Travelling in Curves Songbook

Arrangements, Leadsheets & Notes
2
3
Jennifer Giles: score editor

Patrick McDonagh: text expeditor
Trevor Gould: artwork
Katherine Knight: photography
For more information, please contact:
email: musicbook@TravellingInCurves.com
website: TravellingInCurves.com
The music, text, design, and images present in this publication are protected by copyright law.
Any duplication or transmission, by any means, electronic, mechanical, photocopying, recording
or otherwise, is an infringement of copyright. Copyright © 2008 Robert McFadden. International
Copyright Secured. All Rights Reserved.
4
Contents
In Memorandum 7
Introduction 9
Arrangements & Leadsheets 11

SOUVENIRS (DEUX/TROIS) 12
SECOND THOUGHTS 14
SWIMMING TO THE MOON 18
SIMPLE PLEASURES 20
ESCALERAS AZULES 22
THE GUCCI EFFECT 26
AS IF (THIS COULD MAKE A DIFFERENCE) 34
TONGUES WILL WAG 36
MISHA 38
PAS DES TOUS 40
Notes
LIKELY STORIES 45
BIOGRAPHY 49
MUSUCIANS BIOGRAPHIES 51
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In Memoriam
It was with great sadness that all of us involved in the Travelling in Curves
project learned of the death of our friend and colleague Alun Davies in February
2008.
Alun’s involvement with the music in this portfolio goes far beyond that singular
bass sound you hear on the CD. The very notion of making a CD grew from
recordings of arrangement sketches swapped between the two of us to
supplement the improvisational approach of our rehearsals and gigs. As Zakari
Frantz (alto sax), Jennifer Giles (piano), and Mike Essoudry (drums) added their
individual, contrasting voices to the fray, Alun’s attentiveness ensured these
tunes maintained the simplicity, directness and intimacy we both heard at the
heart of the music and recognized in the best moments of our playing together.
Those fortunate enough to have collaborated with Alun were deeply impressed
by the uncompromising personal dedication and directness which he brought to
every project he undertook. Travelling in Curves documents a special
production sensibility applied to an unusual set of musical and performance
challenges. It is also a testament to an immensely gratifying, provocative and
generous relationship - professional and personal - with a dear friend warmly
remembered.
Robert McFadden
Chelsea, Quebec
April 2008
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8
Introduction
It might be best to think of the leadsheets in this portfolio as a set of musical

proposals. The “instructions” provided at the top left of each page - for example,
“frankly” for Souvenirs (deux/trios) - might be better regarded as questions or
challenges than guidelines. The obtusiveness of these “instructions” is also
intended to serve as a reminder to have fun with the pieces.
My emphasis in composing these tunes was on the exploration and emotional

weight rather than technical aspects such as tempo or style. Numerous choices
were made in relation to conventions and clichés found in various musical
genres. My aim was to set up a creative tension with these genres as opposed
to producing work in a particular style. For this reason, the question of how to
play off of – rather than in - familiar styles is fundamental to these pieces.
All of these tunes have received widely varying interpretations. Some, I am quite
sure, have never been played exactly as presented here. Hopefully you will find
new ways of hearing and expressing the music in this portfolio while going about
the process of adapting the tunes to your particular voice.
Robert McFadden
Mississauga, Ontario
February 2009
9
10
Arrangements & Leadsheets
11
SOUVENIRS (DEUX/TROIS)
frankly arrangement by Robert McFadden
INTRO
||: BASS INTRO :|| GUITAR COMP | */* |
HEAD
||: GUITAR :|| SAX DOUBLE | */* |
MELODY
SOLO 1
||: GUITAR SOLO :|| */* | */* |
SOLO 2
||: SAX SOLO :|| */* | */* |
SOLO 3
||: BASS SOLO :|| BASS/SAX DUET | */* |
TAIL
||: SAX MELODY :|| GUITAR GHOST | GUITAR DOUBLE |
END | E7 F7 | E7 | E7 F7 | 3 E7 |
12
frankly music by Robert McFadden
Copyright © 2006 Robert McFadden

International Copyright Secured. All Rights Reserved.
13
SECOND THOUGHTS
mood swing arrangement by Robert McFadden
DRUMS
INTRO
HEAD
| PIANO MELODY | GUITAR DOUBLE |
BRIDGE
1
| GUITAR MELODY |
SOLO
| SAX SOLO |
BRIDGE
2 | PIANO & DRUM |
DUET
TAIL
PIANO, BASS,
| | GUITAR DOUBLE |
DRUMS MELODY
14
SECOND THOUGHTS
mood swing music by Robert McFadden
(page 1 of 3)

15
SECOND THOUGHTS
(continued)
rippling
(page 2 of 3)

16
SECOND THOUGHTS
(continued)
rippling
(page 3 of 3)

17
SWIMMING TO THE MOON
rippling arrangement by Robert McFadden
INTRO
||: GUITAR :|| PIANO COMP | */* |
HEAD
||: GUITAR :|| SAX DOUBLE | */* |
MELODY
SOLO
1 ||: SAX SOLO :|| */* | */* |
SOLO
2 ||: GUITAR SOLO :|| */* | */* |
SOLO
3 ||: PIANO SOLO :|| */* | GUITAR GHOST |
TAIL
| SAX MELODY | PIANO GHOST | */* |
END
18
rippling music by Robert McFadden

19
SIMPLE PLEASURES
apocalypso arrangement by Robert McFadden
G6 G#6 A6
GUITAR DRUM
| FREE 14/4||: PIANO RIFF :||: :||: :||
RIFF RIFF
INTRO
Xx Xx
ARCO SAX GUITAR
| | SAX SOLO | | |
SOLO MELODY DOUBLE
HEAD
GUITAR SAX
| | */* | | */* |
MELODY DOUBLE
SOLOS
| SAX SOLO | GUITAR SOLO |
Xx 2x G6 G#6 A6 */*
DRUM PUNCTUATED BASS GUITAR
| | ||: :||: :||
SOLO PIANO RIFF RIFF DOUBLE
BREAK
SAX GUITAR
| | |
MELODY DOUBLE
HEAD
GUITAR SAX
| | PIANO DOUBLE | | */* |
MELODY DOUBLE
END
| */* | */* ||
20
SIMPLE PLEASURES
apocalypso music by Robert McFadden

21
ESCALERAS ALZULES
soaked in remorse arrangement by Robert McFadden
LEAD-
IN | GUITAR |
HEAD
GUITAR
| | BRUSHES | */* | */* |
MELODY
SOLO
GUITAR ARCO GUITAR
| | */* | | |
SOLO MELODY SOLO
TAIL
PIZZ GUITAR */ *
| | */* | | |
MELODY MELODY (minus 2 bars)
3x
END
||: Am7 G7 | Dm7 D#7 E7 :||
22
ESCALERAS AZULES
soaked in remorse music by Robert McFadden
(page 1 of 3)

23
ESCALERAS AZULES (continued)
(page 2 of 3)

24
ESCALERAS AZULES (continued)
(page 3 of 3)

25
THE GUCCI EFFECT
leisurely swivel arrangement by Robert McFadden
||: :||: :||

INTRO
FREE ARCO IN GUITAR BASS
| | ||: :||: :||
CYMBALS Em13 RIFF DOUBLE
SOLOS
| SAX SOLO | GUITAR SOLO |
||: :||
HEAD
PIANO & PIANO/SAX
| | */* | | */* |
SAX & GUITAR
||: :||: :||

BREAK
ARCO
||: :||: */* :||
SOLO
TAIL
SAX & PIANO
SAX
| GUITAR | DOUBLE | */* | ||
MELODY
ONLY SAX
26
THE GUCCI EFFECT
leisurely swivel (120 bpm) music by Robert McFadden
(page 1 of 7)
27
THE GUCCI EFFECT (continued)
HEAD
(page 2 of 7)

28
(page 3 of 7)

29
(page 4 of 7)
30
TAIL
(page 5 of 7)

31
(page 6 of 7)

32
(page 7 of 7)

33
AS IF (THIS COULD MAKE A DIFFERENCE)
stumbling with grace arrangement by Robert McFadden
HEAD
GUITAR
SAX
| GUITAR MELODY | PIANO DOUBLE | | & |
MELODY
PIANO
SOLO
1
GUITAR SAX
| SAX SOLO | */* | | |
SOLO SOLO
SOLO SAX
2 SOLO
GUITAR
| GUITAR SOLO | */* | | |
SOLO
(IN ¼ TIME) ( - 7 BARS)

BREAK
| PIANO & BASS | SAX |
TAIL
GUITAR
| (SAX @ 9TH | PIANO COMP |
SAX
|
SAX
||
BAR) MELODY SOLO
34
stumbling with grace music by Robert McFadden

35
TONGUES WILL WAG
furtively arrangement by Robert McFadden
INTRO
| SAX & BASS TRADE MELODY |
HEAD
| SAX MELODY | GUITAR DOUBLE |
SOLOS
| SAX SOLO | GUITAR SOLO | PIANO SOLO |
TAIL
GUITAR
| SAX MELODY | PIANO DOUBLE | |
DOUBLE
36
TONGUES WILL WAG
furtively music by Robert McFadden

37
arrangement by Robert McFadden
MISHA
tripodic
INTRO
(1/2
time)
| GUITAR MELODY | SAX SOLO | (TRADES) | SAX SOLO |
HEAD
(1/1
time)
GUITAR MELODY SAX DOUBLE */*
||: :||
||: GUITAR SOLO :|| SAX SOLO |
SOLOS
||: :||
||: DRUM /BASS :|| GUITAR SAX | DRUM /BASS |
(1/2 time)
| GTR & SAX MELODY | (TRADES) | GUITAR & SAX |
TAIL
38
MISHA
tripodic music by Robert McFadden

39
PAS DES TOUS
un pas à la fois arrangement by Robert McFadden
| BbMaj7 | EbMaj7 | AbMaj7 | DbMaj 7 | GbMaj7 | B7 |

INTRO
| SOFT PIANO |
HEAD
| GUITAR MELODY | BRUSHES |
SOLOS
| GUITAR SOLO | SAX SOLO | PIANO SOLO |
TAIL
| GUITAR &SAX | SAX UP OCTAVE |
MELODY
| BbMaj7 | EbMaj7 | AbMaj7 | DbMaj7 | GbMaj7 | Gbmin7 |
| RUBATO GUITAR |
END
| Fmaj7 |
| (FLORISH) |
40
PAS DES TOUS
un pas à la fois music by Robert McFadden

41
42
Notes
43
44
Likely Stories
My first shot at telling the stories behind the tunes on Travelling in Curves
appeared in the playing instructions to musicians provided on the written
leadsheets. The following are adaptations of the conversations these leadsheet
instructions prompted.
frankly
Souvenirs (deux/trois)
You are Frank Sinatra admiring the sun shimmering on the swimming pool. You
climb the ladder, execute a perfect double flip and realize the pool has been
drained. How would you express your reaction in jazz?
mood swing
Second Thoughts
Darth Vader, the Tasmanian Devil and Archbishop Desmond Tutu walk into a
bar. “Obedience! Obedience! Obedience!”, orders Vader. “Blorp! Schnorfle!
Druel!”, tornadoes the Tasmanian Devil. Archbishop Desmond Tutu beams,
winks and twinkles the sax solo to this tune.
“What is this?”, replies the bartender, “A joke?”.
rippling
Swimming to the Moon
Six hours after buying the classic Westfalia, one hour after its transmission blew,
and forty minutes after grinding onto our destination - the hillside campsite facing
the highway and railroad tracks - it began to rain. We called it quits when the
mechanic said the new part would take a week. We stopped in the park we’d
planned to visit. A botanist suggested an off-season camp by the river where a
cabin might be available. Miles from the highway. We were swimming in the bay
as the moon rose.
apocalypse
Simple Pleasures
As a long-time practitioner of the Cat in the Hat School of Improvisation, I have

an answer for everything. If you asked me to write you a simple tune and I came
back with something in five parts with four time signatures, you can bet it would
not be called Excruciating Frustrations. An apocalypso, this tune was inspired by
steel drums, screeching tires, and everything in between.
45
soaked in remorse
Escaleras Azules
Bandoleons, wavering strings and clenched roses are entirely optional to the
tango. Crashing waves of desire and a bottomless depths of despair are not. A
litre or two of fatalism never hurt either. Entry to a tango hall always involves a
stairway. These stairways are inevitably blue.
leisurely swivel (120 bpm)

The Gucci Effect
The first part of this tune to be written was that rising bass figure you hear where
the sax first comes in. Initially, that was all there was. I made a recording and
played it incessantly. The rest of the tune came after driving down rue Notre-
Dame and having everything snap into background noise. Everything - except for
one woman walking up the sidewalk, her sunglasses flashing and her shoulder
bag Gucci. If you have spent five minutes in Montreal, you will have seen her.
The pace of her step was the sole movement on the street in sync with my
music.
with turnarounds
As If (This Could Make a Difference)
Fill a paper boat with your heart’s desire. Fit passion as its engine – stoke its fires
with your doubt. Fix it on a channel to the deepest waters. Find favor and fortune
in the thunderheads’ swell.
furtively
Tongues Will Wag
Big fat noses where they don’t belong,

Yakkity yakking all day long.
So annoying. Awful taste.
Cloying two-faced mongers sporting
Big fat noses where they don’t belong.

Yikkity yakking all day long.
Ain’t that dismal? You agree?
Such abysmal knee-jerk nasty
Jibberty-jabber. What can be said?

Party with matches! Smoke in your bed!
Burn down the house to a smouldering slag,
Wherever there’s fire, tongues will wag.
46
tripodic
Misha
Misha was the three-legged Bassett Hound pattering around the first time
drummer Anthony Seaberg and I jammed together. The first riff we played that
evening developed into the theme of this tune. Misha’s distinctive gate lopes
through the melody. If you listen closely, you’ll hear some tail wagging too.
un pas à la fois
Pas des tous
The title of this tune almost sounds like a French phrase meaning “Everyone’s
step”. I made it up to go with three real phrases that occasionally overtake my
thoughts:
• “Un pas à la fois” (“One step at a time”)

• “Pas de deux” (a dance figure for two)
• “Pas du tout” (“Not at all”)
This is their collective theme song.
47
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Biography
Robert McFadden has been writing and performing music since the late 1970’s.
Originally trained as a visual artist, Robert developed his music as part of a
multidisciplinary practice including installation, digital media, and performance
art.
Early projects give a clue to the diversity in Robert’s approach: Sounds on

Wednesdays (1978), a free improvisation series hosted by the National Gallery
of Canada; The Post Barbie Band (1978 - 81), a cocktail of musicians, artists
and programmers performing in clubs and art galleries; and People in the
Speakers (1986 – 90), a karaoke/movement ensemble championed by Gay
Delorme (Frank Zappa, k.d. laing) as “seriously bent; way hip”.
Constructing Nature and The Edge of the World - musical performances

playing off Broadway, roots, jazz and minimalist genres - were presented in the
late 80’s and early 90’s at The Western Front (Vancouver), Globe Theatre
(Regina), A Space (Toronto) and The Slade (London, England). For Those Who
Stand For, a virtual reality soundscape produced at the Banff Centre for the Arts,
was recognized in 1992 at Ars Electronica (Linz, Austria).
In 1993 Robert began work on ventures in sound production, digital animation

and software development for companies such as Softimage, Microsoft and Avid
Technologies with clients including Industrial Light and Magic, Mainframe
Entertainment and Disney. In 2004, a two-week hiatus taken to consider ideas
about jazz improvisation grew into a four year full-time process of listening,
studying, jamming, composing and recording. Travelling in Curves documents
recent developments in this exploration.
49
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Musician Biographies
Zakari Frantz (saxophone)
Zakari has quickly earned a reputation as a versatile and lyrical reed player
sharing the stage artists such as Femi Anikulapo Kuti, Dele Sosimi and Joe
Sealy. Over the past year Zakari has played to great acclaim with the Soul Jazz
Orchestra in Europe, across Canada, and at the Brooklyn Academy of Music.
Zakari is a graduate of Boise State University where he studied saxophone with
Brent Jensen.
Jennifer Giles (piano)
Trained as a classical pianist with degrees from McGill University (Montreal),

Jennifer teaches ear training, music theory and keyboard classes (Concordia
University, Carleton University). Jennifer’s playing focuses on free improvisation
with groups including Radar and Rakestar.
Alun Davies (bass)
Classically trained, Jaco-inspired and fuelled on the sounds of North Africa and
India, Alun’s reputation as a sideman, session player, engineer, composer and
producer grew though work in R&B, fusion, world beat, hip-hop and rap with
artists including Juno Award winners Maestro Wes Fresh, 2 Rude, and Glenn
Lewis. In 2005, Alun returned to the bass full-time, playing with Ropeadope
recording artists Antizario until his death in February 2008.
Mike Essoudry (drums)
Rooted in popular music - rock and jazz – Mike brings a unique blend of
groove/riff based playing to groups exploring the frontiers of folk (Megan Jerome
Trio), country (Three Jimmies), and free improvisation (Parade, Fly Poem). A
composer and percussionist, Mike has a Masters in Jazz Drumset from McGill
University (Montreal).
51
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53
SECOND THOUGHTS
SIMPLE PLEASURES
ESCALERAS AZULES
THE GUCCI EFFECT
TONGUES WILL WAG
MISHA
PAS DES TOUS
54

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Arrangements, Leadsheets & Notes

Jennifer Giles: score editor

For more information, please contact:

Arrangements & Leadsheets 11

It might be best to think of the leadsheets in this portfolio as a set of musical

My emphasis in composing these tunes was on the exploration and emotional

Copyright © 2006 Robert McFadden

Copyright © 2006 Robert McFadden

Copyright © 2006 Robert McFadden

Copyright © 2006 Robert McFadden

Copyright © 2006 Robert McFadden

Copyright © 2006 Robert McFadden

Copyright © 2006 Robert McFadden

Copyright © 2006 Robert McFadden

Copyright © 2006 Robert McFadden

||: :||: :||

||: :||: :||

Copyright © 2006 Robert McFadden

Copyright © 2006 Robert McFadden

Copyright © 2006 Robert McFadden

Copyright © 2006 Robert McFadden

Copyright © 2006 Robert McFadden

(IN ¼ TIME) ( - 7 BARS)

Copyright © 2006 Robert McFadden

Copyright © 2006 Robert McFadden

| GUITAR MELODY | SAX SOLO | (TRADES) | SAX SOLO |

| GTR & SAX MELODY | (TRADES) | GUITAR & SAX |

Copyright © 2006 Robert McFadden

| BbMaj7 | EbMaj7 | AbMaj7 | DbMaj 7 | GbMaj7 | B7 |

| BbMaj7 | EbMaj7 | AbMaj7 | DbMaj7 | GbMaj7 | Gbmin7 |

Copyright © 2006 Robert McFadden

“What is this?”, replies the bartender, “A joke?”.

As a long-time practitioner of the Cat in the Hat School of Improvisation, I have

leisurely swivel (120 bpm)

Big fat noses where they don’t belong,

Big fat noses where they don’t belong.

Jibberty-jabber. What can be said?

• “Un pas à la fois” (“One step at a time”)

This is their collective theme song.

Early projects give a clue to the diversity in Robert’s approach: Sounds on

Constructing Nature and The Edge of the World - musical performances

In 1993 Robert began work on ventures in sound production, digital animation

Zakari Frantz (saxophone)

Jennifer Giles (piano)

Trained as a classical pianist with degrees from McGill University (Montreal),

Alun Davies (bass)

Mike Essoudry (drums)

SWIMMING TO THE MOON

THE GUCCI EFFECT

AS IF (THIS COULD MAKE A DIFFERENCE)

TONGUES WILL WAG

PAS DES TOUS

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