File

The Fred Hersch Trio:
Orchestration Techniques in the Arrangements of Jazz Standards
by
Brian C. Dean
M.M. Jazz Pedagogy, University of Miami – 2005
B.A. Music, Central Washington University – 2002
Lecture Recital Document
TMUS 8259
Submitted to the
Faculty of the Graduate School of the
University of Colorado in partial fulfillment
of the requirements for the degree
Doctor of Musical Arts
College of Music
0
Table of Contents
Introduction
2
His Life and Music
3
Orchestration and Pseudo Improvisation
7
Definitions and Explanation
8
Analysis of the Compositions
9
The Core- Arrangement:
14
“Misterioso,” “Infant Eyes,” “Fall,” and “So in Love”
Melodic Interpretation
15
The Application of Texture
17
Harmonic Density
18
Dynamics and Shaping
20
22
Counterpoint
Conclusions
25
Bibliography
28
1
The Fred Hersch Trio:
Orchestration Techniques in the Arrangements of Jazz Standards
Introduction
Fred Hersch is perhaps one of the most prolific and respected jazz pianists and band leaders of
the last 30 years. Hersch has achieved his success in an often critical environment. As a musician,
Hersch has been targeted for his seemingly arrogant demeanor because of his strict and unwavering
philosophies regarding rehearsal and musical integrity. In his personal life, Hersch has struggled with
the personal and professional repercussions of being openly gay. In the mid-1980s, Hersch was
diagnosed as HIV positive, and has been a staunch supporter of AIDS related efforts ever since. As a jazz
musician Hersch’s approach is incredibly innovative, even though it has been characterized as
“traditional” by critics—a notion he adamantly refutes, calling his music “acoustic.” Throughout his
personal and professional battles Hersch has stayed true to his musical ideals. He carefully chooses
musicians whose philosophies are in line with his own, and is faithfully committed to their membership
in his ensembles. Hersch has been careful throughout his career never to compromise his artistic goals
for the sake of notoriety and fame in a field that often requires musicians to do so.
Hersch deliberately and systematically incorporates elaborate orchestration into all of his
arrangements and ensemble performances, which distinguish his ensembles many others. Many
ensembles cater to the pressures of cliché virtuosic performance as the primary emphasis, but even
though Hersch’s “technical expertise is exceptional [he has] never allowed [it] to obstruct his ability to
play with great emotional depths.”1 At the core of Hersch’s performance practices is the ability to
deeply personalize and interpret the melody, consciously and spontaneously execute changes of
1
The Encyclopedia of Popular Music, S.v. “Fred Hersch”
2
textures, and use elaborate counterpoint in his piano playing. For his efforts, Hersch has emerged as
one of the freshest sounding jazz musicians on the scene today.
His Life and Music
Fred Hersch has published and recorded several classical works for the piano and other
ensembles, but none of his transcriptions are published and what is written of his life is mostly
anecdotal. Without the aid of a published score of Hersch’s trio playing, it is difficult to immediately
discern orchestration methodologies. The attention to detail in Hersch’s often elaborate trio
arrangements bring a sense of intrigue, passion and character into his performances. Awareness of
varying textures, including dynamics and balance as well as harmonic density are central in his approach
to orchestration. This analysis will explore orchestration techniques including Melodic Interpretation,
Texture and Counterpoint within Fred Hersch’s trio performances of four jazz standards—“Fall,” “Infant
Eyes,” “Misterioso,” and “So in Love.”
Pianist Fredrick S. Hersch came from a musical family and was born October 21st 1955 in
Cincinnati, Ohio. His musical studies began with on the piano at age three, that later included music
theory training, but he was also self-taught on violin and had training as a vocalist. Music played an
important role in his young life, but he did not discover jazz until nearly the end of high school. In 1973,
Hersch began studies in classical piano at Grinnell College in Iowa. “After high school, I enrolled at
Grinnell College in Iowa, unsure of what I really wanted to do. When I arrived in the fall of 1973, my
new piano teacher said, ''You know, Herbie Hancock went here.'' And I said, ''Who?'' Soon I started
listening to jazz albums and reading books on jazz history.”2 Hersch left Grinnell after only a short time
and briefly attended the Cincinnati Conservatory shortly there after. In the fall of 1975 after a brief stint
as a musician in the Cincinnati jazz scene, he moved to Boston where he later graduated from the New
2
Hersch, “State of His Art,” 44.
3
England Conservatory in 1977. After graduation Hersch returned to Cincinnati and attempted
(somewhat successfully) to make his mark on the jazz scene. He played regular gigs, performed with Art
Pepper and briefly toured with the Woody Herman Orchestra. His big break came later that year when
he moved to New York and spent time as a replacement for JoAnne Brackeen at the Surf Maid.
In the late 1970s Hersch developed a good sense of rhythm and time through associations with
bassist Sam Jones and tenor saxophonist Joe Henderson. “I was lucky to serve some extended
apprenticeships early on in New York with some of the swingingest guys ever, most notably Jones and
Henderson. That really was like going to grad school for rhythm.”3 Hersch worked hard to develop
rhythmic-feel and cites the musical styles in albums of Charles Mingus’ Mingus Mingus Mingus, and
Miles Davis’ Friday and Saturday Night at the Blackhawk as major influences on his swing-feel. “If you
couldn’t swing, the cats weren’t interested in playing with you—so I had to get it together.”4
Hersch maintained a relationship with Henderson, and over the next 10 years he worked with
Art Farmer, Clifford Jordan, Red Mitchell, Ron Carter, Charlie Haden, and Toots Thielemans among
others. During the mid 1980s he set up his own recording studios where he recorded Hank Jones, Kenny
Barron, Dick Hyman and Roger Kellaway among others. Hersch has performed a variety of styles and
genres, and has enjoyed working with smaller ensembles since the early 1980s. He has released several
duo albums with vocalists as well as instrumentalists, and has recorded with piano trios, quartets, and
quintets. His trios in particular have garnered respect from the jazz community for their sensitive and
fresh approach to Hersch’s compositions, and in his arrangements of standards. Hersch’s musical
identity has been strengthened by experiences in various jazz and classical ensemble settings, and has
provided him with knowledge and versatility.
3
4
Hersch, “Q&A: Fred Hersch,” 18.
Hersch, “Q&A,” 18.
4
“In the 28 years I've spent as a professional musician living in
New York City, I've done everything from playing in the Catskills
to performing at private parties to writing jingles to playing with
symphony orchestras to accompanying singers of dubious merit
to leading my trio at the Village Vanguard to playing with many
of my jazz and classical heroes. As I approach my 50th birthday,
it occurs to me that I am part of the last real generation that
learned to play jazz in the old-fashioned way: by hanging out
with older players, serving lengthy apprentice-ships with jazz
masters, listening to lots of ''sides,'' and generally figuring it all
out myself, on and off the bandstand. All of those experiences
have made me who I am. And, for better or worse, I don't sound
like anybody else.”5—Fred Hersch
In the late 1980s, the Fred Hersch Trio consisting of Hersch, bassist Michael Formaneck and
drummer Jeff Hirshfield released the album Heartsongs (1989). The album was well-received by critics
and demonstrated Hersch’s creative and inspiring arrangements of jazz standards including: “The Man I
Love,” Monk’s “I Mean You,” and Wayne Shorter’s “Infant Eyes.” Each of his trio arrangements focused
on interplay and expression within the trio as whole—a practice that Bill Evans developed. Through
embellishment, each member contributed depth, meaning, and a sense of lyricism to the arrangement.
Hersch’s approach to arrangements (melody-statement) places more emphasis on the overall mood and
character of a piece and places less emphasis on the improv sections. His unique approach ultimately
brought him notoriety and propelled him, if not quietly, into the forefront of the jazz community.
5
Hersch, “State,” 46.
5
The trio disbanded in the early 90s, and from 1991 to 1996 Hersch led a quintet with several
different musicians including saxophonist Rich Perry, cellist Erik Friedlander, bassist Scott Colley (who
was replaced by Drew Gress in 1992) and drummer Tom Rainey. During this period Hersch produced
several collaborative albums including Point in Time (1995) featuring Dave Douglas and Forward Motion.
The album utilized several different combinations of musicians including an unusual cello-pianopercussion trio for his composition "Frevo." His trio album Dancing in the Dark: the Fred Hersch Trio
with Drew Gress & Tom Rainey (1993), his duo album Nancy King: Live at Jazz Standard with Fred Hersch
(2006) and his solo piano albums I Never Told You: Fred Hersch Plays Johnny Mandel (2005) and Fred
Hersch in Amsterdam: Live at the Bimhuis (2006) were all nominated for Grammies.
As a pedagogue, Fred Hersch has advocated for improvements in jazz education. He has
maintained a presence in several schools and Universities with professorships at the New England
Conservatory, the New School, Manhattan School of Music, Western Michigan University, and as a
visiting lecturer at Princeton University in the fall of 2008. As a clinician, Hersch has visited dozens of
schools, giving performances, teaching master classes, inspiring young jazz musicians along the way. In
a 2005 interview with Jazziz Magazine, Hersch comments that “When I hear young students play… I am
often struck by how many of them seem crushed by the weight of the information they possess. They
have a difficult time simply connecting with the sound they are making, letting go of their fear, and
creating fresh phrases, one after the other. Instead of asking them to try harder or to play more loosely,
I encourage them to approach music with a ''What happens if I try this?'' attitude.”6 In quoting Pablo
Picasso, Hersch states that ''To make art, you have to make a mess.'' When listening to his
performances it is clear that Hersch has taken this message to heart. He presents a unique voice, relying
on his own material, and his own ideas.
6
Hersch, “State,” 46.
6
Orchestration and Pseudo Improvisation
Hersch’s performances portray a mood and character that is sustained throughout. His
arrangements of jazz standards give equal emphasis to structure and organization, as well as
spontaneity and improvisation. His creative arranging methods include the addition of introductions,
codas and interludes, form-extensions/subtractions, and reharmonizations, and include improvisation
within the melody-statement. Hersch’s ensembles are mindful of orchestration ideas because the music
is well rehearsed and regularly performed with the same personnel. This preparation makes his
musicians more comfortable with the idea of embellishing on a core-arrangement.7 The spontaneous
and intentional use of orchestration in Hersch’s arrangements is striking, and add meaning and depth to
each performance.
Orchestration is defined as “the art of combining the sounds of a complex of instruments (an
orchestra or other ensemble) to form a satisfactory blend and balance. The term ‘orchestration’ is often
used to denote the craft of writing idiomatically for these instruments. ‘To orchestrate’ has also come to
mean to score for orchestra a work written for a solo instrument or small ensemble.”8 Essentially—
orchestration refers to the compositional features in music beyond the notes and rhythms.
Orchestration does not address improvisation and spontaneity with regard to pseudo-improvisation (to
be explained momentarily), small jazz ensembles, and individual chordal instruments such as the piano,
capable of replicating orchestral practices. A broader definition is necessary to explain orchestration
with regard to improvised music and jazz.
7
A core-arrangement refers to the written, pre-conceived ideas, or sketches of an arrangement in jazz that is often rehearsed,
which contains organizational features beyond a melody and a set of chord changes. A core-arrangement can include an
interpretation of the melody and changes in style or tempo, as well as alternate harmonies or reharmonizations, expansion,
contraction, or abstraction of Form that may include the addition of an introduction, interlude, and/or a coda.
8
Grove Music Online, S.v. “Orchestration.”
7
Orchestration applies to a number of aspects within Fred Hersch’s written9 trio arrangements
including textures resulting from varying instrumentation10 or changes in technique that effect tone
production. As a harmonic, melodic, and percussive instrument, the piano serves several roles as an
orchestrator, either alone or within an ensemble. For example, pianists and bassists orchestrate by
changing register,11 varying degrees of density,12 and by manipulating tone, dynamics, articulation, etc.
In the piano, the two piano pedals13 to the right aid in manipulating tone by sustaining the vibration of
the strings, and the pedal to the left14 moves the hammers so that only two of the three strings are
struck, altering the resonance of the overtones and therefore altering the tone. The bass is also capable
of dramatically changing tone by alternating between Arco and Pizzicato. The drum set deals with
orchestration in several ways, most simply when alternating between sticks and brushes, cymbals and
drums, and the varying degrees of possibilities in each. The substitution of brushes for sticks, or the use
of cymbals instead of, or in combination with drums, creates differences with regard to density, as well
as varying textural palettes.
Pseudo Improvisation
As mentioned previously, Hersch’s arrangements embody orchestration qualities within the
core-arrangement that are both pre-conceived and improvised. Many of Fred Hersch’s arrangements
(particularly the ones being discussed) take place in a middle-ground called pseudo improvisation.15 This
describes the material in jazz arrangements that are neither completely improvised, nor pre-conceived.
9
It is important to note that the idea of “written music” can carry an abstract meaning—in other words, in improvised music such
as jazz; arrangements can be highly organized, but may not include actual written music. Instead, the music is learned aurally.
10
Grove Dictionary, S.v. Orchestration—There have been many attempts to differentiate the terms ‘orchestration’ and
‘instrumentation’ since Berlioz juxtaposed the two in the title of his Grand traité d’instrumentation et d’orchestration modernes
(Paris, 1843); in this context the two terms should be considered as inseparable aspects of a single musical concept.
11
A part of the intervallic range of an instrument, singing voice or composition.
12
Oxford Companion to Music, S.v. “Density.” Density in music is an informal measure of polyphonic complexity, chord
content, or general sound, chiefly used in 20th-century music where a more precise vocabulary does not exist. One may thus
speak of ‘dense harmonies’, ‘dense rhythms’, ‘dense textures’, etc.
13
Sustain—right pedal and Sostenuto—middle pedal.
14
Una Corda—left pedal.
15
While not specifically referred to in musical reference books, pseudo improvisation is a term created specifically for this
research that explains Fred Hersch’s arrangement practices in jazz.
8
This practice develops over time within ensembles through the means of individual practice and group
rehearsal, within an ensemble. The balance between written and improvised orchestration satisfies an
idea in jazz in which the goal of a performance is for improvised material sound more “composed.”16
The following definition the practice of pseudo-improvisation with regard to orchestration:
Orchestration with regard to pseudo-improvisation is the art of
scoring a melody in jazz piano trios that include both written
and improvised compositional features that are pseudoimprovised and sustained throughout the performance. This
includes melodic interpretation, changes in texture, and the use
of counterpoint that embellish upon the core-arrangement. .
Analysis of the Compositions
The orchestration techniques of four arrangements of standards performed by Fred Hersch’s
trios will be examined: Wayne Shorter’s “Infant Eyes,” and “Fall,” Thelonious Monk’s “Misterioso,” and
Cole Porter’s “So in Love.” These pieces were chosen because they strongly demonstrate the
arrangement practices previously discussed with regard to orchestration, and maintain structural
characteristics of the original compositions including the melody, and (for the most part) the form and
harmony. These compositions obviously mean something to Hersch because he includes them on two
separate albums. To better understand where Hersch is coming from in his arrangements, we discuss
the structural elements of the original compositions, and the variations presented in Hersch’s
arrangements.
16
Many prominent classical musicians cite that the ultimate goal of a performance is to make the compositions sound more
improvised and spontaneous.
9
Both Wayne Shorter’s “Infant Eyes”17 and “Fall”18 are modal compositions that have become
standard to the jazz repertoire. Shorter’s composition “Infant Eyes,” a tribute to his daughter, features a
simple melody and demonstrates the lyric nature19 in his writing. This beautiful and spacious ballad is
reminiscent of the many classic jazz ballads of the great American songbook, yet is also an example of
the evolving harmonic practices of the 1960s. The form is simple ABA, but presents a unique 27-bar
structure in which each section is 9-measures long. The pacing of the melodic structure is slow, and
begins with a somewhat foreboding A-section. The dramatic point of the melody occurs in the bridge,
which also gives a sense of hope. The final A’-section hints at resolution, gradually tapering off, but
resolves to a weak and instable Bb7sus-chord that leads to the improv sections. While the structure of
the melody is relatively simple, the underlying harmony is deceptively complex and does not incorporate
harmonic progressions (such as ii – V7 – I) typical to vocal standards. Instead, the harmonic structure of
the composition features non-functional bass and harmonic movements.
Typically in many jazz ballads, the melody falls on the 1 – 3 – 5 or 7 intervals of the chord.
Extensions of the harmony20 are utilized, with few exceptions, only in passing, and rarely held for
extended length. In “Infant Eyes” however, the melody frequents extensions of the harmony [see
example 1] and in fact, does so with extended note values. The compositional style involving the
inclusion of written extensions typical to Shorter and the modal-jazz period presents many opportunities
for the soloist to explore the extended harmony.
17
Written in 1965 from the album Speak No Evil
Written in 1967 from Miles Davis’ album Nefertiti
19
Even though it is void of lyrics
20
Extensions (or upper-structures) are chord tones including the 9 – 11 – 13, and non-diatonic alterations including b9, #9, #11,
b13, and their enharmonic equivalents.
18
10
Ex. 1 Wayne Shorter’s “Infant Eyes,” mm. 11-9.
• Color tones occurring in the melody in extended note values are indicated in red
• Those occurring in passing are indicated in blue
Wayne Shorter’s “Fall” is also somewhat unconventional when compared to many jazz
standards because of its non-functional
functional harmony
harmony. Similar to “Infant Eyes,” it is cyclical in nature, and
with an AABA1 16 bar form,, is relatively short. The definitive recording, as performed by Miles Davis’
ensemble in Nefertiti, is a slow swing with a relatively similar harmonic progression in each A’-section.
Many of Shorter’s and Davis’ groups experiment with modality (scales), and in modal compositions, the
sonority of the mode takes precedence
ence over a specific chord, making the idea of written chord changes
somewhat ambiguous. For example, the 1st four, and 2nd four bars of the A’-section can be performed
perform
any number of ways based on common modal relationships as well as chord substitutions [see Table 1].
The only common chord between all of these common variations is the chord in bar three which is
almost always played as Emi7.21 The harmonic freedom present
presented in this composition gives the soloist
and arranger great latitude in performance
performance.
21
But I have observed alterations even to chord in my own playing experiences, including an arrangement of my own.
11
Table 1: Wayne Shorter’s “Fall,” mm. 1-4, 5-7
Possible Chord Substitutions/Variations
mm. 1
mm. 2
mm. 3
Nefertiti (album changes)
Abmi7
F7(#9)
Emi11
Hersch’s Version (1st A’)
C#mi11
B13(b9)
nd
(2 A’)
Other Possibilities
mm. 4
Ebma7(#11)
C13sus
Ebma7(#11)
F#13sus
Fred Hersch has a love and passion for the music of Thelonious Monk. He has recorded at least
one Monk tune on almost all of his albums, and has even recorded an entire solo album dedicated
Monk’s stylings entitled Thelonious: Fred Hersch Plays Monk. Rather than attempting to reproduce or
emulate Monk’s playing (as is common in many tribute albums), Hersch makes the pieces his own. The
performances penetrate “to the heart of Monk's ‘Work[s]’ without using any of Monk's mannerisms.
[Hersch’s] chords are richer and warmer than Monk's lean voicings,”22 and Hersch succeeds in
presenting more of the feeling of Monk’s music rather than literal interpretation.
In the 2007 album Night and the Music, Hersch recorded Monk’s aptly named “Misterioso”
(1958). This composition represents much of Monk’s compositional style; lyric, yet angular, and simple.
Through understatement and minimalism, “Misterioso” (a 12-bar blues), simplifies traditional practices
of the era that included more complex rhythms and harmonies and faster tempos. The tune is an echo
of more traditional blues forms, using only the three chords (I7 – IV7 – V7) rather than harmonic
substitutions common to the bebop era.
The melody is a sequence of parallel and broken sixths, mostly diatonic, with a consistent
pattern of 8th-notes until the final bar [see Ex. 2]. The dominant quality of the I-chord (standard to most
blues compositions) is only present in improv section. Instead, the melody relates to Bbma7, rather than
22
Hazell, “Auditions: The Keys Say It Best,” 62.
12
Bb7 saving the dominant quality, interestingly enough, until the very last note of the tune.
tune Only the IV
and V-chords are dominant throughout, passing through the 11th of the IV7-chord
chord in the melody, which is
somewhat uncommon. The melody remains consonant to the written harmonies until the V7-chord
when chromatic elements are introduced
introduced.
Ex. 2: Melody statement and Harmony of Thelonious Monk’s “Misterioso”
The final piece of this study is another jazz standard, “So in Love,” by Cole Porter from the
musical Kiss Me Kate. This is a passionate composition that features lyrics with great emotional depth,
but is normally interpreted in performance as a high
high-energy solo vehicle. This piece incorporates several
distinctive elements of many jazz standards including harmonic prog
progressions
ressions utilizing the circle of 5ths (or
IImi7 – V7 – Ima7), modulations of key
key, and use of a Bridge (B) in the song form. This song (like many
other standards) was originally a foxtrot
foxtrot, 23 and the form is longer than most standards—three
standards
16-bar
phrases [AABA 72-bar Form] and a 24
24-bar final A’-section. The final A’ section is extended by 8-bars,
8
contains the highest note, and is the energetic climax of the tune.
23
Grove Music Online, S.v. “Foxtrot.” The ffoxtrot
oxtrot is a social dance of the 20th century, and had its origin in the one-step
one
and
syncopated ragtime dances in the USA shortly after 1910. The foxtrot was fashionably regarded as representing a rebellion
against 19th-century styles of social dance.. It was danced at about 30 bars per minute, with great attention given to deportment,
using smooth gliding movements. The quickstep developed as bands took up faster jazz
jazz-influenced
influenced music, and became one of the
most popular dances in England after a visit by Paul Whiteman’s band in 1923. The foxtrot continued to absorb elements from
and to give rise to other dances, including the black bottom, Charleston and shimmy. It has remained a popular dance in
competitions and ballrooms, but the term is often now us
used in general reference to slow ballroom dancing.
13
The Core-Arrangement
While the idea of an arrangement in jazz is by no means new, many jazz piano trios have utilized
different approaches that include a core-arrangement. Early on, Nat King Cole and Ahmad Jamal’s trios
attempted to reenergize the trio setting by incorporating rhythmic hits and written passages, coupled
with interpretation of the melody. The focus of Ahmad Jamal’s arrangements was more minimalistic,
favoring organization, even within the solos. Later on, Bill Evan’s trios refined and elaborated on
existing arrangement practices by placing more emphasis on improvisation and spontaneity within the
arrangement. In contrast, Oscar Peterson’s trios elaborated on bebop concepts, but still preferred
highly structured arrangements. Peterson released several albums paying homage to important big
band-era composers such as Duke Ellington and Count Basie that often incorporated big band
compositional practices. Several of Peterson’s arrangements included written rhythmic hits with drum
set-ups, shout choruses, and piano voicings emulating big band voicings. The one thing that these
ensembles have in common with Hersch is that they are structured and organized. However Hersch
expands on many of these ideas, bringing the idea of orchestration in jazz to the forefront.
“There are a lot of people who are jazz composers out there who I have
great respect for, but the written material is often so dense or complex,
or there are so many elements in it, that it's hard to find the center for
the listener and the player. And when I am writing jazz tunes, or tunes
to be improvised upon, I like to leave some room for the players and
make them challenging and they should all be distinctive and have a
reason for being. But I don't want to overwrite so that there is nothing
for the player to add, or they're just trying to get through it. Models I
14
look at are Kenny Wheeler, Wayne Shorter, Omette Coleman and
Thelonious Monk.”24
Hersch’s rendition of “Fall” is minimalistic: Medium swing, without an introduction, or any
additional compositional features, providing room for growth and development throughout the improv
section. Hersch chooses to exploit the harmonic characteristics of the piece, and the piece ends with a
highly energetic reharmonization of the melody. Hersch’s arrangement of “Infant Eyes” is performed as
a waltz, rather than a slow 4/4 ballad, and features the bass playing the melody. He plays with great
expression and rubato. The 3/4 subtle swing seems very natural to the listener, giving the piece a sense
of forward motion and energy. “Infant Eyes” includes a two-chord vamp in the introduction and coda,
which expands upon the original song form and becomes a distinguishing characteristic of the
arrangement, appearing also as an interlude to the bridge. Hersch has made several modifications to
“So in Love,” beginning with an elaborate solo-piano introduction and departing from familiar Latin and
swing interpretations. Hersch takes advantage of the passionate emotional nature of this piece by
performing it in the key of D minor, typically a “darker” key on the piano. His introduction serves to not
only set up this mood, but also subtly introduces the change of meter from the usual cut-time
interpretation to the irregular, but effective 5/4 meter. Hersch maintains the original form of the tune
throughout.
Melodic Interpretation
The performance of melodies, as related to orchestration presents an interesting discussion
because the concept of spontaneous interpretation is largely unique to jazz. Most jazz musicians who
personalize melodies only do so after careful study. For example, in the case of melodists Keith Jarrett
24
Cohen, “Backstage with ... Fred Hersch,” 20.
15
or Sonny Rollins, they often literally interpret the melody but include embellishments of the pitches
and/or rhythms (similar to ornamentation in classical music)
music). Others,, like Ahmad Jamal (and later Miles
Davis) utilize a minimalist approach through abstraction that leaves out notes, and only implies melodic
material. Stilll others interpret the melody as a vocalist would, only altering rhythms and notes so that
the phrasing reflects connection to the lyrics through movement, pause, and poetic intent.
intent Fred Hersch
includes all of these methods, and always presents the melody with meaning and intent,
intent even doing so
in the performance of tunes that do not have lyrics (such as “Misterioso” and “Fall”).
Ex. 2: Melody statement and Harmony of Thelonious Monk’s “Misterioso”
Hersch’s performance of
“Misterioso” utilizes several devices
with respect to melodic
interpretation. The exact pitches
of the original melody are played
only in single notes throughout the
first chorus [see
see Ex. 3].
3] Only the
basic framework of the piece is
provided because Hersch leaves
outt most of the harmony. He
varies the tempo through the use
u
rubato, fermatas, and breaks,
breaks only
implying a possible tempo. He
varies articulation by going backback
and-forth
forth between legato and
16
staccato playing, which becomes a feature of the second chorus and the improv section.
Hersch’s second chorus dramatically alters the phrasing of the melody through embellishment
and abstraction, and contrasts the lack of consistent time and rhythm in the first chorus. Mm. 14 of the
second chorus foreshadows the triplet-interpretation to come by briefly embellishing the rhythm of the
melody through displacement.25 He continues to abstract the melody by both displacing the rhythm
through the use of triplets and by replacing and then embellishing melody notes from the original with
his own (this begins in mm. 16 and continues throughout the chorus). By the end of the second chorus,
the melody is abstracted and only hints at the original. Hersch plays upon material drawn from the
melody in mm. 23-24 to begin his solo by including the use of 6ths, triplets and parallel movement.
Hersch’s final chorus is a vertical elaboration of the melody in which the RH is played in octaves well
above the LH. The harmony is simple and the effect resembles classical, almost Chopinesque
characteristics in color. The melody gradually fades until the RH drops out, and it ends as it began, in
single notes.
The Application of Texture
Fred Hersch’s role is important as pianist, arranger/composer, and band leader, but the
contributions of his band members with regard to texture are many. “Texture in music refers to the
sound aspects of the vertical structure in music, or the way in which individual parts or voices are put
together—producing the desired sounds or tone colors.”26 While we will only discuss harmonic density
and dynamics as relating to texture, 27 other examples include articulation, rhythmic density and tone
color. Hersch’s trios are creative because they explore the entire range of sound possibilities within
their performance of Hersch’s arrangements. While all musicians and ensembles utilize some textural
25
Displacement alters the way in which rhythms of a motive are executed within a phrase through; augmentation, diminution,
metric modulation, truncation, etc.
26
Grove Music Online, S.v. “Texture.”
27
For further reading on the concept of textures as relate to music, please refer to the Grove and Oxford Dictionaries.
17
features in performance, within the context of pseudo improvisation, Hersch’s ensembles do so with a
precision and clarity normally reserved for written music.
Texture Types: Harmonic Density
The combining of multiple pitches are discussed when one typically thinks of harmony. Often
times in jazz, the harmony can be implied rather than explicitly stated, especially in the performances of
jazz standards. Jazz relies more so on structure relating to form and rhythm rather than harmony as in
classical music, especially since harmonic material can evolve and be improvised upon. Harmonic
density in jazz only refers to the relative degrees and possibilities of harmonic “thickness” in music—
literally the organization of intervals between and within instruments such as the piano.
Harmonic density can include the use of single notes (as in his performances of “Fall” and
“Misterioso”) and simple intervals in one or between instruments such as the bass and piano—often
resulting in a duet. The best example from these performances with regard to varying harmonic density
is Hersch’s piano-playing in the performance of “Infant Eyes.” Hersch’s piano voicings in this
performance regularly vary and include both arpeggiated (notes sound in succession, rather than
simultaneously) and “block-style” (notes struck simultaneously) types between the left and right hands.
In Hersch’s performance of “Infant Eyes” he utilizes several voicing types within the introduction alone
including arpeggiation of any and all of the following chord types [see Ex. 3 below]:
18
Ex. 3: Harmonic density in “Infant Eyes”
1)
Open—Mostly
Mostly larger interval structures (3rds or
greater) usually totaling more than an octave
from top to bottom.. Can include some of the
following types.
2)
Closed—Mostly
Mostly smaller interval structures (3rd or
smaller) usually totaling less than an octave from
top to bottom and include some of the following
types.
3)
Quartal—Interval structures comprised of mostly
4ths
4)
Triadic—Major,
Major, minor, diminished or augmented
triads (often incomplete)
5)
Incomplete—Missing 3rd or 7th of the basic
harmonic structure
6)
Cluster—Mostly intervals of only ½ and whole
steps
Examples of almost all of these voicing types can be found throughout the 16 measures that
make up the introduction. Open-voicings
voicings are found between the left and right hand the throughout
mm. 1-4 and in mm. 13. Closed-voicings
voicings are found in the LH of mm. 9,, and would typically be common
in the LH in general because of physical limitations of playing a chord within one hand (with Quartal
voicingss usually being the exception)
exception). Quartal-voicings are demonstrated in mm. 9-10,
10, and triadicvoicings in the RH of mm. 15-16.
16. And finally, an incomplete voicing is found in the LH of mm. 15 (which
is missing the 3rd),, but is immediately “completed” in the RH with the F# on the ‘and’ of beat two.
two
Chordal instruments can benefit tremendously from the examination and application of variation in
piano voicings.
19
Texture Types: Dynamics and Shaping
These performances utilize a variety of contrast throughout, but most notably in the manner in
which Hersch regularly exploits and develops dynamics. Hersch does so for the purpose of shaping and
contrast throughout the performance. His groups are successful at executing material throughout the
dynamic spectrum—from very loud, to very soft, and can maintain those levels accordingly. The
ensemble is capable of doing so spontaneously and deliberately, over time or immediately. They also
incorporate dynamic phrasing in which the dynamics rise and fall according to the shape of the melodic
line. Additionally, dynamic spectrums result from the relative rhythmic and/or harmonic density of the
material. Generally speaking, if the music is dense, the dynamic level is louder because it is possible to
play both very dense and very quiet.
Dynamics can vary from section-to-section, phrase-to-phrase, and even beat-to-beat as a result
of awareness in arranging practices when embellishing and improvising on the core-arrangement. This
awareness applies to dynamics, and in sensitivity to ensemble balance. Hersch’s ensembles are careful
to balance their volume to the melody and/or the soloist, allowing them to be clearly heard. Each
member is individually responsible for balance within the ensemble, and must maintain that sensitivity
throughout. This includes playing appropriate dynamic level in the context of the piece and
simultaneously paying careful attention to the balance within the ensemble. In Hersch’s ensembles, the
drummer is particularly aware of both balance, as well as blend through the use of changing tone-colors.
In “Infant Eyes,” Hersch makes use of both subtle and extreme changes in dynamics and
textures throughout the performance of the arrangement. The introduction in mm. 1-16 [see Ex. 3]
begins with chordal accompaniment, and is not loud (approximately mezzo piano), but Hersch actively
shapes the dynamic of the solo-line throughout, tapering off into the melody statement where the bass
enters with the melody in mm. 17. The suspended nature of the harmony (C13sus and Bb13sus) and soft
dynamic during this section creates a sense of quiet intensity and a lack of resolution until the beginning
20
Ex. 4: Dynamic shaping in “Fall,” mm. 1-16
of the melody. The drummer (Jeff
Jeff Hirshfield)
Hirshfield plays the
introduction and head with brushes throughout,
supporting the softer dynamic.. By providing brush
sounds, Hirshfield further complements the feeling
and mood of the introduction.
In measures 30-38,28 an interlude is played
that again uses a series of suspended chords as a
transition to the bridge in which bassist Michael
Formanek hands over the melody to Hersch in the
Bridge (B). Each time the interlude is played, it serves
to dynamically transition into another section, either
growing or diminishing into the next. Byy playing more rhythmically on the snare drum, and utilizing
more cymbals, Hershfield energizes the dynamic level as the section gains momentum and intensity.
This section reaches its energetic
ergetic peak in bar 45, which is also the highest note of the melody (a D#
above the staff). The second half of the Bridge gradually decrescendos into another interlude is added
to the form using the suspended chords, until the entrance of the bass melody in mm 61 . After the
solos conclude, the piece is immediately softer again upon the entrance of the bass melody. The piece
ends much like it began, returning to the suspended vamp, which gradually tapers off.
In contrast to the relatively gradual dyna
dynamic changes in “Infant Eyes,” Hersch approaches “Fall”
from standpoint of sudden and unexpected dynamic embellishment throughout. Each
ach chorus gradually
builds on the next, becoming more dense, active and growing in complexity. In the first eight measures,
Hersch very simply and quietly plays the melody, allowing for dynamic interplay between the bass and
28
Refer to the attached scores for specific examples.
21
the drums. The drums vary dynamics within each measure, contrasting very soft and very loud playing
[see Ex. 4] from beat-to-beat.
The somewhat sparse and relatively quiet presentation of the first chorus is sharply contrasted
in the last chorus of the piece.. Coming out of the solo
solo-section,
section, the final chorus is loud and rhythmically
rhythmi
active with the dynamic focus again being on the drums, but with the piano and bass taking on a more
active and interesting dynamic role (as the first four bars demonstrate
demonstrated in Ex. 5).
). The entire last chorus
occurs exactly the opposite of how it
Ex. 5: Dynamic growth in “Fall,” mm. 49-52.
began, gradually deceasing
dynamically (and in density) until it
concludes at a relatively soft dynamic
level.
Counterpoint
Perhaps one of the most intriguing aspects of these arrangements is Hersch’s intricate use of
counterpoint. Counterpoint29 is literally
terally “t
“the ability, unique to music,, to say two things at once
comprehensibly.”30 Counterpoint is usually a term reserved for discussions of classical works
wor and
orchestral compositions but can exist in virtually any ensemble setting. In the jazz piano trio for
example, contrapuntal movement can emerge in the piano between the left and right hands, as well as
between separate instruments (such as the bass and piano). The countermelodies
ountermelodies derived from either
polyphonic and/or homophonic textures within the piano
ano playing of Fred Hersch are most interesting.
interesting
29
The term derives from the expression punctus contra punctum
punctum,, i.e. ‘point against point’ or ‘note against note’. A single ‘part’ or ‘voice’ added
to another is called ‘a counterpoint’’ to that other. The art of counterpoint developed gradually from the 9th cent. onwards and reached its
highest point at the end of the 16th cent. and beginning of the 17th cent.
30
Oxford Music Online, S.v. “Counterpoint.”
22
While Hersch’s exploration of polyphonic31 and homophonic32 contrapuntal types are best
demonstrated in his performance of “So in Love,” examples are found throughout his performances.
Hersch has spent significant time studying the practice of contrapuntal movement in the piano
throughout his career. Hersch’s variation on the Aria from Bach’s Goldberg Variations was lauded by
critics, and Hersch himself cites his studies of Bach as major influence on his playing. “From the
beginning, I loved to improvise. In my case, my improvisations sounded like classical music: Bach,
Mozart, Schubert, or Stravinsky. And I wanted to write them down. So, fortunately, I started taking
private music-theory lessons in third grade. This continued throughout elementary school and basically
gave me the ''tool kit'' for everything I have done with music ever since. I received a thorough
understanding of how music is put together at a very young age.”33 Hersch has continued his studies of
improvised counterpoint; in fact counterpoint is central to several of his solo piano albums. Hersch had
been quoted as comparing harmonic movement in improvised music to “threading a needle. While the
harmony may not immediately resolve, eventually it does. Don’t worry so much about the vertical
harmony, allow it to run its course”34—in other words, by controlling the movement of individual voices
through counterpoint, the harmony is manipulated.
Hersch’s idea of manipulation of the harmony through counterpoint is demonstrated
throughout the introduction and melody-statement of “So in Love.” Hersch predominantly explores
polyphonic voice leading in the independent lines/countermelodies when executing spontaneous
counterpoint. In mm. 17-20 for example, not only does Hersch present countermelodies in the bass
voice of the piano, but uses three independent voices [see Ex. 6] that are undoubtedly identified as
such. In this example, each voice is given careful attention, and is deliberately executed. Hersch varies
31
Polyphony as defined by Oxford Music Online consists of musical texture in two or more (though usually at least three)
relatively independent parts. In general, the term is applied to vocal music, but usages such as ‘orchestral polyphony’ with
reference, for instance, to the music of Mahler or Ives is to be found in discussions of 19th- and 20th-century instrumental styles.
32
Homophony as defined by Oxford Music Online is a term used to describe music in which one voice or part is clearly melodic,
the others accompanimental and chiefly chordal.
33
Hersch, “State of His Art,” 44.
34
Hersch, University Masterclass, Spring 2007.
23
consonance and dissonance throughout this example through the use of ½
½-steps
steps which resolve.
Additionally, chromatic passing and neighbor tones are utilized to provide both rhythmic movement and
dissonance.
Ex. 6: Polyphonic counterpoint in “So in Love”
• Voice 1 (the melody) is indicated in black
• Voice 2 in blue
• Voice 3 in red
Hersch balances the use of spontaneous polyphonic counterpoint with instances of homophonic
counterpoint in the LH. In jazz piano, homophonic counterpoint most frequently occurs as result of
harmonic relationships and resolutions found in standard harmonic progressions. Countermelodies in
homophony often result from movement and/or resolution of chord tones or possible extensions
typically found in IImi7 – V7 – Ima7 type harmonic progressions. In the A’
A’-section
section of the melody
statement mm. 6-88 demonstrate these relationships [see Ex. 7]. The bottom voice of the LH in
i mm. 6 is
an example of 3rd – 7th relationships, which in this case resolve by ½
½-step.
step. Similar movement continues
throughout mm. 6-88 and is clearly melodic. Likewise the top voice of the LH in mm. 6 moves by whole
step from the 13 of the F13 chord to the 9 of the Bbma9 chord, and similarly remains melodic throughout
mm. 6-8. A 3rd voice can be found in LH in mm. 77-8
8 that moves in ½ steps from A to G#, and then to G
over these two measures. It must be emphasized that it is difficult to say what contrapuntal
contrapunt material is
improvised or “pre-conceived”
conceived” for orchestration purposes, but it is clear that its use is deliberate and
24
methodical throughout. It is my belief that this practice is spontaneous and organic in Hersch’s piano
playing.
Ex. 7: Balance of Homophonic and Polyphonic counterpoint in “So in Love”
• Voice 1 (the melody) is indicated in black
• Polyphony in red
• Homophony in green
Conclusions
“Few jazz pianists have ever struck as beguiling a balance between technique, feeling,
fe
insight,
and imagination.”35 Orchestration is important to trio playing because it adds musical depth to the
performance by contributing to the overall mood and character. Orchestration provides a sense of
continuity throughout a piece. With careful study and practice of melodies, Hersch portrays a sense of
delicacy and sensitivity in the interpretation of melodies
melodies.. His trios incorporate frequent changes is
texture that include an awareness of dynamic level and shaping, balance, and harmonic density. Hersch
35
Hazell, “Auditions: The Keys Say it Best,” 62.
25
incorporates extensive and spontaneous counterpoint into his arrangements for the purpose of creating
harmonic and rhythmic interest.
The deliberate and frequent execution of these orchestration concepts is not extremely
common today. While many small ensembles continue push the envelope in with regard to virtuosity,
harmonic content, meter and tempo, Hersch’s ensembles push the boundaries of subtly and
understatement through careful orchestration. His core-arrangements are highly structured and his
ensembles are well-rehearsed, turning the focus to expressiveness beyond virtuosic performance in
harmony and rhythm. Equal emphasis is given to improvisation and the structural features of the
arrangement that gives the overall performance a sense of being pseudo-improvised.
Much can be learned by studying the performances of Fred Hersch’s trios, especially in an
academic environment such as the University music school. Musicians from all walks of life can benefit
from the study of orchestration, if not for the purpose of improvisation, then for the qualitative
advantages in understanding how orchestral characteristics contribute to creativity and the
spontaneous nature of written music. Through analysis, his approach can be modeled and
demonstrated in the academic environment for the benefit of jazz ensembles of all types.
Hersch’s ensembles promote positive qualities with regard to rehearsal of small jazz ensembles,
and upholding the philosophy of community in jazz, by getting to better know and understand the
musicians with whom you are working. Hersch’s ensembles can encourage student groups to explore
more detail in compositional practices when approaching jazz standards and their own compositions.
Hersch’s ensembles give equal weight to pre-conceived and improvised material, which promote an
environment with less emphasis on the improv sections, and more emphasis on the piece as a whole.
Orchestration is important in jazz performance because it is creative, and adds depth and character.
Orchestration brings new energy and life into old compositions, and provides a basis for individual
26
compositional approaches. When Hersch spoke of many of the groups and songs that inspired him as a
young musician, he stated that “…I reached one of the great epiphanies of my life [when I realized that]
each artist had put their personal stamp on the song. I understood then that jazz is about bringing your
personality to each song you play, and not just following a formula.”36
36
Hersch, “State,” 45.
27
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Berliner, Paul F. Thinking in Jazz: The Infinite Art of Improvisation, ed. Philip Bohlman and
Bruno Nettl. Chicago: University of Chicago Press, 1994.
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Galper, Hal. “Melody and Embellishment: Part 1.” Downbeat 58 (March 1991): 54.
Gelfand, Alexander. “The Art of the Trio,” Jazziz 23:3 (March 2006): 38-41.
Giddens, Gary. “The Evolution of Jazz.” New Perspectives on Jazz, ed. David Baker, 33-44.
Washington: Smithsonian Institution Press, 1990.
Hazell, Ed. “Auditions: The Keys Say It Best,” Jazziz 18:6 (June 2001): 62.
Hersch, Fred. “Bio,” http://www.fredhersch.com/, accessed September 26, 2008.
Hersch, Fred. “Q&A,” Jazziz 20:11 (November 2003): 18.
Hersch, Fred. “State of His Art: As He Prepares to Celebrate His 50th Birthday, One of Jazz's
Premier Modern Pianist/Composers Reflects on a Life of Learning,” Jazziz 22:10
(October 2005): 44-46.
Hersch, Fred. Respiration and Inspiration. Sacha Feinstein. Ask Me Now. Bloomington, IN:
Indiana University Press, 2007.
Hersch, Fred. ''Solo Piano: Do You Hear Voices?'' Keyboard (February 1995): 148-149.Solis,
Gabriel. Monk’s Music: Thelonius Monk and Jazz History in the Making. “Fred Hersch:
I Mean You.” Los Angeles: University of California Press, 2008.
Hersch, Fred. University Masterclass. “Note Taking,” University of Colorado, Boulder. Spring
2007.
Hines, Tom. “Melody and Melodicism in the Teaching of Jazz Improvisation.” Jazz Educators
Journal 32 (May 2000): 46-9.
Hynes, Tom. “Melody and Melodicism in the Teaching of Jazz Improvisation.” Jazz Educators
Journal 32 (May 2000): 46-9.
Koenigsberg, Toby. “Creating Contrapuntal Skill in the Beginning to Intermediate Jazz Pianist,”
Jazz Education Journal 35:6 (May-June 2003): 66-68.
Korman, Clifford. "Criss Cross: Motivic Construction in Composition and Improvisation,”
Annual Review of Jazz Studies 10 (1999):103-126.
Middleton, Andy. Melodic Improvising. Rottenburg: Advance Music, 2004.
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Owen, Harold. Modal and Tonal Counterpoint. New York: Schirmer books, 1992.
Panken, Ted. “Blindfold Test: Fred Hersch,” Down Beat 73:3 (March 2006): 98.
Robinson, Sir Ken. “Do Schools Kill Creativity?” 20 min.
http://www.ted.com/index.php/talks/view/id/66, T.E.D. Productions, 2006. Online
Video.
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29