DRAM: Notes for "Extensions of the Tradition"

Extensions of the Tradition

EXTENSIONS OF THE TRADITION

THE CHAMBER WORKS OF

WILLIAM C. (BILL) BANFIELD

ART IS NOT A PASTIME, BUT A PRIESTHOOD. J. Cocteau

EXTENSIONS

Using research in the aesthetics, theology, and ethnomusicology, as well as field work in West Africa, I have been attempting to create a compositional method which, while informed by my ethnicity, still speaks universally. I use the term augmentation to describe this process of taking cultural material from vernacular musical languages and conventions and fashioning them into concert works.

Extensions of the Tradition, then, is my attempt to use augmentation to accomplish the following goals: first, to link myself as a present-day creator with past traditions and tradition-bearers and then, second, to comment musically on what those traditions might mean for the vitality of our community today. Finally, I wish to place my work in the context of a larger community of artists so that together we can expand our creative vision (as an extention of our humanity) for the benefit of coming generations.

Notes by Composer:

1. Four Persons. (1989; for piano, oboe, clarinet, bassoon) Performed by Factor 4!

a. Monk, b. Gil, c. Undine, d. Jaco (tracks 1-4 ).

This work was commissioned, performed, and then recorded by Factor 4!. The work is to honor four incredible artists who influenced my life as a musician: Thelonious Monk, Gil Evans, Undine Smith Moore, and Jaco Pastorios.

2. Spiritual Songs for Tenor and ‘Cello. (1990) (tracks 5-7)

Performed by Lee Melvin and Timothy Holly. This work is a re-fashioning of traditional vernacular spirituals: Were You There?, Hold On , and a hint of Andre Crouche’s contemporary spiritual, Soon and Very Soon.

3. WagussyDuke. (1991; for solo piano) (track 8)

My only solo piano work tries to in-vibe the emotional and musical character of Wagner, Debussy, and Duke Ellington.

4. The Prophetess ll. (1992; for high voice and piano) (tracks 9-12).

a. Fret Not, b. Clean Hands, c. Whom Shall I Fear, d. New Song

This work was commissioned by Dr. Louise Toppin. These are modern settings of some beloved psalms.

5. Cone Tone: The African American String Quartet . (1988/revised 93) (tracks 13-15).

a. Let Us Break (Traditional), b. My Cuzin George (homage to George Gershwin), c. Grace Amazin’ and Abundant.

Performed by The Dear Friends String Quartet. This early work captures the spirit and vitality of famed African American spiritual traditions as well as a bit of blues using a traditional “European chamber ensemble,” the string quartet.

These works are all examples of what I term, “Extensions Of The Tradition.” – William Banfield

OF THE

To the new friends “hearing” this CD:

This project is a labor of love that has been in my mind for several years. We began recording it “live” at Kerrytown Concert Hall in Ann Arbor in 1992 and 1993, and continued in Boston in 1995. With grant assitance from the RUGS (Research University Graduate School), and IU Foundation at Indiana University, and additional support funding from the American Composers Forum, I have been able to bring this creative project to life.

Enough thanks cannot be given to the performers on this project. Harry Sargous and Factor 4!, who commissioned Four Persons, and then played it beyond belief; Lee Melvin and Timothy Holly who fashioned Spiritual Songs into a burning piece with a serious groove; Louise Toppin, for her incredible gift and belief in my work; the Dear Friends String Quartet for continuing to perform Cone Tone. Dan Michalak for his performances, editing and critiques, and all the supportive friends who came together for this recording.

My thanks to Kerrytown Concert Hall for providing that great recording room.

All my work in the past three years has been possible because of the supportive, creative, and stimulating environment of Indiana University and of colleagues in my departments: Afro-American Studies, Afro-American Arts Institute, and the School of Music.

To Dean Jeffrey Alberts, my friend, thank you. Without your support it was only a “tune in my head.” I have been trying to make good on the investment made by my teachers: T.J. Anderson, William Albright, Bill Bolcolm, Leslie Basset, Fred Lerdahl, Donald Fox. Thank you for years of believing in me.

And most foundationally, I believe in GOD, the giver of all creative, spiritual, and thinking gifts directed toward the end of celebrating human encounter, life, and love. May it be our goal to be more like that from which we came. – William Banfield

Spiritual Songs for Tenor and ‘Cello

Were You There?

Were you there when they crucified my Lord? Were you there?

Were you there when they crucified my Lord?

Oh, sometimes it causes me to tremble.

Were you there when they crucified my Lord?

Soon

Very soon, very soon, soon we shall see his sweet face. Very soon. Hallelujah.

Very soon, we shall see his sweet face. Hallelujah, very soon.

Can’t you hear the song I’ll be singing?

We are going to see the king.

Hold On

Nora, Nora let me come in. The doors a’ fastened and da’ windas’ pinned!

Keep yo’ hands on da’ plow and hold on.

Nora said, you don’ lose yo’ track, can’t plow straight and keep on looking back.

Keep yo’ hand on da’ plow and hold on.

Hold on, hold on.