Lester Young
0 Followers
Recent papers in Lester Young
FREEING MELODY Improvisation and Composition in the work of Lester Young, Lee Konitz, and Ornette Coleman David S. Bond For the past fifty years, I have been... more
FREEING MELODY
Improvisation and Composition in the work of Lester Young, Lee Konitz, and Ornette Coleman
David S. Bond
For the past fifty years, I have been actively involved in musical improvisation. The impetus for my pursuit is rooted in the inspiration of several improvisers, specifically John Coltrane and Ornette Coleman. Given the opportunity to explore music in the academic community, I have chosen to acquire a more in depth understanding of musical improvisation world--wide.
The purpose of the following report on my research is to clarify and solidify some of this knowledge, for me personally, and to apply it specifically to sound recordings of existing improvisations. This application illustrates the use of specific musical concepts found in the practice of improvisation, such as the expansion, reworking, and development of a melodic line.
PREFACE
This research explores various ideas and approaches to improvisation with a focus on melody, pitch, and tone quality. It will be divided into an introduction and three chapters.
The introduction presents thoughts and opinions on musical improvisation as put forth by several noteworthy ethnomusicologists and musicologists, including Motivic development, oral tradition, speech and language tones. The purpose of this section is to provide the reader with basic information regarding improvisation, which can be applied to the following chapters of this research.
Chapter one presents a synopsis of the musical background and development of the composers/performers Lester Young, Lee Konitz, and Ornette Coleman. I have chosen these three musicians because of their emphasis on melody and melodic development, which is a major interest of study for me.
It is my opinion that many comparisons can be made between the approaches of these three improvisers, and my contention that Young, Konitz, and Coleman developed from a similar musical tradition.
Konitz and Coleman have both been influenced by Lester Young's concept, each in their own way. Konitz's style is directly descended from Young in terms of melodic and harmonic development, and Coleman's approach to melodic development has many similarities to Young's, even though his concept of harmony and form departs a great deal from the more traditional style.
The second chapter presents notation of the three approaches to improvisation by these composers/performers. An analysis of one recorded example of an improvisation by each composer/performer serves as the source from which comparisons, contrasts, and conclusions are drawn regarding each individual's approach to improvisation. This analysis focuses on how Young, Konitz, and Coleman utilize and develop the musical concepts and features presented in chapter one.
I have chosen these three particular improvisations because they clearly illustrate melodic phrasing and development, and motivic improvisation.
A
ACKNOWLEDGEMENTS
I would like to thank Professor David Locke…. for his unfailing support of my study and research at Tufts University. His role as ethnomusicologist, musician, professor, and adviser have been extremely valuable to my musical growth and learning.
I would also like to thank master musicians Mr. Dewey Redman, Mr. John McDonald, Mr. Archie Shepp, Mr. Jimmy Giuffre, and Mr. Lee Konitz for the knowledge and expertise they offered to me in their roles as teacher and mentor. My thanks especially to Dewey Redman who, in addition, has been a personal and supportive friend through the rough and magical times over the years, and a guiding star for me.
Improvisation and Composition in the work of Lester Young, Lee Konitz, and Ornette Coleman
David S. Bond
For the past fifty years, I have been actively involved in musical improvisation. The impetus for my pursuit is rooted in the inspiration of several improvisers, specifically John Coltrane and Ornette Coleman. Given the opportunity to explore music in the academic community, I have chosen to acquire a more in depth understanding of musical improvisation world--wide.
The purpose of the following report on my research is to clarify and solidify some of this knowledge, for me personally, and to apply it specifically to sound recordings of existing improvisations. This application illustrates the use of specific musical concepts found in the practice of improvisation, such as the expansion, reworking, and development of a melodic line.
PREFACE
This research explores various ideas and approaches to improvisation with a focus on melody, pitch, and tone quality. It will be divided into an introduction and three chapters.
The introduction presents thoughts and opinions on musical improvisation as put forth by several noteworthy ethnomusicologists and musicologists, including Motivic development, oral tradition, speech and language tones. The purpose of this section is to provide the reader with basic information regarding improvisation, which can be applied to the following chapters of this research.
Chapter one presents a synopsis of the musical background and development of the composers/performers Lester Young, Lee Konitz, and Ornette Coleman. I have chosen these three musicians because of their emphasis on melody and melodic development, which is a major interest of study for me.
It is my opinion that many comparisons can be made between the approaches of these three improvisers, and my contention that Young, Konitz, and Coleman developed from a similar musical tradition.
Konitz and Coleman have both been influenced by Lester Young's concept, each in their own way. Konitz's style is directly descended from Young in terms of melodic and harmonic development, and Coleman's approach to melodic development has many similarities to Young's, even though his concept of harmony and form departs a great deal from the more traditional style.
The second chapter presents notation of the three approaches to improvisation by these composers/performers. An analysis of one recorded example of an improvisation by each composer/performer serves as the source from which comparisons, contrasts, and conclusions are drawn regarding each individual's approach to improvisation. This analysis focuses on how Young, Konitz, and Coleman utilize and develop the musical concepts and features presented in chapter one.
I have chosen these three particular improvisations because they clearly illustrate melodic phrasing and development, and motivic improvisation.
A
ACKNOWLEDGEMENTS
I would like to thank Professor David Locke…. for his unfailing support of my study and research at Tufts University. His role as ethnomusicologist, musician, professor, and adviser have been extremely valuable to my musical growth and learning.
I would also like to thank master musicians Mr. Dewey Redman, Mr. John McDonald, Mr. Archie Shepp, Mr. Jimmy Giuffre, and Mr. Lee Konitz for the knowledge and expertise they offered to me in their roles as teacher and mentor. My thanks especially to Dewey Redman who, in addition, has been a personal and supportive friend through the rough and magical times over the years, and a guiding star for me.
Music Analysis 3 Improvisations by Lester Young, Lee Konitz, and Ornette Coleman
For the past fifty years, I have been actively involved in musical improvisation. The impetus for my pursuit is rooted in the inspiration of several improvisers, specifically John Coltrane and Ornette Coleman. Given the opportunity to... more
For the past fifty years, I have been actively involved in musical improvisation. The impetus for my pursuit is rooted in the inspiration of several improvisers, specifically John Coltrane and Ornette Coleman. Given the opportunity to explore music in the academic community, I have chosen to acquire a more in depth understanding of musical improvisation world--wide.
The purpose of the following report on my research is to clarify and solidify some of this knowledge, for me personally, and to apply it specifically to sound recordings of existing improvisations. This application illustrates the use of specific musical concepts found in the practice of improvisation, such as the expansion, reworking, and development of a melodic line.
PREFACE
This research explores various ideas and approaches to improvisation with a focus on melody, pitch, and tone quality. It will be divided into an introduction and three chapters. The introduction presents thoughts and opinions on musical improvisation as put forth by several noteworthy ethnomusicologists and musicologists, including Motivic development, oral tradition, speech and language tones. The purpose of this section is to provide the reader with basic information regarding improvisation, which can be applied to the following chapters of this research.
Chapter one presents a synopsis of the musical background and development of the composers/performers Lester Young, Lee Konitz, and Ornette Coleman. I have chosen these three musicians because of their emphasis on melody and melodic development, which is a major interest of study for me.
It is my opinion that many comparisons can be made between the approaches of these three improvisers, and my contention that Young, Konitz, and Coleman developed from a similar musical tradition.
Konitz and Coleman have both been influenced by Lester Young's concept, each in their own way. Konitz's style is directly descended from Young in terms of melodic and harmonic development, and Coleman's approach to melodic development has many similarities to Young's, even though his concept of harmony and form departs a great deal from the more traditional style.
The second chapter presents notation of the three approaches to improvisation by these composers/performers. An analysis of one recorded example of an improvisation by each composer/performer serves as the source from which comparisons, contrasts, and conclusions are drawn regarding each individual's approach to improvisation. This analysis focuses on how Young, Konitz, and Coleman utilize and develop the musical concepts and features presented in chapter one.
I have chosen these three particular improvisations because they clearly illustrate melodic phrasing and development, and motivic improvisation.
ACKNOWLEDGEMENTS
I would like to thank Professor David Locke…. for his unfailing support of my study and research at Tufts University. His role as ethnomusicologist, musician, professor, and adviser have been extremely valuable to my musical growth and learning.
I would also like to thank master musicians Mr. Dewey Redman, Mr. John McDonald, Mr. Archie Shepp, Mr. Jimmy Giuffre, and Mr. Lee Konitz for the knowledge and expertise they offered to me in their roles as teacher and mentor. My thanks especially to Dewey Redman who, in addition, has been a personal and supportive friend through the rough and magical times over the years, and a guiding star for me.
The purpose of the following report on my research is to clarify and solidify some of this knowledge, for me personally, and to apply it specifically to sound recordings of existing improvisations. This application illustrates the use of specific musical concepts found in the practice of improvisation, such as the expansion, reworking, and development of a melodic line.
PREFACE
This research explores various ideas and approaches to improvisation with a focus on melody, pitch, and tone quality. It will be divided into an introduction and three chapters. The introduction presents thoughts and opinions on musical improvisation as put forth by several noteworthy ethnomusicologists and musicologists, including Motivic development, oral tradition, speech and language tones. The purpose of this section is to provide the reader with basic information regarding improvisation, which can be applied to the following chapters of this research.
Chapter one presents a synopsis of the musical background and development of the composers/performers Lester Young, Lee Konitz, and Ornette Coleman. I have chosen these three musicians because of their emphasis on melody and melodic development, which is a major interest of study for me.
It is my opinion that many comparisons can be made between the approaches of these three improvisers, and my contention that Young, Konitz, and Coleman developed from a similar musical tradition.
Konitz and Coleman have both been influenced by Lester Young's concept, each in their own way. Konitz's style is directly descended from Young in terms of melodic and harmonic development, and Coleman's approach to melodic development has many similarities to Young's, even though his concept of harmony and form departs a great deal from the more traditional style.
The second chapter presents notation of the three approaches to improvisation by these composers/performers. An analysis of one recorded example of an improvisation by each composer/performer serves as the source from which comparisons, contrasts, and conclusions are drawn regarding each individual's approach to improvisation. This analysis focuses on how Young, Konitz, and Coleman utilize and develop the musical concepts and features presented in chapter one.
I have chosen these three particular improvisations because they clearly illustrate melodic phrasing and development, and motivic improvisation.
ACKNOWLEDGEMENTS
I would like to thank Professor David Locke…. for his unfailing support of my study and research at Tufts University. His role as ethnomusicologist, musician, professor, and adviser have been extremely valuable to my musical growth and learning.
I would also like to thank master musicians Mr. Dewey Redman, Mr. John McDonald, Mr. Archie Shepp, Mr. Jimmy Giuffre, and Mr. Lee Konitz for the knowledge and expertise they offered to me in their roles as teacher and mentor. My thanks especially to Dewey Redman who, in addition, has been a personal and supportive friend through the rough and magical times over the years, and a guiding star for me.
FREEING MELODY Improvisation and Composition in the work of Lester Young, Lee Konitz, and Ornette Coleman David S. Bond ABSTRACT For the past fifty years, I have been... more
FREEING MELODY
Improvisation and Composition in the work of Lester Young, Lee Konitz, and Ornette Coleman
David S. Bond
ABSTRACT
For the past fifty years, I have been actively involved in musical improvisation. The impetus for my pursuit is rooted in the inspiration of several improvisers in Afro-American music, specifically John Coltrane and Ornette Coleman. Given the opportunity to explore music in the academic community, I have chosen to acquire a more in depth understanding of musical improvisation world--wide.
The purpose of the following report on my research is to clarify and solidify some of this knowledge, for me personally, and to apply it specifically to sound recordings of existing improvisations. This application illustrates the use of specific musical concepts found in the practice of improvisation, such as the expansion, reworking, and development of a melodic line.
This research explores various ideas and approaches to improvisation in African-American music with a focus on melody, pitch, and tone quality. It will be divided into an introduction and three chapters.The introduction presents thoughts and opinions on musical improvisation as put forth by several noteworthy ethnomusicologists and musicologists. This section also includes musical features found in African-American music and those found in select music--cultures of the world. Motivic development, oral tradition, speech and language tones, and theme and variations are a few of the concepts and features presented in this section, along with the African influence on jazz improvisation, as noted by Gunther Schuller. The purpose of this section is to provide the reader with basic information regarding improvisation, which can be applied to the following chapters of this research.
Chapter one presents a synopsis of the musical background and development of the
composers/performers Lester Young, Lee Konitz, and Ornette Coleman. I have
chosen these three musicians because of their emphasis on melody and melodic
development, which is a major interest of study for me.
Personal and stylistic characteristics are pointed out regarding each of these individual's approaches to improvisation. Similarities between their approaches are also noted.
It is my opinion that many comparisons can be made between the approaches of these three improvisers, and my contention that Young, Konitz, and i developed from a similar musical tradition.
Konitz and Coleman have both been influenced by Lester Young's concept, each in their own way. Konitz's style is directly descended from Young in terms of melodic and harmonic development, and Coleman's approach to melodic development has many similarities to Young's, even though his concept of harmony and form departs a great deal from the more traditional style.
The second chapter presents notation of the three approaches to improvisation by
these composer/performers. An analysis of one recorded example of an improvisation
by each composer/performer serves as the source from which comparisons,
contrasts, and conclusions are drawn regarding each individual's approach to
improvisation.
This analysis focuses on how Young, Konitz, and Coleman utilize and develop the
musical concepts and features presented in chapter one.
I have chosen these three particular improvisations because they clearly illustrate
melodic phrasing and development, and motivic improvisation.
In addition, the ideas found in each are rooted in several basic characteristics found
in African-American improvisation: a focus on improvising within the
conventions of a particular style, vocal and expressive techniques such as blue notes, vibrato, glissandos, and sub-tones, and a striving toward an individuality in tone color and style.
Two major areas are addressed here: (1) melodic invention and phrasing, and (2) primary and secondary linking tones in motivic development.
Improvisation and Composition in the work of Lester Young, Lee Konitz, and Ornette Coleman
David S. Bond
ABSTRACT
For the past fifty years, I have been actively involved in musical improvisation. The impetus for my pursuit is rooted in the inspiration of several improvisers in Afro-American music, specifically John Coltrane and Ornette Coleman. Given the opportunity to explore music in the academic community, I have chosen to acquire a more in depth understanding of musical improvisation world--wide.
The purpose of the following report on my research is to clarify and solidify some of this knowledge, for me personally, and to apply it specifically to sound recordings of existing improvisations. This application illustrates the use of specific musical concepts found in the practice of improvisation, such as the expansion, reworking, and development of a melodic line.
This research explores various ideas and approaches to improvisation in African-American music with a focus on melody, pitch, and tone quality. It will be divided into an introduction and three chapters.The introduction presents thoughts and opinions on musical improvisation as put forth by several noteworthy ethnomusicologists and musicologists. This section also includes musical features found in African-American music and those found in select music--cultures of the world. Motivic development, oral tradition, speech and language tones, and theme and variations are a few of the concepts and features presented in this section, along with the African influence on jazz improvisation, as noted by Gunther Schuller. The purpose of this section is to provide the reader with basic information regarding improvisation, which can be applied to the following chapters of this research.
Chapter one presents a synopsis of the musical background and development of the
composers/performers Lester Young, Lee Konitz, and Ornette Coleman. I have
chosen these three musicians because of their emphasis on melody and melodic
development, which is a major interest of study for me.
Personal and stylistic characteristics are pointed out regarding each of these individual's approaches to improvisation. Similarities between their approaches are also noted.
It is my opinion that many comparisons can be made between the approaches of these three improvisers, and my contention that Young, Konitz, and i developed from a similar musical tradition.
Konitz and Coleman have both been influenced by Lester Young's concept, each in their own way. Konitz's style is directly descended from Young in terms of melodic and harmonic development, and Coleman's approach to melodic development has many similarities to Young's, even though his concept of harmony and form departs a great deal from the more traditional style.
The second chapter presents notation of the three approaches to improvisation by
these composer/performers. An analysis of one recorded example of an improvisation
by each composer/performer serves as the source from which comparisons,
contrasts, and conclusions are drawn regarding each individual's approach to
improvisation.
This analysis focuses on how Young, Konitz, and Coleman utilize and develop the
musical concepts and features presented in chapter one.
I have chosen these three particular improvisations because they clearly illustrate
melodic phrasing and development, and motivic improvisation.
In addition, the ideas found in each are rooted in several basic characteristics found
in African-American improvisation: a focus on improvising within the
conventions of a particular style, vocal and expressive techniques such as blue notes, vibrato, glissandos, and sub-tones, and a striving toward an individuality in tone color and style.
Two major areas are addressed here: (1) melodic invention and phrasing, and (2) primary and secondary linking tones in motivic development.