DOCSLIB.ORG

COOK Dissertation Referential Sets Referential Tonics Revised 01

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
COOK Dissertation Referential Sets Referential Tonics Revised 01 REFERENTIAL SETS, REFERENTIAL TONICS, AND THE ANALYSIS OF CONTEMPORARY JAZZ by Scott Alexander Cook B.Mus, McGill University, 2004 M.A., The University of British Columbia, 2006 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY in The Faculty of Graduate Studies (Music) THE UNIVERSITY OF BRITISH COLUMBIA (Vancouver) April 2012 © Scott Alexander Cook, 2012 ABSTRACT While jazz has become more integrated into academia, the repertoire that is commonly examined is out of date. Today's leading jazz scholars tend to focus on a handful of musicians who made their mark in the '50s and '60s. But jazz writing has continued to evolve in the last fifty years, particularly in regards to harmony. Though many rooted chords—including MM7, mm7, and Mm7—can be heard in succession, the relationships between adjacent chords are obscure, and rarely manifest the standard II–V–I progression found in classic jazz. Often, successive chords belong to different diatonic sets. Some composers have eliminated chord symbols from their lead sheets altogether, leaving harmonic interpretation and relationships even more open-ended. Since the inception of modal jazz in the late '50s, priority has been given to groups of notes and the ways that they can interact, as opposed to specific chords, keys, and function. This presents a challenge not only for harmonic analysis but also for improvising on these changes in performance. Nevertheless, pitch-class organization can often be heard to promote a hierarchical ranking amongst the chords, resulting in strong points of reference. This dissertation develops and applies a theory of referential sets, for analyzing and improvising over representative examples of chromatic chord successions found in some contemporary jazz. By treating pitch-classes outside the collection as alterations, this theory provides a way to hear successions of seemingly unrelated chords as derived from such collections, which are in turn supported by global referential tonics. This is analogous to traditional, hierarchical ways of hearing secondary dominants and other chromaticism, but with different restrictions on the types of alterations allowed. It therefore describes more variegated progressions, and also allows referential sets to be different and larger than diatonic sets, while still providing the traditional benefits of ii harmonic analysis, such as the identification of continuities, recurring patterns of root successions, cadences, and other formal processes and relations that remain paramount in much of today's jazz writing. iii TABLE OF CONTENTS Abstract...........................................................................................................................ii Table of Contents...........................................................................................................iv List of Examples ............................................................................................................vi Acknowledgments........................................................................................................xiii Dedication..................................................................................................................... xv Chapter 1: Toward a Theory That Can Be Played .......................................................... 1 Overview................................................................................................................... 5 Chapter 2: Survey of Literature and Analytical Methodology......................................... 9 A Survey of Analytical Approaches........................................................................... 9 Concerning Improvisation.................................................................................. 20 Concerning Structure and Ornamentation .......................................................... 23 Intermediate Remarks........................................................................................ 29 Chord/Scale Theory, Russell, and the "Modal" Approach........................................ 33 The Lydian Chromatic Concept ......................................................................... 45 The "Modal" Style: A Compositional Approach ................................................ 51 Referential Set Theory: Methodology and Sample Analysis..................................... 56 Analytical Notation............................................................................................ 68 An Example of Determining a Referential Set.................................................... 70 Chapter 3: Post-Bop, Modal Jazz, and the Application of Referential Set Theory......... 77 Post-Bop Jazz and the Suppression of Function....................................................... 78 Modal Jazz and the Absence of Functional Harmony............................................... 92 Referential Set Theory and Contemporary Jazz: A Complete Tune........................ 104 Chapter 4: Changing Times, Changing Sets: Kenny Wheeler Revisited ..................... 117 Kenny Wheeler's "Kind Folk"................................................................................ 118 Kenny Wheeler's "Quiso" ...................................................................................... 139 iv Chapter 5: The New (York) School: Jazz in the 21st Century...................................... 162 Adam Rogers's "Labyrinth"................................................................................... 163 David Binney's "Von Joshua"................................................................................ 185 Chapter 6: Playing the Theory ................................................................................... 205 Bibliography ............................................................................................................... 212 Discography................................................................................................................ 219 v LIST OF EXAMPLES Example 2.1: Basic voice leading in a jazz, II → V → I, progression ............................ 14 Example 2.2: Chord substitution in a II → V → I progression....................................... 15 Example 2.3: Smooth voice leading in a non-diatonic progression by Wayne Shorter.............................................................................................. 16 Example 2.4: A II → V → I in G major (a) elaborated with "Coltrane Changes" (b)...................................................................................... 18 Example 2.5: Parsimonious voice leading between major and Mm7 chords, based on "Giant Steps" changes........................................................................................ 19 Example 2.6: Schenkerian analysis of Evans's performance of "The Touch of Your Lips" (reproduced from Larson 1998) ......................................................................... 25 Example 2.7: Voice-leading analysis of an excerpt from Parker's solo on "Shaw ‘Nuff" (reproduced from Martin 1996).......................................................................... 27 Example 2.8: Hypothetical re-harmonization of Parker's melodic line ........................... 28 Example 2.9: CMaj9(add 11,13) expressed melodically ("R" = root, 3 = third, etc.) ............ 33 Example 2.10: CMaj7 filled in with passing tones (P = passing tone) ............................ 34 Example 2.11: Dmin7 expressed as a supertonic chord scale (II/C major) ..................... 35 Example 2.12: A7 expressed as a secondary dominant chord scale................................ 35 Example 2.13: Grant Green's solo, "All the Things You Are" (1:06-1:18) ..................... 36 Example 2.14: Lead sheet for "All the Things You Are"................................................ 37 Example 2.15: The tonal scheme of "All the Things You Are" ...................................... 38 Example 2.16: Roman numeral analysis of A Section (mm. 1-8), "All the Things You Are"........................................................................................................... 39 Example 2.17a: Parallel 10ths in the opening phrase of "All the Things You Are" (mm. 1-8) .......................................................................................................... 40 Example 2.17b: Compound melody and conjunct motion in melody (mm. 1-8)............. 40 Example 2.18: Chord scales in "All the Things You Are" (mm. 1-8) ............................. 41 Example 2.19: Chord scale analysis of Green's solo, "All the Things You Are"............. 43 Example 2.20: Dmin7 expressed linearly as D Dorian................................................... 44 Example 2.21: Modal analysis of Green's solo............................................................... 45 vi Example 2.22a-d: Russell's bias for the Lydian mode (with C tonic).............................. 47 Example 2.23: Russell's six scales for improvising........................................................ 48 Example 2.24: Green's solo on "All the Things You Are," prioritizing Ab Ionian and C Ionian ...................................................................................................... 51 Example 2.25: Miles Davis, "So What," mm. 1-3 (~0:33-0:41)...................................... 53 Example 2.26: Miles Davis, solo on "So What" (1:31-1:44) .......................................... 53 Example 2.27: Joe Henderson, "Inner Urge", B Section (mm. 17-24) ...........................
Load more

Recommended publications
  • Jimmy Raney Thesis: Blurring the Barlines By: Zachary Streeter
    Jimmy Raney Thesis: Blurring the Barlines By: Zachary Streeter A Thesis submitted to the Graduate School-Newark Rutgers, The State University of New Jersey In partial fulfillment of the requirements for the degree of Master of Jazz History and Research Graduate Program in Arts written under the direction of Dr. Lewis Porter and Dr. Henry Martin And approved by Newark, New Jersey May 2016 ©2016 Zachary Streeter ALL RIGHT RESERVED ABSTRACT Jimmy Raney Thesis: Blurring the Barlines By: Zach Streeter Thesis Director: Dr. Lewis Porter Despite the institutionalization of jazz music, and the large output of academic activity surrounding the music’s history, one is hard pressed to discover any information on the late jazz guitarist Jimmy Raney or the legacy Jimmy Raney left on the instrument. Guitar, often times, in the history of jazz has been regulated to the role of the rhythm section, if the guitar is involved at all. While the scope of the guitar throughout the history of jazz is not the subject matter of this thesis, the aim is to present, or bring to light Jimmy Raney, a jazz guitarist who I believe, while not the first, may have been among the first to pioneer and challenge these conventions. I have researched Jimmy Raney’s background, and interviewed two people who knew Jimmy Raney: his son, Jon Raney, and record producer Don Schlitten. These two individuals provide a beneficial contrast as one knew Jimmy Raney quite personally, and the other knew Jimmy Raney from a business perspective, creating a greater frame of reference when attempting to piece together Jimmy Raney.
    [Show full text]
  • Enovation 8: Chord Shapes, Shifts, and Progression NOTE: Video and Audio Files Are Found in the Media Playlist at the Bottom of Each Lesson Page
    P a g e | 1 eNovation 8: Chord Shapes, Shifts, and Progression NOTE: Video and audio files are found in the media playlist at the bottom of each lesson page. eNovation 8 Overview Summary: In eNovation 8 the focus is on recognition and secure performance of commonly found chord shapes and facility in moving between these different shapes Goals on the keyboard. The theoretical understanding of primary chords is emphasized so that students can quickly play chords, harmonize melodies, and realize lead sheets. Key Elements: • Technique: Chord Shapes: 5/3, 6/3, 6/4, 6/5 • Technique: Chordal Shifts and Progressions I, IV6/4, V6/3 and I, IV6/4, V6/5 • Reading: Chords and Inversions • Rhythm: Sixteenth Notes in Compound Meters • Theory: Inversions / Slash Chord Notation • Cadences: I – V7 • Styles: Broken Chord, Alberti Bass, Waltz Bass, Polka, Keyboard Style Go to eNovation 8 Topic Page Topic 1: Introduction to Chord Shapes and Inversions / Sixteenth Notes in Compound Meter Lesson Goals In this eNovation, students learn the 'feel’ of the different chord shapes and to quickly and comfortably shift between them. They will learn how the figured bass symbols for chords and inversions assist in reading and playing chords by shape. Students will also develop understanding of structure, content and fingerings for the different chord inversions. Activity Type / Title with Links Instructions/Comments ☐ Video Inversion Fingerings Watch instructional video Chord inversions have a distinctive shape on the staff and keyboard which Chord Shapes and Figured Bass Inversion determines its figured bass designation. ☐ Theory Symbols (Video and Flashcards) Watch the video: Chord Shapes and Figured Bass Inversion Symbols, then drill with the video flashcards.
    [Show full text]
  • Gerry Mulligan Discography
    GERRY MULLIGAN DISCOGRAPHY GERRY MULLIGAN RECORDINGS, CONCERTS AND WHEREABOUTS by Gérard Dugelay, France and Kenneth Hallqvist, Sweden January 2011 Gerry Mulligan DISCOGRAPHY - Recordings, Concerts and Whereabouts by Gérard Dugelay & Kenneth Hallqvist - page No. 1 PREFACE BY GERARD DUGELAY I fell in love when I was younger I was a young jazz fan, when I discovered the music of Gerry Mulligan through a birthday gift from my father. This album was “Gerry Mulligan & Astor Piazzolla”. But it was through “Song for Strayhorn” (Carnegie Hall concert CTI album) I fell in love with the music of Gerry Mulligan. My impressions were: “How great this man is to be able to compose so nicely!, to improvise so marvellously! and to give us such feelings!” Step by step my interest for the music increased I bought regularly his albums and I became crazy from the Concert Jazz Band LPs. Then I appreciated the pianoless Quartets with Bob Brookmeyer (The Pleyel Concerts, which are easily available in France) and with Chet Baker. Just married with Danielle, I spent some days of our honey moon at Antwerp (Belgium) and I had the chance to see the Gerry Mulligan Orchestra in concert. After the concert my wife said: “During some songs I had lost you, you were with the music of Gerry Mulligan!!!” During these 30 years of travel in the music of Jeru, I bought many bootleg albums. One was very important, because it gave me a new direction in my passion: the discographical part. This was the album “Gerry Mulligan – Vol. 2, Live in Stockholm, May 1957”.
    [Show full text]
  • Katherine Riddle
    AMERICAN UNIVERSITY DEPARTMENT OF PERFORMING ARTS Katherine Riddle Soprano “My Life’s Delight” Andrew Welch, piano Carley DeFranco, soprano Ryan Burke, tenor Sunday, March 3, 2013 at 5:00 p.m. Abramson Family Recital Hall Katzen Arts Center American University This senior recital program is in partial fulfillment of the degree program Bachelor of Arts in Music, Vocal Performance and the American University Honors Capstone Program. Ms. Riddle is a student of Dr. Linda Allison. THANK YOU… ANDREW LLOYD WEBBER ( b. 1948 ) wrote the music for the longest running show on Broadway, The Phantom of …to all of the faculty and staff in the music and theatre departments the Opera. This musical is based on a French novel Le Fantôme de that have supported, mentored and encouraged me. Thank l'Opéra by Gaston Leroux. The plot centers around the beautiful soprano, you for pushing me to strive for greatness and helping me to grow as a Christine, who becomes the object of the Phantom’s affections. As the prima person and as a performer. donna, Carlotta, is rehearsing for a performance, a backdrop collapses on her without warning. Carlotta storms offstage, refusing to perform and Christine is tentatively chosen to take her place in the opera that night. She is …to my wonderful friends who are always there for me to cheer, to cry, ready for the challenge. to cuddle or to celebrate. You guys are irreplaceable! Think of Me …to my amazing family (especially my incredible parents) for always Think of me, think of me fondly when we’ve said goodbye being my cheerleaders, giving me their undying love and support and, Remember me, every so often, promise me you’ll try most of all, for helping me pursue my dream.
    [Show full text]
  • Zoot Sims - Bob Brookmeyer Octet Stretching out Mp3, Flac, Wma
    Zoot Sims - Bob Brookmeyer Octet Stretching Out mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz Album: Stretching Out Country: Japan Released: 1993 Style: Cool Jazz MP3 version RAR size: 1374 mb FLAC version RAR size: 1443 mb WMA version RAR size: 1155 mb Rating: 4.1 Votes: 997 Other Formats: ASF MP2 MOD WAV WMA MIDI DTS Tracklist 1 Stretching Out 6:07 2 Now Will You Be Good 5:27 3 Pennies From Heaven 6:14 4 King Porter 4:37 5 Ain't Misbehavin' 6:52 6 Bee Kay 6:38 Companies, etc. Manufactured By – Toshiba EMI Ltd Recorded At – Nola Recording Studios Credits Arranged By – Al Cohn, Bill Potts, Bob Brookmeyer Baritone Saxophone – Al Cohn Bass – Eddie Jones Design [Cover] – Harry Edison Directed By – Jack Lewis Drums – Charlie Persip Engineer [Recording] – Tom Nola* Guitar – Freddie Green Liner Notes – Bob Brookmeyer Piano – Hank Jones Producer – Jack Lewis Tenor Saxophone – Al Cohn, Zoot Sims Trumpet – Harry Edison Valve Trombone – Bob Brookmeyer Notes "Recorded at Nola's penthouse from 10 am to 4pm on a Saturday afternoon in December" Barcode and Other Identifiers Barcode: 4 988006 680210 Rights Society: JASRAC Other versions Category Artist Title (Format) Label Category Country Year Zoot Sims - Bob United Stretching Out (LP, UAL 4023 Brookmeyer Artists UAL 4023 US 1959 Album) Octet Records Zoot Sims - Bob Zoot Sims - Bob Brookmeyer - Wax Train WT 777 WT 777 Europe 2009 Brookmeyer Stretching Out (LP, Records Album, RE) Zoot Sims - Bob United Stretching Out (LP, 054-2602761 Brookmeyer Artists 054-2602761 Spain 1984 Album, RE) Octet
    [Show full text]
  • COOK Referential Sets Referential Tonics and the Analysis Of
    REFERENTIAL SETS, REFERENTIAL TONICS, AND THE ANALYSIS OF CONTEMPORARY JAZZ by Scott Alexander Cook B.Mus, McGill University, 2004 M.A., The University of British Columbia, 2006 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY in The Faculty of Graduate Studies (Music) THE UNIVERSITY OF BRITISH COLUMBIA (Vancouver) April 2012 © Scott Alexander Cook, 2012 ABSTRACT While jazz has become more integrated into academia, the repertoire that is commonly examined is out of date. Today's leading jazz scholars tend to focus on a handful of musicians who made their mark in the '50s and '60s. But jazz writing has continued to evolve in the last fifty years, particularly in regards to harmony. Though many rooted chords—including MM7, mm7, and Mm7—can be heard in succession, the relationships between adjacent chords are obscure, and rarely manifest the standard II–V–I progression found in classic jazz. Often, successive chords belong to different diatonic sets. Some composers have eliminated chord symbols from their lead sheets altogether, leaving harmonic interpretation and relationships even more open-ended. Since the inception of modal jazz in the late '50s, priority has been given to groups of notes and the ways that they can interact, as opposed to specific chords, keys, and function. This presents a challenge not only for harmonic analysis but also for improvising on these changes in performance. Nevertheless, pitch-class organization can often be heard to promote a hierarchical ranking amongst the chords, resulting in strong points of reference. This dissertation develops and applies a theory of referential sets, for analyzing and improvising over representative examples of chromatic chord successions found in some contemporary jazz.
    [Show full text]
  • Chord Reference Manual
    Musical MIDI Accompaniment MmA Chord Reference Manual This document was prepared from version 21.09 of MmA. Bob van der Poel Wynndel, BC, Canada [email protected] September 29, 2021 Chapter 1 Chord Reference This document is a reference to the chords and scales use in MmA. It has been generated directly from the module chordtable.py in the MmA sources. Each section shows the chord name, a brief description, the chord notes for a “C” chord, and the associated scale tones. These chords and scales are used in MmA to generate chords, bass, arpeggios, arias, harmonies and scales. In all cases you will need to preface the name with a chord pitch. For example, the reference for an 11th chord is listed simply as “11”; you would use a “C11” or “Eb11”, etc. in your MmA source file. Read the MmA Reference Guide if you don’t understand this. This document was prepared as a reference to verify the correctness of the chords and scales used in MmA. If you find an error, please let the author know. MmA defines 98 unique chords plus 62 aliases. Chords used in MmA via aliased names are listed after the main name. (♭5) — Major triad with flat 5th. MMA notatation requires the () around the name. E A EW EW E E E E E E E +7♭9♯11 — Augmented 7th with flat 9th and sharp 11th. EV EW EW EW A EV E E E E EV E E EW 11 — 9th chord plus 11th (3rd not voiced). E E EW EW A E E E E E E E E 2 Chord Reference 11+, 11♯5 — Augmented 11th (sharp 5).
    [Show full text]
  • MUNI 20071115 – All the Things You Are (Vocal, Piano) 1 Barbra
    MUNI 20071115 – All the Things You Are (vocal, piano) 1 Barbra Streisand -voc; studio orchestra conducted by David Shire; Ray Ellis-arr. 1967. CD: Columbia COL 437698 2. 2 Joe Williams -voc; Thad Jones-tp, arr; Eddie „Lockjaw“ Davis, Benny Golson-ts; John Collins-g; Jerry Peters-kb; Norman Simmons-p; John Heard-b; Gerryck King-dr. Ocean Way Studio A, Los Angeles, June 29-30, 1985. CD: Delos 4004. 3 Margaret Whiting -voc; Russell Garcia Orchestra. Los Angeles, January & February 1960. CD: Verve 559 553/2. 4 Ella Fitzgerald -voc; Nelson Riddle Orchestra. Los Angeles, January 1963. CD: Verve V6-4060 / 0075021034754. 5 Rosemary Clooney -voc; Warren Vache-co; Scott Hamilton-ts; John Oddo-p, arr; John Clayton-b; Jeff Hamilton-dr. Coast Recorders, San Francisco, August & November 1988. CD: Recall SMDCD 252. 6 Carmen McRae -voc; Dick Shreve-p; Larry Bunker-vib; Joe Pass-g; Ray Brown-b; Frank Severino-dr. Los Angeles, late 1972. CD: LRC CDC 7970. 7 Betty Carter -voc; Norman Simmons-p; Lisle Atkinson-b; Al Harewood-dr. Village Vanguard, New York, May 22, 1970. CD: Verve 519 851-2. 8 Singers Unlimited : Bonnie Herman, Don Shelton, Gene Puerling, Len Dresslar-voc; Gene Puerling-arr. Villingen, Germany, June 1979. CD: MPS 539 137-2. 9 Eddie Heywood -p; Frank Carroll-b; Terry Snyder-dr. New York City, August 30, 1950. CD: Mosaic MD7-199. 10 Duke Ellington -p; Jimmy Woode-b; Sam Woodyard-dr. Columbia 30th Street Studio, NYC, October 10, 1957. CD: Columbia/Legacy 512920 2. 11 Bill Evans -piano solo. New York City, January 20, 1963.
    [Show full text]
  • New Jazz Label Discography
    New Jazz Label Discography 10 Inch 100 Series: NJ 101 - Lennie Tristano and Lee Konitz - Lennie Tristano and Lee Konitz [1950] This album was reissued as Prestige 101. Side One Lee Konitz Marshmallow/Sound-Lee/Fishin’ Around/Tautology//Side Two Lennie Tristano Subconscious-Lee/Judy/Retrospection/Progression 10 Inch 1100 Series: NJLP 1101 - Jimmy Raney Quartet - Jimmy Raney Quartet [1954] Reissued as Prestige 201. Double Image/On the Square/Minor/Some Other Spring NJLP 1102 - Zoot Sims Quintet - Zoot Sims Quintet [1954] Reissued as Prestige 202. Howdy Podner/Toot, No. 2/Indian Summer/What's New? NJLP 1103 - Jimmy Raney Quintet - Jimmy Raney Quintet [1954] Reissued as Prestige 203. Stella by Starlight/Jo- Anne/Back and Blow/Five NJLP 1104 - Phil Woods Quintet - Phil Woods Quintet [1954] Reissued as Prestige 204. Pot Pie/Open Door/Robin's Bobbin'/Mad About the Girl NJLP 1105 - Jon Eardley Quartet - Jon Eardley Quartet [1955] Reissued as Prestige 205. Lute Leader/Indian Spring/Black/Cross NJLP 1106 - Teddy Charles Quartet - Teddy Charles Quartet [1955] Reissued as Prestige 206. Violetta/Relaxo Abstracto/Speak Low/Jay Walkin'/The Night We Called It a Day/I Can't Get Started 12 Inch 8200 Series: NJLP 8201 - Mal 3/Sounds - Mal Waldron [1/58] Tensions/Ollie's Caravan/The Cattin' Toddler/Portrait of a Young Mother/For Every Man There's a Woman NJLP 8202 - Roots – Prestige All Stars [1959] Roots/Sometimes I Feel Like a Motherless Child/Down by the Riverside NJLP 8203 - Farmer's Market - Art Farmer [1959] Reminiscing/By Myself/Wailing with Hank/With
    [Show full text]
  • Late Night Jazz: 1956
    Late Night Jazz: 1956 Samstag, 17. September 2016, 22.05 - 24.00 Uhr Redaktion: Beat Blaser Moderation: Anina Salis Al Cohn / Zoot Sims Quintet: From A to Z and Beyond Label: RCA Victor Track 10: From A to Z Blossom Dearie : Verve Jazz Masters, Vol. 51 Label: Verve Track 01: They Say It's Spring Illinois Jacquet: 1956 Flying Home - The Best Of The Verve Years Label: Verve Track 17: Achtung Chet Baker: 1956 Compact Jazz - Chet Baker Label: Emarcy Track 06: Ev'ry Time We Say Goodbye Sonny Rollins: 1956 Sonny Rollins - Valse Hot Label: Dreyfus Track 04: St. Thomas Ultimate Billie Holiday Label: Verve Track 16: Lady Sings The Blues Compact Jazz: Lester Young Young & The Piano Giants Label: Verve Track 01: This Year's Kisses Anita O'Day – Pick Yourself Up Label: Verve Track 05: Pick Yourself Up Jimmy Giuffre & Jim Hall Featuring Ralph Peña – The Original Trio Label: Gambit Records Track 09: The Train And The River Caterina Valente in New York Label: Universal Track 03: Moonlight In Vermont Ella Fitzgerald And Louis Armstrong – Ella And Louis Label: Verve Track 03: Cheek To Cheek Jutta Hipp «with Zoot Sims» Label: Blue Note Track 08: S' Wonderful Frank Sinatra: Song For Swingin’ Lovers! Label: Capitol Track 01: You Make Me Feel So Young Umberto Arlati: 50 Jahre Jazzfestival Zürich (1956) Eigenaufnahme DRS Track 7: There Will Never Be Another You Jazz In Switzerland 1930 - 1975 Label: Elite Special CD 2/ Track 10: Elsie Trio Bianchi: I Remember Clifford CD 2/ Track 02: Francis Septet Notz: Groteskia Sammy Davis, Jr.
    [Show full text]
  • Do It Again: Sequences in Gershwin and Kern's Popular Songs
    Gamut: Online Journal of the Music Theory Society of the Mid-Atlantic Volume 7 Issue 1 Article 4 May 2014 Do It Again: Sequences in Gershwin and Kern’s Popular Songs Maxwell Ramage Indiana University Follow this and additional works at: https://trace.tennessee.edu/gamut Part of the Composition Commons, and the Music Theory Commons Recommended Citation Ramage, Maxwell (2014) "Do It Again: Sequences in Gershwin and Kern’s Popular Songs," Gamut: Online Journal of the Music Theory Society of the Mid-Atlantic: Vol. 7 : Iss. 1 , Article 4. Available at: https://trace.tennessee.edu/gamut/vol7/iss1/4 This Article is brought to you for free and open access by Volunteer, Open Access, Library Journals (VOL Journals), published in partnership with The University of Tennessee (UT) University Libraries. This article has been accepted for inclusion in Gamut: Online Journal of the Music Theory Society of the Mid-Atlantic by an authorized editor. For more information, please visit https://trace.tennessee.edu/gamut. DO IT AGAIN: SEQUENCES IN GERSHWIN AND KERN’S POPULAR SONGS MAXWELL RAMAGE mericans George Gershwin (1898–1937) and Jerome Kern (1885–1945) both A succeeded as Broadway composers but began as “song pluggers” on New York’s Tin Pan Alley.1 Their popular-song output, however, was far from hackwork; indeed, their chromatically inflected, extended tertian harmonies enriched the expressive palette available to song composers at large.2 Gershwin and Kern seem to have influenced one another: Gershwin idolized the elder composer3 and stated that his early songs “paid [Kern] the tribute of frank imitation.”4 Conversely, Howard Pollack hears in Kern’s song “Whip-Poor-Will,” for example, suggestions of Gershwin’s “From Now On.”5 In view of the special regard in which Gershwin held Kern, I will compare and contrast their popular songs.
    [Show full text]
  • Bob Gordon Discography
    BOB GORDON DISCOGRAPHY BOB GORDON RECORDINGS, CONCERTS AND WHEREABOUTS Bob Gordon was born in St. Louis, Missouri, June 11, 1928. He passed away in a car accident between Hollywood and San Diego, CA., August 28, 1955 by Kenneth Hallqvist, Sweden January 2019 Bob Gordon DISCOGRAPHY - Recordings, Concerts and Whereabouts by Kenneth Hallqvist - page No. 1 INTERNAL INFORMATION Colour markings for physical position: IKEA-boxes with Bob Gordon = GREEN IKEA-boxes with Lars Gullin = YELLOW IKEA-boxes with Gerry Mulligan = BLUE Shelves = ORANGE Cupboard = RED Bob played tenor sax with: Shorty Sherock (1946) Alvino Ray (1948-1951) Billy May (1952) Horace Heidt (1952-1953) George Redman (1954) Search for LPs/CDs: GNP J.S.L.P. 50.042: "Maynard Ferguson - Dimensions" (Trip Jazz LP available) EMArcy LP #MG 36044: "Lyle Murphy: Four saxophones in twelwe tones" (10" LP 1955) Mercury CD EJD-1016: COMPACT JAZZ - Maynard Ferguson with Bob Gordon (released in Japan 1989) EMArcy CD #3071: "Introducing Bob Gordon" Bob Gordon DISCOGRAPHY - Recordings, Concerts and Whereabouts by Kenneth Hallqvist - page No. 2 Abbreviations used in this discography acc accordion mda mandola arr arranger mdln mandolin as alto saxophone mel melodica b bass (contrabass or double bass) mgs Moog synthesizer b-cl bass clarinet oboe oboe b-tb bass trombone oca ocarina b-tp bass trumpet org organ bars baritone saxophone p piano bgs bongos panfl pan flute bjo banjo perc percussion bnd bandoneon saxes saxophones bs bass saxophone sop soprano saxophone bsn bassoon st-d steel drums cgs
    [Show full text]