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.