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A Musical Analysis Of The Improvisational Style Of Tommy Turrentine, Jesse N. Mcbee

Glenn Korff School of Music: Dissertations, Theses, Student Creative Work, and Performance

Tommy Turrentine was a jazz trumpet player active in both Pittsburgh, Pennsylvania and New York City. While he is highly respected among jazz musicians, particular those who developed a personal relationship with him in New York City, he seems to have been overshadowed by many of his contemporaries. Additionally, he has a limited discography, with only one recording as a leader. Despite this, he performed with numerous notable musicians throughout his career, including Dizzy Gillespie, Count Basie, Abbey Lincoln, Stanley Turrentine, and Max Roach. These collaborations solidify his role as a significant musician in the lineage of jazz trumpeters.

This …

A Study Of The Improvisational Style Of Theodore "Fats" Navarro, 1949-1950, Russell C. Zimmer

Glenn Korff School of Music: Dissertations, Theses, Student Creative Work, and Performance

This study analyzes improvisatory techniques of Theodore “Fats” Navarro (1923-1950). Live improvised solos of the trumpeter from 1949-1950 were examined to better understand the improvisational style through the analysis of transcribed solos. Chapter one gives a brief overview of Navarro’s brief professional career and why he was chosen as the subject of this study. Chapter two sets out the methodology for this study and reviews related literature to the study of Fats Navarro. Chapter three provides a brief background of each performance from which the transcriptions were selected. Chapter four identifies those aspects of his improvisation that occur often harmonically, …

The Structure And Genesis Of Copland's Quiet City, Stanley V. Kleppinger

Glenn Korff School of Music: Faculty Publications

Aaron Copland’s Quiet City (1940), a one-movement work for trumpet, cor anglais, and strings, derives from incidental music the composer wrote for an unsuccessful and now forgotten Irwin Shaw play. This essay explores in detail the pitch structure of the concert work, suggesting dramatic parallels between the music and Shaw’s play.

The opening of the piece hinges on an anhemitonic pentatonic collection, which becomes the source of significant pitch centres for the whole composition, in that the most prominent pitch classes of each section, when taken together, replicate the collection governing the music’s first and last bars. Both this principle …

Three Angular Duets For Trumpet And Horn, Randall Snyder

Randall Snyder Compositions

No abstract provided.

Concerto For Trumpet And Wind Ensemble, Randall Snyder

Randall Snyder Compositions

No abstract provided.