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HARMELODICS4

HARMELODICS4

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Published by FIELD RADIO
Thoughts about Harmolodics
Thoughts about Harmolodics

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Published by: FIELD RADIO on Jun 26, 2009
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HARMOLODICS:thoughts this way and thatAndrew Poppy
Revised introduction for the School of Harmolodics as part of Ornette Coleman’sMeltdown Festival, South Bank Centre London 14-20 June 2009
It’s a privilege to be invited by Meltdown Festival 2009 tohelp run The School of Harmolodics week of workshops.I am some kind of contemporary composer rather than animproviser. And what improvising I do, does not instantlyconnect to the bop, post bop tradition that is the startingpoint of Ornette Coleman’s music. But probably that’s whyI’ve been invited to be here; to be the wild card in a teamof artistic leaders with Chris Batchelor and Julian Seigelwho are such wonderful improvisers and whose music hasmore of a family connection to Ornette’s work. And theteam also includes Alice Tatge’s making a dance andmovement response to the Harmolodic idea.What I want to contribute here is a sense of context. Tosee Harmolodics as connected to ideas in other areas of music and performance, both historically and personally.Harmolodics: how does it work? Looking at variousexplanations by Ornette Coleman himself and members of his various bands it would seem to be a spirit or attitudeas much as it a method.There are some innovative technical inventions for sure,such as the Harmolodic clef. This is an interestingstrategy. It’s a way of instantly building chromaticallyinflected harmonic fields within a predominately
melodically 
articulated style.Perhaps Harmolodics is an example of an approach tocreativity which organises one parameter while trying tobe un-mindful of another to which it is intimatelyconnected. The relationship of harmony to melody and
 
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harmony to melody is particular in Ornettte Colemansstyle. The later is articulated whist the former is implied.As Wilfred Mellers says in his still resonant book ‘Music InA New Found Land’(1964) “…. the first musician who has carried further someof the implication of Parker’s line and rhythm….Ornette Coleman achieved this stylistic developmentby paring harmonic texture to a minimum: bydiscarding the piano as a harmony instrument andexporing, more radically than Sonny Rollins, melodicvariation on line, not on chord sequence” Melody and melodic form are what dominate. Andmelodies have always been the more rigorous agents of control in any musical context. They survive almostinfinite fragmentation and transformation. A harmony or atexture is much more fragile by comparison and morespecifically located in a particular moment.We can all sing The Beatles ‘Hard Days Night’ and, if wehave the skill, we can riff and play on the intervals andshapes of the tune. But the opening chord on the electricguitar is a unique identity even if we own that particularRickenbacker guitar and can voice it correctly. It’s aunique identity made up of interval structure, chordvoicing, articulation, amplification and recordingtechnology. Transpose it up a few intervals on the samplerand its identity is lost.We can find that fragility in other places. ‘Durations’ byMorton Feldman where each ‘harmony colour’ is a statedthing in itself. Melodies are, where you find them, implied.Harmolodics could be seen as a poetic strategy. Becausetrying to explore technical questions further sometimesdissolves into the mystification and magic of ‘a chordwhich cannot be inverted’! But perhaps that’s how itshould be. Strong ideas are often simple and stand alone.They don’t always need some vast tome to explain them
 
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like Wagner’s ‘Gesamkuntswerk’ .E=MC2 is a goodexample of a big idea expressed with economy.Harmolodics in some ways is more useful to think of as aan attitude. Ornette is ambitious for his idea to be morethen just a musical technique. He says:"Harmolodics can be used in almost any kind of expression. You can think harmolodically. You canwrite fiction and poetry in harmolodic. Harmolodicallows a person to use a multiplicity of elements toexpress more than one direction at a time."This is a way in for me as a composer whose own work isformed and influenced by American experimental andminimal contemporary classical music of the 1950-60s.Who was he thinking of when he said “You can writefiction and poetry in harmolodic”. Certainly listening to ‘Little Symphony’, ‘Peace Warrior’ ,‘Enfant’, ‘Feet Music’,all sort of connections present themselves.The novels of Jack Kerouac, where the words rush like ‘BigSur’ in endless sentences where the full stop gets pushedfurther and further into the future. Or the poetry of AllanGinsberg on ‘Howl’, the shaman, where the mesmeric flowof images tumble over each other suspending the readersdesire to understand what he’s talking about. An invitationto trance dance in the metaphorical.And could Harmolodics be in the painting of JacksonPollack with its beguiling suggestion of freedom within anexquisitely choreographed painting action. He danceswhile he paints. The painting the memory of that dance.All these guys put the sense, the image, the experience of 
spontaneity 
as the most importance thing to becommunicated to the audience.Perhap it’s worth noting at this point that, for the listener,high modernism, the most rigorously organised total serialmusic of Boulez and Stockhausen, also projects an image

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