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INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type o f computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back o f the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6” x 9” black and white photographic prints are avsdlable for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. UMI A Bell & Howell Infonnation Company 300 North Z e tb Road, Ann Arbor MI 48106-1346 USA 313/761-4700 800/521-0600 NOTE TO USERS This reproduction is the best copy available UMI UNIVERSITY OF OKLAHOMA GRADUATE COLLEGE A PERFORMANCE ANALYSIS OF SELECTED WORKS FOR TRUMPET BY CHET BAKER A Document SUBMITTED TO THE GRADUATE FACULTY in partial fulfillment of the requirements for the degree of Doctor of Musical Arts by Michael D. Moore Norman, Oklahoma 1999 UMI Number: 9940298 Copyright 1999 by Moore, Michael David All rights reserved. UMI Microform 9940298 Copyright 1999, by UMI Company. All rights reserved. This microform edition is protected against unauthorized copying under Title 17, United States Code. UMI 300 North Zeeb Road Ann Arbor, MI 48103 © by Michael D. Moore 1999 All Rights Reserved. A PERFORMANCE ANALYSIS OF SELECTED WORKS FOR TRUMPET BY CHET BAKER A Document APPROVED FOR THE SCHOOL OF MUSIC BY Larson Irvin L. W a^er (_ O A ^ Mary Jo ftui ACKNOWLEDGMENTS I wish to express my appreciation to the members of my dissertation committee-co-chair Dr. Jacob Larson, co-chair Dr. Irvin Wagner, Dr. Mary Jo Ruggles, Di. William W. Savage, Jr., and Dr. William Wakefield, for their guidance in the organization and preparation of this dissertation. Special appreciation goes out to Dr. Jake Larson, my original committee chairperson and major professor-thank you for the many kinds of support you have afforded me and for your willingness to share energy, ideas, materials, and even instruments. Thank you most of all for your wealth of humanity and patience; your instruction has been of incalculable worth. Thanks to the administration at Northern Oklahoma College for the flexibility they have shown me and the support they have afforded me. Special thanks to President Joe Kinzer and Division Chair Dineo Heilmann. Thanks to the many colleagues and friends who have sent me (unsolicited) related materials and information pertinent to my area of study. Some of them would include Mike Dill, Maijilea Smithheisler, Dr. Michael Woods, Walt Lahman, Jimmy IV Davis, David Mandreli, Dr. James South, John Williams, Dr. Doug Laramore, Larry Hammett, Lee Rucker, Joel Mott, John Keady, Dr. Pam Stinson, Bill Heilmann, Vera Baker, Carol Baker, Senator Maxine Homer and the Oklahoma Jazz Hall of Fame, Mikal Voss Gjesing, Phil Woods, Randy Breaker, Pete Christlieb, Grover W. Harper, the staff of the libraries of the University of Oklahoma, University of Tulsa, University of North Texas, and Northern Oklahoma College. This document and this course of study would not have been possible without the patience, love and support of my mother. Flora Diane Moore. Additional family support has come from my father Bill Moore as well as from Joe, Richard, Keith, and Barbara Moore. Ultimately I must thank my dear wife. Jama Lou Moore, and my patient and understanding son, David Michael Moore. Thank you for understanding when I was involved and could not be there at concerts and ball games, meetings and school functions. Without my family’s positive encouragement, love, and suppon, I could never have completed this task. My family ... you are the central inspiration of my life. Finally, I am grateful to God for allowing me the strength to persevere and to finish. TABLE OF CONTENTS Chapter Page I. INTRODUCTION......................................................................................... 1 Background............................................................................................... 4 Purpose of the Study .............................................................................. 17 Limitations.............................................................................................. 17 Need for the Study ................................................................................. 18 Review of Related Literature................................................................ 19 A. Discographies...................................................................... 19 B. Sound Recordings ............................................................... 21 C. Transcriptions...................................................................... 23 D. Analysis ............................................................................... 26 E. Miscellaneous...................................................................... 32 P. Summary .............................................................................. 32 G. Procedures........................................................................... 33 n. CHET BAKER EXAMPLE 1 ..................................................................... 35 Background............................................................................................. 35 Analysis ................................................................................................... 38 Summary ................................................................................................. 47 m. CHET BAKER EXAMPLE B ..................................................................... 50 Background............................................................................................... 50 Analysis ......................................................................................................52 Summary ................................................................................................. 69 IV. CHET BAKER EXAMPLE f f l................................................................ 72 Background........................................................................................... 72 Analysis of Example .............................................................................. 75 Summary ................................................................................................. 86 VI V. CHET BAKER EXAMPLE IV ............................................................. 89 Background ........................................................................................ 89 Analysis ............................................................................................... 90 Summary............................................................................................... 100 VI. CHET BAKER EXAMPLE V ................................................................. 102 Background ................................................................................................102 Analysis .................................................................................................. 103 Summary............................................................................................... 114 Vn. SUMMARY OF ANALYSIS............................................................... 117 Summary............................................................................................... 117 Recommendations for Further Research ........................................... 129 Vll APPENDICES.................................................................................................... 131 APPENDIX A-Outline of Study ........................................................ 131 APPENDIX B-Solo No. 1 ..................................................................... 132 APPENDIX C-Solo No. 2 ..................................................................... 134 APPENDIX D-Solo No. 3 ..................................................................... 136 APPENDIX E-Solo No. 4 ......................................................................139 APPENDIX F-Solo No. 5 ................................................................... 141 BIBLIOGRAPHY.................................................................................................143 Vlll CHAPTER I Introduction The transcription and analysis of jazz solos form an important part of the study of jazz. During the first forty years that jazz existed, from early New Orleans Dixieland to swing (1900-1942),' the typical beginning jazz player learned from more experienced players in loose master / apprentice relationships, such as the relationship of Louis Armstrong with New Orleans and later Chicago comet great “King” Oliver. The decline of commercial popularity