{"id":596,"date":"2017-10-12T16:09:40","date_gmt":"2017-10-12T23:09:40","guid":{"rendered":"http:\/\/www.philshackleton.com\/site\/?p=596"},"modified":"2017-10-15T13:25:15","modified_gmt":"2017-10-15T20:25:15","slug":"concerto-for-piano-and-jazz-band","status":"publish","type":"post","link":"https:\/\/www.philshackleton.com\/site\/2017\/10\/12\/concerto-for-piano-and-jazz-band\/","title":{"rendered":"Concerto for Piano and Jazz Band"},"content":{"rendered":"<p>This is the fourth movement, named Run! Doh!, of <strong>Concerto for Piano and Jazz Band<\/strong>.\u00a0 \u00a0The idea was to create a concerto in the classical forms for a pianist who does not improvise in the piece, but who would be a player with sympathy and affinity for the jazz style.\u00a0 The performer here, Prof. Joel Clifft of Azusa Pacific University (who in fact can improvise jazz with expertise), certainly addresses the keyboard with great elan and brio.<\/p>\n<div style=\"position: relative; height: 0; padding-bottom: 56.25%;\"><iframe style=\"position: absolute; width: 100%; height: 100%; left: 0;\" src=\"https:\/\/www.youtube.com\/embed\/I9gWhsJnxyY?ecver=2\" width=\"640\" height=\"360\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/div>\n<p>With apologies to those\u00a0possessing more subtle senses of humor, the movements of the concerto are named thusly:<\/p>\n<p><strong>I.\u00a0 Sambata For Me\u00a0<\/strong> (a sonata-allegro form disguised as a samba with some mixed meters &#8211; the title is a play on &#8220;sonata form&#8221;)<\/p>\n<p><strong>II. A doggy?\u00a0 Oh!<\/strong>\u00a0 (the adagio movement, a compound ternary form with an extended piano\/flugel introduction)<\/p>\n<p><strong>III.\u00a0 Scared?\u00a0 So fugue!\u00a0<\/strong> (a scherzo with cross-rhythms, based on\u00a0an ostinato that&#8217;s harmonized many ways, followed by a fugue that was created by taking great liberties with Fughetta in G by J.S.Bach &#8212; extended subject and associated counterpoint, additional voices, harmonized in a different key [C] from the original pitch placement, while leaving the pitches where there were, thus leaving the original fugal voices out in the extensions and color tones, etc.)<\/p>\n<p><strong>IV.\u00a0 Run! Doh!<\/strong>\u00a0 (a rondo, essentially a dance movement in this case, a race to the finish, with many stop-offs along the way)<\/p>\n<p>A concerto approach offers levels of interaction and tightly woven engagement that are difficult to achieve in a typical jazz\u00a0solo feature where the\u00a0soloist improvises over &#8220;backgrounds&#8221; from the band.\u00a0 That level of integration is as challenging as any concerto performance with a soloist, and the Azusa Pacific University Jazz Ensemble, directed by David Beatty, approaches this task with precision and gusto.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>This is the fourth movement, named Run! Doh!, of Concerto for Piano and Jazz Band.\u00a0 \u00a0The idea was to create a concerto in the classical forms for a pianist who does not improvise in the piece, but who would be a player with sympathy and affinity for the jazz style.\u00a0 The performer here, Prof. Joel Clifft of Azusa Pacific University (who in fact can improvise jazz with expertise), certainly addresses the keyboard with great elan and brio. With apologies to those\u00a0possessing more subtle senses of humor, the movements of the concerto are named thusly: I.\u00a0 Sambata For Me\u00a0 (a sonata-allegro form disguised as a samba with some mixed meters &#8211; the title is a play on &#8220;sonata form&#8221;) II. A doggy?\u00a0 Oh!\u00a0 (the adagio movement, a compound ternary form with an extended piano\/flugel introduction) III.\u00a0 Scared?\u00a0 So fugue!\u00a0 (a scherzo with cross-rhythms, based on\u00a0an ostinato that&#8217;s harmonized many ways, followed by a fugue that was created by taking great liberties with Fughetta in G by J.S.Bach &#8212; extended subject and associated counterpoint, additional voices, harmonized in a different key [C] from the original pitch placement, while leaving the pitches where there were, thus leaving the original fugal voices out in [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":598,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[7],"tags":[],"_links":{"self":[{"href":"https:\/\/www.philshackleton.com\/site\/wp-json\/wp\/v2\/posts\/596"}],"collection":[{"href":"https:\/\/www.philshackleton.com\/site\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.philshackleton.com\/site\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.philshackleton.com\/site\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.philshackleton.com\/site\/wp-json\/wp\/v2\/comments?post=596"}],"version-history":[{"count":10,"href":"https:\/\/www.philshackleton.com\/site\/wp-json\/wp\/v2\/posts\/596\/revisions"}],"predecessor-version":[{"id":608,"href":"https:\/\/www.philshackleton.com\/site\/wp-json\/wp\/v2\/posts\/596\/revisions\/608"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.philshackleton.com\/site\/wp-json\/wp\/v2\/media\/598"}],"wp:attachment":[{"href":"https:\/\/www.philshackleton.com\/site\/wp-json\/wp\/v2\/media?parent=596"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.philshackleton.com\/site\/wp-json\/wp\/v2\/categories?post=596"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.philshackleton.com\/site\/wp-json\/wp\/v2\/tags?post=596"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}