Abstract:
One of four compositions that were created as part of a composition commission folio by Wellington Jazz festival. The four compositions collectively generated external research funding of NZD 10 000
Composition folio proposal – Olivier Holland
• What –
I will be composing a folio of four works that collectively feature various applications of the so-called “Linear Writing Technique”, pioneered by Bill Dobbins in 1986. While engaging this technique is the common thread through all four tunes, each composition will be written in a different style and feel, thereby showcasing Linear Writing as well as linear counterpoint across different genres.
These genres are:
1. RAI – A fast 6/8 style that origins from North Africa, examples: Karim ZIAD, Cheb Mami.
2. Salsa – 2/3 clave / Tumbao
3. Contemporary Jazz odd-time
4. Mbende – a Zimbabwean traditional music style
As an expert in the field of linear writing (composition lecturer at the University of Auckland), my ambition is to show the use of Linear Writing across a set of genres, thereby infusing its conversational and interactive character / effect (particularly the counterpoint variation) into the melodies of the tunes as well as introducing the effect into the act of improvisation during joint-solos. The innovative aspect being the extent to which this technique will be applied and the variety of genres within one folio of works.
June-August: Composition and arranging process
August/September: Rehearsals in Auckland (with NZ performers)
October: Performance at Welling Jazz Fest
Performers: My ensemble GJAZZ5, see gjazz5.com and olivierholland.com
GJAZZ5 NZ: Roger Manins (tenor); Thabani Gapara (alto); Joe Kaptein (keys); Olivier Holland (bass); Malachai Samuelu (drums)
If funding can be achieved, I wish to ‘fly in’ the original drummer, US based Terreon Gully for the performance. TBC. Please see my 2021 double CD release GJAZZ5 for details.
Presentation and players – 1 hour performance (if requested this can be longer) at Wellington Jazz Fest. Staging needs: Mics, stands, drum kit, bass amp 300w plus, piano electric or acoustic, synth Prophet or similar, if available.
Future opportunities – The extent of application of this technique will likely provide more insight into its use within a contemporary and wider stylistic framework, therefore informing teaching of contemporary arranging techniques on postgraduate level, making it available to other composers who wish to use this powerful arranging tool.