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


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GW Blog - posted on July 11, 2016 by

July 28, 2016 at Exile Above 2A


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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

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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:


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.

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

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Use Your Words - posted on January 4, 2016 by

Opinions About Polytonality 3 – Momentum and Motive

In the following examples, repeated melodic fragments (motives) factor importantly in how new keys are introduced into an established tonal environment. Further, one of the tonal environments (either the established or the newly introduced) can be purposefully ambiguous, suggesting perhaps two or more tonal possibilities.

In what is one of Lennie Tristano’s most widely acclaimed improvised melodies, the chord progression to All of Me is visited with a torrent of running eight-note lines at a fast-paced tempo. By the beginning of the third chorus, the listener has had ample opportunity to have become acclimated to the chordal framework of the composition, complete with solo material that has been largely diatonic to the key of B-flat major. It is at this moment, however, that Tristano chooses to briefly introduce a repeating motive, beginning in the key of B major and again in the parent key of the composition.


While the tempo and usage of continuous eighth notes (common throughout the entire solo) provides the melody with a definite sense of momentum, it is the repetition of a six-beat motive, once in the foreign key and again in the original key that provides the listener with a fragment to identify with. Additionally, the fact that this motive crosses the bar line adds to the sense of momentum.


Leading up to the excerpt above from Kneebody’s Clime Pt. 2, the melody establishes itself as being firmly within an E minor or G mixolydian tonality. This is reinforced by the eight-measure ostinato in the bass, repeated throughout the five-minute composition. Once established, however, the melody briefly visits the keys of C major, A-flat lydian, and D-flat major, using the repeated ascending scale, descending arpeggio motive throughout. Once these new keys are introduced, the door is opened for additional tonal environments to be brought in. And while the E and F-sharp major melodic segments do not follow a specific motive, they do maintain the eighth-note triplet momentum of the previous melodies.

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