CONTEMPLATION MCCOY TYNER PDF

The tempo is slow, stately, deliberate. The harmony, outlined first by piano trills and broken chords, has purpose behind it: The title implies an ongoing and perhaps unattainable quest, not some easily abandoned momentary pursuit. Tyner, who departed from the Coltrane group in , evidently felt that there was a need for music that looked inward and invited reflection. Tyner has said that he left the Coltrane group because of its increasingly chaotic dissonance; his compositions here utilize the open block-chord harmonies Coltrane loved, channeled into tightly focused rhapsodies.

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Producer Alfred Lion recalls the recording session as a "pure jazz session. In the liner notes, Tyner talks about the pieces selected for this album. Whilst the former sounds like "a kind of American Indian dance, evoking trance-like states", the latter has "the sound of a man alone. A man reflecting on what religion means to him, reflecting on the meaning of life. Two and a half years after his last recording as a leader for Impulse, pianist McCoy Tyner emerged to start a period on Blue Note that would result in seven albums.

For this release, the pianist is teamed with tenor saxophonist Joe Henderson, bassist Ron Carter, and drummer Elvin Jones for five of his originals. The tempo is slow, stately, deliberate.

The harmony, outlined first by piano trills and broken chords, has purpose behind it: The title implies an ongoing and perhaps unattainable quest, not some easily abandoned momentary pursuit. Tyner, who departed from the Coltrane group in , evidently felt that there was a need for music that looked inward and invited reflection. Tyner has said that he left the Coltrane group because of its increasingly chaotic dissonance; his compositions here utilize the open block-chord harmonies Coltrane loved, channeled into tightly focused rhapsodies.

The other three are equally poised and thoughtful, and each is defined by its own internal logic. Lots of records from this genre have interesting tunes and blazing solo performances, but few attain such an interconnected synergy. Listening to these these rich, beautifully realized atmospheres, and how they inspire deep, passionate, strikingly collective improvisations, you realize we are far removed from the anxieties — and the idealistic quests for peace — that governed Track listing:.

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Contemplation sheet music for voice and other instruments (bass clef)

Producer Alfred Lion recalls the recording session as a "pure jazz session. In the liner notes, Tyner talks about the pieces selected for this album. Whilst the former sounds like "a kind of American Indian dance, evoking trance-like states", the latter has "the sound of a man alone. A man reflecting on what religion means to him, reflecting on the meaning of life. Two and a half years after his last recording as a leader for Impulse, pianist McCoy Tyner emerged to start a period on Blue Note that would result in seven albums. For this release, the pianist is teamed with tenor saxophonist Joe Henderson, bassist Ron Carter, and drummer Elvin Jones for five of his originals.

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McCoy Tyner discography

Nastos Although McCoy Tyner has never been well known for playing with guitarists, there have been precedents. Technically on the electric mandolin and amplified guitar, John Abercrombie was part of the 4 X 4 sessions, acoustic guitarist Earl Klugh was a participant on the Inner Voices recording, Ted Dunbar was in the group for Asante , and Carlos Santana joined Tyner for the ill-conceived album Looking Out. Tyner prominently accompanied Grant Green for legendary Blue Note label classics. So this may not be a new thing, but certainly something the great pianist has been removed from in general terms. But for these recordings, the sound and feeling of the end product is clearly decipherable. Ribot especially seems out of place, resorting to power chords during "Passion Dance," but rebounding on the soulful version of " Miles" and rallying on the peaceful but electrified "Improvisation 1.

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Contemplation

And one distinctive element of his approach to improvising is his creative use of the pentatonic scale. You can approach it with blues language, bebop, or even modern and outside approaches — it all comes together in the blues. In his solo on Blues on the Corner , McCoy Tyner uses the minor pentatonic scale over dominant chords in two specific ways: 1 from the root of the chord and 2 from the 5th of the chord. This scale is missing the one note that defines the harmony — the 3rd.

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