THE PENNSYLVANIA STATE UNIVERSITY SCHREYER HONORS COLLEGE

SCHOOL OF MUSIC

A PERFORMANCE-BASED ANALYSIS OF MODERN WOODWIND DOUBLING

CHRISTOPHER JOSEPH ROSENDALE SPRING 2020

A thesis submitted in partial fulfillment of the requirements for a baccalaureate degree in Computer Science with honors in Music

Reviewed and approved* by the following:

Dr. David B. Stambler Professor of Saxophone Thesis Supervisor

Dr. Charles D. Youmans Professor of Music History Honors Adviser

* Electronic approvals are on file.

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ABSTRACT

This thesis accompanies my senior multiple woodwinds recital to present research and analysis on the art of multiple woodwinds performance. The recital served to demonstrate my development as a diverse musician, and this essay will provide a justification as to why I feel woodwind doubling is an important skill for the modern woodwind performer. The goals of this research were to advance my practical woodwind performance skills, deepen my knowledge of contemporary woodwind playing, and gain a better understanding of the state of multiple woodwinds performance in the twenty-first century. The recital portion was a jazz combo performance on six woodwind instruments. Repertoire choices and recital preparation will be discussed in a later section.

This study seeks to present an overview of multiple woodwinds performance from an analytical perspective, rather than a pedagogical perspective (this is not a how-to report). I will observe and analyze trends in expectations for doublers, schools of thought for studying multiple woodwinds, equipment considerations, and more.

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TABLE OF CONTENTS

ACKNOWLEDGEMENTS ...... iii

Chapter 1 Introduction ...... 1

Project Overview ...... 2 Brief Historical Perspectives ...... 2

Chapter 2 Modern Woodwind Doubling Opportunities ...... 5

Trends in Modern Woodwind Doubling ...... 5 Musical Theatre ...... 7 Outside of Musical Theatre ...... 10

Chapter 3 Approaches and Philosophies...... 12

Gigs Inform Practices ...... 12 Equipment ...... 13

Chapter 4 Preparing a Recital ...... 15

Repertoire Selection ...... 15 Preparation ...... 16 Logistics ...... 17

Appendix A Recital Program ...... 18

Appendix B Recital Program Notes ...... 19

BIBLIOGRAPHY ...... 22

Academic Vita ...... 24

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ACKNOWLEDGEMENTS

I would like to thank the following people for their role in this project and in helping me become the person and musician I am today:

• My rhythm section: Paul Thompson, Alton Merrell, and Tom Wendt for being

exceptional players and educators, and for taking the time to perform with me and teach

me about this music.

• Dr. Charles Youmans: Thank you for showing me new ways to see, hear, and think about

music. Dr. Youmans’s class was one of my favorites at Penn State and I learned much

more about music than just the history. Dr. Youmans is a favorite teacher of so many

students because of his openness to any and all types of music and his genuine interest in

what the students have going on, both musically and in other aspects of life. I am

confident that the Penn State School of Music would not be the place that it is without

Chuck.

• Dr. David Stambler: A friend of mine who I have known since middle school once said

of Dr. Stambler, “Dr. Stambler won’t let you leave Penn State as anything less than the

best saxophonist you can be.” I could not agree with this summation more. Dr. Stambler

is truly a master performer and educator. Aside from teaching his students the mechanics

of playing saxophone, he teaches us to be complete musicians (business and

professionalism too), consumers of music, and students of music. I am eternally grateful

to him for admitting me to his studio (even as a music minor) and for his continued work

in helping me to become the musician I am today. 1

Chapter 1

Introduction

Multiple woodwinds performance, more commonly known as woodwind doubling, is not a new art form. Music from as far back as the 18th century prominently featured musicians who would play oboe or bassoon and double on flute and/or clarinet. In the modern musical landscape, woodwind doubling is an essential skill for anyone hoping to pursue a successful career in woodwind performance. In general, being a more diverse musician is better than not. There are very few professional performance jobs for single orchestral instrument performers. Most woodwind doubling opportunities now exist in musical theatre, jazz big band, and film scoring and studio work. In cities like New York and Los Angeles, some of the best musicians in the world compete for these gigs, and as the number of musicians on each show shrinks, expectations grow, and the competition becomes fiercer. To be competitive professionally today, one must play each of these instruments at a very advanced level.

A brief discussion of semantics is warranted, as the phrase “woodwind doubler” is not universally accepted. Some feel that it diminishes the value of their performance on multiple woodwind instruments. For instance, a musician whose first instrument was saxophone but who plays clarinet equally well would not regard the clarinet as a “double” or “secondary” instrument since they have dedicated equal amounts of time and effort to study the clarinet. For the purposes of this thesis, we will regard “woodwind doubler” and “multiple woodwinds performer” as synonymous. Additionally, in this essay the term “gig” applies to a (generally paying) performance engagement for a musician. A gig can be a one-off event or a full-time job like a regular position in a Broadway pit orchestra. 2

Project Overview

I first encountered woodwind doubling as a sophomore in high school, when my school’s yearly musical was Guys and Dolls. Until that point, I had only played the alto saxophone, but I was asked to play tenor saxophone in the pit orchestra for the show. I immediately fell in love with playing for musical theatre. I also noticed that the book I was playing with another student called for tenor saxophone and clarinet. I knew my private saxophone teacher often played for musicals, so I asked him about musicals, and he gave me my first lessons in woodwind doubling for theatre. By my senior year of high school, I played soprano, alto, tenor, baritone, and bass saxophones as well as a little bit of clarinet. During my first two years of college I began seriously studying clarinet as well as flute and picked up bass clarinet in my senior year.

From the moment that I chose to attend the Schreyer Honors College, I knew that my thesis would be in music. It took various forms in my head over my time at Penn State but eventually I knew that jazz and woodwind doubling were my two passions in music and so I would shape my thesis around those. I also knew a recital would be part of my thesis, and in discussion with my thesis advisors they suggested that since a recital is such a large project, the essay portion would be best done as a justification on why I chose this specific topic.

Brief Historical Perspectives

Woodwind doubling is not a new art, it existed long before modern musical theatre and jazz big bands. Consider this excerpt from Dr. Ed Joffe’s article, “The Evolution of Commercial

Woodwind Doubling:” 3

In 16th century Vienna, consorts of wind instruments were used for ceremonial

occasions, processions, and dances. The musicians changed from one instrument to

another to avoid monotony of tone color and to accommodate a variety of musical forms.

In 17th century France, composers such as Lully included pairs of oboes in his works that

were to be played by other woodwind players. In Germany during the 17th and 18th

centuries, municipalities employed gifted town multi-instrumental musicians known as

“Stadtpfeifers” to perform all functions that involved music. … During the Baroque era,

the finest European orchestras displayed a penchant for using woodwind doublers. This

allowed bassoonists and oboists (the dominant instrumentalists of the time) to play flutes

and clarinets as well. The great Mannheim Orchestra of the 18th century employed

oboists who doubled on flute AND clarinet. Several works by Haydn and Mozart were

conceived with doublers in mind when they required their oboists to switch to flutes or

clarinets within the same piece. (Haydn Symphonies #9, 24; Mozart #6, 9,12, 24). (Joffe,

“Evolution”).

Modern woodwind doubling, though, can be seen as stemming from the invention of the saxophone and its subsequent popularity in American popular music. Bands in the 1920s, 30s and 40s such as Paul Whiteman’s band, Fletcher Henderson’s band, and the Duke Ellington

Orchestra featured saxophone sections that would double on flutes and clarinets, and even occasionally double reed instruments. As Broadway musical scores were written with these sounds in mind, the common doubling practices became more formalized by orchestrators.

Eventually, in the post-World War Two era, film, television, hotel bands, jazz bands, musical theatre, and recording studios provided vast amounts of work for woodwind players, 4 especially doublers. Studio musicians were expected to play a great variety of music for things like commercial jingles and so were required to play many different woodwinds well. Over time, however, there were fewer gigs available (we will discuss trends in the next chapter), and expectations and competition grew. Nowadays, it is important to be as versatile as possible while playing as maturely as one can (Joffe, “Evolution”).

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Chapter 2

Modern Woodwind Doubling Opportunities

Most people today associate woodwind doubling with musical theatre, and it is true that this is where most woodwind doubling work exists, but there are other musical situations where being able to play other instruments well is required. In this chapter we will look at trends in woodwind doubling opportunities, and what opportunities exist both in theatre and elsewhere.

Trends in Modern Woodwind Doubling

It is difficult to quantify how gig opportunities have decreased over time since numeric data is not always readily available, such as Broadway woodwind book details from the 1970s and 1980s, recording studio examples, etc. We must take the word of musicians who have been playing for many years and have been in the industry to see these changes. Larry Blank is a

Broadway and film orchestrator and conductor. In an interview with the American Theatre Wing, he had the following to say regarding orchestra sizes on Broadway,

Theatre orchestras have gotten smaller, and smaller, and downright not being orchestras

at all. And without strings, it’s a band. And when it gets down to less than nine players

it’s just a little combo. To me an orchestra means that there’s a string section, a

woodwind section, a brass section, a rhythm section. Now, I’m coming up with the

number 12 as like a huge orchestra on Broadway. When I was coming up in theatre as a

conductor the orchestra was never less than 26 or 24. I love orchestrating for theatre, I’m

disappointed that the orchestras are so small. It makes the work much harder, and it’s 6

much harder to create the same depth of sound, but our ears are getting accustomed to it.

(Blank).

As the number of players in orchestras shrink, the demands on doublers grow. This applies not only to players in New York, but musicians in cities who play when touring shows come to their towns, as well as regional productions. In the past, a five-member reed section was common, modeled after a five-person big band saxophone section. The instruments on each part were usually standardized. See for example the reed books from one orchestration of the musical

Guys and Dolls:

1. Piccolo, flute, clarinet, alto saxophone 2. Piccolo, flute, clarinet, alto saxophone 3. Oboe d’amore, English horn, clarinet, tenor saxophone 4. Clarinet, tenor saxophone 5. Bass clarinet, baritone saxophone

(Pimentel).

Generally, Reed One was the lead flute and saxophone, Reed Two was the lead clarinet and supplemented flute and alto saxophone. Reed Three and Reed Four would usually have the double reed book and the jazz tenor saxophone book for improvised solos, and Reed Five was the low reed book (this is where bassoon would go if it was used). Now, expectations are higher.

Michael Starobin, an orchestrator of Broadway and film since the 1980s said, “In general, because we’re dealing with bands that are anywhere from five to eight pieces most of the time for off Broadway and on Broadway, you’re looking for a flute, clarinet, and saxophone on every chair” (Starobin).

Outside of theatre, there is also less regular work for doublers. Ed Joffe says, “It’s so different than it was in the seventies and eighties because today, the gig on Broadway is 7 everything. There’s not the other work that we had available in recording, in club dating, in touring” (Joffe, “Broadway”). In my lifetime, I don’t believe I have ever seen a hotel with a regular band. Most weddings that I have attended hire a single DJ rather than 4 or more musicians. It is an unfortunate situation where everything comes to dollars and cents, and venues can get the music they want without live musicians. All this may seem to paint a bleak picture, but there is still work out there; it just goes to the best and most experienced players available.

This is why not only playing multiple instruments but playing all very well is so important in today’s music scene. Dan Riddle, Music Director of the Penn State School of Theatre and veteran Broadway pianist explains,

I think, if anything, it’s going to get harder, with orchestrators throwing the kitchen sink

into books to save money. So much of the time now some of the reeds have been taken

over by keyboards. If that’s the case, you’re going to need to fight for some kind of

monitor system to hear whoever it is you’re supposed to be blending with. And also know

that the non-live reed playing coming from the synth will probably not be heard as well

as you, since you’re making acoustic sound. All the more reason to be completely secure

in your intonation and tone. …which means hours and hours of practice. (Riddle).

Musical Theatre

Ed Joffe is a veteran New York City woodwinds musician who created one of the first multiple woodwinds graduate performance degrees. In an interview with three Broadway conductors, Joffe says, 8

The musical theatre world really provides the greatest amount of jobs for woodwind

doublers, and that has been the case probably for the last fifteen to twenty years. As a

result, I think it’s important that anyone pursuing a career in woodwind doubling

understand the nature of musical theatre and what it entails. The people who are most

influential in our lives in that regard are the conductors … It’s so different than it was in

the seventies and eighties because today, the gig on Broadway is everything. There’s not

the other work that we had available in recording, in club dating, in touring. Today,

Broadway, for a commercial player, is all that really exists that pays a livable wage with

some benefits…Today, Broadway, for a commercial player, is all that really exists that

pays a livable wage with some benefits. So, the stakes are higher, and the competition is

greater. (Joffe, “Broadway”).

Ed’s discussion is primarily focused on the New York City scene, but the comments hold true elsewhere as well. Someone hoping to be a woodwind performer should have some knowledge of popular shows and styles of musical theatre playing. It is also important to know what conductors are looking for in woodwind players. This can depend on the style and era of the show as well as a conductor’s personal musical ideas. When asked, “What do you look/listen for in woodwind doublers (sound, intonation, technique, style, listening, etc)?” Dan Riddle explained,

Well, I think you nailed it with the wording of your question, though I would put

intonation first. If it’s a [first reed book] I listen for the above the staff flute playing; if

it’s a book with tenor I listen for the ability to blend in the section and swing; if it’s a

double reed book I am always a bit nervous about the oboe until I hear it the first time. 9

Personally, I think it’s ridiculous to expect anyone to be a good oboe/[English Horn]

player and have to play anything else well, and that’s coming from a former oboe player.

Listening pretty much covers it all – reed players really have to find that sweet spot in the

texture to fit in and fill it out. (Riddle).

Broadway and tour conductor Charlie Alterman adds, “I feel like in doublers specifically I look for the versatility of the doubles. But in general, in reed players, I look for people with good tone/intonation and also for good TIME. For whatever reason, reed players seem to often play behind the beat. So, finding reed players who can stay in the pocket (but still play with phrasing and musicality) is always a bonus” (Alterman). Knowing subtle things like this can help a woodwind musician to prepare certain parts such as upper-register flute or jazz tenor saxophone or focusing on tempo and time in order to meet conductors’ expectations.

In addition to conductors, it is also beneficial to know what the orchestrators want in reed players, since they are the people deciding what instruments are used and what is written for those particular instruments. Michael Starobin explains,

There’s a certain kind of playing that came out of the older woodwind doublers, I’m

thinking of someone like Red Press. … What those old players had was a fat kind of

sound because, in the old days, they were projecting without microphones. And there was

a sense of, when they were in the studio, really reaching the microphones with rich, warm

sounds. There is a cleanliness with better technique and better intonation now than what

the older players had, but there’s a loss of that warm, fat sound. … We play for the

microphone now, and it’s not a matter of volume, but I miss the warmth and the use of

vibrato that came with that kind of projection. That’s kind of been lost (Starobin). 10

If an orchestrator is working on a revival production of an older show and looking for that particular sound, a player who can authentically play in that style will likely get a first call to work on that show.

Outside of Musical Theatre

There are few formal, regular gig opportunities specifically for woodwind doublers outside of theatre (for our purposes we will include opera in with theatre). The biggest source of other doubling opportunities comes in jazz big band gigs. Many influential composers in the big band tradition such as Duke Ellington, Thad Jones, and Stan Kenton often wrote music that had the saxophone section playing doubles. In addition, modern bands and composers like Bob

Mintzer, The Jazz at Lincoln Center Orchestra, and The Village Vanguard Band are creating new big band music, and it seems to be a trend to have the saxophone players use other woodwinds to give other sounds and tone colors. Paul Thompson, a jazz and commercial bass player from

Pittsburgh, Pennsylvania stressed the importance of listening and flexibility for woodwind doublers in jazz (and commercial music):

As far as woodwind doublers, I think sound and intonation tend to be the most important

things. Also having that keen knack for blending in well with a section and yet standing

out when it's time to play a solo (written or improvised). As a bassist, for instance, I tend

to listen to the [baritone saxophone] player the most because we're usually playing a lot

of stuff together. My questions are usually 1) are they listening to me? 2) are they

phrasing this the same way? 3) are they swinging? Great "bass" parts are about bringing

out the entire group, not just a good player (or two). Also, playing with a group means 11

listening and adjusting when necessary. Some players will try to force the issue--others

will listen and make the right adjustment to make it sound right. The most flexible are the

ones you tend to see on a lot of gigs (Thompson).

However, it is important to realize that a multiple woodwinds performer does not have to play multiple instruments on every gig. The important thing is that they are a musically versatile musician and can play and fit well in a variety of settings. If a local opera house is presenting a production of a more traditional ballet or opera, the contractor may still hire a commercial doubler if they know that that person can handle the musical demands of the performance. An ideal doubler will have a great deal of both breadth and depth in order to fit well in as many situations as possible. This is why musicians hoping to have a career as a woodwind performer should be able to play their doubles. It opens up more performance opportunities and will improve overall musicianship.

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Chapter 3

Approaches and Philosophies

Different musicians have different approaches to woodwind doubling in many regards.

Some have different ideas about equipment and how the gig determines what equipment they will use. Another interesting factor is the market in which a musician works and the type of work they usually do. I will briefly discuss each of these in this chapter.

Gigs Inform Practices

Dan Higgins is one of the most famous woodwind musicians in the United States today.

He is a veteran Hollywood film, television, recording, and jazz musician, a favorite of composer

John Williams. Higgins began as a saxophone player and began playing the other woodwind instruments as needed for his gigs in college and as an early professional. However, he does not double in the same sense as Broadway musicians who play several instruments on one gig.

Higgins plays each instrument at an exceptionally high level, and usually plays only one or two instruments on a film score. He explained in an interview that he used to frequently play in the flute section for films, and now plays clarinet more often, but he is known also as an excellent saxophone player should there be a need on a particular film score. He prefers to practice one instrument that he will highlight at a given time, rather than play each instrument for a little bit every day. As a product of the industry in which Higgins works, he approaches woodwind playing differently than musicians in a different market. He says, “I disagree with [practicing each instrument every day] because all you’re doing is practicing the switching of the 13 instruments but you’re not getting any better… You have to be willing to put down an instrument here or there to satisfy your work” (Joffe, “Higgins”).

Equipment

There are a few different “philosophies of use” when it comes to woodwind doubling.

This can also be influenced by the type of work one does. For example, someone who is a permanent player in a Broadway pit will treat equipment differently than someone in a city like

Pittsburgh where the longest show they play is a few weeks.

One common practice among Broadway woodwind musicians is to try new equipment in their show to achieve a few different things. Another is to alleviate some of the monotony of playing the same music so many times. Changing equipment can help keep one’s mind active and focused. Also, it allows a player to see if certain new or different equipment will work in that particular musical setting and then use that information when playing outside of a musical

(Perrin).

Many players outside of New York don’t have the opportunity to play shows for long, so they generally don’t use these gigs as a chance to experiment with equipment. The considerations these musicians often make, specifically to doubling, are whether they want to use equipment that will make switching between instruments easier. Common practices include using saxophone and clarinet equipment that is similar (similar strength reeds and mouthpiece openings), as well as using saxophone and clarinet equipment that will reduce fatigue in order to make the switch to flute easier. 14

On the opposite side of the equipment spectrum are the players who believe that each instrument should be treated as if that is the only instrument they are playing, and their instrument should reflect that. Sal Lozano, a successful Los Angeles-based player with experience playing for films, musical theatre productions, and more told me the following in an interview: “I use the same approach for every playing situation. I prefer not to sacrifice my sound on saxophone or clarinet for the sake of the flute or piccolo. If I prepare ahead of time with a proper warm up, then I'm good to go” (Lozano).

I use this approach to doubling. I will use the same saxophone and clarinet equipment whether I am playing one instrument or six. I feel that changing equipment would, as Sal says, compromise my sound. This is not acceptable, especially in jazz or theatre gigs where having a stylistically accurate sound (usually depending on the context of the repertoire being performed) is so important.

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Chapter 4

Preparing a Recital

Repertoire Selection

Some recitals showcase one style, composer, or time period, or do the opposite and showcase a variety of styles or eras. In either case, the repertoire is chosen to match that purpose.

My recital’s main function was to demonstrate multiple woodwinds performance rather than a specific style or composer. I felt that since woodwind doubling is inherently a diverse musical area, I should select diverse repertoire. Some pieces were chosen based on a particular person or recording, and others were chosen because they represented some of my favorite musical theatre pieces that became jazz standards. I chose to have a vocalist on two selections, since saxophonists will often back up a singer in commercial club date-type gigs, as well as playing with singers in musical theatre productions. In the case of “Single Petal of a Rose,” I knew I wanted to play that song specifically, so that led me to learning the bass clarinet, rather than choosing a piece knowing it would be played on bass clarinet.

Another parameter when choosing repertoire is the length of the recital. My professor and

I agreed that an hour would be an ideal length of time, so we felt that seven tunes would be a good length without an intermission. My recital ended up lasting about forty-five minutes since not every tune had a solo for each player, so some were shorter than anticipated.

Once the pieces were chosen, special consideration was given to the order of the program. Usually, sets are constructed based on the natural flow of songs, for example not putting all slow songs consecutively to avoid losing the audience’s attention. In my case, I also 16 had to consider the instruments that would be used for each song. For instance, I chose to put the flute tune early, and not after I had just played clarinet. I saved the baritone saxophone for the end since I knew I could use a relaxed embouchure and would be able to produce a quality sound even if those muscles were tired. Appendices A and B contain my recital program and program notes to show how I chose to order my program and give the audience some context about the repertoire.

Preparation

The multiple instruments used on this recital made it slightly different than most senior recitals. I spent my preparation time in two main ways. The first was working on playing the instruments, namely flute and clarinet, with as mature a sound as I could. This involved spending a lot of time working on fundamentals of those instruments. Also, I had to spend considerable time working on bass clarinet, since it was the newest instrument to me. Since the bass clarinet piece was technically simple, I could spend time working on tone and interpretation. The rest of my time was spent on the jazz improvisation. Some tunes I already knew well, like “Have You

Met Miss Jones.” Others were less familiar to me, so they required more time to learn the chord progressions. Within each of the practice focuses was the secondary objective to work on conditioning myself for this performance. Everyone who performs a recital, be it a vocalist or instrumentalist, must consider stamina and their endurance to avoid fatigue.

Something that is unique to woodwind doubling is that we must spend time practicing switching between instruments. This came to the fore in the week before my recital, when I was playing through the entire program every night to prepare. As I reached the fifth song, “But 17

Beautiful,” I realized that after playing my clarinet piece I would struggle to get as full and rich of a sound on alto saxophone as I wanted, so I decided to play that song on tenor saxophone instead. These considerations are unique to the world of multiple woodwinds.

The last major piece of preparation was a rehearsal with my rhythm section before the day of the gig. Since they all live in Pittsburgh, I went out there to meet them on a Saturday two weeks before my recital. I was fortunate to be working with professionals, because I could play a recording that I hoped to imitate, and they could quickly pick up the style and even correct arrangement mistakes I had made.

Logistics

The logistics of planning a recital are generally the same, be it on one instrument or many. A venue, date and time must be chosen. In my case, I was determined to use a particular rhythm section, so I chose my date and time first to fit with their schedules. After that I had to find a venue. Since the school recital hall was already booked that day, I used the school rehearsal hall, which was a little more intimate and informal, which I enjoyed. Other things such as printing programs and program notes must be considered. In preparing for a multiple instrument recital, it is important when planning rehearsal time to consider setup and tear down of all the instruments. It is unrealistic to use a one-hour practice block to play six instruments, since setup and tear-down will take nearly forty minutes. In the days leading up to the gig it is important to not over-play, which could cause injury and be detrimental. On the day of, the performer should play an easy warm-up and not worry about improving the repertoire further to avoid stress. 18

Appendix A

Recital Program

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Appendix B

Recital Program Notes

Have You Met Miss Jones? RICHARD ROGERS Originally written for the musical I’d Rather Be Right in 1937, “Have You Met Miss Jones?” has become one of the most popular Great American Songbook jazz standards. It has been performed and recorded by innumerable jazz musicians of all voices and instruments. Perhaps the most important influence of this composition is the harmonic movement of the bridge. After starting in Bb, the chords move by major thirds down twice then up once, (Bb => Gb => D => Gb), and then back to F, the key of the song. This major third movement inspired John Coltrane in his development of “Coltrane Changes”, the chord progressions used on his compositions such as “Giant Steps” and “Countdown” (“Coltrane”).

The Things We Did Last Summer JULE STYNE, SAMMY CAHN “The Things We Did Last Summer” was written in 1946 as a popular song about nostalgia and was first recorded by Jo Stafford in the same year, reaching the tenth position on the Billboard chart. It went on to become a Great American songbook standard, covered by several artists such as Frank Sinatra, Dean Martin, Bing Crosby, and even The Beach Boys. While the tune is most often played as a ballad, Nancy Wilson has a notable recording from 1961 with George Shearing that sits at a brighter medium swing tempo, offering a different perspective on the music and lyrics.

They Say It’s Wonderful IRVING BERLIN Irving Berlin wrote “They Say It’s Wonderful” in 1946 for the musical Annie Get Your Gun starring Ethel Merman. Jerome Kern was originally hired to write the score for the show, but when he suddenly passed away Berlin was offered the job by producers Richard Rogers and Oscar Hammerstein II. Berlin initially refused because he “knew nothing about hillbilly music(“Irving”).” Annie Get Your Gun eventually became his most successful show score. Over 20 his career, he wrote music for twenty Broadway shows and fifteen Hollywood films, as well as hundreds of popular songs, firmly establishing him as one of the leading composers of the Great American Songbook. Kern once said of Berlin, “[He] has no place in American music – he is American music.”

Clarinet Concerto in A Major, K. 622 Mvmt. 2: Adagio W. A. MOZART, arr. Paquito D’Rivera Mozart composed his Clarinet Concerto in October 1791, just two months before his death, for clarinetist Anton Stadler. Since it was published posthumously, some of Mozart’s intentions for the piece are left unknown. It is known that Mozart originally intended the piece to be performed on the basset clarinet, a rare instrument that is almost identical to a standard clarinet except that it has an extended lower range. Cuban clarinetist and saxophonist Paquito D’Rivera provides a unique arrangement that has become a staple of his combo performances, often claiming that he believes “[Mozart] was not Austrian at all, but is really from New Orleans, and they have been playing his music wrong for so long.”

But Beautiful JIMMY VAN HEUSEN Edward Chester Babcock decided to change his name (after the shirt maker) in 1929 to use as his on-air name during radio shows. While Jimmy Van Heusen is less well-known than some of his contemporaries such as Gershwin, Porter, and Berlin, his contributions to the Great American Songbook are no less important. Compositions by Van Heusen include “I Thought About You,” “Come Fly with Me,” “Ain’t That a Kick in the Head,” “It Could Happen to You,” “Darn That Dream,” and “Here’s That Rainy Day.” Frank Sinatra recorded more songs by Jimmy Van Heusen than any other composer. “But Beautiful” was written in 1947 for the film Road to Rio and was originally sung by Bing Crosby. It is generally performed as a ballad, but some artists choose a more medium tempo, such as Seth MacFarlane on his 2017 recording In Full Swing.

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The Single Petal of a Rose DUKE ELLINGTON Though many people name the likes of Aaron Copland, Samuel Barber, and George Gershwin as the greatest American composers, some argue that Ellington belongs at the top of the list. Edward Kennedy “Duke” Ellington was born in Washington, D.C. in 1899 and showed an early affinity for music. From the late 1920s onward, he and his jazz orchestra became the best-known representation of this music around the world. Over his career he would compose over 1000 pieces of music. Ellington received a posthumous Pulitzer Prize Special Award in 1999 “[in] recognition of his musical genius, which evoked aesthetically the principles of democracy through the medium of jazz and thus made an indelible contribution to art and culture." Ellington composed The Queen’s Suite in 1958, dedicated to Queen Elizabeth II. The Single Petal of a Rose was the fifth movement and was originally written for only piano and bass. Scottish saxophonist and founding member of the Jazz at Lincoln Center Orchestra Joe Temperley (1929-2016) frequently performed this as a bass clarinet and piano duet.

Rocker GERRY MULLIGAN Gerry Mulligan originally wrote “Rocker” for Charlie Parker’s 1950 album Charlie Parker With Strings; however, it was not released on that album (those takes were released on a 1995 reissue). The song was recorded in 1950 and later released on Miles Davis’s seminal 1957 album Birth of the Cool. Mulligan later re-recorded the same arrangement for his 1992 album Re-birth of the Cool, which featured Phil Woods on alto saxophone. In September 2015, Phil Woods played selections from the Bird with Strings recording with members of the Pittsburgh Symphony Orchestra, less than a month before he passed away. “Rocker” was the last song Woods played at that performance.

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BIBLIOGRAPHY

Alterman, Charlie. Personal interview. 16 Apr. 2020.

Blank, Larry. “Working in the Theatre: Orchestrations.” YouTube, American Theatre Wing, 16

Jan. 2019, www.youtube.com/watch?v=qz-6ccaEor0.

“Coltrane Changes.” Wikipedia, Wikimedia Foundation, 5 Jan. 2020,

en.wikipedia.org/wiki/Coltrane_changes.

“Irving Berlin.” Wikipedia, Wikimedia Foundation, 15 Apr. 2020,

en.wikipedia.org/wiki/Irving_Berlin.

Joffe, Ed. “Broadway Conductors Forum.” YouTube, 23 Feb. 2016,

www.youtube.com/watch?v=paS6l2GXNY8. Accessed 11 Apr. 2020.

Joffe, Ed. “Dan Higgins - First Call.” YouTube, 10 Sept. 2019,

www.youtube.com/watch?v=P0tvRJ-h2Ik. Accessed 11 Apr. 2020.

Joffe, Ed. “The Evolution of Commercial Woodwind Doubling.” Joffe Woodwinds, 23 Sept.

2016, joffewoodwinds.com/articles/evolution-commercial-woodwind-doubling/.

Accessed 11 Apr. 2020.

Lozano, Sal. Personal interview. 22 Mar. 2020. 23

Perrin, Sean. “Clarineat Podcast.” Audio blog post. “E019: Ed Joffe (Part 3 of 3) on his

Broadway career of almost 40 years.” 25 Nov. 2016. Web. Accessed 11 Apr. 2020.

Pimentel, Bret. “Guys and Dolls.” Woodwind Doubling in Musicals, 2013,

shows.bretpimentel.com/shows/guys-and-dolls/. Accessed 12 Apr. 2020

Riddle, Dan. Personal interview. 11 Apr. 2020.

Starobin, Michael. Personal interview. 13 Apr. 2020.

Thompson, Paul. Personal interview. 9 Feb. 2020. 24

Academic Vita

CHRISTOPHER J. ROSENDALE [email protected] [email protected]

Education: The Pennsylvania State University, Schreyer Honors College University Park, PA 16802 Bachelor of Science, Computer Science, Honors in Music Minor, Music Performance

Thesis Title: “A Performance-Based Analysis of Modern Woodwind Doubling”

Supervisor: Dr. David Stambler, Professor of Saxophone

Honors Advisor: Dr. Charles Youmans, Professor of Music History

Presentation: Christopher Rosendale’s Senior Woodwinds Recital February 22, 2020, Esber Rehearsal Hall, University Park Campus Jazz combo performance on Alto Saxophone, Tenor Saxophone, Baritone Saxophone, Flute, Clarinet, Bass Clarinet

Professional Performance Experience: • Selected Musical Theatre Pit Orchestras o Spamalot, Penn State School of Theatre – April 2020 Tenor Sax, Clarinet, Bass Clarinet o In the Heights, St. Joseph High School – April 2019 Alto Sax, Tenor Sax, Baritone Sax, Flute, Clarinet o Cabaret, The Penn State Thespians – March 2019 Alto Sax, Clarinet o Legally Blonde, Penn State School of Theatre – October 2018 Baritone Sax, Flute, Clarinet o Kiss of the Spider Woman, Penn State School of Theatre – April 2018 Alto Sax, Tenor Sax, Clarinet

• Other Performances 25

o Senior Honors Thesis Recital – February 22, 2020 Works by Rodgers, Van Heusen, Mozart, Styne, Mulligan, Ellington/Strayhorn, and Berlin Alto Sax, Tenor Sax, Baritone Sax, Flute, Clarinet, Bass Clarinet o Centre Dimensions Jazz Band, Penn State School of Music – Spring 2018, Spring 2019, Spring 2020 Alto Sax, Tenor Sax, Flute, Clarinet o NYU Broadway Winds Summer Workshop – July 2018 Masterclasses with Broadway musicians Dave Noland, Rick Heckman, Ed Matthew, Mark Thrasher, Steve Kenyon Alto Sax, Baritone Sax, Flute, Clarinet o Godspell, February 2018 Music Director / Conductor

Memberships: • Phi Mu Alpha Sinfonia (National Honors Music Fraternity) President, April 2019 – April 2020 Secretary, August 2017 – April 2019 • Penn State Jazz Educators Club President, August 2018 – August 2019 Treasurer, August 2017 – August 2018 • Penn State Saxophone Alliance President, August 2018 – May 2020 Vice President, August 2017 – August 2018

Teachers: • Saxophone Dr. David Stambler, Penn State University – Fall 2016 – Spring 2020 • Jazz Marko Marcinko, Penn State University – Fall 2016 – Spring 2020 Mike Tomaro, Duquesne University – 2015 – 2018 • Clarinet / Woodwind Doubling George Hoydich, Pittsburgh Freelance – 2018 – 2020 Katie Kessler, Penn State Clarinet Graduate Teaching Assistant - 2019 Rob Jacoby, New York City Freelance – 2018 • Flute Dan Parasky, Pittsburgh Freelance – 2017