a COLLECtiOn orn Etté OF tHe CUOMPOSItONS ~~ GOLeMan ~ +7." Bird Food Chronology Face of the Bass Focus on Sanity Forerunner Free Loncly Woman Peace Una Muy Bonita MQ music Inc.a inuiiinfin! "Geta 3 1223 ‘00687 262, COMPOSItONsS OF CONTENTS FORERUNNER iy ae 5 Pee SS SER ER OAE 5 CONGENIALITY - = aoigiala Sous ate PEACE . FREE .. Soy RSS eee ees eae * LONELY WOMAN ¥ 7 FACE OF THE BASS ee eee ee ee CHRONOLOGY ....... nie baat _ ‘esiraleee BIRD FOOD Sal - nae epitretacet | | FOCUS ON SANITY cn date anaes aut ee UNA MUY BONITA ............. erat Ln 7 MAG MUSIC, INCS. F. PUBLIC LIBRARY PREFACE This collection of compositions by Ornette Coleman i probably in certain respects one of the most unusual mutic publications ever undertaken. Ordinarily, publication tokes place once © composer has submitted a manuscript fo the publisher. Where this has not been the cose, as in the case of folksong collections, for ‘exomple, the music hos usually been of such a simple nature or has been so simplified by the editor) that difficulties of the kind encountered in this edition never arose. Me. Coleman, @ contioversiol allo sanplanist aid composer, through on undoubtedly unique set of eircum- stances was spared’ conventional musical education. Despite the fact thot he had played the saxophone some fifteen years belore he made his int recording, Mr. Coleman never learned to read of write conventionol musical notetion correctly. In the history of human civilization this is, of course, not unusual. However, in the context of our Western civilization, @ musician's total immunity to the notational aspect of music mist be considered somewhat of an exception. And wil, ia the early days of jazz, non-reading improvising musicions were the rule rather than the exception, the reverse is true today, and mos jazz musicans can reod at least mmederstaly well. Mol 20 Me. Colenun, Lest this Le cumtrued as ctkicim of his abilities, we wish fo assure the reader that, were this the case, this publication would never have been undertaken. On the contrary, we believe itis precisely becouse Mr. Coleman was not ‘handzapped’ by conventional music education that he hor been cble to make his unique contribution to contemporary music. The specific problems of notofing these compositions arse from the fact that the leedshees: submitted by Mr. Coleman, written in a highly ‘personal’ natation, rorely coincided rhythmically with his own periormances of these works. The editor. therefore, was forced tn trancriha them fram Mr. Coleman's racing. A further complication arose at this point, since in those instances, where the rhythmic nototion was #of unmistakably lear, Mr. Coleman was unable to verify one way or another the editor's particulor choices, 1t must therefore be emphasized that while every effort ot accuracy has been made, the editor cannet claim to have solved every notational problem unequivocally. Notation is in mony ways based on arbitrary decisions by the composer tlor example whether to notate « Ficce ot d= 12600 J— 126%, sinikaly, im ths edion, lacking of necessity the authority of the composers personal choice, arbitrary decisions had to be made by the editor. However, we believe they ore limited 0 instances where the recorded performance was itll net definitive enough to arrive ot an unequivocal choice. ‘The paradox of the situation is that a composer's performance of his own music & unquestionably o more direct fond accurate source of his intentions than his notation of the same music could ever be. However, for the publisher, who obviouily cannet exist without notation, the recording by iself—no matter how authoritative lacks the ‘composer's written corroboration of his performance. ‘To complicate matters more, there are certain variables in the recorded performances of Mr. Coleman's works with respect to tempos, meters and chord progressions, not only within o given piace, but from perlormance to performance, so that the editor was unable to check his notational choices against live performances. {In Mr. Coleman's world, where freedom and constont variation are the main guiding principles, itis not at call unusual that on improvised phrase, which on its frst appearance consist of six bars, tuins out to be eight the next time ond perhaps nine sill later. The chord progressions lor ‘changes’ upon which the improvisations ‘are based are otten only loosely related to the composition, at other times relate only to par! of the weitten section, and in ony case ore not always sriily adhered to, (See discussion of Congeniality below. In Lonely Woman another type of performance variability occurs: in this piece only the drums keep a strict tempo, while ‘ato and trumpet fin an ‘improvised’ unison! and the bass play not only at diffrent tempos, but within these tempos quite freely (ubatol. Stoee 3 1228 00687 2607 145.42 CotteThese structurcl and harmonic liberties have led some observers fo conclude that Mr. Coleman's music is chaotic end formless. But even a perfunctory glance ot the ten compositions in this book will indicate that this is not the case. In fact, the pyramiclike form of Focus on Sanity, with its related tempo levels; the ingenious meter relationships of Una Muy Bonita; the simple yet original formal designs of all the other pieces, would indicate that Mr. Coleman's music is anything but chaotic. The originality of these compositions is cll the more startling when one remembers thet they are 12! the product of book learning or conventional musical education, but instead intuitive erections, whose genuineness is for this reason alone unassailable. It bos also been said that Ornetie Coleman is a fine composer but poor improviser. The inference is that, because he rarely adheres to conventional chord or phrase patterns, he is incapoble of doing so, and that therefore his Improvisarions are fraudulent’ or ar bes “‘diserganized ond meaningless.” For tis reason the editor hos included one of Mtr. Coleman's improvisations (Congeniality) to place before the unprejudiced musician an example of this alleged ‘incoherence’ AA comparison of the wrtten-down improvisation with the actual recording will show that Mr. oleman is quite ‘capable of making coherent satement: which, though their extemal contiuily moy be fragmented, have on Unmistakable phroteto-phrase lagie. Moreover, there ore interesting internel relationships within the entire tale which offer concrote evidence thet Me. Coleman ie not «imply, ‘naedling’ or lot in, en 0 hormone mone For example, motivic fragment « in the first measure is immediately re-used and varied (bors 3 ard SI. Another fragment « oppears ct four diferent places in the solo, Motive d occurs three times, and is probably hali-consciously derived from the sequence of notes which firs eppears in the eighth measure of the theme, [A simple but interesting device (probably first used extensively by Coleman Howkins) is employed between letter C ond D, when fragment /, fist used to conclude motive €, oppears a second time tacked on 10 @ transposed voriant of ¢, ond then third time to launch a new phrase. The vse of the rhythmic figure jin CSHiUraAATHIEN the eure’ dr eyliel otyer thd Wsreoiteree Sieall Ipeete iene eremriclittel es: There ore olso numorove exomples of sequential or quosi sequertio! treatment Imetives 4, ¢, and A) Aside from such meledic relationships, there are many indications in Mr. Coleman's harmonic patterns that “he knows what he's deing,' He is basically a medal player, a point which underscores how for back his musical roots reach. An analysis of the harmonic progression seemingly implied by his solo in Congeniality indicates clearly that Mr. Coleman does not veer much from the basic key of B-lat,—and then mest often, only to the next sten of C minor. Excursions into other keys (lke O-flat and B-naturall are rare and momentary, and all follow move or less the same pattern, The sequence D-flat, Brotural, C-minor to B-flat, for example, occurs thiee times (see measures 10, 56 ond 1601,—surely not mere accident. Analysis of other improvisations by Mr, Coleman indicate that he, le many other jazz artists, post and present, has found a way of making the tonic and ove other step in the key serve for mast of his solo: in this case the odherence to B-flat and C-minor, a combination lend Ill he seems to prefer above all ethers, probably becouse Il includes mast of the important notes of the dominant {VI and sub-dominant IVI. I is elso obvious from the long stretches of B-flat tonic. moitly centering around the beainninas of what appear to be laraer phrase structures, tha! Mr. Coleman is fully aware of his place in the over-all formal design ot any given moment. That this structure need not necessarily consist of eight-bar unis, or indeed of any particular unit length, is one of Mr. Coleman's fundamental departures from previous practices. In this connection his own stctement made in 1958 is revealing: “I would prefer it f musicians would pley my lunes with different changes as they take a new chorus, so that there'd be all the more variey in the performance. Since Mr. Coleman's quortet does not employ a piano, the bassist is free to build long melodic lines which are based on a purely intitve, rellexive reaction to Mr, Coleman's ploying, who in turn tesponds in kind to the bass, s0 that o kind of continous contrapuntal exchange is established. This explains why Charles Hoden's bos lines do not elways match bor for bar Nr. Coleman's harmonic pattems. Rother than mesh perfect, they hover about each other leaving both players free to strie out on new paths ot the right moment, ond pull the cther one with him. This process is really the essence of collective improvisoion, ond is seen in o new light in the work of Mr, Coleman's quortetBecause the improvised bass part uncer the alto solo in Congeniality does not function merely in terms of hharmenic roots, but moves rather os a melodically free agert, the ecitar felt that its inclusion would serve ‘no purpose in explaining Mr. Coleman's improvisation, ond migh, therefore, confuse those who are used to viewing music only harmoricelly and vertically. From our hermonie enalyss (based on its horizontal continuity it can be seen that Mr. Coleman's work, which has often been charocterized as ‘otoncl,”is in the strictest sense not that at al—cetrainly notin its orientation Free’ in this context seems to be too readily confused with ‘atonal.’ What does happen, however, is that both alto and bass may move at a particular moment into divergent keys, thus giving the impression monertorily of @ pantonal or atonal texture. There remains o be discusied the curious 3/4 ond 5/4 meters before ond afer leter F. In bar 121 motive d is olteed to produce an unexpected polymetic pattern with the bass. Al the conclusion of this phrase (bar 1271 whether by accident or intent, Mr. Coleman starts @ new phrase whichis ore beat off from the rhythm section Now its easy 10 assume that Mr. Coleman ered in his entrance. Yer this kind of polymetric displacements the heart and soul of one of the primary antecedents of jozz, namely native AVrican music, and is certainly nor unknown in jazz improvistion. Iris concevoble then thot Mr. Coleman instinctively and deliberately made this choice, especially in as much os he lites to “turn phrases around on o diferent beat, thereby raising the freedom af my playing.” In the ensuing five bars Mr, Coleman heard that his rhythm section was begiming to grow wobbly under him. He accordingly stretched the next bar into 0 5/4 bar, thus moking up for the previously mising beot In the meansime bass ard drums, however, had begun to switch their tear, which was accomplished by bar 194, Me. Coleman, now back in his original best patter, once more found hiactf a odds wil the stant secon. it took another 3/4 bar (142) to right things once agcin, This curious bit of metic interchange may have been cccidental; one's conclusion can be no more thon en interpretation, and therefore not really covelusive. However, itis this kind of chythmic freedom which Mr. Colemon ond ether young players are stiving for, ond this example may well be an authentic forecast of things to come. All chord symbols are adkltions of the editor and are to be taken merely os suggestions, in an otter 0 ive this collecion greater practical value. Occasionally Mr. Haden's hos: lines have hean nntated in «mall print, and in view of the above-cutlined opprocch of the players, these bass lines do not always confoim to indizoted chord symbols. Inierested players are, of course, at liberty to create their own improvised lines. Since this collection cortains what are in effect condersed scores, alto and trumpet are both notated at actual sounding pitch. Ports would have to be transposed. In general, it should be remembered that in view of the fact tht jazz is largely on improvised music, in which the personal interpretation tates precedence over the composition, these scores were intended to serve only «5 6 moderately detaled outline to help the student, music lover and aficionedo. GUNTHER SCHULLER New York, July, 1961 All the works in this collection have been recorded by Mr. Coleman's quartet on two Atlantic LP's (ATL 1317 ond 13271FORERUNNER Very fost d=144 ORNETTE COLEMAN Tot. Alto} Drums Boss Tet Ato Dru Tot. Alto Boss % The length of these solos is optional. © Copyright 1961 MJY MUSIL INC. Interntinal Copyright Sseured ‘Made te USA aTot Alto Druns Solo o¢ lib. Ti? bars) Tet Alto Drums BessCONGENIALITY Slower d=co, 84 Fost d=108 eo ~— Ato] mf Deuns| vor f ~~ Tempo I°(d=108) Tot Gey Alto| 47 ru : ith tpt. ona Ato) Copyright 1950 & 1961 MQ MUSIC INC. ton Comrise Soca de UR Al Rights ReeredSlower (os before) Tempo, 1° Tot Alte! Drums} "p>— SS ve Tet. Alte} orums (with Tet, ena Alto) v4 a Slower (as before) Tempo 1° Boss| te ~_—— atte}Tor. Alto Drums} (with Tpt.ond Alto} ass a ‘Slower (as before) ™p— Alto Ora ba % To Alto solo (see next page)10 ob # See preface for a discussion of this sao.u2 cm 9 eH= Pom Ties ier 8bB PEACE Medium J=132 mp Tot alto Drums Boss Tot Alte Drums Boss Tot. Alte Orums Boss [3 1 copyng Saprzisht 1960 & 3961 MQ MUSIC INC. AML Rights served“ Tw Alto. Drums} Boss Tot. Alto Drums Boss Tot. Alto Drums Tot. Alto] Drums Tot. Alto Deum Bass Se aTor. Alto Drums} Bess Tet Alto bn Tot. Alto Drum Boss| Tot Alto Drums} Boss, Is6 FREE Tot. Alte Dies ose tit. A pm even foster Tot Alto Drums oes To. Alte Drums | Boss 2 The length of this solo is optionot £ } Copyright 199 & 1961 MQ MUSIC ING. f Intenaioml appt Seed wide wk Al Rights Rew0 LONELY WOMAN Fast d=ca. 88 Drums; fat P od ib Boss ‘08.0 Eonstont peda! point 2 very freely —— !— ins oy to Tot. Alto Boss, Tot. Alto Drums} pyright 1960 & 1961 MJQ MUSIC INC. © o Incermtional Coryright Secured Made in USATet. Alto: Drume| Tot Alte Drums Tet. Alto os Boss gd no fey (add od ib. on Tom-Tor),Tot. Alto Drums} Tot. Alto Drums: Boss Tbe. anto Drums.FACE OF THE BASS Medium fast d = 100 luna. fe Tot. Alto Drums Boss Tot Alto Drums Bass Tot Alto quasi giissando Drums Boss | Tot od lib Tot. Alto Oram Boss Copyright 1961 AJ MUSIC ING. SP ee Usk AU ght Rese © International Cail SoTot Ato ‘Alto od ib. Dru Boss Tet Alto Oru Tot. alto runs Coda Tot. Alto Drum Boss [quasi glissondo unis. mf mw & nCHRONOLOGY Fost J=126 = unis. pt Alto 04 tb. Drums F od ib Tot Alto Drums Tot. Alte Drums} Boss wright 1960 & 1961 MQ MUSIC INC. Ineatonal on Made in USA, All Rights Reservero Tor airs! ‘Alto ea Wi.Pn BIRD FOOD Fost d-126 nis. Tot Alto z ly | orums| "66 eb edie émin [Emin Boss To Alto Drums} Boss Tot. Alte orem # © Copyright 1961 3139 MUSIC INC, International Copstight Seured Made ie USA ALL hts ResseTot Alto Drums; Alto ae min? ‘alte WF Grin Dr F7 Bb TH. Alto tee Bp (AP min} Boss a8 Trt. Alto Drums} BassFOCUS ON SANITY Medium d «ca. 104 Tog — Tt. Alto Boss som | ad ib, ' e 08s 5 FP na F Twice os fost o=144 (repeat optional eat choruses) Srome ff Boss bmin__|Bbmin__|ebmin __|ebmin _|abmin Fr. 1 Copyright 1950 & 1961 MIG) MUSIC INC.Twice os fost +144 Alto ad ib Bbmin Bonin Trt alto. Orums| Boss Ebmin Abmin Abmin_F7. FT. Bbmin Alto Dru we, Bbmin Ebmin __ Ebmin Abmin __ Abmin Fr Fz. Alta tlttl|ete Boss Alto Drom Boss8 to be played dur arate cera Tol. mp (repeat optional umber F7 of choruses] Bb min Alto Drums Ebmin Boss ene Twice os slow J=144 a Tot Alte: Drums Tot Alto rr Bots2 treest opine nani of pros [eree ol ‘ad tib, Bbmin_Ebmin Ebmin_abmin __abmin Tot Drum Ebmin__|-Abmin | Abmin Tot. Alte Drums |Solo od ib,30 UNA MUY BONITA Fost d=08 Tet. Alto} Drums} Boss Tot Anto| Orums| Deve Tot Drums} Boss Copyright 1961 MQ MUSIC INC. mi comics uot aa AI Rigi Ror3 Tot Alto] Drums| odtib. Tot. Alto} rams} wi ttl ol Tet. ato] Drums]2 Tet Alto Drums ass Tot. Alto: | prums| Bass repeat od libitum until inaudible t ‘imin, Alto] DrumsScores: John Lewls Gunther Schuller Gunther Schuller Charles Ives J. J. Johnson John Lewis Andre Hodeir John Lewis Andre Hodeir Andre Hodeir James Giuffre Werner Heider Hall Overton Leander Dell ‘Anno Sketch for Double Quartet Concertino for Jazz Quartet and Orchestra Conversations for Jazz Quartet and String Quartet Chrom@timelédtune (Reconstructed and completed by Gunther Schuller) Poem for Brass The Golden Striker (for Solo Piano, Bass and Drums) Around the Blues (Jazz Quartet and Orchestre) Excerpts from The Comedy (Suite for Solo Piano, Brass, Bass and Drums) Osymotrios (Jazz Combo) Trope A Saint-Trop (Jazz Combo) Pharoah (Music for Brass) Divertimento (Jazz Quartet and Orchestra) Sonorities for Orchestra Three Short Piano Pieces IN PREPARATION — JAZZ THEMES WITH IMPROVISATIONS SERIES of JOHN LEWIS (Piano) of MILT JACKSON (Vibes) of JIMMY HEATH (Saxophone) MAJ.Q. MUSIC, INC. 1697 BROADWAY - ROOM 1100 NEW. YORK, N.Y. 10019