Valse Mystérieuse.

Inventions on compound interval structures.

Contrasting levels of rhythmic attack. Blues in B flat.

Analysis of Andrew Hill's composition "Refuge".

 A transcription from a Gerard and Sarzin anthology.
The indicated chord symbols just scratch the surface of this complex work. There are several highly flexible vertical structures here. They don't infer just one tonic, or chord root.

Not seen in the last four bars are the critical transition figures that appear in the original recording.

The structures marked "G flat major 7, flat five" are *idenitical* to D7+9, and A flat 13. Note also that G flat 13 is identical to C7+9. These identities are at the core of Andrew's music.

One step further: the indicated D flat 7, flat 5 is identical to E flat 13.

The overall effect is a masterful blending of orchestral color, precisely controlled by the defined pulse in 6/8.

Le Serpent Qui Danse, by Andrew Hill (1964).

A ballad for Duke Ellington. New orchestral color.

Rockin’ in Rhythm by Harry Carney and Duke Ellington.

Variations on contrasting rhythmic schemes.

"Lost", by Wayne Shorter.

Canción, variaciones, intermedio y final.

"Sweet Love of Mine", by Woody Shaw. そうです.

"Erdu", by Lamont Johnson. From the Jackie McLean album 'bout Soul, on Blue Note.

Improvisation on an open form.

Variations on “Mamacita”, by Joe Henderson.

A purposeful improvisation ahead of class this morning. Yamaha e-piano.

“A Mother’s Tale”, by Andrew Hill.

Paraphrase and variations on Ellington.

EC’s Blues.

"Dial S for Sonny", by Conrad Yeatis "Sonny" Clark.

"Fly Little Bird, Fly", by Columbus Calvin "Duke" Pearson.

Messiaen studies, continued.

An improvisation based on Messiaen’s modes of limited transposition.

Improvisation on a 7-note phrase in sixteenth notes marked "Veloce".

"Portrait of Yoko" (ヨーコの肖像), from the album "Rhapsody and Dedication" (2009).

Blues for a lost gig; way up tempo. Senza batteria.

"Tempo Adagio" released to Bandcamp today, August 17, 2024.

 Tempo Adagio / ARC-6625

Improvisation on an open form.

Paraphrase of “Ran-Kan-Kan”, by Tito Puente.

Paraphrase of McCoy Tyner’s “Rotunda”, from the recording Inner Voices (1977).

Tonal center studies.

"Prelude to a Kiss", by Edward Kennedy Ellington.

“Hi-Fly” by Randy Weston, reinterpreted.

Key center studies, second series. Live recording; no edits.

Thematic studies, tempo adagio.

Variations on a pantonal form.

An analysis of music by Tadd Dameron and Sonny Clark. "Tadd's Delight".

“Tadd’s Delight.” Authentic changes from the period. #tadddameron

In an older style, based on French masters.

Andrew Hill: “July 10”.

“Tenor Madness”. A first take, based on auditory memory. Live studio recording.

Variations on Wayne Shorter’s “Oriental Folk Song”.

Feeling the clave. ‘Rhythm’ changes in B flat.

Variations on extracts from Messiaen: “The Technique of my Musical Language", formulas of accompaniment, at page 81.

Technical studies: counterpoint and contrasting levels of attack in blues form.

Andrew Hill: “Subterfuge” (1963).

John Paul Jones, revisited.

John Paul Jones (Trane’s Blues).

Chromesthesia, series two.

Sons d’Messiaen.

Blues for Albert “Tootie” Heath.

Variations and counterpoint on a pan-modal theme.

Variations on “Pyramid”, by Edward Kennedy Ellington

Andrew Hill: Mist Flower

Improvissando, senza veloce

“Blues Inn” from the Jackie McLean album, Jackie’s Bag.

“Down Under”. Composed by Freddie Hubbard.

"Ticket to Ride". Composed by John Lennon.

Variations on a theme by Joaquin Turina.