Sliding Moon
A Deeper View
As I prepare all of my music for publication on Substack I’d thought we could have a somewhat analytical view of some pieces, particularly ones that have been recorded
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Just so it’s clear, when I was somewhere around 20, I committed to writing at least a piece of music every day, a practice which I continued for many years. The regularity of this was only disturbed by certain huge events (9/11 for example) and the vicissitudes and alternately, joys, of parenthood.
I still compose regularly so the content of my work is massive, though most of it is designed for the small jazz group. It will take some time to finish preparing every piece from my teens in the 70s through today into Sibelius and then PDF to present here.
Meanwhile I will continue these free occasional articles with thoughts and analysis of single pieces that have been recorded.
Here we will look at Sliding Moon.
Here we see that this chord, arpeggiated over a significant range and which I designate Ab lyd#9 created a figured with a defined bass part that allows the rest of the figure to climb and illuminate its contour.
Intervallically in relation to Ab lyd#9, and ignoring range, we have Root, maj7, 5, #9, 3 #11, then some repeating of pitches. Yes I could have called it Abmaj7(#9), but the modal reference more clearly connotes the emotional/aural atmosphere of the figure, which changes color ever so slightly with each new chordal figure.
Two composers I find remarkable in setting up this kind of harmonic atmosphere for improvisers to exist in are the late British pianist and composer, John Taylor, especially in the music he wrote for the trio Azimuth on ECM Records and certain pieces by Ralph Towner. I’m thinking in particularly of Distant Hills, recorded both by the group Oregon and Towner’s quartet with Jan Garbarek, Eberhard Weber and Jon Christensen.
As the A section of Sliding Moon begins with the same figure as the Intro and continues for 8 bars, a subtle transformation is achieved by moving two notes up a half step with definite aeolian colors emerging.
The figure quickly transforms again by raise the 7th of the A to G#, now A harmonic minor with the augmented 2nd space between the b6 and the major 7th defining the mood/mode. While the b6, F natural, doesn’t appear in the melody during the harmonic minor harmony, the ear retains its flavor from the previous measure during Aeolian.
Four more bars of Ab lyd#9 occur before the A section repeats.
The B section features two harmonies stretched out over an altered rhythmic figure. The Bb lyd#5 emphasizes the juxtaposition of the Bb tonality with the unmistakable presence of the D major triad and then the open, windswept C lydian atmosphere turning around back to the Head with a variation on the A aeolian and A harmonic minor harmonies.
Here is my quartet, with Tom Cabrera on drums, Chris Forbes on piano, Dmitry Ishenko on double-bass and myself on nylon-string guitar performing Sliding Moon on Unseen Rain Records:
Ensemble chart with piano:
Ensemble chart with guitar:
As I mentioned earlier, I am planning on publishing all of my compositions here and much more content when, sometime in the future, I institute paid subscriptions.
Meanwhile, please subscribe.
Material will still be available for free subscribers, similar in scope to what has already been coming out.
Copyright © 2024 Jack DeSalvo
Absolutely exquisite composition and performance both. I fear my chances at adequate theory to comprehend the full explication were missed forty years ago - but in that brief window of jazz instruction (the only lessons I ever got) I found working with and between the less explored modes, as you do here with such elegance, absolutely delicious. Especially appreciate what I can only describe as the precision torque - that is, the way the lines are set off against each other in just the right way to invite endless subtle delights in variatiegated expression, syncopation and modal-feel (such wonderful universes). Distinct Bach touch in the intelligence of progressions and arpeggiation (then again, he did more or less write that book - didn't he?) Bravo - and my sincere apologies for my limited abilities to articulate my pleasure in the musical work and your writing!