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2nd I.C. Intervention

OUTCOME for TITANS, duo of Double Bass & Bass guitar:

I made a connection between French impressionistic style (20’s) and Jazz Fusion (late 60’s) for the use of harmony. Both styles share the approach of non functional harmony, by using parallel chords, sustain chords, -7th chords, blues related harmonies/melodies/rhythms/concepts.
On the late 60’s  and 70’s the bass guitar took an important role, Jazz musicians started to create conceptual albums,  was the golden age of the exploration and mixture within the Jazz tradition, where skilled musicians and composers started to mix popular, folk and classical musical elements.
In the classical tradition this explosion of seeking for new sounds from other cultures happened at the beginning of XXs, and Milhaud was one of the composers who let himself influence by the tradition of other musical styles.

Use of Blues scale as starting point same as in ‘La Création’. I extend it by emphasising the #4, 5/4th interval and by adding the -/+2nd.
The melodic material of ‘La creation du mode’ breaks the thinking of writing melodies of 4, 8 (etc…) bars. The first melody for example it last 10 – 11 bars. I created the A melody with the same principle.

D. Milhaud, La Création du Monde

Melody 01

N.  Kaori, TITANS

In Jazz is quite common to use parallel melodic lines. I used too in some parts of the piece. in the previous example the pink rectangle is showing a melodic sequence that repeats. The intervalic connection is mainly done with #4 and 4/5th (this last interval is quite used in the Jazz field).


In Milhaud piece we find the counterpoint in movement 1. On low register instruments (Double bass and trombone). Then the saxophone joins and the counterpoint idea develops into a Collective Improvisation like.

In my piece I also used the canon counterpoint technique and the function of it it was to make a deconstruction from sixteenth field and fast tempo towards slow tempo and uni rhythm.

Counter 01

Counter 02


In ‘La creation du monde’ Milhaud in order to create polytonality is using as a reference the Blues scale, the composer plays with the major and the minor 3rd of the tonality. I will extend the idea with all the major/minor intervals in order to create more tension.

Harmony C

D. Milhaud, La Création du Monde

On the first two pages of the pieces it can be find:
Functional Harmony (traditional or a bit extended progressions)
Non functional harmony:
-Polychords: Chords with changed bass
-Sustain Chords
-Chords builded from the derivate blues scale
-Parallel movements (cromatic and diatonic)
-Interchange between minor/major chords scale from the main tonality
-Melodic resolutions


In Milhaud’s piece, in the introduction part we can see a steady and obstinate movement, and later on, a syncopation motive on the trumpets.

Ostinato 01.png

Further there is the syncopation in the whole ensemble:

Syncopation 02

In the piece of Milhaud there are tempo changes and most of the piece is written in binary meter.

In the first two pages of TITANS we can already see the different main elements in the treatment of rhythm and tempo:
Change of tempo.
Rhythmic ostinato (with some variation) 16th fill.
Alternation between binary and ternary.

Milhaud used an Alto Saxophone instead of a viola, the strings are used differently than in traditional classic language, the trombone is using some glissandi and the percussion in the fast movements is used as a reproduction of a drum kit:

Traditional instrument (Double bass) and electric instrument with effects (Bass guitar).
Extended techniques. In the first two pages we can already see different techniques from both instruments. I also wrote some percussive and noise effects.


2-3 different layers in some parts


La Création du Monde

◈ Cyclic

Presentation of theme A & B
– I mov
A related material
– II mov
A related material
– III mov
A/B related material,
– IV mov
B related material
– V mov
A related material


◈ Song like

– Introduction
Horizontal presentation of the intervals  Vertical presentation of the intervals
Transition towards next part

– ABA’B’CA’’
A theme
B theme
A’ variation & expansion
B’ variation & expansion
C theme (related to introduction theme)
A theme variation & expansion

– Outro
Crescendo in intensity towards the end

-Role of the instruments:


-Saxophone has the main role and some times it change to the clarinet.
-Strings are in the background, same as the piano
-The percussion is used as a Drum Set Kit
-There are some moments when another instrument takes the lead of the main melody.
-Parallelism with a Collective Solo, used in Marching bands in the swing era.

Both instruments are changing roles
-Main melody (being the protagonist)
-Background (by and harmonic approach or bass line)
-There are conflicts between them and concord by using different musical techniques, counterpoint, unirhythm, unpitch etc…
-To create an atmosphere (not an specific/defined role)


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