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The Arrangements of Roland Dyens and Sérgio Assad: Innovations in Adapting Jazz Standards and Jazz- Influenced Popular Works to the Solo Classical Guitar

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The Arrangements of Roland Dyens and Sérgio Assad: Innovations in Adapting Jazz Standards and Jazz- Influenced Popular Works to the Solo Classical Guitar The Arrangements of Roland Dyens and Sérgio Assad: Innovations in Adapting Jazz Standards and Jazz- influenced Popular Works to the Solo Classical Guitar Item Type text; Electronic Dissertation Authors Vincens, Guilherme Caldeira Loss Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 04/10/2021 12:53:20 Link to Item http://hdl.handle.net/10150/195065 THE ARRANGEMENTS OF ROLAND DYENS AND SÉRGIO ASSAD: INNOVATIONS IN ADAPTING JAZZ STANDARDS AND JAZZ-INFLUENCED POPULAR WORKS TO THE SOLO CLASSICAL GUITAR by Guilherme Caldeira Loss Vincens _____________________ Copyright © Guilherme Caldeira Loss Vincens 2009 A Document Submitted to the Faculty of the SCHOOL OF MUSIC In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS In the Graduate College THE UNIVERSITY OF ARIZONA 2009 2 THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE As members of the Document Committee, we certify that we have read the document prepared by Guilherme Caldeira Loss Vincens entitled The Arrangements of Roland Dyens and Sérgio Assad: Innovations in Adapting Jazz Standards and Jazz-influenced Popular Works to the Solo Classical Guitar and recommend that it be accepted as fulfilling the document requirement for the Degree of Doctor of Musical Arts Date: 7/20/09 Thomas Patterson Date: 7/20/09 Janet Sturman Date: 7/20/09 Carrol McLaughlin Final approval and acceptance of this document is contingent upon the candidate’s submission of the final copies of the document to the Graduate College. I hereby certify that I have read this document prepared under my direction and recommend that it be accepted as fulfilling the document requirement. Document Director: Date: 7/20/09 Thomas Patterson 3 STATEMENT BY AUTHOR This document has been submitted in partial fulfillment of requirements for an advanced degree at the University of Arizona and is deposited in the University Library to be made available to borrowers under rules of the Library. Brief quotations from this thesis are allowable without special permission, provided that accurate acknowledgment of source is made. Requests for permission for extended quotation from or reproduction of this manuscript in whole or in part may be granted by the copyright holder. SIGNED: Guilherme Caldeira Loss Vincens 4 To my parents Neide and Afonso, my sister Natália and my inspiring and loving wife Carolina, for their support, patience and love. 5 ACKNOWLEDGEMENTS This study wouldn't be possible without the encouragement and guidance from Thomas Patterson, Janet Sturman, Carrol McLaughlin, Patrick Neher, Mark Rush, Barbara Babcock, Lyneen Elmore and all my friends and colleagues at University of Arizona. Thanks to the CAPES – MEC/Brazil and Fulbright Foundations for the financial support during the preparation of this document and to Roland Dyens and Sérgio Assad for their music and patience in answering my questions. Many thanks for all your support. 6 TABLE OF CONTENTS LIST OF MUSICAL EXAMPLES..................................................................7 ABSTRACT......................................................................................................9 FOREWORD..................................................................................................10 I. INTRODUCTION AND SCOPE OF STUDY...........................................12 II. CONSIDERATIONS.................................................................................17 A. The Role of Arrangements in Instrumental Repertoire.................17 B. Prescriptive and Descriptive Transcriptions and Bi-musicality.....19 C. Hybridism, Innovation and the Powers of the Popular..................22 III. HISTORICAL PERSPECTIVE...............................................................27 IV. THE ARRANGEMENTS OF SÉRGIO ASSAD ...................................38 A. Introduction...................................................................................38 B. Verano Porteño...............................................................................41 C. Invierno Porteño............................................................................50 V. THE ARRANGEMENTS OF ROLAND DYENS...................................59 A. Introduction...................................................................................59 B. “Misty”..........................................................................................61 C. “All the Things You Are”..............................................................70 VI. CONCLUSIONS......................................................................................76 APPENDIX A. INTERVIEW WITH ROLAND DYENS.............................78 APPENDIX B. HUMAN SUBJECTS REVIEW...........................................84 REFERENCES...............................................................................................85 7 LIST OF MUSICAL EXAMPLES Figure 1.1.1 – Luís de Narváez's Canción del Emperador (measures 1-14)..................................................27 Figure 1.1.2 – Mille Regretz (transposed for comparison) (ms 1-6)...............................................................28 Figure 1.2.1 – Theme from La Donna del Lago in Rossiniana n. 3 (ms 1-10)...............................................29 Figure 1.2.2 – Theme from Il Turco in Italia in Rossiniana n.3 (ms 1- 16)...................................................30 Figure 1.2.3 – Theme from Zelmira in Rossiniana n.3 (ms 1 -16).................................................................30 Figure 1.3.1 – El Mestre by Miguel Llobet (ms 1 -24)..................................................................................32 Figure 1.3.2 – El Mestre – second exposition of the theme (ms 24 – 33).......................................................33 Figure 1.3.3 – El Testament D'Amelia by Llobet (ms 1-14)...........................................................................33 Figure 1.4.1 – Berceuse - Canción de Cuña, arranged by Léo Brouwer (ms 1-28)......................................35 Figure 1.4.2 – Ojos Brujos by Brouwer..........................................................................................................36 Figure 2.1 – Sérgio Assad's adaptation of the quintet's bass line (transcription by Vincens from the CD “The Vienna Concert”)....................................................................................................................................42 Figure 2.2 – Verano Porteño arranged by Assad (ms 1-13) - Constant motion of the bass, harmony fillings, exposition of main theme and “minor second” effect(circled)..........................................................42 Figure 2.3 – Verano Porteño's theme from Piazzolla's quintet. (CD transcription by Vincens)....................43 Figure 2.4 – Verano Porteño arranged by Agustín Carlevaro (ms 1- 16).......................................................44 Figure 2.5 – theme from Verano Porteño, from Baltazar Benítez's arrangement...........................................45 Figure 2.6 – transition and sequence from Assad's arrangement of Verano Porteño.....................................46 Figure 2.7 – transition and sequence from Benítez's arrangement of Verano Porteño..................................46 Figure 2.8 – Slow Section of Verano Porteño arranged by Assad..................................................................47 Figure 2.9 – Slow Section of Verano Porteño arranged by Agustín Carlevaro.............................................48 Figure 2.10 – Concluding section of Verano Porteño arranged by Assad..................................................... 49 Figure 3.1 – Form of Piazzolla's version of Invierno Porteño as recorded in the CD “The Vienna Concert.”.............................................................................................................................51 Figure 3.2 – Theme A from Invierno Porteño................................................................................................52 8 LIST OF MUSICAL EXAMPLES - continued Figure 3.3 – Theme B and Piano Improvisation from Invierno Porteño........................................................54 Figure 3.4 – Carlevaro's arrangement of Invierno Porteño............................................................................54 Figure 3.5 – Main theme (Theme A) of Invierno Porteño in different textures by Assad..............................55 Figure 3.6 – Last statement of Theme A, including events in the accompaniment........................................56 Figure 3.7 – Last section in Eb major, based on harmony similar to Pachelbel's canon................................57 Figure 4.1 – “Misty” from the Real Book.......................................................................................................63 Figure 4.2 – Introduction of "Misty" by Roland Dyens..................................................................................64 Figure 4.3 – Theme from "Misty" arranged by Dyens....................................................................................65 Figure 4.4.1 – Theme and imitations of the incipit of the theme of "Misty" arranged by Dyens...................66 Figure 4.4.2 – Incipts of the theme in “improvisation” in "Misty" arranged by Dyens.................................66
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