Scott Colley's bass intro on "Vertigo" by Chris Potter.
Put in three hours on this yesterday and finished it. It is quite rubato, tempo fluctuating during performance. Other than a few speed ups, it can be fairly consistent. I chose to notate it by phrase and inserting fermattas where appropriate. The only way to truly get it is to listen to the recording, which I highly recommend, Vertigo by Chris Potter. I may repost this later with the analysis for practical use. I can say upon a quick overview he likes to color alternate tonalities on the same root note. Meaning he pulls many tensions out of this B minorish kind of world. Depending on your interpretation that could be polymodality or other fancy words. Another big feature I enjoy is its a half step above the bass line vamp for the song (written at in on the last bar [7/4 time]). So its like one big tritone sub-dominant of the Bb minor figure.
Scott Colley's bass intro on "Vertigo" by Chris Potter.
Put in three hours on this yesterday and finished it. It is quite rubato, tempo fluctuating during performance. Other than a few speed ups, it can be fairly consistent. I chose to notate it by phrase and inserting fermattas where appropriate. The only way to truly get it is to listen to the recording, which I highly recommend, Vertigo by Chris Potter. I may repost this later with the analysis for practical use. I can say upon a quick overview he likes to color alternate tonalities on the same root note. Meaning he pulls many tensions out of this B minorish kind of world. Depending on your interpretation that could be polymodality or other fancy words. Another big feature I enjoy is its a half step above the bass line vamp for the song (written at in on the last bar [7/4 time]). So its like one big tritone sub-dominant of the Bb minor figure.
Scott Colley's bass intro on "Vertigo" by Chris Potter.
Put in three hours on this yesterday and finished it. It is quite rubato, tempo fluctuating during performance. Other than a few speed ups, it can be fairly consistent. I chose to notate it by phrase and inserting fermattas where appropriate. The only way to truly get it is to listen to the recording, which I highly recommend, Vertigo by Chris Potter. I may repost this later with the analysis for practical use. I can say upon a quick overview he likes to color alternate tonalities on the same root note. Meaning he pulls many tensions out of this B minorish kind of world. Depending on your interpretation that could be polymodality or other fancy words. Another big feature I enjoy is its a half step above the bass line vamp for the song (written at in on the last bar [7/4 time]). So its like one big tritone sub-dominant of the Bb minor figure.