Derriere la vitre (Olivier Chabasse)
Composer : Olivier Chabasse
- Matched Reciprocal
- Audio mp3
Derrière la vitre
Released in 1994 on Alain Debiossat trio’s album “L’Or du Temps” (Bleu Citron label) Derrière la Vitre is one of my first compositions on the Stick
and a bit my favorite personal song for 25 years (already 😎 ).
That’s why I’m delighted to be able to offer it to you on this StickMusicScores website dedicated to scores for Stick Chapman.
This piece sounds a bit like an instrumental song.
It starts with an intro whose riff perfectly symbolizes this magical instrument: percussive and bewitching. It is a figure in eighth notes alternating with both hands, the right hand on an ostinato in fourth (E/ A) on the 6 bars and the left hand scrolling the grid alternating fifth and chord. Rhythmically note on the third beat of each measure the two sixteenth notes in syncopation which will return in the bass part that follows. You can turn the intro as many times as you want.
The theme enters at the letter A (bar 7). A simple eighth-note theme based on the main notes of the chords. Note again on the 3rd beat how the right hand plays eighth notes while the left hand will insert 3 sixteenth notes. Play this figure in a loop slowly, it comes back throughout the piece.
At the letter B (bar 14) the piece airs rhythmically. The left hand poses fundamental/third/seventh of each chord and the right hand plays the melody in double note, often with the 9° in the melody. The theme continues on different chords. Note at bar 21 the riff in fourth on Eb major7.
At the end of the theme, measure 25, a rhythmic setting on the chords C minor9 / E 7 altered. Note an interesting principle on the Stick: the right hand will play the same chord, namely a triad of G minor. And the right hand will play two fundamental/seventh/tenth chords (the classical position of the left hand chords). The mixture of the two hands will give us a complex harmony from two very simple blocks. G minor on C m7 (C/Eb/ Bb on one side and Bb/D/G on the other) either C m9 and especially G minor on E 7 (E/D/G#/ Bb/D/G flat) or E 7#9b5.
This is one of the harmonic secret of the Stick: to decompose a complex harmony into two very simple triads.
Then the solo is played on the first grid, on the same bass pattern. With the addition of two chords F major7 and G 7sus4 to create an energetic pedal.
At the end of the solo, a reprise of the theme B which takes us to the coda built on two chords C maj7 and Ab maj7, on a samba groove. A very rhythmic theme comes to rest on the bass. Here again, look carefully at how each hand rests in relation to the other. Don’t be afraid to break down the rhythm assembly.
This coda can obviously last as long as you want.
I hope you’ll like this piece and I’m once again delighted to offer it to you and even more so if it is played by Stickists around the world 😉
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