Big Sid” Catlett: the Development of Modern Jazz Drumming Style”
Total Page：16
File Type：pdf, Size：1020Kb
ARTIMISI, ANTHONY B., D.M.A. The Study of Jeff Porcaro's Musical Style and the Development of an Analytical Model for the Study of Drum Set Style in Popular Music. (2011) Directed by Dr. David Nelson and Dr. Kristopher Keeton. 206 pp. Jeffrey Thomas Porcaro was one of the preeminent drummers from the middle of the 1970‘s through his untimely passing on August 5, 1992. He was a founding member of the Grammy Award winning band, Toto, and the list of albums on which his drumming appears includes six hundred ninety-three entries. His willingness to help others and commitment to excellence made a lasting impact on the drumming community and the music industry as a whole. The goal of this research was to complete an analysis of Porcaro‘s drumming style. In order to accomplish this goal, a model was developed that allowed for the analysis of drum set performance based on Robert Breithaupt‘s article entitled ―Musical Considerations for Drumset Improvisation.‖ This article identified nine strategies teachers can use with young students regarding drum set improvisation. Seven of these strategies were used to form a comparative analytical model of musical elements which created a summary of drumming style implemented on Jeff Porcaro for the purposes of this paper: Dynamics, Rate of Strokes, Accents, Rests and Rhythmic Figures, Unisons, Hand-to-Foot Distribution and Special Effects. Porcaro‘s peers and colleagues identified six songs as being representative of his drumming: Boz Scaggs‘s ―Lowdown,‖ ―Lido Shuffle,‖ ―Gimme the Goods‖ and ―Jojo,‖ Steely Dan‘s ―Gaucho,‖ and Toto‘s ―Rosanna.‖ The analytical model applied to the choruses of these songs shows that Porcaro manipulated the different musical elements in a variety of way in order to build to a musical peak during the final chorus of each song. Most consistently, but not exclusively, this includes an increase in Dynamics, Rate of Strokes and Accents coupled with the manipulation of Rhythmic Figures and Hand-to- Foot Distribution resulting in an increase in musical energy as the songs progress. It is hoped that this model can be used to create a database of stylistic analyses to further the pedagogy of the instrument. THE STUDY OF JEFF PORCARO‘S MUSICAL STYLE AND THE DEVELOPMENT OF AN ANALYTICAL MODEL FOR THE STUDY OF DRUM SET STYLE IN POPULAR MUSIC by Anthony B. Artimisi 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 2011 Approved by Committee Co-Chair Committee Co-Chair © 2011 Anthony B. Artimisi APPROVAL PAGE This dissertation has been approved by the following committee of the Faculty of The Graduate School at the University of North Carolina at Greensboro. Committee Co-Chair Committee Co-Chair Committee Members Date of Acceptance by Committee Date of Final Oral Examination ii TABLE OF CONTENTS Page LIST OF TABLES ............................................................................................................. iv LIST OF FIGURES .............................................................................................................v CHAPTER I. BIOGRAPHY OF JEFF POCARO .......................................................................1 II. LITERATURE REVIEW AND RESEARCH METHODOLOGY .......................8 III. ANALYSIS ..........................................................................................................20 IV. SUMMARY OF FINDINGS ...............................................................................88 V. CONCLUSIONS AND AREAS FOR FURTHER RESEARCH ........................97 BIBLIOGRAPHY ............................................................................................................100 APPENDIX A. NOTATION LEGEND ..........................................................................104 APPENDIX B. GLOSSARY OF TERMS.......................................................................105 APPENDIX C. JEFF PORCARO DISCOGRAPHY ......................................................107 APPENDIX D. TRANSCRIPTIONS ..............................................................................135 iii LIST OF TABLES Page Table 1. Initial List of Representative Songs .....................................................................18 Table 2. Final List of Representative Songs ......................................................................19 iv LIST OF FIGURES Page Figure 1. Measures 158 and 175 of ―Rosanna‖ .................................................................13 Figure 2. Measures 75 and 91 of ―Gimme the Goods‖ ......................................................14 Figure 3. Measures 49 and 90 of ―Lido Shuffle‖ ...............................................................14 Figure 4. Four sixteenth-note triple variations used in ―Jojo‖ ...........................................15 Figure 5. Measures 46 and 87 of ―Lido Shuffle‖ ...............................................................16 Figure 6. Measures 114–115 and 177–178 of ―Rosanna‖ .................................................16 Figure 7. Measures 158–159 and 175–176 of ―Rosanna‖ .................................................17 Figure 8. Measures 25, 49, and 89 of ―Lowdown‖ ............................................................21 Figure 9. Measure 52 of ―Lowdown‖ ................................................................................22 Figure 10a. Accent pattern of first chorus of ―Lowdown‖ ................................................23 Figure 10b. Accent pattern of second chorus of ―Lowdown‖ ...........................................24 Figure 11a. Measure 32 of ―Lowdown‖ ............................................................................24 Figure 11b. Measure 56 of ―Lowdown‖ ............................................................................24 Figure 11c. Measure 96 of ―Lowdown‖ ............................................................................24 Figure 12. Measure 25 of ―Lowdown‖ ..............................................................................25 Figure 13a. Measure 28 of ―Lowdown‖ ............................................................................25 Figure 13b. Measure 92 of ―Lowdown‖ ............................................................................26 Figure 14. Measures 28–29 of ―Lowdown‖ .......................................................................28 Figure 15. Measures 49–56 of ―Lowdown‖ .......................................................................29 v Figure 16. Combined Hi-Hat Part for measures 89–96 of ―Lowdown‖ .................................................................................................30 Figure 17. Measures 33, 39, 74, 80, 115, and 121 of ―Lido Shuffle‖ .......................................................................................................33 Figure 18. Measures 33, 74, and 115 of ―Lido Shuffle‖ ....................................................34 Figure 19. Measures 39–40, 80–81, and 121–122 of ―Lido Shuffle‖ .......................................................................................................34 Figure 20. Measures 45–49 and 86–90 of ―Lido Shuffle‖ .................................................35 Figure 21. Measures 53 and 94 of ―Lido Shuffle‖ .............................................................35 Figure 22. Measure 33 of ―Lido Shuffle‖ ..........................................................................36 Figure 23. Measures 41–42 and 82–83 of ―Lido Shuffle‖ .................................................37 Figure 24. Measures 43–44 and 84–85 of ―Lido Shuffle‖ .................................................38 Figure 25. Measures 45 and 86 of ―Lido Shuffle‖ .............................................................38 Figure 26. Measures 49–90 of ―Lido Shuffle‖...................................................................38 Figure 27. Measures 50–53 and 91–94 of ―Lido Shuffle‖ .................................................39 Figure 28. Measures 33–38, 74–79, and 115–120 of ―Lido Shuffle‖ ......................................................................................................40 Figure 29. Measures 46 and 87 of ―Lido Shuffle‖ .............................................................41 Figure 30. Measures 49 and 90 of ―Lido Shuffle‖ .............................................................41 Figure 31a. Hand-to-Foot Distribution Pattern of ―Lido Shuffle‖ .....................................42 Figure 31b. Expanded Hand-to-Foot Distribution Pattern of ―Lido Shuffle‖ ......................................................................................................42 Figure 32. Measures 48–49 and 89–90 of ―Lido Shuffle‖ .................................................43 Figure 33. Measures 52–53 and 92–93 of ―Lido Shuffle‖ .................................................44 vi Figure 34. Measures 40, 81, and 122 of ―Lido Shuffle‖ ....................................................45 Figure 35. Measures 48 and 89 of ―Lido Shuffle‖ ............................................................45 Figure 36. Beat 4 of Measure 90 and Measure 91 of ―Gimme the Goods‖ .......................................................................................................47 Figure 37. Measures 23, 41, 75, and 91 of ―Gimme the Goods‖ .......................................48 Figure 38. Measures 23–26 and 41–44 of ―Gimme the Goods‖ ........................................49