The Art of Incorporating Afro-Latin Rhythms in Modern Jazz: in the Style of Maria Schneider
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Belmont University Belmont Digital Repository Composition/Recording Projects School of Music Spring 4-28-2021 The Art of Incorporating Afro-latin Rhythms in Modern Jazz: In the Style of Maria Schneider Kristen Janelle [email protected] Follow this and additional works at: https://repository.belmont.edu/music_comp Part of the Composition Commons Recommended Citation Janelle, Kristen, "The Art of Incorporating Afro-latin Rhythms in Modern Jazz: In the Style of Maria Schneider" (2021). Composition/Recording Projects. 3. https://repository.belmont.edu/music_comp/3 This Thesis is brought to you for free and open access by the School of Music at Belmont Digital Repository. It has been accepted for inclusion in Composition/Recording Projects by an authorized administrator of Belmont Digital Repository. For more information, please contact [email protected]. THE ART OF INCORPORATING AFRO-LATIN RHYTHMS IN MODERN JAZZ: IN THE STYLE OF MARIA SCHNEIDER By KRISTEN SOFIA JANELLE A PRODUCTION PAPER Submitted in partial fulfillment of the requirements for the degree of Master of Music in Commercial Composition in the School of Music of the College of Music and Performing Arts Belmont University NASHVILLE, TENNESSEE March 2021 Submitted by Sofia Janelle in partial fulfillment of the requirements for the degree of Master of Music in Commercial Music. Accepted on behalf of the Graduate Faculty of the School of Music by the Mentoring Committee: ––––––––––––––––––––––– ––––––––––––––––––––––– Jeffrey Kirk, Ed.D. Second Mentor ––––––––––––––––––––––– Peter Lamothe, Ph.D. Third Mentor ––––––––––––––4/27/21 ––––––––––––––––––––––– Date Kathryn Paradise, M.M. Assistant Director, School of Music ii Contents Examples ............................................................................................................................. v Tables ............................................................................................................................... viii Presentation of Material Introduction ............................................................................................................. 1 Chapter One: Maria Schneider ................................................................................ 7 Background .................................................................................................. 7 Schneider’s Influences and Compositional Style ...................................... 10 Chapter Two: Afro-Latin Rhythms Used .............................................................. 14 Choro ......................................................................................................... 15 Samba ........................................................................................................ 18 Landó ......................................................................................................... 21 Maracatu ................................................................................................... 23 Afoxé .......................................................................................................... 26 Chapter Three: Rhythmical Analysis of Chosen Works by Schneider ................. 29 The Use of Choro in “Choro Dançado” .................................................... 29 The Use of Landó in “Aires De Lando” .................................................... 31 The Use of Samba in “Lembrança” ........................................................... 33 Chapter Four: Rhythmical Analysis of Works by Sofia Janelle ............................ 36 The Use of Afoxé in “Stepping Stones” ..................................................... 36 The Use of Maracatu in “The King’s Offering” ....................................... 39 The use of Vassi and Landó in “Buried Treasures” ................................... 41 The use of Samba in “Brothers” ................................................................ 44 Chapter Five: The Recording Process of Sofia Janelle ......................................... 47 Conclusion ............................................................................................................. 54 iii Appendix: Chapter Four Scores ........................................................................................ 56 1. “Stepping Stones” .............................................................................................. 57 2. “The King’s Offering” ....................................................................................... 81 3. “Buried Treasures” .......................................................................................... 150 4. “Brothers” ........................................................................................................ 242 Glossary ........................................................................................................................... 318 References ....................................................................................................................... 321 iv Examples 2.1 Tresillo ......................................................................................................................... 15 2.2 Habanera. .................................................................................................................... 15 2.3 Lundu Compared to Tresillo ........................................................................................ 16 2.4 Comparison of Lundu, Miller’s Choro Rhythms for Guitar, and Netto’s Afro-Samba Rhythms for Surdo and Tamborim .................................................................................... 17 2.5 Netto’s Samba Pattern for Drum Set ........................................................................... 20 2.6 Reversed Lundu (the Rhythmic Basis of Choro and Samba) ...................................... 20 2.7 Feldman’s Landó ......................................................................................................... 21 2.8 Reversed Lundu Compared to Landó .......................................................................... 22 2.9 Netto’s Caixa Pattern for the Maracatu ...................................................................... 24 2.10 Netto’s Agogô Pattern for the Maracatu ................................................................... 24 2.11 Netto’s Surdo de Corte Pattern for the Maracatu ..................................................... 24 2.12 Côco Pattern for Drum Set Followed by the Maracatu Pattern for Drum Set .......... 25 2.13 Netto’s Agogô Pattern for Afoxé ................................................................................ 27 2.14 Netto’s Atabaque Pattern for Afoxé ........................................................................... 27 2.15 Vassi Groove Adapted for Drum Set ......................................................................... 28 2.16 Bembe Clave and Vassi Gã Pattern ........................................................................... 28 3.1 Lundu Compared to Schneider’s Rhythm in “Choro Dançado” .................................. 31 3.2 Traditional Landó Pattern Compared to Schneider’s Time Signatures and Cajon Rhythms for the First Two Measures of the Melodic Motifs Used in the Beginning Section of “Aires de Lando” .............................................................................................. 32 v 3.3 Schneider’s Cajon Pattern in the First Two Measures of the Melodic Motifs Used in the Beginning Section, Metrically Transposed .................................................................. 33 3.4 Fragment of Landó in “Aires de Lando” ..................................................................... 34 3.5 Netto’s Samba Rhythm Compared to Schneider’s ...................................................... 35 4.1 Bass Line in “Stepping Stones” mm. 1-2 .................................................................... 37 4.2 Netto’s Caixa Pattern ................................................................................................... 37 4.3 Bass Line in “Stepping Stones” mm. 3-4 .................................................................... 37 4.4 Netto’s Atabaque Pattern ............................................................................................. 38 4.5 “Stepping Stones” Drum Set Groove mm. 9-16 .......................................................... 38 4.6 “Stepping Stones” Piano Melody m. 18 ...................................................................... 38 4.7 “Stepping Stones” Drum Set Groove at 3’11”-4’6, Compared to the Tresillo ............ 39 4.8 Drum Set and Upright Bass Lines at mm. 9-10 of “The King’s Offering” ................. 40 4.9 Alfaia Pattern for the Maracatu ................................................................................... 40 4.10 Right-hand Pattern Tom-tom Pattern with the Hi-hat Foot and Bass Drum in “The King’s Offering” at m. 33 compared to the Maracatu Agogô Pattern .............................. 40 4.11 Netto’s Maracatu Agogô Pattern ............................................................................... 40 4.12 Vassi Clave Pattern .................................................................................................... 41 4.13 Harmonic Rhythm on mm. 53-60 of “Buried Treasures” ......................................... 42 4.14 Drum Set Groove at mm. 17-18 of “Buried Treasures,” Followed by the Vassi Pattern for the Rum ...........................................................................................................