Creep

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creep
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  ! #### ! #$%   ∑‰   œ œ œ $  ‰œ œ œ $ ∑‰œ $  œ $  œ ‰œ œ $  œ∑‰ œ œ œ $  ‰ œ œ œ $ ∑‰ œ $  œ $  œ‰œ œ $    œ ! !$%& !   %   œœ   œ &  ‰ Œ  ' ∑∑∑‰ œ œ &  œ ‰ œ œ &  œ & ∑‰œ &  œœ &  ‰œ œ    œ∑ ! !$%&   ∑‰   œ    œ &  œ‰œ œ &  œ & ∑‰ œ &  œœ &  ‰ œ œ œ∑ (   œœœ &  ‰ Œ  ' ∑∑ ! !$%& #$   ∑œ œ œ œ∑œ œ œ œ (   œœœ &  ‰ Œ Œ ‰ (   œœœœ œ œ œ (   œœœ &$  ‰ Œ  ' œ $  œ œ œ '())* $+ ,)-- .#/ 0 1  ! !$%& #%    (   œœœ &$  ‰ Œ Œ ‰  (   œœœœ $  œ œ œ (   œœœ $  ‰ Œ  ' œ œ œ œ (   œœœ $  ‰ Œ Œ ‰ (   œœœœ œ œ œ % œ   œœ &$  ‰ Œ  ' œ $  œ œ œ ! !$%& &#   % œ   œœ &$  ‰ Œ Œ ‰  %   œœœœ $  œ œ œ %   œœœ &  ‰ Œ  '(   œœœ &  ‰ 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   œœ &  ‰ Œ  ' ∑ ! !$%& &   ∑∑‰ œ œ &  œ ‰ œ œ &  œ & ∑‰œ &  œœ &  ‰œ œ    œ∑∑‰   œ    œ &  œ‰œ œ &  œ &! !$%& $$   ∑‰ œ &  œœ &  ‰ œ œ œ∑ (   œœœ &  ‰ Œ  ' ∑∑ %   œœœ &  ‰ Œ  '(   œœœ &  ‰ Œ  ' 2 '())* $+  Jeff Fabis Wednesday, March 1 Harmony 4 Creeping The I wrote entitled “Creeping” is supposed to portray an individual creeping along to somewhere or someone in a stealthily manner. Personally I like to envision a sort of cat-burglar, dressed all in black with a mask on trying to break into somewhere and attempting to be quiet about it. I uses the set 034, and I actually was inspired to use this set after hearing a live recording of the saxophonist Bob Berg playing over a tune called “Chromazone”, about thirty seconds in he plays a lick consisting of the notes C E and Eb in that order which I thought sounded really cool, and that inspired the basic idea of the piece. The piece builds I line through T3 in the A sections of the piece, the same shape is used throughout but every time it is transposed up by T3, which incidentally creates a fully diminished chord, given that the beginning and and notes of the shapes are minor thirds away, which I tried to play with in the B section. After the first part of the A section, the second part is the same idea, but the shape is different and it still works its way down by transposing down 3 for every shape and still bringing out the diminished quality. In the B section it represents the actual break in and heist from the burglar, there’s more texture and the dissonance is emphasized more than it was in the A section. The B section Starts with the sets being implied on C, then Eb, then A because I wanted to try and bring out the diminished quality of the T3, so I emphasized the Root, 3rd, and 7th of the fully diminished chord. The last transposition is not a T3, at least from the previous center, but from the C it is down which is why I transposed it so far. The piece ends with a stealthy getaway, the a section returns as the robber is trying to sneak away from the scene without drawing too much attention, he gets out, puts his winnings in a normal bag, and changes into street clothes and goes home without anyone ever knowing it was him. The piece ends with silence and then by one last emphasis of the srcinal set C Eb and E being played chordally in both hands.
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