GW Blog - posted on July 31, 2017 by

Andy Bianco Quintet – Aug 9, 2017

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GW Blog - posted on June 13, 2017 by

July 23, 2017 – Artscape Baltimore

GW5 rawks Maryland Institute College of Art with Andy Bianco (gtr), Campbell Charshee (pno), Marty Kenney (bs), and Chris Benham (drm)

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GW Blog - posted on February 6, 2017 by

GW Quintet in Arizona – March 10 & 11, 2017

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GW Blog - posted on January 14, 2017 by

Andy Bianco Quintet – Feb 7, 2017

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GW Blog - posted on January 13, 2017 by

Nathan Peck at Smoke, NYC – Jan 25 & Feb 1, 2017

with Nathan Peck & the Funky Electrical Unit

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GW Blog - posted on September 29, 2016 by

Sept. 2016 – Best Song (Jazz): Beeblebrox

“. . . hypnotic melody lines in the hands of this supremely capable artisan.”
The Akademia

akademia

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GW Blog - posted on July 11, 2016 by

July 28, 2016 at Exile Above 2A

July28

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GW Blog - posted on February 16, 2016 by

Quirk EP charts at #12 on CMJ Jazz


Quirk 12

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GW Blog - posted on January 27, 2016 by

Great review of Quirk in NextBop

“It’s kind of perfect.” -Anthony Dean-Harris, NextBop
NextBop

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Use Your Words - posted on January 11, 2016 by

Opinions About Polytonality 4 – Perception

The psychological effect that polytonality can have on the listener is often governed by the relationship between the keys that are presented. Vincent Persichetti elaborates:

“The fundamental quality of polytonal texture is determined by the key relationship set up by the tonics. In major-key combinations, a polytonal order of tension from consonant to dissonant is secured by combining two keys that lie a perfect fifth, major ninth, major sixth, major third, major seventh apart – and so on up the cycle of fifths . . . Those keys that are not closely related according to the circle of fifths will more easily set apart the tonal key spheres.” 1

The following is an elaboration of Persichetti’s visual representation of his theory with regard to the consonance or dissonance of key combinations:

Persichetti1

Although the case can be made that this is a subjective classification system, and although Persichetti does not provide a definition of or reasoning with regard to how he defines resonance within the confines of polytonality, the examples provided in the chapter of his book display a thorough understanding of his experience with polytonality. If I can offer a criticism, it is that I feel as if Persichetti could have provided a much more in depth analysis of why certain key relationships are more consonant, dissonant, or resonant than others, rather than mere stating that this is so.

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1 Persichetti, Vincent, “Polytonality.” Twentieth-Century Harmony: Creative Aspects and Practice. New York: Norton, 1961, p. 255-261.

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