A Study of the Compositional Methods of Jerry Bergonzi, Miguel Zenón, and Donny Mccaslin

Illuminating the Compositional Process in Jazz: A Study of the Compositional Methods of Jerry Bergonzi, Miguel Zenón, and Donny McCaslin A Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Musical Arts New England Conservatory Dr. Brian Levy, Advisor By Joel Linscheid May 2020 Abstract This thesis is an examination of the music of Jerry Bergonzi, Miguel Zenón and Donny McCaslin which aims to provide insight into each artist’s compositional process and identify connections between their compositional and improvisational methods. Analysis of the artists’ compositions and improvisations is augmented by information from interviews with the artists. Each musician offers a different model of the compositional process and the relationship between composition and improvisation. The study of Bergonzi’s music illustrates connections to his improvisational concepts (such as intervallics, metric superimposition, and symmetric scales) in his compositions “Bafandine,” “Awake,” “Bob Berg,” and “Creature Feature.” Analysis of Zenón’s music focuses on his use of rhythmic motives in “Academia,” text to music translation in “Morelliana,” and conceptual approaches in “Oyela” and “Villa Coope.” The study of McCaslin’s music examines cross-genre influences in “L.Z.C.M,” use of rhythmic claves in “Fast Future” and considers the implications of a shift in McCaslin’s musical style, as exhibited in compositions like “What About the Body.” Through analysis of improvised solos and examination of pedagogical approaches to improvisation, the thesis illustrates the reciprocal relationship between the artists’ compositional and improvisational methods. While the primary emphasis is on the analysis of the artists’ music and methods, this study also serves a broader pedagogical purpose by presenting models of the compositional process that readers can use to expand and amplify their own compositional work. 2 Table of Contents Abstract .......................................................................................................................................................... 2 Table of Contents ....................................................................................................................................... 3 Table of Musical Examples ..................................................................................................................... 4 Chapter 1: Introduction .......................................................................................................................... 6 Composition in Jazz ......................................................................................................................... 8 Subjects of the Study .................................................................................................................... 12 State of Research ........................................................................................................................... 14 Chapter 2: Jerry Bergonzi .................................................................................................................... 17 Compositional Approach and Philosophy .......................................................................... 17 Use of Contrafacts ......................................................................................................................... 19 Similarities in Improvisational and Compositional Methods .................................... 22 Intervallics and Rhythmic Displacement in “Bafandine” ............................................. 23 Metric Superimposition in “Bob Berg” ................................................................................. 26 12-Tone Techniques on “Awake” ........................................................................................... 28 Use of “9-Note” Symmetric Scale on “Creature Feature” ............................................. 31 Chapter 3: Miguel Zenón ...................................................................................................................... 43 Compositional Approach and Philosophy .......................................................................... 43 Use of Rhythmic Subdivisions in “Academia” ................................................................... 45 Zenón’s Solo on “Academia” ..................................................................................................... 50 Use of Non-Musical Material in Composition .................................................................... 55 Text to music translation in “Morelliana” ........................................................................... 56 Conceptual Approach in Music from Esta Plena .............................................................. 60 Chapter 4: Donny McCaslin ................................................................................................................ 64 Compositional Philosophy and Process .............................................................................. 64 Cross-Genre Influence in “L.Z.C.M.” ....................................................................................... 66 Use of Rhythmic Clave in “Fast Future” ............................................................................... 71 Shift in compositional style ...................................................................................................... 76 Chapter 5: Conclusion .......................................................................................................................... 82 Pedagogical Implications ........................................................................................................... 82 Compositional Advice .................................................................................................................. 83 Possibilities for Further Research ......................................................................................... 85 Bibliography .............................................................................................................................................. 87 Appendix A: Interview Transcripts ................................................................................................. 89 Interview with Jerry Bergonzi (October 27, 2019) ........................................................ 89 Interview with Miguel Zenón (November 22, 2019) ..................................................... 97 Interviews with Donny McCaslin (December 2019 and March 2020) ................ 109 Appendix B: Music/Leadsheets/Transcriptions ..................................................................... 118 3 Table of Musical Examples Chapter 2 Figure 2.1: List of Contrafacts Composed by Jerry Bergonzi ............................................... 19 Figure 2.2: "Bafandine" by Jerry Bergonzi (mm. 1-4) ............................................................. 23 Figure 2.3: Bridge to “Bafandine” by Jerry Bergonzi (mm. 17-24) .................................... 25 Figure 2.4: “Bob Berg” by Jerry Bergonzi ..................................................................................... 27 Figure 2.5: Tone Row from “Awake” by Jerry Bergonzi ......................................................... 29 Figure 2.6: “Awake” by Jerry Bergonzi .......................................................................................... 30 Figure 2.7: “9-Note Scales” with Applicable Chords ................................................................ 32 Figure 2.8: Bergonzi’s “Hybrid Scale” ............................................................................................ 33 Figure 2.9: “Creature Feature” by Jerry Bergonzi ..................................................................... 34 Figure 2.10: 6-Note Augmented Scale and 9-Note Scale ........................................................ 36 Figure 2.11: “Creature Feature” by Jerry Bergonzi (mm. 1-2.) ........................................... 36 Figure 2.12: Jerry Bergonzi’s Solo on “Creature Feature” (Tenorist 2007) ................... 38 Figure 2.13: Jerry Bergonzi’s Solo on “Creature Feature” (mm. 10-12) ......................... 40 Figure 2.14: Jerry Bergonzi’s Solo on “Creature Feature” (mm. 21-22) ......................... 41 Figure 2.15: Augmented Scale Pattern .......................................................................................... 41 Figure 2.16: 9-Note Scale Pattern .................................................................................................... 42 Chapter 3 Figure 3.1: Two rhythmic subdivisions in “Academia” by Miguel Zenón ....................... 46 Figure 3.2: Excerpt of Alto Saxophone Part to “Academia” by Miguel Zenón ............... 47 Figure 3.3: C Harmonic Major and Modes .................................................................................... 48 Figure 3.4: Excerpt of Alto Saxophone Part to “Academia” (mm. 5-11) ......................... 49 Figure 3.5: Excerpt of Drum Part to “Academia” by Miguel Zenón (mm. 79-92) ........ 50 Figure 3.6: Miguel Zenón’s Solo on “Academia” (mm. 1- 12) ............................................... 51 Figure 3.7: Miguel Zenón’s Solo on “Academia” (mm. 19-22) ............................................. 51 Figure 3.8: Miguel Zenón’s Solo on “Academia” (mm. 31-33) ............................................. 52 Figure 3.9: Miguel Zenón’s Solo on “Academia” (mm. 1-8) .................................................. 53 Figure 3.10: Miguel Zenón’s Solo

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