elstaffe’s Reviews > Perpetual Frontier: The Properties of Free Music > Status Update

"Answers were done in writing via correspondence. They are edited only for punctuation" (107). Uh oh.

"These later forms often synthesize elements from all of the various wings of European free improvisation, or rely on a more strict interpretation of one or fewer parts of the whole operational methodology" (104-105). One or fewer? Like...half a part? Or no parts? Or what?

"While the composite element of these works has resulted in new arenas for the Tri-Axiom Theory methodology, and the improvisational expansion possibilities has also expanded within the composite framework, the particulars in the functionality of the melodic structure (template)-and their roles as examples in comparison with the other operational methodologies-remain the same" (96). I wanna but just can't parse this.

"Language Types is a graphic rendering of 12 ways that Braxton views as the typical constructs of a line of notes" (96). Hwha?

"The improvisation on these melodic structures (templates) are a blend of intervallic melodic statements (vertical) and scalar (linear) statements with broad use of sub-division, repetition, inversion, modulation, extended techniques--especially as multi-phonics, whistle tones, and a myriad of timbre effects" (95). Cannot...follow...sentence structure...brain...ouch...

"The properties of free music contain variable and exacting options" (73)

"In jazz music that is based on harmonic progressions, the form must be followed and therefore the rhythm section is required to provide support while adhering to the form, it, not the soloist is the conductor/bandleader not the soloist" (90). Sic.

"The expectation that results have more value in improvisation than planning does, help a player to trust in the process. Planning comes in the way the performance material-the composed material and the operational methodology rendered in strategies that will be used to process it" (56). This...this. Is most of what is here.

"Here the template suggests how the melody might be expanded or referred to in improvisation using intervallic relationships and/or rhythmic accents" (53-54). See, this is what I want to be reading.