ICT in learning – with emphasis on music technology

Øystein Kvinge,ICT,music education,computer music,digital literacy,music technology,music software,ableton live, cubase,propellerhead reason,Herbie Hancock

Maiden Voyage meets Creamware Scope

February 26, 2012 by · No Comments · Herbie Hancock, Listen!

Audio file: Maiden Voyage Scope

For the sake of reference I have added to the media library a recording I did in 2008 of Herbie Hancock’s Maiden Voyage. The clip was uploaded to the Creamware user community on PlanetZ, and my forum posting read:

“I came across a live CD with Herbie Hancock and his VSOP orchestra recorded live at the Newport festlval in 76. I really like his modal jazz tunes such ans Cantaloupe island and Maiden Voyage. My idea was to try to recreate the groove and attitude of Maiden Voyage only using Scope and Cubase. I ran my Yamaha S80 Rhodes through Interpole and used the Minimax to present the theme. The STS 4000 is used for drum samples and the Individual out function allow the snare drum to be processed by adding delay.”

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September song

September 12, 2011 by · No Comments · Jazzspinneriet, Listen!

Saturday September 3rd marked the opening of the third season of the monthly event, the Jazzspinneriet. The autumn term 2011 is still in the planning, but new and exciting local musicians have already marked the dates in their calendars and will be introduced to our audience at the next gigs. On September 3rd, only the backing band;  me, Peter, Pia and Jan Tore were playing. The repertoire consisted of a mix of standard tunes of different shapes and genres.

Kurt Weill’s September song was a natural inclusion in the list. The version we did is from one of the unofficial Real Books and featured some changes which differs from the official of the New Real Books. In particular the static B – section may seem odd in the version we did. Maybe the versions are based on different recordings, I don’t know, but the piano solo was still fun to do, this time in a less-is-more style making an attempt on building meaningful musical phrases. Some double hand licks are dropped towards the end which creates a sort of climax of the impro.

Also a couple of F - major blues forms entered the set lists. Billie’s bounce and Now is the timeare similar as far as changes are concerned, the interesting part is then to compare our performances, one in each set, and to judge if we differ in expression and musical ideas, or if we sound the same. The piano solos are here; Billies_pno , (which features Petrucciani style octave riffs, a quotation of Weather report and some latin montunos)and Now is the time.

In F-minor, there is AfroBlue- a jazz waltz which allows for some McCoy Tyner style quartal chord drops in the left hand after a few waves of choruses – piano solo is found here. Also, typical of the band these days, every solo is given space to grow by reducing the dynamics dramatically in the beginning. Some attempts on “outside playing” can also be heard.

Finally Herbie Hancock’s Maiden Voyage is added for the sake of demonstrating how the many glitches in the beginning are covered up by being added to a musical phrase. The Caravan piano solo is added, as is the full version Caravan.

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Jazzspinneriet feat. Lisbeth Svardal and Roy Vorland

May 16, 2011 by · No Comments · Jazzspinneriet, Listen!

On May 7th, we had the pleasure of being joined by the great local singers Lisbeth Svardal and Roy Vorland. The band members know the singers from previous projects, dating back to the early 90′s when me and Lisbeth and me played in the same big band. Since then there have been musical encounters with Lisbeth and Roy in a variety of genres, venues and occasions.

Lisbeth, whose voice resembles that of Cecilie Nordby, did a great version of Bacharack’s  The look of love clearly inspired by Nordby’s version from her My Corner of the sky album. The mic placement is again on the grand piano and the vocal is unfortunately in the background. The piano voicings in the foreground is mainly based on fourths to get that “new standard” sound.   

Roy selected two well known ballads;  Somewhere over the Rainbow and Smoke gets in your eyes, both beautifully executed.

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Jazz in Norwegian and Swedish – Jazzspinneriet March 5th 2011

March 6, 2011 by · No Comments · General, Jazzspinneriet

albumcoverJanJohansson-Folkvisor

albumcoverJanJohansson-Folkvisor

Theme for the March edition of Jazzspinneriet was “Jazz in Norwegian and Swedish”. Forming the basis for the repertoire was a selection of the enchanting Swedish folk tunes from Jan Johanssons legendary record, “Jazz på Svenska”.    

Although the originals were recorded in the duo format by Johannson and Georg Riedel (upright bass), we made simple rearrangements adding soprano sax (Pia) and drums (Jan Tore) as can be heard on this live recording from our March concert: Visa från Utanmyra and Brudmarsch efter Larshöga Jonke.

Although not a folk song, we felt like adding Garbarek / Jarret’s  classic My Song to our repertoire. It has a “cantabile” quality which makes it fit nicely with the rest of the set.    

From the Norwegian song book, we picked Henning Sommero’s Blå salme and Sande / Tveitt’s  Fløytelåt (pianosolo) . Kristallen den fina is a folksong from Skattungbyn in Dalarna, Sweden. Here the piano solo is captured.

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Chick Corea “Folk song” – demo recording

February 28, 2011 by · No Comments · General, Listen!

Chick Corea - Three Quartets

Chick Corea - Three Quartets

With Chick Corea’s upcoming 70th birthday (June 12th) in mind, our quartet will start focusing on the jazz legend’s compositions and add a number of those to our repertoire. Hopefully we will be able to celebrate Chick’s works in the same fashion as we did last year with Herbie Hancock’s tunes. By devoting time and energy to challenging musical material such as Chick’s tunes, we as a band and individual musicians will hopefully enjoy a learning experience with improved live performances as a result.

A tune which we have previously discussed and agreed that we all like, is “Folk song” from Chick Corea’s album “Three Quartets” (1981) featuring Michael Brecker, Steve Gadd and Eddie Gomez. The tune has a flavour of a nordic folk song, very melodic, with a contrasting “B” section of exciting modulations. Unison parts forced us to practice more than usual before attending the demo session.

My approach was to try to learn the changes by heart to be able to create a more or less controlled solo through 2 choruses. Prior to the recording session, I made transcriptions of Chick’s 1st choruses on the original studio recording and the one from the album “Live in Montreux” (1981). To my surprise, the melodic material of Chick’s solos appear to be very simplistic, based on the core material of the chord progressions, but played with a fluency which is so caracteristic of Chick. Intellegent phrasing, great sense of rhythm and clever playing through the chords, is typical of Chick’s solos on this tune.

The tune is available as a lead sheet, transcribed and published by Lucas Pickford on his website.

Our demo version of Folk song

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Hank Jones on BeBop

February 17, 2011 by · No Comments · Watch!

Hank Jones demonstrates by using “How high the moon” as an example, how in the be bop era, melody of standard tunes are replaced by new melody lines, and how improvised lines relate to the harmony – the correspondence between improvised lines and the harmonies of the tune. He also relates how piano rolls were recorded by jazz greats of his time, and how those recordings were important examples for his own musical development.

Bill Evans on The Creative Process and Self Teaching

January 30, 2011 by · No Comments · General, Watch!

I have come across an interesting interview with Bill Evans, where he discusses topics such as teaching jazz, creativity in music and self teaching. Extracted from the movie “The Universal Mind of Bill Evans – Creative Process and Self-Teaching”.

Part I offers ideas on how students approximate the entire musical expression of stylistic ideals instead of approaching music from a more realistic viewpoint, illustrated at the piano ny demonstrating how to play “I like New York in June”.

Part II focuses on Evans’ background coming from the classical tradition where he claims that he was not able to play without scores, and how he rigidly played only what was written on the score. He starts his journey into jazz by learning and remembering changes. He speaks of how at the age of 28 he passes the point where he is in suffient control of his musical expression. He does not consider himself extraordinary talented and needed to be analytical, and tells about the importance of the time and effort it takes to develop. Importance to choose a field in which to operate at the max of your capacity instead of spreading out on too much.

Part III deals with Evans’ experience as a teacher. Importance of self learning, to accept and reject. Importance of someone to “feed the material”. The essence of teaching to get the students excited and motivated to explore for themselves. When to “feed in” and when to “draw back”.

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Ableton Live and kids I

January 13, 2011 by · No Comments · Listen!

I have recently added a bass guitar and an electric guitar to my home studio. Until now, most musical activities have been centered around one of the many keyboards I have, and the addition of the guitar opens the path for many new sonic experiments. The other night, I invited my two sons, aged 7 1/2 and 9, to join me for a session based on a simple setup I had prepared in Ableton Live. Would it be possible to utilise Ableton to mediate musical activities for kids?

Souftube amp by Creamware

Souftube amp by Creamware

My youngest son has for a month been practicing one of the most famous synth riffs of the eighties, and his brother, who has taken guitar lessons for 5 months, have almost on a daily basis practiced Ritchie Blackmore’s famous riff from Smoke on the water. I think most kids know the phrase, and almost everyone who play guitar know how to play it. It seems to have become part of the musical syllabus of children in Norway.

From a technical point of view, I used two inputs for the recording of the guitar and the bass, which were processed independently by the sound card effects on my Creamware DSP cards. The guitar were fed to a virtual gutar amp by Softube and the bass were patched through Vinco, a vintage compressor and a standard chorus fx.

The B2003 organ by Creamware

The B2003 organ by Creamware

The keyboard were MIDIed to a virtual hammond organ, the B2003, by Creamware / Soniccore. The distorted preset is supposed to be reminiscent Jon Lords original sound, but is here applied to the synth riff of the eighties. 

Ableton Live 8, a Simple arrangementThe aim of my little experiment was to merge the two riffs in a simple arrangement suitable for live bass, played by me, and live guitar and live keyboard performed by the boys. The rhythm section was a simple drum clip I made in Ableton and a REX file from Reason which I imported the MIDI part of, into Ableton as a separate clip.  

The harmonic foundation is simply  8 bars of Am, for the synth riff, followed by 8 bars of Gm for Smoke on the water. One riff were played at the time, and the players paused in turns. We played as long as we could bother, which was approx 15 minutes …

The result, available here: Kids jamming with Ableton, seemed to be a pleasant experience for the boys, both when playing and when listening to the result. 

Obviously playing in time is a challenge for young learners, and the riffs are clearly hard to play technically for the young muisicians. Still, I could observe that they had a notion of the periods and when to start playing again.  The idea was also to bring their own musical practice one step further and combine the two in one arrangement, so I had no chocie but to build on their existing repertoire.

I see a great potential in using Ableton Live as the platform on which to create simple arrangement aimed at live playing and recording of multi instrument setups for children. For a start I have been using bass, guitar and a MIDI keyboard, but more keyboards can be added for a quartet / quintet set up. The software creates a musical environment which, under the supervision of adults, provides musical experiences which they would not otherwise have gained.

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The Real Christmas Book

December 29, 2010 by · No Comments · General, Listen!

The Real Christmas BookIn December we did 2 gigs at the Fana kulturhus featuring christmas songs only  (with the exception of a few Shorter / Hancock tunes). The main source of printed music is The Real Christmas book which we stumbled upon. This book lead the repertoire in the direction of Amercian standards, such as “Have yourself a merry christmas”, “I’ll be home for christmas”, “White christmas” and others. The advantage of this selection is that, due to the limited time available and required for rehearsals, we could treat it like any other standard material, more or less on the spot.

Other choices were A child is born, which thematically can be related to Christmas. Typical of the tune, are the Bb – Ebm changes, and the Gm – D7 which are good for solos, or for developing melodic ideas. Some fast playing were also tried out towards the end. Otherwise, not to rush is always a challenge.

Caravan, by Duke Ellington, also found its place in the set list. Scales of choice for the first part were a mix of f-min melodic and a Db lydian.

A selection of Christmas classics were; When you wish upon a star, Have yourself a merry Christmas and I’ll be home for Christmas. “When you wish”, here with some rather long up-tempo lines which is is not so typical for my playing. Also the repetetive rythmical motifs seem to be a reoccurring “lick” in these December sessions.  ”Have yourself …” here in a slow tempo,also with some fairly long phrases, not much to add about it. “Ill be home ..:” with some long up tempo lines.   

Fee fi fo fum, here in yet another take, added for the sake of documentation.

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Live at Logen bar

November 30, 2010 by · No Comments · General, Herbie Hancock, Listen!

Logen teater
Logen teater

On September 19th 2010, we performed at the Logen bar in Bergen for a small but enthusiastic crowd. The 2 sets featured music by Herbie Hancock and Wayne Shorter only.

Herbie Hancock’s Cantaloupe island got another chance, here in a version which features the Dm – Em/D changes on the bars of the Dm7.

Hancock’s Speak like a child was performed at a very slow pace. A beautiful tune, here in a version with Pia playing the flute on the theme. The piano solo parts on the Am7 – E7, seems to be ok for most parts, whereas the solos on the form are more of a challenge.

Maiden Voyage keeps occurring on the set lists. Here is a piano solo which builds quite nicely towards a conclusion featuring piano montuno like patterns. Interesting to compare the versions posted on this blog as there is now a small collection of verious attempts on this Hancock classic.
Finally, Shorter’s Fee fi fo fum sounds fairly relaxed here in a version with fairly good communication within the band. A long piano solo this time, with several piano techniques on display, including some Pettruciani inspired repetetive note excersises towards the end.
 

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