In Her Family (B.Curnow)

Originally crafted by guitar virtuoso Pat Metheny and keyboardist Lyle Mays on the acclaimed 1987 Pat Metheny Group album *Still Life (Talking)*, this composition represents a high-water mark of contemporary crossover jazz. Bob Curnow adapted the hauntingly pensive, folk-infused ballad for big band on his landmark 1994 release, *The Music of Pat Metheny & Lyle Mays*. Curnow’s treatment translates Metheny's signature atmospheric lyricism into a rich, expansive orchestral palette, capturing the bittersweet, reflective emotional core of the original studio recording while shifting the harmonic weight across a 17-instrument ensemble. Rooted in a slow, lyrical ballad tempo, the chart unfolds as a masterclass in texture, tension, and release. The sonic landscape relies heavily on warm, muted brass voicings—utilizing optional flugelhorns instead of standard trumpets to cultivate a velvety, choir-like sonority that envelops the listener. Curnow avoids dense, aggressive shout choruses in favor of flowing, cascading counterpoint and lush, extended chord structures that evoke a profound sense of nostalgia and intimacy. The arrangement functions primarily as an extended emotional arch, where subtle dynamic shifts and shifting instrumental colors create a breathtaking sense of space and vulnerability. Throughout the arrangement, the piano acts as the primary focal point, carrying a written solo role that threads seamlessly through the harmonic fabric. The woodwinds and brass sections act as a breathing organism, sharing lyrical fragments and supporting the keyboardist with delicate, shimmering chordal pads. Technical demands on the performers center less on fast fingerwork or extreme altissimo ranges—the trumpet parts thoughtfully remain comfortably within the staff—and focus more on breath control, intonation, ensemble blending, and expressive phrasing. Maintaining a consistent, unhurried pulse while stretching the micro-nuances of the rubato-esque phrasing remains the primary interpretive hurdle for the rhythm section. Ensembles seeking a sophisticated, emotionally resonant change of pace for festival adjudications or formal concert settings will find this chart an ideal centerpiece. Because of its accessible technical thresholds coupled with deep interpretive demands, advanced high school bands, collegiate groups, and professional community big bands can all successfully bring this music to life. It offers developing musicians an essential lesson in modern jazz ensemble balance, teaching them how to project intense emotional depth without relying on sheer volume. Conductors should approach the tempo with a relaxed, breathing pulse, ensuring the subdivisions never feel stagnant or overly rigid. Balance is the single most critical factor: because the scoring depends heavily on rich, dense chord clusters in the middle register, lower voices must not swamp the delicate upper-structure harmonies carried by the flugelhorns and upper saxophones. Encourage the rhythm section—particularly the pianist handling the written solo—to listen closely to the subtle harmonic color changes in the brass. The guitar and piano should employ sparse, transparent voicings, avoiding heavy comping that might muddy Curnow's translucent counterlines. No special auxiliary effects like plunger mutes or falls are required, allowing the ensemble to focus entirely on pure tone production, seamless section blending, and unified phrasing. Q: What instruments and parts are included in this big band arrangement? A: The arrangement is scored for a 17-instrument ensemble consisting of 5 saxophones (2 altos, 2 tenors, 1 baritone), 4 flugelhorns (with trumpet alternatives), 4 trombones including bass trombone, and a 4-piece rhythm section of piano, guitar, bass, and drums, supported by a full conductor's score. Q: What is the difficulty level of this chart? A: This piece is graded as easy to medium-easy in terms of technical mechanics and range—with trumpet parts staying entirely within the staff—making it accessible for developing ensembles while offering deep musical rewards for advanced bands. Q: What is the musical style and historical background of the piece? A: It is a contemporary jazz ballad originally composed by Pat Metheny and Lyle Mays on the 1987 album *Still Life (Talking)*, brilliantly re-orchestrated by Bob Curnow for jazz big band. Q: What makes this specific arrangement by Bob Curnow unique? A: Curnow uniquely transforms a guitar-driven fusion milestone into an orchestral vocal-like showcase for big band, emphasizing warm flugelhorn textures, lush extended harmonies, and an expressive, continuous written piano feature rather than traditional high-energy shout choruses. Q: What is the performance duration and tempo feel of the arrangement? A: The piece is performed at a slow, pensive ballad tempo that requires exceptional patience, control, and expressive phrasing from the entire ensemble over its duration.