Professional Documents
Culture Documents
selected compositions
1999-2008
by vijay iyer
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preface
I'm honored to have this chance to compile some of my small group compositions from the period 1998-2008.
The bulk of the pieces collected here were originally written for my quartet with altoist Rudresh Mahanthappa,
bassist Stephan Crump, and drummers Marcus Gilmore, Tyshawn Sorey, and Derrek Phillips, and documented
on the albums Panoptic Modes (2001), Blood Sutra (2003), Reimagining (2005), and Tragicomic (2008).
You may notice that many of the pieces employ different approaches to notation than is common in standard jazz
charts, in terms of rhythm, harmony, and form:
1) In some cases, drum parts are written out – actual polyphonic parts involving bass drum, snare, ride, and hi-
hat. These are provided not as a “straitjacket” for the drummer, but as specific musical material in counterpoint
with the other parts. The intent is to give each piece a strong rhythmic profile that also offers a multidimensional
space for improvisation. As with all the other compositional elements, the drum parts are meant to be treated
improvisationally. They should be approached as a “skeletal” form or point of departure, but with precision and
attention to the composed structure as well.
2) Harmonic structures are often written out on the staff, instead of or in addition to pop symbol abbreviations.
I’ve noticed that a symbol like “G7” often provokes players to regurgitate “G7 licks.” Here I am often employing
specific voicings in specific registers, and I find it more useful for improvisers to work with the building blocks
suggested by the composed material than to resort to stock chords and scales. This requires a certain amount of
preparatory work on the part of the players, but it can also be an intuitive process, depending on a player’s ear and
creativity with the fundamentals.
Thelonious Monk used to suggest to his bandmates that they “solo off the melody” – i.e. the specific ingredients
of the composition – rather than just “running changes.” He also sought personalized, unique sonorities and
chord voicings. The approach here is deeply inspired by his music.
3) In many cases the improvisational forms are created from rhythmic cells, rather than from an extended “song
form.” The solo sections of pieces like “Imagined Nations,” “Phalanx,” and “Threnody” employ polyrhythmic
cycles as building blocks for improvised harmonic progressions. There is no set chord progression; there is just a
fixed harmonic rhythm tied to the rhythm cycle. The ensemble creates its own progressions in real time.
For example, in “Phalanx” the final three notated measures become a cycling form, with a harmonic rhythm of
one cycle. This means that the bass player chooses a new “root” or bottom note, and the pianist chooses a new
chord voicing or cluster, and the combined aggregate provides the new harmonic unit for the next cycle. The
pianist and bassist should strive for smooth voice leading and continuity. The progression shouldn’t sound too
random, so there shouldn’t be too much jumping around. But whatever happens, the ensemble simply accepts
and responds to the collective sonorities that occur at the top of each cycle.
The transcriptions provided of piano solos and corresponding improvised bass parts from the recorded versions of
“Phalanx” and “Threnody” offer examples of how such forms can play out. The effect is one of an emergent
tension and release, similar to what one expects from normal chord changes, but completely spontaneous. The
larger purpose is to thrust each player into the present moment, to impel the musicians to respond to what is
actually happening in the music, and to empower the musicians to build the bulk of the music themselves from
the formal materials.
These ideas come from a lot of different places – Monk, Andrew Hill, John Coltrane, Henry Threadgill, and Steve
Coleman, South Indian and West African musical traditions, and contemporary American and European classical
composers. As you will see, we were experimenting with rhythmic techniques, harmony, orchestration, soloing
structures, and macro-form, but I always strived to make the music sound and feel good, too. The material often
challenged us, but the process of finding solutions proved rewarding. Likewise, it is my hope that other musicians,
be they students or experienced players, can find in this volume some useful tools with which to keep building.
Vijay Iyer
New York City
August 15, 2011
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about the author
Grammy-nominated composer-
pianist VIJAY IYER has released
sixteen albums as a leader, including
Accelerando (2012),
Tirtha (2011), Solo (2010), and the
multiple-award-winning
Historicity (2009). He received the
2010 Musician of the Year award in
the Jazz Journalists Association Jazz
Awards, and his trio received the
Echo Award (the “German photo by Jimmy Katz
http://vijay-iyer.com
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