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Johnny Hodges: an Analysis and Study of His Improvisational Style Through Selected Transcriptions
HILL, AARON D., D.M.A. Johnny Hodges: An Analysis and Study of His Improvisational Style Through Selected Transcriptions. (2021) Directed by Dr. Steven Stusek. 82 pp This document investigates the improvisational style of Johnny Hodges based on improvised solos selected from a broad swath of his recording career. Hodges is widely considered one of the foundational voices of the alto saxophone, and yet there are no comprehensive studies of his style. This study includes the analysis of four solos recorded between 1928 and 1962 which have been divided into the categories of blues, swing, and ballads, and his harmonic, rhythmic, and affective tendencies will be discussed. Hodges’ harmonic approach regularly balanced diatonicism with the accentuation of locally significant non-diatonic tones, and his improvisations frequently relied on ornamentation of the melody. He demonstrated considerable rhythmic fluidity in terms of swing, polyrhythmic, and double time feel. The most individually identifiable quality of his style was his frequent and often exaggerated use of affectations, such as scoops, sighs, and glissandi. The resulting body of research highlights the identifiable characteristics of Hodges’ style, and it provides both musical and historical contributions to the scholarship. JOHNNY HODGES: AN ANALYSIS AND STUDY OF HIS IMPROVISATIONAL STYLE THROUGH SELECTED TRANSCRIPTIONS by Aaron D. Hill A Dissertation Submitted to The Faculty of the Graduate School at The University of North Carolina at Greensboro in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts Greensboro 2021 Approved by __________________________________ Committee Chair 2 APPROVAL PAGE This dissertation written by AARON D. HILL has been approved by the following committee of the Faculty of The Graduate School at The University of North Carolina at Greensboro. -
The Journal of the Duke Ellington Society Uk Volume 23 Number 3 Autumn 2016
THE JOURNAL OF THE DUKE ELLINGTON SOCIETY UK VOLUME 23 NUMBER 3 AUTUMN 2016 nil significat nisi pulsatur DUKE ELLINGTON SOCIETY UK http://dukeellington.org.uk DESUK COMMITTEE HONORARY MEMBERS OF DESUK Art Baron CHAIRMAN: Geoff Smith John Lamb Vincent Prudente VICE CHAIRMAN: Mike Coates Monsignor John Sanders SECRETARY: Quentin Bryar Tel: 0208 998 2761 Email: [email protected] HONORARY MEMBERS SADLY NO LONGER WITH US TREASURER: Grant Elliot Tel: 01284 753825 Bill Berry (13 October 2002) Email: [email protected] Harold Ashby (13 June 2003) Jimmy Woode (23 April 2005) MEMBERSHIP SECRETARY: Mike Coates Tel: 0114 234 8927 Humphrey Lyttelton (25 April 2008) Email: [email protected] Louie Bellson (14 February 2009) Joya Sherrill (28 June 2010) PUBLICITY: Chris Addison Tel:01642-274740 Alice Babs (11 February, 2014) Email: [email protected] Herb Jeffries (25 May 2014) MEETINGS: Antony Pepper Tel: 01342-314053 Derek Else (16 July 2014) Email: [email protected] Clark Terry (21 February 2015) Joe Temperley (11 May, 2016) COMMITTEE MEMBERS: Roger Boyes, Ian Buster Cooper (13 May 2016) Bradley, George Duncan, Frank Griffith, Frank Harvey Membership of Duke Ellington Society UK costs £25 SOCIETY NOTICES per year. Members receive quarterly a copy of the Society’s journal Blue Light. DESUK London Social Meetings: Civil Service Club, 13-15 Great Scotland Yard, London nd Payment may be made by: SW1A 2HJ; off Whitehall, Trafalgar Square end. 2 Saturday of the month, 2pm. Cheque, payable to DESUK drawn on a Sterling bank Antony Pepper, contact details as above. account and sent to The Treasurer, 55 Home Farm Lane, Bury St. -
Black, Brown and Beige
Jazz Lines Publications Presents black, brown, and beige by duke ellington prepared for Publication by dylan canterbury, Rob DuBoff, and Jeffrey Sultanof complete full score jlp-7366 By Duke Ellington Copyright © 1946 (Renewed) by G. Schirmer, Inc. (ASCAP) International Copyright Secured. All Rights Reserved. Reprinted by Permission. Logos, Graphics, and Layout Copyright © 2017 The Jazz Lines Foundation Inc. Published by the Jazz Lines Foundation Inc., a not-for-profit jazz research organization dedicated to preserving and promoting America’s musical heritage. The Jazz Lines Foundation Inc. PO Box 1236 Saratoga Springs NY 12866 USA duke ellington series black, brown, and beige (1943) Biographies: Edward Kennedy ‘Duke’ Ellington influenced millions of people both around the world and at home. In his fifty-year career he played over 20,000 performances in Europe, Latin America, the Middle East as well as Asia. Simply put, Ellington transcends boundaries and fills the world with a treasure trove of music that renews itself through every generation of fans and music-lovers. His legacy continues to live onward and will endure for generations to come. Wynton Marsalis said it best when he said, “His music sounds like America.” Because of the unmatched artistic heights to which he soared, no one deserves the phrase “beyond category” more than Ellington, for it aptly describes his life as well. When asked what inspired him to write, Ellington replied, “My men and my race are the inspiration of my work. I try to catch the character and mood and feeling of my people.” Duke Ellington is best remembered for the over 3,000 songs that he composed during his lifetime. -
Journal of the Conductors Guild
Journal of the Conductors Guild Volume 32 2015-2016 19350 Magnolia Grove Square, #301 Leesburg, VA 20176 Phone: (646) 335-2032 E-mail: [email protected] Website: www.conductorsguild.org Jan Wilson, Executive Director Officers John Farrer, President John Gordon Ross, Treasurer Erin Freeman, Vice-President David Leibowitz, Secretary Christopher Blair, President-Elect Gordon Johnson, Past President Board of Directors Ira Abrams Brian Dowdy Jon C. Mitchell Marc-André Bougie Thomas Gamboa Philip Morehead Wesley J. Broadnax Silas Nathaniel Huff Kevin Purcell Jonathan Caldwell David Itkin Dominique Royem Rubén Capriles John Koshak Markand Thakar Mark Crim Paul Manz Emily Threinen John Devlin Jeffery Meyer Julius Williams Advisory Council James Allen Anderson Adrian Gnam Larry Newland Pierre Boulez (in memoriam) Michael Griffith Harlan D. Parker Emily Freeman Brown Samuel Jones Donald Portnoy Michael Charry Tonu Kalam Barbara Schubert Sandra Dackow Wes Kenney Gunther Schuller (in memoriam) Harold Farberman Daniel Lewis Leonard Slatkin Max Rudolf Award Winners Herbert Blomstedt Gustav Meier Jonathan Sternberg David M. Epstein Otto-Werner Mueller Paul Vermel Donald Hunsberger Helmuth Rilling Daniel Lewis Gunther Schuller Thelma A. Robinson Award Winners Beatrice Jona Affron Carolyn Kuan Jamie Reeves Eric Bell Katherine Kilburn Laura Rexroth Miriam Burns Matilda Hofman Annunziata Tomaro Kevin Geraldi Octavio Más-Arocas Steven Martyn Zike Theodore Thomas Award Winners Claudio Abbado Frederick Fennell Robert Shaw Maurice Abravanel Bernard Haitink Leonard Slatkin Marin Alsop Margaret Hillis Esa-Pekka Salonen Leon Barzin James Levine Sir Georg Solti Leonard Bernstein Kurt Masur Michael Tilson Thomas Pierre Boulez Sir Simon Rattle David Zinman Sir Colin Davis Max Rudolf Journal of the Conductors Guild Volume 32 (2015-2016) Nathaniel F. -
Jumpin' Punkins by Mercer Ellington Arranged by Duke Ellington Unit 1
Jumpin’ Punkins By Mercer Ellington Arranged by Duke Ellington Unit 1: Composer Mercer Ellington was born in Washington D.C., on March 11, 1919. He was the son of world famous composer, pianist, and bandleader, Duke Ellington. He tried for his entire life to escape from under the shadow of his famous father. A talented trumpet player, Mercer studied music with his father and wrote his first composition, “Pigeons and Peppers”, at the age of eighteen. Mercer, a classically trained musician, studied music in New York at Columbia University and the Institute of Musical Arts at Juilliard. He had several professions in life including salesman, disk jockey, record company executive, trumpet player, and aide to his father. Mercer performed in Sy Oliver’s Band after WWII, led his own band for a number of years, and then served as music director for Della Reese in 1960. He took over as leader of the Ellington Orchestra after his father’s death in 1974. He even won a Grammy with the Ellington Orchestra in 1988 for “Digital Duke.” This recording actually pulled together many of the former greats of the Ellington Orchestra including Clark Terry, Norris Turney and special guest artists including Branford Marsalis and Sir Roland Hanna. Mercer also wrote a biography of his father entitled “Duke Ellington in Person,” offering a personal account of Duke Ellington from a son’s perspective. Unit 2: Composition Mercer wrote Jumpin’ Punkins (1941) after being asked by his father, Duke, to join the band as a writer. It is believed that even though Mercer composed several compositions during this two-year period, Duke actually arranged this chart for the Ellington Orchestra himself. -
Frank Driggs Collection of Duke Ellington Photographic Reference Prints [Copy Prints]
Frank Driggs Collection of Duke Ellington Photographic Reference Prints [copy prints] NMAH.AC.0389 NMAH Staff 2018 Archives Center, National Museum of American History P.O. Box 37012 Suite 1100, MRC 601 Washington, D.C. 20013-7012 [email protected] http://americanhistory.si.edu/archives Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Arrangement..................................................................................................................... 2 Scope and Contents note................................................................................................ 2 Biographical/Historical note.............................................................................................. 2 Names and Subjects ...................................................................................................... 2 Container Listing ............................................................................................................. 3 Series 1: Band Members......................................................................................... 3 Series 2: Ellington at Piano...................................................................................... 5 Series 3: Candid Shots............................................................................................ 6 Series : Ellington -
Cootie Williams, Rex Stewart, and Ray Nance: Duke Ellington's Trumpet Soloists 1940-1942
- Cootie Williams, Rex Stewart, and Ray Nance: Duke Ellington's trumpet soloists 1940-1942. Bennett, Bryan Wendell https://iro.uiowa.edu/discovery/delivery/01IOWA_INST:ResearchRepository/12730546080002771?l#13730806390002771 Bennett, B. W. (2010). Cootie Williams, Rex Stewart, and Ray Nance: Duke Ellington’s trumpet soloists 1940-1942 [University of Iowa]. https://doi.org/10.17077/etd.x0k53cv1 https://iro.uiowa.edu Copyright 2009 Bryan Wendell Bennett Downloaded on 2021/09/28 12:23:34 -0500 - COOTIE WILLIAMS, REX STEWART, AND RAY NANCE: DUKE ELLINGTON’S TRUMPET SOLOISTS 1940-1942 by Bryan Wendell Bennett An essay submitted in partial fulfillment of the requirements for the Doctor of Musical Arts degree in the Graduate College of The University of Iowa December 2009 Essay Supervisor: Professor Emeritus David Greenhoe Graduate College The University of Iowa Iowa City, Iowa CERTIFICATE OF APPROVAL ____________________ D.M.A. ESSAY ___________ This is to certify that the D.M.A. essay of Bryan Wendell Bennett has been approved by the Examining Committee for the essay requirement for the Doctor of Musical Arts degree at the December 2009 graduation. Essay Committee: David Greenhoe, Essay Supervisor David Gier Jeffrey Agrell John Rapson Russell Lenth ACKNOWLEDGEMENTS The completion of this essay was made possible with the assistance of several individuals. First, thank you to Professor Emeritus David Greenhoe for serving as essay supervisor. Additionally, I wish to express my sincere appreciation to Dr. John Rapson for his assistance in the transcription process. Special thanks to Dr. David Gier, Professor Jeffrey Agrell, and Dr. Russell Lenth for serving on my defense committee. -
The Cambridge Companion to Duke Ellington Edited by Edward Green Frontmatter More Information
Cambridge University Press 978-0-521-88119-7 - The Cambridge Companion to Duke Ellington Edited by Edward Green Frontmatter More information The Cambridge Companion to Duke Ellington Duke Ellington is widely held to be the greatest jazz composer and one of the most significant cultural icons of the twentieth century. This comprehensive and accessible Companion is the first collection of essays to survey, in-depth, Ellington’s career, music, and place in popular culture. An international cast of authors includes renowned scholars, critics, composers, and jazz musicians. Organized in three parts, the Companion first sets Ellington’s life and work in context, providing new information about his formative years, method of composing, interactions with other musicians, and activities abroad; its second part gives a complete artistic biography of Ellington; and the final section is a series of specific musical studies, including chapters on Ellington and songwriting, the jazz piano, descriptive music, and the blues. Featuring a chronology of the composer’s life and major recordings, this book is essential reading for anyone with an interest in Ellington’s enduring artistic legacy. edward green is a professor at Manhattan School of Music, where since 1984 he has taught jazz, music history, composition, and ethnomusicology. He is also on the faculty of the Aesthetic Realism Foundation, and studied with the renowned philosopher Eli Siegel, the founder of Aesthetic Realism. Dr. Green serves on the editorial boards of The International Review of the Aesthetics and Sociology of Music, Haydn (the journal of the Haydn Society of North America), and Проблемы Музыкальной Науки (Music Scholarship), which is published by a consortium of major Russian conservatories, and is editor of China and the West: The Birth of a New Music (2009). -
Morgenstern, Dan. [Record Review: Duke Ellington: Far East Suite
not tease us here, but gives generously of him'>Clf. Nippon , until the last thlrd, '---- -- ---------iJs in fact a little piano concerto, or Records aro reviewed by Don DaMicheal,Gilb ert M. Erskine, Kenny Dorha m, Barbara Gardner, Bill Mathieu, Marian McPortlond,Dan Morgenster, rather, a rha psody for piano and orchestra, Bill Quinn, Harvey Pekar, William Ruuo, Harvey Siders, Pote Welding, John S. Wilson, and Michael Zwerin. Reviews are signed by the writen. with the emphasis on the former. Roting• ore, * * * * * ,.xcellent, * * * * very good, * * * good, * * fair, * poor. The theme and opening passages will L __________ _ Whe_: __n two.....:.__:...::., catalog ___numbers ___ ore listed_;_, ____the firs t is mono,_ _;_ _________ and the second is stereo. __________ theredelight is pianoThelonious playing Monk;in the grandfurther tradion,- t ion suc h as one rarely hears today- . not just the special tradition that evolved SPOTLIGHT REVIEW A few years later , the doubter was none Th is 1s not to say ~at Elli~gton jazz. but the great, expansive, full- other than John Hamm ond, who was led, not Jis~en to th~ _fascma un g ?'us ics of ~ed classical tradition that began with by the appea rance of Reminiscing in countries he v1s1ted. He did, and . izst and Chopin , ended with Horowitz, Duke Ellington---------• Tempo, to declare that Ellington had be PAR EAST SUIT E-RCA Victor LPM/ LPS well. But he has not allowed this t lives on in Rubinstein. ~782: Tourist Polllt of Vi<tv j 81",blrd of Dtlhi come pretentious--0r words to that effect. -
KO-KO Composed by Duke Ellington
Jazz aT Lincoln CenTer LiBrary KO-KO Composed by duke ellington Transcribed by David Berger for Jazz at Lincoln Center F u ll S co r e This transcription was made especially for Essentially Ellington 2003: The Eighth Annual Jazz at Lincoln Center High School Jazz Band Competition & Festival. Major support for Essentially Ellington is provided by The Jack and Susan Rudin Educational and Scholarship Fund, Danny Kaye and Sylvia Fine Kaye Foundation, PepsiCo Foundation, The Surdna Foundation, and Verve Music Group. Additional support is provided by The National Endowment for the Arts, Citigroup Foundation, the Ella Fitzgerald Charitable Foundation, The Charles Evans Hughes Memorial Foundation, MTV Networks, The New York Times Company Foundation, Gail & Alfred Engelberg, and other generous funders. Jazz at Lincoln Center and Warner Bros. Publications gratefully acknowledge the cooperation and support provided in the publication of the Essentially Ellington music series: EMI Music Publishing, Famous Music Corporation & Mr. Irwin Z. Robinson, Hal Leonard Corporation, Helene Blue Musique Ltd./Strada Music, Music Sales Corporation/Tempo Music Inc., Webster Music Company, and especially the Estates of Duke Ellington and Mercer Ellington. Preview Only Legal Use Requires Purchase NOTES ON PLAYING ELLINGTON lead. When the saxes and/or trombones play with the trumpets, This is important so that the moving parts can be heard over the lead trumpet is the boss. The lead alto and trombone must the sustained notes. Don’t just hold out the long notes, but give At least 95% of modern-day large ensemble jazz playing comes out listen to the first trumpet and follow her. -
Guide to the Billy Strayhorn Ephemera Collection
Guide to the Billy Strayhorn Ephemera Collection NMAH.AC.0383 NMAH Staff 1990 Archives Center, National Museum of American History P.O. Box 37012 Suite 1100, MRC 601 Washington, D.C. 20013-7012 [email protected] http://americanhistory.si.edu/archives Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Arrangement..................................................................................................................... 2 Scope and Contents........................................................................................................ 2 Biographical / Historical.................................................................................................... 1 Names and Subjects ...................................................................................................... 2 Container Listing ............................................................................................................. 3 Billy Strayhorn Ephemera Collection NMAH.AC.0383 Collection Overview Repository: Archives Center, National Museum of American History Title: Billy Strayhorn Ephemera Collection Identifier: NMAH.AC.0383 Date: 1965-1969 Creator: Gregory, Thelma (Collector) Morris, Gregory (Collector) Extent: 3 Items (3 folders) Language: English . Summary: Collection consists of two newsclippings, and an advertising -
DIMINUENDO and CRESCENDO in BLUE by Duke Ellington
JAzz At Lincoln Center Library DIMINUENDO AND CRESCENDO IN BLUE by Duke ellington Transcribed by David Berger for Jazz at Lincoln Center F u ll S C o r e This transcription was made especially for Essentially Ellington 2004: The Ninth Annual Jazz at Lincoln Center High School Jazz Band Competition & Festival. Major support for Essentially Ellington is provided by The Jack and Susan Rudin Educational and Scholarship Fund, Surdna Foundation, Danny Kaye and Sylvia Fine Kaye Foundation, Verizon Communications, and Verve Music Group. Additional support is provided by The Heckscher Foundation for Children, the National Endowment for the Arts, Citigroup Foundation, the Ella Fitzgerald Charitable Foundation, The Charles Evans Hughes Memorial Foundation, The New York Times Company Foundation, Gail & Alfred Engelberg, Elroy and Terry Krumholz Foundation, Robert E. and Elizabeth Anne La Blanc Foundation, and other generous funders. This vocal transcription was made possible with support from the Ella Fitzgerald Charitable Foundation. Jazz at Lincoln Center and Alfred Music Publishing Co., Inc. gratefully acknowledge the cooperation and sup- port provided in the publication of this year’s Essentially Ellington music series: EMI Music Publishing, Famous Music Corporation & Mr. Irwin Z. Robinson, Hal Leonard Corporation, Music Sales Corporation / Tempo Music Inc., WB Music Corp., the George Gershwin Family Trust, Previewand especially the Estates of Duke Ellington and Mercer EllingtonOnly Legal Use Requires Purchase NOTES ON PLAYING ELLINGTON the lead trumpet is the boss. The lead alto and trombone must listen to the first trumpet and follow her. In turn, the other saxes At least 95% of modern-day large ensemble jazz playing comes out and trombones must follow their lead players.