7 B¨13(“4) £


b
& b b bœ œ œ bœ œ ™ œ™ w ˙˙˙˙ ™™™ w
Ó Œ
n ˙˙ n n ˙˙ bb œœ ™™ w
ww ™ w
ww .
bnœœ ™™ œ.
˙
? bb # ˙ n˙˙ nœ ™ b œ™
5
œ. œ. œ œ. œ.
{ b bœ. œ. œ. œ.
5
70
MELODY 9

A1
105
b . . œ ™ . œ. œ œ œ. œ. œ
&b b œ Œ Ó œ œ œ œÓ
œ . . œ ˙™ œ œ
. œ œ ˙ œ œ
J J
5 5
? bb œ œ bœ bœ œ bœ nœ nœ bœ
{ b œ nœ nœ nœ œ bœ nœ œ bœ œ
5
nœ 5

109
b ˙ j
& b b ‰ nœœ Œ bbœœ™™ œœ ™ b œœ ™™ œœ œ˙ œ œ œ œ™
J ™ J œ nœ ˙ œJ n œ™
Ϫ
? bb ‰ bœ ™ bœ ™ j Œ
{ b nœ ™ bœ ™ bœ w ˙

Interlude
5
111 . bœ. œ. n œ. 5
b 3
œ œ nœ
Œ J nœ
3
nœ nœ nœj œ nœJ
& b b bbœœ bœJ Œ J J
œ. 3 3 3 3
œœ. nnn œœœ œœœ
? bb ∑ œ bb œœœ
{ b ΠΠJ ΠΠJ
5 3 3
5

113 5 3
3
bbb #œ œ bœ 3 j nœ nœj #œ œ nœ œ nœ
j 3
j
œ bœ nœ bœ œ œ ‰ #œ œ œnœ
& J #œ J
3 3 3
5 3
n œ n œ bœœœœ .

œ
? bb Œ n œ œ
œ
œ œ
œ n
œ J Œ J Œ# œ œ b œœœœ œœœœ bbœœœœ œœœœ
{ b Œ J J Œ
J 3 3 3
3 3 5
5

A2
115
. . . . . . . j . . j
bbb ˙ ™ 5 œ œœ ™ œ #œœ ™ œ˙œ nœ
& œ˙ ™œ œ œœ ˙™bb˙˙˙ bnn˙œ˙˙™™™œ bœ œœ ˙ ™ ˙˙ œ
bb ˙˙˙ ˙™ ˙ b ˙
b ˙ œ ™ n œ™ ˙
5 5
5 5
? bb Œ œŒ bœ bœ œ nœ œ nœ5 œ nœ bœ
5
œ bœ
{ b nœ œ bœ œ nœ nœ 71
10
119 .
b ˙ j
&b b ‰ œ Œ bœœ™™ œœ ™™ b œœ ™™ nœœ œ˙ œ œ œ œ ™ n ˙ œ™
J Jj œ nœ ˙
? bb ‰ œ ™ nœ ™ b œœ w
w ˙˙ ™™
{ b

nœ ™

nœ ™ bœ w ˙™

Interlude
121 5
b
3
j . bœ. œ.
5 œ. œ. œ.
& b b b ww Œ œ bœ
w .
b œœœ
3 œœ.
bb œœœ bb œœœ œœœ œ
? bb bœ Œ J Œ Œ J
{ b nœ œ œ
5 3
5
3

123 5 5
.
b . bœ œ nœ. œ. 3 3
‰ œ.
3 3 3 3
5
&b b œ J œ. nœj #œ. œ. œj j j j 4
3
3
œ. œ œ. œ œ. n œ
.

? bb Œ b œJ Œ œ. œœœœ œœœœ œœœœ bbœœœœ œœœœ 5
{ b ΠΠΠJ J Π4
3 3 3
5 5

B Swing q = q

125 E¨‹7 EŒ„Š7 b œ œ œ nœ œ


b 5 œ bœ œ
&b b 4 œ b œ œ bœ bœ bœ
œ œ b œ œ œ bœ b œœ œœ œœ œœœ
b œ b œ œ œ œ
? bb 45 ‰ œj ‰ œj Œ ‰ J Œ ‰ J Œ ‰ J ‰ œJ
b
{ b œ

127
E¨‹7
n œ œ nœ G7½
3 n œ bœ#œ œ œ
bb nœ bœ nœ œ œ œ
& b nœ œ œ œ œ nœ bœ œ nœ
3 3
<b> w
w b œ b œ
œ ˙
˙ 3 œ
œ œœœ
? bb <b> w w
w œ œ œ ˙
œ ˙ œœ b œ
{ b ‰ b œJ
72
11
C©‹7 F©7 B‹7 E7(#11)
<#> œ n œ b œ n œ b œ bœ
129
b b œ œ#œ œ œ œnœbœ œnœ# œ b œ bœbœ3

&b b œbœ nœ œnœ #œ bœbœ


#œ œ
<b> œœœ 3 b œœœ ˙˙˙ 3 3
œœ3 3 3
n#nœœœœ ˙˙˙˙3 œœ 3
œœ ™
3

? bb <b><b> œœ bœ ˙ nœ ‰ J‰ # œ œ™™
{ b

3
J

B¨‹7 A¨13(“4) A7½ D7½


131 b œ n œ œ b œ n œ œ. n œ œ œ nœ #œ nœ
b nœ bœ œ œ bœ œ œ nœ 7
&b b ‰ nœ œ 4
3
nbbwww bœœœœ ™™™™ œœœœ #œn œœœ
? bb w
Œ ‰ œ. 7
{ b 4

5
A3 Straight q = q
133
b 7 . .
& b b 4 bw ˙™ œ œ bœ œ œ b ˙˙ œ ˙
n# ˙˙ ™™
5 5 bœ
? bb 47 nœ bœ œ bœ
{ b œ bœ nœ nœ bœ
5

135 . . . . j . . j
b œ ™ œ #œœ ™ œ ˙ œ nœ
& b b œ˙ ™ œ bœ œ œ ˙ ™ b ˙˙
b˙œ˙
œ
œœ ™ n œ™ ˙
n ˙™ b˙
5
? bb nœ œ5 nœ œ bœ
œ nœ
{ b œ nœ 5

137
b ˙ j
& b b ‰ œ™ bœœ™™ œœ ™™ œ œ œ œ™
b œœ ™™ nœœ œ˙
œ nœ ˙ œJ n œ™
Ϫ
. Jj
? bb ‰ bœ ™ bœ ™ ˙˙ ™™
bœœ
{ b w
73
nœ ™ bœ ™ w
12
Interlude
139 5
b
5
#œ. nœ. œ œ bœ œ œ œ
& b b b œœ Œ Ó J J œ œ
œ .
3 3

#nnn#œœœœœ bn œœœ. œ .
? bb ∑
n
b œ
Œ b œ bbœœœœ Œ nbœn œœœœ
{ b

5

5

141 5 5
#œ œ nœ œ œ bœ nœ bœ nœ b œ bœ nœ bœ œ œ
b nœ #œJ nœ J #œ œJ J J
&b b J
J
J J ‰
3 3 3 3 3 3 3 3 3 3
™ ™
#nnn#œœœœœ ™™™™

? bb #nnn#˙˙˙˙˙ bbnbœœœœ ™™™™ œ œœœ ™™™
{ b Œ ‰ ‰ Œ ‰ n œ ™™
5 5

143 5
5 3
b .œ #œ. . nœ. #œ. . 3 3
b
& b nœ. œ nœ ‰ nœ. bœ bœ œ bœ bœ œ. nœj
J J . .
4 3 3
n˙˙ #n œœœ ˙˙˙ n œ.
? bb n ˙ Ó Œ Œ Œ
{ b
5
5
3

145
bb 5
.œ œ5 œj
& b œ œ œj™ j œr œ œ
≈ bœ
j
nœ. . œ. œ. œ. Œ Ó
Ó Œ
bœ™ œ.
? bb Œ Œ Ó Œ Œ Œ Ó Œ Œ Ó Ó Œ
{ b
5 5
œ.
&

BASS SOLO
A1
148 E¨Œ„Š7 B¨13(“4) D¨7 C7 B7 B¨7
b w ˙˙ ™™ w w #nnœnœœœ
&b b w
w ˙™
œœœ Œ Ó Ó Œ bw
w ‰ JŒ Œ ∑ # œ ‰ nbœœœ ™™™
. # n œœ n n œœ ™™
# œ
j .
b b œ œ™
&b b ‰ nœœ Œ Œ ?
œœ Œ Ó
{ Ó Œ w ∑ ‰
nœ. bœ ™
w 74
w ˙˙ ™™ w
.
13
152 B¨‹7 E¨7 A¨Œ„Š7 D¨7
b
& b b nb nœœœ Œ Ó ‰ n#bœœœ ‰ œœœ™™™ ∑ Œ ‰ œj Œ
b œ. bœ
J
œ™ nb œœ.
? bb
{ b ∑ ‰ J ‰ œ™
œ ∑ Œ ‰ œj ‰ œJ
.

Interlude
154 E¨Œ„Š7/B¨ B¨13(“4) E¨Œ„Š7/B¨ B¨13(“4)
b œ œ œœ. œœ ™™™ w
w œœœ. Œ Ó
& b b n œœ Œ Ó Ó Œ ∑ œ
œ ‰ J ‰ J ‰ œœ ‰ œœ ™ w
w œ Ó Œ
œœ J.
œ
œ J œ œœ œœ ™™ ww œœœ.
? bb œ Œ Ó Ó Œ ∑ ‰ Œ ‰J‰ Œ Ó Ó ‰ œj
{ b .

A2
158 D¨7 C7 F7 A¨‹7 G‹7(b5) C7 F‹7 B¨7
j
b
&b b Ó nbœœ Œ Œ ‰ bœœj Œ ∑ ‰ j ‰ œ™ Œ ‰bnœœœ Œ ∑ Œ œ. bbœœœ
nœ b œ- œœ bb œœ ™™ œœ Œ Ó
œ b œœ œ. #œœ
? bb œ Ó Œ ‰ nœj Œ ∑ Œ ‰ œ™ Œ ‰ nœJ Œ ∑ Œ # œ
{ b
b œ. œ œ Œ Ó
œ-
162 B¨‹7 E¨7 A¨Œ„Š7 D¨7
& bbb <b>œœœ nœœœ w w n##˙˙˙ œœœ bnnœœœœœ Ó Ó Œ
w
œœ ww
<#> œ
? bb <#> œ œ w
œ nb œ w nn#˙˙˙ œœœ bnœœœœ
{ b Ó Ó Œ

Interlude

bbbœœœ
164 E¨Œ„Š7/B¨ B¨13(“4) E¨Œ„Š7/B¨ B¨13(“4)
œ œœ
b j œœ Œ
&b b ∑ ‰ œjŒ ∑ ‰ œœœ ˙˙˙ Œ Ó Ó Œ ‰œ Ó Œ ‰ J
œœ
b œœ œœœ œ ˙ œœœ Jœ
. . .
œœœœ nb bœœœœ
? bb Ó Œ
{ b Ó Œ ∑ ‰œœJ ˙˙ ∑ ‰JŒ Ó Œ ‰ ‰
75
b œ.
14

168
B E¨‹7
w ˙˙˙ ™™™ EŒ„Š7(#11) E¨‹7 D‹7
w
w bœœœœ œ™
b
&b b
w ˙™ Ó b
Œ ‰ J œœœ ™™™ œœœ ‰ ∑ Œ ‰ œ ‰ nœ œ Ó Œ ‰nnnœœœ ™™™
˙™ bb œœœ nn œœœœ œœœœ œ™
b w
w ˙˙˙˙™™™™ “œ” œœ™™ œœœ . ™
? bb b w
w w Ó Œ ‰ bœJ ‰ ∑ Œ j‰‰œ j Œ Ó Œ ‰ nœœ ™
{
172
b
C©‹7 F©7 B‹7 E7(#11)
œ
B¨‹7
.
E¨7
œ
A‹7 D7
b j ‰ #œj ‰ œœœ ™™™ nnœœœ ™™™ œœœ™™™
& b b ###˙˙˙ ™™™ Œ Ó Œ Ó ‰
nœ#œ nœ # œœ
∑ ∑
n˙ ™
? bb n#˙˙ ™™ #œ nœ #
œœ œœ™™ nnœœœœ ™™™™b#œn œœœ ™™™™
{ b Œ Ó Œ Ó nœ ‰ J ‰ J ‰ ∑ ∑


A3
176 bbG7 ˙™ œœœ œ B7(#11) A7(#11) D¨7(#11) G‹7(b5) C7 F‹7 B¨7(#11)
b
&b b b ˙˙˙ ™™™ œ bœœ ˙˙˙™™™ #n˙˙˙ Ó Œ ‰bœœ ™™™
œ bb œœœ Œ Ó Œ ‰bbnbœœœœ ‰ bn œœ Œ Ó Œ ‰nnbœœœœ ‰
œ
bnb˙˙˙˙ ™™™™ œœœœ bnœœœ ˙˙˙ ™™™ nb ˙˙˙˙ œœ ™™ bœœ.
? bb
{ b Ó Œ‰ Œ Ó ‰ j nœJ ‰ Œ Œ Ó Œ œj œ ‰
œ œ
180 B¨‹7 A7(#11) A¨Œ„Š7 D¨7
b
&b b ∑ œœœ ‰ #nœœœ ™™™ bœœœ Œ Ó Œ ‰ œj Œ
. œ. bœ
œœ. n#œœœ ™™™ bœœœ.
? bb ∑ ‰ Œ Ó Œ ‰ bœœ ‰ œ
{ b J J

Vamp
182 E¨/G A¨13(“4) Aº7 B¨13(“4) E¨/G A¨13(“4) C13(“4) E13(“4)
b -
& b b b ww œœ Œ Œ ∑ ‰ œj ‰ Œ Ó Ó Œ nnœœœœ Œ Ó ‰#n#nœœœœ Œ Œ
œœœœ ™™™ b œ œ
w
w b œœ. b œœ ™ n œœ. œ -œœ J
n œ #œœœ
? bb w Ó Œ ∑ ‰ nœj ‰ Œ œ Œ Ó
œ. Œ Ó
{ b œ™ Ó ‰ JŒ Œ

186 E¨/G A¨13(“4) Aº7 B¨13(“4) E¨/G A¨13(“4)


œ C13(“4) E13(“4)
b bœ ‰ œœ ‰bbœœœœ ‰ ∑
& b b bbnœœœœ Œ Ó Œ ‰b bœœ ‰ b œœ Œ Ó Œ ‰ n œœj Œ ∑ J
œ ‰ #œ ™
nnœœœ. #nn œœœœ ™™™
œœ b œœ nb œ. œ b œœ œ b œœ
b œ ‰ ∑ nœœœ ‰ #nœœœ ™™™
? bb
{ b Œ Ó Œ ‰ œ Œ Ó Œ ‰ œ ‰ J ‰ bœ ‰ ∑
76
bœ J nœ.
15
190 E¨/G A¨13(“4) Aº7 B¨13(“4) E¨/G A¨13(“4) C13(“4) E13(“4)
b bœœ Œ Ó Œ ‰ j Œ ∑ j nœœ. #œœ œ
&b b bœœ- b œœœœ
‰ œ ‰ bœ ™
œ b œ ™ b œ œ Œ Ó Ó Œ œ
œ Œ Ó Œ ‰n œ J
bœ-œ b - bn œœ b œ ™ œœ
œœ. œœ ™™
? bb œ Œ Ó Œ ‰ j Œ ∑ j
‰ nœ ‰ œ œJ ∑ n œ œ Œ Ó Œ‰
{ b
E¨/G
bœ-
A¨13(“4) Aº7 B¨13 E¨/G A¨13(“4) C13(“4) E13(“4)
194
b b ˙˙ ™ œ™ œ bbœœj
&b b ˙™ œ bœ Ó Œ ∑ # œ ‰ nœœ ™™ œ Œ Ó Œ ‰

‰ ∑ ‰ nœ ™
n œ b œ
nn n œœœ bb œœœ ™™ nn œœ b œ
bb œœœœ œœœ #nn œœœ ™™™
b˙˙˙˙ ™™™™ œœœœ bbœœœœ .
nœ ™ . .
? bb
{ b Ó Œ ∑ j
nœ. ‰ œœ ™™ œ. Œ Ó Œ bœ ‰ Œ ∑ œ ‰ n#œœ ™™
bœ œ.
198 E¨/G A¨13(“4) Aº7 B¨13(“4) E¨/G A¨13(“4) C13(“4) E13(“4)
b ‰ œj ‰bœ œj bœœ Œ Ó Œ ‰ bœœj Œ
& b b bbbœœœ Œ Ó Œ ‰ b bœœj Œ ∑ Ó Œ‰
. b b œœ-œ nbn œœœ b œœ œ. bb œœœ n œœ
œ
œœ
œ. n## œœœ ™™™
.
? bb bœœ Œ Ó Œ ‰ j Œ ∑ ‰ nœj ‰ œ ™ œœ Œ Ó Œ ‰ bœj ‰ œJ œ œ. Ó Œ ‰n#œœ ™™
{ b

œ-

.

PIANO SOLO
202 E¨/G. A¨13(“4) A13(“4). B¨13(“4) E¨/G
. . A¨13(“4) C13(“4) E13(“4)
b bœ˙ bœ œ™ bœ œ œbœ œ œbœ˙ bœ œœ
&b b Œ ‰ J‰ Ó ‰œ ‰ J‰ J œ œœœœbœ œ œ‰œj
n ˙ ™ J bœ
n ˙˙˙ ™™™ œœœ bbœn œœœ ˙˙˙ ™™™ n n # w b˙ ™ nw n ˙ ™
w bb ˙˙˙ ™™™ nnww
˙˙™™ n nww b ˙™ n ˙™ œœœœœnœœœ ˙˙˙™™™
n
? bb n˙˙ ™™ œœb œ w w bb ˙˙˙ ™™ nn ˙˙˙˙ ™™™
w
{ b

206 E¨/G A¨13(“4) A13(“4)


œ œ œ bœ œ B¨13(“4)
b œ b œ œ
bœ bœ œ œ œ œ œ œ œ
& b b <b>˙ œ bœ. b œ œ. œ œ œ
.
bœ™ n œœœ œœ
? bb ∑
{ b Œ ‰ ∑ ‰ œJ Œ

208 E¨/G A¨Œ„Š7 C13(“4) E13(“4)


bbb œ œ œ œ ™ nœj nœ nœ œ œ #œ nœ bœ nœ œ œ œ bœ œ œ bœ œ nœ bœ bœ
& nœ
n ˙˙˙ œœ
? bb Ó n ˙˙ b œ Œ
{ b Ó Œ ∑ Œ ‰ J
77
16 E¨/G A¨13(“4) A13(“4) B¨13(“4) E¨/G A¨13(“4) C13(“4) E13(“4)”
210 . œ n œ “
b . œ bœj nœ œ .œ #œ n œJ œ nœ œ œ
& b b œ œ bœ Ó Œ ∑ Œ ‰ ‰J‰J ∑ Ó œ
œœ. . œ nœ œ
bœj nœ œ n œ œ
? bb œ Œ Ó Ó
{ b Œ ∑ #
œ. Œ ‰ Jœ ‰ nœJ ‰ œJ ∑ Ó nœ

214 :E¨/G
“n;œ
A¨13(“4) A13(“4) B¨13(“4)
œ œ ‰ œ nœ ‰ œ ‰ #œ ‰ œ œ. œ œ ‰ nœ
b
&b b œ ‰ œJ œ œ œ ‰ œJ ‰ J J J J
J J
œ œ œ œ œ nœ œ œ. œ œ bœ
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{ b J

E¨/G A¨13(“4) C13(“4) E13(“4)


216 :“;
b . œ œ œ. bœ œ œ bœ œ œ œ œ œ œ
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? bb œ. œ Ó Ó Œ J nœ
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œ ‰ Œ
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218 E¨/G A¨13(“4) A13(“4) B¨13(“4)


b œ #œ # œ n œ œ nœ b œ œ œ nœ œ b œ n œ
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.
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220 E¨/G A¨13(“4) C13(“4) E13(“4)


“ ” œ
bb œ œ œ ‰ œ nœ. nœ #œ #œ œ ‰ œ œ bœ nœ n œ œ nœ œ œ œ b œ œ bœ œ nœ
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J
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222 E¨/G œ bœ A¨13(“4) A13(“4) B¨13(“4)
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&b b bœ bœ J nœ nœ œ œ œ J J œ
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{ b Œ ‰ Œ Ó Ó Œ


224 E¨/G A¨13(“4) C13(“4) E13(“4)
b œ œ nœ #œ œ nœ
&b b œ œ œ J œ œ œ nœ œJ œ œ œ œ œ œ œ bœ œ
J nœ J
? bb ∑ ∑
{ b

226 E¨/G A¨13(“4) A13(“4) B¨13(“4)


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w b œœœ ™™™ œœœ ™™™ # w
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b œ™ œ œ™™ nnnnwww
w
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228 E¨/G A¨13(“4) C13(“4) E13(“4)


b œ nœ #œ nœ nœ œ #œ œ œ œ nœ ‰ .5 œ œ ™ j œ œ
& b b <n>˙ œ œ. œ. nœ œ œ
.
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5
J

230 E¨/G A¨13(“4) A13(“4) ™ n œ. ™ B¨13(“4) œ


b ˙ œ œ bœ œ # œ ™ œ™ œ
œ ‰ J
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{ b
w Œ ‰ b œ™

E¨/Gœ
232 œ n œ. œ œ œ A¨13(“4) œ C13(“4)
“” E13(“4)
œ œ n œ b œ œ #œ œ
b œ œ nœ œ nœ bœ nœ œ œ œ œ œ œœ
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n œœ ˙˙ ˙˙ ™™™ # œœ. ™™™ œœ ™™™
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79
18
234 E¨/G A¨13(“4) A13(“4) B¨13(“4)
:“; b œ œ œ œ œ œ œ œ bbœœ œ œ
bbb nœ #œ nœ œ bœ nœ bœ bœ œ œ œ ‰ J J J Œ
& bœ
b œœœ ™™™ bbœœœ
? bb ∑ n œ™ J Œ ∑
{ b

E¨/G A¨13(“4)
236 nœ œ œ nœ C13(“4)
n œ #œ .
E13(“4)
b
&b b ∑ ‰ J ‰ œJ ‰ nœ nœ œ œ ‰ nœj ‰ nœJ
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n œ œ
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J

E¨/G A¨13(“4) A13(“4) B¨13(“4) E¨/G A¨13(“4) C13(“4) E13(“4)


238
b <n>œbœ b œ œ œ œ œ bœ bœ œ œ œ œbœ bœb œ œ œ œ œJ
& b b J bœbœbœ bœœ œj j b œ œ J
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E¨/G
242 ˙™ b œ A¨13(“4)
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˙™ b œ œB¨13(“4)
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b ˙™ bœ ‰ œJ ˙™ J œ
&b b J
˙ ˙ œœ ™™ œœ #œ ˙ #˙ œ ™™ œ ™™
? bb b˙˙˙

b œ™œ ™ œ œœ nnnnœœœœ ˙˙˙˙ nn˙˙˙˙ bbnœœœœ ™™™ œœœœ ™™™
{ b
E¨/G A¨13(“4)
J
C13(“4) E13(“4)
244 <b> œ œ œ n œ “” #œ œ œ œ#œ
n
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{ b ‰ J ‰ Œ Œ Œ ‰ nœ ™

246 :“E¨/G
; A¨13(“4)
b œ bœ bœ œ œ n œ
A13(“4)
n œ n œ nœ œ #œ œ
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? bb Œ ‰ J Œ ‰ J Œ ˙ œ nœ ˙
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19
E¨/G
248
n œ #œ b œ bA¨13(“4)
œ b œ œ
C13(“4) E13(“4)
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.
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J

250 E¨/G A¨13(“4) A13(“4) B¨13(“4)


b j œ bœ bœJ œ bœ œ œ œ œ œ œ œ nœ
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œ
nw œ
252 E¨/G A¨13(“4) C13(“4) E13(“4)

b œ
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E¨/G A¨13(“4) A13(“4) œ nB¨13(“4)
254 #œ nœ œ œ bœ n œ n œ œ œ nœ œ n œ œ b œ œ bœ œ œ
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256 E¨/G A¨13(“4) C13(“4) E13(“4)


b œ nœ œ œ œ œ bœ œ œ œ œ œ œ bœ
b œ ™ œ œ œj
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258 . .5 . . . . . . .
b Œ œ œ ˙œ œ
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n ˙˙ nn ˙˙ b œœ ™™ ™
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n œ ™ b Œ Ó
{ b
5 5
81
20 MELODY

261
A1
b w . œ ™ . œ. œ œ œ. œ. œ
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5 5
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5 5


265
b ˙ ‰ j
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J ™ J œ nœ ˙
? bb ‰ bœ ™ bœ ™ j Œ
{ b nœ ™ bœ ™ bœ w ˙

Interlude
267 5 5 5
3 3 3 3 3
b j Œ Œ Œ #œj Œ Œ nœ œ œ bœ
& b b b ww ˙˙ ™™ Ó Œ ‰ # œj ‰ j ‰ œj
w ˙ ™ nn œœ n œ bbbœœœ œœœ #nn œœœ nbb œœœ bbb œœœ œ
. 5
5 5 5
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{ b nœ œ œ œœ œ nœ
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A2
271
5 . . . . . . . j . . j
b œ˙œ nœ
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˙™ ˙
5 5
5 5
? bb œ œ bœ bœ œ nœ œ nœ5 œ nœ bœ
5
œ bœ
{ b nœ nœ œ bœ œ nœ nœ

275
b ˙ j
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J ™ n œœ ‰ b œJ œ nœ ˙
j
? bb ‰ œ ™ œ w ˙˙ ™™
bbœœ
{ b nœ ™ w
nœ ™ nœ ™ w ˙ ™ 82
21
277
Interlude 5 5 5
3 3 3
b j Œ Ó #œ Œ nœ 5
&b b bw w ˙˙ ™
™ ˙˙
Œ Œ j‰
b œ œ n œ b œ b œ
œ
ΠΠ4
w ˙ ™ ˙ nn# œœœ n œ œ bb œœ œœ #n n œœœ nb b œœœ b œœœ
. . 5.
5 5 5
? bb 5
{ b n œ œ œ bœ bœ bœ œ œ bœ œ nœ
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œ 4

B Swing q = q
281 E¨‹11 EŒ„Š13(#11) E¨‹11 D7½
b 5
œ ‰ œ œbœ œ œ œ ˙™
˙˙
& b b 4 Œ œ œ œ œ œ bœ bœ œ ˙ ‰ Jn œ ˙
˙ ™ ˙ b ˙ ™

˙˙˙ ™™ œ ˙ ™ œ œœ ™™ ˙˙ œ
b
˙ ˙
˙ ™
™ ˙˙
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˙ ˙
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{ b J

285 C©‹9 . E7(#11)


F©13(b9) B‹9 B¨‹7 A¨13(“4) A7(b9) D7[äÁ]
b b œ j j 7
& b b bŒ˙ bœ ˙œ œ ˙ œ bœ˙ ™ œ bœ œ ˙Ó ‰ œ ‰ œ œbœ œ œ œ w‰ œ bœ œ bœ ˙ œ 4
™ ˙ ™ J
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? bb bbœœœ ™™ J b ˙ n#˙˙ ™™ #œ b ˙ ™ ‰b œœ ™™ n
‰ J 7
{ b 4

A3 Straight q = q
289
. . . . . . j . . j
b 7 œ œœ ™ œ #œœ ™ œÓœnœ
&b b 4b w b ˙˙ ™™™ n œ˙ ™œ bœ œœ ˙™bb˙˙˙ bnn˙œ˙˙™™™œ bœ œœ ˙ ™˙˙ bb˙œ˙ œ ™ n œ™
w n ˙ ˙™ ˙
5
? bb 47 bœ n5œ nœ bœ œ bœ5 bœ bœ
nœ œ5 nœ œ bœ œ nœ nœ
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5
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293
b ˙
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J J J œJ ˙ œ nœ ˙
? bb ‰ bœ ™
{ b bœ ™ j ‰ œj
83
nœ ™ bœ ™ bœ w ˙
22 Coda
295 5 5
3 3
3 5
b j j
& b b b ww ˙˙˙ ™™™ ˙˙˙ ™™™
Œ j Œ bœ œ Œ Œ Œ n#œœ Œ Œ b nœœ œ Œ Œ
n b œœ bb œœœ
w nn# œœœ b œœ œœ # n œœ
.
5 5 5 5
? bb b œ b œ b œ b œ b œ œ œ bœ œ
{
299
b n œ œ œ bœ œ œ œ nœ œ œ
.

b .
j Œ
& b b œ˙ nœ œ˙

œ n œœœ™™™ n œ
b œœ Œ
#˙ J
? bb n˙ ˙ nœœ ™™
{ b ˙ œ™

300 5
5 5 3 3 5
b j jŒ Œ
& b b b ˙˙ Ó
n# œ
œ
Œ
b nœ
œ b œ
œ
Œ
nbnœ
œ œ
#n n œœœ b œœ bb œœ n œœ #n œœ œœ #œœ œœ
Œ Œ Œ
n #œ
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# œœ b n œ
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n b œœ b œœ
Œ Œ
˙ . . . . .
5 5 5 5
? bb b œ b œ b œ b œ b œ
{ b nœ œ œ b œ œ œ œ nœ œ œ
b œ œ œ bœ œ
304 D7 G7[åÁ] C‹7 F7
. .
b j Œ
& b b œ˙ nœ œ˙ œ
n œœœ™™™ n œ
b œœ Œ

#˙ J
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{ b ˙ œ œ

305 5
3 5 5 5
b j
& b b b ˙˙ ™™ Œ n#œœ Œ Œ bnœœœ bœœ Œ b nœœ #œ Œ Ó #nnœœœ Œbnbœœœ nbœœ Œ b nœœ
˙ ™ # n œœ œ. b œœ. n œœ. #n œœœ œ n œ. b b œœ. n œœ-
5 5 5 5
? bb b œ bœ b œ b œ b œ b œ œ œ bœ œ
{ b nœ œ œ œ œ œ n œ œ œ bœ
309 D7 G7[åÁ] C‹7 F7
. .
b j Œ
& b b œ˙ œ œ˙ œ
n œœœ™™™ n œ
bn œœ Œ
#˙ b˙
J
? bb n˙ ˙ nœœ ™™ bœ j
{ b ˙ œ 84
œ
310
23
5 5 5
5
bb ‰
& b b ˙˙ ™™ n n œœ ™™™ œœ bœœœbbb˙˙˙ nnnœœœ bbb˙˙˙ nœœœbbb˙˙˙ nœœœn n œœb b˙˙ ™™™
b˙ ™ nœ œ nœ b˙
5 5 5 5
? bb b œ b œ b œ bœ bœ bœ
{ b nœ œ œ bœ œ œ œ nœ œ œ œ œ bœ œ

314 D7 G7[åÁ] C‹7 F7


. .
b
& b b œ˙ œ b œ˙ bœ
n œœœ™™™ bnnœ™
œœ ™™


? bb n˙ œ™ j nœœ ™™ bœ j
{ b n˙ œ™ œ n œœ

œ

315 5 5
5 5
3 3
b j j j Œ Œ ‰ #œj Œ Œ nœ
& b b b œœ œœjŒ Œ ‰#n#œœœ Œ Œ b nœœœ b œœ ‰nnœœœŒ Ó
œ œ nœ b œ. b œœ. n œœ #n#œœœœ œœœœ n œœœ nbb œœœ bbnœœœœ
5 5
. .
5 5
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{ b n œ œ bœ nœ
œ œ œ œ œ

319 D7 G7[åÁ] C‹7 F7


. .
b j Œ
& b b œ˙ nœ œ œ n œœœ™™™ n œ
b ˙˙ bn œœ Œ
#˙ J
? bb œ™ j nœœ ™™ bœ ™
{ b n˙ œ™ œ œ™

320
bb 5 3
5 5
œ. œŒÓ Ó Œ
& b j Œ Ó œ œ œ. œ œ œœ
™ . . . .
ww ˙˙˙ ™™ w ww bb œ. œ œœ œœ œ
bb w
5 5 5 5
? bb b œ b œ b œ b œ b œ
{ b n œ œ œ b œ œœ œ nœ œ œ
b œ œ œ bœ ŒÓ Ó Œ
œ œ 85
œ
Appendix B: Transcript of Interview

Conducted October 8, 2016 [BS = Brodie Stewart, GS = Gwilym Simcock

NB: the author’s interjections of agreement and interest have been ignored, as well as
some stuttering from both parties.

BS: So, what aspects of classical music have influenced your jazz practice?

GS: Um, well I think probably – the – very much a pianistic – um, the pianistic side
of it I would say a huge amount, because just the – they’re such a general nuts
and bolts of physically playing the piano.

Um, I’ve always found to have had that kind of classical background has been
very useful. I mean, of course you don’t have to have that, but for me I’ve always
tried to bear in mind the things that I was taught in terms of technique in order
to try and – ah to – well I’ve – I mean, I kind of, I’ve banged on about this when I
teach, but in terms of trying to have a really consistent – ugh, that’s a bit scary –
err, but really consistent [laughs] – really consistent technique when you play
the piano.

Because I teach a lot of people and then it’s all about, kind of, if you play loud
you do more like that [demonstrates], and then when you quieter it’s more like
[demonstrates]. And really, that’s – there’s no way you can have an accurate
kind of response to what you do if you’ve got that kind of an – well, for me
anyway – I feel like, to have an accurate technique, however hard or soft you’re
playing, um, is crucial to be able to accurately carry out the instructions that
your brain is sending to your fingers. So if you have like an arbitrary figure to –
stop me if this is boring and obvious…

BS: No, this is – this is fantastic. It’s really interesting.

GS: If you’re on like an arbitrary scale from, say, zero to a hundred, um, of level, and
you want to play at eighty, then you’ve got to be able to have everything
consistent so I can go “right, eighty is this, and then sixty is this.” So if you’re
voicing a chord, for instance, then you might want the top note to be eighty, the
middle chords to be sixty five, and the bass note to be seventy, ‘cause you want
– might want the bass note to stand out a bit.

Um, so – so having that consistency means that when you decide to make that
musical decision, um, it – your fingers do what it – the result of it is what you
wanted. Whereas if your technique has already got a kind of random factor to it
then it’s impossible to have that kind of precision to what you’re trying to do.
Um, and that feels like something I learnt from classical music.

I mean, of course, unfortunately with the piano if you’re – certainly if you’re
playing solo piano – then the two most important fingers, or the two fingers
that have so much to do are your two little fingers at the bottom and the top. So
working on that kind of thing, you know the “three, four, five” fingers, sort of
getting them as strong as possible, again, is a sort of important thing. And I
think if, you know, if you’re playing runs when you’re improvising, you know

86
when your chops aren’t in because you kind of – those are the ones that kind of
fail a little bit and don’t feel quite so strong. Your, sort of, first couple are always
stronger anyway, but these – these guys are the ones that need a bit more
maintenance, I find.

So, I mean jazz is such an amazing thing, and it’s sad really that more people
don’t get, and excited by it because the concept of playing in a band where, you
know, you’re – at it’s best, jazz is like a conversation, and what you’re doing in
real time is analysing what’s going on, transcribing that in your head, working
out what your musical response is going to be, then working out how you
physically sort of manifest that into playing whatever instrument it is or
singing, and then physically hearing it. And all that kind of happens in a split
second [clicks], you know, every second of it, of the performance. So I find that’s
an absolutely, you know, really really exciting thing to think about. But it – that
responsibility, and I think responsibility’s a really important thing when you
play in a band, a responsibility to be in the best shape so that when you’re
doing all this mental work and you get it down through to your fingers, you can
– that response is as accurate as possible.

Um, I think that that’s a really really important thing, and for me probably one
of the most important parts of practice, I think.

BS: Wow. Yeah, cool. Do you find that’s quite hard to do – for example, like, when
you’re playing at such a high intensity or a high level, um, when the band’s kind
of all raging and stuff like that - to kind of keep good technique and to not get
tense, and, you know, kind of lines start getting sluggish and stuff – do you find
that’s quite hard to kind of remain, um, not tense and fluent but still have
volume and power behind everything?

GS: Well, I think the main thing for me is nerves. I’ve always had a massive problem
with nerves to be honest – performance anxiety. So, being in a nervous
situation, I mean, I’m sure you’ve been there before, you know, all of a sudden
these things which feel really solid suddenly turn into jelly, and it’s like you’ve
got no – there’s – nothing’s there.

Um, so again, that feels like an important reason to do practice, because I know
personally that I’ll probably only be playing at like eighty – seventy or eighty
percent of what I feel like I could do if I was in my music room on my own,
because I’ll be nervous. So, really you’re trying to over-practice so that at least
that the worst you get to is hopefully okay [laughs].

Um, but I think another thing with that and performance and nerves – coping
with the – keeping your fingers strong when you’re feeling nervous, but also
trying to play melodies, I mean that kind of is the hardest thing. I think when
we’re uncomfortable, if you’re playing on a shit instrument, or it’s a nerve-
wracking situation, or it’s a slightly shit situation, then the first thing to go is
space. You know, you just try and fill up the gap with sound, you know, if you’re
playing in a really dead room or something, it’s like you playing something and
it’s like ‘ugh’, and then you play something else to cover that. If you’re playing
on a beautiful grand piano in a lovely hall then you can just go ‘bang’ and it’s
lovely, and you leave space. So, to actually try and to find that humanity in what
you play is something which I think is really – that’s something I have to really
think about when it’s all going ‘tits up’ a little bit, you know.

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BS: Yeah, sure. Do you find, like, just with the performance anxiety thing, do you
find like it’s, err, easier or harder in a recording situation vs. live?

GS: Um, harder. Definitely harder because you know that whatever you do is going
to be documented forever, I mean, through the recording you have the
opportunity to cherry pick, which is great, um, but, you do have that thing of
thinking “oh shit, this is…” – you know, every little slip that you do, or every
thing that feels like it’s slightly out of time, um, everyone’s going to mull over
and think you’re shit. So, yeah, that’s the challenge with recordings.

Um, and actually, to be honest, I mean, coming from – maybe this all ties in
together – but the classical side of it – the thing that I found the hardest in jazz,
certainly from the beginning, was the time feel thing, because, you know,
melody and harmony – there’s such a strong link to classical music. And
certainly the harmony that I enjoy in jazz, and try to – well certainly in the last
couple of years more so – trying to sort of – sometimes trying to extend
harmony a little bit so it’s not just your regular chords. That has a lot to do with
coming from the classical side. But the rhythmic feel – there’s such a difference
with the way that you approach it as a classical musician and as a jazz musician.
So that was always the thing that I had to work really hard on.

Um, and funny enough, the guy on that album that you’ve been listening to, Phil
Donkin, is just brilliant at time things, and playing like four over five over
Thursday over pink over… [Laughs] you know, just he’s – he was so mega at
that. And really, the two tunes on that album, The Way You Look Tonight, and
the first tune, um, what’s it called, A Typical Affair, those two were certainly
very much influenced by the fact I was playing with him a lot then and he could
do all that stuff, and I was like “right, shit, I need to get my – get stuff together,”
and that – trying to write stuff to improve that is always a good way to do that, I
think.

BS: So they were more exercises for you to be able to achieve a concept, was it?

GS: Yeah, I think a little bit so. Uh, and to be honest, like, a lot of the music I’ve
written over – on various albums over the years, certainly on solo things, are –
at least some of it has come from the concept of trying to improve at something.
Um, well I think it’s nice if you can write music that aids your own learning
process maybe.

BS: Yeah definitely. So, well in that case, what was your process for arranging The
Way You Look Tonight?
GS: I can’t really [laughs]…

BS: [Laughs] yeah I know it’s probably going back quite a while.

GS: Yeah, next question! Um, no, I think the idea of just doing the – is it poly – do
you call it polyrhythms? I suppose if you’re doing four over three or three over
two, you know, like, more than one superimposed on top of the other. And it
just occurred to me that, you know, you do the four – you can do four over
three, which is an obvious thing and then three over two is a kind of obvious
thing. And that’s not a million miles away from then seven over five. Um,
obviously evened out a bit. You can sort of get an approximation of that by
doing four over three and then three over two. Um, if that makes any sense. And

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then…

BS: Yeah. That’s really interesting ‘cause part of the analysis that I was looking at
was just like, uh, trying to work out an easy way to approach, like, uh, the whole
five over seven sort of thing. And same thing – yeah we kind of broke it down
into – you could maybe do like, you know, minim triplets, like three over four
sort of thing, and then two dotted crotchets and it roughly equates fairly similar
to a five over seven … Even though it’s not metrically accurate. But at that
tempo it’s pretty imperceivable.

GS: Exactly. Exactly that.

BS: Wow. That’s interesting. Um…

GS: And they’re both like 4/4 – you know, if you have seven – something in seven,
you’ve got a four and a three, and something in five, you’ve got a three and a
two, you’ve got a long pulse and a – a long length and a shorter length. Those
two – they’re quite a strong… [Pauses] um… [Pauses] what’s the best way of
putting it? Quite a strong kind of post within that to – as a time feel.

You know, if you’re playing – if you’re playing in seven then it’s easy to – almost
too easy to get into the kind of [sings 4-3 clave]. Um, which I guess kind of – we
really do on that recording. I mean, there’s nothing particularly mind-blowingly
odd about it. That’s pretty much what it gets into when we’re – when we’re
soloing on that – that part of it.

BS: Yeah, I can definitely hear that in the bass part.

GS: But that’s why it’s quite fun with the five; it loses that middle – that middle post
really. So, because it’s not quite there, like you say, it’s almost imperceivable at
that tempo, but it’s not quite [sing 4-3 clave]… Anyway.

BS: Yeah. Cool! Um, okay, so what were some of the key devices or concepts you
used in the arrangement? So, obviously we looked at the – there’s the five over
seven sort of thing. Um, but yeah, were there any sort of key devices you were
thinking, or aiming to use when taking a standard from such a, you know, very
traditional chord sort of thing? So anything, like, concepts for harmony, or how
did you explore it? Or the different meter thing? All that sort of stuff.

GS: Umm…

BS: Pretty broad question, I’m sorry [laughs].

GS: Yeah, no, no, I was just thinking about how it – what things – if anything
interesting is going on. Um, one of those quite – one thing I like in that is the –
having an almost like a little bit of a break. Um, [sings end of A section melody],
having the – having a break below the [sings last line of A section melody], and
then setting up the, um… Yeah, I’m sorry, I’m going to have to think hard to
actually – to successfully answer the question.

Um, I mean, it’s no – I wanted to set up the vamp at the beginning. Um, and it’s
clear with that kind of tune that probably wouldn’t work to just maintain the

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vamp underneath it. But the vamp’s the reference point for the style of it, re the
[sings bass line]. So…

BS: Did that come to you first? That idea…

GS: Sorry?

BS: Did that vamp idea come to you first? Is that sort of, what…

GS: You know what, I honestly can’t remember now. It would have been about ten
years ago. I just – I can’t quite remember. But, um, in The Way You Look Tonight
you’ve got that kind of tag between the A sections which is quite nice and a little
bit unusual; they’re a bit more extended.

Um, maybe I should go to the piano. Actually my piano is unbelievably out of
tune, but um…

BS: [Laughs] it can’t be worse than mine. Trust me. I won’t even dare play it
[laughs].

GS: Ah look, bear with me a sec [moves into different room].

BS: No worries.

GS: Try not to drop the tea. Got the laptop…

BS: [Laughs].

GS: Sorry about this.

BS: You’re alright!

GS: Um… I haven’t really been in this house very long. And I’ve not really been here
for the time that I’ve owned it, so everything’s an absolute tip.

BS: [Laughs] all good.

GS: And I bought it off an old guy so the whole décor of the place is kind of very ‘old
people’ as you can probably notice from the wallpaper that’s going on.

BS: [Laughs] man, I just love, like, London houses. So much cooler than Australia
[laughs].

GS: [Laughs] well actually no I’m in the north of England actually. I’m near to
Manchester.

BS: Oh, right!

GS: Um, in the countryside. So I recently moved out of London after sixteen years,
so it’s kind of nice to – nice to have got away, to be honest.

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Yeah, um, [plays piano] can you hear that? Is that too loud or too quiet?

BS: That’s great. That’s perfect.

GS: [Plays The Way You Look Tonight in a more traditional way] that little tag thing
is quite – is quite a nice, uh – that’s maybe a little bit unusual for a standard,
having that there. So I guess that turning that tag into the tag that became the
tag of the piece [plays introduction vamp of arrangement]. Basically that’s the –
using the concept of it having a tag but then changing it to the one that I
wanted.

BS: Yeah!

GS: Uh, [plays A2 of the arrangement in a more chordal fashion]. Let me get the – let
me get the music on my laptop so I can at least see what I’m doing.

BS: Yeah, sure. It’s actually really interesting even just kind of hearing it then with
the melody in sort of block chords without – like, kind of roughly following the
bass line but without the bass line, if that makes sense? Kind of hearing what
were – what were the underlying changes.

GS: Yeah absolutely. Okay, right, yeah, so that’s one thing I suppose is trying to map
out harmony but in a horizontal way, as opposed to a vertical ‘chord, chord,
chord’ way.
BS: Sure, yeah.

GS: Uhh, Way You Look Tonight [searches on computer]. I think that’s something
really nice to do with harmony, either you take three or four lines and try to…
[Pauses] ah, try to do it in that – uh, The Way You Look Tonight [opens file on
computer]. Right, here we go…

[Plays through intro and A1]

So that – things like that [plays last line of A section melody]. I love this…

BS: Like voice-leading things?

GS: That’s probably not even in the chart actually. But, um, I things like that little
passing notes that you get tension and then release.

BS: Yeah!

GS: [Plays through A2]



So all that kind of horizontal movements are really like, um…

BS: It’s almost, like, fugue-like!

GS: Yeah, I kind of like that style – that kind of horizontal thing. ‘Cause it is easier
with jazz chords to get into the vertical kind of ‘chord, chord, chord, chord,
chord’. And then I guess – I guess you get that in the solo when it’s got to have a
sequence to – to play on, then it becomes a bit more… I think if I did it again

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now, I might try and disguise the chords a bit more than I did.

BS: Interesting. Yeah, sure.

GS: The sequence ends up becoming a bit, um – [whispers] where’s the chords?
[Pauses] Sorry!

BS: [Laughs]

GS: [Typing] I’m not very used to sort of describing things that I’ve done. I have to
work out what’s…

BS: Must feel like you’re under a microscope [laughs].

GS: [Pauses] I’m just trying to find the chart that I sent you that’s got the chords on
it.

BS: Is the one that you sent me the one that everyone read on the session? Or does
– did everyone have sort of their own parts? Or?

GS: I think it’s pretty much the one I sent to you really. I mean, Martin on drums
doesn’t necessarily tend to, um, read music that much. Once he’s sort of got it
together he’ll just crack on with it.

BS: Yeah sure.

GS: Right, so, I’m just trying to work out what to say about this really.

So, yeah that harmony being disguised in a horizontal way. I like the idea of
having a break in the bar – bar 9 going into the [plays last line of A section]. So
it feels like you’ve arrived – um, you’ve arrived at a point when you get to that
last note of the tune. As opposed to that just being the end of the phrase.

Sorry my washing machine’s noisy in here now [laughs] [leaves to shut door].

BS: [Laughs].

GS: So that’s one thing. I mean, I guess the bridge, I’d got to – I’d work through the A
sections and think about what to do in the bridge. Do you just carry on doing
more of the same or try to do something a little bit different? Then it occurred
to me that you could just use the five as the new tempo. [Pauses] which is what
happens obviously…

[Plays bridge]

There’s something, and I’m not sure how to get into this, but in terms of
reharmonising, um, if you’ve got certain notes that are high points of the
phrase, you know, crucial melodic notes of the phrase, trying to harmonise
them in a way that they become a very fruity extension. For instance, so [plays a
D13(b9#9#11) with the Eb on the top]. So that – I think that was the thinking
behind that one. [Plays melody in context, and pauses when he finds something
new to discuss]. I quite like having those little tasty things in there that sound a

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little bit odd like [plays a D# melody note on a Bm9 chord], you get that for a
second, but it’s almost intangible ‘cause it passes so quickly. [Plays the phrase
where this occurs].

BS: The melody is stronger, yeah.

GS: [Continues playing] again, I think if I did it again now I’d probably be a bit more
– I can see the kind of immaturity of it in some ways. Uh, in some ways I’d – just
the way the chords do just kind of ‘chord, chord, chord’. I definitely would try
and do that a little bit differently now. Um, but uh, yeah looking at that concept
of the notes being fruity extension… [Plays A section melody] It’s all pretty
coherent.

BS: What are you hearing as sort of the underlying chords of those – the A section.
‘Cause like the root movement suggests ‘E’, well especially with the intro, which
uh is a – that’s a cool change as well.

GS: [Plays Ema7 chord] yeah, um, I suppose um, starts pretty coherently. [Begins
playing through A section slowly, filling out with chords] so like a Db sus. I
presume you – are you recording this so it’s easy to get through it?

BS: Yeah yeah, so I can check it out…

GS: Alright, cool. [Continues melody] I mean some of them don’t really translate
into whole chords. Some of them were only supposed to be passing linear
things, I guess. [Plays A section again]

I think actually it’s probably this second A that might be a bit more coherent.
[Plays A2] Yeah so that – I think that’s what I maybe did on the recording, I
can’t remember now, but maybe I left the first one a bit more bare and then got
more into passing chords in this one [plays A2].

BS: In terms of actually like – like if I was to kind of go through and analyse the
chords for the A section, are you roughly kind of hearing it every one and three?
Or one and four of the five is kind of where the down points are for harmony?
Like ‘cause that time then kind of sounded more like, yeah, C minor 9, E major 7
sort of thing when you kind of played through it then.

GS: Yeah, I can’t remember the recording if I maybe pre-empted the chords with
the bottom half of my right hand, as in like, um… [Demonstrates chords falling
before melody in bottom half of right hand with bass line] so like you say,
maybe the chords move on the third of the fifth in the left hand, but then the
tune kind of fits to something which happens after that in that little gap
between the third and fourth.

BS: Yeah, wow.

GS: Like as I say, I can’t remember, I haven’t listened to it.

BS: I noticed there was a vamp thing, as well, that you guys do. I noticed it more at
the end of the bass solo and I think, uh, you went to play over it yourself for
quite a while – that extended vamp idea. Was that part of the arrangement as
well? I don’t think I noticed it on the lead sheet as much, but it could have been

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an after thought thing.

GS: [Whispers] ah, I forgot what I was going to say then. Um [plays the vamp]. That
bit?

BS: Yeah like the sort of – took a huge solo on that as well before coming back to the
final head. And I think the bass maybe played on that for a while…
GS: The chart I’m looking at, and I can’t remember if it’s the right one, but um, it’s
just kind of got, uh – it’s just a four bar vamp – a four bar loop. [Plays along],
that’s sort of Eb over G then [continues playing], is that roughly what you’ve got
on the…

BS: Yeah, I think I’ve got the same chart as you. It’s the ‘tidied 2014’.

GS: No, I haven’t got that sheet. Let me find that. I think it’s probably similar, but…
Look Tonight, tidied [typing].

BS: Which one were you looking at? Like a – one closer to the album recording?

GS: Yeah. Well I - basically all I did is just tidied the Sibelius file up, but um, I’m just
wondering if there’s slight discrepancy between the chords [typing].

BS: Yeah, a lot on that one, I think, was sort of – it was more like G13sus, Ab13sus,
um, ugh I can’t remember off the top of my head, I don’t have my file open… I’ll
be able to send it to you and tell you exactly what you played! [Laughs]

GS: Oh right, so yeah, there’s not that thing looped on that one, but um, it’s bar
eighty-four to eighty-eight. It’s basically those four bars. It’s still not a very tidy
chart [laughs]. [Plays written vamp] ah, now that’s interesting. Shit, I’ve missed
a whole bit off. Okay, right, um… [Pauses] so I don’t know on the recording if it
sounds more like it goes, um – I think the first three bars of that right [plays
vamp].

BS: Yeah, there was like a second half to it.

GS: [Phone rings]. Oh, god! [Mumbles] what’s happening there? Um… Right, that’ll
go away. I’ve just updated my computer and now my – when the phone rings it
goes.

BS: Oh, it all goes everywhere, yeah.

GS: I’ve never had that before. So that’s very confusing. Um, sorry!

BS: You’re good.

GS: The one that I just looked at… I do apologise about this. Right, so the one I was
looking at… [Pauses] there’s a round and round bit which goes [plays along
with chord naming] Eb over G, Ab, A diminished, B sus 13 [actually Bbsus13],
Eb over G, Ab major, and then C sus, to E sus.

BS: Yeah, cool.

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GS: I don’t know if that’s what happens on the record, but…

BS: Yeah, that sounds pretty right, yeah. So that’s on a slightly different chart, yeah?
That’s cool! I can – I’ll… Chuck all of those on the transcription as well, and then
it’ll make sense when seeing what was implied over it and…

GS: Mm, I mean, it’s one of those things - I quite like finding a pedal point, so that’s
maybe something to mention [plays Eb note which acts as a pedal at the top of
the voicing throughout vamp], so, over that kind of [plays progression] you get
a little bit of tension when it comes back again.

BS: Yeah, lovely.

GS: [Continues playing] so when it comes back around again it feels like you’ve
arrived somewhere. I think that’s something to try and – I try to work on with
compositions, maybe in small blocks like that, but also larger blocks. Um,
ending the cycle so that you feel like when you get back to the top again you’ve
gone to a new place. If that makes any sense?

BS: Right! Yeah, yeah, sure. Yep…

GS: Um, there’s a tune that I – actually no we won’t even go into – that’s another
composition where that’s quite, um, quite apparent, but um. Um, have I been
any help at all?

BS: Yes. It has [laughs].

GS: Uh. Well, is there any other elements that we can… Uh… I mean the kick in the
tune – I’m really grasping at straws now for things that might be interesting
[plays last line of A section melody]. Um, it’s quite nice having that kind of kick,
a quaver kick into, or eighth note kick into the bar, so [plays the melody of the
last line of the A section in 4/4] if you were in 4/4, but then [plays same thing
again but in 7/4]. Um…

BS: Yeah. Blurs the meter for a sec.

GS: Yeah, it occurred to be if you work backwards from that and you started on the
second quaver of the bar then you could do the dotted crotchets there [plays
last line of A melody]. Um, and I like those things like having it let ring on those.
Or I’d say let ring, kind of [plays last bit of A section into vamp], so when the
drums come back in on the next bar it feels like it starts again.

BS: Yeah, sure. Yep.

GS: Um. So is it that – it’s sort of trying to find the tension of the tune. I mean, it
builds up [plays just the melody by itself, stops at highest note] so that’s the
climax of the – you know, if you looked at it, physically that’s the climax of the
tune. Um, so that’s the point where I did – there’s a – where the groove, the left
hand groove, breaks, where there’s most intensity to what’s happening. Um, uh,
and then it sort of simmers back down to the – to having the vamp in between
the A sections.

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Um, blah-di-blah-di-blah-di-blah-di-blah.

BS: So your inspiration for implying the two meters over each other, was that
mostly inspired by your drummer?

GS: Um, no, a little bit, as I say, from Phil, the bass player. And he’s really good at
doing those – and really really internalising those things, so not just skimming
at it, but actually really being able to do it.

BS: Wow. Yeah, cool.

GS: So he was a large part of it. Um, and it’s funny ‘cause Martin plays in such an
interesting way; he’s a very, sort of – he’s a very metronomic drummer, but not
in the way that – like a kind of clinically metronomic, sort of Dennis Chambers-y
type way, or something like that, or Dave Weckl, or something like that. He’s
very – very loose and soundscape-y, so that was quite interesting to have that
particular style over something which essentially could have been very
metronomic. It can be, kind of, very tight. Um, so yeah a lot of it came from the
bass player.

BS: Yeah, that’s so cool. Um, man, how did you develop the independence to, um, to
cope with the complex meter and the superimposition? You know, being able to
imply the five and lock it down, and still play a very clear seven melody over the
top of it.

GS: In terms of the improvisation or just playing the head?

BS: Ah, yeah both, I suppose. Kind of, um, yeah, the hand independence sort of stuff,
and is there any specific techniques for that? Or how do you go about breaking
that down and working on that?

GS: What I think is, maybe not as specific to that, but as a general thing, um, the - I’d
practice sort of independence by, again, creating almost exercises to be able to
get one thing going and be able to leave it to do itself, without you having to do
anything about it.

There’s a tune I’ve written called Barber Blues, which is on an album that I did a
couple of years ago with a band called The Impossible Gentlemen, um, and it’s
sort of like a sixteen bar blues, but the left hand’s got an ostinato [plays
ostinato] which kind of goes on for the whole tune but goes through – it maps
out the chord sequence, but essentially it’s got those two parts to the left hand.
And then the right hand melody’s got two parts to it. And then – I do it quite a
lot on solo gigs, just playing and then improvising over the top. So, um, that was
almost created as an exercise to be able to do something over – this will
probably be shit [solos with right hand over left hand ostinato following chord
progression], et cetera, et cetera.

BS: Yeah, yeah, sure.

GS: But starting off by maybe practicing things on the beat against that, so
[demonstrates exercise]. And then off the beat [demonstrates exercise]. And
then maybe groups of threes or fours, like [starts demonstrating], ahh, I’m
trying to think of a good one, uh [demonstrates exercise]. So, the different

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rhythmic cells over the top of that…

BS: Do you find, like, doing a lot of slow practice for that, or trying to do it…

GS: Yeah, absolutely. Because that was totally blagging then, but I – what I try not to
do is accept blagging when I’m practice- ‘cause there’s – you can tell when
something sounds okay, but when it really feels okay, like you’re – like, very
percussively feels like you’re nailing it then that’s what I try – at least try to
aspire to with practice.

And then the idea being that every possible kind of combination of rhythmic
events that could happen between the hands you’ve practiced so that you don’t
get tripped up by it. So if it’s an ‘on’ on the left and an ‘off’ on the right, and this
could be semiquavers, or you know, even smaller subdivision, the other way
round or both together, or a cross rhythm, like [demonstrates dotted crotchets
over ostinato] [mutters] which I fucked up there. So that kind of thing I’d slow
down and practice so that it wouldn’t fuck up. Um, so that when I’m
improvising, hopefully it feels like you’ve got that kind of language at your
fingertips to be able to nail – and the important thing will be the left hand there
to make sure that that doesn’t go wrong. And if it does, like then, I’d work out
“oh, it was that coming a semiquaver in the right hand before the left hand, so,
let’s just practice that,” [demonstrates]. So you’ve done it enough times that
then it won’t fuck you up.

So, just, kind of build a lexicon of possible rhythmic events on those really that
are under your fingertips. Um, I mean, I guess that’s maybe more of a general
thing, but I would imagine that… [Phone rings] [Mutters] oh, for fuck’s sake. Ah,
that’s my fiancé, never mind.

BS: [Laughs] sorry!

GS: [Laughs] I’ll speak to her later. Um… Sorry! I don’t know how to stop it without
– I better not decline it or she’ll get pissed off. Um, it’s acceptable if I just look
like I’m not next to the phone… Um, yeah! So, with the um [plays bass line]
[phone stops ringing] weird.
BS: [Laughs] that was fun…

GS: [Quotes ringtone melody on piano over bass line] … That’d be too much. Um, I
probably just spent ages just going [improvising freely over bassline] [phone
rings again] [whispers] ahh, for fuck’s sake! Um, I’m just going to answer it and
tell her I’m…

BS: Yeah answer it, sure…

GS: [Speaks on phone]



[Returns] sorry!

BS: You’re right…

GS: Um, yeah! So, probably just spending ages just nailing – keeping that five thing
ticking along and then trying different types of things over the top of it. Um,

97
different rhythmic combinations of seven things.

BS: Did you find you had to, like kind of, clap it out or tap it out in both hands to be
rhythmically accurate with the five in the first place?

GS: Oh yeah, god, I do that all the time actually. I mean, if I’m ever sitting on a trains
or busses and things I do a lot of tapping, just practicing rhythmic things. ‘Cause
I mean essentially the piano is a percussive instrument. Um, obviously there’s
many more elements to it, but that percussive side of it is something that you
can practice away from the instrument. And of course, you end up being a – as a
piano player you spend a lot of time away from the piano [laughs] so it’s kind of
nice sometimes to utilise some of those things to do a bit of percussive practice.
So yeah, definitely tapping and honing that away from the instrument.

BS: Sure. And did you – and to practice five over seven did you kind of still treat it
as those two separate half things again? Like, you know, four over three, and
the [pauses] two over, whatever’s left, three, sort of thing? Is that how you were
kind of using – to like equate it, or approximate it? Or, were you trying to be
rhythmically as accurate as possible?

GS: I think probably trying to be rhythmically as accurate as possible. I mean, as
you said, sort of many minutes ago you can start of with an approximation of
the four and the three, and the three and the two, and then… that… eventually
gets to the point where hopefully you are doing it sort of diligently, then you are
doing something which isn’t the four-three and the three-two but it’s actually –
the five weaves over the top of it. Um, I mean it is – it does come to the point
where it might be indiscernible at that kind of speed, but I think aspiring to try
and do it properly was what I was trying to do at least.

BS: Was it ever a case of even, um, just even putting the metronome on every ‘one’,
and then just trying to feel five equally spaced beats, and land every ‘one’? Is
that another way that you’ve thought about it? Or, always tried to hear it
against seven crotchets?

GS: I think I was trying to hear it against as opposed to doing that thing on the
metronome. Um, just trying to fit five in – because in a way that’s almost…
there’s something not – obviously it is accurate, because the thing is coming
down at the top of every bar, but there’s so much wiggle room within those
metronome hits that I’m not sure that that would be as helpful as working on
the relationship between the two different times, possibly.

BS: Um, this might be a silly question; you guys didn’t record with a click track or
anything for that record did you?

GS: No, no, no… Actually, we might – did we do Time – there’s one tune called Time
and Tide where there’s some overdubs and things. I wonder if we maybe did
that one. I really can’t remember but…

BS: Yeah, sure.

GS: Um. I don’t – I honestly don’t think we did. If we did, then maybe the track
called Time and Tide, just because there’s quite a few different sections and we
did some overdubs and things, but I’ve got a feeling that I think we just did it all

98
without. Certainly none of the other ones, all the [plays A Typical Affair]. That
wasn’t with a – definitely wasn’t with a click track. So I think it speeds up quite
a lot [laughs].

BS: [Laughs] doubt it. Um, with the seven to five to seven, the modulations, how
much ensemble practice did that require to get the modulations and the
superimpositions happening? And how did you guys workshop that?

GS: You mean between the A and the B section?

BS: [Nods] mm.

GS: Well, nothing really, because I mean the five is instantly setup before we even
start, um, from the previous bass line of course. So, um, Phil would just play
kind of - obviously just do the [plays bass line from vamp leading into the B
section].

BS: Yeah. Going back seems quite tricky.

GS: Sorry?

BS: Going back to seven seems quite tricky though. Like even in the intro, hearing
just the bass play five and then to… When the drums come in, it’s very clearly
seven. And just even – hear that against the five.
GS: Yeah, I think he kind of sets – I can’t remember whether Martin sets up the
seven in – or just sort of hits straight on it. But I guess he had the hardest job
there, to get back into seven over the five. But, in a way, I mean he plays it, as I
say, plays it really metronomically, but there’s something very, uh, humane
about the way that he plays the groove anyway. So um…

I mean, don’t remember that being a tough thing to do, to get between the two
sections. It just feels like it kind of rolls through a little bit. But, um. I guess,
more so, just practicing improvising on that. I mean, even though we didn’t do
very much of that, really, I don’t think we ever did that much practice, in a way.
It would have been nice if we had done more, but, um… Yeah, in answer to your
question, I don’t think there was a massive amount with that, basically because
that five is the constant, and that kind of hangs the room together, type…
Situation…

BS: Yeah, sure. That makes sense. Yeah. Okay. Um, so onto, like, the improvising
sort of stuff for the tune, ah, did you have an overarching sort of approach for
improvising over like such a dense harmonically and rhythmically dense
arrangement, such as this?

GS: Um, no. As I say, I mean, I think if I did it again I’d probably try and get away
from the kind of [plays 4-3 clave in chords and then just lots of chords]. But I
guess the other half of me was – would have thought at that time that because
it’s quite… It’s quite an unusual arrangement maybe, that maybe it’s nice as an
audience member or listener to then have something that you can discernably
recognise a bit… A bit more, which is something I think about a lot now in terms
of how you communicate what you do, and how you make it kind of, um,
accessible to a listening audience. Um, so maybe it was good that the harmony
or the changes is a bit more kind of recognisably The Way You Look Tonight.

99
And, as I say really, that, um, that most of that, until we get back into the later
part – the blowing is just, um, blowing in seven, which is nothing special, it’s
just blowing in seven.

And something that I’ve always really enjoyed in improvising is having a lot of
chords to deal with. In fact, I almost enjoy that way more than if you’re just on a
one chord vamp or something, because it’s the way that you navigate between
the chords which is kind of fun. And trying to create something horizontal over
these very vertical things is something I really – really enjoy that challenge.

BS: Yeah, sure. Were there any, um, improvisational concepts tied to any of the
features of the arrangement?

GS: Uh, sorry, how do you mean?

BS: Um, so was there anything you were specifically trying to do or imply that was
trying to link back with specific things from the arrangement? So like, uh, any
implications of the five, or…
GS: No, I mean, I think again if I was to do it again now I’d try – hopefully I’d have
more mental capacity to try and to be a bit more, uh, connected to the material
or the head in the improvisation. I mean, I think probably at that stage I was
just doing my best to improvise in seven [laughs] over the top of it, without
having much…

BS: Oh, man, there’s so many great moments in there. Especially, like rhythmically,
sort of, really blurring lines between things, and crazy triplet ideas, or
stretching of time, implying other meters, and… Yeah! It’s cool…

GS: Oh [laughs] thanks. Ah, I mean I think that thing you’re trying to – to blur the
barlines and then playing phrases which are not just [sings 4-3 clave], or kind
of little subdivisions of that clave, that is a quite nice thing to do. And in terms
of trying to make longer phrase lengths, that’s something always I’ve tried to –
try and work hard to aspire to, ‘cause it’s a classic thing for all of us with jazz;
you just play a short phrase and then a different short phrase, and then you
move onto something else. But actually trying to do something which is a bit
more overarching, and has a longer forward form to it. And I’d probably guess
that I didn’t achieve that greatly at that time. But, um, but that’s something that
I – if I, again, were to approach it now I’d be trying to do a little bit better.

BS: Yeah, sure. Cool! Um, were there any improvisational, uh… Oh sorry, any of
those, um, improvisational approaches – how did they sort of translate to the
practice room? So, were there any specific exercises or rhythmic patterns you
were kind of working on/checking out to be able to play all those things that
you’re talking about?

GS: Uh, well may – I – uh, I mean, god, to be honest I’ve not really listened to it for
about seven or eight years. But I mean I guess just, again, trying to do things
like sub – putting dotted crotchets over the top of seven and then knowing
where it comes out, and being comfortable with the different ways that that will
cross across the kind of four-three groove of the solo section. Different types of
rhythmic – little rhythmic cells, and superimposing them over the top, and
feeling comfortable with doing that maybe.

100
BS: Yeah, sure. Yep… Um, and lastly, were there any sort of preconceived ideas in,
like, being a recorded solo? Um, and yeah, does it – does that differ from a live
performance?

GS: Um, I think you’re more forgiving when you’re in a live performance, that’s for
sure, ‘cause it’s, uh… And you sort of – I think you have a different adrenaline
really when you’re playing with – you know, as you know yourself, it’s easy to
forgive. It’s like the right kind of mistakes and the wrong kind of mistakes.
When you’re playing with adrenaline in a live performance and something
doesn’t quite go then I find it easier. Should – had it been a live thing recorded I
find it easier then to listen back and think “oh well, you know, at least I was
going for it,” whereas like if you’re playing out of fear – which I’m very
conscious of these two different things, either playing out of fear or playing out
of joy – then mistakes that I make through playing out of fear then I hate
because I know that I wasn’t in that positive zone when I was doing it.

So, um, I guess I would probably listen back – if I did listen back to it now I’d
probably think “argh, god!” I was probably too nervous about making a,
certainly a rhythmical, error.

BS: Interesting…

GS: But, uh… But in other words I didn’t, you know, didn’t work out anything in
advance in terms of particular bits of solo or anything like that. Um, and I think
pretty much the soloing was all one take, it wasn’t, um – not like it was the only
take, but it wasn’t bits and bobs sliced together of various, like eight bars of
this, eight bars of that. Um, I think it was all just a solo and that was how it was.
But um…

BS: Yeah, cool! How many takes of, not necessarily that tune, but like on all the
tunes on the album – was it just sort of try nail it in two or three? Or as many as
it took sort of thing? Or?

GS: I think most of the time it just tended to be two or three, maybe four. I mean it
tends to be that… If you say four takes then maybe the first two have got
interesting solos, or certainly the first one, ‘cause you’re giving less of a shit and
you’re just going for it. Um, and then maybe after that you try to – either you
just do little fixes of the bits. I mean, not particularly this tune, but things that
have got melody in and that, then maybe you work and sorting those bits out
afterwards. But, I tend to find you only really get the first two or three takes of
anything where you’re in that zone, and then it becomes a question of you’re
trying to do either something the same as you did the last time or something
different than what you did last time. And then, you’ve lost that spark ‘cause
you’re second-guessing yourself, aren’t you really?

Um, so if you haven’t really got it at the beginning… I mean some tracks I
remember in albums over the years that we’ve really struggled on, and then,
you know, you’ve got to about seven or eight takes and you think “oh fuck this
is not – this is definitely not getting any better!” [Laughs] Um, but then
sometimes you listen back to the first thing, which you thought was maybe not
great, and then after hearing six takes where it’s really kind of lame, then you
listen back to the first one and think, “oh, well, at least it was the right spirit to
that.”

101

And I would imagine it was the same for this album. I don’t think we had a
massive amount of time to do it. Maybe we did it in two or three days, and there
was quite a lot of overdubbing and bits and bobs to put in, and different
musicians and stuff, so um… So I would imagine we didn’t get to many different
takes of doing it.

BS: Mm. Oh it’s a lovely album in terms of – just, it’s so varied, you know. It’s not
just locked down to… There’s plenty – so many albums out there where just
every track sounds the same, and you almost don’t know which track you’re on.
But here it’s just like splashes of like – even just mixing up the instrumentation,
and the way it’s orchestrated, and different feels, and… yeah it’s a really
interesting album to listen to.

GS: Naw, thank you very much, that’s very kind of you, I really appreciate that. I
mean I – that’s always something I’ve always enjoyed sort of in a career as a
whole is just doing different things because it keeps things fresh, and then
you’re always, kind of, hopefully learning, and… As you say, you know, I’ve
heard so many albums, that’s why you feel like it’s variations on a – quite a
specific theme. Which is great, naturally… To be honest, that’s what 95% of the
listening public want, they want something they recognise and they can
understand and be familiar with and, you know, there’s many examples of great
musicians and that’s the way that they’d gone with their career. Um, I mean you
could argue Mehldau, for instance, you know, a lot of the albums that he’s done
– whose one of my heroes and absolutely mega, but there’s certainly a very
specific sound to what he does, and – which is very quite clearly him when you
listen to it, which is brilliant and that’s something I should probably do more
[laughs], but I just enjoy doing different stuff, and because it means you have to
think harder.

BS: It’s all music, you know. Yeah…

GS: Well, I hope that’s of some use to you anyway.

BS: Very much so man. Really appreciate you giving up your time and showing me
some stuff at the piano as well, and really get inside of it. Yeah, it’s been
awesome.

GS: No, no problem. I mean, if there’s anything else that you think of then just drop
us a quick email; I’ll try answer it in the next few days when I’m travelling
around, but um. And it’ll be lovely to hear some of your stuff as well. Must
definitely keep in touch and, um, if you’re ever over this way you’re more than
welcome to come round obviously.

BS: Oh that would be fantastic. Yeah…

GS: Well, listen if I can do anything to help let me know. Um, sorry if I was waffling a
bit – it’s always kind of weird talking about your own stuff a little bit, but yeah.
And thanks for your kind words and all the best with it.


BS: Thanks very much.

102
Appendix C: Basic lead sheet for The Way You Look Tonight

This has been transposed from the version presented in The New Real Book (Sher,
1988).
The Way You Look Tonight

Music by Jerome Kern
Lyrics by Dorothy Fields
E¨6 C‹7 F‹7 B¨7 E¨Œ„Š7 C‹7 F‹9 B¨7
b 4° œ
& b b 4 ¢™™ Œ œ ˙ Œ ˙ Œ œ ˙ Œ œ ˙ ™™ ü

(instr.)


A
5 E¨Œ„Š7 C‹7 F‹7 B¨7
bbb °™™ w œ
& ¢ w œ œ œ w
9 E¨Œ„Š7 C7 F‹7 B¨7
b œ œ œ
&b b œ œ œ œ w œ œ œ œ œ

13 B¨‹7(„ˆˆ11) E¨7 A¨Œ„Š7 F‹9 B¨7


b w
&b b w œ œ œ œ ˙ ˙
1. 2.
17 E¨6 C‹7 F‹9 B¨7 E¨Œ„Š7 C‹7 F‹9 B¨7 A¨‹7 D¨7
(instr.) œ
b Œ Œ ˙ Œ œ Œ ü Œ
&b b w œ ˙
∑ ∑
˙
Œ œ œ ˙œ œ ™™ † bœ ∑˙

B
22 G¨Œ„Š7 Gº7 A¨‹7 D¨7
b bœ bœ
&b b ˙ ˙ ˙ ˙ œ œ w

26 G¨Œ„Š7 B¨‹7 Aº7 A¨‹7 D¨9


b w ˙™
&b b œ œ bœ œ ˙ b˙ Œ

30 G¨Œ„Š7 Gº7 A¨‹7 D¨13


b œ
& b b b˙ ˙ b˙ ˙ bœ bœ œ w

34 G¨Œ„Š7 C¨Œ„Š7 F‹7(„ˆˆ11) B¨7


b ˙™
& b b œ ˙ bœ ˙ b˙ w Œ
103
2 C
38 E¨Œ„Š7 C‹7 F‹7 B¨7
b
&b b w w œ œ œ œ w
42 E¨Œ„Š7 C7 F‹7 B¨7
b œ œ œ
&b b œ œ œ œ w œ œ œ œ œ

46 B¨‹7(„ˆˆ11) E¨7 A¨Œ„Š7 F‹9 B¨7


b w
&b b w œ œ œ œ ˙ ˙
50 E¨6 (instr.) C‹7 F‹9 B¨7 E¨Œ„Š7 C‹7 F‹7 B¨7
b Œ œ ˙
˙ Œ Œ œ ˙ Œ
&b b w œ
∑ ∑ œ ∑˙

54 F‹7 B¨7 E¨6 C‹7 F‹7 B¨7


b
&b b œ œ œ œ ˙ ˙ œ
Œ Ó ∑

104
Appendix D: Arrangement lead sheet supplied by Gwilym
Simcock

This file was received from Simcock on October 8, 2016. There are some discrepancies
with the performance as this lead sheet was updated in 2014.


Lead Sheet

The Way you Look Tonight
Arr. Gwilym Simcock
INTRO
° 7 ™™ ü
& ™™4 ∑ ∑
5 5
? ™™47 bœ bœ bœ ™™
{ ¢ œ bœ bœ nœ bœ bœ œ †

3A HEAD
4
& bw b˙ ™ œ œ bœ œ ˙ ™ œ bœ bœ œ ˙ ™ bœ bœ œ œ œ œ œ œ

? bœ 5 5 œ œ œ b5œ 5
{ b œ b œ b œ nœ œ œ œ œ œ b œ nœ œ #œ œ
œ

7 > >
b>
˙™ œ
& bœ ˙ œ œ œ œ b œ b œ œ ™ œ™ b w ™™ w ™™
> 5 5
? ‰ bœ ™ b œ ™ j b œ b œ
{ œ™ b œ ™ b œ w ™™ œ
b œ bœ nœ b œ bœ bœ œ

11 B
& ∑ ∑ bœ œ bœ bw b˙ ™ œ œ bœ œ ˙ ™
5 5 5
? b œ nœ b œ b œ b œ b œ œ œ œ 5œ b œ
{ œ
b œ b œ œ œ
#œ œ œ bœ

15
4 > > >
bœ bœ œ œ œ œ œ œ b˙ ™
œ
& œ bœ bœ œ ˙ ™ bœ ˙ œ œ œ œ b œ b œ œ ™ œ™
? œ 5œ œ 5 >
{ œ œ œ œ b œ œ #œ ‰b œ ™ nœ ™ j
œ ™ œ™ #œ w™™

19
∑ ∑ 5
& b w ™™ w ™™ 4
105
5 5 5 5
? b œ nœ b œ b œ b œ b œ b œ nœ b œ b œ b œ b œ 5
{ œ bœ bœ œ œ bœ bœ œ 4
V.S.
2 Lead Sheet
23C
5
& 4 Œ bœ œ œ ™ œ bœ bœ bœ bœ ˙ bœ bœ bœ œ œ œ bw Œ
J
Ebmin7 Gmaj7(#11) Emaj7(#11) Ebmin7 D13b9
? 45 ? ? ? ? ?
{ ? ? ? ? ? ? ? ?

? ? ? ? ? ? ?

27 3
bœ bœ bœ ˙ 7
& Œ bœ œ œ œ œ œ Œ bœ bœ bœ œ œ œ w Œ 4
C#min9 F#7 Bmin7 E7#11 Bb7#9 Absus13 A7b9 D7#5#9
? ? ? ? ? ? 7
{ ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? 4

31D
4
7 bœ bœ œ œ œ œ œ œ
& 4 bw b˙ ™ œ œ bœ œ ˙ ™ œ bœ bœ œ ˙ ™
5
? 47 œ bœ
5 bœ bœ œ œ
5 œ b œ b œ5
{ œ #œ œ œ bœ bœ œ œ
œ œ œ

35 > >
b>
˙™ œ bœ
& bœ ˙ œ œ œ œ b œ œ ™ œ™ b w ™™ w ™™
>j 5 5
? ‰ bœ ™ b œ ™ b œ b œ bœ
{ œ™ b œ ™ b œ w ™™ œ b œ b œ nœ b œ b œ œ

39

& ∑ ∑ Ó ‰ j ™™
bœ bw w ™™
5 5 5 5
? b œ nœ b œ b œ b œ b œ b œ nœ b œ b œ b œ b œ
{ œ b œ b œ œ œ b œ b œ œ

43
5 5 > break...
& ∑ œ œ bœ bœ œ œ bœ ? ? ? ? ? ?
5 5 > ™
? b œ nœ bœ bœ bœ bœ Ó Ó™
{ œ b œ b œ œ bœ 106
Lead Sheet 3
46 E Ebmaj7 Bbsus13 Db7 C7 Fmin7 Bb7
°
? ™™ ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ?
¢

50 Bbmin Eb7 Abmaj Db7 Ebmaj/Bb


? ? ? ? ? ? ? ?
? ? ? ? ? ? ? ? ? ? ? ? ? ?

53 Bbsus13 Ebmaj/Bb Bbsus13


? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ?

F G7#5#9 Gbmaj F7
56 Bmaj7#11 Bbmin7 Ebsus13 Fmin7 Dbmaj
? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ?

60 Cmin7 Ebsus13 Abmaj Abmin7 Ebmaj/Bb


? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ?

63 Bbsus13 Ebmaj/Bb Bbsus13


? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ?

G Ebmin
66 Gmaj#11 Emaj#11 Ebmin7 D7b9
? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ?

70 C#min7 F#7 Bmin7 E7#11 Bb7#5#9 Absus13 A7b9 D7#5#9


?
? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ?
107
4 Lead Sheet
H G7
74 B7#11 A7#11 Db7#11 G7#5#9 C7
? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ?

77 Fmin7 Db7#11 Bbmin7 A7#11 Abmaj Abmin6


? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ?

80 Eb/G Abmaj Aº7 Bbsus13 Eb/G Abmaj Aº7 Bbsus13


? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ?

84

& ∑ ∑ ∑ ∑
Eb/G Abmaj Aº7 Bbsus13 Eb/G Abmaj Aº7 Bbsus13
?
{ 88
? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ?

& œ œ bœ bœ œ ™ ∑ ™™ ü
œ™ b w ™™
D7 G7#5#9 Cmin7 F7 Bbsus13
? ˙ ™™
{ ˙ œ™ œ™ ? ? ?
5
? ? ? ? ?
5
? ? †

108

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