# Piece for the week of 12/08...Mary Ekler



## Craig Sharmat (Dec 8, 2004)

This weeks piece is a piano arrangement by Mary Elker of Jobim's "One Note Samba"

http://www.scoredog.tv/One%20Note%20Samba.mp3

Mary writes on EIS

"My arrangements of those songs are so enhanced by Spud?s method. It improves every aspect of your musicianship regardless of genre; your writing, arranging and playing. As in everything in life, you get out of it what you put into it. The method itself is brilliant and a wonderful arsenal for any musician at the beginning or most advanced stages."

Included in Mary's many credits are 

Wilson Phillips
Sergio Mendes
Helen Reddy
Dee Dee Sharp 
Kiss Me a Killer - (Concorde) song: "Child of the Night" nominated for Best Soundtrack


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## lux (Dec 8, 2004)

Great piece.

Luca


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## TheoKrueger (Dec 8, 2004)

This thing has some amazing harmonies and sequences ! I can't understand how people can make so harmonically complicated stuff ( I guess i gotta EIS to find out 8) )


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## Frederick Russ (Dec 8, 2004)

TheoKrueger said:


> This thing has some amazing harmonies and sequences ! I can't understand how people can make so harmonically complicated stuff ( I guess i gotta EIS to find out 8) )



Yep 

This is an excellent example of what one pianist is utilizing EIS to her advantage - inventive and interesting with chops to match.


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## TheoKrueger (Dec 8, 2004)

I just had this thought earlier that EIS is something like what Bach did but in the contemporary way .

Bach was a master at changing keys and making smooth transposing of keys throughout his songs...sometimes like EIS he made stuff that makes you think " What the hell was that ! :shock: ". 
But back then theory and composition was more limited to the Minor/Major/Diminished sound so after a while you kinda "learn" Bach.

From what i hear from these compositions, my thought is that EIS can teach you how to create this freedom in modern music with all available scales and Non-scales too .... freedom . 

Right ? Wrong ? Just a thought


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## Craig Sharmat (Dec 8, 2004)

freedom is definitly a goal. I can't say I have totally achieved it. i certainly have more freedom than before I started with EIS. The ironic thing is that the freedom is given by following direction that at times seems initally confining. Once familar with the technique though it becomes a part of your composing vocabulary.


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## TheoKrueger (Dec 8, 2004)

Heh , my teacher used to say this year :

"You have to learn the rules in order break them" everytime we had an argument because i used to say that "Rules and theory can only limit you" he is right afterall.

The more you learn, the more freedom


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## Leandro Gardini (Dec 9, 2004)

David had already showed me this great version...but it would be interesting if you posted the original music so that people could see what Mary/EIS have made on this music!!!


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## Stephen Navoyosky (Dec 9, 2004)

*re: Mary Ekler*

From what i hear from these compositions, my thought is that EIS can teach you how to create this freedom in modern music with all available scales and Non-scales too .... freedom . 

Right ? Wrong ? Just a thought
---------------------------------------------------

It's more than that. You'll find that you can write three ways--alone or in any combination of them: Diatonic, Equal Interval, Free. 

It's when you write Free that you find yourself free, for you are free of progressions, chords, tonality, and even scales. Its a great feeling and if I can upload, I will submit one of my first applications caused by device material beyond the course and lovingly called "Book 13" and you'll experience what I did. It's horizontal composition at its best and distant from Bach methods. And you can go forever....logically.


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## CJ (Dec 11, 2004)

Holy Smokes! :o This lady can play! Great composition - EIS scores again


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## Caleb (Dec 16, 2004)

I could never play like this myself. I'm really not a good enough piano player. However, I'd love to compose/arrange something like this.  

Caleb


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## Patrick de Caumette (Dec 17, 2004)

The interesting thing here is that you have a genre that is already rich harmonically and then you can hear how the player opens up into something else after playing the head.
It is really there that I can hear something more than the modern brazilian style (I love that stuff).

Great example of an entirely different musical area that works with the EIS concept.

Craig, it makes sense to me that you don't feel yet as free as you could be, using EIS. As we both know, knowledge always has a delayed integration into instinctive playing so I would assume that it takes years to apply all of these concept to a spontaneous expression. 

It's in your belly and you're digesting...and I am feeling hungrier by the minute.... :wink:


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## charles (Dec 24, 2004)

Does EIS offer new compostional techniques, or is it a consolditation of past practices?
Thanks


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## Frederick Russ (Dec 24, 2004)

EIS is really a whole new way of looking at music. Through the lens of EIS its possible to see how ideas were derived from past composers of virtually all genres. As such its not the only way but a different way that assists the composer to compose either using equal intervals, diatonic or freeform.


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## Craig Sharmat (Dec 24, 2004)

Charles the answer is both. You will find diatonic harmony covered, but EIS 's approach is from a new perspective, so a plethora of new concepts spawn out of it.


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## charles (Dec 24, 2004)

Thanks for your replies, i will definitely have to look deeper. So Craig judging by your comment the concept enables you to think towards new concepts or gives you a basis for a philosophy of exploration.

Can you make any comparisons with other methods for eg Schoenberg or any other major composer?



thanks


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## Craig Sharmat (Dec 25, 2004)

Charles,

there are lessons which just drop you off in a place which you could explore for a lifetime. this happens over and over in the course.

For me to make comparisons of other composers systems, i would have to be intimate with those systems to be able to give a truely knowelgeble answer. I know Schoenberg's system contains serialism and is based on diatonic theory in the beginning. EIS has elements of serialism in it but the course focus'es on so many different areas that while covered nicely is not the ultimate destination. It is another grazing place. There are theory majors with PHD's and Masters degrees in harmony who have taken the course who could answer this question better than I. I'll see if I can track one down.


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## Stephen Navoyosky (Dec 25, 2004)

charles said:


> Can you make any comparisons with other methods for eg Schoenberg or any other major composer?
> 
> thanks



Charles, you pose some very good concerns. Firstly, I suggest you read over the various discussions on other EIS topics and in so doing, you'll find where I may have touched on this. In my case I have been close to the Schillinger System and can attest to its contribution. I've just had a little time on the Schoenberg method as well as several others. 
Spud has been accused of 'taking' the Schillinger and Shoenberg, and a couple of others methods and calling it his own. This not true. One may see similarities but the approach is quite unique and comprehensive. Shoenberg as I saw it, was based on rules. Murphy is based more on 'awareness' to me as once you know the theories you write this way naturally...more in an unconfined way. I have taught Schillinger since 1978. The more I wrote in Spud's ways, the more I found myself geting away from Schillinger [/u] Today, my mind process focuses on the EIS as it gives me far more latitude than Schillinger did. I am free to write without interruption. I write faster and accurately and know it will work without trial and error. For example, several years ago, Spud and I were in a phone conversation, and I just finished a 17 pc. jazz band chart of 22 pages in one day (all ensemble), and Spud just replied "hmmm". Well, I took him literally when his first stated rule was:"Write like Mad"
Do I do this aways? Of course not, but I attribute that feat to his course materials for I never did that much before, nor afterwards. 
Even my hangover composition students of the Schillinger system receive the materials of Murphy, and slowly are shifting over as they can see the benefits.
I hope this helps you in some way to make a decision. Please do nt construe my comments to mean I believe the other methods are inadequate. It's just I believe the Murphy System to be the most favorable.


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## Frederick Russ (Dec 25, 2004)

Great response Stephen. I value your contributions as a great way to compare different approaches given your obvious background. I hope to have yours with other opinions from EIS Graduates to grace the forum in the future. 

All in all I see it as a fabulous way for interested composers to learn about the system and thus allow EIS to live on as an ongoing legacy for many generations to come. Spud's method seems way ahead of his time and coupled with today's orchestral sampling technology I'm really looking forward to the next year of new compositions from both EIS Students and EIS Graduates. It's going to be an interesting ride.


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## charles (Dec 25, 2004)

Thanks, will keep and eye and a ear out for what happens around the forum


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## Stephen Navoyosky (Dec 25, 2004)

Frederick said:


> Great response Stephen. I value your contributions as a great way to compare different approaches given your obvious background. I hope to have yours with other opinions from EIS Graduates to grace the forum in the future.
> 
> All in all I see it as a fabulous way for interested composers to learn about the system and thus allow EIS to live on as an ongoing legacy for many generations to come. Spud's method seems way ahead of his time and coupled with today's orchestral sampling technology I'm really looking forward to the next year of new compositions from both EIS Students and EIS Graduates. It's going to be an interesting ride.



Thank you Frederick, for your nice words. You and others of a young age are indeed fortunate to have this available to you. How I wish I had this opportunity at age 17 when I first started to write. Back then, if you didn't live in a metropolis with large radio-TV-shows-film works drawing the better people, one was at loss for help, save for some books on the subject....and just to read, still without help.
On the bright side, this helped me to study with many different writers on the road, and in college, which helped mold me into a composite of ideas and techniques as well as theories. I did find that by studying this course I found the answers as to "why" I unknowingly did things the way I did them, prior to the course. Many of my private instructors just said "This is the way you do it"...or "Just fit in a note." No explanations. With Spud's course, you know what you are doing and how to do it...with ease. You learn all there is to know about music.

I do appreciate your creativity Frederick, even at this stage of your lessons as I've mentioned before. You seem to do what is required of all of us, and that's to write good music.....strong lines, strong progressions, and a few surprises and plenty of air. EIS is the best toolbox you'll ever have. Don't let them rust.


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## Frederick Russ (Dec 26, 2004)

Thanks for the encouraging words Stephen, although I'm sure you know that I know enough EIS to hit the side of a barn, but I'm learning and will continue through the course.

Back to Mary's piece: again I think its an incredible piece - reminds me of some of the Chick Corea stuff that I listened to years ago.


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## charles (Dec 26, 2004)

Frederick said:


> Back to Mary's piece: again I think its an incredible piece - reminds me of some of the Chick Corea stuff that I listened to years ago.



Yes thats who i thougt of to, very cool


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