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1 The Christopher Norton Effect: How Popular Music Influences his Piano Music Repertoire by Anna Cannon ------------------------------------------------------------------------------- A Dissertation Submitted to the Faculty of Music Department In Partial Fulfilment of the Requirements of the Post Graduate Diploma in Arts The University of Otago October 2015 Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 2 CONTENTS The Christopher Norton Effect: How Popular Music Influences his Piano Music Repertoire ...................... 1 The Christopher Norton Effect: How Popular Music Influences his Piano Music Repertoire ....................... 5 Structure Of Dissertation .............................................................................................................................. 5 Review Of Literature ..................................................................................................................................... 6 Analytical Method ........................................................................................................................................ 6 Styles ............................................................................................................................................................. 7 Chapter 2 .................................................................................................................................................... 12 Christopher Norton Biography ............................................................................................................... 12 Chapter 3 .................................................................................................................................................... 20 Creative Process And Influences ............................................................................................................ 20 Chapter 4 .................................................................................................................................................... 25 Contemporary Rock ............................................................................................................................... 25 Emotional Reaction..................................................................................................................................... 32 Overview ..................................................................................................................................................... 33 Analysis ....................................................................................................................................................... 33 Dreaming On ............................................................................................................................................... 42 Analysis ....................................................................................................................................................... 43 Chapter 5 .................................................................................................................................................... 52 Contemporary Jazz and Swing ............................................................................................................... 52 Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 3 Omnibus By Christopher Norton ................................................................................................................ 54 Overview ..................................................................................................................................................... 54 Analysis ....................................................................................................................................................... 55 Given Half A Chance ................................................................................................................................... 59 Overview ..................................................................................................................................................... 59 Analysis ....................................................................................................................................................... 60 Chapter 6 .................................................................................................................................................... 67 Contemporary Latin ............................................................................................................................... 67 Analysis - Fantasy Bossa By Christopher Norton ........................................................................................ 78 Overview ..................................................................................................................................................... 78 Analysis ....................................................................................................................................................... 79 Chapter 7 .................................................................................................................................................... 89 Christopher Norton - Lyrical Style .......................................................................................................... 89 Deep In Thought ......................................................................................................................................... 89 Overview ..................................................................................................................................................... 90 Analysis ....................................................................................................................................................... 90 Little Lullaby By Christopher Norton .......................................................................................................... 98 Overview ..................................................................................................................................................... 99 Analysis ..................................................................................................................................................... 100 Chapter 8 .................................................................................................................................................. 107 Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 4 Contemporary Blues and Ragtime ....................................................................................................... 107 Up And Away ............................................................................................................................................ 108 Overview ................................................................................................................................................... 109 Analysis ..................................................................................................................................................... 110 Chapter 9 .................................................................................................................................................. 118 Pedagogy .............................................................................................................................................. 118 Omnibus ................................................................................................................................................... 119 Dreaming On ............................................................................................................................................. 119 Given Half a Chance .................................................................................................................................. 120 Fantasy Bossa ........................................................................................................................................... 120 Little Lullaby .............................................................................................................................................. 121 Deep in Thought ....................................................................................................................................... 123 Up and Away ............................................................................................................................................. 123 Emotional Reaction................................................................................................................................... 124 Teaching And Pedagogy ....................................................................................................................... 124 Chapter 10 ................................................................................................................................................ 133 Conclusion ............................................................................................................................................ 133 REFERENCES.............................................................................................................................................. 137 Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 5 The Christopher Norton Effect: How Popular Music Influences his Piano Music Repertoire Christopher Norton's contribution to contemporary music is significant. Norton has written volumes of educational compositions for a variety of instruments and genre as well as larger works. This dissertation will examine some of Norton's contemporary piano compositions in varying genres, including contemporary styles of rock, jazz and swing, Latin, lyrical, blues and ragtime. I will examine Norton's most frequent compositional devices and choice of musical form, and explore which musical patterns frequently occur in Christopher Norton's music? This dissertation will include a list of Norton's compositions, and analysis and characteristics of some Norton's popular works. On completion of this dissertation and analysis, it is hoped that a clear Christopher Norton style or ‘sound’ can be identified as a result of this intensive study of some of his popular piano works. Structure Of Dissertation This dissertation will include a review of the literature and will provide sources that were used for research about Christopher Norton. Following the review of the literature there will be an explanation of the analysis of Norton's music; how the analysis was undertaken and the samples and styles included in the analysis. This will include a brief explanation about the categories that Norton gives to his music. A series of chapters will follow that will include: biographical details, creative process and influences, contemporary rock, jazz and swing, contemporary Latin, lyrical, contemporary Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 6 blues and ragtime, pedagogy and finally the conclusion. The conclusion will answer the question: Is there a Christopher Norton Sound? Review Of Literature The main sources of information about Christopher Norton and his compositions have come from personal interviews by myself and others, through social media, and in particular, Norton's Facebook page. After extensive searching of academic journals, I found little evidence of current research on Christopher Norton and his music. There was an occasional review of Norton's compositions (not piano) in the British Journal of Music Education but these were not relevant to this research. Boosey and Hawkes provided information for this thesis, and I sourced information from the Centre for New Zealand Music website. Norton has a number of websites where he promotes his work, and information was sourced directly from these. Appendix one provides further information about Christopher Norton's websites and other relevant biographical information. Norton also provides information about his life and work on his social media Facebook page. https://www.facebook.com/christophernortoncomposer (Retrieved 8 June 2015) (Norton, Christopher Norton Facebook, 2015) Analytical Method Author Nicholas Cook describes the development of musical analysis in chapter one of his book A Guide to Musical Analysis. Cook explains that initially music analysis was primarily an "intellectual" affair, and that the music was studied "from a theoretical rather than an analytical point of view." According to Cook, the merit of any given piece of music was not as important as the study of the musical qualities. (Cook, 1987) Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 7 Over the years, there have been many changes in opinions about music analysis. Cook lists some traditional methods of analysis, including Schenkerian analysis, psychological approaches to analysis, formal approaches as well as techniques of comparative analysis in his contents page. (Cook, 1987) There are many different ways to approach music analysis, but I have approached the analysis of Norton's music in a systematic, analytical manner using contemporary language. My focus has been to categorize where possible, the style or genre of music. My emphasis has been on form, harmonic analysis, melody and motif development and variation and the particular musical devices that Norton uses. Each analysis follows the same layout. The analysis begins with a summary of key signature, time signature, tempo, expression, bar length, style, dynamics, and form. A brief overview follows highlighting the main elements of the composition. I have tried to avoid a bar by bar analysis where possible, aiming rather to write precisely and analytically looking at the bigger musical picture where ever possible. Styles Norton prefixed all his pieces with the word 'contemporary' at his Getting Comfortable with Contemporary Music Workshop in Dunedin in April 2015. (Norton, Getting Comfortable with Contemporary Music, 2015) The labels Norton provided included; Contemporary Rock, Contemporary Latin, Contemporary Big Band, Contemporary Ragtime, Contemporary Blues, Contemporary Impressionist, Contemporary Gospel, Contemporary Waltz, Contemporary Ballad, Contemporary Asian and Contemporary Musicals. Norton made it clear that he does choose not to compose pastiche Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 8 compositions. An excellent example of this is his ragtime composition Up and Away. (Norton, The Christopher Norton Jazz Preludes Collection, 2006) Norton has deliberately composed in a ragtime style but without the traditional harmonic language that is usually associated with ragtime. Instead of the traditional tonic, subdominant and dominant chords, Norton expands the style in Up and Away to include chord one, two, three, four, five and six in various inverted positions throughout Section A. Christopher Norton gives other labels to his music. In his series Connections for Piano, Norton includes a list of styles in the list of contents. These titles are Character, Swing, Latin and Lyrical. Licorice Allsorts from Connections book three is a character piece. Given Half a Chance is swing, Rainforest is lyrical and Wind Riders is Latin. (Norton, Connections 3 for Piano, 2007) These labels provide the player and audience with an immediate connection to the music. A sense of familiarity comes from playing or hearing other pieces in that particular style. A character piece has a title that describes the music involved, for example, Rocker from Connections Six is composed in a rock style. (Norton, Connections 6 for Piano, 2007) According to Norton and Hisey in their overview of the Connections Series, character pieces come from "a broad range of music types including rock, reggae, country and Celtic." The music always has a "specific character, mood or story... and is imaginative and expressive." (Norton & Hisey, Connections Sampler, n.d) (P3) (Norton, Connections 6 for Piano, 2007) Drum Dance from Connections Two opens with two staccato crotchet notes in the bass followed by a minim, mimicking a drum pattern. (Norton, Connections 2 for Piano, 2007) Stormy from Connections Seven, has a sense of instability created by Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 9 constant changes in time and the use of minor seconds. (Norton, Connections 7 for Piano, 2007) Compositions written in swing style have swung quaver (quavers that are played as triplets rather than duplets). Swung melodies are often syncopated, and the harmonies that accompany them include major sevenths, ninths, and other typical jazz chords. Pentatonic melodies are a common occurrence in Norton's swing style. Smiley from Connections Two, features a pentatonic melody with swung rhythm over a walking bass. (Norton, Connections 2 for Piano, 2007) Given Half a Chance from Connections Three has a syncopated melody with flattened third and seventh melody notes over a left-hand bass pattern that plays the first, third, four and fifth notes of the scale. Its melody is influenced by the pentatonic scale. (Norton, Connections 3 for Piano, 2007) Norton describes his lyrical pieces as " A type of piece that has song-like characteristics, including the use of rubato, cantabile playing and an emphasis on beautiful sound and legato. It can also be linked to the term ballad." (See Appendix 22) Norton labels Lullaby from Connections Six as lyrical. (Norton, Connections 6 for Piano, 2007) Norton also describes his lyrical style as "laid back, "romantic", melancholy or wistful" (Norton & Hisey, Connections Sampler, n.d) (P3)The tempos are often slower, the mood is usually quite, but the dynamics may vary substantially throughout the music. A Walk in the Park from Connections One is a lyrical piece. (Norton, Christopher Norton Connections 1 for Piano, 2007) It has a straightforward single note melody played over a left-hand waltz bass pattern in three-four time. The left-hand occasionally echoes the melody while the right-hand sustains notes. It has a strong melody line. Angel's Breath from Connections Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 10 Three has a gentle melody supported by a lyrical bass pattern and is quiet throughout. (Norton, Connections 3 for Piano, 2007) Norton's Latin pieces have titles evocative of their style and bass patterns comparable with Latin rhythms. Many Latin dances appear in Norton's music including the tango, bossa nova, samba and mambo. Latin melodies are usually syncopated. Fantasy Bossa from Connections Seven has a typical Latin rhythm in the left-hand (See Fantasy Bossa Music on 3 Page 83-84) over a gently syncopated melody using many major seventh and compound chords in its harmonies. Samba Band from Connections Three has typical Latin rhythms in the left-hand over a strongly syncopated melody featuring many repeated notes. The Microjazz Series are a series of miniatures influenced, as the title suggests, by jazz. Norton wrote this series with children in mind. The pieces are usually short and not overly difficult. The Microjazz Series does not use separate labels such as character, lyrical and swing, but rather adds advice on the technique required to learn the piece. Norton exhorts in his third Microjazz book in the music A Sad Song "Let the right-hand melody sing above the other parts with a warm, round tone. Each dynamic is only a step above the last; don't exceed mf at the loudest point and return to p at bar 13. Take your time at the end and follow the pedalling indicated." (Norton, Christopher Norton Microjazz Collection 3, 2011) It seems apparent by playing through Norton's second Microjazz book (Norton, Christopher Norton Microjazz Collection 2, 2011) that these compositions share the same characteristics as the Connections Series. The Microjazz series include styles such as Latin, Lyrical and Character. For example, Open Spaces in the second Mircojazz sounds like a Norton character composition. Face in the Crowd Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 11 appears to be Lyrical and Samba is Latin. It appears obvious that Norton thinks in these styles as he composes. The titles of his pieces are often suggestive of the type of music that might follow, with examples such as Wombling from Microjazz Series 3 and Latin also from book three. The descriptive titles Norton uses support the mood of the composition and help the musician to translate the notes on the page into a contemporary sound world. Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 12 Chapter 2 Christopher Norton Biography Christopher Norton was born in Tauranga in New Zealand on June 22th, 1953. Norton reveals in his interview with me (April 16th, 2015 at Dunedin) that " he did not come from a musical family, but that his family were highly supportive of his endeavours." (Norton, Cannon Interview with Norton, 2015) Norton elaborates: "I had no music in my immediate family, literally no piano. My father was a weight-lifting champion and once Mr New Zealand. So looking at me, most people think, What happened here?" (Norton, Playing by Ear, 2015) Norton's father was a minister, and religion played a significant part in Norton's life. Norton recalls his early piano lessons at age eight with nuns from the church his parents attended. He also remembers listening to his parents music on the Concert Programme. Norton is animated as he recalls his favourite pieces in our interview; Tchaikovsky's Waltz of the Flowers and the Beethoven Hallelujah Chorus. (Norton, Cannon Interview with Norton, 2015) Having listened to much of his parents’ "obscure" music, Norton discovered that his peers were not listening to the classical music that he held sacred. (Norton, Cannon Interview with Norton, 2015) Upon discovering that his friends were listening to popular music, Norton discloses that he began to experiment with contemporary forms of music. (Norton, Getting Comfortable with Contemporary Music, 2015) Norton attended Waiouru Primary School, Papakura Normal, an intermediate school in Devonport for one year, Dunedin North Intermediate and Otago Boys High in Dunedin. Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 13 (Norton, Cannon Interview with Norton, 2015) Norton wrote his first composition when he was fourteen years old. (Norton, Cannon Interview with Norton, 2015) Don McKenzie made it possible for Norton to attend a musicianship class run by the University, in Dunedin. (Distance Learning at the University of Otago - A History, 2015) (Norton, Questions Cannon to Norton 8.5.15, 2015) Norton spoke highly of Don McKenzie, who was the Head of Extension at Otago University. The musicianship classes were designed for students interested in composition, but who were still at secondary school. Norton recalls the positive experience he had under Rosemary Miller-Stott, a Dunedin-born pianist, who trained at Otago University and the Royal Academy in London, who taught the class. (Norton, Cannon Interview with Norton, 2015) Norton believes the support and encouragement that he received from Stott fostered his musical creativity. (Norton, Cannon Interview with Norton, 2015) Norton was "incredibly interested in composition," says Stott, and he (was) "prolific" in his work". (Stott, 2015) Stott states that the classes involved sight-singing (often madrigals), composing, listening to music and performing the pieces the students had written during the week. Stott describes Norton as an "incredibly creative young boy" and noted that he stood out from the other children by the volume and length of works that he wrote. (Stott, 2015) Norton at age sixteen "had an orchestral work performed and broadcast". During this time, Norton became well known as a pianist (having achieved his LRSM) and had the opportunity to play with the New Zealand Symphony Orchestra. Norton had already written several works before attending University, including works for the Schools Chamber Music Competition and piano compositions. Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 14 (http://sounz.org.nz/contributor/composer/1075 Retrieved 31 May 2015). (Norton, Centre for New Zealand Music, 2015) Christopher Norton attended Otago University, undertaking an honours degree in music and graduating in 1974. Norton asserts in his email interview with Crystal Smith on 9th May 2015 that university presented an opportunity for "rigorous... feedback and analysis" and opportunities to "play in a variety of musical contexts. During this time, Norton found Jack Speirs " a very practical and helpful composition teacher while at Otago University."Norton also credits "the helpful and "sensible advice" given by Edwin Carr and John Rimmer while at university as being significant to his development as a composer. (Norton, Interview with Crystal Smith, 2015) Norton began to "freelance as a composer and arranger" around 1974 and during this time he also played keyboard in a local rock band. (Norton, Centre for New Zealand Music, 2015) Boosey and Hawkes publishers add that during this time Norton also became more interested in "jazz and pop." (Boosey & Hawkes/Christopher Norton, 2015) Norton states that he went to Wellington in 1975 as Head of Music at Scots College. During this time he won the Christchurch Piano Concerto Competition playing Prokofiev's first piano concerto. He also worked at Taw College and was a Composer-in-Schools for a year. (Norton, Cannon Interview with Norton, 2015) Norton reached a turning point in 1977 when he moved to England on a university scholarship and undertook a second composition degree under Wilfred Mellers and David Blake. Mellers and Blake were founding members of the University of York as Music Professor and Lecturer and both composed music. Mellers was a "composer, critic and Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 15 academic whose love of music ranged from Bach to the Beatles." In Mellers obituary, Mellers was described as "a most exciting and exuberant personality." Mellers had many achievements beyond his compositions, including a number of books, in particular, his books on Bach and Beethoven (his favourite composers) and his study on François Couperin, which Mellers wrote for his doctorate. Mellers remained active creatively until his nineties. He died on the 17th of May 2008, a well-known and respected composer, musicologist, teacher, author and critic. (Ford, 2008) David Blake, Professor of Music at York University was born in 1936 in London. Blake completed National Service during 1955-57 and then began his study of music and composition. Blake received a number of commissions to write music, which helped establish his identity as a composer of some note. Novello and Co published Blake's music. In 1963, he received the Granada Arts Fellowship from the University of York and in 1964, he established the Music Department of the University of York along with Wilfred Mellers and Peter Ashton. (David Blake, 2015) Norton explained that he had a positive experience under Wilfrid Mellers as his supervisor as Mellers appeared to be open to different musical backgrounds and genre. Norton reveals that when Mellers retired, he found it more challenging to respond to the expectations of David Blake who asked him to analyse Berg's Three Orchestral Pieces at a time when Norton was writing Intercity Stomp. Norton says he rethought his position and opted to complete a portfolio of composition for his Masters rather than to complete his doctorate. (Norton, Cannon Interview with Norton, 2015) Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 16 At this point, Norton says he had a clear understanding of his strengths and his desire to make a living from writing contemporary music. (Norton, Cannon Interview with Norton, 2015) (He was working on the Microjazz Series at the time.) Norton claims that at his viva the comment was made "that I (Norton) would do as well as anyone who had come through the department but what was I doing there in the first place (i.e., not just going into commercial music)?" (Norton, Mellers and Blake Questions, 2015) According to Norton, completing his Master of Philosophy helped him clarify the type of music he wanted to write, which helped Norton create his personal style and sound. (Norton, Interview with Crystal Smith, 2015) . Christopher Norton received a publishing offer from Boosey & Hawkes for his Microjazz series in 1983; it provided the opportunity to make his compositions accessible to music students globally. Boosey & Hawkes is one of the world's largest publishers, particularly of classical music, so Norton's success in securing a deal with them offered him a firm foundation for becoming well known. Norton's compositions were directed at young children and teenagers learning piano. A feature of Norton's Microjazz was the compact disc recordings available with his music. Since 1983, his repertoire has expanded to include many solo instruments. Boosey & Hawkes assert that whilst Microjazz was a successful publication, Norton has gone on to write many other "award-winning" publications for them and is their "biggest selling music series...with over a million sales to date." (Boosey & Hawkes/Christopher Norton, 2015) Currently, Boosey & Hawkes have 203 publications by Christopher Norton. The newest publication is called The Eastern Preludes Collection and next year Boosey & Hawkes will publish Pacific Preludes. (Hughes, 2015)Appendix twenty provides a list of all Christopher Norton publications) Norton Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 17 asserts a highlight of his career was "winning Best Publication (for Essential Guide to Pop Styles) at the Music Publishers Association awards in the 1990's. (Norton, Interview with Crystal Smith, 2015) The success of the Microjazz series brought new opportunities for Christopher Norton. Norton was approached by the Royal Conservatory of Music in Canada to write a series of eight graded piano books for their syllabus. The series was called Connections. A number of music exam boards use pieces from the Connections Series in their syllabus, and the books are very popular with both students and teachers as a source of repertoire. American Popular Piano were released in America in 2006. This was a new series of method books with an emphasis on improvisation. Norton and well-known music teacher Scott McBride-Smith collaborated on the production of the American Popular Piano series. Scott McBride-Smith is Kansas University's Cordelia Brown Murphy Professor of Piano Pedagogy. McBride-Smith has had much success with piano students and is involvement with gifted young musicians from around the world. (University of Kansas, 2015) This collaboration with Norton produced a high-quality series of books for music teachers to support contemporary learning, in particular, improvisation. Currently, Norton is presenting music education seminars around the world. Norton asserts he started teaching workshops for children and teachers during 1987. Teaching improvisation has been a key element in the music education that Norton provides, in particular helping classically trained music teachers to teach contemporary music styles. (Norton, Cannon Interview with Norton, 2015) Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 18 Norton also spends a great deal of time in England working in schools teaching teachers and students how to put on short musicals he has written especially for the English school syllabus. So-called ‘Micromusicals’ are performed in a school setting and are usually about half an hour in length. Script-writing is a new line of work for Norton, but he says it works effectively with his compositions that become songs that the children learn to sing. The children learn about historical events and other school syllabus subjects through learning the songs Norton writes. (Norton, Cannon Interview with Norton, 2015) Norton was delighted that in (2014) this series was shortlisted for the Best Print Resource Award at the 2015 Music Teachers Awards for Excellence. (Norton, A Day in the life of Christopher Norton, 2014). (http://christophernorton.blogspot.co.nz/ ) (Retrieved 1 June 2015). By following Norton in social media, it seems apparent that Norton is somewhat of an entrepreneur. In addition to composing, running workshops, and facilitating micro musical at schools, Norton also takes commissions to write specific works for performers like Mark Walton with his recently commissioned Clarinet Sonata, Chasing My Tail. Norton is also a producer on several albums. In Norton's interview with Tony Cummings about the 500 Series, Norton discloses his involvement with Phil Potter on the "Lead Me On" album in 1979 and further collaborations with Word UK and involvement with the 'Praise Him" albums. (Cummings, 2015). Norton still spends some time in recording studios around the world on his works and in collaboration with others. Religion has played a significant part in Norton's life, and he has been involved in producing religious albums where there is still clearly an active market. Norton finds involvement in these religious albums "satisfying." (Cummings, 2015). The 500 Series was Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 19 a massive undertaking by Norton and others that were according to Norton "similar to the Maranatha Praise Albums of the 70's". (Cummings, 2015) Norton appears to be living a richly creative life. His success with the Microjazz Series and the ongoing opportunities to write and teach have made him a prolific contemporary composer. Norton is now in his early sixties and appears as active and engaged in his craft as he was in the early days in Dunedin while honing his composition and piano skills. Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 20 Chapter 3 Creative Process And Influences The source for most of the information about Christopher Norton's creative process and influences came from my interview with him on April 16th, 2015, and the subsequent emails that occurred after that time. As a contemporary composer, Norton has not yet been studied in depth, so I was fortunate to be able to ask some significant questions. (The appendix provides a copy of all interviews and questions.) Christopher Norton states that he often starts with a drum track when beginning a composition. He prefers to work in the morning when he feels fresh and "most motivated." Norton prefers to compose at the piano. "Any musical idea will work as a starting point because anything can suggest something...one thing leads to another," says Norton. Norton believes that composing music is a balancing act of repetition and variation and that a composer is strongly influenced by the music he or she listens to. Norton's influences are many and varied. These composers include ew. Norton gives his works titles when the piece is completed. Norton explains " I don't tend to set out with any particular mood in mind, but it soon becomes evident what kind of mood a new piece has." Many of Norton's works are programmatic with evocative titles such as Veiled in Mystery in Connection 8, and Leaves Falling, from Connections 5. "A strong melody is essential" asserts Norton, who considers melody writing one of his strengths. Another important factor is the ability to vary thematic ideas, although says Norton sometimes "something just occurs to me." Form also plays a significant part in Norton's compositions. In Deep in Thought from Connections 4 for piano, Norton uses Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 21 ternary form. Norton makes a point of restating A theme with variations, a common enough compositional device, which is found in many of his compositions (See Analysis of Deep in Thought P88) Deep in Thought also has clear eight bar phrasing and is written in a lyrical style, which is maintained throughout the whole piece. (Norton, Cannon Interview with Norton, 2015) By contrast, Given Half a Chance from Connections 3 has only one musical idea in a twelve bar phrase that is repeated with variations and an ending. (See Analysis P59) While the form is different to Deep in Thought, the process appears the same, resulting in a clear sense of musical shape, composed with a sense of purpose. Norton's music appears to have a jazz influence, but on asking Norton if jazz influenced his music, he replied, "Yes... but I'm not really a pure jazzer." Norton states that the big band sound influence his compositions significantly and that he enjoys how jazz musicians phrase their music. Norton adds that when he writes in jazz genres, his pieces are still "strongly tuneful." (Norton, Cannon Interview with Norton, 2015). Norton admits that he enjoys "piled up fifths" that have "overtones of Lilburn." Norton also spoke warmly of Lilburn's kindness to him despite Norton's lack of interest in Lilburn's electronic music. Over the years, Norton comments that people have mentioned that his sound is not dissimilar to Lilburn's instrumental pieces. "My sounds speak of large landscapes, bright blue skies," says Norton, who finds his fingers gravitating towards open fifths and large spaced out inverted chords, not unlike Lilburn's. Norton went on to clarify this further by saying "there's just a subtle similarity in some of Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 22 the sonorities we both like - use of fourths and fifths and "open" chords." (Norton, Personal Communication, 2015). Norton also commented several times on the importance of using inverted chords when composing. Norton states, "they sound just right." Norton does not discount root position chords, but he mostly uses inverted chord voicing throughout his music and believes that "he is really good at voicing" and that this is a factor in his success as a composer. (Norton, Cannon Interview with Norton, 2015). Norton has written a number of different music publications, including thirteen Microjazz piano books and a selection of Microjazz for wind, brass and string instrument. Norton has also written Rock Preludes, Latin Preludes, Country Preludes and Jazz Preludes for Piano. (See Appendix P20 for a complete list of Norton's publications) The series called Connections for Piano is a more recent undertaking by Norton and involved eight graded piano books. On playing and analysing the Connection Series, they seemed to differ somewhat from the Microjazz Series, which seemed more rhythmically challenging. I asked Christopher Norton about the stylistic differences in these two different series. (Appendix three provides a copy of my interview with Christopher Norton 16th April 2015) Norton asserts that "There was no difference in his thinking or process for either the Connection Series or Microjazz", but admits that there are more diverse influences in the Connection Series. Norton attributes some rhythmic influences and sounds in the Microjazz series to the funk band he performed with in the early 1980's. (Norton, Cannon Interview with Norton, 2015). Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 23 The Connections Series was published by The Frederick Harris Music Company in Canada and was a large undertaking. Norton went about composing in a diligent manner (one composition finished each day). Norton did not work through the grades systematically; instead, composing whatever he felt like writing on the day. Norton explains that he was given creative licence to write the series which he appreciated. This freedom allowed him to write eight books of piano music over about 200 days. Norton is extremely clear on this point, "I wrote to how I felt. I wrote what I felt like writing each day." It is clear Norton allows plenty of opportunity for intuition and creativity in his compositional process, yet from his compositions we can see and hear clearly defined structure, appealing melodies, and pleasing rhythms and harmonies. Norton asserts that at times it is necessary to be logical and analytical and that these factors to contribute to the execution of new musical compositions. (Norton, Cannon Interview with Norton, 2015) As a result of my experience in playing Norton's music, attending his workshops and studying his music for this thesis, I can assert that Norton has found his compositional voice. Norton speaks passionately in his workshops to students and teachers of the importance of knowing yourself musically and being unafraid to "express it and grow it." (Norton, Cannon Interview with Norton, 2015). An affinity with creativity is clearly felt when listening to Norton speak, as he discusses the importance of authentic selfexpression. In summary, Norton says his works "sound like him," and are a blend of his classical beginnings, his experiences playing in rock bands and the influence of the music he listens to. (Norton, Cannon Interview with Norton, 2015). In Norton's view, whether we hear his early works or his later works, his music will inherently sound like him. He believes his Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 24 sound is consistent, and he does not set out to try and write something that is "not authentically his music." (Norton, Cannon Interview with Norton, 2015) Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 25 Chapter 4 Contemporary Rock Author Stearn from the Online Oxford Encyclopedia of the Modern World describes rock music as a widely popular new genre of music that came about in the 1950's with the advent of rock n roll dance music. It's musical style influenced by "African- American Rhythm and Blues." Stearns asserts that Elvis Presley pushed rock n roll music into the foreground of society by blending African-American sounds with more contemporary popular music. Stearns explains this as a combining of "the rhythm and timbre" of early African American music with the western concept of "melody" and popular harmonies. (Stearns, 2015) From its very beginnings, rock music established itself as anti-establishment and antiauthority. According to Stearns, rock music's appeal was mostly to those aged between fifteen and twenty. A rock band usually comprised of four to five musicians. The instruments were guitar, bass guitar, drums and keyboard. Stearn adds that rock music moved away from an acoustic sound and towards "electronic amplification of the instruments." (Stearns, 2015) This shift to amplification changed the sound the band could produce and became an established part of the rock music scene. A singer would lead the band in what Stearns describes as a "simplified use of the voice that is close to the wailing expressiveness of black gospel blues, and soul." (Stearns, 2015) Even today, rock music is easily identified through the style of singing and the way rock singers perform on stage. Kelly explains that rock songs have a distinct character that emerged from the influence of many other musical genres that include "folk, blues and country." A Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 26 performance that communicates feeling and emotions states Kelly is what rock music is all about. Kelly asserts that rock music is "judged by" its "authenticity of voice, rhythm and loudness." (Kelly, 2015) Kelly asserts that rhythm is a key element of rock music. The beat can ebb and flow, and emphasis can be put in front of or behind the beat, the purpose being to encourage selfexpression in dance or movement. The music is often loud though dynamics may be tapered and time signatures usually include regular metres and rhythms. Rock music can be dissonant and "aggressive" at times. (Kelly, 2015) Latham says that a backbeat characterises rock music, which is the accenting of the second and fourth beat. (Latham, 2011) Christopher Norton's piano rock compositions take some of the elements or rock music and fuse them with an individual sense of style and rhythm. An example of Norton's unique sense of style in what he terms "contemporary rock" is found by listening to Blurred Horizon from The Christopher Norton Rock Preludes Collection. (Norton, The Christopher Norton Rock Preludes Collection, 2005) If we take the main characteristics of rock music being a back-beat, displacement of beat, a loud dynamic, emotional content and amplified instruments, the only strong identifying characteristics would be the emphasis on emotion and the displacement of beat. Norton's rock pieces often have syncopation and rhythms that are identified with rock music, but the overall sense of rock is not overtly strong. (See Musical Examples Blurred Horizons P27) A recording of Blurred Horizons can be heard at: (https://soundcloud.com/nortonchristopher/sets) (Norton, 2005) Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 27 Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 28 By comparison, Blue Sneakers from The Christopher Norton Rock Preludes Collection has driving rhythms that are characteristic of rock and some early rock and roll music. (Norton, The Christopher Norton Rock Preludes Collection, 2005) The left-hand line mimicks a bass guitar line. Blue Sneakers has tremolos, syncopated rhythms, chord and a strong left-hand voice, and there is a clear melodic line. This piece uses twelve-bar blues form. (See Blue Sneakers Musical Examples P29) Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 29 Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 30 Sunshine Piece from The Christopher Norton Rock Preludes Collection is a quiet, reflective piece with elements of strong rhythm and a clear bass line, comparable to a bass guitar part. There are many syncopated chords that have a distinctly jazz flavour. (See Musical Examples P31) Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 31 Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 32 In the context of rock, some of Norton's compositions appear to be radical until you listen to something like Backstreets Bruce Springsteen and give attention to the lyrical piano part (Springsteen, 1984). The piano section in Layla written by Eric Clapton and Jim Gordon is immensely lyrical and gentle in character when compared with the hard rock section version with guitars, bass and drums. (Eric Clapton). Norton captures the emotion of rock music but does so in an original Norton way, authentically his. (See Appendix four provides video links to Clapton and Springsteen.) An analysis of Emotional Reaction and Dreaming On follows, and will provide an in-depth look at the characteristics of Norton's rock compositions. Musical examples have been added to enable a fuller understanding of Norton's compositional process and form in his contemporary rock style. Emotional Reaction Key Signature: C Major Time Signature: 4/4 Tempo: With power ♩ = 132 Length: 43 Bars Dynamics: mf - ff with crescendo and diminuendo Style: Rock Form: Ternary - A, B, Av Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 33 A (Bars 1- 16) B (17 - 24) Av (25 - 43) Overview Emotional Reaction from Norton's Micro Rock series, establishes a rock feel at the beginning of the music with rhythmic chords. (Norton, Christopher Norton Microrock 20 New Pieces Based on Rock Rhythms for the Beginner Pianist, 2009), The music starts forte with a syncopated melody line and strong harmonies and rhythms in the lower voice of the right-hand. Norton uses ternary form, and the music has a clear sense of unity throughout with a drone G in the top voice of many bars. The same harmony is used through both sections and chords are mostly in root position. The music is in C major and uses chords one, six, four and five as repeating progressions throughout the music. The melody maintains the same group of notes throughout with the bass providing contrast by descending through the chord progression one, six, four and five. The music ends with strongly accented C11 quaver chords and melody and completes on a tonic C chord. Analysis An important feature of Emotional Reaction is that the top voice in the right-hand plays a G drone note in six of the first eight bars of the music. (See Musical Example 1 P38) It is the lower voice of the right-hand that provides the rhythmical interest and the bass which sustains the changes in harmony. The main melody is found in the first two bars (See Example 1 B P38) and this short melodic idea repeats in bars three and four and Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 34 again in bars five and six. A contrasting quaver melody appears in bars seven and eight. The left-hand descends strongly through longer notes and moves downwards through pairs of quavers which aid its descent to the next chord. The chord progression of the first eight bars is C9, Am11, F13 and G. The opening section is played at forte and moves briefly to mezzo forte. The next eight bars are the same as bars one to eight except small harmonic changes in the lower voice of the right-hand. Bars nine to sixteen are nearly identical to bars one to eight, except slight harmonic changes in the lower voice of the right-hand and octave changes in the left-hand. Section B starts at bar seventeen and contrasts both rhythmically and melodically to Section A. The harmonic progressions remain the same but move more quickly through the bass line. (See Example2B P38) The melody is articulated with three-note slurred quavers mostly using the notes G, A and C and A, B D (a sequence of G, A and C). As the melody progresses, the notes are influenced by the bass line. For example in bar nineteen, the C bass has melody notes of E and G, the B bass note has melody of D and G. (The melody notes belong to the triad accompanying the bass note) The melody moves from three-note slurs to four-note slurs in bars nineteen to twenty. The final four bars of Section B find their beginnings in Section A bar one except the semibreve note is played in the lower voice, and the lower voice rhythms of bar one are now melody at bar 21. (See Example 4 P39) The harmony is F major7, not C9, as it is in bar one. A new rhythm is seen in the bar that follows which speaks of what is to come in bars 33 - 38 (syncopated chords). The final two bars complete Section B with quaver rhythms in three-note slurs under the dominant note G as minims. Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 35 Section A with variations occurs in bars 25 - 32. The first two bars contain the main melodic idea and are repeated twice after their initial presentation. The main differences in this variation are the octave changes in the upper and bass voices that are an octave higher and lower respectively. The lower voice has been drawn out considerably with quaver rhythms. (See Example 3 P39) The left-hand maintains the same pattern as bars one to six, but a subtle shift occurs in bars 31 and 32 with only an octave note occurring on the dominant but with similar rhythm to bar seven and eight. Another contrast occurs in bars 33 - 38 with Norton using syncopated chords to add variety. Contrast is essential when there is a repetitive melody or motif. The chord progression is maintained throughout this section with an emphasis on rhythm. (See Example 5 P40) This section is played forte and moves to fortissimo. At bar 39 and 40 we hear a return of bar 31 and 32. The ending is based on a C11 chord with quavers rocking in groups of three slurred notes with accents. A strong tonic chord completes the music. Summary Of Features Repeated harmonic pattern (C, Am, F, and G) Syncopation Variation Rhythmic Chords Drone note in upper voice Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 36 Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 37 Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 38 Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 39 Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 40 Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 41 Sourced from: Norton, C. (2009). Christopher Norton Microrock: 20 New Pieces Based on Rock Rhythms for the Beginner Pianist. Boosey & Hawkes Music Publishers Ltd. Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 42 Dreaming On Key: F major Time Signature: 4/4 Dynamics: pp - f with decrescendo and diminuendo Tempo Dreamily ♩ =112 Length: 43 Bars Form: Intro A/B/A/C Ending Overview The mood of Dreaming On is dreamlike, contemplative and mostly quiet. Norton sets the mood for Dreaming On with the first major seventh chord in the introduction, which is the first of many major seventh and major ninth chords throughout the piece. The piece relies on these harmonies for its dreamy mood and the melody carried over the top of the chord progressions is played smoothly. The harmonic structure is composed of mostly tonic, dominant and sub-dominant chords. There are brief movements to chord II and VI and the use of secondary dominants to create tension. The mood is quiet but steadily builds, rising and falling, reaching peaks at bars 17 and 35 at forte. The end of each section finishes with a secondary dominant chord moving to the dominant before moving on to the next section. Norton follows Section A and B with A section played with variations and then a Section C that is based rhymically on Section B. Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 43 Norton completes Dreaming On with a sighing arpeggiated F13 chord (without 7th or 11th) creating a wistful coda. Analysis The introduction begins with a syncopated tonic melody outlining an A Minor triad, underpinned with a gently syncopated bass F moving to C. This rhythmic pattern underpins a significant amount of melody during the piece. (Example 5A P50). Bar two continues with the F pedal note but the harmony changes to a Bb9 chord which releases quickly into a descending syncopated F Major triad melody starting from C. The syncopated melody in bar three, is the same as bar one. Bar four completes the introduction on a semibreve C11 chord/no third. Section A starts on count three of bar four and begins the melody in single notes, F rising to C then falling to G. The melody holds on a G tied semibreve at bar five whilst the bass surges forward using notes from the F Major 9 chord (without the seventh). (See Musical Example 5B P50). The continuation of the G note over the change of chord in bar five from F major to Bb in bar six creates a suspension. The melody descends in sixths in bar six over the Bb Major Seventh chord. Bar seven begins on an embellished E note played in sixths with the tonic major ninth chord with no seventh in the chord supporting the melody. The melody primarily uses notes from the C triad. At bar seven the bass changes its syncopated rhythm to a dotted crotchet, dotted crotchet, and crotchet; a rhythm that occurs only once in this piece. Bar eight moves to the sub-dominant chord, (Bb maj7/A), the melody holding then falling in step movements to D in bar nine over a G in the bass. The harmony moves to Gmin9 in bar nine then plunges firmly into the dominant seventh (C9) at bar ten. The right-hand inner voice decorates the D semibreve in bar nine, and the Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 44 melody works towards its end in bar ten with fourths on D and G crotchets resolving as quavers to F, E then G at bar ten. The left-hand inner voice echoes the melody in contrary motion at bar ten. This section completes with rhythmic chords played staccato in Fmaj9 then moving to the secondary dominant ambiguous sounding Emin13 then to the dominant of A7 to begin the new section in the relative minor, D minor. These rhythmic chords provide a bridge between melodic section A and the new section B. These chords also occur in bar 28 and 29 as a bridge to the third section C. Section B begins on count three of bar thirteen. A flowing quaver bass provides a dialogue to the right-hand melody at bar 14 and provides a link to the beginning of the music (See Example 5B P50). This pattern seen previously in bar five on the tonic chord Fmaj9 is repeated numerous times during this composition. Section B melody continues at bar fourteen (See Example 6 P50) where the crotchet note D is played with harmonies in thirds in a slightly stronger rhythm and melody. The first note D is harmonised with a B natural played against A and G bass notes. (A7). The dynamic has moved to mezzo forte during the transitional bars of eleven and twelve. Tonic to dominant chord progressions is strong in bars thirteen to seventeen as the music gathers momentum through harmony and dynamic. The melody continues moving in thirds in mostly stepwise ascending movements till it reaches the note A in bar 17. Bar seventeen uses the same rhythmic chords as bar eleven but as F major seventh chords rather than the F major ninth chords found in bar eleven. A quaver rest starts bar eighteen where the melody note begins on the seventh degree of Bb. The melody falls in stepwise motion through to the dominant seventh chord in bar twenty, which is a continuation of the musical ideas in bar 17. The melody notes are harmonised with Bb Maj7, B half diminished and finally A9 no 7th. The Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 45 expectation would be that that the A9 (no 7th) chord, which is acting as a dominant seventh would resolve to D minor, but instead it moves to C13 in F Major with no third. The second theme completes half way through bar 21, and the first theme returns with some variations. A repeat of Section A with variations begins in bar 21, third count, an octave lower than bar four with the addition of a harmony note D and underpinned by a C11 chord. It is interesting to note that there are two F's in this bar; F is looking like a suspended note in the chord, but it does not resolve to E. The second F note carries the melody. The melody continues in bar 22, similar to bar five but with the addition of a second inversion C chord at the end of bar 22. The bass maintains it's running pattern of quavers, found in bar five. (See Example 5B P50). The harmony in bars 23-25 is similar to bars six to eight, but three note chords support the melody, and there are subtle changes to the melody line. The E note in bar 24 is not embellished as it is in bar seven. The quavers at the end of bar 25 are played a fourth higher than in bar eight. At bar 26 the semibreve note is G rather than the D, as found in bar nine, but the chord is harmonised with Gmin7, which is the same harmony as in bar 9. The quaver harmony notes in the right hand are similar to bar nine, but with bar 26 only moving as far as the F note rather than the A note found in bar nine. In bar 27 and bar ten, both chords move to the dominant seventh of C, but in bar ten it is a C9 and in bar 27 a C7sus4 that is played. The melody at bar 27 is embellished by a grace note leaping a minor seventh to C then falling to the sixth and fifth and then sixth notes of C major. Rhythmic chords appear in bar 28, and 29 in the same rhythms as bar eleven but instead of F maj9 and Emin13, Norton chooses an A min7 and Daug7th instead. The D chord is acting as a dominant seventh chord. Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 46 Section C begins at the third count on bar 29, and echoes thoughts from Section B theme in the second half of bar twelve to bar fourteen, but with different harmony, particularly in bar 31 where we see a Bb minor 7th chord played over a C bass note descending to Bb acting as an appoggiatura This is the only time the Bb minor seventh chord appears. Section C moves in its own direction at bar 32 with descending scale quavers harmonised with a C falling to D13b9 chord on the last half beat of bar 32 and returning to the safety of G Minor in bar 34 where Norton seems to be avoiding a return to the tonic F major as he continues to create harmonic tension on chords that remain unresolved. The music is moving towards its conclusion at bars 35 to 37 with descending quavers in sixths starting on F and descending till the final lower F note at the last half beat of bar 35. This rhythm is similar to bar 32 but continues quaver movement till the end of the bar. Bar 36 plays bar one from count two. Bar 35 and 36 act as the end of C and the bridge to the coda. The coda is an echo of what has gone before and relates to bars one to four. The downward moving octave melody in bar 37 on C, A, and F over F and D in the bass (Bb9/F) are a repeat of bar two. Bar 36 and 37 repeats in bars 38 and 39. Bar 40 repeats bar 36 and finally rests briefly on bar 41 on a C11 chord before completing the final echo of F, C, G in bar 41 over a bass run on F maj9. An F13 with no seventh ends the piece. Summary of Features Lyrical syncopated melody supported by gentled syncopated bass patterns. A triadic chord structure often shapes melodies and moves with gently undulating scale patterns. Rhythmic chords are used as a bridge between melodic sections to help break up the lyrical melodies. Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 47 Section A has a more stable harmonic structure. Sections B and C modulate more and have greater harmonic contrast and less movement to the tonic. Gentle syncopation and back-beat occur in a quiet dynamic creating a reflective rock-style piano composition. Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 48 Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 49 Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 50 Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 51 Sourced from: Norton, C. (2005). The Christopher Norton Rock Preludes Collection. Boosey & Hawkes Music Publishers Ltd. Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 52 Chapter 5 Contemporary Jazz and Swing While Norton's music incorporates many elements of jazz; it does not always appear as overtly "jazz". Norton's Microjazz Series are full of miniatures influenced by jazz and blues genre, but as short compositions that appeal to younger students. It is well known that jazz music originated from black African slaves who were shipped to America and blended their music with that of their new country. The rhythms of the Caribbean and Africa were mixed with the gospel and hymn music of America. Work songs came from this blending of cultures and were often spontaneous and improvisational in nature. The Oxford Online Encylopedia provides an academic overview of jazz and defines jazz as "a style characterized by syncopation, melodic and harmonic elements derived from the blues, cyclical formal structures and a supple rhythmic approach to phrasing known as swing." (Mark Tucker, 2007) Jazz like many other musical genres has developed many different sub-genres like Big Band, Swing, New Orleans Jazz, Cool Jazz, etc. Norton's Microjazz series are the most well-known of Norton's jazz pieces, however the Connections series by Norton has numerous pieces that are swung and include syncopated rhythms and jazz voicing or use a twelve-bar blues form or improvisational style. (See Appendix 15) Norton has also written The Christopher Norton Jazz Preludes Collection for piano that include fourteen solo piano pieces that include blues influenced melodies and bass patterns, modal influences, ragtime and swing. Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 53 In Henderson's interview with Norton, Henderson asked Norton for one difficult aspect of composing that the general public might not realise. (Norton, Interview with Christopher Norton by Matt Henderson, 2013) Norton replied, "A difficult aspect of composition is, for me, writing pieces in well-known styles (boogie boogie, bossa nova, ragtime, etc) and making them something more than pastiche, i.e., giving them a composer voice while being recognisable in a specific style." This quotation explains Norton's penchant for composing using obvious elements of jazz, but in ways that are uniquely his own. A good example of this is the ragtime piano piece Up and Away (See Analysis of Up and Away P 106) which has been designated a ragtime piano piece, but which uses harmonies that are not used in ragtime. It is also common for Norton to use the kind of chords one expects to hear in jazz music but in lyrical or character styles. An example of this is Little Lullaby in Connections Six. Little Lullaby presents many different types of F chords including F maj7, F9, and F13 as well as Eb9/6, C11 and C13 chords which are all typical of jazz music, and are voiced in a jazz manner. The voicing of these chords is significant because the chords need to be arranged in certain ways to sound "jazzy." There is also an F Mixolydian scale in bars 29 -30, yet the character of the music remains lyrical and typical of a lullaby. (See Analysis Little Lullaby P96) Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 54 In Connections Eight, three pieces out of the 22 pieces available use swung rhythm. (Hot Day, At Peace and Cause for Rejoicing). Hot Day includes a typical stride bass with a swung syncopated rhythm in a style typical of jazz. At Peace sounds like "Cocktail Jazz" with swung rhythm, typical jazz chords and a gently syncopated melody. A Cause for Rejoicing is a lovely ballad-like song with swung rhythms, simple harmonies and progressions and a gently syncopated beat. The analysis of Norton's pieces Omnibus and Given Half a Chance will provide more indepth information to the nature of Norton's swing and jazz music. Musical examples are included to clarify further the points raised in the music analysis. Omnibus By Christopher Norton Key: D minor Time Signature: 12/8 Dynamics: pp - mf with decrescendo and diminuendo Style: Swing Length: 16 Bars. Overview This short relaxed swing composition is held together by a gentle D pedal effect through most of the composition. On page 17 of The Microstyles Collection Norton advises "the rhythm should feel relaxed and lilting. Keep your touch light." (Norton, The Microstyles Collection Piano or Keyboard, 1990) There is only one musical idea throughout based on Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 55 the pentatonic scale D-F-G-A-C. Within this idea, there are two sections. The first idea is found in bars one to four, then repeated in bars five to eight. The second idea presents in bars nine to twelve, with a return of the first idea at bars thirteen to sixteen. A short dominant section provides a brief stop to the tonic pedal in the first section. The tonic pedal recommences in bar thirteen. The bass plays chords throughout except the final bar that is played as a broken chord Dm6/9 ascending run. The harmonies move through Dm7, Dm6, Bb/D, Dm and so on. There are brief occasions where the harmony moves to the subdominant of G Minor, over a pedal D. At bar nine the harmony briefly moves to Am7 with melody notes indicating a suspended fourth. A brief flattening of the fourth occurs at the end of bar eleven which suggests a type of dominant seventh chord and the music resumes its trip back to Dm7 in bar 13. Analysis The melody moves in short syncopated bursts, not unlike a bus moving through several stops in short succession. A short two-note slur begins the melody descending on a minor third. The melody asserts itself in a stronger, longer line, moving in an upward and downward fourth then third. A final echo finishes this statement part way through bar two before completing on the tonic at bar three. The bass harmony has been descending gracefully in the upper voice from C to B natural, to Bb. This chromatic progression becomes a feature of the piece. The left-hand is based on a repeated syncopated rhythmic pattern, with the harmonies tracing tonic and dominant areas. There is a jazzy quality to the harmonies, as shown in the final bar that ends clearly with rhythmic Dm6 chords. Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 56 The melody resumes course in bar nine with an embellished upward moving minor third in the same rhythm as bar one. The melody moves with another short burst in an upward fourth, all in syncopated rhythm created by crotchet and quaver rests. This dominant melody moves in the same way as the first melody but is embellished with grace notes and has an injection of blues notes throughout its appearance. An interesting suspended chord appears in bar nine followed by a dramatic minor ninth chord at the end of bar eleven moving to bar twelve. Its function is to serve as a dominant seventh chord, notated with a Db instead of the usual C# expected in an A major chord. The music ends with a return to the motif seen at the end of bar two but with Dm6 then Dm b6 chords in the bass. An ending run from bass to treble in Dm6/9 played pianissimo concludes the music. Summary of Features Pentatonic Swing Rhythmic chords Pedal effect Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 57 Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 58 Sourced from: Norton, C. (1990). The Microstyles Collection: Piano or Keyboard. Boosey & Hawkes Music Publishers Ltd. Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 59 Given Half A Chance Key Signature: C Major Time Signature: 4/4 Tempo: 132 beats per minute Expression: With a swagger Length: 27 Bars Dynamics: mf - f with crescendo and decrescendo Type: Swing Form: A (1-12) AV (13-27) One musical idea broken up by secondary dominant chords then repeated with variations and an ending. Overview Given Half a Chance with its pentatonic melody, varying articulation, embellishments, and sturdy bass pattern show a strong jazz influence. Norton's simple but engaging composition shows his roots in classical music are also very much embedded in jazz as well. There is one melody throughout this piece which is introduced by a short motif of quavers moving to a fourth rising then falling a fifth after a crotchet rest. C-G, G-C. (See Example 1 P64). The melody repeats and is broken up with one bar of secondary dominant chords and followed by a line of melody in the right-hand functioning as a turn- Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 60 around to the tonic key. A walking bass in the left-hand provides an end-piece to the first section and a transition to the next section. There is simple harmony throughout though much harmony is implied because there are no chords. The piece is constructed mostly around chords I, IV, and V of C Major. Norton repeats the melody with variations; playing up an octave and using subtle melodic changes. The piece ends using the opening motif but is played solo in the left-hand. Analysis Given Half a Chance's title suggests the need to prove something; the direction to play with a swagger at a moderately loud dynamic throughout reinforces this. The first three bars see the melody rising and falling in mostly quaver movement to end on middle C at the end of bar three. The melody line features abrupt quavers at intervals of fourths accented, which are syncopated ascending, then slurred in leaps of a fifth descending. (See Example 1 P64). A pentatonic quaver melody ascends and descends, highlighted by the addition of Eb at the top of the melody. This Eb note features throughout the melody and is one of only a few melody notes that are not from the C Major pentatonic scale. (See Musical Example 1D P64) The Eb note highlights the melody, creating interest through the use of a flattened or blue note. Norton uses a bass pattern that progresses from tonic to third, fourth then the fifth degree of the scale throughout Given Half a Chance. (See Example 2 P64). It is a pattern that occurs in other works by Norton, for example in Whistling Tune and Ready for Action from Connections for Piano 1 and Picnic Hop from Connections for Piano 2. The bass Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 61 continues its minim pattern until bar five where it descends in quavers from G to C in bar five. Bars four to eight are a repetition of bars one to four, except that the melody is varied at the end. At bar eight, the bass moves alone from F minim to G crochet then Eb to create harmonic interest while clearly returning to the melody. At bar nine a distinct shift occurs in the harmony through a secondary dominant chord with a surly diminished fifth in the right hand playing against cheeky quavers on the offbeat in the bass. This is a D7 chord, without the D. The harmony is carried in the right hand, and the bass punctuates it with quaver notes A and C interspersed with rests. The right-hand resumes its motif melody with the addition of triplets before moving towards the tonic C at bar eleven. The bass not to be outdone descends on the flattened seventh, sixth, flattened sixth of C and races back to the tonic at the end of bar twelve. At bars thirteen to 24 the melody is a repetition of bars one to twelve transposed up an octave and following the general shape of the opening melody but with variations. (See Musical Example 1B P64). The bass plays bar twenty solo, and then promptly moves to the same cheeky quaver pattern as found in bar nine with secondary dominant chord harmonies, setting up a dialogue between both parts. The music rounds itself off with a descending bass with the occasional chromatic note in bars 23 and 24. The coda features a short-lived shift to D Major in bar 25, very similar to bars nine and 21, except the melody steals notes from the bass part in bar 21, and the bass plays the underlying D harmony notes. The music finishes as clearly as it started in C major, with as much attention given to the motif of the opening bar, now played solo in the left hand. Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 62 Summary Of Features Syncopated, swung pentatonic melody. Use of blue note (Eb) 1,3,4,5 Bass. Melody moves between octaves. Secondary dominant chords appear between repeats of melody. Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 63 Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 64 Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 65 Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 66 Sourced from: Norton, C. (2007). Christopher Norton Connections 3 for Piano. The Frederick Harris Music Co Ltd. Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 67 Chapter 6 Contemporary Latin Latin American music is a broad genre with many differing definitions Some academics such as Clark quoting Latin American composer Paulo Chaga insist Latin American music is music composed by a Latin American. (Clark, 2009) By comparison, Vökel, AbeɃer, Dittmar and GroɃman assert that Latin American music can be identified by specific rhythms that are central to the genre. (Thomas Volkel, 2010) Vökel et al. (2010) states that Latin American music has "prominent rhythmic patterns" that recur throughout the genre. Thomas in her writing about Latin American music notes several times about the association between Latin American music and "dance genres". Thomas elaborates further and states that rhythm patterns are associated with dance. (Thomas, 2011) Norton uses simplified forms of Latin rhythm that are suitable for young music students to understand and play. Norton has focused mostly on the rhythmical aspects of Latin American Music, especially syncopation, as it is the underlying rhythmic groove or style that becomes a feature in Norton’s own ‘Contemporary Latin’ music. More specifically, Norton states he uses rhythms from styles such as bossa nova, beguine, tango and samba in his compositions. (Norton, Further Questions, 2015) Each dance style has particular musical characteristics. A tango is usually defined by a strongly accented dotted crotchet followed by quaver, and then two crotchets or other rhythms that create a similar rhythmical beat. Norton instructs on his composition Giveaway (Tango) from The Microstyles Collection " The tango is the most popular dance Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 68 in Argentina and Uruguay. It's distinctive rhythm should be played very precisely" (Norton, The Microstyles Collection Piano or Keyboard, 1990, p. 23) The tango style has a strong rhythm and an assertive character. In the examples given on page P68 we can see the characteristic dotted crotchet-quaver-crotchet-crotchet bass pattern, as well as the snappy quaver-quaver-crotchet cadences that are a feature of tango music. Chris Mooney from the website Composer Focus states that tangos often start in a minor key. (Mooney, n.d.) This is certainly the case in many of Norton's tangos. Bar one of Toronto Tango and bar one of Giveaway Tango, Example 1 and 2 on page 68 both start in E minor.) Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 69 Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 70 The Encyclopaedia of Britannica explains that "Bossa Nova" means "new trend". It was a new style of Latin American music that evolved from a fusion of the samba (a Brazilian dance) and cool jazz. It's style features syncopation, and features of a samba, in particular, the "two-step movement" of dance. (Britannica E. , n.d.) The bossa nova features a gentle rhythm and sharply contrasts with the assertiveness of the tango. In the musical examples on page 70 one can see the clear syncopated rhythm patterns that feature in Norton's bossa nova composition. Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 71 Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 72 The next Latin American style to consider is the rumba. The Worchester Polytechnic website describes the rumba as " a type of medium-to-fast polyrhythmic Afro-Cuban song and dance, with a three-part form of introduction, improvised verses, and repetitive calland-response." (Worchester Polytech Music, n.d.)The Oxford Music Online adds that the rumba is a two-step dance in duple time. (Hagedorn, 2014) The Encyclopaedia of Britannica expands this with a fuller explanation of the rumba dance. (Britannica T. E., n.d.) " Best known for the dancers’ subtle side to side hip movements with the torso erect, the rumba is danced with a basic pattern of two quick side steps and a slow forward step. Three steps are executed to each bar. The music, in 4/4 time, has an insistent syncopation. " There are similarities in rhythm with the tango and bossa examples, but the right-hand melody of the rumba tends to be busier than the tango or bossa nova and the left-hand rhythms are more gentle than the tango. Rests often punctuate syncopated rhythms Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 73 Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 74 According to Oxford Music Online, the Samba incorporates a highly syncopated rhythm that often features "semiquaver, quaver, semiquaver" rhythm and is often in common time. (Gerard, n.d.) Béhague comments that the Samba was originally a circle dance often with a descending melody harmonised in thirds that were highly syncopated. (Béhague, n.d.) Norton favours quaver rhythms with accents and also uses syncopated rests featuring quaver rests to suggest a samba "feel". There is also a stronger regular pulse suggested by the regular feel of quavers in the bass line. (See Musical Example on Page P74) Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 75 Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 76 The Oxford Music Online explains that the mambo was "derived from the Cuban rumba... the steps begin on the fourth beat." (Over time, it has been influenced by jazz and swing and) "polyrhythm's are common in the accompaniment." (Oxford, n.d.) Short phrases characterise the Mambo, often two bars with syncopated rhythms. In the musical examples below, Norton favours the rhythm; dotted crotchet dotted crotchet and quaver in his mambo compositions. (See page 76) A musical analysis of Fantasy Bossa will follow the examples of Norton's mambo compositions. It will discuss in detail the musical devices and rhythms used by Norton in his contemporary Latin compositions. Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 77 Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 78 Analysis - Fantasy Bossa By Christopher Norton Key: F major Time Signature: 4/4 Dynamics: pp - f with decrescendo and diminuendo Mood/Style: Warmly (126) Length: 53 Bars Form: A One (Bar 1 - 22) , AV¹ (Bar 23-39),(40-53). musical idea broken up by rhythmical chords between each section. The melody is varied with harmonic and melodic changes and the addition of new material. Section A is played in the tonic, Section AV¹ is played in the relative minor (D Minor) and Section AV² returns to the tonic. Overview Christopher Norton's Fantasy Bossa is a gentle Latin melody unpinned with a bossa nova bass, often with a pedal note. Section A is found in bars one to nine, but it is primarily the first four-bar phrase that develops throughout the music. The melody is often Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 79 formed from notes within the accompanying chord. The peak of the melody often falls on the top note of the chord, for example, the E in bar one of the F major seventh chord. The melody features syncopation and is accompanied by varying Latin rhythm patterns, but it can be sub-divided into smaller groups. Periodic echoes of short melodic parts repeat in various octaves, throughout the piece and are often followed by a change of time signature and bridging chords, which are often dominant chords. The piece has a strong tonic to subdominant, tonic element, but brief passages move to D minor on occasions. The opening melody appears in the coda to end the music, a characteristic of some Norton pieces including Dreaming On from The Christopher Norton Rock Preludes Collection. (See Example 1 and 2 on page 49 - 50) Analysis Fantasy Bossa begins with a gentle quaver melody from the A minor triad played at mezzo piano, against a bossa nova bass line with an F pedal note that is held throughout the first four bars. (See P85 for Example 1 for melody and Example 3 for bossa nova). This syncopated undulating melody dances gently through the first four bars. The harmony through this section is tonic and subdominant. Bar five changes direction with a brief move to D minor in bar six via a secondary dominant chord A to A7 at the second half of the bar. The move to D minor in bar six is a pre-cursor for the shift to D minor that appears further on. There is also an increase of dynamic, moving to mezzo forte, appropriate for the tension that is building. Norton chooses to shorten bar seven and eighth's length with two bars of three-four time in what appears to be a melodic answer to bars five and six. These two bars move in two groups of quavers followed by a crotchet using notes from the C13 chord. This harmony is extended, sustaining harmonic Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 80 tension and prolonging the return to the tonic. This whole section rises and falls dynamically adding interest. Bar nine returns to 4/4 time to complete the first phrase with dominant seventh block chords. Bars 10 - 13 repeats bars one to four with variations. The melody is played one octave higher. Norton creates harmonic contrast in bars ten with a block chord of C13, against the melody that uses an F major seven triad. Subtle harmonic changes follow. The bass line has an upper voice added to it with contrasting rhythm, although the rhythm is still strongly Latin in flavour. The F pedal in the bass continues through bars eleven to fourteen. At bar thirteen there is a return to the bass line of bar four, but the right-hand adds an echo through the Bb triad notes descending in a syncopated rhythm. An echoing, syncopated melody appears under the bossa nova bass in bar fourteen in Fmaj7 to create a contrast to the main melody. (See Page 85 for Example 2). The chantlike melody notes (C to A) are harmonised and echoed twice before moving to D, then returning to C. There is quite a lot of space between the right-hand melody and the left hand that adds textural variety to the music. This space is reduced as the echoes continue one octave lower in the next bar. The left-hand moves from its bossa nova bass pattern to a longer chord in the lower bass voice, creating a stronger more stable harmony over a syncopated upper voice. Bars eighteen to 22 develop and extend the idea found in bars seven to nine. The first four bars would usually follow this melodic idea, but this time the melody is extended by continuing the falling crotchet melody through two more pairs of slurred crotchets. The purpose being to delay resolution and create harmonic tension. The crotchets are played Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 81 as a Bb triad in second inversion descending to A minor second inversion triad, followed by crotchets a sixth apart on F descending to E, held together by a minim on the Bb note. The choice of notes in the left hand is interesting with Bb and C repeated as minim harmonies but with the chords in the right-hand acting as an appoggiatura on the first two and second two slurs. In bar 22 these paired crotchets appear again, this time with a D minor chord falling to a G and E followed by sixths on D falling to C, with the Bb and C bass notes moved up an octave into the treble clef for the left hand. The harmony of C13 has been retained throughout. The directive to slow slightly and get quieter appears at the end of this section in bar 22 as the music makes it way back to the main melody in bar 23. Bars 23 to 26 have the same melody as the first four bars but with significant melodic and rhythmical changes. The melody is played two octaves above the first appearance at bar one, brightening the melody. Another nice touch in this section is the leap to Fantasy Bossa's highest note in bar 24 (F3) which then falls a dramatic sixth, then moving more cautiously through Bb and back to F. Stability returns when the music returns to the same vein as the beginning. Bar 26 does not have the sense of completion that bar four has. It moves from Fmaj7 in bar 25 to F13 in bar 26, and then F9, Eb9 in bar 28 and finally D minor in bar 29. The changing harmonies are returning the music to the relative minor again. This also occurs in bars 30 - 33 where the music stays in D minor for four bars. The melody continues its normal course to the echoing sections at bar 33. This section has a sense of restlessness, changing harmonically, rhythmically and melodically, unwilling to settle and return to the melody too quickly. A series of bridging chords follow in bars 29 32 (Dm13, Cm7, Bbmaj7 and Eb9) which return promptly to the echoing section Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 82 previously seen in bars 14 in F major, but now appearing in bar 33 in D minor. (See Example 2B P85). Bars 33 - 36 have the same elements as bars 14 - 17 but without the octave change. The texture of bars 33-36 is thicker and harmonically more interesting than at bars 14-15 where we hear only a single bass note. Bar 34 has an attractive third inversion on count three and four (Bbmaj7/A). Bars 35-36 are a repeat of bars 33 to 34 except the third melody note in bar 36 moves to a G instead of the F found in bar 34. The bridging section found at bars 7-9 appears in bars 37 to 39 but with some harmonic changes. The motif from bar one and two appear at bar 40-41 with a more stable perfect fifth bass and continues with a quaver bass without syncopation. This shift from syncopated to straight rhythms tones down the Bossa Nova effect and continues through till the end of the music. Bar 42 has the same melodic shape as bar one except the righthand uses the C Major triad instead of the A minor triad in bar one, creating a brighter melody. Instead of continuing this section with the usual shift in time signature and block chords, Norton moves to the syncopated echoing chords of bar 14 to 17 and replays it in bar 44 to 47 with variations. The bass harmony is F but shifts again to Eb on the last half count of bar 44, but this time it does not resolve to D minor. The bass continues its descent and returns to the tonic in bar 48 at the coda. There is a lot of repetition in this piece, but it is hardly noticeable because of the use of different octaves, harmonies, rhythmic and dynamic changes. The coda starts at bar 48. An F pedal plays in the left-hand until the end of the music. The right-hand uses the motif of bars one and two in a slightly simplified form. (See Example 1 Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 83 and 1B P85). Subtle changes occur in the melody at the coda. A held note plays over the quaver motif in bar 48 and 50, yet familiarity returns in bars 49 and 51 which are almost identical to bars two and four but with slower moving rhythms in the left-hand. The music completes in gently syncopated F Major 9th chords in bar 52 and 53; the rhythm is similar to that of the echoing motif found in bars 13 - 17. The final notes are a four-octave spread F played staccatos, pianissimo and dry. Norton has ended a number of pieces in this manner, and this is an interesting choice for Fantasy Bossa as there are no links to this final chord anywhere at all in the piece. Summary of Features Bossa nova left hand rhythm patterns Block chords Bridging dominant chords One melodic idea with variations in melody, harmony and dynamics. Echo melody features like a bridge between melodic idea. Major ninth and thirteen chords are common. Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 84 Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 85 Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 86 Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 87 Sourced from: Norton, C. (2007). Christopher Norton Connections 7 for Piano. The Frederick Harris Music Co Ltd. Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 88 In summary, Norton's Latin American pieces feature strongly syncopated rhythm patterns in the left-hand with harmonies that are often "jazz-like". Norton uses variations of the main melody and prefers a strong melodic line. Ternary form is common (Toronto Tango, Samba Band, Ocean Breeze) but Norton can also use one musical idea throughout, which we see in Fantasy Bossa and Wind Riders. Harmony and rhythm appear to be the central factors in Norton's Latin American pieces, and like his other compositions, he composes in his unique style creating sounds that are authentically his. Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 89 Chapter 7 Christopher Norton - Lyrical Style Christopher Norton labels some of his compositions as lyrical. Norton's definition of the quality of a lyrical piece is " a type of piece that has song-like characteristics, including the use of rubato, cantabile playing and an emphasis on beautiful sound and legato. Can also be linked to the term ballad." (Lyrical, 2015). I have noted that Norton's lyrical pieces are often gentle and quieter than other types of compositions with an emphasis on sustained melodic lines. Lyrical style is a generic name, and Norton often writes his compositions with other influences such as Latin, jazz or character. Little Lullaby, for example, is deemed a lyrical piece by Norton, but it also could be called a character piece as well. There are 38 lyrical pieces in Norton's Connections Series. Most of Norton's lyrical pieces are slower in tempo, are often in 3/4 or 4/4-time signature and have a wide range of dynamics but often are primarily soft in character. (See Appendix 18) An analysis of Deep in Thought and Little Lullaby follows that will explore Norton's lyrical style in depth. Deep In Thought Key Signature: F Major Time Signature: 3/4 Tempo: 88 beats per minute Length: 36 Bars Dynamics: pp - mf with crescendo and diminuendo Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 90 Type: Lyrical Form: ABA Ternary A (1-8) Av (9-16), B (17-24), Av(25- 35). Overview On hearing major seventh chords presented in subdominant to tonic repetitions with interruptions of Db major seventh chords and Ab major scale passages, one gets the clear sensation of being Deep in Thought. The quaver bass playing a gentle pattern based on the first, fifth and sixth degrees of the chord, whilst the right-hand play a gentle sighing melody with a longer note followed by a falling shorter note to another longer note. These characteristics contribute to the lyrical flavour of this piece. Section B found in bars 17 - 24 is contrasting harmonically and rhythmically. It is almost restless; but remains smooth in lines and gestures, the Ab major movement to the C creating harmonic tension, the larger leaps in the bass pattern creating more interest. Section B returns to Section A at bar 21 with some variations and a very gentle chord based ending in bars 34 to 36. The form being ternary but with variations of Section A throughout the music. Analysis Section A begins with a slow-moving motif that descends as if sighing, followed by two bars that are subtly rhythmically different. These four bars are the call; the answer follows in bars five to eight. The first two bars form a sequence that is then followed by a tonal sequence in the next two bars that elaborate the melody a tone lower. The last Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 91 two bars present an ascending Ab scale in quavers that start on middle C and move the music to the next section. This variation avoids a fourth repetition of bars one and two which have been less interesting musically. The bass maintains a pattern of two quavers followed by two crotchets on the first, fifth, sixth then fifth notes from each bass note. (Example 2 P95). This bass pattern creates a flowing effect suitable for the title Deep in Thought. The bass is varied on occasions to a flattened sixth (bar 6, 14 and 30) which creates a subtle shift in mood. The time signature of three-quarter notes in a bar and the quiet dynamics also support this mood. The harmony in the first four bars subdominant to the tonic, followed by a shift to Ab Major seven in bar five. Bar six follows a step down to G minor then back to Db7in bars seven and eight. These eight bars form Section A, which has two further repetitions with variations in bars nine to sixteen and bars 21 - 33. (See Example 1, 1B and 1C on P95). Section A, variation one follows in the next eight bars with a shift up an octave for the melody and a stronger dynamic, but with no harmonic or rhythmic changes for the lefthand (Example 1B). The main melodic difference is that bars fifteen and sixteen have a descending Ab scale starting from C one octave above middle C instead of the ascending scale that is seen in bars seven and eight in Section A. (This is the same scale that is seen in bars seven to eight - Db Lydian.) The result of the placement of this scale is an eerie melody that is made up of an interesting grouping of tones and semitones. This sound has a sense of space and direction that is beyond that of a simple diatonic scale, perhaps of thoughts moving in changing directions? Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 92 The section that follows is contrasting; a little restless yet maintaining the mood of Deep in Thought through quiet dynamic, similar rhythmic shapes but with changes in harmony. Section B's eight bars follow a different harmonic path to Section A. Section B begins with the dominant chord, rather than the subdominant which began Section A in bar one. The dominant chord moves to Ab in bar 20, and the pedal is held down. The bars that follow are built on stacks of thirds. This section is prolonged for four bars with an echoing section in the right-hand. This echoing melody only uses the chant-like notes of A and C. The left-hand plays in similar motion in harmonies of a fifth below. Norton uses a similar device in Fantasy Bossa where there is also an echoing chant-like melody, but in Fantasy Bossa there is more direct harmony and rhythm. The delaying tactic is also seen in many of Norton's pieces, but this time we are not returning to the tonic, but to the subdominant that shows the return of A Section with variations. The left-hand of Section B is similar to Section A in bars 17, and 19, but bars 18, 20 and 21 have only crotchets moving in an ascending broken-chord formation. (Example 2B). The echoing sections leads back to Section A variation 2 at bar 25. These subtle shifts help bring variation but also help maintain the overall mood of the music. In the final variation of Section A, the lyrical melody is played an octave higher than the opening eight bars. It is also embellished by a grace note an octave lower at the beginning. It is very similar to bars one to eight, but the ascending scale is seen in bars seven to eight only appears in bar 31 for one bar before descending with further variation back towards C in bar 32. The piece ends slowly and peacefully, easing its way back down Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 93 to finish on a G (tone motif becoming a harmony) descending to an F, broken up slightly with a short echo prior to the final chord. Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 94 Summary Of Features Lydian scale Subdominant to tonic harmony Variation Pedal effect Bass patterns Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 95 Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 96 Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 97 Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 98 Sourced from: Norton, C. (2007). Christopher Norton Connections 4 for Piano. The Frederick Harris Music Co Ltd. Little Lullaby By Christopher Norton Key: F major Time Signature: 3/4 Dynamics: pp - f with decrescendo and diminuendo Expression: Gently rocking 100 crotchet beats per minute Style: Lyrical Length: 44 Bars Form: A - Av¹ - Av² - B - Av³ A - Bars 1 - 8 Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 99 A v¹ - Bars 9 - 16 A v² - Bars 17 - 24 B - 25 - 32 A v³ - Bars 33 - 44 Overview Christopher Norton's Little Lullaby's gentle rocking quaver bass supports its title, as does the elegant melody line. The quaver bass has an F pedal throughout the A section and all the variations that follow, creating tonal stability. Section A and the variations that follow use only tonic and subdominant harmony, which creates a sense of safety and stability. The quaver bass is formed by the first, fifth and sixth notes from F and as the melody extends and varies moves to include the ninth, eleventh and twelveth notes from F further on in the music.The 3/4-time signature supports the rocking motion required for a Section B has an eight bar melody that contrasts with Section A in contour and rhythm. There is greater harmonic diversity in Section B with Bb, F, Eb and C being used instead of the tonic and subdominant chords that are found in Section A. In Section B the righthand melody is echoed by the left-hand. In the second four bars, the melody ascends in a Bb major scale over an Eb9 chord in the second inversion creating a modal sound before finally reaching the dominant chord. The music then returns to a final variation of Section A in the last twelve bars. Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 100 Analysis The first eight bars of Little Lullaby form the main musical idea found in this piece. The pianist will require a great deal of control to bring out the melody of Little Lullaby quietly and clearly over the gentle rocking quavers in the left hand. (See Example 2 P103). The two. The wide intervals of the melody contrast with the smoother inner parts and harmony. The melody begins again moving slowly through the same three notes then falling to F in bar four. This short motif seen in Example 1 is developed and varied throughout the piece. (See Examples 1B, 1C, 1D, and 1E P103). The constant return to this motif creates stability and enhances the sense of lullaby; a gentle song to send a child to sleep. The first variation of Section A occurs at bars nine to sixteen. The bass moves from its constant quaver pattern built on the first, fifth and sixth degrees of the tonic scale and expands to include the seventh, ninth and tenth degrees of the tonic scale. (See Examples 2B, 2C and 2D P103). This surging forwards and backwards occurs in quavers throughout bars nine to sixteen. The constant change in dynamic supports the rising and falling of the Section A melody. Section A melody develops its initial motif into a broader melody of crotchets moving mostly in stepwise movement in an undulating lyrical melody that could be sung. A short imitative passage appears in bars nine to eleven where the motif of bars one to four is heard in the lower voice of the right-hand. (Example 1C P103). The upper voice maintains a melody that is similar rhythmically and melodically to the motif in bars one to four but varying the melody further. Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 101 The second variation of Section A occurs in bars 17 to 24. The (round-like) melody seen in the first variation continue through this section but is harmonised with sixths in the upper voice in the right-hand and chords in the lower voice. This variation rises in pitch and adds a repeated harmony quaver note as it becomes more expansive and interesting, rising and falling dynamically, restless yet peaceful. There is no surge into Section B. Instead a gentle decrescendo appears in bars 23, and 24 and Section B starts in bars 25 on a mild mezzo piano. The mood stays quiet and gentle throughout true to its genre, a lullaby. Section B is more diverse harmonically; instead of the tonic to subdominant harmony found in Section A and variations of A, we hear Bb, F, Eb9/G and C11. Norton lengthens the stay on Eb9/G for two bars to build tension and delay the resolution back to dominant chord followed by the tonic in bars 31 - 33. He also repeats the dominant seventh chord in bars 32-32 further delaying the return to the tonic in bar 33. This section uses a Mixolydian scale in bars 29 - 30, the Eb note appearing as the flattened seventh of the tonic F major. This suggests a shift to Bb major, but this is not established. This shift in tonality creates a clear difference between Section A and Section B, even though the rhythm in Section B is similar to Section A. The left-hand plays an Eb9/G chord over the melody, which is then repeated up an octave in both parts. The melody sings in a scalic pattern over the bass that is moving through different registers. This contrasts with the Section A melody that had larger leaps throughout. Another significant contrast is created by the loss of the quaver bass in this section: the lullaby rhythm ceasing for a few bars. The only quavers played in the left-hand are an echo of the melody previously Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 102 played in the right-hand. This section ends with dominant chords supporting a descending crotchet melody returning to the tonic. The final variation A occurs in bars 33 - 40 (Example 1D) followed by the coda at bars 41 - 43 (Example 1E P103). The motif from bars one to four returns and repeats throughout this last section. This section is quieter and more controlled. Instead of the imitative style of the other variations, the upper melody simply holds a harmony of a sixth on A and F while the motif continues its quiet descent to the end. The left-hand quavers only move as far as the note E, a seventh away from the tonic. The music slows, quietens and falls asleep, held by a fermata on the tonic chord in the final bar. Summary Of Features Rocking quaver bass Pedal F Tonic and subdominant harmony Lyrical melody Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 103 Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 104 Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 105 Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 106 Sourced from: Norton, C. (2007). Christopher Norton Connections 6 for Piano. The Frederick Harris Music Co Ltd. Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 107 Chapter 8 Contemporary Blues and Ragtime Paul Oliver from the Oxford Online Music Encylopedia credits the Blues styles as being "the most important single influence on the development of Western popular music." The term "blues" according to Oliver was a widely accepted word for feeling low or depressed. The blues music style came from the African-American slaves, a group of people well acquainted with "feeling blue." as a result of centuries of oppression and exploitation. It is a commonly held belief that a connection with emotion is imperative in the blues genre. It is a style known for its simplicity, particularly in the twelve bar blues which usually features only three chords and is usually played in 4/4 time. Seventh chords are also common in harmonic progressions. Call and response and repetition are also important factors. (Oliver, 2007) Oliver asserts that blues piano style may have come from ragtime states. (Oliver, 2007) "Bass figures were important in the development of piano blues; the walking bass of broken or spread octaves repeated through the blues progression provided the ground to countless improvisations." Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 108 The piano can embellish notes, use glissandi and pump out syncopated rhythmic chords over melodies. These are the sort of features we see in Norton's piano blues compositions. Berlin asserts that piano music was the main focus of Ragtime style. (Berlin, 2007) Ragtime was popular during the mid-1890's and continued through to about 1918. Ragtime's main characteristics were a syncopated rhythm, simple harmonies and an almost virtuosic display of playing by the pianist. Oliver asserts that ragtime form was often AABBACCC′, AABBCCDD, or AABBCCA. (Oliver, 2007) Ragtime was often written in a major key. The piece usually started with an introduction and completed with an ending, usually of four bars. Stride bass was common in the left-hand and 2/4 was a very common time signature. Most ragtime music features melody lines over stride bass, and while this sounds simple, in practice it could be technically challenging. The harmonic structure was relatively simple and focused around chords one, four and five with some minor chords, seventh chords and diminished chords being used. In the analysis of Up and Away, that follows, we will see stride bass, 4/4-time signature and a syncopated melody. However Norton does not follow the normal harmonic structure of a ragtime piece, and this is how he differentiates Up and Away from popular ragtime genre. Up And Away Key Signature: D Major Time Signature: 4/4 Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 109 Tempo: ♩ = 168 Expression: Lively Length: 42 bars Dynamics: p to f with crescendo and decrescendo Type: Ragtime Form: Ternary ABA Section A Bars 1 - 16 Section B Bars 17 - 24 Section A Bars 25 - 42 (Ending Bars 40 - 42) Overview Up and Away from Christopher Norton's Jazz Preludes Collection (Norton, The Christopher Norton Jazz Preludes Collection, 2006) presents as a lively ragtime piano composition in ternary form with clear contrasting sections. The melody is syncopated which is typical of ragtime compositions. The left-hand keeps time on crotchet notes that alternate and move between single notes and the occasional chord. Section A has the typical sixteen bars of ragtime, and the left-hand harmonies rise at the end of that section with Norton using secondary dominants for this effect. Up and Away also has characteristics that are not especially ragtime. Norton has not chosen the simple harmonies normally found in ragtime that are typically chord one four and five, and Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 110 especially tonic to dominant. In traditional ragtime, the left-hand never plays syncopated rhythm, yet Norton does this on many occasions including bars7,8,15,23,24,28,31,32, and 39. Section B is contrasting to Section A and is only eight bars in length, but Norton packs a number of new rhythms and harmonies into this section. This section's melody is more flowing than that of Section A, which was syncopated and punctuated with rests throughout. A stride bass accompanies in the left-hand, often alternating between tonic and dominant notes. Section A reappears in bars 25 till the end of the music, but Norton adds the first three bars of Section B into the ending section. The first four bars of the repeat of Section A are also played with chords this time for variation. The stride bass appears again bar 29 which is very similar to bar 25 - 28 and the music continues until its ending of harmonised quavers in thirds. Analysis Section A is made up of two distinct melodies but has four, four-bar phrases. Bars one to eight form the first musical idea. (See Example 1 P113) The music that follows in bars nine to twelve is based on the melody of bars one to eight but is more lyrical, primarily quaver notes and fewer rests between the melody notes. The melody in bars one to eight is articulated by rests, staccato and accents, contrasted with bars nine to twelve which have longer lines of slurs and few rests between the melody, yet they clearly belong in one section. (See Example 2 P113) The harmony of this first section is more involved than the typical ragtime piece that uses simple harmony, typically mostly tonic and dominant and Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 111 often in inverted chord positions. Up and Away features chord one, two, three, four, five and six in various inverted positions throughout Section A. Towards the end of the first section a brief movement to C major moving to F major occurs. The end of Section A moves the music to the key of G minor in bar seventeen at Section B. The left-hand plays an alternate bass pattern throughout bars one to twelve. Chords appear in bars seven, and eight emphasising the entry of secondary dominant chords. These chords highlight the shift in harmony and bring tension and resolution before beginning the second section of A in bar nine. See (Example 3 P113) At the end of bar eight dominant notes introduce the lyrical quaver melody played in sixths loudly at bar nine. This mostly-harmonised melody continues in quavers through to bar thirteen where a contrasting semiquaver melody with a minor ninth chord shifts the rhythmical pace for a bar. Syncopated chords descending through F# minor7, to F diminished, then E minor 7 and D complete Section A at bar 16. Section B enters confidently with a stride bass in the left-hand at bar seventeen. (See Example 6 P114) This rising quaver F major melody is not as syncopated as the melody in Section A and comprises of mostly quavers and the occasional crotchets. There is a sequential melodic pattern that continues through several bars at bar 18 and 19 and also in bar 22. (See Example 4 P114) The music begins in G minor and moves mostly between G minor tonality and C major, F major, D major and E minor until returning to the tonic of D major at bar 25. Parallel major and minor E chords are heard in bars 22 and 23. An ascending scale of quavers starting on A moves Section B back to Section A in bar 24. Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 112 The return of A section at bar 25 is contrasted with the use of chords in the left-hand, rather than alternate-bass or stride-bass. The melody of bars 25 - 28 is the same as the first three bars, excepting a small difference in the last chord of bar 28. This melody repeats in bar 29 to 32 with the stride bass. This section is the same as bars five to seven. At bar 33 the quaver melody from bars nine to twelve appears again. The music is moving towards its conclusion at bar 37 where we see the music from bars thirteen to fifteen. The music draws to an end at bars 40 to 42 with quaver melody in bar40 followed by harmonies in thirds held over a pedal note D in bars 41 and 42. (See Example 7 P114) Summary Of Features Ragtime style Syncopated melody Alternate-bass patterns Stride- bass Harmonies in sixths Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 113 Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 114 Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 115 Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 116 Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 117 Sourced from: Norton, C. (2006). The Christopher Norton Jazz Preludes Collection. Boosey & Hawkes Music Publishers Ltd. Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 118 Chapter 9 Pedagogy The purpose of this chapter is to further the analysis provided so far, by considering the pedagogical requirements of the pieces analysed. Norton writes music that appeals to children, and this pedagogical aspect is apparent in his writing. By linking the musical analysis with the pedagogical requirements, we can understand more fully the style and purpose of Norton's compositions. Norton has written much of his music with the player in mind. Coupled with Norton's passion for both teacher and student education, it seems important to take into account both the analytical and practical (pedagogical) aspects of playing a Norton composition. Norton has graded many of his compositions so that students can readily access pieces that are suitable and appealing. Norton has strong views on pedagogy and insists that students should play music that they identify with." (Norton, Cannon Interview with Norton, 2015) Norton believes his repertoire keeps students stimulated to continue learning. Norton candidly explains that he deliberately writes short playable pieces that have an appeal to the younger performer. (Norton, Interview with Christopher Norton by Matt Henderson, 2013). Norton also presents advice to learners on how to play his music. This is most clearly seen in the specific directions in American Popular Piano Series and also in the Microjazz Series where Norton presents advice on how to play each piece at the top of the page. Norton advises in Reggae in Microjazz book one, "Drop with the wrist on the right-hand chords to create a warm, tenuto sound. The melody is played by the left-hand so drop the Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 119 level of the right hand when the left hand comes in at bar 5." (Norton, Christopher Norton Microjazz Collection 2, 2011) The following analysis is written from a pedagogical point of view and draws on Norton's pedagogical advice along with my observations from teaching Christopher Norton's piano music for many years and attending workshops with Christopher Norton. Omnibus This composition allows the student to explore the effect of the D pedal note throughout most of the composition. Norton's directive to keep the "touch light" helps students become aware of tone production and the importance of sensitivity to the style of the music. The syncopated rhythm of the left-hand chords may present a physical challenge to the student, the flattened then naturalised B notes in the chords (bar 2 and 3) a harmonic one. The music is played very quietly in a lilting style which presents an opportunity to develop security at pianissimo. (See Music P57) Dreaming On The lyrical bass of Dreaming On presents an opportunity for piano students to learn to play the left-hand more melodically. The lyrical melody of Dreaming On is played quietly with gradual increases in dynamic which require pianistic control. The piano pedal is used throughout and requires an understanding of harmonic changes to ensure appropriate pedal changes are made. The flow of melody and phrase needs to be managed with the longer lines of melody singing clearly with, the lower right-hand voice echoing and Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 120 harmonising. There are technical difficulties with octave passages at bar37 and 39 and harmonies in sixths at bar 35. The most important lesson learned by playing Dreaming On is the ability to voice each piano part correctly to capture the dreamy mood. (See music on page 47 to 48.) Given Half a Chance Given Half a Chance is an exercise in coordination for the young pianist around grade three level. The piece covers four octaves in C major and present large leaps such as the octave leaps in bars fifteen and sixteen which see the right-hand move from C two octaves above middle C back to middle C in bar sixteen. The melody is swung over a predominantly minim beat-keeping bass. The student also has to learn to embellish appropriately the melody (grace notes) as well as continue with correctly swung rhythm in the right-hand. Accents present themselves on the upbeat of beat two which presents an articulation challenge. The motifs are very short in this piece and require careful attention ensuring that both the accent and the slurs are played correctly and in time. Repetition of melodic ideas allows the student to master the melodic and rhythmical ideas presented in this composition. (See music onpage 62 to 63.) Fantasy Bossa The principal challenge for students learning Fantasy Bossa is to maintain the Latin rhythm throughout the piece while ensuring the melody sings. important in the left-hand where we hear the bossa nova rhythm. This is particularly There are some Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 121 echoing melodies that need correct voicing and dynamics and some large chords that require care. The pianist will need to pedal accurately and to take care that melodic lines are correctly phrased. (See music on page 83-84) Little Lullaby This gentle lullaby by Norton creates an opportunity for students to learn how to voice their melodies correctly. It offers the same kind of voicing challenge a Mendelssohn Song Without Words would provide with it's clear melody over the accompaniment. The quaver left-hand bass providing a challenge to maintain quietly under the mostly onenote melody that is voiced closely to the left-hand accompaniment. This voicing issue becomes more difficult in bars 12 - 16 where the melody is played in thirds. At bar 17 18 an echo appears in the lower voice of the right-hand creating further voicing complexities. At bar 21 - 25 the right-hand melody has a crotchet melody with a quaver supporting note following each melody note, which creates the most challenge for voicing throughout the whole piece. The pianist must hold the crotchet melody line clearly above the falling quaver notes. (See Little Lullaby music page 101 to 102.) This type of writing provides clear evidence of Norton's thinking about issues of technique and piano voicing in particular. My students encountered the same kind of difficulties they would have had whether they played Little Lullaby or Mendelssohn's Opus 53 No 1 (On the Seashore). (Hinson, 1993) While the Mendelssohn is rated more difficult, the same voicing issues are present. Norton's Little Lullaby presents a student with the opportunity to examine voicing issues with simple melody and rhythms before embarking on a more difficult work such as the Song Without Words by Mendelssohn. Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 122 (See the Mendelssohn Seashore score bars three onward for melody over arpeggio patterns) (Hinson, 1993) Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 123 Deep in Thought The main challenge of Deep in Thought is to capture the wistfulness of the gentle widespread seventh chords. These chords provide an opportunity to learn to play with a sense of control at a piano dynamic. The left-hand has more robust rhythms than the right hand, and the weight and volume must be controlled at all times. The use of arm weight in the left-hand may be appropriate, as is the need for a light, relaxed tone. (This piece has similar technical issues to Fantasy Bossa.)There is an echoing chant-like melody and a strong lyrical melody over the accompaniment. The prolonged pedal section through bars 20 - 24 is significant, and students need to understand both the harmonic texture created by the piano pedal holding and the need for the sensitive voicing of the melody. (See Music on pages 93 - 94.) Up and Away The challenge of playing a stride bass with harmonic complexities is what tests the piano student in Up and Away. While Norton has written in ragtime style, he has not kept to the harmonic rules of ragtime and has explored many types of harmonic possibilities. These inverted compound chords offer a significant challenge to the piano student, coupled with strongly articulated melody and bass and no shortage of staccatos. The lively tempo of 168 may unnerve many performers, yet the fast tempo is part of its character. The challenges include wide leaps in both hands, fast tempo, syncopated melody with chords and embellished melody line. The simple ragtime piece has become a challenging jazz prelude. Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 124 (See music on pages 111 to 112.) Emotional Reaction This piece provides an excellent resource for sight-reading with its simple melody and variations. This piece comes from Norton's Microrock - 20 New Pieces Based on Rock Rhythms for the Beginner Pianist. (Norton, Microrock 20 New Pieces Based On Rock Rhythms for the Beginner Pianist, 2009) Emotional Reaction requires careful fingering in the left-hand to maintain the descending bass line. The right-hand fingering is also complex with the inner voice requiring control through the correct fingers. The weakest finger in the right-hand is often playing the pedal G note through much of the melody and strengthen and projection is required. A careful balance between both hands is required as is careful articulation and rhythm. (See Music P36-37) Teaching And Pedagogy Norton robustly asserts that music teachers "should use their classical skills (in particular technique) and apply them to teaching his music and other contemporary pieces." (Norton, Cannon Interview with Norton, 2015). "Teachers must work with students where they are and educate the student about how to use their bodies in a way that it brings life to the music. "Articulation, phrasing, and dynamics are critical to sensitive playing," states Norton at his workshop in Dunedin on 16th April 2015. (Norton, Getting Comfortable with Contemporary Music, 2015). Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 125 One of the strengths of contemporary compositions is that composers usually give very clear guidelines about articulation, phrasing, dynamics and tempo. Norton believes that this marrying together of classical technique and foundations with contemporary styles gives the player the advantage of knowing exactly what the composer intended. Norton notes that there are subtle differences between contemporary and classical styles, "the main difference being in...contemporary he puts an accent on the top of the phrase, and classical is very strict timing." (teachpianotoday.com/2014/06/04/chatting- contemporary-music-with-the-one-and-only-christopher-norton/, 2015) (Retrieved 1 June 2015). Norton reminds us that technique is always relevant and is not dependent on what we play; "legato is still legato." (teachpianotoday.com/2014/06/04/chattingcontemporary-music-with-the-one-and-only-christopher-norton/, 2015) During Norton's workshop Getting Comfortable with Contemporary Music, Norton gives an example of the physical aspects of playing. He showed a student how to play the grace notes in his music. Norton demonstrates that the grace note and melody note are played together, and the second note is "flicked" away...This "flicking away" is achieved by playing two notes simultaneously but releasing the finger that is playing the grace note as quickly as possible. (Norton, Getting Comfortable with Contemporary Music, 2015) Norton challenges music teachers to make music relevant to our students. Norton refuses to dismiss the need for playing historical repertoire, in fact, he calls it "essential" to musical understanding and technique but believes there is room for both. Historical repertoire and contemporary repertoire can work together and support a student's musical development. (Norton, Getting Comfortable with Contemporary Music, 2015). Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 126 The Connections Series provide many examples of Norton's care in composing pieces that are pedagogically sound as well as interesting for the learner. Norton used the example of Driving Range from Connections 1 at his Dunedin workshop. Norton advises a student he is working with, "playing staccato in rock style, drop your wrist down, then up." Norton demonstrates the sounds he is looking for in Driving Range and shows the student how to use his wrist to create that sound. Driving Range is a very simple composition that is played mostly in the lower range of the piano. It plays staccato almost completely throughout the left-hand while the right-hand melody plays with short slurred passages. There are only three main harmonies (Em, D and C) throughout and a small range of notes. Many students find the left-hand staccato difficult against the smoother passage of the right-hand. Norton has presented this difficulty in a very 'cool' sounding melody that younger children are drawn to and wish to persevere with. It is also very interesting to note that Norton has written only one piece like Driving Range in his Connections 1 for piano. Perhaps the reason for this is not to overwhelm the young learner? An overview of Connections 1 for Piano provides a series of pieces for younger learners that are all suitable for smaller hands with few octaves or sevenths. Many pieces only use Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 127 a fifth or sixth intervals, for example, Driving Range and A Walk in the Park while other pieces introduce higher and lower registers like Smooth as Silk. Book one introduces syncopation and a span of up to four octaves. Time signatures include simple quadruple, triple and duple and compound six-eight time. Key signatures include up to two flats and one sharp. While this appears fairly straightforward for grade one level piano, when compared with classical grade one levels there are some significant differences. When comparing the difficulty in rhythm and articulation to other grade one classical pieces it appears obvious that the rhythm and articulation of Norton's pieces are more complex than the classical pieces at the same level. (See Musical Example - A Comparison of Classical Grade One with Connections 1 for Piano by Christopher Norton P126-127) Norton's piece repeats the first musical idea, giving the student a chance to master the melody. The Gavotte and the Allegro have repeat marks that allow for the same repetition, but repeats are not usually played during examinations. The Gavotte presents a trill and two-note slurs that are comparable to Norton's Ready for Action, but Norton's piece has more articulation markings throughout and significant use of grace notes. Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 128 Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 129 Norton presented music teachers with a list of ten tips for teaching improvisation at the workshop in Dunedin in April 2015. (See Appendix 5) Norton stresses the importance of building a student's confidence as they attempt improvisation. Norton suggested that students work through The American Popular Piano Series modules and begin to embellish the melody from these. In 2006, American Popular Piano was released in Canada and was a collaboration with Norton and editor Scott McBride-Smith. The informative Boosey and Hawkes website provides clear information on the pieces in the series and how students might use them. According to Boosey and Hawkes, each Repertoire Album contains pieces in Lyrical, Rhythmic and Ensemble styles. These different styles support the pianist's learning, developing "beautiful tone", the ability to maintain a steady beat and to learn to listen to Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 130 others and become aware of "rich musical textures". (Hawkes, boosey.com/shop/ucat/Christopher-Norton-s-American-Popular-Piano-series/667, 2015) These are strong claims, but after attending Norton's workshop it is clear that these compositions have been composed for pedagogical reasons, and that those reasons are carefully considered when writing for the younger musician. For example in Norton's American Popular Piano Repertoire 1, we see the traditional form of waltz composed in a contemporary style in Alabama Waltz. (Boosey & Hawkes Christopher Norton American Popular Piano Series, 2015) The music is composed in four-bar phrases, and the phrases are clearly marked. The left-hand takes the melody in the second four bars and is phrased accordingly. Norton gives clear direction about dynamics and articulations which is kept very simple at this beginning stage of piano education. At the beginning of the music, there is a space to write which finger begins the music (5 on........?). The same occurs for the two accompanying notes in the left hand. Students are asked "Detection Questions" which involve finding the harmonic intervals of second, third and fifth which they are asked to circle. The music is labeled a Country Swing, which makes the learner aware of the style and a metronome mark is given and the direction to play calmly. Norton uses clear English language in all his musical terms and relates these directives to the style of the piece he has composed, making his music more relevant to those learning his music. Finally, a teacher duet part is written at the bottom of the page so the teacher can play with the student as this particular piece does not have a backing track available. Norton explains how the American piano system moves more slowly than other systems and how the books can be used to suit individual students needs. Students can progress as quickly or as slowly as their needs require, but working through the books Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 131 systematically will provide a sound musical education for them. (Norton, Getting Comfortable with Contemporary Music, 2015) The etude alums from American Popular Piano Series mimic the experience of playing with an ensemble. They are supported by backing compact discs and provide both practice and performance tempos. They provide an enjoyable learning experience for the budding musician according to the accolades printed by Boosey & Hawkes. (Hawkes, boosey.com/shop/ucat/Christopher-Norton-s-American-Popular-Piano-series/667, 2015). Boosey and Hawkes assert the skills books provide traditional aural skills, sight-reading and promote technique development in a "structured" manner. The technic books set out traditional exercises in the form of scales, chords and drills with a focus on "dexterity and articulation." (Hawkes, boosey.com/shop/ucat/Christopher-Norton-s-AmericanPopular-Piano-series/667, 2015). The books are supported with superb backing tracks, and the students are given clear guidance on how to progress with simple to follow instructions by Norton. This series has now been adopted by Australia New Zealand Cultural Arts Limited (ANZCA) in their piano syllabus. Many other examination boards include Christopher Norton's compositions in their repertoire. (See Appendix 6) Examination boards such as the Royal Conservatory of Music in Canada, St Cecilia School of Music, Trinity College and Associated Board Royal School of Music include Christopher Norton's music in their syllabus. Matthews Tyson, the Director of St Cecilia School of Music, states that "St Cecilia School of Music had used Christopher Norton's music in its syllabus for fifteen years." Tyson believes that Norton's Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 132 music is relevant to students today and provide a "refreshing" and "imaginative approach" to composition and that examiners enjoyed examining Norton's music. (Tyson, 2015) Norton's pieces are available at all levels of graded examinations in many different countries in the world. It is a testament to the quality of the compositions and the pedagogy behind them that his pieces have had acceptance by many mainstream music boards. Norton began teaching workshops for children and teachers in 1987. "Teaching improvisation has been a key element throughout this process" explains Norton. Norton sees himself having a role in the education of teachers; a role that includes educating music teachers on how to teach contemporary music and improvisation. Norton admits to Smith that seeing his music being performed around the world, has "been a highlight of his career." (Norton, Interview with Crystal Smith, 2015) Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 133 Chapter 10 Conclusion The purpose of this dissertation was to study and analyse Christopher Norton's piano works to establish whether there is a distinct Christopher Norton "sound." This dissertation is limited to the intensive analysis of eight piano solos from Christopher Norton's books; The Christopher Norton Jazz Preludes Collection, The Microstyles Collection: Piano or Keyboard, Christopher Norton Connections 3,4, 6 and 7 for Piano, Christopher Norton Microrock 20 New Pieces Based on Rock Rhythms for the Beginner Pianist, and The Christopher Norton Rock Preludes Collection. An overview of the Connections Series and Norton's lyrical pieces are included in the appendix. The pieces chosen are representative of Norton's composition style for solo piano. A variety of styles includes jazz, Latin, blues, rock, lyrical, character, and swing. In addition to the analyses, I have interviewed Christopher Norton, attended his workshop in Dunedin and listened to, played and studied his music. Christopher Norton has aided my research by providing copies of other interviews that he has undertaken as well as continuing to provide answers to my ongoing questions I have noted that through the process of research and analysis that Norton's style is consistent regardless of the level that he writes for. During my brief analysis of the Connections Series, I have noticed that Norton uses rhythmic patterns that are frequently syncopated and often influenced by Latin, boogie and rock patterns. Ostinato and riff patterns in the left-hand were frequently seen. Norton's melodies were often embellished with grace notes. Single note melodies were common in the earlier grades, Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 134 and harmonised melodies in books six, seven and eight. Melodies were often repeated up an octave, and on occasions down an octave and quite regularly in the left-hand. Norton seems to prefer major keys and faster tempos, although there is plenty of evidence to show that slow pieces are common as are minor keys. C Major appeared 38 times in the Connections Series. G major was also very common with 18 pieces written in that key. A minor was the prevalent minor key with 14 pieces. Norton also wrote in the Lydian mode, Dorian mode, Aeolian mode, and Mixolydian modes. The Aeolian, Lydian and Dorian modes were the most common in the Connection Series. Norton often uses simple harmonic progressions in his work but with seventh, ninth, eleventh and thirteen chords. He has a fondness for the open fifth which frequently appear in the left-hand parts. Pieces often ended with chords, which were usually ninth or thirteen chords, but sometimes pieces ended with single notes or open fifth endings. Norton always finishes his music with a very clear ending and the ending is usually very quiet or loud. Sometimes Norton uses the introduction or Section A melody to complete the music. Octaves were common throughout Norton's music, but they were not overused. Harmonies of minor and major seconds were also common, as well as harmonies of thirds, fourths, fifth and sixth. Harmonies of sevenths in the left hand were common. Compound chords frequently appeared in jazz influenced pieces. Norton's music features a high-level of articulations, in particular, slurs. Grace notes are common, but ornamentation was present in only a small number of pieces. Strict form is a significant factor in Norton's compositions. An overview of The Connections Series showed that Norton favoured ternary form (ABA) nearly always with Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 135 significant melodic variations. Norton has also written a large number of works with one main musical idea that is varied throughout the composition. Binary form appeared in a smaller number of pieces in the Connections Series. (See Appendix 15) At the conclusion of this research I believe there is a "Christopher Norton Sound." As a result of my research, I have begun to recognise Norton's musical sound. Norton's sound can be defined in a number ways; firstly by the clear form that is easily recognisable in all the pieces I have studied and listened to. The formal analysis of Norton's music has shown that Norton prefers clear musical structures such as A-B-A, usually with variations. Norton's music sounds cohesive because he creates unity by the careful connecting of important musical ideas. Important melodic ideas nearly always return, often with variations. The harmonic language often uses chords that are easily recognisable as "jazzy," with a strong liking of major sevenths, ninths, elevenths and even thirteenth chords, often in inversions. It is rare to hear root position chords moving in traditional classical chord one, four and five positions. Norton also favours open fifths stacked upon each other and modal sounds. Norton uses the major and minor pentatonic scales to create interesting melodies. The rhythms that support the melody flow effortlessly and are often uncomplicated yet effective. Norton frequently uses syncopation, cross rhythms and shifted rhythms. Norton appears to create distinct styles in his mind and ensures that all the musical elements tie into the piece that he is constructing at that moment. There is more to it than this! As I complete this dissertation, I am listening to Norton's rendition of Waltzing Matilda and Pokarekare Ana from his newest book Pacific Preludes for piano. There is a distinct "Norton" quality about these pieces. They are delicate, yet strong; the harmonic Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 136 language is typical of Christopher Norton as is the care taken to maintain integrity with the original melody, yet avoiding creating a pastiche composition. Everything has been constructed down to the last detail. The features of Christopher Norton's 'sound' have been developed through a prolific number of compositions, and always the practicalities of performance in mind. Finally, Norton has succeeded in creating his own contemporary sound world; a sound that has come from many years of writing and an intention to stay true to his musical voice; a voice that Norton admits is influenced by many different composers. I believe it is a New Zealand voice, unique in its own sound. (Norton, Cannon Interview with Norton, 2015) Norton's style of writing emerges from his classical roots and his explorations into contemporary music. A "Christopher Norton" sound! Anna Cannon (Word count 20,485) Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 137 REFERENCES Béhague, G. (n.d.). Samba. Retrieved 24 July, 2015 from:http://www.oxfordmusiconline.com.ezproxy.otago.ac.nz/subscriber/article/ grove/music/24449?q=samba&search=quick&pos=1&_start=1#firsthit Berlin, E. A. (2007). Ragtime. Retrieved 29 June, 2015 from: http://www.oxfordmusiconline.com.ezproxy.otago.ac.nz/subscriber/article/grove /music/A2252241?q=Ragtime&search=quick&pos=1&_start=1#firsthit Boosey & Hawkes Christopher Norton American Popular Piano Series. (2015). Retrieved May 31, 2015 from: http://www.boosey.com/shop/ucat/Christopher-Norton-sAmerican-Popular-Piano-series/667 Boosey & Hawkes/Christopher Norton. (2015). Retrieved 2 May, 2015 from: http://www.boosey.com/pages/cr/composer/composer_main.asp?composerid=4 968&ttype=BIOGRAPHY&ttitle=Biography Britannica, E. (n.d.). Bossa nova. Retrieved 24 July, 2015 from: http://www.britannica.com/art/bossa-nova Britannica, T. E. (2015, July 20). Character piece. Retrieved 20 July, 2015 from: http://www.britannica.com/art/character-piece Britannica, T. E. (n.d.). Rumba. Retrieved July 20, 2015 from: http://www.britannica.com/art/rumba-dance Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 138 Clark, W. A. (2009). What Makes Latin American Latin? Some Personal Observations. The Music Quarterly, 167 - 176. Retrieved 20 July, 2015 from: http://mq.oxfordjournals.org.ereserve.otago.ac.nz/content/92/3-4/167.full Rosemary Miller Stott. (2015).Retrieved 26 June,2015: http://sounz.org.nz/contributor/composer/1177 Cook, N. (1987). A Guide to Musical Analysis. Oxford: Oxford University Press. Coriun Aharonian, G. P. (2000). An Approach to Compostional Trends in Latin America. Leonardo Music Journal Volume 10, 3-5. Cummings, T. (2015). Retrieved 1 June, 2015 from: http:crossrhythms.co.uk/articles/music/The_500_Series_Producer_Chris_Norton_t alks_about_the_worship_album_series/39930/p1/. From cross rhythms: http://www.crossrhythms.co.uk/articles/music/The_500_Series_Producer_Chris_ Norton_talks_about_the_worship_album_series/39930/p1/ David Blake. (2015).Retrieved 31 May 2015 from: http://www.musicsalesclassical.com/composer/long-bio/David-Blake Distance Learning at the University of Otago - A History. (2015,). Retrieved July 20, 2015 from: http://www.otago.ac.nz/courses/distance_study/distance_learning_a_history.pdf Eric Clapton, J. G. (n.d.). Layla. (E. Clapton, Performer) Maddison Square Gardens, New York. Retrieved 2 May, 2015 from https://www.youtube.com/watch?v=ZEx9O9x8Jnw Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 139 Ford, B. (2008). The Guardian. Retrieved 19 May, 2015 from: http://www.theguardian.com/music/2008/may/19/classicalmusicandopera1 Gerard, B. (n.d.). Samba. Retrieved July 24, 2015 from: http://www.oxfordmusiconline.com.ezproxy.otago.ac.nz/subscriber/article/grove /music/24449?q=samba&search=quick&pos=1&_start=1#firsthit Hagedorn, K. (2014). Rumba. RetrievedJuly 1, 2015 from: http://www.oxfordmusiconline.com.ezproxy.otago.ac.nz/subscriber/article/grove /music/A2263104?q=rumba&search=quick&pos=2&_start=1#firsthit Hawkes, B. &. (2015). boosey.com/shop/ucat/Christopher-Norton-s-American-PopularPiano-series/667. Retrieved June 1, 2015 from: http://www.boosey.com/shop/ucat/Christopher-Norton-s-American-PopularPiano-series/667 Hawkes, B. &. (2015). Christopher Norton. Retrieved July 21, 2015 from: http://www.boosey.com/composer/Christopher+Norton Hinson. (1993). Mendelssohn Song Without Words for the Piano. Berlin: Alfred Publishing Co Inc. Hughes, P. (2015). Boosey & Hawkes List of Christopher Norton Publications. London. Hunt, W. & Martin, S. (2012). Hands On! Ensemble playing with Christopher Norton (and Graeme Humphrey)91, 24-26 Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 140 Kelly, M. (2015). Rock Music. Retrieved 27 June, 2015 from: http://www.oxfordreference.com.ezproxy.otago.ac.nz/view/10.1093/acref/97801 95113075.001.0001/acref-9780195113075-e-0448?rskey=rlgBIn&result=1 Latham, A. (2011). The Oxford Companion to Music. Retrieved 27 June, 2015 from: http://www.oxfordreference.com.ezproxy.otago.ac.nz/view/10.1093/acref/97801 99579037.001.0001/acref-9780199579037-e-530 Mark Tucker, T. A. (2007). Jazz. Retrieved 29 June, 2015 from: http://www.oxfordmusiconline.com.ezproxy.otago.ac.nz/subscriber/article/grove /music/45011?q=jazz&search=quick&pos=1&_start=1#firsthit Mooney, C. (n.d.). Composer Focus. Retrieved 30 June,2015 from: http://composerfocus.com/how-to-write-a-tango/ Norton, C. (1990). The Microstyles Collection Piano or Keyboard. London: Boosey & Hawkes Music Publishers Ltd. Norton, C. (2005). The Christopher Norton Rock Preludes Collection. London: Boosey & Hawkes Music Publishers Ltd. Norton, C. (2006). The Christopher Norton Jazz Preludes Collection. London: Boosey & Hawkes Music Publishers Ltd. Norton, C. (2007). Christopher Norton Connections 1 for Piano. Ontario: The Frederick Harris Music Co., Limited. Norton, C. (2007). Connections 2 for Piano. Ontario: The Frederick Harris Music Co., Limited. Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 141 Norton, C. (2007). Connections 3 for Piano. Ontario: The Frederick Harris Music Co., Limited. Norton, C. (2007). Connections 6 for Piano. Ontario: The Frederick Harris Music Co., Limited. Norton, C. (2007). Connections 7 for Piano. Ontario: The Frederick Harris Music Co., Limited. Norton, C. (2009). Christopher Norton Microrock 20 New Pieces Based on Rock Rhythms for the Beginner Pianist. London: Boosey & Hawkes Music Publishers Ltd. Norton, C. (2009). Microrock 20 New Pieces Based On Rock Rhythms for the Beginner Pianist. London: Boosey & Hawkes Music Publishers. Norton, C. (2011). Christopher Norton Microjazz Collection 2. London: Boosey & Hawkes Music Publishers Ltd. Norton, C. (2011). Christopher Norton Microjazz Collection 3. London: Boosey & Hawkes Music Publishers Ltd. Norton, C. (2013 19-September). Interview with Christopher Norton by Matt Henderson. (M. Henderson, Interviewer) Norton, C. (2014 8 December). A Day in the life of Christopher Norton. Retrieved 24 April, 2015 from: http://christophernorton.blogspot.co.nz/ Norton, (2015, May 31). Centre for New Zealand Music. Retrieved 31 May, 2015 from http://sounz.org.nz/contributor/composer/1075C. Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 142 Norton, C. (2015 1-June). Christopher Norton Facebook. Retrieved 20 April, 2015 from: https://www.facebook.com/christophernortoncomposer?fref=ts Norton, C. (2015 16-April). Getting Comfortable with Contemporary Music Workshop. Dunedin, New Zealand. Norton, C. (2015, January 26). Playing by Ear. (A. Khan, Interviewer) Retrieved from: https://www.facebook.com/christophernortoncomposer Norton, C., & Hisey, A. (n.d). Connections Sampler. Retrieved from www.frederickharrismusic.com: http://www.frederickharrismusic.com/wcm/ContentMgr/images/ConnectionsSa mpler.pdf Oliver, P. (2007). Blues. Retrieved 29-June , 2015 from: http://www.oxfordmusiconline.com.ezproxy.otago.ac.nz/subscriber/article/grove /music/03311?q=Blues&search=quick&pos=1&_start=1#firsthit Oxford, O. M. (n.d.). Mambo. Retrieved 31 June, 2015 from: http://www.oxfordmusiconline.com.ezproxy.otago.ac.nz/subscriber/article/grove /music/17579?q=mambo&search=quick&pos=1&_start=1#firsthit Peggie, A. (1992). Reviews Music for Keyboard Surveyed Microstyles 3 and 4 for Keyboard by Christopher Norton. British Journal of Music Education, 90-93. Perris, H. (2015 1-June). helenperris.com/workshops/. Retrieved 20 June, 2015 from: http://helenperris.com/workshops/ Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 143 Scholes, P. A. (1978). The Concise Oxford Dictionary of Music. London: Oxford University Press. Springsteen, B. (1984, July 26). Backstreets. (B. Springsteen, Performer) https://www.youtube.com/watch?v=6xfXswFmSzM, Toronto. Stearns, P. N. (2015). www.oxfordreference.com. Retrieved 27 June, 2015 from: http://www.oxfordreference.com.ezproxy.otago.ac.nz/view/10.1093/acref/97801 95176322.001.0001/acref-9780195176322-e-1357?rskey=iDzJBT&result=1 Teach Piano Today. (Andrea) (2014, June 4) Retrieved 1 June, 2015 from: teachpianotoday.com/2014/06/04/chatting-contemporary-music-with-the-oneand-only-christopher-norton/. Thomas Volkel, J. A. (2010). Automatic genre classification of Latin American music using characteristic rhythmic patterns. Proceedings of the 5th Audio Mostly Conference: A Conference on Interaction with Sound (pp. 1-7). New York: ACM. Thomas, S. (2011). Latin American Music. Retrieved June 2, 2015 from: http://www.oxfordmusiconline.com.ezproxy.otago.ac.nz/subscriber/article/grove /music/A2093315?q=Latin+American+Music&search=quick&pos=1&_start=1#first hit Topham, T. (2015). timtopham.com/anzca-endorses-chris-nortons-app/. Retrieved 1-June, 2015 from: timtopham.com: http://timtopham.com/anzca-endorses-chrisnortons-app/ Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 144 University of Kansas. (2015). Retrieved 31-May, 2015 from : http://music.ku.edu/scottmcbride-smith Worchester Polytech Music. (n.d.). Retrieved 2 June, 2015 from: Ihttp://users.wpi.edu/~arivera/music.html Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 145 The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire Appendix Anna Cannon Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 146 CONTENTS The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire ............................ 145 Appendix .................................................................................................................................................. 145 Anna Cannon............................................................................................................................................ 145 Contents................................................................................................................................................... 146 Appendix 1 ............................................................................................................................................... 153 Christopher Norton Websites ................................................................................................................... 153 Appendix 2 ............................................................................................................................................... 157 A List of Website Links to Biographical Information About Christopher Norton ...................................... 157 Appendix 3 ............................................................................................................................................... 158 Christopher Norton's Interview with Anna Cannon 16th April 2015. ....................................................... 158 Appendix 4 ............................................................................................................................................... 166 Website links to Clapton and Springsteen videos. A comparison of rock style with Norton's style. ........ 166 Appendix 5 ............................................................................................................................................... 167 Notes from the workshop Getting Comfortable with Contemporary Music in Dunedin April 16th, 2015. .................................................................................................................................................................. 167 Contemporary Rock ............................................................................................................................. 167 Contemporary Latin ............................................................................................................................. 168 Contemporary Big Band ....................................................................................................................... 168 Contemporary Ragtime ........................................................................................................................ 169 Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 147 Contemporary Blues ............................................................................................................................ 169 Contemporary Impressionist ............................................................................................................... 170 Contemporary Gospel .......................................................................................................................... 170 Contemporary Waltz ............................................................................................................................ 171 Contemporary Ballad ........................................................................................................................... 171 Contemporary Asian ............................................................................................................................ 171 Contemporary Musicals ....................................................................................................................... 171 Appendix 6 ............................................................................................................................................... 172 List of Music Examination Boards that are using Christopher Norton's Music. ....................................... 172 Appendix 7 ............................................................................................................................................... 174 Christopher Norton's 10 Terrific Tips on Teaching Improvisation ............................................................ 174 Appendix 8 ............................................................................................................................................... 175 Interview with Rosemary Miller Stott Miller Stott by Anna Cannon June 25th, 2015. ............................. 175 Rosemary Miller Stott's Background.................................................................................................... 175 Musicianship Class at Otago University with Christopher Norton ....................................................... 176 Recollections of Christopher Norton ................................................................................................... 176 Christopher Norton - Comments for the Present ................................................................................ 177 Appendix 9 ............................................................................................................................................... 179 Facebook interview - Christopher Norton with interviewer Matt Henderson. ........................................ 179 Matt Henderson: .................................................................................................................................. 179 Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 148 Christopher Norton's reply .................................................................................................................. 180 Appendix 10 ............................................................................................................................................. 183 Christopher Norton email Interview with Crystal Smith 9th May 2015 ................................................... 183 Crystal Gwendoline Smith Interviews Christopher Norton on May 9th 2015 by email. ...................... 183 Appendix 11 ............................................................................................................................................. 186 Further questions for Christopher Norton from Anna Cannon on April 26th 2015. ................................ 186 Appendix 12 ............................................................................................................................................. 188 Email Questions Anna Cannon to Christopher Norton 8th May 2015 ...................................................... 188 Appendix 13 ............................................................................................................................................. 190 Email Interview Matthews Tyson (St Cecilia School of Music Director) to Anna Cannon ........................ 190 Anna Cannon questions Matthews Tyson ........................................................................................... 190 Response from Matthews Tyson ......................................................................................................... 190 Appendix 14 ............................................................................................................................................. 191 Website links to articles about Christopher Norton. ................................................................................ 191 A Selection of Video Links Of Norton Performances ................................................................................ 192 Appendix 14 ............................................................................................................................................. 197 Tony Cummings Interview with Christopher Norton about the 500 Series.............................................. 197 Appendix 15 ............................................................................................................................................. 202 Characteristics of Christopher Norton's Connection Series ..................................................................... 202 The use of English words for descriptions for mood and expression: Descriptive Titles. ........................ 202 Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 149 Single note melodies: ............................................................................................................................... 202 Melody based on scale steps: ................................................................................................................... 203 Favours faster tempos: ............................................................................................................................. 203 The music does not start in the tonic: ...................................................................................................... 203 Prolonging resolution to the tonic chord: ................................................................................................ 204 12 Bar Blues form or influence: ................................................................................................................ 204 Pentatonic scale:....................................................................................................................................... 204 Blues scale influence:................................................................................................................................ 204 Use of blue notes: ..................................................................................................................................... 205 Pentatonic influence: ................................................................................................................................ 205 Similar motion: ......................................................................................................................................... 205 Swing rhythm: ........................................................................................................................................... 206 Minor keys with a raised 6th: ................................................................................................................... 206 Use of rhythmic patterns in bass: ............................................................................................................. 207 Ostinato: ................................................................................................................................................... 208 Syncopation: ............................................................................................................................................. 208 Riffs: .......................................................................................................................................................... 209 Held bass notes throughout: ................................................................................................................... 210 Repeated notes in the bass: ..................................................................................................................... 210 Octave bass throughout: .......................................................................................................................... 210 Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 150 Stride Bass: ............................................................................................................................................... 210 Blues Bass: ................................................................................................................................................ 210 Modal influence: ....................................................................................................................................... 211 Chord based accompaniment: .................................................................................................................. 211 Chords used at the end of the music: ....................................................................................................... 211 Crunch chords or clusters at the end of music often played staccato: .................................................... 212 Open fifth or interval of a fifth used as an ending: ................................................................................... 212 Octave notes played together at the end of the melody: ........................................................................ 213 Single note ending: ................................................................................................................................... 213 Seventh chord Ending: .............................................................................................................................. 213 Ninth chord ending: .................................................................................................................................. 213 Eleventh chord ending: ............................................................................................................................. 214 Thirteenth chord ending: .......................................................................................................................... 214 The beginning of the music is used to end the music: ............................................................................. 214 1,5,8 ending in bass: ................................................................................................................................. 214 Slowing at the end: ................................................................................................................................... 215 Use of suspended chords significant: ....................................................................................................... 215 Quiet endings:........................................................................................................................................... 216 Loud Endings:............................................................................................................................................ 217 Tremolo ending: ....................................................................................................................................... 217 Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 151 Octave melody played through both hands one after the other at the end of the music: ...................... 218 Melody played in octave parts: ................................................................................................................ 218 Use of arpeggio in melody: ....................................................................................................................... 218 Significant use of slurs: ............................................................................................................................. 219 Embellishing melody notes: ...................................................................................................................... 219 Ornaments: ............................................................................................................................................... 220 The use of minor second harmonies: ....................................................................................................... 220 The use of major second harmonies: ....................................................................................................... 221 Bass pattern 1,3,4,5 .................................................................................................................................. 221 Bass pattern 1,3,5,6: ................................................................................................................................. 221 Bass pattern 1,5,6,5: ................................................................................................................................. 221 Bass pattern 1,3,5: .................................................................................................................................... 221 Bass pattern 1,5,8,5: ................................................................................................................................. 222 Bass using notes in the triad: .................................................................................................................... 222 Bass pattern: 1,5,8,9. ................................................................................................................................ 222 Descending bass pattern: ......................................................................................................................... 222 Octaves in the melody: ............................................................................................................................. 223 Melody echoed in the bass: ...................................................................................................................... 223 A sharpened fourth added to a harmonic minor scale: ............................................................................ 223 Chords with flattened fifths: ..................................................................................................................... 224 Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 152 Use of sequences: ..................................................................................................................................... 224 Melody repeated up an octave: ............................................................................................................... 224 Melody repeated down an octave: ........................................................................................................... 225 Parallel major or minor: ............................................................................................................................ 225 Form ABA (Ternary form): ........................................................................................................................ 225 Form AB. (Binary):..................................................................................................................................... 226 Form ABAB (Binary) .................................................................................................................................. 226 One musical idea. (Often with variations): ............................................................................................... 226 Use of a fifth drone in the bass:................................................................................................................ 227 Call and response:..................................................................................................................................... 227 Round: ...................................................................................................................................................... 227 Harmony using tonic and the lowered seventh chord as the basis for the song: .................................... 228 Dorian Mode: ............................................................................................................................................ 228 Mixolydian mode: ..................................................................................................................................... 228 Aeolian mode:........................................................................................................................................... 228 Lydian mode: ............................................................................................................................................ 228 Changing time signatures: ........................................................................................................................ 229 Tierce de Picardie: .................................................................................................................................... 229 Frequent shifts in tonality:........................................................................................................................ 229 Emphasis on one key centre: .................................................................................................................... 229 Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 153 Appendix 16 ............................................................................................................................................. 230 Website Links To Information About Scott McBride Smith ...................................................................... 230 Appendix 17 ............................................................................................................................................. 231 Article From Indian Express - Christopher Norton .................................................................................... 231 Appendix 18 ............................................................................................................................................. 232 Table of Characteristics of Lyrical Style Pieces in the Connection Series by Christopher Norton. ............ 232 Appendix 19 ............................................................................................................................................. 235 An Overview of Christopher Norton's Connections Series Books 1 - 8 .................................................... 235 Appendix 20 ............................................................................................................................................. 380 - A List of Christopher Norton Publications .............................................................................................. 380 Appendix 21 ............................................................................................................................................. 388 Questions to Norton about Mellers and Blake 31 May 2015 ................................................................... 388 Christopher Norton's reply ....................................................................................................................... 388 Appendix 1 Christopher Norton Websites It is possible to follow the composer’s activities and keep informed of his projects and new music through newspaper articles, photographs and status updates. Christopher Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 154 Norton's website has an on-line store: http://christophernorton.epartnershub.com/ Norton also has a dedicated YouTube channel. https://www.youtube.com/user/christophermicrojazz Norton posts videos of "how to play" some of his popular pieces on his YouTube channel. Norton also uses other video sharing sites such as Daily Motion and Sound Cloud to share his teaching videos. (http://www.dailymotion.com/video/x2w366c) Norton's music is also available on: https://soundcloud.com/nortonchristopher Boosey and Hawkes are Norton's major music publisher. They provide a webpage that is dedicated to information about Christopher Norton and his music: http://www.boosey.com/pages/cr/composer/composer_main.asp?composerid=4968&tt ype=BIOGRAPHY&ttitle=Biography This website provides biographical information on Norton, a list of his works to date, and links to a website created specifically for Christopher Norton's works at www.christophernorton.com Norton has a separate website for his Connections Series. The website http://www.christophernortonconnections.com/ provides backing tracks for the songs in all eight piano books. Norton supplies podcasts with information about the music he has written. There is an "ask the composer" link where students can converse with Norton directly and receive answers to their questions. https://www.facebook.com/christophernortoncomposer Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 155 (Christopher Norton's Facebook Page) https://www.youtube.com/user/christophermicrojazz (Christopher Norton's YouTube Channel) https://soundcloud.com/nortonchristopher (Christopher Norton's music on Sound cloud - 716 Tracks) http://christophernorton.blogspot.co.nz/ (Christopher Norton's blog) Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 156 http://www.boosey.com/pages/cr/composer/composer_main.asp?composerid=4968&tt ype=BIOGRAPHY&ttitle=Biography (Boosey and Hawkes Publisher's biographical details.) www.christophernorton.com (Christopher Norton's online store.) Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 157 Appendix 2 A List of Website Links to Biographical Information About Christopher Norton http://sounz.org.nz/contributor/composer/1075 Centre for New Zealand Music http://www.boosey.com/pages/cr/composer/composer_main.asp?composerid=4968&tt ype=BIOGRAPHY&ttitle=Biography Boosey and Hawkes Publishing Website - Norton biographical details. http://www.crossrhythms.co.uk/articles/music/The_500_Series_Producer_Chris_Norton _talks_about_the_worship_album_series/39930/p1/ Christopher Norton interview with Tony Cummings Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 158 Appendix 3 Christopher Norton's Interview with Anna Cannon 16th April 2015. 1. Creative Process Questions - Could you please explain your composition process, how pieces are developed? In particular, do you think analytically about how you compose a piece of music or is it more intuitive or based on playing at the piano? Christopher Norton prefers to compose at the piano. Any musical idea will work as a starting point because Norton states “anything can suggest something.....one thing leads to another." Norton believes that a music composition is a balancing act of repetition and variation. He also insists that composition is a blend of the musical influences a composer listens to. His musical influences are varied and include; Debussy, Chopin, Prokofiev, Nielsen, Grieg, Ravel, Shimonoseki, Poulenc, Satie, Faure, Martineau, also contemporary musicians Beyoncé, Björk, Neil Young, jazz musicians, Miles Davies, Jazz Crusaders, Weather Report, Herbie Hancock and New Zealand composer Douglas Lilburn. Norton also speaks of using intuition, as well as logic, when writing compositions, and form is very important to him. Variation is an exceptionally important factor in composition, but sometimes “something just occurs to me” says Norton so he writes it down after working it through on the piano. “A strong melody is Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 159 essential,” continues Norton, who asserts that this is one of his strengthens in writing music compositions. 2. When asked if jazz was a strong influence in his music? Norton answered “Yes....But I'm not really a pure jazzer." 3. I've noticed you use a lot of major sevenths and ninths in your compositions, do you have any strong preferences for certain sounds or rhythms when you compose? “I really like piled up fifths,” says Norton. Who explained these sounds have “overtones of Lilburn." Norton enjoys open fifths, and major ninths and sevenths that are apparent throughout his music compositions. Norton also commented several times on the use of inverted chords, “they sound just right” says Norton, who does not discount root position chords, but clearly enjoys composing using inverted chords. Norton believes one of his strengthens in composition is that he is “really good at voicing”. 4. I have been studying the Connections and Microjazz Piano series; how do you view the stylistic differences in these two different series? Norton explains that he was asked to write the Connections Series by the Canadian Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 160 Examination Board. He worked through this large body of compositions by writing one piece every day. He varied the levels each day and wrote based on what he felt like at the moment, so one day he might write a grade one piece, the next day a grade eight. Norton was not given any instructions about what to write or how to write and this freedom allowed him to work creatively and intuitively through his compositions until the eight books were completed over a period of about 200 days. This shows great commitment to the creative process as well as to the resulting series of books that have been very well received throughout the music teaching community. Christopher Norton is very clear about this; “I wrote to how I felt. I wrote what I felt like writing each day.” Clearly Norton takes his job very seriously but also allows plenty of room for flexibility in allowing intuition and creativity to play its part. There are times Norton agrees where logic and analytical thinking play their part in the process of creating musical compositions. Norton often starts with a drum track when beginning a composition, and he prefers to work in the morning when he fresh and most motivated. Norton asserts that there is no difference in his thinking or process for either the Connections Series or the Microjazz Series but admits that there are more diverse influences in the Connections Series. He believes that the influence of playing in a Funk band during the early 1980's influenced the rhythms and sounds that are found in the Micojazz Series. One of Norton's favourite quotes about the Microjazz series comes from a contemporary pianist he spoke to who had played some of Norton's music. He said, “this guy writes like I play.” Norton considered this a high compliment. Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 161 The Connections Series are graded in a similar way to Associated Board and other exam boards. For example grade seven is similar to Connections Book Seven. The Microjazz series is not graded; the music in these books are just additional compositions. To summarise, Norton says that his works always sound like him! They are a blend of his classical beginnings, his experiences playing in rock bands and the music he listens to. I hear this belief reinforced throughout the interview; Norton is adamant that whether it is his early music, late music or different books or musicals, his sound and process is consistent. He does not set out to write music that is not authentically his music. There is a Christopher Norton Sound says Norton, it comes from clarity of form, the use of certain chords and voicing, and writing pieces that imply a rhythm section. 5. When did you start giving workshops for teachers and students; and how did this come about? Norton started teaching workshops for children and teachers in 1987. Teaching improvisation has been a key element throughout this process. Norton sees himself having a role in the education of teachers; a role that includes educating music teachers how to teach contemporary music and improvisation. Norton also believes music teachers should use their classical skills, (in particular, technique)and apply them to teaching his music and other contemporary pieces. Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 162 6. Why are contemporary music and improvisation such important facets of musical education in 2015? Norton insists that students should play music that they identify with and understand. In the same breath, he states “technique is very relevant” as students must know how to play in a physically appropriate way. Teachers must work with students where they are and educate them about how to use their bodies in a way that brings life to the music; articulation, phrasing and dynamics are critical to sensitive musical playing. (One can quickly ascertain that Norton has a classical approach to contemporary music.) 7. How do you make contemporary music relevant to music teachers and educators when there is such a vast amount of historical repertoire available? It is important that students have a connection with the music they play. It is important to play the historical pieces, but people connect more easily with music that is relevant and familiar. 8. Do you see your compositions as being influenced strongly by jazz harmonies and rhythms? “Yes, definitely” asserts Norton, who admits enjoying the big band sound which Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 163 influences his style of compositions significantly. Norton enjoys jazz phrasing and will “gravitate towards jazz when listening to music.” Miles Davies, Herbie Hancock, Weather Report and the Jazz Crusaders feature as favourites that Norton listens to. Norton clarifies that when he writes in a jazz genre, his pieces are still strongly tuneful. 9. What are your earliest recollections of music, your love for it, and your desire to write music? Christopher Norton's first memories of music include listening to the concert programme, in particular, Tchaikovsky's The Waltz of the Flowers and the Beethoven Hallelujah Chorus. Norton's parents gave him money to purchase records from the World Record Club from the time he was eleven years old and were supportive of his musical endeavours. Norton did not come from a musical family but was given opportunities and support by his parents so that he could follow his own path and make a career from composing music. 10. What was your first composition, and when did you write it? “I was fourteen years old when I wrote my first composition on manuscript paper during a holiday in Tauranga.” Rosemary Miller Stott-Miller Stott, was a great support to him. Miller Stott-Miller Stott gave composition lessons and encouraged Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 164 Norton's musical creativity. 11. Who are your strongest music influences when writing contemporary music and why? Is there a contemporary musician that you greatly admire? Prokofiev, Debussy, Nielsen and Barker, are great tune, writers. Modern musicians include Beyoncé, Björk and Neil Young. Chopin and Grieg are his most loved composers. Norton comments that people often mention that he (Christopher Norton) has a New Zealand sound, not unsimilar to Lilburn. My sounds speak of “large landscapes, bright blue skies” says Norton, who finds his fingers gravitating towards open fifths and large spaced out chords, often in inverted positions. Lilburn was “very kind to me,” says Norton, even though I had no interest what so ever in Lilburn's electronic music. It seems Norton has always been his own man when it comes to music composition. Norton often speaks of “finding your own voice in music” and of the necessity to be unafraid to express and grow it. He has never had an affinity with academia, preferring to immerse himself in creative activities. 12. How have your compositions changed through time? Could you describe the style of your earlier pieces compared to what you write now? Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 165 Norton reinforces his earlier position that he writes in his own unique style. Norton's style has been part of his writing from the beginning, it has grown and developed but is still intrinsically the same as it was in early days. Norton is driven by his desires to play and write music and not by external influences. Currently, he is involved in writing musicals for English schools based on the English curriculum for children aged five to eleven. He receives commissions from time to time that allow him to explore other genres and instruments. Recently he has been commissioned to write a ten-minute guitar piece, a piano sonata and a clarinet work for Mark Walton in Australia. 13. How often do you get commissions to compose new music? Is there a difference between the works your are commissioned to write and the other music you write? Norton explains that he receives commissions from time to time that allows him to explore musical compositions that he might not necessarily have considered. He tries to balance this out with his commitments for workshops and his work with schools. Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 166 Appendix 4 Website links to Clapton and Springsteen videos. A comparison of rock style with Norton's style. https://www.youtube.com/watch?v=6xfXswFmSzM Bruce Springsteen - Backstreets https://www.youtube.com/watch?v=ZEx9O9x8Jnw Layla - Eric Clapton Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 167 Appendix 5 Notes from the workshop Getting Comfortable with Contemporary Music in Dunedin April 16th, 2015. Contemporary Rock Contemporary Rock is one of the major genres that Christopher Norton writes in. Norton gave the example of his composition Driving Range from Connections Book One. The audience hears the composition played as Norton explains how to play the staccato as if you are moving a lever. “Playing staccato in rock style, drop your wrist down then up.” When playing a short phrase, drop down with the wrist on the first note of the phrase and release upwards on the last note of the phrase says Norton. Norton demonstrates his composition, showing the wrist movement and demonstrating how easily students can resort to a heavy unmusical sound, and shows us how to rectify this. Norton says a high point in his career was when The Associated Board first used some of his compositions in their exam repertoire. The example used by Norton is Farmyards Blues; a challenging rhythmical piece that is much loved by students. Christopher Norton takes us through the steps in practicing a piece with rhythmical challenges. First, practice clapping the right-hand and left-hand parts separately. Once a student can successfully clap each part they need to practice clapping each part in each hand together. If a student cannot do this, then there is little chance that the student will learn the piece Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 168 easily. Contemporary rock music requires a great deal of co-ordination. Christopher Norton insists grace notes should be played by playing both notes together then flicking the second note away. Classification of performance aspects by the composer, ensure the student understands how to play the piece asserts Norton. Norton takes pride in ensuring that his scores are detailed and include all slurs, articulations and dynamics clearly marked for the performer. Contemporary Latin Norton suggests that we play contemporary Latin music with a dance-like style with nice rhythmic patterns. Samba Band in Calypso style from Connections 3 is very popular with students. Norton does not use a lot of root position chords, preferring inverted chord movements in his pieces. Holiday's from Connections 4 is a piece that has bass patterns accompanying a right-hand tune with some variations in left-hand. Norton suggests a slight tenuto on each note and playing lightly in the bass. He suggests dropping in on the first note and releasing by lifting but not shortening the last note. "Encourage your students to play the left-hand by itself, whilst they are practicing talk to them, then explain how the right-hand is having a conversation with the left-hand." The left-hand needs to be on autopilot explains Norton. Contemporary Big Band Big Band Swagger from Connections 4 is a great example of contemporary big band music. To maintain the style, of the contemporary big band, the left-hand part must be Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 169 fingered correctly. Norton emphasizes the importance of excellent technique in playing contemporary music, explaining that one of his teachers (Barry Margin), was very strict and had high expectations of his students. Norton eludes to the fact that technique and discipline are still highly valuable and important. For more fun, get students to practice with the backing track. Norton provides backing tracks for all pieces in his Connections Series. This involved making about 600 midi files with arrangements that include practice and performance tempos and different backing options for each piece. Norton's connections series web-site has about two million hits each year; clearly his music is relevant to students in today's society. Contemporary Ragtime In ragtime, the left-hand has a steady beat over a right-hand that has a strongly syncopated melody. Adding the backing track to performance gives the student an ensemble opportunity. In ragtime music, grace notes are played on the beat, together then released. Contemporary Blues Christopher Norton enjoys writing contemporary blues music and has written many pieces in this genre. The Blues Duet from Mircojazz 3 is a good example of contemporary blues. Technically there are a lot of opportunities to teach piano technique through these pieces. Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 170 Contemporary Impressionist Sierra from the Rock Preludes book is influenced by the Impressionist style of music. Debussy is an important influence as is Ravel, Faure, Shimonoseki, Martineau, Satie and Neilson. Norton has written a large number of pieces in this style. "You are trying to create an atmosphere in this style of piano composition" states Norton. (Norton, Getting Comfortable with Contemporary Music, 2015) Moonscape from Connections Five is another good example of Norton's Impressionist Contemporary music. Norton's background is classical musical. He only started experimenting with rock music and other genres from about age seventeen. Norton says it's very important to start with your students where they are. Start by learning something that is familiar. Norton commented that some classical students have no understanding of the classical music they are playing. They often do not know much about the composer, and they do not know how to make the music sound the way it is supposed to. Some students have no knowledge of the composers whose music they are playing Contemporary Gospel Christopher Norton's father was a minister Church music has an obvious influence in some of Norton's compositions. Norton comments on the very church sounding D2 chord that is very common in Christian music. Church music is often played with only a chord chart and lyrics. Norton has also composed improvisations on some well-known hymns and pieces, for example, Joy to the World. Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 171 Contemporary Waltz Not covered in presentation. Contemporary Ballad Fantasy Bossa Connections Seven A piano ballad. Contemporary Asian Norton is writing a new book with contemporary Asian pieces that are due for release in July. Contemporary Musicals These are being written for English schools in line with their curriculum. Norton is a composer in residence in two London schools. Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 172 Appendix 6 List of Music Examination Boards that are using Christopher Norton's Music. http://st-cecilia.com.au/Syllabuses St Cecilia School of Music http://www.trinitycollege.com/site/?id=55 Trinity College London http://nz.abrsm.org/en/home Associated Board Royal School of Music http://www.rcm.ac.uk/ Royal College of Music London ANZCA http://www.anzca.com.au/ Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 173 Royal Conservatory of Music Canada https://www.rcmusic.ca/ Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 174 Appendix 7 Christopher Norton's 10 Terrific Tips on Teaching Improvisation Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 175 Appendix 8 Interview with Rosemary Miller Stott Miller Stott by Anna Cannon June 25th, 2015. Rosemary Miller Stott's Background "I started to write music when I was eight," says Miller Stott, who had been reading books about different composers at the time. She wanted to try and write her own music, but nobody could give her any guidance or support. Rosemary learned piano as a young child, attended Otago University and then went to the Royal Academy of Music in London where she studied piano and composition. Miller Stott returned to New Zealand and had worked as a private music teacher and within the university system as a tutor. She is currently an examiner for the Associated Board Royal Schools of Music and has examined internationally for some years. A common theme in Miller Stott's conversation is the importance of creativity and authenticity, and she values her musical life experiences, in particular, her association with Christopher Norton, who works she greatly admires. Miller Stott notes her own ability to "hear" music in her head and concludes that her aversion to formulas for harmony may result from her special ability to be able to hear internally what one has composed in writing. Miller Stott commented many times during our interview about how formal harmony training eroded her sense of creativity and that she is very happy to see changes occurring within universities teaching music composition today. Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 176 Musicianship Class at Otago University with Christopher Norton Don McKenzie from Otago University was involved with the establishment of the musicianship class. It was not called a composition class as it would focus on several important musical skills including composing, sight-singing, listening skills, aural and performing of compositions. Rosemary Miller Stott was engaged to take the class. Miller Stott believes her experiences helped shape the direction of the classes. She had experienced some negativity in learning theory and composition, in particular having to complete harmony exercises from William Lovelocks Harmony Book. These experiences helped her to offer a positive learning experience where students could "start composing" before they had done a lot of formal harmony work". Miller Stott thought of things she enjoyed doing and gave her students these musical opportunities. The classes had up to eight children in them. The students would go home each week and compose, and each lesson they would be given the opportunity to have their work performed during class. Recollections of Christopher Norton Miller Stott's first comment about recollections of Christopher Norton was that he was "prolific" in his compositions. She remembers Norton writing a complete sonata and recalls Norton was "incredibly interested in composition." "Norton wrote a lot of piano music," says Miller Stott, "he was an "incredibly creative young boy." Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 177 I asked if Christopher Norton stood out in the class, and Miller Stott replied that she had no idea he would go to become as successful as he has been. She remembered that Norton stood out in the class in terms of the length of the works he wrote. Miller Stott remembers Norton participating in everything and bringing along large piano compositions. Christopher Norton - Comments for the Present I do not have to press Rosemary Miller Stott for comments on Norton's works and current compositions. She knows all about his current musicals for schools and has even suggested to Norton that he could write a New Zealand musical based on Captain Cook. Norton replied if he did, he could call it "The Endeavour." Miller Stott is convinced that Christopher Norton has had an "incredible influence" on music education. She believes that Norton's Microjazz were the first contemporary pieces selected for inclusion in classical musical exams. Miller Stott remembers when Norton's pieces were first included in the ABRSM syllabus. She believes that the Microjazz pieces keep students motivated and are a brilliant resource for teachers. "He deserves credit for changing the course of our training!" says Miller Stott emphatically. "He is the originator of our modern contemporary piano music," Miller Stott remembers how radical Norton's music was at the time and recalls how some traditional piano teachers were not ready to embrace it. Now days says, Miller Stott, many music teachers and schools use Norton's resources, as he has written for many different instruments and levels. Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 178 "Christopher Norton has a fertile mind and the instant creativity of Mozart. He is immensely creative, gifted to an astonishing degree. He has created a niche market for his work" says Miller Stott proudly and notes that she believes Norton is a "leader in his field. "Nothing he does is superficial. If he had lived in an earlier era he would have been a Mozart!" Miller Stott completes our interview by saying that there is an inherently New Zealand sound in Norton's work and compares his work to Lilburn's. She is grateful to Otago University for creating this opportunity for young people and herself as she has been enriched by the experience of teaching the musicianship class and the ongoing contact she has had with Christopher Norton. Anna Cannon June 25th, 2015 Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 179 Appendix 9 Facebook interview - Christopher Norton with interviewer Matt Henderson. (Christopher Norton's Facebook comments) https://www.facebook.com/christophernortoncomposer/posts/608041475909831 From my forum at www.christophernorton.com, a student from my home town, Matt Henderson. Matt Henderson: Christopher. I'm a Year 12 music student at John McGlashan College, Dunedin, NZ, plus I am a keen jazz pianist and have performed several of your pieces which I greatly enjoy. At the moment I currently have to write a report about an influential New Zealand musician for a NCEA Level 2 music internal, and would be keen to "interview" you!! Would really appreciate if you could find a moment to answer these questions: • When did you first love the thought of being a musician? Any leading factor that made you think “Hey I want to do this for a living”? What music influenced then? • What do you believe has been your biggest contribution to the music arena, especially New Zealand? • Your biggest honour? Career highlight? • Funniest moments in your career? • One difficult aspect of composing that the public may not realize? • Comments on the influence of the Latin genre on your composition over the years. • My personal favourites of yours that I have recently played are “Out on the Prairie” and Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 180 “Samba 2”. What influenced you when writing these two pieces? • What are your personal favourite pieces you have composed and why? • Your advice to young musicians of the 21st century? I greatly appreciate your time and help! Many thanks, MH Christopher Norton's reply Hello! Here goes: I first thought of the idea of being a full-time musician when I decided to do a music degree at the age of seventeen. I'd started to write my own music when I was fourteen and realised that I liked playing the piano, but also liked figuring out my own pieces on the piano and arranging those pieces for other instruments. When I finished my degree, I immediately became a teacher of music in a high school and at that point I realised I was already making a living in music! But in quite a short time I began to free-lance as a composer, arranger and performer (as well as continuing to teach) Once I arrived in the UK in 1977 I continued teaching piano and free-lancing. And I've been doing it ever since. I listened to a wide range of music before I went to university, but almost all classical music. My favourite composers (in no particular order) included Prokofiev, Ravel, Debussy, Nielsen, Rachmaninoff, Poulenc, but also Beethoven, Brahms, Faure, Bizet, Schumann... the list is quite long! During university, I was introduced to a range of popular music and began to play it for the first time. My life's work has been integrating the two strands. Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 181 My biggest contribution to music has been to keep lots of students playing who might otherwise have given up! My pieces are not too long, easy to read and appeal to young performers as well as their peers and, very importantly, parents. This has happened in lots of countries, New Zealand included. My biggest honours - winning the Concerto Competition in Christchurch in 1976 and getting the MPA (Music Publishers Association) award for best publication for the Essential Guide to Pop Styles. Career highlights include Christopher Norton Piano Festivals in many countries, most recently in Seattle, Vancouver and Halifax (Nova Scotia) And my new Micro Musicals (www.micromusicals.com) Funniest moment - getting on stage in Adelaide with a five-year-old pianist (a little girl) who was about to play one of my American Popular Piano pieces which has a teacher accompaniment. I said to her "would you like me to play with you?" Without looking at me, she barked "NO!" and proceeded to play, leaving me standing, lemon-like, on stage... A difficult aspect of composition is, for me, writing pieces in well-known styles (boogie boogie, bossa nova, ragtime etc) and making them something more than pastiche i.e. giving them a composer voice while being recognisably in a specific style. I have written lots of Latin pieces over the years. I loved an album by Sivuca from the early 70s, then Santana and then lots of other Latin players and writers over the years. My most recent favourite artist in that field is Eliane Elias (check her out on YouTube) One of my personal favourite books is my Latin Preludes Collection. Check out the lovely new recordings of them by Nicola Melville on Sound cloud (www.soundcloud.com/nortonchristopher) Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 182 Out on the Prairie is a country piece with lots of violin-like 5ths and an underlying rock beat - Bruce Hornsby and the Range are the best touchstone for this style (check out the awesome Harbour Lights) I like the rodeo/hoedown flavour. Samba 2 is a lovely sunny, upbeat piece - I like its upbeat character even though it's in the minor key. And those chords in the middle section are gorgeous! My favourite pieces: Country Song from the Rock Preludes Collection - again a sunny, happy piece which keeps growing and changing in a nice organic way. Beguine from the Latin Preludes Collection - a Spanish guitar-style piece for piano, with rich, expressive harmonies and two climaxes. Stratford Air from American Popular Piano Level 8 - a lovely syncopated ballad. Fantasy Bossa from Connections 7 - a bossa nova that keeps going in different directions. My advice to young musicians - play as much music as you can, ideally with other people as well as by yourself. And try to find what really moves you musically - it will be a clue for whatever direction your composing takes. Best wishes Christopher Norton London September 19th 2013 Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 183 Appendix 10 Christopher Norton email Interview with Crystal Smith 9th May 2015 Crystal Gwendoline Smith Interviews Christopher Norton on May 9th 2015 by email. Dear Mr.Norton, 1. Can you describe your music career path to date? I did a music degree at Otago University, graduating in 1974. I’d already written a lot of music (including pieces for the Schools Chamber Music Competition and piano music broadcast on the Concert Programme) and I went to Wellington in 1975 and got a job as head of music at Scots College. After two years there (during which time I won the Christchurch Piano Concerto competition) I took up a position at Taw College, then I was a composer in schools for a year. In 1977 I left for the UK and did a second degree (in composition) at York University, at the end of which I became a free-lance musician, which I’ve been ever since. I toured, I arranged music, I wrote music on commission, music for television, background music albums, midi files, and ring-tones. I was published by 1981, first with Universal Edition in London, then with Boosey & Hawkes, who remain my publisher to this day. Micro jazz (1983) was quickly a success, and I have produced over 100 books since. These days I write and arrange still, but also travel all over the world giving presentations on my music and doing workshops and master classes with students. My most recent venture is Micro Musicals ; short (30 minute) musicals for junior school, based on the UK curriculum. So I am back in schools again after a 40 year Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 184 gap! 2. What have been the highlights and lowlights of your career? Highlights: 1) having a piece for orchestra performed on the Concert Programme in New Zealand when I was 16 years old. 2) Winning Best Publication (for Essential Guide to pop Styles) at the Music Publishers Association awards in the 1990s 3) Seeing many of my pieces played by students all around the world. Low points: 1) Not winning the Auckland Piano Concert Competition (I played a Mozart concerto at breakneck speed) 2) Arriving at York in the wrong era, when avant-garde styles were the only acceptable way to compose 3. What do you consider the most important aspects of your tertiary study? In Otago, being exposed to lots of music I didn’t know (and I knew a lot of music when I arrived) and getting very sensible advice from various people, including Jack Spears, Edwin Carr and John Rimmer. In York, seeing how rigorous the feedback and analysis could be of composition by students and staff alike. A chance to play in a variety of musical contexts. Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 185 4. Where did you study and what courses did you do to become what you are? Otago and York. I was what I was from the beginning, but the courses enabled me to take time to reflect on what I wanted to write (which I subsequently did) 5. How do you currently financially and artistically sustain your career? Book royalties, media (tv and radio play) royalties, fees for events 6. When did you first feel established in your career? Probably by the mid-1980s 7. What advice can you give an undergraduate musician of the 21st century? Write from a starting-point of music you like and build up a portfolio of pieces so that if you get any kindof break, you have material already! Assume you might be asked to write pastiche or write to picture. Assume video-game music might be an option. Look for media music opportunities as a writer rather than print. Crystal Smith Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 186 Appendix 11 Further questions for Christopher Norton from Anna Cannon on April 26th 2015. On 26 Apr 2015, at 04:04, Anna Cannon <[email protected]> wrote: Hi Chris and Wendy Your presentation was very enjoyable Chris, and I enjoyed the opportunity to interview you afterwards. I have a few questions still, and a couple of things that need clarification when you have an opportunity to reply. 1. What is the correct spelling of your teachers name? (Barry Margin - Is that the correct spelling?) Could I have some more information about him, please. It seems clear he influenced your technique and desire to do things correctly. Barry Margan - he taught at Victoria in the early 70s and was a very fine piano soloist. He was in Music Players 70. http://sounz.org.nz/contributor/performer/1443 2. I am very interested in the connection between Lilburn and your music. You spoke briefly about this to me, if you had any further thoughts on the similarities between your music and his, it would be much appreciated. There’s just a subtle similarity in some of the sonorities we both like - use of 4ths and 5ths and “open” chords. I was also really keen on Nielsen and Sibelius as a teenager and Lilburn certainly owed something of a debt too Sibelius in his early works. Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 187 3. Titles I am very curious about how the titles of your pieces come about. Do you start with a title, or end up with one once the piece is finished? Or can it be either way depending on the day and your mood? Do you ever set out to write a piece with a definite flavour before playing at the piano? I write the piece and give it a title afterwards on the whole. I don’t tend to set out with any particular mood in mind but it soon becomes evident what kind of mood a new piece has! 4. Fantasy Boss from Connections 7 - You categorised this as a piano ballad rather than a Latin ballad. What is your reason for this? (This is one of my favourite pieces too! My students enjoy learning it) It is both a piano ballad and a Latin ballad! You might say it’s a piano ballad in Latin style.. Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 188 Appendix 12 Email Questions Anna Cannon to Christopher Norton 8th May 2015 I am currently writing the biographical section of my dissertation and would be thrilled if you could answer the following questions when you have time. 1. Where in NZ were you born please? Tauranga 2. Could I have a little more background information on your early years; where you attended primary school, and your interests besides music? Waiouru Primary (presumably), Papakura Normal, an intermediate school in Devonport for one year, Dunedin North Intermediate, Otago Boys. 3. Do you have any other qualifications aside from your degree at Otago University? M.Phil from York University (UK) LRSM 4. There is a lot of similar information on your websites and other websites with information about you, are there any interesting facts or stories that you would see as important in your development as a child, student, and composer? As a young composer, the influence of Rosemary Miller Stott, who is still teaching in Christchurch and an ABRSM examiner. She ran composition classes for young composers which I attended. Don McKenzie, who made it possible financially for me to attend music schools in Dunedin. Jack Speirs was a very practical and helpful composition teacher at Otago University. Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 189 Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 190 Appendix 13 Email Interview Matthews Tyson (St Cecilia School of Music Director) to Anna Cannon Anna Cannon questions Matthews Tyson I am doing a dissertation on Christopher Norton's music (including the pedagogical aspects) and I would like to know when St Cecilia School of Music started including them in their exam syllabus and your motivation for their addition to your syllabus. (And your willingness to be quoted in my paper, please.) Many thanks Anna Response from Matthews Tyson Christopher Norton's pieces have been in our syllabuses for over 15 years now. Many of our teachers requested that he be represented and we probably have more of his pieces in our syllabuses than any other board as a result. I have given Marilyn a NEW keyboard and Woodwind syllabus to get to you. You will see Christopher's pieces are very well represented. Clearly, students and teachers really enjoy his imaginative approach. Examiners find the pieces refreshing too. The fact that he is a New Zealand (even though he lives in Canada now?) is also a plus. We all feel proud of the fact that "one of our own" has done so well and continues to do well. Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 191 Appendix 14 Website links to articles about Christopher Norton. http://www.odt.co.nz/opinion/opinion/334115/dunedins-own-sound-classic-worldwide Otago Daily Times, August 4th, 2015 http://www.teachpianotoday.com/2014/06/04/chatting-contemporary-music-with-theone-and-only-christopher-norton/ Teach Piano Today Website - June 4th 2015 http://www.irmt.org.nz/Documents/ritmico91apr2012_Conference%20Overview.pdf Ritmico Article http://timtopham.com/tttv002-using-piano-improv-to-create-a-musician-for-life-withchristopher-norton/ Tim Topham interview with Christopher Norton Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 192 http://www.punemirror.in/entertainment/unwind/All-about-thePiano/articleshow/45981989.cms Article on Pune Mirror website. http://www.crossrhythms.co.uk/articles/music/The_500_Series_Producer_Chris_Norton _talks_about_the_worship_album_series/39930/p1/ Christopher Norton is interviewed by Tony Cummings about the 500 Series A Selection of Video Links Of Norton Performances A Brief Tango https://www.youtube.com/watch?v=dgk1ZhQ1StM Microjazz Collection 3 No 13 Tango https://www.youtube.com/watch?v=JdXlmiKG3qQ Toronto Tango (Played by Christopher Norton) https://www.youtube.com/watch?v=mKAF4jnDcnc Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 193 Last Tango (Played by Christopher Norton) https://www.youtube.com/watch?v=Hh4dNoY3HC0 The Microstyles Collection No 48 Giveaway https://www.youtube.com/watch?v=9LTFluae_Gc The Microstyles Collection No 18 In the Sun (Bossa Nova) The Microstyles Collection No 30 https://www.youtube.com/watch?v=5MSvvQ6x-bA Latin Nights (Bossa Nova) The Microstyles Collection No 32 https://www.youtube.com/watch?v=Vjb1NqfEC2A Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 194 Hideaway The Microstyles Collection No 15 https://www.youtube.com/watch?v=wBn-9LxxesM A Charmer The Microstyles Collection No 19 https://www.youtube.com/watch?v=kZLC80fZ53Y Samba 1 The Christopher Norton Latin Preludes Collection https://www.youtube.com/watch?v=-p_ce-nyfOI Slow Samba The Christopher Norton Latin Preludes https://soundcloud.com/nortonchristopher/01-slow-samba-composer Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 195 Samba III The Christopher Norton Latin Preludes https://soundcloud.com/nortonchristopher/01-slow-samba-composer Mambo Latin Preludes https://soundcloud.com/nortonchristopher/01-mambo-composer-performance Mambo Queen Connections 8 https://www.youtube.com/watch?v=mercdu8HD00 https://www.youtube.com/watch?v=D6Xc-NQYntU Christopher Norton - Chasing My Tail - Clarinet Sonata Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 196 http://www.dailymotion.com/video/x2w366c Christopher Norton - How to play Moonscape from Connections 5 YouTube Video - Norton speaking about the Connections Series https://www.youtube.com/watch?v=PttPuaFPWqw https://www.youtube.com/watch?v=Md5uHsRGNds https://www.youtube.com/watch?v=TEckkXLyRx8 (Syncopation) Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 197 Appendix 14 Tony Cummings Interview with Christopher Norton about the 500 Series Tony: Can you give us a biography prior to you producing your first album? Chris: Born in New Zealand in 1953. I began composing at the age of 14 and by the age of 16, had an orchestral work performed and broadcast. Completed an honours degree in music from Otago University in 1974 and had some success as a pianist in New Zealand, playing with the Symphony Orchestra and broadcasting on the Concert Programme. I was at the same time teaching music in local high schools and beginning to freelance as a composer and arranger. I had also started to play keyboards in a rock band and became interested in jazz and pop. Came to the UK in 1977 on a New Zealand government scholarship and studied composition at York University with Wilfrid Mellers and David Blake. I wrote a variety of pieces during this time - choral works, orchestral pieces, piano music and musicals. Played in various bands and started to experiment with combinations of styles that crossed the divide between my classical background and the more contemporary popular styles that I was playing. My earliest publications were with Universal Edition in London and included Carol Jazz - improvisations on Christmas tunes and Sing'n 'swing, for choir, piano and percussion. In 1983, I was signed by Boosey & Hawkes and the first of the Microjazz series appeared - music which appealed greatly to children and teenagers but was rooted in the classical tradition sufficiently to be useful as teaching material. The series has expanded over 20 years to include music for all of the Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 198 major instruments with piano, ensemble books and midi file backings. It is now the biggest selling music series for Boosey & Hawkes, with probably a million sales to date. Over the last 20 years, I have also written much other music for the educational market. During the same time period, I have written much music for television - most recently for Junkyard Wars - have written many pieces for library music companies and have also found time to produce huge numbers of albums for particularly the gospel market, with releases worldwide selling in excess of 1,000,000 units. I am also an active publisher, particularly of religious music. Tony: Your name as producer seems to come up on dozens and dozens of albums. How did you get into record production? Chris: I was a keyboard player and arranger for Phil Potter's 'Lead Me On' album (1979), which was produced by John Pantry, and John and I had a long and happy association for a number of years. This got me familiar with studios and production. I produced a few albums for Word UK in the early 1990s, including the first 'Praise Him' albums and their success, both in Europe and America (re-released as the 'Ambience' series) meant that I kept being asked to produce projects - for Word initially, then for various other labels. This situation has continued until the present day. Tony: You seem to live in recording studios! Is that true? Chris: I have associations with a number of studios around the UK (including Northern Ireland) as well as set-ups in the USA and Australia. I co-ordinate the efforts of lots of individual musicians and studios to create a global recording set-up that is really internetbased. I also do lots of live recordings - the Hymn Makers series for example (20 albums!) Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 199 which are always the most fun to do. The day of big studios is over, and I have created new ways of recording that avoid being locked away in studios for weeks at a time. Tony: Of all the numerous projects you've worked on, what would you say are your three or four favourites? Chris: The Celtic Series (Eden's Bridge) - together with my US business partner, we got this series started and its worldwide success is very satisfying; The Hymn Makers series and Heart Of Worship - it's very interesting trying to create albums that reflect the best of what's going on in praise and worship around the world and it's a challenge to get the albums sounding authentic - all singers are actual worship leaders. Sales of these three series are probably around 1.1 million units, which is also satisfying - there is a market out there for Christian music! Tony: The 500 Series is proving to be a popular one. How many of the songs were unfamiliar to you? Chris: I know most of the songs on the series - we (CN Productions) are also responsible for the World Of Worship series and The Source recordings, so we really are pretty familiar with the worship song repertoire! Tony: You've worked a lot with the singer Simon Goodall. What particularly attracts you to Simon's vocals? Chris: Simon is a great singer who is versatile and a fast worker! He sings with real feeling and can invest the simplest song with a real intensity. Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 200 Tony: Many of the singers on the 500 Series (Calvin Bottoms, Ingrid DuMosch, Shannon Sparks, etc) are, I believe, American. What percentage of the vocals were recorded there, then? Chris: My American singers sing on songs that seem particularly suited to US voices. I like mixing up singers from different countries on recordings to create variety and to get the authentic styles that are often required. We've just done a Spring Harvest hymns album and Lesley, the girl singer on the album, is in Paul Oakley's band. You can't get that distinctive UK sound from an American singer. But when it comes to a song like "Restore Me", the final track on 'Heart Of Worship 3', an American singer is absolutely ideal. I try to slightly favour the UK singers, so I'd say US singers do round 30 per cent of my vocals. Tony: When you assemble the list of 500 Series songs to record, do you try and say, "Let's put in a couple from the Catholic tradition, a couple of Graham Kendrick's," stuff like that? Or are they simply the first ones for which you have the words and music to hand? Chris: I didn't have any say in the selection - it is literally CCLI's top 500 songs! Tony: Has there been any song in the 500 Series copyright list where you've had real trouble tracking down words and music? Chris: Not really - I have all the songbooks and also record all around the UK, so I can generally track things down. Tony: What would you say is the appeal of the series? Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 201 Chris: Funnily enough, it's the middle of the road aspect that people like - we are trying to have something of the classic Maranatha praise albums of the '70s as our starting point. What I have discovered is that the 35 age group really like them and so do children, who like the songs, but aren't looking for hard rock versions. Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 202 Appendix 15 Characteristics of Christopher Norton's Connection Series The use of English words for descriptions for mood and expression: Descriptive Titles. (All) Single note melodies: Still at the Center (1), Driving Range (1), Trucking (1), Full of Confidence (1), Bear Dance (1), Lost Toy (1), On stage (1), Creaking Stairs (1), Ready for Action (1), Pipe Tune (1), Carol in Canon (1), The Minstrel (1), Sea Bird (1), In the Snow (1), Marking Time, Dance Steps (1), Eastern Song (1), Picnic Hop (2), Feelin Good (2),Trumpet Blues (2), The Highlands (2), Sugar Cane (2), Half Asleep (2), Long Haul (2), Smiley (2), A Morning Song (2), Motoring Along (2), Snappily Dressed (2), Across the Avenue (2), Leading the Cheer! (2), Given Half a Chance (3), Rainforest (3), The Dream (3), Feeling Silly (3), At the Market (3), Sunset Mood (3), Deep in Thought (4), A Steady Hand (4), Positively Swinging (4), Stegosaurus (4), Bedbug Blues (4), By Myself (4), Two Trails (4), Jaunty (4), Scamp (5), Boxcar Blues (5), Floating (5), Rail Rhythms (5), Mood Marigold (6), Mississauga Rag (6), Tent Meeting (6), Upside (6), Picking Up the Pace (7), Last September (8). Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 203 Melody based on scale steps: Marking Time (1), Morning Song (2), Free for the Day (6). Favours faster tempos: On Stage (1), Ready for Action (1), Dance Steps (1), Picnic Hop (2), Feelin Good (2), You've Got Mail (2), The Highland (2), Sugar Cane (2), Motoring Along (2), Snappily Dressed (2), Licorice Allsorts (2), Given Half a Chance (3), In the Spirit (3), The Dream (3), Feeling Silly (3), On the Spur of the Moment (3), White Sand (3), Happy-Go-Lucky (3), Up and Away (3), Counterintuitive (4), Positively Swinging (4), Strutting About (5), Tap Dance (5), Cool as a Cucumber (6), Mississauga Rag (6), Tent Meeting (6), Bahama Beach (6), Big Band Swagger (6), Upside (6), Streetwise (7), Ringing Changes (7), The Band Strikes Up (7), At the Rodeo (7), Early Morning Workout (7), Hot Day(8), Texas line Dance (8). The music does not start in the tonic: On a Swing (7), Desolate (7) A Cool Night (7), Frolics (1), Trumpet Blues (2), Suave (2), Half Asleep (2), Morning Song (2), In the Spirit (3), A Gentle Touch (3), Crystals (3), Counterintuitive (4), Deep in Thought (4), A Simple Song (4), Daydreaming (5), Mood Marigold (6), In Between (6),Seconds Apart (6), On a Swing (7). Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 204 Prolonging resolution to the tonic chord: Fantasy Bossa (7), Little Lullaby (6), A Simple Song (4), Leaves Falling (5), Daydreaming (5), Strutting About (5), In Between (6), Seconds Apart (6), Alone in Autumn (7), Ringing Changes (7). 12 Bar Blues form or influence: Picnic Hop (2), Long Haul (2), Smiley (2), Motoring Along (2), Snappily Dressed (2), On the Spur of the Moment (3), Happy-Go-Lucky (3), Positively Swinging (4), Stegosaurus (4) Bedbug Blues (4), Taskmaster (4), Two Trails (4), So Easy (5), Back on Track (5), Strutting About (5), Nerferti Blues (7), Streetwise (7), Early Morning Workout (7). Pentatonic scale: Smooth as Silk (1), Driving Range (1), Rocking Horse (1), Ready for Action (1) (in melody), Smooth as Silk (1) (in melody), Feelin Good (2), A Gentle Touch (3), Trail-Ride Blues (3), So Easy (5). Blues scale influence: Up and Away (3), Stegosaurus (4), Strutting About (5), Cool as a Cucumber (6), Big Band Swagger (6), Nerferti Blues (7). Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 205 Use of blue notes: Given Half a Chance (3), So Easy (5), Boxcar Blues (5), Strutting About (5), Boogie Express (5), Streetwise (7), Texas line Dance (8). Pentatonic influence: Grey Skies (2), Long Haul (2), Smiley (2), Motoring Along (2), Snappily Dressed (2), Across the Avenue (2), Licorice Allsorts (3), In the Spirit (3), Sunset Mood (3), Happy-GoLucky (3),Positively Swinging (4), Stegosaurus (4), Line by Line (4), Open Window (4), Tap Dance (5), Tent Meeting (6), Picking Up the Pace (7), At the Rodeo (7), Hot Day (8). Use of contrary motion: Sugar Cane (2), Half Asleep (2), Smiley (2), Given Half a Chance (3), The Dream (3), Feeling Silly (3), Crystals (3), On the Spur of the Moment (3), White Sand (3), Happy-Go-Lucky (3), Taskmaster (4), Scamp (5), Contra Dance (5), Daydreaming (5), Mysterious Stranger (5), Mood Marigold (6), Too Cool (6),Gazelle (6), Big Band Swagger (6), Alone in Autumn (7), ), On a Swing (7), Streetwise (7), Desolate (7), The Band Strikes Up (7). Similar motion: Snappily Dressed (2), Trail-Ride Blues (3),Positively Swing (4), Taskmaster (4), Open Window (4), Holidays (4), Bahama Beach (6), ), On a Swing (7), Veiled in Mystery (8). Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 206 Strong tonic to subdominant movement: Little Lullaby (6), Fantasy Bossa (7), Deep in Thought (4), Taskmaster (4), Taskmaster (4), Cake Mix (4), A Summers Day (5), Mississauga Rag (6), As in a Dream (6), Buttoned Down (6), Alone in Autumn (7), In Spain (8). Swing rhythm: Ready for Action (1), Whistling Tune (1), Full of Confidence (1), On Stage (1), Smooth as Silk (1), Picnic Hop (2), Feelin Good (2), Trumpet Blues (2), Sugar Cane (2), Smiley (2), Snappily Dressed (2), Given Half a Chance (3), In the Spirit (3), Happy-Go-Lucky (3), Up and Away (3), Positively Swinging (4), Bedbug Blues (4), Two Trails (4), Jaunty (4), Scamp (5), Tap Dance (5), Tent Meeting (6), Big Band Swagger (6), Streetwise (7), The Band Strikes Up (7), Hot Day (8). Minor keys with a raised 6th: Displacement (6), The Minstrel (1), Out of the Mist (1), Sugar Cane (2), Licorice Allsorts (3), The Dream (3), Line by Line (4), Open Window (4), Too Cool (6),Displacement (6), Alone in Autumn (7), In Spain (8). Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 207 Use of rhythmic patterns in bass: Twilight Dance (6), Bear Dance (1), No Worries (1), On Stage (1), Rocking Horse (1), Creaking Stairs (1), Ready for Action (1), Frolics (1), In the Snow (1), Out of the Mist (1), Still at the Center (1), Dance Steps (1), Eastern Song (1), Caribbean Song, (1), In the Quiet House (2), A Walk in the Sun(2), Toronto Tango (2), You've Got Mail (2), Sidewalk Cafe (2), A Stately Occasion (2), Trumpet Blues (2), Grey Skies (2), Suave (2), The Highlands (2), Sugar Cane (2), Half Asleep (2), Long Haul (2), Smiley (2), Morning Song (2), Motoring Along (2), Snappily Dressed (2), Across the Avenue (2), Circling (2), Drum Dance (2), A Long Goodbye (2), Licorice Allsorts (3), Given Half a Chance (3), In the Spirit (3), A Gentle Touch (3), The Dream (3), Feeling Silly (3), Wind Riders (3), Crystals (3), Poolside (3), On the Spur of the Moment (3), Angel's Breath (3), White Sand (3), Samba Band (3), Breezy (3), Sunset Mood (3), Ocean Breeze (3), Happy-Go-Lucky (3), Trail-Ride Blues (3), Snake Dance (3), Up and Away (3), Fantasy Bossa (7), Deep in Thought (4), The Young Rider (4), Positively Swinging (4), Stegosaurus (4), Bedbug Blues (4), Taskmaster (4), Sunny Again (4), Two Trails (4), Open Window (4), Cake Mix (4), Jaunty (4), Holidays (4), Scamp (5), Contra Dance (5), A Summers Day (5), So Easy (5), Palm Trees (5), Floating (5), A Folk Song (5), Back on Track (5), Country Calm (5), Daydreaming (5), Rail Rhythms (5), Strutting About (5), Mysterious Stranger (5), The Arrival (5), Tap Dance (5), Simple Pleasures (5), Boogie Express (5), Caribbean Mood (5), Free for the Day (6), Cool as a Cucumber (6), Mood Marigold (6), Rocker (6), Bare Trees (6), Too Cool (6), Gazelle (6), Tent Meeting (6), Bahama Beach (6), Displacement (6), A Minor Incident (6), Little Lullaby (6), Upside (6), Nerferti Blues (7), Alone in Autumn (7), Hanging Gardens (7), Streetwise (7), Desolate (7), Picking Up the Pace (7), Ringing Changes (7), The Band Strikes Up (7), On the Alert (7), Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 208 Soft-Edged (7), Stormy (7), A Cool Night (7), At the Rodeo (7), Early Morning Workout (7), Sax Tune (7), Water Lilies (7), Hot Day (8), Last September (8), New England Dawn (8), In Spain (8), Texas line Dance (8), Cuban Romance (8), Celtic Lament (8), Veiled in Mystery (8). Ostinato: Trucking (1), Bear Dance, Pipe Tune (1), The Dream (3), White Sand (3), Samba Band (3), Bedbug Blues (4), Taskmaster (4), Holidays (4), Contra Dance (5), Floating (5), The Arrival (5), Caribbean Mood (5), Free for the Day (6), A Minor Incident (6), Nerferti Blues (7), Streetwise (7), At the Rodeo (7), Early Morning Workout (7). Syncopation: Driving Range (1), Whistling Tune (1), Trucking (1), Bear Dance (1), On Stage (1), Creaking Stairs (1), Ready for Action (1), On Stage (1), Creaking Stairs (1), Ready for Action (1), Bell Tower (1), Frolics (1), Out of the Mist (1), In the Quiet House (2), Sidewalk Café (2), Trumpet Blues (2), Grey Skies (2), Sugar Cane 2, Long Haul (2), Smiley (2), Snappily Dressed (2), Circling (2), Leading the Cheer! (2), A Long Goodbye (2), Licorice Allsorts (3), Given Half a Chance (3), In the Spirit (3), Feeling Silly (3), Wind Riders (3), On the Spur of the Moment (3), Angels' Breath (3), White Sand (3), Samba Band (3), Breezy (3), At the Market (3), Ocean Breeze (3), Happy-Go-Lucky (3), Trail-Ride Blues (3), Snake Dance (3), Up and Away (3), Fantasy Boss (7), Counterintuitive (4), Positively Swinging (4), Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 209 Stegosaurus (4), Bedbug Blues (4), Taskmaster (4), Taskmaster (4),Line by Line (4), Sunny Again (4), Lightbulb (4), A Simple Song (4), Two Trails (4), Open Window (4), Cake Mix (4), Jaunty (4), Holidays (4), Lighter than Air (4), Scamp (5), Contra Dance (5), A Summers Day (5), So Easy (5), Boxcar Blues (5), Sometimes It's How I Feel (5), Palm Trees (5), Floating (5), A Folk Song (5), Back on Track (5), Rail Rhythms (5), Strutting About (5), The Arrival (5), Tap Dance (5), Simple Pleasures (5), Boogie Express (5), Caribbean Mood (5), Free for the Day (6), Cool as a Cucumber (6), Mississauga Rag (6), Rocker (6), Bare Trees (6), Too Cool (6), Gazelle (6) In Between (6), Tent Meeting (6), Bahama Beach (6), As in a Dream (6), Buttoned Down (6), Big Band Swagger (6), A Minor Incident (6), Upside (6), Nerferti Blues (7), Alone in Autumn (7), Hanging Gardens (7), Southern Serenade (7), Streetwise (7), Desolate (7),Picking Up the Pace (7), The Band Strikes Up (7), On the Alert (7), Stormy (7), A Cool Night (7), Wound Up (7Early Morning Workout (7), Sax Tune (7), Water Lilies (7), Hot Day (8), Last September (8), Texas Line Dance (8), Cuban Romance (8). Riffs: Driving Range (1), Bear Dance, Creaking Stairs (1), Ready for Action (1), Smooth as Silk (1), Eastern Song (1), A Stately Occasion (2), Long Haul (2), Long Haul (2), Motoring Along (2), Snappily Dressed (2), Drum Dance (2), Licorice Allsorts (3), The Dream (3), On the Spur of the Moment (3), Breezy (3), Counterintuitive (4), Taskmaster (4), So Easy (5), Boxcar Blues (5), Palm Trees (5), Simple Pleasures (5), Cool as a Cucumber (6), Rocker (6), Buttoned Down (6), Displacement (6), Stormy (7), Early Morning Workout (7), Texas line Dance (8). Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 210 Held bass notes throughout: In the Quiet House (2). Repeated notes in the bass: Driving Range (1), Trip to the Bazaar, Full of Confidence (1), Drum Dance (2), Ocean Breeze (3), Cool as a Cucumber (6), Ringing Changes (7), Cuban Romance (8). Octave bass throughout: Rocker (6). Stride Bass: Scamp (5). Blues Bass: So Easy (5), Back on Track (5), Rail Rhythms (5), Strutting About (5), Tap Dance (5), Boogie Express (5), Free for the Day (6), Early Morning Workout (7). Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 211 Modal influence: A Cool Night (7), Half Asleep (2), In Between (6), A Cool Night (7), Cuban Romance (8). Chord based accompaniment: At the Market (3), Sunset Mood (3), A Simple Song (4), Jaunty (4), Lighter than Air (4), A Summers Day (5), Sometimes It's How I Feel (5), Leaves Falling (5), Tap Dance (5), In Between (6), Tent Meeting (6), As in a Dream (6), Nerferti Blues (7), ), On a Swing (7), Hanging Gardens (7), Southern Serenade (7), Desolate (7), Soft-Edged (7), Sax Tune (7), Cuban Romance (8). Chords used at the end of the music: Rocking Horse (1), A Walk in the Park (1), Dots and Dashes (1), Trip to the Bazaar (1), Lost Toy (1), Pipe Tune (1), Carol in Cannon (1), Smooth as Silk (1), In the Snow (1), Out of the Mist (1), Still at the Centre (1), Merry-Go-Round (1), Caribbean Song (1), In the Quiet House (2), A Walk in the Sun (2), Feelin Good (2), You've Got Mail (2), Sidewalk Cafe (2), Trumpet Blues (2), Grey Skies (2), The Highlands (2), Sugar Cane (2), Half Asleep (2), Smiley (2), Morning Song (2), Snappily Dressed (2), A Long Goodbye (2), A Gentle Touch (3), Crystals (3), Angel's Breath (3), At the Market (3), Sunset Mood (3), Ocean Breeze (3), Trail-Ride Blues (3), Up and Away (3), Counterintuitive (4), Deep in Thought (4), Bedbug Blues (4), By Myself (4), A Simple Song (4), Open Window (4), Sometimes It's How I Feel (5), Floating (5), Country Calm (5), Bare Trees (6), Gazelle (6), Tent Meeting (6), As in a Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 212 Dream (6), Seconds Apart (6), Displacement (6), Big Band Swagger (6), Little Lullaby (6), Upside (6), Nerferti Blues (7), Alone in Autumn (7), ), On a Swing (7), Hanging Gardens (7), Picking Up the Pace (7), Ringing Changes (7), On the Alert (7), Soft-Edged (7), Stormy (7), At the Rodeo (7), Sax Tune (7), Water Lilies (7), Last September (8), New England Dawn (8), In Spain (8), Celtic Lament (8). Crunch chords or clusters at the end of music often played staccato: Big Band Swagger (6), Streetwise (7), No Worries (1), Caribbean Song (1), You've Got Mail (2), Trumpet Blues (2), Sugar Cane (2), Smiley (2), Snappily Dressed (2), Across the Avenue (2), Circling (2), Drum Dance (2), Open Window (4), Palm Trees (5), Gazelle (6), Tent Meeting (6), Nerferti Blues (7), Ringing Changes (7), Texas line Dance (8). Open fifth or interval of a fifth used as an ending: Eastern Song (1), Sidewalk Cafe (2), Morning Song (2), The Dream (3), Wind Riders (3), Taskmaster (4), Moonscape (5), Contra Dance (5), Daydreaming (5), Rail Rhythms (5), The Arrival (5), Buttoned Down (6), Southern Serenade (7), Desolate (7), On the Alert (7), Wound Up (7), Cuban Romance (8), Veiled in Mystery (8). Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 213 Octave notes played together at the end of the melody: Bear Dance (1), Four-Wheel Drive, Driving Range, (1), Creaking Stairs (1), Motoring Along (2), On the Spur of the Moment (3), Two Trails (4), Number Crunching (4), Bahama Beach (6). Single note ending: The Minstrel (1), Smooth as Silk (1), Marking Time (1), Long Haul (2), Motoring Along (2), Across the Avenue (2), Circling (2), Leading the Cheer (2), Given Half a Chance (3), Rainforest (3), In the Spirit (3), Feeling Silly (3), White Sands (3), Samba Band (3),Breezy (3), Stegosaurus (4), Taskmaster (4), Line by Line (4), Sunny Again (4), Jaunty (4), Scamp (5), Back on Track (5), Strutting About (5), Tap Dance (5), Buttoned Down (6), Hot Day (8). Seventh chord Ending: Picnic Hop (2), Feelin Good (2), Trumpet Blues (2), Palm Trees (5). Ninth chord ending: Crystals (3), Poolside (3), Snake Dance (3), Up and Away (3), A Simple Song (4), A Summers Day (5), Boogie Express (5), Caribbean Mood (5), Too Cool (6), As in a Dream Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 214 (6), Displacement (6), Big Band Swagger (6), Upside (6), Alone in Autumn (7), Ringing Changes (7), Sax Tune (7), Last September (8), New England Dawn (8), In Spain (8). Eleventh chord ending: By Myself (4), Celtic Lament (8). Thirteenth chord ending: Mood Marigold (6), In Between (6), Water Lilies (7). The beginning of the music is used to end the music: Fantasy Bossa (7), Dreaming On )Rock Preludes 2 P35), Line by Line (4), By Myself (4), Number Crunching (4), Cake Mix (4), A Folk Song (5), Strutting About (5), Tent Meeting (6), Displacement (6), Little Lullaby (6), Hanging Gardens (7), On the Alert (7), Water Lilies (7). 1,5,8 ending in bass: Ready for Action (1), Frolics (1), Toronto Tango (2). Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 215 Slowing at the end: Bell Tower (1), A Walk in the Park (1), Dots and Dashes (1), A Trip to the Bazaar (1), Lost Toy (1), Rocking Horse (1), In the Snow (1), Out of the Mist, (1), Marking Time (1), Eastern Song (1), In the Quiet House (2), A Walk in the Sun (2), Sidewalk Cafe (2), A Stately Occasion (2), Grey Skies (2), Suave (2), Half Asleep (2), Morning Song (2), A Long Goodbye (2), Rainforest (3), A Gentle Touch (3), The Dream (3), Poolside (3), Ocean Breeze (3), Bedbug Blues (4), Taskmaster (4), Line by Line (4), By Myself (4), A Simple Song (4), Two Trails (4), A Summers Day (5), Sometimes It's How I Feel (5), Floating (5), A Folk Song (5), Daydreaming (5), Rail Rhythms (5), Mood Marigold (6), As in a Dream (6), Displacement (6), Little Lullaby (6), Alone in Autumn (7), ), On a Swing (7), Southern Serenade (7), Desolate (7), A Cool Night (7), Sax Tune (7), Water Lilies (7), Last September (8), New England Dawn (8), In Spain (8), Cuban Romance (8). Ending with a suspended chord: Out of the Mist (1), A Walk in the Park (1), Dots and Dashes (1), Bell Tower (1), Grey Skies (2), Suave (2), Half Asleep (2), Snake Dance (3), Leaves Falling (5), Seconds Apart (6), Hanging Gardens (7). Use of suspended chords significant: Ocean Breeze (3), Snake Dance (3), Mysterious Stranger (5), Hanging Gardens (7). Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 216 Quiet endings: A Walk in the Park (1), Dots and Dashes (1), Trip to the Bazaar (1), Lost Toy (1), Rocking Horse (1), Pipe Tune (1), The Minstrel (1), Carol in Canon (1), Bell Tower (1), Smooth as Silk (1), In the Snow (1), Out of the Mist (1), Still at the Centre (1), Merry-Go-Round (1), Marking Time (1), Eastern Song (1), Caribbean Song (1), Picnic Hop (2), In the Quiet House (2), A Walk in the Sun (2), Feelin Good (2), Sidewalk Cafe (2), A Stately Occasion (2), Grey Skies (2), Suave (2), The Highlands (2), Half Asleep (2), Morning Song (2), A Long Goodbye (2), Rainforest (3), A Gentle Touch (3), The Dream (3), Wind Riders (3), Crystals (3), Poolside (3), Angel's Breath (3), Sunset Mood (3), Ocean Breeze (3), Trail-Ride Blues (3), Snake Dance (3), Fantasy Bossa (7), Counterintuitive (4), Deep in Thought (4), Bedbug Blues (4), Taskmaster (4), Line by Line (4), By Myself (4), Sunny Again (4), Lightbulb (4), A Simple Song (4), Two Trails (4), Open Window (4), Cake Mix (4), Lighter than Air (4), Moonscape (5), Contra Dance (5), A Summers Day (5), Sometimes It's How I Feel (5), Floating (5), A Folk Song (5), Leaves Falling (5), Country Calm (5), Daydreaming (5), Rail Rhythms (5), Mysterious Stranger (5), The Arrival (5), Boogie Express (5), Caribbean Mood (5), Mood Marigold (6), Bare Trees (6), Too Cool (6), In Between (6), As in a Dream (6), Buttoned Down (6), Seconds Apart (6), Displacement (6), Little Lullaby (6), Upside (6), Alone in Autumn (7), ), On a Swing (7), Hanging Gardens (7), Southern Serenade (7), Stormy (7), A Cool Night (7), Wound Up (7), Sax Tune (7), Water Lilies (7), Last September (8), New England Dawn (8), In Spain (8), Cuban Romance (8), Celtic Lament (8). Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 217 Loud Endings: Driving Range (1), Whistling Tune (1), Trucking (1), Four-Wheel Drive (1), Bear Dance (1), No Worries (1), On Stage (1), Creaking Stairs, Frolics (1), Toronto Tango (2), You've Got Mail (2), Trumpet Blues (2), Sugar Cane (2), Long Haul (2), Smiley (2), Motoring Along (2), Snappily Dressed (2), Across the Avenue (2), Circling (2), Leading the Cheer! (2), Drum Dance (2), Licorice Allsorts (3), Given Half a Chance (3), Feeling Silly (3), On the Spur of the Moment (3), White Sands (3), Samba Band (3), Happy-Go-Lucky (3),Stegosaurus (4), Taskmaster (4), Number Crunching (4), Holidays (4), Scamp (5), So Easy (5), Boxcar Blues (5), Back on Track (5), Strutting About (5), Tap Dance (5), Free for the Day (6), Cool as a Cucumber (6), Mississauga Rag (6), Rocker (6), Gazelle (6), Tent Meeting (6), Bahama Beach (6), Twilight Dance (6), Big Band Swagger (6), A Minor Incident (6), Nerferti Blues (7), Streetwise (7), Ringing Changes (7), The Band Strikes Up (7), At the Rodeo (7), Hot Day (7), Texas line Dance (8), Veiled in Mystery (8). Tremolo ending: Picnic Hop (2). Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 218 Octave melody played through both hands one after the other at the end of the music: Four-Wheel Drive (1), Full of Confidence (1), Driving Range, Four-Wheel Drive, Long Haul (2). Melody played in octave parts: The Young Rider (4), Taskmaster (4), Hornpipe (4) New England Dawn (8). Use of arpeggio in melody: Frolics (1), In the Snow (1), Out of the Mist (1), Still at the Center (1), Caribbean Song (1), In the Quiet House (2), Sidewalk Cafe (2), Trumpet Blues (2), Grey Skies (2), Suave (2), The Highland (2), Sugar Cane (2), Half Asleep (2), Smiley (2), Feeling Silly (30), Crystals (3), On the Spur of the Moment (3), Angel's Breath (3), White Sand (3), Samba Band (3), At the Market (3), Sunset Mood (3), Ocean Breeze (3), Fantasy Bossa (7), Number Crunching (4), Scamp (5), A Summers Day (5), Sometimes It's How I Feel (5), Palm Trees (5), Back on Track (5), Back on Track (5), Daydreaming (5), Rail Rhythms (5), Free for the Day (6), Mood Marigold (6), Rocker (6), Bare Trees (6), Too Cool (6), ), On a Swing (7), Southern Serenade (7), Desolate (7), Soft-Edged (7), Stormy (7), A Cool Night (7), At the Rodeo (7), Sax Tune (7), Water Lilies (7), Hot Day (8), New England Dawn (8), In Spain (8), Cuban Romance (8), Celtic Lament (8). Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 219 Significant use of slurs: In the Quiet House (2), Toronto Tango (2), Feelin Good (2), You've Got Mail (2), Sidewalk Cafe (2), A Stately Occasion (2), Trumpet Blues (2), Grey Skies (2), Suave (2), The Highlands (2), Sugar Cane (2), Half Asleep (2), Smiley (2), Morning Song (2), Motoring Along (2), Circling (2), Leading the Cheer! (2), Licorice Allsorts (3), Given Half a Chance (3), Rainforest (3), In the Spirit (3), A Gentle Touch (3), Feeling Silly (3), Wind Riders (3), Crystals (3), On the Spur of the Moment (3), White Sands (3), Sunset Mood (3), Ocean Breeze (3), Happy-Go-Lucky (3), Trail-Ride Blues (3), Up and Away (3), Fantasy Boss (7), Deep in Thought (4), Stegosaurus (4), Number Crunching (4), Open Window (4), Cake Mix (4), Jaunty (4), Holidays (4), Scamp (5), Moonscape (5), Boxcar Blues (5), Sometimes It's How I Feel (5), Palm Trees (5), A Folk Song (5), Leaves Falling (5), Country Calm (5), Rail Rhythms (5), Strutting About (5), The Arrival (5), Boogie Express (5), Mood Marigold (6), Mississauga Rag (6), Rocker (6), Bare Trees (6), In Between (6), Tent Meeting (6), Bahama Beach (6), Buttoned Down (6), Seconds Apart (6), Displacement (6), Twilight Dance (6), Big Band Swagger (6), A Minor Incident (6), Upside (6), Nerferti Blues (7), Alone in Autumn (7), ), On a Swing (7), Hanging Gardens (7), Streetwise (7), Desolate (7), On the Alert (7), Stormy (7), At the Rodeo (7), Sax Tune (7), Water Lilies (7), In Spain (8), Cuban Romance (8). Embellishing melody notes: A Walk in the Park (1), Dots and Dashes (1), Four-Wheel Drive (1), No Worries, On Stage (1), Ready for Action (1), the Minstrel (1), Eastern Song (1), Caribbean Song (1), Feelin Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 220 Good (2), Trumpet Blues (2), Smiley (2), Snappily Dressed (2), In the Spirit (3), Feeling Silly (3), Samba Band (3), Sunset Mood (3), Trail-Ride Blues (3), Fantasy Boss (7), Positively Swinging (4), Stegosaurus (4), Lightbulb (4), Cake Mix (4), Jaunty (4), Scamp (5), Moonscape (5), So Easy (5), Boxcar Blues (5), Sometimes It's How I Feel (5), Back on Track (5), Mysterious Stranger (5), Boogie Express (5), Rocker (6), Bare Trees (6), Too Cool (6), Tent Meeting (6), Buttoned Down (6), Big Band Swagger (6), A Minor Incident (6), On the Alert (7), At the Rodeo (7), Early Morning Workout (7). Ornaments: Bare Trees (6), Gazelle (6), As in a Dream (6), Nerferti Blues (7), Celtic Lament (8). The use of minor second harmonies: Whistling Tune (1) Trip to the Bazaar (1), Out of the Mist (1), Merry-Go-Round (1), Trumpet Blues (2), Licorice Allsorts (3), Stormy (7), Line by Line (4), Sunny Again (4), Holidays (4), Strutting About (5), Boogie Express (5), Twilight Dance (6), Soft-Edged (7), Stormy (7), Cuban Romance (8). Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 221 The use of major second harmonies: Dots and Dashes (1), Frolics (1), You've Got Mail (2), Suave (2), Morning Song (2), Snappily Dressed (2), Licorice Allsorts (3), The Dream (3), Snake Dance (3), Moonscape (5), The Arrival (5), Free for the Day (6), Rocker (6), In Spain (8), Celtic Lament (8). Bass pattern 1,3,4,5 Whistling Tune (1), Ready for Action (1), Picnic Hop (2), Given Half a Chance (3). Bass pattern 1,3,5,6: Snappily Dressed, Happy-Go-Lucky (3), Positively Swinging (4), The Band Strikes Up (7). Bass pattern 1,5,6,5: On the Spur of the Moment (3), White Sand (3), Breezy (3), Trail-Ride Blues (3), Up and Away (3), Two Trails (4), Boxcar Blues (5),Daydreaming (5), Little Lullaby (6), Southern Serenade (7). Bass pattern 1,3,5: Samba Band (3), Palm Trees (5), A Minor Incident (6), Nerferti Blues (7), Streetwise (7). Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 222 Bass pattern 1,5,8,5: Sunny Again (4), Mysterious Stranger (5), Picking Up the Pace (7). Bass using notes in the triad: Grey Skies (2), Half Asleep (2), Smiley (2), Snappily Dressed (2), Across the Avenue (2), Circling (2), In the Spirit (3), Samba Band (3), Sunset Mood (3), Ocean Breeze (3), Fantasy Boss (7), Sunny Again (4), Scamp (5), So Easy (5), Palm Trees (5), Floating (5), Mysterious Stranger (5), The Arrival (5), Tap Dance (5), Simple Pleasures (5), Caribbean Mood (5), Mood Marigold (6), Twilight Dance (6), Nerferti Blues (7), Alone in Autumn (7), Southern Serenade (7), Picking Up the Pace (7). Bass pattern: 1,5,8,9. A Cool Night (7), New England Dawn (8). Descending bass pattern: Dots and Dashes (1), No Worries (1), On Stage (1), Ready for Action (1), Smooth as Silk (1), Caribbean Song (1), Trumpet Blues (2), Grey Skies (2), The Highlands (2), Sugar Cane (2), Half Asleep (2), Morning Song (2), Snappily Dressed (2), Leading the Cheer! (2), A Long Goodbye (2), Ocean Breeze (3), Up and Away (3), Fantasy Bossa (7), A Steady Hand (4), Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 223 Positively Swinging (4), Number Crunching (4), Sometimes It's How I Feel (5), Floating (5), Daydreaming (5), Cool as a Cucumber (6), Rocker (6), Too Cool (6), Seconds Apart (6), ), On a Swing (7), Soft-Edged (7), New England Dawn (8), Celtic Lament (8). Octaves in the melody: Full of Confidence (1) Bahama Beach (6). Melody echoed in the bass: Full of Confidence (1), Four-Wheel Drive (1), Frolics (1), Pipe Tune (1), The Minstrel (1), Marking Time (1), Toronto Tango (2), Morning Song (2), Across the Avenue (2), In the Quiet House (2), Morning Song (2), In the Spirit (3), White Sands (3), Taskmaster (4), Two Trails (4), A Folk Song (5), Leaves Falling (5), Country Calm (5), Boogie Express (5), Seconds Apart (6), Twilight Dance (6), Little Lullaby (6), Southern Serenade (7), Soft-Edged (7), Celtic Lament (8). A sharpened fourth added to a harmonic minor scale: A Trip to the Bazaar (1), Four-Wheel Drive (1), Hornpipe (4), Too Cool (6). Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 224 Chords with flattened fifths: Creaking Stairs (1), Smooth as Silk (1), Nefertiti Blues 7). Use of sequences: Bear Dance (1), Trucking, (1), Dots and Dashes (1), Smooth as Silk( 1), Out of the Mist (1), In the Quiet House (2), Sidewalk Cafe (2), Grey Skies (2), Half Asleep (2), Morning Song (2), A Long Goodbye (2), Ringing Changes (7), Soft-Edged (7). Melody repeated up an octave: Lost Toy (1), Driving Range (1), Bear Dance, No Worries (1), Lost Toy (1), On Stage (1), Still at the Centre (1), Merry-Go-Round (1), Eastern Song (1), Caribbean Song (1), A Walk in the Sun (2), You've Got Mail (2), Trumpet Blues (2), Grey Skies (2), Suave (2), Motoring Along (2), Across the Avenue (2), A Long Goodbye (2), Licorice Allsorts (3), Given Half a Chance (3), The Dream (3), Feeling Silly (3), Poolside (3), Samba Band (3), Breezy (3), Happy-Go-Lucky (3), Trail-Ride Blues (3),Fantasy Boss (7), Deep in Thought (4), A Steady Hand (4), Stegosaurus (4), Bedbug Blues (4), Taskmaster (4),), Hornpipe (4), Lightbulb (4), A Simple Song (4), Cake Mix (4), Scamp (5), Moonscape (5), So Easy (5), Sometimes It's How I Feel (5), Leaves Falling (5), Back on Track (5), Country Calm (5), Daydreaming (5), Strutting About (5), Mysterious Stranger (5), Simple Pleasures (5), Boogie Express (5), Free for the Day (6), Cool as a Cucumber (6), Mood Marigold (6), Gazelle (6), Tent Meeting (6), Seconds Apart (6), Twilight Dance (6), Big Band Swagger (6), A Minor Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 225 Incident (6), Upside (6), Alone in Autumn (7), ), On a Swing (7), Picking Up the Pace (7), Ringing Changes (7), The Band Strikes Up (7), On the Alert (7), At the Rodeo (7), Early Morning Workout (7), Hot Day (8), New England Dawn (8), Texas line Dance (8), Cuban Romance (8), Celtic Lament (8). Melody repeated down an octave: Dots and Dashes (1), Circling (2), Sunset Mood (3), Floating (5). Parallel major or minor: Bare Trees (6). Form ABA (Ternary form): Ready for Action (1), Dance Steps (1), Eastern Song (1), Caribbean Song, (1), In the Quiet House (2), A Walk in the Sun (2), Toronto Tango (2), You've Got Mail (2), A Stately Occasion (2), The Highlands (2), Morning Song (2), Across the Avenue (2), Leading the Cheer! (2), Drum Dance (2), A Long Goodbye (2), In the Spirit (3), Feeling Silly (3), Angle's Breath (3), Samba Band (3), Breezy (3), Ocean Breeze (3), Deep in Thought (4), Taskmaster (4), Taskmaster (4), Sunny Again (4), Hornpipe (4), Two Trails (4), Open Window (4), Cake Mix (4), Jaunty (4), Holidays (4), Palm Trees (5), Floating (5), A Folk Song (5), Daydreaming (5), Rail Rhythms (5), Strutting About (5), The Arrival (5), Tap Dance (5), Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 226 Simple Pleasures (5), Boogie Express (5), Caribbean Mood (5), Free for the Day (6), Mood Marigold (6), Mississauga Rag (6), Too Cool (6), Gazelle (6), Tent Meeting (6), As in a Dream (6), Buttoned Down (6), Seconds Apart (6), Displacement (6), Little Lullaby (6), Upside (6), Alone in Autumn (7), The Band Strikes Up (7), On the Alert (7), Soft-Edged (7), At the Rodeo (7), Sax Tune (7), Water Lilies (7), Hot Day (8), Last September (8), In Spain (8), Texas line Dance (8), Cuban Romance (8), Celtic Lament (8). Form AB. (Binary): Full of Confidence (1), Feelin Good (2), Sidewalk Cafe (2), Half Asleep (2), Motoring, Country Calm (5), Along (2), On the Spur of the Moment (3), Up and Away (3), Southern Serenade (7), Streetwise (7), Desolate (7), Picking Up the Pace (7). Form ABAB (Binary) The Dream (3), Mysterious Stranger (5), Cool as a Cucumber (6), Bare Trees (6), Twilight Dance (6), Big Band Swagger (6), A Minor Incident (6), Nerferti Blues (7), ), On a Swing (7), Hanging Gardens (7), Ringing Changes (7). One musical idea. (Often with variations): Suave (2), Grey Skies (2), Sugar Cane (2), Circling (2), Licorice Allsorts (3), Given Half a Chance (3), Rainforest (3), A Gentle Touch (3), Wind Riders (3), Crystals (3), Snake Dance Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 227 (3), Fantasy Bossa (7), Counterintuitive (4), Stegosaurus (4), Bedbug Blues (4), Line by Line (4), Lightbulb (4), Scamp (5), Moonscape (5), Contra Dance (5), A Summers Day (5), So Easy (5), Boxcar Blues (5), Sometimes It's How I Feel (5), Leaves Falling (5), Back on Track (5), In Between (6), Bahama Beach (6), Early Morning Workout (7). Use of a fifth drone in the bass: Pipe Tune (1), Suave (2), Sugar Cane (2), Half Asleep (2), Smiley (2), Morning Song (2), Snappily Dressed (2), Across the Avenue (2), Drum Dance (2), Wind Riders (3), Crystals (3), Sunset Mood (3), A Summers Day (5), A Folk Song (5), Seconds Apart (6), Displacement (6), ), On a Swing (7), Celtic Lament (8). Call and response: The Minstrel (1), Trumpet Blues (2), Grey Skies (2), Snappily Dressed (2), Across the Avenue (2), Circling (2), Licorice Allsorts (3), The Dream (3), Feeling Silly (3), White Sand (3), Breezy (3), Sunset Mood (3), Deep in Thought (4), Stegosaurus (4), Holidays (4). Round: Carol in Cannon (1), Little Lullaby (6), Palm Trees (5), As in a Dream (6). Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 228 Harmony using tonic and the lowered seventh chord as the basis for the song: (e.g. D minor and C major or G and F major). Seabird (1), Bell Tower (1), Pipe Tune (1), Sunny Again (4), Rail Rhythms (5), The Arrival (5), Boogie Express (5), Bahama Beach (6), At the Rodeo (7). Dorian Mode: Sea Bird (1), Taskmaster (4), Buttoned Down (6), Desolate (7). Mixolydian mode: Bell Tower (1). Cake Mix (4). Aeolian mode: Number Crunching (4), Gazelle (6), As in a Dream (6), Seconds Apart (6). Lydian mode: Merry-Go-Round (1), Snake Dance (3), By Myself (4). Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 229 Changing time signatures: Grey Skies (2), The Highlands (2), Half Asleep (2), Fantasy Boss (7), By Myself (4), Number Crunching (4). Tierce de Picardie: A Long Goodbye (2). Frequent shifts in tonality: Number Crunching (4), Leaves Falling (5), A Cool Night (7). Emphasis on one key centre: Contra Dance (5), Too Cool (6), Buttoned Down (6), Displacement (6). Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 230 Appendix 16 Website Links To Information About Scott McBride Smith http://music.ku.edu/scott-mcbride-smith http://musicedconnect.com/2015-session-preview Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 231 Appendix 17 Article From Indian Express - Christopher Norton Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 232 Appendix 18 Table of Characteristics of Lyrical Style Pieces in the Connection Series by Christopher Norton. CHARACTERISTIC Quiet dynamic range NAME OF PIECE A Walk in the Park Lost Toy Bell Tower In the Snow Angel's Breath Moonscape Floating Country Calm Daydreaming BOOK One One One One Three Five Five Five Five Quiet to moderately loud dynamic range Eastern Song One Sidewalk Cafe Grey Skies A Calming Influence Rainforest Sunset Mood Deep in Thought A Simple Song A Folk Song Leaves Falling In Between Seconds Apart Last September Jane's Song Two Two Two Three Three Four Four Five Five Six Six Eight Eight Half Asleep Two A Gentle Touch The Dream By Myself Mood Marigold Bare Trees As in a Dream Little Lullaby Alone in Autumn Desolate Three Three Four Six Six Six Six Seven Seven Quiet to loud (forte) dynamic range Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 233 Soft-Edged Water Lilies Celtic Lament Infinitely Regretful TITLE A Walk in the Park Lost Toy Bell Tower In the Snow Side Walk Cafe A Sidewalk Cafe A Gentle Touch Deep in Thought Daydreaming Little Lullaby Alone in Autumn Too Sad for Words Jane's Song Soft Edged Infinitely Regretful Eastern Song A Folksong (17) Seven Seven Eight Eight BOOK One On One One Two Two Three Four Five Six Seven Eight Eight Seven Eight One Four 4/4 Grey Skies A Calming Influence Rainforest Angel's Breath Moonscape Floating Country Calm Mood Marigold Bare Trees In Between As in a Dream Seconds Apart Desolate Water Lilies Last September (15) Two Two Three Three Five Five Five Six Six Six Six Six Seven Seven Eight 2/2 Sunset Mood A Simple Song Half Asleep Leaves Falling By Myself The Dream Celtic Lament Three Four Two Five Four Three Eight CHARACTERISTIC 3/4 3/2 2/4 Changing Time Signatures 5/4 5/8 6/8 Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 234 Descriptive Titles TEMPOS 66 and under ALL Sunset Mood A Simple Song Moonscape Infinitely Regretful A Walk in the Park Lost Toy Grey Skies A Gentle Touch Angel's Breath Deep in Thought Floating Daydreaming Bare Trees Questioning Seconds Apart Little Lullaby Soft-Edged Water Lilies Half Asleep Alone in Autumn Desolate Last September Bell Tower In the Snow Rainforest Mood Marigold Too Sad for Words Jane's Song Sidewalk Cafe A Calming Influence By Myself Three Four Five Eight One One Two Three Three Four Five Five Six Six Six Six Seven Seven Two Seven Seven Eight One One Three Six Eight Eight Two Two Four ♩ 161 - 170 The Dream Three ♪ 132 Celtic Lament Eight ♪ 200 Leaves Falling Five ♩100 and under ♩ 101 - 110 ♩ 111 - 120 ♩ 121 - 130 ♩131 - 140 ♩ 141 - 150 ♩ 151 - 160 Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 235 Appendix 19 An Overview of Christopher Norton's Connections Series Books 1 - 8 Book One Title Driving Genre Range Character Tempo Restless ♩ 152 Time Key Signature Signature 4/4 E Minor Characteristics Riff based. Disco style Pentatonic E, G, A, B, 7th chords Syncopation https://www.youtube.com/watch?v=qG1pKdaI6Wc Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 236 A Walk in the Park Lyrical Sauntering 3/4 D Major Jazz Bass Suspended chords and major sevenths are used to ♩ 100 embellish rhythm. https://www.youtube.com/watch?v=KF6KWATh_-o (Student performance) Whistling Tune Swing Happily ♩144 4/4 F Major Swing Jazz Bass pattern 1,3,4,5 - Walking bass style. Strongly syncopated rhythms. Embellished melody line. Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 237 Trucking Latin Boldly 2/2 C Major 80 Strong Latin rhythm. Harmony is moving in tone descents. Strong 7th chords. Riff based. Syncopated melody and bass line. https://www.youtube.com/watch?v=JxqicFHIVco (Student performance) Dots and Dashes Character Gracefully ♩ 132 3/4 C Major Jazz waltz feel, particularly in the melody. Descending bass line in dotted minims. Embellished melody notes. Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 238 Harmonies have a jazz influence with altered bass notes and significant shifts in tone colour. C, G/B, Am7, Ab, G min, Gb, F minor. Full of Confidence Swing Swaggering ♩ 132 4/4 C Major Bass pattern 1,3,4,5. Jazz triplets using flattened notes Swing Seventh chords Strongly articulated notes in a jazz style. Call and response. https://www.youtube.com/watch?v=pWzEgELX0V8 Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 239 Trip to the Bazaar Character Swaying 4/4 Altered Dorian ♩ 84 Eastern sound. Ostinato bass. Small range of melody notes based on the altered Dorian scale. Four-Wheel Drive Character Heavy rock ♩ 120 4/4 G Minor Riff used in bass and melody. key Call and response. signature Embellished melody notes. Sounds like G altered Dorian Rock feel with the second note accented in the bass line. Bass echoes right-hand melody. Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 240 Sharpened fourth note in the bass pattern. Bear Dance Character Heavily 4/4 D Minor Bass riff. Lightly syncopated melody. ♩ 108 Bass uses intervals of a fifth. Use of sequences. https://www.youtube.com/watch?v=HAJrpR_xaXQ (Student performance) No Worries Character Cheerfully ♩ 132 4/4 C Major Walking bass Descending bass line Does not start in the tonic Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 241 This piece sounds like a gentle boogie with the use of fifth and sixth notes in the melody and the 1,5,6,5 bass that occasionally appears. Melody is repeated in the bass line. Melody is embellished. Blues scale influence and the use of blue notes. Chords have a jazz influence. F9, C6, Dm7, F7, D7b9, G7. https://www.youtube.com/watch?v=KPG4VbxdN-U Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 242 Lost Toy Lyrical Sighing 3/4 E Minor Rhythmical patterns are reoccurring in the bass. No definitive jazz sound. ♩ 92 Suspended chords and a clear sense of E minor, but embellished with many interesting notes such as C, F# and A. Melody repeated an octave higher. On Stage Swing Strutting ♩ 152 4/4 D Minor Repeated bass sequence. Swung Pentatonic minor scale influence. Melody repeated an octave higher. Syncopated melody. Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 243 Harmonies included Dm, Dm7, Bbmaj7, D, Dm9, Rocking Horse Character At an easy 6/8 E Minor trot Echoing riff in the bass. Bass echoes melody. ♩ . 84 A character song with little jazz influence. Harmonies used E minor with a descending bass, C, and D. Creaking Stairs Character Mysteriously ♩ 104 4/4 A minor Minor key with a flattened fifth played mysteriously. Slightly jazzy harmonies with primarily A minor with a flattened fifth and F major with a sixth and flattened seventh. Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 244 Syncopated rhythm. Bass and melody riffs. Ready for Action Swing Sunny ♩ 152 4/4 C Major Swing Descending bass. Jazz sound and feel Bass pattern 1,3,4,5. Bass pattern 1,5,6,5. (Boogie) Embellished melody. Syncopated rhythm in the melody. Ternary form. (ABA) 1,5,8 ending in the bass. Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 245 https://www.youtube.com/watch?v=k2OmirpSfW0 Pipe Tune Character Crisply 2/4 G Major Drone 5th used as accompaniment Melody repeated in the bass with right-hand ♩ 126 accompaniment. Shifting fifths in the bass. Harmonies: G, C and F The Minstrel Character Lilting ♩. 52 6/8 A Minor Call and response (question and answer) Bass patterns. Sharpened 6th in bass line. Minor Pentatonic scale used. Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 246 Harmonies include A minor, E minor, D minor, A minor with altered notes, (F and F#). D major and F6. Carol in Canon Character Chanting 2/2 D Minor 60 Melody repeated in the bass like a round. Simple harmony. D minor, C major, A minor. Modal sound. Simple rhythm, crotchets, minims and semibreves. https://www.youtube.com/watch?v=v3fiMNA5O2A (Student performance) Bell Tower Lyrical Chiming ♩ 116 3/4 G Melody and harmony based on the tonic and lowered Mixolydian seventh. G major and F major, which is constant Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 247 throughout like a bell chiming. Syncopated bass repetitive bass rhythm. G Mixolydian https://www.youtube.com/watch?v=cctDFIzFSJ8 (Student performance) Frolics Latin Cheerfully ♩ 132 4/4 C Major Latin bass and melody. (Caribbean style) Does not start in tonic. Harmony based on tonic and dominant triads. Syncopated and strongly articulated. 1,5,6,5 bass 1,5,8,5 bass Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 248 Left hand has a melody in the middle section with right-hand accompanying. Repetitive bass rhythms Arpeggio shapes used in the melody. https://www.youtube.com/watch?v=cisZtYVB9lU Sea Bird Character Soaring ♩ 128 3/4 D Dorian The main harmony is D minor, C major, Bb major, Ab major, A minor. Melody and harmony give a sense of descent. Bass pattern 1,5,6 common. Dorian mode but with occasional shifts to Bb and Eb. https://www.youtube.com/watch?v=OzsOdR44mJw Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 249 Smooth as Silk Swing Suave 4/4 A Minor A minor Pentatonic with occasional moves to G# and Eb. ♩ 126 Swing A very clear jazz sound. Descending bass. Improvisational style. Bass copies melody Sequences. Crunch jazz chords A major 7th. In the Snow Lyrical Sadly ♩ 120 3/4 E Minor Arpeggio melody. (Aeolian Simple harmony. E minor, C major, D major, A minor. Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 250 Mode) Out of the Mist Latin Mysteriously 4/4 A Minor Bass rhythm pattern. Melody based on minor second harmony and many second, third and fifth intervals. One melody only. ♩ 120 Descending harmony. Syncopated rhythm in melody and bass. Harmonies include A minsus2, F major, G major. Latin bass. https://www.youtube.com/watch?v=fkOIPkyUpbc (Student performance) Still at the Center Character Innocent ♩ 100 2/4 F Major Harmony: F major, F6, D minor, F major, C major, G9, Bb major 7th and F9. Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 251 Rhythmic bass pattern. Single note melody. Merry-Go-Round Swing Jazz Waltz ♩ 132 3/4 A Minor Jazz Waltz in Lydian mode. Lydian Swing. Mode Harmony: A minor, D major, G major, F major, E major, D/E, A minor sus 2. Rhythmic pattern in the bass. Harmonic sequence that continues throughout the piece. A minor, D major, A minor, G major, F major, G major then repeats with small changes. Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 252 Suspended chords. https://www.youtube.com/watch?v=iuWzaLgOK34 Marking Time Character Like 3/4 D Minor clockwork Single note melody. Harmonies: D minor, Implied C and C7, C/D, D minor with an A bass, Bb major 7, A minor, G minor, Eb ♩ 100 Major, A7. Echoing bass pattern. Scale-like motif. Dance Steps Latin With Island 4/4 charm G Major Calypso rhythm with typical quaver echoes half way through the bar. Short motifs. Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 253 Tango bass. ♩ 144 Simple Harmonies: G major, C major, D major, A major. Descending bass. Inverted bass notes. Ternary form. ( ABA) Eastern Song Lyrical Trance-like ♩ 72 2/4 D Minor Melody over a mostly D Minor tonality with subtle shifts in colour. Bass crotchets and quavers are moving in fifths and Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 254 sixths, or quavers are moving in fifths, sixths and sevenths. Use of the second degree of the scale again a tonic bass (ninth) to create a haunting melody. Embellished melody. Melody repeated up an octave. Slurred off-beat quaver melody. Ternary form. (ABA) Caribbean Song Latin Relaxed ♩ 132 4/4 C Major Typical Caribbean rhythm and melody. Short motifs in the melody that are often echoed. Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 255 Sequences. Echoing bass part after melody. A large number of rhythmic bass motifs. Tango rhythm in the left-hand. Single note melody. Embellished melody. Staccato accented chords placed three octaves in the distance. Ternary form. (ABA) B Section is played in the subdominant of F major. Strong articulation, lots of staccatos and short slurred Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 256 sections. BOOK Picnic Hop TWO Swing Groovin ♩ 152 4/4 F Major 1,3,4,5 Legato Bass. Walking bass jazz style. Fifth flattened harmony notes in the melody. Many flattened melody notes. Swing eighths Very clear jazz sound. Improvisational. Repeated sequences. Tremolo seventh chord ending. 12 bar blues form with some changes towards the end. Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 257 Simple harmony; chords one, four and five. https://www.youtube.com/watch?v=RU-fEtd_1BQ In the Quiet Character House Wistfully 4/4 G Major Jazz chords. G9, C/G, Gmaj7, F9, Bb9, C, Dsus, Asus4, Eb9, D9. ♩ 84 Typical jazz progressions. Syncopated rhythm. Bass patterns. Ternary form. ( ABA) Bass echoes melody. A Walk in the Sun Latin Swaying ♩ 116 4/4 C Major Jazz chords. C9, F/C, F, F9, Bb9, Amin, G/B, Eminsus4, E, Ternary form. ABA (B section repeats with an ending). Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 258 Descending bass pattern in section B. The return of theme A is played 8va. Melody is formed mostly around ninth chord harmonies. https://www.youtube.com/watch?v=hDRX6lepBnY Toronto Tango Latin With bite ♩ 132 4/4 E Minor Tango bass. Bass echoes melody. Both voices play an octave apart. Strong use of articulation. Ternary form. ABA. Harmony: Em, C7, C, B7 E minor. Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 259 Second section Harmony: E, A min, D/F#, G B, F#7. https://www.youtube.com/watch?v=mKAF4jnDcnc Feelin' Good Swing Strutting ♩ 144 4/4 C Major Swing eighths. Fast jazz feel. Walking bass. Harmonies: C6, F7, C7, G7, Binary form. AB Strong articulation. Improvisational in style. Repeated use of motifs. Seventh chords are prominent. Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 260 https://www.youtube.com/watch?v=GWsxD7dDqpE You've Got Mail Latin Like a Habanera ♩ 144 4/4 D Major Bass moves in scale patterns. Bass moves like a Habanera. Strong use of articulation and slurs. Strong tango ending with accents and staccatos. Melody is harmonising with scale ascending bass. Harmonies include D, D/F#, D/A, A/C#, G, Bb, C, D7, G9, G7, A7, D9, Ternary form. (ABA) https://www.youtube.com/watch?v=Qnu_sb0zJRI (Student performance) Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 261 Sidewalk Café Lyrical Easy 3/4 C Major Harmonies: Cmaj9, F9, Dm7sus4, Eminsus4, F9, Em7, Dm7, G6/7, Amin7, Dm9, F7, Bb7, Ebsus4, C6, Eb6. ♩ 126 Binary form. AB. Has the feel of a jazz waltz. Short phrases followed by slightly longer ones. Patterned bass. Arpeggio ending. Syncopation in melody. https://www.youtube.com/watch?v=tkCgbbRV7xM A Stately Occasion Character Proudly ♩ 132 4/4 D Minor Strong bass ostinato. Ternary form. (ABA) Each section is repeated with Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 262 small variations. Harmonies: Dm6, Dmsus4, Dm7, Gm7, Amb5, A, Bb, F/A. Single note melody. Mixed articulation. Small echo of the melody in the bass. Trumpet Blues Swing Boldly 80 2/2 F Major Swing eighths. Many seventh chords. Seventh chord ending. Mixed articulation. Syncopation. One melody played in the second section up an octave Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 263 then down to the original pitch. Minor fifth harmonies. Descending bass line. Minor seconds apparent in harmony. Parallel chords are common throughout the music. For example F minor to F7, C minor to C7. Harmonies: Fm, F7, Bb9, Bb7/Ab, Cm, C7, Fmin/maj/C. https://www.youtube.com/watch?v=VMEht2vySKk Grey Skies Lyrical Wandering ♩ 100 4/4 F Major Melody often appears after a crotchet rest. Syncopation. Has a sense of displacement. Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 264 Strong major seventh sound. Two chords played together for example in bar two the harmony starts as Fmaj7 and a Bb chord is added in the bass. Harmonies: Fmaj7, Fmaj7/Bb, F9, Bb, Dmin7, Gmin7sus2. Patterned bass. Using notes in the triad. Walking bass. Strong use of slurs to shape the melody. Call and response. One musical idea throughout. Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 265 Melody repeated up an octave. Suave Swing Jazz Waltz ♩ 120 3/4 G Major key One musical idea throughout played 8va in the middle signature section. Modal Jazz waltz. Jazz harmonies: Amin7, Gmaj7/B, G/B, Cmaj7, Bbmaj7, F/C, Ab9, Db, Abmin9/Db, Abminsu2, Ab min/G, C9, C6, Chords often move in semitone steps backwards. Use of arpeggio in the melody. The music uses mostl two bar phrases. Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 266 The Highlands Character Playfully 6/4 F Major Fast tempo. Creative use of slurs creates a sense of displacement. ♩ 160 Predictable harmony. F, Bb, F/A Gmin7, Descending bass. Scale patterns. The melody uses notes mainly from the arpeggio. Ternary form. (ABA) (A played four times, B played three times) Sugar Cane Swing Finger snapping ♩ 138 4/4 D Minor Fast swing tempo. Strongly articulated melody. Descending bass pattern throughout the melody. Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 267 Contrary motion. Melody based on arpeggio and minor seconds. Syncopation. Bass plays the melody. Harmonies: Dm, Bb7, Am7, E7/G#, Gm7, A7/G, A7. Many sevenths chords and inverted chords and chords with altered bass notes. One melodic idea played between the hands. https://www.youtube.com/watch?v=Wv-GG-2B7Yw Half Asleep Lyrical Dreamily ♩ 112 3/4 C Major Changes in time signature create a sense of displacement. Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 268 Music does not start in the tonic. Binary form: AB One strong melodic idea followed by Rhythmic chords. Harmonies: Fmaj7, C6, Bbmaj7, Amin7, Abmaj7, Gmin7, Eb, F9, Ebmaj7, Dmin7, C, Csuss4. Bass patterns. Frequent shifting of harmonies. https://www.youtube.com/watch?v=B9Z7Cua1vIc (Student performance) Long Haul Character Determined ♩ 120 4/4 E minor Strong rock bass riff played one chord one and four. Bass drives the music; the melody is almost secondary. Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 269 Blues scale influence. Single note melody. Riff played two octaves apart as an ending. Flattened fifth note used in a minor key. Harmonies mostly fourths and fifths. Syncopation. A strong minor pentatonic melody. Harmonies: Em, Am, C, B. 12 Bar Blues with harmonic variation. Melody uses "blue" notes. Improvisational in style. Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 270 Smiley Swing Happily 76 4/4 C Major 1,3,4,5 Bass. Swing Eighths Harmonies: C, F, G, C7, F7, D7. Has the feel of a 12 bar blues but with a short interlude between sections. The melody and harmonies have many blues notes, and many seventh chords are used. Syncopation. Mixed articulation. Two clear melodic ideas. Embellished melody notes. Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 271 Form: Binary but with ending taken from the A section. https://www.youtube.com/watch?v=jT8aLZeYG_s (Student performance) Morning Song Character Smoothly ♩ 152 3/4 F Major Song is shaped around major seventh and suspended chords and a mostly descending melodic shape of crotchets. Harmonies Bb maj7, A min7sus4, B min, C, F, Bb, Bb/F, Dmin, G min, F/A, C7/Bb, Eb/G, Aminsus4. Melody does not start in the tonic. Ternary form. (ABA) Bass shares melody with the right hand in the middle section. Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 272 Motoring Along Character Unstoppable ♩ 132 4/4 A Minor Riff based melody and bass. Two main patterns in bass, riff based on the pentatonic scale and octave crotchet pattern. Melody repeated up an octave. Strongly articulated melody line. Melody and bass play the same notes three octaves apart as an ending. Harmonies: Amin, F, G. The lower range of piano notes is used. Minor pentatonic scale. Open fifths used in the bass. Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 273 Staccato is prominent. Binary form. AB https://www.youtube.com/watch?v=tSdzWVp0UDw Snappily Dressed Swing Groovy ♩ 136 4/4 D Major 1,3,5,6 Bass. Swing eighths. Syncopated embellished melody. Simple harmony: D6, G6, A. Seventh chords are used. Sixth chords punctuate the melody line. Sounds like a simple 12 bar blues. Walking bass. Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 274 Across the Latin Avenue Keep steady 4/4 D minor Simple harmony: Dm7, Gm, Bb and C are primary chords. Am is occasionally used. ♩ 126 Rhythmic bass pattern with a Latin feel. Single note melody for section A and a harmonised melody for section B. A much slower moving second melody. Octave sections. Pentatonic. First section uses B natural - Dorian mode. Ternary form. (ABA) Circling Character Unsettled 4/4 G Minor Rhythmic bass pattern. Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 275 Aeolian ♩ 138 mode Strongly syncopated melody. Harmonies: G Minor, Eb and F cycling fairly consistently. The occasional use of D Minor and D Minor 7. Melody notes are frequently on the second or fourth degree of the chord used. One musical idea with a large number of motifs that are echoed back. Melody idea is played one octave lower the second time. Leading the Cheer! Character Cheerfully ♩ 126 4/4 F Major A strong descending bass is used. Harmonies: F, C/E, Dm7, C Bbmaj7, Am, Gm7, F Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 276 There are many altered chords including sevenths, major sevenths, minor sevenths and ninths. Syncopated melody. Single note bass part with single note melody. Legato bass with mixed articulation in melody. Ternary form. ABA with ending. A Calming Influence Lyrical Restful ♩ 126 4/4 C Major Syncopated melody supported by chords. Harmonies: C6, F9, Em7, F, Fmin9, F maj7, Bb, Dm7, C, G7, Csus2. Bass pattern. Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 277 Harmonies in bass mostly using some time of seventh or suspended chord. Melody also picks up on sixth and seventh notes. This piece has one main musical idea that is made up of two distinct parts. The first section melody is used in the second half of the music like an echo. Strong jazz influnce. Drum Dance Character Simply ♩ 132 4/4 C Minor Bass riff dominates melody. This riff is chiefly based on a minor third, a sound that dominates the whole piece. Strong drum beat sound in the bass using open fifths. Strong use of mixed articulation. Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 278 Harmonies: Cm, Ab, Gm, Bb. The right-hand plays harmonies and single note melodic ideas over a strong drum beat bass. Ternary form. ABA, but second is played with different harmonies. A Long Goodbye Character Sadly ♩ 120 4/4 D Minor The bass part is mostly descending and often uses a pattern of 1,5, to 1,6 in the tonic part of D minor. Bass part moves in crotchets beats throughout. Syncopated single note melody mostly, occasionally harmonised with a semibreve. Harmonies: Dm, Dm6, Bb, C, Bb, Am, Gm, F, Eb, D, etc. Ends with a tierce de Picardie. Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 279 Ternary form. (ABA) Melody is played up an octave. BOOK Licorice Allsorts 3 Character Driving forward 112 2/2 G Minor Bass riff. Minor second harmonies common. Driving repetitive pattern in the bass. One musical idea repeated in tonic and subdominant. The subdominant chord is used in both the major and minor form. Syncopated melody. Uses mostly the lower range of the piano. https://www.youtube.com/watch?v=ukmMVfmkClQ Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 280 (Student performance) Given Half a Chance Swing With Swagger ♩ 132 a 4/4 C Major Swing Eighths 1,3,4,5 Bass. Descending bass pattern. Harmonies: C, C/E, F C, G, D7, G7, Ab. One musical idea repeated with variations in melody and articulation in the second section. Syncopated melody. The interval of the fourth and fifth plays a significant part to the melody. Articulations help create the sense of swagger. Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 281 Significant use of blue notes in the melody. https://www.youtube.com/watch?v=qG8SO_DiDus Rainforest Lyrical Mysteriously ♩ 120 4/4 A minor Repeated right-hand played against changing bass notes. Many suspended harmonies. Small crescendos placed at the end of the bar. Harmonies: Aminsus2, Emsu2 lowered, D2/6, Em and Emsus4 and E. Repetitive quaver rhythm in the melody. Dynamics form a significant part of the composition. https://www.youtube.com/watch?v=qPESTRMaioE Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 282 In the Spirit Swing Easily ♩ 132 4/4 Eb Major Swing Eighths. Does not start in the tonic. Strong jazz identity. Bass motif echoes melody. Harmonies: Fm7, Bb7, Eb, Eb6, Eb7, Ab, Implied D, Gm/Bb, B dim, Cm, Cm7/Bb, Eb/Bb, F7. Light syncopation. Strongly articulated melody. Ternary form. ( ABA) Pentatonic influence. https://www.youtube.com/watch?v=I5d_9XZSpU0 Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 283 (Student performance) A Gentle Touch Lyrical Thoughtful 3/4 G Major Bass patterns. Does not start in the tonic. ♩ 92 Syncopation. Pentatonic influence. Harmonies: Cmaj7/6, G6, F6, C/E, Ebmaj7, C9/D, Dbb9, and Eb9. The Dream Lyrical Restlessly ♪ 168 5/8 A Minor Strong rhythmical patterns in the bass which are often based around 1,5 and 6. Major second harmonies used in the melody, otherwise single note melody. Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 284 Binary Form: ABAB with ending Very limited harmonies are mostly focusing around A minor. Using Am, Am6, Am#6. Fmaj7 and G6 are also used. A sense of displacement in the melody. 5/8-time signature. Feeling Silly Swing Rocking around ♩ 126 4/4 C Major 1,3,4,6 Bass Pattern. Ternary form. ( ABA) Melody repeated up an octave. Call and response. Syncopated melody. Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 285 Simple harmonies: C, F, G, C/E, Dm, C/G and Dm/A. https://www.youtube.com/watch?v=MCp_23gyx4Y (Student performance) Wind Riders Latin Unsettled ♩ 126 4/4 A Minor Unsettling groups of three note slurs in 4/4 with accents on each first note of three. Melody mostly formed from arpeggio notes. Melody rhythm keeps appearing with changing harmonies. The changing wind is felt in the shifting harmonies and altered bass notes. Harmonies: Am, Em7, G, F9, Em/G, F6/9, G/F, D/E, Amsus2, Emsus4, E, and E7. https://www.youtube.com/watch?v=CSIQN8PGGIw Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 286 (Student performance) Crystals Character Floating 5/4 C Major Constantly shifting harmonies in unusual progressions. Unsettled rhythm in 5/4. Grouped in 2/3 patterns. ♩ 116 Melody is constantly echoing. One musical idea throughout. Open fifths are common as harmony in the bass. Most chords are either 9/6's or suspended fourths. Harmonic movement: Eb9, Dmsus4, C6/9, Ebmaj7, Dm9, C9, Eb9, Dsus4, Db6, C6, Ebmaj7/6, Dm9, C9, C9/6. Poolside Latin Mellow 4/4 F Major Gentle Latin rhythm sustained for most of the piece; Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 287 open fifths in semibreves end the music. ♩ 116 F9 and Bb/F form the main harmonic outline. Harmonies: F9, Bb/F, Db7/9, Cm7, Bb9, and C9. Syncopated melody. One main melodic idea with a long ending or A followed by a shorter B section. Melody repeated up an octave. On the Spur of the Moment Character Footloose ♩ 44 4/4 D Major 1,5,6,5 Boogie bass without swing. 12 Bar blues form with additional bars at the end of music. Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 288 Harmonies: D,D7,G,G7,A,and A7. Improvisational in style. Form: AB First part is a melody, the second part same harmonies with rhythmic chords. Melody notes mostly from the triad. Syncopation. https://www.youtube.com/watch?v=vt9rBYTqT3w (Student performance) Angel's Breath Lyrical Comforting ♩96 4/4 G Major A mood piece. Melodic idea played through both hands. Harmonies: G9, C9, G/G, Cmaj7/G, Am7 and D. Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 289 Form: ABA repeated. https://www.youtube.com/watch?v=I0FBdAtSKlQ White Sand Latin With verve ♩ 144 4/4 Bb Major Calypso feel - Tango bass Melody focused on arpeggio notes. Simple harmonies focused mostly around chord one, four and five: Bb, Eb, F, Cm, and C with some seventh chords. Syncopated rhythm. Call and response. https://www.youtube.com/watch?v=JFGwZetpmno (Student performance) Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 290 Samba Band Latin Lively 4/4 G Major Strong Latin rhythm pattern throughout. Harmonies formed around chords 1,4 and 5: G, C, D ♩ 138 with altered bass notes. Bass uses mostly arpeggio notes. Embellished melody line. Strong syncopation. Ternary form. ( ABA) https://www.youtube.com/watch?v=_8B1jz-OaJ0 (Student performance) Breezy Swing Cool ♩ 112 4/4 E minor Swing eighths Complex harmonies: Em, A/E, Am/E, B, Em9, Em7, Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 291 Amsus2/7, B7/D#, and F7. Substantial bass riff. Syncopation. Ternary form. (ABA) At the Market Character With a Reggae Beat ♩ 132 4/4 C Major Chord accompaniment in the bass with the melody, then melody in the bass with right-hand accompaniment. One melodic idea made up of two parts. Syncopation. Many chords are played in inverted positions. Harmonies: C/G, F/A, Dm/A, Am, G, C/E, A/F, C/F, E/C and C. Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 292 Sunset Mood Latin Nostalgic 2/2 F Major 66 Chord based accompaniment. Chords and bass harmonies move in minim patterns. Melody based mostly around major 9th chord. Pentatonic melody in B section. Call and response. Melodic idea appears down an octave. Harmony: Mostly major 9th chords, 6/9 chords, inverted chords, and minor 7th. Single note melody. Ocean Breeze Latin Lilting ♩ 132 4/4 F Major Melody based primarily on the triad notes. Harmony in first section F to C9 sus4. (First twelve Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 293 bars) Harmony in bars 13- 16: Dm7, C9, F major 7 and F. Harmonies in bars 17 - 32: Bb, F/A and Gmin9 sus 4 are the primary shapes. Bars 31 -32 uses Eb and Eb sus4 and sus 2 before moving to the dominant seventh chord that also suspends. Strong sense of F major tonality broken up with suspended and major ninth chords. Syncopated melody. Significant bass patterns and repetition. Ternary form. ( ABA) Melody is repetitive. The first section repeats the Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 294 melody three times with small variations. The relative minor shifts the melodic sound on the final repeat. Section B is repetitive without the harmony changes sitting with chord one, four and two. Strong cadence points. Descending bass pattern. Happy-Go-Lucky Swing Full energy ♩ 152 of 4/4 C Major 12 Bar blues 1,3,5,6 Bass pattern. Simple harmony: C, F and G, coloured by sixth and seventh harmonies. Swung melody. Contrasting articulation. Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 295 Single note melodies followed by harmonies Pentatonic influence. Trail-Ride Blues Character Loping along 12/8 Bb Major 96 1,5,6,5. Bass Pattern. Pentatonic melody. One melodic idea with variations. Harmonies: Sixth and Seventh chords prominent. Syncopated melody. Snake Dance Latin Sinuous ♩ 144 4/4 A Minor Latin rhythm. Rhythmical bass pattern. Strong suspended harmonies. Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 296 Secondary dominants. One musical idea played up an octave with an ending. Parallel chords used Bar 30, 31 and 15, and 16. The chords are primarily moving between chord one and four, with an occasional dominant chord appearing at the end of sections. Harmonies: A minor Suspended 4th, A minor 9th, E minor Suspended 4th, E minor 9th, Suspended 4th, D minor 9, G minor 9th, C9, F major 7th, E Lydian sounding melody in bars one and two. Up and Away Swing Fast dance 4/4 C Major 12 Bar Blues Harmonies use primarily chords one, four and five. Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 297 Chords used: C6, F7, Cm6, and G6. ♩ 160 Form: A, B with the end of B coming from the end of A section. Syncopated melody. Use of blue notes to embellish melody. C9 Ending. Swing. https://www.youtube.com/watch?v=b_FQ2rFOS8s (Student performance) BOOK Counterintuitive Character 4 Brightly ♩ 148 4/4 C Major Strong bass ostinato - syncopated rhythm. Staccato chords on mostly compound chord shapes. Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 298 Music does not start in C major. Strong unresolved or suspended sound. Chords are constantly moving towards resolution. Harmonies used F mj7, G 6/9, G11, Fmaj7/G, G13, G11, Cmaj9, Fmin7, Ab9/C, Ab9/Bb, Eb13, Ab9, Ab13/Eb, D half diminished, etc Lots of chords with bass notes other than the tonic. A sense of unrest. Only crotchet rhythm for most of right-hand. Little sense of melody, rather more sense of harmony and rhythm. Strong tonic to dominant sound. Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 299 One musical idea developed. https://www.youtube.com/watch?v=fZnQsJyx7_E (Student performance) Deep in Thought Lyrical Cool ♩ 88 3/4 F Major Lyrical. Quiet and soothing. Starts on the subdominant. Strong subdominant to tonic movement. Bass pattern. Scale passages link sections. A, AV, B, AV. (ABA). Melody repeated up an octave. Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 300 Major seventh chords a strong element of harmony. https://www.youtube.com/watch?v=cCZJGsxcesU A Steady Hand Character Expressively ♩ 144 4/4 A Minor Descending scale in bass Melody played up an octave. Variations. Chords in bass in section. Form either Binary or one 16 bar musical idea that is repeated up an octave with variations. Syncopation. https://www.youtube.com/watch?v=7NWz-S0kl7Y (Student performance) Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 301 The Young Rider Character Cantering 6/8 B Minor Bass patterns which repeat. Classical style piece - Schubert influence. ♩. 108 Left-hand takes the melody while right-hand plays chords. Echoing bass . Melody played in octaves in both hands. https://www.youtube.com/watch?v=BAQeN4eSz-Y Positively Swinging Swing Energetically ♩ 144 4/4 C Major Strong swinging syncopated melody embellished and strongly articulated. Bass plays 1,3,5,6 Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 302 Descending bass. Rock and roll influence. https://www.youtube.com/watch?v=vwjg-WzMP2g Stegosaurus Character Sturdily ♩ 116 4/4 C Major Bass Pattern 1,3b,3,b,6b,6. Mancini stomp (A big dinosaur lumbering along). Embellished melody. Syncopation. 12 Bar Blues. Descending bass. Light grace notes. Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 303 Simple harmony - Chords 1,4, and 5. Melody played up an octave. https://www.youtube.com/watch?v=PlZP4LdRN1w Pony Ride Latin Easygoing ♩ 116 4/4 C Major Bass pattern 1,5,6,5. Syncopated melody. Rhythmic chords. Descriptive rather than melodic. Strong use of rests. Prominent C, Dm7 harmony and F, C harmony in the second part. https://www.youtube.com/watch?v=VylGiGDzR2Y Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 304 (Student performance) Bedbug Blues Swing Soulfully ♩ 88 4/4 Bb Major Blues-inflected melody - Influence of blues scale. 12 Bar blues. One melodic idea. Seventh chords prominent. Syncopated melody. Melody repeated up an octave. First part as accompaniment in left-hand as semibreve fifths. In second part left-hand has a traditional blues base of bass note with a fifth, bass note with sixth and then Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 305 repeated. https://www.youtube.com/watch?v=J-Bw-dbngU0 (Student performance) Taskmaster Character Sternly 76 2/2 A Minor Melody starts with both hands playing in octaves. Heavy rock piece - imitate a guitar part. Written primarily in the bass staff. Melody repeated up an octave. Bass echoes melody. Primarily tonic and subdominant harmony. Occasional use of dominant. Pentatonic influence. Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 306 12 Bar blues - subtle influence. Syncopation. Ternary form. https://www.youtube.com/watch?v=vvbW-sOQUhc Running Out of Latin Steam Relentlessly 4/4 Dorian Mode ♩ 120 Minor pentatonic scale influence. Syncopation. Melody is echoed. Ostinato. Dorian scale - D. Ternary form. (AB A) Line by Line Character Simply 4.4 A Minor Minor key with raised sixth. Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 307 A strong focus on the tonic of A minor with small ♩ 100 movements to subdominant and tonic chords often as suspended chords. Minor second harmonies. One melodic idea with variations. Repetitive motif. Pentatonic minor influence. By Myself Lyrical Expressively ♩ 126 5/4 G Major Arpeggio bass. Change in time signatures. Simple harmonies. Simple rhythm mostly crotchets and dotted minims. Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 308 Sunny Again Latin Cheerfully ♩ 4/4 G Major Strong Latin rhythmic pattern in bass . (Tango rhythm particularly prominent in bass) 120 Minor second harmonies. Ternary form. AA/BB/A Strong harmonic movement from tonic G to F . https://www.youtube.com/watch?v=xIWPmN7Wtyk (Adult performance) Hornpipe Character Spirited ♩ 100 2/4 D Minor Bass has open fifths (Drone). Dm, C, Bb. Sharpened fourth note (G#). Melody repeated up an octave. Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 309 Ternary form. Melodic variation. Lightbulb Character With humor 4/4 C Major ♩ 144 Descending minor fifth harmonies (Jazzy sound). Embellished melody with blue notes. Melody moves up an octave. One melodic idea with variations. Syncopation. Seventh chord ending. A Simple Song Lyrical Steady 63 2/2 Eb Major Music does not start on the tonic. Strong minor seventh and seventh major harmonies. Melody is played up an octave. Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 310 Chord based accompaniment. Syncopation. Prolonging resolution to the tonic at end. Two Trails Swing Relaxed 4/4 E Major 12 bar blues influence. Simple chord progressions. ♩ 104 Repetition in bass of melodic ideas. Ending is played in octaves . Ternary form. Triplets against quavers. Syncopation. Number Character Flowing 5/8 No key Changing time signature. Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 311 crunching signature ♩ 120 Displaced beat. Frequent shifts in tonality. 13th chord harmonies. Octave ending. Descending bass line. Open Window Latin Easygoing ♩ 126 4/4 E Minor Habanera left hand. https://www.youtube.com/watch?v=AX2Ok8hgYbk Strong articulation. Syncopation. Bass pattern. Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 312 Ternary form. Melody with variation. Single note melody. Staccato chords at end. Pentatonic minor. Cake Mix Character Perky 80 2/2 A Major Sequences. Melody repeated up an octave. Mixolodian mode . Simple harmony. Bass patterns. Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 313 Syncopation. Embellished melody - use of blue notes. Jaunty Swing Easygoing ♩ 132 4/4 Eb major Repetition and variation. https://www.youtube.com/watch?v=theUlvKx7Cc Ternary form but A has some significant variations. Syncopation. Chord accompaniment. "Jazzy" Descending bass. Triplets against quavers. Inverted chords. Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 314 Holidays Latin Cheerfully 4/4 D Major Calypso bass pattern. Syncopation. ♩ 126 Ternary form. Simple harmony - Mostly chord one, four and five. Lighter than Air Latin Lightly 4/4 D Major Minor second harmonies. Simple harmonic structure. Flattened sixth chord with no third. ♩ 138 The main progression is D6 to D6b. F major melody in scale pattern prior to end. BOOK Scamp 5 Swing Playfully ♩ 120 4/4 D Major Arpeggio based. Swung. Embellished melody. Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 315 Stride bass on alternate notes. Triplets against quavers. Syncopation. One melody with variations including 8va. Secondary dominants. Simple harmony. https://www.youtube.com/watch?v=sarYESwEqF8 Moonscape Lyrical Atmospheric 52-56 4/4 G Minor (A musical picture of the surface of the moon) Open fifths One musical idea repeated up an octave without variation. Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 316 Embellished melody. Main chords used are Gmin 11, Eb13, Eb9, Dm 7, Cm9, D, Gm9, Dm11. (These chords create the atmospheric mood) https://www.youtube.com/watch?v=LHnIToaxNE8 Contra Dance Character Like clockwork ♩ 96 2/24 E Minor Staccato in left hand throughout. Bass pattern 1-5-1-6-1-7-1-6 throughout piece. One melodic idea with variations. Syncopation. E minor throughout. https://www.youtube.com/watch?v=aSLR3xQbBxU Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 317 (Student performance) A Summer Day Character Gracefully 3/4 A Major Simple harmony throughout. One melodic idea with variations. ♩ 132 Syncopation. Chord based accompaniment. Bass patterns. Strong tonic-subdominant movement with an A pedal. https://www.youtube.com/watch?v=vtlpIe4WaXk (Student performance) So Easy Character Easygoing 12/8 C Major Blues bass pattern. 12 bar blues . Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 318 Turn around on dominant. ♩ 112 Melody repeated up an octave. Pentatonic .. Embellished melody notes (often blue notes) Boxcar Blues Character Resolute ♩ 112 4/4 D Major Boogie style. Bass pattern 1-5, 1-6, 1-5, 1-6. Two note slur followed by a longer slur. Secondary dominants. Simple harmony. One melody with variations. Syncopation. Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 319 Embellished melody notes. https://www.youtube.com/watch?v=gA5fX7kChBc Sometimes It's Character How I Feel Simply 4/4 C Major Descending bass. Simple harmony. ♩ 92 Syncopation. Melody repeated up an octave. One melodic idea with variations. Embellished melody notes. https://www.youtube.com/watch?v=rjNFtYzLE_o (Student performance) Palm Trees Latin Cheerfully 4/4 G Major Calypso style. Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 320 Bass patterns (Often 1-3-5). ♩ 144 Simple harmony . Secondary dominants. Syncopation. Ternary form. https://www.youtube.com/watch?v=d7W4YcOoO_g Floating Lyrical Still ♩ 100 4/4 F# Minor Baroque style left hand with a descending bass (quaver). Frequent pedalling. Introduction. Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 321 Syncopation. Different phrase length. Ternary form. Melody repeated down an octave. https://www.youtube.com/watch?v=Q6GYpuK-Pvk A Folk Song Lyrical Plaintively ♩ 63 2/4 D Minor Drone Bass (open fifth). Simple harmony. Dm, Bb, C in the first section. Second section Eb to F and Eb - Dm. Bass patterns. Ternary form but with many variations in melody. Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 322 Syncopation. Leaves Falling Lyrical Wafting 5/8 No key Descriptive piece. signature ♪ 200 The prominent use of major seventh, ninth, eleventh and thirteen chords. Some altered chords and inverted chord shapes. One musical idea with variations. Beat displacement. Back on Track Swing Easygoing ♩ 126 4/4 G Major Bass pattern 1-5, 1-6, 1-7b (Blues) Embellished melody. Triplets followed by quavers. 12 bar blues. Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 323 One melody with variations. Tremolos. Syncopation. Melody repeated up an octave. https://www.youtube.com/watch?v=FTHvj2z8Y-E (Student performance) Country Calm Lyrical Smoothly ♩ 108 4/4 G Major Simple harmony. Ternary form. Melody repeated up an octave. Rippled chords. Melody repeats in bass. Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 324 Simple rhythmic patterns in bass and melody. Daydreaming Lyrical Calmly 3/4 C Major Varying bass patterns. Prolonging resolution to the tonic. ♩ 88 Harmonic structure includes Ebmaj7 - Dm9 - C6. (Chords are often major seventh, ninth, eleventh or thirteenth variations.) Displacement of beat - left-hand quaver pattern). Rail Rhythms Character Chugging along ♩ 100 4/4 G Major Harmony shifts from G to F Major. Uses a series of short motifs. (Short DA motif used and inverted. Semiquaver G motif repeated and similar motif used on other notes). Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 325 Ternary form but with many variations. Syncopation. Strutting About Lyrical Driving ♩ 160 4/4 C Major Riff based melody. Dissonance. Blues scale influence. Delaying resolution to tonic. Open fifth bass accompaniment and 1-5 to 6 pattern in the second section. Syncopation . Ternary form . 12 bar blues influence but not adhering to form. Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 326 https://www.youtube.com/watch?v=5lb3kljcACk Mysterious Latin Stranger Suave 4/4 F Minor Tango bass pattern. Binary form with ending. ♩ 132 Simple harmony. Embellished melody line. Syncopation. The Arrival Character With anticipation ♩ 132 4/4 E Major Bass pattern. Simple harmony. Section A is E to D. Section be is C# minor to D. Ternary form. 9th chords prominent. Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 327 Rubato. Tap Dance Swing Happily 4/4 C Major Chord based accompaniment and bass pattern 1-3-5-3. Walking bass - ascending. ♩ 160 Jazz influence. Syncopation. Ternary form. Pentatonic. https://www.youtube.com/watch?v=HyC9nFa6Eiw (Student performance) Simple Latin Perky 4/4 G Major Bass patterns. Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 328 Pleasures Ternary form. ♩ 132 Syncopation. Left hand has a melody in Section B. The lower range of piano used. Simple harmony. Embellished melody notes. Boogie Express Character Happily ♩ 120 4/4 Eb Major Boogie style. Bass patterns including open fifths, 1-5-6-5 and flattened seventh. Ternary form. Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 329 Syncopation. Melody played up an octave. Eb to Db major harmonic structure main basis of music. Caribbean Latin Mood Lilting 4/4 C Major Simple harmony. Syncopation. ♩ 132 Ternary form. Latin bass pattern and seventh harmonies in bass. Rhythmical chords introduce piece and end piece. BOOK Free for the Day Character 6 Groovin ♩ 126 4/4 C Major Contrary motion. Ternary form. Triad based harmonies and melody. Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 330 Slurred quavers. Strong articulation. Section A is C major. Section B moves to Ab major. Cool as a Cucumber Swing Rock beat ♩ 152 4/4 G Minor Bass patterns often based on the first and fifth note of the chord. Repeated bass notes at the same pitch (Similar to Driving Range) Rock influence - driving beat. Form: ABAB. Syncopation. Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 331 Flattened fifth note in minor melody. Mood Marigold Lyrical Wistfully 4/4 C Major Frequently shifting chord changes in line with a descending bass that moves chromatically. ♩ 120 Ternary form. Bass patterns. (1-5-8-8-10) (1-3-7-8-9-8-7-5) (Open fifths). Varying phrase length. Music does not start in the tonic. Many jazz chords (7th, 9th, 11 and 13). Mississauga Rag Character Rollicking ♩ 160 4/4 D Major Rag-style. Stride bass on alternate notes. Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 332 Chromatic ascending bass. Ternary form. Strong tonic to subdominant chord progressions. Simple harmonies. Syncopation. https://www.youtube.com/watch?v=KZ_jadOUklQ (Student performance) Beguine Again Latin Sultry ♩ 132 4/4 G Minor Long periods of sustained harmony. Strong tonic to dominant harmony. Many 9th and 11th chords. Frequent use of rhythmic chords to embellish melody. Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 333 Simple harmony using mostly chord one, four and five. Rocker Character Driving 4/4 E Minor Octave bass. Driving rock rhythm. ♩ 104 Three distinct melodic sections (ABCA). Embellished melody notes. Pentatonic influence. Strong syncopation. Loud dynamic throughout. https://www.youtube.com/watch?v=-uk8YdMyx0s (Student performance - Adult) Bare Trees Lyrical Lonely 4/4 D Minor Single note melody followed by the melody in sixths. Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 334 Change to parallel major then returns to D minor. ♩ 100 Inverted compound chords. Uses many 7th, 9th, 11th and 13th chords in harmony. Form: ABAB. Bass patterns (lyrical bass 1-5-8-9). Syncopation. Too Cool Swing Nonchalant ♩ 138 5/4 A Minor Ternary form. Beat displacement. Section A is formed around Am7 and Am6# Section B is based around arpeggio like melody over F9, Dm7 implied G7 and E7 harmony. Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 335 Syncopation. Gazelle Character Galloping 6/8 B Minor 108 Repetitive arpeggio pattern in bass. B pedal note. Ternary form but many melodic and harmonic variations. Beat displacement. Ornamentation. Harmony in sixths. B Natural minor (Aeolian mode). In Between Lyrical Questioning ♩ 88 4/4 Bb Major Chord based accompaniment with melody. Binary form: AB . Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 336 Jazz chords, mostly elevenths and thirteenths. Does not start in the tonic. Has a modal sound. Uses seventh, ninth, eleventh and thirteenth chords. One melodic idea with many variations. Tent Meeting Swing Gospel style 4/4 ♩ 144 G Major Inverted chords. Diminished chord. Country style. Section A is composed of two bars that repeat with variation in bars one to eight. Bars nine to twelve contain harmonic variation. Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 337 Bars 13-14 form a bridge to the next section. Section B uses G7/F to Edim7 as the main basis of harmony. Bar 26 till the end is a variation of Section A. Ternary form. Syncopation. Pentatonic melody. Bahama Beach Latin Bopping ♩ 160 4/4 D Major Slightly detached melody (Staccato). The main melody repeats at different pitch One main melody with main variations. Melody played in octaves in the right hand. Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 338 Harmonies move between tonic and lowered seventh (D to C) (A to G) etc. Syncopation. Right and left-hand play octaves. As in a Dream Lyrical Singing ♩ 92 4/4 F Minor Ternary form. Harmony is mostly Fmin9, Bbmin9, Dbmaj7and Eb. Many seventh, ninth, and eleventh chords Ninth chord ending. Singing melody. Section B is harmonised over a scale passage in left hand. Very contrasting sections. Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 339 Chord based accompaniment. Syncopation. Aeolian mode. Buttoned Down Latin Driving ♩ 144 4/4 Dorian Mode Displaced beat. Riff based pattern throughout left hand almost continuously. Simple harmony. Dorian mode. Embellished melody notes. Syncopated. Ternary form. Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 340 https://www.youtube.com/watch?v=Loczp2QaQ9U (Student performance) Seconds Apart Lyrical Bittersweet 4/4 E Minor Descending bass. Does not start on tonic. ♩ 63 Minor and major second harmonies common. Melody is echoed or continued in bass. Ternary form. Aeolian mode. Displacement Character Dreamy ♩ 108 5/8 E Minor Bass notes consist mostly of E, C, D. Repetitive bass patterns. Sharpened sixth note in E minor. Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 341 Ternary form. Melody is a two bar pattern that repeats over changing bass notes. Section B is contrasted by harmonies and changes in rhythm. Twilight Dance Latin Pensive ♩ 126 4/4 D Minor Two contrasting sections. Minor second harmonies common. Syncopation. Melody in bass and treble. Melody in octaves. Prolonging of tension in one key centre (first eight bars are in D minor). Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 342 Big Band Swing Swagger Strutting 4/4 A Minor Walking bass. Two contrasting sections. ♩ 144 Embellished melody notes. Syncopation. Simple harmony. Big band sound. A Minor Incident Character Sophisticated 4/4 ♩ 132 F# Minor Two contrasting sections. Bass pattern (1-3-5). Melody played up an octave. Syncopation. Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 343 Variations of melody . Little Lullaby Lyrical Gently 3/4 F Major rocking 1-5-6-5 quaver bass pattern with variations. Simple melody with variations. ♩100 Two contrasting sections. Many major 7th, 9th. Pedal F. Ternary form. Tonic and Subdominant harmony. Upside Latin Cheerful ♩ 152 4/4 C Major Ternary form but with variations of melody in both sections. Melody taken by the left hand when Section A is Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 344 repeated. Melody repeated up an octave. Simple chord harmonies. Syncopation https://www.youtube.com/watch?v=7bLWw40E9xw (Student performance) BOOK Fantasy Bossa 7 Latin Warmly ♩ 126 4/4 F Major One musical idea throughout varied through rhythmic block chords and variations of melody and harmonies underpinning the main musical idea. Syncopation. Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 345 Bossa nova bass - dotted crotchet, dotted crotchet and crotchet underpins much of the melody. Block chords. Change in time signature. Harmonic changes mostly chord one, four and five. Subtle use of chord six. Frequent use of major 13th chords. Embellished melody. Melody is repeated 8va. A wide range of dynamics from pp to f with crescendo and diminuendo. Octave notes at the end played staccato. Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 346 Use of melodic echo often in a lower octave. Slurs important. Lots of block chords. Melody uses a lot of arpeggio shapes. https://www.youtube.com/watch?v=XhrTI5fHRv8 Nefertiti Blues Character Spirited ♩ 132 4/4 No key signature Ends in C Major Uses C Blues Scale. The feel of a 12 bar blues but with more bars and variations. Improvisational style. The first section is melody over staccato chords. Simple harmony - Inverted chords (1, 4 and 5). Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 347 Variation through different bass pattern from bar 17 on. (1-3-5) Embellished melody notes. Syncopation. Light staccato left-hand chords. https://www.youtube.com/watch?v=nEX-RN9U10M Alone in Autumn Lyrical Wistfully ♩ 104 4/4 C Minor Ballad. Lyrical flowing bass. Minor second harmonies. Mordents. Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 348 Octave harmonies. Jazz influence. 9th Chord ending. Ternary form. Significant variation in melody and rhythm in the main section. Syncopation. https://www.youtube.com/watch?v=2RNUvMjr-gY On a Swing Character Jazz Waltz, 3/4 easy swing ♩ 116 C Major Syncopation. Music does not begin with the tonic. Descending bass. Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 349 Jazz waltz bass. Strong triplet feel to melody. Melody echoed in bass. Beat displacement. Two main melodic sections with much variation and shifts in tonality. Hanging Gardens Latin Languid ♩ 126 4/4 E Major Lyrical ballad style. Legato melody with accents. Chord accompaniment. Jazz chords. Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 350 Bass echoes melody. Two contrasting sections. First section melodic, second rhythmical. Syncopation. https://www.youtube.com/watch?v=jzMO1OutSCM Southern Serenade Character Tenderly ♩ 84 4/4 Bb Major Strong jazz flavour . Bass patterns including 1-5-6-5. Chord accompaniment. Lyrical melody. Two contrasting sections. Chords include 7ths, 9ths, and altered chords. Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 351 Chords shift from minor to parallel major (B9) Inverted chords. Jazz fills and ending. Syncopation. Streetwise Swing Struttin' ♩ 152 4/4 C Major Boogie feel. 12 bar blues influence. Two significant shifts in key signature. Two contrasting sections. Syncopated. Bass pattern 1-3-5 in syncopated. Section B has rhythmic chords as accompaniment. Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 352 Desolate Lyrical Sadly 4/4 D Minor Does not start in the tonic. G Dorian. ♩ 108 Section A repeats 8 bar melody in the left-hand. Two contrasting sections. Syncopation. Jazz chords. Bass patterns. Chord accompaniment in places. Flowing quaver bass in other places. Open 5th ending. Picking Up the Character Relentless 4/4 C Major The strong rhythmical riff in left-hand moves from C to Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 353 Pace D to E to D in the bass. Presents in inverted positions ♩ 144 and root position throughout the music. Syncopation. Two contrasting sections. Simple harmonies. Small range of notes. Pentatonic influence. Ringing Changes Character Like carillon ♩ 132 a 5/8 many C Major changes in Frequent shifts in time signature and dynamic. Chord based. time Many open fifths in bass. Repetitive lyrical melody in Section A. Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 354 Section B is harmonised with stronger rhythm. Two contrasting sections. Melody is repeated up an octave. Sixth chords prominent also7ths, 11ths. Harmony shifting constantly (C,D,Eb,Bb,C) Bell like sound. https://www.youtube.com/watch?v=L7tSkkfzKAE The Band Strikes Up Swing Brash ♩ 172 4/4 G Major 1-3-5-6 Bass. Chords. Jazz ending similar to Big Band Swagger - many similarities to Big Band Swagger. Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 355 Dominant 7th chords prominent. Inverted chords. Syncopation. 12 Bar blues influence. Two contrasting sections. Ternary form. https://www.youtube.com/watch?v=mVxRP29LWX8 (Adult performance) On the Alert Character Funky ♩ 88 4/4 C# Minor Blues influence. Ternary form. Uses most of the left-hand side of the piano (Lots of Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 356 low notes). Highly embellished melody. Lots of articulation. Syncopation. Simple bass patterns. Soft-edged Lyrical Rocking ♩ 88 3/4 F Major Very similar to Little Lullaby. Prolonging of tension before returning to the tonic. Bass patterns. Scale pattern in Section B (Eb Lydian). Ternary form. Simple harmony F6 - Gmin9 - Am7. Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 357 Ascending and descending bass lines. Melody is played by left-hand. Stormy Character Unsettled 7/8 many E Minor 100 changes in Frequent shift in time signature. Sudden shifts in tonality (E minor to F scale over Bb7 time chord inverted). Repetitive bass patterns. Syncopation. Descriptive piece. Slurs shape melody (Sets of three slurred notes in semiquaver groupings). A Cool Night Latin Brooding 4/4 Three flats, Bass patterns (Latin influenced). Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 358 but sounds ♩ 112 Rhythmic chords. like F Minor Syncopation. Aeolian Mode Aeolian mode (F minor natural). A very loose form of ternary form. There are a lot of rhythmical and harmonic variations. Chords include 7ths, 9th,s 11ths. https://www.youtube.com/watch?v=xq6CJYJ5clo (Student performance) At the Rodeo Character Spirited ♩ 120 4/4 D Major Simple harmony. Bass pattern galloping throughout. Octave bass quavers. Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 359 Highly embellished melody. Blues influenced. Ternary form with much melodic variation. Pentatonic influence. Wound Up Latin Nervous ♩ 132 4/4 G Minor Melody passes between hands. Motifs based on interval of a sixth. Two contrasting sections. Dissonance. Staccato. Displacement of beat. Syncopation. Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 360 https://www.youtube.com/watch?v=hE6P3gqfLMY Early Morning Character Workout Pumpin' 4/4 E Major 12 bar blues . Blues bass patterns (1/5 - 1/6 - 1/7b - 1/6). ♩ 132 Simple harmony. One main melody with variations. Melody played up an octave. Syncopation. Turn around sections between repetitions. https://www.youtube.com/watch?v=UIH2eZfbuZo (Adult performance) Sax Tune Latin Easygoing 4/4 F Major Similar to Fantasy Bossa. Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 361 Delaying of return to tonic. ♩ 112 Jazz chords. Rhythmic chords. Ternary form. Syncopation. https://www.youtube.com/watch?v=ITQRkBItRyE (Adult performance) Water Lilies Lyrical Drifting ♩ 96 4/4 C Major Two contrasting sections. Descriptive piece. Left-hand takes the melody at times. Wide range of piano is used. Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 362 Jazz chords. Piled up fifths and compound chords. Syncopation. Mostly simple harmonic progressions (with a few exceptions). Harmonies in thirds. Chords. Scale passages link to next section. Book 8 Hot Day Swing Jaunty ♩ 152 4/4 C Major Stride Bass. Jazz/Rag influence. Ternary form. Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 363 Syncopation. Two contrasting sections. Pentatonic influence. Arpeggio shaped melody in places. https://www.youtube.com/watch?v=WlKFuwE9lYU (Student performance) Last September Lyrical Serene ♩ 104 4/4 Db Major Jazz chords (major sevenths, ninths, etc.) . Lyrical bass pattern. Two bar repetitions of bass pattern. Syncopation. Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 364 Ternary form. Lyrical quality. Left-hand plays the melody too. https://www.youtube.com/watch?v=yhGZGn01Vh4 (Student performance) New England Dawn Character Still ♩ 84 4/4 C Major Large intervals in right-hand. Section A is seven bars long (unusual for Norton). Melody swaps between the hands. Jazz chords, often inverted. Section A melody is inverted the second time it presents. Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 365 Melody played in octaves. Section A and B are blended in the second playing of A Section. Two contrasting sections with an overlap of ideas. Fifths in bass. Bass patterns. Chords build a bridge between sections. (1-5-8-9) bass pattern . Descending bass pattern. In Spain Latin Enigmatic ♩ 116 4/4 A Minor Latin bass pattern interspersed with chords. Crotchet triplet rhythms in melody. Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 366 Staccato in bass. Move from A minor to parallel major (A major). Ternary form. Syncopation. Melody notes sourced from arpeggio. Prominent tonic to subdominant harmony. Lyrical melody. Texas Line Dance Character Exuberant ♩ 176 4/4 G Major Stride bass. Changes in tempo. Blues notes. Scalic passages. Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 367 Ternary form. Simple harmony. https://www.youtube.com/watch?v=ldyEYMgc6AU (Student performance) Cuban Romance Latin Like a Bolero ♩ 88 4/4 G Major Bolero style. Modal? Latin influence in rhythms. Pedal notes. Ternary form. Complex harmony (modal sound). Large chords accompany strong melodic line. Syncopation. Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 368 Melody is derived from arpeggio. Rhythmic chords. https://www.youtube.com/watch?v=hZQfUFneYBM (Adult performance) Celtic Lament Lyrical Moving ♪ 132 6/8 E minor Celtic piece. Melody is shared between the hands. Major second harmonies. Interesting shifts in harmony. Scale passage links melody. Bass patterns. Ornamentation. Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 369 (Modal sounding - Aeolian). Two contrasting sections. Melodic variation. Melody in octaves. Descending bass. https://www.youtube.com/watch?v=wwziZYqeFc0 Veiled in Mystery Character Swirling ♩ 120 6/4 G Major/E minor Melody based on descending G major scale. Repetitive melodic ideas. Melody repeated in bass. Mostly crotchet, quaver and semiquaver rhythms in both hands. A sense of displacement. Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 370 Top of the Class Character Determined 4/4 D Minor Repetitive bass pattern (1,1,5,1) and (1,1,8,1). Parallel minor and majors. ♩ 138 Dorian mode in places. Two contrasting sections - Rhythmic chords then melody. Grand March Character Strict precise ♩ 100 and 2/4 C Major A "March" style piece written without traditional march-like features apart from the 2/4-time signature and march-like rhythms that appear from time to time. Stride bass. Open fifths. Melody with variations. Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 371 Scale passage toward ending. Frequently moving harmonic progressions. Out on the Character Prairie Vigorous 4/4 A Major Harmonic and rhythmical patterns. Shift from A major to F major. ♩ 132 Two distinct melodic sections. Scale passage in the middle of the music. (Modal) Melody repeated up an octave. Syncopation. Too Sad for Words Lyrical Introspective ♩ 120 4/4 D Minor Melody influenced by ninth chord harmony. Melody begins in two bass clefs. Accompaniment involves chords and bass patterns. Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 372 Large harmonic movement away from D minor at times. Syncopation. Jane's Song Lyrical Wistful 4/4 E Major Bass patterns (1,5,8,9,10) Strongly lyrical - songlike. ♩ 112 Key shift from E major to E minor (parallel minor). Harmonies of sixths. Ternary form. https://www.youtube.com/watch?v=YYnjQ1PtN9g At Peace Swing Thoughtful 3/4 C Major Ternary form. Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 373 Melody played up an octave ♩ 96 Frequent use of triplets in melody. Jazz style, frequently moving harmonies. Syncopation. Mambo Queen Latin Driving ♩ 144 4/4 C Major Latin rhythms. Bass patterns. Syncopation Melody embellished. Ternary form. https://www.youtube.com/watch?v=mercdu8HD00 (Student performance) Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 374 Perpetuo Character Insistent 4/4 G Major/E Restless insistent quaver rhythms overlaid with Minor ♩ 176 Modal crotchet bass patterns often using the first, fifth and eight notes in the scale. Syncopation Chord based melody at times Harmonic variation. https://www.youtube.com/watch?v=V3a3SfCj65U (Student performance) Hot Breakfast Character With zip ♩ 200 4/4 D Major Ragtime style. Stride bass. Two contrasted melodies. Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 375 Wide range of piano used. Syncopation. https://www.youtube.com/watch?v=tpP0CGdGjT4 (Student performance) Waltz for Elaine Character Serious ♩ 80 3/4 E Minor Strong waltz feel. Contrasting rhythm in different melodic sections. Jazz harmony. Arpeggios used in bass for accompaniment. A starting similar to Gymnopedies. Very quiet dynamic (ppp at end) . https://www.youtube.com/watch?v=MCiKTAcVdgc Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 376 (Student performance) Cause for Swing Rejoicing With flair 4/4 F Major Jazz harmonies. ♩ 126 swing Swing melody. eighths Bass patterns. Syncopation. Melody in octaves. Two contrasting sections. Latin Lament Latin Somber ♩ 132 4/4 D Dorian Strongly rhythmical. Simple melodic motif that inverts. Left-hand takes the melody. Two contrasting sections. Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 377 Jazz harmony, in particular, major sevenths and ninth chords. Melody repeated in different registers. Syncopation. Bass patterns. Open fifths. https://www.youtube.com/watch?v=wwziZYqeFc0 Infinitely Regretful Lyrical Restless 64 3/2 C Minor Use of blue notes. Bass pattern (1,5,8,5,9,5). Intervals of thirds and fourths common in the melody. Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 378 The melody repeats up an octave. Syncopation. Two contrasting melodies. A variety of bass rhythms including chords. Open fifths stacked fourths. Country Sentimental Character Soulfully ♩ 90 4/4 C Major Relaxed country feel. Bass patterns (1,5,8,10,12). Embellished melody. Gentle syncopation. Open fifths in bass ascending and descending. Quiet mood. Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 379 https://www.youtube.com/watch?v=De73c7OMZzA Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 380 Appendix 20 - A List of Christopher Norton Publications Product Code 9790060081033 M060081064 M060123054 M051467686 M060123047 M060062605 M060113628 M060115424 M060116674 M060120503 M060116698 M060116704 9790060119897 9790060119873 9790060118784 M060113031 M060077586 9790060119880 M060126260 M060097430 M060097423 M060113048 Title 20th Century Classics vol.1 for Piano Solo 20th-Century Classics vol.2 for Piano Solo A Blue Christmas - SAATB Agnus Dei SATB & organ Angels & Shepherds - SSATBB & Piano Candles and Crowns SATB & piano Celtic Melt (Big Beats series) Book & CD Christopher Norton Concert Collection (Bk & CD) Christopher Norton Concert Collection 2 (Book & CD) Christopher Norton Concert Collection For Cello Christopher Norton Concert Collection for Clarinet (Book & CD) Christopher Norton Concert Collection For Flute (Book & CD) Christopher Norton Concert Collection For Trumpet (Book & CD) Christopher Norton Concert Collection For Violin (Book & CD) Christopher Norton's Guide To Microjazz (Book & CD) Chunky Phunky (Big Beats series) Book & CD Cocktail Lounge (Piano) Concert Collection For Alto Saxophone Concert Collection for Tenor Saxophone Concertino For Trumpet & Piano Concertino For Trumpet Strings & Piano Country Comfort (Big Beats series) Book & CD Publisher Boosey & Hawkes Boosey & Hawkes Boosey & Hawkes Boosey & Hawkes Boosey & Hawkes Boosey & Hawkes Boosey & Hawkes Boosey & Hawkes Boosey & Hawkes Boosey & Hawkes Boosey & Hawkes Boosey & Hawkes Boosey & Hawkes Boosey & Hawkes Boosey & Hawkes Boosey & Hawkes Boosey & Hawkes Boosey & Hawkes Boosey & Hawkes Boosey & Hawkes Boosey & Hawkes Boosey & Hawkes Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 381 M060104886 M060117497 M060105326 M060115943 M060085680 M060103896 M060097720 M060095375 M060090004 M060112287 M060110184 M060085673 M060085666 M060085659 M060079368 9790060122545 M060117725 M060828676 M060107665 M060097775 M060116261 9790060119149 M060103186 M060122767 M060110559 M060110566 M060110269 M060111136 M060123849 Country Preludes (Christopher Norton Piano Preludes series) Country Preludes Collection (Book & CD) (Christopher Norton Piano Preludes series) Diversions for violin and piano Easiest Way to Improvise (Bk & CD) Ensemble Microjazz 1 Essential Guide To Latin Styles For Keyboard Essential Guide To Pop Styles (German edition) Essential Guide To Pop Styles for Keyboard Final Frontier piano Four Pieces from Microjazz (Flexensemble series) Guitar From Scratch (Book & CD) Improvise Microjazz Alto Sax Improvise Microjazz Clarinet Improvise Microjazz Flute Improvise Microjazz Piano In the need of prayer - SATB (Concerts for Choirs) Jazz Preludes Collection (Book & CD) (Christopher Norton Piano Preludes series) Jazz Quartet for Brass Ensemble Keyboards From Scratch (Book & CD) Latin Duets for Piano Latin Preludes Collection (Book & CD) (Christopher Norton Piano Preludes series) Little Cradle Rocks (Upper Voices/Piano) (Book & CD) Lost In Cyberspace piano Microballads Microjazz Alto Saxophone Collection 1 Microjazz Alto Saxophone Collection 2 Microjazz Cello Collection 1 Microjazz Cello Collection 2 Microjazz Christmas Collection: Beginner-Intermediate Boosey & Hawkes Boosey & Hawkes Boosey & Hawkes Boosey & Hawkes Boosey & Hawkes Boosey & Hawkes Boosey & Hawkes Boosey & Hawkes Boosey & Hawkes Boosey & Hawkes Boosey & Hawkes Boosey & Hawkes Boosey & Hawkes Boosey & Hawkes Boosey & Hawkes Boosey & Hawkes Boosey & Hawkes Boosey & Hawkes Boosey & Hawkes Boosey & Hawkes Boosey & Hawkes Boosey & Hawkes Boosey & Hawkes Boosey & Hawkes Boosey & Hawkes Boosey & Hawkes Boosey & Hawkes Boosey & Hawkes Boosey & Hawkes Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 382 M060124280 M060109096 M060110610 M060091902 M060122514 M060122521 M060122538 M060106804 M060106811 M060106828 M060109089 M060110603 M060091896 M060122569 M060085642 M060122576 M060071102 M060085628 6580 M050059226 M060087882 M060091933 M060091926 M060127618 M060079436 M060079504 M060079177 M060082573 M060085635 Microjazz Christmas Collection: Intermediate-Advanced Microjazz Clarinet Collection 1 Microjazz Clarinet Collection 2 Microjazz Clarinet Duets Microjazz Collection 1 for Piano: Book & CD Microjazz Collection 2 for Piano: Book & CD Microjazz Collection 3 for Piano: Book & CD Microjazz Duets Collection 1 (Piano) Microjazz Duets Collection 2 (Piano) Microjazz Duets Collection 3 (Piano) Microjazz Flute Collection 1 Microjazz Flute Collection 2 Microjazz Flute Duets Microjazz for Absolute Beginners: New edition Microjazz for Bassoon Microjazz For Beginners (Repackaged Book & CD) Microjazz for Clarinet Cl/Piano Microjazz for Double Bass Microjazz For Ensemble vol.3 (Score & Parts) Microjazz For Ensemble vol.4 Microjazz For Guitar Duet Book 1 Microjazz For Guitar Duet Book 2 Microjazz For Guitar Solo Book 2 Microjazz for Mandolin (Book & CD) Microjazz for Oboe Microjazz for Recorder Microjazz for Recorder Group Full Score & Parts Microjazz for Starters - Viola and Piano Microjazz for Tenor Saxophone Boosey & Hawkes Boosey & Hawkes Boosey & Hawkes Boosey & Hawkes Boosey & Hawkes Boosey & Hawkes Boosey & Hawkes Boosey & Hawkes Boosey & Hawkes Boosey & Hawkes Boosey & Hawkes Boosey & Hawkes Boosey & Hawkes Boosey & Hawkes Boosey & Hawkes Boosey & Hawkes Boosey & Hawkes Boosey & Hawkes Boosey & Hawkes Boosey & Hawkes Boosey & Hawkes Boosey & Hawkes Boosey & Hawkes Boosey & Hawkes Boosey & Hawkes Boosey & Hawkes Boosey & Hawkes Boosey & Hawkes Boosey & Hawkes Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 383 M060084607 M060095870 M060082436 M060091919 M060110597 M060110245 M060111129 M060119651 M060128622 M060127861 M060127878 M060128615 M060129544 M060127724 9790060120596 9790060115790 M060120497 M060102554 M060114250 M060114533 M060114540 M060114083 M060114076 M060114090 M060114526 9790051105526 BH12340 M060097768 M060116384 Microjazz for Trombone (bass clef) Microjazz for Trumpet 2 (& Piano) Microjazz For Viola Microjazz Saxophone Duets Microjazz Trios Collection Piano 6hds Microjazz Violin Collection 1 Microjazz Violin Collection 2 MicroLatin (Book & CD) Micromusicals: A Christmas Carol (+ CD) Micromusicals: Queen Nut (+ CD) Micromusicals: Romeo & Juliet (+ CD) Micromusicals: The Highwayman (+ CD) Micromusicals: The Little Mermaid (+ CD) Micromusicals: The Vikings (+ CD) Microrock (Book & CD) Microstyles Collection (Book & CD) MicroSwing (Book & CD) More Microjazz 1 3. 5in Smf Pack Quintet for four violins & piano R&B Ripple Alto-Sax (Big Beats series) Book & CD R&B Ripple Cello (Big Beats series) Book & CD R&B Ripple for Clarinet (Big Beats series) Book & CD R&B Ripple for Flute (Big Beats series) Book & CD R&B Ripple for Violin (Big Beats series) Book & CD R&B Ripple Trumpet (Big Beats series) Book & CD Riffs & Grooves (Book & CD) Rock & Pop Piano Basics (Bk & CD) Rock Duets (Piano Duet) Rock Preludes Collection (Bk & CD) (Christopher Norton Piano Preludes series) Boosey & Hawkes Boosey & Hawkes Boosey & Hawkes Boosey & Hawkes Boosey & Hawkes Boosey & Hawkes Boosey & Hawkes Boosey & Hawkes Boosey & Hawkes Boosey & Hawkes Boosey & Hawkes Boosey & Hawkes Boosey & Hawkes Boosey & Hawkes Boosey & Hawkes Boosey & Hawkes Boosey & Hawkes Boosey & Hawkes Boosey & Hawkes Boosey & Hawkes Boosey & Hawkes Boosey & Hawkes Boosey & Hawkes Boosey & Hawkes Boosey & Hawkes Boosey & Hawkes Boosey & Hawkes Boosey & Hawkes Boosey & Hawkes Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 384 M060115912 M060114564 M060114571 M060114052 M060114045 M060113468 M060114557 M060114069 M060105265 M060079283 M060114502 M060114519 M060113970 M060113963 M060114496 M060113987 M060122996 M060097300 M060109102 M060110627 M060113086 M060091889 Silver Screen Wind Quartets Sc/Pt Smooth Groove Alto Sax (Big Beats series) Book & CD Smooth Groove Cello (Big Beats series) Book & CD Smooth Groove Clarinet (Big Beats series) Book & CD Smooth Groove Flute (Big Beats series) Book & CD Smooth Groove Piano (Big Beats series) Book & CD Smooth Groove Trumpet (Big Beats series) Book & CD Smooth Groove Violin (Big Beats series) Book & CD Sonatina Flute & Piano Stepping Out Oboe & Piano (Easy Music Series) Techno Treat Alto Sax (Big Beats series) Book & CD Techno Treat Cello (Big Beats series) Book & CD Techno Treat Clarinet (Big Beats series) Book & CD Techno Treat Flute (Big Beats series) Book & CD Techno Treat Trumpet (Big Beats series) Book & CD Techno Treat Violin (Big Beats series) Book & CD The Earthly Choir - SSAATTBB & Piano The Hymn Makers 1 SATB & organ The Microjazz Trumpet Collection 1 The Microjazz Trumpet Collection 2 Write Songs from Scratch (Book & CD) Yankee Doodles-Improvis. On Folktunes Connections For Piano Grades 1-5 Connections For Piano Activities 7 Connections For Piano Activities 8 Connections For Piano Repertoire 7 Boosey & Hawkes Boosey & Hawkes Boosey & Hawkes Boosey & Hawkes Boosey & Hawkes Boosey & Hawkes Boosey & Hawkes Boosey & Hawkes Boosey & Hawkes Boosey & Hawkes Boosey & Hawkes Boosey & Hawkes Boosey & Hawkes Boosey & Hawkes Boosey & Hawkes Boosey & Hawkes Boosey & Hawkes Boosey & Hawkes Boosey & Hawkes Boosey & Hawkes Boosey & Hawkes Boosey & Hawkes Frederick Harris Music Frederick Harris Music Frederick Harris Music Frederick Harris Music Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 385 CNR08 Connections For Piano Repertoire 8 CNR05 HL00641864 HL00641865 Connections for Piano: Repertoire 5 Harmonica Power! vol.1: Norton Buffalo's Bag of Tricks DVD Harmonica Power! vol.2: Norton Buffalo's Blues Techniques DVD Studio Microjazz vol.3 (cassette) My Melancholy Baby Favourite Gospels (SSA) American Popular Piano Christmas Level 1 American Popular Piano Christmas Level 2 American Popular Piano Christmas Level 3 American Popular Piano Christmas Level 4 American Popular Piano Christmas Level 5 American Popular Piano Christmas preparatory American Popular Piano: Level 01 Etudes American Popular Piano: Level 01 Repertoire (Book & CD) American Popular Piano: Level 01 Skills American Popular Piano: Level 01 Technic American Popular Piano: Level 02 Etudes American Popular Piano: Level 02 Repertoire (Book & CD) American Popular Piano: Level 02 Skills American Popular Piano: Level 02 Technic American Popular Piano: Level 03 Etudes American Popular Piano: Level 03 Repertoire (Book & CD) American Popular Piano: Level 03 Skills American Popular Piano: Level 03 Technic American Popular Piano: Level 04 Etudes American Popular Piano: Level 04 Repertoire (Book & CD) MV00002539 NOV170379 APPX-01 APPX-02 NVM48 NVM49 NVM50 APPX-00 NVM13 NVM2 NVM24 NVM35 NVM14 NVM3 NVM25 NVM36 NVM15 NVM4 NVM26 NVM37 NVM16 NVM5 Frederick Harris Music Frederick Harris Music Homespun Homespun Minim Products Music Vault Novello Novus Via Music Novus Via Music Novus Via Music Novus Via Music Novus Via Music Novus Via Music Novus Via Music Novus Via Music Novus Via Music Novus Via Music Novus Via Music Novus Via Music Novus Via Music Novus Via Music Novus Via Music Novus Via Music Novus Via Music Novus Via Music Novus Via Music Novus Via Music Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 386 NVM27 NVM38 NVM17 NVM6 NVM28 NVM39 NVM18 NVM7 NVM29 NVM40 NVM19 NVM8 NVM30 NVM41 NVM20 NVM9 NVM31 NVM42 NVM21 NVM10 NVM32 NVM43 NVM22 NVM11 NVM33 NVM44 NVM12 NVM23 NVM34 American Popular Piano: Level 04 Skills American Popular Piano: Level 04 Technic American Popular Piano: Level 05 Etudes American Popular Piano: Level 05 Repertoire (Book & CD) American Popular Piano: Level 05 Skills American Popular Piano: Level 05 Technic American Popular Piano: Level 06 Etudes American Popular Piano: Level 06 Repertoire (Book & CD) American Popular Piano: Level 06 Skills American Popular Piano: Level 06 Technic American Popular Piano: Level 07 Etudes American Popular Piano: Level 07 Repertoire (Book & CD) American Popular Piano: Level 07 Skills American Popular Piano: Level 07 Technic American Popular Piano: Level 08 Etudes American Popular Piano: Level 08 Repertoire (Book & CD) American Popular Piano: Level 08 Skills American Popular Piano: Level 08 Technic American Popular Piano: Level 09 Etudes American Popular Piano: Level 09 Repertoire (Book & CD) American Popular Piano: Level 09 Skills American Popular Piano: Level 09 Technic American Popular Piano: Level 10 Etudes American Popular Piano: Level 10 Repertoire (Bk & CD) American Popular Piano: Level 10 Skills American Popular Piano: Level 10 Technic American Popular Piano: Preparatory Level Etudes American Popular Piano: Preparatory Level Skills American Popular Piano: Preparatory Level Technic Novus Via Music Novus Via Music Novus Via Music Novus Via Music Novus Via Music Novus Via Music Novus Via Music Novus Via Music Novus Via Music Novus Via Music Novus Via Music Novus Via Music Novus Via Music Novus Via Music Novus Via Music Novus Via Music Novus Via Music Novus Via Music Novus Via Music Novus Via Music Novus Via Music Novus Via Music Novus Via Music Novus Via Music Novus Via Music Novus Via Music Novus Via Music Novus Via Music Novus Via Music Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 387 NVM1 UE17615 UE17314 UE17614 American Popular Piano: Preparatory Repertoire (Book & CD) Any Time's Kissing Time - Golden Standards Americana For Pianna 1 Americana For Pianna 2 Americana For Pianna 4 Americana For Pianna 5 Americana For Pianna 6 Carol Jazz Christmas Carols Piano Duet Sing n' Swing (2-Pt Optional Percussion) Novus Via Music Prowse Keith Sawmill Sawmill Sawmill Sawmill Sawmill Universal Edition Universal Edition Universal Edition Anna Cannon 3998919 MUSI 490 Dissertation Appendix -The Christopher Norton Effect: How Popular Music Influences his Piano Repertoire - Lecturer Dr Anthony Ritchie. 388 Appendix 21 Questions to Norton about Mellers and Blake 31 May 2015 Hi Chris I am making steady progress through my dissertation. I have done some research on Mellers and Blake. I found Mellers, in particular, to be a very interesting man. I have in my notes and interview with you a few comments about the influence of these two lecturers and composers on your life, but I wondered if you could give some thought to how they influenced you as a person and secondly whether they did influence your compositional style (and how that might be explained). Christopher Norton's reply Wilfrid Mellers was my supervisor for the first 2 years of my time in York, then he retired and I switched to David Blake. WM was amazing in that he understood composers can come from any background and he was willing to be positive about what there was to be positive about, whatever the style. I wrote a large stage musical, Daniel, that he was very complimentary about and another musical, The Song of Roland, was staged at the university and was also very well received. I was starting to write Microjazz and generally delve into pop styles during my time at York and once WM had retired my interests were at variance with what was expected for a D.Phil folio (hence the M.Phil) DB was a great fan of Berg and asked me to analyse Berg's Three Orchestral Pieces while I was writing Intercity Stomp. His input was really irrelevant to the direction I was heading in. At my Anna Cannon 3998919 - MUSI 490 - Dissertation - Lecturer Dr Anthony Ritchie 389 viva, somebody said that I would do as well as anyone who had come through the department, but what was I doing there in the first place (ie not just going into commercial music)? Anna Cannon 3998919 - MUSI 490 - Dissertation - Lecturer Dr Anthony Ritchie