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About Time Out
3
Blue Ron do A La Turk
3 Strange Meadow Lark
Take F ive
6 1
hree
T o G e t R ea dy
3
Kathy's Waltz
37 Eberybody's Jum pin'
44
Pick U p Sticks
49 1 Notes On Performance Time Fur ther Out
5 It's A Raggy Waltz
6 Bluette
66 Charles Matthew Hallelujah
7
Far M ore Blue
76 Maori Blues
8 Unsquare Dance
85
Bru's Boogie Woogie
9 Blue Shadows In Th e Street
96 Brubeck Ab out Brubeck
Copyright
962
by DERRY MUSIC
CO
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BOUT TlME OUT
Should some cool-minded Martian come t o earth and check on the state of our music, he m ight play
through 10,000 jazz records before he found one that wasn't i n common 4/4 time.
Considering the emancipation of jazz i n other ways, this is a sobering tho ugh t.. and an astonishing
one. The New Orleans pioneers soon broke free of the tyranny imposed by the easy brass key of B-flat. Men
like Coleman Hawkins brought a new chromaticism to jazz. Bird, Diz and Monk broadened its harmonic
horizon. Duke Ellington gave
it
structure, and a wide palette of colors. Yet rhythmically, jazz has not pro-
gressed. Born within earshot of the street parade, and with the stirring songs of the Civil War still echoing
throu gh the South, jazz m usic was bounded by the left-right, left-r ight of ma rching feet.
Dave Brubeck, pioneer already i n so many other fields, is really the firs t to explore the uncharted seas
of compound time. True, some musicians before h im experimented with jazz in waltz time, notably Benny
Carter and Max Roach. But Dave has gone further, finding still more exotic time signatures, and even laying
one rhythm in counterpoint over another.
The outcome of his experiments is this album. Basically
it
shows the blending of three cultures: the
formalism of classical Western music, the freedom of jazz improvisation, and the often complex pulse of
African folk music. Brubeck even uses, in the first number, a Turkish folk rhythm.
BLUE RONDO A LA TURK plunges straight in to the most jazz-remote time signature, 9/8, grouped
not in the usual form (3-3-3) bu t 2-2-2-3. When the gusty open ing section gives way to a m ore fam iliar jazz
beat, the three eighth-notes have become equivalent to one quarter-note. Later on, the alternate double bars
of 9/8 and 4/4 serve to re-introduce the returning theme. The whole piece is in classical
rondo
form.
STRANGE MEADOW LARK opens with a long rubato passage introduc ing the m ain theme freely. The
tempo settles down into a steady beat for the two improvisations bu ilt around it, and then the m ain theme
returns once again in free
rubato
style.
TAKE FIVE
is a Paul Desmond composition in 5/4, one of the most defiant time-signatures in a ll
music, for performer and listener alike. The entire piece is built on a one-measure two-chord
ostinato
pat-
tern, and, contrary to any normal expectation perhaps even the composer's t really swings.
THR EE TO GET READY
promises, at first hearing, to be a simple, Haydn-esque waltz them e in C major.
But before long
it
begins to vacil late between 3 /4 and 4/4 time, and the pattern becomes clear: two bars of
3, fol lowed by two bars of 4 . . .a me trical scheme which suits Dave Brubeck down to the ground.
KATHY S WALTZ (dedicated to Dave's l i tt le daughter) starts i n a swing 4, only later breaking in to quick
waltz time. In the third improvisation, the right hand plays in 6 /8 as opposed to the left hand's 3 /4, and the
cross-rhythms and accents so produced form a tim e experiment of great complexity. With the return of the
Theme, however, the music settles down into a simple 3/4 once more, and ends quietly.
EVERYBODY S JUM PIN
opens without any precise feeling of key and with a vague impression of 6/ 4
time and a strong beat. During the three improvisations that fol low, the shifting time-signatures of 4/4, 3/ 2
and 3/4 produce a most interesting effect, as the always-steady beat moves through them to a thundering
climax.
PICK U P STICKS develops the e arlier h int of 6/4 into a positive, continuous rh ythm. As so often
occurs in Brubeck's time experiments, i t is the bass part which supplies the anchor for the musical develop-
ment. This time the bass part takes the form of a one-measure, boogie-type
passacaglia,
on which the
whole structure of this bri l l iant piece is built. Even more astonishing is the fact that throughout the entire
piece only one chord is used as basic harmonic ma teria l.. he Bb7
In short, TlME OUT is an experiment with time w hich may well come to be regarded as more than an
arrow p ointing to the future. Som ething great has been attem pted.
. .
and achieved. The very firs t
arrow
has
found its mark.
Adapted from commentary on record album c ver
b
Steve ace (Columbia CL
1937
courtesy of Columbia
Records, Inc.
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Blue
Rondo a Turk
DAVE
BRUBECK
Lively J : 26
d
~ 1 7 ~
-
5
BCopyri ht 196 1962
y Deny
Music Co.
240
Stockton Street San Francisco Calif.
ntemationa Copyright Secured
Made
in U.
S. A.
Al l Rights Reserved
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Am7 D m ~m~ Dm Am7 Dm Am7 Dm A m
n
m h I ~ > F . .
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-.-. -- .
...
I .
.
:
s t I m p r o v i s a t i o n
nd Improvisa t ion
4
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~
D~ D m A m
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Strange Meadow Lark
DAVEBRUBECK
@Copyright 1960 1962 byDe ny Music Co. 240 Stockton Str eet San Francisco Calif.
International Copyright Secured
Made in
U S
A.
All Rights Reserved
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Eb7 Gm Gm aj 7 Gs C7
C dim
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n d Imp ro v i sa t io n
Fm7
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Take
ive
P U L
D E S M O N D
oderately fast d 1 7 6
E b m
B
brn7
E b m s b m 7 ~ b m B bm7 ~ b m B bm7 ~ b m ~ b m 7
@Copyright
196 1961 y eny
Music Co.
240
Stockton Suee t San Francisco Calif.
International Copyright Secured
Made
in
U S. A.
All Rights Reserved
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E bm Bbm Eb m B bm ~ b m B bm E bm
~ b m Bbm ~ b m bm E b m B bm Ebm B bm
~ b m Bbm E bm Bbm Ebm Rbm E bm
Ebm Bbm ~ b m B bm Ebm ~ b m Ebm B bm
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E b m Bbm ~ b m E b m
B
bm
E b m s b m E bm B bm
~ b m B bm ~ b m B bm E b m
E b m B bm E b m B bm E b m B bm E b m bm
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Bb Ebrn B bm Ebm B bm E b m B bm
E b m ~ b m ~ b m Bbm ~ b m B bm E b m
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Cdim
nd
mprovisation
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rd Improvisation
m
4th I rn~rov ia t ion
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li ht
r i t rd t en d
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Kat by s
W a l t z
D VE BRUBECK
Medium
swing l = s o
J 12
st
mprovisation
Eb m a j
@Copyri ht 1960 1961 1962 by Derry Music Co. 240 Stockton Street San Francisco Calif .
International 8opFight Secured
Made in U S. A
A l l Rights Reserved
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nd Improvisa t ion
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rd Improvisa t ion
F Rb 7
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Everybody's
Jurnpin'
asy swing
J F 6
D V E
RU ECK
OCopyri ht 1960 1962 by D e n y Music Co.. 240 Stockton Street, San Francisco, Calif.
Internationa ~o~~ri~htecured Made in U S. A All Rights Reserved
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st mprovisation
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nd
Improvisation
m
G m
E b m a j F m
~
~ b m Bbm bmaj
3r d Improvisation
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Ei ther the or the ~ may be omitted, if necessary.
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ick U p S t i c k s
DAVE RURECK
The upper note of the bass pattern should be ve ry sof t .
i m
i l
The chord of
B
b i s u s e d t h r o ug h o u t .
@Copyright 1960. 1961 1962
y
e n y Music Co .. 240 Stockton Street. San Francisco Calif.
International Copyright Secured
Made
n U
S. A
A l l
Rights Reserved
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s t I m p r o v i s a t i o n
2nd I m p r o v i s a t i o n
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The temp o and dynam ic indicat ions are approximate ly those used in the recordings. The player
should feel free to vary these to suit his own preference and abil ity. The fingering indicated should be treated
as an approxima tion only and may be changed if desired. A fingerin g is bad only when
it
hinders a performer
from realizing his own interpretation. Usually there will be more than one good fingering possible.
Dave B rubeck's hands are large. He th ink s bi g chords. If the player's hands are on the sm all side, he
should feel free to omit certain notes or to rol l the chords. In several places, ind ication s have been given fo r
easier performanc e of rather wide stretches by the use of parenthesis marks aro und notes which may be
omitted.
The chord symbols have been chosen to give the simplest possible interpretation of the harmonic
structure. In many cases, the chords actu ally played almost defy analysis in anything bu t complex.terms. How-
ever, since they are all written out, there need be no problem. The performer may interpret the symbols to
suit him self in terms of the exact notes given. I n fact, he is even encouraged to attempt his own improvisa-
tion on the melodies and chords as given.
All of the compositions in
TIME FURTHER OUT
are based on the twelve bar blues. Some variations
of this for m can be observed in
UNSQUARE DANCE
and
IT S A RAGGY WALTZ.
In the first case, the form is
condensed to six bars because the metric scheme is unusual. In the waltz, a bridge of eight measures is
used to form an ABA pattern of
3
bars (12-8-12). Both are unusual, but not surp rising in the hands of Dave
Brubeck. The unusua l me ters used i n this a lbum present a real challenge. To meet th is with success brings the
performer the added delight of being freed from the restrictions of th e basic meters which have dominated
jazz from its origin to the present. For first-rate instruction in playing
these pieces, the best advice to offer is to
refer the performer to the recordings (Columbia CL 1 69 0 and CS 8490).
HOWARD BRUBECK
La Mesa, California
December, 1961
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It s aggy Waltz
Swinging waltz tempo J = ~ s o
D A V E B R U B E C K
OCopysi ht 1962 by
D
Music Co. 240 Stockton Sue et , San Francisco, Calif.
nternational opyright Secur Made in
U
S.
A A11
Rights Resaved
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D im G~
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nd
Improv i s a t i o n
c7
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rd
mprovisation
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C
dim
D
dim
cr
C
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G
dim
G
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Bluette
DAVE
BRUBECK
s l o w w l tz J i o o
OCopyright 1961 1962 by Derry Music Co.
240
Stockton Street San Francisco Calif.
International Copyright Secured
Made in
U
S. A
A l l
Rights Reserved
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st Impro visation
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n d I m p r o v i s a t i o n
~ b m ~ b m
3rd Improvisat ion
~ b m
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Charles Matthew Hallelujah
D VE
BRUBECK
right and moderately fast
J I ~ o
@Copyright 1961 1962 by Deny Music Co. 240 Stockton Street San Francisco Calif.
Interna tional Copyright Secured Made in U S. A. All Rights Reserved
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st I m ~ r o v i s a ton
nd Improvisation 5
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r d I m p r o v i s a t i o n
E b
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Far More lue
7
DAVE R U E C K
@Copyright 1961 1962
by
D e n y Music Co. 240 Stockton Street San Francisco Calif.
International Copyright Secured
Made in U S.
A
l l Rights Reserved
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s t I m p r o v i s a t i o n
b7
m7
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r d I m p r o v i s a t i o n
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D V E
BRUBECK
M e d i u m
blues
d =
1 4
Fm
3
f
m rked 1
@copyri ght 1961 1962 b Derry Music Co.
44
Stockton Stre et San Francisco Calif.
International Copyright S e c u r d Made in U S. A
All Rights Reserved
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----
s t I m p r o v i s a t i o n i
2 n d I m p r o v i s a t i o n B b
f
the player s hand
Is
s m d l 1 , t h e
lower
notr. o f tht . chords may b e o m i t t e d .
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rd Improvisation
Fm
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Unsquare Dance
D V E
RU ECK
Moderately fast
The hand clapping anddr umparts cued i n this arrangement are those used by Dave Brubeck and the Quar tet In their Columbia recording C116W-
CS 8490). They are included in case the pianist may have help from one or two friend s in performance. Without such help, the sect ion fr o m a o
may be omitted.
@C op pi ht 1961 1962 by Derry Music Co. 240 Stockton Stree t San Francisco Calif .
International 8opyright Secured
Made in U S. A.
All Rights Reserved
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8
m m
Drum
s t i c k s o s i d e
t ~ f
a r s
Drum
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D A VE B R U B E C K
c
Bru9sB o o gi e W o o g i e
@Copyright 1961 1962 Derry Music Co. 240 Stockton Street San Francisco Calif.
International Copyright Secur d
Made in U S. A.
All Rights Reserved
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st
mprovisation
sn
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(8 basso )
C7
u p
( 8 ~ aasso )
( 8 v abasso)
th Improvisat ion
basso)
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st Improvisation
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