dave brubeck_time out & time further out

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About Time Out

3

Blue Ron do A La Turk

3 Strange Meadow Lark

Take F ive

6 1

hree

T o G e t R ea dy

3

Kathy's Waltz

37 Eberybody's Jum pin'

44

Pick U p Sticks

49 1 Notes On Performance Time Fur ther Out

5 It's A Raggy Waltz

6 Bluette

66 Charles Matthew Hallelujah

7

Far M ore Blue

76 Maori Blues

8 Unsquare Dance

85

Bru's Boogie Woogie

9 Blue Shadows In Th e Street

96 Brubeck Ab out Brubeck

Copyright

962

by DERRY MUSIC

CO

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BOUT TlME OUT

Should some cool-minded Martian come t o earth and check on the state of our music, he m ight play

through 10,000 jazz records before he found one that wasn't i n common 4/4 time.

Considering the emancipation of jazz i n other ways, this is a sobering tho ugh t.. and an astonishing

one. The New Orleans pioneers soon broke free of the tyranny imposed by the easy brass key of B-flat. Men

like Coleman Hawkins brought a new chromaticism to jazz. Bird, Diz and Monk broadened its harmonic

horizon. Duke Ellington gave

it

structure, and a wide palette of colors. Yet rhythmically, jazz has not pro-

gressed. Born within earshot of the street parade, and with the stirring songs of the Civil War still echoing

throu gh the South, jazz m usic was bounded by the left-right, left-r ight of ma rching feet.

Dave Brubeck, pioneer already i n so many other fields, is really the firs t to explore the uncharted seas

of compound time. True, some musicians before h im experimented with jazz in waltz time, notably Benny

Carter and Max Roach. But Dave has gone further, finding still more exotic time signatures, and even laying

one rhythm in counterpoint over another.

The outcome of his experiments is this album. Basically

it

shows the blending of three cultures: the

formalism of classical Western music, the freedom of jazz improvisation, and the often complex pulse of

African folk music. Brubeck even uses, in the first number, a Turkish folk rhythm.

BLUE RONDO A LA TURK plunges straight in to the most jazz-remote time signature, 9/8, grouped

not in the usual form (3-3-3) bu t 2-2-2-3. When the gusty open ing section gives way to a m ore fam iliar jazz

beat, the three eighth-notes have become equivalent to one quarter-note. Later on, the alternate double bars

of 9/8 and 4/4 serve to re-introduce the returning theme. The whole piece is in classical

rondo

form.

STRANGE MEADOW LARK opens with a long rubato passage introduc ing the m ain theme freely. The

tempo settles down into a steady beat for the two improvisations bu ilt around it, and then the m ain theme

returns once again in free

rubato

style.

TAKE FIVE

is a Paul Desmond composition in 5/4, one of the most defiant time-signatures in a ll

music, for performer and listener alike. The entire piece is built on a one-measure two-chord

ostinato

pat-

tern, and, contrary to any normal expectation perhaps even the composer's t really swings.

THR EE TO GET READY

promises, at first hearing, to be a simple, Haydn-esque waltz them e in C major.

But before long

it

begins to vacil late between 3 /4 and 4/4 time, and the pattern becomes clear: two bars of

3, fol lowed by two bars of 4 . . .a me trical scheme which suits Dave Brubeck down to the ground.

KATHY S WALTZ (dedicated to Dave's l i tt le daughter) starts i n a swing 4, only later breaking in to quick

waltz time. In the third improvisation, the right hand plays in 6 /8 as opposed to the left hand's 3 /4, and the

cross-rhythms and accents so produced form a tim e experiment of great complexity. With the return of the

Theme, however, the music settles down into a simple 3/4 once more, and ends quietly.

EVERYBODY S JUM PIN

opens without any precise feeling of key and with a vague impression of 6/ 4

time and a strong beat. During the three improvisations that fol low, the shifting time-signatures of 4/4, 3/ 2

and 3/4 produce a most interesting effect, as the always-steady beat moves through them to a thundering

climax.

PICK U P STICKS develops the e arlier h int of 6/4 into a positive, continuous rh ythm. As so often

occurs in Brubeck's time experiments, i t is the bass part which supplies the anchor for the musical develop-

ment. This time the bass part takes the form of a one-measure, boogie-type

passacaglia,

on which the

whole structure of this bri l l iant piece is built. Even more astonishing is the fact that throughout the entire

piece only one chord is used as basic harmonic ma teria l.. he Bb7

In short, TlME OUT is an experiment with time w hich may well come to be regarded as more than an

arrow p ointing to the future. Som ething great has been attem pted.

. .

and achieved. The very firs t

arrow

has

found its mark.

Adapted from commentary on record album c ver

b

Steve ace (Columbia CL

1937

courtesy of Columbia

Records, Inc.

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Blue

Rondo a Turk

DAVE

BRUBECK

Lively J : 26

d

~ 1 7 ~

-

5

BCopyri ht 196 1962

y Deny

Music Co.

240

Stockton Street San Francisco Calif.

ntemationa Copyright Secured

Made

in U.

S. A.

Al l Rights Reserved

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Am7 D m ~m~ Dm Am7 Dm Am7 Dm A m

n

m h I ~ > F . .

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-.-. -- .

...

I .

.

:

s t I m p r o v i s a t i o n

nd Improvisa t ion

4

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~

D~ D m A m

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Strange Meadow Lark

DAVEBRUBECK

@Copyright 1960 1962 byDe ny Music Co. 240 Stockton Str eet San Francisco Calif.

International Copyright Secured

Made in

U S

A.

All Rights Reserved

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Eb7 Gm Gm aj 7 Gs C7

C dim

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n d Imp ro v i sa t io n

Fm7

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Take

ive

P U L

D E S M O N D

oderately fast d 1 7 6

E b m

B

brn7

E b m s b m 7 ~ b m B bm7 ~ b m B bm7 ~ b m ~ b m 7

@Copyright

196 1961 y eny

Music Co.

240

Stockton Suee t San Francisco Calif.


Made

in

U S. A.

All Rights Reserved

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E bm Bbm Eb m B bm ~ b m B bm E bm

~ b m Bbm ~ b m bm E b m B bm Ebm B bm

~ b m Bbm E bm Bbm Ebm Rbm E bm

Ebm Bbm ~ b m B bm Ebm ~ b m Ebm B bm

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E b m Bbm ~ b m E b m

B

bm

E b m s b m E bm B bm

~ b m B bm ~ b m B bm E b m

E b m B bm E b m B bm E b m B bm E b m bm

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Bb Ebrn B bm Ebm B bm E b m B bm

E b m ~ b m ~ b m Bbm ~ b m B bm E b m

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Cdim

nd

mprovisation

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rd Improvisation

m

4th I rn~rov ia t ion

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li ht

r i t rd t en d

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Kat by s

W a l t z

D VE BRUBECK

Medium

swing l = s o

J 12

st

mprovisation

Eb m a j

@Copyri ht 1960 1961 1962 by Derry Music Co. 240 Stockton Street San Francisco Calif .

International 8opFight Secured

Made in U S. A

A l l Rights Reserved

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nd Improvisa t ion

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rd Improvisa t ion

F Rb 7

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Everybody's

Jurnpin'

asy swing

J F 6

D V E

RU ECK

OCopyri ht 1960 1962 by D e n y Music Co.. 240 Stockton Street, San Francisco, Calif.

Internationa ~o~~ri~htecured Made in U S. A All Rights Reserved

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st mprovisation

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nd

Improvisation

m

G m

E b m a j F m

~

~ b m Bbm bmaj

3r d Improvisation

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Ei ther the or the ~ may be omitted, if necessary.

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ick U p S t i c k s

DAVE RURECK

The upper note of the bass pattern should be ve ry sof t .

i m

i l

The chord of

B

b i s u s e d t h r o ug h o u t .

@Copyright 1960. 1961 1962

y

e n y Music Co .. 240 Stockton Street. San Francisco Calif.


Made

n U

S. A

A l l

Rights Reserved

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2nd I m p r o v i s a t i o n

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The temp o and dynam ic indicat ions are approximate ly those used in the recordings. The player

should feel free to vary these to suit his own preference and abil ity. The fingering indicated should be treated

as an approxima tion only and may be changed if desired. A fingerin g is bad only when

it

hinders a performer

from realizing his own interpretation. Usually there will be more than one good fingering possible.

Dave B rubeck's hands are large. He th ink s bi g chords. If the player's hands are on the sm all side, he

should feel free to omit certain notes or to rol l the chords. In several places, ind ication s have been given fo r

easier performanc e of rather wide stretches by the use of parenthesis marks aro und notes which may be

omitted.

The chord symbols have been chosen to give the simplest possible interpretation of the harmonic

structure. In many cases, the chords actu ally played almost defy analysis in anything bu t complex.terms. How-

ever, since they are all written out, there need be no problem. The performer may interpret the symbols to

suit him self in terms of the exact notes given. I n fact, he is even encouraged to attempt his own improvisa-

tion on the melodies and chords as given.

All of the compositions in

TIME FURTHER OUT

are based on the twelve bar blues. Some variations

of this for m can be observed in

UNSQUARE DANCE

and

IT S A RAGGY WALTZ.

In the first case, the form is

condensed to six bars because the metric scheme is unusual. In the waltz, a bridge of eight measures is

used to form an ABA pattern of

3

bars (12-8-12). Both are unusual, but not surp rising in the hands of Dave

Brubeck. The unusua l me ters used i n this a lbum present a real challenge. To meet th is with success brings the

performer the added delight of being freed from the restrictions of th e basic meters which have dominated

jazz from its origin to the present. For first-rate instruction in playing

these pieces, the best advice to offer is to

refer the performer to the recordings (Columbia CL 1 69 0 and CS 8490).

HOWARD BRUBECK

La Mesa, California

December, 1961

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It s aggy Waltz

Swinging waltz tempo J = ~ s o

D A V E B R U B E C K

OCopysi ht 1962 by

D

Music Co. 240 Stockton Sue et , San Francisco, Calif.

nternational opyright Secur Made in

U

S.

A A11

Rights Resaved

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D im G~

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nd

Improv i s a t i o n

c7

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rd

mprovisation

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C

dim

D

dim

cr

C

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G

dim

G

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Bluette

DAVE

BRUBECK

s l o w w l tz J i o o

OCopyright 1961 1962 by Derry Music Co.

240

Stockton Street San Francisco Calif.


Made in

U

S. A

A l l

Rights Reserved

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st Impro visation

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n d I m p r o v i s a t i o n

~ b m ~ b m

3rd Improvisat ion

~ b m

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Charles Matthew Hallelujah

D VE

BRUBECK

right and moderately fast

J I ~ o

@Copyright 1961 1962 by Deny Music Co. 240 Stockton Street San Francisco Calif.

Interna tional Copyright Secured Made in U S. A. All Rights Reserved

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st I m ~ r o v i s a ton

nd Improvisation 5

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r d I m p r o v i s a t i o n

E b

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Far More lue

7

DAVE R U E C K

@Copyright 1961 1962

by

D e n y Music Co. 240 Stockton Street San Francisco Calif.


Made in U S.

A

l l Rights Reserved

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b7

m7

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r d I m p r o v i s a t i o n

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D V E

BRUBECK

M e d i u m

blues

d =

1 4

Fm

3

f

m rked 1

@copyri ght 1961 1962 b Derry Music Co.

44

Stockton Stre et San Francisco Calif.

International Copyright S e c u r d Made in U S. A

All Rights Reserved

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----

s t I m p r o v i s a t i o n i

2 n d I m p r o v i s a t i o n B b

f

the player s hand

Is

s m d l 1 , t h e

lower

notr. o f tht . chords may b e o m i t t e d .

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rd Improvisation

Fm

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Unsquare Dance

D V E

RU ECK

Moderately fast

The hand clapping anddr umparts cued i n this arrangement are those used by Dave Brubeck and the Quar tet In their Columbia recording C116W-

CS 8490). They are included in case the pianist may have help from one or two friend s in performance. Without such help, the sect ion fr o m a o

may be omitted.

@C op pi ht 1961 1962 by Derry Music Co. 240 Stockton Stree t San Francisco Calif .

International 8opyright Secured

Made in U S. A.

All Rights Reserved

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8

m m

Drum

s t i c k s o s i d e

t ~ f

a r s

Drum

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D A VE B R U B E C K

c

Bru9sB o o gi e W o o g i e

@Copyright 1961 1962 Derry Music Co. 240 Stockton Street San Francisco Calif.

International Copyright Secur d

Made in U S. A.

All Rights Reserved

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st

mprovisation

sn

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(8 basso )

C7

u p

( 8 ~ aasso )

( 8 v abasso)

th Improvisat ion

basso)

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st Improvisation

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dave brubeck_time out & time further out

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