Edith Cowan University Research Online Theses : Honours Theses 2011 Using Clare Fischer's solo piano approach in Yesterdays to reinterpret Jazz standard repertoire Christopher N. Foster Edith Cowan University Follow this and additional works at: https://ro.ecu.edu.au/theses_hons Part of the Music Commons Recommended Citation Foster, C. N. (2011). Using Clare Fischer's solo piano approach in Yesterdays to reinterpret Jazz standard repertoire. https://ro.ecu.edu.au/theses_hons/37 This Thesis is posted at Research Online. https://ro.ecu.edu.au/theses_hons/37 Edith Cowan University Research Online Theses : Honours Theses 2011 Using Clare Fischer's solo piano approach in Yesterdays to reinterpret Jazz standard repertoire Christopher N. Foster Edith Cowan University Recommended Citation Foster, C. N. (2011). Using Clare Fischer's solo piano approach in Yesterdays to reinterpret Jazz standard repertoire. Retrieved from http://ro.ecu.edu.au/theses_hons/37 This Thesis is posted at Research Online. http://ro.ecu.edu.au/theses_hons/37 Edith Cowan University Copyright Warning You may print or download ONE copy of this document for the purpose of your own research or study. The University does not authorize you to copy, communicate or otherwise make available electronically to any other person any copyright material contained on this site. You are reminded of the following: Copyright owners are entitled to take legal action against persons who infringe their copyright. A reproduction of material that is protected by copyright may be a copyright infringement. A court may impose penalties and award damages in relation to offences and infringements relating to copyright material. Higher penalties may apply, and higher damages may be awarded, for offences and infringements involving the conversion of material into digital or electronic form. Using Clare Fischer’s solo piano approach in Yesterdays to reinterpret Jazz standard repertoire. Dissertation 18/11/11 Christopher N Foster Bachelor of Music (Honours) Western Australian Academy of Performing Arts Edith Cowan University 2011 USE OF THESIS The Use of Thesis statement is not included in this version of the thesis. ii Acknowledgements I would like to acknowledge my project supervisor Tom O’Halloran, for his endless support and guidance throughout this year. I would also like to thank my fellow students Nick Abbey, Ben Falle and Brett Smith for their help and friendship. Finally, I would like to thank Clare Fischer for his beautifully complex music, which initially inspired me to undertake this research and continues to inspire me today. iii Abstract Clare Fischer’s solo piano version of the Jerome Kern composition Yesterdays from his 1975 recorded album ‘Alone Together’, is not extensively known. It proves, however, to be an inherently paramount source for the study of harmony, rhythm, texture and solo jazz piano style. This paper defines the techniques used in this performance. Through a comprehensive transcription analysis, key aspects of Fischer’s solo piano style are discovered. This research extracts the defining aspects of this specific performance - then directly applies the musical techniques to show how they may be used to reinterpret and jazz standard. The current Fischer literature focuses primarily on detailing harmonic aspects of his music. This study of Yesterdays also analyses these harmonic aspects at work including chord voicing tendencies, voice leading and reharmonisation. Further, broader concepts relating to a successful jazz solo piano performance are discussed – including the use of varied meter, mood, texture and arrangement. Through using wider parameters in the analysis the study aims to provide a more inclusive overview of Fischer’s improvised solo piano style. Using the findings from the transcription analysis, a solo piano arrangement of Duke Ellington’s Sophisticated Lady is then generated. The primary purpose of the re- interpretation of ‘jazz standard’ repertoire is to show that Fischer’s devices can be absorbed yet also directly applied in a measured way. iv Table of Contents Use of Thesis Declaration ................................................................................... i Acknowledgements .............................................................................................. ii Abstract .................................................................................................................. iii Table of Figures .................................................................................................... vi Chapter One: Introduction, Rationale and Methodology ........................ 1 Introduction and Rationale ....................................................................................... 1 Justification of Research ............................................................................................. 3 Scope of Research ......................................................................................................... 5 Methodology ................................................................................................................... 6 Chapter Two: Literature Review Summary ................................................. 8 Literature Review: Summary ................................................................................... 8 Chapter Three: Clare Fischer ............................................................................ 9 Brief Biography of Clare Fischer .............................................................................. 9 Alone Together: The Album ................................................................................... 11 Yesterdays ..................................................................................................................... 12 Chapter Four: Analysis of Yesterdays ........................................................ 13 Category I: Harmonic Analysis .............................................................................. 13 Category II: Rhythmic Analysis ............................................................................. 26 Category III: Textural Analysis .............................................................................. 34 Category IV: Analysis of Arrangement ................................................................ 43 Summary and Classification of Results ................................................................ 50 Chapter Five: Reinterpretation of Sophisticated Lady .......................... 52 Selection of Devices .................................................................................................... 53 v Designing the Arrangement .................................................................................... 54 Harmonic Devices: Sophisticated Lady ............................................................... 60 Rhythmic Devices: Sophisticated Lady ................................................................ 64 Textural Devices: Sophisticated Lady .................................................................. 67 Summary: Transfer of Devices ............................................................................... 71 Chapter Six: Conclusion .................................................................................. 72 Bibliography ........................................................................................................ 74 Appendices .......................................................................................................... 76 Appendix A: Literature Review .............................................................................. 76 Appendix B: Yesterdays Transcription ............................................................... 82 Appendix C: Yesterdays Lead Sheet ...................................................................... 95 Appendix D: Sophisticated Lady Reinterpretation .......................................... 96 Appendix E: Sophisticated Lady Lead Sheet ................................................... 105 vi Table of Figures Figure 1: Suspension and Resolution ........................................................................................... 15 Figure 2: Splitting ................................................................................................................................ 16 Figure 3: Parallelism ........................................................................................................................... 17 Figure 4: Clare Fischer’s "Poly-Harmonicism” ......................................................................... 19 Figure 5: Reharmonisation Methods Two and Four ............................................................. 19 Figure 6: Substituting min7b5 for bVIMaj7 .............................................................................. 21 Figure 7: Common Tones in Bbmaj7 and Emin7b5 ............................................................... 21 Figure 8: Closed Voicings .................................................................................................................. 22 Figure 9: Voicing Trend - Bmin/Cmin7b5 ................................................................................. 23 Figure 10: Tritone Bass Note Under Root Position Chord .................................................. 24 Figure 11: "Stacked” Tritone Chord ............................................................................................. 24 Figure 12: Pedal Point .......................................................................................................................