Machaut in the Age of Motown

Machaut in the Age of Motown (2005) is a transcribed mashup of two pre-existing works: The Bells, written by Marvin Gaye (1970) as sung by The Originals, and Tels rit from the Remede de Fortune (1340) written by Guillaume de Machaut as sung by the Project Ars Nova Ensemble. It’s the fifth piece in a series called Machaut in the Machine Age, which I have been making every now and then since 1986 in response to the music and poetry of Guillaume de Machaut, the fabulous 14th century French composer.

Originally scored for soprano sax, clarinet, violin, bass, bells, vibes, piano, and drumset, I am happy to adapt the piece for your forces. You can download the score and listen to a live performance:

And you can listen to the original mashup of Marvin and Machaut on 7 November in A Book of Days.

Getting to Know the Weather

Getting to Know the Weather was inspired by Pamela Painter’s short story of the same name, which tells of a woman embarking on a job search after a divorce in midlife. I read the story and wrote the piece while going through my own divorce (and coming out process) in my late twenties.

The weather of my piece is Chromatic Lydian, which was considered by Plato to be too sensual and lax to be suitable for the education of guardians. Getting to Know the Weather composes out the kind of non-systematized, non-superimposing fooling around one sometimes does with new material and situations. The piece was originally written for saxophone player Marshall Taylor and dedicated to him with respect and affection.

Getting to Know the Weather is part of my ongoing project, A Book of Days. You can listen to David Steele’s bass clarinet version by visiting 27 October.

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Getting to Know the Weather was originally written for baritone saxophone. That version is available from Dorn Publications. Here is a version for bass clarinet. I can supply other transpositions: just let me know what you need what you order the piece.

The instrumental part should be played like the bass line in a funk tune. If you play it solo, you will want to viscerally imagine a beat in your mind as you play the piece, and reflect the groove in your playing. If you perform with a drummer, please invent a groove together that makes it as fun as possible to play the piece. I can supply a modified version of James Brown’s Funky Drummer groove with some additional kitchen percussion if you want to work with a pre-recorded track, or of course you can feel free to make your own.

If you want to add an octave doubler or other processing to the instrumental sound, that’s fine with me. In any case, you probably want to amplify the instrumental player.

I have notated the score in chromatic Lydian throughout, though you will quickly hear that sections of the piece could be notated in F# minor or in A major. I hope that consistency of notation will outweigh whatever initial difficulties you might have with the unorthodox spelling.

Dynamics have generally not been notated since they grow naturally out of your playing. Start soft, get loud, and end quietly within a generally loud level throughout.

And don’t play it too fast: it’s sexier slower.

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