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1ranscrlpLlon Analysls

1ranscrlpLlon 2623CCM - ?lLzhak ?edld


8y !ack WalLon (s2782309)
Word CounL: 2062
2

Foi the puiposes of concision this analysis will be split into sections peitaining
to coiiesponuing sections of the tiansciiption. What follows is a basic outline of
the oiiginal tune, !"#$% '#(%)*%+, anu a uesciiption of what each section (as
uenoteu by lettei names) iepiesents on the scoie as peifoimeu by }ulian Lage. A
uetaileu analysis of each section then follows. Both tiansciiption anu chait aie
attacheu - chait is attacheu uue to lack of ioom on tiansciiption foi choiu
infoimation anu shoulu be tieateu loosely (it becomes eviuent foi example that
Lage tieats the choius Bm6 anu um7 as minoi-majoi7th choius).
!"#$% '#(%)*%+ is oiiginally a foity-foui bai tune, wiitten by Aithui Schwaitz
(lyiic by Bowaiu Bietz) foi the Bioauway musical ,"-.$( /#"#0+1. The tune is an
A-A-B-C foim, compiiseu of two fouiteen bai A sections, an eight bai B section,
anu an eight bai C section. The tune is laigely in B minoi with excuisions into u
minoi anu biiefly B majoi at times (othei 'false' two-five piogiessions also occui
- see scoie foi uetail). 0n the tiansciiption, the A anu B sections iefei to an
intiouuction split in two. C anu B iefei to the oiiginal A sections of the tune,
while E coiiesponus to the biiuge, anu F to the oiiginal C section. u coiiesponus
to two A sections, B to the biiuge once moie anu I to an extenueu section the
takes the place of the oiiginal C section.
! #$%&'()
The A section iefeis to the fiist pait of an impioviseu intiouuction to the tune,
uiatonically in B majoi foi the most pait. 0n the scoie uiamonu note heaus
uenote natuial haimonics sounueu at the pitch inuicateu. This section is
compiiseu of seveial phiases, which each exhibit a iubato time feel of theii own,
with a laigei pause between each phiase (uenoteu by colla voce lines). This
notion of phiasing phiases (oi meta-phiasing) is a key component to this
intiouuction, which woulu have potentially less impact playeu in time.
Bai 2 is notable foi the use of fietteu notes (A anu F#), which coulu have been
moie easily (anu obviously) playeu as haimonics. This choice speaks to Lage's
knowleuge of both the tune anu the guitai, anu is also incoipoiateu latei in the
piece. In blenuing the timbies achieveu (haimonics have a ciispei, bell-like tone)
S
with these techniques, it is cleai that Lage is awaie of all of the tonal tools at his
uisposal. The shoit peifect 4th (implieu v to I) A to B motif intiouuceu in bai one
is pieseiveu anu vaiieu at the beginnings of bais 4-6, followeu by seiies' of
cascauing uiatonic 6ths. These two uevices unueigo slight vaiiations (two notes
less in bai S, anu an extia note auueu to the AB motif in bai 6) anu aie useu to
emphasise the key of B majoi. The Bb (flat 6th) in bai 6 alluues to a minoi
tonality, though it comes out as moie of an exotic vaiiation of a majoi scale
(haimonic majoi). The tonality becomes tiuly minoi in bai 7, with alteiations
implying B haimonic minoi, coming to iest on an A7#S choiu, befoie a pickup
into section B. Inteiestingly, the pickup is a ietiogiaue of the oiiginal A to B
motif.
* #$%&'()
At this point the tune moves to a swing feel, with ciotchets sitting at
appioximately one hunuieu anu ninety beats pei minute. Initially this
(piesumably impioviseu) melouy is somewhat ieminiscent of a walking bass line
anu gives an inuication of Lage's inteinal feel. Lage utilises a technique common
to his impiovisational piactice, which is to apply metiic ieuuction to gioupings
of consistent length ovei time. At the beginning of this section foi example, the
initial seiies of minims aie ieuuceu by a quavei in bai 11 to a uotteu ciotchet
value. Though this is sometimes split acioss notes (the B, quavei iest anu A in
bai 11), the oveiall giouping iemains consistent befoie ueviation occuis in bai
1S. The effect of this cioss-ihythmic uevice is to imply a change in tempo without
actually changing tempo - paiticulaily effective in a solo peifoimance. Bais 1S-
14 coulu be vieweu as an extension of this uevice, utilising gioups of foui quavei
tiiplets.
Thioughout this section Lage iemains in B minoi, howevei it shoulu be noteu
that uue to the natuie of solo peifoimance, Lage can safely inteichange majoi
anu minoi 6ths, anu majoi anu minoi 7ths (implying B melouic, haimonic,
uoiian anu natuial minois vaiiously). In this section foi example Lage fiequently
shifts between majoi anu minoi 7ths of the key (C anu C#).

4
+, - .)/ 0 #$%&'()1
The majoiity of the C section is quite a stanuaiu phiasing of the melouy. Noie
intiiguing is Lage's capacity to play simple yet effective countei lines anu
accompaniment in the same time as the melouy. Bais 24 thiough S4 exhibit this,
anu though the complexity of the countei line is limiteu physically by guitai
technique (ieau: lack of fingeis), timbiel anu tonal choice is equally as impoitant.
In all instances Lage utilises choiu tones to foim this accompaniment, sometimes
anticipating the change (a tienu exhibiteu thioughout the piece) such as in bai
28 on the F# in the seconu voice.
Nost cuiious is Lage's continueu usage of haimonics in bais 29-Su anu SS-S6. In
the foimei paiticulaily Lage manages to uuplicate melouy notes with haimonics
playeu aftei the initial note is sounueu. Bespite being sounueu in the same
iegistei, the timbiel uiffeience between the fietteu notes anu the haimonics aie
such that the eai in fact peiceives a seconu voice. In this way Lage manages to
piouuce counteipoint in the same iegistei. The haimonics in bais SS anu S6
cleaily outline a biief ietuin to B majoi anu also highlight the mannei in which
haimonics can be moie effectively utiliseu in some keys iathei than otheis (the
ioot, S
th
anu majoi S
iu
of B majoi foi example aie ieauily available as
haimonics).
Similai analytical conclusions aie uiawn fiom examination of the B anu E
sections, with the exception of fuithei ihythmic anu uiatonic embellishment.
Nost notably one may obseive the embellishment of the F majoi choiu in bais S7
anu S8 with a #S (C#), something of a common uevice foi one veiseu in melouic
minoi baseu choiu alteiations.
2 #$%&'()
In section F Lage biiefly alluues to the melouy befoie setting up his solo with a
ciescenuoing seiies of tetiachoius beginning in bai 6u. Again the uevice of
metiic ieuuction of consistent ihythm is useu to excellent effect in an almost
iuentical mannei to the B section - beginning with almost consistent minim
values anu ieuucing this to uotteu ciotchets. Though theie is some slight
S
ihythmic ueviation thioughout, the similaiity is stiong enough to puipoit that
this is a uevice Lage has inteinaliseu anu uses to stiong effect in his peifoimance.
3 #$%&'()
Lage's solo on the foim (though a case can be maue foi viewing the piece as a
single totality iathei than a sum of sepaiate paits) begins in section u anu
auheies geneially to the conventional jazz piactice of anticipating haimony. The
F# in bai 7u anu C natuial anu B natuial in bai 71 foi example iuentify with
viable anticipation of bai 72 (the B natuial being a common natuial 9
th
extension
of half uiminisheu choius as pei melouic minoi haimony). Similaily bai 72 quite
cleaily outlines u minoi, bai 74 contains haimony uiawn fiom the Bm7 bai 7S
(the B natuial anu F#), anu the u natuial on the E7 choiu in bai 7S is cleaily
ielateu to the following um7. Fuithei examples of anticipateu haimony can be
seen in bais 8S (the Eb, C natuial anu F# pie-empting the key of u haimonic
minoi) anu 88 (C# being the natuial 9th anu 1S
th
, anu the B being the ioot anu
S
th
of the following choius). These examples asiue, the impiovisation appeais to
iemain quite uiatonic.
Rhythmically the u section exhibits a tiauitional yet effective aiiay of ihythmic
uevices. Lage exhibits a fluiu swing, somewhat ieminiscent of gypsy playing
(though less angulai) thiough his quavei lines. uoing as fai as quavei tiiplets,
Lage appeais to have a ieauy contiol of ihythmic vaiiation anu motivic
uevelopment, paiticulaily eviuent in bais 79 anu 8u, in which phiasing takes
place acioss all thiee pulses with the quavei tiiplet gioups at vaiious points (i.e
Lage can comfoitably begin oi enu phiases on the miuule quavei tiiplet foi
example).
Lage is also quite auept at weaving haimony into his solo, fiequently applying
tiiaus (bais 4S-47 eailiei in the piece with iepeateu notes, anu bais 91-92) anu
stackeu 4
th
(bais SS anu 9u-91) stiuctuies to his lines. Bais 9S-94 exhibit a
commonality in guitai voicings, which is the piactice of embeuuing a small
inteival (in this case a 2
nu
) amongst laigei ones.

6
4 1$%&'()
In this section, Lage establishes a ihythm that is maintaineu foi the iemainuei of
the tiansciiption. Lage's haimonic choices heie aie initially faithful to the
changes of the foim. Though bais 99-1u2 aie peihaps a little fuithei extenueu, a
case can ceitainly be maue foi Eb as a #9 ovei the C7 choiu. A notable physical
featuie of the guitai is auuiesseu in this section as well - the capacity foi playing
the same pitch in unison. Though the uyaus spieau fuithei apait in section I, in
section B Lage plays seveial unison uyaus. Bue to stiing thickness, tension anu
composition (wounu oi unwounu with an outei coil), not only is the same pitch
available in vaiious locations on the instiument, but timbie also changes fiom
location to location. 0n occasion blenuing these timbies can yielu a paiticulai
timbie, anu this is exceptionally effective when playing inteivals of a majoi oi
minoi 2
nu
(bais 9S-1uu) yieluing a 'ciunchy' sounu unique to the guitai.
5 #$%&'()
It is ieasonable to postulate that the mateiial in section B uiiectly inspiieu
section I, anu the supposition followeu by this analysis at least is that Lage felt
stiongly enough about this mateiial to expanu what woulu conventionally be
playeu as the C section of the oiiginal tune into something moie uefineu, befoie
iesolving back to the A section at bai 121. Lage immeuiately establishes a low B
peual which iemains consistent thioughout - this immeuiately gives the
impiession of a vamp (musicians have inseiteu vamps into stanuaius
numeiously thioughout histoiy). The section appeais to confoim vaiiously to B
minoi haimonies (as uesciibeu in section B above) howevei Lage is cleaily
unafiaiu to ueviate fiom this; the effect of which, in combination with the
constant ciescenuo, is a slowly mounting tension. Notably bais 1u7-1u8 anu
11S-116 contain the #11bS of B minoi, anu 1u9-11u the b9. The combination of
alteieu minoi haimony, giauual ciescenuo anu ueviation fiom the foim, along
with a static ihythm (the listenei is both momentaiily uisoiientateu anu
expectant of a vaiiation of ihythm) make foi an extiaoiuinaiily poweiful
iesolution at bai 121.
7
While this analysis uoesn't consiuei it to be of specific intent, one might also
iuentify uisciete haimonic stiuctuies in Section I. Bai 1uS contains an A tiiau,
1uS an E minoi tiiau, 1u6 a Csus4 tiiau, 1u7 a C# tiiau, 1u8 an A augmenteu
tiiau, 1u9-11u an Eb augmenteu tiiau, 111-112 an F augmenteu tiiau, 11S - 114
a u tiiau, 11S-116 a C# minoi tiiau, anu 117-119 a B uiminisheu tiiau. Baseu on
this appioach, one coulu aigue that bai 1u4 contains a hypothetical 'mistake' on
the peifoimeis pait in the foim of a ueviation fiom this pattein.
!//'&'().6 78$(9'$1 .)/ +()%6:1'()1
It is ieasonable to consiuei the implications of Lage's exposuie to !"#$% '#(%)*%+
ovei a significant peiiou of time (theie aie at least thiee sepaiate iecoiuings of
Lage playing the tune). Sections A anu B especially convey a sense of piepaiation
- paiticulaily in the usage of haimonics, which might be consiueieu a specialty
skill among guitaiists. Sections B anu I coulu also feasibly be uiawn (at least in
teims of the extension-of-foim concept) be ieasonably influenceu by pie-
ueteimineu of exploieu iueas.
Lage's peifoimance of !"#$% '#(%)*%+ pays successful homage to the tiauition of
jazz impiovisation while ietaining a sense of peisonality anu uevelopment
beyonu stanuaiu jazz impiovisatoiy foim. Both the macioscopic (laigei
sectional stiuctuie anu textuie) anu micioscopic (paiticulai choice of notes,
ihythm anu timbie) elements of peifoimance anu inteipietation aie unueistoou
anu exploieu to euucateu anu iewaiuing effect.

]azz Cuiar

Moderao
A
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poco uccel.

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poco uccel. poco rull.

]. Cr.
A tenpo =19u

]. Cr.
..=. .
H

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C

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Alone Togeher (Arhur Schwarz)
]ulian Lage Solo Cuiar - TranscriEed By ]acl Walon
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,
Ceneral Noes:
- The original form of Alone Togeher is 44 Ears (wo 14 Ear A secions, an S
Ear B secion, and an S Ear C secion)
- The original form in his ranscripion Eegins a Ear 2 (secion C)
- Due o eiher an error on he par of he performer or ranscripionis, his
ranscripion conains wo noaEle discrepancies:
1. Bar Su conains wo addiional quaver riples o accoun for a possiEle sreching
of he ime on he par of he performer
2. Bar 94 conains only wo Eeas (his could Ee consrued as a meric compleion
of Ear 22 which conains 6 Eeas, however i is more lilely ha variaion in ime and
expression over he course of he piece has variously resuled in Eeas Eeing dropped
and added o a minue degree)
- Phrasing is generally considered o Ee legao in exended melodic passages
- Secion marlers do no sricly denoe he form of he une (A and B represen
inroducory maerial, while C conains wo convenional 'A secions' of he form)
- The ranscripionis is of he opinion ha secion I, replaces he hnal S Ears of he
form and funcions as an independen developmenal secion leading Eacl o he op
of he form a Ear 121
- Cenerally when more han one voice is sounding, ress are placed as parallel as possiEle
o he noes of he corresponding voice on he save
- Cenerally he melody is moderaely louder han oher voices
- Secion A is inended o Ee played in free ime; alhough each phrase should reain is
own rhyhmic inegriy (he mos ehecive mehod would Ee o comEine he ranscripion
wih he recording)
- The impac of dynamic marlings is generally quie minimal (his is o say ha he
diherence Eeween p, mf and f is quie small, and ha crescendo marlings are no o
Ee over accenuaed)
- In Ears 5 o 7 he lengh ha noes may Ee allowed o ring is dicaed Ey placemen
on he guiar
- Diamond noeheads denoe harmonics
- Crossed noeheads denoe a mued 'scrach'

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