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C-UPPSATS Variationer Av Jazzstandards 2008:059 C-UPPSATS Variationer av jazzstandards Undersökning av hur grundmelodier varieras i jazzinspelningar Daniel Lundström Luleå tekniska universitet C-uppsats Musik Institutionen för Musik och medier Musikhögskolan 2008:059 - ISSN: 1402-1773 - ISRN: LTU-CUPP--08/059--SE Variationer av jazzstandards Undersökning av hur grundmelodier varieras i jazzinspelningar DANIEL LUNDSTRÖM Vetenskaplig handledare: Sverker Jullander Konstnärlig handledare: Claes von Heijne Abstrakt Syftet med den här uppsatsen är att systematiskt inventera olika sätt att förändra en grundmelodi i standardlåtar inom jazzen. Jag har transkriberat inspelningar av jazztrios ledda av pianisterna Bill Evans och McCoy Tyner och analyserat hur de förändrar grundmelodier inom jazzen. Jag har systematiserat melodiska och rytmiska förändringar i kategorier och underubriker. Resultatet av forskningen är tänkt att kunna användas som underlag för konstruktion av undervisningsmaterial. Arbetet innefattar även egna inspelningar. Nyckelord: jazz, standards, piano, jazztrio, Bill Evans, McCoy Tyner. 2 Innehåll 1. Inledning…………………………………………............................................................ 5 Bakgrund…………………………………………...................................................... 5 Syfte………………………………………….............................................................. 5 Material och metod…………………………………………........................................ 5 2. Beskrivning av kompositioner…………………………………………............................. 6 Speak Low………………………………………….................................................... 6 Autumn Leaves…………………………………………............................................. 6 Satin Doll…………………………………………...................................................... 6 3. Biografier…………………………………………........................................................... 7 Bill Evans…………………………………………...................................................... 7 McCoy Tyner…………………………………………................................................ 7 4. Analys: förändringar av grundmelodin…………………………………………................. 8 Rytmik………………………………………….......................................................... 8 Melodik…………………………………………...................................................... 11 Kombinationer av rytmik och melodik…………………………………………......... 14 5. Mina egna tolkningar…………………………………………........................................ 16 6. Diskussion…………………………………………........................................................ 17 Likheter med barockmusik………………………………………….......................... 17 Svårighet med att transkribera…………………………………………..................... 17 Material…………………………………………...................................................... 18 Fortsatt forskning…………………………………………........................................ 18 Referenser…………………………………………............................................................ 19 Bilaga 1: Rytmiska och melodiska förändringar i Evans och Tyners inspelningar…………. 20 Speak Low , Bill Evans, New Jazz Conceptions ……………………………………… 20 Speak Low , McCoy Tyner, Inception ………………………………………….......... 21 Autumn Leaves , Bill Evans, Portrait in Jazz ………………………………………… 22 Satin Doll , McCoy Tyner, Nights of Ballads and Blues …………………………….. 23 3 Bilaga 2: Transkriptioner…………………………………………...................................... 24 Speak Low , Bill Evans Trio, New Jazz Conceptions …………………………………. 24 Speak Low , McCoy Tyner Trio, Inception …………………………………………... 28 Autumn Leaves , Bill Evans Trio, Portrait in Jazz …………………………………… 31 Satin Doll , McCoy Tyner Trio, Nights of Ballads and Blues ……………………….. 33 Bilaga 3: Grundmelodier…………………………………………....................................... 36 Speak Low …………………………………………................................................... 36 Autumn Leaves …………………………………………............................................ 38 Satin Doll ………………………………………….................................................... 39 Bilaga 4: CD, inspelning med Daniel Lundström, piano; Johan Örtlund, bas; Andreas Erehed, trummor Beautiful Love …………………………………………...................................... spår 1 All the Things You Are …………………………………………......................... spår 2 On Green Dolphin Street …………………………………………...................... spår 3 4 1. Inledning Bakgrund Jag studerar på musikhögskolan i Piteå till instrumentallärare med piano som huvudinstrument. Jazzmusik är den genre som ligger mig närmast. Under min tid på musikhögskolan har jag funderat kring hur jazzpianister tolkar melodier. Jag har funnit att det saknas pedagogiskt material om hur jazzpianister kan förändra en melodi med rytmik och melodik (tonhöjd) inom jazzen. Jag har därför valt att skriva ett examensarbete om hur man går till väga när man skall tolka en melodi för piano inom jazzen, i ensemble (d.v.s. piano, bas och trummor). Jag ville utforska vad jazzpianister tar till för knep till att behandla en låts melodi. Exempelvis: Hur behandlas en helnot? Spelas helnoter eller ersätts de med melodiska utsmyckningar eller förändrad rytmik? Eftersom jag har spelat jazzpiano under många år med olika lärare så har jag själv fått en uppfattning om pianoundervisningen inom jazzgenren. Nu när jag ser tillbaka på dessa år och på de lärare som jag undervisats av kan jag se att fokuseringen från deras sida har varit att utveckla spelteknik, improvisation, ackompanjemang och gehör. Dessa moment ser jag själv som grunden för undervisning i jazzpiano. Personlig tolkning av melodier har däremot varit en väldigt liten del av undervisningen. Under de senaste tre åren har jag dock erhållit undervisning som till viss del har gått att använda för personlig tolkning av melodier. Detta har bara undervisats muntligt eftersom det saknas tryckt pedagogiskt material. Syfte Forskningens syfte är att systematiskt inventera olika sätt att förändra en grundmelodi i standardlåtar inom jazzen, vad gäller tonhöjd och rytmik. Resultatet av forskningen ska gå att tillämpa som ett underlag för att konstruera pedagogiskt material för pianister inom jazzgenren på gymnasie- till högskolenivå. Material och metod Jag har valt att undersöka hur jazzpianisterna Bill Evans och McCoy Tyner förändrar grundmelodier i standardlåtar. Jag använder mig av egna transkriptioner från inspelningar från perioden 1956-1963, (se referenslista, under rubriken ”Fonogram”). Jag har valt versioner av låtar som ingen av medverkande musikerna har komponerat: Speak Low, Autumn Leaves och Satin Doll. Dessa versioner har jag jämfört med grundmelodierna enligt The New Real Book I (Autumn Leaves , Satin Doll ) och Aebersold Play-A-Long Series vol. 65 (Speak Low ). Min metod har varit att transkribera inspelningar av Evans och Tyner och att analysera deras förändringar av grundmelodin i jazzstandards. Jag fokuserade analysen på pianostämman i varje inspelning. I analysen utarbetade jag kategorier som beskrev olika typer av förändringar av grundmelodin. Arbetet innefattar även tre egna tolkningar av standardlåtar för att visa klingande exempel på de kategorier som jag har arbetat fram i forskningen. 5 2. Beskrivning av kompositioner Här beskrivs de jazzstandards som används i materialet. Speak Low Speak Low är komponerad av Kurt Weill 1943, och kommer ursprungligen från Broadway- musikalen One Touch of Venus . Speak Low har formen AABA. Varje A-del består av 16 takter, B-delen består av 8 takter. Ett chorus består alltså av 56 takter. Autumn Leaves Autumn Leaves är ursprungligen en fransk komposition skriven 1945, med titeln Les feuilles mortes , komponerad av Joseph Kosma (”Autumn Leaves”, Wikipedia). Autumn Leaves har formen AAB. Varje A-del består av 8 takter. B-delen består av 16 takter. Ett chorus består alltså av 32 takter. Satin Doll Satin Doll är komponerad av Johnny Mercer, Duke Ellington och Billy Strayhorn, 1953. Satin Doll har spelats in oräkneliga gånger, inte minst genom sångare som Frank Sinatra och Ella Fitzgerald, (”Satin Doll”, Wikipedia). Satin Doll har formen ABA 1. A-delen består av 16 takter. B-delen och A 1-delen består av 8 takter vardera. A 1-delen är identisk med de första 8 takterna i A-delen. Ett chorus består alltså av 32 takter. 6 3. Biografier För källor till de biografiska uppgifterna, se referenslista. Bill Evans William John Evans, mer känd som Bill Evans, föddes den 16 augusti 1929 i New Jersey, USA. Han började ta pianolektioner i 6-årsåldern, inom den klassiska genren. I tonåren spelade han även flöjt och violin. Evans intresse för jazz startade när han i 12-årsåldern fick ersätta sin bror i ett jazzband. I 20-årsåldern spelade Evans boggie woggie på olika klubbar i New York. Bill Evans fortsatte sin musikaliska bana med att ta en examen i pianoundervisning vid Southeastern Louisiana College; han gick även en musikerutbildning. Evans studerade också komposition. Under 1950-talet arbetade Evans en tid i lokala dansband och hade rollen som ackompanjatör. Där fick han möjligheten att spela in skivor med några av dåtidens bästa jazzmusiker. Han blev uppmärksammad av producenten för skivbolaget Riverside Records och det resulterade i Evans första egna album, New Jazz Conceptions, (1956) . Det kom att dröja två år innan han spelade in nästa album, Everybody Digs Bill Evans ( 1958) . Samma år blev han medlem i Miles Davis sextett och spelade på Davis kända album Kind of Blue . Evans karriär fick ett stort lyft av samarbetet med Davis. Året därefter (1959) bildade Evans en av sina mest berömda trios med basisten Scott LaFaro och trumslagaren Paul Motian. Tyvärr varade denna trio bara två år på grund av Scott LaFaros bortgång i samband med en trafikolycka 1961, så trion hann bara ge ut fyra album. Bill Evans
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