{"id":6513,"date":"2026-02-12T14:24:23","date_gmt":"2026-02-12T13:24:23","guid":{"rendered":"https:\/\/www.mdw.ac.at\/mdwpress\/?p=6513"},"modified":"2026-03-18T11:23:52","modified_gmt":"2026-03-18T10:23:52","slug":"mdwp004-016","status":"publish","type":"post","link":"https:\/\/www.mdw.ac.at\/mdwpress\/mdwp004-016\/","title":{"rendered":"Openings in A Love Supreme"},"content":{"rendered":"<h3 class=\"author\"><em>Daphne Leong<\/em> <a href=\"https:\/\/orcid.org\/0000-0002-6732-9885\"><img loading=\"lazy\" decoding=\"async\" class=\"alignnone wp-image-600\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wordpress\/wp-content\/uploads\/2021\/02\/orcid.png\" alt=\"orcid\" width=\"19\" height=\"19\" \/><\/a> <a href=\"#fn1\" class=\"footnote-ref\" id=\"fnref1\" role=\"doc-noteref\"><sup>1<\/sup><\/a><\/h3>\n<p>&nbsp;<br \/>\n<head><\/p>\n<style>\n        .tsquotation strong {\n            font-weight: bold;\n        }\n        .tsquotation em {\n            font-style: italic !important;\n      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ZP_ATTR\">%7B%22status%22%3A%22success%22%2C%22updateneeded%22%3Afalse%2C%22instance%22%3Afalse%2C%22meta%22%3A%7B%22request_last%22%3A0%2C%22request_next%22%3A0%2C%22used_cache%22%3Atrue%7D%2C%22data%22%3A%5B%7B%22key%22%3A%22NMVHPQIJ%22%2C%22library%22%3A%7B%22id%22%3A4511395%7D%2C%22meta%22%3A%7B%22creatorSummary%22%3A%22Leong%22%2C%22parsedDate%22%3A%222026%22%2C%22numChildren%22%3A0%7D%2C%22bib%22%3A%22%26lt%3Bdiv%20class%3D%26quot%3Bcsl-bib-body%26quot%3B%20style%3D%26quot%3Bline-height%3A%201.35%3B%20padding-left%3A%201em%3B%20text-indent%3A-1em%3B%26quot%3B%26gt%3B%5Cn%20%20%26lt%3Bdiv%20class%3D%26quot%3Bcsl-entry%26quot%3B%26gt%3BLeong%2C%20Daphne.%202026.%20%26%23x201C%3BOpenings%20in%20A%20Love%20Supreme.%26%23x201D%3B%20In%20%26lt%3Bi%26gt%3BMusic%20and%20Motion%20%26%23x2013%3B%20Interweaving%20Artistic%20Practice%20and%20Theory%20in%20Dance%20and%20Beyond%26lt%3B%5C%2Fi%26gt%3B%2C%20edited%20by%20Stephanie%20Schroedter.%20Vienna%20and%20Bielefeld.%20%26lt%3Ba%20title%3D%26%23039%3BCite%20in%20RIS%20Format%26%23039%3B%20class%3D%26%23039%3Bzp-CiteRIS%26%23039%3B%20data-zp-cite%3D%26%23039%3Bapi_user_id%3D4511395%26amp%3Bitem_key%3DNMVHPQIJ%26%23039%3B%20href%3D%26%23039%3Bjavascript%3Avoid%280%29%3B%26%23039%3B%26gt%3BCite%26lt%3B%5C%2Fa%26gt%3B%20%26lt%3B%5C%2Fdiv%26gt%3B%5Cn%26lt%3B%5C%2Fdiv%26gt%3B%22%2C%22data%22%3A%7B%22itemType%22%3A%22bookSection%22%2C%22title%22%3A%22Openings%20in%20A%20Love%20Supreme%22%2C%22creators%22%3A%5B%7B%22creatorType%22%3A%22editor%22%2C%22firstName%22%3A%22Stephanie%22%2C%22lastName%22%3A%22Schroedter%22%7D%2C%7B%22creatorType%22%3A%22author%22%2C%22firstName%22%3A%22Daphne%22%2C%22lastName%22%3A%22Leong%22%7D%5D%2C%22abstractNote%22%3A%22%22%2C%22bookTitle%22%3A%22Music%20and%20Motion%20%5Cu2013%20Interweaving%20Artistic%20Practice%20and%20Theory%20in%20Dance%20and%20Beyond%22%2C%22date%22%3A%222026%22%2C%22originalDate%22%3A%22%22%2C%22originalPublisher%22%3A%22%22%2C%22originalPlace%22%3A%22%22%2C%22format%22%3A%22%22%2C%22ISBN%22%3A%22978-3-8376-5611-4%22%2C%22DOI%22%3A%22%22%2C%22citationKey%22%3A%22%22%2C%22url%22%3A%22%22%2C%22ISSN%22%3A%22%22%2C%22language%22%3A%22en%22%2C%22collections%22%3A%5B%22C96IEEWM%22%5D%2C%22dateModified%22%3A%222026-02-09T09%3A43%3A25Z%22%7D%7D%5D%7D<\/span>\n\n\t\t\t\t<div id=\"zp-ID-6513-4511395-NMVHPQIJ\" data-zp-author-date='Leong-2026' data-zp-date-author='2026-Leong' data-zp-date='2026' data-zp-year='2026' data-zp-itemtype='bookSection' class=\"zp-Entry zpSearchResultsItem\">\n<div class=\"csl-bib-body\" style=\"line-height: 1.35; padding-left: 1em; text-indent:-1em;\">\n  <div class=\"csl-entry\">Leong, Daphne. 2026. \u201cOpenings in A Love Supreme.\u201d In <i>Music and Motion \u2013 Interweaving Artistic Practice and Theory in Dance and Beyond<\/i>, edited by Stephanie Schroedter. Vienna and Bielefeld. <a title='Cite in RIS Format' class='zp-CiteRIS' data-zp-cite='api_user_id=4511395&item_key=NMVHPQIJ' href='javascript:void(0);'>Cite<\/a> <\/div>\n<\/div>\n\t\t\t\t<\/div><!-- .zp-Entry .zpSearchResultsItem -->\n\t\t\t<\/div><!-- .zp-zp-SEO-Content -->\n\t\t<\/div><!-- .zp-List -->\n\t<\/div><!--.zp-Zotpress-->\n\n\n<\/p><\/div><\/div>\n<div class=\"bdaia-toggle close\"><h4 class=\"bdaia-toggle-head toggle-head-open\"><span class=\"bdaia-sio bdaia-sio-angle-up\"><\/span><span class=\"txt\">Abstract<\/span><\/h4><h4 class=\"bdaia-toggle-head toggle-head-close\"><span class=\"bdaia-sio bdaia-sio-angle-down\"><\/span><span class=\"txt\">Abstract<\/span><\/h4><div class=\"toggle-content\"><p>\nIn relating dance and music, choreographer Salva Sanchis aims to create \u201can <em>opening<\/em> for the audience to read something, to place their experience.\u201d This chapter demonstrates how such openings are made in Sanchis and Anne Teresa De Keersmaeker\u2019s 2017 choreography to John Coltrane\u2019s A Love Supreme. In the first movement (\u201cAcknowledgement\u201d), the dance embodies, simplifies, and opens out the processes of the music, answering improvisation with improvisation. In the last movement (\u201cPsalm\u201d), the dance sculpts sonic unity and melodic drama, fleshing out fully improvised music with fully choreographed dance. The silent Prelude inverts the relationship of music and dance, of choreographed and improvised, of solo and ensemble; it \u201copens\u201d the space for what is to follow.<br \/>\n<\/p><\/div><\/div>\n<div class=\"bdaia-toggle close\"><h4 class=\"bdaia-toggle-head toggle-head-open\"><span class=\"bdaia-sio bdaia-sio-angle-up\"><\/span><span class=\"txt\">Outline<\/span><\/h4><h4 class=\"bdaia-toggle-head toggle-head-close\"><span class=\"bdaia-sio bdaia-sio-angle-down\"><\/span><span class=\"txt\">Outline<\/span><\/h4><div class=\"toggle-content\"><p>\n<a href=\"#1\">I. \u201cAcknowledgement\u201d<\/a><br \/>\n<a href=\"#2\">IV. \u201cPsalm\u201d<\/a><br \/>\n<a href=\"#3\">Silent Prelude<\/a><br \/>\n<a href=\"#4\">Conclusion<\/a><br \/>\n<a href=\"#5\">Discography<\/a><br \/>\n<a href=\"#6\">Videos<\/a><br \/>\n<\/p><\/div><\/div>\n<hr>\n<p><!-- \n\n<p style=\"text-align: right;\">[btn btnlink=\"\" btnsize=\"medium\" bgcolor=\"#b2b2b2\" txtcolor=\"#000000\" btnnewt=\"1\" nofollow=\"1\"]CHAPTER PDF <img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wordpress\/wp-content\/uploads\/download-1459070_1280.png\" style=\"vertical-align: middle\" alt=\"Download-Logo\" width=\"17\" height=\"17\">[\/btn]\n\n --><\/p>\n<p>Winner of the French dance press\u2019s <em>Prix de la critique<\/em> for best performers, Salva Sanchis and Anne Teresa De Keersmaeker\u2019s 2017 choreography to John Coltrane\u2019s <em>A Love Supreme<\/em> brings dance composition and improvisation together in a unique response to the iconic album.<a href=\"#fn2\" class=\"footnote-ref\" id=\"fnref2\" role=\"doc-noteref\"><sup>2<\/sup><\/a> Sanchis told me: \u201cMy objective is always to add some sense of dimension\u2014to create a space in which there is the opening for the audience to read something, to place their experience.\u201d<a href=\"#fn3\" class=\"footnote-ref\" id=\"fnref3\" role=\"doc-noteref\"><sup>3<\/sup><\/a> This image\u2014that of an <em>opening<\/em>\u2014differs from common ways of describing relations between music and dance. Rather than parallelism and counterpoint, complementarity and interaction, composite form and mutual implication, Sanchis\u2019s goal explicitly involves the audience, in an invitation to interpret.<a href=\"#fn4\" class=\"footnote-ref\" id=\"fnref4\" role=\"doc-noteref\"><sup>4<\/sup><\/a><\/p>\n<p>I find the metaphor of an <em>opening<\/em> suggestive, and will explore how composed and improvised processes\u2014or, more broadly, the \u201cknown\u201d and \u201cunknown\u201d<a href=\"#fn5\" class=\"footnote-ref\" id=\"fnref5\" role=\"doc-noteref\"><sup>5<\/sup><\/a>\u2014carve open such a space in <em>A Love Supreme<\/em>. In this space, words, music, and dance play: words turn into music and music into words, dancers into musicians and musicians into dancers.<\/p>\n<p>Each dancer embodies one member of John Coltrane\u2019s quartet (figure\u00a01): Thomas Vantuycom is John Coltrane\u2019s saxophone (and voice); Bilal El Had, McCoy Tyner\u2019s piano; Jason Respilieux, Jimmy Garrison\u2019s bass; and Jos\u00e9 Paulo dos Santos, Elvin Jones\u2019s drums.<a href=\"#fn6\" class=\"footnote-ref\" id=\"fnref6\" role=\"doc-noteref\"><sup>6<\/sup><\/a> Each dancer dances only when his musician plays; and each\u2014for the most part\u2014improvises when his musician does. The fourth movement, as we shall see, shakes up the relationship among the four dancer-musicians.<\/p>\n<p>Coltrane\u2019s <em>Love Supreme<\/em> is a four-movement suite, half an hour in duration. Of the four movements, the first (\u201cAcknowledgement\u201d) and fourth (\u201cPsalm\u201d) are musically the most open-ended.<a href=\"#fn7\" class=\"footnote-ref\" id=\"fnref7\" role=\"doc-noteref\"><sup>7<\/sup><\/a> They also exemplify opposite choreographic strategies. My discussion therefore focuses on the first and fourth movements; it also touches upon the silent danced prelude to the work.<\/p>\n<p><em>Notational Conventions, Terms, and Abbreviations<\/em><\/p>\n<ul>\n<li>\n<p>Pitches in register are labeled following the Acoustical Society of America: middle C\u00a0= C4.<\/p>\n<\/li>\n<li>\n<p>{ } represent unordered sets.<\/p>\n<\/li>\n<li>\n<p>Standard row form labels are used: P for the prime row form, and R for its retrograde. Subscripts indicate order numbers; for example, P<sub>5-8<\/sub> indicates elements 5-8 of row P.<\/p>\n<\/li>\n<li>\n<p>For the discussion of \u201cPsalm,\u201d scale degrees for C melodic minor are indicated by ordinary numbers for the octave C4-B4 (1-7), italics for the octave above (<em>1-7<\/em>), and underlines for the octave below (<u>1<\/u>&#8211;<u>7<\/u>). B\u266e is scale degree\u00a07, while B\u266d is \u266d7. Recitation tones are indicated by the suffix\u00a0r.<\/p>\n<\/li>\n<li>\n<p>I will occasionally refer to the piano\u00a0\/ bass\u00a0\/ drums (El Had\u00a0\/ Respilieux\u00a0\/ dos Santos) as the \u201crhythm section\u201d (per common jazz parlance).<\/p>\n<\/li>\n<li>\n<p>Videos: This study relies heavily upon video of a full performance of A Love Supreme. The video is not publicly available, and excerpts of it cannot be reproduced here due to copyright restrictions. References to such video excerpts are crossed out in the text; where available I have substituted published photographs supplied by De Keersmaeker\u2019s dance company Rosas.<a href=\"#fn8\" class=\"footnote-ref\" id=\"fnref8\" role=\"doc-noteref\"><sup>8<\/sup><\/a><\/p>\n<\/li>\n<\/ul>\n<p><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wordpress\/wp-content\/uploads\/14_Leong_Fig_01_dancers-musicians_final.jpg\" alt=\"Dancers and musicians are listed. Images of musicians John Coltrane, McCoy Tyner, Jimmy Garrison, and Elvin Jones are shown, capturing thoughtful expressions.\" width=\"2303\" height=\"1063\" class=\"alignnone size-full wp-image-6515\" srcset=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_01_dancers-musicians_final.jpg 2303w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_01_dancers-musicians_final-300x138.jpg 300w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_01_dancers-musicians_final-1024x473.jpg 1024w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_01_dancers-musicians_final-150x69.jpg 150w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_01_dancers-musicians_final-768x354.jpg 768w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_01_dancers-musicians_final-1536x709.jpg 1536w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_01_dancers-musicians_final-2048x945.jpg 2048w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_01_dancers-musicians_final-104x48.jpg 104w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_01_dancers-musicians_final-850x392.jpg 850w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_01_dancers-musicians_final-1170x540.jpg 1170w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_01_dancers-musicians_final-320x148.jpg 320w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_01_dancers-musicians_final-309x143.jpg 309w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_01_dancers-musicians_final-742x342.jpg 742w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_01_dancers-musicians_final-496x229.jpg 496w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_01_dancers-musicians_final-563x260.jpg 563w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_01_dancers-musicians_final-413x191.jpg 413w\" sizes=\"auto, (max-width: 2303px) 100vw, 2303px\" \/><br \/>\n<span class=\"caption-text\"><strong>Figure 1:<\/strong> The dancers\u00a0\/ musicians.<a href=\"#fn9\" class=\"footnote-ref\" id=\"fnref9\" role=\"doc-noteref\"><sup>9<\/sup><\/a><\/span><\/p>\n<h4 id=\"1\">I. \u201cAcknowledgement\u201d<\/h4>\n<p>The movement proper begins with the solo bass ostinato shown in music example\u00a01.<a href=\"#fn10\" class=\"footnote-ref\" id=\"fnref10\" role=\"doc-noteref\"><sup>10<\/sup><\/a> Underlying the entire movement, this ostinato serves as rhythmic pulse, bassline, and melodic motive combined.<a href=\"#fn11\" class=\"footnote-ref\" id=\"fnref11\" role=\"doc-noteref\"><sup>11<\/sup><\/a> As is clear when comparing studio and live recordings, it is one of the movement\u2019s few preconceived elements.<a href=\"#fn12\" class=\"footnote-ref\" id=\"fnref12\" role=\"doc-noteref\"><sup>12<\/sup><\/a><\/p>\n<p>The ostinato pairs &lt;short-long, short-<strong>long<\/strong>&gt; with metric &lt;off-<strong>on<\/strong>, on-off&gt; and articulative, dynamic, and pitch stress on the final \u201clong,\u201d to express a circular energy; the movement\u2019s opening dance gesture (video\u00a01) beautifully mirrors those parallel, flipping, and circular aspects. It also highlights the hands, a particular focus that we shall see throughout the choreography.<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wordpress\/wp-content\/uploads\/14_Leong_music_ex_01_bass-ostinato.png\" alt=\"Reproduction of sheet music of \u201cAcknowledgement\u201d.\" width=\"848\" height=\"381\" class=\"alignnone size-full wp-image-6528\" srcset=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_music_ex_01_bass-ostinato.png 848w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_music_ex_01_bass-ostinato-300x135.png 300w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_music_ex_01_bass-ostinato-150x67.png 150w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_music_ex_01_bass-ostinato-768x345.png 768w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_music_ex_01_bass-ostinato-104x47.png 104w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_music_ex_01_bass-ostinato-320x144.png 320w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_music_ex_01_bass-ostinato-309x139.png 309w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_music_ex_01_bass-ostinato-742x333.png 742w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_music_ex_01_bass-ostinato-496x223.png 496w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_music_ex_01_bass-ostinato-579x260.png 579w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_music_ex_01_bass-ostinato-413x186.png 413w\" sizes=\"auto, (max-width: 848px) 100vw, 848px\" \/><br \/>\n<span class=\"caption-text\"><strong>Music example 1:<\/strong> \u201cAcknowledgement\u201d: bass ostinato. \u00a9\u00a0Daphne Leong <br \/>\nVideo 1: \u201cAcknowledgement\u201d: opening hand gesture. Click to view (1:25\u20131:29): <a href= \"https:\/\/youtu.be\/Dog1egx5OTU?feature=shared&amp;t=85\">https:\/\/youtu.be\/Dog1egx5OTU?feature=shared&amp;t=85<\/a><a href=\"#fn13\" class=\"footnote-ref\" id=\"fnref13\" role=\"doc-noteref\"><sup>13<\/sup><\/a><\/span><\/p>\n<p>Both ostinato and opening dance gesture point forward to the climax of the movement: a revelation of the ostinato as the words \u201ca love supreme.\u201d Just preceding that moment, Coltrane\u2019s saxophone takes over the bass ostinato and repeats it, for a total of thirty-six successive statements. I call this series of statements the \u201costinato chain.\u201d Figure 2 charts the beginning pitches of the statements; they cover the entire chromatic pitch range from C3 to E\u266d4 (saving E\u266d3 for the transition to the second movement). They begin on F3 (F is the movement\u2019s centric pitch class) and conclude, after rising through a scale D3-E3-F\u266f3-G3-A\u266d3 (F\u266f completes the pitch-class aggregate), again on F3 (stated eight times).<a href=\"#fn14\" class=\"footnote-ref\" id=\"fnref14\" role=\"doc-noteref\"><sup>14<\/sup><\/a><\/p>\n<p>At this point Coltrane reveals the origin of the ostinato; he chants \u201ca love supreme\u201d on the F3 ostinato motive sixteen times, then moves down to E\u266d3 (four times) to transition to the second movement.<a href=\"#fn15\" class=\"footnote-ref\" id=\"fnref15\" role=\"doc-noteref\"><sup>15<\/sup><\/a> In the movement, then, the ostinato travels a journey of revelation: it opens as a bass motive, pervades as bassline and ground for improvisation throughout, intensifies its presence in the ostinato chain, and finally takes its essential form as the mantra \u201ca love supreme\u201d at the end of the movement.<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wordpress\/wp-content\/uploads\/14_Leong_Fig_02_ostinato-chain_chant.png\" alt=\"Graph depicting the ostinato chain and chant.\" width=\"1691\" height=\"768\" class=\"alignnone size-full wp-image-6532\" srcset=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_02_ostinato-chain_chant.png 1691w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_02_ostinato-chain_chant-300x136.png 300w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_02_ostinato-chain_chant-1024x465.png 1024w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_02_ostinato-chain_chant-150x68.png 150w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_02_ostinato-chain_chant-768x349.png 768w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_02_ostinato-chain_chant-1536x698.png 1536w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_02_ostinato-chain_chant-104x47.png 104w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_02_ostinato-chain_chant-850x386.png 850w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_02_ostinato-chain_chant-1189x540.png 1189w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_02_ostinato-chain_chant-320x145.png 320w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_02_ostinato-chain_chant-309x140.png 309w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_02_ostinato-chain_chant-742x337.png 742w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_02_ostinato-chain_chant-496x225.png 496w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_02_ostinato-chain_chant-572x260.png 572w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_02_ostinato-chain_chant-413x188.png 413w\" sizes=\"auto, (max-width: 1691px) 100vw, 1691px\" \/><br \/>\n<span class=\"caption-text\"><strong>Figure 2:<\/strong> \u201cAcknowledgement\u201d: ostinato chain and chant. \u00a9\u00a0Daphne Leong;<br \/> Click to listen (4:54\u20136:42): <a href=\"https:\/\/youtu.be\/vMCHDC2Lurk?feature=shared&amp;t=294\">https:\/\/youtu.be\/vMCHDC2Lurk?feature=shared&amp;t=294<\/a><\/p>\n<p>The dance follows a similar journey. A dance phrase (<del>video 2<\/del>), corresponding to the twenty chanted statements of \u201ca love supreme,\u201d serves as the source material for the entire movement.<a href=\"#fn16\" class=\"footnote-ref\" id=\"fnref16\" role=\"doc-noteref\"><sup>16<\/sup><\/a> Sanchis describes the phrase as developing aspects of the bass ostinato and the opening dance cell. Like the ostinato and the cell, the phrase is repetitive without literal repetition. It carves its way by moving forward, reversing direction, and then reinitiating forward movement. It circles in space, twirling and turning. At times it compresses downward and then expands upward. The hands form a focus throughout, delineating space, rhythm, and dynamics.<a href=\"#fn17\" class=\"footnote-ref\" id=\"fnref17\" role=\"doc-noteref\"><sup>17<\/sup><\/a><\/p>\n<p>Creating such a phrase, says Sanchis, is \u201can excruciatingly slow process,\u201d \u201calmost like a sculptor, but in motion.\u201d<a href=\"#fn18\" class=\"footnote-ref\" id=\"fnref18\" role=\"doc-noteref\"><sup>18<\/sup><\/a> The phrase must be well-defined so that the improvisation can be strong:<\/p>\n<p>The fact that <em>A Love Supreme<\/em> appears to be improvised is not because the written material [the dance phrase] looks open and improvised. In fact, it\u2019s the other way around: the set material is so precise, as precise as possible, that it forces the improviser to then be equally precise. One could say that the phrase relates to the improvised transformations like the theme of a fugue relates to its development. One can\u2019t just deploy any theme when drafting a fugue. There are certain qualities both in music and in movement that can make such a development more interesting for the performers and for the audience because it offers direction. I want to improvise in such a way that you believe that everything that I do is all I could have done. And that I did exactly what I intended. I don\u2019t want you to see that I am <em>trying<\/em>, that I am looking for what exactly to do at that moment. I want my improvisation to look as clear and precise\u2014as \u201cdetermined,\u201d if you will\u2014as possible.<a href=\"#fn19\" class=\"footnote-ref\" id=\"fnref19\" role=\"doc-noteref\"><sup>19<\/sup><\/a><\/p>\n<p><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wordpress\/wp-content\/uploads\/14_Leong_Fig_03_all-doing-P-cell-15_heller.png\" alt=\"Four male dancers in black outfits perform a synchronized routine on a dark stage, each with arms extended, creating a dynamic, fluid motion.\" width=\"2362\" height=\"1011\" class=\"alignnone size-full wp-image-6534\" srcset=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_03_all-doing-P-cell-15_heller.png 2362w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_03_all-doing-P-cell-15_heller-300x128.png 300w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_03_all-doing-P-cell-15_heller-1024x438.png 1024w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_03_all-doing-P-cell-15_heller-150x64.png 150w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_03_all-doing-P-cell-15_heller-768x329.png 768w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_03_all-doing-P-cell-15_heller-1536x657.png 1536w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_03_all-doing-P-cell-15_heller-2048x877.png 2048w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_03_all-doing-P-cell-15_heller-104x45.png 104w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_03_all-doing-P-cell-15_heller-850x364.png 850w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_03_all-doing-P-cell-15_heller-1240x531.png 1240w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_03_all-doing-P-cell-15_heller-320x137.png 320w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_03_all-doing-P-cell-15_heller-309x132.png 309w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_03_all-doing-P-cell-15_heller-742x318.png 742w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_03_all-doing-P-cell-15_heller-496x212.png 496w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_03_all-doing-P-cell-15_heller-607x260.png 607w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_03_all-doing-P-cell-15_heller-413x177.png 413w\" sizes=\"auto, (max-width: 2362px) 100vw, 2362px\" \/><br \/>\n<span class=\"caption-text\"><strong>Figure 3:<\/strong> Basic dance phrase: cell\u00a015 (from left to right: Bilal El Had, Jason Respilieux, Thomas Vantuycom, Jos\u00e9 Paulo dos Santos). Photograph by Anne Van Aerschot. \u00a9\u00a02019 by Rosas<\/span><\/p>\n<p>The phrase underpins the movement in a clear-cut way. <del>Video\u00a03<\/del> shows the source version of the phrase (that setting the chanting of \u201ca love supreme\u201d) again. I number the cells of the dance phrase from 0 to 23: each cell matches one measure and one chanted \u201ca love supreme.\u201d Figure\u00a03 shows cell\u00a015. (Cell\u00a024 has a special function, which we shall discuss later.) Since the chanting completes after twenty measures, the final four measures of the dance phrase form a codetta (with gestures that are less marked and more relaxed). I label the series of 24 cells \u201cP,\u201d like a musical row.<a href=\"#fn20\" class=\"footnote-ref\" id=\"fnref20\" role=\"doc-noteref\"><sup>20<\/sup><\/a><\/p>\n<p>Jason Respilieux (the bass) has the most straightforward as well as foundational role. Figure\u00a04 shows how P appears in his dancing in the movement. Figure 4g, which sets \u201ca love supreme,\u201d is the source phrase. (Dance cell numbers appear below each row.) Figure\u00a04f shows the ostinato chain, set by the retrograde of the basic dance phrase, labeled\u00a0R. Since the ostinato chain occupies thirty-six measures, the basic dance phrase is expanded internally by two measures, and then augmented with a four-measure transition (shown in dark grey\/blue) in which the dancers face the back of the stage, a two-measure turn to face forward (shown in an open box), and four additional measures (labeled 0<sub>2H<\/sub>) that preface the basic dance phrase to follow.<a href=\"#fn21\" class=\"footnote-ref\" id=\"fnref21\" role=\"doc-noteref\"><sup>21<\/sup><\/a> <del>Video\u00a04<\/del> shows the passage represented by figure\u00a04f. (The phrase is danced by the \u201crhythm section,\u201d behind Vantuycom. Note that, in the retrograde phrase, the gestures themselves\u2014and not only their order\u2014are reversed.)<\/p>\n<p>As shown in figure\u00a04a, the movement proper begins with the P dance phrase. Its opening is extended: cell\u00a00 repeats for eight measures, shown as 0<sub>1H<\/sub> (with one hand) and 0<sub>2H<\/sub> (with both hands), followed by two measures using cells from the movement\u2019s end (shown in dark grey\/blue); cells 1 through 23 then complete the phrase. The phrase can be seen in Respilieux\u2019s dancing in video<em>\u00a0<\/em>5 (part of the phrase is off camera).<a href=\"#fn22\" class=\"footnote-ref\" id=\"fnref22\" role=\"doc-noteref\"><sup>22<\/sup><\/a><\/p>\n<p>Figure\u00a04 as a whole shows that Respilieux\u2019s dancing in the movement proceeds straightforwardly through alternating P and R rows, except at figures 4d and 4e, where the rows involve only cells 10-23 (at first in R, and then in P). Cell\u00a024 (not shown in figure\u00a04) acts as a flexible hinge between P and R row forms.<a href=\"#fn23\" class=\"footnote-ref\" id=\"fnref23\" role=\"doc-noteref\"><sup>23<\/sup><\/a> (Figure\u00a05 shows dos Santos and Respilieux dancing cell\u00a024 behind Vantuycom and El\u00a0Had.)<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wordpress\/wp-content\/uploads\/14_Leong_Fig_04_LS-I_row-structure.png\" alt=\"Graph depicting the dance phases.\" width=\"1699\" height=\"1381\" class=\"alignnone size-full wp-image-6535\" srcset=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_04_LS-I_row-structure.png 1699w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_04_LS-I_row-structure-300x244.png 300w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_04_LS-I_row-structure-1024x832.png 1024w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_04_LS-I_row-structure-150x122.png 150w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_04_LS-I_row-structure-768x624.png 768w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_04_LS-I_row-structure-1536x1249.png 1536w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_04_LS-I_row-structure-91x74.png 91w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_04_LS-I_row-structure-604x491.png 604w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_04_LS-I_row-structure-664x540.png 664w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_04_LS-I_row-structure-271x220.png 271w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_04_LS-I_row-structure-309x251.png 309w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_04_LS-I_row-structure-850x691.png 850w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_04_LS-I_row-structure-603x490.png 603w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_04_LS-I_row-structure-320x260.png 320w\" sizes=\"auto, (max-width: 1699px) 100vw, 1699px\" \/><br \/>\n<span class=\"caption-text\"><strong>Figure 4:<\/strong> \u201cAcknowledgement\u201d: Respilieux\u2019s use of the basic dance phrase.<br \/> \u00a9\u00a0Daphne Leong<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wordpress\/wp-content\/uploads\/14_Leong_Fig_05_P-cell-24_behind-solo-and-comping.png\" alt=\"Four male dancers in black shirts and pants perform dynamically on stage, expressing intensity and focus under dim lighting.\" width=\"2362\" height=\"1582\" class=\"alignnone size-full wp-image-6536\" style=\"width:100%; display: block; margin-left: auto; margin-right: auto;\" srcset=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_05_P-cell-24_behind-solo-and-comping.png 2362w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_05_P-cell-24_behind-solo-and-comping-300x201.png 300w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_05_P-cell-24_behind-solo-and-comping-1024x686.png 1024w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_05_P-cell-24_behind-solo-and-comping-150x100.png 150w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_05_P-cell-24_behind-solo-and-comping-768x514.png 768w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_05_P-cell-24_behind-solo-and-comping-1536x1029.png 1536w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_05_P-cell-24_behind-solo-and-comping-2048x1372.png 2048w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_05_P-cell-24_behind-solo-and-comping-104x70.png 104w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_05_P-cell-24_behind-solo-and-comping-733x491.png 733w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_05_P-cell-24_behind-solo-and-comping-806x540.png 806w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_05_P-cell-24_behind-solo-and-comping-320x214.png 320w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_05_P-cell-24_behind-solo-and-comping-309x207.png 309w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_05_P-cell-24_behind-solo-and-comping-850x569.png 850w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_05_P-cell-24_behind-solo-and-comping-732x490.png 732w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_05_P-cell-24_behind-solo-and-comping-364x244.png 364w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_05_P-cell-24_behind-solo-and-comping-388x260.png 388w\" sizes=\"auto, (max-width: 2362px) 100vw, 2362px\" \/><br \/>\n<span class=\"caption-text\"><strong>Figure 5:<\/strong> Dos Santos and Respilieux dancing cell\u00a024 behind Vantuycom and El Had. Photograph by Anne Van Aerschot. \u00a9\u00a02019 by Rosas<\/p>\n<p>The dancers elaborate upon this choreographic substrate by taking on distinct roles, movement characteristics, and degrees of freedom. All of the dancers draw from the basic dance phrase. Respilieux, as the bass, has the most set role: he must complete the basic phrase by the end of each section, moving through its materials sequentially. Dos Santos, as the drums, also traverses the phrase. He remains linked to the bass, moving ahead or behind him in the sequence of movements, within a constrained range\u2014and this is true spatially as well. Dos Santos can play with attack and acceleration. El\u00a0Had, the piano, also works slightly behind and ahead of the others, but in a more staccato way, moving from pose to pose\u2014performing the piano\u2019s \u201ccomping\u201d function.<a href=\"#fn24\" class=\"footnote-ref\" id=\"fnref24\" role=\"doc-noteref\"><sup>24<\/sup><\/a> He bridges the space between the drums and bass and the saxophone solo; he dances on the line between the bass and the saxophone. Vantuycom, as the saxophone, is free to improvise, drawing from the phrase as he wishes.<a href=\"#fn25\" class=\"footnote-ref\" id=\"fnref25\" role=\"doc-noteref\"><sup>25<\/sup><\/a> The dance phrase, like the bass ostinato, therefore, plays multiple roles, in both foreground and background;<a href=\"#fn26\" class=\"footnote-ref\" id=\"fnref26\" role=\"doc-noteref\"><sup>26<\/sup><\/a> it provides the material for the dancers\u2019 enactment of characteristic relations among jazz rhythm section and soloist.<\/p>\n<p>Vantuycom was instructed to \u201cdance as if you <em>are<\/em> the saxophone.\u201d Thus, though his dance parameters are much freer than those of the others, he is paradoxically \u201cmuch more tied to and constrained by the music. [\u2026] Remember that Thomas isn\u2019t dancing to <em>live<\/em> improvised music, which would continuously surprise him.\u201d Rather, \u201cwe treat this improvised recording as a type of score [\u2026]. It isn\u2019t written down in notes, but, much like a score, it\u2019s a kind of residue, in the very literal sense a <em>record<\/em>, the registration of a musical performance.\u201d<a href=\"#fn27\" class=\"footnote-ref\" id=\"fnref27\" role=\"doc-noteref\"><sup>27<\/sup><\/a><\/p>\n<p>Vantuycom listened to the recording repeatedly: his improvisatory freedom was fueled by his ability to anticipate exactly what would happen musically and when. In rehearsal all four dancers sang the music as they danced (switching their singing from instrument to instrument).<a href=\"#fn28\" class=\"footnote-ref\" id=\"fnref28\" role=\"doc-noteref\"><sup>28<\/sup><\/a><\/p>\n<p>Dancing to a fixed recording also afforded a clear choreographic plan. Figure\u00a06 shows the entry of the instruments and their associated dancers one by one at the beginning of the movement (figure\u00a06a) and their exits in reverse order at the end (figure\u00a06b). Horizontal lines indicate unison dancing. As they enter, the rhythm section dances in unison\u2014until the entrance of the saxophone. Thus, in the first P row, cell\u00a00 through the downbeat of cell\u00a07 (the saxophone entry) are danced in unison. Thereafter, dancers undertake differentiated roles, as described earlier. (Respilieux, as the bass, continues with the P row gestures.) Video\u00a05 shows this opening and the move from unison to differentiated dancing.<a href=\"#fn29\" class=\"footnote-ref\" id=\"fnref29\" role=\"doc-noteref\"><sup>29<\/sup><\/a><\/p>\n<p><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wordpress\/wp-content\/uploads\/14_Leong_Fig_06_unison-dancing.png\" alt=\"Graph depicting dance movements.\" width=\"1312\" height=\"462\" class=\"alignnone size-full wp-image-6538\" srcset=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_06_unison-dancing.png 1312w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_06_unison-dancing-300x106.png 300w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_06_unison-dancing-1024x361.png 1024w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_06_unison-dancing-150x53.png 150w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_06_unison-dancing-768x270.png 768w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_06_unison-dancing-104x37.png 104w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_06_unison-dancing-850x299.png 850w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_06_unison-dancing-1240x437.png 1240w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_06_unison-dancing-320x113.png 320w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_06_unison-dancing-309x109.png 309w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_06_unison-dancing-742x261.png 742w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_06_unison-dancing-496x175.png 496w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_06_unison-dancing-618x218.png 618w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_06_unison-dancing-413x145.png 413w\" sizes=\"auto, (max-width: 1312px) 100vw, 1312px\" \/><br \/>\n<span class=\"caption-text\"><strong>Figure 6:<\/strong> \u201cAcknowledgement\u201d: unison dancing (beginning and end of movement). \u00a9\u00a0Daphne Leong<\/span><\/p>\n<p>Towards the end of the movement, unison dancing reappears additively: first, as shown in figure\u00a06b, between Respilieux and dos Santos (bass and drums), then adding El Had (completing the rhythm section) and finally Vantuycom (the entire quartet). The rhythm section unison highlights the ostinato chain, and the quartet unison punctuates the arrival of the chanted \u201clove supreme.\u201d<a href=\"#fn30\" class=\"footnote-ref\" id=\"fnref30\" role=\"doc-noteref\"><sup>30<\/sup><\/a> The complete basic dance phrase (in its source, P, form) comes to the fore only here. Thus unison dancing frames the movement and creates a dramatic sense of emergence for the chanting of \u201ca love supreme.\u201d<\/p>\n<p>Aspects of the composition of this opening movement are reminiscent of principles found in other De Keersmaeker choreographies. Video\u00a06 shows the gesture of the hands in \u201cCome Out,\u201d<a href=\"#fn31\" class=\"footnote-ref\" id=\"fnref31\" role=\"doc-noteref\"><sup>31<\/sup><\/a> similar to <em>Love Supreme<\/em>\u2019s opening gesture in its circularity and fluid motion. The temporal and qualitative variations on <em>Love Supreme<\/em>\u2019s repeated dance cells, if different in quality from those of De Keersmaeker\u2019s Reich choreographies, nevertheless remind one of them in their constructive principle and in the choreographer\u2019s use of pulling apart and coming together.<a href=\"#fn32\" class=\"footnote-ref\" id=\"fnref32\" role=\"doc-noteref\"><sup>32<\/sup><\/a> One finds here both parallelism and counterpoint, sameness and difference\u2014and space.<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wordpress\/wp-content\/uploads\/14_Leong_Fig_07a_floor-map_paths.png\" alt=\"Diagram of floor map and different dance phases.\" width=\"1104\" height=\"1412\" class=\"alignnone size-full wp-image-6541\" style=\"width:75%; display: block; margin-left: auto; margin-right: auto;\" srcset=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_07a_floor-map_paths.png 1104w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_07a_floor-map_paths-235x300.png 235w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_07a_floor-map_paths-801x1024.png 801w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_07a_floor-map_paths-117x150.png 117w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_07a_floor-map_paths-768x982.png 768w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_07a_floor-map_paths-58x74.png 58w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_07a_floor-map_paths-384x491.png 384w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_07a_floor-map_paths-422x540.png 422w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_07a_floor-map_paths-172x220.png 172w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_07a_floor-map_paths-258x330.png 258w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_07a_floor-map_paths-850x1087.png 850w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_07a_floor-map_paths-383x490.png 383w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_07a_floor-map_paths-191x244.png 191w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_07a_floor-map_paths-203x260.png 203w\" sizes=\"auto, (max-width: 1104px) 100vw, 1104px\" \/><br \/>\n<span class=\"caption-text\"><strong>Figure 7a:<\/strong> \u201cAcknowledgement\u201d: floor map.<br \/> Figure 4a and b: P row (extended) and R row. \u00a9\u00a0Daphne Leong<\/span><\/p>\n<p>In literal space, the <em>Love Supreme<\/em> dancers spiral through three rectangles (representing the Fibonacci series) taped on the dance floor. The paths, again, are the same but offset, staggered and inverted in time\u2014pulling space open. Figure\u00a07 shows the rectangles (color-coded online).<a href=\"#fn33\" class=\"footnote-ref\" id=\"fnref33\" role=\"doc-noteref\"><sup>33<\/sup><\/a> Each dancer uses one rectangle: as labeled on the figure, the bass uses the middle, the piano the left-slanted, the saxophone the right-slanted, and the drums (labeled on the bottom) the right-slanted, but with the small squares flipped to the lower half. The smallest squares in the rectangles are \u201chome.\u201d<\/p>\n<p>The row structure from figure 4 is traced in the spirals of figure\u00a07. Figures 7a, 7b, and 7c show the spirals for the three sections of figure\u00a04 respectively: the first two row forms (figure 4a and b), the middle three (figure 4c, d, and e), and the final two (figure 4f and g). Each row form is represented by movement one way (upstage or downstage) on a spiral; except for the final\u00a0P (on \u201ca love supreme\u201d), P rows move upstage and R rows downstage. (The curves on the figure are approximate, based on the video of the full performance; Sanchis described them to me as spirals moving through the Fibonacci squares, from the 1-1 \u201chome\u201d through the squares representing 2, 3, 5, 8, 13, 21, and 34\u2014or in reverse.<a href=\"#fn34\" class=\"footnote-ref\" id=\"fnref34\" role=\"doc-noteref\"><sup>34<\/sup><\/a>)<\/p>\n<p>In the opening P and R rows (figure\u00a07a), the bass spirals from his rectangle corner at downstage right to his \u201chome\u201d and through to the \u201chome\u201d of the left-slanted rectangle, then back in retrograde. The drums accompany the bass\u2019s motion, beginning at \u201chome\u201d on his rectangle.<a href=\"#fn35\" class=\"footnote-ref\" id=\"fnref35\" role=\"doc-noteref\"><sup>35<\/sup><\/a> The saxophone begins at his downstage right rectangle corner, and dances much of this portion of the movement freely in the front third of the stage, represented by the shaded area on the figure. The piano begins at the downstage right corner of his rectangle; after the saxophone enters, the piano dances on the line between the saxophone and the others.<a href=\"#fn36\" class=\"footnote-ref\" id=\"fnref36\" role=\"doc-noteref\"><sup>36<\/sup><\/a> Figure\u00a08 shows bass and drums upstage (at cell\u00a015 in their spirals), saxophone downstage, and piano on the line between bass\/drums and saxophone. By the end of the section, the bass and drums have returned downstage, and the saxophone reaches his \u201chome,\u201d midstage left. (The dotted line on figure\u00a07a shows the saxophone\u2019s eventual trajectory.)<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wordpress\/wp-content\/uploads\/14_Leong_Fig_08_P-cell-15_heller-1.png\" alt=\"Four dancers in black outfits perform on a dimly lit stage, each striking dynamic, expressive poses.\" width=\"2362\" height=\"1887\" class=\"alignnone size-full wp-image-6546\" srcset=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_08_P-cell-15_heller-1.png 2362w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_08_P-cell-15_heller-1-300x240.png 300w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_08_P-cell-15_heller-1-1024x818.png 1024w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_08_P-cell-15_heller-1-150x120.png 150w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_08_P-cell-15_heller-1-768x614.png 768w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_08_P-cell-15_heller-1-1536x1227.png 1536w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_08_P-cell-15_heller-1-2048x1636.png 2048w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_08_P-cell-15_heller-1-93x74.png 93w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_08_P-cell-15_heller-1-615x491.png 615w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_08_P-cell-15_heller-1-676x540.png 676w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_08_P-cell-15_heller-1-275x220.png 275w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_08_P-cell-15_heller-1-309x247.png 309w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_08_P-cell-15_heller-1-850x679.png 850w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_08_P-cell-15_heller-1-613x490.png 613w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_08_P-cell-15_heller-1-305x244.png 305w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_08_P-cell-15_heller-1-325x260.png 325w\" sizes=\"auto, (max-width: 2362px) 100vw, 2362px\" \/><br \/>\n<span class=\"caption-text\"><strong>Figure 8:<\/strong> Acknowledgement\u201d: Stage locations. Bass and drums upstage (cell\u00a015); sax downstage; piano on line between. Photograph by Anne Van Aerschot. \u00a9\u00a02019 by Rosas.<\/p>\n<p>The following group of three row forms (figure\u00a07b) begins (P) with bass and drums spiraling from downstage to upstage, as before, and the saxophone moving downstage from his \u201chome.\u201d For the partial row forms that follow, bass and drums begin their spirals back towards downstage (R<sub>23-10<\/sub>), but do not complete them, remaining at the back half of the stage and returning (P<sub>10-23<\/sub>) to their \u201chomes.\u201d Thus, for this middle portion of the movement, the saxophone solo remains at the forefront and the rhythm section in the background.<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wordpress\/wp-content\/uploads\/14_Leong_Fig_07b_rev_floor-map_paths3.png\" alt=\"Diagram of floor map.\" width=\"1184\" height=\"1392\" class=\"alignnone size-full wp-image-6550\" style=\"width:75%; display: block; margin-left: auto; margin-right: auto;\" srcset=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_07b_rev_floor-map_paths3.png 1184w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_07b_rev_floor-map_paths3-255x300.png 255w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_07b_rev_floor-map_paths3-871x1024.png 871w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_07b_rev_floor-map_paths3-128x150.png 128w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_07b_rev_floor-map_paths3-768x903.png 768w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_07b_rev_floor-map_paths3-63x74.png 63w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_07b_rev_floor-map_paths3-418x491.png 418w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_07b_rev_floor-map_paths3-459x540.png 459w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_07b_rev_floor-map_paths3-187x220.png 187w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_07b_rev_floor-map_paths3-281x330.png 281w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_07b_rev_floor-map_paths3-850x999.png 850w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_07b_rev_floor-map_paths3-417x490.png 417w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_07b_rev_floor-map_paths3-208x244.png 208w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_07b_rev_floor-map_paths3-221x260.png 221w\" sizes=\"auto, (max-width: 1184px) 100vw, 1184px\" \/><br \/>\n<span class=\"caption-text\"><strong>Figure 7b:<\/strong> \u201cAcknowledgement\u201d: floor map. Figure 4c, d, e: P and partial R and P rows. \u00a9\u00a0Daphne Leong<\/p>\n<p>The final two row forms (figure\u00a07c) correspond to the ostinato chain and the chanting of \u201ca love supreme,\u201d respectively. The rhythm section dances in unison. For the R row form, the three instruments begin upstage right, on the outer endpoint of their spirals, and dance back a short distance to their \u201chomes\u201d (indicated by diamonds on the figure). During the P row form, the three instruments return to the downstage points from which they began \u201cAcknowledgement,\u201d while the saxophone spirals upstage, all four dancers now dancing in unison. The saxophone is soon to exit: at dance cell\u00a010 the saxophone and the rhythm section cross over, the saxophone now dancing behind the rhythm section; after reaching the middle rectangle \u201chome\u201d (dance cell\u00a020), he exits.<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wordpress\/wp-content\/uploads\/14_Leong_Fig_07c_rev_floor-map_paths3.png\" alt=\"Diagram of floor map.\" width=\"1180\" height=\"1428\" class=\"alignnone size-full wp-image-6551\" style=\"width:75%; display: block; margin-left: auto; margin-right: auto;\" srcset=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_07c_rev_floor-map_paths3.png 1180w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_07c_rev_floor-map_paths3-248x300.png 248w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_07c_rev_floor-map_paths3-846x1024.png 846w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_07c_rev_floor-map_paths3-124x150.png 124w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_07c_rev_floor-map_paths3-768x929.png 768w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_07c_rev_floor-map_paths3-61x74.png 61w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_07c_rev_floor-map_paths3-406x491.png 406w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_07c_rev_floor-map_paths3-446x540.png 446w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_07c_rev_floor-map_paths3-182x220.png 182w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_07c_rev_floor-map_paths3-273x330.png 273w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_07c_rev_floor-map_paths3-850x1029.png 850w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_07c_rev_floor-map_paths3-405x490.png 405w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_07c_rev_floor-map_paths3-202x244.png 202w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_07c_rev_floor-map_paths3-215x260.png 215w\" sizes=\"auto, (max-width: 1180px) 100vw, 1180px\" \/><br \/>\n<span class=\"caption-text\"><strong>Figure 7c:<\/strong> \u201cAcknowledgement\u201d: floor map. Figure 4f and g: extended R row (ostinato chain), and P row (chanting \u201ca love supreme\u201d). \u00a9\u00a0Daphne Leong<\/p>\n<p>The basic spatial trajectories in \u201cAcknowledgement\u201d are thus very simple: bass, drums, and saxophone spiral from downstage right to upstage right, and in reverse, with the rhythm section doing so at twice the speed of the saxophone, and in the opposite direction, and with all instruments skewed left or right from one another. The same trajectory is thus paralleled but counterpointed through differences in time, space, and degree of freedom.<\/p>\n<p>So, in \u201cAcknowledgement,\u201d the dance simplifies musical relationships and processes, portraying musical roles among soloist and rhythm section through physical space and freedom and quality of movement. It articulates the musical progression towards Coltrane\u2019s ostinato chain\u2014and ultimately his chanting of \u201ca love supreme\u201d\u2014through the presentation of the dance phrase at different levels of literalness. The formal process\u2014bass, drums, and piano entering one at a time, in unison; splintering into different levels of improvisation on the basic phrase when the saxophone enters; then eventually building back towards unison dancing, one instrument at a time, culminating (at the climactic chanting) in all four dancers in the full P dance phrase\u2014sets out a clear formal structure, foreground-background relations, and unified though qualitatively differentiated movements. It thus, in Sanchis\u2019s words, \u201cframes the music and points at what is happening already\u201d; rather than adding complexity it aims to make the music more readable.<a href=\"#fn37\" class=\"footnote-ref\" id=\"fnref37\" role=\"doc-noteref\"><sup>37<\/sup><\/a><\/p>\n<h4 id=\"2\">IV. \u201cPsalm\u201d<\/h4>\n<p>Unlike \u201cAcknowledgement,\u201d in which prepared and improvised processes loosely parallel one another in dance and music, in \u201cPsalm\u201d carefully choreographed dance interprets open, improvised music. The contrasting approaches in \u201cPsalm\u201d paradoxically allow the choreography to reflect, on a deep level, much of the spirit and structure of the music.<\/p>\n<h6>Preaching the text<\/h6>\n<p>The music of \u201cPsalm\u201d is freely improvised without set meter, harmonic progression, or fixed form, in the modal framework of C melodic minor. As Lewis Porter has shown, Coltrane vocalizes, on his saxophone, the words of the psalm that he has published in the liner notes. The playing is almost syllable for syllable.<a href=\"#fn38\" class=\"footnote-ref\" id=\"fnref38\" role=\"doc-noteref\"><sup>38<\/sup><\/a> Porter describes its pitch structure and relates it to the tradition of black American intonational preaching:<\/p>\n<blockquote>\n<p class=\"tsquotation\">Each section of several lines has an arched shape\u2014an ascending phrase, a recitation on one tone, and descending phrase. The recitation tones ascend as the piece builds in intensity. The roots of this solo seem to grow out of formulaic procedures used by preachers in black churches. [\u2026] Jeff Titon, in his paper \u201cTonal System in the Chanted Oral Sermons of the Reverend C.L. Franklin,\u201d describes the procedure of black American preachers for intonational chant. The chant is divided into sections according to pitch apexes, for which we may use the more familiar term <em>recitation tones<\/em>.<a href=\"#fn39\" class=\"footnote-ref\" id=\"fnref39\" role=\"doc-noteref\"><sup>39<\/sup><\/a><\/p>\n<\/blockquote>\n<p>Porter\u2019s description is largely accurate, but pitch apexes need not function as recitation tones (though they often do). Figure\u00a09 displays my transcription, in pitch and time, of Coltrane\u2019s line, taken from the iconic 1964 recording.<a href=\"#fn40\" class=\"footnote-ref\" id=\"fnref40\" role=\"doc-noteref\"><sup>40<\/sup><\/a> Most of the highest pitch apexes involve recitation, but apexes 3 and 4 (indicated in diamonds) do not. As Porter has shown, \u201creciting,\u201d particularly on scale degree\u00a05 (G4 and G5) and to a lesser extent, scale degree\u00a01 (C5), plays a prominent role. Coltrane often begins a section by rising to an apex on E\u266d4, followed by an apex on G4.<a href=\"#fn41\" class=\"footnote-ref\" id=\"fnref41\" role=\"doc-noteref\"><sup>41<\/sup><\/a> The line ascends to progressively higher points\u2014C5, E\u266d5, and ultimately G5\u2014accompanied by increasingly lower descents (dropping the initial \u201cfloor\u201d of C4 to G3 and even F3). The drama is intensified through ever more extended and complex climbs and falls.<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wordpress\/wp-content\/uploads\/14_Leong_Fig_09_pitch-time-contour_peaks_annot3.png\" alt=\"Graph depicting the pitch-time of the saxophone.\" width=\"2200\" height=\"1700\" class=\"alignnone size-full wp-image-6553\" srcset=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_09_pitch-time-contour_peaks_annot3.png 2200w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_09_pitch-time-contour_peaks_annot3-300x232.png 300w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_09_pitch-time-contour_peaks_annot3-1024x791.png 1024w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_09_pitch-time-contour_peaks_annot3-150x116.png 150w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_09_pitch-time-contour_peaks_annot3-768x593.png 768w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_09_pitch-time-contour_peaks_annot3-1536x1187.png 1536w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_09_pitch-time-contour_peaks_annot3-2048x1583.png 2048w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_09_pitch-time-contour_peaks_annot3-96x74.png 96w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_09_pitch-time-contour_peaks_annot3-635x491.png 635w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_09_pitch-time-contour_peaks_annot3-699x540.png 699w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_09_pitch-time-contour_peaks_annot3-285x220.png 285w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_09_pitch-time-contour_peaks_annot3-309x239.png 309w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_09_pitch-time-contour_peaks_annot3-850x657.png 850w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_09_pitch-time-contour_peaks_annot3-634x490.png 634w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_09_pitch-time-contour_peaks_annot3-316x244.png 316w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_09_pitch-time-contour_peaks_annot3-336x260.png 336w\" sizes=\"auto, (max-width: 2200px) 100vw, 2200px\" \/><br \/>\n<span class=\"caption-text\"><strong>Figure 9:<\/strong> \u201cPsalm\u201d: pitch-time transcription, saxophone line. \u00a9\u00a0Daphne Leong<\/p>\n<p>The general phrase types of Reverend Franklin\u2019s preaching, described by Titon, also apply to Coltrane\u2019s line: \u201cBy its music, Franklin\u2019s chant falls into three types of [\u2026] musical phrases: auxiliary, main, and secondary phrases.\u201d An auxiliary phrase is \u201cbrief and formulaic (e.g. \u2018O Lord\u2019), tends to gain Franklin time, and establishes the tonic pitch by ending strongly on the tonic.\u201d A main phrase \u201cstarts at or quickly rises to the pitch apex [\u2026] and then falls toward the tonic, usually by thirds (e.g., 5-3-3-1).\u201d A secondary phrase \u201cfollows a main phrase and has a pitch apex below the preceding main phrase\u2019s pitch apex, usually a minor third above the tonic. Secondary phrases usually end on the tonic.\u201d<a href=\"#fn42\" class=\"footnote-ref\" id=\"fnref42\" role=\"doc-noteref\"><sup>42<\/sup><\/a> (These phrase types will be referenced below.)<\/p>\n<p>In this tradition of black American preaching, intonational chant provides the emotional climax\u2014\u201cthe sweet spot\u201d\u2014at the end of the sermon. In <em>A Love Supreme<\/em>, \u201cPsalm\u201d is the final movement, the intense close to a four-movement suite. As with intonational chant, it arises out of what precedes: it was recorded as a single track together with the third movement. As a \u201cpsalm,\u201d a song sung to musical accompaniment and a deeply personal yet communal expression of faith, Coltrane\u2019s vocalization resonates with the black American practice of intoning not only sermons, but also extemporaneous prayers.<a href=\"#fn43\" class=\"footnote-ref\" id=\"fnref43\" role=\"doc-noteref\"><sup>43<\/sup><\/a><\/p>\n<h6>Pitch contour<\/h6>\n<p>I begin by tracing the features of Coltrane\u2019s melodic contours, relating them to their source text and to the preaching phrase types. The detailed description of phrase shapes and timbres prepares the subsequent discussion, which shows how Sanchis and de Keersmaeker\u2019s choreography dramatizes Coltrane\u2019s pitch peaks and floors.<\/p>\n<p>Coltrane\u2019s line, in C melodic minor, uses both B\u266d and B\u266e. D appears rarely, and A\u266d\/A never (with the possible exception of an A5 hinted at near the end). Scale degrees 1, 3, and 5 predominate; the core ambitus (shown in grey on figure 9) orbits {C4, E\u266d4, G4}. In the following, musical examples without rhythmic values transcribe Coltrane\u2019s note onsets proportionally.<a href=\"#fn44\" class=\"footnote-ref\" id=\"fnref44\" role=\"doc-noteref\"><sup>44<\/sup><\/a> Reference will be made to the pitch-time graph of figure 9, with locations identified in seconds (&#8222;).<\/p>\n<p>The movement opens by introducing its fundamental features. As shown in music example\u00a02a, Coltrane begins with the psalm\u2019s title, \u201cA Love Supreme,\u201d arpeggiating upwards through the core pitches. Though set apart from the poem\u2019s body, the title, together with the opening lines (\u201cI will do all I can to be worthy of Thee O Lord. It all has to do with it. Thank you God.\u201d), form the first musical phrase. The pitch shape is classic: ascent through scale degrees 1-3-5 to recitation on\u00a05, followed by descent to\u00a01; \u201cThank you God\u201d (Titon\u2019s \u201cauxiliary phrase\u201d) is played on the formula 3-1-1 (later also 5-1-1 and other variants).<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wordpress\/wp-content\/uploads\/14_Leong_MEx-2-rev_Psalm-opening_Peak-1_nocaptions.png\" alt=\"Reproduction of sheet music of \u201cPsalm\u201d.\" width=\"1421\" height=\"412\" class=\"alignnone size-full wp-image-6554\" srcset=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_MEx-2-rev_Psalm-opening_Peak-1_nocaptions.png 1421w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_MEx-2-rev_Psalm-opening_Peak-1_nocaptions-300x87.png 300w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_MEx-2-rev_Psalm-opening_Peak-1_nocaptions-1024x297.png 1024w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_MEx-2-rev_Psalm-opening_Peak-1_nocaptions-150x43.png 150w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_MEx-2-rev_Psalm-opening_Peak-1_nocaptions-768x223.png 768w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_MEx-2-rev_Psalm-opening_Peak-1_nocaptions-104x30.png 104w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_MEx-2-rev_Psalm-opening_Peak-1_nocaptions-850x246.png 850w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_MEx-2-rev_Psalm-opening_Peak-1_nocaptions-1240x360.png 1240w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_MEx-2-rev_Psalm-opening_Peak-1_nocaptions-320x93.png 320w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_MEx-2-rev_Psalm-opening_Peak-1_nocaptions-309x90.png 309w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_MEx-2-rev_Psalm-opening_Peak-1_nocaptions-742x215.png 742w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_MEx-2-rev_Psalm-opening_Peak-1_nocaptions-496x144.png 496w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_MEx-2-rev_Psalm-opening_Peak-1_nocaptions-618x179.png 618w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_MEx-2-rev_Psalm-opening_Peak-1_nocaptions-413x120.png 413w\" sizes=\"auto, (max-width: 1421px) 100vw, 1421px\" \/><br \/>\n<span class=\"caption-text\"><strong>Music example 2:<\/strong> \u201cPsalm\u201d: Phrase\u00a01 and Peak\u00a01. \u00a9\u00a0Daphne Leong;<br \/> Click to listen (0:00-0:30): <a href=\"https:\/\/youtu.be\/gta2GOqvjVE?list=RDgta2GOqvjVE\">https:\/\/youtu.be\/gta2GOqvjVE?list=RDgta2GOqvjVE<\/a><\/p>\n<p>Nine pitch peaks follow (defined here as ascents to C5 or higher), labeled in diamonds on figure\u00a09. The first, as shown in music example\u00a02b, is a simple octave leap C4-C5 on the word \u201cPeace,\u201d leaping back down almost immediately on \u201cThere is none other.\u201d<a href=\"#fn45\" class=\"footnote-ref\" id=\"fnref45\" role=\"doc-noteref\"><sup>45<\/sup><\/a> Motion to successive pitch peaks becomes increasingly complex.<\/p>\n<p>Peak\u00a02 (music example\u00a03) is reached more gradually, arpeggiating through 1-3-5r-7, reaching up a diminished 4th to <em>3<\/em>, falling back immediately to <em>1<\/em> (C5). The words are \u201cWe know. God made us so. Keep your eye on God. God is. He always was. <u>He always will be<\/u>\u201d (climactic clause underlined). Although this pitch peak, E\u266d5, surpasses C5, it is but an embellishment of the basic motion B\u266e4-C5. Coltrane again almost immediately drops back down the octave to C4, but then expands the descent: from the high <em>1<\/em> he arpeggiates slowly through 5r-3-1 and then, for the first time, drops below C4, to <u>5<\/u>.<a href=\"#fn46\" class=\"footnote-ref\" id=\"fnref46\" role=\"doc-noteref\"><sup>46<\/sup><\/a> At this nadir, on the phrase \u201cIt is most important that I know <u>Thee.<\/u>\u201d (lowest point underlined), Coltrane pauses for almost five seconds.<\/p>\n<p>This drop sets in motion two extended and complex ascent-descents. As shown on figure 9 (just after 105\u00a0seconds), the ascent to Peak\u00a03 begins with a slow arc 1-3-4-5-4-3-1. The melodic incantation is inspired by the fragmented nature of the words: \u201cWords, sounds, speech, men, memory, thoughts, fears and emotions\u2014time\u2014all related\u00a0\u2026 all made from one\u00a0\u2026 all made in one. Blessed be His name.\u201d The arc builds to recitation on 5 (\u201cThought waves\u2014heat waves\u2014all vibrations\u2014\u201d), which leaps up to C5 and then E\u266d5 (\u201call paths lead to God\u201d). From this peak, Coltrane wends his way down through a series of ellipses \u201cHis way\u00a0\u2026 it is so lovely\u00a0\u2026 it is so gracious\u201d arpeggiating a Gmin7 chord, bringing new emphasis to the notes B\u266d, D, and especially F\u2014the latter providing the nadir (F3, circled) of Coltrane\u2019s entire soliloquy. This sweeping descent through almost two octaves prepares the dramatic ascent to follow.<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wordpress\/wp-content\/uploads\/14_Leong_music_ex_03_Psalm-opening_Peak-2.png\" alt=\"\" width=\"1328\" height=\"457\" class=\"alignnone size-full wp-image-6555\" srcset=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_music_ex_03_Psalm-opening_Peak-2.png 1328w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_music_ex_03_Psalm-opening_Peak-2-300x103.png 300w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_music_ex_03_Psalm-opening_Peak-2-1024x352.png 1024w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_music_ex_03_Psalm-opening_Peak-2-150x52.png 150w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_music_ex_03_Psalm-opening_Peak-2-768x264.png 768w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_music_ex_03_Psalm-opening_Peak-2-104x36.png 104w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_music_ex_03_Psalm-opening_Peak-2-850x293.png 850w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_music_ex_03_Psalm-opening_Peak-2-1240x427.png 1240w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_music_ex_03_Psalm-opening_Peak-2-320x110.png 320w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_music_ex_03_Psalm-opening_Peak-2-309x106.png 309w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_music_ex_03_Psalm-opening_Peak-2-742x255.png 742w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_music_ex_03_Psalm-opening_Peak-2-496x171.png 496w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_music_ex_03_Psalm-opening_Peak-2-618x213.png 618w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_music_ex_03_Psalm-opening_Peak-2-413x142.png 413w\" sizes=\"auto, (max-width: 1328px) 100vw, 1328px\" \/><br \/>\n<span class=\"caption-text\"><strong>Music example 3:<\/strong> \u201cPsalm\u201d: Peak\u00a02. \u00a9\u00a0Daphne Leong;<br \/> Click to listen (1:01-1:44): <a href=\"https:\/\/youtu.be\/gta2GOqvjVE?list=RDgta2GOqvjVE&amp;t=61\">https:\/\/youtu.be\/gta2GOqvjVE?list=RDgta2GOqvjVE&amp;t=61<\/a><\/p>\n<p>The ascent to Peak\u00a04 (music example\u00a04) begins with \u201cThank you God,\u201d not on 3-1-1 or 5-1-1 as usual, but rising through <u>5<\/u>&#8211;<u>7<\/u>-1. This ascent is repeated to fuel a slow rise through <u>5<\/u>-1-3-5 (\u201cand they all go back to God\u00a0\u2026 everything does. Thank you God.\u201d) \u201cHave no fear\u201d then inspires two bold leaps upwards (5-<em>1<\/em>&#8211;<em>5<\/em>), attaining G5, the movement\u2019s apex, and falling only slightly, to C5, through \u201cbelieve\u00a0\u2026 Thank you God.\u201d<\/p>\n<p>Coltrane sustains this climax, rising again slowly (<em>1<\/em>&#8211;<em>2<\/em>) through \u201cThe universe has many wonders\u201d before accelerating to G5 (<em>3-4-5<\/em>) on the words \u201cGod is all,\u201d and reciting, for the first time, on altissimo G5 (\u201cHis way\u00a0\u2026 it is so wonderful.\u201d) The slow descent to follow traverses every step of the C scale from C5 to G3 (except A\/A\u266d, which does not feature in Coltrane\u2019s line in this movement).<\/p>\n<p>One large peak remains, but Coltrane scales back before reaching it. As shown on figure 9, the next two peaks recite on C5 for the first time, Peak\u00a05 touching on D5, and Peak\u00a06 reaching E\u266d5.<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wordpress\/wp-content\/uploads\/14_Leong_music_ex_04_Peak-4.png\" alt=\"Reproduction of sheet music of \u201cPsalm\u201d.\" width=\"1267\" height=\"711\" class=\"alignnone size-full wp-image-6557\" srcset=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_music_ex_04_Peak-4.png 1267w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_music_ex_04_Peak-4-300x168.png 300w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_music_ex_04_Peak-4-1024x575.png 1024w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_music_ex_04_Peak-4-150x84.png 150w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_music_ex_04_Peak-4-768x431.png 768w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_music_ex_04_Peak-4-104x58.png 104w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_music_ex_04_Peak-4-850x477.png 850w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_music_ex_04_Peak-4-962x540.png 962w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_music_ex_04_Peak-4-320x180.png 320w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_music_ex_04_Peak-4-309x173.png 309w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_music_ex_04_Peak-4-742x416.png 742w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_music_ex_04_Peak-4-435x244.png 435w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_music_ex_04_Peak-4-463x260.png 463w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_music_ex_04_Peak-4-413x232.png 413w\" sizes=\"auto, (max-width: 1267px) 100vw, 1267px\" \/><br \/>\n<span class=\"caption-text\"><strong>Music example 4:<\/strong> \u201cPsalm\u201d: Peak\u00a04. \u00a9\u00a0Daphne Leong; Click to listen (2:33-3:30): <a href=\"https:\/\/youtu.be\/gta2GOqvjVE?si=UXbDPVSgV-5f_fWv&amp;t=153\">https:\/\/youtu.be\/gta2GOqvjVE?si=UXbDPVSgV-5f_fWv&amp;t=153<\/a><\/span><\/p>\n<p>Peak\u00a07 differs from all of the other peaks, and this distinction results, in part, from what happens during the descent from Peak\u00a06. The text (\u201cLet us sing all songs to God To whom all praise is due\u00a0\u2026 praise God.\u201d) contains the psalm\u2019s only explicit mention of music. For the first and only time in the movement, as shown in music example\u00a05, drummer Elvin Jones establishes a clear duple pulse\u2014he even articulates a straightforward four-bar hypermeter (four bars of 4\/4).<a href=\"#fn47\" class=\"footnote-ref\" id=\"fnref47\" role=\"doc-noteref\"><sup>47<\/sup><\/a> Inspired, perhaps, by the new rhythmic context, Coltrane colors this phrase richly with pitch bends and slides, and with a singular A\u266f leading to B. The durational and pitch emphases of his melodic line suggest a displacement of Jones\u2019s meter, by one quarter note later (shown above the music example). The melodic line comes to rest on C4; the final \u201cpraise God\u201d with its apparent ascent (G4-C5) is but an \u201cauxiliary phrase\u201d\u2014the only such phrase to rise to C5.<a href=\"#fn48\" class=\"footnote-ref\" id=\"fnref48\" role=\"doc-noteref\"><sup>48<\/sup><\/a><\/p>\n<p>Thus it is the C5 that follows (\u201cNo road\u201d) that forms the true peak. Articulated with renewed vigor by Coltrane, it forms the arrival point of Jones\u2019s dramatic <em>rallentando<\/em>, resolving the displacement dissonance between Coltrane\u2019s melodic line and Jones\u2019s meter. This peak (figure 9, Peak\u00a07, 283\u201d) inaugurates a long descent (a stretched-out traversal of <em>1<\/em>-5r-3-1) on \u201cNo road is an easy one, but they all go back to God. With all we share God. It is all with God. It is all with Thee. Obey the Lord. Blessed is He.\u201d In differing categorically from the movement\u2019s other peaks, Peak\u00a07 and its approach prepare the way for the final climax.<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wordpress\/wp-content\/uploads\/14_Leong_music_ex_05_let-us-sing.png\" alt=\"Reproduction of sheet music of \u201cPsalm\u201d.\" width=\"1620\" height=\"550\" class=\"alignnone size-full wp-image-6558\" srcset=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_music_ex_05_let-us-sing.png 1620w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_music_ex_05_let-us-sing-300x102.png 300w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_music_ex_05_let-us-sing-1024x348.png 1024w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_music_ex_05_let-us-sing-150x51.png 150w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_music_ex_05_let-us-sing-768x261.png 768w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_music_ex_05_let-us-sing-1536x521.png 1536w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_music_ex_05_let-us-sing-104x35.png 104w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_music_ex_05_let-us-sing-850x289.png 850w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_music_ex_05_let-us-sing-1240x421.png 1240w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_music_ex_05_let-us-sing-320x109.png 320w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_music_ex_05_let-us-sing-309x105.png 309w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_music_ex_05_let-us-sing-742x252.png 742w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_music_ex_05_let-us-sing-496x168.png 496w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_music_ex_05_let-us-sing-618x210.png 618w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_music_ex_05_let-us-sing-413x140.png 413w\" sizes=\"auto, (max-width: 1620px) 100vw, 1620px\" \/><br \/>\n<span class=\"caption-text\"><strong>Music example 5:<\/strong> \u201cPsalm\u201d: Drop before Peak\u00a07. \u00a9\u00a0Daphne Leong; Click to listen (4:24-4:45): <a href=\"https:\/\/youtu.be\/gta2GOqvjVE?list=RDgta2GOqvjVE&amp;t=264\">https:\/\/youtu.be\/gta2GOqvjVE?list=RDgta2GOqvjVE&amp;t=264<\/a><\/span><\/p>\n<p>The ascent to Peak\u00a08 (music example\u00a06), as with the climactic Peak\u00a04, requires two starts on G3-Bb3-C4 (here matching the parallel clauses \u201cI have seen God\u2014I have seen ungodly\u201d). It rises through E\u266d4 (\u201cnone can be greater\u201d) and then a Gmin7 arpeggiation (\u201cnone can compare to God\u201d) to conclude on altissimo \u201cThank you God\u201d (G5-C5-C5). At this peak of intensity, Coltrane, tone hoarse, draws out a recitation on G5, including not only the lower neighbor F5 as usual, but also quick arpeggiations to E\u266d5-C5 on the climactic words \u201cHe will remake us\u00a0\u2026 He always has and He always will. It is true\u2014\u201d An indistinct note (A5?) ends the recitation and cascades quickly down to G4-C4-C4 (\u201cThank you God\u201d).<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wordpress\/wp-content\/uploads\/14_Leong_music_ex_06_Peak-8.png\" alt=\"Reproduction of sheet music of \u201cPsalm\u201d.\" width=\"1142\" height=\"445\" class=\"alignnone size-full wp-image-6564\" srcset=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_music_ex_06_Peak-8.png 1142w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_music_ex_06_Peak-8-300x117.png 300w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_music_ex_06_Peak-8-1024x399.png 1024w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_music_ex_06_Peak-8-150x58.png 150w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_music_ex_06_Peak-8-768x299.png 768w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_music_ex_06_Peak-8-104x41.png 104w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_music_ex_06_Peak-8-850x331.png 850w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_music_ex_06_Peak-8-320x125.png 320w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_music_ex_06_Peak-8-309x120.png 309w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_music_ex_06_Peak-8-742x289.png 742w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_music_ex_06_Peak-8-496x193.png 496w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_music_ex_06_Peak-8-618x241.png 618w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_music_ex_06_Peak-8-413x161.png 413w\" sizes=\"auto, (max-width: 1142px) 100vw, 1142px\" \/><br \/>\n<span class=\"caption-text\"><strong>Music example 6:<\/strong> \u201cPsalm\u201d: Peak\u00a08. \u00a9\u00a0Daphne Leong; Click to listen (5:10-5:44): <a href=\"https:\/\/youtu.be\/gta2GOqvjVE?list=RDgta2GOqvjVE&amp;t=310\">https:\/\/youtu.be\/gta2GOqvjVE?list=RDgta2GOqvjVE&amp;t=310<\/a><\/span><\/p>\n<p>As shown on figure\u00a09 (344\u201d), a lengthy recitation on G4 (the basic recitation tone) begins to close out the movement. There remains but one final, brief peak on Coltrane\u2019s laud \u201cELATION\u2014ELEGANCE\u2014EXALTATION\u201d: an arpeggiation from C4 to C5 and back (Peak\u00a09). The movement closes with a final \u201cAmen.\u201d<\/p>\n<h6>\u201cCarrying the other\u201d<\/h6>\n<p>The choreography adds literal and symbolic dimensions to Coltrane\u2019s rising and falling line. It also foregrounds the relationship of the musicians\u2014and the dancers\u2014to one another. From the opening sound, it is clear that the fourth movement will differ from the preceding ones. Elvin Jones chooses timpani (supplemented by Chinese cymbal) over drumset, and the resulting resonance creates a sonic space in which Jones\u2019s, Garrison\u2019s, and Tyner\u2019s sounds envelop and amplify Coltrane\u2019s leading melodic line.<a href=\"#fn49\" class=\"footnote-ref\" id=\"fnref49\" role=\"doc-noteref\"><sup>49<\/sup><\/a> The communal nature of the sound space is illustrated by the four musicians\u2019 opening pitches (music example\u00a07), which articulate the lowest partials (overtones) of Garrison\u2019s plucked C2 almost exactly (Coltrane plays E\u266d4 rather than E\u266e4).<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wordpress\/wp-content\/uploads\/14_Leong_music_ex_07_sonic-unity.png\" alt=\"Reproduction of sheet music of \u201cPsalm\u201d.\" width=\"475\" height=\"310\" class=\"alignnone size-full wp-image-6565\" style=\"width:45%; display: block; margin-left: auto; margin-right: auto;\" srcset=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_music_ex_07_sonic-unity.png 475w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_music_ex_07_sonic-unity-300x196.png 300w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_music_ex_07_sonic-unity-150x98.png 150w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_music_ex_07_sonic-unity-104x68.png 104w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_music_ex_07_sonic-unity-320x209.png 320w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_music_ex_07_sonic-unity-309x202.png 309w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_music_ex_07_sonic-unity-374x244.png 374w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_music_ex_07_sonic-unity-398x260.png 398w\" sizes=\"auto, (max-width: 475px) 100vw, 475px\" \/><br \/>\n<span class=\"caption-text\"><strong>Music example 7:<\/strong> Sonic unity in \u201cPsalm\u201d: opening pitches. \u00a9\u00a0Daphne Leong<\/p>\n<p>The dancers, likewise, no longer represent individual musicians, but the sonic whole.<\/p>\n<blockquote>\n<p class=\"tsquotation\">It is certainly the first time the dancers touch one another. At this point they take leave of their personal struggles, and of their dance with gravity, and support each other. They help keep each other from falling. What\u2019s more, they take turns lifting each other in an upward spiral reflecting the geometric pattern on the ground. The hierarchy between them is entirely suspended; each is freed from gravity, in a sense. This is about taking care of each other by carrying the others with a high degree of physical empathy.<a href=\"#fn50\" class=\"footnote-ref\" id=\"fnref50\" role=\"doc-noteref\"><sup>50<\/sup><\/a><\/p>\n<\/blockquote>\n<p>This choreography to \u201cPsalm\u201d seems to reference contact improvisation, the dance movement perhaps best known for experimenting with falling, with gravity, and with shared weight.<a href=\"#fn51\" class=\"footnote-ref\" id=\"fnref51\" role=\"doc-noteref\"><sup>51<\/sup><\/a> Even the slow-motion aspects of some of the ensemble dancing resonates with the slow motion used \u201cto elucidate the act of falling\u201d in film chronicling contact improvisation.<a href=\"#fn52\" class=\"footnote-ref\" id=\"fnref52\" role=\"doc-noteref\"><sup>52<\/sup><\/a> Here, the slow motion reflects the strain and fatigue expressed by Coltrane\u2019s tone, as well as \u201cthe dancers\u2019 physical state at this point in the performance. They are moving slowly after a long and very exhausting explosion of energy that makes them thoroughly human [\u2026].\u201d The physical fatigue lends the scene weight; the dancers \u201cdon\u2019t need to pretend.\u201d<a href=\"#fn53\" class=\"footnote-ref\" id=\"fnref53\" role=\"doc-noteref\"><sup>53<\/sup><\/a><\/p>\n<p>Just as Coltrane\u2019s melodic utterances call to mind black American preaching, so too do the dancers evoke sculptural images (figure\u00a010). \u201cYou recognize iconic images remembered from art history, without necessarily being able to name them. To that end they are not too specific or concrete, nor too abstract. Ultimately they are dancers lifting each other up.\u201d<a href=\"#fn54\" class=\"footnote-ref\" id=\"fnref54\" role=\"doc-noteref\"><sup>54<\/sup><\/a> The musical and danced references are both transcendent and specific, archetypal and in the here and now.<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wordpress\/wp-content\/uploads\/14_Leong_Fig_10_sculpture.png\" alt=\"Four dancers in black perform a dynamic routine. Two dancers lift a third horizontally, while the fourth kneels, supporting.\" width=\"1867\" height=\"2092\" class=\"alignnone size-full wp-image-6566\" style=\"width:75%; display: block; margin-left: auto; margin-right: auto;\" srcset=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_10_sculpture.png 1867w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_10_sculpture-268x300.png 268w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_10_sculpture-914x1024.png 914w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_10_sculpture-134x150.png 134w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_10_sculpture-768x861.png 768w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_10_sculpture-1371x1536.png 1371w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_10_sculpture-1828x2048.png 1828w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_10_sculpture-66x74.png 66w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_10_sculpture-438x491.png 438w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_10_sculpture-482x540.png 482w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_10_sculpture-196x220.png 196w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_10_sculpture-295x330.png 295w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_10_sculpture-850x952.png 850w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_10_sculpture-437x490.png 437w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_10_sculpture-218x244.png 218w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_10_sculpture-232x260.png 232w\" sizes=\"auto, (max-width: 1867px) 100vw, 1867px\" \/><br \/>\n<span class=\"caption-text\"><strong>Figure 10:<\/strong> \u201cPsalm\u201d: Sculptural image (Lift 1). \u00a9\u00a02019 by Rosas<\/span><\/p>\n<p>Coltrane\u2019s verbal \u201cpsalm,\u201d too, is at once concrete and unnamed. The liner notes are cryptic: in a letter to the listener, Coltrane writes, \u201cThe fourth and last part is a musical narration of the theme, \u2018A <span class=\"smallcaps\">Love Supreme<\/span>\u2019 which is written in the context; it is entitled \u201cPSALM.\u201d The reference, of course, is to the long poem, also printed in the liner notes.<a href=\"#fn55\" class=\"footnote-ref\" id=\"fnref55\" role=\"doc-noteref\"><sup>55<\/sup><\/a> But even Coltrane\u2019s fellow quartet members seemed unaware of the text\u2019s role: in speaking with Ashley Kahn about the <em>Love Supreme<\/em> recording session, pianist McCoy Tyner and drummer Elvin Jones focused on how little information Coltrane typically gave them. A text was not mentioned.<a href=\"#fn56\" class=\"footnote-ref\" id=\"fnref56\" role=\"doc-noteref\"><sup>56<\/sup><\/a> To Lewis Porter, \u201cElvin Jones indicated [\u2026] that he was unaware that Coltrane was reciting the poem on his saxophone.\u201d<a href=\"#fn57\" class=\"footnote-ref\" id=\"fnref57\" role=\"doc-noteref\"><sup>57<\/sup><\/a><\/p>\n<p>Coltrane himself, in the live performance at Antibes, France several months later, discarded his syllabic declamation for instrumental virtuosity.<a href=\"#fn58\" class=\"footnote-ref\" id=\"fnref58\" role=\"doc-noteref\"><sup>58<\/sup><\/a> Speaking at Antibes about his musicians, Coltrane said, \u201cI never have to tell them anything. [&#8230;] There is a perfect musical communion between us that doesn\u2019t take human values into account. Even in the case of <em>Love Supreme<\/em>, without discussion, I don\u2019t go any further than to set the layout of the work.\u201d Coltrane then describes the framework of \u201cthe last part,\u201d \u201cthe first part,\u201d and \u201cthe central part,\u201d that is, of III.\u00a0\u201cPursuance,\u201d I.\u00a0\u201cAcknowledgement,\u201d and II.\u00a0\u201cResolution\u201d; he does not mention \u201cPsalm\u201d separately.<a href=\"#fn59\" class=\"footnote-ref\" id=\"fnref59\" role=\"doc-noteref\"><sup>59<\/sup><\/a><\/p>\n<p>Sanchis and De Keersmaeker ultimately read the movement as a testament to human relationship:<\/p>\n<blockquote>\n<p class=\"tsquotation\">A dancer lifted up horizontally can mean different things: it can mean the person is dead, unconscious, sleeping, ill. In any case, at an abstract level, there is a sense of surrender, vulnerability, and so also trust. <em>A Love Supreme<\/em> suggests a love directed highly, at something that is \u2018supreme,\u2019 but also that the ultimate love is love for one\u2019s neighbor. It is a love capable of suspending its own ego by carrying the other, whether literally or through a kind of communal playing like the quartet does, and communicating collectively.<a href=\"#fn60\" class=\"footnote-ref\" id=\"fnref60\" role=\"doc-noteref\"><sup>60<\/sup><\/a><\/p>\n<\/blockquote>\n<p>Here De Keersmaeker directly ties the dancers\u2019 shared weight-bearing to the quartet\u2019s \u201ccommunal playing.\u201d<\/p>\n<p>Further, the music\u2019s multi-racial embodiment in Vantuycom, El\u00a0Had, dos Santos, and Respilieux, in 2017, puts faces to De Keersmaeker\u2019s statement: \u201cWhen you are dancing to music that is so powerful, you inevitably embody an idea of what it means to be human.\u201d \u201cDuring the working process,\u201d said Sanchis, \u201cwe talked a lot with the dancers about what transcends us. [\u2026] There is something out there that we humans plug into, independently, all around the world. [\u2026] It\u2019s about an experience of the world that predates language. That\u2019s why I often find musicians tremendously spiritual, probably because they can communicate beyond the regular language system, and can express experiences that are beyond the linguistic.\u201d<a href=\"#fn61\" class=\"footnote-ref\" id=\"fnref61\" role=\"doc-noteref\"><sup>61<\/sup><\/a><\/p>\n<p>Although it is beyond the scope of this chapter, race plays a complex role in this work. In the identities of the classic quartet (Coltrane, Tyner, Garrison, and Jones) as black jazz musicians, in the final movement\u2019s indebtedness to the black American intonational preaching tradition, and ultimately in the album\u2019s significance as an archetypal symbol, on the one hand, of African American experience and, on the other, of universal values,<a href=\"#fn62\" class=\"footnote-ref\" id=\"fnref62\" role=\"doc-noteref\"><sup>62<\/sup><\/a> <em>A Love Supreme<\/em> stands for much more than its acoustic trace. Pair this with the Spanish and Belgian background of the two choreographers, the Belgian base of De Keersmaeker\u2019s dance company <em>Rosas<\/em>, and the international identities of the four dancers (Dutch, Moroccan, French, and Brazilian)\u2014and the danced <em>Love Supreme<\/em> is truly transnational, yet deeply grounded in both African American and European traditions.<\/p>\n<h6>Dance contour<\/h6>\n<p>The synthesis of sound and dance also unites the ineffable and the concrete. The metaphor of pitch rise and fall plays into the dancers\u2019 bodily lifts, and into their play with and against gravity.<\/p>\n<blockquote>\n<p class=\"tsquotation\">One can\u2019t dance in such a way that one leaves the ground we stand on. Dancers are bound to the laws of physics [\u2026]. This renders dance abstract and concrete at the same time: bodies moving in time and space, with gravity as their grounding, counterforce, and restriction.<a href=\"#fn63\" class=\"footnote-ref\" id=\"fnref63\" role=\"doc-noteref\"><sup>63<\/sup><\/a><\/p>\n<\/blockquote>\n<p>I use the word \u201ccontour\u201d here in parallel to pitch contour\u2014that is, to refer to the vertical dimension of the dance. Specifically, I will discuss lifts at or above the level of the shoulders, and drops to the floor. All such lifts are labeled in ovals on figure 9. Each of pitch peaks 1-4 (rising through C5, E\u266d5, and G5) is choreographed with an ensemble lift at or above the level of the shoulders. After attaining the highest melodic apex at Peak\u00a04 (G5), each subsequent peak higher than C5, that is, Peaks 6 and 8 (E\u266d5 and G5 respectively), also receive such an ensemble lift.<a href=\"#fn64\" class=\"footnote-ref\" id=\"fnref64\" role=\"doc-noteref\"><sup>64<\/sup><\/a> Each lift differs in motion quality and character, and together with the line unfolding in music and dance, narrates emotion and story.<a href=\"#fn65\" class=\"footnote-ref\" id=\"fnref65\" role=\"doc-noteref\"><sup>65<\/sup><\/a><\/p>\n<p>In the chart below, I list the primary lifts and drops. The descriptions on the right should be considered part of the main text of this chapter. The reader is invited to read each description in tandem with the corresponding musical example, and then to watch the accompanying <del>video<\/del>. (The video examples in the chart have been replaced with the images listed in the leftmost column; audio links are found in the second column.)<\/p>\n<table>\n<colgroup>\n<col style=\"width: 8%\" \/>\n<col style=\"width: 16%\" \/>\n<col style=\"width: 11%\" \/>\n<col style=\"width: 1%\" \/>\n<col style=\"width: 64%\" \/>\n  <\/colgroup>\n<thead>\n<tr class=\"thead-top\">\n<th><strong>Image<\/strong><\/th>\n<th><strong>Example<\/strong><\/th>\n<th><strong>Peak<\/strong><\/th>\n<th colspan=\"2\"><strong>Lifts and Drops<\/strong><\/th>\n<\/tr>\n<\/thead>\n<tbody>\n<tr>\n<td class=\"hline-all\">Fig. 10<\/td>\n<td class=\"hline-all\">\n<p>M.Ex. 2b<\/p>\n<p>Audio: <a href=\"https:\/\/youtu.be\/gta2GOqvjVE?t=24\">https:\/\/youtu.be\/gta2GOqvjVE?t=24<\/a><\/p>\n<\/td>\n<td class=\"hline-all\">Peak 1<\/td>\n<td class=\"hline-all\" colspan=\"2\">\n        Lift 1 (Vantuycom)<br \/>\n        On this first, straightforward melodic leap up the octave and back down, C4-C5-C4, dos Santos lifts Vantuycom in a circular turn, putting him back down as the pitch drops back down the octave.\n      <\/td>\n<\/tr>\n<tr>\n<td><\/td>\n<td class=\"hline-col2\">M.Ex. 3 (\u201cHe always was.\u201d)<\/td>\n<td class=\"hline-col3\">Peak 2<\/td>\n<td class=\"hline-col4\" colspan=\"2\">\n        Lifts 2 and 3 (El Had, Respilieux)<br \/>\n        El Had and JRespilieux are lifted in turn, El Had corresponding to the Eb5 apex, and Respilieux to the C5 that immediately follows, each being put back down as the pitch descends.\n      <\/td>\n<\/tr>\n<tr>\n<td><\/td>\n<td>Fig. 9 (132&#8243;-)<\/td>\n<td>Peak 3<\/td>\n<td class=\"hline-col4\" colspan=\"2\">\n        Lift 4 (Vantuycom)<br \/>\n        With circling at multiple levels, this lift happens just after the pitch apex Eb5, on the C5\u2019s of the \u201cThank you God\u201d melodic formula.\n      <\/td>\n<\/tr>\n<tr>\n<td class=\"hline-all\"><\/td>\n<td class=\"hline-all\"><\/td>\n<td class=\"hline-all\"><\/td>\n<td class=\"hline-all\" colspan=\"2\">\n        Drop: Floor (dos Santos)<br \/>\n        As Coltrane reaches C4, and drops to the nadir C4-Bb3-F3-G3 to conclude the phrase, dos Santos slides to the ground. At the beginning of the next phrase, G3-Bb3-C4, the other three dancers huddle low over dos Santos.\n      <\/td>\n<\/tr>\n<tr>\n<td><\/td>\n<td>Fig. 9 (162&#8243;-)<\/td>\n<td>Peak 4<\/td>\n<td class=\"hline-col4\" colspan=\"2\">\n        Crouch then Lift 5 (Vantuycom)\n      <\/td>\n<\/tr>\n<tr>\n<td><\/td>\n<td>Audio: <a href=\"https:\/\/youtu.be\/gta2GOqvjVE?t=162\">https:\/\/youtu.be\/gta2GOqvjVE?t=162<\/a><\/td>\n<td><\/td>\n<td class=\"hline-col4\" colspan=\"2\">\n        Crouch: On the C4 just before the bold leaps upward, Respilieux stretches his arm out, hand on Vantuycom\u2019s chest, both dancers\u2019 weight on that hand, before Vantuycom crouches down in anguish, fists to his face, on Coltrane\u2019s F5 (G5-<strong>F5<\/strong>-D5).\n      <\/td>\n<\/tr>\n<tr>\n<td><\/td>\n<td><\/td>\n<td><\/td>\n<td class=\"hline-col4\" colspan=\"2\">\n        Lift 5: At Coltrane\u2019s leap back up to G5 (F5-D5-G5r) Vantuycom is lifted high on his back, almost as if dead, held motionless for the held G, and gradually turned during the recitation.\n      <\/td>\n<\/tr>\n<tr>\n<td class=\"hline-all\"><\/td>\n<td class=\"hline-all\"><\/td>\n<td class=\"hline-all\"><\/td>\n<td class=\"hline-all\" colspan=\"2\">\n        Drop: (Vantuycom)<br \/>\n        As Coltrane reaches Eb4-Eb4-F4-C4, and drops further to the G3 ending the phrase, Vantuycom begins to fall, and ends almost prone, on his back parallel to the floor, as Coltrane\u2019s tone diminuendos to a dusky G3.\n      <\/td>\n<\/tr>\n<tr>\n<td>Fig. 11<\/td>\n<td><\/td>\n<td class=\"hline-col3\"><\/td>\n<td class=\"hline-col4\" colspan=\"2\">\n        Rise to Peak 5: Lift to standing (Respilieux)<br \/>\n        Coltrane\u2019s tone becomes more energetic as he begins the rise from G3. As Respilieux pulls Vantuycom up, Respilieux\u2019s weight brings him to the floor, where he lies as if dead or ill, until his three friends lift him to standing on the G4 recitation.\n      <\/td>\n<\/tr>\n<tr>\n<td class=\"hline-all\"><\/td>\n<td class=\"hline-all\"><\/td>\n<td class=\"hline-all\">Peak 5<\/td>\n<td class=\"hline-all\" colspan=\"2\">\n        Jump downwards (Vantuycom)\n      <\/td>\n<\/tr>\n<tr>\n<td class=\"hline-all\">Fig. 12<\/td>\n<td class=\"hline-all\"><\/td>\n<td class=\"hline-all\">Peak 6<\/td>\n<td class=\"hline-all\" colspan=\"2\">\n        Lift 6 (Vantuycom)<br \/>\n        Vantuycom is lifted on all fours.\n      <\/td>\n<\/tr>\n<tr>\n<td><\/td>\n<td>\n<p>M.Ex. 5<\/p>\n<p>Audio: <a href=\"https:\/\/youtu.be\/gta2GOqvjVE?t=264\">https:\/\/youtu.be\/gta2GOqvjVE?t=264<\/a><\/p>\n<\/td>\n<td>Drop &amp; Peak 7<\/td>\n<td class=\"hline-col4\" colspan=\"2\">\n        Pull up (El Had)<br \/>\n        We have already discussed how this drop and Peak 7 stand out, particularly because of the hypermetric underpinning of the timpani. The choreography responds to this pacing as well as to the G4-C5 tag and to Peak 7. Hyperbeats are marked on music example 5.\n      <\/td>\n<\/tr>\n<tr>\n<td><\/td>\n<td><\/td>\n<td><\/td>\n<td class=\"hline-col4\" colspan=\"2\">\n        At hyperbeat 1 and during Coltrane\u2019s scalar walk from 5 down to 1, Vantuycom and El Had entwine arms and lean on one another, walking backwards. They release their mutual hold at hyperbeat 2. At hyperbeat 3, where the phrase cadences melodically (Eb4-C4), Vantuycom and El Had slide to the floor. They mark the syncopated ascending tag (G4-C5) with a rapid leg\/head motion, while in prone position. Since the phrase has already completed melodically, hyperbeat 4 is not articulated choreographically. Rather, to lead to the following structural downbeat, Vantuycom somersaults to standing and El Had rolls onto his back.\n      <\/td>\n<\/tr>\n<tr>\n<td class=\"hline-all\"><\/td>\n<td class=\"hline-all\"><\/td>\n<td class=\"hline-all\"><\/td>\n<td class=\"hline-all\" colspan=\"2\">\n        At the structural downbeat and true peak (C5), Vantuycom, in a striking gesture, curves his hands down to meet El Had\u2019s outstretched hands, grasps them, and pulls El Had up. This marked \u201clift\u201d presages the final climactic peak to come.\n      <\/td>\n<\/tr>\n<tr>\n<td class=\"hline-all\">Fig. 13<\/td>\n<td class=\"hline-all\">\n<p>M.Ex. 6<\/p>\n<p>Audio: <a href=\"https:\/\/youtu.be\/gta2GOqvjVE?t=310\">https:\/\/youtu.be\/gta2GOqvjVE?t=310<\/a><\/p>\n<\/td>\n<td class=\"hline-all\">Peak 8<\/td>\n<td class=\"hline-all\" colspan=\"2\">\n        Lift 7 (Vantuycom)<br \/>\n        This is the most extreme of the pitch peaks. Coltrane recites for about 15 seconds on altissimo G5, his tone hoarse and breaking just before the final G5. For this lift, a bent and bowed El Had carries Vantuycom on his back, turning laboriously.\n      <\/td>\n<\/tr>\n<tr>\n<td class=\"hline-all\"><\/td>\n<td class=\"hline-all\"><\/td>\n<td class=\"hline-all\">Peak 9<\/td>\n<td class=\"hline-all\" colspan=\"2\">\n        The dancers have separated, no longer touching one another. We will see how this plays into the overall form of the choreography.\n      <\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p>\n  <span class=\"caption-text\"><strong>Table 1:<\/strong> \u201cPsalm\u201d: Peaks and Lifts<\/span>\n<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wordpress\/wp-content\/uploads\/14_Leong_Fig_11_Respilieux-descending.png\" alt=\"Four dancers in black outfits perform a contemporary piece on stage. Two dancers support another who leans back, conveying balance and connection.\" width=\"2362\" height=\"1509\" class=\"alignnone size-full wp-image-6578\" srcset=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_11_Respilieux-descending.png 2362w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_11_Respilieux-descending-300x192.png 300w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_11_Respilieux-descending-1024x654.png 1024w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_11_Respilieux-descending-150x96.png 150w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_11_Respilieux-descending-768x491.png 768w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_11_Respilieux-descending-1536x981.png 1536w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_11_Respilieux-descending-2048x1308.png 2048w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_11_Respilieux-descending-104x66.png 104w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_11_Respilieux-descending-769x491.png 769w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_11_Respilieux-descending-845x540.png 845w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_11_Respilieux-descending-320x204.png 320w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_11_Respilieux-descending-309x197.png 309w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_11_Respilieux-descending-850x543.png 850w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_11_Respilieux-descending-742x474.png 742w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_11_Respilieux-descending-382x244.png 382w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_11_Respilieux-descending-407x260.png 407w\" sizes=\"auto, (max-width: 2362px) 100vw, 2362px\" \/><br \/>\n<span class=\"caption-text\"><strong>Figure 11:<\/strong> Respilieux descending as he pulls up Vantuycom. Photograph by Anne Van Aerschot. \u00a9\u00a02019 by Rosas<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wordpress\/wp-content\/uploads\/14_Leong_Fig_12_TV-raised-on-all-4s-scaled.png\" alt=\"Three performers in black attire create a dynamic balance. Two support a third in a horizontal lift against a dark, industrial backdrop.\" width=\"1930\" height=\"2560\" class=\"alignnone size-full wp-image-6581\" style=\"width:75%; display: block; margin-left: auto; margin-right: auto;\" srcset=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_12_TV-raised-on-all-4s-scaled.png 1930w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_12_TV-raised-on-all-4s-226x300.png 226w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_12_TV-raised-on-all-4s-772x1024.png 772w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_12_TV-raised-on-all-4s-113x150.png 113w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_12_TV-raised-on-all-4s-768x1019.png 768w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_12_TV-raised-on-all-4s-1158x1536.png 1158w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_12_TV-raised-on-all-4s-1544x2048.png 1544w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_12_TV-raised-on-all-4s-56x74.png 56w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_12_TV-raised-on-all-4s-370x491.png 370w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_12_TV-raised-on-all-4s-407x540.png 407w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_12_TV-raised-on-all-4s-166x220.png 166w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_12_TV-raised-on-all-4s-249x330.png 249w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_12_TV-raised-on-all-4s-850x1128.png 850w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_12_TV-raised-on-all-4s-369x490.png 369w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_12_TV-raised-on-all-4s-184x244.png 184w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_12_TV-raised-on-all-4s-196x260.png 196w\" sizes=\"auto, (max-width: 1930px) 100vw, 1930px\" \/><br \/>\n<span class=\"caption-text\"><strong>Figure 12:<\/strong> Lift\u00a06. Photograph by Anne Van Aerschot. \u00a9\u00a02019 by Rosas<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wordpress\/wp-content\/uploads\/14_Leong_Fig_13_ElHad-carrying-TV_heller-scaled.png\" alt=\"Two dancers in black attire perform a contemporary piece on stage. One carries the other on their back, conveying strength and support against a soft-lit backdrop.\" width=\"1804\" height=\"2560\" class=\"alignnone size-full wp-image-6548\" style=\"width:75%; display: block; margin-left: auto; margin-right: auto;\" srcset=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_13_ElHad-carrying-TV_heller-scaled.png 1804w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_13_ElHad-carrying-TV_heller-211x300.png 211w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_13_ElHad-carrying-TV_heller-721x1024.png 721w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_13_ElHad-carrying-TV_heller-106x150.png 106w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_13_ElHad-carrying-TV_heller-768x1090.png 768w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_13_ElHad-carrying-TV_heller-1082x1536.png 1082w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_13_ElHad-carrying-TV_heller-1443x2048.png 1443w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_13_ElHad-carrying-TV_heller-52x74.png 52w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_13_ElHad-carrying-TV_heller-346x491.png 346w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_13_ElHad-carrying-TV_heller-380x540.png 380w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_13_ElHad-carrying-TV_heller-155x220.png 155w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_13_ElHad-carrying-TV_heller-232x330.png 232w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_13_ElHad-carrying-TV_heller-850x1207.png 850w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_13_ElHad-carrying-TV_heller-345x490.png 345w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_13_ElHad-carrying-TV_heller-172x244.png 172w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/14_Leong_Fig_13_ElHad-carrying-TV_heller-183x260.png 183w\" sizes=\"auto, (max-width: 1804px) 100vw, 1804px\" \/><br \/>\n<span class=\"caption-text\"><strong>Figure 13:<\/strong> Lift\u00a07: El\u00a0Had carrying Vantuycom. Photograph by Anne Van Aerschot. \u00a9\u00a02019 by Rosas<\/p>\n<p>To summarize, Peaks 1-3, which move upwards from C5 to E\u266d5, feature twirling lifts (of Vantuycom, El\u00a0Had and Respilieux, and Vantuycom) fairly short in duration, matching the durations of the peaks. They culminate in Peak\u00a04 (G5r), at which Vantuycom first crouches in anguish, and is then lifted up as if dead and held aloft. After this climax, Peaks 5-7 diminish in pitch height (D5, E\u266d5, C5). Peak\u00a07 (C5), with a unique hypermetric setting, marks a structural downbeat with Vantuycom reaching down to pull up a prone El\u00a0Had. This dramatic gesture presages the final climactic Peak 8, where a hoarse Coltrane, reciting on altissimo G5, is matched by a weary El\u00a0Had, bearing Vantuycom on his shoulders. The most emotionally laden images\u2014Vantuycom as if dead (Lift\u00a05) and Vantuycom borne by El Had (Lift\u00a07)\u2014mirror the emotional intensity of Coltrane\u2019s highest recitations and the sonic drama surrounding them.<a href=\"#fn66\" class=\"footnote-ref\" id=\"fnref66\" role=\"doc-noteref\"><sup>66<\/sup><\/a><\/p>\n<p>All major pitch peaks in the movement are represented by ensemble lifts, as described; there are no other ensemble lifts at or above the level of the shoulders. All of the lifts, except the last, involve all four dancers.<a href=\"#fn67\" class=\"footnote-ref\" id=\"fnref67\" role=\"doc-noteref\"><sup>67<\/sup><\/a> The move to two dancers on the last lift is significant; Vantuycom and El Had mirror or parallel one another at the beginning of the movement and again at the end.<\/p>\n<p>As shown in <del>video\u00a013<\/del>, after El\u00a0Had gently lets Vantuycom down, El\u00a0Had is pulled back by his fellow dancers, opening out into the two-armed upward extension familiar from the first movement\u2019s dance phrase. From this point onwards, the dancers no longer touch one another. A series of gestures recalls earlier ones, including dance gestures from the first movement\u2019s basic dance phrase. The dancers exit one by one, first dos Santos, then Respilieux. When only Vantuycom and El\u00a0Had remain, they dance a fragment referring directly to cells 15-18 of the P dance phrase, before El\u00a0Had exits and Vantuycom concludes, again quoting cells from the original phrase (2, 18b). The cycle as a whole thus concludes by referencing the metaphorical source for the entire composition: \u201ca love supreme.\u201d<\/p>\n<p>Ingrid Monson has discussed \u201cthe capacity of aural signs to signify in multiple directions\u2014their ability to simultaneously constitute structure and a broader field of human relationships.\u201d<a href=\"#fn68\" class=\"footnote-ref\" id=\"fnref68\" role=\"doc-noteref\"><sup>68<\/sup><\/a> In \u201cPsalm,\u201d the choreography draws out the extremes of pitch contour in Coltrane\u2019s oration, the raw timbres of the saxophone, and the striking sonic interdependence of the ensemble, embodying these musical interrelationships to powerfully signify deep human interconnection and mutual support.<\/p>\n<h4 id=\"3\">Silent Prelude<\/h4>\n<p>The suite\u2019s choreography begins with a thirteen-minute, danced, silent prelude\u2014the dancers dressed as if warming up. As an opening of the space between music and dance, dancers and spectators, the silent prelude reverses the relation of music and dance. Here dance precedes music; it is dance that eventually ushers in sound.<\/p>\n<p>The prelude consists of three traversals of fourth-movement choreography. The first traversal frames energetic third-movement material with the opening and closing of the fourth movement. It begins with the ensemble choreography of the fourth movement rotated to face the back of the stage; it ends with the closing sequence of the fourth movement, in which the dancers exit one by one, leaving only Vantuycom. In the second traversal, Vantuycom follows a task that reduces his fourth-movement material to an enigmatic succession of pedestrian movements: he stands, turns, walks, looks ahead\/up\/to the side.<a href=\"#fn69\" class=\"footnote-ref\" id=\"fnref69\" role=\"doc-noteref\"><sup>69<\/sup><\/a> The extended sequence, full of pauses, includes a few stances identical to fourth-movement ones, in reverse order.<a href=\"#fn70\" class=\"footnote-ref\" id=\"fnref70\" role=\"doc-noteref\"><sup>70<\/sup><\/a> The third traversal concludes the Prelude: Vantuycom dances the entire fourth movement alone (in spite of its ensemble premise); he omits some ensemble portions and adjusts others. His closing gesture\u2014that is, the last gesture of the entire suite\u2014thus functions at the end of the Prelude to wave in Coltrane\u2019s opening fanfare. <del>Video\u00a014<\/del> shows a) the fourth-movement opening, b) the rotated fourth-movement opening that begins the Prelude, and c) Vantuycom\u2019s solo version of the fourth-movement opening in the Prelude.<\/p>\n<p>In rotating spatial orientation, transforming complex choreography into pedestrian movements, and reducing ensemble to solo dancing\u2014all in silence\u2014the Prelude begins <em>A Love Supreme<\/em> with a question\u2014a space, as it were\u2014\u201cfor the audience to read something, to place their experience.\u201d In its silence, \u201cit tunes our perception.\u201d<a href=\"#fn71\" class=\"footnote-ref\" id=\"fnref71\" role=\"doc-noteref\"><sup>71<\/sup><\/a><\/p>\n<h4 id=\"4\">Conclusion<\/h4>\n<p>The suite encompasses a journey.<a href=\"#fn72\" class=\"footnote-ref\" id=\"fnref72\" role=\"doc-noteref\"><sup>72<\/sup><\/a> Sanchis speaks of the \u201cdramaturgical accessibility\u201d of <em>A<\/em> <em>Love Supreme<\/em>; \u201cit was a kind of spiritual revelation, [\u2026] a short opera of sorts.\u201d He references its \u201cintensity\u201d and \u201cexpressive excess,\u201d De Keersmaeker its \u201cbeautiful connection between joy and gravity.\u201d<a href=\"#fn73\" class=\"footnote-ref\" id=\"fnref73\" role=\"doc-noteref\"><sup>73<\/sup><\/a><\/p>\n<p>The dance \u201copens up\u201d <em>Love Supreme<\/em> in vastly different ways in the first and last movements.<a href=\"#fn74\" class=\"footnote-ref\" id=\"fnref74\" role=\"doc-noteref\"><sup>74<\/sup><\/a> In the first, composed and improvised material in the dance responds to that in the music: the basic dance phrase to the bass ostinato and its verbal source, the dancers\u2019 roles to the roles of jazz rhythm section and soloist. Vantuycom\u2019s virtuosity embodies Coltrane\u2019s. Unison dancing highlights the introduction and eventual transformation of the bass ostinato into the chanted \u201ca love supreme.\u201d<\/p>\n<p>In the last movement, composed dance interprets improvised music. The dancers\u2019 physical interdependence incarnates the musicians\u2019 sonic unity. Bodily lifts and drops depict Coltrane\u2019s melodic climbs and falls\u2014further, they dramatize Coltrane\u2019s timbral nuances and the musicians\u2019 interplay.<\/p>\n<p>In the first case, the structure of the dance embodies and simplifies that of the music, supplying a framework within which improvisation (in both dance and music) can be understood. In the second, the dance frames the music in concrete, affective, and spatial dimensions\u2014telling a story of mutual human support. In so doing, it connects to both the visceral and transcendent elements of the music, and creates new spaces within which audience members can place their own readings.<\/p>\n<section id=\"footnotes\" class=\"footnotes footnotes-end-of-document\" role=\"doc-endnotes\">\n<hr \/>\n<ol>\n<li id=\"fn1\">\n<p><sup>\u00a0<\/sup>I am grateful to Salva Sanchis for a generous video interview, 7 September 2020, which made this work possible. My thanks also to Sanchis and Hans Galle for making a video of the full performance of <em>Love Supreme<\/em> available. Photographs of <em>Love Supreme<\/em> choreography, by Anne Van Aerschot, are reproduced by kind permission of Rosas. Anya Cloud introduced me to contact improvisation and provided astute comments on a draft of this chapter; Keith Waters provided helpful feedback; and Kara Yoo Leaman gave insightful suggestions on an early version of this work (Daphne Leong, \u201cEmbodying Music: Three Questions from Practice,\u201d plenary presentation, Society for Music Theory Annual Meeting [online, 2020]). I am grateful to Stephanie Schroedter for the opportunity to take this work further.<a href=\"#fnref1\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn2\">\n<p><a href=\"https:\/\/www.rosas.be\/en\/news\/574-dancers-of-ia-love-supremei-win-the-iprix-de-la-critique-2017i-for-best-performers\">https:\/\/www.rosas.be\/en\/news\/574-dancers-of-ia-love-supremei-win-the-iprix-de-la-critique-2017i-for-best-performers<\/a>, accessed 15 June 2022. This chapter addresses the 2017 choreography. Sanchis both danced in and co-choreographed (with De Keersmaeker) an earlier version, <em>Raga for the Rainy Season\u00a0\/ A Love Supreme<\/em> (2005) (<a href=\"https:\/\/www.rosas.be\/en\/productions\/376-raga-for-the-rainy-season-a-love-supreme\">https:\/\/www.rosas.be\/en\/productions\/376-raga-for-the-rainy-season-a-love-supreme<\/a>).<a href=\"#fnref2\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn3\">\n<p>Sanchis, 2020 video interview with author.<a href=\"#fnref3\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn4\">\n<p>Stephanie Jordan provides an excellent overview of work on dance-music relations, considering intermedia theory and choreomusical theory in the context of Western theater dance. \u201cMutual implication\u201d is taken from Claudia Gorbman\u2019s discussion of relations between music and image in film. Mariusz Kozak includes discussion of how dance-music relations contribute to connections between audience and dancer in De Keersmaeker\u2019s <em>Violin Phase<\/em>. Stephanie Jordan, \u201cChoreomusical Conversations: Facing a Double Challenge,\u201d in <em>Dance Research Journal<\/em> 43\/1 (2011): 43-64; see also Jordan, \u201cIntroduction,\u201d in <em>Music and Dance: Special Issue on Choreomusical Analysis, Journal of Music Theory<\/em> 65\/1 (2021): 3-9. Claudia Gorbman, <em>Unheard Melodies: Narrative Film Music<\/em> (Bloomington, IN: Indiana University Press, 1987), 15. Mariusz Kozak, \u201cAnne Teresa De Keersmaeker\u2019s <em>Violin Phase<\/em> and the Experience of Time, or Why Does Process Music Work?\u201d in <em>Music Theory Online<\/em> 27\/2 (2021).<a href=\"#fnref4\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn5\">\n<p>\u201cThe improvising dancer tacks back and forth between the <em>known<\/em> and the <em>unknow<\/em>n\u201d (Susan Foster, \u201cTaken by Surprise: Improvisation in Dance and Mind,\u201d in <em>Taken by Surprise<\/em>, ed. Ann Cooper Albright and David Gere [Middletown, CT: Wesleyan University Press, 2003], 3-4).<a href=\"#fnref5\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn6\">\n<p>In <em>A Love Supreme<\/em>, Jones plays drumset, timpani, and Chinese gong; I will refer to his instruments collectively as \u201cdrums,\u201d per the usual jazz practice.<a href=\"#fnref6\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn7\">\n<p>The second and third movements follow chorus structure: the second, \u201cResolution,\u201d features a 24-measure theme \u201ccomposed of three groups of eight measures\u201d (with slightly altered endings), while the third, \u201cPursuance,\u201d uses a fast 12-measure \u201cminor blues\u201d theme in B\u266d. Coltrane interviewed by Delorme and Lenissois, 1965, reproduced in John Coltrane, <em>Coltrane on Coltrane: The John Coltrane Interviews,<\/em> ed. Chris DeVito (Chicago: Chicago Review Press, 2010), 246; see also Lewis Porter, <em>John Coltrane: His Life and Music<\/em> (Ann Arbor: University of Michigan Press, 1998), 234-5.<a href=\"#fnref7\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn8\">\n<p>The photographs (figures 3, 5, 8, 11, 12, and 13), by Anne Van Aerschot, are found in Salva Sanchis, Anne Teresa De Keersmaeker, and Rosas, <em>A Love Supreme<\/em> (Brussels: Rosas, 2019); they are reproduced by kind permission of Rosas.<a href=\"#fnref8\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn9\">\n<p>For copyright reasons, we are not able to reproduce the dancers\u2019 headshots. Please see Figure 3 for the dancers\u2019 images. The photographs of Coltrane\u2019s quartet (Coltrane, Tyner, Garrison, and Jones) are reproduced by kind permission of Chuck Stewart Photography.<a href=\"#fnref9\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn10\">\n<p>The suite opens with a fanfare, which Sanchis and De Keersmaeker do not choreograph.<a href=\"#fnref10\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn11\">\n<p>\u201cAssigning the role of invoking both melodic line and rhythmic pulse to the bassist was nothing new for Coltrane\u201d; \u201cOl\u00e9\u201d and \u201cWhile My Lady Sleeps\u201d are antecedents (Ashley Kahn, <em>A Love Supreme: The Story of John Coltrane\u2019s Signature Album<\/em> [New York: Penguin Books, 2002], 100).<a href=\"#fnref11\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn12\">\n<p>Lewis Porter, \u201cJohn Coltrane\u2019s \u2018A Love Supreme\u2019: Jazz Improvisation as Composition,\u201d in <em>Journal of the American Musicological Society<\/em> 38\/3 (1985): 612.<a href=\"#fnref12\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn13\">\n<p>From excerpt of world premiere performance (2017) published online by Rosas.<a href=\"#fnref13\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn14\">\n<p>Porter provides a transcription. He also documents Coltrane\u2019s earlier interest in using Schoenberg\u2019s twelve-tone method (<em>John Coltrane: His Life and Music<\/em>, 243, 231).<a href=\"#fnref14\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn15\">\n<p>In Coltrane\u2019s words: \u201cI had one part that I was singing on [&#8230;]\u2014well not singing, chanting [&#8230;].\u201d <em>Coltrane on Coltrane<\/em>, 249. The first \u201ca love supreme\u201d is very faint.<a href=\"#fnref15\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn16\">\n<p>It functions as what Jeff Pressing calls a \u201creferent.\u201d Pressing, \u201cCognitive Pro\u00adcesses in Improvisation,\u201d in <em>Cognitive Processes in the Perception of Art<\/em>, ed. W. Ray Crozier and Anthony J. Chapman (Amsterdam: Elsevier Science, 1984), 346.<a href=\"#fnref16\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn17\">\n<p>Sanchis (2020 video interview) explained the term \u201cdynamics\u201d to me: \u201chow you approach a shape, pass through it, and let it go.\u201d It involves \u201ccontinuity and momentum, play with balance, the motion of the body in space.\u201d<a href=\"#fnref17\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn18\">\n<p>Salva Sanchis and Anne Teresa De Keersmaeker, \u201cAn Improvisation with Gravity,\u201d interview by Wannes Gyselinck, April 2017, in Sanchis, De Keersmaeker, and Rosas, <em>A Love Supreme<\/em> (Brussels: Rosas, 2019), 7.<a href=\"#fnref18\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn19\">\n<p>Sanchis and De Keersmaeker, \u201cAn Improvisation with Gravity,\u201d 7. It is common to use a dance phrase as the basis for improvisation: Susan Sgorbati provides an exercise in which a dance phrase is to be varied in multiple ways (repeating segments, retrograding; changing dynamics, textures, spatial patterns, etc.); Dana Reitz describes an exercise in which a short movement phrase is to be explored in different pathways; William Forsythe works with \u201cset phrases of material that can be \u2018operated on\u2019 by dancers improvisationally\u201d; to name just a few examples (Melinda Buckwalter, <em>Composing while Dancing: An Improviser\u2019s Companion<\/em> [Madison: University of Wisconsin Press, 2010], 18, 23, 28). For a recent example, Sasha Waltz choreographs dance improvisation to Terry Riley\u2019s <em>In C<\/em> by creating 53 sets of movement figures, corresponding to Riley\u2019s 53 musical fragments. The dance was premiered in 2021 (<a href=\"https:\/\/www.nytimes.com\/2022\/04\/26\/arts\/dance\/sasha-waltz-in-c-bam.html\">https:\/\/www.nytimes.com\/2022\/04\/26\/arts\/dance\/sasha-waltz-in-c-bam.html<\/a>, accessed 15 June 2022).<a href=\"#fnref19\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn20\">\n<p>De Keersmaeker speaks of using a \u201climited and coherent choreographic vocabulary\u201d for any given piece. \u201cI generally organize in one or more basic phrases\u201d composed of \u201ccells\u201d (which may be quite short or longer). The phrase may be perceived \u201clike an ongoing variation, a variation without a theme\u201d; it may be subjected to transformations such as retrograde, canon, mirror symmetry, fragmentation, repetition, and successive addition, techniques that De Keersmaeker borrows from musical practice, as a means of making limited material \u201cfruitful.\u201d \u201cChor\u00e9graphier Bach: incarner une abstraction,\u201d lecture, Coll\u00e8ge de France, 10 April 2019, 32:40 and 1h:04, translated by Daphne Leong (accessed 2 June 2020, https:\/\/www.youtube.com\/watch?v=SHxf8d1an9I).<a href=\"#fnref20\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn21\">\n<p>The basic dance phrase concludes just as Coltrane completes the pitch-class aggregate with F#. The transitional material comes from the movement\u2019s closing gestures. While each dance cell takes up one measure in the ostinato-chain and chanting sections, this is not always true elsewhere.<a href=\"#fnref21\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn22\">\n<p>Video 5: \u201cAcknowledgement\u201d: opening dance phrase. Click to view (1:19\u20132:37): <a href=\"https:\/\/youtu.be\/Dog1egx5OTU?feature=shared&amp;t=79\">https:\/\/youtu.be\/Dog1egx5OTU?feature=shared&amp;t=79<\/a><a href=\"#fnref22\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn23\">\n<p>Cell 24, danced both forward and backward, takes up the space of a single cell between figures 4a and 4b, and between figures 4c and 4d; at the beginning of the ostinato chain (figure 4f) it combines with cell 23 to form a single, composite cell; and at the end of the source phrase (figure 4g) it forms a cell of its own.<a href=\"#fnref23\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn24\">\n<p>Short for \u201caccompany\u201d or \u201ccomplement,\u201d \u201ccomping\u201d in jazz refers to the rhyth\u00admic commentary provided by the piano or guitar. Thanks to Keith Waters for this definition.<a href=\"#fnref24\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn25\">\n<p>Sanchis, 2020 video interview with author.<a href=\"#fnref25\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn26\">\n<p>De Keersmaeker, asked about the improvisation tools available to the dancers in the piece, speaks about \u201cbasic phrases linked to musical themes, spatial loops, short cells that correspond with the bass lines and are therefore repetitive yet can be arranged freely on a spatial level\u201d (De Keersmaeker and Sanchis, \u201cRosas Dances Coltrane: Interview with Anne Teresa De Keersmaeker and Salva Sanchis,\u201d by Micha\u00ebl Bellon, FringeArts, 3 September2017, accessed 18 August 2022, https:\/\/fringearts.com\/2017\/09\/03\/rosas-dances-coltrane-interview-anne-teresa-de-keersmaeker-salva-sanchis\/).<a href=\"#fnref26\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn27\">\n<p>Sanchis in Sanchis and De Keersmaeker, \u201cAn Improvisation with Gravity,\u201d 6-7. Sanchis himself improvises in tandem with musicians; see, for example, his performances with pianist Kris Defoort (e.g., <em>Action in Strombek<\/em>, 2010, accessed 5 June 2022, <a href=\"https:\/\/www.youtube.com\/watch?v=m8eRumS0Yx4\">https:\/\/www.youtube.com\/watch?v=m8eRumS0Yx4<\/a>).<a href=\"#fnref27\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn28\">\n<p>Sanchis, 2020 video interview with author.<a href=\"#fnref28\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn29\">\n<p>Video 5: \u201cAcknowledgement\u201d: opening dance phrase. Click to view (1:19\u20132:37): https:\/\/youtu.be\/Dog1egx5OTU?feature=shared&amp;t=79<a href=\"#fnref29\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn30\">\n<p>The stretching out of the preceding R phrase, figure 4f, further emphasizes the moment.<a href=\"#fnref30\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn31\">\n<p>Video 6: \u201cCome Out\u201d \u2013 hands. Click to view (1:31\u20131:37): <a href=\"https:\/\/youtu.be\/HpPmH4Wc5AM?feature=shared&amp;t=91\">https:\/\/youtu.be\/HpPmH4Wc5AM?feature=shared&amp;t=91<\/a>, from <em>Fase\u00a0\/ Trailer<\/em> (2012). The choreography to Steve Reich\u2019s \u201cCome Out\u201d was created by De Keersmaeker with Jennifer Everhard; the dancers are De Keersmaeker and Tale Dolven (De Keersmaeker, \u201c\u2018The Greatest Step of Them All\u2019: Anne Teresa De Keersmaeker on Passing <em>Fase<\/em> on to the Next Generation,\u201d interview for Institute of Contemporary Art, Boston, 13 August 2019, accessed 3 June 2022, https:\/\/www.icaboston.org\/articles\/greatest-step-them-all-anne-teresa-de-keersmaeker-passing-fase-next-generation).<a href=\"#fnref31\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn32\">\n<p>This principle is discussed by De Keersmaeker at 1:53 in \u201cDance Can Embody Abstract Ideas,\u201d <em>Tate Shots<\/em>, 2012, accessed 4 February 2022, https:\/\/www.youtube.com\/watch?v=DojShMLN9Zk2012.<a href=\"#fnref32\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn33\">\n<p>The basic grid is shown in Sanchis, De Keersmaeker, and Rosas, <em>A Love Supreme<\/em> (Brussels: Rosas, 2019)\u2014a representation that only approximates the actual grid taped on the dance floor.<a href=\"#fnref33\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn34\">\n<p>Sanchis, 2020 video interview.<a href=\"#fnref34\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn35\">\n<p>Corresponding to the stage markings, only the smallest squares of this flipped rectangle are shown. (The rectangle\u2019s outline is the same as that of the right-slanted rectangle.)<a href=\"#fnref35\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn36\">\n<p>One has the impression, upon the saxophone entrance, that the dancers\u2019 locations relative to one another parallel spatial locations on the <em>Love Supreme<\/em> stereo masters: saxophone at \u201chard left,\u201d drums at \u201chard right,\u201d bass at \u201cright-center,\u201d and piano at center (Kahn, <em>A Love Supreme<\/em>, 95).<a href=\"#fnref36\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn37\">\n<p>Sanchis, 2020 video interview with author.<a href=\"#fnref37\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn38\">\n<p>Porter, \u201cColtrane\u2019s \u2018A Love Supreme\u2019.\u201d Porter (<em>John Coltrane<\/em>, 247), lists a few adjustments to the text, for which I supply the following corrections. Although Porter notes that the phrase \u201cI have seen God\u201d is left out, it is clearly present (see music example 6). For \u201cThoughts\u2014deeds\u2014vibrations, etc. They all go back to God,\u201d \u201cThey\u201d is indeed present, in a subtly repeated F4. At times Porter\u2019s assumption of syllabic playing results in awkward text declamation; occasional two-syllable melismas produce a more natural word-music alignment.<a href=\"#fnref38\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn39\">\n<p>Porter, \u201cColtrane\u2019s \u2018A Love Supreme,\u2019\u201d 613-4. Titon\u2019s (unpublished) paper was presented at the annual meeting of the Society for Ethnomusicology, Wesleyan University, 17 October 1975. I supplement Porter\u2019s analysis with information from a later article (Jeff Titon, \u201cReverend C.L. Franklin: Black American Preach\u00ader-Poet,\u201d in <em>Folklife Annual<\/em> 1987: 86-105). C.L. Franklin, a leading prac\u00adtitioner of black American chanted preaching, was widely influential through his recorded sermons and preaching tours (Titon, \u201cReverend C.L. Frank\u00adlin,\u201d 89).<a href=\"#fnref39\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn40\">\n<p>My thanks to Logan Banister for technical assistance. We used Sonic Visualiser to identify note onsets manually, adjusting by ear. The transcription shows note onsets only, without regard for rests or the sustained duration of notes. It does not display pitch nuances such as bends or slides.<a href=\"#fnref40\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn41\">\n<p>This matches the preaching pattern described by Titon (\u201cReverend C.L. Franklin,\u201d 104): \u201cAt the beginning, Franklin establishes a main phrase pitch apex a minor or neutral third above the tonic; very soon after, he moves the pitch apex up to a perfect fifth above the tonic.\u201d<a href=\"#fnref41\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn42\">\n<p>Ibid.<a href=\"#fnref42\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn43\">\n<p>See ibid. (86, 88, 94) on these features of intonational chant. Kahn (<em>A Love Supreme<\/em>, 94-5) documents Coltrane\u2019s plan to record the third and fourth movements as a unit, and references engineer Van Gelder\u2019s belief that the suite was to be in three parts. For the biblical term \u201cpsalm,\u201d from the Greek <em>psalmos<\/em> and the Hebrew <em>mizmor<\/em>, see Gerald Wilson, <em>The NIV Application Commentary: Psalms\u2014Volume\u00a0I<\/em> (Grand Rapids, MI: Zondervan, 2002), 21.<a href=\"#fnref43\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn44\">\n<p>My thanks to David Kirtley for assistance with engraving these music examples.<a href=\"#fnref44\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn45\">\n<p>The octave leap on \u201cPeace\u201d forms the movement\u2019s first melisma; the rare melismas in \u201cPsalm\u201d are never more than two notes to a syllable.<a href=\"#fnref45\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn46\">\n<p>The C4-B\u266d3-G3 motion, descending, or (in reverse) ascending, will become characteristic.<a href=\"#fnref46\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn47\">\n<p>The first two pulses, on \u201clet us sing,\u201d are tentative; Jones settles into a steady pulse at \u201csongs to God.\u201d One other clear duple measure occurs: Jones plays a single bar of 4\/4 (alternating tonic-dominant timpani strokes) to conclude the movement, after the final melodic flourish on saxophones (overdubbed by Coltrane).<a href=\"#fnref47\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn48\">\n<p>Coltrane\u2019s fading sustain of the upper note makes clear its diminishing (rather than climactic) function.<a href=\"#fnref48\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn49\">\n<p>The ebb and flow of the three supporting musicians calls to mind that of the congregational response to C.L. Franklin\u2019s preaching. Listen, for example, to Franklin\u2019s 1978 sermon \u201cA Mother at the Cross\u201d; Franklin begins the chanted part of the sermon at 20:06 (accessed 10 June 2022, https:\/\/www.youtube.com\/watch?v=DlyeBU-krbA). See Titon (\u201cReverend C.L. Franklin,\u201d 102-5) for a transcription.<a href=\"#fnref49\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn50\">\n<p>De Keersmaeker in Sanchis and De Keersmaeker, \u201cAn Improvisation with Gravity,\u201d 10.<a href=\"#fnref50\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn51\">\n<p>See the film <em>Fall after Newton: Contact Improvisation 1972-1983<\/em> (1987), also Danielle Goldman, \u201cSteve Paxton and Trisha Brown: Falling in the Dynamite of the Tenth of a Second,\u201d in <em>Dance Research: The Journal of the Society for Dance Research<\/em> 22\/1 (2004): 45-56.<a href=\"#fnref51\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn52\">\n<p>Goldman, \u201cPaxton and Brown,\u201d 50.<a href=\"#fnref52\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn53\">\n<p>Sanchis in Sanchis and De Keersmaeker, \u201cAn Improvisation with Gravity,\u201d 10. Coltrane\u2019s rough tone may also be expressive, \u201cthe kind of buzzing raspiness at moments of intensity that signals feeling in black singing,\u201d as described by Titon in relation to Franklin\u2019s singing and preaching (\u201cReverend C.L. Franklin,\u201d 92).<a href=\"#fnref53\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn54\">\n<p>De Keersmaeker in Sanchis and De Keersmaeker, \u201cAn Improvisation with Gravity,\u201d 10.<a href=\"#fnref54\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn55\">\n<p>Liner notes to <em>A Love Supreme<\/em>, 1964.<a href=\"#fnref55\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn56\">\n<p>Kahn, <em>A Love Supreme<\/em>, 92-4.<a href=\"#fnref56\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn57\">\n<p>Porter, <em>John Coltrane<\/em>, 247. Porter (332) notes references by Gary Giddins (1974) and Cuthbert Simpkins (1975) to Coltrane playing the words of a poem in the last movement; Kahn (<em>A Love Supreme<\/em>, 123-4) mentions this as jazz insider knowledge, quoting Reggie Workman and Branford Marsalis. Doug Pringle\u2019s 1965 review noted the text usage early on. But Porter (\u201cColtrane\u2019s \u2018A Love Supreme\u2019\u201d) was the first to document the details of the music-text relation. Gary Giddins, in <em>The Sax Section<\/em>, ed. Dan Morgenstern (exhibition booklet, New York Jazz Museum: 1974); Cuthbert Simpkins, <em>Coltrane: A Biography<\/em> (New York: Herndon House, 1975), 180; Doug Pringle, review reproduced in Chris DeVito, Yasuhiro Fujioka, Wolf Schmaler, and David Wild, <em>The Coltrane Reference<\/em>, ed. Lewis Porter (New York: Routledge, 2013), 319-20.<a href=\"#fnref57\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn58\">\n<p>Festival Mondial du Jazz Antibes, Juan-les-Pins, France, 26 July 1965. A recording of the entire suite is included in the Verve Music Deluxe edition compilation cited in the discography to this chapter.<a href=\"#fnref58\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn59\">\n<p><em>Coltrane on Coltrane<\/em>, 246.<a href=\"#fnref59\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn60\">\n<p>De Keersmaeker in Sanchis and De Keersmaeker, \u201cAn Improvisation with Gravity,\u201d 11.<a href=\"#fnref60\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn61\">\n<p>Sanchis in Sanchis and De Keersmaeker, \u201cAn Improvisation with Gravity,\u201d 9, 11.<a href=\"#fnref61\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn62\">\n<p>Tony Whyton, <em>Beyond<\/em> A Love Supreme<em>: John Coltrane and the Legacy of an Album<\/em> (New York: Oxford University Press, 2013), 112-9.<a href=\"#fnref62\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn63\">\n<p>Sanchis in Sanchis and De Keersmaeker, \u201cAn Improvisation with Gravity,\u201d 11.<a href=\"#fnref63\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn64\">\n<p>Peak 5 is higher than C5, but merely touches on D5.<a href=\"#fnref64\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn65\">\n<p>\u201cStory\u201d is one of Mary Overlie\u2019s \u201cSix Viewpoints\u201d\u2014space, shape, time, movement, emotion, and story\u2014perspectives used in theater and dance to create and interpret performance (Buckwalter, <em>Composing while Dancing<\/em>, 25).<a href=\"#fnref65\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn66\">\n<p>Speaking about <em>A Love Supreme<\/em>, Coltrane said, \u201cWhen I go from a calm moment to extreme tension, it\u2019s only the emotional factors that drive me, to the exclusion of all musical considerations. For Elvin, I think that the musical considerations are the most important\u201d (<em>Coltrane on Coltrane<\/em>, 246).<a href=\"#fnref66\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn67\">\n<p>Lift 3, which follows immediately on the heels of Lift 2 (almost like a paired, compound lift), involves three dancers.<a href=\"#fnref67\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn68\">\n<p>Ingrid Monson, <em>Saying Something: Jazz Improvisation and Interaction<\/em> (Chicago: University of Chicago Press, 1996), 186.<a href=\"#fnref68\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn69\">\n<p>Sanchis, e-mail correspondence with author, 2 June 2022.<a href=\"#fnref69\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn70\">\n<p>I believe this sequence is a retrograded reduction of the fourth movement.<a href=\"#fnref70\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn71\">\n<p>Sanchis, 2020 video interview with author.<a href=\"#fnref71\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn72\">\n<p>In conceiving of the album as a suite, Coltrane chose a less common jazz form\u2014one that surprised audiences such as the one at the Antibes Jazz Festival (Michel Delorme in <em>Coltrane on Coltrane<\/em>, 242).<a href=\"#fnref72\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn73\">\n<p>De Keersmaeker and Sanchis, \u201cRosas Dances Coltrane\u201d; De Keersmaeker, \u201cChor\u00e9graphier Bach,\u201d 1h:03 (author\u2019s translation); Sanchis and De Keersmaeker, \u201cAn Improvisation with Gravity,\u201d 9-10.<a href=\"#fnref73\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn74\">\n<p>Sanchis said that, in his view, dance \u201cdoesn\u2019t just visualize music in a straight\u00adforward way, doesn\u2019t counter it or question it; it just opens it up\u201d (2020 video interview with author).<a href=\"#fnref74\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<\/ol>\n<hr>\n<div style=\"clear: both;\"><\/div>\n<h4 class=\"biblio-title\" id=\"5\">Discography<\/h4>\n<p class=\"bibliography\">\nColtrane, John. <em>A Love Supreme.<\/em> John Coltrane (tenor saxophone), McCoy Tyner (piano), Jimmy Garrison (bass), Elvin Jones (drums). Recorded 1964. Deluxe edition compiled 2002. The Verve Music Group 589 945-2.\n<\/p>\n<h4 class=\"biblio-title\" id=\"6\">Videos<\/h4>\n<p class=\"bibliography\">\nA Love Supreme. 2017. Choreography by Salva Sanchis and Anne Teresa De Keersmaeker. Danced by Jos\u00e9 Paulo dos Santos, Bilal El Had, Jason Respilieux, and Thomas Vantuycom. Excerpt of world premiere performance, Kaaitheater, Brussels, February 23, 2017, accessed 20 October 2020. <a href=\"https:\/\/www.youtube.com\/watch?v=Dog1egx5OTU\">https:\/\/www.youtube.com\/watch?v=Dog1egx5OTU<\/a> <br \/>Video of full performance provided by Rosas.\n<\/p>\n<p class=\"bibliography\">\n\u201cA Mother at the Cross.\u201d 1978. Sermon by Reverend C. L. Franklin. New Bethel Baptist Church, Detroit, Michigan. 14 May 1978, accessed 10 June 2022. <a href=\"https:\/\/www.youtube.com\/watch?v=DlyeBU-krbA\">https:\/\/www.youtube.com\/watch?v=DlyeBU-krbA<\/a>\n<\/p>\n<p class=\"bibliography\">\n<em>Fall after Newton: Contact Improvisation 1972\u20131983<\/em>. 1987. Words and narration by Steve Paxton. Featuring Nancy Stark Smith and Steve Paxton, dancers. Videoda film, 22:45 minutes, accessed 3 May 2022, in three parts: <a href=\"https:\/\/www.youtube.com\/watch?v=k768K_OTePM\">https:\/\/www.youtube.com\/watch?v=k768K_OTePM<\/a><br \/> <a href=\"https:\/\/www.youtube.com\/watch?v=_iGtJSxNUpI\">https:\/\/www.youtube.com\/watch?v=_iGtJSxNUpI<\/a><br \/> <a href=\"https:\/\/www.youtube.com\/watch?v=vMj3Coktu40\">https:\/\/www.youtube.com\/watch?v=vMj3Coktu40<\/a>\n<\/p>\n<p class=\"bibliography\">\n<em>Fase \/ Trailer<\/em>. 2012. Film by Thierry De Mey (2002). Choreography by Anne Teresa De Keersmaeker (1982), accessed 2 June 2022. <a href=\"https:\/\/www.youtube.com\/watch?v=HpPmH4Wc5AM\">https:\/\/www.youtube.com\/watch?v=HpPmH4Wc5AM<\/a>\n<\/p>","protected":false},"excerpt":{"rendered":"<p>Daphne Leong 1 &nbsp; Winner of the French dance press\u2019s Prix de la critique for best performers, Salva Sanchis and Anne Teresa De Keersmaeker\u2019s 2017 choreography to John Coltrane\u2019s A Love Supreme brings dance composition and improvisation together in a unique response to the iconic album.2 Sanchis told me: \u201cMy objective is always to add &hellip;<\/p>\n","protected":false},"author":7,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"inline_featured_image":false,"footnotes":""},"categories":[242],"tags":[],"class_list":["post-6513","post","type-post","status-publish","format-standard","hentry","category-schroedter-ed-music-and-motion"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v26.9 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Openings in A Love Supreme &#8211; 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