Pulses in the Centre of Silence: Composition Scores and Artistry Concepts

By Carlo Mombelli

This book is primarily a book of Carlo Mombelli's recorded works. However, you will find not only the lead sheets or scores of his compositions from the stories of his life but also chapters about his musical ideas and concepts and theories about performance, listening, learning and teaching, so that you can gain insight into where and how those compositions were created.The views expressed in this book are Mombelli's alone and come from his experience as a bassist and composer, and the music concepts apply to all instrumentation. He tends to write from the viewpoint of being a jazz musician and an improviser even though he is not sure if his compositions fall into that genre, as he has never wanted to be stuck in a box.Mombelli expresses his feelings and thoughts on music performance and composition: things that he has learnt and believes in as they have worked in his life as a musician. However, there are many different concepts, many different ways to practise and learn, and many ways to perform and achieve your goals. And there are many different styles of music. Whether you agree or disagree with him, it's all good.He has placed his writings in this book under six headings:1. Tone, Taste, Time, Ears and Technique2. Passion, Patience, Perseverance and Practice3. Composition and Improvisation4. Originality5. Learning and Teaching6. Music Scores and Lead Sheets (over 100 compositions)

• Language: English
• Publisher: Independent Publishers Group
• Release date: Sep 26, 2019
• ISBN: 9781928341888

Book preview

Published by Real African Publishers

PO Box 3317

Houghton

Johannesburg 2041

www.realafricanpublishers.com

First published in March 2019

© Carlo Mombelli 2018

ISBN 978-1-928341-96-3

Printed and bound in South Africa

All rights reserved. Without limiting the rights under copyright reserved above, no part of this publication may be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form or by any means (electronic, mechanical, photocopying, recording or otherwise) without prior written permission of both the copyright holder and the publisher of the book.

This book is sold subject to the condition that it shall not, by way of trade or otherwise, be lent, re-sold, hired out or otherwise circulated without the publisher’s prior consent in any form of binding or cover other than that in which it is published and without a similar condition being imposed on the subsequent purchaser.

Contents

About this book

Introduction

Foreword

Chapter 1: The Elements – Tone, Time, Taste, Ears and Technique

The garden

Tone

Time

Taste

Ears

Technique

Chapter 2: The Four Ps – Passion, Practice, Perseverance and Patience: The Journey to the Elements

Passion

Practice

Perseverance and patience

Chapter 3: Composition and Improvisation

Composing out of improvisation – my compositions

Intuition

Creating your environment

The compositional sketch

Balance and form

Silence

Melody

Chapter 4: Originality

Purists are boring

Tradition and genre

The child within us: our voice

Chapter 5: Learning and Teaching

Can creativity be taught?

So, is it still worthwhile studying art at an institution?

The voice of the student

Do you need to go to an institution to study music?

It hurts when I laugh – it tickles when I cry

Bibliography

Index of Compositions in Recorded Works

Music Scores and Lead Sheets

About this book

This book is primarily a book of my recorded works. However, you will find not only the lead sheets or scores of my compositions from the stories of my life but also chapters about my musical ideas and concepts and theories about performance, listening, learning and teaching, so that you can gain insight into where and how those compositions were created.

The views expressed in this book are my own and come from my experience as a bassist and composer, and the music concepts apply to all instrumentation. I tend to write from the viewpoint of being a jazz musician and an improviser – even though I am not sure if my compositions fall into that genre, as I have never wanted to be stuck in a box.

I also express my feelings and thoughts on music performance and composition: things that I have learnt and believe in as they have worked in my life as a musician. However, there are many different concepts, many different ways to practise and learn, and many ways to perform and achieve your goals. There are many different styles of music. Whether you agree or disagree with me, it’s all good.

I have placed my writings in this book under six headings:

Tone, Taste, Time, Ears and Technique

Passion, Patience, Perseverance and Practice

Composition and Improvisation

Originality

Learning and Teaching

Music Scores and Lead Sheets

Introduction

My earliest deep experience of music was at the age of eight, when my mother took me to see the ballet Swan Lake with music composed by Tchaikovsky. At that moment, I fell in love with music, and after all these years, I have never forgotten that day. In fact, my love for music and my searching have become stronger over time.

My father was an Italian chef who had high hopes that I would one day follow in his footsteps, but my mother saw my determination and sent me for piano lessons.

Not having a piano in the house hampered my growth, but whenever I came across a piano, I would sit and play pieces I had learnt and (even at that early age) improvised sketches.

I did take basic music as a subject in high school with piano as my instrument. Then, at 16 years of age, I taught myself how to play bass after hearing the bassist Jaco Pastorius in the group Weather Report. I learned music not really at an institution but in the garage bands I played in at school and, later, on stage with some of the great musicians of that time. I also picked up a lot from listening to nature: the colours of sound and the balance of composition.

I would have loved to have had the opportunity to study music at a conservatory, but that wasn’t an option, so I had to make it happen and realised that I had to create a learning environment of my own. I transcribed my favourite music from my vinyl, and I copied the styles and tried to figure out the instrumentation, the sound, the rhythms, the order of chords and voicings. I went to live shows to watch how other experienced players held and played the instrument. I learnt music by being inquisitive and just getting down and doing it.

It has