Jazz Solo Transcriptions As Technical and Pedagogical Solutions for Undergraduate Jazz Saxophonists
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JAZZ SOLO TRANSCRIPTIONS AS TECHNICAL AND PEDAGOGICAL SOLUTIONS FOR UNDERGRADUATE JAZZ SAXOPHONISTS BY ANDRE MIGUEL ACEVEDO DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in Music with a concentration in Jazz Performance in the Graduate College of the University of Illinois at Urbana-Champaign, 2014 Urbana, Illinois Doctoral Committee: Professor Charles McNeill, Chair Assistant Professor Bridget Sweet, Director of Research Associate Professor Tito Carrillo Associate Professor Gregory DeNardo Abstract The purpose of this exploratory study was to examine the development of saxophone technique in the jazz idiom in comparison to that in the classical idiom. Five leading jazz pedagogues were interviewed for their perspective on the current state of jazz technique development and their views on representative examples of modern jazz soloists. Interview data was coded and analyzed. From this research, insight was gained on the use of jazz solo transcriptions as technique development solutions within a undergraduate’s jazz saxophone performance degree. In addition, a list of solos was developed, each of which can be used as a technical development solution for advancing undergraduate jazz saxophone technique; Michael Brecker and Chris Potter are the most eminent artists on the list. Findings imply the importance of providing masterwork material to a jazz undergraduate saxophone major; findings also suggest that classic jazz solos and the solos of modern jazz saxophone masters be considered as masterworks. ii To my Family iii Acknowledgements I would like to thank the dissertation interview participants for donating their time and wisdom to this research: Greg Fishman, Gary Keller, Paul Haar, Tom Walsh, and Chris Vadala. I would also like to thank Bridget Sweet for her guidance and continuous support over the last year and a half as this research grew from its basic form to the dissertation it is today. I would also like to extend my support to the rest of my committee members who also volunteered their time and wisdom into the shaping of this project: Chip McNeill, Tito Carrillo, and Gregory DeNardo. Finally, I would like to thank my family for lovingly letting me mooche off of them while I wrote this dissertation. iv Table of Contents CHAPTER I. INTRODUCTION .............................................................................................. 1 Practicing Technique .......................................................................................... 3 Required Classical Study Within the Jazz Studies Degree Program .................. 5 Educational Texts and Methods for Jazz Studies ............................................... 7 Dual Saxophone-Style Performance ................................................................... 10 Successful Teaching Pedagogues ....................................................................... 13 Statement of Purpose .......................................................................................... 16 II. REVIEW OF RELATED LITERATURE .......................................................... 18 Advancing Jazz Studies and Jazz Performance Degrees .................................... 18 Current Performance State of the Undergraduate Jazz Saxophonist .................. 21 Approaching Dual Saxophone Performance ....................................................... 22 Tongue and Oral Cavity Comparison Research .................................................. 24 Classical and Jazz Articulation ........................................................................... 26 Research on the Study of Transcriptions ............................................................ 29 Approaching Extended Techniques .................................................................... 31 Approaching Technique Specific Challenges Using Masterwork Repertoire .... 32 Joseph Allard ...................................................................................................... 33 III. METHODOLOGY ............................................................................................. 35 IRB ...................................................................................................................... 35 Participants .......................................................................................................... 36 The Interview ...................................................................................................... 37 Coding the Data .................................................................................................. 39 Interview Transcription ....................................................................................... 40 IV. CURRENT JAZZ SAXOPHONE IN THE STUDIO AND INSTRUMENTAL MASTERS .......................................................................................................... 41 Data Part I: Current Jazz Saxophone in the Studio ............................................. 41 Classic Solos ....................................................................................................... 49 Data Part II: Jazz Saxophone Instrumental Masters ........................................... 52 Summary ............................................................................................................. 57 V. CATEGORIES OF TECHNIQUE AND MASTERY OVERALL .................... 60 Transcribed Saxophone Solos for Specific Techniques ...................................... 60 Summary ............................................................................................................. 88 VI. DISCUSSION ..................................................................................................... 90 Classic Jazz Solos ............................................................................................... 91 Modern Masters of Jazz Saxophone Technique ................................................. 95 Saxophone Solos for Specific Techniques .......................................................... 101 v Tone and Articulation ......................................................................................... 114 Summary ............................................................................................................. 117 VII. SUMMARY, CONCLUSIONS, AND IMPLICATIONS FOR PRACTICE ..... 119 Michael Brecker: Solos Exemplary for the Study of Transcriptions .................. 119 Suggestions for Use ............................................................................................ 125 Andre Acevedo’s Suggestions for Use ............................................................... 127 Conclusions ......................................................................................................... 134 REFERENCES ............................................................................................................... 140 Musical References ......................................................................................................... 144 Appendix A: Participant Biographies ............................................................................. 145 Appendix B: Complete List of Suggested Solos ............................................................. 150 Appendix C: Complete List of Suggested Artists ........................................................... 153 Appendix D: IRB Consent Form .................................................................................... 156 Appendix E: All Musical Examples ............................................................................... 161 vi Chapter I: Introduction The purpose of this exploratory study is to demonstrate jazz solo transcriptions as advanced technical and pedagogical solutions for undergraduate jazz saxophonists. When a student enters college as a saxophone performance major, they are often required to choose the path of jazz or classical (B.M. Saxophone or B.M. Saxophone: Jazz Studies). Haar (2004) wrote an article in the Saxophone Journal as a response to a young saxophonist who wrote to him concerning his possible university studies on saxophone. Here is the letter: Dear Paul, I really enjoy playing classical and jazz music on my saxophone and hope to pursue both in college. However, most of the places I have visited have said that I really need to focus on one style of music if I am going to be successful. Does this mean that I have to give up something I enjoy to be successful? How can I play and practice both classical and jazz and still get into college? Jonathan T. Jackson, Tennessee (p. 30) Haar (2004) serves as a good opening story to explain the challenge of dual saxophone performance, which involves the study of saxophone in both the jazz and classical idiom. In his open letter, he explained that with the right attitude and focus, a student could be successful at both. He discusses similarities between the styles such as arpeggios, or the use of diminished chords by Paul Creston in his Sonata op. 19 and John Coltrane in his various improvisations. In the following musical examples you can see the outlining of the diminished chord in both the composition of Paul Creston and improvisation of John Coltrane, with Coltrane displacing the chord with intervals. 1 Musical Example 1 Musical Example 2 Haar also addressed similarities between jazz and classical styles through comparisons of the music of Johann Sebastian Bach and Charlie Parker. He explained the importance of listening and matching the sound of