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Into the Bends of Time and Musical Forces in Jazz: Group Interaction and Double-time in “My Foolish Heart” as performed by the Bill Evans Trio

with Scott LaFaro and Paul Motian.

by

Jamie Keesecker

Department of Music Duke University

Date:_______________________ Approved:

___________________________

Stephen Jaffe, Supervisor

___________________________ Scott Lindroth

___________________________

Philip Rupprecht

___________________________ Paul Berliner

___________________________

Stephen Anderson

Dissertation submitted in partial fulfillment of the requirements for the degree of Doctor

of Philosophy in the Department of Music in the Graduate School

of Duke University

2016

i

v

ABSTRACT

Into the Bends of Time and Musical Forces in Jazz: Group Interaction and Double-time in “My Foolish Heart” as performed by the Bill Evans Trio

with Scott LaFaro and Paul Motian.

by

Jamie Keesecker

Department of Music Duke University

Date:_______________________ Approved:

___________________________

Stephen Jaffe, Supervisor

___________________________ Scott Lindroth

___________________________

Philip Rupprecht

___________________________ Paul Berliner

___________________________

Stephen Anderson

An abstract of a dissertation submitted in partial fulfillment of the requirements for the degree of Doctor

of Philosophy in the Department of Music in the Graduate School

of Duke University

2016

Copyright by Jamie Keesecker

© 2016

iv

ABSTRACT

Into the Bends of Time is a 40-minute work in seven movements for a large

chamber orchestra with electronics, utilizing real-time computer-assisted

processing of music performed by live musicians. The piece explores various

combinations of interactive relationships between players and electronics,

ranging from relatively basic processing effects to musical gestures achieved

through stages of computer analysis, in which resulting sounds are crafted

according to parameters of the incoming musical material. Additionally, some

elements of interaction are multi-dimensional, in that they rely on the

participation of two or more performers fulfilling distinct roles in the interactive

process with the computer in order to generate musical material. Through

processes of controlled randomness, several electronic effects induce elements

of chance into their realization so that no two performances of this work are

exactly alike. The piece gets its name from the notion that real-time computer-

assisted processing, in which sound pressure waves are transduced into electrical

energy, converted to digital data, artfully modified, converted back into

electrical energy and transduced into sound waves, represents a “bending” of

time.

v

Contents

Abstract..........................................................................................................................................iv!List of Figures ...............................................................................................................................vi!Acknowledgements ....................................................................................................................vii!Title Page ........................................................................................................................................ 8!Instrumentation ............................................................................................................................. 9!Performance Notes...................................................................................................................... 10!

Note on Electronics Used in Live Performance:............................................................... 10!Suggested stage diagram................................................................................................... 10!

Note on the two-channel recording: .................................................................................. 11!Notes on Processing of Each Movement: .......................................................................... 12!

I. Breakout............................................................................................................................ 12!II. Parallel Existence ........................................................................................................... 13!III. Broken Things ............................................................................................................... 14!IV. Divergence..................................................................................................................... 16!V. Eat the Damage .............................................................................................................. 18!VI. Echoes In the Current .................................................................................................. 21!VII. Over the Long Arc ...................................................................................................... 22!

Biography ................................................................................................................................... 187!

vi

LIST OF FIGURES

Figure 1: Suggested stage diagram ........................................................................................... 10!Figure 2: Rhythmic gesture found throughout movement III .............................................. 15!Figure 3: Signal flow of the "waveloss sweep effect" ............................................................. 17!Figure 4: "Figure-8" panning pattern........................................................................................ 22!

vii

ACKNOWLEDGEMENTS

I am extremely grateful to my advisor, Stephen Jaffe, for his guidance and

support throughout the process of writing this piece, and to all of my committee

members for serving as mentors during my time at Duke University. I also want to give

special thanks to Scott Lindroth for taking the time to give me an introduction to

SuperCollider, and inspiring me to find new ways to incorporate it into my creative

work. I am indebted to the performers who recorded this work in April of 2015. (Their

names are listed on page 11.) I am grateful to Verena Mösenbichler-Bryant for

conducting the recording session and to recording engineer Rick Nelson for capturing

the details of the session so vividly. Additionally, I wish to thank Aaron Greenwald and

Eric Oberstein of Duke Performances for making the recording session possible. Lastly,

this work would not have been possible without the support of Heidi Wait, who is a

source of endless inspiration.

8

TITLE PAGE

JAMIE KEESECKER

INTO THE BENDS OF TIME for large chamber ensemble with electronics

Full$Score$

9

INSTRUMENTATION

Flute (doubling Alto Flute and Piccolo)

Clarinet (doubling Bass Clarinet)

Tenor Saxophone (doubling Soprano Saxophone)

Horn

Percussion

Indefinite pitch:

Woodblocks (2 differing pitches) Triangle Tam-Tam Tom-Toms (2 differing pitches) Large Bass Drum

Definite pitch:

Marimba (lowest note: Gb2) Vibraphone Xylophone Glockenspiel Crotales (2 octaves)

Piano (doubling Celesta)

Electronic processing

Violin (doubling Guitar)

Viola

Cello

Double Bass

Score is in C. Octave-transposing instruments are transposed.

10

PERFORMANCE NOTES

Note on Electronics Used in Live Performance:

The realization of the piece requires that most instruments are individually

mic’ed and fed into a multi-channel audio interface. An array of four speakers

should be placed on the stage according to the stage diagram below. An

additional mono output is needed, to be sent to the guitar amplifier on stage (for

movement VII). Electronic effects are written in the SuperCollider programming

environment, and are adaptable to whatever interface devices are available

for performance. An independent electronics operator is highly recommended.

Files containing the electronic patches are available from the composer upon

request.

Suggested stage diagram

Figure 1: Suggested stage diagram

11

Note on the two-channel recording:

Into the Bends of Time was recorded on April 21, 2015 in Baldwin

Auditorium at Duke University. The musicians were:

Alex Sopp, Flutes

Hideaki Aomori, Clarinets

Susan Fancher, Saxophones

C.J. Camerieri, Horn

Cameron Britt, Percussion

Michael Trinastic, Piano & Celesta

Rob Moose, Violin & Electric Guitar

Nadia Sirota, Viola

Andrea Lee, Cello

John V. Brown, Double Bass

Verena Mösenbichler-Bryant, Conductor

Rick Nelson, Recording Engineer

The stereo recording of the work approximates the placement of the four-

channel speaker array through panning, a sample delay on the rear pair (≈5ms),

and additional reverb applied to the rear speaker pair. The mixing and mastering

were accomplished over many months in post-production using careful splicing,

crossfading, and flex-time techniques in Logic Pro X. Effects were rendered using

SuperCollider 3.6.5, and multichannel outputs were routed into Logic Pro using

Soundflowerbed v1.6.6. The stereo recording is available for listening at:

https://soundcloud.com/jamie-keesecker/sets/into-the-bends-of-time

12

Notes on Processing of Each Movement:

I. Breakout

At various points throughout the movement, auto-harmonization is

applied to two pairs of instruments. The Bass Clarinet and Tenor Saxophone

function as one pair; the Viola and Cello make up the other. Within each pair,

one instrument is harmonized to an “empty seventh chord” pitch set, [0,7,10]1,

while the other is harmonized as a major 6/4 triad, [0,5,9]2. (B. Cl. and Vc. are

harmonized with the empty seventh chord; T. Sx. and Vla. are harmonized with

the 6/4 triad.) In all cases, the harmonies are built up on top of the pitches

played by the respective instruments, so that the notes performed acoustically

coincide with the lowest notes of each trichord.

The points at which harmonization occurs are notated in the score with

dotted brackets under the Electronics staves and the staves of the parts being

harmonized. The inputs to the synth are gated and must be assigned to an

interface control operated by an independent electronics operator or one of

the performers.

The [0,7,10] set is panned to the left speaker pair, while the [0,5,9] set is

panned to the right speaker pair. When a new onset is detected in one of the

instruments, its panning position along the front-to-back axis of its respective

speaker pair is randomly assigned a new value, creating a sense of spatial depth

1 [0,7,10] is [0,2,5] in prime form according to Allen Forte’s The Structure of Atonal Music (New Haven: Yale University Press, 1973). 2 [0,5,9] is [0,4,7] in normal form, [0,3,7] in prime form in Forte’s list.

13

based on rhythmic activity. In this sense, the harmonized gestures give the

impression of “breaking out” of the texture.

II. Parallel Existence

This movement uses a percussion-triggered flute harmonizer, a multi-

dimensional synth. The flautist uses a midi pedal according to the pedaling

notated in the Flute part. When the melodic line ascends to certain sustained

notes, the pedal is depressed, which activates the computer to record a short

sample of the sustained note. The buffered sample is enveloped and looped on

an inaudible bus. It is superimposed with an offset version of the looped,

enveloped sample, creating a secondary vibrato effect on an infinitely

sustaining line. The silently sustained bus is harmonized according to an input

array.

The computer then listens for an onset from the Triangle. When it detects

an onset, the harmonized Flute chord is sounded, accompanied by a swirling

low-frequency noise sweep. Individual voices of the Flute harmony are

punctuated with small randomized gaps, which are sent to a delay line. The

resultant effect is a sustained texture with granular holes, which are followed by

individual grains of sound.

Additionally, there is a tracking phase vocoder effect on the sound of the

Triangle. It is sampled into a buffer upon a new onset detection (similar to the

sampling process used on the Flute), and played back three times, alternating

between normal and reversed playback of the buffer. Parameters of the

14

tracking phase vocoder effect and delay times of the buffer playback are

refreshed upon detection of a new onset.

The Flute harmony is sustained until the flautist releases the midi pedal,

allowing the performers to control the flow of the performance. Changes in

harmony are notated in the score as “H-1”, “H-2”, etc. and should be assigned to

a midi controller operated by an independent user.

III. Broken Things

An electronic interlude of approximately 50 seconds in duration occurs

during the fermata in the measure before rehearsal letter L. The downbeat of the

previous measure, m. 119 is sampled and bussed into four different groups: (1)

Winds (Fl., T. Sx., Hn.) and Xylophone, (2) Upper three strings (Vln., Vla., Vc.), (3)

sustained basses (B. Cl., Pno.), and (4) Double bass.

Each group is subjected to a different electronic process, simultaneously

mixed to create multiple layers of musical activity:

(1) Winds and Xyl. and combined and the spectrum is frozen using an FFT

process. Selected bins (corresponding to fundamental frequencies)

are highlighted, while all others are filtered out. The resulting sonority is

applied to a series of staccato impulses in a repeating rhythmic profile

based on a rhythm found throughout the movement:

15

Figure 2: Rhythmic gesture found throughout movement III

The rhythm is repeated in two channels, but one channel contains an

extra 16th note in its repeating pattern, so the alignment of the two

channels is constantly shifting.

(2) High strings are subjected to a similar process. All frequency bins other

than those corresponding with odd harmonics are filtered out. The

chord is repeated according to the same rhythmic pattern as the

winds and xyl. group, but is gradually sped up over approximately 20

seconds until achieving a percussive stream of noisy attacks roughly

resembling repeated 16th notes. This layer of the texture is maintained

longer than the others, sustained at varying volume levels until

Rehearsal Q.

(3) The sustained basses are sampled into a longer buffer and played

back using an FFT process that allows the sample to be scrubbed

through extremely slowly (similar to a spectral freeze). Individual bins

are arpeggiated according to pre-programmed and randomly

configured arpeggiation patterns in sequence.

(4) The double bass sample is likewise lengthened by an FFT process that

scrubs through the buffer slowly. The sample is played twice. The first

time, it is chopped up by a “waveloss” process that drops a given

16

number of consecutive zero-crossings from the audio signal. The

second time it is played as a timestretched sample with no waveloss

attenuation.

IV. Divergence

This movement makes extensive use of an FFT-based random comb

filtering combined with a waveloss process that drops a given number of

consecutive zero-crossings from an incoming audio signal. When activated, the

computer listens for onsets above a variable threshold. A detected onset causes

an FFT filter to zero-out all but one bin chosen at random, then accumulate new

bins in a random ordering until the sound is completely present. This is then

subject to the waveloss process. Since the arrangement of zero-crossings

changes with spectral content, as new bins are faded in, the rate of “tremolo”

created by the waveloss process changes accordingly. The signal flow is

represented in the following figure:

17

Figure 3: Signal flow of the "waveloss sweep effect"

Since the detection of a new onset causes the gesture to be reset, the

variable onset threshold is set low for soft applications of the synth (e.g., the Cello

and Double Bass harmonics at reh. G through reh. H, and set higher when used

in louder sections (e.g., Vibes and Celesta at reh. O).

This effect is notated as “waveloss sweep effect” in the score, above the

staff of each instrument upon which it is implemented. It occurs in three sections

of the movement: (1) on the muted Piano gestures from the beginning until reh.

B, (2) on the Cello and Double Bass harmonics from reh. G to two mm. after reh.

H, and (3) on the Vibraphone and Celesta from reh. N to the end of the

movement.

18

Additionally, the first five measures of reh. F use an “electric tremolo”

effect, which consists of just the waveloss process by itself, in the winds and

Double Bass. This is notated with an appropriately labelled dotted bracket

beneath the corresponding staves.

V. Eat the Damage

At several points throughout the movement, the computer listens for a

pair of onsets occurring within a given window of time from a specific instrument.

Upon detection of a pair of onsets, the computer responds with an auto-gesture

based on the tempo provided by the performer. The auto-gestures fall into one

of two groups, synthesized gestures, which use an Atari chipset emulator to

generate material; and real-time processing gestures, which sample the second

of the two notes that triggered the onset detection, and use the sampled note

to generate material.

The synthesized gestures use a first-order Markov chain on a pre-

programmed set of available pitches to determine the exact pitches of each

gesture. A process of controlled randomness selects from a predetermined set of

short rhythmic fragments, which are then assembled into a single gesture. There

are two types of synthesized gestures:

(1) A percussive, “chippy” descending gesture triggered by the

Xylophone (occurring in mm. 89-80, mm. 103-104, mm. 118-119, and

mm. 130-131), and

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(2) two-voice “grooves” triggered by the Saxophone, each two measures

in duration, that step through a repeating cycle of pitches (occurring

in mm. 69-70, mm. 77-78, mm. 95-96, and mm. 97-98)

The real-time gestures use a similar process of controlled randomness to

trigger playback of the sampled note into a stream of notes assigned to a

rhythmic profile. Each triggered note is transposed according to random

selection process based on a given input array of possible transposition levels.

There are two different types of real-time processing gestures:

(1) solo gestures, in which a single instrument is sampled, and

(2) combination gestures, in which notes from two instruments are

independently sampled and subjected to different processes that are

combined into a single polyphonic gesture.

Solo gestures occur in the Flute (mm. 65-66, mm. 68-69, and mm. 76-77)

and Horn (mm. 66-67, mm. 75-76:, mm. 92-93, mm. 106-107, mm. 131-132, mm.

133-134, and mm. 135-136). Combination gestures occur at five points when the

Flute and Bass Clarinet play in conjunction (mm. 90-91, mm. 104-105, mm. 131-

132, and mm. 133-134). In each instance, the Flute is shaped into a gesture similar

to the output of the solo gesture process, while the Bass Clarinet cycles through a

pattern of 16th notes that outline a minor 7th sonority [0, 10, 15]. In both types of

real-time gestures, as new notes are triggered, they are more heavily treated

with effects to make them sound like artificially created sounds, so that each

20

gesture is imbued with a motion from a natural instrument timbre to a more

synthetic sound.

In the Percussion part, the Toms are treated with a bitcrushed ringing filter.

The specific frequencies of the filter peaks are organized into four-voice

harmonies, as noted in the score above the Electronics staves. There are three

different harmonic possibilities, an E7#5, (reh. E and reh. Q), Em11 (m. 93), and

Dm9 (m. 172). The parameters of the bitcrushing phase, which occurs after the

ringing filter in the signal flow, are randomly determined based when the

computer detects onsets above a variable threshold. Additionally, a separate

onset detector, set to a higher threshold, triggers the harmony of the ringing filter

to alternate between an upper and lower octave. Consequently, soft drum

strokes induce no change to the effect, medium strokes trigger a change of

bitcrushing parameters, and loud strokes induced both a change to the

bitcrushing parameters and an octave jump of the ringing filter harmony.

Lastly, the end of the movement utilizes a buffered spectral freeze and

fade-in gesture across all instruments of the ensemble. In measure 206 (bar

before reh. Q), the downbeat of each instrument is sampled. The chord in the

Piano is immediately crossfaded to a spectral freeze and overlaid with a fade-in

(approximately 20 seconds in duration) to a spectral freeze for each sampled

note of the other instruments of the ensemble. The downbeat of m. 215 (the bar

before reh. R) releases the sustained notes, and the process is repeated for a

subset of the ensemble (T. Sx., Vla., Vc., and Db) in a similar but subtler effect

over approximately 12 seconds.

21

VI. Echoes In the Current

Pitch-constant, time-variable delay lines are applied to the Alto Flute and

Viola throughout most of this movement. An operator must continuously tap the

tempo in order for the effect to proceed normally. Two taps within a given

window of time initiate the delay process. (The conductor must begin the

movement with two preparatory beats, with which the electronics operator must

sync the first two taps). If the computer determines a subsequent beat to be

longer than the previous beat, the delayed signal is crossfaded from a direct,

buffered representation of the signal to an FFT buffer, where an exponential

slowdown approaching a spectral freeze sustains the signal until receiving a new

tempo tap, at which point the delayed signal is quickly crossfaded back to a

direct representation of the delayed signal. If the period between taps exceeds

the duration of two full beats, a subsequent tap initiates an enveloped release of

the sustained sound.

The delayed signals travel along a “figure-8” path across the speaker

arrangement. Panning from one node of to the next occurs over the duration of

the previous beat (as indicated by tempo taps). The figure below demonstrates

this pattern:

22

Figure 4: "Figure-8" panning pattern

The Alto Flute and Viola travel this “figure-8” path in opposite directions.

The perceived distance of the rear speaker pair is exaggerated by the use of

reduced volume and increased reverb. The resulting effect is one of the delayed

signals occasionally coming into and out of focus, at times emerging from the

ensemble texture, and other times being buried within it.

A pitch-dependent auto-harmonizer is used on the Tenor Saxophone

throughout the movement. A pitch-tracking stage determines what note is being

played and adjusts the auto-harmonization according to a set pre-programmed

harmonic possibilities based on the recognition of specific pitches. Latency in the

process creates a portamento effect reminiscent of a homophonic choral

texture.

VII. Over the Long Arc

This movement uses a rhythmic chopping effect on the Electric Guitar

signal. Unlike the Guitar part in movement V, in which the Guitar and amplifier

23

function as an acoustic instrument, for this movement the Guitar’s signal should

be sent directly to the computer, and the fifth mono output from the audio

interface should be sent to the guitar amp. That is, the Guitar should not be

audible except through the chopping effect.

The guitarist must tap a midi pedal upon the articulation of a new chord.

This triggers the computer to record a brief sample into a buffer. The sample is

enveloped and overlaid with an out-of-phase version of itself (similar to the

process used in the Flute-Percussion effect in movement II). The Guitar signal is

crossfaded from the live input to this sustained version and subsequently

chopped into a stream of 16th notes (with a slight emphasis on every fourth

note), allowing the chopping effect to be infinitely sustained until the guitarist

taps the pedal again (or until the effect is released by the electronics operator).

Additionally, a tap of the pedal initiates a panning spread. The sound of the

chopped Guitar initially emanates from the amplifier on stage, then gradually

spreads out to the quadraphonic speaker array, giving each chord a

“blossoming” effect. Upon each new pedal tap, the sound is again limited to just

the Guitar amp, and the panning spread is repeated.

24

INTO THE BENDS OF TIME

I.$Breakout$

II.$Parallel$Existence$

III.$Broken$Things$

IV.$Divergence$

V.$Eat$the$Damage$

VI.$Echoes$in$the$Current$

VII.$Over$the$Long$Arc$

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III.(Broken(Things

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III.(Broken(Things

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III.(Broken(Things

56

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43

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III.(Broken(Things

57

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Pno.

Xyl.

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III.(Broken(Things

58

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Pno.

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III.(Broken(Things

59

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107

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III.(Broken(Things

60

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III.(Broken(Things

61

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Electronicinterlude≈ 50 sec.

Electronicinterlude≈ 50 sec.

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to Soprano Sax.

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III.(Broken(Things

62

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III.(Broken(Things

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III.(Broken(Things

64

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III.(Broken(Things

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III.(Broken(Things

66

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III.(Broken(Things

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III.(Broken(Things

70

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IV.$DivergenceJamie'KeeseckerScore'in'C

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72

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IV.'Divergence

73

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IV.'Divergence

74

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IV.'Divergence

75

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IV.'Divergence

76

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77

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IV.'Divergence

78

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IV.'Divergence

79

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IV.'Divergence

80

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Fl.

Bb Cl.

T. Sx.

Hn.

Vib.

Vln.

Vla.

Vc.

D.B.

Pno.

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~57 !

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IV.'Divergence

81

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?

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Fl.

Bb Cl.

T. Sx.

Hn.

Vib.

Vln.

Vla.

Vc.

D.B.

Pno.

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~62 Œ œ# œ œ œ# œ œ ˙ œ( )6

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IV.'Divergence

82

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43

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T. Sx.

Hn.

Vib.

Vln.

Vla.

Vc.

D.B.

Pno.

64 !

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IV.'Divergence

83

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43

43

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44

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44

Fl.

Bb Cl.

T. Sx.

Hn.

Vib.

Vln.

Vla.

Vc.

D.B.

Pno.

67 œ œ ‰ œ œ# œ# œ# œ œ# œ œ œ# œ#3

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œ œb œ œ œb œ œ œ œ œ $ Œ œ œ œ œ œ œ œ $3 6

36

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IV.'Divergence

84

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&

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Fl.

Bb Cl.

T. Sx.

Hn.

Vib.

Vln.

Vla.

Vc.

D.B.

Cel.

70œ œ œn œ. Œ

œ> œ œ œ œ> œ œ œ œ> œ œ œ3 6

6

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6

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r.h.

œ œ œb œ œ $ Œ œb œ œ œ œ œ œ $ Œ œ œ6 3 6 3

Œ œ œb œ œ œ œ œb $ Œ œ œ œ œ œ œ œ $3

63

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IV.'Divergence

85

&

&

?

&

&

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&

&

&

?

Fl.

Bb Cl.

T. Sx.

Hn.

Vib.

Vln.

Vla.

Vc.

D.B.

Cel.

73 œ œb œb œ œb $ Œ œb œ œ œ œ œb œ $ Œ œ œ6 3 6 3

Œ œb œb œb œ œ œ œb $ Œ œ œ œ œ œ œb œ $36 3 6

!

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3

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3 333

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fp

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p F

IV.'Divergence

86

&

&

?

&

&

&

?

&

&

&

?

Fl.

Bb Cl.

T. Sx.

Hn.

Vib.

Vln.

Vla.

Vc.

D.B.

Cel.

75 œ œb œb œ œb $ Œ œb œ œ œ œ œb œ $ Œ œ œ6 3 6 3

Œ œb œb œb œ œ œ œb $ Œ œ œ œ œ œ œb œ $3 63

6

!

75

˙b œb œ œ œb

75 Ó œb> œb œ œb> œ œb œ> œ œ3

3

œb œ œb œb œ œb œb œ œ œ œ œ Ó6

6

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3

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3

3

œb> œb œb œ œ œ- ˙ œ œ œ œ œn3

3 333

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P

p

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p

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f

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3 3 6 6

Ó Œœ> œ œb œ œ> œ œ œ

3 6

Œ Œ Jœb ˙3

œ œ œ œb œb œ œb œ œ œ3

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œb œ œn œb œ œn œb œ œ œ œ œrœ rœb

6

6

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œ œ œ- ˙b?

Œ Œ jœ ˙3

ƒ

p ƒ

p ƒ

P

F

p F

IV.'Divergence

87