Girlie's World – Renee Rosnes
This charming medium-tempo song explores several different types of 3/4 swing including 1-feel, 3-feel, and "2 against 3" dotted quarter-note feel. A condensed score is available which includes the bass part for the entire head.
- Recording: Renee Rosnes - One World
- Recorded on: October 18-19, 1994
- Label: Concord (CCD 4646)
- Concert Key: No key center
- Vocal Range: , to
- Style: 3/4 swing (medium)
- Tenor Sax - Ralph Moore
- Piano - Renee Rosnes
- Bass - Larry Grenadier
- Drums - Billy Drummond
Video
- Description
- Historical Notes
- Solos
- Piano Corner
- Bass Corner
- Drum Corner
- Guitar Corner
- Inside & Beyond
- Minus You
This medium 3/4 song has a charming sound. The melody is warmly lyrical with a bouncy opening theme, and the changes are relatively tonal throughout though with that subtle detail that defines Renee Rosnes' compositions. The ABCD form is 40 measures long (12-8-8-12), with the D section being a slight variation of A. B starts the same as A but down a half step (from D♭ major to C major) while the C section goes to G♭ and F major—these modulations are the reason our lead sheets show no key signature.
At the end of the A and D sections, there is a four-measure pedal point on A♭. This pedal is first established in a 16-measure intro, with a piano melody over alternating Ab9sus and F/A♭ chords. The last four measures of the intro have a classic "Tadd Dameron" turnaround leading into the head. This intro comes back as a coda, starting four measures before the end of the head. The intro piano melody is shown as a cue in our lead sheets.
About the arrangement: We have a Concert Condensed Score showing the rhythm section arrangement on this quartet recording, particularly the bass line that runs throughout the head. This score is also the rhythm section part. Besides a few rhythmic figures that fill in around the melody, the bass line explores a variety of options for 3/4 swing: three walking quarter notes, dotted half notes, and two dotted quarter notes. These are indicated in our lead sheets as 3-feel, 1-feel, and 2 against 3 feel. For the pedal points in the intro, the end of the D section, and the coda, there is yet another bass pattern: a two-measure figure alternating two quarter notes with a half note on beat 2 of the next measure. Piano comping rhythms and notable countermelodies are also shown in our score; check out how the piano chords alternate with bass notes in the intro pedal. At C, the end of D, and the end of the coda, the piano doubles the tenor sax melody; parts of the C section melody are voiced in the piano, mostly in fourths.
At the end of the A and D sections, there is a four-measure pedal point on A♭. This pedal is first established in a 16-measure intro, with a piano melody over alternating Ab9sus and F/A♭ chords. The last four measures of the intro have a classic "Tadd Dameron" turnaround leading into the head. This intro comes back as a coda, starting four measures before the end of the head. The intro piano melody is shown as a cue in our lead sheets.
About the arrangement: We have a Concert Condensed Score showing the rhythm section arrangement on this quartet recording, particularly the bass line that runs throughout the head. This score is also the rhythm section part. Besides a few rhythmic figures that fill in around the melody, the bass line explores a variety of options for 3/4 swing: three walking quarter notes, dotted half notes, and two dotted quarter notes. These are indicated in our lead sheets as 3-feel, 1-feel, and 2 against 3 feel. For the pedal points in the intro, the end of the D section, and the coda, there is yet another bass pattern: a two-measure figure alternating two quarter notes with a half note on beat 2 of the next measure. Piano comping rhythms and notable countermelodies are also shown in our score; check out how the piano chords alternate with bass notes in the intro pedal. At C, the end of D, and the end of the coda, the piano doubles the tenor sax melody; parts of the C section melody are voiced in the piano, mostly in fourths.
Renee Rosnes named Girlie's World after her cat.
"One World" was the only recording with this lineup; it is also the only recording of Renee Rosnes and Larry Grenadier together. Ralph Moore first recorded with Renee in the octet Superblue on their 1989 album "The 50th Year," celebrating 50 years of the Blue Note label (arrangements by Don Sickler). Ralph and Renee also recorded together with J.J. Johnson in 1992, and in 1995 with Fleurine Mehldau on her debut album "Meant To Be!" We have a couple of songs from "Meant To Be!" on jazzleadsheets.com, but none yet that feature Ralph Moore.
"One World" was the only recording with this lineup; it is also the only recording of Renee Rosnes and Larry Grenadier together. Ralph Moore first recorded with Renee in the octet Superblue on their 1989 album "The 50th Year," celebrating 50 years of the Blue Note label (arrangements by Don Sickler). Ralph and Renee also recorded together with J.J. Johnson in 1992, and in 1995 with Fleurine Mehldau on her debut album "Meant To Be!" We have a couple of songs from "Meant To Be!" on jazzleadsheets.com, but none yet that feature Ralph Moore.
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Renee Rosnes
born on March 24, 1962
Few can deny that Renee Rosnes is one of the most important pianists and composers in contemporary jazz. As a child, Renee was initially attracted to classical piano, but became interested in jazz during high school. She went on to study classical piano performance at the University of Toronto but returned to Vancouver to pursue jazz. Renee quickly rose to the top of Vancouver's active jazz scene and performed as a sideman with Joe Farrell and Dave Liebman while still in her teens. Read more...
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