We began the lecture by devising a scale, written in the top right hand corner of image 1. Comprised of; 1, b2, b3, 4, 5, b6, b7, it was an artificial scale.
Proceeding by harmonising the scale, starting from C, we ended up with; C, Db, Eb, F, Gb, G, Bb. We then worked out the relative minor; Eb, F, Gb, G, Bb, C, Db, and the
After finalising this, we worked on a rhythm to play the piece over. Deciding that a basic 4/4 pattern was too mundane we wrote out two separate rhythms, in 17/16, then one in 19/16. These are both written out below. After deciding that neither was particularly better than the other we decided to use both, each for 8 bars, before switching over to the other. Over this we used the devised chords, one per bar. One the first 4 bars this formed a 1, 6, 2, 5 chord progression.
We began by playing through the piece with the change, improvising the last chords in the penultimate and last bar as explained;
Subsequently we tried the piece again with a refined drum part I had worked out, keeping the 16th notes constant on the high hats and accenting with molar whips on the quavers. Mirron improvised a solo over the piece, leading to the eerie, almost discordant sound of the track. I found the new drum beat more easy to count, as it flowed and was more constant, but harder to play through the transition from 17-19 as was evident from the video.
To conclude, we established that using this as a ‘straitjacket’ method of improvisation was very powerful as in did not allow people to switch off and ‘get into a groove’, maintaining complete focus the whole way through. It was also chosen to be a piece that would be performed in the upcoming HND performance, and the title came about from a favourite activity of the Level 5, “Going to Morrisons”.
— Possibly insert final performance video here —