Henry Threadgill, “To Undertake My Corners Open”, part 2
Over a year ago I started transcribing Henry Threadgill’s “To Undertake My Corners Open”. I got to the 90% point a long time ago, but as with many projects, it’s the last 10% that takes the most calendar time. One thing that slowed me down is that Threadgill’s flute is super sharp, especially in the high registers, approaching 50 cents by the end of the piece, playing havoc with my ability to match pitches as well as my motivation. I finally got out of that rut when I realized that he was consistently sharp and not just all over the place from one phrase to the next. Once again I could never have finished this project without the great software Transcribe!.
Here’s the PDF of the score; I won’t reproduce it here because it runs to 14 pages. Some analysis is coming up, but this has been so long in coming that I didn’t want to slow it down further by waiting until I had a complete essay written up about it. A few general points:
- Each of the solo section has a different harmonic cycle. The trombone has 3 cycles of 95 beats, the guitar has 8 cycles of 22 beats, and the flute has 2 cycles of 96 beats. As far as I can tell they’re all completely independent.
- The structure of each cycle definitely includes chords, or at least pitch collections, not just bass notes. They vary a bit each time around but in general the “changes” for each cycle are pretty consistent.
- Just as the trombone cycle (mm. 18—41) is the head (mm. 1—15) slowed down,, the guitar cycle (mm. 90—95) is the little bit between the recap and coda (mm. 183—191) slowed down, and the flute cycle (mm. 130—150) is the coda (mm. 193—217) slowed down. I was particularly happy to discover this last one, since I was having trouble making sense of the coda before; I couldn’t even figure out how to bar it. If it seems a little over-barred now, it’s because I matched it to the meters of the flute cycle, and the rhythms don’t make any less sense than they would with any other barring.
- Maybe it’s just me, but I feel like the cycles get further out harmonically as the piece progresses. The trombone solo feels very tonal in a lot of places, the guitar solo is a bit less consonant, and the flute solo feels really abstract (although perhaps the fact that he is 40 cents sharp doesn’t help).
Still to do:
- Write out the “harmonies” of each cycle.
- See how those harmonies compare to their “source material”.
- Look for more rules about how the melodies and harmonies are constructed.
- Compare to other recorded performances of the same piece to see how much is kept consistent. For example, I assume that the entire coda is through-composed, but perhaps there’s some room for variation there.
All thoughts on the analysis and/or suggestions on the transcription itself are welcome.