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Jazz Compositions Based on the Chord Progression from the "Goldberg" Variations

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Jazz Compositions Based on the Chord Progression from the JAZZ COMPOSITIONS BASED ON THE CHORD PROGRESSION FROM THE "GOLDBERG" VARIATIONS CLARK L. JOHNSTON A THESIS SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS GRADUATE PROGRAM IN MUSIC YORK UNIVERSITY TORONTO, ONTARIO JUNE 2011 Library and Archives Bibliotheque et 1*1 Canada Archives Canada Published Heritage Direction du Branch Patrimoine de I'edition 395 Wellington Street 395, rue Wellington OttawaONK1A0N4 OttawaONK1A0N4 Canada Canada Your file Votre reference ISBN: 978-0-494-80667-8 Our file Notre reference ISBN: 978-0-494-80667-8 NOTICE: AVIS: The author has granted a non­ L'auteur a accorde une licence non exclusive exclusive license allowing Library and permettant a la Bibliotheque et Archives Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par telecommunication ou par I'lnternet, preter, telecommunication or on the Internet, distribuer et vendre des theses partout dans le loan, distribute and sell theses monde, a des fins commerciaies ou autres, sur worldwide, for commercial or non­ support microforme, papier, electronique et/ou commercial purposes, in microform, autres formats. paper, electronic and/or any other formats. The author retains copyright L'auteur conserve la propriete du droit d'auteur ownership and moral rights in this et des droits moraux qui protege cette these. Ni thesis. Neither the thesis nor la these ni des extraits substantiels de celle-ci substantial extracts from it may be ne doivent etre imprimes ou autrement printed or otherwise reproduced reproduits sans son autorisation. without the author's permission. In compliance with the Canadian Conformement a la loi canadienne sur la Privacy Act some supporting forms protection de la vie privee, quelques may have been removed from this formulaires secondaires ont ete enleves de thesis. cette these. While these forms may be included Bien que ces formulaires aient inclus dans in the document page count, their la pagination, il n'y aura aucun contenu removal does not represent any loss manquant. of content from the thesis. 1*1 Canada Abstract This thesis is an analysis of my compositions that are based on the same chord progression as J.S. Bach's "Goldberg" Variations. It also explains some of the fundamental concepts, as well as a bit of the history behind Bach's piece. Acknowledgements I would like to give my gratitude first and foremost to my wife Silvia and daughter Naomi for their support and patience through this fascinating, but at times, trying endeavor. Secondly, I'd like to thank my Mother and Lynn, without whom it would have been impossible to take this journey. Last, but definitely not least, I'd like to thank my advisor Michael Coghlan for making this potentially daunting task as simple as possible. -v- Table of Contents Abstract iv List of Figures vi Introduction 1 The "Goldberg" Variations 3 "Variation #1" (Score) 11 "Variation #1" 18 Bach's Minor Variations 26 "Variation #2" (Score) 28 "Variation #2" 33 Bach's Fifth Canon 36 "Variation #3" (Score) 40 "Variation #3" 55 The "Interlude" 59 The "Head Out" 60 Conclusion 61 List of Works Cited 62 Discography 63 Appendix A: The Aria in Bach's own handwriting 64 Appendix B: Printed copy of the Aria 65 Appendix C: Variation #15 in Bach's Handwriting 66 -vi- Appendix D: Printed copy of Variation #15 67 List of Figures The "Goldberg" Variations Figure 1: The original published cover 6 Figure 2: List of Variations 8 Figure 3: The chord progression by analysis 9 Figure 4: Chord progression in figured bass 9 Figure 5: Progression in modern chord symbols 9 Figure 6: Chord progression divided into two sections 10 "Variation #1" Figure 7: First three bars of melody in "Variation #1" 19 Figure 8: "Variation #1" with Bach's Chord progression 20 Figure 9: "Variation #1" (excerpt) - measures 3-4 of the melody 26 Bach's Minor Variations Figure 10: Literal translation into the parallel minor. 26 Figure 11: Literal translation into the parallel minor in modern chord symbols. 26 Figure 12: Bach's chord progression in "Variation 15". 27 Figure 13: Bach's "Variation 15" in modem chord symbols. 27 -vii- "Variation #2" Figure 14: Variation #2 with a literal translation of Bach's progression. 34 Figure 15: Early version of "Variation #2" 35 Bach's Fifth Canon Figure 16: Bach's 2 voices of "Variation 15" lined up metrically 37 "Variation #3" Figure 17: Bars 11-12 of "Variation #3" 56 Figure 18: The derivative lines for "Variation #3" 57 Figure 19: The "rhythmic" lines of "Variation #3" 58 Figure 20: The "condensed" version of the sax line. 59 -viii- Introduction J. S. Bach's "Goldberg" Variations (originally entitled Clavier-tibung) has long been influencing jazz musicians. One of today's most renowned jazz pianists, Keith Jarrett, has recorded Bach's piece. (Bach, 1989) Such notables as Uri Caine (Bach, 2000) and Jacques Loussier (Bach, 1999) have recorded their own renditions of the "Goldberg" Variations in a jazz style. I have written my own set of compositions based on the same harmonic progression that Bach used throughout the piece, and this thesis is an analysis of my compositions and of the choices made in the compositional process. The idea for this thesis came to me while I was working on an essay for an analysis course. I had taken on the challenge of analyzing the "Goldberg" Variations and was familiarizing myself with the chord progression that the variations are based on by improvising on them with my acoustic bass. I was alternating playing bass lines over the form with soloing over the form when I started to create different melodic lines over Bach's progression. To familiarize myself more with Bach's progression, I started writing down some of these ideas and ended up composing a piece based on it. That was when I realized I could perhaps write my own set of variations and use them for my thesis. I used Bach's progression without the repeats because I just found it redundant to repeat -1- the first halves of my pieces and then go on to repeat the second halves as well. I used Glenn Gould's early recording of the "Goldberg" Variations as my inspiration for this, as he leaves most of the repeats out during his performance. (Bach, 2002) All of my variations have been written in latin jazz styles. The first one is a bossa nova, the second, a samba and the third uses a straight eighth note feel that starts in 5/4, then moves to 4/4, and ultimately 3/4. Bach wrote in the different styles of his day and I felt it appropriate for me to do the same. I did not want my compositions to sound like Bach's music. I feel that Bach wrote like Bach better than anybody ever has or ever will. As well, Brazilian jazz is a form of music for which I have an affinity due to my extensive experience as a performer. My variations are meant to be performed in a conventional jazz context. That is, they are meant to be improvised on once the melody has been stated. After the initial statement of the melody there are solos by various instrumentalists and then there is a final statement of the melody. The only exception to this form is in "Variation #3" where the melody occurs between each solo as well as at the beginning and the end of the performance. Each time the melody enters, it is a little different because this variation changes time signatures. The melody is rephrased to fit into the new time signature. It has been a real musical adventure and learning experience exploring one of the great -2- masterpieces and using it as a framework for my own compositions. I have found that every time I embark on the journey of writing a new piece I never know where it will lead me and that I learn something new. My pieces were never written in order to be compared to or to challenge Bach's genius, but were written as a humble show of gratitude for what Bach and his music has done for me. The "Goldberg" Variations Before I delve into my compositions and how they work, it is important to discuss the origin and some of the fundamental features of Bach's "Goldberg" Variations. Published in 1741/42, it has long been believed that the "Goldberg" Variations were written for Count Keyserlingk of Dresden to be played by his house harpsichordist Johann Gottlieb Goldberg when the Count was having trouble sleeping. This story has long been perpetuated because it appears in the first published biography of Bach by J. N. Forkel from 1802 where, on the subject of the "Goldberg" Variations, Forkel writes: We owe them to Count Kaiserling, formerly Russian Ambassador at the Saxon Electoral Court, who frequently visited Leipzig with Goldberg, already mentioned among Bach's pupils. The Count was a great invalid and suffered from insomnia. Goldberg lived in the Ambassador's house and slept in the adjoining room, to be ready to play to him when he was wakeful. One day the Count asked Bach to write for Goldberg some Clavier music of a soothing and -3- cheerful character that would relieve the tedium of sleepless nights. Bach thought a set of Variations most likely to fulfill the Count's needs, though, on account of the recurrence of the same basic harmony throughout, it was a form to which he had hitherto paid little attention.
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