N 8I CONCERTINO FOR JAZZ CLARINET, ELECTRIC VIOLA AND SYMPHONIC ORCHESTRA THESIS Presented to the Graduate Council of the University of North Texas in Partial Fulfillment of the Requirements For the Degree of MASTER OF MUSIC By Mats G. Holmquist, B.M. Denton, Texas August, 1991
107
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N 8I
CONCERTINO FOR JAZZ CLARINET, ELECTRIC VIOLA
AND SYMPHONIC ORCHESTRA
THESIS
Presented to the Graduate Council of the
University of North Texas in Partial
Fulfillment of the Requirements
For the Degree of
MASTER OF MUSIC
By
Mats G. Holmquist, B.M.
Denton, Texas
August, 1991
Lx
Holmquist, Mats G., Concertino for Jazz Clarinet. Electric
Viola and Symphonic Orchestra. Master of Music (Composition),
August, 1991, 107 pp,, 27 illustrations.
ConQertino for Jazz Clarinet. Electric yiola and Symphonic
Orchestra is a composition of approximately fifteen minutes'
duration, and is scored for two flutes (second doubling piccolo),
two oboes, two Bb clarinets, two bassoons, four F- horns, two Bb
trumpets, three trombones (third bass), two percussionists, solo Bb
clarinet, solo electric viola and strings. The piece is divided
into two movements; Andante and Canon. Concepts derived from jazz
music are employed in, for example, harmony and improvisation in the
solo parts, whereas the orchestration is mainly traditional. The
piece is written for two great Swedish instrumentalists; Putte
Wickman, clarinet, and Henrik Frendin, viola. Stylistically this
work is difficult in the orchestral parts, since it uses concepts
from two different musical styles, jazz and classical. Influences
originate from such wide-ranging composers as Mozart, Stravinsky,
Shostakovich and Chick Corea.
TABLE OF CONTENTS
INTRODUCTION , vii
Chapter
I. FIRST MOVEMENT .ix
FORMTHEMATIC MATERIALHARMONY
II, SECOND MOVEMENT . , , , ,xiv
FORMTHEMATIC MATERIALHARMONY
III. TIMBRE AND ORCHESTRATION .............. xxiv
CONCLUSION , xxvi
INSTRUMENTATION, xxvii
CONCERTINO FOR JAZZ CLARINET, ELECTRIC VIOLAAND SYMPHONIC ORCHESTRA .................. . . . ......a.a. .I
tii
LIST OF ILLUSTRATIONS
Figure
1. Overview of form in first movement....... ... ... .ix
2. Theme of the A section, first movement ...... ix
3. Theme of the B section, first movement ......... x
4. Melodic material of D section, first movement , . , x
5. Melodic outline of diminished triad in A
section of first movement ... .... . xi
6. Chord movement of measures 17-18 in A section
of first movement, . ... .. ..... . xi
7. Ascending and descending triads over G# pedal
in B section of first movement . . . . ... . ...... xii
8. Tonic C# ninth-thirteenth-chord of first
movement........ ....... ,........ ...........xii
9. Voicing of last chord, first movement ........ xiii
10. C-mixolydian mode used in second movement ,. . ,xiv
iv
11. Overview of form, second movement . . . . . ....... xiv
12. Theme of A section, second movement . . ....... xv
13. Canon entrance in the A section of second movement . xv
14. Theme of B section of second movement ., . .. . . . xv
15. Canon entrance in the B section,second movement . . . . xv
16. Canon in four voices of A section,
second movement . . . . . . . . . . . . . . . . . . . xvi
17. Viola and clarinet, middle of second movement . xvii
18. String variations with horns playing theme of
A section, middle of second movement . . . . . . . . xvii
19. Melodic minor seventh interval in beginning
of A section, second movement ., , , xviii
20, Motive from A section further developed in
C section of second movement .. , ....... , ,. xix
21, Melodic tritones in A section of second movement . . xix
V
22. Tonic C ninth-suspended-fourth-chord of second
movement xx
23. Thickened line scoring in trumpets and trombones,
doubled at the octave by woodwinds, middle of
second movement. . ........ .......... xxi
24. Passing chord harmonization within thickened
line technique . . . .,. .. .. . . . . .0. . . .. . xxi
25. Non-functional chords within thickened line
technique . ,.............. .... xxii
26. Chords cadencing back to recapitulation of
second movement ............... . ..... ,.. xxii
27. Voicing of last chord of second movement Sxxiii
vi
INTRODUCTION
Concertino for jazz clarinet and electric viola is written for,
and dedicated to, two excellent performers whom I know both
personally and musically; Putte Wickman, clarinet, and Henrik
Frendin, viola. Putte has played jazz professionally for over forty
years and is recognized as one of Sweden's finest jazz musicians.
Henrik, a close friend of mine, is on a leave of absence from his
duty as assistant leader of the violas of the Danish Radio Symphony
orchestra. He is one among ten musical groups and individuals which
have received a three year grant from the Swedish government called
"Promotion 90"' intended for young performers to develop their art.
Henrik is also an experienced jazz musician.
My intention with this piece is to relate different musical
styles, especially jazz and "concert" music which are the two fields
in which I am educated. This is something that I have been
attempting in many of my pieces. The solo parts include jazz
improvisation. The harmonic and melodic language is most closely
related to jazz, especially jazz from the 1960's and onwards. The
orchestration is basically traditional, I use the type of
orchestration that fits my purpose of trying to relate to jazz, It
also goes hand in hand with my wish to write a very concrete and
extroverted kind of music.
vi
One most difficult and important aspect of trying to relate
different musical styles, and maybe in all composition, is form. The
short forms of jazz are not at all suitable to my intentions for an
extended work. Sonata, Rondo and the Classical concerto are forms
that I feel will lend themselves to my purposes, of course developed
and changed according to my needs. The relationship between rhythm
and orchestration is interesting in this music. It is difficult to
use jazz related rhythms with a symphony orchestra, which makes it a
hard task trying to create this type of piece. According to Don
Sebesky, author of 'The Contemporary Arranger', "many attempts have
been made to make a large string-ensemble "swing" but none has ever
succeeded". In my opinion too, it is probably impossible to make a
symphony orchestra "swing" and that is certainly not my intention.
I try to use the instruments in an indigenous manner, and still give
a jazz flavor to the music. That is mostly by use of accented off-
beats, hemiolas and a steady rhythmic pulse with short note values
always present as opposed to merely a melodic pulse, in addition to
the "jazzy" melodic lines already inherent. Classically trained
musicians have difficulty playing in "jazz time" so the music has to
be scored in a way that will help them. This means that this steady
rhythmic pulse has to be present at all times when "jazz time" is
desired.
viii
CHAPTER I
FIRST MOVEMENT
i. FORM
The main material used is divided into an A and B section:
(A a section, (C#) u tonal center)
Iintro I A (C#) & (C#) I B (6#)I B (A) I Trans.I C a &+&(Eb)+B(Bb)J
mm 1-4 5-21 22-38 39-46 47-53 54-63 64-111
I D (6b)I Recap.B (Ab) I Trans. A & (C#) I Trans. I Coda a DI Fine
112-127 128-134 135-147 148-162 163-169 170-180
Figure 1 - Overview of form of first movement.
The A section (Fig.2), lasting 16 measures, is repeated and so is
the B section (Fig. 3), as might be found in the double exposition of
a classical concerto.
_j I (ZLARIA,-T)e uWF1)
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Figure 2- A section starting in measure 5
ix
Figure 3 - B section starting in measure 39
The clarinet, which is the featured solo instrument in this
movement, states the main theme starting in measure 5 (See Fig.2),
which is then repeated by the orchestra in measure 22. The tonal
center relationship between the A and B section is that of tonio-
dominant. The key centers are C# for the A section, and the B
section is a pedal point on G#. C, the development section, starting
in measure 64, is in the form of an improvisation by the clarinet.
The first part of this section has the same harmonic basis as the A
section but in the key of Eb, V of V, and the latter half
corresponding to the B section is in the key of Bb, V of II. The
viola introduces new material in the D section (m. 112) (Fig.4),
which moves into the key of the subdominant.
Figure 4 - Beginning of D section (m. 112)
The harmonic material of the first half of this section is a mirror
of the first part of A. The recapitulation (m. 128) starts with
x
material corresponding to the B section in the initial key, and then
moves into a repetition of the A section also in its initial
key, The short Coda (m. 170) built on material from the D section
is again in the subdominant with a cadence of dominant-tonio.
ii. THEMATIC MATERIAL
The thematic material of the A section is very much influenced
by its harmonic basis. Since the harmonic progression in the
beginning consists of chords alternatingIwith the interval of an
augmented second, there is a significant color shift every other
measure, which also effects the melodic contour, or vice versa.
From measure 13 the melody is more flowing, first outlining a
sequence of a diminished triad (Fig.5). In measure 17 the melody
outlines an A major triad where the harmonic basis is a A/C#, the C#
melody note then becomes a Db enharmonically in the next measure,
where the harmonic basis is a Bb/C, a chord with more tension than
the previous one (Fig.6).
(A) (Mt. Dlm. ro.
Figure 5 - Melodic outline of diminished triad in A section
Figure 6 - Chord movement of measures 17 - 18
3d
improvisatory passages with the viola. After this they move into a
homophonic two-part section with accompaniment (m. 293) (Fig.17),
with the clarinet on the top voice.
Figure 17 - Viola and clarinet, .middle of second movement
This section crescendos and reaches a climax just before a
modulation to B with a false cadence (m. 313). This section, with
the viola solo plus development is built on the A, B form (not
A,B,A). The music is still ascending after this smaller peak, with
strings playing fast moving variations upon the main theme played by
brass (m. 313) (FigA18).
(4 Ho4,
A 9 . ' 3 -3 _W- - -
Figure 18 - string variations with horns playing theme of A section
In the next B section (m. 326), the winds (both woodwinds and
brass) play a four-note thickened line in a jazz manner (See Fig.22
below), until they reach a pedal point still on B (m. 334). Building
up to the loud recapitulation (m. 355) the two soloists alternate
xvii
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The latter half of the A section (from measure 13) has a more
flowing harmony with chords changing more frequently. Here some use
of "hybrid"-chords are made, for example Bbmin/C (see Fig.6).
In the B-section (Fig.3), which is a pedal point on G#,
ascending triads B-mi,C#-mi,D,G are used, then descending on
F#,C#,B,A,G, all on the G# pedal. The D-section (m. 112) inverts
the chord progression from the beginning of the A section,
alternating chords a third apart but this time in ascending major
thirds with minor ninth chords alternating with dominant ninth-
thirteenth-chords. This occurs in the first 8 bars of the D section
and after this, the progression of the latter part of A is used. In
the transition between the B and the A sections of the
recapitulation (m. 113), the G# pedal reappears with alternating G
and Bb triads on top, leading to a solo cadenza in between. In the
transition between the last A section and the Coda (m. 163), an F to
a D to a C# dominant-type chord is used, all held together by a B on
top. The Coda (m. 170) uses the same harmonic material as the D
section, and the movement ends with a cadence to the tonic C# chord
in an unusual voicing (Fig.9).
Figure 9 - Voicing of last chord, first movement
Xiii
CHAPTER II
SECOND MOVEMENT
i. FORM
The second movement is a Canon with a pentatonic blues flavor
in a C-mixolydian mode (Fig.10).
(Y 7 T110hLYo IA V lOF )
Figure 10 - C-mixolydian mode used in second movement
It too uses an A,B,A form for its main thematic material (Fig.11).
(A u section, (C) u tonal center)
Intro & (C) I B (C) I & (C) A & (F#) 1 B (F#) I & (F#)
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