I'm a huge Lyle Mays
and Pat Metheny
fan (I have to list Lyle first since I'm a pianist). Recently, on the Pat Metheny mailing list
, someone recommended an album by Paul McCandless
on which Lyle played. The album is called Premonition on the Windham Hill Jazz label and is currently out of print. I picked up a copy through Half.com and it arrived today.
One song on the album, called “Rainland”, has an interesting rhythmic device in the composition. The song is primarily in 6/8, but McCandless inserts 4/4 bars every now and then and it creates a very cool effect. I've ripped a small sample
] that demonstrates it. If you haven't looked ahead to the notation, listen to the sample first without it.
I almost wish I hadn't notated it, sort of like explaining how a magic trick works. This snippet doesn't really do the effect justice, and the notation unfortunately screams out a distinct change that to the ear is just a slight variation when it's sprinkled in the midst of a long build up of 6/8 bars. It came across rather subtly to me; I never considered it a time sig change on first listen, I thought perhaps it was merely a syncopation in the bass line. update
: Alert reader Bob Baker passed word on that Rainland is included in The New Real Book Vol. 3
. I'm a couple of volumes behind, I need to get caught up. MusicBlog