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By Carl Spaeth Submitted to the Graduate Degree Program in Music

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By Carl Spaeth Submitted to the Graduate Degree Program in Music A PERFORMER’S ANALYSIS OF SELECTED JAZZ WORKS FOR SAXOPHONE QUARTET By © 2014 Carl Spaeth Submitted to the graduate degree program in Music and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Musical Arts. ________________________________ Chairperson Dr. Bryan Haaheim ________________________________ Professor Vince Gnojek ________________________________ Dr. Margaret Marco ________________________________ Dr. Roberta Schwartz ________________________________ Dr. Chuck Berg Date Defended: April 15, 2014 The Committee for Carl Spaeth certifies that this is the approved version of the following document: A PERFORMER’S ANALYSIS OF SELECTED JAZZ WORKS FOR SAXOPHONE QUARTET ________________________________ Chairperson Dr. Bryan Haaheim Date approved: April 15, 2014 ii ABSTRACT The purpose of this lecture recital is to impress upon educators the importance of including jazz in the standard saxophone quartet literature and to provide a detailed description of appropriate stylistic choices for performing such works. Jazz is an important part of the saxophone’s history, and educators and performers can benefit from engaging with both classical and jazz styles. The focus of this document is Three Pieces for Saxophone Quartet by Bob Mintzer and Three Improvisations by Phil Woods. These works were selected because the composers are also prominent jazz saxophonists representing differing styles. The document will include an interview with saxophonist/composer/educator Bob Mintzer. Topics to be discussed include a comparison of writing styles including harmony, rhythm, improvisation, and articulation, as well as appropriate practices such as swing, articulation, tone, vibrato, and releases. The benefits of jazz saxophone quartets to reach a wider audience, provide educational opportunities for advanced students, and expand the standard repertoire will be noted. Important challenges of performance such as the balance of quartal/quintel harmonies, dissonance, and intonation problems will be discussed. iii ACKNOWLEDGMENTS I would first like to acknowledge my major professor, Vince Gnojek, for his dedication to helping me grow as a musician and pedagogue, and for first introducing me to the quartets by Bob Mintzer and Phil Woods. I would also like to state my appreciation of the support and encouragement given to me by the rest of my doctoral committee, Dr. Bryan Haaheim, Dr. Margaret Marco, Dr. Roberta Schwartz, and Dr. Chuck Berg. I cannot express enough my thanks to Bob Mintzer. As a model performer, composer, and educator, his contributions to the saxophone community are vast. His participation in this study without reservation has been truly rewarding. I am very grateful for the efforts of the other members of KU’s first Graduate Saxophone Quartet, Zak Pischnotte, Robert Harvey, and Dave Berrios. Thank you for agreeing to perform these quartet pieces and for the many hours we have spent making music together. Finally, I would like to offer my sincere thanks to my friends, family, and previous teachers. A terminal degree is a difficult journey, and you have collectively made this possible. iv DEDICATION To my parents, Kevin and Becky, who bought me my first saxophone. v TABLE OF CONTENTS LIST OF TABLES ..................................................................................................................................... viii LIST OF MUSICAL EXAMPLES .............................................................................................................. ix COMPOSER BIOGRAPHIES ...................................................................................................................... 1 Bob Mintzer .............................................................................................................................................. 1 Phil Woods ................................................................................................................................................ 4 MINTZER’S THREE PIECES FOR SAXOPHONE QUARTET .................................................................. 6 Movement 1 .............................................................................................................................................. 6 Movement 2 ............................................................................................................................................ 10 Movement 3 ............................................................................................................................................ 11 WOODS’ THREE IMPROVISATIONS ...................................................................................................... 14 Movement 1 ............................................................................................................................................ 15 Movement 2 ............................................................................................................................................ 16 Movement 3 ............................................................................................................................................ 18 PERFORMANCE STYLE .......................................................................................................................... 19 Tone Production ...................................................................................................................................... 19 Articulation ............................................................................................................................................. 20 Swing Style and Time ............................................................................................................................. 23 Jazz Improvisation .................................................................................................................................. 23 CONCLUSION: SOURCES FOR FURTHER STUDY............................................................................ 24 APPENDIX A: INTERVIEW WITH BOB MINTZER ............................................................................ 27 APPENDIX B: MINTZER DISCOGRAPHY ........................................................................................... 29 vi APPENDIX C: MINTZER BIG BAND ARRANGEMENTS .................................................................. 34 APPENDIX D: WOODS’ AWARDS ........................................................................................................ 37 BIBLIOGRAPHY ....................................................................................................................................... 39 vii LIST OF TABLES Table 1 - Saxophone quartets by Bob Mintzer ............................................................................................. 3 Table 2 - Formal organization of Mintzer, Three Pieces for Saxophone Quartet, Movement 1 .................. 6 Table 3 - Formal organization of Mintzer, Three Pieces for Saxophone Quartet, Movement 2 ................ 10 Table 4 - Formal organization of Mintzer, Three Pieces for Saxophone Quartet, Movement 3 ................ 13 Table 5 - Outline of Woods, Three Improvisations, Movement 1 .............................................................. 16 Table 6 - Recordings of Phil Woods’ Three Improvisations ...................................................................... 26 viii LIST OF MUSICAL EXAMPLES Example 1 – Mintzer, Three Pieces for Saxophone Quartet, “Swingin’,” soprano part, mm. 49-56 ........... 7 Example 2 – Mintzer, Three Pieces for Saxophone Quartet, “Swingin’,” soprano part, mm. 57-64 ........... 7 Example 3 - Piano reduction of Mintzer Movement 1, m. 1 ......................................................................... 9 Example 4 - Mintzer, Three Pieces for Saxophone Quartet, “Swingin’,” soprano part, mm. 13-14 ............ 9 Example 5 - Mintzer, Three Pieces for Saxophone Quartet, “Softly,” alto part, m. 36 .............................. 11 Example 6 - Mintzer, Three Pieces for Saxophone Quartet, “Softly,” alto part, m. 45 .............................. 11 Example 7 - Mintzer, Three Pieces for Saxophone Quartet, “Funkification,” mm. 1-8 ............................. 12 Example 8 – Mintzer, Three Pieces for Saxophone Quartet, “Funkification,” mm. 57-60 ........................ 13 Example 9 - Mintzer, Three Pieces for Saxophone Quartet, “Softly,” m. 21 ............................................. 14 Example 10 - Mintzer, Three Pieces for Saxophone Quartet, “Funkification,” m. 62 ............................... 14 Example 11- Woods, Three Improvisations, Movement 2, mm. 8-11 ........................................................ 17 Example 12 - Woods, Three Improvisations, Movement 2, mm. 51-55 ..................................................... 18 Example 13 - Woods, Three Improvisations, Movement 3 (soprano part, mm. 92-93) ............................. 18 Example 14 - Woods, Three Improvisations, Movement 3 (soprano part, mm. 129-130) ......................... 18 Example 15 – Mintzer, Three Pieces for Saxophone Quartet, Movement 1 (soprano part, mm. 1-8) ....... 21 Example 16 - Mintzer, Three Pieces for Saxophone Quartet, Movement 1,soprano part, mm. 13-16 ....... 21 Example 17 - Mintzer, Three Pieces for Saxophone Quartet, Movement 1,soprano part, mm. 62-64 ....... 21 Example 18 - Mintzer, Three Pieces for Saxophone Quartet, Movement 1, mm. 13-16 ........................... 22 ix The amount of saxophone
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