TColeman PolycyclicComprovisationVolIII

POLYCYCLIC COMPROVISATION
Volume I: Exegesis
Trevor Coleman
Portfolio, Recordings and Exegesis
Submitted in fulfillment of the requirements of the degree of
Doctor of Musical Arts
University of Otago,
Dunedin,
New Zealand
I hereby declare that this submission is my own work and has not been submitted for a degree
or diploma in any university. To the best of my knowledge and belief, it contains no material
previously published or written by another person except where due reference has been made
in the thesis itself.
Trevor Coleman, June 2016
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Abstract
The majority of western art, jazz, popular and indeed most music of the world is positioned
within a mono-metric system. Furthermore, multiples of ‘4’ often predominate in musical
structures, particularly in popular music, whether in subdivisions of a 4/4 metre or in
groupings of units that constitute form. Examples of bi-metricism, however, have existed
from Renaissance Spanish dance music through to contemporary metal, but compositions of
any genre comprising of three simultaneous metres from beginning to end remain rare.
This research, in tandem with the creative portfolio, presents an investigation into a
formalization process concerning the design of three-part polymetre. It is an attempt to
overcome challenges presented in rhythmic and harmonic displacement of recurring motivic
cycles of differing lengths. These cycles are layered over polymetric structures while aspiring
toward an apparent simplicity within a complex web of “cycles-within-cycles-within-cycles”
(Fink 2005, p47).
Consequently, this body of work concerns more frequent application of irregular metres. It
asks, for example, how a 3/4-4/4-7/4 polymetric piece can be constructed so that, at all points
of its eighty-four beat timeline, it synchronizes or ‘grooves’1 as congruously as its mono-
metric predecessors. This research also investigates how harmonic changes are affected over
parallel bars of varying lengths and how musicians cope with unfamiliar realignment of
reference points.
I use the term comprovisation, an elision of composition and improvisation, in order to

establish how this juxtaposition works. It is a relatively new term used to characterize the
interrelationships between premeditated material and real-time spontaneity in a music context.
The virtually uncharted field of ‘polycyclic comprovisation’ fosters the act of improvisation
upon composed cyclic motifs in varying but complementary time signatures that occur and
interact simultaneously.
Through comprehensive investigation of theoretical precedents and musical analysis of the

accompanying scores and four CDs of my compositions, I will examine the inner-workings
and performance issues surrounding polycyclic design and improvisation within three broadly
defined genres, while advocating well-constructed form as a prerequisite to successfully
navigating complex structures.
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Acknowledgements
There are many who, over the three year journey of this project, in a myriad of ways, have
influenced, encouraged and supported me – to all of you my deepest gratitude. An extra round
of applause though must be given to the following friends and colleagues:
Anthony Ritchie, my primary supervisor, who has consistently and tirelesssly offered
insightful and invaluable guidance on all aspects of the work; my supervisor Rob Burns
whose encouragement and infallible ‘red pen’ has insured this exegesis is a respectable
document; University of Otago for providing the framework and funding; wind
instrumentalist extraodinaire, Nick Cornish, for his musicianship and friendship over the
years and monumental performances on all three albums; cellist Heleen Du Plessis, who also
donated her patience, persistence, spirit and stunning performances; vocalists Beata Bocek
and Abigail Knudson who both so bravely and passionately embraced the unknown; tenor
saxophonists Mike Schweizer and Craig Walters for their warm and enigmatic inventiveness;
percussionists Alfonso Rios and Rafael García Fontaiña who brought fire to the mix; Roman
Beilharz for his exceptional mastering skills and unwavering support; Muneer Abdul Fataah
for introducing me to the world of polycycles; for our musical legacy from Bach through to
Miles Davis, and from all corners of the earth; S. N. Goenka for vipassana meditation; Suhari
Mommsen-Bohm for Hakomi and deep personal insights; and my parents for making this all
possible.
Lastly, but primarily, to my wife Ika, whose loving support has been with me through every
phase, doubt and joy, and who lies at the centre of all my cycles. It is to her and our precious
daughters, Larissa and Stella, that I dedicate this work.
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Volume I: Exegesis
Table of Contents
ABSTRACT ............................................................................................................................. 3
ACKNOWLEDGEMENTS ....................................................................................................... 4
TABLE OF CONTENTS .......................................................................................................... 5
LIST OF FIGURES ................................................................................................................ 11
CHAPTER 1: INTRODUCTION ............................................................................................. 14
1.1 DEFINING POLYCYCLES ............................................................................................... 14
1.2 DEFINING COMPROVISATION ...................................................................................... 16
1.3 MY MUSICAL BACKGROUND ........................................................................................ 18
1.4 METHODOLOGY............................................................................................................. 20
1.4.1 EXEGESIS STYLE ............................................................................................................ 20

1.4.2 RESEARCH DESIGN ......................................................................................................... 21
1.5 CHAPTER SUMMARY .................................................................................................... 26
CHAPTER 2: THEORETICAL FOUNDATIONS AND LITERATURE REVIEW.................... 27
2.1 COMPROVISATION: ....................................................................................................... 27
2.1.1 COMPOSITION: ................................................................................................................ 29

2.1.2 IMPROVISATION:.............................................................................................................. 31
2.1.3 COMPOSITION, PRE- AND POST-IMPROVISATION: .............................................................. 34
2.2 METRE / POLYMETRE / INTERLOCKING PATTERNS ................................................. 35
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2.2.1 METRE ........................................................................................................................... 35
2.2.2 POLYMETRE ................................................................................................................... 37
2.2.3 INTERLOCKING PATTERNS, ADHERENCE TO FORM AND THE ASPIRATION TOWARD
‘INTELLIGENT SIMPLICITY’ ......................................................................................................... 43
2.3 ETHNOMUSICOLOGICAL PERSPECTIVE .................................................................... 45
2.3.1 INDIAN MUSIC ................................................................................................................. 45

2.3.2 GAMELAN MUSIC ............................................................................................................ 47
2.3.3 AFRICAN MUSIC .............................................................................................................. 49
2.4 MINIMALISM / METAMODERNISM ................................................................................ 51
2.4.1 MINIMALISM .................................................................................................................... 51

2.4.2 NEW COMPLEXITY AND METAMODERNISM ........................................................................ 53
2.5 JAZZ AND THE COMPROVISATIONAL SPECTRUM .................................................... 55
2.5.1 ORGANIZING COMPOSED ELEMENTS FOR IMPROVISATION ALONG THE COMPROVISATIONAL

SPECTRUM .............................................................................................................................. 57
2.6 COMPUTER / STUDIO COMPOSER .............................................................................. 61
CHAPTER 3: POLYCYCLIC CHAMBER MUSIC ANALYSIS .............................................. 66
POLYCYCLE 11: ‘POLYSPIRALS’ (PORTFOLIO P101; BLUE CD TRACK 8)..................... 70
INTRODUCTION AND OBJECTIVES .............................................................................................. 70

ANALYSIS OF MUSIC ................................................................................................................. 72
ROLE OF IMPROVISATION ......................................................................................................... 77
PERFORMANCE EXPERIENCE .................................................................................................... 79
CONCLUSION ........................................................................................................................... 81
POLYCYCLE 4: ‘POLYFUGUE’ (PORTFOLIO P51; BLUE CD TRACK 4) ........................... 81

ANALYSIS OF MUSIC ................................................................................................................. 82
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CONCLUSION ........................................................................................................................... 90
POLYCYCLE 7: ‘POLYFOLKBAROQUE’ (PORTFOLIO P76; BLUE CD TRACK 6) ............ 90

MUSIC ANALYSIS ...................................................................................................................... 90
CONCLUSION ........................................................................................................................... 95
POLYCYCLE 10: ‘POLYKARMA’ (PORTFOLIO P119; BLUE CD TRACK 9) ....................... 96
INTRODUCTION AND AIMS ......................................................................................................... 96

MUSIC ANALYSIS ...................................................................................................................... 96
ROLE OF IMPROVISATION ....................................................................................................... 100
PERFORMANCE EXPERIENCE .................................................................................................. 101
CONCLUSION ......................................................................................................................... 101
POLYCYCLE 5: ‘POLYANATOLIA’ (PORTFOLIO P6; BLUE CD TRACK 1) ...................... 102
INTRODUCTION AND AIMS ....................................................................................................... 102

MUSIC ANALYSIS .................................................................................................................... 102
CONCLUSION ......................................................................................................................... 108
POLYCYCLE 12: ‘POLYROOTS’ (PORTFOLIO P127 AND BLACK CD) ........................... 109

MUSICAL ANALYSIS ................................................................................................................ 109
CONCLUSION ......................................................................................................................... 115
CHAPTER 4: POLYCYCLIC JAZZ MUSIC ANALYSIS ..................................................... 116
POLYCYCLE 13: ‘POLYPHASIC’ (PORTFOLIO P173; RED CD TRACK 4) ...................... 118
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CONCLUSION ......................................................................................................................... 126
POLYCYCLE 11: ‘POLYBRUBECK’ (PORTFOLIO P198; RED CD TRACK 7) .................. 126

CONCLUSION ......................................................................................................................... 131
POLYCYCLE 14: ‘ADDICTION TO LIFE’ (PORTFOLIO P163; RED CD TRACK 3) ........... 131

CONCLUSION ......................................................................................................................... 137
POLYCYCLE 18: ‘POLYMORPHISM’ (PORTFOLIO P216; RED CD TRACK 9) ................ 137

CONCLUSION AND REMAINING WORKS ........................................................................ 144
01 - POLYNATION (PORTFOLIO P140; RED CD TRACK 1) ........................................................ 144

02 - POLYPSYCLIC (PORTFOLIO P155; RED CD TRACK 2) ....................................................... 145
05 - POLYCENTRIC (PORTFOLIO P183; RED CD TRACK 5) ...................................................... 145
06 - POLYINTEGRATE (PORTFOLIO P187; RED CD TRACK 6) ................................................... 146
08 - POLYGONE (PORTFOLIO P211; RED CD TRACK 8) ........................................................... 146
10 - THE SOUND OF JAZZ (PORTFOLIO P225; RED CD TRACK 10) ........................................... 146
POLYCYCLE 15: ‘STAY WITH ME’ (RED CD TRACK 11) ................................................. 147
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POLYCYCLE 15: STAY WITH ME (INSTRUMENTAL) ................................................................... 149
CONCLUSION ......................................................................................................................... 149
CHAPTER 5: POLYCYCLIC WORLD MUSIC ANALYSIS ................................................. 150
01 - POLYNATION .................................................................................................................. 152

02 - DESIRE ........................................................................................................................... 153
03 - FALAZAFALA .................................................................................................................. 153
04 - ONE MOMENT ................................................................................................................. 154
05 - POLYANATOLIA ............................................................................................................... 154
06 - IN MY ROOM ................................................................................................................... 154
07 - UNTOUCHABLE ............................................................................................................... 155
08 - CZEKAM (WAITING) ......................................................................................................... 155
09 - FATHER'S HOME ............................................................................................................. 156
10 - TOUCH ........................................................................................................................... 156
CHAPTER 6: CONCLUSION .............................................................................................. 158
1. COMPROVISATION: BALANCE BETWEEN COMPOSITION AND IMPROVISATION .......................... 159

2. POLYMETRE VERSUS MONO-METRE AND THE IMPLICATION ON NOTATION ............................. 159
3. IMPROVISATION VERSUS POST-IMPROVISATION STUDIO MANIPULATIONS .............................. 162
4. BALANCE BETWEEN PROCESS AND INTUITION ...................................................................... 163
5. COMPLEXITY VERSUS SIMPLICITY........................................................................................ 163
REFERENCES .................................................................................................................... 166
DISCOGRAPHY .................................................................................................................. 173
APPENDIX A ....................................................................................................................... 174
POLYCYCLES AND FUGUES .................................................................................................... 174
APPENDIX B ....................................................................................................................... 176
REPEATING OURSELVES ......................................................................................................... 176
APPENDIX C ....................................................................................................................... 178
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INTUITION, PERCEPTION AND PERFORMANCE ......................................................................... 178
APPENDIX D ....................................................................................................................... 181
WIDER RESONANCE............................................................................................................... 181
APPENDIX E ....................................................................................................................... 185
SUBJECT2CHANGE: SUSTAINING FLUIDITY IN STUDIO MANIPULATIONS OF A POLYMETRIC JAZZ

FUSION COMPROVISATION ...................................................................................................... 185
APPENDIX F ....................................................................................................................... 197
INTERVIEW WITH NIK BÄRTSCH............................................................................................... 197
APPENDIX G ....................................................................................................................... 200
LYRICS FOR ‘POLYCYCLIC WORLD MUSIC’ ALBUM...................................................... 200
FALA ZA FALA (WAVE BY WAVE) ............................................................................................. 200

ONE MOMENT........................................................................................................................ 201
IN MY ROOM.......................................................................................................................... 202
CZEKAM ................................................................................................................................ 204
FATHERS HOME / OJCOWSKI DOM ........................................................................................... 205
APPENDIX H ....................................................................................................................... 208
269 POLYCYCLIC COMBINATIONS ........................................................................................... 208
NOTES................................................................................................................................. 234
VOLUME II: COMPOSITION PORTFOLIO ......................................................................... 237
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List of Figures
Figure 1: Polycyclic Combinations .......................................................................................... 22

Figure 2: Genres of Improvisation (Zack 2000, p232) ............................................................ 56
Figure 3: PolySpirals in LogicProX ......................................................................................... 68
Figure 4: PolyAnatolia Mother Cycles .................................................................................... 69
Figure 5: Lilburn Blue-rehearsal marking ............................................................................... 70
Figure 6: Polycyclic Combination #29 .................................................................................... 71
Figure 7: Escher's Relativity .................................................................................................... 71
Figure 8: PolySpirals: bars 5-6................................................................................................ 72
Figure 9: PolySpirals: bars 9-10.............................................................................................. 72
Figure 10: PolySpirals: MC1 ................................................................................................... 73
Figure 11: PolySpirals: MC4 p14 ............................................................................................ 74
Figure 12: PolySpirals: MC1c p4 ............................................................................................ 74
Figure 13: PolySpirals: '1st landing' ....................................................................................... 75
Figure 14: PolySpirals: MC2, p4 ............................................................................................. 75
Figure 17: PolySpirals: Ending ............................................................................................... 77
Figure 18: PolySpirals: piano improvisation p1 ...................................................................... 78
Figure 19: Polycyclic Combination #25 .................................................................................. 82
Figure 20: PolyFugue MC1a ................................................................................................... 82
Figure 21: PolyFugue MC1b ................................................................................................... 83
Figure 22: PolyFugue MC1c .................................................................................................... 84
Figure 23: PolyFugue MC2a ................................................................................................... 84
Figure 24: PolyFugue MC2b ................................................................................................... 85
Figure 25: PolyFugue: MC5 .................................................................................................... 86
Figure 26: PolyFugue: MC6 .................................................................................................... 86
Figure 27: PolyFugue: MC11 .................................................................................................. 87
Figure 28: PolyFugue: MC3 piano .......................................................................................... 87
Figure 29: PolyFugue: MC6 improvisation ............................................................................. 88
Figure 30: Polycyclic Combination 19 .................................................................................... 91
Figure 31: PolyFolkBaroque: MC1 ......................................................................................... 91
Figure 33: PolyFolkBaroque: MC4 ........................................................................................ 92
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Figure 36: PolyFolkBaroque: MC12 ....................................................................................... 93
Figure 37: PolyFolkBaroque: MC15-16 .................................................................................. 94
Figure 38: PolyFolkBaroque: MC18 ....................................................................................... 94
Figure 39: Polycyclic Combination #24 .................................................................................. 96
Figure 40: PolyKarma: MC2 ................................................................................................... 97
Figure 41: PolyKarma: MC3 ................................................................................................... 99
Figure 42: PolyKarma: MC7 ................................................................................................. 100
Figure 43: PolyKarma: MC9 ................................................................................................. 100
Figure 44: Polycyclic Combination #79 ................................................................................ 102
Figure 45: PolyAnatolia: MC1............................................................................................... 103
Figure 48: B Phrygian dominant and E harmonic minor scales ........................................... 104
Figure 49: PolyAnatolia: MC22............................................................................................. 105
Figure 52: PolyAnatolia: MC9 3/4 ........................................................................................ 107
Figure 53: PolyAnatolia: MC9 polymetric notation .............................................................. 107
Figure 54: PolyAnatolia: MC9 6/8 and 3/4 ........................................................................... 108
Figure 55: PolyRoots: Introduction ....................................................................................... 111
Figure 56: PolyRoots: MC1a ................................................................................................. 111
Figure 57: PolyRoots: MC1b ................................................................................................. 112
Figure 58: PolyRoots: MC2a ................................................................................................. 112
Figure 59: PolyRoots: MC2b ................................................................................................. 113
Figure 60: PolyRoots: MC5 ................................................................................................... 113
Figure 62: PolyPhasic: piano and trumpet ............................................................................ 121
Figure 63: PolyPhasic: bass .................................................................................................. 122
Figure 64: PolyPhasic: tenor sax ........................................................................................... 122
Figure 65: PolyPhasic: 3/4 vs 5/4 .......................................................................................... 123
Figure 66: PolyPhasic: bass and drums ................................................................................ 123
Figure 68: PolyBrubeck: Intro 1 ............................................................................................ 127
Figure 69: PolyBrubeck: theme ............................................................................................. 128
Figure 70: PolyBrubeck: bridge............................................................................................. 129
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Figure 72: PC14: drums......................................................................................................... 132
Figure 73: PC14: bass&drums .............................................................................................. 133
Figure 74: PC14: epiano ........................................................................................................ 133
Figure 75: PC14: ensemble head ........................................................................................... 134
Figure 77: PolyMorphism: bass & drums introduction ......................................................... 139
Figure 78: PolyMorphism: ensemble excerpt ........................................................................ 140
Figure 79: PolyMorphism modes in Eb ................................................................................. 141
Figure 80: PolyMorphism modes in Ab ................................................................................. 141
Figure 81: PolyMorphism modes in C ................................................................................... 142
Figure 82: PolyMorphism: improvisation sections ................................................................ 143
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Chapter 1: Introduction
The mixture of composition, improvisation and chance is exactly what life on this planet is all
about.
Piero Scaruffi (1999, p1)
This submission consists of two Volumes and four CDs: Vol. 1 is an exegesis; Vol. 2 is a
portfolio of scores; three CD albums entitled Polycyclic Chamber Music (Blue CD),
Polycyclic Jazz (Red CD) and Polycyclic World Music (Green CD)2; one data CD (Black CD)
containing extra compositions and a video. All four CDs will be referred to by their respective
colours.
The written work presented here will provide theoretical background and analysis to the
creative submissions. Both the exegesis and the creative work have ‘polycyclic
comprovisation’ as a central focus. This term will be explained in the introduction and
explored in detail throughout the exegesis. Included in this chapter is an outline of my musical
background, the exegesis style and research design.
1.1 Defining Polycycles

Polycycles in this context implies the simultaneous presence of musical motifs of different
lengths. While polycyclic comprovisation suggests the application of improvisation upon a
cyclic framework, both terms can naturally function and be described individually and
independently. I prefer to incorporate the term polycycles rather than polymetres as cycles
imply a more flexible method in the notation and performance of repeating rhythmic
frameworks, whereas metres tend to fix the units within time signatures. Moreover, since
polycycles may also exist outside of or within short metric units, the term embraces a more
encompassing and expansive description than does polymetres. However, much of the work
discussed here involves polymetres as the primary underpinning of a musical structure.
Firstly, it is important to distinguish here the often-misinterpreted distinction between

polymetre and polyrhythm. Whereas polymetre is the simultaneous employment of two or
more metric frameworks, or time signatures, polyrhythm is referring to two or more different
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rhythmic patterns within the same time signature. Related terms such as ‘multi-metre’ and ‘bi-
metre’ will be examined in a more in-depth discussion of metre and polymetre in chapter two.
The earliest documented evidence of polymetres dates back to the Renaissance when, for
example, Spanish dance music used double time signatures. Mozart engaged three onstage
ensembles for the ballroom scene, end of act one, in Don Giovanni to play in different metres
in order to accompany each principal character.3 This technique, known as “imbroglio”, was
used by Stravinsky in his ballet Petrouchka in scenes descriptive of simultaneous
uncoordinated action.
Polymetres have come more to the fore in twentieth century music. Charles Ives uses
contrapuntal polymetre in the second movement of Three Places in New England (composed
1903-14), where, upon the meeting of two marching bands, each plays similar marching tunes
at the same time, although they play in different tempos. Implicit polymetry is to be heard in
George Gershwin’s ‘I Got Rhythm’ where the melody implies 2 bar phrases of 3/4 over the
rhythm section playing 4/4 for the same duration. Similarly, in Bill Evan’s jazz composition
‘Five’, the melody has an implied 5/4 meter over a 4/4 rhythm section who play the same
harmonic progression as ‘I Got Rhythm’ - characteristic of the tradition in jazz of borrowing
and referencing.
In my work with the Choreographishes Theater Freiburg (1992-2000), I composed a 5/8 - 4/4
polycycle, ‘Il Matrimonio’4, to reflect two separate dances on stage depicting a wedding
ceremony during a dance/theatre version of Fellini’s La Strada. A live drum pattern in 5/8
synchronizes with pre-recorded medieval vocal samples of the same metre. After eight bars
the melody begins in 4/4 (although it often implies a 3/4 slow waltz feel) for a duration of
thirty bars at which point the 5/8 pattern has completed forty-eight cycles. Within the form,
eight bars of 5/8 equal five bars of 4/4, meaning the two patterns share the same ‘downbeat’
six times in thirty bars, providing reassuring points of reference for the performers. As will
become increasingly evident in the music analysis sections, mathematical equations make up
the essential underpinnings of my polycyclic compositions.
My film composing work since year 2000, comprising of over one hundred film scores,
contains countless understated examples of polycycles, which I have used to provide flexible
multi-layers of meaning appropriate for many dramatic situations.
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In analysis of a composition of mine for Jazz fusion group ‘subject2change’, Robert Burns
(2011) writes:
Coleman’s compositions often feature a compositional technique that involves layered
mixtures of metres he refers to as polycycles…[the rhythm section] continue the opening
A section in 4/4 metre over a ten-bar cycle while the [brass] introduce a unison motif in 7/4
(p73).
There are a number of examples of polymetres within rock music. Frank Zappa almost
satirizes the use of polymetre in his introduction to ‘Toads Of The Short Forest’:
At this very moment on stage we have drummer A playing in 7/8, drummer B playing
in 3/4, the bass playing in 3/4, the organ playing in 5/8, the tambourine playing in 3/4,
and the alto sax blowing his nose (Zappa 1970).
‘Touch And Go’ was a hit single by The Cars, in which the drums and bass play in 5/4, while
the synthesizer, guitar and vocals play in 4/4 during the verses. Equally, Swedish metal band,
Meshuggah, make “frequent use of polymetres, with unconventionally-timed rhythm figures
cycling over a 4/4 base”5 (Pieslak 2007, p220).
In proportion to the vast body of existing music, the use of polymetre remains more the
exception than the rule, particularly regarding the systematic utilization of three-part
polymetres. This research aims to advocate for more exploration into the potential of
polycyclic composition and improvisation.
1.2 Defining Comprovisation

The term comprovisation is an amalgamation of composition and improvisation. It is a
relatively recent and infrequently employed term that describes the interrelationships between
premeditated material and real-time spontaneity in a music context. Online searches for the
term ‘comprovisation’ result in a modest number of recordings, performances, academic and
non-academic literature that have embraced this terminology. Described as “a celebration and
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exploration of the interface where composition and improvisation meet” (Thomas 2005, p1) it
is not a term in common use.
Earliest references date back to the 1980s when Lawrence Butch Morris is credited with
inventing a “style of organized group improvisation that's been dubbed ‘Comprovisation’”
(Kelsey 2016, p1). According to Kelsey, Morris coined the term ‘conduction’ to describe his
conducting technique or “shaping an improvised performance by using hand signals” (Ibid.).
In the accompanying notes to his CD, Possible Worlds, trumpeter Markus Stockhausen
writes: "The idea was to create a unique kind of music that is neither totally improvised nor
composed. 'Comprovisation' was the word that came to my mind” (1995). On pianist Richie
Beirach’s album Crossing Over the biographical notes mention “Comprovisation - the close
cooperation between composition and improvisation” as one of the “core issues of his 48
career years” (2008).
There would appear to be several attempts at definition but no single, substantiated claim to
the invention of the term comprovisation. In 1989 the group Triangulation led by John Wolf
Brennan “developed his personal style of ‘comprovisation’” (Brennan 2016, p1). Virgil
Moorefield was also credited with the term for his work of the mid 1990s, described as a
“confident compromise between composition and improvisation” (Ross 1996, p1). More
recently, improvisational groups in Seattle propose another variation on the term as
"‘co-comprovisations’ [that] feature spontaneous co-composition, performance, and recording

of a completed work on the first take”6.
Regardless of whoever is responsible for the word comprovisation or when it was invented, it
is indisputable that some form of relationship between composition and improvisation is
evident in the vast majority of the world’s music, from pre-historic times to present day. One
might argue that ‘pure’ composition, a pre-determined music that holds no allowance for
performer contingency beyond interpretation of fixed notes such as in western art music, is a
departure from normal practice. The topic of comprovisation and its relevance to my work
will be further discussed in chapter two. For the purpose of this exegesis, ‘polycyclic
comprovisation’ is defined as improvisation upon a polycyclic composition.
My interest in polycyclic concepts dates back to the early 1990s while practice in
improvisation can be traced to my childhood. A brief summary of my musical background is
of relevance to the research topic.
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1.3 My Musical Background
Music education, formal and informal, on piano and trumpet, was at the centre of my
upbringing. Although improvisation has always been an integral part of my music making
since early childhood, it was not until the age of seventeen that I heard my first Miles Davis
recording. Upon hearing Miles Davis’s Kind of Blue, I was transfixed and transported to a
new world of possibilities and resolved to study the mechanics of the music in the country of
its birth.
While I was studying at Berklee College of Music in Boston Miles Davis played his first
‘come-back’ concert (1980) after a hiatus of six years. As an impressionable twenty year old
in attendance, I was overwhelmed with the live power of this music, its ever-present
inventiveness and drive toward what seemed like a knife edge of precarious existence, yet the
musicians displayed a skilled confidence, under the watchful presence of a great master.
Performing music at this level of crafted spontaneity became my ultimate goal. After studying
and practicing the techniques of jazz music for a number of years, and upon relocating to
Germany, I was in a position to perform my own jazz compositions with three other highly
skilled and creative musicians under the name of the ‘Trevor Coleman Group’ (1985-93).
During this time I also came in contact with improvisation upon complex polycyclic
structures while collaborating for four years (1990-93) with colleague and mentor Muneer
Abdul Fataah from New York, then based in Freiburg, Germany. During the 1980s he co-
developed these concepts with drummer Doug Hammond and saxophonist Steve Coleman,
who continued development parallel to Fataah in the 1990s. Coleman (Steve) has dubbed
them ‘overlapping cycles’ (further examined in the metre / polymetre section in chapter two).
The challenge of attempting to navigate the complex structures of Fataah’s compositions was
at once frustrating and liberating - frustration with continually getting ‘lost’ in the form, then,
as I became more familiar with the structures, an intense sense of liberation that I had not
experienced playing more conventional jazz.
I began my own compositional forays into polycyclic composition and improvisation at this
time. For my bi-metric piece ‘The Sense of no Sense’7 (1991) the drums and bass play 16 bars
of 5/4 while the piano and vocals play 20 bars of 4/4 of a 12-bar blues form. Consequently
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both metres coincide, then continue together in 4/4, at bar 9 of the second form, or dominant
chord, which acts as a fitting and welcome ‘release’ point.
As previously stated, in addition to jazz music, I continued experimenting with bi-metric

forms throughout the 1990s as resident composer/performer for the Choreographisches
Theatre Freiburg followed by my documentary film scoring work (2000-12).
My first attempt at a ‘tri-metric’ (3-part) polymetric form was performed by the jazz fusion
group “subject2change”8 in Dunedin, New Zealand (2002). The bass held a cyclic pattern in
3/4 while the drums played a repeating pattern in 5/4, creating an extended but rhythmic
groove. Meanwhile the saxophone and piano played the theme in 4/4. After 60 beats, or 20
3/4 bars, 12 5/4 bars and 15 4/4 bars respectively, the group would coincide on a shared ‘one’
or downbeat. This framework was continued during the soloing sections and required
considerable concentration. What came as an intriguing and encouraging surprise was the
physical response from the audience. Despite the unusual concept, the floor was immediately
full with vigorous dancing upon beginning the piece. Upon interviewing a number of the
dancers, they could not pinpoint the polymetric component but seemed to react to the
composite effect of the interlocking cycles and resulting energy. This experience further
fueled my growing conviction that, if this polymetric approach was conceived competently, it
could broaden the rhythmic possibilities considerably for groove based music and expand on
the exciting and potentially liberating effect I had first experienced with Muneer Abdul
Fataah in the early 1990s.
Although having enjoyed a very successful twelve years in the television and film industry
(2000-12), my enthusiasm for film scoring was waning. Having felt I was beginning to
exhaust the musical possibilities within this medium and that the numerous compromises
were taking their toll, I was ready to undertake a new direction. I was eager to dedicate myself
full-time to the exploration and realization of the potential inherent in my long held interest in
polycyclic comprovisation. Due to various limitations previously, especially time, I had the
sense I had only scratched the surface of possibilities and that with a systematic approach that
is demanded in an academic environment I would have no trouble filling the three years of a
DMA in order to bring these concepts to form. The composition, performance and production
of three CDs in three broadly defined genres are designed to provide ample illustration of
these potentialities. Furthermore, the commitment to explaining the processes in an academic
thesis provides rigorous context for this underexplored territory.
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1.4 Methodology
1.4.1 Exegesis Style

The formal recognition of practice-led research was established in the 1990s whereby
higher research degree candidates in art, design and media submit creative works alongside an
exegesis for examination. In the ensuing years various exegesis models have been proposed
and experimented with by students and supervisors to varying degrees of endorsement within
academic institutions. A connective model for the practice-led research exegesis was
proposed by Hamilton and Jaaniste based on extensive analysis of the form and content of a
large sample of submitted exegeses. They identified persistent patterns in content and
structure:
Besides an introduction and conclusion, this pattern includes three main parts, which can be
summarized as situating concepts (conceptual definitions and theories); precedents of practice
(traditions and exemplars in the field); and researcher's creative practice (the creative process,
the artifacts produced and their value as research) (2010, p31).
Of these three main parts, the first two will be incorporated into the section
‘Theoretical Foundations and Literature Review’ in chapter two of this exegesis. The
‘researcher’s creative practice’ will be demonstrated in the music analysis sections, chapters
three to five. Before proceeding with an account of my research design it is pertinent to
understand how my choice of exegesis style is linked to the research topic.
The connective model maintains “academic objectivity, by providing a contextual framework
for the practice, and personal reflexivity, by providing commentary on the creative practice”
(Hamilton and Jaaniste 2010, p32). The connective model combines two distinct approaches,
the context and commentary, as identified by Milech and Schilo (2004). Whereas for the
context model “the exegesis performs the role of a contextualizing text” (Hamilton and
Jaaniste 2010, p37) the commentary model “is a personal, self-reflexive account by the
researcher who speaks as an insider and who draws on what they uniquely know and have
experienced in relation to their creative works and processes” (p38).
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It is necessary to combine these two approaches in a coherent manner because the
commentary model “does not connect the research project and creative practice to the wider
fields that precede or surround them… therefore cannot substantiate a case for advances of the
field that might have been made through the research” (Ibid). The creative practice in both
models “is disconnected from the field of research in which it is situated” (Ibid). The
connective model offers a solution in that the context model is adopted for the ‘situating
concepts’ and ‘precedents of practice’ aspects of the exegesis while the commentary model
for the ‘researchers creative practice’ section.
Therefore the context and commentary models are integrated to “overtly connect the creative
practice and its processes with its broader theoretical and practical contexts” (p39). The
researcher is required to “adopt a duality of subject positions and a polyvocality” (p40).
This ‘polyvocality’ and hybrid genre of writing is well suited to my practice-led research on
‘polycyclic comprovisation’. The combination of “dual orientation and multiple perspectives,
as well as a polyphony of voices” (p42) succinctly mirrors the process of composing and
performing polycyclic music while simultaneously providing a connective integrated model
for my research.
1.4.2 Research Design

In this section I will outline the process undertaken in my investigation of polycyclic
comprovisational concepts and realization of the composed works.
Ongoing examination and collating of diverse contemporary scholarship throughout the

duration of the research provided a significant quantity and quality of contextual material to
futher situate my work within a more expansive perspective.
Before any composition could be purposefully undertaken it was necessary to ‘map’ out all
possible combinations of time signatures in tri-metre groupings. For clarification, an example
of a tri-metre grouping would be a composition that incororates the metres 3/4, 4/4 and 5/4
simultaneously. Firstly, all feasible metres needed to be identified. These included 3/8, 5/8,
6/8, 7/8,11/8,13/8, 2/4, 3/4, 4/4, 5/4, 7/4, 11/4, 13/4 – a total of thirteen. To avoid any overly
redundant doublings of metres 9/8, 15/8, 6/4, 9/4, 15/4 were omitted. In these cases they were
considered divisable by smaller values. The exceptions to this criteria were 6/8 and 4/4 being
21
commonly used metres in their own right. A mathematical process which excluded the
‘redundant doublings’ (such as 2/4 and 4/4) resulted in 364 total combinations. Further
culling of combinations subjectively considered too impractical to execute reduced the total to
269. Terminology was established and tri-metres, or bi-metres for that matter, came under the
umbrella term ‘polycycles’. This term suggests a certain flexibility to allow the use of cycles
to exist beyond metrical systems. Another term central to this mathematical base is ‘Mother
Cycle’ (MC) which is the total number of beats produced by a polycycle. For example, a 3/4,
4/4, 5/4 polycycle will create a sum of 60 beats (before all three metres have a downbeat at
start of a common bar): 20 bars 3/4; 15 bars 4/4 and 12 bars 5/4. The range of Mother Cycles
extends from the smallest at 30 beats (e.g. 2/4, 3/4, 5/4) to the largest at 2002 beats (e.g. 7/8,
11/8, 13/4). It was further deemed practical to categorize the Mother Cycles into three
different levels of complexity: Level I = MC less than 150 beats; Level II = MC between 150
and 350 beats; Level III = MC more than 350 beats.
Figure 1 illustrates an analysis of the first polycycle of the table:
Figure 1: Polycyclic Combinations
(For the complete table of ‘Polycyclic Combinations’ refer to Appendix H).
My intention was to predominatly utilize the smaller, and easier, Mother Cycles from Level I
or II being, arguably, the first known experiments of this nature. This is particularly
applicable when testing the efficacy of the polycycles with human musicians and their
inherent limitations on acoustic instruments, which was the intention of the study from the
outset. Experiments with computer music and Level III Mother Cycles is a potentially
informative study but, again, not within the parameters of this research.
22
A powerful and flexible sequencing system for composing, recording and editing was an
essential aspect of the music organization. I chose Logic Pro X on the basis of my familiarity
with the programme, and its ability to fulfill a multiple of requirements. Integral to the
research design was adapting the technology to serve a polycyclic foundation. For example,
the ability to quickly change between the three metres to frequently compare the different
‘viewpoints’ was required. Furthermore, as the compositional process evolved and I decided
upon notating the music in three different metres (further discussed in the music analysis
chapters three to five), considerable experimentation was called for to ‘trick’ Logic into co-
operating in this uncharted field (discussed in more detail in chapter three). Eventually,
however, it would become necessary to convert selected Logic files into Sibelius (notation
software) to create a more professional score.
The cornerstone of my compositional approach is experimentation through recorded

improvisation followed by critical and instinctive selection of motivic materials for
development. This method also seemed particularly germane to the sphere of comprovisation.
Three different stages along the comprovisational spectrum (as discussed in detail in chapter
2.5) parallel to the three nominated genres required three distinct methodological and
philosophical settings to be established. The first album was composed for three performers
on classical instruments (1/ oboe, cor anglais, soprano and alto saxophones, 2/ cello, 3/ piano)
and incorporates the most fully notated scores. I have called this album Polycyclic Chamber
Music (or ‘Chamber’ for simplicity) and it lies at the more compositional end of the spectrum
(Vol 2, pp6-139, and the ‘Blue CD’). The principal objective of this project was to focus on
polycyclic compositional design. Improvisation by the participating musicians would be
minimal or optional. This solution meant that classically trained musicians who might not be
confident improvisers could then choose a ‘notated improvisation’ option where applicable.
The main comprovisational challenge then for this project would be composing via
improvisation within a polymetric structure while maintaining compositional articulacy.
Further challenges would need to be addressed in the actual performance of the music
including polymetric notation.
The second album, Polycyclic Jazz Music (or ‘Jazz’), would be a fitting medium to explore
the middle area along the comprovisational spectrum that delineates a more proportionate
relationship between composition and improvisation (Vol 2, pp140-236, and the ‘Red CD’).
By employing myself initially as ‘test subject’ I would ‘sit in the chair’ of each instrument
23
and compose and improvise within each instruments respective metre. The goal was to create
a structure that would be resonably comfortable to perform within the traditions of jazz
modality while implanted in a very unfamiliar metric concept - a framework at once highly
challenging but adhering enough to idiomatic norms as to encourage a natural sense of groove
and improvisational stimulation. It was assumed that the compositions would evolve and
change with the additional participation of the invited improvising musicians. The scores
should be less prescriptive, reflecting jazz notational conventions for composed and
improvisational sections.
Thirdly, the Polycyclic World Music (or ‘World’) project ventures into the more improvised
end of the spectrum by introducing a context in which a vocalist had complete freedom to
improvise without pre-conceived directions over pre-recorded cyclic motifs. (‘Green CD’ - no
scores were created for this project. Lyrics are contained in appendix G). These cyclic motifs
were adapted from the ‘chamber’ project compostions to provide a bed of music more
consistent with ‘world’ music practices. Post-improvisation compositional techniques (see
chapter 2.6) were utilized to develop fully fledged recordings. The research interest here was
to observe how a freely improvising musician would respond to a polycyclic situation. In this
scenario notation is not applicable.
Once the music from all three projects was sufficiently composed, musicians were invited to a
series of recording sessions. Interviews regarding their experiences during these sessions were
also documented in order to ascertain any performance issues surrounding this method. The
recordings then received additional manipulation during the mixing procedure in preparation
for mastering and CD production. These final editing phases also served to increase the
transparency of these complex pieces. At all stages of the research an account of the process
has been kept for inclusion in the music analysis sections.
Included for further clarification on performing with polycycles is a proposed graded

approach, from a performer’s point of view. This description will be be referenced at various
stages of the exegesis.
Performing Polycycles:
• Level I: learning your notated (‘fixed’) cycle (your ‘identifying signature’)

• Level II: extemporizing/improvising with your notated cycle (variations upon your
‘identifying signature’)
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• Level III: listening to/absorbing a second performer’s cycle while simultaneously
playing/improvising on your own cycle (acknowledging another ‘identifying
signature’)
• Level IV: responding/interacting with another performer’s cycle while maintaining the
integrity of your own cycle. (Cross-fertilisation of ‘identifying signatures’) This
process is repeated with the other cycle(s)
• Level V: absorbing a third performer’s cycle while simultaneously performing your
cycle and maintaining awareness of the second performance cycle.
• Level VI: responding/interacting with the third performer’s cycle while
simultaneously performing your cycle and maintaining awareness of the second
performers cycle.
• Level VII: responding/interacting with two other cycles while maintaining the
integrity of your own cycle. At this level, full polycyclic improvisation has been
achieved.
There is a sense of optimal balance between maintaining the integrity (strength) of one’s
individual identifying signature and receptivity and utilization of others identifying
signatures.
An extra dimension to performing in relation to fixed cycles is the element of free

improvisation over no fixed cycle, by an additional performer(s). The improviser(s) may draw
upon materials presented by the ‘cyclists’ or introduce a fresh counterpoint based on a new
identifying signature. A definition of the terms in this context will assist in the interpretation
of ‘performing polycycles’.
• Cycle: a sound pattern normally between three and thirteen beats.

• Identifying signature: a performer’s fixed sound pattern.
• Absorbing: comprehending and assimilating another performer’s cycle.
• Interacting: contributing and responding to stimuli from another performer’s
performance.
• Integrity: the state of being whole and undivided.
• Cross-fertilization: the exchange of ideas.
• Maintaining awareness: sustained conscious recognition.
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Musical Analysis
Analysis of the music through examination of the included scores and recordings will
illuminate the technical functioning of polycyclic design alongside application of
improvisation, performance experiences and conclusions drawn from the process. The
‘chamber’, ‘jazz’ and ‘world’ music albums have been allocated separate chapters in order to
scrutinize their particular idiosyncratic elements in relation to the research topic.
1.5 Chapter Summary
It is hoped that the reader at this point will have a firm introductory background to the
concept of polycyclic comprovisation and the intentions of this research.
The musical analysis of the Polycyclic Chamber, Polycyclic Jazz and Polycyclic World
albums will be covered in the chapters three, four and five respectively. Chapter six concludes
the exegesis by comparing the findings of the research with the intentions, outlining the
contributions to the field and proposing further potentialities for related research.
The aim of chapter two however, is to delve more deeply and broadly into the understanding
of polycyclic and comprovisational concepts, and where they are situated in context, through
examination and discussion of relevant contemporary and historical literature.
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Chapter 2: Theoretical Foundations and
Literature Review
Through the relationships that are established in the course of the performance we are
empowered not only to learn about the pattern and our relation to it but actually to experience
it in all its complexities, in a way that words never allow us to do...
Mark Abel (2014, p9)
This chapter will examine a carefully selected body of literature that most exemplifies the
theoretical foundations underscoring polycyclic comprovisation. How my work is situated
within these theories will be addressed through discussions around comprovisation, the multi-
faceted aspects of metre, ethnomusicological comparisons, minimalism and metamodernism,
jazz and the role of studio in contemporary composition. An investigation surrounding
perception, intuition and the wider societal resonance of the themes presented here is included
in appendix C and D to advance a broader context.
2.1 Comprovisation:
Among academic publications, the most extensive discussion on the subject of

comprovisation is presented in Michael Dale’s thesis: What Is Comprovisation? (2008) in
which he explores the “middle ground between the poles we usually term ‘composition’ and
‘improvisation’” (p5). He argues that although the terms may imply “pure or idealized polar
opposites” (Ibid), they are in fact inseparable.
Even the most ‘composed’ (i.e., written-down, through-composed, and/or predetermined)
music has some elements of free and flexible interpretation; and even the most spontaneous
improvised creations often have… a ‘compositional’ coherence, integrity, or intention (Ibid).
27
His focus is on comprovisation as “a spectrum of music-creation methods that arrive at both a
relatively high degree of compositional...and a relatively high degree of performer agency,
freedom, spontaneity, and flexibility” (Ibid). His intention is to examine some “general
operating principals” of comprovisation and the various methods of “organizing a
comprovisational musical space” (Ibid). It is firstly helpful to be clear on the definition of
terms according to Dale:
• composition: one person predetermines as much as possible what a piece of music is
going to be.
• comprovisation: one or more people predetermine only some of what a piece of music is
going to be; the rest is determined at the moment of performance or execution.
• improvisation: one or more people predetermine nothing of what a piece of music is
going to be; it is determined at the moment of performance or execution (p6).
Dale also outlines their “corresponding characteristics of identity and variability”:
• composition: can be repeated exactly… and maintain a recognizable identity.
• comprovisation: can be repeated with greater or lesser degrees of variability
and maintain a recognizable identity.
• improvisation: cannot be repeated exactly (p7).
One of Dale’s interviewees, Chris Brown lists many music styles including classical
music, new music, traditional jazz, Indian classical music, rock, Flamenco and other
Romani musics and most of the world’s other folk traditions as
already arising in essence from a symbiotic and inseparable combination of compositional
and improvisational means, then we could say that basically almost all of the music that has
ever been made is comprovisation.…it is always a mixture of predetermined arrangement or
structure and spontaneous elaboration, invention, and/or interpretation (p7).
Roscoe Mitchel, another of Dale’s interviewees, considers improvisation, at its best, can be
regarded as composition, or defined as “everybody’s a composer” (p8).
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I would suggest there is an additional layer of coalescence within this comprovisational
spectrum: post-improvisation manipulation of recorded material further blurs any perceived
boundaries between composition and improvisation. Implementation of compositional skills
upon another’s improvised performance contributes to, and complicates, the notion of shared
ownership of the music. How this functions, technically and collaboratively, will be expanded
upon in the ‘studio composer’ section (2.6) of this chapter, and in chapters four and five when
analyzing my ‘jazz’ and ‘world’ albums.
Many of the great European classical composers were also well-known improvisers, for
example Bach, Beethoven, Vogler, Mozart, Paganini, Chopin, Liszt, Widor and Franck. Dale
posits that “we may reasonably assume then that many of the materials for their compositions
were arrived at through improvisational explorations; later honed, shaped and arranged into
developed compositional forms, expanding out of the models of their time” (p9).
In my own work, comprovisational procedures are utilized in numerous ways expressing a

‘polyvocality’ of roles. These roles, either independently or inter-dependently, include that of
composer, performer, improviser, producer and facilitator. It is of interest to monitor these
roles at various points along the composition/improvisation spectrum. Complexity is
particularly intensified when these activities are placed in a polycyclic environment.
Contemporary comprovisational practices have a more diverse set of techniques to draw upon
than previously, predominantly as a result of technology. These practices and their
consequences will be further examined in upcoming sections. Firstly, in order to better
understand the function, meaning and background of the term ‘comprovisation’ it is pertinent
to look more closely at its constituent components.
2.1.1 Composition:
I want to find the music, not to compose it. (Johnson 1999, p1)
Let the music do what it wants to do. (Feldman, cited in Johnson 1999, p1)
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In the previous section the relationship between composition and improvisation was
described in terms of one person predetermining the content of the music compared to it being
determined at the moment of execution (Dale 2008, p6), and the degrees of fusion between
these two apparent polarities. Similarly, in this section I am concerned with exploring an
aspect of the act of composing itself that indicates an apparent duality of positions. There is a
potential internalized tension between strict adherence to a pre-conceived logic and allowing
the music to “do what it wants to do” (Feldman, cited in Johnson 1999, p1) from the point of
view of the composer during the actual process of composing. The American minimalist
composer, Tom Johnson poses a philosophical conundrum: “To what extent have musicians
really discovered a natural music, derived from absolutes like 3:2, and to what extent did they
simply make it up?” (2004, p2). Johnson’s teacher, Morton Feldman, was against “allowing
musical choices to be made by an exterior logic”. (Johnson 2004, p2) His position was to
painstakingly choose very gradually “between all the possibilities that arose” and by
“standing aside, trying to hear what the music wanted, trying to let the music compose itself”
rather than imposing the criteria "What do I want?" (Ibid.).
Whether it is possible to observe music that you are creating in such objective terms is
questionable, as is the notion of music ‘self-unfolding’ and that the composer can arbitrate
between notes and chords without agency. Steven David Gisby (2009) expresses the other
side of the compositional coin. In contrast to Feldman, Gisby initially chose to work within an
‘exterior logic’ but discovered that “the processes were too strict and I'd left myself with no
room to move. On reflection, I felt I'd made all of the decisions before the piece had begun”
(p28).
There is a question of balance suggested here that I have to continually address when
composing over a process based system. To what degree should the process determine the
outcome? At which point does the composer ‘step in’ to re-direct the course of the music and
from what criteria is such a decision made? These choices are in the realm of individual
aesthetic, or as Gisby states, “…using a process to determine the destination without it
determining how I am to get there” (p29). Tom Johnson admits that his piece The Chord
Catalogue “is really just a list” (2004, p4). The 8178 possible chords in one octave are
performed “in a logical sequence, rather than being composed, and the main concern of the
piece is to remain open to all sounds, all harmonies” (Ibid.). Even though each chord “has
something just a little special about it” (Ibid.), the mind-numbing effect of meagre
30
compositional variety becomes evident in a videoed performance by Nicholas Horvath of
Johnson’s The Chord Catalogue when the single audience member on camera frequently
yawns, then appears to fall asleep, despite Horvath’s overtly graceful hand movements9.
An analogous circumstance would be if I were to perform all 269 polycyclic combinations (as
described on p20 in chapter 1.4.2 and listed in appendix H) as a series of single pulse notes on
the piano. Even with some variation of pitch, the result would quickly become tedious. My
intention is to create the perception of simplicity out of complexity through combining
creative instinct with compositional skill.
Gisby arrives at a similar sense of symmetry and concludes his thesis with a succinct
summary of his aesthetic findings:
For me, these pieces represent a search for balance: of the premeditated and the instinctive,
the personal and the impersonal, the possible and the impossible, the intricate and the simple,
of form and of the journey and the destination. (2009, p32)
To some, the keyword in working with processes is ‘perceptible’: “I am interested in

perceptible processes. I want to be able to hear the process happening throughout the
sounding music” (Reich 2002, p34). In contrast to these perceptible processes, my polycyclic
structures are more likely ‘disguised’ – easily recognisable melodic elements are developed
through traditional compositional techniques of variation which may distract from the
underlying processes. The process component functions more subliminally. The overarching
effect is rather the ‘illusion’ of simplicity. Achieving a perception of simplicity over a
complex polycyclic base will however assist in the avoidance of the music becoming
simplistic.
2.1.2 Improvisation:
The art of thinking and performing music simultaneously (Grove 1954)
Exploration through improvisation is the cornerstone of my approach to music creation.
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The literature concerning improvisation exists in vast quantities so I will discuss only a few
definitions from established practitioners and their relevance to this context.
Perhaps the most concise definition is attributed to Steve Lacy who, when spontaneously
asked to describe in fifteen seconds the difference between composition and improvisation,
stated “In fifteen seconds the difference … is that in composition you have all the time you
want to decide what to say in fifteen seconds, while in improvisation you have fifteen
seconds” (Bailey 1993, p81). His answer lasted exactly fifteen seconds.
Improvisation, by Derek Bailey (1993), is one of the most highly acclaimed studies on the
subject. He advocates improvisation as a natural act in
no need of argument and justification. It exists because it meets the creative appetite that is a
natural part of being a performing musician and because it invites complete involvement, to a
degree otherwise unobtainable, in the act of music-making (p142).
George Lewis (2002) identifies improvised music in terms of a “social location”
…inhabited by a considerable number of present-day musicians, coming from diverse cultural

backgrounds and musical practices, who have chosen to make improvisation a central part of
their musical discourse. Individual improvisers are now able to reference an intercultural
establishment of techniques, styles, aesthetic attitudes, antecedents, and networks of cultural
and social practice (p234).
The ideal interaction between these musicians is described as “multi-dominance” (Lewis

2000) and as an “African-American aesthetic by which individuals articulate their own
perspectives yet remain aware of the group dynamic, ensuring that others are able to do so as
well” (Borgo 2005, p17). Lewis (2002) also contends that, from an Afrological perspective,
improvisation is possible “only through discipline, defined as technical knowledge of music
theory and of one's instrument as well as thorough attention to the background, history, and
culture of one's music” (p238).
In order to earn the title of improviser Paul Stapleton (2013) argues that a musician
participates in “a form of music making that is shaped by certain rules and expectations, tacit
or otherwise” (p7) and that “both the sonic and extra-sonic results of an improvisation form
an account which is inescapably tied to its context” (p8). For an improvisation to be a success
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T. Carl Whitmer (1934) believes it depends on a continuing flow of ideas, not hindered by
any sense of right or wrong, and offers the following statements:
Don’t look forward to a finished complete entity, the idea must always be kept
in a state of flux.
An error may be only an unintentional rightness.
Do not be afraid of being wrong; just afraid of being uninteresting (p36).
Sebastian Lexer (2010) discusses qualities that are fundamental to improvisation:
To escape uniformity through ceaseless investigation, to preserve progress
through continuous exploration and to feel the freedom to strive to be different
is to be capable of one’s own potentiality (pp41-42).
The above quotations have been selected in relation to my own improvisational work and are
also of significance in a polycyclic comprovisational setting. When creating a
comprovisational model it is critical that the complexity of structure does not interfere with
improvisation as a “natural part of being a performing musician” and really does invite
unimpeded complete involvement as Bailey suggests (1993, p.xii). This equally applies when
incorporating “diverse cultural backgrounds and musical practices” and establishing a sense
of “social location” (Lewis 2002, p234). The musicians who play on my recordings stem from
a multiple of nationalities and musical backgrounds. An appropriately designed structure
enables a “multi-dominance” (Lewis 2000) to thrive and potentially even be strengthened
through additional layers of complexity. The ability to successfully navigate such systems
requires an exceptional level of musicianship in the areas outlined above by Lewis, Stapleton,
Whitmer and Lexer.
Stapleton (2013) further states that “musical improvisation can be understood as the real-time
manipulation of sonic memories, or the restructuring and honing of past materials and
interactions” (p6). On the contrary, I would stress the importance of avoiding merely
regurgitating and reconfiguring memorized material. To avoid potential predictabilities and
facilitate a more original outcome, I am advocating the conception of an unfamiliar
(polycyclic) yet instinctual (based on conventions) framework for improvisation.
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Finally, in reference to the value of improvisation and experimentation within the realms of
academic research, my colleagues Bendrups and Burns (2011) state:
Our involvement with Subject2Change has provided both of us with a way of aligning our
performative and investigative selves within a collaborative and interactive context. The result
of this process is the development of new musical outputs, employing and deploying
performance techniques and sound elements in unusual and innovative ways. Sometimes
different styles (or languages) will complement each other and sometimes they won’t, but
experimentation allows for the opportunity of new kinds of combinations and discussions to
be attempted and for new music to be created (p67).
2.1.3 Composition, pre- and post-improvisation:

To conclude this section I outline the two approaches to comprovisation on which I am
concentrating in this research that can be simply defined as ‘composition, pre- and post-
improvisation.’
Pre-improvisation composition:
At the pre-performance or recording stage, the composer notates or otherwise indicates the
fixed material for each performer. Improvisation is then employed at the discretion of the
musician during performance. For further discussion I will return to this form of
comprovisation, with examples, in the section: Jazz and the Comprovisational Spectrum (2.5).
Post-improvisation composition:
As the name suggests, post-improvisation composition involves the manipulation of recorded

improvisations in post-production utilizing traditional compositional approaches to organize
the material. This topic will be examined in the section: Computer / Studio Composer (2.6).
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2.2 Metre / Polymetre / Interlocking Patterns
‘Well, we feel for several pulses’.
That was my revelatory moment, gained from an acupuncturist checking my vital signs.
Steve Coleman (Blumenfeld 2013)
Rhythm is [life's] answer to chaos.
Deleuze and Guattari (cited in Abel 2014, p100)
2.2.1 Metre
In order to adequately address the literature and multiple theoretical facets surrounding the
topic of metre I have divided the discussion into three parts: metre, polymetre, and
interlocking patterns.
As stated in the introduction, most of the music discussed in this body of work involves
polymetres as the primary underpinning of structure. Preliminary to examining polymetre
however, it is necessary to examine the multi-faceted topic of metre. What is of prime
importance in my work is the perception of metre, and particularly how this functions when
more than one is in operation simultaneously. For the purpose of clarity and economy I will
confine the discussion to music containing an identifiable pulse - excluding such works where
metre is indicated purely for the convenience of the performers, having otherwise no direct
influence on the music, as practiced by many avant-garde Western art music composers.
Firstly, despite ‘metre’ being a commonly known term, clarification is nonetheless paramount
before advancing further. What is metre? Martin Clayton (2000) maintains that “metre, along
with tempo and rhythm itself, is one of the core concepts we use to describe rhythmic
phenomena” (p28) and “has often been described by musicologists… as a grouping of beats
for the purpose of measuring time” (Ibid.). He continues by describing metre as existing
“when two or more continuous streams of pulsation are perceived to interact” (p41). The
ability to recognize metre is dependent on “the extent of the perceptual present” (p42) - i.e.
35
pulses not likely separated by a duration longer than two to three seconds - “and the ability to
comprehend recurring patterns as single Gestalts” (p42). The question becomes which of
these ‘two or more continuous streams of pulsation’ is nominated as the ‘beat’ and “how do
we decide whether a grouping of 2, 3, or 4 beats is enough to specify a metre, or whether a
higher level grouping (of 6, 8, 12, or 16 perhaps) is also metrically significant?” (p30). If, as
Clayton states, “metre and its representation is in fact a complex area in Western music
theory” (p29) and further, if there is inconsistency surrounding the determination of a metric
unit, then how much more difficult is it to reliably determine a polymetric construct? A
broader understanding and definition of metre is then perhaps potentially informative.
Mieczyslaw Kolinski proposes a connection between metre and Gestalt psychology (1959).
He describes metre “as a background against which the rhythmic surface is perceived” (cited
in Clayton 2000, p30). Metre then, according to this view “is a kind of reference grid which
profoundly influences the perception and cognition of rhythm” (p30). Jay Dowling and Dane
Harwood (1986) further clarify this: “The dual structure of underlying beat and superimposed
rhythm is fundamental to the cognitive organization of music...” (p186). By pairing the
“image of metre as a background or framework for rhythm” with the theory of interacting
pulse streams “we have the beginnings of a concept of metre of wide applicability” (Clayton
2005, p31). By applying such a wide ‘concept of metre’ to a complex metric model more
latitude is directed to the interpretation of how to perceive a multitude of pulse streams.
There are other scenarios in which a simplistic interpretation of metre becomes inappropriate.
Simha Arom (1989) prefers the term “isoperiodicity” when describing Central African
polyrhythm as consisting of “a web of interlocking, periodic rhythmic patterns, organized
around a single primary pulse level” (Clayton 2000, p31). Because, according to Arom, this
organization contains only one pulse level, “and no regular ‘accentual matrix’”, it therefore
“cannot be described as a type of metre” (p31). Polycyclic music may be also better imagined
in terms of interlocking periodic patterns, perceived on a single pulse level, and on a more
biorhythmic rather than metric basis. “Life is rhythmic,” as Mark Abel (2014) explains, “its
myriad rhythms arising from the milieu that are centered on every living thing (sic)” (p100).
Further argument for the limitations of metre as an organizational container of rhythms can be
interpreted in his statements: “productive rhythm has nothing to do with reproductive meter”
(p101) and “there is a clear tendency that the attempt to do justice musically to the temporal
multiplicity of life results instead in conveying non-worldliness” (p102).
36
Abel believes that because “meter has become so deeply entrenched in Western musical
culture… it requires an effort of will to appreciate music which is organized differently”
(p86). He advocates expanding consciousness “beyond its body's limited perspective to
perceive other durations, and beyond that to intuit time itself” (p98). Deleuze and Guattari
(1988) propose two other kinds of temporality in counter-position: “Chronos: the time of
measure that situates things and persons, develops a form, and determines a subject” (cited in
Abel 2014, p98). They regard the “temporality of Chronos [as] related to the ‘plane of
organization and development’” (p99). Its antithesis, Aeon, is described as “a floating time
against pulsed time or tempo” (p98). Clear parallels are evident in these descriptions to
polycyclic design (Chronos) and its comprovisational relationship to the ‘element of free
improvisation over no fixed cycle’ (Aeon) as outlined previously in the ‘Performing
Polycycles’ part of the methodology section (1.4).
It is understood then that “metrical interpretation depends on the identification of key musical
parameters” and that “it is possible for a single piece of music to be interpreted metrically in
more than one way” (Clayton 2000, p33). These parameters may include “patterns of intensity
or duration, the repetition of melodic or harmonic features, or something else” (Ibid.)
indicating there are numerous ways that “listeners tend to choose one possible metric
interpretation rather than another” (Ibid.).
I contend that in my compositions presented here, participating musicians and listeners alike
are confronted with unique challenges in identifying integrated multiple metres. It is not a
matter of preference how the rhythmic frameworks are perceived, for a musical work may be
appreciated on a number of levels, but of interest as to what degree the comprehension is
either cognitively constructed or intuitively internalized, or some combination thereof.
2.2.2 Polymetre
If metre is able to be interpreted in more than one way, as intimated in the previous section,
the issue becomes compounded when attempting to perceive polymetric constructs. As with
metre, in order to better understand the intricacies surrounding polymetre, it is advantageous
to take a multi-pronged approach. Saxophonist and composer Steve Coleman suggests that
there are primordial reasons why the attraction to more complex notions of rhythm exist. Like
the music he prefers, “the body I live in is polyrhythmic. Like a musician freed from the
37
tyranny of a steady 4/4 beat, I enjoy the sublime freedom of being kept alive by pulses that
never merely keep straight time” (cited in Blumenfeld 2013). Performing music of this
complexity requires certain qualities in musicians “who don’t have preconceived notions and,
maybe more important, can focus on broader concepts that then give rise to the music - on
life, really” (Ibid.).The connection to our primordiality, our myriad bodily pulses, is perhaps
prerequisite to “opening up to the music, of feeling it and internalizing it which is a very
different mode of understanding. Feeling music is not stressed in the way that it should be”
(Ibid.). Consequently, while difficult to measure, another duality presents itself here as
previously suggested: comprehension of polymetric structures on a cognitive versus an
intuitive level, and of what import this distinction has on the perception of such music.
An extensive and invaluable source of theory and historical precedence around this question
is embodied in Toward a General Theory of Polymetre by Eve Poudrier (2008). She states
that a “polymetric structure can be loosely defined as a musical texture in which rhythmic
components can be traced back to at least two simultaneous meters, each of which involves at
least two beat levels” (p27). She also concedes that “it is unclear how listeners and performers
deal with [polymetric perception], and whether it is possible to cognitively establish and
maintain different beats simultaneously without integrating them into a single metric
framework” (p1). In terms of “experimentation with various types of rhythmic organization in
the music of the twentieth century” Poudrier lists modernist composers such as Igor
Stravinsky, Charles Ives, Conlon Nancarrow, and György Ligeti who incorporated polymetre
as a structural device (p27). The issue around “perceptibility of contrasting layers” (p41) was
evident for example with the composer Elliott Carter who manifested this concern in his use
of character-patterns: [the] “association of intervals, metronomic speeds, polyrhythms and
rhythmic characters used to dramatize the musical personalities of instruments and
instrumental groups and to make clear the stratification of texture” (Ibid.). According to
Carter’s writings and comments “it becomes evident that the composer not only believes that
these structures are perceptible at least on some level, but also that their perception plays an
important formal and expressive role in his music” (p98).
In apparent contradiction, Justin London (2004) asserts that from a psychological perspective,
“there is no such thing as polymeter” (p50). Although “meter is an important organizational
element for music's temporal fabric … it conditions the experience of all the participants
involved in the creation of a musical object (i.e., the composers, performers, and listeners)”
38
(p57). [But] “it is not at all clear how the mind processes accentual cues, and whether it can
actually differentiate between metric and phenomenological accents” (p59). Hence, according
to this theory, even if the participants are conditioned to perceive music in the form of a
‘musical object’ (or metre), they will not be adequately prepared to perceive multiple metered
layers simultaneously.
Poudrier proposes therefore that “a generalized theory of polymeter necessarily presupposes a

theory of meter that is flexible enough to accommodate various musical styles and practices;
it can neither be ethnocentric nor universalistic” (2008, p57). In the following statement,
Poudrier suggests taking a broader view with regard to perception of rhythmic structures that
unfold over longer stretches of time:
The most attractive and palpable effect of a long-range polyrhythm is the patterned movement
of its competing pulsations, that is, its proximity cycle. While a long-range polyrhythm might
not be perceivable as a numerical entity, it is hypothesized that the listener will hear (or feel)
the tension produced by the out-of-phase cycles and will become increasingly aware of the
cycles moving toward and away from each other, and that these convergence and divergence
phases will provide a sense of expectation (p97).
What may serve as a structural aid in polymetric perception, and possible resolution for a
‘sense of expectation’, is the notion of coincidence points. These “can be formally defined as
the co-occurrence of two pulsations from contrasting pulse streams; usually, coincidence
points are considered only when they are realized (i.e., they correspond to actual sounded
events)” (p76)10. Poudrier takes into account these supplementary suppositions and expands
on her original polymetric structure definition as “a multileveled polyrhythmic compound
with at least two concurrent rhythmic strands…in which durational events can be traced back
to contrasting pulse streams” (p130). Furthermore, Poudrier extends the investigation of the
interaction of rhythmic layers, defining them as: “mensural determinacy, subpulse and event
density, nestedness, proximity, and polycyclic spectrum” (p131). The emerging polymetric
structures from these rhythmic layers can be categorized into three reasonably predictable
behaviors:
39
(1) integrated, in which competing pulse streams are assimilated by a single metrical
projection, (2) polarized, in which one of the pulse streams is dominant and the other provides
cross-accentuation, and (3) balanced, in which two or more concurrent pulse streams achieve
metrical significance. …these idealized categories offer a conceptual model that is expressive
of a listener's experience and, as such, contribute to render the polyrhythmic processes more
intelligible, both as compositional and perceptual products (p131).
All three of these succinctly described behaviors apply to my compositions at varying points
including frequently shifting roles between the pulse streams. A certain ‘blurring’ of the
borders among the three behaviors is more pronounced once improvisation plays a role.
Parallels can be drawn between these behaviors and my ‘Performing Polycycles’ model as
outlined in the methodology section on page 24.
Central to my research and the topic of polymetric perception is the role of notation. Whereas
Poudrier asserts that “the bar-measure allows the performer(s) to conceptualize how the parts
work together and is not meant to translate automatically into a performed accentual
structure” (p137), I argue that, at least in my compositional approach, the accentual structure
takes precedence and therefore needs to be notated accordingly. This reflects an ongoing
debate between notating polymetre in the same metre for all players, which may facilitate
ease of synchronization in performance, versus notation in separate metres, which may better
support the intended phrasing of rhythmic and melodic motifs. In the latter case the initial
comprehension of how the parts fit together will be more difficult, lacking a common regular
‘down-beat’. Over time however, this will be overcome in the same way any piece is learnt as
the reference points in relation to the other parts become more familiar. The mono-metric
notation stance maintains there is no inherent difference in the outcome. In my experience a
performer will phrase differently according to placement of bar-line, after which, on some
level the musician will place emphasis. Additionally, reading the phrasing within context of
its intended metre, reinforces the integrity of that individual part, which, combined with the
other parts similarly invested, will increase the pertinacity of the whole. The score for
‘PolySpirals’ (Vol 2, p101) illustrates this claim and is further substantiated in the recorded
performance. Here, there is a distinct rendering not only of the individual ‘down-beats’ of the
3/4, 5/4 and 11/4 bars respectively, but also in the sub-groupings within the metres. For
40
example, 5/4 is phrased as 3+2/4 and 11/4 as 3+3+3+2/4 and the musicians phrase these
notated sub-groupings accordingly.
This approach further supports Poudrier’s notion of “a multileveled polyrhythmic

compound…in which durational events can be traced back to contrasting pulse streams”
(p130). In designing a polymetric experiment Poudrier posed three questions that are
particularly applicable to the musical analysis sections of this thesis where they will be further
examined:
1. What is the relative degree of mensural determinacy of each rhythmic layer and how does it
change when layers are combined? 2. What are some of the musical parameters that
influence participants' (poly)metric interpretation? 3. To what extent are participants able to
follow competing metrical frameworks and how is this ability supported or hampered by
various factors, including musical training and experience? (p217).
The subject of entrainment must also be an integral part of any discussion around polymetric
perception. Entrainment indicates how a musician or listener aligns his or herself with one or
several periodic pulses and involves mental/physical activities such as oscillatory brain
activity, attention, expectations, or motor activity11. This broad topic unfortunately cannot be
included in this exegesis due to limited space, but may be addressed in a subsequent
publication.
Three very contrasting examples of polymetricism in twentieth century music illustrate how
this technique can operate. Firstly, in the slow movement of “Kammermusik Nr 2”,
Hindemith uses two different metres, 3/8 for the ensemble and 4/4 for the piano, meaning
they share the same bar line every eight bars of the 3/8 or three bars of 4/4.12 Many such
examples of short period bi-metricism exist, whether notated mono or bi-metrically. My work
differs from these examples in that I am creating a notated tri-metric polymetre as the
essential foundation for an entire composition.
Secondly, in jazz, a bi-metric example is documented in a version of ‘Someday my prince

will come’13 performed by the Dave Brubeck Quartet in 196714 and in which drummer Joe
Morello plays in 4/4 time while the other performers remain in the original 3/4 throughout the
piece. In this case the standard thirty-two bar form of 3/4 neatly equals twenty-four bars of
4/4, or subdivided by four bars of 3/4 equalling three of 4/4. The effect is quite subtle, if
somewhat unconventional. According to Brubeck’s biographer, Fred Hall, the public’s
41
response was approval, as the piece “pleased the ear and teased the intellect” (cited in Kraus
2013, p46). In my jazz composition ‘PC11-PolyBrubeck’ (Vol 2, p198), I imagine an
extension on Brubeck’s work with irregular metres and impose 11/4 and 3/4 metres over a 5/4
drum pattern similar to that played by Morello in ‘Take Five’.
Thirdly, in the arena of electronic music, Morton Subotnick (Fantinatto 2014) describes his
experiment in polycycles:
On Silver Apples Of The Moon [1967] I had 2 16 position sequencers and an 8. I set the 16
[patch] to 16 and the 2nd 16 [patch] to 15 and the 8 [patch] to 7 and you have to multiply 15
by 16 before you get a duplicate so I could make a sequence of 16 x 15 x 7 that would run…
and I would improvise with that till I got something that would just play for, you know, 3
minutes, and blow my mind out (1:01:38).
I am, however, endeavoring to formalize the mathematical underpinnings of polymetric

structures and their rhythmic, harmonic and melodic consequences and challenges as
confronted by human musicians.
Drawing the theme of polymetre to a conclusion I return to the apparent duality expressed at
the beginning of this section regarding cognitive versus intuitive comprehension of
polymetric structures. It would now seem evident that a coalescence of these two positions is
not only effectual but a necessary precondition for the perception, navigation, performance
and improvisation upon complex polymetric structures. This stance is supported in comments
from and about Steve Coleman when discussing “circular and highly complex polymetric
patterns” (Jost 2003, p377) quoted here at length due to their relevance to this work:
These rhythms are generated by overlapping rhythmic (-tonal) cycles of various, often “odd”
(5, 7, 9 … beats) lengths interlocking like gear wheels in a very complex way.15 The cycles
are so long and their interaction is so complex that they appear unpredictable nevertheless well
organized and grooving to the listener (Pfleiderer 2006, p284).
In order to communicate freely and expressively within these textures, the musicians must be
able to hear these contrasting rhythms simultaneously and that is challenging16 (Iyer 1996).
42
The various 'paths of possibilities' have been studied, worked out, analyzed and internalized,
after which the mind and body have been trained to respond by reflex to the dynamic
configurations as they develop in real time. … A finely tuned and constantly adjusting balance
needs to be developed where one can respond in reflex to the changing musical conditions
(Coleman 2015a).
But the multilayered rhythmic-tonal textures heighten the possibilities for improvised
interactivity (Iyer 1996).
2.2.3 Interlocking Patterns, adherence to form and the aspiration toward

‘intelligent simplicity’
Among contemporary practitioners actively composing and performing in a field similar to
mine is the Swiss composer and pianist Nik Bärtsch17. Together with his groups Ronin and
Mobile they perform composed “interlocking rhythms and shifting patterns dependent on
great precision, [creating] a sound of tightly controlled power” (Gisby 2009, p30).
Consequently, they demonstrate a broader interpretation of metre, polymetre and polycycles.

Philosophically, according to Bärtsch, “in body and mind, as well as in the outside world,
exist millions of interesting and interlocking ideas, concepts, and possibilities” (Bärtsch
2003). Reductive strategies18 play a role in relation to his own musical theories and practices -
he writes: “The reductive process treats the material with careful economy, while
simultaneously liberating, enlivening, and deepening it” (Ibid.). He also talks about reducing
material to its fundamental, while being wary of “awkward simplicity [that] lacks tension -
the tension of intelligent simplicity is the ironic conflict between self-negation and self-
awareness” (Ibid.). In fact, he states that “simplicity is often more complex than complexity”
(Ibid.). In more technical terms Bärtsch describes his ‘modules’ as “composed and
combinable musical molecule[s]” (2002). These modules may be seen as “through-composed
musical building blocks, enlivened by the realization and interpretation of the live ensemble
in that moment” (Ibid.).
43
In an interview conducted exclusively for this exegesis Bärtsch offers insights into his
processes and experiences that provide interesting parallels to my own work, summarized
here, (Bärtsch’s own words in quotation marks) and printed in full in appendix E.
In common with my own background, Bärtsch’s earlier rhythmic influences straddle a wide
selection of world music, jazz and classical, citing “rhythm and beat balances in Romanian
folk music, jazz, Brazilian, Cuban and also African music but also in the classical music of
Bartok, Stravinsky, Scriabin, Gershwin.” He later became interested in the music of “Ligeti,
Morton Feldman, Steve Reich, Lennie Tristano (Turkish Mambo), Joe Zawinul and Steve
Coleman.” The interlocking rhythms of funk music were also influential, as in the music of
James Brown and The Meters. Bärtsch believes that the “musical strategies like pattern
repetition, rhythmic flow (groove, swing etc.) and formal cycling” that he employs in his own
music “are basic ideas that are inherently already existing since music exists.” There is a
sense of physicality and formality in his music: “this physical movement aspect is very
important for me although I am also very much attracted by formal questions (resulting
patterns, mirror patterns, palindrome patterns, etc.).” It is important for him that the initial
compositional idea has the “capacity to move and communicate.”
Bärtsch also shares my desire to create ‘simplicity out of complexity’, reflected in his next
compositional step: “invent the context and try to simplify all relevant parameters to make a
complex piece sound and flow ‘simple’ and sensual (also for the players).” Although the
resulting composition is “fixed like in a classical score” there is an allowance for new
developments and refinements over time through performance: “understanding my own music
better in the spiral process of going forward to the roots...” In contrast to my perceived
necessity to notate polymetrically Bärtsch will “usually notate in the main meter but show
with a visual bracket in the score all the other meter length[s].” His musicians are required to
“sensually know all the patterns and cycles” because he believes it is “essential that a player
does not intellectually play the patterns but [should] flow very naturally and with the capacity
to ‘see between the patterns’.” In this way “even more dimensional pattern interlockings and
cycles can become very organic.” Again, similar to my aims for the listener, Bärtsch tries to
offer a “sensual and direct musical impact for non-musicologists and very intuitive listeners.
The complexity of the music should not shine on the surface but glow in the depth of a
musical composition and performance.”
44
The commonality between our approaches lies in the complexity of interlocking rhythmic
levels, adherence to form and the aspiration toward ‘intelligent simplicity’, although where
our developmental paths begin to diverge is nested in the degrees of systematic application.
While Bärtsch achieves a sublime and restrained economy of complex combinations of ideas
(‘reductions to basics’), I tend to include, embrace and invite the more unpredictable
contingencies of music making. In my work, accepting elements of risk-taking, randomness,
variability, negotiating the unknown and confronting the potential of chaos, are vital
ingredients when representing and navigating life’s complexities.
2.3 Ethnomusicological Perspective
It is of relevance to the research topic to consider a culturally and musically wider

perspective than that of western practices. The study of any particular world music is a vast
undertaking involving multiple thematic approaches and discussions. The goal here is not an
attempt to augment that existing body of knowledge but rather to extricate and extrapolate
meanings applicable to the themes of this research. In this sub-chapter I will focus on music
from India, Indonesia and Africa that demonstrates similarity with my polycyclic
comprovisational approach to music creation preceded by brief functional explanations of key
relevant terms.
2.3.1 Indian Music

Tala, or cyclically recurring patterns, represent a quantative organisation of beats, and are
central to Indian classical music. In his study Time in Indian Music Martin Clayton (2000)
writes about the “nature and function of metre, … the way rhythmic patterns are generated
from or assimilated to metrical structure [and] the contributions of metre … to large-scale
organization” (pp4-5). The resemblance to polymetric structural organization becomes
immediately evident and worthy of further investigation to determine any other parallel
precedents.
Western music practices do not readlily prepare musicians and listeners for absorbing long
range rhythmic forms. A tal, with its rhythmic sequences that can be as long as 108 beats, can
45
be incomprehensible for Western listeners yet, according to Joachim Berendt (1987), “the
Indian ear is constantly aware of where the saran [beat one of a tal cycle] falls ... as easily as
if it were simple 4/4 or 6/8 time” (p202). Philosophical importance is attached to time
measurement in Indian music: “time is boundless and it is impossible to have knowledge of it.
It has to be divided into segments in order to be perceived” (Clayton 2000, p13). A tal,
consists of a number of avart (the common term for a metric unit, which translates as `cycle'
or `period'), which in turn are “made up of a certain number of smaller time units (nurtras)”
(p43). The length of the avart, or cycle, can vary from under two seconds to more than a
minute, and therefore the corresponding perceptibility of these cycles can range from easily
distinguishable to cognitively inconceivable. In the latter case “cyclicity is a concept rather
than a percept: it cannot be directly perceived in music” (p71). A comparison could be drawn
between this description of form in Indian music and my polycyclic combinations in which a
‘Mother Cycle’ is the total number of beats of a polymetric construction, and equates in its
function to that of a tal. A tal, although not a polymetric construct as such, is however the
sum of a number of cycles (“as long as 108 beats”) or avant, which similarly create a long
form rhythmic sequence. As previously suggested by Berendt (1987), the difference may also
concern the degree to which these long-range forms are perceived within the respective
cultures.
Also of comparative significance is the use of improvisation. By the thirteenth century the
Indian tal system “shifted from a set of complex modular formal structures … to an integrated
system designed to facilitate improvisation over a repeated rhythmic cycle” (Rowell 1992,
p192). It is perhaps appropriate to infer that the tendency toward improvisation over complex
structures could be seen as a shared instinct among a diversity of cultures. Clayton (2000)
elaborates upon this apparent predisposition:
The musical significance of a feeling of cyclicity is that it encourages and supports a highly
organized form of improvisation, the main structural pivot of which is the sum at the end of
each cycle. A soloist may begin a section of development or improvisation at any point
(depending on the genre), but the way it ends - synchronized with the tal cycle - is much more
significant (p73).
46
In terms of the potential benefits of comparative studies in rhythmic organisation and the
implicit advocacy for polycyclic comprovisation, Clayton proposes that
the findings of Indian music studies enhance those of other ethnomusicological studies, and help
us move to more sophisticated ideas of rhythmic organization in general. Study of Indian
rhythm must contribute to the development of general theoretical models of rhythmic
organization (p27).
By examining and expanding upon such polycyclic practices, within and outside of my own
cultural inheritance, there is an added weight of relevancy to the pursuit. The following two
ethnomusicological examples give further credence to this position.
2.3.2 Gamelan Music

In continuing a comparative study of cyclical forms in world music, further challenges in
perception versus conception are presented in Andrew Clay McGraw’s (2008) research into
Balinese Gamelan music. Similar to Indian tal, Gamelan structural forms engage a wide
variation of cyclic durations. Of the approximately fifteen traditional Balinese gongan forms
(the largest sections of Balinese musical compositions marked by the largest of the gongs:
gong ageng), the variation of length and tempo ranges from two to 512 beats and between
approximately 38 to 280 bpm [beats per minute]. The resulting duration can take between one
second for an up-tempo piece to an excess of four minutes in the case of extended forms (p8).
Again, gongan, as with metre to a lesser extent, illustrate a central theme outlined here: the
two different phenomena known as “perception, bound to the limits of short-term memory
and conception, based on longer-term memory” (p8). Putting cultural differences in
perception aside for the moment:
…empirical research has suggested that the upper bounds for musical meter should be
confined by the limits of short-term memory (suggesting that meter can only be perceived as
such if its contents are, as it were, available to the mind all at once) and thus should lie
between 100ms to 6s, depending on context (London 2002, p529).
47
Traditionally, most Balinese gongan are realized well outside of this boundary (McGraw
2008, p8) and encompass a larger phenomenal range than meter; “like tal, gongan is a broader
concept of which meter is an aspect” (p9). Functioning as a bridge between perceiving and
conceiving however, conceptual metric hierarchy is regarded as a “culturally learned way of
stretching the capacity of immediate memory” (p8), i.e. providing a pedagogic dimension,
which applies to short and long form:
The kinds of relationships that adhere between texture, tempo, choreography, subdivision
markers etc. and the overall gong form are similar between both short gongan (which fit the
cognitive definition of meter) and expanded, conceptual, gongan (p8).
Similar to aspects of short and long-term temporality perception, the notion of implicit
understanding plays a role in cultural interpretation. In western music, in particular jazz and
popular forms, the semantically charged terms ‘groove’ ‘swing’, ‘feel’ and ‘time’ describe
implicitly understood “participatory discrepancies”19 with regard to rhythm and correlate to
similarly unquantafiable terms found in Balinese music: ‘rasa’ (feeling), ‘ombak’ (wave) and
‘selah’ (timing) (p9). What does become apparent is that “meter is caught up between the
peculiarities of human perception and conception and the difficulties theorists encounter in
disentangling these two modes of knowing” (p17). The empirical research on the limits of
metrical perception becomes challenged when examining Balinese gongan and would
arguably become even more variable with complex polymetric constructions. Also of
significance is the inability of cycles in Balinese gongan to conform as repetitive objects as
may be otherwise suggested by some Western notational examples that use repeat signs.
McGraw argues that, “conceptually, Balinese metrical forms seem cyclical because any
instance shares structural, architectural features with subsequent music, yet the experience of
the two instances cannot be literally the same” (p6). Similarly, any of my own ‘comprovised’
music employing cyclic forms poses further perceptual complexities due to additional levels
of ‘disguise’ in relation to the original object. The repetition of the original cycle may take on
variations over time, so much as to render familiarity with the initial object tenuous.
Nevertheless, it is my intention that the form upon which these cycles is based ideally retains
its conceptual integrity, even if it is imperceptible.
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2.3.3 African Music
The relevancy of African music to this research is revealed in an ongoing debate around
polyrhythm versus polymetre or, indeed, non-metre. In my introductory chapter, polyrhythm
is generically described as two or more different rhythmic patterns within the same time
signature, whereas polymetre is the simultaneous employment of two of more metric
frameworks. Firstly, therefore, I will outline a brief discussion of polyrhythm in relation to its
prevalence in African music and its contribution to the fabric of society. Fundamental to Sub-
Saharan African music traditions in general is the rhythmic relationship of three-against-two
(3:2), or six-against-four (6:4), also known as a vertical hemiola. Master drummer and scholar
C.K. Ladzekpo (1995b) prefers the term ‘cross rhythm’ and extends the aforementioned
definition of polyrhythm as the “simultaneous use of contrasting rhythmic patterns within the
same scheme of accents or meter” (Ladzekpo 1995a). In Anlo-Ewe cultural understanding,
cross rhythm is regarded as “a highly developed systematic interplay of varying rhythmic
motions simulating the dynamics of contrasting moments or emotional stress phenomena
likely to occur in actual human existence” (Ibid.). This societal connection and advocacy
beyond simply the pleasure of music making is elaborated upon by Ladzekpo:
…cross-rhythmic figures are embodied in the art of dance-drumming as mind-nurturing

exercises to modify the expression of the inherent potential of the human thought in meeting
the challenges of life. The premise is that by rightly instituting the mind in coping with these
simulated emotional stress phenomena, intrepidity is achieved (Ladzekpo 1995a).
Furthermore, from the Anlo-Ewe viewpoint, “intrepidness, or resolute fearlessness, is an

extraordinary strength of mind. It raises the mind above the troubles, disorders, and
emotions…” (Ibid.).
For the practitioners of this music, it would thus be reasonable to assume that their
motivations for music making have little to do with whether the term ‘polyrhythmic’ or ‘poly-
metric’ is used to describe their rhythmic structures. Among Western theorists however, there
is considerable debate around this question. Proponents for the applicability of polymetric
notation argue that “African music uses two or more metrical frameworks simultaneously”
(Waterman 1951). Gehard Kubrik (1969) regards “simultaneously performed cycles of
49
different periodic lengths as an example of polymeter” (p213), while John Chernoff (1979)
argues that African music “cannot be notated without assigning different meters to the
different instruments of the ensemble” (p43) and his notational transcriptions reflect this
position.
Conversely, Abel believes that, logically, “polymetricality must be an impossibility” (2014,

p83). If, according to Abel, a single metre cannot be applied to all parts of the music, the
music is not metrical. He states: “Meter is a standard that requires universality to be
meaningful” (p83). Arom, takes this argument a step further, stating that the term polymetre
should only be employed in cases of “the simultaneous unfolding of several parts in a single
work at different tempos so as not to be reducible to a single metrum” (1991, p205). In this
instance the ability for the composite music to be represented metrically is quite impractical,
and is found in relatively rare instances in works by composers such as Charles Ives or Elliot
Carter. By this definition, if any shared elements of common rhythmic organization exist, the
composition must be polyrhythmic rather than polymetric (Ibid.). By extension, “African
music, with its common pulse units and reference pulse, clearly falls into [the category of
polyrhythm]” (Abel 2014, pp83-84). Precisely formulated, a more appropriate descriptor
would be ‘non-metric’ which, circuitously, reinforces the term already presented in the
previous section on metre (2.2.1): ‘isoperiodicity’, which means “a web of interlocking,
periodic rhythmic patterns, organized around a single primary pulse level” (Arom 1991).
Rather than dismissing polymetricism as an ‘impossiblility’, it may be more judicious to

consider the concept in terms of appropriateness and applicability. In the example of African
music a case has been presented that the term ‘non-metre’ most appropriately encapsulates the
rhythmic organisation. Consequently, I always argue that there are cases where polymetric
representation is appropriate, and, far from being logically impossible, is empirically the more
common-sense and preferable option.
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2.4 Minimalism / Metamodernism
Aspects of my work here may be traced back to numerous points along the lineage of Western
art music; for example a theoretical interpretive case can be made for connections between
Bach’s fugue structures with that of polycyclism (see Appendix A: Polycycles and Fugues).
I have chosen however, within this limited setting, to focus on conceptual movements of the
late twentieth and early twenty-first centuries.
2.4.1 Minimalism
Art works and plays on the fringes between repetition and innovation. Music tolerates,
invites, and even exploits reiteration—we desire both to predict and to be surprised.
Hollis Taylor (2010)
One of the characterizing elements of minimalist music is the frequent repetition of motifs, or
cycles, within the context of a regular pulse. It is therefore pertinent to examine concepts
surrounding minimalism in relation to my work with ‘comprovised polycycles’.
Composers such as La Monte Young, Terry Riley, Steve Reich, and Philip Glass are famously
associated with the origins and development of minimal music. Originating in San Francisco
and Downtown New York in the 1960s, it was initially viewed as a form of experimental
music called the “New York Hypnotic School” (Strickland 1992, pp114-16). Distinctive
characteristics of the style include a steady pulse, diatonic harmony, periods of stasis or
gradual transformation and repetition of musical phrases. Other features include pieces that
sustain endless circles and a technique called phase shifting or phasing. Steve Reich’s
composition ‘Drumming’ (1971), is an example of ‘phasing’ in which 2 identical melodic
patterns gradually fall out of sync. “Phasing is accomplished by periodically inserting an extra
note into the phrase of one of the two players playing the same repeated phrase, thus shifting
the phase by a single beat at a time, rather than gradually” (Reich 2007). A ‘locking point’ is
when the patterns fall back into sync - equivalent to beginning a new ‘Mother Cycle’ in my
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polycyclic structures. Michael Tilson Thomas describes Reich’s Music for 18 Musicians
(1976) as like "hovering …in musical space, considering many aspects of itself before
moving onto something else” (2007).
In Robert Fink’s expansive work, Repeating Ourselves: American Minimal Music as Cultural
Practice (2005) he states that “minimalist art and music have usually been considered part of
that… countercultural critique of consumption as meaningless repetition” (pX). Fink draws
multi-faceted meanings about repetition in culture by presupposing there is not only “one
innate subjective drive to repeat always, everywhere, … [but] many different ways that our
repetitive subjectivity is constituted, over and over, within the multiple, complex webs of
material culture we weave” (p6). For an unabridged conceptual discussion on ‘Repeating
Ourselves’ refer to appendix B. It may suffice to regard minimalist structural practices as
representing “the power to impose discursive coherence and structure on needs that would
otherwise remain disorganized and inchoate” (Fink 2005, p96). The aspiration of my
polycyclic comprovisational practice expands upon Fink’s assertion that “no genre of art
music is more concerned with interpenetrated extremes of temporality than pulse-pattern
minimalism” (p104).
Among the minimalists, Terry Riley may have been more amenable to the potentialities of
performer agency:
Riley's loose musical framework obviously has more to do with the improvisatory pragmatics
of jazz, and it is true that [generally] the overall shape of a jazz performance… is arrived at
democratically by group consensus. Still, jazz musicians are judged not by their ability to stay
in the collective groove, which is taken for granted, but by their solo improvisatory prowess
(p89).
It is the notion of performer agency, the freedom to spontaneously interact with various levels
of the composition, and other musicians, that differentiates the premise of most minimal
music from my comprovisational approach. In section 2.5 of this chapter, I will explore the
various stages along the comprovisational spectrum and the influence of jazz music on my
work. First though, a discussion of two other contemporary movements is pertinent.
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2.4.2 New Complexity and Metamodernism
Comparable parallels can be encountered in recent theories within the realm of Western art
music. ‘New Complexity’ is described by Christopher Fox (2001) as a term from the 1980s
applied to composers who seek a "complex, multi-layered interplay of evolutionary processes
occurring simultaneously within every dimension of the musical material" (Fox 2001). The
similarity to polycyclic comprovisation, at least in the theoretical description, is immediately
apparent. Where it differs to my compositional approach is in the dimension of tonality: new
complexity is often associated with dissonance, atonalism and abstraction, requiring very
complex musical notation. Stylistically, my work is perhaps more allied with some of the
aesthetics of metamodernism.
Metamodernism has been described as an "extension of and challenge to modernism and

postmodernism" with the aim to "transcend, fracture, subvert, circumvent, interrogate and
disrupt, hijack and appropriate modernity and postmodernity" (Okediji 1999, p33) and its
sensibility "can be conceived of as a kind of informed naivety, a pragmatic idealism"
(Vermeulen 2010, p3). The return of a Romantic sensibility is one characteristic of the
movement, embodying feeling and the balancing of "ironic detachment with sincere
engagement" (Kunze 2014, p17). Vincent Meelberg confronts this theme by asking questions
fraught with interpretive difficulties:
Is beauty the new avant-garde? What if I want to compose something that is simply beautiful?
Am I allowed to do this, or … will people frown upon me and my music, perhaps doubt my
sincere intentions, and conclude that neither me nor my music can be taken seriously?
(2014, p1)
He suggests that strict adherence to a system kills spontaneity and offers an alternative: “I
could decide to disregard the system and follow my intuition. The consequence, however,
would be that I could no longer use the system as a justification of my compositional choices”
(p3). A possible antidote would be building intuition into the musical system, allowing
‘beautiful’ choices while remaining self-consistent. Another potential problem, apart from
imposing restrictive compositional systems on the composer, is that of alienation of the
audience. Michel Foucault (1985) observes that “contemporary music … has attained a
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degree of complexity which makes it inaccessible” and that the “use of compositional systems
favour logic and justification over the music result…” (p6). Foucault further argues that
“contemporary music, by trying to make each of its elements a unique event, makes any grasp
or recognition by the listener difficult” (p6). In response, Meelburg offers justification and
defense of this position by suggesting that “striving for alienation or complexity in music
might be necessary in order to further musical development, to redefine musical boundaries”
(2014, p4). The continued relevancy or endurance of any music could be framed within the
question: which compositions are still being performed or listened to today? Which pieces are
best classified as experiments only relevant to their time period and which are those that have
accessed a certain universal musicality that transcends time and trends? In this context, this
position is not necessarily out of line with Theodor Adorno's view on music: “Musical
composition implies looking for singular musical truths” (1973, p142).
In defence of beauty and simplicity in modern Western art music Josiah Fisk (1994) asserts
that the art of composition has been “…languishing for decades in the ivory tower, stifled by
complexity and intellectualism. Now it has been freed, its emotions have been rekindled, and
it has been restored to the ordinary folk who are its rightful owners” (p408). A balanced view
of this perspective would be that a compositional process may be co-determined by intuition
in the form of controlled processes in which initial rules and goals are set by the composer
who lets them evolve naturally, or ‘germinate’. My polycyclic comprovisations embrace this
process both in their inception through intuitive improvisation based on a polycyclic form,
and in their manifestation in performance, also interweaving spontaneous musical choices
within a compositional context. Dutch composer Jacob ter Veldhuis admits: “I pepper my
music with sugar” and considers his music as a “statement against an inflated urge for
dissonance in music that has existed during the last forty years” (2001, p1). Meelburg believes
that Ter Veldhuis “presents sonic beauty without any postmodern irony [and] seems
genuinely sincere in his desire to create beautiful music” (2014, p7).
Another interpretive difficulty lies in the subjectivity of the word ‘beauty’. Meelburg
continues by admitting “[his] attempts [at beauty] may be fallible” and places the onus on the
receiver: “It is up to you to decide if it sounds beautiful to you, too, and what to think of this
beauty” (Ibid.). Training in composition generally advances the implementation of discipline
over compositional decision-making. This may include how subjective notions such as
‘beauty’ are assimilated into a personal sense of integrity. It is, therefore, also instinctual for
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the composer to apply constraint and maintain conceptual context so that the essential music
(‘singular musical truths’) avoids becoming obscured by irrelevancies. Principally, the
composer owns all preliminary judgments, while all subsequent external responses exist in a
separate, indefinable realm.
2.5 Jazz and the Comprovisational Spectrum
“Don't call it jazz, man - that's some made-up word, it's social music”
-Miles Davis (cited in Cheadle 2016)
Any attempt at defining jazz is an often discussed but essentially ineffectual pursuit that
proves ever more elusive as jazz continues its ever widening reach, assimilating and cross-
fertilizing across any and every genre. However, there is much to garner from some general
operating principles of jazz as a music that characteristically embodies a fluid relationship
between composition and improvisation. It is this ideally fluid relationship that is vital to my
comprovisational work in tandem with polycyclic design, especially in the realm of jazz.
According to Derek Bailey (1993) “there is no doubt that the single most important
contribution to the revitalization of improvisation in Western music in the 20th century is
jazz” (p48). He goes on to describe “improvisation in conventional jazz as being based on
tunes in time.”
The simple mechanics are that the improvisation is derived from the melody, scales and
arpeggios associated with a harmonic sequence of set length played in regular time. This
vehicle is invariably one of the usual popular song forms or blues (of the strict 12 bar kind)
(Ibid.).
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In jazz, the balance between composed and improvisational elements varies enormously
throughout the various stages of its development from ‘New Orleans’ to ‘Free Jazz’, and in
accordance with the personal choice of the practitioners.
While improvisation is grounded in forms and memory, each improviser must determine to
what extent they want to improvise within those forms, with those forms, or outside those
forms (Weick 1998, p548)
Michael Zack (2000) articulates in musical and metaphorical terms the ‘comprovisational
spectrum’ (i.e. the ‘line’ between polarities of strict composition and free improvisation),
using classical music and jazz styles as points of reference along the spectrum:
Figure 2: Genres of Improvisation (Zack 2000, p232)
It is important to mark the difference between aleatoric music and improvisation in the
context of debates between ‘classical’ composers of the mid-twentieth century and jazz
musicians of the bebop and post-bebop eras, as outlined by George Lewis (2002) in his study
of Eurological and Afrological perspectives. John Cage’s dismissal of jazz music is well
documented and implied when he states that "improvisation is generally playing what you
know" and "doesn't lead you into a new experience" (Kostelanetz 1987, p223). In twentieth
century Western art music, the term ‘improvisation’ is often bypassed and substituted with
“indeterminacy” or “chance music” (Welch 2010). This does not generally sit well with
musicians who embrace improvisation and the element of ‘choice’ as depicted by Earle
Brown:
56
Aleatory is a word that Boulez used… it is which means throwing of dice and so forth.
It’s really chance, and I am vehemently against considering improvisation as chance

music… Cage was literally flipping coins to decide which sound event was to follow which
sound event and that was to remove his choice… and it was also not to allow the musician any
choice either… I prefer that such ‘ordering’ should come about in this intuitive-conscious
manner spontaneously during each performance (cited in Bailey 1993, p56).
In an interview, Fred Frith was asked his opinion of the “value of composing or organizing
pieces that have room for the agency and input of improvisers” (Dale 2008, p10). He argues
that the pieces “will always be alive, and [that] they will always respond to the exigencies of
the moment at which they are performed” (Ibid.). A well comprovised piece will “allow as
much freedom of invention and variation as possible, so that the piece will function as a living
organism” (Ibid.). Improvisation may also contribute advantages in the process of composing.
According to Mildred Portney Chase (1988) improvising can help a composer to open
"channels of his musical stream of consciousness . . . being utterly permissive, he may open at
the deepest levels those passages to the musical persona that are buried underneath all that he
consciously knows" (p90). This aspect of composing in real time promotes a vital immediacy
in the music that can be later organized to suit the structural contingencies.
2.5.1 Organizing Composed Elements for Improvisation along the

Comprovisational Spectrum
The three CD albums accompanying this exegesis are conceptually aligned with various
points along the ‘comprovisational spectrum’, the significance of which will now be
discussed and incorporated here in more detail. A vital component of this research is
exploring the ways in which a fertile balance between composition and improvisation can be
achieved. Accordingly, the organization of composed material intended for improvisation is
key. By examining various possible strategies along the ‘comprovisational spectrum’,
beginning on the side that veers more towards composition, the goals of my work may be
better illuminated.
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At the ‘far left’ beginning point of the spectrum lies fully notated music, devoid of
improvisation, or that which is normally the domain of ‘classical’ music. Alternatively,
Roscoe Mitchell utilizes ‘scored improvisation,’ as one way for a composer to “integrate
improvisation inside of their music” by actually “giving the improviser the materials that are
going to be improvised” (Dale 2008, p11). It requires the performer to very sensitively
improvise an interpretation of those materials.
The next step in the spectrum asks the performer to bring life to the piece not only through
interpretation but also by compositionally developing and arranging the composed materials.
He/she may use such devices as: sequence, transposition, inversion/retrograde,

additive/subtractive process, etc. “They will [sometimes] also be responsible for building the
larger form: motives into phrases, phrases into periods, periods into sections, and sections into
a piece” (p12). It is also important to calculate into the organization the reality that “we’re all
different, and we have different training and backgrounds, different awareness… Always
being ready to change and adapt the material while keeping the basic goals in sight...” (Fred
Frith cited in Dale 2008, p13). My Polycyclic Chamber Music album straddles these initial
steps of the spectrum in that most of the material is notated but options are provided for
various degrees of improvisation as described above. The optional aspect also caters to
musicians of ‘different training and backgrounds’ and for whom improvisation may be either
an intimidating or inviting prospect.
The practice in jazz of improvising upon composed harmonic structures (e.g. jazz standards)
spans the mid-section of the spectrum. Here, I argue that my Polycyclic Jazz album is well
positioned, maintaining an overall balance between the two polarities.
If we now cross the midpoint on the comprovisational spectrum, we enter an arena where a
vehicle for improvisation is created that will “allow performers to freely choose their
moment-to-moment vocabulary and material without specific, notated suggestions from the
composer...choosing an overarching form, a mood or atmosphere, or a mode of interaction, in
which to operate…” (Dale 2008, p16). In this situation the kind of compositional devices
employed are games, graphic scores, conducting (or ‘conduction’) and, instructions, among
others. Fred Frith recommends “introducing some form of restriction, in order to limit the
possible options (and therefore outcomes) while maintaining the autonomy of individual
players to choose their material” (Ibid). The third CD of my trilogy, Polycyclic World Music,
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or One Moment, presents a situation where an improvising vocalist is invited to spontaneously
record her responses to pre-recorded polycyclic material. In some cases no direction is given
and the vocalist freely improvises in an unidentifiable ‘language’ whereas in other instances,
lyrics are proposed but only at the moment of recording, with minimal stylistic or other
indications. This approach also corresponds to the completely ‘free’ improvisation end of the
comprovisation spectrum where the composer has minimal input, but will still influence the
outcome of the piece. For example, in Stockhausen’s ‘Intensität’ from Aus den Sieben Tagen,
the total information available to the players is:
for ensemble
INTENSITY
play single sounds
with such dedication
until you feel the warmth
that radiates from you
play on and sustain it
as long as you can
(Stockhausen 1968, p11)
Hugh Davies, who worked closely with Stockhausen, notes:
No direct coordination between the players is mentioned.… Everything happens
intuitively – one need not be fully conscious of what one is playing, one ‘becomes the
music’.… the structural indications in the score… at least will make the result completely
different from the free improvisation (cited in Bailey 1993, p80).
At this juncture, the question needs to be asked: “within this breathtaking freedom, what is the
value of structure?” (Dale 2008, p20). At the far end of the comprovisational spectrum the
‘composer’ is regarded at best as ‘dispensable’. Free open form improvisation exponent, Evan
Parker, comments:
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I’m suggesting that if anyone in the production of a music event is dispensable, it is the score-
maker, or the ‘composer’ as he is often called. My ‘ideal music’ is played by groups of
musicians who choose one another’s company and who improvise freely in relation to the
precise emotional, acoustic, psychological and other less tangible atmosphere conditions in
effect at the time the music is played (cited in Bailey 1993, p81).
Opinions in favour of some degree of structure suggest that this leads to a greater degree of
freedom than free improvisation. Steve Adams believes that composition - “or some kind of
structuring of improvisation - is what will keep it from being just following your habitual
patterns, so that it becomes an entirely predictable exercise” (cited in Dale 2008, p20).
Because we can easily become trapped in habit, it is “freedom that can bind us” (Dale 2008,
p21) while, conversely, it is “structure that can work to loosen us from these habits, by
forcing us to explore a variety of things we may have resisted, or been unconscious of”
(Ibid.).
For some composers, the emphasis inclines toward the social aspect of improvisation.
John Zorn’s “aim is not, as is usually the case, the realization of a preordained result through
improvisation, but the stimulation, or the releasing, of the network of relationships possible
between a group of players” (Bailey 1993, p76). The personality mix is also vitally important
for Zorn when choosing musicians for his ‘game’ pieces - as opposed to choosing
‘instruments’:
You need people who are aggressive, you need people who are docile, you need
people with a sense of humour, you need people who are ass holes…it’s more the
people themselves that are important. I basically create a small society and everybody
finds their own position in that society. It really becomes like a psychodrama.…Those
are all valid positions to be in in the society that exists on stage when these pieces happen
(cited in Bailey 1993, pp77-78).
At this point, a summary of some comprovisational principles and goals is useful.
Dale provides an aesthetic checklist for successful comprovisation:
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“1) a balance of structure and freedom was achieved, and a piece that is a fluidly changing,
living organism was created; and
2) the outcomes represented a collective composition effort.”
Comprovisation demands a living, breathing, heightened energy from all participants at the
moment of its manifestation, and yet it still allows for a ‘composer’ to work with structures,
musical or extra-musical entities or avenues, that interest him or her… [Comprovisation]
allows the possibility of rejoining a living thread of communication, of dynamic interaction, of
human give-and- take, of having a dialogue instead of listening to a monologue we have
already memorized (Dale 2008, p25).
It is this dialogue between the composer, or the pre-given material, and the co-
composer/improviser and their spontaneous creations in response to structure that lies at the
comprovisational heart of the work presented here. Additionally, how the dialogue is
expressed along various points of the comprovisational spectrum finds parallel articulation in
the three CD recordings.
2.6 Computer / Studio Composer
Adding ‘studio’ as a prefix to the ‘composer’ label generates a more fitting description of
many contemporary music creators. As will be discussed in this section, the role of the
recording studio, and the computer at its operational centre, has become indispensable to the
process and outcomes of modern composition. Additionally, there are numerous
compositional practices that were not realizable before technological advances of recent
times; from sequencer as initial sketchpad through to the ramifications of the composer
doubling as producer, performer, sound engineer, sound designer, post-production mixer - the
computer and recording studio are integral participants. It could be argued that all of the
above roles create a certain compositional feedback loop, considerably expanding the
traditional repertoire and definition of what constitutes a composer. These considerations are
inseparable from my evolution and identity as a composer, as is evident in my creative
methods and output.
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In addition, the role of the studio in post-improvisation composition is particularly integral to
the topic of comprovisation. Post-improvisation composition involves the manipulation of
recorded improvisations utilizing compositional techniques: editing of existing form, isolation
and re-mixing/combining of phrases, extracting elements for use in different locations,
addition (overdubbing) of further material and application of sound-transforming studio
devices. These are examples of technological tools available to the composer that, working in
tandem with the composer’s musicality and compositional skills, contribute to the process of
realizing a recorded comprovisation.
Contemporary literature substantiates and expounds upon the ideas mentioned so far.
Michael Hannan (2006) in his paper, Interrogating Comprovisation as Practice-led Research,

writes:
‘Comprovisation’ is a term I have adopted to describe my practice of making new

compositions from recordings of improvised material… Although the comprovisation practice
has random and intuitive elements, I contend that it is likely to produce new knowledge …
and that it is grounded in the tacit knowledge of professional compositional craft. (p1).
Markus Stockhausen cites his father (Karlheinz) and Miles Davis as his principal models
when devising his comprovisational approach for the recording of Possible Worlds
(Stockhausen 1995). In a similar method to those used by Teo Macero and Miles Davis with
tape edits producing tracks from the seminal Bitches Brew sessions of 197020, the
improvisations were performed first and the compositional elements incorporated later.
Included in the portfolio recordings is my composition “subject2change#21” (‘Black CD’)
which embraces this process. Additionally, my essay entitled Subject2change: sustaining
fluidity in studio manipulations of a polymetric jazz fusion comprovisation (Coleman 2015b,
pp27-34) contains a musical analysis of the composition and description of the enveloping
contextual issues (see appendix E).
Apart from compositional expertise, the level of success of any ‘studio manipulation’ is
dependent on the functionality of the studio and the competency of its operator. The studio
composer is attracted to this ‘other-world’ because he or she can exercise “all-encompassing
creative control [and] command over even the most infinitesimal nuance of timbre and
gesture, [and] control over the sound of the sonic space in which the music sits” (Jost 2003,
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p377). There are a multitude of sonic possibilities available - from manipulation of individual
instruments and sounds to their positioning in shared space - and not being bound by the
properties of a live acoustic room, the studio can engender an “aurally enhanced, stereo-field
or sonic stage to create an almost hyper-musical experience for the listener” (Logan 2013,
p7). Simon Frith (1996b) argues against perceiving such a product in terms of artificiality or
dislocation:
I listen to records in the full knowledge that what I hear is something that never existed, that
never could exist, as a ‘performance’, something happening, in a single time and space;
nevertheless, it is happening, in a single time and space: it is thus a performance and I hear it
as one (p211).
Considering the knowledge and skill required to realize the full potentialities of a studio, and
the arguably infinite nuances available, there is an inclination to regard the “studio as an
instrument” (Tremblay 2012, p1) with which a relationship evolves over time.
Intrinsically linked to the recording processes undertaken in my research is another aspect of

the relationship between improvisation and composition articulated in a studio context. Dr.
Pierre Alexandre Tremblay (2012) focuses on the “grey zone between studio composition and
performance practice” (p3) and asks how to “capture improvisations… within the
environment of the composition studio, whilst maintaining gestural freshness” as well as
“how to deal with improvisation's inherent imperfection …within the studio, where deferred-
time would allow their refinement to near-perfect results by taking the time and means to
improve them” (Ibid.). Tremblay refers to “the cross-over point of both worlds: the
exploration of the back-and-forth process between improvisational performance on one hand,
and its editing and further transformation as a studio composer on the other hand” (Ibid.). He
stresses the “desire to capture the interaction and the tensions between the two opposite
approaches to the studio” (Ibid.). Justifications for the use of improvisation span from giving
music back its spontaneity to “dealing with the humanity of imperfection and risk” (p4).
Apart from a fundamental mastery of the instrument, importance is placed on “a state of flow,
a heightened awareness of the moment, of letting go of intentions… where the instrument is
rehearsed to the point of disappearance during the performance” (p5).
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The issue of deception in studio practices however, is contentious. The common practice of
editing studio sessions of improvised music toward a near-perfect result meets disapproval
with those practitioners “considering it as a betrayal of the ethic of improvisation” (Ibid.). Ted
Gioia (1987) coined the expressions ‘the Aesthetic of Perfection' and ‘the Aesthetic of
Imperfection’ to reflect these two apparent extremes. The former, where the edited ‘perfect’
end result justifies any means, is compared to the latter that “takes a stance towards
transparency, and the accurate capture of a given moment, including all of its quirks and
imperfections, as a testimony of its reality” (Tremblay 2012, p5).
There is also a middle path. There is on one hand, a recognition of what the performer was
intending to achieve, but missed the mark. In this case, a correction of the recognised
intention therefore corrects an unintended and undesirable mistake, while (if possible)
retaining the surrounding live, spontaneous energy of the attempt. It is this particular
endeavour that, arguably, makes it attractively human. On the other hand there are ‘mistakes’
or performance ‘discrepancies’ that add a desirable (subjective of course) character to the
music, and are therefore retained for the benefit of the witnessing listener. All decisions serve
a clear goal: what does the producer want the listener to hear? How is the music best served? I
would suggest that dogmatic approaches are unhelpful under these circumstances.
Tremblay eloquently portrays this concept as highlighting “certain features that were
inspiring, or needed a little help: one could call this empirical studio orchestration of a fixed
improvisation” (p11). Andy Hamilton (2003) proposes that many practitioners are positioned
between these two extremes, “with all shades of hybrid practices… where these parallel
approaches cross-pollinate to offer interesting crossover proposals” (cited in Tremblay 2012,
p5). Tremblay continues by describing “this generation [as] embracing the polymorphic
human experience, the richness of the shades of grey between the predictable extremes” (p7).
Furthermore, these dualities are “embraced as a potent, dynamic system in perpetual
dialogue” (p8).
In summary, studios are unique, like musical instruments, and the ensuing relationship that
necessarily and inevitably develops between composer and studio promotes and supports
mastery of functionality, gestural flow and creative control.
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Consequently, for my recordings, there were a number of sound reasons for choosing to
record predominantly in my own studio, or occasionally in non-studio envrionments, rather
than in recording studios that, while offering a higher level of technical equipment and
expertise, lacked other vital ingredients upon which I place more importance. Primarily, I
know my own studio intimately, so well that the technology has become the ‘silent partner’ in
the background, ready to capture and support human creativity without hinderence. The
environmental considerations impact on the performances – my studio houses large windows
and a view of the ocean, while acoustically balanced with insulation enhancing materials.
Also, musicians enjoy being in this space. It is an unpressured, encouraging and positive
environment and the musicians and I work together in the same room, in which I am best able
to ‘read’ the constantly shifting energy of the session and adapt accordingly. Fluidity is
supported in this environment, as Tremblay (2012) states:
Brainstorming is kept as a fluid process … and this swiftness is a key element to keep the
music alive, with a sense of performance to it. Critical improvisational practice allows that
immediacy of judgment over different versions, [with] the ability to reproduce and improve
gestures. (p13)
In order to further explore the subjective nature of intuition and perception in the context of
musical performance, I have included an additional review of selected literature in appendix
C. Similarly, although on the periphery of my research topic, a discussion surrounding the
socio-dynamic attributes that polycyclic comprovisational practices imply is included in
appendix D to provide a broader context.
In conclusion, chapter two has explored the theoretical foundations and literature deemed
most relevant to this study, within the boundaries and protocols of a doctoral exegesis.
In order to fully penetrate the relationship of the accompanying portfolio works to these
foundations and precedents, the following three chapters are devoted to their musical analysis,
encompassing discoveries and inherent consequences of the topic of polycyclic
comprovisation.
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Chapter 3: Polycyclic Chamber Music Analysis
Asked to explain a difficult étude, Schumann sat down and played it a second time.
Schumann's actions suggest that music is best articulated and understood purely in the domain
of its own sounding.
Paul Stapleton (2013, p3)
…it is not so much the themes or the motifs themselves that carry significance, but their
transformation and elaboration in a process of continuous development… a genuine unfolding
of musical material.
Mark Abel (2014, p155)
The purpose of the Polycyclic Chamber Music project is to explore and examine the process
of composing upon polymetrically constructed forms in a contemporary classical chamber
music setting, and its resulting outcome in the form of performances, recordings and scores
(see Vol 2 and ‘Blue CD’).
Additionally, investigation extends into spontaneous interaction with the composed material
through improvisation. I will analyze six of the ten works on this chamber music album. Each
analysis is partitioned into five topics per composition:
• Introduction and objectives
• Analysis of music
• Role of improvisation
• Performance experience
• Conclusion
The chamber music is written for a trio, and recorded by the following musicians:
• Nick Cornish - Wind instruments (oboe, cor anglais, soprano and alto saxophones)
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• Heleen Du Plessis - Cello
• Trevor Coleman - Piano
Beyond performing the music, Cornish and Du Plessis were asked to provide input on various
levels pertaining to their experiences during the recording process which provided invaluable
insight into the effectiveness of this research undertaking. As a performing participant, I will
include my own experiences in this regard. All recording took place in my studio and I acted
as the sound engineer and producer. Live performances of two of the compositions were
performed by the above trio (Peninsula Trio), and the NZTrio: Justine Cormack, violinist;
Ashley Brown, cellist; Sarah Watkins, pianist21, as part of the Lilburn Composition
Competition in 2015. A video recording of the latter is included on the ‘Black CD’.
The final work presented in this section entitled ‘PC12-PolyRoots’ is for choir and included
on the ‘Black CD’.
Before examing the individual works, some background information on the notational method
is of relevance because of its overall influence on the evolution of the compositions as well as
aiding the comprehension of the scores. In the early stages of experimentation with
polymetric notation within the sequencer software programme Logic Pro X22, there seemed
no obvious method to create multiple concurrent time signatures - i.e. the programme was not
designed to accommodate this. Repeated attempts to bypass this limitation lead to creating a
system in which, by ‘hiding’ the bar lines, individual ones could be ‘drawn’ in according to
the appropriate metre. This worked best when the global metre was set to the longest
available. Although proving an imperfect solution and laborious task, it provided the
opportunity to view, test and fine-tune the resulting score in its proposed polymetric reality.
Figure 3 illustrates a less-than-ideal notational presentation of ‘PolySpirals’ in which, among
other issues, the ‘rests’ are not displayed correctly:
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Figure 3: PolySpirals in LogicProX
The individual instrument parts needed to be of a quality fitting the expectations of

professional classical musicians, while simultaneously understanding that, being at an
experimental stage, the music and notation would be subject to frequent change in response to
the performers’ experiences. For the chamber music notation, it was considered necessary to
produce the final scores in ‘Sibelius’23 for a professional presentation, where similar re-
configuration of the programme was necessary to display polymetre correctly. ‘Logic’
notation worked sufficiently however for the requirements of the ‘Jazz’ and ‘World’ projects.
Further atypical notational conventions were necessary for rehearsal situations. For example,
rehearsal reference points: bar numbers cannot be used - the number for each individual part
will always be different from the other parts due to the different time signatures. For rehearsal
purposes, each ‘Mother Cycle’ is determined with a double bar line and indicated with the
anagram MC plus consecutive numbering, e.g. MC1, MC2 etc. The beginning of any MC
should be the only logical place from which to begin during a rehearsal, being the only places
where all parts begin on the first beat of the bar. Here, a 5/4 – 6/8 bi-metric illustration shows
how every 15 quarter-note and 30 eighth-note beats (5/4 x3 and 6/8 x5) the next MC is
designated:
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Figure 4: PolyAnatolia Mother Cycles
Occasionally however, judiciously placed rehearsal cues within the MC are sometimes
necessary. This means at least one instrument will find these ‘subMC-cues’ not on the first
beat of a bar, as is customary. While initially somewhat awkward, it functions as the most
viable option. In ‘Lilburn Blue’ the ‘F’ rehearsal marking denotes a new section that falls
within a MC and coincides with the 2nd beat of 3/4 for the cello:
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Figure 5: Lilburn Blue-rehearsal marking
The delineation of the MC sections also aids in an understanding of the form for musician
and analyst alike. In addition, various sections may also be marked (where applicable):
exposition, development and recapitulation. An introduction, interlude and coda may also be
included. The above points will be further illustrated in various configurations in the
following analyses.
Polycycle 11: ‘PolySpirals’ (Vol 2 p101; Blue CD Track 8)
Introduction and objectives
A great deal of the subject matter considered in ‘PolySpirals’ is generally transferable to the
other polycyclic chamber pieces. Therefore, considerably more detail is examined in this
composition which then becomes representative of the other pieces. The analysis of
compositions following this one will only discuss features distinctive to those pieces.
The objective in ‘PolySpirals’ was to create a composition based around identifiable repeating
cycles that evolve and vary over time. Conceptually, this description has similarities to
processes in minimalism – although in this case the aim is to place the motifs in a consistently
polymetric structure to negotiate the resulting issues and potentialities in comparison to
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mono-metric minimalism.
The three metres chosen for this experiment are 3/4, 5/4 and 11/4 (Polycyclic Combination
#29) resulting in a 165 beat ‘Mother Cycle’ (MC):
Figure 6: Polycyclic Combination #29
If presented as programme music, ‘PolySpirals’ utilizes an image for inspiration. The ‘Spirals'
in the title refers to unending spiral staircases, as portrayed in“Escher's Relativity” (1953):
Figure 7: Escher's Relativity
The idea was to create a series of very slowly ascending cycles, that overlap in such a way as
to disguise where one starts and one ends, so that the overall effect is one of ascension.
Additionally, I have created a 'narrative' that loosely generates the musical form – this will
also guide and inform the analysis of the music. These programmatic comments on the
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progress of the music will appear in italics at the start of sections.
Analysis of music
There is an introductory meditation at 'ground floor' that also contains some anticipation of
the journey ahead.
A low pedal ‘C’ establishes the ground tone (the pianist strikes the lowest C string inside the
piano in 11/4 phrasing), upon which the cor anglais plays an elongated melody in fourths in a
slow motion anticipation of the main cyclic motif with some agitation in the right hand piano
figures. Rubato misterioso describes the style and tone.
Figure 8: PolySpirals: bars 5-6
The piano then states the main motif in 11/4 that also establishes the tempo - the impetus to
begin the climb. The phrasing is 3+3+3+2 while the tonality is centered on a hybrid C
major/minor scale:
Figure 9: PolySpirals: bars 9-10
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At ‘Mother Cycle 1’ (MC1) the cello begins its ascending 3x 3/4 scale over two octaves
followed by cor anglais imitating the cello but over two bars of 5/4. The cor anglais phrasing
is 3+2/5, tying in with the predominant ‘three feel’ of the cello and piano motifs, although all
parts continue in rhythmic fluctuation between their main pulse emphases. Here, the listener
is presented the choice of three metric orientations, or alternatively, a metrically unspecified
hybrid of all three:
Figure 10: PolySpirals: MC1
The trio begins their slow ascension up the staircase.
As the backbone of this type of music design (polycyclic composition) is very much about
relationships - the strength of the individual in a coherent group context - much 'give and take'
is required between the individual parts. To avoid an incoherent constant iteration of lines that
doggedly state only their own agenda with no regard to the other counterpoints, reductive
compositional devices are employed to create enough transparency to build a coherent overall
statement where the individual components can be clearly delineated. Although the cycles are
consistent in their reference and adherence to the original statements, they undergo
increasingly varied transformation as the piece progresses. The following example from MC4,
shortly before the end, illustrates motivic variants such as inversion, fragmentation,
harmonization as well as rhythmic and melodic variation:
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Figure 11: PolySpirals: MC4 p14
Along the way each expresses a monologue/commentary that is distinctly different from the
regular patterns. These 'solo' sections provide opportunity for more featured individual
expression:
Figure 12: PolySpirals: MC1c p4
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After one MC (165 beats = 55x 3/4; 33x 5/4; 15x 11/4) has been completed, they
simultaneously reach the first landing where they catch their breath for one 11/4 bar:
Figure 13: PolySpirals: '1st landing'
The climb then continues in their individual metres with an overall modulation a whole-tone
higher where MC2 follows the same format as MC1, except the register is now higher and the
cycles and solos become somewhat more animated and abstracted.
Figure 14: PolySpirals: MC2, p4
When they all reach the second landing they again sustain one 11/4 bar.
Now that they are up in the clouds they are free to explore their surroundings (MC3),
bringing some of the experiences of their journey into the commentary.
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The first low tone from the piano might represent the distant ground floor - now so
threateningly far beneath them. If the notated version of the improvisation is used, (see ‘role
of improvisation’ below) then it lasts approximately one MC:
After a one bar motivic cue from the piano, MC4 begins and describes the hurried descent
back to ground floor. The motifs are almost exactly the same as before except that the pitches
are reversed, so now, instead of ascending, they descend. Even the 'solos' are mostly reversed
in pitch. The trio is keen to get back home:
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The final section (back on ground floor) recalls the opening meditation, this time with more
animated musical commentaries that are (ideally) improvised in the piano cadenza:
Figure 17: PolySpirals: Ending
There is no real sense of resolution, rather a mixed response to what has transpired.
Role of improvisation
As with all the other polycyclic chamber music compositions, notated alternatives to
improvisation are provided. These pieces should be accessible to classically trained musicians
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for whom improvisational instruction and experience has been non-existent or under-
developed.
Musicians who are comfortable with improvisation however, are encouraged to explore the
opportunities offered in the compositions that invite improvisation to various degrees. In all
my experiences working with optional improvisation in more ‘classical’ settings, an arguably
additional layer of engagement, excitement and sense of co-creation is infused into the
composition, the performers, and the audience. In ‘PolySpirals’, the first improvisation
opportunity arises for the piano in the introduction.
Figure 18: PolySpirals: piano improvisation p1
By indicating the manner and characteristic through notated examples, improvisation is, as
stated earlier, integrated inside of the composition by “giving the improviser the materials that
are going to be improvised” (Dale 2008, p11). The various ‘solo’ vignettes are also notated
improvisations as illustrated in figure 12. However, although originally these solos were
intended as optional improvisations, it became evident that it is too difficult to ‘hold the form’
in this context. The notated ‘solos’ however retain their improvisational quality. The point
being made here relates to the importance of providing the improviser a conducive musical
habitat within which to express spontaneous ideas freely. If the improviser is simultaneously
required to unnaturally ‘count’ time rather than at a more subliminal level rely on audio
references and cues contained within the form, a potential strain on the freedom of the
improviser can occur – a hindrance to achieving a so-called ‘sense of flow’. Consequently,
this may be counterintuitive and undermine the desired spontaneous effect. In this case, a
notated improvisation will likely best achieve the desired outcome. Notated improvisation in
this instance refers to the transcription of an improvisation by the composer. The musical
‘habitat’ for group improvisation at MC3 (see figure 15) however, contains suitable
ingredients to support a ‘sense of flow’ for the musicians. For example, the players are not
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required to ‘hold form’ through adherence to a common pulse – i.e. the timing is free. As
indicated in the accompanying performance notes, they should draw upon the motivic
material presented up until this point for their improvisations. Even without this indication, it
is generally expected that experienced improvisers would be musically inclined to refer to
preceding material in order to create a continuum and sense of context. Further impetus for
the generation of material is also to be anticipated in the interaction between the musicians, as
they mutually respond to each other’s stimuli. From personal experience, most group
improvisations arrive at a conclusion through instinctive concensus (assuming that is the
desired outcome); that is, a mutual sense of completion.
Similar to the introduction, the final section invites the pianist to improvise using motivic
guides and verbal indications (refer to Figure 18).
Performance experience
The first experiment in performing polycyclic compositions was conducted early in the
research process. In a rehearsal, three compositions – PC1, PC2 and PC3 (not included here) –
were trialed by Cornish, Du Plessis and myself. Basic synchronicity was achieved at varying
levels of success, but it became evident that a very considerable amount of rehearsal would be
necessary to bring nine of these demanding polycyclic pieces to a level acceptable for a
professional recording. Considering the time contraints of the participants and the voluntary
nature of the project, a more expedient approach was required. I would first record the piano
parts then overdub the cello and wind instruments. While not common practice for chamber
music, the advantage was the level of precision that could be achieved and perhaps more
surprisingly, an overall sense of cohesion and fluidity of performance.
My primary goal was to create a professional representation of the compositions in order to

effectively present the value of this work. As a consequence, this process also created a
conducive platform for monitoring the various issues arising in performance, in particular
from the point of view of the individual practitioner. Further considerations concerning group
performance were also examined outside of the recording studio, in the form of two live
performances. Generally speaking, three reasonably consistent observations are worth
mentioning at this point.
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Firstly, recording in a controlled studio environment meant the musicians were able to receive
exactly the headphone mix most beneficial to their performance requirements. Interestingly,
both Cornish and Du Plessis stated similar needs. They preferred to hear mostly the piano and
click track for intonation and timing purposes in relative balance with their own sound.
Conversely they wanted a very minimal presence of the other ‘melody’ instrument as this
seemed to be more distracting than helpful in maintaining the strongest sense of identity.
However, even at a low volume, the other melody instrument subjectively seemed to inform
the performance on an emotional level when present, although in ways that are difficult to
quantify. This would indicate that certain understood qualities of group cohesion are also
quite evident in this process.
The second observation has some similarity to the first. Whereas by reducing anything in the
headphone mix that might be considered distracting, the same premise applied to notation.
My initial approach was to provide the instrumental part with the two other instruments
represented on smaller staves for synchronization assistance. Having reference to the other
parts would help the players in maintaining the correct place in the form, especially in this
unfamiliar format presented in polymetre. The preference of both musicians proved
otherwise: they wanted only their own lines present with occasional references to other lines
during rests. As predicted, over time they were able to detect more aspects of the companion
parts whilst performing their own, but initially it proved necessary to remove any interference
to concentrating on their own identifying role.
The third observation, also concerning notation, is somewhat less consistent, but prevalent
enough to give weight to a central hypothesis presented earlier. I stated my conviction that a
performer will phrase differently according to placement of bar-line, after which, on some
level the musician will place emphasis. Additionally, reading the phrasing within context of
its intended metre, reinforces the integrity of that individual part, which, combined with the
other parts similarly invested, will increase the pertinacity of the whole. Du Plessis, Cornish
and I confirmed the validity of this theory in our distinct rendering of the metre ‘downbeats’
as well their sub-groupings (eg. 3+2/5). By ‘rendering’ I am referring to either a distinctly
audible emphasis of the ‘downbeat’, or a perceptible gravitation toward and away from the
‘downbeat’ in the phrasing, as is common practice. While polymetric notation is not always
the most suitable option, as will be seen in ‘PolyAnatolia’, tightly woven phrase/metre
relationships as found throughout ‘PolySpirals’ benefit from the similar pendulum-like
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momentum that appropriate metre allocation provides. When combined, these ‘pendulums’
create perpetually deflecting orientations, and result in a complex whole strengthened by the
sum of its parts.
Conclusion
‘PolySpirals’ is the most ‘cyclic’ sounding of all the pieces, and adheres strictly to a process
while simultaneously disguising the fact. Contributing to this deflection from recognizable
process is frequent use of fragmentation which simultaneously supports compositional
transparency, an important attribute when addressing increased complexity of structure.
In this piece, metric orientation on a composite level is diffused, offering broader alternatives
in perceptual location.
Free (or emulated free) improvisation offers respite to the incessant forward striving of pulsed
cycles, and an alternative view of the compositional material.
The method of notation impacts on the effectiveness of pulse driven cycles, and is arguably
more vital amid increased metric complexity.
As previously stated, most experiences and points made in the analysis of ‘PolySpirals’ are
generally transferable to all the polycyclic chamber music compositions.
Polycycle 4: ‘PolyFugue’ (Vol 2 p51; Blue CD Track 4)
I was keen to explore the problems and potentialities when incorporating a fugue-like
compositional approach within the context of polycyclic design. I imagined polycyclic writing
providing a setting compatible with fugue style: the statement and development of the same
motivic phrase at varying entry points according to an overall scheme. This concept would be
further challenged with the incorporation and navigation of shifting tonal centres and
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harmonic progressions in a polymetric setting. Additionally, the premise that there is an added
musical dimension of value in notating in three different time signatures was worthy of
pursuing over a number of different kinds of compositions (comprovisations), and measured
through performance outcomes.
Equally, the question was also how to incorporate improvisation in this context.
Analysis of music
‘PolyFugue’ presents a consistent tri-metre environment from beginning till end with the
exception of the last MC (11) when all parts are notated in 4/4. Polycyclic combination
number twenty-five was chosen:
The oboe is in 7/4, phrased 4+3/4; the cello in 6/4, phrased 4+2/4; the piano in 4/4. The single
theme integral to the entire piece is introduced first by the piano beginning in G minor (figure
20). Due to the frequent harmonic shifts away from the opening tonal centre no key signatures
were utilized.
Figure 20: PolyFugue MC1a
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The second iteration of the theme, also piano only, is transposed a minor third lower to E
minor now with harmonic accompaniment:
Figure 21: PolyFugue MC1b
The third iteration begins on piano now a further minor third lower in Db minor but played
one octave higher to free up the lower register for the cello entry. The cellist plays an altered
version of the theme appropriate to her time scheme and harmonic reality, bringing both cello
and piano to the end of MC1.
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Figure 22: PolyFugue MC1c
The oboe joins in at MC2, similarly altering the timing and harmony of the theme to suit his
metric requirements. Here, the tonal centre is transposed down yet another minor third to Bb
minor to complete the four tonal areas that equally divide the octave (G, E, Db and Bb). Note
also that the phrasing/metre division is supported by accentuating the relevant beats on each
part:
Figure 23: PolyFugue MC2a
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From this point on modifications, variations and abstractions to the theme develop while
continuing the cyclic progression through the four key centres. The cello also employs some
stylistically appropriate octave accompaniment figures:
Figure 24: PolyFugue MC2b
MC5 marks a transition passage of relative harmonic stasis – a full MC in Fm dorian prepares
for the upcoming optionally improvised or notated modal improvisation:
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Figure 25: PolyFugue: MC5
At MC6, in both notated and improvised settings, the mode of G dorian offers a harmonically
stable and alternative position from which to continue exploring thematic variations:
MC10 delineates the end of the modal improvisations and the recapitulation of the opening
fugal theme. At the end of one full tonal cycle (G, E, Db and Bb) the theme is performed in
unison and mono-metrically (MC11) – a unified celebratory statement:
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The question of how to incorporate improvisation here presented similar issues as in

‘PolySpirals’. Whereas conditions for improvisation for the musicians during the exposition
in ‘PolySpirals’ was considered unfavourable, the possiblities in ‘PolyFugue’ are potentially
inviting for a suitably trained musician. Chord symbols identifying the harmony are provided
throughout the exposition and recapitulation as an aid for pianists who may want to interpret
and make variations on the notated harmony (as prescribed in the accompanying performance
notes). This is encouraged in the context and spirit of 'comprovisation':
Figure 28: PolyFugue: MC3 piano
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Another similarity is the role of the middle section for optional improvisation that offers an
alternative platform to explore the thematic material. Here, a suitable selection of melodic and
harmonic material for improvisational use is provided. In most scenarios, full freedom of
choice has a potential to be overwhelming and leave too much up to chance - asking too much
of many musicians, with high variance in levels of success. In ‘PolyFugue’ I provide material
for a ‘point of departure’: ‘motivic indications as departure point for improvisation in G
minor, maintaining (individual) cycle’ as well as a central scale on which to base the
inventions:
Figure 29: PolyFugue: MC6 improvisation
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The headphone mix and polymetric notational considerations as described in ‘PolySpirals’

found identical application here. An additional theme around notation arose however.
This was the issue of how to strike the right balance between providing dynamic and
expression markings, and my preference to having the musicians mostly self-determine in this
regard. Self-determination has two potential advantages:
Firstly, the musicians need to actively try to be conscious of the overall sound and respond
appropriately and spontaneously at any given moment with volume fluctuations,
expressiveness and mannerisms of playing. I think this encourages awareness of the
relationship the part has to the whole, especially when having to concentrate on one’s own
individual time signature in a polymetric setting. This ‘dual’ thinking between attention to the
self and the group is probably more challenging in this polymetric/cyclic style of composition
in comparison to ‘mono-metric’ music, and necessitates a highly active engagement.
Secondly, I am not at ease notating performance directions (e.g. phrasing and bowing
markings, note lengths, volume indications etcetera) when I am not an exponent of that
instrument. I may have a reasonable theoretical understanding of the mechanics of
instruments but this will, in no way, come close to the infinite nuances an expert performer
can offer. In a small ensemble setting at least, this freedom can be well applied, relying on the
players’ own input into performance directions.
Discussions with Du Plessis highlighted that, for her as an interpreter, there is a certain ideal
balance between being given enough direction and opportunity for individual contribution -
providing a necessary clarity and confidence, while promoting significant personal
engagement. Initial experiments in improvisation indicated a high level of engagement among
the musicians and an acknowledgement that the suggested motivic and harmonic material
provided a sense of security upon which to exercise spontaneity. For my own experience as a
pianist more at ease within the jazz idiom rather than classical traditions, reading chord
symbols alleviated the stress of precise note reading and execution, while providing
interpretative and improvisational potentialities.
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Conclusion
Creating a fugue-like composition in a harmonically fluid polymetric setting requires much

‘give and take’ in manipulating the melodic material. It also requires an enhanced adherence
to both the integrity of individual phrasing and the composite sonic picture. A delicate
balance is therefore constantly negotiated between individual and group; a circumstance that
promotes a sharpened interpersonal awareness, magnified in a polycyclic environment.
Polycycle 7: ‘PolyFolkBaroque’ (Vol 2 p76; Blue CD Track 6)
As the title suggests, two music styles have been addressed simultaneously in a polycyclic
manner. The folk influence is derived from Balkan dance rhythms in 11/4 performed by oboe
and piano, while the cello delivers baroque-like lines in 5/4.
Essentially, the piece is expressed bi-metrically (in contrast to the previous tri-metre
compositions), although the oboe may play an optional improvisation freely in a 2/4
orientation over the 11/4 and 5/4 patterns. Because of the intensity of the 5/4 cello lines,
which are followed by the note-rich 11/4 Balkan melodies, I decided a bi-metric structure
contributed sufficient complexity for the overall composition.
Music analysis
The nominated ‘polycyclic combination’ is number nineteen:
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Figure 30: Polycyclic Combination 19
Because this piece operates bi-metrically (5/4 and 11/4) the MC length is halved from 110 to
55 beats, consisting of eleven 5/4 and five 11/4 bars.
The cello begins with her baroque-like figures phrased almost like a waltz with two extra
beats establishing a clear A major tonality:
Figure 31: PolyFolkBaroque: MC1
The oboe and piano add punctuations every eleven beats starting at MC2, establishing their
11/4 counter-metre felt as 4/2 plus 3/4 (indicated by half bar lines):
At MC3 a slowly unfolding anthem-like melody in 11/4 reveals itself as an elongated version
of the upcoming piano folk melody at MC7, and is occasionally harmonically adjusted to fit
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the cello harmony, as are the chordal punctuations, illustrated here at MC4:
MC7 marks the beginning of the folk-based section. The piano states the theme already
introduced at MC4 (see figure 33) now in the folk dance inspired context. The cello switches
to a half-time pulse in 5/2 providing an accompanying rhythmic figure based on the previous
baroque lines, but with reduction and repetition:
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The oboe improvises (notated or freely) over this scheme. At MC9 the tonal centre shifts to G
minor while the rhythmic pulse moves to 2/2, 3/4, 2/2 – another common Balkan dance
rhythmic pattern:
This format continues, modulating through E and F minor until MC11 where a departure from
the bi-metric structure is introduced and the piano plays a (notated or freely) improvised solo,
commenting on previously stated material. MC12 introduces a simultaneous recapitulation of
both the baroque and folk themes but in an extremely fragmented state that only very
gradually becomes apparent. In order to make synchronization possible the theme notes not to
be played are cued in small print, i.e., they are ‘imagined’:
This technique gives opportunity for the listener to alternate between to the two different
counterpoints that, presented all at once would have been quite chaotic. By MC15 the entire
counterpoint between the 5/4 cello baroque and 11/4 piano and oboe folk melodies has been
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revealed. MC16 sees a return to the opening format for the final section:
Figure 37: PolyFolkBaroque: MC15-16
Both counterpoints increase in intensity and crescendo to a final synchronous high point:
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Two opportunities for improvisation are proposed for oboe and piano. The optionally
improvised solo in F# minor for oboe starting after MC7, invites the soloist to reduce his
sense of metre to a simple 2/4 pulse and freely respond to either of the rhythmic streams or an
almagamation of both. In this way, there is no necessity for him to count or adhere to the
structure. It is assumed that the key changes will be heard rather than read in order to
maximize the focus on spontaneity, and the cue to end will be simply be because the others
have stopped. At this point, at MC11, the piano is unhindered by any synchronization or
harmonic considerations other than rendering improvised solo reflections appropriate to the
context.
The steadiness in the design and performance of the pulse patterns are important if the players
are to maintain and synchronize their separate identities within the structure. Du Plessis was
encouraged to infuse her 5/4 cello phrases with a subtle sense of ‘swing’ that resulted in a
more natural momentum, in turn promoting a relaxed rendering of the oboe and piano lines. It
was evident that the separate metric notations assisted this sense of flow.
Conclusion
The particular significance of this piece is how two very distinct and different stylistic
elements are able to combine meaningfully and how the bi-metric approach supported this
delineation and combination.
Through simplicity of line, and adherence to roles, I have attempted to create as much clarity
as possible. Even though this piece is ‘only’ bi-cyclic, it is still challenging enough to digest
for both players and audience alike.
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Polycycle 10: ‘PolyKarma’ (Vol 2 p119; Blue CD Track 9)
Introduction and aims
Based on a simple repeating melodic idea, ‘PolyKarma’ is securely grounded in Eb major and
employs a descending bass line – one that has been used very emotively since Bach (e.g. “Air
on a G string”) or even earlier. I have deliberately and unreservedly capitalized on the
emotive quality of this universally recurring chord progression. This stems partly from my
film scoring work and earlier involvement in pop music, where certain musical references
carry a particular emotional significance. Starting from this familiar emotional base I intended
to explore how the simultaneous use of differing metres could extend this vocabulary beyond
its existing mono-metric foundation. In this context, the ‘Coda’ serves as an abandonment, or
breaking away from the ‘comfort’ of established norms, encouraging alternative possibilities
for exploration.
Music analysis
In keeping with the theme of ‘simplicity’ I chose the most fundamental of polycyclic
combinations, 3/4, 4/4 and 5/4 for cor anglais, piano and cello respectively:
The theme in 4/4 is consistently maintained by the piano while counter-lines and their
variations are represented in the cello then cor anglais parts in 5/4 and 3/4 respectively.
This polymetric aspect disperses the rhythmic and harmonic regularity of the main theme:
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Figure 40: PolyKarma: MC2
In contrast to other compositions here, the ‘Mother Cycles’ in ‘PolyKarma’ play a distinctly
background role. Although the three separate metres remain constant throughout the piece
until the last iteration of the main theme (when the oboe switches to 4/4 to perform in unison
with the piano), the primary driver of the perceptual structure is the piano chord progression
and melody as illustrated above in figure 40. The organic symmetry of the piano phrasing
does not fit the 15x 4/4 (=60 beats) MC structure and so, in this case, takes precedence in
governing the overall format. Therefore, the background MC structure acts a subsidiary
substructure to encourage motivic development in the oboe and cello parts beyond normal
mono-metric practices.
The following describes the format of the piano governing structure and MC substructure:
Introduction: 9 bars (8 bar phrase plus 1 ‘pause’ bar) of ‘Piano Melody A’.
Piano Melody A1: 8 bars (ends on a G minor [III] chord) (start of MC1)
Piano Melody A2: 8 bars (ends on a Ab major [IV] chord) (MC2 = bar 8; or, 15x 4/4)
Piano Melody A3: 9 bars (ends on a Bb dominant [V7] chord); 8 bar phrase plus 1 ‘pause’ bar
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Piano Melody A1: 8 bars (ends on a G minor [III] chord) (MC3 = bar 6)
Piano Melody A2: 8 bars (ends on a Ab major [IV] chord)
Piano Melody A3: 9 bars (ends on a Bb dominant [V7] chord);
8 bar phrase plus 1 ‘pause’ bar; (MC4 = bar 5)
Interlude: 15 bars; piano plays inversions of main phrase
(ends on a Bb dominant [V7] chord); (MC5 = bar 11)
Piano Melody A1: 8 bars (ends on a G minor [III] chord)
Piano Melody A2: 8 bars (ends on a Ab major [IV] chord) (MC6 = bar 3)
Piano Melody A3: 9 bars (ends on a Bb dominant [V7] chord);
8 bar phrase plus 1 ‘pause’ bar
Coda 1: 30 bars multi-tonal section over C rhythmic pedal on cello
(or optional open length group improvisation); (MC7 and 8)
Coda 2: Final statement of piano main phrase (MC9)
The correlation between the piano governing structure and MC substructure has been
organized so that they do in fact synchronize at two critical points: Coda 1 and 2. Coda 1
marks the departure from the pre-existing Eb tonality. Coda 2 is the point where all three parts
co-incide to finish the piece (in the notated version):
Until Coda 1 = 90 bars x4/4 (piano); 120 bars x3/4 (c.a.); 72 bars x5/4 (cello) = 360 beats
total. 360 beats ÷ 60 beats (1x MC) = 6x MC.
At Coda 1 = MC7.
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Until Coda 2 = 120 bars x4/4 (piano); 160 bars x3/4 (c.a.); 96 bars x5/4 (cello) = 480 beats
total. 480 beats ÷ 60 beats (1x MC) = 8x MC.
At Coda 2 = MC9.
The consistent structural symmetry and harmonic stability (Eb major) provided by the piano
up until Coda 1 supports a platform upon which the oboe and cello can exercise motivic
development in adherence to their individual metres, resulting in alternative counterpoints to
that of a mono-metric system. Figure 41 illustrates an example of the interweaving motivic
development and counterpoint between the cor anglais and cello:
The Coda introduces a departure from this scheme harmonically, structurally and
conceptually, with allowance for varying degrees of improvisation:
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On completion of this section the piano states a final, distant reiteration of the opening phrase:
The improvisational coda-like section at MC7 functions as a multi-leveled release from the
preceding ‘conventional’ tonality. Flexibility of approach is encouraged: one, two or all three
instruments may choose either free or notated improvisation – any combination will function.
For example, on the accompanying recording only the cor anglais has departed somewhat
from the notation. Conversely, during live performances our trio performs relatively free
improvised versions – beginning by quoting from the written score then progressing toward
increasing freedom of expression.
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This piece has proved the easiest of all the chamber polycycles to perform, both in the studio
and live performance situations. Although it could conceivably be globally notated in 4/4,
once again the musicians acknowledged that they were able to embrace their metrically
appropriate phrasing with increasing confidence as the unfamiliarity of polymetricism was
gradually overcome.
There was a perceptible increase in excitement in both the musicians and audience during the
live improvisational section. When later interviewed on the perceptibility of the various
metres, several audience members responded that there was a sense of something ‘unusual’
happening, but were too consumed by the overall effect of the music to be distracted by it.
Both Du Plessis and Cornish reported a marked sense of liberation from conforming to
structure during the ‘free’ improvisation section. Arguably, the level of liberation is relative to
the preceding level of complexity and conformity.
Conclusion
Why did I choose this particular polycyclic combination when it does not significantly
correlate to the governing structure? The aesthetic nature of this composition required a sense
of ease of performance – it was therefore advisable to support this ease with a ‘simple’
polymetric structure while simultaneously “extending the [musical] vocabulary beyond its
existing mono-metric foundation” (from the introduction of this analysis). The relative ease of
performance in a live setting confirmed this supposition.
Continuing the practice of exploring how polycyclic structures can influence idiomatic
conventions, ‘PolyKarma’ offers a new perspective on a common reference. This practice
maintains that emotional attachment to an idea can be extended over a more complex
environment while promoting a broader palette of possibilities.
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Polycycle 5: ‘PolyAnatolia’ (Vol 2 p6; Blue CD Track 1)
For the final composition under analysis within the chamber music category, I have chosen an
Anatolian inspired setting – the rhythmic and melodic elements in ‘PolyAnatolia’ are typical
of music from this region – expanded into a polycyclic context.
However, the main point for examination here relates to practicality of notation. Whereas one
of the central notions around polycyclic design in music is the benefits of polymetric notation,
there are situations where the exception may apply: ‘PolyAnatolia’ provides a good example.
Firstly, an overview of the composition will provide background to this issue.
Music analysis
The polycyclic design behind this piece, now well disguised by simplified notation, is still
manifest in the individual phrasings:
Soprano Sax Piano Cello
The simplified notation now places the music in either 6/8 or 3/4. Therefore, every five bars
the MC markings still indicate common downbeats but more practically, within this notation
method, they function best as rehearsal markers. Figure 45 illustrates the opening 6/8
rhythmic underlay of the piano and the central three-note thematic motif also played on the
soprano saxophone emulating the ‘duduk’ (an ancient double-reed woodwind flute indigenous
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to Armenia), but phrased in 5/8, creating an ‘offset’ positioning of the melody that avoids
predictable rhythmic phrasing and supports an individual identity:
Figure 45: PolyAnatolia: MC1
The cello figures are phrased here in 3 groupings of 5/4 within 5 bars of 3/4 notation,
coinciding with the piano every 5 bars of 6/8:
The following example illustrates more pronounced 5/8 oboe phrasing within the 6/8 notation,
5/4 cello phrasing within 3/4 notation and how all three parts link together for one MC:
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The ideas are developed over similar structure and style throughout the piece. The tonality is
based exclusively on the B phrygian dominant scale, common in music from this region of the
world, from which the root notes for the chords in the next section at MC22 are derived. Now
centered in E minor, the B phrygian dominant scale becomes E harmonic minor, although
retaining the same notes:
Figure 48: B Phrygian dominant and E harmonic minor scales
At MC22 the trio synchronize metrically in 6/8 including optional repeats for improvisation.
The root notes of the chords (highlighted) are derived from the above (figure 48) B phrygian
dominant/E harmonic minor scale maintaining a tonal relationship to the previous section:
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The next section (MC24) changes the mood to one of aggressive animation, working the
diminished apeggio of the central scale with unison chromaticism now in 3/4 metre:
MC25 reintroduces increasingly fragmented versions of the opening material, with phrasings
compliant to each individual (virtual) metre, decreasing in volume until the final, barely
audible statement:
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The chord symbols included for all players from MC22-24 (see figure 49) are to be used as
harmonic guides should the musicians optionally decide to repeat this section for solos in the
tradition of jazz improvisation. The number of repeats is at the collective discretion of the
players, although it is the responsibility of the pianist to cue the next section (MC24). This
improvisation over chord changes as practiced in a jazz context offers a two-sided
opportunity: (1) for classical musicians wanting to explore this art, and (2) for jazz musicians
wanting to apply their craft within a more ‘classical’ setting.
The original score was first notated mono-metrically in 3/4, then polymetrically in 5/8, 6/8
and 5/4, then finally in a combined 6/8, 3/4 solution. The evolution of the process highlights
the difficulties around the notion of appropriate notation. In short, there are polymetric
situations when notating polymetrically is not appropriate. Sacrifices made by not notating in
the metre that is best suited to the individual phrasing is made up for in ease of ensemble
playing - a decision based on practicality over polymetric ‘correctness’. The first example
illustrates the attempt in 3/4:
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Figure 52: PolyAnatolia: MC9 3/4
While appropriate enough for the quarter note emphasis of the cello part, the notation is
misleading for the desired 6/8 motion of the piano, and 3+2/8 of the sax.
When laid out polymetrically the appropriate motion is individually correct but synchronicity
between the players is rendered extremely difficult because of the awkward rhythmic
relationship between the 6/8 piano and 5/4 cello/sax (sax being written as two groupings of
5/8 into 5/4):
Figure 53: PolyAnatolia: MC9 polymetric notation
Performance experience confirmed the unnecessarily difficult timing issue. The solution, or
compromise, was reached with 3/4 notation for cello and 6/8 for piano and sax. Mutual
alignment through common bar length was achieved while expression of individual phrasings
was practicable. Comparison with the previous two versions (see figures 52 and 53)
demonstrates that this new hybrid version (see figure 54) is a preferable option.
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Figure 54: PolyAnatolia: MC9 6/8 and 3/4
Another aspect of ensemble playing of which I became conscious during the process of
polycyclic design was a certain inherent and habitual inclination among musicians toward
unifying moments. For example, frequent arrival at the same downbeat, or playing in unison –
attributes not naturally occurring among differing metres. Hence, in PolyAnatolia the decision
was made to include a mono-metric section (MC22) and a unison ensemble experience
(MC24) (see figures 49 and 50 respectively). These synchronic junctures provide release from
and contrast to the intrinsic tension contained in polycyclic passages.
Conclusion
The issue surrounding whether or not to notate polymetrically is more dependent on

circumstance rather than any fixed theoretical position. For the most part, these chamber
music compositions have employed less challenging polycyclic combinations in which
individually notated metres have demonstrated certain advantages in musicality. Live
performances have also substantiated this position: musicians’ feedback concerning ‘Lilburn
Blue’, as performed by the NZTrio, suggested there was no difficulty performing this bi-
metric composition and the integrity of the (notated) 3/4 cello motion against the triplet 4/4
metre of the piano induced the desired expansion of metric orientation (Vol 2 p39 and video
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file on the ‘Black CD’).
As the polycyclic combinations become more difficult however, the argument for mono-
metric notation may become more applicable, as the case of ‘PolyAnatolia’ implies.
Polycycle 12: ‘PolyRoots’ (Vol 2 p127 and Black CD)
As an addendum to the analysis of selected chamber works I have included a composition for
mixed choir. The aim of creating a polycyclically designed song form for a capella voices is
to create an extra set of circumstances and challenges apart from those present in the small
ensemble instrumental setting. Considering these potential difficulties I decided to work with
a simple foundation: a standard song form with uncomplicated tonality and rhythm as a
framework upon which three metres would be applied. An important aspect was to devise the
parts in an organic manner so as to promote maximum facilitation for live performance.
The music style is pliable enough to be suitable for choirs from differing backgrounds:
classically trained ones through to gospel choirs, vocal groups from various ethnicities,
genders and demographics.
For many years I have admired the polyphonic singing of Bayaka24 Pygmy tribes and,
although their approach to music-making differs considerably to my western styled polycyclic
methods, there are some similarities in the sonic outcomes.
A further aspect of complexity is the application of lyrics when dispersed over a polymeric
construct.
Musical Analysis
Similar to ‘PolyKarma’, the more elementary 3/4, 4/4 and 5/4 metric combination (refer to
figure 39) was chosen for this first foray into polycyclic vocal writing. The choir is split into
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three sub-choirs which each remain in their distinct metre for the duration of the piece, each
maintaining the integrity of the song form, but within their individual metric contexts.
Therefore, broadly speaking, the duration of the song is longer for the 5/4 version than for the
4/4 version, which is in turn longer than the 3/4. The mathematical design is coordinated so
that each sub-choir naturally resolves on the last line of the song simultaneously - the first and
only time within the piece that all 3 choirs sing in unison.
Consequently the sub-choir singing in 5/4 begin the song, the 4/4 group enter after the 2nd
phrase, and the 3/4 group enter half way through the 3rd phrase of the 4/4 group and 4th
phrase of the 5/4 group. During the song therefore, a multiplicity of phasing of lines occurs
with occasional synchronicity between two of the three choirs due to their differing ‘speeds’.
Before illustrating these relationships through score excerpts a dissection of the fundamental
mathematical equation is pertinent. The actual song length, not including introduction and
final sustained note, is 300 beats. This equates to 60 bars of 5/4, 75 bars of 4/4 and 100 bars
of 3/4. Within this form, five sections of 60 beats each delineate the ‘Mother Cycles’, each
containing 12 bars of 5/4, 15 bars of 4/4 and 20 bars of 3/4. This means at the beginning of
each MC the first beat of the bar is shared, but does not reflect any other aspect of
synchronicity between the choirs as they continue their individual unfolding of the song.
Although the key could easily be transposed to suit a particular situation, the key of Bb
seemed to set a comfortable range for this version of mixed male and female voices.
The full choir firmly establishes this tonality, and pulse, in the introduction:
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Figure 55: PolyRoots: Introduction
The bass drum and woodblocks provide a time-keeping function, assisting the 5/4 and 3/4
choirs respectively, alongside a single beat style of conducting.
At MC1 a soloist affiliated with female choir 1 states the first two phrases alone in 5/4.
As the verse of the song was originally mono-metrically conceived in 9/4, phrased as 5/4 plus
4/4, the rhythm in this setting requires the least adjustment of the three metres:
Figure 56: PolyRoots: MC1a
The beginning of the song form in 4/4 comes at the end of the second 5/4 phrase, and
although it is by definition is phrased slightly more compactly, an individual rhythmic
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integrity is maintained:
Figure 57: PolyRoots: MC1b
By MC2 the 5/4 and 4/4 counterpoint between the two soloists has been identified and is now
ready for the third iteration to emerge in an even more compact form:
Figure 58: PolyRoots: MC2a
Each sub-choir follows a verse-chorus-verse-extended chorus format. When the 5/4 soloist
begins her second half of the chorus a chant-like mantra is introduced by the female choir 1
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and the male choir, both also in 5/4, which is continued by the latter throughout the remainder
of the piece:
Figure 59: PolyRoots: MC2b
At the point where all sub-choirs reach the extended second chorus they each further sub-
divide into three-part harmony, increasing the overlapping intensity:
Figure 60: PolyRoots: MC5
Another dimension, absent in the instrumental works, is of the impact of polymetres on lyrics.
In this case, the lyrics are continually expressing imagery connected to the notion of ‘roots’ -
in the first verse through nature metaphors, the second verse envisions 'home/house/town',
while the choruses repeat the one line: 'feel the roots' with the tag: 'then Uncle Sam has got no
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show'. If it were a 'storytelling' lyrical content unfolding over verses, it could be quite
confusing, even irritating, to have narratives manifesting in an overlapping manner. Because
the lyrics of 'PolyRoots' are different descriptions of the same message throughout, the
overlapping words can be digested simultaneously as various expressions affirming the same
thing thus offering the listener a choice to follow one choir at a time or an amalgamation of
two or all three. Supporting this relative clarity of message are the repetitive, familiar,
melodic diatonic phrases and simple rhythm.
From MC5 the female solo vocalist is at liberty to add improvised phrases in the style of
gospel choirs as demonstrated by Abigail Knudson on the audio track (Black CD), generating
increased intensity and conviction of the underlying message.
Choir rehearsals toward a concert of this work have been scheduled for after this exegesis
goes to print so empirical experience is as yet based on the included recorded version that was
performed by one female vocalist (Abigail Knudson) singing all the female choir parts and
one male vocalist (myself). For Knudson, the requirements were similar to those of Cornish
and Du Plessis for the instrumental recordings: the parallel parts were perceived as distracting
therefore excluded or minimalized in the headphone mix – only a quarter note pulse, a piano
guide track and any pre-recorded vocals in the same metre were present. Although I initially
conducted Knudson in the relevant metre, eventually she was able to feel the phrasing of each
part naturally. This experience indicates that it would be astute to first rehearse the individual
sub-choirs separately until a natural sense of rhythm is achieved rather than counted. Only
through a consistent confidence of each individual identifying role can the synchrony of the
whole be successful. In support of this position, polymetric notation was the obvious option.
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Conclusion
Polymetric design provided a conducive platform for a three-dimensional interpretation of a

song via implementation of three simultaneous time signatures. The original lyrical content
and song form remained comprehensible within the widened aural complexity that a
polycyclic approach offers.
This completes the chapter on polycyclic chamber and vocal music. While the emphasis here
has been on the design of notated polycyclic constructs with optional or limited
improvisational input, the following chapter will explore similar themes in a stylistically
contrasting setting. The broadly defined tradition of jazz music will by its nature incorporate
improvisation more extensively while presenting a unique set of challenges for polycyclic
concepts.
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Chapter 4: Polycyclic Jazz Music Analysis
…it’s all about the artist’s intent. If the artist intends the creation to be jazz, then it must be!
This puts the control where it should be: in the hands of the creator of the work.
(Fleeger 2016)
The globalization of jazz is inspiring ever more cross-genre hybrid musics, rendering a
definition of the word ‘jazz’ more elusive than ever.
(Denson 2013, p30)
Continuing in a similar analytical framework as chapter three, the Polycyclic Jazz project
also aims to explore and examine the process of composing and improvising upon
polymetrically constructed forms, but in a broadly defined contemporary jazz setting. The
resulting outcomes in the form of scores and recordings (Vol 2 pp140-234 and ‘Red CD’) will
be the main area of focus.
Four of the ten included tracks in this category will be analysed, being chosen as the most
consistent tri-metric illustrations, each featuring a particular topic for consideration, and
generally representing issues encountered across the entire project.
The final two tracks on the album, although relevant to this chapter, are more appropriately
labeled ‘Neo Soul’ in terms of style. Due to its unique properties, the vocal version of the
song ‘Stay With Me’ will also undergo musical analysis.
The same five topics per composition as in the previous chapter will be employed as
analytical sub-headings:
• Introduction and objectives
• Analysis of music
• Role of improvisation
• Performance experience
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• Conclusion
The music was fundamentally conceived for a standard jazz quartet: sax, piano, bass and
drums. Trumpet and congas also feature on three of the twelve tracks, as do vocals on eight,
plus occasional use of electronic sounds and atmospheres.
The musicians performing on the recordings are:
Abigail Knudson, vocals on tracks 1, 2, 3, 5, 6, 8, 10 and 11;
Nick Cornish, soprano and alto saxophones on tracks 1, 3, 5 and 7;
Mike Schweizer, tenor saxophone on tracks 2, 4, 6, 8, 9 and 10;
Craig Walters, tenor saxophone on tracks 11 and 12;
Alfonso Rios, congas on tracks 1, 5 and 6;
Trevor Coleman, all other instruments on all tracks.
All the musicians were invited to offer feedback during the recording process. As a
performing participant I will include my own experiences in this regard.
Recording locations apart from my studio included Sydney (Craig Walters), Freiburg (Mike
Schweizer) and various locales in Germany and Spain utilizing my mobile recording
equipment. In a similar method to the ‘classical’ recordings, in which recording parts
separately was found to produce the most streamlined and musically advantageous outcomes,
the extensive rehearsal requirements for the ‘jazz’ project were soon identified as beyond
what I could reasonably expect on a volunteer basis. Additionally, the autonomy of recording
the rhythm section parts myself (piano, bass and drums) allowed for extensive
experimentation, precision of performance, and observation of multiple approaches and
viewpoints culminating in a version of the music that represents a very personalized
interpretation of how a polycyclic jazz rhythm section playing can function. A further
consequence of this personalized approach toward the included body of work is the level of
ownership of the musical output – any improvisations or extemporizations performed by
myself upon the written material may be evaluated as supplementary spontaneous
composition. This definition applies then to all piano, bass, drum and trumpet components of
the recordings, and where this does not apply, concerns all vocal, saxophone and conga
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improvised performances. In these cases my compostional input is in the influence I had over
the improvisations via the musical structure, giving musical directions and post-improvisation
application of compositional decisions through audio editing.
Additionally, as a consequence of my personal ‘laboratory’ experiments in conjunction with

the experiences gained working with the invited soloists, these compositions are now mature
enough for live ensemble performance.
A final note on notation: the ‘jazz’ scores are for analysis purposes only, as they serve no
practical function within the convention of conductor-less small group jazz performance.
Jazz musicians require only the fundamental notational information appropriate to fulfilling
and referencing the structured aspect of their particular role – the rest to be realized
spontaneously, as illustrated on the Polycyclic Jazz recordings.
Polycycle 13: ‘PolyPhasic’ (Vol 2 p173; Red CD Track 4)
… (of an electrical device) simultaneously using several alternating currents
of the same voltage and frequency but with different phases.
(Oxford Dictionary of English 2015, p7060)
‘PolyPhasic’ was the first intentional attempt to compose a consistent tri-metric piece in a
jazz format and can be considered an ‘entry-level’ composition suitable for a first time
excursion into polycyclic jazz performance.
Generally speaking, the aim is to create polycyclic structures that are ‘playable’ in a jazz
context - that fit within the idiom, and are also designed in such a way as to inspire
improvising musicians to be innovative and interactive, with a likely satisfying outcome.
Because this polycyclic method is a very new experience for the majority of musicians, even
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very skilled ones, it is important to create structures that will function in a live situation, and
be inspiring to play.
One way to foster confidence in new territory is to incorporate a certain amount of familiarity
in the motivic elements. By working with rhythmic and harmonic structures that are well
established in the jazz repertoire, the unsettling effect of their displacement in unfamiliar
patterns through polycyclic relationships is mitigated. The ‘testing’ is done first of all by
playing all the combinations of cycles against each other myself, checking that the groove and
structure feels natural and organic. The structure is optimally designed so that at any point in
the relationship of the cycles, they will habitually synchronize in a meaningful way. Where
harmonic changes are involved, the procedure becomes more complex. Due to shifting timing
relationships, chord patterns will change at different junctures, so they need to be compatible
at any point.
Also as a general case, in instances of tri-metric design, two members of the quartet will
typically be assigned a shared metre.
Lastly, in relation to the overarching form presented here, Michel Imberty states in his study
The Stylistic Perception of a Musical Work:
It is easy to assume that for the average [Western] listener every musical work has
something like an exposition, a development, a recapitulation, or a succession from
idea A to idea B with an obligatory return to idea A. This structure … has been
sustained for over three centuries of tonal music… (1993, p35)
This scheme has been widely imported into jazz music, but replacing ‘exposition-
development- recapitualtion’ with the terms: ‘head - solos - head’. In keeping with the merits
of familiarity in polycyclic design, I have embraced this format in all of the jazz pieces under
analysis.
Musical analysis
As mentioned above, given the idiom, it has been important to maintain the viewpoint of an
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improvising player, instrument-appropriate, within the jazz traditions and multitude of codes
that combine to make a piece attractive to jazz performers. This is, of course, what a jazz
composer would naturally consider, but given the polycyclic design and its additional
complexity, I have found it particularly prudent to include enough idiomatic familiarity as an
anchor to a potentially very unfamiliar format. In this light, 'PolyPhasic’ is an apt example of
achieving simplicity and economy out of complexity.
It is a level one polycycle utilizing 3/4 (piano, trumpet), 5/4 (bass, tenor sax, trumpet), and
7/4 (drums):
A short introduction serves the purpose of establishing the tempo, drum groove and bass
motif. Three bars of the 7/4 drums equals 7 bars of 3/4 rest for the piano while the bass, by
starting on the second beat, can set up two times two bar phrases in 5/4 equaling 20 beats.
This system allows everybody to start the ‘head’ on the same first beat of the bar.
The head is based on an extended blues form in A minor. For comparison purposes here is a
standard blues format in 4/4:
I (chord) x4 (bars); IV x2; I x2; V x1; IV x1; I x1; V x1
The challenge was to retain as much as possible the essence of this form – being so ingrained
in a musician’s and listener’s experience – while modifying it to suit the metric needs of each
instrument. Beginning with the piano and trumpet in 3/4, the question was how to allocate this
quintessential 12 bar 4/4 form over 35 bars of 3/4. By doubling the number of bars on each
chord it was possible to maintain the general format up until bar 24:
I x8; IV x4; I x4; V x2; IV x2; I x4
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To account for the remaining 11 bars an extended ‘turnaround’ (preparing to repeat) was
added:
V x2; IV x2; I x2; V x2; I x1; IV x1; I x1
The relatively minor adjustment to the familiar allows for a reasonably straightforward
absorption of the form by the musician. The melody also adheres to the blues form and is
based on one simple waltz-like repeating phrase with variations. Figure 56 illustrates the
piano form and melody in ‘lead sheet’ (melody and chords only) format:
Figure 62: PolyPhasic: piano and trumpet
The 21 bars in 5/4 for acoustic bass and tenor sax receive a somewhat less symmetrical
treatment, but still logical enough in relation to a blues form for natural absorption:
I x5; IV x2; I x3; V x1; IV x1; I x3; V x1; IV x1; I x4
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Both also play a repeating 2 bar melodic pattern in symmetry with their particular form.
Acoustic bass:
Figure 63: PolyPhasic: bass

Tenor sax:
Figure 64: PolyPhasic: tenor sax
As a consequence of their metric differences, the 3/4 and 5/4 players experience the chord
changes out of sync with each other, and that further complicates any shared sense of
reference normally taken for granted in mono-metric music. For example, the 3/4 part moves
to the IV chord one beat before the 5/4 part, which then moves back to the I chord one beat
before the 3/4 part. This ‘poly-phasing’ continues at varying degrees throughout the form:
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Figure 65: PolyPhasic: 3/4 vs 5/4
The drummer, being exempt from the harmonic changes, maintains the 7/4 bar groove, sub-
divided into 3/4 and 4/4, for 15 bars. A vital relationship in any groove-based music is that of
bass and bass drum and their ability to lock into a shared pattern. When this synchronization
is displaced because of differing metres, the alternative result still needs to fulfill a similar
function – that is, no matter at what point in the form, the bass and bass drum need to have a
sense of ‘meeting’, albeit of a nature different to the norm.
Figure 66 illustrates the 7/4 (3/4 - 4/4) drum pattern and an excerpt of how the bass drum and
bass interlock in constantly shifting points of reference:
Figure 66: PolyPhasic: bass and drums
Once all the parts are put together it becomes apparent that the simplicity of the individual
phrases is offset by the complexity of the amalgamation. However, as the recording
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illustrates, what appears in theory to portray an unnecessarily awkward exercise can result in
a satisfyingly functional outcome if sufficient attention is paid to the integrity of the
individual components and their ability to meaningfully interlock at any given point. Beyond
the functional, a potential for an increased range of inter-relational interactivity manifests,
particularly once improvisation is involved.
As indicated in the introduction above, ‘PolyPhasic’ embraces a ‘head – solos – head’ form.
More specifically, the following illustration outlines the format as performed on the
recording.
• Introduction: bass and drums

• Head 1: piano, bass and drums
• Head 2: trumpet, tenor sax, piano, bass and drums
• Solo Form 1: tenor sax solo
• Solo Form 2: tenor sax solo
• Solo Form 3: piano solo
• Solo Form 4: bass solo
• Head 3: trumpet (3/4 and 5/4), tenor sax, piano, bass and drums
It is expected, consistent with jazz protocols, that, as individuals and in group interaction,
more risk-taking (risk of losing the form or rhythm) is exercised during the improvised
sections - balancing adherence to form with spontaneous experimentation in an unusual
circumstance (i.e. playing in differing time frames). During the experimentation stages, I have
trialed risk-taking on each individual part, to gain experience in each metre, and to check in
real time that each part is not only playable, but also conducive to playing ‘on the edge’.
When reading from lead sheets (melody and chord changes only with minimal indication of
arrangement), convention leaves it up to the group or group leader to decide the soloing order
that may vary on each performance. Traditionally the ‘horns’ go first, followed by piano (or
guitar), bass then drums (the latter two more optionally).
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On my recording, the tenor sax (Schweizer) takes the first solo (1’42”) for two ‘choruses’
(forms), and it is expected he should solo in reference to his 5/4 metre. Schweizer begins his
solo playing with variations on the head motif, adding occasional flourishes, then gradually
increasing in abstraction away from the original idea, all the while adhering to the 5/4 form as
stated on bass. The bass instinctively continues to state his original motifs with minimal
fragmentation so as to provide solidarity for the tenor. Similarly, the drums hold steady 7/4
time throughout, occasionally ‘commenting’ on various stimuli, or resting.
The piano continues in his 3/4 form and has enough harmonic and rhythmic opportunities for
considerable amounts of variation. The 3/4 form is held during the piano solo (3’16”) while
the bass exercises freer interpretation in 5/4 in preparation for his solo (4’02”) until the return
to the last head (4’48”).
From the perspective of rhythm section playing, my experience was as predicted: the learning
of any individual part initially required ‘blocking’ out the other two. As an exercise, I tried
performing one part while becoming gradually conscious of one other part, then slowly
assimilating both other parts. This involved walking a fragile line: too much attention away
from my own ‘identity’ risked losing my place; too little, risked missing the sense of
liberation and excitement of participating in a complex whole, and the potential interactivity.
This was a delicate balance. While these competing calls upon attention are applicable to any
performance situation, they become even more demanding, and arguably more rewarding, in a
polycyclic setting.
Schweizer offered a fresh perspective. Performing the head with minimal rehearsal required
counting the quarter note rests between the phrases in 5/4. However, soloing in 5/4 was more
intuitive as he was able to rely on the bass part for timing and harmonic change cues (coupled
with an instinctive navigation of the blues form) rather than ‘counting’, and allow himself a
relatively ‘unthinking’ space from which to freely innovate.
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Conclusion
Navigating issues presented in polycyclic jazz practice can be summarized as questions of

balance: of familiarity and unfamiliarity; of natural playing idioms and dislocation; between
personal and group identity; of place-holding and risk-taking; of convention and breaking the
rules; of simplicity and complexity.
A number of analytical themes relating to polycyclic jazz composition, performance and

improvisation were examined in ‘PolyPhasic’ of which much is applicable to the following
pieces. To avoid repetition, ongoing analysis will concentrate on topics more particular to the
track in question, where, unless otherwise stated, the ‘PolyPhasic’ experiences will be
assumed.
Polycycle 11: ‘PolyBrubeck’ (Vol 2 p198; Red CD Track 7)
[Brubeck’s] rhythmic and metric compositional techniques forged a trail for
continued exposure and development in the rhythmic vitality of jazz.
(Kraus 2013, p16)
As the name suggests, this piece is a dedication to Dave Brubeck and his use of asymmetrical
time signatures in a jazz context. ‘PolyBrubeck’ aspires to expand upon this practice by
engaging three asymmetrical metres simultaneously and consistently.
Musical analysis
‘PolyBrubeck’ requires 165 beats for all three metres to complete a level II rated ‘Mother
Cycle’:
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Soprano sax (Cornish) plays in 3/4; electric piano (epiano) and bass in 11/4 and drums in 5/4.
Starting from their individual entry points, each part holds its particular metre for the duration
of the piece including solos.
Similar to ‘PolyPhasic’ the introductory section sees staggered entries providing opportunity
to fully establish the 5/4 drums and 11/4 epiano and bass parts and correlations. The 40 beats
of ‘Intro 1’ (see the score and recording) are designed to present four two-bar phrases of
drums and two phrases of ebass in 11/4. Therefore, the bass begins his motif on the 4th beat of
the 4th bar of drums, or beat 19 of ‘Intro 1’, to fit two 11/4 bars into the 40 beat scheme:
Figure 68: PolyBrubeck: Intro 1
The drum rhythm references the iconic Desmond/Brubeck composition, ‘Take 5’, which can
be analyzed using dance terminology as combining a (jazz) waltz with a two-step.25
In my piece, the jazz waltz aspect is the ‘glue’ that sustains the shifting rhythmic relationship
between the different asymmetrical meters: 3/4, 5/4 and 11/4 (phrased as 3x 3/4 + 2/4). The
‘two-step’ also occurs at the end of the 11/4 metre.
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‘Intro 2’ reveals the full relationship between the 5/4 drums and 11/4 epiano and bass for a
duration of 55 (5x 11) beats (see below). The first mother cycle begins when the 3/4 soprano
sax joins in at the ‘theme’ which requires the full 165 beats to complete:
Figure 69: PolyBrubeck: theme
The 165 beat mother cycle, or head, is divided into three sections of 55 beats. The first section
maintains the harmonic progression as illustrated above in figure 69 - a variation on the
ubiquitous opening chords to ‘I Got Rhythm’, commonly known as ‘rhythm changes’: I
major7 - VIm7 - IIm7 – V7. In this case, the bass plays Im7, bIIImaj7 (alluding to a tri-tone
substitution for VIm7), IIm7b5, V7b5 (both common alterations for minor keys). The epiano
applies more modern substitutions for the II-V chords.
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The second and third sections harmonically descend the whole tone scale - two 11/4 bars on
each tone: Bb, Ab, Gb, E and D. Each key centre also suggests tri-tone substitutions of the
‘rhythm changes’: I - bIII - II - bII, and all use extended dominant chords:
Figure 70: PolyBrubeck: bridge
For the solos and recapitulation of the theme, the same MC harmonic and rhythmic system is
adhered to. A coda section vamps on the opening chords until the end.
The recorded version follows this structure:
• Introduction 1 (00:00)
• Introduction 2 (00:14)
• Theme 1 (00:34)
• Sax solo – 1x MC (01:32)
• Epiano solo – 1x MC (02:30)
• Ebass solo – 1st section of MC (03:28)
• Drum solo – 2nd and 3rd sections of MC (03:47)
• Theme 2 – (04:26)
• Coda, group soloing – 1x MC (05:24)
• End – (06:22)
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Although the score of PolyBrubeck specifies that the saxophone solos in his 3/4 metre, this is
expected to be loosely interpreted. The waltz like feeling of the head would likely inform the
soloing style without needing to strictly adhere to it, allowing more freedom to respond to
stimuli from the other parts. Furthermore, rather than rely on counting bars, the soloist could
take aural cues for the changes of tonal centres. Contrastingly, the epiano may rely on the
shared metre with the bass for maintaining his place within the structure and taking a more
abstract approach to the timing, as is evident on the recording. The reiterative quality of the
drum phrase should promote an ingrained sense of metric identity at the point of
improvisation. Upon reaching the coda section, sufficient fluidity should be achieved to
facilitate group interactivity.
In terms of rhythm section playing, the bi-metricism of ‘PolyBrubeck’ (11/4 for both epiano
and bass; 5/4 for drums) is perceptively less demanding than, for example, the tri-metricism
of the ‘PolyPhasic’ (see previous analysis) rhythm section (3/4 piano; 5/4 bass; 7/4 drums).
The role of the rhythm section is to provide a solid rhythmic and harmonic foundation but this
function becomes increasingly challenged the less mono-metric the central system becomes.
From another perspective, once a sense of groove has been achieved, a polymetrically driven
rhythm section appears to offer a richer and more varied set of stimuli for the development of
compositional ideas and improvised responses. This became evident as my confidence
performing the various instrumental parts grew: a sense of increased options when
constructing the theme and soloing from the different ‘chairs’. Cornish also took inspiration
from the varying 3/4 impetuses from the rhythm section for his solo.
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Conclusion
Brubeck was among the early adopters of metrically challenging work in a jazz context. As
these concepts were further developed by succeeding generations of musicians, it would seem
a logical extension to expand these possibilities polymetrically. ‘PolyBrubeck’ has presented
an example of extending Brubeck’s use of asymmetrical metres a stage further by combining
them tri-metrically and confronting the implicit harmonic and structural challenges.
Polycycle 14: ‘Addiction to Life’ (Vol 2 p163; Red CD Track 3)
Originally entitled ‘PolyAdict’, it was a play on the word ‘polyadic’, “involving three or more
quantities, elements, or individuals” (Oxford Dictionary of English 2015, p7051), then with
the inclusion of lyrics and improvising vocalist it became ‘Addiction to Life’ (PC14). The
‘three or more elements’ refers to the tri-metric interactive scheme, again consistent
throughout its execution. Whereas the previous two examples included harmonic changes,
PC14 centres on one chord and the musicians are not necessarily bound to the 156 beat
‘Mother Cycle’. The objective was to create a more open structure in the style of ‘In a Silent
Way’ by Miles Davis and to observe how musicians would adapt this approach to a
polymetric setting. Additionally, another layer was introduced via freely improvised vocals
with lyrics to explore possibilities beyond the metrical structure.
Musical analysis
This is another level II combination that allocates 3/4 to soprano saxophone (Cornish),
trumpet and bass, 4/4 to electric piano (epiano) and 13/4 to the drums:
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The improvising vocalist (Knudson) introduces another concept, that of metric ‘wild card’.
Instead of adopting one metre I informed her that she was at liberty at any point to reference
any or none of the metres. Her improvisations included lyrics, the implications of which will
be discussed in the ‘role of improvisation’ section below.
As with the previous pieces the drums establish the tempo before the first MC commences.
The rhythm implies a hybrid jazz waltz (ride cymbal) and 12/8 blues feel (bass drum) but with
an added beat: 13/4 becomes phrased as 3x 3/4 + 4/4. The hi-hat holds a steady ‘off beat’ that
becomes an ‘on-beat’ every second bar due to the odd number metre:
Figure 72: PC14: drums
Figure 73 illustrates the bass also playing a blues-like drone pattern phrased in 12/4, or 4 x 3/4.
The first bass and drums iteration synchronizes in the usual way until the 2nd bar when the
drums are 1 beat behind, then 2 beats behind in the 3rd bar and so on due to the ‘extra’ beat 13
of the drum part. This apparent dislocation continues for the full 156 beat MC when measured
as 12 beats x 13 beats until they once again ‘synchronize’. As described in the ‘PolyPhasic’
analysis, this vital locking of bass and bass drum can still be achieved with differing metres
when there is enough ‘common ground’ among the constantly shifting points of reference:
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Figure 73: PC14: bass&drums
Meanwhile the epiano overlays and cultivates contrasting 4/4 funk motifs around E7#9, also
in reference to ‘In a Silent Way’. This 7th chord with a raised 9th (or minor 3rd) has a history
in funk based jazz, and suggests a certain voicing: E and B in the bass with G#, D, and G
natural overlaid:
Figure 74: PC14: epiano
A full MC is devoted to establishing the epiano, bass and drum relationships then repeated
with the added brass melody in 3/4. Figure 75 illustrates an excerpt of how all four parts
interconnect:
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Figure 75: PC14: ensemble head
As so much music adheres to combinations of four beat patterns, much of the phrasing here is
designed to accommodate this custom, encouraging musicians to play instinctively rather
count their way through the form. For example, the brass and bass in their shared 3/4 meter
are arranged as:
• 4 bars of 3/4 repeated 4x = 16 bars (double bar line)

• These 16 bars are repeated 3x = 48 bars
• Plus 1 extra phrase of 4 bars = 52 bars. 52 bars of 3/4 = 156 beats
Similarly, the epiano part in 4/4 is subdivided into intuitive groupings to accumulate 39 bars:
• 4 bars of 4/4 repeated 3x = 12 bars (double bar line)

• These 12 bars are repeated 3x = 36 bars
• Plus 1 extra phrase of 3 bars = 39 bars. 39 bars of 4/4 = 156 beats
These last phrases in both metres also function as ‘turnarounds’ in preparation to repeat the
form. Additional points of reference occur for the 3/4 and 4/4 metres when they share a
common downbeat every 12 beats.
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The drums benefit from symmetry of exactly 12 bars of 13/4 – i.e. he can instinctively feel 4
bar groupings that are played three times.
How these various sub-cycles function within the overall form give weight to applying the
term ‘polycyclic’ rather than ‘polymetric’. Polymetre does not account for the myriad of ways
the long form may be subdivided and, in addition, polycycles may also function in a more
randomized way, independent of polymetric divisions, as is evident in Knudsons’ singing
(refer to the audio track).
After the second time through the MC, the ensemble has two options: continue adhering to the
MC structure for soloing and eventually repeating the head or, abandon the adherence to
structure altogether and treat improvisation as an ongoing conversation, continuing the multi-
metric style, but less strictly. A third possibility is the intention to hold the structure then,
upon discovering it has become unhinged, embrace the precariousness of the situation
adjusting the improvisational approach accordingly. Ultimately, the only difference between
this path and the previous one is in intentionality.
On the recording I have opted for the first option in order to explore improvisational
possibilities within the set form. In this instance we have adopted a group soloing style, or, as
Josef Zawinul famously stated: “we never solo, we always solo” (1971).
The seemingly static single chord (E7#9) base is harmonically broad enough for the
superimposition of many other modalities that come naturally to a contemporary jazz
musician. For example when the melody instrument imposes an F minor blues scale it sits
well in relation to the ambiguous E7#9 tonality: (F) = flat 9, (Ab) = major 3rd, (Bb) = flat 5,
(B) = 5th, (C) = augmented 5th. The Eb, while not belonging to the home tonality, creates a
biting dissonance that has been prepared by the F minor blues context. In jazz terminology the
#9 of E7 becomes G natural (or F double sharp!) - i.e. the natural 9th of the scale is
sharpened. It also implies that the b9 (F) is to be used, but not the natural 9 (F#). Ultimately
however, as is idiomatically customary, the composer merely suggests a harmonic pathway;
the musical interpretation and style of execution is entirely at the discretion of the
improviser.
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Apart from, or in tandem with, the instrumental improvisations, another layer of meaning was
imposed through the process and result of adding improvised vocals with lyrics I had
especially composed. I was curious to introduce a level to the structure that was positioned
beyond its polymetric confines. By writing lyrics (see the score for complete text) that
reflected the established mood, and by encouraging a completely free interpretation –
harmonically, melodically and rhythmically – a new perspective on the composition might
present itself. The instrumental version of the music suggested to me a state of stasis (one
chord) with myriad possibilities (superimposed modalities) over a slightly sinister undertone
(the major-minor tension of the E7#9 chord and bass drone) inspiring similar poetic imagery:
After the big sleep
and before the big leap
caught in a twilight zone
The dawning of our own
addiction to life
(excerpt from ‘Addiction to Life’)
Knudson freely improvised three complete versions based on the lyrics more or less in
chronological order with some repetitions. Some phrases were identified as worthy of
highlighting through repetition and additional harmonization. For example, at 05:04 on the
recording I invited Knudson to repeat and harmonize (overdub) this phrase:
Mother Earth is singing
and groaning
Post-improvisation editing (selection of phrases from the vocal improvisations) further

abstracted the poetic narrative from its original form, becoming more a series of semi-
connected images and commentary on the surrounding music.
The criteria for post-composing Knudson’s improvised performances was completely

intuitive; existing, like her performance, in a contrasting musical spectrum outside of the
prescribed (MC) structure.
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In my own experience of recording the rhythm section parts, performing without harmonic
changes led to a quicker state of intellectual transcendence whereby full attention could be
placed on spontaneity rather than awareness of form. The relative simplicity of rhythm further
facilitated ease of maintaining the individual identities of the instrumental roles. For Cornish,
the parallel metric anchor of the bass gave more referential support compared to
‘PolyBrubeck’ where he was alone in his 3/4 metre. Given a choice of metres, performers
will, generally speaking, and unsurprisingly, gravitate to a 4/4 option when available, in my
observation. In apparent need of an anchor, Knudson focused on the 4/4 metre supported by
epiano. Once centered in a place of perceived security Knudson displayed an unrestrained
creative response to the stimuli, or “exemplification of aesthetic judgement in action here and
now” (Peters 2012, p7).
Conclusion
Similar to the sense of extension upon historical precedents suggested in ‘PolyBrubeck’,

‘Addiction to Life’ draws from concepts explored in seminal albums by Miles Davis, Weather
Report and the participating and surrounding musicians and social environment. In keeping
with the ethos of pushing boundaries, well-crafted polycyclic settings appear to promote
rather than hinder unshackled striving beyond that what is comfortable or predictable.
Polycycle 18: ‘PolyMorphism’ (Vol 2 p216; Red CD Track 9)
Polymorphism: The occurrence of something in several different forms.
Computing: a feature of a programming language that allows routines to
use variables of different types at different times.
(Oxford Dictionary of English 2015, p7057)
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The objective here was to expand the polycyclic complexity initiated in ‘PolyPhasic’ by
composing and improvising upon a blues form at a higher level of difficulty (level II) – a
further pushing of observational boundaries.
An additional degree of complexity is introduced in the form of polymodality between two

metres.
Musical analysis
In contrast to ‘PolyPhasic’ this piece is at a more advanced level of performance particularly

due to its long form and corresponding relational disparities between the metres. Here,
arranged for instrumental jazz quartet, the tenor sax (Schweizer) and bass play in 7/4, the
piano in 11/4 and drums in 3/4:
Numerous similarities between the two compositions are evident however: the consistency of
a tri-metric structure; instrumentation; engaging familiarity in the motivic elements; working
with rhythmic and harmonic structures that are well established in the jazz repertoire, namely
the blues form; chord changes that are not synchronized.
The complete 231 beat ‘Mother Cycle’ is divided into three repeating sub-cycles of 77 beats
each. One sub-cycle completes the bi-metric relationship between 7/4 and 11/4 (7x11), or one
blues form as played by sax, bass (7/4) and piano (11/4). The drums in 3/4 do not divide
equally into 77 (or 154) beats, and require the full 231 beats, or three sub-cycles, to share the
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same downbeat (one) as the other two. In practice, however, this position is arguably the
easiest of all three to maintain: the drummer needs only to perform a jazz waltz groove
throughout. Consequently, the completion of the MC on drums is a relatively self-activating
event, (i.e. it will occur without conscious performer agency) allowing wide-ranging freedom
to interact intuitively with the other metres. On my recorded version, however, I have set up
stylistically indicative 4 bar phrases, the drummer is free to create his own jazz waltz-like
style. Again, the introduction is left to the drums and bass, 21x 3/4 and 9x 7/4 respectively.
Figure 77 illustrates the bass motif in 7/4 joining the drum pattern in 3/4. Also here the bass
and bass drum relationship includes enough ‘common ground’, the swing feel functioning as
additional rhythmic glue:
Figure 77: PolyMorphism: bass & drums introduction
The bass continues his 7/4 motif throughout his 11 bar modified I - IV - I plus turnaround
blues form:
Bb7 (I) x4 (bars); Eb7 (IV) x2; Bb7 (I) x2; G7 (VI) x1; Gb7 (bVI) x1; B7 (bII) x1.
The piano’s 7-bar blues form also requires modification suitable for his 11/4 metre, tonality
and turnaround:
Gm7b9 (I) x3; Cm9b9 (IV) x1; Gm7b9 (I) x1; Dm9 (V) x1; Gb7#11 (#VII) x1.
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The saxophone contributes a 7/4 counter-line – a variation on the bass motif – on the second
sub-cycle. Figure 78 illustrates an excerpt of the melodic, harmonic and rhythmic
relationships between all four parts:
Figure 78: PolyMorphism: ensemble excerpt
Although the bass (and sax) and piano are allocated different chords, their relationship is best
framed as polymodality rather than bitonality. The harmonic implications can be seen as two
modes within the same keys, shown here in approximate temporal relation (for a graphic
illustration of the sub-cycle see figure 82 below):
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Bass & sax: Bb7 - Eb7 - Bb7 - G7 - Gb7 - B7;
Piano: Gm7b9 (phrygian) – Cm7b9(phrygian) - Gm7b9 - Dm7 - Gb7.
Illustrated here are the tonal relationships between the modes:
Gm7b9 and Bb7 as phrygian and mixolydian modes in Eb;
Figure 79: PolyMorphism modes in Eb
Cm7b9 and Eb7 as phrygian and mixolydian modes in Ab;
Figure 80: PolyMorphism modes in Ab
Dm7 and G7 as dorian and mixolydian modes in C;
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Figure 81: PolyMorphism modes in C
Gb7 and B7 as independent mixolydian modes or functioning as tri-tone substitutions of
II7 - V7 (C7 - F7) leading back to Bb as the tonal centre.
The differences in tonal orientation enhance the already distinct identities produced as a result
of contrasting metric systems, which in turn dictate variations on placement of chord changes.
Assisted by the familiarity of the blues harmonic scheme, digesting the two out-of-phase
schemes simultaneously is well within the realm of cognizance, and, over time, becomes
sublimated by the musicians similar to assimilating (subliminal memorizing) any form.
The third sub-cycle introduces the first ‘chorus’ of the sax solo after which the ensemble has
completed one ‘Mother Cycle’.
The sax solo continues for another three sub-cycles, or blues forms, to complete another
‘Mother Cycle’, and designating a metrically simultaneous and suitable place in which to
begin the piano solo, similarly lasting three sub-cycles or one ‘Mother Cycle’.
Another aspect explored in this design is that of fragmentation. During the last ‘chorus’ of the
piano solo the group is directed to gradually fragment, or deconstruct the sense of melody,
harmony and rhythm in preparation of an abandonment of the constraints of form and pulse.
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Figure 82 illustrates the chord changes for the solo section (identical to the head), free
improvisation and start of drum solo:
Tenor sax in 7/4:
Piano in 11/4:
Bass in 7/4:
Drums in 3/4:
Figure 82: PolyMorphism: improvisation sections
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Within the context of a composition, it can be reasonably expected that the musicians will
continue with whatever motivic residue has manifested at this point, and coherently develop
the material within this relatively free environment. It is also anticipated that this will provide
relief and contrast to the steadily pulsating drive of the piece thus far.
In order to bring back the prescribed form, the drummer initiates a solo based on the
introduction, (omitted on my recording) followed by two more statements of the theme (two
sub-cycles) and one more semi-improvised form to culminate in the arrival of the last shared
‘one’: the final chord.
The performance and improvisational experience to a large degree replicated that of

‘PolyPhasic’ albeit at a more challenging level.
Conclusion and remaining works
This analysis concludes the examination of the music within the jazz category. While the
essence of the work most pertinent to this research topic has been embodied in the analysis of
these four works, the remaining six polycyclic jazz compositions offer supplementary
variations on the themes presented here. Although the limited capacity of this exegesis
excludes further extensive analysis, complementary scrutiny of the other jazz works will
augment the existing concepts. The reader is encouraged to refer to the relevant recordings
and scores with these bullet points in mind. (Note: the recordings are based on the original
scores but in the process of interpretation and editing have undergone variations):
01 - PolyNation (Vol 2 p140; Red CD Track 1)
• Varied use of multiple metres over a long form with tempo and metric changes
• Use of vocalizing26
• Addition of congas in a separate time scheme
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• Incorporation of recorded street ambiences, village children singing and synthesis
Note: An alternative version for comparison, also entitled ‘01 – PolyNation’, is on the
Polycyclic World Music album (Green CD Track 1). The title reflects the cross-pollinating
features of polycyclic design as one would also expect to encounter from a diverse gathering
of collaborating cultures.
02 - PolyPsyclic (Vol 2 p155; Red CD Track 2)
• A song based head with lyrics adapted from a poem by W. B. Yeats
• Two distinct improvisation sections of open length and form
• The only piece with versions across all three albums - refer to tracks ‘03 -
PolyAmorous’ (chamber) and ‘06 - In my Room’ (world) for stylistic comparison
Upon reading Yeat’s Who Goes With Fergus I was particularly inspired by the words “love’s
bitter mystery” and how fitting the mood was to the original title of my piece:
‘PolyAmorous’. The new title (PolyPsyclic) came as a result of re-versioning the poem as
lyrics with Knudson’s vocal abilities in mind (lyrics: Vol 2 p156).
05 - PolyCentric (Vol 2 p183; Red CD Track 5)
• Using the same 5/4 drum groove and polymetric scheme as ‘PolyBrubeck’
• Addition of congas and conga solo in 5/4
• Use of vocalizing
• Adherence to AABC form
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06 - PolyIntegrate (Vol 2 p187; Red CD Track 6)
• Use of vocal melodic narrative – during the head and improvisation choruses the
vocalist embeds commentary (based on my written lyrics) on the topic of refugees,
interwoven with and between instrumental phrases
08 - PolyGone (Vol 2 p211; Red CD Track 8)
• An atmospheric open form piece informed by the lyrical imagery of the vocal lines
(again based on my written lyrics)
10 - The Sound of Jazz (Vol 2 p225; Red CD Track 10)
• A poetic dedication to jazz music using a 4/4-7/4 bi-metric structure based on a poem
of mine. The recitation of the poem inspired a significant interpretive departure from
the original score although retained the harmonic structure and some melodic
elements.
The design and composition of overarching tri-metric music in a jazz setting still appears to
be a new endeavor at the time of writing. The work presented in this chapter and album
attempts to advance concrete possibilities for how this approach can work practically and
aesthetically. The design work has also necessitated much experimentation to ensure that the
pieces are not only ‘performable’, but contain identifiable and tested ingredients that promote
inspired improvisation and interaction as befitting a jazz context. Viewed from a more
sociological perspective, Fink posits:
…that individual will and social consensus are compatible - indeed, that the new progressive
society requires the actions of imaginative, risk-taking agents, while those agents in turn rely
on the approval of a supportive environment. It is largely tonality's cause-and-effect qualities
that weave these potentially antagonistic forces together into a single coherent trajectory, so
that we experience as virtually inevitable both the exuberance of the solos and the periodic
arrivals at consensus. Even if it proves difficult (if not impossible) to implement in the real
world, this is still one of our most cherished models of social interaction. (2005, p52)
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Polycycle 15: ‘Stay With Me’ (Red CD Track 11)
As an addendum to this chapter ‘Stay With Me’ is included as a polycyclic song form that,
while stylistically falling outside of the three genres of this project, is best placed here with its
‘Neo Soul’ leanings and improvisational dimensions.
It examines the consequences when a tri-metric format is applied to a song form, and how the
rhythmic and harmonic phrasing can maintain an appropriate coherence. It also proposes to
investigate the potential broadening of musical scope a polycyclic approach may offer this
idiom. Furthermore, by superimposing a content-related hymn (‘Abide with Me’) at three
points within the structure of the song, I aspired to extra breadth of expression through
hybridization.
Musical analysis
A simple tri-metric combination was determined most appropriate for this experiment:
5/4: vocal soloist, choir (Knudson), piano and tenor saxes (Walters); 4/4: choir (Knudson) and
drums; 3/4: bass. There is no complete score available as it is not intended for public
performance in this form – the timing indications reference the track ‘11 - Stay with me’.
INTRODUCTION (00:00-00:47): the song opens with a choir statement and piano
accompaniment of the hymn ‘Abide with me’ in 4/4 with my adapted lyrics that represent a
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supra-reality – “a different kind of reality than what is apparent” (Burt 1994, p7). The
message of this supra-reality - “stay with me” - is a contrasting reality to the ‘lost love’
contained in the lyrical body of the song until the end where both realities find accord (see
Vol. 2, p234). Similarly, this supra-reality is mirrored musically, being superimposed within
the song structure as further described below.
Rather than arrange the choir parts myself, Knudson was invited to spontaneously sing the
harmonies, drawing upon her innate abilities from years of church choir singing. I believe this
improvisational approach was more effective in supporting a supra-reality effect than that of a
pre-meditated method.
CHORUS I (00:47-01:17): the first chorus of my original song with 8 bars of 5/4 (40 beats),
vocal and piano only. The piano introduces the central motif for the song in A minor.
VERSE I (01:17-01:47): the first verse maintains the same 5/4 scheme with added bass in 3/4.
Although the two metres sync every 5x3 or 3x5 bars, it requires 3 of these 40 beat sections for
the bass to begin a section again on the same downbeat, or 3x 40 beats equals 120 beats,
which is then divisible by 3. In practice, because the bass rhythm is so consistent, it acquires
an internal logic within the superstructure.
BRIDGE I (01:47-02:16): the choir accompanies the bridge section in 5/4, also 40 beats long
with a change in chord progression. A 10 bar 4/4 bass drum pulse (=40 beats) is introduced in
preparation for the upcoming full drum kit entry.
SAX SOLO (02:16- 03:15): two verse structures underpin the sax solo. The drums now play a
full groove in 4/4 with piano continuing in 5/4 and bass in 3/4. On the 5th bar of the 4/4 metre
the choir superimpose another adapted verse of ‘Abide with me’ in 4/4 for the remaining 16
bars of the solo section.
CHORUS II (03:15- 03:45): the second chorus continues in the same tri-metric system.
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VERSE II (03:45- 04:14): the second verse introduces a three-part sax choir in 5/4 that, along
with the choir, increases the intensity and underscores the sense of hope in the lyrics.
BRIDGE II (04:14- 04:44): the second bridge continues to build on the momentum from
Verse II.
CHORUS II&III (04:44- 05:44): the last two choruses build in intensity with interspersed sax
soloing and background lines, choir ‘shouts’ (“you’re here to stay”) and more animated
playing. The ‘Abide with me’ choir re-enters (05:29) as an additional layer leading into the
final hymn statement (05:44). At this point the sense of both lyrical messages, as with the
music, is united: “stay with me” / “you’re here to stay”.
Polycycle 15: Stay With Me (Instrumental)
Walters’s tenor sax improvisations amounted to a wealth of usable material beyond the
available scope of ‘Stay With Me’. I was inspired to create an instrumental version of the
song featuring Walters and modified toward a jazz-fusion style - refer to track ‘12 - Stay With
Me (Instrumental)’. The melodic construction was composed (post improvisation
composition) from fragments of Walters’ improvisation.
Conclusion
Both versions of ‘Stay With Me’ illustrate within a popular song form the potential of
utilizing polycyclic structures and comprovisational practices. The inference therefore implies
that use of more complex structures, such as those presented in these last two chapters, need
not be restricted to the domain of so called ‘art music’ – the potentialities arguably extend
beyond into other genres and styles of music not explored thus far. In this vein, the following
chapter examines the implications of polycyclic design and free improvisational approaches
on a very broadly defined notion of ‘World Music’.
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Chapter 5: Polycyclic World Music Analysis
Spontaneity is present to the extent that someone can rise above and change the way
they act in a system. Quite on their own they can leap out of a rutted path into a new,
less worn one. It is a miracle.
(Williams 1991, p50)
... at the moment genre is dead. It's multigenre - that's [what's] new...
(Slater 2009, p54)
This chapter investigates how motivic ideas from the Polycyclic Chamber Music project
undergo transformation of meaning in a stylistically new setting. Additionally, it is a study of
spontaneity at the free end of the comprovisational spectrum (see chapter 2.5: ‘Jazz and the
Comprovisational Spectrum’). It is a collaboration with a vocalist from eastern European folk
traditions, who was invited to freely improvise over pre-existing musical material adapted
from the aforementioned ‘chamber’ project. A further dimension emerges through the
implementation of percussion recorded in the south of Spain.
No scores were created for this project as the material was either generated through
improvisation or imported from the chamber music recordings of which the resulting
Polycyclic World Music album (Green CD) is the complete manifestation; i.e. live
performance of the music is not intended. Composition components are evident in the form of
re-versioning of the chamber music and assimilating edited elements of improvisations.
In terms of adherence to style, my goal with this collaboration was to create a music that sits
within the realms of contemporary folk genres (world music in the broadest sense) but on
closer inspection contains a complex hybrid of influences and polycyclic elements. This
project offered a suitable platform to explore how polycyclic concepts might extend beyond
‘chamber’ and ‘jazz’ modalities into a notation-less oral music tradition that would also
accommodate a dimension of free improvisation.
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The process for the creation of the Polycyclic World Music album was as follows:
1. Excerpts from the ‘chamber’ recordings were adapted, augmented and re-arranged
as music ‘beds’ upon which the vocalist and percussionist could improvise.
2. The performers spontaneously (without rehearsal) improvised to these tracks and all
takes were recorded.
3. All the recordings were then edited (post-improvisation composition) to form the
final recorded versions.
The musicians performing on the recordings are:
Beata Bocek - vocals;
Nick Cornish - oboe, cor anglais, soprano and alto saxophones;
Heleen Du Plessis - cello;
Rafael García Fontaiña - percussion;
Trevor Coleman – piano, basses, percussion, samples, programming.
Beata Bocek is a singer/instrumentalist/songwriter from the Czech Republic whose

improvisational contributions are central to this project. She is an exponent of folk music from
her area and draws upon her regional, national and ancestral Polish languages in her
performances27.
The vocal recording sessions took place over two three day periods in November 2013 and
February 2014 at my studio while Bocek was touring through New Zealand. As the decision
to work together was spontaneous, I assembled material from the chamber music project
deemed most appropriate to this setting with little premeditation. This set the tone and course
of a comprovisational approach that promoted an expeditious exchange and capture of free
improvisations and editing decisions resulting in ten recorded tracks. Although not an
experienced improviser, Bocek needed very little coaxing to draw upon her wealth of musical
history and repertoire, and space was given for her to freely experiment over several takes of
the same piece. She often incorporated ‘sounds’ from her languages, rather than actual lyrics,
allowing listeners opportunity to imagine their own narrative. This approach also aligns her
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voice more to that of an instrument. At the conclusion of each take, some feedback and
suggestions were exchanged, including implementing overdubbing techniques. One aspect I
identified for most pieces were certain ‘catch phrases’ that I encouraged her to repeat and
harmonize (overdub), sometimes resulting in very dense textures.
Whereas the polycyclic instrumental parts were often in ‘odd’ meters, Bocek, similar to
Knudson in the ‘jazz’ project, naturally veered toward ideas in 4/4, or occasionally 3/4. At
times, this created an additional cyclic level indicating that improvising over different cycles
seemed to pose no difficulty.
Rafael García Fontaiña is an acclaimed percussionist from Cádiz, Spain28. I was interested to
draw upon the multiple influences present in his region - flamenco, (and its Indian roots),
Latin American and North African in particular. During a five hour session at ‘La Bodega
Estudio’ in Jerez, Spain, Fontaiña overdubbed a variety of percussion instruments in a
collaborative exchange with myself as producer and arranger. Similar to the approach with
Bocek, Fontaiña was provided with the pre-recorded tracks (now with Bocek’s vocals) upon
which he should freely improvise with minimal direction. The decision as to which takes to
include on the recording was left to the editing process.
The following audio track analysis (refer to the ‘Green CD’) outlines how the multi-metric
and stylistically diverse elements are fused to create a coherent whole. The focus in these
analyses is on how free improvisation works in a polycyclic environment, and implications
from this for future creative work (CD track timings in parentheses).
01 - PolyNation
Originally composed for the ‘chamber’ music project entitled Triadthalon (for its athletic use
of triads on the piano), it was abandoned then re-versioned as ‘PolyNation’ in a jazz context -
see chapter four. It is from the unrealized chamber version that the motivic material was
drawn as a setting for Bocek to freely improvise an unspecified ‘language’, or vocalization,
and all melodic elements in unpremeditated response to the music. Generally speaking no
more than three takes of improvisation were recorded for any given track to maximize
spontaneity, and, in this respect, it was not uncommon that the first take produced the most
adopted material.
The polycyclic aspect of ‘PolyNation’ is introduced as a 2 bar phrase in 4/4 on oboe then
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doubled with piano triads but in a 7/4 scheme - i.e. one beat shorter than the 8 beat oboe
phrase – that continue as a ‘bi-cycle’ together. A variation of the motif is then overlaid and
cycled by cello (00:15) although as a 4 bar phrase in 6/4, doubled on bass from the second
iteration (00:22). As frequently described in the previous two chapters, this results in
constantly shifting relationships and reference points. Maracas join the 4/4 oboe metre (00:23)
- a framework intuitively appropriated by Fontaiña as he gradually staggers the percussion
entries. Similarly Bocek gravitates her phrases into 4/4 groupings (00:25). A primary idea (or
‘chorus’) (01:14) was identified by mutual intuitive recognition of something ‘extra-ordinary’
and harmonized and repeated to enhance its ‘hook’ stature.
To avoid an overabundance of shifting motivic activity at any one point, the various cycles
‘step’ in and out, while remaining integral to their individual symmetry.
02 - Desire
This piece is derived from ‘02- PolyEmbryonic’ (Polycyclic Chamber Music) and, while
adopting the basic metric and motivic scheme, the comparison ends there, as it does with most
of the pieces. The overlaid vocal style (again in an unspecified ‘language’), Middle Eastern,
Balkan and flamenco rhythms serve to create an indefinable hybrid of influences.
The opening (00:00-00:36) establishes the original metric and motivic relationships as
performed on the ‘chamber’ version: piano in 7/4, cello in 3/4 and oboe in 4/4 - the latter two
falling away once the vocals enter at 00:33. Here, Bocek avoids adopting any noticeable
metric position while weaving phrases around the 7/4 piano pattern until 01:22, after the
percussion have firmly superimposed a 4/4 pulsation. There is a return to the chamber music
at 01:44 with a key shift from A minor to Bb minor after which there is a mixed build up to
the first ‘chorus’ at 02:25. For the multi-layered choir effect here I encouraged Bocek to adopt
the clustered harmonic style of Le Mystère des Voix Bulgares29. ‘Desire’ continues building in
intensity until the end section (04:35) that tapers off with a mix of ‘chamber’ and vocal cyclic
interactions.
03 - FalaZaFala
The modal section of ‘PolyFugue’ was adapted as a foundation for Boceks’ wistful
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improvised lyrics in Polish (see p200 in appendix G) and performance of ‘Fala za fala’,
translated as ‘Wave by wave’.
A simple 4/4 - 6/4 relationship between piano and cello underscores the vocal, again phrasing
in 4/4, along with tablas and bass drum. The finger cymbals are in 3/4 while the oboe
maintains a nuanced 7/4 framework. ‘Chorus’ sections were identified and harmonized at
01:29 and 02:41.
04 - One Moment
‘One Moment’ is based on an unrealized chamber composition, originally entitled
‘PolyOrbits’, reflecting a notion of rotating cycles of different dimensions. The central figure
is the piano motif in 11/4, while the entries of alto flute in 5/4 and pizzicato cello in 7/4 only
occasionally come into auditory ‘view’. Bocek was given lyrics of mine depicting a series of
significant moments through nature imagery (refer to p201 in appendix G) and invited to
improvise the narrative over the ever evolving form. The result became a song form
superimposed over a structure of independent trajectory emphasizing an apparent coincidence
of synchronous events.
05 - PolyAnatolia
The foundational polycyclic elements were imported from the chamber music version and
became transformed into an epic Levantine themed meditation. With the addition of
geographically indicative vocals and percussion ‘PolyAnatolia’ is more ambitious in its post-
improvisation construction and dimensions. Bocek intuitively adopted the existing B phrygian
dominant modality inspiring a timeless expansiveness with her long phrases and repeated
harmonized mantra-like motifs.
06 - In My Room
This is the only composition represented across all three albums. It retains similarity of
construction but undergoes transformation of meaning in the varying contexts. From the
instrumental chamber music (‘PolyAmorous’) to the T. S. Eliot-based jazz iteration
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(‘PolyPsyclic’), ‘In My Room’ is a very intimate portrayal of tentative human connection. By
performing only one improvised take, Bocek created for herself an appropriate tentativeness,
needing to navigate very carefully the challenging and unrehearsed harmonic changes,
simultaneously unfolding the meaning of my lyrics (refer to p202 in appendix G) in response
to musical stimuli.
This piece is an exception in that the adopted musical structure has remained relatively intact.
Furthermore, rather than importing the material from the ‘chamber’ recordings
(‘PolyAmorous’), the music derived from the ‘jazz’ version (‘PolyPsyclic’) (refer to the
relevant scores and recordings). For ‘In My Room’, the tenor sax melody and improvisation
was removed to create more space for Bocek’s slowly unfolding performance of the lyrical
narrative over the entire piece.
07 - Untouchable
This piece is derived from a reduced and simplified excerpt from ‘PolyGenesis’ to produce a
subtle cyclic ‘bed’ upon which three independently improvised vocal takes are retained and
interwoven in a simultaneous dialogue. Although this was not intended at the outset, the three
parallel lines of vocalization, partly due to the harmonic stability, coincidentally manifested in
an unforeseen counterpoint necessitating minimal editing.
08 - Czekam (Waiting)
The suspended augmented fourth harmony of the omnipresent triplet piano motif reflects the
sense of waiting portrayed in Boceks spontaneously created lyrics in Polish (refer to p204 in
appendix G). The music ideas come from ‘PolyJuggler’ and retain the A-B-A form, or the
imagery of waiting-animation-waiting as suggested by the lyrics. The animated middle
section (02:31-04:26) is established by percussion, bass then alto sax in 4/4. The bass
switches to 7/4 at 03:01 and, together with the piano, play 4 bar modulating cycles in 5ths,
each cycle starting a 4th lower. The sax simultaneously continues his 4 bar phrase in 4/4
constantly modifying the tonality to fit that of the piano. Concurrently Bocek synchronizes a
repeating phrase with the percussion in 4/4 culminating in a relentlessly complex rhythmic
and harmonic montage. After a brief pause at 03:38 the scheme continues for a piano solo,
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building in intensity again until 04:26 where a return to the ‘waiting’ section is signaled by
the original piano motif.
09 - Father's Home
This composition follows an A-B-A format, or more descriptively put, permanence/home –
impermanence/exploration – return to home. The opening music is adapted from the piano
improvisation in ‘PolyFolkBaroque’ while Bocek sings the Polish folk song ‘Ojcowski Dom’,
or Father’s Home, by Jan Kubisz (refer to p205 in appendix G), describing a place of
belonging. The hybridized result serves as an introductory platform from which the middle
section (01:08-04:05) can depart and explore less familiar territory, both musically and
symbolically.
Polycycling, multi-metred percussion patterns underpin the oud motif in 11/4 (01:15) that is
joined by a pizzicato cello counter-line in 5/2. Various configurations of this scheme (also
from ‘PolyFolkBaroque’) continue as Bocek recites a poem of mine about interconnectivity
and fragility in free form, providing commentary and alternative perspective to the complex
metric relations. (04:05) heralds a return to the contrasting notion of permanency in ‘Father’s
Home’ as Bocek completes ‘Ojcowski dom’.
10 - Touch
‘PolyKarma’, also the final track on the ‘Polycyclcic Chamber Music’ album, provides a bi-
metric musical habitat for another of Bocek’s improvisations in an ‘unspecified language’.
Here, the chamber music structure has been left intact but excludes the coda section and cor
anglais part. Bocek’s improvised vocal performances embraced multiple yet unspecific styles
from which three takes were edited into one coherent melodic development. The clustered
vocal layers beginning at 03:18 are once again reminiscent of the Le Mystère des Voix
Bulgares choral style as the chamber and folk elements traverse various combinations of
coalescence resulting in an indefinable hybrid.
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Perhaps more than any other form of cultural production, improvisation requires
personal risk in often unpredictable circumstances.
(Stapleton 2013, p9)
If we speak and try to give an account from this place, we will not be irresponsible,
or, if we are, we will surely be forgiven.
(Butler 2005, p136)
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Chapter 6: Conclusion
Optimization – finding the most efficient model in complex systems
(Anthony 2016)
This final chapter will review the aims, and outcomes, of the work presented in this exegesis,
accompanying portfolio and recordings. The purpose of the study was to investigate issues
concerning the design of three-part polymetre within a composition. This included overcoming
challenges presented in rhythmic and harmonic displacement of recurring motivic cycles of
differing lengths. It also focused on how musicians cope with unfamiliar realignment of
reference points. In addition to navigating polycyclic compositions, the research also examined
the integration of improvisation upon these structures thereby endorsing the term
‘comprovisation’. This integration of polycyclic design and improvisation has been expressed
and demonstrated across three broadly defined genres, and advocates well-constructed form as
a prerequisite for successful navigation of complex structures.
The term ‘optimization’ best describes the core aim, and conclusion, for the compositional
design aspect of this research. Designing the most efficient models of polycyclic structure lies
at the foundation of this project, upon which successful compositional and improvisational
(comprovisational) pursuits may be realized. The notion of optimal balance can be applied as
an overriding principal for many of the composition and performance issues presented here.
For example: familiarity and unfamiliarity, natural playing idioms and dislocation; between
personal and group identity; place-holding and risk-taking; convention and breaking the rules;
and simplicity and complexity.
This principal of balance underscores the concluding points for this chapter, presented under
five headings:
1. Comprovisation: balance between composition and improvisation.

2. Polymetre versus mono-metre and the implication for notation.
3. Improvisation versus post-improvisation studio manipulations.
4. Balance between process and intuition.
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5. Complexity versus simplicity.
These five topics will be followed by my final concluding thoughts.
1. Comprovisation: balance between composition and improvisation

An important consideration in creating a balance between composition and improvisation was
this: that the degree of complexity in the structure does not interfere with improvisation being
a natural function of a performing musician. Based on this understanding, particular care was
required to achieve this optimal balance within the increased complexity of polycyclic design.
However, when sufficient attention was paid to the integrity of individual cyclic components
and their ability to meaningfully interlock at any given point, the potential for an increased
range of inter-relational interactivity became evident in polycyclic structures. I would argue
that, by definition, these potentialities lie beyond that which mono-metric systems normally
provide, particularly once improvisation was involved.
I have endeavored to create such systems that maximize performer agency - the requisite
freedom to spontaneously interact with the various levels of polymetric composition, and with
other musicians. Balance has also been a factor in the process of music creation, between
adherence to a premeditated structure and a willingness to challenge those structural
boundaries. In order to stimulate musical material outside the realms of existing memorized
repertoire, whether in my own compositional process, improvised performance or that of
others, I have encouraged the more unpredictable contingencies of music making: accepting
elements of risk-taking, randomness, variability, negotiating the unknown and confronting the
potential of chaos. Whereas in the ‘chamber’ project the focus was more on compositional
design, the ‘jazz’ and ‘world’ projects have promoted fluidity of relationship between
composition and improvisation. Regardless of which locus on the ‘comprovisational
spectrum’ was involved, the flow of reciprocity and correlation between structure and
spontaneity has proven a vital component. Further research and experimentation is required in
order to extensively test these concepts in live, group performance settings.
2. Polymetre versus mono-metre and the implication on notation

Considerable attention was placed on the appropriateness, and justification, of polymetricism
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over mono-metricism in the theoretical and analysis chapters, and now correspondingly in the
conclusion. From a perceptional perspective, it became evident that inconsistencies
surrounding the determination of a metric unit are compounded with polymetric constructs.
An additional layer of complexity arose with the duality of cognitive versus intuitive
comprehension of these structures. Two questions arose: 1/ what degree of importance should
be placed on each of these two positions, or the balance between them, and 2/ whether this
would impact on the practical relevancy of polymetricism versus mono-metricism. Regarding
polymetrical perception, three possibilities have been established: an integrated system in
which a single metrical assumption is derived from competing pulse streams (mono-
metricism); a polarized relationship between a dominant pulse stream and one that provides
cross-accentuation (also perceived mono-metrically); and, a balanced position in which each
pulse stream achieves an individual metrical identity (polymetricism). It is the latter, and the
aspect of balance between metric identities that has been crucial to successful polycyclic
design – the possibility of consciously identifying each of the three metres as three equal
entities, equally robust in their identity and role within the system. In my view, based on
experiential observation, this fundamental balance transcends any distinction between
cognitive or intuitive comprehension. The ability to consciously follow competing metrical
frameworks is dependent on various factors such as the participants’ level of musical training
and experience. However, the level of cognizance does not impact on the validity and
proficiency of the structure itself. It is arguably more astute to consider this cognitive/intuitive
duality, and polymetricism itself, in terms of appropriateness and applicability. For example,
in African music (refer to chapter 2.3), the rhythmic organization is often most adequately
encapsulated with the term ‘non-metre’. Correspondingly, although my compositions here
may be perceived non-metrically, there are cases for the appropriateness of polymetric
representation. In ‘PolyPhasic’, as one example (refer to chapter 4), there was the intention
that the tenor saxophone and bass should consciously articulate the ‘head’ section in 5/4 and
continue using the framework for improvisations. Likewise, the piano should consistently
maintain the motion of 3/4 while the drums pulsate in 7/4. Performance experience bore out
the validity of the intention. As a result, there is the clearly perceptual possibility, with
sufficient training, to audibly follow each individual metre via its instrumental representation
and expression, because of the strength and clarity of its individual expression. Further, with
increased concentration and experience, the potential to track two of these individual metres
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simultaneously is within the realm of cognizant possibility. Comprehending the conscious
amalgamation of all three metres, in my experience, requires rapid and constant leaps of
attention between all participating parts. Although this does not constitute simultaneous
absorption, it does allow the possibility to catch glimpses of the composite sonic picture.
Alternatively, an intuitive, non-metric perception of the synergetic whole provides a bountiful

and diverse musical experience greater than the sum of its polycyclic parts without metrical
cognizance as was experienced in the ‘world music’ project. It was this synergetic whole that
motivated the vocalist to experiment outside the norms of her existing repertoire. Her
responses were founded on intuition, having purposely not been given sufficient time to
develop a cognitive understanding of the metrical components.
Therefore, over the course of the research, I observed that openness to the appropriate
application of cognizance, intuition, or combination thereof, was an effectual constituent for
the perception, navigation, performance and improvisation upon complex polymetric
structures. Based on my empirical experience, appropriateness of polymetric representation
also applies to the notation thereof.
I have argued that in the notation of pulsed polymetric music, at least in my compositional
approach, the accentual structure takes precedence over other notational considerations and
therefore needs to be notated accordingly. The argument for notating polymetric music in the
same metre for all players revolves around the facilitation of synchronization in performance.
Conversely, the case for notating in separate metres better supports the intended phrasing of
rhythmic and melodic motifs. Here, again, empirical experience demonstrated that musicians’
initial comprehension of how the individual parts integrated proved more difficult due to the
lack of a common regular ‘down-beat’. However, this was overcome in the same way any
new music is sublimated: the familiarity of the relationship of pivotal reference points
between the parts gradually increased over time.
Proponents of mono-metric notation of polymetre maintain there is no detectable difference in

the outcome. In my experience, the performer phrases differently according to placement of
bar-line, after which, on some level the musician will place emphasis. Additionally, reading
the phrasing within context of its intended metre, reinforces the integrity of that individual
part, which, combined with the other parts similarly invested, increases the effectiveness of
the whole. There are exceptions to the appropriateness of polymetric notation as was evident
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in the case of ‘PolyAnatolia’ (refer to chapter 3), in which the pragmatism of a simpler
notational method outweighed the overly difficult synchronization issues in reading individual
metres. As a general rule however, tightly woven phrase/metre relationships as can be found
throughout ‘PolySpirals’ (chapter3) for example, benefit from the pendulum like momentum
that appropriate metre allocation provides. When combined, these ‘pendulums’ create
perpetually deflecting orientations which, to once again appropriate an old adage, result in a
complex whole strengthened by the sum of its parts.
3. Improvisation versus post-improvisation studio manipulations

Finding a balance between two aesthetics - that of imperfection and perfection - has been an
important goal of this research and mirrors the intermediary aspirations of other dualities
presented here. This study has examined issues surrounding the manipulation of recorded
improvisations utilizing compositional techniques. Whereas improvisation celebrates
spontaneity complete with its accompanying ‘imperfections’, post-improvisation composition
re-arranges and manipulates the improvisation toward a more ‘perfect’ result. My approach
has avoided any dogma connected to these different approaches, rather adopting a middle
path. Decision-making has been based on the questions: How is the music best served? What
do I want the listener to hear? For example, all three freely improvised vocal takes on ‘Touch’
(track 10 on the Polycyclic World Music (‘Green’) album and chapter 5) each contained
powerful performances but it was determined, through editing, that a fourth version utilizing
post-improvisation composition constituted a definitive expression, superior to any one single
take. In this instance, the editing decisions were mutually agreed upon between Bocek (the
vocalist) and myself, undertaken immediately after the vocal performances. The intention of
the improvised performances within that time frame was expeditiously extended into the
editing process thereby retaining the residual atmosphere. Similarly, the harmonization via
overdubbing was performed without hesitation. Applying the reflective judgment of the
composer to the immediate expression of the improviser ideally results in the best of both
worlds, and a compelling crossover between them.
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4. Balance between process and intuition
All of my compositions represented here are based on varying degrees of premeditated
process. The process has taken the form of strict adherence to set polymetric, and often
harmonic, structures. Within these parameters I have taken an intuitive, improvisational
approach to music creation, aiming for an aesthetic balance between process and intuition.
In contrast to the more perceptible processes of minimalism (for example), my polycyclic

structures are less detectable - the melodic elements are developed using traditional
compositional techniques of variation, in effect distracting from the underlying processes. The
process component functions more subliminally. The overarching purpose of the music is not
to showcase polycyclic design - although this aspect is available on closer inspection - but
rather to achieve a perception, or illusion, of relative simplicity over a complex system. For
example ‘PolySpirals’ is the most ‘cyclic’ sounding of all the ‘chamber’ pieces (refer to
chapter 3), and adheres strictly to a polymetric and harmonic process yet simultaneously
disguises the fact. In this piece, through motivic invention, metric orientation on a composite
level is diffused, offering broader alternatives in perceptual location.
5. Complexity versus simplicity

My intention with all three of the albums was to create the perception of simplicity out of an
underlying complexity through combining creative instinct with compositional skill. Given
the polycyclic design of the compositions and their inherent complexities I have often found
it prudent to include idiomatic familiarity as an anchor to a potentially very unfamiliar format
- idiomatic familiarity in the form of paradigmatic motifs and instinctual frameworks based
on conventions and merged with the unfamiliarity of polycyclic structures. Examples of
paradigmatic motifs encased in polycyclic environments are: the blues-like bass drone and
typical piano funk chords in ‘Addiction To Life’; the ‘Take 5’ drum beat and I-VI-II-V chord
progression in ‘PolyBrubeck’; the use of folk song in ‘Father's Home’; the Phrygian dominant
mode of ‘PolyAnatolia’; the fugue style of ‘PolyFugue’; the ubiquitous chord progression of
‘PolyKarma’. Instinctual frameworks include: the blues forms of ‘PolyPhasic’ and
‘PolyMorphism’; the open form single chord approach of Miles Davis’s ‘In A Silent Way’ as
imported into ‘Addiction To Life’; the Balkan dance rhythms in ‘PolyFolkBaroque’ and
‘Father's Home’.
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The merit of this simplicity/complexity and familiar/unfamiliar duality and fusion becomes
apparent once all the parts are put together: the simplicity of the individual phrases is offset
by the complexity of the amalgamation creating an intelligible yet expanded dimension of
potentiality.
By examining and expanding upon polycyclic practices as found in centuries-old

sophisticated musical practices that validate time-tested relevance and universality, within and
outside of my own cultural inheritance, there is an added weight of relevancy to the music
presented in this body of work.
During the course of this research the challenges and performance implications surrounding
polycyclic comprovisation have been scrutinized, not only in practical terms, but also in the
realm of aesthetic value. Far from being a purely intellectual exercise, the aim has been to
create an ‘accessible’ music, conceptually complex, but manifested in relative simplicity.
Reactions and feedback from listeners from a variety of backgrounds have often expressed
surprise at the musicality of the result in comparison to the perceived over-intellectualization
of the theoretical description. Although this response applied to all three principal genres
encountered here, the ‘chamber’ and ‘world’ music albums were generally regarded as easier
to digest than the ‘jazz’ project.
There is an inherent danger of information overload with music of this nature, and although
every care was taken to keep the competing musical elements as transparent as possible, the
results - the ‘jazz’ examples in particular - will always demand a enhanced investment of
attention.
Musicians undertaking performance of this music also require an enhanced adherence to both
the integrity of individual phrasing and the composite sonic picture. A delicate balance is
therefore constantly negotiated between individual and group; a circumstance that promotes a
sharpened interpersonal awareness, magnified in a polycyclic environment. The potentialities
of the concepts presented here not only extend into genres and styles of music not explored
thus far, but into wider reaching societal implications (refer to appendix D).
164
At the outset of this project (year 2013), to the best of my knowledge, there appeared to be no
evidence of composition employing three simultaneous metres from beginning to end. At the
conclusion of this study year (2016), my intervening body of work seems to account for the
first endeavor of this practice.
Identifying all possible polycyclic combinations (see appendix H) was the foundational
undertaking of this project. Of the 269 listed tri-metric combinations, only eleven have been
utilized (some more than once) for the thirty-four included compositions suggesting plentiful
scope for further, and more complex, polymetric exploration.
165
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173
Appendix A
Polycycles and Fugues

As an addendum to the topic of polycyclic concepts in relation to Western art music in
chapter two (2.4), the following segment offers an interpretive supposition.
In terms of creating a multi-levelled but ordered complexity with polycycles, a parallel can be
drawn to Bach’s fugal compositions. John Drummond (2011) suggests that “the ordered
complexity of the universe can be accurately reflected, and thereby explained and understood,
in the form of fugal compositions” (p30). Drummond’s description of the fugal process and
its reflection of universal order could as readily apply to the composition of and improvisation
upon polycycles (also considering Bach’s considerable improvisational skills) as outlined in
the methodology chapter. Parallel possibilities are presented here alongside Drummond’s
description (my additions concerning polycycles are in italics):
… to reflect order, there must be one single theme (statement of polycycle #1) underpinning all
the fugues; to reflect complexity, the fugues must utilise all the possible formats and dimensions
possible with that theme…presenting this theme in several independent lines of music, at
different pitches. (improvisation upon polycycle #1) The order in which the theme appears in
successive voices is a variable factor. (improvisation upon polycycle #1) This provides a multi-
levelled complexity. Secondary material will need to be developed to go with these multi-level
statements of the theme. (statement of and improvisation upon polycycle #2) Additional themes
can be introduced. (statement of and improvisation upon polycycle #3 etc)
These elements will give Bach two primary dimensions of complexity: the dimension of time,
as the theme and its companions are developed over time, and the dimension of simultaneity,
that is, the textural relationship between the constituent lines of music. (the synchronicity and
counterpoint between various statements of and improvisation upon polycyclic motifs) Further,
fugue may shift from one key to another, as if passing into a parallel dimension (refer to the
shifting key areas in my composition ‘PolyFugue’ in Vol 2 and “Polycyclic Chamber Music”
CD). Bach will be exploring what today’s science describes as the ‘multiverse’ (p31).
174
In the music analysis chapters of this exegesis, I illustrate how a contrapuntal
comprovisational approach reflects the preceding description, utilizing improvised motivic
development within a polycyclic form, achieving a complex yet coherent multi-leveled music.
Complex systems must strike an uneasy and ever-changing balance between the
exploration of new ideas or territories and the exploitation of strategies, devices,
and practices that have already been integrated into the system (17).
Through the investigation of new fields and forms of artistic expression that are based upon
a “bedrock of existing knowledge” (Downes 2011, p43), new processes can be developed
culminating in new discoveries. My polycyclic comprovisation model of new music creation,
in combination with other comprovisational methods and sound artistic practices, endeavours
to establish a new methodology.
175
Appendix B
Repeating ourselves
As an addendum to the sub-chapter on Minimalism in chapter two (2.4.1), the following
segment widens the discussion conceptually and positions its relevance to my polycyclic
work.
In Robert Fink’s expansive work, Repeating Ourselves: American Minimal Music as Cultural
Practice (2005) he states that “minimalist art and music have usually been considered part of
that… countercultural critique of consumption as meaningless repetition” (pX). Fink draws
multi-faceted meanings about repetition in culture by presupposing there is not only “one
innate subjective drive to repeat always, everywhere, … [but] many different ways that our
repetitive subjectivity is constituted, over and over, within the multiple, complex webs of
material culture we weave” (p6). Further, we should contemplate “how complex and
multivariate our experience of that repetition might be” (p8). Although some accounts of
minimalist practice are “suffused with a gentle Orientalist longing, [because] Eastern culture
quiets the vain striving of the modern Western compositional soul through its repetition-
drenched otherness” (pp13-14), Fink maintains that “in Western musical culture repetitive
practice is indeed an industrial concept” (p15). He also contends that it is “a legacy of the
nineteenth-century need to rationalize and systematize the mass production of musicality”
(p15). Fink’s quest is this: “We repeated ourselves into this culture. We may be able to repeat
ourselves out” (p22). It could be argued that twenty-first century music and indeed society in
general is already well on this path through increasing cyclic diversity and parallels of
complex interactivity.
Fink states that minimalists “use the simplest of musical materials, combined and recombined
in intricate ways” (p27) and, by definition, this is “linked to an uniquely female sexuality, and
thus to patterns more diffuse, fluid, cyclic, and holistic than the straight-line teleology of the
phallus” (p37). Nevertheless, minimalist structures could be criticized as a collection of 'lego'
building blocks, all easily definable and categorized; where do you find levels of the non-
mathematical quarter, eighth, sixteenth and triplet neat little pockets of construction? It would
seem that a more representative sonic picture of ‘holistic’ life would need to include the non-
176
measurable and non-definable. Furthermore, discussions on countercultural critique often
seem trapped in a binary value belief system: good = subversion to the status quo: bad = the
status quo. Is it essential to place music in a sociological framework? Can it exist outside such
a framework? What is the alternative; reflection of some innate nature that transcends
sociological context?
It may suffice to regard minimalist structural practices as representing “the power to impose
discursive coherence and structure on needs that would otherwise remain disorganized and
inchoate” (Fink 2005, p96). The aspiration of my polycyclic comprovisational practice
expands upon Fink’s assertion that “no genre of art music is more concerned with
interpenetrated extremes of temporality than pulse-pattern minimalism” (p104). In response to
Fink’s claim that "minimalism today represents a critical reaction to the condition of
humanity in a complex and uncontrolled society” (p158), I would suggest that, more
accurately, it represents a reflection of the condition of humanity in a complex and controlled
society.
177
Appendix C
Intuition, Perception and Performance
Eventually, the conscious mind gives up noting the process and merges with the experience. The
body vibrates with the beat and the mind gives itself over, opening up to whatever imagery is
offered.
-Robert Fink (2005, p133)
This segment is an additional subject for the literature review chapter (two) discussing the
role of intuition in relation to perception and musical performance.
Béla Bartók appeared to possess faith, if not in the perception of the listener, at least in the
existence of such perception when expressing his desire to “let my music speak for itself”30
(cited in Lendvai 1991, p96). In comparison, Liszt was more cautious - appealing to those
"with ears to hear" the symbolic elements in his Hungarian Rhapsodies (1885) while
conversely “Varèse placed no trust whatsoever in the ear of the audience, having concluded
that people are only capable of listening with their memory” (Ouellette 1966, p67).
Furthermore, Bartók's aesthetic approach seems to embrace the idea of ‘organic’ and intuition
in the unfolding of form. Bratuz (2013, p1) states that artists such as “Brancusi, Klee, and
Moore…considered [Bartók's] ‘miniature masterpieces’ of nature to be not only sources of
inspiration, but veritable models of construction”. Greenwood adds that:
. . .with a profound insight into the fundamental principles of growth and form . . . And behind
this conscious disciplined experience lie the fructifying powers of intuition and emotion, the
product also of complex natural forces, which enter into and unite with the former to produce
the miracle of personal expression in art (1974, p9).
Intuitive powers are an essential asset for musicians who are, according to Eve Poudrier,
(2008) “especially skilled at using various forms of selective attention, for example, tracking
changes in an ensemble while performing their own part” (p216).
Polycyclic music performance, particularly when incorporating improvisation, could
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conceivably draw parallels to Immanuel Kant’s three “maxims of common human
understanding”:
1. To think for oneself
2. To think from the standpoint of everyone else
3. Always to think consistently
(Kant 1952, p102)
By correlating these maxims to my ‘performing polycycles’ levels as illustrated in my

methodology section in chapter one, the relationship becomes more explicit. Thinking for
oneself is critical in sustaining the requirement of the first two levels where the performer
learns and begins improvising his ‘identifying signature’. As the practitioner progresses
through levels III to VII and absorbs the other identifying signatures, the ability to think from
the standpoint of everyone else (‘while simultaneously playing/improvising on your own
cycle’) becomes increasingly crucial. By level VII (‘full polycyclic improvisation’) the
polycyclic performer/improviser has learnt to think consistently, achieving an ‘optimal
balance between maintaining the integrity (strength) of one’s individual identifying signature
and receptivity and utilization of others identifying signatures.
With regard to ‘letting go of intentions’, or achieving a ‘state of flow’, it would appear

paradoxical that ‘thinking consistently’ and entering a state of non-thinking, as considered
ideal for improvisation, can co-exist. Fink (2005) tackles this apparent contradiction with the
advice: “We must make some effort, but we must forget ourselves in the effort we make"
(p43). The particulars that initially occupy the conscious mind - mastery of one’s instrument
and familiarity with the musical material – need to be transcended, or embedded in cellular
memory31, to allow the requisite ‘headroom’ its spontaneous expressive latitude.
As Gary Peters (2012) states, improvisation is “characterized by disengagement rather than

the engagement (political, ethical, spiritual) one normally associates with this world” (p5).
The word ‘tensionless’, according to Steve Savage, (2006) is befitting when describing the
ideal “unintentional musical performance” (p2). The question becomes: “So how do those of
us who are involved in the translation from performances into recordings assist in uncovering
the musical ‘language of truth’?”32 (Ibid.). Savage considers that “a lack of self-consciousness
goes a long way toward an outstanding musical performance” (p3). For example, when a
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musician first sets up to perform in my own studio, I will customarily ask them to play to the
track while I ‘get a level’ - the musician is unaware that I am recording their warm-up. This
‘trick’ very often produces the most flowing and uncritical performances of the entire session
– any sense of pressure is removed. Without exception, participants have responded positively
to the experiment upon hearing the result. Negus and Pickering (2002) seem to corroborate
this finding, stating: “musicians are often surprised at what they create and often only
retrospectively comprehend what they were attempting to articulate” (p184), while Savage
(2006) contends that both the terms ‘unconscious’ and ‘intuitive’ “may be considered close
relatives to the idea of the unintentional performance” (p8).
As testament to its creative potency, Peters (2012) places improvisation “at the heart of the
work's unfolding [and] as the most intense demonstration of human resolve in the face, not of
adversity, but contingency” (p6). The act of spontaneously interacting with the contingencies
of comprovised music, compounded by a complex, cyclic and ever-changing environment,
could be viewed as representative of navigating contemporary society in general. The wider
resonance of polycyclic comprovisational practices is discussed in appendix D.
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Appendix D
Wider Resonance
We’re always looking at the many layers, not just for defining things, but for the truth of
things. It’s been our mandate to complicate things, and we like that. We feel that life is a
very nuanced, complex experience… Everything is in motion and people’s decision making is
shifting with the stakes.
Simon Barry (2013)
On a broader scale, considering “sound structure as social structure” (Feld 1984, p383) or
“music as metaphor for social processes” (Monson 1999, p32), “layered musical processes”
can be “conceived as analogous for overlapping social and cultural processes” (p46). I
therefore argue that these fluid and overlapping cycles, and their composite synchronicity,
mirror an ever-increasingly complex social, ethnic and political landscape of modern global
society when expanded in a polycyclic context. Although difficult to quantify, and outside the
scope of this research, the wider resonance (i.e. beyond purely musical considerations) of the
socio-dynamic attributes that polycyclic comprovisational practices imply are nevertheless
important to acknowledge. An awareness of the potential for the translation of
comprovisational/improvisational concepts to other interpersonal relationships will, in turn,
assist in informing the music on a philosophical level, and, in all probability, enhance the
purpose of the undertaking. According to David Such and Nazir Ali Jairazbhoy “music is
symbolic and reflects the conceptual structures and organization of a community” (1982).
Simon Frith further argues that music is in a singular position, as an experimental, aesthetic
and social process, to articulate “in itself an understanding of both group relations and
individuality, on the basis of which ethical codes and social ideologies are understood”
(1996a). Christopher Small states that “the sound relations of a musical performance stand in
metaphorical form for ideal human relationships as imagined by the participants” (1997,
p129). Here, he moves the comparison beyond the symbolic toward a potentially more
utopian dimension. Music is, for Small,
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…not only a metaphor, but also a way of transcending [society's] otherwise unspoken and
unexamined assumptions. Art can reveal to us new modes of perception and feeling which jolt
us out of our habitual ways; it can make us aware of possibilities of alternative societies whose
existence is not yet (1977, p2).
Succinctly put, music has the “ability to escape the bounds of simply reflecting what is, and
point towards what might be” (Peters 2012, p12). David Borgo (2005) augments this
discourse examining complex group dynamics of creativity in relation to musical
improvisation. He argues that “an extreme reliance on centralized organization and
centralized metaphors in the past has led to a situation in which many people are unwilling or
unable to imagine systems organizing in a decentralized fashion” (p25). What has become
apparent in much of contemporary music is that it is not always easy or possible to determine
to what extent a particular piece of music is derived from a pre-conceived (i.e. centralized)
system and how much is manifested in the ‘making’ (decentralized). Borge finds it
particularly encouraging that “creativity is increasingly being viewed as a web of network
interactions operating on all scales, reflecting individual, social, cultural, and historical
dimensions” (p20). He also proposes that “there are many compelling reasons to view artistic
behavior not as some special kind of activity cut off from the rest of human behavior but
rather as much an adaptation to the environment as any other human activity.” Indeed, music
may “serve the function of breaking up entrenched orientations, weakening and frustrating
our ‘tyrannous drive to order,’ so that humans are better able to deal with change, complexity,
and chaos” (p27). Improvising musicians willingly “engage the unforeseen” and “offer the
experience of disorientation” (p28).
The very abstract nature of music removes any direct biological concern for survival, which
makes it “especially well suited to testing out aspects of social interaction” (p21). The
tendency of music to produce multiple meanings “endows us with the multipurpose and
adaptive cognitive capacities that make us human” (p30). Music has the ability to explore
social interaction, and rehearse processes that can assist in achieving cognitive flexibility.
Borge suggests that:
Two of the hottest current topics for organizational design are the sciences of complexity
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and jazz music. Both domains emphasize adaptation, perpetual novelty, the value of variety
and experimentation, and the potential of decentralized and overlapping authority in ways
that are increasingly being viewed as beneficial for economic and political discourse (p21).
In recent times there is a shift away from “emphasizing discipline in organizations to

emphasizing their flexible, adaptive, and dispersed nature” (p21). Karl Weick posits in
‘Organization Science’ that jazz music’s “emphasis on pitting acquired skills and pre-
composed materials against unanticipated ideas or unprogrammed opportunities, options, or
hazards can offset conventional organizational tendencies towards control, formalization, and
routine” (1998).
Jazz and classical musician Dominic Alldis has recognized that “business organizations
worldwide are facing the same dilemma: how to balance the need for strategic alignment and
a corporate hierarchy with the desire to foster autonomy, creativity and individual
responsibility” (2016). He offers high profile “leadership development, creativity and
teambuilding events…using the metaphor of music” (Ibid.) for corporate entities that are
“embracing the need for innovation, flexibility and adaptability within a fast-moving global
economy” (Ibid.). Alldis advocates the “dynamic musical world of jazz” as a medium and
“excellent illustration of this new corporate environment” (Ibid.). In his presentations
participants “listen and observe how jazz musicians improvise and innovate within clearly
defined structures, take risks, embrace change, value diversity, rotate leadership and build on
each other’s ideas in performance” (Ibid.).
This is followed up with “an interactive discussion about how the creative flexibility of jazz
musicians provides an excellent model for today's business leaders” (Ibid.). One branch of
Alldis’s courses in particular focuses on the comprovisational aspect, i.e. structure versus
improvisation, by counterpoising the two contrasting worlds of classical music and jazz.
The classical environment is represented by a string quartet: a formalised musical group

striving for technical precision, emotional intensity and excellence in performance. The jazz
environment is represented by a jazz quartet: four musicians engaged in a process of
experimentation and risk-taking, enjoying a spontaneous musical dialogue that engenders a
rich flow of creative ideas (Ibid.).
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Alldis questions and explores themes through carefully crafted and facilitated exercises for
both quartets, individually and together. He asks:
• How are these two musical worlds similar and how are they different?
• How can they co-exist, collaborate and learn from each other?
• How can business organizations embrace the best of both cultures? (Ibid.).
Testimonials underscore the effectiveness of these seminars, from modern IT companies such
as ‘ebay’ and ‘google’ through to traditional banks 33: “our managers began to shift their
mindset, seeing leadership through a jazz lens, as improvisation, collaboration and flexibility,
not just through a traditional orchestral lens, as "conducting" a team...” 34
Danish jazz pianist and composer Niels Lan Doky similarly advocates the value of
improvisation beyond the world of music in his (unpublished) book and lectures entitled:
“IMPROVISATION – in music, at work and in life”35.
In the future, according to management consultant Drew Hansen, “unless it changes,

capitalism will starve humanity by 2050” (Hansen 2016). In another testimony to the
importance of the wider lessons to be garnered from improvisation upon complex musical
structures, Hanson predicts “the hierarchical organization of modern corporations will give
way to networks or communities that make collaboration paramount. Many options for more
fluid, agile management structures could take hold” (Ibid.).
In my own work, it is the aspect of dialogue between the composer, or the pre-given material,
and the co-composer/improviser, and their spontaneous creations in response to the structure,
that contributes a vital ingredient to my music. It arguably also represents a reflection of a
vibrant co-dependent social system.
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Appendix E
Subject2change: sustaining fluidity in studio manipulations of a polymetric jazz

fusion comprovisation
Journal article published in “Into The Mix, People, Places, Processes”: International
Association for the Study of Popular Music (Australia/New Zealand Branch) no. 2015
I Introduction
In December 2013, the Dunedin jazz fusion ensemble, ‘Subject2change’ - in which I am a

performing member - convened for a five hour recording session of improvised performance.
We introduced minimal musical sketches as platforms for exploration by the band’s
musicians, all of who have varying musical backgrounds. The following weeks were devoted
to post-production that included the selection and editing of recordings, additional overdubs
and manipulation of sound and mixing. Feedback from group members was invited for the
preliminary mixes, and absorbed to varying degrees by the producer (myself) into the final
mix. Questions, challenges and contradictions arose during the process, such as how to
arrange the participants in the recording space to maximize a ‘live’ performing environment
versus minimizing sound ‘leakage’ between instruments. Equally, the question arose
concerning how to strike a creative balance between any pre-designed musical material that
can be adequately rehearsed in minutes, and yet be stimulating enough to inspire further
exploration without potential hindrance to ‘musical flow’ caused by excessive complexity or
pre-meditation. A further issue that became apparent was the frequent adjournment to the
control room for listening to playbacks. Would this pause in performance be disruptive to the
dynamic concentration of energy?
This paper addresses issues such as how and when to identify an emerging pattern of style
that will inform subsequent decision-making toward producing a concept album, how to
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identify ‘usable’ sections of improvisations (at post-production stage), and how to seamlessly
edit chronologically disparate excerpts into a compositionally convincing arc. Thus, this paper
investigates the challenge for the producer to sustain a sense of fluidity of process, and
outcome, using the example of the evolution of one track – ‘subject2change#21’ – from the
aforementioned sessions. The polymetric basis for this piece furthermore places this multi-
layered approach to music production in relatively under explored territory within popular
music categories. An audio recording of ‘subject2change#21’ is available for
listening/download at:
https://soundcloud.com/colemanta/subject2change21.
When creating and performing music I am acutely aware of the complexities, infinite
possibilities and combinations that are continually subject to change. I am simultaneously
aware that there is a certain order to all things, including even chaos. I endeavor therefore to
integrate that sense of order, and natural flow, into my compositional design, and reflect an
ever-present complexity. Polycyclic designed music provides a platform that, for me, more
adequately creates a space for complex expression than does monocyclic, or mono-metric
based music.
I employ the term ‘polycyclic comprovisation’ as it most succinctly describes my approach to

music creation. Comprovisation is an elision of composition and improvisation - a relatively
new term to characterize the interrelationships between premeditated material and real-time
spontaneity in a music context. So polycyclic comprovisation involves improvisation upon
composed cyclic motifs of varying lengths that occur and interact simultaneously.
Comprovisation also applies to the post-production of recorded improvisations that exercise

compositional methods to integrate diverse material. This paper explores challenges and
successes as it charts the evolution of a polymetric jazz fusion comprovisation, the subsequent
studio manipulations, as well as consequences on an interpersonal level.
Polymetre:
Firstly, one needs to consider additional terminologies. Eve Poudrier defines metre “most
generally as the organizational patterns of time for musical events to which the
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composers/performers/listeners attune, either individually or collectively.” (2008: 59). She
goes on to suggest that “polymetric structure can be loosely defined as a musical texture in
which rhythmic components can be traced back to at least two simultaneous meters” (27)
Why do I prefer the term polycyclic over polymetric? Whereas polymetre refers only to bars
and beats, polycyclism is a more open term that may include various subdivisions of form and
is not necessarily defined by metre. Brian Robison “proposes the concept of ‘polycycle’ to
refer to concurrent cycles of similar or contrasting musical elements” (1999: 47). For this
discussion, however, the term polymetre is adequate.
Improvisation:
The questions that arise here are concerned with balance between structure and spontaneity,
or, as Steven Gisby puts it: “balance of the premeditated and the instinctive, the personal and
the impersonal …the intricate and the simple, of form and of the journey and the destination”
(2009: 32). The available spectrum of improvisation ranges from the highly structured to the
completely free. At the more structured end of this spectrum composers such as Roscoe
Mitchell utilize ‘scored improvisation,’ as one way for a composer to “integrate improvisation
inside of their music” by actually “giving the improviser the materials that are going to be
improvised” (in Dale 2008: 11).
At the other end of this spectrum – referred to as ‘free improvisation’ - the ‘composer’ is
regarded as dispensable. Of particular relevance here is jazz fusion group Weather Report’s
ethos: “We always solo, we never solo” (Zawinul 1971) or a “constant exchange between the
musicians rather than a string of solos” (Buzby 2004). Other vital processes in improvisation
include “listening, reacting, augmenting and creating” (Holmes 2002).
Fluidity:
In this context, I argue that it implies the sustaining of spontaneity, trust in 'gut feeling' or
intuition, and the sense of flow that often comes with first impressions. Conversely, it is
recognizing and acknowledging when fluidity has been compromised - the ability to
disengage when necessary from the 'stuck' feeling once the first impressions have become
obscured.
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In the following sections, I will examine how these terms and concepts apply to the process
under study here, but firstly I will provide some background to the players on the recording
stage.
II Background
Subject2change is a jazz fusion group formed in 2001. The change that the band has subjected
itself to refers to changes in personnel and instrumentation, the embracing of multiple music
styles over a jazz context (jazz fusion), and the high percentage of free improvisatory
elements. A consistent trademark of the various configurations of musicians has been the
diversity of musical backgrounds, experience and personal tastes - ranging from jazz,
classical, Latin American, funk, rock, drum’n’bass - and various hybridities.
An interesting question posed here is: to what degree does such diversity enrich the collective,
and/or to what extent do the differences hinder a sense of commonality? To date,
Subject2change has produced three albums, each representing different facets of stylistic
emphasis: the first album (Subject2change #1) (2008) comprised mostly of my compositions,
mixed in style with adherence to form and more conventional use of soloing. The second
release, (Soundtracks and Inventions) (2009) was a departure from composition, celebrated
free improvisation and represented unedited takes with the bare minimum of premeditated
concepts. The second CD of this double CD set featured tuned percussion virtuoso, Pedro
Carneiro and was recorded in a studio before a live audience. Encouraged by the positive
outcomes of the second album, it was decided to devote one day of recording to "see what
happens", or to quote Morton Feldman: "Let the music do what it wants to do” (Johnson
1991: 1). That is, virtually no prior discussion apart from bringing some music ‘sketches' to
the session. As the music presented here is the culmination of the group’s previous
experiences (collectively and individually), our own personal histories surrounding this
process is of relevance to the creative result. As Paul Stapleton states: “acts of invention in
improvisation do not appear ex nihilo, but rather are formed from a complex array of cultural
and personal experiences” (2006: 168). Similarly, George Lewis “strongly suggests that
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improvisation is directly shaped by personal narratives that are not only sonic in nature”
(Stapleton 2006: 168). Simon Frith (1996) also argues that:
…music, as an experimental, social and aesthetic process, is in a unique

position to [articulate] in itself an understanding of both group relations
and individuality, on the basis of which ethical codes and social ideologies
are understood (in Stapleton 2006: 171)
III The Session
The aim of the session was to record a number of improvisations, some of which were based
on musical ‘sketches’ contributed by guitarist, David Harrison and myself. As faculty of the
Otago University music department, we were eligible to utilise its professional recording
studio and sound engineer. During the five-hour session, we recorded eight separate ‘pieces’
- including ‘subject2change#21’ - of which seven tracks manifested on the album Artiste
(2015).
The physical setup of the musicians and their instruments presented a dichotomy: close
enough in proximity to maximise natural communication versus enough separation to isolate
the instruments during recording, allowing more editing flexibility in post-production.
A compromise was necessary. Musicians were distributed around the large sound stage with
good line of sight, and the players’ monitoring was enhanced with headphones when
necessary. A sense of flow between musicians was somewhat maintained while some
separation in sound was achieved. The band consisted of a guitarist, keyboard player (myself,
also doubling on trumpet), bassist and drummer plus a trombonist - the saxophonist was
unavailable but was scheduled to overdub his contribution at a later date.
Another issue, one where opinion was divided, was when and how often the participants
should adjourn to the control room to listen to the recordings. One view was that through
monitoring the recording, the next take would be better informed despite the majority view
being that the creative flow was disrupted by the interruptions. A further variable element,
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one that lies at the conceptual core of improvisation, was how much pre-meditated material
was to be drawn upon during improvisation? Clearly, our agreed mandate lay at the 'freer' end
of the aforementioned improvisational spectrum, but the notion of providing a motivic sketch
- perhaps two or three figures on an otherwise blank canvas - had been agreed in advance. For
my contribution, in keeping with my compositional method, I was enthusiastic to apply a
polycyclic model. The complex time signature work of Dave Brubeck had long been an
influence on my own music. Amy Kraus maintains that “[h]is rhythmic and metric
compositional techniques forged a trail for continued exposure and development in the
rhythmic vitality of jazz” (2013: 16). Brubeck was arguably the first among jazz musicians to
employ polymetric form as Kraus continues:
The composition ‘Someday My Prince Will Come’ (1937) moved even further into
uncharted rhythmic territory. Morello (drums) plays in 4/4 time while Wright (bass)
plays in 3/4 and the other two members of the Quartet play in 4 or 3. Despite the strange
combination of meters, the public’s response was approval, as the piece ‘pleased the ear
and teased the intellect,’ according to Brubeck’s biographer, Fred Hall. (2013: 11).
Given the time restraints, a three-part polymetre seemed impractical for our situation, but a
‘bi-metre’, i.e. comprising of two concurrent metres, could work, especially as we had some
previous experience in this area, as illustrated in figure 1.
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figure 1:
The keyboard and bass are playing in 11/4, subdivided into 3 phrases of 3/4 plus 2/4 while the
drums play a 5/4 beat subdivided as 3/4 plus 2/4. I use the term ‘mother cycle’ to describe the
aggregate form: in this case, it will take 5 bars of 11/4, or 11 bars of 5/4 to complete one
‘mother cycle’ of 55 beats. In order to perform these cycles with some fluidity, some prior
rehearsal would have been helpful. Nevertheless, any ‘discomfort’ experienced led to some
interesting outcomes that will be analysed in the next section.
At the conclusion of the session an informal exchange ensued regarding the next steps. There
was a general sense that some interesting material had eventuated over all the recordings, and
was overall stylistically different to the previous albums. Having recently returned from
Europe, where I was impressed with the sophistication of some of the ‘canned’ music
emanating from cafes, my first impressions of our recordings suggested a potential album that
could be loosely described as ‘alternative cafe music’. I made the offer to edit and produce
'my' version of the tracks, i.e. manipulate the recordings as opposed to leaving them in their
raw, original form. I do not think I was aware enough at the time of a certain scepticism
among some of the musicians toward this approach. If it sounds good, then it will be
acceptable, was my view. It is difficult, if not impossible, to explain musical concepts with
words - my long experience with film music as evidence - and the proof needs to be in the
audio ‘pudding’. Of consequence here is the issue of consent and trust: the clear mandate to
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re-configure any individual’s creation. At this time, I became aware of some other issues, the
first one concerning the degree of sole authority the producer should take in post-production,
and, is a verbal description such as ‘alternative cafe music’ perhaps too vague to convey any
clear meaning? Further, what impact will the re-configuring of any individual’s improvised
contributions have on his or her sense of ‘ownership’? This converges on the topic of
intellectual property and the controversial question of to what degree improvisation can be
quantified as composition – a topic however, that lies beyond the scope of this paper.
Referencing Paul Stapleton again on the sensitive nature of improvising:
Such acts are not without risks, for performers and listeners alike. Personal narratives
and social norms are revealed as fragile and contingent, while newly acquired yet
equally provisional knowledges critique and revitalise traditions and beliefs. Perhaps
more than any other form of cultural production, improvisation requires personal risk
in often unpredictable circumstances. (2006: 169).
IV Studio Manipulations
I began the post-improvisation production process a few weeks later. This delay was
beneficial in achieving that ‘first impressions’ effect and enthusiasm for embarking upon
something new, in the isolation of my home studio. My first impressions of the track in
question here - ‘subject2change#21’ - was that, in its original form, it was something of a
jumble; messy, overplayed and insecure in its execution of the bi-metric groove. Underneath
the chaos however, I could identify some interesting textures and melodic phrases. In order to
create a satisfying outcome, it seemed essential to make editing decisions based on sound
compositional principles, and not be influenced by anticipated sensitivities of the people
involved. I felt this would diminish not only the authenticity of the mix, but also its flow and
transparency.
Based on the strength of the material available in the track ‘subject2change#21’, I decided to
impose a recognisable form through extensive editing, and depicted in figure 2.
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figure 2:
I investigated a ‘HEAD – IMPROVISATION – HEAD’ (to use jazz terminology) overall

form, by highlighting thematic material at the beginning and returning to it at the end after
two distinct improvisation sections. The thematic sections are sustained bi-metrically, i.e.
11/4 plus 5/4, which eventually gravitates to the less demanding 5/4 mono-metre that
underpins “Open Improv#1”. This eventually further evolves - or devolves - to the even more
secure and familiar 4/4 pulse of “Open Improv#2”. This would tend to indicate there was a
natural pull toward familiar territory in response to the less familiar or less comfortable. In the
case of “Open Improv#1” the 5/4 metre was perceived during the actual improvisation session
as a more secure basis on which to achieve a sense of ‘being on the same page (bar)’ than was
11/4. The pull toward the even more familiar grounding of 4/4 must have been irresistible as
evidenced in “Open Improv#2”. Further investigation of this tendency would be of interest
but is again outside of the scope of this paper.
Another challenge concerned the inclusion of the missing sixth member. Overdubbing the
saxophonist introduced a level that would not have been possible during the initial recording
session. The thematic fragments spontaneously played by the guitarist could now be doubled
and developed on soprano sax, giving rise to a strong sense of theme. This technique of
doubling an improvised melodic line would not have been conceivable at the spontaneous
moment of its conception. Additionally, space was created for an improvised saxophone solo
during "Open Improv#2” - space that was originally not there. The overall effect is that the
piece now sounded significantly more composed, and arranged, than was the case at the
original session, whereas the saxophone part was integrated in such a way to create the
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illusion of having been present for the initial group recording. Although this seemingly ‘dis-
located’ act of improvising over an existing improvisation would indicate a somewhat
unnatural one-sided flow, the same pillars of “listening, reacting, augmenting and creating”
(Holmes, 2002) still held sway here, suggesting authenticity need not be in question.
Apart from further studio manipulation, such as correcting timing issues as well as general
sound enhancement, another dimension to the piece was discovered ‘accidentally’. I stumbled
across some vocal samples in my sound library and intuitively sensed they had a connection
to this track. They alluded to a sensuous otherworldly texture inspiring a new working title,
‘out of body, out of mind’, and provided perhaps ‘a gateway for the uninitiated’. Returning to
the ‘alternative cafe music’ foundation for this album, and its implied invitation to an
audience not necessarily drawn to jazz fusion, the added spoken words widened the horizons
of the music's reach. I was however, convinced at the time that my comrades would
disapprove of this addition, but that was not an issue at this stage of the process. I was
relatively satisfied I had achieved my objective as stated above: synchronised with order, and
with natural flow, and reflected an ever present complexity.
V Feedback / Final Mix
With the completion of my version of these recordings, it was time to return to the reality of
the project being a collective entity. A drawn out, difficult process followed in balancing my
original vision with incorporating an extremely diverse range of feedback while attempting to
‘sustain fluidity in studio manipulations of a polymetric jazz fusion comprovisation’ as I
stated above.
Again, the project demonstrated the adage, ‘don't mix by committee’. This extends out to a
wider conundrum: is leadership necessary or is collective decision-making more relevant to
this form of creativity? After weeks of engagement with the project and subsequent confusion
resulting from the feedback, it was time to recognise and acknowledge that my own fluidity
had been compromised, and indicated the necessity to disengage. The talent and patience of
an independent sound mixer was engaged who could apply fresh and unbiased ears to the
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project. The question now arose: was this new role one of producer or of sound engineer or
some combination thereof. The former role was evident on his first mix of the stems. This
approach was moving in a very different direction and, with a newly acquired sense of re-
ownership, I requested a mix that essentially kept my original instrument balances intact,
while infusing the sound with a pristine clarity that I was not able to achieve. All of this was
conducted from different sides of the planet while I travelled in Europe. Eventually, as a
group, we achieved a consensus, of sorts.
IV Conclusion
I have posed a number of questions that lead to the following conclusions: every performance,
particularly when involving improvisation, is subject to change - what applies to one event
may not be applicable on another occasion even with the same performers in the same room.
Yet, it is pertinent to accent the wisdom of pre-creating the most conducive environment
possible, including: compatibility of the musicians (diversity versus commonality); how they
are placed in the recording space; agreement on the purpose, procedure and any pre-meditated
music sketches, and whether they necessitate any prior rehearsal; obtaining consent from all
participants before manipulating their input; agreement on which kind of decision-making
format best suits the group and project, whether producer with sole authority or democratic
collectivism or a clearly defined hybrid. Although the ‘original vision’ may undergo
transformation due to process, there is, however, a sound rationale attached to maintaining
loyalty to the core original concept.
Regarding the process of the evolution of ‘subject2change#21’, assuming the position of

producer with sole authority afforded a conducive platform for sustaining fluidity during the
studio manipulations of the improvised material. The oversight of this assumption however, is
that this position was performed without a clear mandate from fellow band members resulting
in adverse interpersonal consequences during the final stages of production when ‘committee’
participation was invited. Naturally, the next comprovised session will present its own unique
set of unpredictable challenges, inspirations and complexities, but perhaps, in more general
terms, we may consider sustaining fluidity by reminding ourselves of some basics: good
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contemplation, good communication, and the ability to embrace the situation as it presents
itself, encourage change to unfold in an organic manner and, above all, trust in first
impressions.
Bibliography
Buzby, Pat. Interview: “Miroslav Vitous’ Infinite Search for Universal Syncopations”
http://www.jambands.com/features/2004/01/29/miroslav-vitous-infinite-search-for-
universal-syncopations, 2004
Dale, Michael. "What Is Comprovisation?", Thesis, Degree of Master of Arts in Composition,
Mills College, 2008
Frith, S. "Music and identity". In Stuart Hall & Paul Du Gay (Eds.), Questions of cultural
identity (pp. 108–127). London: Sage. 1996
Gisby, Steven David. "In Order and out of Time: Compositions Exploring Processes,
Polymeters and Balance.", PhD Thesis, Brunel University, 2010
Holmes, Thom. “Electronic and Experimental Music”, 2nd Ed. New York: Routledge, 2002
Johnson, Tom. "Explaining My Music: Keywords." http://kalvos.org/johness4.html, 1999
Kraus, Amy. "The Rhythmic Experimentation of Dave Brubeck." Music 532, 2013
Poudrier, Eve. "Toward a General Theory of Polymeter: Polymetric Potential and Realization
in Elliott Carter's Solo and Chamber Instrumental Works after 1980." Ph.D., City
University of New York, 2008
Robison, Brian. "Carmen Arcadiae Mechanicae Perpetuum: Towards a Methodology for

Analyzing Harrison Birtwistle's Music Since 1977” D.M.A., Cornell University, 1999
Stapleton, Paul. "Autobiography and Invention: Towards a Critical Understanding of Identity,

Dialogue and Resistance in Improvised Musics." Contemporary Music Review 32, no.
2-03 (2013/06/01 2013): 165-74.
Zawinul, Joseph. Liner notes of Weather Report’s “Weather Report” album, 1971
196
Appendix F
Interview with Nik Bärtsch
The following is the full transcript of an email interview with Swiss composer and pianist Nik
Bärtsch in addendum to chapter 2.2.3. The replies were received on the 8th of April, 2016.
1/ How did you become interested in composing with repeating interlocking patterns?
Could you mention any composers and influences that have contributed to your interest
in this work?
I always was interested in rhythms, already as a child. Later I learned a lot about rhythm and
beat balances in Romanian folk music, Jazz, Brazilian, Cuban and also African music but also
in the „classical“ music of Bartok, Stravinsky, Scriabin, Gershwin and as a teenager then later
in the music of Ligeti, Morton Feldman, Steve Reich, Lennie Tristano (Turkish Mambo), Joe
Zawinul and Steve Coleman. Also in the Funk music of James Browns bands and others like
The Meters interlocking rhythms play an important part. Finally I can not name any main
influence since I started very early (already as kids) together with my drummer colleague
Kaspar Rast to experiment on our own with odd meters and interlocking patterns, later also
with cycles. Today I think, that musical strategies like pattern repetition, rhythmic flow
(groove, swing etc.) and formal cycling are basic ideas that are inherently already existing
since music exists. Of course the way how they are used and developed varies very much but
the „ownership“ of these ideas can not be located but are more music related themselves
anyway. Explicit pattern work you find for example in Bachs music all over the place in
several formats.I finally developed my own modular way of treating all these influences.
2/ Can you outline your process when composing in this style?
I often have a rhythmic idea while I walk or experiment on the piano or drum, sometimes also
a conceptual idea on the desk. Strawinsky said that a composer preludes like an animal is
sniffing for food and he said that the hands are finding things that the mind are not. This
physical movement aspect is very important for me although I am also very much attracted by
197
formal questions (resulting patterns, mirror patterns, palindrome patterns, etc.). After having
an idea, I have a close look to it and listen to its capacity „to move and communicate“. Then I
invent the context and try to simplify all relevant parameters to make a complex piece sound
and flow „simple“ and sensual (also for the players). Then I make a self played computer
version and an detailed, exact classical score with out written voices including drums. Then I
rehearse with the band, then we play the tunes on our Mondays concerts, then on tour, then
we record them (to just show the process with the working bands). Pieces can change/develop
in the work with the bands (sometimes even in their arrangements). Live experience with the
patterns, pattern relations and with the cycles is very important to get to know them and to
feel them naturally.
3/ Is there any degree of co-composing (collaboration) during rehearsals with your

musicians? If so, to what extent, or, are your compositions already fixed in advance?
As mentioned many compositions are clearly fixed like in a classical score. But new
arrangements and developments can happen - in the process with the band but also in myself
through understanding my own music better in the spiral process of going forward to the
roots...
4/ Do you always notate the patterns within one metre or do you have examples of 2 or 3
metres notated simultaneously? In what ways has your notational method evolved in
accordance with your experiences in performance, if at all?
I usually notate in the main meter but show with a visual bracket in the score all the other
meter length. My experience is, that a player needs to sensually know all the patterns and
cycles (and the so called „buoys“ and „within buoys“ when the meet) and the spacial feeling
of a pattern topography. It’s essential that a player does not intellectually play the patterns but
with extension and flow very naturally and with the capacity to „see between the patterns“.
Like this, even more dimensional pattern interlockings and cycles can become very organic.
5/ Can you describe any issues, particularly in synchronicity, when rehearsing your
compositions with musicians? On average, how much rehearsal time is required for a
piece to reach performance readiness?
198
This varies very much. Some pieces work very soon, others need years of training and
sometimes we even can play them only after having explored newer pieces. It’s a constant
process… usually we work on a piece till its recording about two years.
6/ Finally, do you have any comments regards how audiences perceive/respond to your
music?
That’s of course very individual but we try to also offer a sensual and direct musical impact
for non-musicologists and very intuitive listeners. The complexity of the music should not
shine on the surface but glow in the depth of a musical composition and performance.
199
Appendix G
Lyrics for ‘Polycyclic World Music’ album
Fala za fala (Wave by wave)

Lyrics by Beata Bocek (English translation from Polish by
Beata Bocek and Trevor Coleman)
Verse 1:
wiem, ze znasz moje sny I know you know my dreams
ogladasz moje zdjecia by the way you look at my photos
znasz je na spamiec like you know them by heart
bo kochasz moj usmiech and how you love my smile
opowiadasz mi o nich then you tell me about it
{Jak czynia Cie szczesliwym} and how it makes you happy
{A ja usmiecham sie do Ciebie} and then I smile at you
Chorus:
Moze bedzie slonce zachodzic Maybe the sun will go down
Moze bedzie fala za fala Maybe it will be wave by wave
Moze bedzie morze przychodzic Maybe the sea will arrive
Verse 2:
A w oceanie bedziemy plywac And when we swim in the ocean
Slowa takie jakie sa, mam na sercu, Words upon my heart,
200
mam na glowie, mam w sercu in my head, then in my heart
Moga zdac mi sie, ze sda dla mie stworzone as if they were only meant for me
- Repeat Chorus-
Ale, ale wiem ze odchodzisz but I know you are leaving
Juz nieprzyjdziesz do mie and you will not visit my shore, anymore
Tylko fala za fala Only wave by wave
One Moment
Lyrics by Trevor Coleman
A clear blue night on the wooded plain
the moon is near and far
My bow is arched and arrow aimed
I shoot a falling star
A blinking eye is all it takes to see
One moment here is all it takes to be
I drift across the open sea
horizon rainbow gold
I cast the spell of a sailors dream
embrace a love untold
201
I gaze upon the fire light
that warms the heart so dear
The mystery of fleeting life
stills in a vision clear
In My Room
Lyrics by Trevor Coleman
In my room
glorious sameness
Playpen bars
Fortified saneness
In my room
yellow oasis
Soft cell padding
Rectangular playfulness
From my room
I greet you
From my sanctum
202
I see you
From your room
You touch mine
Your safe surround
Looks much like mine
The corners merge
in cautious curves
Where borders meet
on delicate nerves
I reach across
a probing touch
a breath of skin
A hint of much, more
Unhook the latch
The playdoor swings
Our rooms are bigger
Than the ones we were in
In my room
Across from yours
one moment we shared
one moment we shared
203
Czekam
Lyrics by Beata Bocek (English translation from Polish by
Daleko na wyspie, czekam aż popisze swój biały papier
On a far away island, I am waiting to cover my white paper with signs
Daleko na wyspach, czekam aż popisze swój pusty biały papier
On far away islands, I am waiting to cover my empty white paper
By stał się kolorowym
I wish it to be colourful
Takim jakim ja chcę że by był
The way I wish it to be
Takich pełnych snów kolorowych mych
Full of my colourful dreams
Słowa na mym białym papierze pokażą mi, w którą strone iść
And words on my white paper that will show me where to go
Daleko na wyspie, czekam aż przelecę na dalszą wyspe
On a faraway island, I am waiting to fly to another island
Daleko na wyspach, czekam aż przelecę na dalsze wyspy
On faraway islands, I am waiting to fly to other islands
Czekam, czekam, lecę, czekam, lecę, lecę
I am waiting, I am waiting, I fly, I fly
204
Father’s home / Ojcowski dom
Lyrics by Jan Kubisz and Trevor Coleman (English translation from Polish by
Ojcowski dom to istny raj
Father’s home, it’s like eden
Dar Ojca Niebieskiego
It is a gift from god
Chociaż byś przeszedł cały świat
Even if you travel the whole wide world
Nie znajdziesz piękniejszego
You will not find a more beautiful home
There's a house on a street
There's a street in a village
The village has a name
and it's known in the town
There's a town on a hill
There's a hill on the land
The land has a name
and it's known over the river
There's a river runs through
It divides and it joins
The river has a name
And it's known over the sea
205
The sea has a rock
There's a rock in a sea
The sea has a name
And it's known by many
There are many in the city
and most of the town
Everyone in the village
will see the wall tumble down
There are seven in the street
There are four in the house
There are two in the room
in the middle there is one
The one has a name
and it's known by many
and many have a name
and it's known by one
There are many in the city
and most of the town
Everyone in the village
will see the wall tumble down
A gdy ci przyjdzie wynijść stąd
206
And when you have to leave from here
I odejść w świat daleki
and travel far away
Ojcowski dom dziecino miej
Father’s home, will stay
W pamięci swej na wieki
with you forever
207
Appendix H
269 Polycyclic Combinations
The following chart contains the complete table of 269 polycyclic combinations
considered within the realm of relative practicality.
The headings for each column are coded as:
PC = Polycycle; TS = Time Signature; MC = Mother Cycle;
Div(ision) = 1/8 or 1/4 note beats; Level (of difficulty) = I, II or III:
I = less than 150 beats (MC); II = 150-350 beats; III = greater than 350 beats;
√ = tested
PC# TS#1 TS#2 TS# 3 MC Div Level
1 3 5 7
√ 8 8 8
35x* 21x 15x 105 8 I *e.g.: 35x 3/8 = 105 beats
2 3 5 11
√ 8 8 8
55x 33x 15x 165 8 II
3 3 5 13
√ 8 8 8
65x 39x 15x 195 8 II
4 3 7 11
√ 8 8 8
77x 33x 21x 231 8 II
5 3 7 13
208
√ 8 8 8
91x 39x 21x 273 8 II
6 3 11 13
√ 8 8 8
143x 39x 33x 429 8 III
7 5 6 7
√ 8 8 8
42x 35x 30x 210 8 II
8 5 6 11
√ 8 8 8
66x 55x 30x 330 8 II
9 5 6 13
√ 8 8 8
78x 65x 30x 390 8 III
10 5 7 11
√ 8 8 8
77x 55x 35x 385 8 III
11 5 7 13
√ 8 8 8
91x 65x 35x 455 8 III
12 5 11 13
√ 8 8 8
143x 65x 55x 715 8 III
13 7 11 13
√ 8 8 8
143x 91x 77x 1001 8 III
14 2 3 5
√ 4 4 4
15x 10x 6x 30 4 I
15 2 3 7
√ 4 4 4
21x 14x 6x 42 4 I
209
16 2 3 11
√ 4 4 4
33x 22x 6x 66 4 I
17 2 3 13
√ 4 4 4
39x 26x 6x 78 4 I
18 2 5 7
√ 4 4 4
35x 14x 10x 70 4 I
19 2 5 11
√ 4 4 4
55x 22x 10x 110 4 I
20 2 5 13
√ 4 4 4
65x 26x 10x 130 4 I
21 2 7 11
√ 4 4 4
77x 22x 14x 154 4 II
22 2 7 13
√ 4 4 4
91 26 14x 182 4 II
23 2 11 13
√ 4 4 4
143x 26x 22x 286 4 II
24 3 4 5
√ 4 4 4
20x 15x 12x 60 4 I
25 3 4 7
√ 4 4 4
28x 21x 12x 84 4 I
26 3 4 11
√ 4 4 4
44x 33x 12x 132 4 I
210
27 3 4 13
√ 4 4 4
52x 39x 12x 156 4 II
28 3 5 7
√ 4 4 4
35x 21x 15x 105 4 I
29 3 5 11
√ 4 4 4
55x 33x 15x 165 4 II
30 3 5 13
√ 4 4 4
65x 39x 15x 195 4 II
31 3 7 11
√ 4 4 4
77x 33x 21x 231 4 II
32 3 7 13
√ 4 4 4
91x 39x 21x 273 4 II
33 3 11 13
√ 4 4 4
143x 39x 33x 429 4 III
34 4 5 7
√ 4 4 4
35x 28x 20x 140 4 I
35 4 5 11
√ 4 4 4
55x 44x 20x 220 4 II
36 4 5 13
√ 4 4 4
65x 65x 20x 260 4 II
37 4 7 11
√ 4 4 4
211
77x 44x 28x 308 4 II
38 4 7 13
√ 4 4 4
91x 52x 28x 364 4 III
39 4 11 13
√ 4 4 4
143x 52x 44x 572 4 III
40 5 7 11
√ 4 4 4
77x 55x 35x 385 4 III
41 5 7 13
√ 4 4 4
91x 65x 35x 455 4 III
42 5 11 13
√ 4 4 4
143x 65x 55x 715 4 III
43 7 11 13
√ 4 4 4
143x 91x 77x 1001 4 III
44 3 5 2
8 8 4
20x 12x 15x 60 8 I
45 3 5 3
8 8 4
20x 12x 10x 60 8 I
46 3 5 4
8 8 4
40x 24x 15x 120 8 I
47 3 5 5
8 8 4
30x 18x 9x 90 8 I
48 3 5 6
212
8 8 4
20x 12x 5x 60 8 I
49 3 5 7
8 8 4
70x 42x 15x 210 8 II
50 3 5 11
8 8 4
110 66x 15x 330 8 II
51 3 5 13
8 8 4
130x 78x 15x 390 8 II
52 3 7 2
8 8 4
28x 12x 21x 84 8 I
53 3 7 3
8 8 4
42x 18x 21x 126 8 I
54 3 7 4
8 8 4
56x 24x 21x 168 8 II
55 3 7 5
8 8 4
70x 30x 21x 210 8 II
56 3 7 6
8 8 4
28x 12x 7x 84 8 I
57 3 7 7
8 8 4
14x 6x 3x 42 8 I
58 3 7 11
8 8 4
154x 66x 21x 462 8 III
213
59 3 7 13
8 8 4
182x 78x 21x 546 8 III
60 3 11 2
8 8 4
44x 12x 33x 132 8 I
61 3 11 3
8 8 4
22x 6x 11x 66 8 I
62 3 11 4
8 8 4
88x 24x 33x 264 8 II
63 3 11 5
8 8 4
110x 30x 33x 330 8 II
64 3 11 6
8 8 4
44x 12x 11x 132 8 I
65 3 11 7
8 8 4
154x 42x 33x 462 8 III
66 3 11 11
8 8 4
44x 12x 6x 132 8 I
67 3 11 13
8 8 4
286x 78x 33x 858 8 III
68 3 13 2
8 8 4
52x 12x 39x 156 8 II
69 3 13 3
8 8 4
26x 6x 13x 78 8 I
214
70 3 13 4
8 8 4
104x 24x 39x 312 8 II
71 3 13 5
8 8 4
130x 30x 78x 390 8 II
72 3 13 6
8 8 4
52x 12x 13x 156 8 II
73 3 13 7
8 8 4
182x 42x 39x 546 8 III
74 3 13 11
8 8 4
286x 66x 39x 858 8 III
75 3 13 13
8 8 4
52x 12x 6x 156 8 II
76 5 6 2
8 8 4
12x 10x 15x 60 8 I
77 5 6 3
8 8 4
6x 5x 5x 30 8 I
78 5 6 4
8 8 4
24x 20x 15x 120 8 I
79 5 6 5
√ 8 8 4
6x 5x 3x 30 8 I
80 5 6 6
8 8 4
215
12x 10x 5x 60 8 I
81 5 6 7
8 8 4
42x 35x 15x 210 8 II
82 5 6 11
8 8 4
66x 55x 15x 330 8 II
83 5 6 13
8 8 4
78x 65x 15x 390 8 III
84 5 7 2
8 8 4
28x 20x 35x 140 8 I
85 5 7 3
8 8 4
42x 30x 35x 210 8 II
86 5 7 4
8 8 4
56x 40x 35x 280 8 II
87 5 7 5
8 8 4
14x 10x 7x 70 8 I
88 5 7 6
8 8 4
84x 60x 35x 420 8 III
89 5 7 7
8 8 4
14x 10x 5x 70 8 I
90 5 7 11
8 8 4
154x 110x 35x 770 8 III
91 5 7 13
216
8 8 4
182x 130x 35x 910 8 III
92 5 11 2
8 8 4
42x 20x 55x 220 8 II
93 5 11 3
8 8 4
66x 30x 55x 330 8 II
94 5 11 4
8 8 4
88x 40x 55x 440 8 III
95 5 11 5
8 8 4
22x 10x 11x 110 8 I
96 5 11 7
8 8 4
154x 70x 55x 770 8 III
97 5 11 11
8 8 4
22x 10x 5x 110 8 I
98 5 11 13
8 8 4
286x 130x 55x 1430 8 III
99 5 13 2
8 8 4
52x 20x 65x 260 8 II
100 5 13 3
8 8 4
78x 30x 65x 390 8 III
101 5 13 4
8 8 4
104x 40x 65x 520 8 III
217
102 5 13 5
8 8 4
26x 10x 26x 130 8 I
103 5 13 6
8 8 4
156x 60x 65x 780 8 III
104 5 13 7
8 8 4
182x 70x 65x 910 8 III
105 5 13 11
8 8 4
286x 110 65x 1430 8 III
106 5 13 13
8 8 4
26 10x 5x 130 8 I
107 6 7 2
8 8 4
14x 12x 21x 84 8 I
108 6 7 3
8 8 4
7x 6x 7x 42 8 I
109 6 7 4
8 8 4
28x 24x 21x 168 8 II
110 6 7 5
8 8 4
35x 30x 21x 210 8 II
111 6 7 6
8 8 4
14x 12x 7x 84 8 I
112 6 7 7
8 8 4
7x 6x 3x 42 8 I
218
113 6 7 11
8 8 4
77x 66x 21x 462 8 III
114 6 7 13
8 8 4
91x 78x 42x 546 8 III
115 6 11 2
8 8 4
22x 12x 33x 132 8 I
116 6 11 3
8 8 4
11x 6x 11x 66 8 I
117 6 11 4
8 8 4
44x 24x 33x 264 8 II
118 6 11 5
8 8 4
55x 30x 33x 330 8 II
119 6 11 6
8 8 4
22x 12x 11x 132 8 I
120 6 11 7
8 8 4
77x 42x 66x 462 8 III
121 6 11 11
8 8 4
11x 6x 3x 66 8 I
122 6 11 13
8 8 4
143x 78x 66x 858 8 III
123 7 11 2
8 8 4
219
44x 28x 77x 308 8 II
124 7 11 3
8 8 4
66x 42x 77x 462 8 III
125 7 11 4
8 8 4
88x 56x 77x 616 8 III
126 7 11 5
8 8 4
110x 70x 77x 770x 8 III
127 7 11 6
8 8 4
132x 84x 77x 924 8 III
128 7 11 7
8 8 4
22x 14x 11x 154 8 II
129 7 11 11
8 8 4
22x 14x 7x 154 8 I
130 7 11 13
8 8 4
286x 182x 77x 2002 8 III
131 7 13 2
8 8 4
52x 28x 91x 364 8 II
132 7 13 3
8 8 4
78x 42x 91x 546 8 III
133 7 13 4
8 8 4
104x 56x 91x 728 8 III
134 7 13 5
220
8 8 4
130x 70x 91x 910 8 III
135 7 13 6
8 8 4
156x 84x 91x 1092 8 III
136 7 13 7
8 8 4
26x 14x 13x 182 8 II
137 7 13 11
8 8 4
286x 154x 91x 2002 8 III
138 7 13 13
8 8 4
26x 14x 7x 182 8 II
139 11 13 2
8 8 4
52x 44x 143x 572 8 III
140 11 13 3
8 8 4
78x 66x 143x 858 8 III
141 11 13 4
8 8 4
104 88x 143x 1144 8 III
142 11 13 5
8 8 4
130 110x 143x 1430 8 III
143 11 13 6
8 8 4
156x 132x 143x 1716 8 III
144 11 13 7
8 8 4
182x 154x 143x 2002 8 III
221
145 11 13 11
8 8 4
26x 22x 13x 286 8 II
146 11 13 13
8 8 4
26x 22x 11x 286 8 II
147 3 2 3
8 4 4
8x 6x 4x 24 8 I
148 3 2 5
8 4 4
20x 15x 6x 60 8 I
149 3 2 7
8 4 4
28x 21x 6x 84 8 I
150 3 2 11
8 4 4
44x 33x 6x 132 8 I
151 3 2 13
8 4 4
104x 78x 12x 312 8 II
152 3 3 4
8 4 4
24x 12x 9x 72 8 I
153 3 3 5
8 4 4
10x 5x 3x 30 8 I
154 3 3 7
8 4 4
14x 7x 3x 42 8 I
155 3 3 11
8 4 4
22x 11x 3x 66 8 I
222
156 3 3 13
8 4 4
26x 13x 3x 78 8 I
157 3 4 5
8 4 4
40x 15x 12x 120 8 I
158 3 4 7
8 4 4
56x 21x 12x 336 8 II
159 3 4 11
8 4 4
88x 33x 12x 264 8 II
160 3 4 13
8 4 4
104x 78x 12x 312 8 II
161 3 5 6
8 4 4
20x 6x 5x 60 8 I
162 3 5 7
8 4 4
70x 21x 15x 210 8 II
163 3 5 11
8 4 4
110x 33x 15x 330 8 II
164 3 5 13
8 4 4
130x 39x 15x 390 8 III
165 3 7 11
8 4 4
154x 33x 21x 462 8 III
166 3 7 13
8 4 4
223
182x 39x 21x 546 8 III
167 3 11 13
8 4 4
286x 39x 33x 858 8 III
168 5 2 3
8 4 4
24x 15x 20x 120 8 I
169 5 2 5
8 4 4
8x 10x 4x 40 8 I
170 5 2 7
8 4 4
28x 35x 10x 140 8 I
171 5 2 11
8 4 4
44x 55x 20x 220 8 II
172 5 2 13
8 4 4
52x 65x 20x 260 8 II
173 5 3 4
8 4 4
24x 20x 15x 120 8 I
174 5 3 5
8 4 4
30x 25x 15x 150 8 I
175 5 3 7
8 4 4
42x 35x 15x 210 8 II
176 5 3 11
8 4 4
66x 55x 15x 330 8 II
177 5 3 13
224
8 4 4
78x 65x 15x 390 8 III
178 5 4 5
8 4 4
8x 5x 4x 40 8 I
179 5 4 7
8 4 4
56x 35x 20x 280 8 II
180 5 4 11
8 4 4
88x 55x 20x 440 8 III
181 5 4 13
8 4 4
104x 65x 20x 520 8 III
182 5 5 7
8 4 4
14x 7x 5x 70 8 I
183 5 5 11
8 4 4
22x 11x 5x 110 8 I
184 5 5 13
8 4 4
52x 26x 10x 260 8 II
185 5 7 11
8 4 4
154x 55x 35x 770 8 III
186 5 7 13
8 4 4
182x 65x 35x 910 8 III
187 5 11 13
8 4 4
286x 65x 55x 1430 8 III
225
188 6 2 3
8 4 4
2x 3x 2x 12 8 I
189 6 2 5
8 4 4
10x 15x 6x 60 8 I
190 6 2 7
8 4 4
13x 21x 6x 84 8 I
191 6 2 11
8 4 4
22x 33x 6x 132 8 I
192 6 2 13
8 4 4
26x 39x 6x 156 8 II
193 6 3 4
8 4 4
4x 4x 3x 24 8 I
194 6 3 5
8 4 4
5x 5x 3x 30 8 I
195 6 3 7
8 4 4
7x 7x 3x 42 8 I
196 6 3 11
8 4 4
11x 11x 3x 66 8 I
197 6 3 13
8 4 4
13x 13x 3x 78 8 I
198 6 4 5
8 4 4
20x 15x 12x 120 8 I
226
199 6 4 7
8 4 4
28x 21x 12x 168 8 II
200 6 4 11
8 4 4
44x 33x 12x 264 8 II
201 6 4 13
8 4 4
52x 39x 12x 312 8 II
202 6 5 7
8 4 4
35x 21x 15x 210 8 II
203 6 5 11
8 4 4
55x 33x 15x 330 8 II
204 6 5 13
8 4 4
65x 39x 15x 390 8 III
205 6 6 7
8 4 4
14x 7x 6x 84 8 I
206 6 6 11
8 4 4
22x 11x 6x 132 8 I
207 6 6 13
8 4 4
26x 13x 6x 156 8 II
208 6 7 11
8 4 4
77x 33x 21x 462 8 III
209 6 7 13
8 4 4
227
91x 39x 21x 546 8 III
210 6 11 13
8 4 4
143x 39x 33x 858 8 III
211 7 2 3
8 4 4
12x 21x 14x 84 8 I
212 7 2 5
8 4 4
20x 35x 14x 140 8 I
213 7 2 7
8 4 4
4x 7x 2x 28 8 I
214 7 2 11
8 4 4
44x 77x 14x 308 8 II
215 7 3 4
8 4 4
24x 28x 21x 168 8 II
216 7 3 5
8 4 4
30x 35x 21x 210 8 II
217 7 3 7
8 4 4
6x 7x 3x 42 8 I
218 7 3 11
8 4 4
66x 77x 21x 462 8 III
219 7 3 13
8 4 4
78x 91x 21x 546 8 III
220 7 4 5
228
8 4 4
40x 35x 28x 280 8 II
221 7 4 7
8 4 4
8x 7x 4x 56 8 I
222 7 4 11
8 4 4
88x 77x 28x 616 8 III
223 7 4 13
8 4 4
104x 91x 28x 728 8 III
224 7 5 7
8 4 4
10x 7x 5x 70 8 I
225 7 5 11
8 4 4
110x 77x 35x 770 8 III
226 7 5 13
8 4 4
130x 91x 35x 910 8 III
227 7 7 11
8 4 4
22x 11x 7x 154 8 II
228 7 7 13
8 4 4
26x 13x 7x 182 8 II
229 7 11 13
8 4 4
286x 91x 77x 2002 8 III
230 11 2 3
8 4 4
12x 33x 22x 132 8 I
229
231 11 2 5
8 4 4
20x 55x 22x 220 8 II
232 11 2 7
8 4 4
28x 77x 22x 308 8 II
233 11 2 11
8 4 4
4x 11x 2x 44 8 I
234 11 2 13
8 4 4
52x 143x 22x 572 8 III
235 11 3 4
8 4 4
24x 44x 33x 264 8 II
236 11 3 5
8 4 4
30x 55x 33x 330 8 II
237 11 3 7
8 4 4
42x 77x 33x 462 8 III
238 11 3 11
8 4 4
6x 11x 3x 66 8 I
239 11 3 13
8 4 4
78x 143x 33x 858 8 III
240 11 4 5
8 4 4
40x 55x 44x 440 8 III
241 11 4 7
8 4 4
56x 77x 44x 616 8 III
230
242 11 4 11
8 4 4
8x 11x 4x 88 8 I
243 11 4 13
8 4 4
104x 143x 44x 1144 8 III
244 11 5 7
8 4 4
70x 77x 55x 770 8 III
245 11 5 11
8 4 4
10x 11x 5x 110 8 I
246 11 5 13
8 4 4
130x 143x 55x 1430 8 III
247 11 7 11
8 4 4
14x 11x 7x 154 8 II
248 11 7 13
8 4 4
182x 143x 77x 2002 8 III
249 11 11 13
8 4 4
26x 13x 22x 286 8 II
250 13 2 3
8 4 4
12x 39x 26x 156 8 II
251 13 2 5
8 4 4
20x 65x 26x 260 8 II
252 13 2 7
8 4 4
231
28x 91x 26x 364 8 III
253 13 2 11
8 4 4
44x 143x 26x 572 8 III
254 13 2 13
8 4 4
4x 14x 2x 52 8 I
255 13 3 4
8 4 4
24x 52x 39x 312 8 II
256 13 3 5
8 4 4
30x 65x 39x 390 8 III
257 13 3 7
8 4 4
42x 91x 39x 546 8 III
258 13 3 11
8 4 4
66x 143x 39x 858 8 III
259 13 3 13
8 4 4
6x 13x 3x 78 8 I
260 13 4 5
8 4 4
40x 65x 52x 520 8 III
261 13 4 7
8 4 4
56x 91x 52x 728 8 III
262 13 4 11
8 4 4
88x 143x 52x 1144 8 III
263 13 4 13
232
8 4 4
8x 13x 4x 104 8 I
264 13 5 7
8 4 4
70x 91x 65x 910 8 III
265 13 5 11
8 4 4
110x 143x 65x 1430 8 III
266 13 5 13
8 4 4
10x 13x 5x 130 8 I
267 13 7 11
8 4 4
154x 143x 91x 2002 8 III
268 13 7 13
8 4 4
14x 13x 7x 182 8 II
269 13 11 13
8 4 4
22x 13x 11x 286 8 II
233
Notes
Abstract
1
Prögler, J. A. ‘Searching For Swing: Participatory Discrepancies in the Jazz Rhythm
Chapter 1.1
2
For online referencing of the CDs consult: http://www.trevorcoleman.co.nz accessed April
12th 2016. The publicly released versions of the CDs are entitled PolyKarma (Polycyclic
Chamber Music), PolyNation (Polycyclic Jazz) and One Moment (Polycyclic World Music).
3
http://america.pink/don-giovanni_1294597.html accessed February 24th 2016
4
http://trevorcoleman.bandcamp.com/track/il-matrimonio accessed February 24th 2016
5
For example: Meshuggah. 1995. Destroy Erase Improve. Compact Disc. Nuclear Blast
America NBA 1683 6874-2. In particular the track: “New Millenium Cyanide Christ”.
Chapter 1.2
6
Encyclopedia, World Heritage. 2016. Music of Seattle 2016 [cited February 24th 2016].
Available from http://iphonelibrary.net/article/WHEBN0008345281/Music of Seattle.
accessed June 18th 2016
7
http://trevorcoleman.bandcamp.com/track/the-sense-of-no-sense accessed February 24th
2016
8
Further information on the philosophical and practical ethos of ‘subject2change’ is
contained in the article ‘Subject2change: sustaining fluidity in studio manipulations of a
polymetric jazz fusion comprovisation’ located in appendix E.
Chapter 2.1.1
9
https://www.youtube.com/watch?v=tKTyGvJ9gl0 accessed February 25th 2016
10
An example of this can be found in my included portfolio composition
PC11-PolySpirals (see chapter three). The polymetric scheme is 3/4, 5/4 and 11/4 meaning all
parts only coincide every 165 beats during which the participants experience various
‘convergent and divergent’ phases, providing a sense of expectation. This expectation is
resolved at a sounded coincidence point on the 166th beat where all parts converge on a
sustained chord for one mono-metric bar before continuing on with the next ‘Mother Cycle’.
In addition to coincidence points there are other musical elements that can reinforce the
perception of polymetre and the independence of superimposed rhythmic layers. These
234
include register, articulations, dynamics and intervals (Poudrier 2008, p180) also evident in
‘PolySpirals’.
11
Jones, 1976, 2009; Large & Jones, 1999; London, 2004; Nozaradan, Peretz, Missal, &
Mouraux, 2011
12
http://www.naxos.com/mainsite/blurbs_reviews.asp?item_code=8.573201-
02&catNum=573201&filetype=About%20this%20Recording&language=English accessed
June 18th 2016
13
‘Someday my prince will come’, composed by Frank Churchill and Larry Morey (1937).
14
Their Last Time Out. Dave Brubeck Quartet. Sony ASIN: B005JC1YR2. 1974. LP
15
Drummer Sean Rickman explained: „It’s like a clock where certain wheels go this way,
another one goes that way etc.” (DVD-documentary „Elements of One“ by Eve-Marie
Breglia). See also: Vijay Iyer, Steve Coleman, M-Base, and Music Collectivism, Part 4. M-
Base: Some musical elaborations
16
Guitarist Nelson Veras said about Coleman’s music: “It’s pretty high music, a kind of
music you have to practise a lot because there are a lot of different layers in the music
happening at the same time. It’s very easy to get lost, but it’s a very interesting, very personal
kind of music.” – Drummer Dafnis Prieto said about Coleman’s music: “It is difficult, very
challenging for the musicians to play it. You have to develop certain skills to play. … Of
course it’s very complex music.” – both: Interview, November 14, 2004, Meldola, Italy, Cult-
TV
Chapter 2.2.2
17
http://www.nikbaertsch.com accessed June 18th 2016
18
Evans Tristian. 2016. Shared Meanings in the Film Music of Philip Glass: Music,
Multimedia and Postminimalism, Routledge, p96
Chapter 2.3.2
19
Prögler, J. A. ‘Searching For Swing: Participatory Discrepancies in the Jazz Rhythm
Chapter 2.6
20
Davis, Miles. Bitches Brew. Columbia Records. ASIN: B00000J7SS. 1970. LP
21
http://www.nztrio.com accessed May 18th 2016
22
http://www.apple.com/nz/logic-pro/ accessed April 4th 2016
235
23
http://www.avid.com/en/sibelius accessed March 16th 2016
24
The Aka call themselves Baaka (which means Aka people) and their language Aka. In the
Lobaye region, these become Bayaka and Yaka due to epenthesis whenever there is no
consonant starting a syllable. (Duke, 2001, Aka as a Contact Language.)
Chapter 4
25
http://www.scientificamerican.com/article/uncommon-time-dave-brubeck/ accessed June
18th 2016
26
“vocalese,” this arranging technique has a long history, with Duke Ellington employing it
as early as the 1930s. It is heard frequently in contemporary jazz as arrangers seek to discover
new sonorities through utilizing the vocalist as a member of the horn section. (Stapleton 2013,
p9)
Chapter 5
27
for more background refer to Bocek’s website: www.beatabocek.com/en/ accessed June
18th 2016
28
for more background refer to www.fotolog.com/albakagarrapata/39881401/ accessed June
18th 2016
29
http://www.themysteryofthebulgarianvoices.com accessed June 18th 2016
Chapter 6
30
Q.v. Béla Bartók and Zoltán Kodály, eds., Corpus Musicae Popularis
Hungaricae, 6 vols. (Budapest: Akadémiai Kiadó, 1951-73)
31
https://weilerpsiblog.wordpress.com/2011/03/14/cellular-memory-phenomenon-explained-
consciousness-beyond-the-brain/ accessed June 18th 2016
32
Benjamin, Walter. “The Task of the Translator.” Walter Benjamin: Illuminations.
Ed. Hannah Arendt. New York: Schocken Books, 1969. 69–82.
33
http://www.musicandmanagement.com/testimonials.html accessed June 18th 2016
34
Mark Jenner, Talent Organisation and Development, Barclays Bank PLC
35
http://www.nielslandoky.com/wp/lectures/ accessed June 18th 2016
236
Volume II:
Composition Portfolio
237
238
POLYCYCLIC COMPROVISATION
Volume II: Composition Portfolio
Trevor Coleman
Portfolio, Recordings and Exegesis

Submitted in fulfillment of the requirements of the degree of
Doctor of Musical Arts
University of Otago,
Dunedin,
New Zealand
1
Volume II: Composition Portfolio
Table of Contents:
SCORES:
POLYCYCLIC CHAMBER MUSIC
1-(PC5) POLYANATOLIA ........................................................................................................ 6
2-(PC2) POLYEMBRYONIC .................................................................................................. 15
3A-(PC8) POLYAMOROUS ................................................................................................... 28
3B-(PC8) LILBURN BLUE ..................................................................................................... 39
4-(PC4) POLYFUGUE ........................................................................................................... 51
5-(PC6) POLYJUGGLER ....................................................................................................... 65
6-(PC7) POLYFOLKBAROQUE ............................................................................................ 76
7-(PC1) POLYGENESIS ........................................................................................................ 89
8-(PC11) POLYSPIRALS..................................................................................................... 101
9-(PC10) POLYKARMA ....................................................................................................... 119
10-(PC12) POLYROOTS ..................................................................................................... 127
POLYCYCLIC JAZZ
1-(PC3) POLYNATION ........................................................................................................ 140
2-(PC8) POLYPSYCLIC ...................................................................................................... 155
2
3-(PC14) ADDICTION TO LIFE ........................................................................................... 163
4-(PC13) POLYPHASIC ...................................................................................................... 173
5-(PC11) POLYCENTRIC .................................................................................................... 183
6-(PC17) POLYINTEGRATE ............................................................................................... 187
7-(PC11) POLYBRUBECK .................................................................................................. 198
8-(PC16) POLYGONE ......................................................................................................... 211
9-(PC18) POLYMORPHISM ................................................................................................ 216
10-(PC19) THE SOUND OF JAZZ....................................................................................... 225
11-(PC15) STAY WITH ME (LYRICS) ................................................................................. 234
LIST OF RECORDINGS – FOUR CDS:

(REFER TO INCLUDED CDS)
POLYCYCLIC CHAMBER MUSIC (BLUE CD)
TRACK:
1-(PC5) POLYANATOLIA
2-(PC2) POLYEMBRYONIC
3-(PC8) POLYAMOROUS
4-(PC4) POLYFUGUE
3
5-(PC6) POLYJUGGLER
6-(PC7) POLYFOLKBAROQUE
7-(PC1) POLYGENESIS
8-(PC11) POLYSPIRALS
9-(PC10) POLYKARMA
POLYCYCLIC JAZZ (RED CD)
TRACK:
1-(PC3) POLYNATION
2-(PC8) POLYPSYCLIC
3-(PC14) ADDICTION TO LIFE
4-(PC13) POLYPHASIC
5-(PC11) POLYCENTRIC
6-(PC17) POLYINTEGRATE
7-(PC11) POLYBRUBECK
8-(PC16) POLYGONE
9-(PC18) POLYMORPHISM
10-(PC19) THE SOUND OF JAZZ
11-(PC15) STAY WITH ME
12-(PC15) STAY WITH ME (INSTRUMENTAL)
4
POLYCYCLIC WORLD MUSIC (GREEN CD)
TRACK:
1-(PC3) POLYNATION
2-(PC2) DESIRE
3-(PC4) FALAZAFALA
4-(PC9) ONEMOMENT
5-(PC5) POLYANATOLIA
6-(PC8) IN MY ROOM
7-(PC1) UNTOUCHABLE
8-(PC6) CZEKAM (WAITING)
9-(PC7) FATHER'S HOME
10-(PC10) TOUCH
EXTRAS (BLACK DATA CD)
(PLAY IN COMPUTER)
-(PC12) POLYROOTS (.AIF)
-SUBJECT2CHANGE#21 (.AIF)
-(PC8) LILBURN BLUE – VIDEO (.MP4)
5
Polycycle #5:
PolyAnatolia
- for Soprano Sax, Cello & Piano -
Trevor Coleman
6
7
8
9
10
11
12
13
14
Polycycle #2:
PolyEmbryonic
- for Oboe, Cello & Piano -
Trevor Coleman
15
16
17
18
19
20
21
22
23
24
25
26
27
Polycycle #8:
PolyAmorous
- for Cor Anglais, Cello & Piano -
Trevor Coleman
28
29
30
31
32
33
34
35
36
37
38
Polycycle #8:
Lilburn Blue
- for Violin, Cello & Piano -
Trevor Coleman
39
Polycycle #8 ‘Lilburn Blue’
for Violin, Cello and Piano
composed by Trevor Coleman
Programme notes:
Background
‘Lilburn Blue’ has been influenced by the more introspective side of Lilburn’s work, in particular
his earlier piano pieces, and, more specifically, “From the Port Hills”. Similarities to the
modulating triads therein are heard in the opening bars of “Lilburn Blue”.
My composition is part of a series of works based on polycyclic design. In this

more simple example the ambiguous 4/4-12/8 piano foundation is offset by the Cello in a clear
3/4 framework and notated accordingly. The other works in this series are generally designed
with 3 simultaneous meters.
As Douglas Lilburn stated to Jack Body in an interview: “design…is intrinsic to the piece”.
Performance notes
For the improvisation section beginning 1 bar before ‘D1’, the Cello and Violin are to improvise
slow evolving harmonics as indicated to achieve a sustained ethereal-like atmosphere, rather
chord-like than with sliding notes, for an approximate duration of 20 seconds. The entry of the
piano will determine the end of the free timing section.
Trevor Coleman
Sun, Aug 9, 2015
40
41
42
43
44
45
46
47
48
49
50
Polycycle #4:
PolyFugue
Trevor Coleman
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52
53
54
55
56
57
58
59
60
61
62
63
64
Polycycle #6:
PolyJuggler
- for Alto Saxophone, Cello & Piano -
Trevor Coleman
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66
67
68
69
70
71
72
73
74
75
Polycycle #7:
PolyFolkBaroque
- for Alto Saxophone, Cello & Piano -
Trevor Coleman
76
77
78
79
80
81
82
83
84
85
86
87
88
Polycycle #1:
PolyGenesis
Trevor Coleman
89
90
91
92
93
94
95
96
97
98
99
100
Polycycle #11:
PolySpirals
Trevor Coleman
101
102
103
104
105
106
107
108
109
110
111
112
113
114
115
116
117
118
Polycycle #10:
PolyKarma
Trevor Coleman
119
120
121
122
123
124
125
126
Polycycle #12:
‘PolyRoots’
- for solo vocal, mixed choir & percussion -
Trevor Coleman
127
Performance notes:
For many years I've been an admirer of the polyphonic singing of Bayaka Pygmy tribes and was inspired
by their vocalizing while composing ‘PolyRoots’. Stylistically, this composition is pliable enough to be
suitable for choirs from differing backgrounds: classically trained through to gospel choirs, vocal groups
from various ethnicities, genders and demographics.
“Polycycle”, or polymetre, refers to the three simultaneously performed metres in this piece. The choir is
split into three sub-choirs who each sing the same song in their respective metres (3/4, 4/4 and 5/4) for the
duration of the piece, each maintaining the integrity of the song form, but within their metric context.
Therefore, the duration of the song is longer for the 5/4 version than for the 4/4 version, which is in turn
longer than those in 3/4. Consequently the sub-choir singing in 5/4 begins the song, followed by the 4/4
then the 3/4 groups. The structure is coordinated so that each sub-choir naturally resolves on the last line
of the song simultaneously - the first and only time within the piece that all three choirs sing in unison.
During the song therefore, a multitude of phasing of lines occurs with occasional synchronicity between
two of the three choirs due to their differing ‘speeds’.
All three choirs share the same ‘downbeat’ (one) only every 60 beats - 12 bars of 5/4, 15 bars of 4/4 and
20 bars of 3/4 – and each of these 5 60 beat sections are called “Mother Cycles”. On the score they are
notated as MC1, MC2 etc, and are intended as rehearsal markings.
Two choir members may perform the bass drum and woodblock parts while they sing.
The lyrics express the importance of maintaining a connection to a sense of ‘roots’, through nature
metaphors or the notion of ‘home’, as protection against destructive influences (Uncle Sam).
The stage and part allocation:
wood blocks bass drum
5/4 CHOIR
IR 4/ 4
HO solo vocalist CHO
/4 C IR
3
conductor
After the first three fermata bars, the conducting style should be single quarter note beats (R.H) with
cueing of entries and dynamics (L.H.) as per usual.
As far as I am aware, this is the first consistently tri-metric choir composition in existence.
Enjoy! Trevor Coleman, 2016,

tc@trevorcoleman.co.nz
128
129
130
131
132
133
134
135
136
137
138
139
Polycycle #3:
PolyNation
- for Jazz Quartet -
Trevor Coleman
140
Polycycle #3
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- PolyNation -
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14
154
Polycycle #8:
PolyPsyclic
- for Jazz Quartet and Vocalist -
Trevor Coleman
155
Polycycle#8: PolyPsyclic
lyrics by Trevor Coleman based on a poem by W.B.Yeats
Who will drive you now?
And pierce the deepest dark and woven shade
And dance upon the shore
Young soul, lift up your eyes
Brood not hopes and fears
And no more turn aside, the psycle’s mood
Embrace love’s mystery
For change is preordained
And rules your shadowed world,
enlightened mind
and wandering path
Original W.B.Yeats Poem
Who Goes With Fergus
Who will go drive with Fergus now,

And pierce the deep wood’s woven shade,
And dance upon the level shore?
Young man, lift up your russet brow,
And lift your tender eyelids, maid,
And brood on hopes and fear no more.
And no more turn aside and brood
Upon love’s bitter mystery;
For Fergus rules the brazen cars,
And rules the shadows of the wood,
And the white breast of the dim sea
And all dishevelled wandering stars.
156
Vocal
Polycycle #8
'PolyPsyclic' Trevor Coleman
. =80 legato
\ ” DE ! DDE !
A1
\
4 3 3
& , . O. . . . . . -
O. , . .
Who - will drive you now - and pierce the deep-est dark -
DE ! O. DDE ! DE !
& . O. . , . O . O, . O. O.
O. O,
and wov-en shade - and dance - upon the shore -
DDE DE D DE !
A2
! ! O, .
& O, . O. O. . , . O. .
. O. O.
young soul - lift up your eyes Brood - not hopes and
DDE ! 3 3 DE ! O. DD
& ,
. . . . . . - . O. . , . O.
fears - And no more turn a- side - the psy-cle's mood Em-
DE ! DDE DE !
& O, . ! O, . O . O . . O,
O. O. O . O, . O.
brace - love's mys- te- ry - For change is pre- or- dained -
DDE ! E E
B1
& . ! ! O,
O, - O. O. .
. ,
- O. . .
And rules your shadowed world -, en- light- ened mind
!
C
E D $ $
on cue
O. .
piano solo
& - O. O. P. , -# P. . . .
open length O. .
and wand- ring path No more turn a- side and brood on
157
Trevor Coleman
'PolyPsyclic'
. E . E
& O. . ! O. . !
. . . .
. .
poly- psycle's mood For change is pre- or- dained and
A3
$ $ DE !
on cue
.
group soloing
& O. . . , . O. .
. . O. . , open length
O.
rules your wand- ring path and mi-nd - Who - will drive you
D D E !
3 3 D E ! O.
& , . . . . . . - . O. . ,
now - and pierce the deep-est dark - and wov-en shade -
D D E ! D E ! D D E ! O,
& . O. O, . O. O. O. O, . O.
and dance - upon the shore - For change -
DE ! D D E ! B2 E
!
O . O . . O,
& . . O,
. ,
- O. . .
is pre- or- dained - And rules your shadowed world -,
E ! E ! D
& - O, - O. O. P. , -#
O. O. .
en- light- ened mind and wand- ring path
158
Polycycle #8
'Juxtaposition Blues'
PC271b-4434128 - PolyPsyclic -
Trevor Coleman
. =80
\
Piano R &\
GO F BO F GO F
7 7 7
Piano Fm Fm Fm
3 . . 3.
12
3 O . O . 3. 3 . O. . . O3. . O . O . 3 . O .3 .
8 feel
\
%\ . O. .. O . . .
O . O. O . . .. .
O
etc 3
3
Piano L "
z z
û 2nd time: RH improvise
$, - E O. . O.
A1,2&5
& "
BO F
7
GO F BO F
7 7
Fm Fm Fm
3 . . 3. 3 . . 3.
% . O. . . O3. . O . $ . O 3. O . O . 3. . . O3. .
O.
. O. . . O 3. . O .
E . . . . .# . .
& , -#
3
"
GO F BO F GO F
7 7 7
Fm Fm Fm
3 O . O . 3. 3 . O. 3 . . 3. 3 . O. 3 O . O . 3. 3 . O.
%. O . . . .
O . O . . . .
O . O . . . .
O
- E O. O. . , - D E O.
& " "
BO F GO F BO F
7 7 7
Fm Fm Fm
3 . . 3. 3 . . 3.
%. .
O . . O 3. . O . 3 O. 3
. O. O. . . . O. .
3 O.
. .
O . . O3. . O .
159
Trevor Coleman
O, - E O. O.
& " O. O,
7#11 7#11 7 7#11 7#11 7#11
Emaj Amaj E Edim Amaj E Emaj Amaj E
O. 3 3 O. O. 3 O . . 3. 3 . O. 3 O . O . 3. 3 O. O.
% . O. O. . . P. P. . O . . .. . O . . P. .
P
3
D E O. O, - E O. O. .
& - "
"
7 7#11 7#9 7 7 7
Edim Amaj E C C Cm C
3 O . . 3.
.3
% . O. . . 3. . O . O . O . .3 3 . P.
P. . . O 3. O . . . 3 . P.
.
. .
3
. .
continue RH improvise
O, - ,
$
B1
&
BO-
7#5 7#5 maj7
3.
F F
.3 . 3. 3 . . . . 3. .
. O . . . . . 3. E . O. . . . 3. E $ 3 . . O.
3 3
. .
3 3
% O. O. .
. . O.
. O, . O. O. .
D E O ." . . D E "
&
7#9 7 7 7
C C Cm C
3 . . 3. O . .3 3 O . . 3.
. O . . . 3. E O . 3 . P .3 . O . . .3 . P .
% O. . . . P . .
3 3
. . " . .
O, . D E O. O. . ,
& "
7#5 7b5
3 . . 3. 3 . . . 3 P . . 3.
F B
. O . . . 3. E . O . . . Q . Q . . . .3
3 3 3
% O. . O. . .
3
E Q3
. . P.
. . .
160
Trevor Coleman
. D $ $
fine C RH piano solo open length
&
3 P. -
Q . Q . $ O . O . . . . . . . . . . . O . O . . . . . P .3 . . ." $
Q. .
3 3 3 3 3 3 3
% 3
. "
z { z z z z
(sax) continue RH improvisation
E !
& O. . . . . . O. . . .
.
O. . . .
. . . .
cue sax entry
O. . .
O. O 3. . . .
3 . .3 . . .3 . O 3. . . .3 . . . 3 . O . O 3. . . .3 . .3 . . .3 .
% . O. P. .
3
"
"
. O. . . O. .
(bass)
& O. . . .
%
. . O. . . O.
-# .
O 3. . . .3 . . . 3 . O . O3. . . 3. . 3. . . 3. . O 3. . . .3 . . .3 .
% O. P. . O. P.
3 3
" "
" "
O. . . O. . . O. .
% . $ $
group soloing
. O- . O. . . O.
. O. &
. O,
open length
O 3. . . .3 . 3. . . 3. . O 3. . . .3 . 3 . . 3 . . O. . . O. $ $
% O. . O. P. "
" . O,
Db tonal center
A3&4 on cue
$ 3 3 3 3 3 3 3 3
& O. . . . . . P ... ... ... ... O .. --
O O O ... ... ... O .. .. .. O ... ... ... O O ... ... ... O. .
O O O ... ... ... O .. .. . O. . . O .. --
GO F BO F GO F BO F
7 7 7 7
Fm Fm Fm Fm
%$ .3 . .3 . .3 . .3 ! .3 . .3 ! .3 . .3 .
. " . " . " . . . " . . . " . "
161
Trevor Coleman
3 3 3 3 3 3 3 3
& O . . . O .. .. .. ... O P ... ... ... ... ... ... O .. --
O O .. .. .. O . . . O .... .... .... O O ... --- OO O .... ...
. . O . . . O. . . O .. --
GO F BO F GO F BO F
7 7 7 7
Fm Fm Fm Fm
% .3 . .3 . .3 ! .3 ! .3 . .3 . .3 . .3 !
. " . " . . . . . " . " . " . .
E
O OQ ---- !
3 3 3
& O . . . O .. -- -
O O .. .. .. P . - O O ... ... ... O --- P O O --- O O --- O ... ...
7#11 7#11 7 7#11 7#11 7#11 7 7#11
Emaj Amaj E Edim Amaj E Emaj Amaj E Edim Amaj E
% . . . ! . . . .! ... ... ..... .. .

3 3 3 3
. " . . . " . . . . . .
F
& O- P --- -
O - - O O -- P ---
- O O -- P ... ... ...
. . .
- -
7 7 7 7#9 7
C
7#9
C Cm C C C
% E
. . . . . . .# . . . . . . .# . . . . .
. . . . . . . .
(bass solo)
$
B2
3 3 3 3 3
& O --
O - P --- O O --- . . .
P Q .. .. ..
O-
Q O ... ... ... -- O ... --- .. --
.- O ... --- --
-
-
BO- BO-
7 7 7#5 7#5 maj7 maj7
Cm C F 3 F
% .3 . . E .3 . .3 . $ E E E
3 3 3
..... ... O . . O .
. . . . " . " . " - O. . O. -
.
RH improvise as before
-play 2nd time only-
3 3 3
E † û al fine
& O. O-
O ... P --- - O O .... O .. - O O ... OP ... P . -- O O ,,, #
Q Q ---- ### . . Q Q ,,,
,
P -- P .. . P --
7#5 7#5 7b5 7b5
7#9 7 7 7 F F
C C Cm C B B
E D
3
% .3 .
3
. . . . " - , Q --- ###
. - . - . ,
4
162
Polycycle #14:
Addiction to Life
- for Jazz Quartet and Improvised Vocals -
Trevor Coleman
163
Addiction to Life Lyrics: Trevor Coleman
Wind whistling through an iron windmill
Gather in your skins
Cuddle and Muddle
mingle the exposed flesh
frost bites, and simmers
a great weight
ready to dissipate
After the big sleep
addiction to life
White flakes of frozen thought
linger then disappear
a momentary flash
a recurring idea
We, the controllers and controlled,
are moving forward
It is nature,
the very first word
Now the wind whistles a higher pitch
and triggers an eerie overtone
Icy reverberation
around the iron windmill
164
whispered strands
from memory glands
like scattered sounds
reflect the first tone
Mother Earth is singing
and groaning
turning a polycycle
returning to a beginning
After the big sleep
addiction to life
165
Score Trevor Coleman
Polycycle#14: Addiction
'PolyAdict'to Life
-for Jazz Quartet and improvised vocals- (see lyric sheet)
. =190
Y[
Sopr.Sax & \
Y\[
&
ePiano
% Y\[
Ac.Bass
% Y\[
ê
0 # 0 0 . 0 # 0 0 .0 # . .0 0 # 0 0 0 .0
( Y\[ .0 .0 0 0
Drums
0 . .0 "" 0 . . 0" " " . 0 0 "" .
" " 3
Interpret freely in jazz waltz style
&
&
ê
( .0 .0 0 0# 0 0 . 0# 0 0 .0 # . .0 0 # 0 0 .0 0 . 0# 0
0 .0 . 0 "" .0 . " " " .0 0 "" .
" " 3
166
Polycycle#14: 'PolyAdict'
$3 D D D D D
1st time Tacit (improvisations over E7#9)
& 4 Q. P. .
Play opening chord on every repeat

$ , , D
& O ,, ,,
4
, ,, (improvisations over E7#9)
D
% $ Q ,,
4
,
7#9 7#9
% $3 D D D D
7#9
E 12/4 blues feel F E
4. . . . . -# .
â ê
0 0# 0 0
( $13 . .0 0
. .0 . 0 # 0 .0 . .0 # . .0 .0 # 0 0 0 0 .0
0 "" 0 0 0 0 "" .
" " " 3" "
4
D D D D D D D
& . . .
Funk style
D D D D D D D D D D
& O O ... P .. P ..
Q.
!
%D D D D D D D E . D ..
D
Q.
7#9
%D D -# D
F simile..
. . . . .
ê
0 .0 0 0 # 0 0 . 0 # 0 0 .0 # . .0 0 # 0 0 .0 0 . 0# 0
( . .0 . .0 . " " " .0
0 0 "" 0 "" .
" "
167
D D D D
& Q. P. . .
D D D
&
%D D D
% D . D
. . . . . -# . .
ê
0# 0 0 . 0# 0 0 .0 # . .0 0 # 0 .0
( .0 .0 0 0 0 0
0 . .0 "" 0 . . 0" " " . 0 0 "" .
" "
D D D
& . . Q. -#
D D D D D D D D D
& O O .. .. P. O P ....
% . Q.
..
E ! . P. . D D
P.
. . . - . . .
% D D D . D
. . . .
ê
0 .0 0 0# 0 0 . 0# 0 0 .0 #. .0 0# 0 0 .0 0 . 0# 0
( .0 .0 . .0 . " " " .0
0 "" 0 "" .
" "
168
D D D D D D
& Q.
D D
& O O .. .. P .. -
! !
% E . . Q. D .. E # .! P . Q . P . D E ! . .
Q. . . P.
.
. .
%D D . Q. D D
. . . . .
ê
0 # 0 0 . 0 # 0 0 .0 # . .0 0 # . .0
( .0 .0 0 0 0 0 0
0 . .0 "" 0 . . 0" " " . 0 0 ""
" "
D . D D
& P. O. Q. P. . . . Q. . -
D D D D D D
& . O O .. P .. P. .
. Q. . P. .
% . D E . D D E ! . Q. D D E # .. P . Q . P .
.. ..
" ""
. D D
% . Q. .
. . . . . . .
ê
0 0 0 0# 0 0 . 0# 0 0 .0 #. .0 0# 0 0 .0 0 . 0# 0
( . . . . .0 . " " " .0
0 0 0 "" 0 "" .
" "
169
D D D D D D
& Q -#
D D
& O O ... P .. P ..
Q.
!
% . E ! . . . E . D D ..
. Q. .
.
O. . . . . .
% D D D
. . . . . . .
ê
0# . 0 # 0 .0 . .0 #. .0 .0 # 0 .0
( .0 .0 0 0 0 0 0 0
0 . .0 "" 0 0 0 0 "" .
" """ "
D D D D D -
& Q. P.
D D D D D D
& - O .... . O O ..
. Q. P. P. .
!!
% # .. . Q . P . D
E E ! . . . D E . D D E ! .
P. ..
"
. .
%D . . D . Q.
. . . . - .
ê
0 .0 0 0# 0 0 . 0 # 0 0 .0 #. .0 0# 0 0 .0 0 . 0# 0
( . .0 . .0 . " " " .0
0 0 "" 0 "" .
" "
170
. D O, . D
& . .
D
& .. . .
. Q. P.
% Q .. D D E# .. . E ! . P. . D
. "" P.
. - . . D
% Q . - .
. . . . .
ê
0# . 0 # 0 .0 0 # . .0 0 # 0 .0
( .0 .0 0 0 0 . 0 0 0
0 . .0 "" 0 . 0" " " . 0 0 "" .
" "
D D D D D Q. P. . . D D D
&
D D D D D D D D
& O O ... P .. P .. .
Q. P. Q. P.
! !
%D E . D D .. E # .! D E ! P. .
Q. .. . P. .
. . .
% -# D D
. . . . .#
ê
0 0 0 0# 0 0 . 0# 0 0 .0 # . .0 0 # 0 0 .0 0 . 0# 0
( . . .0 . .0 . " " " .0
0 0 "" 0 "" .
" "
171
D O . P . . . . - Q. - . D
& Q. . Q. .
D D
& . O O .. P .. P . .
. Q. . P. . Q.
%D E . E ! . D D E # .. . Q . P .
.. . .
" . ""
O. . .
. . D D D
% . . .
. . .
ê
0# . 0 # 0 .0 . .0 #. .0 .0 # 0 0 0 .0
( .0 .0
0 0 0 0
0 . .0 "" 0 0 0 0 "" .
" """"
D D D D D $
& . . .
D D D D D D ! $
& O .... .... .#
..
.
..
. ..## Q QQ ... ..
.
! D !
%E ! . . D D D D E $
. . Q QQ ... Q QQ ... P P ..## Q Q .. ..
P .# Q. .
. . . . . .
% D . . D D $
. . O-
ê
0 .0 0 0# 0 0 . 0# 0 0 .0 # . .0 0# 0 0 .0 0 . 0# 0 $
( . .0 . .0 . " " " .0
0 0 "" 0 "" .
" "
repeat ad lib for group improvisations
based on composed material.
End on sustained 1st beat of form
172
Polycycle #13:
PolyPhasic
- for Jazz Quintet -
Trevor Coleman
173
Score Polycycle#13: 'PolyPhasic' Trevor Coleman
. =135
- for Jazz Quintet -
Intro
Trumpet &
D %5 . E . . . . E
Tenor Sax &41 4.
. . .
"
. . . . . .
. . .
"
(Ac. Bass)
&
Piano 7
4
&
%1 D . . E . . . . . . . E .
Ac.Bass 5
. . . . . . . .
4 4 " "
(open)
1 0 0 0 0 0 0 0 0 0 0 0 0 0 1
( 47 .0 .0 rim .E0 .0 .D0 0 E0 .0 .D0 0 .E0 .0 .D0
HiHat
. . . . .
Drums
. . E . D E . D E . D
BD " " " " " "
9
!
Am
$3
Play 2nd time only (use harmon mute)
& . .# . .
4 - .
9
Am
D D $ D
Play 2nd time only
% . .
. . .
. . . & . - . .
) . . .
... ..##
9
$
Am
. .
& ---- . .# .. .. ...
3 "
$ 4 !
& ... .# ... ... ...
--- .. ## . . .
9
Am
%. . . . .
. . .
D D $ . . . E . . . . . . . .
. "
( indication only - ad lib for solo section )
0 0 0 0 0 0 0 0 0 0 D D 0 0 .E0 0 .D0 0 E0 0 .D0 0 1

$ .E0 0 .D0
(fill)
. .
( . . E . D E . . D . . . . .
" " " " "
174
'PolyPhasic' Trevor Coleman
& - . Q. - . - -#
Q.
D E ! D . . .
& . - . . .
. . . . . . .
)
.. O O .. P - . -
-
& -- . O. P - .... --- O O ... P P --#
-- ##
& --- .. --- .. -- P --- ###

- . - . - O O O ... - #
% . D D
. . . . E . . . . . . . . . .
"
0 0 .E0 0 .D0 0 E0 0 0 .D0 0 0 1 0 0 .E0 0 .D0 0 E0 0 .D0 0 .E0 0 .D0 1

( .E0 0 0 .D0
. . . . . . . . . .
" " " " " "
9
Dm
. O. - . . . . . D D
& -#
9
Dm
D D E !
& . . . . . . . . .
. . . . . .
) 9
.. O O .. --
Dm P .. P ....
. O . - . E ... ... ----#### D D
& "
E ! D D
& .. O O .. P - P .. P P .. . .
. O . Q -- . Q. Q .. .. P PQ -#
-- ##
.
9
. E . . . . . . .
%. . E . .
Dm
. O. . . . D D
" "
( .0 .0 .E0 .0 .D0 0 E0 0 .D0 0 .E0 0 .D0 1 0 0 .E0 0 .D0 0 E0 0 .D0 0 .E0 0 .D0
1
. . . . . . .
" " " " " "
2
175
7#9
!
E
. P .# D D
& . O. - . . -# Q. .
9
Am
D - . . . D E !
& . . . . - . . . . Q.
) . .
9
P ..
7#9
.. Q O .. -- P .#
Am
. .#
.# .. .. D D Q. ..
E
& . Q. P- . . --#
-- ## Q Q .. .
"
P .. ! D D
& .. O O .. -- . ..## .. .. O . --- ### Q QQ ... P P ....
. 9O . P - .# . . - #
Am
. E . .
%
. . . . E . . . . .
. . . D D
. . .
.
" "
( .0 0 .E0 0 .D0 0 E0 0 .D0 0 .E0 0 .D0 1 0 0 .E0 0 .D0 0 E0 0 .D0 0 .E0 0 .D0
1
. . . . . . . . .
" " " " " "
7#9 9
D Am
& - . . O. - . . .
. Q. -
9 9
7 Am
Dm
D D E !
E
. . P. . .
& .
. . . O. . . . . . . . .
) 7#9 9
-- ... ... O O OO .... -

D
-- .. Am
..
& - . . - .. .... ... O.
O ..
P ---
- .
& -- P .. P .. O OP ... P -- .. ..
-- Q. Q. Q- . O O ...
P PQ ... O OP ... P P ---- .
9
. . E . .
7
. .
9 Am
E ! Q.
E
%. . O. . . . E .
Dm
. . . . .
. . " . "
1 0 0 .E0 0 .D0 0 E0 0 .D0 0 .E0 0 .D0 1

( .0 .0 .E0 .0 .D0 0 E0 .0 .D0 0 .E0 0 .D0
. . . . . .
" " " " " "
3
176
7#9
!
E
D E . O. P- . -
& .# . . -# "
7
E
D D E ! . . - . . .
& . . . . . . . . . Q. .
) . 7#9
..##
E
P .. -
.. ..
--# D E ... O O O ... P-
P P P --- . ---
& .# . . -#
-# "
"
! D E !
& .#
..## ... ... --- ### .. O O .. P PQ --- P .. P --
. . - # . O. Q. Q- 7
E
%. . . . .
. . .
D D . . E . . . .
. . " . . .
1 1
( .0 .0 .E0 .0 .D0 0 E0 .0 .D0 0 .E0 .0 .D0 0 0
. .
.E0 0 .D0 0 E0 0 .D0 0 .E0 0 .D0
. . .
" " " " " "
7#9 9
D Am
E ! !
& Q. - . . .#
. P. . Q. .# "
. . .
9 9
Dm Am
E !
& - . . . . . . - . . .
. . . . .
) 7#9 9
... ... ..##
7#9
--
D Am
Q .. E . P .. .. O .. .. .. E
& . - ..#
.# . . .# .. .. ...
" P. . O . .# " "
D ! !
& Q. - .. .. O O .. ... ### .. .. .# ... ...
Q .. Q P -- . # . . ..## . . Q ...
. . P.
. E . .
9 9
. . Am
% E .! Q . . . E . .
Dm
. . . . . . . .
" . . "
( 0 0 .E0 0 .D0 0 E0 0 .D0 0 .E0 0 .D0 1 0 0 .E0 0 .D0 0 E0 0 .D0 0 .E0 0 .D0 1
. . . . . . . . . .
" " " " " "
4
177
9 9
Am
D E ! D E !
DA
$
Am
& - . Q. . . . Q. - - . (O . )
repeat ad lib for solos
E ! -# E !$
& -# - .
. . . O.)
(
) 9 9
Am DA Am
# E ! D $
& --- ## .. O O .. P P .. .. .. Q .. -- --- ###
. . - - #
D D % --- ### $
& -# . . -
-#
-# . Q. .
.
%. . .
. . . . E . .
. . Q . . -#
$
"
( .0 .0 .E0 .0 .D0 0 E0 .0 .D0 0 .E0 0 .D0 1 0 0 0.E 0 .0 0 D D $

(fill)
. . . . D
" " " "
ON CUE (after last solo)
9
D D E .
Am (no mute)
& 54 . . . - . . . "
. O. . . . -
9
Am
D D E !
& . . - . . . . -
. . . . . . .
)
... ..##
9
-
Am
. . . - .. O O .. P -
& --- . .# .. .. .. -- . O. P -
... .# "
4--- .. ## .... .... .
...
-
---
.. -
---
3
% .
"
9
Am
% . . . E . . . . . . . . D D . . . E . .
. . .
" "
( 0 0 .E0 0 .D0 0 E0 0 .D0 0 .E0 0 .D0 1 0 0 .E0 0 .D0 0 E0 0 0 .D0 0 0 .E0 0 0 .D0
1
. . . . . . . . . .
" " " " " "
5
178
9
Dm
D
& . . . . . . . . . . . . .
.
9
Dm
D . . .
& . . . . . . . .
. . .
) 9
... - .. O O ..
Dm
-- P .. P ....
& .. --- O O ... P P --#
-- ## . O . - .
.. -- P --- ### .. O O .. P -- P .. P PQ ...
% . - O O O ... -# . O. Q- .
9
. E .
. . E . .
Dm
% . . . . . . . O. . . .
. . " "
0 0 .E0 0 .D0 0 1 0 E0 0 .D0 0 .E0 0 .D0 1

( . . . E0 .0 .D0 0 .E0 .0 .D0 0 0 .E0 0 .D0
. . . . .
" " " " " "
9
Am
D D E . D
& . . . . . "
. O. . . . - . . . .
9
Am
D D E ! D
& . . . . . . . . . . . - . . .
) . 9
.
.. P ..
Q OQ ... P --- P .#
Am
.. .. .. ..
&
E . . ----#### D D . . .#
.# . .
" .. P .. "
. . ... P PQ -#
-- ## O OO ... P --- ..## .. .. O .
% E Q ." D D . . .# . .
"
9
. .
Am
% . . . . . D D . . . E .
. . . . . .
. .
"
( .0 0 .E0 0 .D0 0 E0 0 .D0 0 .E0 0 .D0 1 0 0 .E0 0 .D0 0 E0 0 .D0 0 .E0 0 .D0 1
. . . . . . . . .
" " " " " "
6
179
7 9
E Dm
D E ! D D . Q. P.
& - . . . Q. . . . . . O. . P.
.
7 9
Dm
. . . D E ! D D
E
- . . P. .
& . Q. . . . . O.
) . .
7#9
... ... O O OO .... -
7#9
--
D
.. --
E
-# D D Q. . .
& --- ## Q Q .. . - -
-
% -#
-- ### D D Q QQ ... P P .... ---- P .. P ..
Q. Q.
O O ..
P.
P --
Q-
7
9
E . . E ! Q.
E
% . D D . . . O. . .
Dm
. . . " . . .
. .
0 0 .E0 0 .D0 0 E0 0 .D0 0 1 0 0 .E0 0 .D0 0 E0 0 .D0 0 .E0 0 .D0 1

( .E0 0 .D0
. . . . . . . . . .
" " " " " "
9
Am
E O. D D E .
& . O. . . . . . . . . . . .
" "
9
Am
E ! . D D E ! .
& . . . . . . . . . . . . .
) 9
.
.. Am
.. ..##
&
.. .... ... O.
O ..
P ---
- . .#
..
.
..
. --#-#
-#
D
.. .. .# ..." .
%. O O ... P PQ ... O OP ... P P ---- . ..## . ... ----#### D
"
9
. E . . . . Am
.
%. . . . E . . . . .
. . .
D D
" . "
1 0 0 .E0 0 .D0 0 E0 0 .D0 0 .E0 0 .D0 1

( .0 .0 .E0 .0 .D0 0 E0 .0 .D0 0 .E0 0 .D0
. . . . . .
" " " " " "
7
180
7 9
E Dm
. . . - E O.
& . . . - . Q. . . . . .
"
7 9
E Dm
. - . . . E !
& . . - . . .
. Q. . . .
) 7#9
P ..
7#9
-
E
E ... O. P- --
D
& " O O .. P P P --- . --- Q ..
. - E . P .. ... O O ...
" P.
.. O OO ... P P -- P .. P -- Q Q ... - ..
% .E Q- Q. Q- Q P -- D ..
. . O OP ...
"
7
. E . .
9
E
. . E . . E ! Q.
Dm
% . . . . .
. . " . . . . . "
1 0 0 .E0 0 .D0 0 E0 0 .D0 0 .E0 0 .D0 1

( .0 .0 .E0 0 .D0 0 E0 0 .D0 0 .E0 0 .D0
. . . . . . . .
" " " " " "
9
Am
E !
& . O. . . . - . P. . . . . . - .
9
Am
E !
& . . - . . . -#
) . . . . . . .
9
9
... ... ..##
7#9 Am
Am
.#
.# . . .# .. .. E
... --- D E ! D
& .. # "
.. .. .. O O .. P P .. ..
. # . .. .# "
.
#
% ...##
.. . ..## .. . .... Q ... --
- . Q. . D
" "
9
. . Am . E . . . . . .
%
. . . . . . . . . . E .
" "
( 0 0 .E0 0 .D0 0 E0 0 .D0 0 .E0 0 .D0 1 0 0 .E0 0 .D0 0 E0 0 .D0 0 .E0 0 .D0 1
. . . . . . . . . .
" " " " " "
8
181
É D
& . . . , ,
, É, D
& - .
)
ΩΩΩ É,,
9 9
DA Am Am
, D
& .. Q .. -- --- ###
. . - - #
% É D
. . - --- ### & ΩΩ ,,,
Ω,
%. . É D
. . Q . . -# ,
D D É1 D
( .0 .0 .E0 .0 .0 0
(fill)
D
"
182
Polycycle #11:
PolyCentric
Trevor Coleman
183
PC029b-3454114
Polycycle #11b Trevor Coleman
E. Piano PolyBrubeck
. =170 - PolyCentric -
û
] ”
2 $ [\ Z\ $ $ [\ E !
&\ .. --
. -
Drums intro {11} (Bass)
4
% ]\ ”
2 $ [\ O. E ! O . .
O. E ! .
E ! Z
\ $ $ [\ O . E !
... P. O. . ... Q. . O. .. . P.
D E .! . E ! D Z\ repeat
D 3x $ MC1*
$ [\ ! D D E !E ! D D Z\ D
& .. .. Q .. .. . O .# . . . O. . .
. . O O ..
EO
(on D.S. repeat 5x) 7 7 7
O. E ! E ! Z\ $ $ [\ Z\
Cm F G
% .
O. O. . . . . . Q. . O.
.
[ E D D E ! Z [ ! D E ! E !E !E !
& \ . O . . . .! O - # .
\ . . O. \
.# O . . . . O. . .
EO B O sus EO
7 7 7 7 7
% [\ Z\ [\
Cm F G Fm
Z [ D Z \ E ! D
& \ . O. \ O- \ . \ O- . . . . O . P . .
. O. O. O- O. O. O- . O . .
DO EO G AO
7 7 7 7b5 7#9
% Z\ [\ Z\ \\
Fm Am G
[ $ Z\ . [\ O -#
&\ .. O -# . Q . Q . -# . . . Q. . Q. . . Q.
O. P. . O. P.
D O maj B O maj D O maj
(no repeat on D.S.) 7 7 7 7 7 7
% [\ $ Z\ [\
Emaj Gmaj Amaj
*MC = Mother Cycle: 3/4 x 55bars; 5/4 x 33bars; 11/4 x 15bars
184
Trevor Coleman
PolyBrubeck
D Z\ [\ ! D E ! E ! E ! E ! Z\ [\ E !E !
& - . O. O. . . .
O . .# O . . . . O. O. . O. . . .
D O maj B O sus EO DO
7 7 7 7 7 7
Fmaj Fm Cm Cm B O
% Z\ [\ Z\ [\ 0 # 0 0
"
ù
Z\ [\ O . # ! Z\
To Coda
& O. . . . -# . . . . . O. . . . . . . . O. . . .
. . O. .
7b5 7#9
(no chord.........)
Z\ [\ Z\
A D
% 0# 0 0 # !
O .
" . O. . . . . . . O . . . . . . .. O . . . .
Z repeat 5x $ $ [ E !
Sax Solo
[ $ D D D
MC2
& \ .. .. .. .. .. .. .. .. .. \ O .. .. \ . -
.. --
. . . . . . . . . . O.
E O ma EO D O
6 7#11 13 7#5 6
% [\ $ O. E . Z\ $ $ [\ E !
Cm G
O.
Dm Cm
O . . . O .
. . . " O. . . . . . Q. . O . . . . . P.
.
D E .! . E ! D Z\ repeat
D $ $ [\ ” Z\ ” 1 $ $[
5x MC3 Piano Solo
3
& .. .. Q .. .. .. \
. . O
O .
E O ma
7#11 7#5
G EO repeat 5x 7
DO
E D Dm F
% O. E ! . E ! Z\ $ $ [\ ”
3 Z\ ”
1 $ [\$
O. O. . . . . . Q. . O.
.
Z\ [\ Z\ [\
&
7 7 7 7 7 7
G A Dm F G A Gm
% Z [ Z [
\ \ \ \
Z [ Z
& \ \ \
EO BO
7 7 7 7 7b5
Csus F Gm FA Bm
% Z\ [\ Z\
185
Trevor Coleman
PolyBrubeck
\ [\ $ Z\
&\
E O maj G O maj
7#9 7 7 7 7
A Amaj Cmaj
% \\ [\ $ Z\
[ Z\ [\
&\
E O maj E O maj
7 7 7 7 7 7
Bmaj Gmaj Gm Csus F
% [\ Z\ [\
Z [ Z [ .# !
&\ \ \ .
. . .
\ . . . . . . . .
EO
7 7 7b5 7#9
Dm Dm C B E (no chord.........)
% Z\ [\ 0 # 0 0 0# 0 0 Z\ [\
. #
!
. . . . . . . . .
" " . . .
Z $[ ” Z\ ”
1 $ $[
MC4 Drum Solo
!
3
& . . ... \ . . . \ \
.# . . . . . . . . . . ...
Bass Solo repeat 5x
% Z\ $ [\ ”
3 Z\ ”
1 $ $[
\ . # .! . .
. . .. . . . . . . . . . . . . ...
Z $ [\ ! Z\ [\ !
&\ .# . . . . . . . #
. . . . . . . ... . . . . . . . . . . .
$ [\ .# ! [ .# !
repeat 8x
Z
%\ Z
. . . . . . . . . . . . . ... \ . . \ . . . . . . . .
.
† û al Coda ù Coda
Z $[ Z [ |
\ O .. .. $ \ O --#
repeat 5x
& . . . . . \ . . \ O --## ---### ---###

-- ## - # - # .. .. -- ###
% . . . . Z\ . . $ [\ O. O. O. Z $ [\ |
. P. O. O. . . . . . . . Q. \ .
... . . Q. -#
3
186
Polycycle #17:
PolyIntegrate
- for Jazz Quintet and Vocalist -
Trevor Coleman
187
PC17 PolyIntegrate Lyrics by Trevor Coleman
People are leaving
boarding the boat
dark waters
forced exodus
No going forward
No going back
No good-byes
No bon voyage
Hope seeker
branded by the
stigma of victimhood
No place on solid ground
To be stranded
from the land of the living
and left by the wayside
—————
People arriving
leaving the boat
safe landing
soft integrate
188
Navigate future
include the past
say farewell
greet new home
Hope seeker
founded on a
network of soul support
Earth is a common ground
To be called forth
to the land of the living
and polyintegrated
189
Polymetric Score Polycycle#17: 'PolyIntegrate' T. Coleman
for Voice & Jazz Quintet
. =140 Intro
Vocal
& 44
Trumpet (C)
& 44
Tenor Sax (C)
& 44
)
Piano
& 44
%4
4
%5
Acoustic Bass
D D D D
4
0 ë0 30 0 0 0 3. 0. 0 0 30 0 0 0. 0 0 0 30 0 ê0. ë0 3. . . 0 0 0 3 3. . ê0. 3 ë0 30 0 0 ê0 3. .
Drums & Percussion (conga)
( 4 . " . .. . . . . . . . . .. . . . . . . .. . . . .. .
4
"
(12/8 afro beat style: swing 8s)
190
PC17-PolyIntegrate T. Coleman
&
&
&
)
&
%
7
Fm
E swing
! D E !D E ! D E ! D
8s
% . . . .
. . . . . . . . . . . .
0 ë0 30 0 0 0 3. 0. 0 0 30 0 0 0. 0 0 0 30 0 ê0. ë0 3. . . 0 0 0 3 3. . ê0. 3 ë0 30 0 0 ê0 3. .
.. .
( .". . . . . . . . .. . . . . . . .. . . . .. .
"
û Theme
1. People are lea - ving boarding the boat
[A]
D
7
Fm 3 3
&
à. à. O à. à. - # - à. à. à. O -#
2. People ar - ri - ving leaving the boat
7
Fm 3 3 D
&
gO à. O à. à. à. O - # - à. O à. à. -#
7
D
O à. O à. -# O à. . à.
Fm
-
3 3
& . . O -#
à
g à à
)
. -# -
7
Fm
. .O.
3 . 3. . O -# D
& h
O. O. .
3 . O -# - . O 3. . -# D
%
7
Fm
. 3 O . .3 O . .
% O . EO .O . . . E . . O . . E !D . O. O. . E ! D .
3
. . . . . . . .
M
0 ë0 30 0 0 0 3. 0. 0 0 30 0 0 0. 0 0 0 30 0 ê0. ë0 .3 . . 0 0 0 3 3. . ê0. ë0 30 0 0 ê0 3. .
3
( .". .. . . . .. . . . .. . . . . . . .. . . . .. .
"
2
191
7
BO
7 C
dark wa - ters forced ex - o- dus
3 E ! 3
& . .
à. O à. O à. . O. O. .
safe landing soft in - te-grate
BO
7 7
C
E O. .
3
3
& à. O à. à. O. . . .
"
BO
7 7
E !
3
C 3
& O à. O à. O . . . . O. O. .
) à 7
BO
7 C
. O. O.
3
E . . . O. O. .
3
& "
% O. 3
. . E O. . O . 3. . .
"
BO
ê. ê.
O . . O 3. O . . .3
7 7
O. O. . O.
Fm
. D .
% . . ..
3
. O- . . . . .
0 ë0 30 0 0 0 3. 0. 0 0 30 0 0. 0. 0 0 0 30 0 . ê0. ë0 3. .
( . " . .. . . 0 0 0 3. . . 3. .
. . . . . . . . . . . .
" h
7 No going for-ward No going
[A2] Fm 3 3
à. O -#
& -
à. O à. à. à. O à. à.
Na- vi - gate fu - ture include the
à. O 3à. à.
7
Fm
à -
.à à. O à. O . -#
3
&
à. O -# à. O 3à. à.
7
-
O à. O à. à.
Fm 3
&
)
. -# -
7
Fm
. .O.
3 . 3. .
&
O. O. .
3 . O -# - . O 3. .
%
7
O . .3 O .
Fm
. E O 3. O . . E 3. O..
%E ! D . O. . . O. . E !D . O. .
. . . . . . . .
ê0. ë0 30 0 0 ê0 3. . 0 ë0 30 0 0 0 3. 0. 0 0 30 0 0 0. 0 0 0 30 0 ê0. ë0 .3 . . 0 0 0 3 3. .
3
( . . . .. . .". .. . . . .. . . . .. . . . . . . ..
"
3
192
BO
7
back No good-byes No
D 3 E !
& -# . .
à. à. O à.
past say farewell greet
BO
7
D E O. .
& -#
3
à. à. à. "
BO
7
-# D 3
E . .
& O à. à. à. "
)
BO
7
O -# D . O. O.
3
E . .
& "
-# D O. . . E O. .
%
3
"
BO
7
O . . O . O . . .3
7
. D
Fm
% E ! D .
3
. O. O. . O. .
. . . O- . .
ê0. 3 ë0 30 0 0 ê0 3. . 0 ë0 30 0 0 0 3. 0. 0 0 30 0 0. 0. 0 0 0 30 0 . ê0. ë0 3. .
.. .
( .. . .. .
. " . . . . . . . . .
"
7
DO
C bon - voyage
maj7
D [B] Swing 8s
3
& . O. O. -
new - home
DO
maj7
7
C
D
3 swing 8s
& O. . . - j
7
C
DEO
maj7 swing 8s
D E ! E. O.
& . O. O. - O.
3
j " O. . .
" . .
) 7 O.
D O maj
! E .! E !
7
C
D E D E ! O.
& . O. O. - O.
3
j O . swing 8s . . . . . O.
% O . 3. . - D D O. E . O. D .
. . D
O. " .
.ê .ê DO
7
3 . O.
% .. E ! D . E O. E. E. .
. . . . . " O. " O. " . .
. 0 0 0 3. . . 3. . ê0. . ë0 30 0 . 0 ê0 3. . 0 ë0 30 0 . 0 0 3. 0. 0 0 30 0 0. 0. 0
3
( . . . . . . . . . " . . . . . . .
"
4
193
BO
7
Hope seeker bran - ded by the stig - ma of vic - tim - hood
D E ! E. .
& . O. . O. . .
3
. "
O. . . O.
Hope seeker foun - ded on a net - work of soul support
BO
7
. O. D E O. E . . O. O. . O. O. . .
3
& Og. "
" j
. . BO
. O. . D E O. . .
7
O. . . O.
3
E . E O. D
& g " " O. . .
) j" O. O.
. . BO
O. . O. D E " . . O. E O .! D
7
3.
E . . O. . O. D
& " .
h Oj. O. O. .
D E ! E ! 3
D % . . O.
& . O. . . . . . . O. . . . . . O.
BO
7
O. O.
% O. E . D O. O. . E O. .
. . O. O . " . O. O. O.
"
0 0 30 0 . ê0. ë0 3. . . 0 0 0 3. . . 3. . ê0. . ë0 30 0 . 0 ê0 3. . 0 ë0 30 0 0 0 3. 0.
3
( .. .
. . . . . . . . . . . . . " .
"
No place on so - lid ground To be stranded from the land of the living -
E . E ! 3 3
O. . O. O. .
3
&
"
. O.
. . O à. O . . à. à. O à. à. à. O à.
Earth is a common ground To be called forth to the land of the living -
E O. . E ! à à
O. . O. . . .
3
O . .
3 3
& g" . O. . . O à. à. .à O à.
à.
. à. O 3. .
E " O. . O. . O. E. à
. à. .
à
O. à
. à
. O
3 3
& O à. O .
)
g " .
E O. . O. . . . E .! D . O. . .
O. .
3
. O. .
3 3
& h" . O.
.
E ! O . 3. . O . . .
3
% D . O. . . . O.
3
& . O.
. . . O. .
.
% O. O.
E !D
. .
O.
O. . O. O. . O.
E ! D
. .
O.
.
0 0 30 0 0. 0. 0 0 0 30 0 . ê0. ë0 3. . . 0 0 0 3. . . 3. . ê0. ë0 30 0 0 ê0 3. .
3
( . . . . . . . . . . . . .. . .. .
5
194
7#9 7#9
F
G C and left by the way-side
E ! .
fine
& -# O . ( .)O . . .
j O.
and po-ly in - te gra-ted
G
M
7#9 7#9 M M M F
C
# E ! . . . .
& - . .
G
M
7#9 7#9 Mj M M F
-#
C
E ! .
& O . O. . .
O j.
) 7#9 M
7#9 M M M â.
-#
G
E ! . . . .
C F
& .
-# j. â.
% E O . O . . . .
O.
"
F .
7 7#9
G
O.
C
% . O . . D D D D D D
.# O . O.
. . "
0 ë0 30 0 0 0 3. 0. 0 0 30 0 0 â0. 0 0 30 0 ê0. ë0 3. . . 0 0 0 3 3. . ê0. 3 ë0 30 0 0 ê0 3. .
( . " . .. . . . . . . . . .. . . . . . . .. . . . .. .
"
BO 7
7 7#9
[A] 7
$ Fm 1 2 3 4 5 6 8
C F9 10
&
<2>
repeat ad lib for solos 7#9
BO 7
7 7 CF
$ Fm 1 2 3 4 5 6 8 9 10
&
<2>
BO 7
7 7 7#9
$ Fm 1 2 3 4 5 6 8
C F9 10
&
<2>
BO
7 7 7#9
Fm CF
$ <2>
&
%$ 1 2 3 4 5 6 7 8 9 10
BO
7 7 7
% $ ME M M ME
Fm
MM
Fm
O -#
2 3 4 5
0 0 0 0 continue with variations - 0 0 00

" "
( $
continue in same style with variations
6
195
BO
7 7#9
[A2] 7
CF
Fm 1 2 3 4 5 6 7 8 9 10
&
<2>
BO
7 7#9
7
Fm CF
1 2 3 4 5 6 7 8 9 10
&
<2>
BO
7 7#9
7
Fm CF
1 2 3 4 5 6 7 8 9 10
&
<2>
BO
7 7 7#9
Fm CF
<2>
&
% 1 2 3 4 5 6 7 8 9 10
BO
7 7
ME
Fm
% 1 2 3 4 MM
O -#
5
- 0 0 00
"
(
DO BO
7 7
[B]
1 2 3 4 5 1 2 3 4 5
&
DO BO
7 7
1 2 3 4 5 1 2 3 4 5
&
DO BO
7 7
1 2 3 4 5 1 2 3 4 5
&
DO BO
7 7
&
% 1 2 3 4 5 1 2 3 4 5
DO BO
7 7
% ME M M 2 3 4 2 3 4
0 0 0 0
"
(
7
196
7
G 7#9
1 2 3 4 5
C $
&
after last solo † al fine
7 7#9
G C
1 2 3 4 5 $
&
7 7#9
G C
1 2 3 4 5 $
&
7 7#9
$
G C
&
% 1 2 3 4 5 $
7 7#9
E M M $
G C
% 2 3 M
0 0 0 0
"
(
(fill)
$
8
197
Polycycle #11:
PolyBrubeck
Trevor Coleman
198
PC029b-3454114
SCORE Polycycle #11

'PolyBrubeck'
Trevor Coleman
. =170 Swing feel
Soprano Sax
]0 0 0 1
Intro
E 0 E 0 0 D 0 E 0 E 0 0 D 0 E 0 E 0 0 D [ 0 E 0 E 0
&\ " " " " " " \ " " %
(Drums)
]0 0 0 E 0 E 0 0 D 0 E 0 E 0 0 D 0 E 0 E 0 0 D [ 0 E 0 E 0
ePiano
&\ \ %
" " " " " " " "
(Drums)
% ]\ 0 0 0 E 0 E 0 0 D 0 E 0 E 0 0 D 0 E 0 E 0 0 D [\ 0 E 0 E 0
eBass
" " " " " " " "

(Drums)
â
Drums
( ]\ . .
0. 0 .0 0 0 0 0 0 0 .0 0 0 0 .0 0. 0 .0 0 0 0 0 5[x 0 0 .0 0
. 0 . . 0 . . 0 . . 0 . 0 . . 0 4\x . . 0 .
!
% Y\Y 0 E
! E 0
D E ! E
0 Q0
0 O0 0 0 0 Q0 0
(Bass)
0 0 "
E Oma
7 7b5 7b5
!
7#11
G
% Y\Y 0 E
! E
D E E
Cm Dm
0 ! 0 Q0
0 O0 0 0 0 Q0 0
(Bass) 0 0 "
! E Omaj
9 7#11 7b5 7b5
% Y\Y . E
! E
D E E
Cm Dm G
. ! . Q.
. O. . . . . Q. .
â . "
( Yxx\Y
0 .0 .0 0. 0 .0 0 0 0 0 0 0 .0 0 0
. 0 . 0 . . 0 . . 0 . .
E !
! E
% 0 E O0 E ! E ! 0 Q0 0 E !
0 0
O0 " 0 0 0 0 0 0 &
0
E Oma
7 7#11
!
Cm 7b5 7b5
% 0 E ! E E O0 E !
Dm E ! 0 Q0
G
0 E !
0 0
O0 " 0 0 0 0 0 0 &
0
O
9
E ! E maj
7#11 7b5 7b5
Cm
%. E E O. E ! Dm
E ! . Q.
G
. E !
. ! . . . .
. O. " . . .
â
0 .0 0. 0 .0 0 0 0 0 0 0 .0 0 0 .0 .0
( . . . . . . .
0 0 0 0 0
199
PolyBrubeck
Trevor Coleman
Intro 2
&
E Omaj EO F
7#11
E FQ
9
Cm !
D E .. .. D
& O --- ### . . P Q --- O PO ... ..
.
% O --## D E . . Q- D . .
"
E Omaj
9 7#11
Cm
% . E E ! D E E
! . ! . Q.
. O. . . . " . Q. .
.
( 0. 0 .0 0 0 0 0 0 0 .0 0 0 0 .0 0.
. 0 . . 0 . . 0 . . 0 .
&
E Omaj EO F
7#11
! E FQ
9
Cm
D E .. .. D
& O --- ### . . P Q --- O PO ... ..
.
% O --## D E . . Q- D . .
"
E Omaj
9 7#11 7b5 7b5
!
Cm Dm G
% . E ! E E O. E ! E ! . . Q. . E !
. . . .
. O. " . . .
â
( 0 .0 0 0 0 0 0 0 .0 0 0 .0 .0 0. 0 .0
0 . . 0 . . 0 . . 0 . 0
&
E Omaj ! E FQ EO F
9 7#11
Cm
D E .. .. D
& O --- ### . . P Q --- O PO ... ..
.
% O --## D E . . Q- D . .
"
E Omaj
9 7#11 7b5 7b5
Cm
E ! G
! E D E E
Dm
% . . ! . Q.
. O. . . . " . Q. .
.
0 0 0 0 0 0 .0 0 0 0 .0 0. 0 .0 0
( . . . . . . . .
0 0 0 0
200
PolyBrubeck
Trevor Coleman
&
E Omaj EO F
9
! E FQ
7#11
Cm
D E .. .. D
& O --- ### . . P Q --- O PO ... ..
.
% O --## D E . . Q- D . .
"
E Omaj
9 7#11 7b5 7b5
% .
Cm
E E ! E O. E
Dm
E ! . Q.
G
. E !
! !
. .
O. " . â. . . . .
.
( 0 0 0 0 0 .0 0 0 .0 .0 0. 0 .0 0 0
. 0 . . 0 . . 0 . 0 . .
&
E Omaj EO F
9 7#11
Cm ! E FQ
D E .. .. D
& O --- ### . . P Q --- O PO ... ..
.
% O --## D E . . Q- D . .
"
E Omaj
9 7#11 7b5 7b5
!
Cm Dm G
% . E ! E D E ! E .
. . . . Q.
. O. . . " . Q.
0 0 0 0 â.
( .0 0 0 0 .0 0. D .
0 . . 0 . . 0 .
D E O. E ! D D
Theme
& 43 . O. . P. O. . . O- . O.
"
E Omaj
9
EO F
7#11
Cm ! E FQ
D E .. .. D
& O --- ### . . P Q --- O PO ... ..
.
% O --## D E . . Q- D . .
"
E Omaj
9 7#11 7b5 7b5
Cm
E ! Dm G
% . ! E .
D E ! E .
Q.
.
. O. . . . " . Q. .
0. 0 .0 0 0 0 0 0 0 .0 0 0 0 .0 0.
( . . . . . . . .
0 0 0 0
201
PolyBrubeck
Trevor Coleman
P -# P. E !
& . . O. O. . . .
E Omaj E FQ EO F
7#11
!
9
Cm
D E .. .. D
& O --- ### . . P Q --- O PO ... ..
.
% O --## D E . . Q- D . .
"
E Omaj
9 7#11 7b5 7b5
E !
Cm
E E O. E E ! . E
Dm G
% . ! ! . Q. !
. .
O. " . . . . . .
. â
( 0 .0 0 0 0 0 0 0 .0 0 0 .0 .0
0 . . 0 . . 0 . . 0 similar...
E O. . E . E O. . E P. . !
& " " Q . . P . . Q . P .# O.
" "
E Omaj EO F
E .! .
E FQ
9 7#11
D D
Cm
& O --- ### .. .. P Q --- O PO ... ..
.
% O --## D E . . Q- D . .
"
9 7b5
! E Omaj
7#11 7b5 G
Cm
% . E ! E . D E !
Dm
E .
. . . Q.
. O. . . " . Q.
5 6 7
(
D E . E P. .
& -# . O. O.
" " P.
E Omaj EO F
7#11
! E FQ
9
Cm
D E .. .. D
& O --- ### . . P Q --- O PO ... ..
.
% O --## D E . . Q- D . .
"
E Omaj
9 7#11 7b5 7b5
!
Cm Dm G
% . E ! E . E O. E ! E ! . . Q. . E !
. O. " . . . . .
.
8 9
(
202
PolyBrubeck
Trevor Coleman
E Q. . E O. P. E P. D . Q. P.
& . " Q. . " . O. "
E Omaj EO F
7#11
!
9
Cm E FQ
D E .. .. D
& O --- ### . . P Q --- O PO ... ..
.
% O --## D E . . Q- D . .
"
E Omaj
9 7#11 7b5 7b5
!
Cm Dm G
% . E E D E ! E
. ! . . . . Q.
. O. . . " . Q.
0. D â.
.
10
(
.# O. Q. O. P- O. D . Q.
& " Q.
BO DO
13 13 13 13
E O .!
C B
D D
& ---- ### ....
O -# # O .... . P QO ----#- ### Q Q P QP .....
% O -- ## D E O .. .. -# D Q ..
-#
"
DO
13 13
BO
13
!!
13
C B
% O . O . E ." E .! O . D E !
.
D E#
. . P. .
â0
( . 0 .0 0 0 0 0 0 0 .0 0 0 0 .0 0.
. 0 . . 0 . . 0 . . 0 .
Q. O. P. D . O 3. . Q. O.
3
& . Q.
BO DO
13 13 13 13
D E ! C A
D
& --- ###
O -- # # O O ..... ....
. P QO ----#- ### P Q Q .....
% - ## D E O .. .. -# D ..
O- -#
"
BO DO
13 13 13 13
C
% O. E . E ! D E ! D E# !!A
O. " . O. . . Q. . .
â
â0
0 .0 0 0 0 0 0 0 .0 0 0 .0 .0 . 0 .0
( . . . . . . .
0 0 0 0 0
203
PolyBrubeck
Trevor Coleman
P .# . . . O. . D D
& . Q. . P. O. . Q. P.
AO BO
13 13 13 13
D
B
E ! D
A
& --- ## ! #
O O -#
-# # Q Q .... .....
Q . P P PO -----# ### Q Q QP .....
% O-# D E Q. # -# D ..
. O-# .# O-#
AO BO
13
!! A
13 13 13
% O. E . E ! B
D E ! D E#
O. " . . . O. . P. .
( 0 0 0 0 0 0 .0 0 0 0 .0 0. 0 .0 0
. . 0 . . 0 . . 0 . 0 .
D E ! D E ! E !
& O.
. Q. . P. . . . O. .
AO BO
13 13 13 13
!
B
D E D
G
& --- ## ! #
O O -#
-# # Q Q Q ..... ....
. P P PO -----# ### QP ....
% O-# D E Q. # # D
O-# .# O -- # ..
AO BO
13 13 13 13
O. E . E ! D E ! D E# !!
B G
%
O. " . . . O. Q. . .
â
( 0 0 0 0 0 .0 0 0 .0 .0 0. 0 .0 0 0
. 0 . . 0 . . 0 . 0 . .
D D O . 3. . . O .3 O . .3 .
O . P . O. P. O. O. O. D O . P .
3 3
& Q. O. O.
GO AO
13 13 13 13
D D D D D D
A G
& O.
O O .... Q Q Q ..... P P PO .... Q PP .... ...
.
% O. D D PP .. D D OO .. D D P. .
. O. P. .
GO AO
13 13 13 13
% D E !
A
D E ! D E# !! G
O. . . . O. . P. .
0 0 0 0 .0 0 0 0 .0 0. 0 .0 0 0 0 0
( . . 0 . . . . .
0 0 0 0
204
PolyBrubeck
Trevor Coleman
P . O 3. O . P . O . O . O . D D . O.
P. . O- . O- Q.
& P. O. . Q. P- -
GO AO GO
13 13 13 13 7#9 7#9 13 13
G
D D D D
A G E F
--## O- #
& O ..
O O ... Q Q Q ..... P P PO ---# #
-#- ## Q PP --- Q -#
O --- ### O OO ---#- ### P ----
-
% O. D D PP .. OO -- ## PP -- -# D- # -# O-
O. -- ## -# O-# -
GO AO GO
13 13 13 13 7#9 7#9 13 13
D E ! D E ! D D D D D D
A G E G F
%
O. . . . O. P. . . . O. . O.
â
0. D D D D 0â
( .0 .0 . 0 .0
. 0 . 0
D D D D D D D D
& - O- - O. . . O. . . Q. Q.
GO EO
7#9 7b9 7b9 7b9 7#9 7#9 7#9 7#9
E G F D D D F D D E
D D
O --- ###
& -- ## O OO ---#- ### P O ---- . O O ... . O OP ... ..
RQ -- ## - # Q .. Q .. .
% -# D- # -# O-# D D D D D D
-- ## -# O-# -# .. .. .. OO .. OO ..
GOD E . . D E ! EO
7#9 7b9 7b9 7b9 7#9 7#9 7#9
D D D D D E ! FD 7#9
E G F E
% Q.
. . O. . O. . . . " â. O. .
( 0 0 0 0 0 0 .0 0 0 0 .0 0. 0 .0 0 0 0 0 0 0 .0 0 0 .0 .0 0. 0 .0 0 0
. . 0 . . 0 . . 0 . 0 . . 0 . . 0 . . 0 . 0 . .
!D !D
7
D D E E E ! E ! E ! Solos
$ Cm
Repeat ad lib for solos
& Q. P. O. . Q. O. P. . (. )
EO EO DO E Omaj Q EO
7#9 7#9
D D E !D E E !D
7#9 7#9 7#9 7#9 9 9 7#11
E !D ! $ E
D F D F Cm
F E
& O O .. .
. O O ... P P .. O O ..
.. O .. (O ... )
. Q. Q. P.Q. P . . Repeat ad lib for solos
% D E E E E E E DE $
O. .
O. . . O. . O. ( .)
O ." . P. . O . . O. .
" 7#9" 7#9 " 7#9 "7#9 " 7#9 7#9 " 9
O E Omaj Dm7
7#11 b5 b5
E O DD E F E EOE
9
. E E E P. E O. E O. P. E O. $
Cm G7
%
D D
O â. â. . " P. " O. " " "
"
â" "â Repeat ad lib with same groove for solos
â â
0 0 D E 1 E 1 E 1 E 1 E 1 E 1 E 1 â â â â â 1 E 1 $
(
1 2
0 " " " " " " " "

fill........................................................ Repeat ad lib with same groove for solos
205
PolyBrubeck
Trevor Coleman
&
& ## ## ##
% ## ## ##
% ## ## ##
4 7 8 9
(
3 5 6
BO
7#9
(in approx. relation
to piano chords)
&
BO DO BO DO
13 13 13 13 13 13 13 13
C B C A
& ##
% ##
BO DO BO DO
13 13 13 13 13 13 13 13
C B C A
% ##
11 4
(
10 1 2 3
AO GO
7#9 7#9
&
AO BO AO BO GO AO
13 13 13 13 13 13 13 13 13 13 13 13
B A B G A G
&
%
AO BO AO BO GO AO
13 13 13 13 13 13 13 13 13 13 13 13
B A B G A G
%
7 8 9 11
(
5 6 10
206
PolyBrubeck
Trevor Coleman
7#9
E
&
GO AO GO GO
13 13 13 13 7#9 7#9 #9 #9 7#9 7#9 #9 #9
A F E G F E G F
&
%
GO AO GO GO
13 13 13 13 7#9 7#9 #9 #9 7#9 7#9 #9 #9
A F E G F E G F
%
4 7
(
1 2 3 5 6
7#9
D EO. E ! D D
D
$
END Theme (on cue)
& . O. " . P. O. . . O- . O.
EO EO E Omaj E FQ EO F
7#9 7#9 7#9 7#9 7#9 7#9 7#9 7#9 9 7#11
$
D F E D F E Cm
&
% $
EO EO E Omaj
7#9 7#9 7#9 7#9 7#9 7#9 7#9 7#9 9 7#11 b5 b5
$
D F E D F E Cm Dm7 G7
%
continue with same groove
(
8 9 10 11 $ 1 2
P -# P. E ! E O. . E . E O. . E P. . !
& . . O. O. . . . " " Q . . P . . Q . P .# O .
" "
& ## ##
% ## ##
% ## ##
4 7
(
3 5 6
207
PolyBrubeck
Trevor Coleman
D E . O. E P. . . E Q. Q. . . E O. . O. P. E P. D . Q. P.
& -# . O.
" " P. " " "
& ## ##
% ## ##
% ## ##
8 9 11
(
10
. . O. Q. O. P- O. D Q. O. P. D . O3. . Q. O.
3
& Q. . Q. . Q.
BO DO BO DO
13 13 13 13 13 13 13 13
C B C A
&
%
BO DO BO DO
13 13 13 13 13 13 13 13
C B C A
%
4
(
1 2 3
P .# . . . O . . D D D E !D E !E !
& . Q. . P. O. .
Q. P. O. . Q. . P. . . . O. .
AO BO AO BO
13 13 13 13 13 13 13 13
B A B G
&
%
AO BO AO BO
13 13 13 13 13 13 13 13
B A B G
%
7 8 9
(
5 6
10
208
PolyBrubeck
Trevor Coleman
D D O . 3. . . O 3. O . 3. .
O . P . O. P. O. O. O. D O . P .
3 3
& Q. O. O.
GO AO
13 13 13 13
A G
&
%
GO AO
13 13 13
13 G
A
%
11
(
10
P . O 3. O . P . O . O . O . D D D . O. D D E ! E ! O.
& . P. O. . O. O . P . . . O.
. . P. O.
. O. P.
GO AO GO
13 13 13 13 7#9 7#9 #9 #9
A F E G F
&
%
GO AO GO
13 13 13 13 7#9 7#9 #9 #9
A F E G F
%
4
(
1 2 3
E P. . E Q. D . O. E P. E ! . E Q. P. E O ." . . E ! E .
& . Q. " P. Q. P. P. O. . " O. P. " O. P. O. . "
"
GO EO
7#9 7#9 #9 #9 7#9 7#9 7#9
G 7#9
E F D F E
&
%
GO EO
7#9 7#9 #9 #9 7#9 7#9 7#9 7#9
E G F D F E
%
7 8 9
(
5 6
11
209
PolyBrubeck
Trevor Coleman
CODA
D D E . O.
7
. P. D . Q. P. . . $( , )
Cm
& O . " O . . Q . P . Free
Meter Repeat ad lib until cue to END
EO E Omaj EO F
7#9 7#9 7#9 7#9
E FQ
9 7#11
$
D F E Cm
&
Repeat ad lib until cue to END
% $
EO E Omaj
7#9 7#9 7#9 7#9 7#11 b5 b5
9
$ Cm
D F E Dm7 G7
%
Repeat ad lib until cue to END
(
10 11 $ 1 2
&
& ## ## ##
% ## ## ##
% ## ## ##
4 7 8 9
(
3 5 6
$
END (on cue)
& , ,# .
9
Cm
## $
&
O ,,,, ,#
,#
,#
,#
...
.
% ## $
, , ## .
, , .
9
% ## $ Cm
, ,# .
(
10 11 $ 1 1 D D 1 1 1 1 0.
.
fill.....
12
210
Polycycle #16:
PolyGone
- for Jazz Quartet and Vocalist -
Trevor Coleman
211
PC16 - PolyGone Lyrics by Trevor Coleman
shifting shapes
and figurines
altered states
and realities
holy cross
and trinity
a buddha smile
serenity
a mother cries
a child is born
a delicate
balance is formed
an alien can travel time
a temporal breach, a subtle sign
crystal ball in a honey comb
a modulating polygone
shifting shapes
and figurines
altered states
and realities
holy cross
and trinity
two soldiers greet, a truce in fire
re-align the line that trips the wire
crystal ball in a honey comb
a modulating polygone
212
Polymetric Score Polycycle#16: 'PolyGone' T. Coleman
. =100 for Jazz Quartet
Intro
E !
Bb Tenor Sax (Tango style)
E E ! D D E E ! D D E
& ! . Q. .
. . Q. ! .
.
. . Q. ! . .
)4 . Ö . Ö . Q Ö. . Ö . Q . Ö. .
O. .
4
D E .. .. .. .. .. -# E O ... .. . . E .. .. -- E O .. .. E .. .. .. .. ..
Piano
. . . . . --## . .. .. . . - . . . . .
& "
" " " "
D
O --
& -- -- -#
--## O OO ... -- -- -- -
-- --
4 - - - - - - -
4
%D
Bass
4
4
%D
Drums
û Theme
E ! D E ! E ! . D D E ! E ! .
& . Q. . . Q. . Q.
) Ö P. . Q . Ö. . Ö . Ö . .
-## E O ... .. .. .. E .. .. -#
--## D E ... .. .. .. ..
& --# . . . . . . . . .
" " "
D
& -#
--## O OO ... --
-
-- -#
--##
--
-
--
- -
. . Q. . . .
(Latin feel)
% .
5 .#
4
0
(Songo feel)
% 5 5 5 . . . . .11 0 0 . . 0 . . 0 F . 0 .
(woodblock)
4 . . . . .
(4+4+3)
D D E E ! D E . Q.
!
. .
& . Q. . Q. . Q. .
) Ö . Ö . Ö " .
-## E O ... .. .. .. E .. .. -# E O O ...

--##
& --# . . . . . "
" "
O ..
& -#
--## O OO ... -- -- -#
--## .
- -
%. . . . Q. . . Q. . . . . .# . . . . . Q. . . . .
.# .#
% 0 0 0 0 F. 0 . 0 0 . . 0 . . 0 0 0 0 . . 0 . . 0 F. 0 . 0
. . . . . . . .. . . . . . . . . . . . .
1
213
E ! . E ! E# . E ! .
& Q. . . . Q. . P. Q. . .
) Ö. . Ö . "" Q. Ö. .
.. .. ..
. . . E ... ... -# E O O .... .... .. .. E .. ..
. . --#
-# . . . .
& "
" "
& -- -- -#
--## O OO ... -- --
- - - -
% . . . Q. . . . . . . . Q. .
. -# .# . .#
% 0 . . 0 . . 0 F. 0 . 0 0 0 0 0 0 0 0 0 0 0 0
. . . . . . . . . . . . . . . . . . . .F. . . . . . . . .
D E# . E ! . D D E
& . Q. . P. Q. . Q. . . Q. !
) Ö "" Ö . Ö .
- E .. E .. E .... --# E .... .... O O OO .... .

& -- .. . . --# - ## P P ...
" " " "
F !! E !
& -- .. .. ,, ..## OO .. .. .. ..
- . . , .# O. . P. .
. . . . . # Q. . . . . .
%. .
. . .
.#
. .
. -#
%0 . . 0 F. 0 . 0 0 . . 0 . . 0 0 0 0 . . 0 . . 0 F. 0 . 0 0 . . 0 . . 0
. . . . . . . . . . . . . . . .
E ! . P. Q. E ! . E ! F Q. Q. . . Q.
& . Q. . Q . Ö. . . . Q. . .
) Ö . . Ö
-## D E .. .. E .. E O OO ...
... ### .... ....
& ---## .. .. ... .
.# . " "
" "
D ! F D
& -# ..## .. .. .. .. .. O OO ...
--## .#
.. ..
. . . . .
. .
. . Q. . . . . . . Q. . . Q. . . .
. .
% .# . . .# . .
.#
% F. 0 . 0 0 . . 0 . . 0 0 0 0 0 0F 0 0 0 0 0 F. 0 .
. . . . . . . . . . . . . . . . . . . . . . . .. .
2
214
E ! . E ! FQ. . Q. P. . E ! .
& Q. . . . . Q. . . . .
) Ö . Ö Q. Ö. .
E . . .. O OO ... E
... ... .. ### .
...
.
... .... . . .
... ... .. ### .
...
& .. # .. #
" " !! F ! " "
! E# E !
& .# .. .# .. .. .. .. .. .. .. OO .. ..## .. .. ..
.#
.# . ..## . . . . . . . O. .# . . .
. . Q. . . . . Q. . . . . . . . . Q. .# . .
% . .# .# .
0 0 0 0 0 0 0 0 0 0 0 0 0 0F 0 0
%
. . . . . . . . . . . . . . . . F. . . . . . . . . . .. . . . . .
To Coda ù
E ! . FQ. . Q. P. Q. E ! . E ! F . Q. P. .
& . Q. . Q. Ö. . . . Q. . .
) Ö . Ö
. .. O .. . E
& ... ... . . O O .. .... .... .. ## .... .... ---- ###
. .#
!! E " "
E# ! !
& . .. .# .. O OO ... . ..## .. .. ... ... .. -#
.. ..## . .# . . . --##
. . .
% . .
.# .# .#
. . . . . Q. . . . Q .# . . . .# . . Q. . . . .
% 0 . . 0 . . 0 0 0 0 0 . . 0 F. 0 . 0 0 . . 0 . . 0 F. 0 . 0 0 . .
. . . . . . . . . . . . . . . . . .
On Cue: † al Coda ù É
Open Form Group Improvisation CODA
E !
& . . . Q.
) Freely improvise on theme material and tonality in 4/4
Q. Ö. . ,
E |
& .... .... .. ## .... ,,,,
.#
Free improvisation in 4/4 " | "
!
& ..## .. .. ... ,,,
.# . . . ,
Variations on Groove and Tonality for Free Improvisation in 5/4 |
% . . .
. . -# . Q. . . . Q .# ,
%0 . . 0
Variations on Groove for Free Improvisation in 11/4
0 . . 0 F . 0 . 0 0 |0 0
. . . . . .
Polycycle = 4/4 - 5/4 - 11/4: Tenor Sax & Piano = 4/4; Bass = 5/4; Drums & Percussion = 11/4
3
215
Polycycle #18:
PolyMorphism
Trevor Coleman
216
Polymetric Score Polycycle#18: 'PolyMorphism' Trevor Coleman
-for Jazz Quartet-
. =180
Swing
Tenor Sax(C) & 7
4
)
& 74
Piano
%7
4
Ac. Bass
% 7(3+4)
4
Jazz Waltz Feel
ê0 ê0
( 3 . . . 0. .0 0 0. . 0 0 0 . 0. .0 0 0. 0 . 0 . 0 .0 0. . .0 0 0. .0 0 0. . 0 0 0 . 0. .0
0 0 0 0 0 0 0 0 0
Drums
4
(notation indication only)
&
)
&
BO
7
(8va is optional)
% O . . E .! . O 8va
. . . . . . E ! D D E ! O. . . . . .
8va
O. . . . O. . . .
0 0. 0 ê0 0 . 0 .0 0. .0 0 0 .0 0 0. 0 0 0 . 0 0 0 0. 0 ê0 0 . 0 .0 0. .0 0 0 .0 0 0.
(
0 . 0 . 0 . 0 . 0 0. . 0 . 0 . 0 . 0 .
&
)
&
% O . . E .! . D D . E ! . O 8va
. . . . . . E ! # D D
O. . O. . . -
0 0 0 . 0 0 0 0. 0 ê0 0 . 0 .0 0. .0 0 0 .0 0 0. 0 0 0 . 0 0 0 0. 0 ê0 0 . 0 .0 0. .0 0
(
0 0. . 0 . 0 . 0 . 0 . 0 0. . 0 . 0 . 0
217
[A] û B O7
D O. O. D D
&
O. O. O. O. O.
.
) (1st time, leave out [A] section, but play on D.S.)
7b9
E ! D
Gm
D
& . . . . O. . . .
O ----
11 (3+3+3+2)
4 ..
% O .. E .... E .... D E .... E O .... D P ...
. E .... E ....
" " " " " "
BO
7
% . E ! . O. . .
8va
. E ! . D D
O. . . . O.
.
.
0 ê0
( .0 0 0. 0 0 0 . 0 0 0 0. 0 0 . 0 .0 0. .0 0 0 .0 0
. 0 . 0 0. . 0 . 0 . 0 . 0
D O. O. D - D D
& O. O. O.
) O. O. .
D D D E ! D D D
& . . . . . .
E O .... D E .... E .... O .... .... O .... E .... D E .... D
% D D D
" " " " "
% O. . E ! . . O 8va
. . . . . . E ! D D
. . O. . .
ê0
( 0. . 0
0 0 . 0 0 0 0. 0 0 . 0 .0 0. .0 0 0 .0 0 0. 0 0
0 0. . 0 . 0 . 0 . 0 . 0
EO
7
D O. O. D D D
O. O. O.
& O. O. O.
) O.
O. O. O.
7b9
D Cm
. O. . O. . . . O. . O. . . . . . . . . D
&
O . . ---- O .... ..
E O ..
.. ..
E .. E .. D
..
E .. D
% E O ... E ... D D
"
D
" " "
" "
EO
7
O. . . . . .
% O. O. E . . O. O. E . . . . D
" "
ê0 0
( 0 . 0 0 0 0. 0 . 0 .0 0. .0 0 0 .0 0 0. 0 0 0 . 0 0
0. . 0 . 0 . 0 . 0 . 0 0. .
2
218
BO
7
O. O. D - D D D O. O. D D
& O. O. O. O.
) . O. O. .
7b9 9
Gm Dm
D D
O. . . O.
& . .
. O ... ....
O --
-- O .... E .... E .... D E .... D E O .... E .... D O .... D E P ...
%
" " " " " "
BO
7
% . E ! . O.
8va
. . . E ! . D D
O. . . . O.
.
.
0 0. 0 ê0 0 . 0 .0 0. .0 0 0 .0 0 0. 0 0 0 . 0 0 0 0. 0 ê0
(
0 . 0 . 0 . 0 . 0 0. . 0 .
GO
7
7
G
D O. P. D O- D D
& P . P . O.
) P. P. O.
GO
7#11
DO
7#11
D D ... D D - O ... O ..
& ...
. . O O --- O.
..
... E ... E ... ... E ...
E O P O ...
..
% E ... E ... E . . . E . . . D E O O OP .... E OP .... E OP .... E OP ....
" " " " " " " " " " " "
GO
7 7
G
% . E ! . E !
8va
. . . .
8va
. O. . O. O. O. .
. . . O. . . .
ê0 0
( 0 . 0 .0 0. . .0 0 0. .0 0 0. 0 0 0 . 0 0 0 0. 0 . 0 .0
0 0 0 . 0 0. . 0 . 0
B
7
O 7
[B] B
&
)
O O ----
7b9
O OO .... D D
Gm
E ! D D
& . . . .
O . O . E OP .... E OP .... E OP .... ---- O .... E .... E .... D E ....
% E O O ... E P ...
" " " " " " " "
7
BO
7
B
%. Q. E ! . Q. Q. Q.
8va
. E ! O 8va
. . . .
. .
.
O. . . . . .
0. 0 ê0 0 . 0
( 0. .0 0 0 .0 0 0. 0 0 0 . 0 0 0 .0 0. .0 0
. 0 . 0 . 0 0. . 0 . 0 . 0
3
219
D O. O. D D D
&
O . O. O. O. O.
. O. O.
O. O.
)
D D
& O. . . . .
.
.. O ---- P ... E .... E .... E O .... D E .... E .... O ....
% E O .. D . D D
" " " " " "
% . E ! . D D . E ! . . O 8va
. . . . .
O. . O. . .
0 .0 0 0. 0 0 0 . 0 0 0 0. 0 ê0 0 . 0 .0 0. .0 0 0 .0 0
(
. 0 . 0 0. . 0 . 0 . 0 . 0
EO
7
O. O. D - D D D O. O. D D
& O. O . O . O.
. O. O. O.
)
7b9
D E ! D D D D Cm
. O. . O. .
& . . . .
..
O .... E .... D E .... D E O O .... E .... D ---- O ....
% .. D D
" " " "
EO O.
7
! O. . .
% O. . E
. .
D D O. E . . . . .
"
0. 0 0 0 ê0 0
( . 0 0 0 0. 0 . 0 .0 0. .0 0 0 .0 0 0. 0 0
. 0 0. . 0 . 0 . 0 . 0 . 0
BO
7
D O. O. D - D D
& O. O. O.
) O. O. .
7b9
Gm
& . . O. . O. . .
. . . . . . D O. . . . . .
D
O ---
O ... .. ..
E .. E .. D
..
E .. D O .... E .... E .... D E ....
% E ." D
-
" " " " " "
BO
7
% O. O. E -# D D E ! O 8va
. . . .
.
" O. . . . . .
ê0 0
( 0 . 0 0 0 0. 0 . 0 .0 0. .0 0 0 .0 0 0. 0 0 0 . 0 0
0. . 0 . 0 . 0 . 0 . 0 0. .
4
220
7
D O. O. D D
G
D
& O. O. O. O. P. P.
) O. . P. P.
9
Dm
D ... D D .... D
O.
& O ... .... .
E O .... E .... D O .... E P ...
. .
E ... E ... E ... E ... E ... ... E ...
% D D . E . .
" " " " " " " " " "
7
G
% . E ! . O.
8va
. . . - E !
8va
. . . .
O. . . . . .
. .
0 0. 0 ê0 0 0. 0 ê0
( . 0 .0 0. .0 0 0 .0 0 0. 0 0 0 . 0 0 0
0 . 0 . 0 . 0 . 0 0. . 0 .
ù
7
O. E Q. . Q. . Q.
To Coda
P. O. D O- D D
B
. .
& Q.
O. . Q. Q. "
)
DO GO
7#11
O O ----
7#11
D - O ... O .. O OO .... D D
& O O --- O.
..
O. .
% E O P .. .. D E O O OP .... E OP .... E OP .... E OP .... E O O O .... E OP .... E OP .... E OP .... E OP .... ----
" " " " " " " " " "
GO
7 7
B
!
O. E Q. E
% ! . Q. Q. Q. .
. .
.
8va 8va
. O. O. O. .
O. . . . .
ê0
( 0 . 0 .0 0. .0 0 0 .0 0 0. 0 0 0 . 0 0 0 0. 0 0 . 0 .0
0 . 0 . 0 . 0 0. . 0 . 0
[C] EO
7
BO
7
Sax Solo
&
)
&
7b9 7b9
Gm
% Cm
(Phrygian) (Phrygian)
BO EO
7 7
%
( 0. . .0 0
5
221
BO GO
7 7 7 7
G B O 7 repeat for solos
$B
&
) Sax Solo x3,
$
Piano Solo x3
&
DO GO
7b9 9 7#11 7#11 7b9
%
Gm (Phrygian) Dm $ Gm
BO GO O
7 7 7 7 7
%
G B $ B
( $
EO BO
7 7
&
)
on last repeat of piano solo group begins 'fragmenting'
&
7b9 7b9
Gm
% Cm
EO BO
7 7
(walking bass on piano solo)
%
GO
7 7 7
G B
$ $ $
&
) Group
Improvisation
$ $ $
&
7
DO GO
9 7#11 7#11
%
Dm $ $ $ 4
GO
7 7 7 open length
%
G B $ $ $
Drum Solo
ê0 free form
ê0
( . . . $ $ $ . . .
etc, continue in 3/4
(every 3rd repeat)
6
222
&
)
&
BO
7 (8va is optional)
% .E !. D D .E !. D D . E ! . O. . . . -
8va
O. . O. . O. .
D.S. al Coda ù CODA
&
)
&
7b9
Gm
%
(Phrygian)
B O E ! O 8va
7
% O . . E .! . D D E ! . O. . . . . . E ! D D . . . . . .
8va
.
O. . O. . . . O. . . .
0. .0 0 0 .0 0 0. 0 0 0 .
( . 0 . 0 . 0
BO
7
BO
7
D O. O. O. D D E ! O. D O. O. D
O . O . O.
& O. . O. O. .
) O.
&
% O . . E .! . D D . E ! . . O 8va
. . . . . . E ! D D
O. . O. . . .
0 0 0 0. 0 ê0 0 . 0 .0 0. .0 0 0 .0 0 0. 0 0 0 . 0 0 0 0. 0 ê0 0 . 0 .0 0. .0 0 0 .0 0
(
0. . 0 . 0 . 0 . 0 . 0 0. . 0 . 0 . 0 . 0
7
223
EO
7
D O. O. D D D O. O. D - D D
& O. O. O. . O. O. O.
) O.
O. O. O. .
&
7b9 7b9
Gm (Phrygian)
% Cm (Phrygian)
E OO . BO E !
7 7
% O. E . . O. . . . . .
O.
O. E .
. D D . . O. . . . .
8va
.
O. .
" "
0 0 0 0 . 0 0 0 0. 0 ê0 0 . 0 .0 0. .0 0 0 .0 0 0. 0 0 0 . 0 0 0 0. 0 ê0 0 . 0 .0 0.
( .
. 0 0. . 0 . 0 . 0 . 0 . 0 0. . 0 . 0 .
GO
7 7
D O. O. O. D D D . P. . P. . . D
G
. O. O. O. O-
& O. O. O.
) O. .
&
DO GO
9 7#11 7#11
Dm
%
GO
7 7
G
% O . . E .! . D D E ! E !
8va
. . . . . .
8va
. O. O. O. -
. . . . O. O. . .
0 0 0 . 0 0 0 0. 0 ê0 0 . 0 .0 0. .0 0 0 ê
.0 0 0. 0 0 0 . 0 0 0 0. 0 0
( .0 0 0. .0 0 0.
. 0
0 0 0. . 0 . 0 . 0 . 0 . 0 0. . 0 .
7
BO
7
B
E Q. . Q. . |
Q. Q.
& Q. Q. " Q- ,# .
) .
|, # ..
,#
,# .
&
|#
% O ,,,#
,# ....
7
B
E ! . O- |
8va
% . Q. . Q. Q. Q.
. O ,# .
ê0 |#
( 0 . 0 .0 0. .0 0 . . .
. 4 4
0 0
Polycycle#18 = 3/4, 7/4, 11/4:Drums = 3/4; Sax & Bass = 7/4; Piano = 11/4
Mother Cycle = 231 beats, or Form x3
8
224
Polycycle #19:
The Sound of Jazz
Trevor Coleman
225
The Sound of Jazz by Trevor Coleman
It swings like Ellington

sings like a mockingbird
grooves like a steamboat
and flies like Charlie P
Grateful as a spiritual
eternal as a prelude
burns like bebop
cool like Miles D
Blue like an evergreen

Rondo a la Turk
Return to Forever
immortal like Billie H
It breaths like an overtone

organic like a dream
as blessed as a child
and sad as a blues queen
As humble as silence
and sits like a raga
committed like Coltrane
and bold like a saga
The sound of Jazz

at every tone and layer
the beat of heart rhythm
that rhymes like a prayer
226
Polymetric SCORE Polycycle#19: 'PolyHymnia' T. Coleman
T
Polycycle#19: The Sound of Jazz
. =100 Funk
û F
7b9
D O... D
Tenor Sax (C) & 44 O... -
) 7b9
D D
F
O...
(on D.S. R.H. doubles L.H. 8va instead of melody)
&4 O... -
4 3 3 3
Piano 3 3 3 3 3 3 3 3
% O. . . . O. . P. . O.
. . . O. . O. . O.
. . . . . O. . . P.
. . . . . . . .
7b9
%7
F D E# !!
1st time tacit, play on D.S.
D !! E# D E# !!O . . D
4. O. . .
Bass
1st time tacit, play on D.S.

. O. O.
ê0 ë0 ë0 ë0 2â0 ë0 ë0 ë0 â03 ë0 ë0 ë0 4â0 ë0 ë0 ë0 1ê0 ë0 2â0 ë0 ë0 ë0 â03 ë0 ë0 ë0 â04 ë0 ë0 ë0
1
â01 ë0 ë0 ê02 # ê0 ë0 ë0 ë0 2â0 ë0 ë0 ë0
1
( 54 ... . . . . . ... . . .. . . .# . ... .

Drums
. . . .. . . . . . . . . . . .
(feel = 4+4+2 beats)
E Om
7
D 3
. O.
. O.
3
& . O.
) .O. . O. - . O.
E Om
7
D 3
. O.
. O.
3
& . O.
.O. . O. - . O.
3 3 3 3 3 3 3 3
% O. O. O. !
3 3 3
. . O. . O. . . . O. . . . . O . O .
3
O.O. O.O. O.O. . . . . O.
. . . . . .
!! E Om
7
% E# D E# E# O . !! E D D E# !!
O. O. O. O. O. .
"" O. O. .
â03 ë0 ë0 ë0 4â0 ë0 ë0 ë0 1ê0 ë0 2â0 ë0 ë0 ë0 â03 ë0 ë0 ë0 â04 ë0 ë0 ë0 â01 ë0 ë0 ê02 # ê0 ë0
1
ë0 ë0 2â0 ë0 ë0 ë0 â03 ë0 ë0 ë0 4â0 ë0 ë0 ë0
( . . . . . .. . . .. . . .# . . .. . . . .
. . . . .. . . . . . ..
G O maj
9
D D
& , O. . . O. . . -
) O 9
G maj
D D
& , O. . . O. . . -
3 3 3 3 3 3 3 3
O.
3 3 3
% O. O. O. . . . . . O. O. . O. . . . O. O. O. . O . . P .# P .
O. . . . O. . . . O. . .
G O maj
9 7b9
% D E# !! D E# !! E D E# .
A
O. . .
O . .# . O. . .. "" .
ê0 ë0 â0 ë0 ë0 ë0 â03 ë0 ë0 ë0 â04 ë0 ë0 ë0 â01 ë0 ë0 ê02 # êë ë0 ë0 2â0 ë0 ë0 ë0 â03 ë0 ë0 ë0 4â0 ë0 ë0 ë0 1ê0 ë0 â0 ë0 ë0 ë0
. . .# . 0 0
1 2 1 2
( . . .. . . .. .. . . . . . . . ..
. .. . . . . . . . . . . .
1
227
'PolyHymnia'
7b9
A ! 5
P. Q. P. O. O.
3
& .# . . . .
) .Q. . P.
!
7b9
A 5
P. O. . O. . P. Q.
3
& .# . .
.Q. . P.
% O. . . .
3 3
. 3. . 3. O . 3. . 3. . .3 . 3 ! O . 3. . 3. . 3. . 3 !
. . . . . . . . . . . .
% D E# !! D E# !! D E# !! E D E# !!
. . . . .# .. . .. .
â03 ë0 ë0 ë0 â04 ë0 ë0 ë0 â01 ë0 ë0 ê02 # ê0
1
ë0 ë0 ë0 2â0 ë0 ë0 ë0 â03 ë0 ë0 ë0 4â0 ë0 ë0 ë0 ê0 ë0 2â0 ë0 ë0 ë0 â03 ë0 ë0 ë0 â04 ë0 ë0 ë0
1
( . . .. . . .# . .. . . . . . . . .. . . ..
. . . . . . . . . . . .. .
7b9
D
C 3
O. . O. . . . O.
& -# . .. -#
) 7b9
C D
3
O. . O. . . . O.
& -# . .. -#
O. 3 O . 3. . 3. O . 3. O . 3. O . 3.
% . . . . . O. . . P. . .
3 3 3 . 3. O . 3. P .
. . . . . . .
7b9
!! !! F
D E# D E# D E# !! . . E
7b9
% O .# C
.. . . . . .
. .
â01 ë0 ë0 ê02 # ê ë0 ë0 ë0 2â0 ë0 ë0 ë0 â03 ë0 ë0 ë0 4â0 ë0 ë0 ë0 1ê0 ë0 2â0 ë0 ë0 ë0 â03 ë0 ë0 ë0 â04 ë0 ë0 ë0 â01 ë0 ë0 ê02 #
. 0
1
( . . .# ... . . . . . . .. . . .. . . .# .
. . . . . . . . . . . .. . .
O. . .
7b9
F D O. . . - D .O. . O.
&
) 7b9 (on D.S. R.H. doubles L.H. 16va instead of melody)
D O. . . D
O. . . - .O. . O.
F
& O. . . O. . . - .O. . O.
3 3 3 3 3 3 3 3 3 3 3
% O. . . . O. . P. . O.
. . . O. . O. .
O.
. . . O. . P.
. . . . . . . . . . .
% D E# O . D E# !! O . . D E# O . D
1st time enter here:
"" O . . O. "" O . .
1st time enter here:
ê0 ë0 ë0 ë0 2â0 ë0 ë0 ë0 â03 ë0 ë0 ë0 4â0 ë0 ë0 ë0
1
ê0 ë0 2â0 ë0 ë0 ë0 â03 ë0 ë0 ë0 â04 ë0 ë0 ë0
1
â01 ë0 ë0 ê02 # ê0 ë0 ë0 ë0 2â0 ë0
1
ë0 ë0
( . .. . . . .. . . . . . ...
. . .
. . ..
. . .
. . .# .
. . .
...
.
.
.
2
228
'PolyHymnia'
E Om
7
O. . O. O. O3.
E " O.
3
. . - . D D
& . O.
)
E Om
7
E O. .
3
O.
3
D D
& O. O. . - . . O.
" O. .
3 3 3 3 3 3 3 3
% O. O. O. O. !
3 3 3
. . O. . O. . O. . . O. . . . O. . . O. . O. O.
3
O. . . . O. . . . O. . .
E Om
7
% E# !! D
O.
E# D E# !! E D E# !!
O. O. "" O. O. . O. . O . P .# .
â03 ë0 ë0 ë0 4â0 ë0 ë0 ë0 1ê0 ë0 2â0 ë0 ë0 ë0 â03 ë0 ë0 ë0 â04 ë0 ë0 ë0 â01 ë0 ë0 ê02 # ê0 ë0
1
ë0 ë0 2â0 ë0 ë0 ë0 â03 ë0 ë0 ë0 4â0 ë0 ë0 ë0
( . . . . . .. . . .. . . .# . . .. . . . .
. . . . .. . . . . . ..
O maj9 O. .O. .
-G O .# .# .-
& "
)
G O maj
9
- O .# O. .O. . .# .-
& O .# O. .O. . .# .-
3 3 3 " 3 3
O . O . O . 3. O . . . .
3 3 3
% O. O. O. . . . . . O. O. O. . O. . P. 3 !
3 3
O. . . . O. . . . O. . . P.
G O maj
9
% D E# !! O . E D E# O . D . E# D
O. . . "" . O. "" . O .
ê0 ë0
1
â0 ë0 ë0 ë0 â03 ë0 ë0 ë0 â04 ë0 ë0 ë0 â01 ë0 ë0 ê02 #
2
ê0 ë0 ë0 ë0 2â0 ë0 ë0 ë0 â03 ë0 ë0 ë0 4â0 ë0 ë0 ë0 1ê0 ë0
1
â0 ë0 ë0 ë0
2
( . . .. . . .. . . .# . ... . . . . . . ..
. .. . . . .. . . . . . .
7b9
O .# O .#
A
. . . . . . . . - D
& " "
) A 7b9
O .# . . . . . . O .# . . - D
& O .# . . . . . . O . # . . -
" "
!
% O. . . . . . .. O. . . . . . . ! O . 3. . 3. . 3. .
3 3 3 3 3 3 3 3 3
. . . . . . . . . . . .
!! . E D !! !!
% E# D E# E# D E#
7b9
!! A
O.
. .# .. . . . . .
â03 ë0 ë0 ë0 â04 ë0 ë0 ë0 â01 ë0 ë0 ê02 # ê0

1
ë0 ë0 ë0 2â0 ë0 ë0 ë0 â03 ë0 ë0 ë0 4â0 ë0 ë0 ë0 ê0 ë0 2â0 ë0 ë0 ë0 â03 ë0 ë0 ë0 â04 ë0 ë0 ë0
1
( . . .. . . .# . .. . . . . . . ... . . ..
. .. . . . . . .. . .. .
3
229
'PolyHymnia'
7b9
C 7b9
O .# . . - O. . O. . -
Em
" ,
&
) C7b9
O .# . . O. . O. . , E m7b9
O .# - - ,
& . . O . . O. . - -
"
O . 3 .3 O . 3 . 3 O . 3 O .3 ! O .3 .3 O .3 P . . 3. . 3. . 3. . 3.
% . . . .O . . . P . . . .. .. .. .. .. .. . . . .
3 3
.
E # !! . E E # !!
7b9
. E # !!
7b9
%C E D D D Em
. . .
. O .# . . O. . .O.
.
. .
â01 ë0 ë0 ê02 # 1ê0 ë0 ë0 ë0 2â0 ë0 ë0 ë0 â03 ë0 ë0 ë0 4â0 ë0 ë0 ë0 1ê0 ë0 â âE E . . ê0.##. ê0 (ride)

0. . â0. 0 . â0 . 0 . â0 0 .
2 3 4 1 2 1 2 3 4
( . . .# . . . . . . . . . . ..
. . .. . . . . . . . . . ..
- , - -# To Coda
D ù
- -
&
) - - -#
- , -
- - , - - -# D
&
. 3. . 3. . 3. . 3. . 3. . 3. . 3. . 3. . 3. . 3. . 3. . 3. .. -
% . 3
D
. . . . . . . . . . . . . "
% . . .# . . . -
. . . . . . O .# .
. .
ê0 0 2â0 0 â03 0 â04 0 â01 0 ê02 0 1ê0 0 2â0 0 â03 0 4â0 0 1ê0 0 2â0 0 â03 0 â04 0 â01 0 ê02 0
1
( . ... . . .. ... . ... . . . . . ... . . .. .. . .

. .. . .. .. . . . . . . . ... .
E Om
7b9 7
$F repeat for solos
&
)
4
$
&
E Om
7b9 7
%$
F
E Om
7
!
7b9
%$ D E# !! D E# D E # !!O 0 D E # ! D E# ! ED E #
F continue in similar style with weight on beats 1,4 &7
!! 0 ! O0
0 O0 0 0 O 0 O 0O 0
0O0 O0 O0O00 ""
$ ê0 ë0 ë0 ë0 2â0 ë0 ë0 ë0 â03 ë0 ë0 ë0 4â0 ë0 ë0 ë0 1ê0 ë0 2â0 ë0 ë0 ë0 â03 ë0 ë0 ë0 â04 ë0 ë0 ë0
1
â01 ë0 ë0 ê02 # (freely interpret groove)
( . .. . . . .. . . . . ....
. . .
. . ..
. . .
. . .# .
.
4
230
'PolyHymnia'
G O maj
9 7b9 7b9
A C
&
)
&
G O maj
9 7b9 7b9
%
A C
G O maj
9 7b9
D E # !!
7b9
A
% D E# ! D E# ! D E # !! E D E # 0 D E # !! D E # !! D E # !! ED E # !! C
! ! 0 O 0 #0 0 0
O 0 O 0 0 O 0 0 O 0 0 #0 O 0 0 0 0 "" 0 0 0 00 0 0 #0 0 0 00
E Om
7b9 7
F
&
)
&
E Om
7b9 7
%
F
E Om
7b9
!
7
% 0 0 D E # 0!
F
DE E D E# O 0 D E # !!O 0 D E # O 0 D E # !! D E # O 0 D E # !! ED E # !!
0 # !! 0 0 0
0 0 "" O 0 0 O0 "" O 0 0 O 0 O 0 "" O 0 O 0 0 O 0 0 O 0 P 0 # 0
G O maj
9 7b9 7b9
A C
&
)
&
G O maj
9 7b9 7b9
%
A C
G O maj
9 7b9
D E # 0 D E # !! AD E # !! 0 ED E # !! D E # !! 0 ED E # !! D E # !! 0 E
7b9
C
% D E # !! O 0 E D E # O 0
O0 0 0 "" 0 O 0 "" 0 O 0 0 0 #0 0 00 0 00 O0 0 0 O 0 #0 0 O 0 0
5
231
'PolyHymnia'
CODA 7b9
$ù -# D - . #. . -# E . . - . E . . - # . F3. .
7b9
Em end of solos D.S. al Coda Em 3
& "
)
$
&
7b9 7b9 (animated block chords)
%
Em $ Em
!! E m
7b9 7b9
% D E# 0 O 0 0 0 0 0 0 0 0 #0 $
Em
0 00 000
(ad lib)
0 0 000 0 0 00 O 0 #0 0 000
( $ continue...
-# . . . . - - -# . . . . - . . , , ,
&
) 7b9
F (R.H. improvise fragments of melody)
&
O . 3. . 3. O . 3. P . 3. O . 3. . 3. O . 3. O . 3. O . 3. . 3. O . 3. P .
% . . . . . . . . . . .
%
. , , ,
â0 0
(
. D
&
)
E Om G O maj
7 9
&
O. . O. 3 . O. 3 . O. 3 O.3 . .3
O . O . 3. . O . 3. . O . 3. . O . O . 3. . O . 3. . . 3. . O . O . 3. . O . 3. . O . 3O . O . O . . . 3. . . .
3
%
"
% D
.
6
232
'PolyHymnia'
&
) 7b9
A
&
O . O 3. O . 3. O . 3. . 3. O . O 3. O . 3. O . 3. P . 3
% O. . . . O. . . P.
3 3 3 3 3 3 3
O.. .. . . .. O.. .. .. . !
3
" &
. . . . . . . .
%
&
)
. ..
7b9
C
& .
3 3 3 3 ! O . 3. . 3. O . 3. P . 3. O . 3. . 3. O . 3. O . 3. O . 3. . 3. O . 3. P .
& O. . . . . . .
% . . . . . . . . . . . .
. . .
%
&
) - -
, E m7b9
-
- . . . -# ,
,
-
- 3
, - . ", -
&
.3 .3 .3 .3 .3 .3 .3 .3 .3 .3 .3 .3 .3 .3 .3 .3 3 . . -# ,
% .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. "
Polycycle#19 = 4/4, 5/4, 7/4: 4/4 = Sax & Piano; 7/4 = Bass; 5/4 = Drums
7
233
Stay With Me Lyrics by Trevor Coleman
(based on the lyrics to ‘Abide With Me’ by Henry F. Lyte)
Come to me
fast falls the evening sun
when the darkness deepens
oh love stay with me
When all help fails
and all my friends have gone
help me be faithful too
and stay with me
Oh graceful day, how sweet you are

how blue your sky flies by
shadows creeping slowly
and glory fades away
changing all the surfaces
of all the things we know
only you stay the same
so please stay with me
I need your love

your presence every day
only your grace can
keep the dark at bay
who else but you
can guide and set me free
through the clouds and sunshine
oh love, stay with me
234
All This Time Lyrics by Trevor Coleman
All this time

I thought you were gone
no messages, no sound of return
Now I hear
you’ve been here all along
hiding out, in the shadows of time
We faced our fears

and trusted in pain
a reminder of, how much we gained
We talked in rhymes
and laughed on a beat
all the while, riding on a dream
Then one day

after one more broken heart
the change came on, and your eyes looked away
Coming home
to a hallway of emptiness
all sign of you, remained as a memory
All this time

no messages, no sound of return
Now I hear, you’ve been waiting all along

hiding out, in the shadows of time
235
Does this mean
that hope is a key?
and after all, what is lost can still be found
I pray for peace

and the wisdom to see
the inner-sense of what’s meant to be
Underneath the hurt

alongside the pain
a beauty shared, and long years of growing up
And now we’re here

a crossroad in our story
we can hold the form, embrace the rhyme and reason
All this time

and now I hear, you may want to stay
you may want to stay
All this time,

you were never gone
and now I know, you’re here to stay
you’re here to stay
236

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POLYCYCLIC COMPROVISATION

Portfolio, Recordings and Exegesis

Submitted in fulfillment of the requirements of the degree of

Doctor of Musical Arts

Trevor Coleman, June 2016

I use the term comprovisation, an elision of composition and improvisation, in order to

Through comprehensive investigation of theoretical precedents and musical analysis of the

TABLE OF CONTENTS .......................................................................................................... 5

LIST OF FIGURES ................................................................................................................ 11

CHAPTER 1: INTRODUCTION ............................................................................................. 14

1.1 DEFINING POLYCYCLES ............................................................................................... 14

1.2 DEFINING COMPROVISATION ...................................................................................... 16

1.3 MY MUSICAL BACKGROUND ........................................................................................ 18

1.4.1 EXEGESIS STYLE ............................................................................................................ 20

1.5 CHAPTER SUMMARY .................................................................................................... 26

CHAPTER 2: THEORETICAL FOUNDATIONS AND LITERATURE REVIEW.................... 27

2.1 COMPROVISATION: ....................................................................................................... 27

2.1.1 COMPOSITION: ................................................................................................................ 29

2.2 METRE / POLYMETRE / INTERLOCKING PATTERNS ................................................. 35

2.3 ETHNOMUSICOLOGICAL PERSPECTIVE .................................................................... 45

2.3.1 INDIAN MUSIC ................................................................................................................. 45

2.4 MINIMALISM / METAMODERNISM ................................................................................ 51

2.4.1 MINIMALISM .................................................................................................................... 51

2.5 JAZZ AND THE COMPROVISATIONAL SPECTRUM .................................................... 55

2.5.1 ORGANIZING COMPOSED ELEMENTS FOR IMPROVISATION ALONG THE COMPROVISATIONAL

2.6 COMPUTER / STUDIO COMPOSER .............................................................................. 61

CHAPTER 3: POLYCYCLIC CHAMBER MUSIC ANALYSIS .............................................. 66

POLYCYCLE 11: ‘POLYSPIRALS’ (PORTFOLIO P101; BLUE CD TRACK 8)..................... 70

INTRODUCTION AND OBJECTIVES .............................................................................................. 70

POLYCYCLE 4: ‘POLYFUGUE’ (PORTFOLIO P51; BLUE CD TRACK 4) ........................... 81

INTRODUCTION AND OBJECTIVES .............................................................................................. 81

POLYCYCLE 7: ‘POLYFOLKBAROQUE’ (PORTFOLIO P76; BLUE CD TRACK 6) ............ 90

INTRODUCTION AND OBJECTIVES .............................................................................................. 90

POLYCYCLE 10: ‘POLYKARMA’ (PORTFOLIO P119; BLUE CD TRACK 9) ....................... 96

INTRODUCTION AND AIMS ......................................................................................................... 96

POLYCYCLE 5: ‘POLYANATOLIA’ (PORTFOLIO P6; BLUE CD TRACK 1) ...................... 102

INTRODUCTION AND AIMS ....................................................................................................... 102

INTRODUCTION AND AIMS ....................................................................................................... 109

CHAPTER 4: POLYCYCLIC JAZZ MUSIC ANALYSIS ..................................................... 116

POLYCYCLE 13: ‘POLYPHASIC’ (PORTFOLIO P173; RED CD TRACK 4) ...................... 118

INTRODUCTION AND AIMS ....................................................................................................... 118

POLYCYCLE 11: ‘POLYBRUBECK’ (PORTFOLIO P198; RED CD TRACK 7) .................. 126

INTRODUCTION AND AIMS ....................................................................................................... 126

INTRODUCTION AND AIMS ....................................................................................................... 131

POLYCYCLE 18: ‘POLYMORPHISM’ (PORTFOLIO P216; RED CD TRACK 9) ................ 137

INTRODUCTION AND AIMS ....................................................................................................... 138

CONCLUSION AND REMAINING WORKS ........................................................................ 144

01 - POLYNATION (PORTFOLIO P140; RED CD TRACK 1) ........................................................ 144

CHAPTER 5: POLYCYCLIC WORLD MUSIC ANALYSIS ................................................. 150

01 - POLYNATION .................................................................................................................. 152

CHAPTER 6: CONCLUSION .............................................................................................. 158

1. COMPROVISATION: BALANCE BETWEEN COMPOSITION AND IMPROVISATION .......................... 159

REFERENCES .................................................................................................................... 166

DISCOGRAPHY .................................................................................................................. 173

APPENDIX A ....................................................................................................................... 174

POLYCYCLES AND FUGUES .................................................................................................... 174

APPENDIX B ....................................................................................................................... 176