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UNLV Theses, Dissertations, Professional Papers, and Capstones May 2019 Bridging the Gap: An Introduction to Jazz Improvisation and the Application of Manipulating Composed Content for Classical Percussionists James Douglas Whiting Follow this and additional works at: https://digitalscholarship.unlv.edu/thesesdissertations Part of the Music Commons Repository Citation Whiting, James Douglas, "Bridging the Gap: An Introduction to Jazz Improvisation and the Application of Manipulating Composed Content for Classical Percussionists" (2019). UNLV Theses, Dissertations, Professional Papers, and Capstones. 3697. http://dx.doi.org/10.34917/15778568 This Dissertation is protected by copyright and/or related rights. It has been brought to you by Digital Scholarship@UNLV with permission from the rights-holder(s). You are free to use this Dissertation in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/or on the work itself. This Dissertation has been accepted for inclusion in UNLV Theses, Dissertations, Professional Papers, and Capstones by an authorized administrator of Digital Scholarship@UNLV. For more information, please contact [email protected]. BRIDGING THE GAP: AN INTRODUCTION TO JAZZ IMPROVISATION AND THE APPLICATION OF MANIPULATING COMPOSED CONTENT FOR CLASSICAL PERCUSSIONISTS By James Douglas Whiting Bachelor of Music, Jazz Queensland Conservatorium of Music Griffith University 2010 Master of Music Studies Queensland Conservatorium of Music Griffith University 2013 A doctoral project submitted in partial fulfillment of the requirements for the Doctor of Musical Arts School of Music College of Fine Arts The Graduate College University of Nevada, Las Vegas May 2019 Copyright 2019 by James Douglas Whiting All Rights Reserved Doctoral Project Approval The Graduate College The University of Nevada, Las Vegas April 10, 2019 This doctoral project prepared by James Douglas Whiting entitled Bridging the Gap: An Introduction to Jazz Improvisation and the Application of Manipulating Composed Content for Classical Percussionists is approved in partial fulfillment of the requirements for the degree of Doctor of Musical Arts School of Music Timothy Jones, D.M.A. Kathryn Hausbeck Korgan, Ph.D. Examination Committee Chair Graduate College Dean Dean Gronemeier, D.M.A. Examination Committee Member Thomas Leslie, M.Ed. Examination Committee Member Nathan Tanouye, M.M. Examination Committee Member Sean Clark, M.F.A. Graduate College Faculty Representative ii ABSTRACT Bridging the Gap: An Introduction to Jazz Improvisation and the Application of Manipulating Composed Content for Classical Percussionists by James Douglas Whiting Dr. Timothy Jones, Examination Committee Chair Professor of Music University of Nevada, Las Vegas This document presents a systematic study of an introductory method to jazz improvisation for classical percussionists. This method discusses a combination of fundamental concepts of jazz improvisation, combined with the approaches of applying these concepts as a way of manipulating composed content. This methodology provides classical percussionists with an appropriate vehicle to bridge their knowledge from through-composed, and classical music, to jazz improvisation. The concepts, along with an analysis of their application, is detailed in each chapter with extensive musical examples. iii ACKNOWLEDGEMENTS This document culminates ten years of study, research, and development of jazz improvisation with specific application to the vibraphone. Throughout my education, I have been fortunate to be guided by some of the world’s greatest living jazz vibraphonists including Stefon Harris, Joe Locke, Tony Miceli, and Dave Samuels, as well as many other skilled musicians. This specific topic of “bridging the gap” for classical percussionists (and other musicians) to the path of jazz improvisation is one that was influenced heavily by Joe Locke and his solo vibraphone arrangements. This document, along with many other endeavors at UNLV, could not have been possible without the continued support of my DMA committee: Professor Sean Clarke, Dr. Dean Gronemeier, Dr. Timothy Jones (Chair), Professor Thomas Leslie, and Associate Professor Nathan Tanouye. I also thank my immediate family, with special mention to my Mum (Kathryn) and Dad (Robert), as well as my friends and colleagues, for their encouragement and support throughout my time completing the DMA. This document is dedicated to David Quinn, my first percussion teacher and mentor, who has inspired my education and career. Many thanks to all who have helped me in my journey. Your time and effort is much appreciated. iv PREFACE To date, there is little educational literature available directed toward advanced and professional musicians, who are trained in “classical,” or “orchestral” traditions on an introduction to jazz improvisation. There is however a plethora of material on jazz improvisation, or “introductions” to jazz improvisation, that either consciously, or subconsciously, begins with an assumed fundamental knowledge in jazz theory and harmony. Some of these texts, which are full of excellent material, include; Ed Saindon’s A Complete Guide to Improvisation Vol. 1-3, Jamey Abersold’s Complete Play-Along Series, and Mark Levine’s The Jazz Piano Book and The Jazz Theory Book. Additionally, many educational texts available in improvisation and music theory deal very little with the application of concepts beyond a few short examples. This leaves a significant divide between those trained as “classical musicians,” and those trained as “jazz musicians.” I particularly see this divide frequently in the classical percussion community. This document is intended to act as a bridge for classical and orchestral musicians to understanding the world of jazz improvisation. This starts with something they know; reading the ink! The content of this document focuses on how to apply concepts of music theory and harmony along with improvisation to music (compositions and arrangements) by manipulating content already on the page. It is contextualized directly for mallet percussionists, however, the concepts can be adopted and adapted for all instruments. v The layout of this document covers eight concepts that are essential to developing a fundamental understanding of improvisational vocabulary while maintaining a strong linkage to the specific piece, or “tune.” vi TABLE OF CONTENTS ABSTRACT ................................................................................................................................. iii ACKNOWLEDGEMENTS ......................................................................................................... iv PREFACE ..................................................................................................................................... v LIST OF TABLES ....................................................................................................................... ix LIST OF FIGURES ...................................................................................................................... x CHAPTER ONE: FOR THE VIBRAPHONE PERFORMER ONLY: TECHNICAL CONSIDERATIONS .................................................................................................................... 1 PEDALING ....................................................................................................................... 1 MALLET DAMPENING ................................................................................................. 2 CONTEXTUAL APPLICATION .................................................................................... 6 CHAPTER TWO: RHYTHMIC MANIPULATION ................................................................... 9 MANIPULATING RHYTHMIC DURATION ................................................................ 9 RHYTHMIC ANTICIPATION ...................................................................................... 11 RHYTHMIC HESITATION .......................................................................................... 12 MUSICAL APPLICATION ........................................................................................... 13 CHAPTER THREE: CHORD-TONE SOLOING ...................................................................... 18 CHAPTER FOUR: CHORD-SCALE SOLOING ...................................................................... 28 THE ii–V–I PROGRESSION ......................................................................................... 32 CHAPTER FIVE: MANIPULATING A MELODY .................................................................. 39 CHOOSE A COMMON MELODY ............................................................................... 39 PASSING NOTES .......................................................................................................... 40 NEIGHBOR NOTES ...................................................................................................... 41 DOUBLE NEIGHBOR NOTES ..................................................................................... 43 ADDITIONAL SUGGESTIONS ................................................................................... 44 CHAPTER SIX: PENTATONIC SCALES ................................................................................ 45 MAJOR PENTATONIC SCALES ................................................................................
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