It’s been a while, but I’d like to present to you a quartet arrangement I’ve had hidden away in the cupboard for a few months now: “Cruel Angel’s Thesis.”
It has been called some of the most riveting 59 seconds of music ever recorded for Japanese animation; the cornerstone representative of jazz in anime. Brutally bald-faced in its dense complexity and awe-inspiring in its effortless virtuosity, these 68 measures have become nigh-legendary in the tangential overlap of the jazz and anime communities. I’m talking, of course, about Masato Honda’s venerated alto saxophone solo in Cowboy Bebop’s “Tank!”
It was Mark Levine that wrote that a great jazz solo is “1% magic [and] 99% stuff that is explainable, analyzable, categorizeable, doable.” Here, I’m going to try to give you a peek at this 99%. Basically, I will attempt a measure for measure, chord for chord harmonic analysis of this solo. With this I hope you will deepen your appreciation for this hallmark performance and, hey, you may even learn something!
Yuki, Haruhi, Mikuru, and shadowy Unit-01 are back for a second helping of OP/ED rearranging shenanigans, and this time it’s the sequel to last week’s “Bouken Desho Desho?”: “Hare Hare Yukai.” Willed into existance by Haruhi herself, this sax quartet arrangement had a bit of a rocky inception.
It’s been almost an entire two days in the making, but, at last, I am proud to present to you all the culmination of nearly 48 hours’ worth of work, sweat, and instant noodles. Written/arranged by me and performed by my four other identical quintuplet brothers (pictured), this arrangement of The Melancholy of Haruhi Suzumiya‘s “Bouken Desho Desho?” is written for saxophone quartet.